Save the Bathwater

Total Page:16

File Type:pdf, Size:1020Kb

Save the Bathwater Save the Bathwater by Marina Carreira A Dissertation submitted to the Graduate School-Newark Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Fine Arts in Creative Writing Rutgers University – Newark MFA Program Written under the direction of Cynthia Cruz And approved by Jayne Anne Phillips ________________________________ _________________________________ Newark, New Jersey May 2014 Acknowledgements To family, friends, and MFA folks: for their constant support and kindness. To Rigoberto González: this work would not exist without his careful eye and candid wisdom. To Cynthia Cruz: for her remarkable advice and insight. For Avó, my muse. ii 2014 Marina Carreira ALL RIGHTS RESERVED iii Contents: In the Cemetery Where My Grandparents are Buried 1 I. After Emigration 3 Bloodlines 4 A Grand-Love 5 The Old Yellow House 6 Save the Bathwater 7 Luso-American Ephemera in Avó’s Old Armoire 8 Poem for Avô's Hands 9 Mercurochrome 10 Day of the Dead 11 Madrugada 12 An Ugly Thing 13 A Bird Watches My Grandfather Age 14 Shrinking Violet 15 Portuguese Olive Oil 16 Thread 17 These Days 18 Eucalyptus 19 The Morning After Your Death 20 Os Velhinhos 21 II. Saudade 23 First Generation 24 A Girl's Fado 25 Letter to My Stillborn Brother 26 The First Real Memory I Have of My Father 27 Bedtime Story, or Monsters 28 The “My Guardian Angel” Painting on Avó’s Living Room Wall 29 Ironbound 30 Bodega Blues 31 These Walls 33 Poem for Suzy 34 Papi 35 Parque da Market Street 36 iv Tomatoes and Onions 37 Parque dos Mosquitos 38 Crushing Snails 39 Dying Twice 40 Our Lady of Something 41 Summers in Fanhais 42 Across from the Village Church 43 In the Shadows of an Orange Grove 44 v 1 In the Cemetery Where My Grandparents are Buried cats glide between graves looking for the perfect place to curl up and glare at the caretakers crushing colored glass for the plots of the villagers who died impoverished. Dried-up bouquets petalling the in-betweens of the burials remind me of trails my sister and I made behind Avó’s house. Blissful, we’d leave chickenfeed and newspaper scraps and venture out, our basket packed with lemon soda and cheese sandwiches. The skeleton pines welcomed us with their stiff, bony arms. August made the ground sandy, and the neighbor’s doves rolled over us in little waves. The wind would blow away parts of our path. Back then, losing the way home never scared us; today, never feeling so alive again does. 2 I 3 After Emigration In the distance, a train kills a lost dog. It happens all the time in my grandmother’s village: small things crushed. But who is ever there to witness it, to tell the story? 4 Bloodlines I. Even in the dark, I’m ashamed of my lemon breasts, my peach-fuzzed midsection. I want to go back home to my father. To my bed with the threadbare blanket, the hand-carved cross over the headboard. I want a God-fearing man, hands roughed by fields. Augusto is a pretty boy with a new blue bicycle. He rides into the next town, buys all the things my mother assures me will make for a good life. But the patch of blood on the bed sheets promises different, promises thorns no bread or gold can dull. II. In America, I’m a maid at the Ramada , I rent an apartment on Market. Broken English and bad fruit. Pigeons as pets. My two children in a one-bedroom. A Technicolor TV with antennas sky-high. Double-locked doors. Barred windows. An ironbound city, the unfamiliar cacophony: honks of trailer horns, the bloody spur of factory smoke, the brandied laughter of construction workers. I try to sing the lullaby I’d hum to my brothers in the dark over the news anchor’s Más lluvia para mánana! III. Tonight, my granddaughter sits in my kitchen and considers the importance of bloodlines, waits for the words to pop like champagne grapes. My blood from my veins into her veins until we are both blue with life. Outside, the song gulls sing as they look for food separates the wind from the hymn of pine needles. She writes a poem to remember me, to remember it all-- sweat and tears, ancestry, and of course blood to run roots through my future great-granddaughter’s bones. 5 A Grand-Love When the snake bit my hand, sunk its teeth deep into the blue bed of my fist, dropped its venom into my slippery vein, you grabbed it by the mouth, squeezed its jaw open, sliced its head off in one fiery sweep. You would do it, too, outside of dreams. Save me from snakes, men with the allure of nineteenth-century vampires. You would behead the devil himself, offer me his horned skull on a silver platter. Be Judith on Holofernes’ lap, blade behind back. You’d hold no pity for Antoinette or John the Baptist. Thick like mud, your love. Bloody. Every head rolls towards my feet, a token, of how deep. 6 The Old Yellow House The old yellow house, now coral with brown trim. Unrecognizable, except for the onion-domed roof, the careful fog surrounding it. I still remember the gray walls, spider-veined. The burning bush television with crooked antennas. Avó’s shady bedroom, the huge hand-carved rosary, the billowing blue curtains between it, shading away the grit and grime of Market and East Ferry. The scuffed, stuffed armoire with its loose, mothball teeth. An empty pigeon cage in the kitchen, the chouriças hanging upside down from the oven hood. My milk bottle half-full underneath the plastic couch. A different house now, since you moved back home to Portugal, since they tore down the Dairy Queen to put up a bank, more condos. This house is now home to azaleas and rubber trees, Mexican children, tamales, cumbia, and menthol cigarette smoke. Our Lady of Fatima now Guadalupe. Our old stuff in boxes, in city dumps, in memory, in ashes. Only the shell remains constant: its hallway, a bottom-black well, its windows, golden fish gills out of water. At night, I imagine it sighs but never says a word. 7 Save the Bathwater Human nature is like water. It takes the shape of its container. –Wallace Stevens In America, people don’t bathe in each other’s leftover water, but when he was a boy the trough was emptied after the last pig feeding, after his younger brothers had their turn; his naked body would shiver something awful standing in it. Three buckets of used water heated by after-dinner fire— the rinse. Avô’s wasted no water ever since. My skin cells, hair, and navel lint floating around him didn’t matter. This residue was a reminder that I always woke up to bread, that he sweat in the face of a steam presser. With the same certainty he knew birds flew further south, trains arrived through Penn Station with their usual hoot. A little money was saved. He sets a cup of water on the night stand, considers his shoddy leg, his wife’s cough: the things water won’t wash off. 8 Luso-American Ephemera in Avó’s Old Armoire Page from a Portuguese passport stamped one-way: 1973, USA. Old coins the color of a lizard’s tongue. Tassle from the lip of my grandfather’s Sunday loafer. Ace of spades curled at the corners, reeking of Winston cigarettes. Polaroid: my father’s youth league soccer team. My baby tooth charm, dangling off a broken bracelet. Christmas card: the blue of “Boas Festas” fading. NJ Transit ticket stub: BROAD STREET stop. Funeral prayer card for Alberto Silva, village baker. Flyer: Amália at Carnegie Hall. Penny candy wrappers, crinkled, smelling of coat pocket. Postcard of Nazaré: a fisherman’s wife in seven skirts, with love, Tia. Gold medal of St. Antonio: restorer of lost objects, but never brought back anything worth saving. 9 Poem for Avô’s Hands You look at them carefully, wonder how they got from that little boy’s arms to yours. Little raven-haired, bird-like boy who’d run from his house every morning after stuffing corn bread in his mouth, wiping away chalky crumbs with a flannelled sleeve. Run past the olive fields to join the others in stick-and-stone play until his father came to pull him away by the ear. With the years, your hands out-grew the village, dreamt of gold rings and savings bonds, made their way overseas, employing needle and thimble and thread. The midnight shifts making A-line skirts and black-tie suits by the open window, the Passaic aglow with headlights and neon. So much a dollar could get you in end-of-century America; so far your son could go if he really tried. This afternoon, an apple, exceptionally red for a cold spring, is an elephant in your palm. You sit on an upside-down crate, look at your hands and wonder, Where did the time… 10 Mercurochrome First the unmerciful burn and then the balm cool of blown air. Finally, Avó lets the liquid spill over and stain the scrapes and bruises until my elbow or knee or palm streams with alligator tears. I would be red for days, the scarlet-tinted spots of skin like ribbons on kite tails. Nowadays, when hurts crow-feet and frown-line, I search for her breath, for the cure-all tincture in her apron pocket.
Recommended publications
  • Time Zero 08-17-17
    TIME ZERO Written by Carlo Carere and Erin Carere Carlo Carere [email protected] (323) 237-3340 Erin Muir [email protected] (323) 425-2197 INT. INDOOR BASKETBALL COURT - DAY The center circle bears the CIA SEAL. TWO AGENTS at play: CIA CHIEF AGENT LOU BLACK, 33, hardcore and threatening, skillfully scores a three-pointer. CIA AGENT ROUNDER, 43, slightly overweight, snatches up the ball and tries to dodge Lou. In vain. ROUNDER All I’m saying is, for every terrorist we take out, five more pop up. Clockwork. So what if we tried something else? Other ways. LOU Any other way would convey that we’re weak and they’re in charge. Lou steals the ball and scores again. Rounder scoffs. ROUNDER Most of these people go rotten because all they have to look forward to is a shitty future. What if we somehow offered them a better one? LOU Wouldn’t work, Rounder. These people, the only thing they understand? Violence. ROUNDER You know, Lou, sometimes you might find it useful to be open to other ideas, especially ones from more experienced colleagues. Rounder goes for a three-pointer. A FAIL. Lou takes the ball and bounces it between ROUNDER’S LEGS. Rounder trips as Lou scores. Rounder, on the floor, acknowledges defeat. LOU More experienced, huh? How’s that working out for ya, Roundhouse? Lou smiles and helps Rounder up. LOU’S TELEPHONE rings. LOU Go ahead, Director. 2. Alarm floods his face. EXT. HOSPITAL - DAY A huge building with a sign: CHARITY HOSPITAL. A mob of POLICE, MEDIA and alarmed BYSTANDERS gather in front.
    [Show full text]
  • Heart Care Handbook ABOUT THIS HANDBOOK
    Patient Education intermountainhealthcare.org/heart Heart Care Handbook ABOUT THIS HANDBOOK This handbook won’t teach you everything you need or want to know about heart disease and heart-healthy living. But it will give you a good start. To write this book, we consulted local experts as well as the latest guidelines and recommendations of national organiza- tions such as the American Heart Association (AHA), the American College of Cardiology (ACC), the Centers for Disease Control (CDC), and the National Institutes of Health (NIH). All of these resources are listed in Chapter 10, along with cardiac rehab programs, books, and other trusted websites to help you learn more. You don’t need to read this book from front to back. Use the Table of Contents in the front of the book (or on the first page of each chapter) to help you find what you need. Use the book for a long-term reference. Make notes in the margins, highlight important informa- tion, and add notes from your healthcare providers and cardiac rehabilitation staff. If you have questions, talk with your healthcare providers. And don’t be afraid to accept help from concerned loved ones and friends. With support and treatment, you can manage your disease and lead a healthier and happier life. Contents INTRODUCTION Looking Ahead . 5 Your cardiac care team • The role of cardiac rehab • Your emotional needs: what you may feel CHAPTER Going Home . 9 1 Heart attack: what happened • Open heart surgery: what happened • Beyond the ICU • Recovering at home • Recordkeeping during home recovery • When to seek medical care Understanding Heart Disease .
    [Show full text]
  • Het Verhaal Van De 340 Songs Inhoud
    Philippe Margotin en Jean-Michel Guesdon Rollingthe Stones compleet HET VERHAAL VAN DE 340 SONGS INHOUD 6 _ Voorwoord 8 _ De geboorte van een band 13 _ Ian Stewart, de zesde Stone 14 _ Come On / I Want To Be Loved 18 _ Andrew Loog Oldham, uitvinder van The Rolling Stones 20 _ I Wanna Be Your Man / Stoned EP DATUM UITGEBRACHT ALBUM Verenigd Koninkrijk : Down The Road Apiece ALBUM DATUM UITGEBRACHT 10 januari 1964 EP Everybody Needs Somebody To Love Under The Boardwalk DATUM UITGEBRACHT Verenigd Koninkrijk : (er zijn ook andere data, zoals DATUM UITGEBRACHT Verenigd Koninkrijk : 17 april 1964 16, 17 of 18 januari genoemd Verenigd Koninkrijk : Down Home Girl I Can’t Be Satisfi ed 15 januari 1965 Label Decca als datum van uitbrengen) 14 augustus 1964 You Can’t Catch Me Pain In My Heart Label Decca REF : LK 4605 Label Decca Label Decca Time Is On My Side Off The Hook REF : LK 4661 12 weken op nummer 1 REF : DFE 8560 REF : DFE 8590 10 weken op nummer 1 What A Shame Susie Q Grown Up Wrong TH TH TH ROING (Get Your Kicks On) Route 66 FIVE I Just Want To Make Love To You Honest I Do ROING ROING I Need You Baby (Mona) Now I’ve Got A Witness (Like Uncle Phil And Uncle Gene) Little By Little H ROLLIN TONS NOW VRNIGD TATEN EBRUARI 965) I’m A King Bee Everybody Needs Somebody To Love / Down Home Girl / You Can’t Catch Me / Heart Of Stone / What A Shame / I Need You Baby (Mona) / Down The Road Carol Apiece / Off The Hook / Pain In My Heart / Oh Baby (We Got A Good Thing SONS Tell Me (You’re Coming Back) If You Need Me Goin’) / Little Red Rooster / Surprise, Surprise.
    [Show full text]
  • Spectrum 2016-2017 SHS Literary Magazine
    Spectrum 2016-2017 SHS Literary Magazine This literary magazine is dedicated to Dr. Murphy, who inspires and teaches us every day. 2 Special thanks to our sponsors! Gary Andrews The Demars 3 Letters from the Editors Dear Reader, Being a part of something as wonderful as this literary magazine for the second year in a row is a gift. Being the co-editor-in-chief of it during my senior year is an honor. I started the year viewing it as a huge undertaking and responsibility, but as the year went on, the process happened naturally and easily. It could not have been done without the teamwork and dedication of the entire lit mag staff. I am grateful to every one of them for the constant input and constructive criticism. The final product is something I am incredibly proud of, and there is no way I could have accomplished it alone. I am extremely thankful to be a co-editor-in-chief because I would have had a much harder time doing all of this alone. I am also grateful for the beautiful art that was custom-made for our pieces by the talented students in the Sequoyah art program. The art brought the stories to life and was the perfect cherry on the sundae for our literary magazine. I am thankful for all the work that went into this, and for you, who is taking the time to read and appreciate it all. Thank you for letting me be a part of something so beautiful. Sincerely, Alexis Demar Dear Readers, With a theme like spectrum, there’s not really anything more that needs stated.
    [Show full text]
  • A Change Is Gonna Come”—Sam Cooke (1964) Added to the National Registry: 2006 Essay by B.G
    “A Change is Gonna Come”—Sam Cooke (1964) Added to the National Registry: 2006 Essay by B.G. Rhule (guest post)* Sam Cooke Recalling Sam Cooke’s “A Change is Gonna Come” So much has been written over these many decades about “A Change is Gonna Come,” Sam Cooke’s mellifluous and soulful ode to the struggles, yet prevailing hopes, of a black citizen living under the oppression of Jim Crow laws in the segregated South, that one may wonder, with 2019 approaching to mark the 55th year of its release to the public, exactly what is left to learn of the song’s etymology, and how it may be inextricably bound to the life experiences of its composer /lyricist. The answer, succinctly put, is plenty. Furthermore, unknown to the public are several intrinsic, key factors related to Sam Cooke’s personal and professional lives that, ironically, were played out against the backdrop of the Civil Rights era in which he lived and worked. It is a commonly held truth by those who knew and worked with Sam that the song was first inspired by the awe he felt and expressed for singer Bob Dylan’s “Blowin’ in the Wind.” During a dinner break from his on-the-road performance travels, Sam, in the company of his band, tuned on the hotel room TV to watch the now-infamous 1963 March on Washington, and heard Dylan’s stirring and equally infamous anti-Jim Crow folk protest ballad. Yet, contrary to what some have written in stating that Sam was “angry” that a white boy wrote the song (which would have run totally counter to his lack of prejudice, a fact bolstered by his
    [Show full text]
  • The Rolling Stones Complete Recording Sessions 1962 - 2020 Martin Elliott Session Tracks Appendix
    THE ROLLING STONES COMPLETE RECORDING SESSIONS 1962 - 2020 MARTIN ELLIOTT SESSION TRACKS APPENDIX * Not Officially Released Tracks Tracks in brackets are rumoured track names. The end number in brackets is where to find the entry in the 2012 book where it has changed. 1962 January - March 1962 Bexleyheath, Kent, England. S0001. Around And Around (Little Boy Blue & The Blue Boys) (1.21) * S0002. Little Queenie (Little Boy Blue & The Blue Boys) (4.32) * (a) Alternative Take (4.11) S0003. Beautiful Delilah (Little Boy Blue & The Blue Boys) (2.58) * (a) Alternative Take (2.18) S0004. La Bamba (Little Boy Blue & The Blue Boys) (0.18) * S0005. Go On To School (Little Boy Blue & The Blue Boys) (2.02) * S0006. I'm Left, You're Right, She's Gone (Little Boy Blue & The Blue Boys) (2.31) * S0007. Down The Road Apiece (Little Boy Blue & The Blue Boys) (2.12) * S0008. Don't Stay Out All Night (Little Boy Blue & The Blue Boys) (2.30) * S0009. I Ain't Got You (Little Boy Blue & The Blue Boys) (2.00) * S0010. Johnny B. Goode (Little Boy Blue & The Blue Boys) (2.24) * S0011. Reelin' And A Rockin' (Little Boy Blue & The Blue Boys) * S0012. Bright Lights, Big City (Little Boy Blue & The Blue Boys) * 27 October 1962 Curly Clayton Sound Studios, Highbury, London, England. S0013. You Can't Judge A Book By The Cover (0.36) * S0014. Soon Forgotten * S0015. Close Together * 1963 11 March 1963 IBC Studios, London, England. S0016. Diddley Daddy (2.38) S0017. Road Runner (3.04) S0018. I Want To Be Loved I (2.02) S0019.
    [Show full text]
  • Invisible Man by Ralph Ellison
    Invisible Man By Ralph Ellison Back Cover: Winner of the National Book Award for fiction. Acclaimed by a 1965 Book Week poll of 200 prominent authors, critics, and editors as "the most distinguished single work published in the last twenty years." Unlike any novel you've ever read, this is a richly comic, deeply tragic, and profoundly soul-searching story of one young Negro's baffling experiences on the road to self-discovery. From the bizarre encounter with the white trustee that results in his expulsion from a Southern college to its powerful culmination in New York's Harlem, his story moves with a relentless drive: -- the nightmarish job in a paint factory -- the bitter disillusionment with the "Brotherhood" and its policy of betrayal -- the violent climax when screaming tensions are released in a terrifying race riot. This brilliant, monumental novel is a triumph of storytelling. It reveals profound insight into every man's struggle to find his true self. "Tough, brutal, sensational. it blazes with authentic talent." -- New York Times "A work of extraordinary intensity -- powerfully imagined and written with a savage, wryly humorous gusto." -- The Atlantic Monthly "A stunning blockbuster of a book that will floor and flabbergast some people, bedevil and intrigue others, and keep everybody reading right through to its explosive end." -- Langston Hughes "Ellison writes at a white heat, but a heat which he manipulates like a veteran." -- Chicago Sun-Times TO IDA COPYRIGHT, 1947, 1948, 1952, BY RALPH ELLISON All rights reserved under International and Pan-American Copyright Conventions. For information address Random House, Inc., 457 Madison Avenue, New York, New York 10022.
    [Show full text]
  • The Rolling Stones Complete Recording Sessions 1962 - 2021 Martin Elliott Live Tracks in Date Order Index
    THE ROLLING STONES COMPLETE RECORDING SESSIONS 1962 - 2021 MARTIN ELLIOTT LIVE TRACKS IN DATE ORDER INDEX All officially released live, and significant live tracks are listed. * Indicates the track has not been released officially. The number following in brackets is where to find the entry in the 2012 book should it have changed. A new entry following the book release will not have a number in brackets. 1964 7 February 1964 – ABC Elstree TV Studios, London, England. L0001. I Wanna Be Your Man (1.42) L0002. You Better Move On (2.40) 19 March 1964 - Camden Theatre, London, England. L0003. Route 66 (2.30) (91) L0004. Cops And Robbers (3.43) (92) L0005. You Better Move On (2.45) (93) L0006. Mona (2.57) (94) 10 April 1964 - Playhouse Theatre, London, England. L0007. Not Fade Away (2.04) * (95) L0008. High Heeled Sneakers (1.56) (96) L0009. Little By Little (2.30) (97) L0010. I Just Want To Make Love To You (2.16) (98) L0011. I'm Moving On (2.06) (99) 26 April 1964 - NME Poll Winners Concert, Empire Pool Wembley, London, England. L0012. Not Fade Away (2.01) (109) L0013. I Just Want To Make Love To You (2.19) (110) L0014. I'm Alright (2.07) (111) 27 April 1964 (Show One) - The Royal Albert Hall, London, England. L0015. Walking The Dog * L0016. You Can Make It If You Try * L0017. Beautiful Delilah * (2.14) (84) 27 April 1964 (Show Two) - The Royal Albert Hall, London, England. L0018. Not Fade Away * (112) L0019. High Heeled Sneakers * (113) L0020.
    [Show full text]
  • Literalines 1999
    '•, Y~,;,;., l \~ ~ ~· ·~, ~· :~~~.. LITERALINES VOLUME VI SPRING 1999 LITERALINES FACULTY EDITORIAL BOARD Mohammed Ansari Dennis Orwin Carol Austin Lisa Siefker Terry Dibble Rob Stilwell George Granholt Howard Wills Nancy McGill Katherine Wills FACULTY ADVISOR Judy Spector STUDENT PRODUCTION STAFF Laura Jordan, Ellen Kirk, Angie Richart, Debbie Sexton, and Dana Turnbow THE LITERALINES FACULTY EDITORIAL BOARD assembled and staring at a blank screell in pursuit ofperspective and inspiration. Uteralines, the IUPU Columbus Magazine of the Arts, is published in the spring of each year. ©Copyright 1999, first serial rights reserved. VOL. VI IN MEMORY OF DAVID SANCHEZ AND BERNARD RICHART Cover Art: "Perspectives," David Sanchez, 1970-1998. - CONTENTS Photo: Angels Sandy Rilenge .............................................................................................. 4 Angels in the Graveyard Laurie Rude ...........................................................· ...................................... 5 The Dis-Ease Ann Kristin Sanchez .................................................................................... 6 Restless Nights Arvilla Ater ................................................................................................. 7 Heaven and Hell Angie Richart .............................................................................................. 8 Drawing: Country Scene David Sanchez ........................................................................................... 1I Notes to Myself Arvilla Ater ..............................................................................................
    [Show full text]
  • Digital Bootleg Gems
    Rolling Stones – Prairie Love Digital Bootleg Gems © Felix Aeppli 05-2021 From The Archives (pre-2008 releases, section to be continued) 9582 ALL MIXED UP (Double) (Rabbit Rec. RR 024/25) A01 I’m A Little Mixed Up u.t. All Mixed Up 06:39 0.415:87 A02 Looking For Trouble 03:03 0.415:46 A03 Cook Cook Blues 05:28 0.415:51 A04 I Love You Too Much u.t. I Can’t Help It 03:24 0.415:53 A05 I’m A Little Mixed Up u.t. All Mixed Up 02:39 0.415:86 A06 Break Away u.t. Chain-Reaction-Groove 04:21 0.338:25 A07 Golden Caddy 08:58 0.415:43 A08 Down In The Hole 07:22 0.343:41 A09 Munich Hilton 05:29 0.415:41 A10 Munich Hilton 02:00 0.415:42 A11 You Can’t Cut The Mustard 03:26 0.415:31 A12 You Can’t Cut The Mustard 02:54 0.415:40 A13 It Won’t Be Long 05:33 0.338:07 A14 Break Away 04:32 0.338:25 A15 I Think I’m Going Mad 06:41 0.338:21 B01 Dance 07:07 0.343:40 B02 She’s So Cold 06:55 0.338:06 B03 Slave 08:50 0.350:11 B04 Respectable 06:54 0.335A:01-03 B05 Beast Of Burden 01:28 0.335A:04 B06 Beast Of Burden 03:52 0.335A:05+06 B07 Summer Romance 01:11 0.335A:07 B08 Respectable 02:18 0.335A:08 B09 Respectable 02:36 0.335A:09 B10 Respectable 02:57 0.335A:10 B11 Shattered 04:47 0.335A:11 B12 Respectable 03:23 0.335A:12 B13 Shattered 04:09 0.335A:13 B14 Beast Of Burden 05:46 0.335A:14 B15 Miss You 11:41 0.310:39 9592 CHAINSAW - UNDERCOVER OUTTAKES VOL.
    [Show full text]
  • Trouble Songs
    trouble songs Before you start to read this book, take this moment to think about making a donation to punctum books, an independent non-proft press, @ https://punctumbooks.com/support/ If you’re reading the e-book, you can click on the image below to go directly to our donations site. Any amount, no matter the size, is appreciated and will help us to keep our ship of fools afoat. Contri- butions from dedicated readers will also help us to keep our commons open and to cultivate new work that can’t fnd a welcoming port elsewhere. Our ad- venture is not possible without your support. Vive la open-access. Fig. 1. Hieronymus Bosch, Ship of Fools (1490–1500) trouble songs. Copyright © 2018 by Jef T. Johnson. Tis work carries a Cre- ative Commons BY-NC-SA 4.0 International license, which means that you are free to copy and redistribute the material in any medium or format, and you may also remix, transform and build upon the material, as long as you clearly attribute the work to the authors (but not in a way that suggests the authors or punctum books endorses you and your work), you do not use this work for commercial gain in any form whatsoever, and that for any remixing and trans- formation, you distribute your rebuild under the same license. http://creative- commons.org/licenses/by-nc-sa/4.0/ First published in 2018 by punctum books, Earth, Milky Way. https://punctumbooks.com ISBN-13: 978-1-947447-44-8 (print) ISBN-13: 978-1-947447-45-5 (ePDF) lccn: 2018930421 Library of Congress Cataloging Data is available from the Library of Congress Book design: Vincent W.J.
    [Show full text]
  • Rolling Stones - Connection
    Rolling Stones - Connection © Felix Aeppli 2021-03-29 Update Part 1 FULLY FINISHED STUDIO OUTTAKES VOL. 1.2.3 (Black Frisco Rec. BFR 101-103) Year Length TUG Entry Comments CD 1, VOLUME 1 (TIME 79:20) 01. NOBODY'S PERFECT 1985 04:07 0.432:101 New title 02. TROUBLE’S A COMING 1979 04:46 0.338:32 New title 03. DREAMS TO REMEMBER 1982 07:45 0.415:118 New title 04. DON’T LIE TO ME 1985 02:10 0.432:102 05. FIJI JIM 1978 03:43 0.311:67 06. ELIZA UPCHINK 1982 04:41 0.415:119 07. DEEP LOVE 1985 03:47 0.432:100 08. SHE’S DOING HER THING 1967 03:05 0.141:52 New title 09. PUTTY IN YOUR HANDS 1985 03:09 0.432:103 Finally out! 10. BIG TRUFF [u.t. DOG SHIT] 1982 06:09 0.415:120 New title 11. 20 NIL 1997 05:45 0.650:68 New title 12. TELL HER HOW IT IS 1970 04:07 0.188B:20 New title 13. (YOU BETTER) STOP THAT 1982 02:49 0.415:121 14. SCARLET 2020 03:39 1.284:7 15. WALK WITH ME WENDY 1970 04:07 0.188B:21 New title 16. NEVER MAKE YOU CRY 1978 04:32 0.311:68 17. PART OF THE NIGHT 1982 05:39 0.415:122 18. LOW DOWN 1997 05:12 0.650:67 CD 2, VOLUME 2 (TIME 74:32) 01. IT’S A LIE 1979 04:22 0.343:66 02.
    [Show full text]