Map of SF

Tow trucks

Dragging tears from

Our eyes

Across the face of the

City

Spittle landing on the

Bridge of the nose

From dogs who swallow

Gulps of anger from

Inflated bags holding

Bodies

Burping up pieces of

Shattered sky

Stepping on tongues

Stepping on songs

Speaking in multilingual mouth sores

Blocked views and

Stepped on feet

And a vault filled with

Faults and a furry tongue

Disguised as a magic carpet

A blown nose

And a blown life

Butter cuts through a knife

Eyes tacked shut

And a sandwich board is

A wanted poster of things not

On the menu

Tear trucks spraying

Away the skin of our

Streets

Obstructions in the

Jurisdiction of

The department of public hope

Ain’t no hands to hold on to

Just monkey bars coated with

The spit of generations gone by

But the gyrations

Persist

And a stick of gum is

An animated coffin

And stick figures

Sometimes come to life

When the sun is at

The right angle

And there is a security guard

To beat the pony

And the wages have capsized

The TV snow has thawed

And the moths thing

They’re flowers

No mop for this mess

In this city

That thinks it’s

 

Pretty

 

 

© 2018 Tony Robles

 

 

Advertisements

Carnaval

Every color feather

Every follicle preened

Every plucked dream

All flavors melting on the tongue

Dance with the sun

Dance with the ground

Drink the water of memory

Splash back at sorrows

 

Afflicted with an ingrown sound

We cradle it

The yolk of everything we are

Swelling like a balloon

Bellies and breasts

Filled with sound

Pregnant with songs unsung

Bursting forth

Birth waters from the

Shells of coconuts

Cooling the swelter of

The street

The swelter of our skin

The swelter of our lives

 

Carnival

Congeros

Timbaleros

 

Speaking the language of hands

Climbing upward

Clutching at our roots

Salsa

Cumbia

Frisco soul

Frisco sound of black and brown

The brothers and sisters emerge

 

What’s up blood?

How you been?

What up wit cha?

 

No place for the tone deaf

No place for the off beat

Rhythm of colonizer’s bones

Dying of thirst

Only to be quenched by rocks

 

Our exiled walks

And talks and

Rituals of higher

Frequency

Move like waves

Touching with the

Wet of our

Musical tears

Making its way into

The heart’s doorway

Where squeaky stairs

And doors and old

Greasy pots and pans

Keep us alive

And our hips give

Way and sway and

Shake the very

Foundations of this

City from the Golden Gate

To the Pyramid

That would make an

Earthquake look out of

Place in a dance

Contest

 

Carnaval!

Carnaval!

Carnaval!

 

Lowriders resting

Leaning

Underneath, every

Gesture, every hum

Every click

Every key that

Fits the heart

 

Rims and radiators

And the interior of

Our soul in an

Oldie by Little Anthony

And the Imperials

 

“Let me tell you that it hurts,

Hurts so bad.  It makes me feel

So sad.  It makes me hurts so

Bad to see you again”

 

And the Impalas

Glide with the grace of

A feather

 

To the sound

Of Carnaval

 

 

 

© 2018 Tony Robles

Letter to Mayor Farrell

Dear Mayor Farrell,

Forget the Golden Gate Bridge, Coit Tower, the Transamerica Pyramid and the box of rice a roni with the expiration date that has overstayed it welcome.  The icons, that bevy of hallmark moments of picturesque panoramas that fit nicely in pockets—and the deeper the pockets, the better—are mere holograms, mirages.  When I think of the city, one image comes to mind—the image of a metal walker in a garbage truck–the metal walker of a senior that was tossed away.  What use is the Golden Gate Bridge when the bridges that connect people have been severed, like a tendon, or a cable, meant to hold and support but cannot or rather—will not.  The sweeps, the confiscation of tents, the seizing of the minimal and meager belongings of those who struggle just to walk down the street is cruel—and ugly.  But that’s what San Francisco is, ugly.  It didn’t begin with your tenure as mayor but it persists.  And the historic icons, the lovely quaint Victorian homes, the cable car—are ugly.  The evictions are ugly and the fear that is mistaken for strength and decisiveness—is ugly.  When James Baldwin visited the city in 1965, he said that it was a good place to hide, that its beauty belied its ugliness.  But, at the end of the day, as Baldwin pointed out, it was just another American City.  He wasn’t fooled, he saw the ugliness immediately.  Many houseless folks were once housed but lost their homes to eviction.  Many are seniors and disabled.  Many were born and raised in the city, like you and I.  The fare inspectors are ugly.  The currency that the city thrives on is ugly–slashing away at tents, tossing out the possessions of folks who possess little, if anything–is ugly. Sidewalks where scooters have more rights than people, is ugly.  It’s clear that SF not only wants to confiscate the property of the homeless, but their dignity as well.  The city won’t be happy until it kills the spirit, especially of those who stand up, or speak out.  In those encampments are stories. In them are pain and misfortune.  But there is also sharing, where falls are broken by a hand or someone willing to put his or her body on the line.  In those encampments, in spite of what we are being fed by politicians and media, is a dignity that is, unfortunately missing in a city that has become ugly.

–2018 Tony Robles

 

Still Hanging on to the Carabao’s Tail

In 1996 Amerasia Journal published an essay by my Uncle, the poet Al Robles, in its special poetry edition. I don’t remember how I happened upon the journal but the title of the essay “Hanging on to the Carabao’s Tail” struck me immediately.  It was a year or so before the publication of my uncle’s poetry collection, “Rappin’ with Ten Thousand Carabaos in the Dark”—which was, and still is, a book that has both inspired and challenged students, educators, activists and people from many walks of life to go beyond boundaries, beyond themselves in their work and in their communities.  Uncle Al’s walk of life took him into the terrain of our community; our history, our fears, our passions, joy, contradictions, sorrows, pain and finally, love.  As a kid, I thought of my uncle as an odd-ball, the one with sandals, backpack, beard and dark rimmed glasses, always talking about the Filipino old-timers of the I-Hotel.  Manongs, manongs, manongs!  I didn’t know what a manong was.  But Uncle Al brought them into my imagination—planting an early seed into my young to-be writer’s mind—with images of a manong cooking alligator adobo, a manong who, in his younger days took on 5 men at once, and winning—all 5 foot 1 of him; and I can’t forget the tale of the manong healer who could perform surgery without implements while eating at the same time.  His walk of life was that of a wandering poet, covering the past and the future.  What I didn’t know at the time and, mind you, it was 1975 and I was 10 or 11, was that Uncle Al was chronicling the lives of the manongs, the early Filipino immigrants to this country.  I had no idea about our history.  But I had the tales of my uncle who would pose questions such as, “Who is to say the weeds are not the roots, who is to say the roots are not the weeds?  And it would be years before I’d find out that his backpack was filled with journals and a tape recorder—capturing the lives, voices and heart of the manongs.  And the poems flowed in those journals and his backpack swelled with voices of the wandering manongs, who he saw as poets. He often wrote of the struggles of the manongs, “Bending far back into the past”.  Where does the path of the manong lead?  Where does the path of the poet lead?  Uncle Al was brilliant, intuitive—sometimes referred to as a shaman—to which he responded, “I ain’t no goddamned medicine man!”  He earned a Master’s Degree in philosophy, maintained a correspondence with Thomas Merton, knew many of the beat poets and practitioners of Zen Buddhism who migrated to his hometown of San Francisco and felt a kinship to Kenji Miyazawa and Henry David Throeau.  Yet, he was from the ghetto, never forgetting the “Jazz of My Youth”—the voices of Billie Holilday and Sarah Vaughn that so moved him, the sounds moving in the cool Post Street wind from Cousin Jimbo’s Bop City where the black fingers ran over the keys, “Black over white”.  His heart was in the barrios, the barangays, the J-Towns and Manilatowns and Chinatowns where life and culture take root.  By the time he hit the I-Hotel, he had declared that all the books he’d read, all the knowledge he’d gleaned in academia wasn’t worth “One roll of toilet paper”.  It was in the faces of the manongs that he saw his own face, and the faces of his mother and father—the faces of the community.  It was in the I-Hotel eviction struggle that he travelled to a place called “Ifugao Mountain”.  On Ifugao Mountain was the smell of rice and fish cooked by brown hands of sugar cane fields and salmon skin.  On Ifugao Mountain were the sounds of lonely strings played in barbershops and pool halls.  On Ifugao Mountain was the manong, caught between two worlds—the one across the ocean and the one in the US, in small rooms visited by wandering poets turning over rocks and navigating the thick gnarled roots and sound of rivers in search of his or herself.  Uncle Al said that “We must be more than mere poets.”  His poetry and his fight for social justice was one in the same.  The fight for the I-Hotel was a fight for liberation and reparations.  In the words of a manong in Curtis Choy’s film, “The Fall of the I-Hotel”:  “We make these people rich and we demand our share”.  The 30 year struggle for the I-Hotel was a fight for liberation, it was a struggle to not forget.  As Uncle Al said many times, “The seeds of Manilatown were planted long ago”.  Uncle Al inspired and continues to inspire poets and educators, hip hop artists and activists.  Part of his legacy is, of course, the I-Hotel.  It was demolished after a long fight and rebuilt 30 years later—years and years of meetings and advocating and never forgetting the elders who were displaced in the name of real estate speculation and unbridled greed that still exists in the city.  The I-hotel was rebuilt—104 units of affordable senior housing with the Manilatown I-Hotel Center on the ground floor that provides programming—music and language lessons, art and a yearly commemoration of the eviction every August 4th.  The center truly embraces what Uncle Al described as “Coming home to Manilatown and the I-Hotel…Coming home to the smell of rice and fish”.  His legacy and influence can be seen in a landless people’s movement in East Oakland called Homefulness—a sweat equity model for housing by Poor Magazine based on community reparations.  Homefulness is a reality, providing housing to formerly houseless folks, providing childcare, a community garden and a school called Deecolonize Academy.  In honor of Uncle Al, they established the Al Robles Living Library, providing books and resources to the community in the spirit of giving.  Many of the books in the Uncle Al Library are poetry collections.  As he wrote:

 

                         Our poetry is the

                               Best part of our struggle

                               Our struggle is the

                               Best part of our poetry

 

 

Tony Robles 2018

Your Brown Face

This land has a brown face
there is blue sky
and green grasses growing underneath
this land has a brown face
you see it in the mountains
that still smile
season after season
this land has a brown face
this land is a brown face
brown tears fill empty cups
with rain and river
music
you can’t stop the wind from
remembering the brown face
that is you
this land is sorrows without you
the brown of your face is in the land
the brown of your voice stirs the grass
Walls are useless
It cannot hide the brown of your face
this land is a brown face
this land is a black river
this land is a memory of brown
a memory of brown feet
that have walked every inch,
every corner of this land that cannot
be kept from you
this land is a brown face
No wall can keep you from the land
No wall can keep out the love
That is you

(c) 2018 Tony Robles

415 Day

“We are people of Unity when it comes to the 415.” These are words of Frisco born and raised Rafael Picazo, a brother and son of the city’s Mission District on the front lines against the police killings plaguing our communities.  The sun rose with a big 415 on its face.  It was our breath, our tears, our fire, our memory; it was a hug from a homegirl or homeboy from the 415, or foe-one-five; perhaps someone that was once your foe who you now embrace in unity.  It was a day that we came together—black, brown, yellow, red, white and, in the words of Filipino Frisco born and bred Rudy Corpuz of United Playaz—candy stripe.  415 Day—a day of remembrance and honor–a day we honor our soul and spirit, which is the soul and spirit of the city.  We honor our throats, anointing the city, from Bernal to Mission to Lakeview to Bayview to the Sunset, North Beach, Chinatown, J-Town, the Richmond and every place in between with the cry that shakes the city’s foundations: Errrrrray!  A call that calls us back to our neighborhoods, our homes that were gutted by eviction; a call, a grito from deep within that expresses what we hold in for too long, looking for expression. A sound that says we ain’t forgot those who have been taken from us through police violence, economic violence and the betrayal of our communities by the city.  415 day, a day we come together to honor the black and brown heart of Frisco.  But we didn’t know where it would be held.  The day, 4-15-18 approached and all we knew is that it was happening, but where?  So the word went out: send a message to so and so to find out, or send so and so a text message.  I had to go.  I’ve been in the same area code my whole life. 415 ain’t just a number.  It’s in my DNA and in the DNA of the homeboys and homegirls that got the taste of Frisco on their tongues that spit truth and laughter and song.  415 is tattooed in my mind.  I got the word that it was going to be held at Crocker Amazon.  So I took the bus and the clouds were gray.  I walked up Amazon Street and thought that eventually some digital missionary  will say that the street was named in honor of  his company but f**k that, we got some straight up warriors in the Excelsior that ain’tgonna let that happen.  I arrived and I felt the black and brown of us.  I felt the lives in our skin come alive, every tattoo living with movement, a story—beautiful and tragic and alive, refusing to die, refusing to forget the city that forgot us, the city that we helped create.  So many faces, children, OG’s, dudes comin’ up in the world, looking for their place, their space and they find it in the beats that come from the heart and through the chest, sounds that move on turntables, turning like wheels, like seasons spent in this place in the heart we call the 415.  There were many I did not know, but the feeling was there, in the words of Frisco’s Max LeYoung, who worked tirelessly to support the Frisco Five Hunger Strikers:

 

415 day feels like a family reunion to me. There are many whom I only see once a year on that special day. For all the people who don’t know each other, there is a common and shared yet unspoken understanding that we come from the same place that we take so much pride in. We share a common culture which shapes who we are. 415 day to me, means community, family and culture.

 

415 Day, at Crocker Amazonwhere the green grass welcomed us, didn’t ask us for a reservation or ID; where the earth under our feet knew us, spoke to us: I remember you when you were a baby, when you took your first steps in the 415…and I remember your daddy and your daddy’s daddy and your mama and your mama’s mama—and the smell of the cooking that came out of the window: adobo, gumbo, menudo, sinigang, black eyed peas.Born and raised San Franciscan Rafael Picazo stood in the grass, big smile, feeling the importance of this day.  “The Native people of San Francisco have been losing spaces/parks to the newbies/tecies for years now, so 415 Day is day the Native people of San Francisco come together with love in their hearts to reclaiming our space/parks and enjoy each other’s company no matter what community you come from. We are people of Unity when it comes to the 415.”415 Day, in its third year, going strong.  A day to appreciate our presence, to play our music, to honor the mere tilt of our heads and gestures we wear proudly as the sons and daughters of Frisco.  We bring our neighborhoods with us.  We bring out dreams and dreams that never had a chance to breathe.  There’s room for us on this day, room at the park, room where we can still plant our dreams and breathe in the fragrance.  It was good not to see any mayoral candidates, case managers, landlords, fratboys, anyone on a scooter or those droves that open their mouths to speak, in an attempt to silence us, babbling about all the things they are entitled to yet, in the deluge of words, have nottruly earned a speaking part; those who would talk over our elders and claim Frisco as their own.  They have no idea what area code they are in.  415 Day, our day, as black and brown Frisco, of the Frisco heart.   As the homeboys and homegirls call out when they hear the word Frisco:  Errrraay!!!!!!!!

 

 

 

 

 

Whose City? Our City!

City of fog
City of movement
City in labor pains that linger
In contradictive contractions
City of exiled throats holding notes
Of blaring fog horns
And bloated corks buoyed in currency
City of leaning flowers and pendulums
And clock faces and the aroma of epitaphs
Moving in all directions
City of no left turn no right turn no re turn
City where green means stop and red
Means go and yellow is a flame on the
Tip of your mind
City of baguettes and batons
City born and raised from the dead
City of vindictive Victorians and lorgnette eyes
City of flat screens and flat minds
And poets whose eyes create spheres within
The creases ready to blossom
City of gold tainted moths feasting on the
Tongue’s flesh
City where the humble are stuffed into thimbles
City where every feast is a plot luck
City of wine and sorrows

City of swine and marrow
City where the blade plays by ear
And ants migrate up the arm and into the mind
City of webs and spokes
And shopping carts whose wheels derail and drag
In the backdrop of rolling hills
City where Jesus is nailed to a sub minimum wage cross
And Indios carry the corpses of dreams
City of tendons and tensions stretched taut between
Bridges while ambulance chasers cross and crab nets
Sit patiently beneath the current
City of climate changes and mood swings and puzzles
With missing pieces
City of raised fists
And the falling tones of church bells
Disrobed
And stones thrown
Into the silence of water
City of shelters and seagulls flying
Off the edge
City of fog

Whose city?

Our city

© 2018 Tony Robles