Ginsberg’s Howl and the view from the street

howl.jpgJames Campbell in The Guardian this weekend writes about the arrest fifty years ago of Lawrence Ferlinghetti for his publishing Allen Ginsberg’s paean to ecstatic drug use and gay sex, Howl and Other Poems. Ferlinghetti was arrested on charges of selling (or “peddling”, as these prissy turns of phrase always have it) literature likely to be harmful to minors, even though it’s hard to imagine there were gangs of schoolkids rushing into his City Lights bookstore to buy a volume of experimental poetry. The ensuing trial was the first in a series of cases in the late Fifties and early Sixties which finally established (in America, at least) that the law needed to try and keep its hands off literary works.

America since 1957 has managed to grow up on one level, with Howl now regarded as a classic work of 20th century poetry, and grow more infantile on the other, with And Tango Makes Three, a childrens’ book about gay penguins, being the most-challenged book of 2006 according to the America Library Association; you can still rely on the “g” word to get the would-be book-burners agitated. The growing gulf between perceptions of morality in the US versus those in Europe can be seen in the way that US librarians need to hold an annual Banned Books Week to draw attention to the ongoing war between prudery and licence while there’s no equivalent to this in the UK. Britons used to look enviously at America’s freedoms of speech but the atmosphere has relaxed considerably here over the past twenty years while in America it sometimes seems that the clock is running backwards. That said, Russ Kick pointed out several years ago how, even among freedom-loving librarians, some books are more defensible than others.

columbus.jpg

The City Lights bookstore is located at 261 Columbus Avenue, San Francisco, and by coincidence I’ve spent the past couple of days exploring that locale using Google’s remarkable Street View facility which is now a feature on their San Francisco map, together with those for New York, Miami, Las Vegas and Denver. Not all the streets in these cities have been photographed yet but it’s fascinating to not only see places you’ve already been to but then turn down a side street and see the places you missed. If you want to know what it’s like to drive across the Golden Gate Bridge then here’s your chance.

Continue reading “Ginsberg’s Howl and the view from the street”

The art of LSD

lsd_art.jpg

Not art inspired by LSD but drawings done whilst under its influence.

These 9 drawings were done by an artist under the influence of LSD—part of a test conducted by the US government during its dalliance with psychotomimetic drugs in the late 1950s. The artist was given a dose of LSD-25 and free access to an activity box full of crayons and pencils. His subject is the medico that jabbed him.

blotter.jpg

Then there’s the whole world of blotter art, like this fairly recent Penguin logo example. Lots more blotter designs here and here.

Previously on { feuilleton }
The trip goes on
Albert Hofmann
Hep cats

Oh Yeah by Charles Mingus

mingus_oh_yeah.jpg

Oh Yeah (1962). Sleeve design by Loring Eutemey.

“People say that I’m hollering. Man, I feel like hollering.” Charles Mingus.

Listening to this great album this week had me searching for the equally great sleeve design from the vinyl edition which vanished from the CD reissue. The cover that replaced it is a dour photo of a gloomy-looking Mingus, completely unsuited to an album full of joyous noise. Happily there’s a Japanese edition that preserves the original design. As far as I can gather Loring Eutemey was a house designer at Atlantic, responsible for many of their jazz sleeves but also providing covers for rock albums including Iron Butterfly’s dumb psychedelic opus, In-A-Gadda-Da-Vida. Lots of playful typography evident in Eutemey’s designs and bold, hand-drawn graphics à la Saul Bass, a style very popular in the Sixties not least because of Bass’s considerable influence.

eutemey.jpg

Designs by Loring Eutemey: Born Under A Bad Sign (1967), In-A-Gadda-Da-Vida (1968).

That playfulness especially suits an album where Mingus set aside his bass to play piano and sing (or, more correctly, holler) his way through seven tracks of energetic craziness. There are some amazing solos here from Rahsaan Roland Kirk, a blind musician famous for playing two saxophones at once, one in each hand. The opening Hog Callin’ Blues is one of my favourite jazz pieces, a number where bop rawness approaches the equivalent rawness of Fifties’ rock’n’roll or Chess blues. Always great to play (loud!) to people who think jazz is all polite cocktail music and studied cool. Mingus recorded lots of great albums, of course, and I imagine this is regarded as a throwaway novelty by many of his more dedicated listeners, but it remains one I keep returning to.

Charles Mingus—piano and vocals
Rahsaan Roland Kirk—flute, siren, tenor sax, manzello, and strich
Booker Ervin—tenor sax
Jimmy Knepper—trombone
Doug Watkins—bass
Dannie Richmond—drums

1 Hog Callin’ Blues (7:26)
2 Devil Woman (9:38)
3 Wham Bam Thank You Ma’am (4:41)
4 Ecclusiastics (6:55)
5 Oh Lord Don’t Let Them Drop That Atomic Bomb On Me (5:38)
6 Eat That Chicken (4:36)
7 Passions Of A Man (4:52)

Elsewhere on { feuilleton }
The album covers archive

Japrocksampler

japrocksampler2.jpg

Julian Cope’s Krautrocksampler is one of my all-time favourite music books, an expert guide to the psychedelic jungle of German rock from 1968–1975. (And it seems to be out of print. Damn.) Now he’s written a follow-up.

Julian Cope, eccentric and visionary rock musician, hip archaeologist and one time frontman of Teardrop Explodes, follows the runaway underground success of Krautrocksampler, a cult deconstruction of German rock music, with Japrocksampler. Japrocksampler is a short history of Japanese youth culture in the post-war years. It explores the clash between traditional, conservative Japanese values and the wild rock and roll renegades of the 1960s and 70s, telling the tale of six seminal groups of artists in Japanese post-war culture, from itinerant art-house poets to violent refusenik rock groups with a penchant for plane hijacking. Cope tours regularly and has just brought out a new album, Dark Orgasm. His website, Head Heritage, is widely acknowledged as containing some of the most entertaining and insightful album reviews on the web. Julian’s fans (Copeheads) as well as the generally interested reader will lap up this take on the Jap Rock phenomenon.

Via Arthur.

See also:
Les Rallizes Denudes
Keiji Haino / Fushitsusha
High Rise
PSF Records
Acid Mothers Temple Soul Collective | AMT concerts at the Internet Archive

Previously on { feuilleton }
Chrome: Perfumed Metal
Barney Bubbles: artist and designer
Metabolist: Goatmanauts, Drömm-heads and the Zuehl Axis
The art of Shinro Ohtake
Maximum heaviosity