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That doll looks more like a black man than me.

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Lover Doll

(words & music by wayne - silver)
Lover doll, oh lover doll
Lover doll, lover doll
Youre the cutest lover doll
That I ever did ever see
Let me tell you lover doll
You were meant, just meant for me
On the first time that I saw you
How I fell for your cuddly charms
Lover doll Im crazy for you
Let me rock you in my arms
Im so glad I found you
Never thought dollies came full grown
Im gonna tie a ribbon around you
Wrap you up and take you home
I would never treat you badly
Like a cast away broken toy
Lover doll I love you madly
Let me be your lover boy
Im so glad I found you
Never thought dollies came full grown
Im gonna tie a ribbon around you
Wrap you up and take you home
I would never treat you badly
Like a cast away broken toy
Lover doll I love you madly
Let me be your lover boy
Lover doll, lover doll
Lover doll, lover doll
Lover doll, lover doll
Let me be your lover boy
Lover doll, lover doll
Lover doll, lover doll
Lover doll, lover doll
Let me be your lover boy
Let me be your lover boy
Let me be your lover boy

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Give The Po Man A Break

Give po man a break
Give po man a break
Give po man a
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Give po man a
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Give po man a
Give po man a

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Shabby Doll

Giving you more of what for
Always worked for me before
Now Im a shabby doll
Whats going on behind the green elevator door
With just a shabby doll
Theres a hit man facing
A compromising situation
With just a shabby doll
And a very neat line in character assassination
Shes just a shabby doll
Shes just a shabby doll
Shes putting him off and putting you on
Shes just the shabby doll
Youre swearing upon you know in your heart
Shes gone you know in your heart
Shes just a shabby doll
Theres a girl in this dress
Theres always a girl in distress
Shes just a shabby doll
Shes so sure shes self-possessed
Then again shes half undressed
Shes just a shabby doll
The boy that I used to be
Showed no sign of sympathy
For just a shabby doll
I have betrayed you and me
And paid for my own bribery
With just a shabby doll
(chorus)
Hes the tired toy that everyone enjoyed
He wants to be a fancy man but hes nothing but a nancy boy
Hes all pride and no joy
And being what you might call a whore
Always worked for me before
Now Im a shabby doll
Untie the gag the cats out of the bag
But wont show his claws
Hes just a shabby doll
She said you must be joking
Some things are left unspoken
Youre just a shabby doll
Hes lying limp and soaking
He was openly broken
By just a shabby doll
(chorus)

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Dressing the Doll

THIS is the way we dress the Doll:—
You may make her a shepherdess, the Doll,
If you give her a crook with a pastoral hook,
But this is the way we dress the Doll.

Chorus

Bless the Doll, you may press the Doll,
But do not crumple and mess the Doll!
This is the way we dress the Doll.

First, you observe, her little chemise,
As white as milk, with ruches of silk;
And the little drawers that cover her knees,
As she sits or stands, with golden bands,
And lace in beautiful filagrees.

Chorus

Now these are the bodies: she has two,
One of pink, with rouches of blue,
And sweet white lace; be careful, do!
And one of green, with buttons of sheen,
Buttons and bands of gold, I mean,
With lace on the border in lovely order,
The most expensive we can afford her!

Chorus

Then, with black at the border, jacket
And this—and this—she will not lack it;
Skirts? Why, there are skirts, of course,
And shoes and stockings we shall enforce,
With a proper bodice, in the proper place,
(Stays that lace have had their days
And made their martyrs); likewise garters,
All entire. But our desire
Is to show you her night attire,
At least a part of it. Pray admire
This sweet white thing that she goes to bed in!
It ’s not the one that ’s made for her wedding:
That is special, a new design,
Made with a charm and a countersign,
Three times three and nine times nine:
These are only her usual clothes.
Look, there ’s a wardrobe! gracious knows
It ’s pretty enough, as far as it goes!

So you see the way we dress the Doll:
You might make her a shepherdess, the Doll,

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Talking China Doll Dreams of Merry Go Round, Playground & Fairy Stage

Fair fairy tales would be perfect for putting child to bed,
inciting images of speedy spinner merry-go-round or swings instesad,
for once ignoring the bare wood or carpet
which level inner sides of the house to let.

Listen to talking over obscure passage abiss
that drops as the gentle rain from heaven's bliss
of the midwinter's nightmarish dream,
that most fairies piece together in writing a reem.

Legendary voices appear as light, flexible and round ales
who are drunk upon observing intoxicating illustrations to fairy tales.
For the poet, without talking about it.
is being there were gone except for royal wit.

However under fairy tales of old bloat
the wizard encounters the talking scape goat.
Metamorphosis of stork to love is unlike modern fairy tale
of wolves abd talking animals where imginative realms fail.

With merry nonchalance man and beast encounter each other
in obnoxious gossiping all over this book in smother.
On the stage will be seen the actual play operated
just as it is operational all seem to have done liberated.

On her frock the doll wore a yellow ribbon and made dismayed more.
Dolls face reality in this versional reversion score.
Glittering fountains in forgotten fairy tale draw what you
regards as gentlemen, friends and brought back talk out of the blue.

Dreams appeal naturally of course, to you
that without looking round wants to compare old with new,
Or not yet created, in talking to himself or with audience,
asking what was the man other than personified benevolence.

Protagonist in play gets a porcelain doll
which the protagonist covets less than a troll;
having always a merry day, when asunder in party,
parting in fine clothes and gay laughter hearty.

When up in the morning, recalled his dream and before
in prefernce of dreams of future wind and more,
yet not indicating despair to merry friend
talking about later reading tale to end.

Unveiled doll gazes at crescent moon, sun and star
past the merry-go-round, carousel and picturesque postcards from afar.
The of and to is to with of that what is to he
for merciful merriment's enjoy and benefit for all to see.

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Prince Hohenstiel-Schwangau, Saviour of Society

Epigraph

Υδραν φονεύσας, μυρίων τ᾽ ἄλλων πόνων
διῆλθον ἀγέλας . . .
τὸ λοίσθιον δὲ τόνδ᾽ ἔτλην τάλας πόνον,
. . . δῶμα θριγκῶσαι κακοῖς.

I slew the Hydra, and from labour pass'd
To labour — tribes of labours! Till, at last,
Attempting one more labour, in a trice,
Alack, with ills I crowned the edifice.

You have seen better days, dear? So have I —
And worse too, for they brought no such bud-mouth
As yours to lisp "You wish you knew me!" Well,
Wise men, 't is said, have sometimes wished the same,
And wished and had their trouble for their pains.
Suppose my Œdipus should lurk at last
Under a pork-pie hat and crinoline,
And, latish, pounce on Sphynx in Leicester Square?
Or likelier, what if Sphynx in wise old age,
Grown sick of snapping foolish people's heads,
And jealous for her riddle's proper rede, —
Jealous that the good trick which served the turn
Have justice rendered it, nor class one day
With friend Home's stilts and tongs and medium-ware,—
What if the once redoubted Sphynx, I say,
(Because night draws on, and the sands increase,
And desert-whispers grow a prophecy)
Tell all to Corinth of her own accord.
Bright Corinth, not dull Thebes, for Lais' sake,
Who finds me hardly grey, and likes my nose,
And thinks a man of sixty at the prime?
Good! It shall be! Revealment of myself!
But listen, for we must co-operate;
I don't drink tea: permit me the cigar!
First, how to make the matter plain, of course —
What was the law by which I lived. Let 's see:
Ay, we must take one instant of my life
Spent sitting by your side in this neat room:
Watch well the way I use it, and don't laugh!
Here's paper on the table, pen and ink:
Give me the soiled bit — not the pretty rose!
See! having sat an hour, I'm rested now,
Therefore want work: and spy no better work
For eye and hand and mind that guides them both,
During this instant, than to draw my pen
From blot One — thus — up, up to blot Two — thus —
Which I at last reach, thus, and here's my line
Five inches long and tolerably straight:

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Black History

Boom, boom, boom!
That was in 1530 to the Slave Trade;
My Mama told me so,
My Papa told me so,
In the name of our ancestors gone by;
Slaves for arms,
Slaves for powder,
Slaves for hardware,
Slaves for spirits;
Boom, boom, boom! !
All over the West Coast of Africa!
Today, i am a Blackman to tell you a story.

Black History, the Black African, the Black Race;
Of my ancestors gone by,
Boom, boom, boom!
Black head, black sugar, black coffee;
Where are the true identities of the Blacks?
That was in 1530 to the Slave trade.

Black History, black love;
A Black Race to a call.
Tap your fingers and do think about it,
My Mama told me so;
Bllack shoes, black phones;
With the Black History gone too soon,
My Papa told me so.
Black hair, black eyes;
The black coal to steam up the engines!
In the name of my ancestors gone by;
But, where are the black pens of love to share?

Do think about this and learn from it,
Boom, boom, boom!
A Blackman in the house to tell us a story;
Where is William Wilberforce?
Where is Thomas Buxton?
Where is Granville Sharp?
What about the Slaves? !
These men need to tell us more;
They killed my ancestors softly without compensations!
Black love, black stream, a black home to live in;
Like 'Naughty By Nature',
I've got 'Queen Latifah' to tell us more.

Of the Black Songs,
Of the Black race,
With a Black-Limo to keep us going;
This Slave Trade was a Black History to us all.
Boom, boom, boom!

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Queen In The Black

Excuse me please your majesty
I chance this moment nervously
To share with you a fantasy
That I have lived inside of me
And it is so pretty
And it is so fine
Its the kind youd love to last you
Until the end of time
Weve talked of love, weve talked of life
And what would make the world so nice
Weve walked the sand by lovers sea
Ive held your body close to me
And it is so pretty
How Id love to know
For if I had a chance to hold you
Id never let you go
Youre my queen in the black
With your time-stopping body
Queen in the black
With your eyes that hypnotize, girl
Queen in the black
With your voice thats sweet as candy
Queen in the black
Miss ebony, you really turn me on
Theres not a day that passes by
That I dont have you on my mind
If this aint love I have inside
Then my hearts telling me a lie
Cause it feels so special
And it feels so right
And if I could I know Id love you
For the rest of my life
Youre my queen in the black
With your time-stopping body
Queen in the black
With your eyes that hypnotize, girl
Queen in the black
With your voice thats sweet as candy
Queen in the black
With your soft and sexy lips, babe
Queen in the black
I love the way you move your body
Queen in the black
You know you are nothing less than royalty
Queen in the black
Oh, Ill place you on a throne, girl
Queen in the black
Miss ebony, you really turn me on
Queen in the black
With your time-stopping body

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Satan Absolved

(In the antechamber of Heaven. Satan walks alone. Angels in groups conversing.)
Satan. To--day is the Lord's ``day.'' Once more on His good pleasure
I, the Heresiarch, wait and pace these halls at leisure
Among the Orthodox, the unfallen Sons of God.
How sweet in truth Heaven is, its floors of sandal wood,
Its old--world furniture, its linen long in press,
Its incense, mummeries, flowers, its scent of holiness!
Each house has its own smell. The smell of Heaven to me
Intoxicates and haunts,--and hurts. Who would not be
God's liveried servant here, the slave of His behest,
Rather than reign outside? I like good things the best,
Fair things, things innocent; and gladly, if He willed,
Would enter His Saints' kingdom--even as a little child.

[Laughs. I have come to make my peace, to crave a full amaun,
Peace, pardon, reconcilement, truce to our daggers--drawn,
Which have so long distraught the fair wise Universe,
An end to my rebellion and the mortal curse
Of always evil--doing. He will mayhap agree
I was less wholly wrong about Humanity
The day I dared to warn His wisdom of that flaw.
It was at least the truth, the whole truth, I foresaw
When He must needs create that simian ``in His own
Image and likeness.'' Faugh! the unseemly carrion!
I claim a new revision and with proofs in hand,
No Job now in my path to foil me and withstand.
Oh, I will serve Him well!
[Certain Angels approach. But who are these that come
With their grieved faces pale and eyes of martyrdom?
Not our good Sons of God? They stop, gesticulate,
Argue apart, some weep,--weep, here within Heaven's gate!
Sob almost in God's sight! ay, real salt human tears,
Such as no Spirit wept these thrice three thousand years.
The last shed were my own, that night of reprobation
When I unsheathed my sword and headed the lost nation.
Since then not one of them has spoken above his breath
Or whispered in these courts one word of life or death
Displeasing to the Lord. No Seraph of them all,
Save I this day each year, has dared to cross Heaven's hall
And give voice to ill news, an unwelcome truth to Him.
Not Michael's self hath dared, prince of the Seraphim.
Yet all now wail aloud.--What ails ye, brethren? Speak!
Are ye too in rebellion? Angels. Satan, no. But weak
With our long earthly toil, the unthankful care of Man.

Satan. Ye have in truth good cause.

Angels. And we would know God's plan,
His true thought for the world, the wherefore and the why
Of His long patience mocked, His name in jeopardy.

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XI. Guido

You are the Cardinal Acciaiuoli, and you,
Abate Panciatichi—two good Tuscan names:
Acciaiuoli—ah, your ancestor it was
Built the huge battlemented convent-block
Over the little forky flashing Greve
That takes the quick turn at the foot o' the hill
Just as one first sees Florence: oh those days!
'T is Ema, though, the other rivulet,
The one-arched brown brick bridge yawns over,—yes,
Gallop and go five minutes, and you gain
The Roman Gate from where the Ema's bridged:
Kingfishers fly there: how I see the bend
O'erturreted by Certosa which he built,
That Senescal (we styled him) of your House!
I do adjure you, help me, Sirs! My blood
Comes from as far a source: ought it to end
This way, by leakage through their scaffold-planks
Into Rome's sink where her red refuse runs?
Sirs, I beseech you by blood-sympathy,
If there be any vile experiment
In the air,—if this your visit simply prove,
When all's done, just a well-intentioned trick,
That tries for truth truer than truth itself,
By startling up a man, ere break of day,
To tell him he must die at sunset,—pshaw!
That man's a Franceschini; feel his pulse,
Laugh at your folly, and let's all go sleep!
You have my last word,—innocent am I
As Innocent my Pope and murderer,
Innocent as a babe, as Mary's own,
As Mary's self,—I said, say and repeat,—
And why, then, should I die twelve hours hence? I—
Whom, not twelve hours ago, the gaoler bade
Turn to my straw-truss, settle and sleep sound
That I might wake the sooner, promptlier pay
His due of meat-and-drink-indulgence, cross
His palm with fee of the good-hand, beside,
As gallants use who go at large again!
For why? All honest Rome approved my part;
Whoever owned wife, sister, daughter,—nay,
Mistress,—had any shadow of any right
That looks like right, and, all the more resolved,
Held it with tooth and nail,—these manly men
Approved! I being for Rome, Rome was for me.
Then, there's the point reserved, the subterfuge
My lawyers held by, kept for last resource,
Firm should all else,—the impossible fancy!—fail,
And sneaking burgess-spirit win the day.
The knaves! One plea at least would hold,—they laughed,—
One grappling-iron scratch the bottom-rock

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Sun-Up

(Shadows over a cradle…
fire-light craning….
A hand
throws something in the fire
and a smaller hand
runs into the flame and out again,
singed and empty….
Shadows
settling over a cradle…
two hands
and a fire.)

I

CELIA

Cherry, cherry, glowing on the hearth, bright red cherry…. When you try to pick up cherry Celia's shriek sticks in you like a pin.


When God throws hailstones you cuddle in Celia's shawl and press your feet on her belly high up like a stool. When Celia makes umbrella of her hand. Rain falls through big pink spokes of her fingers. When wind blows Celia's gown up off her legs she runs under pillars of the bank— great round pillars of the bank have on white stockings too.


Celia says my father
will bring me a golden bowl.
When I think of my father
I cannot see him
for the big yellow bowl
like the moon with two handles
he carries in front of him.

Grandpa, grandpa…
(Light all about you…
ginger… pouring out of green jars…)
You don't believe he has gone away and left his great coat…
so you pretend… you see his face up in the ceiling.
When you clap your hands and cry, grandpa, grandpa, grandpa,
Celia crosses herself.


It isn't a dream…. It comes again and again…. You hear ivy crying on steeples the flames haven't caught yet and images screaming when they see red light on the lilies on the stained glass window of St. Joseph. The girl with the black eyes holds you tight, and you run… and run past the wild, wild towers… and trees in the gardens tugging at their feet and little frightened dolls shut up in the shops crying… and crying… because no one stops… you spin like a penny thrown out in the street. Then the man clutches her by the hair…. He always clutches her by the hair…. His eyes stick out like spears. You see her pulled-back face and her black, black eyes lit up by the glare…. Then everything goes out. Please God, don't let me dream any more of the girl with the black, black eyes.

Celia's shadow rocks and rocks… and mama's eyes stare out of the pillow as though she had gone away and the night had come in her place as it comes in empty rooms… you can't bear it— the night threshing about and lashing its tail on its sides as bold as a wolf that isn't afraid— and you scream at her face, that is white as a stone on a grave and pull it around to the light, till the night draws backward… the night that walks alone and goes away without end. Mama says, I am cold, Betty, and shivers. Celia tucks the quilt about her feet, but I run for my little red cloak because red is hot like fire.

I wish Celia
could see the sea climb up on the sky
and slide off again…

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Doll-Dagga Buzz-Buzz Ziggety-Zag

Doll-dagga buzz-buzz ziggety-zag
God mod grotesque burlesque drag
Doll-dagga buzz-buzz ziggety-zag
God mod grotesque burlesque drag
All the goose step girlies with their cursive faces and
We know it's all braile beneath their skirt
I'm bulletproof biz-op and swing heil and
I don't really care what gentlemen prefer
Say all you pindown girls and bonafied ballers
So manically depressed and manically dressed
We got a venus not in furs but in uniforms
If you're not dancing, then you're dead
Doll-dagga buzz-buzz ziggety-zag
God mod grotesque burlesque drag
Doll-dagga buzz-buzz ziggety-zag
God mod grotesque burlesque drag
All the thug rock kids are playing
All the punk god angels saying
The toys are us and we don't even know
All the thug rock kids are playing
All the punk god angels saying
The toys are us and we don't even know
GO! GO! GO! Doppelgangers!
You're one of us! You're one of us!
GO! GO! GO!
Throw your shapes, doppelgangers
You're one of us!
Trumpet mouth junky saints go silver tongue
Marching down the stairway to substance
Cocaingels and asses give me opiute masses
Fill up your church porn preachers and we'll fill up our glasses
Doll-dagga buzz-buzz ziggety-zag
God mod grotesque burlesque drag
Doll-dagga buzz-buzz ziggety-zag
God mod grotesque burlesque drag
All the thug rock kids are playing
All the punk god angels saying
The toys are us and we don't even know
All the thug rock kids are playing
All the punk god angels saying
The toys are us and we don't even know
GO! GO! GO! Doppelgangers!
You're one of us! You're one of us!
GO! GO! GO!
Throw your shapes, doppelgangers
You're one of us!
You're one of us!
You're one of us!
GO! GO! GO! GO! GO! GO! GO! GO!
And all the thug rock kids GO!

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VI. Giuseppe Caponsacchi

Answer you, Sirs? Do I understand aright?
Have patience! In this sudden smoke from hell,—
So things disguise themselves,—I cannot see
My own hand held thus broad before my face
And know it again. Answer you? Then that means
Tell over twice what I, the first time, told
Six months ago: 't was here, I do believe,
Fronting you same three in this very room,
I stood and told you: yet now no one laughs,
Who then … nay, dear my lords, but laugh you did,
As good as laugh, what in a judge we style
Laughter—no levity, nothing indecorous, lords!
Only,—I think I apprehend the mood:
There was the blameless shrug, permissible smirk,
The pen's pretence at play with the pursed mouth,
The titter stifled in the hollow palm
Which rubbed the eyebrow and caressed the nose,
When I first told my tale: they meant, you know,
"The sly one, all this we are bound believe!
"Well, he can say no other than what he says.
"We have been young, too,—come, there's greater guilt!
"Let him but decently disembroil himself,
"Scramble from out the scrape nor move the mud,—
"We solid ones may risk a finger-stretch!
And now you sit as grave, stare as aghast
As if I were a phantom: now 't is—"Friend,
"Collect yourself!"—no laughing matter more
"Counsel the Court in this extremity,
"Tell us again!"—tell that, for telling which,
I got the jocular piece of punishment,
Was sent to lounge a little in the place
Whence now of a sudden here you summon me
To take the intelligence from just—your lips!
You, Judge Tommati, who then tittered most,—
That she I helped eight months since to escape
Her husband, was retaken by the same,
Three days ago, if I have seized your sense,—
(I being disallowed to interfere,
Meddle or make in a matter none of mine,
For you and law were guardians quite enough
O' the innocent, without a pert priest's help)—
And that he has butchered her accordingly,
As she foretold and as myself believed,—
And, so foretelling and believing so,
We were punished, both of us, the merry way:
Therefore, tell once again the tale! For what?
Pompilia is only dying while I speak!
Why does the mirth hang fire and miss the smile?
My masters, there's an old book, you should con
For strange adventures, applicable yet,

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I Saw It Myself (Short Verse Drama)

Dramatis Personae: Adrian, his wife Ester, his sisters Rebecca and Johanna, his mother Elizabeth, the high priest Chiapas, the disciple Simon Peter, the disciple John, Mary Magdalene, worshipers, priests, two angels and Jesus Christ.

Act I

Scene I.- Adrian’s house in Jerusalem. Adrian has just returned home after a business journey in Galilee, in time to attend the Passover feast. He sits at the table with his wife Ester and his sisters, Rebecca and Johanna. It’s just before sunset on the Friday afternoon.

Adrian. (Somewhat puzzled) Strange things are happening,
some say demons dwell upon the earth,
others angelic beings, miracles take place
and all of this when they had put a man to death,
had crucified a criminal. Everybody knows
the cross is used for degenerates only!

Rebecca. (With a pleasant voice) Such harsh words used,
for a good, a great man brother?
They say that without charge
he healed the sick, brought back sight,
cured leprosy, even made some more food,
from a few fishes and loafs of bread…

Adrian. (Somewhat harsh) They say many things!
That he rode into Jerusalem
to be crowned as the new king,
was a rebel against the state,
even claimed to be
the very Son of God,
now that is blasphemy
if there is no truth to it!

Johanna. I met him once.
He’s not the man
that you make him, brother.
There was a strange tranquilly to Him.
Some would say a divine presence,
while He spoke of love that is selfless,
visited the sick, the poor
and even the destitute, even harlots.

Adrian. (Looks up) There you have it!
Harlots! Tax collecting thieves!
A man is know by his friends,
or so they say and probably
there is some truth to it.

Ester. Husband, do not be so quick to judge.
I have seen Him myself, have seen
Roman soldiers marching Him to the hill
to take His life, with a angry crowd
following and mocking Him.

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The City of Dreadful Night

Per me si va nella citta dolente.

--Dante

Poi di tanto adoprar, di tanti moti
D'ogni celeste, ogni terrena cosa,
Girando senza posa,
Per tornar sempre la donde son mosse;
Uso alcuno, alcun frutto
Indovinar non so.

Sola nel mondo eterna, a cui si volve
Ogni creata cosa,
In te, morte, si posa
Nostra ignuda natura;
Lieta no, ma sicura
Dell' antico dolor . . .
Pero ch' esser beato
Nega ai mortali e nega a' morti il fato.

--Leopardi

PROEM

Lo, thus, as prostrate, "In the dust I write
My heart's deep languor and my soul's sad tears."
Yet why evoke the spectres of black night
To blot the sunshine of exultant years?
Why disinter dead faith from mouldering hidden?
Why break the seals of mute despair unbidden,
And wail life's discords into careless ears?

Because a cold rage seizes one at whiles
To show the bitter old and wrinkled truth
Stripped naked of all vesture that beguiles,
False dreams, false hopes, false masks and modes of youth;
Because it gives some sense of power and passion
In helpless innocence to try to fashion
Our woe in living words howe'er uncouth.

Surely I write not for the hopeful young,
Or those who deem their happiness of worth,
Or such as pasture and grow fat among
The shows of life and feel nor doubt nor dearth,
Or pious spirits with a God above them
To sanctify and glorify and love them,
Or sages who foresee a heaven on earth.

For none of these I write, and none of these
Could read the writing if they deigned to try;

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Thurso’s Landing

I
The coast-road was being straightened and repaired again,
A group of men labored at the steep curve
Where it falls from the north to Mill Creek. They scattered and hid
Behind cut banks, except one blond young man
Who stooped over the rock and strolled away smiling
As if he shared a secret joke with the dynamite;
It waited until he had passed back of a boulder,
Then split its rock cage; a yellowish torrent
Of fragments rose up the air and the echoes bumped
From mountain to mountain. The men returned slowly
And took up their dropped tools, while a banner of dust
Waved over the gorge on the northwest wind, very high
Above the heads of the forest.
Some distance west of the road,
On the promontory above the triangle
Of glittering ocean that fills the gorge-mouth,
A woman and a lame man from the farm below
Had been watching, and turned to go down the hill. The young
woman looked back,
Widening her violet eyes under the shade of her hand. 'I think
they'll blast again in a minute.'
And the man: 'I wish they'd let the poor old road be. I don't
like improvements.' 'Why not?' 'They bring in the world;
We're well without it.' His lameness gave him some look of age
but he was young too; tall and thin-faced,
With a high wavering nose. 'Isn't he amusing,' she said, 'that
boy Rick Armstrong, the dynamite man,
How slowly he walks away after he lights the fuse. He loves to
show off. Reave likes him, too,'
She added; and they clambered down the path in the rock-face,
little dark specks
Between the great headland rock and the bright blue sea.

II
The road-workers had made their camp
North of this headland, where the sea-cliff was broken down and
sloped to a cove. The violet-eyed woman's husband,
Reave Thurso, rode down the slope to the camp in the gorgeous
autumn sundown, his hired man Johnny Luna
Riding behind him. The road-men had just quit work and four
or five were bathing in the purple surf-edge,
The others talked by the tents; blue smoke fragrant with food
and oak-wood drifted from the cabin stove-pipe
And slowly went fainting up the vast hill.
Thurso drew rein by
a group of men at a tent door
And frowned at them without speaking, square-shouldered and
heavy-jawed, too heavy with strength for so young a man,
He chose one of the men with his eyes. 'You're Danny Woodruff,

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02-04-2012 Brother I give you my answer for Black People African Sahara it mesmerizes the wise largest desert it is asked of we What is Africa is to me 3.3 million miles of grea

Brother I give you my answer
for Black People

African Sahara
it mesmerizes the wise
largest desert
it is asked of we
What is Africa is to me
3.3 million miles
of great desert
once a forest
once a great sea
once an empty hole
in space just waiting
to be that it can
birth the blackness
of who my mothers be
3.3 millions
you can not see it all
Trans Saharan trade
is but a child
weather selling slaves
or selling salt
and always
brought and sold
the black man's art, gold
the paintings
was still for the walls
to surround us
a representation of the thing
that be, the God that
rose Africa from the sea
man got his
walking feet
on Africa's soil
Africa Moors
salt caravans
Africa the salt
of the land
what more did Africa
give to man
gold first mimed
found its glow
in the hands of
a black child
oldest gold jewelry
in Queen Zer's tomb
being as old as this
there is nothing
that we can not do

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I. The Ring and the Book

Do you see this Ring?
'T is Rome-work, made to match
(By Castellani's imitative craft)
Etrurian circlets found, some happy morn,
After a dropping April; found alive
Spark-like 'mid unearthed slope-side figtree-roots
That roof old tombs at Chiusi: soft, you see,
Yet crisp as jewel-cutting. There's one trick,
(Craftsmen instruct me) one approved device
And but one, fits such slivers of pure gold
As this was,—such mere oozings from the mine,
Virgin as oval tawny pendent tear
At beehive-edge when ripened combs o'erflow,—
To bear the file's tooth and the hammer's tap:
Since hammer needs must widen out the round,
And file emboss it fine with lily-flowers,
Ere the stuff grow a ring-thing right to wear.
That trick is, the artificer melts up wax
With honey, so to speak; he mingles gold
With gold's alloy, and, duly tempering both,
Effects a manageable mass, then works:
But his work ended, once the thing a ring,
Oh, there's repristination! Just a spirt
O' the proper fiery acid o'er its face,
And forth the alloy unfastened flies in fume;
While, self-sufficient now, the shape remains,
The rondure brave, the lilied loveliness,
Gold as it was, is, shall be evermore:
Prime nature with an added artistry—
No carat lost, and you have gained a ring.
What of it? 'T is a figure, a symbol, say;
A thing's sign: now for the thing signified.

Do you see this square old yellow Book, I toss
I' the air, and catch again, and twirl about
By the crumpled vellum covers,—pure crude fact
Secreted from man's life when hearts beat hard,
And brains, high-blooded, ticked two centuries since?
Examine it yourselves! I found this book,
Gave a lira for it, eightpence English just,
(Mark the predestination!) when a Hand,
Always above my shoulder, pushed me once,
One day still fierce 'mid many a day struck calm,
Across a Square in Florence, crammed with booths,
Buzzing and blaze, noontide and market-time,
Toward Baccio's marble,—ay, the basement-ledge
O' the pedestal where sits and menaces
John of the Black Bands with the upright spear,
'Twixt palace and church,—Riccardi where they lived,
His race, and San Lorenzo where they lie.

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Tear Off Your Own Head (It's A Doll Revolution)

Who dries your eyes when you cry real tears?
Who knows or cares what imitation is?
Only you do
You can paint his nails
Make him wear high heels
Why waste time altering the hemline?
Or do you?
Tear of your own head
Tear of your own head
It's a doll revolution
You can bat your lashes
You can cut your strings
Pull out his hair with your moveable fingers
It looks so real
But one won't do, so collect the set
Dress him in pink ribbons
Put him in a kitchenette
How does this feel?
Tear of your own head
Tear of your own head
It's a doll revolution
What's that sound?
It'll turn you around
It's a doll revolution
They're taking over
And they're tearing it down
It's a doll revolution
You can pull and pinch him
'Til he cries and squeals
You can twist his body
'Til it faces backwards
Plastic features
Could make somebody a pretty little wife
But don't let anybody tell you
How to live your life
Broken pieces
Tear off your own head
Tear off your own head
It's a doll revolution
Tear off your own head
Tear off your own head
It's a doll revolution
What's that sound?
It'll turn you around
It's a doll revolution
They're taking over
And they're tearing it down
It's a doll revolution
It's a doll revolution
Revolution (revolution)

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Black Suits Comin'

Intro:
(Come Come on)
(Come on Come Come on M-I-B)
(The Black Suits Comin)
(The Black Suits Comin)
I'm Comin... I'm Comin... I'm Comin... I'm Comin
I am the man in black I'm back
Breaking the back of the random attackers
So can the flak
Yo Im dangerous
I've been trained to bust
When a stranger fuss try to endanger us
Praise me y'all
Dont nothing faze me y'all
When they see me their gaze be all crazy y'all
They say I'm a myth
Trust me if somebody riff
Out of the depth of your imagination appears Will Smith
Black suit, the black shades, the black shoes
black tie with the black attitude
New style black Ray-Bans
I'm stunning man
New hotness pitch black six hundred man
Don't you understand?
What you thought I wouldn't come again?
Leave you hanging without bringing you the fun again?
Tangling with the alien scum again
Monumental it's the black suits running in
Chorus 1:
(Nod Ya Head! The Black Suits Comin')
Let me see you (Nod Ya Head! The Black Suits Comin')
Like this, let me see you (Nod Ya Head! The Black Suits Comin')
Like this, let me see you bop your head, nod your head, come on!
(Nod Ya Head! The Black Suits Comin')
Let me see you (Nod Ya Head! The Black Suits Comin')
Like this, let me see you (Nod Ya Head!The Black Suits Comin')
Like this (Nod Ya Head!)
Check it
Yo it's this chick right
Serlena, making me sick right
Earth is worthless to her she be tripping like
Threatening me and my mens
Trying to get the light
Thinking she's superwoman
But black kryptonite finishing whatever you start son
The best looking crime fighter since myself in part one
Better act right and play nice and sing along
'Cause K is back and he hype
What? Bring it on!
Wanna brawl with me? Trying to brawl with me?

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