"Less reprehensible" (James Joyce's outlaw song)

Soldiering forward on the busting up into song lyrics the part of James Joyce's Ulysses I liked the best when I finally read the great book.

Still plucking from the chapter, deep in the text, written in Q&A form. The bit below I would like to hear set to music forms the midde part of a long answer to the question "Equanimity?"

I think of this as James Joyce's outlaw song.

"Less reprehensible"

As less reprehensible than theft,
highway robbery, cruelty to children
and animals, obtaining money
under false pretenses, forgery,
embezzlement, misappropriation
of public money, betrayal
of public trust, malingering,
mayhem, corruption of minors,
criminal libel, blackmail, contempt
of court, arson,treason, felony, mutiny
on the high seas, trespass,
burglary, jailbreaking, practice
of unnatural vice, desertion
from armed forces in the field,
perjury, poaching, usury,
intelligence with the king's enemies,
impersonation, criminal assault,
manslaughter, wilful
and premeditated murder.

*



More in this series

"Example?"

"Restless. Solitary." (maybe after Samuel Barber)
"I'm tired of all them rocks in the sea"
"Pretty pretty petticoats"
"Music without Words, pray for us" (instrumental, or not)
"SIGNOR MAFFEI: (With a sinister smile)"
"Sad music" (instrumental)
"Monkey puzzle" (Fuller, Joyce, King)
"What kind of a present to give"
"Fires in the houses of poor people" (Fuller, Joyce, King)
"Christfox in leather trews" (Fuller, Joyce, King)
"All future plunges to the past" (Fuller, Joyce, King)
"She was humming" (Fuller, Joyce, King)
"Silly billies:" (Fuller, Joyce, King)
"Happy Happy" (Fuller, Joyce, King)
"A sugarsticky girl" (Joyce, King, A Better Guitar Player Than Me)
"Everybody eating everyone else" (Joyce, King, You)
"Blood not mine" (Joyce, King, Your Name Here)
"Sell your soul for that" (Joyce, King, Your Name Here)
"Over the motley slush" (Joyce, King, Whoever Helps Me)"My childhood bends" (Joyce, King)"
"Don't you play the giddy ox with me!" (Joyce, King)

*

Image from Sodahead.

"Example?"

Early last June I got a good run up on Bloomsday by posting song lyrics I had carved from James Joyce's Ulysses. (Bloomsday is June 16, the day the events of that novel transpire.) I seemed to have kept at it until August, and up to page 608 of my batterd Penguin edition of the great novel, with less than 100 pages to go ... when I just stopped.

Well, its not exactly reading aloud from Ulysses in an Irish pub, soaked in Guiness and surrounded by stately, plump companions, but I will observe Bloomsday 2010 by resuming my song lyric series with an eye toward actually finishing this time around. I only have nine other pages of this edition noted as pregnant with lyrical potential, so in a week or so I should have a complete list of song lyrics to start scoring - or distributing among stately, plump friends to score.

This bit is from the chapter of the novel that is written in Q&A format. So despite the litany of choice song titles in these lines - "New hat with rain" maybe being the best - I'll use the Q that provokes the A as the song title. It has an art-rocksiness to it. Like Game Theory, a band much influenced by Joyce.

"Example?"

She disliked umbrella with rain,
he liked woman with umbrella,
she disliked new hat with rain,
he liked woman with new hat,
he bought new hat with rain,
she carried umbrella with new hat.

There are just a hundred lovely ways you could set a sequence of lines like that to music. The one I'd like to try first is a six verse song, where verse one is the first line, verse two is the first two lines, verse three the first three lines, and so on, and then the song ends with the last line of the sixth verse, which is the first time you sing the sixth and last line - "she carried umbrella with new hat" - though maybe that line would be looped as an outro refrain ... six times.

More in this series

"Restless. Solitary." (maybe after Samuel Barber)
"I'm tired of all them rocks in the sea"
"Pretty pretty petticoats"
"Music without Words, pray for us" (instrumental, or not)
"SIGNOR MAFFEI: (With a sinister smile)"
"Sad music" (instrumental)
"Monkey puzzle" (Fuller, Joyce, King)
"What kind of a present to give"
"Fires in the houses of poor people" (Fuller, Joyce, King)
"Christfox in leather trews" (Fuller, Joyce, King)
"All future plunges to the past" (Fuller, Joyce, King)
"She was humming" (Fuller, Joyce, King)
"Silly billies:" (Fuller, Joyce, King)
"Happy Happy" (Fuller, Joyce, King)
"A sugarsticky girl" (Joyce, King, A Better Guitar Player Than Me)
"Everybody eating everyone else" (Joyce, King, You)
"Blood not mine" (Joyce, King, Your Name Here)
"Sell your soul for that" (Joyce, King, Your Name Here)
"Over the motley slush" (Joyce, King, Whoever Helps Me)"My childhood bends" (Joyce, King)"
"Don't you play the giddy ox with me!" (Joyce, King)

*

Image from Kissed by a Rain God.

My windy introduction of Clewell for our Missouri History Museum program

At 7 p.m. Thursday, June 17, Poetry Scores will kick off its (half) Year of Ruby in the downstairs Lee Auditorium of the Missouri History Museum with "Jack Ruby and the FBI: A Poetic Exploration," featuring Missouri Poet Laureate David Clewell reading from part of his long poem Jack Ruby's America that embeds what might be called a conspiracy theory for why Ruby shot Lee Harvey Oswald. This, or something like it, will be my introduction.

I would like to thank you for coming out tonight to see "Jack Ruby and the FBI: A Poetic Exploration". I am Chris King, creative director of Poetry Scores, which put together tonight's event. I would like to thank the Missouri History Museum for sponsoring the event and promoting it. The initial promotions promised Missouri Poet Laureate David Clewell and parapolitical researcher Kenn Thomas. In the end, we only have Clewell. This means we will get out a little early and get over to The Royale a little early for the afterparty and to chew over what we have heard tonight. It also means, sorry, you will get a little more of me and of Poetry Scores.

So, I am going to talk for a few minutes about Poetry Scores and the work we are doing with David Clewell's great poem Jack Ruby's America. I will talk a bit about the poem and how we will approach it tonight. And then I will introduce the poet laureate of our state, who will read from some parts of Jack Ruby's America that might have turned up in the FBI file of Mr. Ruby, who of course shot dead Lee Harvey Oswald, who of course had been arrested and charged with the murders of President John F. Kennedy and Police Officer J.D. Tippit.

Tonight's event kicks off The Year - or half-year, I guess - of Ruby that Poetry Scores has organized around Clewell's poem. Poetry Scores is a Missouri non-profit arts organization that translates poetry into other media. Our core form is in fact the poetry score, where we set long poems to music as one would score a film, then release them on CD.

These scores tend to be difficult to reproduce live, so we hit upon the idea of releasing the CDs in conjunction with an Art Invitational, where we invite 50 or so artists to make new, original art that responds to the poem we have scored. The artist is required to title their piece after a verbatim quote from the poem, and then we hang the art in the gallery space according to where in the flow of the poem the language chosen for the title of the work appears. In this way, in a sense, it is the poem that hangs the show.

Then, since we have these things called "scores" and we had started to branch out into other media, and because I adore silent cinema, we began to write, shoot, and edit silent movies to our poetry scores. Up until now we have released four Poetry Scores CDs and made a movie to one of them, "Blind Cat Black", which premiered at the St. Louis Filmmakers Showcase two years ago and next month is screening in two cities in Turkey.

Turkey? "Blind Cat Black" is by a Turkish poet, Ece Ayhan, who is enjoying something of a renaissance right now. Like two of the four poets we have scored to date, Ece Ayhan died while we were scoring his poem, and as we all know death is good for business when it comes to poets.

We are already done, more or less, with our score to Clewell's poem, though we encourage him to live long enough to see us release the score on CD, and so put us over the .500 mark for poets successfully living through the experience of having their poems set to music by Poetry Scores. In fact, we intend for Clewell to live long enough to see the silent movie we plan to eventually make for our Jack Ruby's America score, which Clewell and I sort of hit upon together when he was telling me about a zombie marionette show he had seen recently. (We like to have zombies in our movies; just one of those things.) Since it would be a bore to do yet another feature film around Ruby and Kennedy based on archival footage, and we could never afford to shoot live action on location in all these famous Dallas locations, I am thinking to do our Jack Ruby movie as a silent marionette movie - a silent zombie marionette movie.

The zombie puppets, I am thinking, will be the mobsters, the gangsters. And this brings us around, finally, to our theme for tonight, "Jack Ruby and the FBI: A Poetic Exploration".

For many Americans and armchair historians all over the world, the murders of Kennedy, Tippit, and even Oswald remain unsolved mysteries. We saw Kennedy and Oswald killed, on television or in newsreel footage. In the case of Oswald, we even saw quite clearly who killed him: the hero of our poem, Jack Ruby, born Jacob Rubenstein, a tough Jew from Chicago. But Oswald was killed - by Ruby - before he had his day in court, and he denied having killed the president or the police officer. Famously, Oswald said, "I'm just a patsy." And our criminal justice system prosecutes conspiracy to murder as well as murder itself, so anyone who doubts the lone gunman theories - what Clewell's poem calls "Oswald, only Oswald" and "Ruby, only Ruby" - would have to classify these murders as still unsolved.

Clewell's poem offers a theory for what happened in Dallas during those November days of 1963, and since it accounts for a conspiracy, it is by definition a conspiracy theory. But it is a conspiracy theory offered in a poem, and it is the poetry that interests us foremost. Tonight, David Clewell will read from part two, "The Chicago Cowboy", of this five-part poem, Jack Ruby's America. As you will hear in a moment, Clewell opens the section with two epigraphs that deny Ruby had any connections to a larger conspiracy to kill the president and rub out the "patsy," Oswald. One is the very famous quote from The Warren Commission Report: "We could not establish a significant link between Ruby and organized crime."

As this part of David Clewell's poem unfolds, however, we see that the poet has established some "significant links between Ruby and organized crime". After we finish the poetry score and come back to make a silent marionette zombie movie out of Jack Ruby's America, if we cast the mobsters as zombies, we'll definitely be making us some zombie puppets.

Now I'd like to introduce my dear friend, the great poet and - thanks to First Lady Georganne Nixon and an obviously intelligent commission established by the governor - the poet laureate of the State of Missouri, David Clewell.

Introducing: The Larry Weir Memorial Chair in Zombie Dramatics

So, this evening we are hosting our third Experiential Auction. Doing public events are nailbiters always. But this year another mood besides anxiety was cast over the event.

We started to plan our second movie as the auction was coming together. Our plan is to always involve zombies in our movies in some way. I recalled that one of the experiences we sold last auction was to play a zombie in our next movie.

We auctioned off the experience to two different people, since volume is good when casting zombies. I got in touch with Scott Splater, one zombie experience buyer; he said he was good to go. But I had a problem with the other zombie actor we picked up through the auction. He had died.

It was Larry Weir. Larry, of course, was one of the original KDHX operatives and a longtime curator of songwriting in St. Louis. Also, always, a bon vivant and up for anything interesting. He would have made a great zombie. But he had died.

Larry had attended that auction with his wife, Kathy. I thought of Kathy. A lot of people have been thinking about Kathy. I got in touch with her.

Kathy, like many people I have been thinking about you. And now something odd has come up. We are starting our second movie, and Larry has a role in it as zombie he purchased on auction. I can tell you that and we can leave it privately with a smile; or if your spirit is right for it we could have some fun in Larry's honor. Think about it and talk to me.

Kathy wrote back right away.

It did make me smile. Larry was really looking forward to that! If timing permits, I'd love to take his place. I know he'd be very excited to know that you're starting on the new movie!

My move.

That was my suggestion! Further, I'd like to install The Larry Weir Memorial Chair in Zombie Dramatics for our future movies, with you as the first endowed chairperson. And publicize this in our offbeat way. Is that okay with your sense of things?

Kathy laughed out loud and said, "Yes. he'd get a kick out of it."

And so at this point, Poetry Scores is introducing: The Larry Weir Memorial Chair in Zombie Dramatics, and welcoming to the Go South for Animal Index cast the inaugural chairholder, Kathy Weir.

*

My photograph of Kathy and Larry is at The Royale during the auction where Larry bought the zombie experience. He also bought the experience of having a custom case of beer made to his specifications, then later wrote a nice essay, "Beer, baseball, and friends: a case," about that experience for us.

Poetry Scores 2010 Experiential Auction

Poetry Scores will hold its 2010 Experiential Auction from 5-8 p.m. Sunday, June 6 at Atomic Cowboy, 4140 Manchester Ave. in St. Louis. Admission is $10, which will be discounted from your first winning bid. All proceeds from the auction will go to Poetry Scores, a St. Louis-based arts organization that translates poetry into other media.

If you can’t attend the event on Sunday and like the looks of some of the experiences listed below, you can bid in advance at brodog@hotmail.com and hope you win. You can also send proxy bid ceilings in advance to brodog@hotmail.com, and on Sunday we will appoint someone to bid on your behalf up to your stated limit for any experience. NOTE: This is a community enterprise; bidding starts at $10 minimum and usually goes up in increments of $10 or less. By the nature of the auction, your money will be managed conservatively.

We prefer cash, but accept checks (made out to “Poetry Scores”), PayPal or credit.

The unique experiences on silent and live auctions are:

* Dinner and a symphony concert with Fred Bronstein, president of the Saint Louis Symphony Orchestra.

* Private tasting and tour with Schlafly head brewer Stephen Hale

* A burlesque lesson from Lola van Ella, producer of The Show-Me Burlesque Festival.

* Frontyard Features screens a movie on the big screen in your backyard.

* A private flight in a Piper Cherokee 160 aircraft with Brant Hadfield, who first soloed on his 16th birthday and obtained his private pilot's license on his 17th birthday (both FAA minimum age).

* A deluxe photo shoot with Wiley Price, photojournalist for The St Louis American

* Tour of the Missouri Capitol with retiring state Rep. Rachel Storch.

* Be alderwoman for a day as you shadow Ald. Kacie Starr Triplett.

* Tour of City Hall and lunch with Ald. Antonio D. French.

* A private tour of the City Museum for up to four people.

* A researched article on the history of your home or building by architectural historian Michael R. Allen.

* Missouri Poet Laureate David Clewell inscribes your baseball with a UFO drawing and poem.

* A trip to the gun range with Steve Fitzpatrick Smith, proprietor of The Royale.

* The artist Kim Keek Richardson paints your dream and gives you the signed painting.

* The artist Tim McAvin paints your band and gives you the signed painting.

* The artist Wiktor Szostalo draws you in the nude and you get to keep the signed portrait.

* A free class in “Falling Down with Sammich the Tramp” – a lesson in physical skit comedy with Kyla Webb.

* Atomic Cowboy bartender Matt Obermark offers his services as mixologist for two hours at your dinner party – U.S. Bartending Guild member headed to New Orleans for a national drink contest, he is.

* Lunch or dinner at O'Connell's Pub for 2-4 with legendary founder Jack Parker; food is on Jack, booze if any is on you.

* A romantic dinner for two at Senor Pique, the area’s finest Mexican dining

* You name a menu item at The Fountain on Locust (owners have veto power over obscene or offensive titles).

* You see the concert of your choice at The Pageant with Matt Fernandes of the Rock Candy blog on StlToday.com.

* Kieran Molloy treats your party to two hours of live Irish music and songs

* You get six free appraisals on old toys or baseball items from Andy's Toys, Vintage Toy Shop (11624 Gravois Rd ~ Sunset Hills), a $20 gift certificate for the shop, and a copy of the new Surrealist Movement book: HYDROLITH.

* An Old North Flickr Tour with Old North resident and passionate amateur photographer Thom Fletcher

* Watch a Cardinals game at the location of your choice with James Blackwood and learn to score a baseball game.

* Poet and Tarot diviner Stefene Russell does your Tarot reading

* Artist and diviner Marth Rose reads your future from your palm and regales you with stories of Jack Ruby, her father's friend, over a bottle of good cheap red wine.

* Bodybag Man (aka Typewriter Tim Jordan) teaches you how to stay alive in a bodybag and to hop around in it.

* Wellness specialist Dianna Lucas treats you to yoga and a picnic in the park

* St. Louis bluesman Bob Case writes and records a blues song with, or for, you.

Again, send proxy bid ceilings to brodog@hotmail.com if you can’t come on Sunday to the Atomic Cowboy, 5-8 p.m. Throughout the event (and afterwards), Atomic Cowboy will be serving food and drinks, in its normal course of operation.

All bidding for all experiences starts at $10 minimum. You may email a proxy bid ceiling for any experience to brodog@hotmail.com (please put “Experiential Auction” in the subject line). Someone from Poetry Scores will confirm that your bid has been received. At the auction, your proxy will open bidding for you at $10 on your experience(s), and raise any competition you have $10 at a time until you win or get outbid beyond your ceiling.

Winners will receive a certificate stating they were the winning bidder for their experience and contact information for their experience donor. Poetry Scores also will follow through and make introductions between all experience donors and winners. The winners will have a complete calendar year (starting June 6, 2010) to collect on their experiences, and will need to sign a simple waiver taking personal responsibility for their health and well being while having their experiences.

All proceeds benefit Poetry Scores, a non-profit St. Louis-based arts organization that translates poetry into other media, including music, movies and visual art. For much more information, visit the blog at www.poetryscores.blogspot.com.

Questions? Contact creative director Chris King at brodog@hotmail.com or 314-265-1435.

*

Ira Kaplan of Yo La Tengo made a mixtape with us on it

The independent musical artist, if you will pardon a pompous term, learns about what impact his self-promoted release is having, if any, by luck or narcissism. You either happen to be listening to the community radio station when a deejay dials you up - or you have been searching every nook of the internet for a trace of your record again.

Knowing my coproducer Matt Fuller, he just got lucky when he heard Ira Kaplan play a song from our latest poetry score on WFMU. Matt just called it to the attention of the main musicians on The Sydney Highrise Variations, those of us who bashed out the Three Fried Men songs to Les Murray's poetry that we recorded in Nashville.

The Nashville setting, in our lifelong musical partner Lij's studio, is what got us connected to Ira Kaplan. Ira's great rock band Yo La Tengo has been making records for many, many years with Roger Moutenot. Roger is a Nashville transplant, and like most people in its closeknit rock music scene, he and Lij know each other well. He came by the session one day, and to spell Lij on the drumkit he sat in for a stretch of the poem we scored as spoken-word rock, "The C19-20".

Ira Kaplan would be far too sly and self-directed to just play the song with his buddy on drums, when he dipped into his sack of rarities to get through the very last stretch of a good long guest deejay spot on WFMU, his local station in New Jersey. Nor did he pick one of our band songs that rock anything like Yo La Tengo. Those of us who have followed his band for years understand Ira to be a discerning and serious listener of all manners of music, and a sharp critic.

Though I was very pleasantly surprised to see that Ira Kaplan had played a song from the record I sent him on a really fantastic radio station, I was not surprised to find he had picked one of the oddest songs on a really odd record we made from the magnificent Australian poet Les Murray's long poem of modernity and cities, The Sydney Highrise Variations.

Ira played a song Matt Fuller and I cobbled together from field recordings and the poet's own performance of the poem, the recording of which was itself a field artifact. I was living in New York when Les Murray came through once, and with no connections in that city's vast music scene, I relied on a Turkish girlfriend who knew a club deejay in Astoria who had some spotty recording gear in his apartment. Alex the Turkish club deejay literally turned his back to one of the world's greatest living poets and played video games while Les Murray sprawled in a recliner and recited.

Working in his sister's spare bedroom in Hollywood, which afforded more space than Matt's crowded bungalow with baby, we dropped snippets of Les' reading over an old field recording of Lij's guitar parts. I have been writing songs through the mail with Matt, Lij, and John Minkoff for exactly as long as they have been moving away from me in St. Louis. I never abandon any of those tapes. I go back to them every time I start a new poetry score project. This guitar tape scrap is particularly cool because Lij just moans right through his guitar part. I hear a rising haze in Lij's moaning over Les' twangy Australian accent as the poet describes "the new city standing on its haze above the city".

I did a lot of final piecing-together with Adam Long, the boy genius who will probably get the Grammy this year for his mixdowns on the Fela! Broadway show record. (Two records Adam mixed were up for Grammys the last two years, in Original Broadway Cast Recording and Pop Gospel.) This part of Les' poem speaks of Sydney as a "flooded valley", and since it was raining in St. Louis when we were piecing it together, Adam stuck some fancy microphones out windows and drizzled all over the recording.

This was the song, "The new city standing on its haze," that Ira Kaplan played on May 12, 2010, sitting in for someone named Maria on WFMU. There are only three songs, a music bed for a back-announcement, and an outro coming after us on the three-hour show. Of course the radio experience is all about the sequence and the segue, and we come between "Merendolas" by Vale Tudo and "Lullaby" by Kenny Graham and His Satellites. I'll admit I don't know either of them any better than they know Poetry Scores or our band Three Fried Men, but that is the fun of having somebody like Ira Kaplan making up the playlist.

What we have out of this is not big sales and a hot hit record burning up the charts. What we have is a really amazing, three-hour mix tape - to guys who grew up on 90-minute cassettes, that is TWO mixed tapes, dude! - made by Ira Kaplan of Yo La Tengo, with a scrap of one of our oddball poetry scores worked in there at the end.

**

Please notice that on that WFMU playlist page, there are places to click to hear the show.

mp3

The new city standing on its haze
Three Fried Men w/ Les Murray

Picture of Ira Kaplan from Cause = Time.

K. Curtis Lyle stages an operetta for stroke-stricken Zimbabwe Nkenya

Music, migration and healing
K. Curtis Lyle stages an operetta for stroke-stricken Zimbabwe Nkenya

By Chris King
Of The St. Louis American

What is a poet to do, who wants to heal a musician friend?

How about stage a little multimedia opera about his personal journey, seen at once in terms of the poet’s own family, Barack Obama and Nelson Mandela?

“I’m trying to establish a narrative for Zimbabwe’s recovery,” says poet and elder K. Curtis Lyle, speaking of his friend and former collaborator, the musician Zimbabwe Nkenya. “If we can set an example for him, maybe it will bring him out of his paralysis and depression.”

The example will be set – and staged – 8 p.m. Tuesday, May 11 at the Kranzberg Studio, 501 N. Grand. The performance piece is entitled BARACKUTOPIA: Housecleaning and the Pursuit of Happiness: An Operetta in Seven Scenes. Admission is free, although donations will be accepted toward Zimbabwe’s rehabilitation and recovery from a massive stroke suffered last November.

Curtis will present his own poetic text, with live sound design by musician and multimedia artist David A.N. Jackson. Jackson will accompany the poet, along with bassist Josh Weinstein, and sing seven songs composed by the poet as part of the piece. Baikida Carroll has composed a musical score that knits it all together.

The performance also will have a visual element, consisting of photos representing the poet’s life from childhood to the present. The Kranzberg has a drop screen on which these images will be displayed; these photos will introduce each scene.

“My story is a story of migration,” Curtis writes in an artist statement.

“My parents migrated from the Deep South – Tennessee and Mississippi – to the West Coast – Los Angeles – during World War II. They have remained together for 69 years: he’s 95, she’s 94. They benignly govern a clan that extends over more than 24 states and four foreign countries. One was born in a black town in Mississippi, Mound Bayou. The other was born on the Choctaw Reservation, in Senatobia, Mississippi.”

In BARACKUTOPIA, he weaves the story of this intact, loving family with the larger fractured culture in which they and their people have evolved. The poet is a scholar of post-colonial Africa and of Africans in the Americas. He sees the rise of Nelson Mandela in South Africa and of Barack Obama in the United States as emblematic of a cultural healing that is possible with courageous leadership.

Whether performing this narrative of personal journey for a stricken friend will help bring that friend back to his strength remains to be seen.

Zimbabwe Nkenya’s wife, Deborah Mashibini, tells the story of his stroke.

“Sometime in the night on November 5, Zimbabwe had what the doctors referred to as a ‘massive stroke.’ He was air-lifted from Alton Memorial to SLU Hospital, but the stroke had already done major damage,” she relates.

“After five days at SLU, he was transferred to Jefferson Barracks Rehab Hospital – and was there until December 18. He has come a long way from where he was those first weeks in rehab, but he still has significant disabilities.”

She describes them.

“He is paralyzed, head to foot, on the right side of his body. He also has both aphasia and apraxia, which affect his ability to communicate. He understands everything that is going on, but is only able to say four or five words consistently and has the same difficulty with writing as with speech,” she says.

“While he was at Jefferson Barracks he developed an adverse reaction to a medication, and was sent to St. Anthony's Hospital. There they discovered that he had a large – and potentially life-threatening – abdominal aortic aneurysm. He had surgery to put a stint in for that in late February.”

Recovery for the stricken musician has been slow.

“The speech therapist tells us that he is making progress every week, but we find it difficult to be encouraged because it is so slow. He may be in speech therapy for years,” Deborah writes.

“Physical and occupational therapy were both discontinued in January because they weren’t seeing any improvement in his ability to move.”

“His ability to move”: nothing could be more important to a music, or a migration. Zimbabwe Nkenya, K. Curtis Lyle and BARACKUTOPIA certainly have their hard work cut out for them.