Sunday, February 10, 2013

DAKONDA Pt. 5

Okay, back at DAKONDA'S POSITIVITY-LADEN OPEN MIC EXTRAVAGANZA:  

So far, I've had an emotional melt-down/cover-tune-comeback-at-the-mic and Tranny Houston has left the building.  And before I go on, I just want to share some reflections I've since had with regard to cranky ole' Trans:  She was angry, she was deeply troubled and embittered. Obviously, this person had not had an easy life.  I can appreciate and sympathize, and will state plainly that I seriously have NO any idea of what it must be like to walk in her shoes - (or to drag around a giant bag of shoes,  for that matter).  She was belligerent, she was damaged and she was trying to make a statement at that open microphone.  She really was PUTTING IT OUT THERE.  She was BRINGING IT.

That being said, when I complimented her performance, my intention was pure.  I was showing support.  The fact that it served to incite her and draw yet more hatred and loathing from the very depths of her soul was not something I'd anticipated, altho' I probably should have.  And had I not been slightly off my intuitive game that particular night, I believe I would have.  But I was going thru shit of my own, as all of us so often are. 
In retrospect, I realize that she was probably at a point in her life where everything and everyone around her felt hostile, and like a mockery.  Despite my best intentions, I would be no exception. 
I do think about her sometimes, and I sincerely wish her well if she's still mucking along with the rest of us.  And if not, I hope she went out easy:  Easier than her life looked to be.

* * * * * *
The next act up was the guitarist dude - the one who came in with his gal, lugging amps.  He had a folky-weary air, shaggy and 50-ish, the performer of the two.  Helpful Gal-Pal also had to be at least 50, was slightly more refined in pin-stripe dress slacks and a sporty matching vest, altho' whenever she bent over - however slightly - her entire ass fell out the back of her slacks.   I only know this because she sat directly in front of me and Chris, so this was indeed a treat.  Ah, show-biz. 

So he gets up and plugs in his acoustic-electric guitar which immediately starts feeding back. 
Rattled, Shaggy blurts: "FORGET THE AMPS, I'LL GO COMMANDO." 

Dakonda jumps up: "NO - NO!  Let me adjust it!"

Shaggy: "NO IT'S FINE."
Dakonda: "No, HERE - I got it!  TRY IT NOW!"

Shaggy gives 'er a tentative strummmmmmmm.  The guitar is completely out of tune.   I take another look just to make sure he doesn't have a couple of broken strings goin' on - it sounds that off.
He nods, grinning beatifically at Dakonda. 

Shaggy (Reverently): "As always, leave it to Dakonda - THE MASTER!"   
Gal-Pal (giddily clapping, child-like): "AS ALWAYS! YES!!!  Leave it to THE MASTER!!!"

Okay, so obviously Shaggy, Gal-Pal and Dakonda have a bit of a thing goin'.   Bit of a history, I'd say…
Shaggy strums a shaky, one-chord intro, eyes down-cast and dramatically contemplative.  Then, he slowly raises his gaze to STARE MANIACALLY into the eyes of Gal-Pal.   She raptly returns his ogling as he begins what essentially is a private serenade to her.

It goes on for a very long time, this song of passionate fixation and obsession.  Because it wasn't really a LOVE song, no - it was like: "I…..will never leave you…..and YOU….will never leave ME….and WE…can never know….with ANYONE ELSE….WHAT WE HAVE….WE EACH HAVE EACH-OTHER…WE NEED NO OTHERS….FOREVER….AND NEVER LEAVING…NOBODY LEAVES….DON'T EVEN THINK ABOUT IT….LEAVING IS NOT AN OPTION…" 
It got pretty heavy, this little number of his.  And Gal-Pal squirmed and sighed thru it, her obnoxious ass flying every which way in the pure enchantment of being the object - nay, the inspiration - of such devotion. 
 
At one point, she proudly whirls around to tell us: "He writes songs about me ALL THE TIME…"
Right toward the end, his microphone started feeding back and I get the feeling that the feedback was the ONLY reason that he then quickly wrapped it up:   Feedback was a tough one for this guy.  

That and people trying to LEAVE him.

 NEXT~!
TO BE CONTINUED....
 

Friday, February 8, 2013

DAKONDA Pt. 4

So with the encouragement of my old man, I decide to chill at the DAKONDA'S OPEN MIC and sing a diddy.   But first, right after Tranny Houston, some woman got up - one of the poets.  I remember she recited an original poem called: "End O' The Road".   The only reason I remember this is because the line END O' THE ROAD was repeated incessantly within this 90-second poem.  Listening to it made me feel downright insane.  She bowed extravagantly when she was finished.  I do recall feeling pleased at her profound sense of self-satisfaction.  Ya sure don't see THAT every day.

And then I was up.  I played a song of mine called Warrior Of One.  It has a Celtic lilt, and its lyrics express courage and independence in the face of adversity.  I'd felt it a good choice, because I could play it on piano very well and I already knew (from our previous lunch-date with Dakonda) that I liked the piano in that room. 

So I sat down and played the intro and it felt good.  The keys sounded pretty - resonating sweetly, the piano was in tune and the acoustics were lovely - the room quiet and attentive. 

But then as soon as I sang the first line, ("I am just so angry... I am overcome...") I was astonished to feel my composure completely disintegrate.  And to my utter mortification, I found myself helplessly emotional:  I could barely get thru a syllable without bursting into tears.  Nothing like this had ever happened to me before.  I had always been a FEARLESS PERFORMER - shit - PRIDED myself on it!  But then, I had never performed for an audience in the state that I was in here, at this particular point in my life.  I hadn't taken into account how affected I actually was - had taken for granted that SINGING and PLAYING was something I could always fall back on.  Not so,  once your heart has been scraped raw and all illusions of safety and security ripped away:  Just not so anymore. 
By sheer force of will, I finish my song.  I am aware of Dakonda filming throughout, and I'm uncomfortable about it, but it's like a runaway train:  I'm in it for the long-haul, and what was I going to do?  Stop cry-singing mid-song and demand that he stop filming?  In any event, the room was gracious and they applauded generously and after my first song, I quickly segued into a cover of Tracey Ullman's "They Don't Know" - a luscious little pop number.  I'm able to sing and play it easily, get thru it quickly, receive some more nice applause and with a bow I head for my seat.    

I'm a little freaked out and to make matters worse, as I head over to my seat THERE'S TRANNY HOUSTON - sucking his/her teeth bitterly and glaring at me again.  WHAT THE FUCK!!!  I glare right back at ole' Trans, thinking loudly in my head: "Do not even THINK about fucking with me, bitch.  I am not having YOURS or ANYbody's shit right now.  "    

And as sure as hell, Tranny Houston stands up - a little unsteady, but determined - grabs his/her bag of nasty-ass rotting sneakers, and lurches for the door - whoomp - slam - gone.  Out into the night. 
Okay!  Open mic night! 

WHO'S NEXT?

TO BE CONTINUED…

 

DAKONDA Pt. 3

Okay, so back at the OPEN MIC, courtesy of our new pal DAKONDA.   We left off with the Whitney Houston-spewing, strung-out tranny glaring around the room in an intimidating, post-performance lather. 

But first…

A brief overview of Dakonda's deal, from what I can tell:   He's a tad older than us, late 50's?   Little hard to say exactly, but then it's always that way with musicians and other lunatics in general:  That quasi-youthful vibe tends to permeate regardless of actual age.  So The D-dude is an accomplished multi-instrumentalist who has apparently played with some very big names.  But seems he's not playing with those anymore.  Not sure exactly WHAT he does at this point, aside from wrangling people for OPEN-MIC exploits at the local vegan teahouse that's run by a handful of young Krishna fellaz.  Which is fine, it's SOMEthing to do in between vitamin infusions.
Dakonda certainly seems a kind-hearted soul.   Also, unconventional: He wears these really huge, metallic-aqua, roundish, Mickey-Mouse-style running shoes.  Pretty striking, those things.  And remember, Chris met him at the vitamin-therapy place, so my first impression when I saw them standing together on the curb as I pulled up was: "WHAT is with those fuckin' SNEAKERS, MAN?"  But ya got used to them pretty quick, as they actually suited his personality in an uncanny way the more you got to know him.

ANYWAY… So, Dakonda wasn't in the same boat as my husband.  He was being treated for something else at the holistic vitamin place.   Not cancer, but he was having some vitamin-issues and it's frankly not my place to go into that.  Regardless, he was FULL TO THE BRIM with energy.  I wondered if they were shooting him up with TOO MANY VITAMINS at that freakin' place.   Manic is a good description, yeah, he had the mania-thing going:  Talking non-stop much of the time, switching topics with lightning speed so that your head would be spinning and you got the feeling that his brain-cells were careening like a pinball machine around the inside of his head:  His THOUGHTS were, most definitely.   Somewhat exhaustingly lovable with his overwrought enthusiasm,  he'd be right in the middle of a rapid-fire diatribe about Carlos Santana and - BAMM - switch gears: "…AND…AND…life is long…and we must…there's enlightenment to be found…if we are OPEN…"  I'd be like: "Huh?  Oh, okay…new topic I guess."   But it was fine, and me and Chris had been thru so much trauma in recent months - with more uncertainty ahead - that the diversion of just being around all of that positive fervor flying offa Dakonda was oddly healing.  At first…
* * * * * *

So yeah, also milling around the cafĂ©` are the KRISHNA BOYS, the ones who run the place.  Not what you'd expect when you think of Krishna dudes.   Nobody was bald and no single red roses, no tambourines.  THESE young'uns are quite mod.  A half dozen of 'em in their early-to-mid-twenties - some quite handsome and all with full heads of hair, sporting identical straw fedora hats.  Like a tiny army of mini-Indiana Joneses boppin' around the joint in aprons, wielding trays of herbal tea, hummus and pita chips.   
Dakonda has brought a bright blue solid-body electric guitar and a flute, so we have that to look forward to.   I should mention that during Tranny Houston's performance, Dakonda giggles furtively and begins filming the performance -  along with the room's reaction to it - on his iphone.    If Tranny Houston is my first red flag of the evening, THIS little move on Dakonda's part is my second.

OKAY!  Pretty much up to speed here.  Tranny Houston has finished her big number, and the place is starting to fill up with some magical characters:  Couple of college kids with guitars, staring at their laptops or iphones.  These kids today.  The techno-zombies.  A middle-aged poetess or two.  Me and Chris of course, and I'm heartened to see another couple in our age group enter with guitars and amps. They spot us, too, and we greet each other tentatively, hopefully.  Oy vey, always hopeful…
So after I've complimented Tranny Houston on her performance, he glares at me like he wants to smash me over the head with his large plastic bag of putrid, decomposing sneakers.   I look at Chris, who sits beside me smiling and nodding pleasantly up at Tranny Houston.  Jesus - How does he DO it?  My cheerfully stoic partner in crime. 

Tranny swings his head from me to Chris: There's obviously some kind of inner debate going on in his poor, shattered, QUEEN OF THE NIGHT psyche.  And then sanity (or most likely, apathetic exhaustion)  prevails. With a disgruntled HARUMPFFFFFF, Tranny turns away from us and plops a noisy squat onto a rickety stool, dust and possibly  some moths poofing up all around him/her.  How utterly charming.
I look at Chris: "Should we just leave?  I'm feeling…weird about this…"

He is positively incredulous: "No way, baby!  This is our night out!  Now get up there and do your number!"

TO BE CONTINUED….
 

Wednesday, February 6, 2013

DAKONDA Pt. 2


Dakonda invites us to an OPEN MIC.  He declared it would be a free-forum, where positive energy would be paramount.  Fine.  Sounds good.  SOUNDS LIKE WHAT WE NEED right now.

Me and Chris get to the OPEN MIC right on time.   I sign up.  Being A CIVILIZED MUSICIAN,  I have a song prepared.   Nobody else seems to have this going for them.  A couple of other people there seem to be TRYING, but it's still a little sketchy and - whatever.

Right off the bat, I sense trouble.  There's this tranny dude holding court, very belligerent - has a grudge in general.  He's dragging a shopping bag filled with filthy sneakers, his eyes are rheumy and bulging and the VIBE he is giving off is JUST NOT COOL.

He stands up, loud and proud, in the middle of the room and starts belting WHITNEY HOUSTON'S  "THE GREATEST LOVE OF ALL"…  honestly, what a debacle….

And as soon as he finishes his astounding rendition of this song, he GLARES around at the room - a CHALLENGE.

So ME - why the FUCK am I always game to take this shit on???? - I say to him: "Wow!  You really BROUGHT IT.  You dug down deep and you BROUGHT It!"

Now, you'd think this fucker would be PLEASED that I had this to say.  But no.  He just stands there, SWAYING…all blood-shot-eyed and miserable.   Staring me down like he has a right.  THINK AGAIN.

You know what?  Let the GAMES BEGIN…
 
 

Friday, February 1, 2013

DAKONDA

Chris was going for vitamin infusions because he had cancer.  He was really struggling.  I was struggling, too.   Everything felt frightening and vulnerable.

I would drop Chris off at his vitamin infusions three times a week. I'd go grocery shopping, or just read and wait, or have Herman our dog with me and we'd just pass time until Chris was done.  Chris was so thin then.  He looked like an 80-year old man sometimes.  His cheek-bones jutted, and his blue-gray eyes were sunken and I'd hold his hand, or clasp his wrist, and it felt like he might blow away.  Just blow away.

So one day, I drove up to pick Chris up from his vitamin therapy.  And he's standing there out in the street on Union Turnpike in Flushing - next to some weirdo-guy.  Some guy who looks  like Opie or Howdy Doody or some shit.  Sorry, don't mean to be judgmental, but whatever.

So I pull up and Chris goes: "Hey, Honey - this is DAKONDA!  He likes VEGETARIAN FOOD!  We were thinking of grabbing some lunch!"

Well, I have no idea what to make of this.  I just know that lately I'm in a constant state of shock because my husband looks like he's about to collapse.  So I go: "GREAT!"

So Chris and Dakonda jump in.  I drive, as directed, down Parsons Blvd. to THE UTOPIAN CAFÉ`.  We find a spot and head on in.

We sit down on these little stools in this vegan tea parlor.  There's a piano in the corner - nothing fancy, but a cute little upright.  Dakonda orders us tea and I go play a song.

I play an original song about love and loss of trust.  Dakonda starts crying while I play.  It's a little surreal.

He invites us to an upcoming Open Mic.  We accept. 

The Best Is Yet To Come.
 

To be continued...


 

 

 

 

 

 

 

 

Thursday, January 31, 2013

You're A Wish

What is a Wish?
What does it mean?
What's it promise?
What's it Be?
What's it hold?
Not health, not wealth
Not fame nor fortune
Silver?
Nay, nor
Gold.
A wish is the AIR
It's a smile and a wave
It's the glint in an eye
And a tune you might save
In yer mind, like a dream
As you doze, it will fade…
That's a wish -
YOU'RE a wish
That I
Made.
* * *
 
 

Sunday, December 2, 2012

Life Ain't P'urty, No I-t'Ain't.

Love Lies Bleeding

* * * * * *
* ~ “I don’t even think of those times with you.  You’re a work of fiction.  You stumble along, like a walkin’ contradiction” * ~ Lynn Ann ~ *


I’m 19.   Ronnie’s brutality toward me seems to be reaching a fever pitch.  He has absolutely no control over his chaotic emotions or his drinking.  And I’m no angel.  I’ve gone back to him too many times and enabled this whole noxious thing.   But it’s reached the point where I am finally,  finally just plain scared shit and at the end of my rope.   I file a harassment complaint with the local precinct and acquire an order of protection against him.  I am desperate to be cleansed of it all, to turn the page and move on to a fresh, Ronnie-free phase of  life.

My older brother Alan comes with me to Ronnie’s house to personally serve the protection papers.  I wait in the car and watch: Alan jumps from the car, rings Ronnie’s bell.   Jackpot:  Ronnie himself answers the door.  He stares blankly at my brother, whom he has never spoken to and whom he most probably does not even recognize.

Alan slaps the envelope roughly onto Ronnie’s chest.  Ronnie fumbles for it clumsily as Alan bounds back to the car.  Ronnie’s gaze follows him and then our eyes lock.  Slow-witted comprehension lights his face.

I look into the rear-view mirror of my brother’s car:  Wild-eyed and sneering,  Ronnie  methodically shreds the order and tosses it into the air.  As we pull away, his vile cackle grows fainter yet continues to linger in my ears.  Dizzy, I realize that I have been holding my breath this entire time, an arctic dread permeating my core.

But then, nearly two peaceful weeks go by wherein Ronnie does not terrorize me - a genuine oddity.  Granted, these days I’ve been making myself pretty scarce in the ‘hood - i.e., at the park, the local hangouts and bars.  But even so, he hasn’t shown up at the bus stop on my way to work, or in front of my office building at One Wall Street, or at any of the other places he’s been known to menacingly materialize during the course of my daily routine.  In fact, rumor has it that lately Ronnie’s been spending a lot of time over in Ridgewood, a neighboring town. And while these reports are not exactly concrete, he may even be seeing somebody.  With the passing of each ‘incident-free’ day, my sense of impending doom begins to lift at a precarious, guarded pace.

So I decide, one balmy late-summer evening, to head up to the park for a few beers and just a little of that human interaction I’ve been so starved for.  It ends up being a mellow time with perhaps a handful of regulars who are surprised and happy to see me and thankfully nobody brings up the topic of Ronnie.  I play a game of cards (brisk), staying only for a couple of hours  before heading home.  I have to work in the morning.  

One of the guys, James, is going in my direction, so we leave together.  Me and James have known each other since junior high. We amble along, talking music, sipping from our beer bottles as we walk.  I feel relaxed and rejuvenated. 

 James offers to walk me to my door but I thank him and decline:  It’s only three more blocks.    So we part ways at Union Turnpike and I continue toward home, alone.  Less than a minute into my solo trek, Ronnie’s voice accosts me from behind.  It cuts through the stillness, low but echoing from the shadowy depths of a residential driveway.

Ronnie (Slurring): “SO - you  fuckin’ JAMES now?”

Iced water in my veins. I let out an involuntary yelp - unbearable to my own ears.  This makes Ronnie snicker sadistically, more unbearable still.

I don’t break stride and I don’t look back.  Instead, I pick up speed - one frantic thought blasting in my head to the rhythm of my sandaled feet slapping the ground – to the rhythm of my pounding heart:  He WILL not touch me… He will NOT touch me... He will not TOUCH me… I was forced to wear long sleeves for the entire month of August because of what he did to both of my arms during our last encounter and those contusions have still not faded.

 I hear him running up behind me.   He drop-kicks me full force, the blow landing just beneath my right buttock.  The pain is like white fire (now, THAT’s gonna be a helluva bruise…) and I nearly hit the deck.  My next thought: You can’t go down.  If you go down, you’re finished. So I don’t.  Instead, I spin around wildly and face him. I raise the beer bottle I’ve been sipping from high above my head – my arm is trembling violently and seems to be moving of its own accord - I’m a marionette! - and I smash this bottle down directly into Ronnie’s face.

Blood starts gushing immediately and everywhere.  Ronnie staggers sideways and leans on a car.  I turn away from him and proceed to continue homeward.  But after less than half a block, I stop and turn around.  There’s nothing on the street now but silence, and Ronnie’s silhouette – he has slouched to the ground, slumped on the curb.

I stand frozen under the street lamps. Even from this distance, I can see blood collecting in a pool all around Ronnie.  I can’t say exactly how long I stood there, watching him bleed.  But it can’t have been for too long.  I run to his side.

Me: “Get up.”

 He doesn’t answer, only gazes up at me with those bright blue eyes fringed in thick dark lashes, pupils now completely dilated so that the blue is nearly nonexistent.  I remember reading somewhere that this is a symptom of shock.  But never mind his eyes…it’s really the lower portion of his face that grabs me…
           
His entire jaw, neck and collar are drenched in thick, dark blood and it’s pumping out steadily from somewhere, impossible to tell exactly from where.
           

Me: “You gotta get up. You gotta go to the hospital.”
Ronnie just continues to stare up at me with those monstrous pupils and all that blood.


M
e: “GET UP.”  I start pulling his arms.  Christ, he’s so big and tall and…slippery…and

drunk and in shock.  There just ain’t no way.


I kick off my sandals and sprint up Union Turnpike to Woodhaven Boulevard.  Yellow cabs are everywhere and I run out into the middle of the boulevard and flag one down.  There’s Ronnie-blood all over my shirt, my hands, even my feet.   I hastily explain to the driver that  my friend has had an accident and there’s no time to waste, please please please please please  you have to help me.   I grapple in my shoulder bag, hand him a twenty up front.  We drive back to where Ronnie is still curbing it.  Driver takes one look, sez: Whoa...   He doesn’t say anything else after that, just helps me hustle Ronnie into the back seat of the cab.  We high-tail it to St. John’s Hospital.  

 I am sitting next to Ronnie in the back seat.  He’s actually sitting upright, like something out of a zombie movie.  I have taken off the bandana I was wearing and wrapped it in some kind of weird figure-8 thing around his neck and jaw.  It’s not really helping too much.

Ronnie speaks: “I’m glad this happened.”

I don’t answer.

Ronnie: “I am.  I’m glad.”  He prods my side. “I hope it’s a BIG scar.”

My head hangs low and I am silently sobbing.  I can’t believe this. What happened to this guy?  Why on earth is he like this?  And how in God’s name did I end up with someone like him? 

How could I have let this happen.

Ronnie (Softly, like a little kid): “You’re never gonna be my girlfriend again, are you?”

I can’t stop crying, which seems to satisfy him.

At the Emergency Room entranceway the EMT attendants rush forward to grab Ronnie, mid-stumble.  I back away.  This is as far as I’ll be going.  Just before the automatic doors close between us, Ronnie turns to gaze at me one last time:   Lucid, starkly bereft. 

 My mind flashes to a heady autumn evening long ago:   We’re huddled together on a park bench late into the night and he cradles me in his arms, smoothing my hair, kissing me ardently and professing his everlasting devotion.  I had never felt this safe, this special...

And now he is smiling:  Almost sweetly, ghastly, thru the glass hospital doors and his
 
own gore:

 “Well, lookit this, Lena…”  His laugh is a wretched bark,  hopeless:  “Would ya just
look?  Take.  a  LOOK.  AT.  THIS.”


                  * * * * * *

 Days later, when I tell Janet about it, she goes ape-shit.

Janet: “ASSHOLE!!! Yes, YOU.   I’m talking about YOU, LENA!!!

Me: “Fuck you, Janet.  Fuck you.  What the hell else was I gonna do?  He was

 BLEEDING to death!”

Janet: “I  tell you what ya do…You let the fucker DIE.  You let him bleed to DEATH
 
on the STREET like the animal he is.   THAT’s what you do!  SIMPLE.”

             Me: “No.  Just...no.”

 
Janet: “You should have let that fucker DIE.”

 I feel so weary: “I couldn’t, Janet.  I couldn’t.” 

 Janet: “See, that’s the difference between you and me, Lena…”

Me: “I know the difference between us, Janet.  I already know.”

 
* * * * * *