Beauty and the Backstabbers

I have gone over my statements up to this point to make sure they are listed as statements in my copyright notice at the bottom of each. I had to correct the last sixteen of them. Usually I keep a pretty close eye on this because I wouldn't want anyone to confuse my scripts with my statements. And since this is the third time that I've had to correct this mistake, I can't help but wonder if someone at Google might be tampering with my content. Someone at Google would be someone like that evil fuck of an owner of theirs who gave away my hits to English rock bands for groupie sex in 2007. I think it's a failure of our society that such people ever ascend to positions of power. This is a statement. I am not joking. While my gripes may lead my readers to believe that I am in a constant state of turmoil, I am usually quite calm as I construct them here in the public library. I need to stay emotionally detached to write them well. I wanted to talk more about the backstabbers today. I know all about them and they have truly made my life on the web an ordeal. They try to put a negative spin on every word I write and go out of their way to distort the meaning of my creative works, to the point where I must annotate my poems line by line to undo the thorough damage caused by their copyright violations and lies. A poet wants to condense his thoughts into as few words as possible and these assholes won't let me do it. And an author of works of humor would rather avoid sharing nasty news, but the corporate media doesn't want to tell anyone that their precious stars went to prison for stealing my work, so their solitary victim must do all of their jobs on top of his own job, often compromising his humor's appeal. One thing you might be hearing from the backstabbers these days is how I'm approaching the limit of my creative potential. What fools. You know that this 'thought' came from people who are incapable of imagining new songs or new scripts, being used to grabbing other people's work from a finite supply. If I write a particularly appealing song, they always think it is the last one I will write. This is just wishful thinking on their part. I very much like my latest song, but I do not see it as the 'end all/be all' song for me. Rather I see it as a gateway to scores of new compositions of equal or superior quality. And now let's talk about my motives. I'm sure you've already heard your fill from my detractors about what they think my motives are. They are largely a bunch of attention seeking assholes who believe that everyone on the internet is trying to be a star like they are. I abandoned my music career in 1995 when I quit my band in Toronto. I only started sharing my rock again in 2007, when I gleaned from the comments on other people's music videos that there might be a demand for a new kind of rock that dabbled in experimentation while holding to certain traditional tenets. That's the kind of rock I write and I shared it because I thought rock fans would like it. My music makes me feel good and I wanted to share my good feelings with rock fans. The same is true of my humor, which I shared online first in 1999 and which was already stolen wholesale by shows like Saturday Night Live long before I started sharing my songs. While I am not averse to making money from my work, I do not depend on money to motivate me to share it. My motive for sharing my humor is ultimately to help others face life with a laugh as I do. After considered thought, I must conclude that my only motive for sharing my music and humor over the years was simply my love for these complete strangers who like my original work, even though I may never meet them in person. When you listen to my music, if you love rock, you will receive the gift of love. If you got a laugh out of my writing, that was my love. But if you subscribe to the work of my detractors, you will only receive their unwarranted demand for love.
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