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Aa Harvey Oct 2018
Natural Rhythm.


Hey Mr. Guitar, keep on strumming them strings.
Then play me a song that will keep us all moving.
Keep all of the ladies, just a shaking their thing;
That will keep everybody in the room dancing,
To the natural rhythm.


I’ve got a natural rhythm in my heart and soul;
I’ve got a natural rhythm in my head.
I’ve got a natural rhythm in my heart and soul;
I’ve got a natural rhythm as I lay here in your bed.


Bounce to the rhythm of all of the drums.
The drumbeat booms against your chorus of twiddling thumbs;
Demanding your attention at the top of their voice.
The low beat shriek, as we bang on the drums.


Come on everybody and dance to the beat;
The natural rhythm, that flows through you and me.
The invisible hand, that guides our every step,
Makes you bounce to the beat of every word that I have said.


I’ve got a natural rhythm in my heart and soul;
I’ve got a natural rhythm in my head.
I’ve got a natural rhythm in my heart and soul;
I’ve got a natural rhythm as I lay here in your bed.


Keep on banging the drum to the sound of my rhythm;
Keep on dancing and keep on giggling.
Keep on keeping it real, for the people in the street;
Keep on keeping it banging, to the funkiest beat.


You see I got this natural rhythm, that’s in all God’s men
And you also got the rhythm in your head, in your head.
‘Cause the rhythm of my rhyme, will drop right on time,
As long as the sun is shining and I'm feeling irie eyed;
As long as the bongo’s keep on banging in the smoky background,
As long as to be rich, means more than acting the clown.


You see the rich get the women, because to be rich is to be a ****
And this is the best way to get the women.
Flash a *** of cash at the latest one you think is pretty;
Tell her you are loaded and pay her the money.
Buy the woman you like; moneys all that you've got.
I'm happy being poor; it's freedom at no cost.


I’ve got a natural rhythm in my heart and soul;
I’ve got a natural rhythm in my head.
I’ve got a natural rhythm in my heart and soul;
I’ve got a natural rhythm as I lay here in your bed.


(C)2011 Aa Harvey. All Rights Reserved.
Brittany Hesse Mar 2015
With the wind under my wings I soar
I see the west Canadian shore
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war
Nuu-chan-nulth – A caring and nurturing people are thee
Small families among the mountains, rivers, and sea
Vancouver Island’s west coast is where you reside
Awaiting your canoes on evenings incoming tide

Your men are fishing in the ocean’s secret places
Worry and hope etched in their weathered faces
Each man knowing the days hunting success must provide
For many wives, children, and elders the spoils they must divide

Your rhythm and harmony with the ocean is strong
Whale hunts and oceans spirits intertwined through your song
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war
I hear the east call, and open my wings to take flight
The distant drum’s heartbeat calls from the suns rising light
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war
Coast Salish – You know how the sea dances and quivers
As you watch the expanse from your inlets, and rivers
Vigilance is needed in case a Storm approaches
To mount a defence if an enemy encroaches.

Your wise headmen lead with such divine humility
Your family life embodies true equality
Your features are defined by a broad face and flat brow
Your girls with plucked brows, braided hair prepare for their vow

You seasonally harvest your rivers resources
Spawning Eulachon and sturgeon complete their courses
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war
As I leave your forests of tall cedars and aged fir
The drumming beckons me up the wild Fraser River
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war


Okanagan – You survive in the Valley and slopes
In a legend of a coyote you set your hopes
He educated you how to live off the hard land
Your very own lives you bestowed in his paw like hand

Your offspring, your joy, your future you know must be taught
So at an early age, to the elders they were brought
Your youths are handpicked and taught the roll they shall assume
If a warrior shall fall another shall resume

Your seasonal harvest of forest meadows and marsh
Will insure you survival when the winters are harsh
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war
With the updrafts I glide over the dry desert plains
I hear the drum call from a land where it hardly rains
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war
Secwépemc – your men come out through the eastern sunrise’s door
Your women’s entrance faces the stream to ease her chore
In seasonal cozy houses built into the ground
In a secret place your spoils and possessions are found

Your request for spawning salmon grows louder each day
The messenger crickets announce salmons on their way
You hunt with arrows and spears you crafted from strong stone
Needles and jewelry you made from animal bone

You patiently, wait in the winter’s silent brisk eve  
For the deer’s stealthy approach from the snow covered trees  
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war
The drum it beckons from the land of river crossroads
The land where men come to bring and trade their canoes loads
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war


Dakelh – You are the people who learned how to barter
You are known as the people who travel on water
With gathered roots you weave fish weirs in the evening air
And you set your high hopes in the chanted salmon prayer

Your children learn from the oral traditions you tell
Chinlac massacres, caves where dwarves shooting arrows dwell
Your widows carry ashes of the husband they held dear
Their Mourning and sadness that will last over a year

The respect for the land for everything you have gain
Though much, and bountiful your harvest some shall remain
The drum it echoes, echoes, echoess, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war
A plume of smoke and drum beat come from the distant Northwest
Echoing from the place where the Skeena River rests
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war

Gitxsan –Your Home is surrounded by snow tipped glaciers
Forests of spruce, hemlock, cedars, and subalpine firs
Your chieftain name and duties you hold for a short time
Other Wilp members are only ‘children’ in their prime

Like the rivers your families closely intertwine
Each account told is a lesson that is sublime
Each Wilp has your story told by a tall totem pole
Your History affects and moves you deep in your soul

Deer, Moose, and small mammal in the wild woodlands you stalk
You pursue the Mountain goat through rugged peaks of rock
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war
The drums incessantly pounds as I take to the sky
Urgently calling from remote islands of Haida Gwaii
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war

Haida - You live in the pacific northern islands
Your fam’lies Belong to the eagle or raven clans
You watch the tide rise and fall over the rocks and sand
Great mighty sculptures you have created with your hand

With strong healthy cedar trees you made your long dwellings
The entrance way totem your history is telling
Your warrior canoes glide through the rolling waves
Through victories and battles you have prisoner slaves


The sound of the drum beat is mixed in saltwater spray
To Vancouver Island’s west shore I must fine my way
The drum it echo, echo, echo’s, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war
As I leave your vast, and memorable territory
In the soft twilight air I watch the sunset’s glory
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war

Kwakwakawakw- So proud you are of your mother tongue
Born in this beautiful land your ancestors came from
Noblemen, Aristocrats, commoners and your slaves
Your narrative exists among your forefathers graves

Your canoes bow is carved into animal features
The whale, otter, salmon and other sea creatures
You hunt with such heroic assurance all year round
In the shapes of well carved masks their likeness will abound

Your long homes are protected by the oceans embrace
First nations, my people, you are a amazing race
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war
I leave your land of legends in a misty gray veil
And on the horizons comes change’s white sail
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war
The Europeans came into your isolated lands
Dividing your people into tribes, reserves, and bands
Before their arrival you lived mighty, strong, and free
Now your children fight to reclaim their identity

The drum will echo, echo, echo through time’s core
It will whisper a rhythm of time, change, and war
The drum will echo, echo, echo through your core
It will whisper a rhythm of time, change, and war
Jeni Feb 2016
I love you,
Goodnight
Every night, since forever ago
Rhythm
Routine
Family, friends
Taken for granted, yet
True.

Fourteen years old
I love you,
Called out,
A promise of returned affection
Timid, unsure
A response to
Insecurities.
Not true.

I love you,
Goodnight
Every night, since forever ago
Rhythm
Routine
Family, friends
Taken for granted, yet
True.

Fifteen years old
Distrustful
Cynical
Confused
Emotions flapping about like lost geese
Nothing like all the before’s
So this is what must be
True.

I love you,
Goodnight
Every night, since forever ago
Rhythm
Routine
Family, friends
Taken for granted, yet
True.

Sixteen years old,
That feeling
Tumultuous but calming
Broken yet whole
Lost but found
Your deep, beautiful eyes
Painful beyond belief, yet the best thing I’ve ever felt
Simply, it's true
I love you.

I love you,
Goodnight
Every night, since forever ago
Rhythm
Routine
Family, friends
Taken for granted, yet
True.

Seventeen years old,
It’s true
What is?
That
You’re my truth
And
I love you.

I love you,
Goodnight
Every night, since forever ago
Rhythm
Routine
Family, friends
Taken for granted yet
True.

Seventeen years old,
I love you
But…
I ****** up
I love you
But…
I kissed someone else
We never set boundaries
But….
I know I did wrong
I love you
But…
I truly can’t be with you right now.

I love you,
Goodnight
Every night, since forever ago
Rhythm
Routine
Family, friends
Taken for granted, yet
True.  

Seventeen years old,
You’re awesome
We’re so similar
So,
I love you?
No,
I realize that belongs to someone else,
But you think it's yours.
And that isn't true.
****.

I love you,
Goodnight
Every night, since forever ago
Rhythm
Routine
Family, friends
Taken for granted, yet
True.

Seventeen years old,
I hate myself
Because I’ve hurt you
Your pain is killing me
Though really, it’s me
Killing you
I love you,
It's true.
But,
How can you ever forgive me?

I love you,
Goodnight
Every night, since forever ago
Rhythm
Routine
Family, friends
Taken for granted, yet
True.

Eighteen years old,
I love you
It’s true
But you’re broken still
And I wish I could heal the horror
I caused
For you.

I love you,
Goodnight
Every night, since forever ago
Rhythm
Routine
Family, friends
Taken for granted, yet
True.  

Eighteen years old,
I love you
Whispered gently
Deeply
Truly
I want to kiss you
I want to hold you
I want to be with you
Can we, please?

I love you,
Goodnight
Every night, since forever ago
Rhythm
Routine
Family, friends
Taken for granted, yet
True.

Eighteen years old,
Yes. We can.
I love you too.
I still truly do.

I love you,
Goodnight
Every night, since forever ago
Rhythm
Routine
Family, friends
Taken for granted, yet
True.

Eighteen years old,
I love you
But…
Why are you doing this to me?
Why can’t you talk to me instead of hiding behind the texts?
What’s happening?
Please.
Don’t do it this way.

I love you,
Goodnight
Every night, since forever ago
Rhythm
Routine
Family, friends
Taken for granted, yet
True.  

Eighteen years old,
Tears
Broken
Mind exploding with assumptions
Intuition telling the worst of tales
Distrustful
Hurt
Why this pain?

I love you,
Goodnight
Every night, since forever ago
Rhythm
Routine
Family, friends
Taken for granted, yet
True.  

Eighteen years old,
Bitter
Am I jealous?
This isn’t good…
What’s happened to me?
Helpless and
Still true
I love you
But...
Who knows why?

I love you,
Goodnight
Every night, since forever ago
Rhythm
Routine
Family, friends
Taken for granted, yet
True.

Eighteen years old,
And here come apologies
A letter…. I love letters
And
I love you too
Still,
Somehow.
It's true.

I love you,
Goodnight
Every night, since forever ago
Rhythm
Routine
Family, friends
Taken for granted, yet
True.

Eighteen years old
I don’t know what’s wrong with me
Sad
Hurt
Insecure
Doubtful
Distrustful
Broken
Beyond belief
Empty.

I love you,
Goodnight
Every night, since forever ago
Rhythm
Routine
Family, friends
Taken for granted, yet
True.

Eighteen years old
And
I keep crying
I cried because you were so caring towards to me the other day
And it was so sweet.
I cried because you hugged me and let me cry on you
I cried because I love staring into your deep soulful eyes
I cried because I feel so much, all the time, for you
I cried because sometimes I truly hate how much
I love you.

I love you,
Goodnight
Every night, since forever ago
Rhythm
Routine
Family, friends
Taken for granted, yet
True.

Eighteen years old,
And goodnight dear one,
I still really do love you. 
And, I promise you 
All of this is true.
I was about to go to bed an hour ago. I had the light off and everything... But then I got this idea and I knew that if I went to sleep, it'd fade. Oh well, poetry is better than sleep anyways. Sometimes.

In the poem, I describe two kinds of love. That which I feel for family and friends, and that of romantic love, I guess, for lack of another description. I have only truly loved one person in the second manner, I think. I have said I love you, thinking I meant it at the time, only to realize later how far off I was.
Mateuš Conrad Apr 2019
.i don't know any other music genre, where the bass is left alone, left exfoliating married to the drums, and the guitar? there's no such a thing as a rhythm guitar section in blues... the guitar is consrtantly married to solo... to a sense of orthography... best represented by ´ (the acute accent) without an o: to cream out a "hidden" u, i.e.: ó... or a cedilla (¸) bound to a c: ç to form the greek sigma (ς) - e.g. garçon... waiter, waiter: i'll just wait... that's how i see the blues guitar... the rhythm guitar isn't there, the bass is married to the drums... but the blues guitar keeps the rhythm in a "funny" way... pair up john lee ****** with lightnin' hopkins (on the piano)... and you... keep rhythm, by working solo accents into the rhythm set by the bass and drums... you rhythm by a continous sparring with the solo - you solo by ensuring your remain in the confines of chord, or something much -esque to a chord... milk, cream & alcohol... again and again: the blues... oh my dear the blues... where the rhythm of the guitar is kept with constant soloing... sometimes engaging with the bass and the drums for a reference check of rhythm... but mostly: solo the whole **** through... but it's not the sort of soloing associated with hair metal of the 1980s jerking-off for performance art piquance... sometimes the solos come in the form of chords... it's like i said already... layers:

         waiter -   garçon
                                 and garcon
                                               (¸)

blues guitar? the latter...
                                             solo accents...
rhythm of syllables: gar-çon
                              but mostly gar-con
                                                         ­  (¸)
since the bass and drums rhythm section
is so perfected in the blues,
the guitar is allowed to do what the hands
want owned by the devil...
        a thorough solo to keep the rhythm...
the one genre of music
where the solo works like a rhythm...
     instead of that in between section
of showing off
between verse chorus verse chorus solo chorus
standard of rock...

     another freedom given to the blues guitar?
the rhythm set by the vocals,
of repeating lyrics...
hell... if someone is going to sing
and play at the same time...
                  why explore lyrics as some sort
of narrative... ping-pong along
with the freedom of the itchy fingers...
by having no real verse,
and no real chorus...
                just a steadied momentum...
        and you really need to drink to appreciate
the blues...
                   just like all the hippies
will tell you that dropping acid enchances your
chances of enjoying the 13th floor elevators
or jefferson airplane...
              i don't know which is better these days:
jazz or blues?
sure as **** not rap...
                       and they say the slave trade
was all bad... sorry...
      without these west africans budding
in h'america... i'd still have a clarinet shoved
up my ***... or folk songs...
                  or mozart's woodwind imitating...
or vivaldi's *******' worth of spring...
yes, and we all know that Idi Amin was white...
wasn't he? who died peacefully while
under asylum in saudi arabia...
           Idi Amin was white! oh come on!
he was the last king of sctoland!
              on a side:
   they were picking cotton...
             well... at least they weren't working
the ******* coalmines... where they now?

ever watch that video
of milo
  yiannopolous:
       congresswoman
ilhan omar
           (d-mn)
       addresses
david horowitz's west
coast retreat?

where is the old milo
gone to?
anyone pick
up on the heavy breathing?

there's the stag ***
of only 2 years prior?
he's not here...

         i was never into making
videos,
only because i just liked
those japanese godzilla
movies from the late 80s...

and i'm still a sucker
for modern pop,
currently?
           mabel - don't call me up...
huge, huge sucker
for the expected reaction
to pop music...
synch. vocals and
a very limited circumstance
of lyrical poverty...

sucker... might as well
don a dunce hat...
elsewhere,
on the ibernian peninsula
it's also called
a *capirote
...
and **** gets freaky...

i agree...
the northern crusades,
the polacks became christened
in 962...
   the teutonic knights
were ready
to explore lithuania...
we were about to allign
ourselves with them,
ergo: defend them...

            the concept
of reconquista came after
the crusades...
         i'm pretty sure it came
after...
           jihad is reconquista...
worded differently...
   is it? the crusades were one
thing...
     jihad = reconquista...
         the current form of jihad?
it's like crusading...
     to claim a jihad is to claim
reclaiming lost lands,
there must be some muslim genius
who could come up with
a counter term to jihad:
the jihad on the offensive...
rather than on the defensive...
we need some muslim genius
to come up with a conquering
ideology of islam...
   umayyad script...

i'm reading into the video
and i'm like:
is he angry...
       or is he simply scared?
all that heavy breathing...
maybe it's both?
   do i "think" about
throwing him from
a roof... are you sane?
as they say:
in a mad mad world,
the only sane people
                    are the madmen...

talk about memes finally
coming across "genetic"
mutation...
                why are all the "liberals"
and "progressives"
so surprised by mutation
creeping into memes?
doesn't that usually happen
with genes?
so... what's with all the outrage...
if memes exist outside
of the biological reality
of genes,
then... surely,
any counter-thought
from the est. order is equivalent
to a mutation, isn't it?

               so... what's the outrage
about?
    well if genes are going
to by hijacked by a mutation,
why would memes be immune
to a mutation,
akin to the o.k. hand sign?
you want a script?
i learned this at primary school,
but you need two hands
in tow:

   (right hand RH,
left hand LH,
   thumb TH
         index I
      ******* MF
        ring finger RF
pinky P)...

and now the motion

   RH (I + MF hand down) slap on the
the LH palm of the open hand...
   RH (I + MF hand up) slap
on the LH palm of the open hand...
RH (I + MF
               V shaped insertion
of the V shape into the LH's
side)
      clenched fist of RH slammed
on the open palm of the LH...
clenched RH with an extended TH
poiting toward caesar's favour
in the coliseum (thumb's up)
moving away from the LH open
palm...

   translation?
   why, don't, you, ****, off...
primary school,
some of the kid's parents
must have taught them this sequence
when their children told them
that some foreigner ******
was attending primary school
with them...

                   poor milo though...
notably in that video...
           he's either really angry...
or he's ******* himself...

i'm still left with this sign language...
i don't even know if it's correct...
a kevin spacey "conundrum"...
i'm not exactly going to, *******,
am i?
                knitting and picking
points of criticism...
   made easy:
   no niqab, no turban,
   no copper skin,
             no black skin...
no wonder my fellow countrymen
are leaving
with a massive F          and a U
from this island...
                    good for them...
if i was sane enough,
i'd also leave...
      but given that i'm also a dual-citizen...
well...
         milk the ***** for
her last worth...
    this language...
                    the people are another story,
but my lover affair with
this language is exactly
this.
Denis Barter Mar 2018
Shakespeare wrote: that in Life,
we pass through seven,stages,
and for each stage, we fill many pages.
Recording details, joyful and sad:
of deeds done, be they good or bad.
Lifestyles led - be they short or long:
a mournful dirge or joyful song?
they’ll mark times of joy and strife
each book recording a stage in life.
But of all events therein, there’s no doubt,
The Rhythm of Life, runs throughout!

A Challenge was issued to write a poem,
based on the theme "The Rhythm of Life."
Herewith my attempt to describe poetically,
the Seven Phases, of life in metred rhyme:

A baby’s first cry, a Mother’s sigh,
a Father’s joy, be it girl or boy!
The Rhythm of Life - renewing.

Tho not adept, a toddler’s first step:
an excited giggle, a hesitant wiggle!
The Rhythm of Life - exploring.

A chilling dream: a piercing scream:
a splashing bath, a show of wrath!
The Rhythm of Life - revealing.

It’s off to school, playing it cool,
friendships made, twixt lad and maid,
The Rhythm of Life - inviting.

In the Class, shy looks pass:
Girl dates boy, flirting coy:
The Rhythm of Life - delighting.

Embarrassed flush: a girlish blush.
With proposal made, plans are laid,
The Rhythm of Life - maturing.

Lovers matched, a wedding hatched,
with banns said, the twosome wed.
The Rhythm of Life - inviting.

Twixt a couple paired, love is shared.
Next it’s three, maybe more to be?
The Rhythm of Life, expanding.

Heaven be praised, the family’s raised,
then comes the desire, to retire.
The rhythm of Life, now slowing.

After happy years, and some tears,
walk grows slow, soon time to go.
The Rhythm of Life, is waning.

When The Reaper calls, the curtain falls:
being time to leave, some will grieve.
For The Rhythm of Life, has ended!

Rhymer.  March 16th, 2018.
Mateuš Conrad Jan 2017
thankfully my nostalgia concerning the late
20the century, coincides with my youth,
i mean youth, and that i also mean
****** idealism, when women were phantoms
and could never be girlfriends or
widows, or tears shed at the grave,
or nothing needy, nothing clinging,
nothing resembling mussels...
         i have to admit, i got ***** the moment
i detached myself from thinking about god...
the third partisan of the a priori
implant dictated by time & space...
            i didn't only shove my genitals into
her genitals, i shoved my ego into her
concept of god... and i subsequently became
a dimmed version of st. augustine...
              because that part of me didn't exactly
make confetti from her reasoning....
shoom!
          scalped me and dragged about 1000
tumbleweeds in its travels...
             the grand point? i didn't see
   a hairdresser, for the next never ever...
unless they do trim ***** to coincide with
      funny tattoos...
                     i don't know... maybe i was really
ultra-idealistic about women before i lost
my virginity, that after i lost it, after i lost
the foremost grace, i didn't learn the gorilla
impetus to keep one... let alone a harem...
   women really were fun and beautiful and
mysterious when i had them in my head...
      after the fact that i learned too late that they
also took a ****, i couldn't believe it!
        me, adapting to this? this fog-smeared
creature? yes, i can see my nihilism,
                    i''ve been burning that amber light
of a litre of whiskey per night for quiet some time,
drop by Collier Row's Tesco and look at the c.c.t.v.,
but then i put on some creedance clearwater revival
(not cool, aha, used the whole name, right?
cooler me saying c.c.r.? bukowski, lebowski...
same ****, different cover) -
   but i really did experience love... i know... huh ha...
did i recover from it? i'd probably have
recovered from 20 ****** over-doses...
        she got married, obviously...
  because women, don't idealise men...
  unless they meet the criteria of what men are supposed
to own... man idealising woman is a woman per se...
woman idealising man is a man contra per se...
                     after all, a man idealises
thinking about a temp. storage space for his
*******...
              which later turns into offspring...
   any woman could agree to being part of that phlegm
and being content at housing those "lucky" offshoots
in her kangaroo rucksack...
           it's as ugly as European thinking is going
to get, it can't get more scientific than this...
   i really do need a square on a rectangular canvas
to prompt a generous conversation about redifing
the point: we're not going back to the Milan school of
oil on canvas... or Rembrandt...
      it's not happening.
so creedance clearwater revival and graveyard train...
how we have bass guitar, and it's nibbling,
just nibbling... just grooving...
                  more like stalking but keep in mind
nibbling... and the there's no rhythm guitar,
because the guitar is just making accents,
the guitar is just twitching... i can't believe how
un-jazz comprehensive modern music is...
                   rhythm doesn't belong to the guitar,
there shouldn't be a rhythm guitar...
rhythm is all bass and drums...
          and i say that: because i hate metallica and how
i can never hear the bass guitar when i listen to them...
no wonder the original bassist got scribbled off...
   i love bass, don't you love bass?
something has to overpower the strength of drums
in modern music, something has to restrain
drums... needs to set the soothing rhythm,
rhythm guitar can't do that, you need the bass
guitar... bass guitar is, quiet frankly,
the most underrated instrument in modern composition...
techno techno! bongo bongo parties of
               berlusconi... bongo bongo... hatchet plus!
yes... silvio... we have the guillotine around here
too... choppy waters... plenty of sharks...
   enough to take a bite, though.
   and i thought naked lunch was bad...
well, i didn't, i didn't even want to plagiarise the Tristian
Tzara bound to it, reminiscent of cabaret voltaire.
huh?   ah yes... creedence clearwater revival,
and the bass on graveyard train, like water coming
down from a leaking tap...
  tum dum doom ta dollop... and it sounds nothing
like that... but something to allow the guitar what
it does best, sure, it joins in the rhythm section at
the beginning of the track... but then the guitar
sets up a momentum of creating accents,
  no rhythm = no solo... accents...
   little licks of being there... very ******* jazzy...
my my, so jazzy... and that's the safe ground to have
in music, retaining the jazz...
             otherwise you get into territory akin to
classical music's anithesis... the opposite of classical
music is... earthquakes... techno techno... drum drum...
drum drum... drum, drum... drum drum drum...
classical music was all about breathing...
  césar franck's les éolides (the breezes) -
and the antithesis? techno techno... muffed up techno:
ambient music... refrigerator sounds...
muffer up drums...
               don't get me wrong, i do listen to
e.g. man with no name...
         but it's rare to hear the jazzy side of things...
  it's just such a waste to see the bass guitar
not used as it should be, i.e. being over-powered
by drums... and using so much rhythm with
a guitar... having the rhythm and the solo...
  like squeezing a pair of testicles of a celibate monk...
god, that hush hush: tone down, tone, tone down,
tone, down... down... down...
             pst... kaput....
                                      i really did start talking
about something else, didn't i?
                this is new... digression as a column of
rhetorical perfection... fair enough having the rhetorical
skills, talking persuasively (well, just lying)
    about the same topic... but find me the rhetorician
than utilises digression, and forgets his talking
because he's changing subjects without really
    categorising them as being different....
    it's a trance state akin to eastern meditative practices...
digression as the most pleasing form of rhetoric,
teachers' oratory technique... not politicians' oratory...
   i never understood why digression was
not the foremost element of rhetoric...
                    political rhetoric is always about
ensuring people remember something,
they never do...
                        politicians drill in the points...
   and for some reason, they never talk to rhetorical
perfection, i.e. being able to digress...
                the most persuasive rhetoric is the rhetoric
with digression at its core...
                       or at least that's how i learned
english from a scotsman...
                                just blah blah blah blah
and at some point, there always will come an aha!
which is the next best thing to an eureka.
Denis Barter May 2018
The Many Stages of Life.
Shakespeare wrote: that in Life,
we pass through seven,stages,
and for each stage, we fill many pages.
Recording details, joyful and sad:
of deeds done, be they good or bad.
Lifestyles led - be they short or long:
a mournful dirge or joyful song?
they’ll mark times of joy and strife
each book recording a stage in life.
But of all events therein, there’s no doubt,
The Rhythm of Life, runs throughout!

Herewith my attempt to describe poetically,
the Seven Phases, of life in metred rhyme:

A baby’s first cry, a Mother’s sigh,
a Father’s joy, be it girl or boy!
The Rhythm of Life - renewing.

Tho not adept, a toddler’s first step:
an excited giggle, a hesitant wiggle!
The Rhythm of Life - exploring.

A chilling dream: a piercing scream:
a splashing bath, a show of wrath!
The Rhythm of Life - revealing.

It’s off to school, playing it cool,
friendships made, twixt lad and maid,
The Rhythm of Life - inviting.

In the Class, shy looks pass:
Girl dates boy, flirting coy:
The Rhythm of Life - delighting.

Embarrassed flush: a girlish blush.
With proposal made, plans are laid,
The Rhythm of Life - maturing.

Lovers matched, a wedding hatched,
with banns said, the twosome wed.
The Rhythm of Life - inviting.
Twixt a couple paired, love is shared.
Next it’s three, maybe more to be?
The Rhythm of Life, expanding.

Heaven be praisedACA, the family’s raised,
then comes the desire, to retire.
The rhythm of Life, now slowing.

After happy years, and some tears,
walk grows slow, soon time to go.
The Rhythm of Life, is waning.

When The Reaper calls, the curtain falls:
being time to leave, some will grieve.
For The Rhythm of Life, has ended!

Rhymer.  May 23rd, 2018.
Once upon a choice
I danced with the rhythm of my soul

Rhythm

Once upon a choice
I chose to love you

Rhythm

Once upon a choice
I believed

Rhythm

Once upon a choice
I started anew

Once upon a choice
I danced with the moon

Rhythm

Once upon a choice
I held your hand

Rhythm

Once upon a choice
I lived a miracle

Rhythm

Once upon a choice
I danced with my soul

Rhythm

Once upon a choice
I found you

Rhythm
jorn christopher Mar 2018
She sings

We feel all sorts of things

Don't feel

Just to hear it's so surreal

     And I know it's not the rhythm

     Just to hear it's so sublime

     And I know it's not the rhythm

     No, not this time.

Say what you mean

Don't become the in-between

With or without

You know it's nothing to think about

     And I know it's not the rhythm

     Just to hear it's so sublime

     And I know it's not the rhythm

     No, not this time.

Stop to breathe

Don't wake up from chasing dreams

Seek the truth

In what will always be there in you

     You know it's not the rhythm

     Just to hear it's so sublime

     But you know it's not the rhythm

     No, not this time

And I know it's not the rhythm

But, to hear it's so sublime

Even though it's not the rhythm

One last time.
Listen to your heartbeat, pulsing like the countdown to oblivion.
Nigel Morgan  Aug 2013
Rhythm
Nigel Morgan Aug 2013
Today we shall have the naming of parts. How the opening of that poem by Henry Reed caught his present thoughts; that banal naming of parts of a soldier’s rifle set against the delicate colours and textures of the gardens outside the lecture room. *Japonica glistening like coral  . . . branches holding their silent eloquent gestures . . . bees fumbling the flowers. It was the wrong season for this so affecting poem – the spring was not being eased as here, in quite a different garden, summer was easing itself out towards autumn, but it caught him, as a poem sometimes would.

He had taken a detour through the gardens to the studio where in half an hour his students would gather. He intended to name the very parts of rhythm and help them become aware of their personal knowledge and relationship with this most fundamental of musical elements, the most connected with the body.

He had arranged to have a percussionist in on the class, a player he admired (he had to admit) for the way this musician had dealt with a once-witnessed on-stage accident that he’d brought it into his poem sequence Lemon on Pewter. They had been in Cambridge to celebrate her birthday and just off the train had hurried their way through the bicycled streets to the college where he had once taught, and to a lunchtime concert in a theatre where he had so often performed himself.

Smash! the percussionist wipes his hands and grabs another bottle before the music escapes checking his fingers for cuts and kicking the broken glass from his feet It was a brilliant though unplanned moment we all agreed and will remember this concert always for that particular accidental smile-inducing sharp intake of breath moment when with a Fanta bottle in each hand there was a joyful hit and scrape guiro-like on the serrated edges a no-holes barred full-on sounding out of glass on glass and you just loved it when he drank the juice and fluting blew across the bottle’s mouth

And having thought himself back to those twenty-four hours in Cambridge the delights of the morning garden aflame with colour and texture were as nothing beside his vivid memory of that so precious time with her. The images and the very physical moments of that interval away and together flooded over him, and he had to stop to close his eyes because the images and moments were so very real and he was trembling . . . what was it about their love that kept doing this to him? Just this morning he had sat on the edge of his bed, and in the still darkness his imagination seemed to bring her to him, the warmth and scent of her as she slept face down into a pillow, the touch of her hair in his face as he would bend over her to kiss her ear and move his hand across the contours of her body, but without touching, a kind of air-lovers movement, a kiss of no-touch. But today, he reminded himself, we have the naming of parts . . .

He was going to tackle not just rhythm but the role of percussion. There was a week’s work here. He had just one day. And the students had one day to create a short ‘poem for percussion’ to be performed and recorded at the end of the afternoon class. In his own music he considered the element of percussion as an ever-present challenge. He had only met it by adopting a very particular strategy. He regarded its presence in a score as a kind of continuo element and thus giving the player some freedom in the choice of instruments and execution. He wanted percussion to be ‘a part’ of equal stature with the rest of the musical texture and not a series of disparate accents, emphases and colours. In other words rhythm itself was his first consideration, and all the rest followed. He thought with amusement of his son playing Vaughan-Williams The Lark Ascending and the single stroke of a triangle that constituted his percussion part. For him, so few composers could ‘do it’ with percussion. He had assembled for today a booklet of extracts of those who could: Stravinsky’s Soldier’s Tale (inevitably), Berio’s Cummings songs, George Perle’s Sextet, Living Toys by Tom Ades, his own Flights for violin and percussionist. He felt diffident about the latter, but he had the video of those gliders and he’d play the second movement What is the Colour of the Wind?

In the studio the percussionist and a group of student helpers were assembling the ‘kits’ they’d agreed on. The loose-limbed movements of such players always fascinated him. It was as though whatever they might be doing they were still playing – driving a car? He suddenly thought he might not take a lift from a percussionist.

On the grand piano there was, thankfully, a large pile of the special manuscript paper he favoured when writing for percussion, an A3 sheet with wider stave lines. Standing at the piano he pulled a sheet from the pile and he got out his pen. He wrote on the shiny black lid with a fluency that surprised him: a toccata-like passage based on the binary rhythms he intended to introduce to his class. He’d thought about making this piece whilst lying in bed the previous night, before sleep had taken him into a series of comforting dreams. He knew he must be careful to avoid any awkward crossings of sticks.

The music was devoid of any accents or dynamics, indeed any performance instructions. It was solely rhythm. He then composed a passage that had no rhythm, only performance instructions, dynamics, articulations such as tremolo and trills and a play of accents, but no rhythmic symbols. He then went to the photocopier in the corridor and made a batch of copies of both scores. As the machine whirred away he thought he might call her before his class began, just to hear her soft voice say ‘hello’ in that dear way she so often said it, the way that seem to melt him, and had been his undoing . . .

When his class had assembled (and the percussionist and his students had disappeared pro tem) he began immediately, and without any formal introduction, to write the first four 4-bit binary rhythms on the chalkboard, and asked them to complete it. This mystified a few but most got the idea (and by now there was a generous sharing between members of the class), so soon each student had the sixteen rhythms in front of them.

‘Label these rhythms with symbols a to p’, he said, ‘and then write out the letters of your full name. If there’s a letter there that goes beyond p create another list from q to z. You can now generate a rhythmic sequence using what mathematicians call a function-machine. Nigel would be:

x x = x     x = = =      = x x =      = x x x      x = x x

Write your rhythm out and then score it for 4 drums – two congas, two bongos.’

His notion was always to keep his class relentlessly occupied. If a student finished a task ahead of others he or she would find further instructions had appeared on the flip chart board.  Audition –in your head - these rhythms at high speed, at a really quick tempo. Now slow them right down. Experiment with shifting tempos, download a metronome app on your smart phone, score the rhythms for three clapping performers, and so on.

And soon it was performance time and the difficulties and awkwardness of the following day were forgotten as nearly everyone made it out front to perform their binary rhythmic pieces, and perform them with much laughter, but with flair and élan also. The room rang with the clapping of hands.

The percussionist appeared and after a brief introduction – in which the Fanta bottle incident was mentioned - composer and performer played together *****’s Clapping Music before a welcome break was taken.

— The End —