Happy New Year!

My Icycles

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Snow and Stars

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Pitch black in night

Glitter glimmers on the snow

A thousand prisms above below

Refracting in unearthly glow.
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Christmas

Spiderman Accident on Broadway

The Eclipse

Lunar Eclipse Falls on Winter Solstice for First Time in Centuries

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Geoff Chester of the U.S. Naval Observatory inspected a list of eclipses going back 2000 years for NASA.  "Since Year 1, I can only find one previous instance of an eclipse matching the same calendar date as the solstice, and that is 1638 DEC 21," Chester said, according to NASA. "Fortunately we won't have to wait 372 years for the next one ... that will be on 2094 DEC 21."  Article, HERE.

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270 Movies From This Year in 6 Minutes

Books and Whiskey

Forbidden Images

I Drink Alone

One Bourbon, One Scotch, One Beer

Thanksgiving

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Blue Moon 2010

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So You Think You Can Dance

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A Rosebud in November

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A November Sunset on Fire Island

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A November Sunset on Fire Island, Smith Point, Long Island, New York

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Autumn on Lake Arthur

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Lake Arthur, Long Island, New York, November 1, 2010

Times Square 1970

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Donald in Times Square Photo Booth 1970

You sport a very nice body that surely will get you places, as long as they aren't looking for someone to talk to. Everyone flocks to you and wants you in their bed, too bad you can't figure out how to hold a fork.

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Whoring on Times Square in New York City -- back against the wall watching the zipper sign on the Times Building -- not looking at anyone. If someone looks, look away. It's important to not take any interest. That macho thing -- “butch” it’s called.  Broke?  Queers look for guys and will pay to go down on something young and dirty, a cheap Times Square whore!

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Comet Hartley 2

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NASA / JPL-Caltech / UMD

This close-up view of Comet Hartley 2 was taken by NASA's Deep Impact spacecraft during its flyby of the comet Thursday. It was captured by the spacecraft's medium-resolution instrument.

 

Article HERE.

All Souls' Day

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The Day of the Dead - All Souls' Day by William Bouguereau

Halloween at Theater for the New City

For information, HERE.

Prince of the South

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Whip My Hair

Jackson Pollack meet Willow Smith

Trainspotting

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Clinging to the top of one of the last passenger trains across South Dakota, I wondered if I would survive.  Of course, I did, as you are reading this.  My father broke my ribs and my mother broke my heart.  Why did I run away from home?  Why did I risk life and limb?  Screaming in the night, the wind streaking, soul abandoned, the chase, the howl,  the night with the dogs and then the day, the walk down Main Street into the first jail cell of my life, thanks everyone, I feel free at last and my life is down the toilet.

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Joan Sutherland

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Joan Sutherland 1926 - 2010

New York Times obituary, HERE.

Yes, I saw that performance!

Wound Upon a Broken Heart

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Crawling through the shattered glass

Tears comingled with the trash

Wailing, moaning, noon and night

Giving shout in hopeless sight

I bleed a blood that’s not my own

I weep all night to the unknown

You laugh and smile in new good fortune

Remembering not, and so soon?

I live, I breath, I gasp in sorrow,

No pain enough today, tomorrow,

Eros’ arrow, wicked dart!

Wound upon a broken heart!

Train Wreck

Stairway to Heaven

Goodbye Tony

Tony Curtis, Hollywood Leading Man, Dies at 85, The New York Times, HERE.
Clip from his best film, "Some Like It Hot"...

More on moviefone, Tony Curtis Dead at 85: Remembering His Best Movies, HERE.

I Wait

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I Wait

I wait. You are gone, yet you are yet in my heart and I love you. 

I wait for that time that you return for a forgotten hair from the barren floor having fled to the next station on the rail of life.  Oh, it isn’t that far from here.  I wait, that that train may return not reaching its destination.  I wait, its tracks disappear upon the horizon, its crossings a step in time upon a journey into nowhere. 

I wait, there is no schedule, there is no wail of the distant locomotive.  I wait, it shrieks in my mind even from afar, yet so close it shatters the lifeless mementos, now so cherished, left to torment a hope that is dead. 

 I wait, haplessly hoping fortune smiles upon you and still I wait.  I wait.  Do not return, bruised and broken, crying once again upon my bloodied shoulder, crying once again the words you cried before...

 “I just want to be loved!” 

Do you feel it, did you feel it?  Does the silent love of one abandoned for another reach the soul of the unforgotten?  Unknown to know, there is no light or sound upon the rail, there is but the rail itself as I listen for a single sound pressing my ear upon the  ground. 

I wait.

~ Donald L. Brooks

  

Beach Bubbles

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White Knuckles

Full Moon and Jupiter

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Full Moon and Jupiter, September 23, 2010 photograph by Donald L. Brooks

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When You Wish Upon a Star

Writer: Leigh Harline; Lyrics: Ned Washington

When you wish upon a star

Makes no difference who you are

Anything your heart desires

Will come to you

If your heart is in your dream

No request is too extreme

When you wish upon a star

As dreamers do

Fate is kind

She brings to those who love

The sweet fulfillment of

Their secret longing

Like a bolt out of the blue

Fate steps in and sees you through

When you wish upon a star

Your dreams come true

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Harvest Moon

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The Full Moon-Lick Observatory

The Harvest Moon is the full moon that occurs nearest to the autumnal equinox.  The equinox took place at 11:09 pm yesterday, and the moon will be officially full at this Thursday morning at 5:17am -- this is about as close as you can get! The name "harvest moon" comes from the days before we had electricity. Farmers used the bright light of the full moon around the equinox to continue harvesting their crops.

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Pop Ups

Only...

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Footprints of a Nude Septuagenarian

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On the Beach

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The Spiderman of Baseball

Soichiro Amaya, outfielder with the Hiroshima Carp of the Nippon Professional Baseball league, climbs the wal to rob a home run.

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Fishing at Smith Point

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Parkour

'Tis so appalling...

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'Tis so appalling — it exhilarates

by Emily Dickinson

'Tis so appalling -- it exhilarates —

So over Horror, it half Captivates —

The Soul stares after it, secure —

A Sepulchre, fears frost, no more —

To scan a Ghost, is faint —

But grappling, conquers it —

How easy, Torment, now —

Suspense kept sawing so —

The Truth, is Bald, and Cold —

But that will hold —

If any are not sure —

We show them — prayer —

But we, who know,

Stop hoping, now —

Looking at Death, is Dying —

Just let go the Breath —

And not the pillow at your Cheek

So Slumbereth —

Others, Can wrestle —

Yours, is done --

And so of Woe, bleak dreaded — come,

It sets the Fright at liberty —

And Terror's free —

Gay, Ghastly, Holiday!

 

August Sunset

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Alphaville

Ladies of the Silent Screen

20 Parrot Tricks in 2 Minutes

Take on Me

Rats on Cocaine

Tar Boy

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Yogi on George

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George and I had our differences, but who didn’t?"

— Yogi Berra, on the death of George Steinbrenner.

Stripping Lads

Candy Shop

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Independence Day

Smith Point Sunset

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Jerkin'

Black Tears

Priceless

bp

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Summertime

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Fire at Sea

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Save the Gulf

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Flag Day

Jacques-Yves Cousteau

"Here’s to Jacques-Yves Cousteau." The New York Times, June 11, 2010 on his 100th birthday — Read HERE.

Wildlife Apocalypse

Video of Gulf birds, fish caught in BP oil spill



Wildlife apocalypse along the Gulf of Mexico coast is fast becoming a reality. Pelicans are becoming trapped by the oil and dead birds and dolphins have been washing ashore, coated in the sludge. Government officials estimate that roughly 83 to 182 million litres of oil have leaked into the Gulf since the April 20 explosion

Oil, Oil, Everywhere

 

New York Times Photographs, click HERE.

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Memorial Day

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05.31.10

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On the Beach

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You're a Jerk

Death by Oil

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A young heron sits dying amidst oil splattering underneath mangrove on an island impacted by oil from the Deepwater Horizon oil spill in Barataria Bay, just inside the the coast of Louisiana, Sunday, May 23, 2010. The is home to hundreds of herons, brown pelicans, terns, gulls and roseate spoonbills. (AP Photo/Gerald Herbert)

Oil

As officials approached to survey the damage the Gulf oil spill caused in coastal marshes, some brown pelicans couldn't fly away Sunday. All they could do was hobble.  Read HERE.

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Koya Moments

Koya Moments / An Edinburgh time lapse movie.  This film charts the progress of the day and night, the changing light, weather and progress of the moon and stars . Philip Glass Violin Concerto, 1st movement, Adele Anthony, violin, Ulster Orchestra

Tattered Palaces

"I am big.  It's the pictures that got small."

— Norma Desmond, "Sunset Boulevard"
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United Artists Theater, Detroit — photograph by Yves Marchand and Romain Meffre

Article "Tattered Palaces" by Kristen Joy Watts, The New York Times — HERE.

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We'd Do It With a Lizard in a Blizzard

Harvey Fierstein as A. Camp in H. M. Koutoukas' "Christopher at Sheridan Squared" directed by Donald L. Brooks at the Performing Garage, November 1971

Mr. Fierstein's first male role, as Arnold Camp, a role representative of the playwright H. M. Koutoukas in which he performed the song:

"We'd Do It With A Lizard in a Blizzard"

In the beginning there was the Verb
We do it cause it's there
And it needs filling -- Jelly donut
No withholding...

No, listen baby maybe --

Subjects get predicated
Bon bons like cellophane bags
Only get deficated -- it's on on on on
In to get out toward warmth then air out

A woman may say no - no - no --
But she can't say no to Darlin' Darwin
Cause he knows she done it with a lizard
Fingernails show she's done it even with a gator
Like her husband Mother --

God knows what slimey creature first
Proved cold-blooded is cold as ice
Yah -- something made those links go out missin'
Those links they grooved on hissin'
When they saw your Mother evolutin'
Somethin's going down there

Claws caress her hair -- and gator's still are cold
If your Mother one time ain't worked a lizard
How did she get so warm-blooded

(As Arnold Camp does tango, cult creatures gather under around ceiling, between rails, join in -- it becomes a non-touch slither).

COBRA CULT

From some reptile you've some recoil
That's because your Darling Darwin
Caught you knowin' without sayin'
Maybe just jokin' -- but knowing all the same
Those links weren't missing those links weren't lame they just wanted
To get out of that snake-making game --

King Cobra -- jeweled and made sober
Called his Auntie Conda -- and after a talk with Little Mary Whann
He placed the apple high in the tree, man met woman
They both were warm --but the gizzard to the brow-bone of Costa Cobra
Remains cold as the silence of your Mother's secret
That she'd do it with a Stone at Stonehenge --
To keep alive some rock and so
The Lizard never knew nor your Father
That her quiet was not virtue but remembrance by his fingernail
That she'd invited in a reptile to spend some generations
In the family's cell -- and was it Mr. Barrie
Creature of that fainting fairy and Peter (Cock-a-doodle-doo) Pan
Then it's gonna' be a Halloween when all hell broke loose, it
Was an openin' and a closin' that sent an Express train lookin' Florentine
of course your ass runs by itself like
Cinderella's Mother, queen of a land where sometimes
To pay for the mistakes made...
Mistakes... are maid.

There is no such thing as an accident -- unless an accident...
I was of even of the more mannish document...
it's a shrinking slip
To pay the maid to take the blame.

-- H. M. Koutoukas
Christopher at Sheridan Squared
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Harvey Fierstein as Arnold Camp observes Cobra Cult dance choreographed by James Waring performed by Bryan Hayes and Cobra Cult in H M Koutoukas Christopher at Sheridan Squared directed by Donald L Brooks.

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In Search of H. M. Koutoukas

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In Search of H. M. Koutoukas

by Donald L. Brooks

Prosaic recitation of the wit, the antics and inanity of the world of H. M. Koutoukas is easy– it is a tough task to look beyond and find his soul. In the process, I may speak of myself as much as my subject, but this is intended as I write about not just an individual, but my relationship with that individual. So, with trepidation, I sift through a lost sea of fifty years of memorabilia for H. M. Koutoukas -- Harry as we knew him –The initials of “H. M.” always seemed to portend the mysterious, or perhaps His Majesty, at the least, nothing as disturbing as Haralambos Monroe. One on one, he was “Harry” and in our little underground world of theater, “Koutoukas.” Searching through files for scripts and photographs, I find it difficult to capture his essence, elusive of all that is tactile and existing only in memory – H. M. Koutoukas is gone and has taken with him, H. M. Koutoukas, that brilliant creation I loved for half a century.

A poet first and then a dramatist in the mode of Federico García Lorca, Koutoukas was an irresistible figure whether through his actors on stage, the written page, the spoken word or the silence that often cloaked a gold mine of prose waiting for the right explosive to dislodge an etymological effusion of glittering treasure. He was the wordsmith wonder of the underground in the days of the Caffé Cino, and along with so many other and varied artists traded madness and magic for a few nights of glory in an illegal bistro in the then-forgotten Greenwich Village of New York City. Make no mistake about it, this was an underground in every sense of the word notwithstanding how tame it may now seem compared to the present-day riot of rot and excess of ego.

Working cross-town at the Café LaMama, where Ellen Stewart and I sat in an empty loft closed the previous night for code violations, I found that sometimes the task of directing a play included giving a pep talk to the theater owner, rebuilding the doors and exits, securing pails of sand and fire extinguishers, not to mention escorting actors from the subway to the theater as they feared for their safety on the streets of the Lower East Side. LaMama and the Caffé Cino were heterogeneous -- the Cino had a more daring reputation, and it had H.M. Koutoukas. To make a long story et cetera, a fire destroyed the interior of the Cino and Ellen Stewart crowded the Cino’s scheduled productions into LaMama, whereupon two worlds become one for a few months of indiscriminate mingling.

I had seen Koutoukas productions of "Only A Countess May Dance When She’s Crazy," " With Creatures Make My Way," " Pope Jean" and "Pomegranada" – I requested that we meet and it was arranged at LaMama. A handsome young man in his middle-twenties, a few years older than me, appeared with a stuffed parrot on his shoulder, draped in a cape and surrounded by an entourage. The entourage was waved away as H. M. Koutoukas swept me off to 87 Christopher Street and a night of dreams I can’t remember. Disappointed at being a mere curiosity of the flesh, uninterested in cocaine, overwhelmed by the disarray of the apartment’s amassed material which included three non-working refrigerators in the space of a small studio overrun with things that crawled, I gathered myself and my disappointment, greeting the bright light of morning alone with my fascination, nonetheless, intact. I was not the stone for sculpting a gargoyle to adorn the world of H.M. Koutoukas.

In the fall before Joe Cino’s death, I returned from summer stock to find all my belongings discarded as garbage at the hands of LaMama’s Paul Foster and ‘Ntoni Bastiano. Everything. I was devastated. I was angry, expressed myself in pure heat of hatred, and subsequently feared and unwelcome at the theater I had built and nourished. I wandered. Having appeared in a benefit program for the reconstruction of the Caffé Cino at the Sullivan Street Theatre (Bob Heide’s “The Bed”) before I left for summer stock, I dropped in to take a look at the rebuilt space. Joe took me under his wing and put me to work doing lights, acting, repairs. I was to set and run lights that evening and had been waiting for the actors of a John Guare play to arrive. Harry was hanging out with Joe at the counter, eventually heading to the exit. In a misunderstanding, John Guare did not appear with his play and cast for a performance. I was in the light booth having just purchased and reading a Wonder Woman comic book (“The Secret of Tabu Mt.”). Upon hearing Joe Cino say "what are we going to do, we have to have something", I showed him the comic book and said "Let's do this!"  Joe immediately brightened saying yes, and sent Robert Patrick out for more copies at Lamston's five-and-dime two blocks away. I suggested that H. M. Koutoukas (who had just left the building) play Wonder Woman -- he was chased down the street by Charles Stanley, brought back, given a headband and a show went up on time – changing the lights every time a comic frame occurred. By the end of the week, no one needed the script (comic book) but carried it anyway. It was the first comic book play at the Cino and the best.  Others in the cast that night were Joe Cino, the suddenly present Johnny Dodd, Charles Stanley and Deborah Lee. There was a great deal of satisfaction with that simple little 15-minute playlet, as I felt I had finally shared the muse with H. M. Koutoukas.

After Joe Cino’s death, many of the artists never returned to the subsequently short-lived theater/coffee house managed by Charles Stanley and others. Harry was reportedly in poor condition having entered some sort of rehabilitation program at St. Vincent’s Hospital. I recall that the major adjustment achieved in rehabilitation for Harry was the realization that he did not have to constantly entertain those around him – he became much more solemn and, of course, silent.

I had a successful play called “Xircus, the Private Life of Jesus Christ” completing a six-month run with a month or so still remaining on the lease of the Performing Garage in SoHo. The producer, Dick Briggs, was agreeable to a short run of whatever play I would like to mount. I contacted Harry and he gave me fragments of a piece called “Christopher at Sheridan Squared”. It was basically an uncollated pile of poetry. Many of the actors from "Xircus" would be in the production; however, I sent out word to Christopher Street that casting was being held. A good many actors in the production were not actors until they were cast in the play. Harry would send bits and pieces of writing from time to time during rehearsals and I fashioned them all into a narrative – it became a small epic of city apartment and street life. Harvey Fierstein, who had played Our Lady of 42nd Street in "Xircus" played what could be termed as the Koutoukas role. Music was on a harpsichord, composed by A. M. Fine, a heterophobic and paranoid musical genius. A chorus of sorts chanted the lines and danced to choreography by James Waring. A full two-story set was constructed with a tapestry from the Metropolitan Opera as the act curtain. It was a wonderful piece with a full house opening night and no audience thereafter. Harry was fond of one-night-only theater stands – most of his plays could be seen but once. The second night, Harry positioned himself on the top tier of the wooden structure at the Performing Garage and threatened to hurl himself to the floor. I advised him that if suicide were intended that he might not succeed, merely crippling himself for life, paralyzed and unable to ever again attempt to terminate his existence.

Somewhere in my files is a script of our collaboration and an audio tape of a performance – the negatives for the photographs were maintained by Harvey Fierstein, leaving only a contact sheet of same. Fierstein was a demanding diva buttressed only by his being aware of his lack of experience. I recognized his wit and originality in his everyday conversations as being far more interesting than most of the plays that I was given to consider directing. I told him that if he would write a play, I’d produce it. This was twofold in purpose, it would shut him up for a while and maybe produce a lively theater piece. He returned much too soon with a short play called “The Very Last Camp” – with Ellen and myself as characters. No. I was not going to do a play with a second-hand account of my relationship with forces I wanted to forget, and had no desire to provoke – Harvey had in mind another “Superfreak”, a play about the Caffé Cino that upset too many individuals in the Off-Off-Broadway scene. I sent him back to the proverbial drawing board with an assignment. Clean H. M. Koutoukas’ apartment!

Harry’s apartment had become unlivable. It is reported that he dabbed glow-in-the-dark paint on the back of cockroaches that one might turn out the lights and watch the spectacle! He needed to get it straightened so that he could at least find a comfortable corner for sleeping. I sent Fierstein and Russell Krum to do the chore, advising Harvey that if he searched deep enough into the experience, that a real play would be there, one that he could write honestly about. Well, he did. What was his and what was Harry’s one will never know – the play was called “In Search of the Cobra Jewels”.

I approached Harry by chance on Christopher Street, a half-block from his apartment at 87, advised him that Harvey had written a play about him, but that I could not do it unless Harry would play himself – he responded, ”get me a script and a nurse for all the rehearsals and performances.” I set a street actor, Flash Storm to the task. He made sure that Harry was at the required rehearsals and saw to many of Harry’s other needs during the time. Fierstein and I recruited Harvey and Ronald Tavel, Agosto Machado and Mario Montez, for an all-male cast including drag queens Alexis De Lago and Wilhelmina Ross, the stain-glass artist Gilly Glass, who played a window, and many of the street actors from "Christopher at Sheridan Squared."

Opening night, near the conclusion of the first act during a chorale, Harry produced a razor blade and began marking his wrists producing blood. Michael Smith, the Village Voice critic and a friend of Harry was in attendance and noted in a review – “During the first-act finale of “In Search of the Cobra Jewels” last Wednesday, H. M. Koutoukas, who plays the central role, cut himself delicately and deliberately with a razor blade, just deeply enough so blood oozed out on his arms and face. Harvey Fierstein’s play is transparently about Koutoukas himself in the form of Noel Swann, poet and playwright in flirtation with Death. And it is, further, a direct rip-off of Koutoukas’s distinctive style as a dramatist – aphoristic, euphuistic, picturesque, tormentedly romantic, sentimentally nostalgic. But the opening night blood-letting introduced too much reality onto the stage for my taste. I was sickened and horrified. Koutoukas’s gesture, though reviving an ancient sacrificial mode of theatre, by its very truthfulness seemed to go beyond art and call art worthless, and it had the effect of nearly destroying the play… Once again Donald L. Brooks has done a production that gets to me so personally that I can hardly talk about it coherently. Once again he has concocted an indecipherable mixture of brilliance, ineptitude, and nearly pathological acting out… Brooks certainly has a flair for raw theatricality, and he persistently confronts in his work subjects, styles, and personal equations which to others appear in bad taste and simply too dangerous. First I was entertained, then I was frightened, then I didn’t know where I was and my mind was left burning with contradictions. What kind of theatre is that?” Well, it wasn’t the kind I had intended, but Harry took care of that!

I went downstairs to the dressing room, where the actors were a bit confused to say the least. Harry had just fled the theater and I went in pursuit, catching up to him about two blocks away. I chided him for such cheap theatrics, citing selfishness to the other actors, commanding him to return to the theater to finish the performance, and further advised that he was going to do the entire schedule of performances and that if he decided to slit his wrists every night he’d be hamburger by the end of the run – also, to advise me beforehand of same so that I could make sure the audience noticed, as being that the lighting was in red, we were wasting the blood – a white light would show the deed more effectively. Well, he returned and there was no problem after that – he was perfect as himself in the guise of Noel Swann, speaking what surely were many of his own words plucked from the debris of his lair. Only Harry and his neophyte gargoyle could possibly know who wrote what and who played who.

Without a doubt, the best line to come out of off-off Broadway was Harry’s, utilizing an expletive that at the time was wont to make a censor swoon – at the end of the play, a lonely and ruined actress asks the audience, “Anybody want to fuck a star!” Broadway never called, but Times Square occasionally drew Harry to its dark recesses, for I vividly recollect that while I was stripping at a seedy male burlesque house, his incongruous presence surprised me, along with our producer Dick Briggs, in the front row of the audience – caught in the act, indeed! The three of us attended a performance of "Crowbar" at the Victory Theater on 42nd Street while it was still haunted from the ghosts of the early century. The Victory was the movie house that premiered “Ilsa, She Wolf of the SS”, a film with Koutoukas’ participation toward the end of its use as a movie house – so, he did get uptown once in a while!

The relationship never changed, every meeting was as though the last were the day before. We religiously exchanged Christmas cards for a quarter century, and I always looked forward to seeing him on Halloween at Theater for the New City where he appeared as a celebrity judge for the costume parade at the Halloween Ball – his category was always the least conventional. When friends were dropping like flies from the plague, I told him that I had ceased going to anyone’s memorial that I had not known for at least twenty-five years – he wrote that down too! I last saw Harry at the Obies at a hall at New York University, where he, Robert Dahdah and I sat together in the lobby for a good half-hour while various individuals, including some of Harry’s gargoyles, stopped by to pay their respects to the old men of the underground.

Now, he’s left us behind. Let us hope it is just another avant-garde movement and his beautiful soul is merely leading the way to where artists need not struggle against the oppressive forces of our world, but simply wave a hand and the imagination becomes reality. As we sift through his life, let us remember that while he lived, we many times stood aside while he destroyed his own creations. If the art of his muse that now lies scattered among the ashes can rise as the Phoenix into the light of a deserved appreciation alongside the great poets and playwrights of our time, then and only then will we ever have satisfaction and peace in search of H. M. Koutoukas.

Avanti Amori

By H. M. Koutoukas (from Christopher at Sheridan Squared)

Soon the blossoming

Crescendos unto the Spring

Do not speak of it – the veil across our time among the flowers

Is non-negotiable – there’s always credit on the ledger

The bill falls due and the dunning’s done in another place

Listen to the pause the husky silent hue of it

Which breath will turn us unto the Autumn of our own concerto

Oh Chopin live – Love be quick betray me

Rush to a new waltz with a new love do not turn the corner

For autumn is the turnings time

And unto mine own colors I need match my soul

God save me from a life unplucked

Let just my sweet soul hang heavy on the bough

Death has embraced me more warmly

More formally on more occasion than most lovers

Bend the bough swiftly at autumn’s horizon dear September

For I have known that my freedom in life could only serve

The liberation of my tears or smiles at the cost of others weeping

Can you sense autumn – that brightness after bloom

Where the Muse might be accused of going middle class unconcerned

Yes with her Sisters they turn – knowing they may not look on

My new love, sweet death … save me, cure me from this servitude sublime

This poison insidious lust for beauty –

Divine Death – from Durkheim, from Vikings,

From Garbo’s fondest dream I waltz victorious

Free from even art – Death – Dark Angel

They will fear you not knowing only of my wrath

I meet you beyond Jung’s fear or Freud

And you shall duel God on some heavenly common –

Not knowing in what mood you might either win me

Avanti Amori