If only Assad had learned to stagedive

If only Assad had learned to stagedive

We know classical music from sitting still on a chair, enjoying complex abstract forms.
The complexity of a melody or a composition is said to be the core value of ‘civilisation’ and it is therefore completely unthinkable that a classical concert would look like this:

it is a classic in the hardcore scene though: gorilla biscuits

That is why it is all the more striking that it is precisely in this hardcore scene that the ideas of turning trees into civilians surface. If classical music makes one so civilised, why are the followers of such music almost always the same cultural elite that indulges in genocide in other areas? Should Assad have learned to stagedive?

The answer is: yes indeed. Connectedness, death, risk. Having death near. Seeking death. Overcoming fear. All that is of higher civilizational value than passively enjoying a complex structure.

This audience is also an extremely complex spin.

Complex gewriemel…met een stem voor native americans

How wonderful it is to see all this complex wriggling after that chilling ‘corona time’? And I can tell you from experience that it is extremely complex to come back from such a concert without bruises, and what you see here above is downright dangerous: it is a miracle that there were no deaths during this concert. But you come home with one feeling: goddamn, I am alive!

And that is precisely the idea. Connectedness, unity, energy. That requires a different attitude towards death. That the melodies are simple is certainly true. The complexity of these concerts is different.

That this complexity is inferior – the point of view of some people – I would rather turn it around: it is precisely stagediving that should be a standard part of the curriculum in schools. If only we had leaders who knew how to stagedive.

And yes, I can really enjoy Rachmaninov from time to time. But I can enjoy less the apes who think that their concoctions are vastly superior to those of nature, in every respect. That superiority complex is the most annoying contraction that nature is capable of – that is true enough.

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Treffpunkt feiner Geiste

M.H.H. Benders ist ein anerkannter Dichter seiner Generation, ein Schüler der universellen Myzelien, Amanita Sage und Mykophilosoph. Er hat siebenundzwanzig Bücher geschrieben, die letzten in der Kaneelfabriek.

Momentan arbeitet er an dem zweiten Band der SHHHHHHROOM-Reihe, Bücher über Pilze, und der Microdose Bible, einem Aktivierungsplan zur Wiederherstellung Ihrer wahren Identität, der nächstes Jahr erscheinen soll. Bleiben Sie dran!

Aber das Große Ziel von Benders ist es, in Deutschland Erfolg zu haben. Er hat die Dynamik und Vielfalt der deutschen literarischen Szene erkannt und ist bereit, sich darauf einzulassen und seinen Beitrag zu leisten. Mit seinem einzigartigen literarischen Stil und seiner unermüdlichen Arbeitsmoral ist er entschlossen, ein neues Kapitel in der deutschen Literaturgeschichte zu schreiben.


“Amanita Muscaria – The Book of the Empress” is an exceptional work that establishes a benchmark in the realm of mycophilosophy. While one could perhaps categorize the book within the domain of Art History, such a classification would fail to do justice to its true essence. Primarily, this captivating text explores the evolution of humankind, making it a standout in its field.

Amanita Muscaria – The Book of the Empress – De Kaneelfabriek, 2023

“‘Waarover de Piranha droomt in de Limonadesloot’ stands as a philosophical exploration into the human faculty of imagination. It probes the intriguing notion that imagination, rather than offering solutions to our problems, might in fact be their origin. This thought-provoking work is set to be available in English and German by the close of 2023.