There's a cup of
coffee in the cup I got
when I lived in
France, turning cold,
sitting
on a book I'm using
as a coaster, called
"Goblin Market"

and the vinyl that
I found for 50 cents
is turning slowly in
my Craigslist turntable,
76 trombones
76 trombones

and I'm trying to make
my way through
"Tuesdays with Morrie,"
because Mitch Albom
makes me cry
and now
I'm thinking only
of heartbreak,
rejection,
un-
requited
love and of
the day, the weeks, the months
my grandma
died.

There's so much to be
happy for
sad for
teeter totter for

I love this life and
I feel so much pain.

Simone was among the smallest of the small, a flutist of the smallest size,
Who carried herself well, and seemed to be taller than she was, at least in her mind,
Making her among the tallest, among those who could strut their stuff across the marching field.
She was proud, even on these practice days, when the dew of morning would
Make the practice areas so wet, and make her roll her pants up to just below her knees,
And her shoes would be soaked before it was over, and her heart would melt
Inside the flute, so big it seemed, compared to her hundred pounds.

Simone left little to chance, her eyes were forward, yet they moved quickly
From side to side, always checking her position on the field, and her
Position among those with her, and her position in what she perceived to be
The best among them.

One, two, three, four, five, six.  Repeat. One, two, three, four, five, six.  Six to five
They marched, long strident steps for the five foot of her, almost as if she was
Carrying the length of the world upon her shoulders. Her back was straight, her head
High up, toward the southern sky that held not a cloud, and the footsteps of those
Around her, the Flutist, till the turn, then the French horns crossing her path,
And she listened for the cue among them, and realized they carried their instrument
But there was nothing to be heard, as their mouths looked as though they played
Yet only the mouth pieces knew, it was but a scam of time.

She was wrapped in the image, that being here, on this field of one hundred twenty,
There was a leader, if you thought of it, too lead them in their playing,
But the real leader was her, briskly marching; head up, down the field, and hearing
The slides of the trombones, bam bammer, bam bam, up and down, as they never looked,
But kept time, her flute so bright and cheery, and so lost in the mornings lift.
One, two, three, four, five, six.  Six steps to five, six steps to five, six steps to five.  
Other bands, no all bands, marched eight to five, which would seems so much more
Comfortable to march, smaller steps, smaller people, across the field so major in its size
But her band, marched six steps to five, making for cleaner, tighter lines.

Ta da, daaa da, tee dee daa dumple deed ah daa, the trumpets and cornets rang out, loud
And seemingly obnoxious, in their tee dahs and tee daaaas, making for a crashing sound
Of thuno didity thump thump as the drummers passed, all music ringing loose from her head,
And the crashing sound of the drum, and the Thump, Thump, Thump, Thump of the bass,
Keeping time, keeping rhythm, of the John Phillips Sousa march across the field.
Her feet kept time, her flute braced up to her lips, her breath pouring forth,
Blending in perfect time, to make the most pleasant noise, her breath taken in, and her breath out
She flowed with the drums, the trombones, the trumpets, and heard the bass attempts
To play of the baritones, God’s most beautiful instrument, and the caterwauling
Of the clarinets, tooting and playing and attempting to play, some brand of music,
Some portion of a song that must have been heard long ago, that seemed to have
Nothing at all in common with the song at hand, but each looking down to trace
Their finger patterns, to hear the music as it played.

Simone’s flute, for all it was worth in her small tiny hands, in her small tiny arms,
Across this major large field, with these bodies next to hers, with the blats and sickles,
The very intent of each one to make its noise across at one another, seemed
To be a cacophony of sound, a completeness of nothing, and mess of a wreck of instruments.

Then there was the noise.   A complete and un-fractured belt of wonderful musical sound
As it marched toward her, as it seemed to assault, but to pay compliments to her,
As it seemed to worship the very wet, damp ground, upon which she walked, she felt something
In her body, a stirring, a feeling, her stomach turning in a good way, as her eyes lifted
She saw him, marching, One, Two, Three, Four, Five, Six times across the field,
One step was starting on the yard line, the last touching the yard line, five yards later.

The sousaphone.  This mass of brass, wrapped three times at the valves, turned
Around his neck, ending in a massive, shiny, bell of a horn, bigger around than her body
Bigger than a freight train coming down the track at her, she saw him.  Felt him.
Could feel the cool timber of his breath and voice and song, played so well upon
That instrument.  He was over six feet tall, no six feet six, and that horn, dear god,
Was two feet and several inches across the bell, putting him eight feet tall,
Compared to her five feet, and her fragile weight, and the mass before her.  That sounded,
So beautiful.  So real, such a part of it all, its tone, its timber, its reality was there and Anthony,
Playing it with intensity, playing it so strong, its notes almost removing her light little
Shoes from the field.  She thought she could float, she thought for a moment, that she
Had died and was no longer walking, but floating across the field.

Boom. Boom. Boom. Down. The. Scale. Up. The. Scale. Boom. Boom. Boom. Anthony played the music,
And marched, keeping time, and handling the music well……and he heard her soft little notes
This miniature toy before him, this small flutist playing her trills, her melody, her principle
Piece so well, so that it sneaked in and captured his heart in a moment, his breath short,
His feeling of being the only person in the band, suddenly expanded to two, took him hard.

And they played their music, their parts, and the rest of the band tried to keep up.

Thinking that maybe there is music on planets other than our own
With different tones that we just can’t seem to hone
And instruments like triple necked trombones made of recycled robotic bones
Rockstar aliens playing in bands and doing gigs on planets in neighbouring zones
A gigantic galactic space tour to call their own and silver and chrome skyscraper cities to rock and roam

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

...................Eject.

a high school football game.
the field is ablaze with juicy roses
and doves.
the athletes suddenly drop thier pencils,
their coughing hands made of melting wax.
all the trombones are falling apart, and
the flute players are losing their *******
under the bleachers, throwing away secrets.
heartbeats cracking broomsticks, the nuns
were always hitchhikers with resounding
gag reflexes.
i sail forward, snatching the time bomb
from the quarterback, snuffing out
a pall mall on his right eyelid.
the dead angel is summoned to slay
the horrible hippopotamus. she is ancient.
she has a mouth full of cavities and peace
in her veins.
the truth is a piercing thing, whose bitter tongue will decay me.

A rude awakening:
A friend’s best impression of
A thousand,
Deep,
Bellowing trombones.
“BWAAAAWWWWP!”
Shake it off.
Walk home and go to bed.
Fasten hat to head:
“Bye everybody.”
(wave)

Good choice on the hat,
‘Tis chilly.

Text her, “Hi,” just because.
Just in case.

Long walk home
Late at night
And still groggy.
Those trombones still ringing in my ears.

I feel new.
Like a kitten.

Every sound on the street inspires shudders.
Cars approaching from behind:
Crescendos dropping into empty ringing silence.

Someone laughs down a dark side street.
Head jerks,
And looks away.
There it is again.
Is it for me?
Walk faster.

I might still be sleeping…
Although I’m pretty sure—what’s that?
A bicycle,
Or the amplified sound of an insect
Cleaning itself.

Where is that shadow coming from?
Is something floating above this intersection?
Just keep walking.
But only after
I push this button
That does nothing.
I guess I’m just a pigeon
Flapping my wings.
But don’t I know it.
How sad is that?
Where’s that Morpheus with my **** pills?

Home base.
Olly olly oxen free.

Groovy brown skinned brothas
hip hop to the smooth jazzy
beats across the starlight scene,
exhilarating eyes light up
the uptown extravagance,
as they bust a move in the
drumbeating room, rotating
and vibrating, grinding and
bending, breathing in the
singing saxophones and
trombones.

Flashy lights shine bright
and vivid in crystal clears,
as young sweet caramel
girls sway to the high
hypnotizing sounds,
spinning hips lost in the
night, gliding on waves,
shaking in the serene
breeze like swinging trees,
soaring endlessly
across the rings of Saturn.

Heavy adrenaline rises
inside the upbeat and
sassy melanin sistas,
stomping stilettos,
show-stopping arms
and thighs harmonizing
to the midnight rhymes,
while hard bassline sounds
sifts inside various dimensions
of extreme delight.

I want to live on a beautiful island
Where it's warm all the time
And on this island I want it to snow
Three months a year
And I want those three months to be
November, December, and March
And when it snows I need it to be seventy seven degrees
And I want the snow to stick
Here I imagine Jack Johnson, Jason Mraz, and Zach Gil will sit around playing music
They'll play from noon to around ten
That's when Kwali the local pool boy ends his shift keeping the oil out of the ocean
Kwali he plays the Ukulele and sings about beaches no one's ever been to until around midnight
When the perpetually burning bon fire dies down and the island falls asleep
As for the rest of the music here on the island
Every morning there's this old steel guitarist
He's from just south of New Orleans
A place called Under Pressure
Really it's just the hull of the broken fishing boat he was born on
But he calls it home all the same
And a kid who used to play trombone for the high school jazz band
But he picked up the harmonica after he found out chicks don't dig trombones
And the two of them sort of play old dixie
With a steel drummer who never seems to find his shirt in the morning
But you never really mind that
And on Sunday mornings this really old woman
Ssays her mom was Harriet Tubman
Which we all know is a lie
But she's got scars from head to toe so you might as well believe something
Man she wails
For two straight hours
She wails
Wails to God, to the heavens, to Jesus, Georgia and the first row of church
And when she wails her tears are a lost language from the tower of babble and we all understand it
And on Wednesday
Wednesdays
We waltz
We waltz to really old records
That we play on the only turntable on the island
That Mr. Lee drags all the way from his house to the community center with no walls
And the whole island shows up in summer dresses and Matthew Mcconaughey shirts
Even the one we call grandma
And her husband who everyone calls Uncle for some reason
Come dressed to dance
And we all leave our slippers at the door this place doesn't have
And the sand warms our feet while we waltz
Sometimes it's the Tennessee Waltz
And sometimes it's the Viennese Waltz
But most of the time it's just the waltz we all learned in eighth grade
Either way
Every Wednesday there is a beautiful girl
She's five five, maybe, five eight I don't know
I've been lying on my drivers' license since I was sixteen so I don't know how tall people really are
She's got south pacific features
But with my track record by the time I actually make it to my island she'll probably be a red head
We waltz
We waltz until the records skip
And our legs turn to Jello and all we can do is collapse in each other's arms
While the ocean tickles our toes
Our finger tips tickle each other's palms
And we let that guy in the moon do the rest
So when you see me set sail
If you can catch me you can climb on board
And if you can't
Then
Wave goodbye

DRUM on your drums, batter on your banjoes, sob on the long cool winding saxophones. Go to it, O jazzmen.
  
Sling your knuckles on the bottoms of the happy tin pans, let your trombones ooze, and go hushahusha-hush with the slippery sand-paper.
  
Moan like an autumn wind high in the lonesome tree-tops, moan soft like you wanted somebody terrible, cry like a racing car slipping away from a motorcycle cop, bang-bang! you jazzmen, bang altogether drums, traps, banjoes, horns, tin cans-make two people fight on the top of a stairway and scratch each other's eyes in a clinch tumbling down the stairs.
  
Can the rough stuff ... now a Mississippi steamboat pushes up the night river with a hoo-hoo-hoo-oo ... and the green lanterns calling to the high soft stars ... a red moon rides on the humps of the low river hills ... go to it, O jazzmen.

365Nectar #8    Crescent City Blues                      
Tues. Oct 1,2013 10:21 P.M.

In the deepest attic
the thumping blues
paint pastel portraits
of the Crescent City

In burning ripples
words slap strangers
taking refuge in Armstrong Park

Slender, ****, and Shorty
growl muted tones that ravage old bones
whip thru Mid-City
and saunter thru the Garden District
all just practice to sizzle in a wild tap dance in the Quarter

High steppin Indians
march toward God
and defy gravity.

Roaring second line
being led by woman powered Pinettes Brass Band
hold rush hour traffic hostage for days
belting greasy mingling tunes
in the eye of the dusty moon

A pitch black struggle
with the old moon
liberated old souls
entangled in soaked strings
and sobbing fingers

A quintet churns and
challenges the loneliness of pain

Strumming fingers
make out with
humming strings
under a starry blue grey sky

Stomping down long black Oak-lined roads
blowing thru shotgun homes
like winter cold howling
lifting heavy weights
from shoulders
like the sun shifting against bad weather
the blues lady
open the veins
of drunken roses

Lungs full of tears
Irma holla's, cries, and moans remedies
north south east and west of a street called Desire
Oh Etta
At Last

Dim Misty light
cast a heavy shadow
on wiggling spirits
as they cast off pain
Allen Toussaint
in smokeless blaze
tips the night air

Kermit blows
Dusty blues
seducing suffering souls
bounding them to each other in bliss

Whispering around town
in a perfect velvet midnight
sweet exhalations of song birds from corner joints
dance the Ruffin groove

fiery trebles wave at people passing by

Down right ***** blues
muzzles twilight
trombones,tubas, and trumpets
lay harmony
under the harmonious thunder
of the Marsalis Masters
and low down deep
in a musty sleepless corner
is the missing Bass-man..

hung over.

Copyright ©2013  Crescent City Blues

Made your reservation fifty years ago,
we waited 'til today,
at the time,
it was so far away,
now we go,
long, long ago, back to when we guessed

this was where we'd seem today.

So far away, grinning still, happy as
the fool on the hill,
sees the story unfold, a thousand voice
choir of messengers going up and down
and back… this continuity in perifery,
ifery were, and ifery was, and ifery at all

times, songs we listened to high,
in the winter of '67, long before
the Eggman died.

When the band was so young,
when the world was younger,
but not much
we kinda
lost touch, after the scariest part.

It was a trip.
Not everyone found their way,
nobody had GPS back then, few knew
what the Grateful Dead were happy about

and nobody had coordinates…
for Blue Jay Way…
seems, we've been too long coming,
Yesterday is with us for constant review.

Critics believe it all leads here.

A hit before your mama was old,
a long, long time ago…

The tune inspired, da-did-dada, she
should call it all art, and we are
all together
after all these ****** Tuesdays,
assure us now that Fridays come.

Ordering chaos to line us all up,
getting reverb in return for echoes
after all's said now another way,
we laugh along with
jokers who do laugh at you,
to push you through the portal,
taking all your time apart in instants.

Noise of others, noise from then,
puke into this mic.
Black hole of best intentions.
Good bye and hello, across the decades,
did we not meet once on the street?
I caught your eye, you smiled,
a long, long time ago…
remember?

I smiled, yes, as I passed,
you did not notice, I passed, it happened.

I smiled. hey, la, ha-hahaha, and took
Kesey's invitation, goodnight, Irene.

I did do the dive into the sea,
with drowning on my mind, going down
beyond the buoyancy, of anyone in my tree.

Realizing nothing since we lost touch,
I thought you all realer than me,
as my shape lost its original intention,
time distorts from
formative decades conforming
affirmational automation, to corporate
clean machines, still a source of pride.
Meanwhile,

we find it easy recalling toe tapping
impulses, now that you know who you are,
have you traveled
very far… further than any magic school bus?

How does if feel to be,
after all this time, to find today, the same old songs.

Never got rich beyond the satisfied mind
I found in a sack behind the opera house.

Nothing you can do that can't be done, it's easy,
say it true, believe it true, prove it makes long term

sense, after fifty freaking years, the laughing trombones
continue laughing at the simplicity past essentials.

Love needs a better definition,
all together now,
everybody, repeat the mantra,

or grow old and never get famous, rich and miserable,
live on with the will to grow older
still, knowing better and worse, at once...
one more time.

Made your reservation fifty years ago,
we waited until today,
at the time,
it was so far away,
now we go,
long, long ago, back to when we guessed

this was where we'd seem today.

So far away, grinning still, happy as
the fool on the hill, and nowhere man
see the story unfold, a thousand voice
choir of messengers going up and down
and back… this continuity in perifery,
ifery were, and ifery was, and ifery at all

times, songs we listened to high,
in the winter of '67, long before
the Eggman died.

When the band was so young,
when the world was younger,
but not much,
we kinda
lost touch, after the scariest part.

It was a trip.
Not everyone found their way,
nobody had GPS back then, few knew
what the Grateful Dead were grateful for

and nobody had coordinates…
for Blue Jay Way… or Penny Lane it
seems, we' were too long coming,
Yesterday is with us for constant review.

Critics believe it all leads here.

A hit before your mama was old,
a long, long time ago…

The tune inspired, da-did-dada, she
should call it all art, and we are
all together
after all these ****** Tuesdays,
assure us now that Fridays come.

Ordering chaos to line us all up,
getting reverb in return for echoes
after all's said now another way,
we laugh along with
jokers who do laugh at you,
to push you through the portal,
taking all your time apart in instants.

Noise of others, noise from then,
puke into this mic.
Black hole of best intentions.
Good bye and hello, across the decades,
did we not meet once on the street?
I caught your eye, you smiled,
a long, long time ago…
remember?

I smiled, yes, as I passed,
you did not notice, I passed, it happened.

I smiled. hey, la, ha-hahaha, and took
Kesey's invitation, goodnight, Irene.

I did do the dive into the sea,
with drowning on my mind, going down
beyond the buoyancy, of anyone in my tree.

Realizing nothing since we lost touch,
I thought you all realer than me,
as my shape lost its original intention,
time distorts from
formative decades conforming
affirmational automation, to encorporate
clean machines, still a source of pride.
Meanwhile,

we find it easy recalling toe tapping
impulses, now that you know who you are,
have you traveled
very far… further than any magic school bus?

How does if feel to be,
after all this time, to find today, the same old songs.
Knowing I'm a rich man, who never cashed out.
Never got rich beyond the satisfied mind
I found in a sack
behind the grand old opera house.

Nothing you can do that can't be done, it's easy,
say it true, believe it true, prove it makes long term

sense, after fifty freaking years, the laughing trombones
continue laughing at the simplicity past essentials.

Love needs a better definition,
all together now,
everybody, repeat the mantra,
The peace you make is equal to the peace you find...
living longer than children can really imagine,
growing old, never famous, not too rich and miserable,
to live on with the will to grow older
still, knowing better and worse, at once

-------- who are you to ask of me a reason to be?

Run the numbers, inquire costs and benefits.
Rest in peace today,

every child knows tomorrow and yesterday
are not simply more of the same aimless instant.

-------- who are you to ask of me a reason to be?

Run the numbers, inquire costs and benefits.
Rest in peace today,

every child knows tomorrow and yesterday
are not simply more of the same aimless instant.

When we straighten out the kinks
give up the high jinks and the japes,
the capers that we catered to
who do we become?

Stiff collared stuffed shirts or
ladies in their bolstered skirts?

peasants as pleasant as they may be
are not the people I want for me.

I like the middle of the road brigade
The marmite, toast and marmalade
set on the table ready laid brigade

actually
I just like brigades
the words sounds so military
full of shot and shell and blood and
guts,
the dead don't go to hell
they join
a brigade

brigade, brigade, brigade, brigade
the call I hear must be obeyed

my kinks are just as ***** now
don't know how and do not care
the table's laid in time for
one more and one
brigade.

---- 2023 youtube I wonder if, and lo': The Planets
A grand background orchestra, mental direct
there, you hav it, too, listen, a few times,
just in the mood, to listen
maybe as you get, that it starts at Mars,
begin as we
think we
Read this at your pace the writer advised,
and I did, a couple of times,
like long stuck records…
To Holst, an offered libation,
to all the minds whose words
are music as big as any mind
limited by my unknowing,
only
using, the truth, music, leading after words,
through ever away,
silent for a now,
or so,
from the Sun, past the fragment,
the single lump at the core,
of the process,
Ash as
Icarus, and Hermes, speedy messenger,
such as see thee, hold the knowledge holy,

watch, see, the wandering planets Holst,
might have seen today,
looking through my eyes,
wordless, right on, so far, as we

agree, there
is power in the mind that writes and reads
music,
power alloted some in blind feel,
power exuding from an ever in times past,

lasting ever tones thinning, spreading, patterning
perfected harmonies unexpected
yet
taken as granted, felt, in passion y sympassion,
same sound,

my once known wind, my bass oboe player,
acquaintance, who called me by name,
accusing me, subtly of not knowing,
there is a forest of low stature,
and there are missions there,
where if you pray,
they feed you twinkies… I recall, between
Venus and busy laughing Earth,

I remember Mars is next,
I am ready, I went into the dark kitchen,
back of the Mission on Fourth Street,
across from an Electra Records Billboard…

ifery approaches, Holst has not gotten me to Mars,
I am pulling in an experience, from a mission,
on Fourth Street, in a mindtimespace shared,

as of yet, by a few, who will know the place,
the ******* Mission, the one
with the Joker who used rats,
to get a startle response,

and at exactly the wrong place, for men with
certain
kinds of sure thing reactions, to diabolic attacks.

2023, approaching Mars with Lou Holtz, I thum thum
thummin wearin' my Razorback hat,
Inter Planatary Hwy 71, to Joplin,
ur in my realm.

Bass every thing slow creep slow, seep as sludge,
to the edge, and look beyond,
this is it, this is the Earth,
we shall survive!

We slay the unbelievers and fake it til we make it,
right, kids?

---------- longhair music, epicyc-lical as neckties,
to male tipped stacking schema for *****,
or stones,
or crystaline tones accompanying the heating up
of life's core cargo cult's last load,

Holst, bass trombones,
here, is the dance of little devils with a mind to make
a difference
in the depths of ever after,
up to now,
I had forgotten the piccolo parts, and the French horns,
and the joy of the big parade,
marching off
to war explore the unknown
for exploitations as per the underling theme,
go forth
subdue the Earth, and conquer all who refuse, to say
this is the way,
this is the good old way,

war
glory and honor, earn the urim'nthummin'n'human
inhumainity, we, the chosen warrior beings,
messengers of differing mocking gods of ****** mud
beyond the final river,
every slogger knows, forever, there remains
one more
river to cross, a final thread to tie to you, listener,

Holtz, still in the background, a journey, what price
each player plays in this, orchestration shared,
as I read, I wrote, as I hoped, I did,

and I remain, giddily glad… my side won the war
I lost.

Peace came, unbidden, apparently,
a deep breath, and harp strings,

this is the future from any ever before, now
to know
this is common, not so rare, as even the idea,
not so long ago,
first radio mono performance,
what child lay in the crib and heard this,
through the grand horn of Gram's Gramma phone.
Y''ello,
toldja, ai ain't no Injunsaint. Pretend, then,
right, ai and mai-y grandma

can piece together some occassional lessons, given us,
she in her time telling me in mine,sssince ever about
I was forty-nine, or so, she told me she was an orphan,
and had no family knowledge, past begins
at the last common thread,
to a native american epic,

when the old deluder, Satan, act, attached
to law and order and rectangular resettlement
of wilderness liberated from savages and beasts…
pawn, both steps, dare… help the Macedonians
and take Uncle Tom wit'cha, whicha oughtn't had
never the less, young wombed men, did tend
to become aspirational, after becoming
inspired read-up young wombed men, hot
to seek adventure, teachin' young'n's, out west.

indistanct depth Holst at the kettle drumms softerafter
- the silent version has a different light show
--- circa 1880's, not historically long ago, most places.
This character,
qwerty guy's friend, has kin as close as my Uncle Cebe'n'me,
who died at Wounded Knee, where my liege republic,
honored some two dozen rapid fire cannon supported
avengers of The Seventh Cav!
And in their hearts,
if not their lips,
was the march in time to Garry Owen. Their families
must be proud.

And that's a shame. We were taught to grant worth
to a medal signifying honor brought to the liege, in victory.

Peace passes that, music makes bubbles, we revisit,
replay the gramma phone version,
some scratchy
real realizing strings singing chimes and harps
of ages past
unveiling, hiding nothing knowing freedom is a sense,
you know
you do not own it,
you do not make it up, it is free. The idea

I had, approached as
hunter
in pursuit, steady as she blows,

leave us hap as may be at a triumph of joyous
curious
dancing twinkle noise amusing being a muse used,
enter tained, and voiced by bass
then tinkles
thin thin thin then Zildjian  K-bang!

____

indeed shakespeare, the world's a stage, but give me
the stage and not the world, give me the actor's proper
compass to define himself in the stage without
the onslaught that bothered nietzsche: imagine speaking
for the entire humanity. i have one for one, where the
"actor" owns the stage, but cares little for the world
in which things are acted according to heidegger's da sein.

inside a room sits a man, reading aloud canto xxxviii,
taking in the funny parts... with ezra's specified decor
of the trilling r, the lip numbing vibrating of m and half m (n),
just to don the evening jacket pipe and waistcoat...
all the way from idaho... losing the accent of course...
like me from the backside of poland, although nearby
the signing of the treaty of *lublin (1569)...
so there he is, sitting like a crow with a crown,
or a crown that's a crow, hunched, nonetheless eager to enjoin
with the surrounding choirs...
in the room händel's tecum principium (psalm 110) -
if händel never bothered to expatriate to
england... we'd only be left with elgar and
vaughan williams as the sole exports... what shame...
here's to the fireworks! in the room this scene... but outside
a first movement of ηoλιδες by franck...
so indeed the voodoo ****** needed for the giggle
from canto xxxviii (contrary
to what was suggested, and the suggestion
was that i could enjoy music & poetry
as much as i am now with a woman,
to prevent the waterfall from mt. ****,
the boredom, the scaly crocodile the
erasing ink of octopi... all that with a hope
for censored ****... and children and the absence
of private thinking... to appreciate it once is
not enough... and with woman of choice
only one account holds sway... tear jerker at the opera
and furthering this withstanding joy at beauty...
perhaps knowledgeable with an operatic spouse,
but no step further... in that great foundation
of life and grey matter... a tier below the merchant...
the buyer... the exchange of rotten deeds for
glistening goods - with woman the scarcity of
fed inhibitions expressed in the pure inhibitions
of sentencing blissfully haloed loneliness
into the resounding exchange of thought & voice
(esp. of someone else, once written);
no, we dare not invite profanity of such
crescendos as woman is capable of to replace
the ecstasy of the violins harps and trombones...
for indeed with a woman i'd be chained to
hear the worsened sense of symphony...
and more angina or animosity for what i prize
are relevant coordinates of executed choice
that leave no wall of my vicinity cold and
ghostly as if a dialogue with someone
was necessary; but to the poignancy of the canto:
1. the cigar-makers automation requiring recitation
    to combat the capitalistic rat infestation,
    known as mechanisation / automation,
    according to dexter kimball,
2. because of a louse in berlin
    and a greasy basturd in austria
    by name francios guiseppe.
3. on account of bizschniz relations.
4. and schlossmann suggested that i stay in vienna
    as stool-pigeon against the anschluss
    because the austrians needed a buddha
5. der im baluba das gewitter gemacht hat...
6. kosouth (ku' shoot)

and i end with that... there's more but i cannot
spare not inviting this gentleman in smockings
who said:
i say... didn't the english forgo the use of
other europeans the necessary stressors of accent
to singular letters rather than words
or word compounding, all cockney ****-side-up?
i dare say those french bass tarts
put the ' over the e, and the papa turds on top
of the o... while our kin too to sharpening and shortening
things... taking 'em fo' d' fool...
so if there's direct correlation, my german compatriot
said... itz zys: diacritic of french with o and le v. la
is the english of would not with wouldn't.
now i think the modern fictional hannibal
has a mirror proper... without the mexican doctor (
cannibal etc.) but with this villager from idaho,
making it big in london and paris...
as all "little" villager folk do...
given there's less cosmopolitan conversation about
among the slapstick nobility humour scheming
and socialite consciousness with the odd dry martini -
given there's less of all that, where you can
go to sleep at 9pm, and wake with the roosters at 5am
(in summer), milk the cow, feed the hens, pluck an organic
tomato... and get excite about village traffic - tumble weeds
speeding, ol' mcdonald wrote a poem:
a tad bit cornish, nonetheless, the sort of nourishment
that redeems.

An emporium full of visual delights, moonbeams bounce and dance, around a pitted cloud clear site.

A shooting star shining, a whooshing sound if heard, lights the sky as it blazes bright, starting in the east, accelerating, disappearing out of pleasured sight.

Stars blaze illuminating dark, the galaxy forming its magical map of horoscopes in this glorious orb, Its North Star guidance for some who navigate upon our planet earth be it on land air or under the sea, a million or more miles the distance should we achieve the ability to or want to go see up close these glowing planets of rock, gas and ore.

Dying stars growing in their brightness, as if, a last attempt of holding life,
Glowing brighter than before their internal charges disperse, fading no longer able to ignite.

Dancing colours in the north and south, painted great abstracts wide and far,
Hues of fusing reds oranges yellows greens across dark blue,
Spectacular moments for those with time to sit, observe and view, these magical electrically charged special dancing hues.

Reflections distorting down below, hues shading, appearing blushed as oceans gush and light rides upon a moonlit magnetic heaving tide, a tide awaiting, a stage set for two

Only you can see the magic being created in front of misted, barely woken if open eyes,
Only you can see the rising spirits coming up to play upon the core of sphere,
Under the kaleidoscope twinkling melee filled bustling sea and sky.

Rise up, a beckon, a call to you, come join this light filled orb of invisible tunes,
Where a piano plays a serenade and the orchestra complements with
Soft sounds of Trombones, cello’s, violins, tuba’s, drums and flutes
A tempo set to sweep excited people off their seat and on into their dancing shoes

Rise up in your sparkly dancing dress and shoes for you are floating Imagination growing with every timeless move

Twinkling stars blinking approval, reflections in the agreeing tide as it ebbs and flows.

Rise up, move, dance, sway, step and jump to those imaginary magical tunes
A prince of darkness, a dreaming queen  
A loving scene, a glory electrically charged night time dancing dream.

Carnival carvings seep into your tombstone.
And from the ceiling, we hanging, in red
and black striped pajamas watched you
get lowered.
The jesters
       cartwheel in my laugh,
they travel and trial, tediously tar, and rat aches
in to my tartar.

I weep for the wayward west, that
(you never explicitly promised) we were to visit.
I've seemed to begun, helter-skelter a few;
                   steam trombones
There
are no masonry aemons.
Of ghouls gnaws only poetry,
awaiting our reunion, my dearest Laika-
forever deceased.

Crack, a littlesound from the mast
Reacting cordially to the touch of the monsoon
On her old wooden structure
A tender embrace he gives
Stretching wide the black canvas
Whispering tales of the brave
The once beautiful and strong
But now lay wrecked at sea bottom
Harboring souls of the deadCaptain Black and his crew
An old map of the sea
To the lost moving island
Resting the rulers of the sea
The great kings of pirates

Whoosh, gentle waves drifting
Rocking us rhythmically
A musical sensation it feels
Like a fine tune of a classical
Conducted live in the open sea
Trumpets, trombones and tubas
Violins, violas and harps
A symphonic sound for the traveling souls
And as the sea guardians work
Attending to Captain White in his cabin
I stand on the deck
Relishing thecold breeze
Watching the moon shiftOn a midnight sail

I got the blues like James cotton and the crew

The blues in my hands
Like the crew and James c.o.t.t.o.n

Not like k.r.a.f.t
More like zatarains r.i.c.e
...A lonely mans meal
The blues
For crying out loud my ol lady left me
Every 5 minutes for 9 minutes
I cry without tears coming down my eyes
So no need for a bucket
My cheeks are dry
I cry through my trumpet
My cheeks are cramping
I cry so often and so long
The way in which my feet tap you can't tell that it's a sad song

I thought I would've Lost harmony when Monica left
But my harmonica explains the exchange of breaths going through my chest

Yet, blues explains my mood
On stage with my dudes
Audience in-tune with my news

The blues
I got the blues
Can you relate?
Did she escape?

No wonder why you're rapping and sagging
Bluffing and bragging
And your not huffing; puffing , and nagging
To get a case of the blues the love between the two once upon a time had to be true

I got the blues
And it's hard and complicated
I am strung like the guitar
...Observation!
There's no contemplation
Nor hesitation
I abandon my mentals
And create instrumentals
I got the blues
And to prove I have the bruise
Heartache and headaches
Allow me to groove
The blues, skies, teals, turquoises
No lies, tears nor voices

Real blues like fats, Percy , Ruth, king, archibald "stack-a-lee", hank Williams "nobody's lonesome for me"

The blues
My aching trombones
Drug free, but my bass is laced
I let my fingers rake
The blues
She don't know what she had
Hope that I can put down my flask
when I move on to jazz

last night, the same woman from a previous night prior to last night, walking with shopping bags into an affluent area of the town, giving me the ultimate evil stare of all famous superstitions. the second time, last night, the same woman, the same diseased stare, and this poem - as a result of being impregnated with too much evil; call me superstitious, but not all witchery is softened by psychiatric reasoning and antidepressants.*

and then i hear of my parents meeting a friend of mine's father,
an "antique" dealer for the tourists
slander me for drinking too much and not glorifying marijuana
while insults were thrown like snowballs
before my mother and father entertaining guests from canada,
i talk a bit more with him in a pub a few weeks later,
he tells me of the topic of conspiracy to commit ******
with haemorrhage symptoms like nothing: but how do you know
he says; i offend him with courting: but how do you know
whether i'm telling the truth or lying? in silence.
i raise my hands upon parting, we part:
diana wanna hugs? no, diana wanna scrap metal.
his father made our friendship less by not including a monetary
exchange of power, i'd flex a bicep my way had i a necessary
drinking partner; but i don't: the chip man sold whole potatoes
deep fried in the shape of fabergé eggs... his father sold
traffic cones in the shape of trombones at a higher price, only
because all the buyers were tourists.
socrates was wrong though: poets are not rhetoricians
or sophists, what we are we are because we use rhetoric and sophistry
to insult people, trying to remain in tact: better that
with any army, we're more armadillo word-to-word than the hoplites
shield-to-shield; idiots never known an insult for a gimmick
unless a chess-precise knuckle is utilised on unchaining linkages;
but like the saxon i too, on the vibrant islands of celt and caramel,
the second wave of saxons came, the scot and irish celts worried
about lambs of isaac, but lessened their concerns
with the norman landing - so i too originated upon using
my tongue to a disadvantage, and it worked, for hastings and for all,
"lying" myself abrupt with a burp for the sparrow to ease lighter spacing
of the advantaged footstep.
we were poets, word-to-word tighter than the hoplites shield-to-shield
for what the gladiators called armadillos of a farm.
socrates didn't get it, since he reasoned: i to noun, equating it only
as questioning pro to the guise of inquiry, but among the native nobility of greece,
poetry survived, songs and jests supreme, park bench hollows
for the termite lisp in sounds of the multitude,
had but the termite song bore a chair to rock a baby blue,
i'd too rock a baby in suffocating termites song,
but we known nouns are not delicious "out of time"
in the adjectives, for we know nouns as static insurmountable objects,
and given the unitary subjectivity of sport statistics,
they are only worth a passive commentary of nodding and passivity
to please - i.e., never was sloth a gamble to ease a fission of gambled lessening;
but if philosophers corrects poets, then poets end up correcting furtherance
with philosophy simply plagiarised for academia's salary bogus;
wishing that socrates only took the bribe rather than the poisonous brine.

i start the night off reading *the offence of poetry, by an emeritus prof.,
hazard adams, gets me ******* to the point where i forgive the culprit
of rotten *** and jealous ****** born lute worthy out of wedlock...
why the violins i ask, chopin played a few dirges on piano,
why the sentiment to imagine Dickensian paupers?
a violin dropped from the sky with frogs & lepers didn't **** anyone,
but a piano did, once, in bad key.

i started the night off reading a book: the offence of poetry,
got *******,
walked off into the jiggle night starry for some beers,
walked past a family: mother, father plus 3, a boy and two girls,
headphones on, hushed, then my hairpiece the attention,
walked into the off-lice, picked up 8 cans,
stood there imitating conservative *******,
spotted the mother eagerly brushing shadows with me,
tilted from my eye corner into her face
and spotted a ****** up face of smiles:
girls talked about me like zoella,
i donned my pseudo self-inventive chonmage,
hair too thick;
but i egged them on in rugby, loving the tetragrammaton geometry of
two H, y for threes in dimensions and
all the tactic being: // \ for the w.
pardon me wrong but was it: eager eagle's nest the jester in clown's face paint
**** of splash in conversation?
but don't you just love a married woman with three kids
putting two wine bottles on a counter looking at you
after her children said something noticeable about you only secondary in dreams?

well... there's the rude story of a friend's father among many
to claim the accent in jealousy,
father ****** no. 2, hide his ***** in a ******* prior to the girthed birth
experience of: "rising to the top of law and commerce."
idiotic ******* the load of them;
happened in leicester sq. i have you know,
irish was blazed in ginger that day too reminiscent of celtic,
but as you know, intelligence and the irish swing into the maxim:
a man walks into a pub - they delivered the concrete!
the pub is emptied, the irish run out for hands on prayer missing -
in shakespearean metaphor of folding monks giving prayer to ****
the ***** and lips the kiss, for whatever reason was worth a rhythmic suffix as towed into -ed, -ed.

Oh playas verdeantes de algas marinas, sobre
las guijas de estridente diamante y flavo cobre.
Oh piélagos preñados de la cálida voz de las sirenas.
Oh piélagos que nutre denso susurro: -trenos
de náufragos a la deriva por sus senos
procelosos, y que yá dormirán en las ondas serenas.

Yo anhelo tus ilímites planicies: hielos glaucos,
brumas, nieblas -última Thule- para ulular mis turbios himnos raucos!

Yo soy Harald, soy Harald el Obscuro.

Todos los viajes, todos mis viajes, son viajes de regreso.
Yo torno ahora, retorno ahora del azur y hacia el azur. 1
Violada luz diaprea sus rútilos zafiros.
Voz de sangre sus zafiros denigra.
Mas nó otro azur desea mi vagabundo sueño:
sólo ése azur cebrado de vïolas, ése azur ocelado de abenuz..!
Oh piélagos transidos de agorera pavura irremisible.
Oh piélagos que asorda gríseo clangor: equale
de trombones, en lento ritmo y voz velada, audible
sólo para los seres que un Fátum fúnebre señale...
Yo anhelo tus ilímites planicies: hielos glaucos,
brumas, nieblas -última Thule- para ulular mis turbios himnos raucos!

Yo soy Harald, soy Harald el Obscuro.

Yo sólo amo tu amor, fatal Isolda.
Erigiremos en todos los caminos nuestra gitana tolda aventurera.
Yo sólo amo tu amor, oh brava Isolda!
Brava Isolda hechicera!

Yo soy Tristán de Leonís: -ligera
por todos los océanos nuestra nao pirata
discurrirá indolente, con viento ameno o duro; 2
bajo la lumbre de topacio
del sol;
bajo la luz morena de la rosa de plata;
o en la noche ceñuda -lúgubre y agorera-. 3
Por todos los océanos nuestro amor, y el espacio
sin lindes, y el ensueño, y hacia lo ignoto navegar... 4

Por todos los océanos nuestra libre galera:
y en el palo cimero la flámula escarlata
con una rosa endrina,
y en nuestros corazones la rosa purpurina
y la flámula negra...
Nuestra nao pirata
discurrirá por todos los océanos al azar, al azar, al azar... 5
Erigiremos en todos los caminos nuestra gitana tolda aventurera, 6
y el refugio ilusorio de nuestro ciclo errátil e inseguro...
Yo sólo amo tu amor, mi brava Isolda,
yo sólo amo tu amor, Ilse hechicera,
yo soy Tristán, soy Harald el Obscuro.

Dancé cantando mi canción acerba.
Era el véspero, casi la noche, era el véspero de ceniza.

El tardeño cocuyo su luz irradïaba.
Su lumbre ingenua mi ingenuo corazón iluminaba.

Mas mi espíritu pérfido mi ingenuidad enerva,
y en el ingenuo corazón desliza
fragante zumo de su ponzoñosa hierba.

Yo soy Tristán, soy Harald el Obscuro.

Divagar. Divagar por inéditos climas.
Metafísicos vórtices. Remansada sapiencia.
Júbilo y alborozo sensüales.

Ebrias sedes. Acidia muelle. Venus autumnales,
ingrávidas adolescentes: oh vendimias opimas...!
Al propio tiempo, nugacidad y vacío, y nesciencia...

Oh mujer, arcangélico vampiro,
demoníaca Ofelia, cándida cervatilla, híspido
endriago!

Todo lo excelso aroma en tu sollozo y en tu suspiro y en tu sonrisa!
Perfuma en tu pasión lo deletéreo y lo inefable, lo joyoso y lo aciago!
Tifón de tempestades y sosegada brisa
cantan en tu pasión:
y un trémulo murmurio pulcro balbuce en tu corazón!

Yo soy Harald, soy Harald el Obscuro.
Yo soy Tristán de Leonís, acedo.

Yo sólo amo tu amor, Ilse hechicera,
yo sólo amo tu amor, fatal Isolda,
mi brava Isolda!

Yo soy Harald, soy Lancelot: -blanda sonrisa, corazón perjuro;
yo sólo amo tu amor, tu amor áspero y ledo,
venenoso y lustral, proclive y puro,
pérfido y claro, y abisal y erguido!
Yo sólo amo tu amor. Ilse hechicera,
Furia hechicera, Lálage hechicera:

Yo sólo de tu amor -Ilse- me curo:
y al azar de las rutas erigiremos nuestra tolda,
fatal Isolda,
y en nuestra tolda un penumbroso nido,
y al azar de los vientos singlará nuestra nao aventurera...

Yo soy Harald, soy Harald el Obscuro.

My afternoons have been spent listening to her
And her mind-numbing jazz, the trumpets
and the trombones, the bass guitar and the piano.
I'm almost tone deaf but, god, I could feel her soul
through her songs. She has caught me
like how liquor stared back at me
with her golden stare
As the ice begins to sweat.

After school she would teach me
How to handle her instruments:
The soprano, the alto and the tenor.
The former, we would practice often at her whim;
Her favorite sax which even with a few notes,
she'd ask me to play with her.

In her own words, "You have to imagine"
"Making love to your instrument."
"Imagine me", she said.
And for the first time I heard her play
Pink panther off key.

Place de la Gare, à Charleville.

Sur la place taillée en mesquines pelouses,
Square où tout est correct, les arbres et les fleurs,
Tous les bourgeois poussifs qu'étranglent les chaleurs
Portent, les jeudis soirs, leurs bêtises jalouses.

- L'orchestre militaire, au milieu du jardin,
Balance ses schakos dans la Valse des fifres :
Autour, aux premiers rangs, parade le gandin ;
Le notaire pend à ses breloques à chiffres.

Des rentiers à lorgnons soulignent tous les couacs :
Les gros bureaux bouffis traînant leurs grosses dames
Auprès desquelles vont, officieux cornacs,
Celles dont les volants ont des airs de réclames ;

Sur les bancs verts, des clubs d'épiciers retraités
Qui tisonnent le sable avec leur canne à pomme,
Fort sérieusement discutent les traités,
Puis prisent en argent, et reprennent : " En somme !..."

Épatant sur son banc les rondeurs de ses reins,
Un bourgeois à boutons clairs, bedaine flamande,
Savoure son onnaing d'où le tabac par brins
Déborde - vous savez, c'est de la contrebande ; -

Le long des gazons verts ricanent les voyous ;
Et, rendus amoureux par le chant des trombones,
Très naïfs, et fumant des roses, les pioupious
Caressent les bébés pour enjôler les bonnes...

- Moi, je suis, débraillé comme un étudiant,
Sous les marronniers verts les alertes fillettes :
Elles le savent bien ; et tournent en riant,
Vers moi, leurs yeux tout pleins de choses indiscrètes.

Je ne dis pas un mot : je regarde toujours
La chair de leurs cous blancs brodés de mèches folles :
Je suis, sous le corsage et les frêles atours,
Le dos divin après la courbe des épaules.

J'ai bientôt déniché la bottine, le bas...
- Je reconstruis les corps, brûlé de belles fièvres.
Elles me trouvent drôle et se parlent tout bas...
- Et je sens les baisers qui me viennent aux lèvres.

The swivel, point, leap and cross of her feet on wooden floors.
Bending backwards to break the fluid boring motions.
Fingers clenching and opening to reenact a blossoming flower.
Toes circling around her frozen foot and
Shooting up high
To touch the sky.

Violins begin the piece with calming tones followed my soft piano keys.
As the trombones and trumpets trickle in
Her body leaps and lunges,
Bringing her to the ground with one leg pointed and raised to the ceiling.
Dance with me
And then you’ll see.

Reaching out her arms to touch the viewers in the front row.
Stretching her feet out to gain momentum for her ****** forward.
Her head almost sweeps the floor.
Flutes take charge and she swings her hips,
Only to create a **** whirlwind.
She collapsed and held she shin.

No one moved or made a sound. The hall fell silent.
She spread her body out on the paneled ground.
No sound left her lips.
She flipped over her left shoulder and landed in a split.
The crowd clapped vigorously, cheering.
Her mother was in the front row crying.

That girl I saw enchanted my dreams.
The rolling of her body and the extension of her legs filled my thoughts.
I wanted to be wrapped in her arms with mesh tool tangled between us.
I wanted to learn every motion she knew and replicate it.
Her eyes caught mine and she
Said, won’t you please dance with me?

Evergreen soldiers at the whim of Alraus
I've had a recurrent dream of the enlisted warriors
abandoning their post , occupying the fertile grassland
in a chess type move to gain control
Free of shade , of root-bound thirst , of choking
moss gathering unchallenged in overpopulated arbors
A celebration courtesy of the Robin Knights , the Chickadee troubadours ,
the Cardinal gentlemen at the Court of Queen Chestnut
Slash , sugar , loblolly and white oak
Persimmon , hickory , honey locust and dogwood
The myrrh of gardenia , magnolia , honeysuckle and tea rose
Earthen red clay , white sand , black loam and kaolin
Grasshopper cellist , cricket flautist , a chuckling crow with a
Spanish guitar
The toad trombones , a bluebird violin solo , a mockingbird reads
a touching poem that even sways the worker ants into a brief pause
The Old Forest becomes pasture and the grassland young woodland
The dove cue the night , the katydids croon to the moon ,
the bullfrogs 'pooka-dooka' and the lovers swoon* ...

No mad coffee shop
emotions make time real be-
tween jazz consciousness—
and the taste of sound howls for
soul on city gas
beaches that work naked like
***, like sleep; selling
ev'ry beatnik book in some
village.

Cats improvise god in barely-there clubs,
so cigarette smoke music can be cool forever.
The slide guitar, gutter trombones, the sax,
drums beat into submission, and
that voice scatting softly but strong
like hail in the scrap yard.

Be-bop skiddly bop do-*** skiddly bop.

Those lips crack off dryer barrels, blender bases,
alarm clock cord plugs rapping on the dumpster.
Those teeth chew out heels on pavement, police
tires on gravel driveways, the 8:15 bus' hiss hydraulics.
That soul.
His soul.
Is just that.

Like banging a drum
                      passed the graveyard,
it's all he can do
to tell himself.. it's not hard.
The tombstones cast an iery light,
you can hear the faint sounds of trombones
caught behind the moon
on this chilly night.

One makes stands
higher than the other,
he recognizes this
to be his brother.

Then he takes out the fold-together  *****
from his back-pack,
and commences to dig.
He digs and he digs,
the pile of dirt grows around him..

then all of a sudden.. clunck-clunck...
he hits the ornate casket with a rock hammer,
that casket that was bought and sold
by the many wails and tears
of the family and friends.


out strikes the rock hammer,
...thud...thud...,thud.

he says to himself.. this must be hardwood...****.. I should have brought a drill!.

aghh the life of a grave robber... not quite a coffin cheater.
his hands are ***** now, and the midnight sky twinkles dissent.

it's plain though,yes its plain,it's plain it's plain...

Digging' up your own brother for a watch and a suit that might not even fit you.. and what else.. a couple of rings.......  good luck to you.


© 2013

hear the music
It's funny, when we read.
One hears music of thought.
Light Clarinets with supporting Cello.
Five word sentences for now.
Smooth and gentle tones around.
Seeing the conductor's swaying arms.

We pick up the pace going fast.
Now violins playing quickly back and forth.
Sevens words at a time building expectation.

Nine words brings us almost to the great clash.
The heated strings of the instrument playing ever hard.
The horns gaining confidence and aggression with every second.
Cadance. Cutting into the music. Stopping. The Flow. Chopping. Arms of the conductor. cease.


Soft wind instruments singing
Trombones and Tubas lumbering in.
Cello, Lute, and percussion adding.
                                                         ­                               *Whistles of the Flutes
Quickly rising
    as the music picks up tempo
              the conductor with more vigor
                           The energy rising and rising
                                                     sporadic outbursts
                                                       ­         heading towards the
                                                             ­                     CLASH of the symbols
Now the music and words flowing with no breaks and stops always filling your ear with this continuous overwhelming yet pleasurable sound of thoughts and ideas bouncing around the walls of your skull the never ending music coming down gluing you to your seat with a cacophony of chaos that makes you read on and on until it
                                                             quickly
                                            descends
           ­                      into
              complete
stillness.


Blank balloon of silence punctured by the needle of a Oboe

                                                          ­                                   Sliced by a harp
The symphony of words is endless.

as if anything could ring true to a fanciful melody
with chain-mail and crockery,
but not in the symphony of snoring harps
and whistling trombones as much as:
falling asleep as quickly as the tailing off of the song
looking through a woman (christopher young,
hellraiser ii, hellbound soundtrack)
and entering the realm of dream with something to think about...
and in dream, to stand outside one’s own body,
and peering through the window
to see a lightning bolt strike the ground... and instead
of disappearing due to crap wi-fi
begin to dance... moving with heavy crackling sounds
as if a man walking on autumn leaves or crisps
thump, thump thump an electric heartbeat with a sort of
freezing of water glow that expands to diamond diadems of ice,
surely no better compliment to the poem picasso behind the window...
no critical comment, no lovely jubbly one pound fish sing-along in east ham,
no... none of that... the best compliment... a furthered meaning
away from the act from the night... not so much
picasso behind the window... but a bolt of lightning, dancing
a dance of icy luminescent silver in ultra-violet x-ray.

trombones play dead jazz
as zombies phone home during
witching hour curfews
and soccer dads in loafers,
some how broke through
haunted ghost tombs.
the dirt, wearing wolf pants
raising me errant,
giving no deserved praise,
in the moon light
of the circled days
where life controls the tides
as kids surf the waves.
solar senses showing
sensitive minds lending lenses,
deliberately shining intensive
like jackolanterns enshrined in crypts
prescribed a limit by times decision
only the most on point physics exist when
lonely kids knowing
the sky's distance is just myth
hacking schemes bent on ending happiness
as it seems, this rent exists to hassle us
remaining skeptical when it comes
to syndicates of master trusts
stick a curly crazy straw in the red sea
slurp up all the kelp and the dead things,
a young witches getting all messy.
soon, a consumer's real dream in Sumer
concedes hands free to a banshee bloomer
fleshed out as pure steam, still streams
of blood flow filth stinking like sewers
smelled by cheaters
spreading tricks for treats
like ticks with diseases
throughout suburbia
disturbing macabres
echoing curses reverbed from past times.

His bone spinning ****
sends my body into the
deepest dimensions beyond
infinity, smooth syllables rolling
around in my mouth, juicy thickness
curling into the air, surrounded
by scintillating trees and leaves,
full moon of delightful dreams,
wheels whirling alongside gleaming
mansions, eclipsing the grandest
escapes, soft stems gently growing
in grandeur, blossoming roses
singing in the spotlight.
a world of strong metaphors
breezing in the wind, sunset thoughts,
brilliant truths, a divine essence
shining in outer domains, more like
serene Venus, iridescent Neptune,
shimmery frequencies rising over beats,
reciting nonstop anthems within rocking
realms, dancing breakbeats, heavenly
voices – vibrant, membranes of mega
rhymes, membranes of insane lyrics
swirling through the body and soul,
slippery sensations, watermelon dynasties
of crazy grooves, sunshine horizons,
starlight saxophones and trombones,
high notes careening through my veins,
making me float in faded spaces.
His hypnotizing head an evolution
of sleek depths, tangible angles
and shapes, star-spangled diction,
systematic conjunctions and gerunds,
two-dimensional eternities transforming
the days into nights, and I can feel the
earth spinning within his vessel, vivid
slow jams bursting between his legs,
sheer sounds becoming a constellation
of breathtaking mazes, captivating
derivatives, warm vowels surrounding
his sensuous sea wave.

Trombone bones
don't make a poem
Funny that you ask

I wonder what or why
made you the cry
Now I have to ask

"The bones are bleached
then laid bare
upon the Sands of time"

"We hang by threads
until we cut
the rope of life that binds"

Then the funeral proceeds
down the street
Clairenets , trumpets
and trombones

Life is chance
a game of dice
Won't you roll the bones

I want to know what happened to the love
between you and I, the late-night cuddling
over sweet sensational songs, our bodies
curled up next to each other breathing in
the warm melodic beats, the moon and stars
hovering over our beautiful brown skin,
gentle fingertips pressed against chiseled
cheeks, sky grey eyes shining in sight,
as our heartbeats swayed at ease in
seamless rhythms.  Your love was the
jazzy saxophone player playing his
harmonic sounds over a summer
enchantment, drumbeating trombones
marching in glorious motion, snares
and drums rumbling in brilliant blue
scenes.  I never thought I'd see the day
that you walked out of my life and told
me that you never want to see me again.
Your heart had moved on with the wind
and the cool rising seas.  I was no longer
your serenity, the masterpiece that made
your world a brighter light.  And as I
replayed every single world, how it's brutal
diction cut deep inside my soul, how
everything made no sense, how when I
walked into the bedroom, I could see
the shadows of your faded love lingering
in the air.

When I was little,
I thought I'd hear god in the back of orchestras,
with shining trombones and thundering timpani.
Now I hear her
in the sobs of broken mothers,
and the rustle of the leaves.
Things that aren't tangible
but still matter most.

My golden brass
Did you hear a silver tone.
One day I remembered the sound we made.
Oh boy with thirteen trys
I played the song of things.
The sound was a still like a drop of rain.
Great full Holst composed his eyes in vain.
And now im chopping my lips with my dreaded lay over.
Five years ago and now im searching the twenties
For old photographs  about the way I played.
My heart stops and excepts the choices I made.
Because the future now the preseant is grey like a grave.
I still dream of film and simpler days.
Like it was still ambitious
When I see trombones sliding and clarinets deciding
What reed made the sound of jazz.

I always loved games but the only thing I was truly good at was being competitive
but that was the element of fun, the game become a job
and this isn't going where you think it is
but there I go again, twisting and turning some made up play around your feet
so carefully constructed you could see through the passes
I was really more from the drama side of it
memorizing my lines carefully like a beat I had to march to
I never sat on the bench, because I was always a starter
but i sat the fight song out and  I had to look up that football reference
because I thought I was rebellious, taking to jazz to play solos
whatever would dance out from my bell
but when the last bell rang on my last day in first
and I got drowned out by trumpets staring down the horns by the modest flutes
i lost it, like medicine that wont go down
a spoonful of sugar didn't help anything when I buttoned up that jacket for the last time
oh, I had a merry tune to toot
because like every good marcher, i memorized my part
first, before the rest, and after the tie to second
I didn't bother much to play in 8ths instead of sixteenths
I conditioned for years, and had very little time to rest
being competitive made this sabotage become a piece of cake
oooh when that tape came back
and you were buzzing like a bee to find me
and i'd smile at the cassette you were holding, because a mouthful of sugar will help the medicine go down
that's where our story comes to rest, no more measures on repeat
and the only reason I write it down now
is for the laughter we consumed when you knew
I made your audition different
because who had any sense you'd play first inline with the trombones
and the sound of it
would be a spoonful of sugar, that made the medicine go down