Editor Recommended

He Gave Me 5
Volume 1

I gave him five... Gave him five
minutes. So, he could express to
me what life was all about. His
trials the tribulations, how I should
deal with it, how I should make
sure I don't repeat the mistakes of
the past. Five minutes to tell me
that these young boys playing now
ain't sh*t, but at least they playin
Jazz.

Gave 5 dollars, every time I saw
him...one time my last 5. The only
homeless guy in the hood.. Why
would he hang around here? No
shelter in the hood... No economic
promise for the indigent   Why,
here? Maybe he grew up
here...Like me. Maybe he played
ball like Wilt, and Wali... Well
Maybe he got in wrong with Mr.
Nick...yeah we know what
happens to you then.

But he spoke of Music... He knew
music... But I never asked what he
knew? His life was bad enuf.... But
he spoke of music...He knew
music.
The Delphonics...giving us the
prelude to the "Sound",
screaming for the J-5 , screaming
at the Block Party for Frankie
Beverly and raw soul... And on the
radio. What station was that?
WDAS-FM!   The sound of the
Revolution - WKDU on Sundays...
THE POINT... ahhhh eclectic,
scintillating dichotomy of
sound..style... No form... No
Format.
Doug and Jean Carn followed By
THE GREAT TRANE..followed by
the Chambers Brothers..a lil
Chicago.. Mandrill....Catalyst - that
Philly super group. And the
soundtrack of Philly...McCoy...LEE
MORGAN AND Hank Mobley.

I listen to Hank Mobley today and I
remember it all. No room for
squares.. Roll Call... Caddy - you
name it I heard it. You couldn't
avoid it. .So familiar today cause
he got played in my
neighborhood.
The music was played...He got
played.. Paid off via the white
horse sometimes they say.

The toothless man spoke to me
about being a Man .I was in my
mid 20's when I met him and even
then he saw the need for growth.
Yeah, the long lean bad
mother***a I was... But beloved.
Fast on the track...settled down
with this fine sister whom I'd
marry soon after our meeting.

"Gimme Five", I'd laugh and give
him five, and he schooled me
before he went on to 30th Street
Station where he always had to
meet somebody... (where he
slept).

Several months later I was at the
barbershop, Mr. Floyd's.   Cut my
hair from childhood to death. The
brown whiskey taking away his
life, but not his skills.
The musically toothless man
walked by the window.   I asked
Floyd did he know him. He
laughed and said .."F**k you"
Woods! Nobody else seemed to
know, so I didn't feel so bad.
But Floyd laughed at me with his
eyes.   He told me that they play
Jazz at the bar across the street
on Haverford. Me being the
fledgling Jazz head planned to
stop in and listen.

"Did you know Jimmy Oliver was
one of John Coltrane's teachers"...
This old cat whispered as I
bought him another beer?    It was
Jimmy Oliver who was playing
and sounding rather strong,
despite the diminutive
appearance.

Soon after my 4th drink, the door
open and, the place got quiet.
Before erupting in a loving
embrace of whomever that was,
the seas parted as I saw the
toothless man. He was dressed
a lot better than he had been.
As he entered the bar I asked,
"Who's he?" ..."Maaaan" ...That's
Hank Mobley!" My jaw dropped!   I
struggled to become invisible in
my embarrassment.

I have been paying and chatting
with a legend! Listening and
respecting him, but never giving
him the honor he deserved.
.
I tried to slip out but a voice cried
out, "Hey youngboy..gimme five!"
followed by pleasant laughter... "I'll
be right back" I shouted back,
before slipping out the door. Not
knowing what to say.

I never saw him again. It turned
out that a family from around the
way took him in and worked so he
could get some of his long
deserved royalties back to him....
He died May 30th 1986 .. I never
saw him again.

Mentors, teachers. , lovers and
friends come in many shape and
affect you in many ways.
Sometimes you get to learn
lessons from Hall of Fame
homeless musicians living on the
streets of the hood.
Maybe he was there to just "Give
me 5"... It was more than worth
the while.

© Copyright 2004 Bruce K
Woods

Part #2

In traveling the poetic journey, I have
learned quite a bit from my experiences.
My friend, colleague and mentor, Nina,
saw something in my writing that even
I couldn't see. I often remind her of
what she started. She said the
seed was already there and just
needed watering.

My friend, Pat T., walked me through the
copyright process. We drove over to DC
early one morning. She showed me
where the Library of Congress was. I
didn't realize it was so easy.
We basically just dropped off the
application and the book(s) in question
and then left. It still took about six
months for me to get the copyright
certificate back in the mail. Since
then I have passed that knowledge
on to others, including my own son, who
writes as well.
(Isn't that what we're supposed to do?
Each one, reach one, each one, teach
oneâ€¦)

I am very grateful to Pat because when
I initially told her of my dream of being
published, she was one of several who
encouraged me to pursue it and to step
out of my comfort zone to take that leap.
She also encouraged me to start
sharing my poetry at different venues
around the Baltimore area.
Each of the chapbooks that I did
occurred at different points in my life
and chronicle, in a way, my evolution
into the phenomenal woman of strength
I consider myself to be today.

I, eventually, decided to self-publish, but
wasn't too sure if I could afford to do so.
I was more determined to have my work
published after I began to attend the
Artscape event that is held in Baltimore
each summer.
I had attended the teen poetry slam
during the summer of 2003 and had
enjoyed just listening to what the young
people had to say through
their poetic expressions. Once the
slam was over, I began to enjoy
other aspects of the performing, literary
and visual arts that were on display.

As I walked around, I realized that
nature was calling and decided to
locate a restroom. I walked right into the
tent of the couple that later became my
publishers. The woman, Ramona, had
been one of the judges for the teen
slam. I started talking to her and about
twenty-five minutes later was walking
away with her business card. (I had
forgotten all about my urgent call from
nature during that timeâ€¦)

The Internet has been a valuable asset
on my journey, too. I have networked
with so many talented poets and
authors as a result of surfing. There are
so many poetry chatrooms and
messages boards online. I have been
inspired to write and to continue writing.

It feels so good to share my love for the
spoken/written word with others of like
interests. It is so wonderful to be able to
communicate with people the world
over who share that love.
It has been through the net that I have
been able to set up booksignings/tours
for my book, Vocal Moments. I used
the Internet to put out a call for
submissions for a chapbook I was
putting together entitled

The Strength of Sisterly Love.
Producing the chapbook, eventually,
led to my participation in a choreopoem
of the same name that was performed
at the Harlem Theater in New York in
2002. That choreopoem led to another
one two years later entitled
Womenwording: Dueling Tongues.
The networking also resulted in a
chapbook I produced with a friend
from California entitled One Dozen
Surefire Reasons for Driving Your
Mother Insane.

Most of what I have discussed in this
article has been discovered through a
trial and error method. I try it, if it works,
I'll keep it; if not, I revise it or work it
through. There are many other gaps that
I will address in subsequent articles.

Vickie Oliver-Lawson
© Copyright 2005

May
1 – Judy Collins 1939
4 – Audrey Hepburn 1929
6 – George Clooney 1961
7 – Robert Browning 1912
10 – Fred Astire 1899
11 – Salvador Dali 1904
12 – Martha Graham 1894
16 – Janet Jackson 1966
18 – Margot Fonteyn 1919
19 – Grace Jones 1952
20 – Joe Cocker 1944
21 – Fats Waller 1904
24 – Patti LaBelle 1943
24 – Bob Dylan 1941
25 – Lauren Hill 1975
25 – Mike Myers 1963
25 – Beverly Sills 1929
26 – Lenny Kravitz 1964
26 – Pam Grier 1949
27 – Isadora Duncan 1878
29 – Annette Benning 1958
30 – Benny Goodman 1909
31 – Brook Sheilds 1965
31 – Colin Farrell 1976

June
1 – Morgan Freeman 1937
2 – Marvin Hamslich 1944
3 – Curtis Mayfield 19 42
3 – Josephine Baker 1906
4 – Angelina Jolie 1975
7 – Prince 1958
8 – Boz Scaggs 1941
9 – Natalie Portman 1981
9 – Johnny Depp 1963
9 – Cole Porter 1892
10 - Gene Wilder 1935
12 – Chick Corea 1941
15 – Ice Cube 1969
15 – Helen Hunt 1963
17 – Barry Manilow 1946
17 – M.C. Escher 1898
17 – Igor Stravinsky 1882
18 – Isabella Rossellini 1952
20 – Nicole Kidman 1967
20 – Danny Aiello 1933
22 – Cindi Lauper 1953
23 – Bob Fosse 1927
24 – Jeff Beck 1944
30 – Lena Horne

Acting Career FAQ:
What If I'm Not Talented?

I recently got a letter from a young actor in
Kentucky. She told me that an agent in
Atlanta had said that she was definitely
cut out to be an actor. That she had "the
look." But that she would need classes
and pictures which the "agency" would
provide -- for a fee.
Then, a friend of hers, who has been
acting "for years" told her that she wasn't
very talented and that without talent she
would waste a lot of time and money
chasing after a dream. That talent was
the main component of successful actors.

The actor got two pieces of bad advice.
The first piece of advice was from a
scammer (IMHO). The second was
mean spirited, uninformed and just plain
wrong.

Webster's Unabridged Dictionary defines
'talent' thusly: 1. a gift committed to one's
trust to use and improve; from the
parable of the talents, in St. Matthew;
hence any natural faculty, ability or power.
2. a special, superior ability in an art,
mechanics, learning, etc.

While I agree in theory with Webster --
there is a common misconception
among some 'helpful' agents, teachers,
and talent managers that somehow there
exists a "natural" actor gene -- or in
Webster's definition "a special superior
ability."

Since most human beings act --
behaving, emoting, reacting, listening
and slipping in and out of attitudes every
day (all skills of a professional actor) --
why is it that these "special superior
abilities" are rarely quantified nor
explained?

The idea that some people should just
forget it because they aren't talented or
that others should go ahead because
they have "the look" -- needs to be
dispelled by those of us who know the
truth about what it takes to have a
professional career. I never address the
question of whether someone is cut out
for the business of acting because I have
learned through long hard experience
that I don't know who is and who isn't
going to succeed. I don't really believe
that anyone can say. There are just too
many variables.

As William Goldman put it, "Nobody
knows. "This much I do know, I have
seen actors who were clearly 'talented'
end up teaching second grade and
people with little or no discernible
ability, go right to the top.
Telling a young (or even not so young)
actor that it's all about "talent" or "looks"
is not only not correct, it's not very kind.
When I first decided
I wanted to be an actor, I couldn't act a
lick. And I'm far from a babe magnet.
But I've made millions in this business.

My point is simply this: Any "reason"
to go ahead or give up should be
questioned thoroughly -- from
all angles. Common sense tells
us that if acting were all "natural" ability
there would be no need of acting
teachers, coaches or "acting tracks"
at colleges. Of course, acting is not
an easy business. It is more difficult
than most professions because it
sometimes takes years to establish a
career. But the gap between 'talented'
and 'not talented' is so slim as to be
indiscernible -- that's a fact.
As everyone knows, who reads my stuff,
I try to make it very plain that this is really
hard work.

Few achieve stardom. More actors can
achieve a career, but it is still a small
percentage of those who think they'd
like to act. Not all of the successful
actors on screen and stage are "natural
talents" or good looking. Some are just
better at the business part or they
manage to stay at it longer than others.

As I point out in my book, there are
specific steps you must take to have
any hope of success. And the first
step is to rid yourself of all the "walls" you
build up -- or allow others to build -- that
keep you away from your dreams.
As with all dreams (whether it be sports,
music, architecture, medicine, poetry,
dance or having the biggest ball o
string in the world) it won't become
real without action on your part. If you
believe that there are "reasons" you will
or won't succeed, you won't do what
needs to be done.
That's why -- You Must Act!

Here's a letter I got recently that really
drives home the point:
"... and the one thing that I hate is t
hat many people say, "I can't draw." "I
can't sing." Bull! One can do whatever
he/she loves to work at doing.
Take Eric Burnes, the lowest paid
player on the Oakland A's baseball
team. I grew up playing ball
with him and let me tell you, coaches
would put him anywhere the ball would
not go. They even tried him as catcher,
maybe he wouldn't drop a fly ball there.
My point -- he loved the game. I couldn't
understand, because I got tired of the
game, I did not love it.
But Eric prevailed, playing years in the
minor leagues, making no money,
I mean nothing, those players are lucky to
have their laundry done!
The key to success is -- no regrets no
matter where you end up!
It's the journey that you should love."
-Peter B.

Peter's right Don't accept "reasons"
to pursue or give up your dream without
a complete "investigation" into whether
those "reasons" are real or someone
else's illusion of reality.

The truth is: REALITY IS NOT OPTIONAL.

© Copyright 2005 Bob Fraser

"I Promise"

I promise
By the pedals of this flower and I
promise
Receive my rose thank god my
love and I've found you
I Don't know what I'd do if I'd been
without you
A Tragedy
Don't you ever go
Don't ever go
I'd promise if you bring that
sunshine to caress my pain
Never knowing in love that life can
bring so much rain
Holding hands with you baby help
me to maintain
Where ever we go
Don't ever let go
I Promise if you'd step in to my hug
be safe my wife
And close the door you know its
cold outside
How I'd Squeeze you tight my love
you saved my life
I can't think of how else to say
Love will show me the way
Love please show me the way
I made this day for you and in it I
promise
Every minute every hour hide
nothing ever from ya
--I'm taking this love so high and a
little more higher
Your ear against my chest and
hear that fire
the end of me and my selfish desire

saying goodbye to me hello to us
together
forever

I promise

let me be real about it....

We've been thru so much
since the last day of the last time,
before the tears
heated arguments sometimes
misunderstood vibes
but baby we still here
I tried to leave once but didn't get
too far
my selfish reasoning didn't last the
entire night
and in the morning love's
forgiveness
the most beautiful gift greeted me
I had to respect that you had my
back through thick and thinner
I was a sinner, can't fake
innocence too long
but my baby is a soldier made her
man strong
so this day, I do dedicate to and
honor you
A moment when your soul's
desires are carefully hand written
And I can express myself with
chocolates and flowers
however best my love can be
written
You can tell I'm smitten
my words
actions
vows
the valentine card's caption
I can only ask for you to accept me
for me
and to keep that love flowing real
love you baby
Happy Valentine's Day

"the truth is an offense, but not a
sin"

© Rhyme4Reason_FBR 2004 All
rights reserved

Hello everyone my name is Lamar Webster,
aqua: Tdubs-Da Funky Bassist. I am a
musician based in the Los Angeles area,
and bass is my instrument of choice. I have
been playing since the 8th grade, and have
always been fascinated by music.

My intention for this TAHI column is to
share my musical experiences with you all
in a positive way and to share with our
readers,items of interest that will be
useful to all of us.

First off let me say that I have fond memories
of music. I grew up listening to James Brown,
the Motown Sound, Parliament, Sly Stone,
Jimi Hendrix, Isaac Hayes, Donny Hathaway,
Gene Chandler, etc. I admit I was never much
on lyrics. I always focused on the bass,
drums,guitars, keys, horns, and the song
arrangements.

I learned how to play one of those toy pianos
and organs as a child, then later I got a guitar,
and taught myself how to play. I got to a
certain point and taught my brother how to
play guitar, then I switched over to playing
bass. We used to play songs like Otis
Redding's Dock of the Bay, Popcorn
by James Brown, and tunes like that.

In my hometown of Dayton, Ohio I got to see
lots of talented musicians in my area. The O’
Jay's were up in Cleveland, The Isley
Brothers, and James Brown’s King Records
in Cincinnati along with Bootsy Collins, and
The Ohio Players, Lakeside, Slave, Heat
Wave, Faze-O, Dayton, Roger & Zapp were all
from my Dayton.

Let’s fade back to the summer of 1967, when
James Brown had a hot song called Cold
Sweat that was climbing up the charts.

James Brown – The Originator

I have to start off with the Godfather of Soul,
Mr. James Brown. As a kid my dad had most
of his records and 45’s, including Live at The
Apollo. I was a big James Brown fan.

Wilson Pickett and many others recorded
similar-sounding records .
James Brown is said to have declared,
"Before I let them take my sound, I
'll break out in a cold sweat!"

As his ideas were prone to do, the idea for
"Cold Sweat" popped into Brown's head,
who immediately sang, groaned, and
grunted the instrumental parts to his band
leader, Alfred "Pee Wee" Ellis, who wrote
down the rhythms and musical notes on a
piece of paper.

It was recorded during May 1967 at the
recording studios of the Cincinnati-based
King Records during a session that boasted
Brown regulars: saxman Maceo Parker (giving
one of his most thrilling solos), guitarists
Jimmy Nolan & Alphonso Kellum, baritone
sax player St. Clair Pickney, and bassist
Bernard Odum.

Also on the track is the great drummer Clyde
Stubbenfield, who would play on some of
Brown's key sides. He is the drummer on the
jam Funky Drummer, and is probably one of
the most sampled drummers in the world.
His steady beat drove the machine that was
the Brown band.

The horn section included Ellis on alto sax,
Eldee Williams, Waymom Reed,
Joe Dupars, Levi Rasbury, and Al Clark.
Co-written by producer Brown and Ellis,
"Cold Sweat" went to number one R&B for
three weeks and hit number seven pop in
fall 1967. The Top Five
R&B/Top 35 pop LP Cold Sweat also
included "Kansas City."

The reason that I mention this song, because
in the summer of 1967, on the back porch of a
friend named John Fedrick, I joined my first
band. I don’t even recall our name, but I
remember when Cold Sweat hit the radio, we
were attempting to learn the parts of this
song, the horns and all.

I know we played that 45 RPM single until we
got our arrangement as close as we could to
the record.

I also recall learning how to play the drum
solo during our breaks. Our drummer back
then was a youngster named Mark Adam
Wood Jr., who went to my church, Mt. Enon
Missionary Baptist Church.

He later went on to sing with a vocal group,
and he later became the lead singer of one of
Dayton’s hottest bands, Lakeside. He is the
guy you hear on all of their hits, Fantastic
Voyage, Hold Your Hand, Something About
That Woman, Say Yes, and so many others.

© Copyright 2005 Lamar Webster