Category Archives: San Francisco

Tour Bus (376)

Egg Shen’s (Victor Wong) tour bus spiel:

Good morning, ladies and gentlemen.

I am Mr Egg Shen, with this wonderful tour.

Sit back and enjoy yourselves, see?

Long time ago, Chinese men with

gold-rush fever flooded into California.

We call Gam Saan – Mountain of Gold, see?

Leaving behind their wives and children.

Working for years to complete

the transcontinental railroad,

saving all their pennies.

And then they sent for their families

to help build this beautiful Chinatown

you see outside your window

this fine warm day.

KW3 (376)

7. Pink juice

This phrase comes from Kerouac’s introduction to Rbt. Frank’s seminal photography book The Americans, a collection of images initially rejected by large numbers of conservative critics for its “anti-American” content, particularly representations of segregation as in the famous picture of a New Orleans trolley car. That photo seems to give direct form for the oppressive social regimentation of Jim Crow, as it shows whites in the front and Black people in the back. Particularly notable is the wounded expression of a Black man apparently looking directly at Frank’s camera. Kerouac marvels at Frank’s humane, searching eye, arguing that it visualizes the “pink juice of human kindness.” This phrase stands out among a slew of other verbal images, many of which pinball from line to line after the fashion of Kerouac’s idea of Spontaneous Prose. Using the photos from the book as “image-objects,” he allows his language and consciousness to flow over them like a river over a rock.

8. Fellaheen

This term is found in Kerouac’s short “story” October in the Railroad Earth, an exemplar of the Spontaneous Prose method in which the writer “blow[s] as deep as [they] want to blow” after the fashion of a jazz musician departing on an improvised solo. An Arabic word, fellaheen literally translates to “tiller of the earth”— i.e., a peasant. “The Negro” (in the accepted parlance of mid-century America) as well as the bum or the Beat are fellaheens— humbled by circumstance, beaten down, stripped of pretension, yet angelic and saintly. The Beat concern for those living at the margins of mainstream society indicates their antagonism toward the stultifying conformity of Cold War culture as well as a belief that the ordinary aspects of living— and ordinary people— have a beatific aspect. We can see these values expressed in Ginsberg’s Sunflower Sutra, where he takes the presence of a grime-encrusted sunflower as an occasion to marvel at the hallowedness of life. Other examples from Ginz include the Footnote to Howl with its anaphoristic use of “Holy, holy, holy” to claim that “everything’s holy” including “the cocks of the grandfathers of Kansas”— an absurd phrase that brings these stolid, conservative figures down to an earthier level. 

5. No. 5

This is the title of an abstract expressionist painting by Jackson Pollock, one of the key figures of that art movement which also includes Willem de Kooning. At one time the most expensive painting in the world, No. 5 is non-representational. Its aesthetic value comes from its chaotic, aggressive use of color and line, which are produced using the techniques of Action Painting. No. 5 is the visual correlative of Jazz, taking its power from spontaneity rather than score (in this sense “score” in painting might be the model of the work, the object rendered, as in a still-life). There are a few things to consider here. One is that the financial value of No. 5 indicates the degree to which edgy, Modernist art has been commodified. As with Ginsberg’s poetry and Kerouac’s prose, paintings such as Pollock’s have fully entered the mainstream of American culture. Provocative in their immediate time, they now represent culture AS capital. The other thing to acknowledge is the notion that as with Ginsberg and Kerouac’s methods of composition, and the increasingly baroque and experimental shape of Jazz music, the question of form is not given in advance. Form will find itself in the act of expression. (And this is one of the things that makes art an approach to the expansion of consciousness.)

3. Hot vs. cool

We might call this phrase— drawn from lecture as well as Ginsberg’s remarks on Kerouac and the meaning of Beat— the primary dialectic of America’s first national subculture. Yet it also applies to different genres of Jazz and arguably Robert Frank’s strange short film “Pull My Daisy.” To be hot is to be open, expectant, goofy, ardent, and enthusiastic. Hot can be fast, as in the notes played by Charlie Parker and Dizzy Gillespie in “Salt Peanuts”. It can be effusive to the point of innocence as in the speaker of Ginsberg’s poem “Supermarket in California”. It can be “ragged” in a sense, or unfinished, as in the editing and camerawork of Pull My Daisy. Cool on the other hand possesses a distance, a low-key quality. As a cultural style it seems more meditative and detached. Miles Davis’s trumpet work on Kind of Blue is decidedly Cool, as are Chet Baker’s vocals. As a way of being in the world, Cool indicates an unwillingness to engage completely. It’s a holding back of sentiment and judgement. Kerouac was clearly a Hot Beat, as evidenced by his penchant for “goofing” (mentioned in PMD)— i.e., playing with language and actively creating nonsense. Nonsense has the capacity to interrupt the rigidity of rationality. It’s an antidote to the regimentation of normative, conformist society. 

The Old Italians Dying (376)

I probably should’ve shared this poem by Lawrence Ferlenghetti before everyone went to North Beach.

The Old Italians Dying

For years the old Italians have been dying
all over America
For years the old Italians in faded felt hats
have been sunning themselves and dying
You have seen them on the benches
in the park in Washington Square
the old Italians in their black high button shoes
the old men in their old felt fedoras
with stained hatbands
have been dying and dying
day by day
You have seen them
every day in Washington Square San Francisco
the slow bell
tolls in the morning
in the Church of Peter & Paul
in the marzipan church on the plaza
toward ten in the morning the slow bell tolls
in the towers of Peter & Paul
and the old men who are still alive
sit sunning themselves in a row
on the wood benches in the park
and watch the processions in and out
funerals in the morning
weddings in the afternoon
slow bell in the morning Fast bell at noon
In one door out the other
the old men sit there in their hats
and watch the coming & going
You have seen them
the ones who feed the pigeons
cutting the stale bread
with their thumbs & penknives
the ones with old pocketwatches
the old ones with gnarled hands
and wild eyebrows
the ones with the baggy pants
with both belt & suspenders
the grappa drinkers with teeth like corn
the Piemontesi the Genovesi the Siciliani
smelling of garlic & pepperoni
the ones who loved Mussolini
the old fascists
the ones who loved Garibaldi
the old anarchists reading L’Umanita Nova
the ones who loved Sacco & Vanzetti
They are almost all gone now
They are sitting and waiting their turn
and sunning themselves in front of the church
over the doors of which is inscribed
a phrase which would seem to be unfinished
from Dante’s Paradiso
about the glory of the One
who moves everything…
The old men are waiting
for it to be finished
for their glorious sentence on earth
to be finished
the slow bell tolls & tolls
the pigeons strut about
not even thinking of flying
the air too heavy with heavy tolling
The black hired hearses draw up
the black limousines with black windowshades
shielding the widows
the widows with the black long veils
who will outlive them all
You have seen them
madre de terra, madre di mare
The widows climb out of the limousines
The family mourners step out in stiff suits
The widows walk so slowly
up the steps of the cathedral
fishnet veils drawn down
leaning hard on darkcloth arms
Their faces do not fall apart
They are merely drawn apart
They are still the matriarchs
outliving everyone
in Little Italys all over America
the old dead dagos
hauled out in the morning sun
that does not mourn for anyone
One by one Year by year
they are carried out
The bell
never stops tolling
The old Italians with lapstrake faces
are hauled out of the hearses
by the paid pallbearer
in mafioso mourning coats & dark glasses
The old dead men are hauled out
in their black coffins like small skiffs
They enter the true church
for the first time in many years
in these carved black boats
The priests scurry about
as if to cast off the lines
The other old men
still alive on the benches
watch it all with their hats on
You have seen them sitting there
waiting for the bocce ball to stop rolling
waiting for the bell
for the slow bell
to be finished tolling
telling the unfinished Paradiso story
as seen in an unfinished phrase
on the face of a church
in a black boat without sails
making his final haul

American Experience: The Gold Rush (376)

An excerpt from the transcript:

James Rawls, Historian: In Gold Rush California, men from the United States who had lived lives presumably as upright citizens, came to California with great avarice. They were coming here to get rich quick. And they were frustrated men, because they were not getting rich quick, and they’re looking for someone to blame. What is the cause of my own failure? It’s not me. It’s someone else’s fault.

Narrator: Ever since the first American miners had arrived in California, they had been trying to expel foreigners from the gold fields. But for every one driven out, it seemed, another had come to seek his fortune.

Now, in 1850, there were more than 80,000 Anglo American miners in California, competition was at a fever pitch and anti-foreign sentiment was on the rise.

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