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nobody loses all the time

i had an uncle named
Sol who was a born failure and
nearly everybody said he should have gone
into vaudeville perhaps because my Uncle Sol could
sing McCann He Was A Diver on Xmas Eve like Hell Itself which
may or may not account for the fact that my Uncle

Sol indulged in that possibly most inexcusable
of all to use a highfalootin phrase
luxuries that is or to
wit farming and be
it needlessly
added

my Uncle Sol’s farm
failed because the chickens
ate the vegetables so
my Uncle Sol had a
chicken farm till the
skunks ate the chickens when

my Uncle Sol
had a skunk farm but
the skunks caught cold and
died and so
my Uncle Sol imitated the
skunks in a subtle manner

or by drowning himself in the watertank
but somebody who’d given my Uncle Sol a Victor
Victrola and records while he lived presented to
him upon the auspicious occasion of his decease a
scruptious not to mention splendiferous funeral with
tall boys in black gloves and flowers and everything and
i remember we all cried like the Missouri
when my Uncle Sol’s coffin lurched because
somebody pressed a button
(and down went
my Uncle
Sol

and started a worm farm)
AAron Roz  May 2018
Sound
AAron Roz May 2018
Music is loud or quiet.
Music is soft or heavy.
Music can have meaning or not.
Music can be nothing or everything.
Music is:
◾Art Punk
◾Alternative Rock
◾College Rock
◾Crossover Thrash (thx Kevin G)
◾Crust Punk (thx Haug)
◾Experimental Rock
◾Folk Punk
◾Goth / Gothic Rock
◾Grunge
◾******* Punk
◾Hard Rock
◾Indie Rock
◾Lo-fi (hat tip to Ben Vee Bedlamite)
◾New Wave
◾Progressive Rock
◾Punk
◾Shoegaze (with thx to Jackie Herrera)
◾Steampunk (with thx to Christopher Schaeffer)

•Anime
•Blues ◾Acoustic Blues
◾Chicago Blues
◾Classic Blues
◾Contemporary Blues
◾Country Blues
◾Delta Blues
◾Electric Blues
◾Ragtime Blues (cheers GFS)

•Children’s Music ◾Lullabies
◾Sing-Along
◾Stories

•Classical ◾Avant-Garde
◾Baroque
◾Chamber Music
◾Chant
◾Choral
◾Classical Crossover
◾Contemporary Classical (thx Julien Palliere)
◾Early Music
◾Expressionist (thx Mr. Palliere)
◾High Classical
◾Impressionist
◾Medieval
◾Minimalism
◾Modern Composition
◾Opera
◾Orchestral
◾Renaissance
◾Romantic (early period)
◾Romantic (later period)
◾Wedding Music

•Comedy ◾Novelty
◾Standup Comedy
◾Vaudeville (cheers Ben Vee Bedlamite)

•Commercial (thank you Sheldon Reynolds) ◾Jingles
◾TV Themes

•Country ◾Alternative Country
◾Americana
◾Bluegrass
◾Contemporary Bluegrass
◾Contemporary Country
◾Country Gospel
◾Country Pop (thanks Sarah Johnson)
◾***** Tonk
◾Outlaw Country
◾Traditional Bluegrass
◾Traditional Country
◾Urban Cowboy

•Dance (EDM – Electronic Dance Music – see Electronic below – with thx to Eric Shaffer-Whiting & Drew :-)) ◾Club / Club Dance (thx Luke Allfree)
◾Breakcore
◾Breakbeat / Breakstep
◾Brostep (cheers Tom Berckley)
◾Chillstep (thx Matt)
◾Deep House (cheers Venus Pang)
◾Dubstep
◾Electro House (thx Luke Allfree)
◾Electroswing
◾Exercise
◾Future Garage (thx Ran’dom Haug)
◾Garage
◾Glitch Hop (cheers Tom Berckley)
◾Glitch Pop (thx Ran’dom Haug)
◾Grime (thx Ran’dom Haug / Matthew H)
◾*******
◾Hard Dance
◾Hi-NRG / Eurodance
◾Horrorcore (thx Matt)
◾House
◾Jackin House (with thx to Jermaine Benjamin Dale Bruce)
◾Jungle / Drum’n’bass
◾Liquid Dub(thx Ran’dom Haug)
◾Regstep (thanks to ‘Melia G)
◾Speedcore (cheers Matt)
◾Techno
◾Trance
◾Trap (thx Luke Allfree)

•Disney
•Easy Listening ◾Bop
◾Lounge
◾Swing

•Electronic ◾2-Step (thx Ran’dom Haug)
◾8bit – aka 8-bit, Bitpop and Chiptune – (thx Marcel Borchert)
◾Ambient
◾Bassline (thx Leon Oliver)
◾Chillwave(thx Ran’dom Haug)
◾Chiptune (kudos to Dominik Landahl)
◾Crunk (with thx to Jillian Edwards)
◾Downtempo
◾Drum & Bass (thx Luke Allfree)
◾Electro
◾Electro-swing (thank you Daniel Forthofer)
◾Electronica
◾Electronic Rock
◾Hardstyle (kudos to Dominik Landahl)
◾IDM/Experimental
◾Industrial
◾Trip Hop (thank you Michael Tait Tafoya)

•Enka
•French Pop
•German Folk
•German Pop
•Fitness & Workout
•Hip-Hop/Rap ◾Alternative Rap
◾Bounce
◾***** South
◾East Coast Rap
◾Gangsta Rap
◾******* Rap
◾Hip-Hop
◾Latin Rap
◾Old School Rap
◾Rap
◾Turntablism (thank you Luke Allfree)
◾Underground Rap
◾West Coast Rap

•Holiday ◾Chanukah
◾Christmas
◾Christmas: Children’s
◾Christmas: Classic
◾Christmas: Classical
◾Christmas: Comedy
◾Christmas: Jazz
◾Christmas: Modern
◾Christmas: Pop
◾Christmas: R&B
◾Christmas: Religious
◾Christmas: Rock
◾Easter
◾Halloween
◾Holiday: Other
◾Thanksgiving

•Indie Pop
•Industrial
•Inspirational – Christian & Gospel ◾CCM
◾Christian Metal
◾Christian Pop
◾Christian Rap
◾Christian Rock
◾Classic Christian
◾Contemporary Gospel
◾Gospel
◾Christian & Gospel
◾Praise & Worship
◾Qawwali (with thx to Jillian Edwards)
◾Southern Gospel
◾Traditional Gospel

•Instrumental ◾March (Marching Band)

•J-Pop ◾J-Rock
◾J-Synth
◾J-Ska
◾J-Punk

•Jazz ◾Acid Jazz (with thx to Hunter Nelson)
◾Avant-Garde Jazz
◾Bebop (thx Mwinogo1)
◾Big Band
◾Blue Note (with thx to Jillian Edwards)
◾Contemporary Jazz
◾Cool
◾Crossover Jazz
◾Dixieland
◾Ethio-jazz (with thx to Jillian Edwards)
◾Fusion
◾Gypsy Jazz (kudos to Mike Tait Tafoya)
◾Hard Bop
◾Latin Jazz
◾Mainstream Jazz
◾Ragtime
◾Smooth Jazz
◾Trad Jazz

•K-Pop
•Karaoke
•Kayokyoku
•Latin ◾Alternativo & Rock Latino
◾Argentine tango (gracias P. Moth & Sandra Sanders)
◾Baladas y Boleros
◾Bossa Nova (with thx to Marcos José Sant’Anna Magalhães & Alex Ede for the reclassification)
◾Brazilian
◾Contemporary Latin
◾Cumbia (gracias Richard Kemp)
◾Flamenco / Spanish Flamenco (thank you Michael Tait Tafoya & Sandra Sanders)
◾Latin Jazz
◾Nuevo Flamenco (and again Michael Tafoya)
◾Pop Latino
◾Portuguese fado (and again Sandra Sanders)
◾Raíces
◾Reggaeton y Hip-Hop
◾Regional Mexicano
◾Salsa y Tropical

•New Age ◾Environmental
◾Healing
◾Meditation
◾Nature
◾Relaxation
◾Travel

­•Opera
•Pop ◾Adult Contemporary
◾Britpop
◾Bubblegum Pop (thx Haug & John Maher)
◾Chamber Pop (thx Haug)
◾Dance Pop
◾Dream Pop (thx Haug)
◾Electro Pop (thx Haug)
◾Orchestral Pop (thx Haug)
◾Pop/Rock
◾Pop Punk (thx Makenzie)
◾Power Pop (thx Haug)
◾Soft Rock
◾Synthpop (thx Haug)
◾Teen Pop

•R&B/Soul ◾Contemporary R&B
◾Disco (not a top level genre Sheldon Reynolds!)
◾Doo ***
◾Funk
◾Modern Soul (Cheers Nik)
◾Motown
◾Neo-Soul
◾Northern Soul (Cheers Nik & John Maher)
◾Psychedelic Soul (thank you John Maher)
◾Quiet Storm
◾Soul
◾Soul Blues (Cheers Nik)
◾Southern Soul (Cheers Nik)

•Reggae ◾2-Tone (thx GFS)
◾Dancehall
◾Dub
◾Roots Reggae
◾Ska

•Rock ◾Acid Rock (with thanks to Alex Antonio)
◾Adult-Oriented Rock (thanks to John Maher)
◾Afro Punk
◾Adult Alternative
◾Alternative Rock (thx Caleb Browning)
◾American Trad Rock
◾Anatolian Rock
◾Arena Rock
◾Art Rock
◾Blues-Rock
◾British Invasion
◾**** Rock
◾Death Metal / Black Metal
◾Doom Metal (thx Kevin G)
◾Glam Rock
◾Gothic Metal (fits here Sam DeRenzis – thx)
◾Grind Core
◾Hair Metal
◾Hard Rock
◾Math Metal (cheers Kevin)
◾Math Rock (thx Ran’dom Haug)
◾Metal
◾Metal Core (thx Ran’dom Haug)
◾Noise Rock (genre – Japanoise – thx Dominik Landahl)
◾Jam Bands
◾Post Punk (thx Ben Vee Bedlamite)
◾Prog-Rock/Art Rock
◾Progressive Metal (thx Ran’dom Haug)
◾Psychedelic
◾Rock & Roll
◾Rockabilly (it’s here Mark Murdock!)
◾Roots Rock
◾Singer/Songwriter
◾Southern Rock
◾Spazzcore (thx Haug)
◾Stoner Metal (duuuude)
◾Surf
◾Technical Death Metal (cheers Pierre)
◾Tex-Mex
◾Time Lord Rock (Trock) ~ (thanks to ‘Melia G)
◾Trash Metal (thanks to Pierre A)

•Singer/Songwriter ◾Alternative Folk
◾Contemporary Folk
◾Contemporary Singer/Songwriter
◾Indie Folk (with thanks to Andrew Barrett)
◾Folk-Rock
◾Love Song (Chanson – merci Marcel Borchert)
◾New Acoustic
◾Traditional Folk

•Soundtrack ◾Foreign Cinema
◾Movie Soundtrack (thanks Julien)
◾Musicals
◾Original Score
◾Soundtrack
◾TV Soundtrack

•Spoken Word
•Tex-Mex / Tejano (with thx to Israel Lopez) ◾Chicano
◾Classic
◾Conjunto
◾Conjunto Progressive
◾New Mex
◾Tex-Mex

•Vocal ◾A cappella (with kudos to Sheldon Reynolds)
◾Barbershop (with thx to Kelly Chism)
◾Doo-*** (with thx to Bradley Thompson)
◾Gregorian Chant (hat tip to Deborah Knight-Nikifortchuk)
◾Standards
◾Traditional Pop
◾Vocal Jazz
◾Vocal Pop

•World ◾Africa
◾Afro-Beat
◾Afro-Pop
◾Asia
◾Australia
◾Cajun
◾Calypso (thx Gerald John)
◾Caribbean
◾Carnatic (Karnataka Sanghetha – thx Abhijith)
◾Celtic
◾Celtic Folk
◾Contemporary Celtic
◾Coupé-décalé (thx Samy) – Congo
◾Dangdut (thank you Achmad Ivanny)
◾Drinking Songs
◾Drone (with thx to Robert Conrod)
◾Europe
◾France
◾Hawaii
◾Hindustani (thank you Abhijith)
◾Indian Ghazal (thank you Gitika Thakur)
◾Indian Pop
◾Japan
◾Japanese Pop
◾Klezmer
◾Mbalax (thank you Samy) – Senegal
◾Middle East
◾North America
◾Ode (thank you Sheldon Reynolds)
◾Piphat (cheers Samy B) – Thailand
◾Polka
◾Soca (thx Gerald John)
◾South Africa
◾South America
◾Traditional Celtic
◾Worldbeat
◾Zydeco
etc...
Matthew Bridgham Jun 2012
The club is small and dark and hazy
like the veiled comedy of minstrel performers.
Those dingy lights do little for the atmosphere—
dangling hemp from clouds of cigarette smoke.

This hole is filled with the classy of day and the
sassy of night—a real “blue material” kinda crowd.
Harry, the manager, after calling quarter and five,
booked some awful oleo acts just minutes before
“places!”

—The crowd sits on their hands ‘til they’re numb
and lame like the fish they watch flop on the boards.
Two acts down followed by some soot-covered
clown’s lazzo about who’s who and what’s what.

Give me a break! The crowd wants fresh fish to fry—
Girlies in pearlies with spun out legs that tower
the torsos they’re pinned to. Give them that
New York Style Cheese-cakewalk Variety Act!

The listless listeners of this K.A. circuit let out a
snake-like hiss, en masse. (The only show stoppers
are off the billing, stage left at some other club!)
The manager thinks fast like a quick change act—

Harry snatches a prop from the nearest kook—
In a long brown bathrobe, with a broad brown cane.
He hushed the crowd of loud, jeering jerks, in one
swift swoop of his leg-breaking, knockout **** called
The Vaudeville Hook.
Runner-up in the 2013 University of Indianapolis Poetry Contest
ELSIE FLIMMERWON, you got a job now with a jazz outfit in vaudeville.
  
The houses go wild when you finish the act shimmying a fast shimmy to The Livery Stable Blues.
  
It is long ago, Elsie Flimmerwon, I saw your mother over a washtub in a grape arbor when your father came with the locomotor ataxia shuffle.
  
It is long ago, Elsie, and now they spell your name with an electric sign.
  
Then you were a little thing in checked gingham and your mother wiped your nose and said: You little fool, keep off the streets.
  
Now you are a big girl at last and streetfuls of people read your name and a line of people shaped like a letter S stand at the box office hoping to see you shimmy.
A REACTIONARY TRACT FOR THE TIMES

(Phi Beta Kappa Poem, Harvard, 1946)

Ares at last has quit the field,
The bloodstains on the bushes yield
To seeping showers,
And in their convalescent state
The fractured towns associate
With summer flowers.

Encamped upon the college plain
Raw veterans already train
As freshman forces;
Instructors with sarcastic tongue
Shepherd the battle-weary young
Through basic courses.

Among bewildering appliances
For mastering the arts and sciences
They stroll or run,
And nerves that steeled themselves to slaughter
Are shot to pieces by the shorter
Poems of Donne.

Professors back from secret missions
Resume their proper eruditions,
Though some regret it;
They liked their dictaphones a lot,
T hey met some big wheels, and do not
Let you forget it.

But Zeus' inscrutable decree
Permits the will-to-disagree
To be pandemic,
Ordains that vaudeville shall preach
And every commencement speech
Be a polemic.

Let Ares doze, that other war
Is instantly declared once more
'Twixt those who follow
Precocious Hermes all the way
And those who without qualms obey
Pompous Apollo.

Brutal like all Olympic games,
Though fought with smiles and Christian names
And less dramatic,
This dialectic strife between
The civil gods is just as mean,
And more fanatic.

What high immortals do in mirth
Is life and death on Middle Earth;
Their a-historic
Antipathy forever gripes
All ages and somatic types,
The sophomoric

Who face the future's darkest hints
With giggles or with prairie squints
As stout as Cortez,
And those who like myself turn pale
As we approach with ragged sail
The fattening forties.

The sons of Hermes love to play
And only do their best when they
Are told they oughtn't;
Apollo's children never shrink
From boring jobs but have to think
Their work important.

Related by antithesis,
A compromise between us is
Impossible;
Respect perhaps but friendship never:
Falstaff the fool confronts forever
The **** Prince Hal.

If he would leave the self alone,
Apollo's welcome to the throne,
Fasces and falcons;
He loves to rule, has always done it;
The earth would soon, did Hermes run it,
Be like the Balkans.

But jealous of our god of dreams,
His common-sense in secret schemes
To rule the heart;
Unable to invent the lyre,
Creates with simulated fire
Official art.

And when he occupies a college,
Truth is replaced by Useful Knowledge;
He pays particular
Attention to Commercial Thought,
Public Relations, Hygiene, Sport,
In his curricula.

Athletic, extrovert and crude,
For him, to work in solitude
Is the offence,
The goal a populous Nirvana:
His shield bears this device: Mens sana
Qui mal y pense.

Today his arms, we must confess,
From Right to Left have met success,
His banners wave
From Yale to Princeton, and the news
From Broadway to the Book Reviews
Is very grave.

His radio Homers all day long
In over-Whitmanated song
That does not scan,
With adjectives laid end to end,
Extol the doughnut and commend
The Common Man.

His, too, each homely lyric thing
On sport or spousal love or spring
Or dogs or dusters,
Invented by some court-house bard
For recitation by the yard
In filibusters.

To him ascend the prize orations
And sets of fugal variations
On some folk-ballad,
While dietitians sacrifice
A glass of prune-juice or a nice
Marsh-mallow salad.

Charged with his compound of sensational
*** plus some undenominational
Religious matter,
Enormous novels by co-eds
Rain down on our defenceless heads
Till our teeth chatter.

In fake Hermetic uniforms
Behind our battle-line, in swarms
That keep alighting,
His existentialists declare
That they are in complete despair,
Yet go on writing.

No matter; He shall be defied;
White Aphrodite is on our side:
What though his threat
To organize us grow more critical?
Zeus willing, we, the unpolitical,
Shall beat him yet.

Lone scholars, sniping from the walls
Of learned periodicals,
Our facts defend,
Our intellectual marines,
Landing in little magazines
Capture a trend.

By night our student Underground
At cocktail parties whisper round
From ear to ear;
Fat figures in the public eye
Collapse next morning, ambushed by
Some witty sneer.

In our morale must lie our strength:
So, that we may behold at length
Routed Apollo's
Battalions melt away like fog,
Keep well the Hermetic Decalogue,
Which runs as follows:--

Thou shalt not do as the dean pleases,
Thou shalt not write thy doctor's thesis
On education,
Thou shalt not worship projects nor
Shalt thou or thine bow down before
Administration.

Thou shalt not answer questionnaires
Or quizzes upon World-Affairs,
Nor with compliance
Take any test. Thou shalt not sit
With statisticians nor commit
A social science.

Thou shalt not be on friendly terms
With guys in advertising firms,
Nor speak with such
As read the Bible for its prose,
Nor, above all, make love to those
Who wash too much.

Thou shalt not live within thy means
Nor on plain water and raw greens.
If thou must choose
Between the chances, choose the odd;
Read The New Yorker, trust in God;
And take short views.
it was warm
for a winters eve
unusually warm
but damp very damp
birthing a persistent
midnight mist that
crawled over everything

avenging
halogen angels
flitted down from
streetlight perches
skidding through
bare limb bars
of broken trees
roped in by sagging
telephone wires

skulking
seraphs
joined
ebullient
neon auroras
laughingly
brake dancing,
jittering away on the
pock marked rims
of hip hop streets

the fine drizzle
descending from the
black urban heavens
splayed holy water
over the bodies
of anything
that moved; and
layered mounds
of transparent beads
on all inert things
chiding those yolked
to weighty burdens
to seek relief of
a much needed
breaking point

our
slouching city
mired in a cycle
of a prolonged
historical rut
beavers away
to lift the lid
on tomorrows
tipping point
in a desperate
labor to stop
tripping over
itself...

a dinged up
Sentra’s
flashing spinners
twisted round
our dark corner
nearly clipping
our troop

inside the
yakking low-riders
scuttled along,
their hidden ***** eyes
cruising the stoops
and cyclone alleys
scoping opportunities
for the next
jolly hustle
to feed
a growing
angry fix

tonight
Mother Nature was
running a *****
to the wall third shift,
manufacturing a
stationary low
of gagging precip
churning volumes
of Vulcan smoke
conjuring
convective spirits
from all the
dim places

emanations lit
the balmy January air
rising from
stubborn gray patches
of despoiled snow
and rancid ponds
organic gutter water
composting
in distilled pools
awaiting leakage
through flotsam
clogged sewage grids

Paterson’s
litter police
could close the
city’s budget deficit
if all infractions
were properly cited
and paid in this
neighborhood

this queer elixir of
rising vapors from
evaporating snow
escaping the cracks
lining the bowels of
mordant streets
joining descending
screens of billowing mists
blurs boundaries of light,
diffusing temporal time

people and things
lose precise definition
reducing sentient beings
to moving silhouettes of gray
photographic negatives
framed in dribbling palettes
of pastel hues

our
5th Ward mission
planted in the
hub of a neighborhood
still holding on...

Old WASP’s
of St. Paul’s
long ago
winged away
from this
princely
Episcopate
principality

the abandoned
conical nest, its
chambers filled with
the mud of 50 dead rectors
precariously clings
to its shivering
boulevard corner

its endowment depleted
its earthly treasure rusting
grandiose Tiffany windows
remain the last legacy of an
opulent faith now
shamefully rattling away
in moth eaten frames

once icons of
adulatory reverence
the final sparkling asset
of a distressed religion
begs to be monetized
by flummoxed vestrymen
yearning to extend
a stewardship
over a dissipating
ESL flock

distress in the hood
parades down Broadway
in all directions

a few blocks east
a shuttered
Barnert Hospital
transfigured into an
urban enterprise zone
for health-care privateers
working overtime to
extract federal
corporate welfare
rent subsidies
dutifully fulfilling
fine print obligations of
Obamacare legislation

Old Mayor Barnert’s
namesake synagogue
once hard by
City Hall
is long gone
its absent footprint
now centered by
a thriving
White Castle

near Broadway’s end
on the outskirts
of Eastside Park
Art Deco Emanuel Temple
the last anchor
for the city’s Judaism
lies vacant
awaiting a renewed
purpose

fraught with irony
a thriving Islamic Center
stands juxtaposed
across the street
from the old
Hebrew Temple

we wonder what
will emerge
from the
hallowed chrysalis
of decommissioned
Emanuel?

rumors of a
Great Falls Art Center
trickle like a leaking faucet
failure to secure a mortgage
in the post credit
bubble pop economy
dams the possibly
of a new centers
coming to fruition

will
the city’s
changing
demography of
reverent Muslim’s
genuflecting
across the street
take time away
from prayer to
patronize a venue
offering decadent
bourgeois jazz and
risqué reviews
of retro Borscht Belt
vaudeville?

when Constantinople
became Istanbul they
converted the Christian
churches into mosques

when the Inquisitioners
drove the Moors from
Granada they converted
the Grand Mosque to
the Cathedral of the
Incarnation

what incarnations
will this city’s
twilight bring?

As Byzantine
begets
Constantinople
begets
Istanbul
the links
in the Silk Road
spanned west
to the new world
of mechanized looms
powered by
Great Falls
raceway water
and a distribution
and procurement
chain anchored
by the Morris Canal

Capitalist
modernity
begets
our Silk City
it also bespeaks
its demise

in the courtyard
of St. Paul’s
a muffled chorus
trawls the thick air

a posse of pimps
done wrangling
their stables
of $5 ******
sing reveries to
the evening haul

midnight lullabies
of corner crooners
lift a Capella hosannas
from the dark armpit
of an alley behind
the Autozone

“i said
you say
what can make
me feel this way
my girl”

juiced pimps
cashin in
livin large on
a skanks
50 cent haul

the trade in flesh
of distressed
human capital
remains a
growth industry

Music Selection:  
Temptations, My Girl

jbm
3/1/13
Oakland
Part 1 of extended poem Silk City PIT.  PIT is an acronym for Point In Time.  PIT is an annual census American cities conduct to count the homeless population.  Paterson NJ is nick named The Silk City.
The last pose flickered, failed. The screen's dead white
Glared in a sudden flooding of harsh light
Stabbing the eyes; and as I stumbled out
The curtain rose. A fat girl with a pout
And legs like hams, began to sing "His Mother".
Gusts of bad air rose in a choking smother;
Smoke, the wet steam of clothes, the stench of plush,
Powder, cheap perfume, mingled in a rush.
I stepped into the lobby -- and stood still
Struck dumb by sudden beauty, body and will.
Cleanness and rapture -- excellence made plain --
The storming, thrashing arrows of the rain!
Pouring and dripping on the roofs and rods,
Smelling of woods and hills and fresh-turned sods,
Black on the sidewalks, gray in the far sky,
Crashing on thirsty panes, on gutters dry,
Hurrying the crowd to shelter, making fair
The streets, the houses, and the heat-soaked air, --
Merciful, holy, charging, sweeping, flashing,
It smote the soul with a most iron clashing! . . .
Like dragons' eyes the street-lamps suddenly gleamed,
Yellow and round and dim-low globes of flame.
And, scarce-perceived, the clouds' tall banners streamed.
Out of the petty wars, the daily shame,
Beauty strove suddenly, and rose, and flowered. . . .
I gripped my coat and plunged where awnings lowered.
Made one with hissing blackness, caught, embraced,
By splendor and by striving and swift haste --
Spring coming in with thunderings and strife --
I stamped the ground in the strong joy of life!
Annie  Jan 2010
Vaudeville
Annie Jan 2010
A thespian
In a play
A strong man
But not strong today
Leading girl gone away
One act
One scene
One line to say
His kōan
"What is the sound of one hand clapping?"
Silence.



Pretty girl
Gamine thin
Her Ribs
Bent staves
Round a coopers bin
And at the clubs
She picks up men
Who leave her
When they’ve
Had their fill.
And still
It’s courtly love she seeks
A treasure trove
That is for keeps.
Her kōan
"The moon cannot be stolen."
But maybe if she seduces it…
It will be hers.



She’s middle aged
There’s not much left
Her ******* aren’t firm
She’s barrel shaped
She watches soaps
And talks with friends
And fights the fear
That if it ends...
She hasn’t amounted to
Much at all
She could have been more
If she just had the time
Her kōan
"What are you doing?"
Nothing.
By A Foreigner

I like Americans.
They are so unlike Canadians.
They do not take their policemen seriously.
They come to Montreal to drink.
Not to criticize.
They claim they won the war.
But they know at heart that they didn't.
They have such respect for Englishmen.
They like to live abroad.
They do not brag about how they take baths.
But they take them.
Their teeth are so good.
And they wear B.V.D.'s all the year round.
I wish they didn't brag about it.
They have the second best navy in the world.
But they never mention it.
They would like to have Henry Ford for president.
But they will not elect him.
They saw through Bill Bryan.
They have gotten tired of Billy Sunday.
Their men have such funny hair cuts.
They are hard to **** in on Europe.
They have been there once.
They produced Barney Google, Mutt and Jeff.
And Jiggs.
They do not hang lady murderers.
They put them in vaudeville.
They read the Saturday Evening Post
And believe in Santa Claus.
When they make money
They make a lot of money.
They are fine people.
B Brown Mar 2015
Blue Hill Avenue

It begins with Spanglish-speaking merchants
conducting business inside of bulletproof stalls,
where the faint scent of dried cod follows you
to the flat fix next door, into the auto body,
a hair shop, and to the steps of a church
for first generation Cape Verdean-Americans,
their offspring and that old lady --
someone’s  grandmother --
who wears a black dress on Fridays
and walks home from the Market Basket
the same time that you get off the bus
who wears a shopping bag full of tropical foods
and memories on her head.

And if you stand at its first **** south,
you will notice how the families disappear
in the African American section.
There are fewer stores here, lots of energy boxes
with epitaphs: “Tiffany Moore Died Here”;
a seatless swing set, a playground gone fallow.
You won’t see any church steeples in this section
that feeds on a neon CITGO sign too small
to illuminate the skyline like the mega one in Copley does.

A few blocks away, a ghost of the Jewish past sits
with pointy stars of David nestled inside its
bulbous steeples that simmer on summer Sundays
where Haitian congregants stew inside,
praying and giving to the building fund
in damp envelopes that will go to the omnipotent one
who will someday replace the stars with crosses.

And as you keep walking, past the temple,
you enter Grove Hall’s Mecca, a strip mall
with a drive-thru Dunkin Donuts,

a Stop & Shop, CVS, Bank of America,
and a Rainbows that sells your teenaged aunt
the sequined one-off shirt she needs for a date
and the fishnets she wears to the carnival
that parades through a sliver of the avenue,
the very next section of our beloved Blue Hill.

Across the street, Check Cashers speak English
as good as the number of dollars and cents
they count when they hand you back your cashed check
or the double win you scratched out of a Gold Rush ticket.

Adjacent to them, a Greek-owned sandwich shop
that feeds you steak bombs as long as your forearm or
Festive Fridays: 20 wing dings, a pound of fries,
a Greek salad, and a gracious gulp of fountain cola --
essentially, a heart-attack meal.  

Next, another ghost of the Jewish past,
a church in the former Franklin Park Theater,
where Yiddish entertainers performed vaudeville acts
which nobody living can remember.

Then a building that resembles an African footstool,
one that will allow you to see over the **** of the hill
and down below at a gospel choir trapped in everlasting song
against the wall of the one-hour cleaners and that store
where a turkey-shaped lady with flour dusted hands
stands behind a window, noticing you,
while guarding her beef patties and cocoa bread
with a bulletproof smile.
Sam Marlowe Feb 2013
What has remained where memory was lost or stolen?
Effacing years replaced what had been felt,
the child adept at stealth and isolation
becoming stranger than the life he left

behind in absence, which was both gone and forgotten.
An echo of a voice in an empty silo rings
because he heard it answer him with words
instead of bruises; the man and child grins.

Remembering selectively, the man
recalls the carcass of a red Case tractor
thigh high in grass; and Viet Nam,
a water buffalo dead in a paddy after

the Viet Cong, like willful parents, spanked
the area with small arms fire. Hell
was neither here nor there but something stank.
The mood rolled over as an odor will

disperse in time, a transient effect
of mind, but an abyss of remembrance haunts
wherever ghosts have congregated, cleft
from the wanton interval of thwarted wants.
PS  Jun 2015
Gypsy Rose Lee.
PS Jun 2015
Gypsy Rose Lee.
Is that you or me?
Does that make you Baby June?

The favourite and best
No concern for the rest
You sing and you dance in the tune.

Or just like Gypsy
You learn how to strip tease
The glamour and glitz of the night.

But who's mama Rose?
And how could I know?
She pushes and leads to a fight.

But Gypsy is magic
And a rare art form
And June is so dainty
Doesn't know when she's born
She's the centre of attention
She's the first one who speaks
And Gypsy is left there
Still being Louise.

Chow mein and lambs
Travel the land
A show on vaudeville stage.

Let me entertain you
Let me have a try too
Honey, were you not entertained?
Has anyone ever seen the movie/musical Gypsy? Well I love it!

— The End —