Upon The 50th Anniversary Of The Death Of "King OF The Beats" Jack Kerouac-On The 60th Anniversary Of Allan Ginsberg’s “Howl”*Poet's Corner- The Mad Man Visionary William Blake- "Proverbs Of Hell" (And Other Meanderings)

Happy, Happy 100^th Birthday Poet Lawrence Ferlinghetti-Max Daddy Of Famed “City Lights Bookstore” In “Beat” San Francisco When It Counted And Muse Of His Generation’s Poets

By Liam Leahy

When the deal went down the hell with street ruffian and gangster of words and thefts Gregory Corso, the hell with Zen Buddha lotus flowers sulks Gary Snyder, the hell with bright lights in the headlights like some virgin Bambi Mike McClure, double the hell with clear the coffeehouses and jazz bars out with his primal wailing to Keil, devil servant, Phil Larkin, ditto double the hell with trying to hit that high white note that only jazz boys and girls can aspire to MaJohn Dupree, back to single hells for Dante boys all choir practice glow bum-tucked like Kenneth Rexforth (and don’t forget Rexforth’s daughter who everybody took a run at and why not even gay boys like Ginsberg), to hell as well the drag queen artless Tim Riley before he fanned the flames of Miss Judy Garland’s hem and made bluegrass green in ocean spray to the China seas bays filled with oil tankers and sodomites sing his naughty boy praises. And in the end, the bookend three hot dog fucks like Miss Julie Johnson in some Joe and Nemo alley.

More retrospective, more circumspect rumbling fullback out of some Merrimack estuary looking hot dog hungry, looking like some holy goof displaced out of European DP camps and he only Icelandic run bound dropping to the titanic seas.  So Jack, Jack, Kerouac, the fuck with that Jack stuff Ti Jean of ten million Allan Ginsberg dreams and Neal Cassidy lost father’s gets some play, okay  Very much more circumspect and there is no way around it this time Moloch of modern times stripping poor Tom Eliot of everything but his shoddy bedding and his lost in the hills and trenches of Eastern France cursive language as wave after wave fell to complete one square yard Carl Solomon’s dear friend and his mother howler in the dust for all the good it did him, or her, Allan Ginsberg. Yeah, the beat down, beat around, beat sound, beatitude beat to hear holy goof Jack tell it in his Tanqueray funks, crowd that took up plenty of air come 1950s in the states come desolation row time.

Then there was the glue, the guy who kept the torch bright, the guy who had enough knowledge of business which almost to a man (or woman of that matter), beats heating squares up like toast, scorned except come poetry reading time some foggy and rainy nights, book signing when Random House said piss off, putting money in the bucket for the Thunderbird struck nights, back room shacking up to keep from the coldest days in August world. Yeah, Happy Birthday Baby, Buddha in cowboy boots and tepid wrangler jeans Lawrence Ferlinghetti on the magic 100 years. Connection,  brother, connection. 

Click on the heading to link to the William Blake Archives to view some of his illustrations and other artwork for which he was also famous.

Markin comment:

Okay, here is the chain of thought to this entry. I recently posted some work by the "beat" poet (and San Fransisco City Lights Bookstore creator)Lawrence Ferlinghetti (from Coney Island Of The Mind). And that made me think once again of fellow "beat' poet Allen Ginsberg. And if you think of Allen Ginsberg you have to think of mad poet Walt Whitman (singer of 19th century America as Ginsberg sang of the 20th century). And if you think of Whitman you have to go back to the "max daddy", mad, mad William Blake. Simple, right?


Milton [excerpt]
by William Blake

And did those feet in ancient time
Walk upon England’s mountains green?
And was the holy Lamb of God
On England’s pleasant pastures seen?

And did the Countenance Divine
Shine forth upon our clouded hills?
And was Jerusalem builded here
Among these dark Satanic Mills?

Bring me my bow of burning gold!
Bring me my arrows of desire!
Bring me my spear! O clouds, unfold!
Bring me my chariot of fire!


A Divine Image
by William Blake

Cruelty has a Human heart
And Jealousy a Human Face,
Terror, the Human Form Divine,
And Secrecy, the Human Dress.

The Human Dress is forgéd Iron,
The Human Form, a fiery Forge,
The Human Face, a Furnace seal'd,
The Human Heart, its hungry Gorge.

Proverbs of Hell
by William Blake

From "The Marriage of Heaven and Hell"


In seed time learn, in harvest teach, in winter enjoy.
Drive your cart and your plow over the bones of the dead.
The road of excess leads to the palace of wisdom.
Prudence is a rich ugly old maid courted by Incapacity.
He who desires but acts not, breeds pestilence.
The cut worm forgives the plow.
Dip him in the river who loves water.

A fool sees not the same tree that a wise man sees.
He whose face gives no light, shall never become a star.
Eternity is in love with the productions of time.
The busy bee has no time for sorrow.
The hours of folly are measur'd by the clock, but of wisdom: no clock can measure.

All wholsom food is caught without a net or a trap.
Bring out number weight & measure in a year of dearth.
No bird soars too high, if he soars with his own wings.
A dead body, revenges not injuries.
The most sublime act is to set another before you.
If the fool would persist in his folly he would become wise.
Folly is the cloke of knavery.
Shame is Prides cloke.

~

Prisons are built with stones of Law, Brothels with bricks of Religion.
The pride of the peacock is the glory of God.
The lust of the goat is the bounty of God.
The wrath of the lion is the wisdom of God.
The nakedness of woman is the work of God.
Excess of sorrow laughs. Excess of joy weeps.
The roaring of lions, the howling of wolves, the raging of the stormy sea, and the
destructive sword, are portions of eternity too great for the eye of man.
The fox condemns the trap, not himself.
Joys impregnate. Sorrows bring forth.
Let man wear the fell of the lion, woman the fleece of the sheep.
The bird a nest, the spider a web, man friendship.
The selfish smiling fool, & the sullen frowning fool, shall be both thought wise, that
they may be a rod.
What is now proved was once, only imagin'd.
The rat, the mouse, the fox, the rabbit: watch the roots; the lion, the tyger, the horse,
the elephant, watch the fruits.
The cistern contains; the fountain overflows.
One thought, fills immensity.
Always be ready to speak your mind, and a base man will avoid you.
Every thing possible to be believ'd is an image of truth.
The eagle never lost so much time, as when he submitted to learn of the crow.

~

The fox provides for himself, but God provides for the lion.
Think in the morning. Act in the noon. Eat in the evening. Sleep in the night.
He who has suffer'd you to impose on him knows you.
As the plow follows words, so God rewards prayers.
The tygers of wrath are wiser than the horses of instruction.
Expect poison from the standing water.
You never know what is enough unless you know what is more than enough.
Listen to the fools reproach! it is a kingly title!
The eyes of fire, the nostrils of air, the mouth of water, the beard of earth.
The weak in courage is strong in cunning.
The apple tree never asks the beech how he shall grow, nor the lion, the horse,
how he shall take his prey.
The thankful reciever bears a plentiful harvest.
If others had not been foolish, we should be so.
The soul of sweet delight, can never be defil'd.
When thou seest an Eagle, thou seest a portion of Genius, lift up thy head!
As the catterpiller chooses the fairest leaves to lay her eggs on, so the priest
lays his curse on the fairest joys.
To create a little flower is the labour of ages.
Damn, braces: Bless relaxes.
The best wine is the oldest, the best water the newest.
Prayers plow not! Praises reap not!
Joys laugh not! Sorrows weep not!

~

The head Sublime, the heart Pathos, the genitals Beauty, the hands &
feet Proportion.
As the air to a bird of the sea to a fish, so is contempt to the contemptible.
The crow wish'd every thing was black, the owl, that every thing was white.
Exuberance is Beauty.
If the lion was advised by the fox, he would be cunning.
Improvement makes strait roads, but the crooked roads without Improvement,
are roads of Genius.
Sooner murder an infant in its cradle than nurse unacted desires.
Where man is not nature is barren.
Truth can never be told so as to be understood, and not be believ'd.
Enough! or Too much!

I will not cease from mental fight,
Nor shall my sword sleep in my hand,
Till we have built Jerusalem
In England’s green and pleasant land.

Upon The 50th Anniversary Of The Death Of "King OF The Beats" Jack Kerouac-*On The 60th Anniversary Of Allan Ginsberg’s “Howl”Poet's Corner- The Work Of "Mad" Poet William Blake

Click on the title to link to the "William Blake Archives" Website.

Markin comment:

Virtually every modern poet, at least the modern poets like Allen Ginsberg that I am interested in, tips his or her hat profusely to the old "madman" poet, William Blake. And, as the examples posted here indicate, that is his rightful due.

America, a Prophecy, Plates 3 and 4
by William Blake

[PLATE 3]

The Guardian Prince of Albion burns in his nightly tent,
Sullen fires across the Atlantic glow to America's shore:
Piercing the souls of warlike men, who rise in silent night,
Washington, Franklin, Paine & Warren, Gates, Hancock & Green;
Meet on the coast glowing with blood from Albion’s fiery Prince.

Washington spoke; Friends of America look over the Atlantic sea;
A bended bow is lifted in heaven, & a heavy iron chain
Descends link by link from Albion's cliffs across the sea to bind
Brothers & sons of America, till our faces pale and yellow;
Heads deprest, voices weak, eyes downcast, hands work-bruis'd,
Feet bleeding on the sultry sands, and the furrows of the whip
Descend to generations that in future times forget.—

The strong voice ceas'd; for a terrible blast swept over the heaving sea;
The eastern cloud rent; on his cliffs stood Albion’s wrathful Prince
A dragon form clashing his scales at midnight he arose,
And flam'd red meteors round the land of Albion beneath.
His voice, his locks, his awful shoulders, and his glowing eyes,


[PLATE 4]

Appear to the Americans upon the cloudy night.

Solemn heave the Atlantic waves between the gloomy nations,
Swelling, belching from its deeps red clouds & raging Fires!
Albion is sick. America faints! enrag'd the Zenith grew.
As human blood shooting its veins all round the orbed heaven
Red rose the clouds from the Atlantic in vast wheels of blood
And in the red clouds rose a Wonder o'er the Atlantic sea;
Intense! naked! a Human fire fierce glowing, as the wedge
Of iron heated in the furnace; his terrible limbs were fire
With myriads of cloudy terrors banners dark & towers
Surrounded; heat but not light went thro' the murky atmosphere

The king of England looking westward trembles at the vision

Milton [excerpt]
by William Blake

And did those feet in ancient time
Walk upon England’s mountains green?
And was the holy Lamb of God
On England’s pleasant pastures seen?

And did the Countenance Divine
Shine forth upon our clouded hills?
And was Jerusalem builded here
Among these dark Satanic Mills?

Bring me my bow of burning gold!
Bring me my arrows of desire!
Bring me my spear! O clouds, unfold!
Bring me my chariot of fire!

I will not cease from mental fight,
Nor shall my sword sleep in my hand,
Till we have built Jerusalem
In England’s green and pleasant land.

Proverbs of Hell
by William Blake


From "The Marriage of Heaven and Hell"

In seed time learn, in harvest teach, in winter enjoy.
Drive your cart and your plow over the bones of the dead.
The road of excess leads to the palace of wisdom.
Prudence is a rich ugly old maid courted by Incapacity.
He who desires but acts not, breeds pestilence.
The cut worm forgives the plow.
Dip him in the river who loves water.

A fool sees not the same tree that a wise man sees.
He whose face gives no light, shall never become a star.
Eternity is in love with the productions of time.
The busy bee has no time for sorrow.
The hours of folly are measur'd by the clock, but of wisdom: no clock can measure.

All wholsom food is caught without a net or a trap.
Bring out number weight & measure in a year of dearth.
No bird soars too high, if he soars with his own wings.
A dead body, revenges not injuries.
The most sublime act is to set another before you.
If the fool would persist in his folly he would become wise.
Folly is the cloke of knavery.
Shame is Prides cloke.

~

Prisons are built with stones of Law, Brothels with bricks of Religion.
The pride of the peacock is the glory of God.
The lust of the goat is the bounty of God.
The wrath of the lion is the wisdom of God.
The nakedness of woman is the work of God.
Excess of sorrow laughs. Excess of joy weeps.
The roaring of lions, the howling of wolves, the raging of the stormy sea, and the
destructive sword, are portions of eternity too great for the eye of man.
The fox condemns the trap, not himself.
Joys impregnate. Sorrows bring forth.
Let man wear the fell of the lion, woman the fleece of the sheep.
The bird a nest, the spider a web, man friendship.
The selfish smiling fool, & the sullen frowning fool, shall be both thought wise, that
they may be a rod.
What is now proved was once, only imagin'd.
The rat, the mouse, the fox, the rabbit: watch the roots; the lion, the tyger, the horse,
the elephant, watch the fruits.
The cistern contains; the fountain overflows.
One thought, fills immensity.
Always be ready to speak your mind, and a base man will avoid you.
Every thing possible to be believ'd is an image of truth.
The eagle never lost so much time, as when he submitted to learn of the crow.

~

The fox provides for himself, but God provides for the lion.
Think in the morning. Act in the noon. Eat in the evening. Sleep in the night.
He who has suffer'd you to impose on him knows you.
As the plow follows words, so God rewards prayers.
The tygers of wrath are wiser than the horses of instruction.
Expect poison from the standing water.
You never know what is enough unless you know what is more than enough.
Listen to the fools reproach! it is a kingly title!
The eyes of fire, the nostrils of air, the mouth of water, the beard of earth.
The weak in courage is strong in cunning.
The apple tree never asks the beech how he shall grow, nor the lion, the horse,
how he shall take his prey.
The thankful reciever bears a plentiful harvest.
If others had not been foolish, we should be so.
The soul of sweet delight, can never be defil'd.
When thou seest an Eagle, thou seest a portion of Genius, lift up thy head!
As the catterpiller chooses the fairest leaves to lay her eggs on, so the priest
lays his curse on the fairest joys.
To create a little flower is the labour of ages.
Damn, braces: Bless relaxes.
The best wine is the oldest, the best water the newest.
Prayers plow not! Praises reap not!
Joys laugh not! Sorrows weep not!

~

The head Sublime, the heart Pathos, the genitals Beauty, the hands &
feet Proportion.
As the air to a bird of the sea to a fish, so is contempt to the contemptible.
The crow wish'd every thing was black, the owl, that every thing was white.
Exuberance is Beauty.
If the lion was advised by the fox, he would be cunning.
Improvement makes strait roads, but the crooked roads without Improvement,
are roads of Genius.
Sooner murder an infant in its cradle than nurse unacted desires.
Where man is not nature is barren.
Truth can never be told so as to be understood, and not be believ'd.
Enough! or Too much!

He who binds to himself a joy
by William Blake

He who binds to himself a joy
Doth the winged life destroy.
He who kisses the joy as it flies,
Lives in eternity's sunrise.

Upon The 50th Anniversary Of The Death Of "King OF The Beats" Jack Kerouac-On The 60th Anniversary Of Allan Ginsberg’s “Howl”Writer’s Corner- Jack Kerouac’s “The Dharma Bums” Hold Forth- A 40th Anniversary Re-Reading

Click on the title to link to a "Wikipedia" entry for Jack Kerouac's "The Dharma Bums".

Book Review

The Dharma Bums, Jack Kerouac, Viking, New York, 1958

Let me set the scenario. I first read Jack Kerouac’s “The Dharma Bums” in 1970 after racing though in one sitting his classic “beat” anthem, “On The Road”. I have read that novel many times since then, including a recent reading last fall to mark the 40th anniversary of his death. That physical and spiritual road "wanderlust" story affected me and my generation in more ways that it is necessary to mention here. As the headline notes, “Dharma Bums” has been gathering dust on the shelf lo these many years. Why the different response?

The difference is this. “Road” , its madcap wanderings, its setting its sights toward the expansive American West, any distance west as far as that goes,, its characters in search of some elusive meaning to life. Or maybe no meaning and the best bet is to hang out existentially hit nerve that many, including me, could relate to. In “Dharma” Jack and his madcap friends of this period (late 1950s) are already in the West and as a quick look at the map will show, you have to stop. Stop, at least physically if you want to stay in the continental United States. And that is where Jack, his spiritual search for his version of the meaning of existence, and I part company. Not because his search was worthless, but because that was not the type search that I needed to go on, then or now. Still, on those pages where he lets go and comes close to his vision of truth, he makes me wish that I could have gone with him, part of the way at least. I’ll put the difference in shorthand though. I relate to Jack's cruising off of Dean Moriarty’s hyper-energetic quest better than off of Japhy Ryder’s search for Zen balance.

Upon The 50th Anniversary Of The Death Of "King OF The Beats" Jack Kerouac-On The 60th Anniversary Of Allan Ginsberg’s “Howl”Poet's Corner- Allen Ginsberg's "America"-" ... When Will You Be Worthy of Your Million Trotskyites?"

Click on the headline to link to a YouTube" film clip of Allen Ginsberg reciting "America". Thank you, Internet technology.

Markin comment:

Every once in a while I need to read (or, now, listen to) Allen Ginsberg's poem, "America". Especially the line quoted in the headline- "When will you be worthy of your million Trotskyites?". His numbers were off a little (alright way off)but the idea behind that number still stands. Forward


America
Allen Ginsberg

America I've given you all and now I'm nothing.
America two dollars and twenty-seven cents January 17, 1956.
I can't stand my own mind.
America when will we end the human war?
Go fuck yourself with your atom bomb
I don't feel good don't bother me.
I won't write my poem till I'm in my right mind.
America when will you be angelic?
When will you take off your clothes?
When will you look at yourself through the grave?
When will you be worthy of your million Trotskyites?
America why are your libraries full of tears?
America when will you send your eggs to India?
I'm sick of your insane demands.
When can I go into the supermarket and buy what I need with my good looks?
America after all it is you and I who are perfect not the next world.
Your machinery is too much for me.
You made me want to be a saint.
There must be some other way to settle this argument.
Burroughs is in Tangiers I don't think he'll come back it's sinister.
Are you being sinister or is this some form of practical joke?
I'm trying to come to the point.
I refuse to give up my obsession.
America stop pushing I know what I'm doing.
America the plum blossoms are falling.
I haven't read the newspapers for months, everyday somebody goes on trial for
murder.
America I feel sentimental about the Wobblies.
America I used to be a communist when I was a kid and I'm not sorry.
I smoke marijuana every chance I get.
I sit in my house for days on end and stare at the roses in the closet.
When I go to Chinatown I get drunk and never get laid.
My mind is made up there's going to be trouble.
You should have seen me reading Marx.
My psychoanalyst thinks I'm perfectly right.
I won't say the Lord's Prayer.
I have mystical visions and cosmic vibrations.
America I still haven't told you what you did to Uncle Max after he came over
from Russia.

I'm addressing you.
Are you going to let our emotional life be run by Time Magazine?
I'm obsessed by Time Magazine.
I read it every week.
Its cover stares at me every time I slink past the corner candystore.
I read it in the basement of the Berkeley Public Library.
It's always telling me about responsibility. Businessmen are serious. Movie
producers are serious. Everybody's serious but me.
It occurs to me that I am America.
I am talking to myself again.

Asia is rising against me.
I haven't got a chinaman's chance.
I'd better consider my national resources.
My national resources consist of two joints of marijuana millions of genitals
an unpublishable private literature that goes 1400 miles and hour and
twentyfivethousand mental institutions.
I say nothing about my prisons nor the millions of underpriviliged who live in
my flowerpots under the light of five hundred suns.
I have abolished the whorehouses of France, Tangiers is the next to go.
My ambition is to be President despite the fact that I'm a Catholic.

America how can I write a holy litany in your silly mood?
I will continue like Henry Ford my strophes are as individual as his
automobiles more so they're all different sexes
America I will sell you strophes $2500 apiece $500 down on your old strophe
America free Tom Mooney
America save the Spanish Loyalists
America Sacco & Vanzetti must not die
America I am the Scottsboro boys.
America when I was seven momma took me to Communist Cell meetings they
sold us garbanzos a handful per ticket a ticket costs a nickel and the
speeches were free everybody was angelic and sentimental about the
workers it was all so sincere you have no idea what a good thing the party
was in 1835 Scott Nearing was a grand old man a real mensch Mother
Bloor made me cry I once saw Israel Amter plain. Everybody must have
been a spy.
America you don're really want to go to war.
America it's them bad Russians.
Them Russians them Russians and them Chinamen. And them Russians.
The Russia wants to eat us alive. The Russia's power mad. She wants to take
our cars from out our garages.
Her wants to grab Chicago. Her needs a Red Reader's Digest. her wants our
auto plants in Siberia. Him big bureaucracy running our fillingstations.
That no good. Ugh. Him makes Indians learn read. Him need big black niggers.
Hah. Her make us all work sixteen hours a day. Help.
America this is quite serious.
America this is the impression I get from looking in the television set.
America is this correct?
I'd better get right down to the job.
It's true I don't want to join the Army or turn lathes in precision parts
factories, I'm nearsighted and psychopathic anyway.
America I'm putting my queer shoulder to the wheel.

Upon The 50th Anniversary Of The Death Of "King OF The Beats" Jack Kerouac--On The 60th Anniversary Of Allan Ginsberg’s “Howl” Not Ready For Prime Time Class Struggle-The Baby-Boomer Birth Of The Search For The Blue-Pink American Western Night- “American Graffiti”-Film Review

Click on the headline to link to a YouTube film clip of a segment of American Graffiti, featuring the lead-up to the hot rod duel.

DVD Review

American Graffiti, starring Richard Dreyfus, Ron Howard, Cindy Williams, Harrison Ford, Paul LeMat, directed by George Lucas, 1973

Recently in this space I have been deep in remembrances of the influences, great and small, of the 1950s “beats” on my own sorry teen-aged alienation and teen-aged angst (sometimes they were separate anguishes, sometimes tied together like inseparable twins, mostly the later) and the struggle to find my place in the sun, to write in bright lights my own beat plainsong. Of course, that influence was blown over me second-hand as I was just a little too young, or too wide-world unconscious, to be there at the creation, on those first roads west, those first fitfully car-driven, gas-fuelled, thumb hanging-out, sore-footed, free exploration west, in body and mind. That first great rush of the adrenal in trying to discover, eternally discover as it has turned out, the search for the meaning of the great blue-pink American West night. Ah, pioneer-boys, thanks.

I just got a whiff, a passing whiff of that electric-charged air, the sweet “be-bop”, bop-bop, real gone daddy, cooled-out, pipe-filled with whatever, jazz-sexed, high white note blown, howling in the wind plainsong afterglow. Moreover, somewhat tarnished, a little sullen and withdrawn, and media-used up by my time. More than one faux black chino-wearing, black beret’d, stringy-bearded, nightshade sun-glassed, pseudo-poetic-pounding, television-derived fakir crossed my path in Harvard Square in those high stakes early 1960s high school days. And a few real ones, as well. (A couple, whom I still pass occasionally, giving a quick nod to, have never given up the ghost and still haunt the old square looking for the long-gone, storied Hayes-Bickford, a place where the serious and the fakirs gathered in the late night before dawn hour to pour out their souls, via mouth or on paper). More to the point, I came to late to be able to settle comfortably into that anti-political world that the “beats” thrived in. Great political and social events were unfolding and I wanted in, feverishly wanted in, with both hands.

You know some of the beat leaders, the real ones, don’t you? Remembered, seemingly profusely remembered now, by every passing acquaintance with some specimen to present. Now merely photo-plastered, book wrote, college english department deconstruction’d , academic journal-debated, but then in full glory plaid shirt, white shirt, tee shirt, dungarees, chinos, sturdy foot-sore cosmic traveler shoes, visuals of heaven’s own angel bums, if there was a heaven and there were angels and if that locale needed bums.

Jack, million hungry word man-child sanctified, Lowell mills-etched and trapped and mother-fed, Jack Kerouac. Allen, om-om-om, bop, bop, mantra-man, mad Paterson-trapped, modern plainsong-poet-in-chief, Allen Ginsberg. William, sweet opium dream (or, maybe, not so sweet when the supply ran out), needle-driven, sardonic, ironic, chronic, Tangiers-trapped, Harvard man (finally, a useful one, oops, sorry), Williams S. Burroughs. Neal, wild word, wild gesture, out of ashcan all-America dream man, tire-kicking, oil-checking, gas-filling, zen master wheelman gluing the enterprise together, Neal Cassady. And a whirling crowd of others, including mad, street-wise, saint-gunsel, Gregory Corso. I am a little fuzzy these days on the genesis of my relationship to this crowd (although a reading of Ginsberg’s Howl was probably first in those frantic, high school, Harvard Square, poetry-pounding, guitar-strummed, existential word space, coffee, no sugar, I’ll have a refill, please, fugitive dream’d, coffeehouse-anchored days). This I know. I qualified, in triplicate, teen angst, teen alienation, teen luddite as a card-carrying member in those days.

That brings us to the film under review, American Graffiti, and its relationship to the birth of the search for the blue-pink great American West night promised to be discussed in the headline. Well, let me run through the plot line for those who are not familiar with idea behind the film, or are too young to have a clue as to such goings-on but might want to know what the old fogies, their parents or (ouch) grandparents were up to (or thought they were up to) back in the days, or are the peers of those 1960s baby-boomers enshrined in the film, but have forgotten a thing or two since they watched the thing in 1973 (another ouch).

The opening scene sets the whole film up. A very spiffy, well-dressed, well-scrubbed, well-mannered (mostly), middle class crew of 1962-era Southern California suburban valley kids with plenty of disposable income at hands, are gathering for one last tribal meeting before they go their separate ways in the great adult grind-it-out, eyes-straight-forward, shoulder-to-the-wheel, little boxes world at their main club house, Mel’s fast food drive-in (already I have lost the younger set on that last point, on the non-mall food court, drive-in thing, right?). How did they get to said gathering spot, you might ask? Come on now, this is wide open-spaced California suburban valley how else would they get there other that in their own personal “teen mobiles.” Jesus, do I have to tell you everything.

They come in one and twos, mainly, in some of the best-looking “boss” car (excuse my reversion to an old-time term for excellence, automobile division) that you will see these days outside of an automobile museum. And besides that, many of them, the cars that is, are “souped-up” (look that one up yourself), especially valley hot-rod-king of the hill, John (played by Paul LeMat), and his yellow (mustard yellow, wow, can you believe that?) little deuce coup (ditto on the look up). Here is the point though, the main point even in this pre-1960s rebellion period, none of the cars look anything like any parent would drive, or could drive (except the few dweeby cars borrowed for the evening from some plaint, or beaten-down, beaten down by teen argument parent). Yes indeed, this is a gathering of the California branch of “youth nation” in all their tribal finery.

As is to be expected of a teen-centered (amazingly teen-centered, adults get merely cameo appearances in this one, and that seems about right) drama the plot line thins out considerably after the flash at Mel’s. Mainly, it is about a single night’s search for the 1962 version of the California blue-pink night (more on this below). And what drives that search? Cruising, natch. Why spend the time and expense involved in a “boss” car (you know that word now, right?) if you don’t create a stir up and down the main drag boulevard looking for…. , you can easily fill in that blank yourself. The rest of the plot centers on such eternal questions as the young leaving home and hearth to face the great wide world (here to be or not to be a college freshman by stars Ron Howard, as Steve, and Richard Dreyfus, as Curt), the usual boy looking for girl thing (including by oldster hot-rod king, Johnny) that I have endlessly reported on elsewhere in this space and that is not worthy of comment in a teen film. What else could such a film be about? Teen break-ups (Howard and Cindy Williams, as Laurie), cruising, stopping at Mel’s for some car-hopped fast food, cruising, a little hot- rod duel ( between Johnny and, ah, one Harrison Ford) on those open California highways (what else are they for?), and then daylight and the rude old work-a-day world intrudes, even on sanctified teen life.

This is one time though that I do not do justice to a film with a summary because this thing is well-directed, well-produced, and well-acted by a crew of then very young unknowns (mostly) that would go on to all kinds of other cinematic successes (including hot-rod runner-up, ah, Ford). The sense of déjà vu for this Eastern U.S.-born baby-boomer, including a great high school dance segment and a soundtrack that reads out of every classic Oldies But Goodies compilation that I have ever reviewed, was palpable, without being maudlin. Kudos

So what connection can be drawn, one might rightly ask in a review of American Graffiti, a film that depicts a snapshot of a then respectable early 1960s coming-of-age teen-driven culture. With, by then, a respectable post-birth of rock and roll (cleaned up of the “bad boys” like Jerry Lee Lewis) soundtrack. That also pays homage to a then very respectable post-Great Depression Okie-Akie invasion middle class-driven suburban valley life-style, and its respectable (mostly) California teen “boss” car culture. And highlights a then respectable superficial teen angst (“do you like my finger nails painted in crimson red or rose red?”, “do you want Pepsi or Coke with your hamburger, hold the onions?”, or something along those lines) and the search for now respectably beatified “beat” culture great blue-pink American West night? A film which, moreover, has not the slightest reference to, nor can in any way be taken to have been produced under the under the sign of, the “beats.” Hell, not even a Maynard G. Krebs (from the old time media image of beatniks television show, Dobey Gillis) beatnik caricature in the lot. Nada.

The closest that any character comes is my boy John, “greaser”, deuce coup, hot rod-king-of- the-hill, and working class poet (limited lyric car poet, okay)/ existential philosopher. And he doesn’t count because he has been around since Hector was a pup, is seen as an eternal “townie” by his middle class brethren, and is a throwback to James Dean and Marlon Brando 1950s California cool. And those guys (I mean the characters they played in Rebel Without A Cause and The Wild One not them as personalities, they were cool, no question) weren’t beat, no way. Beside John’s angst, important but kind of universal as it is, for some dewy-eyed female teeny-bopper to sit next to him in that old jalopy as he cruises those great California valley night highways is not the stuff of tragedy. Not in my book anyway, and I also had more than my share of that kind of teen angst.

No, what this film connects to, and connects to visually in the first instance, is that great big old search for that pink-blue American Western night that the “beats”, at least what I think the beats were searching for when they were doing their breakout from the post- World War II American crank-out death machine night. The shift from the Eastern American dark night westward (mainly, although some of beats were already vanguard- hovering around San Francisco waiting for the boys to come off the roads from the east and establish what was what) serves as a metaphor for much of what they were up to, if only to breakout, a little, from the nine-to-five, waiting for the bomb (atomic bomb) to drop world. That visual sense is most dramatically highlighted in the very first opening shots of this film where the pink-blue sky forms the backdrop to the activity starting up at California teen-hang-out (and elsewhere as well, even stuffy old Boston), fast food drive-in, Mel’s drive-in (A&W, Adventure Car-Hop, Diary Queen, fill in your own named spot), central committee headquarters for valley California teen night. .

Wait, let me detail this a little more so there is no mistake. The film opens with the first few anxious California “boss” cars (you remember what that word means, right?), almost tear-provoking in this reviewer, because I rode in teen cars just like those, rolling into neon-sign lighted Mel’s(lights just turned on against the kitchen-backdrop dark night) just as the sun is going down. There is a big old sun-devouring red devil of a cloud flaming up in the background. That is NOT the part of the pink-blue night I am talking about. Below, just below, nearer the horizon is the one I am talking about, the symbol of the search, and the stuff of dreams, the great American blue-pink dream escape.

I can hear great yawns and see rolled eyes piercing through cyberspace as you say so what is the big deal about some foolish ephemeral passing cloud, blue-pink, pink-blue, or hell, blue-blue. Philistines! Go back now to Mel’s, or wherever the blue-pink sky announces the nights doings, the night’s promises or disappointments. Those promises or those disappointments, great or small, went to make up the birth of the search for the great American Western night, the night of our own circumscribed teen, kiddish break-outs, great or small.

Make no mistake it was not the morning, the morning of school or toil, paid or unpaid. It was not the lazy afternoon, the time of study or of the self-same toil, paid or unpaid (the unpaid kind thanked for or not, or to quote the universal parent god of the time done because we keep a roof over your head). It was the night, no the approach, the blue-pink approach of night that drove our maddened dreams, hopefully signaling good omen for the night’s work. The day was mere preclude to that tiny feverishly sought breakout (now a small thing seen, but not then). The telephoned arrangements, the groomed preparations, the gathering of the odd dollar here or there, in order to first cruise that teen empty highway and then on second pass the filling teen night.

Now do you see how the “beats”, those unnamed, unnamable, sub-consciously-embedded beats drove our bust-out dreams for travel, for adventure, for wine (later, dope),for women (or men) and for song, for shaking off the dust of the old town, great or small, as long as it moving elsewhere, and on a thumb pulled-out, hard-driven, shoe leather-beaten shod foot if need be.

American Graffiti is a snapshot of just exactly that minute, just that historic minute before the great shake-out of the 1960s for the baby-boomer generation, after that minute some of us went left politically and became social activists. We made just about every political, social, and cultural mistake along the way and lost, no, were defeated, no again, were mauled, in the end in our dreams of “seeking that newer world.” (And have spent the past forty or so years having to fight a rear-guard against the straightjacket, death machine-loving yahoos and their consorts). Ya, but hear me out. The search for the blue-pink Great American Western night was not one of those mistakes.

Upon The 50th Anniversary Of The Death Of "King Of The Beats" Jack Kerouac-**Out In The Be-Bop 1960s Night- Songs To Sit Around The Soda Fountain By- A CD Review

Click on the headline to link to a YouTube film clip of The Angels performing Cry Baby Cry.

CD Review

The Rock ‘N’ Roll Era: The ‘60s: Teen Time, Time-Life Music, 1991

Every “teenage nation” generation since they started to place teenage-hood as a distinct phase of life between childhood and young adulthood over a century ago has developed it own tribal rituals and institutions. Today’s teens seem to have cornered food courts at the mall, video arcades and the ubiquitous Internet screen connections through various look-at techno-gadgets although, frankly, I am not fully current on all their mores, customs and tribal language.

What I am familiar with, very familiar with, is the teen institutions of my generation, the generation of ’68, that came of teen age in the early 1960s. Our places of rendezvous were the corners in front of mom and pop variety stores in the days before franchise 7/11 came to dominate the quick stop one item shopping market; the every present pizza parlor with its jump jukebox where we deposited more than a few nickels, dimes and quarters; for some of the dweebs (or if you wanted to get away with a “cheap” date, but only as a last resort ) the bowling alley; the open air drive-in restaurants complete with car hops for more “expensive” dates; and, for serious business, meaning serious girl and boy watching, the soda fountain. And not, in my case, just any soda fountain but the soda fountain at the local individually-owned drug store that used the fountain to draw people (read, kids: what would we need prescription drugs for, those were for old people, we were invincible) into the store.

That last scene is what will drive this review, and for a simple reason. The cover of this CD (which is part of a huge Rock ‘n’ Roll Era set of CDs from this period) under review, The 60s; Teen Time, has an illustration of just such a classic soda fountain, complete with three whimsical teen-age frills (read girls, if you are not from my old working class neighborhood) all sipping their straws out of one, can you believe it, one paper cup while a faux Fabian-type looks on. Ah, be still my heart.

Needless to say this scene, complete with its own jukebox setup (although not every drug store had them, ours didn’t), the booths with the vinyl-covered seats and Formica top tables (with paper place settings, condiments, etc., right), the soda fountain granite (maybe faux granite) counter, complete with swivel around stools that gave the odd boy or two (read: me and my boys) a better vantage point to watch the traffic come in the store (read: girls). Said counter also complete with glassed-encased pie (or donut) cases; the various utensils for making frappes (that a New England thing, look it up), milkshakes, and cherry-flavored Cokes; a small grille for hamburgers, hot dogs and fries (or the odd boy grilled cheese sandwich with bacon); and, well a soda jerk (usually a guy) to whip up the orders. Oh, did I say girl and boy watching. Ya, I did. Still, what do you think we were all there for? The ice cream and soda? Come on. Does it really take an hour or an hour and a half to drink a Pepsi even in teen-land?

Enough said about the décor because the mere mention of the term “soda jerk” brings to mind a Frankie, Frankie from the old neighborhood story, Frankie of a thousand stories and Frankie who was the king hill skirt-chaser (read: girl), and my best friend in middle school (a.k.a. junior high) and high school. Ya, that Frankie, or rather this time Frankie’s sister. Now when we were juniors in high school we mainly held court at the local pizza parlor which in the pecking order was way above the soda fountain. That was for kids, unless, of course, things were tough at the pizza joint (meaning girl-free) and we meandered up the street to Doc’s drug store soda fountain to check out the action there.

Of course, before we graduated to the “bigs” the old soda fountain was just fine. And it did no harm, no harm at all, to strike up friendships , or at least stay on the good side of the soda jerks so you get an extra scoop of ice cream or a free refill on your Coke. Whatever. See, the soda jerk was usually the guy (and like I said before it was always guys, girls would probably be too distracted by every high energy teen guy, including dweeb-types, trying to be “cool”) connected the dots and said who was who and what was what in the local teen scene. But the thing is that the soda jerk also had some cache with the girls, I guess it must have been the uniform. Wow! Personally I wouldn’t have been caught dead wit that flap cap they wore.

So one night we are dried up (read: no girls) at the pizza parlor and decided, as usual, to meander up the street to Doc’s. We had heard earlier in the day that Doc had a new jerk on and we wanted to check him out anyway. As we entered who do we see but Frankie’s sister, Lorrie, Frankie’s fourteen year old sister, talking up a storm, all dewy-eyed, over this new jerk, who must have been about eighteen. And this “cradle-robber” had his arm around, or kind of around, Lorrie. Old Frankie saw red, no double red, if not more.

See, Frankie was a guy who had more girls lined up that he could ever meet and be able to keep himself in one piece, although he has only one serious frail (read: girl again okay) that kept his interest over time (Joanne that I told you about before when I was doing a Roy "The Boy" Orbison review). So Frankie was no stranger to the old male double standard of the age, especially in regard to his sister. Not that he was really protective of her as much as he was insulted (so he told me later) by some new “jerk” trying to make moves to become king of the hill by “courting: Frankie’s sister.

And Frankie, old wiry, slender, quick-fisted Frankie was tough. Tougher than he looked. So naturally new boy “jerk” takes umbrage (nice word, right?) when Frankie starts to move “sis” away with him. Well the long and short of it was that Frankie and “jerk” started to beef a little but it is all over quickly and here is why. Frankie took an ice cream cone, a triple scoop, triple-flavored ice cream cone no less, that was sitting in a cup in front of a girl customer ( a cute girl who I wound up checking out seriously later) and bops, no be-bops, no be-bop bops one soda jerk, new or not, with it. Now if you have ever seen an eighteen year old guy, in uniform, with hat on, I don’t care if it is only a soda jerk’s uniform wearing about three kinds of ice cream on that uniform you know, you have to know that this guy’s persona non grata with the girls and “cool” guys in town forevermore.

Or so you would think. Frankie went out of town for a few days to do something on family business (not related)after this incident and one night near the edge of town as I was walking with that young girl customer whose ice cream Frankie scooped (I bought her another one, thank god I had a little cash on me, and that is why I was walking with her then, thank you) when I saw one Lorrie sitting, sitting like the Queen of Sheba, in Mr. Soda Jerk’s 1959 boss cherry red Chevy listening to Cry Baby Cry by The Angels as “mood” music on the background car radio that I could faintly hear. Just don’t tell Frankie, okay.

And that is what drove the girls in those days to the kind of music presented in this compilation. Most of it was strictly from some Teen Romance notion of what girls, girls who bought records in vast quantities to while away their giggling girlish listening hours, though would sell. This stuff was definitely not classic rock like Elvis when he was young and hungry. Or Jerry Lee, Chuck Berry or Bo Diddley. No way. What this, mainly, was now that we were high strung teens very aware of what sex was, if not always what to do about it, that previously mentioned mood music. And while one would not be caught dead dancing to this stuff at a dance, even a school dance, out on the beach, in the car, or wherever boys and girls went to “be alone” this was the background music.

That said the ones that, as I recall in the mist of time, that set the “mood” best were, of course (ask my ice cream girl) Cry Baby Cry by the Angels; Sugar Shack by Jimmy Gilmer and the Fireballs: Clarence Henry’s classic make-up song, You Always Hurt The One You Love; and, Trouble In Paradise by The Crests.

***Poet’s Corner-Young America’s Walt Whitman’s “Leaves Of Grass”

Click on title to link to Wikipedia's entry for poet Walt Whitman.

DVD Review

American Experience: Walt Whitman, Walt Whitman and various modern commentators, PBS Productions, 2008

Sure, it is always appropriate to thumb through the pages of the 19th century poet laureate of democracy Walt Whitman’s “Leaves Of Grass”. After wading through Emerson, Longfellow, Whittier and the other Brahmin and Brahmin wannabe poets who dominated the 19th century ‘aristocratic’ European-influenced American poetic academy old white-bearded Walt is like a breath of fresh air. And let’s put it this way, while everyone has, and should, take a peek at those other 19th century poets, if no other reason that to compare work, it is old Walt that those of us in the 21st century WANT to read. Therefore, it is appropriate that PBS’s “American Experience" in 2008 produce a documentary that is, while filled with biographic information, centered on Whitman’s long struggle to produce his masterpiece, “Leaves Of Grass”.

This documentary does yeoman’s service in setting the context in which Walt Whitman had to work, including the trials and tribulations of his long suffering over his troubled working class family affairs; his free-wheeling experiences in breaking out of the family and establishing himself as a newspaper writer in New York City in the pre-Civil War period; his invention of himself as a 'proto-hippie' in that city’s bohemian milieu: his various, mainly homosexual, romantic experiences that eventually find themselves noted heavily throughout his master work; his dramatic and traumatic Civil War time nursing services to the Union wounded; the shock of Lincoln’s death; and, his post-war struggles to expand and deepen his poetic works. That sets the pace for the many ‘talking head’ academic commentaries about the meaning of Whitman’s work, his place as the poetic, warts and all, 19th century democratic champion of the fragile American republican experience, and the breakthrough nature of the more or less explicit sexual, erotic and homoerotic passages in his work.

Finally, poets like other types of writers, run through period of fashion and neglect. My recent road back to an appreciation of Whitman is a case in point. I have been running through (for the nth time) and reviewing the work of the 1950s “beat” writer Jack Kerouac (himself the subject of the vicissitudes of fashion) in this space. Kerouac makes clear (as do many other writers and poets) that Whitman’s poems, his lifestyle and his championship of the “common man” deeply influenced him in his early formative days as he struggled to write. That is a very common story when the name Walt Whitman comes up. So if you need a little refresher on Whitman this well-done documentary fills the bill. But, really, go read some of his poems


Walt Whitman - One’s-Self I Sing.

ONE’S-SELF I sing—a simple, separate Person;
Yet utter the word Democratic, the word En-masse.

Of Physiology from top to toe I sing;
Not physiognomy alone, nor brain alone, is worthy for the muse—I say the
Form complete is worthier far;
The Female equally with the male I sing.

Of Life immense in passion, pulse, and power,
Cheerful—for freest action form’d, under the laws divine,
The Modern Man I sing.

Walt Whitman - To a Historian.

YOU who celebrate bygones!
Who have explored the outward, the surfaces of the races—the life that has
exhibited itself;
Who have treated of man as the creature of politics, aggregates, rulers and
priests;
I, habitan of the Alleghanies, treating of him as he is in himself, in his own
rights,
Pressing the pulse of the life that has seldom exhibited itself, (the great
pride of man in himself;)
Chanter of Personality, outlining what is yet to be,
I project the history of the future.

Walt Whitman - Pioneers! O Pioneers!


1
COME, my tan-faced children,
Follow well in order, get your weapons ready;
Have you your pistols? have you your sharp edged axes? Pioneers! O pioneers!

2
For we cannot tarry here,
We must march my darlings, we must bear the brunt of danger,
We, the youthful sinewy races, all the rest on us depend, Pioneers! O pioneers!

3
O you youths, western youths,
So impatient, full of action, full of manly pride and friendship,
Plain I see you, western youths, see you tramping with the foremost, Pioneers! O
pioneers!

4
Have the elder races halted?
Do they droop and end their lesson, wearied, over there beyond the seas?
We take up the task eternal, and the burden, and the lesson, Pioneers! O pioneers!

5
All the past we leave behind;
We debouch upon a newer, mightier world, varied world,
Fresh and strong the world we seize, world of labor and the march, Pioneers! O pioneers!

6
We detachments steady throwing,
Down the edges, through the passes, up the mountains steep,
Conquering, holding, daring, venturing, as we go, the unknown ways, Pioneers! O pioneers!


7
We primeval forests felling,
We the rivers stemming, vexing we, and piercing deep the mines within;
We the surface broad surveying, we the virgin soil upheaving, Pioneers! O pioneers!

8
Colorado men are we,
From the peaks gigantic, from the great sierras and the high plateaus,
From the mine and from the gully, from the hunting trail we come, Pioneers! O pioneers!

9
From Nebraska, from Arkansas,
Central inland race are we, from Missouri, with the continental blood intervein’d;
All the hands of comrades clasping, all the Southern, all the Northern, Pioneers! O
pioneers!


10
O resistless, restless race!
O beloved race in all! O my breast aches with tender love for all!
O I mourn and yet exult—I am rapt with love for all, Pioneers! O pioneers!

11
Raise the mighty mother mistress,
Waving high the delicate mistress, over all the starry mistress, (bend your heads all,)
Raise the fang’d and warlike mistress, stern, impassive, weapon’d mistress, Pioneers! O
pioneers!

12
See, my children, resolute children,
By those swarms upon our rear, we must never yield or falter,
Ages back in ghostly millions, frowning there behind us urging, Pioneers! O pioneers!

13
On and on, the compact ranks,
With accessions ever waiting, with the places of the dead quickly fill’d,
Through the battle, through defeat, moving yet and never stopping, Pioneers! O pioneers!


14
O to die advancing on!
Are there some of us to droop and die? has the hour come?
Then upon the march we fittest die, soon and sure the gap is fill’d, Pioneers! O
pioneers!

15
All the pulses of the world,
Falling in, they beat for us, with the western movement beat;
Holding single or together, steady moving, to the front, all for us, Pioneers! O
pioneers!

16
Life’s involv’d and varied pageants,
All the forms and shows, all the workmen at their work,
All the seamen and the landsmen, all the masters with their slaves, Pioneers! O pioneers!


17
All the hapless silent lovers,
All the prisoners in the prisons, all the righteous and the wicked,
All the joyous, all the sorrowing, all the living, all the dying, Pioneers! O pioneers!

18
I too with my soul and body,
We, a curious trio, picking, wandering on our way,
Through these shores, amid the shadows, with the apparitions pressing, Pioneers! O
pioneers!

19

Lo! the darting bowling orb!
Lo! the brother orbs around! all the clustering suns and planets,
All the dazzling days, all the mystic nights with dreams, Pioneers! O pioneers!

20
These are of us, they are with us,
All for primal needed work, while the followers there in embryo wait behind,
We to-day’s procession heading, we the route for travel clearing, Pioneers! O pioneers!

21
O you daughters of the west!
O you young and elder daughters! O you mothers and you wives!
Never must you be divided, in our ranks you move united, Pioneers! O pioneers!

22
Minstrels latent on the prairies!
(Shrouded bards of other lands! you may sleep—you have done your work;)
Soon I hear you coming warbling, soon you rise and tramp amid us, Pioneers! O pioneers!

23
Not for delectations sweet;
Not the cushion and the slipper, not the peaceful and the studious;
Not the riches safe and palling, not for us the tame enjoyment, Pioneers! O pioneers!

24
Do the feasters gluttonous feast?
Do the corpulent sleepers sleep? have they lock’d and bolted doors?
Still be ours the diet hard, and the blanket on the ground, Pioneers! O pioneers!

25
Has the night descended?
Was the road of late so toilsome? did we stop discouraged, nodding on our way?
Yet a passing hour I yield you, in your tracks to pause oblivious, Pioneers! O pioneers!


26
Till with sound of trumpet,
Far, far off the day-break call—hark! how loud and clear I hear it wind;
Swift! to the head of the army!—swift! spring to your places, Pioneers! O pioneers.

Upon The 50th Anniversary Of The Death Of "King OF The Beats" Jack Kerouac-In Honor Of Jean Bon Kerouac On The 60th Anniversary Of “On The Road” (1957)-”Beat” Writer’s Corner- A Jack Kerouac Potpourri

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