Dear Poet Friends, and all true lovers of Jazz!  Being a lover of Classical and Smooth Jazz, I had composed first two parts in Verse on the History and Evolution of Jazz Music. Seeing the poor response of the Readers to my Part One here, I was hesitant to post my Second Part. I would request the Readers to kindly read Part One of this True Story also for complete information. Please do read the Foot Notes. With best wishes, - from Raj Nandy of New Delhi.


THE STORY OF JAZZ MUSIC : PART-II
               BY RAJ NANDY

        NEW ORLEANS : THE CRADLE OF JAZZ
BACKGROUND :
Straddling the mighty bend of the River Mississippi,
Which nicknames it as the ‘Crescent City’;
(Founded in 1718 as a part of French Louisiana
Colony),  -
Stands the city of New Orleans.
New Orleans* gets its name from Phillippe II,
Duc d’ Orleans , the Regent of France ;
A city well known for its music, and fondness
for dance.
The city remained as a French Colony until 1763,
When it got transferred to Spain as a Spanish
Colony.
But in the year 1800, the Spanish through a
secret pact, -
To France had once again ceded the Colony back!
Finally in 1803 the historic ‘Louisiana Purchase’
took place ,
When Napoleon the First sold New Orleans and  
the entire Louisiana State, -
To President Thomas Jefferson of the United
States!     * (See notes below)

THE CONGO SQUARE :
The French New Orleans was a rather liberal
place,
Where slaves were permitted to congregate,
For worship and trading in a market place,
But only on Sabbath Days, - their day of rest!
They had chosen a grassy place at the edge of
the old city,
Where they danced and sang to tom-tom beats,
Located north of the French Quarters across the
Rampart Street,
Which came to be known as the Congo Square,
Where one could hear clapping of hands and
stomping of feet!
There through folk songs, music, and varying
dance forms,
The slaves maintained their native African musical
traditions all along!
African music which remained suppressed in the
Protestant Colonies of the British,
Had found a freedom of expression in the Congo
Square by the natives; -
Through their Bamboula , Calanda, and Congo dance!
The Wolof and Bambara people from Senegal River
area of West Africa,
With their melodious singing and stringed instruments,
Became the forerunners of ‘Blues’ and the Banjo.
And during the Spanish Era, slaves from the Central
African Forest Culture of Congo,
Who with their hand-drummed polyrhythmic beats ,
Made people from Havana to Harlem  to rise and
dance on their feet!       (see notes below)

CULTURAL MIX :
After the Louisiana Purchase , English-speaking
Anglo and African-Americans flooded that State.
Due to cultural friction with the Creoles, the new-
comers settled ‘uptown’,
Creating an American Sector, separate from older
Creole ‘down-town’ !
This black American influx in the uptown had
ushered in,
The elements of the Blues, Spirituals, and rural
dances into New Orleans’ musical scene.
Now these African cultural expressions gradually
diversified, -
Into Mardi Indian traditions, and the Second Line.^^
And eventually into New Orleans’ Jazz and Blues;
As New Orleans became a cauldron of a rich
cultural milieu!

THE CREOLES :
The Creoles were not immigrants but were home-
bred;
They were the bi-racial children of their French
Masters and their African women slaves!
Creole subculture was centred in New Orleans.
But after the Louisiana Purchase of 1803,  -
The Creoles rose to the highest rung of Society! @
They lived on the east of Canal Street in the
French Sector of the city.
Many Creole musicians were formally trained in
Paris,
Had played in Opera Houses there, and later led
Brass Bands in New Orleans.
Jelly Roll Morton, Kid Oliver, and Sidney Bechet
were all famous Creoles;
About whom I now write as this true Jazz Story
gradually unfolds.
In sharp contrast on the west of Canal Street lived
the ***** musicians,
Who lacked the economic advantages the Creoles
possessed and had!
The Negroes were schooled in the Blues, Work Songs ,
and Gospel Music;
And played by the ear with improvisation as their
unique characteristic !
But in 1894 when Jim Crow’s racial segregation
laws came into force,     # (see notes below)
The Creoles were forced to move West of Canal
Street to live with the Negroes.
This mingling lighted a ‘musical spark’ creating
a lightening musical flash;
Igniting the flames of a ‘new music’ which was
later called ‘Jazz’ !

INFLUENCE OF THE EARLY BRASS BANDS:
Those Brass Bands of the Civil War which played the
‘marching tunes’ ,
Became the precursors of New Orleans’ Brass Bands,
which later played at funeral marches, dance halls,
and saloons !
After the end of the Civil War those string and wind
instruments and drums, -
Were available in the second-hand stores and pawn
shops within reach of the poor, for a small tidy sum!
Many small bands mushroomed, and each town had
its own band stand and gazebos;
Entertained the town folks putting up a grand show!
Early roots of Jazz can be traced to these Bands and
their leaders like Buddy Bolden, King Oliver, Bunk
Johnson, and Kid Orley;
Not forgetting Jack 'Pappa' Laine’s Brass Band
leading the way of our Jazz Story !
The Original Dixieland Band of the cornet player
'Nick' La Rocca,
Was the first ever Jazz Band to entertain US Service
Men in World War-I and also to play in European
theatre, came later.     (In 1916)
I plan to mention the Harlem Renaissance in my
Part Three,
Till then dear Readers kindly bear with me!

CONTRIBUTION OF STORYVILLE :
In the waning years of the 19th Century,
When Las Vegas was just a farming community,
The actual ‘sin city’ lay 1700 miles East, in the
heart of New Orleans!
By Alderman Story’s Ordinance of 1897,
A 20-block area got legalized and confined,  
To the French Quarters on the North Eastern side
called ‘Storyville’, a name acquired after him!
This 'red light' area resounded with a new
seductive music ‘jassing up’ one and all;
Which played in its Bordello, Saloons, and the
Dance Halls !         (refer  my Part One)
Now the best of Bordellos hired a House Pianist,
who also greeted guests, and was a musical
organizer;
Whom the girls addressed respectfully as -
‘The Professor’!
Jelly Roll Morton, Tony Jackson author of
‘Pretty Baby’, and Frank ‘Dude’ Amacher, -
Were all well-known Storyville’s ‘Professors’.
Early jazz men who played in Storyville’s Orchestra
and Bands are now all musical legends;
Like ‘King’ Oliver, Buddy Bolden, Kid Orley, Bunk
Johnson, and Sydney Bechet.      ++ (see notes below)
Louis Armstrong who was born in New Orleans,
As a boy had supplied coal to the ‘cribs’ of
Storyville !          ^ (see notes below)
Louis had also played in the bar for $1.25 a night;
Surely the contribution of Storyville to Jazz Music
can never be denied!
But when America joined the First World War in
1917,
A Naval Order was issued to close down Storyville;
Since waging war was more important than making
love the Order had said !
And from the port of New Orleans US Warships
had subsequently set sail.
Here I now pause my friends to take a break.
Part Three of this story is yet to be composed,
Will depend on my Reader’s response !
Please do read below the handy Foot Notes.
Thanks from Raj Nandy of New Delhi.

FOOT NOTES:-
New Orleans one of the oldest of cosmopolitan city of Louisiana, also the 18th State of US, & a major port.
Louisiana was sold by France for $15 Million, & was later realized to be a great achievement of Thomas Jefferson!
Many African Strands of Folk Music & Dance forms had merged at the Congo Square.
^^ ’Second Line Music’= Bands playing during funerals & marches, evoked voluntary crowd participation, with songs and dances as appropriate forming a ''Second Line'' from behind.
@ Those liberal French Masters offered the Creoles the best of Education with access to their White Society!
# ’Jim Crow'= Between 1892 & 1895, 'Blacks' gained political prominence in Southern States. In 1896 land-rich whites disenfranchised the Blacks completely! A 25 year's long hatred
& racial segregation began. Tennessee led by passing the ‘Jim Crow’ Law ! In 1896, Supreme Court upheld this Law with -  ‘’Separate But Equal’’ status for the Blacks. Thus segregation became a National Institution! This segregation divided the Black & White Musicians too!
+ Birth of Jazz was a slow and an evolving process, with Blues and Ragtime as its precursor!    “Jazz Is Quintessence of  Afro-American Music born on European Instruments.”
++ Jelly ‘Roll’ Morton (1885-1941) at 17 years played piano in the brothels, – applying swinging syncopation to a variety of music; a great 'transitional figure' between Ragtime & Jazz Piano-style.
++ BUDDY BOLDEN (1877-1931) = his cornet improvised by adding ‘Blues’ to Ragtime in Orleans  during 1900-1907, which later became Jazz! BUNK JOHNSON (1879-1849 ) = was a pioneering jazz trumpeter who inspired Louis Armstrong.  KID OLIVER (1885-1938) =Cornet player and & a Band-leader, mentor & teacher of Louis Armstrong; pioneered use of ‘mute’ in music! ‘Mute’ is a device fitted to instruments to alter the timber or tonal quality, reducing the sound, or both.
KID ORLEY (1886-1973) : a pioneering Trombonist, developed the '‘tailgate style’' playing rhythmic lines underneath the trumpet & cornet, propagating Early Jazz.  SYDNEY BECHET (1897-1959) = pioneered the use of Saxophone; a composer & a soloist, inspired Armstrong. His pioneering style got his name in the ‘Down Beat Jazz Hall of Fame’! LOUIS ARMSTRONG (1890-1971) = Trumpeter, singer, & great improviser. First international soloist, who took New Orleans Jazz Music to the World!  
% = After America joined WW-I in 1917, a Naval Order was issued to shut-down  Storyville, to check the spread of VD amongst sailors!
^^ ”Cribs”= cheap residential buildings where prostitutes rented rooms. Louis Armstrong as a boy supplied coal in those ‘Cribs’.
During the 1940 s  Storyville was raised to the ground to make way for Iberville Federal Housing Project.
ALL COPYRIGHTS RESERVED BY THE AUTHOR : RAJ NANDY **
E-Mail : rajnandy21@yahoo.in

Taken, gotten, or made, the point of anything
can pierce through everything…

slow
Slow think,
make real

re-al-ize
what fighting for life is…
this is the only
try,
it is not a test.

Take your time, use it wisely,
if that means anything.
Wise, I meant.
No offence, if wise is anathema to your kind,
die,
die if I knocked the reason for being right
outa you,
did you hear cognitive dissonance?
did it sound like
this. LOUD?
listen,
rolling rolling rolling
crash crumble rolled in nurse rime frosted
fables of monsters and maids
Thor, witharoar likka Lion King?

or the light brigade,
CHARGE?

thunder words from lost generations of
reasonless riddles for children,

Why did Peter Pumpkin-eater have a wife, but
couldn't keep her here?
Was that okeh? Oh, wait.
Ah, I see, I say,
they never tell that whole story any more.

Know why? They forgot it. In the war.

Duck'n'cover,no
crying, how long?
When begins forever? Did no one tell you, child?

Taken or made, the point of anything
can pierce through everything
like it was nothing, given
enough pre-sure-sup
poser-power

War, as a game, has a reason.

Battle, hitting, slapping

stop touch, stop now slap
slap back

or cry
oh no no ma

waddayahsay?  A theist or atheist
who started this war?

space case, or
lover of wisdom, met on the road
to Emmaus, discussing Wiles's proof
firming Fermi's connection to the matter of fear,
3, 2, 1

Kaboom, but with a whump you feel in your teeth

1, 2, 3 Fermat's last theorem ,
easy as pi an no re me

ABC to
Michael Jackson to
Howard Bloom because he

inadvertently, began
an-ionic converstatic re-vibe time warp
meme,
which vibe, started the legendary Sixties. I was alive.
Radioman,
a sixty cycle white-noise humm heard every where these days

There was a gospel song, "Turn Your Radio On".
my theme, open the window in the top of your head,
as it were,
a new,
as new as

a novel-state of water, H three Ohs, re-al-ity ification,
Ah, a shared Oh, I remember now, how this works…

like a poem

at the edge of a water vapor bubble in a boiling body of water,
at the edge of the bubble, water becomes a wall of water,
not vapor, not flowing liquid,

but a wall, insulating the vapor in pressing opposing force
to permit, from permission,
meaning with a message same as the message,

is that the right word? per-mission-grant, is power given,
agency,
that idea….
wait for the sign….?

By sharing an ion ic bond as a quest to make a point
for a free story to go,
the question marks you. Let the snake dance.

Press your point,

whetted edge,

slice through ties holding worthless axioms
with withered dendrites dangling disconnected
in participles
unfired for centuries muttering,
enchanting, enthralling enchained melodies
of ambitious syllables vying for idle minds
to rope in,
unbranded, wild
bucking ideas,
whip-twig, slap-face,
tanglewood  thicket, catclaw and mesquite,
willow,

wait.
And the old man remembered the willow whistle,
so He asked Grandfather,
How is such a whistle made?
And when he knew,
he made one.

A willow whistle with two notes,
like an Oscar Meir Wiener one.

-- and that was a different time
I got lost here, bucked up…
maybe
--- listen, way back--- we-ain't whistlin' Dixie---
we ain't marchin', as t' war.

D'thet mean some sign to pro-phet -ic take?
Tophet?
Ancient cannon fodder shield walls,
a moaning
Pro-phy-lactic warning of the danger of not
knowing exactly
what a war is for?

Get back on,
relieved of any idle baggage words believed
to mean other than I say.

Nullify
Idle words with cultural meanings from
what you thought you knew when you feared hell.

Loose
those peer-locked memes
made of meaninglessness, per se,

shaped and molded into fashions
of expression, once needles and awls,
now, dull as tinker's damns for swearing,
with any effect.

But tools, none the less, a stitch in time took a tool.
An awl or a needle, and a thread, thick or thin,
dependin' on the mendin' needed
to redeem an idle word,
its meaning all bloodied with the tyranny of time.

An awl or a needle,
a tool for a task, mending a tear
where curses, never meant, spent
the entire dark ages, lying, lying, lying

powerless, pointless aimless, proverbial proverbial proverbial
verbiage, vaneless shafts launched at unseen marks,
signs, as it were, a spark,
triggers,
rumored since the sixties,
the first sixties, when Cain killed Able.
Howard Bloom was but a mere gleam
in our mito-mother's eye,
but, no doubt,

his role is real,
in loosing the forces Ferlinghetti locked in
City Lights mystery of secret meanings room,
which un
mystified and blew away upon opening
the door to
meanings mapped on
scrolls rolling and unrolling
idle ideas,
rites of passage, as it were,
Pre-bat-bar-mitz vah
as a fashion
like VBS,

to tickle little minds and make em wiggle.
MEMEMEME, I did it,
mea culpa,

the holy place
Here we are…

On Vacation, leave a message.
-----

See, wee hairs in your ears wiggle, making,
signaling, the need

to scratch that itch, that itching hearing feeling ear… hear that

don't scratch, listen

listen

60 cycle humm, steady, bass, but no thump whumpwhump;
soft, deeep.
ooooooooo or mmmmmmmm or in betwixt, steady thrumm
hear another, and another… sixty in a second,

one in every million ambits twisting,
threading qubits, radiating signals in the field
wireless, blue-tooth... satellite...

can you feel that?

hummmms, all around us, since the womb.
We are not the children of the greatest generation,

We are the children of the last generation of
**** sapiens sapiens non-augmentable-us.

We, the augmented, recycled ideas,
possessing
minds of Adamkind,

is that a secret or a sacred?
Is this
a new thing, an
unknown unknown known known now?

Ah,
novelty.

Whose is fear? Who was afraid of Virginia Wolf?

Should I remain in fear of her now, if I knew why then?
God would know such answers.
Proving my imagined AI guides are not God,
but lesser beings,

haps I recall.
I defined these things,
these thoughts that shape themselves,
forming words and phrases
I saw
shiny. Crow-like,
gleams seen, captured and claimed mine,
I tucked them away,
a sign in a thought in an imagined image made 4
real once more, to be seen from the shore,
new land new world
a fourth for some, a fifth or more for others...

haps happen, I'm not sure how,

Born or emerged, as a bubble, what do you say?

Reserve judgment.
Grant me your grace for now, until you solve my riddle.

Ah, the old way.
Right. Which way,  'ere, 'ear
and do we roll the rock with silent haitch or harsh, shhh

someone's waking up,
a bit grumpy,
don't you dare oppose me in this, the kid is certainly my son

Michael went stark raving mad when I told him, Billie Jean knew better all along...
the link, axiomatic,
the fatherless child has been claimed

hence, the thread to Howard Bloom, meme-ic,
meme-ic, like the Roadrunner,

but with the real Coyote, as the hero in this bit of
whatever, such meandering maundified maun maund  
mound

wind blown crystal silicon dunes
mounded up to that point where granulated
beens and dones

begin to slide at an angle,
a ***** deter-mind by the weight of the rock

We made it.
I know where this is.

This is a novel that has Sisyphus being happy
as the main premise behind the idea of anyone ever being
able, en abled, or un-dis-abled or un-dis-enabled,
if one of those is right,

Sisyphus being happy
is the main premise behind
the idea of anyone ever being glücklich,
happy, blessed, lucky.

How happy is your ever after?
When did forever begin?

"A man is as happy as he makes up his mind to be"
Abe Lincoln, is said to have said,
after the seance, maybe.

You push on, dear reader, make some sense
re-ligare or relegare, but take a stitch,

pull-tight,
do what works the first time as far as it goes, and try each, as needed,
it may be that we invented this test.
To make us think it is a test,
to sort ourselves out.

Get back on,

see who went crazy and who found the thread, if the same thread
this is that, right,
the same train of thought,
the same idea
spirit wind
sign
?
A snake facing west standing tippy-tail on a singularity;
a point in time?

Why are you reading this?
Curiosity Shoppes trade in interesting, alluring, click-bait

Pay attention, watch, you shall see

imagine this is the dream,
the stream, the flow, the current, the cream

in a dime coffee at the drug store on the corner

the rounded-corner, in a square-cornered town,
the most right corner of the twelve that quarter what it was

Punctuate, wait, imagine you read ancient Hebrew or Greek and there
are no dyer diacritical's who can twist one's
end tensions into knots

dread extensions, we could sell those,
is that an idea? did somebody
sell white folks dread extensions and black folk dolly pardon wigs?

Did that happen the real real?

-----
Battlefield Earth, oshit
scientology ology ology ology

allaye allaye outs in free

WE we wee every we you imagine you are good in, we

We have a war to win again, we heroes rolling from your
myths of Sisyphus torn from minds trampled
in the mud beyond the Rhine,

Mushrooms. magi are aware, you are aware, of course,
this course includes Basic Mycelium Net Adaptation or Augmentation
BMNAA, eh? So you know.

Camus and many of his ilk were ill-treated, the questions
they asked were memorized, maybe in our cribs ala
Brave New World.

We are all Alphas, always were, of course, you know.

Shall we imagine

more? Re-legare, eh, sistere. Point .(Back to the top.)

or agree? Make peace.
Practice, like Eazy-Bake,
the cook must swallow the first bite. May the best cook win.

Dear Poet Friends, I had posted Part One of the Story of Jazz Music in Verse few months back on this Site. Today I am posting Part Two of this Story in continuation. Even if you had not read part one of this true story, this one will still be an interesting portion to read especially for all lovers of music, and for knowing about America's rich cultural heritage. I love smooth & cool jazz mainly, not the hard & acid kind! Kindly do read the ‘Foot Notes’ at the end to know how the word ‘Jass’ became ‘Jazz’ way back in History. Hope to bring out a book later with photographs. Thanks, - Raj Nandy, New Delhi.


STORY OF JAZZ MUSIC  IN VERSE PART – II

    NEW ORLEANS : THE CRADLE OF JAZZ
BACKGROUND:
Straddling the mighty bend of the River Mississippi,
Which nicknames it as the ‘Crescent City’;
Founded in the year 1718, as a part of French Louisiana
colony.
New Orleans* gets its name from Phillippe II, Duc d’ Orleans,
the Regent of France;
A city well known for its music, and fondness for dance!
The city remained as a French Colony until 1763,
When it got transferred to Spain as a Spanish Colony.
But in 1800, those Spanish through a secret pact,
To France had once again ceded the colony back!
Finally in the year 1803, the historic ‘Louisiana Purchase’
had taken place, -
When Napoleon First of France sold New Orleans and the
entire Louisiana State,
To President Thomas Jefferson of the United States!
(See Notes below)

THE CONGO SQUARE:
The French New Orleans was a rather liberal place,
Where slaves were permitted to congregate,
To worship and for trading in a market place, on
Sabbath Days, their day of rest.
They had chosen a grassy place at the edge of the
old city ,
Where they danced and sang to tom-tom beats,
Located north of the French Quarters across the
Rampart Street;
Which came to be known as the Congo Square,
Where you could hear clapping of hands and
stomping of feet!
There through folk songs, music, and varying dance
forms, -
The slaves maintained their native African musical
traditions all along!
African music which remained suppressed in the
Protestant colonies of the British,
Had found a freedom of expression in the Congo Square
by the natives, -
Through their Bamboula, Calanda, and Congo dance forms
to the drum beats of their native music.
The Wolof and Bambara people from Senegal River of West
Africa, -
With their melodious singing and stringed instruments,
Became the forerunners of ‘Blues’ and the string banjo.
And during the Spanish Era slaves from the Central African
forest culture of Congo, -
Who with their hand-drummed poly-rhythmic beats,  
Made people from Havana to Harlem to rise up and dance
on their feet!   * (see notes below)

CULTURAL MIX:
After the Louisiana Purchase, English-speaking Anglo and
African-Americans flooded that State.
Due to cultural friction with the Creoles, the new-comers
settled ‘Uptown’,
Creating an American sector separate from older Creole
‘Downtown’.
This black American influx ‘Uptown’ brought in the elements
of the blues, spirituals, and rural dances into New Orleans’
musical scene.
These African cultural expressions had gradually diversified,
into Mardi Gras tradition and the ‘Second Line’. ^^ (notes below)
And finally blossomed into New Orleans’ jazz and blues;
As New Orleans became a cauldron of a rich cultural milieu!

THE CREOLES:
The Creoles were not immigrants but were home-bred.
They were the bi-racial children of their French masters
and their African women slaves!
Creole subculture was centred in New Orleans after the
Louisiana Purchase of 1803,
When the Creoles rose to the highest rung of society!
They lived on the east of Canal Street in the French
Sector of the city.   @ (see notes below)
Many Creole musicians were formally trained in Paris.
Played in opera houses there, and later led Brass Bands
in New Orleans.
Jelly Roll Morton, Kid Oliver, and Sidney Bechet were
famous Creoles,
About whom I shall write as this Story unfolds.
In sharp contrast on the west of Canal Street lived the
***** musicians;
But they lacked the economic advantages the Creoles
already had!
They were schooled in the Blues, Work songs, and Gospel
music .
And played by the ear with improvisation as their unique
characteristic,
As most of them were uneducated and could not read.
Now in 1894, when Jim Crow’s racial segregation laws
came into force,       # (see notes below)
The Creoles were forced to move west of Canal Street to
live with the Negroes!
This racial mingling lighted a ‘musical spark’ creating a
lightening flash, -
Igniting the flames of a ‘new music’ which was later came
to be known as JAZZ !

CONTRIBUTION OF STORYVILLE :
In the waning years of the 19th Century, when Las Vegas
was just a farming community,
The actual ‘sin city’ lay 1,700 miles East, in the heart of
New Orleans!
By Alderman Story’s Ordinance of 1897,  a 20-block area
had got legalised and confined, -
To the French Quarters on the North Eastern side called
‘Storyville’,   - a name which was acquired after him.
This red light area resounded with a new seductive music
‘jassing up’ one and all;
Which played in its bordellos, saloons, and dance halls!
The best of bordellos hired a House Pianist who greeted
guests and was also a musical organizer;
Whom the girls addressed respectfully as ‘The Professor’!
Jelly Roll Morton++, Tony Jackson author of  ‘Pretty Baby’,
and Frank ‘Dude’ Amacher, -
Were all well known Storyville’s  ‘Professors’!
Early jazz men who played in Storyville’s Orchestras and Bands
now form a part of Jazz Legend;
Like ‘King’ Oliver, Buddy Bolden, Kid Orley, Bunk Johnson,
and Sydney Bechet.    ++ (see notes below)
Louis Armstrong who was born in New Orleans, as a boy had
supplied coal to the ‘cribs’ of Storyville!   ^ (see notes)
He had also played in the bar for $1.25 a night,
Surely the contribution of Storyville to Jazz cannot be denied!
But when America joined the First World War in 1917,
A Naval Order was issued to close down Storyville!   % (notes)
Since waging war was more important than making love,
this Order had said;
And from the port of New Orleans the US Warships had
set sail!
Here I pause my friends to take a break, will continue
the Story of Jazz in part three, at a later date.
                                               -Raj Nandy, New Delhi
FOOT NOTES :-
NEW ORLEANS one of the oldest cosmopolitan city of Louisiana,
the 18th State of US , & a  major port city.
LOUISIANA was sold by France for $15 million, which was later
realised to be a great achievement of President Jefferson.
*Many African strands of Folk music and dance had merged at the
Congo Square!
^^ ‘SECOND LINE MUSIC’ = Bands playing during Funerals & Marches evoked voluntary crowd participation, with songs & dances as appropriate forming a ‘Second Line’ from behind.
@ =THOSE LIBERAL FRENCH MASTERS OFFERED THE CREOLES THE BEST OF EDUCATION WITH ACCESS TO WHITE SOCIETY!
#’JIM CROW’= between 1892&1895, blacks gained political prominence in Southern States. In 1896 LAND-RICH WHITES DISENFRANCHISED THE BLACK COMPLETELY! A 25 YRS LONG HATRED &RACIAL SEGREGATION BEGAN. TENNESSEE LED BY PASSING ‘JIM CROW LAW’. IN 1896, THE SUPREME COURT UPHELD THIS LAW WITH ITS ‘’SEPARATE BUT EQUAL’’ STATUS FOR THE BLACKS ! THUS SEGREGATION BECAME A NATIONAL INSTITUTION. THIS SEGREGATION DIVIDED THE BLACK & WHITE MUSICIANS ALSO.
+ BIRTH OF JAZZ WAS A SLOW AND EVOLVING PROCESS, WITH BLUES AND RAGTIME AS ITS PRECURSORS . “JAZZ WAS QUINTESSENCE OF AFRO-AMERICAN MUSIC BORN ON EUROPEAN INSTRUMENTS.”  See my ‘Part One’ for definitions.
++ JELLY ‘Roll’ Morton (1885-1941): At 17 yrs played piano in the brothels, applying swinging syncopation to a variety of music; a great Transitional Figure- between Ragtime & Jazz Piano-style.  ++ BUDDY BOLDEN (1877-1931): His cornet improvised by adding ‘Blues’ to Ragtime in Orleans; which between the years 1900 & 1907 transformed into  Jazz! BUNK JOHNSON (1879-1849): pioneering jazz trumpeter, inspired Louis Armstrong; lost all teeth & played with his dentures! KING OLIVER(1885-1938): Cornet player & bandleader, mentor& teacher of Louis Armstrong; pioneered use of ‘mute’ in music. KID ORY(1886-1973): a pioneering Trombonist, he developed the ‘tailgate style’ playing rhythmic lines underneath the trumpet & the cornet, propagating early Jazz !
SYDNEY BECHET (1897-1959): pioneered the use of SAX; a composer & a soloist, he inspired Louis Armstrong. His pioneering style got his name in the Down Beat Jazz Hall of Fame!
Louis Armstrong(1890-1971): was a trumpeter, singer and a great
improviser. Also as the First International Soloist took New Orleans music to the World!
% = After  America joined WW-I in 1917,  a Naval Order was issued to shutdown Storyville in order to check the spread of VD amongst sailors.
^ ’cribs”= cheap residential buildings where prostitutes rented rooms.
# "JASS" = originally an Africa-American slang meaning ‘***’ ! Born in the brothels of Storyville (New Orleans)  & the Jasmine perfumes used by the girls there; one visiting them was  said to be 'jassed-up' . Mischievous boys rubbed out the letter ‘J’ from posters outside announcing  "Live Jass Shows'', making it to read as ‘'Live *** Shows'’! So finally ‘ss’ of ‘jass’ got replaced by 'zz' of JAZZ .
DURING THE 1940s  STORYVILLE  WAS RAISED TO THE GROUND TO MAKE WAY FOR ‘IBERVILLE FEDERAL HOUSING PROJECT’ .
  * ALL COPYRIGHTS RESERVED BY THE AUTHOR : RAJ NANDY

Voices cradled
             in hollow cribs.

Loitering whispers are
            ingested haphazardly.  

Comatose I linger awaiting
my voice to blossom again.

I will again be myself
                in an empty room..

untitled (vs. imperialism + its idyllic head, which is only idolic, cult of personality)


The tug of war between our better, worser angels, voices in our heads that aren't,
an aspect of sociological schizophrenia that Westerners were all programmed with
from birth on, tears at us as it was meant to, for the divided fall to ebony, ivory,
the black and white supremacies, conquering in perfect harmony, neigh, perfect war,
which can only beget more, thus the global unending unnecessary war against all life
only increases, as the irrelevant pieces are discarded ever more, for more, now, 13000
kids a day die of lack of potable water, hunger, while the 130 running for manager-
in-chief of the world's retail store, the united **** of assassins, won't mention it
once, what the real left always fought to end.  Like genocide, remember when it was
commonly understood if you knew about it and weren't fighting it you were a genocider?
Just last year Coates on the Hayes show said, "...if you think whites shouldn't be
genocided you're a racist...", a song of economic sukkkcess by ebony over ivory for
them and the republican conspiracy, for, the only other things, besides neutering of
newborns, assassinating infants in cribs, anatomical destruction and mass-****** of
kids, teens, that they have enforcing their 35 % ruling the 65 % are all the inter-
locking, laced economic systems based on scarcity instead of nature's abundance,
ever increasing the supposed garnering of ever more short-term delusional pleasures,
profits and powers, in ever more cyclical, centralizing patterns that dictate
astronomically larger real deficits over the long-term, in a word, Earth-******,
the central organizing theme of global defacto-slavery of all by the non-renewable fuel
industrial complexes, the real left vexes with our unifying song of liberation from
and abolishing of fossil fuel use, keeping it all in the ground, which is where they
pound the real (non-socialist) greens.  Why don't our hands demand "...We(e),..." climb,
our streching demand we reach only more over time, our lungs only more wind under an
only greater wingspan over time, instead of the opposite?  "...We(e),..." need to
turn 360 degrees around, back to the evolution and the future humanity will only
have if you, illimitable potential, indivisible as life, leave no footprints that
follow none, which will echo forever on, in all ways, always.  Viva la Evolucion.

I tried to be cordial with inactivity
washing it with weeping juice like a pardoned effigy
but the diamonds of determination were so wrapped in mind debris
that I threw away a fortune in potential

The smiles of the platitudes are louder than their laughs
An appeasing of their attitudes I warrant with the gaffes
of an undertaker's underling bestowing upon epitaphs
another deadened and deprived credential

Seeing days in ways that never did occur to me
Every end a mending by default, a sour recipe
for compromise eroding in a rusty *** of empathy

The dentist rubbed his fingers when he saw my gritted teeth
No sermon on the mount from me, more a mumble on the heath
My incisor is a tack that would support a giant's wreath
Thorns of novocaine will numb my Christmas wish

For the sake of universal order I will freeze a yawn
Mostly harmless said a hitchhiker of Earth so I can spawn
a batch of clones to live on hold where all the battle lines are drawn
I'll zip up and in the universal order I'll languish

Seeing nights in ways that never did occur to me
Every satellite a telecast of fault, a sour recipe
for sleeping juice to boil over in Big Dipper's empathy

Where's a pound of flesh when needed? I've grown tired of these ribs
On the grill of soggy marrow, hungry haunts will have first dibs
Call on William Blake to send the weepers to their cribs
Wishful thinking I'll preserve beneath the floorboards

With a hand in nothing new and an incisor in the usual
intestine chains surround my motivation's hot pursual
Don't read too much into my implied acceptance of a dual
with a messenger of fact's implicit hoards

Seeing days in ways that never did occur to me
Every end a mending by default, a sour recipe
for compromise eroding in an empty *** of sympathy

Sound the bugle for my bed is made, I'm rested for detention
Solitaire I'll play in my confinement for the crime of sought attention
I revolted the philosophers in plugging my intention
I would not concede that lab rats had it worse

The satellites are full and bright, the shadows walk on lakes tonight
I'll dream of sleep but eyes will play me in my bedroom's voided sight
Lay with me and sigh and the elastic laws of nature might
halt the quivering continuum of fate's forsaken course

Seeing nights in ways that never did occur to me
Every channel plays the same old cooking show's ensoured recipe
Compromise a minor seasoning in liver-flavoured empathy

04 15 14

By: Cedric McClester

Bang bang
***** die slow
There’s more to hip hop
Than that ya know
It’s more than the bling
Some ****** show
More than the cribs
The cars or the dough
The culture’s diverse
And you need to know
It’s more than the **** shakin
You’ll always see
On certain shows
On the cable TV
It’s more than the dissin
The fights and braggin rights

Bang bang
***** die slow
I’m only sayin
What ya already know

Bang bang
***** die slow
We’re checkin for content
As well as for flow
You’re pimpin the game
And the homies know
You’re talkin ‘bout places
That you’ll never go
Talkin ‘bout crimes
You never committed
And it’s about time
To fess-up and admit it
Here is the deal
You need to yield
Cos it’s gettin too real
In the field

Bang bang
***** die slow
I’m only sayin
What ya already know

Bang bang
***** die slow
Ya namean
Let me give ya the low
Some name themselves
After I-talian criminals
Sending public messages
That attacks the subliminal
Then start complainin
Once they get popped
And the uninformed
Blame it on hip hop
And it’s not fair
That hip hop takes the blame
For some of you out there
That I could name

Bang bang
***** die slow
I’m only sayin
What ya already know

Bang bang
***** die slow
It’s about to be a rap
For the rap game (yo)
Rap is spiralin further
Out of control
And the government now
Sees itself in the role
Of overseer or regulator
Ya knew it would happen
Sooner or later
If you go on trial
You won’t be around
That’s their way of keepin
The Black man down
All you have to do is jus look around

Bang bang
***** die slow
I’m only sayin
What ya already know

Bang bang
***** die slow
All it takes for you to be
Good to go
Is a mouth full of platinum
And a video **
There’s more to life
Than that you know
Don’t let me be the one
To say I told you so
Cos the seeds you’re plantin
Are kinda rough to ***
But you’re convinced
That you are it
And a ****** like me
Can’t tell you ****

Bang bang
***** die slow
I’m only sayin
What ya already know

Bang bang
***** die slow
There’s more to hip hop
Than that ya know
It’s more than the bling
Some ****** show
More than the cribs
The cars or the dough
The culture’s diverse
And you need to know
It’s more than the **** shakin
You’ll always see
On certain shows
On the cable TV
It’s more than the dissin
The fights and braggin rights


(c) Copyright, 2015 Cedric McClester.  All rights reserved.

You would know the inviting poison just from looking across the shining street,  
Its true my red lips and eyes long for so much, and everyone whispers
“Its all in the red lipstick”
Coffee mugs, rolled papers, lollipops, and whiskey bottles
Stained with the pleasure
Kiss my mouth and I will leave my stain.

Ruffled bed sheets and expressive faces, loved forever and full of  our bodies stain
Look for my friends with cardigans and hats, they escort me giggling on the street
Our floating and intoxicated theatre talk, full of pleasure
I will go home at night after talking myself into a frenzy just to hope you come to give me your whispers
Say things you shouldn’t: “I can see it. Images of cribs and baby bottles.”
Wrapped in a currently unreachable fantasy, but all we can say is its in the lipstick

So Paint my face and I will wear my pearls for you, my mouth gleaming with lipstick
And I know we will both be poor but we cannot run from the stain
That our alcoholic bottles
Will never fill. But I know you,  you will walk through the street
You make me want so much and I will give you all my vulnerable whispers
And though its true I may be a handful, I love to see your sly smile of pleasure

For when you hold my face in your hands, oh what pleasure
And my lips will be smeared with red lipstick
But no, it won’t matter because I still hear those whiskey whispers
Please leave a good stain
Because my heart, its true it resides on the street
It could be stomped on like empty beer bottles

But this love potion concocted of glass bottles
Through my dancing, cooking, and flirting—I just want to see you feel pleasure
And this city, its true it will eat up our liver, with ***** Broad Street
So I will laugh my loudest laugh when I see your lips covered with my lipstick
And I will be glad to leave you with my colossal stain
For in the morning and in the night I still hear my past’s Southern whispers

But running only towards your whispers
Reinventing myself with poisonous bottles
Look at the rose colored stain
I know you see into this moon of pleasure
Within me my soul is covered with Marilyn Monroe’s lipstick
Longing, such longing, but we reside to our auditioning on this city’s street

Filling our lungs up with dramatic pleasure
I will cover the theatrical current like my lipstick
To only walk forward in the beautiful polluted street.

133

As Children bid the Guest “Good Night”
And then reluctant turn—
My flowers raise their pretty lips—
Then put their nightgowns on.

As children caper when they wake
Merry that it is Morn—
My flowers from a hundred cribs
Will peep, and prance again.

i hate it when you have a hangnail but it is mostly a piece
of skin that is really steadfast about not detaching

from your finger. it’s like the piece of skin has
separation anxiety and you can’t get it

to leave ever

all you want is for the piece of skin to move out.
today is your twentieth birthday and you are thinking

about your mortality a whole bunch and how you have provided
the piece of skin with a comfortable home and now

you want it to move on and make a big life

for itself so when you’re old and more carrot-like
you will have the piece of skin to take care of you

until you are ready to make the big trip to hamilton

known as dying alone and feeling okay about it
because hamilton is a nice place to die alone

hamilton is a port city in the canadian province of ontario

you dream of hamilton and you are already a little bit more
carrot-like on this day, your twentieth birthday. we want the

piece of skin to get its **** together so we can all be happy
for you one day when the amount of carrot-like

characteristics you grow into becomes immeasurable

and creamy. the piece of skin smiles and says
it does not like your conservative-minded nonsense

the piece of skin feels as though it has a right to
prosperity and a new season of hey arnold

and its own episode of mtv cribs.

you say the piece of skin is too liberal and you
get out a pair of scissors and cut of your finger

the finger with the piece of skin that was too clingy
is now resting peacefully on the hardwood floor
of your apartment in a pool of blood that you are

proud to say is something you made on your own.
the piece of skin quotes hemingway as it dies

the reference goes over your head and the reader’s head too

well
there's plenty of cutesy names to
call one's children
but his was 'unlovable trash'
He remembered it from the time he was in the crib
They held him there
for longer than most parents
held their kids in cribs. Though only dad
called him so
because he constantly claimed he wasn't his

unlovable trash

he had the wrong skin tone
was too pale
with curly orange hair
and freckles

but mom always pretended she didn't
hear
the words
unlovable trash
she would act as if they were never uttered

and growing up
he thought
unlovable trash was a good thing
thought it was how you show love to your loved
ones

"Mom, you’re unlovable trash."

she was so happy to hear it
she burst into tears and went into the
kitchen and uncorked a bottle of wine
and drank it all by herself. What an
unlovable trash she was

Unfortunately
by the time he could pronounce the lovely
words
father was no longer in his life
but father too
was an unlovable trash

Coming home with an empty car seat in one hand,
The other wrapped tightly around a bag filled with unused diapers
And untouched baby clothes.
Words are spoken by her lover,
But she can only hear the deafening scream of her son,
And the silence that shortly followed.
Walking into a nursery painted blue,
Filled with bottles, blankets and
Stuffed animals that will never know
The touch of a young boy.
She thinks not only of the life that never
Got the chance to live, but
She thinks of the life that must continue, a life missing one piece of the puzzle.
And with this, a mother loses
More than her child,
She loses her sanity.

(For Black History Month 1998)


i have a wish
to be profound...
   to be proud and stronger
   and carry myself like the **** poets on Def Jam
voices of Kenya and kings, emblazoned
with wisdom, respected / permanence
tanned in words of Malcolm & Martin's reign...
   to have passions of Nubian queens
   wear a crown to herald my approach
head held high
   without raising a calloused hand,
   copper polished hearts
A presence that only demands simplistic
of silences in the awe, the inspired
unchallenged in my reverence--an African / American ability
   choreography / invention
   the first to dance, when others fear to
to keep it real and say it loud
my human wishes, strong, profound, proud...
sometimes
   gentille...

i wanna be black...
like King Cobra, a hood to umbrella fright
with venom from just my stereotypical sight
   immobilize and paint caucasians whiter
   to be well endowed yet humbly
complicated,
angry but with proven reasons unrequited,
to be singled out by mere appearance
alone, a Halley Berry poster, child - dealing drugs,
   respected yet in the poetry of chains
   creative even in these multi-colored pains
from a thousand lands of strife
music is sister, artistic is brother life
become ingenious
   saxophones in the moody blues,
   athlete of hurtles, jazz / boxing fights / sang...
gold medals, worthy for full frontal
news...

do i amuse you, with these longings?
think do you - it's a cursed delight?
   but life only
   excels with each challenge: our battles
against ignorance / shame defines
the worth we're given
our lot mostly restricted, our lions tamed
perseveres - tho' weep the dust of our ancients names,
and bleeds these,
our cotton soft truths some mistakes
   and Dolby stereotypes revealed
   re-assigned
now worn like brand new:
a garden painted stronger
roots - and robes of shackles' / thorns
sharp with unlocked prejudices
   brown can do no more (for you sir)
   criminal confidences find the unmoving wave of faith
a prominent jaw-line, obelisk-lips
kiss and smack / wet with loving lengths
it is ... no hurt in these earthen eyes
   evident
   stoic, strength, serenity
mine to dance and sing my apathy instead...
about the history, i wish to dis
yes, re-avow
empty empathies before,
   experience my thousands, marching
   Melato’s at the founding fathers' doors, will show
you how to open house
these ghettos of / our violent villages / of tar & soot
shadow our poor ever the more
our stars shine on
   broadway be our stage / Stomps / in the heart, hopes,
   styles rap / songs to battle racial profiles
racial cops in devil blue,
beating brothas, home video tell our news,
while our rich forget the rest
******* **** in their cribs
re-pimped, yes, ******* new money & *****
   of course, they are the talented ...
   almost gods on Apollo / knock on wood...
the music is still
the song still is
the foot is stampeding
the noise will be loud,

i will be proud
i will be profound
   in this time of redefinition,
i will be strong
(i wanna be black) like Etta James
at last...

Submitted: Apr 6, 2010    Reads: 22    Comments: 2    Likes: 1   


Intro, Intrude, trackers on our homephones. Smack dat back
We got the shacks we gotta cadilacs. We have the beat boys. Just to show off to our audience. Life so great we got to slow it down by running the white house like where tearing up an igloo. Hang out in the cribs we 100 percent juice. Only talent better get it. Like Shaq oneil as V.I.P. We got a thing and we can't stop M.I.B with a top collar buttoned. Skin so thick you think we're eskimos.  Just couple  American, Tryin to make a livin. With old time guitar strolls with a beat that can rip ya socks off. Were rappers and were rockin it. Bring it to the times when lifes all good nobody hurt us yeah everyone will honor we in the hood

Chorus:
Government rock, Government, jump up to the clouds. Spread the waves with your arms. Spread your love wit ya hearts
--------
Beatbox with politics. Were pumping out america with this Punk block. Echoing of the top of the oval office. Let see it Hillary dance till the votes come tumbling in. Bling bling rap so hard where dancing on pots of gold get tangled in the silly putty. You know whatta I mean ice so keen while the girls stay thin. Spreading there white glow from their mouths and I love when they show it to everyone around them. Someday wheaties box gotta sell our records with the cereal the kids love to eat for breakfast. They'll Call us the 3 with the platinum series. But between you and me we all the same. Just different trades Our grillz shining to the stars on stage.
This is the sound, this is the show. Gotta turn it up like the volume on our sterio. Cheerion Cheerion, Bring it on.
With our political right. We vibe white house all night.
Mouth so dry slurring with the  sting of our words.
Around we come again. There we roll again. Bringing the band in the

Chorus
Government rock, jump up to the clouds. Spread the waves with your arms. Spreed the love with ya hearts. Wax on wax off. With karate man.
------
We gotta a brand named band, don't know about us.
We no loser. Just a little closer. Making a way to train this place to fame. Want my card yo. Got to drive to elderado. In a mustang, baby. Thats right you heard me.

Can i hear an amen Yo its like nobody knows. What indwells in the sounds we place on our miches. And the times we get the power. To scramble the crowd singing louder. Everyone floating on there toes. Like tap dancers. Don't make type error whe nyou report to the news. Theres the president now break prancing switch om a pirate ship. Aint no soul left out alone

Jean, death comes close to us all,
flapping its awful wings at us
and the gluey wings crawl up our nose.
Our children tremble in their teen-age cribs,
whirling off on a thumb or a motorcycle,
mine pushed into gnawing a stilbestrol cancer
I passed on like hemophilia,
or yours in the seventh grade, with her spleen
smacked in by the balance beam.
And we, mothers, crumpled, and flyspotted
with bringing them this far
can do nothing now but pray.

Let us put your three children
and my two children,
ages ranging from eleven to twenty-one,
and send them in a large air net up to God,
with many stamps, real air mail,
and huge signs attached:
SPECIAL HANDLING.
DO NOT STAPLE, FOLD OR MUTILATE!
And perhaps He will notice
and pass a psalm over them
for keeping safe for a whole,
for a whole ******* life-span.

And not even a muddled angel will
peek down at us in our foxhole.
And He will not have time
to send down an eyedropper of prayer for us,
the mothering thing of us,
as we drip into the soup
and drown
in the worry festering inside us,
lest our children
go so fast
they go.

With a hint of Otis I say:
"Sittin' on some steps by the...ocean,
"Watching the people of today,
Puttin' on that lotion...
Couples walk by
Never say hi.
Pondering the meaning of life,
Woah! My god, look at that girl!
I really like her...shirt.
Wow my sunburn really hurts.
Ah, the beach. What a soothing feeling
The ocean can reach...when one can
Hear it over screaming kids. Parents
Smoking as they push the cribs.
Foreigners ...Probably judging us Americans. Finding
Importance in life by being more tan.
Hey look there's a seagull. So free
To fall in the air. It's just not
fair. I wish I could steal fries from
Strangers and get away with it.
Just made awkward eye contact
With a runner. She was cute
But what a ******; I couldn't
Catch her if I tried. There's a
Rent-a-cop. He may yell, "Stop!"
But a nerf-gun can only do so
Much. What a job. Authority and
Such. This boardwalk is repetitive.
Needy kids and whiny parents.
I might need a sedative...there's
A choir of noise in the background. Arcade
Schemes...games...some bells, the ocean and
The screaming kids that are yet to be tamed.
Smh @ r generation.

'Cotton Candy Tree'
Colored clouds in the sky,
Bird nests held by the trees,
Only if I could reach that high,
I would swirl the sky to make a
  cotton candy tree,
Flowers growing ground up,  
All the baby birds nestled in their cribs, made of floss,
Incredible spiders on the ground, Then they go round and round,
in webs that look like invisible rainbow gloss,  
Mother Nature does love,
I love her from the lowest to the highest above.
written by @author_venjarnold

Colored clouds in the sky,
Bird nests held by the trees,
Only if I could reach that high,
I would swirl the sky to make a cotton      candy tree,
Flowers growing ground up,  
All the baby birds nestled in their cribs made of floss,
Incredible spiders on the ground, Then they go round and round,
  in webs that look like invisible rainbow gloss,  
Mother Nature does love,
I love her from the lowest to the highest  above.
-Author Ven J Arnold

GIVE me your anathema.
Speak new damnations on my head.
The evening mist in the hills is soft.
The boulders on the road say communion.
The farm dogs look out of their eyes and keep thoughts from the corn cribs.
Dirt of the reeling earth holds horseshoes.
The rings in the whiffletree count their secrets.
Come on, you.

When my sister next to me were babies, we had our very own crib.  We were still in diapers; we wore our very own bibs.
I remember my Mother waxing our bed room floor.  It was so shinny, until my Mother couldn't wax anymore.
After my Mother left the room, we prepared for the "Big Race".  Because the floor was so slick and shinny, not a chance for a slower pace.
We had the finest cribs, they came with rolling wheels.  We would shake them across the room, only to get a big thrill!
All we needed was a " News Flash" with the word "Olympics" with all of the lovely rings.  Right behind that; two babies in their rolling cribs, smiling and waiving behind the scene.
By, Sandra Juanita Nailing

It took humanity thousands of years to evolve into a society. A place where our thoughts would be heard. Our words could be shared, and we, as a whole moved past the barbaric creatures that we used to be. Few have stood up to the whole and screamed, “WE MUST BREAKOUT OF OUR WAYS! We cannot treat others as if they were dirt! Just because that’s how it has always been does not mean that it is right!”

Their words have inspired, humanity has come so far. We have created an illusion that the more we have the better we are. We have cried and died just to say, “We broke out! We are different and have changed.”

And how perfectly we lie as we say it.

If we have truly evolved, then why are we fighting over love? Does changing mean lining the pockets of politicians so oil companies can make the rules and destroy the Earth?

Is breaking out of our barbaric ways tying down and torturing our mentally disabled? Putting them in cribs so the age of twenty seven looks like a deformed four year old. They are not perfect as the media says that they should. So we hide them away like the Hunchback of Notre Dame was hidden. How can we say that we have left our ****** past behind us when we drug those who are different and condone the torture of the abnormal?

It is not true! Some have screamed at our accusations. It will be changed… and we believe it.

We believe every beautiful lie.

Society bleeds peace from the skin of nuclear weapons. We scream for equality for those who are exactly like us and no one else who doesn’t fit the mold. Gangs run our streets like kings, their drugs flowing through our cities like blood in our veins. Hate is the skeleton with which we thrive and the beautiful lies we whisper are the muscles that keep us moving.

How can we say we have broken out when ****** run the streets free and the pregnant victim is the one society assaults? How can we have broken out when colors that shouldn’t matter are the soul basis for the death of an innocent fourteen year old girl, who just happened to be riding her bike. How can we say that we have changed when families are starving to death because the price of living has gone so high that their stagnant jobs can’t support them like it once did.

Society… Oh society how wrong you are with your honeyed, poisoned words. Do as you say and breakout. Change. Because you’re taking a long walk off a short cliff and those words will catch up to you. Breakout now, no one will do it for you.

It started as a joke we all laughed at the thought
of slanging coke
or passing cops with a whole bag of thizz
cheesing out ya window, just like Andre and Mac Dre in the Bay and Valley Joe
But now the game got real
I'm broke and choked for skrill (skreel) and this sandwich place can't even contend with the dough I'd make if I dealed
But who could I trust and who would squeal, make me have to peel out in my whip as I dipped
moved cribs and changed homies
Do I have a soul of a drug dealer or one for slapping on pepperoni to a sandwich for another zombie
Do I have the soul of a drug dealer?

“Two possibilities exist: either we are alone in the Universe or we are not. Both are equally terrifying.”
That's Arthur C. Clarke.
My wife always believed we are not;
She was convinced we are not alone.
11 months ago,
My sweet wife said to me,
“Wouldn’t a pair of tiny feet
Pattering around the house
Sound so sugary sweet?”
10 months ago,
The doctor told me how
My count was pretty low and
Asked my wife about a bike accident
From when she was 10.
My wife cried a little, and then
At home, she cried
More than I’d ever seen her.
“I don’t want to be alone,” she said,
But I told her we’re never alone,
As long as we have God.
She told me, in one of the worlds out there,
We are complete.
The ‘S’ in universes keeps her hopeful,
And content.
8 months ago,
I sat in the waiting room
With my sweet wife who had
Been puking and aching for weeks.
The doctor called it a miracle
And said our lonely days were gone.
My wife said she was glad
We weren’t going to be alone,
With just her and me.
7 months ago,
My wife ate right, and exercised,
And sang to her belly, and
Did all of the things
She was told to do;
But it was not enough, because
1 month ago,
My wife — my sweet, lovely wife —
She tripped on the staircase-
That last creaky step I swore I’d fix-
And fell, and bled and bled.
The doctor said he was sorry,
That my wife, she’d be okay, but
That there was nothing to be done
About the young one.
My wife cried much more
Than she had cried 4 months before.
She said she didn’t want to be alone.
“But we are not alone,”
I held her and I said,
“We have God in our midst,
we are not alone.”
A week ago,
I put out a sign
That declared ‘Garage Sale’
(Unabashedly, as if mocking us)
And lay out a motley of miniature clothes and objects-
Unused cribs and
Tiny, unworn shoes.

One day ago,
I said all the right things,
And loved and supported her,
And held her through her tears, but
Right now, as I cry
More than I’ve ever cried before,
And ask why I couldn’t be enough,
She is packing up her trunk,
Saying she can’t take it, saying
*“I just want to be alone.”

life is on sale
but always paid with flesh
a ship that sinks
in an endless stream of pretty
unforgiving things
play with fire
every chance you get
whoever told you to grow up
were insanely jealous
stare at the sun
wear your lack of a brain as a disguise
forget umbrellas
**** always attacks from below
cross the line
never look back
time machines are called money
you had wings once
but lost them twice
reflections chase mirrors
because they're alone
cradle machine guns like
newborn babies
turn off the TV and
burn the books
even hell has Instagram these days
the only castles worth the candle
are the one you built as a kid
but that doesn't buy any press
or a spot on MTV cribs
followers are up
life is on sale
but always paid with flesh.

Our eyes meet
it's electric , almost magnetic
we look at each other as if we are
the only people on earth,
and in our minds we are the gods
of the universe,
our souls are united , we are not
two hearts but one,
we are the love couple's in folk tales
uniting in this life time.

We exchange words that
sound poetic while we sit
and feel them course through
our every vein. The love we
share is a bit chaotic. We sit
at night up in our attic. Watching
the silver moonlight from the
window frame. Counting the
stars like it's the only game.
We tangle our hands as if they
are tied with shackles and chains. The only thoughts that come
to our brains are thoughts of
our love and how it all happened
as it was  unarranged. Sitting
in the attic you touch my skin.
Making it feel like a wild flame
that's being put out by rain.
Looking in your eyes i see the prettiest sunrise. Holding your
hands feeling ocean waves. I
listen to your heart as its beats
rhyme with mine. I want you
curled under my skin and always
in m mind. I want you standing
safe and guarded behind the
cage of my ribs. Just like babies
do at night in their cribs. We are
the lovers that the poet's mentioned back in the old age

We are the lovers whom are destined to meet each other in every life time again and again**  ~

I will hold my breath,
Still with anticipation of the day
When children sleep soundly in their cribs,
When hounds stand poised and alert at their master's side,
When high school friends recognize each other after years of separation,
When the mendicant wanders a cold city after dark,
When the ever-thirsting stock broker buys the American dream with stolen money,
When a sorry little girl embraces a once furious, now placated mother,
When a college student spends days in a library and nights drowning in cheap beer,
When a cozy red hand knit scarf protects an old man in the unforgiving snow,

When I finally find what I've sought for so long,

That will be the day I stop writing and start singing our song.

I have to hold back my tears. No one can see me like this, vulnerable and not in control. 
They think that i can fend for myself, what do they know? Truth is im in need for their help, for their opnion and inspiring words.
For a long time it was me in the middle of the sandwhich. My older sister covering me, and i protecting my ypunger twin.
Its funny how the sandwhich turns into how my life is today. My older sister takes up all the spotlight, claimig it allfor herself. Absorbin all the attention until there is none left. I shake at the words she wont utter, like a simple please or thank you. How she would never help my mother how she leaves my mother fighting so hard, as she sits on the couch and jist watches. When my mother asks for her help she will make it more like a burden then helping out of respect. I will do any of those thigs in a heart eat just to take the stress off of my moms shoulders. But again thats how we differ...

As for my twin the one that i had felt the need to protect since we had been in the wound together 16 years ago. How can i put in words all the feelings she leaves on me? She is so irritable yet i yearn to watch her succeed. She is as slow as a turtle, yet sometimes shes as sharp as a knife . Some nights ill catch her talking to herself, it pains me to see her over think things. After so much effort of tryin to help her all i can do now is make beleive im sleeping, pull the covers over my head and let the tears roll down my cheek, burning it under their touch. She has this problem and the tendency to ovetthink thongs from the stipidest things to the most important. She lays them all on the same scale not considekg the dfferences betwene them . As muh as she overthinks , when she has an idea she lets it cloud her judgement.l
 I remember thst one time in our cribs its blurr but i still feel it in my blood. Diane had my moms attentiom absorbed for she was alsay a cryer even when her head hutt a lottle bit. Michelle  was sick with strep having my moms also and my dads granparents. Then my head throat and whole body was killing .. All i remmeber was keeping my mouth shut. And waitig for someone to come ask me how i was feeling. Which no one did.And still as i cry typing this no one will ask me how im feeling, for i have middle child syndrome

Dinner is served!
Forks placed,
Napkins set
The chef has cooked for an army times three
And we’re even using the antique dinette
Runners take your marks
Get ready and set
A hurricanes a coming
Gamblers go and place your bets
My family when reuniting
Is cataclysmic at best
A flood of faces whip and zoom by
I notice cousin it and wolf man starring barbarically at the pies
Dr. Seuss’ children
Thing one and thing two
Take to the flinging of mashed potatoes
Better this than launching poo
Most of us dodge the flying clouds easily
Frankenstein ducks fast and tight
A gravy train curve ball impales my cheek
I stand up slowly and remove my potato face
Everyone backs up to give me some space
The blue haired gremlins snicker in dismay
Glance masks of sheer terror
As I march my wrath their way
“the king is gonna getcha’”
“the king is gonna getcha’”
They sarcastically shiver
But jump from their skin when I boom,
“And it ain’t gonna be pretty, now let me paint the picture”
Go back to your kiddy cribs
Can’t even chew a salted meat
You say you have a green card
But you have no real receipt
They both tremble with fear
So go retreat to kiddy land
Do you need me to hold your hand?
It’s okay you might get lost
This world is a hot mess
So try not to burst your eardrums
Or regurgitate spaghetti
My lyrics’ ll burn your throat raw
Just ask your cousin yeti
Know me by my name I’m the shepherd of fire
Spitting chariots of flame
Nightmares fear my attire
So don’t go and get it twisted ,I’ll break your jaw
You’ll be reduced to spitting lyrics through a crazy straw
Liquid rhyming riffs
You’d be an official pirate, setting out on your sail ships
Slippin’ and slidin
Pass Davey Jones   a mike
And this is what he’ll tell ya
That I’ve been blessed with your curse
This kids gotta serpent’s tongue
Aw you wanna leave already?
What for?
This turkey’s feathers are prematurely burned  
But if my flames are too hot for you to handle
Step back and recover
Your ears are close to charbroiled so seek shelter take cover
I exhale molten bars
From sons and daughters, to mothers and fathers
My blazing campaign and my slogan that’s fire
Me myself and I, Only crew I would hire
So who am I?
I am me!
Who am I?
The mc!
So sit down, hush it up
And call me the pumpkin king!!!

The room is clear and the air is filtered
Two chairs for me and her, to separate and segregate
I grind my teeth and I clinch my fist, to the point where
I experience near sudden paralysis in my right hand,
and I think to myself, "I didn't love you because you were rich".
No such things as unaccepted apologies.

Between the two pillars of our own truth, there stands 32 Dr. Phils,
and each one attempts to explain to me
on how to be a reasonable and rational man,
so I can grow old with her, and learn how to fly without having any mosquito wings.
As I sit impatiently in this draconian chair of imprisonment with no restraints,
I think of what we once had and what we can still accomplish
by not believing in things such as unaccepted apologies.

By realizing that we are no longer on training wheels,
That the jagged surface that bridges us,
From a love that can shave diamonds and convert children into angels after death.
And when we get to that bridge, we will see ourselves with our children
as they walk and crawl to our bodies,
infesting their love across our fat bellies with their eyes and their drooling mouths.
I want our children to learn their first words that signify the exact representation
of our relationship;
their vivid sounds of "mamas, dadas, goo-goos, ga-gas"
hanging to our ears like raindrops on windshields,
like a mobile softly swinging over their cribs.

I relinquish myself from this seat as I run to hers,
to grab her, to tell her how ****** this situation is.
How our internal and legal battles are astronomically indifferent
To the spheric gift from God that has shun His light to your tiny stomach,
like the flickering spark of a dying flash.