The Pakistan Fashion Design Council in collaboration with Sunsilk presented the fourth and final day of the eighth PFDC Sunsilk Fashion Week. Indeed the 8th PFDC Sunsilk Fashion Week marked the twelfth fashion week platform initiated by the Pakistan Fashion Design Council [with eight weeks of prêt-à-porter and four of bridal fashion] and was a direct manifestation of the Council’s commitment to sustainability and discipline within the business of fashion and the facilitation of Pakistan’s retail industry. Indeed #PSFW15 endeavoured to define and present trends for 2015, focusing specifically on fashion for the regions’ long hot summer months. Day-4 featured High-Street Fashion shows by the House of Arsalan Iqbal, Erum Khan, Chinyere and Hassan Riaz and designer prêt-à-porter shows by Sana Safinaz, Republic by Omar Farooq, Syeda Amera, Huma & Amir Adnan, Sania Maskatiya and HSY.

Speaking about the PFDC Sunsilk Fashion Week platform, Chairperson of the PFDC, Sehyr Saigol said: “With the 12th iteration of our critically acclaimed fashion weeks, the PFDC is always working to streamline our prêt-à-porter platform to make the PSFW experience more beneficial for all stakeholders in terms of show experience, exposure and ultimately, retail value. To that end, each year we look inward to find the best possible formats and categories to benefit the very trade and business of fashion. In this vein, we introduced 3 separate categories for Luxury/Prêt, High Street and Textile at PFDC Sunsilk Fashion Week, giving each entirely separate show space, times, audience exposure and viewing power. Our High Street fashion brands had been given a standalone show time on two separate days as early evening shows and Textile brands a separate dedicated day for Voile shows on Day 3 of PSFW 2015, a measured step to further highlight Pakistan’s textile prowess and high street fashion strength which are of significant importance to national and international fashion markets. As per past tradition, we continue to work closely with all our emerging designers and mainstream brands to help hone their collections for the runway through mentorship by senior PFDC Council members and with retail support through the PFDC’s own stores and network. We are grateful for the committed support of our sponsors and partners which provides us the stimulus to further enhance our fashion week platforms and put forth the best face of Pakistani fashion on a consistent basis.”

“The Sunsilk girl is an achiever, with an air of enthusiasm and positivity. Great hair can give her the extra dose of confidence so with Sunsilk by her side, she is empowered to take on life. Fashion is very close to this aspirational Pakistani girl making the PFDC Sunsilk Fashion Week a highly valued platform for us. We recognize PFDC’s efforts to promote the fashion industry and experienced and upcoming talent alike. Sunsilk has been a part of this fantastic journey for 6 consecutive years and continues to shape aspirations, taking contemporary fashion directly to the homes of consumers and encouraging them to script their own stories of success” said Asanga Ranasinghe, VP Home and Personal Care for Unilever Pakistan.

On the concluding day of #PSFW15, the Chairperson of the PFDC Mrs. Sehyr Saigol also made a special announcement on behalf of the Council and its Board Members, where she shared the Council’s plans to establish Pakistan’s first ever craft based Design District, a multi-purpose specialized facility that would assist in developing and enhancing the arts and crafts industries, which are an integral part of Pakistan’s rich cultural legacy. In addition to being a centre for skill improvement and capacity building, the Design District would also house a first of its kind Textile Museum.

The official spokesperson of the PFDC, Sara Shahid of Sublime by Sara also announced the official dates for the Council’s next fashion week, PFDC L’Oréal Paris Bridal Week 2015 which is scheduled to be held from 15th September to 17th September 2015.

Indeed the success of PFDC Sunsilk Fashion Week continued to prompt private sector associates to grow in their engagement of the platform to launch new marketing campaigns and promotional activities. To this end, the PFDC’s evolving partnership with Sunsilk grew exponentially this year whereby in addition to their title patronage; Sunsilk also took over the coveted PFDC Sunsilk Fashion Week red carpet and the Green Room/Backstage, as sponsors. This extension of their support is indeed a manifestation of the brand’s belief in and commitment to the platform. Also in continuation of their support for the platform, Fed Ex – GSP Pakistan Gerry’s International returned to PSFW as the official logistics partner, offering the PFDC a special arrangement for international designer consignments.

PFDC Sunsilk Fashion Week 2015 was styled by the creative teams at Nabila’s and NGENTS. Light design, set design, sound engineering, video packaging, choreography and show production from concept to construction was by HSY Events, front stage management by Maheen Kardar Ali, backstage management by Product 021, Sara Shahid of Sublime by Sara as the official spokesperson for the PFDC, logistics and operations by Eleventh Experience and photography by Faisal Farooqui and the team at Dragonfly, Hum TV/Hum Sitaray as the Official Media Partners, CityFM89 as the Official Radio Partners with all media management by Lotus Client Management & Public Relations.

High-Street Fashion Shows

The House of Arsalan Iqbal

The afternoon High-Street Fashion Shows on the final day of PFDC Sunsilk Fashion Week 2015 were opened by leading fashion brand The House of Arsalan Iqbal, who showcased a collection titled ‘Devolution Chic’. Inspired by street art across the world by various artists, European high-street trends and technique of quilting, Arsalan Iqbal garnered personal portfolios of graffitists from myriad urban cityscapes such as London, New York, Tokyo, Barcelona and Cape Town, juxtaposed with some unique in-house created patterns including those of Pac-man, calligraphic flourishes and aqua and tangerine bands and circlets. Based in chiffon, the ensembles were molded into voluminous structured silhouettes including draped tunics, edgy jumpsuits and wide palazzos dovetailed with off-white and ecru charmeuse silk jackets created with a revolutionary quilting process. Along with menswear pieces, the collection also included in-house footwear and jewellery made in collaboration with pioneering Karachi-based street artist SANKI.

Erum Khan

Designer Erum Khan followed next and made her PFDC Sunsilk Fashion Week debut with ‘The Untainted Shine’. The collection took its inspiration from the sparkle of twinkling stars, a walk on pearl dew in the morning and the enchanted glow which is produced when “a magic wand” is waved around the body, making it glow in a pearlescent white and exhibiting a jewel themed lustre on the body. With neat and straight structured cuts, Erum had used fabrics such as organza combined with silk, 3D flowers, patch work and antique katdanna in a collection which was based in a white colour palette. Trends highlighted in the collection were high waist skirts to button up pants and sheer long dresses. Acclaimed Pakistani musician Goher Mumtaz and his wife Anam Ahmed walked the ramp as the designer’s celebrity showstoppers.

Chinyere

Following Erum Khan, fashion brand Chinyere showcased its Spring/Summer 2015 High-Street collection ‘Mizaj-e-Shahana’ at PFDC Sunsilk Fashion Week 2015. An ode to the era of the Mughal royalty and their imperial aesthetic, the collection comprised of modern silhouettes and traditional embellishments with organza skirts paired with cropped tops, angarkha-peplum tops with embellished cigarette pants, sheer knee-length jackets paired with structured digital printed bustier-jumpsuits, diaphanous wrap-around boot-cuts and embellished boxy sleeves with soft A-line silhouettes. Chinyere also showcased ten menswear pieces comprising of waistcoats, jodhpurs, knee-length sherwanis paired with gossamer sheer kurtas. The colours used had been divided into a collection of distinctive Mughalesque pastels and jewel tones. The pastels included the classic marble ivory-on-ivory, the bold black, saffron, gold and ivory. The colour segments also included metallic gold and grey sections, with accents of bronze and black. The jewel tones included jade, emerald, ruby and sapphire.

Hassan Riaz

The concluding High-Street fashion show of PFDC Sunsilk Fashion Week 2015 was presented by Hassan Riaz who showcased his ‘Contained Shadows’ collection. Inspired by the diverse facets of the human soul that explore both the dark and light sides of human nature, taking into account yearnings, desires, and anxieties that make us distinctly human, Hassan had based the collection in summer twill, organza and summer denim in shades of blue and white with a gold accent to reflect upon his inspirations. ‘Contained Shadows’ made use of structured and drifting silhouettes, cage crinolines with corsets and bustiers with distinct trends featuring cropped tops, nautical accents, experiments with transparency and patchworks of metal mixed & matched with flowers.

Designer Showcases

Sana Safinaz

PFDC Sunsilk Fashion Week 2015’s evening [rêt shows on the fourth and final day was opened by premier designer label Sana Safinaz. Sana Safinaz’s PFDC Sunsilk Fashion Week collection was inspired by monochromatic structured looks with pops of color. The collection was based in luxe fabrics such as kattan, silks, fine silk organza and dutches satin in a colour palette majorly based in black and white with strong vibrant pop infusions.
Key trends being highlighted were the oversized T, constructions-clean lines, simplicity of cuts and effective embellishments.

Republic by Omar Farooq

Following Sana Safinaz, acclaimed menswear brand Republic By Omar Farooqshowcased a collection titled ‘Que Sera, Sera!’ (whatever will be, will be!). Omar Farooq had used a variety of luxe fabrics such as suede, linen, chiffon, cotton, cotton silk and wool silk. A collection for all seasons, the ensembles built upon the label’s signature aesthetics while providing a new take on contemporary menswear. Acclaimed media personality Fawad Khan walked the ramp as the brand’s celebrity showstopper.

Syeda Amera

The third Prêt show of the final day of PFDC Sunsilk Fashion Week 2015 was presented by designer Syeda Amera who made her ramp debut with ‘The World of Sea’. Inspired by love for the enchanting underwater, the collection was based in premium quality organza, jersey, nets and silks with delicate cuts and embellishments consisting of beads, sequins and feathers to reflect the collection’s aquatic theme. ‘The World of Sea’ featured a palette of aqua marine, scupa blue, powder pink, grey blue, tequila sunrise yellow, orange and lagoon green with trends that employed skirt layering, frills and ruffles and flared pants.

Huma & Amir Adnan

Following Syeda Amera, Huma & Amir Adnan showcased a joint collection for the first time at a fashion exhibition. Both Huma and Amir feel that as a couple they share their lives and draw synergies and their collection ‘Symphony’ was an epitome of how two people can revolve around the same concept in harmony, while maintaining their individual distinction. Showcasing both menswear and women’s wear at PSFW 2015, Huma and Amir had used a mix of fabrics, textures and embellishments with a complex collection of weaves, prints and embroideries in silk, linen, cotton and microfiber. The color palette included midnight blue, emerald green, wet earth, aubergine, ivory, old paper, turmeric, leaf and magenta. Key trends highlighted in the collection were long shirts, double layered shirts, printed vests and jackets, textured pants, colored shoes for men and layers of multi-textured fabrics, tighter silhouette, vests and jackets for women.

Sania Maskatiya

Designer Sania Maskatiya showcased the penultimate Luxury/Prêt collection of the evening at PFDC Sunsilk Fashion Week 2015. This S/S ’15, Sania Maskatiya took audiences on a fashion journey to ‘Paristan’ – a place of fairytale whimsy at PFDC Sunsilk Fashion Week. With a colour palette ranging from the softest shades of daybreak to the deepest hues of nightfall, ‘Paristan’ was a collection of playful, dreamlike prêt ensembles. Featuring luxury fabrics like silk, organza, charmeuse and crepe, the pieces followed the brand’s signature silhouettes, both structured and fluid. Beads and sequins embellished varied hemlines and multiple layering, all set against captivating scenes of mirth and magic. Motifs ranged from the sublime to nonsensical; friendly mice and naughty elves, clocks and teapots, flowering fields and star-filled skies, princesses and ponies.

HSY

Day-4’s finale was presented by acclaimed couturier HSY who showcased a collection titled ‘INK’; a collection inspired by Asia and specifically HSY’s journeys to The Land of the Rising Sun. INK represented the essence of Langkawi, Indonesia, Nagasaki, and Yunnan with natural and indigenous yarns, hand-woven to perfection. The collection featured the traditional dyeing techniques of Shibori from Nagasaki, Batik from Indonesia, and Gara from Sierra Leone infused with mackintosh, saffron, aubergine, eggshell, rosette, indigo and ochre. Created with the scorching sub continental summer in mind, INK channelled versatile hemlines to suit a diversity of younger, older, working men, women and homemakers alike.Read more here:www.marieaustralia.com/long-formal-dresses | www.marieaustralia.com/formal-dresses-brisbane

We're working on a job together
Actually, we're building a set
And yes, there's been many other times we've met

You weren't so nice to me, but since this job there's a gentler turn
I see it when you approach me, you show a softer side
And when the others leave, you approach me closer, with a quicker stride

Today I had no doubt, it was easy to read between the lines
You came in quietly, and I'll be honest, you weren't looking fine
As we talked, you seem so fascinated, I felt so watched
This was definitely being taken up a notch

So we arrived at a part of the set and you asked me if I liked the plan
I didn't particularly care for it, but honestly it didn't remind me of a man
You said, it's boxy, sharp corners, a masculine design
"Maybe you'd like it curvy," you say, and I'm looking at your sight line

They say you can tell where someone is looking from a hundred feet away
Well, this was much less feet than that today
I knew exactly where you were looking
I knew what that look meant
And yes, I liked it better curvy
So maybe your advice was heaven sent

A four-year-old was perched in front of
a boxy TV with eyes only open to
sugar-coated Cheerios and 80’s Transformer heroes
on the screen.
Fast forward to age
thirteen where she flipped through
dusty photography with
eyes searching
for substance
to prove reality from almost-forgotten dreams.
Scrapbook memories aren’t
all that she sees
because,
honestly,
she loses things.
Summer Saturdays and
Fall Fridays and
Winter weekdays spent too wrapped up in her
own head to notice, silently, spring rising
from its deathbed.
Honestly, she loses things.
She
loses
things that should be important
and real, but all she can feel is
the guilt of lost
and faded photography.
Scrapbook memories fabricate times of
color and scent and sound,
of spilled milk and Diet Coke,
of words too far gone to seep from
pen to page because
honestly,
she loses things.

When, like a running grave, time tracks you down,
Your calm and cuddled is a scythe of hairs,
Love in her gear is slowly through the house,
Up naked stairs, a turtle in a hearse,
Hauled to the dome,

Comes, like a scissors stalking, tailor age,
Deliver me who timid in my tribe,
Of love am barer than Cadaver's trap
Robbed of the foxy tongue, his footed tape
Of the bone inch

Deliver me, my masters, head and heart,
Heart of Cadaver's candle waxes thin,
When blood, *****-handed, and the logic time
Drive children up like bruises to the thumb,
From maid and head,

For, sunday faced, with dusters in my glove,
Chaste and the chaser, man with the cockshut eye,
I, that time's jacket or the coat of ice
May fail to fasten with a ****** o
In the straight grave,

Stride through Cadaver's country in my force,
My pickbrain masters morsing on the stone
Despair of blood faith in the maiden's slime,
Halt among eunuchs, and the nitric stain
On fork and face.

Time is a foolish fancy, time and fool.
No, no, you lover skull, descending hammer
Descends, my masters, on the entered honour.
You hero skull, Cadaver in the hangar
Tells the stick, 'fail.'

Joy is no knocking nation, sir and madam,
The cancer's fashion, or the summer feather
Lit on the cuddled tree, the cross of fever,
Not city tar and subway bored to foster
Man through macadam.

I dump the waxlights in your tower dome.
Joy is the knock of dust, Cadaver's shoot
Of bud of Adam through his boxy shift,
Love's twilit nation and the skull of state,
Sir, is your doom.

Everything ends, the tower ending and,
(Have with the house of wind), the leaning scene,
Ball of the foot depending from the sun,
(Give, summer, over), the cemented skin,
The actions' end.

All, men my madmen, the unwholesome wind
With whistler's cough contages, time on track
Shapes in a cinder death; love for his trick,
Happy Cadaver's hunger as you take
The kissproof world.

Sep 28, 2015- A cocktail party is a fad in big fat weddings nowadays, and so have elaborate and voluminous cocktail gowns! But before you head to buy such an outfut, it's best to evaluate your body type and choose something that offers comfort, says an expert.

Divya Sisodia, fashion stylist, VioletStreet.com, an online shopping destination, has shared tips on how to choose a cocktail dress that can flatter you:

* Before picking a cocktail dress, evaluate your body type on whether it is pear shaped, rectangle shaped, apple shaped, petite, bony, boxy or full-figured.

* Instead of blindly following the trend spotters, opt for a dress which is comfortable and suits you. For example, apple shaped women, who carry most of the fat around their abdominal region and often have a large bust and waist, but narrow hips, must opt for soft fabrics rather than fabrics that would cling to their body. Cocktail dresses with flowing or A-line cuts are perfect for pear shapes, as they silhouette the hips beautifully.

* Full-figured and plus size women must choose dark coloured dresses that make them look thinner.

* Accessories are a great way to add oomph to an evening look. It can help to add one’s own flair to a dress that might be beautiful on its own. Even a simple black dress becomes a style statement when paired with a pair of edgy earrings and spiked heels. You can also use interesting or chunky neckpieces to divert attention to your upper body than to your lower body.

* Don’t try to fit into ill-fitting cocktail dresses as they will only make you feel and look uncomfortable.

* To create an hourglass delusion, highlight your waistline. Blouson dresses that gather around the waist add a curve to the upper hip and show off your perfect legs. You can further enhance your waistline with a wide belt or corset belt in a contrasting colour to your cocktail dress.

read more:www.marieaustralia.com/cheap-formal-dresses

www.marieaustralia.com/princess-formal-dresses

The way
Miss Manners

sat
on the school desk

when the teacher
was out

of the room
or before

he came in
hands on each side

of her thighs
flat

on the desk top
her white socks

hugging her carves  
and black shoes

toe touching
and the knees rubbing

each on each
and Boxy said

nudging you
giving her

the eye
wouldn’t mind being

her bicycle seat
and the sunlight

lit up her hair
angel like

sitting there you thought
the hands small

palms down
the fingers

slightly spread
the nails

pinkie white
unchewed

and Boxy whispered
bet she’s *******

his breath
easing out

sweetness
of bubblegum

wouldn’t mind
kissing her ***

he sniggered
there was

where the sunlight
caught her profile

that contrast
of light and shade

the nose
the lips

slight spread
and where

the sun lit her
a halo shone

around her
****** head.

I'm a little funny looking
I must confess,
all chunky boxy & truck-like
with 2 big old horns
that look quite deadly
but really we just
use them for show mostly,
oh & digging around
in termite hills,

I do hear though
that you humans
really cherish them
for folk cures &
help with your
***** & such,
you know
important
scientific stuff,

but then again
we can make a fearsome
fearsome charge
at a land-rover
full of folks
all with their
cameras & such,

at least we used to
till we became
fucken extinct!

If love was something edible
     What kind of taste would have?
Would it taste sweet, or sour?
  Bitter, or salty?
Would it be an ingredient, or the main dish
Would it be healthy, or unhealthy?
  How much would it cost?
  
If love was something audible
    What kind of sound would it have?
  Would it sound loud, or soft?
  nasal, or boxy?
  Would it be a song, or an album?
A speech, or a dialogue?
  Where would be the most likely place to hear it?

If love was something tangible**
What kind of mass would it be?
Would it feel wet, or dry?
Airy, or moist?
Would it be heavy, or light?
Painful, or pleasurable?
How useful would it be?

If love was something visible
  What color, or shape would it have?
Would it look like a rose, or a war ship?
A diamond, or a *******?
  Would it resemble the day, or the night?
A bunch of stars, or a few roaches?
If it was a person would you trust it?

If love had a smell
It would probably smell fishy.

We lived in the 8th eme, near the Canal
A lovely apartment we couldn't afford
our usual lifestyle
I did the shopping at the cheapest store I could find: Ed
Ed-day,  you say, and they sell life's basics
like milk with the date stamped on it
and I'm careful about the date
We were Parisienne
Life abroad isn't real, it doesn't matter
you are not you, known exactly
your mother tongue is the lingua franca of the world
but a gulf separates you from the cares of the real
people there, a gulf of culture, experience, genetics even
I am an odd mixture of religions and regions, strange even for New York
There I am a different species, which is good because it helps my normal
worries stand still, and I am able to be a spectator on life
like a child, I
notice every little nuance of the French day and I am put on hold
I keep to myself, my own thoughts as I can understand
so little of what swirls around me
and that is a burden lifted
I am not homesick and I watch with the same curiosity
Americans on the Champs Elysses,
recognizable by the men in boxy t-shirts
and the women in athletic shoes
I don't speak to them, they are foriegn to me now, too
we walk over centuries of experience, that have given a quiet wisdom
to this place and I learn every day, and the mistakes of the past
are right there under foot or in a museum
the scream and rage of the past has echoed for the last time
long ago, and something has been learned from it
France was right, "we are an old country, and a wise one,"
right before the second Gulf war
we didn't listen
Life has slowed down here,
In America we have that energy, that desire to create and make it
and we run ourselves ragged, into the ground, alone in our independence
no time for strangers but here, our friends take vacations and boldly
make a bridge to form a four day weekend and are proud of it
and invite us along for trips and long meals
and visits to old castles, now over run with "the people"
who enjoy the carved gardens and angular pools as much as
any aristocrat ever did
and I don't want to leave
I'm learning so much
but mostly I don't want to be real again
I don't want to be that American person with problems and no
excuses of distance and language and culture
and no excuses of the need for rest from the rat race
because in America, no one admits to that need
And one day in Ed the expiration date on the milk
is past our flight date
and I freeze in pain
knowing the milk will sit here
long after I am gone

I am so sick of this smog,
(And the plane has only just landed).
Gray and gold, it smothers the city;
I already miss cotton-ball clouds
In a sky that is blue, just blue,
Floating.across flat green fields filled
With yellow-topped corn and spindly windmills.
The flatness is immense here,
But clotted with a wreck of suburbia,
Boxy ranches and sudden apartment buildings.
Instead of a harvest, the backyards are filled
With cement and fetal-curved swimming pools.
Every bit of it looks about to crack
Under all this weight.

The palm trees that used to look exotic
And spark my mind with other people’s sold memories
Of India, Siam, and Hollywood,
Are now tacky, too tall,
Hovering over the highway wall.
They look like a locust infestation.
Even the white windmills
Seemed more benign, their blades
Whipping around and around
As if they were ready for a fight.

Ten months is too long for LA,
But it would probably be too long for heaven, as well.
So when I settle for good,
It will be in a house
With a winter view of the river,
A highway drive from the city.
This valley, though sometimes empty, is filled
With both silence and cement,
Sunshine and snow and thunderstorms,
And the only house that matters,
With a winter view of the river.

Now let’s see what I can make of the chronology of Chase.
Some thick wet messy bird *****
missing its mark, a drop, browning vent
feathers, another drop
oozing perfectly in, to the oviduct, where
minerals and fetus and pre feathers formed.  

And now a slanted eye, lid half closed
after the fashion of a laying chicken hen,
a hen in its own right, Suzie Susan the bird,
sunflower seeds and malnutrition gracing her final
August days,
sits atop what can only be called a
cardboard cruelty to squeeze out the
rock and continue his

cycle
backward.

But: before.

The same lidded look, a male somewhere gesticulating
split rock shale hued feathers and
pink scaled lizard feet,
gripping,
as the unbelievable ordeal of egglaying begets
what will become a creature
((Chase))

and then warmth, a spot of raw pink
skin, so much like a goose bumped wet frozen bird
in the *** a day before supper,
warms the egg to a precise temperature
((Wikipedia knows what))
not to cook, but to love.

So many cages.  Straight up and down
black white silver metal plastic
bars, maybe a metal floor and maybe
unbreathable glass,
maybe even pine.  

How he made his way into a
rabbit’s cage much too sideways for
any bird, losing feathers from
eating buggy dry dusty seed which he loved
almost as much as procreating,
I wish to Hell I knew,
so I could ***** about it too
and hate not only myself, my parents,
the wooden door that ended him,
but their rotted brains as well.

Made perches.  Not safe, but sound.  
Wood, sycamore, not disinfected, but worn
down to a point of home decor.  
Birdshit everywhere, which was lovely
but I didn’t remember to clean it because
I was too young to know about anything
but Phantom of the Opera, dragons that have wings
and front arms always, don’t you dare ******* say different
because I will end you,
and the occasional long thin scab on the arm.

But, living.
Sitting by me -- hating me in a way that spoke
of kindred love and bond --
and nothing at all of the $3 diet that he somehow subsisted
on for possibly four years,
possibly thirteen,
or the improper bars slanted with thick white and gray urate and feces
paste uncleaned unchecked and untouched.

Or even the of the hard saved handful of cash earmarked for a
slightly less inadequate cage (but a cage nonetheless)
traded instead for a Nightmare on Elm Street box set containing
movies 1-6, plus 7, and Freddy vs Jason as well but not the remake,

but definitely of how someone, maybe me, taught you how to
whistle the Andy Griffith theme song even though I never watched
the dumb old show, and how to whistle
like a construction worker with a mild *******
after an unintended female, with the “best ***
I ever ******* saw,”

and of strict bedtimes always met with a decent blanket,
and maybe even of the bird-like night frights in which
I felt my heart leap, and I turned on music for you with the
useless old sixty pound boxy computer that happened to still have
a working copy of windows media player installed

and singing Billy Joel’s Lullaby which had nothing to do with you
or I and everything to do with divorce and dying
but which was perfect,
and put you back to sleep without a broken neck or wing,
yet.

Does it matter if he’s a bird or man?
I tell you that he’s both.
He ate and shat and ****** and loved
and sang and slept and had grumpy days
and happy days
and ****** people off and was too loud
and was startled by screams
had to face the still silent unmoving sickening pregnant heat wave of grief
had favorite foods and songs and tv shows,
lived in boxes and only wanted out.  

Greedy how he chirped so high on top of his lover
doing the tail spinny grindey dance against her pulsating *******
center, and squirting
secretly much like the **** before him, whatever
and whoever he was, his eyes
wide and mouth open slightly.  

And then her fat cinnamon body lay so many
thick shelled deadly pearls,
which were empty but never cold.
They loved their empty stale stagnant infertile eggs, by God,
these two perfect doomed parents given
not nearly enough to survive the
war of childbirth and rearing,
which they only tried out but were not privileged to suffer.  

I would’ve named his sons Columbo after some name
I read in a book or maybe an online forum, that is
supposedly Italiano and supposedly means “dove,”
the fat birds of varying white and gray hues with the occasional
dazzle of blue or brown or black
that embody all the soft qualities of Chase, and Suzy

and I would attempt to end the misbegotten trend
that started when I named Chase after the gorgeous golden Aussie
character from House (which someone of my age probably
shouldn’t have watched)
and add some little Renatos and Ninfas and little
Agapetos or maybe even Uccellos or Ucellas.  

But what would have been a family of tiny winged storm - skies
brought instead a slowish painful death, that could have been
oh so easily prevented and fixed with a little bit of love,
some mercy, some money, a vet, and possibly a fingertip amount of
dollar store canola cooking oil.

And Chase, what can I say of how you screamed an elegy, a dirge
more harrowing than Percy Shelley’s or Rilke’s or that poem Billy Collins
wrote about nine eleven, more true than the entire ludicrous book of Lamentations,
simply by screaming extreme, shrill and for so long, so long,
so through that the house shook with it and I cried too?

You wailed with a small dry wordless tongue
that shot into my ears and to my skull, brain, gray and white matter,
that absolutely trembled with the familiar horrific confusion
of suddenly waking to find that someone is gone and you
don’t know how but you know you’ll
never
see them again

you’d never stroke the smooth laughter of
her cheeks, you’d never press your small warm chest
against her wide brown wing again, my love,
and I
would never remember
where the hell I laid her body,
lost the grave that you needed to touch and
maybe walk on and sing to,
once more.

But this wasn’t your life.
That instead was summed up,
concentrated into the small pregnant moment when
It Happened,
the flash and squeal of your body being
broken, crushed smashed practically severed,
dazed and shaken and slowly shut down
over the span of a weekend,
again
and again as it
replayed in my mind --
again, again,
again, again.

But these are only words and you can’t
exist in them except as a small sliver,
a fragment of soul, a quick whiff of heartbeat --

but I didn’t lose your grave.
There’s a soggy ground where you were lain, and a small wooden
plaque over your bones which painted with the words:
in pace requiescat,
which I admit I only know from Amontillado,
and the day and month and the year that you died
because you, the great mystery, have no birth date.

And I would proceed to cry and hate so many people,
myself, and you, and firstly my lovely parents,
who allowed you to die and pretended to apologize,
but most of all I would hate the world,
for swallowing up and making me think
that a part of your flesh, sloshy like the soil,

was absorbed and embodied as fresh growth on your
large drooping willow tree

and that if I stroke it,
when I touch it with these fat white fingers and let
the bark pierce my skin roughly,
rub it red and ****** dry,
that I am touching you

and letting you know
I remember and that Chase -- you spilling of bird
***** and calcified ****
that somehow became a grayish soul that God hardly
gave enough moons --

I’m sorry
I hit you with a door
trying to close it,

but less sorry that I killed you and more sorry
that it was because, out of grandmotherly fear,
I never let you learn how to fly,

I clipped your wings and you, and we were so clumsy

that you ambled head first into its already severing crack

I hope wherever the hell you might be --
birdy paradise, Dante’s hell where lovers fly and that is torment --
that you have wings,
and they aren’t clipped,
and someone cleans up your ****.

It’s nights like these;
when the sky feels raw-quiet
and the moon hangs so low-heavy
and pulpy, parchment yellow,
dripping and left to sun-stain and disintegrate
against dull ghost stories
and stinging to-do lists.
This is when I feel it- the fracturing.
You’re out of sight.
I’m out of mind.  

I crack the window,
blink loose stars out of focus
and send them shotgun galloping
across the flat-hum pulsing,
tin tinged and navy evening static.

The North Star needs new batteries.
He flickers and sways but won’t
extinguish. He is soft and solemn-
a lazing, dazing anchor whose fraying rope
weaves bowline knots
and hitching ties
into each inch of my drying hair.

Every strand of the night breathes itself into life.
The pieces are softening and shifting,
howling and crawling.
They become young men planning,
flexing at high tide and daring
each other further out with each set of waves.
They are posing, pretending to be
what they think the word ‘reckless’ means.

They are throwing their bodies into surf
and wailing.
They are crashing hard
and violent
against the shore.

They are shaking out golden limbs
and rubbing bloodshot eyes.
I watch bruises bloom and gashes erupt a flash
of crimson before salt water clean and stung.

They are flashing gleeful smiles
and throwing taunting screams across
whole seas while diving back,
quickly, elegantly,
into the same rough surf
that just spit them out.

Maybe they’re proactive,
maybe things hurts less when you
know where the hurt will come from.
Maybe the game isn’t to stay lovely
and bright and whole;
but to know pain’s possibilities so intimately
that when it comes time for you to break
you can do so without shattering
completely.

Nights like these;
sitting cross-legged with a blank
page open and an aching, reeling,
sickly-warm ribbon sprouting from my molars-
I get it.

Streamers wave proudly across
my body.
They grip and simmer,
they wind tightly around  
organs and bones who
gave up their hiding spots
and surrendered their secrets
the first time I let him come in.

The strings are bright and knot themselves tight.
They tether my windpipe,
weld each rib colorfully between sternum and spine.
They coil down and tie off;
thick, swaddled and bobbing, bowing
themselves regally around my coccyx.

Nights like these I have no armor.
Where is my skin?
I stir and rattle to even the slightest shift of Earth.
Exposed and quaking, I body-map bolts of light.
The light is tap dancing over lungs,
igniting blood and ricocheting through the summer camp,
arts and crafts hysteria fusing my anatomy.
It plunge pastels deep into the marrow of my bones.
The room is smoky, my gut splashes about, electrocuted.
I stop feeling tired.

The thing is- what I’m really trying to say,
is that I have no words right now.
There are no pretty lines caught in the twine of
my hip joints and no fiery prose laying
eggs in my spinal fluid.

There is no poem to write
about the fleshy, sour
smell of my own heart
roasting on a pyre or the hours it will take
to scrub off the charred bits of melting muscle
now staining the carpet.

This bitter heat creeping up my throat
and the sallow contraction of my
belly are not the prologue to a revolution-
my diagnosis is not a metaphor.

They are simply the tangy symptoms of the sadness
pinging around my insides and playing
peekaboo among the weeds of my broken body and sticky mind.
She will wait, biding time, for a properly rapt audience.
I whisper then whine that I’m too messy,
too slouchy, too emotionally ill-equipped to house a heart
maybe breaking,
definitely ripping, across-the-ballroom
slipping and wrecking-ball imploding.
Sadness smacks her lips and smirks.
No one rides for free.  

Nights like these I think
maybe I’ve wasted all my words;
my sentences and precious syntax and swooping rhetoric,
on lighter blows and mere heartaches.
I am a ragdoll limply stretching.
I am standing completely still, taking inventory.
I’m puzzled, though decidedly unthreatened,
by the glass-littered ground, my bleeding feet.
I mean look at the big picture:
I lit myself on fire.
I’m not worried about sunburn.

I know now that it has happened-
the hurt circulates my veins
and pumps me full of vehemence.
The act of breathing is ferocious,
I am a tangle of raw nerves.
This is the night I’m left with a heart shattered
in six hundred pieces on the floor and absolutely no poetry rising
from my pores to help glue it back together.

I said I get it.
I should have practiced.
I should have left my clothes on the sand and
ran toward the sea, naked and unembarrassed,
while diving head first into fierce undertows
and crashing with the boyish bodies of the night.

I should have experimented;
explored all the ways hurt could find me
while the beach was still mine to breathe out and yell for
without fear of being told 'no.'
But I didn’t. I kept my clothes on and my secrets to myself.

Tonight I’m a wreck and this isn’t a test.
I'm so far out, weighed down
by this boxy, heavy pain
ripening in my arms.
I'm panicky and paddling in any direction,
trying to keep my head above water
and praying the shore will appear and welcome me
once I get through this next set of waves,
through this next set of waves.

he only sees the beauty in things he already knows. although I’ve never heard him say that word. he gets Pink Floyd and he gets Bruch, but he read the first 2 pages of Gone With the Wind when I put it in his hands one day, and told me it was crap.
I swear he only feels nostalgia when it’s familiar and I swear he can’t wrap his brain around what lovely harshed pale things are.
he’s very judgmental, and he’s curly-haired and he smells like whatever the opposite-of-miserable is,
and he’s got something that’ll make your eyes twitch. It’ll make you seethe and know.
something you can’t bear to hold for too long but you want to.

he likes fried foods and shrimp, he wishes I knew how to cook and he knows that I can’t for my life. he knows the difference between fine and clumsy,
he wears a watch. It’s black and boxy, and his socks are always funny-looking. He has this one pair, it is dark with green stripes, and he has this other pair they are hot orange and spotted with small horses, that are reared backwards like they can’t bear it anymore.
his mom is crazy and he’s the strangest person you will ever meet and he’ll make you laugh at the first few things he says to you.
his couch has got bunches of quarters and nickels wedged underneath the cushions and his recycling bin is sticky, filled with empty Coke cans, and he plays the violin; he’s got sheet music all over his room printed from illegal websites, probably.

his windows are always open because he likes being outside in the cold and hot, and he wakes up in the dead of 3 am to close them because he always forgets and it’s just so cold and he’s only wearing a t-shirt and boxers.
he says secrets because he doesn’t think they’re secrets. he says **** and he says
hello, how are you doing? and he speaks in a way that is refined, almost like a lecture,
and the first time you meet him you wonder for a minute if he’s British. and if he lives with his family in an apartment somewhere deep in the dark artsy part of Staffordshire where he sleeps and drinks coffee and gets bags under his eyes and plays computer games and sits under the sun wearing pajama pants and is intelligent and hates studying Latin.

but then you realize he is very homeless-looking at heart, and it’s just the way his voice forms words and the way he talks. and he has a high laugh
that you like.

she's in the whoosh feel her span through time it's all relative across dimensions and into space bigger on the inside smaller to the seeing eye walk around her you'll see but step inside and the venture begins she's an old girl stuck in the form of boxy blue past her prime yet still as sturdy she'll dematerialize at will speeding through rifts explore her corridors and discover her anew enter other realms, pasts and futures she's been at the beginning and to the end of time her companions many yet the one who's steady is a mysterious man one called Dr but no one knows Who except her for they've been together through ages only to get to say hello toward the end she's a reliable old girl who's traveled many worlds she's seen thing and heard tings you'll know her by the sound of her whoosh as she comes and goes.

and as i tap on my keyboard making noises unspeakable i notice that
somewhere between the Y and the I is a U, and I wonder why apple would set up such a cliché
a metaphor I would want to use in times like this where my writing is vulnerable and uncouth
i can’t even be angry with you, against you pressing on your V line since
i knew the movie was bad
i mean i just knew it as soon as the VCR ****** in the thick, boxy, tape
that this film was going to be just like the others— immature and messy,
you were unable to articulate the simplest of my sentences

insert line here

you didn’t even look new, you weren't even an opportunity
you told me you were willing to be the elevated beam in my single music note that we would create harmonies even my mother would like to hear
but she hated you
and you didn’t understand why I liked Bach more than Mozart, or why I didn’t like Mozart at all
you weren't a gentleman, but I am beginning to think those don't exist until well into our 30s
when our hearts are tender enough to feel empathy
you don’t deserve a poem, or the image of heaven

the capital letters you rained in my text messages made my eyes open a little bit wider
i went to cvs and i bought the twix the blanket and the *****
we used to do that together
asian men still write me poems for the morning, i walk out of dorm rooms with water that never knew the cold
and my head it; pounds from dehydration, its been a while since I’ve been in love
but some us are
in love i mean
the dumb ones, the despicable ones
how are they achieving something the kids with 4.0 gpa’s couldn't make an equation for

insert lines here

and why the hell do i keep looking at my phone, waiting for your name to shine bright telling me what to do what to say

insert lines here

why did you sleep with her, on her, side by side, parallel making hexagons and trapezoids keeping me out of the loop
why did i say ok

Thick pretty smoke stacks chafe the faces
of stand-alone city youngins
kneeling on side streets with their knees in murky drain water
on the ***** asphalt, circling a dented stop sign.
And next to the sun-worn mural of Jack Kerouac, burning fumes
and sugar strips throw a film of
distortions on the eyes of the already-blind
censored minds of middle class America.

It’s 1964 and the times have changed. The music just got good
and there’s this thing called freedom.
That’s the word on the street, and it used to only ring a bell
but recently there’s a beat of a drum never
heard over these boxy radios, never seen on TV shows
and it’s not left to anyone — no moms, no teachers,
no dads, no kids, no beavers. ‘Cause now,
that makes no sense.
And the only thing that works is a four-letter word —
B.E.A.T. — and it spells out recovery in any light.

And people love the smell of unwatched life, even through
the choking smoke clouds intoxicating
the air with high hopes and fingers shot higher,
like a bird with new wings, flying over things
as crazy as kids praying to an eight-sided red warning,
beat-in, ‘cause someone wouldn’t be stopped.

When I was a child, I walked on my toes,
as if to be taller than the world.
My parents took me to a specialist
who showed me how to step normal;
heel to toe, always heel then toe.

When I was in the band, I rolled
carefully, from heel to my toes.
Body stiff to support the melody.
Each step to the beat; smooth,
as only a solid sound would require.

When i was a Marine, I marched again.
Slamming heels into the ground
with each cadence call.  Punished
for mistakes, I stepped with others.
Always, our blows landed as one.

When I was drunk, my sister said
I stepped like a duck.  Bent knees,
leaning through my hips over flat feet.
Small steps; churning through
every upright inch I could get.

When I danced, I had to switch
back; toe to heel for the foxtrot.
Kick through the step and slow
slow.  Leading my partner in life
through the maze of turns and hold.

When time for the epic tango
the steps regressed on me.
Passion dictated by boxy frame,
high shoulders, as I looked away
from my lover along curved plane.

When I step no more, I can only hope
my footprints will be remembered.
Guided by innocence, illuminated
by hope, I stepped with a purpose
of living life; always moving forward.

the empty static
on the old boxy television
show the sorrow
of a million lost souls.

on sunday, i sat in our kitchen with my dad as the pale april sunlight streamed in and we watched as the brasilian government held the vote over whether or not to impeach the president dilma rousseff.

my brother’s at college, my mom was at work; it was just me and my dad.
a family friend told me once that my dad loves his country more than anybody they'd ever met.

i remember, we ate apple slices as we watched the government vote on the fate of the country. i am 17 and my dad still slices my apples, cuts my grilled cheese sandwiches into triangles, calls me querida.

my dad gestures at the TV, we both talk with our hands a little too much, and tells me that you can tell which way the politicians are voting based of the color they’re wearing.

the worker’s party, partido dos trabalhadores, called the PT is wearing red. they're the ones that vote against impeachment, eu voto não.
my father marched for that party in the 70s, 80s. they were born of the opposition to the military dictatorship of his childhood. he glares at the TV screen, now, like he’s angry for the promises they broke.

the TV in the kitchen is practically a relic, a boxy fourteen inches, older than me. we have a satellite dish in the backyard so we can get globo, the biggest television network in brasil. neighbor kids accidentally chuck their ***** into it, hitting the dish and scrambling over the fence to collect their toys.

on the TV, ricardo barros walks up the microphone. he’s a congressman from my family’s home state of paraná. my dad says, “hey, i went to college with him!”

they both majored in civil engineering, went to university in maringá.  
i remember i laughed. my dad knows so many people that he can find acquaintances on the TV. i asked my dad if they were friends. he laughs a little, too, says it depends on how ricardo voted.

ricardo voted yes.

my father was 7 years old in 1964 when the military took over brasil’s government in a coup. sometimes i wonder if for him this whole thing feels sort of like de ja vu, history repeating with a new face.

i don’t ask.

taken back today,
to a time of ignorant simplicity,
of sunday afternoon's fluid routine.
the venue might change,
but not often the steps;
an early bath to wash one's hair.
a take out feast of chinese for tea,
followed by chocolate icecream, in a bowl
in front of the old boxy tv.

we three, two big brothers and me.
lined up acording to age. waiting,
for walt disney and his wonderful world,
to take the tv's stage,
we would watch the play unfold.
enraptured one and all.

for mother dear,
a hour's peace,
mostly, but not always,
free and clear,
of squabbling brawls.

if we had been good,
we often times could,
cadge some extra time.
to see the bannana splits, have their funny fits
and laugh at the weird cartoon bits.

then time to brush those teeth,
and into bed to read,
quietly, for an hour.
a goodnight kiss,
and tucked in tight.
to sleep away,
the dreamless night

your heart, I wish I could see it laid out before me,
like when I watch a cellist play their part beautifully,
wood and sinew, bow and flesh,
                                         enmesh,
in a dance, where notes fall like a wash of tears,
which run down, laughing so hard at the sadness,
     as notes ascend and descend.
          the chest rises and falls,
              and all I want to see, in truth, is your heart,
                 the cello braced for news good or bad that
                    you are about to share, but not your heart,
                      please don't play me for a fool, I'm not an
                        instrument too, that you have found boxy,
                          and poorly made with materials that age fades,
                            what will you do, when I can no longer hold
my tune?
your heart, I need to see the path you are going to walk,
so we can go side by side, no secrets, our touch is real, with
no distance, so we can in whispered voices, talk, not like the
bow that makes those strings sing, or the pressure of those
fingers to get the notes just so, no...

Like the notes on the aged sheet music, the dark spots and lines
now fade, here and there but remember, the music we once moved
to, now moves us in our memories, treasured and measured beats,
your heart has shaped them, whole notes have become half notes and changed my life...
                                                        n­ow reveal to me will we ever share a destiny?

I am captive to the blank page before me.
Unable to write.
I cannot free myself from ink squiggles, text in straight lines;
My feelings are mute; the white page - frozen silence.
The words - forced out of the ice;  knocking an ice tray against the kitchen counter.
The cubes later clank to  cool a glass of juice or wine.
Dissolution,  icy essence melting,  relations in the world.
Feelings blocked in- cubes until they are released from white boxy space.
Force fields of Electric power keeps them frozen. Then the cubes, released, melt and cloak the glass in perspirative  beads, crystal on crystal.
Release of emotions, the beads puddle on the table and the floor, my eyes too perspire until I see no more only feel the cool trace on my face.

I don't quite understand why the sun on my face or the hot pavement on my feet makes me feel free.
Because skin gets burned.
I don't really know why the boxy shoes that judge and snarl make me feel beautiful when I dance.
Because they broke me.
I don't really know why mcdonalds french fries and country songs that I hate make me miss you.
Because you were more than that.
I don't get why they say the light always wins the darkness or why the dark always scared me.
Because now the darkness feels like home.

I look in wonder at all I see
each flower, tree, bird and bee.

All these amazing things on earth
that fill its air and all its girth.

But what do we civilised animals do
we cut them, burn them, shoot them too.

We ravage forests for our own needs
ignoring harm we do to breeds.

We only think about ourselves
of stocking up our winter shelves.

Or eating so we get so fat
you don't see 'animals' doing that!

We fill the skies with poisonous gases
killing each other with bombing passes.

Destroying wildlife habitats
to build new roads and boxy flats.

That stop the waters soaking in
and flood the lands that we live in.

And then we have a conference
where those who care get all incensed.

As promises and targets are pencilled in
with chance of action's wearing thin.

In years to come when it's too late
we'll wonder why we let it wait.

©Joe Wilson - There is only one Earth...2014

It's getting a little late...

The other day I was ricocheting slowly
off the blue walls of this room,
moving as if underwater from typewriter to piano,
from bookshelf to an envelope lying on the floor,
when I found myself in the L section of the dictionary
where my eyes fell upon the word lanyard.

No cookie nibbled by a French novelist
could send one into the past more suddenly-
a past where I sat at a workbench at a camp
by a deep Adirondack lake
learning how to braid long thin plastic strips
into a lanyard, a gift for my mother.

I had never seen anyone use a lanyard
or wear one, if that’s what you did with them,
but that did not keep me from crossing
strand over strand again and again
until I had made a boxy
red and white lanyard for my mother.

She gave me life and milk from her *******,
and I gave her a lanyard.
She nursed me in many a sick room,
lifted spoons of medicine to my lips,
laid cold face-clothes on my forehead,
and then led me out into the air light

and taught me to walk and swim,
and I, in turn, presented her with a lanyard.
Here are thousands of meals, she said,
and here is clothing and a good education.
And here is your lanyard, I replied,
which I made with a little help from a counselor.

Here is a breathing body and a beating heart,
strong legs, bones and teeth,
and two clear eyes to read the world, she whispered,
and here, I said, is the lanyard I made at camp.
And here, I wish to say to her now,
is a smaller gift – not the worn truth

that you can never repay your mother,
but the rueful admission that when she took
the two-toned lanyard from my hand,
I was as sure as a boy could be
that this useless, worthless thing I wove
out of boredom would be enough to make us even.

Secret thoughts like raindrops

on the rings of Saturn,

things forever lost

float into mind

on rivers of golden words

written with budding lips,

scribbled by satirically serious fingers,

or pounded with mechanical keys,

portable, painful, with ribbon tedious to thread.

My darling Olive

with your boxy frame,

sky white skin

and sticky fingers.

how methodical and slow

our fighting dance.

How joyful

the new agonies that await us.

Joyful new crimes, joyfully jogging type bars, joyfully resisting

joyful beneath

Shuddering, trembling,

flowing over with sweat and *******.

Pulling men to flame

ripping off their wings

Ripping men into

meandering, lost thought vehicles,

perpetual machines of confusion and shame.

Ripping men into ribcages,

pulling at the sinew

until we actually have become moths.

Flesh turned inside out

With the smallest words imaginable.

Men slunk to sand

With the smallest words imaginable.

Determination set to dust

with the smallest words imaginable.

Women shredding men into typewriter ribbons,

with the smallest words imaginable.

“I Hate You”

pulling cupboards out of walls,

breaking bathroom faucets,

“I Love You”

pulling the skin off

like socks.

The dog was on the table, being
Snuggled and told he was a... i think the nurse said "Good boy?"
He shook his head, almost instinctively saying no.
He then felt sleepy again, what were these humans doing?

Then he woke up again. This time he saw food!
He looked around apprehensively then walked
Over to the bowl with the food, it wasn't much but enough to start rehabbing him.
He spent 6 months in that office, cold and he saw that nurse nearly every day
Snuggles from her slowly started to make the hurts and pain go away

And then, after he gained the wait and his fur grew back, he was moved to a small shelter and the bars in his boxy room were black.
He wondered, would that nice human ever come back?
He waited patiently, expectantly hoping for those snuggles and reassurances,
Then he finally got his wish.
The nurse adopted him, he bounded out of that shelter happy as a lark.

Then he went to a new home, with a nice big yard, cold grass underfoot he ran there ever so happily...
Until he passed away as all dogs do, but soon the nurse would see him again

You sit in your covey all
Conforming to its boxy confines
Every corner filled to its limit
With fleshy retreats
The box constraining your minute
The corners defining your
Face your shoulders
Your thighs pressed to your cheeks in grimace the cardboard
Outlining your
Territory you've yet to explore
The whole thing.
And wonder about the things
Yet you may find when
You explode
From the constraints
What size may you become
What shape other than
Square. What space
You will find
When someday you come to find
The box was all in your mind
And the limits all fake
And self-imposed.

the lightning tonight, when it came
was hidden behind the clouds
like old fashioned flashbulbs
those boxy ones, we used to steal
and setoff under the bedsheets

the rain came and went
in a windblown front
pasing through without
taking the heat from the ground
just making the evening more humid

the thunder lived up to expectations
loud and growling at the world
but brief like a dog called to heel

now it has passed out to sea
and the water drips from the leaves
and the humidity continues to rise

Dear TV,
I miss you.
I miss your news and your tunes,
The action and the drama
All the colors in your boxy world

We spent hours on end with each other,
Tuning into you, pushing your buttons,
You're shaped like a square and to be frank you were quite edgy
But even so, I could watch you all day

I love you, but my parents didn't like it.
I spent too much of my time on you,
They hate how you're all I ever talk about
They despise your stories of adventure and love
They don't approve of your music tastes.
They don't approve of us

They separated you and I,
Kept us away from each other for so long

However, I guess we were too close,
You were straining my eyes
But now I see clearly, succumbed to the demands of my parents.

Dear TV,
I loved you. Goodbye