He was casually walking one evening in a bustling place called New Orleans in the year of 1845. Nonchalantly strolling down Bourbon Street, a street lined with beautiful homes; graceful verandas; elegant parlors, and... Marie Laveau.

His name was Moine Baptiste. He was a black, French Creole. A man who lived for his music, Quadroon *****, the blues, jazz, and  places where he and Charlie would play their rip-roarin' music in the place called "The Big Easy".

Charlie the sax, was Baptiste’s long, time friend, since he first started playing the 'sax' at the young age of eight.

Moine Baptiste, Plessy Ferguson and all the guys played their Cajun, jazz and blues music at clubs like, 'Antoine’s Bar',  'The Maison Bourbon Jazz Club' and 'The Funky Pirate', all which were popular clubs in the French Quarter on Bourbon Street in New Orleans.

In those days dusky stable hands would lead horses around the stables engaging in desultory conversation that went something like this:
"Hey where y'all goin' from here?" they'd query. "From here we're headin' for the "Big Apple", one would offer in reply.  "You'd better fatten up them skinners or all you'll get from the apple will be the core," was the quick rejoinder.
Resulting in the assigned name, Those Big AppleYears".

Close by on another beautiful, tree lined street was 'Esplanada Avenue'. It was the most elegant street of all in the French Quarter.

Esplanada Avenue claimed fame to a somewhat elusive, secret Bordello called LaBranche House where all the affluent or wealthier men would frequent.

Baptiste was very familiar with LaBranche House. That was where he met all his women and spent most of his money.  

The French and Creole children casually roamed the town, sometimes walking down by the graveyard near Bayou Street. They had been told many a time to steer clear of Bourbon Street, a street with a sordid reputation of burlesque clubs, all night parties and…Marie Laveau, the Voodoo Queen of   New Orleans!  

When Baptiste was taking his walks he'd always watch out the corner of his eye. Something he learned to do when strolling along the sidewalks in New Orleans and in particular Bourbon and Bayou Streets in Congo Square. You see he’d had a few encounters with Marie Laveau.

Oh he had a great deal of respect for Marie Laveau... along with a healthy amount of fear.

This Creole woman, often used her Voodoo  to manipulate, acquire power and upon occasion bless those she liked with good luck and prosperity. She  was also quite adept in conjuring up her many powers in matters of the heart.

Her hair was long and black. She was both feared and respected. Ms Laveau had olive colored, Creole skin. Her black, piercing eyes were sharp as a razor’s edge. Almost magnetic, if she stared at you for very long.

Baptiste had called upon the Voodoo Queen a few years back when he was down on his luck..... and down on his luck with women.

It was almost to the point, that he’d all but given up on the possibity of being happy and contented.

Baptiste was a man with a robust charisma of Creole and French charm. Yet he had an air of reserve and dignity, with a bit of naughty that shone brightly in his chocolate, brown eyes. He was remarkably handsome with dark brown, wavy hair; a well chiseled bone structure in his cream colored face, full lips and a well toned body.

His main problem was, he liked too many women. Too many all at the same time. He spent too much of his money on his women which left him broke,  lonely and dissatisfied.

One night while strolling down Bourbon Street he happened upon Marie Laveau. He’d just finished playing a ‘gig’, with his old, friend Charlie his beloved sax and a few of the guys. Baptiste was feeling a bit light headed and a tad drunk from the ***** that flowed and poured so freely in that part of town called The Big Easy. It was a part of New Orleans steeped in history, lore and many mysterious legends.  Baptiste was feeling slightly tipsy from all the Whiskey he'd drank.

When Baptiste saw Marie Laveau walking towards him down on Bayou Street, he boldly said:

     "Well, Ms. Laveau”,  said he as she walked on by
      She looked piercingly at Baptiste, stared straight at him right through to his eyes.
      She was the famous Queen of mysterious curses
      She carried potions and spells in her bags and purses
      She was a famous legend in New Orleans where all the black trees grow

      This Black, Creole Lady lived in the dark, murky swamps all alone
      She carried black cat’s teeth and eerie Mojo bones
      She had three legged dogs and one eyed snakes
      A mean tempered hound she called  Big Bad Jake    

      He said, “Ms. Laveau you Voodoo Witch
      Please cast your spells and make me rich”!
      Marie started mumbling and shook her magic stones

      Why it scared Ole’ Baptiste right down to his skinny ole' bones!
      She cast aVoodoo Spell and spoke some eerie incantations
      Promised him wealth, true love and a big plantation!
      There’s many a story told of men she’d charmed
      But Ole’ Baptiste, he wasn’t too alarmed

      They strolled through the graveyard down on Bayou Street
      Where all Marie's ghouls and ghosts and spirits meet
      There lived a big, black crow where she held her ritual scenes
      She spoke powerful Voodoo words and cast her magic in between
      She held Baptiste’s hands tightly in her large, black hands
      She promised him love and riches and lots of land
      From that day forward Baptiste had more than his share of luck
      He had the love of a beautiful woman and lots of bucks


      But Baptiste always remembered that piercing look in Ms. Laveau’s stare
      An admonishing, cautionary warning they always shared
      If you ever walk the streets in New Orleans....
                                   Beware....
      You just might meet up with Marie Laveau... "The Bayou Voodoo Queen"
__________________­_________
"Marie Laveau (September 10, 1794 – June 16, 1881[1]) was a Louisiana Creole practitioner of Voodoo renowned in New Orleans. She was born free in New Orleans.
Marie Laveau a legend of Voodoo down on the Bayou. This well known story of this
Voodoo Queen who made her fortune selling her potions and interpreting dreams...
all down in a place called New Orleans!

Dear Poet Friends, and all true lovers of Jazz!  Being a lover of Classical and Smooth Jazz, I had composed first two parts in Verse on the History and Evolution of Jazz Music. Seeing the poor response of the Readers to my Part One here, I was hesitant to post my Second Part. I would request the Readers to kindly read Part One of this True Story also for complete information. Please do read the Foot Notes. With best wishes, - from Raj Nandy of New Delhi.


THE STORY OF JAZZ MUSIC : PART-II
               BY RAJ NANDY

        NEW ORLEANS : THE CRADLE OF JAZZ
BACKGROUND :
Straddling the mighty bend of the River Mississippi,
Which nicknames it as the ‘Crescent City’;
(Founded in 1718 as a part of French Louisiana
Colony),  -
Stands the city of New Orleans.
New Orleans* gets its name from Phillippe II,
Duc d’ Orleans , the Regent of France ;
A city well known for its music, and fondness
for dance.
The city remained as a French Colony until 1763,
When it got transferred to Spain as a Spanish
Colony.
But in the year 1800, the Spanish through a
secret pact, -
To France had once again ceded the Colony back!
Finally in 1803 the historic ‘Louisiana Purchase’
took place ,
When Napoleon the First sold New Orleans and  
the entire Louisiana State, -
To President Thomas Jefferson of the United
States!     * (See notes below)

THE CONGO SQUARE :
The French New Orleans was a rather liberal
place,
Where slaves were permitted to congregate,
For worship and trading in a market place,
But only on Sabbath Days, - their day of rest!
They had chosen a grassy place at the edge of
the old city,
Where they danced and sang to tom-tom beats,
Located north of the French Quarters across the
Rampart Street,
Which came to be known as the Congo Square,
Where one could hear clapping of hands and
stomping of feet!
There through folk songs, music, and varying
dance forms,
The slaves maintained their native African musical
traditions all along!
African music which remained suppressed in the
Protestant Colonies of the British,
Had found a freedom of expression in the Congo
Square by the natives; -
Through their Bamboula , Calanda, and Congo dance!
The Wolof and Bambara people from Senegal River
area of West Africa,
With their melodious singing and stringed instruments,
Became the forerunners of ‘Blues’ and the Banjo.
And during the Spanish Era, slaves from the Central
African Forest Culture of Congo,
Who with their hand-drummed polyrhythmic beats ,
Made people from Havana to Harlem  to rise and
dance on their feet!       (see notes below)

CULTURAL MIX :
After the Louisiana Purchase , English-speaking
Anglo and African-Americans flooded that State.
Due to cultural friction with the Creoles, the new-
comers settled ‘uptown’,
Creating an American Sector, separate from older
Creole ‘down-town’ !
This black American influx in the uptown had
ushered in,
The elements of the Blues, Spirituals, and rural
dances into New Orleans’ musical scene.
Now these African cultural expressions gradually
diversified, -
Into Mardi Indian traditions, and the Second Line.^^
And eventually into New Orleans’ Jazz and Blues;
As New Orleans became a cauldron of a rich
cultural milieu!

THE CREOLES :
The Creoles were not immigrants but were home-
bred;
They were the bi-racial children of their French
Masters and their African women slaves!
Creole subculture was centred in New Orleans.
But after the Louisiana Purchase of 1803,  -
The Creoles rose to the highest rung of Society! @
They lived on the east of Canal Street in the
French Sector of the city.
Many Creole musicians were formally trained in
Paris,
Had played in Opera Houses there, and later led
Brass Bands in New Orleans.
Jelly Roll Morton, Kid Oliver, and Sidney Bechet
were all famous Creoles;
About whom I now write as this true Jazz Story
gradually unfolds.
In sharp contrast on the west of Canal Street lived
the ***** musicians,
Who lacked the economic advantages the Creoles
possessed and had!
The Negroes were schooled in the Blues, Work Songs ,
and Gospel Music;
And played by the ear with improvisation as their
unique characteristic !
But in 1894 when Jim Crow’s racial segregation
laws came into force,     # (see notes below)
The Creoles were forced to move West of Canal
Street to live with the Negroes.
This mingling lighted a ‘musical spark’ creating
a lightening musical flash;
Igniting the flames of a ‘new music’ which was
later called ‘Jazz’ !

INFLUENCE OF THE EARLY BRASS BANDS:
Those Brass Bands of the Civil War which played the
‘marching tunes’ ,
Became the precursors of New Orleans’ Brass Bands,
which later played at funeral marches, dance halls,
and saloons !
After the end of the Civil War those string and wind
instruments and drums, -
Were available in the second-hand stores and pawn
shops within reach of the poor, for a small tidy sum!
Many small bands mushroomed, and each town had
its own band stand and gazebos;
Entertained the town folks putting up a grand show!
Early roots of Jazz can be traced to these Bands and
their leaders like Buddy Bolden, King Oliver, Bunk
Johnson, and Kid Orley;
Not forgetting Jack 'Pappa' Laine’s Brass Band
leading the way of our Jazz Story !
The Original Dixieland Band of the cornet player
'Nick' La Rocca,
Was the first ever Jazz Band to entertain US Service
Men in World War-I and also to play in European
theatre, came later.     (In 1916)
I plan to mention the Harlem Renaissance in my
Part Three,
Till then dear Readers kindly bear with me!

CONTRIBUTION OF STORYVILLE :
In the waning years of the 19th Century,
When Las Vegas was just a farming community,
The actual ‘sin city’ lay 1700 miles East, in the
heart of New Orleans!
By Alderman Story’s Ordinance of 1897,
A 20-block area got legalized and confined,  
To the French Quarters on the North Eastern side
called ‘Storyville’, a name acquired after him!
This 'red light' area resounded with a new
seductive music ‘jassing up’ one and all;
Which played in its Bordello, Saloons, and the
Dance Halls !         (refer  my Part One)
Now the best of Bordellos hired a House Pianist,
who also greeted guests, and was a musical
organizer;
Whom the girls addressed respectfully as -
‘The Professor’!
Jelly Roll Morton, Tony Jackson author of
‘Pretty Baby’, and Frank ‘Dude’ Amacher, -
Were all well-known Storyville’s ‘Professors’.
Early jazz men who played in Storyville’s Orchestra
and Bands are now all musical legends;
Like ‘King’ Oliver, Buddy Bolden, Kid Orley, Bunk
Johnson, and Sydney Bechet.      ++ (see notes below)
Louis Armstrong who was born in New Orleans,
As a boy had supplied coal to the ‘cribs’ of
Storyville !          ^ (see notes below)
Louis had also played in the bar for $1.25 a night;
Surely the contribution of Storyville to Jazz Music
can never be denied!
But when America joined the First World War in
1917,
A Naval Order was issued to close down Storyville;
Since waging war was more important than making
love the Order had said !
And from the port of New Orleans US Warships
had subsequently set sail.
Here I now pause my friends to take a break.
Part Three of this story is yet to be composed,
Will depend on my Reader’s response !
Please do read below the handy Foot Notes.
Thanks from Raj Nandy of New Delhi.

FOOT NOTES:-
New Orleans one of the oldest of cosmopolitan city of Louisiana, also the 18th State of US, & a major port.
Louisiana was sold by France for $15 Million, & was later realized to be a great achievement of Thomas Jefferson!
Many African Strands of Folk Music & Dance forms had merged at the Congo Square.
^^ ’Second Line Music’= Bands playing during funerals & marches, evoked voluntary crowd participation, with songs and dances as appropriate forming a ''Second Line'' from behind.
@ Those liberal French Masters offered the Creoles the best of Education with access to their White Society!
# ’Jim Crow'= Between 1892 & 1895, 'Blacks' gained political prominence in Southern States. In 1896 land-rich whites disenfranchised the Blacks completely! A 25 year's long hatred
& racial segregation began. Tennessee led by passing the ‘Jim Crow’ Law ! In 1896, Supreme Court upheld this Law with -  ‘’Separate But Equal’’ status for the Blacks. Thus segregation became a National Institution! This segregation divided the Black & White Musicians too!
+ Birth of Jazz was a slow and an evolving process, with Blues and Ragtime as its precursor!    “Jazz Is Quintessence of  Afro-American Music born on European Instruments.”
++ Jelly ‘Roll’ Morton (1885-1941) at 17 years played piano in the brothels, – applying swinging syncopation to a variety of music; a great 'transitional figure' between Ragtime & Jazz Piano-style.
++ BUDDY BOLDEN (1877-1931) = his cornet improvised by adding ‘Blues’ to Ragtime in Orleans  during 1900-1907, which later became Jazz! BUNK JOHNSON (1879-1849 ) = was a pioneering jazz trumpeter who inspired Louis Armstrong.  KID OLIVER (1885-1938) =Cornet player and & a Band-leader, mentor & teacher of Louis Armstrong; pioneered use of ‘mute’ in music! ‘Mute’ is a device fitted to instruments to alter the timber or tonal quality, reducing the sound, or both.
KID ORLEY (1886-1973) : a pioneering Trombonist, developed the '‘tailgate style’' playing rhythmic lines underneath the trumpet & cornet, propagating Early Jazz.  SYDNEY BECHET (1897-1959) = pioneered the use of Saxophone; a composer & a soloist, inspired Armstrong. His pioneering style got his name in the ‘Down Beat Jazz Hall of Fame’! LOUIS ARMSTRONG (1890-1971) = Trumpeter, singer, & great improviser. First international soloist, who took New Orleans Jazz Music to the World!  
% = After America joined WW-I in 1917, a Naval Order was issued to shut-down  Storyville, to check the spread of VD amongst sailors!
^^ ”Cribs”= cheap residential buildings where prostitutes rented rooms. Louis Armstrong as a boy supplied coal in those ‘Cribs’.
During the 1940 s  Storyville was raised to the ground to make way for Iberville Federal Housing Project.
ALL COPYRIGHTS RESERVED BY THE AUTHOR : RAJ NANDY **
E-Mail : rajnandy21@yahoo.in

Dear Poet Friends, I had posted Part One of the Story of Jazz Music in Verse few months back on this Site. Today I am posting Part Two of this Story in continuation. Even if you had not read part one of this true story, this one will still be an interesting portion to read especially for all lovers of music, and for knowing about America's rich cultural heritage. I love smooth & cool jazz mainly, not the hard & acid kind! Kindly do read the ‘Foot Notes’ at the end to know how the word ‘Jass’ became ‘Jazz’ way back in History. Hope to bring out a book later with photographs. Thanks, - Raj Nandy, New Delhi.


STORY OF JAZZ MUSIC  IN VERSE PART – II

    NEW ORLEANS : THE CRADLE OF JAZZ
BACKGROUND:
Straddling the mighty bend of the River Mississippi,
Which nicknames it as the ‘Crescent City’;
Founded in the year 1718, as a part of French Louisiana
colony.
New Orleans* gets its name from Phillippe II, Duc d’ Orleans,
the Regent of France;
A city well known for its music, and fondness for dance!
The city remained as a French Colony until 1763,
When it got transferred to Spain as a Spanish Colony.
But in 1800, those Spanish through a secret pact,
To France had once again ceded the colony back!
Finally in the year 1803, the historic ‘Louisiana Purchase’
had taken place, -
When Napoleon First of France sold New Orleans and the
entire Louisiana State,
To President Thomas Jefferson of the United States!
(See Notes below)

THE CONGO SQUARE:
The French New Orleans was a rather liberal place,
Where slaves were permitted to congregate,
To worship and for trading in a market place, on
Sabbath Days, their day of rest.
They had chosen a grassy place at the edge of the
old city ,
Where they danced and sang to tom-tom beats,
Located north of the French Quarters across the
Rampart Street;
Which came to be known as the Congo Square,
Where you could hear clapping of hands and
stomping of feet!
There through folk songs, music, and varying dance
forms, -
The slaves maintained their native African musical
traditions all along!
African music which remained suppressed in the
Protestant colonies of the British,
Had found a freedom of expression in the Congo Square
by the natives, -
Through their Bamboula, Calanda, and Congo dance forms
to the drum beats of their native music.
The Wolof and Bambara people from Senegal River of West
Africa, -
With their melodious singing and stringed instruments,
Became the forerunners of ‘Blues’ and the string banjo.
And during the Spanish Era slaves from the Central African
forest culture of Congo, -
Who with their hand-drummed poly-rhythmic beats,  
Made people from Havana to Harlem to rise up and dance
on their feet!   * (see notes below)

CULTURAL MIX:
After the Louisiana Purchase, English-speaking Anglo and
African-Americans flooded that State.
Due to cultural friction with the Creoles, the new-comers
settled ‘Uptown’,
Creating an American sector separate from older Creole
‘Downtown’.
This black American influx ‘Uptown’ brought in the elements
of the blues, spirituals, and rural dances into New Orleans’
musical scene.
These African cultural expressions had gradually diversified,
into Mardi Gras tradition and the ‘Second Line’. ^^ (notes below)
And finally blossomed into New Orleans’ jazz and blues;
As New Orleans became a cauldron of a rich cultural milieu!

THE CREOLES:
The Creoles were not immigrants but were home-bred.
They were the bi-racial children of their French masters
and their African women slaves!
Creole subculture was centred in New Orleans after the
Louisiana Purchase of 1803,
When the Creoles rose to the highest rung of society!
They lived on the east of Canal Street in the French
Sector of the city.   @ (see notes below)
Many Creole musicians were formally trained in Paris.
Played in opera houses there, and later led Brass Bands
in New Orleans.
Jelly Roll Morton, Kid Oliver, and Sidney Bechet were
famous Creoles,
About whom I shall write as this Story unfolds.
In sharp contrast on the west of Canal Street lived the
***** musicians;
But they lacked the economic advantages the Creoles
already had!
They were schooled in the Blues, Work songs, and Gospel
music .
And played by the ear with improvisation as their unique
characteristic,
As most of them were uneducated and could not read.
Now in 1894, when Jim Crow’s racial segregation laws
came into force,       # (see notes below)
The Creoles were forced to move west of Canal Street to
live with the Negroes!
This racial mingling lighted a ‘musical spark’ creating a
lightening flash, -
Igniting the flames of a ‘new music’ which was later came
to be known as JAZZ !

CONTRIBUTION OF STORYVILLE :
In the waning years of the 19th Century, when Las Vegas
was just a farming community,
The actual ‘sin city’ lay 1,700 miles East, in the heart of
New Orleans!
By Alderman Story’s Ordinance of 1897,  a 20-block area
had got legalised and confined, -
To the French Quarters on the North Eastern side called
‘Storyville’,   - a name which was acquired after him.
This red light area resounded with a new seductive music
‘jassing up’ one and all;
Which played in its bordellos, saloons, and dance halls!
The best of bordellos hired a House Pianist who greeted
guests and was also a musical organizer;
Whom the girls addressed respectfully as ‘The Professor’!
Jelly Roll Morton++, Tony Jackson author of  ‘Pretty Baby’,
and Frank ‘Dude’ Amacher, -
Were all well known Storyville’s  ‘Professors’!
Early jazz men who played in Storyville’s Orchestras and Bands
now form a part of Jazz Legend;
Like ‘King’ Oliver, Buddy Bolden, Kid Orley, Bunk Johnson,
and Sydney Bechet.    ++ (see notes below)
Louis Armstrong who was born in New Orleans, as a boy had
supplied coal to the ‘cribs’ of Storyville!   ^ (see notes)
He had also played in the bar for $1.25 a night,
Surely the contribution of Storyville to Jazz cannot be denied!
But when America joined the First World War in 1917,
A Naval Order was issued to close down Storyville!   % (notes)
Since waging war was more important than making love,
this Order had said;
And from the port of New Orleans the US Warships had
set sail!
Here I pause my friends to take a break, will continue
the Story of Jazz in part three, at a later date.
                                               -Raj Nandy, New Delhi
FOOT NOTES :-
NEW ORLEANS one of the oldest cosmopolitan city of Louisiana,
the 18th State of US , & a  major port city.
LOUISIANA was sold by France for $15 million, which was later
realised to be a great achievement of President Jefferson.
*Many African strands of Folk music and dance had merged at the
Congo Square!
^^ ‘SECOND LINE MUSIC’ = Bands playing during Funerals & Marches evoked voluntary crowd participation, with songs & dances as appropriate forming a ‘Second Line’ from behind.
@ =THOSE LIBERAL FRENCH MASTERS OFFERED THE CREOLES THE BEST OF EDUCATION WITH ACCESS TO WHITE SOCIETY!
#’JIM CROW’= between 1892&1895, blacks gained political prominence in Southern States. In 1896 LAND-RICH WHITES DISENFRANCHISED THE BLACK COMPLETELY! A 25 YRS LONG HATRED &RACIAL SEGREGATION BEGAN. TENNESSEE LED BY PASSING ‘JIM CROW LAW’. IN 1896, THE SUPREME COURT UPHELD THIS LAW WITH ITS ‘’SEPARATE BUT EQUAL’’ STATUS FOR THE BLACKS ! THUS SEGREGATION BECAME A NATIONAL INSTITUTION. THIS SEGREGATION DIVIDED THE BLACK & WHITE MUSICIANS ALSO.
+ BIRTH OF JAZZ WAS A SLOW AND EVOLVING PROCESS, WITH BLUES AND RAGTIME AS ITS PRECURSORS . “JAZZ WAS QUINTESSENCE OF AFRO-AMERICAN MUSIC BORN ON EUROPEAN INSTRUMENTS.”  See my ‘Part One’ for definitions.
++ JELLY ‘Roll’ Morton (1885-1941): At 17 yrs played piano in the brothels, applying swinging syncopation to a variety of music; a great Transitional Figure- between Ragtime & Jazz Piano-style.  ++ BUDDY BOLDEN (1877-1931): His cornet improvised by adding ‘Blues’ to Ragtime in Orleans; which between the years 1900 & 1907 transformed into  Jazz! BUNK JOHNSON (1879-1849): pioneering jazz trumpeter, inspired Louis Armstrong; lost all teeth & played with his dentures! KING OLIVER(1885-1938): Cornet player & bandleader, mentor& teacher of Louis Armstrong; pioneered use of ‘mute’ in music. KID ORY(1886-1973): a pioneering Trombonist, he developed the ‘tailgate style’ playing rhythmic lines underneath the trumpet & the cornet, propagating early Jazz !
SYDNEY BECHET (1897-1959): pioneered the use of SAX; a composer & a soloist, he inspired Louis Armstrong. His pioneering style got his name in the Down Beat Jazz Hall of Fame!
Louis Armstrong(1890-1971): was a trumpeter, singer and a great
improviser. Also as the First International Soloist took New Orleans music to the World!
% = After  America joined WW-I in 1917,  a Naval Order was issued to shutdown Storyville in order to check the spread of VD amongst sailors.
^ ’cribs”= cheap residential buildings where prostitutes rented rooms.
# "JASS" = originally an Africa-American slang meaning ‘***’ ! Born in the brothels of Storyville (New Orleans)  & the Jasmine perfumes used by the girls there; one visiting them was  said to be 'jassed-up' . Mischievous boys rubbed out the letter ‘J’ from posters outside announcing  "Live Jass Shows'', making it to read as ‘'Live *** Shows'’! So finally ‘ss’ of ‘jass’ got replaced by 'zz' of JAZZ .
DURING THE 1940s  STORYVILLE  WAS RAISED TO THE GROUND TO MAKE WAY FOR ‘IBERVILLE FEDERAL HOUSING PROJECT’ .
  * ALL COPYRIGHTS RESERVED BY THE AUTHOR : RAJ NANDY

i just remembered when it all began to fall apart i was in mid-thirties weary of taking advantage of women i wanted to change grow become better person more compassionate find loving respectful relationship maybe marriage i knew i needed to step away stop

chicago 1985 Odysseus is a stranger to himself living someone else’s life does he really want what Mom Dad Chris want? is he lying to everyone else or himself? he snorts another line of ******* moves on to next girl in dizzy way he is having time of his life so much occasion to waste doors to open slam rooms to pass through “In the room the women come and go, talking of Michelangelo, and time yet for a hundred indecisions, and for a hundred visions and revisions” thank you t.s. elliott his ****** liaisons carry on from several weeks to several months begin with him adoring some girl or she adoring him little fires that burn themselves out for his part infidelity is rarely in question instead typically he or she feels let down by some personal response or character trait and simply stops calling in actuality no girl ever bothers to stick around they follow his lead and evaporate his mind draws a blank he wonders what do girls want? Deep inside he knows nothing in life is greater than the love of a woman he would have liked all those girls to be just one girl but she is missing where is she? occasionally he will run into one of his ex-lovers on street she wears an expression that hints why didn’t you phone me back? why did you stop calling? he suspects she is playing victim in self-satisfying charade in fact Odysseus crosses into new territory it is difficult to go back he hones his edge no longer is he wonder-stuck child possessed by curiosity for girls he requires **** and kink longer buildups then urgent bursts of effort drawn out climaxes nameless girl wearing tight jeans cowboy boots braids whom he meets in drake hotel elevator pushes stop button she ***** him off he has **** *** with tan-skinned french-canadian female tourist in telephone booth on north avenue gorgeous longhaired creole girl from new orleans ***** him on fire escape stairs **** *** with skinny punk girl in dark alley dutch foreign exchange student gives him ******* between parked cars on clark street weird awkward *** with goth girl in graveyard ****** by older blond woman who positioning herself underneath table in ritzy restaurant he has *** with chatty college sorority girl in jet lavatory he goes down on nerd girl wearing thick glasses in criticism section of depaul’s library he gets ****** ****** by perfect stranger in lake michigan each evening before he goes out prowling he looks in mirror wonders what strange female he will have *** with tonight it always surprises him what a person might not admit to or accept but allow or give in to if the right moment or if the right person is there not that he is particularly the right person rather he stumbles onto an astonishing streak there is the paris/milantokyo fashion model with stylish french haircut who possesses astonishing beauty perfect ***** and haughty temper after night of too many ***** martinis and ******* she announces “you and your friends are going nowhere  you’re all second-rate artist losers! and your cousin and his group are obnoxious *******” she flips him the finger then shoves him he shoves back resulting in dual arrests and domestic violence charges there is the tall blond stripper who totally fulfills his ****** desires once she lets him insert garden hose up her **** laughs uproariously as stream of water shoots out on another occasion she requests he *** in her *** he begins to believe he will marry her she insists she is too low class for his family one night she drunkenly hurls champagne bottle gives him black eye drives away crashes her car there is blue-eyed sweetheart with divine ****** loving touch who after months of sleeping with Odysseus confesses she is ******* some other guy and swears she will be faithful in the future she begs for his forgiveness as he loses it pushes her out door throwing her clothes after her one girl lights candles gives him full body massage ******* another girl holds him tight cries pushes him away one girl writes confessions with permanent markers on walls of closet another girl slaps him yells why? why why why! one girl runs to toilet pukes passes out on floor another girl sits up all night talking teasing never relieving him another girl falls asleep snores while he is in conversation one girl makes fun of small left ******* later gossips to her girlfriends he meets girl who will do anything except allow him to enter her ****** he meets girl who is professional escort she offers to do him for free she has lots of toys videos he declines they mess around she gets him off with ******* he meets girl whose ***** hair grows to mid-thigh she incessantly calls for her dog Bertram! he meets girl who shivers moans furiously cries laughs when he climaxes he meets girl with self-inflicted scars on arms legs who only wants it up her **** he meets girl who likes gagging deep-******* him to skull-**** her harder the better he meets girl whose ******* are so fierce she loses complete control drenching him sheets with her fluids excrement he meets girl who wants ******* squeezed so tightly he fears he will draw blood he meets girl who likes to talk ***** slaps his face as he is reaching ****** he meets girl with gargantuan ***** ******* as large as thumb she gurgles hot breaths later tries to steal string of beads he meets girl who enjoys lactating on his thighs while she gives him head he meets girl who knows how to contract vaginal muscles so tightly all he does is sustain ******* inside her in order to reach ****** he meets girl who pees tiny squirts while he penetrates her **** she laughs wildly he meets girl with furry mound who requests he **** on her as she masturbates he declines she reproaches him accusing you’re not nearly as freethinking as you pretend to be in fact you’re full of ****! he meets girl who wants him to act out **** they struggle he meets girl who desires to be ******* whipped he is not into inflicting pain he meets large strong girl who forces him he never tells anyone about incident he becomes mindful many females are more depraved than him women remain puzzle to Odysseus he is repeatedly astounded shocked can never predict about girl what her ******* ****** will look like whether she has eager *** or what are her secret desires he is explorer women are vast mystery he wonders are females as sexually driven as males? are they as vulnerable? is their **** like tiny *****? he speculates if completely unknown attractive woman walks up to any average man grabs his crotch many possibly most men will willingly allow it are women that weak? more than anything what most excites Odysseus is female lust handjobs are test of adequacy distinguishing character having masturbated thousands of times he thrills in having girl do it he delights in watching her arousal just staring at his ******* is captivated by method of her fingers hands revitalized by degree of her determination throughout he needs to ****** her ******* ****** *** titillated as she licks lips after swallowing ***** he realizes if he were female he would be total nymphomaniac yet he finds it difficult to imagine desiring men are all so like him women are so strange fascinatingly different he craves their otherness Odysseus loves women more than they love themselves smell sight of them sends him into frenzy problem is he fears their power over him

it’s been 25 years since those days i live alone for many years in tucson arizona have not been with a woman for long long time last relationship 2001 with crack ***** i hang my head cry wish for love wonder do i deserve to be loved pray to be forgiven

There's a cold Creole cry
that steeps from the underside of the moss
those thick recesses where, the water bridges tight to the banks
and even when the haunting moon fades upon its shades
there is always a cast of eerie chills that invade the frame.
The long lonely, half depressed, half unawakened  strolls
that never quite lead anywhere, yet always ends by the bank
where the water calls, these deep muddy swamps
that awaits in the hopes of a lost soul to enter
to step beyond the boundaries.
There is stew in these waters
a thick haze that fills and the scent it leaves
clings always upon the clothes, hugs so tight the breath, that
no matter how far one strays, it always calls one back.
Trees that have no roots, skeletons cloaked
hinged in the thick ivy moss that scatters from limb to limb
The cries, urgent, fearful, that echoes through the thick undergrowth
gathering in Voodoo curses the humid air to dance, dance
where the imagination clings and hides, Yet! Dares to know more.
It is a long walk, one, that time cannot gather nor hold
where the fields seem surreal to the charged air
and the night falls like lotus blossoms upon the water
to float away where tides to the Delta stray.

Alisdaire O'Caoimph

At age 27 I ask myself what the hell I am so afraid of
I was born in Central America and my family
Tree reveals that I am from Belize City
This means that I’m Belizean
I’m mixed with white & black  
But I’m not African American since I don’t have any history
Or evidence of my family living in America generations after generations
I’m not even sure if my ancestors were owned by slaves or not
But I won’t assume that we weren’t


Today I ask myself why I love this country so much
That I desperately strive to become American legally
And I want to feel like an American
I know more about African & U.S. History than Central America
I feel like a disgrace to my culture
Yet I haven’t tried to google, ask my family questions
Or even pick up a book to find out more about my ancestors

Whether they’re foreigners or Americans
They tell me that I speak perfect English
And I look like I’m African American
And they can’t even hear my accent
But I think to myself,
Well it’s still there my accent just isn’t as strong and it’s not difficult for me to pronounce English after living here for 15 years
And as for my skin complexion, hey I acknowledge that fact that I’m half black
I didn’t get this skin color from sitting in the New Mexico sun for too long

From what I’ve learned the languages that exist in Belize are:
1. Creole,
2. Garifuna,
3. Spanish,
4. Maya Mopan,
5. Maya Yucateco,
6. Maya Ketchi,
7. Hindi,
8. And German.

We eat:
1. Tamales,
2. Rice &beans;,
3. Craw-fish,
4. Pig-tail, meat-pie,
5. Mango, craboo which is fruit with milk and sugar,
6. Fried plantains.
7. Rompopo is Belizean eggnog mixed with brandy or ***

My favorite food was garnaches which:
Is corn tortilla, refried beans, and shredded cheese  
Fried cake which is bread dough that is shaped
Like a moon that was cut in half and then fried in a skillet

Belize has a variety of ethnicity
Chinese, white, black, Mexican, Native American, etc
So you might look at one of us and assume
They’re Mexican because their skin color is brown
Or think they’re Jamaican, African, and African American because
Of their dark skin or their foreign accent
But that person might be Belizean

We celebrate Independence Day on September 21
They listen to reggae music called *****
My family’s dialect is creole
Da we de gon on
Means hows it going

One day I hope that I’m confident enough to embrace everything:
The culture/country that I was born in,
The American life style that I live now and
Accepting the fact that I’m still black
Even though I’m also Belizean
I don’t want to continue to be bound to my shame of my ethnicity
Or this society that manipulates you
Into believing that surviving and
Making money should be your main focus

My old great-aunt Elaine with her withered hands gave me $200 and beaded handbag
"This your mad money," she told me, as we sat on that nursing home couch, "And it ain't for your purse. This goes in your shirt, where only you know you got it."
The assisted-living nurse chuckled to herself. They got along, my great-aunt and her.
"Why?"
"Cuz if you get angry," she said, in that Marlboro-raspy voice of hers, "And you gotta go, you walk out on your date and you leave 'is ***. And then you got your money for a strong drink. And your cab."
The nurse laughed
My aunt re-situated herself on the nursing home couch. Elaine Dauterive. Her mind was going, and so was her health, but she was as regal as a queen on her throne in that moment
her fire-red hair, ungrayed, was her crown
No cape as royal as that sleeping gown.
"Don't you think for once second I can't take care of you, honey," she said in that creole drawl, and I knew what she meant
Because even after she'd gone I would have that mad money
All stuffed in my bra for when I needed it
Because she was older than time, for me, seeing things like
The Great Depression, World War II
What I read in history books
I'd be ****** if I took what she said with even one grain of salt because Auntie-Lane, I'll be ****** if I don't love you
And I know you're on your way out and
I'll buy you whiskey in the afterlife with some of that $200 cash that you busted your *** scrounging up for me
Southern hospitality at its finest
And those liver spots redder than wine adorn you like badges of honor for all of the years you've endured
My elder - creole woman, with a soul as fire-red as her hair, breathing more smoke than air
My old dragon
On a pile of gold: her mad money

Man do I love taco's
Asian taco's
Hispanic taco's
Creole taco's
Russian taco's
Middle Eastern taco's
Persian taco's
Caucasian taco's
Latin taco's
Endless amounts of taco's to eat

Myself caught in the heatwave sunlight, brown eyes
furrowed in the sun, scarf loose on my neck/
the transcendental Denpasar morning-birds
are playing their melodies in my head still,
three years post-Indonesia.
        All of my soul to India now,
        sky the pink of painted elephants
        on Jaipur dawning,
        my afterlife was somewhere here
        perhaps two generations ago, chances are.
               Vijay Raghav Rao and Alla Rakha
               playing the Tabla/via earphones/treading the
               Funary Box City (Kashi) future Spring
               hands held together keeping calm pace.
               Looking about, my twenty-two year old face
catches humid wind
S
I
L
V
E
R
S
H
O
P
tattered bike leaning on the gated guest house entrance
     PERENNIAL AZURE SHIVA SITS CROSS LEGGED/
     COBRA NECKLACE IMITIATONS ON THE GODDESS THROAT/
     MEDITATING SHIVA/
dulled from years and corrosion.
Brahmin center of the market street
flapping it's tail,
sweat beads from my forehead bleeding
to oily pavement.
At last the months have come for the river Ganges,
April penumbra/savage thunderclap
while school children uplifting the heart
                 AND MIND
are ROARING in their laughter
the CONTINENTAL DISCORD OF JOY
sleeping with their eyes open
while others are too tired for the Earth.
Sidney Bechet floating swan songs during
the black hour cremations/
“Bechet Creole Blues”
CATERWAUL IN THAT              VOID
THE METAMORPHOSIS OF DEATH/
LUNACY OF LIFE
                     (I've arrived at the simultaneous crossroads
                                                      ­  of both)
searing flesh in open air pyramids/
Manikarnika Ghat,
Asia  F
          L
         O
         W
          S
through dreams
like inevitable prophecy
and as ash blends with stars
the CITY seems fulfilled
and mystifying
in it's
                      (((((RESPLENDENCE)))))

Can I write you a love song
I’ll sing it softy in your ear all night long
Blow gently without words on my saxophone
Diamond and Pearls behind the throne
A beautiful ensemble meant for only you
As I give credence too
Take my hand
Cross this journey with me as I sing about faraway lands
Past Egypt pyramids shifting Morocco sands
Lay back my love, allow your mind to silently drift
Feel the enchantment of my piano keys as it spiritual uplifts

I’ll sing love songs of old
A cappella chorus echoed from deep within my enlighten soul
I’ll sing to you about the blues, society’s injustice, and elements of darken storms
Keep your heart warm, while playing my French Horn
Enrapture foretold from this dedicated symphonic poem
A music sheet of percussion, woodwind, brass, keyboard, and strings
Harmony carrying the mind away as the joy of coming spring
I’ll hum your favorite beats, can you feel the crescendo now
Fiddle from the heart by the sweat of one’s brow

Submerge your cerebral cortex, lose yourself in the sultry tunes
Harp sounds bathe of light kissed from the illuminating moon
Destiny overcasts in the lyrics
Fate floating stratospheric
Karma of others handled in the eyes of satiric
Opera, I give you so grand in its grace
French Creole dialect murmured among silk and lace
Sounds of my flute resonant to face
Allowing my Cello sounds to thoroughly embrace

Can I write you a love song
Body and soul serenading soprano to keep you standing strong
My guitar stringing your philosophies along
An equal equation, one plus one equals two
Emotions, feelings, sentiments, its tenor expressed only for you
No compass to my heart, my seasonal love found in hidden melodies
Trombone guiding back and forth breathless as it please

Orchestra sounds
Ascending minds, bodies, souls, pass the opening clouds, divine and profound
The last note sung by me as we gradually come down
Beautiful music embraced, needs never to make a sound
Shh, close your eyes
Meditate on the music for a little while

Hush sweet baby don’t say a word
My heart softly tweets to a mockingbird
If that mockingbird don’t sing
Can I write you a love song created only for your being
As minds are sightseeing
Hearts fleeing
Timpani drums guaranteeing
Entwined of our divine wellbeing
Emotions freeing
Crooning of bodies heard as the day is long
Can I write you a love song

The day the ships came my ancestors we not of the aware of the forced melting *** that would come into existence
The combination of french and spanish confused the delta slaves
Little did they know that neither language would stick on their burnt excuses of  tongues
The days the ships came New Orleans became the beacon of mulatos
And although the conquistadors could **** and beat their slave wives
Their spanish advances were not reciprocated due to lack of of heat to complete the melting
The languages that conquered the delta were combined into something that no outsider would want to encounter
That’s why the Americans came and took it like they did the rest of the country
They mistake the magic for voodoo then rebranded it for themselves
Centuries later the delta is still a melting ***
But it’s one my grandmother’s tongue was forced to forget
Her languages were lost next to her mulatto slave ancestors, left to spoil
So now when people ask
“If you’re hispanic why can’t you speak spanish?”
I can barely find the words in english to explain the years of torture my tongue has endured
When spanish speaking couples walk into my work
My tongue is eager to spill words it wishes it had the ability to create
My blood begins to hate itself over the fact that a third of itself is unrecognizable
My tongue is still waiting for the new boats to arrive and reconcer it
All it knows is to be conquered
No self defense here
When all you know is to be conquered
It becomes a challenge to think for oneself
My tongue can’t decide if english, spanish or french is better
My creole mind is yelling thousands foreign curse words not knowing which one is a true sin
Maybe the sin here is letting the burner stay on too long
The day the ships came
My slave ancestors looked at their spanish lovers and said
“My love, what shall we do once the french arrive?”
With their eyes looking into the horizon the conquistadors replied
“Es no problema para mi, pero tu, tu es la propiedad de estos”
Which according to simple history books means
“Good luck”

Fine living . . . a la carte?
     Come to the Waldorf-Astoria!

     LISTEN HUNGRY ONES!
Look! See what Vanity Fair says about the
     new Waldorf-Astoria:

     "All the luxuries of private home. . . ."
Now, won't that be charming when the last flop-house
     has turned you down this winter?
     Furthermore:
"It is far beyond anything hitherto attempted in the hotel
     world. . . ." It cost twenty-eight million dollars. The fa-
     mous Oscar Tschirky is in charge of banqueting.
     Alexandre Gastaud is chef. It will be a distinguished
     background for society.
So when you've no place else to go, homeless and hungry
     ones, choose the Waldorf as a background for your rags--
(Or do you still consider the subway after midnight good
     enough?)

        ROOMERS
Take a room at the new Waldorf, you down-and-outers--
     sleepers in charity's flop-houses where God pulls a
     long face, and you have to pray to get a bed.
They serve swell board at the Waldorf-Astoria. Look at the menu, will
you:

     GUMBO CREOLE
     CRABMEAT IN CASSOLETTE
     BOILED BRISKET OF BEEF
     SMALL ONIONS IN CREAM
     WATERCRESS SALAD
     PEACH MELBA

Have luncheon there this afternoon, all you jobless.
     Why not?
Dine with some of the men and women who got rich off of
     your labor, who clip coupons with clean white fingers
     because your hands dug coal, drilled stone, sewed gar-
     ments, poured steel to let other people draw dividends
     and live easy.
(Or haven't you had enough yet of the soup-lines and the bit-
     ter bread of charity?)
Walk through Peacock Alley tonight before dinner, and get
     warm, anyway. You've got nothing else to do.

herbs new mown send green scent to me
an undertone of pepper - non-explosive -
marks this spot especially

a creole mixture to spice the morning walk

were I the chef of this walk
blandness would prevail
for blanding is safe
and requires no inspiration

I am learning recklessness and wantonness
it is in my eyes, should you peer into them
it is in my heart, should you sound it
it is in my being now and you can smell it on me
like the peppery scent in that spot there

I am become a creole recipe
delicious and warm
fulfilling and comfort to the traveler
in this landscape


Roberta Compton Rainwater
c. 2009/2014

Sprang forth with no branches or leaves. Small roots.
Bore mangoes, papayas,guava and bananas. Hybrid, mid limb grafting.
The trunk is a figment but it stands non less. You see
my family tree never was and always will be.
A roadside shade with low hanging fruit.

Was never planted.It was a deposit from the bowels of an exotic bird
of the jungles that sampled at leisure the offerings of the rain forests.
The Hardtack and marmalade came on ships with the kings business
Mixed with the Nigerian Fu-Fu  ,the Aztec maize the Mayan legumes.
and all points of the compass.

Old Joe Denegri, The Blancaneaux , The Cattouse, The Melado, The Pinks
The Flowers,The Orozco and more. And boundless from the ***** of opportunity.
Piecemeal and untethered. But it is the tree that I must cling to.
However rough the bark.

The sap runs heavy and slow in the humid Belizean heat.To meet the earth.
Cool breezes blow a haunting disharmony. A sweet unity in chaos.
The soil is rich,pungent and forgiving.  Soon, A bell tolls  in the distance.
The Sea mists my dreams.

A stairway of coconut fronds to azure skies.
Nighttime smells like creation.
The still slackened pace.
The small rat race.
Tempest in a teapot.
Urban-rural.

Coolie gal.
Creole boy.
New Chinese.
Old African.
Ubiquitous Espania.
Garinagu. Mosquito coast.
Children of Mennon.
Old Basque faces.
Things we call races left with small traces
of what?

My tree, her tree, histree.
I am you and you are me.
I see me in your face and you see me.
We are  and will continue to be.
Blended.
a hybrid. An orchid wild.

Oh Honored,
and Everything shall be done
so still as the rising sun
an enmity of good and evil
a creole out place for all ages
and lo his nights are sacrosanct than days
yet thee remained Avant
than ever more so could change
thus, change forge to my heart
like rebels facing an empyrean, a tragic dream

As their ethereal mind queries;
Could Silence be heard?
Could Uproar be held?
Could Tranquility be forever still?
Could A Wayward be in place evermore?

A life so query,
a mind so wild as spirit so free
for youth is ****** to be astray
and still continues to find its way

Yet in its Maker thee will know...

what lies beyond the depths of shallow springs

what message can be read in papers of blank

and what eyes can see when the world is blind

Am I affront to pry?
when I query for once was mine....

   The killer
came crashing down
smashing,  thrashing through.

What is tender's  tender
       so  for itself,   to do?

        --As it runs
        right over the top of her..

       This taker.
       This killer.

In the black,  
now in between;
so lightless and thick..

        blotting out  all screams.
There is an annihilation  here.
A void.

A terror.
To stay, means certain death

      but to leave  
      also means certain death
      So the  d is m e m b e r men t   begins
      as she is ripped, completely into half

And those halves,  into half..

.. into half

--into half..
        into half.

     And still it tears.. rips..  shreds--
Until all,  in between
is nothing  but black.

A black it can now  pretend to fill
with all of its empty promises..

and all of its counterfeit, everything.

..And then--  just up and leaves
once it is fully satiated.
     And for a while..
     the black had something.


Clinging to the rocky crags
on either side of the unlit valley
are now  the pieces of her--
war-torn and shuddering.

Terrified

Of the black, black   empty.


Of what is now  fully
     and  completely   dark.

      ~       ~      ~       ~


Timmy  ain't real tall
but look at his stature,
as his majestic strings   dialogue
the introduction.

And Warren's gotten so fat
See him now, looking so dearly,  back
at his half-pint of Chunky Monkey--
picking it back up,  for the fourth time..
scraping... scraping.. scraping..

But watch his eyes  light up
as Timmy looks up--
  over the top
of those wild-man RayBans

And with a gentle nod,  it all begins..


-- as our Warren  now digs  deep
into his Gibson's beautifully-wanton  ways..

    identifying.


    clarifying.


­    Rectifying.


Clarence, the Magician..
Stephan--  Humble, Unparalleled
And Dave's  so chill
he's part Creole.. I just know it.

So great a cloud of witness:
surrounding you, my beautiful..

coaxing  you.

    Identifying it all for you.

CREOLE PIDGIN ENGLISH

wetin de call dis, wetin you go call dis
oyinbo com tiffy tiffy from ma yard
I no trouble yam, I no go knock on dem fer notin
but oyinbo an dem pally com de burglarise ma hice
you hear me so!
I say oyinbo com de steal from me home
Dem be thieves tiffing all over de compound
an when I go say why you tiff about the place
oyinbo tiffs them tell me I go be the *** whey go suffer
See palava see how dem de treat black people
in dem country.
If I go steal from oyinbos, na ma *** dem go trow in jail
yet for dem town, dem com steal your property
and when you go talk they slap you down
Dem go make me loose ma bread, loose ma woman
Dem spoil ma name, them abuse me
Dem tell al kinna lies against me
Dem make nonsense stories and fabu abot me
Dem harass me, discredit and disprofit me oh!
Dem become tomenters, dem say dem go drive me crazy
dem go ruin ma life, dem go make me sik in da head
And heavens know i never trouble any persons
I never put ma feet in anybody house to steal
I never see this kin ting before
where you go do wrong and destroy him whey he do no wrong
Dis is what dem do here now, make you people know
I no fit work, I no fit go anywhere without oyinbo and him
pally dem follow and harass ma ***, dem say dem want me dead
Dead for stealing from me, dead for me doing notin wrong
an them feel proud for all dem de do, dem feel right for wrong
De kin wickedness whey devil himself no fit do, dem don do
And I swear before man an God, dem go get their retributions
Every single one of dem whey involve
God go punish dem
God go bring the chaos of hell on dem
God go mash dem up like dem mash ma life
Except God no be God an tru an  real
Dem are evil people and evil will claim every single one of dem
who do dis to ma innocence.
Peoples wherefer you be, wherefef you go, make you know
That in london der are evil oyinbo thiffs dere
an them go steal and destroy your life if you talk
I beg jus pray for me, dem want me dead
Dem want blood.
De blood of an inoncent man who never trouble anybody
dem de make mockery of me now
Dem de call me Modern day Jesus....
An by de Grace of de real Jesus Christ
Each an every one of dem who hav made me suffa
Will get dem just reward, I wait on the Lord
He is a tru an just God and Him say
Vengeance is mine...

patterns reflect patterns reflect history repeating itself
I see problems in humanity because humanity corrupts
seriously, we can't have a movement for "better" without making it worse
listen, slavery, right?
whites hated blacks
deemed them lesser
deemed them nobodies, nonexistent
that's putting it generic
so what do we have now?
an era of white-haters!
so many "minorities" standing up and saying
"I hate the whites"
we have done a 360 and it kills me
it was supposed to be about blacks being seen as equals
being seen as people instead of blacks
and now, yeah, I'm going there
gays
I love gays, man
but y'all are killing me too
this is what I see
gays oppressed, dismissed, told they're sinners
unholy, bad, gross, wrong, backwards, ugh
they were beaten, bloodied, bruised, murdered, silenced
so the gays stand up
what do I hear?
"I hate Christians"
"I hate straights"
"I hate everyone who is not gay"
people hating on macklemore because
he tried to stand up
for THE PEOPLE!
they say
"a straight white man cannot represent the gay community"
I'm sorry

WHAT????

we act like no one has gone through HARDSHIP
we act like if you're white, straight, and a male, you're golden
free
happy
perfect
wake up.
what no  one discusses
is that the issue is right vs wrong
right vs wrong
right vs wrong
I'm not a straight white male but I know right vs wrong
I'm not an Irish Jew but I know right vs wrong
I'm not a Haitian Creole Indian goddess but I know right vs wrong
you don't have to BE the oppression to SPEAK on the oppression
you have to know right vs wrong
I say macklemore knows
I know
you know
let's speak up
what is wrong is discrimination
what is right is taking a stand to end it
so please
blacks,
gays,
minorities,
whites,
humans,
majorities,
stop obliterating good
or else you'll be confined to the chains of oppression and silence until the day you die and so on amen

I'm a human being
tell me what I cannot speak on

your blushing cheeks with the shade of rose hot with passion
you voluptuous lips plump and stained with cherry red wine
your soft skin smooth to the touch mixed with caramel and porcelain
your hair in intricate waves of honey blonde and chocolate brown mixed together
eyes of purest gold and amber
how sweet your essence tastes when i indulge in it so greatly like a delectable treat

Prescription drugs
They my only love
Back in the days
Deep in the 80's faze
We play, blaze
In the front yard of maze
Mother was a stoner
Father used to **** her
Beat her choke her
Gave her the kiss of death
And where she laid
He danced on her grave
My brother cried
Our hearts went numb
Remembering the song
She used to hum
Running her hands
Through our hair
We whispered her stoner prayers
The lily song she sung
'pon our ears it hung


'hypocrites and parasites become men at night
don't lay too close or you'll catch a fright
just take these chains away and set me free
remove me from this ******* and
then we can agree'

Prescription drugs
They my favourite love
Whether you black
Or be it blind white
The streets of Babylon
Be too dangerous at night
He made us run
Before we could walk
The road was rough
Our feet like chalk
The slave in me
Never be free
(Never be free...)
And in the dark
The parasite come
Grind the sweet kush
Between my legs they come
The sound I make is none.
My soul be broke
My mind be stole
******* so tight
No control

But nothing can compare
To the Creole bird
My mother love us sweet
Her hands through our hair
As we whispered for her
The Stoner Prayers

Nineteen twenty ways
to love the same photo, I
remember, it all.

The blubbering moon,
was thumping like itself;
no matter, we go!

We entered the room,
and we became an image,
and drank until full.

Illuminating
hot seat, the material
IKEA, alone,

pristine sounds of loss,
a man and woman dancing
each others eyes, there.

Midnight morning fly,
buzzing flea-like, almost gone.
My window opens.

All the yakking dead.
My porch- old wood and sunset,
smoke diving within.

Suffocate us sea!
If you dare drink what we have!
Our stomachs fit you!

The Titanic floats,
the night swim will carry us,
calmly to ourselves.

Opaque sea-gulls fly;
we are but moon beams seeking.
Igniting ripples.

The taste of salt shouts,
it devours our tiredness.
Running beside us.

Half shore nearing us,
no other bodies near us,
we know only peace.

Inside our madness
there is every dream which wakes
wet steps, standing up.

Skin inked by needle,
below your growing wild hair,
moving, as it stays,

A religious book,
its pages moving in wind,
brown with gentle time.

Negative film roll,
opal, and doused with liquid,
so we are, so still.

Permeating dream
a leaf from burning tree branch
settling in grass.

Sudden flower bloom,
I watch you grow as days change.
Time, can never be.

Holocaustic love,
returning to the swap mind,
nothing stays buried.

The last beggar hangs,
he was a poet, a friend.
Servant girl watching.

Holograph song sings,
she is more awake than words.
I smile back at her.

Doorless buildings shine,
travelling up beyond us,
the meeting begins.

The office suite melts,
only listening to data.
So much for talking…

Peyote smoked.
Old tribes knowing how it goes.
Perfectly happy.

Madigras come now!
Alive smokin drunk street life!
Masks bleeding with ghosts.

Mine, yours, lit by fire.
Lets join the raining parade,
and grab a chicken.

They do it in the ethereal range of our eye’s linking hands,
our bodies swaying to the din of infinite types of drum life,
happy to be ours, enough to fill every street with realms,
packed dead-masked as New Orleans is definitely new my love – - !
the bar door requires a kick from our ripened legs,
it shatters the sweat stairs as we walk down finding the ground
inside leaving the painted parade to flood in on itself,
the chorus is tap tap tapped and stamped by the bar-man ready here
to cool us down and let us choose from any drink we wish.

In thick New Orleans accent he says:

“You been swimmin’ in the big Bayou brotha-sista.”

But it’s enough for us to answer him from the photo behind his bar.

We let him touch us, we sit frozen in front of a box camera and wonder
what’ll happen as the bulb flashes.

I pull ma Creole queen into me, as all galllreees open brotha-sista!

The photo be taken quick enough to ****** life from shotgun.

You’ll just keep on sittin there wontcha ma cher,
while these gumbo ya-ya come down ma stairs.

**** Mardi graaa…

A couple come down the wooden stairs.

Helping each other stand from too much street juice.

Looking back from the photo the barman knows that the couple
heard him talking, they slap down on the bar stools as he kisses the
photo of him and his wife.

“Well they be a truer than you or me cher, dontcha think?”

He says smiling back, more cheer than teeth, as the conversation begins,
undisturbed by the pulsing sounds from above.

Before a Creole love call, and a curdled Cajun moon
the bay water laps about pierrot, bay grass, and wading egret knuckle

Treading through his mucky labyrinthine mistress, and wind-knitted mire
beak prods pock, and inundate in the same instant
silt gilds his bill as he finally snaps about scaly sustenance

Sated
Wings boom and beckon in the darkness
Lift
Scooped in pearl beam, he commands the aeriform

An ether opus bellows about his form
Drying silt disintegrates from aerodynamic bill
Dribbling about in a forgotten slant in the darkness

Naughty Bougainvillea
flash
their gypsy red burgundy parasols
like Creole maidens
from New Orlean French Quarters
their wild beauty
adorns Floridian gardens and
ocean courtyards

But, they are no match for
the Queenly Gardenia
Her soft, ivory, alabaster *****
exudes a scent found only in Paradise
As she unfolds her exquisite, royal,
Saraswati petals
I wait blushing with bated anticipation
for a whiff of Heaven itself

She walked up the stairs, swiped her metro card and made her way up the stairs to the platform. As she walked towards the front end so she could get on the second car of this F train headed to Manhattan, she felt the cold winter wind snap at her. Pulled up her collar and wrapped her arms around herself bracing for the cold.

She was wearing blue jeans with boots over them – a small black ski-jacket with a red scarf. Her hair, shoulder length blonde was covered by a knit cap, also black.

It was the 5th or 6th month of her working at the Union Square Barnes and Noble. She still wasn't even sure what her role was there, her title was “Music Manager” yet there were two other “Music Managers” there as well. She enjoyed working there because she loved to see so many people enjoying the books, music and the other stuff that they sold there. She also loved to sit during her breaks and read. She loved to read anything that was written around the 1920’s. F. Scott Fitzgerald, Ernest Hemingway, Gertrude Stein, T.S. Eliot, Edith Wharton, and so many more.

She had always felt “different” from her peers and this caused her to find herself alone some nights watching TV or forcing herself to write on her blog.

Julia was 26 years old and had graduated from Kingsborough College 4 years earlier. She had thought about graduate school but then realized that she really wasn't interested in any specific degree or even future.

She had been diagnosed with depression back when she was 16 years old. She had never tried to **** herself nor hurt herself but would spend too much time in her room and away from any social life.

When she was 18 and a freshman at college she fell in love with Mitchell, a senior with four different girlfriends and a future as a politician. When she found out about one of his other girlfriends she broke up with him. It was a couple of nights later that she found out about the others while browsing through Facebook. The fact that she had been so blind and naive to not even catch any clue that he was actually dating 3 other girls, hurt more then the loss of having him around. She was hurt and she closed herself off from any social life after that.

“It wasn't the fact that he was with the other girls, it was the fact that I was stupid enough to fall for someone like that. Thank God we never had *** – that would have really put me under.” She had told this to her therapist and the therapist only cared about asking her. “Why didn't you have ***?” She felt creeped out and stopped seeing him.

Her friends tried to bring her out of her slump but it was way above their ability. Love can heal all things but some wounds can only be soothed not healed.

The darkness in her room followed her  wherever she went.  It wasn’t until her 26th Birthday when she decided to go to see a different psychiatrist, a female Doctor this time. Towards the end of her first appointment it was suggested that she should begin taking medication. She felt she could help herself without taking any medication.
“When you feel you want to try them out you just let me know. We would begin with a very low dose…”

She saw the train in the distance approaching in its snail like pace. The wind, the cold and the clouds all conspiring to make it feel as if the train is at a standstill just two blocks or so away. Finally the train crawled in and came to a stop; the sound of the doors opening, the electronic ding-**** and the voice – “next stop Avenue N, stand clear of the closing doors.”

She finds a seat by the window of a two-seater row. She likes to look through the window and watch as the different scenes come into view and just as quickly disappear. It reminds her that her’s is not the only world that exists. That the world does not truly revolve around her. She watches as the train rolls along McDonald Avenue; school van picks up children, two people are sitting eating breakfast on a second floor apartment directly across from the train. She concocts different ideas of what they are conversing about – are they expressing happiness and love or are they scared and feeling alone?

She looks inside and sees an older man reading a hard cover religious book, perhaps the Talmud or something? Two seats to the left of him is a Haitian woman speaking on her cellphone in Creole – really loudly. He looks towards her and nods his head in disapproval. Down the way a large man sits eating with his jacket open revealing his sizable girth, as if in pride? he is downing a bagel and licking the cream cheese to avoiding it from spilling over. He has a Yoohoo chocolate drink in between his legs and is in some sort of comatose gorging ecstasy. A lady is applying makeup to her cheeks and when the train stops at Avenue N she draws her eyeliner pencil under her eyes – framing her Asian eyes with the imperfect blue she decided to use.

Avenue N and the doors open to a black man wearing a yarmulke and looking Jewish but for the color of his skin, in these parts at least. He is of Ethiopian descent and is Orthodox – she knows this because she once heard him speaking to another passenger on the train. A fifty-ish lady walks on and is, of course, on her phone giving orders to one of her children, it seems. Julia looks away and checks her phone – no alerts, no emails, no missed calls. “Next stop Bay Parkway.”

Across from her on the other side of the train, she can see the Verrazano Bridge and outside her window she can see thousands of graves lined up. She thinks about their lives – mothers, fathers – they were all once babies who needed to be fed, dressed and changed.

“Snap out of it! She tells herself.” She stood up as if to wash crumbs off of her clothing – shook a bit and sat back down again. She would not, could not allow the darkness to seep back in again. It always began with a thought…since she finally gave in and had been on meds for a little over a month, the fog had begun to lift a bit. A bit. The “low dose” had been doubled since her first week and now she began to “See a little clearer, is that one of the benefits?”
“You are seeing more clear because you are not running as fast as you used to. You are slowing down and able to live at a healthy pace. So now the colors you once defined as green, yellow and blue have a deeper meaning to you, am I right?”
“Yes, its as if I can focus now>”

She looked out the window, looked back into her bag and took her book out. “The Corrections,” she had yet to read it but loved the title. In her mind she had pictured it as someone in the middle of their life who decides to make “Corrections.” She was afraid to begin reading it because she knew it wasn’t about that, specifically, and preferred the definition in her head.

“I am making corrections these days.” She thought to herself.
The fact that she decided it was time for her to take the leap and swallow a pill once a day was proof in itself. “I want to be the best I can be, to enjoy life…” Lately she has been having vivid dreams – only to wake up, try to remember only to forget quickly.

The train goes underground and where once she would get anxious she now welcomed it as if an embrace.

“Too many stops to go until I find my way…” She heard a voice inside of her say, or sing? Or was that the lady behind her?

“Too many corrections to make within myself so I can even begin to find my way anywhere.” She thinks to herself as if answering someone.

“Corrections…yes…can it be as simple as that? Look within myself and accept what is wrong and right and make some corrections?”

She walked off the train at 14th Street and found her way upstairs and out onto 6th Avenue. She walked east towards Union Square and felt the cold air hitting her face – feeling like a pale of freezing water in the August heat.

She feels a bit more at ease and knows that there is a change happening and it could be from that small pill. A sense of hope, not full blown hope but a ray and that is more than she has felt in a long time.

She looks across Union Square and sees the celebrations of everyday life on display. Men painted in silver and gold, a clown dancing or riding in a small child’s bicycle, chess players lined up and waiting for challengers. People walking quickly chasing time trying to catch up or outrun it. Cold wind blowing pieces of paper high up – churning around and around.

She looks up, crosses the small street, smiles at the guard, opens the door and walks inside.

italicThere are countless stories of people in this world chasing memories, dreams or hopes that were once so vibrant – now laying dormant on the side of empty streets. Ghost towns where youth and optimism were once at play in the streets where dreams were erected only to fall in a lost battle against the ultimate thief – time. Julie turned out to be one of the happy stories in this world…she ended up meeting her cousin at the store that same day. He was with a friend of his named David – he smiled and she smiled back. Sometimes good things do happen and they happen when you least expect them to. She is still working on her corrections and has yet to even read the first page of the book.

Hand
Cave
Alive

Painting
Saffron
Red

Creole Barn Dance
Wedding of the
Sublime

Visions in the breeze
A tree on a broken horizon
Each wave a shout
From the past to the future
A call heard only by
The one's truly listening

Tipping point mathematics
Love has and always will be
Trial and unforgivable error

Hearing the door open as
Echoing empty steps chime
Like the first poets to ever write a rhyme
Or an innocent man put to death
Falsely accused of another one's crime

Each order put into bolts and gears
Wear me thin and rattle me to the bone
I've made a mistake, I'm no longer here
My feet are crooked and I feel queer
Each note I hear is out of tune as the saloon
Has started to bend backward

The light under the fan spins
Chopping my sight clean in two
The blue creole sky enlivens my senses
As youth dances and gyrates restless
And effortless like one's first fall into love

A case for the weak
As the strong get along
No dust in their fingertips
Their stomachs always full
As the poor feel the pull
Into the road to the grave

Put the ear to the snowy hills of Eastern Europe
Make sure your boots are tied
And your pen hand is steady, unwilling to lie
Afraid of consequences is to be human
But to be afraid of a life without them
Is to tie the stitch to tight around the hem

There is choice
And then
There is responsibility

The routine
Of our lives rely
On the choices we made
Due to responsibility
Guilt and learned' reason

Forget reason
Forget thy' guilt
Forfeit the old
For the new

You know truth
More than
I

Make the skies eternal limits
I'm shooting for a paper moon
A thin white line disappears
The Crescent city blooms

She rises from the river
Without the sky's inner inhibitons
She commands all her passions
Painting exhibitions

There is no distance
Between each and every line
She is my perpetual lemming
Flung from from the cliffs of time

Dark haired Creole woman
Body damp with sweat
The gumbo boils in desire
You're my "Day-glo" dash board saint

Kissing white moonlit *******
That dance with each and every ******
C'mon shakedown the stars
Ashes made by burning lust

Been off stubbing repeatedly,
my toes,
on the raggedy twisted
sidewalks of a sinking city, not mine,
where here, my own metaphor,
is being hand delivered,
to me, for me, by me

too many cayenne creole paroles,
none of them getting me any freer
none, as of yet,
making me a free parolee

been off studying some
of what I cannot yet do,
parole in libertà,
a language cosmopolitan
of creation, via creative writing
remolding all of the dix senses

been drawn and french quartered,
drilled down, found no unknown
solace deep bedrock grown,
so doing a redistricting of the map personal,
exposing my gardens, my Doric columns,
to any passerby with the
audacity so sheer to look me
in the face direct and say
laissez le bon temps rouler!

looking to liberate my words,
looking for liberty in my words,
in a different melting *** where here
I am a semi-low semi-free
person of color called
Old Fashioned White,
looking for a seasonal hurricane
to move me along,
push me to write in a new style,
developing cayenne words
smothered in jazz à la mode

multi-flirting with multi-fluency,
searching for Experimental
mellifluous words
stolenlen from, and built upon
a thousand years of languages,
river wide delivering its mountain deep
cargo of silt, a city of words, upon it built,
just like the great Mississippi,
changing course every one
                                               thousand years

my mouth, a river opening wide,
catching both salty and fresh,
god's love delivering,
doing the best I can,
writing real fracking poetry for poetry's sake,
not text messages of asstags
kissing nobody's ads of sad dead #hashtags,
following nobody noticeably,
but thrusting your good stuff into my orifices,
most pleasurably deep
                

but never parrying,
                   

      I am a poet social only in this:

my devotion to my crew
                                   stronger every day
for and
                           of that particular poetry,

           I can write better than anyone,
              so big,
                                    sooooooooo easy,

and that's, Steve, Bala, y'all,
how and what I'm doing
and by the way,

Putain Zang Tumb Tumb

you could look it up