Saturday, October 27, 2007

A BROKEN HALLELUJAH FOR SEAN RITTER

A BROKEN HALLELUJAH FOR SEAN RITTER

Someone once said in order to tell the poetic truth
sometimes you had to stretch it a little to get to the deeper truth.
My beautiful and tragically flawed mother was a poetic soul
and when her sister Toddy couldn't have children
she got right down to the heart of things.
She was a woman way ahead of her time.
She created a small bundle of poetic truth and gave it to her sister.

When I was young, my mother often dragged me into churches,
not on Sunday, but in the middle of the week to pray to St. Jude.
Her only wrongdoing was sharing the genetic coil
that unwrapped in Sean the addiction and the burden of California's third strike
that led to this premature shedding of his own mortal coil.
Sean's middle name was Jude, the patron saint of lost causes.

Sure Sean was a teenage terror, and a troubled young man.
His actions put strain on the family and occasionally the law.
But my mother loved Sean with a fierce mother love
that transcended and forgave his flaws.
For Sean also inherited her talents and good qualities.

Sean was a carpenter. After the Loma Prieta earthquake
he restored fallen landmark buildings of Santa Cruz,
and he built showcase homes for myriad families
though he could never build a home within his own soul.
When my mother died, Sean stepped up to the plate to share the burden.
He was there to sing praises to the crazy hallelujah that was his mother.

But from that tragically flawed miracle called Sean Jude Ritter
other miraculous lives were formed.
I give my mother thanks to Sean
for his brothers, Barney, Myles and for Katie.
And from that miracle, I give thanks for
my nieces Tiffany, and little Emma Rose,
for Brittany, brand new Sean Logan, and of course, for Taryn.

Before he was awarded the Nobel Prize, Irish poet Seamus Heaney
once said to me that as a tribe, we are a genius of poets.
Genius runs in the family but the flip side of the coin,
is that the piper has been well paid for his time.

When my mother died, she had a tape of Leonard Cohen's songs,
it was set to the song Broken Hallelujah—which became the Shrek theme.
I kept on playing that song all through the night
and when I got the news of Sean, that song played through my head
wouldn't let me sleep, so I downloaded three versions of it
and when I peeled away the onionskin layers of language
I realized the music was telling me that Sean was a broken hallelujah
and that I should praise him.

We are all connected by the deeper truth of family
bonds that cannot be broken by death alone.
Sean was a broken hallelujah. I will remember his strengths.
I hope that he will find a great scaffolding project in the mansions of God
within the folds of giving up of the individual self to the greater self
and to that vast ocean of love.

10/27/07

Sean Jude Ritter was my half-brother, but, because my aunt thought that she couldn't have kids, my mother, who was in no condition to raise a child, gave him to her to raise, and so he was raised as a cousin.

Being his half-sister, I wrote this piece, expecting to read it at his memorial, but my cousins and nieces completely ignored me, and didn't even acknowledge that Sean was my half-brother. I was polite, as I realized it wasn't about me, but, their grief. No need to feel snubbed—we were all grieving. So, I let it be. I lost this writing and, while cleaning out old files, I only now found it Jan 2/2014. It's lain fallow long enough. Time to let it go.  

Friday, October 5, 2007

A POEM FOR MT. ST. HELENS 1980

 A POEM FOR MT. ST. HELENS 1980

Here, the dawn breaks 
like a dancer veiled in vermillion.
Here, it arrives in crimson clouds 
arranged against cerulean skies.
It swirls and leaps in fleeting colors 
until we are dizzied about
and all out of breath.

10/5/2007? no date
don't know if it was for Helens or Helena, but 1980 suggests Helens,

Interruption, freewrite


Interruption: not to interrupt as in bury but to erupt like a volcano. Pyroclastic chaos. The sunrises and sunsets these days are lurid fan dancers of flaming color. The volcanoes on the other side of the world, on the other side of the hemisphere, are belching forth and the sky is a flamethrower of passion. No tender pink peach and mango hues, but raging carmines and crimsons like women in sequined red dresses. All eyes are on the night sky. No rosy-fingered dawn but entranced firewalkers on the hot coals of morning. We hardly know how to keep contain all this beauty and so we haul out our cameras to capture fleeting glance at this immorality of color and  maybe even an immortal lady in the red. You interrupt my sleep and  haunt me with your vermilion veil stretched across an indigo night. I am at odds with all this color and I cannot just sit and watch. I want to paint the sky and auroras of color—whether Australialis or Borealis, I'm not choosy. 

10/5/2007?

A POEM FOR MT. ST. HELENS 1980

Here the dawn breaks 
like a dancer veiled in vermillion.
Here it arrives in crimson clouds 
arranged against cerulean skies.
It swirls and leaps in fleeting colors 
until we are dizzied and all out of breath.

10/5/2007?

Thursday, October 4, 2007

Buena Vista Social Club on AmieStreet Music

“Talk about finding solid gold on Amie Street Music! The Cuban All Star Band aka the Buena Vista Social Club, has gotta be the motherlode of Cuban music. The all stars of Cuban BC Big Band (Before Castro) era had a huge American following in Hot & Hip Havana from the Prohobition to the 1950s.

have a listen here

On the track, "Chan Chan," the late, great godfather of the son-bolero style, Compay Segundo, performs his own world famous composition with lead singer, Eliades Ochoa. That unmistakable four-chord opening "son" is Buena Vista Social Club's calling card!

Some of you might recall Wim Wenders' amazing 1997 award-winning documentary entitled "The Buena Vista Social Club," that showcased Old Havana's golden age of big band music during the 1940s.

In those days there were fraternal social clubs for all kinds of interests: cigar clubs, literary clubs, music clubs. Think mens' clubs, like the Bohemian Club. There was one Afro-Cuban music club, the Buena Vista Social Club which was abolished, the music nearly lost forever when socialism "abolished" racism. But hey, it gave us a communist-sanctioned version of mambo called salsa.

These world-class Cuban musicians who invented the mambo, lost their livelihood under the throes of communism, the king of mambo Perez Prado fled to Mexico and Ibriham Ferrer, the veritable honey-voiced Nat King Cole of Cuba, was reduced to shining shoes on the streets of Havana for pocket money.

Kudus to Ry Cooder who was instrumental in resurrecting these neglected stars of the golden Cuban musical tradition that languished some 40 years. Cooder's three resulting CDs, by "Los Super abuelos" (super grandaddies) of Cuban music, The (Afro) & the Cuban Allstars, and The Buena Vista Social Club, took off like wildfire—almost entirely by word of mouth.

The most famous CD, the Grammy award-winning album, the Buena Vista Social Club (1997), recorded in six days in Havana's vintage RCA-EGREM studio, went on to sell over 6 million copies, worldwide. Not bad for word of mouth.

Cooder was later prosecuted and fined for breaking the US trade embargo Trading with the Enemy Act.

These old Havana musicians really are super abuelos. Imagine this: Compay Segundo (1907-2003), who invented a seven-stringed musical instrument similar to an Andean charango, called the armónico, came to world fame at the age of 93 and in 2003, he recorded his final album, "Las Flores de la Vida" at the tender age of 96.

Ry Cooder said of his passing:
"The last of the best,
the oracle,
the source,
the one who represents where it all flows from"
is gone from us.

Horsemen, pass by.

Monday, October 1, 2007

Arby's Dancing Chimps Ad is Offensive & Racist


When I saw the Arby's dancing chimp ad, at first it made me laugh. I thought, Oh, Riverdance, oh how funny. Michael Flatley and all that. But it also made me uncomfortable. So I began to explore the basis for my gut reaction: The pseudo-scientific theories of race eugenics and social Darwinism raised its ugly Medusine head.

A sampling of social Darwinism in action— a la Dr. Beddoe's "index of nigrescence"—reads like a string of redneck blason populaire jokes: ...The Irish are an inferior race, genetically prone to violence, incapable of higher mental feats associated with human intelligence. Teaching algebra to an Irishman is like teaching a cat to churn butter. Study of Irish DNA proves they are closer to a weasel or an ape than an Englishman...

However, in my objection to the Arby's jigging apes ad, I find I am in a very small company. Everyone seems to love the Arby's ad— they find it funny. Intellectually I understand that they see the ad as a current pop cultural icon (I should be flattered. Have we arrived yet?) What disturbs me is that people don't get that it is a reference back to a deeper cultural icon based on centuries of racism.

The missing stereotype that begs to be added to the Arby's ad is a minstrel chorus of whiteface jigging chimps.