Saturday, June 04, 2016

Carter and Maria in the Desert

My heart is a broken flower. Fuck me. Don't do that. Do it this way
That is how The West was won. Hollywood cowboys cutting into film
In screening rooms they cuss, cut create what we know as blue noir
Belle Fleur was her nom du plume. She envisioned The Golden Age
L'Age d'or, Bunuel hysteria. Suicidal chefs making chocolate roux
She had a room with a view overlooking an archway within a garden
Where she snail-tapped her way thinking male gender emasculation
Mundo civilizado. Long drives along lonely Los Angeles highways
In bloom, face like lilac, she listens to Cage the Elephant remixes
What is this the press to play gee whiz affectations of entitlement?
Must clouds creep so low - not while in our bathing suits we vent
Cram disposable logic inside hot breezy quips that qualify as gizz
Jazz. Thelonious Monk's Epistrophy. We zoom in and out of scenes
Roles heartthrobs play man-sizing. Their star-lit lovers fib and faint
Young Warren Beatty would do it differently. So would Paul Newman
Perhaps the wife beater exposing his American flesh. Jack Lalanne
No, a young Paul Newman wouldn't walk the floor porno pathetic
He'd play her down like a boss man with a bow and an upright bass
Watch him grip the fold of hair, tilt her head back lightly, breathe on
With these words he'd say to her commands from a Southern beau
Looking at a Ruscha painting and knowing where you came from
This is Hollywood. North by Northwest. Mann's Chinese Theatre
We fight among the cinematographers, grapple with our posture

Friday, May 20, 2016


Bluest eye. Comment c'est. Pence to plus. I am a Muybridge
Human heck silhouette figure sprinting from white euphoria
In the arms of Bangladeshi woman I recall Marjorie Christie
How else do Black Europeans dissimulate their whiteness?
I murder roses place them ceremoniously over Brian's grave
Jonestown Massacre. Blood red lips murmuring "Rosebud"
Bonanza. Caribbean cowboys incognito emulate Roy Rogers
Becoming Buscemi. There were once Rastafarian cavalcades.
We now worship Wiz Khalifa. Long live King Jeru the Damaja!
Aburi Hills, the night sky as Nina Simone glamorizing meth
Music is a whore named Telula! She reads aloud The Bell Jar
How the girls at Cal Arts cut into their skin the word "Awula"
Ghanaian wunderkinds paint themselves dressed as Napoleon
Lady Days at Bellevue Psyche with smells like cooked snails
Mad men impersonate Emperor Selassies and Indira Gandhis
In this world a black goth girl is considered bipolar case number
Give me your industrial disease! Trade you for my hypothesis!
Where the punks on dope smash guitars I inherit my ubiquity

Wednesday, May 18, 2016

Of a Lesbian Body in an Episcopalian Church

of stone. that bronzed element yet lily at heart fluttering. as if his feathers were of rooster at fight. king no less mirroring me, a pugilist shambling. poet collecting words like geese possessing the sky. he opens dictionary page words starting with letter "d" fixates on the word "diphthong". an example of which "oi". (oy) is it a punk as pig or does the word "pig" make you think of pig Latin?

prospectus erectus "rospectuspay erectusway". opening paragraph Nabakov's Loilta. have you ever undressed a word to find its cult or key? have you ever heard of Throbbing Gristle? there's a great noise coming from the interim. I read Portnoy's Complaint as an alternative to shafting.

bestowed upon me is the question of thus - am I an incorrigible thing? perceived as jaundice, nearly putting in verse dialogue for our conquest. much of what is said is unretractable. I am of this. it is my sermonology. you speak words hot in happenstance. we are not lovers. in this I possess you. taste of Camembert on the tongue.

your phraseology, unnurtured, carries with it murmuring of a submissive interlocutor. in this our wrong-doing the reflective "I" purports a feminist stance. is it the "she" I sense in the ever-governing me? what I usurped from her spirit, her lesbian body as she stood before me, an Episcopalian in the church of God questioning my chi.

Thursday, May 12, 2016

Death of Black Pageantry/Neo-Politicizing of Blackness

Kofi Fosu Forson

F. Scott Fitzgerald's Tales of the Jazz Age wouldn't suggest the flamboyance of Duke Ellington, genius master compositions of Dizzy Gillespie, genuineness and human accordance of Louis Armstrong or the elegant beauty and well-founded blues in the voices of jazz singers such as Billie Holiday, Ella Fitzgerald and Sarah Vaughn among many others.

There is the supposition of jazz as black musicians entertaining a white jet set, much of what became of black culture as a means of hilarity and enjoyment for white commercialism. That black people found relief in self-expression, it became the undoing of what was the black element in the cultivating of popular culture as was the decimation of blacks and the roles they played in science, politics and art.

What is black pageantry?

It can be proven in the resistance of self-denial, renouncement of bondage and slavery, the black person found a revolt in his promotion of glory made present in music (blues, gospel or rock and roll), theater and story-telling. These were times when a bond was created among those rejected, made poor or rendered as family by circumstance or genes. Whether in the form of a gathering on a field, at home or church, the black person always found reason to celebrate, reform from emotional or physical pain.

This very idea of black people rejoicing was brought about to the level of the black slave entertaining the master. In its most commercial relevance black musicians would be presented by means of professionalism, adorned in suits and gowns respectively to perform before a white audience.

That was and has always been the idea behind control and performance where a greater and more powerful white entity manages the successes of performers. The idea of black movements in music from bebop to MOTOWN has always been sold as black imports to white communities. Whereas black people valued these movements as progress of black productivity they were often prioritized given a white "newness" and manifestation.

The idea of a black family getting ready to go to church, choosing what to wear, performers deciding on tailored outfits, presenting themselves as G.Q. or cover girls has always been a part of black pageantry, the idea of presenting the self as an example of one's imagined and heightened conscience, at times hilarious, exaggerated but overall conditioned to make one take notice, admire or hold in the highest regard.

Harlem Renaissance was time when black artists reflected the talent and conscience emanating from what was "black thought." It reached a means of excellence in the works produced by fine artists, musicians, performers in theater and film. The idea of pageantry remained current in how these artists presented themselves with fashion and costuming. Overall much care was taken in the defining of one's persona as charismatic.

The 70's was a revolutionary decade having survived the explosion of rock and roll and the birth of the hippie. Black musicians gained a sense of pride with their self-ownership as expressed in the music and presentation of stage acts by performers. Parliament Funkadelic and Labelle were among those who put on legendary concerts celebrating blackness with an emphasis on sexuality and originality.

The decade fueled by the war in Vietnam, Civil Rights and blaxploitation films added a concentration on the evolution of the black performer owning up to his genius as was evident in Isaac Hayes' music, Gordon Parks' film and photography and the literary works of James Baldwin and Toni Morrison. The black performer as Hollywood star had been given merit earlier in the performances by Sidney Poitier and Diahann Carol.

The 80's became a point of awakening in the death of blacks as a result of the drug culture which gave way to violence. The idea of a community killing its own carried over through to the birth of RAP and later Gangsta Rap which commented on the activities within black neighborhoods as News Feed, current affairs and pop journalism.

Rap as a movement and concentration on black culture brought an awareness to black pageantry more than any movement in history. From its origin in neighborhoods like Bronx, New York to what it has become internationally, Rap as hip hop has increased the awareness of black marketability, wealth, fashion and influence on the youth.

Music videos first brought to the homes of those unknowing and ignorant what was happening on the streets. With the success of MTV, the selling of what was blackness became a commercial success. By now Hollywood was also taking notice. Spike Lee's films affected the American conscience. The role of the fashion designer was important in what to wear to the award shows.

Black pageantry was always an example of the collective conscience and pulse of what was black. Marketability has given way to the success of individuals who see to their own advancement. This has become the black response to what was the D.I.Y. movement better known in the black community as "Do You."

As black philosophers as Eric Dyson and Cornel West write books which further black thought and conscience, a young group of black men and women have become politically savvy in the creation of The Hands Up movement as well as Black Lives Matter.

The Neo-Politicizing of blackness has brought consideration to what is a Post Racial Society evident in President Obama's election. Circumstantially the presence of a black family in the White House alone inspires success.

Socio-political activism in music as far back as James Brown and Stevie Wonder and what became Public Enemy brought the plight of the black person to the forefront. We see it now in the death of unarmed black men.

Somehow what can be suggested as a Post Racial Society is the articulating of what is black individualism. Overall the assessing of black unemployment, crime, lack of education and housing can be transcended by what has always been the black spirit in times of struggle and turmoil.

Blackness is less a conscience as it has become a reflection on death. Celebrations like AFROPUNK or the Jazz and Heritage Festival are now accounts to the reality we as black people are still alive, that we come from the post cryptic notion of death.

Our evolution is a manifestation from death. But such is the Christian perception.

We die off our false selves.

What then is our true self?

Wednesday, May 04, 2016

Photo taken of Original photo Tanga Moreau in Jeans Street Print Ad

Bird Man's Bronzed Coq

Out Sir! Come out you he-body bruvva man!

Resurrection from bones of this American Horror Story
White Heads of Southern California claim your pigs
Punk these gasoline thirsty barbarians with lead pipes
Surf water serenading life guard - An Albino Dennis Hopper

Auf wiedersehen - blue boys and gigolos on Venice Beach
A demain - body builders and hustlers in bell bottoms

To you I preach Easton Ellis monologues, Basketball Diaries
We are at a breach between what is god and what is gutless
The librarian claims our conversations are lovemaking actions
A poet-thief who dreams Mastroianni's dialogue in La Dolce Vita

Marcello! Marcello! Come si fa?! Come si diventa una celebrita?!
Bird man from the Bronx speaks the part of Brando in Godfather
He soliloquy's early morning as a police car circles the courtyard
At night gang warfare erupts stressing Abuelitas walking Nietas

King Felix tonight paint the corners like Georges Rouault
Hank's men answer to me wearing pinstripes and baseball caps
I call them ceremoniously one after another to the batter's box
Standing smitten if I were woman I would flash my Double D's

Ambrosia! Ambrosia! I the masculine feast on the femur
The feminine at her post pubescent erotic grotesquely mature
Haves at mon coq voluptuous grind bounces the buttocks beat
Heart palpitating breathing strong breaths aroused hallucinating

Thursday, April 28, 2016

Virtual Misogyny

At Martha's Vineyard love lives in trees. Come let us go
We are acquiescing tempestuousness of middle-age coitus
With neuroticism we seduce clit-lit bimbos in fuck and kill cafes
Virtual misogyny where ghost like funk captures our imagination
This is Ibiza by the sea navigating news feeds and timelines posts
Where imago suicidal Dorothy Parkers cut blow as poetic verses
Sanguine sun-night scintillating luminescence lifts my conscience
Arabethic sexo-disciplinarian. God is country I claim citizenship
Inside blue rooms I house corporate-cuntus fantasy girls meditating
I was projectionist of these NC-17 brain wave art documentaries
Colors of Vermeer paintings brought to life becoming faux nudism
Narcissistic up and over I sensed cataclysmic voyeuristic terrorism
Her caterpillar cat eyes under black hair ferociously piercing screen
Catch and catapult I made muse-sense of her Warholian profile pic
Fleshed out her Freudian body within mental pornographic celluloid
Hunger for carnal knowledge envisioning us approximating intimacy
Like Grade B movie actress modeling for a photograph by Weegee
Come alive during sex scene of a Margaret Thatcher era British film
She posed an American Anais Nin looking into me province of He
Aromatic essence beauty captured by the face lamenting desire
Red hues encompass each frame brilliantly and painterly evocative
"Who would be magistrate of our mutual harassment kinky torture"?
Potentially psycho in its inception we met death one shot at a time

Thursday, April 21, 2016

Celibate Celebrant's Diary of Worship, Song and Pornographic JPEGS

Dune lover - of this desert I navigate improprieties, a failed quest. That you were born incarnate plum picked, the female narcissus, be forgiven. Let not your origin perverted by Blue Irises give wake to your dying concupiscence

Malaria tint in the sky, dry sinuses - blood drip. With parched throats lungs quake to polluted air. Consequence diagnosable, weed's loom, white paper, no pipe. A breath's pull brings sensation, cancerous, cancellable

Hours programmed, detailed as vice - Magnum pistol hangs by cord. Bottled prescription pills, insular thug empties tank. Walls' white cracks, mildew gathers under sink, an inefficacious livelihood. Virtual sex, starvation

Numbing conscience - subjected to torture, he feels leather belt on skin, watches peripheral knife. Looped messages emit from answering machine. He prepares for lone shark's indeterminate arrival. Gangsta dialogue, muffled words presuppose agoraphobia

Melophobia - after months celebrating street samba, rock and roll dissonance, the chanteur, an alcoholic experiences marijuana smells, sex as drug, jpegs of inexorably schizoaffective sluts, conducts a conversation alone, panicks

This desert, street malediction - counselors' conference bargaining. For what merits death is a toboggan careening out of control, a client off medication threatening the silence, a boy pornographically diseased