Blog Archives
Judgements & Misconceptions (2000)
*Originally written on a Hyatt Regency letterhead, this poem was turned into a spoken word house music track and released on Fluential Records (UK) in 2002, with music produced by Wilson and Steven Mestre.
It was about 6:15 in the morning I’m drunk and I’m high and I’m in Chicago now, I had just stumbled out of some club, somewhere I can’t even remember, and um I walked to the corner to hail a cab and after five empty cabs just passed me by one finally stopped Read the rest of this entry
My Verse – a visual spoken word
http://www.youtube.com/watch?v=jkrDE5oYjRs&noredirect=1
today I write my verse
not because I want to
but because I have to
I write my verse to
give voice to the voiceless
to give sound to the silence around
to make light out of dark
to bring peace out of war
and squeeze water from oil and blood
and so,
I write my verse
compelled to write words
that might right all the wrong
that’s been done all along
through me
words
must be written
must speak for the children
for those who can’t stand
on their own
like twelve-year-old Eduardiño and
his favela boys who sleep
under bridges and tunnels
and call the streets their homes
who steal meat just to eat
or sell drugs for the thugs with
with no mother’s arms to hold
Eduardiño, who’s 9mil glock
locks and jams
as he pulls the trigger
the Swedish tourist shivers
but that’s just life in Rio
for skinny Eduardiño
my verse is for Malai in Bangkok
so cute, so fresh
so ruined
at only ten, she sells her assets
for a toothless street pimp
who promises pure puntang to
fat-bellied, gray haired Americans
but her pickings ain’t pure at all
this ain’t Malai’s first rodeo
she’s been riding the bull since long ago
her heart weighs more than rocks and blocks
cause there’s a reason they call it Bang-kok
I write for nine-year-old Dharani
who, instead of learning to read and write
wakes at 4am to struggle and fight
to scavange the Dhapa dumping grounds
of Calcutta
in discarded filth with her mother
digging for food, plastics, metals
anything of value she can peddle
knee deep in middle class trash
what use in books and math?
when the urgency of now is pressing
to look upon her is depressing
but she smiles, she smiles,
she smiles
inspiring my words for miles
these lines are for Michel,
whose muddied seven-year-old hands
tirelessly mix salt with oil and sand
twisting mud pies for his mother
with grandma, sister and brother
to sell for five cents a piece
in Cité Soleil market streets
but Michel’s mud pies
are not mud pies
like Carlo’s in Hoboken
his soul is nearly broken
his food from Haitian soil
I pay homage to his toil
cause eating earth is perverse
but still I write my verse
to try and nourish his dirt
Oh, these odes I write for Ashanti
no not the million-dollar pop star
but the nine-year-old malnutrition
who’s bruised and scarred
her fragile feet all charred
she’s been walking thirty days
across famined deserts in a daze
Ethiopia has gone dry
and no one really knows why
ten days ago
her two year old
brother Alem
was left behind
to dry and crack
like desert sand, his broken back
scorched by the sun and
treacherous heat
wasting away
just like Ashanti
and like 30,000 other children
no one even tried to save them
and so for them I write this poem
I write for the American silent majority
for those that know but won’t say anything
for those that say something but don’t know
the complacent
the complicit
the conspirator
my verse is for those
who’ve been silenced by default
who won’t use their voices
who can’t
who don’t
who shouldn’t
who should
I write my verse for truth and justice
it gives rise to those who once have spoken
it resurrects those leaders long gone
this verse hails their dead voices
invokes echoes of ghosts like
King and Malcolm
Mandela seraphim, Mahatma Gandhi still starving,
Harriet Tubman, Sojourner Truth, Frederick Douglass
Rosa Parks jumping off the bus
cause she just can’t take the ride anymore
I can’t take it anymore
so I write it down
right here
not for myself
but to myself
because all I do is write
and all you do is listen.
Read the rest of this entry Even Mexican’s can Sing “God Bless America”
Wouldn’t it be amazing if Anoushka Shankar could perform a rendition of God Bless America at an MLB all-star game, her Sitar in hand, strumming a world beat, with a drummer at her side, adding color to our song? What about Femi Kuti, there at center field of the Yankee Stadium with his African rhythms? Why can’t Los Juanes love America too, or a Mariachi band? Celia Cruz would’ve been great, with Tito Puente on timbales. Why not Juan Luis Guerra? That might actually be ideal since large portions of MLB players are Dominican anyway. It might make them feel more at home. Ironically, the same people bemoaning that “Mexican” Marc Anthony singing the anthem are cheering for our darker Dominican brothers like David Ortiz and Melkys Read the rest of this entry
NYU Student Films (1994)
This collection of student films was originally shot on 16mm B&W stock in 1994, during a 6 week intensive film course at New York University, Tisch School of the Arts where Wilson Santos studied. After years of lugging a green rucksack full of these old film reels from apartment to apartment, Santos finally rescued them from oblivion, projected them on a screen and re-shot them using a Canon T2i. Although Santos hasn’t produced another film since then, choosing instead to write, produce music, design, study and educate, looking at these shorts and now working as a professor at Full Sail University has inspired Santos to grab a camera and start shooting again. Let’s see what 2013 brings.
*All films were written, directed, produced, and edited by Santos at NYU, 1994.
The Conga Man – 1994
The Conga Man is Wilson Santos. The Wife is Tina. The Daughter is Tina Lanne.
—
The Chase – 1994
The Thief is Danny Gomez. The little girl is Tina Lanne.
—
Mary The Widow – 1994
The Murderer is Danny Gomez. The Widow is Mary.
—
Rain Drops – 1994
Montage of images in Greenwich Village near NYU on a rainy day.
Djembe
Bill has been on the block since Vietnam, and has seen it go from White to Brown. He grew up across town, in a one-bedroom with his mother, when Bergenline was still Italian. He saw the first wave of Cubans come in the late 60’s, and felt right away this meant trouble. He watched as the Marielitas turned the town Brown in the 80’s, while the Italian exodus moved west to the burbs along route 3, where it was still White. But Bill refused to leave. He was a Veteran and the only thing he knew how to do was to stay and fight for what was his. At least that’s what he likes to tell people. Read the rest of this entry
Walt Whitman: Slavery, Paradox and Future Poetics
*This essay was originally written for a Graduate course on American Poetry in Fall 2010.
Walt Whitman’s personal inconsistencies regarding his position on slavery have been the subject of much scholarly criticism and debate. It has been well documented that Walter Whitman, the journalist, political activist and public figure, held dramatically opposing views on slavery and race concerns than did Walt Whitman, the poet, bard of democracy and champion of equality. The latter Whitman used his poetry–particularly the many editions of Leaves of Grass–to indulge in a sense of admiration, identification, sympathy and respect for the “hounded slave,” while the former was an active member of several political parties, composed ideological editorials in a few political publications and was for some time, an ardent opponent of the abolitionist movement. Given his blatant paradoxical ideologies and his transparently polar vision on slavery, how is a twenty-first century reader supposed to reconcile these contradictions? Read the rest of this entry
The Island of Refugio Bautista
The sun rises over the drought stricken hills hovering Los Pinos Del Eden, a small farming town borne from the shadows of La Descubierta, Dominican Republic, where Refugio, climbing out his mosquito net, has just wakened from reminiscent dreams of New York City, fantasizing about the corner of 8th Ave and 6th, eating two Papaya hotdogs with sweet onions, ketchup and a piña colada. It’s a bustling New York Saturday night. Fast motorcycles line the Avenue. Women in tight shorts and fat asses walk to Club Bad. The incense man across the street peddles fragrances and who knows what else. Old vinyl records spread across the sidewalk are looking for a home. Refugio is walking tall in tight leather pants, motorcycle jacket, dark shades, five o’clock shadow and mohawk. His Harley is pulled up beside five pimp’d out street bikes. He climbs on his hog, revs the throttle, and shoots north up 6Th Ave toward Washington Heights.
Judgements & Misconceptions
It’s about 6:15 in the morning. You’re drunk and you’re high. And you’re in Chicago. You’ve just stumbled out of some club. Somewhere. You can’t really remember. And you wobble on down to the corner, scanning the streets around you.
You reach out your slumbering arm to hail the first cab you see. He pretends not to see you. But you don’t think anything of it. Again, you reach out. Again, another cab passes and again and again and again.
And you know your neon red jacket is glowing majestic sparkles off the rising sun, so it’s impossible for them not to have noticed you standing there all shiny and shit; your shades silvery cool like mirrors reflecting Jim Morrison before he became fat and sloppy. Read the rest of this entry