Tuesday, October 20, 2009
GULLY GAZA WAR
The Gully-Gaza war
Published: Sunday September 20, 2009
Ian Boyne
It had to come to this. I hate to say I told you so, but I told you so. When some academics were talking mumbo-jumbo and making all kinds of absurd excuses and rationalisation for the decadence in the dancehall, engaging in pathetic shadow boxing, I confronted their intellectual cowardice
The 'violence' that middle-class people like me saw in dancehall lyrics was more a reflection of our literary philistinism and reflexive bourgeois condemnation of poor people's cultural expression. The violence which we deplored was just harmless metaphor. We were using a hammer to kill a flea and engaging in the usual middle-class - and in my case, 'fundamentalist' - hysteria.
Now the followers of the gun hawks themselves - Vybz Kartel (Gaza) and Mavado (Gully) - are shooting, stabbing up and beating one another - not metaphorically or lyrically, but literally, physically, actually. Now the fans themselves can't go into certain dancehalls and have the pleasure - and the freedom - to hear the two reigning kings of badmanism and gangsterism played without threats to their own personal security.
What a life!
If your car is even passing one of these sessions and you don't happen to know whether it is Gaza or Gully territory, you are in danger. You don't even have the right to play the opposing gangster in your own car or SUV. What a life! Schoolchildren are having fights over Gaza and Gully, not over who is taking away whose girlfriend or boyfriend. Selectors who could formerly demonstrate their mixing genius by playing the toughest thugs now have to choose between the thugs they play, or they can be beaten and their expensive equipment damaged. This is what it has come to. But this is one man who is not surprised - and it has not reached its zenith in madness yet.
Let's be clear: The Gaza-Gully war is symptomatic of a larger aggressively intolerant, divisive and tribalistic culture. It is not dancehall music which caused what is happening in the dancehall today. The foundation was there before dancehall - a well-laid foundation built by our politicians and ruling class. But dancehall has reinforced and given strength to it. This is a distinction that my detractors have never been able to see.
Rivalry
Negative dancehall promotes and legitimises a subculture of violence and aggression. There was rivalry between ska greats Prince Buster and Derrick Morgan and each had his following. There was no report of people stabbing up one another over who was playing Derrick Morgan songs or who was playing Buster. Rivalry is not bad in itself. Rivalry can promote creativity, innovation and productivity.
But because Mavado and Kartel are self-identified gangsters and fellows who promote badmanism and violence, it is natural that their hard-core followers would use violence and aggression to show their loyalty and to punish dissent. I bet if Sean Paul and Shaggy developed a rivalry and separate following, even their ardent followers would not do violence to one another. Things did not deteriorate as badly between Bounty Killer and Beenie Man because while the Killer built his image around his name and gangsterism, Beenie did not market himself exclusively that way. He was the Girls Dem Sugar, the lover man.
Not that Beenie did not have his thug followers but they were outnumbered by the Killer's dog-heart followers. What has happened with Kartel and Mavado is that the shotta, garrison-type thugs are split in two camps and so you must have war. None is willing to back down. None is afraid. And just as the possession of sophisticated weapons by superpowers tempt them to create opportunities to use them, the violence-obsessed lyrics internalised seek expression. Why not carry out the violence glorified and lionised in the songs of these gun hawk lyricists?
We are generally intolerant of dissent as a society and we can't bear to see others having preferences different from ours. But because of social conditioning most of us don't inflict violence on one another, though if you check our hearts violence and resentment are definitely there. But socialisation keep us from manifesting the violence. Not so in the dancehall. In the dancehall you are socialised to idolise violence, to do this and that to a 'bwoy'.
Violence does not have the social stigma in the dancehall that it has in the general culture. It is not abhorred; it is glorified, eulogised and magnified.
So it is not surprising that violence breaks out among those who love Gaza and Gully music. So while their high priests can justifiably claim that they are not telling people to hurt one another, their music has already done the job. No need for direct fat was.
The Gleaner published another feature last Sunday, heavily promoted before, which rehashed the usual canard and manifested the diversionary tactics which have become a stock-in-trade among dancehall defenders, academic or artiste. Vybz Kartel, who is one of the most intelligent and articulate dancehall artistes, was on with the usual sideshow argumentation: "All these areas that these Gaza or Gully incidents occur are the same areas that were violent from day one." Excellent point.
But the music, rather than helping these youth with 'upfulness and good livity, further downpress' them with negativity and 'almshouse'. They made a bad situation worse. Youth and youth who were formerly divided, exploited and tribalised by the People's National Party (PNP) and the Jamaica Labour Party (JLP) are now being further divided by dancehall, as though the JLP-PNP divide in the garrisons were not bad enough!
guidance and hope?
Hear what Kartel went on to say, tripping up himself unwittingly: "We in the garrison need guidance and hope and a way out and the society doesn't provide the youths with constructive development tools." So, Kartel and other uncritical dancehall defenders, if you acknowledge that the youth need "guidance" and "hope", tell me, how do these songs which promote thuggery, badmanism, violence and "busting bwoy marrow" give guidance and hope?
Can Kartel and Mavado look themselves in the mirror and say that their music is giving guidance to the youth? Then if you, Kartel and Mavado, are not prepared to give any guidance to corner youth; if you are just in it for "entertainment" (what is joke to you is death to youth and youth), then why should others provide the guidance?
What the uncritical dancehall defenders have failed to understand is that it is mainly ghetto youth who are suffering and being victimised as a result of the 'almshouse' promoted in the dancehall. These Gully, Gaza incidents, as Kartel has pointed out, are taking place among the same poor, exploited ghetto youth. It is largely ghetto Gaza and Gully supporters who are being hurt and who can't enjoy themselves at dances. You think when middle and upper-class highbrow and stush youth who are partying in Norbrook, Cherry Gardens, Orange Grove, Stony Hill and Queen Hill, or at Fiction and Plush they can't freely enjoy both Gully and Gaza music?
It is poor ghetto youth who are robbed of the freedom to hear who they want to hear and to support who they want! Uptown youth spray one another with Hennessey and expensive champagne, 'go on bad' and leave safely in their SUVs, while ghetto idiots are shooting up and chopping up one another! The uncritical defenders of dancehall have failed to see that it is the very poor, ghetto people whose cultural expression they are ostensibly defending against people like me who are suffering through negative dancehall.
violence and aggression
I am the one defending the rights of poor, unemployed, marginalised ghetto youth, whom I am saying must have the same right to enjoy their dancehall music as the uptown stush youth dem. The violence, intolerance and bigotry which are promoted in dancehall music foster and nurture a subculture of violence and aggression.
Don't come with your nonsense argument about social degradation deterministically causing the mayhem we are now seeing in the dancehall. Correlation and causation are not the same. While we can forgive Mavado for not understanding that nuance, we can't forgive the academics.
Hear Mavado, not to be outdone by Kartel in the game of sideshow: "There is no work, high school youth a drop out of school, no social development in inner-city communities: a suffocation."
So what you do as a dancehall artiste is to say the people not suffering enough, let me let loose my violent lyrics, lyrics which promote aggression, hate intolerance and tribalism and that will help? Dancehall music is not the source of our problems. Our problems are deeper, more structural and have to do with our inequalities, class antagonisms, plantation legacy, economic structures and low social capital.
Dancehall is a symptom. As Marx said of religion, dancehall is a both a protest and a sigh of distress. We must look at what has given rise, to and what continues to sustain, negative dancehall. And it is not just the lyrics of people like Kartel, Mavado and Bounty Killer.
freedom
But while we work to fix those issues, we can't neglect a critique of the dancehall, for our poor, oppressed brothers and sister are suffering. My middle-class friends and I can go to safe places where Kartel and Mavado can play without our safety being threatened, but we have to be concerned, too, about the freedom of our brothers and sisters in the garrisons and on the various corners.
We must struggle for the right of selectors to play any music and for people to be free to play any music in their vehicles. People are going into people's homes now and telling them to turn off Gaza or Gully music - not uptown where I live. The struggle against the aggression, intolerance, bigotry and violence promoted in the dancehall is a struggle for the freedom of dignity of our poor, exploited black brothers and sisters in our ghettos and garrisons. We must attack the violence promoted in the subculture of dancehall for it encourages and motivates the violent attacks.
It is the spirit of the dancehall - meaning negative dancehall - which you are seeing manifesting in the flesh-and-blood violence today. It's time to liberate the dancehall!
Published: Sunday September 20, 2009
Ian Boyne
It had to come to this. I hate to say I told you so, but I told you so. When some academics were talking mumbo-jumbo and making all kinds of absurd excuses and rationalisation for the decadence in the dancehall, engaging in pathetic shadow boxing, I confronted their intellectual cowardice
The 'violence' that middle-class people like me saw in dancehall lyrics was more a reflection of our literary philistinism and reflexive bourgeois condemnation of poor people's cultural expression. The violence which we deplored was just harmless metaphor. We were using a hammer to kill a flea and engaging in the usual middle-class - and in my case, 'fundamentalist' - hysteria.
Now the followers of the gun hawks themselves - Vybz Kartel (Gaza) and Mavado (Gully) - are shooting, stabbing up and beating one another - not metaphorically or lyrically, but literally, physically, actually. Now the fans themselves can't go into certain dancehalls and have the pleasure - and the freedom - to hear the two reigning kings of badmanism and gangsterism played without threats to their own personal security.
What a life!
If your car is even passing one of these sessions and you don't happen to know whether it is Gaza or Gully territory, you are in danger. You don't even have the right to play the opposing gangster in your own car or SUV. What a life! Schoolchildren are having fights over Gaza and Gully, not over who is taking away whose girlfriend or boyfriend. Selectors who could formerly demonstrate their mixing genius by playing the toughest thugs now have to choose between the thugs they play, or they can be beaten and their expensive equipment damaged. This is what it has come to. But this is one man who is not surprised - and it has not reached its zenith in madness yet.
Let's be clear: The Gaza-Gully war is symptomatic of a larger aggressively intolerant, divisive and tribalistic culture. It is not dancehall music which caused what is happening in the dancehall today. The foundation was there before dancehall - a well-laid foundation built by our politicians and ruling class. But dancehall has reinforced and given strength to it. This is a distinction that my detractors have never been able to see.
Rivalry
Negative dancehall promotes and legitimises a subculture of violence and aggression. There was rivalry between ska greats Prince Buster and Derrick Morgan and each had his following. There was no report of people stabbing up one another over who was playing Derrick Morgan songs or who was playing Buster. Rivalry is not bad in itself. Rivalry can promote creativity, innovation and productivity.
But because Mavado and Kartel are self-identified gangsters and fellows who promote badmanism and violence, it is natural that their hard-core followers would use violence and aggression to show their loyalty and to punish dissent. I bet if Sean Paul and Shaggy developed a rivalry and separate following, even their ardent followers would not do violence to one another. Things did not deteriorate as badly between Bounty Killer and Beenie Man because while the Killer built his image around his name and gangsterism, Beenie did not market himself exclusively that way. He was the Girls Dem Sugar, the lover man.
Not that Beenie did not have his thug followers but they were outnumbered by the Killer's dog-heart followers. What has happened with Kartel and Mavado is that the shotta, garrison-type thugs are split in two camps and so you must have war. None is willing to back down. None is afraid. And just as the possession of sophisticated weapons by superpowers tempt them to create opportunities to use them, the violence-obsessed lyrics internalised seek expression. Why not carry out the violence glorified and lionised in the songs of these gun hawk lyricists?
We are generally intolerant of dissent as a society and we can't bear to see others having preferences different from ours. But because of social conditioning most of us don't inflict violence on one another, though if you check our hearts violence and resentment are definitely there. But socialisation keep us from manifesting the violence. Not so in the dancehall. In the dancehall you are socialised to idolise violence, to do this and that to a 'bwoy'.
Violence does not have the social stigma in the dancehall that it has in the general culture. It is not abhorred; it is glorified, eulogised and magnified.
So it is not surprising that violence breaks out among those who love Gaza and Gully music. So while their high priests can justifiably claim that they are not telling people to hurt one another, their music has already done the job. No need for direct fat was.
The Gleaner published another feature last Sunday, heavily promoted before, which rehashed the usual canard and manifested the diversionary tactics which have become a stock-in-trade among dancehall defenders, academic or artiste. Vybz Kartel, who is one of the most intelligent and articulate dancehall artistes, was on with the usual sideshow argumentation: "All these areas that these Gaza or Gully incidents occur are the same areas that were violent from day one." Excellent point.
But the music, rather than helping these youth with 'upfulness and good livity, further downpress' them with negativity and 'almshouse'. They made a bad situation worse. Youth and youth who were formerly divided, exploited and tribalised by the People's National Party (PNP) and the Jamaica Labour Party (JLP) are now being further divided by dancehall, as though the JLP-PNP divide in the garrisons were not bad enough!
guidance and hope?
Hear what Kartel went on to say, tripping up himself unwittingly: "We in the garrison need guidance and hope and a way out and the society doesn't provide the youths with constructive development tools." So, Kartel and other uncritical dancehall defenders, if you acknowledge that the youth need "guidance" and "hope", tell me, how do these songs which promote thuggery, badmanism, violence and "busting bwoy marrow" give guidance and hope?
Can Kartel and Mavado look themselves in the mirror and say that their music is giving guidance to the youth? Then if you, Kartel and Mavado, are not prepared to give any guidance to corner youth; if you are just in it for "entertainment" (what is joke to you is death to youth and youth), then why should others provide the guidance?
What the uncritical dancehall defenders have failed to understand is that it is mainly ghetto youth who are suffering and being victimised as a result of the 'almshouse' promoted in the dancehall. These Gully, Gaza incidents, as Kartel has pointed out, are taking place among the same poor, exploited ghetto youth. It is largely ghetto Gaza and Gully supporters who are being hurt and who can't enjoy themselves at dances. You think when middle and upper-class highbrow and stush youth who are partying in Norbrook, Cherry Gardens, Orange Grove, Stony Hill and Queen Hill, or at Fiction and Plush they can't freely enjoy both Gully and Gaza music?
It is poor ghetto youth who are robbed of the freedom to hear who they want to hear and to support who they want! Uptown youth spray one another with Hennessey and expensive champagne, 'go on bad' and leave safely in their SUVs, while ghetto idiots are shooting up and chopping up one another! The uncritical defenders of dancehall have failed to see that it is the very poor, ghetto people whose cultural expression they are ostensibly defending against people like me who are suffering through negative dancehall.
violence and aggression
I am the one defending the rights of poor, unemployed, marginalised ghetto youth, whom I am saying must have the same right to enjoy their dancehall music as the uptown stush youth dem. The violence, intolerance and bigotry which are promoted in dancehall music foster and nurture a subculture of violence and aggression.
Don't come with your nonsense argument about social degradation deterministically causing the mayhem we are now seeing in the dancehall. Correlation and causation are not the same. While we can forgive Mavado for not understanding that nuance, we can't forgive the academics.
Hear Mavado, not to be outdone by Kartel in the game of sideshow: "There is no work, high school youth a drop out of school, no social development in inner-city communities: a suffocation."
So what you do as a dancehall artiste is to say the people not suffering enough, let me let loose my violent lyrics, lyrics which promote aggression, hate intolerance and tribalism and that will help? Dancehall music is not the source of our problems. Our problems are deeper, more structural and have to do with our inequalities, class antagonisms, plantation legacy, economic structures and low social capital.
Dancehall is a symptom. As Marx said of religion, dancehall is a both a protest and a sigh of distress. We must look at what has given rise, to and what continues to sustain, negative dancehall. And it is not just the lyrics of people like Kartel, Mavado and Bounty Killer.
freedom
But while we work to fix those issues, we can't neglect a critique of the dancehall, for our poor, oppressed brothers and sister are suffering. My middle-class friends and I can go to safe places where Kartel and Mavado can play without our safety being threatened, but we have to be concerned, too, about the freedom of our brothers and sisters in the garrisons and on the various corners.
We must struggle for the right of selectors to play any music and for people to be free to play any music in their vehicles. People are going into people's homes now and telling them to turn off Gaza or Gully music - not uptown where I live. The struggle against the aggression, intolerance, bigotry and violence promoted in the dancehall is a struggle for the freedom of dignity of our poor, exploited black brothers and sisters in our ghettos and garrisons. We must attack the violence promoted in the subculture of dancehall for it encourages and motivates the violent attacks.
It is the spirit of the dancehall - meaning negative dancehall - which you are seeing manifesting in the flesh-and-blood violence today. It's time to liberate the dancehall!
Saturday, October 17, 2009
Quietly (Interrupted)
He sits so quietly staring at the flowers
The lilies, the daffodils, the begonias
He looks so peaceful
His face sparkles in the light of the sun;
As semblance of diamond put to light
He looks toward me with a smile upon his face
My heart starts to race
So rapidly, so fiercely, so loudly
That you could hear it from a mile away
He begins to sway his head from side to side
As if moving to the rhythm visible music.
He returns his attention to his garden with cheerfulness in his eyes
But all too suddenly disappeared
His face
His smile
The lilies, the daffodils, the begonias
He looks so peaceful
His face sparkles in the light of the sun;
As semblance of diamond put to light
He looks toward me with a smile upon his face
My heart starts to race
So rapidly, so fiercely, so loudly
That you could hear it from a mile away
He begins to sway his head from side to side
As if moving to the rhythm visible music.
He returns his attention to his garden with cheerfulness in his eyes
But all too suddenly disappeared
His face
His smile
A day to (NOT) Forget!
I saw him on the street and he waved hi
I stood across waving back with a smile
He spoke something sweet,
But I don’t know what
I ran to meet him,
And he got up and started to walk towards me
Then he walked right pass me
And I like a fool just stood there with arms wide open
I looked ahead only to be met with laughter from onlookers
So I ran as fast and as far as I could trying to leave them behind
They didn’t stay away for long because everywhere I went, people knew....
I stood across waving back with a smile
He spoke something sweet,
But I don’t know what
I ran to meet him,
And he got up and started to walk towards me
Then he walked right pass me
And I like a fool just stood there with arms wide open
I looked ahead only to be met with laughter from onlookers
So I ran as fast and as far as I could trying to leave them behind
They didn’t stay away for long because everywhere I went, people knew....
Goodbye my love (for my grandmother)
Lovely, wonderful, courageous, extraordinary
Words that fit you so dearly
Life came hard at you
Love came easy for you
You gave it freely,
Even to those who didn’t matter to you
Death came too easy
To sudden even,
I didn’t even get a chance to say goodbye
To you, the love of my life.
Imagine at age twelve getting the news
Your loved one has gone
Without saying goodbye
Without you having had the chance to say goodbye
It’s better late than never
So I’ll say it to you now
Goodbye my love
I’ll keep you in my heart
Where the memories of you reside
Keeping me from falling apart
Memories of your kisses
Of your sweet potato dishes
Memories of your love and warmth
Your guidance in my life
I feel it even now though you’re soaring among the stars
You wished for me to be here
And here I am totally
I’ll remember the things you use to say
I’ll never forget you
I’ll remember you always
My sweet love
I’ll tell others of you
I’ll tell of the day you flew to heaven
As a glowing white dove.
Words that fit you so dearly
Life came hard at you
Love came easy for you
You gave it freely,
Even to those who didn’t matter to you
Death came too easy
To sudden even,
I didn’t even get a chance to say goodbye
To you, the love of my life.
Imagine at age twelve getting the news
Your loved one has gone
Without saying goodbye
Without you having had the chance to say goodbye
It’s better late than never
So I’ll say it to you now
Goodbye my love
I’ll keep you in my heart
Where the memories of you reside
Keeping me from falling apart
Memories of your kisses
Of your sweet potato dishes
Memories of your love and warmth
Your guidance in my life
I feel it even now though you’re soaring among the stars
You wished for me to be here
And here I am totally
I’ll remember the things you use to say
I’ll never forget you
I’ll remember you always
My sweet love
I’ll tell others of you
I’ll tell of the day you flew to heaven
As a glowing white dove.
2nd Grade Drama
At age seven she is confused
In second grade she has nothing to lose
Angry little girl she is
Frustrated at the world
She kicks and screams at herself
And friends
Just to get out her frustration
In class one day
Angry as hell
A student turned to her
Slapped her, again and again
Fury boiling inside her
She took the girl’s wrist and twisted it with all her might
Until she heard a little click that rung delight
At seven she is confused
Still no need for her to be rude
But, at seven she is confused
Her mother gets angry
But she doesn’t care
A sister gets mad
Still, she only stares
A glare of rage, deep within her eyes
Only if they knew her despise
She wishes to understand
What is she doing wrong?
Still no one explains
At seven she is confused
She doesn’t mean to be rude
She only seeks attention
She demands it too...
That’s the reason
At seven she is confused.
In second grade she has nothing to lose
Angry little girl she is
Frustrated at the world
She kicks and screams at herself
And friends
Just to get out her frustration
In class one day
Angry as hell
A student turned to her
Slapped her, again and again
Fury boiling inside her
She took the girl’s wrist and twisted it with all her might
Until she heard a little click that rung delight
At seven she is confused
Still no need for her to be rude
But, at seven she is confused
Her mother gets angry
But she doesn’t care
A sister gets mad
Still, she only stares
A glare of rage, deep within her eyes
Only if they knew her despise
She wishes to understand
What is she doing wrong?
Still no one explains
At seven she is confused
She doesn’t mean to be rude
She only seeks attention
She demands it too...
That’s the reason
At seven she is confused.
RESCUE
If only I could be rescued like those girls in the movies
If only I could get rescued and live a happy ending
If only I had a prince charming
Who would slay a wild dragon for me
If only I was a damsel
Seeking a shining knight
If only you could rescue me this night
In misery I stand at the thought of my life
Is there a prince charming to save me from my fright
Is there a wild dragon for him to slay tonight
Can someone teach me to be a damsel
So that I may find my shining knight
Please someone
Please rescue me
And give a happy ending to my life
If only you could rescue me this night.
If only I could get rescued and live a happy ending
If only I had a prince charming
Who would slay a wild dragon for me
If only I was a damsel
Seeking a shining knight
If only you could rescue me this night
In misery I stand at the thought of my life
Is there a prince charming to save me from my fright
Is there a wild dragon for him to slay tonight
Can someone teach me to be a damsel
So that I may find my shining knight
Please someone
Please rescue me
And give a happy ending to my life
If only you could rescue me this night.
REGRET
There are days when I hate myself
No, I always hate myself
For ever being born to him
My birth caused him pain as I was not what he expected
He wanted someone like him
Instead he got someone like my mother
He wanted a he but got a she
Each time he looks at me I see pain in his eyes
Maybe it’s my imagination, but not likely
He treats me differently from everyone else
Pays more attention to those he’s no related to than
He spends more time and gives more attention to everyone
Not me
When he is here, he isn’t really here
He all over making visits to all
To spend time with me
Is another story
No, I always hate myself
For ever being born to him
My birth caused him pain as I was not what he expected
He wanted someone like him
Instead he got someone like my mother
He wanted a he but got a she
Each time he looks at me I see pain in his eyes
Maybe it’s my imagination, but not likely
He treats me differently from everyone else
Pays more attention to those he’s no related to than
He spends more time and gives more attention to everyone
Not me
When he is here, he isn’t really here
He all over making visits to all
To spend time with me
Is another story
LIFE
For only a single moment did I understand
the familiar obstacle placed before me.
Like fire raging through a dry forest
so does life before my eyes
The dangers and cautions of expensive yet simple materials
The pursuit of happiness for every man
The depth one goes to achieve something
and the cost of loving
Death cost us only a few
yet
life cost us so much more
the familiar obstacle placed before me.
Like fire raging through a dry forest
so does life before my eyes
The dangers and cautions of expensive yet simple materials
The pursuit of happiness for every man
The depth one goes to achieve something
and the cost of loving
Death cost us only a few
yet
life cost us so much more
No Tears left to cry!!!!
I wont cry
I have cried in my sleepand when awake
My tear ducts are dry.
Whenever I think about
the things I've faced,water wells in my eyes
So I sit in a corner and cry.You don’t see my tears
because my tear ducts are all dry.
My beauty,
is nowhere to be found;I've hidden it in the deepest place so you wont find it.
You wont think of it, You wont know its there,You wont search for it
but if you do find it,It wont make a difference,
For I'll only run and hide.
I wont cry no more
No I wont cry no more,I wont cry
I have no tears to cry,For my tear ducts are all dry;
My tear ducts are all dry...
I have cried in my sleepand when awake
My tear ducts are dry.
Whenever I think about
the things I've faced,water wells in my eyes
So I sit in a corner and cry.You don’t see my tears
because my tear ducts are all dry.
My beauty,
is nowhere to be found;I've hidden it in the deepest place so you wont find it.
You wont think of it, You wont know its there,You wont search for it
but if you do find it,It wont make a difference,
For I'll only run and hide.
I wont cry no more
No I wont cry no more,I wont cry
I have no tears to cry,For my tear ducts are all dry;
My tear ducts are all dry...
LOVE
Does love have a meaning?;
can you define it;do you know what it means to love,
to be loved or to have love;
Is love such a wonderful thing that people are dying trying to have it.Can you define it?;
Is it the wonderful feeling you get when you are doing something you enjoy.Is it the way you feel about some guy?
What is love, really?;
has it even been defined.
Well for me love is anything that brings me pleasure,that brings me joy, that brings me comfort.Love for me is someone saying they care about me'They want to be with me or they understand me.But is that really what love is?Can love even be defined?It's only something you feel insideDo you ever wonder if it's something realor something that only appears in our dreams.
can you define it;do you know what it means to love,
to be loved or to have love;
Is love such a wonderful thing that people are dying trying to have it.Can you define it?;
Is it the wonderful feeling you get when you are doing something you enjoy.Is it the way you feel about some guy?
What is love, really?;
has it even been defined.
Well for me love is anything that brings me pleasure,that brings me joy, that brings me comfort.Love for me is someone saying they care about me'They want to be with me or they understand me.But is that really what love is?Can love even be defined?It's only something you feel insideDo you ever wonder if it's something realor something that only appears in our dreams.
WAITING
It’s not easy missing you,
When you are the one keeping me free.
Please take me along for the ride.
Take me somewhere we can be alone.
Forbidden is our love
Kept apart for days by family
I am waiting for you to come rescue me from their clutches
I keep you in my heart and stand waiting for you to come save me.
Are you ever going to come get me?
Have you forgotten about me ?
I keep waiting
Waiting for you to come get me.
Is there nothing I can say or do to you
For you to see how much I need you
How far must I go?
How much longer must I suffer?
Will you come get me?
I am falling apart,
My everlasting love for you is what gets me through the day
My hope in knowing one day... One day soon, you will rescue me
Then we’ll be together forever
Needing no one or nothing
We’ll have each other, because you’re all I need.
Nothing more
I promise that I’ll be everything that you desire
Can you hear me, my sweet Romeo,
I hear you... in my dreams
and see you... through the day.
I am waiting...
When you are the one keeping me free.
Please take me along for the ride.
Take me somewhere we can be alone.
Forbidden is our love
Kept apart for days by family
I am waiting for you to come rescue me from their clutches
I keep you in my heart and stand waiting for you to come save me.
Are you ever going to come get me?
Have you forgotten about me ?
I keep waiting
Waiting for you to come get me.
Is there nothing I can say or do to you
For you to see how much I need you
How far must I go?
How much longer must I suffer?
Will you come get me?
I am falling apart,
My everlasting love for you is what gets me through the day
My hope in knowing one day... One day soon, you will rescue me
Then we’ll be together forever
Needing no one or nothing
We’ll have each other, because you’re all I need.
Nothing more
I promise that I’ll be everything that you desire
Can you hear me, my sweet Romeo,
I hear you... in my dreams
and see you... through the day.
I am waiting...
Friday, October 2, 2009
The Unkown
They come wanting my soul
What should I do?
They engulf me in their terror
Where should I go?
Their eyes are black with pain
Their bodies are as cold as winters day.
They hover over me like hummingbirds
Do they know I can see them?
Can they forever remain unknown?
She stands still.
Shading under a tree
Hiding her body from the scorching sun
What is she afraid of?
He lays flat in the sky
Looking down on me with questioning eyes
I stare involuntarily at him
Dismissing his every thought
What are they?
What do they want?
Neither human nor animal, yet with similar features.
Will they hurt me if they knew?
My memories fill me with pain.
My eyes are cold and darken from fear and mistreatment.
My heart is as cold as ice from hatred.
Are they...?
What should I do?
They engulf me in their terror
Where should I go?
Their eyes are black with pain
Their bodies are as cold as winters day.
They hover over me like hummingbirds
Do they know I can see them?
Can they forever remain unknown?
She stands still.
Shading under a tree
Hiding her body from the scorching sun
What is she afraid of?
He lays flat in the sky
Looking down on me with questioning eyes
I stare involuntarily at him
Dismissing his every thought
What are they?
What do they want?
Neither human nor animal, yet with similar features.
Will they hurt me if they knew?
My memories fill me with pain.
My eyes are cold and darken from fear and mistreatment.
My heart is as cold as ice from hatred.
Are they...?
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