WEBVTT

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"So Julian's duet is my
barrette and cabaret,

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is larryette's boulez
and TJ's lafayetted

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and Renegade Pedal and
Caplet we engraved for you.

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remade his flute today.

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It folds into his
tummy, reconstructed

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it to play with him, to
play it with himself.

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Black music comes out a rainbow
to the deep, and Spanish out

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to where it's held by
flightlings who study changes.

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You don't have
elegies for migrants.

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You sing a song of sticks
for jams, a pit to form.

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Extravagant is nur to nur's way.

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I grew up in a bass
community in Las Vegas.

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Everything was on the bottom.

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And everything was
everything, and everybody's

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we played silos.

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Our propulsion was flowers.

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The cellar was flooded
with raised sand.

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Johnny Winter in America.

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Everybody and everything
was hard again.

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Daddy was a street corner.

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Mama was a market woman.

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The corner tore up
everybody about her grass.

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We ground each other sometimes,
and chased each other,

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and got down with everything.

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A lot of our skin
was on the ground.

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And we talked about each other.

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Leslie would cap against his
name, and around the corner,

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and up at the store, St.
Francis, and upper room

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standing around.

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Christ in olive, and
kamenev's open seed.

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Louis Vitale and Sister Mary,
Willie Stargell and Stephanie

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Brown, lisé and boderick
ousmane and jameela Deseretta

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McAllister, Julia Cotton
and Brian Jackson,

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Tennessee and Scottie Herron,
Greg Robinson was Lou rawls

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live

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Brother Mike was the queen
of chanting and typing.

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Penley Park was
Chuckie Pleasant.

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Chuckie Pleasant
was Giant Eagle.

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My old Uncle Henry don't
believe in them airplanes.

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Some of us believed, and left
our homes, and came looking.

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Everybody on the ground
and everything was left.

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But St. James was still
there, and disappears.

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In a window, in
the sound escape,

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but what if it's a wardrobe?

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A blue-strap set of looks and
military qipao for my weave

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and fade, or shag, or even
lightning of the Black skein

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that holds it all together, hip
tight, the discipline of hips,

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and bottoms thick partition.

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Look how song and dance don't
go together down the avenue.

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Soon as we call this
line derailment,

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we'll study service.

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No eye focus.

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Nobody focus.

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Then get down together like an
ancient decision with Reagan

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playing through, they
accent the second syllable,

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because they are disciples,
oh, harpsic flugel'd refuge.

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Long-set circle, you revel
in what breaks you up.

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With nothing, it's
impossible and easier,

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the same, but really
close to one another,

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but unbridgeable far
from one another,

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the way they flee a broken
park when the island is

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a shipwreck and a language
lab, and half of school

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falls away for what we live for.

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Little boy removed upstairs,
a choir down below.

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How to read this is double now.

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Now how do we read this?

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This is what it's for,
to claim catastrophe.

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And how to turn the world
to rubble for catastrophe?

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This ain't.

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What is?

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Look, this assert, break insert.

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Save everything."

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