For full access goto www.TheCUT.rip/open
EXTENDED
EPIC SCROLL.
WILL YOU
REMEMBER
WHERE YOU WERE
WHEN RETURNING
AFTER EXITS?










Thor takes “me time” with Mjölnir and
Darryl in Australia.
“Team Thor”, “Team Thor: Part 2”
and “Team Darryl”
written and directed
by Taika Waititi.
Go to end of scroll
and get ahead
with the fresh cut
“Here’s Lookin’ Back at You:
Taika David Cohen”
and open up TheCUT.rip
for more.
YouTube embeds
take time
for loading…
(Use link to go direct.)

























































Keep on rollin’, baby
You know what time it is…















































The mother and daughter were from Brisbane.


The end track of “Endtroducing…..” (1996)









(Prophecy 2001)
Updated on Dec 30.
The Penultimate Day of 2019.









She knows everything
I’m ever going to do
before I even know it myself.






https://en.wikipedia.org/wiki/ Timeline of the COVID-19 pandemic in 2019


was the first thing done
on the Penultimate Day.





(Photo: Stock, Dreamstime.)


























Wellington Civic Square
(Photo: Canuck85, CC BY-SA 3.0)



Len Lye Centre, New Plymouth, NZ
(Photo: Pakaraki, CC BY-SA 4.0)






the 1998 movie “The Truman Show”.
In an earlier screenplay by scriptwriter Andrew Niccol, a New Zealander,
Truman lives in Queens, New York,
he works in Lower Manhattan,
and he dreams of flying to Australia.


http://www.dailyscript.com/ scripts/ the-truman-show_early.html

The Unisphere
(Photo: Stock, Dreamstime.)




The New York Times’ first piece about the virus.
(Timeline of the COVID-19 pandemic in January2020 – Wikipedia)
Published 6 Jan online and 7 Jan in print.









The Biggest Motherfucking Underground Legend in the Entire History of the Universe?
If you ain’t in the loop,
you can’t get the joke.
And who gets the last laugh?
An extension to the XV Anniversary post:
Who me? You’ve got to be joking, right? Yeah nah. I ain’t got no ‘Truman Show’ delusion. This shit’s for real.
(Ben Stiller and Vince Vaughn rip on Peter Jackson for The Return of the King in 2004)
(Comedy skit for the 2004 MTV Movie Awards where “LOTR: The Return of the King” was awarded Best Movie. Stiller and Vaughn, somewhat surreptitiously, take the piss out of Peter Jackson.)
(Update: It was later discovered that the video, which opened the Movie Awards, was included an an ‘Easter egg’ on the DVD of “The Return of the King”.)
(“LOTR: Return Of The King” DVD Easter Egg w/ Ben Stiller, Vince Vaughn and Peter Jackson)
Sequel? Sequel to what? Of course they’re actually just talking about a prequel, right? Suck some more milk out of that teat, he sure did. Quadruplogy? Yeah right, try sextuplogy for a real tit sucking joke. Carrying on…
“…Okay, well, that kinda works with the thought that we’re having right now anyway, because we’re talking about taking the exact same script and just hipping it up a little. You know what I’m talking about? I’m talking about this….The Return of the Kings….These four guys go up the mountaintop…”

(Darryl, Darryl, Mark and Gwilym)
(Update: After the first posting on 7 Jan, this section had to be added two days later:)
“…and this guy’s saying “Hey wait a minute, wait a minute, I’m Bernie Mac.””
Bernie motherfuckin’ who? I’d better google it. “The Original Kings of Comedy”, filmed and released in the year 2000. Available for rent on Google Play…
(Bernie Mac “The Word Motherfucker” The Original Kings of Comedy)
Oh shit. Well that’s my motherfuckin’ mind blown up for the rest of the day! For real, I only just learned and watched this now. Some things are definitely worth waiting for. So get this, and you gotta know what Bernie’s previous joke was, because just a couple of days ago I was telling my old mate a story of my dad’s…
(Bernie Mac “HEEEEE Was Teasing Me!!” The Original Kings of Comedy)
My old mate was telling me about a person who had a stutter and another with a cleft palate, and how it made him want to laugh. Old guys, what can you do? Anyway, I told him a story of my old man’s from when he was in the air force. An officer with a cleft palate transferred in, and they already had an enlisted guy with a cleft palate, and nobody told the officer. Enough said. Anyway, my old man loved telling the story and doing the vocal impersonations. There’s something funny in this situation, indeed.
So back to Ben and Vince…
“…And I want you to stay with me on this Darryl, if I can call you Darryl? – whatever – I’ll call you Darryl on this one. Darryl, please don’t sit there and pretend that you didn’t know that this was coming. – The pipe was laid in the first three movies, right? – You teased us like an eleven year old on the bus…”
Jeez, say Darryl again why don’t ya? I wonder what that joke’s about? Anyone know a good Wellywood love story tragedy? Yeah nah?
“Do you need me to come by your house anytime soon?” Ouch.
There’s a reason, and it’s the only reason, why I even know that this video exists. Nobody’s ever mentioned it to me. I saw it when it was first broadcast. And that’s perhaps the greatest coincidence in this entire weave.
I don’t sit down to watch awards ceremonies. Fuck that shit. I was just watching TV when I was spending some time with my mum.
I had estranged myself from my family in 2001 after they had begun putting shit on me, way, way too soon after my millennium disaster.
We Need To Talk About Yasmine El Orfi (Part One)
By 2003 I had reconnected, but I hadn’t visited them. When I put my car off a cliff on the West Coast, after having blown out of Christchurch, close to stony broke, with visions of a “Thelma and Louise” finale, I had been planning on going to crash with them for a while and getting some labouring work, or something, in Nelson.

Mum and Dad were living in the same crappy rental that they were when I was forced to live with them in 2000, when I was still sectioned and having needles stuck in me. Great memories those. Intense malaise, blurred vision, sensitivity to light, inability to exercise, weight gain, haemorrhoids, bed sores and that day when my obese mother, who seldom left the house, was freaking out because there were heaps of maggots crawling all across the living room floor, after they’d fallen out of a gap in the ceiling manhole. For real.
(Continues…)




Concord Dawn
and
Rick Rubin did it!
Chop Suey!?
1 September 2023


Concord Dawn spun in the same Discman as the other significant 2001 soundtrack albums, “Enter the Wu-Tang (36 Chambers)” and Busta Rhymes’ “When Disaster Strikes”.
All three CDs belonged to my flatmate, Bryan Crump, a young bloke who was an electrician and a keen surfer, among other talents.
Bryan and a crew had built a clandestine warehouse residence in a stylie old shed down the end of Newtown, Wellington, close to the zoo, so you could wake up at dawn to the roaring of the lions.
I moved in at Easter.
In the winter Gabriel Chambers moved in, building a loft room above mine.
Gabriel was painting houses. His crew would sometimes hang at the shed when the weather was too bad, as it often is in Wellington.
One of his crew pulled out Bryan’s vinyl copy of “Licensed to Ill” and opened the gatefold cover to show me what was inside. I hadn’t seen it before.
Later I took some A3 colour photocopies of it.
Gabriel had an interest in reggae and Rastas and it was from him that I learned the date of Haile Selassie’s birthday.
Bryan had a number of CDs featuring tracks that took my fancy.
I remember his copy of Concord Dawn’s 2001 album “Disturbance” as only being labelled with the group’s name. If there was a track list on the sleeve, I’d forgotten it, as I kept the disc in my carry-case when I borrowed it.
Bryan asked me to be careful with it because it was a pre-release copy he’d scored at a gig, or something like that.
More than a decade and a half after last hearing it, when I was searching online, I wasn’t sure which album it was.
But “Disturbance” was immediately reminiscent. I recalled THAT track was near the start of the album.
Nearly four and a half minutes into “Escher”, when the groove drops, so did the penny, like it was just yesterday.
The penny’s gonna drop
Harvest the crop
The Earth’s gonna move
A diff’rent kinda groove
The ground will shake
The people will quake
Some shall see
Others will flee
A new time to grow
For in the know
Was it all
The biggest blow
He sowed the seed
The ultimate deed
Did you feel The Big One?
In 2019, up at Thunderbolt Eagle’s Landing (the Flame Zone Dream Build camp,) “Disturbance” and “36 Chambers” repeatedly had me movin’ and groovin’.
I was specifically channelling heavy threads from 2001 for the current prophetic mission, as a form of ritual. I began to call it ‘the drill’, after a track on “Disturbance”.
The fully sick drum and bass grooves in “Disturbance” continue in the track following “Escher”, like a bullet train running through the middle of my chakras. “Shinkansen” carries it onto the next track, which moved me most, and often got put on repeat: “The Drill”.
Warning. Warning.
This is not a drill.
Security access violation in area six.
Toxin 4130 is now airborne.
We have a problem.
(*Drops fully sick fat bassline*)


July 2019
Acting on the drill, in the first weeks of 2020, I remained focussed on channelling the threads of fulfilment of prophecy, when I posted the 7 Jan follow-on to the XV Anniversary post of “Motherfucking Earthquake Wave Nirvana”, “The Biggest (Motherfucking) Underground Legend in the Entire History of The Universe”, with the “Licensed to Ill” photocopies as its featured image.
The post got fully down with the One Score Anniversary score settling sickness, and on 16 Jan it was updated with a Concord Dawn track as an outro, but it wasn’t a track from “Disturbance”.
I bought Concord Dawn’s next album “Uprising” in Tasmania, when I was in the situation that is the setting for “Motherfucking Earthquake Wave Nirvana”, the lead-up to which is explained in the 7 Jan follow-on. I couldn’t get a copy of their earlier album.
I particularly enjoyed the track “Raining Blood”. I’d never listened to Slayer and wasn’t knowledgeable about heavy metal music at that time, so didn’t know it was a ‘cover’ of a Slayer track until I was telling a workmate about it. He thought I was joking about not knowing.
“Raining Blood” is from the Slayer album “Reign in Blood” which was produced by the same person as “Licensed to Ill”, Rick Rubin, for his label Def Jam, and at the same time, in 1986.
It was only in recent years I discovered that Rick Rubin and Slayer released their album “God Hates Us All” on 11 September 2001.
Payback’s a bitch, motherfucker!
(The last track of the album.)
Now you’re nothing
You ain’t fucking shit!
Prior to that discovery, I knew the title “God Hates Us All” as belonging to a fictional novel in the TV series “Californication”, starring David Duchovny of “X-Files” fame. “The X-Files” is the TV show esoterically referred to in that 9 Dec 2019 post of mine that you might know.
Duchovny plays Hank Moody, a New York novelist who has moved to L.A. after his edgy novel “God Hates Us All” is sanitised into a Hollywood blockbuster called “Crazy Little Thing Called Love”.
Hank’s three novels are all named after Slayer albums. I learned that on Wikipedia, long after watching the show, on which it is briefly mentioned once, and I must have missed that.
(LOL and LMFAO (Hank Moody interviewed by Henry Rollins))
In one series Hank does some screenplay rewrites for a rap star’s movie. The rapper, Samurai Apocalypse, is played by RZA, the leading member of Wu-Tang Clan. In my 2019 piece “THE Fucking Shit”, in one particularly lyrical rhyming section, I refer to RZA as Samurai Apocalypse. In the show, Samurai asks Hank to write him some lyrics, which Hank replies he doesn’t know how to do. Me neither.
I also fairly recently learned that Rick Rubin produced an album I’ve owned for quite some time, and it was released exactly one week before “God Hates Us All”: System of a Down’s “Toxicity”.
System of a Down really got my attention when I was… yep, in that same six months in Tasmania. I’d heard their singles from “Toxicity” on the radio a lot before that, specifically in Christchurch, when we had the radio at the hovercraft fabrication workshop tuned to a rock station.
The time in Tassy it was also at work and hearing it on the radio. We happened to be tuned into Triple J on the day that they played “B.Y.O.B.” (also produced by Rubin) for the very first time. I do believe it was the very first time it was played in Australia.
We were working inside the circular steel framed stator of a hydroelectric generator. It was smaller than the one in NZ that’s pictured with me in it, in the 7 Jan post.
The song was awesome. It was a powerful experience.

I bought the album “Mezmerize” as soon it was released, and its later accompaniment “Hypnotize”. Sometime I got “Toxicity”, but it was only this year that I paid attention to the fact it was a 2001 album, and learned it was released exactly one week before September 11.
Lyrical soundbites from the album have always plucked resonant threads of ideas and feelings, with relevance to the time. As good art does. But some of the connections to 2001 are quite remarkable.
Perhaps the greatest example is the song “Science”. If the sentiment of what was hand delivered to the office of the Otago University Press, one week after the song was released on “Toxicity”, isn’t clear cut enough for ya, like ya didn’t get fuckin’ learned enough already, then this recent Facebook blog shines a blazing light on it, with a new addition to the 2001 memoir.

(An incredible post for how it weaves with the leading threads spinning through the week of its timeline, on the day that a significant Wellington fire tragedy began just before midnight, with a burning couch. The burning of couches was once an Otago Uni iconic event. A person involved in TranzMissionRide was rumoured to have started an Otago Uni street riot. And why did I spin the Erica meeting? That discussion was me attacking institutions which prevent necessary paradigm shift, and how they need to be worked upon from the outside, but it was about the media, not the science community (with the crystals and reiki-loving New Age queen Erica.) But that meeting did happen exactly 100m away from the newsmaking multiple fatality blaze. And that ain’t the half of it. It ain’t even a quarter. Something to be reviewed in the future in TheCUT.rip: Who makes it?)

(Photo: RNZ/Denise Garland. Used without permission. Got anything to say about that? Eh? Yeah right, as if. Owned!)
Rick Rubin says the idea of the Beastie Boys jet plane was his, which he got as he had just finished reading the Led Zeppelin biography “Hammer of the Gods”.
https://diffuser.fm/cover-stories-beastie-boys-licensed-to-ill/
“Hammer of the Gods” was an unauthorised biography which became a New York Times bestseller. Led Zeppelin said it was a piece of crap.
One can only wonder where all the concepts of the album cover came from. Is the mountain symbolic for the Beastie’s Jewish representation? The mountain of rock such as described by the prophet Daniel, after God revealed to him the dream of King Nebuchadnezzar of Babylon.
Daniel Chapter 2: 31 “Your Majesty looked, and there before you stood a large statue—an enormous, dazzling statue, awesome in appearance. 32 The head of the statue was made of pure gold, its chest and arms of silver, its belly and thighs of bronze, 33 its legs of iron, its feet partly of iron and partly of baked clay. 34 While you were watching, a rock was cut out, but not by human hands. It struck the statue on its feet of iron and clay and smashed them. 35 Then the iron, the clay, the bronze, the silver and the gold were all broken to pieces and became like chaff on a threshing floor in the summer. The wind swept them away without leaving a trace. But the rock that struck the statue became a huge mountain and filled the whole earth.”
I discovered that story in 2002, pre Google, in the Wellington Public Library, when I was searching their catalogue for prophets. It was a bit of a holy fuck moment, especially as it was pretty much the first and last thing I found that day. That’s why I only scribbled a line about the Beasties claiming rights to being Jewish prophets, or something like that, as their license to ill, on their picture in the September 11 delivery, because I knew fuck-all about it. I still know fuck-all. Like really, who gives a fuck about that old shit?
I discovered the stories about “Toxicity” and 9/11 only just this year. Some time before conceptualising the XXII Anniversary I learned about the September 4 release date. And I read this piece about Rubin spinning a yarn with Joe Rogan in 2022:
https://www.revolvermag.com/music/system-down-pulled-major-chop-suey-lyric-random-book-page
The article’s written by some dumb-ass who unironically describes the lyrics that were divined as being “complete and utter lyrical gibberish.” WTF?
“Chop Suey!” is the big single that launched the album and made System famous. It’s one of the songs that I heard on the radio a lot, and liked, in Christchurch in 2003.
The lyrics discussed are Jesus’s last words, and they fit so well with the rest of the song, lyrically, as much as musically, it’s hard to comprehend how or why anyone would claim that they don’t. But Rubin himself says it in the conversation with Rogan, and he says it like he really hasn’t got the plot.
Rogan followed up by asking what part Rubin was talking about specifically, and Rubin took a second to think before the words came to him.
“It’s the part, ‘Father, into your hands. Why have you forsaken me?’ It’s wild… The context, it doesn’t really make sense to what’s going on, it’s rad.”
Surely Rubin must mean the musical context, not the lyrical, but the story is that the music was written and it needed the lyric, so who the hell knows?
I don’t think you trust
In my self-righteous suicide
I cry when angels deserve to die
In my self-righteous suicide
I cry when angels deserve to die
Father, father, father, father
Father, into your hands I commend my spirit
Father, into your hands
Why have you forsaken me?
In your eyes forsaken me
In your thoughts forsaken me
In your heart forsaken me, oh
Why’d you leave the keys upon the table?
Here you go create another fable.
The fact that the last words of Christ were divined for the song by using the good old ‘point at a random page of a book’ trick is all the more “incredible, like magic.”
Just now I found a 2020 interview with the lyricist Serj Tankian when he discusses “Chop Suey!” and 9/11.
The interviewer is a New Zealander and Tankian and his family have a home in NZ where they live intermittently from the States.
Tankian is asked about “Chop Suey!”, after it hit a billion views on YouTube (!) (1.2 billion now!), and his immediate response is that it’s all about 9/11.
Thanks to the single, the album went to number one exactly one week after it was released, which was…yep. Tankian tells that the song got pulled off the radio because of the “self-righteous suicide” lyric.
“Everyone was calling us going, you know, “How did you guys know?”, and all this stuff. And we’re all weirded out and trying to figure out what the hell is going on.”
How did you guys know? Know what, exactly? Pray tell.
After being asked about the intersection of art and life, in relation to 9/11, Tankian gives a great reply discussing how artists channel universal consciousness, which he concludes:
“So that truth is there, in the universe, of what is going to happen, what likely might happen, and all of that stuff.” I might have put it “and all of that shit.”
The convergence of universal truth, one might call it? Reality integrating perspectives?
Tankian then tells the ‘random book page with Jesus’s last words’ story, about when he was stuck on coming up with lyrics for “the middle eight breakdown section.” Unfortunately he doesn’t say if the book he grabbed off the shelf was the Bible and whether he had angled for it. He does explain that the “self-righteous suicide” lyric wasn’t considered for a Christ connection before that. It leaves one wondering if the ‘angels deserving to die’ was already written down.
It’s still a great story, and it ends the interview with Tankian stating “And I’m like “Oh my god, the universe literally wrote those lyrics” like my finger just…yeah, it’s beautiful.”
Middle eight breakdown section and artists divining the future. Remind you of anything?
“That morning I figured that today was the day. The only money I had for the coming couple of days was a bit of loose change, enough for the bus into town, but not back, leaving enough for a few photocopies at the library. Prepared for the long walk home I caught the bus into the Octagon.”
“I hand delivered a photocopy to the office of the University of Otago Press for the editor of the NZ literature and arts journal “Landfall” at about 4pm on Tuesday 11 September 2001, NZ time.”
:-D.A.Steel. Epiphany 2001 (Prophecy 2001).
I like how Tankian’s metaphysics answers a couple of questions, for himself, that he sings in the chorus of the album’s title track. Earlier this year, when I first examined the “Toxicity” connections, I put it like this:
“Yes, actually, I do own the world. And this is how you own disorder. Tell the people that are right.”







The Fight Club
Epiphany Issue
Part XIX
Blog: 21 January, 2023.
(Selected passages, in order.)
You justify anarchy, Tyler says. You figure it out.
Switch.
You wake up at Sea Tac.
Where was I? Oh yes, I remember now.
Awaiting the sandman to bring the ruckus with a 7empest for the Triad.
Dropping Space Monkey Wrenches.
In one corner of the kitchen, a space monkey squats on the cracked linoleum and studies himself in a hand mirror. “I am the all-singing, all-dancing crap of this world,” the space monkey tells the mirror. “I am the toxic waste by-product of God’s creation.”
-Palahniuk, Chuck. Fight Club (p. 127). Penguin Random House Australia. Amazon Kindle Edition.
You’ve got to get some sleep.
Then you’re awake, and Tyler’s standing in the dark next to the bed.
You wake up.
The moment you were falling asleep, Tyler was standing there saying, “Wake up. Wake up, we solved the problem with the police here in Seattle. Wake up.”
-Palahniuk, Chuck. Fight Club (p. 122). Penguin Random House Australia. Amazon Kindle Edition.
“Shadow-self delusion confusion. Snowflakes, red pills and woke in-duh-viduals. Ironic misinterpretations of dreams in the drawing of lines around realities by those writing rules for what matters. Boundary loops for the march of the somnambulant.” (Part XVIII)
We just are, and what happens just happens.
And God says, “No, that’s not right.”
Yeah. Well. Whatever. You can’t teach God anything.
God asks me what I remember.
I remember everything.
-Palahniuk, Chuck. Fight Club (pp. 154-155). Penguin Random House Australia. Amazon Kindle Edition.
Pneuma
Reach out beyond
Wake up remember
We are born of
One breath, one word
We are all one spark
Eyes full of wonder
-Tool. Pneuma. Fear Inoculum. 2019.
“Collections of words and lyrics make meanings to be sensed with the narrative threads that weave through the depths of subjective experiences of objective reality. Some more than others.
Where were we? Oh yes, I remember now.
In May 2020 I was developing a heightened appreciation for the latest Tool album which I had discovered that year, after not catching it on its release at the dawn of southern spring, 2019.” (Part XVIII)
Continues…
Immunity long overdue
Contagion, I exhale you
Naïve, I opened up to you
Venom in mania
Now, contagion I exhale you
Deceiver says, he says you belong to me
You don’t want to breathe the light of the others
Fear the light
Fear the breath
Fear the others for eternity
But I hear them now, inhale the clarity
Hear the venom, the venom in what you say, inoculated
Bless this immunity
Bless this immunity
Bless this immunity
Exhale, expel
Recast my tale
Weave my allegorical elegy
Enumerate
All that I’m to do
Calculating steps away from you
My own mitosis
Growing through delusion from mania
Exhale, expel
Recast my tale
Weave my allegorical elegy
Forfeit all control
You poison
You spectacle
Exorcise the spectacle
Exorcise the malady
Exorcise the disparate
Poison for eternity
Purge me and evacuate
The venom and the fear that binds me
Unveil now
Lift away
I see you running
Deceiver chased away
A long time coming
[Complete lyrics.]
-Tool. Fear Inoculum (First track on album). Fear Inoculum. 2019.
Like deceivers chased away with that space monkey wrench found inside the cover of Adbusters No.36? Did someone say Battle in Seattle?
The magazine is part of an activist movement called ‘Culture Jamming’. I couldn’t help feeling that their culture jamming was just too weak and that they weren’t really jamming it hard or far enough. This wasn’t my actual opinion, it’s just what I was feeling at the time.
There was a cool photo of riot police protecting a Nike…
-D A Steel. Epiphany 2001. 2002.
The magazine is part of an activist movement called ‘Culture Jamming’. I couldn’t help feeling that their culture jamming was just too weak and that they weren’t really jamming it hard or far enough. Operation Mayhem v. Culture Jamming, K.O.?
There was a big cool photo (two page spread?) of riot police protecting a Nike…
-D A Steel. Prophecy 2001. 2016 edit. (“(two page spread?)” added 2006.)
Did someone say “the circle-jerks and clusterfucks of social and governmental politics, with the positions of progressives and reactionaries mixed in their rivers of shit, their deluded and overflowing reality streams, which inevitably run into the lake of fire at their end times. Hot enough for ya yet?” Who’s living the fight against a recurrent toxic culture dream? System of a Down’s Toxicity comes to mind.
Conversion, software version 7.0
Looking at life through the eyes of a tire hub
Eating seeds as a pastime activity
The toxicity of our city, of our city
You, what do you own the world?
How do you own disorder? Disorder
Now somewhere between the sacred silence
Sacred silence and sleep
Somewhere, between the sacred silence and sleep
Disorder, disorder, disorder
More wood for their fires, loud neighbours
Flashlight reveries caught in the headlights of a truck
Eating seeds as a pastime activity
The toxicity of our city, of our city
You, what do you own the world?
How do you own disorder? Disorder
Now somewhere between the sacred silence
Sacred silence and sleep
Somewhere between the sacred silence and sleep
Disorder, disorder, disorder
When I became the sun
I shone life into the man’s hearts
When I became the sun
I shone life into the man’s hearts!”
-System of a Down. Toxicity. Toxicity. 2001.
Released seven days before 11 September 2001.
Wide (Wired? Wild? and where) were the eyes of a horse on a jet pilot, flying over a great bay? Show your people, show your people how we die, and trust in my self-righteous suicide.
https://youtu.be/-s3pZTbS724
[YouTube, “Jet Pilot”, System of a Down.]
Never mind the meaning of lyrical poetry, let the threads weave where they will. Somewhere between the sacred silence and sleep. Like a tasty hot bowl of chop suey?
We’re rolling suicide
Wake up (wake up)
Grab a brush and put a little make-up
Hide the scars to fade away the shake-up (hide the scars to fade away the…)
Why’d you leave the keys upon the table?
Here you go create another fable
You wanted to
Grab a brush and put a little makeup
You wanted to
Hide the scars to fade away the shake-up
You wanted to
Why’d you leave the keys upon the table?
You wanted to
I don’t think you trust
In my self-righteous suicide
I cry when angels deserve to
Die!
[…]
Father, into your hands I commend my spirit
Father, into your hands
Why have you forsaken me?
In your eyes, forsaken me
In your thoughts, forsaken me
In your heart, forsaken me, oh
Trust in my self-righteous suicide
I cry when angels deserve to die
In my self-righteous suicide
I cry when angels deserve to die”
-System of a Down. Chop Suey!. Toxicity. 2001.
Yes, actually, I do own the world. And this is how you own disorder. Tell the people that are right.
Walk with me my little child
Through the forest of denial
Speak with me my only mind
Walk with me until the time
And make the forest turn to wine
You take the legend for a fall
You saw the product
Why can’t you see that you are my child
Why don’t you know that you are my mind
Tell everyone in the world, that I’m you
Take this promise to the end of you”
-System of a Down. Forest. Toxicity. 2001.
Did someone say suicide, never mind and monkey wrench? It was planned. Everything happens for a reason. Laplace’s Demon v. Chaos Theory? Did someone say circle-jerks and clusterfucks? Deceivers’ delusions of certainties, unable to feel for the real, outside their plots of spacetime for individual realities that can be recorded for the theorising and writing of rules. Denying connections to the Beyond. Pushing their Kool-Aid on the world, for a suicide by entropy. Never mind, pass the monkey wrench…
They know the score
Nirvana
They got it
Nevermind was just a phase
They kept it real
Living lives
righteously
they visualise
positively
a better world
but all they are
manifesting
is five eighths
of sweet fuck-all
Samsara and Nirvana
That all you got?
Sweet dreams losers
Never mind the bollocks
It’ll be the barrel of a gun
stuck in your mouth
blowing your brains out
After the whimper
a big bang comes
after all
These people are killing me already
So I’ll kill them back…”
-Das Steel. THE Fucking Shit. 2019.
I don’t want to see Dave Grohl get glassed in a pub fight. Did I ever, really? The drummer from Nirvana. Kurt’s suicide must have been one hell of a thing for him. Had there been such a world famous suicide, since Jesus Christ got himself nailed to his cross? Ummm, Hitler? Lest we forget.
Nine minutes.
The Parker-Morris Building will go over, all one hundred and ninety-one floors, slow as a tree falling in the forest. Timber. You can topple anything. It’s weird to think the place where we’re standing will only be a point in the sky.
Tyler and me at the edge of the roof, the gun in my mouth, I’m wondering how clean this gun is.
We just totally forget about Tyler’s whole murder-suicide thing while we watch another file cabinet slip out the side of the building and the drawers roll open midair, reams of white paper caught in the updraft and carried off on the wind.
Eight minutes.”
– Palahniuk, Chuck. Fight Club (Chapter One, p.13). Penguin Random House Australia. Amazon Kindle Edition.


…I felt an urge to put shit on Grohl, which I did with an FB post where I chose him as “Random Person I’d Like To See Get Glassed In A Pub Fight”. Hey, the devil made me do it! Yeah nah. It’s more like I’m sinisterly contemptuous of middle-of-the-road normy munter punters. And I kinda sometimes got a god-sized burr up my ass about people trading on the back of my story without paying a royalty more substantial than just their providing of an allusory or referential artefact as a show of recognition. Have you seen the video for “The Pretender”? What? Just a coincidence? Fuck off.
But you wanna know what was a coincidence? In “Prophecy 2001” when I wrote about the double page photo of the riot police in Adbusters magazine and I didn’t know what city they were in, I was telling the truth. It was only last year when I was writing “The Sharing Shed Cut” for TheCUT.rip that I finally managed to search out the image and discovered it was ‘The Battle in Seattle’. I found it in two places. One was a stock photo and the other was a title image for a blog post written by someone who was working for Amazon, in the building across the street, and that was totally freaky because I truly didn’t know then (2021) that Amazon were Seattle based, and if you’ve read “The Sharing Shed Cut” you’ll know why that’s so twisted. I searched then for a copy of that edition of Adbusters (#36 “Toxic Culture”), but couldn’t find one. I tried again a few weeks ago and found one had made it online, so I could finally fact-check my (soon to be one-score year old) trip report. Sure enough, double page spread. It was followed by a page titled “The Next Strategic Step” with the subtitle “The protest in Quebec was as great a turning point as the Battle in Seattle”. I never got the connection in 2001. That page is a ‘call to protest’ which lists upcoming events including the G8 summit in Genoa, where the protestor got shot dead, which I wrote in “Prophecy 2001” was something I thought about when I imagined the ultimate Adbusters video clip where I ran through the riot police in the photo. The facing page is about globalisation and talks about Indian farmers protesting against the WTO. (The video competition I mentioned was actually for a print production in the mag and begins “We’re looking for inventors, artists and visual communicators who are pushing towards a new aesthetic, who are exploring the psychological and ecological implications of products in use.” I obviously projected a video entry from that.)
But wait! There’s more! The first page of the edition, the backside of the front cover, reproduces a full page ad by the Phillip Morris corporation (“We threw a wrench in Marci’s plans. Actually, it was a whole toolbox if we’re getting technical. The Phillip Morris Companies, through programs like Miller Brewing’s TOOLS FOR SUCCESS, have provided scholarships, job training and “tools” that have helped thousands of technical college graduates realize their dreams. For Marci, it was a career in aviation mechanics.”) The next two two-page-spreads do the same with other Phillip Morris ads as Adbusters deals with their corporate bullshit. So now then, y’all know how “Fight Club” features in “Prophecy 2001” and “The Sharing Shed Cut”, eh? Have you read the book?
“So Tyler and I are on top of the Parker-Morris Building with the gun stuck in my mouth, and we hear glass breaking. Look over the edge. It’s a cloudy day, even this high up. This is the world’s tallest building, and this high up the wind is always cold. It’s so quiet this high up, the feeling you get is that you’re one of those space monkeys. You do the little job you’re trained to do.
Pull a lever.
Push a button.
You don’t understand any of it, and then you just die.
One hundred and ninety-one floors up, you look over the edge of the roof and the street below is mottled with a shag carpet of people, standing, looking up. The breaking glass is a window right below us. A window blows out the side of the building, and then comes a file cabinet big as a black refrigerator, right below us a six-drawer filing cabinet drops right out of the cliff face of the building, and drops turning slowly, and drops getting smaller, and drops disappearing into the packed crowd.
Somewhere in the one hundred and ninety-one floors under us, the space monkeys in the Mischief Committee of Project Mayhem are running wild, destroying every scrap of history.
That old saying, how you always kill the one you love, well, look, it works both ways.”
-Palahniuk, Chuck. Fight Club. Penguin Random House Australia. Kindle Edition.
Hell yeah I wanna be your monkey wrench!
Project Mayhem vs Culture Jamming, K.O. ?
So like I wonder who’s gonna play drums on the Australia/NZ leg?”
-Das Steel. Facebook post. 29 March 2022.
Okay, so I’m not down with Foo Fighters. I mean it, radio friendly pop-rock schlock for normy munter punters. Pacifier rock for moron man-children. Catchy little numbers that buzz and hum along like so many houseflies and mosquitoes. Foo Fighters? Grohl reckons “it’s the stupidest fucking band name in the world.” I reckon it’s a fucking excellent name for a band, just not that stupid fucking band of his. No wonder I don’t like them, you know, with me being an alien with an infinite number of tons of new millennium, eh? Get it? But hey, I might get down, Limpin’ with the Bizkit, but I’m not all about that shit. I haven’t seen the “Fight Club” about 28 times (maybe quarter that, start to finish.)
Dave Grohl seems like a dude. Sense of humour. He did play Satan in “Tenacious D in The Pick of Destiny” (Did someone say Ben Stiller? “How’d you know about this?” LOL: YouTube: The Darkest Secret in the History of Rock) and Foo Fighters have some comedic music vids, even if their songs always do seem to take themselves too seriously, (although to be honest, I’ve only heard and seen a small number of them, but that’s more than enough.) “Monkey Wrench” is a great example. Grohl’s lyrics are reportedly all about his coming to terms with breaking up with his missus. A real super-average pop song theme for the masses of minions.

(Foo Fighters – The Pretender)
Keep you in the dark
You know they all pretend
Keep you in the dark
And so it all began
Send in your skeletons
Sing as their bones go marching in again
They need you buried deep
The secrets that you keep are at the ready
Are you ready?
I’m finished making sense
Done pleading ignorance, that whole defence
Spinning infinity, boy
The wheel is spinning me
It’s never-ending, never-ending
Same old story

(Chorus:)
What if I say I’m not like the others?
What if I say I’m not just another one of your plays?
You’re the pretender
What if I say I will never surrender?
What if I say I’m not like the others?
What if I say I’m not just another one of your plays?
You’re the pretender
What if I say that I’ll never surrender?

In time or so I’m told
I’m just another soul for sale, oh well
The page is out of print
We are not permanent, we’re
Temporary, temporary
Same old story
(Chorus)

I’m the voice inside your head
You refuse to hear
I’m the face that you have to face
Mirroring your stare
I’m what’s left
I’m what’s right
I’m the enemy
I’m the hand that’ll take you down
Bring you to your knees
So who are you?
Yeah, who are you?
Yeah, who are you?
Yeah, who are you?
Keep you in the dark
You know they all pretend
(Chorus)

What if I say I’m not like the others?
(Keep you in the dark)
What if I say I’m not just another one of your plays?
(You know they all)
You’re the pretender
(Pretend)
What if I say I will never surrender?
What if I say I’m not like the others?
(Keep you in the dark)
What if I say I’m not just another one of your plays?
(You know they all)
You’re the pretender
(Pretend)
What if I say I will never surrender?
So who are you?!
Yeah, who are you?!
Yeah, who are you?!”

-Foo Fighters. The Pretender. Echoes, Silence, Patience & Grace. 2007.
…I pasted some of the lyrics, centred on the verse that channels the out-of-print Adbusters thread.
“In time or so I’m told
I’m just another soul for sale, oh well
The page is out of print
We are not permanent, we’re
Temporary, temporary
Same old story”
It’s a perfect verse for projecting that thread. The anti-consumerism magazine edition that had disappeared, like I had joked to myself that it had been swept up by the Illuminati, when I had tried hunting it down before writing about it, which made it obvious that I didn’t have access to a copy. And then there’s that “same old story” that “we’re temporary.” That zeitgeist propagated by the Deceiver of post-modern beliefs, so prevalent among the Adbusters ilk, which had become widespread through the contemporary generations of global culture, by 2007.
So it’s unavoidable that when I watch that vid it’s like all about me. And then I’m all like, that’s 2007, and that’s actually really fucking rude, because I was seriously bent then, feeling ‘Truman Show’ gaslit to fuck. I’d even written about it to some people in the USA, in a 2006 email with “Epiphany 2001” and “Motherfucking Earthquake Wave Nirvana” attached. The response was useless shit that didn’t discuss the narrative (therefore, a complicit act), but it created the increased possibility that the trip reports could go viral, which elevated curiosity and wonder.
In that context “The Pretender” can be visualised as a nod of recognition from afar. But that presumes some knowledge of the situation, and therefore it’s another artefact of gaslighting. On the “you’re either with me, or against me” ledger, it lands heavily on the latter.

So fuck Dave Grohl. Well, that’s the feeling that came in the flow. But yeah, I don’t really want to see him get glassed in a pub fight, because like, he was never really a random choice anyway, eh? The fact that I happened to be thinking about hating on him for the first time in like over a year, because of a rather random YouTube feed algorithm selection that glaringly headlined about his drummer, literally just a few days before his drummer unexpectedly died of heart failure while he was full of pharmaceuticals… totally random. Sucked.

Now let’s see… “Non-random targeted person I’d like to see…” Ummm, oh yes, that’s perfect. “Non-random targeted person I’d like to see get smashed in the head by a monkey wrench…” Oh yeah, now we’re talkin’. “Non-random targeted person I’d like to see get smashed in the head by a monkey wrench dropped from the top of a skyscraper…” Or should it be a jet plane? Depends where they might be. Don’t be too specific. “Non-random targeted person I’d like to see get smashed in the head by a dropped monkey wrench.” That’ll do it. It’s only supposed to be a knockout wakeup call, it’s not like I’m trying to kill anybody, eh?
Where were we? Oh yes, I remember now.
Maynard James Keenan [Insert Dr Evil laughing scene here.]
In May 2020 I was developing a heightened appreciation for the latest Tool album which I had discovered that year, after not catching it on its release at the dawn of southern spring, 2019.



…Stir us from our
Wanton slumber
Mitigate our ruin
Call us all to arms and order
-Tool. Descending. Fear Inoculum. 2019.
In a 28 May 2020 interview, the band’s lyricist, Maynard Keenan, downplays the prophetic nature of the album, along with a song he had released 8 May with another band Puscifer.
“Apocalyptical”, which Keenan claims was written in 2019, was released with a music video on YouTube. I found it on 10 May, purely by chance. I wasn’t getting Puscifer vids in my feed, and I only found it because I had been thinking about another Puscifer song that day, “Queen B”, and decided to post its YouTube vid for a random Facebook post. I shared “Apocalyptical” later that day.
The video for “Apocalyptical”, obviously made during the pandemic, features virus imagery and video of deserted L.A. streets and beaches, and someone in a huge hazmat suit riding a ‘Onewheel’ electric skateboard, the type that has one wheel the shape of a big roll of shitpaper. At the end of the vid the person rides up to a non-descript looking warehouse on a back alley, where a ‘black suit and sunglasses type’ secret agent, slyly passes him a roll of you know what. The last we see of the board rider is him rolling along the Hollywood Walk of Fame.
At the end of 2019 I added a Puscifer YouTube vid to the end of three of my web pages. The two parts of “We Need to Talk About Yasmine El Orfi” and “Dreams Love Fucking Life Near Death and Some Other Shit (Part One)”, which each had, at the top of its page, a link to a PDF download for a “TP Phone Version”, the same scrolling shitpaper format used for “THE Fucking Shit”.
The song is a thumpin’ remix, with a fully sick bass sound, of a song “The Undertaker” from the same 2007 album (that had been on my hard drive for years) as “Queen B”, titled “V is for Vagina”. The remix features on a 2007 Puscifer EP titled “Don’t Shoot The Messenger” which has a funny drawing of Jesus on the cover (yeah, they’re no Christian band.)
Thank you for makin’ me
Feel like I am guilty
Makin’ it easy
To murder your sweet memory
You were way out of line
Went and turned it all around on me again
How can I not smell your lie
Through the smoke and arrogance?
But now I know
So you will not get away with it again
I’m pissin’ in those hollow eyes
For I have reached my end
So, thank you for makin’ me
Feel like I am guilty
Makin’ it easy
To murder your sweet memory
Before I go, tell me
Were you ever who you claimed yourself to be?
Either way I must say goodbye
You’re dead to me
So I thank you for makin’ me
Feel like I am guilty
Makin’ it easy
To murder your sweet memory
I’m severin’ the heart line
I’m leavin’ your corpse behind
Not dead, but soon to be, though
I won’t be the, the one who kills you
I’ll just leave that up to you
‘Cause I’m not gonna be there to revive you
I’m not gonna be there to revive you
I’m not gonna be there to revive you
I’m gonna be the one to say I told you so
I told you so
I told you so
I told you so
I told you so
I told you so
I told you so
I told you so
I told you
Severin’ the heart line (I told you so!)
I’m leavin’ your corpse behind (I told you so!)
Not dead, but soon to be and (I told you so!)
I’m gonna be the one to say I TOLD YOU SO!
-Maynard Keenan (Puscifer). The Undertaker (Renholder Mix). 2006.
(The Undertaker (Renholder Mix – Don’t Shoot The Messenger Version))
Is that my name, like subliminal or something, in that strange distorted background vocal noise?
In 2009 Puscifer released another EP titled “”C” Is for (Please Insert Sophomoric Genitalia Reference Here)”. I don’t have a copy and I haven’t heard much of it, except a cool track titled “The Mission (M is for Milla Mix)” which features Milla Jovovich (The Fifth Element).

Milla Jovovich stars as the Fifth Element in “The Fifth Element” (1997).
I seriously don’t recall if I was familiar with the EP’s cover when I started creating “THE Fucking Shit” while on the FZDB mission. It had no ‘conscious’ causal affect on the mish. On the cover they kept with the Jesus theme. It shows a rendering of the Christ the Redeemer statue, with a funny face and a thought bubble saying “Maybe NOW They’ll Believe in MIRACLES!” Levitating out of his hand is a roll of shitpaper, with its own thought bubble, “LOL!”. ROFLMFAO!
What do you know?
(The Mission (M is for Milla Mix))
In the May 2020 interview Keenan tells how his previous work is also often labelled prophetic, but he explains that the reasons for this are causal, with him just having a good awareness of how shit is (my words.) I guess it depends on how you define prophetic and the boundaries of causality, but Keenan does well to keep it real. He thereby pays deference to truly prophetic creations.
It is for that reasoning of Keenan’s, that I made clear efforts to create artefacts demonstrating intent and specificity of timing. It reminds me of what I wrote on the Beastie Boys “Licensed to Ill” picture that I delivered to “Landfall” about nine hours before the first plane flew into the cliff face of the World Trade Centre. It was something about whether the Beasties were claiming rights to “being Jewish prophets” or something like that, as their “License to Ill”. I wrote (scrawled?) it in a hurry, and it always kinda bugged me ‘cause I was inferring that the photo and cover illustration were metaphorical interpretations of the truth that the Chosen One (the truest manifestation of the Logos) was from Aotearoa. The ‘truth’ being the mountain that stops the private jet ride of the hedonistic young Jewish masters of their own reality, which was the characterisation that they were playfully portraying at that time. So that wasn’t actually prophetic, it was a rationally reasoned interpretation of grand narrative. Or was it more like revelatory, bringing of epiphany, some part of an esoteric tradition, a gift of the Magi? Whatever. Jewish prophets? Close enough to the idea. I was after all, trying to push the whole prophecy point. Apparently, I was right on the money. Loose change and all.






Back cover hippy shit.






The Fight Club Epiphany Issue
Part XIX (End of selected passages.)
That ANZUS Pacific Triad was well and truly established with the 1/10/MMXIX drops. Again and again and again, enough already, except to mention that I made a specific effort to tie in the west coast of the USA in “Pushing The Envelope: Brother Love Letter: An Open Letter to the President and the Beautiful Peoples of the (Let’s Come Together to Make It Re-) United States of America”.
I love America
for more than just
there’s so much to hate
It’s a big branch
of the story of man
So I’m in
We all know
how intertwined
my fate is
with the US
Especially your town
But we all know
the west is the best
Now I’m here for you
laying it on the line
because all things
must be
revealed in time
And the time is now
for the brothers’ real
New World Deal
Switch
You wake up a Sea Tac.
Where were we? Oh yes, I remember now.
The Facebook post sharing “7empest”, with the “Dune Messiah” excerpt, one week before the event that spawned months of protests, riots and disruption in Seattle, and Portland.
“7empest” was the 7th and last track on the CD release of “Fear Inoculum”. Tool like making physical artefacts, so they did a CD. I read about it. The CD doesn’t have some of the little interlude sound thingies that they scatter through their albums. The third track on the digital album is one of those weird little ditties. Its title is “Litanie contre la peur”. It is only in the writing of this post that I see, on the album’s Wiki page, a translation. I never paid the title any attention, I didn’t know what it meant and wasn’t curious. It means “Litany against fear”.
The “Litany against fear” is a repeated feature of the “Dune” trilogy, that I read for the first time in 2020, after buying them in May, from Amazon for Kindle.
The inspiration for the novels came from a place on the Oregon coast of the Pacific Northwest USA.
I read the books after reading that a new movie was on its way. I saw it last year. After the scene where the “Litany against fear” is fully introduced, there is some dialogue that’s not taken from the book, for a concise plot explanation. I liked it so much I downloaded the script.
She blinks at that. He sees so much! But she presses on:
JESSICA: You don’t know everything. For thousands of years, we’ve been carefully crossing bloodlines to bring forth…
PAUL: (in disbelief) …the One?
JESSICA: (nodding) A mind powerful enough to bridge space and time. Past and future… who can help lead us into a better future. We think he’s very close now. Some believe he’s here.”
(Continues…)


The original edition.



2002: Writing 9/11…
Give Me A Break!
(First published June 2017)
The week before Easter 2002, I wrote about 9/11 for the first time. I had become stranded in the capital and had time to reflect on what I’d done and what had happened to me and I was having difficulty processing it. Writing it down didn’t help. It was just as much of a mindfuck in black and white. Why is a raven like a writing desk? It was a trip down the rabbit hole. It was a Pandora’s box. It was a can of worms to catch a whole lot of crazy. Madness started to spin me out and I rolled with it, humouring myself with good humour. Better to laugh than to cry.
It read like a fantasy, an insane delusion, but it wasn’t, that was the point, that was why I did it, I had photocopies! But why did I do it? I didn’t choose it, did I? It chose me. Was it my reality that I manifested? It was like I was the manifestation. But no, of course it was me. But I didn’t choose this. It happened to me. I was used. This isn’t fair. I didn’t ask for this. People know. Why is no one coming to talk to me about this? I demand answers! Someone owes me an explanation! This is a set up! 3000 people are dead! I should take this all the way to the top! To the prime minister goddammit! If anyone should be able to seriously take responsibility for the truth of what I’ve been implicated in then it’s Helen bloody Clark!
I had a good chuckle to myself. But underneath the humour the angry sentiment was real. I threw the pages down and stormed off to the TV room to try and forget about it. There was no one in there. I turned on the TV and there was a movie on, a black and white war movie. Some paratrooper was snagged on a church steeple maybe? (Yep, I googled it just now, hey look at that, he was a real dude and his name was the same as my dad, John Steel(e). I shit you not. I couldn’t make this shit up.) I surfed the channels to see what else was on and caught the news headlines.
(The Longest Day (Movie Clip))
First up, Helen Clark, in NY paying her respects at Ground Zero, is presented with a New Zealand flag found beneath the rubble, and what was that look on her face? Oh for fuck’s sake, would you give me a fucking break already! Yeah nah…

Second story, the Academy Awards were last night, “Fellowship of the Ring” blah blah blah….and Best Picture went to “A Beautiful Mind”. I’d seen the trailer, in a darkened movie theatre I’d choked up and shed a tear, from watching a trailer! Hey, it was an emotional time in my life and that Jennifer Connelly, fuck me, made quite the impression she did… “I need to believe that something extraordinary is possible.” Alright already! I get it! It’s all me.

(A Beautiful Mind (2001) Official HD Trailer)
Back to the movie. It was D-Day. John Wayne breaks his ankle and soldiers on like a legend. He was pretty cool.
A week or so after Easter when I snapped my fibula in half just above the ankle it sounded like a gun shot. I wasn’t pretty cool. I thought I was going to puke, shit my pants and faint, a little bit of wee came out, but I held it together and took half an hour to hobble 600m to a house where I got them to call me an ambulance.
As I lay there writhing in extreme agony for 45 minutes I didn’t think about John Wayne. I thought about what I’d written in my notebook just before the break and why. I was unemployed. I’d spent many months moving around the country gathering material for some kind of story, I was broke, and I was over it. It was time to go get some building work or something. The soles of my sneakers were split. (That’s why I slipped.) I tried doing some barefoot running and jumping, then put my old shoes back on and wrote in my notebook “Phew. Barefoot is not the business. Get new shoes!”
I also made a note about maybe talking to my godfather. He was something like an entrepreneurial business consultant. I’d approached him just before the shit went down on the millennium and after I got into trouble I was completely honest with him, so he refused to help me because he had a strict ‘no drugs’ policy. He also had a limp and a walking stick because he had a fused ankle. I decided then not to think of his help again.
As I rode in the ambulance to hospital, where I was to have two operations and get a heap of stainless steel screwed into me, I found the boost button on the nitrous nozzle. I laughed hysterically, thinking how I’d broken my leg in an extreme twist of fate.


The Fight Club Epiphany Issue
Part IV

-Palahniuk, Chuck. Fight Club (the penultimate chapter, p. 153). First published in Australia in 1997. Penguin Random House Australia. Amazon Kindle Edition.
“The Day We Will Never Forget (Epiphany 2001)”, or just “Epiphany 2001”, had its named changed in 2016. By then it seemed like every annoying bitch in the world was writing about her goddamn ‘epiphany.’
I’d only ever sent “Epiphany 2001” to a handful of random contacts and didn’t get a response. It got backed up by Boxing Day 2004’s “Motherfucking Earthquake Wave Nirvana”, followed by the ‘Bad Friday’ before Good Friday 2007’s “2.4.7. My World”. True ‘Big E Epiphanies’. I sat on them for years, knowing that a time would come when they would be continued.
That time came in 2016 when my shoulder shat itself and I got to spend a heap of time on my arse. In the winter I wrote the first draft of “Dreams Love Fucking Life Near Death and Some Other Shit: Part One”. That period was a painfully tough ride, but I battled on and began to push forward.
In October I renamed “Epiphany 2001” to “Prophecy 2001” and I started googling to try and find that July/August 2001 edition of Adbusters. I know because that’s when I bought the digital copy of “The Epiphany Issue” from the back issues available on Adbusters’ website.
I had found listings in a couple of American sites for hardcopies of the issue I was seeking, so I could confirm its name and number, “Toxic Culture, No.36”. I thought that was perfect, as I had just written in “Dreams…” about my sickening nemesis, Yasmine, who had been introduced as “Bike 36.”
The Adbusters website had no complete index of past copies, and their list of available back issues became random towards the end, which amazingly stopped at issue number 37, titled “Design Anarchy”. Unreal. And I also discovered “The Epiphany Issue”, with its curious title.
I searched for that “Toxic Culture” issue repeatedly over the next years. In 2017 I set up my blog site and I searched for it when I created the post for “Prophecy 2001”. 2018, I fiddled and tweaked posts, and every September I thought how I wanted that Adbusters picture. 2019, when I was reformatting for the shit-paper format of “THE Fucking Shit”, and then on the penultimate day of 2019. Again in 2020 when it was getting a spanking new edit for “The Memoir of The Millennium” in the opening of TheCUT.rip. Never a copy to be found that I could order from Australia, if at all.
2021, when I was producing “The Sharing Shed Cut”, I wanted to find it real bad. I searched hard. I really wanted that photo and I wanted to know what it was. I still couldn’t find an online copy of issue 36 of Adbusters, so I googled “riot police in front of nike building”, and boom. Multiple manifestations emerged. A winding revelation of threads that ran through “Fight Club: The 2019 Flame Zone Dream Build Read” and “Prophecy 2001” and on into 2020 and the suburb of Corona in NYC, via a well known international airport, and the headquarters of Amazon, in Seattle.
[Part IV continues.]
(Image is link.)
“Sixteen years ago street protests in downtown Seattle brought the World Trade Organization conference to a standstill.”
“In 1999, I worked in customer service at Amazon, on the third floor of the Decatur building on Sixth between Pike and Pine, across the street from Niketown and Planet Hollywood.”
“A police siren. An anarchy symbol spray-painted on the side of an Airborne Express van. Dozens of rhythmically gifted anarchists march and stomp and drill-team their way past the Sharper Image. Ain’t no power like the power of the people ’cause the power of the people don’t STOP! A banner: STEELWORKERS FOR FAIR LABOR PRACTICES. A gang of a half dozen or so people dressed as Santa Claus rove ho-ho-ho-ing through the demonstrations, an absurd cadre of seasonally apropos St. Nicks delivering maniacal good cheer. Ho! Ho! Hooooo!”
“The whole world was watching Seattle, and for one day, just before the arrival of a new century’s horrors, Seattle changed the way we saw the world.”

The Fight Club Epiphany Issue
Part IV (Continued.)

-Palahniuk, Chuck. Fight Club (p. 119). Penguin Random House Australia. Amazon Kindle Edition.

-Palahniuk, Chuck. Fight Club (p. 120). Penguin Random House Australia. Amazon Kindle Edition.

-Palahniuk, Chuck. Fight Club (p. 120). Penguin Random House Australia. Amazon Kindle Edition.
(Continues…)








“1.
IN THE LAST QUARTER of the twentieth century, at a time when Western civilization was declining too rapidly for comfort and yet too slowly to be very exciting, much of the world sat on the edge of an increasingly expensive theater seat, waiting—with various combinations of dread, hope, and ennui—for something momentous to occur.”
-Robbins, Tom. Still Life with Woodpecker (p. 3). First published 1980. Random House Publishing Group. Amazon Kindle Edition.

[1993 (It was XXX years ago…)]
“I survived the winter on the dole. I hitchhiked down and got my bike and skis freighted and bought a season pass with the last of my savings. I lived in a tiny freezing unpowered caravan in a rundown old van park a few k’s out of town with a million dollar view across the lake to the ski area. When I woke in the mornings I’d press my hand against the window to melt the frost on both sides of the glass to see what the dawn was like. I’d ride my bike into town and lock it up and hitch up the mountain each day, until I made a friend at the park who I could usually get a ride with for a bit of gas money. Mostly I ate bread and potatoes, with cheap cheese and onion and occasionally I made some coleslaw to keep the scurvy at bay. I scored a couple of sweet food parcels for my 21st birthday from my mum and Erica. The latter’s accompanying letter began “Dear derail (that’s what my spell checker wants to call you.)” In the evenings I’d snuggle in my Fairydown Everest sleeping bag and using my headlamp I read books I’d borrowed from the local library, Scott’s Antarctic journal and Tom Robbins. It was a cool time.”
-D. A. Steel. Dreams Love Fucking Life Near Death and Some Other Shit (Part Two). 2018.



(Image is link.)
“Strange, but in country such as this—dry, bare, and wide; country given to forage crops, flat rocks, and sidewinders—Buddy Winkler’s apocalyptic rant acquired a certain credibility. West of the Cascade Range, back around Seattle, where they had begun their journey, trees were so thick, so robust and tall, that they oozed green gas, sported mossy mustaches, and yelled “Timber, yourself!” at lumberjacks. Those chill forests, quietly throbbing with ancient vitality, seemed to refute the firmest eschatological convictions.”
-Robbins, Tom. Skinny Legs and All (p. 20). First published 1990. Random House Publishing Group. Amazon Kindle Edition.

“The time is five forty-four. Since you cannot conceive of there having been a prolonged farewell at Sea-Tac, it is reasonable to expect Twister within the next five or six minutes. To steady your emotional wobble and to prevent further gnashing of your bitten-down nails, you examine once more your packet of airline tickets—the fresh tickets that you acquired in the Sea-Tac exchange.
Seattle to New York. Good. The flight leaves in a couple of hours.”
-Robbins, Tom. Half Asleep In Frog Pyjamas (pp. 384-385). First published 1994. Transworld. Amazon Kindle Edition.
“The skyline of Manhattan came into view. Its towers pierced her grief, her introspection, giving her an unexpected thrill. Richmond was so flat in comparison, Colonial Pines such an innocuous splinter on the maypole of the world. She felt rather like a bee returning to a great busy hive, but a hive where the drones pilfered the royal jelly, the workers moonlighted as litterbugs, and the queen reigned only so long as she got good reviews in the Times. Jerusalem might be on everybody’s mind, but New York was thrill enough for her. “Anything could be happening down there,” she marveled, but from her present altitude, of course, she could discern nothing specific. Not one jay feather of smoke, one tabby wail of siren reached her aircraft from the fire that was burning in St. Patrick’s Cathedral.”
-Robbins, Tom. Skinny Legs and All (p. 425). First published 1990. Random House Publishing Group. Amazon Kindle Edition.
“Disaster struck while he was high above the world and its cares, relaxing aboard a Boeing 747 in the company of Marcel LeFever and King Alobar. Sometime during that flight, as the fields and peaks soaked up sweet darkness beneath them, the crowd outside the Last Laugh Foundation in Seattle went mad.
Somebody had supplied beer, cases of it, and many in the crowd had lost their reason in it. About seven o’clock, as much of Seattle was finishing its dinner, a dense, hot, rustic odor swept through the street, and as if it had one mind, one nose, the crowd spontaneously panicked. Something snapped in it, and it rushed the gate, tearing it from its hinges and throwing the guards aside.”
-Robbins, Tom. Jitterbug Perfume (pp. 373-374). First published 1984. Random House Publishing Group. Amazon Kindle Edition.



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14 September 2020
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“Really appreciate you coming over here and giving me your personal knife, seeing I was upset and all. It means a lot. I’m sorry for being so harsh, it’s just that, you gotta understand, we’re from the future, and this shit is a big deal, okay? This is…this is…What’s about to happen here is going to affect humanity for a long time.”



Ben Stiller associates (members of an unofficial crew dubbed “The Frat Pack”): Will Ferrell, John C. Reilly and Jack Black (did someone say “Tenacious D in the Pick of Destiny”?)

On the left is Danny McBride who you might recognise as the chopper pilot/ explosives expert in Ben Stiller’s “Tropic Thunder”. On the right is Bilbo Baggins, or whatever the fuck. And in the middle is Seth Rogen, who eight years later was an executive producer credited for co-developing this…

The New Zealand deputy prime minister is executed for questioning the revelation of the Messiah, in episode two of season four of “Preacher”, titled “Last Supper”. In the episode, Jessie Custer, the preacher from the annihilated town of Annville, learns that the cock-shaped rock formation in his dreams exists for real, in Australia. No shit. (Oh yeah, that’s right, the episode begins with a dinosaur incurring the wrath of God by eating its own shit. No shit.) First aired August 4, 2019, unbeknownst to the author of “HATE MAIL, Pushing the Envelope 1.10.MMXIX, An Open Letter to the Prime Piece of Shit Minister and the Sheeple of New Zealand” and “THE Fucking Shit” (honest to the gods, I shit you not.)

Deputy PM Winston Peters and PM Jacinda Ardern (2017-2020)
(Photo: Stuff/ Rob Kitchin. Used without permission. Got anything to say about that? Yeah right, as if. Youse can all go get stuffed. Owned!)
“PS: Hey Jacinta (sic), in case you haven’t heard, I’m actually a really great guy, and people like working with me, a lot. So if you ever want a taste of the real good shit, it would be my pleasure to fuck a whole lot of better sense into you. So leave goober-boy and the baby at home where they belong and you might get to really address the fully fucked up disunited nations. Call me, your people got my details, right? Or do the boys not share with you? Yeah right. I wouldn’t fuck you with Winston Peters’ cock. Like I’d go anywhere near you, wherever that is, it’s the wrong place to be…”
-Das Steel. HATE MAIL, Pushing the Envelope 1.10.MMXIX, An Open Letter to the Prime Piece of Shit Minister and the Sheeple of New Zealand. 2019.

For the informed heretic.
Eagle eyed viewers might catch this image in episode one for one second. Also first aired August 4, 2019. How are those three banner articles? Now that’s the holy fuckin’ shit, right there.

This is the last episode of the second season. First aired September 11, 2017.
Remember “2002: Writing 9/11… Give Me a Break”? (First published June 2017)…
From: The Fight Club Epiphany Issue (Part XIV)
The last episode of the second season went to air on 11 September 2017. There’s this scene with a guy from the Grail, Herr Starr, who’s recruiting Jessie to replace the inbred Jesus descendant (who is played perfectly by Russell Brand, in a brave performance that must cut very close to the bone, Big Rus the Love Muss goes full retard.)
Jessie: You set me up!
Starr: There is no time for conventional methods. The Christ Child, unibrowed cretinism notwithstanding, is miles ahead of you in name recognition. We have to spread the word and this, as I said, is how we start. Now come on, the jet is waiting. (Walks away.)
Jessie: (Yells) I didn’t sign up for this shit!
Starr: (Calls back without turning) Spoken like a true Messiah.
Did someone say “2002: Writing 9/11… Give Me a Break!”?
“It read like a fantasy, an insane delusion, but it wasn’t, that was the point, that was why I did it, I had photocopies! But why did I do it? I didn’t choose it, did I? It chose me. Was it my reality that I manifested? It was like I was the manifestation. But no, of course it was me. But I didn’t choose this. It happened to me. I was used. This isn’t fair. I didn’t ask for this. People know. Why is no one coming to talk to me about this? I demand answers! Someone owes me an explanation! This is a set up! 3000 people are dead! I should take this all the way to the top! To the prime minister goddammit! If anyone should be able to seriously take responsibility for the truth of what I’ve been implicated in then it’s Helen bloody Clark!”

The first time I watched “Fight for Your Right (Revisited)” was January 30, 2022. I know because I shared it on Facebook, with a brief post that was a total ‘Duh!’ moment.
I was spinning out about the stopwatch that Seth Rogen’s (and then John C. Reilly’s) Mike D was wearing alongside his VW medallion.

I don’t actually remember everything.
I don’t remember if, in 2001, I had any recollection of Mike D, or anyone, wearing a stopwatch like they did in the video for “(You Gotta) Fight For Your Right (To Party)”. Maybe.
I owned three Beastie Boys CDs in 2001, but “Licensed to Ill” wasn’t one of them. (“Ill Communication”, “Root Down E.P.” and “The In Sound from Way Out!”) That’s probably why it was the line “Who’s fast?” that was in my mind in Wellington when I thought about a stopwatch, and not “What’s the time?” which was an even better line for the mission I was on.
So last year I started googling images of the Beastie Boys, looking for a shot of Mike D, back in the day, wearing a stopwatch, but I only found him with his VW medallion. Sometime later I eventually stopped being a dumbass and thought to watch the original music video. Duh.
(Beastie Boys – (You Gotta) Fight For Your Right (To Party))
I tried to remember if I’d ever seen the video anytime after the first time I saw it, like actually watched it. I dunno. Sure I’d seen it here and there, but I had no memories of any details.
I remembered the first time, after casting my mind back. It was the first time it was played in New Zealand. The single was released December ’86 and school was in, so I dunno exactly. I was 14.
Back then there were only two TV channels in NZ. No cable. No MTV. Only two music shows. “Ready to Roll,” a ‘top twenty’ countdown show early on Saturday evening, and “Radio With Pictures,” late on a Sunday night, after the Sunday night movie. “RWP” was for local and indie and alternative type fare. It went till pretty late, often close to midnight, which was very late for a school night.
They talked up the Beasties video and said they had to play it last because it was so hardcore, or something silly like that. I stayed up and watched it. I vaguely remember the next day at school my mate Matt thought maybe I hadn’t stayed up and he tested me by saying something about wearing stopwatches, and I hadn’t picked that up, so he gave me some shit.
Funny that I didn’t remember that in January last year, but just seeing the stopwatch, even with the memory, is a trippin’ spin.
I kept that watch and used it for years. I had it in 2004 and 2007. It died eventually and I cremated it in a campfire at a campsite where, sometime later, I first started writing “Dreams Love Fucking Life Near Death and Some Other Shit”.
When I scanned a picture of it at Otago Polytech in 2002, you couldn’t read the numbers, and I used Windows Paint to try and fill them in. I fixed it up better just now, specially for this. And yes, that is genuinely the only way it displayed the date. It didn’t show the colon in the date, and it could only show a “1” for 12 hour time. It was pretty cheap, and pretty perfect. I was totally stoked when I found it at Rebel Sports in the James Smith Corner Building on Cuba Street.

“Fight For Your Right (Revisited)” was released mid 2011, as an XXV anniversary of the original video. It was written, directed and produced by Adam “MCA” Yauch.

He’s the one that’s missing from the picture in the September 11, 2001 delivery to “Landfall”.
MCA is known for becoming a Buddhist and doing what he could to free Tibet. He was also a critic of American racism towards Muslims and Arabs, notably when on the mic at the 1998 MTV Video Music Awards, when he warned that American military strikes in the Middle East would escalate terrorist retaliation, and more had to be done to extend olive branches (my words) to Arab peoples, whom shouldn’t be equated with terrorists.
In 2009 Yauch was diagnosed with cancer of the salivary glands which killed him in 2012 at the age of 47. He had a 14 year old daughter with his Tibetan American wife.
So he was pretty ill when he made “Fight For Your Right (Revisited)”.
A large number of film and TV stars made cameo appearances. The Ben Stiller connection is confirmed with him being thanked in the closing credits.
Yauch sure shot some fine frames before he left the flesh.



(Beastie Boys – So What’Cha Want)
I said, “Where’d you get your information from, huh?
You think that you can front when revelation comes?”
(Yeah, you can’t front on that)

-I know he’s in.









This most excellent massive portrait of Taika is used without permission. It is by Sydney based artist Claus Stangl and features prominently on his website, which shows some of the fine details of the 2.45m tall painting. My text (of course). Claus seems like a pretty cool dude. He can appreciate my graffiti, or not. Hey mate, ya wanna paint my portrait? We’ll see.
http://www.clausstangl.com/taika-waititi
TheCUT.rip seeks to own this painting.
The portrait won the 2022 Archibald Packing Room Prize. No wonder, given how wonderous it must be to unpack it.
The Archibald is an Australian portraiture prize and is a highly publicised event. It is sponsored by the Art Gallery of NSW.
www.artgallery.nsw.gov.au /prizes/archibald/2022
While researching threads for “The XXII Anniversary Cut”, the Art Gallery of NSW made a quite unconnected appearance. Guess who works there…


Justin’s choice of profile picture is most entertaining…




This Vanity Fair video was posted to YouTube the month after Taika’s portrait won the Archibald Packing Room Prize. Their ‘Lie Detector’ series had used the colour ‘glitch’ effect for some years prior. A minor coincidence that makes a colourful segue, eh?
(Taika Waititi & Rhys Darby Take Lie Detector Tests | Vanity Fair)
“People who leave New Zealand usually do so to get away from New Zealanders.” Says Taika, literally just before he asks “What about her?” and slides across a photo of the Prime Piece of Shit Minister of New Zealand. Now that’s some funny fuckin’ shit.
Then it’s a photo of Peter Jackson for the final “Do you know this person?” question. Yep. Everyone knows him, he’s a legend. Taika’s facial expression for Sir Peter is curious.

Then Taika asks Rhys a question about “Flight of the Conchords”, a TV comedy about some Kiwis in New York.

Flight of the Conchords visits Flushing Meadows Corona Park, in Episode Four of Season One (2007). You know that place?
Taika and the two band members of Flight of the Conchords and Peter Jackson are all from Wellington.

Episode Seven of Season One.
Taika’s only episode in the first season is great. The Kiwis are victims of xenophobia when they’re mistaken for Australians, and it ends with Kiwi anti-Australian bigotry. It also features one of the Conchords best songs.
Too many mutha’ukas, ‘uckin’ with my shit!

Taika threads have spun into the Das Steel Facebook timeline with some wonderful timing. In 2022 they wove with movies and Easter eggs and awards and on into Cannes.
For ANZAC day it spun into some freaky shit. Following threads of “The Truman Show” and its Australian filmmaker Peter Weir’s “Gallipoli” (which had been quoted in “Prophecy 2001” since 2006), things get extra trippy with Weir’s early film “The Last Wave”.


Taika appeared again on May 6 for the Archibald portrait news.
A few days later, it was discovered when rereading “The Truman Show” Wiki page, that the previous month the Cannes Film Festival had released their poster, which was just over three weeks since the first Facebook post began highlighting “The Truman Show” with the Easter movie threads. It looked like somebody had been reading it.
In May 2023 Taika spun threads through “Team Thor/ Team Darryl”, with the surnames of Thor and Darryl representing for the notable heritage bloodlines of Das Steel’s grandmothers. It was twisted with an extremely heavy weave that fired-up some serious shit (remember that?)



“Why is he so interested in my mother’s grandfather?”
“The Last Wave” (1977)

The Fight Club Epiphany Issue
Part XX
She blinks at that. He sees so much! But she presses on:
JESSICA: You don’t know everything. For thousands of years, we’ve been carefully crossing bloodlines to bring forth…
PAUL: (in disbelief) …the One?
JESSICA: (nodding) A mind powerful enough to bridge space and time. Past and future… who can help lead us into a better future. We think he’s very close now. Some believe he’s here.
– Jon Spaihts, Denis Villeneuve, Eric Roth. Dune (Screenplay, based on the novel “Dune” by Frank Herbert). Salmon Revisions. Final Shooting Draft. June 19, 2020.
Switch.
You wake up at SeaTac.
I study the people on the laminated airline seat card. A woman floats on the ocean, her brown hair spread out behind her, her seat cushion clutched to her chest. The eyes are wide open, but the woman doesn’t smile or frown. In another picture, people calm as Hindu cows reach up from their seats toward oxygen masks sprung out of the ceiling.
This must be an emergency.
Oh.
We’ve lost cabin pressure.
Oh.
You wake up, and you’re at Willow Run.
Old theatre, new theatre, to ship a movie to the next theatre, Tyler has to break the movie back down the original six or seven reels. The small reels pack into a pair of hexagonal steel suitcases. Each suitcase has a handle on top. Pick one up, and you’ll dislocate a shoulder. They weigh that much.
-Palahniuk, Chuck. Fight Club (p. 22). First published in Australia in 1997. Penguin Random House Australia. Amazon Kindle Edition.
Before we hooked up I was working as a cycle courier in Wellington, living at my folks’, saving money and thinking vaguely about a solo 12-18 month cycle touring trip around South America and up to The States. But I had some success racing the local cross-country mountain bike series that year and was keen to see if I had what it took to move up to the expert class at national events. I was scheduled for shoulder surgery in the spring so wouldn’t be racing that summer. I wasn’t committing to either idea, my skiing still needed a lot of work too.
I was having surgery because I’d torn my shoulder when I put my foot through a snow bridge into a crevasse on a climb at Mt Cook and some months later dropped my chain sprinting in an MTB race and went OTB (over the bars) and bust my collarbone and it got weak. Then it kept dislocating and getting stuck half out of the socket when I was climbing and skiing, multiple times, and I had to give up rock climbing and it was getting too risky to ski in the backcountry.
Yaz and I got together just before my surgery. We were workmates. Bikes 34 Daz and 36 Yaz. We’d become good friends quite quickly after she lured me in one day announcing on the radio that she was at the Electricity Corporation with a chocolate coated banana lolly if anyone wanted it. I was close and immediately replied “34’s Treasury, I’ll see you there in one.” I was lying. I was actually a long way up The Terrace, coasting down the steep hill at high speed on my shitty old work bike with bad brakes, passing cars and dodging taxis and delivery vehicles and office workers scurrying across the road, while talking into my radio with one hand, as you do. I didn’t want anyone trying to race me for that banana lolly. I needed to crank it.
-D. A. Steel. Dreams Love Fucking Life Near Death and Some Other Shit (Part One). 2016/17.
i have the beginning of a film adaptation of the memoir of the millenium in my head for a few years now. when i listen to Triad by Tool and i see the opening sequence, it’s so beautiful i literally weep uncontrollably. listen to it. think about a spark flying into the universe and finding The Sun and The Earth with a timer running on the bottom of the screen, days before the millenium. i won’t go into it, but listen to it and think about a waka, a maori war canoe being paddled.
I sometimes wonder if now i’ve dropped this much, my work is finished. and i’m going to go like donnie darko. those planes won’t leave me alone, even where i’m camped. but i got tons of good shit. and i’m looking to 2051 or something.
i see it was 40th anniversary of apocalypse now on the 15th of this month. nice.
-Darryl Steel. Email to David Fuller @ Rebel Wisdom with attachment “Sympathy For The Killer Awoken Before The End (THE Fucking Shit)”. 27 August 2019.
Yasmine’s sister Mariam had also moved to Nelson from Wellington not long after us with her partner Andrew, after he scored some kind of communications and media job with the Department of Conservation. Mariam had just completed a journalism diploma. We were all good friends. They’d both worked as bike couriers in Welly too. But they were settling into domestic bliss and we weren’t a crew.
My uncle and aunt had moved to Nelson the year before. We were friends, but they were the same age as my olds. And then there were my olds. Mum and Dad had come to live in Nelson earlier that year too, and that was something that had been a bit of a sore point for me.
My mum and dad were simple, honest, hardworking, working class people who were liberal at heart. The previous year they’d decided to try doing something different with their lives and had sold the family home to go partners with a couple of friends on a lease of a motel in Napier, Hawke’s Bay.
In hindsight it was a pretty dumb idea. They asked if I was okay about them selling the house. I was happy for them that they were having a go at something, and I was busy and didn’t get involved. They’d never worked in that industry before, and they shared the manager’s residence with their friends. My mum got married when she was 19. She was almost OCD when it came to doing housework. The motel was too big and nowhere near the main strip. The broker probably saw them coming from a mile away. It was a recipe for disaster and the partnership with their friends ended in tears and animosity.
They only told me about the problems after things had come to a head, and said they were thinking of moving to Nelson. Dad was a driving instructor. When I started the carpentry course I noticed that the first aid tutor was also a driving instructor. So I asked him about opportunities in Nelson and he told me about someone who was selling his business. A business like that is basically just goodwill, but in a small city like Nelson, which had a fierce reputation for being difficult to get in with the locals, that was everything. So Dad bought it and they moved down.
Unfortunately my parents lost a lot of money, and they didn’t have that much beforehand. The housing market was down in Wellington when they sold, and they struggled to get a buyer and only got about 170k. Less than two years later friends of Yasmine and I bought a place around the corner, not too dissimilar, and paid 280k. Regardless, my folks were never going to be able to afford a place of their own again.
It was a bit depressing, but we all did our best to remain positive. The first night they got to Nelson we all went for dinner at my aunt and uncle’s. The old boy wasn’t in a very good mood. He should have been eating humble pie with his head well pulled in. Something on the TV news pissed him off, I don’t even know why it was on, and he went off on some angry rant. I tried to talk some sense to him, but he got horribly surly. I wasn’t having it and stormed off to the car and left, leaving poor Yaz there.
My Dad, John, had a bad temper. When he was a kid, living in Three Kings, Auckland, his old man was a drunk who used to abuse his mum. Then his dad walked out and never had anything to do with the family ever again, before dying of liver disease sometime. Dad joined the air force as soon as he was old enough to get away and became a driver. That’s how he met my mum, Jenny Smith, in Wellington. He was stationed at the air force base in Shelly Bay, on the harbour. The RNZAF used it for their Sunderland flying boats. His mum ended up back in Auckland and we only ever saw her a handful of times.
Dad wasn’t a regular drinker, only on special occasions, and he wasn’t abusive. I copped a few hidings, but nothing more than plenty of other kids did back then. But he did go off, when sober, like a bloody nutter from time to time.
This time there was no excuse for his behaviour. Not after I’d scored him a start in Nelson and he was coming down into my territory. I decided he deserved a good tuning, so I completely avoided my parents. I eventually started talking to Mum a bit on the phone after some weeks had passed. I didn’t want her to feel like I was punishing them for what was a shockingly stupid venture that had lost us all a family home in the capital for nothing. I knew they must already be feeling pretty bad about it.
I was the fourth generation to live in that house. My parents bought it off my grandparents and moved there when I was just a few months old. My mum, and my uncle in Nelson, had also grown up there. It wasn’t a great house by any stretch of the imagination, but it was an okay property, with plenty of potential. It was a bit close to the airport, but the noise wasn’t too bad, and I thought it was a pretty cool part of Wellington to live. The real tragedy was not so much losing that house, as it was losing their capital investment.
It was the land beneath the house, to which I felt a connection. It was culturally significant to me for both my personal and family history and also for some special stories that existed long before my people arrived.
The suburb was called Rongotai, which means the sound of the ocean or something. The land was a narrow isthmus that joined the Miramar peninsula, and we were in the middle of it. When Europeans first settled in Wellington it was a shallow channel passable only at low tide. A large earthquake in 1855 caused major uplift in the region and Rongotai rose clear above the ocean. Maori oral history tells that a few hundred years earlier the same thing happened when the channel was much larger and the peninsula was a permanent island.
I always imagined the Rongotai isthmus as being the part of the jaw below the tooth of Te Ika-a-Maui (The Fish of Maui), where his hook would have pierced. I never heard that interpretation before, but it always looked kind of obvious to me in the way Te Whanganui-a-Tara (Wellington harbour), when viewed on a map, looks like a good fit for a hei matau (a stylised carved fish hook.)
Maui was the mythical Maori demi-god. He was the youngest of five brothers. He was born prematurely and his mother thought he was too weak to survive and she threw him into the ocean, wrapped in a knot of her hair. The gods took pity on him and the Sky Father, Rangi, nurtured him to adolescence until he was able to return to his mother.
Maui had special powers, like shapeshifting into birds, and his brothers were a bit jealous. He was smaller and often wanted to prove himself. Once, he got them to help him catch the sun, Tama-nui-te-ra (Great Son of the Sun), so he could give him the bash until he agreed to slow down so everybody had more time to get things done.
His brothers never wanted to take him fishing, but Maui was determined to catch the biggest fish ever. He had a magic jawbone that had come from his grandmother, he’d used it to bash the sun, and he chipped a piece off it and carved it into a hook and then made his own extra strong line. He hid in his brothers’ canoe and surprised them, once they were out at sea and had dropped anchor.
Maui didn’t take any bait and his brothers wouldn’t give him any, so he bashed himself on the nose and bled all over his magic hook and cast it deep into the ocean. Maui chanted a spell and something immediately hit his line. When he started pulling it in it was obviously huge. Because the canoe was anchored they were nearly sunk. The brothers were terrified, but Maui eventually tired the fish out and pulled it to the surface, where it had to be left tied to the canoe.
Maui dived deep into the ocean to say thanks to his old mate Tangaroa, the god of the sea. While he was gone his jealous brothers jumped onto his fish and greedily hacked it to bits trying to get as much for themselves as they could. That’s the North Island. The South is obviously the canoe with its anchor stone below.
The Hawke’s Bay region lays claim for Cape Kidnappers as Maui’s hook. How his hook came to be stuck just in front of what looks like Te Ika’s dorsal fin is a story I haven’t heard. Perhaps one of the brothers pulled it out and tried to throw it away? That sounds like a fair twist to the tale to me, because I like to think that the mouth was left closed, and perhaps that was the reason why. I like to think that because it fits beautifully with another mythological story concerning Rongotai.
When I was at primary school we learnt a story and a song about two taniwha who were trapped in Te Whanganui-a-Tara when it was closed off from the open sea. I can’t remember the song, but the story is easy to recall.
The two taniwha, mythical aquatic beasts, were somehow forced to share this closed body of water in the head of Te Ika-a-Maui. Their names were Ngake and Whataitai. Ngake was bigger and aggressive and would thrash and swim around in circles dominating the space, while Whataitai would spend most of his time just keeping out of Ngake’s way. There were plenty of eels and fish for them to eat and over time they grew big and their home started to feel cramped.
They could hear the great ocean crashing against the south coast, it would sing to them, and they both wondered what it would be like to be free to swim and explore the world beyond. Eventually it was the bold and strong Ngake who decided he’d try and break out.
He coiled his tail like a spring and released it with as much force as he could, propelling himself around the big pond to gain speed before smashing against the barrier of the land. He carved through it, into the open ocean and was gone, leaving Whataiatai alone, with the newly formed harbour to himself.
Whataitai also longed to explore the great beyond. He could easily have swum out Ngake’s channel. But he had forever been living in Ngake’s wake and if he just followed him, then that was all he would ever be, a follower, someone who couldn’t forge his own path to freedom. So he decided he would smash his own way to the other side.
He coiled his tail and released, swimming as fast as he could, but his line wasn’t as long and wide as Ngake’s, and he wasn’t as big and fast him either. He smashed into the land and carved towards the sea. He could see the open ocean and he thought he’d done it, he was nearly there. But he didn’t make it. He had run firmly aground, beached as.
The tide could now reach him, but no matter how hard he writhed and wriggled he couldn’t free himself. He stayed trapped there for many seasons with the tide keeping him moist and bringing fish for him to eat. If he didn’t eat then he didn’t have the strength to try and free himself. Ngake never returned and there was no one to help pull him free.
Then one day there was a massive earthquake. The ground under Whataitai’s head rose up, lifting his mouth above the tide. No longer was he able to eat and he slowly starved to death. His spirit took the form of a bird and flew to a nearby mountain to make its farewell cry before passing to the other side.
The Rongotai isthmus was sometimes known as the head of Whataitai. I had two great grandfathers from the Smith side of my family who had bought a piece of it. One was Danish. He’d emigrated to New Zealand when he was seven and was the one who bought the house I grew up in. I’d often ride my bike from that house to the top of Matairangi (Mt Victoria), where Whataitai’s spirit had flown.
My other great grandfather, Mr Smith, was a second generation New Zealander. His Grandfather Smith had emigrated from England in 1850 with a huge family of 12 children, and died from dysentery in a wharf shed in Nelson six days after their arrival. The family settled in Kaikoura, which was a place where Maui’s foot had blown out the side of the canoe when he was hauling in his catch. Great Grandfather Smith bought a house on the edge of the Rongotai isthmus when he moved to Welly from the farm, to get treatment for piles. I guess they were quite bad, but things worked out well when he married his nurse. My grandfather and some siblings were born there before they moved back to Kaikoura. The farm went broke in the thirties. My grandfather settled in Wellington after going to war for five years and didn’t waste any time finding a wife and making kids, my mum was born early ’46, and they moved into the Rongotai house with my other great grandfather.
It was nice to have some family history passed down from the Smiths, given that there wasn’t really anything to be said for the unfortunate Steel side of the family. Dad’s mum was Jewish and emigrated when she was a kid and his dad was born in Rotorua. Dad was born early ’41, so I guess he was conceived before his father went to war.
-D. A. Steel. Dreams Love Fucking Life Near Death and Some Other Shit (Part Two). 2018.
Gods help me, I was only 18.
I thought about it as I grovelled around the apple trees looking for clusters of recently formed apples to break apart. Fuck apples! I don’t even like fucking apples! I was caught in a mind riot, tied within, and needed to escape and get some peace. I felt a yearning to go and be alone in the mountains and pay homage to my lost brothers. I’d heard somewhere about a hike down the far West Coast where you took the coastline of Mt Aspiring National Park south of Haast down to Martin’s Bay in Fiordland National Park and came inland up the Hollyford Track to the road. There was some exceptionally good weather forecast. It had to be done.
I told Yasmine she could do whatever she wanted, she could have the car, I needed to do this mish. I hitched down the West Coast, an adventure on its own, with good luck and a real cool ride or two. One of my first rides was in this big beautiful shiny blue classic car. A cool couple from up the North Island were doing their first road trip down south.
“Wow, really?” I said, “You guys are really lucky, you know, this weather is something special. This car’s pretty choice eh? I’ve never seen one before, what is it?”
Dude replied it was an American Motors Rebel, also called a Rambler Rebel. “Hey bro?” he asked, “You smoke weed?”
“Yeah bro,” I replied with a grin, “but I haven’t had any for ages.”
“Well it’s a bit early, but you wanna sesh? We don’t like driving stoned because this car makes us a target for getting pulled over by the cops, and it sucks when you’re red-eyed and paranoid eh? But now you’re here and Lynn wanted a drive anyway. That sweet-as Babe?”
“Yeah, no worries,” She replied, “it’s all good.”
“Cheers bro,” I replied, “that would be totally wicked.”
They did a cool driver-swap sliding across the bench seat and my man pulled out a fatty and sparked that sweet delicious Kiwi bud. I stretched out on the spacious back seat. It really was a beautiful day, sunny blue sky, lush green countryside and towering mountains. It was a beautiful country, beautiful people, a beautiful place to live. We were lucky. We rolled smoothly through the magical island in the Rambler Rebel and as my thoughts wandered to what I was doing there a song played in my mind and I giggled.
“…For now I smell the rain, and with it pain, and it’s heading my way…Ah, sometimes I grow so tired, but I know I got one thing I got to do…Ramble on, and now’s the time, the time is now…”
Hiking the wild west coast wilderness of Te Waipounamu, solo, was a serious undertaking. But I was supremely confident in my skills and ability. I was relaxed thinking about the trip and all I wondered was what special experiences I might be gifted.
Something strange happened when I got to hiking the isolated coastline a few days later. I’d get intense sensations that the ocean, which was mostly calm, was suddenly going to rise up above me and sweep me away. I had no irrational fear of water or the ocean. In Wellington I spent my life playing around the coast on rocks and swimming, sometimes in the surf. The previous couple days I’d crossed the intimidatingly large Cascade River and had frantically swum another close to where it flowed out into big surf, without shitting my pants.
The sensation came from deep within me and was powerful and unnerving. I’d never experienced anything like it, although I recognised it from dreams. I’d dreamed recently about a real scene from that winter. We’d gone for a drive to Greymouth from The Pass with the crew and Mark took his surfboard. There was a monster swell at the Greymouth bar, no good surf, but Mark just wanted to get out amongst it. We sat parked on the breakwater and watched. In the dream a tsunami wave rises up and I can’t out-drive it and it catches us with that same sensation. It wasn’t to be the only time I had that dream. I’d also had a similar recurring dream for years where it was basically the same thing but I was on the beach down the road from where I lived in Wellington. Both dreams were very vivid. Even though an interpretation seemed obvious in a way about how I related to my world, it felt like something more, and I wondered if I’d met such an end in a previous life or something.
-D. A. Steel. Dreams Love Fucking Life Near Death and Some Other Shit (Part One). 2016/17.
I talked about it. A bit. Later in 2001 I hitched to Dunedin for the first visit riding a heavy wave of hunches and synchronicities. Scored a ride from Christchurch with a young surfer dude, Matt Yamashita, from Molokai, Hawaii. Told him what I was up to. Exploring my ability to create substantial synchronicity for a story in the context of who and when I am in Aotearoa, while taking time to recover from the trauma of months of hardship and losing my life from having been put through the mental health system with heavy medication after a difficult break-up.
He was on a gap year after graduating from film school in LA. A wealthy NZ family who had managed the main ranch on Molokai had shouted him a free trip to NZ as a graduation gift. Later we called in to see them near Oamaru or somewhere. Beforehand Matt had decided to carry on down to Dunners that day to visit their kids who were at uni and so we could talk more. He was for real.
He said he knew how traumatic break-ups could be. His parents were psychologists or psychiatrists who had concerns about the over-prescription of medication. We discussed relationships.
“Above all, the most important thing,” he said, “is to just always be totally honest.”
“My partner told me I shouldn’t be so honest.” I replied.
He frowned. “You must have been in the wrong relationship.”
“Yeah.” I didn’t go into it. We had better things to talk about.
Down at Tomahawk Beach I told Tim about what went down. I wasn’t psychotic, just very, very high. I remembered everything. Completely uninhibited. Free to fully explore what I represented on the millennium. The phone calls to the El Orfi’s to tell them I could see the role they were playing forcing me to confront my embodiment of Christ and Anti-Christ and I held no animosity towards them for the emotional manipulation they had wrought which had led me to call them up very late one night to cheekily inform them that they were acting like witches and it would make men want to burn their house down. That little shit Omar. And what did Ali used to call Yasmine? Ghoula?
Tim became seriously concerned. I could see that flicker of anger that used to burn in him a few years earlier when he was younger and on the hunt.
“I saw Yasmine in Wellington when you were locked up,” he said, “I asked what was going on and her exact words were, “It’s alright, Darryl just thinks he’s Jesus, that’s all.”” He imitated her confidently clever voice perfectly.
“Was that it?”
“Yeah, I didn’t know what to think or say.”
Was she high or drunk? She seemed pretty in control to him.
“Bro,” I replied, “I might have been going off, high as a kite, but I went into it in detail like I said, and Yasmine and Katherine are both very intelligent, confident women. And I most certainly never said I thought I was Jesus.”
I guess that’s what she told all our friends. I heard some other things elsewhere.
I explained my realization of the millennium and the full force of accepting being in a position to represent as a second-coming figure, which was something I had consciously been working around since I became fully aware of it when I was about 21.
It was blowing my mind on one of those millennium mornings, still so high from the Christmas Eve acid trip, just like I’d been planning and training for many weeks. I walked down to the local café in perfect sunny calm weather. The smell of the blooming cottage gardens mingling with the scent of the ocean was intoxicating. Something appeared in the middle of the footpath in front of me. What’s this? It was a small booklet lying face down. I picked it up. It was Christian junk mail. The title was “The Second Coming”. I kept it. It was real. Yeah baby, it was on.
I showed it to my mother when I was released from hospital, still under section, and we were having to pack up my stuff for storage because I was being forced to move to Nelson to live with them. I tried to tell the story, but speech was difficult under the medication. But I got the result I was expecting. Her pitiful ignorant scared expression.
“What happened to my cards?” I had asked them, as I stood trembling, looking at the bare polished timber floorboards of the living room.
“We packed it up,” she said. “It looked like some kind of shrine.” There was terror in her voice. It was so pathetic. I couldn’t feel pity, or disgust, or annoyance, or frustration. I couldn’t feel anything. Except death. Black emptiness.
A shrine was exactly what it was. A shrine for the spirit of the Goddess. It was a meditation rug surrounded by Klimt postcards. His golden women and his flora impressions. I’d sat there grounding myself, feeling an immense energy flowing through me, my heart expanding until it became one with the world. I wept with joy before going to my bed to sleep peacefully.
Next morning the mental health crisis people showed up. Here we go. Bring it on. I went blah blah blah blah blah. They went “We think you’re very sick and need to come with us.” I went “Good for you. I’ve had coffee and no breakfast, the gardener’s turning up shortly, and I really need to go for a run to burn off some charge, it was nice meeting you, there’s the door.” Exit the mental health crisis people. He was a dick who wasn’t nearly as smart as he thought he was, but she was hot, like fuck yeah. Mind you, I was tanned, extremely fit, and the hottest guy on the planet, so maybe it was just me.
Then the gardener shows up. The owner of the cottage had arranged it. The gardener’s name was Xena, like the warrior princess. She was a boss, with a big crew of young people under her strict control. They ripped into it with steel blades flying.
I stretched out for my run. I was planning a big one. It was overdue. Two full end to end circuits of Queen Elizabeth Park. I told Xena I was going out and made it nearly as far as the driveway before I got stopped by the police.
I can’t remember how much I told Tim about all that. And I can’t remember how much I told him about the months of apparently orchestrated gaslighting Yasmine had subjected me to. Gaslighting. We didn’t have that term then. And now we do. Yasmine’s was textbook, to the extent of being, at the end, very blatant. I never gave the full account of that. It hurts. It still does. So I’ve sat on it. Pain is a fire in which one can harden resolve. One day I’d tell the full story. I would never forget…
To be continued.
(This is a section to be included in the existing memoir “Dreams Love Fucking Life Near Death and Some Other Shit” and it comes before “Prophecy 2001”.)
-Das Steel. We Need To Talk About Yasmine El Orfi (Part One). December 2019. (You know when, eh?)
So the shit all started to hit the fan in 1999. In our flat in Hataitai, when she spectacularly kicked two holes in the wall with each foot at the same time that she punched another one. I can’t remember what triggered her, probably because I didn’t know what it was and she wouldn’t tell me. We were always discussing psychospirituality, the zeitgeist, the future, and on two occasions in ‘99 she just suddenly, out of nowhere, lost her shit and went crazy. I was stunned, like what the fuck?
Total tanties, screaming, hair pulling and foot stomping, and yeah, kicking holes in the wall. Then she went and sat in a chair with her arms crossed saying nothing like a petulant upset child. I was bewildered, scared and suddenly very isolated. I tried to get her to talk.
“You don’t know, do you?” she snarled.
“Know what? What do you mean?”
“Yeah exactly, you just don’t get it!”
It was hard for me to not get upset and angry.
“Well fucking tell me what I don’t get!”
She screamed and stomped her feet and pulled her hair again, shaking her head.
“It’s like that time when we were riding around that estuary and you were singing that song, you don’t even know why you were singing it.” she said contemptuously.
“What??? Yeah I do.”
“Oh no, no you don’t.”
It was getting ridiculous, which kind of cooled down the situation, and I didn’t push her on it. We both settled into a cold sardonic adversarial tone.
She was talking about the first summer after we had hooked up in ‘94 and we went for a mountain bike cycle tour around the top of the South Island. We were riding around an estuary in Golden Bay and I started singing something stupid like a dork, words that just came into my head.
“The estuary, the estuary, we’re gonna ride ‘round the estuary, the estuary…(ad nauseam)”
I pronounced it “es-jury”. Yasmine asked me why I was singing it. In hindsight, that was a fairly good clue. It was just a goofy thing, like I’d often do, why would there be a reason? She asked it with serious intent, which made it seem a bit odd, and that’s why it stuck in my mind.
So I figured, from her tanty performance, that she was talking about me not being aware enough about working towards being ‘The One’, a messianic figure, that people would want to fuck with. What else could she mean? She refused to say anything more. I always imagined I meant the s-jury was the ‘secret jury’, but was it more like the secret Jewry? Who knows?
“Jeez,” I said, “maybe you shouldn’t smoke any more weed. You seem to be having real problems dealing with your daddy issues or something.”
I don’t think we were high at the time, maybe. We weren’t habitual smokers. We’d have a sesh with mates once or twice a week. Her behaviour was suddenly so extreme and unexpected, it was the only thing I could think might have caused it.
“Oh I’m not the one with the problem,” she retorted.
“Yeah well, I’m not the one who just kicked…hey look, you put three holes in the wall! Fuck Yaz, that’s awesome!”
We chilled out and it didn’t get discussed further at that time. In the coming months we both continued to work on the ideas for how we were going develop “TranzMissionRide” into a media brand dealing with psychospirituality and social politics to deal with impending societal dead-ends.
I thought I kind of understood what was affecting her. I was the man. We all knew that, right? It could be a mind fuck, which was why you didn’t focus on it and kept it real by working on where it led. But who knows?
Around that time we were walking down Kent Terrace away from the Embassy Theatre after seeing “The Matrix” for the first time. We were pretty excited. There were a lot of ideas in it that we had been working on.
“It’s you, right?” she said.
“Yeah I wish,” I replied, “have you seen me try to hold a wheelie on my bike?”
“Yeah, but you know?”
I laughed it off, and she didn’t say anything more about it, ever. Or at least not to me.
As the year progressed she continued to show that her situation was bothering her. I did what I could to give her space and freedom to move, but she chose to stay involved with me and the project, at times wholeheartedly. At other times it was like she didn’t want to be there. I wanted us to be a team like we’d always been, but if she wasn’t into it, then I didn’t want to be holding her down. So I let things flow as best I could and didn’t push her on anything, like the fucking computer.
Our desktop editing system was a lemon that had developed some major bug. We both had a good understanding of how the software and hardware systems worked and where the issue probably was. The place we bought it off were totally dicking us around, big time. Were they trying to fuck with me? Yeah nah, the guy was just a dick, who knows? Yaz had a law degree, and that kind of problem was way more suited to her skill set, so she took responsibility for it, and then didn’t sort it out. I didn’t want to hassle her, and ended up busy, driving miles every day to make some cash, building house frames, to pay the rent, the computer loan, the credit card, blah blah blah.
’98 had been a huge year for us. We had achieved a massive amount in a short space of time. Yaz had been a leading influence in driving us to make some brave moves and committing to some big targets. I was excited by the challenge of extending myself way beyond my comfort zone, but I was often struggling, out of my depth.
We’d put my name on the letterhead, Steel Edge Productions, and we’d boldly made production commitments. There were times when we were really up against it and I was totally shitting my pants that we wouldn’t pull it off. Yaz was a champ, she had the winner’s faith that I was trying to develop. I knew how my weakness was frustrating for her, she’d tell me, and that put me under even more pressure.
I knew it was an important part of my development, and did my best to roll through it. Unfortunately there were some mornings when I had to get up to try and puke the butterflies out of my stomach before trying to run it off. But we made it.
So in ’99 I was very conscious about keeping things cool and not letting the pressure get too high in the boiler, while still staying productive and setting goals. I didn’t know how my partner was going start working against me.
We’d moved out of the city up to the Kapiti Coast. I’d seen a cool cottage advertised for cheaper than what we were paying for our small one-bedroom flat in the city. I talked with Yaz about issues concerning us being somewhat more isolated up there. We always considered everything in depth. I didn’t want to be leading her into a situation where she’d have less opportunity to pursue things independent of me and the project. She had her own friends and family in Wellington. But it wasn’t too far away, and she was supposedly still totally committed and into it.
We were in the city one night at our mates’ place, the boys’ flat. A day or two earlier Yaz and I had been discussing ideas about gen-x individualism and their blind spots concerning collective social orientation, or something like that, the usual shit. The lads had been discussing something in which they displayed exactly the thought systems we had described. I was excited about it, and driving home I was going blah blah blah. Yaz interjected with an unexpected nasty tone.
“You think maybe it’s just you?”
I was a bit taken aback by how she said it, but she was raising a point we had been looking at, so I thought she was engaging me combatively. We had been developing awareness of how we influenced our realities. Our mate Olly Brunton, who lived at the flat, was also working on such ideas in his personal development and we had talked, on a different occasion, about ‘puppet master influence’.
I replied to Yaz in cocky debate mode something like “Aw yeah, but even if I’m projecting, it’s their realities that are producing what I’m…”
Yaz screamed. It was just like that day back in Hataitai. Stomping her feet and pulling her hair.
“Aaaaargh! Can’t you see what you are?! You’re just like your father!”
I was dumbfounded. What the fuck? I was nothing like my old man, unless she meant…? My father was a chronic mansplainer to my mum. My mum wasn’t the smartest woman and it was sometimes easy to get frustrated when she couldn’t work something out. I’d developed, to a lesser extent, my dad’s bad habit of mansplaining. We didn’t have that term then, but I understood it, was aware of it, and it was something I tried to fix. So that must be what Yasmine was accusing me of. But, to be fair, that vocal inflection was also a symptom of being a know-it-all smart arse Wellington wanker, of which Yasmine was also not immune.
“Hey I’m sorry,” I said, “if I’m talking down to you, I don’t mean to do that, I’m just excited and debating your interjection.”
She screamed again, with the stomping of the feet and the pulling of the hair.
“It’s not that!” she yelled “Aaaaargh! You just don’t get it!”
This shit again. “What do you mean? What are you trying to say?”
She didn’t reply and just kept on with her tanty. I pulled the car over to the side and parked. We were up Vivian Street about to get onto the motorway.
“What are you doing to me?” I yelled at her. “I’m not forcing you to be here. This is your choice. You freely made the decision to get involved in this. If you don’t want to be on my ride, then get off, get out!” I leaned across her and opened the door. “Go on, go stay at your mum’s! I don’t have anywhere else to go, you do, so fuck off if you don’t want to be with me!”
“No! I can’t! You don’t understand!”
“FUCK! WHAT THE FUCK ARE YOU TALKING ABOUT!”
I was in tears now. I grabbed a handful of her beautiful long curly strawberry blond hair and yanked it hard.
“There! Is that what you want? Now get out and go!”
“No! I can’t!”
“What do you mean you can’t?! Stop fucking with me!”
I completely lost it and punched her hard on the arm. “What more do you need?! Now fuck off, please, please just go! I can’t take this anymore! What are you doing to me?!” I sobbed.
“No! I can’t! You don’t know!” she cried again.
I gave up and just wept. I didn’t know. And I didn’t know what to do. I had nowhere to go. There was no reason why she couldn’t get out and jump a bus up to her mum’s or ring for a ride. Yasmine slammed her door shut. I drove us back to the coast.
All I knew then was, for whatever reason, Yasmine was going to fuck up my shit. It explained how she could have been so thoughtless and insensitive to me on her birthday. That too was very painful. Later it became obvious when she turned it around on me, ridiculously.
Beforehand I had to wonder if she was sick. In the first week of the next year when I was high as a kite, well off my rocker, I told some mental health people who turned up at my place after someone had rung them, that I was high partly from discharging prolonged emotional stress from the break-up of a relationship that I suspected must have become co-dependent or something, “I guess you guys see a lot of illness from co-dependent relationships, right?” I’d blabbed, just showing off, while trying to work with what I’d guessed they’d been told, when they asked why the relationship had failed.
Yasmine and I had been in some kind of like textbook functional anti-co-dependent relationship. We were way too fucking smart for that shit. But I wasn’t going to tell them something else. She was the sick one? Or maybe she’s part of a psychospiritual conspiracy against what I represent, you know, look who her parents are? I wasn’t even considering back then, thank goodness, that it might have been something more. She did love telling the one about how when she was a kid in Tripoli the nice American couple who used to babysit, Uncle Bob and Aunty Doris, were actually CIA spies. Yeah right, as if?
Who knows what was going on with Yasmine El Orfi?
To be continued.
(This is a section to be included in the existing memoir “Dreams Love Fucking Life Near Death and Some Other Shit” and it comes before “Prophecy 2001”.)
-Das Steel. We Need To Talk About Yasmine El Orfi (Part Two). December 2019.
What are your legs? : Steel springs.
And what are they gonna do? : Hurl me up the track.
And how fast can you go? : As fast as a…?
And how fast will you go? : AS FAST AS A…?
THE UNBELIEVABLE FULL ACCOUNT OF MY SEPTEMBER 11
I woke up at my friends’ (T and A’s) place at Tomahawk Beach in Dunedin. It was Tuesday. I was feeling pretty charged and ready for action. I was still fired-up from the previous day.
Monday’s post had brought a letter from my mother, forwarded to me by a friend in Wellington. I had become totally estranged from my parents early that year for reasons that were comprehensively confirmed by my mother’s letter. I was pissed off, hotter than hell, you might say. I went for my first run of the spring to blow some of it out. I donned my trusty adidas Trail Response runners (the only shoes I had) and headed for the statue of the World War One soldier way off high above the bay.
I warmed up along the beach and hit the track leading up to the ridge. The track had obviously been used by a herd of cows and had become a shin-deep muddy cowshit bog. The gorse on the sides of the track made it impossible to get around. I was swearing and cursing and was considering turning back when I realised there was going to be no dodging cowshit for me. I caned it hard, straight up the guts. I passed slowly through the herd near the top and, pushing the pain, charged into the strong headwind up to the old digger giving it my all. I came down via Centre Road back to Tomahawk and washed the shit off my adidas in the ocean. I met Jack the huntaway puppy and still had enough to out-run him along the beach.
That evening I was hanging out in the warm kitchen with my friend (A) who was cooking dinner, I was still high from my run. My mother’s letter had got me going on ideas of things like fear and security and death. “You know what I wanna be when I grow up?” I said, talkin’ shit with a grin. “I used to wanna be an assassin, but I don’t care about individuals anymore, now I wanna be a terrorist.” I ranted on about it for ages trying to express the ideas I was having. I drew some parallels with themes from the movie “Fight Club”. I thought about the last scene and imagined dropping the buildings while they were full of people.
-D.A.Steel. Epiphany 2001 (Prophecy 2001). 2006 edit.
That first inclusion of the “What are your legs?” quote from “Gallipoli”. The movie about two runners from Western Australia who join the WWI ANZAC campaign, starring Mel Gibson. The story was an idea by Peter Weir, who directed the movie. I mentioned this in Part XVI, when I also mentioned that Weir co-wrote and directed a 1977 movie called “The Last Wave”, which was also released in the USA as “Black Rain”.
CONTAINS SPOILERS!!!
“The Last Wave” is available (in Australia at least) on Amazon Prime.
“The Last Wave” is about David, an ex-pat white fella in Sydney, a lawyer who defends some black fellas, when strange apocalyptical weather events are occurring. In a scene, David is visited at home by one of his defendants, Chris, who brings an old man with him, named Charlie, who apparently doesn’t know English. Over dinner, David is asked to show family photo albums, which he does for Charlie, while Chris translates.
DAVID: This is my grandfather.
CHRIS: [Translates in Aboriginal]
DAVID: Ah, yes. Here are two pictures of my mother’s grandfather.
CHRIS: [Translates in Aboriginal]
The second picture is old and faded, showing a priest standing in front of a stone entranceway with a large snake carved above it. Charlie runs a finger along its wavy serpentine length.
CHARLIE: [Speaks Aboriginal]
CHRIS: [Translates] Where is your… clan… territory?
DAVID: My clan territory?
David looks questioningly at his white Australian wife, Ann.
ANN: I don’t know what he means.
CHRIS: Uh, from sunrise… or sunset?
DAVID: [Chuckles] From sunrise. From South America. I was born there. Why is he so interested in my, my mother’s grandfather?
CHRIS: He’s interested in you.
CHARLIE: [Speaks Aboriginal]
CHRIS: [Translates] We’re nothing but the law… we learned from our forefathers.
I didn’t learn of, or watch, “The Last Wave” until last year. It was particularly curious given how I began “THE Fucking Shit (Sympathy For The Killer Awoken Before the End)” in 2019, from the first draft shared 11 September. It starts with my photo of Aboriginal rock art, from a presumably unvisited and unknown location that I found when literally wandering for spirits.
Two pages later I used my skiing photo with the sunset shining off the Tasman Sea and the text…
Carving the long white spine, in the springtime
Westland, Aotearoa, 1997
Across the sea, east of the land of the Dreamtime
In what distant
deeps or highs
burnt the fire
of thine eyes?
One score and two years before
The Kick-Off
The long white spine is, of course, a reference to the popular translation of Aotearoa as ‘Land of the Long White Cloud’. In the first draft I didn’t include “1997” and I made the odd error “Two score and two years before”. That would make it 1977. Oops.
A later scene in “The Last Wave” has David and Chris together again. They’ve met and gone for a walk in a park beneath the giant steel trusses of the Sydney Harbor Bridge. At one point a tourist in a sailor’s uniform walks behind them and photographs the view that is out of shot. Chris wears a well worn stockman’s hat, with a metallic airplane brooch on the side.
DAVID: Chris, I can’t help you unless you tell me what Billy saw.
CHRIS: No! Can’t you see it is hard for me? Your people pulling me this way. Something more strong is holding me back.
DAVID: You’ll go to jail, all of you. You’re in desperate trouble.
CHRIS: No! You in trouble. You!
DAVID: Why do you say that?
CHRIS: You don’t know what dreams are anymore.
DAVID: Chris, what are you trying to protect me from? Charlie? Where is he? I want to talk to him.
CHRIS: He’s not here. He’s gone away.
DAVID: I had another dream.
CHRIS: You’re dreaming about secret. It is death to know them.
DAVID: What secrets? Chris, if you tell me, I can get you off. For Christ’s sake, you’ve killed a man!
CHRIS: Listen to me! Why don’t you go away? You’ll die! Leave us alone! Go away!
DAVID: I can’t go away.
CHRIS: Charlie is an owl. He can fly through the air. He can do many things. Lots of magic. He got the power. [Chuckles] But you… [He takes David’s hand in both of his] I think you may be… Mulkurul.
DAVID: What is that?
CHRIS: You different tribe… from another world. Across the sea… from sunrise.
DAVID: Mulkurul. Mulkurul.
[End of scene.]
Part II
I Am It
Lost and Found
in the land
of the Dreamtime
From the Alpha to the Omega
Never Forever back again
I am THE
I AM
I am
I am the
The killer awoke before dawn
It put its running shoes on
It took a mark from the ancient gallery
and it ran off out the door
Pulling its steel
from the sheaths
of its feet
it thrust apart
the feathered blades
of its wings
It rose
above all
into the warm winds
of the west
Slowly banking
it climbed
through the darkness
towards the first
threads of light
penetrating
the scattered clouds
of the east
over the horizon
into
and through
the rising sun…
…to be continued
Hawkeye Jupiter’s Eagle
Flying on
elsewhere
it will become
its own beast
There must always be
a reason to return
to keep coming back
into the future
A first draft
of a beginning
can be found
at the end
in a second
appendix
-Das Steel. THE Fucking Shit. 2019.
“The Last Wave” ends with David’s reality becoming lost in dreamtime. He discovers hidden objects of the Mulkurul in caves connected to stormwater drains beneath the city. Apparently from lost civilisations of the Americas. He finds his way out to a beach where he sits, and is overcome by a vision of a great wave.
Remember in Part XVI I told (again and again and again) how Peter Weir made “The Truman Show”? I didn’t explain how he was looking for scripts to rework. Do you think that early screenplay was written before or after he was involved with it? Anyone?
AGENT: (showing amazing restraint) I do have a fabulous rate on a cruise ship departing for Australia tomorrow. But you wouldn’t want to do that.
TRUMAN: Why wouldn’t I?
AGENT: I thought you were in a hurry.
TRUMAN: (calming down) That’s right.
AGENT: You want to book the flight?
Truman pulls out a wad of money from his pocket and several rolls of quarters from Marlon’s vending machines. The agent looks askance at the pile of cash.
TRUMAN: You were expecting me, weren’t you?
The travel agent ignores the question and prints the ticket.
AGENT: It’s non-refundable.
EXT. SYDNEY, AUSTRALIA. DAY.
CHRISTOF stands with a PRODUCTION MANAGER, mid-thirties, on the forecourt of the Sydney Opera House, its sail-like roofs soaring above them. Framing the background, the coathanger-shaped Sydney Harbor Bridge.
PROD. MANAGER: (unable to conceal his pride) Happy?
Christof gives a grudgingly complimentary nod.
CHRISTOF: (staring out at the pleasure craft littering the harbor) Can we contain him long enough?
PROD. MANAGER: I think so.
Christof looks skyward at the cottonwool clouds above the harbor.
PROD. MANAGER: (anticipating his next question) He flies at night. Thick cloud cover to disorient him. Hopefully we’ll knock him out with complimentary cocktails, pull the shades down during the movies. He’ll never know.
-Andrew Niccol. The Truman Show (early screenplay). Date unknown (film released 1998).
EXT. PIER 13. DAY.
TRUMAN comes back to reality. He steels himself, shuts out the doubts and dives into the water.
EXT. NEW YORK HARBOR. DAY.
Underwater we see TRUMAN panicking at the shock of the cold sea, arms and legs flailing. Suddenly he stops and sinks for a moment in the weight of his clothes. Then slowly he rises to the surface and begins to swim.
Moored in the harbor is the scaled-down replica of Columbus’ flagship, The Santa Maria.
INT. CONTROL ROOM. DAY.
CHRISTOF is spooling through significant scenes in the history of “TRUMAN” on a preview monitor.
He pauses on the scene of SYLVIA and TRUMAN at the fountain in Flushing Meadow Park in the show’s seventeenth season. Sylvia has her finger to Truman’s lips. Christof presses “PLAY” on the mixing desk.
SYLVIA: (from monitor) You remember when you were a little boy…
Christof fast forwards, then presses PLAY once again.
SYLVIA: …Trust that boy…
Christof jabs the “PAUSE” button, freezing the picture. He recites the words to himself.
CHRISTOF: Trust that boy… (to Simeon) We’re not watching the sea.
SIMEON: (confused) Why would we?
CHRISTOF: Sweep the harbor.
EXT. NEW YOUR HARBOR. DAY.
TRUMAN is at the wheel of the Santa Maria, wind filling her sails. Covering the face of the ship’s compass is Sylvia’s composite picture.
His is the only craft afloat in New York Harbor. As the archaic vessel passes under the Verrazano-Narrows Bridget, the bridge appears on fire in the glow of the sunlight. Truman steers around Norton Point and sets a course for the open sea – the horizon.
-Andrew Niccol. The Truman Show (early screenplay). Date unknown (film released 1998).
And you remember where Andrew Niccol was born, eh?
I experienced the tsunami sensation and dreams again in 1999 when I was living on the Kapiti Coast.
(Continues…)

UPCOMING
in


2022: The 34th Anniversary of
“The Truman Show”.

OPEN UP

Scribed, shot, chopped and dropped
by Das Steel.
MMXXIII



