Archives For denver

Neal Cassady’s “Joan Anderson Letter” Finally Found

“It was the greatest piece of writing I ever saw, better’n anybody in America, or at least enough to make Melville, Twain, Dreiser, Wolfe, I dunno who, spin in their graves.”

– Jack Kerouac

In 1950, Jack Kerouac read a 16,000 word letter written by his friend and muse, Neal Cassady, that was so revolutionary it caused him to abandon previous attempts at the project that would eventually become On the Road. His new style – later to be dubbed “bop spontaneous prose” – would radically alter literature and culture in the latter half of the twentieth century. Kerouac’s innovation – directly taken from Cassady’s letter – would make his novel, On the Road, one of the most important pieces of literature of the century, going on to influence writers, artists, film-makers, and musicians for decades.

According to Kerouac, Allen Ginsberg – to whom Kerouac loaned the letter – lent it to a friend, Gerd Stern, who dropped it in the ocean and it was lost forever. “It was my property, a letter to me, so Allen shouldn’t have been so careless with it, nor the guy [who dropped it],” a typically belligerent late-60s Kerouac told the Paris Review. Kerouac reportedly wanted the letter to published so that his friend would gain even more counterculture fame than he already had.

However, the disappearance of the letter would appear to have been Ginsberg’s attempt to publish it, rather than a careless mishandling by the sea. It was sent to the offices of Golden Goose Press, who also published Kenneth Rexroth and Robert Creeley, but this publishing company soon shut its doors and the contents of the business were boxed and forgotten. While the intention was to throw everything in the trash, many files were rescued by the operator of a music label who shared the building, and – according to his daughter, who found the letter – couldn’t fathom throwing away someone’s words.

It was a performance artist called Jean Spinosa who found the letter two years ago. It will go on sale December 17th, with most Beat fans hoping that the buyer will make it available to the public. It has become legend in the annals of Beat history and this event is for all Beat enthusiasts truly monumental.

For a great write-up, please visit The Beat Museum website.

Neal Cassady Birthday Bash

5th ANNUAL DENVER NEAL CASSADY BIRTHDAY BASH FEBRUARY 7th

The Fifth Annual Neal Cassady Birthday Bash will take place on Friday, February 7th at 8:00pm, upstairs at the Mercury Café located at 2199 California in Denver.

The Bash features music, poetry and reminiscences celebrating the birthday and life of Neal Cassady. Reared on the streets of Denver, pop culture icon Cassady was the archetype Beat writer as well as the protagonist of
Jack Kerouac’s “On the Road.” He also was the driver of Ken Kesey and the Merry Pranksters bus for the “Acid Tests.” Throughout his life Neal exuded a style and distinct Denver “cool” which cemented his stature as a true American original.

The 2014 Bash will feature Cathy, Jami and John Allen Cassady presenting a special tribute to their Mother the late Carolyn Cassady who died in 2013. In addition, poet, cannabis advocate and founder of the 60’s White Panther
Party John Sinclair will fly in from Amsterdam to perform with his Blues Scholars. And to conclude the Bash, the David Amram Quartet-augmented by Jazz power couple Richie Cole and Janine Santana-will play a full set of Jazz in their only Denver appearance. A friend and collaborator of both
Cassady and Kerouac, David Amram’s integration of jazz, ethnic and folk and film music has led him to work with Charlie Parker, Dizzy Gillespie, Langston Hughes, Arthur Miller, Bob Dylan, Miles Davis, Pete Seger and
many others. The New York Times noted that the eighty two old Amram was “multicultural before multiculturalism existed.”

There will also be free birthday cake! Tickets will be available at the door and are on sale now at BrownPaperTickets.com.

Denver’s self-described “unnatural son” Neal Cassady would have been 88 years old on February 8th.

Additional information:
Mark Bliesener
(303) 477-6987

Mayor Hancock Proclaims February 1st “Neal Cassady Day”

MAYOR PROCLAIMS FEBRUARY 1, 2013 AS “NEAL CASSADY DAY” IN DENVER
4th Annual Neal Cassady Birthday Bash At Mercury Cafe

Mayor Michael Hancock has proclaimed February 1, 2013 as “Neal Cassady Day.” In his proclamation the Mayor cited Cassady’s, “major impact on American literature as an author and as the muse of literary figures including; Jack Kerouac, Hunter S. Thompson, William  S. Burroughs, Allen Ginsberg, Ken Kesey and Thom Wolfe.”

The Fourth Annual Neal Cassady Birthday Bash will take place on February 1st, 7-9 pm at the Mercury Café located at 2199 California in Denver. The “Bash” is free and open to the public of all ages and features members of the Cassady family, readings, music, poetry, and a special performance by noted musician and Kerouac and Cassady collaborator David Amram. Denver’s “unnatural son” Neal Cassady would have been 87 years old on February 8th.

Review: One and Only: The Untold Story of On the Road

One and Only: The Untold Story of On The Road, may have played more to the heart had it been sub-titled The Untold Story of the Desolation Angels.  Published in November 2011, the volume is mainly comprised of Gerald Nicosia’s interviews with Lu Anne Henderson, former girlfriend of Jack Kerouac and Neal Cassady and first ex-wife of Cassady. Henderson, in On The Road, is referred to as ‘Marylou’.

Although not a character in the latter, her words paint, in the end, a portrait of the desolation of Jack and Neal, both driven to desperate distraction and depression by the roles and expectations foisted upon them in the former novel.  Also, through her words, we see how integral Lu Anne became in the formation of the Beat Generation; that she was not just another pert piece of jailbait Neal was known to chase.

We learn that Jack and Neal did not like each other.  Not many liked Neal, which can be blamed on fear, jealousy, or the thought of a natural born con dropped into the middle of a group of Columbia students.  Neal bared his heart and soul to Lu Anne; so did Jack. The two men came to know each other, not through interacting, but through what Lu Anne told one about the other, in the times they were alone together.  She loved them both and her love shone bright enough for them to see what was good, what brilliance burst from the other man. They became fast friends when Lu Anne introduced soul to soul; before that, they had trouble even having a simple conversation with each other.

On The Road presented Jack with a variety of psychic challenges from the constant worry and waiting for the publisher to accept it, to guilt-ridden doubt about how his friends would perceive the characters he forged from their earthly essences, to living up to being the character of ‘Sal Paradise’ – who with Neal as ‘Dean Moriarty’, gave a new sort of maverick hero to a strange new generation. This generation embraced, emulated, imitated and intoxicated itself into an active cerebral state where freedom of choice in our own fate and existence became true options by following the example of the rebel heroes. Mass emulation forced Jack and Neal into roles they had long outgrown. Not only that, Jack exaggerated and changed facts, so they had to live up to caricatures of themselves. In the meantime, their real blood spilled on the tracks.

Cassady, found himself stuck in Moriarty’s shoes ad infinutum, always ‘on,’ always the superhuman clown who was expected to perform constantly. A cross-over character used by Tom Wolfe, Cassady is seen as the man with the plan in The Electric Koolaid Acid Test, introduced in white tee and doing his famous hammer toss. Lu Anne never saw the hammer toss, although she had heard much of it, secondhand. When Neal finally talked about it, it was in shame, as he had painted himself into a predictable corner. In the beginning he felt obliged to live up to the image Kerouac had created and it had slowly turned into a sideshow, the hammer being the most obvious prop. Now he felt like a performing monkey. “I put on my act at six o’clock and eight o’clock,” he says, in Lu Anne’s best memory.

 

She is like a hip, sexy Dorothy, pulling back the curtains and revealing the Wizard(s)…Her lesson being pay no attention to the man behind the curtain. She knew the real men behind the curtain before the curtain cloaked them in myth and fable. Much of what she tells seems revelatory – but only in the context of how Kerouac tweaked real life into typed adventures. Jack and Neal – Men, not Gods – acted like most men do. If Neal had five dollars in his pocket, it was his five dollars. The Beats were not as communal a society as we would like to recall them as being. They were real people. They were selfish sometimes.One and Only: The Untold Story of On the Road

During the early 1950s Jack was in a state of high anxiety concerning his future, and the high expectations that went along with the hopeful success of his book, which he had started writing in 1948. Although, in legend, he is said to have written it all in one three-week stint,  he actually typed up the book on the infamous reel of teletype paper in 1951, culled from the notebooks that Jack always carried in his shirt pocket.  It was during the creative process of compiling these notes that Neal abandoned him and Lu Anne in San Francisco in 1949. Added to the frustration of butting heads with his publisher and trying to create a new style of prose, the rejection by Neal (who drove Jack and Lu Anne across the country, only to leave them stranded in the middle of the city with no cash while he returned to live with then-wife, Carolyn) seemed to set Jack off into a spiral of depression from which he would never fully recover. While most of the literary world and readers did not see this, Lu Anne did.

Lu Anne’s lot was not an easy one, either; bouts with irritable bowel syndrome eventually led to dependence on medications and ultimately to morphine and heroin addiction. While she outlived the pair of men, her lot was not easy. In the 1980s, she eventually returned to Denver, where she initially met Neal when she was fifteen years old, and cleaned up. Conducted in 1978, before her death from cancer in 2006, the transcription of the interview runs to some 34,000 words. We are also presented with 55 archival photographs of Lu Anne, Jack, Neal, Allen Ginsberg, Al Hinkle, and other Beat figures, some of which have never been seen before this printing by Viva Editions.

In many ways, it is more sobering than most volumes on Beat history. One telling incident is hopelessness concealed in the question Neal asked Lu Anne, when he finally went quiet and quit acting, “Where do we go from here, Babe?”

Beatdom’s On the Road

Greetings. As you will have gathered from the previous post, there’s not much action over at Beatdom. Beat news reports and our Facebook quote game have been on hiatus, and there hasn’t been much news about issue eight or the long-awaited subscriptions. Continue Reading…

Women of the Beat Generation

History has not been kind to the women of the Beat Generation. Their presence is largely unknown to most casual readers, and considered largely unimportant to those who would delve a little further. Perhaps it is because the feminists that followed in the decades to come would deem women to be a valuable part of society, whereas the Beats, male and female, had little interest in playing any active role in society. The female Beats were interested in drinking, fucking and taking drugs, too, and that’s not an aspect of a gender worth highlighting when seeking inclusion in society.

Certainly that might be one reason, but there are many others. Some are hardly worth mentioning at all: that fact that sexism exists in all facets of life, including historical and literary studies. Some are just hard and tragic facts, like the fact that whereas the males of the Beat Generation were looked down upon, arrested, and mocked for years to come, the females got fucked over far worse. The 1940s and 50s were times when women belonged to their parents first, and their husbands second. Their independence was either limited or non-existent. If they acted up, got out of line, or embarrassed their parents, they were punished brutally. For men, such humiliation resulted in being cut lose, thrown out of the family, forced to take the Beatnik kick on the road. But for the women it meant mental hospitals, electro-shock treatment and being locked up at home and force fed conservative values.

Maybe we’re being cynical here. Perhaps there really weren’t that many great female poets in the movement. Look at the more famous faces, like Carolyn Cassady. Read her Heart Beat and tell me she’s a good writer… (See review)

But maybe it’s a little more complicated. The men that were part of the Beat Generation, whether they liked it or not, were talented and brilliant poets and novelists. They were geniuses unwanted by conventional academia. The women that were part of the Beats were fewer in number and less successful in quality of literary output. Of course, there were some outstanding poems produced by women, and some fantastic ideas espoused, but perhaps their exclusion from this portion of the literary canon has less to do with the sexism of today and more of a reflection of reality.

Arguments for focus of the role of women tend to centre on appreciation of their role as muses to the men that wrote the famous books. But that seems to be flattering to the women. Kerouac began the Beatnik revolution and his muse was all man. Ginsberg was constantly encouraging and being encouraged by his male friends and lovers, and although heavily influenced by his mother, seemed to draw inspiration from the incredible masculine figures around him. Burroughs only began to write serious after killing his wife, but seemed to take help from the men in his life, particularly in developing his cut-up novels.

Like all bitter debates, the fight over the role of women in the Beat Generation seems lost in bullshit and rhetoric. History tells us they stood on the sidelines and cheered their men on, and then presumably settled down into conformity. The feminists and advocates of female writers will tell us that the women were the inspiration behind the men’s work, and wrote the best works themselves.

As usual, the truth lies somewhere in between, and perhaps nowhere at all. One could not, for example, claim that the men were all brilliant writers and equally appreciated by the popular literary community. Not at all. To seek truth, we must look at a few of the female writers, their lives and works, and analyse them as individuals, before considering judging their collective output and worth.

Carolyn Cassady

Let’s first look at one of the more famous of the female Beats, though perhaps famous wrong reasons. Or maybe not… Cassady is known for her close involvement with Kerouac, Ginsberg and Neal Cassady. This would suggest that she was not respected by later generations for her own creative output, but instead simply because of who she knew. It looks as though Cassady was the 50s equivalent of the rich & famous trophy wives of today’s sports stars and musicians. But let’s not forget that the famous Beat trio respected Cassady for more than just her staggering looks. She was a brilliant individual and played a role in the literary movement and in the society the movement would document.

Although she was raised by a strict and overbearing family that envisioned her as the typical domesticated housewife, they also valued education and Cassady was allowed to learn, unlike many less fortunate women. However, her interests lay more in the arts and creativity than any of which her parents would approve. They were an English teacher and a biochemist, while she was taking theatre lessons at nine, winning costume design awards at twelve, selling paintings at age fourteen, and head of a make-up department at sixteen.

She continued developing her impressive talents in the arts world, before moving to study at the University of Denver in 1946. In 1947, she met Kerouac, Ginsberg and Neal Cassady. Here she began her relationship with Neal Cassady, who was already married to Luanne Henderson, and Carolyn found the two of them in bed with Allen Ginsberg one night, prompting her to end the relationship and leave Denver.

Cassady headed for Los Angeles and a career in Hollywood costume design, but found herself briefly in San Francisco. Neal appeared, having divorced Luanne, and on 31st March 1948, they were married. Together they had three children, and Carolyn rode out the manic life of a wife to The Holy Goof, who spent their savings on cars and drove back and forth across America with his friends and his ex-wife.

Kerouac came to live with the couple for a few months in 1952, when writing Visions of Neal. Carolyn and Kerouac began an affair together that lasted until 1960, and the Cassadys named a child after their constant houseguest. The story of their living together is best told in Cassady’s Off the Road.

Throughout her turbulent life with the frequently absent Neal, Cassady continued her painting and work in theatre and the arts. But her commitment to her husband and children, and her appreciation of traditional values, prevented her from being totally ostracised from and punished by society.

She never wrote any great Beat Generation texts, but neither did Neal Cassady. Together they earned their place in Beat legend by their participation in the lives of the authors and poets, as members of an elite circle of literary significance, and as muses to the greats.

Joyce Johnson

Both Cassady and Johnson were famous for their presence in Beat social history, for dating Beat writers, and for writing popular memoirs of their time with Kerouac & co. But whereas Cassady was no great writer, but remembered in popular memory for her memoirs (part of which became a terrible Hollywood movie), Johnson was a talented and respected writer in her own right.

Joyce Johnson grew up in Manhattan, and like Cassady, she was subject to the will of her controlling parents. She was an only child and stifled by her mother’s misguided protection from reality. But Johnson was freer than most because she simply rebelled. She went to university at an early age and lived around the corner from Joan Vollmer and William S Burroughs. However, it was only through Elise Cowan, who Johnson met at Barnard University, that she came to meet the Beat circle in its New York days. This was at a time when Ginsberg was experimenting with heterosexuality, and his girlfriend at the time was Cowan. Ginsberg arranged a blind date between Kerouac and Johnson, and the two began dating.

According to Johnson, “The whole Beat scene had very little to do with the participation of women as artists themselves. The real communication was going on between the men, and the women were there as onlookers… You kept you mouth shut, and if you were intelligent and interested in things you might pick up what you could. It was a very masculine aesthetic.”

She dated Kerouac for around two years, but never saw it going further. During this time On the Road was published and Kerouac became depressed, mobbed by unwanted attention, and Johnson witnessed him fall apart.

She won the National Book Circle Critics award for her Minor Characters, her memoir of her time with Kerouac between 1957 and 1958. Door Wide Open is a collection of their correspondence over the same period of time.

Outside the fame of being Kerouac’s gal, Johnson has written several novels, as well as articles for Harper’s, Harper’s Bazaar, The New York Times Magazine, The New Yorker, Vanity Fair and the Washington Post.

Diane di Prima

Allen Ginsberg reckoned that women with talent got their chance in the Beat Generation movement: “Where there was a strong writer who could hold her own, like Diane Di Prima, we would certainly work with her and recognize her. She was a genius.”

Diane di Prima certainly didn’t have an easy life, but what struggles she faced emerged through her gift for writing. She wrote from an early age and was soon communicating with Ezra Pound. Her friends and tutors encouraged her poetic aspirations, and her intelligence drove her to excel in education before dropping out in her second year of university.

She was born in Brooklyn and spent the 50s and 60s in Manhattan, living in Greenwich Village and participating in the Beat and other literary movements of the time. Later she moved to San Francisco and became active in the movements there. Like Allen Ginsberg, she actively participated in the shift between Beat and hippy movements, as well as between the different worlds of Eastern and Western America. Like many Beats, she took an interest in Buddhism and other Eastern philosophies.

She met Ginsberg and Kerouac in 1957 and wrote about their meeting in her Memoirs of a Beatnik. She published her first poetry collection, This Kind of Bird Flies Backward in 1958, and has since published forty-one books. She also helped Amiri Baraka edit The Floating Bear, worked for many other publications, founded The American Theatre for Poets, and teaches at Naropa and the New College of California.

Di Prima is an example of a prolific female Beat poet, who was important to the movement and flourished in the following decades. Her genius and rebellious spirit allowed her to participate as actively as many of the men of the Generation, and became a valuable contribution not just to the Beats, but to American literature.

Hettie Jones

It was Hettie Jones and Amiri Baraka’s Totem Press that published di Prima’s first volume of poetry. It was Jones’ marriage to Baraka that she most famous for, but this is unfair, and an indictment of the sexism of modern reflection on the Beats.

While the Beats were more or less defined as a generation by their relationships to one another, and certainly their styles developed on account of these relationships, it is harsh to remember a female poet simply because of her marriage to a famous male counterpart. It is even more insulting because Jones helped Baraka run Totem press, an important Beat publisher.

She is also well known for the same reason as the likes of Cassady and Johnson, for Jones has also released a memoir of her relationship with members of the Beat Generation, including Baraka, Kerouac and Ginsberg.

But Jones also wrote some twenty-three books, been published in prestigious journals, lectured across America on writing, and started the literary magazine, Yugen.

Edie Parker

Another famous wife and author of an autobiography that staked her best claim for a place in the annals of Beat history is Edie Parker.

Parker lived with Joan Vollmer on 118th Street in New Yorker, in an apartment that has a special place in Beat legend. The apartment was where many of the Beat circle of friends hung out in their New York days, and frequent visitors included Kerouac, Ginsberg, and Vollmer’s husband, Burroughs. The group of friends that spent much of the winter of 1943 in that apartment were to be immortalised in history as characters in many of Kerouac’s novels.

When Kerouac was arrested and incarcerated for his role as accessory after the fact in the murder of David Kammerer, he agreed to marry Parker in exchange for her parents paying his bail. The marriage only lasted a year, but she was Jack Kerouac’s first wife nonetheless.

Parker wrote You’ll Be Okay, her memoir of the Beat Generation.

Joan Vollmer

Parker’s roommate, Joan Vollmer, was perhaps the most active female in the central social circle of the Beat Generation. It was her that spent the night talking with Burroughs, Kerouac, Ginsberg, Carr, Huncke, and Chase. She was set up with Burroughs by Ginsberg, who greatly admired both of them, and later became Joan Vollmer Burroughs. William S Burroughs was her second husband.

Edie Parker thought Vollmer the most intelligent woman she’d ever met, and was impressed by the rebellious spirit that torn her away from her mother, and drove her to sleep around and treat men as men treated women.

In the Beat circle, she got heavily into Benzedrine, which she was introduced to by Kerouac. In 1946, she was put in a mental hospital after suffering amphetamine-induced psychotic episodes. Later, she and her husband travelled extensively to avoid the trouble their phenomenal drug-use caused them.

Whereas Burroughs seemed to ride out the drugs, becoming a strange epitome of gay-junky chic, Vollmer’s addiction was tragic and destructive, and it saddened her friends to see her degenerate into a shell of her former self. She developed a limp, never slept, and spent all night raking lizards off trees.

Their marriage was turbulent, largely on account of their drug-use, legal troubles, unpredictable, self-destructive behaviour, and Burroughs’ interest in young boys, for whom he travelled much of the Western hemisphere. Eventually, Burroughs shot Vollmer dead in a drunken game of William Tell.

Perhaps Brenda Knight says it best in Women of the Beat Generation:

Joan Vollmer Adams Burroughs was seminal in the creation of the Beat revolution; indeed the fires that stoked the Beat engine were started with Joan as patron and muse. Her apartment in New York was a nucleus that attracted many of the characters who played a vital role in the formation of the Beat; … Brilliant and well versed in philosophy and literature, Joan was the whetstone against which the main Beat writers — Allen, Jack, and Bill — sharpened their intellect. Widely considered one of the most perceptive people in the group, her strong mind and independent nature helped bulldoze the Beats toward a new sensibility.

Denise Levertov

Denise Levertov was born in England, well educated, impressed TS Eliot with her poetry, and moved to America in 1948. She was published in England and America, and became well respected in the late 50s, having found her American voice and been influenced by the Beat and Black Mountain poets.

Joanne Kyger

Joanne Kyger poetry exhibits the influence of the Beats, the San Francisco Renaissance, and the Black Mountain poetics. She lived in San Francisco and worked with Robert Duncan, studied Zen Buddhism, and travelled to Japan with Gary Snyder, who would later become her husband. She explored India with Snyder, Allen Ginsberg and Peter Orlovsky.

She has written more than twenty books of poetry, the first of which was published after her travels in the East. Her work contains her Buddhist principals and Beat ideas, and focuses largely on minute details of everyday life.

Kyger has also lectured at the University of Naropa, helping Ginsberg and Anne Waldman found the Jack Kerouac School of Disembodied Poetics.

Anne Waldman

 

The Jack Kerouac School of Disembodied Poetics has a special place in modern literary history, it came into being because of Allen Ginsberg and two female Beat poets: Waldman and Kyger.

That said, Waldman’s place in the Beat Generation is tenuous, as she was too young to be active in the social circles that are normally taken to define the movement, and instead is connected through her work and later connections.

But she is female poet who has had a significant impact upon American poetry, bringing a Beat vibe and an alternative perspective to her work, and always remaining active and outspoken in social issues.

Elise Cowan

I include in this selection of female Beats one who you will not find in many other resources, for she was not a great writer, but she helps to explain why there were not a great many female Beats. Elise Cowan’s example explains why perhaps it is not the prejudices of today that preclude the inclusion of women in the literary anthologies, but rather explains why there just weren’t that many female Beats.

Cowan was the girlfriend of Allen Ginsberg when he was trying to be straight. She helped introduce Kerouac and Johnson, and was best friends with Johnson herself.

When she tried to exert her independence, becoming part of the New York Beat society, her parents did as too many have done throughout history to wayward daughters, and had her confined to a mental institution. Trapped in a life of conformity, Cowan committed suicide.

For more info on the Beat Babes, Beatdom suggests you read Brenda Knight’s fantastic Women of the Beat Generation: The Writers, Artists and Muses at the Heart of a Revolution.

The Outsiders Review

Wayne Ewing became a personal hero of mine when he made a fantastic trilogy of documentaries about the late, great Dr. Hunter S Thompson. When I discovered he was putting together a documentary about the eccentric publishers of Beatniks and Bukowski, I jumped at the chance to take Beatdom from the cold climes of Scotland to the surprisingly warm weather of Denver, Colorado, where The Outsiders of New Orleans: The Loujon Press was premiering…

“Where are you from?” the disembodied head called from a window above the heavily gated security door at the front of the Melbourne Hostel in Denver.

“Scotland,” I called back.

“Where are you from?”

“Scotland.”

“Where?”

“Scotland.”

“Where?”

And thus ended my chase through the streets of angry negroes after dark, in a strange city and entering a strange world of respirator-clad old people with heading problems and a penchant for over-warm rooms… But I guess that’s a sidestory. I was staying in a dank little hostel on 22nd and Welton, not exactly the best of places, but far from being the worst. Nonetheless, it was a tough place to find after a forty-hour train ride across the American West, into a dark new city full of angry blacks and ‘whores with hearts of cheap gold.’

I decided there and then I was not going back out onto the streets that night to traverse the city and find the party that Wayne had suggested I attend. I settled down in my room full of snoring dudes and went to sleep for the night.

The next morning I took advantage of the daylight and explored the city a little, before heading to the university area and the Tivoli, where the 30th Annual Starz Denver Film Festival was being held, an event at which Wayne Ewing has become a regular guest director.

I’m no stranger to university campuses either side of the Atlantic, but I liked this one. The student union was not only home to beer and debauchery, but like so many buildings in Denver, it once was a brewery. Of course, now like so many buildings in any American city there were McDonalds and various other cheap ‘n’ nasty eateries inside.

The atmosphere was the healthy film fest blend of young and old, artists and critics, students and masters… A few hardcore types wandered about with grapefruits and Bloody Marys, a tribute to the late Doc, started during the premieres of Ewing’s documentaries in years gone by… Popcorn, beer and Coca-Cola sated the masses; the promise of photo exhibitions and movie debuts got the rest worked up…

I grabbed a second row seat in the theatre, next to a decent looking chap in Hunter get-up, kitted out with the apparently traditional drink-and-fruit combo. From the way the organisers and personnel spoke with the crowd, I could tell Ewing’s documentaries were a regular and popular festival feature, with a group of familiar fans. This hardly surprised me, having spent time perusing his websites and forums, and seeing the die-hards that hang out and discuss the scenes and ideas throughout Ewing’s work.

It’s not hard to see why. We know from (and I will continue to dwell on the Hunter S Thompson references for the simple reason that I try and crowbar his name into every aspect of my life…) Breakfast With Hunter et al that Ewing can perfectly present an intimate portrait of an eccentric character and a masterful telling of a fantastic literary legacy, and The Outsiders of New Orleans does the same for the Webbs and their Loujon Press.

Gypsy Lou is no normal woman. She’s wonderful and unique, and Ewing allows us to get up close and personal with her, letting her largely narrate the story of her life, that of the Loujon Press, and of the Old New Orleans, telling all in her inimitable style.

It is surely testament to both Ewing’s endearing personality and skill as a filmmaker that we come to see Lou on such a personal level, in a time where the documentary film genre is running rampant with contrasting propaganda and bullshit sensationalist facts.

It was a pleasure, too, watching the crowd watching the picture. Gypsy Lou drew laughs at every turn, telling even the tragic tales from her past with her deliciously warped sense of humour, bring her fearlessness, optimism and warmth into the hearts of a crowd that included her niece and a Beat Book seller with an impressive Loujon Collection.

The film ended with a Q&A for Ewing, Curtis Robinson and Edwin Blair. The crowd seemed unanimously to have been engrossed in the film, and while the documentary left little to question, Blair, who had become well acquainted with Lou, was peppered with questions about the wonderful woman, and about his personal generosity in helping her through elderly years made more difficult by Hurricane Katrina.

Upon leaving the Tivoli, I arranged with Wayne to attend the Late Night Lounge and tour the legendary Woody Creek. I took a walk up Larimar, digging Neal Cassady’s old stomping ground, and visiting the Capitol and the City and County Building, where Kerouac watched bats circle and Ginsberg contemplated madness…

A few stubborn staffers and some fruitless research resulted in my non-entry to the Late Night Lounge and the decision to ditch Woody Creek for a cross-country train ride.

So Denver was soon history. I’d caught a damn fine movie, continued my American Beatnik tour by walking vaguely in the footsteps of Cassady, Kerouac and Ginsberg, and met in person a great filmmaker of our times. I met some interesting people (an Iranian-US govt official who “fucking hate(s) the USA!”) and saw some great sights (breweries as far as the eye can see, friend…) I’d also come within a few hours drive of the home of Hunter S Thompson… But a few hours drive is only that when one has a car… Oh well, Farewell Denver, Farewell Colorado… And it’s off into the sunset on another fucking Amtrak…