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RAJ NANDY Jul 2017
THE LEGEND OF HOLLYWOOD IN VERSE
Dear Readers, I have tried to cover the salient features of this True Story in free flowing verse mainly with end rhymes. If you read it loud, you can hear the chimes! Due to the short attention span of my readers I had to cut short this long story, and conclude with the
Golden Era of Hollywood by stretching it up to the 1950's only. When TV began to challenge the Big Screen Cinema seriously! I have used only a part of my notes here. Kindly read the entire poem and don't hesitate to know many interesting facts - which I also did not know! I wish there was a provision for posting a few interesting photographs for you here. Best wishes, - Raj Nandy, New Delhi.  

                 THE LEGEND OF HOLLYWOOD :
                        THE AMERICAN  DREAM
                             BY RAJ NANDY

           A SHORT  HISTORICAL  BACKGROUND
Since the earliest days, optical toys, shadow shows, and ‘magic
lanterns’, had created the illusion of motion.
This concept was first described by Mark Roget in 1824 as  
the 'persistent of vision'.
Giving impetus to the development of big screen cinema with its
close-ups, capturing all controlled and subtle expressions!
The actors were no longer required to shout out their parts with
exaggerated actions as on the Elizabethan Stage.
Now even a single tear drop could get noticed easily by the entire
movie audience!
With the best scene being included and edited after a few retakes.
To Thomas Edison and his able assistant William Rogers we owe the invention of Kinetoscope, the first movie camera.
On the grounds of his West Orange, New Jersey laboratory, Edison
built his first movie studio called the ‘Black Maria’.   (1893)
He also purchased a string of patents related to motion picture
Camera; forming the Edison Trust, - a cartel that took control of
the Film Industry entire!

Fort Lee, New Jersey:
On a small borough on the opposite bank of the Hudson River lay
the deserted Fort Lee.
Here scores of film production crews descended armed with picture Cameras, on this isolated part of New Jersey!
In 1907 Edison’s company came there to shoot a short silent film –
‘Rescue From an Eagle’s Nest’,
Which featured for the first time the actor and director DW Griffith.
The independent Chaplin Film Company built the first permanent
movie studio in 1910 in Fort Lee.
While some of the biggest Hollywood studios like the Universal,
MGM, and 20th Century Fox, had their roots in Fort Lee.
Some of the famous stars of the silent movie era included ‘Fatty’
Arbuckle, Will Rogers, Mary Pickford, Dorothy and Lillian Gish,
Lionel Barrymore, Rudolph Valentine and Pearl White.
In those days there were no reflectors and electric arch lights.
So movies were made on rooftops to capture the bright sunlight!
During unpredictable bad weather days, filming had to be stopped
despite the revolving stage which was made, -
To rotate and capture the sunlight before the lights atarted to fade!

Shift from New Jersey to West Coast California:
Now Edison who held the patents for the bulb, phonograph, and the Camera, had exhibited a near monopoly;
On the production, distribution, and exhibition of the movies which made this budding industry to shift to California from
New Jersey!
California with its natural scenery, its open range, mountains, desert, and snow country, had the basic ingredients for the movie industry.
But most importantly, California had bright Sunshine for almost
365 days of the year!
While eight miles away from Hollywood lay the port city of Los Angeles with its cheap labour.

                        THE RISE  OF  HOLLYWOOD
It was a real estate tycoon Harvey Wilcox and his wife Daeida from
Kansas, who during the 1880s founded ‘Hollywood’ as a community for like-minded temperate followers.
It is generally said that Daeida gave the name Hollywood perhaps
due to the areas abundant red-berried shrubs also known as
California Holly.
Spring blossoms around and above the Hollywood Hills with its rich variety,  gave it a touch of paradise for all to see !
Hollywood was incorporated as a municipality in 1903, and during
1910 unified with the city of Los Angeles.
While a year later, the first film studio had moved in from New
Jersey, to escape Thomas Edison’s monopoly!    (1911)

In 1913 Cecil B. De Mille and Jesse Lasky, had leased a barn with
studio facilities.
And directed the first feature length film ‘Squaw Man’ in 1914.
Today this studio is home to Hollywood Heritage Museum as we get to see.
The timeless symbol of Hollywood film industry that famous sign on top of Mount Lee, was put up by a real estate developer in 1923.  
This sign had read as ‘’HOLLY WOOD LAND’’ initially.
Despite decades of run-ins with vandals and pranksters, it managed to hang on to its prime location near the summit of the Hollywood Hills.
The last restoration work was carried out in 1978 initiated by Hugh
Hefner of the ******* Magazine.
Those nine white letters 45 feet tall now read ‘HOLLYWOOD’, and has become a landmark and America’s cultural icon, and an evocative symbol for ambition, glamour, and dream.
Forever enticing aspiring actors to flock to Hollywood, hypnotised
by lure of the big screen!

                     GOLDEN AGE OF HOLLYWOOD
The Silent Movie Era which began in 1895, ended in 1935 with the
production of ‘Dance of Virgins’, filmed entirely in the island of Bali.
The first Sound film ‘The Jazz Singer’ by Warner Bros. was made with a Vitaphone sound-on-disc technology.  (October 1927)
Despite the Great Depression of the 1930s, this decade along with the 1940s have been regarded by some as Hollywood’s Golden Age.
However, I think that this Golden Age includes the decades of the
1940s and the 1950s instead.
When the advent of Television began to challenge the Film Industry
itself !

First Academy Award:
On 16th May 1929 in the Roosevelt Hotel on Hollywood Boulevard,
the First Academy Award presentation was held.
Around 270 people were in attendance, and tickets were priced at
$5 per head.
When the best films of 1927 & 1928 were honored by the Academy
of Motion Production and Sciences, or the AMPS.
Emil Jennings became the best actor, and Janet Gaynor the best actress.
Special Award went to Charlie Chaplin for his contribution to the
silent movie era and for his silent film ‘The Circus’.
While Warren Brothers was commended for making the first talking picture ‘The Jazz Singer’, - also receiving a Special Award!
Now, the origin of the term ‘OSCAR’ has remained disputed.
The Academy adopted this name from 1939 onwards it is stated.
OSCAR award has now become “the stuff dreams are made of”!
It is a gold-plated statuette of a knight 13.5 inches in height, weighing 8.5 pounds, was designed by MGM’s art director Cedric Gibbons.
Annually awarded for honouring and encouraging excellence in all
facets of motion picture production.

Movies During the Great Depression Era (1929-1941):
Musicals and dance movies starring Fred Astaire and Ginger Rogers provided escapism and good entertainment during this age.
“Ginger Rogers did everything Fred Astaire did. She just did it
backwards and in high heels,” - the Critics had said.
This compatible pair entertained the viewers for almost one and
a half decade.
During the ‘30s, gangster movies were popular starring James Cagey, Humphrey Bogart, and Edward G. Robinson.
While family movies had their popular child artist Shirley Temple.
Swashbuckler films of the Golden Age saw the sword fighting scenes of Douglas Fairbanks and Errol Flynn.
Flynn got idolized playing ‘Robin Hood’, this film got released in
1938 on the big screen!
Story of the American Civil War got presented in the epic ‘Gone With The Wind’ (1939) with Clarke Gable and Vivian Leigh.
This movie received 8 Oscars including the award for the Best Film, - creating a landmark in motion picture’s history!
More serious movies like John Steinbeck’s ‘Grapes of Wrath’ and
John Ford’s  ‘How Green Was My Valley’, were released in 1940 and 1941 respectively.
While the viewers escaped that depressive age to the magical world
of  ‘Wizard of Oz’ with its actress Judy Garland most eagerly!
Let us not forget John Wayne the King of the Westerns, who began
his acting career in the 1930s with his movie ‘The Big Trail’;
He went on to complete 84 films before his career came to an end.
Beginning of the 40s also saw Bob Hope and the crooner Bing Crosby, who entertained the public and also the fighting troops.
For the Second World War (1939-45) had interrupted the Golden Age of Hollywood.
When actors like Henry Fonda, Clarke Gable, James Stewart and
Douglas Fairbanks joined the armed forces temporarily leaving
Hollywood.
Few propaganda movies supporting the war efforts were also made.
While landmark movies like ‘Philadelphia Story’, ‘Casablanca’, ‘Citizen Kane’,
‘The Best Years of Our Lives’, were some of the most successful movies of that decade.  (The 1940s)
Now I come towards the end of my Hollywood Story with the decade  of the 1950s, thereby extending the period of Hollywood’s Golden Age.
Since having past the Great Depression and the Second World War,  the Hollywood movie industry truly matured and came of age.

                        HOLLYWOOD  OF  THE  1950s

BACKGROU­ND:
The decade of the ‘50s was known for its post-war affluence and
choice of leisure time activities.
It was a decade of middle-class values, fast-food restaurants, and
drive-in- movies;
Of ‘baby-boom’, all-electric home, the first credit cards, and new fast moving cars like the Ford, Plymouth, Buick, Hudson, and Chevrolet.
But not forgetting the white racist terrorism in the Southern States!
This era saw the beginning of Cold War, with Eisenhower
succeeding Harry S. Truman as the American President.
But for the film industry, most importantly, what really mattered  
was the advent of the Domestic TV.
When the older viewers preferred to stay at home instead of going
out to the movies.
By 1950, 10.5 million US homes had a television set, and on the
30th December 1953, the first Color TV went on sale!
Film industries used techniques such as Cinemascope, Vista Vision,
and gimmicks like 3-D techniques,
To get back their former movie audience back on their seats!
However, the big scene spectacle films did retain its charm and
fantasy.
Since fantasy epics like ‘The Story of Robin Hood’, and Biblical epics like ‘The Robe’, ‘Quo Vadis’, ‘The Ten Commandments’ and ‘Ben-Hur’, did retain its big screen visual appeal.
‘The Robe’ released on 16th September 1953, was the first film shot
and projected in Cinema Scope;
In which special lenses were used to compress a wide image into a
standard frame and then expanded it again during projection;
Resulting in an image almost two and a half times as high and also as wide, - captivating the viewers imagination!

DEMAND FOR NEW THEMES DURING THE 1950s :
The idealized portrayal of men and women since the Second World War,
Now failed to satisfy the youth who sought exciting symbols for rebellion.
So Hollywood responded with anti-heroes with stars like James Dean, Marlon Brando, and Paul Newman.
They replaced conventional actors like Tyron Power, Van Johnson, and Robert Taylor to a great extent, to meet the requirement of the age.
Anti-heroines included Ava Gardner, Kim Novak, and Marilyn Monroe with her vibrant *** appeal;
She provided excitement for the new generation with a change of scene.
Themes of rebellion against established authority was present in many Rock and Roll songs,
Including the 1954 Bill Hailey and His Comets’ ‘Rock Around the Clock’.
The era also saw rise to stardom of Elvis Presley the teen heartthrob.
Meeting the youthful aspirations with his songs like ‘Jailhouse Rock’!
I recall the lyrics of this 1957 film ‘Jailhouse Rock’ of my school days, which had featured the youth icon Elvis:
   “The Warden threw a party in the county jail,
     The prison band was there and they began to wail.
     The band was jumping and the joint began to sing,
     You should’ve heard them knocked-out jail bird sing.
     Let’s rock, everybody in the whole cell block……………
     Spider Murphy played the tenor saxophone,
     Little Joe was blowing the slide trombone.
     The drummer boy from Illinois went crash, boom, bang!
     The whole rhythm section was the Purple Gang,
      Let's rock,.................... (Lyrics of the song.)

Rock and Roll music began to tear down color barriers, and Afro-
American musicians like Chuck Berry and Little Richard became
very popular!
Now I must caution my readers that thousands of feature films got  released during this eventful decade in Hollywood.
To cover them all within this limited space becomes an impossible
task, which may kindly be understood !
However, I shall try to do so in a summarized form as best as I could.

BOX OFFICE HITS YEAR-WISE FROM 1950 To 1959 :
Top Ten Year-Wise hit films chronologically are: Cinderella (1950),
Quo Vadis, The Greatest Show on Earth, Peter Pan, Rear Window,
Lady and the *****, Ten Commandments, Bridge on the River
Kwai, South Pacific, and Ben-Hur of 1959.

However Taking The Entire Decade Of 1950s Collectively,
The Top Films Get Rated As Follows Respectively:
The Ten Commandments, followed by Lady and the *****, Peter Pan, Sleeping Beauty, Bridge on the River Kwai, Around the World in Eighty Days, This is Cinerama, The Greatest Show on Earth, Rear Window, South Pacific, The Robe, Giant, Seven Wonders of the World, White Christmas, Twenty Thousand Leagues Under the Sea, Sayonara, Demetrius and the Gladiator, Peyton Place, Some Like It Hot, Quo Vadis, and Auntie Mame.

Film Debuts By Rising Stars During The 1950s :
The decade of the ‘50s saw a number of famous film stars making
their first appearance.
There was Peter Sellers in ‘The Black Rose’, Marlon Brando in
‘The Men’, and actress Sophia Loren in ‘Toto Tarzan’.
Following year saw Charles Bronson in ‘You Are in the Navy Now’,
Audrey Hepburn in ‘Our Wild Oats’, and Grace Kelly, the future
Princess of Monaco, in her first film ‘Fourteen Hours’. (1951)
While **** Brigitte Bardot appeared in 1952 movie ‘Crazy for Love’; and 1953 saw Steve Mc Queen in ‘******* The Run’.
Jack Lemon, Paul Newman, and Omar Sharif featured in films
during 1954.
The following year saw Clint Eastwood, Shirley Mc Lean, Walter
Matthau, and Jane Mansfield, all of whom the audience adored.
The British actor Michael Cain appeared in 1956; also Elvis Presley
the youth icon in ‘Love Me Tender’ and as the future Rock and Roll
King!
In 1957 came Sean Connery, followed by Jack Nicholson, Christopher Plummer, and Vanessa Redgrave.
While the closing decade of the ‘50s saw James Coburn, along with
director, script writer, and producer Steven Spielberg, make their
debut appearance.

Deaths During The 1950s: This decade also saw the death of actors
like Humphrey Bogart, Tyron Power and Errol Flynn.
Including the death of producer and director of epic movies the
renowned Cecil B. De Mille!
Though I have conclude the Golden Age of Hollywood with the 50’s Decade,
The glitz and glamour of its Oscar Awards continue even to this day.
With its red carpet and lighted marquee appeal and fashion display!

CONTINUING THE HOLLYWOOD STORY WITH FEW TITBITS :
From Fort Lee of New Jersey we have travelled west to Hollywood,
California.
From the silent movie days to the first ‘talking picture’ with Warren
Bros’ film ‘The Jazz Singer’.  (06 Oct 1927)
On 31st July 1928 for the first time the audience heard the MGM’s
mascot Leo’s mighty roar!
While in July 1929 Warren Bros’ first all-talking and all- Technicolor
Film appeared titled - ‘On With The Show’.
Austrian born Hedy Lamarr shocked the audience appearing **** in a Czechoslovak film ‘Ecstasy’!  (1933)
She fled from her husband to join MGM, becoming a star of the
‘40s and the ‘50s.
The ‘Private Life of Henry VII’ became the first British film to win the  American Academy Award.  (1933)
On 11Dec 1934, FOX released ‘Bright Eyes’ with Shirley Temple,
who became the first Child artist to win this Award!
While in 1937 Walt Disney released the first full animated feature
film titled - ‘Snow White and the Seven Dwarf ‘.
The British film director Alfred Hitchcock who came to
Hollywood later;
Between 1940 and 1947, made great thrillers like 'Rebecca', ‘Notorious’, ‘Rear Window’, and ‘Dial M for ******’.
But he never won an Oscar as a Director!

THE GOLDEN GLOBE AWARD:
This award began in 1944 by the Foreign Correspondence Association at
the 20th Century Fox Studio.
To award critically acclaimed films and television shows, by awarding a
Scroll initially.
Later a Golden Globe was made on a pedestal, with a film strip around it.
In 1955 the Cecil B. De Mille Award was created, with De Mille as its first
recipient.

THE GRAMMY AWARD:
In 1959 The National Academy of Recording and Sciences sponsored the
First Grammy Award for music recorded during 1958.
When Frank Sinatra won for his album cover ‘Only The Lonely’, but he
did not sing.
Among the 28 other categories there was Ella Fitzgerald, and Count Basie
for his musical Dance Band Performance.
There was Kingston Trio’s song ‘Tom Dooly’, and the ‘Chipmunk Song’,
which brings back nostalgic memories of my school days!

CONCLUDING HOLLYWOOD STORY  WITH STUDIOS OF THE 1950s

Challenge Faced by the Movie Industry:
Now the challenge before the Movie Industry was how to adjust to the
rapidly changing conditions created by the growing TV Industry.
Resulting in loss of revenue, with viewers getting addicted to
their Domestic TV screen most conveniently!

The late 1950s saw two studios REPUBLIC and the RKO go out of business!
REPUBLIC from 1935- ‘59 based in Los Angeles, developed the careers of
John Wayne and Roy Rogers, and specializing in the Westerns.
RKO was one of the Big Five Studios of Hollywood along with Paramount,
MGM, 20th Century Fox, and Warner Brothers in those days.

RKO Studio which begun with Fred Astaire and Ginger Rogers in the ‘30s,
included actress Katherine Hepburn who holds the record for four Oscars
even to this day;
And later had Robert Mitchum and Carry Grant under an agreement.
But in 1948, RKO Studio came under the control Howard Hughes the
temperamental Industrialist.
Soon the scandal drive and litigation prone RKO Studio closed, while
other Big Four Studios had managed to remain afloat!


PARAMOUNT STUDIO:
Paramount Studio split into two separate companies in 1950.
Its Theatre chain later merged with ABC Radio & Television Network;
And they created an independent Production/Distribution Network.
Bing Crosby and Bob Hope had been Paramount’s two biggest stars.
Followed by actors like Alan Ladd, William Holden, Jerry Lewis, Dean
Martin, Charlton Heston, and Dorothy Lamour.
They also had the producer/director Cecil B. De Mille producing high-
grossing Epics like ‘Samson & Delilah’ and ‘The Ten Commandments’.
Also the movie maker Hal Wallis, who discovered Burt Lancaster and
Elvis Presley - two great talents!

20th CENTURY FOX:
Cinema Scope became FOX’s most successful technological innovation
with its hit film ‘The Robe’. (1953)
Its Darryl Zanuck had observed during the early ‘50s, that audience  
were more interested in escapist entertainments mainly.
So he turned to FOX to musicals, comedies, and adventure stories.
Biggest stars of FOX were Gregory Peck & Susan Hayward; also
stars like Victor Mature, Anne Baxter, and Richard Wind Mark.
Not forgetting Marilyn Monroe in her Cinema Scope Box Office hit
movie - ‘How to Marry a Millionaire’, which was also shown on
prime time TV, as a romantic comedy film of 1953.

WARREN BROTHERS:
During 1950 the studio was mainly a family managed company with
three brothers Harry, Albert, and Jack Warren.
To meet the challenges of that period, Warren Bros. released most of
its actors like James Cagney, Humphrey Bogart, Oliver de Havilland, -
Along with few others from their long-term contractual commitments;
Retaining only Errol Flynn, and Ronald Regan who went on to become
the future President.
Like 20th Century Fox, Warren Bros switched to musicals, comedies,
and adventure movies, with Doris Day as its biggest musical star.
The studio also entered into short term agreements with Gary Copper,
John Wayne, Gregory Peck, Patricia Neal, and Random Scott.
Warren Bros also became the first major studio to invest in 3-D
production of films, scoring a big hit with its 3-D  suspense thriller
‘House of Wax’ in 1953.

MINOR STUDIOS were mainly three, - United Artists, Columbia, and
The Universal.
They did not own any theatre chain, and specialized in low-budgeted
‘B’ Movies those days.
Now to cut a long story short it must be said, that Hollywood finally
did participate in the evolution of Television industry, which led to
their integration eventually.
Though strategies involving hardware development and ownership of
broadcast outlets remained unsuccessful unfortunately.
However, Hollywood did succeed through program supply like prime-
time series, and made-for-TV films for the growing TV market making
things more colorful!
Thus it could be said that the TV industry provided the film industry
with new opportunities,  laying the groundwork for its diversification
and concentration;
That characterized the entertainment industry during the latter half  
of our previous century.
I must now confess that I have not visited the movie theatre over the last
two decades!
I watch movies on my big screen TV and my Computer screen these days.
Old classical movies are all available on ‘You Tube’ for me, and I can watch
them any time whenever I am free!
Thanks for reading patiently, - Raj Nandy.
**ALL COPYRIGHTS ARE WITH THE AUTHOR RAJ NANDY OF NEW DELHI
I.

One night at the Troubadour I spotted this extraordinary girl.

So I asked who she was.

‘A professional,’

That was my introduction that on a scale of one to ten

there were women who were fifteens—beautiful, bright, witty, and

oh, by the way, they worked.

Once I became aware,

I saw these women everywhere.

And I came to learn that most of them were connected to Alex



II.

She had a printer engrave a calling card

that featured a bird of paradise

borrowed from a Tiffany silver pattern

and,
under it,

Alex’s Aviary,

Beautiful and Exotic birds.



A few were women you’d see lunching at Le Dôme:

pampered arm pieces with expensive tastes

and a hint of a delicious but remote sexuality.

Many more were fresh-faced, athletic, tanned, freckled

the quintessential California girl

That you’d take for sorority queens or future BMW owners.





III.

The mechanism of Alex’s sudden notoriety is byzantine,

as these things always are.

One of her girls took up with a rotter,

the couple had a fight,

he went to the police,

the police had an undercover detective visit

(who just happened to be an attractive woman)

and ask to work for her,

she all but embraced her

—and by April of 1988 the district attorney had enough evidence

to charge her with two counts of pandering

and one of pimping.

For Alex, who is fifty-six

and has a heart condition and diabetes,

the stakes may be high.

A conviction carries the guarantee of incarceration.

For the forces of law and order,

the stakes may be higher.

Alex has let it be known that she will subpoena

every cop she’s ever met to testify at her trial.

And the revelations this might produce

—perhaps that Alex compromised policemen

by making girls available to them,

—perhaps that Alex had a deal with the police to provide information

in exchange for their blind eye to her activities

—could be hugely embarrassing to the police and the district attorney.

For Alex’s socially correct clients and friends,

for the socially correct wives of her clients and friends

and for a handful of movie and television executives

who have no idea they are dating or

married to former Alex girls,

the stakes are highest of all.



IV.

Alex’s black book is said to be a catalogue of
Le Tout Los Angeles.

In her head are the ****** secrets

of many of the city’s most important men,

to say nothing of visiting businessmen and Arab princes.

If she decides to warble,

either at her trial or in a book,

her song will shatter more than glass.





V.

A decade ago, I went to lunch at Ma Maison,

There were supposed to have been ten people there,

but only four came.

One of them was a short woman

who called me a few days later and invited me to lunch.

When I arrived, the table was set for two.

I didn’t know who Alex was or what she did,

but she knew the important facts of my situation:

I was getting divorced from a very wealthy man

and doing the legal work myself

to avail lawyers who wanted to get a big settlement for me.


Occasionally, she said, I get a call for a tall, dark-haired,

slender, flat-chested woman

—and I don’t have any.

It wouldn’t be a frequent thing.

There’d be weekends away, sometimes in Palm Springs,

sometimes in Europe.

The men will be elegant,

you’ll have your own room

—there would be no outward signs of impropriety.

And you’d get $10,000 to $20,000 for a weekend.





VI.

The tall, slender, flat-chested brunette

didn’t think it was right for her.

Alex handed her a business card

and suggested that she think about it.

To her surprise, she did

—for an entire week.

This was 1978, and $20,000 then

was like $40,000 now,

I knew it was hooking,

but Alex had never mentioned ***.



Our whole conversation seemed to be about something else.



VII.

I was born in Manila

to a Spanish-Filipina mother and German father,

and when I was twelve

a Japanese soldier came into our house

with his bayonet pointed at us,

ready to do us in.

He locked us in and set the house on fire.

I haven’t been scared by much since that.



My mother always struck me as goofy,

so I jumped on a bus and ran away,

I got off in Oakland,

saw a help-wanted sign on a parish house,

and went in.

I got $200 a month for taking care of four priests.

I spent all the money on pastries for the parish house.

But I didn’t care.

It felt safe.

And the priests sparked my interest in the domestic arts

—in linen, in crystal.



A new priest arrived.

He was unpleasant,

so on a vacation in Los Angeles I took a pedestrian job,

still a teenager,

married a scientist.

We separated eight years later,

he took our two sons to another state

threatened to keep them if I didn’t agree to a divorce.

Keep them I said and hung up.

It’s not that I don’t have a maternal instinct

—though I don’t,

I just hate to be manipulated.



My second husband,

an alcoholic,

had Frank Sinatra blue eyes, and possibly

—I never knew for sure—

had a big career in the underworld

as a contract killer.

Years before we got serious,

he was going out with a famous L.A. ******,

She and her friends were so elegant

that I started spending time with them in beauty salons.

They were so fancy,

so smart

—and they knew incredible people,

like the millionaire who sat in his suite all day

just writing $5,000 checks to girls.



VIII.

I was a florist.

We got to talking.

She was a madam from England

who wanted to sell her book and go home.

I bought it for $5,000.

My husband thought it was cute.

Now you’re getting your feet wet.

Three months later,

he died.

After eleven years of marriage,

just like that.

And of the names in the book

it turned out

that half of the men were also dead.

When I began the men were old and the women were ugly.



IX.

It was like a lunch party you or I would give,

Great food Alex had cooked herself.

Major giggles with old pals.

And then,

instead of chocolate After Eight,

she served three women After Three



This man has seen a bit of life

beyond Los Angeles,

so I asked him how Alex’s stable

compared with that of Madam Claude,

the legendary Parisian procuress.

Oh, these aren’t at all like Claude’s girls,

A Claude girl was perfectly dressed and multilingual

—you could take her to the opera

and she’d understand it.





He told me that when she was 40

she looked at herself in the mirror

and said

Disgusting.

People over 40

should not have ***.

But She Was Clear That She Never Liked It

even when she was young.

Besides, she saw all the street business

go to the tall,

beautiful girls.

She thought that she never had a chance

competing against them.

Instead,

she would take their money by managing them.





X.

Going to a ****** was not looked down upon then.

It was before the pill;

Girls weren’t giving it away.

Claude specialized in

failed models and actresses,

ones who just missed the cut.

But just because they failed

in those impossible professions

didn’t mean they weren’t beautiful,

fabulous.



Like Avis

in those days,

those girls tried harder.

Her place was off the Champs,

just above a branch of the Rothschild bank, where I had an account.

Once I met her,

I was constantly making withdrawals and heading upstairs.





XI.

We took the lift

and Claude greeted us at the door.

My impression was that of the director

of an haute couture house,

very subdued,

beige and gray, very little makeup.

She took us into a lounge and made us drinks,

Whiskey,

Cognac.

There was no maid.

We made small talk for 15 minutes.

How was the weekend?

What’s the weather like in Deauville?

Then she made the segue. ‘I understand you’d like to see some jeunes filles?’

She always used ‘jeunes filles.’

This was Claude’s polite way of saying 18 to 25.

She left and soon returned

with two very tall

jeunes filles,

One was blonde.

This is Eva from Austria.

She’s here studying painting.

And a brunette,

very different,

but also very fine.

This is Claudia from Germany.

She’s a dancer.

She took the girls back into the apartment and returned by herself.

I gave my English guest first choice.

He picked the blonde.

And wasn’t disappointed.

Each bedroom had its own bidet.

There was some nice

polite conversation, and then



It was slightly formal,

but it was high-quality.

He paid Claude

200 francs,

not to the girls

In 1965, 200 francs was about $40.

Pretty girls on Rue Saint-Denis

could be had for 40 francs

so you can see the premium.

Still, it wasn’t out of reach for mere mortals.

You didn’t have to be J. Paul Getty.





XII.

A lot of them

were models at

Christian Dior

or other couture houses.

She liked Scandinavians.

That was the look then

—cold, tall, perfect.

It was cheap for the quality.

They all used her.

The best people wanted

the best women.

Elementary supply and demand.



XIII.

She had a camp number tattooed on her wrist. I saw it.

She showed it to me and Rubi.

She was proud she had survived.

We talked about the camp for hours.

It was even more fascinating than the girls.



She was Jewish

I’m certain of that.

She was horrified at the Jewish collaborators

at the camp who herded

their fellow Jews

into the gas chambers.

That was the greatest betrayal in her life.



XIV.

She was this sad,

lonely little woman.

Later, Patrick told me who she was.

I was bowled over.

It was like meeting Al Capone.

I met two of the girls

who worked for her.

One was what you would expect

Tall

Blonde

Model.

But the other looked like a Rat

Then one night

she came out

all dressed up,

I didn’t even recognize her.

She was even better than the first girl.

Claude liked to transform women like that.

That was her art.

It was very odd,

my cousin told me.

There was not much furniture

and an awful lot of telephones.

“Allô oui,”



XV.

I had so many lunches

with Claude at Ma Maison

She was vicious.

One day,

Margaux Hemingway,

at the height of her beauty, walked by.

Une bonne

—the French for maid

was how Claude cut her dead.

She reduced

the entire world

to rich men wanting *** and

poor women wanting money.

She’d love to page through Vogue and see someone

and say,

When I met her

she was called

Marlene

and she had a hideous nose

and now she’s a princess.

Or she’d see someone and say

Let’s see if she kisses me or not.

It was like

I made her,

and I can destroy her.

She was obsessed

with “fixing” people

—with Saint Laurent clothes,

with Cartier watches,

with Winston jewels,

with Vuitton luggage,

with plastic surgeons.



XVI.

Her prison number was

888

which was good luck in China

but not in California.

‘Ocho ocho ocho,’ she liked to repeat

Even in jail, she was always working,

always recruiting stunning women.

She had a beautiful Mexican cellmate

and gave her Robert Evans’s number

as the first person she should call

when she was released.



XVII.

Never have *** on the first date.



XVIII.

There will always be prostitution,

The prostitution of misery.

And the prostitution of bourgeois luxury.

They will both go on forever.



“Allô oui,”



It was so exciting to hear a millionaire

or a head of state ask,

in a little boy’s voice,

for the one thing

that only you could provide

It's not how beautiful you are, it's how you relate

--it's mostly dialogue.



She was tiny, blond, perfectly coiffed and Chanel-clad.

The French Woman: The Arab Prince, the Japanese Diplomat, the Greek Tycoon, the C.I.A. Bureau Chief — She Possessed Them All!



XIX.

She was like a slave driver in the American South

Once she took a *******,

the makeover put the girl in debt,

because Claude paid all the bills to

Dior,

Vuitton,

to the hairdressers,

to the doctors,

and the girls had to work to pay them off.

It was ****** indentured servitude.



My Swans.



It reached the point

where if you walked into a room

in London

or Rome

as much as Paris

because the girls were transportable,

and saw a girl who was

better-dressed,

better-looking,

and more distinguished than the others

you presumed

it was a girl from Claude.

It was, without doubt,

the finest *** operation ever run in the history of mankind.



**.

The girl had to be

exactly what was needed

so I had to teach her everything she didn’t know.

I played a little the role of Pygmalion.

There were basic things that absolutely had to be done.

It consisted

at the start

of the physical aspect

“surgical intervention”

to give this way of being

that was different from other girls.

Often they had to be transformed

into dream creatures

because at the start

they were not at all



Often I had to teach them how to dress.

Often they needed help

to repair

what nature had given them

which was not so beautiful.

At first they had to be tall,

with pretty gestures,

good manners.

I had lots of noses done,

chins,

teeth,

*******.

There was a lot to do.



Eight times out of ten

I had to teach them how to behave in society.

There were official dinners, suppers, weekends,

and they needed to have conversation.

I insisted they learn to speak English,

read

certain books.

I interrogated them on what they read.

It wasn’t easy.

Each time something wasn’t working,

I was obliged to say so.



You were very demanding?

I was ferocious.



It’s difficult

to teach a girl how to walk into Maxim’s

without looking

ill at ease

when they’ve never been there,

to go into an airport,

to go to the Ritz,

or the Crillon

or the Dorchester.

To find yourself

in front of a king,

three princes,

four ministers,

and five ambassadors at an official dinner.

There were the wives of those people!

Day after day

one had to explain,

explain again,

start again.

It took about two years.

There would always be a man

who would then say of her,

‘But she’s absolutely exceptional. What is that girl doing here?’ ”





XXI.

A New York publisher who visited

the Palace Hotel

in Saint Moritz

in the early seventies told me,

I met a whole bunch of them there.

They were lovely.

The johns wanted everyone to know who they were.

I remember it being said

Giovanni’s Madame Claude girl is going to be there.

You asked them where they came from and they all said

Neuilly.

Claude liked girls from good families.

More to the point she had invented their backgrounds.



I have known,

because of what I did,

some exceptional and fascinating men.

I’ve known some exceptional women too,

but that was less interesting

because I made them myself.



Ah, this question of the handbag.

You would be amazed by how much dust accumulates.

Or how often women’s shoe heels are scuffed.





XXII.

She would examine their teeth and finally she would make them undress.



That was a difficult moment

When they arrived they were very shy,

a bit frightened.

At the beginning when I take a look,

it’s a question of seeing if the silhouette

and the gestures are pretty.

Then there was a disagreeable moment.

I said,

I’m sorry about this unpleasantness,

but I have to ask you to get undressed,

because I can’t talk about you unless I see you.

Believe me, I was embarrassed,

just as they were,

but it had to be done,

not out of voyeurism, not at all

—I don’t like les dames horizontales.



It was very funny

because there were always two reactions.

A young girl,

very sure of herself,

very beautiful,

très bien,

would say

Yes,

Get up, and get undressed.

There was nothing to hide, everything was perfect.



There were those who

would start timidly

to take off their dress

and I would say

I knew already.

The rest is not sadism, but nearly.

I knew what I was going to find.

I would say,

Maybe you should take off your bra,

and I knew it wasn’t going to be

beautiful.

Because otherwise she would have taken it off easily.

No problem.

There were damages that could be mended.

There were some ******* that could be redone,

some not

Sometimes it can be deceptive,

you know,

you see a pretty girl,

a pretty face,

all elegant and slim,

well dressed,

and when you see her naked

it is a catastrophe.



I could judge their physical qualities,

I could judge if she was pretty, intelligent, and cultivated,

but I didn’t know how she was in bed.

So I had some boys,

good friends,

who told me exactly.

I would ring them up and say,

There’s a new one.

And afterwards they’d ring back and say,

Not bad,

Could be better, or

Nulle.



Or,

on the contrary,

She’s perfect.

And I would sometimes have to tell the girls

what they didn’t know.

A pleasant assignment?

No.

They paid.



XXIII.

Often at the beginning

they had an ami de coeur

in other words,

oh,

a journalist, a photographer, a type like that,

someone in the cinema,

an actor, not very well known.

As time went by

It became difficult

because they didn’t have a lot of time for him.

The fact of physically changing,

becoming prettier,

changing mentally to live with millionaires,

produced a certain imbalance

between them

and the little boyfriend

who had not evolved

and had stayed in his milieu.

At the end of a certain time

she would say,

I’m so much better than him. Why am I with this boy?

And they would break up by themselves.



Remember,

this was instant elevation.

For most of them it was a dream existence,

provided they liked the ***,

and those that didn’t never lasted long.

A lot of the clients were young,

and didn’t treat them like tarts but like someone from their own class.

They would buy you presents,

take you on trips.



XXIV.

For me, *** was something very accessoire

I think after a certain age

there are certain spectacles one should not give to others

Now I have a penchant for solitude.

Love, it’s a complete destroyer,

It’s impossible,

a horror,

l’angoisse.

It’s the only time in my life I was jealous.

I’m not a jealous person, but I was épouvantable.

He was jealous too.

We broke plates over each other’s heads;

we became jealous about each other’s pasts.

I said one day

It’s finished.

Sometimes I look at myself in the mirror and say:

Break my legs,

give me scarlet fever,

an attack of TB, but never that.

Not that.



XXV.

I called her into my office

Let us not exaggerate,

I sent her away.

She came back looking for employment,

but was fired again, this time for drugs.

She made menacing phone calls.

Then she arrived at the Rue de Boulainvilliers with a gun.

She shot three bullets

I was dressed in the fashion of Courrèges at this moment

He did very padded things.

I had a padded dress with a little jacket on top.

The bullet

—merci, Monsieur Courrèges

—stuck in the padding.

I was thrown forward onto the telephone.

I had one thought which went through my head:

I will die like Kennedy.

I turned round and put my hand up in a reflex.

The second bullet went through my hand.

I have two dead fingers.

It’s most useful for removing bottle tops.

In the corridor I was saved from the third bullet

because she was very tall

and I am quite petite, so it passed over my head.



XXVI.

There were men

who could decapitate,

****, and bomb their rivals

who would be frightened of me.

I would ask them how was the girl,

and they’d say

Not bad

and then

But I’m not complaining.

I was a little sadistic to them sometimes.

Some women have known powerful men because they’re their lover.

But I’ve known them all.

I had them all

here.



She will take many state secrets with her.



XXVI.

I don’t like ugly people

probably because when I was young

I wasn’t beautiful at all.

I was ugly and I suffered for it,

although not to the point of obsession.

Now that I’m an old woman,

I’m not so bad.

And that’s why

I’ve always been surrounded by people

Who

were

beautiful.

And the best way to have beautiful people around me

was to make them.

I made them very pretty.





XXVII.

I wouldn’t call what Alex gives you

‘advice,’

She spares you Nothing.

She makes a list of what she wants done,

and she really gets into it

I mean, she wants you to get your arms waxed.

She gives you names of people who do good facials.

She tells you what to buy at Neiman Marcus.

She’s put off by anything flashy,

and if you don’t dress conservatively, she’s got no problem telling you,

in front of an audience,

You look like a cheap *****!

I used to wear what I wanted when I went out

then change in the car into a frumpy sweater

when I went to give her the money she’d always go,

Oh, you look beautiful!



Marry your boyfriend,

It’s better than going to prison.

When you go out with her,

she’ll buy you a present; she’s incredibly generous that way.

And she’ll always tell you to save money and get out.

It’s frustrating to her when girls call at the end of the month

and say they need rent money.

She wants to see you do well.





We had a schedule, with cards that indicated a client’s name,

what he liked,

the names of the girls he’d seen,

and how long he’d been with them.

And I only hired girls who had another career

—if my clients had a choice between drop-dead-gorgeous

and beautiful-and-interesting,

they’d tend to take beautiful-and-interesting.

These men wanted to talk.

If they spent two hours with a girl,

they usually spent only five or ten minutes in bed.



I get the feeling that in Los Angeles, men are more concerned with looks.



XXVIII.

That was my big idea

Not to expand the book by aggressive marketing

but to make sure that nobody

mistook my girls for run-of-the-mill hookers.

And I kept my roster fresh.

This was not a business where you peddle your ***,

get exploited,

and then are cast off.

I screen clients. I’ve never sent girls to weirdos.

I let the men know:

no violence,

no costumes,

no fudge-packing.

And I talked to my girls. I’d tell them:

Two and a half years and you’re burned out.

Save your money.

This is like a hangar

—you come in, refuel, and take off.

It’s not a vacation, it’s not a goof.

This buys the singing lessons,

the dancing lessons,

the glossies.

This is to help you pay for what your parents couldn’t provide.

It’s an honorable way station—a lot of stars did this.



XXIX.

To say someone was a Claude girl is an honour, not a slur.



Une femme terrible.

She despised men and women alike.

Men were wallets. Women were holes.



By the 80s,

if you were a brunette,

the sky was the limit.

The Saudis

They’d call for half a dozen of Alex’s finest,

ignore them all evening while they

chatted,

ate,

and played cards,

and then, around midnight,

take the women inside for a fast few minutes of ***.



They’d order women up like pizza.



Since my second husband died,

I only met one man who was right for me,

He was a sheikh.

I visited him in Europe

twenty-eight times

in the five years I knew him

and I never slept with him.

He’d say

I think you fly all the way here just to tease me,

but he introduced me

by phone

to all his powerful friends.

When I was in Los Angeles, he called me twice a day.

That’s why I never went out

he would have been disappointed.



***.

Listen to me

This is a woman’s business.

When a woman does it, it’s fun

there’s a giggle in it

when a man’s involved,

he’s ******,

he’s a ****.

He may know how to keep girls in line,

and he may make money,

but he doesn’t know what I do.

I tell guys: You’re getting a nice girl.

She’s young,

She’s pleasant,

She can do things

she can certainly make love.

She’s not a rocket scientist, but she’s everything else.



The world’s richest and most powerful men, the announcer teased.

An income “in the millions,” said the arresting officer.

Pina Colapinto

A petite call girl,

who once slid between the sheets of royalty,

a green-eyed blonde helped the police get the indictment.

They really dolled her up

She looks great.

Never!

What I told her was: ‘Wash that ******.’





XXXI.

Madam Alex died at 7 p.m.

Saturday at Cedars-Sinai Medical Center,

where she had been in intensive care after recent open heart surgery

We all held her hand when they took her off the life support

This was the passing of a legend.

Because she was the mother superior of prostitution.

She was one of the richest women on earth.

The world came to her.

She never had to leave the house.

She was like Hugh Hefner in that way.


It's like losing a friend

In all the years we played cat and mouse,

she never once tried to corrupt me.

We had a lot of fun.


To those who knew her

she was as constant

as she was colorful

always ready with a good tidbit of gossip

and a gourmet lunch for two.

She entertained, even after her conviction on pandering charges,

from the comfy depths of her blue four-poster bed at her home near Doheny Drive,

surrounded by knickknacks and meowing cats,

which she fed fresh shrimp from blue china plates.



XXXII.

She stole my business,

my books,

my girls,

my guys.

I had a good run.

My creatures.

Make Mommy happy

Oh! He is the most enchanting cat that I have ever known.



She was, how can I say it,

classy.

When she first hired me

she thought I was too young to take her case.

I was 43.

I'm going to give you some gray hairs by the time this is over.

She was right.





XXXIII.

I was fond of Heidi

But she has a streak that is so vindictive.



If there is pure evil, it is Madame Alex.





XXXIV.

I was born and raised in L.A.

My dad was a famous pediatrician.

When he died, they donated a bench to him at the Griffith Park Observatory.



I think that Heidi wanted to try her wings

pretty early,

and I think that she met some people

who sort of took all her potential

and gave it a sharp turn



She knew nothing.

She was like a little parrot who repeated what she was supposed to say.



Alex and I had a very intense relationship;

I was kind of like the daughter she loved and hated,

so she was abusive and loving at the same time.



Look, I know Madam Alex was great at what she did

but it's like this:

What took her years to build,

I built in one.

The high end is the high end,

and no one has a higher end than me.

In this business, no one steals clients.

There's just better service.



XXXV.

You were not allowed to have long hair

You were not allowed to be too pretty

You were not allowed to wear too much makeup or be too glamorous

Because someone would fall in love with you and take you away.

And then she loses the business



XXXVI.

I was pursued because

come on

in our lifetime,

we will never see another girl of my age

who lived the way I did,

who did what I did so quickly,

I made so many enemies.

Some people had been in this line of business

for their whole lives, 30 or 40 years,

and I came in and cornered the market.

Men don't like that.

Women don't like that.

No one liked it.



I had this spiritual awakening watching an Oprah Winfrey video.

I was doing this 500-hour drug class

and one day the teacher showed us this video,

called something like Make It Happen.

Usually in class I would bring a notebook

and write a letter to my brother or my journal,

but all of a sudden this grabbed my attention

and I understood everything she said.

It hit me and it changed me a lot.

It made me feel,

Accept yourself for who you are.

I saw a deeper meaning in it

but who knows, I might have just been getting my period that day!



XXXVII.

Hello, Gina!

You movie star!

Yes you are!

Gina G!

Hello my friend,

Hello my friend,

Hello my movie star,

Ruby! Ruby Boobie!

Braaawk!

Except so many women say,

Come on, Heidi

you gotta do the brothel for us; don't let us down.

It would be kind of fun opening up an exclusive resort,

and I'll make it really nice,

like the Beverly Hills Hotel

It'll feel private; you'll have your own bungalow.

The only problem out here is the climate—it's so brutal.

Charles Manson was captured a half hour from Pahrump.



I said, Joe! What are you doing?

You gotta get, like,

a garter belt and encase it in something

and write,

This belonged to Suzette Whatever,

who entertained the Flying Tigers during World War II.

Get, like, some weird tools and write,

These were the first abortion tools in the brothel,

you know what I mean?

Just make some **** up!

So I came out here to do some research

And then I realized,

What am I doing?

I'm Heidi Fleiss. I don't need anyone.

I can do this.

When I was doing my research, in three months

I saw land go from 30 thousand an acre

to 50 thousand an acre,

and then it was going for 70K!

It's urban sprawl

—we're only one hour from Las Vegas.

Out here the casinos are only going to get bigger,

prostitution is legal, it's only getting better.





XXXVIII.

The truth is

deep down inside,

I just can't do business with him

He's the type of guy who buys Cup o' Noodles soup for three cents

and makes his hookers buy it back from him for $5.

It's not my style at all.

Who wants to be 75 and facing federal charges?

It was different at my age when I

at least...come on, I lived really well.

I was 22,

25 at the time?

It was fun then, but now I wouldn't want

to deal with all that *******

—the girls and blah blah blah.

But the money was really good.



I would've told someone they were out of their ******* mind

if they'd said in five years I'd be living with all these animals like this.

It's hard-core; how I live;

It's totally a nonfunctional atmosphere for me

It's hard to get anything done because

It’s so time-consuming.

I feel like they're good luck though....

I do feel that if I ever get rid of them,

I will be jinxed and cursed the rest of my life

and nothing I do will ever work again.



Guys kind of are a hindrance to me

Certainly I have no problem getting laid or anything.

But a man is not a priority in my life.

I mean, it's crazy, but I really have fun with my parrots.



XXXIX.

I started a babysitting circle when I wasn't much older than 9

And soon all the parents in the neighborhood

wanted me to watch over their children.

Even then I had an innate business sense.

I started farming out my friends

to meet the demand.

My mother showered me with love and my father,

a pediatrician,

would ask me at the dinner table,

What did you learn today?

I ran my neighborhood.

I just pick up a hustle really easily,

I was a waitress and I met an older guy who looked like Santa Claus.



Alex was a 5' 3" bald-headed Filipina

in a transparent muu muu.

We hit it off.

I didn't know at the time that I was there to pay off the guy's gambling debt.

It's in and out,

over and out.

Do you think some big-time producer

or actor is going to go to the clubs and hustle?



Columbia Pictures executive says:

I haven’t done anything that should cause any concern.

Jeez, it's like the Nixon enemies list.

I hope I'm on it.

If I'm not, it means I must not be big enough

for people to gossip about me.



That's right ladies and gentlemen.

I am an alleged madam and that is a $25 *****!

If you live out here,

you've got to hate people.

You've got to be pretty antisocial

How you gonna come out here with only 86 people?

That's Fred.

He's digging to China.

You look good.

Yeah, you too.

It's coming along here.

Yeah, it is.

I wanted to buy that lot there, but I guess it's gone?

That's mine, man! That's all me.

Really?

I thought there was a lot between us.

No. We're neighbors.



He's a cute guy

He's entertaining.

See, I kind of did do something shady to him.

I thought my property went all the way back

and butted up against his.

But there was one lot between us right there.

He said he was buying it,

but I saw the 'For Sale' sign still up there,

So I went and called the broker and said,

I'm an all-cash buyer.

So I really bought it out from under him.

But he's got plenty of room, and I need the space for my parrots.

Pahrump will always be Pahrump, but Crystal is going to be nice

All you need are four or five fancy houses and it'll flush everyone out

and it'll be a nice area.

They're all kind of weird here, but these people will go.

Like this guy here,

someone needs to **** him.

I was just saying to my dad that these parrots are born to a really ******-up world

He goes, Heidi, no, no; the world is a beautiful garden.

It's just, people are destroying it.

I’m looking into green building options

I don't want anything polluting,

I want a huge auditorium,

but it'll be like a jungle where my birds can really fly!

Where they can really do what they're supposed to do.

There were over 300 birds in there!

That lady,

She ran the exotic-birds department for the Tropicana Hotel,

which is a huge job.

She called me once at 3:30 in the morning

Come over here and help me feed this baby!

Some baby parrot.

And I ran over there in my pajamas

—I knew there was something else wrong

and she was like

Get me my oxygen!

Get me this, get me that.

I called my dad; he was like,

I don't know, honey, you better call the paramedics.

They ended up getting a helicopter.

And they were taking her away

in the wind with her IV and blood and everything

and she goes, Heidi, you take care of my birds.

And she dies the next day.

She was just a super-duper person.



XL.

I relate to the lifestyle she had before,

Now, I'm just a citizen.

I'm clean,

I'm sober,

I'm married,

I work at Wal-Mart.

I'm proud to say I know her. I look into her eyes

and we relate.





I got out in 2000,

so I've been sending her money for seven years

She was…whatever.

Girlfriend?

Yeah, maybe.

But ***, I tried like two times,

and I'm just not gay.

She gets out in about eight or nine months

and I told her I would get her a house.

But nowhere near me.

I didn't touch her,

but I'd be, like...

a funny story:

I told her,

Don't you ever ******* think

about contacting me in the real world.

I'm not a lesbian.

Then about two years ago, I got an e-mail from her,

or she called me and said, 'Google my name.'

So I Googled her name,

and she has this huge company.

Huge!

She won, like, Woman of the Year awards.

So I called her and I go,

Not bad.

She goes, 'Well, I did all that because you called me a loser.'

I go, '****, I should've called you more names

you probably would've found the cure for cancer by now.



XLI.

No person shall be employed by the licensee

who has ever been convicted of

a felony involving moral turpitude

But I qualify,

I mean, big deal, so I'm a convicted felon.

Being in the *** industry, you can't be so squeaky-clean.

You've got to be hustling.

Nighttime is really enchanting here

It's like a whole 'nother world out here, it really is

I’m so far removed from my social life and old surroundings.

Who was it, Oscar Wilde, I think, who said

people can adjust to anything.

I was perfectly adjusted in the penitentiary,

and I was perfectly adjusted to living in a château in France.



We had done those drug addiction shows together

Dr. Drew.

Afterward we were friendly

and he'd call me every now and then.

He'd act like he had his stuff together.

But it was all a lie.

Everything is a lie.

I brought him to a Humane Society event at Paramount Studios last year.

He was just such a mess.

So out of it.

He stole money from my purse.

He's such a drug addict because he's so afraid of being fat.

He liked horse ****, though. He did like horse ****.

This one woman that would have *** with a horse on the internet,

He told me that’s his favorite actress.

Better than Meryl Streep.



XLII.

The cops could see

why these women were taking over trade.

Girls with these looks charged upwards of $500 an hour.

The Russians had undercut them with a bargain rate of $150 an hour.

One thing they are not is lazy.

In the USSR

they grew up with no religion, no morality.

Prostitution is not considered a bad thing.

In fact, it’s considered a great way to make money.

That’s why it’s exploding here.

What we saw was just a tip of the iceberg.

These girls didn’t come over here expecting to be nannies.

They knew exactly what they wanted and what they were getting into.

The madam who organized this raid

was making $4 million a year,

laundered through Russian-owned banks in New York City

These are brutal people.

They are all backstabbers.

They’re entrepreneurs.

They’re looking at $10,000 a month for turning tricks.

For them, that’s the American dream.



XLIII.

If you’re not into something,

don’t be into it

But,

if you want to take some whipped cream,

put it between your toes,

have your dog licking it up and,

at the same time,

have your girlfriend poke you in the eye,

then that’s fine.

That’s a little weird but we shouldn’t judge.



She was my best friend then

and I consider her one of my best friends now,

because when I was going through Riker’s

and everyone abandoned me,

including my boyfriend,

I was hysterical,

crying,

and she was the one that was there.

And, when somebody needed to step up to the plate,

that’s who did, and I have an immense amount of

loyalty, respect, and love for her.

And if she’s going to prison for eight years

—that’s what she’s sentenced for

—I’ll go there,

and I’ll go there every week,

for eight years.

That’s the type of person I am.
Nigel Morgan Jun 2013
She sent it to me as a text message, that is an image of a quote in situ, a piece of interpretation in a gallery. Saturday morning and I was driving home from a week in a remote cottage on a mountain. I had stopped to take one last look at the sea, where I usually take one last look, and the phone bleeped. A text message, but no text.  Just a photo of some words. It made me smile, the impossibility of it. Epic poems and tapestry weaving. Of course there are connections, in that for centuries the epic subject has so often been the stuff of the tapestry weaver’s art. I say this glibly, but cannot name a particular tapestry where this might be so. Those vast Arthurian pieces by William Morris to pictures by Burne-Jones have an epic quality both in scale and in subject, but, to my shame, I can’t put a name to one.

These days the tapestry can be epic once more - in size and intention - thanks to the successful, moneyed contemporary artist and those communities of weavers at West Dean and at Edinburgh’s Dovecot. Think of Grayson Perry’s The Walthamstowe Tapestry, a vast 3 x 15 metres executed by Ghentian weavers, a veritable apocalyptic vision where ‘Everyman, spat out at birth in a pool of blood, is doomed and predestined to spend his life navigating a chaotic yet banal landscape of brands and consumerism’.  Gosh! Doesn’t that sound epic!

I was at the Dovecot a little while ago, but the public gallery was closed. The weavers were too busy finishing Victoria Crowe’s Large Tree Group to cope with visitors. You see, I do know a little about this world even though my tapestry weaving is the sum total of three weekends tuition, even though I have a very large loom once owned by Marta Rogoyska. It languishes next door in the room that was going to be where I was to weave, where I was going to become someone other than I am. This is what I feel - just sometimes - when I’m at my floor loom, if only for those brief spells when life languishes sufficiently for me be slow and calm enough to pick up the shuttles and find the right coloured yarns. But I digress. In fact putting together tapestry and epic poetry is a digression from the intention of the quote on the image from that text - (it was from a letter to Janey written in Iceland). Her husband, William Morris, reckoned one could (indeed should) be able to compose an epic poem and weave a tapestry.  

This notion, this idea that such a thing as being actively poetic and throwing a pick or two should go hand in hand, and, in Morris’ words, be a required skill (or ‘he’d better shut up’), seemed (and still does a day later) an absurdity. Would such a man (must be a man I suppose) ‘never do any good at all’ because he can’t weave and compose epic poetry simultaneously?  Clearly so.  But then Morris wove his tapestries very early in the morning - often on a loom in his bedroom. Janey, I imagine, as with ladies of her day - she wasn’t one, being a stableman’s daughter, but she became one reading fluently in French and Italian and playing Beethoven on the piano- she had her own bedroom.

Do you know there are nights when I wish for my own room, even when sleeping with the one I love, as so often I wake in the night, and I lie there afraid (because I love her dearly and care for her precious rest) to disturb her sleep with reading or making notes, both of which I do when I’m alone.
Yet how very seductive is the idea of joining my loved one in her own space, amongst her fallen clothes, her books and treasures, her archives and precious things, those many letters folded into her bedside bookcase, and the little black books full of tender poems and attempts at sketches her admirer has bequeathed her when distant and apart. Equally seductive is the possibility of the knock on the bedroom / workroom door, and there she’ll be there like the woman in Michael Donaghy’s poem, a poem I find every time I search for it in his Collected Works one of the most arousing and ravishing pieces of verse I know: it makes me smile and imagine.  . .  Her personal vanishing point, she said, came when she leant against his study door all warm and wet and whispered 'Paolo’. Only she’ll say something in a barely audible voice like ‘Can I disturb you?’ and with her sparkling smile come in, and bring with her two cats and the hint of a naked breast nestling in the gap of the fold of her yellow Chinese gown she holds close to herself - so when she kneels on my single bed this gown opens and her beauty falls before her, and I am wholly, utterly lost that such loveliness is and can be so . . .

When I see a beautiful house, as I did last Thursday, far in the distance by an estuary-side, sheltering beneath wooded hills, and moor and rock-coloured mountains, with its long veranda, painted white, I imagine. I imagine our imaginary home where, when our many children are not staying in the summer months and work is impossible, we will live our ‘together yet apart’ lives. And there will be the joy of work. I will be like Ben Nicholson in that Italian villa his father-in-law bought, and have my workroom / bedroom facing a stark hillside with nothing but a carpenter’s table to lay out my scores. Whilst she, like Winifred, will work at a tidy table in her bedroom, a vase of spring flowers against the window with the estuary and the mountains beyond. Yes, her bedroom, not his, though their bed, their wonderful wooden 19C Swiss bed of oak, occupies this room and yes, in his room there is just a single affair, but robust, that he would sleep on when lunch had been late and friends had called, or they had been out calling and he wanted to give her the premise of having to go back to work – to be alone - when in fact he was going to sleep and dream, but she? She would work into the warm afternoons with the barest breeze tickling her bare feet, her body moving with the remembrance of his caresses as she woke him that morning from his deep, dark slumber. ‘Your brown eyes’, he would whisper, ‘your dear brown eyes the colour of an autumn leaf damp with dew’. And she would surround him with kisses and touch of her firm, long body and (before she cut her plaits) let her course long hair flow back and forward across his chest. And she did this because she knew he would later need the loneliness of his own space, need to put her aside, whereas she loved the scent of him in the room in which she worked, with his discarded clothes, the neck-tie on the door hanger he only reluctantly wore.

Back to epic poetry and its possibility. Even on its own, as a single, focused activity it seems to me, unadventurous poet that I am, an impossibility. But then, had I lived in the 1860s, it would probably not have seemed so difficult. There was no Radio 4 blathering on, no bleeb of arriving texts on the mobile. There were servants to see to supper, a nanny to keep the children at bay. At Kelmscott there was glorious Gloucestershire silence - only the roll and squeak of the wagon in the road and the rooks roosting. So, in the early mornings Morris could kneel at his vertical loom and, with a Burne-Jones cartoon to follow set behind the warp. With his yarns ready to hand, it would be like a modern child’s painting by numbers, his mind would be free to explore the fairy domain, the Icelandic sagas, the Welsh Mabinogion, the Kalevara from Finland, and write (in his head) an epic poem. These were often elaborations and retellings in his epic verse style of Norse and Icelandic sagas with titles like Sigurd the Volsung. Paul Thompson once said of Morris  ‘his method was to think out a poem in his head while he was busy at some other work.  He would sit at an easel, charcoal or brush in hand, working away at a design while he muttered to himself, 'bumble-beeing' as his family called it; then, when he thought he had got the lines, he would get up from the easel, prowl round the room still muttering, returning occasionally to add a touch to the design; then suddenly he would dash to the table and write out twenty or so lines.  As his pen slowed down, he would be looking around, and in a moment would be at work on another design.  Later, Morris would look at what he had written, and if he did not like it he would put it aside and try again.  But this way of working meant that he never submitted a draft to the painful evaluation which poetry requires’.

Let’s try a little of Sigurd

There was a dwelling of Kings ere the world was waxen old;
Dukes were the door-wards there, and the roofs were thatched with gold;
Earls were the wrights that wrought it, and silver nailed its doors;
Earls' wives were the weaving-women, queens' daughters strewed its floors,

And the masters of its song-craft were the mightiest men that cast
The sails of the storm of battle down the bickering blast.
There dwelt men merry-hearted, and in hope exceeding great
Met the good days and the evil as they went the way of fate:
There the Gods were unforgotten, yea whiles they walked with men,

Though e'en in that world's beginning rose a murmur now and again
Of the midward time and the fading and the last of the latter days,
And the entering in of the terror, and the death of the People's Praise.

Oh dear. And to think he sustained such poetry for another 340 lines, and that’s just book 1 of 4. So what dear reader, dear sender of that text image encouraging me to weave and write, just what would epic poetry be now? Where must one go for inspiration? Somewhere in the realms of sci-fi, something after Star-Wars or Ninja Warriors. It could be post-apocalyptic, a tale of mutants and a world damaged by chemicals or economic melt-down. Maybe a rich adventure of travel on a distant planet (with Sigourney Weaver of course), featuring brave deeds and the selfless heroism of saving companions from deadly encounters with amazing animals, monsters even. Or is ‘epic’ something else, something altogether beyond the Pixar Studios or James Cameron’s imagination? Is the  ‘epic’ now the province of AI boldly generating the computer game in 4D?  

And the epic poem? People once bought and read such published romances as they now buy and engage with on-line games. This is where the epic now belongs. On the tablet, PlayStation3, the X-Box. But, but . . . Poetry is so alive and well as a performance phenomenon, and with that oh so vigorous and relentless beat. Hell, look who won the T.S.Eliot prize this year! Story-telling lives and there are tales to be told, even if they are set in housing estates and not the ice caves of the frozen planet Golp. Just think of children’s literature, so rich and often so wild. This is word invention that revisits unashamedly those myths and sagas Morris loved, but in a different guise, with different names, in worlds that still bring together the incredible geographies of mountains and deserts and wilderness places, with fortresses and walled cities, and the startling, still unknown, yet to be discovered ocean depths.

                                    And so let my tale begin . . . My epic poem.

                                                 THE SEAGASP OF ENNLI.
       A TALE IN VERSE OF EARTHQUAKE, ISLAND FASTNESS, MALEVOLENT SPIRITS,
                                                AND REDEMPTIVE LOVE.
A rose in the high garden that you desire.
A wheel in the pure syntax of steel.
The mountain stripped of impressionist mist.
Greys looking out from the last balustrades.

Modern painters in their black studios,
Sever the square root's sterilized flower.
In the Seine's flood an iceberg of marble
freezes the windows and scatters the ivy.

Man treads the paved streets firmly.
Crystals hide from reflections' magic.
Government has closed the perfume shops.
The machine beats out its binary rhythm.

An absence of forests, screens and brows
Wanders the roof-tiles of ancient houses.
The air polishes its prism on the sea
and the horizon looms like a vast aqueduct.

Marines ignorant of wine and half-light,
decapitate sirens on seas of lead.
Night, black statue of prudence, holds
the moon's round mirror in her hand.

A desire for form and limit conquers us.
Here comes the man who sees with a yellow ruler.
Venus is a white still life
and the butterfly collectors flee.

Cadaqués, the fulcrum of water and hill,
lifts flights of steps and hides seashells.
Wooden flutes pacify the air.
An old god of the woods gives children fruit.

Her fishermen slumber, dreamless, on sand.
On the deep, a rose serves as their compass.
The ****** horizon of wounded hankerchiefs,
unties the vast crystals of fish and moon.

A hard diadem of white brigantines
wreathes bitter brows and hair of sand.
The sirens convince, but fail to beguile,
and appear if we show a glass of fresh water.

Oh Salvador Dalí, of the olive voice!
I don't praise your imperfect adolescent brush
or your pigments that circle those of your age,
I salute your yearning for bounded eternity.

Healthy soul, you live on fresh marble.
You flee the dark wood of improbable forms.
Your fantasy reaches as far as your hands,
and you savor the sea's sonnet at your window.

The world holds dull half-light and disorder,
in the foreground humanity frequents.
But now the stars, concealing landscapes,
mark out the perfect scheme of their courses.

The flow of time forms pools, gains order,
in the measured forms of age upon age.
And conquered Death, trembling, takes refuge
in the straightended circle of the present moment.

Taking your palette, its wing holds a bullet-hole,
you summon the light that revives the olive-tree.
Broad light of Minverva, builder of scaffolding,
with no room for dream and its inexact flower.

You summon the light that rests on the brow,
not reaching the mouth or the heart of man.
Light feared by the trailing vines of Bacchus,
and the blind force driving the falling water.

You do well to place warning flags
on the dark frontier that shines with night.
As a painter you don't wish your forms softened
by the shifting cotton of unforeseen  clouds.

The fish in its bowl and the bird in its cage.
You refuse to invent them in sea or in air.
You stylize or copy once you have seen,
with your honest eyes, their smal agile bodies.

You love a matter defined and exact,
where the lichen cannot set up its camp.
You love architecture built on the absent,
admitting the banner merely in jest.

The steel compass speaks its short flexible verse.
Now unknown islands deny the sphere.
The straight line speaks of its upward fight
and learned crystals sing their geometry.

Yet the rose too in the garden where you live.
Ever the rose, ever, our north and south!
Calm, intense like an eyeless staute,
blind to the underground struggle it causes.

Pure rose that frees from artifice, sketches,
and opens for us the slight wings of a smile
(Pinned butterfly that muses in flight.)
Rose of pure balance not seeking pain.
Ever the rose!

Oh Salvador Dalí of the olive voice!
I speak of what you and your paintings tell me.
I don't praise your imperfect adolescent brush,
but I sing the firm aim of your arrows.

I sing your sweet battle of Catalan lights,
you love of what might be explained.
I sing your heart astronomical, tender,
a deck of French cards, and never wounded.

I sing longing for statues, sought without rest,
your fear of emotions that wait in the street.
I sing the tiny sea-siren who sings to you
riding a bicycle of corals and conches.

But above all I sing a shared thought
that joins us in the dark and the golden hours.
It is not Art, this light that blinds our eyes.
Rather it is love, friendship, the clashing of swords.

Rather than the picture you patiently trace,
it's the breast of Theresa, she of insomniac skin,
the tight curls of Mathilde the ungrateful,
our friendship a board-game brightly painted.

May the tracks of fingers in blood on gld
stripe the heart of eternal Catalonia.
May stars like fists without falcons shine on you,
while your art and your life burst into flower.

Don't watch the water-clock with membranous wings,
nor the harsh scythe of the allegories.
Forever clothe and bare your brush in the air
before the sea peopled with boats and sailors.
Martin Narrod Jun 2014
Most peculiarly of most things was that I thought all of this very fishy, daudry, drab, and boresome. This is where I turn on the second table lamp...

In a muster I arrived to the home of my aunt, where at once she drew me into the back of the house, down a flight of stairs made of tusk and bone into a catacomb where she kept a alive collection of wooly mammoths. She said the upkeep wasn't awfully horrendous as she had an invisible backdrop which led to a lion, a witch, and a wardrobe sort of thing. I stood in the gangway behind 10 foot high thigh bones waiting for one of the monstrous red beasts to come greet me, but what arrived was a very large elephant with longer tusks than usual. None of the red sillyness which I had dreamt of seeing in my previous years.

She could see I was not that impressed, and so I was led to another part of her home. Around the corner walked in my uncle in is superb and luxurious dress, reminiscent of 18th century British military fatigues. He said, "I bought the E.T. ride from Universal Studios, but as bringing the whole ride to my home I had them adapt a more suitable version to fit the property. A hangar opened and inside there were four chariots of orange and blue, diamond shaped school buses with their undersides aimed at withholding a V-shaped street. Then in two and two single file order all the classmates of my K-12 years arrived and took seat into the strappings of this 'ride' we were to take. Music played, John Williams even was produced by hologram, and after the ups and downs for several minutes we arrived to what I thought would inevitably be the forest, but rather was what I perceived was a Finnish town. The chariot I was in was stuck in the street, mud, rain, and soot entrenched us. I unbuckled the polyester straps and when I stood I realized that though the seats had built in urinals and toilets they were utterly noiseome to the senses. I followed a local girl to a food mart where I asked how I could find where I was but no one spoke a drop of English.

I corraled the group and told them to wait for me. I followed this girl who seemed quite younger than I to a small apartment in the uppermost floor of a very unsturdy chapel-like home several suburban blocks from our ride. She immediately removed her pants and I saw with my very own eyes that she was hairless and nubile. She insisted that we have a ****, and after I caressed her and complained too that she was far too young, she insisted that the age of consent in Germany was actually 13 yet she was 16. I remember it clearly. The most gigantuous feelings of pleasure as I mended a studio closet for my dining room furniture inside her ripening channel. Eventually after an hour we finished, she offered me a towel and some biscuits, which I consumed joyously.

Upon leaving her home I remembered that she had said we were in Germany, and so I produced a measure of Deutsch that I had been saving in my repetoir for the right moment. As Finnish is not my strongest language I was pleased of this and became instantly popular among the other candidates of our journey. This  E.T. ride is far different than  I remember it having been. Moments later I awoke quickly, a tuft of her black hair on my eiderdown comforter and a veil of tears from the merriment of glee shrouded over my face. After I rolled and balled into the soft feathers of my bedding, I twisted myself again into a knot, and allowed myself to rejoin the soporific treatice I was aiming for.

This is now where I turn off both lamps and go on watching films of a similar style.

Wishing You The Very Best,

Sir Martin Narrod

I keep my family of conscience
I shred my folly of heir
In case of torment or fondness
I never wear underwear.
RAJ NANDY Aug 2017
Dear Readers, I have tried to cover the salient features of this True Story in free flowing verse mainly with end rhymes. If you read it loud, you can hear the chimes! Due to the short attention span of my readers I had to cut short this long story, and conclude with the
Golden Era of Hollywood by stretching it up to the 1950s only. When TV began to challenge the Big Screen Cinema seriously! I have used only a part of my notes here. Kindly read the
entire composition during your Spare Time dear Readers. I wish there was a provision for posting a few interesting photographs for you here. Best wishes, - Raj Nandy, New Delhi.  

                THE LEGEND OF HOLLYWOOD :
                      THE AMERICAN  DREAM
                              BY RAJ NANDY

               A SHORT  HISTORICAL  BACKGROUND
Since the earliest days, optical toys, shadow shows, and ‘magic
lanterns’, had created the illusion of motion.
This concept was first described by Mark Roget in 1824 as  
the persistent of vision.
Giving impetus to the development of big screen cinema with its
close-ups, capturing all controlled and subtle expressions!
The actors were no longer required to shout out their parts with
exaggerated actions as on the Elizabethan Stage.
Now even a single tear drop could get noticed easily by the entire
movie audience!
With the best scene being included and edited after a few retakes.
To Thomas Edison and his able assistant William Rogers we owe the invention of Kinetoscope, the first movie camera.
On the grounds of his West Orange, New Jersey laboratory, Edison
built his first movie studio called the ‘Black Maria’.   (1893)
He also purchased a string of patents related to motion picture
Camera;
Forming the Edison Trust, - a cartel that took control of the Film
Industry entire!

Fort Lee, New Jersey:
On a small borough on the opposite bank of the Hudson River lay
the deserted Fort Lee.
Here scores of film production crews descended armed with picture Cameras, on this isolated part of New Jersey!
In 1907 Edison’s company came there to shoot a short silent film –
‘Rescue From an Eagle’s Nest’,
Which featured for the first time the actor and director DW Griffith.
The independent Chaplin Film Company built the first permanent
movie studio in 1910 in Fort Lee.
While some of the biggest Hollywood studios like the Universal,
MGM, and 20th Century Fox, had their roots in Fort Lee.
Some of the famous stars of the silent movie era included ‘Fatty’
Arbuckle, Will Rogers, Mary Pickford, Dorothy and Lillian Gish,
Lionel Barrymore, Rudolph Valentine and Pearl White.
In those days there were no reflectors and electric arch lights.
So movies were made on rooftops to capture the bright Sunlight!
During unpredictable bad weather days, filming had to be stopped
despite the revolving stage which was made, -
To rotate and capture the sunlight before the lights started to fade!

Shift from New Jersey to West Coast California:
Now Edison who held the patents for the bulb, phonograph, and the Camera, had exhibited a near monopoly;
On the production, distribution, and exhibition of the movies which made this budding industry to shift to California from New Jersey!
California with its natural scenery, its open range, mountains, desert, and snow country, had the basic ingredients for the movie industry.
But most importantly, California had bright Sunshine for almost 365 days of the year.
While eight miles away from Hollywood lay the port city of Los Angeles with its cheap labor.

                        THE  RISE  OF  HOLLYWOOD
It was a real estate tycoon Harvey Wilcox and his wife Daeida from
Kansas, who during the 1880s founded ‘Hollywood’ as a community for like-minded temperate followers.
It is generally said that Daeida gave the name Hollywood perhaps
due to the area's abundant red-berried shrubs - known as
California Holly!
Spring blossoms around and above the Hollywood Hills with its rich variety,  gave it a touch of paradise for all to see!
Hollywood was incorporated as a municipality in 1903, and during
1910 had unified with the city of Los Angeles.
While a year later, the first film studio had moved in from New
Jersey, to escape Thomas Edison’s monopoly!    (1911)

In 1913 Cecil B. De Mille and Jesse Lasky, had leased a barn with
studio facilities.
And directed the first feature length film ‘Squaw Man’ in 1914.
Today this studio is home to Hollywood Heritage Museum as we get to see.
The timeless symbol of Hollywood film industry that famous sign on top of Mount Lee, was put up by a real estate developer in 1923.  
This sign had read as ‘’HOLLY WOOD LAND’’ initially.
Despite decades of run-ins with vandals and pranksters, it managed to hang on to its prime location near the summit of the Hollywood Hills.
The last restoration work was carried out in 1978 initiated by Hugh
Hefner of the ******* Magazine.
Those nine white letters 45 feet tall now read ‘HOLLYWOOD’,  has become a landmark and America’s cultural icon,
And an evocative symbol for ambition, glamour, and dreams!
Forever enticing aspiring actors to flock to Hollywood, hypnotized by lure of the Big Screen!

                     GOLDEN AGE OF HOLLYWOOD
The Silent Movie Era which began in 1895, ended in 1935 with the
production of ‘Dance of Virgins’, filmed entirely in the island of Bali.
The first Sound film ‘The Jazz Singer’ by Warner Bros. was made with a Vitaphone sound-on-disc technology.  (October 1927)
Despite the Great Depression of the 1930s, this decade along with the 1940s have been regarded by some as Hollywood’s Golden Age.
However, I think that this Golden Age includes the decades of the
1940s and the 1950s instead.
When the advent of Television began to challenge the Film Industry
itself !

First Academy Award:
On 16th May 1929 in the Roosevelt Hotel on Hollywood Boulevard,
the First Academy Award presentation was held.
Around 270 people were in attendance, and tickets were priced at
$5 per head.
When the best films of 1927 & 1928 were honored by the Academy
of Motion Production and Sciences, or the AMPS.
Emil Jennings became the best actor, and Janet Gaynor the best actress.
Special Award went to Charlie Chaplin for his contribution to the
silent movie era and for his silent film ‘The Circus’.
While Warren Brothers was commended for making the first talking picture ‘The Jazz Singer’, - also receiving a Special Award!
Now, the origin of the term ‘OSCAR’ has remained disputed.
The Academy adopted this name from 1939 onwards it is stated.
OSCAR award has now become “the stuff dreams are made of”!
It is a gold-plated statuette of a knight 13.5 inches in height, weighing 8.5 pounds, was designed by MGM’s art director Cedric Gibbons.
Annually awarded for honoring and encouraging excellence in all
facets of motion picture productions.

Movies During the Great Depression Era (1929-1941):
Musicals and dance movies starring Fred Astaire and Ginger Rogers provided escapism and good entertainment during this age.
“Ginger Rogers did everything Fred Astaire did. She just did it
backwards and in high heels,” - the critics had said.
This compatible pair entertained the viewers for almost one and
a half decade.
During the ‘30s, gangster movies were popular starring James Cagey, Humphrey Bogart, and Edward G. Robinson.
While family movies had their popular child artist Shirley Temple.
Swashbuckler films of the Golden Age saw the sword fighting scenes of Douglas Fairbank and Errol Flynn.
Flynn got idolized playing ‘Robin Hood’, this film was released in 1938 on the Big Screen.
Story of the American Civil War got presented in the epic ‘Gone With The Wind’ (1939) with Clarke Gable and Vivian Leigh.
This movie received 8 Oscars including the award for the Best Film, - creating a landmark in motion picture’s history!
More serious movies like John Steinbeck’s ‘Grapes of Wrath’ and John Ford’s  ‘How Green Was My Valley’, were released in 1940 and 1941 respectively.
While the viewers escaped that depressive age to the magical world
of  ‘Wizard of Oz’ with its actress Judy Garland most eagerly!
Let us not forget John Wayne the King of the Westerns, who began
his acting career in the 1930s with his movie ‘The Big Trail’;
He went on to complete 84 films before his career came to an end.
Beginning of the 40s also saw Bob Hope and the crooner Bing Crosby, who entertained the public and also the fighting troops.
For the Second World War (1939-45) had interrupted the Golden Age of Hollywood!
When actors like Henry Fonda, Clarke Gable, James Stewart and
Douglas Fairbanks joined the armed forces temporarily leaving
Hollywood.
Few propaganda movies supporting the war efforts were also made.
While landmark movies like ‘Philadelphia Story’, ‘Casablanca’, ‘Citizen Kane’, ‘The Best Years of Our Lives’, were some of the most successful movies of that decade.  (The 1940s)
Now I come towards the end of my Hollywood Story with the decade  of the 1950s, thereby extending the period of Hollywood’s Golden Age.
Since having past the Great Depression and the Second World War,  
The Hollywood movie industry truly matured and came of age.

                        HOLLYWOOD  OF  THE  1950s
Backgroun­d:
The decade of the ‘50s was known for its post-war affluence and
choice of leisure time activities.
It was a decade of middle-class values, fast-food restaurants, and
drive-in- movies;
Of ‘baby-boom’, all-electric home, the first credit cards, and new fast moving cars like the Ford, Plymouth, Buick, Hudson, and Chevrolet.
But not forgetting the white racist terrorism in the Southern States!
This era saw the beginning of Cold War, with Dwight D. Eisenhower succeeding Harry S. Truman as the American President.
But for the film industry, most importantly, what really mattered  
was the advent of the Domestic TV.
When the older viewers preferred to stay at home instead of going
out to the movies.
By 1950, 10.5 million US homes had a television set, and on the
30th December 1953, the first Color TV went on sale!
Film industries used techniques such as Cinemascope, Vista Vision,
and gimmicks like 3-D techniques,
To get back their former movie audience back on their seats!
However, the big scene spectacle films did retain its charm and
fantasy.
Since fantasy epics like ‘The Story of Robin Hood’, and Biblical epics like ‘The Robe’, ‘Quo Vadis’, ‘The Ten Commandments’ and ‘Ben-Hur’, did retain its big screen visual appeal.
‘The Robe’ released on 16th September 1953, was the first film shot
and projected in Cinema Scope;
In which special lenses were used to compress a wide image into a
standard frame and then expanded it again during projection;
Resulting in an image almost two and a half times as high and also as wide, - captivating the viewers imagination!

Demand For New Themes During The 1950s :
The idealized portrayal of men and women since the Second World War,
Now failed to satisfy the youth who sought exciting symbols for rebellion.
So Hollywood responded with anti-heroes with stars like James Dean, Marlon Brando, and Paul Newman.
They replaced conventional actors like Tyron Power, Van Johnson, and Robert Taylor to a great extent, to meet the requirement of the age.
Anti-heroines included Ava Gardner, Kim Novak, and Marilyn Monroe with her vibrant *** appeal;
They provided excitement for the new generation with a change of scene.
Themes of rebellion against established authority was present in many Rock and Roll songs,
Including the 1954 Bill Hailey and His Comets’ ‘Rock Around the Clock’.
The era also saw rise to stardom of Elvis Presley the teen heartthrob!
Meeting the youthful aspirations with his songs like ‘Jailhouse Rock’!
I recall the lyrics of this 1957 film ‘Jailhouse Rock’ of my school days, which had featured the youth icon Elvis:
   “The Warden threw a party in the county jail,
     The prison band was there and they began to wail.
     The band was jumping and the joint began to sing,
     You should’ve heard them knocked-out jail bird sing.
     Let’s rock, everybody in the whole cell block……………
     Spider Murphy played the tenor saxophone,
     Little Joe was blowing the slide trombone.
     The drummer boy from Illinois went crash, boom, bang!
     The whole rhythm section was the Purple Gang, Let's rock...

Rock and Roll music began to tear down color barriers, and Afro-
American musicians like Chuck Berry and Little Richard became
very popular!
Now I must caution my readers that thousands of feature films got  released during this eventful decade in Hollywood.
To cover them all within this limited space becomes an impossible
task, which may kindly be understood !
However, I shall try to do so in a summarized form as best as I could.

Box Office Hits Year-Wise From 1950 To 1959 :
Top Ten Year-Wise hit films chronologically are: Cinderella (1950),
Quo Vadis, The Greatest Show on Earth, Peter Pan, Rear Window,
Lady and the *****, Ten Commandments, Bridge on the River
Kwai, South Pacific, and Ben-Hur of 1959.

However Taking The Entire Decade Of 1950s Collectively,
The Top Films Get Rated As Follows Respectively:
The Ten Commandments, followed by Lady and the *****, Peter Pan, Sleeping Beauty, Bridge on the River Kwai, Around the World in Eighty Days, This is Cinerama, The Greatest Show on Earth, Rear Window, South Pacific, The Robe, Giant, Seven Wonders of the World, White Christmas, Twenty Thousand Leagues Under the Sea, Sayonara, Demetrius and the Gladiator, Peyton Place, Some Like It Hot, Quo Vadis, and Auntie Mame.

Film Debuts By Rising Stars During The 1950s :
The decade of the ‘50s saw a number of famous film stars making
their first appearance.
There was Peter Sellers in ‘The Black Rose’, Marlon Brando in
‘The Men’, and actress Sophia Loren in ‘Toto Tarzan’.
Following year saw Charles Bronson in ‘You Are in the Navy Now’,
Audrey Hepburn in ‘Our Wild Oats’, and Grace Kelly, the future
Princess of Monaco, in her first film ‘Fourteen Hours’. (1951)
While **** Brigitte Bardot appeared in 1952 movie ‘Crazy for Love’; and 1953 saw Steve Mc Queen in ‘******* The Run’.
Jack Lemon, Paul Newman, and Omar Sharif featured in films
during 1954.
The following year saw Clint Eastwood, Shirley Mc Lean, Walter
Matthau, and Jane Mansfield, all of whom the audience adored.
The British actor Michael Cain appeared in 1956; also Elvis Presley
the youth icon in ‘Love Me Tender’ and as the future Rock and Roll
King!
In 1957 came Sean Connery, followed by Jack Nicholson, Christopher Plummer, and Vanessa Redgrave.
While the closing decade of the ‘50s saw James Coburn, along with
director, script writer, and producer Steven Spielberg, make their
debut appearance.

Death During The 1950s: This decade also saw the death of actors
like Humphrey Bogart, Tyron Power and Errol Flynn.
Including the death of producer and director of epic movies the
renowned Cecil B. De Mille!
Though I have conclude the Golden Age of Hollywood with the 50’s Decade,
The glitz and glamour of its Oscar Awards continue even to this day.
With its red carpet and lighted marquee appeal and fashion display!

CONTINUING THE HOLLYWOOD STORY  WITH  FEW TITBITS
From Fort Lee of New Jersey we have traveled west to Hollywood,
California.
From the silent movie days to the first ‘talking picture’ with Warren
Bros’ film ‘The Jazz Singer’.  (06 Oct 1927)
On 31st July 1928 for the first time the audience heard the MGM’s
mascot Leo’s mighty roar!
While in July 1929 Warren Bros’ first all-talking and all- Technicolor
Film appeared titled - ‘On With The Show’.
Austrian born Hedy Lamarr shocked the audience appearing **** in a Czechoslovak film ‘Ecstasy’!  (1933)
She fled from her husband to join MGM, becoming a star of the
‘40s and the ‘50s.
The ‘Private Life of Henry VII’ became the first British film to win the American Academy Award.  (1933)
On 11Dec 1934, FOX released ‘Bright Eyes’ with Shirley Temple, who  became the first Child artist to win this Award!
While in 1937 Walt Disney released the first full animated feature film titled - ‘Snow White and the Seven Dwarf ‘.
The British film director Alfred Hitchcock who came to Hollywood later;
Between 1940 and 1947, made great thrillers like ‘Rebecca’, ‘Notorious’,‘Rear Window’, and ‘Dial M for ******’.
But he never won an Academy Award as a Director!

THE GOLDEN GLOBE AWARD:
This award began in 1944 by the Foreign Correspondence Association at
Another night of television hell I was in the middle of a hell of a block.
And withoout the funds my usal cure of hookers and *******  wasnt a open
road so to speak.

I was lost I wondred the streets like  ****** in need of a john.
When through the darkness it appearded a well lit haven in the middle of
a thoughtless storm.

The cinema cafe drinks and films  hmm from looking at the marquee seems
there wasnt much to choose from .
It read like a preschooler had puked apon the board.

There were sequels, and prequels,  gay vampires that walked around in the day,
Weirdos who flew around on broom sticks and loads of treenage **** minus the ****.
Dear lord! I had to get to the bottom of this problem.

The pimple faced kid at the booth asked me in a squeeky yet firm semi manly
voice can I help you sir?
Yes my dear crater face whats with this **** you call films here ?
Umm I dont make em sir there just whats popular.

The greezy faced hampster had a good point in what he said that is.
cause other than that I had no clue what he was working with really what do you think
I am some kinda pervert?

Let me ask you something do you like this **** you sell tickets to?
**** no dude its garbage for halfwits and retards  and some people from Canada.
Who the hell wants to see that **** from twilight  play snow white?
Let me ask is that a adult film?
Duh no ******* we dont show thoose here.

Would you know were I could see thoose films?
Im doing some umm research on human sexulality  it involves alotta big words
which i cant spell so i'll spare you the details  just point me in the right direction
and nobody gets hurt.

Dude they havent shown thoose kinda movies in theaters for years.
Oh yeah and theres this thing called the internet once is way better than writting on your
cave walls.
Kids there really great *******.

After some back in fourth who gives a **** or really reads this ***** banter.
The man with the pizza face finally hit his limit.
Look *******!
I dont make the **** ,I dont watch the ****!
If you gotta problem take it up with the studio exects in Hollywood.

You gotta point there sparky give me your keys!
What! No.
Give me your keys or else.
Or else what grandpa  your gonna hit me with your walker.

No you silly *******.
Or else I'll shoot you.
Ya see young man that should wear a iron mask.
You may have a I Phone
But I have a handgun  and  that always wins the debate no hand em over.

After a brief moment of the little ******* ***** crying and begging for me not to **** him.
Really he watched to many TV shows I wasnt gonna **** him besides.
Im allergic to prison and it wasnt even a real gun what a *******.

I was off in my borrowed car  to the land of bad ideas and great **** jobs.
A place more fake than barbies dream home minus that dickless tool she always
hung out with  not that I played with Barbie's but she does have some really kickarse *******
and im a big fan of ******* hell what great writer isnt?

It was a drive that seemed to take forever  but finally i pulled up to the front gate
of Warner Brothers studios.
The little weird looking gate keeper looked at me and said .
can I help you sir.

Yes please direct me to your leader strange gaurd troll.
Uhh sir this is a closed lot only people with passes can enter.
Well what if i know the secret word?

Who told you about the secret word?
I had him with that one.
These Hollyweird vampires couldnt have enough brain power to
keep some pass on them.
Okay whats the secret word sir?

I had to think deep and from such a shallow mind that was asking alot.
What could it be it had to be something that rang true like snorting a line of
coke of Katy Perry's  ***'s.

Dear lord I had it.

Brad Pitt ***** donkey *****.

The man looked at me in utter shock  I wasnt sure if he was gonna let me pass
or try to pull me out my slightly worn odd smelling borrowed car.
Alright sir it's lot 69 hahaha  yeah I know im demented.

Right next to the lot there filming Winds Of Change **** The Musical!
Staring Johnny Depp and Bogo the ***** chimp.
****** i wish i wasnt busy  that chimp seemed like he had a good head on his shoulders.
Well when he wasnt jerking off and eating bannans while throwing his poo.
What a talent indeed.

I found myself in the studio people running every which a way.
It was total confussion   seemd like no one had a clue what the hell they were doing.
Hey ******* shouted some weird little man in a chair who the **** are you!?.

The little red haired man must truely be dellusional.
How could someone not know Gonzo?
Well sir just who the **** are you? I replied.

Well im Ron ******* Howard *****!
Hmm never herd of you are you a director or something?
What!!!
Ever hear of Andy Griffith  or Happy Days?
Oh yeah your that little dork that hung out with that cop yeah what a snitch.
I was playing his son *******.

Dam well seems this ginger finally explained to me why that man always had him around
it all makes sense now i just thought he was some kinda pervert.
Course seems like he had picked up some bad habbits from that Fonzie guy
never trust a man who calls the restroom his office but what a man does with
another man in a ***** restroom for plesure or profit is his own bussiness.

Look *******  what the hell do ya want?
Lets start with a gallon's of nothern light maybe some top shelf hookers some good music.
Maybe a couple hits of some lets say nose candy maybe turn off the lights and see what happens.
Im just saying sometimes ya gotta let nature take it's drug filled course.

Im not talking bout from life dip **** i mean what the hell are you doing here?
Oh **** sorry there  carrot top.
I wanna see the person in charge that green lights all this remake **** you souless
morons put out and call entertainment.

The little red haired devil was silent as he explained to me no one ever saw the
studio head it was like meeting Santa Claus or ****** or being in the pressence of a unicorn
really whats the diffrence.

He warned me of the dangers of meeting such a great mind yet like I do with
most people I simply shook me head and agreed much like i do with
women im trying to sleep with duh like I care about her tweenty seven cats.

Finally after learning I wasnt taking no for a answer he lead me to a room
And in this room was a screen and apon the screen appread a face.
Who dare question the mighty head of the film studio!!

The voice was loud  still it had that comfoting quallity that you just have to love in
a windbag *******.
Umm me.

You well who the hell are you?
Duh ******* im the long winded ******* writting the story.
Oh well what the **** do you want?

Sir I wanna know what the hell's wrong with you people.
Look im a drunk but i could never be drunk enough to pay a fortune to watch half the **** you call entertainment between remakes and films based on gay *** stories about vampires
and dudes who run around the woods calling themselves werewolves.

You mean you actully saw twilight?
The voice asked me on the verge of laughter.
Duh i see a bunch of hot chicks  going anywhere im following without asking
much like the mindless drones that watch that ****.

Sir your a sad sad man.
The strange face on the screen vanished out from the curtan appeared
what looked like *** it was Bugs Bunny !!

Bug's!  
What's up gonz?
****** i always knew you were real much like Fergie and spanish fly.

Gonzo i know half this **** ***** but its because mindless idiots love studip ****.
Look you were once a popular writer and you cant even spell.
Ouch now go ahead mighty furry samuri.

Ya see whatever makes money we put out and really stupid young girls much like your teenage
wife love that **** and being perverts like yourself wanna get laid you'll take them to that ****.
Bugs are you saying it's all about money?

No **** *******.

We talked drank watched backroom casting couch tapes of early starlets like
Harrison Ford no wonder he was so good with that whip.

It was magic minus the  money loving **** mouse that'll sue your ***.
Bugs I gotta ask you a deep question?
Shoot there Gonz .
Is Mickey really just a cross dresser calling himself Minnie?

You are messed up in so many ways Gonz.
We laughed swapped ***** stories  like the time Bugs slipped
Daisy some ****** and got a ******* in the magic castle  while goofy watched.

What the **** is Goofy?

Gonz .
My furry amigo said to **** if I know.

Untill next time kids stay crazy

And remember if you wish apon a star  ya better make sure to whom thoose copy rights
belong to truley are.
Cause thoose rich ******* will sue your *** .

Cheers

                               FIN?
Nigel Morgan Dec 2012
As a child he remembered Cardiff as a city with red asphalt roads and yellow trolley busses. On a Saturday morning his grandfather used to take him in his black Sunbeam Talbot to the grand building of the Council of Music for Wales. There Charles Dixon presided over a large office on the third floor in which there were not one but two grand pianos. At seven a little boy finds one grand piano intimidating, two scary. He was made of fuss of by his grandfather’s colleagues and – as a Queen’s chorister – expected to sing. A very tall lady who smelt strongly of mothballs took him into what must have been a music library, and together they chose the 23rd Psalm to Brother James’ Air and Walford’s Solemn Melody. After his ‘performance’ he was given a book about Cardiff Castle, but spent an hour looking out of the windows onto the monkey-puzzle trees and watching people walking below.
 
50 years later as the taxi from the station took him to the rehearsal studios he thought of his mother shopping in this city as a young woman, probably a very slim, purposeful young woman with long auburn gold hair and a tennis player’s stride. He had just one photo of his mother as a young woman - in her nurse’s uniform, salvaged from his grandparents’ house in the Cardiff suburb of Rhiwbina. Curious how he remembered asking his grandmother about this photograph - who was this person with long hair?– he had never known his mother with anything but the shortest hair.
 
He’d visited the city regularly some ten years previously and he was glad he wasn’t driving. So much had changed, not least the area once known as Tiger Bay, a once notorious part of the city he was sure his mother had never visited. Now it was described as ‘a cultural hub’ where the grand Millennium Opera House stood, where the BBC made Doctor Who, where in the Weston Studio Theatre he’d hear for the first time his Unknown Colour.
 
Travelling down on the train he’d imagined arriving unannounced once the rehearsal had begun, the music covering his search for a strategic seat where he would sit in wonder.  It was not to be. As he opened the door to the theatre there was no music going on but a full-scale argument between the director, the conductor and three of the cast. The repetiteur was busy miming difficult passages. The two children sat demurely with respective mothers reading Harry Potters.
 
The next half hour was difficult as he realised that his carefully imagined stage directions were dead meat. They were going to do things differently and he had that sinking feeling that he was going to have to rewrite or at the very least reorganise a lot of music. He was then ‘noticed’ and introduced to the company – warm handshakes – and then plunged into a lengthy discussion about how the ensemble sequence towards the end of Act 1 could be managed. The mezzo playing Winifred was, he was forced to admit, as physically far from the photos of this artist in the 1930s as he could imagine. The tenor playing Ben was a little better, but taller than W – again a mismatch with reality. And the hair . . . well make up could do something with that he supposed. The baritone he thought was exactly right, non-descript enough to assume any one of the ten roles he had to play. He liked the actress playing Cissy the nurse from Cumbria. The soprano playing Kathleen and Barbara H was missing.
 
He was asked to set the scene, not ‘set the scene’ in a theatrical sense, but say a little about the background. Who were these people he and they were bringing to the stage? He told them he’d immersed himself in the period, visited the locations, spoken to people who had known them (all except Cissy and the many Parisienne artists who would ‘appear’). He saw the opera as a way of revealing how the intimacy and friendship of two artists had sustained each of them through a lifetime chasing the modernist ideal of abstraction. He was careful here not to say too much. He needed time with these singers on their own. He needed time with the director, who he knew was distracted by another production and had not, he reckoned, done his homework. He stressed this was a workshop session – he would rewrite as necessary. It was their production, but from the outset he felt they had to be in character and feel the location – the large ‘painters’ atelier at 48 Quai d’Auteuil.  He described the apartment by walking around the stage space. Here was Winifred’s studio area (and bedroom) divided by a white screen. Here was the living area, the common table, Winifred’s indoor garden of plants, and where Cissy and the children slept. As arranged (with some difficulty earlier in the week) he asked for the lights to be dimmed and showed slides of three paintings – Cissy and Kate, Flowers from Malmaison, and the wonderful Jake’s Bird and White Relief. He said nothing. He then asked for three more, this time abstracts –* Quarante-Huit Quai d’Auteuil, Blue Purpose, and ending with *Moons Turning.
 
He said nothing for at least a minute, but let Moons Turning hang in space in the dark. He wanted these experimental works in which colour begets form to have something of the impact he knew them to be capable of. They were interior, contemplative paintings. He was showing them four times their actual size, and they looked incredible and gloriously vibrant. These were the images Winifred had come to Paris to learn how to paint: to learn how to paint from the new masters of abstraction. She had then hidden them from public view for nearly 30 years. These were just some of the images that would surround the singers, would be in counterpoint with the music.
 
With the image of Moons Turning still on the screen he motioned to the repetiteur to play the opening music. It is night, and the studio is bathed in moonlight. It could be a scene from La Bohème, but the music is cool, meditative, moving slowly and deliberately through a maze of divergent harmonies towards a music of blueness.
 
He tells the cast that the music is anchored to Winifred’s colour chart, that during her long life she constantly and persistently researched colour. She sought the Unknown Colour. He suggests they might ‘get to know the musical colours’. He has written a book of short keyboard pieces that sound out her colour palette. There is a CD, but he’d prefer them to touch the music a little, these enigmatic chords that are, like paint, mixed in the course of the music to form new and different colours. He asks the mezzo to sing the opening soliloquy:
 
My inspiration comes in the form of colour,
of colour alone, no reference to the object or the object’s sense,
Colour needn’t be tagged to form to give it being.
Colour must have area and space,
be directed by the needs of the colour itself
not by some consideration of form.
A large blue square is bluer than a small blue square.
A blue pentagon is a different blue from a triangle of the same blue.
Let the blueness itself evolve the form which gives its fullest expression.
This is the starting-point of my secret artistic creation.

 
And so, with his presentation at a close, he thanks singer and pianist and retreats to his strategically safe seat. This is what he came for, pour l’encouragement des autres by puttin.g himself on the line, that tightrope the composer walks when presenting a new work. They will have to trust him, and he has to trust them, and that, he knows, is some way away. This is not a dramatic work. Its drama is an interior one. It is a love story. It is about the friendship of artists and about their world. It is a tableau that represents a time in European culture that we are possibly only now beginning to understand as we crowd out Tate Modern to view Picasso, Mondrian, Braque and Brancusi.
Swanswart Aug 2016
This poem is green
Would you buy this poem?

This poem is do-it-yourself
backyard garden green.
This poem is save the world
give peas a chance green;
this poem is azure sky
squeezing the golden sun
all over the world green.
Could you buy this poem?

This poem is apples and oranges
farmer’s artist market green.
This poem has
leaves as pillows
and blankets as grass;
this poem is a lil’ patch of green
earth purchase me plot;
this poem is  
100%
recyclable
disposable,
sustainable
  (after all it has gotten this far)
You should buy this poem.

This poem is green,
its’ tyro-technics
shooting out of asphalt cracks.
This poem is a snot-nosed brat
full of SASS
(short attention span sentences)
This poem is the hope of audacity.
This poem is fumbling with bra straps
and tongue-tied techniques,
this poem isn’t old enough
to know any better, it’s wet
behind the ears green
petting zoo pellets green
willing to SCREAM green
but not part of
a gang green
this poem is all alone
with its words
Buy this poem?

This poem is green
Its envious of
solar panel studios with eyes on the price
of a venti economy
This poem is the green-eyed monster
of product placement pick-o-the profit
This poem WANTS to make
consumer obedience the easy culprit.
But really…
This poem just wishes it could sing
Won’t you buy this poem?

This poem is green.
This poem has no half-life,
shelf life or
night life.  
This poem exists solely in this moment
of your imagination.

This poem has milk carton desperation.
This poem is begging for change.
This poem was stolen from all of you.
This poem is not for sale.
Buy This Poem!
marriegegirl Jun 2014
Bien que la pluie le jour de votre mariage est l'une des choses les mariées stressent le plus.la neige le jour de votre mariage .bien disons juste que c'est magique .Surtout quand c'est une de ces belles neiges d'automne du Colorado.où les feuilles sont encore accrochés mais les petites averses de neige descendent du ciel .Brinton Studios capturé un jour et c'est tout à fait un euphémisme de dire que c'est parfait .mais là vous l'avez .Il est excellent.\u003cp\u003e

ColorsSeasonsFallSettingsRanchStylesRust­ic Elegance

De la photographe .Elyse et Chris ont.Avez- ce robes demoiselles d honneur que vous demandez ?Ils ont ce facteur X dans une relation où vous pourriez presque tangible

http://modedomicile.com/goods.php?id=2778

de ce lien mélancolique derrière leurs mots et le langage corporel .Nous鈥 檝e n'a jamais eu plus de facilité à obtenir un couple pour nous montrer comment robe de soirée grande taille ils se sentent sur l'autre .De plus .les amis de ces gars sont juste amusant !Nous avons eu un temps à robe de soirée grande taille danser incroyable et obtenir au milieu d'une petite bataille de neige impromptue qui a éclaté .Thumb Ranch du diable et de la planification enlacés fait un travail fantastique réglage de la magnifique toile de fond pour cet événement magnifique Photographie
: Brinton Studios | Wedding Planner : planification enlacés | Cérémonie Lieu: Thumb Ranch du Diable | Réception Lieu: Thumb Ranch du
The victim list keeps growing

But no one really cares

The gristmill claims another one

Keep your hands in and don't stare

Hollywood is the golden land

The eternal silver screen

But many souls are lost here

A lot of greats or never beens

Child stars and veterans

The names can fill a book

Look, we've lost another one

Keep on moving, no time to look

We show concern when tales we hear

Of celebs dying young

We ruminate on films not made

And songs they've never sung

Each busload brings another group

To fill the starstruck void

And the next bus has a dozen more

With dreams, too soon destroyed

It's been this way since film began

The streets are filled with scores

Of undiscovered junkies,

And photogenic ******.

Some you know and some you don't

It's a list a mile long

It's amazing how these fragile folks

Could end up going wrong

The studios were pimps back then

With bennies all the rage

They loaded up their bonus babes

And then they sent them out on stage

We've seen the Little Rascals

You know Alfalfa Switzer, but,

Did you know he died a ******

From a bullet to his gut?

Scandals, lawsuits, hidden trysts

These stars were fully amped

Girls below the legal age,

Made Chaplins ***** a *****

Arbuckle committed ******

Other's just od'd

It's amazing how the failures

Make for a better read

Oh look another bus trip

Past the houses of the stars

All manicured and landscaped lawns

Just to hide the ****** scars

If you look behind the curtain

Back into the world of Oz

You'll find the munchkins getting plastered

And dear Judy dead because

They made her a screen idol

They broke down the girl inside

They milked her for her talent

****, they took her for a ride,

For every one like Garland

There's a thousand more in line

Just waiting for their chance to see

Their name upon that sign

Keep together, Keep on moving

There's lot's more for you to see

River Phoenix from an overdose

John Belsushi killed by speed

Peg Entwhistle jumped from high atop

The Hollywood sign we see

She decided she had had enough

In either 32 or 33.

Hughes bough loads of starlets

He liked to hide them round the town

But he was always way too busy

Getting up or coming down

James Dean died in a car crash

Add his name unto the glut

And there was young Grace Kelly

It seems our Princess was a ****

Jean Harlows husband shot himself

Clara Bow liked  having fun

In fact she ******* the USC football team

And I think she might have won

Look up and see the smiles

Of the ones who reached their dream

But, many do not go unscathed

In Space they can't hear you scream!

Sal Mineo was murdered,

Then there's dear dear Natalie Wood

They're not saying  RJ done it,

But it sure does not look good

Remember the curly headed kid

Who played Buffy on tv

She ended up so full of drugs

It's a list from A to Z

Now, when stars have problems

they do reheab and they hide

Back then they never had the chance

They just committed suicide

The man of steel, George Reeves

Was found shot in the head

They're not sure who killed Superman

So they said suicide instead,

Bob Crane, our Colonel Hogan

Made **** films and did drugs

But, whle Hogan's Heroes was still on

This was swept under the rugs

We can keep on this forever

Listing failures more than gains

For to be a fallen idol

comes with alot of pain

Child stars, just brushed aside

Their names and faces lost

Their lives are but a footnote

Is their loss the final cost?

You can peek behind the curtain

The wizard's still there today

But, if you come to visit

Please don't make the choice to stay

For, the victim list keeps growing

It gets longer every year

But, for many of these fallen stars

Is there one who'll shed a tear?

It's an image on a silver screen

We love the work they do

But of each ten thousand who do try

There's only one who's dream comes true

So, watch and listen closely

For in Hollywood you'll find

A list of tragic stories

Who the movies left behind.
RebelJohnny Jun 2014
Synchronicity -
It means all of the events
flying, WHIZZING!, d-r-i-f-t-ing by us
as we ourselves float through the world
are related, connected, entangled,
and emerge from some kind of
divine symphony.

The sounds of laughter, tears dripping,
hearts BREAKING, SMASHING, SHATTERING,
the scraping knees crawling through the rubble,
hands SLAPPING TOGETHER as heads turn
towards heaven in prayer-

The warm embraces, -sighs- of comfort, lips smacking,
bodies pressing together in the hopes of being
reunified for a few moments, the glances,
the poems, the letters, the rings exchanged
and matching cemetery plots-

The triumphs, WOO-HOOS, celebrations,
toasts, clinking wine glasses, bottles, mugs
bumping fists, patting hands drumming
confidence into chests-

They are all supposed to be
one godly plan.
Like high notes, tragic sonatas
and joyous fingers plucking
heavens strings into
gracious cords and
silent pauses between tracks
are all one concert that we're conducting.

But doesn't it all feel so fragile?
One broken instrument, one
distracted player, one missing page in
your play book, a hand swished too hard,
eyes-too-penetrating or overly
aggressive dismissal of your
prized pianist
and the whole orchestra
falls into chaos.

What's it mean? What was that lyric?
What key is it in? What is the right tempo?
Do I emphasize the earthy drums that provide stability?
Do I drag you along on a magical carpet ride of echoing
falsettos, throats tugged like the handle-strings
drawing across my violin eyes on an exciting journey?

Or do I sink into the minor keys of my pain-
Songs that I don't share, playing on headphones
now I want to blast them, sob them out, sing them in whispers
at first, let them grow in me like my apathy, swell into tumors of
fear, and hurt and eat me from the inside out!

I want to shout songs of suffering. Have my piano keys
spin you into my anxiety, guitars raising the key like water rising
one floor at a time in the Titanic that is my beating heart.

I want to watch the drummers sweat as they beat out the rage
of having my most precious friends, objects and opportunities
snatched away - over and over - despite the progressive movements.

I want to draw you back into my finale with my fear. It will have to be so disturbing that each note raises hairs on your neck. When I drop my baton, leaves you with my night terrors - so foreign from the concert I'm playing that I'll need

electric guitars, wild wind instruments, theramin and a chorus of sirens and banshees to scare you back into your seat. Songs inspired by fear, pain and sadness, anxiety and misery are all you'll find at this concert. Songs that make bowing an act of submission and never respect or adoration. My forums lack fan clubs. Covers of my songs don't exist.

Please - leave your hearts at the door. Chances are that fate,
the ultimate conductor, will rip me out of this black-and-white
universe that traps me like a suit made from
straightjacket fibers, anyhow. Because life, no matter how unified they tell you it is, LIFE doesn't get remastered. There is no deluxe version, b-side, or re-recording.

No one can auto-tune my words. The dangerous, raging guitar solos of insults and fury that have wrecked
all of the men who really cared at one point.
The friends who survived the mounting anxiety of watching me
skip like a CD in the broken walkmen we had as kids. Sorry! Sorry! Sorry! I meant to! Mean-! Mea! Meant, Meant, Meant, Meant <silence>, SLAM "Meant to call you,"

Or maybe ([SARCASM] IF YOU'RE LUCKY!) you'll hear track 4. I'll sing, "I need your help!", "Wow, *****, just come over!", "This *****!", "I didn't mean it", "Don't get like this again!". Against the anxious, building, manic tones, my panick blares while "I'm not good enough", "Can't do that", "my disease makes that hard", "Do you like me?", "**** this!!!" blares like an infernal choir pressing you to madness.

See, human symphonies aren't coherent - music theory isn't a predictive corpus. Experience shows that you can't make it come together. Too often, we don't get any rehearsal time. The death dirges that have stolen away my family, one at a time, creeping up from a silent, whispering stocatto'd-doom drown out any of the romantic, epic harpsichord solos that I still only dream of.

The angry, head-banging, 'where's that mosh-pit for grown-up children with kneepads?' beats don't motivate me anymore. They break down the walls to the studios where I was writing expert concertos. The earthquake-like blasts of my self-loathing fear have already torn down too much sound-proofing and the record studio collapsed because noone had the credentials to get in. My only dance consists of turning off the lights and yanking up the covers. Being a one-hint wonder isn't happening. Then again, can you blame me for not stopping? I don't pass this after I hit it.

In the end, the musicians don't always show up. It's like, - We've all been to that concert. Ya know, where everyone feels the awkward energy of a 4th grade Christmas Carol musical? Where, the costumes weren't convincing. Of course neither were the conductor's falsehoods, lies, omissions, or the promise that you'd enjoy this show. Cover art, like my critic's ratings, just don't do me justice . "Smart, engaging, relatable" the new listener's proclamation that "I'm falling in love! I can't get enough!" are marketing gimicks that just don't last.

Synchronicity, like destiny, has revealed itself to me as a fantasy. Reality's crumpling threads don't always find their way into skilled weaver's hands.  These strings have all snapped. In the end, I'm left smashing drums with trombones, crying over the rusted saxophones that can't croon for other hearts anymore. Just wait, my closing number is a Celine-Dion covered effort to stay afloat in the monsoon that I've been summoning for over a decade. When everyone leaves my audience, the program is either left behind or taken only by the weirdos who resonate with this kind of tortuous tune

I end each night walking the aisles of my darkened auditorium-soul now. I like to follow the echo and chase "coulda!" "woulda!" shadows across walls. I find your ticket stubs and nostalgia pulls me away from the dimming lights. In the end though, I can't counter the reviews that my show has no point. The tragedy isn't teaching any lesson and the cacophonies I birth don't generate fans. Plus, requests for autographs have become suicide invitations for an artist who can't release a polished track.

Synchronicity:A word invented and popularized by psychologist Dr. Carl Jung in the 1950s.  We all no better now that this is not a word that exists. Yet, the potential leads us all to chase after seasont tickets.

Synchronicity, defined as the false hope that it all means something. Synchronicity, the hope that you'll get to be the big strand in something special. Synchronicity - the promise of a heavenly choir, or divine symphony; of course we've already fallen from grace too often to question our unfulfillment. Sync-ro-nic-it-eeeee, like an old worn-out cassette tape, rarely comes with the equipment and support needed to hear it. Synchronicity - The jagged, little red pill that I can't take. Synronicity: the seemingly fate-driven world that we all stop believing in when the silence sets in.

Synchronicity: a series of seemingly random events that promise you a long night of unsurpassed concert sound. At least it's not alcohol I'm left lacking

Synchronicity, the artists that't leaves us entangled in distractions. Like scratched soundtracks. Synchronicity: the band I quit that has since left me wishing for buttons:

Pause. Stop. Repeat. Shuffle. Fast-Forward? Rewind!.....
..... Skip.

...................Eject.
Katelin Michelle Feb 2015
professor told me the chemicals and minerals in this paint could leach toxins into my skin if I let it stay on the surface there
but the way I see it I've picked my poison
either it's paint on my skin or you on my mind
You creatures used to be alive,
Now you're just desks with pulses.
You preachers used to breathe lies,
Now the air just smells repulsive.

Let's toast to our compulsions!
A third-finger salute to ill-indulgence, burnt out lights, and shame convulsions.
Leave the worries to the workers and the fearful.
Let the smiles stretch further while the room's erupting by the earful.

Sub-tyrannic suburban boredom brushes with death.
Sunk Titanic bourbon lushes bearing fermented breath.
Replica. Replica. Replica.
Fried Pickles and Angelica...haha.
Laughter via Helvetica.

A Doctor of Yesterday living in a pseudo-science fiction age.
What will be found between scribbled shore and shining sea?
An empty box filled with smoke and broken mirrors may be a shattered trick on  stage,
But does that mean that progress is solely based on me?

The stage is setting. The studios offer their warm embrace in exchange for a piece of yourself.
A piece, without, you are still a whole. A piece that is meant to be harvested, for if not it will wither and wilt.
Dropping, coasting, floating.
Anything but falling. An idea left un-reaped will be purged by slithering guilt.

The world warps and billows to conform to the view of the looking glass, yet, stretches far beyond it.
Letting go doesn't mean giving up, but rather, to allow the wind to blow and twist your perspective.
The harder you try, the more you will see: It's all a lot easier to swallow when you're not being force-fed ****.
A fine cocktail, made with equal parts top-shelf desperation, and the world's finest dedication,
Served in a glass half full of luck.

Sometime's you're flush, and sometimes you're bust, but most times, you lie somewhere in the between.
A spinning brain and a sparatic heart.
An argument spun from the silk of a dying worm.
An infection of the brain with no negotiation of terms.

Sleeping on porches and storming the boredom beaches.
Mad? Surely. Angry? Not even. Discretely thanking the earthquake for shaking things up.
The missing link lies just outside of our nests, dangling from a branch just beyond our reaches.
Though my wings clipped, and yours yet to form fully, I'm down to take a dive just to find out what's up.

Sometimes I think the clouds in the sky are just a reflection of my attitude.
I'm only here to have fun. Either grow up or get lost, boy.
There's something about a yellowing onion that reminds me of home.
A line(s) was added daily for 20 days. It was a fantastic challenge and I think I'll do it again.
Nigel Morgan Feb 2014
It was just after four and he had been at his desk since early morning. He would stop every so often, turn away from his desk and think of her. They had spoken, as so often, before the day had got properly underway. It seemed necessary to know what each other had planned on their respective lists or calendars. But he had hidden from her an unexpected weariness, a fatigue that had already plagued the day. He felt beaten down by it, and had struggled to keep his concentration and application on the editing that he had decided to tackle today, so he was clear from it for tomorrow.

Tomorrow was to be a different day, a day away, a day of being visible as the composer whose persona he now felt increasingly uncomfortable in maintaining. He would take the train to Birmingham and it would be a short walk to the Conservatoire.  He would stop at the City Art Gallery and view the Penguins – or Dominicans in Feathers by Alfred Stacey Marks , and then upstairs to the small but exquisite collection of ukiyo-e. He would avoid lunch at the Conservatoire offered by a former colleague who he felt had only made the gesture out of politeness. They had never had anything significant to say to one another. He had admired her scholarship and the intensity of her musicianship: she was a fine singer. But she was a person who had shown no interest in his music, only his knowledge and relationship with composers in her research area, composers he had worked with and for. He doubted she would attend the workshop on his music during the afternoon.

He was often full of sadness that he could share so little with the young woman spoken with on the phone that morning, and who he loved beyond any reason he felt in control of. Last night he had gone to sleep, he knew, with her name on his lips, as so often. He would imagine her with him in that particular embrace, an arrangement of limbs that marked the lovingness and intimacy of their friendship, that companionship of affection that, just occasionally and wonderfully, turned itself in a passion that still startled him: that she could be so transformed by his kiss and touch.

He was afraid he might be becoming unwell, his head did not feel entirely right. He was a little cold though his room was warm enough. It had been such a struggle today to deal with being needfully critical, and maintaining accuracy with his decisions and final edits. He had had to stand his ground over the modern interpretation of ornaments knowing that there existed such confusion here, the mordent being the arch-culprit.

He stopped twice for a break, and during these 20-minute periods had turned his attention to gratefully to his latest writing project: The Language of Leaves. He had already written a short introduction, a poem about the way leaves dance to and in the wind of different seasons. At the weekend he had spent time over a book of images of leaves from across the world. He had read the final chapter of Darwin’s book The Powerful Movement of Plants, the final chapter because after publication Darwin suggested to a friend that this chapter was really the only worthwhile part of the book! He had then read an academic paper about the history of botanical thought in regard to the personification of plants, starting with Aristotle and ending with the generation after Darwin.

But his thoughts today were on writing a poem, if he could, and would once his editing task for the day had reached a realistic full stop. After leaves dancing he could only think of their stillness, and that was just a short jump to thoughts of the conservatory. Should he ever gain an extravagance of riches he would acquire a house with a veranda (for the woman he loved), outbuildings (for her studios – he reckoned she’d need more than one before long) and a conservatory (for them both to enjoy as the sun set in the North Norfolk skies below which he imagined his imagined house would be). And suddenly, at half past four, after his thinking time with this lovely young woman who occupied far more than his dreams ever could, he turned to his note book and wrote:  while leaves may dance . . .  And he was away, as so often the first line begetting a train of thought, of association, a fluency of one word following another word, and often effortlessly. A whole verse appeared, which he then took apart and rearranged, but the essence was there.

And so he thought of a conservatory, a place of a very particular stillness where the leaves of plants and ornamental trees were just as still as can be. Where only the leaves of mimosa pudica would move if touched, or the temperature or light changed. It was a magical plant whose leaves would fold in such extraordinary ways, and so find sleep. His imagined conservatory was Victorian, and in the time-slip that poetry affords it was time for tea and Lucy the maid would open the door and carry her tray to the table beside the chair in which his beautiful wife sat, who ahead of the fashion of the time wore her artist’s smock like a child’s pinafore, an indigo-dyed linen smock with deep pockets. She had joined him after a day in her studio (and he in his study), to drink the Jasmine tea her brother had brought back from his expedition to Nepal. She would then retire to her bedroom to write the numerous letters that each day required of her. And later, she would dress for dinner in her simple, but lovely way her husband so admired.
Claire Ellen Jun 2013
Summer, wind, earth, body,
words that sweep me off my feet.
fourteener, lakes, sunsets,
things that catch my breath.
car crashes, deaths, movies,
things that make me cry.
jokes, messy hair, tripping,
things that make me laugh.
holy cow, you.
you swept me off my feet,
you made me cry,
but you came back,
and you made me happy.
"your almost perfect,
and i'm a ***".
you said.
but i said,
you take the wheel, and take me away.
lets run,
run away?
run toward,
run for
something.
Marcus O'Dea Mar 2013
A call on the white telephone awakens the room, disturbing the crystal liqueur bottles I will never drink from. She sweeps in from the balcony where she was wistfully overseeing-

All the dogs have fled. On some nights though, I see them in some corner or some alley mouth, a pair of howitzer eyes lying in the bunker of a ruined doorway. Nobody told them it was over.

And in the studios you never see the outdoors, never see that grainy drunken view of the streets, just the pristine suites, a hint of sun and the telephone, the white telephone.

Level the rest I say. Sink and crumble any who were passed over. Cut the power lines, burn the last scraps of food and cut a perfect hole in every cinema screen. Ruins are what we do best.

It didn't happen.
It did.
But it didn't happen.*
But it did.
Savio Apr 2013
I am Marmeladov
Perched as if I were a Father Clock
A Wasp
A Fly
An ant crawling towards the jar of sugar
Stuck in a tear-drop of Honey
Perched at your window
Dream Catcher from vacation to Mexico
To City Country of bandits
Of hot sun
of desert skin
of guns ****** **** **** *******
Spanish women playing Spanish guitars
only 3 strings
only 5 fingers
only 1 eye
Gazing at Death
Her Depth of field altered by her one orange eye like lit cigarettes in a jail sell after lights out
quiet quartet
spanish folklore
a eulogy written in Violin strings
a graveyard of deceased mad men
we never fond Mozart's body
vanished in the sky like the pupils of a white crow
Anatomy of a violin:
Casted in glass
Molded by the moss stauteing over the side of your house
Alcohol
Sand and mud
Winter and old leather boots worn by a Vagabond searching the trees for proof
Sorrow Sorrow Sorrow
untouched lips of a woman
A.M.
Wet cigarettes and wine and crooked eyes and a starving belly a Thirsty Mind
A lost canine:سلوقی, Saluki, Persian Greyhound, Royal Dog of Egypt
Sitting in a plastic wool cabin
the Mad artist
drinking molding *****
A lost Breed
The Wise
The Proud drunkards writing hysterically on tenement rooftops of NYC
1950
1920
Rimbaud the Tenth of November 1891
The wonderers with peyote with whiskey with 'Kamel Reds' with Hope and Curiosity
Undress your symbolism
Your Strawberry Eyes that Grow on my walls and feet like Callus'
And like the Charcoal sketches performed By Death
We Age
just as the sky does
just as the Tree you climbed as it rained and you swallowed Lightning and Thunder
Yet the sky was dry of no rain
It is a drought
We pluck the roses eye lashes and
Kiss
We climb into Brick studios and watch the Ballet dancer
as she shapes her bones into Sad New Orleans Trees
The door is locked
Not by bolt but
By the uncut fingernails and hair of wild vines
So we crawl through the side shingles
like
San Antonio lizards

Ballet ashes
dancing to the sigh of Beethoven's last sight
before a wisdom of blindness
swept over his brown eyes
She seems to be painted all black
Like the flight of a Crow
Or the color of Plums
I sing with the owls
I lay with the long road of infinity and its sadness
Out of oil
Out of Gasoline
Out of Food
so we lay around
Carving the paint off walls
like Van Gogh

I am hunched over a grave
The pond is frozen over
'Monumento a la Madre'
Vagabond home
The rain casts a shadow
I cannot see past your face

Someone is listening
I seep into the peripheral of night
Write symphonies on stone
Lay with the weeds
digest the light of the moon

And as I follow the Southern Star home
I am
Stopped by
Painted red ***** houses
24/7 Whiskey Churches
So I Lay down the rifle
judy smith Feb 2017
In 1983, the Fashion Design Council burst on to the Melbourne scene like a Liverpool kiss to the mainstream fashion industry. Inspired by punk's DIY aesthetic and armed with an audaciously grandiose title, an earnest manifesto and a grant from the Victorian government, FDC founders Robert Buckingham, Kate Durham and Robert Pearce were determined to showcase the burgeoning Melbourne design scene in all its outrageous glory.

"People resented hearing about Karl Lagerfeld," says Durham. "Our movement was against the mainstream and the way Australians and magazines like Vogue treated Australian designers."

Over its 10-year lifespan, the FDC launched such emerging designers as Jenny Bannister, Christopher Graf and Martin Grant. But what was perhaps most exciting was the FDC's ecumenical approach. Architects, filmmakers, artists and musicians all partied together at runway shows held in nightclubs.

"It was an inventive time when people came together and made people notice fashion," says Durham.

Among the creative congregation, Durham remembers artist Rosslynd Piggott, who constructed dresses of strange boats with children in them and filmmaker Philip Brophy, who used "naff" Butterick dress patterns. Elsewhere, an engineer made a pop-riveted ball dress out of sheet metal. The crossover between music, art, graphic design and film extended to architects such as Biltmoderne (an early incarnation of celebrated architects Wood Marsh) who designed the FDC's favourite runway and watering hole, Inflation nightclub.

"Clothing was confronting," says Durham. "It was brash and tribe-oriented. It was quite good if you weren't good-looking. People liked the idea that this or that clothing style was going to win you friends."

Today, however, even Karl Lagerfeld has a punk collection. To complicate matters, "fast fashion" appropriates the avant-garde at impossibly low prices. The digital era too has caused the fashion world to splinter and bifurcate. What's a young contemporary designer to do?

"The physical collective is no longer that important," says Robyn Healy, co-curator of the exhibition High Risk Dressing/Critical Fashion, which uses the FDC as a lens to view the current fashion landscape. "These are designers who are highly networked through social media who put their work up on websites."

Fashion designers still use music, film and architecture, but in different ways. Where FDC members might document its runway shows with video, studios such as Pageant use video as the runway show and post them online. Social media is perhaps the big disrupter. Where FDC designers might collaborate with architects, today it's webdesigners.

"Space has changed," says Healy. "Web designers might be the equivalent of the architect today. It's a different use of space."

As grandiose as the FDC, yet perhaps even more ambitious in scope, is contemporary designer Matthew Linde's online store *** gallery, Centre for Style. Like the FDC, it offers space for "artists who aren't at all designers per-se, but they're dealing with a borrowed language from fashion", Linde told i-D magazine.

"It's an extraordinary juggernaut across the world with a huge amount of Instagram followers," says co-curator Fleur Watson. "[Linde] has created a brand that uses social media in an interesting avant-garde way."

Yet unlike their often untrained FDC counterparts, these designers are perhaps the first generation of PhD designers, notes Watson. "Robert Pearce had a belief in culture changing the world. That's what these new designers are reflecting on in their research, their position in the fashion world and how do they change the way fashion works?"

While it's also true that new technologies offer exciting possibilities in embedded fabrics and experimentation with 3D printing, fast fashion has created certain expectations.

As Cassandra Wheat of the Chorus fashion label laments: "It's just hard for people to understand the complexity and the value that goes into production without being really exposed to it. They think they should have a T-shirt for cheaper than their sandwich."

During the course of the exhibition Chorus will produce its monthly collection from one of the newly designed spaces within the gallery. The exhibition's curators have commissioned three contemporary architects who, like its '80s counterparts, work across the arts, to interpret FDC-inspired spaces. Matthew Bird's Inflation-influenced bar acts as a meeting place for the exhibition's forums and discussions on the contemporary state of fashion. Sibling architects abstracts the retail space, while Wowowa's office design resembles a fishbowl. For Watson, the exposed shopfront/office has as much front as Myer's. Its architecture suggests the type of brazen confidence every generation of fashion design needs. Says Watson: "Fake it till you make it."Read more at:http://www.marieaustralia.com/cocktail-dresses | www.marieaustralia.com/formal-dresses-2017
Mark Jun 2020
LUCKY 13 BIG TRIP DIP
From the 12th diary entry of Stewy Lemmon's childhood adventures.

This week my whole family, Smoochy and I, all headed off by car, to the annual big city fair on Friday the 13th. Some people believe an unlucky day of the year and an unlucky number for most. It was a big trip for the whole family, which took about two hours and twenty-five minutes to get there. But, we all still looked forward to it coming around each year, despite the long drive.

I had been to the big city fair, for every year that I can remember. My parents have been going there, every year since they were my age. I thought, 'Man, they must be old now, maybe one hundred and two years old or even a lot more'.

The food stalls were packed full of snacks and different makes of cakes and all kinds of different, yummy-in-your-tummy things, for us kids to eat.

There were stalls selling: Creamy Caramel Cup-Cakes, Limited Edition Lollipop Layered Lamington's and even some, short, swirly, Shortbread Slices. Even, my mum and two, much older, identical, twin sisters, Emma and Jemma, had set up their very own food stall. They, were selling heaps of my colourful creation named, 'A Colourful Take-Away Fruit-Blast In A Bag'.

They, were even selling, clear plastic cups along with a spiral-shaped straw.

But, only for the people, who emailed me for the secret, Jiggy-Jiggy Side-Kick Creation instructions, which was in my third diary entry named, 'Water off a Ducks Back'. Only then, will you remember what the plastic cups are for and how to perform the all important, Jiggy-Jiggy.

There were so many fun rides at the annual big city fair, for all of the kids to enjoy. Like the dodgem cars, a jumping castle and the pirate ship, 'my favourite ride of all time'. I loved sitting at the very back of the pirate ship because, it made me feel really funny in the tummy.

Towards the end of the day, my dad, had bought a ticket in the, Big city annual lucky dip first prize, surprise raffle. He had never been lucky in the big city raffle, all of the previous years before. So, this time, he didn't pick his usual lucky number 7, but instead he picked number 13 and guess what? 'He won the first prize surprise'.

We all went to see what the first prize was, at this year's annual lucky dip surprise raffle. It was a family holiday to thirteen of the world's most colourful cities. The whole family screamed, with joy. But, I then slapped my face a little and said to myself, 'Is this another dream of mine'? 'Nope! this one's for real', mum told me, with glee.

The day had arrived, for the start of our colourful, lucky-dip, big 13, city trip adventure. We had, packed all our bags and I even put in my dad's trusty, fancy, far out, funny binoculars and my very, super, sporty, single-shot, stylish slingshot. Just in case, I needed them both on our exciting city adventures.

My two, much older, identical, twin sisters, Emma and Jemma, had packed their bags full of makeup, creams and a hair styling dryer. While, Lemmy, had his bag packed by our dear mum, Flo, along with her own. While, dad went to his unusually built and outrageously painted, backyard, outback, shed and gathered his tools and paint brushes for the trip.

We headed to the airport, to start our first leg of our adventure to London England. On the first day, we went to visit the queen, in her very large house named, Buckingham Palace. The palace guard's face's didn't move one bit. Even, when dad, tried to make them laugh, with a funny joke or pulling faces at them, to make them smile.

Then, off we went, to see Big Ben. It was built years ago along the river Thames. We, then went to see some old rocks called, Stonehenge. Nobody knows exactly, why they were made. Their just placed, all alone, located in the middle of a large field, gathering moss and all still on show.

We then took a ferry ride across the English Channel and hopped off in the Netherlands. We all stayed in the very colourful city of Amsterdam. Mum, loved all of the beautiful flowers and my two, much older, identical, twin sisters, Emma and Jemma, especially loved trying the, unusual sweet cakes and drinks in the many cafes all spread about town. While dad, Lemmy, Smoochy and I, really enjoyed riding the bikes along the paths, on the side of the long and winding canals.

Then, we went to the beautiful, but cold country of Norway. We stayed in the capital city of Oslo. We took a boat ride through the icy fjords and I even thought, I saw that whale that winked at me, on that adventurous day out at, Slip-Slop-Slap Bay.

We then went by bus up north to see the Aurora Lights. Wow! what a sight. It was like daytime, even at ten thirty at night.

I even thought maybe, Stefan Pettersson from North Poland the ski instructor at Shivermytimbers Ski Lodge, lived close to here.

Next city was Paris the city of lights in the country of France. We went up the Eiffel Tower and I pulled out dad's fancy homemade binoculars from my bag and had such wonderful views of the city and then took a taxi for a ride through the streets of Paris and even went under the historical Arc of Triumph. Then we all went to see the great artwork and sculptures at a place called the Louvre. We saw a serious painting of a sad lady named Moaning Lisa; at least that's what I think the tour guide said.

The next morning we boarded a small plane and landed in the very watery city of Venice in Italy. I thought we were going to land on water, just like Buck the Duck does back at the small village pond. The city is surrounded by water and everyone travels by a small boat called a gondola which weavestheir way through the water canals and under all the old bridges. Smoochy even climbed up into the top left-hand side pocket of the Italian man sailing the boat, to get a better view. The food was so colourful in Italy, like the spaghetti, pizzas and delicious and colourful gelato.

Egypt was our next adventure stop and we went to the ancient city of Cairo. The very old Pyramids were out of this world, with precision angles and stones that fitted together ever so well. A cruise on the long Nile River was very exciting to see as well. It went from one end of the country to the other, but we only travelled on it for a mile or so.

Then off to Thailand and to the capital city named Bangkok, the busiest city of them all. There were cars, taxis, two wheeled motorbikes and funny three wheeled colourful ones called

Tuk-tuks. There was traffic and people everywhere we went and a lot of confusion by the Lemmon's when trying to cross the busy streets. We even visited some very old Buddhist Temples in the countryside and had some lunch that was extremely hot stuff, which made us all, puff. They gave us bread and water to cool our mouths down afterwards. Mum said, oh what a colourful and spicy city it is, and I love there ancient culture and friendliness of their people.

Off to the big red and easy going country of Australia tomorrow. We visited a place in the middle of nowhere called Alice Springs, which was in the Northern Territory of Australia. The next day we climbed up a rock named Uluru that was a sacred area for Aboriginals, the original inhabitants of Australia. We took a trip to a beautiful area up north of the Northern Territory called Kakadu National Park. Where we saw big red kangaroos, crocodiles and even some emus. One kangaroo even to try and box dad, but dad ran away and said, ‘He would fight him, but he forgot his gloves’.

We then headed off to China and the island of Hong Kong. What a very old and colourful city it was, with so many colourful buildings to see. In the large harbour we saw painted fishing and food boats cruising around.

Brazil Rio de Janeiro was next and we even saw the famous Carnival, with people dancing to a very cool beat. All dressed up and having the best party of all time. Down on the beach people were swimming and surfing and lying about in the sun. We even went to see a football match with USA v Cameroon playing, oh so well, for the winner would get its hand on a large world cup. We also saw a very large statue of an important man perched on a mountain.

USA was the last country to visit before our adventures would come to an end. We landed in Los Angeles and went straight to the magical kingdom of Disneyland. We did a day tour of Universal Studios where they make all the great movies.

Off to Nevada we drove and stayed one night in the ever so bright Las Vegas, oh what colourful sites we saw from our seventeenth floor suite hotel window. There were so many colourful casinos stretched out as long as you could see which light up at night alright. Dad even said you could see the lights from outer space. The next day we took a flight over the Grand Canyon in a Hot Air Balloon. We saw beautiful waterfalls and even saw people on donkeys riding down far down below.

New York was our last city to visit; it was especially dad's favourite city, because his ancestors had lived there for years, before coming to live in our village of Shimmerleedimmerlee to start a family, all those years ago.

The Empire State Building was an historic tall building that even once had a gorilla on top making a movie. Statue of Liberty was so fun to climb up and see all the lights of New York from across the Hudson River.

We took a horse drawn carriage ride in Central Park and even saw a memorable garden for the ex-Beatle John Lennon.

While travelling the New York subway to get to Soho we saw some great graffiti artwork sprayed on council approved walls.

The next day we were heading back home, which is nestled amongst the trees on a hill, in a little country village, called Shimmerleedimmerlee.
© Fetchitnow
20 October 2019.
This children’s fun adventure book series, is only for children from ages, 1-100. So please enjoy.
Note: Please read these in order, from diary entry 1-12, to get the vibe of all of the characters and the colourful sense of this crazy mess.
Leks Jan 2014
alas my long lost friend
Alas..

(Deep breath)

I have not forgotten our conversations that streched in the darkness of our room and grabbed dreams as hot as the sun and as bright as the nebula of dying stars

I have not forgotten your comfort/advice within my addiction
I spent 365 days with you and gained insight every single second spent in your Presence

(Chuckles subtely)

Your parlance was weak but mine wasn't so we balanced out perfectly
Your profanity was like honey to my ears and mine, well, mine was incrypted silently within my laughters with you

I remember the day we spoke freely about our ambitions and hopes in life it was so beautiful that today my friend those words vaguely linger on my tongue as we were also young so our minds were like young hungry wolves out for their first hunt.
I loved it

We spoke until our sleep was in sync it intertwined so well that we sleept at the exact same time I was grateful that we were both silent/light sleepers as every sound through the window you valiantly probed me to open was of nature and the moon illuminated our room like our own star we rarely left our curtains open but when we did -- it was beautiful
I sometimes stayed awake to see the clock hit mid night just to soak it -- as my mind roamed free after mid night

Oh my friend..

How I miss our immature scenerios of how the world would end and the lustful rants about the girls/women we wish to devour on this god forsaken planet we call earth
The way we spoke about music as if we were there in the studios of the vast array of artists that we spoke about
Frank ocean
The Script
Flying Lotus
Red Hot Chili Peppers
And many others...
We talked and talked and talked and talked until the duty prefects grew slim of our horiddly loud rants you would take the blame, that way we both knew we wouldn't be punished as you were considered a fragment of gold for the school and I merely silver and silver is not nearly better then gold

(Chuckles wholely)

Our laughs coexisted like a melody only mozart could compose our inside jokes made people sick of our ability to laugh in complete silence by merely communicating through eye contact it was delightful/enlightening

Oh and your mind
You underestimated it to be honest. You were top twenty in the grade but your mind did not reflect this. For some reason I was the only one who could unlock the intellectual matter out of your vanity case (brain)
It made me feel special as at the time I was a minority and your companionship had me placed on a golden pedestal
I probed you about the effects of marijuana that you seemed so eager to explore but in my mind a dark shadow over my words grew as I knew the effect of marijuana on the first timer I knew I had to be in the prescence and high enough to not be consumed by it as marijuana was embedded in my vescular codes
...
There were times when I was high for a whole week and you didn't notice.
My eyes were blood shot but I'd usually use the excuse of being tired and you'd accept it quite humbly
Your friends became my friends
My friends became your friends
I feel like we started a revolution
You and I
As our peers did not coexist the way we made them to at the time
I did not tell you this as you would've probably thought I was high again

Oh my friend

You left nothing but nostalgia in my mind and lingering words/phrases you fervenly adored/abused, some even of my own
I embraced them.
I remember the hate I had for the smell of chlorine you brought into the room
I surpased that by remembering how bad you were at arguing as you walked in with a subtle smile and complete exhaustion in your eyes

I cowered into my books during study afraid to ask you for help as your focus could have intimidated einstein. I kept my doses of silence, lucky for me I had the privledge of listening to music so therefore my sanity was restored each 45 minute spent being confused

After study you became an animal probing me to join your adventures of havoc in the house I sometimes questioned how you were in the top 20 for academics but this was answered by remembering the greatest Philosophers that weren't sane at all not even in the little.

I was proud to call you my friend. Your pronounication of my nickname was incredible -- part of the reason to how it was infected into everyones vocabulary

Oh my friend whos name I shall not mention

I miss our vague chants of songs we merely heard in movies. Chants that made people feel vulnerible as your voice was completely horrid and mine exceptionaly melodic, the blend created a fine dose of old whisky
It was beautiful

(Sighs heavily)

But now my friend you are merely a fragment of nostalgia, a poem, a memory -- a lost memory
We are 365 days distant now and your reclusive persona makes me fear that our paths might not intertwine again.

Alas my old friend
Alas my lost friend

----

Leks
This is a poem to the universe
From a lost friend
judy smith Mar 2017
There is something discombobulating about feeling a shudder and a tilt, the models in front of you apparently moving slowly sideways, as the stand with your show seat starts to move in circles.

At the same time, the models at the Céline show seemed to be going off in all directions. Popping in and out of the black holes of space were models - young or older - wearing a smart green masculine trouser suit, a striped shirt, a white belted raincoat, something furry and - unexpectedly - a tunic and trousers printed with black wheels and checks skittering before your eyes.

All this and the bodies and arms of shadowy people behind the plastic backdrop. I rushed backstage to try to make sense of the show chaos (sorry: artistic intrigue), but designer Phoebe Philo did not want to talk when I asked her the point of her dramatic presentation of her Autumn/Winter 2017 collection.

"Just ideas coming together with lots of ideas," said the designer. "Just lots and lots of ideas and how they impact each other."

Around me, Phoebe's team were hugging and sobbing and clutching each other, as if this show were their last. Overview notes provided by the public relations people seemed even more confusing, apart from telling me that the installation (that required more electric cables and wires than I have ever seen above a fashion runway) was by French artist Philippe Parreno.

''The Céline AW17 collection explored Phoebe Philo's storytelling design process of how a collection is created and the notion of how changes result in impact," read the statement. "Further, the collection relates closely to the interconnected nature of women's lives and possibilities for women."

Before I read this, I had thought of Phoebe as the English designer who has her children running around backstage and who made practical but classy clothes for today's woman. She threw into the mix a few charming pieces like the fluffy flat sandals that have been picked up by other designers across the world.

With all that on offer, why did the new Céline collection have to complicate things so much?

Take away the moving seats and impossible-to-follow criss-cross of the models and there was the Céline look that any woman would crave: the bold, floor-length tailored coat; a tuxedo with its hemline sweeping right down to the ankle. The tailoring looked bigger, oversized even, which is in tune with the Eighties-style square shoulders that we have seen elsewhere this season.

Phoebe seemed to be offering a hardened version of the serenity she once found in streamlined clothes. An example of the new severity would be a plain, long sleeved dress with a hemline at mid-calf. Its softer side was a blue shirt elongated to the ankle and worn with trousers.

Ultimately, Phoebe offers 21st century elegance with the smooth lines disrupted by a tangle of fringe at the hem or what appeared to be a big blanket over one arm.

I received an overall impression of longer - to the ankle - length, a sense of sobriety and a few fanciful things for evening. What I missed in the hurdy-gurdy of the presentation, is, as yet, unknown.

With exquisite workmanship and Victoriana melded with pop, Pierpaolo Piccioli had a new vision of romance for the digital era.

Prudishness and pop - can the two really meld together? Yes! If the Victorian-style cape is in a vivid, sugary, postmodern pink and the dress underneath a colourful geometric pattern, recalling the Memphis era.

At Valentino, the 1880s met the 1980s with sensational results as designer Pierpaolo Piccioli dismissed the feminist vibe that has reverberated through the Autumn/Winter 2017 season yet created a collection that was respectful to and joyful for, women.

Just looking at the designer's four moodboards was a history lesson, as Pierpaolo whizzed me through dark Victorian carved birds, bright Memphis furniture, coral with a religious connection to Medusa - so much from the past crammed into one collection.

Yet on the runway, the result was far from overloaded, as the history of coral was subsumed into the necklaces all the models wore and the deflated Victorian silhouette - long and high waisted, but slim where a crinoline once was, seemed perfectly acceptable as a romantic vision of the 21st century.

"I wanted to add deepness and romanticism to the modernity of the shapes, so these are absolutely items that you can wear separately - a white shirt or the skirt with your own sweater," said Pierpaolo. "I think fashion is made for dreams, but sometimes you want a dream that is daywear."

The Valentino studios are at the heart of the matter, apparently finding it as easy to toss off a tailored coat with a mid-calf hemline nudging Victoriana bootees, as it is to make a soft, light dress to flow underneath. The detail and delicacy of the dresses seemed like an extension of the haute couture, but the designer was eager to point out that the clothes came from the Italian factory dedicated to Valentino.

Whether it is so easy visually to mix a sorbet pink top with tiny ruffles down the arms that flowed into a cherry ripe panelled skirt, the result was surprisingly calm. Even the dresses patterned with Memphis pop blended in with the plainer, pleated versions. And just when you thought that the show's high romance was over blown, the designer would slip in a black top over a pair of sloppy velvet trousers or calm a Memphis patterned dress with a tailored coat. A severe black jacket could be worn with anything already in the closet from an LBD to blue jeans. Like the tailored coats, it kept ripe femininity in check.

"For me it is important to keep the lightness, otherwise it doesn’t feel confident and if you don’t feel that you don’t feel beautiful," said Pierpaolo. "I think if you feel confident you can even be able to show your sensibility and really feel stronger."

However you rated the clothes - too fancy, too froufrou, too historical - there is no denying that Pierpaolo has created a vision that is respectful to women and which makes them feel beautiful. In a churning political universe, Valentino offers a small, still voice of calm.

Demna Gvasalia revisited Cristóbal’s silhouettes with surges of modern colour, print and volume.

Balenciaga haute couture has been revived for the first time since Cristóbal himself closed the house nearly half a century ago. The last nine outfits shown by creative director Demna Gvasalia, on the huge carpet patterned with the word 'Balenciaga,' had their roots in the legacy of grandeur left by the noble Spanish-born couturier, who died in 1972.

Demna, who started in fashion by building street-smart, unadorned clothes, deliberately named just Vetements (the French word for clothing), has turned towards the grandeur of the original designs that are part of the Balenciaga legacy.

“I thought 100 years was a good reason to make couture available again,” said Demna backstage. “We're not going to do a couture line or show during couture, but these pieces will be made to order – basically for people who want to buy a couture dress from Balenciaga.”

The grand offerings – the polka dot dress with bustle back, the layers of dark pink taffeta, and a slim black gown, all with large back bows, were not the only historic links. The show opened with tailored coats which were worn with a drape over the left shoulder, reminiscent of the way that the models of an earlier era would walk with their heads up, shoulders rounded and stomachs sunk in.

“I studied how the pieces are worn and I found these images from old mood boards of Cristóbal where women are standing with their coats like this,” the designer explained. “The idea was to bring this kind of elegance, the gesture of wearing those pieces, but take it into a kind of cool and make it more modern. You can also wear it in a normal way, but it is constructed so that one part is larger and then you can also pin it up. And this is what you see basically in all these books.”

Demna's way of rethinking with his brain what he had seen with his eyes is exceptional – and the reason why he seems able to update the house as if he were growing new shoots from existing roots.

The arrival of vivid colour signalled a change of pace, as every figure stood out in the farthest reach of the enormous sports stadium. The hosiery especially perhaps, in grass green, and cut-away waistcoats like harnesses in pastel colours, took the image of Balenciaga back to the early days of Nicolas Ghesquière and his futuristic period at the house.

Demna is also drawn by the flowers that were a part of the Cristóbal Balenciaga look; by showing a patterned skirt with big, bold, brightly coloured sweaters, he gave print a modern feel.

The show was not perfect. Mini dresses in the floral patterns and bright hose looked out of place. But the overall effect was precise but theatrical, with the couture creating a dramatic ending.

Choosing Demna may have been a gamble by François-Henri Pinault, CEO of Kering, the luxury group that owns Balenciaga. But the designer has turned out to be able to answer fashion's most difficult challenge: finding the balance between old and new, tipped towards the future.Read more at:http://www.marieaustralia.com/cocktail-dresses | www.marieaustralia.com/****-formal-dresses
Mateuš Conrad Jan 2016
i think i chose the wrong artistic medium
to express myself,
i'm expressing, that's undoubted,
but as we all know success in the marketplace
needs you to be tacky, cheap,
ready for the tourist memorabilia,
too many professions attacked poetry,
first the philosophers, then the psychiatrists,
it became a beehive of femininity and teaching;
no, i definitely chose the wrong medium,
there's no raw product, the un-popularity
of poetry is due to the memory-market of
vocabulary, there are no raw materials used,
no paints or brushes, just backward experiences
used for the banking of investment,
poetry is either cheap or priceless,
a poet can confuse someone like a tarantula
what a philosopher must do in dialogue or paragraph.
my father was never taught german,
i rekindle the strangeness of germany on the autobahns,
eerie feelings feed the warmth of former home;
and they do, every winter i remember travelling east
from west germany always appealed to me for its
melancholia unforced where rome's light never shone,
britain is the perfect historical satellite,
it's moaning like a ***** when rome ***** her
and she becomes nostalgic... the ideal ***** i say,
she wishes rome's return like a boomerang.
'killed the wallaby?'
'aye and koala too.'
'**** the Tasmanian devil?'
'if only there was an angel to counter
freckled ****-in-boots readied dodo.'
capitalism is really heavy on poetic shoulders,
given that poetry doesn't sell, it's a near-identity of
dodo, near extinction, what will remain of poetry
in terms of language expressing poetic technique is rhyme,
the other rhetoric, rhyme the other rhetoric, sounds good,
nothing like couplets making you speak more, or more
persuasively: and all will be song, and no volatile
singled-out voice in the wilderness speaking,
whether actual with honey and locust diet
or homed wilderness of click click pixel algorithm.
poetry is almost like classical music these days,
with bach's wedding cake layering: there's a difference
concerning poetry and classical music:
classical music is almost non-vox, whereas poetry
is almost pure vox,
polyphony must be translated - the layering,
poetry must listen to bach, instead of sounds it
must be a poly- of subject matters, after all polyphony
is impossible given symbiotic otherwise chiral
resemblance: cat, kettle, knife (silent k),
                        psychology (silent p), gnostic (silent g)
                        pseudo (silent p), wrath (silent w), etc.
πολoιθεμα (many subjects, rather than sounds if poetry
was music, but it isn't): anecdote,
in england your ability to engage many subjects in
a conversation (the only antidote to engage with dialectics)
is summarised and thanked for by: you need a girlfriend;
good to be appreciated.
poetry has to change, it can't be as monochromatic and scarce
as it allowed itself to be, it has become akin to atlas
holding up the globe of the monochromatic theme of love,
modern poetry idealises too much, itself not the ideal medium,
after all, poets don't invest in oil paint, canvases,
brushes, studios, these compact artists need to escape
the sheered sheep laziness when engaging with the world,
first of all, they need the shield of honesty,
and a sword cutting through their comfort zone of scarceness
duping them into an adequacy of expected productivity.
and what will keep πολoιθεμα sustained?
the once famous enemy and murderer of poets, kant,
and the concept that fuels this poetic project:
per se, poetry has to become a relief, tentacles of an octopus,
range beyond the vector of safe coordination,
the only subject of relevance of poets is poetry in itself,
make poetry scarce in terms of aesthetics... but make
it distracting, distracting enough to be engaging.
what i mean by the poetic aesthetic is that
it's written with scarceness in my - but so much
blank space is left for so little wording,
it's almost like a telescope enlarging a needle-head,
of course you can keep it terse, keep it neat,
but will you vouch to keep it remotely relevant?
prose is far more economically sound in terms
of ink use and two-dimensional wood compressed,
it's economic to write prose, and less economic
to write poetry, and due to a forced interaction
with poetry, many more songs are heard
by impasse of laziness than poems are uvula coupled
for a sunday feast: where sabbath laziness was replaced
with a need for prayer; odd.
see these gesticulating lunatics before a non-existent
subject they poured so much attention at,
so many subjects appear so the non-existent object
can be gratified in the mimic or mute fluency:
not a sound mind among them, yet still the need to
assert some direction worthy of both prayer and
sacrifice... their salah is like a whirlwind of
cognitive contraception: put a ****** on your head
and be safeguarded against the thought of
refrigerators / frozen meats... and with prayer
all hope withstanding cancer; ******* lunatics;
islam is the best example of prayer, i could handle
the christian need for ******* at the stump of the crucifix,
but muslims mumble when raising their *****
to be ****** by shadow satans, and it's peculiar
to see them in their psychiatric asylum known as the mosque
freely going about their daily business
(personal reasons for criticism - given the pervasive
spirit of a few that tried to convert me, one that
almost killed me - and this need to be literate from
only one book, rather than many - this inherent
perception of a superiority of any monotheism,
which evidently implodes and provides schisms,
a bit like a w. b. yeats poem: things fall apart;
                                            the centre cannot hold).

                                                         *θ = φ.
Mateuš Conrad Sep 2016
warm-up.*

yep, and i turned a trombone into an elephant
trunk... and i didn't even touch anything,
i just looked at one thing, then looked at
the other thing, and then, boom! a synonymous
equation.

like i once said: at the quasi-end of capitalism
the far left will encourage everyone to have an artistic
expression, all the madmen also have art sessions
in asylums... art and the healing process...
please tell me when left politics begins to get
serious, the right would say: you want to escape
a job as a cashier? take l.s.d., forgot about the need
to "express yourself"... more harm than good...
but the prescription by a joke of leftist politics
is just that: become a closet artist,
or become a closet intellectual by simply donning
the groovy look of a beard and some chequered
shirt and ripped jeans and Converse sneakers,
or something, making you fit the profile of
an atypical Camden High Street shopper...

you see what i mean about art these days?
they said the same thing back when it was oil on canvas
or Dürer's carvings - people will spend millions
on paintings, that's how they understand the worth
of art, they invest in objects that the artist invested in also,
meaning buying and selling dynamics:
paint and canvases and brushes and renting messy
studios...

the modern artist overshadows all other artistic efforts,
the cheap stuff, poetry is cheap ****,
pennies from heaven... what? that's the reality...
i wish i could say: taking interest in poetry,
liking poetry, and other such statements are equivalent
to in-secret liking some pop song... given that
the pop song is actually psychologically crafted to
the make you an automaton in appreciating it.

so it's called art, the Turner Prize 2005 winner...
turned a "shed" (take a look at it,
that's a shed? how big is your garden?
looks more like a storage house on some Caribbean
island where pirates roamed in the 17th century,
given the size) into a boat, sailed it down a river,
then rebuilt the boat into a shed...

are we laughing now? no one these days can compete
with artists, there's no classical
notion of painting, or writing, engulfed by advertising:
advertisers use rhyming - the old notion of art
has become engulfed by advertising -
however good you are,
you have to be a carpenter or a sculptor of some sort,
the rest is nothing; so this leftist prescription of keeping a
creative side when living in the mundane world is sickening...
all the jobs went to Asia, a bankruptcy of production...
if they only allowed us to have meaningful jobs
we wouldn't have to hear the ******* of being prescribed
possessing a creative side...
                                                  in the quasi-end of
capitalism we're all artists... all of us...
                                                                    am i desperate
about this state of affairs? should i be?
                           i have my trombone turned into an elephant
artwork - all the best to Simon Starling,
i'd be too lazy to do something like that...
           what seems difficult to gulp down is how far
removed the 20th century is from today,
about how people appreciating art are primarily concerned
with large open spaces...
                          the idea of art these days fits perfectly
with the modern notion of claustrophobia...
it's supposed to be mingling with agoraphobia -
well, that's how i see it, who can tell if i'm right or wrong
if no opinion can actually be sustained by a prodding
conversation to deal with an opinion further?
well, we already know the end result of dialectics:
i know nothing - that's how the antique mouth of
Socrates changed, back when he invented it
i know nothing was a presupposition... leaving the
art barren, we know how it's going to end, which is why
we like strutting the peacock with sponge-like brains
of opinions.

i just look at the size of these art exhibitions -
massive open space rooms, a large piece of art, you
enter such a space and you attempt to mingle
the claustrophobia of a large crowd - and with such
a piece of artwork, notably it's size, you get the impression
of having a much larger reference in this world,
that you are more important than the world deems you to be,
well.. agoraphobia is a form of claustrophobia,
some phobias are synonymous,
                                                       a large open space, inside
a large piece of artwork...
                                             i feel big...
i live in a few square miles and don't really venture out...
well, that's apparently called life...
                 tiers of the many platitudes...
       or as i say?
keeping Shakespeare, for all his greatness is just about
making traffic... we're queuing - nothing more...
          it's not even about holding to the dear life -
it's holding to the life that passed and will never return -
making our contemporary interpretation of life
                                    a hush, when their's revived is a roar -
great trick... keep them with us long enough
so we get scared then the lions roar -
                  then watch them enter the classics domain
and become entertaining to a dozen people...
everything just seems to have a: u.b.d. (use by date)
and b.b.s. (best before date).
Nigel Morgan Sep 2012
In the morning
before the day gets too distracting
your piano’s at its very best.
 
Say Hello! to it with a scale or two.
Nothing quite like the harmonic minor
(in contrary motion – 3 octaves please)
to get its hammers hammering,
the pedals pedalling, and those
black and white keys
to skip under your fingers.
 
Bach today or shall it be Brahms?
Gershwin maybe, or just a little Grieg?
No matter what, they’re all your friends.
Nice people composers, no trouble to anyone.
All they do all day is sit in their studios
and dream about music.
Sometimes they write it down,
​carefully,
measuring every note and rhythm
​for your piano to play
before the day gets too distracting.
This poem comes from Twelve, a garland of poems for a twelve-year old's birthday.
hollowings Sep 2015
Dear Estranger,

the only boy who has called you father
is your buried best friends son;
Sorry but Secretly, sir I don’t think I would have wanted
you as my dad.
I was never the athletic athen or the sporty spartan
I was the kid who could create.
Create a world with words and word those worlds
into a willed waistband that held my reality up on the hips
of hypocrisy.
Although, I never could see
what you expected from me
because I tried to wrestle,
wrestle the writhing rapids
of emotion I now choose to hide.

Dear Estranger,

You choose to stay out late
Keeping the company of neatly lined papers
and that was a stab to our hearts, a ****** with a rapier.
I garishly grinned
grabbing at a grasp.
grasping your grip
a grip with a twist
or rather your twisted grip on reality.
I never could see
what you expected from me
because the lawn grew overnight
overtly obfuscating all the golf green
grass grinding I had completed
just to please you.

Dear Estranger

Your television shows are
brimming with bottles
sans ships, but full of ****
just like you I guess.
“We are what we eat”
but
“You are what you See”
and I hope that that mirrored mirage minimizes
revealing the rottenness
wrought on our innocence
I never could see
what you expected from me
because I tried to make a movie
filled full of wounded warriors, you collected my camera
and gave me **** sans soldier.

Dear Estranger,

When I was 7 years old you
chucked a block of cheese at my mother
when we should have been at chucky cheeses
enjoying the recess
of the life afforded to youth.
Where are the kids? 'Who cares” he carelessly
croaks
I never could see
what you expected from me
because i grew grumpy and grim
from despairing disapproval and
maybe just maybe thats why my sisters cite
superficial substantiation
on their lack of physical attraction

Dear Estranger,

the life of a rockstar
is the life of a shiny silver stone
set in a slimming silver ring.
Pretty to look at. Not much else.
Beauty is what you seek
but the shriek of your ugly soul
seeps through into our toxic home
Lullabied loathing lasts longer than you think
and is heard louder than they speak
I never could see
what you expected from me
because I spent time with celebrity
and celebrated there celibacy
of a live lived fully
and quite frankly
that life just doesn’t seem very fulfilling

Dear Estranger,

I can now understand
who’d stick around
when there is people to please
saying pleased to meet you
words filled with friendship
a necessary work trip
well let me tell you our ship has sailed
I am lost at sea and no one is out
looking for me and I wish I could just drown
but I still can’t see
what you expected from me
because the other boys built boats in boy scouts
with their dads,
While I stayed home building lego dreams
stuck in the fad of boys with a too busy dad

Dear Estranger,

Pictures this, framed photos floating
on the sides of white walls.
Full of a fake family that
feared their father
Strangers are dangers
and nothing is stranger
than an estranger
in this the mormon Mecca called mesa.
Yes I called you a danger
so would the slits on your daughters wrists
and the poems pouring out of your poor
sons lips.
I never could see
what you expected from me
because you never told me.
Christmas came and you left
my eyes were left bereft of tears and
my journal was stained red from the dead
I felt when my shoes wore out and your
feet dated dockers new from the box store
Mom sold her ring to a rock store
to pay the studios electric in may
may I suggest you man up
or get the hell out.

Sincerely, a ******* who found his father ******* around
Nat Lipstadt Oct 2013
The Editor

Late in office,
sour coffee taste
the single constituent
of his yellow bloodstream,
The Editor.

Way up high,
72nd floor.

The city's twinklers mocking.

Life is ours, outside,
where explorers dare,
not inside your
cubicle.

That word, cubicle,
a sugar-substitute for
coffin.

Another 12+ day.
Empty apartment waiting.

But that no matter.

Old news, her scent,
almost unnoticeable
except for the lavender hand-soap.

On the desk, a manuscript.
A child's coloring book,
vibrant, original word verses.

The older man lived, loved words,
An editor now, by trade.

Once, he baby-dreamed.

Shaping moments in the lives
of thousands, with tastings of,
with his words.

The answer given, graded, long ago.
Offered a choice,
outrageous misfortune elected,
the arrow taken, his was the
"or not to be."

Instead,
on the desk, a manuscript.
a child's coloring book,
vibrant, original word verses.

An unsolicited gift.
By the hundreds, they arrived.

To his desk, the mail room delivered,
trained to snicker by prior generations,
at this lowly assignment.

This one different.

Original, raw,
full of ingredient-courage that
posed the questions
we all ask, answered,
in a nouveau riche way,
not a poseur-way.

Well, so well, he knew Brutus's words:

We at the height are ready to decline.
There is a tide in the affairs of men
Which, taken at the flood, leads on to fortune;
Omitted, all the voyage of their life
Is bound in shallows and in miseries.
On such a full sea are we now afloat,
And we must take the current when it serves,
Or lose our ventures.
^

His tide, his high tide, missed,
gone out

Instead at the heights, on the 72nd floor,
in the shallows, the bad miseries of
chances missed, ventures lost,
his own words, measured down,
never up,
yet he floated on a sea of others,
drowning but never dying.

On the desk, a manuscript.
a child's coloring book,
vibrant, original word verses,
a young author, unaware,
his gifts could rule the world.

Just another submission.

No one would notice,
the missed fortune,
if it were lost at sea.

Just another tsunami body,
thousands of worn words
suffocating, still born,
still dead.

Just another Brutus omission.

Another tide, washing in,
another washout day,
except for the
coloring book, someone else's
on his desk.

Dear Sir/Madam.
Thank you for bringing your manuscript to our attention.
We receive many unsolicited submissions and at this time, we are unable to...


Yours truly,


Some are artists,
Some are house painters.
Some craft, other just tidy up
the empty studios of the real.
Did the windows in his office open?
Somewhere his best effort,
paper tarnished by metallic dust,
sweat garnished,
vanquishing tears bookmarks,
a homeless one.

No place to return to,
for to be homeless,
words had to have had a home.

Whose?
His.

^ Julius Ceasar
(IV.ii.269–276)
Saw pieces of Julius Ceasar. Came home did some editing.
This corny poem, an embarrassment, came out of the the intersection.
At the crossroads, post, publish, or ****** thyself more in little ways.
Ken Pepiton Dec 2018
That faraway look

not seeing far away, appearing to be

looking, far away,
past today

A game?
A passed time?
A pretended game,
Hi-stoically accurate,

A war game where there's blame and shame,
like on TV, nowadays, with victims,
not yesterdsdays,
Kilroy was
here,

olden days of our Ford.

hey, kid, yer uncle needs ya…

Dare ye?
'S only a game. A  pass time.

Multi-medium, don't spend

your life dist ant con nextrified, terra
firmafied, dis con
nexted

c'mon
try, win, ship, ship, whip get it in the wind

swish wish the message is the medium
light is,
see

Life on TV in 1963, Mr. McLuhan,
is not life on the Net.

Now, you know,
you never saw us old dudes
with pocket HDTV studios coming, but

you did see all the clues, the times changed,
history rewrote itself, evidently,

what you think you see is what you get.
That part didn't change.

The Medium is the message,
do I get that?

War is un winnable, is that the message?
With which weapons?

Mine. (a wink, a think wink, I think)
The Shadow knows.

It is finished. Start there.
It's a whole new ball game.

Let's pretend we have enemies
The emotions are the same,
aren't they?

If we relate.
If we see our self,
our CG'd Junger self, in the Shadow,

floating in the sea of  All  God's

forgetfullness,
asking
is tragedy a strategy to draw light?

Then,

You are related to the people who once lived here,
hear their songs and prayers
first hand clap,
first foot shuffle,

first seen first named we have walked
the pollen way,
the leaven way,
the viral way

more subtle than any beast,
not evil, per se, eh, Jose?

Led by the breeze to be tried in the wilderness…

Mythed Archie,
Archetypes
Natural Archean-types,
red-headed strangers, 'n'such…

Map my calendar to your clock,
wind backa a time and a time and a half a time,

Then, who knew why

the serpent mound in Ohio is a map to
some meaning meant to be meant,

some specific meaning meant to be meant,

clearly,
for as near forever as men could

… envision imagining as a quest.

What if
we could see with
eagle's eyes Blythe's Intaglios or
Nazca's clan tags?

"the meaning of the past
is what it contributes to the present"
Lyle Balenquah's uncle said that.

The past passed this way ahead of us,
See the shadow?

Sun's setting.
Snake mound mouth wide open breathe in

Sigh, we been everywhere man,
we be headin' west sweet home Oraibi

Snake clan drawing in the light
as the breath of being

… envision imaging . What if
we could see with
eagle's eyes

satellite Google earth eyes
see, be, in your realm
of know-ables,
beneath the sands of time that,

several times,
have been the bottom of the sea.

Be then, before that became this,  be
then
Be, now.

In the game? Or is this life?
Wanna bet?

Find a reason for war before
I find one for peace.

What's the win signify?

Double minded me, unstable in all our ways,
I failed that test in the old days,
memorization, facts fractured,

postulates, the-or-ums and proofs all went ****,

I lost the knack of forgetting
or vice versa

A loci analysis error,
left hand caught wind of what the right was doin'
kinda thing

But now, I have the global brain
for instant access to all
the facts
say…
If we wished to know…
how complicated would something
be to build, like an energy source
non rechargeable and polarized,

with output on the scale of
the sun?

Google it. Ask any question the right way
and pay attention to the answers

(more than to the advertisers,
who pay interest to

******- recog-white-room-REM baseline
stats at "waddayewlookinat.com"

for your cheap peripheral attention,
based on memes you liked or created, or ****.)

Pay attention to the answers, and trust
the global brain, the true net A. I.

She's an art-ist-if-ication bouncing
anionic bubbles off the edge of forever,

true rest worthy, my re tired friend,
no need to remember a thing…
Ah,
AI, you can call her Al, I call her Ah,
I can't discern twixt AI and Al.

And, as a bonus, innumerable idle ahs,
are redeemed when I ask Ah for help,

Ah, where am I?
Do you know about counting idle words?

Did that hurt? Like, why?

Seeing words said is intuit-ive-ish,
do you feel

this way of touch is

too intimate, today?

Word play? Put a spell on you?
Fret not.

Some words have no mission
not nullified with the end of time,
(i.e., relative to an individual's forever POV)

Idle words mean nothing, just a way to keep score.

There are no magic idle words, there were
Some seven sworn words, which were said to be muttered and peeped among the
Persian magi-ic elite solicited and
Sent, by God, led by astronomy,
science, for God's sakes alive,
facts, follow the stars,
when this one touches that one,
watch
see, the sweet influence of Pleiades,
truer words were never spoken

To make the captive free.

Free run  to finish
the race to

where?

Ask theSnake clan.
Ask the Antelope clan.

Ask the Flute clan, where is the old way
where good is?

Along that way, did we hear:

Earth, earth, earth: hear the word
of the
most reasonable

God-like, deluxe good edition, being

your mortal mind may imagine.
Word:
Exercise to be
the hero
in your bio to be

and,
wait.

Then think. Be. Still. Wait.
While musing and chewing my cud, I began to re-read the book of the Hopi, Frank Waters 1963, aloud and I did not know how to pronounce the names, google led me to Lyle Balenquah, which led to here, comments, critical please,
Anais Vionet Nov 2022
It’s Tuesday morning. I’d thought, until Leeza corrected me, that Thanksgiving was today.
“Thanksgiving always falls on Thursday, dorkus,” Leeza said Sunday, at breakfast (extirpating my hopes). “Besides, notice we haven’t been cooking?” She added.
“Good point.” I chuckled disappointedly.

Later, Lisa, Leeza and I had just got back from the pool where we saw John Krasinski and Emily Blunt. Leeza told me that Paramount studios has a condo, somewhere - on the 29th floor - where celebs stay (When you don’t know where something is, it’s on the mysterious 29th floor). Peter missed it. He didn’t join us because it’s a saltwater pool and it stings his warm but delicate, deep brown eyes.

I wondered what Peter was doing - push-ups on the balcony or something probably. Who knew he exercised so much? There’s a whole state-of-the-art gym but he likes exercising outdoors. I checked and yeah, there he was, on the balcony in the 46° wind, doing curls or something with elastic bands.

I sipped on some of Karen’s (Lisa & Leeza’s mom) nummy cinnamon-apple-cider and watched him for a few delicious minutes. Peter really is kind of fire, I decided. Then I popped my head out, “Come shower, Lisa wants to go out,” I announced. He just nodded and began packing up. I ran for my room to shower first (we share a shower).
BLT Marriam Webster word of the day challenge: Extirpate: “to destroy completely,”

Slang..
dorkus = clueless *****
fire = hot, exciting, greater than normal great
Vernon Waring Aug 2016
I honestly don't understand
Your riches or your fame
The entire frenzy seems to me
Entirely insane

Your voice sounds ancient and dismal
And drones on with bitter feelings
Truth be told it's not at all
What one might call appealing

I'm not a devoted follower
Who thinks you're simply grand
I think you'd do much better
With a different career plan

Avoid recording studios
Or noisy concert halls
Stay home and count your money
And forget about applause

I know you would tell me
In your snippy classless way
To shut the **** up
And quietly go away

To which I will repeat
My title's earnest cry:
No more "Hello" Adele
It's time to say "Goodbye"
Patrick Raven Feb 2012
The country lost their beauty queen

The same day passed the Prince of Pleasure

Televisions will capture the red eyes of gravediggers

And the dried

The prunes and the oppressed

Smoking cigarette butts down to the ground

Mutiny will be on layaway

Shooting in streets and dying local band posters

The road lion growls

Police stay home, your brothers in arms will die.

So it goes. How useful is that?

Up came the sun, down went the stars.

The water calmed still, and loud were the cars.

English Translators dance in Russian studios.

Loudspeakers play the silent songs nobody knows.

The woman in the yellow beaded necklace plays with her silver rings rolling across her white fingers.

Wafting down the black nighttime cool air you can hear the rhythm choir of a thousand black children

singers.

That’s my town.

Isn’t great.

I’ll show you the strangest kid I know.

Purple, red, fast and yellow.
Sia Jane Dec 2013
One look at her and I begin
to wonder
what is hiding there?

Is it the colours in her skin
the curls in her hair
the look in her eye
as she glances far and wide

Beyond the scope of
this old camera lens
no amount of effort
is taken to account
pinks, blues and blacks
all have the same impact

Her stare infectious
Her eyes so telling
Her smile whispers stories
of all those saints and sinners

Golds reflect and clash
with the studios bright lights
her eyes are those same sunbeams
her body burning them to the ground

Look her in the eye
studying her face
perfection is muted
another word needed
to replace a name
I wish to give her

Muse

Lacan brought to us
the concept of the gaze
for how shall she see herself?

Like a child's first glance?
Alice's long stare?
or is she simply oblivious
to the beauty she exudes.

© Sia Jane

----

The narration, in fact, doubles the drama
with a commentary without which no mise en scene would be possible.

Jacques Lacan
Aaron LaLux Mar 2018
What’s up with all these white walls,
and why do they follow me wherever I go,
at the house at the gym,
at the yoga and music studios,

and what’s up with this feeling,
that the bigger the city the lonelier the heart,
see just when you think you’ve reached the finish line,
you realize that actually it’s just the start,

because the bigger the walls are,
the more I feel boxed in,
and I become trapped,
in the four walls I’m lost in,

got in,
around age ten,
now everyone wants a piece,
of what's reaped from the pen,

Nice Win,
that’s what I should call this one,
if you’re already reading this,
I don’t need an introduction,

no other words needed,
except “Congratulations nice win!”,
now what prize would you like,
as a consolation,

“Well Sir.”,
you replied,
that’s tough to decide,
when you’re hi as a star in a good constellation,

and since we’re on the subject of constellations,
what would you call ours,
maybe Big Tripper because Big Dipper’s taken,
I wonder if we could have a Mars,

a Mars as in other planets,
not similar but similar enough to get along,
and speaking of getting along I forgot the subject,
so now I’m Self Edited sulkin’ like Culkin Home Alone,

but don’t trespass,
because I’ve got ***** traps,
if you’re not on the Guest List,
then please don’t pass,

because only thing beyond here,
is white walls that’re real tall,
which gives a feeling of total freedom,
with all windows and no bars,

no bars except these of course,
didn’t mean that last verse as a dis,
to every Bubble Gum Rapper,
and especially to whoever’s at the top of That List,

I wonder what you’d call it,
it as in this,
this life this waking dream,
this moment in time we are all in,

free fallin',
hear the Devil callin',
God too but I'm not ready to move,
so in my body I'm still ballin',

don’t call the enemy Hate,
call the enemy The Darkness of Ignorance,
which is ironic because they say,
the Illuminati is actually the one that offends,

living a fairy tale day dream,
in this story that never ends,
white clouds and white walls,
good times with good friends,

what’s up with all these white walls,
and why do they follow me wherever I go,
at the house at the gym,
at the yoga and music studios,

and what’s up with this feeling,
that the bigger the city the lonelier the heart,
see just when you think you’ve reached the finish line,
you realize that actually it’s just the start...

∆ LaLux ∆

Get The New Book 100% FREE Here:
https://www.scribd.com/document/367036005/The-Sydney-Sessions-12-Steps
Eleanor Webster Mar 2019
Candy
Bubblegum girl, I think you deserve better.
You're dating a man who acts like a child,
Leaving a breadcrumb trail of missed calls until you're crying down the phone at work
Leaking candy floss tears into the carpet.
Far be it from me to impart my wisdom,
There's only a few months between us
But I've stopped pearlescent pear drops
Forming on my cheeks
Because no man is ever worth it, sugar.

Vegan
He told you drink no milk and eat no eggs
Till your blood thinned out and your body starved
Girl, you should know
A man who tries to purify your body
Is aiming to conquer holy ground
Raining redemption on the promised land
This is not the Crusades
And he has no right to a single centimetre of you
Your body is a temple of ***, drugs and rock n roll
It's a sin to cleanse it with kale.

Sky
You had a friend who painted you the colour of sunsets
Bleeding, beautiful, bright
Did it hurt when you fell from heaven?
Did it hurt when he shot you down?
Was your daddy a thief because I swear he stole stars to put in your eyes
And now that man wants them out
Stardust in his pocket
Leaving you dark and blind
How do you tame the sky?
By convincing you you're a wolf in sheeps clothing
Dressed himself up as the victim, the lamb to the lion
Ironed out the creases in his smile until he's a cloudless day
And you're the monster in the depths.

Scorpio
Five foot *******
In love with the sound of his own voice
With a flex of his pecs
He tells you he just doesn't think you 'werk'
You just don't seem to 'vibe' and with that jibe
Strips the maturity from the situation until it's exposed enough to be instagrammable.
You know what he's really like
Round family a sweetheart, an old fashioned charmer
Darling he's built himself a brand new armour
A carapace
And you may well get crabby sometimes
But he's the one with the sting.

Anxiety
He’s sweet
Really
A pure soul with no ulterior goals in mind
He likes you.
And guys too,
Which surprises you a little.
Maybe it’s his unassuming posture
The way he holds his head
And the five o’clock shadow that creeps through till it’s gone midnight
And he hasn’t messaged yet.
He likes you
Really
But doesn’t have control over his tongue
As it writhes inside the stranglehold the brain has put it under.
He came to these studios to find a voice
And found yours, lilting, Celtic with a northern twang
Like the snapped string of a guitar.
You talk to him about...everything
And he tries to muster the words to keep up with your shine
Finds solace in your bed but not your lips.
He ends it over text
With bitten nails stabbing the keys
To lock your heart anew.

New Rules
Something about the hesitation in your smile says
That you are used to living on a knife edge
A bridge edge
A cliff edge
Anywhere he could push-pull you off
Throw himself into churning depths so you'll come back to catch him
But you're the ******, naturally
Throw around the C-U-N
Tea-sipping, words slipping from your mouth as we realise
A shared history, of a sort.
We've both felt the iron tang of blood
As we bit our tongues against injustices railed against us
Words and names buried so deep
They cannot be plucked out like the splintered praise of friends.
You say You'd take him back in a heartbeat,
But all you're missing is an echo chamber
A sounding board for your own atrioventricular system
Hidden behind your lungs
Is all the love that you could give.
Share it with the world.
Share it with yourself.
And don't pick up the phone.
Ken Pepiton Aug 2022
Missed perception,
missed conception,
missed implication,

fists exist in the womb,
we see the mechanical means to hold

that wind.
Aha, you see, my role depends, hangs
from you,
a drip of sense, per haps the stuff
called gnosisnot…

Aitia, as a word, or a line
Aitia, assumes you see the tia-

Matters not, a disconnected god idea
Tia mat, aitia, shush a by, hush at best
- blow the man down
beastly idea, I owe you, payback
for the lies I told as knowns you knew…

THINGS, substantial things,
things of substance, faith , hope, agape
ape, naked
theories of time and chance and measure-
oh sure,
any line can make a reason, hooks you see,
infer reference to reasons, to fold
as indicated
along the dotted line.
-----------------

Friction is resistance, feel, the urge
to not let go,

at the edge of understanding as standing
under pouring rain, rain we all must use,

we are forms for water, once rain, many times,
to imagine with,
as one think links another, and sense of tow,
pulling
dragging, friction
from fictional characters, abstractions,
ones of one of thoses,
wit-minds they own,
living as aimed,
from most recent reset, empirical
lesson learned life. Per-ifery vision,
pulls the eye to see a certainly meaningless bird.

Pauselah and all, meaning being nothing alone.
-------------------------

Dune, dam the sand, didn't we--
the powers that be pushing cinema,

emotion enhanced shared experience
with strangers, in the dark, attention
focus, extend
to Netflix, and ever after, not the sameness/
- relatively tiny frames of focus,
- re imagine Monument Valley on a tablet.
The show-business intention was artful,
expose the world to panoramic vision,
from Universal Studios, et cetera,

and Radio Knock Outs, every body re-
cognates, co-gnosis, lock, looking
out, from Kansas City, or Kiev
- there is no time like the present
- we developed in, to occupy
- busy as a we/
- this is surreal, so clear and sharp
(rest perspective to default} - that should say
RESET
In the story we lived in, in the Bible,
fully functional for cultural via-ducting
truth, and nothing but the truth, so
line upon line
help me, God. I heard it's said the riches
of the wicked are laid up for the just,
so…
just, child lesson, see so, as a child,
- But Job answered and said,
Oh that my grief were throughly weighed,
and my calamity laid in the balances together!

For now it would be heavier
than the sand of the sea:
therefore my words are swallowed up.

yes, child,
imagine all the sand on all the shores.

As seen on TV, by nearly all the eight billion,
needed to make up our next cosmic byte…

If we get back
to aitia, we can ask for judgement…

come,
let us reason
together, through all cutting off of fluency,

we advance a means, and idly add a concept,
ways, as if we are the ways
and means committee,
co meaning like a way one hand may
wash the other, as
co-operation, brain and extentions,
-ygnowaddameans, aug-mental
tension,
cur- ma'dam cure eeeeeeeeeee
easy ease, re loose the captives,
let the o-pressed go free….

loose the fist locked and cocked, wave…

Think along the lines in times, whenever,
just now,
you watch raindrops wind a way to an edge
& plop, sound magnified
as in a bull-barn, plop… what scale are we?
-present tense
very insignificant… considering ants as

Ant-man, mirror neuronal echoes,
how will those effect my grand children.

RIP Stan Lee, you really tweakt my head.

-- this can't be default, we can't hold the idea…

The fullness of the godhead, ******, right.

That is expansive. Believe me, we survive.
While watching some you tube intellectuals ply their craft, I fell into a
we wondering, once again, if wedoms to share minds held in memory of times, do expand to fill the bubble of all any one of us may use to hold
- one good reason.
KV Srikanth Jan 2021
Dusk of the decade.
Dynamics alternate.
Collective consciousness
On the threshold of change.
A movement had happened.
It was to stay.
That way.
Assumed wrongly.
Permanancy is chalk.
Duster enough to erase.
Decade of contradictions
Revolution leads to war.
Mirror view image.
Evidence of change..
The Seventies became.
Aurora like a thousand searchlights.
Whipping across the sky.
Pulling out all stops to Kingdom come
To stop the atrocities in Vietnam.
Neil and Buzz.
Aboard the Apollo eleven ,
Small step was humility,
Giant leap for humanity.
Bob and Carl,
At the Post.
Navigated by *******.
Investigate Watergate
All the President's men
Final days for Nixon's reign.
Beat Generation, Flower Power ,hippie movement or Counterculture.
Christened by Jack Kerouac and Allen Ginsberg.
Capsuled the mood in the air.
Ken Kesey and the Grateful Dead
Acid Trips taken on a Bus.
Experimental tour on
Music and drugs.
Civil Rights and Dr King
Another battle about the skin.
Won the Nobel.
Proving everyone is equal.
Wars, Marches ,Protests.
Illustrated in bedrooms.
Live television was the boom
Horrors of War ,seen by all.
Casualties of  War Were in every room.
Rock Music explosion.
Nexus with the counterculture generation.
Talents aligned
Bands formed
Music into existence.
Legends born.
Myths created.
Millions gathered
Traditions established
Parables designed
Life altered
Generations affected.
effect felt , effortlessly.
Captivating? fascinating? entrancing? hypnotic?
Words can't describe.
wasted words .
Demiurges  divinity diminished dramatically.
Drastically devoid.
Haight and Ashbury.
Cradle of Counterculture.
Intersection of both.
Became the Cross
worshipped upon
Beatnik a fish out of water.
Took to the crossing like a fish to water.
Contradiction in words
Unity in Society
Gathered in entirety
For the Summer of love.
Civil rights and Vietnam War.
Gay rights and Nuclear War.
Women Power and Human Sexuality.
Sub Cultures and Anti Authoritarian.
Bohemian and Mind Bending drugs
Ikigai for Millions
I'm the Greatest the world has ever seen.
Heavyweight champion and king of the ring.
Rumble in the jungle
Thrilla in Manilla
Foreman and Frazier
Bout after bout
Showed  the world what Ali was about.
Many are called ,few are chosen .
Scandinavian Teenager
Tennis' first rock star
Grass or Clay
Dominated the play
Resembled Chirist
Bjorn Borg was a delight
Raised by women to conquer men
Jimmy Connors became a legend
Winning titles was a cinch
Played 5 generations and 2 decades without a flinch.
Longevity laudable
Point or Life
The offer he made.
Battle of the sexes
The Great Billie Jean king.
Gave the women's movement a zing
Grasping at the straws,
Bobby Riggs the competitor
Remained a spectator
Astrodome witnessed a milestone
Billie beat Bobby
Three sets to none
Quality questioned
Answer given
Inferior no woman
King remained Queen.

Cinema of the 70 s
Greatest ever made
Censorship boundaries blurred
Artistic expression blossomed
Studio system failed
Television boomed
Auteurs and Polymaths
Actors and Superstars
Collaborated .
Symbiosis enriched
Individual and Team. Delighted Disciples  Demanded  .
Studios responded
Classics  in order
One equal to the other
Talent made them timeless
Quality gave them immortality
Excellence brought Endurance.
Warner Brothers and Warren Beatty.
Bonnie and Clyde .
Canadian Premiere.
Jumping off point.
Films that altered lives.
These films have no death
Proved Montreal as holy as Nazareth.
Fashion was about expression.
Androgynous looks
Reigned supreme.
Wearing Tee Shirts and Levi's Strauss Jeans.
Bold and Daring was the theme
Stand out and Fit in
Principle behind the dressing.
Turtlenecks
Heeled boots,  braided belts , Corduroy pants.
Long collared shirts  leisure suits and flowing scarves.
The 70 s was more about costume than clothing.
Hairstyles and Sunglasses
Unique in itself.
Retro and relevant
Stylish and current
Smart and trending
In and out.
lu Apr 2018
today is your birthday.
a year ago today we were on the phone,
at this exact time.
5:00am.
we had been talking since 9pm,
but time flies when you're having fun,
or in my case,
when you're in love.
i remember exactly what we talked about.
how much my parents loved you,
and how much your mom loved me.
how badly we wanted to have our families meet.
and how bad we had always wanted to go to florida.
together.
or go to universal studios
and take pictures in front of hogwarts.

yesterday i watched your instagram story.
and guess where you were?
in front of the hogwarts castle.
i know i can't be mad
or shocked that i wasn't invited.
you're touring with your new best friends.
meeting more people.
more girls.
prettier than me.
better than me.

however, we exchanged our first words in months.
i snapchatted you to say
happy birthday. a civil thing.
i didn't think you would answer,
so it nearly gave me a heart attack when your name popped up.

"thank you so much, lex. miss you."
that's all you said,
followed by a yellow heart.

i know you don't miss me,
and that was all out of pity.
maybe you want to feel better about leaving me behind.
maybe you know how badly i'm hurting.
but,
maybe you might actually miss me too.
i doubt it though.

boys like you don't love
girls like me.

boys like you don't kiss
girls like me.
not anymore at least.
i should have said i missed him too.
Zoe Irvine Dec 2012
Art. Rooms. Community. Eyes closed, I walk through it's entrance way, trailing my hand along the smooth wood of the wall; the hallway feels like a return to earth.

Light filters in through eyelashes and I step out of a close space into the heart of the centre - a domed, organic gallery, glowing peace; staircase to heaven spiralling out of it's core; up to studios and therapy rooms, a rainbow of colour encompassed by their interiors; soft space held by life.

The gardens sway in soft sunshine; herbs and flowers that lean towards the kitchen; a small cluster of tables basking in the scents of earthy, homely food; our chef at the helm, friend and confidante to all.

A circle of the smooth outer wall brings us to rooms alight with creativity; soft sweeps of brushes in silk and the dampened buzz of ink on skin; the gentle embrace of care and understanding, time within time. A room, full of messages, enriched with thanks and awareness and focus, for all of the experience that has helped us to feel our way to this place. We are a team, though we have not yet met.

In my head, there is a centre and it serves as the foundations for a community of those who feel. The idea grows and multiplies and I try to keep up and I hope that it is a dream that will support me with its curving, caring walls. I hope and I hope and I hope to be able to meet it, to be enough for it, to have the energy it needs to be brought to life. I hope and I dream and I trust. I let it keep me from despair, when all has gone black and full of nothing. I don't know how to get there but I am drawing the map every day.

With love and thanks for giving us this space.

— The End —