In Honor Of Jean Bon Kerouac On The 60th Anniversary Of “On The Road” (1957)-The Be-Bop, Be-Bop Max Daddy Lives On- Jack Kerouac's Play-"Beat Generation"

In Honor Of Jean Bon Kerouac On The 60th Anniversary Of “On The Road” (1957)-The Be-Bop, Be-Bop Max Daddy Lives On- Jack Kerouac's Play-"Beat Generation"  

Link to a Wikipedia entry for Jack Kerouacs long lost play, Beat Generation.

http://en.wikipedia.org/wiki/Beat_Generation_(play)

In Honor Of Jean Bon Kerouac On The 60^th Anniversary Of “On The Road” (1957)

By Book Critic Zack James

To be honest I know about On The Road Jack Kerouac’s epic tale of his generation’s search for something, maybe the truth, maybe just for kicks, for stuff, important stuff that had happened down in the base of society where nobody in authority was looking or some such happening strictly second-hand. His generation’s search looking for a name, found what he, or someone associated with him, maybe the bandit poet Gregory Corso, king of the mean New York streets, mean, very mean indeed in a junkie-hang-out world around Times Square when that place was up to its neck in flea-bit hotels, all-night Joe and Nemo’s and the trail of the “fixer” man on every corner, con men coming out your ass too, called the “beat” generation. (Yes,  I know that the actual term “beat” was first used by Kerouac writer friend John Clemmon Holmes in an article in some arcane journal but the “feel” had to have come from a less academic source so I will crown the bandit prince Corso as genesis)

Beat, beat of the jazzed up drum line backing some sax player searching for the high white note, what somebody told me, maybe my oldest brother Alex who was washed clean in the Summer of Love, 1967 but must have known the edges of Jack’s time since he was in high school when real beat exploded on the scene in Jack-filled 1957, they called “blowing to the China seas” out in West Coast jazz and blues circles, that high white note he heard achieved one skinny night by famed sax man Sonny Johns, dead beat, run out on money, women, life, leaving, and this is important no forwarding address for the desolate repo man to hang onto, dread beat, nine to five, 24/7/365 that you will get caught back up in the spire wind up like your freaking staid, stay at home parents, beaten down, ground down like dust puffed away just for being, hell, let’s just call it being, beatified beat like saintly and all Jack’s kid stuff high holy Catholic incense and a story goes with it about a young man caught up in a dream, like there were not ten thousand other religions in the world to feast on- you can take your pick of the meanings, beat time meanings. Hell, join the club they all did, the guys, and it was mostly guys who hung out on the poet princely mean streets of New York, Chi town, Mecca beckoning North Beach in Frisco town cadging twenty-five cents a night flea-bag sleeps (and the fleas were real no time for metaphor down in the bowels where the cowboy junkies drowse in endless sleeps, raggedy winos toothless suck dry the dregs and hipster con men prey on whoever floats down), half stirred left on corner diners’ coffees and groundling cigarette stubs when the Bull Durham ran out).

I was too young to have had anything but a vague passing reference to the thing, to that “beat” thing since I was probably just pulling out of diapers then, maybe a shade bit older but not much. I got my fill, my brim fill later through my oldest brother Alex. Alex, and his crowd, more about that in a minute, but even he was only washed clean by the “beat” experiment at a very low level, mostly through reading the book (need I say the book was On The Road) and having his mandatory two years of living on the road around the time of the Summer of Love, 1967 an event whose 50^th anniversary is being commemorated this year as well and so very appropriate to mention since there were a million threads, fibers, connections between “beat” and “hippie” despite dour grandpa Jack’s attempts to trash those connection when the acolytes and bandit hangers-on  came calling looking for the “word.” So even Alex and his crowd were really too young to have been washed by the beat wave that crashed the continent toward the end of the 1950s on the wings of Allan Ginsburg’s Howl and Jack’s travel book of a different kind (not found on the AAA, Traveler’s Aid, Youth Hostel brochure circuit if you please although Jack and the crowd, my brother and his crowd later would use such services when up against it in let’s say a place like Winnemucca in the Nevadas or Neola in the heartlands).

Literary stuff for sure but the kind of stuff that moves generations, or I like to think the best parts of those cohorts. These were the creation documents the latter of which would drive Alex west before he finally settled down to his career life as a high-road lawyer (and to my sorrow and anger never looked back which has caused more riffs and bad words than I want to yell about here).             

Of course anytime you talk about books and poetry and then add my brother’s Alex name into the mix that automatically brings up memories of another name, the name of the late Peter Paul Markin. Markin, for whom Alex and the rest of the North Adamsville corner boys, Frankie, Jack, Jimmy, Si, Josh (he a separate story from up in Olde Saco, Maine and so only an honorary corner boy after hitching up with the Scribe out on a Russian Hill dope-filled park), Bart, and a few others still alive recently had me put together a tribute book for in connection with that Summer of Love, 1967, their birthright event, just mentioned.  Markin was the vanguard guy, the volunteer odd-ball unkempt mad monk seeker, what did Jack call his generation’s such, oh yeah, holy goofs,   who got several of them off their asses and out to the West Coast to see what there was to see. To see some stuff that Markin had been speaking of for a number of years before 1967 (and which nobody in the crowd paid any attention to, or dismissed out of hand, what they called “could give a rat’s ass” about in the local jargon which I also inherited in those cold, hungry bleak 1950s cultural days in America) and which can be indirectly attributed to the activities of Jack, Allen Ginsburg, Gregory Corso, that aforementioned bandit poet who ran wild on the mean streets among the hustlers, conmen and whores of the major towns of the continent, William Burroughs, the Harvard-trained junkie  and a bunch of other guys who took a very different route for our parents who were of the same generation as them but of a very different world.

But it was above all Jack’s book, Jack’s travel adventure book which had caused a big splash in 1957(after an incredible publishing travail since the story line actually related to events in the late 1940s and which would cause Jack no end of trauma when the kids showed up at his door looking to hitch a ride on the motherlode star, and had ripple effects into the early 1960s and even now certain “hip” kids acknowledge the power of attraction that book had for their own developments, especially that living simple, fast and hard part). Made the young, some of them anyway, like I say I think the best part, have to spend some time thinking through the path of life ahead by hitting the vagrant dusty sweaty road. Maybe not hitchhiking, maybe not going high speed high through the ocean, plains, mountain, desert night but staying unsettled for a while anyway.    

Like I said above Alex was out on the road two years and other guys, other corner boys for whatever else you wanted to call them that was their niche back in those days and were recognized as such in the town not always to their benefit, from a few months to a few years. Markin started first back in the spring of 1967 but was interrupted by his fateful induction into the Army and service, if you can call it that, in Vietnam and then several more years upon his return before his untimely and semi-tragic end down some dusty Jack-strewn road in Mexico cocaine deal blues. With maybe this difference from today’s young who are seeking alternative roads away from what is frankly bourgeois society and was when Jack wrote although nobody except commies and pinkos called it that for fear of being tarred with those brushes. Alex, Frankie Riley the acknowledged leader, Jack Callahan and the rest, Markin included, were strictly “from hunger” working class kids who when they hung around Tonio Pizza Parlor were as likely to be thinking up ways to grab money fast any way they could or of getting into some   hot chick’s pants any way they could as anything else. Down at the base of society when you don’t have enough of life’s goods or have to struggle too much to get even that little bit “from hunger” takes a big toll on your life. I can testify to that part because Alex was not the only one in the James family to go toe to toe with the law back then when the coppers were just waiting for corner boy capers to explode nay Friday or Saturday night, it was a close thing for all us boys as it had been with Jack when all is said and done. But back then dough and sex after all was what was what for corner boys, maybe now too although you don’t see many guys hanging on forlorn Friday night corners anymore.

What made this tribe different, the Tonio Pizza Parlor corner boys, was mad monk Markin. Markin called by Frankie Riley “Scribe” from the time he came to North Adamsville from across town in junior high school and that stuck all through high school. The name stuck because although Markin was as larcenous and lovesick as the rest of them he was also crazy for books and poetry. Christ according to Alex, Markin was the guy who planned most of the “midnight creeps” they called then. Although nobody in their right minds would have the inept Markin actually execute the plan. That was for smooth as silk Frankie now also like Alex a high-road lawyer to lead. That operational sense was why Frankie was the leader then (and maybe why he was a locally famous lawyer later who you definitely did not want to be on the other side against him). Markin was also the guy who all the girls for some strange reason would confide in and thus was the source of intelligence about who was who in the social pecking order, in other words, who was available, sexually or otherwise. That sexually much more important than otherwise. See Markin always had about ten billion facts running around his head in case anybody, boy or girl, asked him about anything so he was ready to do battle, for or against take your pick.

The books and the poetry is where Jack Kerouac and On The Road come into the corner boy life of the Tonio’s Pizza Parlor life. Markin was something like an antennae for anything that seemed like it might help create a jailbreak, help them get out from under. Later he would be the guy who introduced some of the guys to folk music when that was a big thing. (Alex never bought into that genre, still doesn’t, despite Markin’s desperate pleas for him to check it out. Hated whinny Bob Dylan above all else.) Others too like Kerouac’s friend Allen Ginsburg and his wooly homo poem Howl from 1956 which Markin would read sections out loud from on lowdown dough-less, girl-less Friday nights. And drive the strictly hetero guys crazy when he insisted that they read the poem, read what he called a new breeze was coming down the road. They could, using that term from the times again, have given a rat’s ass about some fucking homo faggot poem from some whacko Jewish guy who belonged in a mental hospital. (That is a direct quote from Frankie Riley at the time via my brother Alex’s memory bank.)

Markin flipped out when he found out that Kerouac had grown up in Lowell, a working class town very much like North Adamsville, and that he had broken out of the mold that had been set for him and gave the world some grand literature and something to spark the imagination of guys down at the base of society like his crowd with little chance of grabbing the brass ring. So Markin force-marched the crowd to read the book, especially putting pressure on my brother who was his closest friend then. Alex read it, read it several times and left the dog- eared copy around which I picked up one day when I was having one of my high school summertime blues. Read it through without stopping almost like Jack wrote the final version of the thing on a damn newspaper scroll in about three weeks. So it was through the Scribe via Alex that I got the Kerouac bug. And now on the 60^th anniversary I am passing on the bug to you.           

Jack Kerouac's Lost 'Beat Generation' Play Premieres

Script was unearthed in a New Jersey warehouse in 2005

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Christopher James Webb, Ari Butler, Tony Crane, and William Connell in MRT and UMass Lowell’s production of 'Beat Generation' by Jack Kerouac.

Meghan Moore

By James Sullivan

October 11, 2012 1:45 PM ET

Rumors of a movie based on Jack Kerouac's On the Road have been around for so long that Montgomery Clift, who died in 1966, was once floated for a leading role. Francis Ford Coppola bought the rights in 1979 and has been trying to make the damn thing ever since, on and off. Now, at long last, the film version directed by Walter Salles (The Motorcycle Diaries) is set to open this weekend in the U.K., with an American release in December.
That means it's time for yet another moment in the ongoing cultural discussion of the importance of being Kerouac, the yearning anti-stylist whose literary kicks epitomized the arrival of "youth culture," and eventually weighed him down into his grave. Seven years ago, a copy of the author's only play, perversely titled Beat Generation – he famously hated the burden – was unearthed in a New Jersey warehouse. Ethan Hawke, who was once considered alongside Brad Pitt for one of Coppola's film adaptations, headlined a partial reading of the script that year.
This week, in Kerouac's hometown of Lowell, Massachusetts, the play is being staged in its world premiere as part of an annual Kerouac literary festival. Like so much of the writer's seemingly bottomless output, it's a ragtag assemblage of personality types based on recognizable Beat-era figures – Neal Cassady, Allen Ginsberg, Kerouac himself – who specialize in creative loafing. Also like so much of his work, its glimpses of humor, inspired wordplay and emotional illumination turn up like welcome signposts amid the aimlessness. Yes, Kerouac had his problems, acknowledged Charles Towers, the artistic director of the Merrimack Repertory Theatre before the show on opening night. "Raise your hand if you have no problems," he joked.
As ever in Kerouac, the ill-fated search for enlightenment is central to the play. Supposedly written in one night in the throes of On the Road's commercial success in 1957, Beat Generation follows the sweetly sozzled Buck (the Kerouac character), his pal Milo (Cassady), an unlikely family man holding down a job as a railroad brakeman while struggling to keep his hurtling impulses and his motormouth in check, and their collection of fellow misfits. In three acts, the gang moves from morning at a buddy's house (where Buck already needs a new bottle) to afternoon at the racetrack and an awkward evening at Milo's place, with a visit from a liberal bishop.
Scenes began and ended with a saxophonist – Jeff Robinson, who has portrayed Charlie Parker onstage – stepping out of the wings to blow buttery riffs. In a staged reading, the actors held scripts in hand, tossing pages to the floor. The staging was effectively simple: a bare bulb hanging overhead, a sectional sofa.
The third-act scenario – also the basis for Pull My Daisy, the short 1959 film that featured Ginsberg, Peter Orlovsky, Gregory Corso and other members of the real-life poets' brigade – would seem preposterous if it weren't based on an actual episode that took place at the Cassadys' home near San Francisco. While Buck (played with the right tone of openness by Tony Crane) sits at the feet of the bishop asking earnest questions, Irwin (the Ginsberg character, played with a dash of Woody Allen by Ari Butler) and Paul (Orlovsky; William Connell) pepper the clergyman. "Do you know about teenagers and how they want to go to the moon?" asks Paul.
They volley questions about what is "holy" until Buck finally gets caught up in the excitement: "Hooray for holy!" he whoops.
In the first two acts, Milo's cosmic nattering – all karma and astral planes, a clear precursor to New Ageism, despite the incongruity of his brakeman's uniform – is the play's beating heart. Energetically portrayed to comic effect by Joey Collins, it was easy to see why Kerouac was so enthralled with his friend Cassady.
But it's the Kerouac character who leaves the lingering impression, when he drifts outside at the end of the night to crawl into his sleeping bag under the stars, tootling a few notes of Sinatra's "In the Wee Small Hours" on a pennywhistle. Earlier, when a beautiful woman strode past in heels at the racetrack, Buck mumbled, "Why doesn't God just stop the world with a snap of his finger?" It's the free-associating Milo who does most of the jazzbo snapping in Beat Generation, but it is Buck who is the real dreamer.

Related

• Daniel Radcliffe to Play Allen Ginsberg
• Ben Gibbard, Jay Farrar Record Soundtrack for Kerouac Doc
• Movie Review: 'The Motorcycle Diaries'

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