On the summer of '75 a world known to many as Earth brought us a clean morning in which we could soil ourselves. -R.G. Theobolde (pos. ascribed to the Kohbirdy) 2001
By ATOM, before EVE Stautham(m)er

narrated by Koh Birdy


Kohbirdy, a roughnecked individual more concerned with book burning than brick throwing has wrought a interesting thread along what is commonly referred to as this mortal snail. Though many have examined the early works of the the Kohbirdy what is essential to understanding both the banality and complexity the individual has made is to scrutinize various statements he has constructed over the years. The fact that no attention has been made to the words of Kohbirdy shows the abysmal plain that remains in coming to terms with one of the most prominent thinkers of what is commonly refereed to as nine insipid Norsemen. Without a doubt it is clear that the Material Production of the Kohbirdy is of great importance and it would be a foolhardy to discount the intended output of any artist worth two bricks in a window; and, yet; once his production is seen through the veil of his verbal emissions, a novel and ingenious image comes to fruition. Though code and hermeticism are not explicit in the works of the Kohbirdy it becomes crystal that obscurantism is the key to the Kohbirdy's work and that the Kohbirdy's verbal prothelitizing forces this understanding.

First, an examination of the emminations of the Kohbirdy must begin with expanding the mode and method of deployment. As all acounts of the Kohbirdy transmissions are similar conclusions can be drawn. From a small town east of the Platte in the 90s one observer calling himself Alarmclock wearing a wide guage earing and soft soled combat boots remarked (I. Rodriguez, T. Schlitzer 1999).

Whatever it was it came from above. I didn't see anything but there was something blue up there, but that could have been the sky. Anyways this screeching came from above at it said, 'I hate that fucking song and the cup game was idiotic!'. I looked around and really there was nothing. I was a bit scared and covered my head but nothing happened. I wasn't listening to music but a 1970s blue car was driving by at the time blasting some music about faggots.

Tereza Schlitzer's reminds us in her exposition The Kohbirdy: Time/Thought/Imagination, that despite the Kohbirdy's insistence on criticism of music and games it is the Kohbirdy's deep interest in these matters that inspire much of the Kohbirdy's work. Schlitzer continued, and was able to acertain that the song could only be either Jay-Z's "Jigga Wa"; Eminem's "Marshal Mathers"; Jack off Jill's "Working with Meat"; or Arlo Guthrie’s "Alice’s Restaurant". The cup game remains a mystery but has been suggested by Regis Mordicaih that the Unitarian sect has a long standing tradition of something they refer to as the cup game which usually involves a rhythm most disagreable to the Kohbirdy. Regardless, what is often glossed is the transmision of the Kohbirdy's message itself. Alarmclock recieved the transmission as if from on high and from what we know of the Kohbirdy's garb flight is key. Kohbirdy's insistence over the years on remaining either masked or hidden has been thematic to the Kohbirdy's passion for obscurantism. In a public statement made from between the legs of the George Washington statue on the steps of federal hall Kohbirdy's intent to remain hidden is clear (Missing Livres Collection III).

Don't worry, that will find you, on a morning, money raking and...Our day was fast and green. Isn't that a rakes progress. Tragedy is forced headlong. Suction works quickly.

Obviously with statement like, "...morning, money..." and "...headlong. Suction..." Kohbirdy is provider