Posted on Leave a comment

Poem by John Sullivan

 

(From the Poem 3 for OC)

Chan Can Dance, but a Red Steel Vulture Don’t

For Picasso’s Red Steel Vulture in Daley Plaza
(Chicago) that looms and sometimes drips a rust-red
effluvium on passers-by: but nothing drips on Chan,
because she’s too damn fast. She’s nothing but a blur
of bone.

Yellow horns go crazy
when a harsh lip touch ‘em,
and Chan can dance
in a window, not no
secret to my eyeball in
a gold light afternoon, upon
so many hooves of commerce
cross a stone river, stone
backwards, each ghost
goes belly-up, goes
panic, goes show, and
show some leg,

like Chan can in a
window: soft finger
of platinum draws
her outside on a red
light afternoon, palms
open, on her skin, a
light, and gold, no
stone again, no
cosmologist groupie
in a “Cure” drag gots to
prune another patient, no
way, no one misses hats
more than the occasions
for hats, but a statue, Herr
Wesen, a statue of a vulture
is not-no-vulture, no
more than ain’t no sense
in a long mile shine,
straight into actual
blue light afternoon, say
Mr. Red Steel Vulture gots
No future, neither, he
don’t blink like
a vulture blinks, don’t
dance neither like
Chan in a window can

breeze a note away
and still, and always,

ol’ Red Vulture gots
to grook-a-long a fat mayor’s
playpen, say don’t droop,
Mr. RSV, make a drip-steel-drip
of red juice nether down
to snow, instead, nether
down in red muddles under
so sore hoofers slogging
by in a poor ol’ sad ghost
bunch, and they can’t
blink back, neither, can’t
dance on a gold light
afternoon in a window
like Chan can

“Reaching for Faded Ribbon” © Bill Wolak

John Sullivan – Lives and work in Galveston TX and has a background in writing and theatre – directing Theater Degree Zero (Tucson / Bisbee AZ) for a number of years, Seattle Public Theater (applied theatre wing) and the Amnesty USA Local Group #23 (Houston TX) with Michelle Rae. He is as a juried poet to read at this year’s Houston Poetry Fest. A lot of his work is influenced by music or the lives of musicians: the “OC” in the title of the series refers to Ornette Coleman, one of the founders of Free Jazz.

Bill Wolak is a poet, photographer, and collage artist. He has just published his twelfth book of poetry entitled Love Opens the Hands with Nirala Press. His collages have been published in over a hundred magazines including: The Annual, Peculiar Mormyrid, Danse Macabre, Dirty Chai, Hermeneutic Chaos Literary Journal, Lost Coast Review, Mad Swirl, Otis Nebula, and Horror Sleaze Trash. Recently, he was a featured poet at The Mihai Eminescu International Poetry Festival in Craiova, Romania. Mr. Wolak teaches Creative Writing at William Paterson University in New Jersey.

Advertisements
Posted on Leave a comment

The Underground Garden: ESSENCE BOSTON sunDAY

 

Boston gets a day party! Boston gets a day party!!

essence

On Sunday, July 17th Tamra Blake brings “The quintessential soulful rhythmic freedom of sound and movement” with ESSENCE In The Day at Cambridge’s Middlesex Lounge beginning at 3:00 p.m. SUNLIGHT DISCO!!

What is Garage, Loft, Philly Groove, Funk, Disco, Gospel, HipHop,

Soul, House, Jazz and other musical gem styles combined? ESSENCE IN THE DAY with Sound Selectors Bob Diesel and Keith Devire Donaldson of Progressive Black and Chris London of Love & Nappiness are your Church after Church Preachers. Listen!

“Future Classic Dance Music” is the page they’ll be turning to this Sunday. Expect time travel appreciation during Essence in the Day. But are you ready?

The musical collections each of these 3 DJs share with the masses are knowledge for your Soul. If you ever wanted to have a good time getting schooled, Be Here!

This is an experience to be had and shared with many. Visual artwork and lights by the extremely multi-talented Biyeun will grace the walls, along with echoing sounds of the music and love.
ESSENCE In The Day also sets off DJ Bob Diesel’s 40th Anniversary DJ Tour. Grab those flyers!!

Reminiscent of all our truth provided by Tamra Blake, Progressive Black, The BostonHouse Music Coalition, Love & Nappiness and The Middlesex Lounge. Enjoy the day to our Musical History! ESSENCE IN THE DAY arrives Sunday, July 17th at The Middlesex Lounge, 315 Massachusetts Avenue, Cambridge 21+ $10 door.

7-17-16

Liza Zayas is a lover of writing and dancing and celebrates both as a singer and songwriter performing as Luna del Flor. You can hear her collaborative sounds and experience life through her storytelling. She invites you to dance. Her poetry seeks to initiate dialogue by intentionally expressing consequences of love, lust, ego and self-respect

 

Posted on Leave a comment

The Underground Garden: ERATO *:* HOLIDAY SOULSTICE

erato

ERATO returns this Saturday, December 19th! I had an incredible time playing music with and for everyone at ScorpioS Rising last month, and this month we welcome Jesse Cardoso to share the decks with T.C.C.!

ERATO’s December edition is dedicated to Soul. The everlasting effect of life and death. You know You’re eternal right? The ticking of your heart’s beat, the swing of your hips, the bang of your head or the tap of your foot. Even your leg kicked up. You’re Soul Baby.

We’re very excited to experience DJ Jesse Cardoso and his selections at the Holiday Soulstice. It’s his debut at ERATO and we’re grateful for the gift of his music!

x132-Solstice-Sun

INTRODUCING: JESSE CARDOSO: Educator, past college radio jock, current/future/always-been, DJ!

“My first inspirations in music came directly from my mother’s record collection of jazz, soul, and even eclectic rock. When I left Boston for college, I took some choice albums with me along with my hip hop 12”s, which is what I was mostly tuned into at the time. I had one turntable, and I would end up playing more rare stuff and instrumentals for my friends, seeking to broaden our perspective on music beyond the mainstream. I was really interested in the commonalities in music, as opposed to the divisions sometimes created by genre titles. As I began digging for more and more music, I was drawn toward the stuff being sampled even more than the beats that used the samples. My first DJ experience was a radio show I did in college with friends for three years where we played all the soulful, funky, jazzy music we could find. In some ways, I’ve been a DJ for 20 years.”

“As an avid music collector and radio selector, I always paid attention to what other DJs were doing, and I’ve been fortunate to know personally several really good DJs. I used that as an opportunity to learn about more music, whether asking someone about a track played in the club, or having a session spinning at someone’s home just for fun. Even as a kid, my brother and I would check out funk and disco records from the library and listened to college radio shows that played afrobeat, jazz, and reggae.”

“One of the most influential experiences was record shopping with someone I really admired as a DJ and having him educate me on some must-have records. Obviously this was a while ago, and even though I was asked to spin at a few parties with other DJs over the years, I never really considered myself a DJ until very recently.”

“I think there’s a couple of factors that led to me saying to myself, ok I’m going to share this with other people as a club DJ now. Before, spinning was much more personal, and all of the mixes that I used to do for friends were for them specifically; they told a story. The first factor is technology, in that it has become so much easier to store, record, and share music now. The second thing was probably my confidence. It came up that a couple of well-known DJs heard my mixes and asked me to play out at their residencies. I was like, ok I’m real intimidated right now, but if they believe in me enough to spin for their events, then I’m all in. My first real club DJ experience, I was supposed to open up, but I ended up rocking for 4 hours until closing. After that I embraced being a DJ, for the first time, and I’ll always keep that experience close to my heart.”

“It’s always been about the music, regardless of the genre or the setting it’s being played in more than the technical aspects of being a DJ for me. All of my equipment, and a lot of my music were handed down to me from DJs and friends that I have a deep respect for. Moments related to the music, whether talking about it, listening to it, or sweating and dancing to it have brought me to the place I’m at now, where I just want to play what would get me dancing myself.”

“I’ve always thought being a house-head isn’t for the average person, because we in some ways have to work pretty hard to have a good time. The club scene, especially in Boston, isn’t really set up for us. What solidified this (deep, afro, soulful, house music) for me was traveling to hear the music I wanted to hear, and dancing literally all night or all day in a space free from judgment, and free from a lot of the injustices prevalent in the rest of our society. I’d been to some house music clubs here in Boston in high school, but it wasn’t until I was a little more mature, after college, and traveling to New York that I fell in love with house music too. I remember hearing my favorite track being played 3 times in a row, well after 3 am, and nearly losing my mind with happiness. The music makes a space feel like home, even if you’re miles away, or on the other side of the planet. Even here in Boston, I’ve seen folks come in from out of town, and immediately shed their inhibitions and dance, because the music brings them back to a similar, familiar place, a moment in time, or favorite song.”

“One thing I will keep with me forever is how humble, and supportive our scene can be. I’ve been fortunate to get to know people both local and international, who have guided the very direction of the music and the scene. These are people that I really look up to, as I know many others do too. What I’ve found in getting to know them is that they are some of the most down to earth people I’ve ever met. I’ve always learned from people who have more knowledge of music, but what I’ve learned also is that the culture surrounding this music has a give and take. I’m happy to have been given some amazing experiences from music, and now for the opportunities to share it with others. I think one of the most important things we can do is continue to bridge generations with this music; whether it’s called club, underground, soul, or house, as well as honor the connections to its soul, disco, funk, jazz, Latin, and African roots. We need to continue creating spaces for dancing, and most importantly continue creating better ways to be united as creative people.”

THANK YOU JESSE for your Heart! We are all looking forward to your selections and your set!

12309713_10153828739740844_464268183430244172_o

And, Hello?! “Ugly” Sweater Rockers, show up in Yours and your cover is $5 all night! We love a good time.

All for a great time is aligned, Gratefully, and we invite You and Yours to join us in Welcoming the Solstice through DANCE! Because it’s Love.

ERATO’s Holiday Soulstice celebrating the gifts of Life, Music, Dance, Love and Each Other arrives this Saturday, December 19th at Club Bohemia (lower level of The Cantab Lounge), 738 Massachusetts Avenue, Cambridge (Red Line : Central Square!). We open our arms at 10:00 p.m. with DJs Dende and Mystina on deck and close the night with Jesse Cardoso! This is a 21+ Party and cover is $5 before 11 p.m. ~ $10 thereafter. Holy-Days Love to All!

11988268_965260666899360_838398432166612160_n
Liza Zayas is a lover of writing and dancing and celebrates both as a singer and songwriter performing as Luna del Flor. You can hear her collaborative sounds and experience life through her storytelling. She invites you to dance. Her poetry seeks to initiate dialogue by intentionally expressing consequences of love, lust, ego and self-respect

 

Posted on Leave a comment

The Underground Garden: UHURU AFRIKA

 

A blast like, The Big Bang, was the resulted combination of DJ Adam Gibbons, DJ Max Pela, VJ Jay Medina and Percussionist Sidy Maiga. UHURU AFRIKA was birthed and its guiding light has beamed in Cambridge, and now Jamaica Plain, for 7 years and glowing. But wait!! It’s not just Us that dance in the light, UHURU AFRIKA has brought people together in New York, Mexico, Chicago, and The Burning Man Festival, to name a few points on our Earth moved by The Diasporic Dancefloor Explosion.

Debuting in 2008 and since hosting an incredible program of talented and passionate singers, DJs and producers, UHURU AFRIKA is dedicated to honoring the Drum. They note their mission “is to bridge ancient traditional African music … and the electronic dancefloor sounds of today.” You got that right.

UHURU AFRIKA is a study in afro-rooted House. Every guest who has graced our city by way of UHURU AFRIKA should be considered a scholar in schooling dancefloors. Alongside sole resident Adam Gibbons with Sidy Maiga, the combination of collected and treasured music, hand on the drum, feet on the floor, love, sweat and song continues to keep UHURU AFRIKA strong, fresh, full of impact and our city’s devotion.

Creator and Resident Adam Gibbons speaks at The Underground Garden about his musical journey and Uhuru Afrika’s legacy.

What have been your inspirations for music before you became a DJ?

At an early age, I had a feeling that Music should be revered in a very special way, that it was powerful and magical. My parents always had soul, funk and gospel records in our living room next to the hi-fi, so of course that influence was there. They were also fans of Jazz music, their first date being at the legendary Jazz Workshop in Boston’s Copley Square. I feel this was more prominent on my mother’s side of the family. She came from a very hip and artsy, bohemian tribe. Even when my grandmother re-married, her husband (my now step grandfather) was at one point a jazz promoter in Boston. He booked everyone from Artie Shaw to John Coltrane I was recently gifted a photo of he and Wes Montgomery shooting the breeze in his living room. I think I was around 11 or 12 years old when I really started to appreciate Jazz music (Which eventually led me to traditional African music and Afrobeat), partly by the influence of a gentlemen I lived above who used to share music with me. It turned out that he worked for Miles Davis. Around this time, Michael Jackson’s album Thriller was released which totally blew my mind. I was also listening to Boston’s WILD radio and was introduced to classics like “Friends” by Whodini, “Rumors” by Timex Social Club. So you could say that I was always surrounded by music and musical influence.

From these inspirations, do you remember the moment you decided you wanted to DJ?

I remember fantasizing of being a radio DJ when I was young. My uncle was a radio DJ in California and I ended up with a crate of records that were handed down to me with artists like Anthony and The Camp and Colonel Abrams. I was like “He gets paid to play these on the radio?!?!?!” I thought that it was so cool that people make a living at that job, to curate and play music for others. It was not until the 7th grade that I started to go to a Roller Rink in Kenmore Square where Jillian’s Billiards is now, that I was fascinated by the DJ spinning live in front of people. I thought that is something I would love to do. Years later, I have memories of going to venues like The Loft, Visions, Mind’s Eye Cafe, Venus de Milo in Boston and the Tunnel and Limelight in NYC and that really solidified my desire to be a club DJ. I started out spinning backyard BBQs and loft parties in High School and eventually worked my way to my first residency at Venue de Milo club on Boston’s Landsdowne Street. I originally started spinning Hip-Hop, Reggae and RnB and Disco Classics before transitioning to Acid Jazz and House Music in the 90’s. I currently am focusing on the Afro-diasporic dance floor sound playing everything from Afrobeat to Kuduro to AfroHouse.

In your words, UHURU AFRIKA.

My vision for Uhuru Afrika is to celebrate and spread the vibrant culture rooted in the continent of Africa, and all of its branches that have stretched far by means of the Diaspora. The aim is to foster a community movement under the umbrella of music and the arts. Uhuru Afrika is not just about dancing, performance, music and drinks. Rather, we want to create a communal experience – people coming together, using music as a mode of fellowship and release. Though this environment is rooted in Africa-diasporic tradition, this event is geared towards an eclectic crowd with all ethnicities, religious, cultural and social backgrounds. This is about creating a positive, worldly, uplifting atmosphere.

ZepherinUhuru Afrika returns to the Milky Way in Jamaica Plain on Friday May 29th with special guest DJ Zepherin Saint of Tribe Records from London. On Monday June 8th we will open for the legendary Nigerian artist Femi Kuti and his band Positive Force at the Paradise Club in Boston.

For Everything UHURU AFRIKA, enjoy this link and the others below. Find Yourself on Friday, May 29th at the Milky Way with Uhuru Afrika’s special gathering featuring DJ Zepherin Saint!

Adam Gibbons’s Facebook page.

Uhuru Afrika’s Facebook page.

Uhuru Afrika’s Soundcloud page.

Uhuru Afrika’s Twitter handle.

Soundcloud – www.soundcloud.com/uhuruafrika

 

Liza Zayas is a lover of writing and dancing and celebrates both as a singer and songwriter performing as Luna del Flor. You can hear her collaborative sounds and experience life through her storytelling. She invites you to dance. Her poetry seeks to initiate dialogue by intentionally expressing consequences of love, lust, ego and self-respect

 

Posted on Leave a comment

3TV Presents: Ron Goba with Music by Glynis Lomon

 

 

hearts gestates
arrears smears
blotches splotches
latent frags in
last straws batch
hears hidden hay
no Full
Bright grant
guide
book un
ease re
leases mosaic loom
transit cuisines lodging
minds viciousinnercircle
eye I sip my
beer draw them near
er(r) the wideopenyard off
guard Plato barks
Aristotle dashes a
way seeds left in
birdfeeder standstillmoves
hill slants in
stone lumps ground
ovalsface cant hide smile
ribs scroll rolls back
forward many loves
one lover
appropriates stammer adapts
arrogance amples allude
the pet
pissed rancid rug
arms length begging hug
rooms eary acoustics
cross criss tracks conflate
wry womb words flame onthefly
open palms dare lips twist air
press cellos strings down
elegy knocks (how
can I not
let it
in) one
yet making love to
longlover evers pre
sent gone
girl the
pre
or
dained ex
ist beck
on breaks a
new fazizfraziz
druseslips timeslapses
phases tongue back to
bloom BachsCelloSuites Casals
Catalanboy Barcelonasmusicstore
foundlings out
landish findings
bow bowing solo self
no spiked body no book under armpits
no kneegrip no rigid resonate
youth socking pockets money
hot bloods home
strings low soft high harsh vibratos
tempers dis
appearing tempos
swift
slow sur
prise un
der pin
ning ex
pects rhythm in
tuit damning probe
innerbes miss
takes affairs marriage failures
convict by
passing penance breaths glimpse of
sheer spirits humanity the
Naxos engineer the
Grammy winner no
perfect Fournier his
lyric abstracts no
Starker taperedshirtsleeves no
Isserlis emulates no
YoYoMa just gruff
huffpuffgrandeur (how
often does one get to say
magic miracle majestic master
full) musicmade just for
suchsound oh yes Sue
it holds us for
the rest of
anews sways

 

Ron Goba is the author of such collections as The Music Box, The Custom of Quoting Someone, and Collage As Silkscreen. For several years, he was known as the doorman for the weekly Boston Poetry Slam at the Cantab. Since 2011, he has released Swan Song, Innocence and Sam Adams (co-authored by Prabakar T. Rajan) and other smaller poetry collections written specifically for his poetry features. The footage above was recorded on April 15 at The Armory in Somverville. He will be reading at the Cantab later this month and Stone Soup Poetry in June.

Cellist Glynis Lomon went to Bennington College to continue her classical cello studies in 1973 where she met and began performing with musician/composer Bill Dixon. The music of Dixon’s ensemble combined the exploration of the frontier of sound that she loved with rich rhythms, emotional expression, and the art and science of improvisation. Glynis has been privileged to play with Bill Dixon, Arthur Brooks, Jimmy Lyons, Cecil Taylor, Butch Morris, Syd Smart, William Parker, Greta Buck, Dennis Warren, Lowell Davidson, and many others.