Nothing has ever come crashing into my headspace quite like Teens of Denial. Force of viewport. Force of sound. Car Seat Headrest. This burner of an album was my initiation into the band. While mind blowing, there is precedence. Fugazi’s Thirteen Songs comes to mind. Perfect construction. Perfect execution. Earnest and original. A revolution of loud, cascading sound. Teens of Denial.
Category: Home
Room on the Porch
Excellent new release from two old pros, Taj Mahal and Keb’ Mo’. The title track, that also features Rubi Amanfu, is the intial star of the show. It sets the whole vibe. One that is intimate, but fun. And given the current times, it nice to know we all are welcome on Taj, Keb and Rubi’s porch. We all need community. And that is evident more than ever.
All our friends are now your friends
That’s how we do it here
Stay as long as you like, that’s alright
We’ve got plenty of beerWe got chicken, we got fruit
We got plenty of food
So come on up, there’s room on the porch
For everyone
Come on up, there’s room on the porch
For everyone– Room on the Porch
Taj Mahal, Keb’ Mo’, Ruby Amanfu
The opening track, however, is just the beginning. The duo delights with love songs, blues numbers and soulful contrasts as they trade lead vocal honors. Sometimes you feel like you’re listening in on a conversation of lifelong friends. Above all else it’s the masterful instrumentation and phrasing that really catches the ear. This is music that will pair quite well during any summer day under the sun, especially if that sun is sliding down, the grill is firing up and the evening is about to capture you at your most content.
save points
no hearts left
on screen death
pixelated kill flex
power failure
amid control issues
this loss environment
empties into emptiness
load again,
don’t forget to save
cracked arrhythmia
the winter splinters
the dying heart torn apart
cracked arrhythmia
sound check
in the marrow
in the bone
the music plays
the music atones
rhythm beat
a life replete
w/ sound & sun
play my heart
play my style
strike it hot
& keep it wild
raise the voice
speak in truth
star strung songs
that talk to you
Stain Glass
Got flowers in my feelings
hearts in the mail
punishments for healing
thumbs on every scale
Weighed all my options
talked to all the folk
no additional reservation
providence bespoke
There are moments to notice
First light in the real
praying over every plate
like its my last meal
1908 Leaded Favnile glass
Tiffany Studios, Metropolitan Museum of Art NYC
Tiffany’s work heralded landscape as an appropriate alternative to figural subjects for memorial windows and conferred religious significance upon the natural world. This window, originally installed in a mausoleum in a Brooklyn cemetery, employs a familiar motif, the river of life, with a slender stream zigzagging through mountains and spilling into a placid pool in the middle ground of the composition. Masses of irises and two magnolia trees dominate the foreground and aptly illustrate the coloristic properties of Tiffany’s famed opalescent glass. Folding and manipulation of the glass while it was in its semi-molten state produced flowers that simulate the texture of real magnolia blossoms.
in bloom
she strikes her pose
on toes
perfectly placed
a bloom
of painted medicine
all in good taste
a statuesque citizen
whispers wisdom
in halls too faint
impressions from
the light of the world
she made sacrosanct
#2wordprompt #vss365 #vssdaily #poetry#strikes #placed #bloom #medicine
train hopper
take to the tracks
when the whistle blows
hop the train
first line out
destinations unknown
in the sidecar pocket
find fast friends alone
bend rounded
the mountain curves moan
drop of sleep
smashing the distant light
of a golden spike
that drives me vanishing
point to point to home
In Edward Hopper’s painting Railroad Sunset, a signal tower stands starkly against undulating green hills and the spectacular colors of sunset. Since his childhood, Hopper had been fascinated by trains, and after his marriage to Josephine Nivison Hopper, the couple embarked on their first transcontinental train trip, travelling to Colorado and New Mexico. The year that he painted this scene, Hopper and his wife travelled from New York to Charleston, South Carolina, as well as to Massachusetts and Maine. But rather than depicting the places they visited, Hopper here presents the lonely landscape in between, with the railroad tracks slicing through the countryside parallel to the picture plane—as if glimpsed from the window of a passing train. As was his frequent practice, Hopper painted the scene once he had returned to his New York studio, creating an image that is not an exact record of a specific place, but instead fuses his memories with imaginary details.
https://whitney.org/collection/works/5874