Starship M’sia 2010

STARSHIP M’SIA 2010: an Excruciating Prose, Thankfully Brief, for our Painful Times

The trajectory is unequivocal. The data is hard and damning. Our resolve is soft and tepid. There is no doubt. We are in freefall into the singularity. Ass. Ey. Aye. Eff. You. Elle. The sickening mantra repeats in an endless wall of sound, a sex hex broadcast to nauseate streams of consciousness.

We try to paradigm shift. But the brains have drained. The sink is empty. The gears don’t work. Only idiots left at the helm, steering us into oblivion with black hands and narrow minds. These donkeys of disaster. These clowns of calamity. Orchestrating dis-chord progressions and minor keys, drumming up paranoia, disinformation, misinformation, they weave a concerto that evokes the ghost of the Third Reich.

And what about us? Maybe we’ve been too silent, hoping against hope, gravity be damned. Instead, we be doomed. Do we hold hands? Find our humanity, our compassion? Will it overcome evil? Overturn physical laws? Or maybe just unjust laws? Or do we abandon ship?

Answer fast for our time is nearly up.


Mian‘s favourite musician is Lord Bobo. His Supreme Eminenceness is well known for his ability to play a total of 25 instruments, and to compose, perform, and produce albums all by himself. A veritable one-manmonkeyband (some say control freak), his career started its meteoric rise in the mid eighties with the release of his soundtrack to a movie starring him and the babelicious Apollonia Kotero. His songs about smooching, velvet rain and crying birds are considered modern classics. Waitaminit! Is His Supreme Eminenceness the artist formerly known as The Artist Formerly Known As…?

Posted on 21 February 2010. You can follow any responses to this entry through the RSS 2.0.

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