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john oconnell Sep 2010
Handel

played on a concertina

in the dreamy hours

of a June night

spent

on the shores

of the far reaches

of Connemara

as we confessed

many sorrows

and ample joys

with a northern glint

in the sky.
After the wind lifts the beggar
From his bed of trash
And blows to the empty pubs
At the road's end
There exists only the silence
Of the world before dawn
And the solitude of trees.

Handel on the set mysteriously
Recalls to me the long
Hot nights of childhood spent
In malarial slums
In the midst of potent shrines
At the edge of great seas.

Dreams of the past sing
With voices of the future.
And now the world is assaulted
With a sweetness it doesn't deserve
Flowers sing with the voices of absent bees
The air swells with the vibrant
Solitude of trees who nightly
Whisper of re-invading the world.

But the night bends the trees
Into my dreams
And the stars fall with their fruits
Into my lonely world-burnt hands.
_

Source:
http://www.universeofpoetry.org/nigeria.shtml
I

On the Coast of Coromandel
Where the early pumpkins blow,
In the middle of the woods
  Lived the Yonghy-Bonghy-Bo.
Two old chairs, and half a candle,--
One old jug without a handle,--
    These were all his worldly goods:
    In the middle of the woods,
    These were all the worldly goods,
  Of the Yonghy-Bonghy-Bo,
  Of the Yonghy-Bonghy-Bo.

II

Once, among the ****-trees walking
  Where the early pumpkins blow,
    To a little heap of stones
  Came the Yonghy-Bonghy-Bo.
There he heard a Lady talking,
To some milk-white Hens of Dorking,--
    ''Tis the lady Jingly Jones!
    'On that little heap of stones
    'Sits the Lady Jingly Jones!'
  Said the Yonghy-Bonghy-Bo,
  Said the Yonghy-Bonghy-Bo.

III

'Lady Jingly! Lady Jingly!
  'Sitting where the pumpkins blow,
    'Will you come and be my wife?'
  Said the Yonghy-Bonghy-Bo.
'I am tired of living singly,--
'On this coast so wild and shingly,--
    'I'm a-weary of my life:
    'If you'll come and be my wife,
    'Quite serene would be my life!'--
  Said the Yonghy-Bonghy-Bo,
  Said the Yonghy-Bonghy-Bo.

IV

'On this Coast of Coromandel,
  'Shrimps and watercresses grow,
    'Prawns are plentiful and cheap,'
  Said the Yonghy-Bonghy-Bo.
'You shall have my chairs and candle,
'And my jug without a handle!--
    'Gaze upon the rolling deep
    ('Fish is plentiful and cheap)
    'As the sea, my love is deep!'
  Said the Yonghy-Bonghy-Bo,
  Said the Yonghy-Bonghy-Bo.

V

Lady Jingly answered sadly,
  And her tears began to flow,--
    'Your proposal comes too late,
  'Mr. Yonghy-Bonghy-Bo!
'I would be your wife most gladly!'
(Here she twirled her fingers madly,)
    'But in England I've a mate!
    'Yes! you've asked me far too late,
    'For in England I've a mate,
  'Mr. Yonghy-Bonghy-Bo!
  'Mr. Yonghy-Bonghy-Bo!'

VI

'Mr. Jones--(his name is Handel,--
  'Handel Jones, Esquire, & Co.)
    'Dorking fowls delights to send,
  'Mr. Yonghy-Bonghy-Bo!
'Keep, oh! keep your chairs and candle,
'And your jug without a handle,--
    'I can merely be your friend!
    '--Should my Jones more Dorkings send,
    'I will give you three, my friend!
  'Mr. Yonghy-Bonghy-Bo!
  'Mr. Yonghy-Bonghy-Bo!'

VII

'Though you've such a tiny body,
  'And your head so large doth grow,--
    'Though your hat may blow away,
  'Mr. Yonghy-Bonghy-Bo!
'Though you're such a Hoddy Doddy--
'Yet a wish that I could modi-
    'fy the words I needs must say!
    'Will you please to go away?
    'That is all I have to say--
  'Mr. Yonghy-Bonghy-Bo!
  'Mr. Yonghy-Bonghy-Bo!'.

VIII

Down the slippery slopes of Myrtle,
  Where the early pumpkins blow,
    To the calm and silent sea
  Fled the Yonghy-Bonghy-Bo.
There, beyond the Bay of Gurtle,
Lay a large and lively Turtle,--
    'You're the Cove,' he said, 'for me
    'On your back beyond the sea,
    'Turtle, you shall carry me!'
  Said the Yonghy-Bonghy-Bo,
  Said the Yonghy-Bonghy-Bo.

IX

Through the silent-roaring ocean
  Did the Turtle swiftly go;
    Holding fast upon his shell
  Rode the Yonghy-Bonghy-Bo.
With a sad primaeval motion
Towards the sunset isles of Boshen
    Still the Turtle bore him well.
    Holding fast upon his shell,
    'Lady Jingly Jones, farewell!'
  Sang the Yonghy-Bonghy-Bo,
  Sang the Yonghy-Bonghy-Bo.

X

From the Coast of Coromandel,
  Did that Lady never go;
    On that heap of stones she mourns
  For the Yonghy-Bonghy-Bo.
On that Coast of Coromandel,
In his jug without a handle
    Still she weeps, and daily moans;
    On that little hep of stones
    To her Dorking Hens she moans,
  For the Yonghy-Bonghy-Bo,
  For the Yonghy-Bonghy-Bo.
Tommy Johnson Apr 2014
Winnie the Pooh is trying to think
As are Plato and Socrates
While The Little Rascals get rambunctious
And The Marx Brothers cause calamities
Jim Jones stirs the Kool-Aid
And Georgie Porgie makes his move
Bo Peep and Miss Muffett start to blush
Red Ridding hood just swoons
The Muffin Man does a deal
With Johnny Apple seed
These beings and people our real
In our Surreal Reality

******* lets the paint splatter
And Moses parts the sea
Belushi buys an eight-ball
Bruce is on trial for obscenity
Rorschach is on the case
Right behind Sherlock Holmes
John the baptist goes for a swim
Along with Brian Jones
Jack and Jill meet Hansel and Gretel
They're hungry, they're thirsty
These figments of imagination do exist
In our Surreal Reality

Rasputin was so evil
As bad as Captain Hook
Now was it ** Chi Minh or Nixon
Who said "I am not a crook?"
Mao Zedong looked at Stalin
With a shared murderous grin
Booth stormed the Ford theater
And shot President Lincoln
Kennedy and King we're both casualties
Of the process of the deciphering
Of our Surreal  Reality

Zeus said to Aphrodite
"Wow, you look real good tonight"
And Handel says "Hallelujah!"
As the Wright Brothers take flight
Baby Face Nelson
Teams up with Dillinger
Moe, Larry and Curly
Mengele, Mussolini and Adolf ******
Three bears, three little pigs
Along with three blind mice
Sit together, while Maurice Sendack
Cooks them chicken soup with rice
Charlie Bucket had a buy out
Wonka gave up his factory
Fiction or nonfiction it's all a apart
Of our Surreal Reality

Chicken Little tried his best
To warm The Little Red Hen
Of the sly trickster
They call Rumpelstiltskin
Rimbaud applauds Leonidas
And his 300's final stand
Da vinci  paved the way
For both Newton and Edison
Folklore and war heroes
And those with intellectual mentality
Are all just pieces
Of our Surreal Reality

Wee Willie Winkie's scream
Wakes up Rip Van Winkle
But not Sleeping Beauty who's been asleep for thirty years
But has no acquired a single wrinkle
Caligula has lost his mind
And Nero's lost his fiddle
What does Beethoven's hearing aid
Have to do the March Hare's riddle?
Abbie Hoffman fights for civil rights
Thomas Jefferson for democracy
Products of the conceptual
In our Surreal Reality

Berryman writes an ode
To Washington's wooden teeth
Manson speaks of Helter Skelter
Neruda damns the fruit company
Charles Schultz frames the story
And Seuss gives it rhyme
Some where far, far away
Taking place once upon a time
And the villagers all had omelettes
Thanks to clumsy Humpty Dumpty
It's all food for thought
In our Surreal Reality

Santa brings us presents
And Cupid bring us love
But we can never get back
The members of the 27 Club
Warhol makes his movies
And Buddha meditates
Joseph Smith reads the golden plates
Mohammed and Jesus save
Theses figures bring people hope
In life's dualities
Trusting faith
And our Surreal Reality


Han Solo is in carbon freeze
Don Juan's preoccupied
Sinbad sets his sails
Simple Simon didn't get his pie
Caesar looked at Brutus
Brutus looked at Saddam Hussein
Hussein looked at L. Ron Hubbard
Who prayed to Eloheim  
Dionysus can out drink us all
We cringe at Achilles fatality  
As Ra soars through the skies
Of our Surreal Reality

Aristotle says to Shakespeare
"Well Billy you old bard"
Frodo trades the ring of power
To Fidel Castro for a Babe Ruth Baseball card
Biggie and Tupac write their lyrics on paper
Ted Bundy is put in jail
They're making another skyscraper
For King Kong to scale
Hemingway is too far gone
Kant's take on morality
Einstein says it's all relative
In our Surreal Reality

Churchill said victory
John Lennon said peace
Judas gave back the silver
Then hung himself in a tree
Tojo and Kim Jong-il
Wanna be as cool as Brando and Dean
George Carlin warned us all
Now Hermes leaves the scene
So do the butcher, the baker and the candle stick maker
Followed by Old King Cole and his Fiddlers Three
As they make their way to find
A sense or Surreal Reality

Odysseus pines for Ithaca
Paul Bunyan chops the trees
The Jersey Devil has not been found
Noah herds the animals by twos not threes
Anubis wraps the mummies
And Augustus leads Rome
Bugs Bunny laughs with Pryor
All at the expense of Job
So what can we all make of this
Is this all actuality?
Symbolism or nonsense?
Realistic Surrealism or Surreal Realty?
Mateuš Conrad  Sep 2018
David
Mateuš Conrad Sep 2018
.oh yeah... chris isaak's: wiucked game - plenty of "facts" went into taping as many covers as the song spontaneously made replica... so many objective "facts"... too many to count... when will certain subjective taboos be recognized and other, objective "truths" be denied?! how long must humanity be obliged to secure the argument by "confusion" be deemed liberation as necessarily-arguing the case of confiscatory material? what?! my grammar is bad? if my grammar is so ******* bad... ask someone from Rotherham!

.i tend to forget that people have this, collective amnesia regarding subjectivity, somehow they only associate it with news spew... they vaguely recognize an old widow walking from a surgery to a bust stop, stopping my a lavender bush, to pick a few flowers off of it... like some quasi Notre Dame hunchback... joyous that she bypassed all the ghost souls on the "waiting list" of an English doctor, joyous... clearly innocent... there can never be a place in this world for objective truths... objectivity is limited in the realm of aesthetics... whereby objectivity is a truth: whereby two uncorrelated people say the same thing... but  when it comes to a taste in music? what is objectivity that focuses on the differentiated between the sound of Wagner with / without an orchestra... and a traffic jam? objectively? both are sounds... extreme comparisons... but you can't call one black and the other #A, can you? subjectivity is not a 1-dimensional propaganda machine, it is also a truth... and when it comes to aesthetics... within the confines of personal taste(s)... i can say Wagner works better without an orchestra than with one... but... you can't tell the two apart... subjectivity is not a bias... it is a profound truth... in comparison objectivity's claim for truth is a tirade, compensated by the mere excavation deposit of journalism, which is becoming ever more fractured in compensation; it was always the case that life, expired prior to the, death... but now? it appears? death expires prior to a, life. Wagner isn't anemic without the orchestra... Wagner merely hijacks an orchestra to overdo the purpose of the piano... to enrapture a concert hall; nothing more, and i wouldn't expect nothing less.

i'm drunk...

  you're sober...

good luck
reconciling either,

even if either:

invokes:

         none....

   who gave the reigns
to the internet,
under a sober guise?

****! quick!
catch me a moth in a lampshade
and send me off to
a CIA acid camp!

IVANA BELIEVE!
and congregate
like a ******* beehive!

or a termite mount...
whichever...
            what?
i'm drunk... you're sober...
    
unless you have some
fetish for Swedish pop music
akin to Roxette...
  we, have, seriously,
nothing, to, talk, about...

  savvy? is that privy enough
for you?

tell me the difference between:
i have no rank, no lābrador
to mind suite for an orchestra
worth a Wagner...

**** it... i just watched
Apocalypse Now...
   3 and a half hours of what i could
make of the heart of darkness...
prior to the ride of the valkyries...

but to be honest...
i'm with david...
             take of pure piano...
of Wagner's
     the entry of the gods into Valhalla...
sole, piano... it's not anemic...
it's justified interpretation,
it''s... the justified counter
to Chopin...
  a refined honesty...
                 i never liked
Chopin...
   unlike most Polacks...
i never like Jean-Paul II either...
like most Polacks...

i'd envision a Jean-Paul II emeritus...
like all old Polacks lay claim:
it you have been nice to see
an otherwise different,
process of dethroning...

no... the orchestra undermines
Wagner... the piano will do,
for now, for as long as it takes...
the piece doesn't require orchestration...
if the mere piano makes the pieces
anemic...
then the orchestra makes is
gluttonous...
  
people shouldn't expect their children
to be intelligent by merely
listening to classical music...
what they should expect...
is listening to classical music...
elaborating into jazz...
and then coming back into classical music...

why do i hear such horrors...
that the only classical music made pop...
is classical music underscoring
moving image...
why is the only classical music
"worth" listening to...
the music composed for movies,
or at least, incorporated
into them?

            no... Wagner is not anemic
on the sole basis of piano...
     das rheingold: is not anemic...
Chopin might be...
with his intricacies...
a bountiful butterfly in the age
of Bonaparte...
              
               but? listening to the piano?
of Wagner's exclusion of
orchestra?

   Handel is the new Bach...
and Wagner is the new Chopin...

you don't make toddlers listen to classical music
because they might be better
at arithmetic like some prized
monkey who later struggles
with economic biases -
or tax returns...

                     you need a classical
music appreciation,
to hit against jazz...
and if it doesn't return to classical
music?
then the original investment was
worth... zilch!

       orchestra ruins what perfects,
or rather allows Wagner
to stand-out from a Baroque tradition
of Germanic exfoliation...
   and hurts, hurts...
hurts the gentile spirit of a Schubert
or a Schumann...
      
the just Libra interlude hanging
within a composition,
the dangling in the air...
or a dire, interlude, a dire... note...

                   Wagner minus
orchestra...
                      what a fine affair to...
anticipate:

                                              ­    en oeuvre.
CAME the great Popinjay
Smelling his nosegay:
In cages like grots
The birds sang gavottes.
'Herodiade's flea
Was named sweet Amanda,
She danced like a lady
From here to Uganda.
Oh, what a dance was there!
Long-haired, the candle
Salome-like tossed her hair
To a dance tune by Handel.' . . .
Dance they still? Then came
Courtier Death,
Blew out the candle flame
With civet breath.
Mateuš Conrad Mar 2016
if charles chooses a coronation name that isn't his baptismal name, he'll be ******, after all: we need that name for a hope of patronage and idiocy when politicising saudi arabia as a "reliable" ally.*

why is it that
cats love listening to handel?
well, when
active during charles ii's
reign he was the cream
of the crop, and a cherry on top;
the cats say: handel over bach
any daydream to come!
they should have never
renamed big ben (after benjamin
disraeali) as the queen elizabeth tower...
she's got the ****** bridge
at dartford!
what's next, Lizzy of Stonehenge?!
Nigel Morgan Jan 2014
Today has been a difficult day he thought, as there on his desk, finally, lay some evidence of his struggle with the music he was writing. Since early this morning he’d been backtracking, remembering the steps that had enabled him to write the entirely successful first movement. He was going over the traces, examining the clues that were there (somewhere) in his sketches and diary jottings. They always seem so disorganised these marks and words and graphics, but eventually a little clarity was revealed and he could hear and see the music for what it was. But what was it to become? He had a firm idea, but he didn’t know how to go about getting it onto the page. The second slow movement seemed as elusive today as ever it had been.

There was something intrinsically difficult about slow music, particularly slow music for strings. The instruments’ ability to sustain and make pitches and chords flow seamlessly into one another magnified every inconsistency of his part-writing technique and harmonic justification. Faster music, music that constantly moved and changed, was just so much easier. The errors disappeared before the ear could catch them.

Writing music that was slow in tempo, whose harmonic rhythm was measured and took its time, required a level of sustained thought that only silence and intense concentration made properly possible. His studio was far from silent (outside the traffic spat and roared) and today his concentration seemed at a particularly low ebb. He was modelling this music on a Vivaldi Concerto, No.6 from L’Estro Armonico. That collective title meant Harmonic Inspiration, and inspiring this collection of 12 concerti for strings certainly was. Bach reworked six of these concertos in a variety of ways.

He could imagine the affect of this music from that magical city of the sea, Venice, La Serenissima, appearing as a warm but fresh wind of harmony and invention across those early, usually handwritten scores. Bach’s predecessors, Schutz and Schein had travelled to Venice and studied under the Gabrielis and later the maestro himself, Claudio Monteverdi. But for Bach the limitations of his situation, without such patronage enjoyed by earlier generations, made such journeying impossible. At twenty he did travel on foot from Arnstadt to Lubeck, some 250 miles, to experience the ***** improvisations of Dietriche Buxtehude, and stayed some three months to copy Buxtehude’s scores, managing to avoid the temptation of his daughter who, it was said, ‘went with the post’ on the Kapelmeister’s retirement. Handel’s visit to Buxtehude lasted twenty-four hours. To go to Italy? No. For Bach it was not to be.

But for this present day composer he had been to Italy, and his piece was to be his memory of Venice in the dark, sea-damp days of November when the acqua alta pursued its inhabitants (and all those tourists) about the city calles. No matter if the weather had been bad, it had been an arresting experience, and he enjoyed recovering the differing qualities of it in unguarded moments, usually when walking, because in Venice one walked, because that was how the city revealed itself despite the advice of John Ruskin and later Jan Morris who reckoned you had to have your own boat to properly experience this almost floating city.

As he chipped away at this unforgiving rock of a second movement he suddenly recalled that today was the first day of Epiphany, and in Venice the peculiar festival of La Befana. A strange tale this, where according to the legend, the night before the Wise Men arrived at the manger they stopped at the shack of an old woman to ask directions. They invited her to come along but she replied that she was too busy. Then a shepherd asked her to join him but again she refused. Later that night, she saw a great light in the sky and decided to join the Wise Men and the shepherd bearing gifts that had belonged to her child who had died. She got lost and never found the manger. Now La Befana flies around on her broomstick each year on the 11th night, bringing gifts to children in hopes that she might find the Baby Jesus. Children hang their stockings on the evening of January 5 awaiting the visit of La Befana. Hmm, he thought, and today the gondoliers take part in a race dressed as old women, and with a broomstick stuck vertically as a mast from each boat. Ah, L’Epiphania.

Here in this English Cathedral city where our composer lived Epiphany was celebrated only by the presence of a crib of contemporary sculptured forms that for many years had never ceased to beguile him, had made him stop and wonder. And this morning on his way out from Morning Office he had stopped and knelt by the figures he had so often meditated upon, and noticed three gifts, a golden box, a glass dish of incense and a tiny carved cabinet of myrrh,  laid in front of the Christ Child.

Yes, he would think of his second movement as ‘L’Epiphania’. It would be full of quiet  and slow wonder, but like the tale of La Befana a searching piece with no conclusion except a seque into the final fast and spirited conclusion to the piece. His second movement would be a night piece, an interlude that spoke of the mystery of the Incarnation, of God becoming Man. That seemed rather ambitious, but he felt it was a worthy ambition nevertheless.
Mateuš Conrad Dec 2016
you know what i find funny? the phrase: i could eat you. juxtaposing vide cor meum against... this is the part where punctuation marks are never collision prone diacritical marks... but then again, there's that dietary joke... i could eat you... dependence on your bones not being properly disavowed within a langoustine broth... and there you are: a grey area mindful of Stalin... *****! i'm trying to humanise ******, stop interrupting! where once a moths' flutter, later a rainbow in the nacht! mind that niqab... nicht would mean nothing. some insinuated cappuchino, some cackles... some said cutie-pies invoking rouge cheeks... every time i watch these culinary shows i get thinking about cannibalism to counter veganism... and then i laugh... i don't want to find stinking socks and political correctness as "my way, did it to suit Lascaux cavern graffiti"... i preferred wanking than keeping up with women... it's the song i heard before lambs stiffened and muslims became muslims, and falafel was mince... ******, get under the hosepipe and you're there, all freely gagging for the fizz... a touch of tinsel... vide cor meum... return of policy... as half-heartfelt kaleidoscope returning to define a rainbow... i love that phrase given the palette opportunity... i could eat you. it's the demonic encouragement that solidifies the stench into what's to be seasoned properly... i don't know.. the phrasing: i could eat you sounds more formidable in delayed practice than: i can **** you... plus the gazpacho... which means: Batman ate cold cauliflower soup and slurred to slurp the question: but it's cold? Baldwin replied: it's supposed to be! they said orthography as a rigidness of aesthetic, i said... that's questionable whether any is applicable, given we're talking about graffiti.

i got tired of sensing other people's jealousy,
and tried to love them,
which ended up to be as much as a matrimony
toward one woman, ambition-bound
to incarnate the matrimony of swans...
  and the poor old ******, left to fantasy in
his days as a widower...
   every time i look at a lonely swans
i try to duck-quack the thing into existence...
            but there are variation of marriage...
a west london accountant can speak terrible
crap against an ethnicity i try to not identify with...
but i am courageously borne from,
    and therefore have to express some affiliation...
as a matter of principle...
  i rather not, but iu must, even though i sprechen
a host tongue... and am, therefore,
embedded with claims of socialite elitism...
                 but then i compare...
and these these comparisons are the due phrase...
Marilyn Manson's *a minute of decay

is a chance to hear the bass guitar overpower
           the drums... a bit like a culinary pistachio
moment in a risotto...
   i want room to breathe in!
     i want vaughan williams' fantasia on a theme
by thomas tallis... i sanctify the need
   for prokofiev's lieutenant kíjé's suite...
(dots are optional, the syllables aren't,
a classical dot above the iota might revel in
being the defining moment of tonguing /
dissecting a word... but it doesn't have to be so)
i need air to breath in, a moment to whimper...
why do the **** love Chopin and not Liszt?
   a bid ******* odd... i don't like either Chopin
or Liszt... because as Kaiser Yoseph said
in amadeus... to many notes...
and i agree... vivaldi made violins into cherub
       pumpernickle sparrows -
you danced, you joyed, you came across St. Vitus' dance...
   you were doing arithmetic as concord speed
within a framework of even (white) and odd (black)
numbers... once you played the nocturnal Fabergé -
someone suggested you move the ******
  goose to the Hermitage, and frame it!
why are the Japanese are the only Europeans in Asia...
      never mind, they just are,
hence they compete for playing Chopin like they consider
sushi to be a culinary exception of the tartar -
minus the influence, obviously, hence the stress to
impose Chopin... but never Liszt... odd...
          template virtuoso and you think of Liszt
than you might conjure Chopin...
           better than that... conjure champagne
bottles blundering to the volcano's worth of fizz...
still... the Japanese are a curiosity...
first of all: they abide by Chopin and chopsticks
not being utilised when gobbling sushi...
   they have the ambassadors of kimono,
samurai, origami, karaoke, bonßai (zye, rye),
          Fukushima... Hiroshima... yep, that place
were stanley lee derived the concept of x-men...
          still, they have permanent ambassadors in
opur midsts... words that can't be "translated" due
to etymological puritanism...
       finally the Portuguese sailed away, and founded
Brazil on the promise of an infinite supply of toothpicks
from the Amazon -
or? hai sensei!           hatch that with the catchphrase:
     kajagoogoo: shy-shy, hush-hush, eye-to-eye.
          we're storming the labyrinth right not,
and i still can't believe that poetry revolves around
the rhythm of rhyme... play any ping-pong, lately?
     no wonder poetry is a peacocking dollop
of clogged-up cow dung... it's just asking
for a *****-slap in a playground.
           but why Chopin and not Liszt?
the **** are what Napoleon was to the Duchy of
Warsaw... they love that arithmetic of
a pebble-dasher's *******...
       wet dreams... some authentic curiosities of
civilisation still have them... i wouldn't recommend
listening to them recounting the fables, personally...
i'd listen in on the succubus jerking them off...
  and just recently i was walking the deaf streets at
night with a bottle of beer and felt the bottle
of beer almost being tugged from my hand...
  and some say that eating a woman's umbilical-chord
is what's necessary to live as a man to later
sing some aria; or like drinking a pregnant woman's
**** will ensure you don't become myopic...
             i don't like Chopin,
i don't like Liszt either... i want a room, and a chance
to breathe... at the end of the classical expression
summarising the wind, we had a return
to the rooting in Africa... earthly delights
and a grumbling stomach in need of feeding,
  jazz did the work for us, jazz still had
an orchestral element to add a Lacan of all things
worthy of deconstruction...
       but then the French came along and shoved
fondue into our ears... and we said
alight with an eureka moment... pop!
             n'ah... the moment when the bass overpowers
the drums... i really have this wild fascination
with the bass guitar...
                 because i don't get Mozart,
and i do think that Handel did much more than
even the sacrificial lamb that Beethoven is...
                  listen... poetry doesn't have to be
music... rhyming is ping-pong anyway...
but as long as you feel in debt concerning music,
the music will come on its own accord...
today i was rattled by a mix of dub (without a step)
and beck's odelay... cruise-missile dylan...
give or take...
      well, given the italicised pr.s. (pre scriptum) -
much later an aged blonde boasted about snorkeling
******* and young ****... and missing out
when she teased me coming back to her abode...
           moth steals from a butterfly,
butterfly never turns into a daisy...
                       you're still a **** and i'm about
half of the total worth of being a ****...
which makes as equal... or queue more.
           variably condoned to be synonym with
mosque...  but i said mannequin...
     it's this **** with the five a day....
Christendom mentioned fruit & veg...
Islam mentioned variations of a murmur...
   is prayer classified as fruit, or vegetable?
you're as bewildered as i am...
   i too thought tomato is a fruit...
turns out it's a vegetable...
primarily due to basil, feta, and the mediterranean.
               herring belong in the baltic,
******* attempting that sort of ballistics...
ask about the relationship between
              a. yan sobieski
         b. ******
                    c. window on arabia (vienna,
counter st. petersburg) -
     oh you'll get many thanks...
sure... you'll end up becoming assured
that dogs don't need petting, but training,
and that you have to make all friends bound
to be kenneled, because they won't learn otherwise;
it's a bit sad...
          for about a minute...
                   you tried being peace-abiding,
peace-mindful...
   you wanted to state compassion...
  in the end people need a slap... or as 2000 years of
history proved... a crucifix.
Nat Lipstadt Jun 2014
This is the game, set and matching end-piece to what is known as:

http://hellopoetry.com/poem/385266/poetry-round-find-your-self-within/

by way of an introduction....

T'is season to move forward,
back to old acquaintances renewed,
sand, water and salty sun,
three lifelong friends who,
Auld Lang Syne,
never ever forget me

I get drunk on their eternity,
their celestial beauty,
and they, upon my tarnished earthly being,
muse and are bemused

unreservedly and never judgingly,
share shards of inspiration unstintingly,
we share, never measuring
this captain's humanity, his human efficacy,
by mystical formulae of reads or hearts

grains of sand, water wave droplets and sun rays,
and his beloved words, derived there from,
all only know one measure...
immeasurable

http://hellopoetry.com/poem/699991/adieu-my-crew-my-crew/
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~


Pilgrimage (Reunion)


at last to begin,
to begin the 'at last,'
this reunion occurs
this first day of June
where on my
body's flesh colored calendar,
X red-marked,
deeper than any real cut of despair


this morn, leave for familiar parts,
embarking 100 steps to that
Adirondack chair,
my name, my self,
(oh god at long last)
so often, long lovingly
revealed unto you


the garden's sundial welcomes me,
Prince, Guardian, of the gate to the green,
the green steppe way to bay and beach,
a brief song of "ring around the irises,"
blooming around him,
he issues,
to celebrate his own glory recalled,
his own purpled prosed long ago one ecrivez'd,
by having the third mate
ring the greened worn,
bronzed ship bell
upon conclusion of
his raising of the gate


shorts and T white hair shirt,
costume de rigueur
of this Peconic pilgrimage,
turban and baseball uncapped,
stepping humbly
toward that worn wood throne
where carved are
the initials of
my poetic friends,
and his vast modest,
Concordia of poetic essays


Those odd disordered
collection of aleph bets
that have been prepared for this hour,
are sun dappled,
breeze caressed,
wave watched,
a fresh redressing after a
dum hiems,
a long dark winter


all rise up welcoming with voices
tremulous yet oratory,
sing with a love so spectacular ,
Handel's Messiah Hallelujah Chorus,
au naturel


the armies of ants declare this a
Truce Day,
parading before me in formation,
the rabbits race
in elegant uniforms,
white tailed bemedaled, dress grays,
announcing their  showoff arrival
with a new across-the-lawn
land speed record


the dear **** deer,
familiar families and generational,
look upon this human and
grumble while chewing our shrubbery,
an act of sherwooded lawn high robbery
but perforce acknowledging our entrance,
by uttering a Balaam blessing/curse,
a neutralized
"****, they're back"


the seagulls on the dock,
sovereign state observers from
Montauk and the far island city,
sent by the mother winds superior,
observers and reporters to nature everywhere,
Summer Season of Man Has Begun


a few white wakes disturb the water's composure,
the early low arc'd sun has not peaked in strength,
at 10:00am, the temp just breaches 60 Fahrenheit,
the beach sand untrod, no unlasting human impressions,
no children's red pails yet to them decorate,
amidst the sea life's detritus and smooth licked pebbles


Enough.


each tree ring and grass blade demands a verse,
an all my own tributary accolade,
this too much to accommodate


a year ago I issued an invitation,
do so again for my word is my bond
my responsibilities, my *******,


there are chairs for all
on my righted round and my motet left,
here, there are
no Americans,
no Canadians,
no Aussies or Brits,
or Indians and Fillipinos,
no African or Asians present,
East nor West,
None Invited here,
Only Poets


even those hardy pioneer
West Coasters, a proud lot,
and my Southern family drawling,
and perhaps lessening the mourning
just a touch, a minute modicum,
all sit quiet in the admixture
of poets come to celebrate
the blessing to have been tasked,
to write from and of places we visit
in the cerebral,
and to imbibe each other's words


Three Hundred and Sixty Four Days ago,
I wrote :

We sit together in spirit, if not in body,
You join me in the Poet's Nook,
A few frayed and weathered Adirondack chairs
Overlooking the Peconic Bay,
Where inspiration glazes over the water,
And we drown happily in a sea of words...

I am exhausted.
So many gems (poets)
to decorate
My body, my soul

I must stop here,
So many of you have reached out,
none of you overlooked.

Overwhelmed, let us sit together now
And celebrate the silence that comes after the
Gasp, the sigh, that the words have taken from
Our selves, from within.

Once again, in your debt


Again,
I await your beckoning wave of hello,
greet you in your mellifluous native tongue,
iced drinks at the ready,
the opening ceremony already started,
when all are seats taken
we commence officially,
with a blessed

*"Now, let us begin"
See the banner photo...paying off the promissory notes owed to myself
Mateuš Conrad Aug 2018
.Roger Moore!
  what? Roger Moore!
the definite Mishter Bond...
yeah yeah...
Sean Connery -
the, "original"....
  but Roger Moore had
Duran Duran to back him up!


First Name: Matthew
Surname: Elert
Address 1: 294 Havering Road
Address 2 (Rise Park) /  left blank
Town / City: Romford
Postcode: RM1 4TH
Tel: (+44) 01708 766 994
Email: m.k.elert@gmail.com
Date of Birth: 15      05       1985
Gender: Male.

Is this the first time you have bought Henry Westons Vintage cider?
No.

Where did you buy this bottle of Henry Westons Vintage cider?
Other.

Where do you do your main shop?
CO-OP on days when Russian Standard is on offer, given that CO-OP has your cider on a constant 3 for £5 all the time, otherwise Tesco, 15 minute walk, but still CO-OP for your cider.

In a few words, what made you buy Henry Westons Vintage?
I feigned a desire to drink more Magners, or for what matter the Swedish ciders (Kopparberg, Rekorderlig, etc.) - it's actually genius how your cider, standing at a whopping 8.2% alcohol volume... can't be branded an alcoholic's wet-dream like Carlsberg's Export most assuredly could. What a pristine balance of combating the sugars, that, other ciders, don't allow... I mean, at surfacing just shy of 5% in the Swedish examples? Near suffocating over-sweetness, taking a dog for a walk that was adamant on pulling the leash and hanging itself in the horizontal canvas would be more enjoyable than, walking with a bottle of those ciders... not enough alcohol to equilobrate the sweetness of a cider, per se... simply perfecto! I've already made the same point  on https://tinyurl.com/y7eaweeg... so, suma summarum: nothing, exactly made me buy the cider, originally, perhaps the logo, or some plain boredom from the Magners' and Swedish standards... but on 2nd purchase? The ****** quality, that simply transcends this question, in terms of advertisement "concerns"; p.s. you don't need to expand into pear cider. Any chance of hearing some Sonny Clark or Herbie Hancock at the festival? What about Joshua Redman?

you never know...
i might have a chance of visiting America...
if i win the Westons' Cider lucky draw...
and head over to the New Orleans' Jazz festival...
i like jazz...
   more than classical music...
well... within the reasonable constraints
of ******* on Handel's conductor's wand...

    smoochy smoochy...
   a helium balloon...
   dipped in either honey
or vanilla extract...
        chasing it...
     while a baby in a tram,
by accident,
                       releases it.

— The End —