One word summarizes the quintessence of this performance by brother Sly and that is: PURE.
To go further, I would say the very word could abbreviate Peace, Unity, Respect, and Excitement which are all on immediate blast from the onset.
Most who have snapped a finger, stomped a foot, or knocked a neck out of alignment courtesy of Sly and The Family Stone may have a special attachment to one of his most memorable singles "If You Want Me To Stay".
The lyrics are written or it can be said "melodically spoken" with intent to express his impending departure.
From whom or from what I will safely touch that base later on.
As is the case with Glen Goins and the rest of the members of Parliament Funkadelic, the krumpin' and clown dancing montage from the documentary "Rize", Bootsy Collins, Fela Kuti and Soul Brother Number 1 James Brown, we bear witness to the internal genetic and cosmic alliance resulting in the transformation from body and spirit into instrument.
An instrument is a means whereby something is achieved, performed or furthered.
When we experience greatness in performance and action or witness an encounter of an overwhelming kind, it sparks both a chemical and electrical stimulation internally and externally.
That outward muscle contraction followed by the erection of hair follicles is commonly referred to as "the chills", "goosebumps" or "goose flesh". A soulful vocal riff, a horrific or erotic memory, any physical or artistic expression or movement can be instrumental in giving us "the chills".
Internally, the stimulus is chemical and spiritual and we draw from this strength as a mechanism for escape. We (as in the artist, audience or whomever prescribes to the method) psychologically gravitate, meditate and levitate (so to speak) into a state of ecstasy when involved in or receiving "The Moment".
This WAS one of these "moments".
After I watched the footage browsing through Youtube, I believed this clip was in definite need of a forensic analysis from the effect it gave me.
The song hit the world in 1973 so this performance had to be either in that year or early '74. Sly also had superstar accompaniment in his band The Family Stone, none of which you see anywhere on stage (a rarity).
There are various reasons and perceptions why he was by himself here and the "triple entendre" of the song itself is what makes its impact so strong.
Look behind the piano to see the letters S-L-Y curved together. I would say that was elaborate décor for a solo performance at a piano and for a song that lasts a little over 2 minutes.
I found the symbolism to represent ultimate respect as an artist and the show's host Mike Douglas and his producers thought enough of him and his celebrity by honoring his presence with that grandiose signage.
He starts by counting off then stomping his right boot to establish "the foot" for the studio band to follow and he proceeds to tell them "faster faster".
Already he shows where he stands in terms of bringing the outer elements into his realm ala George Clinton in "Swing Down".
He could have easily conformed to a slower tempo but to reach his level of pleasure, he navigated the musicians to speed up the measurements to reach the space he was destined to explore.
His voice, demeanor, presence, ease, sense of satisfaction and his display of love is so prominent in a matter of only 145 seconds.
Here are the words to the song. I recommend you watch the video AFTER reading.
If you want me to stay
I'll be around today
To be available for you to see
I'm about to go
And then you'll know
For me to stay here I've got to be me
You'll never be in doubt
That's what it's all about
You can't take me for granted and smile
Count the days I'm gone
Forget reaching me by phone
Because I promise I'll be gone for a while
When you see me again
I hope that you have been
The kind of person that you really are now
You got to get it straight
How could I ever be late
When you're my woman takin' up my time
How could you ever allow
I guess I wonder how
How could you get out of pocket for fun
When you know that you never number two
Number one gonna be number one
I'll be good
I wish I could
Get this message over to you now
When you see me again
I hope that you have been
The kind of person you really are now
I'll be so good
I wish I could
Get the message over to you now
The performance video is below
(video courtesy of thebadcause)
If you watched the video, count how many times you smiled or said "he's so natural, he's so raw/real/funky/". We shared a private moment publicly with a multitalented mastermind.
He gets up and walks away and claps for himself and to the audience.
You know why he did that?
That performance was so incredible and righteously together because that was the day Sly hypothetically "left" the industry, the stress of his label, the pushing & pulling from creative and social tug-of wars, the band issues, the relationships that tarnished from them all and the public-driven perceptions of whatever "absence" or "hiatus" he embarked upon shortly occurred right after this performance.
He escaped from himself.
His smile during his departure was one of relief also with the underlying message of "I've made my contribution to the world now I'm leaving the building".
If any of you have listened to the final words of the studio recording on the Fresh album/CD, he says "I'm through, man". This was a visual example of the exact statement.
Check out the end of this video when Mike Douglas says, "Thank you very much. Please stay. Because I know you haven't done any talk shows and I'm so pleased that you're here. I really am.". Such a gracious remark from a great talk show host and it's clear that Sly shows outwardly how he felt that.
"If You Want Me To Stay" had three absolute meanings:
1. Reportedly, this was a song inspired after an argument with his girlfriend/wife Kathleen Silva. He wrote a note that included most, if not all of the words we have sang for over 30 years explaining he will always be who he was, is now, and always will be if they are to stay together.
2. His environment which came as an accessory to fame. Everyday People, the influences (on whatever level), his band members (and their lives/personalities), "woodworkers" or "hangers-on" including family. All that encompassed every lyric he penned. It was about the psychic vampirism that success and money create.
3. The industry-the executives (non-artists) surrounding the art (artists) has always been a bitter pill to swallow. The politics, public opinion, censorship, and ultimately prevented from being allowed "to ride" (see part 1) is what also can intoxicate the spirit of brilliance and genius.
There isn't much to find in researching the legacy of Sly and The Family Stone beyond their timeless recordings between 1970-1974.
He has resurfaced and was recently spotted doing impromptu engagements as well as granting a few interviews so stay tuned for any developments musically from this genius.
Please believe this was yet another testament to self-liberation as you saw a brilliant man freely release from the World that "made" him "something else" after we were initially thanked for lettin' him be his self……….. again.
Mr. Wone
Monday, September 29, 2008
Sunday, September 28, 2008
Anatomy Of A Groove: Parliament Funkadelic
Included here is a collection of musical performances and "interviews" from legendary entertainers who could be mentioned as inspirations behind some of my work as a poet.
These artists appear to embody an illusory freedom which has always been a fantasy for a Black male generationally or geographically.
This illusion is most apparent when on the most raw and liberated platform-the stage, set, on the microphone or "in the act".
The work that most moved me centered around issues that involved and concerned the people, back in a time when people realized their power (whereas today power paralyzes the people).
The architect of the Mothership George Clinton calls out "Aye, Glen?" referring to the incredibly gifted artist Glen Goins.
Glen says "Yeah!" right in tune and sings,
"When you hear seats rumble/
you will feel your conscience grumble/
Hit me/
You gotta hit the band/........."
Glen is clad in his extraterrestrial regalia and gradually steps back in what will soon become a hypnotically transcendental exorcism in spirit.
During the break of "Mothership Connection", the groove transforms into "Swing Down".
Drummer Jerome “Big Foot” Brailey is pounding his foot into that bass pedal so hard he’s about to rip through the skin of the drum. He always kicked that bass and laid heavy “on the one” to make the downbeat mirror a heartbeat.
After the horns summon the ancestral invitation, George Clinton is seen waving his cloth invitationally then placing his hands in prayer position.
The doors have been opened but the ancients have yet to enter.
He begins the incantation "Swing down sweet chariot/stop and let me ride"
Background joins in various eurhythmic harmonies.
The mantra is followed by "We'll bring the Mothership in here….. and we shall funk together if y'all say…….."
"Show me Houston what y'all got....."
This means if I have don't have to show you, we can "get there" faster.
Then "we need that groove right together" and "everybody do your hands like this".
Here he conducts the audience to the tradition of the back-beat with a gospel tweak thrown on top.
This hereditary "soul clap" is a supplemental instrument and he employs the crowd to be an accessory to the groove also a backbeat to Brailey’s “foot”.
Listen to the “1-2”, clap-foot combination and tell me you don’t remember hearing this in any neighborhood chapel Sunday morning.
Exemplary of a Negro spiritual, the emancipation and willingness to break free and stay free is so evident here that any and all can draw inspiration from its universality and this was intentional, a moment bigger than its picture and Youtube user 898106 is solely to thank for sharing the magic to mortal eyes.
Clinton affirms his position to bring the outer elements into his realm. The realm is a mind state in how aural energy is processed and produced to transmit melodic messages to the soul and spirit of the people.
"Y'all stay right there, man. Stay right where you at!" he says so the drummer doesn't get lulled into the crowd's synchronized and thunderous“two”.
Listen to it. Hear Bernie Worrell wah-wahing, Stingray Davis’ baritone, The Brides Of Funkenstein making love consummate publicly.
The feeling captured here is a primordial state of rhythm and a genetic companion to the basis of African soul.
Now you'll hear keyboardist Bernie Worrell and Glen Goins equally exploring the spirit almost as if tuning into a transistor signal awaiting first contact from an alien.
The time has arrived and The Moment has come at 2:25 of the video.
Morphogenic resonance in the absolute.
This is where we want our world to be: unified and contributing to a hypnotic and universally orchestrated groove.
Pay attention to the bond of funkhood as the camera widens out fading into Clinton’s euphoric state signifying he is right where and what he wants to be.
Clinton says "Aye c'mere Glen, come on over, y'all keep your hands goin' now, keep your hands--don't slow down"
This is a call for the people to remain uniform.
"Let me know y'all ready, come on why don't y'all do this for me?"
Watch after Glen attempts to align himself properly "in the pocket", he initially doesn't connect righteously with what is happening. He steps backward and re-enters intercourse between himself, the audience, The Groove, and The Moment only after the feeling is alive.
Shortly afterward, "Put your hands together, y'all!!!!"
"Keep it steady back there…." urging Big Foot to stay “on the one” and as soon as Clinton says "Come on Glen!", Goins' riffs begin to respond increasing in volume.
You'll notice his feet stomp double time to Big Foot’s kick and instantly he's officially fastened.
Glen comes on so quietly and in such a euphoric state. Immediately, he displays an innate gift of which appears so simple and free-flowing it seems he's just toying with his abilities. What we see here is a genetic and cosmic alliance resulting in a natural gift to BECOME an instrument, becoming the tune ringing true through a listener’s ears.
There's no separation between Glen and the motions he makes with his fingers, neck movements, footsteps and riffs which are all one.
Now Starchild aka George Clinton walks slowly towards his wardrobe change and you’ll see him still clapping on the “2” but then he’ll switch to clenching his fist back “on the one”.
It’s deep like that.
Glen only looks at his guitar once quickly for tuning while beginning his approach and then glances at it twice later amorously as you would in appreciation of the one you unconditionally love.
This footage is unconditional and the capture in time is ultimately a "fantasy" we are watching.
Notice the background singers swaying and clapping like a choir in a Southern Methodist church. Suddenly, the performance transforms into a religious experience and spirituality takes the stage. There are remnants of country, folk, blues, funk still intact, hip-hop, and once Glen grabs the mike off of the stand, the mood transitions to gospel and he“takes it home”.
I get goosebumps throughout my entire body each time I watch it because I can see soul unified in an extrasensory awakening. If Glen began to levitate without the support of a harness or heavy wires, it would be no surprise.
He asks "You see, can y'all clap a little louder?"
He knows well and deals righteously within the power of morphogenic resonance. This is why you watch in amazement of a Parliament concert because at any given time you may count 25 people on stage singing and chanting for 20 uninterrupted minutes (the same can be said at a Fela Kuti or James Brown concert).
They are giving us a subliminal example of the strength of kinship in collective accord with the common goal to "tear the roof off the sucka".
Glen melodically sings, "I wanna ride".
This expression means many things.
Riding, as in "I'm a rider" is saying I am a fighter, a participant in combat, involved in The Struggle, an insurgent protector and defender of the people be it your relative or figurative family.
"I wanna ride" also means "I'd like to do my thing" and be left alone in my freedom untethered by restriction, repression, or restraint...... as in an "easy rider".
To exist in the entitlement and human right of unincarcerated solitude and personal liberation.
Next meaning is if there is a movement, an 'identified' flying object, any source of psychological teleportation made available to escape an oppressive environment, then "I wanna ride!!"
Swing Down is a funkafied version of a Negro spiritual written by former slave Wallis Willis called Swing Low Sweet Chariot. The song was inspired by the scripture of the prophet Elijah ascending to heaven in a chariot.
After Goins informs us of his intentions "to ride" he asks "do you believe in the Mothership comin'?"
Whether or not that even bears a response he follows the question with the statement "I believe that the Mothership's comin' and I wanna ride!!" and his belief is all the validation he needs.
He is in a state of holiness meaning he is exalted or worthy of complete devotion as one perfect in goodness and righteousness.
This also represents the exodus of Glen Goins as shortly some months later he departed at 24 years old of Hodgkin’s Disease.
I did speak earlier on this performance being a revival of religious and revolutionary proportion. Most certainly reversing and revising a Negro spiritual into a funky instrumental baptism is nothing short of indigenous African history accepting the position of being a vehicle of order in the cosmos.
This subconscientiousness is what inherently provokes young men today to end conversations or an encounter with the phrase "One"………..
Eventually you will see the Mothership fall from the heavens and descend to Earth.
Before you decide if you wanna ride, ask yourself first do you believe that's it's comin'…………….
Mr. Wone
These artists appear to embody an illusory freedom which has always been a fantasy for a Black male generationally or geographically.
This illusion is most apparent when on the most raw and liberated platform-the stage, set, on the microphone or "in the act".
The work that most moved me centered around issues that involved and concerned the people, back in a time when people realized their power (whereas today power paralyzes the people).
The architect of the Mothership George Clinton calls out "Aye, Glen?" referring to the incredibly gifted artist Glen Goins.
Glen says "Yeah!" right in tune and sings,
"When you hear seats rumble/
you will feel your conscience grumble/
Hit me/
You gotta hit the band/........."
Glen is clad in his extraterrestrial regalia and gradually steps back in what will soon become a hypnotically transcendental exorcism in spirit.
During the break of "Mothership Connection", the groove transforms into "Swing Down".
Drummer Jerome “Big Foot” Brailey is pounding his foot into that bass pedal so hard he’s about to rip through the skin of the drum. He always kicked that bass and laid heavy “on the one” to make the downbeat mirror a heartbeat.
After the horns summon the ancestral invitation, George Clinton is seen waving his cloth invitationally then placing his hands in prayer position.
The doors have been opened but the ancients have yet to enter.
He begins the incantation "Swing down sweet chariot/stop and let me ride"
Background joins in various eurhythmic harmonies.
The mantra is followed by "We'll bring the Mothership in here….. and we shall funk together if y'all say…….."
"Show me Houston what y'all got....."
This means if I have don't have to show you, we can "get there" faster.
Then "we need that groove right together" and "everybody do your hands like this".
Here he conducts the audience to the tradition of the back-beat with a gospel tweak thrown on top.
This hereditary "soul clap" is a supplemental instrument and he employs the crowd to be an accessory to the groove also a backbeat to Brailey’s “foot”.
Listen to the “1-2”, clap-foot combination and tell me you don’t remember hearing this in any neighborhood chapel Sunday morning.
Exemplary of a Negro spiritual, the emancipation and willingness to break free and stay free is so evident here that any and all can draw inspiration from its universality and this was intentional, a moment bigger than its picture and Youtube user 898106 is solely to thank for sharing the magic to mortal eyes.
Clinton affirms his position to bring the outer elements into his realm. The realm is a mind state in how aural energy is processed and produced to transmit melodic messages to the soul and spirit of the people.
"Y'all stay right there, man. Stay right where you at!" he says so the drummer doesn't get lulled into the crowd's synchronized and thunderous“two”.
Listen to it. Hear Bernie Worrell wah-wahing, Stingray Davis’ baritone, The Brides Of Funkenstein making love consummate publicly.
The feeling captured here is a primordial state of rhythm and a genetic companion to the basis of African soul.
Now you'll hear keyboardist Bernie Worrell and Glen Goins equally exploring the spirit almost as if tuning into a transistor signal awaiting first contact from an alien.
The time has arrived and The Moment has come at 2:25 of the video.
Morphogenic resonance in the absolute.
This is where we want our world to be: unified and contributing to a hypnotic and universally orchestrated groove.
Pay attention to the bond of funkhood as the camera widens out fading into Clinton’s euphoric state signifying he is right where and what he wants to be.
Clinton says "Aye c'mere Glen, come on over, y'all keep your hands goin' now, keep your hands--don't slow down"
This is a call for the people to remain uniform.
"Let me know y'all ready, come on why don't y'all do this for me?"
Watch after Glen attempts to align himself properly "in the pocket", he initially doesn't connect righteously with what is happening. He steps backward and re-enters intercourse between himself, the audience, The Groove, and The Moment only after the feeling is alive.
Shortly afterward, "Put your hands together, y'all!!!!"
"Keep it steady back there…." urging Big Foot to stay “on the one” and as soon as Clinton says "Come on Glen!", Goins' riffs begin to respond increasing in volume.
You'll notice his feet stomp double time to Big Foot’s kick and instantly he's officially fastened.
Glen comes on so quietly and in such a euphoric state. Immediately, he displays an innate gift of which appears so simple and free-flowing it seems he's just toying with his abilities. What we see here is a genetic and cosmic alliance resulting in a natural gift to BECOME an instrument, becoming the tune ringing true through a listener’s ears.
There's no separation between Glen and the motions he makes with his fingers, neck movements, footsteps and riffs which are all one.
Now Starchild aka George Clinton walks slowly towards his wardrobe change and you’ll see him still clapping on the “2” but then he’ll switch to clenching his fist back “on the one”.
It’s deep like that.
Glen only looks at his guitar once quickly for tuning while beginning his approach and then glances at it twice later amorously as you would in appreciation of the one you unconditionally love.
This footage is unconditional and the capture in time is ultimately a "fantasy" we are watching.
Notice the background singers swaying and clapping like a choir in a Southern Methodist church. Suddenly, the performance transforms into a religious experience and spirituality takes the stage. There are remnants of country, folk, blues, funk still intact, hip-hop, and once Glen grabs the mike off of the stand, the mood transitions to gospel and he“takes it home”.
I get goosebumps throughout my entire body each time I watch it because I can see soul unified in an extrasensory awakening. If Glen began to levitate without the support of a harness or heavy wires, it would be no surprise.
He asks "You see, can y'all clap a little louder?"
He knows well and deals righteously within the power of morphogenic resonance. This is why you watch in amazement of a Parliament concert because at any given time you may count 25 people on stage singing and chanting for 20 uninterrupted minutes (the same can be said at a Fela Kuti or James Brown concert).
They are giving us a subliminal example of the strength of kinship in collective accord with the common goal to "tear the roof off the sucka".
Glen melodically sings, "I wanna ride".
This expression means many things.
Riding, as in "I'm a rider" is saying I am a fighter, a participant in combat, involved in The Struggle, an insurgent protector and defender of the people be it your relative or figurative family.
"I wanna ride" also means "I'd like to do my thing" and be left alone in my freedom untethered by restriction, repression, or restraint...... as in an "easy rider".
To exist in the entitlement and human right of unincarcerated solitude and personal liberation.
Next meaning is if there is a movement, an 'identified' flying object, any source of psychological teleportation made available to escape an oppressive environment, then "I wanna ride!!"
Swing Down is a funkafied version of a Negro spiritual written by former slave Wallis Willis called Swing Low Sweet Chariot. The song was inspired by the scripture of the prophet Elijah ascending to heaven in a chariot.
After Goins informs us of his intentions "to ride" he asks "do you believe in the Mothership comin'?"
Whether or not that even bears a response he follows the question with the statement "I believe that the Mothership's comin' and I wanna ride!!" and his belief is all the validation he needs.
He is in a state of holiness meaning he is exalted or worthy of complete devotion as one perfect in goodness and righteousness.
This also represents the exodus of Glen Goins as shortly some months later he departed at 24 years old of Hodgkin’s Disease.
I did speak earlier on this performance being a revival of religious and revolutionary proportion. Most certainly reversing and revising a Negro spiritual into a funky instrumental baptism is nothing short of indigenous African history accepting the position of being a vehicle of order in the cosmos.
This subconscientiousness is what inherently provokes young men today to end conversations or an encounter with the phrase "One"………..
Eventually you will see the Mothership fall from the heavens and descend to Earth.
Before you decide if you wanna ride, ask yourself first do you believe that's it's comin'…………….
Mr. Wone
Tuesday, September 23, 2008
Double Duty: A Tribute On The Debut
I am a poet.
Aside from the honorable service and eternal duty of being Baba to three sons, a poet is truly my professional handle and all other literary offspring conceived from my instrument is guided and nurtured by poetry.
My inspirations are many but I can name one poet especially who enhanced my sensibility and understanding of the rhythm of self-produced freedom.
The cat lived on 118 Underhill Street in High Point via the birthplace of Hamlet, North Carolina 82 years ago today.
Born on the equinox (a period of 12 hours day, 12 hours night), the epitome of balance and the breaker of bounds. He is the “soul” reason I chose today to present Audible Chocolate to the blogosphere and beyond.
Delivered to us on the solstice of Autumn but all-season in legacy.
Another Lord and Savior with the initials JC but he plays center stage through the gates of heaven and hell headlining with Miles and Thelonius…………..
Let’s go to Germany 47 years ago and get into one of “My Favorite Things”
Here he is with his All-Star line of Elvin, Eric, McCoy and Reggie……………
Speaking of an All-Star team, we are fortunate to offer the knowledge and expertise of a variety of all things ‘audible’ and ‘chocolate’ here from the perspectives of strong contributors and purveyors of The Culture on this delectable page.
Back to the smoke blowin’ on the Soul Trane…………….
Here’s one of five pieces I wrote interpreting some of my favorites from Coltrane in a collection called “25 from 25 in 25”
My Favorite Things
Coltrane's complete
history of blow on my 'pod
My Favorite Thingin'
In InterstellarSpace with another
peace graced by God
delve twelve deep
into the iconoclasts
of brass and ivory and
drips of savory saliva
sapped from ebony and
mahogany harmony
a part of me
recalls the breakdance challenge
in the empty park pool
I had the Suzuki gray and blue
finger rollin' and jump hookin'
buckets on the skins crew
in Centinela
Ratliffe or Blackshire
said "they wanna battle!!"
bells ringin' like Burger King cattle
I dropped the leather and
put the pop-lock routine
set to "Six Minutes" together
if it comes down
to my Egyptian Lover strobelite tick and
a Eddie Brown windmill
with hands on his dick,
we got 'em
"our enemy" did the "electric fag" and
that was a move we never saw
but Larry locked wicked
put the cigarette in his mouth
then flicked it back out
provoking us to bring
our signatures raw
we shut that park down and
nary crew ever stepped in
without the knowledge
they'd get clowned
that was one of my favorite things
"eliminate punks/cut –em up in chunks"
James Todd for a minute was god
Fab 5,
Dr. Dre and Ed Lover,
Chris Thomas da Mayor
Gary was the videographer
for Pump It Up with Dee Barnes
before he became F. Gary Gray and
our breakdance crew would say
"my homeboy directed Set It Off and Friday!!"
(for all the L.A. folks!)
in 84' Jesse still strengthenin' the hopes
while the Olympics were
up in the hood
the USA had the World on monsta kill
Jackie Joyner to Air Jordan to
Ed Moses to Holyfield
if I wanted to Fuck The Police
it was NWA
if I wanted to go Blackwards To The East
I X-Clanned with Funkin' Brotha J
Daddy Kane to Kwame
Biz Markie to Young MC to Moe Dee
we had that healthy balance and
like a two-parent household
hip-hop held both sides
and promptly "raised us" well
but today Daddy dashed
the young are dead-beaten
latchkeyed the seeds
and left us for naught headed to hell....... for no reason
Hip-Hop used to be one of my favorite things
Alphabet Kids and The Lockers
up in the jungle at 4040 Coco
"Pin Win" Shabba Doo and Slim
showin' up at the Soul Train getdown
with Glo-Baby Lisa Jones and Choisette
rockin' steady and readily throwin' down
the pool was always dirty
with fallen palm tree leaves
inside all the time
but with the lights underneath
it was cool enough to swim
the ice cream man sold more than
your typical ice cream (ya dig?)
and that truck jingle?
You better try Fatback or KC and The Sunshine Band
did I mention that ice cream man
would be on 4040 Coco
at 2:00 in the morning?
Shit……….
chili-cheese Fritos in the variety bag and
the little breakable plastic fork
eatin' everything in the book
that was man-made
BUT
first start off by asking…… "is this pork?"
that was one of my favorite things
celebrating my birthdays
at all the fast food joints
I knew Mama was a Don
'cause she would shut McDonald’s down
for her "li'l A.J."
or at Shakey's Pizza
where it would be MY party
but nothin' but grown folk in the way
"where the kids at?"
Moms would answer
"in front of the preposition "at"
to correct my grammar
she wanted me to speak perfectly
so if life led me downhill
I'd be the most eloquent con in the slammer!!
Mama correcting me was one of my favorite things……….
Mama……..
you don't how deep
the parent gig is
until you accept yours
the skill of her "makin' a deal" and
only showin' me the
prizewinning doors
was more brilliant of an art
than Sun Tzu's entries on war
she did fight
she DOES fight
still a general in
both hind and foresight and
havin' had a heavy bravehearted
hip-hop revolutionary
as your chief of staff
that's just as quick to kick your ass………..
but with Queen's prestige and
an aura of class
you could never be fulfilled in Love or Life
if there was any more a child could ask…………..
and for that YOU are one of my favorite things
the task………..
keep your life in order and
navigate triple versions of you
yet smaller and shorter…….
to be as well-placed
and as cool as I
home-school three jewels
plus bust beauty on the fly
is a gift I will forever glorify
so much love and
promise in these little packages
I protect them
cherish and study them
kiss and hug them
never forget to listen
pray now more than ever before and
give them what my Mother gave me
but then bless them
with the very vision
a strong man should be………
I don't worry
just stay still and know this here time
is the most meaningful and impactual
for the rest of their "mind"
those crazy behinds
are three of my most favorite things…………
and there are so many more moments to come
like Karen said, “ we've only just begun”
Thank You Coltrane,
Mr. Wone
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