Posts Tagged ‘Beat’
“The future ain’t what it used to be”*…
People in the early 20th century were hopeful about the future innovation might bring. The technology that came out of World War I, and the growing potential brought by electricity (half of all U.S. homes had electric power by 1925) had many looking ahead to the coming century. Futurists of the early 1900s predicted an incredible boom in technology that would transform human lives for the better.
In fact, many of those predictions for the future in which we live weren’t far off, from the proliferation of automobiles and airplanes to the widespread transmission of information. Of course, the specifics of how those devices would work sometimes fell broad of the mark. Yet these predictions show us just how much our technology has progressed in just a century — and just how much further more innovation could take us…
Further to yesterday’s collection of charts that might serve as a dashboard for us as we look to 2018, a consideration of how 2018 looked to scientists, inventors/technologists, and forecasters in (and around) 1918: Does Life In 2018 Live up to What We Predicted a Century Ago?”
* Yogi Berra, The Yogi Book, 1998 (though the phrase “the future isn’t what it used to be” was used in 1937 by Laura Riding and Robert Graves in English, and by Paul Valéry in French)
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As we take the long view, we might spare a thought for Kenneth Patchen; he died on this date in 1972. A poet and novelist who experimented with form (most notably, with incorporating jazz into his readings), Patchen was widely ignored by the cultural establishment in his lifetime; but (with his close friend Kenneth Rexroth) became an inspiration for the young poets– Allen Ginsberg, Lawrence Ferlinghetti, Gary Snyder, Michael McClure, and others– who became known as the Beat Generation. In 1968, near the end of his life, The Collected Poems of Kenneth Patchen was published– and Patchen was embraced by the Establishment. The New York TImes called the book “a remarkable volume,” comparing Patchen’s work to that of Blake, Whitman, Crane, Lawrence, and even to the Bible. In another review, the poet David Meltzer called Patchen “one of America’s great poet-prophets” and called his body of work “visionary art for our time and for Eternity.”
The lions of fire
Shall have their hunting in this black landTheir teeth shall tear at your soft throats
Their claws killO the lions of fire shall awake
And the valleys steam with their fury
…
Because you have turned your faces from God
Because you have spread your filth everywhere.– from “The Lions of Fire Shall Have Their Hunting” The Teeth of the Lion (1942)
Allen Ginsberg (left) and Kenneth Patchen (right) backstage at the Living Theatre where Patchen was performing with Charlie Mingus, New York City 1959. Photo copyright © Harry Redl 1959, 2000.
“Art requires philosophy, just as philosophy requires art”*…
Bento (Baruch) Spinoza was excommunicated from the Portuguese-Jewish community of Amsterdam in 1656, when he was still a young man. He would go on to become the most radical and controversial thinker of his time. In his treatise Ethics (written in the 1660s), he rejected the providential God of Judaism and Christianity as a figment of the imagination. God, he claimed, is just Nature, and everything that happens follows with absolute necessity from Nature’s laws. In his Theological-Political Treatise (published anonymously in 1670), Spinoza claims that miracles are impossible, that the major organized religions are nothing but organized superstitions, and that the Bible is just a “corrupt and mutilated” work of human literature. One overwrought critic called it “a book forged in hell […] by the devil himself.”
Heretics! The Wondrous (and Dangerous) Beginnings of Modern Philosophy is a graphic history about Spinoza and the other thinkers of the 17th century who refashioned the way we think about the cosmos, the world around us, and ourselves…
More (and larger) excerpts from Heretics! at the LARB.
* “Art requires philosophy, just as philosophy requires art. Otherwise, what would become of beauty?”- Paul Gaugin
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As we emulate the Enlightenment, we might recall that it was on this date in 1959 that the short film Pull My Daisy was completed. Co-directed by painter Alfred Leslie, and photographer Robert Frank, it was adapted by Jack Kerouac from the third act of his play, Beat Generation. It features poets Allen Ginsberg, Peter Orlovsky and Gregory Corso, artists Larry Rivers and Alice Neel, musician David Amram, art dealer Richard Bellamy, actress Delphine Seyrig, dancer Sally Gross, and Pablo Frank, Robert Frank’s son. Kerouac provided improvised narration.
It premiered the following November at the San Francisco International Film Festival; then, in 1996, it was selected for preservation in the United States National Film Registry by the Library of Congress (which choses films that are “culturally, historically, or aesthetically significant”).
“For last year’s words belong to last year’s language / And next year’s words await another voice”*…
In Words in Time and Place, David Crystal explores fifteen fascinating sets of synonyms, using the Historical Thesaurus of the Oxford English Dictionary.
We’ve turned selections from six sections of Words in Time and Place into word clouds, arranged in a shape related to the topic in question…
The first is above; see the other five– terms of endearment, dying, fools, money, and the lavatory– at Oxford Dictionaries‘ “Spiflicated, mopsy, and spondulicks: historical synonyms for everyday things.”
Special bonus: Benjamin Franklin’s personal– and voluminous– list of synonyms for “Drunk.”
* T.S. Eliot, Four Quartets
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As we choose our words with care, we might send dangerous birthday greetings to Herbert Huncke he was born on this date in 1915. A drifter and small-time thief, Huncke became an object of respect– even affection– for William S. Burroughs, in whose autobiography (Junkie) Huncke is described:
Waves of hostility and suspicion flowed out from his large brown eyes like some sort of television broadcast. The effect was almost like a physical impact. The man was small and very thin, his neck loose in the collar of his shirt. His complexion faded from brown to a mottled yellow, and pancake make-up had been heavily applied in an attempt to conceal a skin eruption. His mouth was drawn down at the corners in a grimace of petulant annoyance…
Huncke embodied a certain honest-criminal ethic so purely that Burroughs and his friends came to love him for it. Huncke was said to have introduced Jack Kerouac to the term “beat”; in any case, Kerouac wrote adoringly of him (as Elmer Hassel) in On The Road. And Allen Ginsberg shared his New York City apartment with him, even though he realized Huncke and his junkie friends were storing stolen goods there. This phase ended in a dramatic police bust on Utopia Parkway in Bayside, Queens, during which Ginsberg frantically phoned Huncke and told him to “clean out the place” before the cops got there. Ginsberg arrived at his apartment moments ahead of the cops to find that Huncke had taken him literally. He’d tidied up and swept the floor, but left the stolen goods in an orderly stack. A forgiving Ginsberg later engaged Huncke as an instructor in the literary program he ran at Naropa Institute.
“In memory everything seems to happen to music”*…
Photo: TenSafeFrog
What do you hear when you mix the easy sounds of ambient music with the insistence of a police scanner? Listen to San Francisco, or to any number of other cities…
… at YouAreListeningTo.
* Tennessee Williams
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As we tune in, we might send forcefully-metered birthday greetings to Kenneth Patchen; he was born on this date in 1911. A poet and novelist who experimented with form (most notably, with incorporating jazz into his readings), Patchen was widely ignored by the cultural establishment in his lifetime; but (with his close friend Kenneth Rexroth) became an inspiration for the young poets– Allen Ginsberg, Lawrence Ferlinghetti, Gary Snyder, Michael McClure, and others– who became known as the Beat Generation. In 1968, near the end of his life, The Collected Poems of Kenneth Patchen was published– and Patchen was embraced by the Establishment. The New York TImes called the book “a remarkable volume,” comparing Patchen’s work to that of Blake, Whitman, Crane, Lawrence, and even to the Bible. In another review, the poet David Meltzer called Patchen “one of America’s great poet-prophets” and called his body of work “visionary art for our time and for Eternity.”
The lions of fire
Shall have their hunting in this black landTheir teeth shall tear at your soft throats
Their claws killO the lions of fire shall awake
And the valleys steam with their fury
…
Because you have turned your faces from God
Because you have spread your filth everywhere.– from “The Lions of Fire Shall Have Their Hunting” The Teeth of the Lion (1942)
- Allen Ginsberg (left) and Kenneth Patchen (right) backstage at the Living Theatre where Patchen was performing with Charlie Mingus, New York City 1959. Photo copyright © Harry Redl 1959, 2000.
“If I see that again, I’ll take it away from you…”*
Artist and veteran teacher Guy Tarrant has assembled a collection of “Confiscation Cabinets” an archive of toys taken over the last 30 years from London schoolchildren in 150 different schools.
Tarrant became interested in the toys as tokens of resistance to school routines and teacherly discipline. He enlisted other teachers to donate their own confiscated items to his project. In all, he made eight such cabinets, which are currently on display at the Victoria & Albert Museum of Childhood in London.
Besides showcasing the creativity of some rebellious children—improvised pea shooters, World Cup finger puppets, and mix CDs feature in the collection—the grouping lets us see some differences between American and British toys.
One of Tarrant’s Boys’ Cabinets
One of Tarrant’s Girls’ Cabinets
A “Scooby doo” appears in the girls’ cabinet, and seems to be some kind of a friendship bracelet. In the boys’ cabinet, there’s a Sikh kirpan, or ceremonial sword, reflecting the large Sikh immigrant population in the UK. (Recently, Sikh advocacy groups have fought the confiscation of such items as a restriction of religious freedom.) And there’s a “39’er,” which appears to be a “conker” (or horse chestnut) used in the traditional British kids’ game.
Technological change and fads also affect the makeup of the confiscated items, with Gameboys, Star Wars toys, and a grungy troll doll showing the march of time.
When viewed from afar, the girls’ cabinet is significantly pinker than the boys’, showing how gendered marketing reaches right into the smallest of items made for kids.
Read the whole story (and click through to larger images of the cabinets) at Rebecca Onion‘s “A British Teacher’s Archive of Confiscated Toys.”
* countless teachers, to their students over the years
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As we put away our playthings, we might send forcefully-metered birthday greetings to Kenneth Patchen; he was born on this date in 1911. A poet and novelist who experimented with form (most notably, with incorporating jazz into his readings), Patchen was widely ignored by the cultural establishment in his lifetime; but (with his close friend Kenneth Rexroth) became an inspiration for the young poets– Allen Ginsberg, Lawrence Ferlinghetti, Gary Snyder, Michael McClure, and others– who became known as the Beat Generation. In 1968, near the end of his life, The Collected Poems of Kenneth Patchen was published– and Patchen was embraced by the Establishment. The New York TImes called the book “a remarkable volume,” comparing Patchen’s work to that of Blake, Whitman, Crane, Lawrence, and even to the Bible. In another review, the poet David Meltzer called Patchen “one of America’s great poet-prophets” and called his body of work “visionary art for our time and for Eternity.”
The lions of fire
Shall have their hunting in this black landTheir teeth shall tear at your soft throats
Their claws killO the lions of fire shall awake
And the valleys steam with their fury
…
Because you have turned your faces from God
Because you have spread your filth everywhere.– from “The Lions of Fire Shall Have Their Hunting” The Teeth of the Lion (1942)
- Allen Ginsberg (left) and Kenneth Patchen (right) backstage at the Living Theatre where Patchen was performing with Charlie Mingus, New York City 1959. Photo copyright © Harry Redl 1959, 2000.
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