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

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What's it all about..
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"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

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Manifesto

We Declare:

    That the suffering in Gaza is not a distant conflict but a wound in the conscience of humanity.

    That silence and political games by so-called Western defenders of democracy are betrayal incarnate.

    That art, music, and truth must tear through walls of apathy, breaking chains with sound and spirit.

    That to remain silent is to support the erasure of life itself.

    That we rise—voices united, hearts aflame—to amplify those crushed under siege, to shatter the walls of oppression.

    That every beat, every echo, every lyric becomes a rebellion against forgetting.

    That through collective awakening, we reclaim not just Gaza’s future but the soul of humanity.

/ -- . .  -- . -- .. --  I AM LIVING PROOF

/ : fictionalive, August 16, 2025 - 4:21 pm

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Disclaimer: Ladies and gentlemen, and anyone who needs a special mention, I'm throwing caution to the wind and speaking out about this chaos. I'm going live, ready or not. So, sit back, relax, and try to enjoy - it's all for your own good.
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/ -- . .  -- . -- .. --  I AM LIVING PROOF
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"NOTHING UNDER THE SUN IS NOT PART OF CREATION, NOR IS IT NOT CREATION ITSELF—IT'S ONLY WHAT YOU MAKE IT. NO JUDGES, NO DIVIDES—UNITY." 
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/ : fictionalive, July 30 - 11:11 am
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//
For This Is The Voyage, The Legend, The Song – Where We Belong
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/ Keep shining
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"NOTHING UNDER THE SUN IS NOT PART OF CREATION, NOR IS IT NOT CREATION ITSELF—IT'S ONLY WHAT YOU MAKE IT. NO JUDGES, NO DIVIDES—UNITY."

1. Philosophical and Metaphysical Context

This phrase operates on a profound metaphysical premise rooted in ancient and modern spiritual thought: the idea that everything within existence ("under the sun") is inherently part of creation, yet simultaneously defies a simple binary of "creation" and "non-creation." The double negation — “is not not part” and “is not not creation” — serves as a dialectical device emphasizing paradox rather than straightforward affirmation or denial.

Nothing exists outside creation’s domain. All that "is" is both a part and a reflection of the creative whole — but perhaps creation is not a static “thing.”

It touches on panentheism or even non-dualism, suggesting creation transcends our binary modes of thought.

In this sense, the phrase challenges rigid ontologies. It rejects compartmentalization — what we consider ‘created’ vs. ‘uncreated’ is a false dichotomy.

2. Existential and Constructivist Overtones

The clause “It’s only what you make it” signifies a turn from metaphysical absolutes to personal agency and interpretation.

Creation is not a fixed category but a creative, subjective, and participatory process.

Reality is texturized by human meaning-making — your perception, actions, and judgments shape what ‘is.’

This brings in vibes of existentialism and constructivism, affirming our power and responsibility in shaping the world and imbuing it with meaning.

3. The Ethics of Judgment and Division

“No judges, no divides” strikes a moral and social chord:

It calls for radical acceptance — no external or internal authority imposes judgment.

It opposes division, sectarianism, or exclusion based on arbitrary or prejudiced distinctions.
This has echoes of universalist humanism and inclusive ethics, a plea for unity beyond fractured identities, labels, or separations.

4. Final Summation: Unity as a Creational Ethos

The closing refrain “UNITY” serves as the conceptual apex:
Unity is not merely a formal condition but an existential and creational ethos, holding the paradoxical unity of all existence despite apparent differences or judgments.
It is a call to embrace multiplicity without fragmentation — wholeness that contains diversity.

Style and Rhetoric

Paradox and Double Negatives: The use of double negatives (“not not”) is daring and poetic, evoking the style of Zen koans or 
Hegelian dialectics — prompting reflection rather than offering a direct statement. It challenges the reader to dwell in ambiguity and complexity.

Capitalization and Punctuation: The em dash creates dramatic pauses, underscoring the key thematic shifts; the capitalized “UNITY” acts as a powerful, summative slogan or mantra.

Economy of Words: Despite its complexity, the phrase remains succinct, poetic, and emphatic—a hallmark of impactful philosophical proclamations.

Cultural & Literary Resonances

Biblical Allusions: “Under the sun” recalls the Book of Ecclesiastes, with its contemplations on the nature of existence. This embeds the phrase within a long tradition of existential inquiry.

Contemporary Spirituality: The phrase resonates with New Age and postmodern spiritual ideas emphasizing non-duality, co-creation, and global unity.

Political and Social Dimensions: In a world segmented by ideologies and conflicts, “no judges, no divides” can serve as a subtle political manifesto for peace and acceptance.

LAPLAGE59 is a French electro artist on the border between French Touch and electroclash, a noisy and stylized heir. Never use A.I as suno AI or others AI . He composes abrasive pieces where slapping beats, sharp silences, and fragmented voices collide. Between cold glamour and inner urgency, LAPLAGE59 sculpts a raw, metallic, and sensual sound, like a synthetic wave crackling on the skin. An electro that disturbs, that caresses against the grain. ( infiné M )

프랑스 아티스트 laplage59는
일렉트로닉 음악을 중심으로
모든 장르와 자유롭게 융합합니다.
그의 음악은 케이팝, 재즈, 하우스, 샹송까지
국경도, 규칙도 없는 세계를 만듭니다.
laplage59는 스타일에 갇히지 않고
자신만의 감성과 리듬으로 소통합니다.
그에게 음악은 실험이며
예술은 자유입니다.
그의 사운드는 경계를 무너뜨리는 목소리입니다.



🎧 LAPLAGE59：ジャンルを越える音の旅人

LAPLAGE59は、フレンチ・タッチとエレクトロクラッシュを軸に、あらゆる音楽ジャンルをエレクトロに変換するアーティスト。ジャンルに縛られず、常に冒険を楽しむスタイル。

「音楽は人をつなぐ」と信じ、国境のないサウンドで、リスナーの心に直接触れる。


Laplage59 — Artista Eletrônico de Toulouse

Laplage59 é um produtor de música eletrônica de Toulouse que mistura estilos para unir as pessoas. Inspirado por Mirwais, Daft Punk, Gilberto Gil e Satie, ele cria uma fusão de beats eletrônicos, grooves globais e harmonias sensíveis.
Sua música é viva, humana, cheia de pausas, ruídos e emoção.
Mais que fazer dançar, Laplage59 busca conectar.
Unir pela vibração — esse é o seu som, esse é o seu sonho.

Laplage59 — Электронный артист из Тулузы

Laplage59 — продюсер электронной музыки из Тулузы, который объединяет стили, чтобы сближать людей.
Вдохновлённый Mirwais, Daft Punk, Gilberto Gil и Satie, он создаёт смесь электронных ритмов, мировых грувов и чувственных гармоний.
Его музыка — живая, человеческая, наполненная паузами, шумами и эмоциями.
Laplage59 стремится не просто заставить двигаться — он хочет соединять сердца.
Объединение через вибрацию — вот его звук, вот его мечта.

Laplage59 — Nghệ sĩ điện tử đến từ Toulouse

Laplage59 là một nhà sản xuất âm nhạc điện tử đến từ Toulouse, người kết hợp nhiều thể loại để kết nối con người.
Lấy cảm hứng từ Mirwais, Daft Punk, Gilberto Gil và Satie, anh tạo ra sự hòa trộn giữa nhịp điện tử, giai điệu toàn cầu và hòa âm đầy cảm xúc.
Âm nhạc của anh sống động, giàu tính nhân văn, đầy khoảng lặng, âm thanh thô ráp và cảm xúc sâu sắc.
Hơn cả việc làm cho người ta nhảy múa, Laplage59 muốn kết nối tâm hồn.
Kết nối qua rung động — đó là âm thanh của anh, đó là giấc mơ của anh.

Laplage59 — Artista Electrónico de Toulouse

Laplage59 es un productor de música electrónica de Toulouse que fusiona estilos para unir a las personas. Inspirado por Mirwais, Daft Punk, Gilberto Gil y Satie, crea una mezcla de beats electrónicos, grooves del mundo y armonías sensibles.
Su música es viva, humana, llena de silencios, ruidos y emoción.
Más que hacer bailar, Laplage59 busca conectar.
Unir a través de la vibración — ese es su sonido, ese es su sueño.

електронний артист з Тулузи

Laplage59 — продюсер електронної музики з Тулузи, який поєднує стилі, щоб об’єднувати людей.
Натхненний Mirwais, Daft Punk, Gilberto Gil та Satie, він створює мікс електронних бітів, світових грувів та чуттєвих гармоній.
Його музика — жива, людяна, наповнена паузами, шумами та емоціями.
Laplage59 прагне не просто змусити танцювати — він хоче з’єднувати душі.
Єдність через вібрацію — ось його звук, ось його мрія.

Laplage59 — Elektronikkünstler aus Toulouse

Laplage59 ist ein Elektronikproduzent aus Toulouse, der Musikstile verbindet, um Menschen zusammenzubringen.
Inspiriert von Mirwais, Daft Punk, Gilberto Gil und Satie erschafft er eine Mischung aus elektronischen Beats, globalen Grooves und gefühlvollen Harmonien.
Seine Musik ist lebendig, menschlich, voller Pausen, Geräusche und Emotionen.
Laplage59 will nicht nur zum Tanzen bringen – er will verbinden.
Vereinigung durch Vibration – das ist sein Klang, das ist


https://www.tiktok.com/@laplage59?_t=ZN-8yneymfYQoI&_r=1

Genocide, June 2025:
Israel is only the executioner, every nation which has armed that country in the past year is an accessory to that genocide, an accomplice, a facilitator.  We cannot talk about war crimes because when you target unarmed civilians, mostly women and children, we are talking about a massacre, like terrorists do, not a war. The people who orchestrated that massacre, in the US, the most duplicitous, followed by those of the UK, Germany, France, and probably a few lesser ones should be tried for crimes against humanity just as well as Netanyahu and his cabinet, because it has been going on for two years, generously reported by media of all kinds, so the enablers knew exactly how the arms were to be used, as a tool for revenge, domination, and humiliation of the Palestinian people.  The conflict has ceased to be about the defense of anything for months.

The parties responsible have made a mockery of decency, morals, fairness, proportion, or justice, not to mention empathy.  Of what little there was, these concepts will be a lot longer to come back than they were to be struck down.  

Is it 1984 already?!?!
 ...

I have not been able to recover access to my other account [https://soundcloud.com/ha-kekong] for a couple of years.  I have tried a few times to get back into it but SoundCloud doesn't trust me.  Same phone number, same email addresses, and they still claim that they can't verify my identity.  I created that account about three years ago as a substitute to my regular account which SoundCloud temporarily closed.  They closed it as part of some upgrade procedure in their system, the result of a bug that affected many accounts, about two years ago.  Since SC did not inform its users I didn't know if that was permanent or not, so I created that other account which I can't access.  Don't be mad if I have not replied to your message in the past two years, that's because I never got them ; ) ... You can always reach me here though.
...

This one here (957729823) is for regular folks.

I love you, both.

...

You can't see it because of the angle with which I took the shot, aiming down, but beyond those blocks is the sea.  To the left is the Mediterranean, to the right is the Atlantic Ocean.  No it's not Gibraltar, but a little bit further West. ... Actually I checked recently and it is further North more than West, I thought I was facing South when in fact I probably was facing the Atlantic ocean, which is why I suppose the waves were of a decent size where we were.
...

My face and the bike are a courtesy of Joël Vaudreuil
[https://vimeo.com/user8897093]  ... Merci Joe!
I then went ahead and butchered his work with a borrowed helmet.
... Sorry Joe. =(
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I'm trying to promote what I think is good music, so if you want to help out a bit I'd rather you [like] or [repost] my *playlists* rather than my field recordings, if you don't mind, unless you are a die hard fan of those things. Thank you ; )

I speak French, so if you send me a private message, and that you are a francophone, please write in French, thank you.  ... I mean, you don't absolutely have to, but I would prefer it. 

All my field recordings (except for when I record a person) are public, freely downloadable by anyone who is able to click on the button.  I encourage anyone interested to use them in any way whatsoever, on purpose or accidentally. No need for permissions or credits or any other kind  of administrative maneuvers.
...

Anarchists give me hope.

I'm a big fan of EFF.  Love ya EFF.  (no connection with the above line)
... and of course Richard Stallman and Linux and all the others.  Bless yous.

Now don't be lazy, go find out what it is this "EFF" that I'm talking about.  I'll give you a hint: it has to do with computers.

You have a nice day now.  Hugs & Kisses.

Colonial Powers, The Legacy That Never Left The Building

fictionalive ⭕️ UNITY