Daevid Allen, a brilliant songwriter and archetypal hippie prog-rocker who co-founded Soft Machine in 1966 before reaching his peak as the mad visionary genius of Gong, has announced that he is dying of cancer and has six months to live.
I am not interested in endless surgical operations and in fact it has come as a relief to know that the end is in sight.
I am a great believer in "The Will of the Way Things Are" and I also believe that the time has come to stop resisting and denying and to surrender to the way it is.
I can only hope that during this journey, I have somehow contributed to the happiness in the lives of a few other fellow humans.
"Wizard of Oz is on again", I noticed recently while flipping through my favorite classic movie channels. Then I spotted the year on the movie listing: 1925.
Here it was, the early version I'd always been curious to see! This silent-era Wizard came out fourteen years before the great Judy Garland classic, and even though I'd heard the 1925 version was a box-office dud and an artistic failure, I'd long been curious what this interpretation of L. Frank Baum's children's book contained.
What are the roots that clutch, what branches grow
Out of this stony rubbish? Son of man,
You cannot say, or guess, for you know only
A heap of broken images, where the sun beats,
And the dead tree gives no shelter, the cricket no relief,
And the dry stone no sound of water. Only
There is shadow under this red rock,
(Come in under the shadow of this red rock)
-- T. S. Eliot, The Waste Land
After Pete Seeger died last week, I remembered that the last glimpse I'd had of the great folksinger was a video of his Broadway march in support of Occupy Wall Street in October 2011, with his friends Arlo Guthrie and David Amram in tow. Here's what that looked like:
Dave Van Ronk's The Mayor of MacDougal Street is a constructed autobiography, pieced together by the singer's friend and admirer Elijah Wald after Van Ronk died of cancer in 2002. Elijah Wald is a roots-music scholar who has also written books like How the Beatles Destroyed Rock 'n' Roll: An Alternative History of American Popular Music. Eleven years later, the book he produced from interview recordings and memoir fragments would have given Van Ronk the pleasure of seeing his name pop up in lights as a primary source for the new Coen Brothers movie Inside Llewyn Davis.
Dave Van Ronk would have relished the irony, because his failed flirtations with fame became legendary by the time he died. Flirtation with fame provides the primary plotline for Inside Llewyn Davis, a movie I got excited about when I first heard of its Dave Van Ronk connection, and enjoyed very much when I finally got to see it.
I don't always love a Coen Brothers movie (especially, for instance, when it's a Coen Brothers movie of a Cormac McCarthy novel), but I do always love the music in a Coen Brothers movie. Inside Llewyn Davis is a bonanza of great folk tunes, and the soundtrack is especially rewarding for displaying the wide variety of musical styles of the early 1960s folk boom: Irish brother groups, sea shanty singers, "early music" experts, Appalachian authentics, Beat poets, corny comedians, harmony crewcut groups. Despite the great music, Inside LLewyn Davis isn't quite as spectacular a snapshot of 1960s Greenwich Village culture as their previous O Brother Where Art Thou? was of 1930s Mississippi Delta blues and bluegrass culture. It's a sadder and smaller movie than O Brother, but the film's connection to Van Ronk's Mayor of MacDougal Street amounts to a surprising honor for this little-known but important musician.
1922 was a special year for modernist literature. On February 2, James Joyce was the shy guest of honor at a small publication party for Ulysses in Paris. Sylvia Beach showed Joyce the book for the first time that day, thus establishing 2/2/22 as its Joycily pleasing official publication date.
Ulysses is one of two pillars of 20th century modernist literature, and the other is The Waste Land by T. S. Eliot, a long and strange poem that arrived to the wastrel world eight months later on October 16, 1922, neatly printed within the debut edition of The Criterion.
Both Ulysses and Waste Land were mash-ups of ancient heroic literature, regurgitated through a pained awareness of the plight of Europe in the age of industrialized war, revolution, capitalism and fast society. The milieu of European urban high culture that produced Ulysses and The Waste-Land in 1922 -- a vast set of personalities that includes Evelyn Waugh, Ernest Hemingway, Dorothy Parker, Andre Breton, W. B. Yeats, Albert Einstein, Bertrand Russell, Benito Mussolini, Vladimir Lenin, Mohandas Gandhi, D. H. Lawrence, E. E. Cummings, Wassily Kandinsky, Virginia Woolf, George Gurdjieff, and of course Gertrude Stein -- is the subject of Kevin Jackson's ingeniously simple Constellation of Genius: 1922: Modernism Year One.
The book is ingeniously simple because it is written as an annotated calendar, moving forward in brisk anecdotes from January to December, constructing a found story along the way. Some entire days are skipped, while other days present enjoyable juxtapositions, like June 30, on which Franz Kafka retired from his job, T. S. Eliot wrote a letter and young Eric Arthur Blair applied to the India Office for a position that would take him to Burma, one of many eventual stops towards his future as George Orwell.
It must mean something that Marcel Proust died on November 18, 1922, one month after Waste Land came out (though it is not known whether or not Proust read Eliot's poem). This was the same month that Howard Carter discovered and plundered the tomb of King Tutankhamen in Egypt, the same month that Crown Prince Hirohito became the new emperor of Japan.
There are two great cinematic jokes in the new film Kill Your Darlings, two sly references to the dilemma of self-consciousness that this movie about the Beat Generation struggles to overcome. First, it must overcome the suffocating celebrity of Daniel Radcliffe, who plays the poet Allen Ginsberg, and the movie smartly tackles the "hey, there's Harry Potter" problem right away. The movie opens with teenage Allen cleaning up his parents' house, jamming to a song on the Victrola, and dancing merrily with a broom.
Kill Your Darlings toys with its literary legacy as well. As several people pitch in to help a mischievous and manipulative Columbia University student named Lucien Carr write a paper about the historian Oswald Spengler, we see a typewriter tapping out immortal words that remind us of another recent Hollywood film: "On … the …". But then instead of "On The Road", the words turn out to be "On the Decline of the West".
Directed by John Krokidas and written by Austin Bunn, Kill Your Darlings is a clever, knowing film about the early exploits of Allen Ginsberg, Jack Kerouac and William S. Burroughs. It's lively in the same way that Baz Lurhmann's Great Gatsby was (though, of course, it's nowhere near as bombastic), and it whips up a cinematic frenzy of literary inspiration that goes even deeper than Walter Salles's On The Road or James Franco's Howl into the ecstatic and Dionsyian mission of the early Beats. The movie has frustrating flaws, but perhaps succeeds mainly through the dedication of the excellent cast, which includes Jennifer Jason Leigh as Ginsberg's schizophrenic mother, Dane DeHaan as Lucien Carr and Ben Foster as William S. Burroughs. Daniel Radcliffe's Allen Ginsberg also works very well, which goes to show that Daniel Radcliffe is good at playing divinely inspired fervent innocents.
Jack Kerouac's poetry has just been enshrined in the prestigious Library of America series, which would have made him proud. No sooner is the book published, though, than comes the reaction. Bruce Bawer trashes Kerouac mercilessly in The New Criterion, with raw insults that go way over the top:
Grimly reconciled though one may be to the annual flood of books by and about the Beat Generation, it’s particularly depressing to see Jack Kerouac’s poetry, of all things, enshrined in the Library of America, that magnificent series designed to preserve for posterity the treasures of our national literature. To read through these seven hundred–odd pages of Kerouac’s staggeringly slapdash effusions set in elegant Galliard, outfitted with the usual meticulous editorial apparatus, and bound—like Twain’s novels and Lincoln’s speeches—in a beautiful Library of America volume is enough to trigger a serious attack of cognitive dissonance.
Well. I must admit that I too prefer Kerouac's wonderful prose to his vexing poetry. However, I can prove that Jack Kerouac is an important poet, because he has written at least one short poem that seems to mean many things to many people. It goes like this:
This is Willets Point, a sprawling center for automobile salvage located just west of Flushing Meadows Park in New York City, a place of amazing squalid beauty. CitiField, where the Mets play baseball, is visible just beyond the scrap yards. Willets Point, one of the last remaining vestiges of the Great Gatsby's Valley of Ashes, that glorious Danteesque wasteland, is about to disappear forever. It will be replaced by a gleaming mixed-use development project encompassing "retail and entertainment amenities, a hotel and convention center, mixed-income housing, public open space, and community uses".
Willets Point was not the whole of the gigantic Valley of Ashes, which is now covered by the main area of Flushing Meadows Park (still and always my favorite park in New York City). CitiField, the US Open Tennis Center and the bygone Shea Stadium and Worlds Fair grounds were built directly on top of the original burning trashworks. And, once Willets Point is replaced by shiny new buildings, we will still keep some remainders of the desolate vision that inspired F. Scott Fitzgerald, because the asphalt and gravel factories on the east bank of Flushing Creek will continue to operate under the shadow of the Van Wyck Expressway overpass. Maybe the Valley of Ashes will never completely disappear.
The art directors for the Baz Luhrmann Great Gatsby film that premiered earlier this year must have scouted out the Queens location carefully, because they did a great job of capturing the ambience, as seen in film stills like this one. The similarity to my photo at the top of the page seems quite remarkable:
I used to buy records in a Chicago shop called the Jazz Record Mart on Grand Avenue. It was run by a guy named Bob Koester, a jazz and blues fanatic. He also had his own record company, Delmark Records, where he recorded a lot of blues artists who'd been passed over by Chess Records. The record shop was incredible. It was piled floor to ceiling with jazz and blues records. Bruce Iglauer, who went on to start Alligator Records, worked behind the counter. On any given day you might spot a well-known blues musician flipping through the stacks or talking to Koester.
The first time I went down to the Jazz Record Mart with a friend, Alex, I stocked up on Muddy Waters and Howlin’ Wolf records. Alex bought a single album: Hoodoo Man Blues by Junior Wells. It was recorded by Bob Koester on his Delmark label. We rushed back to Alex’s house and put the record on. The album cover was an atmospheric black and white shot of Junior Wells playing in some after-hours blues dive, cigarette smoke surrounding him in a thick cloud, his harmonica in one hand. The music on the album was just as atmospheric. Most of the blues albums on Chess were really just compendiums of greatest hits, with maybe some filler thrown in, but Hoodoo Man Blues was a real album, with continuity, songs leading into other songs, all sounding like they were recorded live at, say, Theresa’s, a blues club on the South Side where Junior Wells often played. The guitar player, who very subtly supported Junior’s singing and harp playing, but also showed some occasional flash, was credited as “Friendly Chap”. We asked Koester about this and he told us that “Friendly Chap” was in reality the guitarist Buddy Guy. Buddy was under contract to the Chess brothers, so to avoid legal hassles Koester listed him under a fictitious name.