I Speak of the City: Pedro Pietri


Puerto Rican Obituary
Originally uploaded
by OBermeo

A few months back Barbara found a near-mint copy of Puerto Rican Obituary at the San Francisco Public Library’s used book bin for $3. To say I was shocked would be an understatement. I held on to the copy for quite a bit of time before bringing it to the counter as if I was waiting for someone to come by and snatch it away.  “Excuse me, sir, the book you’re holding in your hands is much more valuable than three dollars.”

Cuz if that did happen, I would have been forced to agree with them and give back the book. But once I actually paid for it? Different story, broski.

“Excuse me, sir.”

‘No, you excuse yourself, papa.  I know exactly what I got in my hands and you best believe it’s worth more than three bucks but I already paid for it and unless you’re willing to argue the merits of quid-pro-quo in an open market economy in civil court… step off!’

Or I would’ve run like the wind with the book under my arm yelling ‘Catch me if you can’ like a homeboy gingerbread man.

Either way, the book is now in the happy confines of the Sexy Loft Library alongside some other great used book bin finds.  And on days like today, Pietri’s birthday, I can flip through it (gently) and find a great gem of a poem like “Unemployment.”  A poem as true today as it was nearly forty years ago.  The colors, the scenery, the details; all so specific.  No ambiguity.  Nothing coy.  The thing, the idea, the person, the City, the sentiment; all at the forefront so the poem can continue speaking for the poet who saw it all.

Unemployment

he gets on the train
at 125th street
and st nickalaus avenue
white shirt black tie
gray suit shoes shine
new york times help
wanted ads under his arm
his hair is neatly
process his wristwatch
does not function
the diamondless ring
he wears costs five dollars
on the block after
all the stores
close down for the day
on the train he takes
out his wallet & counts
500 imaginary dollars
after 59th street
came 42nd street & 8th avenue
& he gets out the train
& walks to the nearest
vending machine
& deposits a nickel
for a pack of dentine
& stares into the broken mirror
of the vending machine
for the next fifteen minutes
assuring himself
that he is looking good
and then he proceeds
to the employment
agencies and five
hours and three
hot dogs and two
hamburgers one pack
of cigarettes and
one pint of wine later
he is still homeless

© Pedro Pietri
from Puerto RIcan Obituary (Monthly Review Press, 1973)

Full of sound and fury, signifying nothing.

From The Contemporary Poetry Review:
The Lighter Side: Five Lessons from AWP (Or, Why We Hate Poetry Readings)

  1. There is so much truth here.
  2. It’s funny because it’s true.
  3. You know you’ve been to this poetry reading.
  4. Remember, it’s the lighter side.
  5. Don’t agree? Don’t argue with me, argue with Statler and Waldorf. Go ‘head. I dare ya.

 

Acknowledgment: Bestiary Magazine


Bestiary, Issue Two: Hip-Hop
Originally uploaded by OBermeo

Many thanks to John Paul Davis and everyone at Bestiary Magazine for including “Pantoum for 1979” in Bestiary Two: Hip-Hop.

The lineup for this issue is all kinds of fly and the layout is clean. I’m loving the image of the circa 1970s graffed out NYC MTA train that accompanies my poem. Classic!

Bestiary is available for purchase at MagCloud with your choice of print and/or digital editions. For those looking for a deal, you get the digital version for FREE when you purchase the print version.

Bestiary, Issue Two: Hip-Hop
Hip-hop is music and culture, and it’s our relationships to those things. The poems and art here explore hip-hop as an celebrity culture, a musical history, a participatory sport, a cause for concern, a highlighter of racism, a transmitter of racism, and a source of hope.

POETS
Adrian Matejka
Anis Mojgani
Mahogany Browne
Tara Betts
Khary Jackson
F. Douglas Brown
Rob Sturma
Stevie Edwards
Kai Huang
Aaron Counts
Tim Stafford
Oscar Bermeo
Winnie Oliver
Billy Tuggle
Darrel Alejandro Holmes
Matt Gano
Dan Sullivan
Kevin Coval
Alison Weiss

Bring the Noise

I’m getting ready for my spot this afternoon on the KWMR’s Rhythm and Muse talk show and thinking about where I was about a year ago with my poetics and its relation to hip-hop which was, in relationship speak, ‘we’re not talking but not cuz we’re mad, just cuz we got nuthin to say to each other.’

How’d it get that way? For one, I blame commercialized radio and the corporate music industry. Right before I left NYC, my apartment on Franklin Ave happened to be right above a $.99 store that insisted on playing Hot 97 all day long and their insistence became the defacto music in my crib on my days off. Now, if this was the Hot 97 of 1995, when they switched formats from dance to hip-hop, I don’t think I would have minded so much except—
1) The Hot 97 of 2005 was basically just the same six songs on repeat all day with the occasional old school track thrown in;
2) Their definition of “old school” was tracks from 2001.

Combine that with the fact that I hadn’t been properly clubbing for a few years, I was kinda broke so couldn’t really dig through CDs for non-radio rap, and you get a complete disconnect when it came to me and contemporary hip-hop.

The turning point came when I read Jeff Chang’s Can’t Stop Won’t Stop. A scholarly look to the origins of the art form and some deeper analysis to the national political consciousness at key junctions in hip-hop history made me feel less of a crotchety old man and more of a witness to a cultural revolution.

Another touchstone was a bit more bizarre. In 1999, Liam Howlett of the British techo band The Prodigy released The Dirtchamber Sessions, Vol 1 a CD mix tape of founding break beats, old school hip-hop, 70s British punk, techno, and alternative. Hearing the party music of my youth jamming with more current tracks was an eclectic’s dream and I played the hell out of that CD.

So while hip-hop was at arm’s distance, it was still just within reach and it came back up to slap me in the face last year during NaPoWriMo. I thought I would spend the month writing invented prayers and expanding on the poetic track I was on with Heaven Below but that all changed when Barb let me know Malcolm McLaren had died. GURU passed away just a few weeks later and I felt the need to revisit my role as witness to hip-hop’s formation and expand it to documenter.

I’ve been working backwards ever since and been digging deeper into digital crates to find more break beats that eventually became the anthems we know today. The points of origin are as varied as the points of departure which is fitting for any true artform.

I’ll be talking more about this tomorrow and also sharing poems. If you want to listen along and chime in with questions, please do so.

If ya can’t, then here’s a little something extra. A digital mix tape of the music that helped me form To the Break of Dawn. Tracks 2-23 are what I hear in my head when I read the chapbook from beginning to end. The rest of the tracks are where my head goes when I think about hip-hop poetics. Track 1 serves as the true jump off, the song I heard almost non-stop through my youth as my dad, a college radio DJ, would blast Manu Dibango‘s “Soul Makossa” like if it was the truth. Which, even at the age of five, I knew it was.

While my JVC vibrates the concrete


Mic to the mic
Originally uploaded by Ben McLeod

What is the sound track of To the Break of Dawn?

Find out this Sunday, March 6th, when I feature on the Learnin’ Kirven Show as part of KWMR’s Rhythm & Muse series. We will discuss my chapbooks, the writing process, play music, explore the origins of hip-hop, and you’ll call in with your questions and comments at 415- 663-8492 or 415-663-8317.

Tune to 90.5 fm in the North Bay or Stream on kwmr.org from 4 to 6PM Pacific Time.