Words, Thoughts, Poems, Unsoliceted Advice
Projecting on the Melbourne Town Hall
Replacing the Christmas song this year
With pure force
They used to hang big speakers and play the same song over and over for a whole month.
Now they are bulding a new train station
I don't know which soundtrack I prefer
So I made a new one
Fortunately it lasts only 45 seconds
Radio nature features birdsong for the hours of the light and gives the stage to pulsating insect buzz to entertain at night.
Conducted by swinging trees to a tempo set by wind.
Rivers whisper and drops of rain
Relieve the pain
We dance to nature's song
Its loudness hardly masks the sound of our beating heart,
Deep breaths of fresh mountain air
The power of your sneeze echoing through the valleys,
Can kill an unsuspecting butterfly.
* General information and conditions of use:
Fear has two potential consequences:
One is bad -
Failure and suffering.
One is good -
A rush of adrenalin and sense of accomplishment.
Ignorance has two potential consequences:
One is bad -
One is good -
Childish excitement and no worries.
Failure has two potential consequences:
One is bad -
Suffering and loss
One is good -
Learning and improving chance for future success.
Suffering has two potential consequences:
One is bad -
One is good -
Bulding resilience and discipline.
A rush of adrenalin has two potential consequences:
One is bad -
Addiction and overdose.
One is good -
Joy and fulfilment.
A sense of accomplishment has two potential consequences:
One is bad -
Arrogance and over confidence.
One is good -
The common question is why?
The sensible question is what?
The reasonable question is how?
The urgent question is when?
We should try to be positive about the world and If we identify something negative we must not be afraid to call it, but also not just dismiss as negative, but try to unpack it and discuss why it is negative and what can be done about it.
* General information and conditions of use:
Borcho is a fictional author and poet who almost lived. All rights reserved with Alberto Lies Distribution and Co. (The Publisher) even if the rights are absolutely useless and they’re just reserving them out of pure greed. Finding associations and making connections between the words in the poem and the material world is prohibited. The use of imagination in relation to the metaphorical expressions in the poem is strictly prohibited and whomever attempts such activity will pay for it in the eternal hell fire. The reader of the poem does so under his sole responsibility and any damage caused to the reader including but not limited to waste of time, mental deterioration, rheumatism and cancer in the poetic lymph is dubious as it is impossible to prove that the reader was not mentally or physically incapable prior to the consumption of the poem.
A rough outline to my musical background and aspirations.
My grandpa used to play classical music and opera at home. He introduced me to the Beethoven, Mozart and Chikovsky. I’d listen to the Nutcracker and Beethoven 5th tapes before i’d go to sleep along with other tapes of children songs in Hebrew. My early childhood romance with classical music ended when i started to have friends and mainstream pop music was a thing. at the age of thirteen I picked up my cousin old guitar and decided I want to major in music in high school. Naturally, the guitar and my cousin led me to discover rock music and admire the likes of Nirvana, Pearl Jam, Joe Satriani, Metallica, Iron Maiden, Dream Theatre and later King Crimson Genesis, Pink Floyd, Radiohead and the likes.
Local folk music was always in the radio in the background and some of it i liked and still love. Some of it I mocked but when I hear it today, it's nostalgic. Maybe because Israeli music is less common in Australia.
At the time I started with the guitar, my childish admiration was to music that was loud or difficult to perform. I categorised the music I liked as good. Music I didn’t like was dismissed with accusations of being too popular, too corny, to middle eastern and In general, I disliked what I categorised as bogan music. Often, social circumstances co-insided with musical flavours to deter or attract me from engaging. For example, the rock music I was inspired to play and listen to in the high school music room or at home with friends had a comforting and pleasant effect on me. Where being at a typical popular high school party or a wedding involved loud and “simple” popular music with middle eastern melodies and unexpected behaviours by people that made me feel anxious at times… I felt that these sort of social gatherings imposed inferior music on me that I did not want to be culturally associated with in my adolescence struggle to define my identity.
I took private lessons with the local guitar teacher hero who I could hear smoking bongs before the lesson when I was waiting outside. He taught me basic scales and songs and how to play famous rock and roll solos (the Hotel California Solo, Sweet Child of Mine etc.) At that time, I wanted to be a rock star. I also started doing some shifts at a local sound company which scored me backstage entry into the dubious glamour of the arts and entertainment industry. I played around with large PA systems, trucks, technical production, logistics and for the first time, the human substance, the ego and attitudes of real performers, PR people and management. At that time, my musical aspirations were underdeveloped and mainly consisted of being good at music, which to me meant playing fast guitar solos. The shredding of John Patrucci, Steve Vai, Slash, and others was the holy grail. It took me a while to realise fast and loud does not equal good…
One day, when I was sitting in the school yard during a break, Sarah, the hippy girl from my class approached with her minidisk and headphones. “you gotta listen to this”. She stressed and fitted her headphones on my head. When she pressed play, she started a new area of music appreciation in my heart.
The sound that came out of those headphones was something i’ve never heard before. The track was taken from "Go Plastic” an album by Squarepusher. It was consistent of the fastest and clearest beats I've ever heard, intertwined with infectious jazz inspired groove manipulated in ways I never thought possible, while the melody was subtle to nonexistent. Squarpusher's music proved to me that anything that is difficult or impossible to perform for a human, can be made 'perfect' with electronic music. I saw it as a sign to explore this kind of music more, and worry less about performing complicated guitar solos. I also had no chance of standing out in a music class of about 30 students, half of which are guitarist that picked up a guitar years before me. By the last year of high school i had a different guitar teacher, he didn’t smoke bongs in hiding and taught me to love improvisation. Playing together was what made the difference, but more than playing, it was learning when to listen and when to be quite, when to lead and when to follow and drift. The new approach to music came in the form of listening to new music as much as it was in the form of playing differently and experimenting with technology. As the joke about music goes: “what is the difference between Rock and Roll and Jazz? - In Rock music, you play four chords to ten thousand people. In Jazz, you play ten thousand chords to four people”. I stopped caring about my audience and delved into the world of listening, focusing more on time and scales. i tried to follow Bach's advice - “Playing music is easy, all you need to do is to play the right note at the right time”. I don't know if he actually said that.
Many sleepless nights went by (for my mother and possibly some neighbours) when my friends and I was categorically downloading and listening to music while getting high on weed. We'd explore the world of jazz from contemporary American grooves to oldies and the great European jazz label ECM with artist like Miroslav Vitous, Terje Rypdal, Meredith Monk and many others. Miles Davis, Keith Jarrett and traditional jazz musicians were also featuring regularly on the playlist.
The attempt by contemporary musicians to take the fluid nature of classical and jazz music and combine it with modern electronic sounds fascinated me the most and i tried to keep abreast of the latest releases and backlog of albums. Me and my friends would maintain an infinite list and listen to it categorically. Most of my modest teenage salary would go for CD’s.
I started to get into the music of Bjork, Godspeed You Black Emperor!, Aphex Twin, Mr Bungle, John Zorn. By the time i was 21 I was working at a commercial recording and post production studio in Tel Aviv, recording mainstream music and working on sound post-production for television and cinema while rehearsing and writing music with my band after hours in the studio.
As the variety of music i listen to grew, i stopped thinking about what is good music as i started to be more aware of the affect silence has on music and the complicated relationship between music and noise. In the simplest terms, the paradox is apparent when trying to listen to your favourite tune on repeat. At some point, everyone would get sick of it and it would become a disturbance rather than a source of pleasure.
There must be silence so noise can be distinguished from music. Even the best music can get too much if played for too long or too loudly or too often. The louder my environment becomes, the more insensitive and impatient I become to it.
Music today can be amplified to physically painful levels for unlimited amount of time and result in adverse health effects. It’s peculiar to me that some people love listening to music really loudly. Douglas Adams also pondered on loudness and thus he wrote about the loudest band in the universe: "Disaster Area was a plutonium rock band from the Gagrakacka Mind Zones and was generally regarded as not only the loudest rock band in the Galaxy, but also as being the loudest noise of any kind at all. Regular concert goers judged that the best sound balance was usually to be heard from within large concrete bunkers some thirty-seven miles away from the stage, whilst the musicians themselves played their instruments by remote control from within a heavily insulated spaceship which stayed in orbit around the planet - or more frequently around a completely different planet.
"Their songs are on the whole very simple and mostly follow the familiar theme of boy-being meets girl-being beneath silvery moon, which then explodes for no adequately explored reason.
"Many worlds have now banned their act altogether, sometimes for artistic reasons, but most commonly because the band's public address system contravenes local strategic arms limitations treaties."
This has not, however, stopped their earnings from pushing back the boundaries of hypermathematics, and their chief research accountant has recently been appointed Professor of Neomathematics at the University of Maximegalon, in recognition of both his General and his Special Theories of Disaster Area Tax Returns, in which he proves that the whole fabric of the space-time continuum is not merely curved, it is in fact totally bent.
Disaster Area are fronted by Hotblack Desiato.
Their best selling single was released on Earth under the band name PRISM and is titled Spaceship Superstar
Douglas Adams, The Hitchhikers' Guide to the Galaxy.
For archival and reference purposes - Here’s a list of my 42 most influential artists, albums, books and at some point, I’ll probably add songs in a form of a playlist.
42 “good” Artists in no particular order:
Miles Davis, Keith Jarrett, Chick Corea, Bjork, Radiohead, The Beatles, Pink Floyd, Robert Wyatt, Medeski Martin & Wood, Squarepusher, Autechre, Aphex Twin, Boards of Canada, Silver Mt Zion, Frank Zappa, Mike Patton, John Zorn, Bill Evans, Fredriech Chopin, Bach, TV on the Radio, Portishead, Kaveret, Massive Attack, Manu Delago, Philip Glass, Hanne Hukkelberg, Gorillaz, Mum, Beck, Pat Metheny, Alog, Paco De Lucia, Matt Elliott, Zakir Hussain, Prefuse 73, Miroslav Vitous, Gary Peacock, King Crimson, Nine Inch Nails, Sigur Ros, Terje Rypdal
42 “good” Albums in no particular order:
The Four Seasons (Vivaldi) - Recomposed by Max Richter
The Nutckracker - Pyotr Ilyich Tchaikovsky
In a Silent Way - Miles Davis
Rock Bottom - Robert Wyatt
The Koln Concert - Keith Jarrett
My Spanish Heart - Chick Corea
Red - King Crimson
Making Music - Zakir Hussain
Selling England by the Pound - Genesis
The Grand Wazoo - Frank Zappa
California - Mr Bungle
If You Wait - London Grammar
Black Sands - Bonobo
Damon Days - Gorillaz
Horses in the Sky - Silver Mt Zion
Strange Place for Snow - Esbjorn Svensson Trio
Sea Change - Back
Go Plastic - Squarepusher
La Maison de Mon Reve - CocoRosie
Dummy - Portishead
Metamorphosis - Philip Glass
Amelie - Yann Tiersen
Vespertine - Bjork
An Awesome Wave - Alt J
Fleet Foxes - Fleet Foxes
Ys - Joanna Newsome
Protection - Massive Attack
Ok Computer - Radiohead
Tripper - Efterklang
Little Things - Hanne Hukkleberg
Mitz - The Apples
Uninvisible - Medeski Martin and Wood
Peeping Tom - Mike Patton
Duck Rabbit - Alog
Universal Syncopations - Miroslav Vitous
The Mess We Made - Matt Elliott
Sirens - Nicholas Jaar
Simple Things - Zero 7
Mercy - Meredith Monk
M Ward - Transistor Radio
Rounds - Fourtet
Eureka - Jim O’Rourke
When I play, write, record or practice music, I try to be kind to my neighbours, my lover and myself by not pursuing perfection and settling for mediocracy. My interest in music, sound and noise is wide and i try to keep it like that. If a particular project require instrumental expertise, I prefer to work with someone else. It’s always nicer together. Over the years, the people i collaborated with inspired me to keep going and without the constant feedback of collaborators i would probably get bored with making music.
When I don’t have anyone to play with, I practice and play my growing collection of musical instruments and sound making gadgets. This includes two bass guitars, one is a standard 4 string and the other is a special Kala Uke Bass with strings made of nylon core with silver plated windings. In some of the songs I play Bouzouki, Banjo, Charango, Glockenspiel, Clarinet, Nylon string guitar, my beloved Ernie Ball Musician Silhouette electric guitar I got for my sixteenth birthday and assorted percussive instruments. For electronic sounds there are a few Korg synths including 2 Kaoss pads, Microkorg and a Roland V-11 electronic drum kit. software instrument are mainly Native Instruments Komplete and Logic X built in VST instruments. Recently I’ve added a real flute and a tabla to the collection but the road is still long until I place a microphone anywhere near it.
"Music is a sort of noise, it whiles away for the odd half hour but if lasts for any longer bores everyone, though no one dares to say so. Music nowadays is simply the art of executing something that is difficult to perform, and in the long run, something that is merely difficult, ceases to amuse”
It is striking that these words were written more than a hundred years before music could be recorded.
Today I still work as the interface between culture and entertainment in the radio, museum, various music festivals and in collaboration with artists and filmmakers.
I dream that one day I will live in a world where every sound is pleasant music and life is a dance.
If you are interested in the history, physics and metaphysics of music, and the relationship to sound and noise, I recommend the following books:
On the Sensations of Tone - Hermann Helmholtz
For understanding the relationship between sound and music.
The World in Six Songs - Daniel Levitin
For an overview on what role music played in the evolution of the human brain.
This is Your Brain on Music - Daniel Levitin
For a neurological perspective on how the brain respond to music.
Musicophillia - Oliver Sacks
Extraordinarily compelling accounts of real musical “disorders” in people and the role music has on people who experience physical and mental disadvantages due to illness.
The First Word - Christine Keneally
Further reading. The history of linguistics gracefully laid out to give music further context.
Essay on the Origin of Languages - Jean-Jacque Rousseau
A convincing pre-neuroscince argument for music preceding language.
Discord - Mike Goldsmith
A history of noise. with fascinating legal and social anecdotes.
The Great Animal Orchestra - Bernie Kraus
A delightful book sound and the delicate sonic fabric of nature and the animal kingdom and the devastating effect human development impart on it.
The Universal Sense - Seth Horowitz
Tales of hearing mechanics.
Noise - Jacques Attali
The political economy of noise.
Perfecting Sound Forever - Greg Milner
The story of the development of recorded music.
Music Quickens Time - Daniel Barenboim
An account of how music knows no boundaries.
Information Doesn’t Want to Be Free - Cory Doctorow.
Laws for the digital age. Slightly off topic, ever so relevant given this platform.
The Real Frank Zappa Book
Just for fun.
From racism to compassion, between passionate love and violent war, The milky land of honey craves German made life in the freezing cold of the holocaust. Vegans and carnivores from Tel Aviv to Berlin, paint a digital world with righteous statuses and videos of cute cats. Opinionated taxi drivers and angry bus drivers shedding their hard shell of rage when facing an honest smile. Day to day struggles of students and working people’s life is bonding most of us, our legs threaded with shackles made of gold coins and it is too heavy to rise above the endless sea of illusions kindly produced by the media and conveniently priced for affordable people. It was just a leg in the trip, proving that the fabric of reality is endlessly deep but it can also be simple and sweet. For now I choose to only peer into the abyss, floating in the shallow waters, warmed by the afternoon sun. Surrounded by friends and family to remind myself how nice it is to feel loved, to belong. Until next time, the journey continues. Terms and conditions apply.
Quiet Please, this is culture!
Music posses the power to make people shut up for up to an hour straight, and listen. This incredible feature is evermore incredible when people are in a social environment, such as a live music concert.
This relative quietness of human beings is rare in the city and in modern live music events in general.
Humans omit sound from their mouth and produce it via their limbs*.
During rock concerts or electronic music events, the effectiveness of the sound reinforcement system can over-power any conversation or other acoustic eruption a human can produce (on their own).
Despite this, and despite having a constant and almost painful bombardment of the ears in many modern music events, people still try to talk and laugh amongst themselves and even use noisy plastic bags in public lectures. (plastic bag is roughly equivalent in the level of annoyance to that of a strong whistle by a person near you in a rock concert)
I noticed that in some electronic music and rock events, even in those rare moments, when the music becomes a little more quite, the audience starts to cheer and whistle, and the music can barley be heard amongst a sea of chatter, bar activity, and the loud noise of exited apes.
Some classical music, electrically amplified or not, can change from being very soft to very loud throughout a long piece and so it is expected that people attending a live concert will remain as silent as they possibly can so as to not interrupt others to enjoy the music.
It seems that cosiderable portion of the 10,000 audience members at MSO concert managed to keep quiet enough for the massive variations between soft sounds and loud sounds to be heard clearly. (with the aid of roughly three tones of speaker boxes hanging from the structures cavernous ceiling).
In this series of the orchestra free concerts, alcohol and food was allowed and a picnic was thrown by many on the grassy hill.
The music tamed the intoxicated desire of people to make themselves known by producing sound.
Of course, many could not help themselves and destroyed the experience of many others.
On Wednesday night, Hungarian Dances by Brahms was played live by a symphony orchestra. it was a powerful and inspiring musical success and celebration.
Here is a partial list of actions and objects with a potential to annoy at a public gathering that requires concentration from it’s participants:
Disturbing human noises: Clapping, Whistling, Tapping, Chewing crunchy food, Breathing from the mouth, Sneezing, Snoring, Farting, Blowing the nose / sniffing, Humming, Talking, Crying with pain, Laughing with joy, Footsteps.
Disturbing objects: Mobile phones (and generally any electrical and mechanical object that is unrelated to the performance, even if it is not making any sound. torches or lasers for example) Plastic bags, Glass clinging, metallic cutlery, News papers, Zippers, Velcro, Chair dragging, Doors, Jewellery that makes dandling sound upon movement of the person, Sticky tape, Soda bottles, Aluminium foil.
* and other organs, but those sounds are not loud enough to consider as interruptions, perhaps, except farting, which may cause annoyance in a quiet classical music concerts. I’m speculating that there are more farting people in classical music concerts than in any other live music event, maybe because of the demographics and the food consumed before the concert. It is almost certain that it is more likely to hear a fart in a classical music concert than it is in a rock concert. I wonder if the likelihood of smelling them is also grater in classical music.
When I don’t know
I try to calculate
I try to remember, imagine and guess
Recollect and connect visions with sounds,
Smells with tastes
Study the facts, measure, observe
Asses sensations of failure vs success
I desperately try to recognise danger
But hope for the best
On every thought, decision or action
Pure chance argues with my gut
Sometimes they agree
It makes decisions feels right
It also kicks my confidence up
Which evokes the desire to board the ship of fate
And sail deep into the sea of uncertainty
General information and disclaimer
Borcho is a fictional author and poet who burns books at the barbershop in order to absorb arbitrary inspiration for whistling different songs. The poem and music in this publication were inspired by the unknown and the uncertainty of the poet about allegedly certain things. Any distribution or re-distribution of the poem and music is strictly prohibited except on sad days in order to encourage a positive atmosphere. All rights reserved to Alberto Lies Distribution Inc. (THE PUBLISHER) except the right to freedom which is reserved to any person under the condition that they do not engage in socially unacceptable behaviour. The reader may be inspired by the poetry and music in this publication in accordance with clause 5.12 of the spontaneous inspiration act in which it is stated that “no person shall receive inspiration whether spiritual, physical, literal, musical, nutritional or any other idea from another person who thought about the idea before them without signing an inspiration release form (attached) in the presence of a lawyer, magistrate, milkman, plumber and a magician. The recipient of the inspiration agrees not to use the inspiration in any way other than in accordance with the inspiration release agreement. Any unauthorised use may result in legal action. The maximum penalty for infringement of the inspiration release agreement is interference with the offender’s plumbing, cutting down the offender’s milk supply, insults by a public official and vanishing of all of the offender’s belongings by a magician.
It took me about 30 hours and just over a week to produce 7 short musical pieces, from one minute to three minutes long. All together just over 15 minutes of music divided into daily anecdotes. Every piece was composed, performed, recorded, mixed and uploaded in 3 to 6 hours and on the same night. From tuning the instruments (sometimes haphazardly) to playing, arranging and programming beats to selecting a picture and publishing on the interweb.
Among the participating sounds and instruments: nylon string guitar, electric guitar, bouzouki, glockenspiel, clarinet, drums (midi), viola (midi), cello (midi) double bass (midi) synthesiser (midi) and other bits of digital manipulation of various sounds.
This mini project reinforced my notion that music is indeed everything and nothing at the same time.
It can take a year to make a crappy song or it can take an hour to make a still crappy but less expensive song.
What determines the how "good" a song is, are the people who listen to it and the PR campaign behind it.
A couple of products from this experiment:
Diary Entry 3
My clarinet is off the grid. My beats are tight.
Diary Entry 5 D A D A C# D
Music is like war, mankind cannot live in peace without it.
Diary Entry 7
Thursday’s broken jazz.
Trying to jazz with yourself resembles masturbation - It is fun, but nicer with a friend. If good jazz is like a good game of football with lots of passes, a beautifully orchestrated team effort. this is like the antipasti of jazz football. A cool jazz cat once said: “The difference between Jazz and rock’n’roll is that in rock music you play four chords to ten thousand people and in jazz music you play ten thousand chords to four people.”
Produced by Borcho with very limited liability. Various disclaimers apply. Things can change any minute and retrospectively.
When someone dies and in their life that person was selfish and unpleasant, their death is harder to overcome for their relatives than the death of someone who was loved and admired by all. When someone who was loved and admired dies, their relatives feel that a legacy was left to follow and with their departure, their soul becomes a part of them and in their death they celebrate the life of their loved one and vow to continue their path. When someone who was selfish and unpleasant dies, their relatives forever remain with a question mark, wandering about their selfish life and the degree of their involvement in shaping that person’s character. Guilt and regret showers the family with questions such as: where have we gone wrong?
When my grandpa Menachem passed away, everyone cried like they cry for the loss of a good and beloved mentor. When my grandpa Joseph passed away, everyone shed tears of relief and self pity. Grandpa Menachem had cancer. Grandpa Joseph had dementia. Both grandparents surly suffered dying. I’m ashamed to admit that perhaps the medications given to grandpa Joseph and the treatment from his own sons and grandchildren (excluding the care he was given by my grandma in a cold, Bulgarian loyal wife manner) killed his soul long before his body gave up.
When I visited the hospital several weeks before his body stopped functioning, it seemed to me as if the weak groans he still managed to produce from his fading throat were a last attempt to tell us everything that he was hiding in his heart for all those years – all his secret wishes, all his desires and disappointments, all the life he wanted to live. In the hospital, I noticed that he could still see, hear and feel but could not express the sensations forced on him by the world in a way anyone could understand. I’ve asked my dad to buy him a portable music player with headphones so he would at least be able to listen to operas he liked so much and which functioned as the soundtrack for his fading life when he was still at home and mentally abusing my grandma. Dad dismissed it with a vague excuse about too many wires and tubes attached to my grandpa already. He dismissed it, despite other patients with no less tubes and wires than my grandpa wearing headphones in the ward. Other patients were also allowed flowers, teddy bears and pictures of their loved ones on their beside table. My grandpa’s bed side table was empty and his environment was full of loneliness and silence.
The sadness of a loss of unfulfilled life leaves deep doubts within those who still walk the earth. Their walk might become heavy and slow as if their legs are chained with guilt and regret. Or, they can easily rise from the ground and fly on the wings of a soul which has nothing left to do other than forgive.
All rights are hidden, go find them. Any emotional condition inflicted upon the reader as a result of reading the above content is given under the condition of compensation to the publisher by the reader. It is understood that written information cannot evoke emotions without subjective consciousness dependancy within the reader’s personal memories and associations. Any such subjective dependancy might burden the author soul, cause a decline in creativity and as a result damage the author reputation and reduce their chances to earn a living.The publisher will accept any form of payment including but not limited to: cash, stolen jewellery, real estate, furniture and electrical goods, food, gratitude, recognition, criticism, insults and grammar advice, The rate is determined according to the degree of emotional dependancy of the reader and it’s effect on their improvement and chances of survival as decided from time to time and without prior notice by the publisher or the reader (the stronger of the two)
It lived through generations of broken branches
They are now intertwined and decorate the ground
Making love with the bush and the moth
Renewing the earth
Allowing the water to flow underneath
In a rapid of history
Of melted ice
The water pours into quiet lakes
Lakes are curators of stories
Featuring a variety of chewing, scratching, running creatures
Wild animals do not show much interest for curious people
Tired but happy they march (the people)
On unfinished trails
On roads with no end
Defeated by desire
Green of envy
Hungry for control
Sated with progress
They sit around the fire
Intoxicated by the flames
While the wind is blowing down the hill
Gently stroking the rocks
Carry the birds
And guide the bugs
To a safe refuge from the night’s biting cold
And from the men who hope
To conquer the hill’s top
Borcho is a fictional author and poet who writes in sign language in order to discriminate blind people. He was born in a hospital and immediately felt disappointment due to the horrible smell of the place and the discomfort compared to the warm liquid that was supporting him a few minutes earlier. The poem and accompanied musical piece were written and produced after Borcho was inspired by the stunning nature and wildlife around Cradle Mountain National Park in Tasmania. The Foundation for Musical Mediocracy adopted Borcho in his effort to entertain himself. The poem and featured music is a great demonstration of a mediocre collaboration between the two. Different musical instruments were used in the performance such as a Greek bouzouki, Kung -fu drum, tambourine and Chinese balls with guest musician David Gros on the bass. Original sound recording of the environment around Cradle Mountain taken by Heshel featuring throughout the piece. No deaths or complaints from the neighbours registered during the production. The piece was tested on animals (cats and flies). No emotional change was found.