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J H Webb Jun 2012
January 23, 1993*

Tender young thighs and old cushions
Warm places to rest her sweet head
Hard sweating smells and soft fingers
And hair stretched out on the bed

There's a ghost in the jewellery box mirror
As pretty as any you’ve seen
There's a ghost in the jewellery box mirror
Reflecting a tired old dream

Ah but none of us know why she’s spinning
When in truth she is headed nowhere
Though each of us forms an opinion
We must lose as the truth comes to bare

There's a ghost in the jewellery box mirror
For the devil is female it's said
There's a ghost in the jewellery box mirror
It's pretty 'til it turns its head

There's a grace that we lose when we're aged
There's an honour we lose when we lie
There's a guilt that can tear the heart ragged
When it beds down with truth at its side

There's a ghost in the jewellery box mirror
And all I can do is to stare
There's a ghost in the jewellery box mirror
I know because you placed it there

There's a heart beat to count every moment
We're apart and both in despair
You cry for a love that is past, Dear
I cry for a love is still here

And what trickery has taken this anger
That has witnessed your love laying dead
and placed it full in the sunlight
where it festered and flew from my head?

James H. Webb
judy smith Apr 2015
The Pakistan Fashion Design Council in collaboration with Sunsilk presented the fourth and final day of the eighth PFDC Sunsilk Fashion Week. Indeed the 8th PFDC Sunsilk Fashion Week marked the twelfth fashion week platform initiated by the Pakistan Fashion Design Council [with eight weeks of prêt-à-porter and four of bridal fashion] and was a direct manifestation of the Council’s commitment to sustainability and discipline within the business of fashion and the facilitation of Pakistan’s retail industry. Indeed #PSFW15 endeavoured to define and present trends for 2015, focusing specifically on fashion for the regions’ long hot summer months. Day-4 featured High-Street Fashion shows by the House of Arsalan Iqbal, Erum Khan, Chinyere and Hassan Riaz and designer prêt-à-porter shows by Sana Safinaz, Republic by Omar Farooq, Syeda Amera, Huma & Amir Adnan, Sania Maskatiya and HSY.

Speaking about the PFDC Sunsilk Fashion Week platform, Chairperson of the PFDC, Sehyr Saigol said: “With the 12th iteration of our critically acclaimed fashion weeks, the PFDC is always working to streamline our prêt-à-porter platform to make the PSFW experience more beneficial for all stakeholders in terms of show experience, exposure and ultimately, retail value. To that end, each year we look inward to find the best possible formats and categories to benefit the very trade and business of fashion. In this vein, we introduced 3 separate categories for Luxury/Prêt, High Street and Textile at PFDC Sunsilk Fashion Week, giving each entirely separate show space, times, audience exposure and viewing power. Our High Street fashion brands had been given a standalone show time on two separate days as early evening shows and Textile brands a separate dedicated day for Voile shows on Day 3 of PSFW 2015, a measured step to further highlight Pakistan’s textile prowess and high street fashion strength which are of significant importance to national and international fashion markets. As per past tradition, we continue to work closely with all our emerging designers and mainstream brands to help hone their collections for the runway through mentorship by senior PFDC Council members and with retail support through the PFDC’s own stores and network. We are grateful for the committed support of our sponsors and partners which provides us the stimulus to further enhance our fashion week platforms and put forth the best face of Pakistani fashion on a consistent basis.”

“The Sunsilk girl is an achiever, with an air of enthusiasm and positivity. Great hair can give her the extra dose of confidence so with Sunsilk by her side, she is empowered to take on life. Fashion is very close to this aspirational Pakistani girl making the PFDC Sunsilk Fashion Week a highly valued platform for us. We recognize PFDC’s efforts to promote the fashion industry and experienced and upcoming talent alike. Sunsilk has been a part of this fantastic journey for 6 consecutive years and continues to shape aspirations, taking contemporary fashion directly to the homes of consumers and encouraging them to script their own stories of success” said Asanga Ranasinghe, VP Home and Personal Care for Unilever Pakistan.

On the concluding day of #PSFW15, the Chairperson of the PFDC Mrs. Sehyr Saigol also made a special announcement on behalf of the Council and its Board Members, where she shared the Council’s plans to establish Pakistan’s first ever craft based Design District, a multi-purpose specialized facility that would assist in developing and enhancing the arts and crafts industries, which are an integral part of Pakistan’s rich cultural legacy. In addition to being a centre for skill improvement and capacity building, the Design District would also house a first of its kind Textile Museum.

The official spokesperson of the PFDC, Sara Shahid of Sublime by Sara also announced the official dates for the Council’s next fashion week, PFDC L’Oréal Paris Bridal Week 2015 which is scheduled to be held from 15th September to 17th September 2015.

Indeed the success of PFDC Sunsilk Fashion Week continued to prompt private sector associates to grow in their engagement of the platform to launch new marketing campaigns and promotional activities. To this end, the PFDC’s evolving partnership with Sunsilk grew exponentially this year whereby in addition to their title patronage; Sunsilk also took over the coveted PFDC Sunsilk Fashion Week red carpet and the Green Room/Backstage, as sponsors. This extension of their support is indeed a manifestation of the brand’s belief in and commitment to the platform. Also in continuation of their support for the platform, Fed Ex – GSP Pakistan Gerry’s International returned to PSFW as the official logistics partner, offering the PFDC a special arrangement for international designer consignments.

PFDC Sunsilk Fashion Week 2015 was styled by the creative teams at Nabila’s and NGENTS. Light design, set design, sound engineering, video packaging, choreography and show production from concept to construction was by HSY Events, front stage management by Maheen Kardar Ali, backstage management by Product 021, Sara Shahid of Sublime by Sara as the official spokesperson for the PFDC, logistics and operations by Eleventh Experience and photography by Faisal Farooqui and the team at Dragonfly, Hum TV/Hum Sitaray as the Official Media Partners, CityFM89 as the Official Radio Partners with all media management by Lotus Client Management & Public Relations.

High-Street Fashion Shows

The House of Arsalan Iqbal

The afternoon High-Street Fashion Shows on the final day of PFDC Sunsilk Fashion Week 2015 were opened by leading fashion brand The House of Arsalan Iqbal, who showcased a collection titled ‘Devolution Chic’. Inspired by street art across the world by various artists, European high-street trends and technique of quilting, Arsalan Iqbal garnered personal portfolios of graffitists from myriad urban cityscapes such as London, New York, Tokyo, Barcelona and Cape Town, juxtaposed with some unique in-house created patterns including those of Pac-man, calligraphic flourishes and aqua and tangerine bands and circlets. Based in chiffon, the ensembles were molded into voluminous structured silhouettes including draped tunics, edgy jumpsuits and wide palazzos dovetailed with off-white and ecru charmeuse silk jackets created with a revolutionary quilting process. Along with menswear pieces, the collection also included in-house footwear and jewellery made in collaboration with pioneering Karachi-based street artist SANKI.

Erum Khan

Designer Erum Khan followed next and made her PFDC Sunsilk Fashion Week debut with ‘The Untainted Shine’. The collection took its inspiration from the sparkle of twinkling stars, a walk on pearl dew in the morning and the enchanted glow which is produced when “a magic wand” is waved around the body, making it glow in a pearlescent white and exhibiting a jewel themed lustre on the body. With neat and straight structured cuts, Erum had used fabrics such as organza combined with silk, 3D flowers, patch work and antique katdanna in a collection which was based in a white colour palette. Trends highlighted in the collection were high waist skirts to button up pants and sheer long dresses. Acclaimed Pakistani musician Goher Mumtaz and his wife Anam Ahmed walked the ramp as the designer’s celebrity showstoppers.

Chinyere

Following Erum Khan, fashion brand Chinyere showcased its Spring/Summer 2015 High-Street collection ‘Mizaj-e-Shahana’ at PFDC Sunsilk Fashion Week 2015. An ode to the era of the Mughal royalty and their imperial aesthetic, the collection comprised of modern silhouettes and traditional embellishments with organza skirts paired with cropped tops, angarkha-peplum tops with embellished cigarette pants, sheer knee-length jackets paired with structured digital printed bustier-jumpsuits, diaphanous wrap-around boot-cuts and embellished boxy sleeves with soft A-line silhouettes. Chinyere also showcased ten menswear pieces comprising of waistcoats, jodhpurs, knee-length sherwanis paired with gossamer sheer kurtas. The colours used had been divided into a collection of distinctive Mughalesque pastels and jewel tones. The pastels included the classic marble ivory-on-ivory, the bold black, saffron, gold and ivory. The colour segments also included metallic gold and grey sections, with accents of bronze and black. The jewel tones included jade, emerald, ruby and sapphire.

Hassan Riaz

The concluding High-Street fashion show of PFDC Sunsilk Fashion Week 2015 was presented by Hassan Riaz who showcased his ‘Contained Shadows’ collection. Inspired by the diverse facets of the human soul that explore both the dark and light sides of human nature, taking into account yearnings, desires, and anxieties that make us distinctly human, Hassan had based the collection in summer twill, organza and summer denim in shades of blue and white with a gold accent to reflect upon his inspirations. ‘Contained Shadows’ made use of structured and drifting silhouettes, cage crinolines with corsets and bustiers with distinct trends featuring cropped tops, nautical accents, experiments with transparency and patchworks of metal mixed & matched with flowers.

Designer Showcases

Sana Safinaz

PFDC Sunsilk Fashion Week 2015’s evening [rêt shows on the fourth and final day was opened by premier designer label Sana Safinaz. Sana Safinaz’s PFDC Sunsilk Fashion Week collection was inspired by monochromatic structured looks with pops of color. The collection was based in luxe fabrics such as kattan, silks, fine silk organza and dutches satin in a colour palette majorly based in black and white with strong vibrant pop infusions.
Key trends being highlighted were the oversized T, constructions-clean lines, simplicity of cuts and effective embellishments.

Republic by Omar Farooq

Following Sana Safinaz, acclaimed menswear brand Republic By Omar Farooqshowcased a collection titled ‘Que Sera, Sera!’ (whatever will be, will be!). Omar Farooq had used a variety of luxe fabrics such as suede, linen, chiffon, cotton, cotton silk and wool silk. A collection for all seasons, the ensembles built upon the label’s signature aesthetics while providing a new take on contemporary menswear. Acclaimed media personality Fawad Khan walked the ramp as the brand’s celebrity showstopper.

Syeda Amera

The third Prêt show of the final day of PFDC Sunsilk Fashion Week 2015 was presented by designer Syeda Amera who made her ramp debut with ‘The World of Sea’. Inspired by love for the enchanting underwater, the collection was based in premium quality organza, jersey, nets and silks with delicate cuts and embellishments consisting of beads, sequins and feathers to reflect the collection’s aquatic theme. ‘The World of Sea’ featured a palette of aqua marine, scupa blue, powder pink, grey blue, tequila sunrise yellow, orange and lagoon green with trends that employed skirt layering, frills and ruffles and flared pants.

Huma & Amir Adnan

Following Syeda Amera, Huma & Amir Adnan showcased a joint collection for the first time at a fashion exhibition. Both Huma and Amir feel that as a couple they share their lives and draw synergies and their collection ‘Symphony’ was an epitome of how two people can revolve around the same concept in harmony, while maintaining their individual distinction. Showcasing both menswear and women’s wear at PSFW 2015, Huma and Amir had used a mix of fabrics, textures and embellishments with a complex collection of weaves, prints and embroideries in silk, linen, cotton and microfiber. The color palette included midnight blue, emerald green, wet earth, aubergine, ivory, old paper, turmeric, leaf and magenta. Key trends highlighted in the collection were long shirts, double layered shirts, printed vests and jackets, textured pants, colored shoes for men and layers of multi-textured fabrics, tighter silhouette, vests and jackets for women.

Sania Maskatiya

Designer Sania Maskatiya showcased the penultimate Luxury/Prêt collection of the evening at PFDC Sunsilk Fashion Week 2015. This S/S ’15, Sania Maskatiya took audiences on a fashion journey to ‘Paristan’ – a place of fairytale whimsy at PFDC Sunsilk Fashion Week. With a colour palette ranging from the softest shades of daybreak to the deepest hues of nightfall, ‘Paristan’ was a collection of playful, dreamlike prêt ensembles. Featuring luxury fabrics like silk, organza, charmeuse and crepe, the pieces followed the brand’s signature silhouettes, both structured and fluid. Beads and sequins embellished varied hemlines and multiple layering, all set against captivating scenes of mirth and magic. Motifs ranged from the sublime to nonsensical; friendly mice and naughty elves, clocks and teapots, flowering fields and star-filled skies, princesses and ponies.

HSY

Day-4’s finale was presented by acclaimed couturier HSY who showcased a collection titled ‘INK’; a collection inspired by Asia and specifically HSY’s journeys to The Land of the Rising Sun. INK represented the essence of Langkawi, Indonesia, Nagasaki, and Yunnan with natural and indigenous yarns, hand-woven to perfection. The collection featured the traditional dyeing techniques of Shibori from Nagasaki, Batik from Indonesia, and Gara from Sierra Leone infused with mackintosh, saffron, aubergine, eggshell, rosette, indigo and ochre. Created with the scorching sub continental summer in mind, INK channelled versatile hemlines to suit a diversity of younger, older, working men, women and homemakers alike.Read more here:www.marieaustralia.com/long-formal-dresses | www.marieaustralia.com/formal-dresses-brisbane
Robert Melliard Sep 2011
They never bought each other diamonds,
rubies, sapphires, pearls or gold.

The only precious things they keep
are memories of days they spent:
on golden coasts with turquoise seas;
or viewing snow- enamelled peaks;
tangled up in bed;
or simply playing with their children;
or dining out with friends.
judy smith Nov 2015
In June this year, designer Masaba Gupta and film producer Madhu Mantena had the quietest of civil ceremonies. It was only when she took to Twitter the next day to talk about the court registry that most people heard of it. It was a move most unorthodox, for a leading fashion designer, especially one who counts several Bollywood actors among her close friends.

At the time, she also announced “a Caribbean wedding in November”.

The destination wedding isn’t happening. But that’s not to deprive us of a grand, four-day affair, the sort that has the most coveted guest list, and is followed with the keenest interest. It will start on November 19, with the bridal showers, will continue with the mehendi on November 20, the sangeet on November 21 and a gala reception on Sunday, (November 22). Expect the works, and guest lists that boast of Bollywood A-listers (Shahid and Mira Kapoor, and Sonam Kapoor are close friends, just so you know).

In short, it sounds like any other grand Indian celebrity wedding. Except, this is Masaba Gupta we’re talking about. As we catch up with her, we get the sense that she’s approached the whole thing with the same minimalism and quirkiness with which she approaches fashion. “A lot of people are invited,” she tells us, “But I’m not going around and talking about my wedding designer or my lipstick, so on and so forth.”

Unlike most Indian brides, she’s not even fretting over the big day, or days, as it were. “When I was growing up, I always saw brides around me under tremendous stress. The pressure to dress a certain way, wear a certain amount of jewellery and make-up... I saw how uncomfortable it was. So I decided that, if I do get married, I’ll be someone who puts comfort first, and then looks at her options for cut, colour, embroidery or jewellery,” says Gupta.

So, in case you do find yourself invited (otherwise, there’s always Instagram), don’t be surprised to see the most relaxed bride, dressed so comfortably that she’d be the envy of any married Indian woman. The idea, she says, is that a bride should “dress in a way that she can interact with people and have a good time herself.”

She’s also taken charge of the whole thing, and planned a non-fussy, non-extravagant celebration. “For me, three vacations is more value-for-money than a mandap with diamonds on it.”

True to her word, for her sangeet and reception, Gupta is ditching the norm of heavily designed lehengas and saris. “I didn’t go into that heavy, couture, bridal space. And I’m the kind of designer who wears works of other designers,” she says. So, her trousseau will have outfits by several other leading designers. “There are a few people who are great at doing certain things. Anamika [Khanna] is great at reception outfits. I can do a cool, quirky mehendi outfit. For a sangeet, somebody more in the Manish Arora or Shivan and Narresh kind of space,” she says.

The designer who’s always stood apart also seems keen to set an example. By not conforming to rules, Gupta wants to make a point. “I do want it to be about comfort, but I also want to change things up a bit. I want to set an example and say that you don’t need to wear a certain colour, a certain type of maang tika; your hair doesn’t have to look a particular way,” says the young designer.

Ask her if this is the (unconventional) dream wedding come true, and she laughs. “I never had a dream wedding. I’ve never visualised anything except clothes. Certainly not an elaborate wedding setup. See, I just don’t want to starve at my wedding. So, my dream wedding is one where I get to eat a meal while everyone else enjoys themselves as well.”

Masaba’s five-point guide to a chilled-out wedding

1) Get people to help out. If you try and look at every detail, you’re going to have a hard time. You may have a great input, but get people to do it for you.

2)People think you should shop for jewellery and clothes much in advance, but I think it should be done as close to the wedding as possible. You’ll have the latest stuff, and your taste might change over time. It’s best done around the wedding, so you don’t regret what you’ve bought.

3) Shoes are important. Make sure you’re in comfortable heels or flats, so you can survive the night.

4) Always test the make-up artist. Don’t just do a demo and leave it; test it through the day. See how the make-up behaves over a few hours, then you’ll know what it will actually be like, because it takes a couple of hours for make-up to set.

5) Receptions should start becoming more informal. You shouldn’t have to have the couple on stage smiling through the evening. I’ve heard of brides getting locked jaws. It’s absolute torture.

How to be the unconventional groom

• Fusion looks work well. If you’re wearing a Jodhpuri or a bandhgala, team it up with Jodhpuri pants. For men who are slimmer, suits do wonders.

• If you wish to be quirky and know you can carry it off, team dhoti pants and a shirt with a really formal blazer and a brooch.


• I love the cropped, ankle-length formal pants men are wearing now. It’s great for a reception.

• You don’t need to wear laced up shoes. Wear a nice slip-on in patent leather or a printed pair of shoes that stand out. So, you can make the whole look black and white, and have a nice pop shoe and make that the focus.

• Don’t be afraid of colours at your wedding. Get over navy blue, black or maroon. On a darker man, a haldi yellow kurta will look fantastic when teamed with an off-white or cream churidar. Even a soft pink in raw silk — it has a silver-pink shine — looks lovely.

How to be the ‘in vogue’ bride

• We’re seeing a lot of shapewear backs. Instead of the flared lehenga, women are opting for the fishtail cuts. Girls are also wearing shararas with big flares that almost look like a lehenga.

• Brides are going minimal. Go for less embellishment, and lighter lehengas.

• The dupatta is being ditched. Either that, or it’s attached. Much easier to handle.

• The choli is becoming more modest. People are wearing longer lengths, which are more fitted; the ‘60s style kurtas with shararas are also in. There’s more focus on the body and shape.

• I’m hoping the anarkali has died. It’s the worst of the lot. And it’s not very flattering. If you’re very skinny and tall, it works for you. If you’re short, you look like you’re lost in your outfit.

• Ditch the trail. At the end of the night, it’s a rag. It’s been stepped on and is *****.

read more:www.marieaustralia.com/mermaid-trumpet-formal-dresses

www.marieaustralia.com/cheap-formal-dresses
Sorting boxes, packing clothes
Assaulted by the past
When you stood and said forever
You both thought it would last
A jewellery box, a trinket here
A gift they never used
A present from five years ago
You smile, a bit bemused
The boxes fill, the tears arrive
You know it must be done
It's the one part of a person's life
That surely isn't fun
Textures and scents surround you
They take you back in time
To a place before computers
When a phone call cost a dime
You fill one box, put it aside
"Donations" on the side
You can picture every item
That you piled up inside
You put them in there lovingly
You didn't want to let them go
By releasing them into the box
It forced you to....you know
Accept that you're alone now
That your partner is not here
That the life you built together
Is now remembered by a tear
You gave things out to family
Though you do not know just why
They will stick them in a drop box
And that just makes you cry
You picture them inside the clothes
And you hear their laugh as you
Put magazines and tolietries
Inside Box number two
You put aside some things you like
To remember better days
Though you know that in the future
You'll remember through a haze
Time will mar your memories
Keep the good times, wipe the bad
You'll forget about the smile
And this really is quite sad
It takes days to sort the boxes
Fill the others, pack them all
By the time that you are finished
They will almost fill the hall
When complete you think on
What is in the totes
There's clothing, jewellery, memories
And magazines and notes
You don't know where to take them
You balance on a knife
The question here before you
How do you give away a life?
Big Virge Oct 2014
EVERYDAY ... In this country ....
They're telling us ... LIES ... !!!!!
from Thatcher ... to ... Blair ....
To ... "Good Old" ... "HESELTINE" .....
  
So let me explain ....
why i've put this in rhyme ....
  
The army's had ... SECRETS ...
THEY ... "DON'T" ... talk about ... !!!
  
So read these words ... CLOSELY ... !!!
cos' now ... it's come ... " OUT " ... !!!
  
Policies on recruitment ....
were .... "STRICTLY" .... Defined ....
Black soldiers ... WEREN'T ... Welcome ... !!!!!
on ... "WHITE" .... Army Lines ...
  
They say it's been happening ...
Since .... NINETEEN FIFTY-SEVEN !!!!!
  
But somehow ... i'm thinking ...
it's been ... "ALL THE TIME" ....
  
This to me though ... is ... COOL ... !!!
and is ... NO SURPRISE ... !!!!!
it's just .... POSITIVE PROOF ....
of the ... LIES ... they've disguised ... !!!!!
  
as a youthful ... PROUD BLACK ... !!!!!
I REMEMBER ..... THE HATRED ..... !!!
and .... Racial Attacks .... !!!
  
There was ... "NEVER" ... ANY BLACK
in the ... UNION JACK ... !!!!!
These ... UNCLE TOM ... Blacks ....
Should ... "REMEMBER" ... THAT ... !!!!
  
They like to suggest ....
Black people are ... "*****" ... !!!
  
Well, YES ... that is ... TRUE ...
  
"SOME" ... Black people ... ARE ... !!!
  
But it's ... WHITE GIRLS ... I see ....
who like ... "****" ...
Up Their ... **** ... !!!!!!
  
So ...........
for them .... to say ....
English people ... have ... " CLASS " ... !?!?!
is just ... "ONE MORE LIE" ....
and is truly .... A .... FARCE !!!!!!
  
Now this thing with ... "Armed Forces"
NOT wanting ... "us ... BLACKS" ... !!!!!
is ... "Cool with me !!!" ... but ... !!!???!!!
when ... MUSLIMS ... " ATTACK " ....
  
They'd better believe .....
They should ... COVER ...
Their Backs ... !!!!!
  
Cos' ... THE TRUTH ... is out now ...
and this ... I DO ... BACK ... !!!!
  
The Army ... SHOULD ...
...... " ETHNICALLY " ......
Cleanse OUT ... The Blacks .... !!!!!!!!!!
  
Oh they'll be ... ALRIGHT ... !!!
when their army's ... ALL WHITE ... !!!
  
So to those who hate ... ******* ...
have a read of ... The Words ...
in the ... FOLLOWING ... Verse ...
  
Go fight your own fights ... !!!!!
cos' Black people have died ....
"PROTECTING" ... YOU Whites ... !!!!!
  
who suggest that ... us ... BLACKS ....
Shouldn't have ... Civil Rights ... !!!!!!!
  
My feeling is that .....
STEPHEN LAWRENCE ... Is ... ONE ....
whose family ... "SUFFERED" ...
from an ... English Law ... CON ... !!!
  
Film footage did show ....
Those White .... HOOLIGANS .... !!!!!!
were ... READY ... to ... **** ... !!!
Any Black ... and just ... Run ...!!!...
  
But when court time came ....
They were given ... FREEDOM ... !???!
  
Well ....
To Stephen's ... DAD ...
and to ... Stephen's ... MUM ...
  
I'm writing this verse ....
cos' the way it was ... Handled ...
was ... "TOTALLY" ... " WRONG " ... !!!!!!
  
See .... The BBC showed ....
How .... Police Training ... goes !!!
  
That ... " Racists " ... get recruited ... !!!
and ... "WELCOMED" ... to the ... FOLD ... !!!!!
  
But People ... Only Know ...
cos' the ... "HIDDEN CAM" ... Showed ...
that .... RACISM'S .... hidden ....
like ... "COVETED" ... Gold ....
and that's when ... THE RACISTS ...
be acting .... ALL BOLD .... !!!!!
  
But catch them ....
on ... Their Own ...
when their ... "BNP Buddies" ...
are sitting ... AT HOME ... !!!
  
In Black Company ....
They're in ... " THE DEADZONE " ... !!!!!
  
They Quickly ... Transform ...
into .... " ALI G ... mode " .... !!!
  
"I've got LOADS of Black friends ...
so ... what's happening bro !!!???!!!"
  
Meantime we are told ....
"EQUALITY" ..... is in sight .... !!!
  
Now I ... DON'T LIKE ... using
"EXPLETIVES" .... when I write ... !!! ...
But ... i've got to say ... THIS ...
  
"That ain't ... ******* RIGHT ... !!!!!"
  
So ...  i'm fighting ...
...... RACISM ......
These Days ......
when I ... WRITE ...
  
while Police just ... DELIGHT ...
in ... beating Black Folks ....
til they're .............
  
"BLACKER than ....
  
NIGHT" .... !!!!!
  
Can this really be right ... !!!?!!!
  
These ... RACIST ... whites .... ARE ....
  
OHhhhhhh ...... Soooo ..... POLITE ... !!!
  
But ...
Don't want to ... "INVITE" ...
A time or place ....
where ... BLACK and WHITE ...
Can ... Try to... "UNITE" ......
  
But .... it's okay now ....
cos' Blacks be acting like ... Whites ....
now they're in the ... " LIMELIGHT " ...
  
Every ******* ... is ... "BLINGING" ....
with ... Custom Made ... Jewellery ...
  
"Correction" ..... ofcourse ....
that line should say .... "ICE" ....
  
See ... we ... DON'T ... Talk About....
Our .... "HUMAN" .... BLACK LICE ... !?!?!?!
  
Those ... " KILLING " ... Their Brothers ....
just for a slice ....
.... of ....
  
" Uncle Sam's Pie " ......
  
Well ....
The same rules ... apply ... !!!
  
The U.S. .... just wants them ...
to ... lay down ... and ... DIE ... !!!
  
cos' they ... Like The ... " British " ...
are just ... " FULL OF LIES " .... !!!!!
  
The UK's what ... I know ...
but this ... " LIE " .... Titled Prose ....
just goes to show .....
whether ...  HERE or THERE ....
The same **** ... flows ... !!!!!!!!!
  
From the ... LIES ... that they feed ....
to ... THOSE TRUTHS ... still ...
  
.............  "UNTOLD" ................ ???????
  
But ... NOW ... we've been told ....
  
Will Blacks ... "BREAK THE MOULD ?"
  
Well .... Probably ... NOT ... !!!?!!!
cos' ... most now ... have ... SOLD ...
Their ... TRUE SELVES ... behind ...
  
cos' now ... they're ... refined ...
and are ... STUCK ... in a Bind ...
B'cos' ... what they've ... Believed ...
Now ... leaves them ... " BEHIND " ...
  
THAT ...  Rock and Hard Place ... !!!
with visions ... " MISPLACED " ...
without .... recognizing ....
"NEW PROBLEMS" .... we face ... !!!
  
cos' ... White Moguls ... now know ...
what makes ... "*******" ... Break ... !!!
  
A Nice ..... Fancy Car .....
and .... *** .... on a plate ... !!!!!!
  
So ... YES ... Some DUMB ...
........ " ******* !!!" ..........
have ... Quickly ... got ... A.I.D.S .... !!!!!
  
cos' of ****** ... they've been ...
.......... " Bedding !!! " ..........
by their ... New ... Fireplace ... !!!
whilst telling ..... "LIES" ..... !!!
to their ..... Wives ......
  
Maaaannn .........
That ... ****'s ... A DISGRACE ... !!!!!
  
See ... this is a ... Trait ...
that now makes me ... Irate ... !!!!!
  
Some White Girls be .... "ACTING" ...
like .... "Black men are ... GREAT" ... !!!
  
But .......
"CANNOT" ..... take them ....
back to .... "Daddy's Place" ... !!!?!!!
cos' ... The Truth ...
then comes ... OUT ... !!!
  
They'd get a ... SLAP ... !!!
in their ..... FACE ..... !!!!!!!!!
  
B'cos daddy's ... Not Happy ... !!!!!
with the thought of his daughter ...
as a lamb to ... "BLACK SLAUGHTER" ....
  
cos' ... sounds that she's making ....
  
Sounds like *** ...
is ... " Pure TORTURE !!!!! "
  
and that's when his ...
  
"Lies and Untruths"
get ........ "Found Out"  ... !!!
cos' now her ... Black Boyfriend ....
gets treated like ... "GOUT" ... !!!
  
See ... These ... are the ... "LIES" ...
We ... "DON'T" ... talk about ... !!!
  
But ... This is ... "THE TRUTH" ....
  
coming out of ... My Mouth ...
or ... if you're a ... Reader ...
Yes .... Out of ... MY HANDS ...
  
Just think about this ......
and you'll ..... "OVERSTAND" ... !!!
that ... LYING .... comes easy ... to ...
..... "TRUE" ..... Englishman ... !!!
  
But .... LYING .....
...... to me .....
I now ... "OVERSTAND" ... !!!
  
It's fed ... YES ... to ... Man ...
and ... YES ... to ... Woman ...
  
to keep us from being ....
  
" UNITED " .....
  
..... as ......
  
" PEOPLE " .....
  
These things ...
  
" I BELIEVE ! " ....
  
have always been ...
  
" PLANNED "
  
cos' if people .... "UNITE" ....
The Divisions .... would ....
  
............. " DIE " .................
  
and then ...
People Like ..... "YOU" ......
and ... People Like ... " I " ...
  
could ... finally see ...
  
"THE TRUTH" ....
  
From the ...
  
.... " LIES " ....
  
Peace y'all and Recognise !!!!!
Seems like the Brits aren't the only ones, but, they do like to tell some whoppers !!!!!
Heather Apr 2014
I don't care who said crying was overrated, who gave you the ******* right to control the tear ducts of another human .

A human shows emotion through tears , laughter , smiles. The human face has 24 different emotions yet the water stains on her cheeks was never stated as one .

The stains of mascara running down her cheeks , dripping on to neck , her nose sniffling up the excess embarrassment .

I told her to stop trying to be brave , she had to embrace each feeling as it came , I saw her chest heave up and down in a rapid movement so fast I couldn't keep count.

Her mouth was open , no sound came out , she looked like a fish out of water and person screaming but no sound .

Her hands started to shake her body soon followed next I held her close put her head in between the crook of my face and neck .

I felt the water dripping down my neck to my top I never said a word , never told her to stop.

Even though I just changed my sheets that day I never told her to man up because crying is a source of speech when words are not enough .

She had so much emotion and all she could do was mutter incoherent words ,I think it was " I'm sorry" .

Sorry for what I will never know , she never once asked me to let go and I never did .

For once in her life I gave her an embrace even though she refused because if she didn't feel my comfort I'm not sure what she would do .

I did it because when I need that embrace they all refused to give it , they told me to " **** it up" " be ******* brave" , I soon  found comfort in smashing my fist against my bathroom mirror and throwing my mothers jewellery box outside in the rain .

I stopped and I jumped in the mud that had formed and that was when I promised myself , if another person needs my embrace no matter who it was , I sure as ******* hell will give it because crying alone is just no good.

It's no good that others can't see your pain , I encourage you to throw a fit and call names , call them all ******* ***** tell them how worthless they are that when you needed comfort he would rather go sit in the car .

I want you to scream , yell and shout with the tears streaming down your face , show them what expressing yourself is all about.

Darling don't ever hold your tears in , wearing mascara or not ,just always keep a tissue tucked in your sleeve, and wipe your eyes till they are raw with the courage that they need.
Harsh Mar 2013
I'm craving a man-hug tonight,
initiated by strong arms picking up my under weight body
letting me believe I'm re-enacting the lift from ***** dancing.
And as those arms hold me close
I would bury my face in his neck
where after shave meets his soft pulse and the warmth of my breath.
This hug would be so tight,
tight enough to squeeze the pain out of my soul
and be incredibly protective at the same time
beating away the nightmares of reality late at night.
A hug that draws out all the tears that should have been cried
until my eyes run dry
and start shedding all the rejection accumulated throughout this plight.
An unconditional man-hug with its ends free,
one not subjected to a **** in my mouth
a cigarette
*****
a cigarette
couple of poems
insomnia
and a cold bed.
I crave for a man-hug that will liberate me
from the pathetic standards I've set for myself,
of how I should be treated before handing a piece of me in exchange.
One that would numb the little voice in my head
which goes on and on
about self-deprecating *******
bundling together all the mistakes made over the years
and spanking my self-confidence
until it dresses up in a short skirt and high heels
and runs into the arms of a narcissist *****.
A man-hug to step in and save the day
when loneliness breaks in,
and murders empowerment, independence and positivity in their sleep,
then opens the door to insecurity and fear,
who robs all hope,
leaving behind intolerable darkness.
I crave for a man-hug that follows through to the end
with stability and consistency,
like mom's cooking or my best friend,
or daddy's instant reaction to defend.
One that's tangible and attainable
without twirling my fingers around forgotten jewellery,
phone messages
or a drunk memory
just to remind myself what it felt like,
but only to be reminded that it can never be felt again.
Though I'm craving a man-hug tonight
I will have no luck.
Because anything with "man" in front of it,
will always just be a ****.
This poem is the sole property of me and cannot be copied or used without permission. [Copyright G.H. Rodrigo 04/03/2013]
I sit in front of my dressers mirror,
Stare at the plain adequate girl staring back at me,
Is she enough?
Can she walk out this door and hold her head up high?

No.

And so I pull,
And tweak
And brush
And dry,

I look at the girl in the mirror again,
Her hair is done up,
Pretty and well kept,
But dead dry and limp because of damage,
And I can’t help but think it represents my inner self,

Though dead,
I look substantially better,
But is she enough?
This girl staring back at me?
Can she hold her head up high with the confidence of knowing what she wants?

No.

And so I apply base,
Concealer,
Try to fix my uneven complexion and blemishes,
Eye shadow,
Then eye liner,
Mascara,
Lipstick….

And again I stop to look at the girl,
She looks like women now,
As every feature is defined and highlighted,
Her complexion even,
Blemish free…

But is it enough,
This women staring back at me,
As the make up smudges and rubs off,
She’ll become the drab adequate girl underneath it all,

I can put on beautiful clothes,
Amazing jewellery,
But I remain the plain adequate girl that stares back at me,

With her sad eyes,
Set jaw,
Lips that barely ever quirk upwards with a hint of a smile,
That girl who’s cried so many eyeliner smudging tears,
That girl who fears,
Everything,
Everyone,

No matter how much I do,
To hide her away,
Keep her from the world,
No matter how many layers of,
‘Happy’,
I try to mask her with,

She will come out,
As my clothes grow rumpled,
My jewellery loses its shine,
Its glow,
As my hair turns grey,
My make up smudges,
I become her again,

And is she enough?

I stare at her long and hard,
I notice the high cheekbones,
The strong set features,
I realize this girl is only adequate,
Because she believes it,
Only plain because it’s all she’s ever been convinced to see,

With all her wear and tear,
She is beautiful.
And so I grab my make up remover,
Wipe away the mask suffocating me,
I shake my hair out to its full volume,
I remove the jewellery that’s cold against my warmth,

And I look at this plain adequate girl,
Not so plain and adequate anymore,
And I ask myself,
Is she enough?
Enough to face the world proudly as whom and what she is?
Is she?

Those sad eyes stare back at me with a new found spark,
Those set lips quirk up into a hint of a sly smile,
And she winks at me.

Yes.
Big Virge Nov 2016
People are ... Funny ... !?!

They Now ... make me laugh ...

You talk ...
They DON'T ... listen ... !?!

MP's ... keep restricting ...

IGNORANCE ... in people ...
has now become ... SICKENING ... !!!!!

Kinda gets me to ... " Thinking " .....................

What a ... CRAZY WORLD ... !!!!!!

Girls ... Loving girls ...
Men ... Killing men ... !!!
Abuse of our children ...
by some who ... Teach them ... ???

But ......
What about those ... ?
with ... Abusive children ... ?!?

Those who ... Don't Care ...
about those ... who ... Made Them ... !!!

Adults are now ...
being chased by ... Children ... ?!?

Teenagers ........

RAGE ... !!!!!!!

Their acts of ... Aggression ...
are now ... OFF THE GAUGE ... !!!!!

Words on ... This Page ...
are my feelings ... Today ...

What more can I say ... ?

I write things ... This Way ...
to avoid seeing life
behind bars ... in a cage ...

Seems like ...
... " End of Days " ...
is Not ... far away ... !!!

But Many ... DON'T LIKE ...
The things that I say ...

because .....
Things that I say ...

Reflect on ........................................

What's TRUE ... !!!!!

But Many think wrongness ...
is just .... TV News ....

But ....
" Some of it's " ..... True .......
and can happen to ... YOU ... !!!

So ....
What would you do ... ?
if ... Sadness and Misery ...
Tainted ... your view ... !?!

Probably ........

LOSE YOUR COOL ... !!!!!!!

Be an *** ...
or it's ... Mule ...
Give in ... to clues ...
that you ... HAVEN'T BEEN ... true ... !!!

True about ... " Things " ...
that ... Luxury brings ...

Like ... " Flash Golden Rings " ... !!!
or ... Diamonds that ... BLING ... !!!!!

Well ...
Here's the ... " Dilemma " ... ???

Life is for ... LIVING ...
but now we see ... KILLING ...
for ... Mobiles that ... " Ring " ... ?!?
or Jewellery that ... BLINGS ... !!!?!!!

So ....
What will you choose ... ?
to think you're a ... KING ... ?

cos' of ...
Your .... Diamond Ring .... ?

and .... wait for the ... KILLER ...
to come with ... " The Sting " ... !?!

Oh now ...
Just for you ladies ...
Let's ... " Rework " ... the scene ...

You've got to ... Realise ....
Luxury's ... for a ... " Queen " ...

But .....
to those who ... Don't have them ...
Your Bling ... is ... OBSCENE ... !!!!!!!!

Then YOU ...
like the ... Fellas' ...

Might find that ... " Your Dream " ...
is SHATTERED ... One Night ...
by a ... RUTHLESS ... " Street Team " ... !!!

I'm CHANGING ... like seasons ...
because of ... " These Reasons " ...
cos' actions ... some make ...
are Equal to ... TREASON ... !!!!!!!!

I REALLY ... am Dark ...
like that man ... Liam Neeson ...

This life has ... MORE MEANING ... !!!
than ... " Custom Made " ... Jewellery ... !!!

Like Bruce ...
when i'm writing ....
My fists ... bring the ... " FURY " ... !!!!!

cos people act ... CRAZY ... !!!!!
Their outlook seems ... " Hazy " ...

to make themselves money ....
Their Slim's ... REALLY SHADY ... !!!!!

Do you ...
Trust your lady ... ???

to bring up ... " Your Baby " ...
When Coc' ... is ... " The Drug " ...
she likes to take .... DAILY .... !!! ? !!!

Well ..........
Maybe just ... " Maybe " ... ???

If you see ... what I see ...
when you ... look around you ...

You may just agree ...
with ... A Brother ... like me ...

The world we now live in  ...
is TRULY ....

..... " CRAZY " .....
Well, now Mr. Trump's been elected, Americans, in many cases, are acting CRAZY, following Brexit', and whatever else is coming next, we are in some pretty crazy times........
She worked in the market
She sold flowers and jewellery
but, nobody there knew her name

With fifty young vendors
Of flowers and jewellery
Each teenaged young girl looked the same

No one remembered the smiling blue eyes
The child like lilt to her voice
No one remembered the smiling blue  eyes
Or the way that she blushed for the boys
No one remembered the smiling blue eyes
They all could be one and the same
No one remembered the smiling blue  eyes
or her hair, or her smile or her name

She was hitch hiking home
From the market one night
A car pulled on up for a ride

He told her he'd take her
If she needed a lift
It was cold,  so the girl  got inside

No one remembered the smiling blue eyes
The child like lilt to her voice
No one remembered the smiling blue  eyes
Or the way that she blushed for the boys
No one remembered the smiling blue eyes
They all could be one and the same
No one remembered the smiling blue  eyes
or her hair, or her smile or her name


No one has seen her
She's been gone for three days
She never arrived at her home

Nobody saw him
All cars look the same
And besides he was travelling alone

No one remembered the smiling blue eyes
The child like lilt to her voice
No one remembered the smiling blue  eyes
Or the way that she blushed for the boys
No one remembered the smiling blue eyes
They all could be one and the same
No one remembered the smiling blue  eyes
or her hair, or her smile or her name


The market still bustles
With sellers of flowers
Where everyone looks, shops or buys

But, something is missing
A young girl is gone
The girl with the smiling blue eyes

No one remembered the smiling blue eyes
The child like lilt to her voice
No one remembered the smiling blue  eyes
Or the way that she blushed for the boys
No one remembered the smiling blue eyes
They all could be one and the same
No one remembered the smiling blue  eyes
or her hair, or her smile or her name
Jamie F Nugent Mar 2016
That's not an anklet,
It's a ball and chain,
It might look pretty,
But it has you trapped.

The longer you wear it,
The deeper the scar,
The darker the bruise,
Just remember, in your hand,
You have the key.

It's never too late to get out.

-Jamie F. Nugent.
Nigel Morgan Nov 2012
(with poems from the Chinese translated by Arthur Waley)

My bed is so empty that I keep on waking up.
As the cold increases, the night-wind begins to blow.
It rustles the curtains, making a noise like the sea:
Oh that those were waves which could carry me back to you!

Suddenly she was awake. She could feel a cool breeze on the cheek that wasn’t warm on her pillow. She could smell the damp fields, the waterlogged moorland and the aftermath of recent rain. The action of rain on wood or stone seemed to release particular vapours wholly the province of the night in a small town. There was also the not entirely welcome residue of the past evening’s cooking from the kitchen below. But such sensory thoughts were overwhelmed by the rush of conversation clips; these from a day of non-stop voices that had invaded and now occupied her consciousness. She had listened furiously all day, often fashioning questions as the listening proceeded, keeping it all going, being friendly and wise and sensible and knowing. She could hear her tone of voice, her very articulation in the playback of her memory. It was so difficult sometimes to find the right tone, that inflection suitable to different aspects of ‘talk’. She didn’t want to appear pompous or too serious. That would never do. The thing was to be light, but intelligently light so her colleagues would say to one another – ‘Helen is a treasure you know: brilliant person to have on the team. You can always rely on her. ’ She knew she was often anxious for approval, for a right recognition of her efforts, to be thought well of. ‘Doesn’t everybody?’ she thought wistfully.

There was a momentary flurry of what Helen often dreaded when she found herself awake at night – yesterday’s embarrassing moments. These invariably began with ‘Am I wearing the right clothes?’ It was Caroline’s jacket that came to mind first. That mix of informal but simply smart that can only be bought with serious time and a clear conscience with the credit card. Her favourite blue affair (mail order) with big pockets and the slight pattern on the hem suddenly seemed very ‘last year’. Anna had chosen all-over black, loose trousers with a draw string, no jewellery, but flashy sandals and make up. She’d painted her toenails green. Helen did make up – a little, but not to travel in. She knew she had the right shoes for a long day. Then, those first conversations with Paul, who she’d never talked to outside a meeting before. ‘Keep it light, Helen’, she’d say, ‘Don’t say too much – but then don’t say too little.’ She had found herself – her independent womanly self, speaking with an edgy tone she didn’t always feel happy about. As she spoke to Paul about the coming evening’s football – he’d brought it up for goodness sake – she found herself being funny about the inconsequence of it all, then remembering the passion with which people she knew and loved followed the intricacies of this sport. She saved an own goal with some comment about the game’s social significance she’d picked up off some radio interview.

As the long journey had proceeded she’d been able occasionally (thankfully sometimes) to fall into observation-only mode. There was this sorting of images into significant, memorable, able to forget about, of no consequence at all. She’d been caught by the strange geometry of yellow cones that seemed stitched onto the rain-glistening road surface. There had been a buzzard she’d glimpsed for a moment, a reflection of Sally in the window next to her seat, that mother and her new born in the Ladies at the services, the tunnels of dripping greenery as the coach left the motorway for the winding minor roads, then the view of a grey tor on distant moorland followed instantly by the thought of walking there with her sketchbook, her camera and his loving company, with his admiring smile as he watched her move ahead of him on the path; she knew that behind her he was collecting her every movement to playback in his loneliness when they were apart.

Oh how she wished for his dear presence in this large half-cold bed, as the dark of night was being groped by dawn’s grey. There and there, and now the pre-dawn calls of local birds before that first real chorus of the dawn-proper began. She thought of them both on their last visit to this ancient countryside, being newly intimate, being breath-takingly loving, warm together for a whole night, a whole day, a whole night, a whole day . . . the movies in her mind rolled out scenes of the gardens they’d visited, the opening they’d attended, all that being together, holding hands, sitting close together, sitting across from each other at restaurant tables (knees touching), always quietly talking, always catching each other’s glances with smiles, and his gentle kisses and slight touches of the hand on the arm. She began to feel warm, warm and loved.

As she was drifting back into a shallow sleep she remembered his voice recite (in the Rose Walk at Hestercombe) that poem from the Chinese he loved . .

Who says
That it’s by my desire,
This separation, this living so far from you?
My dress still smells of the lavender you gave:
My hand still holds the letter you sent.
Round my waist I wear a double sash:
I dream that it binds us both with a same-heart knot.
Did you not know that people hide their love,
Like a flower that seems to precious to be picked?
Two poems from the Chinese quoted here are taken from Arthur Waley's translation of One Hundred and Seventy Chinese Poems published in 1918.
The shopping channel calls to me
It wakes me up at night
To sell me things I do not need
Nor would buy, if I was right
But apparently, there's something wrong
My brain should be re-wired
I only purchase things on here
When I am really over-tired
I have a room specifically
For things bought on TV
I've ginsu knives and shredding blades
And juicers!!!...ninety three!!
For some reason the kitchen things
Just seem to catch my eye
Especially at three a.m.
That's the time I need to buy
I've magic bullets by the score
Processors,  I don't need
But, if I ever put them all to use...
An army I could feed
I've got socks for diabetics
Things to make your ******* stand out
I've got exercise machines galore
I've got three things that help gout!
My credit card's at the limit
I know the numbers off by heart
The post man knows me by my name
I even have my own **** cart
To deliver all my purchases
They just load it and deliver
It almost comes here by itself
It's enough to make one shiver
I don't know how it started
I think the countdown clock...ah, yes
I thought it meant the game was ending
I phoned in and bought a dress!!!
I've got jewellery by Joan Rivers
George Foreman grills...they fill my den
I've got perfumes for the women
And lots of things that make you men!
My wife cannot contain me
She's sent me off to get some aid
But, if they sell it on the telly
I'll buy it sure as getting laid
I've bedazzled all my clothing
I eat dried fruit and jerky too
I get Christmas cards from Ronco
I'm a shopping ****** through and through
Each month we have a garage sale
I sell off some of what I've bought
But, then I go and buy it back again
Without a second thought
My friends have all but left me
I rarely go out of the house
I just sit here and go shopping
I don't even see my spouse
Set it and Forget it
That's a phrase I love to say
But wait, there's more...is another one
That helps me through the day
I used the last one on my wife
One night while having ***
She told me "Set it and Forget It"
I'm off to dreamland Tex!!
My shopping's an addiction
One I hope to beat some day
But now, the operator says...
I have to get my card and pay!
Nigel Morgan Oct 2012
It was a cold night for a concert. There was frost on the windscreen as we got into the car for the short drive to this city church. We drove because we were going to be late, and it was cold, and would be likely to be colder still when the concert was over. I had wondered if part one would be enough. Could Bach and Rameau be enough? Might the musical appetite cope with Mozart and Beethoven too? Were we about to sit down to a large meal, possibly in the wrong order. Can the cheese course be a transcendental experience I wondered? Bach to begin certainly, a substantial starter with one of the mid period keyboard toccatas and two ‘distant’ preludes and fugues, but then a keyboard suite by Rameau?
 
When I listen to Beethoven though I want to hear a work on its own, unencumbered round about with other musics.  A recent experience of several hours driving to hear a single Beethoven symphony has remained close and vivid, and an experience that brought me close to tears. So I imagine that I might only hear Op.110 to make that opening sequence of chords so ominously special. The introduction seems to come from nowhere and does not connect with musical past, except perhaps the composer’s own past. It is as though the pianist puts on a pair of gloves imbued with the spirit of the composer, and these chords appear . . . and what is there that might possibly prepare the listener for the journey that pianist and listener embark upon?  Certainly not the soufflé of Mozart’s K.332.
 
The audience is hardly a smattering of coats, hats and grey hair. There is another piano recital in town tonight and this is but the artist’s preview of a forthcoming concert at a major venue. Our pianist is equipping herself for a prestigious engagement and sensibly recognizes the need to test out the way the programme flows in front of an audience, and in a provincial church where she is not entirely unknown. I admire this resolve and wonder a little at the long-term planning which makes this possible and viable.
 
Now a figure in black walks out from the shadows to stand by her piano. Coming from stage right she places left her hand firmly on the mirror-black case above the keyboard. She looks at her audience briefly, and makes a bow, almost a curtsey, an obeisance to her audience and possibly to those distant spirits who guard the music she is to play. We will not see her face again until the next time she will stand at the piano to acknowledge our applause after the Bach she is about to play. Her slightly more than shoulder-length hair is cut to flow forward as she holds herself to play; her face is often hidden from us, her expression curiously blank. Perhaps she has prepared herself to enter a deep state of concentration that admits no recognition of those sitting just in front of her. Her dress is long and black with a few sparking threads to catch the careful lighting. Without these occasional glimmers her ****** movement would be unnoticeable. As it is the way the light is caught is subtle and quietly playful, though not enough to distract, only remind us that though in black she is wearing the kind of starry sky such as you might perceive in crepuscular time.
 
Thus, we already sense so much before she has played a note there is a firm slightly dogged confidence and reverence here in her approach to instrument and audience. And in the opening bars of the Bach toccata that is manifest; and not just a confidence born out of some strategy against nervousness, but a ritual of welcoming to this music that now spills out into the partially darkened church. The sonorousness and balance of the piano’s tone surprises. It is not a fine piano, but it has qualities that she seems to understand. There is a degree of attentive listening to herself that enables her to control dynamics and act resolutely on the structure of the music. When the slow section of this four-part toccata appears there is a studied gentleness and restraint that belies any ****** led gesture or manner. Her stance and deliberation at the keyboard remain determined and in control, unaltered by the music’s message. She does not pull her body backwards as seems the custom with so many who feel they have to show us they are stroking and coaxing such gentleness and restraint out of the keyboard.
 
As the final fugato of the toccata flows at almost twice the speed I’ve ever heard it, my concentration begins to disengage. It is too fast for me to follow the voices, I miss the entries, and the smudged resonance of the texture hides those details I have grown over so many years to know and love. This is Glen Gould on speed, not the toccata that resides in my musical memory. I am aware of missing so much and my attention floats away into the sound of it all. It seems to be all sound and not the play of music.
 
In this stage of disengagement I sense the tense quality of her right leg pedalling with the tip of a reddish shoe just visible, deft, tiny flicks of movement. She turns her face away from the keyboard frequently, looking away from the keyboard through the choir to the high altar; and for a moment we see her upturned face, a blank face, possibly with little or no make up, no jewellery. A plain young woman, mid to late thirties perhaps, and not a face marked by children or a busy teaching life, but a face focused on knowing this music to a point at which there is almost a detachment, where it becomes independent of her control, flowing momentarily beyond herself.
 
Then she reins the toccata in, reoccupies it; she is seeking closure for herself and for her audience whose attention for a short while has been, as the Quakers say, gathered. Gathered into a degree of silence, when breathing and the body’s sense and presence of itself disappear, momentarily, and musical listening moves from a clock time to a virtual time. There is a slowing down, an opening out, even though in reality’s metronomic time-field there is none.
 
There is a hesitation. With more Bach to follow, should we applaud? With relief after holding the flight of time’s arrow in our consciousness, just for those concluding minutes and seconds we acknowledge and applaud - the beginning of the concert.
It was early nineteen thirty four
The world was set to change
Europe was on fire
It was time to rearrange

Poland was the first stop
The German Army on the move
So we left for America
I hope you did approve

You came with me to Jersey
On a trip across the sea
You've guarded all my secrets
Known by only you and me

You used to spin quite gaily
Now you just stand there en pointe
You're my clipped wing little angel
That's the name I shall anoint

Thumbelina, Ballerina
Dance your dance for me
We've been together eighty years
You are who I want to be
Thumbelina, Ballerina
Just one more pirouette
We've been together all this time
Our dancing's not done yet

I sit here and remember
All the treasures you once hid
You've still some trinkets in there
Some from when I was a kid

Your tu tu is all tattered
The silk lining frayed and torn
But, you've held together nicely
But, I guess we're both quite worn

Your lipstick isn't red now
I hear your music in my head
It hasn't played for 50 years
I just remember it instead

The music gave up playing
You were slightly over wound
But, you still twirled and kept dancing
Even though there was no sound

Thumbelina, Ballerina
Dance your dance for me
We've been together eighty years
You are who I want to be
Thumbelina, Ballerina
Just one more pirouette
We've been together all this time
Our dancing's not done yet

I've told you more than anyone
Than I have ever known
We've been together now forever
You're the most precious thing I own

You've been with me for two husbands
And you've seen my kids pass on
There's just me and you,  my dancing girl
All the rest of them are gone

Your paint is chipped and cracked
Your pony tail is broken too
If I still can recollect now
In the fall of fifty two

Your spring is rusted tightly
You need a hand to stand up right
But, then again, I do as well
And most days it's quite the fight

Thumbelina, Ballerina
Dance your dance for me
We've been together eighty years
You are who I want to be
Thumbelina, Ballerina
Just one more pirouette
We've been together all this time
Our dancing's not done yet


Charms and little trinkets
Plastic jewellery, real as well
Secrets of a child
Secrets you would never tell

I am now moving to December
Of my calendar of years
Soon my life will end and
There's no one left to shed  me tears

I sit here and I wonder
What shall become of you
My Thumbelina Ballerina
In your dancing dress of blue

You started as a music box
You are not used as that no more
But, Thumbelina Ballerina
Will you dance for me once more?

Thumbelina, Ballerina
Dance your dance for me
We've been together eighty years
You are who I want to be
Thumbelina, Ballerina
Just one more pirouette
We've been together all this time
Our dancing's not done yet
Donall Dempsey Aug 2017
TELL TALE TALK

Shark's tooth
draws blood

( even though long dead )

a startled red
against the sharp whiteness

lost in a bric-a-brac
box of shells & things.

"Gotcha!"
grins the dead

shark's set of
choppers.

Baby shark
but a shark nonetheless.

I drip a trail
of red

across the Charity
shop

snap up
a tattered HUNTING OF THE SNARK

a battered
AT SWIM TWO BIRDS.

Here
a broken ballerina

on a jewellery box
( minus her music )

there
( I stop dead )

a used
soul

bruised
badly used

Godless
without guile

my fingertip traces my initials
on its dust

tarnished
without hope

immortal and unnoticed
amongst shark's teeth & shells.

I get
a SNARK & TWO BIRDS

for a pound
a piece.

The shark's grin
for a pound again.

"What do you want
for this old thing?"

I nonchalantly
ask

setting the soul
with great care

within the cage
of teeth

perched atop
the books.

"Being dying
to get rid

of that
for ages."

"It just sits there
staring at me!"

"Scares the life
outta me

to tell you
the truth

even though I don't know
what the hell it is!"

"Give us 42p for it
& we'll call it quits!"

I buy back
the soul

( my soul )

I had given away
with some old shirts and shoes

things I thought
I wouldn't ever be needing

. . .again.

But seeing it
discarded amongst shark's teeth & shells

I thought
twice about it.

Maybe
( perhaps )

I can use
it

for a paperweight.

Or a doorstop.

Sedulous

PRONUNCIATION:
(SEJ-uh-luhs)

MEANING:
adjec­tive: Involving great care, effort, and persistence.
ETYMOLOGY:
From Latin se (without) + dolus (trickery, guile). Ultimately from the Indo-European root del- (to count or recount) that is also the source of tell, tale, talk, Aug 9, 2010
A THOUGHT FOR TODAY:

Poetry is the art of saying what you mean but disguising it. -Diane Wakoski, poet (b. 1937) and Dutch taal (speech, language).
USAGE:
"Elizabeth Bishop was sedulous, pernickety, quietly determined; she would work on poems for years."Elizabeth Bishop and Robert Lowell; The Economist (London, UK); Nov 20, 2008.
A THOUGHT FOR TODAY:
<strong><strong><strong><strong><strong><strong><strong><strong><strong><strong><strong><strong><strong><strong><strong><strong><strong><strong><strong><strong><strong><strong><p>A beautiful thing is never perfect. -Egyptian proverb</p></strong></strong></strong></strong></strong></strong></strong></strong></strong></strong></strong></strong></strong></strong></strong></strong></strong></strong></strong></strong></strong></strong>
Nigel Morgan Apr 2013
after the painting by Mary Fedden

I kept seeing her around and about, but mostly on the beach. This is a small community and after five years or so I know who everyone is, except those who visit in the summer, though I am getting to know some of the regulars. I reckon she’s my age. When she looks at me in the store, and I look at her and smile, her smile tells me these things.

I have trouble with my hair. It’s thinned and doesn’t grow quite as it should. When I was pregnant and then nursing my children it was positively luxuriant. But later, and despite medical advice (and treatment I was unsure about and abandoned) it became an embarrassment, until he reassured me (just once) and I became an ‘adored woman’. He never ever spoke of it again and loved me so wholly and beautifully I had no reason for it to matter in his company, in his arms.

But seeing her, and often on the beach, more and more regularly, seeing her with her mane of strong dark brown hair flowing behind her in the wind, I felt a curious desire for such a wealth of hair. In fact, I began to feel something stir in me that was desire of a different kind. I can’t think I had ever looked at a woman in quite that way in any previous life. It was always men I sought, I wanted.

Her name is Sara, no h, just an A at the end. She said that when I eventually introduced myself. We were walking towards each other, barefoot both on that glistening skin of water the sea creates between the tides coming and going. It was about midday and I was, I was thinking and walking. I do this now. I don’t bring my sketchbook, I don’t look everywhere I can and more so, I have begun to retreat into my most private self. Perhaps it’s my age and so many years of feeling I had to be wholly attentive and active. Being in this remote place, almost permanently, has slowed me down, and I have begun to dream, to see beyond what I usually would have seen moment to moment. I’ve been re-reading the prose and poetry of Kathleen Raine, who understood this sea-swept place and was haunted by its ghosts, and who dreamed.

Never, never, again
This moment, never
These slow ripples
Across smooth water,
Never again these
Clouds white and grey
In sky crystalline
Blue as the tern’s cry
Shrill in the light air
Salt from the ocean,
Sweet from flowers

Oh yes,  
‘the sun that rose this morning from the sea will never return . . .’* I have become a watcher, no longer an observer. I put my camera away last winter and now hold moments in my memory. Here I can sketch. I can have all the time I need, and more. And I knew when I began to talk to Sara I wanted beyond anything else to sketch her, to know her line by line with the pen, and later bring the texture of her into paint.

Painting is where I am now. It’s direct, mesmeric, challenging, wholly absorbing. My needles and thread only deal with our clothes, my clever printing and collaging lies dormant in my studio, a studio I rarely enter now. I have a room upstairs in the loft that is all light and sky. There’s just an easel, a table, a chair, a small bookcase, a trolley-thing of paints and brushes. Even that’s too much. I always collected things around me. I brought so much in from outside and now I’m trying, trying to have as little as possible. This is where I will paint Sara. I’m already thinking this as we take the first tentative steps towards knowing one another. Names, where we live, (we both know). Partners, family, children? I have all this, but not here, only my companion, my love who caresses me with such care and attention. There are my cats and my hens. She has no one, or rather she talks of no one. She asks the questions and avoids giving answers. She just nods and doesn’t answer. Otherwise, she’s a straight yes / no person. She doesn’t feel she has to qualify anything.

We’re standing together. We’re intent on looking at each other. Words seem a little unnecessary because what we both want to do is look. ‘I can tell you paint’, she says, ‘It’s your finger nails’. My perfect nails and the pads of my fingers hold the evidence of a morning at my easel. ‘I have seen your work’, she says, ‘One could hardly not. You’re well known beyond these shores.’ I feel myself blushing slightly. I thought blushing had stopped with the menopause, not that it troubled me much, the menopause that is. Blushing though was a torturous part of my adolescence, but let’s not go into that.

‘Your husband,’ she says, ‘he’s up very early. I see him sometimes here, on the beach.’
‘Do you get up at five?’ I am surprised. My husband gets up before five.
‘Sleep is difficult sometimes. I walk a lot. I need to be out, and walk.’

Her face, her head is larger than mine. She is a larger woman altogether, bigger *****, long-legged, but with youthful ******* that seem taut and well-rounded under her brown frock, no, her brown dress. I only think frock because that’s what he says – ‘I love that frock.’ And he means usually whatever I am wearing now that’s old and rich in memories of his hands knowing me through a dress, sorry a frock, which remains for me (and possibly for him) the most sensuous of sensations, still. Au nature has its place, and I love the rub of his skin and body hair. But when we are lovers, and we are still lovers and usually when travelling, in hotel rooms or borrowed cottages, or visiting friends and dare I say it, staying with our various children. Last autumn in Venice, in this large, amazing marble-tiled room, with this huge bed, he undressed me in front of a window opening onto our own terrace, and I was beside myself with passion, desire, oh all those wonderful things. And for months afterwards I would return to that early evening, remembering the lights coming on all over the watered city as he kissed and stroked and brushed my body through my Gudrun Sjödén frock. I would replay, find again over and over, those exquisite moments of such joyful touching as he then undressed me, and with such care and tenderness I felt myself crying out. Well, he says I did. In one of his poems (for your eyes only, he had whispered) he admits to his own celebration of those moments again, again.

Sara’s dress is calf-length. There’s nothing else. As the breeze wraps itself around the loose-fitting brown cotton her naked figure is revealed inside itself. No ring, no jewellery, nothing to hold her hair now flowing behind her. She has positioned herself so it does; flow out behind her. This is so strange. Am I dreaming this? We have become silent and together look in silence at the sea. I can hear her short breathes. She turns to me with a smile and looks straight into my eyes – and says nothing – and then walks backward a few steps – still with her warm smile – turns and walks away.

I tell him I met Sara today and ask if he sees her on the beach in the early mornings. Yes, he has, in the distance, mostly. He has said good morning to her on a few occasions, but she has smiled and said nothing. Five o’clock is far too early to say anything, he says. She swims occasionally. I keep my distance, he says with a grin.

I tell him I would like to paint her. I should, he says, You should go and ask her, do it, get it done and out of your system. It’s time you stopped being afraid of the face, the portrait, the figurative. I’d give so much to have been able to paint you, he says ruefully, my darling, my dearest. And he strokes my arm, kisses my cheek, then, he slowly and carefully kneels down beside my chair, places his arm across the top of my thighs so when I bend to kiss him his bare forearm touches the edge of my *******. He puts his head in my lap, and I caress his ears, his quite white hair.

Sara’s door is open. She’s living in Ralph’s cottage, a summer-let habitable (just) in the nearly autumn time it is. I call, ‘Sara, it’s me’, thinking she’ll recognize my voice, not wishing to say my name. She appears at the door. ‘I have the kettle on, she says, ‘I had a feeling you might be by.’ Her accent is, like mine, un-regional, carefully articulated, a Welsh tinge perhaps. There’s an uplift and a slowness in some of the vowels. ‘You will come in’, she says, more a statement than a question. It’s rather dark inside. There’s a reading lamp on, but she has the chair, her chair, close by the window. There are letters being written. There are books. Not Ralph’s, but what she has brought with her. Normally, I would be hopelessly inquisitive, but I can’t stop myself looking at her, wondering even now, in these first few moments in this dark room, how I will position her to paint her form, her face, her nature. What will I paint? I look at her still-bare feet, her large hands.

And so, with mugs of tea, Indian tea I don’t drink, but here, as her guest I do, but without milk, we sit, I on the only other chair (from the kitchen) she on the floor. And she watches me look about, and look at her.

‘I’m rather done with talking, with polite conversation. That’s why I’m here to be done with all that for a while.’
‘I came to ask you to sit for me. To let me draw you, paint you even. You can be completely quiet. I won’t say a word. I’ve never, ever asked anyone to sit for me. I’m not that sort of painter. But when I saw you on the beach it was the first thing that came into my head.’
‘I should be flattered. Though I have sat for artists before, when I was a little younger,’ surprisingly she mentions two names I know, both women. ‘I know how to be still. But, those are days in a different life.’
‘I only want to paint you in the life you have now.’ And I realise then that what I want to paint was Sara’s ‘aloneness’. I think then I have never been truly alone since he came into my life and took any loneliness I had from me. Whenever we are apart, and still there are times, he writes to me the tenderest letters, the most touching poems, he quotes his Chinese favourites down the telephone. We always, always speak to each other before bed, even when we are on different continents and time-zones. He told me I was always his last thought before sleep. And I wonder if I would be his last thought . . .

‘Do you want to do this formally?, said Sara.
‘I don’t know. Yet. I’d like to draw you first, be with you for a little while, perhaps to walk. A little while at a time. Whatever might suit you.’
‘Would you pay me? I have little money. It would be useful.’
‘Of course’, I say this directly, having no idea about what one pays a model. He will know though. He knew Paula Rego and didn’t she have a female model? I think of those large full-length figures rendered in pastels. Her model’s name was Lila, who for more than 25 years, had sat for her, stood for her, crouched for her, hour after hour and day after day. I remember a newspaper piece that went something like this: since 1985 Lila has helped to give life, in paint, and pastel, and charcoal, to the characters in Paula Rego's head. Lila was all Paula Rego’s women.

‘Sara’, I said, ‘help me please. It’s taken more than a little courage to come to see you, to ask you. My husband says I should do this, finally get myself painting the person, the face, body, not as some exercise in a life class, but the real thing.’
‘Of course’, she says, ‘Let’s go and walk to the point.’

And we did. Not saying very much at all, but I suppose I did. She made me talk and gradually I laid my life out in front of her, and not the life she would have found in those glossy monographs and catalogue introductions, and God forbid, not in those media features and interviews that I suppose have made me a name I’d always dreamed of becoming, and now could do without.

‘I suppose you have a studio’, she said suddenly, ‘Is that where you’d want me to come?’
‘Yes, I have a studio. No, I don’t think I want you to come there. Not at first anyway.’ I was floundering. ‘ I’d like to draw you, paint you possibly on the beach, where we met, so there would be sea and sky and breeze blowing your hair.’
‘And a steamer out on the horizon belching smoke from its funnel and the sea blowing white horses and dancing about. I’d be right by the seastrand with waves and spray and foam, and under a greyish sky. Not a sunny day. A breezy day. In my brown dress, sitting on the sand by the tide marks, looking out to sea, looking at the steamer away in the distance, sitting with my left hand behind me holding myself up, and the shape of my legs akimbo bent slightly under my brown dress. How would that be?’
‘Perfect’, I said.

And it was.
judy smith Apr 2015
With designers like Iman Ahmed, HSY and Sania Maskatiya all showing, it was standing-room only at the venue. Many of the crowd of fashion insiders and socialites ended up sharing seats, with the chivalrous Zaheer Abbas giving his seat to Iman Ahmed after her show and sitting on the floor himself. So much for designer egos!

It was an evening that lived up to its billing.

Iman Ahmed may not be a designer who makes her clothing easily available, but in fashion terms she reaches heights that few other designers can reach. Her “Sartorial Philology and the New Nomad collection” was breathtaking.

The best fashion shows have a narrative — the clothes, styling, music and progression of the outfits blend seamlessly into a whole that portrays the designer’s artistic vision.

It’s hard not to gush about Iman Ahmed’s show last night because it was exactly what a fashion show should be.

Starting with a series of outfits in white and gradually adding tribal colours, Iman used fringing, embroidery and a range of fabrics to great effect. From the inspired detailing to the juxtaposition of texture and silhouette, this was a class act. The tribal white-dotted makeup and beaten silver accessories added further depth to Iman’s stunning layered ensembles.

Levi’s uninspired showing of their new 501 jeans and other stock provided the audience with a pause to process the previous collection. It’s difficult to make a interesting fashion week presentation out of high street wear and something that Levis struggles with.

They used better music than they did at their autumn show but the styling was still painfully lacking. They did manage to make everyone sit up and take notice at the end of their show though — Wasim Akram walked the ramp as their showstopper amid cheers from the admiring audience.

Somal Halepoto was next, with collection that looked distinctly amateur. She seemed to be aiming for a bright kitschy collection but ended up looking merely tacky. The shiny, synthetic-looking fabrics and gaudy embroidery were particularly woeful. Somal’s digital neon animal prints and some of the harem pants were funky but the rest of the collection had little to recommended it.

YBQ’s LalShah collection, meanwhile, was in a different league. An ode to 3 Sufi Sindhi saints, the collection was as much about the artistic impression it made on the ramp as it was about the clothes. The distinctly theatrical presentation relied on the slow beat of sufi music and plentiful accessories for much of its impact.

YBQ sent his models down the ramp in huge pagris, holding flags on poles and garlanded with prayer beads. He used only three colours - red depicting rage, white for peace and black for mourning. Most of the outfits were draped red jersey tunics or gowns with white lowers, braided belts and black turbans.

Rubya Chaudry wore a black gown with red roses but otherwise the outfits were all about subtle plays with drapery and cut. From jodhpur style chooridarsto asymmetrical draping, the outfits had interesting touches but needed all that heavy styling to make an impact. HSY was YBQ’s showstopper and added glamour to the theatrical presentation that he had choreographed.

Wardha Saleem was first up after the break and her Lotus Song collection showed how this talented young designer has been upping her game over recent years.

She used digital flamingo prints, 3D embroidery, gota embroidery and lasercutting in a pretty formal fusion collection. The detailing on the collection was simply stunning. Wardha used gota in delicate patterns that gave her outfits shimmer and paired this with three dimensional embroidery. The outfits featured flowers, fish, elephants and birds picked out in silk thread and beads.

She showed a variety of shift dresses, jackets, saris, capes and draped dresses. The styling was also great fun – the models wore shoes featuring spikes and 3D flowers while the multi-talented Tapu Javeri provided some gorgeous jewellery and music for the show. While there was nothing groundbreaking about her silhouettes, this was a beautiful collection that showed skill and artistry.

Sania Maskatiya, who presented her luxury pret on Day 1, now showed her lawn collection for AlKaram. As far as designer lawn goes, this is something of a dream collaboration.

Textile and print are Sania’s forte and she uses print extensively in her luxury pret. In this collection for Al-Karam she has taken print elements from her pret collections throughout the year including the Sakura, Lokum and Khutoot collections.

The prints are different from those used in her Luxe pret but are based on the same principals. She’s even used the paint splash embroidery from this season’s Khayaat collection in one of the outfits. Designer lawn should be affordable way to wear a designer’s aesthetic and this Sania Maskatiya Al Karam collaboration certainly is.

As for the show itself, showing lawn is always tricky on the ramp. Sania pulled it off with an upbeat presentation using fast music and trendy cuts, throwing a few conventional shalwar kameez in the mix. She fashioned the lawn into jackets, kaftans and draped tunic, using the sort of cuts that are a hallmark of her pret. It’s not how most people wear lawn but it was a great way to show off the prints on the ramp.

Naushaba Brohi’s Inaaya burst onto the fashion scene last year with a spectacular collection. Following up on a dramatic debut is difficult but Naushaba proved that she is not a one hit wonder with this collection. Inaaya’s SS15 collection continued with the theme of using traditional Sindhi crafts in contemporary wear. Naushaba used both touches of Rilli and some stunning mirror work in her collection.

What makes Inaaya noteworthy is the way that she takes unsung traditional crafts that we’ve seen badly used and gives them a high fashion twist. Standout pieces included a bolero with unusual mirror work and a rilli sari that glittered with tiny flashes of mirrors.

Although the collection included many beautiful outfits, there was a lack of focus. The simple tunic with a rilli dupatta didn’t work with knotted purple evening wear jacket. The inability to make a definitive statement let down an otherwise accomplished collection.

Naushaba added a characteristic touch at the end of her show. She’s committed to social responsibility and supports local craftswomen with her brand. Accordingly, Inaaya’s showstopper was Mashal Chaudri of the Reading Room Project along with Naushaba’s daughter Inaaya. She held up a plaque saying “I teach therefore I can” while Inaaya wore a T-Shirt with the slogan “super role model”.

HSY brought the evening to a close with a high-speed presentation of his Hi-Octance menswear collection. The unusual choreography featured the models zipping along the catwalk, pausing briefly on their second round. The energetic presentation complemented a collection of sharp suits and jackets, leavened with quirky polka dot shirts and bold stripy ties.

There was the requisite shirtless model in distressed jeans and an ice-blue jacket but also some appealing suiting fabrics. HSY used only Pakistani fabrics and included solid colours as well as self-checked and striped suits. This was wearable, classy menswear presented creatively.

Day 3 was undoubtedly the best day of TFPW so far. Iman Ahmed undoubted takes the laurels but she was ably supported by HSY, Wardha Saleem, Inaaya, Sania Maskatiya and YBQ.Read more here:www.marieaustralia.com/formal-dresses | www.marieaustralia.com/short-formal-dresses
what could i give you that would make you take me
take the risk of your heart breaking
make a list and ill start creating
a cathedral from my heart of stone
Shiv Pratap Pal Aug 2019
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T­his poem is self translated version of my Hindi language poem titled "शिव स्वरूपं" published in pratilipi on (Dec. 2017) Can be read through the link ==>> https://bit.ly/2P4j7vE
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^­^^^^^^

That face of Lord Shiva is most beautiful in which he holds Ganga in his hairs
The Moon feels blessed by beautifying the head of Shiva as a glittering crown

The Serpants also became jewellery by themselves and decorated his blue neck
Shiva holds the trident on one hand and plays the Damroo from the other one

He has seated himself on a mat of Tiger Skin and rubbed pyre ash on his body
He has left elephant and the horses and decided to travel on an old Bull Nandi

By such an amazing face form, he is always ready for the welfare of devotees
The cruel and wicked have always been afraid of his eldritch face and form.

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^­^^^^^

Shiva (See Line 1): A God (The Destroyer) in Hindu Mythology
Ganga (See Line 1): The Holy river whose flow and speed is controlled by the coiled hairs (Jatas) of Lord Shiiva
Damroo(See Line 4): A sort of musical instrument ( Pellet Drum )
Nandi((See Line 6)): A bull in Indian mythology who is the vehicle of Lord Shiva
The Mesmerizing Face of God Shiva
antony glaser May 2012
Progress is wasted here
the high street draped in uniform glass fronts
why shouldn't we play our bugle
to rebuke this shard ?
yet in a corner there's still a market street
refusing the final nail,
there's a shoe, bakery, cycle and jewellery shop,
in our hearts we will
wear  pride to headline the clarion call
and shed anger at being accused of,
carrying congress with the past
at our coffee stall.
So all day long the noise of battle roll'd
Among the mountains by the winter sea;
Until King Arthur's table, man by man,
Had fallen in Lyonnesse about their Lord,
King Arthur: then, because his wound was deep,
The bold Sir Bedivere uplifted him,
Sir Bedivere, the last of all his knights,
And bore him to a chapel nigh the field,
A broken chancel with a broken cross,
That stood on a dark strait of barren land.
On one side lay the ocean, and on one
Lay a great water, and the moon was full.

      Then spake King Arthur to Sir Bedivere:
"The sequel of to-day unsolders all
The goodliest fellowship of famous knights
Whereof this world holds record. Such a sleep
They sleep--the men I loved. I think that we
Shall never more, at any future time,
Delight our souls with talk of knightly deeds,
Walking about the gardens and the halls
Of Camelot, as in the days that were.
I perish by this people which I made,--
Tho' Merlin sware that I should come again
To rule once more--but let what will be, be,
I am so deeply smitten thro' the helm
That without help I cannot last till morn.
Thou therefore take my brand Excalibur,
Which was my pride: for thou rememberest how
In those old days, one summer noon, an arm
Rose up from out the ***** of the lake,
Clothed in white samite, mystic, wonderful,
Holding the sword--and how I row'd across
And took it, and have worn it, like a king:
And, wheresoever I am sung or told
In aftertime, this also shall be known:
But now delay not: take Excalibur,
And fling him far into the middle mere:
Watch what thou seest, and lightly bring me word."

      To him replied the bold Sir Bedivere:
"It is not meet, Sir King, to leave thee thus,
Aidless, alone, and smitten thro' the helm.
A little thing may harm a wounded man.
Yet I thy hest will all perform at full,
Watch what I see, and lightly bring thee word."

      So saying, from the ruin'd shrine he stept
And in the moon athwart the place of tombs,
Where lay the mighty bones of ancient men,
Old knights, and over them the sea-wind sang
Shrill, chill, with flakes of foam. He, stepping down
By zigzag paths, and juts of pointed rock,
Came on the shining levels of the lake.

      There drew he forth the brand Excalibur,
And o'er him, drawing it, the winter moon,
Brightening the skirts of a long cloud, ran forth
And sparkled keen with frost against the hilt:
For all the haft twinkled with diamond sparks,
Myriads of topaz-lights, and jacinth work
Of subtlest jewellery. He gazed so long
That both his eyes were dazzled, as he stood,
This way and that dividing the swift mind,
In act to throw: but at the last it seem'd
Better to leave Excalibur conceal'd
There in the many-knotted water-flags,
That whistled stiff and dry about the marge.
So strode he back slow to the wounded King.

      Then spake King Arthur to Sir Bedivere:
"Hast thou perform'd my mission which I gave?
What is it thou hast seen, or what hast heard?"

      And answer made the bold Sir Bedivere:
"I heard the ripple washing in the reeds,
And the wild water lapping on the crag."

      To whom replied King Arthur, faint and pale:
"Thou hast betray'd thy nature and thy name,
Not rendering true answer, as beseem'd
Thy fealty, nor like a noble knight:
For surer sign had follow'd, either hand,
Or voice, or else a motion of the mere.
This is a shameful thing for men to lie.
Yet now, I charge thee, quickly go again
As thou art lief and dear, and do the thing
I bade thee, watch, and lightly bring me word."

      Then went Sir Bedivere the second time
Across the ridge, and paced beside the mere,
Counting the dewy pebbles, fixed in thought;
But when he saw the wonder of the hilt,
How curiously and strangely chased, he smote
His palms together, and he cried aloud,

      "And if indeed I cast the brand away,
Surely a precious thing, one worthy note,
Should thus be lost forever from the earth,
Which might have pleased the eyes of many men.
What good should follow this, if this were done?
What harm, undone? deep harm to disobey,
Seeing obedience is the bond of rule.
Were it well to obey then, if a king demand
An act unprofitable, against himself?
The King is sick, and knows not what he does.
What record, or what relic of my lord
Should be to aftertime, but empty breath
And rumours of a doubt? but were this kept,
Stored in some treasure-house of mighty kings,
Some one might show it at a joust of arms,
Saying, 'King Arthur's sword, Excalibur,
Wrought by the lonely maiden of the Lake;
Nine years she wrought it, sitting in the deeps
Upon the hidden bases of the hills.'
So might some old man speak in the aftertime
To all the people, winning reverence.
But now much honour and much fame were lost."

      So spake he, clouded with his own conceit,
And hid Excalibur the second time,
And so strode back slow to the wounded King.

      Then spoke King Arthur, breathing heavily:
"What is it thou hast seen, or what hast heard?"

      And answer made the bold Sir Bedivere:
"I heard the water lapping on the crag,
And the long ripple washing in the reeds."

      To whom replied King Arthur, much in wrath:
"Ah, miserable and unkind, untrue,
Unknightly, traitor-hearted! Woe is me!
Authority forgets a dying king,
Laid widow'd of the power in his eye
That bow'd the will. I see thee what thou art,
For thou, the latest-left of all my knights,
In whom should meet the offices of all,
Thou wouldst betray me for the precious hilt;
Either from lust of gold, or like a girl
Valuing the giddy pleasure of the eyes.
Yet, for a man may fail in duty twice,
And the third time may prosper, get thee hence:
But, if thou spare to fling Excalibur,
I will arise and slay thee with my hands."

      Then quickly rose Sir Bedivere, and ran,
And, leaping down the ridges lightly, plunged
Among the bulrush-beds, and clutch'd the sword,
And strongly wheel'd and threw it. The great brand
Made lightnings in the splendour of the moon,
And flashing round and round, and whirl'd in an arch,
Shot like a streamer of the northern morn,
Seen where the moving isles of winter shock
By night, with noises of the northern sea.
So flash'd and fell the brand Excalibur:
But ere he dipt the surface, rose an arm
Clothed in white samite, mystic, wonderful,
And caught him by the hilt, and brandish'd him
Three times, and drew him under in the mere.
And lightly went the other to the King.

      Then spoke King Arthur, drawing thicker breath:
"Now see I by thine eyes that this is done.
Speak out: what is it thou hast heard, or seen?"

      And answer made the bold Sir Bedivere:
"Sir King, I closed mine eyelids, lest the gems
Should blind my purpose, for I never saw,
Nor shall see, here or elsewhere, till I die,
Not tho' I live three lives of mortal men,
So great a miracle as yonder hilt.
Then with both hands I flung him, wheeling him;
But when I look'd again, behold an arm,
Clothed in white samite, mystic, wonderful,
That caught him by the hilt, and brandish'd him
Three times, and drew him under in the mere."

      And answer made King Arthur, breathing hard:
"My end draws nigh; 't is time that I were gone.
Make broad thy shoulders to receive my weight,
And bear me to the margin; yet I fear
My wound hath taken cold, and I shall die."

      So saying, from the pavement he half rose,
Slowly, with pain, reclining on his arm,
And looking wistfully with wide blue eyes
As in a picture. Him Sir Bedivere
Remorsefully regarded thro' his tears,
And would have spoken, but he found not words,
Then took with care, and kneeling on one knee,
O'er both his shoulders drew the languid hands,
And rising bore him thro' the place of tombs.

      But, as he walk'd, King Arthur panted hard,
Like one that feels a nightmare on his bed
When all the house is mute. So sigh'd the King
Muttering and murmuring at his ear, "Quick, quick!
I fear it is too late, and I shall die."
But the other swiftly strode from ridge to ridge,
Clothed with his breath, and looking, as he walk'd
Larger than human on the frozen hills.
He heard the deep behind him, and a cry
Before. His own thought drove him like a goad.
Dry clash'd his harness in the icy caves
And barren chasms, and all to left and right
The bare black cliff clang'd round him, as he based
His feet on juts of slippery crag that rang
Sharp-smitten with the dint of armed heels--
And on a sudden, lo! the level lake,
And the long glories of the winter moon.

      Then saw they how there hove a dusky barge
Dark as a funeral scarf from stem to stern,
Beneath them; and descending they were ware
That all the decks were dense with stately forms
Black-stoled, black-hooded, like a dream--by these
Three Queens with crowns of gold--and from them rose
A cry that shiver'd to the tingling stars,
And, as it were one voice, an agony
Of lamentation, like a wind, that shrills
All night in a waste land, where no one comes,
Or hath come, since the making of the world.

      Then murmur'd Arthur, "Place me in the barge,"
And to the barge they came. There those three Queens
Put forth their hands, and took the King, and wept.
But she that rose the tallest of them all
And fairest, laid his head upon her lap,
And loosed the shatter'd casque, and chafed his hands,
And call'd him by his name, complaining loud
And dropping bitter tears against his brow
Striped with dark blood: for all his face was white
And colourless, and like the wither'd moon
Smote by the fresh beam of the springing east;
And all his greaves and cuisses dash'd with drops
Of onset; and the light and lustrous curls--
That made his forehead like a rising sun
High from the dais-throne--were parch'd with dust;
Or, clotted into points and hanging loose,
Mix'd with the knightly growth that fringed his lips.
So like a shatter'd column lay the King;
Not like that Arthur who, with lance in rest,
From spur to plume a star of tournament,
Shot thro' the lists at Camelot, and charged
Before the eyes of ladies and of kings.

      Then loudly cried the bold Sir Bedivere:
"Ah! my Lord Arthur, whither shall I go?
Where shall I hide my forehead and my eyes?
For now I see the true old times are dead,
When every morning brought a noble chance,
And every chance brought out a noble knight.
Such times have been not since the light that led
The holy Elders with the gift of myrrh.
But now the whole ROUND TABLE is dissolved
Which was an image of the mighty world;
And I, the last, go forth companionless,
And the days darken round me, and the years,
Among new men, strange faces, other minds."

      And slowly answer'd Arthur from the barge:
"The old order changeth, yielding place to new,
And God fulfils Himself in many ways,
Lest one good custom should corrupt the world.
Comfort thyself: what comfort is in me?
I have lived my life, and that which I have done
May He within Himself make pure! but thou,
If thou shouldst never see my face again,
Pray for my soul. More things are wrought by prayer
Than this world dreams of. Wherefore, let thy voice
Rise like a fountain for me night and day.
For what are men better than sheep or goats
That nourish a blind life within the brain,
If, knowing God, they lift not hands of prayer
Both for themselves and those who call them friend?
For so the whole round earth is every way
Bound by gold chains about the feet of God.
But now farewell. I am going a long way
With these thou seest--if indeed I go--
(For all my mind is clouded with a doubt)
To the island-valley of Avilion;
Where falls not hail, or rain, or any snow,
Nor ever wind blows loudly; but it lies
Deep-meadow'd, happy, fair with orchard-lawns
And bowery hollows crown'd with summer sea,
Where I will heal me of my grievous wound."

      So said he, and the barge with oar and sail
Moved from the brink, like some full-breasted swan
That, fluting a wild carol ere her death,
Ruffles her pure cold plume, and takes the flood
With swarthy webs. Long stood Sir Bedivere
Revolving many memories, till the hull
Look'd one black dot against the verge of dawn,
And on the mere the wailing died away.
Madison Curtis Apr 2015
Fashion and beauty retailers from across Hull are uniting to celebrate the region's independent shops.

The sixth annual Hull Business Improvement District (BID) Fashion Week is in full swing, with more than 70 retailers taking part. During the festival, business owners will showcase their best products and offer prospective shopkeepers an insight into how they have made their companies successful. Organiser Adam Clark said the celebration offered a platform for Hull's retail sector to demonstrate its strengths.
He said: "Hull Fashion Week celebrates and promotes independent retailers in Hull city centre.

"They are one of the driving forces to what makes our retail offer unique, along with our three city centre shopping centres and department stores."
Gillian Long opened her bespoke tailoring service, **** Of The Walk, in Hull two years ago.

The Savile Row-trained tailor will be opening up her studio to give prospective customers and fellow retailers a look behind the scenes.

She said: "I enjoyed Hull Fashion Week last year, but I did think there weren't that many men's fashion retailers or designers taking part, so I wanted to get more involved to show people what is out there.

"I think the event is a great thing to raise awareness about all the different independent shops out there.

"People might not realise we are here, but if you scratch under the service you will see there are actually lots of us who are doing really well."

Family-run jewellery firm Hugh Rice is another Hull company getting involved, with a meeting at its branch in St Stephen's shopping centre today.

Sales and marketing director James Rice said it would give fellow shopkeepers a chance to learn about the latest jewellery trends and let customers try on the latest pieces.

He said: "For us, it's just great to be involved in an event on this scale.

"We are a Hull company and we want to be as involved as possible in events like this, which promote the city and promote Hull businesses."
Mr Rice said it was an exciting time to be a city centre retailer in Hull.

"Around the marina in particular, there are lots of young, trendy shops emerging in an area that has probably been a bit neglected in the past year or so," he said.

"As we move towards the UK City of Culture in 2017, it's great to see more businesses thriving and I think it has given the rest of us something to aim for."

The week will culminate with a grand finale on Saturday, hosted by BBC Look North weather presenter Keeley Donovan.

Source: http://www.sheindressau.com
If it form the one landscape that we, the inconstant ones,
Are consistently homesick for, this is chiefly
Because it dissolves in water. Mark these rounded slopes
With their surface fragrance of thyme and, beneath,
A secret system of caves and conduits; hear the springs
That spurt out everywhere with a chuckle,
Each filling a private pool for its fish and carving
Its own little ravine whose cliffs entertain
The butterfly and the lizard; examine this region
Of short distances and definite places:
What could be more like Mother or a fitter background
For her son, the flirtatious male who lounges
Against a rock in the sunlight, never doubting
That for all his faults he is loved; whose works are but
Extensions of his power to charm? From weathered outcrop
To hill-top temple, from appearing waters to
Conspicuous fountains, from a wild to a formal vineyard,
Are ingenious but short steps that a child's wish
To receive more attention than his brothers, whether
By pleasing or teasing, can easily take.

Watch, then, the band of rivals as they climb up and down
Their steep stone gennels in twos and threes, at times
Arm in arm, but never, thank God, in step; or engaged
On the shady side of a square at midday in
Voluble discourse, knowing each other too well to think
There are any important secrets, unable
To conceive a god whose temper-tantrums are moral
And not to be pacified by a clever line
Or a good lay: for accustomed to a stone that responds,
They have never had to veil their faces in awe
Of a crater whose blazing fury could not be fixed;
Adjusted to the local needs of valleys
Where everything can be touched or reached by walking,
Their eyes have never looked into infinite space
Through the lattice-work of a nomad's comb; born lucky,
Their legs have never encountered the fungi
And insects of the jungle, the monstrous forms and lives
With which we have nothing, we like to hope, in common.
So, when one of them goes to the bad, the way his mind works
Remains incomprehensible: to become a ****
Or deal in fake jewellery or ruin a fine tenor voice
For effects that bring down the house, could happen to all
But the best and the worst of us...
That is why, I suppose,
The best and worst never stayed here long but sought
Immoderate soils where the beauty was not so external,
The light less public and the meaning of life
Something more than a mad camp. 'Come!' cried the granite wastes,
"How evasive is your humour, how accidental
Your kindest kiss, how permanent is death." (Saints-to-be
Slipped away sighing.) "Come!" purred the clays and gravels,
"On our plains there is room for armies to drill; rivers
Wait to be tamed and slaves to construct you a tomb
In the grand manner: soft as the earth is mankind and both
Need to be altered." (Intendant Caesars rose and
Left, slamming the door.) But the really reckless were fetched
By an older colder voice, the oceanic whisper:
"I am the solitude that asks and promises nothing;
That is how I shall set you free. There is no love;
There are only the various envies, all of them sad."

They were right, my dear, all those voices were right
And still are; this land is not the sweet home that it looks,
Nor its peace the historical calm of a site
Where something was settled once and for all: A back ward
And dilapidated province, connected
To the big busy world by a tunnel, with a certain
Seedy appeal, is that all it is now? Not quite:
It has a worldy duty which in spite of itself
It does not neglect, but calls into question
All the Great Powers assume; it disturbs our rights. The poet,
Admired for his earnest habit of calling
The sun the sun, his mind Puzzle, is made uneasy
By these marble statues which so obviously doubt
His antimythological myth; and these gamins,
Pursuing the scientist down the tiled colonnade
With such lively offers, rebuke his concern for Nature's
Remotest aspects: I, too, am reproached, for what
And how much you know. Not to lose time, not to get caught,
Not to be left behind, not, please! to resemble
The beasts who repeat themselves, or a thing like water
Or stone whose conduct can be predicted, these
Are our common prayer, whose greatest comfort is music
Which can be made anywhere, is invisible,
And does not smell. In so far as we have to look forward
To death as a fact, no doubt we are right: But if
Sins can be forgiven, if bodies rise from the dead,
These modifications of matter into
Innocent athletes and gesticulating fountains,
Made solely for pleasure, make a further point:
The blessed will not care what angle they are regarded from,
Having nothing to hide. Dear, I know nothing of
Either, but when I try to imagine a faultless love
Or the life to come, what I hear is the murmur
Of underground streams, what I see is a limestone landscape.
n stiles carmona Dec 2018
Momentary
mourning peace.
Mama pours a glass of mulled wine,
lights a scented candle
                               (- "cherries on snow" -)
and drinks to ol' Joan.

Passed down with the jewellery box,
somewhere in the will, the daughters
receive the annual chore of roasting
the turkey (delicious!) and the veggies
(good job!) and (could you pass the?) breadsauce
for their brothers and husbands huddled
            on a threadbare sofa -- and a younger girl,
            barely there, staring at a laptop screen.

Mama's not festive - always too tired -
barely celebrates, but orchestrates.
Years barely there 'cause she's needed in their kitchen
and someone's gotta cook can she please get a hand? and
one chivalrous male puffs out his chest, takes one for the team, gestures to the girl with no discernible attention span and
half-laughs an "ay, one day this'll be you!
Best get in there while you're young!"

                                                       ­   ((A baritone chorus of laughter.))

"You outdid yourself on the turkey."
"S'great, ain't it? Pass the potatoes."

Sometimes here, sometimes Spain.
We stay over. It's tradition: we're
scattered across the country,
maid duties are the least she can do.
Never our kitchen or living room.
Tiny. Messy. Unwelcoming.
Come Boxing Day, Mama gives
a bear hug goodbye and an
"it's good to see you";
Because it is, she thinks.
Thank you for inviting me
to carry out your labour.
I'm just grateful to be needed.

A month of red 'SALE' tapes
scouring the clearance shelves;
overtime for extra cash
scraped to afford the food she cooks you;
paying half for gifts she'd brainstormed
while Dad buys partial credit on the gift tag.
We vanish from your house
- like elves -
by morning.
happy holidays! if you rub your eyes, it semi-looks like a christmas tree.
Jemimah Apr 2013
You
A diamond
Cheaply sold
Costume jewellery
Adorning glimmering shimmering
Another neck, another ear to hang, to grasp
Tempting, flaunting, translucently haunting
I wonder still that he doesn’t question
Your advertised diamond heart
You define your worth
Don’t let him know
Don’t show
You are
fake
Your thoughts please?? and constructive criticism on form and language, ideas, anything would be really great! thanks
RKM Apr 2012
You are possibly the only adult
who understands me. We walk to
the Co-Op and you buy me nail-varnish
and a magazine.

We spend hours in your jewellery box,
each gem has a story.
You drape a coral chain around
my neck and tell me I have fabulous
collar-bones.
Kuzhur Wilson Aug 2014
Kamarul is going to his village
All of us are going home with him

Kamarul is bringing
A bangle for his sister
Rafeeq almost buys up a jewellery  shop

Kamarul takes as saree for his mother
Divakaran is busy searching for a clothes shop

While making tea
While emptying waste-baskets
While feeding new paper into the printer,

Kamarul sings his own song
All of us sing aloud privately

While going down in the lift,
He learns to count
4
3
2
1

All of us leap towards zero

Kamarul  goes home,
Taking our letters

To the plant on earth
To the wind that blows in the evening
To the friend who promised to come

To everyone, for everyone

We wave our hands, wondering
What would be the time on earth
translation: Anitha varma
Kriti Gupta Oct 2013
the corsage is stained with your blood
the dress is in shreds
the jewellery gone rusty
the hair a mess
the gravestone non-existent
the photo's burned
the remains of you
no longer on earth
You should have been my formal date
judy smith Sep 2016
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
halioth Oct 2013
I'm gold and platinum
Then why do I feel like the mud, stucked under your ride's hooves?

You say you're a king?
Then I just became your crown,

Don't cast me in the box of your jewellery,
For I'm sparkly and shiny by nature,

On your head you should carry me,
Don't mistreat me with thick dust and dirt,

But if you wouldn't, if you can't, if you don't want to,
The farther you put me down,

The more I ****** your gold and glitters,
Before I vanish into thin air
Bottom feeders flourish

When the economy's a bust

When bad times are the norm

And good times turn to dust

When neighborhoods go south it's sad

But a sign of their demise

Is when a bunch of pawn shops open up

Before your very eyes

When stores close down or move on out

After years in the same place

Their memory is a radar blip

They leave without a trace

But as fast as they lock up their doors

Another shop moves in

It's the local pawn shop dealer

He's a shark without a fin

Like dollar stores and boarded doors

The pawn shop shows the way

That business has moved on out

Or closed or moved away

They prey on peoples hardship

They broker deals without a care

They don't need to know your history

They just know that you're there

The street has three new pawn shops

Palaces of buy back stuff

It's bad when there is one around

But, three...well that's enough

One opened by the Jeweller

Two doors down across the street

Now he's buying up possessions

Of everyone he meets

Folks who purchased jewellery

From Old Cy at his old store

For each twenty of it's value

The pawn shop gives you four

Cy can't afford to buy back

He doesn't have much money left

And besides his store insurance

Doesn't cover much for theft

The people at the Pawn shops

Took jobs and live in town

They trained two counties over

They succeed when times are down

It's a sign of the recession

Downtown dies and fades away

And then the bottom feeders surface

Their the ones who're gonna stay

You can look in the shop windows

Know who bought what and from where

You know the candlesticks were bought at Cy's

And you know who bought them there

The guitar that hangs beside them

That was pawned by Emma Rose

She needed money for the bills

When the fresh fish plant had closed

There's a snapshot of the township

Sitting inside on their walls

They pawn shop is successful

While the economy still falls

You can see a piece and start to cry

For you know just why it's there

There's no one here to help them

There's no jobs and it's not fair

They open up each morning

While the nights dregs still sleep outside

They have done two hours business

Before lights on at Cy's

It's a sad and constant story

Of just what a town's become

But when asked if they've been in there

The inhabitants go "mumb"

They never seem to close up

The town's never make it back

While most places lose money

Pawn shops make it by the sack

The bluesman has some stuff there

The bartender has some too

Even though her bar's still going

She did what she had to do

The street, it is it's own world

Jewelly shops, banks and bars

But inside the local pawn shops

Are hidden all the scars.
Nigel Morgan Sep 2012
It is morningtime in the hour that the day’s light shows its hem in the East. It is that time when dream and memory are replaced by invention and desire. Desire to invent, to feel the words form on the page: messages from the heart, an imagined landscape, a different time freshly peopled.
 
The mind’s eye, as though a flying sprite, enters the privacy of home, alights on a child’s pillow, marvels at the untroubled face, the easy limbs still resting in half-sleep before rising. In an adjoining room his parents, aware of night’s echo, stretch and touch, delighting in the comfort of those known places where love and desire visit, made precious through stroke and caress. Her dear head fast into the pillow, his right arm resting lightly across her body, his left folded into her back. He inhales her as though a most delicate incense slowly burning on the mantle shelf, on the altar of this gathered home; beside his glasses, her simple jewellery, the once jasmined vase, cards ascribed with the love of friends and family, endearments, a child’s gay picture, a photograph of a cottage in silhouette against sea and distant mountains, and five stones from different shores, each a talisman, a gateway to a memoried story.
 
Still this still time, this fragile cushioning of quiet before the necessity of movement, the need of thought to plan the must of the day, the have to in this hour or that, the when and then, the care to this and there. Another day beckons in a sharp noise from the street, a car starts, a door slams, away in the vallied distance the hoot of a train.
 
It is warm for a late December day, but against the possibility of damp and cold he takes the necessary gloves and scarf, though wears a lighter coat. He will walk purposefully, though unbreakfasted, through the grey streets, past houses where the lit opaque windows of bathrooms shine, onto the heath land and then into the woods of oak and birch and alder. The trees therein are pilloried hands stretching their gaunt fingers to the whitening sky, still in the still air, almost silent but for the change of the air’s resonance, that particular quality in a wooded space where sounds’ reflections have a confused trajectory: a bird rising at your footfall, its wingbeats echoing a cascade of almost touched finger strokes on a wooden drum.
 
Here in this dank wood the mind is restless; it moves ungraciously between what the senses tell of the now and the interventions of imagination and memory. Her fatigue at the dinner table, the dull green of unberried holly, the description of a woodshed its contents delightfully named, and that short paragraph about the similarity between books and trees (he makes a mental note to learn this: to keep this warm thought close in times of stress). This is why we read he thinks: to gather to ourselves a temporary safety, the consolation of another’s voice, an antidote to loneliness. She is waking he thinks. He can ‘see’ inwardly her movement as she shakes off sleep, raises her eyebrows before opening her eyes, sitting on the bed now (eyes still closed), she stretches her right hand for the juice he brought silently to her bedside, that little action of love borne up two flights of stairs, every footfall carefully tiptoed, to place very slowly, silently next the clock, her bedtime book, a pile of his letters, a scribbled address on a notebook’s torn out page. She will never be so tenderly beautiful as in that moment he so rarely sees but knows and thus imagines. This image reverberates over his moving body and he stops to calm himself, to enjoy for a few seconds this almost-presence of her in an imagined touch of skin to skin, his fingers stroking her naked back as she gathers herself to move.
untitled Feb 2014
my heart is necklaces
tangled in a forgotten
jewellery box. no one
has the time nor
patience to untangle these
chains

but then you came
along to undo this
havoc, taking each link,
pulling it apart one by one

finally these chains can
shine like they once did

thanks to you.
Eleanor Rigby Nov 2016
I have dreams that I once was
A free majestic albino peacock,
Jewellery trapped under a rock.
I have dreams that I never was.

I have dreams  that I once was
An old tree covered in snow,
Winds that took an eastern blow.
I have dreams that I never was.

I have dreams that I once was
A poor little drowning fish,
A silver ring left to tarnish.
I have dreams that I never was.

I have dreams that I once was
A lot of things and one thing,
But I never was anything.
I have dreams that I once was.


--Watercolour
Thandiwe Sep 2013
The rush of events has led to a gush of words, stapled with no worth.
Found heaven in the eyes of the humble, discovered calmness in minds highly beautiful.
Apart from dawns and sunsets, memories **** on dull days and leave no room for disappointments.
So many thoughts to understand, my soul has found refuge in far unlikely lands.
They buried my truth and bore statues with no value, regarded the perfect view.
We might not fit the clichés or pet names, yet still live and desire a love flame.
We might not seem ideal or even suitable to walk in public with...yet there is gold worth finding beneath the sins.
We might not be admired nor desired yet we don't carry nor wear any plastic enhancers that have gotten many enticed.
Though it seems, most eyes lust the bust, what happened to knowing the heart.
Forget the stereotype; instead find your best friend in their inner souls and deep eyes.
Can't we fall in love with the beauties of life, simple things that don't require violence or lies?
Allow us to cry from what a melody can do to our souls, exuding the warmth it cloths us with, crushing hate speech and moans.
Sometimes wish I'd be the air blown out of those shiny saxophones, forget the hurts and constant self battles that leave us alone.
Sometimes wish we spoke through music, but we have resorted to inhuman ways and the ultimate mind games, testing to see who will be more drastic.
I wish you'd fill my spirits with heavenly notes..."let me get your name so I can be more genuine" 9th Wonder say it best.
Speaking truth that lightens dark hearts and fresh regrets.
They seem to associate beauty with so many things, laughs! Jewellery and rings, money and kings, wohw!
What happens to those who embrace their truths...bringing out their inner glow.
You pants low, crazy what we find beautiful along with their flaws.
Let's escape and go were skies home our conversations, understanding each other's thoughts without disturbance.
Giving love in abundance, breathing in freshness and getting tingles from stolen glances.
How I wish...don't ever want to be selfish, your happiness will always come first.
I still admire you...mostly where your soul dwells, some things are a bit too good to be true.
Yet we still enticed, just waiting for when reality awakens and leaves our hopes sliced.
Thandi Xaba
Lorraine day Aug 2013
Pink balloons
Glitter nails
Glossy lips
Fairy tales
Frilly dresses
Pigtails with bows
"I have a secret"
No one knows!
Flowery handbags
Sweet perfume
"Can't keep  it in "
Need to tell you soon!
Sparkly jewellery
Ballet shoes
"I know what you're about to lose"
"Tell me the secret I here you shout"?
Ok
''Closets open."       I'm coming out!!!  .....
Al Sep 2018
Leather brown, bomber down, hit the bottom, rise again.  The resounding sounds bounce around.  It helps to misunderstand the plan, so follow these directives if you can.

Green amygdala your orange eyes create suspense.

Hipster blue, the denim, black boots, and those paperback books.

He walks with attitude,
reads for romance.

Magnetic the charm bringing them in.  Stood in the centre as the hurricane spins.  Tethered to nothing, not even a creed.  A miracle in the making, an empty street, a canvas unpainted, a jewellery box recieved.

— The End —