trip-el-et.

it seems good things come in threes.

the three legs of the iconic peace image that drove revolution and change. the three leaves on a the clover that never seems to age. the three beats in a waltz... like the last one on fillmore's stage.

yet if i write with a rhythm that can be arranged into threes, it seems that i start to lose peoples' attention.

they say they only want things in fours.

four over four. eight over eight. it seems like society wants it straight... they want it in a predictable, digestible, vaccinated production that lacks soul. without this soul it is empty... a person who seems to have lost the will to live. music and art and revolution full of such empty promises and misguided desires can culminate in progress or regression. obviously, regression is fucking weak.

so we've identified the problem with thinking in fours - its regressive.

many revolutionaries, from the beatles to those fools in the management dptmt. have utilized four/four. doesn't it get old?

maybe.

this leads me (in a roundabout-never-thought-i-would-get-there-way) to my point. four-on-the-floor funk just seems to hit your deepest parts better than almost any other kind of beat. it's the 1, 2, 3, 4 that makes the world go round and keeps my heart beating.

feel no pain.

that's the only thing about music that matters. luckily, it's just three words.

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#intheheadphones :: bob marley - rastaman vibration

roots. rock. reggae.
yup, of course it's a three.
trip-el-et.