WEBVTT

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And now I'm just going to
read a couple of new jams

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that I've been working on.

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So these are selections from
something called the "Glock

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Chorus."

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And the idea behind
"Glock Chorus"

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is that all the dead of Iraq,
and by all the dead of Iraq

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I mean, US soldiers,
US contractors, also

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Iraqi citizens, Iraqi soldiers,
insurgents, murderers,

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bystanders, everybody, everybody
who died in the Iraq War

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conflict, and who continues to
die, I suppose, because of it,

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is in a kind of heaven.

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OK, this heaven is like
a gold lame shower stall,

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and it's electrocuted,
because you

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may remember that
Halliburton built

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us these wonderful bases in
Iraq with shower stalls that

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were not properly wired
and they electrocuted US

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servicemen, like 19 servicemen.

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So that's the kind of
heaven I think we deserve.

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We, those of us like me who
kind of let this war happen,

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I guess.

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So at any rate,
this poem is about--

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it's a series of poems where
different people and forces

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involved in this war
just stand up and speak,

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or sing, actually, because
most of this is sung.

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So you get lots of
different perspectives,

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that kind of thing.

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So I'm going to read you
just three or four from this,

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and then that'll be that.

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So the first one is the "Do
It Duet," the do it duet,

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I should say, the do it duet.

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So just do it, and duet.

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And this is spoken
in some contractors,

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and this really happened,
where some contractors were

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sent into the green zone where
the normal American paper

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pushers were just pushing
their paper, to exterminate all

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the pet cats, because
for whatever reason,

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it was just decided.

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Like there was just such
an omni-necrotic mood

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that they decided to
blow away the pet cats

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one day in the green zone.

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I read about this in a
book, apparently it's true.

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So this is in the voice of
these pet cat exterminators

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that your tax dollars
probably paid for.

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So here we go.

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I mean, it wasn't
even Saddam's cats,

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it was just some
folk's an Iraqi cat.

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Here we go.

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"The Do It Duet."

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So you have to imagine these two
voices like eerily in unison.

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"Smart as Sophia, thick as a
dome, thick as gold Byzantium,

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two chromosomes as
thick as thieves,

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adrift in liquor like
a pair of leaves.

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Thick as flies at the old
folks home, thick as commanders

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in the corp squadron.

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Iraq rap no cats,
no cats in the dome.

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We're hired rats.

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We find them all, ferret
out the milky dishes

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where they fed those cats.

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They spent their liquid
wages on the paperwork,

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on vaccinations to repatriate
their cats, on kitty

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tranquilizers to
cart them back but

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like outrageous microwave-us
we got there first

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while all the moms and
daddies were still at work.

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We lit up all the trailers
like July the 4th.

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We dragged out all the kitties
for a kitty [inaudible]

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with a mouthful of
snuff, and a plug

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in its ass, how each cat did
jump when we made it dance

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did the dead cat bounce
on its very last legs

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like a dirty politician
on his last campaign.

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Spun in all directions
like a weather vane,

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pussy turn to the east
side, turn to the west,

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lurch to the creator,
now lurch to the beast.

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Pantomime the crater,
now pantomime the blast,

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now shake for the one
that you like best."

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So that's what the evacuators
say, the eradicators.

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And then there's a
part where, OK, so then

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there's the part where
the last Marine climbs

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up out of the ocean,
but she's also

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kind of like a mourning mother.

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She's a woman, she's Iraqi,
she's a Marine, she's animal,

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she's human, she's everything,
just standing up out

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of the ocean.

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And so of course she must
also be like the beast

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of the apocalypse, too.

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She's everything coming back
for vengeance on itself.

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And her name is
"Avarice Reverie, USMC."

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And her name changes
a lot as this goes on,

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and it gets like
witchy and crazier.

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OK, so there's only two more,
this one and then one more.

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And this is like truly
embarrassing to read.

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But I feel possessed
by this woman

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and I have to read her poem.

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Here it goes, "Avarice
Reverie, USMC."

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"Reverie, Reverie, and the
last Marine was Averine.

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When the last marine
climbed from the scene,

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her flanks were
gilt with Averine.

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Her cheeks were
cut with Averine,

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her checks were
cut from Averine.

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Her irises were rhymey
and they went woop woop.

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The closed eye of the
camera went woop woop.

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The brain's black
Camaro went woop woop,

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tossed off its pearly lightning
like a two piece suit.

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Eyes turned white as
a consulting room.

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And owl's eye ate up all
the marrow of the room.

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And then the last Marine
climbed out of me.

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Her locks were
cleaved with Averine.

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Her locks were
struck with Averine.

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Her teeth were
thick with Averine.

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Break the doors
round their hinges.

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Break the very hinges
from the doors.

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The corny twang
and neural niches

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of the girl who went on
swinging as she swore.

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Oh Averine, how I
wish for gold, Oh

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Averine, how I wish to hold in
the caldron of my human hand

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a goblet from your
treasure hoard.

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Like a spit in the tress
or the trees in the dress,

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oh Treasurine, how
I list for thee.

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Oh Treasurine how
I lisp for thee,

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and pour my cargo to the sea,
and pour my cargo into thee.

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Treasurine, and here's a hit
for thee, and Treasurine,

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here's a lip for thee.

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Treasurine, a harelip for thee.

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Treasurine, a hip
flask for thee.

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Treasurine, here's
flak for thee.

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Treasurine in the gut of thee.

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The boot is a clump and
it goes clump clump.

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The wrist is a
gauntlet, the clutch

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is the gut to the
gut of the woods.

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I hump my clump in
the gut of the woods.

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My hump came up from
the gulch of the gut.

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I worked my well
clutching it's gut.

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I docked its tail.

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I docked its pay.

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I read this tale.

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The big metal bird
went woop woop woop.

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With my blood it was wet
as it went woop woop.

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A girl in the tread,
and a girl on the blade,

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a girl in night vision,
and a girl in night raid.

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Did Philip [INAUDIBLE]
Did Philip [INAUDIBLE]

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till she wears her
martyr's dressing

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like a coach wears Gatorade."

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