Paris has traditionally been the city where inter­national designers – from Australia and England to Beirut and Japan – opt to unveil their collections. However, Karen Ruimy, who is behind the Kalmar label, chose the runways of Milan Fashion Week for her debut showcase in September.

The Morocco-born, London- based designer hosted an intimate al fresco event in a private palazzo to launch her holiday line of fine cotton and silk jumpsuits, breezy kaftans, long skirts, playsuits and off-the-shoulder tops in tropical prints.

Ruimy had a career in finance before moving into the arts – she owns a museum of photography in Marrakech – and has become increasingly involved in fashion and beauty, thanks to her personal interest in holistic therapies.

These are clothes, she explains, that marry luxury and wellness, and are the things she would wear when she wants quality time by herself. The fact that they are made in Italy, convinced her that Milan was the right place for her debut – where she showed alongside the likes of Gucci, Prada, Verscae and Marni.

On fashion calendars, Milan has conventionally been the place where the runways confirm the trends and themes hinted at ­earlier, in New York and London. However, this season, the Italian designers did not speak with one voice, making Milan Fashion Week all the more refreshing for it.

Often, there might be an era or style of design that dominates the runways during a particular season, but for spring/summer 2017 in Milan, there was a standout showing of techno sportswear and techno fabrics employed in updated classics such as coats and box-pleat skirts, or with references to north African and Native American themes.

The Italian designers sent looks that would appeal to everyone, from the haute bohemian and athletic woman, to the cool sophisticate and the art crowd, as well as – as in the case of Moschino – to the iPhone generation.

Only three seasons ago, Gucci’s creative director Alessandro Michele was lauded for his complicated maximalist styling. Yet in Milan, Gucci channelled a dreamlike vibe with Victoriana, denim, athletic apparel and oversized accessories, thrown together in delightful chaos, making it difficult to predict the direction Michele is taking Gucci in.

Currently he seems to be in a holding pattern, hovering at once over 1940s Hollywood glamour, 1970s flared pantsuits, and ruffled party dresses from the 1980s, in a cacophony of ­colours and fabrics.

The feeling of joyous madness continued at Dolce & Gabbana, where street dancers emerged from the audience to start the party in the designers’ tropical-themed show. The clothes used some of their familiar tropes, such as military jackets, corseted black-lace dresses miniskirts. New, however, were the baggy tapering trousers redolent of jodhpurs, and the lavish and detailed embellishment the designers used to sell their story.

Wanderlust dominated the moodboards at Roberto Cavalli – rich patterns, embroidery and patchworks inspired by Native Americans – and Etro with its ­tribal themes on kaftans, duster coats and Berber-style capes.

Giorgio Armani, Agnona Tod’s, Bottega Veneta and Salvatore Ferragamo – with its stylish twisted leather dresses and crisp athletic sportswear designed by newcomer Fulvio Rigoni – all answered the call of women who want stylish but undemanding clothes.

Marni would appeal to the art world for its graceful, pioneering ideas. The label’s finely pleated dresses displayed a life of their own, and its micro-printed dresses were gathered, folded and distorted to walk the line between stylish and quirky.

In contrast, the sportswear at MaxMara and Donatella Versace targeted the dynamic generation of athletic women, with sleek leggings, belted jackets, power suits and anoraks. Versace has made it clear that she thinks this is the only way forward. She may be right, but there’s always room for the myriad styles displayed at Milan Fashion Week in all our wardrobes.

It was feathers with everything at Prada. Silk pyjamas, boldly coloured and mixed checks, cardigans and wrap skirts with Velcro fasteners show Miuccia Prada reinventing the classics. Most glamorous was the series of evening dresses and pyjamas with jewelled embroidery and feathers, worn with kitten heels that married sporty straps with heaps of crystals. Prada’s must-have bag of the season is a bold clutch with a long strap fastener, that comes in a multitude of geometric and daisy patterns.

Versace

Over the past three seasons, Donatella Versace has been carving out a new image for her brand – a shift from the luxe glam of red carpets and superyachts, although the inhabitants of that world will be sure to buy into the new Versace vibe. Donatella’s girls are both glamorous and empowered. The sporty look is tough, urban and energetic, judging by the billowing ultra-thin high-tech nylon parkas and blousons, stirrup trousers and dresses (the shapes of which are manipulated by drawstrings). Dresses, skirts and tops are spliced at angles and studded together. Swishy pleated dresses and silky slit skirts gave energy when in movement, and were as soft as the look got.

Bottega Veneta

Model Gigi Hadid and veteran actress Lauren Hutton walked arm in arm down the Bottega Veneta runway, illustrating the breadth of the Italian maison in Tomas Maier’s hands. This was a double celebration of the Bottega’s 50th ­anniversary and Maier’s 15th as its creative director. Menswear and womenswear were combined, and the focus was on easy, elegant clothes in luxurious materials, such as ostrich, crocodile and lamb skin for coats; easy knits and cotton dresses worn with antique-style silver jewellery; and wedge heels. Fifteen handbag styles debuted along with 15 from the archive.

Fendi

Silvia Venturini’s new Kan handbag was a star turn at Milan. The stud-lock bag dotted with candy-coloured studs, rosette embroidery and floral ribbons couldn’t help but charm every woman in the audience. It was the perfect joyful accessory for Karl Lagerfeld’s feminine vintage romp through the wardrobe of Marie Antoinette, with sugary colours, bows, big apron skirts and crisp white embroidery juxtaposed with sporty footballer-stripe tops – effectively updating a historical look.Read more at:http://www.marieaustralia.com/formal-dresses | www.marieaustralia.com/red-carpet-celebrity-dresses

Murva fashion collection introduced at Eco Fashion Week has been a life long process for Ivana Knezovic, Creative Director / Designer. This was not only the 29 year old Croatian designer's first collection, but also her first international performance.

She debuted her eco-friendly collection titled Rust & Flow on the runway at Eco Fashion Week in Vancouver, Canada. Her pieces are all made from eco-friendly wool flannel.

Ivana Knezovic made interesting use of symmetrical lines, and I admired the draping from the shoulders framing a dress low-cut in back. One dress had several parallel vertical cut lines on the backside.

Many of her tops had capes, hang from one shoulder or both, paired with slim pants or a skirt. A nice touch of dramatic flare as the models moved down the runaway.

“Fashion design was always in me,” say Ivana Knezovic. Having resided in New York, Toronto, and Switzerland, designing was something she always wanted to do. "Murva is the name of a tree in my village. My company represents a return to my roots, to who I am at my core."

"I like structure. I like hiding the body behind some kind of a structure," said the designer who makes all her own clothes and cosmetics. "Eco is a product of maturity and of wholeness that you can only achieve when you really and truly grow up."

As a designer, she told me that she strives for “pure minimalism,” yet her eco-fashion designs are made for a sophisticated, minimalistic, and determined woman.

Exactly what the eco-fashion movement needs.Read more here:www.marieaustralia.com/bridesmaid-dresses | www.marieaustralia.com/formal-dresses-2015

When I was chief creative officer for Liz Claiborne Inc., I spent a good amount of time on the road hosting fashion shows highlighting our brands. Our team made a point of retaining models of various sizes, shapes and ages, because one of the missions of the shows was to educate audiences about how they could look their best. At a Q&A; after one event in Nashville in 2010, a woman stood up, took off her jacket and said, with touching candour: “Tim, look at me. I’m a box on top, a big, square box. How can I dress this shape and not look like a fullback?” It was a question I’d heard over and over during the tour: Women who were larger than a size 12 always wanted to know, How can I look good, and why do designers ignore me?

At New York Fashion Week, which began Thursday, the majority of American women are unlikely to receive much attention, either. Designers keep their collections tightly under wraps before sending them down the runway, but if past years are any indication of what’s to come, plus-size looks will be in short supply. Sure, at New York Fashion Week in 2015, Marc Jacobs and Sophie Theallet each featured a plus-size model and Ashley Graham debuted her plus-size lingerie line. But these moves were very much the exception, not the rule.

I love the American fashion industry, but it has a lot of problems and one of them is the baffling way it has turned its back on plus-size women. It’s a puzzling conundrum. The average American woman now wears between a size 16 and a size 18, according to new research from Washington State University. There are 100 million plus-size women in America, and, for the past three years, they have increased their spending on clothes faster than their straight-size counterparts. There is money to be made here ($20.4 billion (U.S.), up 17 per cent from 2013). But many designers — dripping with disdain, lacking imagination or simply too cowardly to take a risk — still refuse to make clothes for them.

In addition to the fact that most designers max out at size 12, the selection of plus-size items on offer at many retailers is paltry compared with what’s available for a size 2 woman. According to a Bloomberg analysis, only 8.5 per cent of dresses on Nordstrom.com in May were plus-size. At J.C. Penney’s website, it was 16 per cent; Nike.com had a mere five items — total.

I’ve spoken to many designers and merchandisers about this. The overwhelming response is, “I’m not interested in her.” Why? “I don’t want her wearing my clothes.” Why? “She won’t look the way that I want her to look.” They say the plus-size woman is complicated, different and difficult, that no two size 16s are alike. Some haven’t bothered to hide their contempt. “No one wants to see curvy women” on the runway, Karl Lagerfeld, head designer of Chanel, said in 2009. Plenty of mass retailers are no more enlightened: under the tenure of chief executive Mike Jeffries, Abercrombie & Fitch sold nothing larger than a size 10, with Jeffries explaining that “we go after the attractive, all-American kid.”

This a design failure and not a customer issue. There is no reason larger women can’t look just as fabulous as all other women. The key is the harmonious balance of silhouette, proportion and fit, regardless of size or shape. Designs need to be reconceived, not just sized up; it’s a matter of adjusting proportions. The textile changes, every seam changes. Done right, our clothing can create an optical illusion that helps us look taller and slimmer. Done wrong, and we look worse than if we were naked.

Have you shopped retail for size 14-plus clothing? Based on my experience shopping with plus-size women, it’s a horribly insulting and demoralizing experience. Half the items make the body look larger, with features like ruching, box pleats and shoulder pads. Pastels and large-scale prints and crazy pattern-mixing abound, all guaranteed to make you look infantile or like a float in a parade. Adding to this travesty is a major department-store chain that makes you walk under a marquee that reads “WOMAN.” What does that even imply? That a “woman” is anyone larger than a 12 and everyone else is a girl? It’s mind-boggling.

Project Runway, the design competition show on which I’m a mentor, has not been a leader on this issue. Every season we have the “real women” challenge (a title I hate), in which the designers create looks for non-models. The designers audibly groan, though I’m not sure why; in the real world, they won’t be dressing a seven-foot-tall glamazon.

This season, something different happened: Ashley Nell Tipton won the contest with the show’s first plus-size collection. But even this achievement managed to come off as condescending. I’ve never seen such hideous clothes in my life: bare midriffs; skirts over crinoline, which give the clothes, and the wearer, more volume; see-through skirts that reveal *******; pastels, which tend to make the wearer look juvenile; and large-scale floral embellishments that shout “prom.” Her victory reeked of tokenism. One judge told me that she was “voting for the symbol” and that these were clothes for a “certain population.” I said they should be clothes all women want to wear. I wouldn’t dream of letting any woman, whether she’s a size 6 or a 16, wear them. Simply making a nod toward inclusiveness is not enough.

This problem is difficult to change. The industry, from the runway to magazines to advertising, likes subscribing to the mythology it has created of glamour and thinness. Look at Vogue’s “Shape Issue,” which is ostensibly a celebration of different body types but does no more than nod to anyone above a size 12. For decades, designers have trotted models with bodies completely unattainable for most women down the runway. First it was women so thin that they surely had eating disorders. After an outcry, the industry responded by putting young teens on the runway, girls who had yet to exit puberty. More outrage.

But change is not impossible. There are aesthetically worthy retail successes in this market. When helping women who are size 14 and up, my go-to retailer is Lane Bryant. While the items aren’t fashion with a capital F, they are stylish (but please avoid the cropped pants — always a no-no for any woman). And designer Christian Siriano scored a design and public relations victory after producing a look for Leslie Jones to wear to the “Ghostbusters” red-carpet premiere. Jones, who is not a diminutive woman, had tweeted in despair that she couldn’t find anyone to dress her; Siriano stepped in with a lovely full-length red gown.

Several retailers that have stepped up their plus-size offerings have been rewarded. In one year, ModCloth doubled its plus-size lineup. To mark the anniversary, the company paid for a survey of 1,500 American women ages 18 to 44 and released its findings: Seventy-four per cent of plus-size women described shopping in stores as “frustrating”; 65 per cent said they were “excluded.” (Interestingly, 65 per cent of women of all sizes agreed that plus-size women were ignored by the fashion industry.) But the plus-size women surveyed also indicated that they wanted to shop more. More than 80 per cent said they’d spend more on clothing if they had more choices in their size and nearly 90 per cent said they would buy more if they had trendier options. According to the company, its plus-size shoppers place 20 per cent more orders than its straight-size customers.

Online start-up Eloquii, initially conceived and then killed by The Limited, was reborn in 2014. The trendy plus-size retailer, whose top seller is an over-the-knee boot with four-inch heels and extended calf sizes, grew its sales volume by more than 165 per cent in 2015.

Despite the huge financial potential of this market, many designers don’t want to address it. It’s not in their vocabulary. Today’s designers operate within paradigms that were established decades ago, including anachronistic sizing. (Consider the fashion show: It hasn’t changed in more than a century.) But this is now the shape of women in this nation, and designers need to wrap their minds around it. I profoundly believe that women of every size can look good. But they must be given choices. Separates — tops, bottoms — rather than single items like dresses or jumpsuits always work best for the purpose of fit. Larger women look great in clothes skimming the body, rather than hugging or cascading. There’s an art to doing this. Designers, make it work.Read more at:http://www.marieaustralia.com/cocktail-dresses | www.marieaustralia.com/black-formal-dresses

In Bolivia’s capital city La Paz, indigenous women known as cholas have long been stigmatized for wearing their traditional clothes: bowler hats, handmade macramé shawls, tailored blouses, layered pollera skirts, and lots of elaborate jewelry.

But for the past 11 years, fashion designer Eliana Paco Paredes has been chipping away at that stigma with her line of chola clothing—which she debuted at New York City’s Fashion Week last week. That’s a big deal for a type of clothing that has historically been disparaged in Bolivia because it was worn by poor, indigenous women. For a long time, many indigenous women couldn’t wear chola clothing in certain professions.

Bringing indigenous designs to New York is a huge step for Paco Paredes, though not the first time her clothing has received international recognition. In 2012, she designed a shawl for Spain’s Queen Sofia.

But Paco Paredes’s Fashion Week show is also an important moment for indigenous cholas. Until recently, these women “could be refused entry to certain restaurants, taxis and even some public buses,” writes Paula Dear for BBC News. Such an international spotlight on Paco Paredes’s designs will hopefully increase the acceptance of indigenous women and their culture in Bolivia.

La Paz’s mayor, Luis Revilla, wrote in an email that his city’s response to Paco Paredes’s Fashion Week debut has been a feeling of pride. He hopes that “her designs, which reflect the identity of local woman from La Paz, generate a trend in the global fashion industry,” he says.

“I also hope that in time, people from different geographies of the planet begin to use some of the elements that make the dress of chola,” he says.

Fresh off her Fashion Week debut, Paco Paredes spoke with National Geographic about her clothing and how opportunities for cholas are changing.

What is your approach to your designs?

What we want to show on this runway is the outfits’ sophistication. But the thing I don’t want to lose, that I always want to preserve, is the fundamental essence of our clothing. Because what we want, in some way, is to show the world that these outfits are beautiful, that they can be worn in La Paz by a chola, but they can also be worn by you, by someone from Spain, by a woman from Asia; that these women can fall in love with the pollera, the hat, the macramé shawl combined with an evening gown. These are the outfits we want to launch.

Do you think it's important that you, as a chola, came to Fashion Week in New York?

Of course! I think that it's very important because to have a runway of this international magnitude, with designers of this caliber, with international models, with a completely professional atmosphere, fills me with pride. And it's very important because of the fact that people can see my culture.

Who buys your clothing?

I have a store in La Paz, a national store. Here in La Paz, in Bolivia, this clothing is doing very well, because it's what many women wear day to day.

At a national level I can tell you we have the pleasure to work with many regions: Oruro, Potosí, Santa Cruz, Cochabamba. At an international level, we dress many people in Peru, Argentina, Chile, Brazil, and some products we make go to Spain, Italy. So through this we want to open an international market with sophisticated outfits that are Eliana Paco designs.

We're getting people to learn about what this clothing is at another level, and many women outside of Bolivia can and want to wear these outfits. They've fallen in love with these designs that they can say come from La Paz, Bolivia.

How are opportunities changing for cholas in La Paz?

It's definitely a revolution that's been going on for about 10 years, because the cholas paceñas [cholas from La Paz] have made their way into different areas—social, business, economic, political. And look at this fashion event, where nobody could've imagined that suddenly so many chola designs are on the runway with some of the most famous designers, like Ágatha Ruiz de la Prada, where they have lines of different types of designs at an international level.

The chola paceña has been growing in all of these aspects. And for us, this is very important because now being chola comes from a lot of pride—a lot of pride and security and satisfaction.Read more at:http://www.marieaustralia.com/long-formal-dresses | www.marieaustralia.com/red-carpet-celebrity-dresses

'Kabali' and 'Badlapur' actor Radhika Apte will be the show-stopper in the upcoming Lakme Fashion Week in the ‘Gulzar’ collections of a prominent Kolkata-based fashion designer.

“We have been working with Radhika since 'Majhi the Mountain Man' days (2015) and she will be flaunting our fabrics as show-stopper in India’s premier fashion show which is keenly followed by Bollywood," the well-known city-based woman fashion designer told media after a fashion show in a city hotel last Friday night.

The Lakme Fashion Week is a bi-annual fashion event with the summer-resort show taking place in April while the winter-festive show is held in August.

This year the winter-festive show will be held from August 24 to 28.

Radhika will be wearing bright-colored lehenga since the show will be focused on beautiful India, it’s colours and contours, choreographed with the poetry of nature by Amir Khusro, the designer said.

“It can also be termed our tribute to a great name like Gulzar saab who has brought our lyrics and poems to a new level,” the designer Saroj Jalan said.

The signature style of the designer, whose works adorn Bollywood actors like Radhika beside well known models Lisa Sharma and former Miss Universe India winner Ushoshi Sengupta, is delicate floral patterns along with the use of Zardozi and array of hand-woven tusser silk and velvet enhancing the experience of the garments and “we will project the same in the Lakme week where the accent is on ethnicity,” designer Saroj Jalan said.

Supermodel Ushoshi, having recently debuted in the Bengali film 'Egoler Chokh', said “Lakme show reflects the different tastes of all leading Indian fashion designers who are still rooted to Indian heritage.”Read more at:http://www.marieaustralia.com/short-formal-dresses | www.marieaustralia.com/red-carpet-celebrity-dresses

Born to a Bengali father and Dutch mother, American fashion designer Rachel Roy, whose client list includes the likes of Michelle Obama and Penelope Cruz, is proud of her Indian heritage, and says India has influenced her work in many ways, especially the colours and prints in her designs.

“My father is Indian and I’ve been very fortunate to travel to India several times. This is my second trip in the last few years and I am bringing my daughter Ava again. She joined me on my last trip where we visited New Delhi, Agra, and Goa,” Roy told IANS during her recent visit to India to judge the 2016/17 International Woolmark Prize India, Pakistan and Middle East regional final held in Mumbai.

“It’s always an emotional experience for me as I’m quite proud of my Indian heritage and also quite passionate about philanthropic causes I’m involved in, including Children’s Hope India and World of Children,” added the designer in an email interview.

The Rachel Roy brand debuted in 2004 and for over a decade. She has built her ready-to-wear and accessories business into a globally recognised brand with categories including jewellery and home products.

Talking about India has influenced her designs, Roy said: “It has influenced so many parts of my life from design to beauty to accessories. I have a love of colour and print… And that was definitely influenced by my Indian side of the family. I remember my aunts putting on kohl on their eyes and loving the ritual and process — it felt really special for me to watch them,” she said.

“Fashion for me is very reflective of culture, a large part of that starts on the streets. When I travel, I make it a point to spend a great deal of time people-watching – seeing what people are wearing as they are in the throws of their life. It’s inspiration to me as I sit and pull together inspiration for collections,” she added.

It’s not just the country that fascinates her, but also the creations of some Indian designers.

“I always love what Bibhu (Mohapatra) and Waris (Ahluwalia) do and have been watching people like Manish Malhotra, Payal Singhal and Priyanka Lama. India holds a special place in my heart, so I look for growth and success of designers and businesses with roots to the country,” said Roy, who added that she would love to expand into India when the time is right.

“Everyone is so welcoming when I spend time here that it would be amazing to be able to establish a longer term relationship,” added the designer, who also has Kate Hudson, Kim Kardashian and Sharon Stone as clients.

In addition to running her successful brand, Roy is a sought after speaker on topics ranging from entrepreneurship to philanthropy and has shared her story and experiences at forums ranging from the White House to the Fortune Next Generation conference along with other various women’s empowerment summits.

Also a member of the Council of Fashion Designers of America, Roy was one of the few judges at the regional round of 2016/17 International Woolmark Prize. She says supporting young talent is important for her.

“Design, like so many other disciplines, is about communicating your point of view and using your voice. Your voice strengthens and changes as you progress in your career and life, and I think it’s critical to help young designers find their voice,” she said.

Roy also says that funding has always been a struggle for those starting out as capital is needed to take a business to a new level.

“Fashion is a business, it is important to understand that from the very beginning. Designers are really taking control of the business side of things from Alexander **** and Christopher Bailey being both the CEOs of their businesses and running the design side as well,” she said.Read more at:http://www.marieaustralia.com/formal-dresses-brisbane | www.marieaustralia.com/formal-dresses-melbourne

In brighter days she sought escape
A vowel yet to take shape
Reasons faint as loveless lips
Miserly her wicked grip
Common be the traveled road
Debuted was a fate forebode
Heavy though I did not shake
In brighter days she sought escape

The glitz and glamour of the fashion world descended on the city once again as Oxford Fashion week returned for its 10th season.

Models strutted their stuff on the catwalk at the Town Hall on Friday evening as the crowd saw shows from 12 designers.

Champagne flowed at the after party, where a raffle and silent auction were held in support of Oxfordshire Youth – the county's charity for young people.

The show was intimate, with just three rows of seating surrounding the catwalk.

Carl Anglim, the director of Oxford Fashion Studio, said: "Oxford has its own character and charm and we try to bring that to every show we do."

Anya Conlon, the face of this year's fashion week, modelled a dress at the after party which was donated by famous designer Omar Mansoor.

Many of the models attending the party wore their looks from the runway for guests to more closely see the intricate designs.

The 6pm show featured independent collections and ready to wear designs from high street boutiques and retailers.

Highlights included shows from two masters graduates sponsored by Jericho fashion shop Olivia May – Constance Blackaller and Katie McGuigan.

The 8pm show was titled Concept + Couture and displayed eccentric collections from prominent local designers.

Dumpster Design created a dress made entirely of discarded materials from Oxfordshire Youth while Caterina *******debuted her colourful Homage to Camouflage collection for her Kraken Counter Couture studio.

Ms *******incorporated her 'K sizing system' in to her designs, which is uniquely tailored to transgender individuals.

She said: "To me it didn't seem new. I felt like somebody should be doing it.

"Its something that I'm very proud to do – I have many friends and family in the LGBT community."

Gender fluidity was a theme throughout the night as the Crease show sent several male models down the runway in women's coats and dresses.

Model Luka Nikolic said: "I think 2016 is the year for gender fluidity.

"If you're a man wearing women's clothing or a woman wearing men's clothing you can't say that's wrong."

A surprise attendance was made by designers Dylan & Izzy, who are featured on the BBC show All Over the Workplace.

The show, hosted by Alex Riley, shows children the inner workings of different workplaces and this week the children tried their hand at fashion design.

The Town Hall extravaganza marked the end of fashion season, with fashion weeks in New York, London and Milan starting again in early 2017.

Mr Anglim said: "Many of our designers will go to London, New York and Paris, but our favourite thing to do is come home to Oxford."Read more at:http://www.marieaustralia.com/bridesmaid-dresses | www.marieaustralia.com/red-carpet-celebrity-dresses

A city is bombed but do not be alarmed,
for, there is a purpose…nay, a duty to disarm.
It’s easy to get caught in the leadership’s charm…
Even when there is unforgivable harm going on.

Just focus your eyes on the screen over here.
Of course with your ignorance, you’ll have to adhere...
By the off chance that the message comes off as unclear,
simply remember to keep the idea austere.

Don’t think about thinking,
not even an inkling!
Just keep sitting and blinking!
Let your mind keep on shrinking!

Remain in a daze for multiple days…
This way the polls can take time to assay
how long it should take to make the minds go astray,
so they can make their world into a perfect cliché.

It’s happening now, whether realized or not,
every joke and idea have no original thought.
The mind has become an oversized blot,
a place where creation will be immediately swat.

Just put your ideas in a brown paper bag,
you have to admit, they’re more of a nag.
Merely go outside and hang up your flag…
You’ll get a pat on the head and your tail will wag.

But think about a world where everything’s new…
A land where the virtues don’t construe as cuckoo.
Where the mind is reborn with every new dew,
and the corruption of masses has not yet debuted.

No, no, this reality cannot exist,
because, by the leaders, it would be ever so missed.
Unless by some miracle there happens a twist,
and the people of the world start to resist.

~

Around the world I search for you
Before the sun does rise
Creating such a wondrous view
Debuted for my eyes

Each moment that I come to share
Facing towards the east
Grabbing hold of everything
However I may see

Insisting that you take my hand
Joining in the song
Knowing you will understand
Listening all along

Many times I want to cry
Nothing seems to ease
Others tend to wander by
Pretending to appease

Quietly I search for you
Reaching for a star
Stating but my point of view
Taking it too far

Understand the way I feel
Verify the lot
When will all of this be real
X does mark the spot

You alone do take my heart
Zero hour they say
In this poem you will find
I love you starts with A

Hearken the words that flow from my *****
Eager to meander through life’s great prison
Pouring out of my deepest self
Departing secrets once carefully beheld
Give ear to the words that flow like a river
Give a moment for this inspired deliverance  
Literature so pure and true
Nakedness in all its glory debuted  
Stripping bare these walls so high
With only a sentence that ignites the fire
Hear the cries that torture the soul
Feel the beauty that the soul beholds
See the rhymes transferred with love to paper
See the poet, an artist, a marvelous creator ,
Spare a glance this way and see
The artist trying to break free

Debit or credit...?
Questioning the credibility
Of this nuisance that debuted far ago
Forced upon me
Daily living becoming intolerable
Insufferable
If I wanted to suffer
I wouldn't need the card
Dress it up, make it special
Just remember:
We are the ones who made this life
Fully operational
Totally unacceptable

In a lost paradise where the sea shrinks with feminine conscience, compassionate flashes are ratified in each groove and I calculate footage, this previous present attracts the magnanimous representation of the lightning emission of its speech representing itself where the queen judges the king Consummatum Est, with little difference from culinary art and its very dense genre. Here is the carious aspect of the bluish faskéloma or exasperating of the paws that move the occasional ones in sub-vibrations softening in the shiny mark of the sessile columns in consistency of its weak receptive propagation and masculine science, lacking what prospers with moist regulars of flashes that are cooling from their imbibition. With thousandths of his enchanted parasitizing and prior ego I wonder afterwards not far from a Para-Celestial and sacrilegious lore of Lochnith; Who, what and where would have been able to support such or such, rising on the beams and girders that make a whole for an inaccurate Menthe, going to the arcane of the seventh external love with clear magenta lights, on rounded ultraviolet reliefs, here is where everything lulls from the adverb Eleusis, seething with a consonant flight that suffocates in spite of a Pseudo Vernarthian, where it will go without any exception disrupting the courses of hesitation, leaving no more the divine portent and going back to the loaded Cibatus or barley in northwests that flatten ultra winter, mowed down to its glacial bluish water discharge in unequal thickening of fast secrets with thirds of vox with bordering called in pair of trios, and symbolic of a reborn flashed subsoil of a lifetime swollen in its low course and ministerial occultation that isolates itself on Patmos. The skies were beaten where nothing germinates from dreams waiting for thousands of those like me with acute senses of the Anthesterion, or of March taking me towards an enigma not posed even if it is not clarified yet not resigning from love or smelling in the singular uni-lunar desolate with venerable fulminations and inquinas of the branch of the bakchoi, which was whistled by an Aulós that was remade generic when restarting fasting from a day rebuked and repaid in the emaciated Cibatus. Such light grasses were polarizing prohijadas when recovering from resounding beginnings of the rhizomatous aromatic nuance, and from super life machined from the metallic oscillation of the fires and rites ruined in the aromatic arthrophagous of Lochnith, nauseating at night in flowing enigma and gramineous rictus, intermingling while he longed for the ritual and his graceful plumes in feasts that honored his Canephores transferring mead towards the bakchoi psychic adept revealing himself from the masculine to the feminine in aqueous positive bed and supra negative redemption, which was fading into sharp matter attended while the world was created that they would live with more than forty stratagems, seeing themselves praised before their eminent Truth. Myself…being its own tyranny…, which erects whoever classifies it sacramental, and notices the squalid lack of control of its barbarism flash when I still pursue the darkness of my purge that is falling even without finding where to do it, falling however from its end and of guilty thunderous glances..., what more public decree do I wish, for more rituals that you have close to you when feeling sharp minorities of its aftertaste although in double life and night your memory continues to spy on whoever denatures you from the paganism of Lochnith, more than a proselyte , plus that a lien conceived in dethroned galleys of homeland and fusca haze. Meanwhile, quantities of Omphalos from the ego micro center are distancing themselves from mine, my faded lost throne hallucinates lost knowing that it is a probable sculpted flash subject to the gleaning of the Cibatus in fraction of the cereal ritual, and of sanctified illumination with tableares that have to dwell all the times that they revive from the vivid purple red, and from the debtor clairvoyant mystery sky that is reviving in the revealed luminescence that throws it in ornate nickels and acidic rattles at midnight falling on a positive particle devoid of yours returning to mine, and preparing for the flashing praise that pigeonholes him from his crippled fallacious and previous theory suggested after favors by not being reconverted. Lochnith capitulate capitulation suffers from glare towards her beloved, placing his phalanges on circular and angular waves on the virtual milky river of Eleusis caressing her face and glare from her. “I, Lochnith, was on the cliff with my Canephor Aerse, near his Athenian paternal landlord, I was going to say goodbye to myself and carelessness, not being able to see myself in the reflection of the water separated from my ego, knowing that Aerse would not choose me, much less to my abandoned superior.

In Keri on the Island of Zakynthos, I synchronized the fall of Aeschylus in Leucas, which perhaps without my local would offend me by reputation and snoop on cliffside suicides that only see nascent effigies of the bakchoi as a potion for serials of life and cities of the incongruous dramatic space , where its tragedy and antithesis do not fit in the basket carried by my priestess Aerse. I am flying over the structures of the acropolis, not yielding as a deity who prophesies where there is no room for the world in which she and I can inhabit. Lochnith, jumped after her as she was falling down the frontispiece of the cape..., She watched him as he fell..., forbidding to skew him from his gestures and get close to her so as not to fall where the wind is more docile and free, intervening with pashkein inclination or entangling them of the vipers and rims of the heroic hair in a condition of evanescent reckless touch against her suitor, trapping her from the Omphalus that she had tied to her neck transferred from brilliant didactics before a puerile boxing of vicissitudes, and spring flower shops next to the flayed serpents of Persephone and Kashmar floating on the Lilies of Aerse. Prey to the escarpments and cliffs, she remained possessed among the sedimentary dolomites that emanated near her veins before plunging down the steep side in over cascading prayers for her, always knowing that he would love her on a singular base of enchantments while he looked smiling before fall yielded In the end, forty-one seconds she was thrown off the cliff..., Lochnith passes from one end to the other the Omphalus of her neck by a lofty plume ready for love, imagining herself in the midlands of a ruthless positive affection of the mysterious flashing Eleusino, and by the divided ***** that took them as they fell into a splendid world with serials and images of Aerse, tied to the prehensile sacrifice and the cold hand of Lochnith, together as they fell between their subconscious selves, becoming heaped and vivid as something plunged towards them fleetingly, knowing that he I was going to survive him.

Lochnith's gleam was northwest of Athens once lost in the scrupulousness of a pagan polis and cult that kept docked in the sands to find her on the cliffs of the acropolis, where they had lost each other after two thousand years since they Theodosius abolished by decree the rituals of Eleusis. With revulsion and unprecedented insight, Aerse remained a recluse with excessive eagerness to self-eliminate, possessing for both the due imagination that he had possessed of the devoid neckline of the omphallus causing the inclination of the avalanche and their bodies towards where they supposedly would land on the divine and Dionysian path which leads to the eschatological of Vernarth's Diokitis. Apparently they were leaving as a result of an immortal Vernarthian existential catastrophe or decline, at the same time of a rhythmic alkaloid hemlock with its Achene that carried them for any pretense by being triggered towards the meeting with Persephone without her or he knowing why to fester at Eleusinos as Lochnith and Aerse in a single concentric whole, and quantum beings of the octagonal by the straight or transversal line that slipped into the hypotenuse at the instant that they were conceived implicitly as they took him from relapses when he went towards Aerse, after winding up from his conclave Hypomorphic writing and Magna Mater Misterica. Under the established power of his ministerial, the redemption that went in adjoining the ins and outs was consigned to resurface from the subgenre, and from himself procreating exultation with the analogs of Vernarth that were prolonged in excremental purges and disagreements of the cult of what should be twisted in the ****** of the magnetic genre and of positive tendency that would be eternalized after the cessation of the active decrees by Theodosius. Eminently Aerse suffered on some semi-dead watery slabs next to Vernarth, she remained after the agreement to centralize what irradiated her humanly as semi-Itheoi from a reinforced gender that was cohesive in retrograde worship to achieve pre-flowering in all the springs of the world, where they could be seen together with Persephone in the finnis that was distanced ultra terrestrial towards a dowry of profusion and disproportionate wealth, not being categorized as a mystery rather as an unknown of a super method of rummaging in the lanterns where no reflection of Aerse could to be found by Lochnith after getting lost in the polychrome figures of the acrotera, lying in watery nitrosities on the escarpment of the cliff. Physiology will influence Eleusis with systematic naturalness for the active hydrogenated elements, and of such unknown prebiotics or phyto-estrogens where remnants of the great sepulcher of humanity are manifested, as it is found to rise from the true hecatomb of July with a hundred halters arranged with foreign beings towards the oasis of transition. The little will of the annals will multiply in millennia of obscurantism, taking him in transit to a more exciting late management by harassing the search for Aerse in a clear mystery already in the jaws of a clamoring night by the reefs of Demeter for those who know about Persephone! even being with the inventive fallacy of a addicted spirit in correlation to the rite and its lineage. Every night that he convalesces, he will look sleepless with the servile promise of divinity from a vision that fades from the winepress and the Boedromion party, moving from the born ****** position of a hierophant towards the mold that dies and that does not renew itself from Boedromia itself. The representation of Aerse was reflected with transfused majolica and Eleusinian threads when she was seen walking from the beginning floating remotely in the meadows of the knoll, from which the cyclical anagram of the lost cliff rises when it separates from its Adonis being able to expose them in mythological treachery and transcended from epic truth to be related to the treaty between Zeus, Hades and Demeter for the rescue of Persephone after being dented from the beginning of the arcana that sprouted from a distorted symptomatology. She aerse carried the flayed serpents even on her body as if she should look for them in an omnipotent volatile gray so that it would come out by itself and be unguarded by her gone eyes, witnessing secrets and resting in anarchy from where there is not and will not be. Archon or governor What a mesmerizing problem is improvised from second after third that provoke astonishment to see him in the course that he could not have of his cursed detection! Aerse was beginning as a curious Canephore, he came to meet his ephebes Lochnith after excessive self-inferred hypotheses by following him at her command detailing the Kykeon that paled her psychotropically from a discarded and mineral exhibition, of which she would be devoured by the numinous portent of the Mashiach with his Sunday appearance or concerning the numen manifested with the eternal powers in front of the hieratic presence of the man who looked at her paternally, with a crass profile like a Damian Hessian drawing them in, plotting in a colossal fascinating stealth. Here she wraps him up but does not approach him and falls, lost in love, such a Faustus dilemma, granting herself at the initiation of the portal of the twelve lunar months in Eleusis, with immutable years and origins where they will bounce to meet in childhood that made them known as Aerse and Lochnith . Here in the greatest trance of life, both would begin to overcome all the twists and turns of the gestated gloom that separated them due to the shaken annoyance and confusion still divergent in sediments of runoff and bark oscillations that emerged from the unevenness of the acropolis, until a meeting in the amazing light and divine libertarian of two tendernesses, and martyrdoms that purely push them back towards a new end of the muddy gleam in a found paradise where the sea unfolds by male consciousness and is ratified mercifully in each flash of the striated. They will meet again in similar attachments divided by the fluctuating one who unmasks the one who drives him away with his dominant ******, and ill-advised caudal space seducing the contiguous public and private astral bodies that have never been coarse or dissimilar in ablution or sacraments of gods the pagans, everywhere nor whatever its fragmented remains by the gullies and ravines of the Kêphisos. After the remnants in politics, the desolate serpents of Aerse flowed down the river, as a link section that declared itself from an initial that was an evident flash that enveloped them as a cardinal canon with bucolic politics in all the nearby regions. Athenians, after the vertiginous regressive parapsychology like an Eleusino flahsback or Anadromí sto Parelthón Eleusia, with the visualizations of Aerse and Lochnith when they follow each other through the learned induction of feedback that was arranged in the inclinations of both, refining their morphological bastimento for the purpose of instituting them as articulators of the evocation of the millennia. Prophecies were reported from the 8th century BC. with ends, and interprocesses of the eternal in the unknown mystery that began to be clarified with the reinvented personality of the amendment of Life and Expiration experienced with Lochnith of the month of Boedromia, fleeing from a federated Polis that would be unified to a substantial dimension and of sacred Eleusinian space with brand new warmongering for the culminations of being incorporated into the Hexagonal Primogeniture integrated in this way in the indissoluble ephemeris of foundation and hegemony of the Megaron or Opisthodomos of Patmos. This is thanks to the beaten serpents that were nesting the reanimates of the question with subterfuges that make the widths of inter-pairs prevail, which are consolidated as a reality of session and space, agreeing on the defeated parapsychological memory or future in the economy of two resignation blocks of the repealed Sacred Space, in consensus of the beams of the Vernarth Military Command forging from the beating sacralized ***** that cultly intensified from its mysterious nature and territorial domesticity to come from the attracted Agoras that were repositioning themselves with the metaphysical agents that they will be restored in the polis with the scope of furrowing in a civic action induced towards someone who virtually recognizes him in the purge of the exclaimed strangers. More ardent passion was added to receive them even being wary of further mutations vibrated with the Faskéloma, or exasperating that moves the tint of the occasional vibrations, similar to the tendencies of the Sacred Space of Gethsemane, with the disastrous passing of the aqueous levels of the Kêphisos, which it would mean the presumptive ordinal of unreal historical worlds. The parapsychology of space was absorbed with torched quadrilaterals that were hanging from the invoked meditation, they were lying on futile folders and anodyne Aerse molecules, which were still welcomed by the magical exposed extra-corporeal substances that were deduced as they were experiencing unprecedented transit preserved of the eccentric deconcentrated radio of the refurbished of the spectral chromatic. The precipitated mental field dared to invade boldly towards another unheard-of generator that dissipated between Aerse and Eurydice coming near the Coasts of Patmos, coming from hypothetical planes that flow for their definitive moderated unions. The static refluxes bounced in simultaneity of bilocation of the Eleusinian exordia that were exorbitating each other with the rollers that were uncrossing the corporeal margins that concelebrated the quantum crankshaft, and the fibrous distinction that was teleporting the rescue rituals unforeseen astrological

Lochnith says: “in the proximity of the mortuary reality there will be no hesitation outside of our body and geodesy of our lost zafral or of lives in transit sub or supra quantum, obsessing in the eyes of erudition and unknowns, while our contraption self-obstructs with our electromagnetic sensory interactions paraphrasing in the convoluted distance and residues of related-metaphysical electros that are reconverted into the appearance of a premonition” The ligation of the arteries of Cephisus carried the emanations of Lochnith to love him in a healing act suspended with beings devoid of physicality, on the way to specters and healings of a perverse, to repair his extra-corporeal suffering confined to those who condescend to the androecium and gynoecium as a unit of mental physical motor gender, at the instant of the exacerbated and ectoplasmic world regulated by means of the Vernarth regression that was going lowering your blood pressure, increasing your red blood cells side effect rivers intertwined with Eurydice and Aerse in the opening Othon, directed at Vernarth's outcomes that came in the bow of the super-aqueous ship with some fabrics from the ship's stowage directing the speculative and autonomous advance that was already dispersing in the waves. Dead cells of the right Lynothorax,  A savvy military mancomunal became syncretic with Lochnith, he was determined to continue reinstalling us in his white blood cells that rose when it was already dawn on the shores of independent Skalá, and in the circled cohorts of Phalanxes and Psiloi that accompanied him in minutes that seemed millennia, all succumbing to the physical dismay of the underlying necrosanct and telepathic prayer that took place at the dawn of parapsychology trances cysts of recovery that descended on them in pure novel regenerative membranes, persé of merciful acts that became thick in the flashes when freezing from the weightless rays of the ultraviolet, which was separating between Sóma and Gnómi or corporal opinion that was joining synthetic networks with indefinite emissaries and receptors, subsequent bodies of the Bachkoi chemist, already deficient for a compensatory universe and varieties that were taking shape in a disintegrated emotional quantum world. Each time the bodies were reinserting themselves into the full unknown and subjective material, the concrete material united in the network with each other as a single force was transforming into the greatest passion and sparkle among their own, reinstalling themselves in the Super Egos.

In the Latest Minute Dogmate according to the rictus mortis thesis, the globules would move like a big explosion interacting with everything, so starting everything from the beginning of nothing to the indivisible with optional digits of coincidence or inseparable digitized, such a phenomenon of meekness of aligning times were massified with the probability of finding them in the vestige of real anomalous presences that occurred millions of light years ago. Aerse replies: “My admiration, the sparkle has a measure of astral body in reason of the vigor that underlies reiterated expiation and measurable virtuosity in its perfection of semblance p and corporal providence, inquired of being transformed far from disaffection rather than a continuous healing . The smallest and most coherent in the fabulous Griffins will join my clairvoyant and component with the ballast of his final game, not reflective of another who can measure or predict him for an undivided being. But I am already here, and I am your infinite…, I no longer know of other bad illusions of trying to separate myself from this life of what Eleusis is, perhaps a cosmic coarse that is and was in all time that passes speculatively, for this flash that is reflects whether it pales visible or not, I hope it will be compact on our intertwined attachments”
As living organisms, various life methods will be postulated as an initiative in the announced Big Bang, for the profit of those who are real close and real logotypes of resonant neuroscience as a daring that will influence the progeny, for ****** volumes, exonerations of bearers experiences and evolutionary lives of the emitter outside of an ignored Parthenon, since the gender of the world is also associated with random ambiguities from anode to cathode, positive-negative towards a Hellenic parallelism of roots in life dressed with lasting vernacular inheritances. Much of Lochnith's electro-dermal conglomerate was in full congruence with retrograde Eleusian parapsychology propagating from Vernarth's Invisible Eclectic Portal, which was nebulously teleported down the Kêphisos River with saprophytic living organisms acknowledging it in indigenous originality. of the species of reborn Vernarth, and super regulation of the euphemism and mysterious underworld below their protocols.

Revelations of the mental-material, made reluctance and support of the estrangement of inviolate perceptions, precognitions, telepathies and premonition, which debuted in this intrepid adventure intuiting in perpetuity with the sensory corridors and interferences of a reality of body in an explosive world incontestable. Lochnith, was already in possession of a hypnotic mental reincarnation formula in the form of neuroscience vessels close to scarecrows of expiration, allocating the subsequent locks of an enlightened decency of the ethereal sleepy baggage and the oracular review. The more we experience the laws that explain his prodigies, the more our perspective of media and complete fiction will increase in something that begins to be typical of the laurel of a true slowed-down ******-kinetic process. Within the curvature and the dim light that remained in the Lochtian days, normality returned to them after this long epitome in the parapsychological biosphere, and the intriguing contemplation and even mischievous tenuity of idea that can die suddenly, after self-incubate in the intangible coexisting passage and medication rupture of lived art with alien morbid beings. For a character archetype, it is only known that reaping is consuming capital from the disruption of a non-profit loss and its incontrovertible paranormal, which is paranormal and parapsychological from the plane of posterity of life, which will be an act of peaceful coexistence in playful spirits, compensating for seclusion in the vaults of an involutionary dramatic past, if its material or monad (spiritual) is not dissected in the cosmic train of perception of unfolding, and of the concept of purging energy that goes out of its way in its seventh heaven. The hypnosis of death and purgation to whoever requires it in the convoy of their conscience continues to be a tiny unruly space that transports us physically, reverting to minimums that are neutralized in alien foundlings. From an aedicule depository to an empty body that is neither independent nor from the lord who claims it (V.g. aedicule of José de Arimatea). The impersonal voices that officiated at the ritual of Eleusis were heard far beyond those who could hear them merely with memorable spaced therapies, recording themselves in interspersed layers of sounds and imprecise electroacoustics in the serial of an alarming complex frequency of the regenerative stumble in an organism of Continuous movement. Everything spreads in bends of abstraction that revives those who promote the perfection of marigolds like buttercups that they wear in the clothing of the Canephores like Aerse, but soulful and latent ephemeral of the ethereal alchemical entitative of ignored molecules. Lochnith says: “My submission heals, it no longer maintains being far from who represents it and where it comes from, I know that its remains in me do not reason, clarifying more my journey towards the crown and vilifications of a nascent humanity that mourns me, and that does not recognizes by rebelling in my desires to attract him"
the sky closes in vermilion digression and you inquire that they should answer for the silence of confusion in the parapsychological aqueducts of Athens with Patmos. The organization of the Sacred Space starts with the bizarre totemic quantum by sacred paths, Megarons, fictitious hunting places, double surrounding lunar ring, curves of virtual walls, Propylaea to embrace the Vernarthian enigma and finally the Telesterion that received Vernarth with a naked torso that perched in front of Aerse and Lochnith, looking at them towards the futuristic survival with five digits in a quarter of the waning of his right hand containing the small coat of Betelgeuse and the Pleiades in inklings of the umpteenth apocalyptic Megaron of Patmos. Scrupulosity as an Electro-Eleusian placebo effect, went alone, dismissing itself in the singular of a Templar niche and towards a Megaró-Omega Telesterion for catechized who endowed themselves with super-resident halos and litters of priesthoods that fled in terror from the Aerse-Lochnith fusion, prior to each rudeness and their contours swearing eternal exaltation and idealism, to be reconverted into individuals saved and votive to love each other with third parties, escaping from small frames that still did not hold up from the ecumenical mess.

❝ ❞

   I was eighteen and he's twenty
    When we both found ourselves happy
    Together with no boundaries
    Like all the things were free.

    I was nineteen and he debuted.
    He had a party and he's so happy.
    We shared laughs
    And that gave me guts.

    I was twenty and he courted me
    For the reason that he loves me
    Of what I am and who I am.
    We both wanted to hold each other's arms.

    I was twenty two
    And he stopped courting me
    'Cause I already gave him
    The ‘ Yes ’ that he deserves.

    A years passed
    We're still happy.
    He brought me child
    And treated him as ours.

    I was twenty four
    And he proved me more.
    With our own family
    Living peacefully.

    I was twenty five
    And a lady came
    Shouting “ Where's my child? ”
    That made my child cried.

    “ You can't be a mother, b*tch! ”
    She shouted and made me realized
    “ Am I worth to be your mother, my child? ”
    Or it's meant for me to live with these lies.
    
    The truth that a gay like I
    Can't give a lil life
    Like a child I raised with all my might.
    Is this what a gay's life?

    Now, I'm thirty
    Living alone and feel pity.
    The guy I love left me
    With those words and it kills me.

    The child we raised
    Is the the result of what he did.
    The woman who came before
    And the man I love the most
    Is the parents of the child I love.



No one can hide the truth.
Yet truth *****.
Not all but most.

The walls were closing in
You threw your hands where they never should have been
Your presence brought nothing good only sin
You wanted to make sure that I loss
And only you would win
You let the voices control from within
You craved the taste of my supple skin
The line between dangerous and devastating was increasingly thin
You need not a cue for the abuse to begin
You found my screams beautiful like a violin
The blood dripping incited your grin
You relied on my agony like a devious underpin
The bruises on my body were a token of your appreciation
They debuted on my body when I opposed the operation
When I refused the organization
You spoke without communication
You gave endless "love" with sinister interpretation
You lazer focused your blows with great precision
You concentrated your cuts with careful incision
The wicked whispers clouded your vision
Your "love" crashed into me like a disastrous collision.

Ennio Morricone
Collaboration with Sergio Leone
Whips And Whistles
New sound to background
Sphagetti Westerns backbone
Never left Rome
Music his home
400 plus films scored
Distinct sound endured
Many Auteurs frequently collaborated
Fan favorite for decades
Won Oscar for The Hateful Eight
One of two to
To get the honor
Lifetime Oscar
For Composer extraordinaire
All roads lead to Rome
All notes lead to Morricone

Lalo Schifrin
Argentinian Pianist
Cult following with memorable Scores
Jazz themed band and Grammys Galore
Television Series & Movie themes
Added value with his Name
Superstars  first choice
Studios rejoice
A list Star to Act
Lalo to compose the Soundtrack
Fans across the world
Saw movies for his score

Henri Mancini won 4 Oscar's
Immortal theme for Pink Panther
Baby Elephant Walk
For Howard Hawks
Romeo and juliet love theme
Number one on the Billboard scheme
Partnership with Directors
  Everlasting music created
Deserving Hall of Famer
Years later for many
Still the favorite composer

Elmer Bernstein
Creme de la creme
Only composer
Nominated for oscar
Every decade since the 1950s
Won for Thorough Modern Millie
Versatility the key
Budget did not  affect
Genre did neither
The Magnificent seven & The Great Escape
Tunes stand testimony
For creativity and longevity

Dave Grusin patnership with
Sydney Pollack cruising
Director Composer  combination
Last of the Finest
Grammy s lost count
Oscar made the count
Composed the music for
Columbia TRISTAR logo
Outstanding musical score
Grusin music totally pure

Roy Budd Composer
Who learnt by ear
Could play by Three
At birth a Prodigy
Soldier Blue with Candice Bergen
Gave him the due recognition
Best Pianist Award
5 years consecutive
Soundtrack for films
Each one Superlative
Score for Get Carter
In our memories forever
Brain hemorrhage
Took him away  at an early age

Jerry Goldsmith debuted
in live television
Rambo and Star Trek
Franchise to name a few
His compositions always new
Composers like him
A very few
The Omen finally
got him his due
Paramount & Universal pictures
The music accompanying
The logos of the Studios
Jerry doing his wizardry
With the audio
Grammy and Oscar nominations
To be counted
Four more pairs of hands
Need to be included

Marvin Hamlisch winner
Of three Oscars
All in the same year
The Sting and The Way We were
Nobody does it better
Only one after Richard Rogers
To win The Grammy Tony Emmy Oscar and the Pulitzer

Bill Conti score for Rocky
One of the most Remembered in movie history
Replaced John Barry
In For your eyes only
Scored for the Oscar
Ceremony
19 times a record
envy of many
Won Oscar and Emmy
No Dynasty or Cagney & Lacey
without Conti

John Barry score for Sean Connery as James Bond
The super spy
A permanent legacy
Created by the supremacy
Of his musical ability
5 time oscar winner
From North Yorkshire
Illness threatened career Came back better then ever
Sold out concerts
Arena sized halls
Glory again after a fall
Oscar for The Lion in Winter
His personal favorite Goldfinger

Maurice Jarre  Composer and Conductor
Won 3 Oscars
All collaborations
with David Lean
Big Budget Films
His speciality
The Themes popularity
Showcased his versatility
His music told the story
Close your eyes and
You will know the reality
Appealing to every taste
Was Jarre's forte

David Shire
Winner of the Oscar
For Norma Rae
Composer & Songwriter
Streisands Pianist
Scored for Television & Movies
Conversation and Pelham
Musical confirmation
That his compositions
Will bear the
Test of time

Michel Legrand
son of a Composer
Winner of 3 Oscars
Conductor for many of
The French New Wave directors
Founder of the French Musical
Windmills of your mind
Forever etched in our minds
Over 200 films in a career
Prolific in nature
Select from his repertoire
Of music
Fill the air with Legrand magic

Michael Small son of an actor
Became a composer
Parallax View & Night Moves
Provides you with the mood
Alan Pakula & Arthur Penn
Directors for whom notes he penned
Sidney Lumet Bob Rafelson & John Schleisinger
Legends in their own right
Small' talent shined bright
Prostate cancer
Took away this Great Music Director

Charles Bernstein used Music & Sound effects
To maximum effect
Oscar Winning Documentary
Which had no oral commentary
To tell the story
Scored for horror genre
A cult in the sub culture
Burt Reynolds in White Lightning first chance to
Score for a feature
Charles Bronson in Mr Majestyk
Made these films click

John Williams pianist for
Goldsmith Bernstein & Mancini
Second only to Walt Disney
In Oscar Nominations
52 and counting
Winner greatest Soundtrack
Of all time
Star Wars earned him that name &  fame
Widely regarded as most successful  Musician
Positivity is the key
Particular theme  for different characters
Greatest ever

See if the first was fear
Until that last was supermarket beer
The buttress is golems and frights and fomentation in lacey tights
Body lowers as girth widens
but that's physics
only spiritually
it will always be
the other way round inimically 'apprise them'
As standing tall is subterfuge
And as time is wasting and the waist it is defying
It is all undue

& either flowery bowery butchery cynical slithery maniacal
Co eccentric-cism caught the common cohabitation
Tarnish on the door of morn and in night
Or on another day of looking at tattered floors debuted so sinister
yet book end dull receding is
Candle light
The flickers in brain wish wash and forlorned
then senses inane
and finnigan begin again
What else can one say?

Living through events
Interaction with people
Leaving an impression
Facts and events internalised

One of its kind
Unlike anything before
Daily occorunce in the universe
Similar to none

Experience to handle Uniqueness
Bottle doesn't fit the cap
How to handle events
That are one of a kind

Deja Vu is an
Anomaly of a memory
Sense of recollection
No place in the bandwagon

On the lines of
The best one can make use of
Nearest thing to experience
Needs to explored with extrapolation

Use of machines
Driving a vehicle
Playing a Sport
Handling a portfolio

Same thing different day
Closest one can get
Repair Accident and loss
Reject this theory across

Deal it day by day
Treat it as the first day
One  day till another day
Only day on that day

Keeps you aware
Handle with care
No baggage carried
Situation handled by merit

Predicting the consequence
Consequence other end of action
Action debuted today
Consequence predicting far away

First time for everything
Only time for everything
First time is the only time
Second time makes time static

Handling any affair
Answer in the question
Awareness the key
Emptiness the procedure

What once was home-
is now a house

An empty closet-
where hung your blouse

What once was kingdom-
lies barren field

An open truth-
is now concealed

What once was friendship-
lies aching heart

Where stood the whole-
now dies in parts

I held a play-
that you debuted in

Where stood a man-
is now barren ruins