Archives For beatnik

Beats or Beatniks

In late 1969, reporter Jack McClintock interviewed beat author, Jack Kerouac, at his Florida home. In the interview they discussed a wide range of topics from Ginsberg to communism conspiracies to marijuana and ultimately ended with Kerouac making his famous declaration, “I’m a Catholic, not a beatnik!” [1]  The distinction between those completely separate ideologies are obvious, but the divisions between the labels “Beats” and “Beatnik” are not so clear to the non-fanatical.  Continue Reading…

Big Punk

“Punk: Chaos to Couture”
Costume Exhibit at the Metropolitan Museum of Art, New York, New York
(The exhibit runs until August 14, 2013.)
“…I, Jackie Duluoz,…big punk…” Doctor Sax

Continue Reading…

The Beat Rap Sheet

But yet, but yet, woe, woe unto those who think that the Beat Generation means crime, delinquency, immorality, amorality … woe unto those who attack it on the grounds that they simply don’t understand history and the yearning of human souls … woe in fact unto those who those who make evil movies about the Beat Generation where innocent housewives are raped by beatniks! … woe unto those who spit on the Beat Generation, the wind’ll blow it back. — Jack Kerouac Continue Reading…

Homophobia in the Media’s Treatment of New Ginsberg Movie

So Daniel Radcliffe is going to play Allen Ginsberg in a new movie, called Kill Your Darlings. The movie is about the murder of David Kammerer by Lucien Carr, a story which is part of Beat lore.

Yet for some reason, when you search for news about this announcement on the internet, it seems that there is a varying level of interest in the subject matter. More high-brow publications are fascinated by the story of Boy-Wizard-Turns-Beat-Poet, whereas at the other end of the scale, there is astonishment that this wholesome young man is portray – gasp! – a homosexual.

Ok, so Allen Ginsberg was gay and was not shy of making that fact known. David Kammerer was also a homosexual, and as the victim of the murder central to the movie’s plot, it is not homophobic at all to mention that the movie will likely contain some references to homosexuality. Indeed, Radcliffe himself mentioned to the French media that he would be playing “a gay character” in his next movie. Yet, the media seems disproportionately interested in this fact, as though there is something seedy or twisted about him (apparently inseparable from his most famous role) playing a gay man.

Let’s take a look at some of the media coverage.

The news appears to have been broken by Twitch, which – along with a few other publications – reported the story responsibly, mentioning that Radcliffe had claimed he was playing a “gay character” in his next movie (although mistakenly refers to Carr as Kammerer’s lover). We also have an announcement from the UK Press Association. It also does not play up the gay angle, and only mentions that his character is a homosexual in relation to what Radcliffe told the French press.

Daniel Radcliffe is apparently going to play beat poet Allen Ginsberg in his next film.

The Harry Potter star was quoted in the French press last week saying that he would very likely be playing a gay character in a film to be released in 2012.

Now movie blog Twitch.com reports he has been cast in Kill Your Darlings, a thriller based on actual events, and centred around the relationship between Allen Ginsberg, Jack Kerouac and Lucien Carr.

Carr is credited for connecting writers Ginsberg, Kerouac and William S Burroughs but is best known for being found guilty of the murder of his lover David Kammerer in 1944.

The film is to be directed by script writer John Krokidas and previously began production in 2009 with Captain America’s Chris Evans, Jesse Eisenberg and I’m Not There’s Ben Whishaw attached to play Kerouac, Ginsberg and Carr, respectively.

It is not known if any of these actors are still attached to the project.

James Franco recently played Ginsberg in biopic Howl, released last year.

There is some more responsible reporting from The Guardian, which only mentions that the movie involves a “gay stalker”, which is true and central to the plot of the film. NME mentions the “gay stalker” and also references Radcliffe’s hint at a “gay character”.

At the other end of the spectrum there is The Sun, which unsurprisingly revels in playing up the gay angle. The sensationalist title reads, “Potter’s Dan Radcliffe to Play Gay Poet”. The article then focuses almost entirely on the fact that Radcliffe is playing a homosexual character, implying that there is something wrong with this, and something wrong with homosexuals. It mentions that Ginsberg was “openly gay” as though this is something we should still be shocked by, and even sinks as low as to dredge up rumours that Radcliffe himself is a homosexual. The language used to describe is “battle” against being thought of as gay, and the fact that they think it is worth mentioning that he supports tolerance towards homosexuals is appalling.

His new role is a brave move for the star, who has battled rumours that he is homosexual.

He has also donated cash to a US charity that promotes tolerance towards gay men, lesbians and bisexuals.

In March 2010 he denied being gay following internet speculation about his sexuality.

That this is even worth mentioning shows a worrying degree of prejudice on the part of the writers and editors… although given the history of the “news”paper, it is hardly a surprise.

We also have some shoddy reporting AceShowBiz, who deem the gay element of the film so important that they place it firmly in the title of their article. The article then focuses on the fact that Ginsberg was a homosexual, implying – as did The Sun – that this makes him an unwholesome, undesirable character to play. But how much stock can you put in an article written by someone who fails to realise that Ginsberg has been dead for more than a decade (“…is a gay rights activist…”) and stated that Kammerer and Carr were “lovers”, when in fact Kammerer’s obsession with Carr was entirely one-sided.

The HuffPo also falls into the trap of referring to Kammerer and Carr as “lovers”, and also calls the movie, “gay-themed”. I can’t say that I’ve seen the screenplay, but I’d be surprised if it was gay-themed, whatever that means. More likely it’s a movie about a pivotal event in literary history, focused on a murder. I doubt that they’d refer to any other thriller as, “straight-themed” or play up the sexuality of a couple of heterosexuals.

Towleroad quite likely has the best headline relating to the Radcliffe/Ginsberg story, saying: “Daniel Radcliffe to Play Allen Ginsburg (sic) in Gay-Themed Thriller”. So not only have they fallen into the trap of assuming this movie is all about homosexuality, just because it features a gay character, but they have misspelled that gay character’s name!

A website called Fansshare evidently seems set on claiming that worst title award, with: “Daniel Radcliffe to Star in Gay Movie”. That seems a little misleading, as though Radcliffe were starring in a gay porno. The article then says that he “has to portray a gay man,” which is just awful phrasing, and then has a whole paragraph devoted to whether or not he will have to kiss another male. One can almost hear the editors tittering in the background.

The website FilmSchoolRejects sadly states that it’s wrong for actors to play gay characters at the risk of setting a bad example for kids: “…now he’s playing a homosexual drug addict. That’s a little much for someone who, just a few months ago, was an idol to little kids. How about we dial it down a notch Daniel?”

Overall, coverage of this breaking story has been embarrassing. If you search Google News for “Daniel Radcliffe Allen Ginsberg”, you will be hard-pressed to find a source that doesn’t play up the gay angle. More worryingly is the number that includes “gay” in the title or subtitle of the article, highlighting the importance it holds to the author or editor of that publication. That sexuality is such a big deal in 2011 is a damning indictment of our society, and media outlets do us no favours by displaying their shock when a young man – a hero to children! – decides to play a homosexual character, or jumps to the conclusion that a movie featuring a gay character will inevitably be “gay-themed” or just plain “gay”.

Then again, look at these articles. They basically plagiarise one another, contain numerous glaring factual inaccuracies, refer to “Ginsburg” as a “beatnik” (a derogatory term), and often refer to Radcliffe as Harry Potter. Are these professional journalists that are writing? Are they responsible, intelligent bloggers? Does it appear that anyone has cast any form of editorial eye over these pieces of shoddy reporting? No. Perhaps Google “News” should have more stringent criteria for the reporting that cluttering my feed.

Happy Birthday, Bob Kaufman!

On this day in 1925, Bob Kaufman was born.

From Beatdom Issue One:

Bob Kaufman: The Unsung Beat

Overview

It always baffles me to find Bob Kaufman omitted from a great many books and documentaries and websites and talk about the Beat Generation. For me, Kaufman is the embodiment of Beat. That is not to say that the more well known names and faces did not embody the spirit they are most widely credited with creating and fulfilling, but rather that Kaufman was as Beatnik as any of them, and people today forget that all too easily. Hell, many critics argue that it was Kaufman who actually coined the phrase “Beat”, and not Jack Kerouac.

What would Kerouac say? Kerouac and his well-known Beat Generation contemporaries respected Kaufman as much as anyone, but he has been downplayed by later critics and fans. In France, where his largest following existed, he was known as the ‘Black American Rimbaud”.

Maybe there is a simple explanation for this apparent amnesia… Kaufman only wrote his poetry down on paper when forced to, preferring instead to read it aloud in public, or to indulge in a little guerrilla poetry, posting notes on shop windows, criticising society and the police. He preferred to recite his works in coffee shops and on the streets, once reading to Ken Kesey before the two knew each other, and frightening the young Kesey with his mad appearance, but impressing him nonetheless. Consequently, little accurate biographical information is available for willing scholars, and Kaufman remains for most a mythical Beat figure.

“My ambition is to be completely forgotten,” he once told Raymond Foye, editor of his collection of poems, The Ancient Rain.

His poetry had many of the influences of the works of other Beats, primarily jazz and Buddhism. He also had drug problems and run-ins with the law. And his life consisted of stories the equal of those that made famous. For example, when John F Kennedy was assassinated, Kaufman took a vow of silence that he never broke until the end of the Vietnam war. When he spoke, he recited a poem he had written, entitled “All Those Ships that Never Sailed.” Although he did speak after this, he remained more or less in solitude until his death in 1986.

Biography

The following bio is drawn from an extremely wide selection of reading, containing a number of conflicting dates and stories. Although this is testament to the wonderfully elusive life and times of the poet, it also means: Take the info with a pinch of salt, friend.

Bob Kaufman was born in New Orleans in 1925, to a German Jewish father and a Martinican black Catholic mother. His grandmother was a practitioner of Voodoo, while he was active in both Catholic and Jewish traditions, and later he became a Buddhist. It could therefore be stated that he was influenced in one way or another by a variety of religions and had an unusual and diverse racial heritage.

To add to these experiences, Kaufman joined the Merchant Marines when only thirteen, survived four shipwrecks, and travelled the world, meeting Jack Kerouac. He read widely and studied literature at New York’s The New School, where he met William S Burroughs and Allen Ginsberg. He led unions and spoke on the docks on both coast, and was friends with Charlie Parker, John Coltrane, Miles Davis, Thelonius Monk and Charles Mingus. In 1944 Kaufman married Ida Berrocal, in 1945 their daughter, Antoinette Victoria, was born, and in 1958, he married his second wife, Eileen Singe.

So when he moved to San Francisco in 1958, with Ginsberg and Burroughs, it would be fair to say that he had gained quite a bit of life experience. He met Ferlinghetti and Corso in San Francisco and helped develop the local literary Renaissance. Here he devoted himself to spontaneous oral poetry that flowed to the beat of jazz and bebop, the music that pulsed through the dives and haunts of the Beatnik North Beach area. He often took his son, Parker (named after Charlie Parker), into coffee houses and cafes, to “hold court”.

With Allen Ginsberg, John Kelly and William Margolis, Kaufman founded Beatitude magazine in North Beach, in 1959 (or ’65 or ’75 depending on the used resource). The magazine today exists in name and memory through Beatitude Broadside and Beatitude Press. Coupled with this accomplishment, and the creativity of his poetic performances, Kaufman read at Harvard and was nominated for the English Guinness Award.

However, as with so many Beats, Kaufman found himself addicted to drugs, in financial strife, and in frequent trouble with the law. Then when arrested in New York City for walking on the grass of Washington Square park, he was arrested and forced to undergo electro-shock therapy. So, with the assassination of JFK, Kaufman withdrew into silence. After the end of the war in ‘Nam, he regained some creativity, but soon went into a sort of retirement until his death in 1986.

He published three volumes of poetry, Solitudes Crowded With LonelinessGolden Sardine, and Ancient Rain: Poems 1956-1978. He published Golden Sardines, as well as a number of chapbooks in the mid-sixties, through City Lights. He also founded Beatitude and a variety of ‘Abomunist’ texts, including theAbomunist Manifesto.

Work

Kaufman’s poetry blends high English with street language, the structure and rhythm of African-American speech, surrealism, and the beat and improvisational qualities of jazz. He would recite his poetry aloud in the Coffee Gallery or in diners or during traffic jams, rarely writing them down, except perhaps in loose note form on napkins. Many listeners state that his best performances were done alongside a jazz musician.

Naturally, for a poet so obsessed with the orality of his poems, Kaufman’s work reflects speaking patterns – and not just through reciting his poems aloud. The words that make up his poems are everyday words, and the rhythms reflect everyday speech, in keeping with the style of Walt Whitman, although imbuing it with contemporary streetwise language.

He frequently features in volumes of African-American and avant-garde poetry, but seems forgotten in the predominantly white world of Beat history. But I guess that although he embodied Beat ideals and poetics, he was extremely unique within the bohemian world and was so occupied with new poetic ideas that he is of greater interest to more specific schools of thought than the often overarching generality of Beat literature studies. Of course, more likely than that is the fact that he preferred to not write down his poetry. Conflicting sources would have us believe that Kaufman’s wives wrote his poems down on his behalf, and also that they encouraged him to write them down himself. Either way, published collections of his work only reveal a small section of the full body.

However, although it is mostly true that he was averse to writing down his poetry, a handwritten manuscript was found by incredible fortune in the burning rubble of a hotel fire, from which Kaufman had narrowly escaped. Many of these poems went into The Ancient Rain.

But back to the poems… And Kaufman is frequently compared to twentieth century surrealist painters for his appreciation and use of strong and madly juxtaposed imagery. His use of symbolism is incredibly vivid and sensual. His Whitman-esque use of lists to build images imbued with sound, colour and feeling also draws upon Pound and W.C. Williams in its minimalist economy and effective conveyance. ‘Jazz Chick’ is a great example of such devices, and is easily available to read online.

Happy Birthday Bob Kaufman!

On this day in 1925, Bob Kaufman was born.

From Beatdom Issue One:

Bob Kaufman: The Unsung Beat

Overview

It always baffles me to find Bob Kaufman omitted from a great many books and documentaries and websites and talk about the Beat Generation. For me, Kaufman is the embodiment of Beat. That is not to say that the more well known names and faces did not embody the spirit they are most widely credited with creating and fulfilling, but rather that Kaufman was as Beatnik as any of them, and people today forget that all too easily. Hell, many critics argue that it was Kaufman who actually coined the phrase “Beat”, and not Jack Kerouac.

What would Kerouac say? Kerouac and his well-known Beat Generation contemporaries respected Kaufman as much as anyone, but he has been downplayed by later critics and fans. In France, where his largest following existed, he was known as the ‘Black American Rimbaud”.

Maybe there is a simple explanation for this apparent amnesia… Kaufman only wrote his poetry down on paper when forced to, preferring instead to read it aloud in public, or to indulge in a little guerrilla poetry, posting notes on shop windows, criticising society and the police. He preferred to recite his works in coffee shops and on the streets, once reading to Ken Kesey before the two knew each other, and frightening the young Kesey with his mad appearance, but impressing him nonetheless. Consequently, little accurate biographical information is available for willing scholars, and Kaufman remains for most a mythical Beat figure.

“My ambition is to be completely forgotten,” he once told Raymond Foye, editor of his collection of poems, The Ancient Rain.

His poetry had many of the influences of the works of other Beats, primarily jazz and Buddhism. He also had drug problems and run-ins with the law. And his life consisted of stories the equal of those that made famous. For example, when John F Kennedy was assassinated, Kaufman took a vow of silence that he never broke until the end of the Vietnam war. When he spoke, he recited a poem he had written, entitled “All Those Ships that Never Sailed.” Although he did speak after this, he remained more or less in solitude until his death in 1986.

Biography

The following bio is drawn from an extremely wide selection of reading, containing a number of conflicting dates and stories. Although this is testament to the wonderfully elusive life and times of the poet, it also means: Take the info with a pinch of salt, friend.

Bob Kaufman was born in New Orleans in 1925, to a German Jewish father and a Martinican black Catholic mother. His grandmother was a practitioner of Voodoo, while he was active in both Catholic and Jewish traditions, and later he became a Buddhist. It could therefore be stated that he was influenced in one way or another by a variety of religions and had an unusual and diverse racial heritage.

To add to these experiences, Kaufman joined the Merchant Marines when only thirteen, survived four shipwrecks, and travelled the world, meeting Jack Kerouac. He read widely and studied literature at New York’s The New School, where he met William S Burroughs and Allen Ginsberg. He led unions and spoke on the docks on both coast, and was friends with Charlie Parker, John Coltrane, Miles Davis, Thelonius Monk and Charles Mingus. In 1944 Kaufman married Ida Berrocal, in 1945 their daughter, Antoinette Victoria, was born, and in 1958, he married his second wife, Eileen Singe.

So when he moved to San Francisco in 1958, with Ginsberg and Burroughs, it would be fair to say that he had gained quite a bit of life experience. He met Ferlinghetti and Corso in San Francisco and helped develop the local literary Renaissance. Here he devoted himself to spontaneous oral poetry that flowed to the beat of jazz and bebop, the music that pulsed through the dives and haunts of the Beatnik North Beach area. He often took his son, Parker (named after Charlie Parker), into coffee houses and cafes, to “hold court”.

With Allen Ginsberg, John Kelly and William Margolis, Kaufman founded Beatitude magazine in North Beach, in 1959 (or ’65 or ’75 depending on the used resource). The magazine today exists in name and memory through Beatitude Broadside and Beatitude Press. Coupled with this accomplishment, and the creativity of his poetic performances, Kaufman read at Harvard and was nominated for the English Guinness Award.

However, as with so many Beats, Kaufman found himself addicted to drugs, in financial strife, and in frequent trouble with the law. Then when arrested in New York City for walking on the grass of Washington Square park, he was arrested and forced to undergo electro-shock therapy. So, with the assassination of JFK, Kaufman withdrew into silence. After the end of the war in ‘Nam, he regained some creativity, but soon went into a sort of retirement until his death in 1986.

He published three volumes of poetry, Solitudes Crowded With LonelinessGolden Sardine, and Ancient Rain: Poems 1956-1978. He published Golden Sardines, as well as a number of chapbooks in the mid-sixties, through City Lights. He also founded Beatitude and a variety of ‘Abomunist’ texts, including theAbomunist Manifesto.

Work

Kaufman’s poetry blends high English with street language, the structure and rhythm of African-American speech, surrealism, and the beat and improvisational qualities of jazz. He would recite his poetry aloud in the Coffee Gallery or in diners or during traffic jams, rarely writing them down, except perhaps in loose note form on napkins. Many listeners state that his best performances were done alongside a jazz musician.

Naturally, for a poet so obsessed with the orality of his poems, Kaufman’s work reflects speaking patterns – and not just through reciting his poems aloud. The words that make up his poems are everyday words, and the rhythms reflect everyday speech, in keeping with the style of Walt Whitman, although imbuing it with contemporary streetwise language.

He frequently features in volumes of African-American and avant-garde poetry, but seems forgotten in the predominantly white world of Beat history. But I guess that although he embodied Beat ideals and poetics, he was extremely unique within the bohemian world and was so occupied with new poetic ideas that he is of greater interest to more specific schools of thought than the often overarching generality of Beat literature studies. Of course, more likely than that is the fact that he preferred to not write down his poetry. Conflicting sources would have us believe that Kaufman’s wives wrote his poems down on his behalf, and also that they encouraged him to write them down himself. Either way, published collections of his work only reveal a small section of the full body.

However, although it is mostly true that he was averse to writing down his poetry, a handwritten manuscript was found by incredible fortune in the burning rubble of a hotel fire, from which Kaufman had narrowly escaped. Many of these poems went into The Ancient Rain.

But back to the poems… And Kaufman is frequently compared to twentieth century surrealist painters for his appreciation and use of strong and madly juxtaposed imagery. His use of symbolism is incredibly vivid and sensual. His Whitman-esque use of lists to build images imbued with sound, colour and feeling also draws upon Pound and W.C. Williams in its minimalist economy and effective conveyance. ‘Jazz Chick’ is a great example of such devices, and is easily available to read online.