The digital actors playing The Mother and The Father are standing around an empty, grey set shooting diagonal eye lines for each other:

The Mother and The Father without a Set

Production is, of course, behind schedule because the producer has too many projects to handle. The script is still ‘almost’ finished and a shooting location has yet to be rendered. Typical.

Son House c. 1970Son House is the father of The Blues. I know something or other was happening in New Orleans but look here: Son House is a divine man of blemish from the Old Kingdom of The Blues down in The Delta. His words and his music provide me with direction and purpose for my entire life.

In the “Feels Like Going Home” episode of Martin Scorsese Presents the Blues, Son House is emphatic about defining The Blues as what consists between male and female in love. There is no Big Black Cadillac Blues, no Captain Blues, no Credit Card Blues—just one what consists between male and female in love—not this New Kingdom of Babylonian entertainment. And, yes, Cornel West has his ideas about The Blues as well—but remember that this guy showed up in The Matrix with a broken, post-apocalyptic harmonica around his neck.

Son House, his Blues, is a perfect fit in two contexts: one is the story of the loss of pre-Islamic-pre-Christian African matriarchy and the other is my story as a child of divorce. My second collection of poetry, Provisions, is totally preoccupied with the effects of being a child of divorce. And see clearly here: I am saying that this work is preoccupied with the effects of divorce—when you want to experience divorce per se watch Kramer vs. Kramer. At bottom, Son House encourages me to say that my poetry is Blues poetry. Son House was married five times.

It renders so clear to me why The Blues should be. The racism of imperial slavers was merely an agent that caused the breakup between male and female. There would be no Blues about the ‘boss man’ when the wife and husband are bound with renewal and vitality. Leave pre-Islamic-pre-Christian African thought and you end up with The Blues. That is my simple formula. Test it for validity with your scientific methods. Ease up off the anti-depressants.

My second collection of poetry is not published yet. The first collection, “the adolescence of the cool” is a chapbook available for purchase online. There are some Blues in that one as well in spite of the youthful age of authorship. I am thinking of “Sweet Honey in the Rock Woman” and “0.5 the Sisters” which has been online as a multimedia presentation at kintespace.com for years.

Read the words of Son House in “Death Letter” at kintespace.com.

Jeffery VeenJeffery Veen is going to help me with a problem I picked up during childhood. When I speak to people, I do not expect to be engaged and understood. Since I was the baby of the family, I was the cute one who was marveled at for just being able to talk and I served an entertainment purpose for comedy relief. I am not trying to “blame” my family I am just recounting the facts.

So I depend on guys like Jeffery Veen who may serve to get my point across. Veen preaches the same message I have been preaching since before 1998. This is the message: Web sites are not for Web masters. Many of my potential business clients are my family members (or they look like members of my family) and they often sit back and wait for me build their web site because they are not listening to my instruction (because—I guess—I am the baby of the family). Jeffery Veen in “Why Content Management Fails” clearly states that:

Your public-facing Web site is a publication. Treat it like one… If you’re not in the business of producing publications, you won’t be able to do better by plugging in a technology and crossing your fingers. Rather, solve the problem with people.

The “plugging in a technology and crossing your fingers” bit comes from a slavery mentality where we often slip into a trance of thinking we can get something for nothing—at least this is the case with members of my family.

The official list of Songhay System web sites can be found at SonghaySystem.com. I am still working with my uncle Azuka Ojini on CityTaxiInstitute.com. My other uncle, the internationally known blues musician, Roy Gaines is trying to learn how to build a web site himself—and RoyGaines.com appears to be underway after my uncle was robbed by people he thought were professionals because his little nephew was saying some stuff but, well… that nephew is kind of weird you know…

We all need to evaluate Mambo, as the time of writing HTML by hand is looking more and more like writing PostScript by hand… Do you understand what I am saying or am I distracting you with my clownish vibe?

Arnaldo Tamayo-MendezArnaldo Tamayo-Mendez Cuban Pilot Cosmonaut. Born 29 January 1942.

Of note: First Cuban astronaut. First person of African descent to fly in space.

Personal: Male, Married, Two children. Born in Guantanamo, Cuba.
Affiliation: Cuban Air Force.

Astronaut Career

Astronaut Group: Intercosmos Group—1978.
Status: Inactive.
Entered space service: 1 March 1978.
Left space service: 1981.
Number of Flights: 1.
Total Time: 7.86 days.

Tamayo-Mendez Spaceflight Log

18 September 1980
Flight: Salyut 6 EP-8.
Flight Up: Soyuz 38.
Flight Back: Soyuz 38.
Flight Time: 7.86 days.

Tamayo-Mendez Chronology

18 September 1980
Soyuz 38 Assignment: Prime Crew.
Flight details: Salyut 6 EP-8, Salyut 6 EO-4.

Manned two crew. Docked with Salyut 6. Transported to the Salyut-6 station the seventh international crew under the INTERCOSMOS programme, comprising Y V Romanenko (USSR) and A. Tomaio Mendez (Cuba), to conduct scientific research and experiments.

26 September 1980—Landing of Soyuz 38
Assignment: Return Crew.
Flight details: Salyut 6 EP-8, Salyut 6 EO-4.

Soyuz 38 landed at 15:54 GMT.

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