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