by BAR poet in residence Nathaniel Turner
No fries for Ferguson, no burgers
For Baltimore—have it your way…
Baltimore Fries
by BAR poet in residence Nathaniel Turner
Had they just stood down, and forgot Mike Brown—
Ignored Freddie Gray and just civilly strolled away
Eschewing genocidal violence that crosses the line—
At least cut carnage of their thuggish protests’ to 9
Heading home awaiting the arresting officers’ knock
With no flash-bangs, no A-Rs— just holstered Glock
Peacefully entering black homes and arresting them,
Reading them their rights, bulletproof-vesting them
Under color of law and done fitting and done proper—
Then they, too, just might have dined on Whopper!
No corporate, confederate-FOX, psy-war lore,
No heroic blonde man-of-war, would-be-Boer,
No compassion, camaraderie, or esprit de corps—
No fries for Ferguson, no burgers for Baltimore!
It’s because rebellious Black youth acted like thugs
Wearing the wrong patches and wrong colored mugs
Why, the Commander even said so—make no mistake,
No Mickey D, no Burger King and no fries, no shake,
No Popeye, no Colonel Sanders, no Wendy’s, no Jack
For Black working-class kids out there fighting back!
No corporate, confederate-FOX, psy-war lore,
No heroic blonde man-of-war, would-be-Boer,
No compassion, camaraderie or esprit de corps—
No fries for Ferguson, no burgers for Baltimore!
Understand why the copper
Felt it fitting and proper
Treating a B K Whopper To the pop-pop-popper?
Raymond Nat Turner © 2015 All Rights Reserved
The western nations that Ethiopia previously kow-towed to claim national government forces attacked Tigrayan troops first, when precisely the opposite occurred.
Shangri-La—untaxed, socially-distanced champagne- caviar, Cayman Island, yacht crowds who Pay nothing for water washing their waste to sewage
Bell levels a class critique against the Black bourgeoisie, whom he sees as having led Black political protest down the wrong path time and time again.
French bullying of Africa has been driven entirely by self-interest and greed.
This book analyzes Early Modern English Drama as a form of cultural production in which the paradigm of Early Modern England was shifting to account for encounters with black Africans.
