Singing together as poets
From: acorioso@earthlink.net
Subject: "sing with me" - A NEW USE
Date: October 29, 2005 5:27:01 PM CDT
To: smorsepluggy@yahoo.com
Cc: acorioso@losmedanos.edu, jbrekke@sigafoos.net, quailhill@direcway.com
Stephen,
Nuthin' much new seems to come in from anybody on your playing with
Brad's poem. And even first responses seemed to be "grasshoppers"
leaping at any distraction, so I thought, maybe, you could pull them up
to the table, and at the same time, offer some reassurance that what you
were doing wasn't a new writing of the poem, but was a reading. That's
what the jamming is. The musicians don't rewrite the tune they start
from, nobody writes down an arrangement. They just riff on it....
What I've done below is pull up the two "sing with me" letters (both,
for me, reasonably short) and left you space to pull everybody back to
your moving Brad's poem around. Say you're putting together these two
(of several) Juice Squad letters to hold tight to one riff. And go from
there, still above the two. I've rewritten them just a bit - so this one
to you, whether or not you back-channel into MOAPG, will go in the
"line stacking" folio. If you do, I'll grab your note from the digest
and
insert it....
You c'n dream up a Subject line that'll hook or stay with "sing with
me". In short, I just put a couple rounds in your cylinder. Remember,
you're fighting, now, to make making poems, even reading poems, fun.
Never let 'em push you back to where it's work.... Mugsy and April
will appreciate that the coyote suit (Mugsy found the picture of it and
it's on our three computers) is back...,
Gene
-----------------------------------------------
[ Your note ]
From: Gene Fowler
To: Stephen@Yahoo ; Judy Brekke ; Mugsy
Sent: Thursday, October 27, 2005 1:52 PM
Subject: "sing with me"
Stephen,
Okay,
Okay, I still had the last digest. So, whoever was talking about
"singing vibes" or "music vibes" or whatever was coming off what
you said while picking up your instrument,
Let me try singing with it a bit.
So, play,
Let me try playing with it, aye bit...,
or
Let me try moving it around a little...,
because,
you show 'em a tattoo they've heard of, like "sing", and they'll flay
you and nail your hide up on the wall. You've gotta put on your
coyote suit and trick 'em into going along...,
Gene
If you drink with me
You will understand me now
Secrets between us.
Let me try singing with it a bit:
If you
drink
with me
you
will
understand me
now
secrets between us
andor
no-
w secrets between us
Ah well, just playing, Brad.
That's all. Maybe you'll get a response you c'n get responses
you can hang some talk on about what you were doing, about
how you were playing Brad's poem, how you were reading
the poem...,
Gene
From: Ghost Shaman
To: Stephen@Yahoo ; Judy Brekke ; Mugsy
Sent: Friday, October 28, 2005 8:53 AM
Subject: "sing with me" - part ii
Stephen, Judy, Mugsy,
Let's figure, Stephen, you said, "Let me move it around a little...",
If you
drink
with me
you
will
understand me
now
secrets between us
andor
no-
w secrets between us
Ah well, just playing, Brad
It's still the poem, not a song.That doesn't take any sorting out or
sweating over definitions. More importantly, it's not a rewriting of the
original, it's a reading of the original. This is why I talk of music
(to get the movement) and musicians (or actors) to get a sense of a
performer, a reader into the works. Not a writer taking over anything,
but a reader. And an exploratory reading....
Why'd I call "sing' a tattoo? Because it's written down in your email,
but it'd still be a tattoo, in what I was saying, if you left it on
voice-mail. Anybody who's learned to write down musical scores will,
hearing music, kind of background-see "scoring" and anybody who's
learned how to (any variant) write, will background-see writing on
hearing and layers of it on reading.
You c'n think of pre-fab stuff as tattoos. It's just an image I used
because Mugsy and I had kicked around tattoos, and my fifth shaman
song, in another conversation here. In the paragraph above I figured out
how the image worked, a letter after my using it. that's how you catch
your imagination working and loosen up to where you can move it
around as you're saying it.
The poem c'n be, instead of being a string, a rubber band and, written,
c'n snap back from a reading written down... So there's Brad's poem.
Changed by the reading? Well, not for somebody who didn't hear that
reading, except that, maybe, something was "brought out" that's a
resonance for some other readers who aren't "bopping" it...,
now
secrets between us
andor
no-
w secrets between us
That split up "now" into "no- / w" forces know into the air.... So,
"now" still links to "understand me", following out of it, and "secrets
between us" follows and there's still the ambiguity because the secrets
can separate or bind, because of the understanding and the "placing" of
the "now", in both the writing and the reading. Then, you back up over
the passage "...now / secrets between us", play it again, and force out
the "know", the "no" and it's folded into the "now". Nothing there, or
the understood there, the binding. All the layers.
Let it snap back!
After the riff, the ballad's still there. 'Course, you can read your
own, even while still writing it, and you can make changes in the riff
and carry them back into the writing.... You posted a poem a while back,
Stephen, and, then, you posted another version that wasn't just an
edited and fixed version. You kicked off from the left margin, obviously
for the first half-plus, and used that margin all the way through. You
had, pretty much, two poems, running parallel, and each could be
changed, improved, just worked on for its potential differences, maybe
growing apart, each being "its own poem". When I jammed with John's
(Frost) line into haiku, I played it into new versions, but only to kick
it from just playing the music to playing the imagination. And that was
my purpose. He was playing line-breaks, getting the heft of them. I
didn't touch his line-breaks, his playing them, I didn't distract by
getting off into the "hidden" line-break, Caesura?, in the middle
segment, and just went on into the next order of play, tinkering with
the imagined.
Oh, you don't need the hyphen on "no", and the w is just breathed,
almost like the o is extended and no and secrets are, in tempo almost
welded together, like the andor, and that's how you read it, aloud or
sub-vocalized.... You'll have to live with people not reading your
reading as a reading, not sounding it, thinking "andor" is two words
with an omitted space, thinking that "w" on the next segment was just a
particle lying on the road or dropped by an accidental hit of enter. So,
when writing and wanting that effect, you've got to find ways to
spoon-feed, to force sounding it through....
Writing's an oral art.
Easy,
Ghost
Subject: "sing with me" - A NEW USE
Date: October 29, 2005 5:27:01 PM CDT
To: smorsepluggy@yahoo.com
Cc: acorioso@losmedanos.edu, jbrekke@sigafoos.net, quailhill@direcway.com
Stephen,
Nuthin' much new seems to come in from anybody on your playing with
Brad's poem. And even first responses seemed to be "grasshoppers"
leaping at any distraction, so I thought, maybe, you could pull them up
to the table, and at the same time, offer some reassurance that what you
were doing wasn't a new writing of the poem, but was a reading. That's
what the jamming is. The musicians don't rewrite the tune they start
from, nobody writes down an arrangement. They just riff on it....
What I've done below is pull up the two "sing with me" letters (both,
for me, reasonably short) and left you space to pull everybody back to
your moving Brad's poem around. Say you're putting together these two
(of several) Juice Squad letters to hold tight to one riff. And go from
there, still above the two. I've rewritten them just a bit - so this one
to you, whether or not you back-channel into MOAPG, will go in the
"line stacking" folio. If you do, I'll grab your note from the digest
and
insert it....
You c'n dream up a Subject line that'll hook or stay with "sing with
me". In short, I just put a couple rounds in your cylinder. Remember,
you're fighting, now, to make making poems, even reading poems, fun.
Never let 'em push you back to where it's work.... Mugsy and April
will appreciate that the coyote suit (Mugsy found the picture of it and
it's on our three computers) is back...,
Gene
-----------------------------------------------
[ Your note ]
From: Gene Fowler
To: Stephen@Yahoo ; Judy Brekke ; Mugsy
Sent: Thursday, October 27, 2005 1:52 PM
Subject: "sing with me"
Stephen,
Okay,
Okay, I still had the last digest. So, whoever was talking about
"singing vibes" or "music vibes" or whatever was coming off what
you said while picking up your instrument,
Let me try singing with it a bit.
So, play,
Let me try playing with it, aye bit...,
or
Let me try moving it around a little...,
because,
you show 'em a tattoo they've heard of, like "sing", and they'll flay
you and nail your hide up on the wall. You've gotta put on your
coyote suit and trick 'em into going along...,
Gene
If you drink with me
You will understand me now
Secrets between us.
Let me try singing with it a bit:
If you
drink
with me
you
will
understand me
now
secrets between us
andor
no-
w secrets between us
Ah well, just playing, Brad.
That's all. Maybe you'll get a response you c'n get responses
you can hang some talk on about what you were doing, about
how you were playing Brad's poem, how you were reading
the poem...,
Gene
From: Ghost Shaman
To: Stephen@Yahoo ; Judy Brekke ; Mugsy
Sent: Friday, October 28, 2005 8:53 AM
Subject: "sing with me" - part ii
Stephen, Judy, Mugsy,
Let's figure, Stephen, you said, "Let me move it around a little...",
If you
drink
with me
you
will
understand me
now
secrets between us
andor
no-
w secrets between us
Ah well, just playing, Brad
It's still the poem, not a song.That doesn't take any sorting out or
sweating over definitions. More importantly, it's not a rewriting of the
original, it's a reading of the original. This is why I talk of music
(to get the movement) and musicians (or actors) to get a sense of a
performer, a reader into the works. Not a writer taking over anything,
but a reader. And an exploratory reading....
Why'd I call "sing' a tattoo? Because it's written down in your email,
but it'd still be a tattoo, in what I was saying, if you left it on
voice-mail. Anybody who's learned to write down musical scores will,
hearing music, kind of background-see "scoring" and anybody who's
learned how to (any variant) write, will background-see writing on
hearing and layers of it on reading.
You c'n think of pre-fab stuff as tattoos. It's just an image I used
because Mugsy and I had kicked around tattoos, and my fifth shaman
song, in another conversation here. In the paragraph above I figured out
how the image worked, a letter after my using it. that's how you catch
your imagination working and loosen up to where you can move it
around as you're saying it.
The poem c'n be, instead of being a string, a rubber band and, written,
c'n snap back from a reading written down... So there's Brad's poem.
Changed by the reading? Well, not for somebody who didn't hear that
reading, except that, maybe, something was "brought out" that's a
resonance for some other readers who aren't "bopping" it...,
now
secrets between us
andor
no-
w secrets between us
That split up "now" into "no- / w" forces know into the air.... So,
"now" still links to "understand me", following out of it, and "secrets
between us" follows and there's still the ambiguity because the secrets
can separate or bind, because of the understanding and the "placing" of
the "now", in both the writing and the reading. Then, you back up over
the passage "...now / secrets between us", play it again, and force out
the "know", the "no" and it's folded into the "now". Nothing there, or
the understood there, the binding. All the layers.
Let it snap back!
After the riff, the ballad's still there. 'Course, you can read your
own, even while still writing it, and you can make changes in the riff
and carry them back into the writing.... You posted a poem a while back,
Stephen, and, then, you posted another version that wasn't just an
edited and fixed version. You kicked off from the left margin, obviously
for the first half-plus, and used that margin all the way through. You
had, pretty much, two poems, running parallel, and each could be
changed, improved, just worked on for its potential differences, maybe
growing apart, each being "its own poem". When I jammed with John's
(Frost) line into haiku, I played it into new versions, but only to kick
it from just playing the music to playing the imagination. And that was
my purpose. He was playing line-breaks, getting the heft of them. I
didn't touch his line-breaks, his playing them, I didn't distract by
getting off into the "hidden" line-break, Caesura?, in the middle
segment, and just went on into the next order of play, tinkering with
the imagined.
Oh, you don't need the hyphen on "no", and the w is just breathed,
almost like the o is extended and no and secrets are, in tempo almost
welded together, like the andor, and that's how you read it, aloud or
sub-vocalized.... You'll have to live with people not reading your
reading as a reading, not sounding it, thinking "andor" is two words
with an omitted space, thinking that "w" on the next segment was just a
particle lying on the road or dropped by an accidental hit of enter. So,
when writing and wanting that effect, you've got to find ways to
spoon-feed, to force sounding it through....
Writing's an oral art.
Easy,
Ghost
posted by Stephen Morse at 12:32 PM
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