Allen Ginsberg Class – NAROPA Institute July 31, 1974
AG: (This) I got from Karma Thinley, who’s a lama, friend of (Chogyam) Trungpa in England – OM, you might want to write it down so it won’t be mysterious: OM (O-m.) SARASWATI (S-a-r-a-s-w-a-t-i) , Sar-a-swa-ti – how many have heard of Saraswati? – okay, Om-Saraswati, HRIH (H-r-i-h), SOWAH (S-o-w-a-h – So-hah), so it’s easy, Om-Sarawati-Hrih-Sowah
[Raja Ravi Varma – Saraswati (1848-1906)]
“Om”, you know – body sound, salutation. Saraswati – is generally pictured with a veena in one hand and a book in the other. Riding, what?. Riding … Read More
[Allen Ginsberg with Anne Waldman at NAROPA Institute 1975 (in the background, dancers Douglas Dunn and Barbara Dilley) – photo by Rachel Homer copyright]
Announcing the upcoming (on-line) publication of the first chapter of a long-awaited and crucial project – Allen Ginsberg’s Selected NAROPA Lectures 1975-1997.
The very first of these lectures – on “Spiritual Poetics” – delivered on this very day, thirty-seven years ago – will be serialized, in this space, (the Allen Ginsberg blog), throughout the up-coming week(s).
We at the blog, wish to salute, at the outset, the tireless and heroic work, accomplished over many years now … Read More
Following on from yesterday’s “Capitol Air”, here’s another rock Allen, or more precisely, pop Allen – circa 1983, his collaboration with the Lawrence, Kansas, band, Start (from the album Look Around, on Fresh Sounds Records – another cut from the album can be sampled here).
The poem Allen chooses to sing/recite is his “Little Fish Devours The Big Fish”, another political screed (“Hypocrisy is the key/ to self-fulfilling prophecy”), subsequently published in White Shroud: Poems 1980-1985, and drawing, very much from his visit to Nicaragua, and appearance at the Poetry Festival in Managua, the previous year. His … Read More
Ron Mann’s groundbreaking 1982 documentary feature, Poetry In Motion, remains a treasure-trove of performance and poetry, and poetry-in-performance, and features a stellar group of (mostly North American) poets (twenty-five from a group of sixty-five originally filmed), among them, Allen, Anne Waldman, John Giorno, William Burroughs, Amiri Baraka, Ed Sanders, Robert Creeley, Michael McClure, Gary Snyder, John Cage, and Jim Carroll. Introduced and punctuated by the acerbic thoughts of Charles Bukowski, the film also affords us rare glimpses of such legendary figures as Ted Berrigan and Helen Adam and – it was partially Canadian-financed – Christopher Dewdney (reading a, … Read More
[“Philip Whalen, Sensei, in his peaceful chair, my apartment living room, East 12th Street New York March 1984. he was visiting East coast to give readings N.Y. and Buffalo, calm poet. ‘What are you reading?’ ‘I’m not reading I’m just turning the pages.’ ” – Allen Ginsberg. photo c. Allen Ginsberg Estate]
It opens with footage of Huncke in the back-seat of a taxi-cab – one rainy evening in Manhattan – fish-eye glimpses of the Chelsea (interiors and exteriors) – Huncke’s genial narrative. Gregory Corso first appears about two and a half minutes in:
[Bob Dylan and Allen Ginsberg, 1976, on the Rolling Thunder tour]
[2012 update – Renaldo and Clara, Bob Dylan’s “classic subterranean film”, despite these notes, remains strictly under copyright, unreleased, and (the many “bootlegs” circulating, notwithstanding), strictly unavailable. The video-clip that first appeared on this post was from an unauthorized source and has been taken down. Likewise, our somewhat forward presentation (via the Dangerous Minds blog) of the whole movie (in this post of February 2012). A brief clip (Allen and Dylan famously at Jack Kerouac’s grave in Lowell) can be glimpsed here (it’s one of the “extras” on Jerry … Read More
Born in Korea and educated in Japan, he is generally considered the first video artist and the pioneer of all subsequent media art. Exhibited all over the world, a recent retrospective show took place at the Tate, Liverpool, in England. The curator, Sook-Kyung Lee speaks on his significance here, here, and here.