Saturday, August 27, 2016

Jim Carroll Workshop - 5 (Patti Smith)


                                 [Patti Smith and Jim Carroll c 1969 - Photograph by Wren D"Antonio]

Jim Carroll's  June 30, 1986 Naropa Poetics and Music Workshop contimues - see previous segments - here. here, here and here  

JC: Then, you know, the danger of course being, you didn’t want to fall into that kind of stream-of-consciousness type of scene because, I mean, that falls into a certain lassitude too easily also. So you have to use a song structure, I think. You can’t just put a poem to music. That’s very difficult, you know. I think with every song by this young lady [Patti Smith], she kind of advanced more and more from writing..  
[JC presents tape to Student/technical assistant - "This is a tape.first song on the A side..) This was from, I think, the next-to-last album, maybe the last album of Patti Smith [Wave (sic)], when she advanced from more like, you know, freaking little sections of poems into.. or starting out with poems.. (I did that a few times too, you know, there’s nothng wrong with that, but it has to fall into a song structure). I mean, by the end, Patti was writing pop songs, you know, I mean.. She had.. And they were good too, you know. There was nothing wrong with them. I mean, after Because The Night, she wanted..  you know, she had a taste of that Top-40 thing and she wanted some more of it, you know. And that’s ok. 
I mean, Lenny Kaye said to me, you know, when I said, “This song sounds a little pop-ish”, he said “Fuck it, man, go for it:, you know” - "Get the money!" – I mean, you get the money, you get the audience – That’s what you’re doing it for, you knowYou reach people.That’s why I felt that adding political songs on [Dry Dreams] was a responsibility, you know, (but the real thing that changed was the spirit.)     

[Student/technicial assistant: We can play it when you’re ready. JC: I’m ready – I hope that this is.. yes. Is this cue-d up? …Yes.. so all I’ve got to do is find the “play" on this positionJC plays a version of Patti Smith singing "Dancing Barefoot")]



JC: I mean the spoken part in that works so well because it's going counterpoint to, you know, like, the lines she's singing musically. And that's, I think, that's the strength in, I mean, all, I think, in any art form. I think the real strength is counterpoint, you know (whether it's, like, the subject-matter being counterpoint, or whether it's the music being a countterpoint to the lyrics, or whether you have, liken that, one vocal line working in counterpoint to another one). And, I always liked that idea, I always felt.. (But) I never tried it on my first couple of albums because it seemed it was too difficult for my head to think about arranging back-up vocals. Now it comes to me pretty easily. I guess it was just by practice, you know. I usually always get ideas for insane back-up vocals going all through it, you know, but the engineers always mix them down so low. (Actually, I had Anne (Waldmando a back-up vocal on this one album, but you couldn't hear shit, right?! - you know - I mean I had Anne read a great poem, and I had everybody, four different people, reading something different, you know, and all you hear..  all the engineer had up was.. me going "We're closed on Sunday, come back on Monday"."We're closed on Sunday, come back on Monday"! - I mean, shit! - We should have done it in the same microphone (that's what (Bob) Dylan does. I mean, on his last two albums [(Empire Burlesque and Knocked Out Loaded (sic)], he doesn't trust engineers to fuck around with the back-up singers, so he has the back-up singers sing on the same fuckin' mic as him, and.. but he can do that shit.  I mean, in that way they can't… What can they do? - They can't separate the voices then, so he has it, you know, like they can't screw him. 

[Audio for the above can be heard here, beginning at approximately thirty-eight-and-a-quarter minutes in and concluding at approximately forty-six-and-a-quarter minutes in]  

Friday, August 26, 2016

Friday's Weekly Round-Up - 282


[Allen Ginsberg working late]

                                           [Allen Ginsberg's Desk - Drawing by Allen Ginsberg]




The second-part of an in-depth interview with Michael Horowitz, Timothy Leary’s longtime archivist, recently appeared. The first (posted back in November 2015) can be seen here
The second, brings Allen in to the picture (Lisa Rein, the Archives digital librarian, is the interviewer):

LR: What was the dynamic between Ginsberg and Leary?
MH: The synergy between them was powerful. There's a book devoted to their psychedelic partnership, White Hand Society. It went back to the Harvard period when Allen and Peter were subjects in the psilocybin experiments. Allen's messianic enthusiasm for psychedelics was equal to Tim's, and brought him to New York City to turn on his Beat friends and jazz musicians. He introduced Tim - still a semi-straight academic - to the hipster culture. Tim had a sexual awakening on psilocybin with a beautiful model. Everyone loved the magic mushroom pills for their life-changing insights and shattering revelations, as well as their spiritual and sensual sides.
LR: Allen was a practicing Buddhist . What did he think of Tim's alliances with the Weathermen and the Black Panthers?
MH: Their friendship was tested publicly, when Ginsberg, like Ken Kesey and others, challenged the militancy of Leary's "Shoot to Live" mantra. For Allen, who was getting heavily into Tibetan Buddhism, meditation was a necessary revolutionary discipline; political action without spiritual consciousness led to the same dead end. Allen put out these ideas in an interview in the Berkeley Barb. Tim responded with "An Open Letter to Allen Ginsberg on the Seventh Liberation", defending the idea of armed self-defense and explain(ing) his new philosophy…"

Here's Allen's initial response (on being contacted, while Leary was in exile, by the Leary camp): 


    
[Allen Ginsberg to Michael Horowitz , August 14, 1970 - "Dear Bo  - [Horowitz had introduced himself as "Bodhisattva M.Horowitz"] — Kerouac used the Bo of Hobo for American Bodhisattva… Hey Bo! - Your plans sound excellent and I just pray you are a steady solid quiet cat who can safeguard & index & prepare mss. like a lovely scholar over years. When you have any specific word for me to put in anywhere please do call on me. I wrote a short 3-page addenda to Jail Notes mss. which together with earlier extensive essay on Tim in Village Voice can serve as a lengthy preface to the book, all dignified, like. Your letter if you follow up is really a bright ray.   Allen G.”]

A third segment of this interview  ("Kicked Out of Switzerland - Captured in Afghanistan - Back in the California Prison System") is forthcoming.


[Acid Test poster designed by Wes Wilson, 1966 - courtesy Stewart Brand (included in the upcoming "You Say You Want A Revolution.." exhibition at the V & A in London]


You Say You Want a Revolution? Records and Rebels 1966–70 opens at the V&A in London on September 10. In advance of it, don't miss Alex Needham's preview piece in The Guardian this week. Needham travels to San Francisco and interviews a number of counter-cultural luminaries, most notably, the Whole Earth Catalog visionary, Stewart Brand


  
& more San Francisco Beat history - For a recollection of San Francisco's legendary North Beach Co-Existence Bagel Shop by Judy Berman  "The Beat Generation Bagel Shop That Didn't Sell Bagels" - see here

                              [Co-Existence Bagel Shop, San Francisco, 1959 - Photograph by Mark Green]



Frank Rose, this week, reviews the ongoing Parisian (Pompidou Center)  "Beat Generation" show, in the New York Times,  
with particular focus on co-curator,  Jean-Jacques Lebel


                                                                     [Jean-Jacques Lebel]
                                                                            
"He was always transmitting, Mr Lebel said of Ginsberg, That's why we're doing this show, to continue the transmission." 
And, again - "I use the term "rhizome", it's the contrary of roots. Once your roots dig in, you're trapped - you can't move. But artistic and philosophical movements [such as the Beat Generation] work as rhizomes do - they're continually spreading across time and space. That's what I tried to do in the show, and in life [too]."  


 [Allen Ginsberg in a four-hour video from a series of interviews by Jean-Jacques Lebel in Paris in 1990, part of the “Beat Generation” exhibition at the Pompidou Center - Photograph by Dimitry Kostyukov]


(and here's (from El Mundo) a Spanish review)

Closing October 3rd, but the exhibition will be traveling, and will be having a second manifestation at the Center for Art and Media in Karlsruhe, Germany, sometime next year. 




Inky Tuscadero in Record Collector Magazine on the Last Word on First Blues CD - "Ginsberg's unique worldview outpunks anything coming out of CBGB's at the time"

Allen Ginsberg was a punk rocker! 

It's Guillaume Apollinaire's birthday today

Thursday, August 25, 2016

Naropa Classroom Conversations


                                                                  [Lyke Wake (in North Yorkshire)]

Minor matters today.  More one-on-one post-class discussion. Allen makes arrangements.

AG:  [to Student] - What have you got? some poems? 
Student: Some homework, from last week - Lyke Wake Dirge
AG: Oh great - good - Shall I take it home?
Student: There's a journal and a transcription.
AG: Oh yes, shall we make a date?
Student: Sure….. Mondays and Fridays are (the) best (days)...
AG: Mondays and Fridays?
Student: Mondays are good.. 
AG: Well, tomorrow I've got a reading.  (But) At weekends, I'm free, certainly...
Student: Weekends are fine.
AG: When?
Student: Saturday or Sunday? 
AG: Saturday?
Student: Sure.   Afternoons are probably good.
AG: What time is good? - Three?
Student:  Three's just fine - Ok, I'll see you at three. 

AG: Thank you for getting this (sic) ready.  We'll have this..  This is the… I want there to be.. could you make an index with the (poems)..
Student: Oh sure… 
AG: And I'll take this [the homework] home.  




[Francis James Child (1825-1896)]




















Student 2: There's a singer who sometimes sings down at the James bar (sic) on Saturday's, I don't know her last name, but Christine.. She accompanies herself on autoharp and she's knows..
AG: She knows a lot? 
Student 2: She knows all the Child Ballads.

Student 3: Where?
Student 2:  The James.
Student3:  The James?

Student2: The James, yeah.. It's 13th Street, just off the Mall…Saturday night(s), ...she's not there all the time. It's Christine, that's all I know. But she knows all the old Child Ballads. And then, a lot of them that don't have music ..she's composed her own music.. 

Student 2:  I've found that a lot of them that don't have music  (like Lyke Wake Dirge). That they said.. most of the people said.. well, they just weren't that particular about taking down the music,  as the guy would sing with whatever instrument he had, passing the hat, or take it and do whatever he..(thought fit).. 
  
Usually, with the records, though, they'll be an insert in which the musician will say, "Well I got the music from here. I borrowed it from here". "We didn't have the original music but I borrowed a tune that would fit it", you know,  (a tune) that was current to the times. It's real interesting. And then how it would move from country to country. Each country would add its own flair, its own flavor. And something always happens in Child Ballads. It's not 
"I love her, and isn't this great?". It's, like, a storyand they end up (very) different from how they started...   



[Audio for the above can be heard  herebeginning at approximately forty-two-and-a-half minutes in and concluding at approximately approximately forty-five minutes in ]

Wednesday, August 24, 2016

Campion's Prosody




Allen Ginsberg's January 1980 Naropa  class on Basic Poetics continues with transcription of one-on-one conversation that appears to take place after the formal end of the class  

AG: Pat (sic), did you ever read that -  (Thomas) Campion's treatises on the music and poetry?
Student (Pat (sic)) :  I've read the Observations in The Art of English Poesie 
AG: Is that the one that takes up quantitative.? 
Student (Pat): Yeah
AG: Do you have a copy of Campion ?  Could you prepare a little summary of his ideas on quantity...You know what he says about that?

[Allen is temporarily distracted by another Student - Student: Is this my book?  AG Yes. I brought it back in . Student;: Thank you. AG: Peter (Orlovsky's)'s got the other one.] 
AG: [proffering a copy of George Saintsbury's A History of English Prosody…] - Is this good?
Student (Pat): I enjoyed it immensely
AG: He [Basil Bunting] said the defect of it was  - a very great line - on.. Saintsbury, (that)  "in two fat unreadable books.."
Student: (Pat) Make it three, actually!
AG: Yeah, but  "in two unreadable fat books.."  -  and his point was that Sainsbury, "in two fat unreadable books, concluded that there was no other measure in English poetry but stress"
Student (Pat): Now, see Saintsbury is saying the exact same thing as Bunting, actually. They're just arguing about the terminology, basically.
AG: You think so?
Student (Pat): I think so
AG: I'm not sure. But you can hear it in Bunting's ear, as he speaks..


                                                            [ Thomas Campion (1576-1620)]


Student (Pat): So what do you want on the Campion?
AG: Well…It would be interesting to get into what really the quantity is. because, actually, I know how to write it, and I do use it, and I hear it, but I would like to be able to know it better, and then, actually, open it up for the class to get (them) to do something with it, so that they actually do get it.
Student (Pat): He's actually trying to evolve some rules..
AG: Right
Student (Pat): So ..They don't really work so well. They probably work as well as any rules..
AG: They're probably the rule(s), the general practice(s) that he uses in his writing, right? - or..?
Student (Pat): Well, he's… primarily in this. You see, he thinks in terms of, as I remember.. And it's just the last chapter of it, actually, that deals with quantity. He's actually more interested in getting around lines.. of getting an English meter forced onto the Greek trochaic and...
AG: Yeah.
Student (Pat): He does do specific things..
AG: So what's… what is he using.. what's the difficulty getting in English (that which) corresponds to…?
Student (Pat): Well, he slips up on the hexameter right away. He says it's just against the nature of the line. So..
AG: On iambic hexameter?
Student (Pat): No, the dactylic hexameter, the imitation of Homer, which was, at that time, or just previous to that time, a great problem. Everybody was trying to write English hexameters, and, you know, pragmatically, it wasn't working. So he limits himself pretty well to the trochaic and iambic meters and various combinations of these. Yeah, I could work through...
AG:  "Cause, yes..  Could you prepare a little summary of his gists and main ideas and how we can understand his poetry from his theory, his descent into.. I mean, how we can understand the quantitative element in his poetry

[Audio for the above can be heard here, beginning at approximately forty-one minutes in and concluding at approximately forty-two-and-a-half minutes in , and also from approximately forty-five-and-a-quarter minutes in to the end of the tape]