TIMOTHY LEARY’S LAST TRIP
52.(1966, Jiri Menzel) (Václav Neckár, Josef Somr)
53. Rocco and His Brothers – (1960, Luchino Visconti) (Alain Delon, Renato Salvatori)
54. Weekend – (1967, Jean-Loc Godard) (Mireille Darc, Jean Yanne)
55. Breakfast at Tiffany’s – (1961, Blake Edwards) (Audrey Hepburn, George Peppard, Patricia Neal)
56. The Longest Day – (1962, Ken Annakin) (Richard Burton, Robert Ryan, Henry Fonda)
57. Point Blank – (1967, John Boorman) (Lee Marvin, Angie Dickinson, Keenan Wynn)
58. Oliver! – (1968, Carol Reed) (Mark Lester, Ron Moody, Jack Wild, Oliver Reed)
59. Judgment at Nuremberg – (1961, Stanley Kramer) (Spencer Tracy, Burt Lancaster)
60. The Dirty Dozen – (1967, Robert Aldrich) (Lee Marvin, Ernest Borgnine, Charles Bronson)
61. Dog Star Man – (1964, Stan Brakhage) (Jane Brakhage, Stan Brakhage)
62. Bullitt – (1968, Peter Yates) (Steve McQueen, Jacqueline Bisset, Robert Vaughn)
63. Pierrot Le Fou – (1965, Jean-Loc Godard) (Jean-Paul Belmondo, Anna Karina)
64. Mary Poppins – (1964, Robert Stevenson) (Julie Andrews, Dick Van Dyke)
65. A Raisin in the Sun – (1961, Daniel Petrie) (Sidney Poitier, Claudia McNeil, Louis Gossett Jr.)
66. Romeo and Juliet – (1968, Franco Zeffirelli) (Leonard Whiting, Olivia Hussey)
67. The Shop On Main Street – (1965, Jan Kadar, Elmar Klos) (Ida Kaminska, Jozef Króner)
68. Funny Girl – (1968, William Wyler) (Barbra Streisand, Omar Sharif)
69. Hud – (1963, Martin Ritt) (Paul Newman, Melvyn Douglas, Patricia Neal)
70. In Cold Blood – (1967, Richard Brooks) (Robert Blake, Scott Wilson, John Forsythe)
71. Lolita – (1962, Stanley Kubrick) (Sue Lyon, Shelley Winters, Gary Cockrell)
72. The Pawnbroker – (1964, Sidney Lumet) (Rod Steiger, Geraldine Fitzgerald)
73. The Innocents – (1961, Jack Clayton) (Deborah Kerr, Peter Wyngarde, Michael Redgrave)
74. My Night at Maud’s – (1969, Eric Rohmer) (Jean-Louis Trintignant, Françoise Fabian)
75. Jules and Jim – (1962, Francois Truffaut) (Jeanne Moreau, Oskar Werner)
76. The Great Escape – (1963, John Sturges) (Steve McQueen, James Garner, Richard Attenborough)
77. Yellow Submarine – (1968, George Dunning) (Animation)
78. Repulsion – (1965, Roman Polanski) (Catherine Deneuve, Ian Hendry)
79. From Russia With Love – (1963, Terence Young) (Sean Connery, Robert Shaw, Daniela Bianchi)
80. Who’s Afraid of Virginia Woolf? – (1966, Mike Nichols) (Elizabeth Taylor, Richard Burton)
81. One Hundred and One Dalmatians – (1961, Clyde Geronimi) (Animation)
82. Elmer Gantry – (1960, Richard Brooks) (Burt Lancaster, Jean Simmons, Arthur Kennedy)
83. The Exterminating Angel – (1962, Luis Buñuel) (Silvia Pinal, Enrique Rambal)
84. Lilies of the Field – (1963, Ralph Nelson) (Sidney Poitier, Lilia Skala, Lisa Mann)
85. A Man for All Seasons – (1966, Fred Zinnemann) (Paul Scofield, Leo McKern, Robert Shaw)
86. Long Day’s Journey into Night – (1962, Sidney Lumet) (Katharine Hepburn, Ralph Richardson)
87. Ride the High Country – (1962, Sam Peckinpah) (Randolph Scott, Joel McCrea, Edgar Buchanan)
88. A Thousand Clowns – (1965, Fred Coe) (Jason Robards, Barbara Harris, Martin Balsam)
89. Le Trou – (1960, Jacques Becker) (Michel Constantin, Jean Keraudy)
90. Z – (1969, Costa-Gavras) (Yves Montand, Irene Papas, Jean-Louis Trintignant, Jacques Perrin)
20 More Movies Worth Mentioning
Counterculture of the 1960′s
Express Your Inner Hippie;
the Art, Fashion and Music of the 1960′s
The counterculture of the United States brought on a new sense and philosophy of life and along with this, different and new ways of expression. The counterculture youth of the nation utilized their first Amendment rights to their full advantage in terms of protest, music, literature and art. The freedom of expression was the main attribute to the carefree, hippie lifestyle. The youth expressed their beliefs through freedom of expression by dawning eccentric clothing, creating new artwork and literature, and expressing themselves through song.
With new ideas about life came new designs for clothing and trends in the 1960’s. Designers fashioned new clothing for the expanding hippie culture whom were attracted to the bright, psychedelic colors and patterns. The drug culture and massive quantities of LSD being consumed fed the appeal of such bizarre fashion. “‘With acid, there was an emergence of young people dressed to die for’ –Christopher Gibbs,” (Miles 255). Designers purposefully created patterns and colors that imitated an “acid trip”.
“The patterns, suitably enough, were created by the burning of acetate colored slides with acid…Colors and materials floated, crossed over into one another and seemed to expand and blur as the wearer danced,” (Miles 255).
People made statements with their outlandish attire and attitudes. The clothing was a way in which the youth could express themselves to the public as free individuals who had no regard for what people had to say about them or how they dressed. Some hippies did not feel the need for such expensive, outrageous clothing. Some were content with less expensive or home-made clothing.
“The 1960’s describes hippies wearing flowers in their hair, dressing in second-hand clothes from thrift and army surplus stores. They wore ponchos, bell-bottoms decorated with patches and embroidered tie-dye shirts, leather sandals, bright colors, and intricate patterns…Women wore men’s clothes and ‘granny dresses’ without bras because they found them too restricting,” (Hoy 1).
Some hippies did not feel the need to spend so much money on the highest and fashionable trends of the era. Instead, they kept their attire simple and used what money they made for essential living and most times drugs.
The fundamental origin of the 1960’s hippie culture was derived from the “Beat Generation” of the late 1950’s. Generally known as “Beatniks”, these people started to really experiment in the field of art, namely poetry.
“Beatniks frequently rejected middle-class American values, customs, and tastes in favor of radical politics and exotic jazz, art and literature,” (‘Beatnick’ 1).
The “New Beats” developed into the Hippie Generation in the 1960’s as the culture in popularity and exposure increased dramatically. Beatniks were struggling artists, trying to find new ways to express themselves and quickly found an outlet in poetry. Aside from new literature which fed the public alternate ways of life and philosophies, the psychedelic poster business took form and exploded onto the scene. Bold, fluorescent colors and intricate patterns were also reflected in the art of poster making. The fascination with such bizarre patterns and colors was apparent through both the clothing and the posters.
“1966 was the year that psychedelic posters really took off…The letters were often so distorted that they were very difficult to decipher-unless you were stoned. This made the posters and the events they were advertising more appealing,” (Miles 100).
People would design these posters such as fashion designers created clothes and outfits for the hippie generation to wear. People of the generation were highly attracted to them, just as much as they were attracted to the drug culture that was thriving in the nation. Andy Warhol, a famous artist of the era, designed album covers for bands as well as works of art. He is known for many works, among them the psychedelic four-frame portrait of Marylyn Monroe and the can of Campbell’s Tomato Soup. Busses that transported hippies to the West Coast, such as San Francisco, were painted with similar designs and plenty of bright colors. Bright colors and intricate patterns, as well as deep thought were methods of effective expression during the counterculture era.
Throughout the decades of the 20th century, each has had their own label in terms of musical revolution. For example, swing was popular in the 1920’s, jazz and blues through the next two and a half decades, and rock ‘n’ roll in the conservative 1950’s. The 1960’s era is known for the emergence of psychedelic rock, a genre which hippies listened to when high on drugs, believing they could reach a higher place. The “British Invasion” of bands from England contributed to the explosion of this new rock genre in the United States. “Then came the Beatles, followed rapidly by the Stones and a whole explosion of beat groups that transformed rock ‘n’ roll, if not overnight, then in a year or so,” (Miles 76). The Beatles were a crazed sensation in the United States; they gained a solid fan base in the country amongst the youth. Amongst the most popular groups were the individuals who spoke out against issues with their music. People such as Bob Dylan expressed his protest point of view through acoustic singing and song-writing. He soon became “an electrified spokesperson for a generation in 1965.” (Miles 50). Artists such as Dylan were able to express their views on current issues of the country because they had a right to do so, and because they wanted to be heard. Janis Joplin, a female artistic activist, both for anti-war protest and feminisms in this era because she was able to express herself through music, much like the rest of the counterculture in the United States. The new-wave genre of psychedelic rock took firm hold on the nation and grew more defined as its popularity expanded and the hippie generation found another effective way to freely express themselves.
With a completely worry and carefree lifestyle, the people of the Hippie generation and counterculture used their rights as citizens of the United States to their advantage. They could outright ridicule America’s involvement in the Vietnam War and make statements against the restrictive society that possessed the previous decade. Counterculture youth made statements with their fashion sense, their creative and appealing artwork and through their own voice, either through poetry and literature or song. It was never uncommon to see people of this generation dressing bizarrely, or even simply, painting the flowers and peace signs on the side of an old bus in neon colors, and never without a guitar or flute. Through each of these means, the hippie generation effectively defines their views and purpose, and in turn, positively share it with the rest of society.
“Beatnik.” RetroGalaxy.Com. 2007. Online. Internet. 06.06.07. Available:
Hoy, Rosemary. “Flower Children Chose Alternative Lifestyle.” Borderlands.
Miles, Barry. Hippy. New York. Sterling Publishing Co., Inc, 2003.
The Bushwick Trailer Park Lives On! (Sort Of)
December 12, 2013
By Jesse Sposato
(Photo: Jesse Sposato)
No, that crow isn’t alive. (Photo: Jesse Sposato)
Ever wonder what happened to all those trailers from the Bushwick Trailer Park, the arts collective/trailer haven that popped up on a vacant Bushwick lot a few years ago? Shortly after the park’s demise in 2011, collective founder Hayden Cummings told City Room that a third of them were sold on Craigslist; but what about the rest? Well, a few — four Airstreams from the 1950s through the ’70s, to be exact — have made their way to a smallish lot on the border of Greenpoint and Williamsburg. And Morgan O’ Kane, a banjo player and subway busker, lives in one of them.
(Photo: Jesse Sposato)
(Photo: Jesse Sposato)
After being dispersed from the trailer park, O’Kane, 35, spent the next year living in a church on Bushwick Avenue that ironically (or not ironically, at this point) was cleared out for redevelopment. “When [the fire department] kicked me out of there, they gave me 24 hours to get out, and I called my trailer park friends and they [were] like, ‘Come here!’” said O’Kane. That was a year ago. Now, making his home in a 1955 Airstream satisfies his desire to live on a boat, which he can’t do because his five-year-old son, who stays with him half the week, is too young for the life aquatic. “When he’s older,” O’Kane said optimistically. “For now this is like a land boat; this is the closest I can get to [the real thing].”
Though he wouldn’t reveal an exact amount, O’Kane’s rent is half as much as that of any other apartment he’s had in New York, even though the land boat is as big or bigger. When I inquired about the “stuff” issue (i.e. where was all of it?), he looked at me like I’d just punked him. “What do you mean stuff? I don’t have any stuff,” he said, deadpan. But his Airstream is in fact quite charming and thoughtfully decorated, with, of course, some stuff in it. There are a couple of guitars and banjos, a flat-screen television, a desk he found on the street, and Christmas lights; his Halloween-loving son’s toy spiders and pumpkin artwork adorn the walls.
O’Kane hasn’t actually spent all that much time living in traditional apartments, though. Even before the trailer park and the church, he rode trains and was homeless for eight years, and when he first moved to New York he lived in squats on the Lower East Side and in Brooklyn. “I’ve never been able to do the rent thing,” he confessed. “This is rent, but it’s different — [I mean] like, landlord, apartment, box — it’s just always been really hard for me. It doesn’t seem right. . . . I think rent is kind of theft.”
The number of residents living in the mini trailer park — mostly musicians and artists like O’Kane, ranging in age from their twenties and forties — constantly fluctuates between around three and six. Between them, they all share the cost of the lot. Each trailer functions like a single apartment unit, with the communal outdoor space serving as a courtyard. Pointing to one of the trailers, O’Kane explained that it used to be home to all the shower stalls in the old trailer park. It has since been fixed back up, and is now livable again. Another Airstream serves as a second space for a couple with an apartment elsewhere in the city.
(Photo: Jesse Sposato)
(Photo: Jesse Sposato)
The day I met O’Kane, his eponymous band had been over for a rehearsal and barbeque the night before. O’Kane plays with anywhere between two and five musicians at a given time. When he’s not practicing or gigging (the band is doing a winter residency at Black Bear Bar in Williamsburg, in anticipation of a record that comes out in March), he’s performing in a subway station, three or four times a week for a couple hours at a time. He fluctuates between Washington Square, Union Square — and Bedford only if he has to. “I don’t like to play Bedford,” he said. “[It’s] kind of like Disneyland for cool people, and it drives me crazy.” Washington Square, because it’s made up mostly of students and tourists, is always an easy score, but Union Square is his favorite because it’s “everyday people.”
If people ask O’Kane where his place is, he shares that he lives in a trailer but he doesn’t say where. “It scares the shit out of me,” he said. “Something bad always happens when it comes to [this kind of thing].” Let’s hope this time is the exception.
This is a good sized list of quotes by or pertaining to a beat author. Some of them are very deep, some of them all funny, and some make no sense whatsoever. Enjoy.
“There is no line between the ‘real world’ and ‘world of myth and symbol.’ Objects, sensations, hit with the impact of hallucination.”
“I’m running out of everything now. Out of veins, out of money.”
“Strip your psyche to the bare bones of spontaneous process, and you give yourself one chance in a thousand to make the Pass.”
“The charging restless mute unvoiced road keening in a seizure of tarpaulin power.”
-Jack Kerouac’s favorite line from On The Road
“Rather, I think one should write, as nearly as possible, as if he were the first person on earth and was humbly and sincerly putting on paper that which he saw and experienced and loved and lost; what his passing thoughts were and his sorrows and desires.”
-Neal Cassady to Jack Kerouac
“Americans should know the universe itself as a road, as many roads, as roads for traveling souls.”
“Neal, we’ll be real heroes now in a war between our cocks and time: let’s be the angels of the world’s desire and take the world to bed with us before we die.”
-Allen Ginsberg to Cassady on their sexual relation…lines from the poem The Green Automobile
“If you have a choice of two things and can’t decide, take both.” -Gregory Corso “The stone world came to me, and said Flesh gives you an hour’s life.”
“If you believe you’re a poet, then you’re saved.”
“In such places as Greenwich Village, a menage-a-trois was completed- the bohemian and the juvenile delinquent came face-to-face with the Negro, and the hipster was a fact in American life.”
“Madness is confusion of levels of fact…Madness is not seeing visions but confusing levels.”
“I really believe, or want to believe, really I am nuts, otherwise I’ll never be sane.”
-Allen Ginsberg to Jack Kerouac
“Sure I’m old, and I’m evil, and I’m ugly, and I’m tired. But that isn’t it. I’ve been this way for ten years, and I’m all down the main line.”
-Herbert Huncke to Allen GInsberg
“Neal will leave you in the cold anytime it’s in his interest.”
-LuAnne Cassady (the 15 year old bride of Neal Cassady)
“Oh, smell the people!’ yelled Dean with his face out the window, sniffling. ‘Ah, God! Life!’”
-Jack Kerouac, On The Road
“Obviously the ‘purpose’ of the trip is carefully selected to symbolize the basic fact of purposelessness. Neal is, of course, the very soul of the voyage into pure, abstract meaningless motion. He is The Mover, compulsive, dedicated, ready to sacrifice family, friends, even his very car itself to the necessity of moving from one place to another.”
-William Burroughs to Allen Ginsberg on Neal and his skeptical views of the man and voyage which spurred On The Road
“Love is all.’
“I went with him for no reason.”
-Jack Kerouac on Neal Cassady
“What’s your road, man? -holyboy road, madman road, rainbow road, guppy road, any road. It’s an anywhere road for anybody anyhow.”
-Neal Cassady as Dean Moriarty in On The Road
“Who are all these strange ghosts rooted to the silly little adventure of earth with me?”
-Jack Kerouac, on the final gathering/Snyders going away party
“The omlet fell apart, as with such eggs it must.”
-Wilifrid Sheed, on the San Francisco Renaissance Poets
“I am getting so far out one day I won’t come back at all.”
“Ginsby boy, he’s all over Oregon like horseshit howling his dirty pome.”
-Jack Kerouac on Allen Ginsberg
“I am beginning to think he is a great saint, a great saint concealed in a veneer of daemonism.”
-Jack Kerouac on Allen Ginsberg
“We are all trying to get the exact style of ouuselves.”
-Michael McClure on the San Francisco Renaissance
“To rebel! That is the immediate objective of poets! We can not wait and will not be held back…The “poetic marvelous” and the unconscious are the true inspirers of rebels and poets.”
“Around Jack there circulated a palpable aura of fame and death.”
-Gary Snyder on Jack Kerouac
“I want to create wilderness out of empire.”
“I’m beat to the square, and square to the beat, and that’s my vocation.”
-William Everson aka Brother Antoninus
“We had gone beyond a point of no return- and we were ready for it, for a point of no return…We wanted voice and we wanted vision.”
“A reading is a kind of communion. The poet articulates the semi-known for the tribe.
“I want your lingual SPONTINEITY or nothing else.”
-Jack Kerouac to Allen Ginsberg after reading Howl
“An army is an army against love.”
“At that instant we looked into eachother’s eyes and there was a kind of celestial cold fire that crept over us and blazed up and illuminated the entire cafeteria and made it an eternal place.”
-Allen Ginsberg to William Burroughs on his new lover Peter Orlovsky
“I’ve been getting silly drunk again lately in Remo and discusting myself a la Subterraneans.”
-Jack Kerouac to William Burroughs
Jack Kerouac’s Translations of Buddhist Terms
Dharma: “truth law”
Tathata: “that which everything is”
Tathagata: “attainer to that which everything is”
Bodhisattva-Manasattvas: “beings of great wisdom”
“Kerouac’s version of Buddha is a dimestore incense burner, glowing and glowering sinisterly in the dark corner of a Beatnik pad and just thrilling the wits out of bad little girls.”
“I miss you so much your absence causes me, at times, accute pain. I don’t mean sexually. I mean in connection with my writing.”
-William Burroughs to Allen Ginsberg
“I did no think I was hooked on him like this. The withdrawl symptoms are worse than the Marker habit. Tell Allen I plead guilty to vampirism and other crimes against life. But I love him and nothing else cancels love.”
-William Burroughs to Jack Kerouac on Ginsberg
“I have a strange feeling here of being outside any social context.”
-William Burroughs in Tangiers
“Not that Irwin wasn’t worthy of him but how on earth could they consumate this great romantic love with vaseline and K.Y.?”
-Jack Kerouac on Ginsberg and Burroughs relationship
“Between incomprehensible and incoherent sits the madhouse. I am not in the madhouse.”
-Jack Kerouac to Carl Solomon.
“I think all writers write for an audience. There is no such thing as writing for yourself.”
-William Burroughs to Allen Ginsberg
“Usually he selected someone who could not reciprocate so that he was able-cautiously, like one who tests uncertain ice, though in this case the danger was not that the ice give way but that it might hold his weight-to shift the burden of not loving, of being unable to love, onto the partner.”
-Willam Burroughs on himself
“Avoid the world, it’s just a lot of dust and drag and means nothing in the end.”
“Al, I am a fucking saint, that is I been fucked by the Holy Ghost and knocked up with Immaculate Woid…I’m the third coming, me, and don’t know if I can do it again….so stand by for the Revelation.”
-William Burroughs to Allen Ginsberg
“Suffice to say I just eat every 12 hours, sleep every 20 hours, masturbate every 8 hours and otherwise just sit on the train and stare ahead without a thought…”
“Wherever I go I see myself in a mirror- it used to be my own selfblood, now it is god’s.”
“Never deny the voice- no, never forget it, don’t get lost mentally wandering in other spirit worlds or American or job worlds or advertising worlds or earth worlds.”
-Allen Ginsberg’s vow to himself
“I want to be a saint, a real saint while I am young, for there is so much work to do.”
-Allen Ginsberg to Mark Van Doren
“The apparition of an evil, sick unconscious wild city rose before me in visible semblance, and about the dead buildings in the barren air, the bodies of the soul that built the wonderland shuffled and stalked and stalked and lurched in attitudes of immemorial nightmare all around.”
-Allen Ginsberg (his visions after reading Blake)
“I was so sick that I found myself worrying about the future of man’s soul, my own in paticular.”
“Just a little boy who wants to be a novelist.”
-Alan Ansen’s description of Jack Kerouac
“Death hovers over my pencil…”
Pinned to Jack Kerouac’s wall to inspire his writing: “Art is the highest task and the proper metaphysical activity of this life.”
“I am going to marry my novels and have little short stories for children.”
“The fact was I had the vision…I think everyone has…what we lack is the method.”
-Jack Kerouac to Allen Ginsberg
“I detest limitations of any kind, and intend to establish my ass some place where I am a virgin on the police blotter.”
-William Burroughs to Allen Ginsberg
“Naturally, I thought the guy was just kiddin.”
-Herbert Huncke, on Burrough’s request for a Viennese waltz
“Shooting is my principal pastime.”
“My fault, my failure, is not in the passions I have, but in my lack of control of them.”
-Jack Kerouac to Neal Cassady
“Two piercing eyes glancing into two piercing eyes- the holy con-man with the shining mind, and the sorrowful poetic con-man with the dark mind.”
-Kerouac on the night Ginsberg and Cassady met
“I really dont know how much I can be be satisfied to love you, I mean bodily, you know, I somehow dislike pricks & men & before you, had conciously forced myself to be homosexual…I dont want to be unconsciously insincere by passing over my non-queerness to please you.”
-Neal Cassady to Allen Ginsberg on their sexual relationship
“Dont you remember how you made me stop trembling in shame and drew me to you? Don’t you know what I felt then, as if you were a saint…?”
-Allen Ginsberg to Neal Cassady
“Neal is awareness, mine is conciousness. The conciousness is shallow, awareness is all embracing.”
-Allen Ginsberg on Neal Cassady
“He came to the door stark naked and it might have been the President knocking for all he cared. He received the world in the raw.”
-Jack Kerouac on Neal Cassady
“I have thought of Neal as being a psychopath for quite some time. To me he is nothing more than a series of incidents.”
-John Clellon Holmes to Ginsberg
“I see no greatness in my self…I’m a simple-minded, child-like, insipid sort of moronic and kind of akward feeling adolescent.”
-Neal Cassady on himself
“I became the unnatural son of a few score of beaten men.”
“For Neal sex was the one and only holy and important thing in life.”
-Jack Kerouac on Neal Cassady
“Cassady was sexually initiated at the age of nine. He accompanied his father to the home of a drinking buddy, whose oldest son led his brother and Neal in sexual intercourse with as many sisters as they could hold down. All boundaries of sexual decorum evaporated. Neal “sneak shared” women with his father, he slept with grandmothers and prepubescent girls in abandoned buildings, barns, and public toilets.”
-Steven Watson, Birth of the Beat Generation
“I alone, as the sharer of their way of life, presented a replica of childhood.”
Easy Rider (1969)
The Fat Spy (1966)
The Guru (1969)
The Happening (1967)
How to Commit Marriage (1969)
I Love You, Alice B. Toklas (1968)
The Love-Ins (1967)
The Love Bug (1968)
Medium Cool (1969)
The Party (1968)
El Profesor Hippie (1969, Spanish)
Riot on Sunset Strip (1967)
The Trip (1967)
Wild in the Streets (1968)
Yellow Submarine (1968)
200 Motels (1971)
An American Hippie in Israel aka Ha-Trempist (1972)
Beyond the Valley of the Dolls (1970)
Billy Jack: Billy Jack (1971)
The Trial of Billy Jack (1974)
Billy Jack Goes to Washington (1977)
Brother Sun, Sister Moon (1972)
Butterflies Are Free (1972)
La Familia Hippie (1971, Spanish)
Fritz the Cat: Fritz the Cat (1972)
The Nine Lives of Fritz the Cat (1974)
Ghetto Freaks aka Love Commune (1970)
Ginger in the Morning (1974)
Go Ask Alice (1973)
Hare Rama Hare Krishna (1971, Hindi)
Helter Skelter (1976)
La Vallée (film) (1972)
The Holy Mountain (1973)
I Drink Your Blood (1970)
Jesus Christ Superstar (1973)
The Last Movie (1971)
Love Story (1970)
More American Graffiti (1979)
The Psychedelic Priest a.k.a. Electric Shades of Grey (1971)
Rainbow Bridge (1972)
Shalom (1973, Hebrew)
The Song Remains the Same (1976) – features 1973 Led Zeppelin concert footage
The Strawberry Statement (1970)
Taking Off (1971)
Thumb Tripping (1972)
Up in Smoke (1978)
When You Comin’ Back, Red Ryder? (1979)
Zabriskie Point (1970)
By Alex Novak
Ted Jones – Self Portrait
Ted Jones was born in Pittsburgh, PA, in 1927. He attended Augusta Military Academy in Virginia between 1942-1944 and then joined the Army Air Corps in 1944. He became a sergeant-ECO and left after the end of World War II in 1946.
After his stint in the service, Jones traveled through Mexico, in particular through the Yucatan during 1946-1947. He then settled down to academic studies at Penn State University, where he received a BA in Journalism and Advertising with a minor in Theater and Art in 1951.
He became Walter Reed Army Medical Center’s information specialist in 1951, but then moved on quickly to television at WRC-TV, an NBC affiliate in Washington, D.C. He worked in live TV production, directing and producing shows, and worked as film editor on various NBC network news projects.
In 1954, he received the prestigious Sylvania Award for Television for the first water pollution special on television, called “Our Beautiful Potomac.” Jones also received an Emmy for his work on the cinematography and editing of the program “Urban Sprawl.” He then won a Peabody Award and Governor’s Award for producing and editing “Science in the Schools”, which was the first TV series used in public schools. Jones produced, edited and photographed “Chosen Country”, the first film on noted American author John Dos Passos, which earned him a grant from the National Endowment for the Humanities. His list of film and video credits also includes “I Touch the Future–I Teach”, a video production on Christa McAuliffe, the teacher-astronaut aboard the ill-fated Challenger, for the Prince George’s County School System where she first taught.
Among these many awards, he won a Special Jury Gold Medal at the Atlanta Film Festival for his time-lapse film on his own stone carving. Jones was also an accomplished sculptor, who had had seven one-man shows of this work. Over 200 of his sculptures are in private and public collections worldwide. He conducted a demonstration of stone carving on the White House grounds at the invitation of the National Park Service and the District of Columbia Government.
Ted Jones – Susan, 1999
Ted Jones – Susan, 1999
In 1960, he began work at Stuart Finley Films, Inc., where he worked as an independent film producer. The company and Jones spent the next 17 years producing films in the environmental field.
In 1977, Jones began to freelance, making videos, films and black and white photographs.
He had many picture credits, including Time, Fortune and LIFE magazines. He photographed and printed a traveling exhibition entitled “People of the Northern Neck”, which portrayed the work ethic of the watermen of historic tidewater Virginia for the Rappahannock Community College Educational Foundation.
Jones was well-known for his work in 19th-century non-silver photographic printing processes, particularly the gum-dichromatic process, but he took a contemporary approach. He even applied modern computer technology to a number of these 19th-century techniques.
A retrospective show of Jones’ gum process contemporary photographs was curated by Leif Preus of the Preus Fotomuseum, Norway, and was exhibited throughout Scandinavia during a two-year traveling show.
The work is simply astounding for its virtuosity. Jones often used multiple color passes and an artist’s brush (used to manipulate the image while still wet) to create images that often have more in common with fine art graphics than photography. Yet these images are still grounded in the world of the real, albeit often overlaid with a strong dose of fantasy.
Jones often printed in large sizes (some larger than life-size) that are very rare for this medium, which has to be worked quickly before a print dries. His images range from urban landscapes that share much with Edward Hopper’s desolate vision to portraits and nudes that that take as much from Demachy’s classicism as from Nan Goldin’s personal sociology and contemporary feel.
His photographs are in the collections of the St. Louis Art Museum, the University of New Mexico Art Museum and the James A. Michener Museum of Art. A large body of his work is in the personal collection of photography dealer Alexander Novak.
He passed away quietly at his home in Falls Church, VA on August 23, 2007.
Ted Joans, 74; Beat Poet’s Work Reflected Jazz and African Culture
Some Poems from WOW
Here are a few poems from the book, WOW. You can order WOW (signed or unsigned) here.
TED JONES POEMS
I saw Senghor
I was above him
Like a cloud
or a helicopter
but just a
At Senghor the poet
Who hovers high
Like a cloud
or a heavenly
filled with leaflets
that shame butterflies’ wings
And rainbows end
I saw Senghor
Dressed in contradiction
DON’T LET THE MINUTE SPOIL THE HOUR
for the little white poem, the big painting blue, and the swinging
music in hot red
SHE WAS HIS MUSE…YET REFUSED HIS HUMBLE BED
for a jug of wine (black), a few slices of cheese (yellow), and
a long lovely loaf of brown bread
for that she gave him money…BUT STILL REFUSED HIS BED!
for faraway trips, or making snobbish social scenes, or even
in the parks holding hands (while pigeons were fed)
SHE SAID SHE DUG HIM (to hear it bugged him) ’cause she
STILL REFUSED HIS BED!
NOW HE DON’T PAINT, NOR WRITE A POEM, NOR PLAY HIS
SWINGING MUSIC IN HOT RED
BECAUSE HE IS A B E A T N I K
AND THUS THE lovesick ARTIST IS DEAD!
OKAY, YOU ARE AFRAID OF AFRICA
…to those who live by their enslaving sword
Okay, you are afraid of Africa!
you with the long dark overcoat
” with the wide trouser cuffs
” with the Moscow autumn wind
” with the DC cracker grin
” with the rag waving pride
” with a cougar’s drop of dung
” with a thimble’s innocence near dawn
” with a plaid tablecloth’s obscenities
” with a lost mustache of wax
” with a column of Louvre trembling
” with a flabby belly of British beer
” with the blood of two kings on your boots
one living one dead
intensifying the fear you fear
the guilt you grow from year to year
May 13, 2003|Dennis McLellan | Times Staff Writer
Joans, an expatriate Beat generation poet whose work reflected a strong black consciousness, a surrealistic sense of humor and the rhythms of avant-garde jazz, has died. He was 74.
Joans, who for many years divided his time between Paris and Timbuktu, a city in the West African nation of Mali, was found dead Wednesday in his apartment in Vancouver, British Columbia. Police in Vancouver, where Joans made his home in recent years, determined that he died April 25 of complications of diabetes, said his daughter, Daline Jones-Weber.
The self-described “jazz poet” came of literary age in Greenwich Village in the 1950s, the heyday of fellow beat writers Jack Kerouac and Allen Ginsberg.
Joans’ “irreverent writings” are characterized by “celebrations of sexuality, jazz music, African culture and social revolution,” according to “Dictionary of Literary Biography: Afro-American Poets Since 1955.”
“I think he’s got a place in several genres,” said Gerald Nicosia, author of the Kerouac biography “Memory Babe,” who edited “Teducation,” a 1999 collection of Joans’ poems.
“He was absolutely an important member of the beat generation and the Surrealist group,” Nicosia said.
“The French Surrealists always considered him an absolute peer.”
Indeed, Andre Breton, a French poet known as the leader of the modern movement in literature that attempts to portray the workings of the unconscious mind, once hailed Joans as “the only Afro-American Surrealist.”
Joans is also considered an important writer of the black experience, Nicosia said.
“A lot of his poems deal with racism, the problems of being black in a white society,” he said.
“Ted very consciously made an effort to connect the dots between the African experience itself with the African American experience.”
Nicosia said that poet Langston Hughes, Joans’ Greenwich Village mentor, “was a great encourager not only in his personal life, but Hughes’ poetry gave him encouragement in terms of writing about the dignity of being black and also being able to mine the richness of his black heritage.”
Joans was born Theodore Jones on July 4, 1928, in Cairo, Ill. According to some biographical accounts, his father, a riverboat musician, gave him a trumpet at age 12 and let him off the boat in Memphis to go on his own.
An amused Jones-Weber said Monday she had never heard that story before her father died, and, if true, she wondered how long he could have been on his own because he graduated from high school and went on to college.
Joans — he changed the spelling of his last name in the 1950s to set himself apart — earned a bachelor of fine arts degree from Indiana University in 1951. Then he moved to Greenwich Village.
At one point, Village Voice photographer Fred McDarrah ran a Rent a Beatnik ad as a joke and found himself getting requests for the service. So, McDarrah recruited his friend Joans, who earned rent money reading his poems at parties.
After his friend, jazz legend Charlie “Bird” Parker, died in 1955, Joans took credit for scrawling “Bird Lives” graffiti around the city.
Though best known for his poetry, Joans’ abstract portrait of Parker, “Bird Lives,” hangs in the M.H. de Young Memorial Museum in San Francisco.
Joans explained his decision to leave the United States in his 1961 book “All of Ted Joans and No More”: “I hate cold weather, and they will not let me live democratically in the warm states of the United States, so I’m splitting and letting America perish.”
Joans had about 30 books published by small presses, including “Jazz Poems” (1959), “The Hipsters” (1961), “Afrodisia: New Poems” (1970), “A Black Manifesto in Jazz Poetry and Prose” (1971), “Black Pow-Wow: Jazz Poems” (1969) and “Our Thang” (2001), a collection of his poems and paintings by his longtime companion Laura Corsiglia.
But most of his published works were chapbooks, small, inexpensively produced books of 20 to 30 pages.
Joans was never interested in submitting his poems to major magazines and publishing houses.
“As a poet, I cannot cash in on the system because I’m not interested in being a part of the system,” he told the Seattle Times in 1990.
In 1998, the Bancroft Library at UC Berkeley purchased the first batch of Joans’ papers: 24 boxes of manuscripts, correspondence, notes and clippings.
The income was welcomed by Joans, who supported himself primarily with his writing.
To describe it even as a modest living, his daughter said, is a stretch.
“He lived a Bohemian life,” Jones-Weber said. “He was never destitute; he always had a place to live, although some of what he called his nests [in Paris] were truly nests: tiny, tiny places — 200 square feet — but filled to the brim with nothing but books, old jazz albums, paintings and some artifacts and things he collected on his travels.
“He didn’t own furniture or material things other than his clothing. But he was rich in other ways. That sounds corny, but he was blessed with many friends and fans all over the world.”
In addition to Jones-Weber of San Leandro, he is survived by nine other children: Ted Jones of Santa Monica; Teresa Jordan of Whittier; Jeanne Marie Jones of Rialto; Robert Jones of Long Beach; Lars Jones and Tor Jones of Oslo, Norway; Russell Jones of Scotland; Sylvia Jones-Johnson of Louisville, Ky., and Yvette Jones-Johnson of Stafford, Va.; and 12 grandchildren.
At Joans’ request, there will be no memorial service.
PUBLISHED: 00:59 EST, 18 May 2012 | UPDATED: 01:37 EST, 18 May 2012
Richard Avedon was one of the most well-known fashion and portrait photographers in American history. However, many of his photographs had a distinctly political flavor.
His work photographing hippies, artists and icons of the beat generation was said to capture their very essence and offer an inside look at the counter-culture in a way that few portrait shooters have been able to match.
A collection of his radical portraits are on display at Gagosian Gallery in New York City this summer.
The counter-culture: Allen Ginsberg, the beatnik poet, was a frequent subject. This work is titled: Louis Ginsberg and his son Allen Ginsberg, poets, Paterson, New Jersey, May 3, 1970
Allen Ginsberg’s family: Hannah (Honey) Litzky, aunt; Leo Litzky, uncle; Abe Ginsberg, uncle; Anna Ginsberg, aunt; Louis Ginsberg, father; Eugene Brooks, brother; Allen Ginsberg, poet; Anne Brooks, niece; Peter Brooks, nephew; Connie Brooks, sister-in-law; Lyle Brooks, nephew; Eugene Brooks; Neal Brooks, nephew; Edith Ginsberg, stepmother; Louis Ginsberg, Paterson, New Jersey, May 3, 1970
Avedon was known for shooting stark, minimalist portraits of his subjects that let their own personalities shine through.
‘A photographic portrait is a picture of someone who knows he’s being photographed, and what he does with this knowledge is as much a part of the photograph as what he’s wearing or how he looks,’ he said, according to the Atlantic.
The beatnik-generation luminary Allen Ginsberg was one of Avedon’s famous subjects. He photographed the poet in 1968 as he embraced and kissed his longtime lover, Peter Orlovsky.
He photographed the Chicago Seven, the protestors who were charged with inspiring a riot at the 1968 Democratic Convention in Chicago.
Andy Warhol and members of The Factory: Gerard Malanga, poet; Viva, actress; Paul Morrissey, director; Taylor Mead, actor; Brigid Polk, actress; Joe Dallesandro, actor; Andy Warhol, artist, New York, October 9, 1969
Andy Warhol, artist, New York, August 14, 1969
Andy Warhol was another subject whom Avedon exposed to his camera lens. He captured the scars on his chest left by a 1968 murder attempt.
Not all of Avedon’s subjects were trend-setters outside the mainstream.
He convinced Rose Mary Woods, President Richard Nixon’s secretary, to stand for a portrait.
The Mission Council, which helped dictate the US involvement in the Vietnam War, also stood for a photograph.
Avedon died of a brain hemorrhage in 2004 while on assignment for The New Yorker.
The exhibit, titled Richard Avedon Murals & Portraits, is on display at Gagosian Gallery, West 21st Street in New York City, through July 6.
The Mission Council: Hawthorne Q. Mills, Mission Coordinator; Ernest J. Colantonio, Counselor of Embassy for Administrative Affairs; Edward J. Nickel, Minister Counselor for Public Affairs; John E. McGowan, Minister Counselor for Press Affairs; George D. Jacobson, Assistant Chief of Staff, Civil Operations and Rural Development Support; General Creighton W. Abrams, Jr., Commander, United States Military Assistance Command, Vietnam; Ambassador Ellsworth Bunker; Deputy Ambassador Samuel D. Berger; John R. Mossler, Minister and Director, United States Agency for International Development; Charles A. Cooper, Minister Counselor for Economic Affairs; and Laurin B. Askew, Counselor of Embassy for Political Affairs, Saigon, South Vietnam, April 28, 1971
Lovers: Avedon captured this intimate moment between Ginsberg and his longtime lover. The portrait is titled: Allen Ginsberg and Peter Orlovsky, poets, New York, December 30, 1963
Florynce Kennedy, civil rights lawyer, New York, August 1, 1969
Dao Dua, “The Coconut Monk,” Mekong Monastery, Phoenix Island, South Vietnam, April 14, 1971
Rose Mary Woods, secretary to President Richard Nixon, Washington, D.C., August 10, 1975
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