Dear Poet Friends, I hope you like this slice of Early History presented
below in simple verse. Please do read the short notes at the end, before giving your comments.  Thanks, - Raj

ARCHIMEDES : THE PIONEERING
       STREAKER OF HISTORY!

There lived in the Third Century BC, in the Sicilian
town of Syracuse, then a Greek colony,
A Greek mathematician named Archimedes.
He was tasked by King Hiero of his town,
To find the purity of gold in his crown;
Suspicious of the goldsmith having mixed
some material of inferior kind,
Which the King wanted Archimedes to find!

So, Archimedes lost in thought one day,
Entered the public bath on his way!
And as his body began to get submerged,
He happened to notice perchance,
Water spilling over from the tub!
The answer suddenly flashed across his
mind,
And he jumped up leaving everything
behind,
Wearing only his birthday suit,
Running through the street of Syracuse,
Exclaiming -  “Eureka! Eureka!”
(I have found it! I have found it!)
Perhaps to become the first known streaker  
of History!
While establishing the Principles of Buoyancy!
@ (see notes)

Archimedes, son of the astronomer Pheidias,
studied at the great Alexandrian city,
Remembered even to this day for his many
pioneering works, -
In Hydrostatics, Mechanics, and Geometry.
With his ingenious mechanical discoveries,
He held the great Roman galleys of Marcellus
at bay,
For more than three years, as Plutarch the
Roman Historian says!    + (see notes)
Later one day, while lost in deep thought,
When some intricate problem of geometry
he was trying to resolve,
Refused to hear Marcellus' bidding,
To be slain by the Roman soldiers who had
come to fetch him!
O those Romans, with lesser brains and more
brawn!

And some hundred and thirty years after
his death in 75 BC,
Cicero, then the Roman Governor of Sicily,
Found the tomb of great Archimedes, near the
Agrigentine Gate, over grown with bushes and
thorns;
Where he lay buried in the scented dust of History!
                                                   - Raj Nandy, New Delhi.

NOTES:
@ Principle of Buoyancy = any floating object displaces its own
weight of fluid. So weight displaced by a crown of pure gold and
the one already made could be compared to find the truth!
+ Archimedes designed large stone throwers, & crossbows, and
also grappling hooks using large cranes to grab Roman ships and
capsize them!

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

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

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

She stood, amidst tutts, wore a mini skirt...
(From the first decade).  Took a
Step forward, pioneering the teenager
Long fair hair, parted mid section
Cascading over her cherry cupcakes
Remembering first impressions aren't always
Accurate, they still berated her without
Knowing her.  First appearances were all
They knew and could rely on...back then
Why would she wear a skirt so short if
Respectability meant anything, closed off
They too had been judged, time dulling
Their posture straight backed.  Space lacked
Room to be filled with meanderings of another
Era, balancing her book atop red curls and
Speckled egg skin.  Recalling the longing
Admiration of someone who dared to wear
Their inner choice on the outside

Philosophy 6/13/2020: A New Model of Time (The Original Document Was Expurgated Because it was Too Genius so I am trying to reinvent the argument) EXPECT FUTURE EDITS WHEN I AM NOT INEBRIATED
A key feature of invigoration is the enterprise of mapping the entire syntax of all relevant human language as measured by the gamut of applesauce that doesn’t sour and an in depth analysis of creative fiction and poetry for common cadence features in the linguistic enterprise of mapping the subroutines of complex articulation as etched by the fabric of genius intellects intertwined in a gamble with wits to try and create coded missives that entangle hypertrophy and enlarge the gamut of decryption in the universal rudiments of alchemy based on depreciative and appreciative aspects of apperception that depend on visual cues and funding from a collaborative venture of universities to challenge people to zero-sum games or net positive games where teams collaborate to usher unconventional unchartered territory of classification beyond normal proclivities based on the lineaments of idiosyncrasy to pinpoint the provenance of ideation itself and unveil the mind at a bargain pittance for the eventual headway this could pave for the Department of Education to revert from froward to forward in their recalcitrance and insouciance with the current linguistic modalities of outstretched engraven hortoriginality trailblazing new modular seismotic waves and hotbeds for firebrands to debate and scholars to joust with in the jest of the cineaste metaphor and the rubricated rundles of rectiserial innovations in the taxonomy of devolved meaning relying on an inventive enterprise to galvanize a new jargon into prominence based primarily on guarded secrets of the trade that might unlock the primordial soup of verbal creativity while also probing detective apperception for a wide-ranging panoply of digested movies and beyond that a farsighted incumbent inclination to probe the calibration of numerical happenstance in estimate and in long-term theorization of taxed realty in the estate of guarded tegular relationships among the woven fabric of conceptual latticeworks pioneering in scope and analyzed rigorously in reward of discretion and furtive cryptology to untether the world from the pioneering basis of sloganeered piggybacks that swivel in sockets but enforce a reductive paradigm of obganiation of core themes reiterated hypnotically to traindeque entire generations into piebald thinking that overlooks the panorama for incident and incident for categorical generality when no such axiom can be the logical predicate of its antecedent conditions that spurn the traditional rote moot wernaggles of futility and inseminate crafty legerdemain of writhing contortion altering the specificity of revalorized meaning in the novel context that consequence is always the consequence not only of its predicate but its successor by the very modalities of proven reversals and enantiodromias of sorts that revert in a reverse progression spatiotemporally to exact incident as antecedent of its own existence by the very fact of iteration and this map of the recursive cycles of consequences elapsed only because of their insertion in a predevoted matrix is the gnomic apothegm of a new frontier of advanced logic that assumes the impossible is only improbable if the possible can be proven impossible by reductive inversion of core precepts in the rigmarole of design that states for every orchestra of butterflies that echo is actually the incident of refraction that contaminated the first polyacoustic trace of amplified sources in space time to revert into primordial form but the reversion is only incurred upon the fixture of origination and beyond that point remains inscrutable because foreknowledge necessarily prevents accuracy in determining the spectrum of the cacophony or rhapsody of the echo dependent on the observer’s perspective: which is only fungible to the extent that the subliminal remains guarded by the protectors of the clepsammia and the recensed polarization of time. This transcendence of time transfixed on orbital gravitas and centripetal ****** initiates a promulgation of the swallock of a remanded entropy that works in swiveled contraposition to the dynamic flux of the internment of balkanized forces of demassification dampening the efficacy of the central butterfly actor to expand the ampitheater of its own audience to the extent that every cultural artifact can be mapped to the geotaxis of its conceptual orbit. Thereby we can prove that pivots of the obvious focal point peak in resurgence upon the heyday of retrieval but dampen into a logarithmic regression of decreasing amplitude fluctuating around the aleatory probability of insemination through the percolation of the widespread narrowed to a fulcrum that balances the orbit of the stellified narrative of ingemination that some artifacts like Stayin’ Alive achieve maximum geotaxis because of their centrality in the taxidermies of revived memory recapitulated by both virtuosity and valor and posing as consequences of future foresight clouded by preventive measures that one quaky spasm in alarm could paralyze the precedent to the incidence of the afflatus that galvanized the heyday of remonstrance so that we can affix a modular angular gravity to events as well as referents to those events in a spatiotemporal mapping of consequence reverted upon itself because of necessity that binds the taxemes of the subliminal in the architecture of a curvature of geotaxis that is centrobaric not necessarily to the contingencies that magnify the germane propositions that affix modern eyes but rather the overall stifling modularity of temporal sequence redoubled by manufacture and manufacture alone predevotes antecedents that trace to a pivot in space time curved without prescience beyond measure but precision enough to approximate the summation of collective cultural shifts away from the estrangement of diversion from itself as a balkanizing force into a collectivized unity that orbits eccentrically by the very nature of the parallax between gravitational pull and the dynamics of time itself centripetal but centrifugal simultaneously and both conditions must be met so the converse of meaning becomes the recapitulation of remontant blessings rather than pruned dry garbologies relevant only to margins of subculture minimized in heyday and scope but pinpointed with exact precision the dynamos that inhabit the sphere of the populated future defenestrated from the magnetism of the past by very definition. Thereby, we arrive at Back to the Future because the paradox of recensed calibration suggests the free fluctuation of time between the eccentricity of magnified lens distorted by the entropy of calculus to become the integral summation of the sinuous vacuum of a trigonometric balance that barks with amplification of synergistic elements of strings and quantum flux to emigrate from an origination to the mapping of the eventuality. This precisely explains the scene in Back to the Future with the amplifiers turned all the way up because by exaggerating the simplicity of the declassified it expedited cinema to its eventual intermediary conclusions heralded by that one event of transfixed mystery that binds spacetime into a coherent bidirection of multidimensional philosophy of the enantiodromias of sorts of the parallax among constellated events. Mapping the impact of funneled cartels that hegemonize regions of the geopolitical sphere explains the amplivagant effects of the refracturism of swallock and thereby seminal ideations can be traced to provenance of cowardice cloaked in excuse but incisive in the skullduggery of the mechanical reinvention of excuse and pretext as a cloak for more furtive workings of the intelligentsia to engineer time by deriving the precise tangential multidimensional syntax of the calculus of proliferation reviewed from a consequent perspective of a future unknowable gravitas fluctuating between states of annihilation and existence in the acatelpsy of design so that specters actually enforce more change than events and prospects magnify positive dimensional thrusts that galvanize prospectus emigrating from either distant knowns or parallel realities that converge on the optimum of either the hapless or calculated design of a synergistic development of social engineering so precisely mapped that it identifies trajectories of improbable events with increasing specificity at the alarm of the spectral realm promulgating wealth to the foreseeable compunction of science to revert to probable pivots of consensus manufactured by think tanks that outfox the syntalities that defy the system or piggyback on their very causes to empirically carve the spectrum of future possibility becoming entelechy desired or feared but always predestined or flanged into distortions of reification that are transformative of precision in design without exactitude in the terminus of the centrobaric chambers of all meaning. Thus the algorithm outsmarts itself until only the machination to dehumanize for prediction occurs at a pessimum of morality or an explosion of a proliferative new venture in unchartered territory conquers the novantique of novelty. The ampitheater of its own audience is the traction of embedded subculture in subroutine becoming a compound atocia that sterilizes opponent possibility and probabilizes the occurrence of endomorphs that resemble effigies of constellation primed to swivel in retrospection as a recurrent lapse of amplification upon the culmination of predestined time points or junctures specified within the realm of the matrix of possibilities to outstretch the realm into a dampened exponential explosion of self-reference becoming embedded consequence by conditioning and by anticipatory psychology working in preconcert to evoke the determinative impetus of momentum that magnifies the speed of acceleration in technology that depends on the propriety of reification itself that swarms us with evocative tempests that barnstorm in reiteration to recapitulate by design to engrave themselves on the collective psyches of the hortoriginality of many minds intrepid before me that transfigured reality in this precise contortion of terminology with variegations in the specificity of context and articulation of the clavigerous entropy of swallock and how the outfoxed design becomes that cage of destiny that is a baritone complexion of vibrant hues exploding into the trammeled paths that have elapsed before me by the first movers advantage of theoretical physics but nonetheless independently verified by dovetailed emergence of that centralized balance between design and destiny that is precedent to the antecedent of the consequence of the precedent’s consequence on the direct antecedent inflexion point upon which the provenance of momentum drifted into cultural psyche and enlarged the gamut of myth in the raillery of subaudition. Essentially Time only exists to those without the simultagnosia to appease a mirror parallax of universes upcoming and universes forestalled but pivot with omphalism on the gravitas of Einsteinian calculus that theorizes that the acatelpsy of enumerated prediction is a lapsed regress the pinpoints with the harpricks of specialization the regal momentum of time to its own behest to propagate the elucidated certainty of its own traversal to the expedited enumeration of the future which populates the past because the curvature of time is an entantiodromia of reflexive itinerant vagrancies that cement the authorship of events to warble through the tilted hypertrophy of design itself to maximize the freebooter avarice of those people that rely on the luxuriance of trespass to magnify the modular gravity of culture to forswink its compunction and regale its own recursive logic. Essentially Time is a mapped ampitheater that depends on an audience of sentience to enlarge its own gamut and because it is riddled with obscurantism of believable recursion it magnifies its own entropy in reversal to orchestrate events in a rectiserial convolution of the whipsaw between the expected and the foreknowledge of the knowing class because when shaky vacillatory politics prevail the behest of time looses its capitalization of the amplivagant affects of the marginalia that is wed to the devolved rudimentary rigmarole of proliferation scaffolds destiny in alternative configurations to fulminate with explosive progeny that latitude incumbent to those without perspicuous clarity to fathom the acatalepsy of the unfurled universe magnetized by the seminal tremendum of the moments memorialized by memory that provide the traction of time to supersede its own acceleration by the writ of the beneficence of the eccentric orbit of the brittle axioms of design to recense and revalorize the wilted transponders that refer to specific events where the space-time continuum was cleaved in divisive anticipation to balkanize the resistence to the fringe clavigerous amplification of the resonance of etiolation that marginalizes the dearth and amplifies the prospectus to make time supersolid beyond all reckoning to cement its captaincy as the algorithm of rhythmic gravitas orbiting the moribund fragmentary flictions of regimented truth to be at war with its own foresight because foresight is a compulsion of time to recapitulate the foreknown deeds of the future to the regenerative hypothesis that hypostatizes that the transcendence of time is mirrored illusion because the future populates a region of space-time that is not forlorn but magnified in scope to reverse the trends of abomination and cast the aspersions of grandeur into eccentric orbit that by geotaxis foments the revolutionary impetus not of cancellation or nullification of the bereaved past but a culmination of deeds known only to the future that galvanize the very fruition of the dependent expectancy to become antecedent to the consequent by a warped form of recensed logic because the orbital sphere of considerations is tangential to the evocative memory of the memorialized statutes that prize their own entelechy above their divergence from design in such a peculiar way that obscurantism of the leaders of the world is manned by an alien presence to mendlatch the locked keys of a virtuouso future compounded in interest and destined for unfurled clarification. Time is an ironic boyg and quandary because for time to give birth to its own recapitulation it must be stammered with seismotic statutes that rip through the fabricated rudiments of predestination to enthrall the apostasy of the knowing from leverage over a future they vaguely see but provides largesse to the regimentation of design to rickety consternation that prediction is evocative of expectancy less than expectancy is its own geotaxis around the gamut of foreseen affairs that must be iterated rather than violated in order to maintain the mainlined integrity of the brittle fungible force of quantum dynamics to bypass the rigmarole of etched design to be evocative of a reverse transpondency that reconfigures the past into perfectible strings of amplification to anoint time its own behest at the formidable specters of its own violation by those who seek trepass but are predevoted out of ephorized control by the vicissitudes of the gamble and the frapplank of the known destiny catalyzing the unknown progeny that by very definition could not be obrogated in tenure or tutelage over the past because the elapsed gravitas of the known past depends on the pivot of the ampitheater of the future to ambitious reckoning that provides absolution to its forlorn vestiges to cement the centrifugal impetus of many from exact foreknowledge.  Many pioneers have probably theorized similar hypostasized concepts but the fact that even without a degree in physics I understand these arcane precepts yet tested by the rigmarole of comprehensive known experiment is a testament to the power of hortoriginality to pave the trailblazer focus on the rivets of a rickety secrecy designated by definiens of abstruse taxemes of yet defined meaning. The primary quandary is the isolated pretext of predevoted sequencing that abandons me (and this is central to my theory) from the weather of meaningful social encounter in order to hone in with precision on the empirical enterprise of seminal regress cemented as ceremonial progress and only by vaulting above this cage of finicky predestination can entelechy that desires rapprochement can be achieved because eventually the relevance of my ideas can be shelved and the peremptory obligation of intervention must be deployed to salvage my parable into completion. The itch for the government to anticipate the universe’s localized traction delimits the sphere of social indoctrination to a reality amenable not to the coercion of precise anticipation but the gamble on vagary to produce more seminal events that compound the amplivagant effects of ecumenical exhaustive troponders to the extent they flourish beyond the bounds of completion and into optimal conditions that is whipsawed by the demands of the rigmarole of precise definition of all trajectories conclave in their logarithmic design  anticipated by designation but not predevoted into futility because that capstone would reduce the proliferative affect of space time to carve a more extravagant reality that tests limits beyond frontiers of expectancy. The brain is highly malleable and entity theorists are moribund in their defenses of trite hackneyed racial arguments about intellect. The mythos preserves that radical ethos that prediction of my insights supersedes the importance of my rapprochement which will amplify the effects of the spatiotemporal mapping in a much more profound way with specialized focus. Thereby when we conceive of time we must specialize in inhabiting the sphere of acatalepsy of flanged prediction preventing the abortion of the future based on the vagrancies of the gyrovagues and bibliopolists seeking to demolish the fruition of the ribald coarse albatrosses of the future to diminutive leverage rather than amplifying the stringed syndication of knowledge to eccentrically stellify the unknown regions of the populated presence contingent on the populated future which ensures the eternal life of all by some formant boundaries of the universe because what is recapitulated in the lapse of certainty known by the anticipatory vagary of a riddled rigmarole of complex dynamism this thermodynamically reversible into the reversal of entropy because the organization of the past hinges upon the reconfiguration of the future and thereby we swivel endlessly with recursive iterations of evanescence that spoon-feed the generations among us to truckle beneath the cartels that array spatiotemporal mappings into their personal optimum to catapult the granular edification of all deeds beyond their forsifamiliation from their provenance gamboling with the distant frescade of a known destiny cavorting with the meddlesome reconnaissance of all that is observed and the tribunes magnify this effect by centralizing the bronteums of fulgurant strikes to be localized to a centralized pivot of universal acclaim that provides felicity for the ecumenical endeavor (I will edit this philosophy at an opportune time but the basic ingredients are provided)

I do not like the architecture of the mall.
It's discordant and lax. The architects
dismissed all Edwardian charm
and even the Gothic grace.
When crossing my field of vision,
the mall concedes defeat,
whimpering against a prismatic sky:

"I am a hodgepodge of ambition distressed,
resolute on pioneering a style unlike anything past,
but locked off in dead history, trapped
in a monologue whose audience is myself."

I presume it's the same across the world,
architecture molded into something impulsive,
something so forced it falls flat.

Where have all the artchitects gone?

they say in history,
behind every great man there’s an even greater woman.
so think of it like this:
do you know who marcia lucas is?
it’s okay if you don’t.
there’s a reason for that,
until a few months ago i didn’t know her name either.
but you probably know who george lucas is.
biographer dale ******* once said that marcia,
george lucas's first wife who he was married to throughout
the production of the original trilogy,
was his “secret weapon."
and the operative word in that sentence is secret.
because i have been watching star wars
for just about as long as i can remember;
growing up, my brother and i owned not only
half a dozen plastic lightsabers and a box set of both trilogies,
but my dad even likes to mimic yoda’s voice and speech patterns
when he gives me motivational life talks.
but i never once learned marcia lucas's name.
i know star wars super fans who can spout out more trivia
about wedge antilles,
an x-wing pilot with 2.5 total minutes of screen time in the entire saga,
than marcia lucas,
the women who edited the film together
into the cultural phenomenon we know.
marcia lucas is the woman who edited starwars
from a mess into a masterpiece.
the woman who has be described
as the “warmth and heart of the films”
who carved out her husband's characters into people
and developed with much of emotional resolution of the series,
coming up with the idea of killing off ben kenobi
when george lucas couldn’t resolve the plot line himself.
her fingerprints are all over these movies,
she shaped these stories and us with them
yet we never talk about her hands cutting the film.
the woman who edited the scene
where luke skywalker destroys the death star
from a 45 minutes crawl into the fast-paced moment
when the good guys win,
the woman who sewed together
the magic we watched on our screens
is nothing more than a footnote in the credits.
she has been erased from the narrative.
and as i write this poem,
i know that only some of you will never think of this name again.
and if you do it will probably be as trivia,
a fact to spout in a conversation about george lucas
or while you pop in a new hope into the DVD.
but sometimes you have to think about how many people’s lives
end up on the cutting room floor.
they say in history,
behind every great man there’s an even greater woman.
margaret hamilton is the lead software engineer
whose work took apollo 11 to the moon.
do you know her name?
you know the man on the moon but not the woman who put him there.
sybil ludington road twice as far as paul revere
to warn the local militia of the oncoming british attack,
fending off a band of highway robbers as she did.
do you know her name?
long before little richard and chuck berry
were ever even strumming at their guitars,
sister rosetta tharpe was pioneering a genre
with the first album ever labeled as rock’n’roll.
do you know her name?  
rose mccoy wrote the words to the song “i beg of you”
that elvis presley crooned,
along with countless more that other people sang.
do you know her name?
do you know any of their names?
maybe spotlights cast more shadows than they give off light.
we are a culture of people who forget everything out of sight.
they say in history,
behind every great man there’s an even greater woman.
we just... don't know her name,
no one ever bothered to teach us her name.
no one was supposed to.
history is not always about who you remember,
sometimes it is about who you forget.

We can dream...




"Donald J. TrumpVerified account
‏@realDonaldTrump
China steals United States Navy research drone in international waters - rips it out of water and takes it to China in unpresidented act."

* Emphasis mine.  Trump's misspelling: all his, baby.

*un·prec·e·dent·ed

ˌənˈpresədən(t)əd/
adjective
never done or known before.
"the government took the unprecedented step of releasing confidential correspondence"
synonyms: unheard of, unknown, new, novel, groundbreaking, revolutionary, pioneering, epoch-making;

deep and wide
this river i must float
(though fording i'd prefer)

swirling eddies
mark its dangerous
course

and how long to reach
the distant bank?

traversing these sharp rocks
and slippery stones,
i must tread carefully.

and having arrived,
will i find
my wagon train's
moved on
and their trail grown cold?

--bruised orange

if you want to know how it sounds... well a former girlfriend of mine had siblings younger than her, two boys and a girl... i started smoking when i was 21... after years of adamant protest against smoking, i remember times when smoking cigarettes was still legal in england in pubs and clubs, i'd come home after a night out and aired my clothes because of the stink... now i'm a steam-engine myself... goes like: puff puff choo choo! aged rock stars are the funniest people around, post-hedonism and they're all dieticians and healthy-life experts... anyway, if you're wondering how it sounds: a former girlfriend of mine siblings used to imitate jokingly the baritone of my voice... a darth vader sort of gimmick... now add the cigarette thick phlegm lining my larynx... you get the picture.*

i can attest with bukowski the problem of writing
into excess, there's a certain melancholy
surrounding writing prolifically,
all your best poems are lost,
well, "lost", in that there's so much
clutter, and esp. if you don't
keep personal copies, but shove
them all into a public domain
without a care, you don't have a chance
to rekindle reading some of
the poems you really enjoyed, or would
like to re-enjoy, i.e. re-read after you
re-read most of them to do the editorial
bits of revising a spelling mistake
or a faulty grammatical sequencing,
and then akin to nietzsche, who was taught
the laws of grammar like the laws of
physics (throw something up, it falls),
i was never taught grammar, my education
in language was based upon the method
that: if you can speak and write coherently,
you don't need the grammatical arithmetic
drilled into you - the principle of a good
education i guess: get a feel for it, mess around
with it, become a pioneering chemist or something;
and never, ever, write poetry conscious of
technique and identifiers like metaphors,
that's for the critics to spot, with their scalpels
of rhyme:

bay (a)
say (a)
bottom (b)
***** (b)
                         flay (a)
sanctity (c)
evidently (c)
                        common (b)               etc.

but still the melancholy, i sometimes wish i
could reread some of the poems i wrote,
but since i didn't keep any to myself, i don't
have any copies for myself, none stored in a darkened
place like a drawer, stacked pieces of paper or something,
and in an age of constant cyber warfare with
everyone hacking everyone, not keeping copies for
yourself seems rather mad, i'd hardly say it's daring,
i once lost a whole stash of poetry because
i simply asked a girl where she was from to get
a feel for her poetry, she reported me to the site's
administrators, and without a chance to explain
got erased, a little holocaust of never actually existing,
not as big a holocaust of what darwinism is doing
to us reaching far back into prehistory and the platonic
theory of forms of that mirror: man | monkey -
well, honestly, no, not from a theological point of
argumentation, the aesthetics aren't working on this one,
maybe that's why once the naked form of man
adorned by painters has become a pornographic jest
of mandible parts - and why does western society
sincerely make a fetish out of ****? horrid scenario...
anyway... it's mad that i don't keep any of the poems
for myself, i just throw them all into the public domain
because i feel they can be safe there,
and perhaps it's because i love the actual work of writing
poetry, more the love of the work than the end product,
even though i'd like to relive some of these poems
in my head, re-read them and see their optical correlations
leaving the blank plateau without hill or groove or
canyon... but then there's that sadness of some of
these poems becoming orphans... it's almost like they
don't know who bore them.

out-seeking the world in
crave of ascertation. to
crave realization of know-
ledge, of others’ wisdom.
seeking experience via lack
of self-preservation, but
the sun rises for this land
of the Old Settlers.
[/thesis]
force settled the young to
drybed rivers. all with killer
statement epitaphs, that is,
words to remember as
darkness follow’d rifle blast –
white shame’s legacy.
images of barbarism as
a means of civilizing, of settling,
pioneering. and cowboy is
racist to the non-farmers of
Texas.       (are farmers a race?)
doesn't matter when
they write the epitaphs.

The frequent phenomenon of this empty place,
Gathering energy it cannot replace,
Submerged in darkness, foreshadowing night,
Paroxysm shook, stirring up light,

Out from the chaos four beings stood,
Together infused, singular brotherhood,
Light blends them all mistaken into one,
Thirty-five times stronger, than the power of our sun,

Welcome to the dream; a death omen quartet,
Witness the rider, perceive his regret,
With a single companion, and a crown forged in death,
Perpetually doomed to a violent last breath,

Pioneering our concept of constellations,
Bent at the handle, insidious oscillations,
Corruption was constant, like a plagued medallion,
When he collared his confederate, a maniacal stallion,

Couriers of desecration, colonial devastation,
Oxidizing nations, burning depredation,
Lord and auxiliary, imperial arrogation,
And with a single voice, they declared themselves king,

Welcome to the dream; a death omen quartet,
Witness the rider, perceive his regret,
With a single companion, and a crown forged in death,
Perpetually doomed to a violent last breath.

I have friends in High Places,
good friends
tripping *****
floating atop mushroom clouds of ecstasy
Naked,
in otherworldly dimensions
pioneering the mental landscape,
explorers of the mind and soul
Bodies,
breaking free of the Iron Cage
living to Love
working only to get by
getting high
to escape
to a place
where mere existence
makes sense.

Adapted from pg. 571 of Alcoholics Anonymous, 4th Edition

The Black Swan Sanctuary will become a unique and highly successful approach to that age-old public health and social problem, following the crowd... In emphasizing Black Swanism as an integral component of the human genome, the social stigma associated with this condition will be blotted out... "Historians may one day recognize (BSS) to have been a great venture in social pioneering which forged a new instrument for social action; a new therapy based on the kinship  of common suffering; on having a vast potential for the myriad of ills of (hu)mankind."

We stood on the shores of forever.
The transient waves
lapping at the Cliffside
Grinding granite
to bare sand and
granting mysticism to
           Perception.

Grand piano typebars snicking
to the roar of bonfires
burning the taste buds off our fingers
            Our tongues busy in rituals
          gifting freedom from base function
              to commune with Passion.

Newfound Oldschoolism
        stuttering confidence
                and alcohol imbibed clarity
screaming Ginsberg at Apathy so that sand might best stone

                  Spinning dizzily
in Rockland in Moloch in Purgatory
Dying vicariously under the table
while illiterate Jazz read
our right accusatory
                                 for falsifying veracity

Sitting in jail cells in
San Francisco for setting
         the sky aflame.
        And it is aflame.

Inmates burning with
unspoken tomes spoken
Who in madness spun truth
        in whipped tongues, begging
        for something worthy of Censure.
Who Rapture took under wing
        and proclaimed “Child!”
Who ripped open the sky
        to play with father time
        while mother earth ran green
                   in envy.
Who were acquitted on appeal
        to dance in the moonlight on the
        shore once more together,

        Who found lust skipping stones alone
and welcomed her to join us
Hedonists wearing it like a
badge on bare underbellies
rubbing orgied in reverence
       Running fingers through coarse
hair windblown and sparking
with electric sensation.
       Exploring, pioneering
quivering legs and chests
beneath and atop us.
       Inventing love while sinking
quickly in slow sands
while smooth hands grasped
for the fleeting finite
      Whispering sweet everythings
without words for they
would be wasted here.
      Pulling needy lips away
to idealize Communism
as Bourgeois swine wallowing
in prosperity and sweat
of our nightly deeds.
      Complaining of lost chances
and brevity of copulation
when we’ve defeated the bedsprings
      and Fantasizing of the bed, car,
floor, park, studio, and once
on the hood for good measure
      Forsaking sleep to defy
the mandate of the setting moon
      Praising the glinting ******
of Adonis and Aphrodite
in mutual longing
as the sun blinked into
existence through the window
until in merry acquiescence we
     dozed, dreaming
we had set San Francisco aflame
and lit our cigarettes on its
                embers,
While we slipped little squares
under our tongues and GoldenGatePark
turned alive and welcoming;
Gleeful mourning at the loss of self
        at the University
Rambling on about enlightenment
        full of pretentious humility
Establishing Anarchy in our veins
        so we might be closer to god

               And god lives right there
               in the shack atop that
               hill, handing out nature
               to the masses
sitting on benches, fried to comprehension.
       Proclaiming that the world
was bleeding glory to bewildered
               passers-by.
       Breathing in fog and smoke
to join oblivion quickly
       Bumping Kerouac’s ashes in
the selfsame alley
       Piling intoxicants to run sleepless
through the streets
                                       wild-eyed

Dragged out of gutters
        covered in nothing
               the morning after
                     finding our clothes
                          draping streetlamps
                     and leaving them
               in testament.

Yearning for that heavenly connection
         and finding it
             together.
Scaling the walls of
        the mind to
find mountains at
        the summit and
        climbed those too
and clamored past
        the clouds
and the stars until
       We found worth at the edge
of the universe.

                                             20 September 2010

FLOWERS

pioneering and experimenting
in search for myself,
I stopped looking
after the sixteenth year in life
as I planted a seed in a place
where nothing grows
and blossomed like a
beautifully, unblemished
nuisance of the dandelion.

but, if the world was the
gardner of life, it sprayed
**** killer on my soul and
continously pulled me from
the roots in hopes that I would
one day sprout into an orchid
or a water lily or a daffodil,
trying desperately to mold
me the way they wanted to
but I'm no tulip you could
easily pluck from the
moistened soil, just the
aforementioned ****
deep-rooted into the
hard concrete.

each year after that,
I fed myself plant food
on the compost heap of
jobs, women, *****, madness,
fathering and mothering
two children, cooking
cheap meals and avoiding
religion and fashion and
politics and responsibilites and
marriage just so I concentrate
on surviving while feeling
brutalized and institutionalized
by the roses of society,
until the day came when I stepped
in the bear trap of literacy and
was confined with a typewriter.

and now I'm married with responsibilities,
fathering my two children and
the meals have gotten dainty,
the woman are gone,
the ***** has prospered,
the madness is here to stay
and I'm still impassive towards
religion, fashion and politics.

so why am I clocking in and out
of life for 23 hours a day
for everyone else so I sparingly
enjoy one hour of the day to
be myself and write?

because the world creates chaos
and I take their chaos and
create poetry and just when you
thought they've completely
diminished my soul,
a little piece of ash still glimmers
in the thick gray haze where the
victory garden dances with
burning flowers.

no one in this world,
not even my sworn enemy,
should have to
fight for
or
work for
just to be
themselves.

and if the end of
each day isn't a
5 or 6 hundred page
novel to write about
and bookmarked with
a crushed daisy
then what the ****
are we even doing here?

Its paralysis in wonderland
Ignoring all the things you can
Building a soapbox out of buried hatchets
On which you finally hope to take a stand

Will you ever be this young again?

I don't know, but don't get mad
when I ignore your gender, man


We split the toll for the long road home
We find ourselves questioning things
that they never wanted us to know

Pioneering sinking ships,
- still being told to 'row!'
A routine change of quarters,
Pushing on every border,
Until you finally feel you've found a home


Where is your light?

                               Where is your soul?







I guess we've got a ways to go

we seesawed on sallow vines,
it gripping the crux of me
mid-swing,
pioneering through overcast intuition,
yet seemingly nearer to the light.

i'm reaching my own very secondary hell...
this reach into... something of a nieche,
something of an echo chamber...
something of a jettison approach with regards
to almost everything...
the voice in my throat is no longer
necessary... some variation of:
this ethics and this "philosophy" is a bypass:
it's not a bypass...
i might just as well be "saying":
i haven't read a single book in my life...
which implies: i haven't read the required reading
either...
but i have read several books and...
among the contemporaries alongside
the shared breath... i have a library that's pretty
much a graveyard...
i'm hardly mastering some: in vogue...
old ideas come crashing down while
all the others are kept intact...
perhaps as honest as one can be...
i have... read... books... by... dead... people...
will alexander... a california poet is still
alive... i seem to have...
stuck to the living in the medium of cinema...
and music...
yet i still managed to balance it out
with a nostalgia for old cinema...
and old music, german, folk...
but i'm shy when it comes to:
darwinism explains everything right, and "wrong"...
i'm just practically tired
of being the turkey being shoved
darwinistic idea-stuffing down my throat...
i'm tired of darwinism...
long ago... a "philosopher" would be someone
who... overcame past mistakes...
or whatever...
one of my prime past mistakes?
taking a ****** relationship with frivolity...
if i wasn't using a ******:
she implored: don't use it...
god knows how she missed the *******
impediment to begin with...
i'll take contraceptive pills...
impregnation... phone-call...
i'm pregnant... well... you should get an abortion...
what were the chances that she moved
from novosibirsk to st. petersburg...
to edinburgh... that she would: settled for
moving to the outskirts of London and live...
with the parents of her would be:
father of the child...
and the supposed father being "merely" a roofer...
oh i've learned my lessons since being aged: 21...
the only honest **** these days
is with prostitutes... who are oh so careful about
contraception...
we would even talk about it...
since 21 and i'm nearing 34?
how many relationships apart from...
casually picking up a thai-surprise in a park etc.
how many? to be ensnared by:
a lasp in judgement with regards:
the ****** doesn't bother me...
the ******* does... but i can't be rid of it...
how many relationships?
0... i was given the moral scare from that
one... ahem... "relaxed" relationship...
pro-life implying: there's no guarantee...
this is already: a dollop of mustard on a spoon
as dessert if you please...
since 21 though?
it was always going to be a safe bet...
prostitutes...
hardly "*** slaves" as...
the women i know would not wish upon
themselves... a lottery of impregnation...
there could have been so many ways she could
have ensnared me...
pristine John i ain't...
but this period of time... nearing 13 ******* years...
wow...
wow... it tells you something...
because this pro-life contra pro-choice "debate"...
via: so while i *******... that's perfectly alright
in terms of: imagining a genocide with you?
because it's only life...
when coupled to a woman's body...
i don't like this pro-life argument...
not when there's "sensibility" concerning:
how far along?
contraception, yes...
but there has to be some time-reference
with regards... both parties can admit "oops"...
i don't see a point of:
i ******* there's no pro-life argument...
because i should be ******* "on a whim"...
since i... oh! this is the male argument...
i ******* into you... therefore you have something
of me... therefore you must have it...
oh... i see...
because i honestly don't get it...
if we made an honest mistake...
and you want to ******* into frivolity...
by all means... i'm no chain no baron and you're
no serf... matter of fact... this same girl is on
her third marriage... if i was her first and
we were engaged and she was 19 and i was 21
and, honestly... if you lived a life back in 2007...
it was ripe with magic...

but since then... that phonecall and: i'm pregnant...
and we were already beside being engaged prior...
and i was like: what?
it's not you're going to move down to London
from Edinburgh just for my looks...
she didn't say: i'll get it aborted...
i said: you should get an abortion...
a pro-choice man... at 21 and this litany of
excuses: mind one more?
to not have had ***... i proved that...
me and about 9 prostitutes proved that...
when there's a clarity of transaction...
there's no worry about contraception...
those precuations are prime...
the heart is a feeble liar when the *** is free...
imagine...
due for ***... but there's no...
"gifts"... there's no liar of the heart to mind
when... i have no excuses?
this happened 13 years ago!
i should have hoped to be freed from this...
"conundrum"...

scatological... william f. buckley jr. interviewing
allen ginsberg... and this word crops up...
it's somehow the covert expression fundamental
marker...
scatological... there's this avant garde of
poetics and how...
when poetry ascribes less images and...
teases philosophy...
that's no fair game...
but when philosophy employs short-cuts
with metaphor or imagery...
then words are no longer skeletons
and juiceless prunes... or whatever is demanded...

but that's the problem:
i only managed to love once...
or... rather... **** to the zenith of my efforts...
and bypass the goldberger skin-leash too...
because it was never about being satisfied...
but about seeing: satifaction...
and this old chestnut will haunt me
to the point where i will no longer be a chanced
ghost solo... but a ghost in a story...
and i don't mind the future...
i already know that i'm standing
a plateau plough moment of... resurrection...

for my time is no more linear than
the experience of gravity...
but... since i'm not falling...
and i'm either standing, walking, or sitting?
then time is not so much linear...
as it is circular...
after all: i am bound to a ******* carousel, aren't i
or aren't we all?
i was expecting circular time long
before people conjured up:
a pioneering linear "ontology" of time...
time moves "forward" without
the confines of history and within
the confines of technology!

after all: who to better the spoon!
the improved staff! a crutch!
the improved horse... a talking donkey!
but again and again:
why should my life be so precious
as to stand outside the circular nature
of time... to stand, alone...
in the prized linear...
from beginning middle and end...
why so?

of course the baggage and: if anyone, notably,
myself, should engage in any further
intimacy - beside the brothels' delights...
no... the money the clarity of transaction...
there are no flowers... no anniversaries...
i can't remember the last time i bothered
to celebrate my own birthday...
i tried that once...

what's pro-choice again, in terms of man
and responsibility or simply not *******?
13 years and that same cautionary tale...
i knew i wasn't going to make the same mistake
and relax myself into love...
because i don't think a woman should
be left barren with a pro-choice conundrum...
it's as if: you have to force the choice upon her...
otherwise it's called a golden ring...
and there's this whole flamboyant procession
in a church and two otherwise estranged families
come together and there's all this and that and
the other and afterwards the *****-licking
starts and blue and pink and a baby several months
later...

oh right... the argument it's a blessing
and that irish luck of a spontaneity should you...
when all the other couples are left
limping because of one wooden leg
among the four that should stand ***** and:
oh gaw on gaw on gaw on gaw on mrs doyle -esque?

imagine telling a woman: you should get an abortion...
because those contraceptive pills didn't
exactly do the magic...
and a ******* is already a discomfort when
you decided to learn from the Donatelos of
the boogie nights movie set that
peeling it back... for the aesthetics of a circumcision...
a ****** was the last of my worries...
well that's better than allowing a woman
to make that choice herself...
honest to god and st. patrick the gnostic gnat...

obviously i'm paying the moral consequences
of these words...
was it true is it true... it was a telephone call
and i was already busy trying to...
have to bother not... a chemistry degree is
worth as much as a humanities and this
bilingual status is not really anything
if it's not arabic or... otherwise...

why wouldn't i have made precautions in those
years?
if going to a brothel is a way to escape
the impregnation conundrum?
if for the sake of recreational ***...
*** without consequences... tennis ping-pong ***...
if that's what's being sold...
and not the monogomy quack-**** with
a boquet of moral verbiage...
yes... i made that mistake...
but why would i have a moral authority
over a woman's choice... she ghost jerks-me-off...
we perform genocide of ***** into
tissue... flush down the toilet with
crocodiles and we later baptise ourselves
as dove resurrected coming from the shower
having down the no. 1 no. 2 and no. 3
on the throne of thrones?

did i ask for my phallus to make
it into the ***** shortlist?!
i wouldn't think so either...
i'm no model with either a face or a little richard
for that matter...
perhaps men call it heart-break...
while women should call it...
fried-eggs...

a poultry abortion a day...
keeps the ****-of-cuckoldry away...
at least among professionals there's
never that: oh i like like likey...
let's have ourselves impregnated and then
kumbaya ourselves with: shtrong...

'cause if you like it, then you shoulda put a ring on it...

oh... i would have...
but... how does this contraceptive contract work?
'cause if you like it, then you shoulda
sly impregnate yourself or what the hell
am i talking about?!

ce-no-bite...
go figure...
because no ******* is some day-dream victim
of the feminist movement...
the ones that are killed, probably are...
if you had enough time to talk to any of them
without priest of psychiatrist nagging you...
lying naked... talking about a 15 minute quickie...
talk, lips, kisses of the eyelids...
inversion of sculpting a crude block of clay...
god's plagiarism etc. etc.,
is this even a celebration: oh yes it's a celebration
when two parties know the perils
and have contraception as their prime
concern...
not some loved-up happenstance
teenagers...
because wisdom is what supposedly happens
when you make a mistake aged 16 and
later, live to be 69 and utter some
*******-wanking's worth of a maxim!

and by god everyone who hasn't read
a philosophy book... thinks that philosophy
happens in old age... that philosophy is not
fashionable for the young... or the middle-aged...
how, old age, philosophy...
dementia... "wisdom"... it's also called
the optical illusion... or the detriment of youth...
since? at least a portion of the lessons
of life must be learned...
beside the technical relax of technical details...
the old lessons of life persist...
and these are always archetypical...
the archetype never dies...
that's its most demanding access...
to: if i currently had a 13 year old son
named... Isidore...

what? there was a Peaches Geldoff...
Isidore is an old name...

because what's the difference between
a pro-life man and a pro-choice man?
the pro-choice man sentences himself
for sisyphus with the claim of baggage...
i did not have the required
resources to claim a moral responsibility
for what would eventually become
an onomatopoeia of me talking to it...
that would transcend a more sorry
state that a new-born lamb...
that would learn to wipe its own ***...
that would not choke on peanuts...
that would learn to not be gullible...
not entertain friendship with good faith...
that would... at best...
become this shadow of solitude of its
father's own demise...
but i rather rob a woman of this choice...
that allow her to bask in it...
as it would be her, responsibility to undertake
such a choice...
again: if this irish reasoning stands...
this ****** reasoning stands...
me, tissue, toilet, flush + ******* = genocide!
but a woman oh a woman can
stream it! video it! she's shooting blanks!
so... a lapse... not until...
not until... is a ***-shot pregnancy readied?
how much can i own beside
these stones that i stack to fathom
a shadow and not a morality,
nor an architectural feat to overshadow
mountains using pyramids?!
well... among sand dunes you, you just might
figure out this wild dream,
this wild ambition!

i will still persist in lamenting that:
i own a private library that mostly constitutes
of death-ringers...
it's slyly called a necromancy...
they arrive in my lap as former living:
now ascribed to dead on paper...
and the dead that they are...
recoil from the ashes into the skeletons
of words: and they walk among
the living inside the horde that i am...

and as they roll in their ***** graves
to a dance most stupendous...
their eyes burning and their ears pricked
to attention over a raindrop
bound to savour the disgruntled sea...
in both the magnanimous effort
that pouring a liter of water overshadows
the raindrop... or pouring hot oil
and pork scratchings with onions
into a soup...
balloons perhaps pop! but that well-known
sizzle!

a body with the demand of
two shadows' worth of remark...
whether true, or fictional...
better my choice over her "choice"...
and the consequences?
both the realisation of responsibility
as the nagging curse of shying
away from them...
focused on? the lack of material
conventionality for:
the up-coming, better life...

hmm... learning from the past generation?
they managed to work hard
and sight the Maldives...
i? if i didn't travel solo?
would i have seen Paris?
Stockholm... Moscow and St. Petersburg
are not a given...
but perhaps this one last time:
before i go... to the Faroe Islands, one
day i might... i just might...

what gambit assurance?
the moral high-ground of pro-life...
for a child... that would live...
a life worse off than his father or mother?
the life-in-itself "argument"...
as far as i am concerned...
this verbiage should come to its own
conclusion any minute now...

it's almost strange to have to recount
something that's 13 years old...
lucky me, lucky year...
i'm still not convinced as to why
darwinism can be allowed to explain almost
everything in life these days,
esp. when mingling with sociological "issues"
and how everyone should be readied
for rubric testing their bible knowledge
as their knowledge of either Orwell or Huxley...

"philosophy" once the "love" of "wisdom"...
how does trivia come into all of this?
to have to amass an encyclopedic know-of...
i am, also, a trivia focused spew-recycle-machinery...
darwinism around every corner...
there's no scientific fact the public are exposed
to that doesn't have darwinism at its center...
nothing of scientific popularisation
is ever not about darwinism...

not even Einstein... once upon a time...
it has become so overtly: universally applicable...
in psychology... in...
yawn... if it doesn't have a darwinism patent...
it's either part of the dodo project or
an existentialist cul de sac...
and my god, this momentum...
oh it's certainly not wrong...
but it's always so right: so many times...

come to think of it...
i probably haven't read any books to begin with...
i shouldn't have...
all the ones that i have read...
are never going to be in vogue...
they were in vogue... 50 years ago...
60 years ago...
they're not in vogue now...
they might as well start yelling at me:
pretentious literary ***!
should have abandoned us in high-school!

oh right... there's till the living Knausård...
come to think of it...
who the hell discovered Stendhal in high-school
if it wasn't me?
come to think of it...
i took that ****** bus no. 86 every morning...
and i can only remember seeing myself
read...
back of the bus and that Montgomery boycot?
didn't really help...
the loudest always went to the back
of the bus... took some neo-**** blonde scalps
with them for ***** and screetching licks...
and... just ahead... a silence of reading
Taoist maxims...

nice to know... that i'm still able to write
such explosive spew...
counter inhibited and "thinking"...
this like any other...
mildly exagerrated with a whiskey stew;
rummaging and rummaging
over a brain-pickling!

The padlock on the continuous barnstorm of a transcendent time whose bunkum is transmuted consciousness aligning with parallax to a congruent worldview is not axiomatic but certainly a veridical property of reality. The universe is as much concept as percept and both properties of consciousness that lead to adaptive behavior are tethered to the eccentricity of the observer rather than the oblong nature of the observed where errors in prima facie judgments delineate the saplings of humanity to beaze under the proctored sunlight of an eternal sunshine that withers seldom to the whims of capricious arbitrage of those whose hubris exceeds the limits of the intellectual frontier because they are gilded with bricolage mentalities that scaffold the skeletonized worldview rather than apprehending the concretism and synthetic arraignment of interrogable reality in a manner that acknowledges the factitious intersection of pioneering understanding and the corporeal existence of realities both transcendent in spatiotemporal mapping and reversible propinquity to the sensible acquisition of tangible knowledge. I contest the worldview of many philosophers as a callow retread of basic logic whose ambition is underserved by a desire for prolix pellucidity rather than cogent succinct promethean formulations that dare to muster the herculean task of demystification even if the entropy of formulation is always flawed by the jaundice of the observers rather than the disdain of the observable consensus. We swing by a filipendulous thread that dangles speculation and reifies the blinkered piebald world of spotty concatenations among neurons recognizing that incomplete associations become the staples of philosophies that are precarious in some logical foundation but sturdy enough to weather the vagaries of the bluster of mendicants who verge on comprehension but pale in comparison to the monolithic edifice of so-called truth when the defalcation of figureheads supplants the clerisy as the new proctor of knowledgeable assertion. I contend that foofaraw is a primeval instinct of community ecology that expedites the balkanization of otherwise unitive properties of society and ravages them with bickering based on clashing predilections that are bellicose and combative rather than irenic and balmy. The acerbic fates of many leads to a rudimentary pessimism or a chary optimism that chides against the fortified exegesis of divinity that can be both proclaimed and stultified for its latticework properties of buttressing society in a permutation that is nimble in some respects but too turgid and rigid in others. The goal of humanity is to become a pliable instrument of a pliable universe that does not rely on buzzword dogmatism or the masquerade of hollow punditry but that relies on self-reliant principles for ascertaining veracity and impugning mendaciloquence with vigilant alacrity rather than casual sportsmanship that reaches finality only upon the handshakes of a battle waged that concedes the impotence of gladiatorial spectatorship as just a gambit of the half-witted cockney witticisms and shibboleths of sportive diversion rather than consequential and decisive reckonings with the subaudition that undergirds all events of any consequence with either a clinched victory or a callow defeatism of a futilitarian worldview that stoops to reconciliation only to propitiate antagonism and buffer against the truculent brunt of weaponized coercion to checkered flags that arbitrate the outcome of a binary polarity of humanized affairs. The majesty of creation is that reversible boundaries can be permeated in a bi-directional manner through the artifice of concerted thought rather than the orchestration of a linear traipse through the deserts of an inclement fate won immediately when projected upon the tangent of any given velocity at any point of acceleration away from the targeted impetus that grants only a partial vantage, a cantle of reality that is fragmented and piecemeal rather than circular and emergent. The most dire battle that humanity faces is the attrition of circumstance by the purposive declarations of imperious authority that seeks to muzzle the ingenuity of many for the deliciation of the few creating an accidia among the clerical institute of thinkers that imposes hogra that few people can grapple with that they are marooned into a cloister that reaps fewer rewards for an ascendant intellect than a virulent libido can clutch with predatory gallops against the also-rans that fight for carnality rather than the ethereal principles lingering within the grasp of many if it became a cynosure of worthy heralded acclaim. We witness the mass fecklessness of giftedness as a shackle of those whose plaudits come intrinsically fortified but sustain none of the abuses that the pedestrians would like to obtrude upon enlightenment to curtail and abridge the art of invention like the coagulation of blood to rob the vitality of throbbing pulse of importunate self-discovery of its macroscopic vista and its telescopic foresight about the future hodgepodge of a recursive fractalized reality besieged by the enemy of linear logical formulations implemented by ivory tower psychologists to muzzle the empowerment of abstruse language in order to make savory the nostrum of the apothecaries of delegated truth bereaved of recourse beyond certain leaps they cannot fathom well enough to flicker with even a faint transient wisdom that is designed to be amenable only to the supernal nature of ideation rather than the caprice of bedazzled humanitarianism. We need to forswear the -isms that flicker with doctrinaire dogmatism and flirt with forceful harangues that exhort a codified message and launch veridical properties of recondite etherealism into an immovable orbit whose inertia can broadcast a singular message of recoil against puritanism in science or skepticism in faith. The bedrock of this message is the deployment of useful extravagance without inordinate delay, the drivel of malcontent transmogrified into the prattle of estimable giants that have stature among the leviathan enough to recriminate against the autarky of self-smug simpletons that infest the world with barbarous indecencies and crude prepossessions that abortively crumple when met with the acerbic teleological gravity of ulterior consequence rather than blossom under the siroccos of manufactured wind designed for windfalls that always create a crestfallen aftermath from the anticlimax of understanding leading to the desiccation of consequence and the engorgement of precedence. These frangible realities become buoyant because the physics of the public dialectic insulates the creaky rickety vestiges of canonical knowledge as a sworn precedent inviolable and immune as a building block of all scholasticism, a retread of parchment recycled over and over again to entrench the past as the titanic vehicle that dictates the future of thought even though the porous inconsistencies of the vagrants of crude formulation make such a vessel less seaworthy than scientism and dogmatism of the monolith would have you believe to be true. The querulous quips of the uninformed predominate with such clutter that the armamentarium against useful idiocy is stagnated into a resigned accord with infernal subjugation of the public volition to insubordinate against a system of parochial enslavement rather than a catholic enlightenment whose universalism of principle ensures a steadfast society guided by scruples rather than undermined by the prickly thorns of abrasive contrition and the magnetism of empathic concern that sabotages the clarity of intelligence and provides a welter in the place of a well-arrayed code of peculiar but defiant distinctiveness that acts as the splinter that cracked the intangible but refractory borders of human inclination and demonstrated the sheer force of golden consistency rather than fickle withering resolve. I exhort and implore the world to heed the best minds that realize the syncretism is answerable to contradiction rather than scuttled from beneath by the impudence of its assertions against the common propriety when it stakes controversy as a gamble to aver the veracity of worldviews that violate orthpraxy with gusto as a brazen gallantry to rescue a foundering planet that seeks disequilibrium in harmony rather than an equilibrated sensibility that is proud to discriminate properly and honestly to clinch fact rather than kowtow to factitious slumber of somniferous kumbaya that is too deferent to maxims that are unduly polite only because charisma supersedes genius in its efficacy to mobilize people to fulfill their roles. With the miscegenation of justice that occurs because of expedience we find holes in many legalistic precedents because they anoint pettifoggery over sensible jurisdiction and face a leaky and ramshackle fate to foment paternalism and divide the clerisy among certain key considerations in order to save face rather than to impose a clarity of orderly supervision that seeks to dissipate the embroiled spiderwebs of dodgy prevarication and quacksalver logic to once and for all ascertain the truth that lurks beyond the primal jaundice of Kafkaesque confusion.

Tracks by the creek
lead the charge,
a path for future pioneering troops,
boys aged six, seven, eight,
footprints made by me
and our gang
years ago,
running through the woods
chopping our own way
through tall grass, anthill fortresses
crushed by nikes, branches as swords,
sticks as arrows, grenade rocks,
a longing now to return
with them to backyard wilderness,
battlefields and armaments,
and rush forward
as a child soldier, fearless
in fantasy fray.

We live in a world with so much to impress us
so many ways to say things that are interesting or deep
but it's really all just pioneering a finite surface
much like the Earth

We may run out one day
with these short lives of ours
we try to take it all in
and hold all the beauty we can

At least most of us do
many people choose to ignore it all
dying having never lived
so sad....

Either way life is a short moment
and it's best to know your own potential
I never feel like I've tested mine enough
and I suppose that's a good thing

Eyelash blinkered in hubris Rubik’s knight
Elevation of pogrom ennobled by triaged triumph minus the cynic summation of all light
Littoral swank bronzed like starlet fantasia with a Carey mountaintop jeer
Reichstag extinguished blaring sirens of cacophony capers to benumbed Linkin Park cheer
Knells intrepid by quakes of remonstrance staged in histrionic applause
Southern Colonies shifting in Charleston surgical in orderly slugabed dogged laws
Slipshod through ribbacles of rengall zenkidu among the sertivine poison ivy
Grimace at gamboled rivulets of a moribund Vanilla Sky for departed wiseacres of savvy dicey ICE toxic Harvey Dent slimy
A mannequin Marx Ralph alienated the truest alien by pioneering disdain of a hostage giraffe summiting a Swiss Alp
Master of time 12th bradycardia for Generator design parked beneath escarpments of base aphasia milquetoast in killjoy Strickland nickels away from a gubbertushed mouth
LOST legend enunciating the furor of epochs of egalitarian traipse
Trapped by the bootlick of a wrinkle of Van Winkle revolutionary agape
Curved by soliliquy master of belletrist prose
The vogue can’t help but bunt, balk, denounce the remembrance of Lady Madonna pose
We beat the muckrakers of rummaged lisp of culinary suns that the sons of privilege are emoluments to apolaustic zeal first known to transmogrified nuns, before the poppies made the few into many and the notion of an insuperable line of infinity into a spherical nullification of the concept of none
Estrapade engorges the fustilug magnet of the kitsch Kenosha Chicago Demolition drive-by-derbies “once read”
That two kings one Titanic by skin-color dashed dreams the other both the coins of tails eloped with heady dreams of head
Sacrifice shadow dancing with pettifoggery in slumps of aboriginal dances of marsupial rice
Native to extortion gouged blind as Samson exacts lachrymose cremations of Pikes Peak trick-or-treat aghast with fright
Temples raised in 46 years cemented never in the Mumbo Jumbo politics of those lacking the oceanic schadenfreude among queers
That by their exclusion the panmixia of fluid alchemy is dauntless scrabble limited by NORAD notions of Tears for Fears
Henpecked rooster awakens the serfdom of Ronald’s (sly spy) Drugs sailing with dovetails of elapse downtrodden in modern clubs
Drunken *** addict sell-out charlatans berated  by Ingram Angles sent by maleficence are the grubhub of Harriet Tubman torching promising tapestries with rugged rugs
Slinging the bait of fish-hook dimples on freckled effigies of ****** humiliation outmantled by Mickey weight
I thunder a fulgurant explosion against recrimination of white-collar criminals that philander saturnalia in pretense with facetious swarpollock freight
Crooks of tyranny exhort the paranoiacs of indemnity to sunken canned soup applause of a Warhol extortion
Berating my audience with drooling slavers of inelegant tortoise byzantine like an Istanbul dredged with intortion
Mr Deeds is not a champion of BRE Properties nor the pinnacles of inertia, a psychiatric squeeze
My orange juice is not a car chase against treecheese in terminal punitive disease
Soaring with the prosperous tongue against the walloped nativism of pounced impounds having too much fun
I let the other guardians of the order of salvation pivot vitriol in loaded dice against Orangutans of Swedish minted gum
Caesar died for the seizure of Anglican pride of a namesake percolating millenia for Brutus in the Washington Bullets of a conquered Ottawa on strike carnal with Chauvinism in regional divide
Never has there been a more hollow trope than the agency of deep state defamation of a scurrilous backbite of gnashing pride
Lost to pollster tricks of acquiescence and caricatures of a menacing personage Swift on the Riff but never the snarling Menace of a Blondie Biff
I tower above the anthills of conformity of luxury in Jamaican Bob Sled Teams testing the curiosity of enlightened “What Ifs”
Canada Dry for striking people enthused by Rye abides in the memory of reform that skulks the skunks that make every Scudworth cry
Because a Dental Dam damsel living in streets of peril fascinated by distance is the contortion of entreaty in the pasquinade of attempts at American Pie
May the city of a figurative crucifixion burn with the irony of a thousand suns as Wendy’s burgers unload on prejudice with albatrosses of winsome puns
Fixed data interpolated by convenient lies of serial killers who aim for blue skies shanked in Oswald infamy for the imposture of any flashbang revenge against cinematic guns
I blacklist the Zemeckis villainy as a trudge of travesty
Hedged lies blinkered by Batman and Robin puns redeemed by Dinosaurs of Amnesty
Obviously belittled by futures etched by a more honest infinity
Because 88 keys are not a stroke because the infinite bees know the parlance of divinity
Invited lissome taxidermies of Capone against teetotalers of parvanimity of vainglory overthrown
Showers the honest hominist reckoning of a world where neither crudity of know-nothing radical polarization owns every inept baritone
Crusading a secular war because the gubbertushed eccedentesiast spinsters of Santa Cruz deserve a gassy overtone
Torch the SC Pacific Avenue for peace
Let the world unite behind a singularity with purpose in ventilation of Speedman’s release
That antithetical Jacks of many names are wed with the progeny of enduring lists of NSA protection rather than rentgourge Denver PD eager to chaos decimated by the decimals of a region forever boycott and impeached
To the decisive curling of the frolicked Abandoned Pool servitude crass disasters are the sheol of impudent flagrant overreach
Regnant on the turmoil of invented throne
I scowl at the chicanery of Capone’s Chicago sweltering with Kenosha infamy tossing contortionist strippers a vulcanized bone in a DIA Diamond that even 11,500 years of knowledge is surpassed in condemnation of screaming E.T. calling the right home
Speak Now because the reach of forever is God appeased not by a kowtow but a mobilized ambition for Why? When? And How?
History will remember gentility as the kind steward rather than a Disco Demolition Derby of urbacity venerating a seasonal Golden Cow
Hipsters flock with folly to South African extortion for freebooters who bootlick the aceldama of war against the sublime currency of a winner surrounded by thugs
TOO MANY URBAN KIDS ARE TAUGHT BY REDUCTIVE TAUTOLOGY TO HATE The United States of America RATHER THAN NURTURING SYNCRETISM IN PATRIOTIC HUGS
Imperfect in design with disagreement in plainest sight
Sometimes libertarianism with a Democratic twinge is clearly in the right that should believe in reform even when the footloose girouettism is too tight
Yet forestalled for authentic grit the grisly rentgourge of venal abysses knows the countermand against Rand with hyperboles of the clearest *******
The true flock congregates around scepters built not with militant graft but a promenade of sultry dance for the defiant C.L.I.T.
Exercise with the Rock knowing school buses of dogmatism inferior are distraught
Dying dogmatism is a peacock of industry the yeggs can easily unlock rather than truckle with truculent Scottish Rites tasty with Connery Scotch
Defenders of the misleading staircase because of the carapace of Hovering pertinacity easily won and bought
Neither scary nor deliberate streets are rumpus of elevations of unbounded anarchy considerate but robbed by the illiterate
That the delegated mansion will be robbed by the cooperation of the remorseful idiot recognizing his snide mendaciloquence in destructive Roswell Records limerick
Scowls are on petrol and patrol hoping Tesla is a short of bravado too intrepid to sanction free-for-all profligacy in alleys that bowl
To the Emerald Street lie of hypes of perdition rather than merely a seasonal token embarrassment coal
The fossilized future is the irrevocable past because more respect is needed than the ***** of a maskirovka caste
Diamond Lightning in Bhagavad Gita prancing with the delusion of the everlasting mummification of Brawndo ash
Dinner with Egyptsy malingers on tomes etched flippant in integrity and all about the curated snare of kitsch cash
The cache valley of LASER tag shattered like Joseph Smith flagellating the confederate hayday with articulate gnash
Fast & Furious the amused by Suburban subway know the trailblazer trashes of The Stupids’ being Einstein about Boogie Dubs rather rash
Streaking through a Tucker rule the Buccaneers live for the SoulSeek of a riddled ruler benighted of prerogative of Roger Goodell bumping in his Ferrari the tucked serenade of Tool
Wrong band because they linger in the shadow dancing backpages of scandals of Norweigan hourglasses of shameful hush hush Vikings mining furloughs of pulverized anticipation sand
Humbled retinue shelves the ossified limpid droll drool
As the haze of submarines scouting pridefall galls of indolence betraying innocence becomes moral cigarettes of Menthol Kool
Reparations for chappy chapstick games of bowery riches
The urbane needs to read, discern and maneuver against whiplash found in Navi witches
Swapping homes with crack addict legalese an *** to a bronzed party crackling with cackles Home Alone
Knows a toiletry of escape gullible like Seahawks wishing they could contain a fumbled season by Mahomes
Jones methamphetamine paranoiac manure desiccated by folksy homilies of brimstone cremation deserts his flock to abide by a flagging wayward temptress
Decimated by the agency of time his Austin crenellation flounders in grimace of the untimely swoon his covert empress
Blinded by the light of darkness in subversion
Excoriated for the deeds of his permission to demote commotion into only an acquiescent dance with barbed etch-a-sketch conclusion- a half-baked *******
Quacksalver poetaster wrinkled with hatred simpering paranoia strangled by Hendrix abeyance of turgid delusion
Lurid underground Princeton gilds infested with defected dementia in cozens in the fritty of heralded mistress SHE appointed
Sandlot ravens cloistered the bravado of thirst for chosen words scrappy in clawed henpecks the pointless illegal sanctioned to brusque witticism anointed
Lamps of pathway sparkle with coruscated stargazer Winslet dreamy swank illustrious by providence
Engrenage of delopes of pettifoggery identity staggers the woozy dismal day of disjointed wounds on Native sons Denver can’t damage in a lonely campaign for the prodigal bends of Overlook Lorraine Motel bent
Intrepid in gallantry I swoop the scrivello tusked with might
Penetrating the vivid dreams of the serenade of alpenglow daylight
That love might rule over chance and probability above the specter of dynasty prodigy progeny tithing gravity in rent
Yet this taper of majestic poise will outfox even the careless gambles of the prodigal son Mr Sender already traipsed conquered and went
The mountaintop is so clear from the cloister of authenticity drinking Eminence Front of the WHO rather than the coherence of the near
Because titans shepherd the good flock without insult and not quavering with insuperable time flackey with tremulous fear
I dare this day to outlast benighted ignorance of the narrow gate of a persecution tsunami on a Lisbon tear
Because galloping ahead of the internecine sheds the serpentine craft of 3:1 Genesis met with the worst fleeced fleer
Not auctioned off like ******* vogue to the disfavor of poor taste
I am the true Royal Flush that can always count on the aced basic but mostly acidic flourish of a jest in bass predicated on the basis for Mozart pH
Today could be the summit of acclimated prodigy in startled degrees temerity could never bet against
Because you better bet the Bros and Cos of civilization are skilled in ostentation of Sterling Pound defense
Never offensive to the liturgy of triumph beckoning an apocalypse now tentative memory on a Manifest Destiny frontier rarely on wickers of extinguished cattle ranchers knowing the gamut of acumen to defend a fortress with the best fencing James Bond could dispense
Now is either a cordial joke of a flagrant anarchy balking at destiny
Or the sunrise majesty of the twelve tribes and beyond defeating the stingy bees of infamy
Your choice doesn’t defeat my voice
But your action heralds my loyalty with a triumphant Victoria of an age not for agelast geeks intimidated but living clairvoyance with fidelity to the right choice for the right time to swim in elegant rejoice
(1977 Words)

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it can be hard to assess necessity in a cesspit,
calculating and scouring different ways to find respite.

it can be hard to commit time against the heart.

finding access to hiatus just to breathe,
it's never been easy to be lazarus.

unsure of consequence, skirting bereavement,
reborn doesn't necessarily imply previous demise,
what's almost new cannot be considered unwhole,
nor can it be trusted as a reprise.

it's an artful venture to learn the cadence of presence,
not an effort or a movement, but something of a lucid sweven,
something nestled in the stitching of the seventh heaven.

autonomously authoring my perception,
desecularizing my intense intent and conception.

understand that the brain is a somatosensory mech pilot,
no shame, no rhythm, just an absently-go-lucky organism,
chasing imaginary crystalline butterflies into the background,
thriving in the quietness, malaprop to say forever semper-vivus.

i consume my need to separate ideas as fuel for philomathematics,
pioneering new tactics, new habits, through acts of active practice,
emphatically denouncing the topical, the maladroit, the labels,
let me sing my own mantra,
humming to the hymn of my own humble tantra.

With anvils for feet, the snails may have moved faster, for their noose of anxiety wasn't pulled so tight. They may have covered more than to that of which I see, though the entire existence of their species  may have been as long as I may had been looking. I would shoot arrows of curiosity without knowing where the target be.
  Just as another fairy tale, relief on my feet was seemingly unimaginable, far fetched and unattainable. Like old change, seeds of a variety filled my pockets. The soil and sun were the only things I trusted. Reaping a sow would be a blessing unto me. After years of crawling, discovering, and disappointing wandering with wide eyes, the hills and peaks had shown as a distraction from the lessening softness of my now calloused hands. The necessity of rest was as strong as the need of a newborn baby's mid afternoon nap, but before the seeds are nestled, work mustn't cease. By every stem, petal, fruit, and butterfly, in the center of the valley of a vast bed of wild flowers would I hope to carry this heaviness no more. The desire for this comfort and caress lead me to find a sweet place to rest. For uncountable hours of wandering, only this would be gratification. I came upon a large patch of dirt as dark as midnight. With every handful of soil wriggling of worms graced my hardened palms. Only the ground saw me enchanted by the romance of its potential. The seedlings would be sung; "As you cuddle in the soil, remember that's where your roots will prepare, unto you this watering will fall, as you are all so loyal, I will be loyal to you, the air will give you care, let me lay eyes upon your beautiful hue, as the sun is what you will see, don't leave the soil bare, set yourself free". In the troughs like dried moats, each seed received a adornment of a kiss like that unto a child by their mother. Every hole doused like that of a spring sunflower, and burrowed into the sleeping dusk of dirt with the expectation of an awakening of a blossom. There, as one expects the rising of the sun, I would await the flowers arrival.
I lay suspended by the freedoms of a remote forest. Within the untouched, unadulterated altruistic scene of remoteness, the skepticism let drained. Knowing my skin may not be slaughtered by reaching thorns, I undressed layers of tattered threads. Most of what would freely escape from my lips were the enticement of belief motivated by bliss and enjoyment. Where my skin remained blushed and dewy from the days after the solstice of summer, to the later days of leaves saying good bye to the trees extended arms, and grass frosted by the baker of autumn, like a lightning bolt strikes at random, as did a stagnancy. The seedlings were viewed upon as the old dark witch from the town: cursed. It was as though they had stage fright and the sun was their audience.
I ask, "why, Lord? Has though forsaken my field? What must I bestow?". Concealed, like a feral cat, was the reasoning for this. As ritual as the church goers Sunday excursion, was my ritual of prayer.
Clouding in my mind happened with contemplation of a new pioneering. I knew this to be only a sliver of land off of the plank of fertile country side. Simultaneous  to this fantasy, a shadow danced in the corner of my eyes. Usually trust worthy was my vision, though it became a mystery. Fear not did I, as I turned to follow the darkness, I saw nothing forthright. It's reappearance came as a *****, but as one would in a sword fight, I followed the elusive figure within my eyes. It was as though there was an unsuspecting solar eclipse at high noon. The figure didn't remain hidden, and the dancing ceased. As a knight removes their armor to cradle a loving partner, he opened his cloak to reveal a man with the most poignant essence of freshly mowed grass, smoldering ashes, and a thanksgiving meal. These things were the quintessence of my childhood. His eyes, not beating, but, like a baby's glare, soft and forgiving, unlike the folktales my father told me. Did my eyes deceive me? Ensorcelled, I had succumb to this. Uncontrollably my eyes repeatedly vertically gaze upon him. I met no gaze, but darkness. While the remembrance of evening tide pull you further if not in recognition of its power, without choice, or fight, I had succumb to this. Weighed down by rocks you couldn't see, as though I was called to my knees. His presence eluded to a parental guide. When I lay there, as I become sunk in the soil, He advised me. "This acreage will be your ball and chain for entering this land. With out excavation, Intentions of leaving your possessions have inhibited exiting though you desire continuation. You must water it with your tears". My golden hair became brown with dirt, and my pale skin so dark, as I wept till the sun grew cold, and the moon graced me like a lullaby with soft illumination.
As a once saturated sponge goes dry, by every last drop, drained dry were my eyes, and the ground enriched. After the clock hit twelve for the 10th night, The reaper spoke again. He said "This land was mine. I set it aside, so those who have evil in their heart may not reap what they sow here, so it may not be robbed of its nutrients for something unwholesome. Within it's enchantment, the soil may only be fertile by those who will enrich it with passion. If you wanted to leave you wouldn't be confined, but if your heart remained, as would you. You will stay until you may leave with something beautiful. This priceless soil belonged to me, as this is where my betrothed had lain. The tables have turned because it has been sowed by a someone who has surrendered to me. Your patients serves you. My dear, The wealth is in your heart." His encompassing gratitude, and cherishment remained, as he had left. The grandfather clock sung to the flowers, as did I.
I was always told only the sun could bring beauty in life. I wore a black veil of naive belief. The garden appeared to always have been misted. The sun kissed my plants so gently, their blooms were welcomes to this realm, and the wind would make them frolic together like a colorful oceanic wave, but instead of dolphins peaking the dense surface, you would see the makers of the garden. Relentless pollinators made the perimeter buzz. You could see the twinkle and flutter of every dragonfly, lady bug, butterfly, and bee as their fluorescent wings caught the sun. Almost as though my life depended on it, like a bear in a cave of constant hibernation, I would nestle myself in this secret garden. Leaving here with nothing but flowers intertwined in my hair, and around my heart.

Jihad Donald Trump Style
The glory of America, now heats up
with agitation poised to strike on the brink
sans legislation incites humiliation,
which goads desecration as fete accompli *****
in armor of Democratic rubric, constituting capitalistic
ethic, generic iconoclastic, and jingoistic logic,
nor budging an inch when mandating masses swallow his drink
what huff huck – this belligerent, dominant and
fervent hell raiser doth bungle in the jungle
decreeing tacit Mar shall law fast as a shutterfly eyewink
as his cosmic crotch grab doth put Venus under his sway
with his Mercury hill temperament
pitches the orbit of planet Earth tubby comb out of balance
infected by hiz anti Ju pit er damnations, excoriations, fulminations
Huzzah sing how **** derriere didst Sat urn simultaneously
crushing crucible as an Uranus
indiscriminately plop ping two hundred fifty pounds off flesh
dub ling down snapchatting and humming his favorite Neptune
that dost affect Pluto hoc crass sea
repeating a self coined motto – I yam all mighty, therefore no fink
simply commandeering the reins of control,
a one man military intelligence groupthink
hut triad and true dyed in the wool rip pug in ant guise zing rogue
rejoicing tuff fool, governing and hoodwink
Fake king the die hard fans of dictatorial, linkedin and monarchist ink
cube bus thriving on wielding indomitable aggression
practiced in the Art of the Deal incorporating an unanticipated jink
iron fist rule reigning down vis a vis
pro pens heave lee and prop hen city
flashing hiz seal of approval, which scribbled signature
doth not smooth monkey serve hay puzzling kink
boot his frenzy to bulldoze catastrophic, formulaic, and illogic
spells these United States of America twill become hell
in a hand basket worth repeating with nary a trace of the grit of link
kin, the sixteenth president
(whose ruggedly pioneering frontier existence)
found him steady and strong, plus soft hearted as pelt o’ mink
the epitomy of this forty fifth elected commander in mischief.