Mark Phinney’s epic weeklong Koh Phangan Man event, the second in a series, concluded this week. One of the joys of living on the island is the presence of numerous artists, entrepreneurs, and idealists innovating new modes of living, entertaining, and transforming.

With the talented Gabrielle Leon providing the background tunes, Liz Griffin and I performed the entire 3,000 word poem Howl as part of a playful sunset poetry happening we organized, “Filthy Sunset.” I also read Love’s Victim from  Ovid’s “Amores.”

Earlier this year, I visited City Lights Bookstore, the scene of the legal battle to publish Howl six decades ago, and talked to the store’s manager Elaine Katzenberger about that unique fight for First Amendment free speech protections. Here are excerpts from that interview, parts of which will be used in my upcoming book on the art and alchemy of successful political protests.

There is a museum at the intersection of Broadway and Columbus in San Francisco’s North Beach neighborh0od dedicated to the beats. It’s worth visiting but for my money the sacred epicenter of the social movements that shook the youth of a nation for decades is across at the street at City Lights bookstore. Any bookstore is magic, the holder of promised secrets and a slice of the grand history of human knowledge. City Lights, with its mythic origins and tumultuous past is one of a tiny subset of literary shops that holds something more, something sacred. I walk in and a mother stands at a respectful distance while her pre-teen boy engages the cashier in a line of questioning. Do you have this book, where can I find books on that subject, mom knowing some of the answers but choosing to allow the experience of discovery.

I met the manager of City Lights bookstore (and publishing house) some years back when I video recorded and livestreamed some of their author events for FORA.tv. Elaine Katzenberger is, as you might imagine, a thoughtful and interesting woman, two attributes required to choreograph the visitor experience and keep it relevant as one of America’s important bookstores. On this weekday morning, the place was packed buzzing with visitors, the out-of-town tourists, the loyal locals, and no doubt one or two devotees of the faith, the never-ending pursuit of that one new book that will crack open the universe in some new way.

Gruber: Why is City Lights such a quintessential part of San Francisco’s civic life?

Katzenberger: Well, I don’t really think of it as belonging to San Francisco because people who don’t live here come for the same reasons that you do and that I was originally drawn here. San Francisco was the place Lawrence birthed City Lights, but it has transcended that, it’s more of a world location and it holds something that people need. It also may sound a bit abstract or metaphysically corny…

Gruber: Keep it coming.

Katzenberger: It has to do with ideals, feelings of integrity; there are a lot of interpretations that have been layered over the founding stories. Some visitors are just tourists, and some are clearly making a pilgrimage, but everybody is looking for the same thing on some level.

Gruber: And what is that?

Katzenberger: People would use different words – it’s a large stew – but it’s that creativity trumps capitalism, and that the human spirit is somehow communicating with other human spirits in this way that is authentic, and not subject to the rules that the rest of the economy is playing by. Maybe that’s why San Franciscans who have lived here a long time want to claim it, because the city used to talk about itself that way, it was an illusion, but a lot of people came to San Francisco for the same reason that people come now to City Lights.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Gruber: Lawrence is about to have a big (100^th) birthday. Can you articulate what was the ethos at that time, the ethos of the beats that motivated Lawrence to publish Howlin 1956? What was happening then, particularly in the context of how that might be relevant now?

Katzenberger: Lawrence always talks about how, first and foremost, he wanted to publish it because he identified it as groundbreaking poetry, he thought that Ginsberg was doing something that no one had done, and that had to do with poetics as (much as) anything else. And then, in terms of the content, the way in which the poem decries capitalism and militarism, that is what the counterculture in the 1960s was trying to talk about, rebellion against conformism, against the celebration of what capitalism was supposed to bring to quote, unquote average Americans. It meant reaching for freedom outside of that, somehow captured in this poem, which was especially exciting to him (Ferlinghetti). It was also the shared declamatory nature of it, very much talking about making poetry some form of actual communication, and that was part of what the beats were about, poetry as speech, poetry as a way of actually getting the message across.

Gruber: A key focus for the store is books on progressive politics. What does it mean to be progressive?

Katzenberger: Another big question. Something to do with putting the social contract with other human beings and other life forms on the planet before profit and power.

Gruber: One of the premises of the ’56 trial was that Ginsberg and, by extension, Ferlinghetti, were subversive. Do you think that the acts of protests of Ferlinghetti and the beat poets and the kind of literary explorations that City Lights does are patriotic, are aligned with what the founders had in mind in terms of how citizens need to be engaged politically?

Katzenberger: Obviously. If you want to be able to participate in a democracy, you need to be able to not only be informed, but to form opinions based on critical thinking, all of those things are part of civic life and a healthy democracy.

Gruber: When a visitor walks out of your store, what do you hope they leave with, in addition to a large handful of books? What’s the experience?

Katzenberger: I hope they feel validated in being part of a community of interesting, thoughtful, sensitive human beings. That’s what books have always given me. That’s what I hope that books give other people too.

Thanks to Mike Paschall for sharing this.  A recording of the livestream from Billy Cobham and the band in Ardmore Music Hall. Wonderful stuff.

The tour features legendary trumpeter Randy Brecker. Here is an excerpt from my interview with Randy for “Six Days at Ronnie Scott’s: Billy Cobham on Jazz Fusion and the Act of Creation.”

GRUBER: It fascinates me that Bill at 73 is not only touring a lot but almost every year producing new music. What is it for men like you and Bill that motivates you to continue to create and innovate when you can simply play other people’s music or rely on things you might have done years ago?

BRECKER: It’s a good question and I don’t know if I can put myself on a level of Billy’s output, which is really just incredible, but I think it has to do with, after you do something, it gets old pretty quickly. So, we are always trying, we just want to play something new, we can’t rest on our laurels too long. Plus, this is what we do. We don’t have many outside interests. You find that with a lot of great artists. I’m very close for instance with Paul Simon, and a tour manager that works with Paul and Bob Dylan. I asked him the same question, how come most guys are still killing themselves on tour? Not everybody has to do it. He said, “Look man, they don’t know what else to do with themselves.” Other than play, write music and tour, I don’t have a lot of outside interests. Of course my famIly, I want to be home sometime, but that’s what motivates us I think. We love to play. And for my money, I think Bill is, I swear to God, playing better than ever. I heard him in Brazil, maybe two, three years ago with Jeff Berlin and Scott Henderson, it was a trio and man, he just played better than ever. Everything is just settled now. It’s incredible.

GRUBER: When you watch him in YouTube videos from the ’70’s and ’80’s, to now, he really does have quite a physical presence.

BRECKER: And let me say one other thing. In the ensuing years, I wouldn’t play with him regularly, more like a special guest thing. But every time I did, I noticed he always brought something new to the table. Not only new music, the way he played, it always fascinated me. Some kind of new drum that he invented or something I never heard before. That alone, throughout the years, is quite an accomplishment.

GRUBER: Do you have some favorite memories on or off-stage?

BRECKER: There are a lot of them. How do I narrow it down? I was just always completely knocked out playing with him. (Laughs.) I probably shouldn’t say this. I remember he was so confident of his playing – as he should have been because I think he was the greatest drummer and still is – but when drum machines first came out, he tried to overdub the drum machine over his track. That didn’t work too well. I remember the look on his face.

GRUBER: Where do you think he fits in the history of percussion? How would you sum up his cumulative contribution to the music world?

BRECKER: He always would mention Tony Williams and Jack. After that period it was just Billy as far as I am concerned. The guy who originated the whole thing was Bill. The fact that he has been playing so long and is still this great, places him at the forefront of jazz drumming, of composition. He has had the same kind of influence on drummers that Jaco had on bass players.

Billy Cobham comes to the west coast with his Crosswinds Project in October. I will be singing books with him after shows at the following venues:

October 3-6, Jazz Alley, Seattle

October 10, Kuumbwa, Santa Cruz

October 11-12, Blue Note, Napa

Bill is widely acknowledged as the greatest living jazz fusion drummer and he is joined on the tour by the man acclaimed as the greatest living jazz fusion trumpeter, Randy Brecker. They will be playing a nationwide tour that kicks off at the Blue Note in New York in September. I interviewed Randy for Six Days at Ronnie Scott’s: Billy Cobham on Jazz Fusion and the Act of Creation. Here’s a favorite excerpt.

GRUBER: You had been around for some years before that release, playing with the likes of Larry Coryell. Did you believe that there were artists and forms of experimentation prior that deserved equal recognition?

BRECKER: It’s funny you asked that. We were a little bit ahead of that. I’ll tell you a funny story. It goes to show you where maybe Miles was influenced himself. Dreams became kind of the house band at the Village Gate, a large club on Bleeker Street, now closed for many years. That was one of the hippest if not the hippest place to play in New York. Miles would play there, in fact I saw him in a double bill with Charles Lloyd with his great band with Jack DeJohnette and Keith Jarrett. That was an amazing double bill. Miles would come down and never come and talk to us, but you always knew when he was there, everyone saying, “Miles is here,” which spread around the audience like wildfire. You could see him sitting in the back. In the meantime, I had electrified my trumpet. We had John Abercrombie in the band who always played with a wah-wah pedal. One day he couldn’t make rehearsal and his pedal was just sitting there and we had these devices called ‘condors’ which made bubbly sounds on the horn and I plugged the wah-wah into my trumpet and it sounded just great. I got a wah-wah myself and started using it, using guitar effects and Miles would always come down. Eventually he hired Billy for Bitches Brew. When I joined Billy’s band, there was a guy named Jim Rose, who was Miles’ road manager, would come by the gig and say I was trying to sound like Miles with the wah-wah, and I explained to him the way things had developed. It became a running joke between me and Jim. He liked Billy so he would come to hear us a lot.

Years later when we were all at (Brecker brothers-owned jazz club) Seventh Avenue South, I found myself standing next to Miles. The club was really crowded. I never really met him so I stuck out my hand and said, “Hi, I’m Randy Brecker, I’m a big fan, I own the club and it’s great to meet you,” and his response was…nothing. He had his dark glasses on so it was just silence, he just kind of looked through me. I slunked away, went downstairs to the bar and started having a couple of martinis. About an hour later, I hear a little wisp of air in my left ear, “I love my wah-wah, you love your wah-wah.” And he split. It was the only thing he said to me (laughter). He was still a big influence, especially when it started, it was a little later that Bitches Brewgot recorded but then his influence was undeniable when he put together that great electric band. I know it influenced Billy. It influenced all of us.

As so it begins. I begin my interviews of practitioners of the art of protest from Selma to Seoul tomorrow for the Surmountable book project. Thanks to my co-writer Adam Edwards and to our 80+ Kickstarter funders for supporting my travel to 4 continents over the next two months. My first interview will be at the iconic City Lights bookstore in North Beach, San Francisco, Lawrence Ferlinghetti’s shop on the corner of Broadway and Columbus which shocked the literary world with its publication of Alan Ginsberg’s “Howl.” I will talk to the shop’s executive director and publisher Elaine Katzenberger then on to tech writers and the Electronic Frontier Foundation. What would you ask her??