October 29, 2007


Rod Tate was born in San Francisco California, Oct. 6. He credits as his musical influences Cannonball Adderly, John Coltrane, Dexter Gordon, Sonny Rollins. Joe Henderson, Lee Morgan, Herbie Hancock, Bill Evans, Toots Thielsmanns, John Klemmer, Grover Washington Jr., Steve Grossman, Gerald Albright, David Sanborn. When he's not performing he devotes his time to his Church where he is the music director and plays keyboards.
He's inspired by the goal of touching peoples lives. Getting his voice out to the world at large is paramount. Rod graduated from Southern Illinois University-Edwardsville.
Rod's goals are to continue to learn, grow, and to touch lives positively through his musical expression. As a songwriter, Rod's goals are to soothe the listeners soul and to speak love to their spirits. He also aspires to have his music featured in movies, commercials, and television programming.

October 28, 2007


Born on September 11th, his given name is Christopher L. Fields. Tapping into the ambient energy of verbal expression; he assumed his true identity of
The Poetry Man.
His style is a hybrid of the Church, the Classroom, and the Corner. Equally comfortable in the basement or the penthouse, he bends words to penetrate and overcome all barriers to effective communication.
A native of Ohio, he now resides in the DC Metropolitan Area; where he addresses contemporary issues with an old soul, and a profound understanding of self that engages the listener to the point of being entranced. In terms of subject matter, he can go from one end of the spectrum to other in the blink of an eye. The Poetry Man does not recite his work; he lives, breathes, and bleeds Poetry. His very soul is manifest each time he delivers the word.

October 19, 2007


Dorothy Jeanne Thompson, grew up around music in Detroit where her father, guitarist Wiley Thompson, often brought home fellow jazz musicians. Even as a young girl, Dorothy would provide support and background to their music by playing the piano. She attended Cass Technical High School where fellow students included such future musical talents and jazz greats as Donald Byrd, Gerald Wilson, and Kenny Burrell. While in high school she played a number of instruments (including the saxophone and string bass) before coming upon the harp.

She attended Wayne State University in Detroit where she studied piano and music education. After she graduated, she began playing the piano in the jazz scene in Detroit, though by 1952 she had made the harp her main instrument. At first her fellow jazz musicians were resistant to the idea of adding the harp, which they perceived as an instrument of classical music and also somewhat ethereal in sound, into jazz performances. So Ashby overcame their initial resistance and built up support for the harp as a jazz instrument by organizing free shows and playing at dances and weddings with her trio. She recorded with Richard Davis, Jimmy Cobb, Frank Wess and others in the late 1950s and early 1960s. During the 1960s, she also had her own radio show in Detroit.

Ashby's trio, including her husband John Ashby on drums, regularly toured the country, recording albums for several different record labels. She played with Louis Armstrong and Woody Herman, among others. In 1962 Downbeat magazine's annual poll of best jazz performers included Ashby. Extending her range of interests and talents, she also worked with her husband on a theater company, the Ashby Players, which her husband founded in Detroit, and for which Dorothy often wrote the scores.
In the late 1960s, the Ashbys gave up touring and settled in California where Dorothy broke into the studio recording system as a harpist through the help of the soul singer Bill Withers, who recommended her to Stevie Wonder. As a result, Dorothy was called upon for a number of studio sessions playing for such popular recording artists as Dionne Warwick, Diana Ross, Earth, Wind & Fire, and Barry Manilow. Her harp playing is featured in the song "Come Live With Me' which is on the soundtrack for the 1967 movie, Valley of the Dolls. One of her more noteworthy performances in contemporary popular music was playing the harp on the song "If It's Magic" on Stevie Wonder's 1976 album Songs in the Key of Life. She is also featured on Bill Withers' 1974 album, +'Justments.

Her albums include The Jazz Harpist, In a Minor Groove, Hip Harp, Fantastic Jazz Harp of Dorothy Ashby with (Junior Mance), Django/Misty, Concerto De Aranjuez, Afro Harping, Dorothy's Harp, The Rubaiyat of Dorothy Ashby, and Music for Beautiful People. Between 1956-1970, she recorded 10 albums for such labels as Savoy, Cadet, Prestige, New Jazz, Argo, Jazzland and Atlantic. On her "Rubaiyat" album, Ashby played the Japanese musical instrument, the koto, demonstrating her talents on another instrument, and successfully integrating it into jazz.

October 18, 2007


Ruth L. Henderson-Lowe was born in New York City but grew up in Jamaica, Long Island. She graduated from the City College of New York receiving a BA and a MA in World History as a major and Spanish as a minor. She now resides in Bergenfield, New Jersey.

Ruth is a retired New York City School District Supervisor, a widow, mother, and grandmother. Both of her children are talented musicians. Her daughter Ayana, is a jazz vocalist primarily singing at jazz clubs in the New York City area and her son David is an accomplished pianist/organist and composer. So you see, the arts run deeply in her family. Ruth has traveled world wide and speaks Spanish fluently.

Ruth's hobbies are reading, travel, playing tournament bridge, and writing poetry. She is also very active in Saint Mark's church. Ruth's favorite jazz artists are Billie Holliday, Charlie Parker, and Peggy Lee.

Ruth L. Henderson-Lowe's poetry is very moving and is deeply rooted in the family. Spotlight On Jazz and Poetry is truly blessed to have her as a featured poet!

October 17, 2007


Stan Getz, born to Ukrainian-Jewish parents and raised in New York City, played a number of instruments before his father bought him his first saxophone at the age of 13. In 1943, he was accepted into Jack Teagarden's band. After playing for Stan Kenton, Jimmy Dorsey, and Benny Goodman, Getz was a soloist with Woody Herman from 1947–49. He scored a hit with Early Autumn. With few exceptions, Getz would be a leader on all of his recording sessions after 1950.

Getz married Beverly Byrne, a vocalist with the Gene Krupa band, on November 7, 1946; they had three children. He married Swedish aristocrat Monica Silfverskiold on November 3, 1956, and had two children. In 1957, Swedish girlfriend Inga Torgner gave birth to his son, Peter.

In the 1950s, Getz become popular playing cool jazz with Horace Silver, Johnny Smith, Oscar Peterson, and many others. His first two quintets were notable for their personnel, including Charlie Parker's rhythm section of drummer Roy Haynes, pianist Al Haig and bassist Tommy Potter. In 1958, Getz tried to escape his narcotics addiction by moving to Copenhagen, Denmark.

Returning to America in 1961, Getz became a central figure in the Bossa nova. Along with Charlie Byrd, who had just returned from a U.S. State Department tour of Brazil, Getz recorded Jazz Samba in 1962 and it became a hit. The title track was an adaptation of Antonio Carlos Jobim's "Samba De Uma Nota Só" (One Note Samba). Getz won the Grammy for Best Jazz Performance of 1963 for "Desafinado".

He then recorded with Jobim, João Gilberto and his wife, Astrud Gilberto. Their "The Girl from Ipanema" won a Grammy Award. The title piece became one of the most well-known latin jazz pieces of all time. Getz/Gilberto won two Grammys (Best Album and Best Single), besting The Beatles' A Hard Day's Night, a victory for Bossa Nova and Brazilian jazz. Wes Montgomery and Joe Henderson incorporated Brazilian jazz in their work. In 1967, Getz recorded albums with Chick Corea and Stanley Clarke.

Getz resurfaced in the 1980's, experimenting with an Echoplex on his saxophone, for which critics vilified him. He eventually discarded fusion and "electric jazz", returning to acoustic jazz. Getz gradually de-emphasized the Bossa Nova, opting for more esoteric and less-mainstream jazz. He had a cameo in the movie The Exterminator.

He had become involved with drugs and alcohol while a teenager, and would physically abuse his wives while under the influence. In 1954, he was arrested for attempting to rob a pharmacy to get a morphine fix. As he was being processed in the prison ward of Los Angeles County-USC Medical Center, Beverly, whom Stan had gotten addicted to heroin, gave birth to their third child one floor below. After years of trying to get him clean, Monica, who had gained custody of Stan and Beverly's children, left him; he divorced her in 1987.

Getz died of liver cancer. In 1998, The "Stan Getz Media Center and Library" at the Berklee College of Music was dedicated to him through a donation from the Herb Alpert Foundation.

October 16, 2007


Barbara Nicholas, aka LadyBarbara, was born in Alton, Illinois, residing in St. Louis, MO for the past five (5) years.

Barbara is a middle-aged female who loves a wide variety of music; writing poetry and short stories and also producing audio poetry; interior decorating, singing, arts & crafts, sewing, cooking, playing board games, crossword puzzles, reading and shopping, etc.

She loves to laugh, make others laugh and enjoy life, because life is too short to do otherwise. She believes that laughter is good for the heart, mind, spirit and body. MHer favorite motto is, "Do unto others as you would have them do unto you".

Barbara lives life moderately, nothing to the excess. She tries to take most things lightly, trying not to let anything or anyone dominate her completely. She gives all of her cares and woes to God, Our Heavenly Creator. I find that life is better for me with that frame of mind.

LadyBarbara has four children, 11 grandchildren and one great-grandchild whom she is very proud of. Being a single grandparent, I love my individuality and am enjoying life to the best of my ability.

October 11, 2007


Mala Waldron,vocalist, pianist and songwriter has been performing professionally since she was 15 yrs. old, when she joined a local R&B band. Within a year, the band was signed to RCA records with the release of a single "Take Little Love." After high school, she went on to expand her knowledge of music studying jazz piano, voice and composition at SUNY College of Old Westbury with Makanda Ken McIntyre. She graduated with a Bachelor of Arts degree.

Mala's recordings as a featured artist are "He's My Father," a duo with her father, jazz pianist and composer, Mal Waldron, and "Lullabye," her solo debut (both on Tokuma Communications/Japan; re-issues on 3361Black). She has had the pleasure of working with many notable artists including Andy Bey, Makanda Ken McIntyre, Don Braden, Jeanne Lee, Cecil McBee, George Cables, James Williams, Billy Drummand, Victor Lewis, John Betsch, James "Jabbo" Ware ME WE & THEM Orchestra, Hilton Ruiz, Andrei Strobert and Warren Smith.

Mala has toured in Japan, France and Belgium as well as in the U.S., performing most recently at the Medgar Evers Jazz Festival and the Port Jefferson Jazz Festival where she shared the stage with Kenny Rankin. She has been featured in Swing Journal, Jazz Life and GQ (Japan). Oceanlight/Synergy Records released a multi-artist CD "Smooth Jazz and R&B Scenes", which contains a track written and recorded by Mala entitled "Please Say You Do," as well as tracks by Jon Lucien, Bernadette Brown, Chuck Loeb and Bob Baldwin and many others.

When asked about her father (most known for his composition "Soul Eyes" recorded with John Coltrane), Mala smiles, saying how proud she feels to be carrying on her father's legacy. "I feel honored when people recognize me as the daughter of someone who has made such an important contribution to jazz." She admits that she gets the most personal gratification when she is recognized for her own unique and distinctive talents. Indeed, Mala has developed a style of her own that is most evident in her original music. One can hear her unmistakable jazz roots, and just as clearly you can hear tinges of the various other musical influences from her childhood -- the R&B, the calypso, the classical, the funk, the gospel -- it's all in there, and more.

October 10, 2007


Malcolm Earl Waldron was born in New York City on Aug. 16, 1926, Waldron received a Bachelor's degree in music and composition for ballet en route to a series of sideman gigs. Early work opportunities included time with Ike Quebec, Della Reese, Big Nick Nicholas and a number of r&b bands. Two of Waldron's best early high-profile gigs in jazz came working for Charles Mingus from 1954-'56 (he would work with the bassist again), and later with Billie Holiday from 1957-'59. In addition, Waldron was known for recording dates where he supplied all the written material to be recorded. Starting in 1960, he became a leader of his own bands, and was John Coltrane's pianist briefly after the saxophonist departed Miles Davis' band. Waldron's writing credits also include work for film scores and stage background music. Some of his work took him to Europe, where in 1965 he did some writing for film and decided to move there. He has continued to record and tour internationally.

Mal was a prolific composer in several genres as well as a pianist. His most celebrated jazz tune is the strong but wistful Soul Eyes, written in 1957. It became established in the jazz repertoire as a modern "standard", but he also composed scores for ballet and a number of films, beginning with The Cool World in 1965.

He began to learn piano at the age of eight, and his initial musical training came as a classical pianist. He played alto saxophone in the school band as well, but was intimidated by the example of Charlie Parker, and eventually set aside the alto and turned to piano in a jazz context as well.

He was called up by the US Army in 1943, and served in New York, where he trained cavalry horses and soaked up the city’s jazz scene. He was demobilised with the end of the war in 1946, and studied piano and composition at Queens College in New York, graduating with a BA in Composition.

He made his professional debut as a jazz pianist with saxophonist Ike Quebec in 1950. He linked up with Charles Mingus’s progressive Jazz Workshop in 1954, and remained with the bassist for two years, appearing on the classic Pithecanthropus Erectus album in 1956. He formed his own band later that year, and recorded copiously for Bob Weinstock’s Prestige label, both as a leader and as the effective "house" pianist on many of the label’s sessions.

The musicians he worked with in this period included Jackie MacLean, John Coltrane, Gene Ammons, Herbie Mann and Steve Lacy (the latter association would be taken up again when both became expatriates). His elegant and thoroughly attuned accompaniments for Billie Holiday in her last years led to further work with singer Abbey Lincoln and her then husband, drummer and bandleader Max Roach, who used Waldron in his own group for a time.

He formed a band with trumpeter Booker Little and saxophonist Eric Dolphy, and made important recordings with both musicians before their tragically early deaths in 1961 and 1964 respectively.

His refined technique and creative musical imagination kept him in constant demand as a session musician in addition to his work as a leader. The combination of drug problems and overwork eventually led to a nervous breakdown in 1963 (he claimed later that he had had to relearn his style from his old records). The pressures precipitated his move from the hot house of New York’s jazz scene to Paris in 1965, the first of his European homes.

He scored his first film, The Cool World, that year, and went on to compose music for several more films, including Marcel Carné's Trois Chambres à Manhattan (Three Rooms in Manhattan, 1965), Herbert Danska's Sweet Love, Bitter (1967) and Haruki Kadokawa's Tokyo Blues (1986). He appeared in Mal Waldron and Friends: Live at the Village Vanguard (1986) and Tom Overberghe’s documentary Mal (1997).

His recordings include Moods (includes longtime collaborator Steve Lacy, enja, 1978); The Quest (OJC, 1961). As a sideman: At The Five Spot Vol. 1 (with Eric Dolphy, Booker Little, OJC, 1961).

He adapted readily to life in Europe, and often linked up with various other members of the American jazz community in exile, including Ben Webster, Steve Lacy, Kenny Clarke and Archie Shepp. He worked with many European musicians, including a fruitful musical relationship with the English baritone saxophonist George Haslam, who both performed with the pianist and recorded his work for his own Slam label.

He was a frequent return visitor to the USA from the mid-Seventies, both to perform at club and concert dates and to record. He resisted any temptation to return to his homeland on a permanent basis, however, and settled in Brussels in the early Nineties.

He was popular in Japan, and was commissioned to compose and perform a piece commemorating the 50th anniversary of the bombing of Hiroshima in 1995, in a concert which also celebrated his 70th birthday.

After some years of indifferent health, though continuing to perform, Waldron crossed over on December 2, 2002 in Brussels, Belgium.

October 09, 2007


Cassandra Cleghorn is a Senior Lecturer at Williams College where she has taught English and American Studies since 1990. She received her BA in Greek from University of California, Santa Cruz and her PhD in American Studies from Yale University. Her poems have appeared in journals including The Paris Review, Yale Review, Prairie Schooner and Southwest Review.

The Merge project has brought together the two most important parts of Cassandra's artistic life: poetry and music. Cassandra has been writing poetry since she was six, 40 years ago. Her musical experiences predate that--doubtless back to her time in the womb--since she was born into a family of passionate musicians, both professional and amateur. Mom, a pianist; dad, a violist in the Cincinnati Symphony Orchestra; step-father, a conductor and violist; step-mother, a violinist; and siblings who were also musicians of one sort or another.
Although her family members were classical musicians, all kinds of music shaped her--from opera to folk music and jazz. Her fondest memories include being woken up in the morning by her Dad playing Mahler records at top volume and, at the end of the night, sitting with him after his symphony gig to listen to the latest Roberta Flack or Papa John Creach album. Flack's 1969 debut First Take (which includes Eugene McDaniels' "Compared to What") is one of her desert island albums.

Cassandra began playing the violin at age seven, and played seriously until she got to college. She travelled to Europe with the American Youth Symphony Orchestra when she was 16. When she got to college and discovered Greek literature and immersed herself in poetry, her love of reading and writing edged out her time on the violin and she put her instrument aside. . . for 20 years! Fast forward: marriage, grad school, four kids, full-time college teaching job, etc. When she finally picked up the violin again six years ago, she wanted to use a new approach, learning primarily by ear, and focusing on jazz improvisation and Irish-influenced fiddle music. She has embraced the role of student again, being lucky enough to study improvisation with cellist Eugene Friesen, and violinists Todd Reynolds and Charlie Burnham. One of the high points of her week is a jam session of New England/French Canadian/Irish music every Saturday morning in North Adams, Massachusetts.

Music is also present in Cassandra's poems in a deeper sense. The musical ideas expressed by her fellow ensemble members, Erik, Rene and Allison inspire images, language and forms of her poetry. Sometimes she will take a melody presented by one of them and use the rhythms and phrasing of that tune to shape the poems: as a lyricist might, but using spoken word to deliver them, rather than song. Sometimes Erik will take a poem of Cassandra's and follow the intonation and pacing of her delivery to discover its inherent melody and translate that to the flute or saxophone.

However the ensemble proceeds--from page to stage, from spoken voice to instrument, or vice versa--the key element for all four of them is LISTENING. This is the thing that Cassandra values above all learning from her parents and teachers--and what she in turn is handing down to her four musical children--Oliver (age 14 singer), Ripley (age 12, pianist/flutist/composer), Eve (age 12, trombonist/violinist/composer) and Jasper (age 8, pianist/drummer).

The happiest moments in her house are when several people are making music simultaneously, sometimes even on purpose and in harmony. She likes her teacher's motto, "Play loud and play often." Something similar can be said of poetry, "Write with passion and never stop (except to revise)." Put these together and who knows what will happen?

October 03, 2007


One of the Blue Note label's definitive hard bop artists, tenor saxophonist Hank Mobley remains somewhat underappreciated for his straightforward, swinging style. Any characterization of Mobley invariably begins with critic Leonard Feather's assertion that he was the "middleweight champion of the tenor saxophone," meaning that his tone wasn't as aggressive and thick as John Coltrane or Sonny Rollins, but neither was it as soft and cool as Stan Getz or Lester Young. Instead, Mobley's in-between, "round" (as he described it) sound was controlled and even, given over to subtlety rather than intense displays of emotion. Even if he lacked the galvanizing, mercurial qualities of the era's great tenor innovators, Mobley remained consistently solid throughout most of his recording career. His solo lines were full of intricate rhythmic patterns that were delivered with spot-on precision, and he was no slouch harmonically either. As a charter member of Horace Silver's Jazz Messengers, Mobley helped inaugurate the hard bop movement: jazz that balanced sophistication and soulfulness, complexity and earthy swing, and whose loose structure allowed for extended improvisations. As a solo artist, he began recording for Blue Note in the latter half of the '50s, and hit his peak in the first half of the '60s with hard bop cornerstones like Soul Station, No Room for Squares, and A Caddy for Daddy.

Henry "Hank" Mobley was born on July 7, 1930, in Eastman, GA, and grew up mostly in Elizabeth, NJ.while spending a lot of his adult years in Philadelphia. Several family members played piano and/or church organ, and Mobley himself learned piano as a child. He switched to the saxophone at age 16, initially modeling his style on players like Lester Young, Charlie Parker, Dexter Gordon, Don Byas, and Sonny Stitt. He soon started playing professionally in the area, and built enough of a reputation that trumpeter Clifford Brown recommended him for a job without having heard him play. That job was with Paul Gayten's Newark-based R&B band, which he joined in 1949, doubling as a composer. He departed in 1951 and joined the house band at a Newark nightclub, where he played with pianist Walter Davis, Jr. and backed some of the era's top jazz stars. That led to a job with Max Roach, who hired both Mobley and Davis after performing with them; they all recorded together in early 1953, at one of the earliest sessions to feature Roach as a leader. Meanwhile, Mobley continued to gig around his home area, playing with the likes of Milt Jackson, Tadd Dameron, and J.J. Johnson, among others; he also served two weeks in Duke Ellington's orchestra in 1953.

Mobley spent much of 1954 performing and recording with Dizzy Gillespie. He left in September to join pianist Horace Silver's group, which evolved into a quintet co-led by Art Blakey and dubbed the Jazz Messengers. Their groundbreaking first album for Blue Note, 1955's Horace Silver and the Jazz Messengers, was a landmark in the genesis of hard bop, with its sophisticated solos and bright, almost funky rhythms. Mobley led his first session for Blue Note, The Hank Mobley Quartet, in 1955, and recorded for Savoy and Prestige during 1956. In the middle of that year, the original lineup of the Jazz Messengers split, with Blakey keeping the name and Silver forming a new group. Mobley stayed with Silver until 1957, by which time he had begun to record prolifically as a leader for Blue Note, completing eight albums' worth of material over the next 16 months. Some of his best work, such as Hank Mobley and His All Stars and The Hank Mobley Quintet, was cut with a selection of old Messengers mates. Not all of his sessions were released at the time, but some began to appear as import reissues in the '80s. Often composing his own material, Mobley was beginning to truly hit his stride with 1958's Peckin' Time, when a worsening drug problem resulted in an arrest that took him off the scene for a year.

Upon returning to music in 1959, Mobley oriented himself by rejoining Art Blakey in the Jazz Messengers for a short period. His comeback session as a leader was 1960's classic Soul Station, near-universally acknowledged as his greatest recorded moment. Mobley cut two more high-quality hard bop albums, Roll Call and Workout, over 1960-1961, as well as some other sessions that went unreleased at the time. In 1961, Mobley caught what looked to be a major break when he was hired to replace John Coltrane in Miles Davis' quintet. Unfortunately, the association was a stormy one; Mobley came under heavy criticism from the bandleader, and wound up leaving in 1962. He returned to solo recording with 1963's No Room for Squares, often tabbed as one of his best efforts, before drug and legal problems again put him out of commission during 1964. Energized and focused upon his return, Mobley recorded extensively during 1965, showcasing a slightly harder-edged tone and an acumen for tricky, modal-flavored originals that challenged his sidemen. At the same time, Dippin' found a funkier soul-jazz sound starting to creep into his work, an approach that reached its apex on the infectious A Caddy for Daddy later that year.

Mobley recorded steadily for Blue Note through the '60s, offering slight variations on his approach, and continued to appear as a sideman on a generous number of the label's other releases (especially frequent collaborator Lee Morgan). 1966's A Slice of the Top found Mobley fronting a slightly larger band arranged by Duke Pearson, though it went unissued until 1979. After cutting the straightforward Third Season in 1967, Mobley embarked on a brief tour of Europe, where he performed with Slide Hampton. He returned to the U.S. to record the straight-ahead Far Away Lands and Hi Voltage that year, and tried his hand at commercially oriented jazz-funk on 1968's Reach Out. Afterward, he took Hampton's advice and returned to Europe, where he would remain for the next two years. 1969's The Flip was recorded in Paris, and Mobley returned to the States to lead his final session for Blue Note, Thinking of Home, in 1970 (it wasn't released until ten years later). He subsequently co-led a group with pianist Cedar Walton, which recorded the excellent Breakthrough in 1972.

Sadly, that would prove to be Mobley's last major effort. Health problems forced him to retire in 1975, when he settled in Philadelphia. He was barely able to even play his horn for fear of rupturing a lung; by the dawn of the '80s, he was essentially an invalid. In 1986, he mustered up the energy to work on a limited basis with Duke Jordan; however, he died of pneumonia not long after, on May 30, 1986. During Mobley's heyday, most critics tended to compare him unfavorably to Sonny Rollins, or dismiss him for not being the innovator that Coltrane was. However, in the years that followed Mobley's death, Blue Note hard bop enjoyed a positive reappraisal; with it came a new appreciation for Mobley's highly developed talents as a composer and soloist, instead of a focus on his shortcomings.

October 02, 2007

DONNA "Celestial Dancer" KIRVEN

Donna Kirven, better known in the poetry world as “Celestial Dancer,” was born and raised in Philadelphia, Pa., but currently lives in Northern California with her husband and two daughters. Coping with life through love, laughter, music and her passion for writing she has found a way to combine the beautiful arts of poetry and music and invites the world to share the joyous blend.. She has written poetry since age 10, and had her first poem published in her high school newspaper. Donna attended Temple University, and is currently a master’s candidate in organizational psychology. Her first book, When a Band-Aid Isn't Enough, and other poetic perspectives was released in February 2005, and offers a eclectic compilation of traditional and non-traditional poetry that provokes soul deep images of any given moment in time, ones that we all, or someone close to us, have experienced but often have been unwilling or unable to express.

In addition to her career as a medical laboratory educator, Donna has extended her passion for writing to the professional arena and for the past six years has written as a dedicated columnist and editorial consultant for Advance@ Magazine for Medical Laboratory Professionals.

Her second book, The Alchemy of Understanding: Poetic Soul Therapy, will be released in a few weeks and offers more poetic word paintings of the magical and mystical moods, motives and making of understanding between us. Check out her web pages;

www.myspace.com/celdancer and www.bodiesatrest.blogspot.com for the release date.

In holding fast to the fleeting preciousness of life, Donna reflects through her poetry echoes of her mantra, “Keep your head up, your heart full and your mind moving.”

October 01, 2007


Every once in a while, an artist comes along who redefines and manipulates the boundaries of his craft. Using a various array of soul stirring lyrics and a thought process that is borderline
alien, mizloonaR is well on his way to doing just that.

Born and raised in Philadelphia, Pennsylvania, mizloonaR who is a poet-lyricist-singer uses the labyrinth of his life experience to paint vivid depictions of the world through his eyes. Since birth, mizloonaR and music have been
connected at the hip, and it seems like the marriage of the two has
finally come full circle. As a child of the ghetto, loonaR had a
smorgasboard of inspiration to draw from, and with his innate ability to
absorb and translate his surroundings, he sketches portraits of where
he's been and where he plans on going. He draws from the struggles
of his inner city brethren, using the remnants of their pain and the
monuments of their joy to tell the story of a world that is seldom
documented accurately. Using the lessons of life as the paint for his
canvas, loonaR touches on every aspect of life, from distant dreams
to a jagged reality.

Knowing that life is a great teacher, loonaR uses his
lessons learned to articulate the black male experience. mizloonaR
draws from the memories of his innopportune incarceration in his early
twenties, and he expresses the pain and long road back to self suffiency
after being a gunshot victim in the badlands of North Philadelphia. If u
had seen or experienced some of the events that mizloonaR has been
through and witnessed, you would indeed consider it amazing that he has
lived this long to tell about it. But through the blessing of The Most High,
and with the constant support and motivation from his family, mizloonaR
has survived to tell the world the story of his many successes and failures.
Using the fragments of an education gained at Florida Community College
of Jacksonville as well as the Community College of Philadelphia, mizloonar
uses his brilliance with the English language to go outside the boundaries
of self expression, choosing to go against the grain and show the endless
possibilities that exists within the human imagination. A loving father and a
strong advocate of family, mizloonaR is a perfect example of what we are all
capable of if we remain focused and uncompromised.

With the constant increase in brutality and racism that arise in the bowels of the ghetto, loonaR is relentless in his fight for the upliftment and educating of his community. Using music and poetry as vehicles to promote positivity and hope, mizloonaR is currently in the process of completing his double album. Celebrated for his ability to hopscotch from genre to genre, mizloonaR intends to pull from his
full arsenal of gifts and abilities to leave his imprint on the world. Join him
as he takes that long walk to forever. uno (loonaR)