I was a young boy with a withered leg,
abandoned, in a cold hospital bed.
Faceless attendants wore gloves, masks and gowns.
No parents for cuddles, kisses or love.
Alone were the Lost Boys with polio,
the silent, unpredictable killer.
Quarantined, isolated like lepers,
our only strength came from one another.
Expected to die, we boys joined forces.
We supported each other, forming a bond.
After lights were turned out we would whisper
together, “Shush, the Sisters are coming.”
Older patients had access to wheelchairs.
Sometimes they’d transport me to other wards —
to meet other boys was high adventure.
An empty bed usually meant a death.
Seven decades since, in the still of the night,
after lights are out, I can sometimes hear
that haunting refrain I heard as a child,
whispered, “Shush, the Sisters are coming.”
Note: Polio was one of the most dreaded childhood diseases of the 20th century. By 1910, much of the world experienced a dramatic increase in polio cases and frequent epidemics became regular events, primarily in cities during the summer months which left thousands of children and adults paralyzed. The first polio vaccine was developed in 1952 by Jonas Salk and announced to the world on April 12, 1955 – Source: Wikipedia.
Image: http://www.immunize.org/photos/polio-photos.asp
~~~
Sample my books for free — To date, $1945.00 has been donated to the homeless:
It was a crisp, sunny
October afternoon
in the arboretum.
I was meditating.
My mittened hands
rested,
upturned on my thighs.
A chickadee hovered
in front of me.
Seeing a convenient perch,
it landed in my open palm,
then hopped upon my thumb.
She looked me up and down,
side to side.
Having seen
all there was to see,
she flew away.
She brought such joy,
this tiny feathered thing.
I valued her presence
as a gift of trust,
a gift of love,
a sign from nature
and the universe
that all was well.
Eugene had a mind of his own,
not, as some would say, a sound mind,
but his own mind, nevertheless.
“It’s awfully considerate of you
to think of me here.
And I’m most obliged to you
for making it clear
that I’m not here.”
Eugene was a great musician,
taking music to the limit;
his songs will always survive.
Eugene took drugs to the limit;
he’s now in Interstellar Overdrive.
When we observed him with an axe,
you may understand our concern.
Was he in danger, or were we?
Eugene had already left us in spirit,
but he wandered away that day
and was lost to us forever.
~~~
This poem is dedicated to the memory of “Syd Barrett (born Roger Keith Barrett; 6 January 1946 – 7 July 2006) who was an English singer, songwriter, guitarist and artist. He is most remembered as a founding member of band Pink Floyd, providing major musical and stylistic direction in their early work, although he left the group in 1968 amidst speculations of mental illness exacerbated by heavy drug use.”
Axe is also British slang for guitar. Pink Floyd’s use of the title Careful With That Axe, Eugene may refer to “Barrett’s behavior (which) became increasingly unpredictable, partly as a consequence of frequent experimentation with psychedelic drugs such as LSD. Many report having seen him on stage with the group, strumming on one chord through the entire concert, or not playing at all. At a show at The Fillmore West in San Francisco, during a performance of “Interstellar Overdrive”, Barrett slowly detuned his guitar. The audience seemed to enjoy such antics, unaware of the rest of the band’s consternation.” (Source: Wikipedia)
~~~
Sample my books for free — To date, $1945.00 has been donated to the homeless:
Slouching
in forgotten tap-rooms
dirty old men,
forgotten old men,
slop piss-colored beer
from, wet, dripping glasses.
The hollow din,
the retelling of “the good old days”,
echoes sadly
as life quickly passes.
“They used to call me ‘The Silver Fox’
What do you think of that?
They used to care.”
An empty glass crashes
to the muddy floor.
“I guess I’ll be hitting the street tonight.
Sleep in an alley tonight.
Nobody cares.”
Slouching
in forgotten tap-rooms
dirty old men,
forgotten old men,
slop piss-colored beer.
Nobody cares….
slouching
in forgotten tap-rooms
dirty old men,
forgotten old men,
slop piss colored beer
from, wet, dripping glasses.
the hollow din,
the retelling of the good old days,
echoes sadly
as life quickly passes.
“They used to call me ‘The Silver Fox’
What do you think of that?
They used to care.”
an empty glass crashes
to the muddy floor.
“I guess I’ll be hitting the streets tonight.
Sleep in an alley tonight.
Nobody cares.”
slouching
in forgotten tap-rooms
dirty old men,
forgotten old men,
slop piss colored beer.
nobody cares…
i sit
beneath the cedars,
in solemn serenity.
face red
with asking questions,
seeking answers
to the ways
of life and death —
molecules and atoms —
and how we’re all
connected.
my fingers
stiff, from cold —
a child’s stubby crayons —
make difficult the task
of turning pages,
jotting notes
about impermanence,
attachment
and letting go.
i’m surrounded
by spirits of seasons past.
i fear not —
they mean no harm.
their faces radiate,
coming from the light.
in their eyes
i see peace and love —
they are free
of mortal suffering
they endured
in life.
they comfort me. Grieve not, they say, soon enough, you will join us. you will experience the universe and all it has to offer. you still have much to learn. when you are ready, we’ll be waiting.
i feel the joy of life —
(maples sailing leaves
of red and yellow)
moments, lifetimes pass…
then they’re gone,
as they should be.
beneath the cedars,
in their realm of wisdom,
reverently
i sit.
slouching
in forgotten tap-rooms
dirty old men,
forgotten old men,
slop piss colored beer
from, wet, dripping glasses.
the hollow din,
the retelling of the good old days,
echoes sadly
as life quickly passes.
“They used to call me ‘The Silver Fox’
What do you think of that?
They used to care.”
an empty glass crashes
to the muddy floor.
“I guess I’ll be hitting the street tonight.
Sleep in an alley tonight.
Nobody cares.”
slouching
in forgotten tap-rooms
dirty old men,
forgotten old men,
slop piss colored beer.
nobody cares…
Two years after its initial release, the film, Take Me to the River, has been released on Netflix. This is a documentary about the soul of American music, particularly that of Memphis, Tennessee. While telling the story of Memphis and its music, this film centers around the recording of a new album. An album, produced by second generation Memphians that features legends from labels like Stax, Sun, and Hi Records, mentoring and recording with some of today’s greatest talent from the region.
The brainchild of director, Martin Shore, Take Me to the River debuted at the SXSW Festival in Austin, Texas in 2014 but was four years in the making. Mavis Staples and Booker T. Jones were the first “mentors” to sign on. From there, legendary artists including Bobby “Blue” Bland, Hubert Sumlin, Charlie Musselwhite, William Bell, Bobby Rush, Otis Clay, Charles “Skip” Pitts, Lester Snell, Marvell Thomas, the Hodges brothers and more were added as modern-day mentors of the Memphis sound.
Their pupils and recording partners are young up-and-comers from Memphis and beyond. Child actor and rapper, Lil P-Nut, not only recorded a cover of “Trying to Live My Life Without You,” with Otis Clay, but also received some impromptu singing tips from Bobby “Blue” Bland. Bland and Yo Gotti record a modern cover of “Ain’t No Sunshine,” with an old soul feel. Academy Award winning rapper, Frayser Boy teams up with Bobby Rush on the Rufus Thomas classic, “Push and Pull.” And these are just some of the highlights.
The men recording and producing these cuts are themselves, Memphis legacies. Boo Mitchell is the son of Willie Mitchell, founder of Royal Studios. Luther and Cody Dickinson are both members of the North Mississippi Allstars, and sons of the legendary Jim Dickinson, who was a producer, guitarist, and pianist. The elder Dickinson worked with artists including Bob Dylan, Ry Cooder, the Rolling Stones and scores of others.
This film isn’t just watching artists in studios, however. It’s chock full of vintage footage of live concert performances, Memphis neighborhoods, and civil rights unrest, including the murder of Dr. Martin Luther King, Jr., and the aftermath that spelled the end of the Stax label and studio.
Many of the old timers share stories of how things were done back in their day and talk about one another’s accomplishments and failures. One of the most touching of these is when “Skip” Pitts once again runs into former band mate, Ben Cauley, describing to the filmmaker how Cauley is the only survivor of the plane crash that took the life of Otis Redding. Another is the obvious excitement of Mavis Staples when Luther Dickinson learns the guitar part of a song written by her father, “Pops.”
Also, particularly hard hitting, are the still photos of some of the elder artists, with production notes stating it was their last, or almost final session. Artists that passed away after appearing in this film include Bobby “Blue” Bland, Hubert Sumlin, Charles “Skip” Pitts and Teenie Hodges.
There are great interview clips with other famous Memphis music makers that were even more behind the scenes. Art Bell, owner of Stax Records and Deanie Parker who was not only a singer but secretary, liner notes writer, photographer, editor, publicist and more, all for the Stax label.
One of the greatest scenes is near the end when three generations of artists have only a short time to record a piece. William Bell, Snoop Dogg, and students from the Stax Academy, record, “I Forgot to be Your Lover.” That, in itself, is a pretty amazing feat. What becomes, even more, mind boggling is that the young students learned and recorded the song, Snoop wrote and recorded his rap verses, and the entire project was in the can in less than 30 minutes.
Narrator, Terrence Howard begins the film with the words, “There are special places on this earth. Places of origin. The Mississippi Delta is one of those places.” Nothing could be closer to the truth, and Take Me to the River does an outstanding job of documenting not only the origin of Memphis music but its passing to the next generations.
With this gem of a documentary streaming on Netflix, we would also urge everyone to purchase a copy of the DVD. If for no other reason, then knowing that over 75% of the money made in sales goes to musician funds in Memphis. These include the The Soulsville Foundation, The Blues Foundation HART Fund, and the Memphis Church Health Center.
I sit, in sadness,
holding hands with an injured friend;
her ribs broken and fractured,
her breathing painful and difficult,
her head aching and dizzy,
her face bruised
and scraped.
Another friend
is absent, in hiding; yet
he has no sanctuary,
there is no place he won’t be found.
At last, he had his life
in some semblance of order.
Two months sober;
he had an apartment, furniture;
his pride and self-worth had returned.
Then, he spent his rent check on booze —
starting with triple tequila shots
at a biker bar.
The universe
had given him a fresh start —
he threw it away.
Street justice will prevail;
sentence has been passed: a bruise for a bruise,
a broken bone for a broken bone,
and something extra
so it won’t happen again.
Punishment will be exacted
with ruthless,
emotionless
efficiency.
wings to fly
arms to hold you
tenderly to my chest
never farther than a wish
closer still, than our dream.
Call, and I’ll come rushing
to stand at your side
a heart
of compassion
to comfort and console
when you’re feeling broken
or, when you’re filled with joy
in darkness and when light
shines brightly from above
for now and forever
you’ll always have
my love
In the past two weeks
I’ve had a lot of time to think
about important and unimportant things
(long story).
I have come to some very basic conclusions
as is my right and obligation.
They may seem obvious to some.
To others they may seem inflammatory.
Deal with it —
say what you want on your own page.
I believe that as humans
we deserve:
UNIVERSAL EQUALITY IN ALL ASPECTS OF LIFE,
UNIVERSAL ACCESS: TO FOOD, WATER, SHELTER,
MEDICAL TREATMENT AND AVAILABILITY OF MEDICATION,
UNIVERSAL ACCESS TO EDUCATION,
UNIVERSAL FREEDOM OF CHOICE OVER OUR OWN BODIES,
UNIVERSAL FREEDOM OF MOVEMENT,
FREEDOM OF SPEECH,
DEMOCRACY.
These are big issues
that have repercussions in news events
around the world.
I haven’t worked out all the details, yet,
but I have seen a lot of headlines on television
in print media and on the internet.
On our planet
we must eradicate (as much is humanly possible,
as opposed to what is economically viable)
HUNGER
DISEASE
VIOLENCE
HOMELESSNESS
BIGOTRY
WAR
(and others too numerous
to mention).
My neighbor:
MUST NOT starve while I eat,
MUST NOT die of illness while I have access to a cure,
MUST NOT BE CONFINED BY NATIONAL BORDERS
if his life, health, or opportunities
are at risk,
MUST HAVE universal access to the best education
in order to best express his natural abilities,
MUST HAVE equal access to meaningful, rewarding and satisfying employment,
MUST HAVE the freedom to make their own life choices;
these choices MUST NOT be dictated by GOVERNMENT
RELIGION, SOCIETY or self-proclaimed MAJORITIES.
LYNCH MOB DEMOCRACY MUST BE ELIMINATED.
In short, I AM my brother’s keeper.
I WILL treat him as I would prefer to be treated.
I WILL NOT be the cause of abuse,
whether physical, verbal, mental or emotional.
I WILL live my life
according to the best of my potential.
I was a young boy with a withered leg,
abandoned, in a cold hospital bed.
Faceless attendants wore gloves, masks and gowns.
No parents for cuddles, kisses or love.
Alone were the Lost Boys with polio,
the silent, unpredictable killer.
Quarantined, isolated like lepers,
our only strength came from one another.
Expected to die, we boys joined forces.
We supported each other, forming a bond.
After lights were turned out we would whisper
together, “Shush, the Sisters are coming.”
Older patients had access to wheelchairs.
Sometimes they’d transport me to other wards —
to meet other boys was high adventure.
An empty bed usually meant a death.
Six decades since, in the still of the night,
after lights are out, I can sometimes hear
that haunting refrain I heard as a child,
whispered, “Shush, the Sisters are coming.”
Note: Polio was one of the most dreaded childhood diseases of the 20th century. By 1910, much of the world experienced a dramatic increase in polio cases and frequent epidemics became regular events, primarily in cities during the summer months which left thousands of children and adults paralyzed. The first polio vaccine was developed in 1952 by Jonas Salk and announced to the world on April 12, 1955 – Source: Wikipedia.
Image: http://www.immunize.org/photos/polio-photos.asp
…
Buy my book for $0.99 — proceeds feed the homeless:
Gotta Find a Home; Conversations with Street People http://buff.ly/1wyjiKS
Eugene had a mind of his own,
not, as some would say, a sound mind,
but his own mind, nevertheless.
“It’s awfully considerate of you
to think of me here.
And I’m most obliged to you
for making it clear
that I’m not here.”
Eugene was a great musician,
taking music to the limit;
his songs will always survive.
Eugene took drugs to the limit;
he’s now in Interstellar Overdrive.
When we observed him with an axe,
you may understand our concern.
Was he in danger, or were we?
Eugene had already left us in spirit,
but he wandered away that day
and was lost to us forever.
This poem is dedicated to the memory of “Syd Barrett (born Roger Keith Barrett; 6 January 1946 – 7 July 2006) who was an English singer, songwriter, guitarist and artist. He is most remembered as a founding member of band Pink Floyd, providing major musical and stylistic direction in their early work, although he left the group in 1968 amidst speculations of mental illness exacerbated by heavy drug use.”
Axe is also British slang for guitar. Pink Floyd’s use of the title Careful With That Axe, Eugene may refer to “Barrett’s behaviour (which) became increasingly unpredictable, partly as a consequence of frequent experimentation with psychedelic drugs such as LSD. Many report having seen him on stage with the group, strumming on one chord through the entire concert, or not playing at all. At a show at The Fillmore West in San Francisco, during a performance of “Interstellar Overdrive”, Barrett slowly detuned his guitar. The audience seemed to enjoy such antics, unaware of the rest of the band’s consternation.” (Source: Wikipedia)
Buy my book for $0.99 — proceeds feed the homeless:
Gotta Find a Home; Conversations with Street People http://buff.ly/1wyjiKS
today’s greatest talent from the region.
