From Russia with Love: Making a Life of Beauty, Simplicity and Fearlessness

Tibet Himalayas, 1933by Nicholas Roerich (courtesy of Vanishing Ice)

Nicholas Roerich was a Russian, one of those crazy Russians who believed in beauty and art and culture as the means to create peace. Well, if he's crazy, then I sure would like some of whatever he had. Bring it on, that's what I say. Here's just a tiny snippet of what he said, as quoted in a very groovy book called Nicholas Roerich: A Master of the Mountains by Barnett D Conlan:

'... every Art creation is a dynamo charged with uplifting energy and a real
generator of enthusiasm and he (Roerich) looks to Art as the most effective instrument for leading towards a life of 'Beauty, Simplicity and Fearlessness', to a
'Fearlessness which possesses the sword of courage and which smites down
vulgarity in all its forms, even though it be adorned in riches.'

In the years before World War II Roerich set up what he called Centers of Culture around the world. I don't know too much about this aspect of his work, but I plan to check it out. His idea was that Art and Culture were the perfect tools for attaining peace. He was a painter (I went to his house in Naggar in the Himalayas in India which is now a gallery and museum. His paintings are almost not of this world; ethereal and radiating a kind of gentle but powerful energy of their own. If you want to see some of his paintings, go to this link), an explorer, linguist (he was the first to compile dictionaries for various Tibetan and other central Asian languages), and a writer.

I've been thinking about what he says about every work of art being a dynamo full of uplifting energy. Whether you are an artist or not, you are bound to feel this sometimes when creating or looking at a piece of art, in whatever medium. Of course it is also true to say that so much of what passes for 'art' or 'culture' is lacking in any energy at all; it's lifeless, made to serve the needs of the ego, the market or some other materialistic purpose. And then there is the art that, while it might be that dynamo full of energy that Roerich describes, has been created with sinister or destructive purpose in mind and emanates a whole other kind of energy.

I guess what I'm saying is that it is the intention of the artist that is key. Most of the artists I know (including myself) create with the intent of making something from our hearts, from our souls, and that we can put out there into the world carrying goodwill with it. These artists (me too) seek to record and interpret the world around us in a way that is enriching for others as well as, of course, for ourselves.

Whether we are aware of it or not, every time we unleash that 'dynamo charged with uplifting energy', we are contributing towards a life of  'Beauty, Simplicity and Fearlessness' for all of us. There could not be a more positive, more true reason for creating Art ... whatever that means for you.

Peace from me to you

James & Stacee: Forever Young

Josh & Stacee Forever Young (Terrigal June 2015)

Who is Josh? Who is Stacee? Who carved their names in the rock? Josh? Stacee? We will never know (unless the gods of art smile kindly and lead them to this blog). But here are their names, carved lovingly (yes, I think lovingly: look at the detail and the stylish nature of the carving.) on a rock shelf at a beach called Terrigal on the east coast of Australia.

Now, this rock shelf is made up of sandstone and other materials and was laid down as many as three hundred million years ago. Which means that for as long as people have lived on that shore, these rocks have looked much as they do now, but once they were high cliffs that have been eroded by time and the power of the sea.

We can wonder about Josh and Stacee sitting on this spot enjoying the spectacular views, to the north up the coast and out to sea.

In the Harsh Light of a Coming Storm (Terrigal Australia June 2015)

We can wonder at the patience and skill of the carver as she or he spent what must have been hours working on this beautiful declaration of presence and love.

And then we can wonder, whatever happened to Josh and Stacee? Are they now happily married and raising kids in the mortgage belt? Are they young and travelling the world and leaving their names wherever they go? Was it merely an adolescent passion that burned out with age, time, changing tastes and perhaps distance? Or, and this is also possible, are they middle aged (whether together, alone, or with other people) or even older? Perhaps they have even departed this life? Again, as with their identities, we may never know. But, still, we can wonder.

But whoever they are and wherever they are, their presence on that day when this carving was made is there for all to see, and to ponder on. In some way they will remain forever young as people come and go to and from "their" spot and wonder about them for years to come. But for how long? Who knows really?

Only the sea will know this. For one day, their names will be erased from this rock (just as others have been before them). Then, one day long after, this rock itself will crumble and fall into the sea. But, Josh and Stacee will be here and be together until:

"Till the slow sea rise and the sheer cliff crumble"

 PS This last line is from a mesmerizing poem called Forsaken Garden by Algernon Charles Swinburne and written in 1895. You can find the complete poem here
. 

Lest We Forget: A Beach Memory

Lest We Forget at the Beach (Terrigal Australia June 2015)

Quite a few years ago in a poetry class the teacher asked us to write about our strongest beach memory. Not as a poem, just a short piece of prose describing the memory.

This is what I wrote. Well it’s been slightly edited, but not in any way that changes the original meaning and content. I came across it today as I sorted through some files. As we are actually staying across the road from a beach on the same coast right now, I thought it was a good time to resurrect this still powerful memory and to share it with you all.

I’m not really a saltwater person. Never have been. Sure, it’s true I’ve spent time swimming in the sea: you can’t grow up in Australia and not spend a heap of time at the beach and in the water. I never liked it much though. And after the Boxing Day Tsunami in ’05, I just was not physically able to go anywhere near the sea for a long time—and I was sure I would never ever get in the water again.

But, time passes, and I did eventually get back to the saltwater. But, let’s just say that even now, it’s pretty rare for me to actually swim in the sea. In fact, I think the last time was on the Gold Coast, that soulless, heartless strip of concrete lining the coast up near the tropics. Lived there for a year.

Anyway, I did swim up there a few times. But I stopped after a few shark scares. The final straw when a shark took a Japanese tourist. Bitten in half he was. Still and all, there are some fine beaches on that stretch of coast, which have left me with some pretty nice memories of walking the dunes, picking up shells, sitting with my hood up on the sand listening to winter waves pound the shore.

 Funny thing though, none of these are among my strongest beach memories. That honor belongs to a memory that goes a long way further back in time that also involves a chopped human.

1967. Balmoral Beach in Sydney. It’s a lovely, sheltered beach with the usual assortment of palm trees, chip shops and coin operated BBQs. I was 13 and my father was in Vietnam. Not yet a pacifist, and not yet ready to be disloyal to him, I eagerly took part in the picnics put on for families of soldiers fighting ‘over there’. Fun really: a lot of other kids to muck around with, some cute girls and plenty of food. Even better, there were sometimes presents: one time I got a string tied bundle of over one hundred comics. Very cool. I had those comics for years. Wish I still had them: some would be worth good money.

Anyway, on that summer’s day in 1967, I was at the beach for one such picnic. As I recall it now, I was just wandering around early in the day, just checking out what was going on, who was there and whatever.

Then I saw him. A young man (though to my 13-year-old eyes he looked old. But he couldn’t have been more than 20) on the sand sitting bare chested and wearing board shorts. Well, was he sitting?  He had no legs you see. He’d been chopped in half, just like the Gold Coast Japanese tourist. I was stuck to the spot, just staring. Sure, it was very rude of me. But I was shocked, and the sight mesmerized me. I just could not get my head around the image that was burning itself into my brain. Still can’t really—and now I’m all grown up.

I wondered, as I stood staring, how did it happen? And I thought, with the simplistic perspective of a naive 13-year-old, how can he live like that? As if in answer to my stupid question to myself, his eyes met mine. He’d caught me staring. Before I could turn away in shame, he lowered his eyes and bowed his head. Deeply ashamed, I walked away, very confused by what I had seen, what I felt.

A bit later that day (the picnic went on all day of course), a mate told me about the bloke with no legs sitting on the sand.

‘Oh yeah, that’s ... ’, my mate said. I forget the name now. And my mate knew what had happened to him as well: Landmine. In Vietnam of course. Seems the legless guy had stepped on one. Also, my mate told me, the poor bastard was an especially invited guest at our picnic.

Now, if I’d asked the organizers why they’d invited him, why he was an ‘honored’ guest, I am sure they would have told me that he was a war hero; he’d paid plenty, sacrificed his legs, for his country. For me and everyone else.

But I never did ask them. And back then, in my immature 13-year-old mind, I thought it was bizarre. It was like he was some kind of prized exhibit, a freak to be shown off. But he wasn’t. He was just some poor kid whose number came up one night in a bloody lottery. They told him to go and fight, so he did. Then he stood on a landmine, got his legs blown off and had his whole life buggered.

I wouldn’t say I am a pacifist solely because of that chopped up boy on Balmoral Beach back in ’67. I’ve seen a lot, and learned a lot in the many long years since. Still, as I think of it now, it wasn’t long after that day when I’d turned my eyes from this bloke in shame, that my father came home and I saw what the war had done to him, and then I saw what it did to me and my family. Then later still, I saw that we weren’t alone: the war had really messed up a lot of people, destroyed a lot of lives, ruined families and left a legacy of pain and suffering that is still with us now. No, I guess you could say that the legless guy on that beach simply planted the seed. So he sure played his part.

I thank him for that. And I am sorry I stared; I am sorry that my childish and ignorant behavior forced to you bow your head in what I now know was a sign of your own shame (not that you had any reason for shame of course) and sadness. I see you now, in my mind, sitting on that beach so many years ago. Lest we forget? We always forget the things we ought to remember. But, don’t worry: I’ve never forgotten you.

            This is my strongest beach memory.

Lest We Forget

I Will Love You Till I Die: A slideshow for lovers everywhere

Quite a while back I made a slideshow of couples. Well, I've actually made a number of shows which feature some of the many photos I have of couples on the streets. But this one is one of my particular favorites because it was, I think, the first. Also the soundtrack I chose is a song from The Seekers, one of the great folk bands. The song is The Carnival is Over and is one of the most human of all folk (or for that matter of any other genre) songs of all time.

I suddenly decided to repost the slideshow today. Why? Umm. Well, no special reason. Just because I suppose, it is about lovers and love and loss and those things that live within all of us, but sometimes are a bit hard to find.

So, this is dedicated to lovers everywhere, and to love. Please enjoy. And, if you would like, please subscribe to this blog. It would be an honor to have you on board

Empathy in Street Photography: A new word to help us understand what it's all about

In the Bus Queue (Nottingham England 2013)

I've learned a new word this week: sonder. I forget now where I came across it, but it's an invented word. Or, to be more accurate, it is a word that has an invented meaning. A little research led me to the source for this word (don't worry: I will tell you what it means and why I'm writing about it very soon): The Dictionary of Obscure Sorrows. According to the explanation on the site:

The Dictionary of Obscure Sorrows is a compendium of new and invented words written by John Koenig. Each original definition aims to fill a hole in the language - to give a name to emotions we all might experience but don't yet have a word for. The author's mission is to capture the aches,  demons, vibes, joys and urges that roam the wilderness of the psychological interior. Each sorrow is bagged, tagged and tranquilized, then released gently back into the subconscious. 

Very groovy don't you think? A really excellent and innovative idea and project. The world is in great need of new and expressive words and ideas  we can all share and relate to.  I suggest everyone has at least a look at the site. Koenig also invites us to write him with ideas about emotions we can't find words for.

Anyway, back to my newly discovered word, sonder. Here is the definition from the Dictionary:

sonder:n. the realisation that each random passerby is living a life as vivid and complex as your own - populated with their own ambitions, friends, routines, worries and inherited craziness - an epic story that continues invisibly around you like an anthill sprawling deep underground, with elaborate passageways to thousands of other lives that you'll never know existed, in which you might appear only once, as an extra sipping coffee in the background, as a blur of traffic passing on the highway, as a lighted window at dusk.

I was really struck by this idea. We have all had, I think, those little flashes in which we suddenly realise that others around us, friends or strangers, are just like us with the same worries, loves, fears, joys, heartaches, responsibilities and complicated lives, as we ourselves have.

But what really impressed me was how this word, this concept, relates to my work, to street photography. Another way to put the lengthy definition above is to say sonder means empathy; it means feeling with our fellow travellers on planet Earth. And it is through empathy that I am able to photograph people I encounter on the street in a compassionate and loving way.

After all, they are just like me, and I am just like them. This informs my work and enables me to meet the people I photograph as equals; there is no imbalance. Our encounter  becomes a sharing, an acknowledgement that we are all in this life together.

My job is to simply make a note (through using my camera to make a photograph) of a few of the moments in which we cross paths. I can then share our encounter with others, who in turn may come to understand at least a little of the lives of others.

Sonder is also a word in German. It means special. And I like that too. The realisation of the things we have in common is a truly significant insight (and it cries out to be shared). It follows that the brief encounters between me (with my camera) and people in the street are special. Like I always say, there are no ordinary moments.

But wait, there's more! Sonder is the Swedish word for, among other things, broken. As in broken apart. The English word asunder is related. And aren't we all, in some way or other, at least a little bit "broken"? We've all had hurts, disappointments, losses, traumas in our lives that have left us a little damaged and "worse for wear".

And, you see, this is a huge part, at least for me, of what street photography is all about. As I encounter people in the street, I try to remember that, just as I am doing my best to make my way in the world, so are they. Their humanity is my humanity; their brokenness is my brokenness.

I know I've quoted the great humanist photographer Abraham Menashe a few times, but I would like to leave you now with another quote from an interview he did a few years ago.

"The world is in need of affirmation. At the very heart of our humanity is the challenge of unconditional love, which is to suspend judgement and open fully to the vivid reality of other beings. Unconditional love does not know barriers; it says yes, it affirms the moment even if it is full of grief".

 Peace to you all.

I Am a Witness to Love, I Am a Street Photographer

Love. It's everywhere isn't it? Well, yes I know, it does depend on how one looks at the world, but often it's not that it isn't there so much as it is we don't see it. That is where we street photographers come into the picture. We are a very lucky group of people. We get to see love all the time and everywhere we look. Love between a parent and a child, love between a dog and its human. And then there is romantic love. I can't count the number of times I have seen - been lucky enough to see - couples obviously in love or loving each other.

Hello My Darling

I so often am privileged to witness that look of love that passes between lovers as they meet or as they part. It's a private moment, yet there it is in plain sight for the world to see, to witness. If only we would slow down so we are able to see it. 

It's the Look of Love

Mind you, sometimes a couple will be just sitting, passing the time together. Suddenly, one will look a the other and in that fraction of a second (John Free says all Street Photographers see the world in segments 1/500th of a second long) it takes to point the camera and click the shutter, such a look is passed from the one to the other, that it is a gift worth treasuring. I sometimes wish this couple could have a copy of this photograph. But, that's not how this thing works. It's a fleeting thing; a moment that comes, then is gone forever.

Lovers on the Grass

Then there are the times when from even metres away, the street photographer can just feel the joy being eperienced by lovers as they embrace oblivious to their surroundings and to other people passing by. It's as if the world itself is their living room. But, you know, I don't often get the sense people are "showing off" or "posing"; it is usually just two people expressing joy and love in each other's company.

Loves in the Park

Now, I am not one of those street photographers who goes out of their way to be invisible. I see no point in hiding or sneaking around. Of course this means that sometimes I am seen and more often than you might think, this can result in a great image too. People might sometimes change their pose a little, but overall they  like these two, maintain what they were doing (except of course they are smiling now for the camera). And these two were happy in each others embrace, and proudly proclaim that to the camera. I like this one!

Sunday Seaside Stroll

Another aspect to street photography that I absolutely love is its ability to change people's lives, even if it is just for a moment. Take this couple for example. Strolling on a beach path one Sunday morning. I just instinctively lifted the camera and made the photo as they approached me. Now, they were so engrossed in whatever was happening for them that they didn't notice me, even as we passed each other. Again, just intuitively I said to them: "It's great to see such a handsome couple". They both looked at me and smiled, then the guy said: "It is indeed".

That's all, nothing else, and all over in a couple of seconds. Later, as I looked at the photo on my computer, I noticed that they are both looking upset or at the very least really distracted by something. Who can say what sort of day they'd had or what kind of bad news they had received and were processing. 

And that's the point you see. I knew nothing of this at all when I made the photo. And, then, despite the fact they hadn't seen me, I spoke to them, and what I said elicited a smile and a humorous comment from the man. So, by acting on instinct, being fully present and going with the flow, it is likely I played a tiny part in cheering up two people who were quite probably having a bad day.

Like I said, I have so many images that are witnesses to love in many of its forms. These are a tiny few of the romantic love kind. I have had the great good fortune to see and share thousands of similar moments. And what's more, the fact I am actually there to witness and record those moments with my camera, means that I can then share these moments of love with others, with you. 

Street photography is a great gift to me and to all of us. Fleeting moments that come and are gone forever as I said earlier, are usually missed as we rush about just living our lives. But just because they are missed doesn't mean they aren't important or that they shouldn't be recorded for sharing with others and for posterity  I am one who is lucky enough to be called to do just that. And I am grateful.

Sharing a Sleeve

Stealth Has No Place in Street Photography

"Have you got the latest stealth camera from.....? It's great for street photography."
How often have I read this or something similar  How often have I read the need for stealth when doing street photography. How often have there been arguments about the pros and cons of big cameras versus little (usually expensive and "trendy") ones. On and on it goes with the great hunters who think that shooting people and doing it in a clandestine manner like some spy with the latest "stealth camera" is what street photography is about. Why, did you know one of the most expensive camera names in the world (no names are here mentioned, and it would be a mistake by legal eagles to think they know what I'm talking about) is touted by some as being an ideal stealth camera for street photography? 

Before I really get started, why don't we look up a definition of stealth? Hang on, I'll be right back. Okay, a quick search and here is the first definition that came up (I've cut and pasted it directly):

stealth  

/stelTH/

Noun Cautious and surreptitious action or movement: "the silence and stealth of a hungry cat".

Adjective (chiefly of aircraft) Designed to make detection by radar or sonar difficult: "a stealth bomber".

Synonyms noun.   secrecy adjective.   secret - recondite - insidious - clandestine Blimey, it's heavier than I thought. You see, I had the idea to do a post on stealth because I dislike the word when it's used in the context of street photography. I knew it was the name of a bomber, but "surreptitious"? I can kind of live with "cautious" but, "insidious"? Wow. Actually, now I think about it, this all fits nicely with my thoughts on the subject of stealth. You see, one of the big argument for stealth in street photography is that "street photographers"  don't want to appear creepy or sneaky or in some other way disreputable. For me, street photography is about documenting real life as it occurs. As you've read and heard me say before,  I think there are no ordinary moments, all moments have the potential to be decisive. Anyway,today is not the day to  go over all that again. Cutting to the chase, I will just say stealth goes totally against all I stand for as a street photographer and as an artist. I believe in honesty in all things, and photographing people on the street is no exception. Now, while I don't often ask for permission from subjects, I never try to hide either myself, my camera or my intentions from the people I hope to be fortunate enough to photograph. But, I hear some of you say, if you're seen that makes it no longer a "true" street photograph. It changes the scene, it influences the subjects. On and on it goes. But, really, is this all actually true? Well, obviously sometimes a subject will see the camera and change their expression or do something to "pose" or whatever. What's wrong with that I would ask. It's not as if it happens very often. Well, not to me anyway. I haven't actually looked at the percentages, but I think the number of people who actually see me or my camera is pretty low. And what happens when they do see me and it somehow changes their manner or pose or whatever? Well very often it is just that change that makes the image what it is. A genuine human interaction takes place; a moment is shared and experienced together. And, in my not ever so humble opinion, that is a great thing indeed. And the times when it doesn't "make" the image? Well there's been no harm  done and it's still pretty much a positive experience all round. Oh, one more thing. Not only do I use a DSLR (with a battery grip for easier vertical work), but I also use either of two zoom lenses ranging from medium wide to telephoto. It can be a heavy beast and a pretty plain to see one as well. But I don't care! I love using it; the quality of the images it produces is amazing; and if I am going to record other human beings then I have a deep responsibility to record them in the best possible way I can. That's what I try to do. Everything I do as a photographer in the streets is done in plain sight. Note, I do not say that I "hide in plain sight"; I never hide. There is no reason to. I do not claim to be a great photographer; no, not at all. But, I have to say that what I do and at least some of the results I achieve seem to fly in the face of the conventional  or received wisdom or lore surrounding street photography: I do not hide, yet I am able to go unnoticed most of the time; I use a "big" camera, yet still go unnoticed much of the time; my camera is heavy, yet I am able to record moments quickly, even movements as they happen; I do not "zone focus", yet my AF lens seems to record all kinds of little nuances; I use a long lens, yet I am still (according to many viewers of my work) able to achieve a sense of intimacy with my subjects that street photography lore says can only be achieved with a short lens and by being very close to the subject. Need I go on?  Well, there is one more thing I want to say. I've seen and heard so-called street photographers and "teachers" of street photography say that it is a dangerous thing to be doing. By this I mean to say there is a fear that is promoted (and I mean promoted) that a street photographer runs the risk of being attacked physically by irate people not wanting to be photographed. I even heard one of these "teachers" ask one of his "students' on a video: "Have you been punched yet". This might be a slight misquote, but you get the point I think. Is this why so many people are "doing" street photography now? To prove bravery and/or bravado in the face of a perceived physical threat? If it is, then it's a very sad and scary development in the history of photography. In my entire life as a photographer (it's a lot of years!), and more to the point, in my four or five years of "serious" street photography work, I have never been punched. The nearest I have ever come to being even verbally attacked is a guy in a car yelling at me as he sped past using some colourful language about my camera which was at that point hung innocently over my shoulder. Even when people have objected to being photographed (another myth: "most people don't want to be photographed. Total and absolute rubbish. I accept that it is true in some cultures of course, but the exact opposite has been my experience) they have simply said no. Sometimes more strongly than other times, but never in a way that could be seen as "violent" or attacking. Look, in truth there is nothing special about me. There really isn't. I am not on a hunt; I don't shoot people; I don't steal souls; I don't capture subjects. I do not sneak around looking to catch people doing silly or quirky or "interesting" things.  I simply practise my art, my street work, with compassion, love, respect and in a thoughtful, calm and, I could say, prayerful  manner. I have no need to hide, as I have already said. I have no need of stealth. I do not do anything that could be construed as insidious. Perhaps there are a few questions those who wish to work as street photographers need to ask of themselves. Why is it that I need to hide? Do I need a "stealth" camera or mode of operating? If I do, why do I? And the big one: Do I really want to peruse an activity that could be seen as insidious? I for one do not want myself or my work to be seen in a negative light, when what I do is so enriching, so important (in my opinion) and seeks to present an honest view of people going about their normal lives in the world we all share together Peace to you all

Interview with Street Photographer Umberto Verdoliva (from 121Clicks.com)

An inspired photographer and inspiring too. Do you know what he think is the most important quality for a street photographer to possess? good camera? no. stealth? no. guts? no. zone focusing? no. Here is what he says:
"The main quality you need is love to the people. Be attentive to their actions, have respect them. Commit to capture significant aspects with patience, intelligence, sensitivity"
Love for the people. Exactly

JUST CLICK ON THE LINK AT THE BOTTOM. THANKS!!






Interview with Street Photographer Umberto Verdoliva - 121Clicks.com

An Ode to Family: A slideshow of some families found on the street

An Ode to Family comes at a good time as I reconnect with my son here in England after not seeing each other for eight years. What a joy it is and will be for a while to come yet. And as Mr Bowie says in the marvellous song I've chosen for the soundtrack, we are all Absolute beginners when it comes to family relationships. And as long as we remember that single fact, we shall always be capable of being family

I'm Back: This post is a real treat: My photos accompany a beautiful song sung beautifully!

Hello my friends

Yes I know: it's been a while. Who knows how time goes and why and what happens when we allow it to fly by unnoticed or allow it to be occupied (ie stolen) by the mundane, unimportant and wasteful? Well, no more!! I am the master of my own time, and that's all we will say about it.

For my first post in this new era, there is a treat awaiting all of you.

A while ago I was asked by a folk singing couple if they could use some of my street photos as backing for a song by Bette Midler, The Rose, in a video they wished to produce. The Rose? How could I say no? I had already heard these wonderful artists doing their rendition of this fantastic song, which was the title track and name of the movie starring Bette Midler (if you haven't seen the movie, then please please get hold of the DVD).

And the result? Well when I first saw the video I was speechless. Susan and Colin Parrish had transformed my photos. Well, they were the same images: they hadn't changed. But as I watched them roll by and listened to that heart achingly beautiful song, I was blown away by the power and the beauty of the two very different art forms combined. And the message they wished to convey, and that which is inherent in this song, is there for all to see: Everyone is a flower, a rose. We all have that seed within us to become a beautiful bloom. We are all special, no matter what. I have tried to live this ideal, and I am grateful to Colin and Sue for allowing me to join with them in presenting this simple but profound idea to you all. I urge you to listen closely to the lyrics. They never cease to inspire and move me.

Both they and I have had very positive feedback from people who have seen the video. I hope you will enjoy it as much as they have. It's on YouTube and here is the link. After watching this video I am sure you are going to want to know more about these wonderful artists and their group Takin' Time. So, you can find their website here. I am lucky enough to have both their albums. Wonderful songs sung wonderfully.

It's good to be back on this blog. I hope it's good for you too!!
Peace
Paul

An After School Love Affair

AN AFTER SCHOOL LOVE AFFAIR

 Snatched and precious moments

       of hand holding.

Silent and timeless minutes

        of sweet smiling
between school’s welcomed
        releasing bell,
and tram’s dreaded
        arriving bell.

Trams that, upon their tracks
will take them home.
One to the East.  One to the West

Innocence pervades

        the very air
as these two innocents
conduct their after school
         love affair.
(One of my poems. So, thank you to me!)

Come on People, Get in the Groove ... Please

All the world over, so easy to see
People everywhere just wanna be free
Listen, please listen, that's the way it should be
Peace in the valley, people got to be free
You should see, what a lovely, lovely world this would be
If everyone learned to live together
It seems to me such an easy, easy thing this would be
Why can't you and me learn to love one another
All the world over, so easy to see
People everywhere just wanna be free
I can't understand it, so simple to me
People everywhere just got to be free
Ah, ah, yeah . . . ah, ah, yeah

My deepest gratitude to the Young Rascals for this terrific song