hey hey - just checking-in at the end of one of my (what i have decreed will be) two-to-three-yearly flights of this'n-that... and reminding you to check in yourselves, for the return flight mining out the raw details as they emerge from the steaming hulk of the analysis-chamber's hastily-reopened engorgement capsule...
... because yes, i did say that i would do the "unwinding" from the last such flight and it genuinely is on the way, it is it is, but it had to wait in the end for the next flight before it was fully ready to be told, i.e. it's only now that i (am moving towards) fully understand(ing) it myself. and at this point, i have to say: every fucking thing looks pretty leng-style clear. how long this will last (till the d runs out, which it pretty much has anyway) is not the point here: the point this time is that i have at last come back from flying with the fucking blueprints, basic formulas etc for all my best ideas and now FINALLY may have learned how to deploy them.
so keep wacthing and all that (*) - there really is more on the way, only what was promised (at first!) and it will be worth waiting for i promise -
in the meantime - that pic: as well as being deeply emblematic of me-qua-me, its relevance today is just a basic basic BASIC braxton statement which i have never come out and identified before, so let me do this now, here and today:
the single greatest shift braxton makes - as it now appears (when we look back through the seventies in our collectors' inner eye library) - is from jazz, where the same song is never played the same way twice, to a setup wherein the absolute basic number-one imperative is never the same fucking set two days running and the second is is no, i mean it. let's all just stop and think about that one
... for a minute - before we rush on with our hectic 21st-century lives...
c x
