(in the odd occasion, the description precedes the piece, and if that is the case now, please read this after reading the poem)

It's rare that I deviate so much from my typical style of writing (which isn't really a style at all, just that my thoughts and intentions are conveyed more clearly), and normally I don't much care for abstract poems, but this little puppy just came to me and licked my leg. I was helpless to resist kneeling down and petting it. Don't expect many more like this; I had a hard enough time understanding what I was writing as I jotted it down.

As I was riding the bus home this afternoon this poem came to me, somewhat. I can't fully remember what inspired me, but I was listening to I Disappear by Metallica when I started writing. I started off with "Hey. You." , a very Mansonesque way to start things off, inspired by the "Hey. Hey, hey, hey" from I Disappear. I decided to omit that intro, because it didn't quite fit with what came after. I remember, as I was sitting and looking out the window, thinking to myself about someone removing his or her ignophones (headphones that broadcast ignorance; I feel, and express often, that music nowadays seems to lack substance in a lot of cases, yet many listeners don't seem to notice, let alone mind). After that I wrote what is now the first stanza of the poem, and the "status: connection" part just came out of nowhere, though now that I think of it it comes from my using Kazaa most nights to download songs and from my frustration with how it will always say connection or more sources needed. It is so rare that songs I try to download actually start to. I'll get to that later.

The reason I am writing this description, and explaining the poem is because of its abstract nature, I am positive that I will forget what I intended somewhere in the near future. So for the first stanza, it is calling for the person - any person, or myself - to silence the ignorance being broadcast into their ears and to open their receptors, or ears, to the real world because there is always something, some voice (or car) trying to be heard.

The second stanza is calling for the person to stop being spoon-fed through their ears, accepting whatever is offered to them like an unknowledgable infant. The first two lines, as you can probably tell are connected, but can stand as two different ideas; I decided to keep it as it stands because as is it is unclear (if you hadn't read this description) just how I intended it to be read. I could mean, "Remove the spoon from your ears," or "from your ears spills puree" with the first line standing on its own. I know, it's lame. And the part about the puree spilling from the person's ears is a reference to baby food, if you hadn't guessed. Perhaps the person's ears are regurgitating what they have been fed. The third line can be taken two ways: " Eat what you are fed and be a good baby. Stop being fussy," or something to that effect, or "Stop letting people do things for you and be independent; start acting your age." Something to that effect.

"Give the truth a hug" comes from two places: people need to embrace what is true, or right, and love and affection are powerful things; everyone wants to feel loved, so why should the truth be excluded. "Squeeze and see what comes": now that I read this over, it sounds somewhat sexual to me. I didn't intend for it to be like that though. I had an image in my mind of someone squeezing an orange; orange juice is good for you, and so is the truth (" Truth, not from concentrate. New from Tropicana". "Taste it: it's not so bad.": okay, that one was somewhat sexual. Anyone who knows the song, Starfuckers, Inc., by Nine Inch Nails should recognize what I was talking about; there is a line before the second chorus, I believe, that goes, "When I suck you off not a drop will go to waste. You know it's really not so bad, once you get past the taste."

"Lick your lips and smile": now that I think of it, this could have been inspired by Marilyn Manson's New Model, No. 15. There's a line in the song that goes, "I can suck it and smile." I really don't know where this came from, or why a lot of sexual references work their way in to what I write. I don't consciously think of these things, but I'm sure Freud would disagree. "There's more where that came from": this probably speaks for itself. "Now spread the drug - snowball": the only thing I can really say about this line is that a snowball is another sexual reference. That's as far as I am going to go with that. Perhaps the reason that the sexual references occurred in this piece is because of how the truth can be bitter at times, especially when you are not used to it; the only thing I can think of is that perhaps subconsciously I was implying that truth and semen have a lot in common: the ability to create, a bitter taste supposedly. I've had a brutal headache all day and I've been trying to stay awake all throughout school. I've done the best job I can to explain.

The last comments I have to make are with regards to how each stanza ends, and some final comments on the piece itself. Everything that I wrote was straight off the top of my head, and I didn't really stop to think about what I was writing because I just wanted to get it out. The reason each stanza ends as it does came about by coincidence; I was originally referring, in the first stanza, to the person connecting to receive the incoming transmission, but as I got to the end of the second stanza, it seemed to me that I was referring to how the person was grasping what I was telling them and how they were disconnecting in a way, just like with Kazaa. By the end of the poem, I guess they finally connected enough to initiate the download; hopefully they like what they see. And it just occurred to me a moment ago that the way things are written, I am the host for what this person is downloading. I never thought about that, and never intended for that to be the idea.

Hope you enjoyed this piece. Feedback welcome, as always.