Spirit World Restless Show #7

Show Number 7!

Listen here

April means new life, new energies. Tune in to a new edition of Spirit World Restless #7. Catch it live twice on spiritplantsradio.com at 17:30 EST, Saturday April 3rd and at 6:30 p.m Sunday April 4th.

Listen to an interweaving of haiku and my favourite playlist during this current state of life: Get Up, Stand Up, Higher Ground, Nina Simone, Tracy Chapman, Louis Armstrong and Duke Ellington,

The weekend schedule offers 3 DJS – take a look.

For fascinating radio, check out Spirit Plants Radio!

David Jones – 2 spoken word pieces

David Jones as remedy.

David Jones

Some male voices participate in my immediate environment. There’s the neighbour who once more is yelling at his kids for whatever reason. He’s got a voice that needs no mic, and manages to infiltrate my space.

There’s the google OS guru who speaks of the new operating system that i might try

There’s the doctor who speaks of female genitalia as if they were hamburgers.


David Jones.

Here are two links: Why I don’t write


I’m a man

listen! Be cured! Now!


Markk Speaks Out! Part 2

Markk Kuhar: Interview and Sampling of Poetry – Part 2

i own the world at four o’clock in the morning

quarter moon drops down
into a faded yellow smile slice
the night is calm as acoustic guitar music
threadbare notes fingerpicked sweetly
on the shoulders of the wet wind
on the water’s edge i can see
the heads of turtles poke up
through the ripples, mouths moving
songs like soundless terrapin anthems
no one knows what goes on down here
about the simple magic
beside this brooding sullen lake
safe in locked houses, on couches
or in quiet beds sleeping soundly
i own the world at four o’clock
in the morning & i’m
desperate not to share it with
anyone else, except, maybe you


wordle 'i own the world at 4 o'clock in the morning'

In this section of our interview, I wanted to know more about markk’s thoughts on evolving as a poet, poetry in education and making change in society.

Working as a Poet

J: How can a poet work to become better?

I think reading and writing are the only way. If you read a lot, you know what has been done before, and if you write a lot, you get in touch with your own personal resonance, which results in the establishment of your own voice. Once you get in touch with your own voice, you’re there.

J:  Who are your favorite poets?

d.a. levy, Jack Kerouac, Allen Ginsberg, Vladimir Mayakovsky, Carl Sandburg, James Wright.

J: markk, do you sing? Have you ever put your poetry to music?

Oh yes, I sing in my own Dylanesque warble. Never set my poems to music, I just write my own lyrics and keep the two separate. I did put a James Wright poem to music once, it sounded great, like some primitive Native American chant.

J: Do you think that writing poetry is a talent that can be learned?

Sure, but you have to feel it. I don’t think anyone can force poetry. I know some people who are poets but are not aware of it. When they talk or write, their communication is a kind of poetry.


white dog in a cemetery at dawn

i see a white dog move
with lucid grace between the
marble headstones, stops
to sniff at a weed-covered slab,
frozen, listens to something
between the rows that stand
in stark & mute silence
then sprints off toward the north
paws all akimbo & fur flying
i see the dog disappear
into a grove of oak trees
roots buried a thousand feet deep
leaves shivering in the cold air
the sun in searing curvature
on the fault line of immortal earth


Poetry in Education

J: I know you’ve worked with children. Can you say something about that? Age groups, kinds of activities, responses.

Oh, it’s a passion of mine. Children are often genius poets. They naturally have perception and voice, until education stomps it out of them, and forces them to into rhyming iambic pentameter. We need to feed their heads, encourage them to go into wild mind and just write.

J: In general, are you in favor of teaching poetry in schools?  If so, are there any poets you’d personally select for young teenagers?

Poetry should be required study. But it should be taught as the true middle way between nursery rhymes and the romantic poets. Somewhere in there, the Beats turned language into a glorious personal expression, and that’s what we should be teaching. Give the kids crazy poems to read, and tell them to open their hearts and blast away. Free verse is freedom.

J: As an educator, I believe in bringing Spoken Word to classes, whenever applicable. As you remember, I brought a poem of yours to a 12th grade class in recorded format. And they’d never heard anything like you, before!  It would have been ideal to have you there. Have you been invited to perform in schools?

How cool! No, I have not performed other than to maybe read a poem while I am teaching a poetry class.

J: Does the idea of running an open mic in schools interest you? Could you give some pros and cons?

Oh, I think that would be great. When I teach poetry in a class, it always involves reading their poetry, and some kids just have a gift, others just read without emotion and others are laughing so hard they can’t get through it. The only cons are, you have to give them ground rules. I found if you don’t they will start writing mean or embarrassing thing about their classmates!

Popularity of Poetry

J: Do you think that poetry has become more popular over the years?

Well, with the Internet, it’s more accessible, thus more popular. You can read poetry, read about poetry, listen to it being read and watch videos of performance poetry, so that makes the experience so much more active.

J: I find you a very inspiring energetic force in the world of poetry. You’ve created a locus of interest in the town of Cleveland and the waves reach shores all over the planet. Do you have any advice for someone who wants to focus energy on their own poetic area, whether geographic or thematic?

Thank you for your kind words. Yes, there are some areas that are poetry hotbeds, such as New York or San Francisco, and thus those places are fertile creative locations. But there are many other places that are deserts, there is little cultural expression, no groups or live readings. I would encourage anyone with a passion for poetry to start a study group, a live reading, spontaneous street theatre, anything to generate local poetic energy. You will change your community, and you may rile a few people up, which is good!

J: Any final comments?

We need the next generation of poets to speak up and use their words as the soundtrack to the quantum leap forward of the human race.

J: “Speak up and use your words as the soundtrack to the quantum leap forward of the human race” –

Listen up, poets! There’s a quantum leap out there with your name on it. Read that leap into existence.

Thank you, markk. It’s always amazing to hear you, to fly together with your collage poet mind, and to ruminate on your energized full palm invitations to live a more attuned life.

All the best to you.

you are the flip wizard, markk

  • For more of markk’s poems, click here.
  • For more of markk’s artwork, click here.
  • Keep in touch with markk’s activities at deep.cleveland.com

For Part 1 of this interview, click here.

Mark Kuhar Speaks Out!

Markk Kuhar: Interview and Sampling of Poetry – Part 1

markk is a spoken word poet whose energy comes across the printed page with the enthusiasm of a zen beginner’s mind.

I first came across his work at Litkicks.com back in 2001, when his postcards from America and American koan series as well as his generous welcoming response to new poets set him apart as a mentor as well as an extremely talented artist.

He’s been widely published on the net, in print, in anthologies such as “An Eye for an Eye Makes the Whole World Blind: Poets on 9/11” (Regent Press); America Zen (Bottom Dog Press); “Action Poetry” (a LitKicks publication); “Cleveland in Prose & Poetry,” (League Press); “Infinite Tide (Studio Eight Books). He has published three chapbooks: “acrobats in catapult twist” (2003); “laughing in the ruins of chippewa lake park” (2004) and “e40th & pain: poems from deep cleveland” (2006).

He was a featured poet in the book Cleveland Poetry Scenes. He has read his work on WCPN, National Public Radio’s Cleveland affiliate, and he is the founder of the deep cleveland poetry hour, a live monthly spoken-word event. (For a fuller list of his doings and deeds click here.)

He’s published other poets, (how honoured I was to be published by deep Cleveland junkmail oracle) and has built up a network of literary projects some of which can be found on his site Deep Cleveland Junkmail Oracle (deepcleveland.com). Perhaps most visible is his tireless investment of energy to immortalize Cleveland poet D.A. Levy through the the d.a. levy center for progressive poetics & the art of the spoken word .

Since meeting markk and even teaching his work to high school students of mine, I’ve wanted to know more about him as an artist and an energetic force in the poetic world.

Let’s begin.

Full Name: Mark Steven Kuhar

Birthplace: Cleveland, Ohio, USA

Present Location: Medina, Ohio, USA

Favourite childhood memory: The night before Christmas . . .


Judih:  How would you describe yourself as a poet?

I consider myself a garage rock poet, a street poet, a subterranean poet, a junkyard poet. I’m not much on spitshine and polish. I love the spontaneous flow of words.

J: Do you have a favorite spot for writing?

I can write anywhere, but I do best underground. Basements, tunnels, etc.

J: Do you prefer to write longhand or by computer?

I would rather work longhand, but then I never transcribe them, so I just work on the computer mostly. It’s easier to tweak and submit that way.

J: How did you get started?

I began writing poems in second grade. My first one, which I still have, is about Springtime. It just sort of happened, like waking up one day and realizing that you like broccoli or something.

J: Have you ever been involved in writing workshops? Either as a participant or as a teacher? Can you say a few words…

I despise workshops. I just can’t get past the idea that other people are contributing to my poem. It’s not my poem if it didn’t come from me. I know these are helpful for some people, and I believe in the value of group energy, but just not with my poems.

J: Who has inspired you over the years?

Life in motion. d.a. levy, the Beat Poets, Turn-of-The-20th-Century Russian experimentalists. Universal energy.

J: Do you have a favorite piece that you’ve done?

I kind of like “dreamfever cleveland.”

J: Can you offer it here?

It’s long. I can send it separately.(ed.note: magnificent poem available here)

J: Do you find it easy to sit down and concentrate?

Yes, when the music starts, I can write down the notes.

J: Do you have a method to your writing that you could share?

I believe in stream of consciousness, just tapping into the words that are flowing in response to thoughts, feelings, experiences, visions, sights, people, etc. Then after you capture the verbiage, you either let it stand as is (primitive word energy) or you can revise as you see fit.

J: Do you listen to music while you work? If so, who or what kind?

Not usually, but if I do, it’s Dylan or The Dead,

J: These days, are you connected to other poets?

Only by the internet. I have been in self-imposed exile for a few years. I need to get out of the cage more in the coming year. I did contribute to the 150-hour live poetry reading recently held in Elyria, Ohio at Jim’s Coffee House. I read for an hour.

J: Do you collaborate with any other poets or artists?

I have before, but not recently. It’s always a fun exercise when you know going in it’s a team effort. My favorite was “symphonie des phantasmagories,” which I wrote with Wisconsin (now New York) poet Andrew Lundwall.

J: You’ve done so many projects over the years. Could you mention a few- perhaps an unbelievably interesting one, a project that surprised you, an abysmal let-down,…

The first “levy lives!” event we did in 2001 was spectacular. So many of the participants have passed away, like Daniel Thompson, Jim Lowell and others, that it makes it that more special. I get disappointed regularly that more people don’t show up at the reading events around town.

About Spoken Word

J: markk, I watched you on video at The Lit in 2007. (http://video.google.com/videoplay?docid=-3367944440631888247&q=mark+kuhar&hl=en#)You look like you’ve got total control of your face, your voice – your visuals. Tell me, how long have you been doing Spoken Word?

I’m a ham. I’ve been doing spoken word for about 10 years or so. I like the live energy and the spontaneous interplay.

J: Does being filmed intrude on your space?

Not at all. I’m a bigger ham if there’s a camera around.

J: Do you enjoy being on stage? Do you have any interesting tales from your live poetry readings?

I love being on-stage. I have never had any panties thrown at me, however.

Speaking out

J: I remember back in 2003/4 in the days of the prior incarnation of Litkicks when Levi Asher was talking about compiling an Anthology (later published as Action Poetry). You stated then that you felt it was important to be political. Is that an accurate memory on my part?

(If not, please put me straight) Do you feel it important to be political in your work?

I think I said “only poets can save the world” and/or “poets are the conscience of the world” and being political is an important part of that process, which I truly believe.

J: Which subjects in your life stir you – which social issues do you feel are most urgent to deal with?

I am focused on our spiritual quest, the search for “wellbeing and somethingness” to warp Sartre a bit. I love to focus on how tiny moments are actually huge momentous moments that we typically don’t realize at the time. Then of course the struggle to connect with others, because both the connection and the dislocation each make a different kind of poetry.

J: Do you think poets have the ability to shake up people’s minds? Examples – either anecdotal or a poem that you know has shaken up an audience.

Oh, Yes. Poets are coming at it from a different place, and that scares people sometimes. When Ginsberg read “Howl” for the first time he not only shook up and audience, but also a generation. Locally, I can remember how Terry Provost’s poem “The Terrorist” blew people away in the heady days after 9/11.

J: Is poetry a tool for therapy in your own life?

Oh gawd yes, if I didn’t have poetry and artwork I would implode into a pile of meat and bones. The energy has to come out somehow. If you don’t have a volcano you get an earthquake.

J: If so, could you offer a poem that you felt helped cleanse an especially raw node within you?

I wrote a poem called “the galloping road that leads out of ohio” which is about leaving behind my entire connection to Northeast Ohio in search of something larger. I never actually left, so my good-bye note of a poem is how I live out that experience.

the galloping road that leads out of ohio

what color is the galloping road that leads out of ohio?
red, the color of screaming alarm? blue, of descending sadness?
green, the color of lush growth? brown, of fecund decay?
does the road that leads out of ohio glow orange
like the third eye of a flame, of dying autumn oaks, melting foundry metal?

ohio is not the end of the world, they say
but in winter you might see it from there if you look long & hard enough
lean over its quaking ledge, peer below, vanish southward like swarms of moths
looking for the brightest of porch lights
the porch light is on tonight & crickets click,
mosquitoes seek blood sustenance, rabbits cautiously peer, raccoons stalk slowly in shadows, up the road in plowed fields green spikes appear
under creepy moonlight, bony tree branches
kick with skeleton legs, one by one living room lights
& tv screens fade to black & by default this entire town becomes mine

ohio you have a strange cadence, the beat
of rain on truck stop trailers, the thump of friday night football marching bands
the repetitions of factory machines in labor
robust backhoe crawlers trenching under bleached heat
the stirring of massive pots in penitentiary kitchens,
one kiss follows another in the dark of purring automobiles

ohio tell me what you have to offer me
your rolling maple hills? brick public squares?
dusty hardware store smiles? lost cities? lemonade afternoons?
snaking river basins? tall silos?
a great gray blotch of lake water with gravel beaches
& sad, seasoned people? your song of hope? the blank wonder in your eyes?

ohio your geography is not enough to hold me
you move slow, in a tranquil coma
i seek big thoughts, not a small welcome
i need temptation, tangible evidence
i want to hold the heat of bronze love
feel the sting of a scorpion moment in which
i strip away part of myself to find myself
i’ll never do that in your hollow hand
& i can’t convince you at all why this is true

ohio i need bright neon day-glo rainbow colors,
not your mauve & faded blue, wheat & ivory white
one day i will glimmer, glitter like
your own personal galaxy of tears,
all for you, something i could never offer you
lost beneath your dim woolen skies

i hear the sound, markk

Before I wrap up this part of the Interview with Markk, I’d like to offer ‘Live at the Ku Tiki Room” a marvellous spoken word piece. Enjoy. And see you after the break.

Live at the Ku Tiki Room

Go to Part 2!

David L. Jones Speaks Out!

David Jones: Interview and Sampling of Poetry


David Jones, onstage

Judih speaks with Spoken Word performance poet, David L. Jones

David is a dynamic spoken word poet whose energy comes across the printed page in the modern-day blues of an urban survivor. I first came across his work online in 2006, at a poetry site on Tribes.net. His unique voice marked him as a unique spoken word artist.

He’s regularly performed at open mics in the U.S., performed with the Little Red Studio theater troupe in Seattle, WA, and has published works including “eros besmirched” and “Dark Storms – Race Gender and Politics“. His most current work can be found on his blog, D. Jones, poet (http://www.djonespoet.com).

Since hearing him and reading his work, I’ve wanted to know more about what inspires him. Let’s begin.

Full Name: David Lee Jones

Birthplace: Wheatcroft, Ky. Registered at Morganfield, Ky.

Auburn, Washington, USA

Favourite childhood memory: Canning food with my mother and hunting rabbits with my father.


Judih:  Could you offer a description of yourself as a poet?

D: Well, the most apt description is in my bio, but to put it in a short form, I attempt to speak the pain of others who may not have the opportunity to speak. I try to articulate what I’m feeling as a common black man in America in these turbulent times. I tend to view my poetry as a chronicle rather than poetry per se.

J: How did you get started?

D: In high school, after the deaths of my parents, I was taken under the wings of 3 bisexual teacher’s aides who saw an opportunity to save a young black male who was not already corrupted by the system. I also had a counselor, Carolyn McCormick, who was integral to my growth as a writer. I think they saw that since I wasn’t from the urban environment, they might have a chance to help me avoid things like crime, gangs and drugs and they used my interest in poetry to do that.

J: Who has inspired you over the years?  Artists, poets, musicians, others?

D: Can’t say that I’ve read a lot of other people, but I was drawn to Malcolm X at a young age, Martin as well, but Malcolm more so, and I’m very impressed with Mumia Abu Jamal. His speeches from death row are very inspirational to me. As far as names…lol…well, Chuck D, Tupac, George Clinton, Aretha Franklin, Robert Johnson, Johnny Cash, Merle Haggard, Beethoven, Chopin, Bach, Eminem, Bob Marley, Bob Dylan, Joni Mitchell, Carly Simon, Bukka White, Cab Calloway, Duke Ellington, Metallica, the whole range of music speaks to me. I don’t listen to the music so much as I listen to what the artist is saying. Musicians are, in my opinion, poets who felt the need to augment their words…lol…I’m not so gifted to be able to play an instrument or paint so I have only my words to give. I haven’t seen a lot of art, but I am very impressed with Bosch, Goya and also Jeff Hengst, whom I worked closely with during my time at Little Red Studio. I’m not well versed in the art world but I know what I like when I see it. I do watch a lot of movies though and I guess my favorite would have to be Mandingo directed by Dino De Laurentis. Oh yeah, and Bukowski, can’t forget him.

Judih: I’d like to include one of my favourite poems of yours, “Not Until”, so before we continue, let’s listen to you (click the link below)

Not Until, David L Jones

J: Do you have a method to your writing that you could share?

D: I have a muse and djinn, they both speak to me. The muse gives me the light stuff, you know, the loving sexy erotic stuff, and the djinn gives me the darkness and articulates the pain. I write a lot at night and when I’m alone. I write when I’m drunk, depressed or horny, you know, the regular sorts of inspirations. I also write when a person’s character strikes me. I think I have a poem about you somewhere, if not, I should write one, you are worthy of poetry you know. I rarely edit because I believe that the poem writes itself, the poet simply channels it onto the page or through the microphone or whatever.


David, "Lullaby Moon"


J: Do you listen to music while you work? If so, who or what kind?

D: No, I don’t listen to music when I write; it’s distracting and makes it hard to hear the voices in my head.

J: Do you have a favorite piece that you’ve done? Can you offer it here?

D: Wow, hard question. I consider all my poems as my children and it’s hard to pick a favorite, the others will be upset…lol…, but if I had to pick one, it would be “Liberty Wears A Strap-on

Liberty Wears a Strap-On


Liberty wears a strap-on

and if you don’t believe,

just ask the Haitians,


or even the Chinese.


Liberty used to be

such a nice young girl,

holding up her flaming torch

a beacon to light the world.


But nowadays,

it seems that light is gone,

and you can ask any Muslim:

Liberty wears a strap-on.


Give me your tired

huddled masses,

yearning to be free,

and I’ll fuck them all

with no Vaseline.


A strap-on is America’s

tool to invade.

If you don’t think so,

just ask the Guatemalans

resting in their graves.


Liberty wears a strap-on

it’s plain to see.

She surged in the Indians

and came all over slavery.


Justice is a woman

and they say she’s blind,

her friend Liberty

is trying to surge in my behind.


Behind closed doors

where the deals are made,

Liberty and Justice

play for pay.


Liberty and Justice

in the land of the brave–

sounds like a triple X

movie is being made.


Liberty fucks Justice.

Justice loves her too.

Liberty wears a strap-on

and she’s ready to fuck you.


About Spoken Word

J: When did you start performing at open mics? Can you offer any tales of amazing performances or interesting audience reactions?

D: I started performing at open mics during high school which was back in the mid 70’s, never went over well. I did a reading with a friend of mine named Jason Ammerman a long while back, well after high school, it was my first nude reading. It was Father’s day and we were reading at a speakeasy underground thing in a house in Bloomington, In. Jason is a kick ass poet and we were all about one upping each other back in those days, both being angry poets. I did a series of erotic poetry and removed a piece of clothing at the beginning of each poem, by the end I was naked and reading the last poem. It got me laid…lol…so I guess it’s good for something. There were many readings that I did at Little Red Studio with an amazing woman, Eileen Fix, that were awesome as well. She and I were instrumental in bringing poetry to the fore there. We made people very aroused with our poetic play. These days, I specialize in “pin drop” moments, you know, where the audience can’t believe that someone would say the things that I say. I like doing that.

J: I like that: “pin drop moments”. What makes a good open mic?

D: A microphone. Seriously though, audience reaction is a big factor, however I’ve read at some open mics where it was only poets reading to each other. I suspect that every performing poet has had their share of doing that. You have to just power through it. My thing is to read the poem the way it felt when it was written, regardless of who hears it. It’s always an open mic when you speak to God, and he is always a good audience.

J: David, have you been filmed during performance? If so, is it something that intrudes on your space?

D: I’ve been filmed once that I know of, it was during a sermon I wrote called “The Book of Cock”. I’ve had people take pictures, but no, it doesn’t intrude on my space at all, though people have told me that I should hold still for the camera, or that something went wrong with the shot. Blame it on my muse and djinn…lol…

Speaking out

J: Your work deals with subjects from the extremely personal to a general call-out to stand up and take notice.  How important is it to you to speak out?

D: It’s very important that poets speak out because people need to know that there are those of us whose voices may not be heard and that we have something to say which could benefit society as a whole. I try to keep a balance. “Too much light will blind you, and too much darkness will cause you to lose your way.” It’s also important that people understand that the political is also personal, that political actions have an effect on the personal level and in the society as a whole.

J: Is poetry is a tool for therapy in your own life? If so, could you offer a poem that helped cleanse an especially raw node within you?

D: Yes, poetry is my primary therapy. It’s better that I say things than do things. It gives me a chance to get stuff out and because it’s seen as art, I don’t end up in a mental ward as some raving lunatic. A poem that has helped me a lot is “Fear of a Black Planet” which helped me understand why white women were so scared of me.

Fear of a Black Planet


Yea, I have looked

upon thy face

with mine own eyes

observing thus

a fear by which

reason hath

fled thy being


Thine eyes have

witnessed askance

the black moor

and verily fear

hath caused consternation

to sit astride

thy countenance


Thy breast

being lily white

trembles at the thought

of Moorish hands

weighing the balance

of thy female fruits


For this reason

thy face turns from mine

and the dove wings

of thy hands

soil not themselves

upon the muddy terrain

of my skin


Ere the seed

of my niggardly loins

should chance light

upon the threshold

of thy fair temple

thou wouldst first


before birthing the mulatto


So completely

have I behold thy

fear of a black planet

me thinketh milady shuns

even the darkness of sleep

lest she linger too long

in its grasp


Now flee, flee

distressed damsel

beset by darkling horrors

imagined in thy


Call again

the constabulary dogs

to avenge imagined slights

to thy snowy womanhood


Thy sanctity abraded

by my pardon

apologies for existence

upon deaf ears fall

thy eyes blue with fear

seek white knights

to mentally slay

yon black dragon

as a chariot

whisks milady away

to the safety of

snow white Elysian Fields


J: Which subjects in life stir you – which social issues do you feel are most urgent to deal with?

D: Right now, I’m concerned with the depressed state of the American mindset. People seem to have a vacant and distant look about them, more so than I remember at any other time in my life. Relationships between people are also a topic I frequently write about. Sex, race, gender, politics, economics, life, death, religion are all valid subjects and social issues that I write about.

J: Do you think poets have the ability to shake up people’s minds? Can you give examples – either anecdotal or a poem that you know has shaken up an audience.

D: Yes. Poets have not only the ability but a responsibility to shake people up. The first time I read the liberty poem, my friend Jeff told me not to read it again at Little Red Studio because it shook a lot of people up, this was during the first days of what I call the “muslim madness” that has swept America. As you know, some of my poetry is not very flattering to women. I’ve been told that my sentiments were not appreciated by more than one woman and several men after reading poems about gender. I wrote a poem for a guy, George Sodini, it still causes a stir when I read it. It’s called “Insanity Defense”.

Insanity Defense


Thirty women dead


fifty more wounded

he’s writing again


with a different pen

on a different pad


He used to


with pain and anger

He used to


with tears

and hesitant touches


Now his touch

is not hesitant

and the screams

do not come

from his throat

nor tears

from his eyes


His muse

has death

in her touch

She has embraced him

in blood red wings

and kissed him

with her savage mouth


The color is red

Before his eyes

the audience


He is a poet

He reloads

and writes


J: You’ve worked with the Little Red Studio theater troupe. How did that come about? And how has that experience affected your own performance?

D: Well, Eileen Fix was responsible for that. She and I were reading at a little place in Seattle which was hosted by Red Sky Poetry. We used to duel with our poems. At the time I was a horrid misogynist and she continually challenged me about that. One night after a poetry reading, she called me to come over to her house and she decided to “cure” me by fucking me silly…lol…, afterwards she introduced me to Jeff Hengst who was putting on this little thing called Little Red Studio. She and I had begun having a relationship and the poetry that came out of that was some fierce erotic stuff. I still dedicate poems to her when I read stuff from that era. Little Red Studio gave me an audience to explore my eroticism and sexuality which is reflected in my writings. She and it made me a much better poet.

Developing as a Poet

J: How can a poet work to become better?

D: Read your work with the same spirit you wrote it with. I’m not one for editing overly much, but sometimes it makes for a better poem, don’t be afraid to edit. Poetry is art, art either French kisses you or puts its foot in your ass, if it doesn’t do either of those things, it’s entertainment, in my opinion.

J: Do you think that writing poetry is a talent that can be learned?

D: No, but anyone can do entertainment, just look at television. Poetry is something that you feel from a very deep place. Poetry is your soul singing, you don’t learn to give it a voice, you let it sing.

J: Do you sing? Have you ever put your poetry to music?

D: I do sing privately, have never sung on the mic, and no, never thought about putting my poetry to music because I don’t play an instrument, but I have found that jazz works with it sometimes. Currently, the group I’m working with called Floating Mountain Poets (www.floatingmountainpoets.com) have been reading at a little place called the Faire Gallery. They have a house jazz band that plays behind us sometimes and that seems to work. I’m looking more into it, but for now it’s a casual acquaintance.

Poetry in Education

J: Have you worked with children or teenagers? Would you consider mentoring a young poet (encouraging, offering advice, etc)?

D: No, though I have shared the stage with my son several times. I don’t know how I could be a mentor, other than just being the poet that I am. Actually, I’d fear that I’d corrupt someone young and impressionable…lol…

J: (Since this is our first “R” rated interview, I see what you mean!) In general, are you in favor of teaching poetry in schools?  If so, are there any poets you’d personally select for young teenagers?

D: Yes, poetry should be taught in schools. It saved my life more than once. I can’t say which poets I’d select for a poetry program for a school, but I certainly wouldn’t suggest myself. I’d start them with the classics, Shakespeare, Blake, Ginsberg, Kerouac and those guys, the Beat poets, and then let them go from there.

J: Does the idea of running an open mic in schools interest you? Could you give some pros and cons?

D: I would never even think about trying to go into a school and do anything like that. My poetry is not suitable for an educational setting.

Popularity of Poetry

J: Do you think that poetry has become more popular over the years?  Do you see a difference in your audiences?

D: No. poetry is on the wane here in America. People are less literary than when I was younger. On the other hand, I was at a “Youth Speaks” poetry open mic last night that was amazing, so I suppose there is hope. My audience has pretty much been adult my whole poetic life, so no, I haven’t seen much of a change in my audience. It is my hope that the young people that I have heard will continue writing and reading and that they will evolve as poets.

J: Any final comments? Are there any questions you would have liked me to ask, or any other comments you’d like to include? Feel free to add any poems or links.

D: Not really, I think you have probed me quite in-depth. This is the first interview I’ve ever had as a poet. You asked very relevant questions and some hard ones I might add. I would have expected no less of you Judih. Thank you for taking the time to do this interview, and I’ll conclude with a couple of poems about writing, one very old and one quite new, Pretend Poet”.

Pretend Poet


I am what you’d call

a pretend poet–

one who writes

short missives of pain

not socially relevant

to the times and ears

of critics.


I am a pretend poet,

one who pours out his


like dust that falls


to the ground.


I am a pretend poet,

one who sits alone

with a pen and paper,

scribbling something

stupid, selfish,

written out of fear

of himself


I am a pretend poet,

one who chronicles his own

self pity,

blind to

the bigger scheme of things

which revolve

like a maelstrom of possibilities

just out of reach.


I am not a poet.

I’m just some fool

who wanders in here

every Friday,

practicing catharsis

to keep living,


even though the sounds

of his breath

make no sense at all.


I am what you’d call

a farce, a fluke.

What I write is a comedy of errors,

a sojourn in ignorance

and unworthy of your ears.


I may be many things,


a court jester.

but I am not a poet.


Portrait of David L Jones

And one very new…”Why I Don’t Write”

Why I Don’t Write


I don’t write

because I am tired by

too many situations

happening at the same time

like trying to watch

all the clouds

at once


Do the countless institutional forms

count as poetry?

the repeated reverberations

of my essential information

asked over and over

like the echo of a past

I’ve been chained to


Do I have to know everything?

all the time?

as if I were a living tome

of bad memories and mistakes

Can I forget how to write my name?

forget how to spell emotions

in such a way that you’d understand?


Do I need to write my lust

on scraps of paper

when the message

can be plainly seen on my face?

read by anyone not blinded

by art, poetry, too many books

Can I be heard outside the song?


Sometimes I don’t write

because I hate the pen

hate the poetry

the way ones hates

a nagging, overbearing lover

the way the whore hates the pimp

the way paper hates fire


I don’t want to write anymore

because it’s futile

like wishing on stars

whistling at women

and spilling your heart

to the uncaring illiterate mass

of bleating sheeple


I don’t want to write this

blathering excuse for a poem

this redundant exercise in futility

this misanthropic screed

oozing forth like blood

spilled on a xenophobic landscape

during a relentless war


I want to break all the pens

burn all the books

silence the singers

blind the artists

tear the tongues from the poets’ mouths

If you didn’t know me

when I touched you


you never will


David in performance

J: Thanks so much, David.

D: Thank you Judih, it was an honor to have you interview me.

Editor’s note: for updates on David’s appearances at Open Mics as well as his latest work, check out his blog.

Stephen Futral Speaks Out!

Poet Speaks Out!

 Judih interviews poet/artist Stephen Futral


Stephen FutralFull name: Stephen Ira Futral

Birthplace: Paterson, New Jersey

Current location: Boulder, Colorado

Favourite Childhood memory: Summer vacations in the Catskills; enjoying the countryside, the pool and being served in the hotels

Favourite expression: Schmegeg


1.Stephen, you are a multi-talented artist. I’d like to ask you first about poetry. When did you first start to write?

I can’t quite remember but probably when I first went to sleepover camp and stayed in touch with my family with letters and sometimes drawings on them / was like a journal.

2. Could you describe yourself as a poet in one word?

No…how about a series of one words; perceptive, observant, sensitive, vulnerable

3. Do you have a favourite place or time for writing poetry?

I always carry a pad and pen / a group of words can come to me anytime…so I like being ready.

4. Do you find that you overlap painting with poetry? Does one lead to another?

Well, they certainly can and it can work both ways – a painting leads to a poem / a poem leads to a painting…

Could you offer examples?

For years I’ve identified with Macbeth’s Soliloquy…’Tomorrow and tomorrow and tomorrow’ and I got this idea to do a painting with the entire quote on it in my hand writing – and I had been working on an experiment of being able to put into acrylics what some of us did as a child – different colored crayons covered with a black crayon and then scratch off a design in the black and the colors come out.  So I interpreted that approach for the Macbeth Soliloquy painting.

Macbeth's Soliloquy, S. Futral

About inspiration

5. Who/what inspires you?

Interestingly there are all the greats that we love and grew up with and some more of our contemporaries / but really it comes down sometimes, to everyday situations…common connections that put a smile on one’s face, that touch one’s heart and cause a tear to shed or images that I may see in some abstracted form from a photograph or nature herself…or a concept that develops in my mind.

6. Do you have favourite writers?

Once upon a time I read ravenously: DH Lawrence, Poe, Rilke, Rimbaud, Oscar Wilde, Jean Cocteau, Sartre, DeBeauvoir, Camus, Kafka, Ibsen, Ionesco, Henry Miller and so on…Kerouac, Ginsberg, Corso, Ferlinghetti, Diane DePrima etc.  Then I began another journey; Paramahansa Yogananda, Alan Watts, Ouspensky, Gurdjieff, Vivekananda, Patanjali’s Aphorisms, Bhagavad Gita, Rumi, Omar Khayyam and the teachings of Tibetan Buddhism…Chogyam Trungpa Rinpoche and many many others…

7. Favourite artists?

(Not in any order) DaVinci, Rubens, Michelangelo, Botticelli, Hieronymus Bosch, Monet, Cezanne, Van Gogh, Gauguin, Degas, Toulouse Lautrec, Modigliani, Giacometti, Matisse, Picasso, Henry Moore, Dali,  Albers, DeKooning, Magritte, Klimt, Escher, Kandinsky, Klee, Diego Rivera, Frieda, Edward Munch, Joan Miro, O’Keefe, Jean Arp, de Chirico, Max Ernst, Art Nouveau, Art Deco, Bauhaus, Japanese Calligraphy and brush Paintings, Miens van deer Roe, Le Corbusier, Antonio Gaudi, Oldenburg, Rauschenberg, Warhol, Marcel Duchamp, Marc Chagall, Pollack, I.M. Pei, Frank Lloyd Wright and many more…

8. When you write poetry, do you hear it or visualize it? (or both?)

Interesting question…had to think/feel about this one.  I think, I hear it first in my mind then I may visualize some of it or not…there’s no intention on my part…shy of being asked to write something on a specific subject, it occurs however it occurs…I don’t employ a particular discipline to the methodology…

9. Do you have a writing process? If so, could you describe it?

I like to believe that most of it is spontaneous and some of it is thought out planned out and then comes out spontaneously…for /  example in writing memoirs…I create an outline for each chapter or period of my life thinking over various incidents and influences and then I write spontaneously on those given situations.

View from retreat cabin

Internet Poetry Scene

10. When did you first link into the internet poetry scene?

Not sure but rather recently, as I discovered FB and chose to join in there…less than 2 years ago / maybe just a year…I had been writing poetry all along and then on FB I discovered ‘Faces of Poetry’ and as I began posting on there and receiving many comments I then connected with the founder of the site, who happened to live in Denver…close enough and she then started another website / www.globalpoets.org which is now in process of changing to www.artvibe.org / after many phone calls and emails she asked if I’d be on the Board of Directors which I gladly said yes to…as I was already being consulted on various aspects of the development of the site and of course that is how I, fortunately met you and other fine poets…one of whom connected me to a great, loosely knit non-group of poets on FB.  We share our poems and ‘tag’ each other to invite comments…as in all commentary there is the gamut of opinions, however some of these folks are quite brilliant and inspiring…If not careful one could spend an entire day reading and commenting on these fantastic pieces.

11. Do you feel it has helped you develop as a writer?

Another interesting question / to exist in this world you are constantly being influenced…unless you are dead…so from that perspective I have been exposed to some great minds…great thinking and great poetic styles…all different than mine.

12. You speak of cyber romance in your poem The Unbearable Lightness of Cyber Romance. How has that spark of erotica influenced your work?

Interestingly it isn’t necessarily ‘erotica’ as much as ‘romantica’ and what I mean is it has at times, the spark of meeting of minds of touching hearts and of pleasant friendship…in that, there is the possibility of falling in love and as I connect in that way it has been a great influence both in inspiring many poems and many paintings … various women have become a muse for me and in that way may not even realize the influence they’ve instilled…

13. Also, in “The Unbearable Lightness,” you quote Bob Dylan saying ‘I can’t say if I want the pain to end or not.” How does that work? How has that worked for you? Can you elaborate?

Well, let me take another section of that poem that may bear some insight to this question: It is like that, not a sense of masochism per se…but rather an awareness of the percolative quality of both emotional pain and bliss / it keeps you in the juice, alive, reverberating with energy, actively participating in the dance of seven veils, the Lila, this play of illusions, Samsara…the Magic of Ordinariness. Well we all suffer and in that we want to find / experience the ‘end of suffering’…but I realize that it’s that ‘pain’ that influences creativity…not exclusively meaning elation has as much a bearing also / but so many of my poems are influenced from some direct emotional experience or life experience even politically leaning poems are perhaps reactive to the existing hypocrisies prevalent in the world today.  So simply put the world and life itself is the muse / whichever way the experience leans or takes you acts as a function of creativity.  


14. How do you react when you come upon a really good poem on the Net?

It’s like ‘hoo-ahh’ / all the honor to you…it is exciting and fortuitous to see how select words convey deep meanings and their juxtapositions resound in one’s mind.  I love it and honor and bow to the poet.

15. Would you consider mentoring another poet? I mean taking her/him under your wing, offering encouragement, critique, support, etc?

Absolutely…in certain ways I’m in the midst of doing that to some extent…I’ve kind of produced a group of some 20 odd poets and musicians here in Boulder where we’ve been asked to read and play at various venues and it seems to be growing and gaining support and popularity.  Several poets are students at Naropa University and we have quite a talented young fellow that is still in high school.  I wouldn’t quite say I’m mentoring but certainly recognizing the talent and encouraging them to get up and read their words.


Ribbon Face, S. Futral

Inner Processes

16. You have said that you’ve been a student of Chogyam Trungpa Rinpoche for over forty years. Is there an overlap? How has poetry and art widened your inner work? Can you elaborate?

Well…perhaps we can call it an ‘innerlap’ haha / meaning that one doesn’t exist separate from the other…everything is integrated from a certain perspective.  Rinpoche was a wonderful artist in everything he touched…the elegance of how he held a cup of tea or sake and how he sipped to his actual paintings and calligraphies and flower arrangements to his incredible poetry and the transmission of the essence of the Tibetan Buddhist teachings in the most comprehensible American vernacular.  So he brought into his teachings of Shambhala Warriorship some of the culture of Japanese traditions and their various disciplines of the Tea Ceremony, Calligraphy, Kyudo and of course a sense of respectful elegance.

As for how it widened my inner work…well when one creates, in that moment there is a connection to one’s self…your mind, heart and hand are all in sync…whether painting or writing or sipping coffee or conversing with someone…there is a choice of having awareness in everything you do…being mindful or not.  So in this state of mindful awareness you are as fully in the moment of everything you do as you can be.  So my ‘inner work’ is going on ongoingly…hmmm!

17. After you’ve completed a painting or a poem, do you feel that you’ve exposed yourself? Is vulnerability an asset to your artistic explorations?

Well I feel that our very existence is a process of ‘exposing’ ourselves…if we’re being honest in how we live.  So it seems, that sense of exposure doesn’t necessarily come after completion of a painting or poem but even during the creation and for the most part that sense of exposure isn’t constraining at all…otherwise why bother creating anything unless we’re putting it in storage for no one to view at all?  I feel my creating comes from some inner place or need to express…as if I have something to share…if some people perceive it as a potential talent or not, matters not…I seem to need to create and there is bliss and pain in the process again and in that there’s a sense of exposure and vulnerability.  In fact by ‘sharing’ one’s work with anyone is to put your mind and heart on the line for criticism and otherwise…so I feel you have to create and express your vulnerability and sensitivity and to hell with what anyone thinks…you can only do it for you, your need to express  and if someone hates or loves it is incidental.  For any given artist in the realm of history, it is totally arbitrary as to who has been recognized as a great or not…how many thousands of pieces lie hidden away somewhere on this planet that may or may not be great but have never been seen or known about.

Comments to your work

18. You exhibit your work in Facebook, a social network that garners a lot of reaction. I’m wondering if there are any specific comments made by others that stand out in your mind.

If there are, could you offer them and explain why you remember them?

b) What is the best thing about social networking, for you?

I don’t recall any particular comment per se…but that might be because  most are somewhat innocuous…niceties that are appreciated but aren’t constructive nor need they be. The only thing that might stand out is when someone’s comment is so full of themselves that their ego is pulsating as a thumb just struck accidentally with a hammer.  My intention of putting all this work on Facebook and other areas is because in today’s market this is one more avenue for exposure.

One of my teachers told me this: You just keep painting…when the paintings come into the room to the extent that there is only a single path to move in, then put them outside your door on the landing and when that is full let them go down along the stairs and into the street and keep painting…eventually someone will trip over them.  So I’m trying to be somewhat smart in pursuing various avenues or as they say…’streams of income.’

Now when I first discovered or joined Facebook, I did it because I’m writing my memoirs and therefore recalling my life altogether and, in doing that, various memories would come up and I would try and see if I could find that person or persons.  For example, I went ‘steady’ (whatever that means at this age) in 2nd, 3rd and 4th grades and then moved and hadn’t been in touch for some 55 years and I found this person on Facebook. We were only children but it was fun to re-connect and stay a bit in touch.  After a while, I realized I could create a ‘Fan Page’ as it was once called and put up my artwork, poems and excerpts from my book,  and I have now re-connected with some wonderful friends from junior high school on up closer to the present.


Sky Tears, S. Futral

Sky Tears, S. Futral



Your work

19. Could you offer a few of your favourite poems (your own work) – perhaps a brief intro if there’s something you’d like to mention.

Well a brief general introduction would be that all of these poems have been written in the last two years.  They reflect varying degrees of an emotional view that seemed to have a life of its own.  There are reflections, insights and reactions to occurrences in my life that might be as ordinary at someone else’s along with things that push me to write and fuel my creative juices. My working title for this particular group of poems is: “The Lartufian Gestalt: Poems from the Aftermath.” There are love poems and political poems and there are some that stand out.  I’ve chosen several of my more recent ones…so here goes:

I MISS THE LAUGHTER IN ONE’S EYES / Inspired from a line in Petey’s poem…

As we proceed

with this operating manual

‘Life on Planet Earth’

we discover some inconsistencies

some angst driven situations

they don’t tell you everything you need to know

much comes from first hand experience

usually the mistakes…

then we’re able to get to the next chapter

you know the one that didn’t warn you how

fucking painful and gut-wrenching some

of the pain will be…

somehow if we don’t kill ourselves in the learning curve

then age tempers our mettle of experiences

and at best we mellow

and with great karma and auspicious coincidence

we may even realize the root of our pain…

and again there is always a choice…

but in the human condition

of pain grows a wonderful tenderness

a gentleness and empathy of our fellow travelers’

journey / the journey through the wheel of life

from birth through old age sickness and death…

it is not a morbid perspective but one of reality

the kind we tend to avoid

try not to think about and basically occupy our minds

with distractions…and in this age of high tech instant gratification

I want it now / give it to me now

we buy toys, seduce each other eat incredible foods and drinks and

in general imbibe out of avoidance…

I mean how many partake to raise their consciousness?

Maybe in the 60s but hardly now…

so I put forth this idea this tidbit of tenderness

because I do miss the laughter in one’s eyes

the caress on one’s cheek

holding a hand or wiping a tear

sharing a heart, eyes, lips and bodies

and it is in this human contact that so much can happen

so I take my hand and touch your cheeks

kiss your lips

hold your hands

wipe your tears

and share my joy

share the laughter in my eyes…

©stephen.futral / 8.nov.10



Just talking to an old friend

says he’s not sure if he’s clinically depressed

or having a mid-life crisis…

just turned the corner of his 5th decade

hi-level job

but no oomph

no passion

no motivation

he’s not alone

so many people in that place

tried to get him interested

invited him to play music and song

a favorite of his / once he’s doing it

but prying him out of his cocoon

that’s the problem…

I talked to him about ‘choice’

having a choice / up to him

stay depressed or get off your ass—


Isn’t it just like that though

as the day begins to stray

and our life isn’t sure it will stay

for me / it was a wake up call

a time to get going

to fulfill some sense of purpose

to give of myself to this world

to this life…

to be in love

to hear the heartbeat of one’s mind

to taste the thoughts of one’s heart

to see the beauty of one’s being

to share the essence of one’s eyes

to smell the aroma of one’s karma

and still

to rise up

a phoenix from one’s ashes

and not die while still living

to not be the corpse / the shell

of who you were / who you are

to not give up / not give in

to complacency…to apathy

to Carpe Diem the fuck out of everyday

in every way

and do not be betrayed

by yourself

as the day continues to stray

and you lie in your malaise

of the burden on your life…


flip the choice switch

get excited

look at all the people you influence

family, friends, mankind

raise your rapier wit

that keen and quick sense of humor…

here’s the shovel of yourself

now dig out!!!

©stephen.futral / 6.december.10


How do I market me

let me count the ways…

With social media


and twitter

our blogs

and LinkedIn


My Space

and maybe Etsy

Zazzle and myriad others

but who has time

to keep up with that

and still paint and write

dilemma of today’s technology

and there’s also the galleries

and publishers

the vanities of creativity

Damn / who are we doing this for anyway?

for me…for my sanity

and to actually earn a living

living my passion…

ah yes — the Reminder…

©stephen.futral / 9.december.10

Listen to One of These Days  on audioboo


one of these days…

while my life is still living

and my heart is still giving

I will show you who I am

as best I know myself…

without any outside expectations

or inside projections

I will reveal to you the illustrious,

dynamic, petite ball of fire that I am …

I will give you my all with no reservation

and we will be rapt in our knowing

our minds mixing

our hearts rubbing

our tears salting

our lips quivering

and you shall be ever so pleasantly astounded..

for I shall be there naked

with no boundaries of mind, heart or body…

then you will see my eyes and know me fully…

(him talking as if it were her)

©stephen.futral / 10.december.10

One of These Days)

Editor’s Note: You can hear Ishwara/Stephen Futral on his audioboo page.

20. Any other comments? Any questions you wish I had asked? Please add your thoughts or amendments.

Well this was very interesting and I appreciate the opportunity to express myself here and to examine a bit closer my motivations and needs for creating and in different mediums.

The only other thing to mention is that since I started answering these questions some new things have developed:

I’ve created 31 greeting cards of my original paintings that are richly color-saturated on glossy card stock and blank inside / I will show links etc below.

January 1-31: One-man show of my paintings at Caffe Sole in Boulder, Colorado. I also found this great band ‘Back to the Woods’ that will be playing as it will be a dance party and a birthday party.


February 1-28: One-man show of my paintings at Tonic Herban Lounge in Boulder, Colorado.  Every Thursday night: ongoing poetry readings and music.

Stephen’s Current links:

Judih: Thanks, Stephen!

Self-Portrait, Stephen

Graham Seidman, Photographer, Artist, Writer – After five years

Inside the Monaco, Graham Seidman

Graham Seidman!


Graham, self-portrait - Graham Seidman

Graham died December 19, 2005, five years ago.  His was a mind that was constantly probing; his art was evolving and his skills as a writer wrapping around his experiences in the world of ex-pats in Paris after the War.

Once upon a time, I gathered his amazing writings and photographs, on the old and glorious Geocities.com platform, which has long since disappeared from view. It’s time to re-post a few of his works, not too many, for no doubt his family is planning to publish his work. (Although I have no inside knowledge to share).

He lived in the Beat Hotel at the time that Allen Ginsberg and Gregory Corso were there. He shared his life and was able to record some of those unique times. His camera kept us in touch with the Beats, while his own vision kept us attuned to landmarks such as the Rue de Coeur (the Beat Hotel), Shakespeare and Company bookstore, and the Cafe scene in Paris.

At the same time, he created brilliant portraits of personalities from Jeanne d’Arc to Joseph Heller.

Joan of Arc, festival d'Orleans -Graham Seidman

Joseph Heller- Graham Seidman, 1997

Graham, I miss you.

Here is one of his most beloved photos: Gregory Corso and the Monks

Gregory Corso and the Monks - Graham Seidman

Graham was a brilliant artist – making masterpiece after masterpiece of collage, composition, and so doing, compiling visual histories, unique and memorable.

I offer a few below:

Rue de Lapp, Verlaine's favorite cafe, Graham Seidman


Cafe Select - Graham Seidman

I met Graham at the 2nd Avenue Deli in NYC back in 2003, (you can read about it here) where we shared stories of early Israel when he was on a kibbutz, and  history facts of a world gone mad after WWII with country after country banning Jewish refugees from their borders.

His political acuity was marvelously on track as he savoured every bite of his way-too-caloric gigantic sandwich. As we departed that day, I marvelled at his brilliant memory for detail that I strained to retain. Later on when I wrote down what he’d said, he corrected every detail to ensure accuracy. We parted and I felt like I was saying goodbye to a relative, a dear member of my family.

A few months later he told me he’d been awaiting results from some medical tests and that, sure enough, he was heading into his final phase on the planet. He worked tirelessly to prepare exhibits of his work, for as long as he could.

Long may he be appreciated for his wit, patience and art.

Graham Seidman, 2003- Judih

Rest in peace, dear Graham.

Note: All photos created by Graham Seidman belong to the estate of Graham Seidman and cannot be printed for resale or reproduced for personal profit.

Now on radio: Interview with Martina Newberry

An interview with poet Martina Newberry!

Permanent link available here: http://scriptorpress.com/spiritplantsradio/judih/12.04.2010.mp3

Spirit World Restless with DJ judih features Martina Newberry on its inaugural show.

Tune in to Spirit Plants Radio at http://spfradio.yage.net.

Martina answers questions and reads some of her poems, including a six-pack of work from her latest book: Late Night Radio, which will soon be reviewed here at Poet Speaks Out.

Tune into Spirit World Restless at these times:

est:   Saturday 2:15 pm est / Sunday 6:15 a.m.

pst: Saturday 11:15 a.m. /Sunday 3:15 a.m

Tel Aviv time: Saturday 9:15 p.m. / Sunday 13:15 p.m

And somewhere in between for other parts of the ever-listening world.

Stay tuned for further details!

Spirit Plants radio broadcasts 24/7 at http://spfradio.yage.net