Five And Dime Carousel Ride
This little boy
that little girl
down across the street
open window to smell summer
youthful cries
come outside
cherry lollypops
the drip of popsicles
ten cent ride on the carousel
a front Woolworth
giggle, canoodling the play pony
happily waiting to ride
the twinkle, twinkle music
pushed against memory lost
rebellion rubbing bicycle tires
zipping up streets
little debbie riding banana seat
where every bump was a whee!
flooded thoughts here in Albuquerque
five and dime general store
remembering first date
for a dime
stolen from moms pocketbook
giddying up legs flapping
adventures of the magical machine
little debbie a grin
unable to ride off into the sunset
station inside cement
moon will soon rise
over white picket fence
he gave away the red hot wheel
the Hopalong Cassidy watch
collected from cereal box tops
a boy tenderfoot
to red light, green light one two three
now let me see
playing rock'em sock'em robot
bought from the neighbor stoop sale
help him steal a kiddy kiss
his hunched elation
youthful masturbation
under tent cover
the surprised beaten
next day after mothers discovery
the stained underwear
thrown behind the bureau
jacking his dinky into a dick
thinking about little debbie
from across the street
the girl worth every dime
joys of the carousel
© 2010 Lepadah
Comments:
Posted in Poetry
Subject: Five And Dime Carousel In Albuquerque
"..jacking his dinky into a dick'
Enjoying a good sound chuckle.
I'm sure the gentlemen will relate;
wonder how many will comment?
At first I thought it to be written by a man
yet was not surprised to find a woman author;
after all she was once that little girl and is now
likely to be a mother who found the stained underwear.
Very down to earth writiing. Stay inspired.
I had not read you before and I think it has been my loss.
Will be watching for your future posts.
J :)
It is a keeper Lydia; not just for the memories, the truth natural but so
very well written. A gem to give your son on the birth of his own first son.
IF (big if) I can find the right carousel horse, and a pair of little
children playing - I may give it a stab at painted illustration. I have the
picture in
my mind but I often dream in my head above what my fingers can
accomplish..If is does happpen, will send you a copy. Aproject for the
longest
month of the ear - January in a Canadian winter.
Stay inspire - lovely to read.
:)) :))
Faye
Friday, December 10, 2010
Thursday, December 9, 2010
Wednesday, December 8, 2010
BJ
Indulge one daydream
tempting taste of thick cream
melted around the mouth
it's essence
the scent of something earth new
a sweep of plenty to harvest
you offer a generous portion
satisfying a yawn
blessing of your crest
spread upon teats
over round full mounds
of chestnut skin beneath
where the air lingers thin
a sniff of musky sweetness
belay between
a smiling thatch
carefully crop curly cues
preparing to kiss a new terrain
reaching the ultimate apogee...
peace Lepadah
tempting taste of thick cream
melted around the mouth
it's essence
the scent of something earth new
a sweep of plenty to harvest
you offer a generous portion
satisfying a yawn
blessing of your crest
spread upon teats
over round full mounds
of chestnut skin beneath
where the air lingers thin
a sniff of musky sweetness
belay between
a smiling thatch
carefully crop curly cues
preparing to kiss a new terrain
reaching the ultimate apogee...
peace Lepadah
Tuesday, December 7, 2010
Monday, December 6, 2010
A Parked Performance
The Siberian steel of this night
standing water
unhurried ripples
overlap into oleaginous sheets
a frosty bottle
Corona with vodka
biting wool gloves
pieces of frozen ice sticking them
an abandoned dog
under a weeping willow
stiffly blowing
waving scary branches
at the shivering soul
holiday lights blinking
afar on the hill
sitting still
vigilant eye planes landing LGA
meticulously manicured fingers
set digital player
to Baroque Duet Battle and Marsalis
authentic loveliness of Scarlatti
"Su le sponde del Tebro"
beveled car seats
designing a single star
napping to a feel up
while the Aria slipped into Dolphy
perfectly fine
just like pinching hands
down the blouse
perfectly fine
© 2010 Lepadah
standing water
unhurried ripples
overlap into oleaginous sheets
a frosty bottle
Corona with vodka
biting wool gloves
pieces of frozen ice sticking them
an abandoned dog
under a weeping willow
stiffly blowing
waving scary branches
at the shivering soul
holiday lights blinking
afar on the hill
sitting still
vigilant eye planes landing LGA
meticulously manicured fingers
set digital player
to Baroque Duet Battle and Marsalis
authentic loveliness of Scarlatti
"Su le sponde del Tebro"
beveled car seats
designing a single star
napping to a feel up
while the Aria slipped into Dolphy
perfectly fine
just like pinching hands
down the blouse
perfectly fine
© 2010 Lepadah
Renewed interest celebrating a Jazz Legend ... today Eric Dolphy.
Eric Dolphy Biography
in full Eric Allan Dolphy
( 1928 – 1964 )
(born June 20, 1928, Los Angeles, Calif., U.S.—died June 29, 1964, West Berlin, W.Ger.) African-American jazz musician, a virtuoso improviser on woodwinds and a major influence on free jazz.
Dolphy began playing clarinet, oboe, and alto saxophone in his youth and attended Los Angeles City College. He was in Roy Porter's big band during the late 1940s. He then spent a few years in a U.S. Army band, after which he transferred to the U.S. Naval School of Music. Upon returning to Los Angeles Dolphy played locally, and he first became nationally recognized when he toured and recorded with the Chico Hamilton quintet in 1958–59.
Settling in New York by early 1960 led to Dolphy's most noted performing associations, with Charles Mingus, trumpeter Booker Little, and John Coltrane. He recorded often, but opportunities to play in public were erratic. He died of complications of diabetes.
Dolphy's impact resulted largely from his brilliant playing of not only alto saxophone but also flute (then uncommon in jazz) and bass clarinet (which he virtually introduced into jazz improvisation). Besides his thorough mastery of these woodwinds, he introduced an unprecedented range of unique expressive techniques on them. While his phrasing usually resembled Charlie Parker's in rhythmic terms, Dolphy harmonically was given to wide, angular leaps and distant relations to fixed harmonic structures, so that his chromatic lines at times seemed to approach atonality. Typically, his solos proceeded by free association. By 1963–64, however, he had discovered unique ways of organizing his improvising, using original themes and radical harmonic means, as in his major album Out to Lunch.
in full Eric Allan Dolphy
( 1928 – 1964 )
(born June 20, 1928, Los Angeles, Calif., U.S.—died June 29, 1964, West Berlin, W.Ger.) African-American jazz musician, a virtuoso improviser on woodwinds and a major influence on free jazz.
Dolphy began playing clarinet, oboe, and alto saxophone in his youth and attended Los Angeles City College. He was in Roy Porter's big band during the late 1940s. He then spent a few years in a U.S. Army band, after which he transferred to the U.S. Naval School of Music. Upon returning to Los Angeles Dolphy played locally, and he first became nationally recognized when he toured and recorded with the Chico Hamilton quintet in 1958–59.
Settling in New York by early 1960 led to Dolphy's most noted performing associations, with Charles Mingus, trumpeter Booker Little, and John Coltrane. He recorded often, but opportunities to play in public were erratic. He died of complications of diabetes.
Dolphy's impact resulted largely from his brilliant playing of not only alto saxophone but also flute (then uncommon in jazz) and bass clarinet (which he virtually introduced into jazz improvisation). Besides his thorough mastery of these woodwinds, he introduced an unprecedented range of unique expressive techniques on them. While his phrasing usually resembled Charlie Parker's in rhythmic terms, Dolphy harmonically was given to wide, angular leaps and distant relations to fixed harmonic structures, so that his chromatic lines at times seemed to approach atonality. Typically, his solos proceeded by free association. By 1963–64, however, he had discovered unique ways of organizing his improvising, using original themes and radical harmonic means, as in his major album Out to Lunch.
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