he is six feet tall, curly and blond, and john-lennon-glasses
he purses his lips, trumpeter-sans-trumpet, wherever he goes
he is the only one on the sidewalk
even when everyone is on the sidewalk
he smiles at you
“how are you today!”
and reminds you he is from west virginia

he cooks corn on the cob in a too-small kitchen
and stops after one beer most of the time
he’s the neighbor of neighbors and he’s
the trumpeter of trumpeters
if you’re listening

and he might be alone but you’d never know it
he'd offer his couch, an ear
a cup of sugar
if you should ever need

a trumpeter

Gather 'round children
To hear the story of
Obsessionman
Our extremely watchful protector

Bitten by a radioactive trumpeter at a young age
He obtained the super power
Of constantly thinking about the moment he was bitten
His power only grew stronger with time
When people told him his power was ****
His power grew
When people mentioned the toxicity of his radioactive waste
His power grew
And when he encountered his arch nemesis; the trumpeter
Everything grew

You should've seen how fast he flew
He soared quicker than
All the ******* he had once considered important
But when flying at such high velocities
Civilians become interlopers
And interlopers become super villains
Which is no laughing matter
Aquaman went comatose
And Comaman got aqua toes
Sacrifices we were willing to make
But then God intervened
And Obsessionman ***** Him
Which we all agreed was kind of ****** up
Decidedly so...

I mean...
What can you say about your hero when he ***** God?
But that's the beauty of Obsessionman
All he requires from us
Is our disgust, indifference, and hatred
To feed his strength
Until the day he is powerful enough
To fulfill his destiny
And face his arch nemesis
The trumpeter

It was in the earlier part of November, 2005 when I was called to the garrison HQ to receive an emergency Red Cross message informing me that my grandfather had passed away. I was in my third year of service as a direct contractor to the Army and my duty station was in Iraq. More specifically, I was at Tallil AFB near the city of An Nasiriyah. I was granted an emergency leave so that I could go back to the US to be with my family so I stowed my gear, packed my duffel and made the long trip home. This was the first time I would make this trip, but I’m getting ahead of myself so let me back up a bit. You see, my grandfather had served in the Second World War, actually both of them had. They were brothers. PFC Eddie Kassab, the one I’m speaking about here, had survived WWII through some pretty tough odds, including being on the third wave of the Normandy invasion at D-Day where thousands had died during the beach head assault. His brother, SFC Joseph Kassab, who married my grandmother, was killed in that war, He was a bombardier and his plane was shot down during the Guadalcanal campaign. It wasn’t until 27 years later that the wreckage of the aircraft and remains were found and recovered. When Joseph died leaving behind his young wife and new born son, Eddie began looking after her, sending home money for her and the boy, my father. They wrote back and forth to eachother after the dissappearance of Joseph and when he returned to the US after the war they courted and were eventually married. Joseph was laid to rest with the rest of his flight crew in Arlington with full military honors. Eddie, who died much later in life, was also afforded a military service there. That was my first time being in Arlington National Cemetery, a place reserved for men and women who had served their country in a military capacity. It is difficult to describe just how immense and powerful that place is, the impact you have on your life just from standing on those grounds is indescribable. If I had to try I would say it’s a mixed feeling of Honor, pride, sorrow, and a profound sense of loneliness. There are row upon row of white marble markers spanning miles of emerald green grass and broad shade trees. The markers themselves are simple, nothing fancy, but the respect they command is beyond contestation. There are also wall vaults for those who were cremated, one of these would become Eddie’s final resting place. The US Army's honor guard performed his service, while a trumpeter played “Taps” and his flag was folded and presented on behalf of a grateful nation to my father who Eddie raised as his own son. In the distance a 21 gun salute was given by seven riflemen firing three shots each. It would be the only time in my life that I saw my father cry. We took the time after Eddie’s service to walk to Joseph’s grave marker as well, passing thousands of other markers and I found myself wondering how many of these people were forgotten by the years. How many of them left behind young children. Were they killed in combat? How many of them were laid to rest with a grave full of unfulfilled dreams? The sacrifices they made weighed heavily upon me. It was a feeling I would carry with me long after I had left that place.
Years had passed and I found myself still working in Iraq for the US Army, I was stationed at Camp Taji this time, on the edge of Sadr City, a real dust bowl. I was in my eighth year of service when I was again called to Garrison HQ, another emergency Red Cross message had come through informing me that my Father had passed away. It was December 29th 2010. For hours afterward it felt as if I had been punched in the gut. I called my Mom as soon as I could to make sure she was ok and to see if there was anything she needed before making arrangements for yet another emergency leave. I again stowed my gear, packed my duffel and headed out. Now, it’s only fair to give you an idea of whom I’m talking about here, my Father, Jan, had been a Navy man and had been stationed on submarines as well as destroyer class ships during the Vietnam War. He signed up for service when he was just 18 years old and when he left the Navy he went directly into the Maitland Fire Department in central Florida and stayed there for many years. Eventually he expanded his training becoming the 80th paramedic in the state as well as a certified rescue diver and instructor. More importantly, he was a great father who raised two boys as a father should and later in life, he was a pretty good drinking buddy. His teachings and advice have helped me through some of the toughest times in my life. It was because of his prior military service that he was also awarded full military honors at Arlington National Cemetery. There was a waiting list of about 8 weeks at the time because of the high volume of casualties from the wars in the Middle East so it wasn’t until February of 2011 that he was finally laid to rest. This time it was the US Navy’s honor guard who performed his service. I remember it well; they stood in their dress whites throughout the ceremony in the biting cold as the wind whipped by mercilessly.  The honor and discipline in these men was no less than awe inspiring and through my sadness I couldn’t help but feel an amazing sense of pride for who my father was during his life. We all stood as a trumpeter again played “Taps” to the folding of my Father’s flag which was presented to my Mom on behalf of a grateful nation after a 21 gun salute was ordered in the distance. My Father’s remains were also placed in a wall vault that became his final resting place; his marker being only about 20 feet from Eddie’s marker in the adjacent wall and even though it was freezing that day, we took a little extra time to visit Eddie and Joseph again. Walking the grounds of that place again awakened all the feelings I had felt the first time, probably even more so. Again, I have to tell you that words couldn’t accurately describe how that place makes you feel. The grass had turned brown by now but was still immaculately manicured, and the precision placement of the grave markers was flawless. There were thousands of names that dated all the way back to the American Civil War. I went also with my brother to pay my respects at the tomb of the Unknown Soldier. It was an impressive mausoleum that is guarded twenty four hours a day by the US Army’s horror guard.  After it was all said and done and we had left Arlington and met as a family, my Mom, my Brother and his family, myself and my family and some close friends to remember him for a while over some food and drinks, and though nobody seemed to really have any appetite we still stayed there for hours. That was the first time in eight years that I had seen my Brother and would be the last time I saw him alive, but that part comes later. Eventually we said our goodbyes and went our separate ways, each having a very long way to travel back home and I had to get ready to go back to Iraq, heavy hearted or not.
I had only been back in theater (that means deployment) for a few months when I was reassigned to Al Asad AB as my permanent duty station. It was a place in the middle of nowhere and was originally a Marine base but transferred to Army and Air Force some time in 2010. I had made some good friends there, settled in and finally started coming back to myself when I received a message from my brother’s wife asking me to call her, said it was important. Thinking back on it now, I remember feeling a little angry that she wouldn’t tell me on email. Internet I had in my room, but a phone…well I’m no general and I had already settled in for the night. It was about 21:30 hrs. (9:30 p.m.) on a night in late July so I got dressed and made the quarter mile walk to my office where I could use the phone, cursing under my breath the whole time. It took me about 20 minutes just to find my phone card in my cluttered desk drawer, but when  I finally did amongst more unsavory mutterings I made the call. She answered quickly enough but her voice sounded strained so I calmed down and asked her what was going on, I figured something wasn’t right so she didn’t need me jumping her case on top of it. It was then that she told me my Brother’s body had been found in his home in Whiteville NC. He had been having a hard time with depression since our Father passed as well as marital problems and he had made the decision to take his own life at the age of 36 leaving behind his Wife, Stepson and Daughter who was only 5 at the time. I was blindsided to say the least, no one saw this coming, and he left no real reason as to why so there still is no closure, no understanding. I was angry… no, I was furious! But I’m getting ahead of myself again. She had called me not only to inform me of what had happened, but also to ask if I had Mom’s phone number because she didn’t have it and didn’t know how to get in touch with her to tell her. I told her not to worry about it and that I’d take that on my shoulders and get back to her. It had only been five months since we laid our Father to rest and to say I dreaded making that phone call was a ridiculous understatement. It was easily one of the toughest things I ever had to do, but it had to be done all the same so I dug Mom’s number out of my wallet…and stared at it…I don’t know how long but it felt like a long time. What else could I do? What could I say? It’s not like I had an instruction booklet for delivering bad news and this was as bad as it gets. After a few deep breaths I dialed her number and decided to take the direct approach. She answered the phone and we exchanged hellos, and I asked her what she was doing. She was out shopping with Robbie at the Tractor Supply Co. He was a longtime family friend and all around good guy. I told her that I had some pretty bad news and asked if she could find a place to sit down there, but she told me it was ok to just tell her what happened so I did exactly that. I gave her all the information I had at the time, I didn’t know how to sugar coat it so I didn’t. She took it pretty well up front, not breaking down until later that evening. My Brother, SPC Troy Kassab, had enlisted in the US Army with our Father’s permission when he was only 17 years old. He was a combat medic assigned to Ft. Carson in Colorado before transferring to the 82nd Airborne Division in Ft Brag NC. He deployed to Cuba among other deployments overseas before being attached to a Ranger Unit as their medic and doing other deployments that he never would talk about much. After the army he lived in NC where he worked in restaurants while attending school on the G.I bill and volunteering on the Hickory Rescue Squad as an EMT. He eventually completed school in Winston Salem NC where he got his PA degree in general practice. Troy was a self-educated, brilliant man who wasn’t perfect but who is? He saved lives in the Army, and then continued to do so in the civilian world until his death in July of 2011. He was a husband and a father, a brother and a friend. He was important to us. It was because of his past in the Army that he also was awarded full military honors at Arlington National Cemetery. This time the wait was much longer and his funeral wasn’t held until November 15th of 2011. I remember that day and the days leading up to it like it was yesterday. I had ended my deployment in Iraq on November 3rd, making it back to the US on November 6th. From the time of his death I had stayed in contact with Mom and his wife Andi to make sure they were ok and help in any way I could with the affairs and expenses. When I finally did get home I pulled my truck out of storage had it inspected, fueled and ready to go. It was unfortunate, but my wife was in college and had work at the time so she couldn’t come with us so my daughter and I made the long trip from Houston TX to Hickory NC to see Troy’s wife and kids. While I was there I also picked up a close family friend of ours who needed a ride and made the long drive to Arlington VA...again. The US Army’s honor guard met us there to perform his service and again the attention to detail, the respect given to the deceased, and the discipline shown was flawless. There were more friends this time than family in attendance but I was there with Mom, Robbie, my daughter, and some very close family friends, some going all the way back to our childhood. The ceremony was the same, every time the same. I remember thinking I hated the way “Taps” sounded as they folded the flag and I was angry and hurt when I stepped forward to claim my Brother’s remains and walk them to the wall vault that would become his final resting place. I have to say though, that through my grief and anger, I was a little bit pleased to see that he was placed so close to my Father and Grandfather. I left a pair of my own dog tags in his vault, it made me feel better that he wouldn’t be alone in there. I guess it doesn’t make a lot of sense now but at the time it did.  I stood over his marker and said a silent prayer before heading out to see Dad, Eddie and Joe’s markers and pay some respects. The grass was that brilliant emerald green again, and the sense that I stood in a place of honor reserved for our nations fallen still struck me through the heart.  After that we just kind of faded away from that place making our way home. Troy’s wife Andi had decided not to come, she was angry, she felt betrayed and abandoned, so on my way home I stopped back in Hickory NC, dropped off Michelle and made the drive to Andi’s house to present her with Troy’s flag as it had been presented to me. I remember hoping that her decision wouldn’t leave her with later regrets, but it was too late to change it now. The drive home was a long one, one that rekindled so many unanswered questions. Three generations of my family laid to rest leaving me as the only surviving male member of my family; something that still weighs upon my heart today.
But this is their story, and though it seems a sad one, that is not its intent. This story was written so that you the reader could understand that there is a place where over a hundred thousand Josephs and Eddies, and Jans and Troys are resting.  Each one of those stone crosses and stars have a face, a name, a history, and they made a sacrifice for you and for me. They were people who gave up their futures so that we could have one. They were people who had dreams, families, and who put all of that aside for what they believed in. They weren’t perfect people, but they deserve to be remembered. If you do nothing else after reading this, at least take the time to think about the freedoms that you have, freedoms that have cost us so much…

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

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


STORY OF JAZZ MUSIC  IN VERSE PART – II

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

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

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

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

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

This trumpeter of nothingness, employed
To keep our reason dull and null and void.
This man of wind and froth and flux will sell
The wares of any who reward him well.
Praising whatever he is paid to praise,
He hunts for ever-newer, smarter ways
To make the gilt seen gold; the shoddy, silk;
To cheat us legally; to bluff and bilk
By methods which no jury can prevent
Because the law's not broken, only bent.

This mind for hire, this mental *******
Can tell the half-lie hardest to refute;
Knows how to hide an inconvenient fact
And when to leave a doubtful claim unbacked;
Manipulates the truth but not too much,
And if his patter needs the Human Touch,
Skillfully artless, artlessly naive,
Wears his convenient heart upon his sleeve.

He uses words that once were strong and fine,
Primal as sun and moon and bread and wine,
True, honourable, honoured, clear and keen,
And leaves them shabby, worn, diminished, mean.
He takes ideas and trains them to engage
In the long little wars big combines wage...
He keeps his logic loose, his feelings flimsy;
Turns eloquence to cant and wit to whimsy;
Trims language till it fits his clients, pattern
And style's a glossy **** or limping slattern.

He studies our defences, finds the cracks
And where the wall is weak or worn, attacks.
lie finds the fear that's deep, the wound that's tender,
And mastered, outmanouevered, we surrender.
We who have tried to choose accept his choice
And tired succumb to his untiring voice.
The dripping tap makes even granite soften
We trust the brand-name we have heard so often
And join the queue of sheep that flock to buy;
We fools who know our folly, you and I.

A far crying blues interrupts the silent night
in the downtown slums,
It pierces again, and again,
Changing pitch and tone
But never changing,
lesser or greater,
In patient wistfulness.

Strangers,
Spraining ankles on broken sidewalks,
Hear the distant outcry of brass
& snap fingers as they saunter
between dim streetlights,
Realizing city’s sorrows are shared
among found sorrowful.

If you follow the calls of dimming nostalgia,
Over rooftops and antennas,
The lone trumpeter is found,
Leaning on a rusted fire escape
Among higher floors of worn apartments
& thick grey clouds of industry
In cathartic meditation
His cheeks puff and blow,
Reminding neighbors
There’s good out in the world
& there’s bad,

But in the oblivious dark of night,
The roar of a trumpet can make peace
within the burnt hearts of cities
To fend both good and bad off
So only memories may linger,
& remain until swollen cheeks tire
for passion of night ceases
unto another day.

He perches on his black-crate bandstand,
stationed between the payphone and postbox.
The view from his seat never varies:
a restless audience of briefcases and knees.

He closes his eyes, concentrating
on breath becoming buzz becoming blare,
and he pictures his notes glossing Manhattan’s
thunder-colored walls.

Each tone fills the pavement, square by square
until the sidewalk is a harlequin filmstrip,
colored by notes coaxed from his brass mouth.

Passersby withhold their gaze, because giving a nod
obliges giving a dollar, and no one is inclined
to employ this trumpeter. But he pays no mind;
his own eyes secured until song’s end.

As long as his fingers are jumping,
he doesn’t have to be Gerard Wall–
who lost his wife to cancer and mind to the War;
he can be Louis, Miles, or Pinetop Smith.

When he looks up once again,
sun and spirit have faded,
and he watches the evening embers
drift out of his horn.

The Golden Path

From the song I cover the waterfront a perfect place for a young man to blow his trumpet it has the
Power to blast or the sound that travels like a lone walker along the Warf his sight is fast and jumpy
This like working the trumpet buttons up and down with the blow reaching the end of the gold
Lacquered Bell giving it that soft essential quality a longer stream for when he looks away from the
Immediate Items that hang and pertain to activities of the interchange with the sea yes the blow that
Continues as his eyes looks Seward his emotions entangle themselves in the waves the large heavy body
At a Distance then short and fast as they race forward on the sand then crash and then recedes his
Thoughts Caught by the undertow out into deep waters my soul bring it out the depths that you know
Span the Waters make the arch touch San Francisco bay at this end and the other end touch Monterey
Bay let the Trumpeter pays homage to John Denver who died out in the waters out from Pacific Grove
His plane Went in let the horn catch the torches flame that is set burning at this the water’s edge let it
Show the Burning his voice touched and burned those sweet lyrics into our conscious memory how
Fitting the surf Rolls in his words flow into our heart the trumpet notes set the tone of his life it
Configures and shows in the ocean spray the gifts he shared he gave rocky mountain memories do they
Not rise as we continue our vigil where his earthy journey ended but in the endless waves he will always
Be singing his voice Follows the sunset into shadows of sleep with pleasure we attest to the melody that
His soul was conceived in far west on the Hawaiian sandy beaches you can hear the trumpet peeling so
Appealing As the island girls sway in unison with the palms the soul of Polynesia whispers just under the
Glint of That sweet mellow horn they tell of life lived in a natural paradise the horn reaches back to
Those glory days before cement made its hardness felt truly a little grass shack held some times that are
Lost now when you walk city sidewalks that used to be barefoot paths that you slipped down to tell in a
Setting of pineapples papayas coconuts and sea shells of the love you feel as you steal away under the
Prominent shadow of Diamond Head I pledge to you my love and may we always play and live in this
These sweetest strings of pearl islands that is our home that ole horn picks upon the words about home
So it is seen gleaming in the morning light of San Francisco bay it picks up that international flavor it
Seems to play it says come and ride the cable car listen to the ring of its bell feel it sway know the
Feeling of the steel wheels on those shinning rails catch the a fresh breath as the silk from the shops in
China Town listlessly rise and fall you will feel the tie that stretches unbroken all the way to back to
Ancient Cathy the mystery and wonder that holds a culture in a tight pack where ever the peoples may
Live their roots are deep the wisdom of the parables that are themselves as silk colorful meaningful and
Ever so practical the trumpeter catches that feeling in the chilly morning air when the night follows day
He can be found on the dinner boat that plies the bay you can see Ghirardelli square its height its white
Burning name is a must see and feel and then to go by the Golden Gate the pylons the amber lights the
Black Waters a mix of eerie magnificence pervades your mind as he lays deep on his horn the night
Deepens essential qualities that are uniquely California emerges as the sounds of his horn drifts away on
The waves in the golden state of many golden dreams and paths

they said summer would be better
they said they said they said they said
in spring i was born again, just like
they said they said they said they said
I thought after winter I would never feel again, but
his hands and his tongue,
his lips
oh my.
don't let me go, let me rest in your lap
for eternity.
let me hold your cheeks to my heart and be alive.
I love you, I think
I'm not sure
but you may,
you may save me yet

It's all gone out of me, the hammer falls and I'm not ready to answer
Trembling, weakness supporting a tub of jelly
The pollen-filled air flies past like the
Pelicans at the edge of the harbor
Taking us gliding for an unpleasant ride
Down the corridors of plastic colors
Through the one word answers that bubble forth from
10,000 years away in hyperspace
Where the mechanisms of language become so convoluted
That they disappear completely out at the vanishing point
Coming up behind you again to drag you into that smoky allure
You remember hating and pinching your nose from
And hiding in the car, but the new fear is of becoming addicted to it
Just like your addiction to ego games and
Intellect, just like your addiction to pleasure and constant validation

The validation's there in the eternal self, they say
But I'm an intellectual
Too impatient for meditation
And lost along the way to enlightenment
That I truly want,
But then I'll never have it if I continue to live this way

It's wilderness calling from a tame fool
Sticking up for you the overgrown horoscope signifies
The shapes of skydives,
He comes in and out of our dull lives
And there's an electric current that solidifies between
Him, Us, and his music
Iron rods jutting up from scorched earth
A broken paradise
Crumbling in a whisky tumbler
Blackened by fiber filters, creations
Unlocked by flowing ontological
Caricatures, open wounds gnashing
At attention-seeking osteopaths
Fortune seekers clamber down
Soccer field bleachers,
Somebody lost his sneakers in the woods
Once there was a set of barbells along the trail
We fell in line and started
Counting each other
One by one it seemed like the green apples would never fall
It was up to us to wait for the shower
It would feed our kin
We'd begin to rise up together
But it could never keep up with our pen
We wanted the ghosts to follow us and overtake our mortal foes
But we couldn't command the armies of the dead
We derive all our pleasures from films and campfire stories
We contrive our adventures but we wait for them to happen to us
We take a passive role in finding love
And it blinks lights at us across suburban streets through windows in the dark
The mind begins to writhe with new memories it composed of old
An idealized time of a child with the perverse mind
Of a hogtied adolescent
Guessing that the course of existence
Isn't determined by the speed of your calculations
Testing the warm water on a naked toe
We could dive in and forget to breathe
And the water could carry us forever
Alleviating gravity
All the obstacles we perceived in past lives
Remain with us like
Chimney swifts on the bottomless April days of a
Klu Klux **** telephone operator
Who believed in the spirit and the holy ghost
And burned a quiet altar to Satan's minions every Sunday night
Drinking nail polish and
Obscure references to the films of the
Ancient Greek philosophers, who
Saw the medium as a means to a message
And patronized the elitest filmmakers to study the ancient Runes
And reveal their findings to a power-hungry public
That would not outright reject it
But that would have to follow it down the rabbit hole
Through the wide mouth of the trumpet around brass fixtures
And into the tight hot moist mouth of the trumpeter
And the elemental warriors would strike oil beneath the whole affair
Ending the time we spent hoping for any entertainment to create itself before our barren psyches
Busying ourselves with incomprehensible tasks and letting our indolence take the reins until we found our heads again out there amid the vapors of
New car chem trails and old railroad bunkers where spruce and cedar grow through cement earth, they force apart the ground with just their roots

We weren't ready to keep watch the following weekend but we
Had no choice when the government bond expired
And we had only technological solutions left to hope for
And wrongly we abandoned our research posts to fight the enemies
With giant weapons and uncreative slogans
Our drummers played so fast we marched along and killed all that remained in record doubletime
Rendering the events of that victorious day immortal in the ingenious accounts of
Philosopher/poet/historian Michael Jackson
Who gave one final performance
To save himself from what must not be

the sun matters.
i'm just saying.
it matters.

it matters that things
be alive
  and green
it just does.

eddie pepitone matters.
playing songs on repeat for hours on end matters.
rangpur matters.
  ice cream friggen matters.
i'm just saying. it does.

having a brother that gets it
matters.
laughing so hard i cry
     matters...it really does.
even the trumpeter on my balcony
thinks so.

I made notes of docking posts
pointing out to murky reflections
of tourists that didn’t have time
for a souvenir mug or a picture
with a black trumpeter content with his brass,
and nothing else, blowing life into the seagull
sky, making the clouds pop and drop spray-
mist jazz, which accompanied his trumpet
with a gentle washboard scrape.
He beat his heel to the thousand pin-drops
of passerby earrings, crab sweatpant draw-
strings, and trawl nets dissolving into the sea.
Baltimore filled the margins
of a travel notebook alongside
pencil sketches of the Aquarium,
Prufrockian split claws
wrapped in algae bandages,
that homeless man weakly thumbing
through a pocket bible, the 32
cents wearing sea salt jackets,
and my cold girlfriend pulling on patron
sweaters in an art museum closet.
But it’s all a gimmick.
It’s $22 crab cakes
and paint-splatter-printed
sweatshirts that say New York
or D.C. or Everything on a Disposable
Kodak Camera.

Tired of the idea, I threw the page
over the edge, hoping to drown
it in green, but I never heard it hit
the water. I braced myself on a life
ring rack, leaned over,
and watched it settle into a natural
barge of dead leaves and orange peels
while sea foam circled
it like a bed skirt that’s only
noticed for the few seconds spent stripping
down before going to sleep
just to wake up to rain on the Royal Sonesta,
kids racing down the hall, the obligatory
alarm clock,
and the black trumpeter’s groove
four floors down.

Delia
once seduced

the house maid
in half term

home from school
some posh place

where she had
with success

oft bedded
the new young

maths teacher
whose glasses

thin wired
she took off

before ***
in her room

for extra
tuition

(her father
from his fat

wallet paid
for extra

maths not ***)
then after

leaving school
and the young

maths teacher
(sad female)

and having
bedded her

young cousin's
French nanny

she went to
some college

to study
the cello

and music
she had ***

the first day
with the thin

trumpeter
on the floor

above her
a girl with

luscious lips
and dark eyes

who after
a good ****

could play like
Miles Davis  

so cool that
Delia

would play her
cello ****

like lovers
embracing

she and her
instrument

then have ***
to the sound

of Coltrane's
saxophone

and the girls'
******

wanting more
sighs and moans.

(A play in one act.)

The Knight.
The Lady.

Voices of men and women on the ground at the foot of the tower.
The voice of the Knight’s Page.



     The top of a high battlemented tower of a castle.  A stone ledge,
     which serves as a seat, extends part way around the parapet.
     Small clouds float by in the blue sky, and occasionally a swallow passes.
     Entrance R. from an unseen stairway which is supposed to extend around
     the outside of the tower.

The Lady (unseen).
Oh do not climb so fast, for I am faint
With looking down the tower to where the earth
Lies dreaming in the sun.  I fear to fall.

The Knight (unseen).
Lean on me, love, my love, and look not down.

L.
Call me not “love”, call me your conquered foe,
That now, since you have battered down her gates,
Gives you the keys that lock the highest tower
And mounts with you to prove her homage true;
Oh bid me go no farther lest I fall,
My foot has slipped upon the rain-worn stones,
Why are the stairs so narrow and so steep?
Let us go back, my lord.

K.
                           Are you afraid,
Who were so dauntless till the walls gave way?
Courage, my sweet.  I would that I could climb
A thousand times by wind-swept stairs like these,
That lead so near to heaven.

L.
                              Sir, you may,
You are a knight and very valorous;
I am a woman.  I shall never come
This way but once.
(The Knight and the Lady appear on the top of the tower.)

K.
                     Kiss me at last, my love.

L.
Oh, my sweet lord, I am too tired to kiss.
Look how the earth is like an emerald,
With rivers veined and flawed with fallow fields.

K.  (Lifting her veil)
Then I kiss you, a thousand thousand kisses
For all the days ere I had won to you
Beyond the walls and gates you barred so close.
Call me at last your love, your castle’s lord.

L.  (After a pause)
I love you.

(She kisses him.  Her veil blows away like a white butterfly
over the parapet.  Faint cries and laughter from men and women
under the tower.)

Men and Women.
The veil, the lady’s veil!

(The knight takes the lady in his arms.)

L.
My lord, I pray you loose me from your arms
Lest that my people see how much we love.

K.
May they not see us?  All of them have loved.

L.
But you have been an enemy, my lord,
With walls between us and with moss-grown moats,
Now on a sudden must I kiss your mouth?
I who was taught before I learned to speak
That all my house was hostile unto yours,
Now can I put my head against your breast
Here in the sight of all who choose to come?

K.
Are we not past the caring for their eyes
And nearer to the heaven than to earth?
Look up and see.

L.
                   I only see your face.

(She touches his hair with her hands.  Murmuring under the tower.)

K.
Why came we here in all the noon-day light
With only darting swallows over us
To make a speck of darkness on the sun?
Let us go down where walls will shut us round.
Your castle has a hundred quiet halls,
A hundred chambers, where the shadows lie
On things put by, forgotten long ago.
Forgotten lutes with strings that Time has slackened,
We two shall draw them close and bid them sing—
Forgotten games, forgotten books still open
Where you had laid them by at vesper-time,
And your embroidery, whereon half-worked
Weeps Amor wounded by a rose’s thorn.
Shall I not see the room in which you slept,
Palpitant still and breathing of your thoughts,
Where maiden dreams adown the ways of sleep
Swept noiselessly with damosels and knights
To tourneys where the trumpet made no sound,
Blow as he might, the scarlet trumpeter,
And were the dreams not sometimes brimmed with tears
That waked you when the night was loneliest?
Will you not bring me to your oratory
Where prayers arose like little birds set free
Still upward, upward without sound of flight?
Shall I not find your turrets toward the north,
Where you defied white winter armed for war;
Your southern casements where the sun blows in
Between the leaf-bent boughs the wind has lifted?
Shall we not see the sunrise toward the east,
Watch dawn by dawn the rose of day unfolding
Its golden-hearted beauty sovereignly;
And toward the west look quietly at evening?
Shall I not see all these and all your treasures?
In carven coffers hidden in the dark
Have you not laid a sapphire lit with flame
And amethysts set round with deep-wrought gold,
Perhaps a ruby?

L.
                  All my gems are yours
And all my chambers curtained from the sun.
My lord shall see them all, in time, in time.


(The sun begins to sink.)

K.
Shall I not see them now?  To-day, to-night?

L.
How could I show you in one day, my lord,
My castle and my treasures and my tower?
Let all the days to come suffice for this
Since all the past days made them what they are.
You will not be impatient, my sweet lord.
Some of the halls have long been locked and barred,
And some have secret doors and hard to find
Till suddenly you touch them unawares,
And down a sable way runs silver light.
We two will search together for the keys,
But not to-day.  Let us sit here to-day,
Since all is yours and always will be yours.

(The stars appear faintly one by one.)

K.  (After a pause.)
I grow a little drowsy with the dusk.

L.  (Singing.)
    There was a man that loved a maid,
    (Sleep and take your rest)
    Over her lips his kiss was laid,
    Over her heart, his breast.

(The knight sleeps.)

    All of his vows were sweet to hear,
    Sweet was his kiss to take;
    Why was her breast so quick to fear,
    Why was her heart, to break?

    Why was the man so glad to woo?
    (Sleep and take your rest)
    Why were the maiden’s words so few—

(She sees that he is asleep, and slipping off her long cloak-like
outer garment, she pillows his head upon it against the parapet,
and half kneeling at his feet she sings very softly:)

    I love you, I love you, I love you,
    I am the flower at your feet,
    The birds and the stars are above you,
    My place is more sweet.

    The birds and the stars are above you,
    They envy the flower in the grass,
    For I, only I, while I love you
    Can die as you pass.

(Light clouds veil the stars, growing denser constantly.
The castle bell rings for vespers, and rising, the lady moves
to a corner of the parapet and kneels there.)

L.
Ave Maria! gratia plena, Dominus—

Voice of the Page (from the foot of the tower.)
My lord, my lord, they call for you at court!

(The knight wakes.  It is now quite dark.)

There is a tourney toward; your enemy
Has challenged you.  My lord, make haste to come!

(The knight rises and gropes his way toward the stairs.)

K.
I will make haste.  Await me where you are.

(To himself.)
There was a lady on this tower with me—

(He glances around hurriedly but does not see her in the darkness.)

Page.
My lord has far to ride before the dawn!

K.  (To himself.)
Why should I tarry?

(To the page.)
Bring my horse and shield!

(He descends.  As the noise of his footfall on the stairs dies away,
the lady gropes toward the stairway, then turns suddenly, and going to
the ledge where they have sat, she throws herself over the parapet.)


CURTAIN.

"Ezekiel saw de wheel; way up in de air
And de littl' wheel run by faith, oh yes, an' de big wheel run by de grace of God
'Tis a wheel in de wheel in de middle of de wheel way Lawd in de middle."

Choir songs are fun and catchy and I have to sing them every ******* day.
They are all written by some funny looking black guy named James in the earl 1900's.

"John said the city was just four square, walk in Jerusalem just like John
and he declared he'd meet me there, walk in Jerusalem just like John,
Oh John oh John what do you say, walk in Jerusalem just like John."

Most of them are about God and faith but sometimes you actually feel them.
It's weird, they make you feel spiritual. A whole class full of students singing can do that to you.

"All this night shrill Shaunteclear, days proclaiming trumpeter,
claps his wings and loudly cries, "Mortals! Mortals! Wake and rise!
See the wonder days are under, and through his will good be done!""

Sometimes you don't even know what they're about, no kidding, but they still feel nice to sing.
The ringing of the Sopranos and the roar of the Baritones is awing, it really is.

"And the bells, bells, bells, bells, bells, bells, bells, bells,
how the twinkle, twinkle, twinkle, twinkle, twinkle,
in the crystal lime-de light."

It's cool when you sing poetry, like Poe or something like that. It doesn't give you the same
feeling but it's still cool, if you can get into that kind of stuff.

"THOUGH logic-choppers rule the town,
And every man and maid and boy
Has marked a distant object down,
An aimless joy is a pure joy,'
Or so did Tom O'Roughley say
That saw the surges running by.
"And wisdom is a butterfly
And not a gloomy bird of prey.
"If little planned is little sinned
But little need the grave distress.
What's dying but a second wind?
How but in zig-zag wantonness
Could trumpeter Michael be so brave?'
Or something of that sort he said,
"And if my dearest friend were dead
I'd dance a measure on his grave.'

A sallowest silence drips,
drop  by  drop,
into open muddy palms

The ripple in the gathering cup
of hand, undulates within soul
like poignant ocean waves
eat away at the sands of time ,
just  below  where
a lighthouse beacon beckons
shining from someplace I can’t find

A hidden pathway
lies  untrodden
beneath a thousand
dew drop clad ferns ,
fronds bestrewn with autumn’s
befallen sleight of hand
swaddled in her fading
manifest guise

Where wild mushrooms
rise  blindly  from
resplendent darkness
beneath silken earthen moss ,
to teach the parables ,
how fleeting a moment passes

The moment enwrapped
in nature's solicitude ,
the  only  shelter
mother nature's own refugees
whom dwell in an ever fugitive
sense of belonging

Fallen Lichen scattered
like  wild  feathers ,
traces from a higher ground ;
sown bread crumbs
of  the  heavens ,
abandoned like slowly falling
snowflakes upon a labyrinth
coursing    beyond
emerald dank bejewel

Leading me willingly onward
beyond belated familiarity ,
exiled  void  of  affinity
a Trumpeter swan
in search of wapatos

The stone cold silent languor
rises  up  through
thickly grasping moss

Wind  stirs the ennui
with a breath of kindness ,
chilling a body in a soul
as cold as lonely stone ,
sheathed beneath
its hard yet fragile disguise

A twisted pathway
leading  somewhere  
I  yearn to follow ;
somewhere unknown
beckoning  from
deeply hidden hope
and its urgent calling

Somehow the uncertainty
of the path I am drawn
makes   me   feel
a  little  less  removed

Assured by the gentle touch
deeply rooted ancient earthen spirits ,
beyond doubt , I’m never alone
deep beyond wooded margin
Cocooned in creation’s sanctuary
mother nature’s own refugee ...



                                                          ­*wild is the wind

Start now knowing joy,
that’s an order,
overcome a deepening solitude.

Like a bee at a bugle
or me at the deli
on Third Avenue.

I said to Joe when do you think this weather will break?
He jokes, April.
That’s no joke. Weak creatures die and the strong barely survive.

Half a year goes by
another cancer checkup.
Cheer up. Any weather’s

better than no weather at all.
There’s always governance
even when there is no government.

My candidate drops out
after Iowa. Why do I always lose
at politics and poker?

Peace at last!
No lawnmowers, no leafblowers.
Big comfy couch.

Meditate on this: Do what has to be done.
Find your lover gazing at the moon
and take your garbage to the dump.

Your web site evaporates
and your possessions are thrown in the dumpster
except your trumpet which finds its way to a future trumpeter.

I don't have a trumpeter playing the Last Post
and my words forked no lightning. Nope.
Ya know, Prospero could boast that graves ope'd
at his command and yawned forth their dead.
But hey, I never tried that Jesus thing with Lazarus.
And the wine? well, I turned that inta ****.

But I'll tell ya what! I lived. I loved.
And yeah, I hadda few friends. Some even called them bums.
But friendship and laughter and a few beers
are better than all the flim flam of any fly past
or marching bands with drums.

I gave it all away, see?
My soul, and all my being, to kids
and little people. To those in need.
That's all.
I know it's not mighty. And nope, it's not magnificent.
But that's all I had. It was me.

So all I hope now is that just a little glimmer or a glow
might still go on and warm a hand or heart.
I know. You might think it's not much.
But that's OK. I don't expect you to remember me.
Just the warmth and love.
It's yours, too.
It's everything I've set free.

Mike T Minehan

... he points his toes
like a swan stretching its neck :
smooth shaved calves in fish-nets
to slip into stiletto heels,
        performance art of a deceptive nymph

... grace on fine-point tips : his gift - gentille lace
Stage lighting and mace
impersonation or personification of feminine beauty
leporine lithely limned
delicate dancer
       it is almost as if floating across water
       he mimicked once more before
some inner mother's nature took over

façade of savored tastes - savoir faire
voila! a star in it's place ...

... It is her face when the night creates a cape
borne with Van Gogh plumes sufficed with self
she paints upon his face : starry nights
sun-flowers, irises covering the welts...
comparably museum worthy, imitation flames
yet like any other canvas
          beneath it could lie disappointment and mistake
          drafts of inspiration, cover-ups of cynicism
          another creature - some creation unlike him
what was before / behind soft curtains / kept behind his in-betweens unseen (*****) stage hands spot light polishing knobs “my name is Job…”
but what if ...
... the truth and what presently others see
Diva or DILF
     to believe or not convincingly
could be / only amateurs who attempt:
moments unfeeling under layers & layers
of blush / trial and errors / sharp contempt
Sunken cheeks of graveyard sheep
Lip syncing nubile twinks insomniacs
Dry shave stubble style…

      would you wipe away Mona Lisa's
      smile so devilish with wicked secret
just to uncover blemished a masterpiece:
an ugly Danish duckling underneath ?

To  prove his swan-lake / a gent

... to evolve from broken eggshells
become a song sung timely
hummed & remembered well
(hells bells and *****)
Drag queens’
priceless history / murals' on passing face
No broken naughts
While performing down his lace
      define yourself, she affirms her mirrors...
The harsh flight of life from the embers,
      happiness pursuant to tender
Fully free with goddess grace,

it is the power of creativity / the spirit's ability
to overcome adversity
the art of divinity - that is
what he is practicing  
                                 This trumpeter
                                 swan in stiletto heels...

On such a day to wait

With what you have to forgive beside you

Always twisting dry leaves into small pieces

To set structure

To set fire

To an absence I’ve been most comfortable with

Something to always be picked upon

Whether it’s conscious to me

Or not

I haven’t been such a bright color

And I’ve keep out of the spectrum

Don’t break me open

To that of night in which I became

I wide eyed my best

Within breath too shallow

If my mad ghost self were to haunt

To drive out

Binding your spell like smoke from lips

Blanket down hollow earth

Let him be gone from my violence

Violence the way it came

You thought faith to overcome the devil

And the faith of the devil reaches

Down your neck.

——

By late, you came in the night in black shoes

I know you can’t think good of the devil

To my side you can with the faith I use

Of the spirits true, rest the highest level

Back of your eyes to the blood you swallow

Leaving it the last trumpeter to cry

The night that you brought to my own hollow

The way I remember you used to try

Now it seems that the worst can’t start new

Nothing of mine is to keep as my own

But nothing could be used to see through you

Either way nothing could pass through a stone

No my dear, you’re not alone but with me

That ride, I fell off and skinned my good knee.

—–

Be that you are a devil in black shoes

The words from the mountain you brought to your feet

For a lover to let your eyes down

Standing naked

Back to the fire

Where you let your children burn

To lay on their ashes

I think the woman sitting from

a ways down smells

Come with me

You come from love

Little boy blue eyes.

—–

The carpet installers are dead, so dead

Peter, the boss, lays under the floor now

So the job wont be finished, the room red

And the carpet bare, the carpenters go

Their last task to carpet the funeral home.

A horn in jazz is a lot like a heart.
At times it blares it's loudest in love.  19

 

At times a pin drops in silence.
The neighbors won't complain. 14

 

I never thought God to be a fan of blues.
My ears like an open door.  17

I want it smooth
Poetry, rough and smooth
Therefore, play me the
rough melodies, not to
the sensual ear
You soft trumpeter,
keep on playing though
Just get new lungs
Change is good
So play the trombone
Play it hard,
I want it rough
When my heart beats faster
than the speed of light, and
my mind experience,
a forceful mental awakening,
a turnaround, new perspective.
Rough is soothing
Rough is healing
That rough melodica.

A harbinger he was born
a puppet to dirt  farmers in the
fatalistic empires of lost liberty
He spent his boyhood drifting  in aimless
pursuit of a less broken home
but his past eats him from within

His greedy grasping hand is fear
with self indulgent dark eyes he
comes to my haven and bringing
his hand in tow and lays its sweaty meat
on my soul
Its cold dead feel crawls down my spine
like migration of hope to forgotten places

He is a mirthless man
the trumpeter in the parade of dying
quests to find a better future
He is preaching his own brand of God
from the poorhouse soapbox
shouting wildly with his hands
he is a small man in a tall frame
who feeds on poverty of pocket and soul
preys on the weak and unwary
he is a apothocary to the souless

... he points his toes
like a swan stretching its neck :
smooth calves in fish-nets
to slip into stiletto heels,
        performance art of a deceptive nymph

... grace on fine-point tips : his gift - in stiletto heels,
impersonation or personification of feminine beauty
leporine lithely limned
delicate dancer
       it is almost as if floating across water
       he mimicked once more before
some inner mother's nature took over
façade of savoir face - voila! a star in it's place ...

... It is her face when the night creates a cape
borne with Van Gogh plumes sufficed with self
she paints upon his face : starry nights
sun-flowers, irises covering the welts...
comparably museum worthy, imitation flames
yet like any other canvas
          beneathe it could lie disappointment and mistake
          drafts of inspiration, cover-ups of cynicism
          another creature - some creation unlike him
what was before / the curtain / is unseen, but what if ...

... the truth and process to what presently one sees
or believe
could be / only an amateur attempt:
moments unfelt under layers & layers
of trial and errors / contempt?
      would you wipe away Mona Lisa's
      smile and devilish wicked secret ?
just to uncover blemished a masterpiece:
an ugly Danish duckling underneath

to prove that swan-lake
a gent

... to evolve from broken eggshells
become a song timely hummed & remembered well
priceless history murals' on passing face
all spoken thoughts performing down the lace
      define yourself, how the flight of life from embers
      happiness pursuant to tender
Fully free with grace,
it is the power of creativity / the spirit's ability
to overcome adversity
the art of divinity - that is
what he is practicing  
                                 This trumpeter
                                 swan in stiletto heels...

You need to know
Fools live among you,
Fools,
Similar to the destroyed ones
Burned from the skies,
The people I'm speaking of
Dream on,
Living on dreams,
Filthify-ing  flesh,
Railing against law,
Railing against law enforcement,
Throwing off authority,
Ridiculing Highest Powers,
Despising Glory,
Expecting no judgment.

Not even Michael,
Michael the Archangel,
Battling the Devil,
Old Lucifer himself,
Potent in infernal might,
Would so presume.

Even Michael,
Trumpeter of God,
Mightiest of angels,
When disputing with the Devil
Over who would take
The body of Moses,
Was wiser than to curse
His infernal Opponent.

Instead,
He stood behind the Robes
Of the Most High,
And importuned,
"The Lord Himself rebuke you."

En los vientres de naciones
todavía huele a tradición:
denso y dulce como un higo.
Hay ecos de bailes
y susurros de dioses
tejiendo pacientemente la cosecha.

Niebla, siempre una niebla,
que desliza por la espalda
de montaña plagada por leyenda,
llevando con sí siseo de culebra,
llanto de cuervo,
y una canción bien embolsada.

Cama fértil pa imaginar,
árboles místicos han criado,
guardando mitos primitivos en sus anillos varicosos.
Hay poco que decir
de la ciencia ni el razón
cuando un trompetista conjura visiones del aguacero.



In the bellies of nations
you can still smell the lore:
dense and sweet as a ripened fig.
There are echoes of dances
and whispers of gods
patiently weaving the harvest.

There is a fog, always a fog,
that slides down the back
of the legend-born mountain
carrying the hiss of a snake,
the wail of a crow,
and a song in its pocket for safe keeping.

Fertile bed for imagination,
mystic trees have sprouted,
holding primal myth in their varicose rings.
There is little to be said
of science or reason
when a trumpeter calls visions from the rain.

i know, really funny, give a portent to a child,
hide his "prodigious" output akin to the execution
of the prophet Isaiah, hence the Nag Hammadi library
and the Dead Sea Scrolls...
as if "by accident" both re-emerge,
just a ****-berg bopping along
in the whirlpool of a toilet that's human
history - should we enjoy it, we should
remember it prior to enjoying it...
we remember Kant's mannerism
but hardly enjoy his company... o heaven forbid
the chanced reverse! a baby with something like
the Star of Bethlehem will
clearly breed someone like Freud
and the ******* of a donkey's theory
"necessary" with interpretation
asserting the prominent need for dreams
the restless who need entertainment while
asleep... why not be simply content with sleep?
dreams prior to religion,
start investigating dreams and you
can manage shouting at the postman of
the unconscious: 'stop sending me
junk mail! i don't have the time
or leisure to plagiarise and recount a narrative!'
for a snail drizzling its saliva,
as would be an ontologically anti-ditto sound
for a mollusc on cement;
yarn-ball of yuck! indeed the shorter proof
of the existence of narration, or narrator
is to use the ' rather than the " marks...
latter concerns it meaning the narrator is self-conscious,
he's aware of his instance, a billion chinese
half from Shanghai on the tip-toe ready...
so if religion is to be made private,
so should dreams... let's start with a great
anti-dialectic patience that's English society...
no shared concern for voicing
political, religious or psychological concerns...
let's hush it up and see how many await
a massacre... i mean... once in the name of religion
now in the name of a "polite" society...
democracy should mingle with dialectics,
but as the death of Socrates proved, it oddly doesn't...
it's almost like harbouring a dictator without
dictatorial power, a homeless dictator on a bench
in rags... surely democracy would allow just a
single mutation? but no, oh no, democracy wants
uniformity via what we call:
an essence of swans (the godly stance on
monogamy), bred with insect population sizing -
and something else in between, dip in, pull out,
imagine the crown's jewel, then the Greek elements
revising your stance as lord and protector...
in summary: for all his empowerments,
his omni-this and omni-that... finally! finally!
finally man made an unrealistic god! finally all our
slavish labours paid off...
we have an existence of an unrealistic god,
and instead of being equipped with theology
the aristocracy have learned to abandon theological
fairytales and instead adopted negation as the ruling
etiquette... but the ******* god of omni bites back...
modern politics is a politics of a cul de sac...
deny once... can't deny twice, a double jeopardy...
first time genial, second time a parody...
i know, suma summarum:
for all his omni he only represented a typh- (greek for smoke)
or tac- (tact, to be silent in Latin),
otherwise the whole representative allowance
we call murderer, despot, a salvation army trumpeter
would undermine our entire free will debate -
as with so much omni that allowed our limits,
and with our limits seen the grand omni thus expressed
trebax, as Narcissus plain hardly re-imagined
for that face in the glassy-still lake encapsulating
by the philosophical Narcissism know as solipsism:
although respectable due to encoding sounds...
images are in inertia... there's no chiral aspect
governing them, no double-meanings-double-dealings.