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NBA
FIRST DAY

1.
Who wanted me
to go to Chicago
on January 6th?
I did!

The night before,
20 below zero
Fahrenheit
with the wind chill;
as the blizzard of 99
lay in mountains
of blackening snow.

I packed two coats,
two suits,
three sweaters,
multiple sets of long johns
and heavy white socks
for a two-day stay.

I left from Newark.
**** the denseness,
it confounds!

The 2nd City to whom?
2nd ain’t bad.
It’s pretty good.
If you consider
Peking and Prague,
Tokyo and Togo,
Manchester and Moscow,
Port Au Prince and Paris,
Athens and Amsterdam,
Buenos Aries and Johannesburg;
that’s pretty good.

What’s going on here today?
It’s friggin frozen.
To the bone!

But Chi Town is still cool.
Buddy Guy’s is open.
Bartenders mixing drinks,
cabbies jamming on their breaks,
honey dew waitresses serving sugar,
buildings swerving,
fire tongued preachers are preaching
and the farmers are measuring the moon.

The lake,
unlike Ontario
is in the midst of freezing.
Bones of ice
threaten to gel
into a solid mass
over the expanse
of the Michigan Lake.
If this keeps up,
you can walk
clear to Toronto
on a silver carpet.

Along the shore
the ice is permanent.
It’s the first big frost
of winter
after a long
Indian Summer.

Thank God
I caught a cab.
Outside I hear
The Hawk
nippin hard.
It’ll get your ear,
finger or toe.
Bite you on the nose too
if you ain’t careful.

Thank God,
I’m not walking
the Wabash tonight;
but if you do cover up,
wear layers.

Chicago,
could this be
Sandburg’s City?

I’m overwhelmed
and this is my tenth time here.

It’s almost better,
sometimes it is better,
a lot of times it is better
and denser then New York.

Ask any Bull’s fan.
I’m a Knickerbocker.
Yes Nueva York,
a city that has placed last
in the standings
for many years.
Except the last two.
Yanks are # 1!

But Chicago
is a dynasty,
as big as
Sammy Sosa’s heart,
rich and wide
as Michael Jordan’s grin.

Middle of a country,
center of a continent,
smack dab in the mean
of a hemisphere,
vortex to a world,
Chicago!

Kansas City,
Nashville,
St. Louis,
Detroit,
Cleveland,
Pittsburgh,
Denver,
New Orleans,
Dallas,
Cairo,
Singapore,
Auckland,
Baghdad,
Mexico City
and Montreal
salute her.



2.
Cities,
A collection of vanities?
Engineered complex utilitarianism?
The need for community a social necessity?
Ego one with the mass?
Civilization’s latest *******?
Chicago is more then that.

Jefferson’s yeoman farmer
is long gone
but this capitol
of the Great Plains
is still democratic.

The citizen’s of this city
would vote daily,
if they could.

Chicago,
Sandburg’s Chicago,
Could it be?

The namesake river
segments the city,
canals of commerce,
all perpendicular,
is rife throughout,
still guiding barges
to the Mississippi
and St. Laurence.

Now also
tourist attractions
for a cafe society.

Chicago is really jazzy,
swanky clubs,
big steaks,
juices and drinks.

You get the best
coffee from Seattle
and the finest teas
from China.

Great restaurants
serve liquid jazz
al la carte.

Jazz Jazz Jazz
All they serve is Jazz
Rock me steady
Keep the beat
Keep it flowin
Feel the heat!

Jazz Jazz Jazz
All they is, is Jazz
Fast cars will take ya
To the show
Round bout midnight
Where’d the time go?

Flows into the Mississippi,
the mother of America’s rivers,
an empires aorta.

Great Lakes wonder of water.
Niagara Falls
still her heart gushes forth.

Buffalo connected to this holy heart.
Finger Lakes and Adirondacks
are part of this watershed,
all the way down to the
Delaware and Chesapeake.

Sandburg’s Chicago?
Oh my my,
the wonder of him.
Who captured the imagination
of the wonders of rivers.

Down stream other holy cities
from the Mississippi delta
all mapped by him.

Its mouth our Dixie Trumpet
guarded by righteous Cajun brethren.

Midwest?
Midwest from where?
It’s north of Caracas and Los Angeles,
east of Fairbanks,
west of Dublin
and south of not much.

Him,
who spoke of honest men
and loving women.
Working men and mothers
bearing citizens to build a nation.
The New World’s
precocious adolescent
caught in a stream
of endless and exciting change,
much pain and sacrifice,
dedication and loss,
pride and tribulations.

From him we know
all the people’s faces.
All their stories are told.
Never defeating the
idea of Chicago.

Sandburg had the courage to say
what was in the heart of the people, who:

Defeated the Indians,
Mapped the terrain,
Aided slavers,
Fought a terrible civil war,
Hoisted the barges,
Grew the food,
Whacked the wheat,
Sang the songs,
Fought many wars of conquest,
Cleared the land,
Erected the bridges,
Trapped the game,
Netted the fish,
Mined the coal,
Forged the steel,
Laid the tracks,
Fired the tenders,
Cut the stone,
Mixed the mortar,
Plumbed the line,
And laid the bricks
Of this nation of cities!

Pardon the Marlboro Man shtick.
It’s a poor expostulation of
crass commercial symbolism.

Like I said, I’m a
Devil Fan from Jersey
and Madison Avenue
has done its work on me.

It’s a strange alchemy
that changes
a proud Nation of Blackhawks
into a merchandising bonanza
of hometown hockey shirts,
making the native seem alien,
and the interloper at home chillin out,
warming his feet atop a block of ice,
guzzling Old Style
with clicker in hand.

Give him his beer
and other diversions.
If he bowls with his buddy’s
on Tuesday night
I hope he bowls
a perfect game.

He’s earned it.
He works hard.
Hard work and faith
built this city.

And it’s not just the faith
that fills the cities
thousand churches,
temples and
mosques on the Sabbath.

3.
There is faith in everything in Chicago!

An alcoholic broker named Bill
lives the Twelve Steps
to banish fear and loathing
for one more day.
Bill believes in sobriety.

A tug captain named Moe
waits for the spring thaw
so he can get the barges up to Duluth.
Moe believes in the seasons.

A farmer named Tom
hopes he has reaped the last
of many bitter harvests.
Tom believes in a new start.

A homeless man named Earl
wills himself a cot and a hot
at the local shelter.
Earl believes in deliverance.

A Pullman porter
named George
works overtime
to get his first born
through medical school.
George believes in opportunity.

A folk singer named Woody
sings about his
countrymen inheritance
and implores them to take it.
Woody believes in people.

A Wobbly named Joe
organizes fellow steelworkers
to fight for a workers paradise
here on earth.
Joe believes in ideals.

A bookkeeper named Edith
is certain she’ll see the Cubs
win the World Series
in her lifetime.
Edith believes in miracles.

An electrician named ****
saves money
to bring his family over from Gdansk.
**** believes in America.

A banker named Leah
knows Ditka will return
and lead the Bears
to another Super Bowl.
Leah believes in nostalgia.

A cantor named Samuel
prays for another 20 years
so he can properly train
his Temple’s replacement.

Samuel believes in tradition.
A high school girl named Sally
refuses to get an abortion.
She knows she carries
something special within her.
Sally believes in life.

A city worker named Mazie
ceaselessly prays
for her incarcerated son
doing 10 years at Cook.
Mazie believes in redemption.

A jazzer named Bix
helps to invent a new art form
out of the mist.
Bix believes in creativity.

An architect named Frank
restores the Rookery.
Frank believes in space.

A soldier named Ike
fights wars for democracy.
Ike believes in peace.

A Rabbi named Jesse
sermonizes on Moses.
Jesse believes in liberation.

Somewhere in Chicago
a kid still believes in Shoeless Joe.
The kid believes in
the integrity of the game.

An Imam named Louis
is busy building a nation
within a nation.
Louis believes in
self-determination.

A teacher named Heidi
gives all she has to her students.
She has great expectations for them all.
Heidi believes in the future.

4.
Does Chicago have a future?

This city,
full of cowboys
and wildcatters
is predicated
on a future!

Bang, bang
Shoot em up
Stake the claim
It’s your terrain
Drill the hole
Strike it rich
Top it off
You’re the boss
Take a chance
Watch it wane
Try again
Heavenly gains

Chicago
city of futures
is a Holy Mecca
to all day traders.

Their skin is gray,
hair disheveled,
loud ties and
funny coats,
thumb through
slips of paper
held by nail
chewed hands.
Selling promises
with no derivative value
for out of the money calls
and in the money puts.
Strike is not a labor action
in this city of unionists,
but a speculators mark,
a capitalist wish,
a hedgers bet,
a public debt
and a farmers
fair return.

Indexes for everything.
Quantitative models
that could burst a kazoo.

You know the measure
of everything in Chicago.
But is it truly objective?
Have mathematics banished
subjective intentions,
routing it in fair practice
of market efficiencies,
a kind of scientific absolution?

I heard that there
is a dispute brewing
over the amount of snowfall
that fell on the 1st.

The mayor’s office,
using the official city ruler
measured 22”
of snow on the ground.

The National Weather Service
says it cannot detect more
then 17” of snow.

The mayor thinks
he’ll catch less heat
for the trains that don’t run
the buses that don’t arrive
and the schools that stand empty
with the addition of 5”.

The analysts say
it’s all about capturing liquidity.

Liquidity,
can you place a great lake
into an eyedropper?

Its 20 below
and all liquid things
are solid masses
or a gooey viscosity at best.

Water is frozen everywhere.
But Chi town is still liquid,
flowing faster
then the digital blips
flashing on the walls
of the CBOT.

Dreams
are never frozen in Chicago.
The exchanges trade
without missing a beat.

Trading wet dreams,
the crystallized vapor
of an IPO
pledging a billion points
of Internet access
or raiding the public treasuries
of a central bank’s
huge stores of gold
with currency swaps.

Using the tools
of butterfly spreads
and candlesticks
to achieve the goal.

Short the Russell
or buy the Dow,
go long the
CAC and DAX.
Are you trading in euro’s?
You better be
or soon will.
I know
you’re Chicago,
you’ll trade anything.
WEBS,
Spiders,
and Leaps
are traded here,
along with sweet crude,
North Sea Brent,
plywood and T-Bill futures;
and most importantly
the commodities,
the loam
that formed this city
of broad shoulders.

What about our wheat?
Still whacking and
breadbasket to the world.

Oil,
an important fossil fuel
denominated in
good ole greenbacks.

Porkbellies,
not just hogwash
on the Wabash,
but bacon, eggs
and flapjacks
are on the menu
of every diner in Jersey
as the “All American.”

Cotton,
our contribution
to the Golden Triangle,
once the global currency
used to enrich a
gentlemen class
of cultured
southern slavers,
now Tommy Hilfiger’s
preferred fabric.

I think he sends it
to Bangkok where
child slaves
spin it into
gold lame'.

Sorghum,
I think its hardy.

Soybeans,
the new age substitute
for hamburger
goes great with tofu lasagna.

Corn,
ADM creates ethanol,
they want us to drive cleaner cars.

Cattle,
once driven into this city’s
bloodhouses for slaughter,
now ground into
a billion Big Macs
every year.

When does a seed
become a commodity?
When does a commodity
become a future?
When does a future expire?

You can find the answers
to these questions in Chicago
and find a fortune in a hole in the floor.

Look down into the pits.
Hear the screams of anguish
and profitable delights.

Frenzied men
swarming like a mass
of epileptic ants
atop the worlds largest sugar cube
auger the worlds free markets.

The scene is
more chaotic then
100 Haymarket Square Riots
multiplied by 100
1968 Democratic Conventions.

Amidst inverted anthills,
they scurry forth and to
in distinguished
black and red coats.

Fighting each other
as counterparties
to a life and death transaction.

This is an efficient market
that crosses the globe.

Oil from the Sultan of Brunei,
Yen from the land of Hitachi,
Long Bonds from the Fed,
nickel from Quebec,
platinum and palladium
from Siberia,
FTSE’s from London
and crewel cane from Havana
circle these pits.

Tijuana,
Shanghai
and Istanbul's
best traders
are only half as good
as the average trader in Chicago.

Chicago,
this hog butcher to the world,
specializes in packaging and distribution.

Men in blood soaked smocks,
still count the heads
entering the gates of the city.

Their handiwork
is sent out on barges
and rail lines as frozen packages
of futures
waiting for delivery
to an anonymous counterparty
half a world away.

This nation’s hub
has grown into the
premier purveyor
to the world;
along all the rivers,
highways,
railways
and estuaries
it’s tentacles reach.

5.
Sandburg’s Chicago,
is a city of the world’s people.

Many striver rows compose
its many neighborhoods.

Nordic stoicism,
Eastern European orthodoxy
and Afro-American
calypso vibrations
are three of many cords
strumming the strings
of Chicago.

Sandburg’s Chicago,
if you wrote forever
you would only scratch its surface.

People wait for trains
to enter the city from O’Hare.
Frozen tears
lock their eyes
onto distant skyscrapers,
solid chunks
of snot blocks their nose
and green icicles of slime
crust mustaches.
They fight to breathe.

Sandburg’s Chicago
is The Land of Lincoln,
Savior of the Union,
protector of the Republic.
Sent armies
of sons and daughters,
barges, boxcars,
gunboats, foodstuffs,
cannon and shot
to raze the south
and stamp out succession.

Old Abe’s biography
are still unknown volumes to me.
I must see and read the great words.
You can never learn enough;
but I’ve been to Washington
and seen the man’s memorial.
The Free World’s 8th wonder,
guarded by General Grant,
who still keeps an eye on Richmond
and a hand on his sword.

Through this American winter
Abe ponders.
The vista he surveys is dire and tragic.

Our sitting President
impeached
for lying about a *******.

Party partisans
in the senate are sworn and seated.
Our Chief Justice,
adorned with golden bars
will adjudicate the proceedings.
It is the perfect counterpoint
to an ageless Abe thinking
with malice toward none
and charity towards all,
will heal the wounds
of the nation.

Abe our granite angel,
Chicago goes on,
The Union is strong!


SECOND DAY

1.
Out my window
the sun has risen.

According to
the local forecast
its minus 9
going up to
6 today.

The lake,
a golden pillow of clouds
is frozen in time.

I marvel
at the ancients ones
resourcefulness
and how
they mastered
these extreme elements.

Past, present and future
has no meaning
in the Citadel
of the Prairie today.

I set my watch
to Central Standard Time.

Stepping into
the hotel lobby
the concierge
with oil smooth hair,
perfect tie
and English lilt
impeccably asks,
“Do you know where you are going Sir?
Can I give you a map?”

He hands me one of Chicago.
I see he recently had his nails done.
He paints a green line
along Whacker Drive and says,
“turn on Jackson, LaSalle, Wabash or Madison
and you’ll get to where you want to go.”
A walk of 14 or 15 blocks from Streeterville-
(I start at The Chicago White House.
They call it that because Hillary Rodham
stays here when she’s in town.
Its’ also alleged that Stedman
eats his breakfast here
but Opra
has never been seen
on the premises.
I wonder how I gained entry
into this place of elite’s?)
-down into the center of The Loop.

Stepping out of the hotel,
The Doorman
sporting the epaulets of a colonel
on his corporate winter coat
and furry Cossack hat
swaddling his round black face
accosts me.

The skin of his face
is flaking from
the subzero windburn.

He asks me
with a gapped toothy grin,
“Can I get you a cab?”
“No I think I’ll walk,” I answer.
“Good woolen hat,
thick gloves you should be alright.”
He winks and lets me pass.

I step outside.
The Windy City
flings stabbing cold spears
flying on wings of 30-mph gusts.
My outside hardens.
I can feel the freeze
deepen
into my internalness.
I can’t be sure
but inside
my heart still feels warm.
For how long
I cannot say.

I commence
my walk
among the spires
of this great city,
the vertical leaps
that anchor the great lake,
holding its place
against the historic
frigid assault.

The buildings’ sway,
modulating to the blows
of natures wicked blasts.

It’s a hard imposition
on a city and its people.

The gloves,
skullcap,
long underwear,
sweater,
jacket
and overcoat
not enough
to keep the cold
from penetrating
the person.

Like discerning
the layers of this city,
even many layers,
still not enough
to understand
the depth of meaning
of the heart
of this heartland city.

Sandburg knew the city well.
Set amidst groves of suburbs
that extend outward in every direction.
Concentric circles
surround the city.
After the burbs come farms,
Great Plains, and mountains.
Appalachians and Rockies
are but mere molehills
in the city’s back yard.
It’s terra firma
stops only at the sea.
Pt. Barrow to the Horn,
many capes extended.

On the periphery
its appendages,
its extremities,
its outward extremes.
All connected by the idea,
blown by the incessant wind
of this great nation.
The Windy City’s message
is sent to the world’s four corners.
It is a message of power.
English the worlds
common language
is spoken here,
along with Ebonics,
Espanol,
Mandarin,
Czech,
Russian,
Korean,
Arabic,
Hindi­,
German,
French,
electronics,
steel,
cars,
cartoons,
rap,
sports­,
movies,
capital,
wheat
and more.

Always more.
Much much more
in Chicago.

2.
Sandburg
spoke all the dialects.

He heard them all,
he understood
with great precision
to the finest tolerances
of a lathe workers micrometer.

Sandburg understood
what it meant to laugh
and be happy.

He understood
the working mans day,
the learned treatises
of university chairs,
the endless tomes
of the city’s
great libraries,
the lost languages
of the ancient ones,
the secret codes
of abstract art,
the impact of architecture,
the street dialects and idioms
of everymans expression of life.

All fighting for life,
trying to build a life,
a new life
in this modern world.

Walking across
the Michigan Avenue Bridge
I see the Wrigley Building
is neatly carved,
catty cornered on the plaza.

I wonder if Old Man Wrigley
watched his barges
loaded with spearmint
and double-mint
move out onto the lake
from one of those Gothic windows
perched high above the street.

Would he open a window
and shout to the men below
to quit slaking and work harder
or would he
between the snapping sound
he made with his mouth
full of his chewing gum
offer them tickets
to a ballgame at Wrigley Field
that afternoon?

Would the men below
be able to understand
the man communing
from such a great height?

I listen to a man
and woman conversing.
They are one step behind me
as we meander along Wacker Drive.

"You are in Chicago now.”
The man states with profundity.
“If I let you go
you will soon find your level
in this city.
Do you know what I mean?”

No I don’t.
I think to myself.
What level are you I wonder?
Are you perched atop
the transmission spire
of the Hancock Tower?

I wouldn’t think so
or your ears would melt
from the windburn.

I’m thinking.
Is she a kept woman?
She is majestically clothed
in fur hat and coat.
In animal pelts
not trapped like her,
but slaughtered
from farms
I’m sure.

What level
is he speaking of?

Many levels
are evident in this city;
many layers of cobbled stone,
Pennsylvania iron,
Hoosier Granite
and vertical drops.

I wonder
if I detect
condensation
in his voice?

What is
his intention?
Is it a warning
of a broken affair?
A pending pink slip?
Advise to an addict
refusing to adhere
to a recovery regimen?

What is his level anyway?
Is he so high and mighty,
Higher and mightier
then this great city
which we are all a part of,
which we all helped to build,
which we all need
in order to keep this nation
the thriving democratic
empire it is?

This seditious talk!

3.
The Loop’s El
still courses through
the main thoroughfares of the city.

People are transported
above the din of the street,
looking down
on the common pedestrians
like me.

Super CEO’s
populating the upper floors
of Romanesque,
Greek Revivalist,
New Bauhaus,
Art Deco
and Post Nouveau
Neo-Modern
Avant-Garde towers
are too far up
to see me
shivering on the street.

The cars, busses,
trains and trucks
are all covered
with the film
of rock salt.

Salt covers
my bootless feet
and smudges
my cloths as well.

The salt,
the primal element
of the earth
covers everything
in Chicago.

It is the true level
of this city.

The layer
beneath
all layers,
on which
everything
rests,
is built,
grows,
thrives
then dies.
To be
returned again
to the lower
layers
where it can
take root
again
and grow
out onto
the great plains.

Splashing
the nation,
anointing
its people
with its
blessing.

A blessing,
Chicago?

All rivers
come here.

All things
found its way here
through the canals
and back bays
of the world’s
greatest lakes.

All roads,
rails and
air routes
begin and
end here.

Mrs. O’Leary’s cow
got a *** rap.
It did not start the fire,
we did.

We lit the torch
that flamed
the city to cinders.
From a pile of ash
Chicago rose again.

Forever Chicago!
Forever the lamp
that burns bright
on a Great Lake’s
western shore!

Chicago
the beacon
sends the
message to the world
with its windy blasts,
on chugging barges,
clapping trains,
flying tandems,
T1 circuits
and roaring jets.

Sandburg knew
a Chicago
I will never know.

He knew
the rhythm of life
the people walked to.
The tools they used,
the dreams they dreamed
the songs they sang,
the things they built,
the things they loved,
the pains that hurt,
the motives that grew,
the actions that destroyed
the prayers they prayed,
the food they ate
their moments of death.

Sandburg knew
the layers of the city
to the depths
and windy heights
I cannot fathom.

The Blues
came to this city,
on the wing
of a chirping bird,
on the taps
of a rickety train,
on the blast
of an angry sax
rushing on the wind,
on the Westend blitz
of Pop's brash coronet,
on the tink of
a twinkling piano
on a paddle-wheel boat
and on the strings
of a lonely man’s guitar.

Walk into the clubs,
tenements,
row houses,
speakeasies
and you’ll hear the Blues
whispered like
a quiet prayer.

Tidewater Blues
from Virginia,
Delta Blues
from the lower
Mississippi,
Boogie Woogie
from Appalachia,
Texas Blues
from some Lone Star,
Big Band Blues
from Kansas City,
Blues from
Beal Street,
Jelly Roll’s Blues
from the Latin Quarter.

Hell even Chicago
got its own brand
of Blues.

Its all here.
It ended up here
and was sent away
on the winds of westerly blows
to the ear of an eager world
on strong jet streams
of simple melodies
and hard truths.

A broad
shouldered woman,
a single mother stands
on the street
with three crying babes.
Their cloths
are covered
in salt.
She pleads
for a break,
praying
for a new start.
Poor and
under-clothed
against the torrent
of frigid weather
she begs for help.
Her blond hair
and ****** features
suggests her
Scandinavian heritage.
I wonder if
she is related to Sandburg
as I walk past
her on the street.
Her feet
are bleeding
through her
canvass sneakers.
Her babes mouths
are zipped shut
with frozen drivel
and mucous.

The Blues live
on in Chicago.

The Blues
will forever live in her.
As I turn the corner
to walk the Miracle Mile
I see her engulfed
in a funnel cloud of salt,
snow and bits
of white paper,
swirling around her
and her children
in an angry
unforgiving
maelstrom.

The family
begins to
dissolve
like a snail
sprinkled with salt;
and a mother
and her children
just disappear
into the pavement
at the corner
of Dearborn,
in Chicago.

Music:

Robert Johnson
Sweet Home Chicago


jbm
Chicago
1/7/99
Added today to commemorate the birthday of Carl Sandburg
JJ Hutton Feb 2011
The light quit working in the jukebox,
the melodies' surrender,
a commonplace extinction,
against the salt and the breeze
of your false Mediterranean.

The burden of your rational soul
in a world of extremes
has torn your spirit to tatters-
tatters littered across
your Toronto abode.
Divided amongst the heirlooms
and emptied bottles.
This desolation you
sought to translate
for the harmonious pulse
of the dial tone.

Hazy,
is this ancient mind,
a smoking fallout of
yesterday's parties
to be discussed over
lukewarm coffee
and cigarette butts,
while the shivering streams
and green plains become
commodified for a higher power.

Dan, my dearest friend,
I loved you
ferocious and freely,
fanged and supremely,
and as your mind coagulated
on a couch,
microphone in-hand,
I felt nostalgic for
your clumsy alcoholism,
and clumsier guitar strumming.

The white fog descends,
the city is hungry--
no longer can it expand.
Toronto eats itself
with you inside,
shall I write you a postcard?
Shall I kick down your door?
Shall I let you join the bones
you so beautifully alluded to?

Whisper, my friend,
amidst the soft croon of
the saxophone,
whisper, my friend,
of a Europe gone defective,
whisper, my friend,
for an apocalypse of sun
to release us all from
the white fog slowly burying
our Toronto.
© 2011 by J.J. Hutton
Nigel Morgan Oct 2012
There was a moment when he knew he had to make a decision.

He had left London that February evening on the ****** Velo Train to the South West. As the two hour journey got underway darkness had descended quickly; it was soon only his reflected face he could see in the window. He’d been rehearsing most of the afternoon so it was only now he could take out the manuscript book, its pages full of working notes on the piece he was to play the following afternoon. His I-Mind implant could have stored these but he chose to circumvent this thought-transcribing technology; there was still the physical trace on the cream-coloured paper with his mother’s propelling pencil that forever conjured up his journey from the teenage composer to the jazz musician he now was. This thought surrounded him with a certain warmth on this Friday evening train full of those returning to their country homes and distant families.

It was a difficulty he had sensed from the moment he perceived a distant gap in the flow of information streaming onto the mind page

At the outset the Mind Notation project had seemed harmless, playful in fact. He allowed himself to enter into the early experiments because he knew and trusted the research team. He got paid handsomely for his time, and later for his performance work.  It was a valuable complement to his ill-paid day-to-day work as a jazz pianist constantly touring the clubs, making occasional festival appearances with is quintet, hawking his recordings around small labels, and always ‘being available’. Mind Notation was something quite outside that traditional scene. In short periods it would have a relentless intensity about it, but it was hard to dismiss because he soon realised he had been hard-wired to different persona. Over a period of several years he was now dealing with four separate I-Mind folders, four distinct musical identities.

Tomorrow he would pull out the latest manifestation of a composer whose creative mind he had known for 10 years, playing the experimental edge of his music whilst still at college. There had been others since, but J was different, and so consistent. J never interfered; there were never decisive interventions, only an explicit confidence in his ability to interpret J’s music. There had been occasional discussion, but always loose; over coffee, a walk to a restaurant; never in the lab or at rehearsals.

In performance (and particularly when J was present) J’s own mind-thought was so rich, so wide-ranging it could have been drug-induced. Every musical inference was surrounded by such intensity and power he had had to learn to ride on it as he imagined a surfer would ride on a powerful wave. She was always there - embedded in everything J seemed to think about, everything J projected. He wondered how J could live with what seemed to him to be an obsession. Perhaps this was love, and so what he played was love like a wilderness river flowing endlessly across the mind-page.

J seemed careful when he was with her. J tried hard not to let his attentiveness, this gaze of love, allow others to enter the public folders of his I-Mind space (so full of images of her and the sounds of her light, entrancing voice). But he knew, he knew when he glanced at them together in darkened concert halls, her hand on J’s left arm stroking, gently stroking, that J’s most brilliant and affecting music flowed from this source.

He could feel the pattern of his breathing change, he shifted himself in his chair, the keyboard swam under his gaze, he was playing fast and light, playing arpeggios like falling water, a waterfall of notes, cascades of extended tonalities falling into the darkness beyond his left hand, but there it was, in twenty seconds he would have to*

It had begun quite accidentally with a lab experiment. J had for some years been researching the telematics of composing and performing by encapsulating the physical musical score onto a computer screen. The ‘moist media’ of telematics offered the performer different views of a composition, and not just the end result but the journey taken to obtain that result. From there to an interest in neuroscience had been a small step. J persuaded him to visit the lab to experience playing a duet with his own brain waves.

Wearing a sensor cap he had allowed his brainwaves to be transmitted through a BCMI to a synthesiser – as he played the piano. After a few hours he realised he could control the resultant sounds. In fact, he could control them very well. He had played with computer interaction before, but there was always a preparatory stage, hours of designing and programming, then the inevitable critical feedback of the recording or glitch in performance. He soon realised he had no patience for it and so relied on a programmer, a sonic artist as assistant, as collaborator when circumstances required it.

When J’s colleagues developed an ‘app’ for the I-Mind it meant he could receive J’s instant thoughts, but thoughts translated into virtual ‘active’ music notation, a notation that flowed across the screen of his inner eye. It was astonishing; more astonishing because J didn’t have to be physically there for it to happen: he could record I-Mind files of his thought compositions.

The reference pre-score at the top of the mind page was gradually enlarging to a point where pitches were just visible and this gap, a gap with no stave, a gap of silence, a gap with no action, a gap with repeat signs was probably 30 seconds away

In the early days (was it really just 10 years ago?) the music was delivered to him embedded in a network of experiences, locations, spiritual and philosophical ideas. J had found ways to extend the idea of the notated score to allow the performer to explore the very thoughts and techniques that made each piece – usually complete hidden from the performer. He would assemble groups of miniatures lasting no more than a couple of minutes each, each miniature carrying, as J had once told him, ‘one thought and one thought only’.  But this description only referred to the musical material because each piece was loaded with a web of associations. From the outset the music employed scales and tonalities so far away from the conventions of jazz that when he played and then extended the pieces it seemed like he was visiting a different universe; though surprisingly he had little trouble working these new and different patterns of pitches into his fingers. It was uncanny the ‘fit’.

Along with the music there was always rich, often startling images she conjured up for J’s compositions. At the beginning of their association J initiated these. He had been long been seeking ways to integrate the visual image with musical discourse. After toying with the idea of devising his own images for music he conceived the notion of computer animation of textile layers. J had discovered and then encouraged the work and vision of a young woman on the brink of what was to become recognised as a major talent. When he could he supported her artistically, revelling in the keenness of her observation of the natural world and her ability to complement what J conceived. He became her lover and she his muse; he remodelled his life and his work around her, her life and her work.

When performing the most complex of music it always seemed to him that the relative time of music and the clock time of reality met in strange conjunctions of stasis. Quite suddenly clock time became suspended and musical time enveloped reality. He found he could be thinking something quite differently from what he was playing.

Further projects followed, and as they did he realised a change had begun to occur in J’s creative rationale. He seemed to adopt different personae. Outwardly he was J. Inside his musical thought he began to invent other composers, musical avatars, complete minds with different musical and personal histories that he imagined making new work.

J had manipulated him into working on a new project that had appeared to be by a composer completely unknown to him. L was Canadian, a composer who had conceived a score that adhered to the DOGME movie production manifesto, but translated into music. The composition, the visuals, the text, the technological environment and the performance had to be conceived in realtime and in one location. A live performance meant a live ‘making’, and this meant he became involved in all aspects of the production. It became a popular and celebrated festival event with each production captured in its entirety and presented in multi-dimensional strands on the web. The viewer / listener became an editor able to move between the simultaneous creative activity, weaving his or her own ‘cut’ like some art house computer game. L never appeared in person at these ‘remakings’, but via a computer link. It was only after half a dozen performances that the thought entered his mind that L was possibly not a 24-year-old woman from Toronto complete with a lively Facebook persona.

Then, with the I-Mind, he woke up to the fact that J had already prepared musical scenarios that could take immediate advantage of this technology. A BBC Promenade Concert commission for a work for piano and orchestra provided an opportunity. J somehow persuaded Tom Service the Proms supremo to programme this new work as a collaborative composition by a team created specially for the premiere. J hid inside this team and devised a fresh persona. He also hid his new I-Mind technology from public view. The orchestra was to be self-directed but featured section leaders who, as established colleagues of J’s had already experienced his work and, sworn to secrecy, agreed to the I-Mind implant.

After the premiere there were rumours about how the extraordinary synchronicities in the play of musical sections had been achieved and there was much critical debate. J immediately withdrew the score to the BBC’s consternation. A minion in the contracts department had a most uncomfortable meeting with Mr Service and the Controller of Radio 3.

With the end of this phrase he would hit the gap  . . . what was he to do? Simply lift his hands from the keyboard? Wait for some sign from the I-Mind system to intervene? His audience might applaud thinking the piece finished? Would the immersive visuals with its  18.1 Surround Sound continue on the five screens or simply disappear?

His hands left the keyboard. The screens went white except for the two repeats signs in red facing one another. Then in the blank bar letter-by-letter this short text appeared . . .


Here Silence gathers
thoughts of you

Letters shall never
spell your grace

No melody could
describe your face

No rhythm dance
the way you move

Only Silence can
express my love

ever yours ever
yours ever yours



He then realised what the date was . . . and slowly let his hands fall to his lap.
Nat Lipstadt Nov 2013
Road Trip: Thinking it's about time (find yourself within II)

This particular poem was born as a one line response to a message.  But in many other forms, half written, it exists still, un, unfinished, waiting for the next burst energy, the next holiday time, to reach a new finish line.

This is a different but similar to a poem posted on June 2nd, "Poetry Round (find your self within)"

Any error of omission is unintentional, but know that this took many hours, until fatigue won. If you never told or revealed to me your location, know that you will be called out, to and unto me, in another poem, called "your banner is my flag."


Fact about me:  You design me.
-------------------------------------------------------

th­inking it's about time for a road trip.

create an excuse
(reasons, I got a plenty)
to stop by,
to show you another side of me,
for a drink, a meal,
and some kind
of exchange, of
form and fluids,
manner to be determined.

to come to Minneapolis,
watch you create a heated sensuality,
verbally, from melted snowdrifts,
a hot time to be had
by all the poets
of the mini-apple,
I want to meet
and celebrate ann victory.

travel to Thiruvananthapuram,
tour the treasures
of gold and diamonds,
from whence come
the bejeweled poems,
that have earned visits from
thousands upon thousands,
pilgrims, devotees, followers,
to partake at that, his,
special temple.

Gomer, Gomer,  & MJJ,
I am in your Florida,
no, sorry, not in Ocala,
near to your homer,
and I feel you springer
ten times in the
November sun rays,
that have me locked
in a full Nelson,
your productivity,
endless,
a sea of orange sunburnt words,

Tennessee,
The Carolinas,
Georgia,
The South,

I rise with it,
now, again,
that I will need a slow
sunny all lazy summer long to
learn y'alls ways,
see the wolves,
in your forests,
helm the riverboats,
navigate the quaint tides
of Charleston,
the special places
where they heal, le ville,
where the ashes of
burnt children,
retuned to be whole.

learn y'alls ways,
walk in your boots,
of seeing poems
using your special
southern saber words.

missed the original
Thrilla-in-Manila,
but rest easy, assured,
that hotbed of creativity,
where I check the
PH of the mc waters
to comprehend its
wisdom and now, it's sadness,
will be an illustrious destination
on my itinerant itinerary,
stopping by Makati City,
after all,
it is writ in the good book,
this island,
the PhilippineS,
is the birthplace
of the letter S,
Samples: samson, sally,
and So many others?

in Nevada City,
which is of course in
krazy California,
wager philosophy, romance,
be available for
succinctly seeing
works in progress,
from which I
will imbibe,
so **** deeply,
may have to
stay awhile for...

while I am there,
will need to do
a search and
Hug Mission,
to find a special man,
his unkempt prose,
his mortal rhymes
disguise not his holy worth,
even to the grassy
cal-stratosphere,
to the mesosphere,
will I high fly,
to find his sweetest spot,
then and thereafter
going looking
further on to
Humboldt County.

in Leeds, in West Yorkshire,
(Hamphshirians, Northamptontonians,
patience please)
built foundries and factories
over the magical forest of Loidis,
near to the river Aire,
yet still hides a
magical sorceress of words,
casting spells over
men and beast.
no one has seen full
her half-turned away face,
but when she summons,
do I have a choix
other than obey?
even if I get lost,
my sorceress,
you know,
I am on way too.

to get there,
will fly I must,
to Heathrow hell,
will do it,
just for you,
faithful friend,
a man da gotta do, what
a man gotta do...for you,
but first a stop off at the
London School of Economics,
Hampstead as well,
for a tutorial about sonnets,
or sams in wells,
even if I come
in my bare feet.

even in New York Upstate,
a man da gotta do,
what he mulls over in his heart,
be not surprised at a knock upon
your door, to make comparative notes,
about each other's tattoos.

in the South African veld,
hid in the highland grasses,
crouches the poetesses and tigresses,
waiting to ambush you
with words that must be seen
to be heard, to be well understood.
perhaps I'll come at ester time,
under blue indigo skies over,
a golden landscape,
seizing all the gems
that can be seen
only at 3:00am

leeward,
north to Canada,
must I, transgress,
country of my momma's birth,
fly from Montreal to Toronto, Calgary
then over to Vancouver.
Canada,
a dangerous place for me,
cause there are beautiful
souls up there,
and maybe even a
warrant to
repossess mine,
they want their
poets back.

double down by ferry,
me to Seattle,
to see a man about river,
in the Pacific Northwest,
where I have happily
drowned so many times,
that The Lord is complaining,
am hogging all the baptismal waters,
but when reminded that
nothing lasts forever,
here tomorrow,
gone today, walk on,
I add my tears
to that river,
before hitting the road.

on that river,
gonna drive me a kayak,
down Daytonway,
on the Yamill River,
see a gyreene marine,
watching me do a beach landing,
in Willamette Wine Park.
he will teach me to salute,
I will teach him how to
shake hands,
and learn from him,
it's ok,
to stand down.

man o' man
there are a lots of poets,
in these here parts,
this grand
Pacific North West,
looking for one in particular,
who will be quite easy to spot,
as he is my very own
soul brother.

will be easy to find,
though we have never met,
he will be on his kayak,
I on mine,
tho when he paddles,
somehow he manages
to hold
never letting go
of, his lovely bride,
his best half's hands.

this will a problem,
for I must teach him how to
shake two handed souls,
while hugging and paddling,
even bailing,
with an old dented pail
simultaneous.
but you can teach old dogs
new tricks, even the ones,
that can't spell
rhymers.

have mercie on me Ohio,
like a mother has to her daughter,
done a three year sentence in Cleveland,
but no jail can hold an NYC boy,
but if requested, yes I will return
to set fire to the *
Cuyahoga,
again! he he he...
but do not s mock me!
(now you know why the FBI loves
my poetry, my biggest institutional fan).

souls in torment,
where you be,
where you hide,
matters not where
you physical reside,
for we have found
each other
in each other words.

You, who live in
your very own
personal hell,
I think we met there,
because
yours was
mine too,
tho not found
on any map.

maybe I will meet the
Empress Josephine Maria,
rowing on the canals of
the Netherlands,
no longer will she be
alone.

but then again, some
very special things,
like
the purest of love
are on no map,
they are everywhere.

while in India,
will seek the many musings of many lips
of aged rhyme men
and complicated charmers
so I may kiss them
with spiced humors
to pour and pour,
more and more,
upon this western soul,
mysteries of the east,
to Kashmir, Bangalore,
wherever I must,
even take a praDip in the Ganges,
I will go, find you,
un-hide you,
among the
teeming millions,
millions of
jokes and rhymes,
that make the
world spin brighter.

in Germany,
all the university students
speak English,
in Wiesbaden, they know
poetic beauty is not in the format,
some in Bamberg,
with a peculiar
Missouri accent,
which is nicht gut Englisch,
so study hard the real way,
speak the language
the new yorka way,
which will require
study abroad,
which is quite funny,
now that I think about it.

but in Mo.,
the native drums roll,
long and slow,
making words
I know
better, different,
in a way never saw before,
leaves me asking for,
mo', mo', please?

to get there, to Allemagne,
land of my forefathers,
a ship I will take,
from Southampton
across the Kiel Canal,
before I depart,
will have my hair cut,
my words reworked,
by her Ladyship,
whose keen eyes and
maternal instincts,
see the joy of life in every
Livvi little thing.

Watt am I going to do if
I need to find a Tecumseh,
taker of my naked poems,
and enlarger of them,
so truth by her,
all revealed,
we are all naked
at least,
twice a day?

In Nepal I will purr at the words
gleaned from the markets and
train stations where
voyages from Lalitpur to Katmandu,
start and end,
where there is a miracle almost
sixteen years young,
where they call their schools
future stars and little angels,
so why should poetic miracles not be
as common as its subtropical clime?

though I despise the
Dallas Cowboys,
not my  America's team,
nonetheless there is a young woman,
a true rose of Texas,
who waits and writes
so lovingly of her airman,
in Afghanistan, I have placed
their names first,
in my nighttime prayers,
hoping to be there,
schedule my visit,
to witness his safe return
and their
joyous reunification.

there are no Mayans in Maine,
but poets of similar name,
kould be, mae be,
Julia's in Jersey, new,
in Auckland,
there are poets
who don't know it,
and Down Under, too,
where getting high is easy,
getting high at
and on words
well marshaled ,
but **** sure I will be
peering and prring,
all the way.

Oregon,
don't be gone,
those wide eyes shut,
when I come by,
who knows when I
will pass this way again...
on my way to Phoenix,
where sunrayes bend to the
desires of dessert breezes.

Kentucky to Korea,
one long road to travel,
but middle son,
if you can do it,
so can I, and,
I will follow.

in a beautiful city,
unsurprisingly called
Belleville,
the leader of the band,
still leads us in belle 'noise'
and when he finishes
fall leafing us in song, he still,
rises up in the mid of dark,
prayerful haikus to write.

off to Rogers, Arkansas
to meet an Italian from Mexico
who specializes in skinny poems,
something one day I will be too.

maybe I will go to
places it snows,
there are so many,
but your photo,
and tattoo trail,
clues, will follow,
no matter how hard
you make it a mystery.

you, who live in just
the world,
don't even think,
that crazy dotted lines,
unstraight,
or huge plains,
are sufficient,
to hide your
moody dust trail
from me!

somewhere in the USA,
roses grow in ground
that needs the
watering of tears,
though this place
is hard to find,
ha, turn around,
that is me,
tapping you,
on the shoulder!

will find you,
as I am searching for
a lovely pair
of stockinged ankles,
each with a heart tattoo,
but I sure could use
a clue,
before this hobbit searches
all the shire,
derby hatted,
to find your
heart real, and the real you...

my mode of time travel?
why I am just
a dude on a rocket ship.

Wisconsin,
look for my ruby message
in the snow,
in the dust,
in the sand, the skies, the sea,
but will you answer me?

Pittsburgh,
patient, you've been,
you thought I forgot
all about you,
chimera  at the intersection
of three rivers,
all you need wonder,
upon which one
will my ship arrive
and why you still disbelieve
you are not a poetess!

ME oh my,
you too, a hidey hole got,
but, we are strange, we humans,
we would gladly bleed to please,
If we could but find
a combination of
new words that
would your heart gladden,
your eyes tear,
your lips wear,
a smile of pleasure
at our offerings poetic!
but still I know not,
the where!

Lagos,
where
I shall climb the tallest skyscraper,
calling out in Yoruba,
where is my Temitope?
where is mine,
worthy of thanksgiving
so I may carry my Popoola,
my pole of her of
written wealth?


Mombasa, Singapore,
Maryland, Rhode Island, Kentucky,
Huddersfield, Connecticut Joe, Ireland,
South Dakota,

where the merry elders
well ken somethings
about a moon and tattered clouds,
something about children and dogs,
and something about letting
tomorrow's wait.

Milwaukee, Atlanta,
chuck, in *PA.,
friend to all,
to all those scattered across these
United States of America.

can we dare not mention
"The Shaq" of Malaysia,
South Sudan, Pakistan,

of course not!

Suburbia,
beautiful, black San Diego, Detroit;

The BBB's -

British Columbia, Brazil, Breendonk, and
B'kara!
the goodness of *
Boston,
flipping out in Flipadelphia,

did you think I would forget ya?

those of you hiding among 64 stars,
the groves of L.A',
on the lanes,
the special land of I-sia-Bella,
fellow citizens of Neverland,
those of you 'at home,'
in the land of nightmares,
concrete boxes,
those who post without a doubt,
and in the box,
this who think your birth year
is an identifying mark, not,
you never fooled me,
will visit each and everyone.


even and especially,
the grays of crosstown
NYC,
the red writers of my hood,
the tylers too.

I am exhausted,
forgive me well,
if thy locale,
I did not explicate,
for the hour is very late.

yet thru subtle fissures
in the clouds,
look for a tired old man
on the wings of a
chariot drawn by angels,
bringing you a dictionary
full of new words,
a present for you,
but truly,
a present to himself
for from it,
your future poems
will come.

*but the sun has come up,
so now I sleep.
1.  What makes this poem special, if anything, is the trust and confidences we share with each other, that allowed me to perhaps catch just little bit something special of each of you, where I could.

2. Can anyone explain to me why the site labels this poem explicit?
Nat Lipstadt Oct 2016
~for Bex~*

in the flesh, not really, but I was...

ordered five bone china coffee mugs for you,
from the Artists Gallery, all scenes of nature,
painted by Canada’s Group of 7,
to go with the Lawren Harris mug,
'Lakes and Mountains'
from which I am currently sipping

for when I thought of you up north in Ontario,
I thought of my mom,
who was Toronto born and bred,
and the caramel oranges of fall
that have not yet arrived
in northern Manhattan,
but have already peaked in Ontario,
in late September

I smile,
while voyaging on the curving line of thought perusal,
at all the things that have already peaked,
someplace else,
and that have may yet, be late, arriving in my life

and I dream of:

all the poets who
I will never meet,
the living and the dead,
all the poems,
I will never finish, perhaps, n'ere to start,
never chance to speak, or chance to peak

all of you, sipping, from those real mugs of porcelain,
that are soon to arrive, via an imaginary railroad,
running on creosote stained ties of caramel orange,
built by a namesake, that I can no longer imagine,
but whom I knew
so well in my youth

my mug is sadness filled by
those stillborn verses that will never chance to peak,
but am comforted by the knowing,
as long as there is freedom to write,
that there is hope for one more poem
to be imagined, sourced from deep within,
drawn from the cool well water
of happy wishing
10/30/16

The Message

20 hours ago
You know, whenever I think of you, your name... and that you live in NYC, I think of the great Nat Taggart and the Taggart TransContinental RR. Then I think of Dagny and John Galt, and that makes me happy.

I hope you are well.
~
I read a message, I write a poem.

I
KB May 2014
We are born free people, yet there are always restrictions.
We choose if we want to break them, whether with facts or through fiction.
Whether on walls using diction,
Or any crawl through confliction.
And no amount of chains and barriers
Will restrain us, no contradiction.
We understand we’re not on ice,
That there’s always going to be friction.
As expressers, fighters, artists, world changers
It comes from an Italian word, meaning scratch.
Look at it again and a whole new world
Has hatched.
The term graffiti, referred to the inscriptions, figure drawings, and such, found on the walls of ancient graves or ruins, as in the Catacombs of Rome or at Pompeii. Use of the word has evolved to include any graphics applied to surfaces in a manner that constitutes vandalism.
75% of people think its vandalism.
Toronto spends one million a year on graffiti removal.
When artists get back in the game, they haven’t given their approval.
Why don’t you use that money to feed the thousands of poor in society?
Instead of worrying about the art that the citizens need to see.

I never got A’s in elementary school art.
Getting marked on art still sounds like you need to be smart.
But graffiti doesn’t have to mean anything,
Not every letter is a symbol.
There are complications too but it can also be simple.
Almost every kind that I saw on the streets
Took a soft place in my heart, eventually turned concrete.
Let me reel back to grade 10 when I actually took art courses
In the media arts classroom I was taught people as my sources
Banksy, JR, Sofles, Katsu, Kidult, Shepard Fairey.
After my first graffiti assignment I understood clearly
What would happen if you brought a spray paint can near me.
The reason for graffiti is a simple one,
Not always about rebelling, or having fun.
Every artist craves to paint in his or her own way.
And all of us have messages that need to be portrayed.
Like, I was here, I’m alive, let me leave my mark.
This city is mine too, and I want to give it my spark
I belong, I have a voice, and I crave to make a change
These walls are too voiceless when it comes to the speaking range
My love for social justice brings in political ties
Through graffiti one can tell what country thrives with lies
It gives any surface a story, makes it come alive.
Change the system if you strive, until justice is revived.
To try to help the oppressed,
The shapes and lines were mine,
But they’re the ones on the line,
And to sit and do nothing would be an even bigger crime.
I even changed my initials to KKB
The B is for Banksy, its everywhere you see me.
My email has a Banksy, my Twitter did too.
Graffiti is my life, though you already knew.
Humanity is lost within the walls that we made
Graffiti brought it back to me,
And like the ocean did I wade.
Inside the political aspect that structures our brains
And the society that gives us money to drain
All the false information and the things we don’t need
Gives me hope to find these messages written on the streets
Sometimes freedom of speech isn’t so free at all.
But if Facebook deletes posts, documentaries have biased calls,
There’s another way of speaking, even if we fall,
I love how it’s not typical; no tag is the same.
Its breathing life on the walls, not stuck in a frame.
It stands out.
Stands outside of a museum where you always have to pay.
To see something that may or may not catch your attention right away.
That makes your head sway,
Give you some kind of reaction, moves you to action.
Not something you have to think hard about,
There’s little analysis needed, a splash merrily seeded.
Its urgent, its in the moment, for realization.
Once the message has been received, it’s an artist’s confirmation.
I integrated graffiti as a part of my every day life, including school
Drew it in math projects, French presentations, writer’s craft essays, it was my arts night welcome sign tool.
I will carry this with me through university
And it’ll take me further in the arts industry.
When you walk by graffiti in the street, do you ever take the time to notice it? Like, really notice it? Do you ever think about the person behind the spray paint can? Writers are not only being underappreciated for their talents, but they’re being harassed, looked down on, all for no reason. Do you know any of their stories? Do you know what thoughts and feelings sprayed out of the can when the paint hit the wall? Do you ever think about the history behind the art? To breakdown the styles of graffiti, here’s a simple introduction. There are tags, the simplest forms of graffiti. A signature. There are stencils. There are stickers, also known as slaps. Wildstyles are also used, and they’re more intricate, more colourful, and harder to read. It’s a particular style of writing developed in New York City. A piece is one that takes time an effort, and requires more than three colours. A blockbuster is used to cover the most space in the least amount of time. And a heaven is a piece that’s put in a hard to reach area, like the tops of tall buildings or on freeway signs. There’s the style bubble, old school, brush, abstract, bombings, whole car, ignorant, landscape, realistic, billboard, cartoon and sharp as well.
A sense of tranquility seeps into my veins every time my marker hits the paper, full of energy, full of hope. Starting graffiti was a way to combine my passion for speaking out against oppression and my love for the arts. Even though my work is not displayed on the streets, it has the same style, and it may not have the same effect but it counts as an escape for me. It doesn’t make me a graffiti artist, and some would even argue that doing canvas work kills the purpose of graffiti but I always want my work to make an impact on people no matter which way I do it. It’s something I love to do, and anyone can take that any way they desire. There are stereotypes that I’ve had to battle, but in the end, I know my true intentions. I don’t need to make a name for myself. I don’t need to create a reputation for myself either. True, this is not real graffiti, but that’s as far as I choose to take my fascination. I do it because of the escape it provides for me, the sense of freedom, and the sense of power in my markers.
These are the little movements of writers, all of us trying to get at revolution. Art is not supposed to be limited in frames. That’s why to me, the streets are some of the biggest forms of freedom – do as much as you like, however you like, all free. The poor and rich all have to see it. No one can avoid the message. It is not only artistic expression; it’s a protest. A scream of anger and emotion aimed towards public spaces. Graffiti artists did not start the war, they just respond to defend our vision of what graffiti and society should be: free. A battle against commercialism and a way of saying ‘no’ to materialism and society’s over consumption.  To the government, you are not the only ones who own these cities. What about the rest of us that do not exist until we leave a mark of our own? This is a game of action and reaction, if you will.
Taking care of our society is our obligation. That means changing anything harmful to us with every mean possible. Graffiti seems to offend a majority of society but if we took the time to appreciate and understand, a lot of good can be done if we turned the negatives into positives. So if we aimed for change and acted on it, especially with art, we’d be much less stressed. More often, we’d just remember, to stay blessed.
an assignment for a writers class. i made a video, but this is the word version (:
Diesel  Apr 2021
April of Toronto
Diesel Apr 2021
More puddle steps that everyday
Fall back again with water rain
More tiny drops of water blow
And concrete grasses wet the stone:
More morning hue that fills the trees
And vapid air that sets the breeze:
In spring, and yet with winters loud,
The shoddy days the world bestows:
Of quick sunshine in leaving days,
Sour grass set in mellow rays;
A cousin-friend to seasons like:
The April springs of Toronto life.
Stick with me, friend.
I’d like to make a distinction:
I revere writers but do not deify them.
My heroes and role models must be grounded,
Must have so-called feet of clay.
And there’s always something more in my craw,
Whenever I see scribblers carved in marble,
Glorified to the point of divinity and magic.
Because in my heart of hearts,
Reverence for writers,
Is an odyssey of disillusionment and

I fancy myself a man of letters,
Although “Humanoid of Keystrokes,”
Might be more apt; an appellation,
Digitally au courant.
I am a man on verbal fire,
Perhaps, I am of a Lost Generation myself.
And don’t you dare tell me to sit down, to calm down.
You stand up when you tell a story.
Even Hemingway--even when he was sitting down--knew that.
Let us go then you and I.
Moving our moveable feast to Paris,
To France, European Union, Earth, Milky Way Galaxy.
(Stick with me, Babaloo!)
Why not join Papa at a tiny table at Les Deux Magots,
Savoring the portugaises,
Working off the buzz of a good Pouilly-Fuisse
At 10:30 in the morning.
The writing: going fast and well.

Why not join that pompous windbag ******* artist?
As he tries to convince Ava Gardner,
That writers tienen cajones grandes, tambien—
Have big ***** too—just like Bullfighters,
Living their lives all the way up.
That writing requires a torero’s finesse and fearlessness.
That to be a writer is to be a real man.
A GOD MAN!
Papa is self-important at being Ernest,
(**** me: some lines cannot be resisted.)
Ava’s **** is on fire.
She can just make him out,
Can just picture him through her libidinous haze,
Leaping the corrida wall,
Setting her up for photos ops with Luis Miguel Dominguín,
And Antonio Ordóñez, his brother-in-law rival,
During that most dangerous summer of 1959.
Or, her chance to set up a *******,
With Manolete and El Cordobés,
While a really *******,
Completely defeated & destroyed 2,000-pound bull,
Bleeds out on the arena sand.

Although I revere writers,
I refuse to deify them.
A famous writer must be brought down to earth--
Forcibly if necessary--
Chained to a rock in the Caucasus,
Their liver noshed on by an eagle.
In short: the abject humiliation of mortality.
Punished, ridiculed and laughed at.
Laughing himself silly,
******* on one’s self-indulgent, egocentric universe.
If not, what hope do any of us have?

Writing for Ernie may have been a divine gift,
His daily spiritual communion and routine,
A mere sacramental taking of dictation from God,
But for most of us writing is just ******* self-torture.
The Hemingway Hero:
Whatever happened to him on the Italian-Austrian front in 1918
May have been painful but was hardly heroic.
The ******* was an ambulance driver for Christ’s sake.
Distributing chocolate and cigarettes to Italian soldiers,
In the trenches behind the front lines,
A far cry from actual combat.
Besides, he was only on the job for two weeks,
Before he ****** up somehow,
Driving his meat-wagon over a live artillery shell.
That BB-sized shrapnel in his legs,
Turned out to be his million-dollar wound,
A gift that kept on giving,
Putting him in line for a fortunate series of biographic details, to wit:
Time at an Italian convalescent hospital in Milano,
Staffed by ***** English nurses,
Who liked to give the teenage soldiers slurpy BJs,
Delirious ******* in the middle of the night,
Sent to Paris as a Toronto Star reporter,
******* up to that big **** Gertrude Stein,
Sweet-talking Sylvia Beach,
At Shakespeare & Company bookstore,
Hitting her up for small loans,
Manipulating and conning Scott Fitzgerald—
The Hark the Herald Jazz Age Angel—
Exploiting F. Scott’s contacts at Scribners,
To get The Sun Also Rises published.
Fitzgerald acted as his literary agent and advocate,
Even performing some crucial editing on the manuscript.
Hemingway got payback for this friendship years later,
By telling the world in A Moveable Feast,
That Zelda convinced Scott he had a small ****--
Yeah, all of it stems from those bumps & bruises,
Scrapes & scratches he got near Schio,
Along the Piave River on July 8, 1918.
Slap on an Italian Silver Medal of Valor—
An ostentatious decoration of dubious Napoleonic lineage—
40,000 of which were liberally dispensed during WWI—
And Ernie was on his way.

Was there ever a more arrogant, world-class scumbag;
A more graceless-under-pressure,
Sorry excuse of a machismo show-horse?
Look: I think Hemingway was a great writer,
But he was a gigantic gasbag,
A self-indulgent *****,
And a mean-spirited bully—
That bogus facade he put on as this writer/slash/bullfighter,
Kilimanjaro, great white hunter,
Big game Bwana,
Sport fishing, hard drinking,
Swinging-****, womanizing,
*** I-******-Ava-Gardner bragging rights—all of it—
Just made him a bigger, poorer excuse for a human being,
When the chips were finally down,
When the truth finally caught up with him,
In the early morning hours,
Of July 2, 1961, in Ketchum, Idaho.
I can’t think of a more pathetic writer’s life than
Hemingway’s last few years.
Sixty electric shock treatments,
And the ******* still killed himself.

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So why am I still mesmerized by,
The whole Hemingway hero thing?
That stoicism, the grace under pressure,
That real men don’t eat quiche,
A la Norman Mailer crap?
I guess I can relate to both Hemingway the Matador,
And Hemingway the Pompous *******,
Not to mention Mailer who stabbed his second of six wives,
And threw his fourth out of a third-floor window.
One thing’s for sure: I’m living life all the way up,
Thanks to a steady supply of medical cannabis,
And some freaky chocolate chip cookies
From the Area 51--Our Products are Out of this World—Bakery
(“In compliance with CA prop 215 SE 420, Section 11362.5,
And 11362.7 of CA H.S.C. Do not drive,
Or operate heavy equipment,
While under the influence.
Keep out of reach of children,
And comedian Aziz Ansari.”)

So getting back to Hemingway,
I return to Cuba to work on my book.
During the day--usually in the early morning hours--
When “the characters drive me up there,”
I climb to my tower room,
Stand up at my typewriter in the upstairs alcove.
I stand up to tell my story because last night,
Everyone got drunk and threw all the ******* furniture in the pool.
By the way, I’m putting together my Nobel Prize acceptance speech.
I can’t decide between:
“I may be defeated but I’ll never be destroyed,” or
“You can destroy me but you’ll never defeat me.”
The kind of artistic doublespeak they love in Sweden.
Maybe: “Night falls and day breaks, but no one gets hurt.”
God help me.
I need to come up with a bunch of real pithy crap soon.
Maybe I’ll just smoke a joint before the speech and,
Start riffing off the cuff about literary good taste:

“In my novel, For Whom the Bell Tolls, for example, I had Maria tell Pilar that the earth moved, but left out the parts about Robert Jordan’s ******* and the tube of Astroglide.”

Stockholm’s only a month away,
So I’m under a lot of pressure.
Where’s Princess Grace under Pressure when I need her?
I used to work for the Kansas City Star,
Working with newspaper people who advocated:
Short sentences.
Short paragraphs.
Active verbs.
Authenticity.
Compression.
Clarity.
Immediacy.
Those were the only rules I ever learned,
For the business of writing,
But my prose tended to be a bit clipped, to wit:
A simple series,
Of simple declarative sentences,
For simpletons.
I’m told my stuff is real popular with Special-Ed kids,
And those ******* that run
The International Imitation Hemingway Competition,
AKA: The Bad Hemingway Contest.
The truth is: I always wanted to get a bit more flowery,
Especially after I found out I got paid by the word.
That’s when the *** and **** proved mighty useful.
        
I live at La Finca Vigia:
My house in San Francisco de Paula,
A Havana suburb.
My other place is in town,
Room #511 at the Hotel Ambos Mundos,
Where on a regular basis I _
(Insert simple declarative Anglo-Saxon expletive)
My guantanmera on a regular basis.
But La Finca’s the real party pad.
Fidel and Che and the rest of the Granma (aka “The Minnow”) crew
Come down from the mountains,
To use my shower and refresh themselves,
On an irregular basis.
At night we drink mojitos, daiquiris or,
The *** & coke some people call Cuba Libre.
We drink the *** and plan strategy,
Make plans for taking out Fulgencio Batista,
And his Mafia cronies,
Using the small arms and hand grenades,
We got from Allen Dulles.

Of course, after the Bay of Pigs debacle,
You had to go, Ernesto.
Kennedy had the CIA stage your suicide,
And that was all she wrote.
And all you wrote.
Never having had a chance,
To tell the 1960s Baby Boomers about class warfare in America.
Poor pathetic Papa Hemingway.
Lenin and Stalin may have ruined Marxism,
But Marx was no dummy.
Not in your book.
Or mine.
Bunhead17  Nov 2013
Versace
Bunhead17 Nov 2013
[Verse 1: Drake]
Versace, Versace, Medusa head on me like I'm 'Luminati
This is a gated community, please get the ******* the property
Rap must be changing cause I'm at the top and ain't no one on top of me
****** be wanting a verse for a verse, but man that's not a swap to me
Drowning in compliments, pool in the backyard that look like Metropolis
I think I'm sellin' a million first week, man I guess I'm a optimist
Born in Toronto but sometimes I feel like Atlanta adopted us
What the **** is you talkin' 'bout? Saw this **** comin' like I had binoculars
Boy, Versace, Versace, we stay at the mansion when we in Miami
The pillows' Versace, the sheets are Versace, I just won a Grammy
I've been so quiet, I got the world like "What the **** is he planning?"
Just make sure that you got a back up plan cause that **** might come in handy
Started a label, the album is comin' September, just wait on it
This year I'm eating your food and my table got so many plates on it
Hundred inch TV at my house, I sit back like "**** I look great on it"
I do not **** with your new ****, my *****, don't ask for my take on it
Speakin' in lingo, man this for my ***** that trap out the bando
This for my ****** that call up Fernando to move a piano
**** all your feelin's cause business is business, its strictly financial
I'm always the first one to get it, man that's how you lead by example
Versace, Versace, Versace, Versace, Versace, Versace
Word to New York cause the Dyckman and Heights girls are callin' me "Papi"
I'm all on the low, take a famous girl out where there's no paparazzi
I'm tryna give Halle Berry a baby and no one can stop me

[Verse 2: Meek Mill]
Versace, Versace
Its killers, real ****** that's all in my posse (shooters!)
I'm getting so rich that they making up rumors that I'm illuminati (rich!)
Just me and my ****** we killin' these *******, go body for body (murders!)
These suckers be hating, they praying to God that I don't cop a Bugatti
Hold up, drop the top on the rari
Pull in the club and I'm stopping the party
Hold up, got ******* on *******
They poppin' on molly's I'm prolly at Follies with PeeWee and Tip
Of course i went with Lou
I did everything that I said I would do
I really won't tell you that I'm better than you
But we're not on the same level as you
Cause the G55 got a hell of a view
Regular ****** make regular moves
With ya regular ***** and ya regular crew
And you ***** still smokin on regular too? Like word?!
What a shame, my *****
Louboutin blood like Game, my *****
Get left tryna aim, my *****
Like Saddam Hussein, my *****
I'm whippin' this brand new machine
100 bands in my jeans
Call yo ***** Barry Sanders
She done ran through the team
I got hoes out the D
They playing on the team
Do anything for me
I mix that xan with the lean
Hold up, let me get it back
Versace, Versace
I'm gettin' this money, I'm stackin' my broccoli (racks!)
I'm running my city
You might gotta pay me if you land on my property (tax!)
I bought the boardwalk and I parked on the ave
****, my life's like monopoly
You caught a new case and you got outta jail
Boy, you look like a cop to me
(Get out of jail free card?)

[Verse 3: Tyga]
Aughh! Versace, Versace, I brought that **** back, all these ****** they copy
Medusa head on me I'm at the hotel, Versace Palazzo
I rented the yacht for a week, but I bought the convertible Lambo
Six mill for the mansion
I see haters coming I need some more ammo
These ****** gay that's Elmo
So much green I turned camo
Some hoover ****** on flannels
Light light you up no candle
Grip on that handle Yosemite Sam ya, that ***** bang like a banjo
Told my arms dealer no need for a box, I don't read the instructions, I throw out the manual (WOO!)
Versace, Versace, my brother king Trell he in a Ferrari
I don't look the same, my camera the same, I made too much money (WOO!)
Paul Pierce is my neighbor, I told him he should of went to the Clippers
I got some crazy ideas for Versace, get them and tell'em my number
Versace, auggh Picasso, Basquiat I'm cocky
23, 15 mill I'm just getting started
Pop water my water
I walk around on my wallet
I don't **** with Saddam but, that's gold all in my toilet
Statues of Horus, and the annubis is polished
I don't got to, rap about, coke for you to enjoy it
I'm bout' to join the money team, just holla' to Floyd about it
Versace, Versace, I'm taking my money to the Cayman islands (WOO!) Versace Auggh!!

[Outro: Quavo]
Versace, Versace, Versace, Versace
Versace, Versace, Versace, Versace
Versace, Versace Versace, Versace Versace
Versace, Versace Versace, Versace Versace
I love this song!... lyrics to  "Versace" by: Migos ft Drake, Meek Mill, and Tyga ****. by:  Zaytoven.
Valerie Csorba Feb 2014
Just outside Toronto,
we'll work coffee shops and gigs
and make this what we want to.

No longer do I hide
behind apathy and equations
that make no sense.

Here and now I have you
after I've waited so long
to make you mine.

Our adventures across the lands
searching for ethnic flavours
will forever dance throughout my brain.

Your arms wrapped around my waist
and your kisses on my lips
will help bury my demons.

Your illnesses will fade away
so much quicker than before.

Now I'm here playing with the puzzle called your heart
in the conscious effort to put you together as you should be
because someone foolishly played the gambler and felt your heart was worth the bet.

Once you claimed you were upset
not suicidal
but still I worried.

My heart was in your hands
and the melancholy thought of losing you
made minimal scars reopen.

Now, just outside Toronto
we work coffee shops and gigs,
making it what we want to.

With the things we always dreamed to have
and the love that no one else will ever understand.

We'll be bitter together, burn the world together as once we decided we would
because the thought once was so intoxicating that we became lustful for it,
and made the choice to create what we wanted, in Toronto, working coffee shops and gigs.
Orion<3

— The End —