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Marieta Maglas Jun 2012
This poem is composed by: a Nonet, a Kyrielle Sonnet, a Free verse part, a Terzanelle and another Free verse part:
In a juerga there’s nothing around
But  voices,  flamenco guitars ,
Dancing bodies in moonlight,
Vibrant  gypsy  dresses,
Passion, obsessions,
Bullfighter’s blades,
Silk shawls,
Dancers,
Capes.
Old men have faces scorched and cracked,
Flamenco women  to attract,
Like  barks of olive trees in night.
Shirts dazzle white in the moonlight.

Girls have boot heels  and  huge  roses,
Men clench their  teeth ,  step  opposes,
Hands clap  and shout in a dance fight,
Shirts dazzle white in the moonlight.

Guitars  are beaten at high speeds,
Castanets scratch  the music’s seeds,
Rhythmic fingers  snap air to bite,
Shirts dazzle white in the moonlight.

Old men have faces scorched and cracked,
Shirts dazzle white in the moonlight.

Hands  becoming  wings
In their shadows  on the wall,
Red  becoming black and
Black becoming white,
Motion vibrating the guitar's string,

Cubic movements  of colors,
In their dance ,
Shadowy  wings becoming  scarfs,
Flamenco woman arching her body,
Showing  her passion…

From the  soul to dissolve
The dancing sounds detach
From the soul to dissolve

When the movement they catch,
They may change all around,
The dancing sounds detach.

Drums and tambourines’ sound,
Exotic  wrists  and swirls,
They may change all around.

The weightless grace  makes  girls
Steal treasures from the air,
Exotic  wrists  and swirls.

With beautiful  black hair,
Rise like birds , fall like leaves.
Steal treasures from the air,

Having tricks up their sleeves,
From the  soul to dissolve,
Rise like birds ,fall like leaves
From the  soul to dissolve.

Spicy slippery steps
Waiting for a clue,
Picking up  portions of pink
Of hyper-femininity ,
Overflowing  screwy sounds
In heavy  red  chromesthesia,
Morphing  themselves into glamorous ,
Red  feminine movements,
Men looking  like marble statues being alive,
Seemingly  cracking.
Slowly diminishing their dancing rhythm,
Steps  sickling  sweet  sounds
To hear the horn of  some lost happiness.
AAron Roz May 2018
Music is loud or quiet.
Music is soft or heavy.
Music can have meaning or not.
Music can be nothing or everything.
Music is:
◾Art Punk
◾Alternative Rock
◾College Rock
◾Crossover Thrash (thx Kevin G)
◾Crust Punk (thx Haug)
◾Experimental Rock
◾Folk Punk
◾Goth / Gothic Rock
◾Grunge
◾******* Punk
◾Hard Rock
◾Indie Rock
◾Lo-fi (hat tip to Ben Vee Bedlamite)
◾New Wave
◾Progressive Rock
◾Punk
◾Shoegaze (with thx to Jackie Herrera)
◾Steampunk (with thx to Christopher Schaeffer)

•Anime
•Blues ◾Acoustic Blues
◾Chicago Blues
◾Classic Blues
◾Contemporary Blues
◾Country Blues
◾Delta Blues
◾Electric Blues
◾Ragtime Blues (cheers GFS)

•Children’s Music ◾Lullabies
◾Sing-Along
◾Stories

•Classical ◾Avant-Garde
◾Baroque
◾Chamber Music
◾Chant
◾Choral
◾Classical Crossover
◾Contemporary Classical (thx Julien Palliere)
◾Early Music
◾Expressionist (thx Mr. Palliere)
◾High Classical
◾Impressionist
◾Medieval
◾Minimalism
◾Modern Composition
◾Opera
◾Orchestral
◾Renaissance
◾Romantic (early period)
◾Romantic (later period)
◾Wedding Music

•Comedy ◾Novelty
◾Standup Comedy
◾Vaudeville (cheers Ben Vee Bedlamite)

•Commercial (thank you Sheldon Reynolds) ◾Jingles
◾TV Themes

•Country ◾Alternative Country
◾Americana
◾Bluegrass
◾Contemporary Bluegrass
◾Contemporary Country
◾Country Gospel
◾Country Pop (thanks Sarah Johnson)
◾***** Tonk
◾Outlaw Country
◾Traditional Bluegrass
◾Traditional Country
◾Urban Cowboy

•Dance (EDM – Electronic Dance Music – see Electronic below – with thx to Eric Shaffer-Whiting & Drew :-)) ◾Club / Club Dance (thx Luke Allfree)
◾Breakcore
◾Breakbeat / Breakstep
◾Brostep (cheers Tom Berckley)
◾Chillstep (thx Matt)
◾Deep House (cheers Venus Pang)
◾Dubstep
◾Electro House (thx Luke Allfree)
◾Electroswing
◾Exercise
◾Future Garage (thx Ran’dom Haug)
◾Garage
◾Glitch Hop (cheers Tom Berckley)
◾Glitch Pop (thx Ran’dom Haug)
◾Grime (thx Ran’dom Haug / Matthew H)
◾*******
◾Hard Dance
◾Hi-NRG / Eurodance
◾Horrorcore (thx Matt)
◾House
◾Jackin House (with thx to Jermaine Benjamin Dale Bruce)
◾Jungle / Drum’n’bass
◾Liquid Dub(thx Ran’dom Haug)
◾Regstep (thanks to ‘Melia G)
◾Speedcore (cheers Matt)
◾Techno
◾Trance
◾Trap (thx Luke Allfree)

•Disney
•Easy Listening ◾Bop
◾Lounge
◾Swing

•Electronic ◾2-Step (thx Ran’dom Haug)
◾8bit – aka 8-bit, Bitpop and Chiptune – (thx Marcel Borchert)
◾Ambient
◾Bassline (thx Leon Oliver)
◾Chillwave(thx Ran’dom Haug)
◾Chiptune (kudos to Dominik Landahl)
◾Crunk (with thx to Jillian Edwards)
◾Downtempo
◾Drum & Bass (thx Luke Allfree)
◾Electro
◾Electro-swing (thank you Daniel Forthofer)
◾Electronica
◾Electronic Rock
◾Hardstyle (kudos to Dominik Landahl)
◾IDM/Experimental
◾Industrial
◾Trip Hop (thank you Michael Tait Tafoya)

•Enka
•French Pop
•German Folk
•German Pop
•Fitness & Workout
•Hip-Hop/Rap ◾Alternative Rap
◾Bounce
◾***** South
◾East Coast Rap
◾Gangsta Rap
◾******* Rap
◾Hip-Hop
◾Latin Rap
◾Old School Rap
◾Rap
◾Turntablism (thank you Luke Allfree)
◾Underground Rap
◾West Coast Rap

•Holiday ◾Chanukah
◾Christmas
◾Christmas: Children’s
◾Christmas: Classic
◾Christmas: Classical
◾Christmas: Comedy
◾Christmas: Jazz
◾Christmas: Modern
◾Christmas: Pop
◾Christmas: R&B
◾Christmas: Religious
◾Christmas: Rock
◾Easter
◾Halloween
◾Holiday: Other
◾Thanksgiving

•Indie Pop
•Industrial
•Inspirational – Christian & Gospel ◾CCM
◾Christian Metal
◾Christian Pop
◾Christian Rap
◾Christian Rock
◾Classic Christian
◾Contemporary Gospel
◾Gospel
◾Christian & Gospel
◾Praise & Worship
◾Qawwali (with thx to Jillian Edwards)
◾Southern Gospel
◾Traditional Gospel

•Instrumental ◾March (Marching Band)

•J-Pop ◾J-Rock
◾J-Synth
◾J-Ska
◾J-Punk

•Jazz ◾Acid Jazz (with thx to Hunter Nelson)
◾Avant-Garde Jazz
◾Bebop (thx Mwinogo1)
◾Big Band
◾Blue Note (with thx to Jillian Edwards)
◾Contemporary Jazz
◾Cool
◾Crossover Jazz
◾Dixieland
◾Ethio-jazz (with thx to Jillian Edwards)
◾Fusion
◾Gypsy Jazz (kudos to Mike Tait Tafoya)
◾Hard Bop
◾Latin Jazz
◾Mainstream Jazz
◾Ragtime
◾Smooth Jazz
◾Trad Jazz

•K-Pop
•Karaoke
•Kayokyoku
•Latin ◾Alternativo & Rock Latino
◾Argentine tango (gracias P. Moth & Sandra Sanders)
◾Baladas y Boleros
◾Bossa Nova (with thx to Marcos José Sant’Anna Magalhães & Alex Ede for the reclassification)
◾Brazilian
◾Contemporary Latin
◾Cumbia (gracias Richard Kemp)
◾Flamenco / Spanish Flamenco (thank you Michael Tait Tafoya & Sandra Sanders)
◾Latin Jazz
◾Nuevo Flamenco (and again Michael Tafoya)
◾Pop Latino
◾Portuguese fado (and again Sandra Sanders)
◾Raíces
◾Reggaeton y Hip-Hop
◾Regional Mexicano
◾Salsa y Tropical

•New Age ◾Environmental
◾Healing
◾Meditation
◾Nature
◾Relaxation
◾Travel

­•Opera
•Pop ◾Adult Contemporary
◾Britpop
◾Bubblegum Pop (thx Haug & John Maher)
◾Chamber Pop (thx Haug)
◾Dance Pop
◾Dream Pop (thx Haug)
◾Electro Pop (thx Haug)
◾Orchestral Pop (thx Haug)
◾Pop/Rock
◾Pop Punk (thx Makenzie)
◾Power Pop (thx Haug)
◾Soft Rock
◾Synthpop (thx Haug)
◾Teen Pop

•R&B/Soul ◾Contemporary R&B
◾Disco (not a top level genre Sheldon Reynolds!)
◾Doo ***
◾Funk
◾Modern Soul (Cheers Nik)
◾Motown
◾Neo-Soul
◾Northern Soul (Cheers Nik & John Maher)
◾Psychedelic Soul (thank you John Maher)
◾Quiet Storm
◾Soul
◾Soul Blues (Cheers Nik)
◾Southern Soul (Cheers Nik)

•Reggae ◾2-Tone (thx GFS)
◾Dancehall
◾Dub
◾Roots Reggae
◾Ska

•Rock ◾Acid Rock (with thanks to Alex Antonio)
◾Adult-Oriented Rock (thanks to John Maher)
◾Afro Punk
◾Adult Alternative
◾Alternative Rock (thx Caleb Browning)
◾American Trad Rock
◾Anatolian Rock
◾Arena Rock
◾Art Rock
◾Blues-Rock
◾British Invasion
◾**** Rock
◾Death Metal / Black Metal
◾Doom Metal (thx Kevin G)
◾Glam Rock
◾Gothic Metal (fits here Sam DeRenzis – thx)
◾Grind Core
◾Hair Metal
◾Hard Rock
◾Math Metal (cheers Kevin)
◾Math Rock (thx Ran’dom Haug)
◾Metal
◾Metal Core (thx Ran’dom Haug)
◾Noise Rock (genre – Japanoise – thx Dominik Landahl)
◾Jam Bands
◾Post Punk (thx Ben Vee Bedlamite)
◾Prog-Rock/Art Rock
◾Progressive Metal (thx Ran’dom Haug)
◾Psychedelic
◾Rock & Roll
◾Rockabilly (it’s here Mark Murdock!)
◾Roots Rock
◾Singer/Songwriter
◾Southern Rock
◾Spazzcore (thx Haug)
◾Stoner Metal (duuuude)
◾Surf
◾Technical Death Metal (cheers Pierre)
◾Tex-Mex
◾Time Lord Rock (Trock) ~ (thanks to ‘Melia G)
◾Trash Metal (thanks to Pierre A)

•Singer/Songwriter ◾Alternative Folk
◾Contemporary Folk
◾Contemporary Singer/Songwriter
◾Indie Folk (with thanks to Andrew Barrett)
◾Folk-Rock
◾Love Song (Chanson – merci Marcel Borchert)
◾New Acoustic
◾Traditional Folk

•Soundtrack ◾Foreign Cinema
◾Movie Soundtrack (thanks Julien)
◾Musicals
◾Original Score
◾Soundtrack
◾TV Soundtrack

•Spoken Word
•Tex-Mex / Tejano (with thx to Israel Lopez) ◾Chicano
◾Classic
◾Conjunto
◾Conjunto Progressive
◾New Mex
◾Tex-Mex

•Vocal ◾A cappella (with kudos to Sheldon Reynolds)
◾Barbershop (with thx to Kelly Chism)
◾Doo-*** (with thx to Bradley Thompson)
◾Gregorian Chant (hat tip to Deborah Knight-Nikifortchuk)
◾Standards
◾Traditional Pop
◾Vocal Jazz
◾Vocal Pop

•World ◾Africa
◾Afro-Beat
◾Afro-Pop
◾Asia
◾Australia
◾Cajun
◾Calypso (thx Gerald John)
◾Caribbean
◾Carnatic (Karnataka Sanghetha – thx Abhijith)
◾Celtic
◾Celtic Folk
◾Contemporary Celtic
◾Coupé-décalé (thx Samy) – Congo
◾Dangdut (thank you Achmad Ivanny)
◾Drinking Songs
◾Drone (with thx to Robert Conrod)
◾Europe
◾France
◾Hawaii
◾Hindustani (thank you Abhijith)
◾Indian Ghazal (thank you Gitika Thakur)
◾Indian Pop
◾Japan
◾Japanese Pop
◾Klezmer
◾Mbalax (thank you Samy) – Senegal
◾Middle East
◾North America
◾Ode (thank you Sheldon Reynolds)
◾Piphat (cheers Samy B) – Thailand
◾Polka
◾Soca (thx Gerald John)
◾South Africa
◾South America
◾Traditional Celtic
◾Worldbeat
◾Zydeco
etc...
Olivia Kent Aug 2013
Lady of dance so eloquent, Flamenco born from her wombs' true intent,
Castanets clatter, as tambourine rattles,
with excitement, accrued within whirls,
she prances and dances within circles, all flashing,
to reach her prince charming, was truly so dashing, her hair rolled up in a tight fitting bun,
As she swirled up to reach her finale, twas said,
she was here no longer, she was truly dead,
she deceased many years, hence past,
For every so often her vengeance she cast,
Prince so vain, found another sweet lover,
left her alone with her pain,
left her mark on the spot,
where her true love stopped,
Gave her no attention,
well too little to mention,
took her life with such a harsh knot,
when the moon is bright, on one sorrowful night,
She'd appear to dance for the crowds,
The watchers looked on, not terrified, by the sight of the tragic flamenco bride!
Copywrite, Olivia Kent 24/03/2013.
Mateuš Conrad Aug 2016
when they write about existence i just think of:
blinking out of every instance -
snapshots of life, vibrating to
a culmination of sounds
preserved in the Bermudas,
or simply the overhaul of νεως
anywhere with internet access
and twitter account...
existential arguments: each
and every insistence exaggerated
and later gagged on...
just like i think of theatre and poetry:
i think of theatre as poetry on
the menopause...
theatre is poetry on menopause,
the last remaining depth of continued life
having a chance in the Darwinian cold
of absentee hearts and economic cheese
graters with broken bows playing
out-of-tune violins...
when they write the word existence,
i can't take them seriously,
they later come up with the somehow
happy alternative of what's called life...
such sad happiness when blue in green
opens up so lazily like 5 a.m. on the
Camden High Street in winter,
when it's still Armageddon bleak black
of ghosts chasing shadows into a
revenge against the grave...
some say you never really turn 30 when you
haven't bought Miles' Trafalgar Sq.
prior, meaning you lost out on being 30 when
you turn 40, and so on and so forth
in that Zeno paradox of two steps forward,
three steps back...
yes, the Grecian augmentation of the w...
less sharpened edges...
but still a Oui oh you... then a flamingo flamenco
with the teasing all blues...
i don't know...
whenever they write existence seriously
to later want it to underpin life as such,
i take their serious offensive on creating a
membrane of cushion and powdering and repeat
their seriousness, leaving life aside to
do its method on all of us:
existence - out of every instance... based or
biased as out every instance, the pickled gherkin
perseverance, persistence (dictionary mode),
out of every instance... a slaughtered bull
for pagan sacrifice meaning: insistence;
thus ex- instant into re- instant
i.e., out of (every) instant into a repeated instant -
that which we all keep secret,
that speciality of ours we do solo to keep
the nerve, to keep the homage, like
some did toward Catalonia... but in our own
very special way... it's not such a big
foreboding word after all...
it's rather mandible when the scalpel hyphen
cuts it open... just words, such words
that allow such things to take place...
cut life open... well... you end up with strife...
and that's what it is...
but at least cutting up the word existence provides
a bed, a cushion, some covers...
perhaps because of its etymology bias...
life is hardly up there in the etymological arithmetic
times table... cut the word life open... and you
get no game of words, no play, just the end result:
strife... but i would hardly attach
too much seriousness with the word existence,
as i already said but haven't:
the Cartesian maxim is subjective... it personally
relates a man's translation of life as pleasurable
with a pleasurable experience of thought alongside it...
true to say: physical exertion didn't give him
the biblical presence of work - harder for the mind
to make a sandwich that isn't there than for
the body to make a sandwich that is there...
hence the revision of Descartes: not that he was wrong,
he fooled everyone with a subjective statement
like an artist might create a piece of work...
because aren't there people out there that
experience the joys of life, but not that of thought?
while there are also those who experience more
joy from mere thought than from life itself
that joy of probing someone into action?
there are equal numbers of each...
and so translating thought into being he revealed
to me how translating ex- into re-
we can attribute a variant (metaphysical)
interpretation of the nadir of Einstein's parabola,
since we're no longer dealing with Newton's vector...
translating ex- to therefore mean re-,
we seek to guide ourselves toward that one
instant where all passions are lost...
or to put it more bluntly... ever watch the non-thinking
side of this? no? are you sure?
to translate ex- to therefore mean re-, never seen it?
never heard of drug addicts?
as in my case... it's not the addiction per se,
it's what i do with it that's leveraging me
to continue... i could have succumbed to
william styron's darkness visible -
but you see... i write while intoxicated...
the relaxation technique works simultaneously with
a chance to stretch my legs, and do what
the devil would have said regardless:
i make word of idle hand that would have
lifted a hammer... fair enough to the devil...
the devil makes work of idle hands...
well, idle hands make the devil into a caressed cat
when the mind excuses itself from idleness
that the body assumes, to later turn into a poker match.
Marieta Maglas Oct 2012
A juerga with flamenco guitars,
With fires blooming like red flowers,
Corpses dancing in moonlight
The dance of wounded souls,
Vibrant red dresses
White shirts like birds,
Falling shawls,
Dancers,
Sky,

Claps,
Cubic
Movements of
Color, music's
Seeds, hands being wings
In shadows on the wall,
From soul detaching passion's
Lights, motion vibrating the string,
Resonance for a new dimension.
S R Mats Mar 2015
I remember when you donned
-your polka-dot dress
And danced the flamenco

Such pretty and delicate hands
-the men who play guitar
Who played flamenco

You are suddenly young again
-the older boys gather
And you dance flamenco
This poem can be read 3 different ways.
Liz Anne Jun 2014
The grace in the way things move feels
like the fibers of a mantilla veil until
the wind blows and turns
grace to something
worthy of fear.

I've got everything going
and they're all wondering if I'm coming
along but all I want is to keep
going my own way
even when I'm a little lost
in deciding what really is my own.

I've got the veil
I've always had
happy to know I had much more
beneath than beyond
but I think he proved me wrong.

The trouble with going
and still going strong
is that I do it best when he's gone.

I know what I want isn't
the best thing but
I want it just the same
nobody could blame me either way.

Now the wind's blowing
and blowing embers
burning my veil
clean away.

I'm finding all I hid
was worth something
to someone besides me and now
that I'm happy to be
alone they all want a piece.

Content beneath my mantilla watching
the best and the worst inch by
I had no Holy Week
and kept no days holy but my own.

Burnt to the scalp
I'm learning to dance without
the skirts and shawls that made holy
what I thought it had to be.

Fear driving my fingers to Flamenco
twists and my feet to wind-blown flames
I've got nothing to lose because the worst
is mine to claim and the best
isn't coming but going
my own way.
Mark Lecuona Feb 2016
I have fallen inside myself
Though I walk the streets
And speak to my friends
What I say is what I have found
The walls inside my mind
Await the graffiti of my failures
What I say to you
Is only what I say to myself
I am not the answer
I am only a question
For in your life
I only search for mine
And in my life
It has become a search
For the source of your strength

I only lack spiritual guidance
Still I know what please my eye
When I said forget about me
I didn’t mean it
I was trying to grieve
But I didn’t know how
So much has happened
I will never again ask why
The answer is always the same
Life is that way for everyone
It’s just my turn to feel the pain

I  want to see everything in your face
Deep feeling eyes holding back a lake
Tight skin erasing traces of the past
Lips pressed together blocking the air
You nose, ears, everything about you
Like rusty ships in a harbor
Guarded, waiting for their purpose
To be born again without remorse
Every scream, every betrayal
But only you can remember
Because it did not happen to me
How long have you been there?
I can only say, long enough

You can ask me to describe something
But I can only describe the past
Or a dream I once had
You were in it
Though you never knew
You were in it
Because you want what I want
So it was about you
Even though it was about me
All I can say is that what I saw in you
I see in everyone
But it is how you can take it
That is what I want for myself
You are like a flamenco guitar
Making us feel all that we are
HB Oct 2010
Her quickly flicking
     heels and hands
Her fan it flutters--
     Dancing.
A silk-swift turn,
    with graceful place
Of foot, and wrist,
    and hand, to face.

With movements slow,
     then sudden dip
An open fan
      with subtle flick.
Her eyes, alone,
        hot glittering pits.
One glance enough
          to sear your wits.

Fast stop, twist-turn
     for flicked-up skirt,
Her movements close--
       Coquettish.
Arms thrown aloft,
      hard-panting sigh.
Thrown roses then--
      she's finished.
Mateuš Conrad Aug 2016
the Islam of Malcolm X isn't the Islam of today... it isn't really the prescription of Nietzsche had before the Heraclitus flux took sway and said: waterfall or lottery... it really, really, really doesn't matter. the Islam of the 1960s isn't the Islam of today... too tinged with Sieg Heil... although less the Ave Caesar salute and more akin to: who's up for ****, *******? the Islam has changed... if i was wise enough i'd have converted, to mind you... but i thought: putting my faith by only having a library of only one book... i thought... n'ah... that's a bit extreme, can i at least have a comic book strip to add to that massive library? no? oh well, no, sorry, at least one book mentions several authors who tried to imitate but failed on the last hurdle, at least i can revise that, and completely erase the two extensions that borrowed from Hinduism; 'cos' like it ******* mattered.. don't test me, i'm anticipating death like  suicide-vest child... come on! let's start the Slavic crusade!

perhaps it's not about not thinking certain thoughts,
or feeling certain emotions...
but perhaps it just is...
i say, we need the Sophists these days to
apply the fishing-net tactic to deciphering or
simply selectively reflecting our vocabularies...
strait-jacket vocabularies are there in plain sight...
i mean... wait a minute...
i jumped from jazz into pop music on the headphones,
from Miles Davis' *kind of blue
defining
moment of the flamenco sketches right into the bog
of one direction - so i guess this is where
the antidote for art being too subjective comes in...
well, they sorted that problem already...
objectivity in art is around us as we speak,
it means "artists" that are manufactured,
art in the age of mechanical reproduction
(Walter Benjamin), it means more props than artists,
the problem got solved, it means reaching an
autocratic plateau of plugging in and sharing
a non-individualistic stream of emotion,
the opposite of democracy is autocracy, it isn't
despotism... i don't know why democracy doesn't
understand that it's ugly sister (autocracy)
is the enemy and not a Genghis Khan style of government...
democracy in the form of autocracy is a failed
attempt at Utopia... it suggests the system is perfect...
it means the institutions go about their daily business
like children in the playground who ******* and wet
themselves (the bankers), and still not one does anything
about it... what was once a demo tape of a indie band
becomes an automatic big seller big grosser E.P.,
just because the tragedy came, and they drove the touring
bus off a bridge in Sveeden... *******...
you ain't fighting dictators, you're fighting your change
from democracy into autocracy... where things
seem so perfect they can hardly ever change,
they're automated, they're not demographically sound...
sure, i'm the clown, i'll juggle a few big words around...
but in term of art? well, pop music has reached
the limit of what "philosophers" argued against...
to be frank... jealousy got to them that argued
for counter-productive constraints...
now they rebel against this objective construct of
artists in the shadows, writing text and tune and needing
some amateur to perform... and where do you
seek their rebellion? in the subjectivity they once
argued against: that famous Rage Against the Machine
protest against the X-factor...
so wait, first you argue against the subjectivity
of the artistic expression, then you postulate the non-existence
of the self: countered as the dasein for all subjectivity,
then you miss artistic objectivity with the karaoke
and what comes as the **** utopia with French
euthanasia tourists in Switzerland and Belgium...
you missed the argument you favoured, i.e.
artistic objectivity, i.e. performers, not people who write
the hit singles, Hiroshima Karaoke,
well, aren't we all objective now, that we have to source
our feelings in the expressions we once made angst against?
odd, isn't it? you never knew how well established
the counter argument became...
it's pop culture, it's evidently going to become viral...
but you see the power of subjective art...
it spreads like an infection, no point arguing against it...
objectivity in art is already a well established
virus, it doesn't really bite into your soul,
it bites, but you just get the odd body chicken ****...
that's what i mean about how a self-assured-without-a-self
democracy morphs into autocracy...
the fake Utopia of the well-established social
institutions actually being bankrupt, starting
with the post-colonial charity companies,
lying sharks and interest rates at 2000% per annum
i'm starting to think of Islam... leeches and hypocrites...
so your pointless critique of the subjectivity of the arts
became your most sling-shot friction strained weapon
to aim at the industry of art objectified,
in the age of mechanical reproduction true art = dodo...
it's on its way out... i hardly think that
50 years from now you'll find someone as idiotic
as me writing poetry for the love of the **** thing...
you'll get Utopian plateaus, anaesthetic democracy in
the realm of humanism, and hanging over you
autocracy... immovable foundations, cos' everything's
just perfect, time to invade another Libya where
some genius ensured the people knew their place
and who kept order on the pretence of
keeping weapons of mass destruction and
dog leashes... but there you will be ****-strapped going
huh? i thought subjectivity in art was bad?
n'ah mate, that's the only thing that made art good...
you got your ******* Karaoke, live with it!
the English Renaissance of the 1960s ain't coming back,
even if you gave Belfast back to the Dublin crew...
i say we need another Protagoras to get
the vocabulary inflation up to speed...
i say devalue the words self, ego... and make the
psychologists bums..
i say devalue the words nation, british and hamburger
to make the anglophile influence on Europe
a bit like sniffing a mortar of ******* off a penny...
i say reestablish the virtues of Japanese feudalism,
scare depressed teenagers with the words:
your only way out is by Hara Kiri.
something must come from a poem like this...
i have rage... you reason with it...
i'm not going to reason a calm into my heart with the words
i just wrote... n'ah... n'ah n'ah... that ain't happening...
it only took one needle in a haystack to give me prompt...
the ailments of subjectivity in art...
that got me, bull's eye reddened mad...
you ain't turning me into Darwinian grey matter!
this is democracy at its most despotic...
let me try democracy first, before i join the legion of dentists
with happy middle-class lives in autocracy...
can't blame ****** in this guise of organising people,
'cos' there just ain't no ******...
that got me hot wired and hired to argue...
first they say: art deserves no subjectivity...
fair enough: 1 man draws a rhombus a 1000 men draw a square...
but now that we can finally see objectivity being applied
to art, we only get pop: **** jazz, classical, rock and speedy-indie...
we get manufacture... as you once hated those with
personal intention to add to the democratic demographic,
now you turn against them for disturbing the status quo...
well, happy are those that come to the sun's repeat jargon
and happily doubt the roundabout...
because criticising art as subjectively orientated
really spared you art having ascribed objectivity to its cause
of attaining mechanical reproduction,
and the subjective placebo... neither thinking nor feeling
anything deeper than nervous yoga twitching dances...
spare me the ******* details if you come up with
a more accurate historical pinpoint.
Flower Scent Nov 2010
I wanna dance the mambo,the cubin cuba mambo,

I wanna dance the cha cha,hips movement with the cha cha!

or maybe try the salsa, deep ,sensual, is the salsa.

I wanna dance the samba,the fun brazilian samba,

or maybe the lambada,brazilian hot lambada!

My favourite s' the tango,intense ****** tango,

Lost in  the  flamenco,ardent spanish flamenco.

May even try the polka,high energy in polka,

the Czech bohemian polka!

I wanna go and party,good time ,dancing the rumba,

latino americano,cubano, africano.

I wanna do the hip hop,hip hop,hip hop,don't stop.

Dance reign  in the ballroom,

as I dance the Ball Room,under and above,

With you ,I dance my last dance,the classic dance of love.



Are you ready partner ?
This is one of the first poems i ever wrote..thought i share it with you,by reposting it here,thankyou :)  Lyrical poem
Damian Sep 2011
Flamingo high,
flamingo low,
when flamingo stretchy-leggy, then flamingo grow.
Cheeky beaking, shifty sifting, lifting up a flipper;
notty neck and naughty pecks,
while dancing with a kipper.

Flaming heck and flaming Oh!
Flaming flamingularonimo!
I tango and flamenco
and I imitate a swan,
but this winking pink flamingo's
blinking going going gone.
Mateuš Conrad Jul 2016
i only noticed it today - from the wide opening spaces,
the scarce forests and horses grazing -
where everyone around here looks very much feral -
and even behaves feral - it's sometimes eye-opening
seeing the big city - the rat channels - the avoidance
of staring each other in the eyes -
the number of mobile phones in almost constant use -
a grant antopia that London and other cities have
become - behemoths in their own right -
but what's most eye-opening is the perfect skin
of the populace - i can almost claim a Joseph Merrick
appearance - relativity has nothing to do with it -
the 21st century and the Victorian era are completely
two different swarms of fish - Londoners' perfect skin,
with mine like fields of Ypres during world war two -
or quiet simply: mine the moon-face - littered with
tiny bullet incisions - even if i wanted, on this
basis i wouldn't land an executive job - an office job -
these people look for pampered - so docile even -
busy docile, but so docile - and once in a while you
see a glimmer of what it's all about - a public show
of affection - a couple lost in a moment between one
underground train and the next on the tube platform -
it's mesmerising seeing such moments, such is
their rarity - for you know judging by the overall
consensus - that so too is rare an old couple - as also
a family outing - the consensus speaks a different urbanity -
not such Edenic delights in the firestorm of concrete
and sweat and fast-food outlets, overpriced beer and overpriced
coffee - priced according to the postcode and the view.

but enough of that... the ballet! the first time i went
to a ballet it was to see *swan lake
-
i was put off - a sour taste on my tongue, i thought
i'd give all future ballets a pass -
then Bolshoi came along out of the blue -
i had someone else's ticket, so i went for free -
i could be all hot-air ponce puffing that it's Bolshoi -
and as if by miracle... i fell in love -
the main reason? when i went to see the swan lake
it was like watching an enlarged centipede
stomping on the stage - it was staged in the Royal
Albert Hall... they also play tennis in the Royal Albert...
the ground is too hard... when the swan lake
ballerinas pranced en pointe the centipede was out...
it even managed to overpower the orchestra -
the great en pointe centipede of royal albert hall -
the difference! the difference! when ballet becomes
silent - effortless - as it was today at the royal opera
house with a softer stage - given the play, i was
expecting the ballet dancers to imitate a bull's hoof
hitting the ground before charging - that came,
since we had matadors on stage - Don Quixote was
there too (obviously), but more in a comic role
as sheer presence - if the character danced, the whole
adaptation would have been a complete failure -
ballet and romance - who would Don Quixote dance
with, a ******* windmill? he's cameo compared
to the dancers - and all the more effective, since the
opening scene is wholly dedicated to him,
when he decides to go on his quest - Sancho runs into
his house with stolen meat, three women are after him,
so Sancho decides to hide under Don Quixoté's table  
(yes, they pronounced it with an acute e, otherwise
tongue-waggling business-as-usual); but to be honest
act i through to half of act ii doesn't feel like ballet at
all - not like swan lake felt like by comparison,
there are accents of ballet - accents as in that soloists
performing with what would otherwise be a bubonic
plague of other ballerinas missing - not to mention
that some of the soloist feats are done with the legs
being kept a secret / i.e. hidden - we get flamenco
dancers, not ballerinas - i came here to see Bolshoi
flamenco? well that's the good part - then all the
Spanish allure vanishes - phoom! puff! it's gone -
Don Quixote is taken ill and collapses in a forest -
loses consciousness and wakes into a dream -
boom! 30 odd ballerinas on stage dressed in tutus
of light azure - out of nowhere in the middle of act ii
and all the way through to the end of act iii we have
pure ballet - all the techniques, from
a (pirouette) à la second - a brisé - a fouetté -
a male grand jeté - everything you can imagine basically.
thank god Don Quixote doesn't dance but is the cameo
vehicle moving things along - fighting with windmills
or dancing ballet with windmills? i'm not too sure now,
it's more fun i suppose having actually read the book -
in the ballet the windmills' debacle comes much later
than in the book - it's like this two part story -
just before Don Quixote collapses in the forest and
the ballet begins - we have three giants swirling on stage.
on a less gratifying note though - so many Russians
in the house - i guess paying to see Bolshoi in Moscow
must be expensive, cheaper to fly to London and
see it here - but then again... why am i surprised or remotely
bothered? i could have been as level headed in my
analysis as Kierkegaard at the theatre - but i can't -
the music is too intoxicating, the body language too
architecturally sound and impenetrable -
all i can say with an honest heart:
DON'T GO TO SEE BALLET AT THE ROYAL ALBERT HALL
(you'll be watching a centipede dance),
SEE IT AT THE ROYAL OPERA HOUSE -
can't get a better summary than that.
Geno Cattouse May 2014
I fell down in the pit
And somebody stomped on my glasses.
People nowadays have no manners or compassion I swear.
All this pushing and shoving for material gain. Just sat right there on the floor and cried so.rude.
I just wanted a nice night out you know a good meal with a glass of wine and a  little dancing.
Guess I'm going to call it a night.
Mosh Pit phobia for life.
Who knew.
Edward Coles Sep 2014
They put nails in my palms
for loving you.
You described bookcases
as a ladder to the moon,
and they did not care for that.
You labelled the radio
as the death of the album,
and upon each of your words
another sparrow flew
from the windowsill in my mind,
off to join you for warmer times,
your flesh on mine,
your glass, my wine.

They told me that you eat men.
High heels and corsets
as you make their acquaintance,
a black hood and axe
as you take a moonlit walk
past the old cemetery.
I would be lying
if I said I was not scared of you.
I would also be lying
if I told you I came with devotion,
or any other plan that did not
involve taming you with ***.
They put nails in my palms
for loving you.

They put nails in my palms
for never wanting you to go.
c
Indian Phoenix Oct 2012
Oh, my stoic... whatever happened to you?

At 6'4 you could stare down anyone in the room with your stern dark eyes. People might take you for melancholy until you told one joke with your deadpan humor. But you were a little morose, in your own way... is it because you're a Cancer? Or were you searching for something that only your mind could find for you? I never knew. Stoic and enigmatic are **** near the same thing, after all.

You, with your hundred dollar jeans worn after your yuppie yoga classes. You might not have worn Converse sneakers or thick-rimmed glasses (thank God)... but don't think I didn't see those expensive flannel shirts from Nordstrom's in your closet. Is there such thing as a hipster fashionista...fashionisto? I remember you approved of my Lucky brand jeans. They were a gift. Hand-me-downs. I didn't tell you that.

How elegant that you would grab Moroccan mint tea when coffee was no longer your thing. Sure, you'd down so much wine after dinner I'd worry you an alcoholic... but caffeine? Something about not liking dependence, you said. I savored watching you drink tea when we'd work side-by-side in some of the city's independent coffee houses. You wouldn't be caught dead in a Starbucks.

I do hope you make your amazing Turkish coffee, if only for your next love. Did I say "love?" No... maybe your next tryst. That's more your speed. I still can't taste cardamom without thinking of you.

And oh, your guitar... you'd strum the chords as if you were solving a riddle: quiet, to yourself. Leave the simple "Wonderwall" for neophytes because you could play Django Reinhardt. Unsurprising that a person like you would have a music performance degree from New York University. Every note you played was expensive. And you knew it.

It wasn't just the way you strummed Spanish flamenco while I made us quinoa stuffed squash in your small kitchen. You had to play the cool music before it was cool--nothing so trite as Vampire Weekend or Kings of Leon; only the sweet whispers of Priscilla Ahn for your sensitive ears. I'd desperately try recalling obscure artists from my college days and try to keep up. Album Leaf? Mirah? I got a half smile mentioning Bela Fleck.

Do you remember, how we'd smoke hookah on your soft leather couch? I'd read your book aloud on tantric Buddhism as you'd light the candles. Once the room filled of cinnamon, we'd inhale exotic rose-flavored tobacco and watch documentaries imploring us to free Tibet.

Even your ******* name was exotic; foreign. My mother didn't like it, you know... she worried a man like you would always be patriarchal.

It didn't matter that your days were spent wondering if your law degree was worth it; because you had other dreams. Dreams of foreign service and pro bono nonprofits.

But somewhere in the planning of those dreams, we fell out of touch.

You ended it. I knew you would.

In the worst of my thoughts, I assumed you ended it to find a woman who was everything I'm not, but who I desperately wanted to be. She'd be an international human rights lawyer. A yoga teacher. She'd take yearly trips to hike the Grand Canyon and go on meditation retreats in Bhutan.

2 years later, I've moved on. I won't need 2 glasses of wine to feel comfortable in your presence (as I once did). I've found someone else; we're happily married. He'll never have your enigma, but he lets me in his world. It's not a world of Ghirardelli hot chocolate on winter nights, obscure records and hole-in-the-wall Vietnamese restaurants. But he encompasses everything I needed that you couldn't give: warmth.

I hope you're well, my stoic sophisticate.
"What do you mean you've never seen Blade Runner? My GOD! I didn't think there was a single person on the planet that hasn't seen that. They showed it to us in elementary school as an example of a prophetic, foretelling, social commentary."
"Well, I never was a fan of fiction or science, even though somehow I've still managed to live my fair share of both."
" Do androids dream of electric sheep? What are your dreams?"
"Electric...sheep?"
"Yeah, that's the title of the book the movie is based on, but like, I'm honestly curious about the second part. It's a better ice-breaker than your deprived childhood".
"You wanna' know what I dream? I dream of a world soaked in gasoline, and a lone, shadowy, figure masked by deceit and decay, filling the air with a rotten sulfuric smell as he festers in his own filth. I can't see this guy clearly, but I know him. I know him in my head and my heart and he just stands there, idle, in a place where he can see the silhouetted skyline of the entire wretched city. Trapped between his forefinger and thumb is  a match donning a dancing flame for a hat, performing a flamenco routine for two wild eyes.  Eyes that indicate a sureness of what to do, but make no use of intentions. They seem to sort of flip between question and answer with each dimming and brightening of the match's beacon.  The question appears to already have been answered, but has yet to be acted upon. He's tinkering with the notion.  Is this due to hesitation in the man's mind, or is he simply toying with the already squirming city? The final act is inevitable, yet the ulterior option, to extinguish the trigger, still stands...". He pauses.
His new partner's face has lost most of its color and his mouth is propped open with a jack made of sheer horror and curiosity.
"Well JESUS man! Aren't you gonna tell me the rest of it?"
"The rest of it is: I wake up".
He languidly looks around, takes a pull from the bottle, and proceeds to pull his mask over his face. His partner isn't sure, but he thought he'd caught a smile crack before his mouth was covered,
  "...and not like a haha I'm yankin' your chain kinda grin. This ****** meant it", his partner would recall later to some buddies in a bar.
"I wake up and wonder whether I'm the man, or the match".
He slams the magazine into his weapon and rips the slide back to load up the first round of ammunition. He exits the vehicle, and heads towards the disheveled building that has more or less sunk into its foundation. His new partner shakes his head, wipes his face with his paws of hands, pulls on his mask, and flicks the *** end of his cigarette whose embers have already begun to eat away at the cotton filter out towards the woods. He catches the light from the buckshot of the cherry out of the corner of his eye and imagines that match spinning towards the city.
"What the **** have I gotten into..."
Excerpt from a story that is being written some time in the next 30 years
Spenser Roper Mar 2014
flat at
flake lake
flame lame
flamenco cool
flamingo goof
flapped lapped
flayed layed
flavor vortex
flannel electricity
flag lag
flash lash
flaxen axen
flab lab
flail ail
flattering ring
flaw law
flair air
Annie Nov 2011
She never made it
To Morocco
Rode ’cross the desert
With her Bedouin lover
Shopped for bargains
In the Souks of Rabat
Sipped mint tea
From a frosted glass.

She never went sailing
In a catamaran
And on a moonlit beach
Made love in the sand
Or drank espresso
In a café in Lima
Or danced the flamenco
In Puerto Rico.

She married a man
Cause no one else offered
Had three kids
And moved to the suburbs
Wrapped up her dreams
In brown butcher paper
Tied them with twine
And shelved them for later .

She never made it
To Morocco
Her life was four walls
Plastered in stucco
And she sighed as she thought
Of the things that she lost
The dreams that she wrapped
And shelved in the past.
A L Davies Jul 2012
red tile roof ...
whitewash balcony in romanesque cemicircle ,
fridge full 'f
                        1 litro bottles Alhambra cerveza --
clawfoot tub, coldwater (couture)
$1000/week:
(i could live on that)
lucky strike spirals in spanish summer,
bare feet on the railing upturned to sun beaming on pearly albayzin of granada.
afternoon mojitos with a new woman ev'ry week. (reading magazines)

spend
75 drunk nights ( reading ,   smoking ,   swilling gin )
&
typewriter whirring out pages (underwood airbus laissez-faire)
flamenco on a record player back in the house
one of those spanish girls slipping off a white dress (which falls like a soft breath of cloud down to the ground and sits there
still as death)
as she gets into the jacuzzi.
&
spend
75 high days throwing change into fountains, hand
up skirt of my carmen-du-jour.
climb drydust hills with guinness tallcans in plastic borsa
drinking dark beauties as golden orb hung in clouds keeps on grinning heatwaves.

(feelin' like maybe perhaps possibly i be free)
more RAW than R.A.W.
In my novel and supposedly written by English and from Yorkshire, William Willoughby in 1811 whilst fighting Napoleon's troops in Spain... and boosting morale using music he loves... this time Flamenco.

FLAMENCO

Passion of heart and soul… and nimble fingers,

Music from wood with curves of Woman lingers…

Cinders dance with hot flames as a heart again sings:

“Anew Gypsies found metal strings...!”

For Men of burning eyes, long hair and hard of nail,

Music is wine as dark clouds away do sail…

Whilst intoxicating songs of Life, Death,

Love and War…

Are every time told as never before…

And a strong hand of Man does suddenly slap,

The delightful form held gently over his lap,

As rhythms of memories and secrets full of pain,

In ancient faraway lands… of hardly any rain,

Anew become forbidden songs never forgotten…

Now an eternal legacy,

And timeless passion … Maybe…

In the shadow… of an ancient olive tree?

Do listen with closed eyes… And magic you will see…



Capt. W. Willoughby
¡Olé..! You might know the English word "Hello",  is derived from the Spanish word "Olé," of course... but if not, you just might find this interesting.
Jor For Feb 2017
This music is the country you lost
when you were born,
the cafe which never closes, the *** which
comes so close your pores are
weeping with longing, and never touches you,
the nights you don't sleep, the hands in their ceaseless
moving like birds, the conversations interrupted
only by dancing, the dancers weeping with their bodies
painted like eyes,
here where black coffee and red wine are the only
waters, where crusty bread and creamy cheese
flecked with oregano and pooling tears of olive oil
are the only foods.
It's the music you strain to hear through all the needy
ordinary days,
the music which will only stop
when you abandon everything to follow it
--because this music lies to you, but it's a gorgeous lie,
full of such craving and entreaty, the chance for nothing
to be ordinary, ever
David Nelson May 2013
While My Guitar Gently Sleeps

boogie woogie is on my mind
my toe tapping a thousand times
slapping snare and top hat crash
back to sleep dreamy night fade away

is it a festival of jazz marching by
raz-ma-taz New Orleans style
clarinet and trumpet and tuba blow
blind melon singing do-dah do-dah-day

Latin fever makes me thrash
trying to remember the tricky steps
the cha-cha of the island girls
watching how the shapely hips sway

Spanish marimba mambo twist
taps clacking as the flamenco flies
big box acoustic cat gut strings
fingers twitching wanting to play

square dance cowgirls and dudes strut
thumbs in their pockets stomping boots
fiddles and steel race through my heart
gonna do it all do it all someday

roll over and change the world another day
dreamy night fade away once again
screaming guitars in triple tones
while my guitar gently sleeps away

Gomer LePoet...
no rest for the weary frustrated musician :)
Mara Kennet Feb 2015
Scandinavian movies
Bring a lot of fog in my life.
My life is so foggy
My dreams are  groggy..
Elvira Madigan looks at him
While he is shaving…
Scandinavian movies
I like to watch them.
They stop this crazy Flamenco
That my heart dances
They bring the coldness of
Fjords in it.

Doctor Glas reads the verdict:

“This is a chronic disease
Underneath her soul is sinful grease
Darkness blackness, the lack of light
She is so tired to fight
So tired to fight.
She loves
There is no cure
yet
She is a liar
Her love is not pure
Her life is dirt, distilled sin
She is so tired to fight
She won’t ever win.”

Elvira Madigan kisses her lover
I am imagining I am kissing you
Elvira Madigan leans forward, kisses him
He still has a blade in his hand,
He unclamps the vessel with his desires,
He unclamps his hand
The blade falls off
This is so dangerous
Like …..Love.
Scandinavian movies
I like to watch them.
Rosemarie Caruso Apr 2013
You are the fragrance of dark coffee.
You're slow jazz and flamenco guitar -- depending on the weather.
You're the sweet smell that happens after it rains; and the soft pitter-patter of the rain that sings me to sleep --
You're that too.

And the caffeine and the lost jazz musician and the cold rain hitting his face as he walks home to the song of a memory and the smell of rain on brick -- almost sounds romantic, doesn't it?

You make my world romantic.

And not in the lovey-dovey sense of the word, not just that.

Romance as in the knight who seeks great treasure,
Mark Twain in his steamboat down the Mississippi,
The old sailor who sails the seas just for the constant surprise of just how beautiful the world is --

Romance as in adventure.

And you make me feel like the best kind of music,
And you make my  heart beat faster than caffeine,
And you make me feel as beautiful as when the moonlight shimmer against the dark clouds and it looks more exquisite than anything Van Gogh did.

And you --
You're more handsome than a starry night,
Better than the smell of good coffee,
more than any prior fabrication I'd ever had of "perfect--"

And I love you.
More than the smell of rain on brick.
I felt as if I had to write something grossly cute for him for Valentine's Day. So I did.
Lynn Al-Abiad Dec 2014
Turn around, tender beauty
The dawn is calling for you
Take off your black Flamenco dress
And look at the sun
While its first rays touch your frail body
Burning all traces of him
Every soft touch
Every wild kiss
Every inaudible love word
Burning him to ashes, tender beauty.
To ashes.




-LynnAA
Turn around, tender beauty
Don't let him see your big hazel eyes
Getting prettier as tears wash them up.

6/12/2014
Nobody is asleep on earth. Nobody, nobody.
— Federico Garcia Lorca, “City That Does Not Sleep”


Sporting white top hats, the Sierra Nevada mountains
**** up against the new dawn's Andalusian sky, casting
craggy shadows across the quiet calles of Grenada.
Restlessly, the darkened city churns in its sleep.

Federico Garcia Lorca strums his yellow guitar,
tuning it to a cante jondos, a deep song of duende,
dark heart of flamenco and the bullfight and his own
fatalistic poems: moans of his inexorable execution

at Franco's hellish hands. Fascism fears the poet,
the ferocious oracle of duende, who rips out the
roots of authority, the dark clods of captivity, who
vows to dive underground, digesting bitter earth

like bullets from the firing squad. They shout, Victoria!
as Garcia Lorca's listless body slides along the bloodied wall.
Duende, he once told a lecture hall, haunts death's house.
It will not appear until it spies that fiercely angled roof.

                                        * * *

In the branches of the laurel tree
I saw two dark doves
— Federico Garcia Lorca, “Of the Dark Doves”


His mother bellows on the spirit's wind, over the hobbled
heads of the dead, in search of an inexpressible "new,"
the endless baptism of freshly created things, as Garcia Lorca
loved to lecture. Ending and refrain burn blood like glass.

Few mourners cast a spell over the public patrons gnawing
on his books, seeking some taste of destiny, identity, some
word of the eternal voice of Spain. I am no Spaniard, yet
I claim to be a poet. Garcia Lorca gifts me with his song.

Its maudlin melody marches up my spine, scorches
my eyes, which smolder under the noonday sun, spewing
ashes to ashes, igniting dust to dust. The dark memory
of the buried ruins of saddened Spain steadily seeps

through wilted wreaths tossed at Franco's feet. No
offering for the conqueror, they exude a sickly odor
of offal, of ordinary flesh rotting on shattered ribs.
Gunshot mixes with marrow, smoke fumigates the poem.

                                        * * *

No one is sleeping in this world. No one, no one.
I have said it before.
— Federico Garcia Lorca, “City That Does Not Sleep”


No one is sleeping, yet the world will not awaken.
The slain poet merits no notice. We bow our
heads in humiliation at the philistine ways
of savage, civilized societies. All cultural wealth

but poetry suffocates in its bed. Duende sends Garcia
Lorca’s poems soaring above feeling and desire,
above the consecration of form. How many enjambments
mire in dark waters? How many stanzas lay bricks

of marble and salt? Garcia Lorca sings of hemlock and
demons, of Socrates and Descartes. But the profane
choruses of drunken sailors shatter any hope for his
new poetic style. They reject all the sweet geometry

that maps the darkened heart of southern Spain, where
Moors and Gypsies set up camp, pulling sleights of hand
on gullible gamblers, assured that Andalusia knows no
other artifice than the machine-gun-fire flights of flamenco.

                                        * * *

In the branches of the laurel tree
I saw two naked doves
One was the other
and both were none
— Federico Garcia Lorca, “Of the Dark Doves”


Garcia Lorca lies on the floor to fence with the phantoms
of his future. His black boots shine in the saddened sun.
The fattened face of Franco appears: an anxious cry for
more water, for dousing naked doves in duende’s black pool.

Writers live and die like newly created roses. Aromas
rise from vast yearnings, inured to the penance of suffering.
Above duende's golden serpent, a crooked soldier salutes
the fruit of Fascism. Dawn's lemons dangle at the edge of time.

Only 19 years embody Garcia Lorca's high-strung calling.
An awkward teen at his writing desk, he scribbles notes
about his mellifluous malaise. Modernismo flourishes in the
shadow songs of caves. Dark doves coo. Duende never lies.

His mother wails, wrapped in her mantilla of Spanish black. Head
thrown back, heels clicking hard, she swirls against the fiery flanks
of flamenco. Prancing like an epic stallion, she nudges her anguished
son: asleep, asleep. Today, duende has entered the dark house of death.
Flower Scent Nov 2010
I am

the red ripe apple  of the sinful tree
the honey suckle of the bumble bee

the pink blushed  rose of the secret garden
the stubborn spoilt lass never in pardon

the youngest daughter of the shining sun
the castle dream girl in  sands of fun

the jealous lover of the crescent moon
the blowing wind in a strong monsoon

the first white swan in the silver lake
the seizmic tremor of  a hot earthquake

the scarlet love bird on each window pane
the falling tear drop of  clear crystal rain

the candle's flicker of each passionate flame
the  mystery madam,mademoiselle or dame?

the  copper butterfly in each serene meadow
the Sunday's church girl in snow flake's shadow

the brown eyed maiden of  the deep blue seas
the pretty woman of ripe strawberries

the old fashioned  girl in sweet proposal
the gold  stringed harp in music's motion

the colored smile on a rainbow's face
the flamenco dancer  covered with  lace

the little mermaid in pirates'streams
the wafting wave in  glittered dreams

the twinkling star of black silk skies
the little lantern  light of fire-flies

the Cindirella in glass slippers
the happy verse of each romance

the soft wind's voice in a whispered breeze
the wood wind chime in sweet melodies

the Wishing feather of a free  white dove
the veiled young lady in the power of love.
couplet
She was eighteen,
He was Twenty-three,
With an old brown Ford
And a smile in the trees.
And with his smile came light,
The kind that appears in early Spring,
In the morning, and only when
You’re Twenty-three.

She wore this black Flamenco dress,
Everyday, and, if I remember correctly,
That was some dress…
Tight from blade to knee,
And billowing from the back,
Begging for every young man to see.
It’s skirt, when she twirled, could cover a camera,
Mute the sound,
Get attention from all over town.
But what she saw was, in all her spinning beauty,
His tree-tall grin,
And it took her in,
To that desperately sought-out end of a quest,
Where mothers held their daughters against their *******.
It was love, perhaps too young,
But it was love,
It was,
It was.

He’s a good man!, she’d always fight,
Left home, one time, in the middle of the night.
Seventeen, too handsome for his own daring good,
That dark-eyed boy and his Redwood-smile
Hopped a south-bound train,
And he looked back, like in some old movie:
Cue the Angry sky, the loneliness, the pouring rain.
He needed to move along, and he had a feeling,
In every sense, that he would;
You know, chalk it up to that daring good.

Well, child?
Well, what?
Well, is that enough?
What happens when he’s twenty-four?
Is it you, for which he’ll walk the floor,
Or leave home, one time, in the middle of the night?
For seventeen, still handsome, still free,
Is not so different, child, from twenty-three…

But it was love, perhaps too young,
But it was love,
It was,
It was.

And Mama, he can dance,
Please remember that!
What was it that drew you,
Like some artist’s red line,
All those years ago,
To some twenty-something,
With hair like a wheat field and eyes like the sun-
In your prime, and also in his,
It wasn’t sin, but something drew you to him.
His hard work, his humor, his wit-
Mama said, and stopped.
And the way his leather soles spoke,
In circles and crooked lines-
When the light began to shine,
They’d whirl and sway,
Every time some guitar played.
Whenever the word “no” she’d been told,
Mama rushed for him to hold.
David Barr Dec 2015
My living disposition leads me to assert that I am not dead!
Yet, my silence screams ancient transcriptions across geographical contour lines which are considered to be far removed from the metaphorical grid of contemporary societal norms, where the seductions of the vampyre and her haunting dynamics cast their eerie spells within this captivating fishbowl of galloping horses.
The Prince of Wallachia is able to explain.
Let us converse with The Count.
Whenever there is emphasis upon specific detail in this age of certain vanity, I find that, in 1456, I am truly bereft of valedictorian and flamenco odours, because this royal prince of acoustic arrangement has generated a harmonious expression which humbly corrects my intrapersonal assumptions across the mountainous regions of Transylvania.
Conflict resolution is therefore a mere figment of sociological and anthropological constructs, which fornicate with the façade of egocentrism and fabricates vain attempts to maintain social elitism within a blanket of darkness.
How do we find ourselves in the position of being so diametrically opposed to reality?
Jason Wright Jan 2013
The first wind calls a coolness
to wait around the tips of ears, tickling
and teasing away like zephyr in the air with child-like wisps.

The second wind is married
with specs of dust like ants in a pool of honey.
Jealous clouds follow like a thick coat holding warmth from us.

The third wind brings a bleak—
ness. A flamenco show in the air now is
performed by specs of sickness—twirling—*****—coughing—death.

The fourth wind is a mistress
caught less tepid; throwing trees; swinging
tall buildings like spiked morningstars and taking away the song.

The fifth wind shivers hard
against the glass air; howls, then shakes,
then breaks the sky into momentary cracks of white fire.

The sixth wind sheds misery
from between the dirt and the celestial
shroud into little vials, then freezes them for a short while.

The seventh wind showers the earth
in a shifting of silence and still sympathy and
Within the storm a small hummingbird twists with the sky.
Edward Coles Aug 2015
I was born for Nebraska
I was born for the Massif Central
I was born for the mountain top shrine
with nothing but the music of nature
to distract me
I was born for the weekly news
on some sleepy island in the Pacific
I was born for Covent Garden
The Pangea of Culture
New Orleans trumpets;
the flamenco player
twisting lime into his drink
I was born for the cotton fields
I was born for the salt marsh
for the tug-boat all out of fresh water
I was born for the Ganges
I was born in the shadow of the Hajj
I was born for the G-dless land
of Death Valley
the streets of Harlem
I was born into the spirit
of old Afghanistan
I was born on the false strings
of liberated women-

I was born on a stage of puppets
a backdrop of Glaswegian tenements
or of fjords unvisited
beside Scandinavian seas
I was born for Rugby Cement
I was born to be fixed in place
This wandering mind
These restless legs
I was born with a travelling soul
in a town where I can barely walk
c
Edward Coles May 2016
The skin at the bed of her nails shone, tight.
Forever healing, windows that rattle
With the changing of her moods.
Love was a locket, an heirloom
That insisted its presence
Upon her bedside table.
She could turn out every light
And it would still be there.
Steady metronome,
Lifeless thud,
Invasive thought.

The carpet gathered artefacts from late night walks.
Bad habits clung to the walls.
No pillow talk, only muffled strings,
Failed symphonies,
Conversations three years old:
Memories that play Chinese whispers
Across the faces in the ceiling.
Irregularity of breath,
Sleep comes, clothed in Zopiclone;
A mind that never rests.

Narcosis in the morning,
Nausea over dried toast,
Sweet flamenco on the radio,
But there is nothing to calm her bones.

The red wine cast last night’s shadow,
Hollow in the eyes, first hit of daylight,
First hit of nicotine
To prove she is still alive.
Anxiety: the ball and chain,
Always dragging her behind.
Living as a ghost,
The people at the bus-stop stare,
The traffic, the signs, the passers-by,
The doldrums in the headlines,
The rain upon her window;
The heart attack and vine.

Prescription pills in the afternoon
To get her through the day,
Until she can get her fix,
Have her fill,
And finally hide away.

The high-street parade comes alive after dark,
Lanterns on the lake, the fish-bowl
Of a small town, familiar tongues that roll;
Memorised anecdotes across the ashtray,
The lipstick on her teeth.
Clumsy in victory, each stumble confined
To look as if she has walked through life
Without ever missing a stride.

There is nowhere to breathe
But in the solitude of her insanity.
She paints the walls
To the colours of her moods:

Grey in the long, long winter,
Blue in the onset of June.
C
Intricately laid by a master mason centuries ago,
the cobbles have become shiny and worn through use.
If we listen closely at the  echoes contained within,
what would we hear? The din of old, the clatter of hooves,
the patois of tradesmen, the fisher wives bellows?
Or, just life as it was, moving along at a pace we today find slow?
The sun beats down on the Spanish stone, firing them hot and
languid, pace has slowed, need has slowed, greed has slowed.

Dusty cobbles leading to cool houses, siesta has called and all obey.
The midday sun beats down, only tourists looking for quaint shops
remain, decrying the heat, ready to swoon.
Sweat drips onto the dusty cobbles, and is soon boiled away.
Blood has dripped on these cobbles, human and beasts.
Only to be scrubbed by the crow black crones that sit and watch the day.
Afternoon lull, boats bobbing slowly up and down,
babies rocked by a quiet lullaby.

The sun lowers bathing the cobbles in a pink, orange glow,
quiet now, Spain is sleeping, forgetting her past, the Moors are long gone,
the Armada been and gone, bullfights are frowned upon,
their Kings and Dictator laid to rest, only foolish tourists throng the
dusty cobbles, oblivious to their history, looking for that awful gift.
Spain's pain is echoed in her cobbles, few hear it, but know this,
if you listen you'll hear the heat, the pain, civil war,
pride and flamenco feet*.
© JLB
03/07/2014
RJames O'Brien May 2014
People wobbling in the heat haze like a real time hall of mirrors
Street performers sing & flamenco & mime
The snap of digital cameras & excited chatter outside the cathedral
Sangria cold & fruity as it slides down easily
The tram glides past the beggars & hawkers
Gypsies’ curses in coarse andalucian as rosemary favours are repelled
Excited Asians watching every move Large Americans loudly exclaiming their delight as the light fades into dusk
Now the Feria comes alive all lights & ferris wheels & music so much music
Men on horseback women ride sidesaddle all in traditional dress
A throwback to a time before bailouts & austerity
Sing & Dance & Eat & laugh & joke
As dusk becomes evening the ottoman turrets light up
The cooler night air seems to remove inhibitions as people from different worlds celebrate humanity with cheers & smiles
Muchos Gracias & Bueno & Buena Noches  in various accents fill the night as the spell is broken
cheryl love Mar 2014
Red, she was dressed in red
Skirts swirling with her hips
Click, click her fingers snap
Her pearly whites grip
The stalk of a freshly cut rose
Red as blood, as stark as fire.
Olives, green, pure and oily
Clench like teeth to a wire
With spicy sausage and clams
Orange and pink in a pan
Tapas, little bits of this,
gorgeous bits of that.
Spanish lullaby from a talented hand
plays romantic flamenco in a band
held tight in his grip, the skin so lovely
the eyes so brown, the look of love so now.

— The End —