She's been enjoying her time while living and working in London.

And Nicole Kidman was clearly thrilled to be one of the star guests at The 60th Women Of The Year Luncheon & Awards in the British capital on Monday afternoon.

The 48-year-old actress - who is currently starring in West End play Photograph 51 - cut a beautiful figure in a multi-tonal lace dress as she arrived at the prestigious event, held at the InterContinental London Park Lane.

The willowy beauty covered her slim figure in the mid-length dress, made up of several different lace panels in pale lilac, purple, yellow, black and white.

Cinching in at her slender waistline, the dress billowed out into a full A-line skirt, and also included long sleeves.

A Victoriana-style high-necked black lace section finished off the gorgeous garment, giving her a serene, ladylike air.

The Australia actress teamed the eye-catching dress with a pair of strappy black heels with pointed toes, and a tiny black box clutch.

Her pale red locks were swept back into a chic updo, her mid-length fringe framing her face.

The actress' bright blue eyes were highlighted with just a touch of mascara, and her beauty look was pulled together with a pretty pink shade on her lips.

Nicole was one of many star guests at the annual central London event, held to honour amazing women across all industries.

The famous event, which paid special tributes to six remarkable women from all fields, saw plenty of other star guests in attendance, with 400 in total at the luncheon.

After rising to fame as the winner of this year's The Great British Bake Off, Nadiya Hussain was one of the star attendees at the highly-significant ceremony.

The talented baker and busy mum, 30, rocked a simple and chic ensemble of slim-fitting black trousers and a crisp blue blazer, and bright turquoise heels.

Another familiar face was singer/songwriter Katie Melua, who opted for a cool androgynous ensemble.

The Call Off The Search hitmaker showed off her lovely long legs in a pair of black leather trousers, teamed with a sheer white blouse, a blazer and a cute black ribbon ******* around the collar.

Writer-comedian-actress Meera Syal rocked a typically unconventional ensemble as she arrived, cutting a striking figure in a bold patterned shirt dress with a lovely long black scarf and a jacket thrown over the top.

Princess Diana's glamorous niece Lady Kitty Spencer channelled a power-dressing 1980s vibe in a standout black shirt dress with bright, colourful buttons donw the front.

The pretty blonde finished her luncheon look with a chunky white clutch bag and perspex heels.

Choreographer and former Strictly Come Dancing star Arlene Phillips was a chic addition to the guest list in a figure-hugging red dress, and TV presenter and journalist Julie Etchingham wowed in an understated taupe dress with an origami-folded skirt and matching cropped jacket.

Also in attendance were the likes of Dame Esther Rantzen, TV's Lorraine Kelly - who was glorious in a gold lace frock - Maureen Lipman, Mary Nightingale, Jo Brand and

The Women of the Year winners were whittled down and chosen by a panel of notable, accomplished women: Sandi Toksvig CBE, Sue MacGregor CBE, Dame Tessa Jowell MP, Baroness Doreen Lawrence OBE, Jane Luca, Ronke Phillips, Eve Pollard OBE, Lisa Markwell, Gill Carrick and Sue Walton.

And viewers of popular morning programme, ITV's Lorraine, were also able to vote for their Inspirational Woman of the Year via a phone poll.

Sandi, President of the Women of the Year Awards, said: 'Women of the Year has celebrated the wonderful achievements of women since 1955.

read more:www.marieaustralia.com/mermaid-trumpet-formal-dresses

www.marieaustralia.com/formal-dresses-perth

THE  SAXOPHONE STORY
          BY RAJ NANDY

The Saxophone is perhaps the most expressive
instrument next to the human voice.
Was made by Adolphe Sax, a Belgian, through
a deliberate choice!
He wanted to offset the tonal disparity, -
Between the string, wind, and brass instruments,
with musical clarity !
He felt that the strings ones were overpowered
by the wind instruments.
While the wind instruments got overblown by
the brass ones instead !
Now what would happen if the best qualities
of these three instruments types,
Could in a fusion blend and coalesces into a single
instrument type ?  
So finally at the age of 20 years, in March Eighteen
Hundred and Thirty Four,
Adolphe Sax created a magical instrument for the
World to hear and adore!
It had the power of the brass, the flexibility of the
strings, and the woodwind’s variety and tone;
Which got christened after Adolphe Sax as the
SAXOPHONE !

Adolphe’s famous composer friend Hector Berlioz
in Paris City,
Gave this new instrument wide publicity!
In 1844 the Sax was presented in the Industrial
Exhibition at Paris;
And subsequently got patented on 20 March 1846.
It soon got adopted by the Bands of the French Army.
Making other instrument makers to become green
with envy!
The Sax was 80 years old when it became part of the
musical instruments of the Jazz Band.
A small bore mouth piece was created to suite the
varying tonal qualities required by Jazz.
Initially, 14 different sizes of Sax was created by
Adolphe.
Today only five types are in use for us to hear and
see;
The Soprano, Alto, Tenor, Bass and the Baritone
Saxophone.
They now form a part of our Jazz music's backbone!
                                                      - By Raj Nandy
FOOT NOTES :
Adolphe Sax (1814-1894) , son of famous musical instrument maker
Charles Joseph Sax of Belgium. Woodwind Instruments = Flute, Clarinet, Bassoon etc. Brass Instruments = Trumpet, Tuba, Cornet etc. String Instruments  = Violin, Guitar, Harp, Banjo etc. The Saxophone today has become the very backbone of Jazz Music!
** ALL COPY RIGHTS ARE RESERVED BY: - RAJ NANDY

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

Well, what now, hey?
     I threw the dog overboard yesterday.
     The day before, the day?
Where will you go, hey?

I heard the orchestra-man play
The same way,
     Sanctum, requiem, asylum
All Latin in his French dog-eared play.

     Hear the monkey, playing accordion play
To the whirling whirly-whirly-ghig
     Tre dramatique, no? Today
I understand you're just as "tramatig."

I want to hear your Frenchmen play
Play ***** pipes play play
      In his dog-eared French *****-man
Play

But I cannot, cannot say
     Tears of joy, in hydrant spray
The Hyades triumphant rainbow stay
     Cough your little fears away;

Hear the Star Spangled Francis Key play
Frenchmen play, play,
Little piggies counted play
Black white keys with little piggle-plumps play

Atone-al, A-tonal---atonal tonal sounds as if to say
"Getting married here to stay"
       All alone and all today
      Settle down if for a day
And who will hear the trumpet play
When *****-man Frenchman say
"Where? Home of the free" and stay

Keep your hands away
Never want to        let you say
               "Hear me, hear ye, all you weary, weary dreamers
         But never left your confidence like Russell-rustle leaf-blown willow-white

You fill them up with seventy two pay
      Make a kite, to(k)night, allRight
      Thank god for the fleas in the right
Hairless creatures for to sway

I threw the dog overboard yesterday
The day before, the day
And if you'd wanted it to stay
You should've say, you should've say

But never let my hand betray
The vein, the line, the artery
Of arterial shells bombastically
Loquacious to a fault, this day

They say "You want another day"
They say "You never wanted say"
They say "You wasted every day"
They say "They say, they say, they say"

                   But e'er forget, ne'er forget
                   I'll despise you abandon heaven for earth to get
       And leave your money, your millions behind
       For mansions with my Lord to find

But in the ceiling never was a god to pray

Prescient, her essence
Casts a demure persuasion,                
Endowed with verve and vision;
Concept to consummation,
The serenely possessed,
Creator, originator,
Allusion to the eternal azure,
Logos of abstraction,
Word and image collision.

Tonal palette of faith infused reason
Beauty and sublimity,
Serve to season
Verse, canvas and film,
Mediating aesthetic, seminal senses blossom,
Lyrical each permutation,
Seeds of vibrant chroma diffusing the mystical.

Visage and hair,  her figure haunted
With perfection - a work of Art
Nurtured and lived invocation,
The canon of taste;
Crystal for the *****
Devotional fragrance ,
Holistic ethos, melodic invention,
Animated, pure -
The embodiment of redemption.

Transcending form, parenthetically  
(Merely) the decorative,  
Allure, artistry and symmetry
Superlative complexity,
Her erudition satiates, supplanting
Winds of constructive banality.

Purveyor of an uncommon savor,
She collaborates in the peculiar
Pursuit and reward,
Encounter  with depth, explored,
Human and divine, prosaic meets sublime
Igniting within an Eros
Passion for truth, being and Telos.

Visionary of grace and peace
Transforming our earthbound dissonance;
Our caprice,
Hope and abundance, the myth of scarcity,
She narrates the Good.
Pen, lens, color and stage
Vulnerable, unrepressed, effusive
Romantic articulation,
The reservoir deep,
Innately primed conduit of Love.

Beyond plebeian, cosmetic, the trite
Woman of substance, pulchritude
And delight.
Effervescent - her smile exquisite,
Eclipsing suffering,
Wordless expression, understood language.
I am transported, my imagination replete,
Sonya Rose -
Art personified; unabridged, complete.

©2008 & 2013 W.S . Warner

POETRY AND ITS IMPACT ON HUMANITY

Today the word poetry evokes images of love and sentimentality, but the term romanticism has a much wider meaning. It covers a choice of developments in art, literature, music, dance and philosophy, spanning the late 20 th and early 21 st centuries.

The romantics would not have used the term themselves and the label was applied retrospectively, from around the middle of the 20 th century. Man was born free in this virtual environment of real life but, everywhere he is in chains. During the romantic period major transitions took place in culture, as dissatisfied intellectuals and artists challenged the establishment.

Almost all the romantic poets were at the very heart of this movement. They were inspired by a desire for liberty, and they denounced the misuse of the poor.There was a highlight on the significance of the individual; a conviction that people should follow ideals rather than imposed conventions and rules. The romantics renounced the rationalism and order linked with the preceding clarification era, stressing the importance of expressing authentic personal feelings.

They had a real sense of responsibility to their fellow men: they felt it was their duty to use their poetry to inform and inspire others, and to change the humanity and their social attitude. Poet Rumpa Ray Ghosh believe in this theory on life and poetry of this time.

A PASSIONATE POET OF THIS TIME

For Poet Rumpa Ghosh, even a quatrain is what in a verse, which makes someone to cry or to laugh, or just be silent, makes your twinkle, makes you want to do this or that or nothing, makes you know that you are alone in the unknown world, that your bliss and suffering is forever shared and forever all your own.
Poetry is taking at the heartstrings, and making music within our solitude in life. Rumpa Ray Ghosh is a poet of profound obsession towards composing lyrical form of poetry. Her poetic enthusiasm makes her verses, extremely impressive and highly alluring. She is fast budding poetess of wisdom and emotional response. She had completed her Masters degree from University of Calcutta, though she is from Calcutta currently living in Mumbai.She started composing poems since her young age.

Intentionally or innocently, many of the poets are most often trying to fill a vast space with things that cannot satisfy fully. We look forward to fill the void with our own possessions for comfort, but unfortunately we normally end up wanting more and more. We try to fill it with relationships or pleasures, but we end up feeling even more empty and further more depressed than from the point where and when we commenced the discontentment as these thoughts were well presented by Rumpa Ray Ghosh in her poems, namely, “ The Roof”, “ The broken house “.
The only place that we can really find true fulfilment and gratification is in the hands of divine God. We need to recall and allow our convictions, not in circumstances, to govern our sense of contentment. The anthology freshly illuminates many excellent lyrics and short poems and are highly valued regardless of its freestyle genre.
For both the poet’s, self-consciousness is connected to the new eminence established to poetry by the feelings of the self, which truly resembles the title of the anthology, “ The Musical Marvels of Self “. Her poems are lyrical, close to heart, soft and romantic. The scrupulous flow in her rhyme magnetizes the readers. Her works were widely published in many national and international journals. She is a regular blogger. She takes the images of her writing from simple every day incidents, uses metaphors and imagery to add grace in her skill of presentation.
Her language is simple, easily understood by lay man, quite touching and heart rendering. Her first book " Musical Marvels of Self ", an anthology of 43 poems came out through Zorba publishers.

The anthology was a combined effort in association with honourable poet Dr Ujjwala Kakarala during September 2017 Besides, being a talented poetess of lyrics, she was an excellent singer Proficient in Bengali folksongs, Rabindra Sangeet and Nazrulgeeti and ghazals and has sung in numerous local stage shows. Rabindra Sangeet merge gracefully into Tagore's literature, most of which—poems or parts of single scene plays alike—were beautifully transformed or converted to lyrical formats. Influenced by the “ Thumri “ style of classical vocal music, this has made the entire scope of human emotion, ranging from his early songs-like Brahma devotional hymns to human soul.
This has emulated the tonal color of classical “ragas “to varying extents.
Earlier, She had also the chance to attain a position as Quarter-finalist in BBC Mastermind Family Quiz competition aired on Disney Channel.Poet Rumpa Ray Ghosh, an Indian by nationality, she hails from West Bengal, the “ City of Joy “, but currently living in Mumbai, Maharashtra, India. She is by occupation a teacher, content writer and a blogger. By obsession she is a poetess and a singer. She has completed her post-graduation and B.Ed. from the University of Calcutta. She has worked as a teacher in St. Thomas School, Mumbai, as a content-writer for ‘Pratham’ (NGO) and as an English curriculum developer in Vibgyor High School in Mumbai.
She publishes her writings on her own blog with a name ( fragmentofimagination). She is also a writer for some literary groups. Some of her poems have been published in national anthologies. Recently one of her poems has been published in a US e-magazine "Beyond Borders” in a popular poetry site. She has also participated in an open-mic poetry reciting performance in the Prithvi theater arena in Mumbai. Being Proficient in classical vocal music, she had the opportunity to perform in classical vocal music on various musical events. She is a Sangeet Visharad from Bhatkhande Sangit Vidyapith, Lucknow and is trained under Late Pandit Vinayak Vohra. More tha a Poetess having a deep passion in writing, she enjoys dance, music and teaching his students as part of her professional skills. Stay blessed in all ways at all times.

WILLIAMSJI MAVELI

Hildegard of Bingen
the most musical abbess
of the year 1097 a.d.
met with Jung the unconscious detective
and Ginsberg the howling poet
for lattes at some Starbucks
in a vibrating city
on a shimmering afternoon.

Angelic minuets keep flowing,
effervescing through my chakras
like tonal champagne . . .
the glowing femme declared.
Beams of ethereal light infuse me,
tsumanis of energy tempt me
to dance right out of my habit.

Ignoring the possibility
of seeing a naked nun drink coffee in public,
Alan mused behind his hornrims . . .
I get what you mean
like I have felt the same perfusion of joy
watching cans of peas and ayahuasca
dance with talking bananas
at the A&P; Market near my pad in Brooklyn,
can you dig it?

Still suffering from his Freudian hangover,
Carl reframed them both . . .
Any conclusions or convictions
drawn from such experiences
may not self-verify because
your introspective identifications
attempt in vain
to concretize the amorphicity
of decentralized psychic sensations
which reach conscious awareness
only at the expense of extension.

What did he just say?
Hildegard asked Alan.
I have absolutely no idea,
the portly poet answered
as he doodled an intricate mandala
on his hemp napkin.

my polygamous relationship with you distances me from the monotony of monogamy and makes me feel lonelier than the loneliest mundane monogamist. my mere apologies for my misendeavors, the malnutritious morals of my miseducation propose metal mirrors and castaways controlled by cutting carvers, craving crazy letters and loyalty from lengthy lies and lonely lives. lethargy overtakes and vowels reign, raining drops like rainbows and rocks in rivers, rusting relationships, rusty railroads at intense intersections entwined in everything inside and nothing on the outside anymore except these
muscles. we are back at the beginning.

my mind marvels in the magic of the memories, the madness of the morbidity and the hesitations of your reaction. his, I take, is misunderstood as my misfortune, but it is not a miss, my fortune: it is a fox in feathers colorful like friendships 'fore their forfeited and feigned approval, forced for fear of polygamy tho' it promises the purest pleasure, the most personal independence and precious pearls of princes, princesses, powerful, plight-less

poetry.  peace surrenders,

souls surprise themselves, surprise their cells, call for curious catastrophes to take place. colorful and calm they coincide with cooperation that can not contain the context of truth, of teases, of teasers and targets and tonal dualities and we endeavor, we endear you, we dare destroy the darkness of the devil in its disguised diamonds.

words lie at my feet like pebbles of poetry and I promise personal demise, deterioration and ridiculous obsessions- there's madness to be had and fragments to be written and I play with silly alliteration instead!

serious and serene you stare as if my sanity has slowly faded and I sternly helplessly smile shyly.  I suppose you are sincerely offering me your blessing before parting, so stumbling slightly I surrender…


if this is the prevailing promise of mere mortality, I'm graciously aware I was worthy of words.

First name:
A fire red, carrot orange, and dull rust
A dusty-on-the-outside-bright-spicy-and-wet-on-the-inside tuber
A dancer and cartoon
Second name:
Three short letters, one tonal syllable
From my mother's motherlanguage
Joy
Last name:
Hill of deer in German
(Also a Jewish name?)
Sounds like a chocolate sandwich
Makes my name a score of letters long

Today I wanted to buy the copyright to the process of hallelujah
******* in joy the same way whales eat krill
You just bottle it up inside your lungs until you have enough

Inside my fridge I have vacuum sealed jars of hallelujah
There’s nothing religious about that
Jars labeled things like
Loss of virginity
Rob lived this time
The homework is complete

Hallelujah

It’s the same way prayer works
Backwards
Pulling bits of god like an inhale

I want to hyperventilate on your hallelujah
Like a gospel choir on speed

It collects
Over time
For instance
It was maybe a month in to sleeping at Delia’s and Toffer’s house
Before I realized
I didn’t have to sleep in my car anymore
You go into the bathroom to **** and realize
Hallelujah
A jar labeled
Found a Home for now

I know science can do this
For the sake of all that is a monument to a single life
So that on your death bed, or at your funeral
Everyone there can hold a jar

Cold and warm at the same time
Vibrating in their palms
In violent joy
Like mozzletoff cocktails
They are thrown
And when they shatter there is a song
That has been collecting for years

The same word in different tonal joys

Your life

Every good moment

Hallelujah

Seven lyre birds sang each in turn a tune
doing their tonal best to hone
the reproductive skills akin to a master
in the art of Japanese calligraphy
but all failed distracted by the majesty
of a high-definition sunset on playback in perpetuity.

Spotlights on us

seemingly illuminating
and otherwise blinding

can't see the audience
can't tell the difference
between time and space

different manifestations
of each other creating
infinite mandalas
poured into rivers

tones rising out
of and falling into
silence

I trip over words and pick the sounds out of the scrapes in my palms

I make motions to pick up the gravity but my actions are glitchy, disconnected

an abstracted cadence
remote inflection
radio nuance
rhythm break

modal static living in stasis

ants on a screen as grains of rice
with bubbles in a glass of beer
merging like two tones
harmonizing on a
secondary tonal plane

move me like a modulation
end me like an infinite crescendo

I am suspended
over several tones

just let it go
and I am resolved

follow where the voices lead

i'm cold
and damply
drowning in
all these
blackish
tones and tunes.

it's hard
to find
a song to
err on the
side of
brighter hues.

especially
when i'm so
frostily
submerged
in these
tonal blues.

so effulgent*
the daffodils of brightest shade
so effulgent
bold trumpets e'er magnificent
they grew along the esplanade
showing a splendid tonal grade
*so effulgent

Where the river abandons herself to the creek
and the mudbank is cratered with crabclaws
waits the old man.

He doesn't know his years
but his ears are a sonic gift
catching the tonal variations of tides
seemingly for eons
evolving with the mangrove map
into a flawless tracker
of how far the moon would recline
for ***** to be holed out
and what shoreline the water would touch
before the shrimps starlight driven
make a beeline for the net.

I encountered him once
in the absurdity of a time
when I was high
and he lowly crouching
was making art by the creek.

Who was the poet
I could never tell.

Within the realm of unplayed instrumentation
a crescendo of specific notes are lost
dangling on high maple branches during autumn leaf change
and only divots below the mowed through grassy soil
throughout segregated quarantine reserves
partitions of divorced land
In the bottom of a child’s backpack

so heart jarring and singularly dedicated to the wandering dreamer harboring any thoughts of doubt about what is and what might inhibit the coming up next

covering over wooden plank necks with strings of primitive notation drafted inside the woods create,
rows of ivory keys and ebony flats,  
this includes either screeching or murmuring brass buttons can make
And depending on the blow

Lead based letters
Squeezed together grammar and prose
have no window to grandstand
in a duel verses this one climb of instrumental verse
these missing tones are in tangible reaches
could even be in a soft mother’s dream waiting to be awoken to bring an awakening

Who will seek and find this group of lost tones with striking nuances so spirit soothing
that seeing the mere future is old news
but instilling, feeling, and describing the true meaning of life after hearing what is under, inside and above this crest of colored resonance of tonal pitch...

Or maybe it can insight a minor confidence in the one who lacks it to take that small step forward
Ensuring another step

This is one who will hear this

this longing is legacy
for a girl cut in half
cold currents of knife
astride darkest path
without stopping for daylight
in somnambulant flight

(your 2 a.m. smile is reason enough)
      sheets of sound
somber
the womb of an angel
     a war goddess unbound

  
o
a
          stasis seraphic
       shrink wrapped
in sweet plastic
((the perfumed fields are elastic
with crowned princes dynastic))


this mortal season
on
this perfect day
strikes the hearts of the stolen
in a fugitive way

the clarified fire
sinew and lean
eats the sins
of the heavens
where the ashes convene


the park with the lake
is wooded and pretty
the sky's on the grass
in an underground city

i'm calling from a
subterranean ocean
the shells are all closed
and the waves are all broken

in a minute the  tides
will all swell
the gulls will
pack up
and the moonlight will dwell


say hello to
the girls from the sand
they can walk on the water
but never on land

the stars are submerged
all fallen and drowned
the light from the depths
shines upside down


ursa major
orion's belt
ursa minor
ice water vega
reversed ocean liner


inverted looks like the water
twisted so tonal sounds
mother and daughter
sister and brother
packed in blue ice
from the curves of the earth
and the jaws of a vise

in these dragonteeth winter days
you pick your time carefully
endpoints are delays
the decay of such that
they cannot touch
or remove them
erasing straight thoughts
as a means to improve them

sailing seas beneath
the skin underneath
the unrequited life
just out of reach

i'll nevercomplete it

i'll never repeat it

the young egoist licks a blunt blade in the wall
until his tongue bleeds, to feel, yes to feel, feel anything
in these fettid depths where splinters of light
find themselves lost in the subterranean gloom
of his bedroom
where on occasion when it presents itself
listens to grotesques, yes listens with an ear
a plain nasty and unfeeling ear
yet it listens without any phoney, putrid arty language
he hears old irregular clocks
feels the smells under the ground
drinks unquenchable angers
citing their antique tonal ability
to create magic words out of rain and mist
then screaming his voice starts oozing and undulating
creeping through these slow subterranean pampas
compressing and expanding themselves never and at once
he believes it is an unsafe place of frighteningly sincere dangers
then thinks is danger a place, licks the blunt blade in the wall
for even in this desperation
it makes him happy when his tongue bleeds
he tries to perfect conventionally generous impulses
the spit of dreams, his dreams as he dons his mask
his mask of foolscap to write a poem
then encounters angel-devils and demons
who he has the power to deceive
and thinks to himself as he licks
the blunt blade in the wall
finish it, finish it
then realizes it's unfinishable

soon the brilliant ides of spring
shall bring such a resplendent ring  
to the meadows and rolling hills
making for grand eye catching thrills

floral displays e'er so divine  
their faces showing on a vine
of scented aromas in frills
a perfume sweet to breathing gills

strolling amid the colors bright
splendor in their superb highlight
exquisite be these rainbows mills  
bursting with shining tonal spills

the news of the season of spring
brings to a winter heart many trills

its always sunrise
somewhere

things move in every atoms presence
tonal vibrations power through into tmorows
certian serenity

blissfull melodies
we die daily in our meditational  cremation ground of  minds past eye had been cast upon building up
or down

spiral, the.sine curve of life
respect the crecendos with ease
the patterns are flexible in form shape and mind

~for Cathy Leff, curator~


no bugler blaring ‘pay attention’ to me,
no emergent bad news bearish telephone cell call of an absurd tonal,
no alarm clock retaliating agin a humans daily defying double-slap,
no young children sneaking in, with a guard dog in accompaniment,
   joy-ending a deep parental sleep from the exhaustion they induced

but as if shot, the humans burst into alertness,
from prone to moan, they instantly revert, becoming **** Erectus,
gasping from shock troop dreams, and a chest-pounding message,
a whisper growing, an ever increasing crescendo, an unnatural law,

an unsullied foot-stomping battle cry that self-terrorizes, undeniable:

write me, your poem, write me now!

ah, it must be 5:00 am...

none more than I,
surprised and wary,
that my all-my-life
urbanized body,
be so unnaturally well attuned
to a slight degree
temperature modification

I,
proud city dweller,
born and bred,
urban dust,
the sandblast used
to erode and etch-a-sketch
my body's skin pores hollows,
by definition, pride and myth,
a tough skin necessified
to survive where
plants cannot

the chill of fall,
and the follow up of
it's 'whiteout' afterwards,
faintly dimly but
remarkably present,
unmistakably different
from the chilling moisture
forming on the ice bucketed bottle
of dinner's colden, golden,
waiting white Sancerre

the lowest, coldest single note
any viola can exhale,
I,
hear coming from Itzhak Perlman's
so close, Shelter Island retreat,
a foghorn warning
clearly felt, smelling its deep fried heard mournful warning,
tonal hum, swelling from the outside in,
not despite, but to pointedly spite
the surrounding humidity condensation of August
on the air cooled window panes

the very same humidity
that makes humans
curse the blessing of sweating,
registering slews of
no-one-cares complaints to
no-ones-listening people,
about the drying out everywhere
wet dampness of the end of the
simmering season

a sliver, a musk,
a prophet's portent,
so subtly well entrenched,
secretly by nature sent,
a realtime single line of code,
message that winter is indeed coming,
but not to the Seven Kingdoms,
but to the Czar's literary summer palace

I,
the sole prosecution witness,
to winter's germination
as the evening cools,
testifying about the acorn droppings
felt beneath flip flops,
like hurtful peas
beneath a princess's ten deep mattresses,
reminders of too soon time to be mourned
as gone, gone, gone
the summer,
the peak of the foliage, the zenith, the crest
of this old and very peculiar man

but one?

how can this be,
one **** degree
of Fahrenheit
leads directly to
sniffles and endless
gesundheists?

one **** degree,
separates the operatic arias,
the shower sing-a-long songs of his summer soul's
contented tented revival,
which now, in these sultry days of  August,
he sings, so swell,
practiced with an artistic style of
summer lazy's 'doing nothing'
so, so well

soon to suffer the mysteries of
the longest day
of wintery night,
where silent snow falling,
beautifies but makes the man
put down his pen and
reread his summer poetry

tonite,
we fine and dine
dressed in summer attire,
sock-less, coolest linen with cotton blended,
only ******, good natured,
political discussions allowed,
some daring souls,
bare their left shoulders,
more tan skin out than in,
while others defend
the natural human right
of man to wear in tandem,
white socks and ugly cargo shorts

all the fabrics, all the friends,
crinkling wrinkling upon the tannins
of sweet brown sugar of caramelized skin

some wearing bright pastels
clean new white T's,
so eye brightening-whiting-delighting,
that they are legally required,
and illegal to wear anytime else,
except for this one abbreviated quarter
of the best days of his life

smell the snow,
hearing  the boots and parkas,
making tramping noises upon snow cleared paths
swimming unhappily across
slushy street corners, almost mountain pass impassable
all these molecules, wafting in the coolness
of the August shore breezes ,
fedex'd  up from the polar south winds
of wintertime Argentina

all of these hints,
present and accounted for
in the atmosphere,
but of them,
I,
do not speak
not out loudly anyway

why,
to be lost beneath,
under the munching noises of summer corn
summer fruits, tongue exploding,
clinking of happy glasses,
toasts of "what a great summer eve!"
the wisdom of silence loudly asserts

for who am I to
rob us the deceit,
the human natural conceit,
that the future is the identity of our
permanent press present

that the unpracticed pleasures
of lapping up breezes,
the genteel salted aroma of
heated sweated forehead beads and sea water,
the cocktail odors of barbecue sauce,
fishing boat's diesel, Campari,
root beer floats,
strawberry shortcake's speaking of its peaking,
little children laughing with carousel joy at
running unshod and free upon bunnies and frogs,
all words and thoughts somehow miracle rhyming with...
forever

soon to end in the
disenchantment of reruns on
a flickering black and white tv night,
once again, no longer obsolete,
unlike the man

the eyes glisten from held back tears,
all come to give me hugs, thinking
the old man, in his white apron is
joyous simply happy or simply,
grill smoke got in his eyes

but that one **** degree...

I tonicize you.
Though you are sol and I am do,
I've modified my tonal path
to add weight to your presence:
I've written you this leading tone
in hope of upward resolution
and to avoid frustration.

Tonicize me,
for you are sol and lead to do.
Let us modulate through mutual friends;
let us flaunt our perfect consonance!
Let us cadence together
when the music finally ends.

Do you want to sketch all your life
Or learn to paint a master piece?

Do we not sketch to learn, to develop, to grow?

So why do you still sketch?
What more do you hope to learn?
That people are vulnerable?
That you can hurt them?
That you can leave them?  

Are you not tired of sketching outlines?
Don't you long for tonal quality?
For careful composition and a considered pallet?

I know your secret!
That the canvas scares you, terrifies you even.
All that you will be revealed on that unforgiving scape.
That expanse of white which must be filled and not by charcoal and line.
You will be revealed, exposed and displayed for all to see.
You will be revealed in the shading,
In the sensitivity you give to light and to contrast.
Yes, you will be revealed...
But in it you will be filled in.  
You will have no freedom to remain as an outline of a man,
With all hidden in fine graphite lines and hastily hatched shadow.
You will have to mature as a man, as an artist of the soul
And set yourself free on a canvas with confidence and brush!
What a liberation!

Will the first canvas be a masterpiece?
In all likelihood no!
But it will be a beginning
And how can you consider yourself an artist if you never paint!
How many sunflowers did Van Gough paint? How many chapels?
Was he satisfied with any of them?
And was each of them worthwhile?

Paint my friend, take up your brush and paint.
Use colour boldly,
Reserve fear and reservation for other pursuits
Or better still leave them from your pallet altogether.
Be sensitive and subtle with your treatment of the subject,
frame her well, carefully
But be bold.

There is little point in holding back.
Do you want your canvas to scream, "Hesitation!"?
Paint or don't, but if you choose not to, declare it to the world!
Do not act like a painter, talk like a painter and look like a painter,
If you do not paint!
Declare "I like to sketch"
And sketch until you bear no longer to leave a subject unexplored in a monochromatic if artistic hiatus.
Be true, be bold, be clear and when you feel the time is right paint with the same honesty and boldness with which you sketched.
Then it will be a true training,
Not the pontification a of a trainee conjurer working above his station.
Complete your apprenticeship, graduate,
And step forth into the world.
Confident, upright, paint brush in hand.

As daylight dreams reach
for dark
under a K-light sky
so must the
world return requited,
kited,
new ,
no one knew but me and you
I will not beg of thee in XYZ
chromosomal hormonal after-tonal

A giant jelly fish ate "To Wong foo with love"
a bit of it's electric lightening flash turned
my skin to glass,
molted down Queen cream
in crock-odor-ium,
it may be a word, it may not,
it maybe your Marshland smile.

I'm going to emerge orthodontia
in crystalline wings and when I do
I hope it won't blind you
like your heart
like your heart forgot
how to pronounce my name and
sunlight forgot to wash the sand
into bleached wood
a drift
from where I cry away
from that small dark part of me
that resembles photosynthesis
in green or gold memories

..of i'll never leave you
even when my tongue has become
a pin cushion for all the things
That get stuck to it
in the dark shifting of
under garments and sleepless
every things
that crawl the endless length of me
as a nightly ritual
of sacred dance.

Eye light candles,
twisted winking at
whirlpool water walls.
Cracked note sound saliva ,
arrives late in the day.
While the eye light candles'
wax melts to tears.

Free-floating mouths
switch on insincere smiles.
With micro-tonal sneers that
flex in a wind
of pointless perpetuity.

The smile's
smile their smiles.
The eye light candle's
wax tears fall to fate.
A sun wakes and exhales
light; but it's far too late.

RECORD: FRONTIER PSYCHIATRIST?
FROGMAN: THE AVALANCHES

{. . There was a thrilled, tarried cry from behind him,
and hEarths suddenly threw themselves open.
Stings lunged. The fear was sprung.
Brads in Gjeanes and Brads in mismatched souipts.
Janets in cracks and in Jaded info attire.
Even little wild stings, tagging after their origins.
And in every mind there was a chunk of Ruler or a Toe.

Brad's and Janet's: THRILL THE INGKTROFSPLECTOR!

[ . You do not hear with your mouth.
She who hears with his mouth has forgotten the cage of her self.
You hear with your ears. .]

His reaction was automatic,
instantaneous,
Instinct.
He whirled on his heels
while his hands pulled the Colt Number 5's from their hoearlsters,
their conclusions heavy and sure in his hands.

It was Suzy,
and of course it had to be Suzy,
coming at him with her case imported.
mirroring like a fellish clown in the lowering light...
Brad peered over her shoulder like a Tackman's familiar.

"Thrill me, Johnny, Thrill me! I Heard The Word,
Ninetbeen, I heard,
and they stung me…
I can't bear it!”

The Instruments beat theire heavy,
Comic-tonal music onto the air.
Her hears flapped and she cragged
and the instruments laughed again.

The last impression on her face might've been of freedom.

Brad's and Janet's mind snapped back.
They throth fell into the data.

[ . . You do not think with your ears.
  He who thinks with her ears has forgotten the cage of his self.
  You think with your mind. .]

They've gone to the land of Ninetbeen,
he thought.
When-ever is there.

BRACHE RECORD: FOURTH-TIER PSYCHONAUTIST