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KEROUAC, JACK, 1922-1969. John Sampas Collection of Jack Kerouac Material, Circa 1900-2005
KEROUAC, JACK, 1922-1969. John Sampas collection of Jack Kerouac material, circa 1900-2005 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Descriptive Summary Creator: Kerouac, Jack, 1922-1969. Title: John Sampas collection of Jack Kerouac material, circa 1900-2005 Call Number: Manuscript Collection No. 1343 Extent: 2 linear feet (4 boxes) and 1 oversized papers box (OP) Abstract: Material collected by John Sampas relating to Jack Kerouac and including correspondence, photographs, and manuscripts. Language: Materials entirely in English. Administrative Information Restrictions on Access Special restrictions apply: Use copies have not been made for audiovisual material in this collection. Researchers must contact the Rose Library at least two weeks in advance for access to these items. Collection restrictions, copyright limitations, or technical complications may hinder the Rose Library's ability to provide access to audiovisual material. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Related Materials in Other Repositories Jack Kerouac papers, New York Public Library Related Materials in This Repository Jack Kerouac collection and Jack and Stella Sampas Kerouac papers Source Purchase, 2015 Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository. John Sampas collection of Jack Kerouac material, circa 1900-2005 Manuscript Collection No. 1343 Citation [after identification of item(s)], John Sampas collection of Jack Kerouac material, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University. -
What Are You If Not Beat? – an Individual, Nothing
Ghent University Faculty of Arts and Philosophy “What are you if not beat? – An individual, nothing. They say to be beat is to be nothing.”1 Individual and Collective Identity in the Poetry of Allen Ginsberg Supervisor: Paper submitted in partial Dr. Sarah Posman fulfillment of the requirements for the degree of “Master in de Taal- en Letterkunde: Engels” by Sarah Devos May 2014 1 From “Variations on a Generation” by Gregory Corso 0 Acknowledgments I would like to thank Dr. Posman for keeping me motivated and for providing sources, instructive feedback and commentaries. In addition, I would like to thank my readers Lore, Mathieu and my dad for their helpful additions and my library companions and friends for their driving force. Lastly, I thank my two loving brothers and especially my dad for supporting me financially and emotionally these last four years. 1 Contents Introduction ................................................................................................................................ 3 Chapter 1. Ginsberg, Beat Generation and Community. ............................................................ 7 Internal Friction and Self-Promotion ...................................................................................... 7 Beat ......................................................................................................................................... 8 ‘Generation’ & Collective Identity ......................................................................................... 9 Ambivalence in Group Formation -
National Gallery of Art Spring10 Film Washington, DC Landover, MD 20785
4th Street and Mailing address: Pennsylvania Avenue NW 2000B South Club Drive NATIONAL GALLERY OF ART SPRING10 FILM Washington, DC Landover, MD 20785 A JOURNEY STILL VOICES, THROUGH INNER LIVES: MOVING SPANISH CATALUNYA: THE JOURNALS COMPOSITIONS: EXPERIMENTAL POETRY OF OF ALAIN ASPECTS OF FILM PLACE CAVALIER CHOPIN BEAT MEMORIES de Barcelona), cover calendar page calendar International), page four page three page two The Savage Eye Arrebato The Savage Eye L’arbre deL’arbre les cireres Battle of Wills Tríptico elemental de España SPRING10 details from (Centre de Cultura Contemporania de Barcelona) (Photofest) (Photofest) (InformAction and Philippe Lavalette) Philippe (InformAction and The Savage Eye (Photofest) (Centre de Cultura Contemporania , Thérèse (Photofest), Irène (Pyramid Monuments: Matta-Clark, Graham, Smithson Redmond Entwistle in person Saturday June 19 at 2:00 Film Events A clever and amusing critique of three minimalists, Monuments portrays a problem that emerges in the work of Robert Smithson, Gordon Matta- Clark, and Dan Graham, as each artist retraces his relationship to New Figaros Hochzeit (The Marriage of Figaro) Jersey. “An alle gory for the effects that globalization has had on society Introduction by Harry Silverstein and landscape” — Rotterdam Film Festival. (Redmond Entwistle, 2009, Saturday April 17 at 1:00 16 mm, 30 minutes) The postwar German DEFA studio (Deutsche Film-Aktiengesellschaft) Manhattan in 16 mm produced a series of popular black-and-white opera films in the late 1940s Saturday June 19 at 3:30 at their Potsdam-Babelsberg facility. Mozart’s Figaros Hochzeit, the first of these, featured wonderfully showy sets and costumes. (Georg Wildhagen, A sequence of documentary and experimental shorts, filmed over the past 1949, 35 mm, German with subtitles, 109 minutes) Presented in association twenty years in the now rare 16 mm gauge, observes, lionizes, and languishes with Washington National Opera. -
View Or Download the 100 Page Accompanying Booklet
Photo: David Amram - "Walk for Native Americans" with Muhammad Ali, Buffy Sainte-Marie, Floyd `Red Crow' Westerman, Stevie Wonder, Marlon Brando, Max Gail, Dick Gregory, Richie Havens, David Amram CLASSIC AMERICAN FILM SCORES 1956-2016 PROLOGUE SOME ThOUGHTS FOR ThE LISTENER When I received an email from Jason Lee Lazell, suggesting that I try to assemble highlights of my favorite scores for films, as well as some of the music which I composed for two of the many dramas which appeared on Broadway, I was astounded. When the old Industrial Corporate Music Complex controlled what the world would hear, music for films had to sound like Movie Music (i.e. all pretty much the same) in order to achieve the bloodcurdling definition of having a “market sound”. As far as my incidental music for the theater was concerned, that wasn’t even considered a category, so usually the best a composer could do after composing a score for the theater would be to try and save a copy of the tape or get a friend to make a live recording to share with friends and family after the production closed down. In my case, I often used a fraction of these theater scores as the basis for longer classical works. When the films I was lucky enough to score were submitted to record companies, the few that begrudgingly agreed to record them always indicated that there was no market for what I did, because it didn’t sound like “movie music”, and that what I did was by definition headed to the landfill. -
Marching to a Different Beat Beat Poet Gregory Corso Subject of a UC Festival
Marching to a Different Beat Beat poet Gregory Corso subject of a UC festival MATT MORRIS // JAN 14, 2009 Poet Gregory Corso has been called “The Last Beat.” Indeed, that is the title of a new documentary by Gustave Reininger to be shown as part of the upcoming "I Gave Away the Sky" Corso festival at University of Cincinnati. The festival will consider Corso’s work and legacy through an art exhibition, lecture, poetry reading, an evening of music and the film. The term “last,” in regards to Corso, refers to the fact he outlived other Beat writers — notably Allen Ginsberg and Jack Kerouac. Corso died in 2001 at the age 70 after writing such touchstones as The Happy Birthday of Death, Gasoline and Bomb. The festival begins with an art exhibition in UC’s Reed Gallery that opens on Jan. 20. Curated by Evan Commander, The Stars in the Sky Are Still Boss gathers the work of local and more widely known artists around Corso’s own drawings, paintings and selected manuscripts. The other included artists reflect some of Corso in their work and elaborate on Corso’s own visual work that, while sometimes naive, is built with the same passion as his poems. The frenetic doodles in Corso’s art will no doubt seem even more animated beside the work of Chris Johanson and Raymond Pettibon, who each poetically editorialize their cartoonish drawings with clouds of handwritten text. Kim Krause’s meditations on Greek mythology through kaleidoscopic abstract oil paintings will do well in calling out Corso’s own quest for inspiration. -
ENG 3601-001: Special Topics: the Gothic Am Nual John Martone Eastern Illinois University
Eastern Illinois University The Keep Spring 2008 2008 Spring 1-15-2008 ENG 3601-001: Special topics: The gothic am nual John Martone Eastern Illinois University Follow this and additional works at: http://thekeep.eiu.edu/english_syllabi_spring2008 Part of the English Language and Literature Commons Recommended Citation Martone, John, "ENG 3601-001: Special topics: The othicg manual" (2008). Spring 2008. 102. http://thekeep.eiu.edu/english_syllabi_spring2008/102 This Article is brought to you for free and open access by the 2008 at The Keep. It has been accepted for inclusion in Spring 2008 by an authorized administrator of The Keep. For more information, please contact [email protected]. 3eoot -66 I Professor John Martone [email protected] English 3601 001 Office: CH 3751 MWF 11:00, CH 3150 Hours: W 12-2 AMERICAN TRIUMVIRS: JOHN CAGE, CHARLES OLSON, AND JACK KEROUAC The composer John Cage, poet Charles Olson, and novelist Jack Kerouac were central figures in the transformation of American culture after the Second World War. They could be considered America's first postmodemists, calling into question academic segregation of artistic disciplines and the view that art and life were separate realities. Although in their times, each of these figures was regarded- and typically disparaged --as a revolutionary outsider, their influence has been so pervasive that today that we take for granted many of their radical innovations in music, writing, and the visual arts. TEXTS John Cage, Silence. Robert Creeley, Ed. Selected Writings ofCharles Olson. -
About Anthology FILM Archives
ANTHOLOGY FILM ARCHIVES July - September 2012 Anthology Film Archives Film Program, Volume 42 No. 3, July–September 2012 Anthology Film Archives Film Program is published quarterly by Anthology Film Archives, 32 Second Avenue, NY, NY 10003 Subscription is free with Membership to Anthology Film Archives, or $15/year for non-members. Cover artwork by Matt Mullican, 2012, all rights reserved. Staff Board of Directors Jonas Mekas, Artistic Director Jonas Mekas, President John Mhiripiri, Director Oona Mekas, Treasurer Stephanie Gray, Director of Development & Publicity John Mhiripiri, Secretary Wendy Dorsett, Director of Membership & Publications Barney Oldfield, Chair Jed Rapfogel, Film Programmer, Theater Manager Matthew Press Ava Tews, Administrative Assistant Arturas Zuokas René Smith, Special Events Coordinator Honorary Board Collections Staff agnès b., Brigitte Cornand, Robert Gardner, Robert A. Haller, Library Annette Michelson. In memoriam: Louise Bourgeois Andrew Lampert, Curator of Collections (1911-2010), Nam June Paik (1932-2006). , Archivist John Klacsmann Board of Advisors Erik Piil, Digital Archivist Richard Barone, Deborah Bell, Rachel Chodorov, Ben Theater Staff Foster, Roselee Goldberg, Timothy Greenfield-Sanders, Tim Keane, Print Traffic Coordinator & Head Manager Ali Hossaini, Akiko Iimura, Susan McGuirk, Sebastian Bradley Eros, Theater Manager, Researcher Mekas, Sara L. Meyerson, Benn Northover, Izhar Rachelle Rahme, Theater Manager Patkin, Ted Perry, Ikkan Sanada, Lola Schnabel, Stella Schnabel, Ingrid Scheib-Rothbart, P. Adams Sitney, Projectionists Hedda Szmulewicz, Marvin Soloway. Ted Fendt, Carolyn Funk, Sarah Halpern, Genevieve Havemeyer-King, Daren Ho, Jose Ramos, Moira Tierney, Composer in Residence Eva von Schweinitz, Tim White, Jacob Wiener. John Zorn Box Office Cait Carvalho, Phillip Gerson, Rachael Guma, Nellie Killian, Lisa Kletjian, Marcine Miller, Feliz Solomon. -
Book of Sketches, 1952-57
Table of Contents PENGUIN POETS Title Page Copyright Page Dedication Introduction FIRST BOOK PANORAMIC CATALOG SKETCH OF BIG EASONBURG SECOND BOOK PENGUIN POETS PENGUIN POETS BOOK OF SKETCHES JACK KEROUAC was born in Lowell, Massachusetts, in 1922, the youngest of three children in a Franco- American family. He attended local Catholic and public schools and won a scholarship to Columbia University in New York City, where he met Allen Ginsberg and William S. Burroughs. His first novel, The Town and the City, appeared in 1950, but it was On the Road, first published in 1957, that made Kerouac one of the best-known writers of his time. Publication of his many other books followed, among them The Subterraneans, Big Sur, and The Dharma Bums. Kerouac’s books of poetry include Mexico City Blues, Scattered Poems, Pomes All Sizes, Heaven and Other Poems, Book of Blues, and Book of Haikus. Kerouac died in St. Petersburg, Florida, in 1969, at the age of forty-seven. GEORGE CONDO is a painter and sculptor who has exhibited extensively in both the United States and Europe, with works in the collections of the Whitney Museum of American Art, The Museum of Modern Art, New York, and many other institutions. In 1999, Condo received an Academy Award from the American Academy of Arts and Letters and in 2005 he received the Francis J. Greenberger Award. He is represented by Luhring Augustine in New York, Andrea Caratsch Galley in Zurich, and Sprüth Magers Lee in London. ALSO BY JACK KEROUAC THE DULUOZ LEGEND Visions of Gerard Doctor Sax Maggie Cassidy Vanity -
Literature of the Beat Generation ENGLISH 5355.061 / Spring 2017 (Online)
Literature of the Beat Generation ENGLISH 5355.061 / Spring 2017 (online) FACULTY: Dr. Anett Jessop OFFICE & PHONE: BUS 256A; 903-566-7460 OFFICE HOURS: By appointment EMAILS: [email protected] “Artists . are the real architects of change, and not political legislators who implement change after the fact.” – William Burroughs “The point of Beat is that you get beat down to a certain nakedness where you actually are able to see the world in a visionary way.” – Allen Ginsberg “We are now contending technicians in what may well be a little American Renaissance of our own and perhaps a pioneer beginning for the Golden Age of American Writings.” – Jack Kerouac COURSE DESCRIPTION & GOALS Welcome! During the 1950s a group of experimental American writers living in New York City (and later San Francisco) began to publish literary works depicting an underground of alienated restless characters who celebrated freedom of expression, wanderlust, and the search for euphoria of body and mind in stream-of- consciousness narration. This Beat literary ‘school’ would expand into a cultural movement that was predecessor to the counter-culture hippies of the Sixties and punks of the Seventies, not to mention the developing civil and equal rights movements, among others. Largely perceived as a ‘fraternity’ of male voices, the Beat movement did include many women writers and participants whose involvement was not fully documented until the women’s movement introduced revisionist histories. In this course, we will read broadly as well as deeply in order to acquaint ourselves with the many Beat writers, their styles and influences. In the process we will analyze multiple literary genres: fiction, poetry, nonfiction, memoir, as well as academic criticism and film. -
Robert Frank „Pull My Daisy” (1959) 16Mm, Schwarz-Weiß-Film, 28 Minuten
Robert Frank „Pull My Daisy” (1959) 16mm, Schwarz-Weiß-Film, 28 Minuten Pull My Daisy ist ein Kurzfilm über die Beat Generation von Robert Frank und Alfred Leslie und basiert auf dem dritten Akt eines nie veröffentlichten Theaterstücks mit dem Titel Beat Generation von Jack Kerouac. Der Filmtitel spielt an auf ein gleichnamiges Gedicht von Kerouac, Allen Ginsberg und Neal Cassady aus den späten 1940er Jahren an, dessen Text auch teilweise für die Jazz-Intro am Anfang des Films herangezogen wurde. Die Geschichte basiert auf einer wahren Begebenheit im Leben des Neal Cassady und seiner Frau Carolyn. Die Frau eines Bremswärters – eine Malerin – hat einen ehrenwerten Bischof zum Abendessen eingeladen. Doch die Künstlerfreunde des Bremswärters kommen unangemeldet vorbei und sorgen für Aufregung. Die Schauspieler sind Allen Ginsberg, Gregory Corso, Larry Rivers, Peter Orlovsky, David Amram, Richard Bellamy, Alice Neel, Sally Gross und Pablo, Franks Sohn, der damals noch ein Baby war. Jack Kerouac steuerte einen improvisierten Erzählstrang bei. Jahrelang wurde Pull My Daisy als Improvisationsfilm gefeiert, bis Leslie 1968 verriet, dass der Film zeitaufwendig geplant, geprobt und gedreht wurde. Robert Frank “Me and My Brother” (1965—68) 35mm, Farb- und Schwarz-Weiß-Film, 85 Minuten Me and My Brother ist Robert Franks erster Spielfilm. Er wurde erstmals 1968 auf den Filmfestspielen in Venedig gezeigt und vereinte alles, was Franks Kunst bis dahin ausgemacht hatte: Der Blick von „außen“ auf Amerika, die poetische Freizügigkeit der Beats, der Fokus auf das Nebensächliche. Der Film feiert die Wiederkehr des poetischen Essays als Assemblage sowie die Bestätigung des Untergrunds als wilde, filmische Analyse in Form einer Collage und verbindet kunstvoll Gegensätzliches, spielt den Fake gegen das Authentische aus, Pornographie gegen Poesie, Fiktion gegen Realität, Beat-Zynismus gegen Hippie-Romantik, und Einfarbigkeit gegen Farbe. -
Filme & Factos
Viagens pela Palavra. 91 The Beat Generation ou Pull My Daisy * Gerald Bär Universidade Aberta “Kathy, I’m lost,” I said, Though I knew she was sleeping. “I’m empty and aching and I don’t know why.” Counting the cars On the New Jersey Turnpike. They’ve all come To look for America, All come to look for America. (Paul Simon, America, 1968) The Beat Generation ou Pull My Daisy Filme & Factos Quando em 1960, no congresso nacional dos Republicanos, o director da C.I.A., Edgar J. Hoover, constatou que “Communists, Beatnicks, Eggheads” formaram uma tripla ameaça aos Estados Unidos, o fenómeno dos “Beat” já se tinha tornado bastante popular, ou seja, notório, divulgado na literatura, em discos, em roupa e em filmes. No ano de 1959 houve dois filmes cujos produtores disputaram o título The Beat Generation e um terceiro com o título provisório The Beatnicks que nunca foi concluído. Quem ganhou a batalha pelo título *Este ensaio baseia-se numa conferência apresentada em 1997 no Centro de Estudos Americanos da Universidade Aberta, do qual sou membro, a convite da Professora Doutora Laura Pires. Recordo vivamente a ocasião, uma vez que foi a minha primeira apresentação em Português. Sempre gostei e lembrarei a boa colaboração com a homenagiada como assistente em vários projectos, e a sua preciosa ajuda como orientadora da minha tese de doutoramento. Quanto à publicação deste ensaio agradeço aos Professores Doutores Laura Pires e Mário Avelar pelo apoio e ao Senhor Trindade e à Cinemateca Portuguesa por grande parte da bibliografia. © Universidade Aberta Homenagem à Professora Maria Laura Bettencourt Pires 92 foi um melodrama de MGM, realizado por Albert Zugsmith (The Beat Generation, 1959 / 95 min.). -
Collected Poems
ALLEN GINSBERG COLLECTED POEMS 1947–1997 Collected Poems 1947–1997 is a compilation of the texts of Collected Poems 1947–1980, White Shroud: Poems 1980–1985, Cosmopolitan Greetings: Poems 1986–1992, and Death & Fame: Poems 1993–1997. The Estate would like to express gratitude to Eliot Katz for his dedication and assistance in preparation of this manuscript, Danny Mulligan at HarperCollins for attentive coordinating, and Jerey Posternak at the Wylie Agency for his tireless intermediation. Contents COLLECTED POEMS 1947–1980 Author’s Preface, Reader’s Manual I. EMPTY MIRROR: GATES OF WRATH (1947–1952) In Society The Bricklayer’s Lunch Hour Two Sonnets On Reading William Blake’s “The Sick Rose” The Eye Altering Alters All A Very Dove Vision 1948 Do We Understand Each Other? The Voice of Rock Refrain A Western Ballad The Trembling of the Veil A Meaningless Institution A Mad Gleam Complaint of the Skeleton to Time Psalm I An Eastern Ballad Sweet Levinsky Psalm II Fie My Fum Pull My Daisy The Shrouded Stranger Stanzas: Written at Night in Radio City After All, What Else Is There to Say? Sometime Jailhouse Blues Please Open the Window and Let Me In “Tonite all is well” Fyodor Epigram on a Painting of Golgotha “I attempted to concentrate” Metaphysics In Death, Cannot Reach What Is Most Near This Is About Death Hymn Sunset Ode to the Setting Sun Paterson Bop Lyrics A Dream Long Live the Spiderweb The Shrouded Stranger An Imaginary Rose in a Book Crash The Terms in Which I Think of Reality The Night-Apple Cézanne’s Ports The Blue Angel Two Boys Went Into a Dream Diner A Desolation In Memoriam: William Cannastra, 1922–1950 Ode: My 24th Year How Come He Got Canned at the Ribbon Factory The Archetype Poem A Typical Aair A Poem on America After Dead Souls Marijuana Notation Gregory Corso’s Story I Have Increased Power Walking home at night “I learned a world from each” “I made love to myself” A Ghost May Come “I feel as if I am at a dead end” An Atypical Aair 345 W.