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sassyeclipselandfreak · 3 years

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NAME: Rusty lim macabanti.

First Poem:

POEMS OF RIZAL

Sa Aking Mga Kabata

“To my fellow children”

a poem about the love of one's native language written in Tagalog.

Jose Rizal wrote it in 1869 at the age of eight.

The poem was widely taught in Philippine schools to point out Rizal's precociousness and early development of his nationalistic ideals.

Mi Primera Inspiracion

“My first inspiration”

first poem written by Dr. Jose Rizal during his third academic year in Ateneo de Municipal.

He wrote the poem in 1874, before he turned 14.

He was delighted to see his mother, Doña Teodora Alonso, released from prison that same year so he dedicated the poem to her.

He also dedicated this poem to his mother’s birthday.

Por la Educación Recibe Lustre la Patria

“Through Education Our Motherland Receives Light”

Rizal wrote this poem in the year 1876 at the age of fifteen.

It was written in Ateneo de Municipal in Manila.

The poem was written during the Spanish Government.

Alianza Íntima Entre La Religión Y La Buena Educación

“The Intimate Alliance Between Religion and Good Education”

Poem he wrote to show the important relationship between religion and education.

During the summer of April 1876, before entering his fifth year in Ateneo Municipal in June, Jose Rizal previous to turning fifteen wrote this poem along with Por La Educación Recibe Lustre La Patria.

Religious Poems

Al Nino Jesus

“To the Child Jesus”

written in Spanish by Jose Rizal in 1875 at the age of 14 during his stay Ateneo De Municipal.

After his mother’s imprisonment, he wrote many poems, mostly inspired by his friend and professor: Father Sanchez.

Among the poems he wrote, in 1875 were

the ff:

Felicitación (Felicitación)

El Embarque Himno a la Flota de Magallanes (The Departure: Hymn to Magellan’s Fleet)

Y Es Español: Elcano, el Primero en dar la Vuelta al Mundo (And He Is Spanish Elcano, the First to Circumnavigate the World)

El Combate: Urbiztondo, Terror de Jolo (The Battle: Urbiztondo, Terror of Jolo)

In 1876, he wrote other poems on various topics. Among these are:

Un Recuerdo a Mi Pueblo

“In Memory of My Town”

Which was also another tender poem about the town where he was born.

Un Recuerdo A Mi Pueblo

“In Memory of My Town”

Rizal wrote it in 1876 when he was 15 years old while a student in the Ateneo de Manila.

This poem is about the Calamba, the place where he was born, which he loved very dearly.

The following year of 1877 also showed a lot of poetry that were written by him:

El Heroísmo de Colon

“The Heroism of Columbus”

This poem praises Columbus for his adventurous spirit and his success as an explorer.

2 Reasons why famous poem of Rizal, “To The Filipino Youth” was described as “winning classic in Philippine Literature”

It was the first Spanish poem written by a Filipino, which gained recognition among known Spanish authors,

It contained for the first time, the nationalistic sentiment insinuating that the Filipinos.

2nd Poem:

Shakespeare's Sonnets

154 of Shakespeare's sonnets are included in the volume Shakespeare’s Sonnets, published by Thomas Thorpe in 1609. They are followed by the long poem 'A Lover's Complaint', which first appeared in that same volume after the sonnets. Six additional sonnets appear in his plays Romeo and Juliet, Henry V and Love's Labour's Lost.

Shakespeare's sonnets generally focus on the themes of love and life. The first 126 are directed to a young man whom the speaker urges to marry, but this man then becomes the object of the speaker's desire. The last 28 sonnets are addressed to an older woman, the so-called 'dark lady', who causes both desire and loathing in the speaker. However, several of the sonnets, if taken individually, may appear gender-neutral, as in the well-known 'Shall I compare thee to a summer's day?' from Sonnet 18. The linear, sequential reading of the poems is also debatable, since it is unclear if Shakespeare intended for theWhile he may have experimented with the form earlier, Shakespeare most likely began writing sonnets seriously around 1592. What is now known as the Shakespearian sonnet is the English sonnet form Shakespeare popularised: fourteen lines of iambic pentameter (a ten-syllable pattern of alternating unaccented and accented syllables). The rhyme scheme breaks the poem into three quatrains (four lines each) and a couplet (two lines).

Shakespeare changed the world of poetry not only with his prolific use of this new form, but also in deviating from what was standard content. Instead of romantic fiction, written to an unattainable ideal woman, Shakespeare writes to a young man and a dark woman, who may or may not be attainable.

3rd Poem:

Three Poems from the Philippines

If only words dilute sediments at the bottom of my gut; if only a tongue can let this pain hydroplane into a song.

If only I did not get up from the soft eggshell mattress of my old bed; if only I played the lazy student card and stayed behind.

If only they warned us; if only I/they listened.

If only those raindrops were not as fat as freshly fed eels; if only I camped out in school and waited for hot bread.

If only I did not swim in dark floodwaters; if only I did not stare at the flashing blue traffic lights that screamed end of the world.

If only they did not shout, “repent, repent, repent!” while navigating atop broken.

If only no one died; if only everyone died.

We/you were never the same after the flood; somehow you came out of that dirty dark floodwater with your tummy swelling with survival and your heart still paddling its tiny arms to safety.

Maybe you like staying there; maybe you like that dank bile.

Maybe there’s never been a way out of the flood; maybe you do not see a way out of the flood.

Maybe this is where you want to be; if this is where I want to stay.

4th Poem:

Oh, for a nook and a storybook. With tales both new and old. For a jolly good book whereon to look. Is better to me than gold.”— Old English Song.

April is National Poetry Month. In honor and celebration of the largest literary celebration in the world, I’ve compiled a list of 26 of our favorite poems about books, of course books. These inspiring poems will take you into the fascinating world of books, only to have you return with a book or two inside you. They are simple, short, and fun for readers of all ages. All you have to do is dive through the pages. If, even still, you’re unsure of what’s in store; rest assured, they’ll leave you yearning for more. Take a look!

I Opened a Book

By Julia Donaldson

I opened a book and in I strode.

Now nobody can find me.

I’ve left my chair, my house, my road,

My town and my world behind me.

I’m wearing the cloak, I’ve slipped on the ring,

I’ve swallowed the magic potion.

I’ve fought with a dragon, dined with a king

And dived in a bottomless ocean.

I opened a book and made some friends.

I shared their tears and laughter

And followed their road with its bumps and bends

To the happily ever after.

I finished my book and out I came.

The cloak can no longer hide me.

My chair and my house are just the same,

But I have a book inside me.

There is no Frigate like a Book

By Emily Dickinson

There is no Frigate like a Book

To take us Lands away

Nor any Coursers like a Page

Of prancing Poetry.

This Traverse may the poorest take

Without oppress of Toll;

How frugal is the Chariot

That bears the Human Soul!

Read to Me

By Jane Yolen

Read to me riddles and read to me rhymes

Read to me stories of magical times

Read to me tales about castles and kings

Read to me stories of fabulous things

Read to me pirates and read to me knights

Read to me dragons and dragon-book fights

Read to me spaceships and cowboys and then

When you are finished- please read them again.

5th Poem:

God has a story He wants to tell you. It’s a love story. And it involves you!

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independentartistbuzz · 4 years

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7 FROM THE WOMEN: LIZA GRABOWSKI FROM THE NORMAL LIVING

7 From The Women is a segment here on Independent Artist Buzz where we ask some of the industries finest seven questions. During this time of accusations and the lack thereof, we think it’s important to give women a voice. We chose to ask seven questions to honor the seven Wiccan clans.

Liza Grabowski is a vocalist and guitarist in one of our favorite bands, The Normal Living. From NJ on the edges of NYC, the band blends urban ideas and images with rock and roll, Americana, and folk-rock sounds, while summoning the fun of pop. With singer-songwriter roots and bar-band beginnings, their influences are eclectic, ranging from Carole King, Springsteen, and U2 to the Killers, Arcade Fire, Jenny Lewis, and Neko Case, from Fleetwood Mac, and Heart to Patty Griffin and the Dixie Chicks, helping to carry on the story of American rock and roll songwriting in the millennial age.

What have you been working to promote lately?

First of all, thank you so much for having me for this interview! I love what your site does for independent musicians, and I love how this series features and supports women artists.

Right now, my band (The Normal Living) is about to release some tracks that I’m really proud of as a woman, as a thirty-something, and as an independent artist. The first single from this new record is called “How It All Went Down,” releasing on Oct. 25. This song is really special to us. It was a full collaborative effort in writing, arranging, and eventually producing this track (with producer Chris Badami of Portrait Recordings in NJ). It’s a powerful, up-tempo song, with a big rock sound, driving guitars, beautiful piano, and female vocals and harmonies. It’s told in part from the perspective of a mother, and it’s mostly a portrait of a family after a crisis, and how you move on from that. The song kind of builds emotionally, with sort of a cathartic release at the end, when the floodgates open and you can finally attempt to deal with unfathomable grief you’ve held inside for so long, for years and years maybe. Motherhood was central to me emotionally while writing it—my favorite line in the song is “Holding up to the light everything that I taught her”—but it’s also broader than that. It’s really about how any community struggles to come to terms with trauma, loss, and grief. As a band, with this new set of songs that we’ve been working on, we’re trying to explore themes of storytelling, narrative, and memory.

Please tell us about your favorite song written, recorded, or produced by another woman and why it’s meaningful to you.

I think if I had to pick one song that was my favorite song by a woman, I think I might go to Carole King’s “Natural Woman” for that. I remember my mom and dad bought Tapestry for me for my birthday when we first got a CD player. I’m pretty sure it was 1987, because they also bought me True Blue, Tiffany, and Out of the Blue at the same time. And I guess I was a little bit young for the themes, but I remember just loving it. Not in the same way I loved True Blue—which also felt grown up to me, but in a more salacious, edgy way—with Tapestry, I loved it the way you love an old doll or a cozy bed. I loved her raw vulnerable voice—and I remember that it stirred something in me about womanhood that the pop music of the day wasn’t doing in the same way. When I listened to Tapestry for the first time, I already knew the Aretha version of “Natural Woman.” But King’s vocal on that song, on the album, just sort of blew my mind in a way. It was the first time I realized that a “song” was not equivalent to the recording of a song—that a song is this living breathing thing that could be a vehicle for extremely personal intimacy. Even though I knew the lyrics and the melody already from the Aretha version, when I listened to King sing it, I felt like I was hearing something so brand new. Both versions are so amazing; that’s what I think was so mind-blowing to me at the time.

What does it mean to you to be a woman making music / in the music business today, and do you feel a responsibility to other women to create messages and themes in your music?

I do—more so now as a mother, I think. My daughter is 4, and as a writer and a singer, I think about her all the time. What do I want for her, and what would I tell myself if I was 4 again? To every woman, young or middle aged or older, I feel a responsibility—both in my songwriting and in my own persona—to represent women as strong and empowered. But I also think it’s really important to show women characters as vulnerable and flawed and real. Maybe some days you feel like a queen, but maybe other days you feel hopeless and messy and frazzled. It’s ok. It’s ok to feel both and inhabit both spaces. You’re a real person with real feelings, and you’re not made to be looked at or objectified—you have agency and emotions and ideas that have value. I think that being a woman artist, you do have to step back sometimes to be aware of all the crap we’ve internalized from growing up in a patriarchal society. There’s one song of mine that always triggers a self-reflexive feminist critique. It’s called “Time Out, New York,” from our first EP, Less Radio. On the surface, it’s very much a portrait of a woman sitting on the sidelines, cheering on her boyfriend on stage from the back of the bar. But when I perform it now, I try to be wry and sort of ironically meta about it, knowing that I’m the one on stage singing the song. From the song’s inception, I have always imagined doing a video in which the gender roles are reversed, depicting a woman on stage, singing about a man on stage, while her partner watches her from the bar. I also sometimes imagine queering it a bit and changing the lyrics to be a woman singing about another woman. I’m not sure if I’m trying to salvage a not-so-feminist lyric that I’m a little self-conscious about, or if there are really genuine layers of irony in the song about a male performer, viewed through a female gaze, that’s written and performed by a woman. (I’m hoping it’s the latter!) In any case, yes, it’s something I’m always thinking about, and growing as an artist as I grow as a human being navigating adulthood.

What is the most personal thing you have shared in your music or in your artist brand as it relates to being female?

Honestly, I think sometimes just being onstage in and of itself as a woman musician is one of the most personal things to share. It makes you vulnerable and takes courage, especially if you don’t fit the traditional mold of a pop star or a rock star or a celebrity. I consciously battle my insecurities about my body, my age, how I look, and how I sound every single time I go on a stage or in front of a camera. I try to remember what’s important as an artist is being brave and doing the things that scare you, to put your art out into the world, to tell stories, even if you have to go out of your comfort zone to do that.

What female artists have inspired you and influenced you?

I’m trying to think back on my musical journey as a child, because I have been alive to witness four decades of music. And I watched MTV from the very beginning, so music videos and images of rock and pop stars were extremely foregrounded for me. I also was fortunate to be raised by music lovers, so I was introduced to a lot of previous decades of rock and pop as well as a child. This is a long and rambling way of saying that I’ve had a ton of female musical influences from all different eras and genres. As a young child, I remember Stevie Nicks, Madonna, Whitney Houston, Heart, The Bangles, The GoGos, Pat Benatar, Patty Smyth, and Debbie Gibson—all of those women were on my horizon when I was a kid from MTV and the radio. From my parents, I was exposed to Carole King, Patti Smith, Joni Mitchell, and 60s girl groups—my mom was a huge fan of the Supremes, and so we listened to a lot of those records.

MTV was really huge in my house in the 80s. I remember singing “Stand Back” by Stevie Nicks with my sister. I remember dancing to Laura Branigan and Whitney Houston songs, belting out “Gloria” and performing “The Greatest Love of All” in my second-grade talent show with a Fisher Price microphone. I embraced all kinds of genres and styles as a child. I just loved the female voice having such a platform, giving representation to women. I obviously didn’t process it in those terms at the time, but I think looking back, that’s exactly what it was that resonated with me. Then as I moved into adolescence, really the 2 biggest influences for me as a musician were Alanis Morrisette and The Dixie Chicks. I just felt that they were writing and playing and performing in ways that broke boundaries for women. Then into my 20s—Jewel was huge for me. I remember really connecting with her story about how she was down to her last dime and playing in cafes and on sidewalks, and I was so inspired by that tenacity. I also really connected with some American folk singer-songwriters at the time too. I was obsessed with Patty Griffin; I discovered her mainly through the Dixie Chicks and just started listening to everything I could of hers. And then I realized that she had done a cover of “Stolen Car” by Bruce Springsteen, who was my favorite artist growing up, and when I heard Patty’s version of it, I just kinda melted into a puddle. I just thought it was so gorgeous, and her take on it from a female perspective just took me to another place. The other person was influential for me in my 20s was Dar Williams; she truly influenced my songwriting in terms of telling stories and also just writing an album that’s cohesive and meaningful. Sheryl Crow was huge for me as a rock vocalist. I think I sang Leaving Las Vegas hundreds of times in my dorm room as a college student, trying to get it perfect and trying to get that mournful but strong rock vocal. Now in this decade, I am really looking to women like Brandi Carlile, Elle King, and Grace Potter as examples of women who are keeping rock alive.

Who was the first female artist you saw that made you want to create music / be in the business?

The first concert I ever saw was Debbie Gibson when I was six, I believe—or maybe eight, I think, because it was actually the Electric Youth tour that I saw, so maybe I was eight or nine. I had basically memorized Out of the Blue, and then Electric Youth was also a smash for me too. I remember reading articles about her and being so motivated that she arranged, wrote, produced, and performed all of her songs. I said, I want to be like that. I want to DO that. So my sister and brother and I had this black-and-white composition notebook when we were little, and we used to write songs in it. We’d have songwriting sessions where we would write lyrics and jot notes down about the instrumental arrangements, and then we’d perform them for our parents and grandparents. That was one of the earliest times I can remember getting into what it means to produce a song or think about the structure of a song.

If you could form an all-woman super-group who would play in it?

I love this question, because I’m really loving The Highwomen album that came out in September; it’s just so beautiful and all of the women are such powerful energies. I think in my fantasy world, my all-woman super-group would be Elle King, Miranda Lambert, Natalie Maines, and of course me.

Connect with Liza and The Normal Living online via:

https://www.facebook.com/thenormalliving/

https://www.instagram.com/the_normal_living/

https://twitter.com/thenormalliving

https://soundcloud.com/thenormalliving

https://www.youtube.com/user/lmz27

https://www.bandsintown.com/a/2970646-the-normal-living

https://www.songkick.com/artists/6404764-normal-living

https://open.spotify.com/artist/4ftWbprw62ADY9lchhlITg?si=UvY74t_XQj2VnjWvZ3lufQ

https://music.apple.com/us/artist/the-normal-living/592223705

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