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Mateuš Conrad Oct 2017
you know what's more intimidating beside speaking of a personal detail in the life of a person you know? speaking of a universal truth; there's nothing more intimidating that giving reference to a common fact of referencing life, one limb of the triad crumbles into a suckling squid... revealing the sparring partners you get to: well, you juggle with three *****, you puppeteer two.

i could understand english humour -
sure, the black comedy "tact" -
but then the anglophone world was
overtaken with comedy -
the last tier before the final bow of
downfall - the one prior comes in
the form of a "fascination"
with culinary escapades -
   prior to the last resort of humour
comes the culinary escapade -
i once understood english humour,
more than was worth since it was
reinforced by canned laughter -
but there was something to be had...
these days? maybe english humour
imploded: and it attacked its worst
ally: ***.
   make fun of ***, you're making
fun of life...
     and how isn't english humour
not peppered with too-overtly
sexualised jokes? jokes by children
of divorcees...
  tell you what: life's short,
you're *****, see a ******* before
you see a psychiatrists...
cheaper, and you get the full
workout... after all, vietnam made
the war zone pocket sized...
            i don't understand english
humour... it's beyond political satire...
these people are pushing the absolutely
wrong buttons...
  i remember watching this
video in trafalgar sq., these two white
kids, bouncing a basketball -
      then one bounces the ball
off the head of a black guy,
and the white boy is so "jokingly"
apologetic...
                  what happens next?
the black guy smashes a glass
bottle over the white boys head...
the white boys is hit unconscious:
**** me, that was funny!
            the anglophones have
really ******* the genre of comedy...
i can call them anglophones -
  speaks not good english,
but he overshadows about 100+
anglo boys in his roofing job...
     my father...
    the english are slackers in
the industrial industry: which is why
it's filled with slavs and romanians,
but at least they do their job
and never bother going to the gym...
the english ponces?
do a ****** paper-fiddling job
and then hit the gym...
            horse-hoof lickers.
          i was once acknowledged
as speaking spaghetti english:
yes, but when my father questioned me,
he didn't mind me not having
learned the full alphabet:
what am i, a trained puppy?!
         now he lives with his father,
with his father having divorced his mother
and living with a thai ****** breeding
chickens...
        guess my loss in the "friendship"
case of "affair".
            the english have actually
exhausted the genre of comedy,
they're not funny anymore...
    they're pathetic...
         i'll joke the next time i sucker
one's head off the clock into
the unconscious minutes...
          the english overdid comedy
by a mile, they're as about funny as
a donkey-riding rider alongside the
remaining three-horsemen...
slouching toward jerusalem...
                   the fact that the english
are telling are joke: reiterating that they
are: seems rather troubling.
   i don't want to know its a joke unless
i actually laugh, a comic telling me
"it's" a joke is rather troubling...
             why have the english changed
from a culinary fetish to a joke
fetish over a decade?
         ****** food makes for a good joke...
oh yeah, me, beta-male,
  when all the best restaurant cooks
are male...
                    i still will not get an english
joke: the so-called *nuance" is
only a *nuisance
-
     there's a threshold of acceptable
nuance in comedy, after a while it's like
lying: thinking you'll get away with it...
it's called: "being" subtle...
when in fact you're a vermin nibbling
on the edges of peoples' patience...
  after all you stop excusing the self-excusing
comics who want to catch themselves
excusing themselves and retire with
a backlog of canned-laughter lax.
                   no point in comedy:
if someone laughs for me.
          what's the point of comedy if
i am not the one to spot the self-imposed
prompt for a laugh?
   what am i? a ******* windowlicker who
laughs when taking a **** holding
his pecker?!
                      you conniving little
******* wanks...
                              i have to say:
the big laugh comes prior to the creeping
weep...
              no, i forgot you being "intricate"
in "nuance" -
  nuance is gone, baby, nuance is gone,
we're dealing with subversion,
and the last word ascribed is "nuance"...
i always said the english as perfecto
two-faced actors: they lie telling the truth,
as they tell the truth, while lying.
        next time i trust them with a hamster
i'll ask just more than a vet nurse...
and i don't mind pakistanis -
i just mind the english pakis -
the anglo pakis - pakistanis are fine with me,
i event managed to grit to an invite
by one muhammad to admire his
crocodile farm in kenya -
  anglo pakis? hate them like i hate
my acne skin... i'm thirty and at the ends
of puberty, yet still: the explosion of
hormones... might as well be a down syndrome
kid: l'oreal should look into extracting
down syndrome genes to make the face cream...
******* never age:
mother's aged 80, and he's shy of 35.
            n'ah, the english did comedy once,
they did it well, they didn't have to ****
off canned laughter obstructing me from
laughing at what i found funny...
   they took the complacent communist rule of:
****** laugh when all other idiots
ought to laugh...
that black guy in trafalgar sq. smashing
a glass bottle over the white guy that bounced
the basketball off his head was funnier
to watch...
         comedy these days is not
nuanced... there is no nuance:
what you hear is what you get:
   and the english way of a dog curling up
its tail between its legs and running away
is not gonna work...
                     what you said is what you
meant: given that blah blah bi bi blee boo
was intended to translate into:
         can you get me a tonne of glue?
the origins of comedy are not based upon
excuses of nuance: comedy can only
be excused by canned laughter:
not nuance.
               politics is nuanced:
if you drag comedy into this cesspool of
nuance: you're not exactly riding
a horse fully shoed into the sunset of
laughter...
   politics is nuanced:
you can't expect comedy = politics -
    to thus express: oh, we're just misunderstood
akin to politicians: nope, we're just lying
is not going to cut it...
          the best jokes are from a people
who say jokes the least:
after all, the omnipotent psychology says:
the most nervous person at a party
tells the most jokes...
    guess western society has had
its turns...
                    first they make comedy
intelligent, then they make cooking mundane,
then they make comedy excusable,
then they make wacky dishes,
     then they make comedy "nuanced",
then they get a glass bottle smashed
over their heads...
          then they make a case for
the microwave...
           and then the once ha ha become an aah...
     that sigh of relief...
         watching this spectacle:
slayer's behind the crooked cross -
   not the jews, but the greeks invented
sado-masochism of the northerns -
the greeks painted the jews as irrational -
   even though the archeological findings
disprove the greeks' little "messianic" story...
i still find english humour naked, lacking,
you can only push nuance to a certain
sisyphus moment in time,
  before sisyphus decides to give it a rest,
and toils no more, and never allows
the stone to roll up the hill,
   and interludes with pondering...
        after all: thought is never a medium
of futility... it being: the ultra-verb,
it being the omni-limb...
                             these days we know
that the englishman is no longer funny...
because his jokes are overtly plagiarised
by "excusing" himself with giving
a nuanced explanation: rather than a punchline:
comedy has a limit: on how intelligent
is can become... children laugh at calamity
short-scripted:
    do you think adults ask for a long-scripted
"base" for giggles, when the narrative prior joke
ends up being so mundane,
to be only backed up canned laughter?
euro trash, sure, but what an island of trash
to back it up...
      i love intelligent tragedy...
the english invented "intelligent" comedy:
people laugh at this sort of crap
by a mimic format: everyone knows its not
funny: then again: by laughing at it
it's peacocking to impress...
                   there's no intelligent comedy...
people who laugh at "intelligent" comedy
are bystanders, eaten up by canned laughter.
we take the justice we can get

every one is expendable i’m opening a new chic bistro prior guests will be listed on the menu we slice dice prepare any way you like sushi deep fried mesquite oven grilled baked accessories make the dish ginger pickles lime asparagus mustard and a drizzle of wine deer ***** cider mole sauces i haven’t decided yet on restaurant décor possibly post-modern austere but please write in suggestions everything must be totally freshly tossed killed tableside i want the kitchen immaculate industrial sized everything yet we roast minuscule tidbits frivolous details infused with essences reduction bio-molecular cuisine an entire 20 course meal in a tear drop obviously presentation is everything Channel Comme des Garcons Lamborghini will design plate arrangement after you’ve enjoyed a lavish sumptuous meal you become edible i mean eligible to provide for more recent patrons please hold still while the knife carves and oh how about those miners in Chile real theater i just read NASA’s Kepler satellite is selecting candidates for earth’s substitute the article repeatedly used the word candidates let’s just totally waste this place the faster we trash the world the sooner we get a new planet best weekly performance British Petroleum gulf oil debacle second best Hillandale Farms incredible salmonella egg



comedy tragedy dialogue

COMEDY come sit closer let’s share a laugh want to hear a joke

TRAGEDY i hate jokes

COMEDY you’re funny

TRAGEDY shut up you freaking clown

COMEDY there’s more to me than clowning

TRAGEDY oh yeah (pause) what? you pandering fool (pause) in my eyes every winking snicker is compromise collusion there’s nothing about you i like

COMEDY hater (pause) man you’re mean

TRAGEDY mean and unreasonable

COMEDY scary mean unreasonable (pause) yet funny

TRAGEDY ***** you (pause) mortality is tragic the world is wicked what’s funny about stoning people to death or ****** disfiguring women children or cheating enslaving the poor underprivileged this earth is a horrible place what the hell is so funny

COMEDY you you’re a joke a sad dismal joke the good news is i interpret humor in everything life is funny

TRAGEDY you’re a pitiful simpleton who perceives all existence from one lame brain viewpoint you can’t distinguish happy from sad good from evil you’re a mindless empty screen of canned laughter maybe some things aren’t meant to be laughed at or humor drawn from maybe you’re a rude mocking idiot what is so ******* funny

COMEDY what is so ******* funny (pause) i’m not laughing (pause) try stepping back getting a different perspective change your psychology consider the futility of existence fate of humankind

TRAGEDY we all do what we have to (pause) mind if i smoke (lights a cigarette)

COMEDY that’ll **** you (smirks laughter)

TRAGEDY we’re all fated to die

COMEDY you really need to see the absurdity in your gloom

TRAGEDY please go

COMEDY why do you have to be such a hard-*** why can’t we just get along we could create some wonderful art i really think we’d be good together

TRAGEDY i warning you

COMEDY i get the feeling we’re not going to be friends

TRAGEDY fast thinking (pause) go play with your happy snickering friends and leave me alone

COMEDY must we be enemies

TRAGEDY deal with it

COMEDY you’re going to miss me

TRAGEDY maybe maybe not (pause) these are dark troubled times

COMEDY why must everything be so serious with you

TRAGEDY if you persist i will be forced to turn this banter into regrettable disaster

COMEDY funny how things don’t work out

TRAGEDY yeah funny (pause) i guess the joke is on me



fate free will dialogue

FATE we each journey a path

FREE WILL i choose my own trail imaging myself triumphant inventing as i go

FATE what if you discovered your choices were influenced by forces outside you

FREE WILL i alone am responsible for my choices

FATE i’m not speaking about responsibilities

FREE WILL what are you speaking of

FATE there are aspects you may not realize

FREE WILL that’s ******* a person creates his or her own destiny

FATE do you believe Jesus Christ created his own destiny or John F. Kennedy Martin Luther King John Lennon

FREE WILL what are you saying

FATE there were circumstances cycles aspects forces possibly predetermined powers events ghosts

FREE WILL horseshit we are presented with existential choices our actions determine our destiny

FATE our actions determine our destiny huh what influences determine our actions

FREE WILL a person’s character courage discipline strength

FATE what forms a person’s character

FREE WILL parents circumstances cycles aspects forces the era

FATE hmmm near to what i was suggesting yet who can know why or how a few chosen make it while many others go bust or when where lightning strikes

FREE WILL so what do you believe? (pause) i’m speculating most people obey conform deaf to their own calling falling short of their dreams enduring lives of hushed disquiet

FATE hmmm we each journey a path

FREE WILL i choose my own trail inventing as i go alert to my calling

FATE uhhh i’m not as certain as you i admire your confidence conviction independence

FREE WILL hey i’m straight

FATE whatever
Mateuš Conrad Oct 2017
between a bottle, and a woman... i'd always take to the bottle quicker than might suggest a care for a wife, and had i the mind to mind, i'd think quicker: but then again thinking was never a "mind-game" worth of sprinting to a horizon of known oblivion.

a response to intelligent response:
seems hard then the audience are forced
to laugh...
   how hard to bully an audience into
laughter, how staggeringly similar and
the thrown into the argument:
you're as imperfect as all all of us!
       perhaps:
    but not as ******-up as you'd like
me to be, akin to you.
           i still hold unto the stronghold of
a two parent family: you?!
     a disregard in the convention of
the bootsales of divorce: hope you're well:
in that magic act of making your
grandparents your parents,
  and leave me in custard foam
to attest the mud... of a fool's fair share
of cradling the auschwitz innocents.
the auschwitz survivors seem not to matter,
only those who make the image:
the ones mingling the friction of reality:
with the smothering of fiction...
           the unsaid being said,
the said being unsaid...
       i am the perfect forged from the thought
of being perfect...
      the response to "intelligent" comedy
in response = a nervous laugh...
              the result of a nervous laugh:
truancy of authentic laughter -
              comedy is unto laughter what
tragedy is unto crying...
             true comedy comes
with uninhibited laughter: it doesn't
come with canned laughter...
that's cheap... that's really cheap,
and sad... sad beyond wanting to cry...
          the comedy you speak of
is that of inhibited laughter:
  a one of a doubled-up nervousness -
smart comedies and intricacies of
drama spell out the same conclusive
columbo diagnostic;
oh **** me, have the *****,
i have as much attachment to it like
i have to acknowledging
a tissue...
           take this ******* near me and
i'll tell of your "motherhood"...
                 no, i don't acknowledge
an "intelligent" comedy...
drag me back into the rabble...
    the mob rule, the theocratic dream of"
man has no law above the quake,
no law above the wave, no law
above airy twirl dance, no law above
the forest fire, man is included to state
his sensual distaste, but with
the elemental per se: cower my dear,
into a pill shaped box...
                        the response of
intelligent comedy = a nervous laugh...
the laugh of the inhibited -
   never the laugh of the free-fall uninhibited...
and such a shame...
that it should be excused as comic -
to riffle nerves and somehow "laugh"
is no laughter at all...
  a man ought to laugh uncontrollably -
but to make joke into nuance
so that he might laugh controllably -
what's the point of telling the joke,
in the first place?!
    i want to laugh uncontrollably -
than nervously -
   because even though there's a "joke",
i'm half as serious about the "joke"
being a joke, as i am in attesting:
this is worth more a nervousness
in choking on a laugh,
with attempt, than
the uncontrollable lack of effort
that leaves me in paralysis...
        i'm not supposed to excuse myself
at this point, but i am apparently
having to muster up an apology
for comedy, and the comic strip of
of *lee evans
doing the goose strutting...
it's still comedy, but not really,
monty python was clarity in
pig-head ******* cameron phelatio
in eton: outside?
can't be smart: you're not an insider:
it's an insider's joke:
they're not funny, they're eton.
     next time i find them funny
i'll be making the most perfect:
poached egg.
             americans take the **** out
of ***,
the english take the **** out of ***:
the subject matters of:
either - we have enough of the former
and lack of the latter,
or we, have enough of the latter
and lack of the former...
        to say that english humour is
funny is to also say that shakespeare didn't
exist, like jesus!
                     who knows,
give it enough time, enough
*****-akin historiological define-
     (definitive moment) -
   and that being?
is history a convict in the prison of space -
or is time a convict in the same space?
by comparison, is history a medium of
artefacts, with history the one owning a fingerprint,
and time, without one?
      it's silly to talk of an afterlife,
given that we live our lives with the same
impetus of *****: a tsunami barrage of
constant refraction and reflection -
        man in a microcosmos is the totality
of man,
                  man exists in a microcosmos -
what man is in the macrocosmos is what
we deal in terms of the misnomer attache akin
to god...
         it's good to have forgotten
one's original point, having written
such dribble...
        time is only linear in history -
but what are the truer dimensions of time?
if space has its 3...
    then as einstein suggested:
time be squared -
                        i only wanted the first
few words...
  nervous laughter is the response to
"intelligent" comedy...
      but saying that:
        i'd prefer "dumb" comedy
and allow myself uninhibited laughter
than "smart" comedy,
   and only allow myself *inhibited" laughter;
as i'd prefer imagining ***** flicks
than imagining myself welsh,
counting sheep:
   does arithmetic really beat insomnia,
**** me, too bad for the efforts of
the chemists:
  so we did all these experiments
to craft the pills, for general practitioners
to reach for the tarot cards of
       astrological readings?!
              **** it, sign me up for a cave.
Mateuš Conrad Oct 2017
the idea being, opposed to what james joyce invented in ulysses and sartre replicated with a lack of punctuation marks: point being - at what point is atlas speaking, and at what point is sisyphus speaking? and, as it happens: when are both speaking, and where one of the either is introspecting in the domain of thought... that least futile realm of action, that act of mining: enter the minotaur, who said: you keep both your orbs, i'm attempting a crossword puzzle from (a) to (b) with the only clues intertwined with a memorisation of R L L R R R L L R L R L R L L L L R L R R E (R. turn right / L. turn left, E. exit).

i'm getting this void re-entering
the orbit of planet-365 -
and it's bugging me -
  quite a simple observation -
what's with the volume of jokes?
western society is peppered
with comedy, or rather in
the non-classical sense of what
a comedy ought to be:
    they ****** the poets throughout
the ages: but comedians are
not writing comedies:
they're writing sketches - comedy
sketches... is anyone as tired as me
languishing under the:
  why is the fate of sisyphus always
deemed worse than the fate
of atlas?!
             i find that western society
has become infested with a comedy
virus...
   i've never so many jokes akin
to ****** laughter, where what could
have been genuine, is merely
canned laughter replication...
so many jokes have been said:
but of the many jokes -
i remember my childhood,
as children we used to tell each other
jokes, and remember them...
there was this one about killing
mosquitos and how we went to the 3rd
mosquito's killed funeral...
some classics, that remain lost,
or at least archived in the deepest
recess of memory...
      if there ever was a plight of the west,
it came when western societies
"thought" themselves to be funny...
   ****, it was going so great up to the early
00s...
      boy, they could sing... they could
sing their hearts out!
but then they stopped singing
and thought it was better to tell a joke:
mind you: there are no decent jokes
in the anglophone world -
because:
  (a) too many jokes are being said
(b) a joke is a correctional facility
based more upon insinuated-clarification
than slap-stick spontaneity...
and there's, of course
(c) with so many jokes, it's hard
to tell a decent one...
  a memorable one...
   i still think the anglophone world should
have concentrated on their singing
prowess...
can we talk about the black privilege of
the bible belt gospel choirs?!
  the 100m sprinters?!
          breathing apparatus of the choir
like the guns of navarro!
          why do the english-speaking
nations suddenly think they're funny?
they're not...
    if you managed to watch the original
comedy show from the 1970s
you'd find that there was no canned laughter
instrumented like a bad italian *****...
akin to the moment in *the brand new testament

with ea telling marc that he has a nice
voice, so he does the "subtitles of onomatopoeia"
versus authentic pleasure in the movie...
and meets his german sweetheart...
      the downfall of western society,
if there ever was one, given the 1920s observations
from germany: when the english stopped
singing, and turned their sight toward
comedy...
   i hate comedy for lazy people,
as much as i hate intelligent comedy,
i hate modern comedy because modern comedy
is sketchy, it's not scripted to a proper
comedy in the classical sense -
       the more jokes you tell,
the less chance you have of a memorable
joke -
    i sometimes wish to read a book
of maxims: and find a joke among them -
like the joke of the two picts copper wire
a penny argument and stretch armstrong -
or how welsh men get laid,
              pushing a mutton off a cliff...
tell me a joke worth being said
side-by-side akin to vine vidi vici -
and you can have the floor...
             i think i've had enough of
laughter,
     i am actually beyond tired to respond
with laughter...
          the anglophone world used
to have just great songs, and by having
great songs was renowned for
telling bad, overly intelligent jokes -
                  in all honesty i find more
laughter from moments in between
sedative refills where i am looking for
       a cogito - that has no ergo-bridge
arithmetic into a sum -
   i laugh, because once i start
looking for my "narrative" -
    or the "loss" of therein -
    the moment i stop thinking and
never demand it to resurge with a "purpose"
i find that - omnia in aether est
                    (all is in the air) -
   which is just an alea iacta est
                                            reiteration...
funny: i find catching myself not thinking -
more funny, than any current take
on comedy -
    and it's not exactly pennies
falling from heaven:
   everything on this earth is thrown
into the air, and whoever catches what he
catches - he tends to -
                       the same fatalism as of old.
Mateuš Conrad Nov 2018
what could possibly be a logical joke,
akin to: 1 + 1 = 2... ha ha! type?
i can't think of logical joke,
comedy is beyond being calculated,
it can be properly
  executed within the realm
of punctuation a drop-line...
  but that's about as far as logic
centers around comedy...
   only recently i revealed
that i am arachnophobic...
   (rob zombie - the girl who loved
the monsters)...
           i am... i see a spider
the size of a thumb...
     i'm like: jeez! get that thing
away from me!
you know how comedy exists
in logic?
             it exists in phobias...
given that phobias are illogical...
well... that's still the antonym of
logic...
  yes... i know the spider
is only the size of my thumb...
but phobias... ha ha!
there's something obvious about
the joke of phobias,
as there's also an ontology binding
them...
  arachnophobia? is spontaneous,
it's a reflex reaction...
  and that's the logical joke...
the illogical fear...
   funny... really funny...
this progressive term...
what is it... hmm...
oh!
    right!
     - this really comes as a reiteration...
how can i be, "islamophobic"?
where's the reflexive reaction
upon seeing a Muslim in full
religious attire?
where's the principle of phobia
being acted on?
the reflex reaction?
where is...
phobias are the jokes of logic,
and the comedy of logic is:
that they summon illogical
reactions to the altar of relativism...
ergo... if i'm scared of
a thumb sized spider in the shed,
i should be scared of my thumbs...
islamophobia is such a made-up
word...
what logic is logic to me,
behind the spider?
            em... i'm trying to tickle
& trickle god into all of this...
but i can't...
what sort of logic is behind
the spider?
   a spider, like all animate beings...
well... even trees are animate...
in slow-motion (phototropism)...
what logic is there?
there is no logic to them...
they are purely empirical reactionaries...
there's no logic,
because there's no consciousness
of thought,
the senses are too inclusive
of themselves,
to allow an exclusivity that
might make their being
impregnated with thinking,
fertile with thought...
ah... i see the joke...
my phobia is funny...
  but...
   ha ha...
    you want to experience
a fear of god?
          find your phobia...
sure, the spider has no knowledge
of logic, but whatever "created"
the spider has placed an irrational
fear of the spider, and lodged
it into my general standard
of logic...
i see the fear of god in a spider,
as i also see the comedy...
phobias are categorized by
irrational reflexes,
   they are a set of cognitive reflexes...
so... why is the term islamophobia
so bogus?
what... you think that when
i see a woman in a burqa
my "natural" reaction is:
a reflex, 'kin to the words:
  oh ****! a suicide bomber!
NO!
     this term is what the ancient
Greeks would call:
what the **** are you talking about?!
(said really quickly).
- but that's the nature
of phobias... and the nature
of the comedy of logic...
it is derived from phobias...
i can acknowledge the comedy
of being "afraid" of spiders...
not all...
   it's not exactly a fear...
it's not a disgust...
it's a reflex reaction i have
inherited...
       from god knows where...
  you can't associate Islam with
an attache of: phobia...
like i said... a phobia is the joke
of my own logical conclusion...
i'm laughing at the illogical
premise... my cognitive reflex
and subsequent ****** reaction...
since there is no logic
behind a spider,
only the illogical pure empirical
functioning of the being...
and... past the "illogical"
nature of the spider -
the logic of a "god"...
    **** contemplating god
using the spider,
and, "the architect" reflected
in the spiderweb...
i'm going after the joke...
but... Islam as a phobia?
last time i heard...
Islam wasn't illogical...
it was just a logic different
to my own...
so... where's the joke?
where's the grand phobic
reflexive stand?
   i'm like the ancient Greeks...
what the **** are you talking
about
   (said really quickly)...
it's no phobia to be apprehensive,
precautionary,
anticipatory...
        a bit like...
ha!
          heating up oil in a frying
pan... and the moment
just before you drop in the potato
chips one by one...
wondering...
   has the water been properly
drained from them?
or hasn't it...
and the oil will go crazy?
that's not a phobia...
   a phobia is the comedy of logic;
but Islam is a logic
of its own kind...
  a phobia is trans-national /
  trans-ethnic, trans-gender, trans per se,
universal...
     so why do i not retract
with a reflex upon seeing a Muslim
in his religious attire?
like i would with a spider
in a shed the size of my thumb?
so... what Islamo-phobia?
Mateuš Conrad Oct 2018
i like liberal comedy, don't get me wrong,
it's funnier which,
whatever is deemed comic in
the libertarian community...
but i wonder...
           how much of liberal comedy,
would be deemed comedy...
without the over-arching presence of...
canned laughter?
no... the shtick still gets me,
the diarrhoea gimmick...
akin to dumb & dumber
or american pie?
get me all the time...
                the new voice of rekindling
slapstick classic humor...
taking a ****...
        maybe i'm just too infantile
in my comedy palette...
maybe the whole, elaboration
technique surrounding,
what used to be English satire
and became...
English ridicule is boring,
it's boorish...
it's... English satire: yes...
English ridicule? a crass *******'s
worth of a shave baboon...
the English can't do ridicule:
they do rhetoric...
    you can't tell jokes
that way...
  you look like...
a ******* amputee
about to embark on
painting a Rembrandt in
the amputee Olympics
                of associated painters of
the Louvre...
thank god i'm not English...
not even remotely...
identity politics, what?!
i already said... Paul-with-a-lack...
a Paul-without-a-flagpole...
******...
           wait...
do i look like a ******* meringue?
i abhor the sort of "funny"
where the, "funny" implies
i have to "think" about the joke...
just give me the ventriloquism
and the body language...
   intelligence has no place
in serving up humor...
if it was necessary...
i'd ask for
                    a...butter chicken curry...
with coriander and mint
chutney...
        so what makes liberal
comedy, so, "funny"?
you sure you're not being duped
by the canned laughter prompt?
i've seen how a television show is made...
the crowd are giving placard prompts...
when and when not to react...
what with and how not to react...
mostly the placards read:
BOO       and            APPLAUSE / CHEER...
all very much Stepford Wives type
of *******,
and we're only talking Channel 5,
Big Brother coverage...
   so... liberal humor...
base? canned laughter...
i hate canned laughter...
    it's not that i'm too either laugh
or not to laugh...
but canned laughter disorientates
the whole purpose of humor...
was i supposed to be laughing
when the canned laughter button
was pressed?!
well... the humor isn't as obvious,
isn't not slapstick humor,
it's... intelligent humor,
it's pure, unadulterated witticism...
it's not the classic spin
off of an actor : con-contra schadenfreude...
now comedy has found
a, "new" intelligence...
       now comedy can't be funny ha ha,
i.e. funny per se...
it needs to be... "intelligent"...
witty... rhapsodic...
sophisticated in rhetoric...
     now blue, nothing out of the blue...
that **** is just out-dated...
      what was once a slapstick...
base of humor...
is only funny in a boxing match
with a knock-out...
    the more intelligent
comedy became,
            the less profound a tragedy
incubated the equilibrium...
  a tragedy of of "hurt emotions"?
but no trauma akin to Macbeth?
no grandiose verbiage?!
this? this is it? the 'i'm offended' line?
no wonder comedy it trying
to become more intelligent.
On the first day of Christmas
Old Rupert gave to me
Papers full of right wing *******
On the second day of Christmas old Rupert gave to me no more free to air Simpsons and papers full of right wing *******
On the third day of Christmas old Rupert gave to me ****** tabloid journalism, no more free to air Simpsons and papers full of right wing *******
On the fourth day of Christmas old Rupert gave to me high price for comedy channels, ****** tabloid journalism, no more free to air Simpsons and papers full of right wing *******
On the fifth day of Christmas old Rupert gave to me pay rises for Wall Street, high price for comedy channels, ****** tabloid journalism, no more free to air Simpsons and papers full of right wing *******
On the sixth day of Christmas old Rupert gave to me copyright enfringements, pay rises for Wall Street, high price for comedy channels , ****** tabloid journalism, no more free to air Simpsons and papers full of right wing *******
On the seventh day of Christmas old Rupert gave to me FOX FOX FOX, copy right enfringements, pay rises for Wall Street, high price for comedy channels, ****** tabloid journalism, no more free to air Simpsons and papers full of right wing *******
On the eighth day of Christmas
Old Rupert gave to me world news in the eyes of the rich, FOX FOX FOX, copyright enfringements, pay rises for Wall Street, high price for comedy channels, ****** tabloid journalism, no more free to air Simpsons and papers full of right wing *******
On the ninth day of Christmas old Rupert gave to me expensive live sports events, world news in the eyes of the rich, FOX FOX FOX, copyright enfringements, pay rises for Wall Street, high price for comedy channels, ****** tabloid journalism, no more free to air Simpsons and papers full of right wing *******
On the tenth day of Christmas old Rupert gave to me problems with channel 10, expensive live sports events, world news in the eyes of the rich, FOX FOX FOX,copyright enfringements, pay rises for Wall Street, high price for comedy channels, ****** tabloid journalism, no more free to air Simpsons and papers full of right wing *******
On the eleventh day of Christmas old Rupert gave to me lots of canned laughter, problems with channel 10, expensive live sports events, world news in the eyes of the rich, FOX FOX FOX, copyright enfringements, pay rises for Wall Street, high prices for comedy channels,****** tabloid journalism, no more free to air systems and papers full of right wing *******
On the twelfth day of Christmas
Old Rupert gave to me trying to put a cost on YouTube, lots of canned laughter, problems with channel 10, expensive live sports events, world news in the eyes of the rich, FOX FOX FOX, copyright enfringements, pay rises for Wall Street, high prices for comedy channels, ****** tabloid journalism, no more free to air Simpsons and papers full of right wing *******
And that is the pain we suffer under Rupert
Butch Decatoria Mar 2017
Come Comedy, comely

of Errors or Divine, whether dark

even if dry



Come Comedy, comely

the quirks of your truth

bring tears to these brown eyes

come Comedy, be brute and quick

with your sarcastic, caustic wit

create an ache in my belly

unceasingly uncontrollably

(Oh nelly's & *******!s)

just leave me awry this way

almost like a mad mime

This comedy of latter days.



Come, stand-up

black or caddy

display / the punch line timely

come Comedy, comely

(please stay)

the hours of this life of mine

come Death, solemn and gladly


be stealthy and yes - be unkind....

laughing with the earthiness to our wine.



A cynic unable to cry.

nor laugh at the joke

which is his own lifeless life...




Come comely, sadly

all goodbyes...


a dark comedy

within bright eyes...

*(Pleading at the sky)
Mateuš Conrad Feb 2019
when listening to
a Byzantine chant (Δεύτε λαοί)...
as much insight as
i had of the hebrew tetragrammaton
to meditate on
in phonetic encryptions
in other languages:
sly semitic *******: hiding
their vowels...

humor...
there's a west "contra" east
disparity...

yes...
                  the west's notion
of humor, staged,
is that of the comic...
or rather:
  the monologue...

comedy by western standards
is to be compromised
by a monologue...

comedy by eastern standards?
is to be compromised
by a "dialogue":
script...

comedy as monologue
contra...
comedy as... cabaret...

***: opera contra
operetta...

                novel contra
novella...

          some people can only
ingest so much
comedy of the audible
thought...
a monologue...
which is what is the compromise
of all of the notions
of the western take on comedy...

never has thinking become
so closely associated:
synonymous with
claustrophilia...

         but western comedy
is monologue...
or its current form...
and rarely a comedy worth
of being: diffused...
for a dialogue...
for a cabaret...

perhaps the medium
is missing an alternative suggestion...
perhaps the hidden
airy-narrator...
the thespian cult of the movies
is hiding the theatre...

but the cult of
the monologue comedy of
the stand-up,
this solipsistic-orientation
that has not
summoned the selbst to a da
with a sein...

         maybe the English sense
of humor has become
a tedium...
               one monologue too far,
notably vocated...
  maybe the English sense
of humor is missing
dialogue...
a cabaret...
so that at least two people
can laugh at the same
cause of amusement?

cabaret is a continental
"concept" for the expression
of humor...
i almost forgot how alientating
the standard, english,
medium for the expression
of humor is...
           cabaret is alien...
yet the solitary figure
on stage, the stand-up...
is the formal: normal...

     expressing humor via
the monologue is so alien to
the world beside the utility
of the english tongue...
perhaps an investigation
into: humor expressed via
a dialogue...
  no... not this ****** doubled
re-emphasis via
the conjunctions
of interjection to hush
yet add to the canned laughter...

to be honest?
i find it hard to laugh
at humor supported by
the fakery of canned laughter...
it's not that i am too lazy
to laugh:
but canned laughter is...
hiding the fact that:
something... isn't exactly
funny...

    i once saw a Pole attempt
to import monologue humor
to an audience best
associated to understanding
cabaret / dialogue humor...
bad idea...
that's it...

                but having to incline
the audience to remember
the use of:
nuance / metaphor...
like telling a person sitting
on a chair:
   a hammer & nails were used
too...

obvious this will not translate...
stand-up monologue humor
will be the standard for
expressing humor in the English
tongue,
and the form of humor
            in dialogue (cabaret) will
be only a musical...
there will never be: in addition -
the emphasis of the punchline
of the joke,
to be forwarded by one-dimensional
pseudo-actors of
the staged...
   since english humor has morphed
toward the emphasis of
monologue...
  catching the ears of:
who are in agreement with,
said statement...

     yet: the stage...
       english humor as a monologue...
thinking has become
so claustrophobic that it requires:
both audience, and stage...
no wonder...
  even the english themselves
find this and its subsequent
extension of: "what is humor"
bewildering...

  "too much" nuance,
or rather... plenty of nuance -
yet prescribed with:
precursor notices of -
legal tact...

            to me the english language
has forgotten a vital
verb,       cogito...
personally? i can't begin
to fathom why people would
be inclined to "think"
that their orientation around
this faculty could
ever breed a space,
or a fear to be associated with it...

but yes...
  the english best understand humor
as monologue...
they are so alien to humor
being expressed via dialogue:
on the stage of a cabaret...

              i simply forget to be awed
by this curiosity,
i remind myself to retort
to this observation
with a nodding approval of:
as you were, yes, as you were...

horror movie sountracks
i can listen to, no problem...
canned laughter samples?
i'm ******* petrified
of them...
              not, petrified, but, rather:
i was never supposed
to laugh... was i?
Mateuš Conrad Mar 2019
you want a 6 pack?

   seriously...

listen in on
   shamien
rip jordan b. peterson
apart...
  (full version)
jordan peterson vs.
jordan peterson...

  this beats the lazy affair
of canned laughter...
prompt: laissez-faire
giggles...
       all manner
of intelligence
is lost when this editing
cues...
  i never liked
clever comedians,
simply because...
clever comedy was
          never: comedy...
it was just clever,
   with canned laughter...

this **** is a revival
of the seemingly ancient
slap-stick humor
variation of
staging theatre...
   impromptu:
i.e. without a precursor
script...

post-scriptum:

i mean,
the video editing that
went into this stuff?

you giggle
to the point of
imitating someone
going to the gym,

working for that
***-pack...
i mean:
my ***** dropped,
i cried,
and ended up
with a jaw-line
as clenched
shut as a bull terrier
and also
an ease of breath
coupled to
the letter G
     as muttley.

  some go to the gym,
some just giggle,
the end relief
is pretty much the same...
hey, sure,
as long as i'm
not aware of
            me being a plagiarized
*****...
      if it's oh so funny...
thank god i received
a free pass on
learning to six-pack...
ingesting the sort of
           stated material.

i've had the laughs
come against me...
now?
             i just brood;
you just need
the right level of acidity
to allow "things"
to, ferment.

      but that shamien
video?
genius editing...
   it's like a revival
of slap-stick humor...
it's bypassing monty python...
can you even begin
to feel,
the experience
of disinhibited laughter,
reviving
a more riddle-free
sense of schadenfreude
via the case
for stumbling,
clumsy,
   and not being
investigated for i.q.?
less lady gaga,
   bradley cooper:
night at the oscars (shallow)...

sha la la la....
and some other song to boot...
the innocence
of the experience
of comedy,
so far lost,
in staged spite...
in the terror
of the staged theatre...

first comes
the innocence
to invigorate comedy...
while all over
variants of comedy
come, subsequent...
mind, body, soul,
wrapped in shadow...

i can't relearn a sense
of comedy with the current,
puddle's worth
of experiencing
dipping into the sea,
come night,
and our bodies are
worth no little of the little
scrutiny they're given
to begin with...

    just when comedy
can become as innocent
as standing naked...
   foolish,
rather than fooled-by...
allowed the base
intelligence
of replying: ha ha...
and crying with a stomach
cramp...

       until then...
as much futility of intelligence,
in debt
to a comedy of
contra wit,
contra void,
        rhetoric,
    needed to write
one spaghetti pasta's length
of ridicule...
contra: i own
the sanctum,
the cage and the caged
sparrow...
to make counter-argument...

   no one cares what
you feel!
so...
  who's expected to begin
to care about what you think?
Mateuš Conrad Apr 2019
.i'm "sorry"... in a muslim society i'd be asked to only read one book, by a camel jockey by the name of muhammad, one camel jockey... 72 virgni experienced, that's worth celebration? you ever 2 walk into about 9 prostitutes giving you the "eye"?! 72 rottweilers: that would be fun! you know why i stopped liking western societies? they started to become very much islamic... in islam you have one man, and his one book: bibliothekvoneinbuch... the mantra speaks: i am expected to angst diese mann... what hope if western society? they also have their: einvereinheitlichendbuch... what is the quran to neunzehn-achtzig-vier?! weltlichblaupausen: secular blueprints... 1984... another ******* mantra... akin to the quran... secular: weltlichblödsinn! how many books does it take to create an islamic, or a western secular society? apparently! the ratio 1 / 1 (one to one)... the quran / 1984... *******... i'm not even bothered by the politico youtube commentators being censored... they only read one secular book... i don't like the sort of minds associated with only one book, these pretend not to be, but being, pseudo-muslims... wow! what worth of choice! either the quran, or 1984! spaghetti tangled junkies can have their way... sorry... what speech is there to be worth defending? i don't like either the quran, or the secular bible of 1984... zombies... either side of the "argument"...  i honestly hate the sort of people that only allow themselves 1984 commentary... one culturally relevant book they ever read, and it seems: the only book they ever read: or will read... (red / reed)... so it seems... the world pivots on only three books being digested by the general public... the bible, the quran, 1984... i've read too many books to have to succumb to this "cool" secular narrative of modern prophesy.. let's see english, a language, at its most flamboyant! british grenadiers' fife & drum... the sort of english not ready to invite immigrants! 1984 commentator zombies... **** me... **** unius libri... hardly an islamic quote, e when attributed to st. thomas aquinas... oh i'm shaking at the knees! as far as i am concerned muhammad is rolling in his grave when the arabs "discovered" oil... as is Khadija, rolling in her grave, scolding muhammad... i should attain the **** unius libri fear... but then i find... religion... predated the scientific concept of cloning... muslims were cloned, cognitively... obviously not physically... antithesis of dialectics... cloned... mind-bribes... i should fear a man with only one book, esp. if he wrote it himself... but then again, i fear that sort of man for all the wrong reasons... such company... eh... when looking up to someone akin to king ecgberht... yeah... i fear a man with only one book... what boring company they must have and must be.

completely: unpalatable...
   there's funny,
there's a punchline...
but then...
       "****" just becomes annoying...
i have learned that
the anglo-ßaß sense of humour
is fine...
          until it becomes excessive...
then...
well...
        then it becomes annoying...
really... annoying...
not, akin to, something,
i'd welcome to match:
host-it
    (samnaðr-den)
          ᛋᚨᛗᚾᚨᚦᚱ ᛞᛖᚾ
to account for a selb
                      (self)...

or
           minn thungr hjarta
            ᛗᛁᚾᚾ ᚦᚢᚾᚷᚱ ᚻᛅᚨᚱᛏᚨ
                     (my ... heart)...

i'm not english, but i do understand
extending the notion
of black humour...
up to, and including the point
of cutting-off
this strain of wit,
of intelligence
playing baron of status...
for the little man of
ridicule,
            i don't like overtly
intelligent comedy,
but the anglo-ßaß have pushed
have pushed the wrong buttons,
at the right time,
english comedy cannot achieve
a rekindled status
of being export material,
it has, devolved,
into a geographic idiosyncrasy...
i live in england,
and even i,
am not in on the "insider's"
take on a joke...

                    if i don't understand it,
you won't understand it...
           it's funny when it's plain
dumb, of slacking the intelligence
quotient,
  but not when its plain,
outright cipher logistics...
        
surely the english should be paying
less attention to me,
and more to...
those 300 or so illegal schools
set up by Pakistani muslims,
yes, no, maybe?

                     there's funny funny...
there's sort of funny...
and there's funny...
but i don't want to think too much
about it, either being,
or not being funny...
   laughter like tears is
highly impulsive,
   subsequently highly
spontanoeus, and...
                          uncontrollable...

black humour is one thing,
but telling jokes
to the point where you reach
a per se crucible?
and the jokes are so,
so, so "intelligent" that they become
"unfathomable"?
i think that's the time you take
a break from being "comedy arbiters"...

oh... unless this is...
where you let me peer into
the "antibiotic" /
  "xenophobic" reactionary
tactic?
  no wonder i'm not
"in" on the "in-joke" of
the demographic!
     **** me!
              of course i'm not
supposed to get it!
  it's not funny to me,
simply because the in-group
mentality is so sophisticated
that i would never be
in on the "in-group" giggles!

         good! good!
at least thanks to this,
we will not be seeing
much of comedy, "comedy"
being exported outside of england
akin to monty python!
good!

           it's good that the crown
of comedy was taken off the head
of the english...
and given to someone else...
i liked "intelligent" comedy
up to a point...
   then "too much" thinking
became involved...
and i lost both the plot and a sense
for giggles...

     point being,
what was the best joke i ever heard?
only last night...
i was unable to think...
but i laughed...
     it wasn't exactly
the aeons of the sea before me...
it was the void in my mind
that was the joke...
         an existence...
with a ******'s worth of
"thought": albeit bound to:
not thinking...

that's the best joke
i've ever heard,
  hence my painting of
the hebrew definite article,
i.e.:
                         HA,

e.g. ha-stanley:  
                              the-satan.

*and why wouldn't the persians
rebel against the orthodoxy driven
camel-jockeys?
the persians would bow before
the arabs?!
                   really?!
fly a ******* kite, eat a mango...
*******
   donning a glove filled
with ice-cubes...
     i gather, that, islam,
was, the monotheism,
that found itself,
hopeful, to be immune to
a schism...
       and what's so true about islam
if it has succumbed
to the ontological reality
of all religions, except judaism,
namely, a schism?
      islam is lucky though...
unlike christianity,
with its late initial schism...
then the  
polytheistic-esque schism
past the orthodox / catholic /
protestant "debate"....
                 islam was lucky...
only one schism...
persians not happy being ruled
by camel jockey arabs...
   so... is it a "true" religion?
oh sure, sure...
i'd convert...
      but there was a schism in islam...
so it's no longer a "true" religion,
is it?
          why would it be?
the religion encountered a schism...
what if, and if i would...
i would... i would convert
to the shia branch of islam...
i wouldn't convert
to the sunni faction...
        what then?!

            true as in unifying as in:
rebel iran?!
  oops!
                   to hell with this world...
the bible, the quran,
the secular bible known as 1984...
if there's no afterlife...
well...
          i'm already bored, stiff, dead,
whatever comes next...
m'eh...
                whatever comes comes
and that's just another whatever
with no justification
or a fixation of a consequential
purpose.
Lou Costello’s
bronze semblance
dipped and danced atop
his granite pedestal
spinning miasmatic tales
of enigmatic hope and
resplendent labor

“the sweet
unbounded
expectation of
hope once
surged down
this city’s streets”
... said Lou

"I was a self made man
until someone thought up
the idea to cast a bronze
caricature of me and
bolt it to this grand rock”

nostalgia
is the boldest form
of fiction
culling from the past
the things hoped for
in the now

“growing up
here
I clipped school,
played ball,
rolled drunks
and fought
nickel ante
prize fights
to get my
daily bread,
I literally
punched my
way out
of this town”

a smith smelts a
batch of liquid bronze
pouring molds full of
a fervent wish
a madman's delusion
a priestly promise
a Pollyannaish illusion?

baskets overflowed
gushing hope, offered
at the holy altars by
honorable workers

it was said that
a morsel of labor
could feed 5000
starved families
breeding hopes as large
as a half cup of water

hope
the size of a
mustard seed sparked
recovery of 1000 sick children
dying from the Asian Flu
at St. Joe's

hope
willed an end to war’s slaughter
which ironically was bad for
Paterson's war profiteers
forcing layoffs
sparking labor actions

hope
ignited conflagrations firing
the resurrection of dead industries
lately there is a lot of hope
circling this one

miracles spring
from the pronounced
lips of trembling hearts

the hopeful amassed
slogging forth on bloodied toes
along razor thin slices
of expectation
hoping to begin again
eager to build anew

new starts sometimes
grow old fast soon
hope expires
winging back home
on broken wings of
misspent labor

hoping for the snow to stop
a lump of coal to last
the labor of a budding crocus
rewarded, breaking through
the hard crust of winters end
blooms for a day then expires

hope is a beggars wish
gods give yearnings heft
prayers earnestly chanted
willing paradigm shifts

prayers of absolution
play the angles
calculating odds
of probabilistic mathematics
a sure thing long shot
the prayers of the
righteous availeth much

we hoped for jobs
we hoped for leisure
we hoped for love
we hoped for labor
we hoped for rest
we hoped for luck
we hoped for a life
wealth health blest

laughing at our follies
crying over defeats
our city a tragic star
a comedy of schemes

our
hope and labor
is the keystone of
our self construction
cornerstone of
a grand city’s edifice
its negation our
deconstruction

tragedy and comedy
invested and spent
falling and laughing
foibles and faith

belief trumps evidence
happenstance slays surety
horror and beauty
compose a life's mural
nothing happens
by mistake

learning and ignorance
fate and chance
the risk of randomness
expiration dates arrive fast

predetermination a bold
conviction, suspicion,
intention a splendid  
kismet  

banality becomes
sublime  
laughter is ******

...the mystery is in
the loam... says WCW
...the finished product
is what I’m after...

“what the
**** are you
doing here?"
the bronzed Louis
gagged

"Hey Abbott
look at these clowns
in the yellow plastic
garbage bags!

bobbing in a sea of
midnight mist

a posse of
neon clowns
donning glad bags
on the most dismal
night of the year

twinkling under the
gloom of my playgrounds
faltering streetlamps

“twinkling targets
easily tracked,
a trained eye,
a steady hand
could pick you off
at a thousand paces
what gives?

“what the **** are
you doing here?

“what the **** am I doin
here for that matter?”

“the second question
is easy to answer,

“I’m Paterson’s
finest son....

...“Wherever he is tonight, I want him to hear me," and went on with the show. No one in the audience knew of the death until after the show when Bud Abbott explained the events of the day, and how the phrase "The show must go on" had been epitomized by Lou that night....

"Mr. Bacciagalupe
he use to live on
Cianci Street

“who’s on first?
what’s on second?
I don’t know is on third?
was a riddle one recited
to get into his speak

“his Ginnie Red was legendary
and no one was ever known to
die from drinking his bathtub gin”

the old world ways
are made new
by the arrival of
new old worlds
supplanting old Italiano

“where is all the goodwill capital
we invested in this place?”

successive generations
thought it best to export
the capital of the
expired generations
elsewhere

it was ferried
across the river,
crossed the
city boundaries,
leaving for Wayne
and the fairer lawns
of Wyckoff and the
greener grasses of
Franklin Lakes

all the old wise guys
died off or were sentenced
to life by their children,
some still doin time in
old age homes in
Rockaway

all the sport clubs
boarded up but their spirit
lingers like an espresso
ring on a post slurp
demitasse cup

“hell my body is buried
in Hollywood but here
I am, holding court in
Costello Park
talking with you
knuckleheads
a baseball bat
my royal scepter
a brown derby
my crown, truly a
King of Nothing,
Lord of All

“the soul of my city is
eternal,  like the comedy
of tragedy or is it
tragic comic?

“here I remain
omnipresent,
spinning about
frozen forever
in a magnificent
bronze age,
erected to my likeness
beholding me
to stand witness
to this litter strewn park
decorated with corrugated
Big Mac boxes, plastic
Big Gulp tops and discarded
rubbers bagging the ****
of this cities arrested
citizenry”

never actualized
never naturalized
citizenship denied
at the commencement
of ejaculatory flows
of joy

unfulfilled spirit
of citizenship
never to experience
the splendor
of yesterday’s
modernist
metropolis and
Lou’s stand up
routines

“look at that John
over there, that guy
wheezing like a
ruptured blacksmith’s
billow, pounding away
laboring to get off

“the poor little
******* just hopes it
will end soon

it does
**** he’s done

I” knew that guys
grandfather,
getting off
runs in the family
and remains one
of the few things
that draws the progeny back
to the old neighborhood

“you can still glimpse
snippets of the old ways
rising in new ways

“an Armenian
sports club
around the corner
is a new
incarnation of
the old Neapolitan
social clubs that
once demarcated the
neighborhoods

“these days
great grandsons
of once proud
Sons of Italy
come back to the
old neighborhoods
begging for hand-jobs
from crack ******

“welcome to my
burlesque world

“since the Gumbas
moved to Franklin Lakes
the wannabe wise guys
became ***** whipped
dumb *****
making ***** of
themselves with
their painted ****-job
Jersey Housewives

“they ***** their families
out for a bit parts on
MTV and a free lunch
at the Brownstone

“their grandfathers
labored long hours
to assure the well being
of their families in the expectant
hope of a better shot at life
but the children squandered
the hard earned bequest lovingly
bequeathed by reverent forebears

“in the wee hours
one can sometimes hear
a weeping chorus
of concrete Madonnas
musing melodious lullabies
to the sleeping
Lombard's lying
in uneasy repose at
Holy Sepulchre Cemetery

“they twist in their graves
dreaming of a last dance with the
Lady of Unending Sorrows
at weddings for unrepentant
wayward daughters and prodigal sons

“its small
recompense for a
lifetime of an
honest day’s work”

the dashed hope
of squandered labor
begets a city of ruin”

at the
parks northern corner
the Salvation Army’s
rumbling bivouac rests
in a dreamless sleep
its residents
patiently waiting to
inherit this city
abandoned by
nuevo wise guys

this tragedy
is all comedy
the comedic hope
of tragic labor
buried snoring
the millenniums away
awaiting resurrection
day

Lou was getting ******...
“get outta my park

“the artists
in the rehabbed
factories across
the street
are resting

“nothing much
going on there

“if you're hoping
to find some
homeless slogs
head over to the river
you should find some there”....

Music Selection:
Frank Sinatra, High Hopes

jbm
Oakland
3/26/13
Part 5 of extended poem Silk City PIT.  PIT is an acronym for Point In Time.  PIT is an annual census American cities conduct to count the homeless population.  Hope and Labor is the city motto of Paterson NJ, nick named The Silk City.
Mateuš Conrad Nov 2018
.just when you begin interacting with Turkish pimps and Bulgarian prostitutes stealing your debit card(s), just when you interact with English marijuana growers subjecting Hanoi youths int their suburban houses at night, high on coke... criminals... then you can start making a focus of your couch love pristine immunity to me... not until the knit-of-grit... not until you're in the Glasgow bus station, learning chords from a man waiting for his brother to be released from prison, teach you chords of the left hand's fingers' schematic on the outer-side of the forearm... of all my childhood friends... i'm probably the only one who hasn't been to prison... ****... then again there's Rafael... up in Manchester... but i grew up alongside criminals... or rather, kids, who would later become criminals... but i'm guessing Rafael made it in Manchester... i always wondered what happened to that guy i played with, everyone nicknamed Ukraine; Rafael i remember... we went to a football match back in 1997 / 1998... when KSZO Ostrowiec played ŁKS Łódź in the extra-class (premiership league)... and chanted the slogan: ŁKS jebał pies! ŁKS jebał pies! (dog ****** your team).

certain fields of study require a comparison
without a congregational
same-medium expression...

               like... you can talk, rather than sing...
you can think, rather than talk...

but sometimes the odd happens...
                           a shared interest of time...

philosophical literature?
it usually takes a decent three years to finish
a philosophy book,
and that also includes some books
in between...
       hell... it took me about 3 years
to read Kant's critique of pure reason...
given that...
the ending?
   transcendental methodology
at the end of the 2nd volume?
   it was the easiest part to read...
i just like the anti-atheism of that section,
and how god,
is not an infantile concern of
adults trying to explains origins
to children by adults...

and then i came across a synonym...
literally...
something that takes years to mature...
SNL's donald trump vs. hillary clinton
debate cold open (1 October 2016)...

guess how many years it takes to
filter out the canned laughter,
and find yourself, actually the only person
in the room laughing?
   what's the date?
****!          8th November 2018...
well... over 2 years!
   the sketch from 1 October 2016...
is... to be honest... only funny... now...

whiskey, whine, philosophy, comedy...
it needs to age...
you can't exactly drink yesterday's
whiskey or wine...
you can't exactly read a philosophy book
binging over 3 days: more like 3 years...
and comedy?
the real poignancy of a jokes
comes with a minimum of a 2 year delay...
you need that over-layer of
reality to sink in,
to expose how...  
   people were surprised...
i'm actually laughing at the canned
laughter of the then,
given the caricatures of the then
of potential, with the now
of the executive order...

this is a rare find...
but yeah, it was obvious, wine and whiskey
need to age,
a philosophy book can't be read
like some YA vampire teen-flick...
and some jokes: never exist
in the immediacy of da-sein...
            some jokes transcend the immediacy
of history, and are only funny
some years later...
      no... now that Alec Baldwin
impression is funny...
    because?
      well... isn't it obvious?
      it aged...
it transcended the lampooning and inverted
lampooning onto itself...
it did the Kantian inflection:
when a phenomenon becomes
a noumenon...

   a Kantian inflection is when a phenomenon
becomes a noumenon -
it implodes and gains the momentum
of the implosion
with an unhinged will momentum
of unpredictability...

i like delayed comedy,
         i can filter out the canned laughter...
because...
it's not a mocking laughter...
it's not a collective anticipatory
laughter of the "certain"...
it's the p.s. kind of laughter...
and your worst nightmares came to pass...

i'm the laughter within a throng
of lamentation.
Now let us pray.
May hellfire rain down
on us today, on all those who
offered pay in
full metal change to watch
the life sized lights explode
& wicked witches
hanging by the throat
from a tenth floor window
it was all so cool.

so cool.

demon induced
dementia cemented in
an underground parking garage

sleepover
sleepless

starry eyed orphan
**** princess-
apparel section
regressing to an
oral fixation & a
need to keep the
fingers busy.

pink **** carpet
heart shaped atrocity

rotten thing.

you ain't the boss of me

paleface
scarab angel
seraph snake
made up cheap

heart tarnished
purely
black comedy
legs like a limousine
keeping company with
the holy cross
dressers on the
local drug scene.

oh how special.

yesterday
I fed my
edificial fetish
& I could not
stop thinking.

these high
arched ceilings.
could not contain
my feelings,
if they tried.


drive by advertisements
remind me there's
not much
to be excited about.
Torture ****.
I feel like my life is like a romantic comedy,
except without the romantic part
or the comedy.



*Just a bunch of *******.
RAJ NANDY Jul 2017
THE LEGEND OF HOLLYWOOD IN VERSE
Dear Readers, I have tried to cover the salient features of this True Story in free flowing verse mainly with end rhymes. If you read it loud, you can hear the chimes! Due to the short attention span of my readers I had to cut short this long story, and conclude with the
Golden Era of Hollywood by stretching it up to the 1950's only. When TV began to challenge the Big Screen Cinema seriously! I have used only a part of my notes here. Kindly read the entire poem and don't hesitate to know many interesting facts - which I also did not know! I wish there was a provision for posting a few interesting photographs for you here. Best wishes, - Raj Nandy, New Delhi.  

                 THE LEGEND OF HOLLYWOOD :
                        THE AMERICAN  DREAM
                             BY RAJ NANDY

           A SHORT  HISTORICAL  BACKGROUND
Since the earliest days, optical toys, shadow shows, and ‘magic
lanterns’, had created the illusion of motion.
This concept was first described by Mark Roget in 1824 as  
the 'persistent of vision'.
Giving impetus to the development of big screen cinema with its
close-ups, capturing all controlled and subtle expressions!
The actors were no longer required to shout out their parts with
exaggerated actions as on the Elizabethan Stage.
Now even a single tear drop could get noticed easily by the entire
movie audience!
With the best scene being included and edited after a few retakes.
To Thomas Edison and his able assistant William Rogers we owe the invention of Kinetoscope, the first movie camera.
On the grounds of his West Orange, New Jersey laboratory, Edison
built his first movie studio called the ‘Black Maria’.   (1893)
He also purchased a string of patents related to motion picture
Camera; forming the Edison Trust, - a cartel that took control of
the Film Industry entire!

Fort Lee, New Jersey:
On a small borough on the opposite bank of the Hudson River lay
the deserted Fort Lee.
Here scores of film production crews descended armed with picture Cameras, on this isolated part of New Jersey!
In 1907 Edison’s company came there to shoot a short silent film –
‘Rescue From an Eagle’s Nest’,
Which featured for the first time the actor and director DW Griffith.
The independent Chaplin Film Company built the first permanent
movie studio in 1910 in Fort Lee.
While some of the biggest Hollywood studios like the Universal,
MGM, and 20th Century Fox, had their roots in Fort Lee.
Some of the famous stars of the silent movie era included ‘Fatty’
Arbuckle, Will Rogers, Mary Pickford, Dorothy and Lillian Gish,
Lionel Barrymore, Rudolph Valentine and Pearl White.
In those days there were no reflectors and electric arch lights.
So movies were made on rooftops to capture the bright sunlight!
During unpredictable bad weather days, filming had to be stopped
despite the revolving stage which was made, -
To rotate and capture the sunlight before the lights atarted to fade!

Shift from New Jersey to West Coast California:
Now Edison who held the patents for the bulb, phonograph, and the Camera, had exhibited a near monopoly;
On the production, distribution, and exhibition of the movies which made this budding industry to shift to California from
New Jersey!
California with its natural scenery, its open range, mountains, desert, and snow country, had the basic ingredients for the movie industry.
But most importantly, California had bright Sunshine for almost
365 days of the year!
While eight miles away from Hollywood lay the port city of Los Angeles with its cheap labour.

                        THE RISE  OF  HOLLYWOOD
It was a real estate tycoon Harvey Wilcox and his wife Daeida from
Kansas, who during the 1880s founded ‘Hollywood’ as a community for like-minded temperate followers.
It is generally said that Daeida gave the name Hollywood perhaps
due to the areas abundant red-berried shrubs also known as
California Holly.
Spring blossoms around and above the Hollywood Hills with its rich variety,  gave it a touch of paradise for all to see !
Hollywood was incorporated as a municipality in 1903, and during
1910 unified with the city of Los Angeles.
While a year later, the first film studio had moved in from New
Jersey, to escape Thomas Edison’s monopoly!    (1911)

In 1913 Cecil B. De Mille and Jesse Lasky, had leased a barn with
studio facilities.
And directed the first feature length film ‘Squaw Man’ in 1914.
Today this studio is home to Hollywood Heritage Museum as we get to see.
The timeless symbol of Hollywood film industry that famous sign on top of Mount Lee, was put up by a real estate developer in 1923.  
This sign had read as ‘’HOLLY WOOD LAND’’ initially.
Despite decades of run-ins with vandals and pranksters, it managed to hang on to its prime location near the summit of the Hollywood Hills.
The last restoration work was carried out in 1978 initiated by Hugh
Hefner of the ******* Magazine.
Those nine white letters 45 feet tall now read ‘HOLLYWOOD’, and has become a landmark and America’s cultural icon, and an evocative symbol for ambition, glamour, and dream.
Forever enticing aspiring actors to flock to Hollywood, hypnotised
by lure of the big screen!

                     GOLDEN AGE OF HOLLYWOOD
The Silent Movie Era which began in 1895, ended in 1935 with the
production of ‘Dance of Virgins’, filmed entirely in the island of Bali.
The first Sound film ‘The Jazz Singer’ by Warner Bros. was made with a Vitaphone sound-on-disc technology.  (October 1927)
Despite the Great Depression of the 1930s, this decade along with the 1940s have been regarded by some as Hollywood’s Golden Age.
However, I think that this Golden Age includes the decades of the
1940s and the 1950s instead.
When the advent of Television began to challenge the Film Industry
itself !

First Academy Award:
On 16th May 1929 in the Roosevelt Hotel on Hollywood Boulevard,
the First Academy Award presentation was held.
Around 270 people were in attendance, and tickets were priced at
$5 per head.
When the best films of 1927 & 1928 were honored by the Academy
of Motion Production and Sciences, or the AMPS.
Emil Jennings became the best actor, and Janet Gaynor the best actress.
Special Award went to Charlie Chaplin for his contribution to the
silent movie era and for his silent film ‘The Circus’.
While Warren Brothers was commended for making the first talking picture ‘The Jazz Singer’, - also receiving a Special Award!
Now, the origin of the term ‘OSCAR’ has remained disputed.
The Academy adopted this name from 1939 onwards it is stated.
OSCAR award has now become “the stuff dreams are made of”!
It is a gold-plated statuette of a knight 13.5 inches in height, weighing 8.5 pounds, was designed by MGM’s art director Cedric Gibbons.
Annually awarded for honouring and encouraging excellence in all
facets of motion picture production.

Movies During the Great Depression Era (1929-1941):
Musicals and dance movies starring Fred Astaire and Ginger Rogers provided escapism and good entertainment during this age.
“Ginger Rogers did everything Fred Astaire did. She just did it
backwards and in high heels,” - the Critics had said.
This compatible pair entertained the viewers for almost one and
a half decade.
During the ‘30s, gangster movies were popular starring James Cagey, Humphrey Bogart, and Edward G. Robinson.
While family movies had their popular child artist Shirley Temple.
Swashbuckler films of the Golden Age saw the sword fighting scenes of Douglas Fairbanks and Errol Flynn.
Flynn got idolized playing ‘Robin Hood’, this film got released in
1938 on the big screen!
Story of the American Civil War got presented in the epic ‘Gone With The Wind’ (1939) with Clarke Gable and Vivian Leigh.
This movie received 8 Oscars including the award for the Best Film, - creating a landmark in motion picture’s history!
More serious movies like John Steinbeck’s ‘Grapes of Wrath’ and
John Ford’s  ‘How Green Was My Valley’, were released in 1940 and 1941 respectively.
While the viewers escaped that depressive age to the magical world
of  ‘Wizard of Oz’ with its actress Judy Garland most eagerly!
Let us not forget John Wayne the King of the Westerns, who began
his acting career in the 1930s with his movie ‘The Big Trail’;
He went on to complete 84 films before his career came to an end.
Beginning of the 40s also saw Bob Hope and the crooner Bing Crosby, who entertained the public and also the fighting troops.
For the Second World War (1939-45) had interrupted the Golden Age of Hollywood.
When actors like Henry Fonda, Clarke Gable, James Stewart and
Douglas Fairbanks joined the armed forces temporarily leaving
Hollywood.
Few propaganda movies supporting the war efforts were also made.
While landmark movies like ‘Philadelphia Story’, ‘Casablanca’, ‘Citizen Kane’,
‘The Best Years of Our Lives’, were some of the most successful movies of that decade.  (The 1940s)
Now I come towards the end of my Hollywood Story with the decade  of the 1950s, thereby extending the period of Hollywood’s Golden Age.
Since having past the Great Depression and the Second World War,  the Hollywood movie industry truly matured and came of age.

                        HOLLYWOOD  OF  THE  1950s

BACKGROU­ND:
The decade of the ‘50s was known for its post-war affluence and
choice of leisure time activities.
It was a decade of middle-class values, fast-food restaurants, and
drive-in- movies;
Of ‘baby-boom’, all-electric home, the first credit cards, and new fast moving cars like the Ford, Plymouth, Buick, Hudson, and Chevrolet.
But not forgetting the white racist terrorism in the Southern States!
This era saw the beginning of Cold War, with Eisenhower
succeeding Harry S. Truman as the American President.
But for the film industry, most importantly, what really mattered  
was the advent of the Domestic TV.
When the older viewers preferred to stay at home instead of going
out to the movies.
By 1950, 10.5 million US homes had a television set, and on the
30th December 1953, the first Color TV went on sale!
Film industries used techniques such as Cinemascope, Vista Vision,
and gimmicks like 3-D techniques,
To get back their former movie audience back on their seats!
However, the big scene spectacle films did retain its charm and
fantasy.
Since fantasy epics like ‘The Story of Robin Hood’, and Biblical epics like ‘The Robe’, ‘Quo Vadis’, ‘The Ten Commandments’ and ‘Ben-Hur’, did retain its big screen visual appeal.
‘The Robe’ released on 16th September 1953, was the first film shot
and projected in Cinema Scope;
In which special lenses were used to compress a wide image into a
standard frame and then expanded it again during projection;
Resulting in an image almost two and a half times as high and also as wide, - captivating the viewers imagination!

DEMAND FOR NEW THEMES DURING THE 1950s :
The idealized portrayal of men and women since the Second World War,
Now failed to satisfy the youth who sought exciting symbols for rebellion.
So Hollywood responded with anti-heroes with stars like James Dean, Marlon Brando, and Paul Newman.
They replaced conventional actors like Tyron Power, Van Johnson, and Robert Taylor to a great extent, to meet the requirement of the age.
Anti-heroines included Ava Gardner, Kim Novak, and Marilyn Monroe with her vibrant *** appeal;
She provided excitement for the new generation with a change of scene.
Themes of rebellion against established authority was present in many Rock and Roll songs,
Including the 1954 Bill Hailey and His Comets’ ‘Rock Around the Clock’.
The era also saw rise to stardom of Elvis Presley the teen heartthrob.
Meeting the youthful aspirations with his songs like ‘Jailhouse Rock’!
I recall the lyrics of this 1957 film ‘Jailhouse Rock’ of my school days, which had featured the youth icon Elvis:
   “The Warden threw a party in the county jail,
     The prison band was there and they began to wail.
     The band was jumping and the joint began to sing,
     You should’ve heard them knocked-out jail bird sing.
     Let’s rock, everybody in the whole cell block……………
     Spider Murphy played the tenor saxophone,
     Little Joe was blowing the slide trombone.
     The drummer boy from Illinois went crash, boom, bang!
     The whole rhythm section was the Purple Gang,
      Let's rock,.................... (Lyrics of the song.)

Rock and Roll music began to tear down color barriers, and Afro-
American musicians like Chuck Berry and Little Richard became
very popular!
Now I must caution my readers that thousands of feature films got  released during this eventful decade in Hollywood.
To cover them all within this limited space becomes an impossible
task, which may kindly be understood !
However, I shall try to do so in a summarized form as best as I could.

BOX OFFICE HITS YEAR-WISE FROM 1950 To 1959 :
Top Ten Year-Wise hit films chronologically are: Cinderella (1950),
Quo Vadis, The Greatest Show on Earth, Peter Pan, Rear Window,
Lady and the *****, Ten Commandments, Bridge on the River
Kwai, South Pacific, and Ben-Hur of 1959.

However Taking The Entire Decade Of 1950s Collectively,
The Top Films Get Rated As Follows Respectively:
The Ten Commandments, followed by Lady and the *****, Peter Pan, Sleeping Beauty, Bridge on the River Kwai, Around the World in Eighty Days, This is Cinerama, The Greatest Show on Earth, Rear Window, South Pacific, The Robe, Giant, Seven Wonders of the World, White Christmas, Twenty Thousand Leagues Under the Sea, Sayonara, Demetrius and the Gladiator, Peyton Place, Some Like It Hot, Quo Vadis, and Auntie Mame.

Film Debuts By Rising Stars During The 1950s :
The decade of the ‘50s saw a number of famous film stars making
their first appearance.
There was Peter Sellers in ‘The Black Rose’, Marlon Brando in
‘The Men’, and actress Sophia Loren in ‘Toto Tarzan’.
Following year saw Charles Bronson in ‘You Are in the Navy Now’,
Audrey Hepburn in ‘Our Wild Oats’, and Grace Kelly, the future
Princess of Monaco, in her first film ‘Fourteen Hours’. (1951)
While **** Brigitte Bardot appeared in 1952 movie ‘Crazy for Love’; and 1953 saw Steve Mc Queen in ‘******* The Run’.
Jack Lemon, Paul Newman, and Omar Sharif featured in films
during 1954.
The following year saw Clint Eastwood, Shirley Mc Lean, Walter
Matthau, and Jane Mansfield, all of whom the audience adored.
The British actor Michael Cain appeared in 1956; also Elvis Presley
the youth icon in ‘Love Me Tender’ and as the future Rock and Roll
King!
In 1957 came Sean Connery, followed by Jack Nicholson, Christopher Plummer, and Vanessa Redgrave.
While the closing decade of the ‘50s saw James Coburn, along with
director, script writer, and producer Steven Spielberg, make their
debut appearance.

Deaths During The 1950s: This decade also saw the death of actors
like Humphrey Bogart, Tyron Power and Errol Flynn.
Including the death of producer and director of epic movies the
renowned Cecil B. De Mille!
Though I have conclude the Golden Age of Hollywood with the 50’s Decade,
The glitz and glamour of its Oscar Awards continue even to this day.
With its red carpet and lighted marquee appeal and fashion display!

CONTINUING THE HOLLYWOOD STORY WITH FEW TITBITS :
From Fort Lee of New Jersey we have travelled west to Hollywood,
California.
From the silent movie days to the first ‘talking picture’ with Warren
Bros’ film ‘The Jazz Singer’.  (06 Oct 1927)
On 31st July 1928 for the first time the audience heard the MGM’s
mascot Leo’s mighty roar!
While in July 1929 Warren Bros’ first all-talking and all- Technicolor
Film appeared titled - ‘On With The Show’.
Austrian born Hedy Lamarr shocked the audience appearing **** in a Czechoslovak film ‘Ecstasy’!  (1933)
She fled from her husband to join MGM, becoming a star of the
‘40s and the ‘50s.
The ‘Private Life of Henry VII’ became the first British film to win the  American Academy Award.  (1933)
On 11Dec 1934, FOX released ‘Bright Eyes’ with Shirley Temple,
who became the first Child artist to win this Award!
While in 1937 Walt Disney released the first full animated feature
film titled - ‘Snow White and the Seven Dwarf ‘.
The British film director Alfred Hitchcock who came to
Hollywood later;
Between 1940 and 1947, made great thrillers like 'Rebecca', ‘Notorious’, ‘Rear Window’, and ‘Dial M for ******’.
But he never won an Oscar as a Director!

THE GOLDEN GLOBE AWARD:
This award began in 1944 by the Foreign Correspondence Association at
the 20th Century Fox Studio.
To award critically acclaimed films and television shows, by awarding a
Scroll initially.
Later a Golden Globe was made on a pedestal, with a film strip around it.
In 1955 the Cecil B. De Mille Award was created, with De Mille as its first
recipient.

THE GRAMMY AWARD:
In 1959 The National Academy of Recording and Sciences sponsored the
First Grammy Award for music recorded during 1958.
When Frank Sinatra won for his album cover ‘Only The Lonely’, but he
did not sing.
Among the 28 other categories there was Ella Fitzgerald, and Count Basie
for his musical Dance Band Performance.
There was Kingston Trio’s song ‘Tom Dooly’, and the ‘Chipmunk Song’,
which brings back nostalgic memories of my school days!

CONCLUDING HOLLYWOOD STORY  WITH STUDIOS OF THE 1950s

Challenge Faced by the Movie Industry:
Now the challenge before the Movie Industry was how to adjust to the
rapidly changing conditions created by the growing TV Industry.
Resulting in loss of revenue, with viewers getting addicted to
their Domestic TV screen most conveniently!

The late 1950s saw two studios REPUBLIC and the RKO go out of business!
REPUBLIC from 1935- ‘59 based in Los Angeles, developed the careers of
John Wayne and Roy Rogers, and specializing in the Westerns.
RKO was one of the Big Five Studios of Hollywood along with Paramount,
MGM, 20th Century Fox, and Warner Brothers in those days.

RKO Studio which begun with Fred Astaire and Ginger Rogers in the ‘30s,
included actress Katherine Hepburn who holds the record for four Oscars
even to this day;
And later had Robert Mitchum and Carry Grant under an agreement.
But in 1948, RKO Studio came under the control Howard Hughes the
temperamental Industrialist.
Soon the scandal drive and litigation prone RKO Studio closed, while
other Big Four Studios had managed to remain afloat!


PARAMOUNT STUDIO:
Paramount Studio split into two separate companies in 1950.
Its Theatre chain later merged with ABC Radio & Television Network;
And they created an independent Production/Distribution Network.
Bing Crosby and Bob Hope had been Paramount’s two biggest stars.
Followed by actors like Alan Ladd, William Holden, Jerry Lewis, Dean
Martin, Charlton Heston, and Dorothy Lamour.
They also had the producer/director Cecil B. De Mille producing high-
grossing Epics like ‘Samson & Delilah’ and ‘The Ten Commandments’.
Also the movie maker Hal Wallis, who discovered Burt Lancaster and
Elvis Presley - two great talents!

20th CENTURY FOX:
Cinema Scope became FOX’s most successful technological innovation
with its hit film ‘The Robe’. (1953)
Its Darryl Zanuck had observed during the early ‘50s, that audience  
were more interested in escapist entertainments mainly.
So he turned to FOX to musicals, comedies, and adventure stories.
Biggest stars of FOX were Gregory Peck & Susan Hayward; also
stars like Victor Mature, Anne Baxter, and Richard Wind Mark.
Not forgetting Marilyn Monroe in her Cinema Scope Box Office hit
movie - ‘How to Marry a Millionaire’, which was also shown on
prime time TV, as a romantic comedy film of 1953.

WARREN BROTHERS:
During 1950 the studio was mainly a family managed company with
three brothers Harry, Albert, and Jack Warren.
To meet the challenges of that period, Warren Bros. released most of
its actors like James Cagney, Humphrey Bogart, Oliver de Havilland, -
Along with few others from their long-term contractual commitments;
Retaining only Errol Flynn, and Ronald Regan who went on to become
the future President.
Like 20th Century Fox, Warren Bros switched to musicals, comedies,
and adventure movies, with Doris Day as its biggest musical star.
The studio also entered into short term agreements with Gary Copper,
John Wayne, Gregory Peck, Patricia Neal, and Random Scott.
Warren Bros also became the first major studio to invest in 3-D
production of films, scoring a big hit with its 3-D  suspense thriller
‘House of Wax’ in 1953.

MINOR STUDIOS were mainly three, - United Artists, Columbia, and
The Universal.
They did not own any theatre chain, and specialized in low-budgeted
‘B’ Movies those days.
Now to cut a long story short it must be said, that Hollywood finally
did participate in the evolution of Television industry, which led to
their integration eventually.
Though strategies involving hardware development and ownership of
broadcast outlets remained unsuccessful unfortunately.
However, Hollywood did succeed through program supply like prime-
time series, and made-for-TV films for the growing TV market making
things more colorful!
Thus it could be said that the TV industry provided the film industry
with new opportunities,  laying the groundwork for its diversification
and concentration;
That characterized the entertainment industry during the latter half  
of our previous century.
I must now confess that I have not visited the movie theatre over the last
two decades!
I watch movies on my big screen TV and my Computer screen these days.
Old classical movies are all available on ‘You Tube’ for me, and I can watch
them any time whenever I am free!
Thanks for reading patiently, - Raj Nandy.
**ALL COPYRIGHTS ARE WITH THE AUTHOR RAJ NANDY OF NEW DELHI
Jenna Cavanaugh Jan 2016
here i've prepared a couple of jokes
why did the girl cross the road?
because she thought she was being followed home by the boy who threatened her that he would hang her and so she ran five blocks to get away from him
ok here's a better one
why didn't the girl go to the party?
because she was told she was worthless seven times that day and that everyone is secretly laughing at her
here's my last one
what did the cruel middle school boys do when they got bored?
spit on me, push me around, threaten me, spread rumours about me, and more!
wait why aren't you guys laughing?
see, i didn't think that was that funny but then
when i begged for help
they asked if maybe the people who  did that stuff to me were just joking
apparently they were just kidding so they shouldn't be punished
boys will be boys right?
i was probably just too sensitive, too thin skinned to understand their humour,
maybe you guys are too
or maybe i said something that made them say that?
but that makes no sense...
how would you provoke a joke to be told?
oh i know
it wasn't a joke
that's why you're not laughing right?
see daily death threats really don't get five star reviews in the comedy clubs
and i don't think there's been any skits on snl about being spit on because people thought you were garbage
so why did all the adults assume that the boys weren't to blame because they were just messing around?
messing around implies there's a mess and when there's a mess you clean it up but it's hard to clean up a mess that everyone thinks you made up
and I don't think clorox is going to wipe up the feeling that all of the people i trusted the most thought i deserved to be bullied
so i guess what i'm trying to say
is that people shouldn't have to walk through the hallways everyday  knowing that in a few short hours, the boy in their p.e class will tell them that they shouldn't be alive
and when they tell five separate teachers
the teachers will all ask
are you sure they weren't joking
are you sure you didn't deserve it
i'm pretty sure that when he pushed me to the ground i didn't break out laughing afterwards
and their laughter wasn't contagious when they made fun of how i looked
their stand up comedy made me back down
sometimes i hear people say
oh bullying is stupid, how could it actually you
why wouldn't they just tell someone
and here's my answer
have you ever shouted so loud that you lost your voice?
probably shouldn't do that again right
well I screamed so loud that when i lost my voice I never really got it back
it's because you want to learn from your mistakes
learn that when people say that you can always tell someone, you should keep in mind that "always"  is apparently conditional
don't assume that if you were in their shoes you would just tell someone
and everything would be fixed
some situations can't be fixed with a talk to an adult you trust
some situations you actually did nothing to deserve it
some people make the messes and some people can never clean them up
some jokes aren't funny
some jokes aren't jokes
I don't want any more back down comedy
this is my stand up piece but only this time I don't care who's laughing
Like a psychotic docent in the wilderness,
I will not speak in perfect Ciceronian cadences.
I draw my voice from a much deeper cistern,
Preferring the jittery synaptic archive,
So sublimely unfiltered, random and profane.
And though I am sequestered now,
Confined within the walls of a gated, golf-coursed,
Over-55 lunatic asylum (for Active Seniors I am told),
I remain oddly puerile,
Remarkably refreshed and unfettered.  
My institutionalization self-imposed,
Purposed for my own serenity, and also the safety of others.
Yet I abide, surprisingly emancipated and frisky.
I may not have found the peace I seek,
But the quiet has mercifully come at last.

The nexus of inner and outer space is context for my story.
I was born either in Brooklyn, New York or Shungopavi, Arizona,
More of intervention divine than census data.
Shungopavi: a designated place for tribal statistical purposes.
Shungopavi: an ovine abbatoir and shaman’s cloister.
The Hopi: my mother’s people, a state of mind and grace,
Deftly landlocked, so cunningly circumscribed,
By both interior and outer Navajo boundaries.
The Navajo: a coyote trickster people; a nation of sheep thieves,
Hornswoggled and landlocked themselves,
Subsumed within three of the so-called Four Corners:
A 3/4ths compromise and covenant,
Pickled in firewater, swaddled in fine print,
A veritable swindle concocted back when the USA
Had Manifest Destiny & mayhem on its mind.

The United States: once a pubescent synthesis of blood and thunder,
A bold caboodle of trooper spit and polish, unwashed brawlers, Scouts and      
Pathfinders, mountain men, numb-nut ne'er-do-wells,
Buffalo Bills & big-balled individualists, infected, insane with greed.
According to the Gospel of His Holiness Saint Zinn,
A People’s’ History of the United States: essentially state-sponsored terrorism,
A LAND RUSH grabocracy, orchestrated, blessed and anointed,
By a succession of Potomac sharks, Great White Fascist Fathers,
Far-Away-on-the Bay, the Bay we call The Chesapeake.
All demented national patriarchs craving lebensraum for God and country.
The USA: a 50-state Leviathan today, a nation jury-rigged,
Out of railroad ties, steel rails and baling wire,
Forged by a litany of lies, rapaciousness and ******,
And jaw-torn chunks of terra firma,
Bites both large and small out of our well-****** Native American ***.

Or culo, as in va’a fare in culo (literally "go do it in the ***")
Which Italian Americans pronounce as fongool.
The language center of my brain,
My sub-cortical Broca’s region,
So fraught with such semantic misfires,
And autonomic linguistic seizures,
Compel acknowledgement of a father’s contribution,
To both the gene pool and the genocide.
Columbus Day:  a conspicuously absent holiday out here in Indian Country.
No festivals or Fifth Avenue parades.
No excuse for ethnic hoopla. No guinea feast. No cannoli. No tarantella.
No excuse to not get drunk and not **** your sister-in-law.
Emphatically a day for prayer and contemplation,
A day of infamy like Pearl Harbor and 9/11,
October 12, 1492: not a discovery; an invasion.

Growing up in Brooklyn, things were always different for me,
Different in some sort of redskin/****/****--
Choose Your Favorite Ethnic Slur-sort of way.
The American Way: dehumanization for fun and profit.
Melting *** anonymity and denial of complicity with evil.
But this is no time to bring up America’s sordid past,
Or, a personal pet peeve: Indian Sovereignty.
For Uncle Sam and his minions, an ever-widening, conveniently flexible concept,
Not a commandment or law,
Not really a treaty or a compact,
Or even a business deal.  Let’s get real:
It was not even much in the way of a guideline.
Just some kind of an advisory, a bulletin or newsletter,
Could it merely have been a free-floating suggestion?
Yes, that’s it exactly: a suggestion.

Over and under halcyon American skies,
Over and around those majestic purple mountain peaks,
Those trapped in poetic amber waves of wheat and oats,
Corn and barley, wheat shredded and puffed,
Corn flaked and milled, Wheat Chex and Wheaties, oats that are little Os;
Kix and Trix, Fiber One, and Kashi-Go-Lean, Lucky Charms and matso *****,
Kreplach and kishka,
Polenta and risotto.
Our cantaloupe and squash patch,
Our fruited prairie plain, our delicate ecological Eden,
In balance and harmony with nature, as Chief Joseph of the Nez Perce instructs:
“These white devils are not going to,
Stop ****** and killing, cheating and eating us,
Until they have the whole ******* enchilada.
I’m talking about ‘from sea to shining sea.’”

“I fight no more forever,” Babaloo.
So I must steer this clunky keelboat of discovery,
Back to the main channel of my sad and starry demented river.
My warpath is personal but not historical.
It is my brain’s own convoluted cognitive process I cannot saavy.
Whatever biochemical or—as I suspect more each day—
Whatever bio-mechanical protocols govern my identity,
My weltanschauung: my world-view, as sprechen by proto-Nazis;
Putz philosophers of the 17th, 18th & 19th century.
The German intelligentsia: what a cavalcade of maniacal *******!
Why is this Jew unsurprised these Zarathustra-fueled Übermenschen . . .
Be it the Kaiser--Caesar in Deutsch--Bismarck, ******, or,
Even that Euro-*****,  Angela Merkel . . . Why am I not surprised these Huns,
Get global grab-*** on the sauerbraten cabeza every few generations?
To be, or not to be the ***** bullgoose loony: GOTT.

Biomechanical protocols govern my identity and are implanted while I sleep.
My brain--my weak and weary CPU--is replenished, my discs defragmented.
A suite of magnetic and optical white rooms, cleansed free of contaminants,
Gun mounts & lifeboat stations manned and ready,
Standing at attention and saluting British snap-style,
Snap-to and heel click, ramrod straight and cheerful: “Ready for duty, Sir.”
My mind is ravenous, lusting for something, anything to process.
Any memory or image, lyric or construct,
Be they short-term dailies or deeply imprinted.
Fixations archived one and all in deep storage time and space.
Memories, some subconscious, most vaporous;
Others--the scary ones—eidetic: frighteningly detailed and extraordinarily vivid.
Precise cognitive transcripts; recollected so richly rife and fresh.
Visual, auditory, tactile, gustatory, and olfactory reloads:
Queued up and increasingly re-experienced.

The bio-data of six decades: it’s all there.
People, countless, places and things cataloged.
Every event, joy and trauma enveloped from within or,
Accessed externally from biomechanical storage devices.
The random access memory of a lifetime,
Read and recollected from cerebral repositories and vaults,
All the while the entire greedy process overseen,
Over-driven by that all-subservient British bat-man,
Rummaging through the data in batches small and large,
Internal and external drives working in seamless syncopation,
Self-referential, at times paradoxical or infinitely looped.
“Cogito ergo sum."
Descartes stripped it down to the basics but there’s more to the story:
Thinking about thinking.
A curse and minefield for the cerebral:  metacognition.

No, it is not the fact that thought exists,
Or even the thoughts themselves.
But the information technology of thought that baffles me,
As adaptive and profound as any evolution posited by Darwin,
Beyond the wetware in my skull, an entirely new operating system.
My mental and cultural landscape are becoming one.
Machines are connecting the two.
It’s what I am and what I am becoming.
Once more for emphasis:
It is the information technology of who I am.
It is the operating system of my mental and cultural landscape.
It is the machinery connecting the two.
This is the central point of this narrative:
Metacognition--your superego’s yenta Cassandra,
Screaming, screaming in your psychic ear, your good ear:

“LISTEN:  The machines are taking over, taking you over.
Your identity and train of thought are repeatedly hijacked,
Switched off the main line onto spurs and tangents,
Only marginally connected or not at all.
(Incoming TEXT from my editor: “Lighten Up, Giuseppi!”)
Reminding me again that most in my audience,
Rarely get past the comic page. All righty then: think Calvin & Hobbes.
John Calvin, a precocious and adventurous six-year old boy,
Subject to flights of 16th Century French theological fancy.
Thomas Hobbes, a sardonic anthropomorphic tiger from 17th Century England,
Mumbling about life being “solitary, poor, nasty, brutish and short.”
Taken together--their antics and shenanigans--their relationship to each other,
Remind us of our dual nature; explore for us broad issues like public education;
The economy, environmentalism & the Global ****** Thermometer;
Not to mention the numerous flaws of opinion polls.



And again my editor TEXTS me, reminds me again: “LIGHTEN UP!”
Consoling me:  “Even Shakespeare had to play to the groundlings.”
The groundlings, AKA: The Rabble.
Yes. Even the ******* Bard, even Willie the Shake,
Had to contend with a decidedly lowbrow copse of carrion.
Oh yes, the groundlings, a carrion herd, a flying flock of carrion seagulls,
Carrion crow, carrion-feeders one and all,
And let’s throw Sheryl Crow into the mix while we’re at it:
“Hit it! This ain't no disco. And it ain't no country club either, this is L.A.”  

                  Send "All I Wanna Do" Ringtone to your Cell              

Once more, I digress.
The Rabble:  an amorphous, gelatinous Jabba the Hutt of commonality.
The Rabble: drunk, debauched & lawless.
Too *****-delicious to stop Bill & Hilary from thinking about tomorrow;
Too Paul McCartney My Love Does it Good to think twice.

The Roman Saturnalia: a weeklong **** fest.
The Saturnalia: originally a pagan kink-fest in honor of the deity Saturn.
Dovetailing nicely with the advent of the Christian era,
With a project started by Il Capo di Tutti Capi,
One of the early popes, co-opting the Roman calendar between 17 and 25 December,
Putting the finishing touches on the Jesus myth.
For Brooklyn Hopi-***-Jew baby boomers like me,
Saturnalia manifested itself as Disco Fever,
Unpleasant years of electrolysis, scrunched ***** in tight polyester
For Roman plebeians, for the great unwashed citizenry of Rome,
Saturnalia was just a great big Italian wedding:
A true family blowout and once-in-a-lifetime ego-trip for Dad,
The father of the bride, Vito Corleone, Don for A Day:
“Some think the world is made for fun and frolic,
And so do I! Funicula, Funiculi!”

America: love it or leave it; my country right or wrong.
Sure, we were citizens of Rome,
But any Joe Josephus spending the night under a Tiber bridge,
Or sleeping off a three day drunk some afternoon,
Up in the Coliseum bleachers, the cheap seats, out beyond the monuments,
The original three monuments in the old stadium,
Standing out in fair territory out in center field,
Those three stone slabs honoring Gehrig, Huggins, and Babe.
Yes, in the house that Ruth built--Home of the Bronx Bombers--***?
Any Joe Josephus knows:  Roman citizenship doesn’t do too much for you,
Except get you paxed, taxed & drafted into the Legion.
For us the Roman lifestyle was HIND-*** humble.
We plebeians drew our grandeur by association with Empire.
Very few Romans and certainly only those of the patrician class lived high,
High on the hog, enjoying a worldly extravaganza, like—whom do we both know?

Okay, let’s say Laurence Olivier as Crassus in Spartacus.
Come on, you saw Spartacus fifteen ******* times.
Remember Crassus?
Crassus: that ***** twisted **** trying to get his freak on with,
Tony Curtis in a sunken marble tub?
We plebes led lives of quiet *****-scratching desperation,
A bunch of would-be legionnaires, diseased half the time,
Paid in salt tablets or baccala, salted codfish soaked yellow in olive oil.
Stiffs we used to call them on New Year’s Eve in Brooklyn.
Let’s face it: we were hyenas eating someone else’s ****,
Stage-door jackals, Juvenal-come-late-lies, a mob of moronic mook boneheads
Bought off with bread & circuses and Reality TV.
Each night, dished up a wide variety of lowbrow Elizabethan-era entertainments.  
We contemplate an evening on the town, downtown—
(cue Petula Clark/Send "Downtown" Ringtone to your Cell)

On any given London night, to wit:  mummers, jugglers, bear & bull baiters.
How about dog & **** fighters, quoits & skittles, alehouses & brothels?
In short, somewhere, anywhere else,
Anywhere other than down along the Thames,
At Bankside in Southwark, down in the Globe Theater mosh pit,
Slugging it out with the groundlings whose only interest,
In the performance is the choreography of swordplay and stale ****** puns.
Meanwhile, Hugh Fennyman--probably a fellow Jew,
An English Renaissance Bugsy Siegel or Mickey Cohen—
Meanwhile Fennyman, the local mob boss is getting his ya-yas,
Roasting the feet of my text-messaging editor, Philip Henslowe.
Poor and pathetic Henslowe, works on commission, always scrounging,
But a true patron of my craft, a gentleman of infinite jest and patience,
Spiritual subsistence, and every now and then a good meal at some,
Sawdust joint with oyster shells, and a Prufrockian silk purse of T.S. Eliot gold.

Poor, pathetic Henslowe, trussed up by Fennyman,
His editorial feet in what looks like a Japanese hibachi.
Henslowe’s feet to the fire--feet to the fire—get it?
A catchy phrase whose derivation conjures up,
A grotesque yet vivid image of torture,
An exquisite insight into how such phrases ingress the idiom,
Not to mention a scene once witnessed at a secret Romanian CIA prison,
I’d been ordered to Bucharest not long after 9/11,
Handling the rendition and torture of Habib Ghazzawy,

An entirely innocent falafel maker from Steinway Street, Astoria, Queens.
Shock the Monkey: it’s what we do. GOTO:
Peter Gabriel - Shock the Monkey/
(HQ music video) - YouTube//
www.youtube.com/
Poor, pathetic, ******-on Henslowe.


Fennyman :  (his avarice is whet by something Philly screams out about a new script)  "A play takes time. Find actors; Rehearsals. Let's say open in three weeks. That's--what--five hundred groundlings at tuppence each, in addition four hundred groundlings tuppence each, in addition four hundred backsides at three pence--a penny extra for a cushion, call it two hundred cushions, say two performances for safety how much is that Mr. Frees?"
Jacobean Tweet, John (1580-1684) Webster:  “I saw him kissing her bubbies.”

It’s Geoffrey Rush, channeling Henslowe again,
My editor, a singed smoking madman now,
Feet in an ice bucket, instructing me once more:
“Lighten things up, you know . . .
Comedy, love and a bit with a dog.”
I digress again and return to Hopi Land, back to my shaman-monastic abattoir,
That Zen Center in downtown Shungopavi.
At the Tribal Enrolment Office I make my case for a Certificate of Indian Blood,
Called a CIB by the Natives and the U.S. Bureau of Indian Affairs.
The BIA:  representing gold & uranium miners, cattle and sheep ranchers,
Sodbusters & homesteaders; railroaders and dam builders since 1824.
Just in time for Andrew Jackson, another false friend of Native America,
Just before Old Hickory, one of many Democratic Party hypocrites and scoundrels,
Gives the FONGOOL, up the CULO go ahead.
Hey Andy, I’ve got your Jacksonian democracy: Hanging!
The Bureau of Indian Affairs (BIA) mission is to:   "… enhance the quality of life, to promote economic opportunity, and to carry out the responsibility to protect and improve the trust assets of American Indians, Indian tribes, and Alaska Natives. What’s that in the fine print?  Uncle Sammy holds “the trust assets of American Indians.”

Here’s a ******* tip, Geronimo: if he trusted you,
It would ALL belong to you.
To you and The People.
But it’s all fork-tongued white *******.
If true, Indian sovereignty would cease to be a sick one-liner,
Cease to be a blunt force punch line, more of,
King Leopold’s 19th Century stand-up comedy schtick,
Leo Presents: The **** of the Congo.
La Belgique mission civilisatrice—
That’s what French speakers called Uncle Leo’s imperial public policy,
Bringing the gift of civilization to central Africa.
Like Manifest Destiny in America, it had a nice colonial ring to it.
“Our manifest destiny [is] to overspread the continent,
Allotted by Providence for the free development,
Of our yearly multiplying millions.”  John L. O'Sullivan, 1845

Our civilizing mission or manifest destiny:
Either/or, a catchy turn of phrase;
Not unlike another ironic euphemism and semantic subterfuge:
The Pacification of the West; Pacification?
Hardly: decidedly not too peaceful for Cochise & Tonto.
Meanwhile, Madonna is cash rich but disrespected Evita poor,
To wit: A ****** on the Rocks (throwing in a byte or 2 of Da Vinci Code).
Meanwhile, Miss Ciccone denied her golden totem *****.
They snubbed that little guinea ****, didn’t they?
Snubbed her, robbed her rotten.
Evita, her magnum opus, right up there with . . .
Her SNL Wayne’s World skit:
“Get a load of the unit on that guy.”
Or, that infamous MTV Music Video Awards stunt,
That classic ***** Lip-Lock with Britney Spears.

How could I not see that Oscar snubola as prime evidence?
It was just another stunning case of American anti-Italian racial animus.
Anyone familiar with Noam Chomsky would see it,
Must view it in the same context as the Sacco & Vanzetti case,
Or, that arbitrary lynching of 9 Italian-Americans in New Orleans in 1891,
To cite just two instances of anti-Italian judicial reach & mob violence,
Much like what happened to my cousin Dominic,
Gang-***** by the Harlem Globetrotters, in their locker room during halftime,
While he working for Abe Saperstein back in 1952.
Dom was doing advance for Abe, supporting creation of The Washington Generals:
A permanent stable of hoop dream patsies and foils,
Named for the ever freewheeling, glad-handing, backslapping,
Supreme Commander Allied Expeditionary Force (SCAEF), himself,
Namely General Dwight D. Eisenhower, the man they liked,
And called IKE: quite possibly a crypto Jew from Abilene.

Of course, Harry Truman was my first Great White Fascist Father,
Back in 1946, when I first opened my eyes, hung up there,
High above, looking down from the adobe wall.
Surveying the entire circular kiva,
I had the best seat in the house.
Don’t let it be said my Spider Grandmother or Hopi Corn Mother,
Did not want me looking around at things,
Discovering what made me special.
Didn’t divine intervention play a significant part of my creation?
Knowing Mamma Mia and Nonna were Deities,
Gave me an edge later on the streets of Brooklyn.
The Cradleboard: was there ever a more divinely inspired gift to human curiosity? The Cradleboard: a perfect vantage point, an infant’s early grasp,
Of life harmonious, suspended between Mother Earth and Father Sky.
Simply put: the Hopi should be running our ******* public schools.

But it was IKE with whom I first associated,
Associated with the concept 1600 Pennsylvania Avenue.
I liked IKE. Who didn’t?
What was not to like?
He won the ******* war, didn’t he?
And he wasn’t one of those crazy **** John Birchers,
Way out there, on the far right lunatic Republican fringe,
Was he? (It seems odd and nearly impossible to believe in 2013,
That there was once a time in our Boomer lives,
When the extreme right wing of the Republican Party
Was viewed by the FBI as an actual threat to American democracy.)
Understand: it was at a time when The FBI,
Had little ideological baggage,
But a great appetite for secrets,
The insuppressible Jay Edgar doing his thang.

IKE: of whom we grew so, oh-so Fifties fond.
Good old reliable, Nathan Shaking IKE:
He’d been fixed, hadn’t he? Had had the psychic snip.
Snipped as a West Point cadet & parade ground martinet.
Which made IKE a good man to have in a pinch,
Especially when crucial policy direction was way above his pay grade.
Cousin Dom was Saperstein’s bagman, bribing out the opposition,
Which came mainly from religious and patriotic organizations,
Viewing the bogus white sports franchise as obscene.
The Washington Generals, Saperstein’s new team would have but one opponent,
And one sole mission: to serve as the **** of endless jokes and sight gags for—
Negroes.  To play the chronic fools of--
Negroes.  To be chronically humiliated and insulted by—
Negroes.  To run up and down the boards all night, being outran by—
Negroes.  Not to mention having to wear baggy silk shorts.



Meadowlark Lemon:  “Yeah, Charlie, we ***** that grease-ball Dominic; we shagged his guinea mouth and culo rotten.”  

(interviewed in his Scottsdale, AZ winter residence in 2003 by former ESPN commentator Charlie Steiner, Malverne High School, Class of ’67.)
                                                        
  ­                                                                 ­                 
IKE, briefed on the issue by higher-ups, quickly got behind the idea.
The Harlem Globetrotters were to exist, and continue to exist,
Are sustained financially by Illuminati sponsors,
For one reason and one reason only:
To serve elite interests that the ***** be kept down and subservient,
That the minstrel show be perpetuated,
A policy surviving the elaborate window dressing of the civil rights movement, Affirmative action, and our first Uncle Tom president.
Case in point:  Charles Barkley, Dennis Rodman & Metta World Peace Artest.
Cha-cha-cha changing again:  I am Robert Allen Zimmermann,
A whiny, skinny Jew, ****** and rolling in from Minnesota,
Arrested, obviously a vagrant, caught strolling around his tony Jersey enclave,
Having moved on up the list, the A-list, a special invitation-only,
Yom Kippur Passover Seder:  Next Year in Jerusalem, Babaloo!

I take ownership of all my autonomic and conditioned reflexes;
Each personal neural arc and pathway,
All shenanigans & shellackings,
Or blunt force cognitive traumas.
It’s all percolating nicely now, thank you,
In kitchen counter earthen crockery:
Random access memory: a slow-cook crockpot,
Bubbling through my psychic sieve.
My memories seem only remotely familiar,
Distant and vague, at times unreal:
An alien hybrid databank accessed accidently on purpose;
Flaky science sustains and monitors my nervous system.
And leads us to an overwhelming question:
Is it true that John Dillinger’s ******* is in the Smithsonian Museum?
Enquiring minds want to know, Kemosabe!

“Any last words, *******?” TWEETS Adam Smith.
Postmortem cyber-graffiti, an epitaph carved in space;
Last words, so singular and simple,
Across the universal great divide,
Frisbee-d, like a Pleistocene Kubrick bone,
Tossed randomly into space,
Morphing into a gyroscopic space station.
Mr. Smith, a calypso capitalist, and me,
Me, the Poet Laureate of the United States and Adam;
Who, I didn’t know from Adam.
But we tripped the light fantastic,
We boogied the Protestant Work Ethic,
To the tune of that old Scotch-Presbyterian favorite,
Variations of a 5-point Calvinist theme: Total Depravity; Election; Particular Redemption; Irresistible Grace; & Perseverance of the Saints.

Mr. Smith, the author of An Inquiry into the Nature
& Causes of the Wealth of Nations (1776),
One of the best-known, intellectual rationales for:
Free trade, capitalism, and libertarianism,
The latter term a euphemism for Social Darwinism.
Prior to 1764, Calvinists in France were called Huguenots,
A persecuted religious majority . . . is that possible?
A persecuted majority of Edict of Nantes repute.
Adam Smith, likely of French Huguenot Jewish ancestry himself,
Reminds me that it is my principal plus interest giving me my daily gluten.
And don’t think the irony escapes me now,
A realization that it has taken me nearly all my life to see again,
What I once saw so vividly as a child, way back when.
Before I put away childish things, including the following sentiment:
“All I need is the air that I breathe.”

  Send "The Air That I Breathe" Ringtone to your Cell  

The Hippies were right, of course.
The Hollies had it all figured out.
With the answer, as usual, right there in the lyrics.
But you were lucky if you were listening.
There was a time before I embraced,
The other “legendary” economists:
The inexorable Marx,
The savage society of Veblen,
The heresies we know so well of Keynes.
I was a child.
And when I was a child, I spake as a child—
Grazie mille, King James—
I understood as a child; I thought as a child.
But when I became a man I jumped on the bus with the band,
Hopped on the irresistible bandwagon of Adam Smith.

Smith:  “Any last words, *******?”
Okay, you were right: man is rationally self-interested.
Grazie tanto, Scotch Enlightenment,
An intellectual movement driven by,
An alliance of Calvinists and Illuminati,
Freemasons and Johnny Walker Black.
Talk about an irresistible bandwagon:
Smith, the gloomy Malthus, and David Ricardo,
Another Jew boy born in London, England,
Third of 17 children of a Sephardic family of Portuguese origin,
Who had recently relocated from the Dutch Republic.
******* Jews!
Like everything shrewd, sane and practical in this world,
WE also invented the concept:  FOLLOW THE MONEY.

The lyrics: if you were really listening, you’d get it:
Respiration keeps one sufficiently busy,
Just breathing free can be a full-time job,
Especially when--borrowing a phrase from British cricketers—,
One contemplates the sorry state of the wicket.
Now that I am gainfully superannuated,
Pensioned off the employment radar screen.
Oft I go there into the wild ebon yonder,
Wandering the brain cloud at will.
My journey indulges curiosity, creativity and deceit.
I free range the sticky wicket,
I have no particular place to go.
Snagging some random fact or factoid,
A stop & go rural postal route,
Jumping on and off the brain cloud.

Just sampling really,
But every now and then, gorging myself,
At some information super smorgasbord,
At a Good Samaritan Rest Stop,
I ponder my own frazzled neurology,
When I was a child—
Before I learned the grim economic facts of life and Judaism,
Before I learned Hebrew,
Before my laissez-faire Bar Mitzvah lessons,
Under the rabbinical tutelage of Rebbe Kahane--
I knew what every clever child knows about life:
The surfing itself is the destination.
Accessing RAM--random access memory—
On a strictly need to know basis.
RAM:  a pretty good name for consciousness these days.

If I were an Asimov or Sir Arthur (Sri Lankabhimanya) Clarke,
I’d get freaky now, riffing on Terminators, Time Travel and Cyborgs.
But this is truth not science fiction.
Nevertheless, someone had better,
Come up with another name for cyborg.
Some other name for a critter,
Composed of both biological and artificial parts?
Parts-is-parts--be they electronic, mechanical or robotic.
But after a lifetime of science fiction media,
After a steady media diet, rife with dystopian technology nightmares,
Is anyone likely to admit to being a cyborg?
Since I always give credit where credit is due,
I acknowledge that cyborg was a term coined in 1960,
By Manfred Clynes & Nathan S. Kline and,
Used to identify a self-regulating human-machine system in outer space.

Five years later D. S. Halacy's: Cyborg: Evolution of the Superman,
Featured an introduction, which spoke of:  “… a new frontier, that was not,
Merely space, but more profoundly, the relationship between inner space,
And outer space; a bridge, i.e., between mind and matter.”
So, by definition, a cyborg defined is an organism with,
Technology-enhanced abilities: an antenna array,
Replacing what was once sentient and human.
My glands, once in control of metabolism and emotions,
Have been replaced by several servomechanisms.
I am biomechanical and gluttonous.
Soaking up and breathing out the atmosphere,
My Baby Boom experience of six decades,
Homogenized and homespun, feedback looped,
Endlessly networked through predigested mass media,
Culture as demographically targeted content.

This must have something to do with my own metamorphosis.
I think of Gregor Samsa, a Kafkaesque character if there ever was one.
And though we share common traits,
My evolutionary progress surpasses and transcends his.
Samsa--Phylum and Class--was, after all, an insect.
Nonetheless, I remain a changeling.
Have I not seen many stages of growth?
Each a painful metamorphic cycle,
From exquisite first egg,
Through caterpillar’s appetite & squirm.
To phlegmatic bliss and pupa quietude,
I unfold my wings in a rush of Van Gogh palette,
Color, texture, movement and grace, lift off, flapping in flight.
My eyes have witnessed wondrous transformations,
My experience, nouveau riche and distinctly self-referential;
For the most part unspecific & longitudinally pedestrian.

Yes, something has happened to me along the way.
I am no longer certain of my identity as a human being.
Time and technology has altered my basic wiring diagram.
I suspect the sophisticated gadgets and tools,
I’ve been using to shape & make sense of my environment,
Have reared up and turned around on me.
My tools have reshaped my brain & central nervous system.
Remaking me as something simultaneously more and less human.
The electronic toys and tools I once so lovingly embraced,
Have turned unpredictable and rabid,
Their bite penetrating my skin and septic now, a cluster of implanted sensors,
Content: currency made increasingly more valuable as time passes,
Served up by and serving the interests of a pervasively predatory 1%.
And the rest of us: the so-called 99%?
No longer human; simply put by both Howards--Beale & Zinn--

Humanoid.
Julie Grenness Aug 2016
I guess weird is wonderful, eh,
Let's place the fair in welfare today,
Yeah, right, a quest for all our pollies,
Myriad challenges for equity,
True, misery loves comedy,
Someone writes their political scripts,
Listening to Parliament gives me the blip,
Best to off turn the switch,
Pray for a Lazarus economy,
Yes, misery loves comedy.....
But, really not that funny!
Feedback welcome.
Mateuš Conrad Mar 2019
.perhaps that's how the majority of the anglophonic world responds to absurdity, via comedy, via that shlogan: keep calm... worry later, laugh nervously... but given that the 20th century saw the french and the germans, attempt grappling with existentialism, and the absurd... to now see the anglophone world jump the train, late, as ever... and somehow catch-up with mainstreaming the absurd, or existentialism, as if it were a subject matter for: dummies... absurd literature... contemplated in silence, counter the absurd reality... staged, via comedy, with an immediacy of reaction? whereby the desired reflex is laughter... but where there's no canned laughter "compensation"? oh... i'm sure you'll find it hard to translate the absurd from a french mind, into an english gob, via the medium of comedy... given that comedy is absurdity per se... something without a need for focus... and now... ascribing it a focus of attention / address (of "concerns")? you're kidding me, right? some jokes aren't funny... like the best comedy is the sort without a premeditated script? spontaneity being the mother of slap-stick? in situ and (in) quo tempus? the anglophone world partied for most of the 20th century, now they're playing catch-up with 20th century continental thought... obviously allowing themselves the chance to side-track the whole "game" of "catching-up" via the medium of comedy... if that were true... we'd have to ******* "ditto" out, every single ******* word in the lexicon, and put a comma in-between all the words... to allow a fathomability of an unfathomable canvas of nuance.

while watching the gavin mcinnes
interview for 1791...
     ah... pedantic pet peeve...
as someone who comes with
a full-bodied array of accented
parents, 1st migrants...
            oh... look... ****... so am i!
thai...
                lady-boy ******* thrill...
tirade vs. tirade...
h'americans, all sounds the same...
there was no actual distinction
being made...
             from poland to england,
from england it was supposed
to follow: argentina then u.s.a.,
to find out what happened to
my maternal grand-father
who disappeared in a suicide attempt
at the Niagara Falls,
or at least that's where
   we sent his last postcard from,
polyglot, spoke 7 languages...
apparently...
   you wanna know the proper,
old continent variation?
      tyrad: no, not "i tire of trade" -
tire-aid,
              if you want lessons in
elocution... you've come to the right
place...
   i'm entrenched in england,
looking out at no-man's land...
**** on me... the ******* Atlantic!
no: not tire-aid,
ty-rad...
    it's written tirade...
but you can also speak it as follows:
tyrad(e)...
  english, mandible...
like a jaw...
                       like you want more
hyphens, intra-verbum,
to ease off the syllable puncture
wounds from the already
sharpnel post-deutsche of
anglican ßaß?
            how about i cite a magyar
psychiatirst, a dr szasz...
now we're talking!
     i asked one barmaid...
is the S or the Z the surd,
or is it equivalent to the ******
version of sharp objects?
   **** it, let's go full zeppelin and
just write the interchange grapheme...
ßaß...
    the house of ßaß of Poland...
Poland, the brothel of monarchs...
foreign rulers came in,
ruled,
   then with fickle brains
decided to carve the territory up...
no wonder...
  the current "rulers" of Poland?
like allowing the Eire to rule Iceland...
paradoxical complications
of sorts, never to be resolved...
thai-raid...
       thai-rad.,
                    inject an aspect of
the tetragrammaton into the equation...
and you'll find yourself
in the company of latin gnostics,
not the greek sort,
        hey, if every letter in this phonetic
script is a pair of *******
and a waggling tongue of
invitation within the protruding *****...
the arabs are all high-minded
with their scribbly lines...
and the necessary open orthography
in road signs,
at least the jews managed,
somehow,
   to hide their vowels,
as diacritical marks...
   on street signs?
         a ******* vowel roulette...
good luck spotting the wheel of

                            a (kametz)

        
i (chirek)                                           o (cholem)





              u (shurek)                   e (tzere)      

mind you: that's an anti-thesis of
the Zen concept of en-sō           -
you can't exactly draw a perfect
hexagram...
     but you can... when drawing
a pentagram... the eastern circle,
is the western pentagram...

   same **** with h'americans teaching
the english to spell out
and speak: spaghetti -
   pierdolone kluściaże...
oh look...
    another googlewhack!
kluściaże
   http ://tiny   url.
                  com/y5p    n745c...
that wasn't me,
                was it? 'throth'?

it's almost like discovering a cymry Y
(sim-roo)
             we can play this game,
day in, day out...
become very pedantic about
all those, many, many, many english
idiosyncratic variations of:
where diacritical markers should
be placed,
where a phonetic writing
of an otherwise orthodox speaking
of the word,
    and all the lack
of orthography, beside the base
of spelling...
   reading one language,
speaking the same language
differentiate...
   and how english just allows
a plethora of accents...
                       you name it...

this is my avenue,
i get off right about, now...
       staring too long at
the mendeleev table...
   i'm seeing cut-and-fix "problems"
that require explaining...

    the time is ripe,
    i can't just leave Ezra *****-nilly
on the fence...
should i ever visit h'america?
   two places i want to visit,
the fly-over states,
   and little town h'america...

      no... nothing else...
not the grand monstrosities of
the urban enclaves...
not exactly the pompous north-east...
or the detached north-west...
            as that some askance-neu -
perhaps texas...
           i'd love to see
little-****-town-h'america...
          the outliers...
        where the gąsienica
     of the czołg...      
   (caterpillar of the tank)
    has made pâté of the mount of pol ***:
as much bone as brains...
   a porky-porky fetish
                         of imagination -

nope...
      a place i could mesh myself into...
"disappear"...
        
      tie-raid...
    ty-rad...
 ­                  poe-tay-toe...
                             p'oh-t'ah-t'oh      

sure, sure, same language...
cricket, baseball.

   p.s. wanna see the phonetic tongue
on a word such as, fade?
sure you do:
                               fay'd.
Mateuš Conrad Nov 2017
no number of opinions will alleviate this apathy, promised, paradoxically: a pandora's box of pathology, which is why attempting dialectics is a farce, a cheap magic trick for a talk-show host in being "understanding", to attempt in mediating, and then scoffing it off, like some under baked crumpet / scone, and yes, it makes sense, pivoting on the possession of a conscience... it's not that some people appear to now possess it, but that they are comical in possessing, and comedy is always nuanced, an ambiguity surrounds their conscience... the binary opposite of comedy? the birth of the tragedy, a succumbing to madness, a suicide... every person possesses a conscience, as the universal law of unit, but comedy hides a person with a grieving conscience, making the person so callus as to make them donkeys, laughing stocks, spaghetti entangled liars... it's only a conscience triggered into a tragedy that reeks with redemptive qualities ascribed to a person, cf. the already mentioned carl sergeant and 'arvey 'ard on weinstein... in the spirit of the film split: rejoice! for those who have suffered are redeemed! rejoice! said the beast. the comedy is near impossible to avoid in post-script idiocy beaming the letters FAIL; the tragedy of conscience, at least we know some evil doers in death are redeemed with the only puritanical act to redeem conscience: the bride of honour.*

can an intelligent person make a slapstick
joke?
  or is it that,
   a dumb person cannot make an original
joke?

besides the point,
  a question is a question -
  and as most questions go -
it's not whether there's a correct
or wrong answer,
rather, whether there actually is
an answer to accomplish
that stated question.

i've noticed a resurgence of dialectical
inquiry, but i have decided to
avoid perfecting the art,
   other than in person,
on a park bench, rather than on
a page in pixel white...

  oh sure, i have a life beyond this
outlet,
and i rarely write a platonic dialogue
to reinforce my experiences,
i once enforced a question
upon a child in a supermarket:
do you think animals are unable
to see 3-dimensional objects
     in / on a 2-dimensional canvas?
he didn't answer, because his guardian
thought i was weird in my
presumption...
which was, however you imagine it:
casual, cordial, orientated
within the adequate use of time and space
for the question to be asked.

personally i find myself if a binary
realm of,
   which isn't exactly a left right divide -
as a "schizophrenic" i am marching
down the middle, and asking myself:
   there's only the middle to mind,
and the mind is the only thing worth
juggling, sure, but juggling
a thesis hemisphere and an antithesis
hemisphere becomes lost in
the schizophrenic-quadratic -
      right down the middle.

which is why i find modern attempts
at dialectics so odd...
i prescribed myself dialectical escapism,
simply because there are too
many opinions i'm simply not interested in.

people seem to have stored these opinions
for so long, they are choking at not
having talked about them...
  it's apparent in comedy...
among comics...
                    they simply say:
if we can't bypass the comedy and sit down
with a cold beer, we can't actually
take the opinion seriously,
  if we can't, at first, make a joke of it...
that's hard...
              that's near impossible to stage...
you can realise the complexity of
enabling a seriousness with a comic precursor
antics to "soften" the blow of
approach...
that is why i await the awaited for
dialectical artist, who must be much
older than i, frankly the age of socrates,
i can only fathom dialectical escapism,
    in that i can fathom an opinion,
but i can't fathom being endearing to it,
keeping it, nurturing it,
       maturing it,
                     making the animate
water into inanimate ice...
                       which leaves steam
   a categorical conundrum of categorisation...

in terms of the human mind,
i can only find comparison with Alcatraz...
i am forever attempting escape,
i know i will be aided by the snitch,
judas, death...
     but i have to be lodged into
a vocab that may aid me,
  or hinder me.

                   the human experience is
an Alcatraz because of the a priori principle -
what came before me: set the rules,
the winding corridors where
i'm not the Minotaur,
but the scared victim,
   or just the dumb-enough brick of
the labyrinth's wall.
or? the a posteriori principle -
           i impose my own graffiti on
the walls, and be the Minotaur of the long
wait of life, with death:
my morphine angel.
                              
         but i see no desire to engage in
dialectical endeavours,
            hence my choice in attempting
a purification of poetry,
against technique of schooling,
  in making poetry less and less
musically orientated, and returned to
its primordial genesis: of narrative.

  hence my dialectical escapism,
i really have not stable opinion,
or opinion i'd like to adhere to, to subsequently
hug a pillar of a Parthenon.
                
- believe me when i say that the english
language has no inclination of
orthography, since it uses no diacritical
distinctions...
  and yes... russian diacritics is ugly as
your waning babushka of "secrets"...
  - the beauty of existentialism?
            avoidance of the thesaurus,
mismatching words, ambiguity -
the phraseology of: for lack of a better word...
     fiddly parts, you know,
            **** it, you can't exactly
interrupt a waterfall, so why bother
   attempting to boil some water in a saucepan?

  the world once believed in the enterprise
of dialectics, but since the emergence
of a third party mediator,
       what sort of "dialogue's" worth of
the dialectical endeavour is there left?
once upon a time, in ancient,
the mediator of a dialogue was a park
bench, after that a stage for actors...
who asked these third party ponces,
  more to the point: who invited these
plebs into our private debate so they can
mere awe and sigh their saturday nights off?!
who the **** let these plebs in?!

       i'm a pleb, i can call them plebs,
do i ******* look like i work at 10 downing st.?!
plebs only understand pleb talk,
  rude, incoherent, mildly orientated
in journalism, and ever wishing for some
marquis de sade hard-ons.

i encourage dialectical escapism, frankly,
because,
          i 've found that i have a bare
minimum, laurel leaf worth of covering my
genitals aspiration to keep opinions...
    opinions have become spare change,
you loose them almost all the time,
they're the pennies from heaven,
some other lucky ****** might find them,
and then the resourcefulness of that poor
****** is imminent: spend it,
what's there to debate?

                    the only truth of opinion is
that one man keeps them,
and by keeping them, idealises them,
thus becoming an idealist,
  or that another man discards them
as easily as a ***** peacock,
and by doing the ***** peacock strut,
discarding them,
          becomes a chameleon,
a "non-conformist" (**** me that's
stretching the idealist antonym);
  
   if there's a truth: it's a bunch of lies -
and if there's a lie: it's the only truth -
because the rule of pluralism (borrowed from
heidegger states):

          one truth = many lies
           one lie = only one truth

(there is no pluralism of a truth,
       but there is a pluralism of a lie -
the genesis of a lie is?
             a continuum beginning
with the original temptation -
truth is "plural" but it is not
a continuum of precipitation,
but even if it is dismembered
it is a whole, already apparent,
           or rather: to be made apparent,
it does not require a preceding step
to provide a pro-ceding step...
   lies are obstructive,
truth never obstructs; truth rapes,
while lies groom)...

   unum verum = falsum multis
   falsum unum = solum verum unum selem.
Who would not laugh, if Lawrence, hired to grace
His costly canvas with each flattered face,
Abused his art, till Nature, with a blush,
Saw cits grow Centaurs underneath his brush?
Or, should some limner join, for show or sale,
A Maid of Honour to a Mermaid’s tail?
Or low Dubost—as once the world has seen—
Degrade God’s creatures in his graphic spleen?
Not all that forced politeness, which defends
Fools in their faults, could gag his grinning friends.
Believe me, Moschus, like that picture seems
The book which, sillier than a sick man’s dreams,
Displays a crowd of figures incomplete,
Poetic Nightmares, without head or feet.

  Poets and painters, as all artists know,
May shoot a little with a lengthened bow;
We claim this mutual mercy for our task,
And grant in turn the pardon which we ask;
But make not monsters spring from gentle dams—
Birds breed not vipers, tigers nurse not lambs.

  A laboured, long Exordium, sometimes tends
(Like patriot speeches) but to paltry ends;
And nonsense in a lofty note goes down,
As Pertness passes with a legal gown:
Thus many a Bard describes in pompous strain
The clear brook babbling through the goodly plain:
The groves of Granta, and her Gothic halls,
King’s Coll-Cam’s stream-stained windows, and old walls:
Or, in adventurous numbers, neatly aims
To paint a rainbow, or the river Thames.

  You sketch a tree, and so perhaps may shine—
But daub a shipwreck like an alehouse sign;
You plan a vase—it dwindles to a ***;
Then glide down Grub-street—fasting and forgot:
Laughed into Lethe by some quaint Review,
Whose wit is never troublesome till—true.

In fine, to whatsoever you aspire,
Let it at least be simple and entire.

  The greater portion of the rhyming tribe
(Give ear, my friend, for thou hast been a scribe)
Are led astray by some peculiar lure.
I labour to be brief—become obscure;
One falls while following Elegance too fast;
Another soars, inflated with Bombast;
Too low a third crawls on, afraid to fly,
He spins his subject to Satiety;
Absurdly varying, he at last engraves
Fish in the woods, and boars beneath the waves!

  Unless your care’s exact, your judgment nice,
The flight from Folly leads but into Vice;
None are complete, all wanting in some part,
Like certain tailors, limited in art.
For galligaskins Slowshears is your man
But coats must claim another artisan.
Now this to me, I own, seems much the same
As Vulcan’s feet to bear Apollo’s frame;
Or, with a fair complexion, to expose
Black eyes, black ringlets, but—a bottle nose!

  Dear Authors! suit your topics to your strength,
And ponder well your subject, and its length;
Nor lift your load, before you’re quite aware
What weight your shoulders will, or will not, bear.
But lucid Order, and Wit’s siren voice,
Await the Poet, skilful in his choice;
With native Eloquence he soars along,
Grace in his thoughts, and Music in his song.

  Let Judgment teach him wisely to combine
With future parts the now omitted line:
This shall the Author choose, or that reject,
Precise in style, and cautious to select;
Nor slight applause will candid pens afford
To him who furnishes a wanting word.
Then fear not, if ’tis needful, to produce
Some term unknown, or obsolete in use,
(As Pitt has furnished us a word or two,
Which Lexicographers declined to do;)
So you indeed, with care,—(but be content
To take this license rarely)—may invent.
New words find credit in these latter days,
If neatly grafted on a Gallic phrase;
What Chaucer, Spenser did, we scarce refuse
To Dryden’s or to Pope’s maturer Muse.
If you can add a little, say why not,
As well as William Pitt, and Walter Scott?
Since they, by force of rhyme and force of lungs,
Enriched our Island’s ill-united tongues;
’Tis then—and shall be—lawful to present
Reform in writing, as in Parliament.

  As forests shed their foliage by degrees,
So fade expressions which in season please;
And we and ours, alas! are due to Fate,
And works and words but dwindle to a date.
Though as a Monarch nods, and Commerce calls,
Impetuous rivers stagnate in canals;
Though swamps subdued, and marshes drained, sustain
The heavy ploughshare and the yellow grain,
And rising ports along the busy shore
Protect the vessel from old Ocean’s roar,
All, all, must perish; but, surviving last,
The love of Letters half preserves the past.
True, some decay, yet not a few revive;
Though those shall sink, which now appear to thrive,
As Custom arbitrates, whose shifting sway
Our life and language must alike obey.

  The immortal wars which Gods and Angels wage,
Are they not shown in Milton’s sacred page?
His strain will teach what numbers best belong
To themes celestial told in Epic song.

  The slow, sad stanza will correctly paint
The Lover’s anguish, or the Friend’s complaint.
But which deserves the Laurel—Rhyme or Blank?
Which holds on Helicon the higher rank?
Let squabbling critics by themselves dispute
This point, as puzzling as a Chancery suit.

  Satiric rhyme first sprang from selfish spleen.
You doubt—see Dryden, Pope, St. Patrick’s Dean.
Blank verse is now, with one consent, allied
To Tragedy, and rarely quits her side.
Though mad Almanzor rhymed in Dryden’s days,
No sing-song Hero rants in modern plays;
Whilst modest Comedy her verse foregoes
For jest and ‘pun’ in very middling prose.
Not that our Bens or Beaumonts show the worse,
Or lose one point, because they wrote in verse.
But so Thalia pleases to appear,
Poor ******! ****** some twenty times a year!

Whate’er the scene, let this advice have weight:—
Adapt your language to your Hero’s state.
At times Melpomene forgets to groan,
And brisk Thalia takes a serious tone;
Nor unregarded will the act pass by
Where angry Townly “lifts his voice on high.”
Again, our Shakespeare limits verse to Kings,
When common prose will serve for common things;
And lively Hal resigns heroic ire,—
To “hollaing Hotspur” and his sceptred sire.

  ’Tis not enough, ye Bards, with all your art,
To polish poems; they must touch the heart:
Where’er the scene be laid, whate’er the song,
Still let it bear the hearer’s soul along;
Command your audience or to smile or weep,
Whiche’er may please you—anything but sleep.
The Poet claims our tears; but, by his leave,
Before I shed them, let me see ‘him’ grieve.

  If banished Romeo feigned nor sigh nor tear,
Lulled by his languor, I could sleep or sneer.
Sad words, no doubt, become a serious face,
And men look angry in the proper place.
At double meanings folks seem wondrous sly,
And Sentiment prescribes a pensive eye;
For Nature formed at first the inward man,
And actors copy Nature—when they can.
She bids the beating heart with rapture bound,
Raised to the Stars, or levelled with the ground;
And for Expression’s aid, ’tis said, or sung,
She gave our mind’s interpreter—the tongue,
Who, worn with use, of late would fain dispense
(At least in theatres) with common sense;
O’erwhelm with sound the Boxes, Gallery, Pit,
And raise a laugh with anything—but Wit.

  To skilful writers it will much import,
Whence spring their scenes, from common life or Court;
Whether they seek applause by smile or tear,
To draw a Lying Valet, or a Lear,
A sage, or rakish youngster wild from school,
A wandering Peregrine, or plain John Bull;
All persons please when Nature’s voice prevails,
Scottish or Irish, born in Wilts or Wales.

  Or follow common fame, or forge a plot;
Who cares if mimic heroes lived or not!
One precept serves to regulate the scene:
Make it appear as if it might have been.

  If some Drawcansir you aspire to draw,
Present him raving, and above all law:
If female furies in your scheme are planned,
Macbeth’s fierce dame is ready to your hand;
For tears and treachery, for good and evil,
Constance, King Richard, Hamlet, and the Devil!
But if a new design you dare essay,
And freely wander from the beaten way,
True to your characters, till all be past,
Preserve consistency from first to last.

  Tis hard to venture where our betters fail,
Or lend fresh interest to a twice-told tale;
And yet, perchance,’tis wiser to prefer
A hackneyed plot, than choose a new, and err;
Yet copy not too closely, but record,
More justly, thought for thought than word for word;
Nor trace your Prototype through narrow ways,
But only follow where he merits praise.

  For you, young Bard! whom luckless fate may lead
To tremble on the nod of all who read,
Ere your first score of cantos Time unrolls,
Beware—for God’s sake, don’t begin like Bowles!
“Awake a louder and a loftier strain,”—
And pray, what follows from his boiling brain?—
He sinks to Southey’s level in a trice,
Whose Epic Mountains never fail in mice!
Not so of yore awoke your mighty Sire
The tempered warblings of his master-lyre;
Soft as the gentler breathing of the lute,
“Of Man’s first disobedience and the fruit”
He speaks, but, as his subject swells along,
Earth, Heaven, and Hades echo with the song.”
Still to the “midst of things” he hastens on,
As if we witnessed all already done;
Leaves on his path whatever seems too mean
To raise the subject, or adorn the scene;
Gives, as each page improves upon the sight,
Not smoke from brightness, but from darkness—light;
And truth and fiction with such art compounds,
We know not where to fix their several bounds.

  If you would please the Public, deign to hear
What soothes the many-headed monster’s ear:
If your heart triumph when the hands of all
Applaud in thunder at the curtain’s fall,
Deserve those plaudits—study Nature’s page,
And sketch the striking traits of every age;
While varying Man and varying years unfold
Life’s little tale, so oft, so vainly told;
Observe his simple childhood’s dawning days,
His pranks, his prate, his playmates, and his plays:
Till time at length the mannish tyro weans,
And prurient vice outstrips his tardy teens!

  Behold him Freshman! forced no more to groan
O’er Virgil’s devilish verses and his own;
Prayers are too tedious, Lectures too abstruse,
He flies from Tavell’s frown to “Fordham’s Mews;”
(Unlucky Tavell! doomed to daily cares
By pugilistic pupils, and by bears,)
Fines, Tutors, tasks, Conventions threat in vain,
Before hounds, hunters, and Newmarket Plain.
Rough with his elders, with his equals rash,
Civil to sharpers, prodigal of cash;
Constant to nought—save hazard and a *****,
Yet cursing both—for both have made him sore:
Unread (unless since books beguile disease,
The P——x becomes his passage to Degrees);
Fooled, pillaged, dunned, he wastes his terms away,
And unexpelled, perhaps, retires M.A.;
Master of Arts! as hells and clubs proclaim,
Where scarce a blackleg bears a brighter name!

  Launched into life, extinct his early fire,
He apes the selfish prudence of his Sire;
Marries for money, chooses friends for rank,
Buys land, and shrewdly trusts not to the Bank;
Sits in the Senate; gets a son and heir;
Sends him to Harrow—for himself was there.
Mute, though he votes, unless when called to cheer,
His son’s so sharp—he’ll see the dog a Peer!

  Manhood declines—Age palsies every limb;
He quits the scene—or else the scene quits him;
Scrapes wealth, o’er each departing penny grieves,
And Avarice seizes all Ambition leaves;
Counts cent per cent, and smiles, or vainly frets,
O’er hoards diminished by young Hopeful’s debts;
Weighs well and wisely what to sell or buy,
Complete in all life’s lessons—but to die;
Peevish and spiteful, doting, hard to please,
Commending every time, save times like these;
Crazed, querulous, forsaken, half forgot,
Expires unwept—is buried—Let him rot!

  But from the Drama let me not digress,
Nor spare my precepts, though they please you less.
Though Woman weep, and hardest hearts are stirred,
When what is done is rather seen than heard,
Yet many deeds preserved in History’s page
Are better told than acted on the stage;
The ear sustains what shocks the timid eye,
And Horror thus subsides to Sympathy,
True Briton all beside, I here am French—
Bloodshed ’tis surely better to retrench:
The gladiatorial gore we teach to flow
In tragic scenes disgusts though but in show;
We hate the carnage while we see the trick,
And find small sympathy in being sick.
Not on the stage the regicide Macbeth
Appals an audience with a Monarch’s death;
To gaze when sable Hubert threats to sear
Young Arthur’s eyes, can ours or Nature bear?
A haltered heroine Johnson sought to slay—
We saved Irene, but half ****** the play,
And (Heaven be praised!) our tolerating times
Stint Metamorphoses to Pantomimes;
And Lewis’ self, with all his sprites, would quake
To change Earl Osmond’s ***** to a snake!
Because, in scenes exciting joy or grief,
We loathe the action which exceeds belief:
And yet, God knows! what may not authors do,
Whose Postscripts prate of dyeing “heroines blue”?

  Above all things, Dan Poet, if you can,
Eke out your acts, I pray, with mortal man,
Nor call a ghost, unless some cursed scrape
Must open ten trap-doors for your escape.
Of all the monstrous things I’d fain forbid,
I loathe an Opera worse than Dennis did;
Where good and evil persons, right or wrong,
Rage, love, and aught but moralise—in song.
Hail, last memorial of our foreign friends,
Which Gaul allows, and still Hesperia lends!
Napoleon’s edicts no embargo lay
On ******—spies—singers—wisely shipped away.
Our giant Capital, whose squares are spread
Where rustics earned, and now may beg, their bread,
In all iniquity is grown so nice,
It scorns amusements which are not of price.
Hence the pert shopkeeper, whose throbbing ear
Aches with orchestras which he pays to hear,
Whom shame, not sympathy, forbids to snore,
His anguish doubling by his own “encore;”
Squeezed in “Fop’s Alley,” jostled by the beaux,
Teased with his hat, and trembling for his toes;
Scarce wrestles through the night, nor tastes of ease,
Till the dropped curtain gives a glad release:
Why this, and more, he suffers—can ye guess?—
Because it costs him dear, and makes him dress!

  So prosper eunuchs from Etruscan schools;
Give us but fiddlers, and they’re sure of fools!
Ere scenes were played by many a reverend clerk,
(What harm, if David danced before the ark?)
In Christmas revels, simple country folks
Were pleased with morrice-mumm’ry and coarse jokes.
Improving years, with things no longer known,
Produced blithe Punch and merry Madame Joan,
Who still frisk on with feats so lewdly low,
’Tis strange Benvolio suffers such a show;
Suppressing peer! to whom each vice gives place,
Oaths, boxing, begging—all, save rout and race.

  Farce followed Comedy, and reached her prime,
In ever-laughing Foote’s fantastic time:
Mad wag! who pardoned none, nor spared the best,
And turned some very serious things to jest.
Nor Church nor State escaped his public sneers,
Arms nor the Gown—Priests—Lawyers—Volunteers:
“Alas, poor Yorick!” now for ever mute!
Whoever loves a laugh must sigh for Foote.

  We smile, perforce, when histrionic scenes
Ape the swoln dialogue of Kings and Queens,
When “Crononhotonthologos must die,”
And Arthur struts in mimic majesty.

  Moschus! with whom once more I hope to sit,
And smile at folly, if we can’t at wit;
Yes, Friend! for thee I’ll quit my cynic cell,
And bear Swift’s motto, “Vive la bagatelle!”
Which charmed our days in each ægean clime,
As oft at home, with revelry and rhyme.
Then may Euphrosyne, who sped the past,
Soothe thy Life’s scenes, nor leave thee in the last;
But find in thine—like pagan Plato’s bed,
Some merry Manuscript of Mimes, when dead.

  Now to the Drama let us bend our eyes,
Where fettered by whig Walpole low she lies;
Corruption foiled her, for she feared her glance;
Decorum left her for an Opera dance!
Yet Chesterfield, whose polished pen inveighs
‘Gainst laughter, fought for freedom to our Plays;
Unchecked by Megrims of patrician brains,
And damning Dulness of Lord Chamberlains.
Repeal that act! again let Humour roam
Wild o’er the stage—we’ve time for tears at home;
Let Archer plant the horns on Sullen’s brows,
And Estifania gull her “Copper” spouse;
The moral’s scant—but that may be excused,
Men go not to be lectured, but amused.
He whom our plays dispose to Good or Ill
Must wear a head in want of Willis’ skill;
Aye, but Macheath’s examp
Charlie Chaplin, set the pace
Buster Keaton, old stone face
Groucho and the brothers Marx
Margaret Dumont for some sparks
Harold Lloyd, The Brothers Ritz
Did I mention Zazu Pitts?
Stan and Ollie, Keystone Cops
Chases that just wouldn't stop
The Stooges, Larry, Curly, Moe
and then theres Shemp and Curly Joe
Bing and Bob, and Dean and Jerry
Two could sing, while two made merry
Bud and Lou and who's on first?
Harry Langdon and Charlie Chase
I think who is on first base
Mabel Normand and Mack Swain
Always tied before the train
Pie fights, slapstick in black and white
This was when we laughed all night
Mack Sennet, Roach, and Our Gang
Spanky and Alfalfa sang
Words were twisted, spun and turned
People splashed and others burned
Remember back to days of yore
To when they had you on the floor
Rembember Baby Rose Marie
She started at the age of three
Many more could make the list
For many I know that I missed
Make 'em laugh and take a pie
Get sprayed with seltzer in the eye
Go and watch their films again
So comedy will always reign
Thank you to the funny folk
Who taught us how to take a joke....
Michael W Noland Sep 2012
[A] is for
An
Archer with
An
Arrow through his
Adams
Apple, very
Applicable, to the
Ample
Amounts of
Amiable
Attitude,
Adorning his heart, in
After
Action
Attributes, that impart, the
Admiration, of
*******, in this
Acting out of
Arrogance bit. he is,
Astute, in his
Allure, and
Aloof, in the
Air, of
Aspiration, in which, he was
Alienated in the
Agony, of
Asking
Assassins, the
Aforementioned. lights, camera,
Action. recipe of the
Ancient
Admirals of
Avian
Aliens, that
Attacked, with the
Arms and fists, of
Arachnids, now
Aching to be
Activated in sudden
Allegiance to the
Answers, of the truth.
Accumulating wealth for
Anarchy's of
Abating
Angels in
Atrophied,
Alchemical
Academies of the ever
After life .. . of silence.
****** strengthens in these
Accolades of violence, in
Alliance to
Appliances
Appearing in the
Arson of
Apathy, happily, to
Anguish in the
Amputation of my
Abdomen, if it meant i'm a real
American, even, when, only
Ash, remains.
Acclimating in its remains
Attained, the
Articles of my pain, in
Affluent shame, next time ..
Aim... oak
[A]?

[B] is for the
Bah of
Black sheep, and
Big
Bit¢hes, fat cats,
Bombarded in the
Blasted,
Bastion of
Blackened
Benevolent
Blokes,
Berating the
Blasphemous,
Be-seech, of
Brains, to feel
Bad, about the
Blotching of
Binary codes, erroding, the
Blanked out
Books, of
Belittled
Bureaucrats,
Bowling
Back the
Bank rolls of
Betterment, from the
Back of the
Blackened
Bus, as i'm
Busting guts, in the
Bubbling
Butts, of *****
Benched, but
Beautiful, in the
Battle, in the
Bane, of existence.
Baffled, in the strain of
Belligerence, in
Beating the
Beaming
Butchery into
Billy's
Broken
Brains, in
Bouts, of
Battering
Bobby's for
Bags of
*******
Before, affording to
Build
Bombs, is just
Beyond
Breaking
Beer
Bottles on the
*******
Benefactors of
Boulder
Bashing with the
Beaks, of
Birds, with no
Bees. just a
Being, trying to
[B]


[C] is for the
*****
Courting the
Choreography, in
Computerized
Curtains,
Circumventing the
Cultured,
Contrivance of
Chromatic
Cellars,
Calibrating, to the
Contours of
Calamities,
Celebrating the
Cyclical,
Cylinders of
Cyphered
Calenders,
Correcting the
Calculations, of
Crooks
Coughing, in
Courageous
Coffins of
Canadians,
Collecting
Cobble stones, from
Catacombs, in the lands of the
Conquered,
Capturing the
Claps of thieves, sneaky
Cats, of greed. its
Comedy. oh
Comely, to my
Cling of
Cleanliness, and for your self
[C]

[D] is for the
Dip *****, as they
Delve
Deeper in the
Deliverance, of
Deviant
Deities,
Dying to
Demand
Dinner
Delivered in the throws of
Death,
Deceiving
Defiance of
Darkened
Dreams,
Demeaning that which
Deems the
Dormant of the
Dominant, to be
Demons of
Deviled
Devilry,
Dooming us for
Destruction.
Deploy the,
Damsels in
Duress.
Defiled and
Distressed,
Detestable and
Dead. in the thump of
Drums,
Dumbing down the
Debts of,
Dire regrets.
Dissect the
Daisies of,
Disillusion, in the current
Days,
Diluting night into
Dawn,
Disconnecting the
Dots of the
Dichotomy, and arming me, in the
Diabolatry, of,
Demonology, as i watch me
Dwindle away, the
[D]

[E] is for
Everything in nothing,
Eating the
Euphoric
Enigmas of
Enlightened
Elitists,
Exceeding in the
Extravagant
Essence of
Esoteric
Euphemisms,
Escaping the
Elegance of the
Elements in the
Eccentricity of
Eclectic
Ecstasy,
Exhaling, the
Exostential blessings, of inner
Entities, and renouncing the
Enemies of my
Ease,
Easily to appease
Extraterestrial
Empires,
Extracting the lost
Embers of
Enlightenment, in
Excited delight, but to later
Entice, the fight, and
Escape, like a thief into the night of
Everywhere,
Entering the
Exits of
Elevators leading no where, to
Elevate, this useless place,
Encased in malware in the
Errant
Errors of
Every man,
Enslaved, of flesh and
Entrails,
Enveloping the core of
Everything, that matters,
Enduring, the chatter, of
Evermore,
Ever present in
Everybody
Ever made to take
[E]

Funk the
Ferocity of
Foolish
Fandangos, with
Fanged
Fanatics,
Fooled in the
Fiasco of
Fumbled
Fantasies,
Falling through the
Farms of
Freely
Found
Fans,
Flying in the
Fame of
Fortune.
Fornicating on the
Fallen
Fears of
Fat
Fish getting their
Fillet of
Fills.
Feel me in the
Frills

Granted with
Generosity.
Giblets of
Gratitude and
Greed,
Greeting the
Goop and
Gobbled
Gore,
Gleaned from the
Glamour of
Ghouls in
Gillie suits,
Getting what they
Got
Going, in the
Gratuitous
Gallows of a
Game
Gaffed by
Giants.

Hello to the
Horizon of
Hellish
Hilarity, in
Hope of
Happy, to
Heave from
Heifers, to
Help the
Hemp
Harshened
Hobos in
Heightened
Horror, to
Honor the
Habitats of
Hapless
Habituals,
Herbalising the work
Horse, named
Have Not, in the
Haughtily
Hardened
Houses of
Happenstance.

Ignore the
Ignorant
Idiots, too
Illiterate to
Indicate the
Indicative
Instances of
Idiom in the
Irrelevant
Inaccuracy of
I,
In the
Intellect of
Idle
Individuals,
Irritated with the
Irate
Illusion of
Idols
Illustrated upon the
Iris,
In the
Illumination of
I.

******* the
Jobless
Jokers, and
Jimmy the
Jerkins from their
Jammie's, in
Justified,
Jousting off the
Jumps, in
Jokes, and
Jukes of
Just
Jailers,
Jesting for
Jammed
Jury's to
****
Judgment from the
Jitter
Juiced
Jeans of
Jesus.

**** the
Keep of
Khaki-ed
Kool aid men,
Kept in the
Kilometers of
Kits,
Kin-less
Kinetics,
Knifing the
Knights of
Kneeling
Kinsmanship,
Keeling over the
Keys of
Kaine, with the
Karmic
Karate
Kick of a
Kangaroo.

Love the
Levity, in the
Luxurious
Laments of
Loveliness,
Lovingly
Levitating in
Level,
Lucidly.
Living in
Laps, of
Lapses,
Looping, but
Lacking the
Loom of the
Latches
Locked with
Leeches of the
Lonely
Lit
Leering of
Lightly
Limbs, that
Lash at the
Lessers in
Loot of
Lost letters,
Lest we
Learned in the
Lessons of
Liars.

Marooned in
Maniacal
Masterpieces,
Masqueraded as
Malignant
Memorization's of
Motionless
Mantras, but
Merrily
Masking
Mikha'el the
Mundane, who is
Musically
Mused of
Monsters,
Mangling the
Monitor, but
Maybe just a
Moniker of
Marauders.

Never to
Navigate the
Nautical
Nether of
Never
Nears.
Not to
Nit pic the
Naivety of
Nicety.
Notions
Neither take
Note
Nor
Name the
Noise of
Nats in the
Nights of
Neanderthals
Napping in the
Nets of
Ninjas

Ominous in the
Obvious
Omnipotence of
Oblivious
Obligatory
Opulence,
Of
Other
Oddly
Orchards
Of
Offices,
Ordaining
Orifices in
Offers of
Ordinary
Ordinances in
Option-less
Optics,
Optionally an
On-call Oracle, in
Optimal,
Overture.

Perusing the
Pestilent
Pedestals of
Personal,
Parameters,
Pursuing the
Petty
Plumes of
Piety with the
Patience of a
Pharaoh,
******* on the
People with the
Penal
Pianos of
Port-less
Portals, in the
Paperless
Points in the
Palpal
Pats of
Pettiness.
Poor, but
Prideful.

Quick to
Qualify the
Quitter for a
Quick
Quill in
Queer
Quivering of
Quickened
Questioning,
Queried in the
Quakiest of
Quandaries.
Quarantined to a
Quadrant, of
Quagmires.
Questing the
Quizzing of
Quotable
Quartets.

Relax in the
Relapse of
Realizations, and
React with
Racks of
Rolling
Rock to
Rate the
Rep of the
Rain-less.
Roar in
Rapturous
Rendering of the
Random
Readiness in the
Ravenous,
Rallying, of the
Retinal
Refracting of
Reality.
Realigning, the
Righteous
Rearing of the
Realm, and
Retrying.

Steer the
Serenity in
Sustainability, and
Slither through the
Seams of
Slumbered
Scenes.
Secrete the
Solo
Sobriety of
Sapped
Sassys,
Salivating upon a
Slew of
Stupidity,
Steadily
Supplied in
Stream,
Suitably
Slain in the
Steam of
Sanity.
Sadly, i
Still
Seem,
Salvagable.

Topple
The
Titans in
Tightened
Terror.
Torn
Territories
Turn
Turbulent in
The
Teething of
Totality.
The
Telemetry of
Time,
Tortured of
Torrent
Theories,
Told in
Turrets of
Transpiring
Terribleness, from
Tumultuous
Tikes unto
Teens,
Trading
Toys for
Tea.
Thrice
Thrusted upon by the
Tyranny of
Tanks.

Unanimous is the
Ugliness in the
Undertones of
Undreamed
Ulteriors
Undergoing the
Unclean in the
***** of
Utterly
Upset
Users,
Uplifting the
Unfitting
Ushers in
Underwear-less,
Ulcers,
Undergoing the
Ultra of
Uberness.

Venial in
Vindictive
Viciousness of
Vindicated
Venom,
Venomously
Vilifying the
Vials of
Villainy in the
Veins of
Vampires,
Validity of
Valuable
Violence, is
Valiant in the
Vaporous
Vacationing of
Vagrant
Vices.

Why
Whelp in the
Weather
When you can
Wave to the
Whirling
Wisps,
Whipping Where the
Whimsical Were
Way back in the
Wellness of
Whip its,
Wrangling my
World,
With
Waterless
Worms, as
War shouts are
Wasted in the
Wackiest
Walks of
Waking
Wonder.

Xenophobic
Xenogogue, of
Xenomorphic
Xeons, turn
Xyphoid, in the
Xenomenia of my
X, my
Xenolalia of
X, to
***. im lost in the
Xenobiotic zen of
Xerces, on a
Xebec to the
X on the map.
Xenogenesis, in the
Xesturgy of my
Xyston
Xd

Yelling
Yearned from
Yelping.
Yard
Yachts
Yielding, to the
Yodel of
Yeah
Yeahs, to the
Yapping of
******
Yuppie
Yoga
Yanks, over
Yonder.
Yucking it up with the
Yawn of a
Yocal.

Zapped from a
Zone i
Zoomed with
Zeal in the
Zig and
Zag of my
Zapping
Zimming
Zest, upon a
Zombie-less
Zeplin.
Zealot,
Zionist, or
Zoologists,
Zeros or ones, just
Zip your
Zip locked. and
Zzzzz
Zzzz
Zzz
Zz
Z
Zero
this is a work in progress
Silence Screamz Oct 2014
Walking in somber.
Bitten by tragedy.
Finding the fault.
Death of the comedy

Leaving my print.
Sad words to say.
Film on the floor.
Gone another day.
Xan Abyss Oct 2014
Life is Horror-Comedy
and sometimes Film Noir,
Other genres might be fun,
but it's just not how things are.

Too Unpredictable
for Rom-Coms
But too Mundane for Fantasy
Too much fun for Thrillers and Dramas,
not Badass enough for Action
(but almost enough Shooting Sprees)
Too many Happy Endings
To be a Tragedy
But far from Enough
to be *******

Life is ***
and Drugs
and Fear
and Love
the Need to Protect
and the Need to Spill Blood
It's Laughter
and Song
and things going Wrong
Hits on your Enemies
Hits from the ****
Hitting on the Opposite ***
Flirting with Danger
Dancing with Death
Life is...
Hatred and Violence
that Long, Awkward Silence
When you work up the Courage
to Deny them Compliance
It is Heaven
and Hell
and Voodoo Love Spells
from the Inception of Cells
to the Old Funeral Bells
There's Madness
and Sadness
and "Thank God! I'm Glad"-ness
Life is Classy
but Savage
Full of Beauty
and Damage.

Life would Honestly
be Worthless without Comedy
We'd never learn
To Rock or Roll
without the Music of the Soul
and though there's too much Torture
in everybody's Story
We must admit
without Horror
Life would be
Pretty
Boring.
The title is something I say a lot. I felt like I could probably write a poem about it. And I could!
Yue Wang Yidhna Dec 2017
ACT I

Scene 1

Scene: A fleet of small boats on a open sea, carrying a flock of poets, actors, and musicians. They row into the distance, searching for land.

fool

Oh, the horror, the horror! The deadly locked eyes, the motionless limbs, the gray lips, telling me it is the end, no more, horror or else. I felt it too, at moments, though something else; what I felt was the sudden fear of death, what might come afterward, and the loneliness of this solitary journey. I had to escape.

Benedict

Yes, those lost half-lives of inevitable and unrecoverable tragedy, the guilt, unable to close in, and so moving away from the sorrow. Turning eyes away from the horror, no, get away from them entirely, let none of them escape with us. The tragedy, the grotesque demons.

FOOL

Yes, let them not chase us toward the end of the vast and endless voyage, and if we die so, let it be quick.

BENEDICT

Quick, by the thundering strike of heavenly signs, let us be at peace.

Virginia

Oh, no more, no more. Leave those thoughts behind, send them to exile as we have been for our refusal of "high tragedy."

Fool

So, it shall-(The Fool stands up, squinting to the distance.) Look! Is that a patch of dry land?

BENEDICT

Yes, our salvation of isolation, our comedic Garden of Eden!(A roar of cheers from all, though each voice distinct on its own.)

Scene 2

The troop have landed on the unnamed island.

Argorn

Here we shall be settled.

VIRGINIA

What a handsome little place!

Katty

Then we shall make it our home!

northworth

Home, yes, but home of what? A wild circus of cowards?

BENEDICT

No, cowards of tragedies but advocate of joy, happiness, and comedy.

Fool

Comedy! We are the Comedians!

NORTHWORTH

Very well, so we are.

VIRGINIA

Yes, laughter and happiness.

Argorn

We shall not only avoid tears, anguish, and sorrow, we shall make them crimes of criminals, we shall uphold only the Highest Order of Comedy!(In the distance, a ship carrying the mimes arrives.)

NORTHWORTH

Oh, look, so the mutes are here as well.

ARGORN

(To the mimes as they arrive.)

Wipe your black tears off your faces! Leave only the red smiles, we are a tribe of comedy not tragedy. (They do as they have been told.) There, better.

NORTHWORTH

Ah, here comes the musicians. (A band of cheerful flute, drums, and violin players arrived.)

Argorn

(To the Band)

Yes, very well, you shall never again play any sad little tune and lure me to anger!

VIRGINIA

Be gentle, Argorn, for only peace shall visit you.

NORTHWORTH

Yes, criminal, anguish, and sorrow, are the horror! They are criminal, criminal!

The band

We promise you only tunes of celebration will be heard on this lovely paradise!

argorn

Very well.

Scene 3

The band plays a cheerful little song while the mimes dances silent to the music. The actors and poets are reading poems of merry endings.

Fool

Oh, her tears, like blossom petals, have fallen and are gone forever.

ARGORN

The sun approves of our sanctum! Look, how the minions of clouds take flee!

NORTHWORTH

Yes, presently they do.

VIRGINIA

Only when morrow comes, shall we be certain of our well-being.

ARGORN

WE WILL BE WELL! FROM DAY TO THE NEXT, THE VILLAINOUS DARKNESS WILL NOT REACH US HERE, I WILL NOT ALLOW IT.

katty

Keep calm, keep calm.

NORTHWORTH

Yes, settle, joy will only come when you are unaware of its flaws and when you take no notice of the hidden misery.

ARGORN

No! Tragedy is horror, tragedy is criminal, it should only be fought, contained and send to exile.


Scene 4

The cheerful tune of the band have slowed with weary into a lingering sad tune, the mime have slowed their dance, and the drawn smiles drips down into a frown.

Argorn nails a notice to a tree. It says, Laws of Comedians.

Argorn

Stand up, you slothful infidels! You have once again turned what could have been joyous and merry into despair!

NORTHWORTH and Virginia

Argorn, you have burdened and slaved them with works of oppression, they are not happy!

The band and the Mimes

Yes, we beg you. Please let us rest, or the music will only be sadder.

ARGORN

No! Rest and what? Allow tragedy to intrude! No, be alarmed, be on guard. We will battle sorrow to the end.

fool

Argorn, only you are the advocate of pain and tragedy!!! You are fighting yourself!

Argorn

WHAT DID YOU DARE SAY?

fool

I dare say, you are what drowns us with slaving pain!

(Argorn advance toward The Fool with a hammer, and knocks him dead.)

Virginia

No, he is dead! Argorn have slain Fool.

ARGORN

Say more, and death or exile awaits you!

NORTHWORTH AND VIRGINIA

(In fear and deviance.)

No, we will send ourselves to exile.

Argorn

And the music!

(The band and mimes quickens their pace, the music and dance does not sound joyful however, but in a rushed mess, it rings of fear. )


Scene 5

The Band and Mimes are lying on the ground, being worked to death by extreme exhaustion trying to bring joy and music for Argorn.

Argorn

Play! Your fools! Why have you all stopped!

(Argorn rushes to where the bodies lay, and stops.)

Oh, are you dead already? Someone else, come and take their place! Don't let the little tune expire!

Katty

(In tears.)

No, I rather be dead to be mocked by your horror! You are a monster!

ARGORN

How dare you cry?

(Argorn kills Katty with the hammer.)

What do you say Benedict, keep the joy alive?

BENEDICT

No, you fool, what do you say is the most horrendous of a tragedy?

ARGORN

Death, I fear.

BENEDICT

Then, who is most foul of a tragedy?

ARGORN

The tyrant of a villain, champion of bloodshed, and one without conscience.

BENEDICT

Then, please, find your conscience, and see around you, the blood, and decaying bodies. What have you done?

ARGORN

NO! NO! I killed them for comedy!

BENEDICT

Yet, what you brought is tyranny, bloodshed, and death.

Argorn

Do you mean I am the villain? Then, please, in the Law of Comedian, execute my execution.

BENEDICT

No, I shall only take my exile now, and leave.

ARGORN

Then, I shall bring peace to this inferno once and for all. (Argorn kills himself, and falls. )

Curtain
What is our life? The play of passion.
Our mirth? The music of division:
Our mothers’ wombs the tiring-houses be,
Where we are dressed for life’s short comedy.
The earth the stage; Heaven the spectator is,
Who sits and views whosoe’er doth act amiss.
The graves which hide us from the scorching sun
Are like drawn curtains when the play is done.
Thus playing post we to our latest rest,
And then we die in earnest, not in jest.
Robin Carretti Aug 2018
We are not on a schedule
But we are working
Ivory skills of mastery hard
We can not afford to lose
The Elephants hearts diary
The Zen of topiary
      Details
  The good luck

The hard worker making
True buck the husk of fruit seed
The Peking God of duck
Superman of gifts of steel
The movie superstitious eyes
Everyday good earth cries
Elephant Trunk
Bring on the Holiday
The tuxedo the Elephant Tusk
Godly task the top rank

Anomalous

Questioning the situation not
so delicious
Sensual so moving vivacious
The comedy of errors
Ridiculous to the sublime

The compromising position
Waiting for the next
      "Crime"
Mens of romance
Holiday the gracious gray
Taking risks

*Gallivanting never separating love
Of the tusk, life holds too many risks

Smiles and baking
more loving
The harder you mix
    Wonderful Ivory
   An elephant is a true
   ingredient
Holding the whisk over creamed
Looking high up the
white feathers
Like a beauty, I have never seen

She loves to pick his holiday
Elephants circles the tie he's
her dream
There is no truth when its a holiday
when people
Laugh between there lies

Start running toward
Elephant Tusk
Moms homemade apple caramel
pecan pies
Conflicts subjects
to paint talk to the "Elephants"
With the dreamy ivory tusk

The fragrance of Ireland
Spicy Greens musk
King hand card player tough skin
*Holiday Queen got numbered in
The men million stars of
musk saved the day it flew in

You make me feel brand new
I never made a mistake
Never one that I couldn't explain
Running towards or afterward
Those love words
Before the Gods
The veal chops
Emperor of emails
The Cops and robbers

So modest and shy with demure 
 Holiday spirit world of hands galore
What allure dreamy contentment
She got holiday advancement

The contrast between
Holiday family love the honesty
but our government magical
mystery all bribery
Go for the tour just pour
your words
Quite a mystery white baking
flour messy
Moon and the Star handkerchief style
dressy

The Astronomy we need
to build a better
Here and the now
Wondering how?

Deep brown hazelnut
coffee royal bow
Seeing through the
Gray starting to pray
The parade of the Elephant
The day we can trust
This isn't a Fay Ray
not my kind
of town
The holiday comes and goes
too quick
There you are Rick and
his cousins
It felt like a holiday of
*Tombstones
The gathering with the finest
rhinestones

More sound of silence
Please no I phones
Shut them off enjoy the
Elephants tusk and
their home turf
Not the bluest sea
Make it the lovely
    (Earl Gray)
Bringing surf and turf
More conflicts those predictions
More spiritual afflictions

Just find your peace within
His Elephant pants win
You got the whole tusk
in your hand
"Snow White Huntsman"
Affection like a
housewarming
My holiday transformation

Neon Lion light of crystal ball
The spiritual Tree elephant
Touched a part of me the art
All the fine elements bring
us closer, not the copy
of an imposter

Something to smile about
The myriad
The full length of the camera
The Elephants has a heart
no drama
Flying so Ivory gown sheer
Moms roast will not
come next year
Red devil computer
Telling me there are
Ghostbusters and
travel gliders
I am the true
Elephant lover
More homestayers
music players

Men looking astronomically
Feeling silly
in their whiskers
The world is horrifying
But there is no denying
more praying
Her heart is very thick
Elephant skin close to her
heart is luck
What is happening
to our economy
The sad thing people are selling
Elephant's
Tusk for money we need
to stop this

Lucky Elephant tusk is
turning to good luck
We pray for the world
Holy bless
The holiday Spirit there is no Scrooge here this was done differently do you love Elephant husk please save them they are beautiful and good luck this cruel world is selling them we need to stop this
takitak Dec 2015
Out of the shattered pieces,
they're strung together thoughtfully,
into misery's kind of humor.

A humor that's painfully beautiful–
that only the heart broken find funny.
Like a joke is to comedy,
poetry is often to misery.

~~~~~~~~

*So wear your broken heart on your sleeve,
proud and unashamed. To comfort broken hearts alike,
that there is still much beauty to salvage.
Brycical May 2015
Parents would prefer kids stay away
from these three jobs,
cause as they'd say
There's no way to make any money.
At least you can sell paintings with art
or hock a few bucks with albums from your music.


No parents encourage children into any of these gigs,
especially prophecy.
Today, a kid would be fed pills for breakfast
if they expressed any interest in becoming the next Jesus or Buddha.

Suppose Moses decided to go try an open mic comedy night
instead trading his commandments for a set list
but I bet his adopted parents would have lectured him just the same.
At least Moses would have gotten a few laughs.

The job descriptions are strikingly similar,
just like the outcome
a 50% chance the audience will applaud and chant
or watch you in heavy, maudlin silence... sweating nervously struggling
to maintain a sane face while raucous thoughts of loathing and doubt chew then spit out pieces of heart and soul forcing a confrontation of an emasculated existence for five to seven minute while....

whoa, hi, sorry.
Must've been having a flashback for a few seconds,
forgive me.

There is a difference though,
in the mindset of this trio.
A poet knows they're crazy,
a comic ponders if they're nuts
while a prophet thinks everyone else is just cuckoo.

I can see why parents don't want you to
go near these three jobs,
problem being, it's more of a calling than a culling,
and once it's answered,
all I can say is, well...




good luck.....






have fun.
Living in the style of a Shakespearian play,
we are all tragedies,
Perhaps with a comedy thrown in the middle.

You and I,
We’ve been the
Lovers
In this
Divine Comedy
Far Longer than
Romeo or Juliet
Could bear to wait.

Yes, we have abandoned
The Unities of
Time
Place
And Action

So harshly,
That even we
Have grown into
A bored audience;

Searching out
Our Comedic Ending

But we’ve never really been
Good at timing.  

We’ve made our
Repeated Exits.

Always coming back
A Cue
Too early
Or
A Line
Too late.

Each time
Twisting words
And Actions
Trying to make
Each other fit back into
Our Plot.
But what if we are the truest
Star Crossed Lovers

As our plays don’t even
Have the same
Title?

It has always been
“To be with eachother
or
To Not be with eachother”

And I really, really don’t want
To end like Hamlet.

But the fault seems to be
In the stars,
As each of our
Actions
Seems to seek
More and more
For a resolution

That neither
Our
Stage Directions
Nor
Lines
Seem to offer.

We round ourselves out
With table work
And character development

But with each interaction
We find that we are
Static, together.  

It seems as if
We were a rough draft,
Left unfinished.

So we stand on this
Threshold,
Clinging to another possible
Classic.
But dissolving into the oblivion
That all
Unfinished works of Art
must face.

We are less than a tragedy,
As our deaths are silent
And no one will ever weep at our tale,
Simply because it will never have been told.

At my brink of oblivion,
I want you to know
Our story should be a history,
Simply a reflection
On the fact
That we were
Not fiction.

Lower than
King Henry
And
King Charles,

But Still,
Real
Like
A Golden Crown
For which we did not ****,
But simply pleaded
To no avail.
s Oct 2017
I think it's been four hundred days
since that innocuous defining phase,
But that's if we were keeping count,
and if numbers meant a thing at all.

For isn't time just ornamental,
perhaps even incidental,
when the commodity is sentimental,
or like love, a hypothetical
fundamental ?

Same page?, I ask,
tying to gauge flipping thoughts;
As if I knew where
my book was marked.
But pages, I can dog-ear,
to hold onto a moment
that would otherwise disappear;

An excerpt that I can savour
many moons later,
when love turns to favour
and leaves
a bittersweet flavour.

It's today
I'm looking for,
among shuffling tenses
but the focal lenses
are blurring
And my words
are slurring
for I'm too close
to your near perfect nose,
to find a reason
for why we chose
this.

I'm afraid this poem has turned
into a rhythm & blue,
or maybe it's an untimely cue
to write that song about you and me -
One that's been due
for a month or three.

A nonsense rune
with an infectious tune;
in the four chord beat,
where the lyrics
unfailingly repeat.

A rhythmic monotony
of a romantic comedy -
a stanza about you,
and a chorus about me -
a few things kept true,
and some made up for story.

Something about
wine pink shirts
and warm maroon shawls,
with just a few words
about unsaved phone calls.
A yellow lamp here,
an airport kiss there.
a night spent in fear,
of doubting you'll be there.
A white wall washed
in cinematic glory;
Two kittens tossed in
to make trouble & ***.
And then a pre chorus
about card tricks and foreplay
and the time in the bus,
we talked about a good day.
A few bits borrowed
from the last rhyme I wrote
and that could be followed
by one even before;
For what could I say
that I haven't already proclaimed
in ten odd poems,
gushing with love, unashamed
Brandon Conway Aug 2018
A person goes out to town to cure
Boredom or loneliness
Often looking to conquer both

Even an introvert wants company
It’s taken six years to go search

I found a coffee shop
With a black box room

I took a seat
And waited for the host
To start the show
Improv comedy
Never been to one of those

The host asked
What’s inside this invisible box
Answers came out from the audience

I said a can of worms
Not loud
I hate attention
But the host heard
And chose that can of worms

Someone listened to me
And now they are making
Me my own personal joke

I got to admit
I was jealous
Each member has conquered
The fear of people
Of being in front of people
Of speaking to people
Acting crazy in front of people

The show was great
We all had a laugh
One day I will thank them
And maybe one day
I’ll join on that stage

Just one foot in front of the other
Next week is a poetry reading
And that’s where I’ll be

— The End —