/
Colonial Powers, The Legacy That Never Left The Building
/
/
lyrics: fictionalive
music: mobygratis
written, produced, licensed, and provided
by mobygratis
/
coVer ArT fictionalive DYI, wall shot 01.001.02
/
fusion of it all - fictionalive with the popoems series and the hyper media reports
/
/
dropped
Wednesday, August 6th, 2025
05:50 AM Central European
Hot Summer Time Zone
today, not so so much so
/
/
*
/
// keep shining, crazy little diamond

/

/
What's it all about..
/

"Colonial Powers, The Legacy That Never Left The Building"

This title, poised on the cusp of irony and indictment, addresses its subject with the stylish precision of a rapier’s point. It evokes not a dusty treatise, but an invitation—a salon, a stage, a chamber in which the ghosts of history pace the parquet floors still.

First, observe the flourish: “Colonial Powers,” those familiar colossi, are not consigned to the tomb of history but linger on, uncannily present. The subtitle—“The Legacy That Never Left The Building”—is, for the feuilletonist, a masterstroke of sardonic wit. It both plays on the pop idiom (“Elvis has left the building”) and subverts it; here, the ‘star’ of colonialism remains stubbornly present, lingering in the architecture, policy, and psyche of postcolonial spaces.

A featherlight sarcasm hovers above the phrase, the kind that—with a knowing wink—invites the reader into a tacit complicity: of course the legacy never departed; did we ever truly believe otherwise? The construction conjures irony, a chief weapon of the feuilleton, and implies a skepticism learned by long acquaintance with the tricks of history and the repetition of power.

In the grand tradition of feuilleton writing, the title itself is both diagnosis and epigram. It distills a complex and ongoing wound—economic, cultural, and psychological—into a phrase brisk enough for any café table debate, yet sharp enough to lacerate complacency. The cadence, with its comma and deft repetition, creates a rhythm of announcement followed by wry afterthought: here is the topic, here is the verdict, subtle as a raised eyebrow.

Stylistically, it profits from the feuilleton’s hybrid nature: journalistic immediacy (this is happening now, everywhere); literary artistry (the phrase hits with double entendre); societal critique delivered with a velvet touch. It would not be misplaced, one suspects, at the bottom of a Sunday paper’s cultural page—nestled among witty rebukes, conversations with old Europe, portraits of vanished grandeur, and exposes of lingering injustice.

In sum: the title stands as a crisp, satirical banner—lucid, layered, and perfectly feuilleton. It raises its subject not with ponderous solemnity, but with the bracing, intimate skepticism that is the feuilleton’s signature. On guard, indeed: the building is filled with echoes, and this title leaves no doubt that someone—or something—has stayed behind.

Plaintext and ready for instant release, Captain!

Colonial Powers, The Legacy That Never Left The Building

kosmische Landschaft

We all fall down again
And turn our pockets out
The revolution
Just goes round and round

So we bow down to them
They turn us inside out
And make excuses for
All the killer clowns.

If you've had enough of all this endless stream
Of truth and meaning
Just follow me
If you've had enough of the lies they tell you
Every day, just follow me
Follow me

Killer Clowns

Whispers In The Wind

You'll Always Shine

My eldest son grew up playing keyboards, to cut a long story short, I used to borrow his keyboards at times and using the auto rhythms/bass used to knock out a tune with one finger. Well, I did play guitar so I suppose I did use more fingers but always one after the other. I quite enjoyed the sessions and recorded the outcomes on reel to reel tape  or later on cassettes. I have posted a playlist/album of these disasters on Soundcloud, just for complete journaling of my musical journeys...

The recent covers I have been doing of my early songs and recordings set me thinking... I decided to see what Suno could do with these instrumentals and this is the first - and possibly the last experiment. But I was pleasantly surprised again.

EXSTATIX

Keyboard as Piano and B3, Lap Steel, Bass, and VOX from Studio One, drums adapted from OddGrooves.

Looking for Light

open doors 9.6.25

A liturgical descent into dust and memory—“Antiquaries” exhumes the ache of forgotten relics, mapping grief as sacred architecture. Bleak Cathedral conjures a sonic reliquary where every echo is a ritual, every silence a tomb. For those who walk the threshold between beauty and ruin.

Soft And Warm

Corné