July 12, 1995 – Part Two (Sikelianos, Waldman, Carroll)

Continuing from yesterday

This second part of the reading begins with Eleni Sikelianos

[Eleni Sikelianos, photo:  Maria Garcia-Teutsch]

Max Regan: “Eleni Sikelianos is the author of To Speak While Dreaming, published in 1993 by Salva Editions . She’s also the recipient of a California Arts Council Residency grant in San Francisco where she teaches writing to children and the homeless and at the San Francosco Art Institute. She has work appearing in Japan, has been translated into French, and will be published in France this Fall. She recently recieved the Gertrude Stein Award for Innovative American WritingRead More

Jim Carroll Workshop Q & A – 9 ( Lou Reed) – (Conclusion)

 
We’ve been running these past week’s transcription of Jim Carroll’s 1986 Naropa workshop  (see most recently here and here) . We continue today and conclude with the second part of the Q & A
 
Student: Another question here
Jim Carroll:  Yeah, Oh, great
Student: Do you still worry about a regular rhyme-scheme?
Anne Waldman:  Louder!
JC: He just asked me how much I worry about a regular rhyme-scheme – I do think about rhymes because.. whereas I don’t in poems. I think I use.. In Living At The Movies, I, like,
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Jim Carroll Workshop – 8 – Q & A (Power Chords)

Allen Ginsberg and Jim Carroll from The Love Book by Rob Rosenheck]]
Continuing with Jim Carroll’s June 30 1986 Naropa Poetics and Music class, we now turn to the Q & A:
Jim Carroll: I should say, like.. I mean.. just… does anybody, like, have any questions about, anything?  (But), like, I’m thinking about the nature of.. I obviously ask about.. the nature of the difference between lyrics and poems, generally, but.. you know, that’s not important to.. (go further into) (We can) talk about that next time. What? Allen?  [Allen puts up his hand to ask a
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Jim Carroll Workshop – 7 (American Express and Shape Shifter)

Jim Carroll’s songwriting workshop continues
See herehereherehere  here, and here
JC: It [“Sherlock Holmes] – has a real long fade I don’t want to subject you to it, you know…. But this one is a regular…this is not the same song now  – obviously, but this is called… no.. wait a minute.. this is called…”Shake”? – no, this is called “American Express“.
This is a better mix, it’s an engineer mix, and I think
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Jim Carroll workshop – continues – 6

 
Sherlock Holmes –  illustration by Sidney Paget

transcription of Jim Carroll’s 1986 Naropa workshop continues

JC: Now I’m going to play this..

(JC: here, can you cue this up? first song on Side A – Student: Sure)

This is some of the stuff. I shouldn’t really play this either, but this is the stuff with a couple of new songs I wrote with me and  (Ray) Manzarek – I think this one’s called.. This is a real rough mix. I made.. I had the engineer make it while the guitar guy was doing his lead lines.. so.. I figured I

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Jim Carroll Workshop – 5 (Patti Smith)

                                 [Patti Smith and Jim Carroll c 1969 – Photograph by Wren D”Antonio]

Jim Carroll‘s  June 30, 1986 Naropa Poetics and Music Workshop contimues – see previous segments – here. here, here and here  

JC: Then, you know, the danger of course being, you didn’t want to fall into that kind of stream-of-consciousness type of scene because, I mean, that falls into a certain lassitude too easily also. So you have to use a song structure, I think. You can’t just put a
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Jim Carroll workshop continues – 4

Jim Carroll workshop continues – see here, here and here 

JC: I mean, that just has..you know. Like, I mentioned before about Henry Miller – the one book.. when they ask(ed) me what books people should read for this course, I mention(ed) the  Henry Miller book,  (The) Time of the Assasins, because, I mean, simply because it made me feel like..  That was he book that made me want to get into music, you know.  I read.. 

I mean, it’s his assessment of Rimbaud – it’s really just as much his assessment of Henry Miller, of course – but I

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Jim Carroll workshop continues – 3 – (Bob Dylan)

This weekend,  following on from last weekend, transcription of  the 1980 Jim Carroll music and poetics workshop at Naropa continues.   For the two previous segments – see  here and here  

JC: And also I mean, like, people, eventually, knew where his [Bob Dylan‘s] influences were coming from, whereas they didn’t know where Lou (Reed)’s influences were coming from. Not as many people had read Delmore Schwartz as Allen Ginsberg and Rimbaud. And so, I don’t know, there were certain songs of Dylan’s which just got…I lost faith in, for a while, you know. And then … Read More

Jim Carroll Workshop – 2

JC: Well, I’m going to play a song that was a great..  one of my favorites… ..Actually, I’m going to play this early Velvet Underground song and then I’m going to play a Phil Ochs song. For some reason, Phil Ochs and The Velvet Underground have this weird connection for me. I mean. they got me into poetry as much as Bob.. well more than Bob Dylan, and as much as Frank O’Hara
[Student/technical assistant plays The Velvet Underground’s “Sunday Morning” – JC: “Yeah go ahead..just turn it up here” – Student: The … Read More

Jim Carroll Workshop – 1

                           [Jim Carroll – album cover – Catholic Boy (1980) – cover photo by Annie Liebovitz]

Beginning today, serialization of transcription of Jim Carroll’s June 30, 1986 Naropa Poetics and Music class.  [see here for Jim Carroll reading]

Larry Fagin: Ladies and gents, welcome to the second week of Naropa [July, 1986] poetry summer camp. I’m pleased tonight to have.. and honored and thrilled to have, Jim Carroll with us, who first came to light at aged fifteen, with a book called, (an) amazing book called, 

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