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As Seen on Daytime TV

As Seen on Daytime TV

As Seen on Daytime TV

A Poem by James Grabill

Donned in an outdoorsy ensemble, Mr. President Trump slips through a gold medieval doorway into the made-for-TV musical simply called Don

The play starts with a few remote stars as members of the ruling duffer class riding automated ponies down the long forked tongue that sticks out of the sun. The spotlight wheels high over baseline intelligence then focuses on the self undergoing privatization. 

While marks on the stage are sold, serving persons appear on ladders unclothed, scrubbing clean the faces of wealth, removing any last traces of common good in a fully armed hermetic underground metropolis.

Dramatic tension thrusts this story into a fast-racing arc prematurely peaking down dissolute trails of private doublespeak with great humiliation, extraordinary rendition, direct bribery, and blackmail going by other names in the service of profiteering at the public’s expense, as rendered into song with upside down denial. As proof appears, it dissolves in the words of cultural critic Me-Maw Burger: “The theater of compulsion obsessed sings as never before in detonations that refuse harmonic tonality in an embrace of abject ignorance from many zones of confuscated welfare.”

All things revealed on stage are offered for what markets will bear, when never have so few possessed so much matter that once formed the planet on which Z. Parks, dramaturge of Trump, now explains: “To participate, all actors must vow to learn nothing of their characters, the secret plot, or acts. 

“Once the curtain’s up, they start in, and from that point on, sycophants talk in opposites, with facts found one moment abandoned the next for real effect. Suspects labeled, backers are encouraged to overpopulate in an embrace of conception able to ambush expertise and liberate nihilism.”

Kum Ba Yah

Kum Ba Yah

A Thank-you, an Apology, a Deliverance

A Thank-you, an Apology, a Deliverance