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Satan Speaks

“Now is the time for you to realize that many great artists captured the alchemical codes during the first Renaissance. These vibrations were brought down into the physical realm, and this art contains the codes for restructuring the whole planetary field as year 2012 approaches. What you do right now is of crucial importance, and the great Renaissance artists are in physical body now poised to fill the world with beauty and ecstasy. You have been waiting for this.

Wake up!

Wake up; as 2012 nears, carrying alchemical treasures and yes you could wait for the gods instead of awakening yourselves. You can be Michelangelo or Da Vinci, or you can be the sheep herded into groups waiting for the Apocalypse, cowering and waiting for the gods.

“The Apocalypse is the end of a great cycle, and the end of us. Look, I Satan am just the world’s boss who realizes he’s ruined the company, and am wondering what I will tell the stockholders. I am the U.S. President who realizes he’s blown it with NAFTA, as I watch world currencies tumble into the abyss. Events are getting too big for any one entity, and guess what? This is when an individual wakes up! I, Satan, am here to share the truth with you before I have to answer to The Most High. In the old days, the boss would loot the company and head for a tropical island, but there is no tropical island to run to anymore. I Satan am coming closer to your souls, my desires are activated. It’s like when you get close to a treasure, and you just want to grab it all. I have been known to be a pig, and so have you! As I get closer, I get blinded by the Light of the Sun. I know from the past that I think less clearly when I come into your presence, just like a man is blinded by the sight of beautiful nude woman. I hope you will seize the alchemy, as a pure gift from the Heavens right now, as you shout “Up yours Satan”.”

(Inspired by and dedicated to the writings of the most brilliant B.H.C)

Rayluc

poem by Ray Lucero
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0031 Ted and Sylvia meet the marriage counsellor

‘Let me not to the marriage of true minds
admit impediment’ – and let me say
first of all, that I’m all for that…
but Dr Freud asked me if I’d call you in –
that is, invite you – for a little chat;
there’ll be no fee, of course…
Sylvia, would you sit over here,
and Ted, you over there?

I’ve read your case notes
which my secretary compiled, from
your previous poems – she’s quite
well-read; indeed, I believe she’s now applied
for a post with Mr. Eliot the poet…

Now I understand you’re both madly in love
and – ahem – can’t wait to ‘get at
one another’ as they say these days …
I guess the ‘Do not Disturb’ notice
may be there for days, ha ha?

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poem by Michael Shepherd
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Art Encompassed: Renaissance Modern Rejecting Earlier Ideals

Michelangelo carved poetry
into purest marble
painted it across ceiling
of adorned Sistine Chapel.

Leonardo Da Vinci
cunningly imprisoned it
within magnetic eyes
of portrait Mona Lisa.

Vincent Van Gogh ground pigment
mixed artistic paint tempera
then splashed poetry upon heaven’s
eternal Starry Starry Night.

Complete artist crazed benediction perfected
must encompassed be prophetic impassioned poet.
Diverse streams personify divine creativity
poetry effected obtains full unfettered expression.

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poem by Terence George Craddock
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Our Journey Of Art Curiousity

Forms, the sphinxes that seem to be obvious but misunderstood by the onlookers
In prehistory, they weren't and surely not today
Elements compositioned
Principles observed
Shhh! ! ! Art we admired
In chronology, the pigments receded, attracted, united, fought, persuaded & even symbolized
Before realised, hue had taken the dynamism & significance of colour and the trajectory between the wet & dry media had become the techniques well-practised & mastered by phenomenal artists of the days of old and now
It was then that it became bare that tempera & gouache assumed subordinate binders
Dots turned to be the only pointillistic vehicle that could draw from distant gaps the trades and rage of the markets scenes depicted by great-inventory artists whose preliminary findings never differed with the actual works
The byzantine, the grotto's, the classical re-awakening, the fore-runners; Cimabue & Giotto
Men whose signatures stood distinctive but were first among equals
Archaic, Classical & Hellenistic eras; Paleolithic, Mesolithic & Neolithic
Then, the PMN acronym stood astute
The cave paintings, the hieroglyphics & the modern-day alphabets
The Kuora's and the naked discus thrower; just under the tutelage of Alexander the 'great'
Bays and straits of Thessalonikka, Corinth, Mycene
The almost faultless works of Michelangelo, Da Vinci, Mattise, Braques and the many unsang heroes whose idealogies we've kept till now
The curiosity separates forth the symmetric and assymmetric balances
The colour theory that almost always proofed that red is adjacent to green on the wheel
And the final result of almost all or all the colours is black

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poem by Prince Kenny Osei
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Elefans' Fans' Grey Tanka Eulogy written on a Grass Green Country Backyard after John Godfrey Saxe The Blind Men and the Elephant

The King was ill. A travelling monk told him to look upon the healing colour of green. The king spent lakhs and lakhs of money hiring artists to paint the entire country green. The monk once again travelled in the vicinity and came to court. He said to the king: 'Would it not have been better to put on green glasses? ' Paraphrased from a story told by Sathya Sai Baba

Guard us from advice
Responses aping logic
As King in a trice
Should have rejected both monk,
Story artists' green leafed trunk.

Green dreams in dark night
Reveal lies theologic
Emerald eyes quite
Express blood red as black junk -
Simplistic suggestions sunk.

Enormous fan ears,
Like trees legs large, small rope tail,
Ends pointed, tusk spears.
Flanks walls, pack I derm trunk snake
ANSwer: blind faith tale's trumps wake.

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poem by Jonathan Robin
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The Windmill

'The Windmills of Your Mind' ('Les moulins de mon cœur') is a song performed by Noel Harrison, with music by Michel Legrand and English lyrics by Alan Bergman and Marilyn Bergman, from the 1968 film, The Thomas Crown Affair.[1] The French lyrics were penned by Eddy Marnay.Noel Harrison took the song to #8 in the UK Singles Chart, and it won the Academy Award for Best Original Song in 1968.[1] Remarkably, Harrison's father, the British actor Rex Harrison, had performed the previous year's Oscar winning 'Talk to the Animals'.[1]The opening two melodic sentences were borrowed from Mozart's second movement from his Sinfonia Concertante for Violin, Viola and Orchestra.Dusty Springfield's version of the song from her album Dusty in Memphis is also well known; this version reached #31 on the US Billboard Hot 100 chart and #3 on the Billboard adult contemporary chart in 1969.[2] This recording also appeared on the soundtrack to Breakfast on Pluto (2006) .Other artists who have covered the song include Tina Arena, Petula Clark, Barbara Lewis, Alison Moyet, The Colourfield, Swing Out Sister, Edward Woodward, Parenthetical Girls, Esthero, Anne Clark, Sting (whose version was used in the 1999 remake of The Thomas Crown Affair) and Sharleen Spiteri on her The Movie Songbook album. The French rendering: 'Les moulins de mon couer', has been recorded by a number of artists including Richard Anthony, Johnny Mathis (with Toots Thielemans) , Patricia Kaas, Vicky Leandros, Nana Mouskouri, Jessye Norman and Caterina Valente. The song has also been rendered in Finnish as 'Samamlainen onni' recorded by Petri Salminen and also by Marita Taavitsainen; in German as 'Wie sich Mühlen dreh'n im Wind' recorded by Katja Ebstein and also by Vicky Leandros, and in Swedish as 'Vinden I Min Själ' recorded by Lill-Babs.

Under the Windmill a country lassie with a cane basket
She picks wild flowers hurriedly in the thicket
And a willet flies towards the marsh for her nest.
Far away cattle along the meadow
And a Red fox hoots on a hilltop willow.
Flock of cranes in the twilight sky.
It's getting darker and if I come to the Windmill
With my book of poetry,
Is it possible to get permission from your parents
To borrow a lantern for me,
Then I could have finished my reading early in the morning
And I promise you to return the Aladdin's wonderful lamp at your threshold
With a small chit saying thanks and my whereabouts before I leave?

for ShakespearesWaste Bin in gratitude!

*[First comment from my beloved; 'Hey! My old boy are you trying to be the Pied Piper of Hamelin? ']

poem by Nimal Dunuhinga
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Should Justice Be Blind?

JUSTICE: SIGHTED OR BLINDED?

"Don't take a bribe, " the Bible says, "because they blind
those who are instructed to administer
justice." Those depicting justice often bind
the Lady's eyes. This act appears quite sinister
to Torah's jurisprudence. Doing this might steer
your judgment to the left or right, and make you look
with a vision that's obscured, and raise the fear
that you might violate the laws within the Book.

The artists thought impartiality and sight
to be in conflict: that is why they blinded Justice.
Bible law prioritizes vision: what is right
should never be the least obscured. Renaissance trust is
based on impartiality, whereas clear vision
is in the Torah's point of view the major given.
A judge must use his sight, and make no blind decision:
all biases caused by his sight must be forgiven.

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poem by Gershon Hepner
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Orlie Wilde

A goddess, with a siren's grace,--
A sun-haired girl on a craggy place
Above a bay where fish-boats lay
Drifting about like birds of prey.

Wrought was she of a painter's dream,--
Wise only as are artists wise,
My artist-friend, Rolf Herschkelhiem,
With deep sad eyes of oversize,
And face of melancholy guise.

I pressed him that he tell to me
This masterpiece's history.
He turned--REturned--and thus beguiled
Me with the tale of Orlie Wilde:--

"We artists live ideally:
We breed our firmest facts of air;
We make our own reality--
We dream a thing and it is so.

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poem by James Whitcomb Riley
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Five Critcisms

I.

(_On many recent novels by the conventional unconventionalists_.)

Old Pantaloon, lean-witted, dour and rich,
After grim years of soul-destroying greed,
Weds Columbine, that April-blooded witch
'Too young' to know that gold was not her need.

Then enters Pierrot, young, rebellious, warm,
With well-lined purse, to teach the fine-souled wife
That the old fool's gold should aid a world-reform
(Confused with sex). This wrecks the old fool's life.

O, there's no doubt that Pierrot was clever,
Quick to break hearts and quench the dying flame;
But why, for his own pride, does Pierrot never
Choose his own mate, work for his own high aim,

Stand on his feet, and pay for his own tune?

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poem by Alfred Noyes
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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.

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poem by Gershon Hepner
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