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John R Dec 2013
The Blue Guitar Quartet (song lyrics)
After cocktails at Luigi's Bar, and then The Golden Bowl,
I proposed we play a gig of jazz-inspired rock and roll.
We all thought we'd make the fans cry out for encores every night.
But our schemes were dreams that faded in the morning's ruthless light.

My blue guitar should captivate the people every night.
But the dream crumbled, the dream tumbled.
My dream faded out of sight.

Playing keyboards was Patricia. (Never 'Trisha', never 'Pat'.)
She'd a taste for gracious living in her small art deco flat.
She would practice chord progressions, sipping lapsang souchong tea.
Then she played away at weekends with her special friend, Marie.

She trained her dainty fingers to explore new grooves each night.
But the dream crumbled, the dream tumbled.
Her dream faded out of sight.

We had Ritchie on electric bass, with tap-and-pull technique.
Such a clever devil — Ritchie almost taught the bass to speak.
Ralph the drummer's backbeat cymbal crashes measured out the bars.
We agreed the speed — then found we could not play like superstars.

Would the crowd be wowed by passion from my lovely blue guitar?
No, the dream crumbled, as the band stumbled.
Our dream faded overnight.

The Blue Guitar Quartet
was as close as we could get
to our vision for the music of today.
But we bumbled and we fumbled,
our aspirations humbled.
So we slowly put our instruments away.

"The Blue Guitar Quartet
is down, but not out yet.
With practice you will crack it," said Marie.
"Let Patricia be your singer;
she's a musical humdinger,
and as soulful as a solo girl can be".

"She can improvise a blues
based on any riff you choose.
Let's have handshakes and embraces —
this quartet is going places!
Here's to jazz-rock, and The Blue Guitar Quartet!"
Continue reading...
Unity Drain Dec 2013
Algebra 2
The aftermath of poorly applied algebra is a scramble of numbers, letters, lonely coefficients, and an unemployed ninjas. These characters are much like those of a barbershop quartet, where members can either harmonize or simply fall flat. All of this depends on the song they sing and the order it is sung; algebra sings a song of SVSCOS (Same Variables Same Coefficients Opposite Sides) What else can come of bad math? Nothing less than a burning hatred for radicals, imaginary numbers, the saying 'PEMDAS', or maybe the fact that if you're 21 you must stay out the bars. This being said, Algebra 2 is very much like a dream; once you wake up, most of it is forgotten, but also in that it can be strived toward and reached.
Continue reading...
Terry Collett May 2015
LAST STRING QUARTET 1962.
Yehudit looked back
at Benedict-
at the back
of the classroom

more with
that boy Rolland-
but he looked elsewhere.
Something the boy showed.

Titter of laughter.
Miss G, the teacher,
looked at them.
Clapped her hands.

Her bespectacled stare
silenced them.
Yehudit looked back
to the front, the blackboard,

something written
on Beethoven's life and music.
Miss G walked in front
of the class

talking of the last
string quartets.
Yehudit thought
of Benedict and her

by the pond
the previous day.
Sun warm upon them
as they sat on the grass.

She talked of the ducks
and swan and the heron
that landed nearby.
He listened,

but thought of kissing
and holding or so
he later said.
Miss G put on a record

of a string quartet.
Yehudit looked back
and Benedict smiled
and that made her day

and she never heard
the string quartet
of Beethoven
as it played away.
A SCHOOL GIRL IN 1962 AND A BOY AND BEETHOVEN'S STRING QUARTET.
Continue reading...
Tiffanie Noel Doro Sep 2013
The last quartet
A novelist of aces
Behind the cover of abstract designs
It gets deeper than what is behind eyes
Enclosed is a map only the two of us could understand
Certain minds are condemned by the world
But the keys your fingers stretch to reach steal the breath from my airways
The grammar is skewed but it’s all the same
 
Boiling beneath your skin
What’s been refused to pass your lips
Weak tongues won’t form the letters written on our souls
You and I,
We’re just ignorant to the nonfiction cloaked between these lines
Like Beethoven’s last quartet,
Muss es sein? Es muss sein! Es muss sein!

(C) Tiffanie Doro
Continue reading...
Giuseppi Martino Buonaiuto Mar 2017
"Tortured"
“Even the streets leading up to its outer barriers were roamed by gorilla-faced guards in black uniforms, armed with jointed truncheons.”
                                                    ­ George Orwell, 1984* (published in 1949)

Which brings us, of course, to the subject of torture since 1949.
Come with me to the Casbah, Babaloo.
We begin in the 1950s with the French in North Africa,
****** baguettes in Algeria,
Couilles frits, anyone?
Electrodes wired to Mustapha’s *****.
And "Bigeard's Shrimps,” as the bodies were called,
Dumped over the Mediterranean from aircraft,
All things considered a je ne sais quoi,
Though Camus and Sartre gave it a whack.

Then the 1960s: the CIA dabbling in mind-control and LSD.
Later, a Phoenix Program,
Very secretive, sympathies with the Cong required,
Various elders selected,
The village disinfected,
**, **, ** and a bowl of Pho.

Apartheid anyone?
Thirty years of South African terror & torture.
Torment in the townships,
Shaka Zulu gold and diamonds,
De Beers in Swaziland swing.

1971: riots at Attica,
Prisoners abused and tortured,
Rockefeller’s overcrowded slammer,
An upstate New York katzenjammer,
Nelson’s finger on the trigger,
39 dead and counting,
But who’s counting?

The CIA, back in the news in 1973,
Torture chambers under Chilean soccer stadiums,
And the Khmer Rouge:
Those Wacky Cambodians with skull racks.  
And let us not forget the British,
With centuries of colonial experience behind them,
Occupy six counties in Northern Ireland.
Finally codify the imperial process,
The Five Techniques:
Sounds like a Motown group,
Satin smooth colored boys,
But more method than music:
(1) Wall-standing,
(2) Hooding,
(3) Subjection to noise,
(4) Sleep deprivation,
(5) No food and drink.

And there’s a bunch of horrible ****,
We still don’t know about the Argentine ***** War,
And other Mai Lai-like,
****-fest massacres in Vietnam.

How about torture since 1984?
Abu Ghraib and Guantanamo,
Come quickly,
(www.prematureejaculatorsanonymous.com)
To mind,
As do US-sponsored rendition facilities,
Spread throughout the NATO alliance.
And closer to home, it’s never a dull moment in the 5 Boroughs:
Brooklyn, Queens, Staten Island, The Bronx and Manhattan.
Take your pick from Giuliani’s Greatest Hits,
Rudy Kazootie’s campaign of law and order,
Not necessarily in that order.
More awful than lawful,
A bathroom plunger rammed up,
The Haitian voodoo ****** of Abner Louima,
While he be handcuffed at a Brooklyn station house.
Or, the NYPD partying like it was 1999.
When in fact, it was1999,
And a curious death it was for Amadou Diallo,
Would-be American citizen from The Republic of Guinea,
(No connection to Italy or Italians),
Abner & Amadou: a pair of cautionary tales,
Either/or reflecting standard procedure for the Po-Po,
Time and time again from coast to coast.
Either/or: poor Abner, no Haitian Papa Doc.
Poor Amadou, on his way home from night school,
When police squeeze off 41 rounds,
Most of them in his direction,
Hitting him 19 times.
Just the facts, ma’am:
Diallo had reached into his jacket.
A trigger-happy police officer yells “Gun.”
A jungle warfare quartet springs into action:
Shenzi, Banzai, Ed & Zazu,
Four equally trigger-happy colleagues,
Empty their weapons.
No gun was found on Diallo,
Only the wallet he tried to pull out,
Containing his Green Card,
4 U.S. dollar bills;
And a laminated,
Credit card-sized copy of the U.S. Bill of Rights.
(I just didn’t know when to quit, did I?
The wallet was there with Green Card and the bucks,
But I made up the part about the Bill of Rights,
Trying to add poetry to tragedy, as usual.)

I don’t have to say much about Rodney King (RIP).
You watched it on TV a hundred times,
And a picture’s worth a thousand words.
Or ten thousand or a million, I suppose.
“Can’t we all just get along?” asked Rodney Glen King.

Last but not least there’s Kelly Thomas (RIP),
Another incidence of police insanity,
It was July of 2011 in Fullerton, California.
Thomas, a 37-year-old homeless man,
Schizophrenic, but unarmed,
Beaten to death at a bus depot,
During an altercation with six Fullerton police officers.
Read more: http://www.dailymail.co.uk/news/article-2019225/Kelly-Thomas-Poli­­ce-beat-taser-gentle-mentally-ill-homeless-man­-death.html#ixzz1e­3­4QnHtr

Mervyn Lazarus | Attorney | (www.mervlazarus.com) Police Brutality, Excessive Force and Jail Injury cases | California . . . Albuquerque

Jackie Chiles perfect attorney -YouTube, (www.youtube.com/watch?v=jpcEietIoxk) Nov 17, 2010 - 13 min - Uploaded by Kroeger22 All the scenes with Jackie Chiles from Seinfeld."Chiles is a parody of famed attorney Johnnie Cochran; both ... www.seinfeld.com

Perhaps the greatest torture of all,
Is that which artists subject us to.
Let us examine the case of Roberto Bolaño:
Roberto Bolaño, the great Chilean writer,
Tells a fabulous World War II story,
About a Spaniard--an Andalusian--
Fighting for the Germans against the Russians.
Captured by the Russians,
He is tortured for information.
The Spaniard speaks no Russian,
He knows only four words of German.
The Russian interrogators strap him into a chair,
Attach electrodes to his *****,
Attach pincers to his tongue.
The pain makes his eyes water.
He said--or rather shouts--the word coño.
It is Spanish for ****.
The pincers in his mouth,
Distort the expletive,
Which in his howling voice comes out as KUNST.
The Russian who knows German looks at him in puzzlement.
The Andalusian was yelling KUNST,
Yelling KUNST and crying in pain.
KUNST in German means art,
And that was what the bilingual Russian heard, KUNST.
“This ******* must be an artist or something.”
The torturers remove the pincers,
Along with a little piece of tongue,
And wait, momentarily hypnotized by the revelation:
The word ART had soothed the savage beasts.
So soothed, the savage beasts take a breather,
Waiting for some kind of signal.
Meanwhile, the Andalusian bleeds from the mouth,
Swallows his blood liberally mixed with saliva, and chokes.
The word coño,
Transformed into the word *KUNST,
Had saved his life.
It was dusk when he came out of the building.
Light stabbed at his eyes like midday sun.

So, it’s a fact that I love,
Truly love the simple blunt Anglo-Saxon expletive ****,
****: I pray that while I am being tortured some day,
I have the dignity to scream the word out loud.
And if I am screaming **** at the very end,
When my nervous system finally fails,
When I **** my pants,
When my pulmonic heart and lungs collapse,
Is that so bad?
Is that so wrong?

Do you realize that 1984 came--
Came and went, without any significant cultural hoopla?
The networks ignored it.
As did the cable pundits.
No significant comparative analysis between,
Orwell’s book 1984 and the year 1984,
Was broadcast electronically or publicized in print.
Steve Jobs got it, but as usual no one else did.
Mr. Jobs (RIP) did his best,
To mainstream its profound cultural relevance,
But ultimately failed,
Despite the $1.5 million he paid one of the networks,
To air a one minute nation-wide commercial,
During the 3rd Quarter,
Of Super Bowl XVIII,
January 22, 1984.
Despite Ridley Scott’s astonishing spell-binder,
His 60-second spot for The Macintosh 128K--
Still considered a watershed event,
And an advertising industry masterpiece,
…YouTube it and watch it.  (www.youtube.com/watch?v=Z8ji0B98IMo).
See the hammer throwing athlete chick,
See her fling the sledge,
That huge sledgehammer,
Smash into Big Brother’s flat screen face.
Despite Jobs’ global presence,
Despite Steverino’s unfettered microphone access,
Whenever he felt an oraculation coming on,
Despite everything,
He was unable to move the powers that be,
To either hype the book or the prophecy come true.

So, what’s my point? I have two.
First, in April 1984 the estate of George Orwell,
And the television rights holder to the novel 1984,
Considered the edgy Jobs/Scott commercial to be,
A flagrant copyright infringement,
Sending a cease-and-desist letter to Apple Inc.
And the advertising agency that produced the spot: Chiat/Day Inc.
The commercial was never televised as a commercial after that.  
Score: Lawyers 1, Artists 0.

My second point is that in November 2011,
The U.S. government argued before the U. S. Supreme Court,
That it wants to continue utilizing GPS tracking of individuals,
Without first seeking a warrant.
In response, Justice Stephen Breyer (one of the sane ones),
Questioned what this means for a democratic society.
Referencing Nineteen Eighty-Four, Justice Breyer asked:
"If you win this case, then there is nothing,
To prevent the police or the government from monitoring 24/7,
The public movement of every citizen of the United States.
So if you win, you suddenly produce what sounds like 1984 . . .”*

My third point,
(Yeah, I know I said two, but *******.)
My third point is that I’m just so ******* angry,
All the time, late and soon like Wordsworth,
(Was anyone more aptly named?)
I am angry about so many different things,
And every day that goes by I relate more and more,
To the thousands of Americans that occupied,
Zuccotti Park and Oakland,
And countless other venues,
Out into the streets.
Across the country.
Around the world.  
I am humbled by their courage and perseverance.
Yet, I am afraid for them.
I am made paranoid by the scope and power,
Of the government,
Of the ruling class that controls it,
And the technology they allow us to embrace,
Technology’s sinister potential,
Now that more and more knowledge and information,
Has been digitized,
Existing only in cyberspace.                                                      ­                                                 
What frightens most is the realization,
That anyone with a word processor,
And access to the database could rewrite,
Any historical or legal document,
To fit the needs of a current agenda.
The scary part is—
Repeating myself for emphasis—
That anyone with a word processor
And access to the database could rewrite,
Any historical or legal document,
To fit the needs of a current agenda.

Does anyone out there give a ****?
Does anyone out there share my nightmare?
Do it to Julia.
Do it to Julia.
Continue reading...
Nigel Morgan Aug 2013
The First Session
It always intrigued him how a group of people entering a room for the first time made decisions about where to sit. He stood quietly by a window to give the impression that he was looking out on a wilderness of garden that fell steeply away to a barrier of trees. But he was looking at them, all fifteen of them taking in their clothes, their movements, their manners, their voices (and the not-voices of the inevitably silent ones), their bags and computers. One of them approached him and, he smiling broadly and kindly, put his hand up as a signal as if to say ‘not just now, not yet, don’t worry’, or something like that.

This smile seemed to work, and he thought suddenly of the woman he loved saying ‘you have such a lovely smile; the lines around your eyes crinkle sweetly when you smile.’ And he was warmed by the thought of her dear nature and saw, as in a photo playing across his nervous mind, the whole of her lying on the daisied grass when, as ‘just’ lovers, they had visited this place for an opening, when he could hardly stop looking at her, always touching her gently in wonder at her particular beauty. In the garden they had read together from Alice Oswald’s Dart, the river itself just a short walk away . . .

Listen,
a
lark
spinning
around
one
note
splitting
and
mending
­it

As he finally turned towards his class and walked to a table in front of the long chalkboard, half a dozen hands went up. He had to do the smile again and use both hands, a damping down motion, to suggest this what not the time for questions – yet. He gathered his notebook and went to the grand piano. He leafed through his book, thick, blue spiral-bound with squared paper, and, imagining himself as Mitsuko Uchida starting Beethoven’s 4th Piano Concerto, fingers placed on the keys and then leaning his body forward to play just a single chord. He held the chord down a long time until the resonance had died away.

‘That’s my daily chord’, he said, ‘Now write yours.’

Again, more hands went up. He ignored them. He gave them a few minutes, before gesturing to a young woman at the back to come and play her chord. Beside the piano was a small table with a sheet of manuscript paper and a Post-It sticker that said, ‘Please write your chord and your name here’. And, having played her chord, she wrote out her chord and name – beautifully.

He knelt on the floor beside a young man (they were all young) at the front of the class. He liked to kneel when teaching, so he was the same height, or lower, as the person he as addressing. It was perhaps an affectation, but he did it never the less.

‘Tell me about that chord,’ he said, ‘A description please’.
‘I need to hear it again.’
‘OK’, there was a slight pause, ‘now let’s hear yours.’
‘I haven’t written one’, the reply had a slightly aggressive edge, a ‘why are you embarrassing me?’ edge.
‘OK’, he said gently, and waved an invitation to the girl next to him. She had no trouble in doing what was asked.

Next, he asked a tall, dark young man how many notes he had in his chord, and receiving the answer four, asked if he, the young man, would chose four voices to sing it. This proved rather controversial, but oh so revealing – as he knew it would be. Could these composers sing? It would appear not. There was a lot of uncertainty about how it could be done. Might they sound the notes out at the piano before singing (he had shaken his head vigorously)? But when they did, indeed performed it well and with conviction, he congratulated them warmly.

‘Hand your ‘chord’ to the person next to you on your right. Now add a second chord to the chord you have in front of you please.’

Several minutes later, the task done, he asked them to pass the chords back to their original owners. And so he continued adding fresh requirements and challenges. – score the chords for string quartet, for woodwind quartet (alto-flute, cor anglais, horn, baritone saxophone – ‘transposition hell !’ said one student), write the chords as jazz chord symbols, in tablature for guitar, with the correct pedal positions for harp.

Forty minutes later he felt he was gathering what he needed to know about this very disparate group of people. There were some, just a few, who refused to enter into the exercise. One slight girl with glasses and a blank face attempted to challenge him as to why such a meaningless exercise was being undertaken. She would have no part in it – and left the room. He simply said, ‘May I have your chord please?’ and, to his surprise, she agreed, and with some grace went to the table by the piano and wrote it out.

A blond Norwegian student said ‘May we discuss what we are doing? I am here to learn Advanced Composition. This does not seem to be Advanced Composition.’

‘Gladly’, he said, ‘in ten minutes when this exercise is concluded, and we have taken a short break.’ And so the exercise was concluded, and he said, ‘Let’s take 15 minutes break. Please leave your chords on the desk in front of you.’

With that announcement almost everyone got out their mobile phones, some leaving the room. He opened the windows on what now promised to be a warm, sunny day. He went then to each desk and photographed each chord sheet, to the surprise and amusement of those who had remained in the room. One declined to give him permission to do so. He shrugged his shoulders and went on to the next table. He could imagine something of the conversation outside. He’d been here before. He’d had students make formal complaints about ‘his methods’, how these approaches to ‘self-learning’ were degrading and embarrassing, belittling even. I’m still teaching he thought after 30 years, so there must be something in it. But he had witnessed in those thirty years a significant decline in musical techniques, much of which he laid at the feet of computer technology. He thought of this kind of group as a drawing class, doing something that was once common in art school, facing that empty page every morning, learning to make a mark and stand by it. He had asked for a chord, and as he looked at the results, played them in his head. Some had just written a text-book major chord, others something wildly impossible to hear, but just some revealed themselves as composers writing chords that demonstrated purpose and care. Though he could tell most of them didn’t get it, they would. By the end of the week they’d be writing chords like there was no tomorrow, beautiful, surprising, wholly inspiring, challenging, better chords than he would ever write. Now he had to help them towards that end, to help them understand that to be an  ‘advanced composer’ might be likened to being an ‘advanced motorist’ (he recalled from his childhood the little badges drivers once put proudly on their bumpers – when there were such things – now there’s a windscreen sticker). To become an advanced motorist meant learning to be continually aware of other motorists, the state of the road, what your own vehicle was doing, constantly looking and thinking ahead, refining the way you approached a roundabout, pulled up at a junction. He liked the idea of transferring that to music.

What he found disturbing was that there were a body of students who believed that a learning engagement with a professional composer, someone who made his living, sustained his life with his artistic practice, had to be a confrontation. The why preceded, and almost obliterated, the how.

In the discussion that followed the break this became all too clear. He let them speak, and hardly had to answer or intervene because almost immediately student countered student. There evolved an intriguing analysis of what the class had entered into, which he summarised on a flip chart. He knew he had some supporters, people who clearly realised something of the worth and interest of the exercises. He also had a number of detractors, some holding quasi-political agendas about ‘what composition was’. After 20 minutes or so he intervened and attempted a conclusion.

‘The first rule of teaching is to understand and be sympathetic to a student’s past experience and thus to their learning needs, which in almost every situation will be different and various. This means for a teacher holding to an idea of what might, in this case, constitute ‘an advanced composer’. I hold to such an idea. I’ve thought about this ‘idea’ quite deeply and my aim is to provide learning opportunities to let as many of you as possible be enriched by that idea. You are all composers, but there is no consensus about what being a composer is, what the ‘practice of composition’ is. There used to be, probably until the 1970s, but that is no more. ‘

‘You may think I was disrespectful in not wishing to engage in any debate from the outset. I had to find a way to understand your experience and your learning needs. In 40 minutes I learnt a great deal. My desire is that you all go away from each session knowing you have stretched your practice as composers, through some of the skills and activities that make up such a practice. You all know what they are, but I intend to add to these by taking excursions into other creative practices that I have studied and myself been enriched by. I also want to stretch you intellectually – as some of my teachers stretched me, and whose example still runs through all I do.

Over the next seven days you are to compose music for a remarkable ensemble of professional musicians. I see myself as helping you (if necessary) towards that goal, by setting up situations that may act as a critical net in which to catch any problems and difficulties. I know we are going to fight a little over some of my suggestions, the use of computer notation I’m sure will be one, but I have my reasons, and such reasons contribute towards what I see as you all developing a holistic view of composing music as both a skill and an art form. I also happen to believe, as Imogen Holst once said of Benjamin Britten, that composing music is a way of life . . .

With that he walked to the window and looked out across that wilderness of green now bathed in sunshine. He felt a presence by his shoulder. Turning he suddenly recognised standing before him a young man, bearded now, and yes, he knew who he was. At a symposium in Birmingham the previous summer he had talked warmly and openly to this composer and jazz pianist in a break between sessions, and just a few weeks previously in London after a concert this young man had approached him with a warm greeting. Empathy flowed between them and he was grateful as he shook his hand that this could be. She had been with him at that concert and he remembered afterwards trying to recall his name for her and where they’d met. She was holding his arm as they walked down Exhibition Road to their hotel and he was so full of her presence and her beauty no wonder his memory had failed him.

‘Brilliant,’ the young man said, ‘Thank you. Just so much to think about.’

And he could say nothing, suddenly exhausted by it all.
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J Feb 2021
Humming the Melody of a Tuba Quartet
hmmm hm hmmm

you've left again,
and truth be told it's best
so don't tell me that you love me still
that you just need to get some things in your head straight

hmm hm hmm

because you had your head on the entire time
you just wanted to rest it for a while
and I was your soft pillow
a punching bag if you must
you flipped me around when I was too hot
you seem to always like me better when I'm cool
my silence will always be reassuring
the heat will make you nervous.

hmm hm hmm

I cope by talking
so let me talk to people that are like you
my ex
exes.
girls that have wanted me from the beginning, am I really
that charming?
I have three, four if you're counting the girl i sent nudes to last night
i'm disgusting
I should have kissed her in that bathroom, you know.
i should have took advantage of the situation
I don't like that you're the last person my lips tasted

hmm hm hmmm

running my fingers across the keyboard
they dance in a rhythm only I can figure out
I've got plans, a future, and a pack of cigarettes waiting for me at home
I should have listened when people said to stay away from you
I'm mad because you let me believe you when you said
i love you
because i always meant it
i love you more, most, forever and always, that was the promise, the deal.
I was supposed to be loved by you and you alone.
and you for me.
maybe you left

hmm hm hmmm hm

because you have other people that you want.
but you'll never in your life find someone like me
but maybe that's good because
hell I know that i'm actually very toxic.
manipulative.
dramatic.
draining
i've heard it all before
i'm too sensitive.
these are truths
i'll fix it.
i'll get better.
and you will too

hmm hm hmmm

i shouldn't still be writing about you. i've been broken for a while
but it feels easier now.
i can just pretend that you don't exist, that's easier for me
that is how i have to cope now.
after Justin, i thought i wouldn't love
i should have focused on getting hurt again.
i know that it's possible now.
well sorta.
after him, i went numb.
hell. what am i ever talking about
i guess what i'm meaning to say is
we'll be a lot happier without each other
at least we were long distance.
you don't have to see me or hear me everyday.
I have you blocked on social media for that reason.
but i can't block your number
i like knowing that you'll come back eventually.
and if not knowing, then hoping
when you find out what you've ****** up don't be textin' my phone
i like you better when you leave me alone.

hmm mhm hm
we broke up again, but this time i think that it will actually last.
#breakup #lgbtq #heartbreak #numb #humming #hoping #blocked #lesbian #depression
Continue reading...
Dr Xijuan Angel Liao Jun 2019
G minor, Quartet accompanied by Sea waves and sea Wolfs
Chorus:
… Wouo wouo..  
...Dindon Dindo
… LyeeYee Lyee
    [1]
Shall we sing this together?
A song from the fishermen,
When sea waves catch up with sea wolfs
And they’re waltzing with the tide,
Have you heard the wind keeps mourning?
Don’t forget to take great care,
the Sea Wolf's share
  
And wasn’t it cheered up to his wounded soul overside
   [2]
... Wouo wouo
...Dindon Dindo
… LyeeYee Lyee Yee…

Sea waves splashes Sea Wolf rides, day by day...

Are those unseen on the crested waves?
And the blue sea wave mists rise from her gray green eyes
When he comes from his salt sea caves.
The fishermen whispers , when storms at night
There will be a great sea bellow and tsunami roars,
Thunder accompanied with sea wolf rides on the plunging tides,
 Can’t you hear his solo tune dashes to sky window
[3]

...Wouo wouo..  
...Dindon Dindo
… LyeeYee Lyee Yee…
Rains
Snows
Storms
Sea wolf struggling ahead, under the sea waves,
listens to a tsunami quartet ensemble
Silently, sea waves are
waiting for the sun returns.
Although storms come with shouting and  yelling
The fishermen whispers,
look, that green eyed sea wolf waits by the sea gateway,
will tomorrow never dawn, is another day
Love to dive into the big blue and listen to A G Minor seawaves dynamic with sea wolfs.
#sea #wolfs
Continue reading...
Carson Hurley Apr 2017
A fallen leaf & a string quartet
I find something beautifully heartbreaking about the sound of a string quartet playing in a minor key. As the first bow glides across the strings my heart moves in ways unknown to me. I close my eyes and imagine I am a fallen leaf floating atop a crisp flowing stream; the sun shines blissfully, the white clouds sporadically dance in formless waves across the blue sky, and though I am surrounded by passing beauty I feel the inevitable damnation for what approaches. We all know where the mountain stream leads. Ancient rock stands carved by the clawing marks of running water, desperately trying to escape its fall. With each bar played my heart sinks a little further as I know the end approaches, and when it does I find myself falling; at first gracefully, then as quick as it all began, it ends. The end is never quite as beautiful as you first hope it to be, because it is the end, and what is truly beautiful, never really dies.
#life #music #soul #death #violin #prose #dream #wild
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Paul Hansford Aug 2016
Inside the Mosque **
The flag, a white crescent and single star
on a field of crimson — kırmızı, not just 'red' —
tells of Islam. The men drinking beer and rakı
at pavement tables, even in Ramadan,
and the short-skirted, bare-armed girls,
parading with bare-faced confidence,
tell of other influences;
but at the appointed hour we hear the call to prayer
from the marble minaret, a slim finger
pointing to the sky beside shining domes
reflecting the vault of heaven.
At five a.m. we hear it faintly through hotel double-glazing,
or at sunset, as a peaceful accompaniment to the spectacle,
and we remember where we are.
But especially at the midday hour,
when the voice of the muezzin echoes
over noisy street or market,
and from another minaret and another
the duet becomes a trio, a quartet
of different melodies, out of tune
with each other but never discordant
(in these tones the word has no meaning),
the faithful are reminded, however busy they may be,
that their God requires something of them.
Then, entering the cool calm of the mosque,
entering the quiet forest of pillars,
feeling through the soles of our bare feet
marble polished by the tread
of generations of worshippers,
fine-grained wood,
the rich softness of crimson carpet,
we luxuriate in the textures as they combine
with the formal floral patterns of the tiles,
the ornate calligraphy of the inscriptions,
the rich colours of the glass,
and we realise that the builders of these mosques
knew what they were doing, so many years ago,
how peace can enter the soul
through the senses.
The letter that looks like a lower-case "i" without the dot and appears here in "kırmızı" and "rakı" is pronounced, in the delightfully phonetic Turkish language, as a kind of "uh", as in "I am writing A [uh] poem" or "I have read THE [thuh] book".
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city of flips May 2018
(F, 19) please be impatient with me
please be impatient with me for I am Female, Age 19   Please be impatient with me.  Three quarters woman in a body, a quartered quartet.  The crying viola, off tempo, present but unavailable.  The boys want me. The men, more, more.  The women most of all.  The American Girl dolls on the shelf dusty, witnesses to all my demander’s impatience to take, to own, possess & desire my poses all to pleasure them, wanting  many morsos (small bites).  
Then, when discarded, my body reeks of
con-f u s i o n.  A perfect conjugation,  an imperfect conjunction;  Conning my mind into letting my body be-fused.  

The dolls weep real tears in the city of my mind;  flipping out, they too, are impatient with me, and flip me off for they have no good words to express their utter chagrin.
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matthew scott harris May 2017
HOW TO CONTRA DANCE
(twas where aye met thee missus, but mooch as a natural euphoria experienced, i rarely returned to said venue, especially for many years when thy now na grown lovely lasses merely toddlers).
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Go ahead and AskJeeves (or another available partner yea, that lonely looking gal or guy in mom genes), who can never refuse to kick up heals in this rollicking shenanigan – the rumor holds that said activity the most fun one can have with being clothed to another.
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The caller will usually do a walk thru, which begins with the first two couples closest to the stage crew of lively musicians (frequently filling the makeshift hall with music aligned the genre of irish jigs and reels) beginning to pair off.
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After couples one and two (nearest the band) complete their quartet, this process (sans participants coupling off) continues until the foot of the line.
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Actually each duo of dancers within the foursome nearest or furthest from the podium dons the role of “first and second” couple respectively.
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The walk thru can be helpful, especially for those unfamiliar with this social activity, which encroaches on the ordinary comfort zones because eye contact plus physical hand to hand fusion necessary.
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Many of the routines utilize various combinations of approximately a couple dozen unique moves, where each distinct extemporaneously choreographed fancy footwork utilizes a unique variation of such movements.
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The most frequent array of moves comprises the following terms, which I located at hyperlink - www.theyken.net/don/PDF/Glossary.pdf
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Glossary of Contra Dance Figures:
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Allemande Left - Two dancers join left hands about shoulder height with elbows bent down and walk a circular path.
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Allemande, Mirror - Two couples, facing, starting with one couple going between the other couple. Give the person you are starting to pass your most convenient hand, right for two dancers and left for the other two, and turn as described in the allemande right and left.
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Allemande Right - Two dancers join right hands about shoulder height with elbows bent down and walk a circular path.
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Balance – The simplest balance is a step forward and backs. Another type of balance is a step on your right foot and swing your left foot over your right foot and then step on your left foot and swing your right foot over your left foot.
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Balance and Swing - Face other dancer, take both hands, balance (as above) and swing the other dancer.
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Baskets - More that two dancers, step in so all the dancers are in a very tight circle, place your hands behind the backs of the dancers next to you and join hands. Put your right foot in closer to the center of the circle and start to turn this basket by pushing with your left foot (like in a buzz step swing).
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Box the Gnat - Partners (usually) join right hands, raise joined hands above the woman’s head, she walks under the joined hands, as the man walks around behind her. The dancers not only change positions but they end facing in the opposite direction.
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Cast Down – The dancer faces up and turns away from the center of the set and walks down the outside of the set.
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Cast Off, Assisted - Two dancers, facing the same direction, put an arm around the other dancers waist, one dancer moves forward while the other dancer moves backwards.
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Cast Off, Unassisted - One dancer, usually moving up the center or up the outside of the set, walks around an other dancer until they stand next to that dance facing the same direction.
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Cast Up – The dancer faces down and turns away from the center of the set and walks up the outside of the set.
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Circle Left – More than two dancers join hands and form a circle. Hands are joined at a height somewhere between you waist and shoulders. Dancers walk around in a circle to the left or counter- clockwise.
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Circle Right – More than two dancers join hands and form a circle. Hands are joined at a height somewhere between you waist and shoulders. Dancers walk around in a circle to the right or clockwise.
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Contra Corners - This figure is done in proper sets. The first couple turns each other by the right hand until they can turn their first corner, The person who was standing on the left side of your partner. The first couple then turns their first corners by the left hand, until they see the partners. The first couple again turn each other by the right hand and then turn their second corners, the person who was standing on the right side of your partner, by the left hand.
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Courtesy Turn – Two dancers with right hands joined and left hands joined, about waist height, facing the same direction, woman on the man’s right. The woman walks forward while the man backs-up until they are facing the opposite direction.
Cross-Over or Pass Thru – Two-dancer walk by each other passing right shoulders.
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Cross-Over is usually across the set. While Pass Thru is usually up and down the set.
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Do-Si-Do – Two dancers walk forward pass each other right shoulders, pass behind the other dancer, and backup, passing left shoulders into the place where you started.
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Do-Si-Do, Left Shoulder (also known as a See Saw) - Two dancers walk forward pass each other left shoulders, pass behind the other dancer, and backup, passing right shoulders into the place where you started.
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Do-Si-Do, Mirror - Two couples, facing, starting with one couple going between the other couple. Then dance a do-si-do, the two dancers who pass right shoulders dancing right shoulder do-si-do the other two dancers who pass left shoulders dance a left shoulder do-si-do.
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Down the Center, Turn Alone – Two dancers, usually a couple, walk down the center of the set, turn toward each other and return to the place where they started.
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Down the Center, Turn As a Couple – Two dancers, usually a couple, walk down the center of the set.
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Turn as a couple, the woman walks forward as the man backs up, until the couple is facing back in the direction they came from. Then return to a place across the set from where they started.
Figure of Eight – Two consecutive Half Figures of Eight (see below)
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Forward and Back – Dancers join hands with the dancer next to them and move forward four steps and back four steps.
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Gate and Post - Two dancers facing in the same direction, join most convenient hands, right to left, keep hands about shoulder height, one dancer will walk forward in a circular path as the other dancer walks backward in a circular path.
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Grand Chain - Three or more woman, make a right hand star, and turn the star until you meet the third (or designated) man, join left hands with the man and courtesy turn.
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Grand Right and Left - Two dancers, join right hands, pull by and give left hands to the next dancer, pull by, and continue this until you meet the person you are told to meet or until the caller tells you to stop. Can be used in squares, contras, and circles.
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Gypsy - a couple, walk once around each other, clockwise, and end where they started while looking wistfully into each others ' eyes.
Half Figure of Eight – Two dancers across from each other, in a contra, cross over while moving through the couple below (or above), the woman in the lead, they then cast up (down) to end in their partners original place.
Hey for Four – Two couples, facing, usually starting with the women moving to the center and passing right, then pass the opposite man who is moving forward by the left, the two men pass right in the center while the two women do a small loop to the left to face in, again the women pass right in the center as men do a small loop to the left to face in, women pass the men by the left, men pass right in the center and all return to original place.
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Honor - Bow to your partner.
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Improper – In a contra, when a man is in the women’s line and/or a woman is in the Mens' line. The women’s line is the line on the left when viewed from the caller’s position.
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Ladies Chain – Two couples facing, the women join right hands and pull by each other, then give their left hands to the opposite man, finishing with a courtesy turn to face the other couple.
Lead Through - Two dancers facing in the same direction, join most convenient hands, right to left, and walk between the two dancers they are facing. Often followed by a cast to original place.
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Pass Thru - Two couples facing, both couples walk forward, passing the person you are facing by the right shoulder and ending in their place (do not turn around).
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Promenade – A couple, with the man’s right arm around the woman’s waist and her right hand in his right hand, and left hands joined in front of them, move in a forward direction, sometimes ending with a courtesy turn.
Promenade, Single File - All of the dancers in a single file or circle, facing the same direction, follow the dancer in front of you.
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Proper – In a contra, the men are in the mens' line and the woman are in the women’s line. The mens line is the line on the right when viewed from the caller’s position
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Right and Left – Two couples, take right hands with the person across the set and pull by, on the opposite side of the set courtesy turn the person next to you.
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Roll Away - A couple, both facing in the same direction, woman’s left hand in the man’s right hand, the man assists the woman, who rolls across in front of him, as he moves to his right. They both end facing the same direction as they started but they are in each others' place
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Star, Left Hand – Two couples, take left hands with the person diagonally across, then they all walk forward in a circular path.
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Star, Right Hand – Two couples, take right hands with the person diagonally across, then they all walk forward in a circular path.
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Swing – A couple, in a position similar to ballroom position, except the man and woman are right hip to right hip. The simplest descriptions I have heard is assume the above position and then try to walk behind your partner. The dancers can use a simple walking step or a buzz step.
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Turn - See allemande for right and left hand turn. A two hand turn - two dancers, facing, take the other dancers right hand in your left and their left hand in your right. Pull back slightly and both dancers walk clockwise until you get back to where you started.
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Carl Sandburg
***** Tonk in Cleveland, Ohio
IT'S a jazz affair, drum crashes and cornet razzes
The trombone pony neighs and the tuba ******* snorts.
The banjo tickles and titters too awful.
The chippies talk about the funnies in the papers.
  The cartoonists weep in their beer.
  Ship riveters talk with their feet
  To the feet of floozies under the tables.
A quartet of white hopes mourn with interspersed snickers:
    "I got the blues.
    I got the blues.
    I got the blues."
And ... as we said earlier:
  The cartoonists weep in their beer.
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Nat Lipstadt Oct 2013
Then don’t mind me ‘cos I ain’t nothin’ but a dream
There is a song, each of has one.
It is that song that you listen to not once, not twice,
but over and over again.
This song I loved, and put it aside, 'lost' it,
and this afternoon, on a drive to Monterey a year ago,
it found me again.
Below are the words.
Find a video of Richie Havens (see the notes) singing it.
It is a song that you will listen to not once, not twice,
but over and over again, for when he cries out
follow, you will.

Why today?
For a number of reasons.  Primarily, because the first rock festival to change the nation was the 1967 10th Anniversary of the Monterey Jazz Festival, a crossover, because, Richie and Janis Joplin were included and exploded the world, paving the way for Woodstock, the festival heard round the world, where Richie was the opening act!

The headliners were: T-Bone Walker, B. B. King, Richie Havens, the Clara Ward Singers, Dizzy Gillespie Quintet, Modern Jazz Quartet, Ornette Coleman Quartet, Carmen McRae, Earl "Fatha" Hines, Richie Havens, and Big Brother & The Holding Company w/Janis Joplin.

Teach your children well, their father's hell will slowly go by...Crosby Stills and Nash

Soon it will be six months since Richie passed (April 22, 2014).
Patty M. reminded of Van Morrison today, and it in turn, brought me to this place, where my heart resided a year ago today.


*FOLLOW
(Words by Jerry Merrick)

Let the river rock you like a cradle
Climb to the treetops, child, if you’re able
Let your hands tie a knot across the table.
Come and touch the things you cannot feel.
And close your fingertips and fly where I can’t hold you
Let the sun-rain fall and let the dewy clouds enfold you
And maybe you can sing to me the words I just told you,
If all the things you feel ain’t what they seem.
And don’t mind me 'cos I ain't nothin' but a dream.

The mocking bird sings each different song
Each song has wings - they won’t stay long.
Do those who hear think he's doing wrong?
While the church bell tolls its one-note song
And the school bell is tinkling to the throng.
Come here where your ears cannot hear.
And close your eyes, child, and listen to what I’ll tell you
Follow in the darkest night the sounds that may impel you
And the song that I am singing may disturb or serve to quell you
If all the sounds you hear ain’t what they seem,
Then don’t mind me ‘cos I ain’t nothin’ but a dream.

The rising smell of fresh-cut grass,
Smothered cities choke and yell with fuming gas;
I hold some grapes up to the sun
And their flavour breaks upon my tongue.
With eager tongues we taste our strife
And fill our lungs with seas of life.
Come taste and smell the waters of our time.
And close your lips, child, so softly I might kiss you,
Let your flower perfume out and let the winds caress you.
As I walk on through the garden, I am hoping I don’t miss you
If all the things you taste ain’t what they seem,
Then don’t mind me ‘cos I ain’t nothin’ but a dream.

The sun and moon both are right,
And we’ll see them soon through days of night
But now silver leaves on mirrors bring delight.
And the colours of your eyes are fiery bright,
While darkness blinds the skies with all its light.
Come see where your eyes cannot see.
And close your eyes, child, and look at what I’ll show you;
Let your mind go reeling out and let the breezes blow you,
Then maybe, when we meet, suddenly I will know you.
If all the things you see ain't what they seem,
Then don’t mind me ‘cos I ain’t nothin’ but a dream .
And you can follow; And you can follow; follow…
Try

http://vimeo.com/37671417

The last time I saw Richie A-live, of all places, a poetic place perfect,, where we keep our treasures.



http://www.last.fm/event/588961+Richie+Havens+at+The+Metropolitan+Museum+of+Art+on+2+May+2008
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Anne Sexton
Wallflower
Come friend,
I have an old story to tell you-

Listen.
Sit down beside me and listen.
My face is red with sorrow
and my ******* are made of straw.
I sit in the ladder-back chair
in a corner of the polished stage.
I have forgiven all the old actors for dying.
A new one comes on with the same lines,
like large white growths, in his mouth.
The dancers come on from the wings,
perfectly mated.

I look up. The ceiling is pearly.
My thighs press, knotting in their treasure.
Upstage the bride falls in satin to the floor.
Beside her the tall hero in a red wool robe
stirs the fire with his ivory cane.
The string quartet plays for itself,
gently, gently, sleeves and waxy bows.
The legs of the dancers leap and catch.
I myself have little stiff legs,
my back is as straight as a book
and how I came to this place-
the little feverish roses,
the islands of olives and radishes,
the blissful pastimes of the parlor-
I'll never know.
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Mateuš Conrad Aug 2018
herbie hancock and the current english heatwave
.i'm pretty sure that someone like Mozart, composed, in total silence, didn't hum out a tune, given that he had to micromanage symphony, or rather, the latter stage of polyphony - synchronization of all subsequent parts... whereby music was more optical in its genesis than people might like to believe... of course auditory in its exodus from the godhead, but... i'm pretty sure the composition process for classical music, would never amount to the sort of fun impromptu of jazz... must be a black privilege sort of, "thing" to have found jazz lying around...

how did the beatniks even believe that
a cross-generational mongrel of an art
form, fusing poetry with jazz could ever work?
robert pinsky still has the dream -
but it's a bit like:
      you think you can smoke marijuana
and listen to blues?
              not drink a drop of the devil liquor
and take blues seriously?
       just like sonny clark would have
said: 'if you don't shoot it,
     you don't smoke it'...
         given that... this is not stoner rock
type of wasp hive droning, humming,
heavily repeated rhythm...
              nothing wacky like
thievery corporation doing a live
rendition of the forgotten people
                                             live on KEXP...
what's that phrase?
    i feel monged -
   i.e. so ****** that you don't know
if it's a brain or a jelly,
         a stomach or krāng...
an 8th of an ounce could last me a week...
never mind...
   but how could they even suppose
that, somehow... jazz would dissolve
into acid jazz...
   that ****** variant you don't hear
in a jazz club...
   sure... the one up in Edinburgh was
jazz by name only...
       instead?
   one night i heard the cover
of neil young's song old man...
yeah... very ******* jazzy...
                what's next, a banjo quartet?
first jazz song i ever heard was
art blakey & the jazz messangers'
      opening track from the album
   of the same name - moanin'...
          SOLD...
           had to stash on some of the records...
but did i really want to speak over
the music?
             did i want to contaminate
the music and produce some ****** mash-up
akin to the beatnik experiment?
     *******... high on dope...
              never bothered to call jazz...
the black man's equivalent status of
what white man's classical music is...
     and where's jazz now?
joshua redman isn't exactly a lifejacket
when a boat with 20 is sinking...
jazz has been neglected...
    relegated as posh black boy music
heading off to Yale... wap... or wrap it up...
talk with a mouth but forget playing
the ******* horns, the sax...
              can't exactly see a revival...
   but would i really want to speak to this music?
feels a bit like talking over an opera...
made sense back then, makes little or no sense
now...
                    beside the point...
      there's still a heatwave in england...
every morning i wake up in a furnace -
    or as if attired in a metallurgy suit working
raw metals...
       and i always ask myself the question...
to rehydrate...
   would i rather eat half a watermelon,
or drink a big glass of water?
                         it's always the first.
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Miranda Kathleen Jun 2013
addiction quartet
searching for the last one, rolling around, sad and half-bent in my bag
forgotten
well, almost
oh god I needed this
guess I quit quitting

sing me a carcinogen lullaby
soprano, take the smoke rings
alto, the smoldering ash
tenor, the printed logo
bass, the filter in my teeth

"oh, we'll never let you go"
they sing as they sink in stained claws
"not that you want us to"
and the ethereal blue gray chorus
curls upward and into the wind
tendrils of them tremble in the air
before departing
leaving only this painful craving in their wake
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Nigel Morgan Jan 2013
Heartstone
Heartstone is a reflection in music on a ‘lost’ poem. The poem described in its two short verses a summer’s day, a landscape, a fossil found and placed in the palm of a child’s hand. The poem inspired a seven-movement work for wind, brass and percussion with solo piano. Here is its poetic programme note.

Chert

The piano draws an arc of rhythm
rising then falling.
Above
two choirs of wind and brass
exclaim, fanfare, mark out
shorter, determined
gestures of sound.

The procession, almost a march,
becomes a dance.
Alone
Two choirs of wind and brass
become four couples
whose music weaves
from complexity a simplicity:
Chromatic to Pentatonic
twelve becoming five.

Prase

Four stopped horns,
five extended tonalities.
Together they wander
a maze of Pentatonic paths;
alone, and in pairs, as a quartet
they discover within
a measured harmonic rhythm.
Tension: resolution

. . . and surrounding
their every move
the piano
insists an obligato,
a continuum of phrases,
absorbing into itself
the warp and weft of horn tone.

Sard

Oscillating
in perpetual motion
the full ensemble
occupies a frame
of time and space.

Flutes, reeds,
double-reeds
brass, piano,
percussion
mirror-fold on mirror-fold
layer upon layer
overlapping.

Yarns of threaded sound.

Tuff

Without a break
the mirrored oscillations
patter pentatonics
on tuned percussion
of marimba and vibraphone

whilst
a *batterie of drums
lays down
shards of beaten rhythm
against this onward
folding of tonality change.

In the background
a choir of winds
flutes and single reeds
waymark this recursive journey
gathering together
cadential moments and the
necessary pause for breath.

Marl

Relentlessly, the motion is sustained,
piano-driven,
a syncopated continuo,
rhythm-sectioned
amidst layers of percussion.

Adding edge,
a choir of brass and double reeds
amplify the piano’s jagged rhythms
providing impetus for
phrases to become longer and longer,
ratching up the tension,
ever-denying closure
until the batterie
delivers
a conclusive flourish.

Paramoudra

Pulse-figures of winds.
Motific cells of brass.
Both
negotiate a stream of
fractal-shaped tonality
expanding: contracting.
A blossom of fanfares

folding into
pulsating layers
of tuned percussion,
flutes and reeds.
A dance-like episode

absorbs a chorale.
Four horns in close harmony
against the continuing dance.
A duet of differences

flows into a cascade of chords
in closed and open forms.
The piano supports
brass-flourishing figures
before a final stillness.

Heartstone

In gentle reflection
the solitary piano –
a figure in a landscape
of collapsed harmonic forms -
presents in slow procession
the essence of previous music.
Find out more about the music of Heartstone here: http://www.nigel-morgan.co.uk
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Raj Arumugam Oct 2010
United World Federation of Snorers
Snorers all
scattered world-wide
in offices and homes
in boardrooms
and bedrooms;
O Snorers all
loud and clear
low and shrill -
listen ye
to the loud wake-up call
as from Rip Van Winkle's Snore

stand up united
and drown the howl of protests
against snoring that is surely no less divine
than the Chorus of Angels in Heaven -
for the great God who made the Aurora
no doubt also conceived of the Divine Snore!


and so, stand up, ye sonorous Snorers!
unite! I call unto ye!
unite against the detractors
and the critics
and the complainants
and those of low culture
who cannot
lie still and listen to Snoring
as one rightly would at a concert hall
listening to the delightful play
of a quartet of violins


O how long will you take it lying down,
ye blessed Snorers of the World?
let the world know
the first divine music was indeed the Snore;
and the very height of human communication
is the unabashed snore
for all other modes of communication
lead to mis-communication
but the language of the snore is always exact and crisp!
the message of the Snore always precise!
the meaning always loud and clear!
and the very height of the snore
(let us declare to the world)
is the couple in bed
snoring away together
beside each other
making such divine music
making love with the rolling thunder of snores
so that one might say:
do we have a couple of wild boars
copulating in the next room?



stand up, O Snorers of the World -
and defy the mockers
and those who seek divorce
on grounds of insufferable Snoring;
stand up against those who sue
for loss of sleep from
friendly, neighborly Snorers;
stand up now
against these losers, these whingeing nags
uncouth and untutored
in the mysteries of the art of the Snore!
stand up and with one loud blast of
a universal Snore,
with one melodious Snore
let us
drown their dissenting voices,
their unprovoked cacophonous complaints!
stand up, Snorers young and old!
unite, Snorers black, white and gold!
defy the world! O ye Snorers
of quite nights and of lazy days:
let us overwhelm the world
with the pleasing symphony of Snores;
let us bless the ears of the world
with the dulcet streams of varied notes and arias!
stand up! unite! - O much-maligned Snorers of the World!
with one voice raised
in a triumphant Snore
let us declare:
*No longer will we be silent!
Our voices will be heard!
Continue reading...
aj Oct 2018
you might as well be everything
the notes you gave us were so carefully written

cooling
gentle
forgiving

you brought power to the quartet
calm inside calamity were you and your fine fine swaying

looser than your own spine you were swaying side to side
heavy
to the point of light
but your expression was still heavy

your expression was cooling
gentle
forgiving

backed up behind everything
but you are here and you are genuine

haphazardly composed; playing

to me
you might as well be everything
#music #art #piano #love #listening #thoughts #beginnings #memory
Continue reading...
Victor Rothmuller Jul 2010
Mizar and Alcor
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.
Continue reading...
Tonya Cusick Mar 2013
Seduction.
Soft is the tone of your mellow heartbeat,
electric is the feeling when our lips meet.
manipulating are your illuminating eyes stripping me of all my control and will power.
Seductive you are, this time, this hour.
The silent ballet of your moans play through my ears like a first string quartet,
I can't fight it,.. the thoughts in my head,..
this is what resulted me in your bed.
You have toyed with me for the last time.
I'm letting it all out,
I'm trying to unwind.
Both bodies adrenaline beating in unison,
both bodies still in motion with the wants, the need of a ****.
To feel close again,..
But after.. I'm A
                              L
                               ­     O
                                              N
                                                                ­      E... AGAIN
The lust you portray is no greater than your desire,
The power I feel of your red lustful fire.
I know I feel you, I can feel your warmth.
I know your here, so please don't torment.
My small,
innocent,
heart.
You lay your body across mine,
both of us vulnerable,
skin to skin.
this is it..
****** me.
Your hands, I can feel them,
Your chest also heaving against mine,
back and forth we commit the lustful and desirable sin.
I've had my fulfillment,
my satisfaction.
I've been seduced by your bewildering attraction.
Now it's my turn to make you feel alive.
Continue reading...
Alicia Harger Nov 2011
Silk Skirts
Diaphanous silk skirts glide gracefully around tiny ankles attached to perfect legs.
And the string quartet plays in the background.
Strong hands encircle a tightly cinched waste
And breath brushes against a neck.

Then the clock strikes midnight or the alarm sounds.
The spell breaks, totalitarian reality invades.
And dreams flutter away, evasive and light,
Like diaphanous silk skirts.
Continue reading...
Richard Ellis - Hawley Nov 2014
1812 overture
I am a sheet of music
I start quietly building on the quartet of Strings
the Violin starts a shimmering sound
backed up with the viola
the solemn sound of the cello
and the ground breaking bass
united in harmony

There is a rest a break in note
I am part of a Symphony an overture
out of the heart of the music
a quiet roll
the timpani building in sound
full orchestra building in amazing ******


Fireworks, Percussion, Brass, Woodwind, Strings
Combined together in unity
performing to the quality levels of sound
the amazing Tchaikovsky in 1812

Creativity and Imagination
shaking the core of the earth
#orchestra #strings #brass #percussion #woodwind #tchaikovsky #1812
Continue reading...
Nik Bland Oct 2012
Angel In The Midst
Tethered feathers sing their long lost songs in solos that were once symphonies
Falling from swan-like wings of a lone angel and floating along a reflecting stream
The misty haze graces both water's surface and the resting angel's skin
Making the glow from her shining halo all the more evident

See as she sits inside the arms of an elderly weeping willow
Fireflies gracing her satin hand as the glow from her skin does billow
The natural string quartet of the crickets under a full moon's glow
A silent moment in a place and time that mortals may never know

Looking upon the star studded sky that is her open field
Flying with the grace of many a dove whose untamed beauty shall not yeild
Yet landing on dirt ridden ground to see whatever it is she may please
Trickling tears coming from your eyes at the sight of such travesties

Oh angel, if feather must fall, then let it, but not one tear from your eye
At this hallowed sight and glorious eve where Heaven and Earth coincide
And if tear must fall into the waters under the arm of the willow tree
May it harden into the whitest of pearls so I might keep it here with me

Let sultry glowing moonlight be your constant company
Filling the darkness and contributing spotlight to your scene
May silver moonlight and  silken feather compliment each detail
And pray the moon does not fade away and break this scene, so frail

Dear hallowed breath of the midnight hour, take note of this rare time
So you may utter this instant in this poet's ear and turn it to hallowed rhyme
The instance where an host of Heaven indulged in a glimpse of Earth
And with a tear turned into a pearl showed what our instances are worth
Continue reading...
Robert C Howard Sep 2013
Beethoven and Schiller
Symphony No.9 in d – minor, opus 125

Allegro ma non troppo

The silence gives way gently
to quiet tremolos rustling
beneath the beckoning
call of distant horns.
A melodic cell, nascent in violins,
spirals down to the somber depths
of cello and contrabass.

A sudden cataclysm
shakes the hall like thunder
heralding our universal birth.
Gales of sonic force
splashed like turbulent waves
against the rocky shores.

Drifting sans glass or sextant
on a sea of expanding mystery,
we gaze to the heavens
in hopes for a glimpse
of our father’s aetherial dwelling.

Molto vivace

With hands intertwined,
we dance in a ring
to the capricious airs
of the laughing gods
with Zeus himself on timpani.
So pass the wine and kiss your neighbor
and fill your glass to the brim!
For today is yesterday’s morrow
and tomorrow’s history.

Adagio molto e cantabile

There is no greater and more healing light
than the candles that shine
in the eyes of a friend
or loving spouse -  
tenderly lighting our paths
through the storms and fogs
that cloud our lives.
Peace abides in a friend's embrace.

An die Freude

Against raging storms of
strife and sorrow.
we hear a healing voice
A calm cello hymn -
that migrates up to higher cords
of violas and violins -
breaking into joyous song
sung by trumpets, winds and drums.

Casting all shrillness of discord aside,
a baritone lines out Schiller’s ode -
and sings of Elysium’s daughter.  
Quartet and chorus enter in
proclaiming hope for the human family,

A tenor raises a stein to valor
in the company of his friends.
The quiet pulsing of horns and winds
ushers in torrents of ecstasy.
Arms clasped in communal embrace,
we gaze to heaven on bended knees
then rise with a majestic fugue
that illuminates our souls
like a blazing Alpine dawn.

In a cyclone of passion,
Schiller's words and Beethoven's notes
entreat us to restore
what custom has rent apart
that each of us may live our lives
as brothers in heavenly sanctuary.

May 25, 2007
#symphony #beethoven #ninth #schiller
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Mohan Sardarshahari Feb 2022
A Quartet
February fabulous
Romantic & Passionate
Colourful embience
A true love carpet
Soothing temperature
An accurate google map
to eat,dance,drink and
sing quartet
Continue reading...
Chris G Vaillancourt Apr 2016
Back When The World Was Psychedelic
My grandmother used to bake pies
in the kitchen where I lived as a boy.
She would spend all day mixing
          and kneading,
singing her old lady songs to herself.
I would get to lick the bowl.
This was my prize.
Back when the world was psychedelic
and hippies wandered the streets.

My sister and I would play outside
        almost every sunny day.
Magic kingdoms made of mud and bricks.
Toy soldier citizens of mock empires.
Barbie doll victims of terrible wars.
Bubblegum music from the top forty
       traced the pattern of our lives.

Our country had a new flag and boys
         in school still had short hair.
Little girls wore skirts and dresses and
pony tails were still the normal fashion.
Black and white television set turned to
the latest American sitcoms. We would
laugh at Granny and marvel at Endora.
Mr. Sullivan would present the latest rage,
the latest quartet or singer from England.
Back when the world was psychedelic
and hippies wandered the streets.

We wore peace buttons on our coats,
and drew "smiley's" on our books.
We talked about what we were going
to do to make a difference in the world.
We admired the Fab Four and worshipped
        at the altar of glorious possibilities.
We knew it was going to be beautiful,
because that is what we were being told.

Every morning at school we would sing
"God Save the Queen" and "O Canada",
say The Lord's Prayer and
      hear the announcements.
Teachers talked about the future
       as if it was a land of possibilities.
We did not know the black and white visions
would be transformed into colour horrors.
We had no idea that the dreams of peace and love
were going to be forgotten. Who could predict
the grey soul of adulthood? Where have
         all the beautiful people gone?

My grandmother used to bake pies
in the kitchen where I lived as a boy.
Back when the world was psychedelic
and hippies wandered the streets.
Continue reading...
Richard Ellis - Hawley Nov 2014
Music
While sitting here one sunny day
my favourite music started to play
It started soft and grew in sound
when the ***** boomed around
Emotions running high and low
while the sound of music ran its show
The sound of brass echoes through
with string quartet making things anew
The concert hall is filled with tone
chilling you right to the bone
the audience goes wild at the end of the show
and maestro conductor takes his bow
for the encore there's the sound of Bach
the audience leaves for now it is dark!
#music #concert #classical #***** #bach
Continue reading...
Sandman Oct 2018
Deja Vu
Somewhere out there is something through all the dangling darkness.
There is a pitter patter of reverse rain.
A string quartet of meaningless existentialism.
We are caught between two worlds.
There is no turning back.
Each person here to play their own part.
Every thought endlessly echoing for future generations.
For future generations.
I don't know why I am here, why I am enhanced and injected, with fear.
Perhaps that while death was sweeping the sea of people he forgot me.
The choreography of shooting stars passing by us.
Here we all are together in this world.
Love is like deja vu seemlesly causing the whole of the universe to function.
Woke up today in my dreams and I walked to a blurry window and looked outside and I could not tell what was real and what was just dreams.
I feel we have been told by society that dreams and things that we think are fake and only the tangible world is real.
But dreams and thoughts that we think are more real than anything.
For a half remembered dream was created by you and will stay with you.
Random thoughts repeating.
Repeating.
We are the children of tomorrow birthed from our ******* up insecurities that laugh at us.
Ha ha.
Based on the movie Synecdoche, New York
#existentialism #philosophy #death #thoughts #memories #fear #insecurities #destiny #dreams #purpose
Continue reading...
Georg Trakl
Psalm
It is a light, that the wind has extinguished.
It is a pub on the heath, that a drunk departs in the afternoon.
It is a vineyard, charred and black with holes full of spiders.
It is a space, that they have white-limed with milk.
The madman has died. It is a South Sea island,
Receiving the Sun-God. One makes the drums roar.
The men perform warlike dances.
The women sway their hips in creeping vines and fire-flowers,
Whenever the ocean sings. O our lost Paradise.

The nymphs have departed the golden woods.
One buries the stranger. Then arises a flicker-rain.
The son of Pan appears in the form of an earth-laborer,
Who sleeps away the meridian at the edge of the glowing asphalt.
It is little girls in a courtyard, in little dresses full of heart-rending poverty!
It is rooms, filled with Accords and Sonatas.
It is shadows, which embrace each other before a blinded mirror.
At the windows of the hospital, the healing warm themselves.
A white steamer carries ****** contagia up the canal.

The strange sister appears again in someone's evil dreams.
Resting in the hazelbush, she plays with his stars.
The student, perhaps a doppelganger, stares long after her from the window.
Behind him stands his dead brother, or he comes down the old spiral stairs.
In the darkness of brown chestnuts, the figure of the young novice.
The garden is in evening. The bats flit around inside the walls of the monastery.
The children of the caretaker cease their playing and seek the gold of the heavens.
Closing accords of a quartet. The little blind girl runs trembling through the tree-lined street.
And later touches her shadow along cold walls, surrounded by fairy tales and holy legends.

It is an empty boat, that drives at evening down the black canal.
In the bleakness of the old asylum, human ruins come apart.
The dead orphans lie at the garden wall.
From gray rooms tread angels with ****-spattered wings.
Worms drip from their yellowed eyelids.
The square before the church is obscure and silent, as in the days of childhood.
Earlier lives glide past upon silvery soles
And the shadows of the ****** climb down to the sighing waters.
In his grave, the white-magician plays with his snakes.

Silent above the place of the skull, open God's golden eyes.
Continue reading...
Bruised Orange Mar 2015
Can Poetry Matter? A Poem By Stephen Dobyns
"Can Poetry Matter?"
by
Stephen Dobyns

Heart feels the time has come to compose lyric poetry.
No more storytelling for him. Oh, Moon, Heart writes,
sad wafer of the heart's distress. and then: Oh, Moon,
bright ******* of the heart's pleasure. Which is it,
is the moon happy or sad, ******* or wafer? He looks
from the window but the night is overcast. Oh, Cloud,
he writes, moody veil of the Moon's distress. And then,
Oh, Cloud, sweet scarf of the Moon's repose. Once more
Heart asks, Are clouds kindly or a bother, is the moon sad
or at rest? He calls scientists who tell him that the moon
is a dead piece of rock. He calls astrologers. One says
the moon means water. Another that it signifies oblivion.
The girl next door says the Moon means love. The nut
up the block says it proves Satan has us under his thumb.
Heart goes back to his notebooks. Oh, Moon,, he writes,
confusing orb meaning one thing or another. Heart feels
that his words lack conviction. Then he hits on a solution.
Oh, Moon, immense hyena of introverted motorboat.
Oh, Moon, upside down lamppost of barbershop quartet.
Heart takes his lines to a critic who tells him that the poet
is recounting a time as a toddler when he saw his father
kissing the baby-sitter at the family's cottage on a lake.
Obviously, the poem explains the poet's fear of water.
Heart is ecstatic. He rushes home to continue writing.
Oh, Cloud, raccoon cadaver of colored crayon, angel spittle
recast as foggy euphoria. Heart is swept up by the passion
of composition. Freed from the responsibility of content,
no nuance of nonsense can be denied him. Soon his poems
appear everywhere, while the critic writes essays elucidating
Heart's meaning. Jointly they form a sausage factory of poetry:
Heart supplying the pig snouts and ****** tissue of language
which the critic encloses in a thin membrane of explication.
Lyric poetry means teamwork, thinks Heart: a hog farm,
corn field, and two old dobbins pulling a buckboard of song.

(from Pallbearers Envying the One Who Rides, 1999)
I laughed hard at this.  Thought I'd share here. :-)
Continue reading...
Oskar Erikson Mar 2017
Coffeeshop
Getting lost
in the Coffeeshop Quartet.
Birring grinders and steamy explosions
chattering friends- coffee tinged emotions.
Everyone's exploring with their faces upbeat,
a little bubble of warmth against the cold harsh street.
#coffee #music
Continue reading...
Ben Jones May 2013
The Reason I *** Weasels
It began, as these things often do
With darkened skies and all around
The night had paused to draw a breath
And through the streets rebounded sound
A slow and steady fall of foot
I stepped the cobbles free of care
My eyes were drinking vivid light
A fragrance tangled on the air

My purpose set
My heart a grim quartet

The door was mere scenery
A sight to see but not recall
The passing gaze is pushed away
And sees there, just another wall
No movement could I hear within
My knuckles whitened on the knock
Relief recoiled hastily
A scratching from the rusted lock

My fingers clenched
Anxiety deeply entrenched

The woodwork inched a little back
A brow bedecked in withered hair
A pupil sharp as autumn frost
Surveyed me with a butchers glare
Her voice, a blade across my mind
Invited me to step inside
A shiver shook my frozen bones
My feet took up a timid stride

Her tone shallow
Her skin like warm tallow

Within was soaked in tepid gloom
In candle light the shadows danced
The flames grew quick and paranoid
And leaned away as I advanced
Behind me scurried shut the door
And down my spine, an angel tear
A leather chair of ages past
Held consort with my falling rear

She sat near
And whispered in my ear

With lizards hiss and jagged tone
In fragrances of smoke and gin
She sprinkled such a parable
That tingles bounced across my skin
My mission lay ahead of me
But caution of a reckless choice
A curse that fed on failure
And menace edged her ebon voice

Salvation awaited
But hope swiftly abated

Away into the night I strode
My razor wits with terror blunt
I packed a satchel prudently
For sustenance about the hunt
A dagger dangled on my hip
A bow and quiver on my back
Its bowstring plaited spider web
Was ever strong and never slack

Horizon bound
I broke the ****** ground

My quarry was a worthy foe
And many days I tracked until
By moonlight on a starless night
I caught a glimpse and stopping still
A sight I've struggled to forget
My bounty and my nemesis
Was bounding past me heedlessly
As fear wrought paralysis

Eyes like death
****** hung on its breath

It stood a daunting seven foot
With talons jutting from its hands
A mass of quills and tentacles
With extra spleens and mucus glands
A mouth with room for seven men
And teeth the size of ironing boards
A single but enormous eye
With lashes like a row of swords

My face paled
My bladder faultered and soon failed

I faced my prey and crossed my legs
My stricken blood had turned froth
I ****** myself in abject fear
But stopped just short of touching cloth
I turned about and ran away
While screaming out profanity
And crying like a baby
And adopting Christianity

Pleading with fate
My pride a sorry state

I fled the county swiftly
Finding shelter inside a cave
My punishment for failure
Would see me to my grave
And so I existed in exile
Eating only what I caught
In time the wind grew colder
And the days were ever short

Winter grips
The solar zenith slips

I huddle to this very day
Amid the gloom with frozen breath
And keeping warm is paramount
For stretching life, postponing death
Though purely for survival
While I weather every storm
I've taken to bumming weasels
As a means of keeping warm

Blunt trauma
Weasel skin *****-warmer
Continue reading...
Amanda Stoddard Jul 2015
I can count all the times I've tried to **** myself on one hand and all the men I've loved on the other.
One. I was Seven years old when the pain started
it came like an apology note I didn't ask for
like a bullies mom making him say sorry because he had to.
You were my sad excuse for an apology
you wrote your sorry on my skin
etched it in sin
and stole the security of my seven year old self.
Months after the days got cold
and my body was looking for some sort of warmth
found inside my sexuality-
I broke down.
Too many '4am picking mommy off the ground's
and '7am dragging myself out of bed's
too many fist fights with walls I never won against,
too many knives hiding underneath pillows-
and I wonder why I have attachment issues.
A swinging belt from my ceiling fan
that wasn't strong enough to hold my frail 7 year old body
I didn't break anything except for my spirits
the pleather wasn't secure enough-
I have been afraid of commitment ever since.
2. The day I saw your face withering away-
cancer etched inside your skin like sand
and the daylight never seemed like daylight to me
because it reminded me how the next day
was just 24 more hours closer to darkness.
As the days passed, your strength diminished
and as I saw you break-
I started to remember the things my 7 year old self went through.
I kissed a boy for the first time and remembered how it felt
the musty basement smell and the hands around my waist-
in that moment I was in a time machine
reverted back to my childhood and reminded myself
why exactly I was so scared of commitment.
My grandmother's face transformed into a stranger
and as I looked into the mirror so did I.
I would lie to everyone and say that I was fine
took some pills down the hatch to make it all better
until one time it was too much.
My stomach didn't know the words
my lips were trying to sing
they couldn't handle the music inside of me.
So I regurgitated a chorus of falsification
and threw up a string quartet of lonely-
I've never really been good at reading sheet music.
3. My doctor painted a picture of me
she put a dark cloud over my head
and drew me into what she wanted
she titled me "depressed"
all I wanted was for her to fix my stomach pain
but instead she fed me pills-
levels in your brain can be fixed
but she wasn't altering the right chemicals
I took a nosedive.
Saw what she drew for me when I looked into the mirror-
it was nothing but 15 more pounds
of what already brought me down
so I wanted to be auctioned off to the highest bidder
heaven had in store for me.
So I painted my own picture across my wrists
but the paint brush wasn't thick enough
and the red didn't spill the way I needed it to-
I've found I'm not much of an artist.

1. I met you around the same time
I found myself-
around the same time
swing sets were more home than my own
and soccer fields were my safe haven.
Middle school love triangle-
you cheated on me with my best friend
I thought I loved you then.
You drew me a picture of us together
and stitched together a weird stuffed animal
I found you weren't much of an artist.
2. The bottle and you fell in love
and I was blinded by lonely-
the affirmation was my drug
and the Jack Daniel's was yours
I was accustomed to the chaos
and the inconsistency.
You brought back the bad memories
and they sung me to sleep that night after
as the chorus of your hands on my hips
led me into an abyss of heavy metal
which led to the silence of my cell phone the next day-
I was never really good at reading your sheet music.
3. Timid was the way we connected-
felt a sense of insanity from the start
and anxious like I never had before
you changed the way I saw things
molded me into yourself
and took the grips of my reality
and let them fit inside your box.
Every instance of socialization
would turn into an argument
then I would succumb to the solitude
All because I cared for you.
You're a lot like my father-
I never realized it until I left you there
almost in tears standing in your driveway
you watched me walk away.
As I see you now with clear eyes and a not so heavy heart
I realize you're a lot like the belt I used-
not strong enough to hold me up
but still you contributed to my downfall.
I laid on that ground for some time
saw as you confirmed my suspicions
of old feelings for exes and your girl friends,
morning texts to my cell phone on how you miss me
how you ****** up losing me
texts back from me agreeing with you
kicking you off the high horse you once rode upon-
realizing you never appreciated me as a person
not until this love slipped through your fingers
and you were forced to realize it was you
defense mechanisms became your fortitude
and you tried to act like this knife I returned
didn't stab you in your heart like it did to me-
I've been afraid of commitment ever since..

1. Memories do not control me-
they kept me inside a cage
and watched as I outgrew it
prying the bars away from my hands
the memory can't touch me anymore
2. Two of these people don't belong on this list-
because they only showed me what love really
isn't.
3. Don't even think about falling in love with me, or hurting me-
unless you realize you will become poetry.
3. I've been afraid of commitment ever since
I realized you weren't a very good artist
so I've been racking my brain trying to read this sheet music
but I realize now who the **** needs sheet music
when you don't play any instruments.
3. Im tired of being around people I cannot read
seeing things that remind me of my seven year old sin-
take away the bad and remind me things can be good again.
3. Now I am invincible-
because the list of love will grow
while the other will be just a list to me.
Listen to me...
don't fall in love with someone who writes poetry
they will make beauty out of your tragedy
and sonnets out of your personality.
3. Personally, that's the only beauty I'll ever need.
The one that comes from me
shoots through my fingers quicker than
1, 2, 3-
I can count all the times I've tried to **** myself on one hand
1, 2, 3-
I can count all the men I've ever loved on the other
1, 2, 3-
but what I can't count?
All this poetry that became of me
because of those 1, 2, 3s.
And that's the best **** part about tragedy
you turn it into your own masterpiece.
this is hectic and messy, i may edit it but I kind of like how it gets chaotic at the end.
#warning #trigger
Continue reading...

— The End —