On October 2nd a local high-school teacher invited me to her classroom to speak to her students about writing and poetry. More specifically, the lesson of the day was one in which the exploration of a subculture took place. Subsequently, the questions that were posed to the students in the beginning were: “What does a poet look like?”  What would a poet sound like, conversationally?” “What kind of clothes would they wear?” “What do you think makes someone want to be a poet?”   As we got set to go forward with what became an easy and enjoyable group conversation, it all seemed a bit esoteric to me and I began to wonder if I was indeed the right person for this particular gig.

I started to wonder if I was a poet, if I am a poet.  What does a poet dress like? How did I come to be a poet? I know my backstory, as it relates to the when and why I write what I write and way that I write it.
But, in the end, we talked about the subculture of poets and poetry, the need for more human interaction, the thrill of the live poetry reading and the fact that this particular subculture that I am a part of also tends to be sought out by those from other subcultures. I explained what The Thunderbird Sessions are and what they continue to mean to me. I explained that we have a regular attendee whom is very obviously wracked with anxiety, but that he comes to life under the lights and through the PA-system at Unplugged during a Thunderbird Sessions event.  Additionally, I explained that we have, often, subcultures within subcultures represented at a Thunderbird Sessions reading.

It seems that the fringes, the weirdos, the people who don’t quite fit in anyplace else, fit into the robes of the poet or the writer, because people that write have an escape hatch, they have a valve that releases the pressures that they feel every day and in almost every way.

I have done my best to make sure that my subculture is as accepting of any other subculture that might step through the doors of anywhere that I might be reading, writing, or otherwise existing. Because, really, the only culture that matters is the culture of kindness.  

Before that roomful of high-school kids was done with me, I told them that despite the fact that I didn’t know them, I loved them unconditionally. I told them this, because no one told it to me outside of my own childhood home and family. I felt like I didn’t fit on the planet. So, I found music and books that made for good companions when I needed them. Records and books are often quite a bit more reliable and dependable than people. People will let you down at every turn.  It’s a pretty rough room out there right now, so I’m trying to be one of those people whom you know will absolutely not let you down. I hope I’m doing okay.

A few days later, I got a thank-you card in the mail. It seems that I failed to communicate thoroughly enough on the subject of subcultures. No one wrote: “Hooray! Now I know a real poet!” “Now I understand how a poet should dress!”  “Now I know how to talk like a poet!”   Instead, the teacher wrote something like this: “Those kids remembered how you told them that you loved them unconditionally despite the fact that they were strangers to you. That really meant a lot to them.”

I want to do more of this sort of thing. It’s the only way I feel like I’m doing the very most good that I am able to do.
*
-JBClaywell
© P&ZPublications

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


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

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

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

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

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

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

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

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

In response to a sardonic essay written in the recent Saturday Nation by Proffessor Ekara Kabaji, wryly  disregarding the position of Kwani in the global literary movement within and without Kenya , I beg to be permitted a leeway  to observe that any literature, orature, music,drama,cyborature,prisnorature,wallorature,streetorature , sculptor  or painting can effortlessly thrive and off course it has been thriving without professors of  literature, but the reverse is not possible as a proffessor of literature cannot be when literature is not there. Facts in support of this position are bare and readily available in the history of world literature, why they may not be seen is perhaps the blurring effects from tor like protuberant irrelevance of professors of literature in a given literary civilization.
A starting point is that literature exists as a people’s subculture, it can be written or not written like the case of orature which survive as an educative and aesthetic value stored in the collective memory of the given people. The people to be pillars of this collectivity of the memory are not differentiated by academic ranking for superlativity of any reason, but they are simply a people of that place, that community, that time, that heritage, that era and that collective experience. Writing it down is an option, but novels and other written matter is not a sine qua non for existence of literature in such situations. This is not a bolekaja of literature as Proffessor Ekara Kabaji would readily put, but it is a stretch towards realism that it is only people’s condition that creates literature. Poverty, slavery, colonialism, ***, marriage, circumcision, migration, or any other conditions experienced as collective experience of the people is stored or even stowed away in the collective memory of the people as their literature. Literature does not come from idealistic imagination of an educated person.
Historical experience of written literature informs us that the good novels, prose, drama and poetry were written before human society had people known as professors of literature. I want you my dear reader and You-Tube audience to reflect on the Cantos of Dante Alighieri in Italy, novels of Geoffrey Chaucer in England, Herman Melville and his Moby **** in Americas, poetry of Omar khwarisim in Persia, Homeric epics of Odyssey in Greece and the Makonde sculptures of Africa and finally link your reflections to Romesh Tulsi who grafted the Indian epic poetry of Ramayana and Mahabharata. At least you must realize that in those days literature was good, full of charm, very aesthetic and superbly entertaining. This leads to a re-justification that, weapon of theory is not useful in literature. University taught theories of literature have helped not in the growth of literature as compared to the role played by folk culture.
Keen observation will lead you dear reader, down to revelations that; professors of literature squarely depend on the thespic work of the people who are not substantially educated to make a living. Let me share with you the story about Dr. Tom Odhiambo who went to University of Witwasterand in South Africa for post graduate studies in literature only to do his Doctoral research on books of David G Maillu. Maillu is a Kenyan writer, he did not finish his second year of secondary school education but he has been successfully writing poetry and prose for the past three decades. His successful romantic work is After 4.30, probably sarcasm against Kenyan office capitalism, while his eclectic, philosophical and scholarly work is the Broken Drum. Maillu has many other works on his name. But the point is that Dr. Odhiambo now teaches at University of Nairobi in the capacity of senior lecturer in Literature. What makes him to put food on the table is the effort of un-educated person in the name of David Maillu. Dr.Odhiambo himself has not written any book we can mention him for, apart from regular literary journalism he is often involved in on the platforms of the Literary discourse in the Kenyan Saturday Nation which are in turn regular Harangues and ripostes among literature teachers at the University of Nairobi, the likes of Dr Siundu, Proffessor wanjala Chris and Evans Mwangi just but to mention by not being oblivious to professors; Indangasi and Shitanda.
No study has yet been done to establish the role of university professors on growth of African literature. One is overdue. Results may be positive role on negative role, myself I contemplate negative role. Especially when I reflect on how the African literati reacted on the publication of Amos Tutuola’s book The Palm Wine Drinkard. The reactions were more disparaging than appreciative. Taban Lo Liyong reacted to this book by calling Amos Tutuola the son of Zinjathropus as well as taking a self styled intellectual responsibility in form of writing a more  schooled version of this book; Taking Wisdom up the Palm Tree. Nigerians of Igbo (Tutuola being a Yoruba) nation cowed from being associated with the book as it had shamefully broken English, broken grammar etc. Wole Soyinka had a blemished stand, but it is only Achebe who came out forthrightly to appreciate the book in its efforts to Africanize English for the purpose of African literature. Courtesy of Igbo wisdom. But in a nutshell, what had happened is that Amos Tutuola had taken a plunge to contribute towards written literature in Africa.
One more contemplated result from the research about professors and African literature can be that apart from their role of criticism, professors write very boring books. A ready point of reference is deliberate and reasonless obscurantism taken Wole Soyinka in all of his books, Soyinka’s books are difficult to understand, sombre, without humour and not capable to entertain an average reader. In fact Wole Soyinka has been writing for himself but not for the people. No common man can quote Soyinka the way Achebe’s Things Fall Apart is quoted. Achebe wrote Things Fall Apart when he had not began his graduate studies. However, he did not escape the obvious mistake of professors to become obscure in the Anthills of the Savanna, the book he wrote when he had become a proffessor. This is on a sharp contrast to entertaining effectiveness, simplicity and thematic diversity of Captain Elechi Amadi, Amadi who studied chemistry but not literature. He does not have a second degree, but his books from the Concubine, The great Ponds, and Sunset in the Biafra and Isibiru are as spellbinding as their counterparts in Russia.
Kenyan scenario has Ngugi wa Thiongio, he displayed eminence in his first two books; Weep not Child and The River Between. These ones he wrote when he was not yet educated, as he was still an undergraduate student at Makerere University. But later on Ngugi became a victim of prosaic socialism, an ideology that warped his literary imagination only to put him in a paradoxical situation as an African communist who works in America as an English teacher at Irvine University. His other outcrops are misuse of Mau Mau as a literary springboard and campaigning for use of Kikuyu dialect of the Gema languages to become literary Lingua Franca in Kenya. Such efforts of Ngugi are only a disservice to Kenyan literature in particular and African literature collectively. Ngugi having been a student of Caribbean literature has failed to borrow from global literary behaviour of Vitian S. Naipaul.  Ngugi’s position also contrasts sharply with Meja Mwangi whose urban folksy literature swollen with diversity in themes has remained spellbinding entertainers.
The world’s literary thirsty has never failed to get palatable quenching from the works of Harriet Bechetor Stowe, Robert Louis Stevenson, Shakespeare, Alice Munro, Octavio Paz, Pablo Neruda, John Steinbeck, Garcia Guarbriel Marguez,Salman Rushdie, Lenrie Peters, Cyprian Ekwenzi, Nikolai Gogol,I mean the list is as long as the road from Kaduna to Cape town. Contribution of these writers to global literature has been and is still critical. Literature could not be without them. Surprisingly, most of them are not trained in literature; they don’t have a diploma or a degree in literature, but some have won literature Nobel Prize and other prizes. Alfred Nobel himself the author of a classical novella, The Nemesis, does not have University education in literature. What else can we say apart from acceding to the truth that literature can blossom without professors, the Vis-à-vis an obvious and stark impossibility.

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


STORY OF JAZZ MUSIC  IN VERSE PART – II

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

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

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

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

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

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

West reality made so
that people forced to consume
whatever material or unmaterial goods
here any protest is legalised
in form of demo
which is necessary surround by police
northeless there are people exist who are illegal
beside of refugees from east lands
there also socalled  insane people
who are locked in closed loony bin
or hunted like amok
untill they really get insane
if you take separately each after other
their fate and observe it precise
you will find there all the evil of
patriarchal repression
what is the consequence of capitalism
patriarchal repression
which is so masterfully comuflaged in west
but since the victims, the renegades live on rand of society
no one ever take their lifes and deaths under lenses
just example:
feminists dont fight for the rights of the debased woman
 in their neigbourhood
but just speculate about arbitrageness in Iran
not ever able to change something in afar lands
they simply ignore evil which happens beside them
every day, every night
there is pseudo-publicity in capitalism
since those who rebel against
become mostly so oppressed
that they never ever get any chance to
speak out loud
and revenge!
While those anarchists and punks
who squats in city and towns
will never give political asylum
to the one who's life circumtances
penetrate to be betrayed by friends
living on the streets and parks
and hunted by psychiatry
during anarchists and punks are not
real activists of underground
but just kind of subculture
which live quite comfortably in capitalism
it just funky to be anarchist or punk
and nobody knows how they will act
in critical situation
I lost my believe on socalled leftists
in fact they are same equal part of society
like bankers or yuppies
with a difference that they
pretend  they still had some ideals!
known to many
believed by the few as
the truth
Accordingly my individual struggle their claim
is nothing as fallacy
whom believe? Whom with resist in action?
Where hides real iconoclasts?

It was a suicide.
He had gotten drunk,
too drunk.
He tried going to the bar he worked at,
it was his night off,
but they turned him away.
“You’ve already had too much to drink. Go sleep it off, pal.”
Instead he went home,
put a glock 9mm to his head
And blew his brains out
on his back porch.
His roommate found him.
There was no note,
no answers,
just questions left behind.
A week later was the memorial service.
He was an atheist,
a vocal one at that.
Had a tattoo of a rotting zombie Christ
on his arm.
But his family was devout Lutherans,
so that was the send off he got.
Standing against the wall,
in the small chapel,
the lines were clearly divided.

Seated in the pews were people
dressed in bright, happy colors.
Pastels.
Blues, greens, pinks, yellows, and lavenders.
Those were his blood relatives
and Lutheran members of the family’s church.

Then on the edges and in the back
Stood and sat his other family,
the metal heads, the punks, the ******* kids, and subculture misfits,
Dressed in black,
arms & legs tattoed with ink.

The pastels
spoke in unison, reciting prayers and scripture,
While the kids in black, stood silent
Unmoved by the minister’s words about Christ.
The pastels bowed their heads in prayer, for the poor boy’s soul.

We in black looked around the room,
studying their pinched faces
while they remained blind.
One woman apparently could feel my stare
cause she opened her eyes, and looked right into mine.
Never will forget that look she had,
like she knew something I didn’t.

The minister in the white and green robe kept talking,
saying my friend was in the loving arms of Jesus.
Guess he forgot that suicides got
a one-way ticket straight to hell.
It was typical.
A spiritual buffet,
take what you like,
ignore what you don’t.
But I don’t blame them, not one bit.
What parent wants to imagine
their child burning in that lake of fire,
never to be held in their arms again?
No one.

His mother went up and said a few words,
Some stories,
funny ones from his childhood.
Then his neighbor went up and spoke,
then an old girlfriend from high school.
And then a great silence.
The podium stood empty.
Before I knew it,
my hands were gripping the wooden podium
and my mouth was talking.
Telling the pastels & black shirts kids
about the first time I saw him.
He was in the mosh pit doing spin kicks and backflips
like a five-foot-six, blonde, ninja in Saucony jazz shoes.
And how I never saw him be unkind or mean to anyone,
that he was a GOOD boy.
My eyes began to burn,
I felt my throat tightening.
“Really gonna miss him,” I managed to choke out.
I took my place back against the wall
as the slideshow & music started up.
They were playing The Beatles.
My friend was a Black Sabbath kind of guy.

Outside I saw faces not seen in years,
not since I was a 17-year-old kid.
I saw Matty standing there.
We had just buried another one
of the boys from the crew,
Munster
less that six months earlier.
Poor Munsey.
Now Matty and I were the only ones left.
Went straight up to him and we both latched on,
sobbing & shaking
hugging each other as tight as we could.
“It’s too much, man. It’s too soon. They’re both ******* GONE.”
He was broken and I was worried about him.
Very much so.

Then we all met at a bar,
his bar.
The one he worked at and got turned away from that night.
We told stories
like when everyone was trying to **** this girl
and he wasn’t, but she pulled him into a room
at the end of the night …
picking him over us all.
Or how he could make his ***** do all kinds of tricks,
disappearing and reappearing in his red *******.
“The popper” he called it.
We slammed down shots & brews
burying our little buddy, one glass at a time.
And the last thing …
His parents showed up at the bar
cradling T-shirts on hangars, his clothes.
I saw someone pick up his Blood For Blood shirt.
It had been OUR shirt, we shared it back and forth.
We both loved that band, they sang about “living in exile” like we both did.
“****, that was our shirt,” I said to the table of drunk and grieving friends.
“Well, go get it, man. Go on.”
I went up to the guy holding it.
“Hey man, that shirt means a lot to me, can I …”
Before I could finish, it was in my hands.
The guy gave a generous smile,
“Then you should have it.”
I sat back down at the table of friends,
holding the shirt up to my face.
He lingered in my nose, one last time.
But my little buddy was gone,
a faded T-shirt and a few funny stories
were all that remained.
We all toasted one last shot.
I said,
“to the lost …”
and the table of old friends all repeated,
“To the lost.”
Rest well in your dreamless sleep, pal.
Down the hatch.
Watch it go
With a black tooth grin.

Who put the “sub” into “subversion” and “subculture”?
Was it the same people
Who built schools:
Those prisons
Where kids are tortured
And brainwashed
Into being “good” conforming citizens –
Factory fodder
Trained to sit in lines
Labouring at meaningless tasks,
Questioning nothing?

So still we are ruled
By Tory Grandees and Brussels Bureaucrats
Keeping us in our place:
Social Control
Over Job Centre slaves.

It’s the same the whole world over:
The rich wallowing in luxury
While the poor starve to death
Exposed to pitiless winds.

For once words fail me
About our Unfair World.
Children dying everywhere
While fatcats feed in a frenzy.
No wonder people talk of Revolution
And terrorist plots.
Our air is full of carbon
While trees are cut
Down
For seas of palm oil.

We need to reconsider
What we do
In all our ways.
Enough is enough.
It’s time to nurture nature
As denizens of Planet Earth.

Paul Butters

© PB 23\11\2018.

I don't know if it's the whiskey or the cigarettes or the one night stands or the phony lovers phoning you for self affirmation that they too - can **** like a professional star on a cheap website.

I don't know if everything I've ever been told was only a regurgitation of everything someone else has ever been told. If we all function solely through heresy and political agendas.

Blood stains on freshly lit cigarettes, they say those'll **** you - but I'm already dead inside.

Starve myself because the scale hates me
                       because the models in the magazines are what my lover fancies
                        because every photograph I've seen within the past several years were of girls resembling holocaust victims - who most likely suffered in the same way that most of those victims have. But only in the sense that, they themselves were the German Nazis malnourishing their Jewish bodies of food.


How awful it must feel, to embody both the **** and the Jewish girl. But I've never actually read Anne Frank's memoir - so what the **** do I know.

If I were skinnier, if I were prettier, if I were smarter, if I read more non fiction and russian literature - if I listened to radio talk shows about politics and found scifi equally as enjoyable as I find raunchy cult classics that make up the subculture stereotype.

       Would I then, capture your attention?


I've already lost my own, truthfully. But everything is only temporary anyways.

This is a subcultural song

Free energy efficient enthusiasts
Replaced the iroquois punk style
Alternatives, noisy *******; ear
Damaging drum bass boxes in da
Clubs. Ravishing rave parties in
Mini skirts, glam glossy brass on
Ecstatic strobe-light synthesis - a
Synthetic mainstream paradise
Submerged to hypnotic sucklings
On the colourful plastic pacifiers
A gummy retreat before waterless
Collaps. A dehidrated dream that
Tried to shut the world off by the
Tendrils of regression resemblance.
Adult babies aboard going back to
The false long forgotten innocence.

There is no subculture in being above
The depth. Superficiality seems a posh
Pose and a good hiding reason for socially
Awkward childish rebels without material
Issues. The sore tissue of contemporary art
Is people don't believe in subjective objective
Selves anymore. What authorities put on the
Shelves there - it has to be good-when on the
Real deal discount. You think im not of such
Kind. Sheepishly blindfolded herd lives some-
where else. I pity them. Mock the socially meek,
Unajust, fat, poor or a greek profile. It has to be
A button hot child candy nose to **** her or to
Call a beauty per se. Per american dream team.

***** are hot untill they have pneumatics, man
Are man if they whirl the banknotes under bank
Accounts. ******* act like man in disguise greedy
For more. I inhabitated all this inherently ugly
Preachy words instead of puking into a labdab
Lavatory and cleanse myself from repulsively
****** cultural intermittent artifacts. And how
Can i not subdue to its overwhelming pressure.
I'm just an indigo child of flower children. Don't
Throw me the bones fueled with the black golden
Marrow. I'm a new alternative peasant, growing
Carrots and celery at bio degradable villages. . .
Its not a contra cultural venture if your socks
Are made out of industrial cannabis, and yet
There's no need to. Think. Love. Play music.
Listen. Breathe. Live life as if yours favourite
subcultural song is repetedly on...going along

We are your neighbors, we are your friends.
We hide in the cracks in your hetero-normative society.
We do not need your representation,
we do not crave your voice.
Thank you, we have our own.

Ours is a voice you simply won't listen to,
but we can fight our own battles.
We live in the underground subculture you pushed us into,
and now we're ready to resurface.

We're coming up fast and we're coming up strong,
and no, we won't be quiet about it.
We won't conform to fit into the hetero-normative
graves you've already dug for us.

Don't ask who the "man" is in the relationship.
We're complex and complicated, and no, we won't give that up
just so you can have a "gay best friend."

Your stereotypes can't hurt us anymore.
At the end of our "limp wrists" are clenched fists,
and baby, we're aiming to make your nose bleed.

Don't try to stand for us, stand with us.
Raise your voices with ours, do not
rise above us to save us.

We don't need your salvation and
we don't need your approval.
If you're trying to speak for us,
you can keep your "same love" to yourself.

You can call us the new wave beat generation,
due to the fact that we're sick of being beaten down by your *******.
We'll beat the institutionalized hatred you've been beating us with.

Warning: you may experience some slight discomfort.
After a while, they tell you that it's expected.
At least, that's what they tell us.

They tell us that it's easier to hide who you are and
who you love than to express that love.
And when we do express that love
they tell us we should've just kept
it in the closet where it came from.

Either that or we're supposed to allow you to
make our love so small that it could fit in your palm of your hand.
Go on, say, "*** a gay couple, they're like, SOOO cute!" We dare you.

We've got Kerouac on the backs of our hands
and generations of pain building from the backs of our hearts.
Don't push us to the back of your mind,
because we'll build until you burst.

Just like we're bursting with rage;
an age old pain caused by your ignorance.
But we're ready to end it, end the violence we inflict on ourselves
because our sexuality makes you uncomfortable.

And we can't have that, now can we.
You? Uncomfortable?
Please, allow us to sacrifice our human dignity,
so you don't have to be uncomfortable.
Because, let us tell you, it is so comfortable to not have equal opportunities as you!

Yes, we still love you.
We are your friends, we are your neighbors.
We still call our mothers to complain about our jobs.
But this **** has got to stop.

And now we leave the choice to you:
either help us or get the hell out of our way,
because we're burning this system to the ground,
whether you like it or not.

This darkness, Unshakable
Me- So very breakable
All you see
Is the shell, quaking, aching
Outside of me
And me, contained inside
Hidden away from real life
Because if I spoke my radical ideas out in the open
My life would become broken
Like glass shards strewn across a wooden floor
My feet would bleed but my heart would bleed more

The lackluster people cannot comprehend
The ideas outside of tradition and systems and dogma
And forgive me for my stuttering and reserved nature
It takes time for the shackles to melt
For I must be certain that I can be my true self
And express myself with no filter, then the lock on my vocal cords will open
It takes a skilled blacksmith to break me free from my chains
So I can feel at ease

Sometimes, it feels like people are my disease
Society, groupthink...
Can cause so much trouble
I know I must take responsibility for the way I feel
And steer clear of blame
But I'm constantly thinking,
If only we all thought for ourselves,
If only we truly stuck to our morals
And weren't afraid to be aberrant,
Then maybe we'd have more people like Nelson Mandela,
Gandhi, Rosa Parks, Mother Teresa, Martin Luther King Junior, Abraham Lincoln (and many more) in this world
None of these people were perfect, and some of these people sustained traumas and lived as pariahs in their communities and even in their entire countries
But to some who are outliers, these people were heroes
And thankfully they are regarded as heroes by the vast majority today
Sometimes to live a big life beyond triviality,
We must say no to comfort, our ego, our limiting beliefs
And say yes to a self-less life replete with love, curiosity and abounding possibility

This darkness that overcomes me intermittently and unexpectedly
Can only be conquered
By "looking at the bigger picture" and
Recognizing that even though I often times feel like I don't fit in
And I refuse to assimilate to a subculture because I will not sacrifice the lifelong endeavor of adding to a reservoir of knowledge and wisdom
For ignorance and blind faith and groupthink
Where people are discouraged from having their own unique and radical ideas that defy tradition or what the majority are subjected to believe through the indoctrination of an institution like a school or church
All I can do to defeat the darkness is to surrender to this condition I find myself in
Being full of life and ideas
But feeling like I have to hold it all back in this provincial town to be
"Acceptable"
But I think I'm just going to let the light shine through
I'm going to speak up, speak out
And not become some pseudo spiritual guru who charges an arm and a leg to gain access to their "life altering" retreats and seminars
People are always looking outside of themselves to "find enlightenment" or the next fix that will "fix" them
But we get hooked to these life coaches churning out programs with high price tags like drugs
We need to feel competent, worthy, and purposeful
We dream about becoming just like these people ripping us off
But they're just as clueless as us,
They're just rich off of our clueless-ness and desperation
But I'm going to try something different--
I'm just going to be myself, stand up for my rights and the rights of others
Live a life of service, even if that entails radical service where my life is on the line
Stop seeking validation from people who don't matter
And not give the enemies I will inevitably make by being myself any importance in my life and my life's mission
So, that's it folks
I hope you decide to do the same.

It's the Age of Fashionable Mutilation
buzz of the ink machine
pop of the needle through eager flesh.
Spread of a subculture
like the hippies and punks before them.
Those on the outside
puzzled or envious
ask Why?
How does one answer?
That it is the ageless questing
for that holy grail
for the answer to the meaning of life?
Some may say it is just an addiction
to the rush of endorphins
but just ask a tattoo ******
what his art stands for.
It is a map of his life
of those people, places and ideas
that brought him to who he is today
and who he wants to be tomorrow.
You see, it isn't just
the sting of the needle
or the rattle of the jewelry.
It's a public display saying
Here I am
here's where I've been,
here's who I hope to be.
It's a badge of honor, a memorial,
a hope and a dream.
It's a way to reach the next level
of enlightenment
and when that needle pierces your skin,
leaving a hole or scratches with a trail of ink
it leaves an imprint on your mind
as well as your flesh
of that moment
when you are ready to say to the world
this is me.

I couldn't smile today, of all days.
I felt so mad,  angry,  at the routine of everyone.
Hating someone then pretending to love them irritates me.
Christmas is supposed to be joyous, a time of smiles and joy with memories.
Getting mad when you don't get the gift you wanted?  Grow up.  
I watched someone I love not be able to stand up to hug his family at Christmas!
Angry because someone took your ***** Santa gift and you had to pick another one?  
Grow up.  
I had to pick up my hearts pieces--for falling in love with a drug addict--and now that I have chosen someone else, I am having to learn how to love all over again.
Unwrapping presents is a subculture beneath the societal continuation of "Christmas"
We don't know the true meaning,
All we know is there are gifts involved.
What if you truly sat back and watched everyone else open their presents?
Watch their faces and reactions to something you made instead of something you bought

I surprised him on Christmas Eve.
I made him think I had to work all evening,
Only I pulled in his driveway, called his parents to let them know I made it, and then I asked him to Skype with me via text.
He obliged, and as the camera turned on I saw his eyes twinkle,
You look beautiful
So do you
What are you doing?
Sitting in my car, you?
In a sun room,  waiting for family
Well, could you do me a favor?
Yea,  sure,  what? *
(stepping out of my car)
Could you turn behind you and look out the sun room glass and add one more person that can wait with you?

He rolls his chair around, where I am standing in his backyard facing the sun room,  all dressed up for him.
His eyes water,  and he starts heading out the door towards me
Kat,  I thought you had to work
I had you fooled,  didn't I?
I wanted to surprise you for Christmas
You did Kat

He wraps me in a deep hug,  
Kisses my cheek,
And softly whispers in my ear,
Best. Present. Ever.*
That makes two of us.

Life to me is never about what you get from others but what you give to others.

i wanna discover Ironlak spray paint and bare brick, learn how to hold the can so my art doesn’t cry.  i wanna dress up and go to the Black Book Gallery.  sip chablis with folks whose Benz payment is more than my monthly expenses. throw up my hands and run out laughing, with tears in my eyes. some days i wanna pretend fleeting things will last forever; like your hand will always find its way to my waist.

i wanna pretend integrity doesn’t matter to me. pretend im a good daughter sister lover friend.  i wanna wake up and pretend that black felonious cloud isn’t funkin’ up my day.  i wanna discover parts of you i didn’t fathom existed and taste the skin of your wrist.  i wanna fall asleep in the grass from joyful exhaustion,  and be awakened by a gentle rain…roll into you and make love like it’s worth a stint in the pokie.

i wanna discover the hard and twisted insides of the caapi vine with you.  get inside out, while gazing into your endless insides. give me rain and heat and hallelujah.  i wanna discover a subculture i never knew existed and pretend i am a part of it.  somedays i wanna pretend forever things, eternal things, are fleeting. like i could call my dead mother tomorrow just to *******.

i wanna rail against the universe.  i wanna brawl with mother nature because it's dumb that ******* can’t create babies.  i wanna discover an afternoon with you, drunk, that bleeds into the evening, night and next morning.  filled with laughter, singing, fake british accents and *****. squishy lips, tongues, giggles and fits. let’s discover time.

i want a lover to take a full bodied swallow of me, roll it around in his mouth like a glass of a buttery merlot… just to prolong the inhalation of me~

You hope that university will answer all of life’s questions, but nope.

I don’t know, I.

There was a guy who’d been hanging around outside our residence lately. Too consistently. At first, I thought he was someone’s friend but he’s always alone. He wasn’t doing anything or bothering my roommates, but that asymmetry set off my alarms.

He looked at me once (which I suppose isn’t a crime), I think, it was quick - a blink of sharp curiosity. I mentioned it to Charles who took his picture. The next morning he said the guy’s a legit student who has no criminal record, so maybe I’m all wrong.

Every girl’s encountered a creep or two before. They’re seemingly everywhere, as if mandated by law, like auto insurance. Most girls develop a sixth sense, a creep-dar. Nowadays, creeps have a new name, “incel” ("involuntary celibate") and they’re a recognized, online subculture. Next, they’ll have a coat of arms proclaiming, “We Would if We Could.” It’s as if awkwardness, a normal human foible, has been distilled into something dangerous.

Although the campus looks like a garden or a perfectly manicured ‘stepford’ park, we joke that it’s really a locked-down, patrolled, surveilled compound, with guards, cameras and card-key access to everything. Which, I suppose, is all to the good.

Our creeper wasn’t there Friday, and he wasn’t there today, so maybe he was nothing.

I don’t know, 2.

I was in Sunny’s room. We were going shopping in a few. There was a little pink book on her bed - a diary!! I’d never seen it before and it was open, about three-quarters of the way. She too-casually moved to scoop it up, like the neglected book of a sorcerer.

My GOSSIP-dar Alerted like a class bell. “Hmm” I hummed, head-tilted, then I laughingly lunged for the book.
Sunny’s eyes went wide for 3-billionths of a second and she snapped it up with the speed of a striking cobra, “That’s MINE” she said, rigid with seriousness.
“What’s going ON?!” I asked, but she shoved it into her night table.
Another mystery!
‘Sleeping dogs,’ I thought to myself.

What am I trying to hide?
Am I a freak?
Or do I just perform the freak
These masks reflect slivers of me
A differing defense that protects the darkest parts of me
By shielding it in light
One never sees the monster
Hiding in the open
No one ever suspects that I am hiding someone
When they are staring it in the face

What part of me do each of these reflect?
Who am I?
The man who performs shards of his character,
But never the full act.

I am the Anonymous Ally
Taste me
With all the colors if the rainbow
I am not gay, straight, bi, or trans
I am just the idea
That we are all human

I am called the Goth suit
I am not a character as much as I’m armor
A suit using my darker side to shield my vulnerable core
By usurping the fashion of a subculture already too diluted
The flames crawl from the ground
Feeding on my poisoned heart
Subliming into scarlet remorse leaking from my eyes

I am Broken Promises
Wrapped in the discarded and forgotten relics of lovers past
Much like they discarded and forgot me
The heart never forgets
It just scars over
And now I’ve created this character I can’t get away from

I am the Leprechaun
A caricature of a culture I do not participate in
But am suspiciously genetically a part of
I am American, diluted Irish sprinkled with Scottish and German
And I don’t even know that
Pass me another drink
****, I hate beer
I’ll be sleeping it off in the tent
Then disappear

I am the Clark Kent mask
Call them hipster glasses if you will
I came to them on my own as a way to soften the blow of my intensity to the public. These glasses hide a super man.
Or maybe, just a bizarro.
I look where others are blind
I perceive what goes unnoticed
Appearances deceive
And I’ve tricked you into seeing into the real man’s eyes

I, I am the Chaos Lantern
Chaos is the natural state of the universe.
There are no rules,
No laws that were not meant to be broken.
Change and flux are the lifeblood of the universe
I, I will restore it to its former glory.
Anything is possible at any time for no reason

I am Mirrors and Gears
I am the human mind wearing the man
Reflections of energy
Moved by an ancient machine
Shattered by each new branching neuron
Pushed ever forward into a pointless oblivion
A spider web of pieces that eventually consume themselves
I am a paradox.
I see the world as color and feeling, fire and ice, machine and nature, reflections and shards, darkness and light.

I am the Manic Hammer
The moment you put a barrier on something
Is the moment you create an obsession to break it
This is my tangible fight for control over the anger
By succumbing to it
I am the rage given form
The unjustified hammer of indignity
And pure primal power

I will violently and passionately take revenge on the world for the sin of my birth
I will give so much of myself to the quest that nothing of the man will be left
In the end, the man will become the journey
I am full of all of the evils in the world
Just waiting to see how many people open me

I am The DestructiKing
The ultimate evolution
When the hammer falls
Into regal splendor
And Rage gives way to hope

I am just a man appropriating another culture
A name does not exist for me yet
My process is like a quilt
I fabricate each part piece by piece
Then painstakingly (painfully) stitch them together
For now I am just a collection of past fashion faux-pauxs
A remake of a shell I used to be

I am the Box Man
A walking, blank picket sign
For a protest with no purpose
Righteous indignation and class warfare
A rebel without a cause
And plenty of cause for alarm

I am Anonymous America
I’m not fully me
I am a merging of several different people
Conflicting ideas and injustices merged into a formless identity
The American Dream
Merged with the Nightmare
Neither, not sure of what they mean

I am Blue Collar
***** jeans and Blue name tag
Swearing my way through tedious, 10 hour shifts
Earning my right to drink like a man

I am White Collar
A silk noose around my neck
A keyboard eroding my fingertips
Earning my right to Caucasian entitlement

I am Gray collar
Busting my *** one minute
Sitting on it the next
Being told what to do
While barking out commands to others
***** jeans
Over a starched polo
Earning my right to an identity crisis

I am a student
In an academic stupor hangover
Cramming facts and figures
Crunching deadlines
And lamenting the pains as my mind expands
Forced against the bubble of its previous limiting confinement

I am an Acolyte of the Covenant of Primus
I am more than meets the eye
A real person in disguise
Watch me transform into something beautiful
I am trying on religion
With the only thing I’ve ever worshipped
The fantasies of childhood

I am the Jesus of the Junk
Garbage comes to me and through me is redeemed and reborn
I feed off our throwaway society
Your trash is not only treasure
It’s my sustenance
You may see garbage
I see endless possibilities
I walk on the fetid waters of our decadence

I am the AntiFather
A contradiction in terms
A childish babble
It is not my job to be the God Father
I will not remake you in my image
I will wear, and shape, and polish, and break you
Into a man better than this false idol
The Father is fallible, mortal, and full of sin

I am the Phoenix
I am fire, passion, energy, color, light, warmth, and volatility.
It started with a broken heart.
Through the crack seeped liquid fire.
Burned away all that I was.
Purified me
Boiled me down
And rebuilt me.
From the ashes rose a better, broken man.

I am Ryan and Lisa
Two hearts merged into one
All twisted into each other
Until only the twist is left
When they eventually unravel
Neither could ever be called whole again

I am the Jail Baby
A helpless coincidence of accidents
Born incarcerated
Forever trying to be free
A double helix chain, shackling me to a broken past,
Keeps me tied to my bars

We are the Amalgams
The point in which the flux of personal identity converges
Different pieces of each mask,
Fragmented, devastated, shattered, stitched, traumatized, and melded
We merge, we flow, and flux
Always the river
Never the same river twice

I am a schizophrenic collection of ideas given form
Some halfway
Others still growing
I am one that exists as many
An imagined multiverse constantly crashing into each other
The broken mirror reflecting all the possibilities
Perceived through incoherent, skewed symbolism
A lens of light, color, and cyphers
It’s my mind that fractures
And births my many selves
I am an amalgam of brilliant and idiotic moments in constant flux

Art is the process of Destruction
Take it apart
Distill the remnants to their core essence
Then remake them in your own image

I am my layers.
We are all one
Each a piece of the other
We are Ryan

I first saw him in magazine ads:
chiseled face + handlebar mustache + a thousand yard stare= badass.
Often, two smiling, beautiful people would be to his sides,
connected to his coolness, validated by his sophistication.
I couldn’t wait to have one.

An adjustment period comes with having a pet—sacrifices must be made.
People say things like, “I never figured him as a monkey person…”
and you become part of the pet owner’s subculture.
He stinks up the house a bit, but I never have to lay down newspaper.
Like I said, sacrifices must be made.

We soon develop a symbiotic relationship:
when I wake up, he is next to me…
I pick him up after every meal…
I take him for walks on my breaks from work…
Ozzie & Harriet…
Michael & Bubbles…
Frankie Beverly & Maze—
“We Are One”.

Anyhow, eleven years pass and he gets huge.
It’s becoming harder to carry him the less I think of it.
My pet develops a penchant for climbing skyscrapers,
a proclivity towards abducting white women,
but he is always there for me.

I wouldn’t call him high maintenance,
but caring for a silver-back gorilla can be expensive.
Nonetheless, he is well-fed;
the money I spend is Chiquita.
I kiss his ****, sure…everyone that knows him does.

I have to get rid of him
and it will break my heart.
You can’t take a gorilla to the pound
and they won’t read Dear John letters,
but something must be done.
If I don’t **** him
sooner or later, he will **** me…
he has become a wild animal after all.

A pet is never more dangerous than its owner.

in times of peace, “subculture” art becomes all the more aggressive to substitute actual violence with its cartesian extension: imbued by a masochism never really experienced, hence with an exfoliating sadism experienced by the onlookers who forgot: never really experienced.

a: a vector defined by an open field (index v.)...
the: a vector defined by a narrow corridor (v. palm•).
it’s a completely different story should
pronouns become subject to definite / indefinite articulation,
famous for the dittoing out of the ego in existentialism
(in the latter ex-) not even vaguely apparent in sartre
(-ample proofs!)... ultimate freedom with the price of ultimate irresponsibility i.e.,
no point being witty on the page... you have too much time
to revise a joke & play on words... mind the sarcasm... it’s already
delayed standing in greenwich asking for the japanese 8am in winter.

•paradoxical cross-reference, as much akin to the retinal
  image upside down to enable man to not distinguish
  the northern hemisphere from the southern hemisphere
  and make him sane grounded on a spherical orbital -
  i.e. indefinite coupled with an index and definite with a palm,
  although out of bracket... these two lines make perfect sense,
  unless the bracket content is coupled to ensure
  the open field / index (finger) v. narrow corridor / palm
  are staged to a prose linear development / chronology, e.g.
  the renaissance came before the enlightenment,
  then nothing makes sense... and it makes
  perfect sense for a banker to criticise newtonian physics /
  mathematics as completely useless,
  then there's no use in anything that's even vaguely complicated...
  only because it's not in vogue.

you can only prove to me a belief in atheism
once you make language as much incomprehensible unconsciously
as you can make language as much complex consciously;
i will not accept regurgitation of another "atheists" ideas
as your atheism focusing on a broken arm as the misery
of all miseries... ensure me a complication of language
you can explain... stating that you only intended
the complexity to be incomprehensible unconsciously
(aha! siamese adjectives!), rather than incomprehensible consciously;
i mean... i've reached the ultimate anti concept of poetry,
instead of rhymes littering my page i faced the antidote
to rhyming by focusing on kindred words:
direct / indirect            unconscious / conscious
comprehensible / incomprehensible... this is the opposite
of writing rhyming poetry... no wonder i get muddled
and don't sound pretty enough to repeat jive
with                                                        ­ five
of all possible tail offs.

Adequate decision with dislodged thoughts
Cast in a subculture environment used to the urban area scuttled in the struggle
Wanting more commentary and needing more disclosure
Patronize with the wrong intentions to whom I care nothing for
Descriptions of deceptions inscribed by inner perceptions
Conclusion cause dissolution from exclusion through misusing parental advisories
Reserve  thoughts on the trophy with no solution is a contradiction
Impetuous actions causing lost interpretation on how you look at your surroundings
Adversary asking for a a fighting change.

Aside from my love of women who own their sexuality and being the spawn of the solar phallus dragon and ***** **** of fire, you know mom and dad, let's face it a lot of people are pent up about ***, so anything illuminating on the subject and its various forms, perspectives, sensual aspects and subculture is nothing but a good thing unless of course you are a die-hard *****.

Broadly speaking marrieds and long-term couples grow bored with each other, and singles very often go without *** or even being touched for extended periods of time. In both cases it ***** and not in a good way. Many singles remain fixated on the idea of finding that special person to alleviate their sense of loneliness and many if not most marrieds remain starved for a bit of novelty and are understandably afraid to transgress for fear of the jealousy and pain of betrayal with the loneliness and insecurity it often brings. Of course, there are some who work hard to disown their sexuality all together as a solution.  I see this as a kind ****** & emotional suicide, a moral masochism if religiously motivated and crime against the self.  There is in fact very few of us who manage to find a way to have it all and have it that way most or all of the time. In other words, the entirety of our society has a baked in structure that creates a sense of pervasive despair about ****** desire, not to mention the immense suffering that comes with loving and not being loved back.

Speaking of moral masochism, I find it ironic that the clergy who are sworn to celibacy and outwardly kowtow to the most rigid repressive codes of behavior have been and remain appalling in their rampant *******.

Perhaps whats left is to be driven into a labyrinth of hermetically sealed shadows that incubate a kind of sensual theater of transgression and taboo where simply everything goes.
Well, this writer has lived in those shadows like many others and consequently decided to explore those dark corners both in relationships, and those interior grottos of self through mental construct phantasmagorias and the language of poetry to spotlight this web of pathogens built into the very scaffolding of our psyches and culture.
As a poet I dont want to mimic the ruling culture. I want poetry to be like good ***, as in novel or intimate or perverse or underground like a creepy girl with a little blood on her pigtails in a fluttering dress with great legs just asking for it.
Poetry in its frail orbit is often only seen through the lens of genteel romance, social justice, of documentary, of collective resistance, or perhaps the propaganda of some other public iconography, a kind of literary imperialism in its lock step with the prevailing dogma trend lines while *** remains oddly off the radar? How could that be with so many barking and yelping genitalia, talk about repression.
Is the poetic form collapsing like a drooping mouth from too much pretentious baroque gentility in mildewed assure skies and verdant fields? Has Pandora been dethroned, and stripped of her gloomy yet torrid box of troves?
No folks shes under our bed's, in our brains and DNA disturbing us while we try to avoid her primal groans, groans mind you that manifest in the shadows and then erupt into arguments, tears and the rip apart lives.   

The reason I write about *** is I'm in search of a sacred space where language serves the psyche without artifice, and that makes plain the difference between the conservative public conversation and true innerness of the intersectional shadow lands of self towards a better way to live.

Vestigial limbs of a memory forgotten
itch like bicycle shoestrings tapping every spoke.
One day my brother asked me to visit someone with him
he said the guy was my age and feeling down
because his cat ran away
I said sure, that sounds like a nice thing to do.
After 20 minutes I realized why the cat ran
I was planning my escape route as well
this guy was miserable
completely negative
—it was annoying
and then he said it:
"System of a Down sold out with Toxicity,
which was a garbage album."
the layers of stupidity sent me into a k-hole.
Millions of fans would **** Serj Tankien's ****
if only SOAD would make one more album
but yeah, their sellouts, and your cool.
Clearly, screaming, "banana, banana, terracotta pie" repeatedly
is just telling people what they want to hear.
I tried to change the subject to politics
but he made it clear he had absolutely no interest,
well no **** he doesn't understand SOAD, it's pretty political,
but because art is subjective he thinks his opinion has value
and it does—it lets me know to stay away from his negative idiocy.

Kind of like a car ride I shared
with an older right wing friend of my father.
He scanned the radio like a crackhead
searching for a song in the shallow pool he enjoyed
his lexicon limited, our selection scarce
like a lost cat trapped in a garage
unaware of what is and isn't food.
We came across I Got A Name by Jim Croce
and he said, "Nope. No Jim Croce in this car."
Really? ******* Jim Croce?
I guess I wouldn't like his music either if I voted for Leroy Brown.

It'd be naive of me to think these people
don't work for The New Yorker
calling Ford V Ferrari "empty and hollow".
**** dude, I hate to break it to you
but if you can't find emotion in that movie
that's a flaw in you
and the hordes of imbeciles
approaching art with a "this better ******* impress me" attitude
tearing apart any movie that aims for anything elevated
to be just generally miserable or to show how "smart" they are.
Meanwhile, sniping at an actually empty and hollow movie
is seen as punching down and a waste of time
so a subculture of cynics is developed
infecting others with toxicity
to see art as a challenge to one's intelligence
rather than honest emotional expression
then people miss out on the full capability of art
and consume it improperly
and regurgitate it in front of me like a feeble feral cat.