REED HOUSTON

REED HOUSTON

The Pain

do you fear the ancestral pain

that flows through my veins

hundreds of years

thousands of black souls slain

millions of tears

mixed with blood stains

falling

like a black rain

can you possibly

perceive the pain

that pours through my veins

attempted eradication

senseless assassinations

projected extermination

yet my blood line remains

a combination of dreams

and necessity

strength in the face of adversity

remembrance of the whips

the chain

subjected to shame

sold and resold

til no knowledge of origin remained

misled and misfed

until the children of children

bore children born in a society of

dead men walking

but now listen to the dead men talking

speaking life into dead situations

open your mind

accept the subliminal invitations to

cerebral penetrations

release the pain

embrace the tears

conquer the fears

darkness is no excuse

to give up and give in

why search for the sun

the light resides within

now use that light

to ignite

to excite

to unite

i challenge you

release the pain

ignorance may bind you

break the chains

knowledge will find you

reclaim your name

accept your birthright

learn to stand upright

eye to eye

so no one can deny

your presence

your essence

your acceptance...

don't believe the lie

it's ok to cry... release the pain

break the chains...

Slow Motion

Bodies in motion

Slow slow motion

So so much

Passion

Emotion

Explodin'

Over and over

Lost in the motion

Stolen in moments

Shared secrets

Fantasies revealed

All in one moment

Shadows of erotic motion

Projected upon the wall

Exposed by the candlelight

Telling the tale

Of our two souls

Physical oneness

Expressed in the shadow

I am you

You are me

Entrapped sexually

Feeling my heartbeat

Throughout my body

Throbbing inside you

You tightening around me

Pulling me into you

Until I disappear

Inside you

Breathing your breath

As we share

Our bodies

Our minds

Our souls

In our slow motion

In Like

 

I remember the day

My blue skies turned grey

And the colors spilled from my life

Only shades of black and white remained

Embarrassed and ashamed

By the choices I made

I cried

I prayed

Hated the game

Regretted I ever played

But there I laid

In the tears of my own decisions

Rememberin'

Reminiscin'

Wishin'

My life was different

Realizing as I cried

Parts of me died...





Fast forward

To three weeks past

When my world of grey

Was forever changed

Furniture rearranged

As you made room for yourself inside me

You changed my rain into liquid sunshine

Seduced my mind

With your spiritual talks

Your sexy walk

Speaking to me with a familiar tongue once forgotten

Don't know how this happened

But genuine love found me

Through you

You became

The Yin to my Yang

Became the song I sang

My waking thought

My daydream

My quiet place When I wanna scream

You are my complete thought before my lips part

You are missing pieces to my broken heart

My trust in you is blind

Dangerous

Reckless

All of the above

But when I hear you voice...

I hear the sound of love

Of laughing children

Of growing old

Reliving life through stories once told

When I look into your eyes

I see my forever

My always

And it scares me to death

Never been this close before

The thought takes my breath

Exhaling

To inhale you

Becoming the air I breathe

Still hard for me to believe

That you are so new to me

Feeling like a familiar lover

Your touch soothes me

Your words move me Challenging me

To be a better me

Transporting me

Somewhere between Love and Lust

Undefined by words

Abstract like trust

Don't really care what "we" are

Just glad "we" exist

And Baby as you read these lines

Just know that you are missed

Sex... is...

Sex to me extends far beyond the realm of the physical act. Sex to me is the total experience, the scent of a woman, the look in her eyes, the softness of her thighs, the biting of her lips, the curve of her hips, the arch of her back, the arch of her feet, her moans, her sighs, the wrinkled sheets, the sounds of lovemaking, the ooohs, the aaahs, the heavy breathing, the sweating, the different positions, the collapsing, the falling asleep. Sex is about erasing time and space, when nothing else matters, but her and I, the fact that we are together, nowhere else to be, complete concentration, total focus, no effort to reach the destination, taking full advantage of the enjoyment of the journey, orgasms become secondary and pure pleasure takes the forefront. Sex is the ins and the outs, the ups, the downs, the front, the back, the side to side, the in the air, the in a chair, from the bed to the floor, from the wall to the door. Sex is closing your eyes, surrendering to temptation and letting sensations conquer your body and release your mind into a place of euphoria. Sex is like a constant eruption that never subdues, it's the answer to the blues, that alright place, that smile on your face, that pep in your step, it's where your secrets are kept. Sex is where our souls touch and commune on a level beyond comprehension, it's like heavenly ascension, it's compression and tension. Sex is inhaling and exhaling, my skin against your skin, my lips, my kiss, my fingertips, my flesh, my breath, it's the all until there is none left. Sex...is...

Reed Houston - Black Planet

www.reedhouston.com

BORIS ARTZYBASHEFF

Boris Artzybasheff (1899-1965)



Boris Artzybasheff was born in Kharkiv, Russia. His father, Mikhail, was an author. He fought during the Russian Revolution in the White Army.



Artzybasheff's education was cut short in 1917 at the age of eighteen due to the Russian Revolution. He was separated from his parents, and came to America without the ability to speak English. He arrived with 14 cents in his pocket. He found work at an engraving shop thanks to an immigration officer. He already showed the aptitude of a great draughtsman. His mature skills opened doors to new opportunities for him.



His artistic career started in the 1920's doing art deco illustrations for books. These flat and graphic illustrations were often black and white in stark contrast to his later work. In his lifetime, Boris illustrated some 50 books, of which his most well known, As I See, he wrote himself. Around 1940, he dedicated himself to commercial work, cranking out more than two hundred covers for Time, countless illustrations for Life Magazine, as well as advertisements for many companies.



Perhaps one of the most flexible artists, Artzybasheff's style ranged from flat, graphic designs to meticulously rendered compositions. He did technical drawings of machinery, portraits, whimsical illustrations for books, silly comics, and even some typography. Sometimes he worked with strong black and white shapes, while other compositions are delicately laid out with subtle colors and careful treatment of value. To credit Artzybasheff with a single style is to pigeonhole him where he does not belong. Boris Artzybasheff was a master of many very diverse styles, but they are all unmistakably his own.



Artzybasheff was strongly influenced by the then contemporary, representational surrealist movement. This shows in his anthropomorphized characters, his juxtaposition of unrelated objects, and his realistic rendering of subjects.



SOURCE: ASIFA – Hollywood Animation Archive - http://www.animationarchive.org/bio/2006/01/artzybasheff-boris.html

BORIS ARTZYBASHEFF - WAR

Boris Artzybasheff (1899-1965)

Boris Artzybasheff was born in Kharkiv, Russia. His father, Mikhail, was an author. He fought during the Russian Revolution in the White Army.

Artzybasheff's education was cut short in 1917 at the age of eighteen due to the Russian Revolution. He was separated from his parents, and came to America without the ability to speak English. He arrived with 14 cents in his pocket. He found work at an engraving shop thanks to an immigration officer. He already showed the aptitude of a great draughtsman. His mature skills opened doors to new opportunities for him.

His artistic career started in the 1920's doing art deco illustrations for books. These flat and graphic illustrations were often black and white in stark contrast to his later work. In his lifetime, Boris illustrated some 50 books, of which his most well known, As I See, he wrote himself. Around 1940, he dedicated himself to commercial work, cranking out more than two hundred covers for Time, countless illustrations for Life Magazine, as well as advertisements for many companies.

Perhaps one of the most flexible artists, Artzybasheff's style ranged from flat, graphic designs to meticulously rendered compositions. He did technical drawings of machinery, portraits, whimsical illustrations for books, silly comics, and even some typography. Sometimes he worked with strong black and white shapes, while other compositions are delicately laid out with subtle colors and careful treatment of value. To credit Artzybasheff with a single style is to pigeonhole him where he does not belong. Boris Artzybasheff was a master of many very diverse styles, but they are all unmistakably his own.

Artzybasheff was strongly influenced by the then contemporary, representational surrealist movement. This shows in his anthropomorphized characters, his juxtaposition of unrelated objects, and his realistic rendering of subjects.

SOURCE: ASIFA – Hollywood Animation Archive - http://www.animationarchive.org/bio/2006/01/artzybasheff-boris.html

BORIS ARTZYBASHEFF - MACHINALIA - 01

Boris Artzybasheff (1899-1965)

Boris Artzybasheff was born in Kharkiv, Russia. His father, Mikhail, was an author. He fought during the Russian Revolution in the White Army.

Artzybasheff's education was cut short in 1917 at the age of eighteen due to the Russian Revolution. He was separated from his parents, and came to America without the ability to speak English. He arrived with 14 cents in his pocket. He found work at an engraving shop thanks to an immigration officer. He already showed the aptitude of a great draughtsman. His mature skills opened doors to new opportunities for him.

His artistic career started in the 1920's doing art deco illustrations for books. These flat and graphic illustrations were often black and white in stark contrast to his later work. In his lifetime, Boris illustrated some 50 books, of which his most well known, As I See, he wrote himself. Around 1940, he dedicated himself to commercial work, cranking out more than two hundred covers for Time, countless illustrations for Life Magazine, as well as advertisements for many companies.

Perhaps one of the most flexible artists, Artzybasheff's style ranged from flat, graphic designs to meticulously rendered compositions. He did technical drawings of machinery, portraits, whimsical illustrations for books, silly comics, and even some typography. Sometimes he worked with strong black and white shapes, while other compositions are delicately laid out with subtle colors and careful treatment of value. To credit Artzybasheff with a single style is to pigeonhole him where he does not belong. Boris Artzybasheff was a master of many very diverse styles, but they are all unmistakably his own.

Artzybasheff was strongly influenced by the then contemporary, representational surrealist movement. This shows in his anthropomorphized characters, his juxtaposition of unrelated objects, and his realistic rendering of subjects.

SOURCE: ASIFA – Hollywood Animation Archive - http://www.animationarchive.org/bio/2006/01/artzybasheff-boris.html