On the 15th of May
In the French Laund-er-y
There was a small man,
The Chef De Partie

He was mixing and stirring
And stirring his sauce,
But his sauce wouldn’t thicken
He was at a loss

So he needed to think
and ponder awhile
Until on his face
Was a bright white smile.

“I have it!” He said.
“I know what to do
All  that I need
Is a nice thick roux.”

No reductions or tomatoes
Or even puree
He needed the roux
It was the only way

So what he did next
was truly “the ****”
He melted some butter
And dumped flour in it.

This mixture was gloppy
And looked like wet sand
The roux was ‘a cooking
But looked awfully bland

Morton must think
How to flavor this glob
Chef Tomas Keller said
“Morton its your job”

He thought and he thought
“Oh what can I do?
Bechamel or Veloute?
What to do with this roux.”

“Veloute I think
Sounds good for today.
I’ll make some of that.
Chef might exclaim, “yay!”

So he added some stock
Of Gertrude McFuzz
It was the best bird
It certainly was
Fond Blanc De McFuzz
Was clear and not milky
Morton’s Veloute
Ought to be silky

He cooked it awhile
Maybe for one half an hour
And when it began to bubble
The roux showed its power.

It thickened and coated
The back of a spoon
This stuff’s almost ready
It should be done soon

He strained it
removing the floury bits
It needed to be clean
No clumpys or grits

It was almost over
It was just about ready
It still needed some tweaking
“Can’t we eat it already?!”

“No” said chef Teller
as he took a lick
Was it good? Was it bad?
Was the sauce too thick

“You did a great job!
Trust me, you did.”
Said Teller to Morton
“You did good kid”

“One thing I will say
That you forgot to put in
It’s the most vital ingredient
In the entire kitchen”

“Its something that most chefs
Don’t use a lot of
It comes from within
The spice of true love”

Morton thought a bit
Like he often does
And then he said
“Chef! That’s what it was”

“It didn’t taste right
It was missing its pop
Its pep in its step
Its fizzle. Its hop”
He learned something there
From Chef Thomas Teller
Food needs more love
It needs to be stellar

After all that
And in the end
Morton threw it away
And started again.

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


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

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

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

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

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

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

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

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

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


STORY OF JAZZ MUSIC  IN VERSE PART – II

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

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

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

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

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

In the stands, down 35-3 with two minutes left in the fourth,
Fred Carson picks at the sticky, white remnants of a Coke bottle's label.
He leans over to me,
"Do you mind if I talk to you again?"
I don't, and haven't since kickoff.

"You know, I played running back on this same field."

"Oh yeah?" I say, allowing the story to commence.

"Started all four years. Rushed 1,000 yards as a freshman."

"Wow."

"It took five guys to bring me down by my senior year."

"That's insane."

"I probably still hold the record for most rush yards,
but I doubt they keep up with things like that."

He takes a sip from his drink. It's half empty.
His hair -- greasy, most likely on its third unwashed day --
parts to the left and clings to his skull.
He's wearing a long sleeve, plaid dress shirt.
The shirt is buttoned to the top.

"Hell, that was back in 1968," slows, "I graduated in 19-68. Jesus."

Fred retired from the post office six years back.
He claims he's never missed a game of Blue Jay football since 1970.
The high school band starts playing in the section next to us --
a misshapen cover of "Louie, Louie".
Fred raises his voice,

"You know, I've been to every football game since 1970."

"Yeah, you mentioned that last week."

"I apologize. Yeah, if it wasn't for that first year of college.
I got a scholarship to play ball at Florida State.
Couldn't be there and here at the same time, you know? Kinda hard."

He runs his big-knuckled right hand along his khaki'd thigh, checking his pocket.
He checks the left thigh -- nothing.
Reaches into his shirt pocket and reveals a lighter.
Then a soft pack of Marlboro Lights emerge.

"You know, I ran the fifty in less than five seconds."

To the dismay of cheerleader moms sitting behind us,
he lights the cigarette.
He stares at the Bic lighter with some NASCAR driver -- number 88 --
I don't recognize.
The cutout of the NASCAR driver's scraggly face
sits atop a navy blue and spiraling purple backdrop.
He starts to scratch at the label on the lighter.
A screech from a clarinet rises above the rest of the band,
Fred grimaces, takes a drag, continues,

"The coach at Florida State said I was the fastest boy he'd ever seen.
He said I was going to go pro. Sure thing, he said. I rushed for nearly
300 yards in the first game my freshman year. After the game,
the coach was like, see boy, I told you. You are going to tear it up
this season."

The NASCAR decal comes completely off. Under that purple and blue label,
Fred uncovers a white lighter.

"Would you look at that. I wouldn't have bought the **** thing if
I knew it was a white lighter. That's bad luck, you know. Hendrix and
that--uh--Janis Joplin lady both died with a white lighter in their hand.
Bad luck. A white lighter is bad luck."

"What happened at Florida State?" I ask.

"Well, we were playing Notre Dame during the second game that season.
Down by five with three seconds left on the clock.
We were on our own thirty, and the coach of Florida State was like,
run the hail mary play. But in the huddle, I look the quarterback
square in the eyes, and I say to him, captain -- he was team captain --
I say, captain, I'm hungry for that ball. He knew I could do it.
He took the snap, the receivers rushed down field, and I bolted toward
that line of scrimmage, took the handoff and I was gone, baby."

The crowd begins to cheer as the Blue Jay quarterback throws a long pass
to a wide open receiver. Fred freezes mid-story.
The cheer blurs into a silence, as each person in the bleachers
watches the ball ascend.

For the first time all night, the band lowers their instruments from their lips.
Just a ball floating.
The buzz from the stadium lights becomes audible.
One person gasps.
Then like dominoes the stadium follows suit.

The high arc of the ball betrays the distance,
and the pigskin plummets sharply.

"Interception!" the announcer cries through the speakers.

"That's a **** shame. I thought he was going to have it.
What were we talking about?" Fred asks as he drops his
finished cigarette into the nearly empty, naked Coke bottle.

"You were talking about Florida State. You were down five and--"

"That's right. So, I break up the middle. I dust that noseguard.
I stiff arm a linebacker. I looked like a Heisman trophy in motion.
I travel 69-yards down the field. I'm slowing down at the endzone,
thinking nobody is around, and sure enough -- plow -- the cornerback
dives right into my leg. I broke all kinds of bones and tore all kinds
of muscles. The doctor told me, he'd never seen anything like it."

The band plays the fight song as the clock winds down and the Blue Jays lose.
I try to disappear in the sea of blue and silver exiting t-shirts,
but Fred slows me down,

"It sure was good talking to you. I'll have to tell you more about Florida State
next week. Be sure to sit by me."

"I will," I say as the band director, Mr. Morton, steps in front of me.

"Hey, Fred," Mr. Morton says. He looks at me, then back to Fred.
He's trying to decide whether or not I'm of relation.
"Son, I went to Seminole State Junior College with Fred here
when we got out of high school."

"Really? Did you guys play football together?" I ask with innocent inquisitiveness.

"No, we weren't really into that. Though, we were at all the games.
We were in band together. Until Fred's wild streak got the best of him,"
Mr. Morton laughs, "am I right, Fred?"



The fight song came to a close.
With a lowered head, Fred walked into the silver, blue crowd
with a plaid dress shirt buttoned to the top.

Michael Morton is his name
He was wrongfully convicted
For the ****** of his wife
25 years in prison, he did
You don’t want to imagine that life
An innocent man
In a horrible land
Christ, it’s so terrible

DNA rescued Michael
And fine lawyers who believed in his innocence

Turns out the prosecutor, Anderson, was corrupt
For sure
He withheld material evidence that would have eliminated
Our hero — for he is one — as the perpetrator
That’s the real crime

There is more
Anderson was so out of line that it cost him his job as a judge
And he lost his law license
And he went to jail
For ten days
First time in American history a prosecutor went to jail for misconduct

There is more
Michael found the Lord in prison
Which greatly helped him so
On his release he found a church
Invited to speak about his experience
He told those assembled if they wanted to know what prison was like
They had to ask him out for coffee
So Cynthia did
It went well
They talked and talked
There were many dates
They are now married

Michael reconciled with his son, Eric
Who was three when his mother was killed
And thereafter wrongly believed it had been by Michael’s hand

The real murderer was convicted and went to prison

They passed a law in Texas to ensure this travesty would not happen to another
It’s named the Michael Morton Law

They are going to make a movie about these facts

Count your blessings

The foregoing is a true story

You see me suspended in space-time
as I’m passing the 89th floor
Falling headlong, my form is impressive.
Sadly, no one will be holding up scores.
Just moments ago I was standing
at a Morton’s Fork in the road:
The fires of hell were advancing
where I stood on the 98th Floor.
Well can you imagine my terror
when I came face to face with the flames.
I don’t know why I chose as I did;
Souls in torment can never explain.
The day of my death predetermined,
but which death would provide me less pain?.
My choice, which was no “choice” at all
was to smash through the window and fall.
Then the only thing that could “save” me
was the camera that captured it all

The Kurds live
In parts of Syria, Iraq, and Iran
As well as Kurdistan

Kurdish groups such as the KCK and PJAK
Seek democratic autonomy for Kurds
And democracies in Turkey, Iran and Syria

Aposim is a grassroots socialist movement
That promotes gender equality
Apo is the political founder of the PKK and PJAK

The female fighters of PJAK
Don't have families
Because this will weaken their commitment
To the organization

Thomas Morton
Host of this Vice documentary
Stays in a farmhouse

He headed up to meet the fighters
The PJAK division he met with
Fights for women's rights
Around the Iranian border

They tell Thomas
Women are being killed in Iran
It is a mental persecution of women
The PJAK representative says

It is about the right to democracy
Freedom, Equality, and education
The woman explains that
The Iranians use Sharia and Islam
For their own purposes

It is not true Islam according
To the PJAK representative
In true Islam there is equality and equity

Thomas
That really was priceless
Watching you line dance with them
Really funny
I think the women of PJAK
Got a kick out of it too

God bless the women of PJAK
Such beautiful smiles
Full of life
Standing up for women's rights

He said I’m the wrong shape. I could do with putting on a few pounds and, almost as an after thought he said, you’ll have to cut your hair – yourself.  I know she was an artist, and a mother, and a gardener. I had to admit to him I didn’t know any painters. My cousin Julie’s a sculptor – same thing he said – but I had to tell him I hadn’t yet looked at her painting, only what he showed us in his presentation.  He then told me exactly where in the National Museum of Wales I could see one of her paintings – Gallery 14 – and its from this period, a Parisiene picture. He suggested I might go to Cambridge and spend a day at a place called Kettles Yard. There are more Winifreds there than anywhere else in the UK, and many pictures by her close friend Christopher Wood.
 
Oh dear. This is difficult. The only thing going for me seems I’m about the right age and I’ve have children, though mine are older than hers in the production. I was so surprised to get this part, but as Michael said over the phone, your profile fits. Except for the weight and the hair, and I know nothing about painting. Why should I? Jeff told me, the composer Morton Feldman once said if you haven’t got a friend whose a painter, you’re in trouble. I’m in trouble. But he has very kind eyes and when he touched me gently on the shoulder after Lizzie and I sung that shells duet I had to look away.
 
Reaching down arm-deep into bright water
I gathered on white sand under waves
Shells, drifted up on beaches where I alone
Inhabit a finite world of years and days.
I reached my arm down a myriad years
To gather treasure from the yester-millennial sea-floor,
Held in my fingers forms shaped on the day of creation….
 
They sleep on the ocean floor like humming-tops
Whose music is the mother-of-pearl octave of the rainbow,
Harmonious shells that whisper for ever in our ears,
‘The world that you inhabit has not yet been created’
 
Mind you, I don’t envy Lizzie being Kathleen Raine. Now that is a difficult part, even though she’s only in Act 2. Raine was definitely odd. He says I have to understand their friendship, because there was something about it that made them both more than they were. I don’t understand that.
 
Jane and the children are amazing already. Martin (my ‘other’ half Ben Nicholson) said they’d been rehearsing with Robert because his wife (Robert’s wife Debbie) is at WNO and they were scared about this one. I’ll say this for him he knows exactly how children interrupt, constantly. It’s clever the way he uses the interruptions to change direction of the dialogue. Conversations are often left unfinished. The bit when that ***** Barbara visits the apartment unexpectedly is brilliant. She’s completely demolished by these kids of her lover.
 
But those letters . . . he said, can you imagine your husband writing to you over a period of 40 years? Quite a thought that. David wrote to me a few times when I was in Madrid for Cosi just after we’d met, but it was all telephone calls after that. Why waste paper, time and a stamp. But I take his point – their letters are so beautiful – and they were separated for God’s sake. He’d gone off with another woman, and even brought her to Paris. And you could not have two totally different women – she ,slight, chain-smoking, work-a-holic, sharp-tongued with that Yorkshire edge, and me with ‘a quiet voice, trying always to be gentle and kind ‘– W would be called an earth-mother these days. She was a kind of hippie, only she had money – mind you most of those hippies of the 60s had money otherwise they couldn’t have done drugs (heard that on Radio 4 last week in a programme about Richard Brautigan). But they wrote to each other almost every day.
 
Dear Ben,.
            Do you know there are several kinds of happiness, and there is one sort which I have found. It is the sort that is within oneself, enjoying fresh promise, and taking all the experiences of life that one has been through, so-called sad ones and so-called happy ones, to make up understanding that is further on than joy or sorrow. I have been extremely lucky – I have had ten years of companionship with an ‘all-time’ painter, working in the medium of classic eternity and that has been better than a lifetime with any second-class person – isn’t it - I have found it so…
 
Best love Winifred
 
What’s clever about the letter sequences is the way the two-way correspondence is handled as a duet and right in the middle of it you’ll get a flashback – like Winifred suddenly remembering her first meeting with Ben.
 
I heard this voice
In the room next door
I couldn’t breath, I couldn’t move
I knew, I knew for certain
This was the man I would marry.
And when we were introduced
He seemed to know this too.
 
We gaily call this an opera, but it’s not. It’s something else. It simply doesn’t do what you think it’s going to do. Even when you do something for a second time the accompaniment doesn’t do what you expect and remembered. It’s this open-form business. Something else I know nothing about. He mentioned Umberto Eco – now I’ve read Name of the Rose. When Braque or Mondrian or Jan Eps visit unannounced I have no idea which one it’s going to be – these guys just used to turn up. Sometimes two at once. W didn’t invite them. They came for her English hospitality (home baking I think) and her beautiful apartment come studio – beautiful, because she made it so. Her French was appalling, and this is difficult because I speak quite well, and now I have to speak like an idiot. Bridget  (playing Cissy the Cumbrian nanny) having her French lesson is a hoot, and with the children correcting her all the time, it’s lovely.
 
He was very sweet when we broke for lunch. Sara, he said, as I collapsed into an auditorium seat to find my bag and mobile, Sara, we’ve got to find you a painter to spend a day with . . . so you’ll know how to stand in front of an easel.  I phoned Sarah Jane Brown who has a studio in Cardiff and she’d love to meet you. Here’s her number. She paints flowers and landscapes – as well as the abstract stuff - just like Winifred. Her tutor at the RCA actually knew Winifred. And with that he disappeared to a dark corner of the theatre and unwrapped his sandwiches. You can tell he’s not into break discussions with Julian or Michael. I think he’s terribly shy. He’s interested in the cast and so he picks them off one by one. Julian I know doesn’t like this. I think everything needs to go through me, he said at the end of yesterday’s rehearsal. Who does he think he is?! Lizzie reminded Julian he was the composer and what he doesn’t know about this whole period and its characters isn’t knowledge. Liz thinks he’s a sweetie – and she’s sung his Raine settings at Branwyn Hall last year – with Robert who was his MD with BBCNOW. Liz knows Julian hasn’t done his usual homework because he’s got this production in Birmingham on the boil. Unknown Colour is a distraction he can do without.
 
This afternoon it’s back to the mayhem of those ensemble scenes in Act 1. They’re quite crazy, but I’m already beginning to feel I can start to be someone other than me. Did you know I have this lovely song? It’s quite Sondheim . . .
 
*I like to have a picture in my room.
Without one, my room feels bare
however much furniture is there;
Pictures play so many roles.
My room has too much going on in it
for something extravagant.
In the morning it is a sanctuary,
in the daytime a factory,
in the evening a place of festivity,
and through the night a place of rest.
 
I want a window in it,  
And a focal point, something alive and silent.
A bunch of flowers on the window sill?
Yes, but they will wither.
A cat curled up on the hearth?
Yes, but it will go away and prowl upon the rooftops.
 
A picture will always be there.
It will make no sound. It will wait.
If it is true I shall never grow tired of it.
I shall see something fresh in it
when I glance at it tomorrow.
It will always be my friend.

I've become acutely aware of the gravity in the fact that all I said to her was that I don't want to be the one who starts all of our conversations anymore
And that since then we have had no conversations.  
I don't think I will be rid of the haunting that this is my fault until I am haunted with the fact that it may be hers
In so making her not the woman I wanted for
Nor the woman I was all too eager to give myself for
Thirdly making me that man who opened his rib cage exposing his heart for her taking
Only to collect dust, rain drops, and those twisty helicopter things that fall from trees in the autumn
All from being left open so long on a very windy day when she saw what my heart was stretching to offer her and chose to leave it there
Couldn't I once be the one worth taking
Or at least notice when she's not the one worth opening up for.

There are days I wish God hadn’t built me with a zipper for a sternum
You know I don’t always mean to show them everything
It’s just sometimes I forget to zip it back up after I take it on walks to the liquor cabinet
My heart is a bow-tie drinking Manhattans at the center table with a chair full of friends and a twinkle in his eye
My tongue is a rolled up cuff drinking whatever’s on special at the end of the bar confusing, “I’ll have another” with proper conversation
My mind has an unplugged mini fridge in the corner with two luke-warm ciders waiting for a chance to celebrate...remembering to brush my teeth
Depression is a funny sort that way, it’s all her fault, right up until you remember how hard it is to brush your teeth everyday
At which point it’s either your own fault, or we’ll try again tomorrow.

Knowing is not half the battle when the battle is not being waged in your head
Knowing it is all going wrong is just another reason to never put on the helmet and see what the battle may bring
Seeing what right looks like on Pintrest is not motivation to check my zippers
It is the battle cry my stomach gives my lungs after lunch
It is the battle cry the fists of my mind give my heart when we are alone
It is a crop duster driven by the Morton’s Salt Girl, who never misses the open wounds of my torn innards strewn about an open field after losing the battle for the day.
I am a slug on your porch and I shrink with every grain
And you will never hear me scream
It’s just so tiring to tell someone you hurt and have no blood to prove it.

I do not much dream for stars or skinny girls anymore
I am afraid of what their sharp edges will do to my fingertips
I’m just looking for something I can hold on to
Someone who will remind me that I have a place here
If that place is only to take up oxygen
Sometimes I let my dreams get away from themselves and I dream of great magical things:
Like being loved back
Feeling important
Sleeping peacefully

On occasions I even see myself at work opening a love note in my lunchbox from someone who felt compelled to take the time to tell me they love me
It always swells my heart
Makes me want to be a better person
To get out of bed
Run a marathon
Sing an opera
Lift a weight
Sky dive
Read a book
High five a stranger
Take a dancing class
But then I wake up and look across my room at just how far away the light switch is and decide I must be afraid of the dark
Since I never remember to turn off the light before lying down and I never have the strength to get back up

I dream most of all of having someone to tell me the things I need to hear
To give me a purpose
A vision
A reason to live
To stop letting me find better excuses
To yell in my ear or write me a note that says,
“You are worth it, every minute, every cent, every effort.  You are worth it, because you will become a great man and because I love you, and because you are destined to change my world, and because your son needs you, and because you are brilliant, and because the world needs your words, because I need your words”

But the only notes I get are the ones I put into my own lunchbox as a reminder come noon-time
That even if for no other reason than because I said so,
I am worth it

Oh! Mr. Best, you're very bad
And all the world shall know it;
Your base behaviour shall be sung
By me, a tunefull Poet. —
You used to go to Harrowgate
Each summer as it came,
And why I pray should you refuse
To go this year the same? —

The way's as plain, the road's as smooth,
The Posting not increased;
You're scarcely stouter than you were,
Not younger Sir at least. —

If e'er the waters were of use
Why now their use forego?
You may not live another year,
All's mortal here below.—

It is your duty Mr Best
To give your health repair.
Vain else your Richard's pills will be,
And vain your Consort's care.

But yet a nobler Duty calls
You now towards the North.
Arise ennobled—as Escort
Of Martha Lloyd stand forth.

She wants your aid—she honours you
With a distinguished call.
Stand forth to be the friend of her
Who is the friend of all.—

Take her, and wonder at your luck,
In having such a Trust.
Her converse sensible and sweet
Will banish heat and dust.—

So short she'll make the journey seem
You'll bid the Chaise stand still.
T'will be like driving at full speed
From Newb'ry to Speen hill.—

Convey her safe to Morton's wife
And I'll forget the past,
And write some verses in your praise
As finely and as fast.

But if you still refuse to go
I'll never let your rest,
Buy haunt you with reproachful song
Oh! wicked Mr. Best! —

There's a little known sport
That is played in the South
If you ain't from round here
You may know nothing about

It is played by the old
Enjoyed by the young
Quite the crowd pleaser
This salting of slug

So grab the favorite of minerals
And your crystal shakers
Try not to view this
As demented behavior

You can taste the excitement
On this game de jour
Hold steady the Morton's
Get ready to pour

Scream like a banshee
Jump up and down
As we watch the slugs
Turn inside out

The best of Southern shakers
Come into play
With the salting of slugs
On slug salting day

In the beginning of the college class semester we all were asked to read and inter operate:) a poem and at the end of the semester we were asked to re-inter operate:) it and see how all of our thoughts and feelings were changed after taking a class on Death and Dying. The poem is called “The Angel of Death is Always with me” by Morton Marcus. My thoughts did not change and I took over the class with my interpretation because everyone else said it is something like a reaper knocking at your door ready to take you away.

THE ANGEL OF DEATH IS ALWAYS WITH ME

The Angel of Death is always with me
the hard wild flowers of his teeth,
his body like cigar smoke
swaying through a small town jail.

He is the wind that scrapes through our months,
the train wheels grinding over our syllables.
He is the footstep continually pacing through our
chests,
the small wound in the soul,
the meteor puncturing the atmosphere.
And sometimes he is merely a quiet between the start
of an act
and its completion,
a silence so loud
it shakes you like a tree.

It is only then you look up from the wars,
from the kisses,
from the signing of business agreements;
It is only then you observe the dimensions
housed in the air of each day,
each moment;
only then you hear the old caressing the cold rims of
their sleep,
hear the middle-aged women in love with their pillows
weeping into the gray expanse of each dawn,
where young men, dozing in alleys,
envision their loneliness to be a beautiful girl
and do not know they are part of a young girl's dream,
as she does not know that she is a dream in the sleep
of middle-aged women and old men,
and that all are contained in a gray wind
that scrapes through our months.

But soon we forget that the dead sleep in buried
cities,
that our hearts contain them in ripe vaults.
We forget that beautiful women dry into parchment
and ball players collapse into ash;
that geography wrinkles and smoothes
like the expressions on a face,
and that not even children
can pick the white fruit from the night sky.

And how could we laugh while looking at the face
that falls apart like wet tobacco?
How could we wake each morning
to hear the muffled gong beating inside us,
our mouths full of shadows,
our rooms filled with a black dust?

Still,
it is humiliating to be born a bottle:
to be filled with air, emptied, filled again;
to be filled with water, emptied, filled again;
and, finally, to be filled with earth.

And yet I am glad that The Angel of Death is always
with me:
his footsteps quicken my own,
his silence makes me speak,
his wind freshens the weather of my day.
And it is because of him
I no longer think
that with each beat
my heart
is a planet drowning from within
but an ocean filling for the first time.

And This is What I Told the Class….

Adolf ****** and the **** SS come to mind after reading the clue riddled poem, “The Angel of Death is Always with me”. Hiding between the lines I find there are many reference points to the holocaust and feelings of how it might have felt from a prisoner’s point of view.

If my assumptions are valid with this interpretation as far as the relationship of “death to Life” is concerned, one would think that after witnessing all the atrocities that one saw in those concentration camps, one would almost welcome death as soon as possible as a way to escape from their living nightmare and be welcomed back into being a part of the earth so they no longer have to whisper softly, “We are the dead” and pray that they become a victim of an accident of birth.

I normally don’t comment on other people’s works in poetry for the simple fact that I try to jump into their shoes and try to understand just what it is the message they are diligently trying to convey to the reader, and in the doing of so, I feel that I might misunderstand just what it is they are trying to tell the world and in the doing of so I would then not be able to make the ranks of a poet with originality.
(SirCARSr. 4-7-14)

Not much happens in these parts, he would demur,
As if he’d be asked in the first place,
He one of the dwindling few remaining in this dwindling town.
Nevertheless, he has seen his share in four score and change years
From the vantage point of his place
Which sits just off the corner of the Penoyer Road:
Boom times and bust,
Snowdrifts threatening to lick the roof lines of houses,
Boys running through the embers of fallen leaves,
Shirtless and barefoot on improbably warm October days,
Young men in hay wagons and rattle-*** Chevy pickups
Laughing and singing, confident and carefree,
Making their way to the old train depot down at Apulia Station
First step on their way to show the jerries or the VC
Exactly how Upstate farm boys took care of business,
Windows adorned by placards with a gold star
Illuminated by a solitary light bulb at odd hours.
Here and there, younger types have begun to dot the landscape:
Professors with a romantic hankering to get back to the land,
Neo-hippies with their own reasons for embracing the rural life,
Each in their tune walking about their yards
Holding keyboarded and wi-fied replicas
Of that which Moses carried down the mountain,
Their fixer-uppers or double-wides adorned with small dishes
Pointed forlornly at the horizon in search of some satellite supplication.
While he has seen enough not to be too ******* sure about things,
He suspects that complexity and contentment
Rarely walk hand-in-hand,
So he keeps his needs simple enough
To be met by the ancient radio
(Huge, wood-cabineted shambling thing,
More attuned for Amos and Andy than All Things Considered)
The three-checkout grocery in Tully,
The Morton-building sheltered family practice over in Cazenovia
(The squalid, sooty skyline of Syracuse,
Split by six lanes of high-octane madness,
As remote and slightly terrifying to him as Mars itself)
As he has learned enough from thickets of trees
Which all but shriek with torrents of crows in September dusks,
The subtle changes of stream banks
Tinged by the stubbornness of frost on early May mornings
Or blanketed by the pig-iron forge heat of July afternoons,
To know that there are sufficient and possibly necessary limits
To the places where two legs or four wheels can carry a body.

Fallen leaves
in many hues
lying everywhere
in the water
on the grass
blowing to the breeze.
Whispering songs
over the crickets
and the gurgles of the stream.

Songs of the fallen leaves
of coming wisps of winter
cold winds under autumn moon
and memories of warm summers.

Fallen leaves
in many hues
singing many songs.

And I'm getting older
feeding ramen to my brain
and I oughta be ashamed of myself for not running faster
for not running ahead

Friends, the phrase ‘Hobson’s Choice’ originated with Thomas Hobson, a livery stable owner in Cambridge in 16th Century England, who offered customers the choice of either taking
the horse nearest to the stable door or taking none at all!
Therefore in reality he offered no choice! A Catch-22 situation, like the Devil & the Blue Sea, or the Morton’s Fork, - all meaning the same thing.                                      -Raj Nandy, New Delhi.          

              HOBSON’S   CHOICE
As explained above, this phrase means no choice
at all.
Since you are forced to choose the only offered
thing or none at all!
A Catch-22 situation when you are in the ‘horns
of a dilemma’, or ‘between the devil and the
deep blue sea’!
When caught between the two horns of a bull,
You are in the ‘horns of a dilemma’ indeed,
Quickly throw some sand in the bull’s eyes,
And run zigzag on your feet.

Now John Morton who demanded gifts for the Royal
Treasury during the 15th Century England, had
loudly proclaimed, -
That if a man lived in luxury he was rich, but if he
lived frugally, a lot of money he must have saved!
So either way to the Royal Treasury he had to pay!
This came to be known as the ‘Morton’s Fork’,
And became a well known phrase, not yet forgot.

Take care of the penny and the pound will
take care of itself, - I was repeatedly told.
So I locked up all my pennies, and spent all
my pounds, and soon became stone broke!
I was called penny wise and pound foolish,
And became the **** of many jokes!
Now, one fine morning chased by the Devil I
landed up on the edge of a high cliff by the sea;
And was offered the choice between the Devil
and The Deep Blue Sea!
I pleaded with the Devil to toss up a coin and
give me one more choice.
The devil replied, “Ok that’s fine with me but
remember before you chose, Heads I win, and
Tails You Lose, so quickly toss up and choose!”
You may well guess what happened after that
Hobson's Choice!?
                                           -Raj Nandy, New Delhi,
                                            composed on 04 July 2020.

Miss Mavis Morton
made Mister Milton Millgate
many morish muffins

they wilt at the sound of this routine
                                                       in and out
they dread the vision society built
                                                       fight or flee
they stare wide eyed at the options
                                                      morton's fork
they crave attention and affection
                                                      love or hate
they do not understand what is happening
                                                      fast or slow
they silently wait
                                                    slow.. rain...
they fell upon the stars
                                                   light.. darkness?
they understand the delirium of this single question
                                                   why
they need for the answer
                                                    are
they imagine the costs
                                                    we
they cry for nothing more
                                                   creating
they wish for it to be easy
                                                  madness
they will not stand to nothing
                                                 to
they will not fade so easily
                                                others?
they will find peace to this elegant dance of the mad wisdom

Today she's the green lady on the Black Sabbath album cover
Tomorrow she'll become the Morton Salt girl
On Sunday mornings my girl is Aunt Jemima followed by the
Mona Lisa in the afternoon
When she takes me by the hand she's indescribable* ...

Drea De Mattea
Kathy Matea
See they're both in entertainment
Michael Jordan
Morton Downey
Get it both of their opinions are respected
Seymour Gross the decadent businessman with his two sons -
Greg and Seymour, Jr. Get it - Seymour
Someone put of Mad Magazine's Greg
and Ex-Chicago Cubs player- (He got famous at it.)
decadence, I mean, and Junior Gross -
We're all getting really tired of real decadent types
like his father and Greg. - I'm just being facetious about
the bloodline connection. What, are they both adopted and just
copies of it?
And Seymour's morals are especially refreshing
compared to his faults.
Loretta Lynn
Brenda Lee
Two gifted singers
Eisenhower and MacArthur
2 great West painters
etc., etc.,
You get the picture.

By Ryan P. Kinney
A Jigsaw poem adapted from quotes taken at the 50th Anniversary Hessler Street Fair Poetry Competition Judging; Cleveland, OH 5/11/19

A snake crawls about his bleached skull.
Frosted night pales the moon.
(lets dive into his dreams. Will this dead man tell us his tales of madness and delight?)
Mysterious, smoky eyes look back at me.
The very breath of time
A deep breathe for those unafraid to leave the sun behind
It’s just a matter of time. We all fall down.
Quarterly tides that lift my spirit
The truth changes with the promise that nothing can ever remain the same.

Rhymes out of time
Where I can see the truth in each brush stroke.
What would I do with such knowledge, but to ask for more
There ain’t ever going to be a perfect audience
His book will never be bargain basement; overstock.
I’ll never live that long
Poetry isn’t produce
Almost nobody is looking to buy local.

He is part of the people who chose to be lost
Parents often struggle to teach their children how to choose.
Millennials are the forgotten ones
A generation that has no tolerance for *******
He figured it out long ago
He was a captain without a ship.
Burned the ship to save the crew

His tactics had not matured.
He wailed, “I want to feed my mind beauty.”
“I could eat up the kisses you lay on me each day.”
“Chocolate love can correct a lot of mistakes…”
“I need to eat healthier.”

The music rocks me with desolation
Microphone to inform underground
In the morning, still angry with power
I stop and ponder at what I thought was the immaculate conception.
Unshattered crystal can be torn between love me and love me not.
Anywhere is better than the empty side of your bed.

What is the consensus on nonabusive drunks?
The woman with medicine in her voice, she wanted to heal him
However, He was a dog not easily brought to heel.
The salt of the Earth tastes different than the kind Morton makes.

When standing in your sand I feel glass shards cutting into my feet.
Punctured with track marks from an older compass, lifting rose buds through the empty pores.
A life made from the finest threads of silk; gossamer quickly torn asunder.
I don’t want to die at the hands of someone else’s creation. I create my own life
Will she bet hers or mine?

They call me a murderer, but all I’ve killed is a lie.
Undeterred by my hacking
Cutting never worked.
They cut her open, replaced broken parts
She lived, in fact she thrived
While I will remain my shape.

Burial lands are for the living.
The largest human hole ever dug.
Where she could rust in piece with friends and we could finally let go.
There is holiness there in those subtle, dark places

Be bold she whispered, scribbled on the pages of her soul
Follow your wandering heart.

Each aware of the wings blooming ****** and wet; from the other’s shoulders
Flower crowns are essential.
Bathing in sweet feral rain
Pine sap running through his veins
Dining on nature’s primal fruits
While we lie among the roots

The change that never came
At least as a zombie I don't feel my mind rotting
Imagine ******* out bits of dark matter into an open sewer through the center of the city
Our baptism by fire, need not be theirs.

Original quotes from Ryan P. Kinney, Lori Ann Kusterbeck, Barbara Marie Minney, anitakeys, Lorianne Arwood, Audamatik, Jeremy Jusek, Ralph Pittman, Valentine Ventura,Casey Krysztofik, Kevin F. Smith, Kelly Hambly, Diane Ferri, Michael Ceraolo, Maeve Kroeger, Ariel Alexander Fiore, Hannah Gates, Georgia Reash, Eli Hawkins, Shivla Shikwana, Frank Thomas Rosen, Rob Smith, Tam Polzer, Elizabeth Burnette, Julie Ursem Marchand, Nancy Brady, Christine Donofrio, Cat Russell, Keith Allison, Sara Minges, Joan Perkins, Aubrey Crosbey, Tim Richards, Jill Lange, Ashley Pacholewski, Krystal Evans, John Burroughs, Renee Sanders, Azriel Johnson

Substitutions, approximations & affiliations make my flat **** tired
among the countless ***** bank kiddies my "donations" have sired
with mucked up & mired résumé-writers happily ****** up & fired
who reject the notion that a Dutchman'll never quit a job once hired
We march in jackboots to combat the foot ball neuromas of Morton
that force us on long marches to stop, cut, soak our heels & shorten
the queer couplin' betwixt Gavin Gordon & Edward Everett Horton

Charles Brookfield - 1893
William Gillette - 1899-1930 - 1,300 performances in 30 yrs.
Sherlock Holmes movie Baffled - 1900 Silent/Short - Max Goldberg
John F. Preston - 1900
Charles Rice – 1904
Karoly Baumann - 1905
Maurice Costello - 1905
Viggo Larsen – 1908
Alwin Neub – 1908, 1911, 1914
Otto Lagoni - 1910
Holger Rasmussen – 1911
Mack Sennett – 1911-1912
George Treville - 1912
Harry Benham - 1913
James Bragington - 1914
Francis Ford - 1914
H.A. Saintbury – 1916
Hugo Fink - 1917
Sam Robinson - 1918
Eille Norwood - 1921 Silent short movie - The Dying Detective
Burt Lytell - 1921
Dennis Neillson-Terry - 1921
John Barrymore – 1922
Hamilton Deane – 1923-1932
Tod Slaughter – 1928, 1930
Richard Gordon – 1930-1933, 1936
Clive Brook – 1929/1930/1932
Arthur Wontner – 1931- 1937 – Movie Series
Raymond Massey - 1931
Robert Rendel - 1932
Reginald Owen - 1933
Felix Alymer - 1933
Louis Hector – 1934-1935, 1937
Bruno Guttner – 1937, 1939, 1942-1943
Orson Welles - 1938
Basil Rathbone - 1939-1946
Cedric Hardwick – 1945
Tom Conway – 1947
Howard Marion-Crawford - 1948
John Stanley – 1948-1949
Alan Napier - 1949
Alan Wheatley - 1951
John Longden - 1951
Laidman Browne - 1951
Carleton Hobbs - 1952-1969
Ronald Howard - 1954/55 (39 episodes)
John Gielgud - 1954-1955
Peter Cushing - 1959, 1968, 1984
Christopher Lee - 1962, 1970, 1992
Douglas Wilmer - 1964
John Neville - 1965, 1970, 1978
Robert Stephens - 1970
Stewart Granger – 1972  
John Cleese – 1973
Larry Hagman - 1974
Robert Powell - 1974
Rolf Becker - 1974
John Wood – 1974-1975
Leonard Nimoy - 1976
Douglas Wilmer - 1976
Roger Moore - 1976
Nicol Williamson - 1976
Kevin McCarthy - 1977
Christopher Plummer - 1977
Peter Cook - 1977
Paxton Whitehead - 1978
Barry Foster - 1978
Geoffrey Whitehead - 1979-1980
Graham Armitage - 1979-1980, 1985
Keith Mitchell - 1979
Charlton Heston - 1980
Frank Langella - 1980
Vasily Livanov - Russian T.V. - 1979-1981, 1983 & 1986
John Moffatt - 1981
Guy Henry - 1982
Tom Baker – 1982  
Ian Richardson - 1983
Peter O’Toole – 1983 (animated T.V. films – Australian)
Jeremy Brett - 1984-1994
Nicholas Rowe - 1984
Guy Rolfe – 1984
Dinsdale Landen - 1987
Tim Pigott-Smith – 1987
Anthony Higgins – 1987
Michael Pennington - 1987
Roger Rees - 1988
Ron Moody - 1988-1989
Clive Merrison - 1989-1998, 2002, 2004, 2008-2010
Edward Woodward - 1990
Simon Callow - 1990
Richard E. Grant 1992
Robert Powell – 1993
Patrick McNee – 1993
Anthony Higgins – 1993
1998-2019:  John Gilbert - Episodes 1-18
                     Lawrence Albert - Episode 20
                     John Patrick Lowrie - Episodes 21-65 & 67-until
                     Dennis Bateman - Episode 66
Jason Gray-Stanford – 1999-2001 – Animation
Matt Frewer – 2000-2001
Joaquim de Almeida - 2001
Richard Roxburgh - 2002
James D’Arcy - 2002
Andrew Sachs - 2004
Rupert Everett – 2004
Jonathan Pryce - 2007
Javier Marzan – 2007
Roger Llewellyn – 2009
Robert Downey Jr. 2009 & 2011
Ben Syder – 2010
Nicholas Briggs – 2010-2018
Igor Petrenko - Russian T.V. Series - 2013
Benedict Cumberbatch - 2010-2016
Christian Rode – 2010, 2014
Anthony P.D. Mann - 2011 (More like a thriller "spoof" by V Movies)
Samuel Tady – 2011, 2014, 2017-2018 (Tady Bros. Productions/on YouTube)
Johnny Lee Miller – 2012-2019
Benjamin Lawlor - 2013
Seamus Dever - 2014
Ian McKellen – 2015
Euan Morton – 2015
Gregory Wooddell - 2015
Paul Andrew Goldsmith – 2015-2016
Ewen Bremner - 2016
Jay Taylor – 2017-2018
Yuko Takeuchi – 2018 (HBO Asia – female ‘Holmes’)
Orlando Wells - 2018
Johnny Depp – 2018 (animation)
Will Ferrell – 2018
Nicholas Boulton – 2020
Henry Cavill - 2020
Ethan Bell – 2020 (Fan Film on YouTube)
Ethan Thomas Jung – 2020 Fan Adv.
      (Vagabond Repertory Theater Company—YouTube)

This list is not exhaustive. however, these are some of the
many actors who have played Sherlock Holmes on stage,
screen, radio and T.V. adaptations.