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Mateuš Conrad Mar 2017
too many youtube punctuation akins before my voice comes through, like: hi! i'm child-minding chalrie! ola! oo! advert gives a ****?! you see that? advert gives a toss! well... ola! original lost to marsh potatoes mash.

like i was led by a solomonic harem:

we're buggered;

   to be honest.... hugh grant could have
said that better, and, would have facied him...
if he made that one film from my youth
about a damsel in distress... and the return
of charles II to england... the thing adam and the ants
imitated: highwayman no robin hood...
clean shaven like a daffodil in early spring frost
for the eye to peer into...

as it turns out, you write one great piece of work
and everyone applauses...
you write a thousand symphonies,
and everyone turns flame-eyed and forgets
your one spectacular moment, which
you take into hades and wish to forget given
the total output, when they mention that it
was all great, but so comes cousin critic and you
know that most of it was... a bit ****...
               and because of that:
they tend to do better... they?
   the ones that hit the banknote of a one song
wonder... and then receded into life,
and debated with gay peerage in some restaurant
akin to bridet jones' diary scenario,
and oh my oh my: the palpitations necessary
like make-up... i can almost see flamingos take to ballet!

and then it's back to *quack quack quack

of promenades in the park watching mallards...
  
original jealosy fades.... no, nothing else,
it just fades... which can feel a bit weird,
basically it, just, fades - i take to foot what people
take to: speeding down the a408 thinking
about tax; well yeah, i tax my feet with a mile, or two,
sometimes i take to the mile or two
with a different pair of shoe.
                                   you a rhyming rhino too?
              
you write pachebel's canon,
you're going to compete with haydn's 103
symphony...
similar to a question: how many eggs am i
carrying in my basket?

dear reader, like i child i never fathered,
or like a dog i never petted,
          or should i simply aim at: dear ego?
what unit i had and never thought with,
never mind the thought of?

the fact that you can't cry, is the reason
that you are depressed,
that's another statement that's worthwhile,
stating apathy as a misery
without tears
, the original melan- -choly...

listen, i don't care because i don't want to,
  i care about something that i want to care
about because thte things i would like to care about
i can't or don't want to,
   so i take the "metaphor" (which means
half my hans zimmer is gone) that keeps
haydn's symphony no. 103 almost floating
above pachelbel's canon...
      i'd love to miss out the second l...
and there, the ****** white, the doves,
     the church, and... hail! the marching bride!
that feeling of consecration...
    can you realise that newspapers are stink
compared to dust-affording books?
              yep... newspapers are ****
compared to book... i kept a week's worth
of newspapers in my room, i realised
that it stank as if a cat ****** in my room...
  when i listen to pachelbel i'm supposed to think
of kent, or devon, aren't i?
thumbs up essex oi oi!
                   halfway house out of 'ackney
  or 'eckham...
      oh right, right, like i was ever invited to a
marriage...
                     some 'un 'as to be the black sheep
of the family...
   well... i hope she divorces aged 40 and has a miscarriage
aged 35... if i really wanted to give a toss...
i'd toss, a cricket 'ard ball of
                mahogany cranium and make
believe that i was loved,
instead of receiving postcards from strangers...
living about a mile away...
    so there i see pachelbel with his canon in D....
and there i see mozart, laughing in steppenwolf
as is worth citing:
      i wrote so much ******* i just had to
tickle my ***** like a philosopher might ****** his
beard... if that answers your question:
they remember him for only one song,
and do so rightly,
   me? i'm not quiet sure why they remember
me for a hundred.
   it's like pachelbel is the *** pistols
        and i'm the ramones, or the offspring,
or stiff little fingers... or the dread, ****!
green day?!
                 according to noel gallagher
who did say that never mind the *******
was something we didn't accomplish with his
oasis albums... even though back in the day...
on the european continent, no one sang anything
apart from oasis songs... you went to paris:
oasis... you taizé... oasis...
yes, what was, once, france... or frau hans...
and then the exagerration on the f....
like an alo alo alo episode...
                 that's basically what it sounds like....
pachelbel's           pa-she-sha  l          fix it bell's
   pashelbel's               it's also half check in czech...
     but that's what noel said akin to mozart:
to be honest? i'd rather just (have) written than canon in D
and ****** off; if i wrote more than that
i'd be anything but that spare prosthetic limb
for that one legged man, dancing at a party in Versailles.
Robin Carretti Jul 2018
Walking and saying
Things our wellbeing
The soul needing love possessions
Have absolutely no meaning

Playing and praying
Overstaying and Under-paying
Rising sun and Symphonic searching

" Is this the way it is?" Tis the season

But the tightness no business like
searching business
  She is combined and mixed like a song
fully lined both with keynotes somehow
we declined
The feeling that you cannot breathe
or  trust both of us
 we can  bearly **** it all in
My music playing just click my belt buckle
Will start to begin

The soul is not a crime or just a rhyme
I barely cannot breathe
I am in a chuckle, you see his
smile raising up his dimple

Ms. Thumbelina cobblestone
narrow-minded street your
in the tightrope symphonic beat

But its dark outside your ringlets
Waved him on got excitedly mesmerized
His Goblet of wine she curls up in
his body heat brilliantly dazzled
The sky to your dreams he is
reaching your
soft side skin
whats actually within
our souls

So  hooked into your ride not to slide
better grades and goals
The awesomeness symphonic hatter
Victorian divineness
Her paper cut out hearts as real
as they come
The Eastside Symphonic tip of his
Heavenly Bliss private Quarters
What becomes of the broken hearted
Heads or dimes not landing on her stone
Floor heart
The Duke of all trades of the hat he's smart

Cool running ******
Addictions to the mind so fanatic
What a good soul sometimes
He overexaggerates about
love and fate darkness drives him demonic
What are you kidding me
She doesn't rest her heart on his
soul for the burning desires of food
for thought
She keeps piling his poems like any sport
He's her everything she learns to be taught

Searching lips pricing
Red bloodshot eyes of crying onions
She is so fierce controlling
Musically like a Tiger roaring
He is like a design of graphics tattoo
The earring piecing the sweetest taboo

More soul searching
She's the snake purse
to his snake eyes fancy,
he took a ride
Upper-false teeth
The upper west side
have some prideThe dark side
became her thing
The wildflower not to stand to
bloom and bang like her band

Westside sounds came deep
his pride and joy like a parade
and wickedly dark his charade

It was  sneaking up on her backside
And the other side was just hiding
and smiling
She definitely saw the light lamp post how
the smells came stronger the darkness of desire
she was famished not to have vanished

Feeling like a *** roast love continued
She had a gift for her lover, not the
toast who would brag to boost
Two ****** British what
divine glasses at a cost
The symphonic soul
captured them like the
Dark-Knight of words
Symphonic sounds came
hearing names
soulful hummingbirds buzz-net

And there weren't any more
words there was silence
Eating shepherds pie table was set

Taking over another soul that's a lie
just like magic searching for a love
so long ago became tragic
You need more perseverance
Her true love gave her
an incredible sixth sense
of deliverance
The top seat at the concert
classical wicked taste of music
candescent erotically sonic

She had this certain quality
He was a symphonic love bounty
Her lips moved so fitting fantastically
The flower shops caught her eye
She couldn't sense what was real or a lie
The fast pace of the people all worked up.
What a soulful smell music sounds
she faintly known

To her ear wanted to hear only him shown

Besides the faintly illuminated
shapes evergreens were
heartily trimmed
She stood out bright as the ground
She was turning gray losing reality
not to be found or heard
So soulful her lips speak
she was walking with her head up
in the air fancy dancey
How those men could speak.
You could smell all the ethnic
flavors of foods
She felt the search for something
of a Saint, she was trying to
hard to be good
What a Haydn, his wife
was the mad hair driving

Miss Daisy soul of hers crazy curled
inside her book
She's the lady-like curler
How he played through her hair
Hunchback of Notre Dame who was to blame?
How his eyes wondered playing
and observing
But she was holding his stare

like a womanizer and his eyes flew
what a haunting moon
But Samatha the harp shady tree
He said, my fair lady,
He's stringing something together

What! creepypasta but sometimes her powers were weak
The symphonic love potent every other week

Some Gothic man symphonic music started
Playing Rossini Opera he could stand on his head.
She was pinned to his eyes
Pinterest such interest
she was all bloomed like a fly

By witches, flower came he passed her and he knew exactly who she was as is but wait not his?
The pleading the beg humbug far from her tunes of the ladybug

Razzamatazz all body of Jazz jitterbug
He winked she-devil
summoned him on
What a binding spell
She wiped the sweat off her face
She was beautiful with pale
porcelain skin
So alluring walking
with her parasol
This is my darkness of a read I hope you enjoy flowers even if they perk you up if they are the darkness stay alive to bloom there will always be a flower like you
Nigel Morgan Mar 2014
This board is not on the wall. It rests on a worktable against a wall. It’s almost the length of the table, perhaps a foot short. On top of the board its wooden frame makes a shelf ideal for photographs or cards to balance precariously, photographs and cards too precious to pin. Today there are five, yes they change from day to day, and today (from left to right) there’s an original drawing in walnut ink of a winter field, a photo of two children looking from a cliff top towards a peninsula’s end, a card called Autumn Spey from a lithograph by Angie Lewin, an invitation to a gallery opening, and a What’s On brochure – from another gallery – showing some unusual tapestry.

The Notice Board is 100 x 60 cm. The wooden frame is slight, probably home-made, but well-made, with a dark brown hessian surface. Not that you can see much of the surface as it is covered with stuff: photographs, images, poems, pictures, cards, quotations, a prayer, an origami bird, a doctor’s prescription, a piece of tapestry, an invitation, an address, lists galore, a cheque or two, a diagram (of a knot), a concert program. Not everything can be seen directly as many items are shared by a single pin and hidden four, even six, notices deep. Every so often the items are unpinned and consigned to a folder and filed, and so the process of choosing and pinning starts over again. This can happen after a holiday, returning uncluttered by days walking the cliff paths with only the quiet sea to gaze at and the cottage blissfully free of things known, things owned.  So when back at the desk, in front of the notice board, it seems right to be beginning again.

Mozart’s Linz Symphony is playing quietly in the background. It’s that time of day when music is sometimes allowed to frame work at this desk and blot out the going home noise of buses in the city street moving away from the stop three floors below. Linz, the capital of Upper Austria and now a large industrial city straddling the banks of the Danube, once gave its name to Linzertorte, a cake of jam, cloves, cinnamon, and almonds, and this remarkable symphony by Mozart. The composer had only just married his Constanza and wrote to his long suffering father:

When we reached the gates of Linz . . . , we found a servant waiting there to drive us to Count Thun's, at whose house we are now staying. I really cannot tell you what kindnesses the family are showering on us. On Tuesday, November 4, I am giving a concert in the theatre here and, as I have not a single symphony with me, I am writing a new one at break-neck speed, which must be finished by that time. Well, I must close, because I really must set to work.

And set to work he did. He had just 4 days to compose, write the parts (though Constanza helped), and rehearse an orchestra. Such is life for the working composer, even today. Maybe not a summons from a beneficent Count, but a phone-call from a producer with a deadline. It is the film or TV score to be composed at break-neck speed. And it can be done, believe me. It may not be sublime as Mozart, but it gets done: there are ways and means.

But this is today’s background, and as these words are written the gracious siciliano of the Symphony No.36 plays away. Such a tender confection.

Looking up at the notice board where does one start? Each pinned piece is a divertissement, an aide memoire to times, events, places, and people. It is a mixture of the colourful, the curious, the necessary, the unusual, the nostalgic, and the personally precious. These things are the qualifications required to occupy a place on this board.

But now Haydn takes over the musical background, Symphony No.88. No descriptive name here, just his wonderful music: his first symphony to score trumpets and timpani, and with more than a touch of Turkish in the Minuetto and Finale.

So close your eyes now (let’s listen to Haydn for a while), then slowly open them and choose from the notice board what first catches your attention.

It’s a coloured sketch of flowers on an A5 sheet of cartridge paper. It is outlined delicately in pen, coloured variously with pastels, green, orange, purple, red. The vase is a glass bowl. It’s set on a window-sill and there’s the frame of a window faintly rendered. There’s no artifice in the arrangement. These are flowers from a garden, picked and now firmly ****** into the bowl. Immediately the long, quiet east-facing room comes alive to colour. It’s in shade now the sun has moved since midday when the flowers arrived after a journey of 40 miles in a hot car wrapped in moist newspaper and silver foil. It is a special gift and its beauty remains vivid for days. When visitors visited gentle comments are made on their fresh colours.

At night when the room is only lit by a standard lamp standing by a pale yellow settee the flowers sleep in the darkness, holding a vivid memory of a day of colour and light. A recording of the Schumann quartets plays passionately during the ‘close to the end of summer’ evenings. Hands are held, and between movements there is an occasional exploratory kiss. Such was their collective fear of passion overcoming other endeavours . . .

In the early morning time when she slept in the room next door oblivious to his wakefulness he would enter the long studio room with its four windows to find the first sunlight patterning the floor. The flowers were wide-awake, their perfume rich in the still morningtime. He would stand entranced to see such beauty brought from her city garden; the first of many gifts he would come to treasure. His sketch was an amateur’s, but four summers past it continued to give much joy and dear memories. It had something of the solemnity of Mozart’s siciliano, and if an image could be said to have a right tempo, it had a right tempo, a gracefulness roughly hewn perhaps, but full of grace.
Robert C Howard Sep 2013
Snowfall gently covered Belleville
in a blanket of softest down –
iridescent in the gaslight coronas.

A carriage pulled up at City Park Hall where
the coachman took white-gloved hands
and eased the ladies gently down the steps.
Some paused to pat the horses
in thanksgiving for the lift.

Top - hatted men offered arms to their wives,
escorting them up the snowy stairs
and into the buzzing lobby.

Trays of wine circled the room -
their cargo reduced at every stop.
Each raconteur spoke of celebration for the
Philharmonic had turned a decade old that week.

Programs in hand, people claimed their seats
while musicians on stage
practiced random admixtures of
excerpts that would come to order soon.

Then by the light of gas chandeliers,
Julius Liese raised his arms and brought
Haydn’s symphonic London to Illinois -
a citizen orchestra led by the local lumber czar.

After the final echoes melted into applause
and coats were lifted over shoulders;
the time had come for the waiting carriages -
snow still swirling in the gaslight glow.

The clopping of hooves on cobblestone
drifted into the passengers’ ears
and co-mingled with the echoes of
strings, drums and wind blown music
still singing in their memories
and irradiating their souls,

*January, 2007
This poem depicts an actual concert that was played by the Belleville Philharmonic Orchestra in 1877. The featured work on that program was Haydn's Symphony No. 104 the "London" symphony.  Night at the Philharmonic - 1877 celebrates the orchestra's 10th season.  The first concert was held on January 26, 1867.

Included in Unity Tree - Collected poems
pub. CreateSpace - Amazon.com
Olivia Kent  Oct 2015
GORGON
Olivia Kent Oct 2015
Venom be spat from the tongue that blinds.
Twixt the lovers.
Whose hearts, no longer entwined.
Words tied and tangled.
Twisted and lost.
Love becomes mangled.
Crumbled to dust.

No words dare be spoken.
The lovers that were.
Invoked the monster of Lady Medusa.
Screeching siren.
Lady's on fire.
Don't dare put her out.

Her eyes surely saved for you.
Muted sounds.
Exploding fear.
Hearing her dear.
Utters last squeak.
Unable to speak.
Bit his own tongue.
As she turns him to stone.
With eyes that don't see.
(c)LIVVI








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I rarely use Costa, I will be working back at Winchester hospital shortly.
I will use their canteen, the food is generally very nice x














Revealed: The squalor inside Costa coffee shops

A total of 23 Costas got two or less stars in their most recent inspections, including a hospital branch which had paninis at risk of contamination with bacteria which can cause paralysis and death.



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Olivia Kent Ward , starting Monday x

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Philip McCarthy







Philip McCarthy Good luck with the job Olivia, But Im a bit of a coffee freak but will never use Costa it alwaysgives me bad guts ache afterwards.

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Olivia Kent Thank you Philip **

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Philip McCarthy







Philip McCarthy Hey I'm at the Cafe Reflections for the first time. It's good here x Photos to follow

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"Super cool."

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"Storm Journey * unbreaking stone the key that unlocks the sky, and something races lionlike from beyond he thunderclap and the forest thrashes and waves like the choir in a Pentecostal church "yes, Jesus! Thankya, Lawwwd!" yes, there will be water if God wills it, so 'tis said. i read something in the living strokes of skyfire, the dance of something both benevolent and dangerous, and i can taste it like wine on the breath of the onrushing storm. it tastes like life, pouring into my lungs so fiercely i feel like i might be consumed by an overabundance of vitality. i can see that vitality all around me, the fecundity of Summer, relentless in its upward-thrusting, blossoming, breaking from the loam, bursting from the chrysalis, defying the arid winterlock that held the ground mere months ago. i walk from miracle into miracle, from myth into myth, the Universe enlarging with each step, until i'm carried like an infant in the arms of a loving storm."

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Heather Butler Jun 2010
in the twilight of dawn
I can already hear the shower.
quietly I wonder where the
time went.
I turn over and face the
peeling paint on the wall,
trying to grasp those
vestiges of a dream which
faded to air motes and half-light.

okay, I'll make breakfast today,
and I hope you like oranges.
no, I never bothered to memorize
which fruits you like
in the morning. I know
it's been years, but
I'm not superman and
you knew that when you said
I do.

don't tell me not to
grumble quietly to myself;
I need this bubble of
relative sanity
if I am to survive
5 am showers for
nobody.
you are fresh and clean,
an angel,
and your blowdried hair
frizzes out like a halo.
not a hint of gray.
must be a new color
you're using.

all right, fine,
I won't light a cigarette,
but I also won't
change my shirt.
I like the sweat stains.
they make my profession seem
like work and not
like poetry.

I retreat to
the backroom
where my typewriter sits
upon its unholy altar.
the radio beside it
stands presently silent
amidst the ashes
and crumpled pages.
I would sigh as
I sat down on my sagging chair,
but I am not
a sighing man.

instead, I groan slightly
as my joints protest
in their groggy morning voices
and rest my ***
upon the threadbare cusion
of my favorite
wooden chair.
I find a station on the radio;
something Haydn composed is
floating through,
and I talk to
my secretary.

her voice clicks and clacks
and rings when she breathes.
she's speaking in stanzas
and only I
can silence her.

but this ***** ain't done
confessing just yet.
Heather Butler; 2010
Gira
la negra,
gira
la luna,
gira
la negra luna,
sobre sí propia,
gira
la negra
luna
de ebonita,
gira la negra luna de ebonita
-sobre sí propia- y canta:

-¡Bah! ¡Canciones! Y músicas abstractas...!

Y, lo que canta, es la Música Viva!
Oye el Viaje de Invierno, de Franz Schubert,
y el Rey de los Alisos,
y El Doble y Ganímedes y Ante el mar,
y de Schumann, Amores de un poeta,
y de Dupare, Invitación al viaje
y La vida anterior...,
y de Chopín, Preludios y Nocturnos:

tú, soñador romántico; tú, doliente elegíaco.
Oye la voz serena,
la voz profunda oye
de Bach -añosa encina,
inmensurable selva, órgano él mismo y templo
de la harmonía-:

tú, sereno y profundo.

Y de Mozart el diáfano y sortílego,
y de Haydn y Franck, la cortesana
y la mística voz, inconfundibles,

tú, gustador de lo pulcro y etéreo.
Los Cánticos y Danzas de la Muerte,
y Sin sol, de Musorgski,

tú, angustiado, febril, hiperestésico;

y Borís Godunov, Borís Godunov, oye,
(bárbara gesta, miedo, sangre, lujuria y fausto)

tú, Sátrapa en los sueños...
Y, catador sutil de quintaesencias,
gusta la mediatinta debussyana,
pesquisidora de inusados timbres
y lontanos acordes, 1
en un dorado ambiente de calígine.
Y, borracho de lumbres y colores,
Óye, de Rímski, Antar y Xeherazada
y el Gallo de oro -vértigo y lascivia-:

mas, si de ritmos ebrio, tú, frenético
danzarín, danza todas las furias de Stravínski
-del sabio y del bufón mezcladas dósis-:
fino humor ricos timbres, forma clara 2
(sobria, o en concertado cataclismo).
Y oye, en la noche, y en Tristán e Iseo,
la voz vigía de Brangane, plena
de lo fatal, o el corno quejumbroso;
si no los Funerales de Sigfrido;
o el Tránsito al Valhalla, milagroso tumulto.
Y tú, plasmado en bronce, los vastos himnos oye,
óye las soberanas sinfonías
con que la voz del Sordo el orbe nutre!

Las acendradas síntesis:
sonatas y quátuors, insólito prodigio, filtros puros:

la Misa en re, misterio panteísta,
denso peán a la Naturaleza!

Y el trágico clangor de Coriolano...:

oye la voz del Indomado Prometeo,
oye la voz del Sordo, oye la voz del Sordo!
Gira la negra luna,
gira
sobre sí propia,
gira la negra luna de ebonita,
gira
la negra
luna
de ebonita
-sobre sí propia- y canta:
-Bah! Ficciones! Y músicas abstractas...!

Y, lo que canta, es la Música Misma!

— The End —