The Musical Legacy of Amiri Baraka

Very interesting figure. I was very impressed with his poetry and jazz performances especially “Black Dada Nihilismus” that I first heard in England listening to Paris Radio on longwave!

1960s: Days of Rage


“January 2017 marked the third anniversary of the death of poet, activist, playwright and music historian Amiri Baraka, formerly known as LeRoi Jones. For nearly five decades, Baraka stood as a critical figure in black art and literature, helping to lay the groundwork for a radical black aesthetic whose influence has seeped into hip-hop, black theater and spoken word. The central thesis in Baraka’s work was the idea that the history of the black experience in America could be traced through the changes and new developments in black music. In an interview with late NAACP chairman Julian Bond, Baraka laid out his belief that ‘Where the music goes, that’s where the people go. The music reflects the people.’ Beginning in the 1950s with his introduction to New York’s storied modern art and literary scene, Baraka found himself neck-deep in the New York beat movement, collaborating with famed poets such as…

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New York Poets Theatre

Interesting piece of history about the amazing St. Mark’s Place. One of my favourite streets anywhere in the World! A bit further down, at this time, was Andy Warhol’s club “The Electric Circus”.

1960s: Days of Rage


“The East End Theatre was an Off-Off-Broadway theater venue located at 85 East 4th Street. Existing in the 1960s, the theater was the creation and home from January 1, 1965 to December 31, 1965 of the New York Poets Theatre, an experimental theater project founded by artists James Waring, LeRoi Jones (later Amiri Baraka), Alan Marlowe, Fred Herko and Diane di Prima. Being the last, and arguably the most serious, of the theatres of the New York Poets Theatre group, Marlowe, who spearheaded this property, converted what was once a basic dance hall into ‘A jewelbox of a theatre…like the best art theatres of Europe’ as remarked by Frank O’Hara, according to Diane di Prima’s memoir Recollections of My Life as A Woman: The New York Years. In the memoir she recalls how Marlowe spent a great deal of money decorating the space by ‘buying used…

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Wilson Sings Dylan

Here are some recordings of Bob Dylan songs that I did a while back. This Sunday 24th May 2020 I will be doing a live session of Dylan songs on my Facebook Page. It is part of the “Bob Dylan’s Week” festival in Florence, Italy that I am unable to attend because of the dreaded virus! Check it out 14:00 in U.K. and 15:00 Italy.

Kenny Wilson sings the songs of Bob Dylan.

Video of Kenny Wilson’s trip to New York, November 2019 with music by “La Reverie”

Here is a video I have just made of my trip to New York last November when I saw Bob Dylan live at the Beacon Theatre. It was a great gig and he was really on form and sang quite a few rarities.

This video is the first I have made using Photoshop Elements and I am pleased with the result. Expect more! The music is from 2017 by a Gypsy Jazz group called “La Reverie”, no longer active. I played accordion with them. The tune is a Django Reinhardt composition called “Swing Gitane”. Recorded by Rick Wilson at his Leicestershire studio.

Bob Dylan Live at the Beacon Theatre November 2019. I was there and he was great.

The junky genius of Alexander Trocchi | Tony O’Neill | The Guardian

The plotless beauty of his writing, and its fearless look at the emptiness of his own life, put ‘the Scottish Beat’ on a par with Kafka and Camus.

My scow is tied up in Flushing, NY, alongside the landing stage of the Mac Asphalt and Construction Corporation. It is now just after five in the afternoon. Today at this time it is still afternoon, and the sun, striking the cinderblocks of the main building of the works has turned them pink. The motor cranes and the decks of the other scows tied up round about are deserted.

Half an hour ago I gave myself a fix.

So begins Cain’s Book, Alexander Trocchi‘s incredible novel of existential dread. Young Adam, its predecessor, is better known, but the latter is the “Scottish Beat’s” classic.

Asked to name the best existential literature, most of us would probably say Albert Camus, Jean-Paul Sartre or Franz Kafka. But Cain’s Book actually takes the reader one step further into the philosophical world of existential angst than any of them. It positively drowns us in a word of unremitting absurdity and meaninglessness.

A roman à clef, Cain’s Book details the life of one Joe Nechhi, a Glaswegian heroin addict living and working on a scow in New York’s Hudson harbor. It is a book almost entirely devoid of plot: Nechhi occasionally details trips into the city to score heroin, recollects his childhood in Glasgow, or talks of his attempts to write a book. What is incredible about the book is its unrelenting bleakness, and the sheer poetic quality of Trocchi’s writing.

Heroin for Trocchi, as Remainder author Tom McCarthy noted in a lecture on Cain’s Book recently, “is a moveable void: taking that void around the city with him, in him, he ensures that he inhabits negative space constantly. This is his poetic project and it’s also the way his whole perception system works at its most basic level (the two are the same).”

In real life, Trocchi seemed very glad to cut himself off from his peers, saying that his only concerns as a writer were “sodomy and lesbianism”, that those were the only interesting subjects in the previous 20 years of Scottish writing and that “I have written it all.”

Sadly, Cain’s Book was his last. As the 60s gave way to the 70s, Trocchi’s addiction to heroin took its toll and his talent lay pretty much squandered. The stories of his wild and tragic life are infamous and extensively documented in many of the leading “swinging 60s” biographies (Marianne Faithfull’s account of doing drugs with Trocchi is one of the best). Despite his addictions, and his sad death at the age of 59, Trocchi left us some of the bleakest, most beautiful writing to come out of the 60s.

In Cain’s Book the writing is all – the words ebb and flow like the inky blackness of the Hudson River. Trocchi’s descriptive powers are mesmerising: one barely even notices the lack of narrative drive until after the book has been put down.

His other books includes some interesting pseudonymous pornography for the Olympia Press. (Titles like Helen and Desire, Sappho of Lesbos and White Thighs deliver their smut with a Sadean political edge.) Young Adam, of course, was turned into a successful film starring Ewan McGregor, and helped to raise the author’s public perception a little. But it’s Cain’s book that best fulfils Trocchi’s hopes for “the invisible insurrection of a thousand minds”.

Alexander Trocchi

How Coffee Bars Fueled the Vietnam Peace Movement – The New York Times

Further evidence of the importance of coffee bars in the radical culture of the 1960s. (From the New York Times.)

In the summer of 1967, Fred Gardner arrived in San Francisco with the Vietnam War weighing heavily on his mind. Gardner was 25 years old, a Harvard graduate and a freelance journalist for a number of major publications. He was attracted to Northern California’s mix of counterculture and radical politics, and hoped to become more actively involved in the movement to end the war. He was particularly interested in the revolutionary potential of American servicemen and couldn’t understand why antiwar activists and organisers weren’t paying more attention to such a powerful group of potential allies.

Ever since completing a two-year stint in the Army Reserves in 1965, Gardner had been closely watching the increasing instances of military insubordination, resistance and outright refusal that were accompanying the war’s escalation. From the case of the Fort Hood Three — G.I.s arrested in 1966 for publicly declaring their opposition to the war and refusal to deploy — to the case of Howard Levy, an Army dermatologist who refused his assignment to provide medical training for Special Forces troops headed to Vietnam, it was clear that the Army was fast becoming the central site of an unprecedented uprising. By 1967, the “G.I. movement” was capturing national headlines.

And it wasn’t just the war that was aggravating American servicemen. The military’s pervasive racial discrimination — unequal opportunities for promotion, unfair housing practices, persistent harassment and abuse — fueled increasing outrage among black G.I.s as the war progressed. Influenced by the civil rights and black liberation movements, black soldiers participated in widespread and diverse acts of resistance throughout the Vietnam era. Racial tensions were particularly high in the Army, where a vast majority of draftees were being sent, and where evasion, desertion and insubordination rates among black G.I.s exploded in the war’s later years. An antiwar movement in the military was beginning to take shape, with black soldiers often its vanguard.

Photo

Antiwar veterans protest at the Federal Building in Seattle, September 1968. CreditFred Lonidier

As Gardner sat in the radical coffeehouses of San Francisco’s North Beach neighborhood that summer, he thought about the explosive power of servicemen turning against the war and wondered how that power could be supported and nurtured by the civilian antiwar movement. Most of all, he wanted to find a way to reach out to disaffected young G.I.s, to show them that there was a whole community of antiwar activists and organizers who were on their side. He finally settled on an idea: opening a network of youth-culture-oriented coffeehouses, just like the ones in North Beach, in towns outside military bases around the country.

In January 1968 he did just that, travelling with a fellow activist, Donna Mickleson, to Columbia, S.C., home of Fort Jackson, one of the Army’s largest training bases and the crown jewel of the state’s many military installations. The UFO coffeehouse, decorated with rock ’n’ roll posters donated from the San Francisco promoter Bill Graham, quickly became a popular hangout for G.I.s — and a target of significant hostility from military officials, city authorities and outraged local citizens (“It’s a sore spot in our craw,” a Columbia official said.) The coffeehouse was located just off base, out of the military’s reach but close enough for soldiers to visit during their free time — places where active-duty servicemen, veterans and civilian activists could meet to plan demonstrations, publish underground newspapers and work to build the nascent peace movement within the military.

By the summer of 1968, major antiwar organizations took notice of the controversy the UFO was stirring up in Columbia and initiated a “Summer of Support” to organize funds for more coffeehouse projects around the country. In ensuing years, more than 25 “G.I. coffeehouses” opened up near military bases in the United States and at a number of bases overseas.

Over the course of six years, the coffeehouse network would play a central role in some of the G.I. movement’s most significant actions. At the Oleo Strut coffeehouse in Killeen, Tex., local staff and G.I.s mobilized to support the Fort Hood 43 — a large group of black soldiers who were arrested at a meeting to discuss their refusal to deploy for riot control duty at the Democratic National Convention in Chicago. A black veteran present at the meeting described its mood: “A lot of black G.I.s knew what the thing was going to be about and they weren’t going to go and fight their own people.” Army authorities were caught off guard by the publicity the coffeehouse brought to the case, and began to examine their strategies for dealing with political expression among the ranks.

When eight black G.I.s, each of them leaders of the group G.I.s United Against the War in Vietnam, were arrested in 1969 for holding an illegal demonstration at Fort Jackson, the UFO coffeehouse served as a local operations center, drumming up funds for lawyers and promoting the “Fort Jackson Eight” story to the national media. After G.I. and civilian activists created intense public pressure, officials quietly dropped all charges, signaling a shift in how the military would respond to soldiers expressing dissent.

During its brief lifetime, the G.I. coffeehouse network was subjected to attacks from all sides — investigated by the F.B.I. and congressional committees, infiltrated by law enforcement, harassed by military authorities and, in a number of startling cases, terrorized by local vigilantes. In 1970, at the Fort Dix coffeehouse project in Wrightstown, N.J., G.I.s and civilians were celebrating Valentine’s Day when a live grenade flew in through an open door; it exploded, seriously injuring two Fort Dix soldiers and a civilian. Another popular coffeehouse, the Covered Wagon in Mountain Home, Idaho (near a major Air Force base), was a frequent target of harassment by outraged locals, who finally burned it to the ground.

Though their numbers dwindled as the war drew to a close in the mid-1970s, G.I. coffeehouses left an indelible mark on the Vietnam era. While popular mythology often places the antiwar movement at odds with American troops, the history of G.I. coffeehouses, and the G.I. movement of which they were a part, paints a very different picture. Over the course of the war, thousands of military service members from every branch — active-duty G.I.s, veterans, nurses and even officers — expressed their opposition to American policy in Vietnam. They joined forces with civilian antiwar organizations that, particularly after 1968, focused significant energy and resources on developing social and political bonds with American service members. Hoping to build the resistance that was already taking shape in the Army, activists at G.I. coffeehouses worked directly with service members on hundreds of political projects and demonstrations, despite relentless government surveillance, infiltration and harassment.

The unprecedented eruption of resistance and activism by American troops is critical to understanding the history of the Vietnam War. The G.I. movement and related phenomenon created a significant crisis for the American military, which feared exactly the kind of alliance between civilians and soldiers that Fred Gardner had in mind when he opened the first G.I. coffeehouse in 1968. Despite the extraordinary political and cultural impact that dissenting soldiers made throughout the Vietnam era, their voices have been nearly erased from history, replaced by a stereotypical image of loyal, patriotic soldiers antagonized and spat upon by ungrateful antiwar activists. In the decades since the war’s end, countless Hollywood movies, books, political speeches and celebrated documentaries have repeated this image, obscuring the war’s deep unpopularity among the ranks and the countless ways that American troops expressed their opposition.

This historical erasure serves a distinct purpose, casting dissent — from wearing an antiwar T-shirt to kneeling during the national anthem — as inherently disrespectful, even abusive, to American soldiers. A fuller reckoning with the era’s history would begin by acknowledging the countless G.I.s and civilians who stood together against the war. G.I. coffeehouses are a vital window onto this history, showing us places where men and women came together to share their common revulsion at the war in Vietnam, and to begin organizing a collective effort to make it stop.