House Speaker Kevin McCarthy and President Joe Biden (Photo: Jacquelyn Martin/AP/Bloomberg via Getty Images / Getty Images)
Ol’ Schmo ‘negotiates’ Us a trillion dollar deal—
We started with TEN…
“It’s morally wrong to allow
a sucker to keep his money.”
—W.C. Fields
Great grand bargainer—Drone Ranger-
Slick Willy-style ‘negotiator.’ ‘Debt ceiling’
debater—‘fiscal cliff’ navigator— Ol’ Schmo
plays Harry Houdini. His hands are always tied—
on The Peoples’ needs!
Call it cruel Kabuki Theater/Silly Sinema—
slapstick, or whatever, with a West Virginian
Munchkin.
Corporate tax butchering! Elite tax ‘breaks!’ Weapons
of Mass Destruction! Bankrolling/co-signing for Apartheid
State Slaughter of the Day! Ol’ Schmo’s ever clever ‘across
the aisle’ acrobat!
Remember how he had Anita Hill’s back—
Strom Thurmond’s stiletto?
Remember his paw prints all over Long Dong Silver,
AKA Thom-ass Clarence, and Spinnin’ Ginni madness?
Ol’ Schmo ‘negotiates’ pistols pointing at
Our foreheads.
And he’ll rush out War House screaming, “I was
Robbed—had ‘my' money in this pocket and
Your money in that pocket. They got your money!!!”
He’ll spout mush-mouthed platitudes. Snap selfies. Slide
into a luxury getaway car. Track elephant excrement/donkey
dung to Delaware,West Virginia, Arizona, General Dynamics,
Raytheon, Boeing, Lockheed-Martin, Northrup-Grumman…
© 2023. Raymond Nat Turner, The Town Crier. All Rights Reserved.
Raymond Nat Turner is a NYC poet; BAR's Poet-in-Residence; and founder/co-leader of the jazz-poetry ensemble UpSurge!NYC. You can Vote for his work at: GoFundMe and PayPal.
A big BOOM— 27,000 tons of ammonium nitrate… chemical compound for agricultural Fertilizer… ‘stored’ 6 years at the port of Beirut 220 dead 5,000 injured
The Big Business-backed Harris earned a reputation as a friend of the police and an agent of racially disparate mass incarceration.
Anti-Blackness and antiradicalism function as the legitimating architecture of modern U.S. racial capitalism.
This week protests in Portland and Racial Capitalism were on your minds.
Our theorizing must take on the dynamic, fugitive, and excessive aesthetics of black practice and performance.
