Thursday, 26 May 2016

Habitats of the Eerie Troops


“Nature morte avec Steers Skull” (Still Life with Steers Skull) by Pablo Picasso (1942)


Found on the grime of the ceramic floor is an empty carcass in which to stuff the excess
The burden
Of a burden a bloody reminder of authority
The robe of invisible layers of moisture breeding a species
Of ruin  
Delay selflessly
The duration of existence
On the outskirt of liberty
The illumination of translucent arms, pleads for the peace of the treasure sought
Navigation is difficult for an entity of oppression
Affect cruelty

For the task of occupation is tedious, revise an award for motivation
Has always been
The colour of blood drained from the crown of the host
Reluctant by expectation, the notion of establishing influence
Otherwise
Dictate the norm of stern faces, hollow with the forlorn expressions of greeting, calling upon
The barbarous
A routine of new ritual
To consume the humanity                                                                            
In the merit of fear
Exploitation is given the means to found itself

In the eradication of insignificance who is banking who’s future, on who’s misfortune
A ghost must be rendered of the situation, regardless
Sneer quietly
About injustice it is unrealistic to obtain pleasure
When the predator lurks
Like the bastard it is
It lingers around
In the cycle of redundancy, take clues from the shore where a subject is being bored
Near extinction 
Once the future foreshadows the gore of the blood
Guarantee it is bled

Grinner Grinning for the Sake of a Grin



“Portrait de femme au col d`hermine (Olga)” (Portrait of woman in d`hermine pass (Olga)) by Pablo Picasso (1923)


Let us celebrate a dog’s dinner, for success is a fuss of desire common in all species
Short and tall, tall and lanky
All containers of the soul
Speak of compromise
Accommodation is the occupation of distraction; stop your lingering on the dirt of the elite
Flee with the fleas and the pest of their own correspondence
Disease spoils the choice for decision
For the beds come
Without rails driving the dread of falling, for old people
Stop calling us
Oh dear!

Holy shit!
Carry the suffering through
The left wing of the walnut ward is a brothel
You needn’t more discussion if affection is adequate don’t ever bargain with the entrepreneur
Plush in the praise of nirvana
Never spare comfort for the likes of celebrities cashing on the uncalled for
Fascinations
Unfounded motivation to sell yourself
To the big bosses
Oh Hollywood
Laid on your chair is a pile of the dogs’ finest

Is the above ever gourmet enough
For your liking
We’ve haven’t the guts to question your taste
But if we had you would have even more of a buffet, more of a selection so be frank
Demands the respect
Sit on the right side of the set
In the cycles of light cameras and action
Feed the flowers of your fans into the palms of pedestrians
Salivating with thirst
Eager with the outburst of twitching fingers, fluctuating with the rhythms of strain
It's no secret that sarcasm's dead

Tuesday, 24 May 2016

Egotistical Consumers of the Sacred Exterior



“Femme dans un fauteuil rouge” (Woman in a Red Armchair) by Pablo Picasso (1929)


Chilling hazards on the roadside, a road kill lies busking in its bloody fur
Greedy for tempting hands
Capitalist dollar signs blushing on retinas
Bleeding ecstasy
The vision of a fur coat
Is a dangerous form of exploitation for the predators have an endless appetite
The protesters groan
Audibly
As if fluorescent signs aren’t potent enough in the prevention of an ascending road toll
Trespassers of the graveyard
Yawn at the smell of plastic flowers

Roses defaced for a permanent fix
Isn’t possible
In the graveyard a ghost sits staring outside the road for its next victim in the hierarchy
Of replacement
Fresh flowers
Are so needy
A means of articulating concern
Given the ghost needs attention
It’s too bad
For people too
Endure their creaking bones on a daily basis

Fetch some of your dogs to do the fetching round here employment is scarce
And scary
The contemplation of death as compulsory, is simultaneously relief and burden
According to depression
Or pleasure respectively
In retrospect
A modern city devoid of charity is a hell of a hole
You can steal
You can sin
You can be yourself
If only karma was humorous

Desperate Allegations Pleading For Victims



“Buste de femme (Dora Maar)” (Female bust (Dora Maar)) by Pablo Picasso (1941)


When a butcher and a bastard sit together there are plenty of fish to land on your face
The mask you’ve always been after
Landing its big break
On frail bridges
The facial architecture of useless planning
Unflattering air creeps through the nostrils of which is the slime to lubricate the slide
The scoop of an epic failure
Poured on mountains of virgin moss
Disgusting the discharge worn on the sleeve
Of arrogance
Green is the colour of choice

So smudge on nature against the asphalt
The mouth is a host of something unpleasant
The evolution of a narcissist will consist mostly of flattery and the accusations of dishonesty
From the flattered
Or flattering
If any is true
The roots of your moot is dumbfounded
The victim of poor choice is seeking a remedy
For trauma is absolutely a pest of tranquility, take Vodka from medicine cups
Advises the incorruptible
Pleasure needn’t be stressed about

Does blood contain flavour, that mosquitos should favour certain victims over others
A wounded mess
Needs cleaning up
Considering the flair for upheaval
So many people come counting on failure to please themselves
On all accounts it is scary to think of an empty brain
Possessing itself
With the prophecies of the fortuneteller, who abuses the blue pigmentation of the artificial
Favoritism is deadly
Begging
Is there really a difference between a gentleman and a gentle man

Babies Boarding The Boredom of Being Adults



“Portrait d`Olga” (Portrait of Olga) by Pablo Picasso (1921)


As the clothes aren’t even cheating the winds well, the sun is a corrupt piece of adornment
Rendered useless
Due to the pride of establishing popularity
Rise somewhere else for someone requires a seat
On public transport
It is a custom to judge
Do it quickly
For it is fleeting the vacancy for taking a break
On the cold surface
A strand of hair dangles off the chair
Covered in systematic velvet

The uniform of the bus furniture begs a different question dependent on the mood
Of the day
There is no time to waste on superficial chatter
But engage if you must contribute to the execution of silence
There is a piece of mind made to conserve energy
Preserves it for realism
Instead
Speaks of harsh stories
Told by the bulldozers of sleep, the microphone internal shrieks for no apparent reason
Stop stopping
For no one is brave enough

To flee the circuits of duty
If asked as a favour, what a sour request
What a disgusting mess on the seat next to yours, violated with the deprivation of manners
Decency is expensive
It appears the surveillance is futile
Fragility slams against the windows that scratch on their own accord
The announcement of arrival is always nerve-racking
Always anxious
The onlookers of diligent schedules are dying
Their eyes rolling in correspondence
Like guns reloading

Adventures As A Given of Bloody Relevance



“Enlèvement des Sabines” (The Rape of the Sabine Women) by Pablo Picasso (1962 – 1963)


Nurtured to ingest the bitterness of sore losers, our uncles who sip on the fears of their blood
Spoilt with rebellious character
Digging graves at four in the afternoon
Croaking like frogs
Thirsty for beer
Some poison to ease the sores of lost victories
Those never meant to be, stung by string rays
Floating amidst the pollution of self-pity, the chorus of a death song sounds itself
Enlighten the prisoners
Who dig heedless of direction into the soul of the earth
That bleeds the dirt

Of earthworms
A phobia bred of pink struggles, the predators of their own downfall
Moisturize enthusiastically, the bed that feeds the spine
Tired and ready for rest
Eager as always to sing along, to pour over the top, of the glass of the poor loser
Over the top is nature generally speaking
That gives and takes away the eyes
Fit for a fit
It is sad to see a stranger tantrum
As an adult
What causes guilt

On the streets, they’ve bizarre layouts for drunken people
Feeding off the moon
Howling the norm of identity crises
Taking exits where responsibility is due
Turn to the nearest consultant
At the corner store that restores ego
Alert danger towards the support systems of the raging man, asserting uncalled for authority
How foul and selfish it is to sing
While others are sleep
Death is not a destination
It is a result

Yearns For The Release From Fake Affairs



“Olga Khokhlova à la mantilla” (Olga Khokhlova in the Mantilla) by Pablo Picasso (1917)


Chant on the trigger of a treacherous act blurred out by the boundaries of blushing follicles
Lingering is the pollution
Paying attention elsewhere
Brains that feast on a future
Of a storm throws a tantrum inside the walnut ward
Bubbling with spontaneous drama
The realisation of infidelity is a stab that evokes the gore of the precious
Spilling all over the premises
For a fountain is always a grounds for conversation
Colour the face with a stark assertion
That hurts, it hurts

Struggling inside the skin of itself
Withering
Because of the weather
Attend to the fraudulent acquaintance
Seated not by arrangement
Come into the circle of the intellectuals, the radicals to find the placing of brains
Scaled on the spectrum of fidelity
The newcomer is a sign of caution
By default, beware
Of the heads sitting heavy, burdened by disgrace, the confrontation of illusion is disastrous
Rolling they’d rather down the flight of stairs

There’s no such thing as a rough surface on these grounds
Sandwiched by courtesy
Why do some people insist on the revolution of gloves as pocket squares
That the breast does protest
Against the orders of the unnatural customs
Customized for the most pretentious
Employing tailors for fancy dress
Dress yourself
With second thoughts over the blazing velvet on broad shoulders, the pillars of confidence
Stiff and difficult
The digestion of arrogance

Monday, 23 May 2016

Quantifications of Damage from the Delusions of Danger



“Femme assise au chapeau” (Seated Woman with Hat) by Pablo Picasso (1962)


Silence is a grounds for conflict for the too proud to provoke firstly some speech
Slaughter the cheater
Who forges the occupation of company and a set of demands in general
Never take the ranks of the loner
Says the leader of their own failure
It isn’t contempt or jealousy that fuels the desire to roast the oh so average
Whose limbs spill from the tattered bag
Known as the body
A disaster bubbles underneath
Disguises with red cheeks
The impression of health is always deceiving; even the doctors shrug

For mercy is often subjected to the only sincere
As currently spoken a familiar stranger creeps behind the thin glass of some dirty window
Sensation colouring the cheek
Of the cheeky
Glorious vice
Built into the personality of the subject discussed are the malicious fibers of being
Concealed underneath the scalp
Of the thin haired
A hairy situation
Flourishes suspicion from the wise
For even flowers are insufficient in the grip of the said, if here to sustain trust

Sustainability is absent a practice
On the premises of disease, a cough is a bomb and a cough is a prophecy
Drawn on the eyelids are allusions to trauma
Calling on the conscience of the inventors, have mercy
For the falling
The best about knowing is recognition
Thus caution the eyes and the ears of the weaklings to the hurried strides of the collectors
Of whatever nature
It inhabits the right
To exhibit authority
What does it mean are you decent

Undergoing the Pressures of Consistency



“Portrait de Lee Miller a l`Arlesienne” (Portrait of Lee Miller l`Arlesienne) by Pablo Picasso (1937)


Determine against the ostentatious support of vulnerability, a false commitment
Deemed on the day of the weak degrading
Form the barriers of loyalty
As trespassers, look on from the outside
Commentary is welcomed
But by no means a necessity
Voices are weeping to vilify the attempts of poor actors, forging their differences
On the premises of disease
There is no tolerance for bad acting
Thus swipe
Away with the gross disguise, leaking and spilling

All over the face is a wealth of clues
Into the honesty of dignity
Consume with extra special consideration the affectation of those who cry well equipped
For the fickle stage is a testament of all sorts
The walls of velvet are delusions of comfort
Catching its prey
With soft propaganda
Colloquial with the dust and gore of ancestors
Bloody heritage
Oh sucker, let it be on its own terms
The harmless trap it ought to behave itself

For the consequences of corruption are unheard of here
The verdict
Suspending on the nerves of the eager participants, the examination of designation  
Marked with stick figures
Fiercely lit in the eyeballs of the rich
They chant
They chant their mantras
They chant because they can
Exploit of the practice of purification
Sinners are simply
The products of their experimentations falling foul and far too fallen

Misfortunes of Suffering Suffered by the Undeserving



“Portrait de femme (Olga)” (Portrait of a woman (Olga)) by Pablo Picasso (1920)


Strike savagely at the hinges of the creaking door, by the declaration of inner strength
Triumph territory
Or claim esteem
Extract from the conscience of the usually stubborn, a dose of hardship
Worn on the responsibilities of those who sleep
Who shift at night
Ever ready
Ever eager to storm out the premises of disease
It is such a shame, in regards to the failure of realising the desire for catching glimpses
Of those shifty people
Excuses are the identity tags

Hung around their tortured necks, explicit with the evidence of a sleepless night
Burdens the body
Where it benefits reputation
Layer the anecdote with the descriptions of vivid suffering; the viscous snoring
Of wasted comrades
Companions are always competition
In the process of establishing enemies
It is necessary to judge on flamboyant exaggerations
The will to render a victim
From the slumps of the same vein
Extract the precious gore

And smudge the such onto the bed sheets of light blue silk, simmering
Under the artificial light
The impression of urgency is warm around the wrinkled cloak of inflated interiors
Who will flinch
With embarrassment
Poverty is still the concern after the approaching anniversary of nine decades
Someone ought to be ashamed
Of themselves
Or their relatives
A lack of emotion is the justification
For cruelty strives

Yielding Before the Inventors



“La femme qui pleure avec mouchoir III” (Weeping Woman with handkerchief III) by Pablo Picasso (1937)


Swollen eyeballs inside worn-out sockets, swirling with the expectation of performance
Played in front of veterans
The tragedy of falling victim
On all occasions a flower will celebrate indiscriminate of the giver
A fully-fledged illusion, breeding happiness per request
The showcase of exotic produce
Flaunting itself before the perceived inferior
Never mind the protagonist
With detached imagination, who floats elsewhere, in search of fidelity
It is torture to sleep without boundary
In order to strive

The invasion of the troops is difficult to become witnesses of, of disbelief, of reality
The glorification of being affected
Provokes the urge of spilling waste
On the slippery floors, be cautious of those who slither
On the tip of the stubborn finger
A fraud is someone who slithers
Into and throughout the premises of disease
An actor comes with a bare face, after the headline of a noble contention
Disguised through the intricacy
Of playing coy
Of being innocent

Forming crowds for a spectacular show
Anxiety... the grounds through which the attendees stomp and stroll their heads through
Bloated with curiosity
A flawed proportion of grief
Is critiqued
By the seniors of experience in every scenario
There is always a snake
Whose poison educates
An audience of oblivion
Or otherwise enter with preparation
For emotional turmoil is kindly regarded

Keepers of Trepidation Whether Real In Other Respects



“Hommes et femmes nus” (Naked men and women) by Pablo Picasso (1967)


Nurture a grudge with a worn-out set of flaking hands, tired skin from anti-bacterial wash
There’s a burden etched on the bedpost
The warning of allergy, reads seafood with three O’s
Accusations of which are flung generously
Across the premises of death and disease
A ghost lingers keenly
In the queue of incoming visitors, concern is on the registration
Just in case indifference will freeze
Onto the forehead of the bed-ridden
It's dry and itches with purpose
For artificial concern prompts the allergy regardless

There isn’t a single stem of nature where the opportunity presents itself to pay respects
They are waiting for a different location on a different day of an unfortunate twist
Events are the such juggled and juggling
On the tip of the short nose
Communication is the means of fulfillment
Too cheap to cover the cost of transportation
Render a taxi out of a human being
Frail and reckless
Boiling freckles on unsure cheeks
On the freeway the siren screeches for attention
Sizzling with anticipation

Responsibility invades through the gap of the silver door
A post on the service of legitimate duty is hardly sufficient if sought is the praise, of yours
Selflessness
Seek elsewhere
For morals drown loose on the sleeves of the establishment
Reputations on faces
Are more credible
Than those on cards
The fate of debt and deprivation
Exploits the nervous systems of the cowardly vague, soaking madness, speaking of which
Naturally devoid is recreation

Monday, 9 May 2016

Misinformed Braggers and the Unique Inclination to Drag On



“Tête de femme” (Head of a Woman) by Pablo Picasso (1907)


A trumpet in the ear of the struggling student releases the melodies of a dying whale, dead
On a daily basis
Dusting off window ledges with more bacteria
From the old cloth
Wrinkle out the mentality beached on the land of responsibility
Where the entry is free
Lay over the inches of the thick skin
A blanket of a silver robe from the surface of which dispels fur
Faux in form
The stress that haunts the halls of the walnut ward
Trickles upward

The staircase supported with the cranes and the introductions of old people
Confronting and unfamiliar
Still smiling with ease
Despite the evidence of old persistent frowns, now merging with the emotions of contentment
Is worn with so much grace
A cloak to disguise vulnerability
The identity crisis at every age
With no solution
For every student
Is dying a new and tragic death at the mercy of the professional, doubtful superior in common
A power granted, strangely, to a select few

The urge to speak on demand
Raises arms at the prompting of a craving for praise
At war in the classroom
Two speakers launch their lethal weapon of bilingual harassment to impress their superior
The lieutenant
If you will
Interfere now
Please do, for the air conditioner is making sufficient noise in the background already
One claims defeat
As surprise
The humming emphasises, finally, the victory of the bigger fool

Quarrels With the Disgusting Forces of Physical Hindrance



“Portrait de femme (Marie-Therese Walter)” (Portrait of a Woman (Marie-Therese Walter)) by Pablo Picasso (1944)


Spill down the spine of the cheesy shivering person, a truckload of cringing material
Worthy of cringing the bones
Scan the silhouette of the above
In addition to the skin of which flakes around the dimensions of the diameter
Of the density of the bone’s fibers
Inject the illogical fear of embarrassment into the pigmentation of cheeks
Who are the traitors of confidence
A back that hangs like a hammock
From which suspends
The gasping of strangers provoked by sympathy or arrogance
The conditions of which the surgeon inclusive pleads ignorance to

A flushed out face is a glorious venue on which is provided the ideal conditions to laugh
At the people
Intended for entertainment
Dead audiences are handfuls of dread
Inscribed on the back of the sinner
Allergic reactions to nuts, a hell of a lot of balls for busting
Worshipping disaster
Gone right
Floored on the flaws of devotion
A trickle of piss runs down the leg of the red-faced
Who skips to the loo

With a poo in his pants
Feather the nest with nostalgic flashbacks of happier times
For example: a clean blood test, a tired blood nose
A resolved flu
Distract the brain cells, those responsible for the characterisation of foul personality
Are inexcusable
The walnut ward isn’t quite easy to shut down
Or shut up
A pesticide that breeds life that can love itself or hate itself is a disturbing quality
Granted by the grace of whom
Is still sobbing

Young Brats and the Bliss in which to Thrive



“L'Arlequin assis” (The Seated Harlequin) by Pablo Picasso (1923)


Who would ever expect a thrower of acid to wear an authentic Rolex
Decked out in rich colourful diamonds of which is ambiguous gender for it needn’t be clear
Who walks past the big storefront
With pity for themselves
Tap yourself on the shoulder, for the body is free
Of cruel marketing techniques
Nothing quite triumphs the manipulation of an image's contrast
With a billboard, bigger than the urges of a teenage man
Setting camp
For awakening on Saturday morning via stimulation
Is really called for

Commerce your agent for mass exposure
Parade the goods in front of three shaken judges, otherwise known as three ordinary people
Who are paid to judge
Fit the description for idealism
Unattainable is the reach of satisfaction
Climax on the ringtone of a strange fella affirming in the declaration of bargain hunting
The lack of fulfillment
Calls for stronger advertising
Comes from within
The desire to sort out
To sift through the trash of the superior

A magazine
On the cover of which reads the generic slogans imprinted on infant brains the notion of sex
The image of censorship, endorsed by the capitalist pig
Snorting cocaine
Since office hours
Stand at the office door for the natural selection of witness bearing
The greatness of random encounters
With fake people
Lean against the reinforced cardboard, a pair of ears to supply the imagination with a quarrel
Between two parties, held on the grounds of nepotism
A bomb to discharge the goo of ego