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murmers after murder.

let's see...been a while since I've pulled out the
coffee and given you all a good mumble.  here goes:


how many times have I tried to construe the vocal 
soul eruptions of Ms. Berquist?  most often, she
doesn't put herself into words very well, even when
she's serenading in our English vocabulary.  it's
always something my heart understands better than my
mind can interpret...

track seventeen of Till We Have Faces:
"the piano and vocal bits at the very end."  that's
how the liner notes refer them.  I personally think if
we inquired of Mr. Linford some interpretive
discourse, he'd only give us that peculiar little
smile of his.  I think if we were paying attention,
we'd realise it'd be explained.

when Mr. Detweiler nearly declined to personally
perform Jack's Valentine, despite our cajoling...it
made me wonder why he does not perform his own words,
his reluctance to even do that little speaking.  
   I've wondered before at the trust Mr. Detweiler
puts in his dear Berquist.  we writers are
tempermental buggers...our words and ballads as
closely watched as children, oft times.  musicians are
not much better.  the fact that he lays his words in
her hands, and seems to be swooning inwardly as she
carries them other places...it says something about
the both of them.  probably explains a lot of why I
love them.

so, what brings you about here? 
what made you love them, or even fall out of it a 
little? 
  hmm.  Mr. Gardner appreciates them, mostly due to
the wordings of Mr. Detwieler.  we faggoty arm-chair
poetics like the fluid melancholy ditties.  we know
jg's only in it for terry.  the Goth tribe secretly
hopes OtR will create a set of "Murder Ballads" and
they breathlessly await the day...(hey, they're
half-there...with "Murder," "Daddy,"  "Thank you, my
angel"...just darken the shadows on the eyes a bit, me
loves...)

what are nice folks doing in a place like this?
(my server proxies the archives now!  imagine that!)  

(smirk)


well?


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