THE PAPER IS DREAMING

Punctuation to duck taking flight has noted zig and zag below high

2010-05-19T17:36:00.000-07:00

PunctuationN. skied Cloud as if a sound file in allusion.

as water flies –sky flows by. line too. breath disposed unnecessary off

…fluid mirrors repetition stroke

spillage border stories away, edge seen permutations … ( - )

reported in speech

“the depth of the sky blues pond goose pimples penetrate skin depth twice afar”, said/say.

Free Verse

2009-02-27T12:19:00.001-08:00

www.ourvoicesrising.org

POEMA DE CAMBRA ANTIGA

2009-02-04T03:29:00.000-08:00

This is a poem in Catalan I wrote a while ago. The piece is to be accompanied by lute and hurdy gurdy, inspired by the early Provençal trobadour tradition.

nao

noia nua

aïdant ones

nao dona nua

cos batut per sols i llunes

noia retallant nudessa

nua

nao nua

beutat de nina

estripant l’aigua antiga

escolto la nit del llit

la tardor de les faldilles

entrescolto els crits de les gavines

l’espai anant a joc

**********

tot color terra cuita

garlant

et mous a corra-cuita

gàrgolan

xano-xano

bessals

clapotejant

cos ple de lluna

arrossagant desde lluny llum plena

garibots garibots

entresuor d’estels

atrabiliari de blaus

blues

jazz

soc

ja

**********

ara cinc

trafecs pàl.lids de lluna vermella

gratan sorra sorda amb gestes antics

vuit cossos buits

nova nao de tó nou

el mar del quasi

i del gaire bé

el mig

**********

robatori d’arnes

batxillejant la foscor

frec a frec

ta roba despullada

a la cadira proper

llensols tossuts

endarrerits i eldarullers

cercan la troballa

dels gèneres nodreits

entrescolto xarramecas arrugades

estones de dones a prop del mar

danses fredes de xafugor

soroll de bracelets arruballats

la mà enyora les paraules

l’òrbita del mot i el verb

capgròs

tres colors

set olors

(…) fusta (…) draps (…) calyx

damunt mig mitjes mitjanit

cames de seda enfilades

la llum diu antulls

a les falenes

ones de cop daurades

sense historia

per un nus riuler

aïllat a la mar d’una cambra antiga

nua nit

BARBED WIRE: THE LAND ESCAPES

2009-01-27T02:36:00.000-08:00

BARBED WIRE: THE LAND ESCAPES
Poem for wire and accordion.

Barbed Wire

We get tangled and pulled undone.
Then an explanation is provided.
Therefore an application. We are an object applied.
It is palpable since it can be enclosed.

A pulp novel lies on a fence. It is
either nothing to roam for shapeless
spots foxing paper colour by sun possession stays
too long or nomad in a thousand paged form.

Therefore it is manual and inmaterial in time
(when the cow began its treck unconsulted of
the constant of grass and water code).

Cattled on the clock so it is
cattle spiral winding cat walk.
Clocked cattle therefore nothing to write home
since hands on a moon fumbled all oval sounds
in the night bellowed mute secret strips.

It is then marked in half so it is folded
clocked in syntax. It is defined and creased.
So characters are posed cowardly tracing hooves
with finger tips printing brackets on tracks. Therefore it is
a photograph trapped in clippings
in a plastic torn bag. It contains dots
clorophila thorned hair stained blonde and
leaves falling mounted in spaces of fabrication within space.

Red district and blue blood and yellow soot
and cartooned joke.
Castration of moves is flesh and leather is fish dyed
prosperous spacious new year remark wound.
Therefore it had to be implemented
so the land escapes redone
paralleled in each forehead lines.

Paper Trapped

Pricked in sectors and segments
the barbed line hugs asymmetrically
from arm to arm bruised methodically
therefore it is mimetically tattooed .

The abandoned who’re the latter rain
fell on a motel railway
ancestral cuneiformed indented drops
read as ransacked news
from a looted Bagdad Museum.

Either hands at both sides claps and meets
pierced inner ear-lob or because they are
ear-rings like a telephone get sound wrapped.

Outside one cannot get in properly or property.
Inside one cannot get out from pressure or prison.
Neither can one come in or come out nor borders
settle castles in the air
so the poem lies on a fence.
Because storylines are a crown of thorns
lines of desire remain over trodden so
a TV cables up all the bodies from
a skyscraper window reflection.

A Path of Desire

Cattle clocked
cattle walk in fashion
fascist devil’s rope
alambre alambre alambre
al ambre al ambre
cannot return home
paperless a citizen in a city reserved land.

The bossom bleeds from thorns with no rose.
Hair grabbed a pause from a thread of a bird rest
wired curly in parts like a nest
gathered rust and wood
either spring gift or unresolved sprig.
In seasons horses amble near pressure point.
How to fence a cow.
How to fence the word soundlessly.

Because it is not removed
the immediate background
is controlled in a wired site.
Remote over empirical animals so
this poem traces out no experience so
the immediate wire therefore wireless
the question that was demoted.

Positions divided
a mere act of cartography that
bounds and unbounds so it is
terra incognita
and makes the position tenuous.
Connecting points a plantation.
A mine the spatial commodity
exploited from distance
procurement to consumption
perimeters are usable resources.

Land alone does not do this for the investor’s colonialist.
It has to be used cultivated, grazed by animals mined and built
each land determining a different ecology.
So it is a different society to
draft animals and enslave humans

Passing Through

The cloud of unknowing
passes by
chosen in love
defined in lust
guarded by iron.
Dream in a sleep facing west.
I can make any cage to order
the piano that never grew played.
I planted some notes between the paper walls
and became a sentence
for you with love
Christmas falls
so it is a shred of snow
that covers the border.

Vagamond Temporarily Lost

In the street grades of definition
because your body contours
burst on the scene till it lasts
too clearly for a while then fumes.
A friend of a friend of mine
looks like someone else
I may have never met
before in the past.
That day to confess on somebody’s behalf is not shyness
but a blanket that enrolls a kind of hidden war.

Learning not to stay inside when you are brought outside
in the provided schools
there are corridors to protect someone from the truth
and give free access
to the games kids do not play.
The desks have sharp angles and white dust
cover their small hands
edges drawn.

There is a war of boredom delimited.
A war of my vision-is-this-as-truth
say it is the path to the future that happened
of the past you are number one say.
Let us forgive and advance
to go where say
not to see the state of the land say
but to go home I have to go back say.
Like that it is no advance because
you have to read the books as you pronounce
the accents on your unspoken troops.
Will you ever go back?

Did some one tell lie? Tell a truth
Al ambre al ambre
Was it you who used to cry out?
Wounded chair and your hips swing
dance into the shadow rock
spilled from a given green bottle.
A bird overcasts in brown the lines
divine between who will live and die
bodies enlightened in discounted light bulbs.
Concrete with no smell.

Text Escapes in Neon

Let me touch your body that leaves digital prints
and errs computer numb for a
part of the poem is red district where you bleed
the panic touch so becomes errant
the barbed wireless smell adds
on your skin
motion is to be prevented
so walls in aspiration breathe.
Being in a place
is something you do
with your body
applying pressure
to the space it has enclosed
the figure is now enclosed
bovine large udders
small bands of humans
control over the cow was easy
mark the land brand the cow
branded early in life
reverted so it is
violence and motion therefore it
is cinematic limial lips lawnlessness
lawlessness and sexagenic
age say sage.

A Stray Dog

Catch him catch the raving fleeing mongrel dog!
When the plains reached the north
barbed wire intruder trespassed
therefore classification will be sure to penetrate the skin
and give pain
barbed tool for the education of cattle.
Fenced in more than fenced out.
Therefore barbed is wire so it is natural now
the pain and the danger that resides in the skin
we have children in stock
ever since the domestication
a mountain range is shifting daily.
Teach the children arithmetic and learn fences
geography of a grimace as a collection
the umbrella ribs the pouring rain
the corset and the cage breast fed in bars
the naked eye and the natural light shimmers sharply
metal tone embarrasses us so it wrinkles
seduced and censored
agrarian exploitation
cattle roam cattle heard in crowds
from nation to citizen
neither the railroads nor land settlement laws
now accelerated the exceeded lines
of demarcation. Mine is your territorial division.
So the enclosure of a frontier is no man’s land
simultaneously vestiges before it disappears in no distance
it is still a malleable body
from clay to mud in
reserved land in
obliterated community’s needs
barbed wire enclosure
because it must be defined
because it must be controlled
because order brings understanding
because enclosure is including
because you must understand why

so it is because therefore explains
ex plains the land escapes.

Now this is a park.
There are many people sitting in deck chairs.
The pond the willow tree and the rowing boats
they are all being watched in the landscape
so they can think away from thoughts.
The manner in you coexist
pattern signifiers shift.
Across the northern border
paraphrased as deterrent
is an early morning scratch.

Trapped an undated photograph
an unidentified newspaper clipping
draws attention to a ceremony.
A far more personal
a far more responsive
a far more distant than cold metal.
You are included but then you are removed.
A delayed landscape ( ).

Debris
fireflies
mermaid scales create bodies
in the wind against directions tingle.
Fire flies again in direct stagnant oppression
where the heart lies
in love with a silent movie star.
The light is brighter in the silence.

What panic touch set the lines
agricultural and military trenches
resistance of the word rosin as it bled time.
Desire brings you here
the river bank and the school of fish
framed moments of instants
at homes on stolen land
settlers deny entry to immigrants
indigenous groups saw
we are all becoming a
dictionary of silences
barbed wireless picture
naked dress see through lies
subtitles occupied by the other.
Obliterated therefore can be integrated
populated across vast distance a homestead act.
Parceled out centuries of body search

vernacular
and it is not
and is it not heard
and unheard? Of either
sordid village
big atrium steals
the sounds of water-proof sirens
as you dream of all the silent movie
stars when you
compose your travels immensely
far.

Poems by Freddy Treuquil and Albert Pellicer

2008-10-12T13:32:00.001-07:00

13th October at the Bolivar Hall

OUR VOICES RISING

2008-09-17T14:46:00.000-07:00

Poems and sound on kites: www.ourvoicesrising.org

Diatonic Touch Four One

2008-08-25T09:17:00.000-07:00

Diatonic poem
Button accordion
Key words open
Breath in meaning

Diatonic accordion
Button poem
Key words open
Breath in meaning

Diatonic words open
Key poem
Breath in meaning

Open breath in meaning
Key button
Diatonic

From the verse novel: Within the Sound of a Parrot's Voice

2008-08-06T02:56:00.000-07:00

Is it too late to sleep?

The day is breaking into streaks of letters. I’m reading this moment

Writing filed forgotten tunes
forged in words
but the purpose of text
to use the hands when
the fingers dance
to a deeper sound
in nature documented

The room is veiled by a faint light. The croacking of frogs on this river bank

conductive rain
on leaves hem stripped
seasons see now lightning feathers
signalling birds
to accurately scrape
the mystery read
when it happens
and no longer there

A sense of objects better said than written

Cuneiform-like rain drops on corrugated iron
From the middle east to the equator
semi-comets drizzle on dried clay
sentenced this way words forsake part of a world
but logged while the pause is stirred clock-wise
and orbitted by minstrels round the sun
now a radar may read lips
now a satellite upside down sleeps

the sky gravitates tonight and sinks into the soil
but so does a faced-up seed

Reading Event

2008-07-23T01:43:00.000-07:00

EXILED LIT CAFE

Monday 4th August 2008
7.30 pm
A Few Words about Love
with
Iranian and European Writers
with
Ghazi Rabihavi, playwright - from Iran.
Ghazi's playlet is about the issue of women in Iran and is directed by Mara Lockowandt.
Rouhi Shafii, prose writer - from Iran
Ziba Karbassi, poet - from Iran
Albert Pellicer, poet - from Spain,
accompanied by Mark Matsena - saxophonist.
Wlodek Fenrych, poet - from Poland
Cristina Vitii, poet - from Italy
Stephen Watts, poet - from England
Hosted by Esther Lipton and Mara Lockowandt

www.exiledwriters.co.uk

Event

2008-07-17T15:09:00.000-07:00

Movimientos & Native Spirit present:

A BENEFIT EVENT

Saturday 19th July @ Hootananny, Brixton
7.30pm-4am
Tickets £15 on the door
A night of live music & documentary screenings promoting the protection of indigenous cultures, their right to autonomy, and sharing indigenous wisdom on how to live in harmony with nature.

All proceeds from the event go to the Native Spirit Foundation

8.30pm - 10pm Films

Yalayalama’ana (The strongest) – (20 mins)
Short documentary about an autonomous Wayuu School in Sierra de Perija, Venezuela, who benefited from money raised at a fundraiser held by Native Spirit earlier in the year. Produced by the Wayuumana community with the colaboration of Homo et Natura foundation

No es un joc (Not a game) – (45mins)
A documentary about child explotation in Latin America

Dir. Antonio Rosa www.ccoo.cat/noesunjoc

& Excerpts from films giving a taste of the forthcoming Native Spirit Festival

Live Music From 10pm
--------------------------
Grupo Ambaibo- music & jazz

Kogui -Rhythms, dances and melodies from the Caribbean coast of Colombia

Kausary - A mix of cool Andean music and hot Latin rhythms

+ Special Guest- Manu Chao

Speech Bubbles

2008-07-02T06:14:00.001-07:00

Speech Bubbles is part of a series of paintings that look into comic speech bubbles as visual text and search the 'place' the character(s) has created.

named

2008-06-24T15:20:00.001-07:00

Bird people human people ant people pebble people
latitude lost attitude loosening tongue lizard touch of dry sun
land of time skin granite gauge naked
cleavage undresses losing in sight speech tease leaves of thyme
herbs stem language words languageliquiditylanguage words
words of lips live
words of names noun
words of mouth
human being dog being monkey being legged quietness
tranquility liquid sand saliva equestrianequilibriumequinoxequation
equatorial
this is a word that is a word over here words
human being dog being turtle being ant being lizard being bird being
human being
moon with legs
named beings
named wings

Ruins Encountered

2008-06-17T07:37:00.000-07:00

El encuentro de las ruinas con tu voz rota
llevandome a tu ombligo de esta razón destruida
tu pozo de agua arrugada
en el origen cantos de noche sin luz neotica
a night in guarding motion
moment to moment revolve around onwards

sirens brush neon nights in twisted trails
alleys of signs reading rights alike phrases with face.

Suns in reflection of touched faith float
when the limbs are tools pressed against a glass pane and sink
again

the mermaid in a flood at the counter beacons
telling seafaring fortunes immersed body drowned
in mind

but paper boats onto a creased navel raid not in rescue
attempt words in shimmering language of reconstruction

while nothing

how do objects get married? Is the stool truly in love with the piano?
Genders' display of space: the she-table the he-sofa
an occupancy of night.

When you meet the ruins of your voiceless dawn

From the verse novel: Within the Sound of a Parrot's Voice

2008-06-11T15:45:00.000-07:00

G.R.O.U.N.D. perceived

The Land Escapes

It became a letter!

Reader, this poem,
in the space between sounds
overheard action broken down
into separate letters.
A community once free
of full stops and hidden
agendas cracked into
anagrams set to trap their spirits

but it is drizzling anyhow
in this background

Some Times Hay Veces: textiled poem woven

2008-06-11T15:14:00.000-07:00

Some Times

sometimes hay veces
everyday talks habla el día
about some
times how
any how will do

every day talks round
seasons las estaciones sin parada

sea sons have no mermaids el magma en el pecho
murmurs mutter
ich bin

el agua quieta
mother m other se escurre
ever green blow
blue ever still
evergreen routes
perennial las hojas perezosas
trial
tries to miss the judge
misjudge
empirical empire
sometimes tangles in betweeness
vision night vision supervision thought thoroughly
monitor
moths of calendars
dust dates
palm trees read roots palmeras fuego de artificio
enlightened by a light bulb
twelve mid wives mid nights mid summer winter
god amperes embraces
mighty kitchen lay chicken
eggs lying
enlarges breath
a packed lie
full house hugs
sometimes
satellites
capture pollen
corrugated iron makes waves some where no room
lakes leak lick tin tiny ton
other wise copulative verbs give birth

Alemu Aga: Master of the Begenna

2008-06-07T18:10:00.000-07:00

Interview with Alemu Aga in Addis

2008-06-06T08:16:00.000-07:00

EL ARPA DEL REY DAVID: UN SONIDO MILENARIO Y CURATIVO.
(Written for the Spanish media -A.Pellicer)

El arpa es uno de los instrumentos musicales más antiguos que recuerda la historia de la humanidad. Según Las Sagradas Escrituras, el rey David ya la tocaba y conocía sus poderes harmonizantes, su vibración beneficiosa. Cuenta la historia que Saul, suegro de David, padecía insomnio cronico y logró curarse escuchando tocar a su hierno. También el mismo Pitágoras usaba un instrumento parecido y llegó a manifestar que la música cura.

Pero la antigua arpa, precursora de la lira y la guitarra, difiere mucho de la que conocemos hoy. En la Bíblia copta etíope aparece con el nombre de beguenna, instrumento de diez cuerdas (diez mandamientos) de igual longitud. Estas se puntean con la mano izquierda aplicando una escala pentatónica. La mano derecha sostiene el arpa y a veces se usa para rasgear. El sonido es parecido al de un bajo sin ninguna similitud a la tonalidad del arpa moderna. La vibración de sus cuerdas nos transporta a un mundo flotante y meditativo que exige, por su singular sonido, una atención especial.

En la actualidad quedan pocos musicos que sepan tocar la bíblica arpa. Qienes la escuchan quedan prendidos y prendados de sus notas que siguen viajando a través del tiempo y del espacio. Hoy surgen de un local de una pequeña calle en Addis Abeba, la capital etíope. Allí encontramos al maestro Alemu Aga.

Nadie asociaría, al ver su moderna tienda de utensilios, que Alemu Aga es graduado en geografía y que fuera profesor de la prestigiosa Academia de Musica Yared, nombre en honor a Yared, santo etíope, patrón y fundador de la musica sacra abisinia. Cuando la dictarura de Menguistu prohibió todo tipo de manifestación espiritual, el maestro Alemu decidió dar clases particulares y conciertos de forma independiente. En la trastienda donde tiene lugar la entrevista hay tres beguennas, la más antigua es la que utilizaba su mentor. Aquí Alemu Aga compone, enseña y ensaya. Músicos de todo el mundo vienen hasta Addis Abeba para aprender de este maestro reconocido internacionlmente, que ha dado conciertos por Europa desde 1994 y que es el mayor exponente actual del arpa del rey David, la begenna.

P: ¿Empezó muy joven a tocar el arpa (begenna)? ¿Viene de tradicion familiar ?

R: No, mi padre no tocaba la begenna pero en la escuela se enseñaba musica tradicional. En mi escuela había un maestro de begenna y fue cuando empecé a interesarme de verdad. Además, la casualidad hizo que el profesor fuera vecino nuestro y facilitó mucho mi aprendizaje ya que tuve la oportunidad de practicar y aprender cuando quisiera. Desde entonces he continuado tocando la begenna.

P: Usted fue profesor de la Academia de Musica Yared. ¿Ya no da clases allí?

R: Si, enseñé durante ocho años. Pero llegó la dictadura militar, llamada Derge. El regimen era marxista y antireligioso y no obtuve la ayuda necesaria para poder enseñar y me vi obligado a avandonar. Ello no significó que dejara de dar clases, continué y he seguido dando clases particulares hasta el día de hoy.

P: Me podría contar un poco sobre la historia de la begenna, sus origenes?

R: Bien, existen dos versiones sobre su origen. Una versión dice que como Etiopia es cuna de la humanidad y, también origen de la civilizacion, este instrumento nace en Etiopia. La otra versión dice que vino de Israel porque la hizo popular el rey David padre del rey Salomon. Como la solían tocar los reyes y altos dignatarios, esta versión es más popular pues todos los reyes cristianos etíopes se han asociado a los descendientes del rey Salomon . Por otro lado, el arte de tocar la begenna sólo se encuentra en Etiopia. El propósito y manera de tocar sólo se encuentra aquí. Por lo tanto creemos que nació en Etiopia pero como digo también se cree que procede de Israel.

P: Se dice que el sonido de la begenna tiene poderes curativos. ¿Puede su sonido curar?

R: Sí, por supuesto. Tiene un sonido muy suave y grave y cuando uno lo oye te fuerza a escuchar con mucha atención y te transporta através de los pensamientos. Como fuerza curativa también se menciona en la Bíblia. David antes de llegar a ser rey tocaba para el rey Saul de Israel y el rey Saul sufría una enfermedad parecida al insomnio y siempre que escuchaba el tono de la begenna todo su dolor y problemas desaparecían. Era una alivio y hacía llamar al joven David para escucharlo. También se cree que si se guarda el instrumento en casa tiene buenas radiaciones. Sí, se puede decir que cura pero entre comillas. No en el sentido de ir al hospital o al médico pero es una curación mental, alimento para el alma.

P: Es un instrumento muy bello. ¿Lo llamaría arpa? Recuerda más a un bajo de una orquesta de jazz.
R: Los etíopes consideran este instrumento, la begenna, como el arpa del rey David pero si se compara el arpa con la begenna son dos tipos de instrumentos distintos sólo parecidos en que son instrumentos de cuerda pero la forma de tocarlo, el número de cuerdas difiere. Creo que el arpa tiene 32 cuerdas y la begenna sólo 10. Naturalmente el arpa se toca con las dos manos sentado o de píe pero la begenna se toca siempre sentado en una silla o en el suelo. En la version occidental de la Bíblia explica que el Rey David tocaba el arpa. En nuestra versión, en el idioma amharico y en su antiguo origen gez, el arpa cambia a begenna. Pero no sólo esto, la begenna es parte de la musica religiosa mientras que el arpa se toca en eventos tanto religiosos como seculares.
Son dos intrumentos distintos pero tradicionalmente se considera como uno y el Rey David su músico principal. El Rey David no fue sólo el rey de Israel sino también el elegido de Dios que estaba en el corazón mismo de Dios. Dios dijo haber encontrado a David con quién podia hablar de cualquier cosa. No es una cita exacta pero Dios residia en David. David escribió 150 salmos de una gran belleza y forman parte muy importante de la Bíblia y junto con las profecías que el Rey David escribió, son las palabras de Dios. Por lo tanto es un instrumento sagrado.
En las composiciones de begenna se usan temas bíblicos pero también hay poemas que tratan sobre la futilidad de la vida.

2008-06-05T15:23:00.000-07:00

time is tension

do you know the meaning
of the word, ”no”?
fresh breeze
we care for you
time is tension
I hear voices
today is tomorrow
on the rim of your life
noise
sentenced rephrased
twenty lines
member of time
your answer is your home
sunny great day
we care for you
ping-pong syllables
life-size document
time is tension
time is tension
every point revised
house at rest
shoot bullet dots
photo taken
we care for you
book released
watch me now
somehow
time is tension
it’s your own noise
a day awaits
in a calendar month
my life is safe
corridors of love
time is tension
the moon and the hole
air pilots
sold for you
I care for you
on the light side
I praise you

time extension

do you know the meaning
of no work?
fresh breath
week-end for you
time extension
I hear noises
no day is tomorrow
on the dream of your life
voice
sentence and pace
twenty lives
remember time
your trance is your home
son is your day
week-end for you
ping-pong tables
life-size monument
time extension
time extension
every point precise
house arrest
shoot bamboo buds
forsaken
week-end for you
booked this seat
catch me now
summer now
time extension
it’s your own voice
a day awaits
in a calendar moth
my life is pace
corridors above
time extension
too soon as a whole
air piles
salt for you
take care for you
on the sight side of things
I parade you

To Be Released soon

2008-06-05T01:58:00.000-07:00

They put it in writing for life and then they broke it a thousand times. A thousand treaties at their convenience.

SPOON POEMS

2008-06-03T05:13:00.000-07:00

SPOON POEMS (I) :
To taste the word

12.00

Utensil

udder and then
there is nourishing from taste the lips speak of motivations
and long stemmed legs fed coffee beans deer tracks a

wonderful bowled spoon crudely deep-carved from

sense-coloured

the mouth

08:00

   The door ajar
  tongue spoke twice
then it was nourishing taste chosen paradox
serving as a messenger of flavour clatter muffled
  kitchen-ware aware
   naked-knot

Street wise chance

2008-06-02T16:01:00.000-07:00

the flower shop froze
and the flower shop froze
tadpole tadpole
once a pond
a time puddle

< >

the flower shop froze
double-glazed through
sun-glasses
pink and green
kind delight stained
the naked eye filled

< >

the flower shop froze
tadpole tadpole
figuring the bloom
did it scrape you near?
leaning against
the spiralled season
in a certain threshold

< >

so many people living
together in a photograph

< >

Journey To Day

2008-05-31T15:00:00.000-07:00

Journey To Day maps the inbetweeness of actions and explores a journey that cannot be understood nor described but does exist ‘written’ in place and time. Journey To Day is a reading between-the-front-lines. A collaboration with musician Mark Matsena.

JOURNEY TO DAY

2008-05-31T12:48:00.000-07:00