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I

Out of the little chapel I burst
Into the fresh night-air again.
Five minutes full, I waited first
In the doorway, to escape the rain
That drove in gusts down the common’s centre
At the edge of which the chapel stands,
Before I plucked up heart to enter.
Heaven knows how many sorts of hands
Reached past me, groping for the latch
Of the inner door that hung on catch
More obstinate the more they fumbled,
Till, giving way at last with a scold
Of the crazy hinge, in squeezed or tumbled
One sheep more to the rest in fold,
And left me irresolute, standing sentry
In the sheepfold’s lath-and-plaster entry,
Six feet long by three feet wide,
Partitioned off from the vast inside—
I blocked up half of it at least.
No remedy; the rain kept driving.
They eyed me much as some wild beast,
That congregation, still arriving,
Some of them by the main road, white
A long way past me into the night,
Skirting the common, then diverging;
Not a few suddenly emerging
From the common’s self through the paling-gaps,
—They house in the gravel-pits perhaps,
Where the road stops short with its safeguard border
Of lamps, as tired of such disorder;—
But the most turned in yet more abruptly
From a certain squalid knot of alleys,
Where the town’s bad blood once slept corruptly,
Which now the little chapel rallies
And leads into day again,—its priestliness
Lending itself to hide their beastliness
So cleverly (thanks in part to the mason),
And putting so cheery a whitewashed face on
Those neophytes too much in lack of it,
That, where you cross the common as I did,
And meet the party thus presided,
“Mount Zion” with Love-lane at the back of it,
They front you as little disconcerted
As, bound for the hills, her fate averted,
And her wicked people made to mind him,
Lot might have marched with Gomorrah behind him.

II

Well, from the road, the lanes or the common,
In came the flock: the fat weary woman,
Panting and bewildered, down-clapping
Her umbrella with a mighty report,
Grounded it by me, wry and flapping,
A wreck of whalebones; then, with a snort,
Like a startled horse, at the interloper
(Who humbly knew himself improper,
But could not shrink up small enough)
—Round to the door, and in,—the gruff
Hinge’s invariable scold
Making my very blood run cold.
Prompt in the wake of her, up-pattered
On broken clogs, the many-tattered
Little old-faced peaking sister-turned-mother
Of the sickly babe she tried to smother
Somehow up, with its spotted face,
From the cold, on her breast, the one warm place;
She too must stop, wring the poor ends dry
Of a draggled shawl, and add thereby
Her tribute to the door-mat, sopping
Already from my own clothes’ dropping,
Which yet she seemed to grudge I should stand on:
Then, stooping down to take off her pattens,
She bore them defiantly, in each hand one,
Planted together before her breast
And its babe, as good as a lance in rest.
Close on her heels, the dingy satins
Of a female something past me flitted,
With lips as much too white, as a streak
Lay far too red on each hollow cheek;
And it seemed the very door-hinge pitied
All that was left of a woman once,
Holding at least its tongue for the *****.
Then a tall yellow man, like the Penitent Thief,
With his jaw bound up in a handkerchief,
And eyelids ******* together tight,
Led himself in by some inner light.
And, except from him, from each that entered,
I got the same interrogation—
“What, you the alien, you have ventured
To take with us, the elect, your station?
A carer for none of it, a Gallio!”—
Thus, plain as print, I read the glance
At a common prey, in each countenance
As of huntsman giving his hounds the tallyho.
And, when the door’s cry drowned their wonder,
The draught, it always sent in shutting,
Made the flame of the single tallow candle
In the cracked square lantern I stood under,
Shoot its blue lip at me, rebutting
As it were, the luckless cause of scandal:
I verily fancied the zealous light
(In the chapel’s secret, too!) for spite
Would shudder itself clean off the wick,
With the airs of a Saint John’s Candlestick.
There was no standing it much longer.
“Good folks,” thought I, as resolve grew stronger,
“This way you perform the Grand-Inquisitor
When the weather sends you a chance visitor?
You are the men, and wisdom shall die with you,
And none of the old Seven Churches vie with you!
But still, despite the pretty perfection
To which you carry your trick of exclusiveness,
And, taking God’s word under wise protection,
Correct its tendency to diffusiveness,
And bid one reach it over hot ploughshares,—
Still, as I say, though you’ve found salvation,
If I should choose to cry, as now, ‘Shares!’—
See if the best of you bars me my ration!
I prefer, if you please, for my expounder
Of the laws of the feast, the feast’s own Founder;
Mine’s the same right with your poorest and sickliest,
Supposing I don the marriage vestiment:
So, shut your mouth and open your Testament,
And carve me my portion at your quickliest!”
Accordingly, as a shoemaker’s lad
With wizened face in want of soap,
And wet apron wound round his waist like a rope,
(After stopping outside, for his cough was bad,
To get the fit over, poor gentle creature
And so avoid distrubing the preacher)
—Passed in, I sent my elbow spikewise
At the shutting door, and entered likewise,
Received the hinge’s accustomed greeting,
And crossed the threshold’s magic pentacle,
And found myself in full conventicle,
—To wit, in Zion Chapel Meeting,
On the Christmas-Eve of ‘Forty-nine,
Which, calling its flock to their special clover,
Found all assembled and one sheep over,
Whose lot, as the weather pleased, was mine.

III

I very soon had enough of it.
The hot smell and the human noises,
And my neighbor’s coat, the greasy cuff of it,
Were a pebble-stone that a child’s hand poises,
Compared with the pig-of-lead-like pressure
Of the preaching man’s immense stupidity,
As he poured his doctrine forth, full measure,
To meet his audience’s avidity.
You needed not the wit of the Sibyl
To guess the cause of it all, in a twinkling:
No sooner our friend had got an inkling
Of treasure hid in the Holy Bible,
(Whene’er ‘t was the thought first struck him,
How death, at unawares, might duck him
Deeper than the grave, and quench
The gin-shop’s light in hell’s grim drench)
Than he handled it so, in fine irreverence,
As to hug the book of books to pieces:
And, a patchwork of chapters and texts in severance,
Not improved by the private dog’s-ears and creases,
Having clothed his own soul with, he’d fain see equipt yours,—
So tossed you again your Holy Scriptures.
And you picked them up, in a sense, no doubt:
Nay, had but a single face of my neighbors
Appeared to suspect that the preacher’s labors
Were help which the world could be saved without,
‘T is odds but I might have borne in quiet
A qualm or two at my spiritual diet,
Or (who can tell?) perchance even mustered
Somewhat to urge in behalf of the sermon:
But the flock sat on, divinely flustered,
Sniffing, methought, its dew of Hermon
With such content in every snuffle,
As the devil inside us loves to ruffle.
My old fat woman purred with pleasure,
And thumb round thumb went twirling faster,
While she, to his periods keeping measure,
Maternally devoured the pastor.
The man with the handkerchief untied it,
Showed us a horrible wen inside it,
Gave his eyelids yet another *******,
And rocked himself as the woman was doing.
The shoemaker’s lad, discreetly choking,
Kept down his cough. ‘T was too provoking!
My gorge rose at the nonsense and stuff of it;
So, saying like Eve when she plucked the apple,
“I wanted a taste, and now there’s enough of it,”
I flung out of the little chapel.

IV

There was a lull in the rain, a lull
In the wind too; the moon was risen,
And would have shone out pure and full,
But for the ramparted cloud-prison,
Block on block built up in the West,
For what purpose the wind knows best,
Who changes his mind continually.
And the empty other half of the sky
Seemed in its silence as if it knew
What, any moment, might look through
A chance gap in that fortress massy:—
Through its fissures you got hints
Of the flying moon, by the shifting tints,
Now, a dull lion-color, now, brassy
Burning to yellow, and whitest yellow,
Like furnace-smoke just ere flames bellow,
All a-simmer with intense strain
To let her through,—then blank again,
At the hope of her appearance failing.
Just by the chapel a break in the railing
Shows a narrow path directly across;
‘T is ever dry walking there, on the moss—
Besides, you go gently all the way up-hill.
I stooped under and soon felt better;
My head grew lighter, my limbs more supple,
As I walked on, glad to have slipt the fetter.
My mind was full of the scene I had left,
That placid flock, that pastor vociferant,
—How this outside was pure and different!
The sermon, now—what a mingled weft
Of good and ill! Were either less,
Its fellow had colored the whole distinctly;
But alas for the excellent earnestness,
And the truths, quite true if stated succinctly,
But as surely false, in their quaint presentment,
However to pastor and flock’s contentment!
Say rather, such truths looked false to your eyes,
With his provings and parallels twisted and twined,
Till how could you know them, grown double their size
In the natural fog of the good man’s mind,
Like yonder spots of our roadside lamps,
Haloed about with the common’s damps?
Truth remains true, the fault’s in the prover;
The zeal was good, and the aspiration;
And yet, and yet, yet, fifty times over,
Pharaoh received no demonstration,
By his Baker’s dream of Baskets Three,
Of the doctrine of the Trinity,—
Although, as our preacher thus embellished it,
Apparently his hearers relished it
With so unfeigned a gust—who knows if
They did not prefer our friend to Joseph?
But so it is everywhere, one way with all of them!
These people have really felt, no doubt,
A something, the motion they style the Call of them;
And this is their method of bringing about,
By a mechanism of words and tones,
(So many texts in so many groans)
A sort of reviving and reproducing,
More or less perfectly, (who can tell?)
The mood itself, which strengthens by using;
And how that happens, I understand well.
A tune was born in my head last week,
Out of the thump-thump and shriek-shriek
Of the train, as I came by it, up from Manchester;
And when, next week, I take it back again,
My head will sing to the engine’s clack again,
While it only makes my neighbor’s haunches stir,
—Finding no dormant musical sprout
In him, as in me, to be jolted out.
‘T is the taught already that profits by teaching;
He gets no more from the railway’s preaching
Than, from this preacher who does the rail’s officer, I:
Whom therefore the flock cast a jealous eye on.
Still, why paint over their door “Mount Zion,”
To which all flesh shall come, saith the pro phecy?

V

But wherefore be harsh on a single case?
After how many modes, this Christmas-Eve,
Does the self-same weary thing take place?
The same endeavor to make you believe,
And with much the same effect, no more:
Each method abundantly convincing,
As I say, to those convinced before,
But scarce to be swallowed without wincing
By the not-as-yet-convinced. For me,
I have my own church equally:
And in this church my faith sprang first!
(I said, as I reached the rising ground,
And the wind began again, with a burst
Of rain in my face, and a glad rebound
From the heart beneath, as if, God speeding me,
I entered his church-door, nature leading me)
—In youth I looked to these very skies,
And probing their immensities,
I found God there, his visible power;
Yet felt in my heart, amid all its sense
Of the power, an equal evidence
That his love, there too, was the nobler dower.
For the loving worm within its clod
Were diviner than a loveless god
Amid his worlds, I will dare to say.
You know what I mean: God’s all man’s naught:
But also, God, whose pleasure brought
Man into being, stands away
As it were a handbreadth off, to give
Room for the newly-made to live,
And look at him from a place apart,
And use his gifts of brain and heart,
Given, indeed, but to keep forever.
Who speaks of man, then, must not sever
Man’s very elements from man,
Saying, “But all is God’s”—whose plan
Was to create man and then leave him
Able, his own word saith, to grieve him,
But able to glorify him too,
As a mere machine could never do,
That prayed or praised, all unaware
Of its fitness for aught but praise and prayer,
Made perfect as a thing of course.
Man, therefore, stands on his own stock
Of love and power as a pin-point rock:
And, looking to God who ordained divorce
Of the rock from his boundless continent,
Sees, in his power made evident,
Only excess by a million-fold
O’er the power God gave man in the mould.
For, note: man’s hand, first formed to carry
A few pounds’ weight, when taught to marry
Its strength with an engine’s, lifts a mountain,
—Advancing in power by one degree;
And why count steps through eternity?
But love is the ever-springing fountain:
Man may enlarge or narrow his bed
For the water’s play, but the water-head—
How can he multiply or reduce it?
As easy create it, as cause it to cease;
He may profit by it, or abuse it,
But ‘t is not a thing to bear increase
As power does: be love less or more
In the heart of man, he keeps it shut
Or opes it wide, as he pleases, but
Love’s sum remains what it was before.
So, gazing up, in my youth, at love
As seen through power, ever above
All modes which make it manifest,
My soul brought all to a single test—
That he, the Eternal First and Last,
Who, in his power, had so surpassed
All man conceives of what is might,—
Whose wisdom, too, showed infinite,
—Would prove as infinitely good;
Would never, (my soul understood,)
With power to work all love desires,
Bestow e’en less than man requires;
That he who endlessly was teaching,
Above my spirit’s utmost reaching,
What love can do in the leaf or stone,
(So that to master this alone,
This done in the stone or leaf for me,
I must go on learning endlessly)
Would never need that I, in turn,
Should point him out defect unheeded,
And show that God had yet to learn
What the meanest human creature needed,
—Not life, to wit, for a few short years,
Tracking his way through doubts and fears,
While the stupid earth on which I stay
Suffers no change, but passive adds
Its myriad years to myriads,
Though I, he gave it to, decay,
Seeing death come and choose about me,
And my dearest ones depart without me.
No: love which, on earth, amid all the shows of it,
Has ever been seen the sole good of life in it,
The love, ever growing there, spite of the strife in it,
Shall arise, made perfect, from death’s repose of it.
And I shall behold thee, face to face,
O God, and in thy light retrace
How in all I loved here, still wast thou!
Whom pressing to, then, as I fain would now,
I shall find as able to satiate
The love, thy gift, as my spirit’s wonder
Thou art able to quicken and sublimate,
With this sky of thine, that I now walk under
And glory in thee for, as I gaze
Thus, thus! Oh, let men keep their ways
Of seeking thee in a narrow shrine—
Be this my way! And this is mine!

VI

For lo, what think you? suddenly
The rain and the wind ceased, and the sky
Received at once the full fruition
Of the moon’s consummate apparition.
The black cloud-barricade was riven,
Ruined beneath her feet, and driven
Deep in the West; while, bare and breathless,
North and South and East lay ready
For a glorious thing that, dauntless, deathless,
Sprang across them and stood steady.
‘T was a moon-rainbow, vast and perfect,
From heaven to heaven extending, perfect
As the mother-moon’s self, full in face.
It rose, distinctly at the base
With its seven proper colors chorded,
Which still, in the rising, were compressed,
Until at last they coalesced,
And supreme the spectral creature lorded
In a triumph of whitest white,—
Above which intervened the night.
But above night too, like only the next,
The second of a wondrous sequence,
Reaching in rare and rarer frequence,
Till the heaven of heavens were circumflexed
Another rainbow rose, a mightier,
Fainter, flushier and flightier,—
Rapture dying along its verge.
Oh, whose foot shall I see emerge,
Whose, from the straining topmost dark,
On to the keystone of that are?

VII

This sight was shown me, there and then,—
Me, one out of a world of men,
Singled forth, as the chance might hap
To another if, in a thu
Nigel Morgan Jan 2013
It is so measured that rising arpeggio, only to fall and rise again in quicker values, through the dominant seventh to the heartache moment of that minor ninth, a very apogee of dissonance. Then it goes higher still to the fifth, holding to that Phrygian harmony before returning to the tonic minor and a measured fall in the bass. This is a deliberate descent to the sub-mediant, and Bach’s touch of magic, the equivalence with the dominant minor ninth. But then he gives us hope: an extended and joyful play through sequences that rise and fall within each bar, to rest finally on the mediant’s echo of that opening, that measured rise and the quickening fall. We have hardly smiled with relief when Bach pulls us back into the insecurity of the dominant of the subdominant, that V of IV acting like a bridge to a long, long discourse in the dominant, a pedal E holding firmly to itself whilst rising arpeggios and falling decorations and sequences pull and pull through innocently related keys. Longer and longer play the rising passages until short motives of imitation interrupt, treble to bass, tenor to alto, until:  a first inversion arpeggio of the dominant seventh measures out the opening rhythm. This happens twice in short succession, as though holding the progress of the music to account. A questioning perhaps before a four-fold sequence asserts the dominant and a chorded caesura. There is a pregnant, though faintly resonant silence as Bach spins the dice of tonality and chooses the subdominant to bring the music towards a waiting Allemande. The music moves through a play of subdominant to dominant, minor to major, the mix of flattened fifth and flattened ninth. It is those intervals that determine Bach as the father of ambiguity in the 20C school of jazz harmony, Arpeggio then a falling scale, and repeat and repeat again, but moving ever higher by sequence. At last five chords – merely a shorthand for closure via the expectation of a right display of the performer’s improvisatory prowess. They prepare us reverently for the tonic minor before the stately Allemande leads the music into the elegant steps of its walking dance.
Julianna Eisner Mar 2014
Confidant wrote tabulatures,
Drew lyrical portraits of
Love's fated timbre in
Towering high-fidelity
With hands open, smooth over lamentation
Cupped, drink in exaltation
Round white clouds roll slowly above the housetops,
Over the clear red roofs they flow and pass.
A flock of pigeons rises with blue wings flashing,
Rises with whistle of wings, hovers an instant,
And settles slowly again on the tarnished grass.

And one old man looks down from a dusty window
And sees the pigeons circling about the fountain
And desires once more to walk among those trees.
Lovers walk in the noontime by that fountain.
Pigeons dip their beaks to drink from the water.
And soon the pond must freeze.

The light wind blows to his ears a sound of laughter,
Young men shuffle their feet, loaf in the sunlight;
A girl's laugh rings like a silver bell.
But clearer than all these sounds is a sound he hears
More in his secret heart than in his ears,--
A hammer's steady crescendo, like a knell.
He hears the snarl of pineboards under the plane,
The rhythmic saw, and then the hammer again,--
Playing with delicate strokes that sombre scale . . .
And the fountain dwindles, the sunlight seems to pale.

Time is a dream, he thinks, a destroying dream;
It lays great cities in dust, it fills the seas;
It covers the face of beauty, and tumbles walls.
Where was the woman he loved?  Where was his youth?
Where was the dream that burned his brain like fire?
Even a dream grows grey at last and falls.

He opened his book once more, beside the window,
And read the printed words upon that page.
The sunlight touched his hand; his eyes moved slowly,
The quiet words enchanted time and age.

'Death is never an ending, death is a change;
Death is beautiful, for death is strange;
Death is one dream out of another flowing;
Death is a chorded music, softly going
By sweet transition from key to richer key.
Death is a meeting place of sea and sea.'
Tammy Boehm Oct 2013
chiaroscuro moment
molten chords
in golden glow
titian ringlets cascade
from linen shoulders
as your hands bring liquid color
to idle black and white
chorded words of three parts
Not easily broken
Ebb and flow as breath over water
a shift in timbre
resonant teak fettered in silver
heady scent of resin and balsam reeds
echoed drones the cantored dance begins
Taking flight the quiet arias rise
coursing low over open moors
Eyes veiled green
a fog shrouded shoreline
We leave transient prints
In damp sand...
Sonorous notes
From kilted pipers
A flash of tartan on thistled field
Drummers pulse the motion of life
You raise the standard
This ancient song is yours
and mine.

Open eyes to desert sky
Burning blue and empty
As fresh pages fall un-inked
on thorny ground
Only the ache of a melody remains
Lost refrains
broken notes in my DNA
Inspiration drifts away

I used to have a recurring dream of me, and two other friends - in a recording studio with the complete sheets of music in front of us - which we were singing...and when I wake up...I can never remember the song.
03/2008
© 2008 TL Boehm
*in high school I had the opportunity to play a bagpipe that had been made in Pakistan....the drones (for those of you unfamiliar with the instrument - drones are the three pipes sticking out from the top of the bagpipe) were made of teak with silver joints. In each drone there is a reed and you tune the drone by adjusting the wood pieces at the joint. the lining of the bag - and the joints of the drones are resined - so a set of pipes has a specific scent to it. - Pipes are instruments of WAR....and I loved playing them)
Been drunk twice today, once
in the haze of dawn in slumbered pile, again
before night's drape had drawn a while, while
in-between,  through sober gaze, I wished
for clouds that went clockwise by.

Have spun the empty bottle dry, in rounds
with friends who faked a smile, but once
the bell had closed that night, and rung
in hollowed echoed sigh, I stared
at lonely stars trail by.

Then circled twice, like the fluttered moth, part
blinded by the swinging light.  In thought
a bulb in chorded flight, swayed
side to side from left to right, whilst I
rambled on in shadowed rhyme,

When the bell alarmed my wake, I woke
just once, then dreamt the dream, when
time passed slow, and I lay still in grassy fields,
and watched the clouds go clockwise by.
Caltrain you reading running machine, eclipsing my dreams, anticipations of new girlfriends, roar you might, Belmont and atherton, mmm Thunder and I rear, pour, buttermilk old couty road, no oh man,

Caltrain whisper your extension, the next time, on a chorded phone!! Vintage!!  I like it, wrapped around my finger, you stop too many times but right now you ease my mind
wordvango Sep 2017
a piano quartet
opposed an orchestra
on a stage
somewhere in
Prague
along the lines of a battle of the stars
I watched
glistening composed

as the pianos chorded on
the violas and flutes bass drums
clarinets
resounded back
their answers
as I heard the crescendos the tête–à–tête's
the bravados
the claims made by the piano strings
almost immediately
came a retort from the
bold deep cellos
on stage

and shrill the pianos all four resounded in
questioning and the orchestra
became all hinged in
higher and higher
spine tingling notes
and the bass resounded
deep within
and the conductor danced

the hall became a rave
the tuxedo'd dude
jumped headlong into the crowd
on arms was sent to the back of the crowd
and forward again
then silence as he mounted the stage in triumph
raised his arms

and the whole ****** stage enlivened
the audience cheered
lighters were lit
and champagne busted
everyone got wet
I experienced a glimpse
of
Symphonic gorgeousness
and piano men
conjoin
to
make heaven
wordvango Aug 2017
he started the banjo man did plinkin'
amid the heavy drag of a slow cool
bass harmony strung out on a long low note,
it sounded like nails on a chalkboard at first
or a cat in heat mewing loud in the alley
and crescendoed into a full blown
attack on my sanity my notions
as he plunked away and chorded a falsetto guitar note
like eric clapton playing a ukelele
drugged out the clanking E
called out a G
then faster he took me as the bass fought to accompany
along an a fast tweedling dee
and a C that cried liked birds
and the blues fans applauded the folk singers sat agape the rock singers sang Hallejuah
and the minstrels swayed
so many fast
f'ing F's  G's B's flats and concordances
it was like a thousand harps from heaven turned loose in fast forward
and I ****** him
**** banjo man
that was good
kain Apr 2019
Falling in love with danger
Falling backwards
Into that ugly spiral
All screaming and hiding
Drinking ***** water
Staring at the sun

I'm so melancholy I can barely breathe
Reliving hospital beds just to feel
That sickening pain
Chorded dreams
Of waking up in my own bed
Day after
I was supposed to be dead

Sick as a horse
It's so glamorous
To be broken
Mushrooms growing in my bones
Some disease
I can't treat
I can't go home

Flirting with friends
Pushing myself
Right to the edge
Of sanity
I'm married
To my mind's
Fatally broken backbends

Trapped in this funhouse
Do my makeup with my friends
In a funny mirror
We don't look human anymore
Dancing in my basement
Pretending that this parody
Is the party of my life
I stole the title from a Nicole Dollanganger song.
Paul Glottaman Nov 2023
We got history wide and
terrifying as the sky
and we're screaming a
million different versions of why
at crashing waves and
a big hollow lie.
I don't know if it'll get better
but we've just got to try
because one day soon
it'll be over, spent as a sigh.

If we had the ******* music
we'd need a key change
a drum coming in over this
slow chorded refrain
marking the start of something
anything that might just
breathe life into me again.

Smoke off musket barrels wafts
toward the forever just beyond
the sapphire sky and mingles
within the clouds there in a dance
waiting to expire against eternity.
The blood seeps into the ground
but somehow does not spoil
the earth it contaminates.
Take from that what you will.

The ship tears apart as the
lighter front end lifts from
the cold black sea and shudders
in the air before screaming
it's seperation in the ancient
moans of protesting metal.
We build them much bigger now
because we dare and we do
and we never ******* learn.

We got a history, you and I,
volumes enough to publish,
big as the whole ******* sky
and it'll be gone forever
just as soon as we both die.
I don't know how to take comfort
in forever in this blink of an eye
but if I know anything at all
I know how to say goodbye.
WISEPENNY Aug 2020
BARE AND UNRECOGIZABLE A CLOTH FLOATS INSIDE THE CENTRE

NOTHING TO STAGE DISCOMFORT OR GAG TO PREVENTION

MENTION CONTENTION

SITTING AROUND WAITING ON INTERVENTION

STANDING STILL WHILE YOUR BODY IN UNCONSCIENCE AND ALL MATTER FROZE

SHE WASNT STALE MATED SHE WAS BLUES FOR CLUES
GYPSY TONGUE AND A SMOOTH EMPERORS GROOVE

TEDDY FOR ATTENTION
SICKENING TO MUSIC CHANGING WHAT THE FOUR CHORDED MOVEMENT

5 CHORDS ADDED THEN 6

BUT THE BASIC SONGS OLD SKOOL MIX
Dead Rose One Sep 30
a passing balloon piece,
his, within in a message,
makes the imagery explode
with numerous contractions,
even confusions, and requires an
explaining explication and a fresh
application of sealant

men see the words ~ think war or football,
women think of the lyric, phrase in a sad
love ballad that means recall, and a
moistening  tear drop that liquifies but doesn’t drop

but that word, pulverized,  has an enormity
attached, that conjures destruction total,
s battlefield’s aftermath, tree stumps cut
down, synchronized with bodies in parts,
sole souls departing
without reasoning/justification

the lineage upon her face,
pulverized by sorrow and
no expectations for the morrow,
gaveled into existence,
by losses and carried
for a length of  a term ill defined,
as “life”
with no hint of irony, for it’s not life
when  it’s spent reminiscing remembering
the dismemberment of what was a
joy taken instantly and perpetually inexplicabe

the tragedies multicolored in black,
a solid stolid state that nary a meter,
talking centi’s here, pinch of breeze
and /or hurricane alters status quo,
both of us have long known that, but
we nonetheless pick up grains, single
alphabet scrambled pieces to put the
whole together again, but it’s a cause
hopeless cause we be
are
pulverized inside so
the chorded chore is
a double whammy
and still
and yet
we say
but,
for we cannot stop our fingers
from their appointed rounds
and we think in term not of hope
but a thought out louded,
the eternal question,
what if
we do not try?
Ryan O'Leary Sep 2020
Your mouth’s been silenced
but your mask has ears

There’s a warning in yellow
to reinforce your fears.

They’re saying it is social
to keep your distance

Keep left of the line
they’ve given an instance.

I’m in a box behind a
a hole with strings

Barre chorded by Satan
lest my voice take wings.

Gagged and choked
I can’t croak about Covid

My Capo’s too tight
but my F is still avid.

If only someone would
give me a strummmmm

Though way out of tune
I can hum in my drum.

We’ve had WMD’s and
and what that evokes

You need to recall
that it was a hoax.

Sometimes I’m thinking
you’ve all got Alzheimers

We’ve duped many times
but no one remembers.

The world’s in a state
because of minds that are numb

Hollywood your Nice Day
eat pop-corn with the dumb.
Ryan O'Leary Sep 2020
Every guitar is a
porthole prison
where acoustics
are incarcerated
behind chorded
barres, awaiting
melodic paroles.

— The End —