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Playing Without Weapons

She played her mysterious saxophone
as if we could be together alone
in concert halls
and Republican
and Green Democratic balls,
behind
and in front of
magisterial boundary walls.

She brought in a few million dollars
from quiet
more sedate
enraptured listening fans

Before her critics
complained She takes no risks,
no dissonance dare pass her wet vibrating reed.
Hopelessly romantic,
Without a hint of unpredictability.
Too many sustained wooden notes!

She is to saxophone performance
as communion
and compassionate communication
are to tiresomely pedantic religious orthodoxy,
behind
and in front of
multiculturing experiential walls.

About half a billion well-voiced dollars later,
She thought it time to respond
from a patriarchal position of musing strength.

“I invite those who don’t like my ecofeminist natural music
to not listen with such obviously desperate disappointment.
Instead
make your own muse
on your own performing saxophone
or flute,
Your own drum of choice.
Become wildly successful
with your own well-tooled, but unweaponed, message.
Make tons of fan co-invested money.”

“And, when you do,
I am sure I will have a chance to listen mindfully with you.
And, I hope I will become greatly amazed
with spatial wonder
and timeless awe.”

“I will be so happy
to raptly listen
and write your superlative review,
to become your greatest co-empathic fan.”

“Sadly,
until that great gettin-up morning,
I will continue playing my best music alone,
and hope you will now know
my muse and I best hope
to become your John the Baptist,
in faith waiting for your richer Messiah tunes
of even greater
wealthier
healthier rapture.”

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