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I wrote the original Mike Hammer as a comic, Mike Danger.

quote by Mickey Spillane
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Push

Step 1... step off to the dance floor
Step 1... step off to the dance floor
Push (hey) ((push up on it))
(good God)
Push - lord (push, yeah) ((push up on it))
Every time u get some
People wanna take it back
They rather see u on the run
Than see u get it like that
Every time they stop u
Change up like a sock
Every time they try 2 clock u
Tick more than they tock
Push I push
Dont let them pull u down, yeah
Push I push
Until u get 2 higher ground
Push
Ure never 2 young, never 2 old
Push
Dont stop until u go
Did u ever stop 2 wonder
Why u put another down?
No man should asunder
The joy that another man found
Maybe bout the business u was worried
Wasnt ever filed in your name
Maybe the cartridge u was playin
Dont fit in your video game
Push I push
Dont let them pull u down
Push I push
Until u get 2 higher ground
Push
Ure never 2 young, never 2 old, yeah
Push
Dont stop until u go, hey
(alright) I push (push) ((push up on it))
(push) I push (push, push, hey)
(push) (come on and push it now, hey push)
((push up on it)) (push) I push
Every time u get some push
People wanna take it back p-push
They rather see u on the run push
Than see u get it like that
Every time they stop u
Change up like a sock push
Every time they try 2 clock u push
U gotta tick more than they can tock
Push I push

[...] Read more

song performed by Prince
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Joseph's Gloss On God

When Joseph tells his brothers: “I
am not God, ” he perhaps implies
that unlike God he sometimes lies,
and unlike Him, is doomed to die.

The words that Joseph never said
are wrong, as we find out when burned;
God often lies, a lesson learned
from history, and God is dead.

Inspired by a review by Paul Buhle of R. Crumb’s The Whole Book of Genesis, in Forward, October 10,2009 (“In the Image of God: The Ambition of R. Crumb’s Graphic Genesis”:

To say this book is a remarkable volume or even a landmark volume in comic art is somewhat of an understatement. It doesn’t hurt that excerpts of the book appeared during the summer in the New Yorker and that the Hammer Museum in Los Angeles is opening an exhibit of the original drawings from which the book’s contents were adapted. “The Book of Genesis, ” Robert Crumb’s version, nevertheless stands on its own as one of this century’s most ambitious artistic adaptations of the West’s oldest continuously told story.
No comic artist has been more influential than Crumb. In terms of sales, his work is dwarfed by the superheroes and, in comic art prestige. Art Spiegelman, and a short list of others including Alison Bechdel and Marjane Sartrapi may have displaced Crumb. But Crumb’s influence abides and endures in his occasional LP/CD covers, in his volumes of collected work (16 volumes so far and counting) , his artistic prizes and a generation of artists who have incorporated his particular view of humanity.
Surprisingly, his best work in 20 years has actually been in the genre of adaptation, specifically an adaptation of Franz Kafka, dating to the mid 1990s. On that highly curious point, any consideration of this “Genesis, ” as a highly personal comic art, properly begins. Notoriously, Crumb is a gentile who fled from his deeply dysfunctional Delaware family to the Cleveland neighborhood of Harvey Pekar and the arms of the first of two Jewish wives. “Crumb, ” the 1994 film documentary, was in many ways about emotional pain (including a brother doomed to suicide) and his craving for a certain kind of woman, who, although possibly any female with a bemuscled backside, was in fact most likely to be Jewish. She, reality and image, was his consolation. The strips that he drew of Jewish-American life, nevertheless, reworked stereotypes, some funny (he visits Florida with his second wife, and holds a tiny grandfather on his knee) , and some, doubtless, insulting to many readers.
In the pages of “Introducing Kafka, ” Crumb became his fictional protagonist with such depth of insight into the logic of the doomed writer, as well as of Kafka’s famed works, that many readers were simply astonished, this reviewer among them. Kafka is the exemplar par excellence of a type of ambiguous, tortured mittel European Jewish personality as it hovered between faith and uncertainty, shortly before the Holocaust. Not Spiegelman, not Ben Katchor, nor Sharon Rudahl, nor others who drew historical or quasi-historical strips about Jewish history, had taken the characterization as far as Crumb. An earlier escape from Middle American culture had propelled Crumb toward his satirical protagonist Mister Natural, a Zen-like, robed quasi-prophet of the 1970s-80s. Three decades later, Crumb’s robed prophets are far from Zen.
Crumb’s “Genesis” is then perfectly serious and the author wants us to know it. As he says on the cover, “Nothing Left Out! ” Every “beget” from the King James Bible can be found here, along with plenty of scenes censored from previous graphic adaptations. And more prose, in the final “Commentary” segment of the book, than non-writer Crumb may have put on the page anywhere, aside from his published letters. More striking for anyone but the seasoned Crumb fan: unlike previous Biblical comic adaptations, including some published and drawn by Jews, Crumb’s characters actually look Jewish, the women even more than the men. The contrast to the classic work, EC Comics’ “Picture Stories from the Bible” (1945) in that respect is most illuminating. But more recent works like the best-selling “Manga Bible” (2000) are not much different (nor was the “The Wolverton Bible” by one of the strangest of comic artists Basil Wolverton) . Close readers will see Crumb’s wife Aline Kominsky, to whom the book is dedicated, again and again, in various guises; perhaps only Chagall drew his beloved wife so often and with such varied imagination.
Not only are the characters Jewish here, they are all ages and sizes. If, for instance, there are more drawings of Jewish elders in any single volume of comic art anywhere, I have never seen them. The women here are beautiful when young, heavily busted with large, muscular thighs. The men are strong, their beards full and noble. The deity has a really big beard and retains his notoriously bad temper, as well as his commanding presence, and absolute demand for loyalty. The animals of Genesis (in Noah’s ark and elsewhere) may be where Crumb is most similar to earlier comic art adaptations of Biblical texts, but they are drawn, like everything else, with such loving care that they are special and demand repeated viewing.
In those extensive notes at the end, Crumb comes as close as he is ever likely to revealing the sources and depth of his commitment to the text. He had been puzzling, no doubt under a wave of feminist criticism, about the gender struggle, until Torah scholar Savina Teubel’s “Sarah the Priestess” (1984) gave him new insight: a matriarchal background, female deities and actual female power, in a society turning toward patriarchy but retaining some elements of women’s prehistorical strength and centrality to the direction of early civilization. If anything is reinterpreted purposefully in “Genesis, ” it is in gender, and Crumb does so not by scoring points but by rearranging the visual subtext. Gender issues also help him reframe somewhat the class dimension of tribal society, which endures not through brute force but because of the strength of its women.
The commentary on his visual choices and his broader interpretations explores and explains his few intentional deviations, not only in the name of narrative clarity but artistic intent. Mainly, his notes drive home how he struggled to interpret the text in suitable graphic form, chapter by chapter, sometimes even character by character. There is no doubting the artist’s integrity or hard work, in no small part because he redrew again and again, trying to find historically accurate clothing and scenery. The Old Testament of cinematic Charlton Heston, so to speak, became the Genesis of lived and perceived experience, socially real and super-real. Clues are provided with translations of specific Hebrew names within the visual text, essentially metaphorical in meaning. These clues may be the closest to footnotes that Crumb has ever provided.
Comics scholar Jeet Heer, has noted in “Bookforum” that Crumb’s biblical characters, with the exception of the deity, have no internal lives: only the deity has depth and personality. As with the original text, much more is implied in Crumb’s visual text than can be stated, because scenes rush by so fast and because the artist forever works out, pen or brush in hand, a unique meaning that escapes easy interpretation. Even closer to the mark, Heer argues that above all, this is a book about bodies, the natural expression of an artist whose work has, possibly more than any other master of comic art, been concerned with body structure and expression.
And offending the deity? Crumb treads with a caution all the more remarkable for an artist, who, short decades ago, allowed himself the full run of his imagination, heedless of the consequences. Crumb’s innovation might be summed up in his characterization of Joseph, brilliant in subjugating Egypt but weary of his own powers. In the final phrases of the book, the artist suggests a radical view several thousand years previous to Jewish Karl Marx. “In the very last chapter, when his obstreperous brothers fling themselves at this feet and proclaim, ‘Here we are, your slaves, ’ he says to them, “I am not God, am I’ Joseph has learned a much finer humility than the fear-driven kind shown by his barbaric brothers.” So says a humble Crumb.

10/22/09

poem by Gershon Hepner
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I Think I Can Beat Mike Tyson

Artist: jazzy jeff & the fresh prince
2 old men:
Hey...hey leroy...leroy
Yeah
Did you hear about that boy mike tyson?
Mike...mike tyson hes the boy
That played football from montreal aint he?
No no you old coop, he a...he a boxer man
Yeah
Let me tell ya I went to his fight a couple months ago.
I seen him hit this boy, and he hit the boy so hard
His head flew off into the eigtheenth row
(laughing)
They had to get his head out of the eighteenth row
[prince & jeff]
I was in jeffs crib one night about eight
And we were watchina couple of mike tyson fight tapes
Jeff was like...
Man, you see how hard mikes punchin?
Come on jeff the other guy was just lungin
Left, right, left, right, another k.o.
If that was me Id a been ok though
The very next day I gave russell a ring
With j.l. and omar we all called don king
I said yeah, don I got a problem
Tell em prince
yeah whats up? what you sayin? you tryin to solve em?
forget the small talk lets get to the nitty gritty
me and mike, two months, trump, atlantic city
Yo, you got this you gonna bust dude up
Yeah, you can be my trainer
Word up?
Im rough like a freight train smooth like ice
And yo jeff, straight up, I think I can mike tyson
Man, you can beat him, you can beat him
Yo man, word up
Yo I put on a couple of pounds man we can do this
You can do it
Newspaper boy, old men:
Extra, extra read all about it
Fresh prince challenges iron mike tyson to a fight
(laughing)
Ah hes crazy
Aint that the boy who knocked the guys head in the fifthteen row?
Hey leroy, you read the paper?
That boy done lost his man
[prince, barber]
There was press conference to see what training I was doing
Before then I had never heard reporters booing
Cameras flashing I was in the middle

[...] Read more

song performed by Will Smith
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Danger

There is danger atop our heads;
There is danger around us all;
There is danger beneath our feet;
There is danger to man and beast!

There is danger in the skies;
There is danger in the seas;
There is danger ev’n on land;
There is danger to man and beast!

There is danger from earth’s bowels;
There is danger in forests;
There is danger in hills, vales;
There is danger to man and beast!

There is danger from our brethren;
There is danger from kith, kin;
There is danger from strangers;
There is danger to man and beast!

There is danger within us;
There is danger from space;
There is danger to our soul;
Nevertheless, God protects us.

poem by John Celes
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Hammer Of Love

I was a young man,
When the hammer came down,
Thought I could handle it,
Wouldn't do me no harm.
She was a young girl,
Stars in her hair,
Rings on her finger tips,
A diamond so rare.
Hammer came down from above,
Hammer, Hammer of love.
Oho, won't you save me.
She was a young girl,
With dangerous ways,
The tears of a demon,
Kissed by a saint.
Hammer came down from above,
Oh, Hammer, Hammer of love.
Oho, yeah.
Though you pound this bitter heart,
Down to a molten steel,
Cast it in the furnace,
Of your burning spinning wheel,
I will rise up through the flames,
To wrap you in my arms,
Brand you with my loving seal
And steal your tender charms.
Oh, yeah.
The scent of our loving,
Woke my desire,
She stirred my smouldering heart,
Left me on fire.
Oh, Hammer down from above,
Oh, Hammer, Hammer of love.
Hammer, how you saved me
Hammer, how you saved me
Saved my soul.
Hear me calling you,
Through the misty morning,
Mountain and Valley,
Ocean and Sea.

song performed by Bad Company
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Hammer Horror

You stood in the belltower,
But now youre gone.
So who knows all the sights
Of notre dame?
Theyve got the stars for the gallant hearts.
Im the replacement for your part.
But all I want to do is forget
You, friend.
Hammer horror, hammer horror,
Wont leave me alone.
The first time in my life,
I leave the lights on
To ease my soul.
Hammer horror, hammer horror,
Wont leave it alone.
I dont know,
Is this the right thing to do?
Rehearsing in your things,
I feel guilty.
And retracing all the scenes,
Of your big hit,
Oh, god, you needed the leading role.
It wasnt me who made you go, though.
Now all I want to do is forget
You, friend.
Hammer horror, hammer horror,
Wont leave me alone.
The first time in my life,
I leave the lights on
To ease my soul.
Hammer horror, hammer horror,
Wont leave it alone.
I dont know,
Is this the right thing to do?
Who calls me from the other side
Of the street?
And who taps me on the shoulder?
I turn around, but youre gone.
Ive got a hunch that youre following,
To get your own back on me.
So all I want to do is forget
You, friend.
Hammer horror, hammer horror,
Wont leave me alone.
The first time in my life,
I leave the lights on
To ease my soul.
Hammer horror, hammer horror,
Wont leave it alone.
I dont know,

[...] Read more

song performed by Kate Bush
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The Rosciad

Unknowing and unknown, the hardy Muse
Boldly defies all mean and partial views;
With honest freedom plays the critic's part,
And praises, as she censures, from the heart.

Roscius deceased, each high aspiring player
Push'd all his interest for the vacant chair.
The buskin'd heroes of the mimic stage
No longer whine in love, and rant in rage;
The monarch quits his throne, and condescends
Humbly to court the favour of his friends;
For pity's sake tells undeserved mishaps,
And, their applause to gain, recounts his claps.
Thus the victorious chiefs of ancient Rome,
To win the mob, a suppliant's form assume;
In pompous strain fight o'er the extinguish'd war,
And show where honour bled in every scar.
But though bare merit might in Rome appear
The strongest plea for favour, 'tis not here;
We form our judgment in another way;
And they will best succeed, who best can pay:
Those who would gain the votes of British tribes,
Must add to force of merit, force of bribes.
What can an actor give? In every age
Cash hath been rudely banish'd from the stage;
Monarchs themselves, to grief of every player,
Appear as often as their image there:
They can't, like candidate for other seat,
Pour seas of wine, and mountains raise of meat.
Wine! they could bribe you with the world as soon,
And of 'Roast Beef,' they only know the tune:
But what they have they give; could Clive do more,
Though for each million he had brought home four?
Shuter keeps open house at Southwark fair,
And hopes the friends of humour will be there;
In Smithfield, Yates prepares the rival treat
For those who laughter love, instead of meat;
Foote, at Old House,--for even Foote will be,
In self-conceit, an actor,--bribes with tea;
Which Wilkinson at second-hand receives,
And at the New, pours water on the leaves.
The town divided, each runs several ways,
As passion, humour, interest, party sways.
Things of no moment, colour of the hair,
Shape of a leg, complexion brown or fair,
A dress well chosen, or a patch misplaced,
Conciliate favour, or create distaste.
From galleries loud peals of laughter roll,
And thunder Shuter's praises; he's so droll.
Embox'd, the ladies must have something smart,

[...] Read more

poem by Charles Churchill
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Taste Of Danger

I met you at the barricade
The speed bump where the crowd has gathered
You said the bow was breaking
You wanna get some coffee or something and then
Flow for the crowd that scatters
I found my people and nothing else matters
Bull horns scream in the stormy skies
No one listens but you still have a new tribe
Cos you love the taste of danger
It turns you on (danger)
Just take a look at your face
I know whats going on (whats going on)
You love the taste of danger
Tip-toe through the riots
? ? ? braced for action
No sense, so consequence breeds...
Bounce back at ya
Cos you love the taste of danger
So bring it on (danger)
Just take a look at your face
I know whats going on (whats going on)
You love the taste of danger
Stare at the brand new sneakers on the
Idle kiss ? ? ? speaker
These are probable days my friends
Tomorrows monday and all good things must end
The cops told the crowd they must disperse
Your pretty eyes fog as the tear gas bursts
We found the horses and we move along
And I promised Id see you but the moment was gone
You attack where the spray can splatters
Deliver us from the chokes and suckers
You and me keep the time of the presidents
Bind together for someone to vote against
Well you lost the taste for danger
And now its gone (danger)
Just take a look at your face
I know that somethings wrong (whats going on)
You lost your taste for danger
? ? ?
? ? ?
Cos you love the taste of danger
So bring it on (danger)
You love the taste of danger
You love the taste of danger
And now its gone (danger, whats going on)
You love the taste of danger

song performed by Third Eye Blind
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The Men Who Sleep With Danger

The men who camp with Danger
Are mostly quiet men:
And one may use a rifle,
And one may use a pen,
And one may strap a camera
In deserts to his bike;
But men who sleep with Danger
Are pretty much alike.
To men in places pleasant
Or in the barren West
There’s Danger ever present –
A half unheeded guest.
But , thoughtful for the stranger,
The timid or the weak –
The men who camp with Danger
Keep watch but do not speak.
The men who go with Danger
Are mostly dreamy-eyed
Upon the swooping fo’c’sle.
Or by the camp-fire side,
And when they sit in darkness,
To show us where they are:
The glowing of a pipe-bowl
And often a cigar
The men who camp with Danger
Have quiet humour too,
And songs that you’ve forgotten,
And real good yarns for you.
There’s little you can tell them
Of yourself or your own
That men who’ve lived with Danger
Have never felt or known.
The men who sleep with Danger
Sleep soundly while they may,
But always wake at midnight
Or just before the day.
A something in the darkness
That shudders at the dawn –
A side-mate softly wakened,
A rifle swiftly drawn.
The men who sail with Danger
As actors are ideal:
They lightly laugh to fool you
When Danger’s very real.
The men who sail with Danger
A wondrous insight have:
They know if you are timid,
They know if you are brave.
The stewards set the tables
With careless, practised care,

[...] Read more

poem by Henry Lawson
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Knowing

There is a danger of knowing too much

knowing too much danger

Crossing a road without looking

Taking a risk with your cooking

A danger in knowing

There is a danger in knowing too much

Having digitalised lives

synched to computer

GOOGLED

There is a danger

Is there a danger in knowing?

Too much danger?

Too much knowing?

Too much?

we have/are becoming

More like a shopping mall

Packed full of brands

And gadgets

our apps additives

There is a danger of losing your child

In a shopping mall

Losing your self

In the underground

A danger in knowing

A danger in looking

[...] Read more

poem by Yvette Smith
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The Stone-Cutter

We hammer, hammer, hammer on and on,
Day-out, day-in, throughout the year,
In blazing heat and tempests drear;
God's house we slowly heavenward rear--
We'll never see it done!

We hammer, hammer, hammer, might and main.
The sun torments, the rain drops prick,
Our eyes grow blind with dust so thick;
Our name is dust, too, fadeth quick--
No glory and no gain!

We hammer, hammer, hammer ever on.
O blessed God on Heaven's throne,
Dost thou take care of every stone
And leave the toiling poor alone,
Whom no one looks upon?

poem by Carmen Sylva
Added by Veronica Serbanoiu
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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,

[...] Read more

poem by Robert Browning from The Ring and the Book
Added by Veronica Serbanoiu
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"Cassius" Love Vs. "Sonny" Wilson

Hi, this is Al. This scene takes place at a typical Beach Boys practice
session. We're in the midst of preparing for an upcoming show when a feud
breaks out between Brian and Mike.
Alright you guys we have a, uh dowuh
Come on
We have a show this weekend
Open your mouth
What do we have this weekend?
What are you trying to say?
Come on Mike, what are you trying to tell us Mike?
Well I'm trying to tell you we have a show this weekend and we could be
sharper. So what do you say we go over the ending of "Little Deuce Coupe"
one more time?
Alright
Alright yeah, come on
A-one a-two -a one two three
Little deuce coupe you don't know what I got
You don't know what I got
Little deuce coupe you don't know
Well I'm not bragging babe so don't put me down
Woooooa
What's going on?
Uh listen Mike, with a voice like yours when you open your mouth it's a
big put down.
What? What? Ohhh
Yeah like in "Surfin' Safari":
Let's go surfing now
Everybody's learning how
Come on and safari with me
Early in the morning we'll be starting out
Some honey's will be coming along
Oh yeah? Well when I, at least when I'm singing it doesn't sound like
Mickey Mouse with a sore throat.
Oh no, Ahh man.
I could come from miles away
Ain't got (ain't got, ain't got) no place to stay
Where have you gone
Farmer's Mother
Oh no
Hey wait a minute, wait a minute hold on hold it Mike, Mike no one really
complains when Brian sings those pretty ballads
You mean "In My Room"?
Yeah and "Surfer Girl" too
Ahhh ooooo ahhhhh woooo oooooo
Wait a minute Carl, nobody complains about the way Mike sings his fast songs.
You're talking about "Surfin' U.S.A."?
Yeah and "Shut Down" too
Tach it up, tach it up
Buddy gonna I shut you down
Well what do you think?

[...] Read more

song performed by Beach Boys
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The Original Wrapper

I was sittin home on the west end
Watchin cable tv with a female friend
We were watchin the news, the worlds in a mess
The poor and the hungry, a world in distress
Herpes, aids, the middle east at full throttle
Better check that sausage, before you put it in the waffle
And while youre at it, check whats in the batter
Make sure that candys in the original wrapper
Hey, pitcher, better check that batter
Make sure that candys in the original wrapper
Reagan says abortions murder
While hes looking at cardinal oconnor
Look at jerry falwell louis farrakhan
Both talk religion and the brotherhood of man
They both sound like they belong in teheran
Watch out, theyre goin full throttle
Better check that sausage, before you stick it in the waffle
And while youre at it better check, whats in the batter
Make sure that candys in the original wrapper
Hey, pitcher, better check that batter
Make sure that candys in the original wrapper
White against white, black against jew
It seems like its 1942
The baby sits in front of mtv
Watching violent fantasies
While dad guzzles beer with his favorite sport
Only to find his heroes are all coked up
Classic, original, the same old story
The politics of hate in a new surrounding
Hate if its good and hate if its bad
And if this all dont make you mad
Ill keep yours and Ill keep mine
Nothing sacred and nothing divine
Father, bless me, were at full throttle
Better check that sausage, before you put it in the waffle
And while youre at it better check that batter
Make sure the candys in the original wrapper
Hey, pitcher, better check that batter
Make sure that candys in the original wrapper, hey, hey
I was born in the united states
And I grew up hard but I grew up straight
I saw a lack of morals and a lack of concern
A feeling that theres nowhere to turn
Yippies, hippies and upwardly mobile yuppies
Dont treat me like Im some dumb lackey
cause the murderer lives while the victims die
Id much rather see it an eye for an eye
A heart for a heart, a brain for a brain
And if this all makes you feel a little insane
Kick up your heels, turn the music up loud

[...] Read more

song performed by Lou Reed
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Under The Hammer

Under the hammer, under the hammer again
Under the hammer, under the hammer again
I gotta be strong, gotta be strong yeah
I gotta hold on, hold on to the magical key
Somebody's following me
I've got to know some more than this suffering
There's something more but it's just not happening
I've got to know some more than this hammering
Hammering you
Under the hammer, under the hammer again
Under the hammer, under the hammer again
I've got to be free, heal me mantra
Send me an earthquake, drag the city into the sea
Somebody's following me
I've got some news, everybody's going down
Apocalypse now!

song performed by Kula Shaker
Added by Lucian Velea
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Hammer To Fall

Words and music by brian may
Here we stand or here we fall
History wont care at all
Make the bed light the light
Lady mercy wont be home tonight yeah
You dont waste no time at all
Dont hear the bell but you answer the call
It comes to you as to us all
Were just waiting
For the hammer to fall
Oh evry night and every day
A little piece of you is falling away
But lift your face the western way
Build your muscles as your body decays yeah
Toe your line and play their game yeah
Let the anaesthetic cover it all
Till one day they call your name
You know its time for the hammer to fall
Rich or poor or famous
For your truth its all the same (oh no oh no)
Lock your door the rain is pouring
Through your window pane (oh no)
Baby now your struggles all in vain
For we who grew up tall and proud
In the shadow of the mushroom cloud
Convinced our voices cant be heard
We just wanna scream it louder and louder louder
What the hell we fighting for?
Just surrender and it wont hurt at all
You just got time to say your prayers
While your waiting for the hammer to hammer to fall
Its gonna fall
Hammer..you know..hammer to fall
Waiting for the hammer to fall now baby
While youre waiting for the hammer to fall
Give it to me one more time

song performed by Queen
Added by Lucian Velea
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Danger Zone

Shaking off the tresholds of a long forgotten dream
And you just can't make it last
Coaching paradise on a personal line
But you get fired to fast
And you lie, memories drifting by
Love don't make it on those pin-striped nights
When you're looking through someone's disguise
You can't make it alone, so you gotta make a move
But you're looking at nobody's eyes
Well that's love, or maybe love come and go
Looking for love is a danger zone
Love don't go begging in the danger zone
You won't get nothing from the danger zone
Tales that you tell from the stories that you'll hear
And you'll get what you can while you may
Don't understand when you're looking for a dame
But it's only a heartbreak away
And you'll learn, faking has no return
No way when you're feeling that way
Will your feet get caught up in the crowd
And the song that you sing is too soft to be heard
But your speakers are way too loud
Like the pain, loving is no big game
Looking for love is a danger zone
No don't go living in the danger zone
You won't get nothing from the danger zone
Don't take no chances in the danger zone
Love don't go begging in the danger zone
No don't go living in the danger zone
You won't get nothing from the danger zone
Don't take no chances in the danger zone
Love don't go begging in the danger zone

song performed by Rainbow
Added by Lucian Velea
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Life in Paradise: 21st Century Style

2000-2001
The “dot com” bubble bursts
Recession
9/11/2001
America attacked!
Our way of life is threatened
Fear sets in
Financial institutions vulnerable!
Economy in a nose dive
What to do?
Everybody fly the flag from your home.
Save housing - Save the economy!
First, everybody needs a home.
The madness begins.
2002-2003
Create laws to increase minority homeownership
California gives birth to the ARMs* and NINJA** loans
Accounting irregularities at Fannie Mae (FNMA) & Freddie Mac (FDMAC) ***
Doors open for Wall Street to invest in Main Street
Without those pesky government regulations
Homeownership increases

...“After all ever since the Great Depression, home values have ALWAYS gone up
And everybody pays their mortgage ”…

WARNING! WARNING! DANGER! DANGER!

AREN”T HOME PRICES INCREASING FASTER THAN INCOME?

…...“No problem; it only takes a little creative mortgage financing and Wall St loves those high yielding mortgages…..
HIGHER RISK - HIGHER YIELD!
Pension funds love high yield.
Buy more and more....
…...“After all ever since the Great Depression, home values have ALWAYS gone up
And everybody pays their mortgage ”…..

WARNING! WARNING! DANGER! DANGER!

AREN”T PENSION FUNDS ONLY ALLOWED TO BUY AAA RATED INVESTMENTS?

...“Problem solved...banks pay the salaries at the Rating Agencies and Ratings Agencies in turn lower the standards to obtain a AAA rating”...

WARNING! WARNING! DANGER! DANGER!

WHO’S WATCHING THE “HEN HOUSE” WHO’S MINDING THE STORE?

...“Who cares?
Everyone is happy
Millions of new jobs created
Millions of new homeowners

[...] Read more

poem by Nancy Chambers
Added by Poetry Lover
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The Spooniad

[The late Mr. Jonathan Swift Somers, laureate of Spoon River, planned The Spooniad as an epic in twenty-four books, but unfortunately did not live to complete even the first book. The fragment was found among his papers by William Marion Reedy and was for the first time published in Reedy's Mirror of December 18th, 1914.]

Of John Cabanis' wrath and of the strife
Of hostile parties, and his dire defeat
Who led the common people in the cause
Of freedom for Spoon River, and the fall
Of Rhodes' bank that brought unnumbered woes
And loss to many, with engendered hate
That flamed into the torch in Anarch hands
To burn the court-house, on whose blackened wreck
A fairer temple rose and Progress stood --
Sing, muse, that lit the Chian's face with smiles,
Who saw the ant-like Greeks and Trojans crawl
About Scamander, over walls, pursued
Or else pursuing, and the funeral pyres
And sacred hecatombs, and first because
Of Helen who with Paris fled to Troy
As soul-mate; and the wrath of Peleus' son,
Decreed to lose Chryseis, lovely spoil
Of war, and dearest concubine.
Say first,
Thou son of night, called Momus, from whose eyes
No secret hides, and Thalia, smiling one,
What bred 'twixt Thomas Rhodes and John Cabanis
The deadly strife? His daughter Flossie, she,
Returning from her wandering with a troop
Of strolling players, walked the village streets,
Her bracelets tinkling and with sparkling rings
And words of serpent wisdom and a smile
Of cunning in her eyes. Then Thomas Rhodes,
Who ruled the church and ruled the bank as well,
Made known his disapproval of the maid;
And all Spoon River whispered and the eyes
Of all the church frowned on her, till she knew
They feared her and condemned.
But them to flout
She gave a dance to viols and to flutes,
Brought from Peoria, and many youths,
But lately made regenerate through the prayers
Of zealous preachers and of earnest souls,
Danced merrily, and sought her in the dance,
Who wore a dress so low of neck that eyes
Down straying might survey the snowy swale
Till it was lost in whiteness.
With the dance
The village changed to merriment from gloom.
The milliner, Mrs. Williams, could not fill
Her orders for new hats, and every seamstress
Plied busy needles making gowns; old trunks

[...] Read more

poem by Edgar Lee Masters
Added by Poetry Lover
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Mc'Clusky's Nell

In Mike Maloney's Nugget bar the hooch was flowin' free,
An' One-eyed Mike was shakin' dice wi' Montreal Maree,
An roarin' rageful warning when the boys got overwild,
When peekin' through the double door he spied a tiny child.
Then Mike Maloney muttered: "Hell! Now ain't that jest too bad;
It's Dud McClusky's orphen Nell a-lookin' for her dad.
An' him in back, a-lushin' wine wi' Violet de Vere-
Three times I've told the lousy swine to keep away from here."
"Pore leetle sing! He leaves her lone, so he go on ze spree:
I feex her yet, zat Violet," said Montreal Maree.
Now I'm accommodatin' when it comes to scented sin
But when I saw that innocent step in our drunken din,
I felt that I would like to crawl an' hide my head in shame.
An' judgin' by their features all them sourdoughs felt the same.
For there they stood like chunks o' wood, forgettin' how to swear,
An' every glass o' likker was suspended in the air.
For with her hair of sunny silk, and big, blue pansy eyes
She looked jest like an angel child stepped outa paradise.
So then Big Mike, paternal like, took her upon his knee.
"Ze pauv' petite! She ees so sweet," said Montreal Maree.

The kid was mighty scared, we saw, an' peaked an' pale an' sad;
She nestled up to One-eyed Mike jest like he was her dad.
Then he got strokin' of her hair an' she began to sob,
An' there was anger in the air of all that plastered mob,
When in a hush so stark an' strained it seemed to stab the ear,
We heard the lush, plunk-parlour laugh o' Violet de Vere.
Then Montreal Maree arose an' vanished from our sight,
An' soon we heard the sound o' blows suggestin' female fight.
An' when she joined the gang again dishevelly was she:
"Jeezecrize! I fix zat Violet," said Montreal Maree.

Then Barman Bill cam forward with what seemed a glass o' milk:
"It's jest an egg-nog Missy, but it's slick an' smooth as silk."
An' as the kiddy slowly sipped wi' gaze o' glad surprise,
Them fifty sozzled sourdoughs uttered fifty happy sighs.
Then Ragtime Joe swung on his stool an' soft began to play
A liltin' tune that made ye think o' daffydills in May;
An' Gumboot Jones in solemn tones said: "You should hear her sing;
They've got the cabin next to mine, an like a bird in Spring,
She fills that tumble-down old shack wi' simple melodee."
"Maybe she sing a song for us," said Montreal Maree.

Now I don't hold wi' mushy stuff, tear-jerkin' ain't my line,
Yet somehow that kid's singin' sent the shivers down my spine;
An' all them salted sourdoughs sighed, an' every eye was dim
For what she sang upon the bar was just a simple hymn;
Somethin' about "Abide with me, fast falls the eventide,"
My Mother used to sing it - say, I listened bleary-eyed.
That childish treble was so sweet, so clear, so tender true,

[...] Read more

poem by Robert William Service
Added by Poetry Lover
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