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Johnny Clegg concert in Toronto

April 20th, 2014 · Music, Real-life Adventure Tales

“It’s Your World, So Live In It”




Note:  Years ago when I picked the best musical performances I ever saw after watching thousands and reviewing hundreds for RockPeaks, it was a Johnny Clegg clip that I considered the greatest single musical performance I ever saw.

*          *          *

At the end of the darkness following Jerry Garcia’s death, the first instrument I heard played live a month or two later was a solo violin in an art gallery — and it was so beautiful it brought me to tears.  After that breakthrough, when music seemed possible again, the first ensemble I went to hear was Johnny Clegg.  He seemed the right and only music worthy of breaking the spell of silence — one of the few musicians whose impact transcends the medium — and it stole my face right off my head!  That this similarly inspiring polyrhythmic mystic music was still being made broke down a wall and made me believe in the magic of the musical muse once again.

And here he was … comin’ around … comin’ around … in a circle.

The only floor ticket left to buy five months ago was one of those wheelchair accompany seats.  As a former caregiver, I knew the routine, where you’re the seat by the wheelchair spot, in this case towards the back of this gorgeous new 1,100 seat Royal Conservatory of Music hall, which feels even smaller with the two tightly stacked circular balconies.  It’s got the best and latest of everything, is acoustically immaculate and visually melodic, with plushy seats, high-class uniformed ushers, and royal everything.

When Johnny’s son Jesse was doing his half-hour opening set, during the last song I went down for a serious recon and the only empty seats were a nice 4-spot on the aisle in the 9th row!  Ha!  So, of course I move there during the break and that’s where I experience the show — until of course the manic dancing for the climactic five songs which were spent up front with the bouncing joyous Canadian spirits.

The show was great, and afterwards, as usual and expected, I was fully satiated by the magic conjured by this all-South African troupe, and ready to groove-sail into the blissful Torontonian night.  But when you exited the theatre into the lobby, they’d actually hired another South African band to play as people were leaving!  It was so Bill Graham of them … simultaneously encouraging people to linger and sponsor a World Vision child as Johnny’s promoting, and generally continue the experience and perhaps have another beer or wine or whatever and dig on some music and bask in the glow of fellow concert goers before heading out into the cold late-snap April air.

And bliss it was, too — including this nice outdoor balcony a person could slip out on have a smoke or make a call.  And I’m hangin’, and fine groove though it is, I’m finally figuring — it’s time for the post-show / pre-drive-home pee.  Just for the trip of it, I decide to take the nearby elevator down instead of the faraway stairs, and as I’m waiting by the silver doors, these two well-to-do women come along, accompanied by a walkie-talkied Security Lady.

The two women are bubbly and friendly as hell … but they’ve got this bring-me-down chaperone with them.  Meanwhile, I’m trying to go down to the ground floor, but the elevator comes and it’s going up, which is where this trio was headed.  And I’m, “Hmm … let’s see … you three are going to the third floor … after the show’s ended … why would that be?”

So, I totally make friends with the happy duo who are just blubbering over new Johnny CDs in their hands and jammin in the joy of the just-birthed show.  So, in an elevator ride of two floors, we become total besties.  “Make friends with everybody,” I always say.  Might as well.

At the third and top floor, Security Lady tells me there’s no bathrooms up here and I have to go back down.  But … I know there’s bathrooms on this floor.  I pre-scouted the shit outta this place.   And the two freindlys walk out the elevator and go, “Oh, look, there’s one right here!”  Uh-huh.  So I slip out the closing doors behind them, turn left down the carpeted hallway towards the men’s room, and Stop — in the name of … them having enough time to walk away.  Turn, go back to the edge of the hallway/elevator alcove opening just in time to see Security Lady lead the two birds diagonally across the balcony atrium and into the only room up there, about a 20-foot lobby-cross away.

So, I make myself disappear — the old into the bathroom routine, while Security Lady hopefully leaves after her escorting duties.  Come back out … and I’m on the third floor of this wild open atrium that goes all the way down to the band playing below … and the two outer walls … are all glass!  Ah-ha!  So I stand back against the opposing wall and with the pitch-black midnight mirrors I can see the empty lobby with the Shining bar along the wall and no one there except for the lone bartender and this one old security suit aimlessly pacing around, way past his bedtime by the looks of things.

I kept watching in the window-mirror until he slumber lumbered off in the other direction towards the far end of the balcony lobby then just bolted like I’m on an urgent mission straight from my hidden cave to the cross-lobby opposing secret sacred door alcove … which turns out to be two doors!  Both wide open!  And the first person I see is … Johnny Clegg! in a post-show bright red shirt!  BOOM!

Keep goin’ right on in, no hesitation, you belong in that room.  And the very next face I see is his son Jesse!  Who’s name is pronounced Jess, or at least that’s what Pops calls him.  Anyway, he’s not surrounded like “the old man” is — as he calls Pops.  So I walk right up and tell him I liked his opening set, which was actually really good, hypnotic, up-tempo acoustic, just him and the old man’s guitarist who’s been with him since the Savuka days accompanying.  Jess’s girlfriend’s from Toronto and he recorded his latest album here at David Botterill’s Rattlesnake Studios and we got talkin’ about Canadian immigration and visas and gigs … and how they’re doing this whole tour by bus, and I mention how they were soon playing both Boulder and Saskatoon — two usual places I’m familiar with.  And he goes, “Yeah — and they’re back-to-back.”


“Fourteen-hundred miles.  We’re staying an extra night in Mile-high to rest up the driver.”

And then he starts telling me about how the Old Man just gave a lecture at Dartmouth College in New Hampshire, and how he riffed for an hour and a half without notes, and I told Jess the truth: “Your dad’s as good a storyteller as he is a musician.”  Cuz all during the show he told the most wonderful and elaborate tales about South Africa and life and death that echoed with the rich anthropology that Johnny not only lived through and studied but also taught at the university in Johannesburg.  Then Jess tells me about how he and one of the crew slipped off afterwards to a college keg party … in order to study first-hand the anthropology of American students in their natural habitat, you understand.

And the whole time he’s talking with that great lyrical British/South African accent that also weirdly comes through in their singing sometimes.  Ya know how you don’t hear much of a British accent in most of the British groups/singers’ recordings?  Well, somehow in Johnny’s singing, his accent often comes through.  It’s weird, and wonderful.  Anywho, they both talk with that lovely lyrical sing-songy lilt.

And as Jess and I are hangin’, we’re right near the Old Man, who has a kinda unofficial receiving line going on.  And these different people are hanging around biding their time to go up and shake his hand.  And it’s the same thing for all famous people who’ve affected others in a deep way — each person wants to share their story — how much the music meant to them, some pivotal moment where their life changed after hearing it — and he’s really gracious the whole time.

Then this funny thing happened where … when somebody came up to talk to Jess, I’d just spin over to Johnny beside me, and we somehow fell into this improvised routine where he started using me as his straight man.  He’d already seen me groovin with Jess, and … he’d often say these funny things, but the person he was meeting was so sorta nervous or whatever that they wouldn’t get he was making a joke.  But I would.  And he’d turn and twinkle wrinkle his eyes to me … and I ended up playing Ed McMahon to this Johnny all night.  What a hoot!



Johnny Clegg, yours unruly, son Jesse Clegg

Note the eye line   ;-)

And another funny part was later when thing’s were kinda winding down I blurted my own gushing “moment” with him!  I tell him how the climax of tonight’s show actually had me choked up seeing all these (I didn’t say it but) normally reserved Torontonians up and dancing.  It was crazy cuz it was this what I call a “PBS audience,” all these lefty greybeards and beardettes in an already absurdly reserved audience city that does not get up and dance almost ever.  But it was the women especially who were breakin’ ranks and excuse-me dashing from their mid-row seats out to the aisles and letting loose and we all had a helluva dance party out there, lemme tell ya! :-)

It was so heartening and joyous I was actually chokin’ up in the glowing love energy moment … I had to force myself to not just start balling outright cuz I was, ya know, in a room full of people, but it was that beautiful a moment …

So I tell ol’ Johnny this emotion he evoked, and he’s like, “Yeah, uh-huh. Next.” !  After all my Ed McMahoning I was a little disappointed!

Nah — he didn’t really say that, he said something really nice.  But the point is everybody, including me, thinks their precious anecdote is of vital importance … but people like Sri Clegg have heard so often stories of transformation from their art … it’s just part of the soundtrack of their lives.  Imagine having people come up to you, multiple times a day, telling you how you changed their life.  And then it happening day after day, year after year.  Psycho trips, man.  Then add psychotropic drugs.  By the bushel … … …

Wait, where were we?  Oh yeah, I worked around pop-stars-of-the-month at MTV and it’s such a totally different trip when it’s artist-fans who’ve been sharing the same spiritual path for decades.  And Johnny’s been on this path since he first heard a guitar in the streets of Johannesburg in the 1960s.  As a South African I met recently said when I mentioned Johnny Clegg — “You just said the magic words.”

So, there we were, eye-to-eye — the two of us exactly the same height — check out the eye-line in the photo.  It’s not often you talk with someone who’s on exactly the same level as you. ;-)  Anyway, I ask him about his Asimbonanga performance when Mandela came out that was cited and quoted and shown all over the world after Madiba died a few months ago, and how I reviewed that very performance years ago and was now finally able to identify the heretofore unknown location of the gig from the horse’s source, and he told me it was the closing night of some world health conference in Frankfurt, Germany, where Mandela had given the keynote speech, then stuck around for brother Johnny’s show.

Also … it hit me a couple days ago playin’ old discs n tapes that Savuka’s album cover had Johnny with a kid on his shoulders and I asked and sure enough that’s now 25-year-old Jesse.

I love this city.  And so do a bunch of other people.  And it was so great cuz some of the locals are white South Africans talking about how important Johnny’s music was to them as white South Africans — how it gave them strength and vision and direction of how to act with both purpose and dignity in their country’s racial revolution.  And then there were these super dark-skinned South African Zulus who’d talked with him in their native tongue, and oh MAN! Is that one weird language!  Holy surreal syllables, WhaKoBan!  It ain’t exactly rooted in Latin!

And the son’s drinking white wine, and I’ve got a frosty local Steam Whistle, and Johnny’s got a straw in a tall glass of Coke, which somehow me and Jess start goofing with him on his line about “kinky kola” in “Digging For Some Words” and I ask him straight-up, “What the hell does that mean, anyway? Sexy Coke?” and he smiled and nodded a sort of Yes but wasn’t about to elaborate, as is the poet’s right, and at least not with his son standing right there.

And it was all magic and fun and then that part was over in the blink of a bus run but just to flip back …


There was this stupendous two-hour concert …

The thing that’s different from his ’80s and ’90s concerts when I last saw him — he’s really evolved into a storyteller.  It’s great.  I remember Sinatra did this.  Randy Bachman does it.  Neil Young’s been rambling a lot lately.  He doesn’t do it every song, maybe every second or third he tells an elaborate wild wonderful story.  It’s great.  But unlike those other narrative musicians, some of this guy’s stories involve band members and friends being killed in the warfare in South Africa.  The whole show was kinda like the Director’s Commentary on movie DVDs … explaining the motivations and background behind his shots/songs.  Like how the ground stomp was as important as the kick in the tribal dance he did.  If you don’t know, this guy studied and performed with Zulu dance masters and was fluent in the spoken language by age 16.

And it’s all about The Songs. It’s still that ripple from The Beatles’ splash — musicians writing Their Own songs.  And Johnny now has a lifetime of them — anthemic authentic Zulu-Western songblends that grew out of the streets and tribal lands of a segregated country that he brought together musically.  He’s got so many hits spanning so many decades he didn’t even have time to play them all in a two hour show.  And it’s the punchy unpredictable arrangements … in an uncategorizable sound.  It’s jazz, it’s pop, Afro-beat, juju, and all with a rock band foundation. It’s multi-linguistic, multi-ethnic and multi-instrumental.  It’s multiple forms of magic.

And it’s all about The Players!  This band!  These harmonies!  Great 3-part all night, including the soprano he’s been teamed with since the ’80s, Mandisa Dlanga.  And the guitarist and musical director, Andy Innes, who’s been with him since the ’92 Savuka days and switches off on electric, acoustic and mandolin.  And then there’s the all-purpose horn man on alto and soprano sax as well as the keyboard fills, Brendan Ross.

And it’s all about The Vibe.  It’s some sort of crazy mix between a black Baptist Sunday revival and a folk singer protest rally.  It’s Sam Cooke, “A Change Is Gonna Come,” and Bob Dylan “With God On Our Side.”  At the same time.

And in this sort of revival preacher mode, he climaxes the main part of the show with “Cruel Crazy Beautiful World” (written for son Jesse) with its joyous endless chanting refrain, “It’s your world, so live in it,” over and over as the audience starts LIVING a few degrees higher than they were before.  And in the truest gospel tradition, he ends the final encore song, “Dela,” with its benediction — “I’ll pray for you,” and makes a point of saying it directly to every person in the room.

And … that’s sorta what Johnny Clegg’s like.


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Set list (except for a couple songs I didn’t know):

Heart Of A Dancer
I Call Your Name
Take My Heart Away
Bullets For Bafazan
Digging For Some Words
Step Into My Circle Of Life
The Crossing
Great Heart
Cruel Crazy Beautiful World
Dela (I Know Why The Dog Howls At The Moon)


The band:

Johnny Clegg — acoustic guitar, concertina, lead vocals and storytelling

Andy Innes (from the U.K. and S.A) — guitars, mandolin, vocals (the band’s Musical Director, who’s been with Johnny for last 22 years)

Brendan Ross (from Pretoria) — alto and soprano saxes, keyboards, vocals

Trevor Donjeany (from Durban) — bass and vocals

Barry Van Zyl (from Capetown) — drums and percussion

Mandisa Dlanga (from Lusikisiki) — harmony vocals (been singing with Johnny for 26 years)




Or for some other adventures there’s also the Sneaking onto the Pittsburgh Penguins Bus During the Playoffs story 

or for another Toronto concert night that ended with hanging with the band, check out what happened at Dr. John

or there’s the sneaking backstage at the On The Road premiere and meeting Walter Salles story

or going to Shakespeare’s Globe and hanging with the cast doing magic tricks afterwards

or this Long Island Mansions Adventure with Steve Winwood, Sheryl Crow and a bunch of others 

or that one with Carolyn & John Cassady at the Northport Big Sur reading 

or that time I drove the whole length of Manhattan in about a non-stop minute story

or speaking of on the road here’s the account of what went down the day the Original Scroll was auctioned

or that whole Obama Inauguration Woodstock was just insane!



Brian Hassett

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Shakespeare’s Globe Adventure

March 29th, 2014 · Real-life Adventure Tales, Weird Things About Me

The Taming of The Shoobeedoobie”




Next stop, Shakespeare’s Globe,” says the driver downstairs on the red double-decker bus winding its way through the narrow South Bank streets of London.

I went early so I could do the official tour of the theater, and of course the guide was extremely well-versed, among other things explaining how back in the day the audience would drop their pence or two in the admission box, and then they’d go lock up the box in an office. That is, the “box office.”

And of course he and I start jammin’ and it causes our little tour to run way overtime.


Then I ask Mr. Cool-Guide if I can go back into the private area and look at their wall with all the founding donors’ signatures cuz I know Carolyn Cassady who I’m staying with is one of ‘em.  And he lets me!

But when we get to this huge bronze wall of little signatures at the top of the stairs, he’s thinking, “Why did I let this guy back here?  He’s never gonna find one signature …” and right away starts mumbling out loud, “Um, people aren’t really supposed to be back here, and uh … ”  Boom!  —  “THERE IT IS!!”



And as I’m taking a picture of it he’s sayin – twice –  “I can’t believe you found it that fast!” :-)

After this score, I do the whole two-floor exhibit on Shakey Willie and how this theatre’s exact replica reconstruction took 50 years to happen, and I spend the whole afternoon totally living it and transported back to the horse & peasant days.

I’d made a bunch of really awesome daytime plans for a boat ride on the Thames and exploring Potters Field by Tower Bridge for the Olympic screen-scene, but once I was back in ancient England it was, “I’m not leavin’ Shakespeareville!”


At some point I slip through the back gates and end up backstage sitting at a courtyard picnic table with the props guys, and one of ‘em says, “You wanna beer?” and hands me a frosty Corona from the crew cooler and proceeds to tell me all these wild stories of how they do the “O.P.” shows, Original Practices, and how everything’s done exactly like it was in 1600 and all the costumes are dyed with animal fluids, and washed by hand, and the neck ruffs are made with pins-only — about 200 of them! — and how they toured America and played a prison and the guards counted every pin coming in, and the crew had to manually count and account for every pin coming out!

Next thing I know I’m in my freakin front-row-center lower balcony seat overlooking the groundlings on the floor — best seat in the house — and the show’s to die for!


And one of my questions going in was — are they gonna do the opening Induction?  It’s this whole weird set-up to the play that’s often not performed — this elaborate premise that there’s some debate about whether it actually connects to the play or not.

But before it even starts there’s this drunk guy on the floor who gets into a fight or something with the staff!  And it starts to escalate, and to get away from it the guy actually runs up on the stage!  And security’s called, but before they can get there the guy starts taking a wiz against one the pillars!  And then he starts stumbling around and literally pisses on the audience!  And this poor guy in the crowd runs out screaming for a towel!  And the drunk guy passes out or worse on the stage and the freakin’ paramedics get called!  And the stage manager in her headset runs up there and is telling everybody what to do, and the crew and actors all peak out from the wings, and eventually she says the show has to be cancelled.


And I’m like, “Dude!  This is two times in a row!!  Can’t you guys put on a show in this town?!”  This just happened when I went to Long Day’s Journey Into Night last week!  They had some electrical fire backstage and the stage manager came out and cancelled the show half-way through the first act!

But eventually they wake up the drunk guy and decide to put on a play for him.  Just as Shakey Willie designed it.

And thus it was we were introduced to the supreme majesty of THE theatrical master.


And of course the whole play — “The Taming Of The Shrew” — is insanely great, and they work with the groundlings on the floor during the entire show.  At least half the stage entrances and exits are done walking down into the standing audience — pushing through them, starting arguments with them, hugging them, seeking their guidance — extending the play to forcefully include the audience whether they like it or not.  No getting around this one.  Yer in it.

And Then!  All of Shakey’s plays back in the day ended with a jig!  I never knew that.  But all the actors would come out and have a party on stage and dance and improvise songs and interact with the audience and confirm to them this was all a play and a party and they’d end with a dance, the healthiest of human activities, London Olympics be damned.  So this whole theatre-wide dance party happens, with everybody on stage and in the audience up and dancing and clapping and hooting and whooping.

And when the show’s finally over … I don’t leave.  It’s just the way I don’t roll.  I let everybody else make like sardines while I stay in my seat soakin’ it in, the last guy to leave the balcony.


And even after that, I linger in the second floor lobby of the modern building we exit into, and Boom!  there’s the absolutely gorgeous delicate blond young-Michelle-Pfeiffer-looking actress, Sarah MacRae, who of course I had an instant crush on, walking right towards me!  I jump at it and thank her for the great show and she’s all smiles and lovely and graceful and grateful.  And as I can’t take my eyes off her I see her slip through some unmarked door.  Ah-ha!

The power of the pre-scout, baby!  I knew that that Open Sesame actually led to an adjacent Shakespeare-themed bar.  So I follow her in, and right away meet one of my favorite actors from the play — in a supporting role, but he just Crushed it all night — Tom Godwin.  In fact, he was also one of the musicians and at one point riffed a really funny “Johnny B. Goode” that got a theatre-wide laugh.

So we start talking and really getting into it and after a bit he pulls a cig out of a pack and I’m like, “Oh, can you smoke in here?”

And he’s, “No, I’m gonna go out there,” nodding to the outdoor patio.  And I’m, “Oh cool, I’ll get a pint and join you,” and he’s like, “Yeah, great, do that.”

So I go out … and the guy’s actually waiting for me!  And it’s this whole private patio garden bar overlooking The Globe and the mighty Thames and the whole cast is there including Michelle Pfeiffer looking like a white rose in bloom, and Tom & I start jammin’ fast n furious on Shakey Willie and theater and how to do it.  And right away we fall in with one of the leads, “Lucentio,” and we’re all jamming the rehearsal process and turning the words into actions and creating the direction and Shakespeare vs. O’Neill and the overt sexual entendres in this 400 year old play and how slapstick isn’t a bad thing, and I’m having such a good time with these two I go ahead and have them sign my program.  Gotta be the first time since I was a kid that I asked for an autograph, but we were having such a grand old groove of it on this riverside balcony with couches and cold ones, and I had one of these cool new £4 programs they sell insteada giving you a free one, but they’re so much nicer, and how many times do Shakespearean actors get asked for autographs?  So the program gets passed around and about a dozen of them sign cool chit in it.


And I’m telling them the “Long Day’s Journey Into Night” story about the stage manager coming out to cancel the show, and how that’s now happened to me twice in a row in London!  It kills.

And then one of the actors, he’s 26, in his first Shakespeare play, and is a total freakin’ Prankster, starts doin’ magic tricks right in front of us in the latenight trip of it all.  In the middle of a conversation he suddenly starts spitting pins out of his mouth as though they kept unexpectedly showing up there.

And then he gets prodded by his troupe for more, so he tears off a long strip from a paper napkin on the table, hands it to a brother actor, and says, “Is that just a piece of tissue paper?”


Hands him a lighter.  “Prove it — light it on fire.”  So he does.  And as it’s burning the guy reaches into the middle of the flame with his finger and thumb and pulls out … a crisp 10-pound note!

And then some New York actress falls into the scene, and the volume kicks up, but there’s also some bar manager nosin’ around startin’ to bust us for being in a pub after 11 PM in this Puritan country, and finally people start to cut out — and fully half the actors leave by bicycle!

For the first time all night I look at my watch and — “Holy oh-oh!” — it’s 20 minutes till the last train outta London!!

So I book it down the back stairs to the Thames — and on this pedestrian-only walkway … sits a freakin cab!  What?!  No way!!  Boom!  And he even knows a place between here and Waterloo Station to grab some late night beers-to-go, hits it on the way, and I’m once again on the last train outta Dodge with a pocketful of prosody.





Or for some other adventures there’s also the Sneaking onto the Pittsburgh Penguins Bus During the Playoffs story 

or the sneaking backstage at the On The Road premiere and meeting Walter Salles story 

or this Long Island Mansions Adventure with Steve Winwood, Sheryl Crow and a bunch of others 

or that one with Carolyn and John Cassady at the Northport Big Sur reading 

or that time I drove the whole length of Manhattan in about a non-stop minute story

or speaking of On The Road here’s the account of what went down the day the Original Scroll was auctioned

or that whole Obama Inauguration Woodstock was just insane!



Brian Hassett


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Kerouac Birthday Bash in London

February 15th, 2014 · Kerouac and The Beats, Real-life Adventure Tales


Roaring at The Lion


He’s Ninety-Two

Let’s Hoist a Few

The Jack Kerouac Birthday Bash

On The Road in London

March 12th, 2014, 9 PM

The Red Lion


 Brian Hassett — from New York City

 John Cassady — from San Francisco

 Sam Hammond — Swiss Lips bandleader

 Julian Joyce — Jam Junkies blues blower

 Paul Kirkby — British bandleader

Readings, music, songs & stories



Sponsored by: The Beat Museum and LiteraryKicks

A  Spirit  Production


For more Brian and John Cassady Adventures — check out The Northport Report.

For more on John and his mum Carolyn — check out The White Knight & The Queen.

Or for other On The Road Adventures in England — check out the On The Road movie premiere.

Or for a whole other wild ride — check out hanging with director Walter Salles at the On The Road movie premiere in Toronto.

Or for a complete overview of all the Beat movies — check out The Beat Movie Guide.

Or for a poetic riff of one of these Beats and music shows — check out Be The Invincible Spirit You Are.


by Brian Hassett


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Olympic Hockey Sochi 2014

January 2nd, 2014 · The Hockey Hippie

Olympic Hockey — Sochi, Russia, 2014




The Eastern Time Zone in North America is 9 hours earlier than Sochi, Russia.

The broadcast networks are — CBC and NBC.

Canada is currently ranked 5th in the world — we’ve sure fallen a long way since The Golden Goal!

Current IIHF World Rankings — click on country name for each 2014 Olympic roster

1. Sweden
2. Finland
3. Russia
4. Czechs
5. Canada  — here’s their jerseys.
6. U.S.A.  —  here’s their jerseys.
7. Switzerland
8. Slovakia


Or all rosters are officially laid out on the NHL’s site here.


The Goalies:

Carey Price — .924 Sv % — 2.30 GAA (Montreal)
Roberto Luongo — .933 Sv% — 2.22GAA (Vancouver)

Ryan Miller — .927 Sv% — 2.60GAA (Buffalo)
Jonathan Quick — .918 Sv% — 2.05GAA (L.A.)

Henrik Lundqvist — .914 Sv% — 2.58GAA    (Rangers)
Jonas Gustavsson — .914 Sv% — 2.39GAA    (Detroit)

Tuukka Rask —  .929 Sv% — 2.11GAA    (Boston)
Antti Niemi — .913 Sv% — 2.39GAA    (San Jose)
Kari Lehtonen — .915 Sv% — 2.65AGAA    (Dallas)

Semyon Varlamov — .927 Sv% — 2.34GAA   (Colorado)
Sergei Bobrovsky — .916 Sv% — 2.53GAA  (Columbus)

Ondrej Pavelec — .899 Sv% — 3.02GAA   (Winnipeg)

Jaroslav Halak — .912 SV% — 2.29GAA  (St. Louis)


For some reason Canada lucked out in the groupings — playing our three seed-determining round-robin games against, in order, Norway, Austria and Finland.

Whereas the USA has Russia & Slovakia in their group;   and Sweden and the Czechs are in the same group.

We also have the preferred time slot for all the round-robin games — the last game of the day, 9PM local, or Noon in the Eastern time zone in North America.
Whereas the USA is playing all their games at 4:30PM local time, or 7:30AM on the East Coast.


Canada’s Schedule:   . . . . . (all times Eastern)

Noon Thurs Feb 13th — Canada vs. Norway

Noon Friday Feb 14th — Canada vs. Austria

Noon Sunday Feb 16th — The Big GameCanada vs. Finland


The U.S.’s Schedule:

7:30AM Thurs Feb 13th — USA vs. Slovakia

7:30AM Sat Feb 15th — USA vs. Russia

7:30AM Sun Feb 16th — USA vs. Slovenia


Other important dates / times:

Opening CeremoniesFriday Feb 7th — prolly around 9AM our time.

Sweden vs. Czechs — Noon Wed Feb 12th


Hockey Elimination / Playoff Games:

Quarterfinals — Wed Feb 19th — games at 3AM, 7:30AM, and Noon

Semi-finals — Friday Feb 21st — games at 7AM and Noon

Bronze Medal — Noon on Sat Feb 22nd

Gold Medal — 7AM on Sunday Feb 23rd


Useful Olympic newsfeed link from the NHL —


May luck, flukey bounces, and referees have nothing to do with the outcomes.




Here were the complete rosters including jersey numbers, stats, position, everything, for the top seven hockey nations for the 2010 Olympics.

Or here’s my Everything You Need To Know page for the 2010 Vancouver Olympics, Hockey Division.

Or here’s my photo album from attending the 2012 Olympics in London —

Or here’s my wild Sneaking Onto The Penguins Team Bus during the playoffs story from a few years ago.



by Brian Hassett  


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Nelson Mandela Musical Tribute

December 5th, 2013 · Music, Politics



With the passing of The Giant I thought of all great music he inspired …
and interestingly enough I’d reviewed a lot of it over the years so thought I’d put some of the best together here …

This is my single favorite clip of all the live music performances I’ve ever seen on film … by anybody, ever … you just have to experience it …

And then that captured moment was so priceless and impactful that the performer, Johnny Clegg, used it in his 2013 concert at the Royal Albert Hall in London.  And as The Great Spirit provides, one audience member up front was capturing it on his camera and shared it with the the world …

And here’s the same song, “Asimbonanga,”  sung by the Soweto Gospel Choir a few days after Madiba died . . . as a flash mob in a store!!

And then here he is two days later doing it solo with a choir at the Nelson Mandela Centre of Memory …

Or here’s an interesting version with Peter Gabriel on most of the lead vocals … and that builds to a rather choirific climax …


Then there was The Specials’ “Free Nelson Mandela” — the very first song in Western culture that brought attention to Mandela’s plight in early 1984.

Here’s the earliest live version of the song captured on film, on the offbeat Channel 4 show Tube, just before the song’s writer Jimmy Dammers would leave the band.  And don’t miss the surprise appearance by Elvis Costello.  ;-)


To these ears, the most powerfully rockin of all the Mandela songs is “(I Ain’t Gonna Play) Sun City,” written by Little Steven and recorded by his all-star assemblage Artists United Against Apartheid in 1985, following in the draft “We Are The World” earlier that year.

Here he is whipping the best live version ever captured on film — in the small-venue Ritz in NYC with brother Bruce showing up to join Little Steven’s Disciples of Soul … and whoever the hell that teeth-rattling bass player is — I want him in my band!


Here’s the long-form video of “Sun City” that Little Steven’s collective of masters made.  Some of the legends I noticed — Miles, Herbie, Dylan, Ringo, Springsteen, Bono, Lou Reed, Joey Ramone, Jackson Browne, Bonnie Raitt, Peter Wolf, Jimmy Cliff, The Temptations, Clarence Clemons, George Clinton, Afrika Bambaataa, Run-DMC, Darlene Love, Nona Hendrix, Ruben Blades, Peter Garrett from Midnight Oil … and … my old front yard, Washington Square Park, was the setting of the climactic choir scenes!  ;-)


And in 1988 when Jimmy Dammers, the guy from The Specials who wrote “Free Nelson Mandela,” organized the massive all-star “Nelson Mandela 70th Birthday Tribute” at Wembley Stadium, he was able to summon the likes of Little Steven, Peter Gabriel, Eric Clapton, Dire Straits, The Eurythmics, Whitney Houston, Stevie Wonder, Sting, Joe Cocker, Hugh Masekela, Miriam Makeba, Simple Minds, UB40, Youssou N’Dour, Jackson Browne, Chrissie Hynde, Tracy Chapman, Paul Carrack and loads of others.

Here’s the first five minutes of the all-star “Sun City” from this gig — including Little Steven’s rippin rap about “the terrorist government of South Africa” before being backed by Simple Minds with Peter Gabriel, Youssou N’Dour, Jackson Browne and others …


Or here’s where Gabriel and Youssou N’Dour join Simple Minds for an hypnotic “Biko” — a song about another political anti-apartheid activist in South Africa — but who was killed by the police in 1977 …


Or here’s Aswad leading Sly & Robbie, Gabriel, Youssou and a ton of others in a joyous “Set Them Free” …


Or here’s Simple Minds — who were the basically the house band at the Wembley 70th Birthday Tribute — doing their “Mandela Day” …


And, okay, this has nothing to do with Mandela, but The Eurythmics do a “There Must Be An Angel” with the most soaring melodic harp solo I’ve ever heard delivered in a stadium … you just gotta experience this … it’s the climactic two minutes of the song …
and not fer nuthin but … the best female vocalist on the stage is not Annie Lennox.
Check it.


= = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = =

For more Adventures in music you can check out the (Route) 66 Best live performances ever captured on film.

Or for the similar time we lost a global giant — John Lennon

Or Paul Simon playing Graceland in Hyde Park in London. 

Or the night Dylan showed up at Springsteen’s show at Shea Stadium in New York.

Or the New Orleans Jazz Fest ride.

Or how The Grateful Dead came to play my 30th birthday.

Or when Dr. John came to Toronto and I hung with the band afterwards.

Or when Neil Young returned to Massey Hall in Toronto.

Or Furthur came back and reprised the Dead at Madison Square Garden.

Or when the Dead, Janis, The Band and others took the Festival Express train trip across Canada.

Or here’s the day I finally “got” Bob Dylan

Or for all the music stories in general go here.




Brian Hassett

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Haiku for Carolyn Cassady

November 28th, 2013 · Kerouac and The Beats, Poetry

I just came across this in the files.  Glad I did.  Kinda cool.

They’re not really traditional 5–7–5 haiku — they’re what Kerouac called Western Haiku — “simple 3-line poems that make a little picture” — written while I was living with and inspired by Carolyn.  There certainly was something about that woman that inspired.  She had so many arts flowing through her at every given moment — painting, writing, theater — it couldn’t help but transfer to those around her.

This outcropping, sketched over the summer of 2012, is a portrait of her, using a tiny haiku brush.

Everything comes directly from something she said or I saw.



Haiku For Carolyn


Portrait painter, married Adonis
loved a movie star
could still draw their faces from memory


Houseful of books
skyscraper stacks
grow on every surface


Still watches movies
like the set and costume designer
she always was


Still cooks every meal
meat, potatoes and veggie
like her bio-chemist father taught her


Touch-typing emails
looking at giant Mac screen
words flow with ease


In love with history
so much a part of it
and not just this lifetime


Designed her own garden
and put in a waterfall
knowing I was coming


WACed a war
mothered a family
batted away suitors by the battalion


Hung with heavies
but keeps it light
as fans gush their hearts


Still twinkles by day
and beams at night
reading in every morning


Turquoise and purple
color her home
herself and her life


She enjoyed this life
as much
as she enjoyed all her others


At home in her home
her skin
her life



Carolyn Cassady — 1923 – 2013 — RIP



For a nice remembrance upon her passing — check out my tribute to her.

Or for another ode to her from several cycles ago you can riff the Carolyn Birthday Poem.

Or for one of our many great adventures together, check out this one in Jack’s Long Island —  The Northport Report.

Or for a picture of her and John together check out this short portrait of their duet.

Or here’s another poem from when I was there about her as living history — The Royal Woods of Cassady County.

Or check out Kerouac’s own “Book of Haikus” masterfully put together by Regina Weinreich.

Or America’s foremost haiku authority Cor van den Heuvel’s definitive “Haiku Anthology



Brian Hassett

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Edie Kerouac Parker, Henri Cru and Allen Ginsberg — The Boulder Summit ’82

October 29th, 2013 · Kerouac and The Beats, Real-life Adventure Tales

Some of Jack’s oldest & dearest friends

Edie, Henri and Allen 



Edie and I in her living room in Grosse Pointe with her Jack paintings.

Here’s an excerpt from my forthcoming book about
the Jack Kerouac Conference in Boulder, 1982 —
the Woodstock of the Beats


Jack’s first wife Edie was the one I could talk to back then — and in fact would grow to become close friends with shortly after the conference.  She even enlisted me to write her autobiography with her, which seemed like the opportunity of a lifetime, until I learned she’d already scratched out a thousand pages … and wasn’t even up to where she met Jack! She was absolutely insistent that every detail of every moment of her life be included, and even at my young age with this huge opportunity before me I knew this would be an impossible task and we’d end up fighting over every detailed description of every piece of clothing she ever wore … so I didn’t end up joining her on the journey and we stayed friends instead.

Where Jan and Carolyn were shy and quiet, Edie was a ball of fire — always talking, often to more than one person at once, telling stories, and relishing the spotlight. Where Jan didn’t want to go in front of a microphone, Edie would eat them up like the six sauerkraut hotdogs she ate the first time she met Jack, the story of which she probably told 60,000 times over that week.

She was a hoot, a bona fide character, “a real pisser” as they called people like her back in the day, a “dynamite broad,” a catalytic woman, gregarious, a natural chatterbox, a female Neal in her confidence and making the party jump wherever she went.

She came with all these paintings she claimed Jack painted, but nobody was ever able to authenticate them. She had them displayed in her room and at an art gallery show that was part of the conference and she was trying to sell them or get them in a museum or something. Never happened.

She and Henri Cru were a real going concern for a while — until Henri made the mistake of introducing her to his friend Jack. That kinda put a damper on their relationship for oh about 40 years. But the old lovebirds finally reconnected in 1980 and became fast friends again for the rest of their days. And I could sure see why after I also became friends with ol’ Henri in the months following the conference.

These two birds were sure flappin’ the same feathers — always workin’ the angles to hustle a buck. And I don’t mean that in a bad way. They were both generous, giving, loving, people people, but they always had some wild get-rich-quick scheme and about 20 deals in the middle of being made at all times. Jack coulda written whole books about either one of these two.

The thing about Henri was — he had the greatest laugh in the world — but Jack already told you that in “On The Road.”  And yeah — there was a pattern here among his old compadres. Henri was a born dry comic who loved to deliver these drop dead funny lines totally straight and only move his eyeballs to see if you got it. And if you did, he’d explode with this high-pitched hee-hee-hee which would make you laugh even more which would make him laugh even more.

He had these stock lines he’d deliver over and over — “You can’t teach the old maestro and new tune.” Or “Plant ya now and dig ya later.” Or if someone wasn’t talking, “You wouldn’t say shit if you had a mouthful.” And for years he’d been immortalizing these sayings into rubber stamps he had made at some little shop in Chinatown. He had hundreds of them stored in various old fishing tackle boxes — sometimes whole 3-sentence jokes he thought were hilarious but were really just extremely corny puns. Maybe this was his way of getting his words in print like his friend Jack, I don’t know, but sometimes he’d send out whole letters to people that were nothing but pages of his stamped jokes and quotes of wisdom!

Unlike the people who’d made the pilgrimage to Boulder, which Henri couldn’t do because he’d just recently been confined to a wheelchair due to losing half a leg to diabetes, but he also wouldn’t do it because he didn’t share the assembled’s awe of his friend since high school. As Henri said, he “wasn’t entirely pleased” with how Jack portrayed him in his novels (even though anyone who knew Henri knew Jack painted a vividly true and loving portrait), and he didn’t care much for Jack’s “fruity” friends, or how rude he could be when drunk. ‘Course, that didn’t stop him from listing himself in the Manhattan phone book until the day he died as “Remi Boncoeur,” the pseudonym Jack gave him in “On The Road.”  What the old buddies were, more than anything, were two dashing young men on the town on the make. Neither of them, as it turned out, were really the settle-down marrying types (as Henri put it, “I don’t breed well in captivity”), but they both loved to have a pretty woman on their arm and in their bed — and sometimes it turned out to be the same woman.



Henri Cru’s 70th birthday – April 1991.
Henri in the chair — me in the peacoat,
Stringbeans Kurman & Tim Moran in the back,
Mary & Alexandra behind Henri,
outside the Blue Note Jazz Club
where we saw Maynard Ferguson,
West Third & Sixth Ave. in the Village,
with the famous Waverly Theater over our shoulders,
where “On The Road” would finally open in NY 20 years later.

This gathering in Boulder was the first time Edie’d ever appeared anywhere to talk about Jack — but then that was the case for a lot of these people, this being the first major summit and all.  But she knew Jack before anyone else who was here — having met him when they were both teenagers in 1939 and fallen in love not long after.

In fact, she had this whole thing she called “the ’40s group” — which was just her, Allen, Burroughs and Huncke — the core four who pre-dated everybody.  Neal, Carolyn, Holmes, Corso, Ferlinghetti — they all came years of youth later.  You remember who your oldest friends are — who came first, who dates back the furthest.  And same with Edie — acutely aware of who the original gang was, and she made a point of reconnecting with each of them, but especially with Herbert who, for whatever reason, she seemed to dig the most. But then — that was my vibe, too.

And just to be clear — Allen was The Man. This whole thing happened because of him, start to finish.  As an event producer myself … you don’t get to hang with your friends and have fun.  I mean, you do on a deeper and long-term level, but in the present it’s all work, check lists, constant mental mapping of the future minutes, hours and days.

And that’s what Allen was doing — working his ass off — starting more than a year before this happened, and then all during it, not only coordinating every damn thing that went on, but also conducting writing workshops, doing reading performances (where he killed), press conferences, conflict resolution, into leading silent meditation sessions, then back into administrative crap, and more hassle defusing, and croissant monitoring, and panelist rescheduling, and housing management, and dinner arranging, and most importantly — Vibe Establishing. It was all from his Tender Heart that this whole thing sprung and kept springing.  And he was everywhere at once.

Neal Cassady + Bill Graham = Allen Ginsberg

But first came Edie — who introduced her brainy boyfriend Jack to this cool guy from her Columbia art class, Lucien Carr … who in turn introduced Jack to his life-altering partners in crime Allen Ginsberg and Bill Burroughs … making it pretty easy to peg the Beat Generation’s inception to Edie’s introduction and the all-night drinking and talking and phonograph playing sessions they danced across the universe in the four rooms of the Morningside Heights apartment she shared with one Joan Vollmer Adams.

As much as Jack and the Beats were products and practitioners of the male-centric world of the 1940s and ’50s, it was almost comically common for the women to be the real catalysts of change and creation.  It was Jack’s mother who gave her grown-up son the love and shelter and stability to write and preserve his manuscripts. It was his last wife Stella who was keeping his filing cabinets and archives intact after Memere’s death.  It was Ann Charters who was the first scholar to take him seriously — and while he was still alive — showing up on his doorstep in 1966 to begin the work that would become his first biography.  It was his second wife, Joan Haverty, who had the job that paid the rent on the apartment at 454 West 20th Street that gave Jack the space to write his career-changing scroll of On The Road in that 20-day shot in 1951.  It was Carolyn who first moved to San Francisco, 1947 — long before Ferlinghetti or any of them — and THAT’s why Neal went there, followed by Jack, Allen and the domino tumble of history.  And it was one wild fun-loving woman named Frankie Edie Parker from Grosse Pointe, Michigan, who chose to room with a like-spirited woman who would soon be Mrs. Burroughs just as she’d be Mrs. Jack and who together hosted the rented Eden from which an entire generation spawned.


For more from the SuperSummit, check out Who All Was There.

Or … Meeting Your Heroes 101

Or another Beat summit adventure at the Big Sur gathering in Northport.

Or my tribute to the mighty spirit and my close friend Carolyn Cassady.

Or for an over-all on all the Beat movies that have been coming out lately and throughout history check out The Beat Movie Guide.

Or for another Henri Cru story check out When The Legend Turned 70!

Or for a nice Beat riff about the live shows we did so often in the Village you can check out Be The Invincible Spirit You Are.




Brian Hassett

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Carolyn and John Cassady

September 27th, 2013 · Kerouac and The Beats

The White Knight and The Queen




Ya know how our favorite Beats were not exactly role-model parents?

How there aren’t a lot of heart-warming parent-child stories in Beatlandia?

Well, …
there is one.


Carolyn Cassady and her son John were sumpthin else.
Honestly I’m tearing up just now picturing them together.
It was the greatest thing.
They loved each other as much as two people can.

And they were like a comedy duo, like a Burns & Allen, or the Dashiell Hammett Thin Man couple, wise-crackin’ all the time — so in synch you’d think they’d been jamming since birth!

They had each other’s rhythms and thoughts DOWN — and could just play the other — it was amazing — like two instruments trading off in a band.

There could be a room fulla people and they’d be in different clusters and they’d still somehow be hearing each other and one would say something and the other would laugh from 10 feet away.

And they could tell the most risque jokes or one-liners that would make me blush — and the two of them would roar!

There were so many nights in hotel rooms or wherever that we’d all be talking and laughing so loud there were noise issues.

And this was never abating. They didn’t even have to be on the same continent and they could make each other laugh — just by hearing the other’s voice in their head.

When I mention in my tribute to Carolyn about her inspiring me with my own mom, it was really seeing them together that exploded my framework of what a parent-child relationship could be.

They were like two little kids when they were together.  Look at that picture above.  I bet that is the exact same expression of giddy silly playful joy she had when she was 4 years old. 

And they could also be like two comically complaining old fogies on a swing on a porch happily grousing about how things ain’t like they used to be.

What I’m saying is — there was at least one tremendous parent-child relationship up on the top of Mount Rushmore in South Beatlandia.



For one of our many great adventures together, check out this one in Jack’s Long Island —  The Northport Report;-)

Or for a sweet ode I wrote for Carolyn several cycles ago you can riff the  Carolyn Birthday Poem.

Or for the tribute to Carolyn upon her sad passing — check out my tribute to her.

Or here’s another poem about CC as living history from when I was living with her — The Royal Woods of Cassady County.



Brian Hassett

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Carolyn Cassady tribute 1923 – 2013

September 20th, 2013 · Kerouac and The Beats, Real-life Adventure Tales



Another giant has fallen — another angel taken flight.

Carolyn Cassady has just left us to join Neal and Jack on that great road trip in the sky.

Her son John, the light of her life, was there by her side till the end.
After a year’s refusal of entry into the U.K., just 3 months ago he was able to return to England to be with her.

She was her regular rockin self up through Sunday, woke up with a tummy ache Monday morning, had an infected appendix, and checked out by Friday.
We should all be so lucky.  She was 90 years old and still drank her white wine and smoked her More menthol ciggies every day.
That is to say — she was living the life she chose, on her own terms, in her own house, until the very end.

Besides Neal, it’s my considered opinion she was also the love of Jack Kerouac’s life — and in life they pledged to be together in the next one.

So there’s that.


Carolyn was spiritual, an intuitive channel, naturally smart, well educated, well read, independent, creative, curious as all get-out, strong yet loved hugs, uncommonly forgiving while still holding a firm sense of right and wrong, and was a helluva gifted portrait painter.  She sold hundreds of them.  

She grew up in a library of a house, with a biochemist father and English teacher mother, and intellectual discourse and reading were the orders of the day.

She got her BA as one of the first students at the revolutionary Bennington College in Vermont, then earned her MA in Theater and Fine Arts at the University of Denver, where she was living when she met Neal.

As I’ve mentioned before, Carolyn was the first of the then unnamed generation of Beats to move to San Francisco, and she was the reason Neal went there, which is why Jack went there, and so tumbled the dominoes of history.

I used to phone her at her cottage home in the forest around Windsor Castle every few months just to chat, and a little over a year ago she told me she didn’t expect to be here next year.

Since none of her three kids could get over there at that point, and I was sort of freed up for the first time with my mom just passing, I went and lived with her for 3 months, and boy did we have a good time!

When we first started hanging out in the early ’90s, we were having so much fun, it made me realize I could be doing this with my own mom, who was about the same age.  And for the next 15 years my mom and I took our adventure even further and were even better friends than we had been before — and it was thanks to Carolyn opening those doors wide so I could see how much possibility there was.

Carolyn was born a week after my mom in April, and died a week after her in September. I always wanted to get the two of them together but I guess we were always a week off.  Talk about fabulous roman candles exploding across the stars — those two together woulda lit up the night sky till dawn!

And she wasn’t just a surrogate mother to me, but was the den mother to the entire Beat Generation, the only one in that whole crazy krewe who maintained a home with kids and a garden – and a Kerouac bivouac under the backyard tree. And she remained a mother figure until the end to hundreds of fans who would email her, and she’d write every one back, offering her advice and years of wisdom to help with any problem anyone else had.

She maintained a routine for at least the last decade of her life, where she would do emails in the morning, read from a stack of books beside her bed all afternoon, and by 5:00 it was okay to have a glass of wine and watch the local and then Beeb national news, then quiz shows or nature documentaries in the evenings.

She also had shelves full of Beat movies that I went through and had us systematically watch every damn one, and I could ask her any question and we’d hit pause and go off on crazy tangents and get another glass of wine and maybe watch another five minutes then something else would come up and it would take us about ten hours to get through one movie!

And she’d always say to whoever was talking in a documentary, “That isn’t how it was!” and be correcting the history as it’s being presented. And the funniest time was when she was yelling at the screen, “That’s completely wrong! You don’t know what you’re talking about!” and it was her being interviewed!   :-)

She is survived by her beloved son John Allen Cassady — named for Kerouac, Ginsberg and Neal — but she called him Johnny. As well as by her daughter Jami “Jack liked me best” Cassady-Ratto, and her first-born Cathy Sylvia, as well as her grandchildren Jamie, Becky and Bill, and her great-grandchildren Jon, Ellie, David, Bradley, Elizabeth and . . . Cody. ;-)


Carolyn rocked —
              but she also held down the Beat so others could solo.


Carolyn Cassady      1923 – 2013       R.I.P.



For a sweet ode I wrote for her several cycles ago you can riff the  Carolyn Birthday Poem.

Or here’s another one about CC as living history from when I was living with her — The Royal Woods of Cassady County.

Or there’s our great adventure in Jack’s Long Island—  The Northport Report. ;-)

or for some pictures of her and her house when I was there last summer you can check out the FB photo albums …


For a riff on my Carolyn-like mom … check this  Song of Enid I Sing.




Brian Hassett

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Kill Your Darlings movie review

September 11th, 2013 · Kerouac and The Beats, Movies


Allen & Lucien — I mean, Radcliffe & DeHaan — sharing a laugh at the premiere gala at TIFF, next to Michael C. Hall (Kammerer) and Jack Huston (Kerouac).


Just home from “Kill Your Darlings” — the second of three movies based on Jack & the Beats being released within a few months of each other in this 2000-and-lucky-13.

The following goes into a lot of detail about the film.  Even though the storyline is not a mystery, if you want to keep the film a mystery for yourself, you should skip this.  On the other hand, there’s a lot of cool chit that’ll enhance your experience — or at least let you know what you’re in for.

This may be long and complicated — but to quote a memorable line from the movie: “I like complicated.”

The Setting:
The Toronto International Film Festival (TIFF) — at the festival and the city’s premier venue, Roy Thompson Hall — a high-end 2,000-seat symphonic concert hall.

The deal with having your film at this schmacy space, I found out, is that it has to be sponsored.  Mega-corps like (in this case) Audi, Visa & a corporate law firm, buy the venue including renting secondary rooms for VIP/client schmoozes — in fact, with full china sit-down table settings pre and post film for the suits ‘n’ manicures set.

Turns out — the only seats sold to the public are the balcony — in which I of course score front row.

So … playing in this huge ritzy showplace is a Beat movie about people who couldn’t afford a small bag of ($5) popcorn in the joint. And speaking of joints, it was a buzz to smell the righteous Canadian sweetleaf being sparked up as soon as the lights went out!

I talked to lots of people in line and in the theater and couldn’t find a single person coming because it was a Beat story — it was basically all Radcliffe fans — bringing serious flashbacks of the people swarming the On The Road premiere at TIFF a year ago this week for Kristen Stewart.

If they weren’t there for Radcliffe, most seemed to have come for some completely random reason, like they got a free ticket or it was the only movie they could get a ticket for.

And also bizarrely similar to OTR, the line-up outside was about a 70-30 majority of women over men.  Seems weird — but this was true of both these films’ premieres at TIFF, and the London premiere of OTR.  Except in this case, of the 30% who were male, about two-thirds were gay couples.  Apparently this movie is sorta big in the gay community — it has gay main characters, a gay director and screenwriter, male movie stars kissing each other, and a naked gay sex scene.
So, there’s that.

Outside it was the now-modern-classic image of all these people standing in line with their heads down typing on their phones.  I spotted four different people reading books — none of which were Beat related.  One guy wrote a paper last year on Burroughs, and one girl heard about the Beats in her English course at the U of T, but those are the closest connects I found in talking to a score or more of people.

The movie is an Allen’s-eye-view of meeting Lucien and discovering New York and his own identity.  It’s so crazy sad that he couldn’t live to see this or Walter Salles’s On The Road.  He would have loved both of them.  At least he’s giggling safe in heaven’s theater.

This is not really a movie about the murder (as portrayed in the trailers and ads) — it’s the story of Allen growing from an insecure recent high school grad through his journey to college and writerhood.

I haven’t seen Big Sur, the third film in this 2013 trilogy of Beat dramatizations, but this does make for many interesting harmonics with On The Road.  There’s the jazz club scene, the benzedrine scene, the small bohemian apartment scenes, the gay sex scene, the wild young buddies getting blissfully drunk together scene — many of the same adventures, but set a few years earlier in the same 1940s Manhattan — with Lucien in the role of Neal Cassady.

In Jack’s epic Duluoz Legend, this would come just before Road.  (For the complete list of films chronicling The Duluoz Legend by date, see box at end.)

One difference between the two films:  you should definitely experience On The Road on the big screen — for which both the auteur’s vision and the cinematographer’s lensing were very much designed.  Kill Your Darlings could probably be just as well experienced on any home screen.  Maybe this has to do with it being made by a first-time director and/or someone who grew up watching and living with smaller screens versus a director who’s made 20 films and has a big landscape vision, both for the screen and life.

Also like On The Road, this features tons of high-end actors in a low budget indi film — because most of them were fans of the subject, as were the screenwriter, director, and production and costume designers — Beat fans all.  In fact, Michael C. Hall, famous as the eponymous lead in Showtime’s “Dexter,” who here plays the doomed David Kammerer, met Allen a couple times (being the oldest of the young gang of actors) and confessed to being awe-struck by the gentle living legend.

And that’s this generational transference that’s never stopped happening with the Beats.  The screenwriter and director were college roommates 10 years ago when they were inspired by these writers and first hatched the idea as a theatrical play.  And the TIFF Grand Pooh-bah introducing the film called the Beat Gen “the most pivotal artistic movement of the 20th century.”
So, there’s that, too.

And you should know this was a no-budget movie. It got made on less than a shoestring, shot entirely in 3 weeks, all on location (mostly upper Manhattan), and all on film (not digital – so I guess that’s where whatever money went). DeHaan and Radcliffe managed to squeeze in a total of 5 days of rehearsal beforehand.

The film does succeed in taking you back to New York circa the late war years, including a great soundtrack with “Sunny Side Of The Street” and lots of others.  And there’s a cool use of a period Manhattan subway map to take the viewer around town.

Besides the overall capturing of the Beat milieu, this is also a classic bad-boy buddy-picture that fits comfortably in the same pranksterish cinematic school as Butch Cassidy and the Sundance Kid, The Blues Brothers and Rumble Fish.  And that it was made by two real-life college buddies, about real-life college buddies, makes it all the more resonant and cool.

It also quite candidly and bravely explores a not-long-ago time when “hymies” and “queers” were routinely and acceptably stigmatized.  The way the film deals with these terms and sentiments so casually yet impactfully is one of the its real strengths.

And this Dane DeHaan who plays Lucien!  Meet your new movie star!  This guy has the charisma, looks, chops, brains (as revealed in interviews) and screen-presence of someone we’re gonna be seeing a lot of in the future.

Lucien was the New York catalytic Cassady, the guy who sparked the fire, who had the mind that could hold the attention and confidence of a some pretty smart and challenging writers. And DeHaan’s performance would make me follow this guy anywhere.

And Radcliffe . . . it’s so reminiscent of OTR with this HUUGGEE megastar in the movie.  Most of the public who paid to come, came for him; most of the fans at the red carpet were there for him; … and would the sponsors be throwing this gala if it wasn’t him in that role?

One interesting thing about this kid, I mean this versatile young actor, is something he confessed in an interview when the film was premiering at Sundance — “I’m in a very fortunate position where I don’t have to be on a set where I’m not completely enthused and passionate about what I’m doing.  I can be selective enough that I only do things that I really believe in and think can be something special.”

And another interesting note – his acting career is based on playing a famous literary character — not some Home Alone kid or something — and one of the first roles he takes after that is to play another famous literary character.  And Allen Ginsberg was quite the character!

I don’t know if I’ve watched 10 minutes of all nine Harry Potter movies combined.  Maybe others will, but I did not see the actor.  I saw the character.  To me he was a very believable Allen — frantic, frenetic, passionate, crazy, insecure, heart-broken, eager, curious, challenging.  And not fer nuthin but Allen has sure gotten some great portrayals lately — James Franco, Tom Sturridge, and now Daniel Radcliffe. Two of whom are British! Go figure.

And Burroughs is just doppelganger dandy!  First in the “trilogy” Wild Bill was personified brilliantly by Viggo Mortensen, and now here by Ben Foster, who (like Viggo) was a big Burroughs fan before he got offered the role.  When the director first called him about maybe being involved, he answered the phone as Bill.  And he pulls off the blinking, shifty eye movements and lip twitching to a T.

And then there’s Jack.  Who, if you’re a fan of, is A) kind of written out of the story, and B) looks the least like, is played the least well, and has the least lines of any of the principals.  What’s up with that?  I have yet to see a cinematic portrayal of Jack that comports with the visual, audio and written accounts of the man.  He had “classic” good looks — and was just about the only writer in history that a Jon Hamm or Rob Lowe or any of a million handsome up-and-comers could play and it wouldn’t be unrealistic. His wife Edie and others who knew him then summed him up simply with, “He was movie star handsome” — as any of his mid-40s thru mid-50s photographs attest.  It’s weird and sad to think one may have to go back to John Heard in 1980′s “Heart Beat” for the closest thing to Jack on screen.

Even though the film was cooked up and populated by 20-somethings, it also has respected veteran actors like Jennifer Jason Leigh, Kyra Sedgwick and John Cullum joining this very independent unglorified college-film.

That Allen’s parents are played magnificently by Leigh and David Cross (who recently played Allen circa 1965 in the surreal Dylan film “I’m Not There“) shows the depth of casting, and the commitment to Allen and his story.  Leigh, who to these eyes has never been less than mesmerizing in any role she’s done, is yet again in a class of her own here as the Kaddish Queen.

Then there’s the story

We already have Jack’s version of the events leading up to and following the Kammerer murder — 3 times! — The Town & the City, Vanity of Duluoz, and And The Hippos Were Boiled In Their Tanks.

We have Burroughs’ version in his chapters from Hippos.

We have Edie Kerouac’s wonderful telling — the most flushed out of any of them, spanning nearly a hundred pages — in her “You’ll Be Okay” posthumous autobiography.

And now we have this film of Allen’s version — drawing from his posthumous “The Book of Martyrdom and Artifice.”

In other words — we have many different first-hand accounts of the meeting of these minds and the unexpected extreme event that occurred in their midst.  Ya gotta just be happy that at least one of them ever got made into a full-length motion picture.

The problem is — telling the Kammerer murder story from Allen’s point of view is sort of like telling On The Road from Al Hinkle’s.  Allen was the least involved and the last to find out.  That this key moment in the birth of the Beat Generation should be portrayed as a trio that does not involve Jack Kerouac is like making a movie about the birth of America without Thomas Jefferson.

Then there’s just so much else they got factually wrong, at least compared to every account I’ve ever read — and they’ve been working on it for ten years.
In just this one viewing I noticed …
They talk about Lucien going to see Jack first after the murder, and then Bill, when it was kind of importantly the other way around (!)
That Lucien had a steady and traffic-stoppingly gorgeous girlfriend at the time, and that the two of them along with Jack & Edie were a regular dating foursome, and that these two robo-babes were living with each other while dating these two uber-dudes, who were the central ones involved — is completely absent.
And according to Jack, Lucien kept saying to him, “I’ll get the hot seat for this.” But in the script he says, “I’ll go to jail for the rest of my life.”  This may seem small, but since Jack was the only one there to hear it, and reported it differently, repeatedly, and that the real line is so much more impactful and distressing, not to mention historically significant as he’s referring to the famous “Old Sparky” electric chair in Sing Sing just up the Hudson that was still in use at the time — how after ten years of rewrites would you not have this right?
Or they have Jack phoning his dad for bail money, and the character asks for $5,000 — not the $100 Jack actually asked for and needed (as documented in every account of his incarceration, including his own).  And since his dad famously turns him down … $100 (which was real) would have been so much more dramatic and to the point.
Or how they have Burroughs happily doing cut-ups a full decade before scissors were even a gleam in his eye.
Or … startling to any New Yorker … they portray the Hudson River shoreline in Riverside Park … as a sandy beach fer chrissake!

I’m no Allen scholar, but it sure makes you wonder how much about him they got wrong as well.

Then there’s my biggest beef by far — that Frankie Edie Kerouac Parker is portrayed as a shrew.  This is so wrong, on so many levels.  Edie was the catalyst, and for sure the coolest, most fun, most go-along simpatico chick Jack (and maybe any of them) ever hooked up with.  Edie “got it.”  Her apartment was the center of the gang’s activity — when not at their neighborhood clubhouse, the West End Bar.  And she was cool with that.  The crazy messy endless party scene bothered Jack more than her.  She was the one who created it, and more often than not was the only one paying for it and anything else.

It was Edie who first met Lucien in her evening Columbia art class and introduced him to her boyfriend Jack — which led to him meeting both Burroughs and Ginsberg.  It was Edie who made that pivotal connection — cuz she dug both these smart, wild-eyed happening guys.  Not to mention that Burroughs met and then married her cool apartment-mate Joan.

And if you don’t know, since the filmmakers didn’t seem to, Edie at the time was this gregarious buxom blond knockout who was always having a good time and attracting attention wherever she was.  Jack described her as looking like Mamie van Doren.  That she’s written and portrayed so completely 180 degrees opposite of who she was, really brings into doubt the integrity of this entire endeavor.

Then there are all these disconcerting overt implications — that Allen’s dad sent his mom to the insane asylum so he could have an affair;  that Lucien was the one who first said, “First thought, best thought;”  that Kammerer verbally asked to be stabbed and killed.  When you think of the obvious well-known facts they got wrong … that they’re committing these implications to celluloid is something of a crime against real people’s reputations.  I mean — the audience is being told to take this as factual since it’s being presented as “A TRUE STORY”!

But in the end … the loving movie they made is an energetic passionate creative youthful super-college-film.  Good for them for sticking with it and getting it done.  What a dream-come-true for these young Beats to see this showcased at Sundance, TIFF and Venice.  And they definitely captured Allen’s ride … with his parents, in his classrooms, with his friends, losing his virginity … and I assume most Allen fans are gonna love this.

But after it was over, some guy outside on a phone was telling his friend — “It was Harry Potter in a weird gay porn movie.”

Which may sum it up for the unBeat masses better than I can.

= = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = =

Kill Your Darlings” opens in limited theatrical release in the U.S. starting Friday Oct. 18th.


The Duluoz Legend sequence of films (so far) would be:

Kill Your Darlings — set 1944  (released 2013)
The Last Time I Committed Suicide — set 1945  (released 1997)
Heart Beat — set 1946-66  (released 1980)
On The Road — set 1947-49  (released 2013)
Beat — set 1951  (released 2000)
Pull My Daisy — set 1955  (released 1959)
Big Sur — set 1960   (released 2013)

For a full Beat Movie Guide to all the dramatizations check my summery with links at — The Beat Movie Guide.


How they all met

Lucien — knew Kammerer and Burroughs from St. Louis;  met Jack thru Edie, who he met at an evening art class at Columbia that they both took;  he met Allen when they were both freshmen living across the hall from each other in the dorms at Columbia.

Jack — met Lucien thru Edie;  then via the Lucien revolution he met Allen, Burroughs & Kammerer.

Allen — met Lucien living across the hall from him at Columbia dorm;  thru Lucien met Jack, Burroughs, Kammerer.

Burroughs — vaguely knew Lucien from St. Louis; thru Lucien he met Kammerer, who introduced him to Jack; thru these 3 he met Allen.



Brian Hassett


For another TIFF story from the world premiere of the final version of On The Road — check out the Meeting Walter Salles Adventure.

For the On The Road New York City premiere and afterparty Adventure — check out On The Road Comes Home.

For the London premiere of On The Road outdoors in a palace courtyard — check out On The Road To On The Road — Sex, Drugs and Jazz.

For a really funny video review of “Darlings” by a cool British chick — check out her CinOphelia’s joyous riff.

For an excerpt from my book about the ’82 Kerouac Conference in Boulder — check out Meeting Your Heroes.

For more from the Boulder Beat Book — check out Who All Was There.

For a vivid account of being at the historic “On The Road” scroll auction — check out The Scroll Auction.

For a complete overview of all the Kerouac / Beat film dramatizations including clips and reviews — check out the Beat Movie Guide.

For a story about Henri Cru’s birthday — check out The Legend Turns 70.

For a beautiful poem to Carolyn Cassady on her birthday — check out the Carolyn Cassady Birthday Poem.

For an inspiring description of being at a Beat jazz-&-poetry reading in Greenwich Village — check out Be The Invincible Spirit You Are.

For an account of the historic Beat show at the Whitney Museum in New York — check out Wailin’ at the Whitney.


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The Northport Report

August 30th, 2013 · Kerouac and The Beats, Real-life Adventure Tales, Weird Things About Me

 The Northport Report




Whale, we had another Jackfest — dancing with Big Sur by the Sea, My Brothers! — this time in Jack’s wave-lapping hometown of Northport, the idyllic little living Rockwell harbortown where he went to dock near the darkness of the city but still remain a slip away.

I’m just back from the novel-performing road trip with Cassady, and his bottle’s still spinning on the table but not falling over as he’s dashed out the door to JFK to hop the bird back to Cali, so before the body gets cold and the news gets old lemme be so bold as to share some gold …

Sunday, July 22nd, 2001 began with a proclamation where the mayor gave Carolyn & John Cassady the keys to the city or some such thing at a very official ceremony. And as part of it, Carolyn read two revealing letters Jack wrote to her. One, from Oct. ’61, was just after he finished writing Big Sur, and describes the big bursting Cassady-Kerouac reunion scene in Ferling’s tiny cabin that, wildly, we were all going to read together later. Both letters were full of longing and heart-felt passion — and Carolyn’s just a beaming gem in a tender-heart treasure-chest. Jack and her were really close, and it’s so nice she was around for the whole weekend being open and accessible to anyone who wanted to talk.

It was Sunday morning in the Universe, and this being the crumbling Empire of New York, there were no liquor stores open! So, Big Tim Moran and I — he was Edie, Henri & Herbert’s friend — bolted back to our Chalet hideaway to collect the only bottle of cold white wine in town. It was a dizzy hounds of hair morning for more than just myself after a night of howling at the Jackmoon out on George Wallace’s back deck. We were bad. Clearly could have used some parental supervision.

So Tim and I follow the directions to where the all-day reading of the novel will be, and he looks back at the paper and says, “That’s it right there,” pointing to a sign that reads “Northport Police Station”!

He kept driving looking for a parking spot as I’m looking back over my shoulder, but still see the word “Police”, as I’m tryin to shake the picture clearer in my beer-soaked lab, but it still, “Looks like it said ‘Police Station’ back there.”

“Yeah,” Tim bursts out with a long-suppressed laugh. “That’s where it is.”

“Hmm,” I say, turning around, trying to count how many laws I was breaking at the moment. “First time we ever played a cop shop,” I Jaked to his Elwood.

We go up the stairs and on the right is the door directly into the precinct, and in the center are 2 glass doors leading to . . . a courtroom. Sure enough, we’re celebrating Jack’s judgement day novel in a court of law. There’s a poem in here somewhere. But we must have been acquitted cuz in the end (tho I don’t want to give it away) we were all let go on our own recognizance.

Levi Asher and others are sitting up in the judge’s bench area, there’s a big camera from the Metro Channel in the witness stand, and the room’s packed with rows of chairs that are all full in the early excitement. Maybe a hundred people, then a spilling overflow anti-chamber room just outside the courtroom by the glass doors where the pacers and racers had a space to zoom. Printed on the front of the table with the books and CDs for sale it says in big bold letters: “Defendants Stand Here” — as if we needed this reminder when we’re admitting our guilty pleasure!

Outside the doors, the front steps became the green room hang-out scene. You could just open the glass doors and hear the show from right there, and sorta pick whichever chapter or reader you wanted to catch, then take a break and hang with the cigarette smokers and surreal surfers.

It became obvious that we needed a proper dressing room, so I brought out a nice chair for St. Carolyn By The Sea, and that pretty much evened out the Universe — except that we didn’t have a corkscrew! We thought of going in the police station to see if they’d confiscated one recently but instead John & Big Tim went across the street to the old brick house that was the Northport Hysterical Society with two old ladies behind glass-top counters containing artifacts and tiny labels like, “Hammer – circa 1850” or “Mabel – circa 1925”

“Uh, do you have a corkscrew by any chance?” asks our dangerous duo. “No, I should say not!” Then Ambassador John turns on the charm and they get to talkin’ and he says, “It’s for me mum, she’s the co-chair at your event across the street.”

“Oh, who’s she?” asks the inquisitive matron. John looks down at the countertop and there’s a picture of her & Jack & John’s two sisters. “That’s her right there.” And the motherly one behind the counter smiles and says, “Just a minute,” and goes and unlocks one of the glass cabinets and takes out this large bone handle corkscrew that Walt Whitman used or something and goes, “Here, maybe this’ll work.”

So we popped open the bottle, and oh yeah, we’d brought one crystal goblet from the sweet suite, and got Carolyn perched on a throne sitting at the top of this grand staircase like Abe Lincoln, holding a glass of wine and holding court, surrounded by her coterie of boys as different people would come by to visit her. Most would squat down to be close to her, and each would have some story they wanted to share, always including the line, “I first read On The Road in 19whatever and it changed my life . . .”. Eventually I snuck out a few more chairs and smuggled over some Heinekens from my secret iced 2-4 stash in the trunk and it evolved into a full-blown, feet-up, room-with-a-view backstage party — on the front steps of the Main Street police station at high noon on a Sunday!

Inside the reading, Dave Amram’s set up in the corner with his 7,000 instruments strewn all over the place, with drummer Kevin Twigg workin the brushes on a full kit, and bearded John Dewitt thrummin’ the upright bass. There’s about 5 different little digi cameras rollin, and it looks like a two-camera shoot from The Metro Channel. There’s musician-poet Casey Cyr, painter-poet Susan Bennett, installation artist China Blue, filmmakers and actors Michelle Esrick and Peter Gerety, architect and photographer Larry Smith, poet George Dickerson, and on and on.

And if this wasn’t already enough of a Surreal Circus — in between some readers there were these — belly-dancers!  Ya’huh. Jingling little-bell-tingling colorfully costumed barefoot belly-dancers weaving to Amram’s best Middle-Eastern snake-charmer, and yer goin’, “Okay, which one’a you Pranksters slipped the acid in my joe?”

Within this belly-dancing 3-ring courtroom, some readers really rose to the occasion — like Levi Asher on chapter 9 who was understated and funny and riveting reading Jack’s first sea-me breakdown. And then this actor John Ventimiglia who’s in The Sopranos among other things, plays Artie the restaurant owner, he’s way into Jack (had just played him in Joyce Johnson’s play Door Wide Open) and as John smiled later, “He sounded more like Jack than Jack does.” And Carolyn said, “When I closed my eyes I thought I was listening to Jack.” So he was pretty good. He read chapters 10 and 11 including Jack’s great description of Lew Welch & Phil Whalen’s S.F. Zen-East House crashpad.

And then this local woman Kate Kelly came up for 12 and kicked the thing into another gear being really passionate and playful and strong and forceful and funny, all done with a smile as Jack rages thru his confusion. Then, with Amram on piano, John Cassady read chapter 13 — and John’s funny cuz he throws in all these little asides and commentary on the text as it’s passing. “’… in the old photo …’ Hey who took that? ‘… throwing tires all over the place …’ Oh this is so accurate, it’s great,” he says, laughing along to a quick memory movie. He picked chapter 13 cuz it’s about their life in Los Gatos, and he’s tossing off comments to his mom who’s keeping a running commentary right back in a smile sharing across a half-a-stage and half-a-century of them playing together.

After John read, we had a break until the three of us were on for our chapter 23 group jam, so we drifted down Main Street and popped in Gunther’s Tap Room, Jack’s old drinking hole, and you can see why — nuthin but a bar and a pool table. Except today there’s just tons of people sitting around with orange & black Big Sur paperbacks in front of them. So we shambled off like dingledodies down the sidewalk like we’ve been doing all our lives until we found a front window booth in some joint who’s motto was: “If you want service, serve yourself.” No sooner did we sit down than Levi and his sister Sharon come along (who was into the Beats before Levi was, we learned this weekend) and they stand there looking at the outside menu as we’d done seconds earlier and make the same call we did. And then Regina Weinreich … and now there’s a whole whack of us Beats munchin the Big Cereal recovery brunchfast. But this is also how ya miss part of the show, you understand.

So of course I get us back to the gig about 5 minutes before we’re supposed to go on, as Carolyn’s proclaiming with a raised I-told-you-so finger, “Brian gets things done!” followed by a big smile and laugh. She’s been riffing that refrain since we first started hanging together and by now it’s a running joke.

For my reading, even before we knew they were coming to Northport, I’d picked chapter 23 about the Cassadys arriving at the cabin and surprising Jack and McClure. I wanted to do it justice if they weren’t gonna be here to do it themselves (it is a courtroom after all) — then Lo and Behold! The Angels! They showed! So we weaved it into having John do the Neal & “Timmy” parts, Carolyn doing her parts, and me playing narrator Jack. We’d read together in Amsterdam — the first time John & Carolyn ever performed together thanks to High Times and the Cannabis Cup of all things. Then John and I just did a duet in L.A. at the Jack scroll-writing celebration that S.A. Griffin & I put together for Jack-finishing-On The Road-Day April 22nd, so we were already old hams at this.

And it was funny cuz everybody else was reading solo and suddenly we’re a trio with god knows what kind of improv winginess, and I’m sure ol’ producer George Wallace was kinda, “Oh jeez, what are these guys gonna do?!” ‘Course, we had no idea either. We’d gotten together the afternoon before and attempted to block off paragraphs and passages, but we were all just seeing each other for the first time in ages and much more gushy gooey gabby than rehearsey.

And it was funny — I wuz tryin to funnel some paragraphs or passages to Carolyn cuz she didn’t have too many “lines”, and each time I’d pass over something she’d scan down it and then go, “Aaa-no.” She loves the writing but it’s too close to home and some pretty graphic details about Cody’s lovelife.  But it also has the stuff about Carolyn having two husbands for a while, which she loves, so we just go, “Ah, wheel wing it. No potholes on this golden road.”

So we get to the courtroom and Amram’s just taken off for soundcheck at his evening concert, but our “song” was gonna be so chaotically theatric we’d be more than making our own music!  So we start off, bouncing back & forth, and John takes the McClure dialogue so we get to perform the cabin rap in two voices, and then he also rides the “Boom!” Cassady-bursting-in-the-door scene. When Jack lists the kids’ character names John starts laughing at his sister Jami’s Jackname ‘Gaby’. “See, that’s so perfect for her cuz she used to get up on his knee and just gab-gab-gab-gab-gab.”

And John takes off on the Neal raps, channeling Pop, rollin fast like the road, with animated hand gestures, laughin’, goofin’, playin’.  Carolyn yells out “Grape” when Cody’s tryin to think of his new jeep’s color.  At Jack’s comical adage for Neal, “He Lived, He Sweated”, John cracks up and starts doing this classic Cassady Sweating Shuffle dance at the podium, laughin and hemmin ‘n’ hawin and ah-shucksin’ and ya-had-to-be-therein’, then laughs again and says, “Ah man, that’s the best line in the book. I’m only serious.”

At Carolyn’s dialogue we all get it about half right which of course makes it even funnier and everybody’s laughin but it’s workin and there’s Carolyn gentle and petit and lady-like laughing away and gamely trying to hit her mark and it was a sweet tender family-beaming moment in Beatport.


After the reading we went off on a wild adventure to two of Jack’s three houses in town. The first one at 34 Gilbert was Really Nice!  Couldn’t believe it.  He bought it for $14,000 in March ’58 on a one-afternoon road trip with Robert Frank and Joyce Glassman (Johnson) just after On The Road splashed down.  It’s a large Victorian, 50 years old when he bought it, with brown shingle siding, a big front porch, high front hedge, massive tree in backyard, and a big old double garage for both the cars he couldn’t drive. The house has three floors, with an attic garret for his writing zone, and as Levi kept commenting on, this beautiful stained-glass window in the front, looked like a reclining cubist nude, maybe 3′ wide, 18″ high. “You’d think this would have made it into the fiction somewhere,” Levi says.

So we take a buncha snaps with Levi and John and China Blue and Anthony who booked us in Amsterdam and who grew up right behind Jack’s house here as he tells us about Memere inviting them in for cocoa in the winter and disheveled Jack shuffling around in his terrycloth bathrobe and bedroom slippers.

All weekend there were different people with different memories of Jack. The artist Stanley Twardowicz was softly sharing stories of their drinking exploits, and Larry Smith who took their pictures remembering the mix of solemness and revelry, and all these other locals with little anecdotes about him. He really did live in Northport a long time — April ’58 to September ’64, minus a few excursions to Orlando.

Stanley was a great guy, by the way. Very friendly and open and sensitively remembering his old friend. Larry Smith had a few photos he’s never had published that were haunting. One of them from ’64 just gave Carolyn the willies. “It’s all in there. It’s all in those eyes,” she’d say emphatically pointing and shivering all over.

Then we went to his second house at 49 Earl Avenue after getting lost for about 500 hours. This was the “secret hideaway” he moved to after he sold Gilbert Street and their plans to build a house in Florida fell through — and where he was living when he took the Big Sur trip.  He bought it in part for the finished basement he envisioned as his study, but later insulated the attic and put in a little electric fireplace to warm his crow’s-nest.  It looks smaller than Gilbert, and did indeed have “the six-foot fence I’d built around my yard for privacy,” as he describes in Big Sur — a high old stockade style that you couldn’t see thru or get over.  In fact Jack climaxes Big Sur right here on Earl with, “— The corner of the yard where Tyke is buried will be a new fragrant shrine making my home even more homelike somehow — On soft Spring nights I’ll stand in the yard under the stars — Something good will come out of all things yet —” And sitting on the front step of the house watching us watch the house was this big warm friendly calico cat, who never laid down or ran scaredy-cat away, but rather held there, saying, “Hello. Yes. I’m here.”

We never did find 7 Judyann Court, but wheel be back cuz we were all fully stoked about this fairy tale of a town with its salty harbor and sultry air.  I mean gorgeous — quaint old-world Main Street with windy tree-covered sideroads, surrounded by hills ‘n’ sails, and nooks ‘n’ grannies. “Why didn’t Jack write more about this place?” Carolyn kept asking. The beauty of the town was really the surprise hit of the weekend for all of us. We were fully bummed we didn’t catch more of the readers, but it was such a gorgeous day and there were seven or eight Adventure Cards on deck. Had t’play ‘em.

After the tour, we all went out for this enormous steak dinner following a tip from a local actor Cassady’d dubbed John Goodman — and we took over the place.  It was your jumbo grill here’s-the-beef kinda joint where we could only get a big table in the non-smoking section, so we’d keep leaving our spread completely empty like a Dine ‘n’ Dash and huddle in the smoking corner while our sad plates sat there silently steaming.

We finally headed to Amram’s show late as hell, got lost, and when we finally found the park in the dark there’s this flood of people leaving with lawn chairs and blankets, and we’re like, “Whoops!”  Carolyn and John were supposed to read some Jack with Dave’s band. So we wag up with our tails between our legs — but thank gawd he’s just takin a break and there’s a whole second set!

I spotted Jason Eisenberg, the crazy Lord Buckley channel who read chapter 18 and was probably great but we missed him when we went for that surreal recovery brunch, so he & I snuck away for a comical confab in the holy gazebo in the back of the park and riffed on the Universe as Dave wailed away on Ellington and Monk down the dark treed hill below us.

Then Carolyn came out and read the part of OTR where Jack’s “on the rooftop of America,” at The Great Divide, yelling across the plains to an old man with white hair walking toward him with “the Word”.  And then John came out and knocked it out of the Harry Chapin Park — probably his best reading ever.  Like a blues player he sang, “I’ll be seeing old Denver at last.”  By this time I’d wound down with Levi and his parents & sister on a blanket right at the foot of the stage, and he leaned in and whispered, “He’s channeling Neal.”

Then John Ventimiglia did the ‘Hearing Shearing’ riff from On The Road with Dave’s sextet stepping into the role of Shearing’s band. Killer jazz-jam rendition. And local hero George Wallace closed the show with the classic last paragraph of OTR, just praised by the New York Times’ Editorial Page earlier this year. He read with this quiet sadness that almost made me cry, and it sounded like he was going to break down himself and could barely choke out the words, “I think of Dean Moriarty.”

So, there it is.  I believe there may have been some drinking involved. Some folks are real straight and some folks are nine-bottles-later. It was pretty funny. But everyone was golden and glistening. It was really … small town niceness. The locals are livin’ near enough to New York City that there’s still a healthy voltage surging thru them, and they’re passionate about words & self-expression and being yourself — all the while living in a Norman Rockwell painting — just really good people … with a penchant for partying in police stations. 


{An early version of this story first appeared in Beat Scene magazine.}


For an excerpt from my book about the ’82 Kerouac Conference in Boulder — check out Meeting Your Heroes.

For more from the Boulder Beat Book — check out Who All Was There.

For Henri Cru’s 70th birthday party — check out The Legend Turns 70!

For a vivid account of being at the historic “On The Road” scroll auction — check out The Scroll Auction.

For a story about the London “On The Road” premiere at Somerset House — check out this sex & drugs & jazz.

For a great story of the world premiere of the new shorter final version of “On The Road” — check out this Meeting Walter Salles Adventure!

For a complete overview of all the Kerouac / Beat film dramatizations including clips and reviews — check out the Beat Movie Guide.

For a beautiful poem to Carolyn Cassady on her birthday — check out the Carolyn Cassady Birthday Poem.

For an account of the historic Beat show at the Whitney Museum in New York — check out Wailin’ at the Whitney.

For an inspiring and colorful description of being at a Beat jazz-&-poetry reading in Greenwich Village — check out Be The Invincible Spirit You Are.


 ——————– * ——————— * ———————- * ———————-

by Brian Hassett      —


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for Helen Thomas — 1920 – 2013

July 20th, 2013 · Politics



Speak truth to Power.
Or at least ask it questions.

Since I came of mindful age after JFK & RFK and during the Nixon administration, it was near impossible to have anything resembling a hero in the world of American politics. But one of the first people who made me both interested in and unafraid of politics was this small but powerful woman in the front row of every White House press conference who used to fire an arrow from point-blank range right into the heart of bullshit.

I understood her questions and jumped out of my seat at her directness. “You can do that?!?!” I blurted out, wondering why others didn’t.

She was the Susan B. Anthony of the press core, the Hillary Clinton of unapologetic bluntness, the matriarch of Woodward & Bernstein.

She went face-to-face challenging every President from JFK to Obama — and no other reporter has ever or will ever ask questions of 10 Presidents.

They don’t even need to put up a sculpture of her because she’s already forever carved into the American landscape.

R.I.P. Helen Thomas  1920 – 2013



For a tribute to another great political reporter — check out my Tim Russert tribute.

For a full listing of great reporters and news sources — check out my Political Sources Primer.

For how well these sources work — check out my 2012 election predictions.

… or here’s the 2008 projections — in both elections, I’m over 98% correct.  ;-)

For an account of the most jubilant night in the history of New York — check the Election Night 2008 Adventure

For a night in New York that started out just as joyous — check out the Election Night 2004 Adventure.

For one of the most historic events in American history — check out my Obama Inauguration Adventures.

For how Woodstock promoter Michael Lang used my reports in his book — check out how Obama’s Inauguration was like Woodstock.

For the kind of creations that got us across the historic finish line — check out my poem and video for Wayward Jekylls Hyde.

For an on-the-campaign-trail adventure — check out the physical altercation I was in the middle of with Al Franken at a Howard Dean rally.


Brian Hassett  —  —

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The Dr. John in Toronto Adventure

June 24th, 2013 · Music, Real-life Adventure Tales



So … oh man … I took a nap that afternoon and lived a dream where I stayed home and didn’t go to this show and regretted it later … then woke up to find it was only 3:30 in the afternoon!  Insane.  Follow your dreams, baby. God works in mysterious ways.

It’s Toronto Jazz Fest. After doin’ N’awlins Fess to the elevens last year, but then spending the entire summer with one elder Cassady, there’ve been no more Fests for me since.

And Damo — last seen on the sneak-back-and-meet-Walter-Salles Adventure — has been assuring me for years that this headliner scene at Nathan Phillips Square is an easy-breezy prankster special. But me caregivin’ mom and doin’ gawd knows what, the tumblers never lined up — including in the subconscious dream just moments before. But THEN God brings it home … I’d just hit 50 gazillion targets in a row for the last 4 months on the Kerouac Adventure book and fer one frickin’ moment I technically wasn’t on a short-term deadline and damn-it I needed to remember why I do this and am alive so I treated myself to a night of music. I mean … it was Dr. John … a Spirit Force of the universe … one’a my bloods. Jerry’s gone, Johnny Ace is gone, as are so many of the sacred giants either by nature’s toll or man-made interventions — there just ain’t much left when it comes to the magic-conjurers of eternity.

But here was the good Doctor in town on a night I could rationalize a trip to the mystic gardens.

So I go, and it’s this whole scene … in the courtyard of city hall here in T.O. — which is a hugely cultural city with as many musically options as my beloved New York — but there’s this bizarre problem here with … audiences … the people … you won’t believe me, but music attendees in this city, no matter what the frickin’ show, just stand (or sit) there like they’re waiting for a bus. It’s the most unresponsive music town I’ve ever been in. For my American brothers (and can I just use that meaning sisters, too?) you wouldn’t believe it — just like there’s no way to explain to Americans what hockey means to Canadians — but music audiences in the two countries are a starker contrast than comparing beers!

After seeing Dr. John play with both Springsteen and The Meters as well as his own Lower 911 krewe in New Orleans exactly a year ago, I heard he had a whole new band, so I knew this was going to be interesting — and all the stars and the June SuperMoon were lined up.

Mavis Staples was opening — making it sort of a double bill in a downtown piazza in this giant rectangle white tent that holds about a thousand people. The stage is set up in the middle with the tent sides rolled up so they can sell out the seats at $50-60 a pop, but have this open plaza beyond where low-budget music lovers can listen and see in and dig the show. It’s beautifully egalitarian — and another difference between the two countries. If they were sellin’ chit in America they’re damn sure not to let anyone get it for free. But us Canadian socialists devised a system where you can pay to sit in front of the stage — or dance in the distance for free. And as I was saying’ to some brothers dancin’ back there —  the distance between us and the performers would still put us in the front 5% of the crowd at the main stages at the New Orleans Jazz Fest.

So, Mavis happens — and among many things she does this killer The Weight.  She takes the first and last verse, and has these passionate vocalists doing the others, including an old man for Pops’ verse. It was totally cool, and when it was over she went into a whole rap about Levon, quite overtly crediting him with writing the beautiful lyrics and not the guy who stole all the songwriting credits in that Band.

And I’m good with hanging out here on this plaza with dancing room — where, in Toronto, I may have seen as many as 3 people also shakin’ it — but there was lotsa space and totally clear views into the tent — and they’re selling local Canadian micro-brewery beer and Niagara region wines and all is good in the universe.

But after she ends with a gospel dancin’ I’ll Take You There it’s … are we gonna sneak in for Dr. John or what?

Damo, Master of All Things, and a perfect road partner, we …. Now see the problem is here, if I tell ya what we do then anybody and everybody including the event producers will know. But think Huck and Tom. Buy me a beer sometime and I’ll tell ya. But the next thing you know, we’re in the tent. And every seat is full, but there’s this VIP section up front … and knowing show production … I do some stealth reconnaissance … and, well, the long and the short of it is, within a about 5 minutes of us sneaking into the tent we’re sitting second row center, just along the row from that wise old music writer Rob Bowman.


And there he is, The Good Doctor. Seen the guy a hundred times, including right up close before, but never where his keys were on the lip of the stage and there was no separation between my tapping feet and his.  If I fell over I woulda hit him.

And so … the madness ensues … he opens with Iko Iko!  Of course.  And he’s in fine form. 72 years old — just inducted into the Rock n Roll Hall of Fame — just won a Grammy in February for his latest disc “Locked Down” — and this guy is the opposite of an artist in decline.


I recently heard Bob Weir speaking from the stage from the Grateful Dead’s induction into the Rock n Roll Hall of Fame, sharing the lesson:

“A few years ago a few of us in the band had the pleasure of catching Count Basie and his Orchestra. The core of the band was a quartet that had been together for 45 or 50 years — and they swung like angels. It was such a treat to watch those hoary heads rocking up and down. Then a couple weeks later we learned that the Count had gone home and put his feet up and quietly checked out. And to a man we all thought to ourselves, ‘Yes. That’s what I want to do.’”

And this is what music, and the pursuit of the arts — the striving for creation in whatever form that takes for each of us — teaches us about life. Keep doing what you love, whatever it is, and keep getting better at it till your last gig. There ain’t nuthin else.

And there’s the Doctor … resplendent in his mystic madness, spinning his web a hundred inches from my eyes and ears. I’m audience left so I can look up into his hands on the grand, and right in front of him when he switches to the guitar, close enough to see which finger was hit by a bullet back in the day.


And this whole new band is insane, to a man and a woman — and it’s this young white chick who’s the frickin’ band leader — and you’re like, what? I remember her from his Lower 911 band — Sarah Morrow, she’s great, but … the trombonist? This is Dr. John … and the other players are these heavy funky black cats, and it makes no sense … but she’s runnin’ the show … and has this band in her hand … and it’s super joyful … and you can tell it’s young and fresh … which is probably just what The Doctor ordered. Change it up. And for the first time he’s got somebody else playing a Hammond B3. Maybe some musicologist will correct me, but rarely if ever has The Doctor of Sound needed or wanted somebody else playing the church organ.

If you don’t know, in recent years he’d taken to having both the grand and the B3 at the front of the stage, and he’d just spin around on his special cushioned bench and play one or the other. And THEN the maestro would play BOTH — right hand on the organ chords and left hand on the high clear notes of the grand — which reminded me of seeing Miles Davis do this in a small club in New York — chording a keyboard with his left hand while soloing on the trumpet with his right.

But now Doc has this whole other cat wailin’ the B3 full-time … with this bass player to die for, but the whole deal was the drummer! This guy was beaming from the pocket from the first Beat.

A lot of drummers are really skilled but don’t exude their joy to the audience — it’s more about them.  Ziggy Modeliste and this Reggie Jackson are the opposite.  Like Keith Moon — another Master who transmitted the energy from himself thru his drums to the entire audience. It’s about the conveyance of joy — transmissions, man. And that’s what he was doing.

And I noticed that he, being the beating engine, had the piano keyboard directly in front of him so from his kit he could look straight down that line of 88s and follow the boss. It was amazing to watch. This kid on the kit was just joyous and plugged right in … as the bass player thrummed the Beat and the church organ wailed and there was a master electric guitarist for all those peak parts — it’s an orchestra and it’s jazz and it’s rock and it’s gospel and it’s soul and it’s gumbo and yer just exploding in your second row seat.


And he plays everything you want him to … Professor Longhair, Right Place, Wrong Time, St. James Infirmary, Revolution from the new album, and this guy behind me keeps yelling for Such A Night, and after about the fiftieth time I turn around and tell him to chill — he’ll play it as the encore, which of course he does.

And by the climax the place had gotten pretty loosey-goosey — formerly largely full of those Torontonians waiting for a bus, but by the time the show was running into the midnight hour they’d faded away and the real energy folks started coming down front, and I did this old trick I don’t mind sharing, which is you take the chairs and stack them up like you’re putting them away for the night. Every one you stack creates more dance space — and this is what I did — and for the last few songs we had a whole boogie bayou scene boppin’ up front.

So it’s this whole dancing orgy close enough to the bandleader you could touch him, and there’s Deadheads there with Jerry shirts, and NOLA Jazz Festers, and some old friends, and a sacred artist singing the sacred artform.

And as is always the case — the concert ends … and you have to make the music yourself.

So Damo and I started right up.


And after the drummer comes out and I shake my new best friend’s hand and thank him for beaming the Beat, brother Damo, Master Of All Things, leads me to nextdoor Osgood Hall, this famous law building from the 1830s in downtown T.O. with this 12 foot wrought iron fence surrounding a gorgeous old-growth park, and of course he knows the one gate that’s open, and suddenly we’re in this private oasis like Gramercy in New York, except way more trees and foliage-dense, and suddenly we’ve got a heaven to debrief — the most essential thing go do after a magic moment — let the overtones ring and the resonance sing and the reflections bring it all back to life.

The moments following a profound experience must be carefully managed to retain absorpsion of your gift and control of your space, inner and outer. After great concerts — here’s another tip I can share without breaking any secret sacred covenants — don’t leave your seat. See, this is what everybody does and you’re crunched into this cattle mash of nattering nonsense. What you do is stay right the puck where the goal was scored and soak it in. Eventually somebody will shoo you on, but by then the whole world is cleared out and you’ve grounded yourself forever in what just happened.

And Damo and I did just that . . .


but THEN we also had near an hour in this heaven of a park to drink cold beers still in our packs and pace about and talk a mile a minute and share everything about everything that just happened — like how during Right Place, Wrong Time you could hear about a dozen people spread all throughout the audience who got the mid-song “woo” moment which is so funny and joyous a part of it, and how in New York or New Orleans the whole audience “woos” in unison but here it was so distinctive because only about twelve people caught the cue. And about Mavis’s voice versus Mac’s — and whether people will be going to hear Selena Gomez or Justin Beiber when they’re 70 — and the whole Dr. John / Grateful Dead crossover, how he played Iko Iko and Wang Dang Doodle just like The Boys might on any given night, and how the spiritual improvisational essence of what he was creating was exactly the same good-energy voodoo Dr. Jerry was practicing.  And how people in the front of the house, the pit, must respect their role as conductors to the audience and cue the masses behind with above-the-head clapping, standing ovations and overt dancing when it’s called for.

And of course weir both getting text messages of different hotspots to hit for the late set — and I’ve got this lead to some jazzy Winnipeg brothers in an outfit called Rockalypso at a club called Mezzrow’s that I want to go to even if just to find out if they named it after The Mighty Mezz — but Damo’s got this message pleading with us to come to the nearby Rex where the band is SMOKIN’ — and since that’s about a block away on the Extremely Happening Queen Street we break from our reverie in the green tree silent night heaven park and rejoin the post-show world of celebratory Saturday night Toronto.

When we got to the historic music venue, I looked in the streetside windows and there’s Dr. John’s whole band groovin’ at a table! Boom! In we go, and as defined, the band was this jazz-funk-rock-fusion super-group of progressive cats called New York Rudder with players from Steely Dan, Sting, the SNL band, Rod Stewart etc. making up a killer quartet, and not only is Dr. John’s band catchin’ them, but Roseanne Cash’s as well!  It’s the late set musicians’ special with ear-popping audio coffee till 2AM. And the whole time I’m stealin’ glances at my new heroes, the Doctor’s new band, who are goin’ weirdly by the old name the Nite Trippers, but there’s my blood, the Zigaboo drummer diggin’ the late-night Toronto music scene, and I’m thinkin’, YEAH!

So, the show ends, and I’m like, “I gotta talk to those guys.” But right away all these people start movin’ in, comin’ outta nowhere, glad-handing the table, and my guys are jibber-jabbering away with ‘em, and I’m thinkin’ all is lost.

But as some patrons begin to leave, there’s these two lugs just sluggin’ a jug in the space right beside drummer brother. So, with empty options around, I ask large lug #1 if he’d move over a spot and I pulled up right next to the happiest Beat-man in the world!

And Boom — we were just Off.  Man!  His name’s Reggie and he’s from Columbus Ohio — where I was just adventuring with “On The Road” director Walter Salles and that sonofa beat John Cassady — and I’m wearing the very “On The Road” button Walter gave me, which by some divine intervention I put on just before leaving the house — and man we’re jammin’ on that rich man/poor man crazytown Columbus — and he mentions something about “blessings” and right away I ask him about his religion and he’s a Christian and seems SO devote I ask him if it bothers him I’m drinking a beer but he’s waycool. In fact, he’s divine. He gets it. The cosmic giggle. The same grand prank that Kesey twinkled and Aretha harmonized and Martin preached is surgin’ through him, with an unstoppable prankster ear-to-ear grin goin’ all the time, just beaming joy, and so we’re right out in the open and it’s all clear sailing, anything goes, and we talk about church, and how he fell into the gospels at a young age, but also dug Mozart and Stevie Wonder, and how he’s heard of Kerouac but never read him, and I tell him about my drum invention — the improvised kit built around my computer to play between the beats of writing — and he’s like, “You need to film that!!”

And I ask him about his keyboard sight-line and he confirmed that’s the intentional way they set the stage. And I show him my New Orleans Musicians For Obama cap and he’s beamin’ at the sight-line of that, too! But mostly we keep talkin’ about The Spirit — and how that’s what moves ol’ Mac, the doctor — how that’s what it’s all about. And I’m thinking of every great black singer from Aretha to Whitney and how they came up in the churches, and the bands they had, and that’s how cats like those in this new band survived. The musical breeding ground.

And then Bobby the B3 player fell in and we started riffing about words and music and how they blend together and words can be music and music can be words — how prose contains rhythm and music contains poetry — and how he’s 59 and I’m 52 and we’re both having the best years of our lives — and we’re all locked down in the groove.


And then, ya know, as always happens, the gig ends. And we’re all hugs n magic and beaming and beauty and we say goodbye in the holy night of it, as Jack might say. And in that empty-bar silence after all the rappin’ riffs I suddenly remembered this amazing thing — Reggie’s drum solo! — how he brought it down to the tiniest quietest Beat that most people thought was the end, but he was just seeing how quiet he could take it while still playing the beat — and this drummer in the second row was keepin’ right with it even as premature applause broke out all around, but it was this inside fake-out that was just so cool — and remembering it, I had to tell him cuz he’s never gonna get the feedback — so I ran out and managed to catch him still in musician time on the sidewalk out front, and gave him the blessing in front of his whole band, and they were all just beaming like shit — Somebody noticed!  It was this great beautiful moment of giving a gift back to him after all he’d given me. Lots of final group hugs with giddy grins and I bid them a safe tour and went back in to Damo and our crew which was just breaking up, and after what seemed like a long time before they went one way and I the other, I went back out of the club, and damned if the band had only made it about 50 feet down the street and were all taking pictures of The Condom Shack store!

“What are ya, a buncha tourists?!”

And so Boom we’re all back together again, headin’ the same way in more ways than one, and finally I can talk to the bandleader, this 20 or maybe 30-something young chick, and I’d been wondering all along what the vibe could possibly be between her and the older black cats, and boy, they were A Band. In the early Beatles sense. There wasn’t a resentment but a love, a playfulness, a protectiveness. It’s that whole yin that we yangers need, that other voice and mind and gender, that counterpoint, that comedic partner. It wasn’t that it caused imbalance, but rather she balanced the ballast.

So we shambled off like dingleberries dancing down the street and I wove into the jam like I’ve been doing all my life with people who interest me — musicians and players and pranksters and poets and parents and people of all professions who practice perpetual playfulness.

It’s the game of life. And it’s all about how you play the game.


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For more Adventures in music — check out the New Orleans Jazz Fest ride.

Or how The Grateful Dead came to play my 30th birthday.

Or Paul Simon doing Graceland in Hyde Park in London.

Or the night Dylan showed up at Springsteen’s show at Shea Stadium in New York.

Or when Neil Young returned to Massey Hall in Toronto.

Or Furthur came back and reprised the Dead at Madison Square Garden.

Or when the Dead, Janis, The Band and others took the Festival Express train trip across Canada.

Or here’s the day I finally “got” Bob Dylan

Or the night we all lost John Lennon

Or the (Route) 66 Best live performances ever captured on film.

Or for all the music stories in general go here.


by Brian Hassett

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Who-all was there — Boulder ’82

June 18th, 2013 · Kerouac and The Beats, Real-life Adventure Tales

(an excerpt from my forthcoming book on the Kerouac SuperSummit)




I guess I haven’t mentioned who all was here yet . . . 

This was the biggest gathering of Beats and their various spiritual progeny ever assembled in one place — before or since:
Allen Ginsberg, William Burroughs, John Clellon Holmes, Gregory Corso, Lawrence Ferlinghetti, Michael McClure, Carolyn Cassady, Edie Kerouac, Jan Kerouac, Miranda Corso (Gregory’s daughter), Herbert Huncke, Robert Creeley, Robert Frank, Robert LaVigne, Diane di Prima, David Amram, Peter Orlovsky, Carl Solomon, Allen’s brother Eugene Brooks, Ray Bremser, Joanna McClure, Joanne Kyger, Joyce Johnson, and those closely on their heels like Al Aronowitz, Anne Waldman, Ted Berrigan, Jack Micheline, Andy Clausen, Larry Fagin, John Steinbeck Jr., Maria Livornese, Ivan Goldman, Randy Roark, David Cope, as well as the leaders of the generation that followed, Kens Kesey & Babbs, Abbie Hoffman, Timothy Leary, Paul Krassner, Prankster’s George Walker and Jane Burton, and then loads of scholars like Ann & Sam Charters, Dennis McNally, Lawrence Lee, John Tytell, Mellon, Joy Walsh, Gerry Nicosia, Tom Clark, Tim Hunt, Clark Coolidge, Jay & Fran Landesman, Arthur & Kit Knight, Henry Allen, Regina Weinreich, Nanda Pivano, Albert Huerta, Warren Tallman, James Grauerholz, Ronna Johnson, Dan Barth, Joan Dobbie, environmentalist Peter Warshall, radio alchemist Len Barron, and a bunch of the Denver crew, probably the #3 city in Beat history after New York & S.F., including Justin Brierly, Ed White and Jim Holmes, plus the actors Paul Gleason (The Breakfast Club, Trading Places) who hung out with Kerouac in Florida in the early ’60s and decided to become an actor after seeing Splendor In The Grass with Jack in a theater, and longtime Beat Max Gail (Barney Miller‘s Wojo), photographer Chris Felver, and lots of filmmakers besides Robert Frank, like Janet Forman, John Antonelli, Richard Lerner & Lewis MacAdams, and Doug & Judi Sharples going around capturing it all.

Oh and a little rock group you may have heard of, The Grateful Dead, were playing just down the road at Red Rocks for three nights, and roving ambassadors like John Perry Barlow and Mountain Girl were scouting Camp Kerouac and asking questions of the masters just like all the other students.

It was every major Beat figure alive at the time, except Gary Snyder who was officially off building a zendo (a Buddhist meditation hall) in California, but history tells us he’s long avoided these attention-getting Beatnik gatherings, and interviews reveal he never saw Jack again after their Dharma adventure ended in May of ’56. But with his regrets he sent a nice letter to Allen saying, “Jack Kerouac was the wandering scholar troubador storyteller youngest son of the Jack tales in us all. … The voice of the water going over the edge of the waterfall itself.”

And the other thing to remember is — they were all so fuckin’ young then. But look who’s talkin’! Other than 30 year old Jan, the youngest of them was still more than twice my age!! Babbs & Tytell were 43, Abbie & Ann Charters 45, Kesey & Joyce Johnson 47, McClure 49, Gregory 52, Allen 56 … not that many of this crowd would ever live long enough to be doddering old folks, but they were what we now know of as in their mid-life prime.  And while they weren’t necessarily producing their early ground-breaking poetry and prose, they had adopted the Cassady and then Kesey concept that your life is your art. They were, to a man and a woman, better people than they were in their explosive youth. Better performers, better teachers, better organizers, better tempered, better conveyors of their inner vision. And at this event, thanks to the Bill Graham of the Beats, Allen Ginsberg, they were collectively staging the biggest Woodstock of Jack since he first played the Cavern in ’57.

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For more on the Boulder Beat Book — check out Meeting your Heroes 101

Or here’s another part from the book describing Jack’s first wife Edie and one of his oldest friends Henri Cru.

For a vivid account of being at the historic “On The Road” scroll auction — check out The Scroll Auction.

For a story about the London “On The Road” premiere at Somerset House — check out this sex & drugs & jazz.

For a great story of the world premiere of the new shorter final version of “On The Road” — check out this Meeting Walter Salles Adventure!

For a complete overview of all the Kerouac / Beat film dramatizations including clips and reviews — check out the Beat Movie Guide.

For an inspiring and colorful description of being at a Beat jazz-&-poetry reading in Greenwich Village — check out Be The Invincible Spirit You Are.

For a story about Henri Cru’s birthday — check out The Legend Turns 70.

For a beautiful poem to Carolyn Cassady on her birthday — check out the Carolyn Cassady Birthday Poem.

For an account of the historic Beat show at the Whitney Museum in New York — check out Wailin’ at the Whitney.

= = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = =

by Brian Hassett


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The Long Island Mansions Adventure

May 11th, 2013 · Music, Real-life Adventure Tales



Soooo, this happened . . .

We were out there at Sands Point, Long Island, shooting a Steve Winwood video in one of those Great Gatsby mansions, hanging at this round banquet table with just Steve and the prop guy and a couple others, and he was talking in his gentle British accent which seemed so perfect for this estate we were on since it was originally built as a replica of an English castle — and somebody at the table was complaining about the new Bob Dylan album, and Steve, who’s a very reserved guy, like an elder royal himself, and after this slagging of Bob goes on for a while, finally Sir Winwood speaks up in his soft tone and says, “For me, he can do no wrong,” and that pretty much put an end to the Slag Bob conversation. “In fact, when he was in England on that first electric tour in ’66 we met up and went exploring places like this out in the English countryside. Very curious was Bob.”

As usual on these shoots there’s a lot of hurry-up-and-wait downtime, and besides listening to the sound of the Traffic, I started exploring this huge castle, and these things are so stupidly big you can get lost in them — hallways that go on forever, and rooms beget rooms beget rooms. This particular mansion has been a set for loads of movies and TV shows and such and so all different sections of it were decorated like different sets — there were futuristic rooms, psychedelic rooms, 1800s rooms, royal rooms, billiard rooms, dining rooms, and half of them have giant fireplaces imported from Europe that you could park a truck in — so I’m just prankstering about hell-bent on exploring every inch of it, and after I get a fair handle on its architecture, I go check back in with the shoot, and they’re mucking around with these Ferraris out front and I start talkin’ to the prop guy again who’s out there and actually lives on the Island, and he’s saying, “Yeah-man, these Japanese guys are precision-guided maestros,” nodding to the collective of cinematographers. They’re all speaking Japanese and nobody else knows what the hell’s going on, but it’s a glorious day and no one cares. And I look at the mansion from the outside, which I hadn’t really done seen since we arrived when it was still dark, and notice for the first time there’s a giant turret at one end that I somehow missed. And I’m like, “Who-boy, this is some kinda house, eh?!”

And there’s a long pause as he sizes me up anew. “Yeah, sure is, … Canadian. … You never been here before?” he asks as I though I should have been, and maybe he’s right.

And I’m, “What’s with that turret? Can you get up in that thing?”
And he’s, “Yeah, of course.” Then another long pause. … “You wanna smoke a joint?”
And I’m, “Hmm, lemme think about it for a minu… — yeah.”

And he flashes the eyebrow high-beams, a slight nod towards the front door, and, “Let’s do some location scouting.”

And off we go. He’s got the walkie-talkie-thingie and we can hear people squawkin’ away, and he’s, “We’re done with the interiors, I’m basically off for the day.” And since I’m the producer’s assistant who seems to have forgotten I’m here, off we go, up the grand staircase with carved heads on the corners of the banister, and down the dark hall past supplies left behind from various shoots and stray furniture that made it look like you were at some mansion in the middle of moving day. And at the very end of the hall he goes, “This was the master bedroom,” as we walk into this massive room with stained glass windows on three sides and another ornate fireplace the size of a garage and enough floor space to drive around in circles.

And Rick, that’s his name, walks straight into the corner of this paneled wall like he’s going to disappear into it but pulls a little hidden handle right outta the wall and this big wooden panel opens up and there’s a dark spiral staircase! In we prank, and up we go, creakin’ ancient wood that was clearly not part of any restoration plan, until we open a door and Boom! There’s the Atlantic Ocean! Actually, Rick corrects me, “It’s Long Island Sound,” but it’s still the ocean saltwater, and you still can’t see land on the other side, so I’m stickin’ with “ocean.”

And we’re on the top of this big round turret with battlement teeth for the archers to hide behind, and although it was perfectly calm down on the grounds, there was a healthy summer’s breeze up there, so we spark the fattie behind a rampart, and he starts telling me how he grew up on the Island. “Yeah-man, I’ve seen these things change so much over the years. Half of these old mansions are falling down, and the other half … found me stumblin’ around drunk on Burgundy wine,” he starts singing from “Wharf Rat!”

“You’re a Deadhead?!” I blurt in surprise.

And he smiles mid-puff and somehow knew that I was already.

And after he holds in the smoke a couple of beats and blows it out, “Yeah-man, since Englishtown ’77. You?”

“Seattle 1980. … But Radio City were my 2nd through 7th shows.”

“There ya go. … That was the best New York run ever.”

“I snuck into my second show there,” and I tell him that helluva story, and weir riffin’ and the walkie-talkie’s squawkin’ at the seagulls, and the blue sky is lookin’ bluer, and the day just keeps getting better.

“Yeah, we used to sneak into a these old mansions when we were kids.”

“No WAY! We did that in Winnipeg! … But of course the mansion was the size of the gatehouse at this place, but still!”

And he’s, “Yeah-man, they’d have them fenced off, but … we were kids, right?” and he winks and I know and we laugh. And out of the blue sky he says, “If this thing wraps early, and it looks like it might, there’s a benefit dinner just down the road that my buddy’s doin’ sound for. We should stop in. You wanna see a real castle?” and he does that prankster nod, like, “You ain’t seen nuthin’ yet, kid.”

So, we go back to the front grounds and the mid-afternoon Ferrari exteriors were the last scene of the day, and my producer pal was beaming with how everything had gone especially since Winwood was being so agreeable, happily sittin’ or standin’ or walkin’ or doin’ whatever they asked him to. He’d said at the table, “I have no idea what they’re doing. I just make the music. They can take whatever pictures they want.” And finally you hear those magic words on every shoot, “Okay, that’s a wrap for today, folks. Tomorrow morning 5AM, Wall Street” — and it’s like “Action” was just called for the hundred or so fairly stationary crew people who all snap to and start breaking down gear.

I go over to the producer. “How YOU doin’?!” and she smiles a huge, “Oh yeah!”
“Okay, I’m gonna help the prop guy pack up,”
“Good,” she says, already lost in her next-step production thoughts.
“And I think I’m gonna catch a ride back to the city with him. You cool for the rest of the day?”
A long pause, “Yeah. I’ll see you at 5 tomorrow at Wall & Hanover. Get some sleep,” she says.

Woo-hoo! I’m off!

And I spot Rick already driving his van around the car-wide walkway to the parking-lot-sized terrace overlooking the Sound, and we load up candelabras and ornate music stands and a cello and giant framed paintings and all this weird stuff that appeared in the shoot somewhere, and he looks at the time. “The benefit starts at six, we should be good.”

On the drive there he starts telling the whole backstory of the Gold Coast scene to this wayward Canuck. “Yeah-man, these things were all built around the turn of the century before there was income tax — the megarich industrialists and bankers and shit —Vanderbilts, Morgans, Guggenheims, Woolworths … all those guys who made more money than they could spend — so they built these castles to show off and entertain their friends — Great Gatsby land, ya know? — except they actually shot that in Rhode Island, the bastards. Course, that was before my time anyway.”

And suddenly we hit the town of “Manhasset”!! — “NO WAY! That’s my name!!”

“Yer kiddin’, really? Funny. Maybe your ancestors were here. Maybe one of these mansions is yours. Never know.” And I’m half-way believing him and spend the rest of the trip craning my neck for “Hassett House.”

And after a while weir drivin’ along a road past a tall vine-covered fence and he points with his thumb, “This is it.”

“What, Hassett House?”

“No,” he laughs, “Where the benefit is.” But we still keep driving what seems like about an hour before we get to the gate, and of course there’s rent-a-cops and guys with clipboards and headsets, and Rick pulls right up to the giant gatehouse, “We’re Magnum Sound.” And the guy starts flippin’ through pages, and he says, “Okay,” but then, “Wait — there’s only one vehicle,” meaning only one truck cleared to get in, and it’s already there. And Rick goes, “Yeah, that’s Marco. He just called and the patch cords are fried,” and he points behind in the van like we’ve got the new ones. And the doorman nods, then motions to the gatekeeper, who swings open the black gate and suddenly weir driving past the guards into this private park of a front yard with a canopy of trees like The Mall in Central Park except the road weaves and winds until we come out at this castle about three times the size of the last one!

There’s a bunch of production trucks and another guy with a clipboard and a headset. Rick: “We’re sound.”
“You have to load in?”
“No, already did. We’re tech.”
“Okay, follow this around to the right and there’s parking in back.”

And Rick doesn’t say a word, just nods like he’s done this a million times, and I bet he has.

Then Boom we’re walking into this giant shiny modern kitchen in this old Versailles of a palace, with men and women completely dressed in white cooking up a storm and it’s loud and everyone’s moving fast and Rick and I just swim through the rapids and whoosh out the far door into some other anteroom leading into a giant high-ceilinged banquet room with about 50 chairs along each side of a single long table with all these men and women dressed completely in black putting the last touches on the table and placing covered trays of food around on side tables, and Rick & I just saunter through like we live there, then through another anti-room and into a giant ornate ballroom! with a two story high ceiling and huge oak beams and arched corners with a twinkling galaxy of stars painted on the ceiling between the beams. And there’s a black temporary stage and P.A. at one end, and sound mixer at the other. And Rick calls across the empty echoing room, “Marco!” And without missing a Beat, the figure behind the board starts speaking through the PA.

“Call in the clowns. I need all clowns stage left. . . .  Jokers, you’re up next.”

“Hey, brother!” and they hug a quick one. “We just got off the Winwood shoot. This is Brian — Deadhead from Canada.”

“Canada!” Marco bellows. “Copps Coliseum! 1990. Best Hey Jude / Fantasy I ever heard,” he says without looking up from his board that he’s adjusting even though there’s no sound.

“The Boys doin’ Steve Winwood,” I add.

“Good one,” they both smile.

“So, what’s on tonight?” Rick asks.

“Sheryl Crow.”

“WHAT?!” I scream in my head but don’t say a thing to keep my cool, and look out across the ballroom floor to the stage and realize this is gonna be a private home performance by one of my favorite performers ever!

And the guys start talkin’ shop but I’m flashing back on all the times I’ve seen her — opening for Dylan at Roseland, the Irving Plaza show, Woodstock ’94 — and I’m also flashin’ on that 5AM call on Wall Street, and realize it’s gonna be one of those sleep-when-I’m-Dead routines.

And Marco looks at the clock on his board and goes, “Okay, they’re gonna be arriving in a couple minutes, have you seen this place yet?” and he takes us on a private tour of this private castle.

One crazy thing is … every room had another room in between. Like, you never just walked from one room into another, there was always some little sitting room or storage room or bathroom room or something in between every other room. And suddenly weir in this big library with floor-to-ceiling books behind leaded glass doors with big reading chairs you could picture Sherlock Holmes sitting in and of course another one of those giant marble fireplaces and it’s all dark except for bridge lamps leaning over each of the plushy chairs.

Then we wandered through this sunken indoor garden with a fountain in the middle and skylights for a ceiling, and everywhere there’s walls of windows that look like a church, and I’d lost count of how many fireplaces we’d walked past.

And we get out to the grand foyer that’s about the size of a cathedral with tall arching columns and these little chapel-like rooms that extend off the sides and the whole space has been turned into a giant bar for the night. Or multiple bars, such as it was, with more gorgeous women and men all in black, and apparently patrons had already started to arrive, and the room was alive, and everything echoes in these places so it sounds like a really loud party already. And there’s a guy in a red-&-white striped costume at an upright piano by the front door playing ragtime, and ol’ Marco goes, “You want a beer, Canadian?” The guy delivered everything totally deadpan. Never cracked a smile but was always sayin’ sumpthin twisted.

And we get to the bar and it’s nothing but bucketfuls of micro-breweries from Europe that I’ve never heard of. I get some Belgium white, and we make the rounds, but it’s obvious we’re not dressed for the occasion, so Marco’s like, “Let’s go check out the cliffs,” and Rick nods, and I’m like, “Cliffs?!”

And weir out the back door, and where the last mansion had a back yard, this place had a statue-filled fountain garden. And as weir walkin’ through it Marco starts explaining, “It’s some world hunger benefit. It’s ten grand a plate in there,” as we walk past reflecting pools with spouting putti and marble basins. And sure enough at the far end are these rockin’ hundred-foot cliffs with the sea crashing below, and Rick pulls out another stick o’ dynamite, and mid-conversation runs it through his mouth to dampen the paper so it’ll burn as slow as the fresh weed, and three old warriors get right with the muta to the crashing waves in the eternity of it.

And I’m flashing on Gatsby and his friends along these same cliffs at these same parties, and how even then I would not have been the guy in a suit, but the guy in the band or some other prankster in the play not wearing a uniform, as we riff on history with these Long Islanders from long before there was a hockey team or a Billy Joel, telling stories about Halloween parties on acid and seeing Springsteen in ’73 at My Father’s Place, the Island’s legendary music joint.

And after losing all sense of time with our feet dangling over the cliff, we all moan to get up, and mosey back to the palace, and enter through that same kitchen but this time it’s even crazier and louder and smells ever better, and we cut back to the grand foyer party which is now full, and the lights seem dimmer and it’s much crazier and rich people are letting loose, and I realize it’s sort of a rock n roll / film crowd — not Wall Street rich, this was crazy rich, and with the lights low and the crowd thick and the dress funky, suddenly weir sorta blending in, and I go back to the front door where there seems to be excitement, and people are comin’ in and having their picture taken, and they all look like movie stars, but I’m so not on that beat I don’t know if they are or not, except then somebody comes in and suddenly I see Tom Cruise come climbing over the top of the ragtime piano like a monkey, calling out to the people arriving while laughing his head off, and I’m thinkin, “Geez, this guy really is a climber!” as he comes down over the front end stepping on the keys and jumping into the arms of his friends.

And then there’s another fluster at the giant door and these two old ladies come in very slowly, and right behind them is Steven Spielberg! I think one of them was his mother, and flashbulbs are goin’ off, and there might have been applause or something, and I’m realizing this is gonna be some night!  And also, who the heck else is here?!

So, I head back and score an unpronounceable German beer, and meanwhile Marco and Rick have disappeared, and I suddenly notice these people all know each other, and a solo prankster in workaday shorts ain’t gonna be making time with these cover girls, and I also realize it’s definitely true that rich gentlemen prefer blonds, and skinny ones, and young ones, and so before I get busted for staring I’m thinkin’ its time for a smoke on the sacred grounds and go out and join the welcoming crew on the white gravel driveway in front, and there’s a line-up of limos and cool vintage cars stretching back along that long and winding road we drove in on, and I fall in with the valets who didn’t have much to do that night, but here were the modern-day Neal Cassadys, paid to park cars. And like Neal, a lot of them were on the make for connections or chicks or whatever, but one of them was standing there just digging on the simple glory of the night, and he and I riffed back and forth about cars and luxury and celebrities, and just then a black Rolls door opens and Susan Sarandon and Tim Robbins get out! And I get a flash of that art imitating life last scene in “The Player” when the executive arrives home at his mansion driveway and kisses his blond wife.

And pretty soon all the beautiful people go into the beautiful banquet hall for their beautiful meal, and I scootch in while they’re packing up the bar and snag a fresh Dutch frosty to go with the fresh Dutch tobacco, and schlep around back to find Marco and Rick lounging at a table on the terrace. “Hey! We were wonderin’ where you were!” And after a few minutes of ketchup and jam, without any of us saying a thing, a couple girls from the kitchen must have seen us out the window and brought out three plates, and we had fresh salmon and veggies in the green garden with the sea air and the silver silverware. “So, … this is about 30 grand we’re eating right here?”

And I mine ‘ol Ricky for details on Englishtown, and he mines me for details on Wayne Gretzky, and Marco didn’t mind any of it.

And then Boom! I suddenly remember Sheryl Crow’s gonna be playing!!  What?!?

And after a fine after-dinner Dutch cigar we head in and now everybody’s drunk and gettin’ drunker. And weir back in the ballroom but it’s full of people and the lights are low except for a subtle illumination of the stars above, and Sheryl and her band come out to a roomfulla friends and play it as such and have a grand ballroom time.

So of course I go right up front and it’s just a little three foot stage that I coulda just jumped up on and hugged her, which I certainly wanted to do, but instead just danced at her feet.

She opened with the perfect “It’s Hard To Make A Stand” for everyone who was there doing that with their presence. Into “Redemption Day” and I was getting the feeling this whole set was gonna be thematically linked, and boy did that turn out to be right, and I bet she does a lot of these benefit gigs that nobody ever hears about. “I’ve wept for those who suffer long, But how I weep for those who’ve gone,” and I gotta admit I totally lost it — for those I’ve lost and we’ve lost and the beauty of fate and life that put me in this place at this time. Then if that wasn’t enough she goes into the beautiful tear-inducing ballad “Angels” and this has become some kinda gospel show — “When you’re pulled from the wreckage, You’re in the arms of an angel, May you find some comfort here.” And it’s weird because you gotta sorta hold it together when you’re in a room full of people, but I wasn’t doing a very good job.

And then thank gawd she left the tear-jerkers behind and went into a rockin “Love Is A Good Thing,” with the lyrics about “buying a gun at Wal-Mart stores” that got her album banned at all their shit stores in the world. Then she went into the challenging “Strong Enough” from her first album — every song about empowerment in one way or another. And then into a thrashing “A Change Will Do You Good” and I looked over and there was Tim Robbins and Susan Sarandon dancing like teenagers, and Tim was like me with my girlfriends in that he’d dance away and film some partygoers or Sheryl with this little hand-held he had and then go dancing back to Susan, and everybody’s havin’ a grand time, just fans of the Dance. Then I couldn’t believe it — she did Dylan’s “Mississippi” — a song of his she recorded before he did. And again I’m half-way losin’ it standing five feet from Sheryl singing Bob in this private ballroom with no thought a few hours ago that anything like this was gonna happen. And there may have been a few other songs in there but she ended with my bar-none favorite live song she does, the Keith Richards-channeled  “There Goes The Neighborhood” and just rips the roof of the place. “Hey! Let’s party! Let’s get down!” And I remember this song winning the Grammy for best female vocal performance and MAN you can hear why!

And when it’s over I’m just a ball of sweat and a beaming sun, almost frickin’ shaking, and on wobbly knees make it back to the soundboard and there’s Ricky smiling. “Enjoy yourself?”

And the wonderful thing is, it was over by about 10:00 or sumpthin and Rick’s, “We gotta go.” Old pro that he is, it’s a 5AM call. And Boom! Long story short, we pull off the drop off, and I next see him but a few hours later, reunited in this same evening’s darkness for the next scene on a silent empty Wall Street in downtown New York City.


= = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = =

For more Adventure Tales, you might enjoy . . .

The Jumping Out Of A Car While Being Robbed, Kidnapped or Killed Story.

or … Setting A Driving Record on First Avenue in New York.

or … the wild physical confrontation both Al Franken and I got caught up in at a Howard Dean rally in New Hampshire.

or … the time I jumped on the Pittsburgh Penguins team bus during the playoffs.

or … scammed my way into the “On The Road” premiere in London in the courtyard of a palace.

or … snuck backstage at the world premiere of the new “On The Road” in Toronto and met up with Walter Salles.

or … our whole Adventure together at the New York premiere.

or … there was the greatest single night in New York’s history — when Obama first got elected.

or … the worst single night — when John Lennon was murdered.

or … there was the time The Grateful Dead came to town and played my 30th birthday party.

or … the night I went out in the Village with Jack Kerouac’s old friend Henri Cru on his 70th birthday,

or … went running with the Olympic torch when Canada was hosting in 2010.

or … the time I snuck in to Dr. John and ended up hangin with his whole band.

or … the time I found that cat while out waterfalling on the Niagara Escarpment.

or … the time my mom and I got trapped in the worst hospital in Italy and barely escaped with our lives.

or … of course one of the great multi-day Adventures of all time — Obama’s first inauguration.


by Brian Hassett


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Meeting Your Heroes 101

April 27th, 2013 · Kerouac and The Beats, Real-life Adventure Tales

chapter 3 — Meeting Your Heroes 101

(excerpt from my forthcoming Boulder ’82 Beat summit book)


One of the first and forever impressions I had was — being on the inside hanging with Allen and his loopy longtime lover Peter and Beat badboy Gregory Corso and cigarette-chaining novelist John Clellon Holmes in their little homes, just watching these guys, these old friends who’d been brothers of the night and the light since they were the age I was as I was meeting them, and now here they were much older, full-grown adult MEN, who were still pranksterish, still plotting cool adventures, still finishing each other’s sentences, still knowing what the other meant by just a gesture or a silence, and making each other laugh, constantly, but all within the context of business, productivity, doing things, writing things, working things out. They weren’t sitting around talking about sports or half-assed pontifications about politics or trying to prove they were up on the latest band like so many people my age. No. They’d been playing this poetry productivity game forever and probably never even noodled in those foolish things but were talking about philosophy and spirituality and writing and writers and quoting themselves and quoting others and talking over each other and as excited about tomorrow as little kids.

Allen was definitely the professorial boss, the accepted (but not to say unchallenged) ringleader. He was always carrying around this cloth sorta Guatemalan over-the-shoulder bag full of papers and folders and books and god knows what, and usually wore some stray suit jacket a couple sizes too big for him with some tie a couple sizes too small. He was gentle, but vibrant; soulful but lascivious; clipboard following but constantly poetically improvising. He was sort of the one and only father figure keeping an eye on everything, yet was always fun to be around. He had no problem correcting or admonishing someone, but did so with love and tenderness of demeanor.

He was like a referee in a pick-up game — making sure we played by the rules, but knowing the whole game wasn’t too serious.


Gregory always had on this black leather vest looking like a slightly older Dylan from “Street Legal,” like a hot happening sexy dude, with a full head of bushy black hair. He would definitely have been the (and probably only) lady’s-man of the group. He didn’t give a damn about the outcome of the game, he just wanted to score. He was definitely the Puck, the imp, the joker, and the one most likely to be called to the principal’s office. And thank god he was in with the principal or he woulda been expelled fer sure!

And a neat thing I loved — the long-form novel writer John Clellon Holmes had a slower cadence than the rest, and a softer voice, and when he’d solo on his Horn, the rest of the band laid low. There was an unspoken respect — perhaps still stemming from him being the first of any of them to have a book published, his historic novel “Go,” in 1952, that was the first time any of these dynamic soon-to-be-famous young men were captured in print. He wouldn’t speak too often — whereas Allen and Gregory were like Dizz and Bird, constantly playing off and over top of each other — but John would come in like the organ and lay down these thick slow chords that would then totally alter the next round of soloing. He was Zeppo, the thoughtful straight Marx Brother who didn’t really fit in with the others, yet was one of them, and there was nothing he could do about it.

What was extraordinary was that they were exactly like I dreamed and imagined they would be — and as they conveyed themselves from the ’50s. Close friends just hanging out, but always up to sumpthin.

And I thought back to seeing that poster that made me embark on this trip, and the fate of that, and how it was the phrase “Partially funded by The Grateful Dead” that tipped the scales from a “I should go” to an “I’m going” — but whatever the hell it was, I’d somehow made my way here and was now studying Hangoutology with my heroes. And unlike hanging with rock stars, as I had been the last few years, writing was my art form of choice and practice. Instead of being in private circles of master musicians, I was now sitting among the masters whose music I played.

And another guy who blew me away early and often was Herbert Huncke. I’m not much one for these junkie guys, but Huncke was a trip. He was SO nice, so friendly — the most personable people-loving people-person you could ever meet. But it was the guy’s cadence, how he spoke — it’s no wonder Jack & Allen & Company totally dug this guy. Whereas I tried to talk to mumbly Burroughs a few times, but that guy was as freakin’ weird and misanthropic as he comes across. The adding machine magnate’s grandson in the grey flannel suit may have been a Queer and a Junkie, but other than that he sure didn’t seem to have much in common with the other Beats I knew and loved — not the same celebration of life, joy, optimism and gushing compassion in his heart.

Although Huncke may have shared some of Bill’s proclivities and orientations, he was personable and gentle and open in his own peculiar way. Just a few degrees shy of being locked in a federal pen, he was a total character — and that was this constant commonality to most of the people in ol’ J.K.’s life. Odd ducks. As a novelist, Jack magnetized to these people as fodder for his fiction. Whereas Allen was sort of a businessman, a promoter, a former market research man, and Gregory was a bit of an aggressive hustler and loose cannon, Huncke was absolutely “one of us,” not intimidating in stature or demeanour, but a guy you could sit with for hours and he’d never disagree with you and would engagingly listen to whatever your story was. If anybody in this whole batch of aspiring Buddhists was living in the calm sea of nirvana … it was Herbert Huncke.



For more from the Boulder Beat Book — check out Who All Was There.

Or this other part about Jack’s wife Edie and best pal Henri.

For a vivid account of being at the historic “On The Road” scroll auction — check out The Scroll Auction.

For a story about the London “On The Road” premiere at Somerset House — check out this sex & drugs & jazz.

For a great story of the world premiere of the new shorter final version of “On The Road” — check out this Meeting Walter Salles Adventure!

For a complete overview of all the Kerouac / Beat film dramatizations including clips and reviews — check out the Beat Movie Guide.

For an inspiring and colorful description of being at a Beat jazz-&-poetry reading in Greenwich Village — check out Be The Invincible Spirit You Are.

For a story about Henri Cru’s birthday — check out The Legend Turns 70.

For a beautiful poem to Carolyn Cassady on her birthday — check out the Carolyn Cassady Birthday Poem.

For an account of the historic Beat show at the Whitney Museum in New York — check out Wailin’ at the Whitney.


by Brian Hassett


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The Day I Heard The Tambourine Man

March 28th, 2013 · Music, Real-life Adventure Tales, Weird Things About Me

The Day I Heard The Tambourine Man



       I, like others, was whisked away by the Gallatin genie just as I was about to drown in the requirements of my previous school.  If NYU hadn’t had a school-without-walls, I wouldn’t have graduated, if you want a soundbite about it.  The trade-off they offered was that I had to read a whole bunch of great books — which seemed like the point of life anyway — in exchange for taking whatever classes I wanted.  It was rough, but what the heck.

        As a recently transplanted Canadian “Beat,” I was striving to understand everything that drove that particular subculture of America.  Although I missed the fifties (and the sixties now that I think of it) it seemed to me that the most exciting period in 20th century America was that explosive window just after the Second World War, when the winds of change shattered a pane and in blew Jack Kerouac, Charlie Parker, Jackson Pollock, James Dean, Elvis Presley, Marilyn Monroe, and … well, you get the idea.

        So there I was, completely beaten, trounced by the system and ready to get drunk at The Kettle of Fish, when in through my window flew Walter Raubicheck, the Gallatin advisor assigned to guide my light.  I still had to take a few classes, of course, but what changed my tune were the Independent Studies he and I developed.

        Each week we would meet at Bobst Library for our private sessions.  Living on Washington Square North, I had to walk through the park every day in order to get to school (which probably did more to hamper my grade-point-average than any other excuse I’ve come up with).  In that park I could see what made America great in the first place.  People were going for it, and didn’t care what the neighbors thought. There were frisbee dancers and guitar players.  There was book reading, soap box philosophizing, and a capella singing.  There were clowns, saxophones, wandering salesmen, and young girls sitting on benches reading books.  There were back-slapping brothers, and homeless poets who would recite a dream for silver.  But more than anything, there were the songs that filled the air.

        I heard many Dylan tunes for the first time in the very park where he wrote them.  I heard the verses of freedom from Woody Guthrie to Tracy Chapman, and tossed back beer between the harmonies.  There was something about that park in the youth of my America that I hope is still there for today’s huddled masses. It was the collective celebration of a sunny day, a guttural desire to not let this one slip away.  America!  Pow!  The stomping down of the foot and hollering I’m going to do what I want, right here, right now.  “I AM WHAT I AM!”

        This was another planet, you understand, to this frostbitten Canuck.

        It was one of those sunny summer Saturdays after passing through this festival that the curtain of my enlightenment rose.  My advisor and I would try to get one of those little study closets on the seventh floor of Bobst to conduct our skull sessions in, but as it happened on this day, some fellow crammer with excellent hearing objected to our discourse and Walter suggested we adjourn to the outer hallway that encircled the atrium.  I followed him out to the balcony where he promptly dropped to the carpet cross-legged and began reciting poetry.

        My frostbite was tingling again.

        That week we were focusing on Kerouac’s legacy, and Walter cited Bob Dylan as one of his leading apostles.  I’d always had trouble with Dylan’s seemingly intentional obliqueness, so, having recently read a book dedicated “to Bob Dylan for Mister Tambourine Man,” I thought I’d challenge the professor to plug this into The Beat Picture.

        He began reciting the verses from memory as a brilliant afternoon sun overtook the wall of windows behind him, backing him like the light beyond Saint Peter.  Sitting on that suspended walkway with seven flights of space below and as many above, there was the oddest sensation of floating.

        Right from the opening verse, as he quoted, the “… evening’s empire has returned into sand, … left me blindly here to stand but still not sleeping,” my personal nightly explorations of the ancient empty streets of New York were suddenly coming to life.  My own actions and emotions, which I’d previously been told were wrong and bad, were suddenly being recited in a library by a professor.

        In joining Gallatin, I’d been searching for someone to “take me on a trip upon your magic swirling ship” of language and art. That afternoon, its advisor issued me the passage that had somehow eluded 14 years of classrooms and English lessons.

        I discovered that the gangsters and pranksters who peopled my park were the same “ragged clowns” who were “laughing, spinning, swinging madly across the sun.”  Soon afterward he showed me how they were also singing songs of themselves, and songs of innocence and experience.

        As I sat transfixed, Walter peeled off one line after another, my body tingling with each new image.  The wall of blinding sunlight began to obliterate the narrator, and pretty soon all I could see was the light.

        As he recounted, “And but for the sky there are no fences facing,” somehow he, or Dylan, had finally voiced the boundless optimism I’d been struggling to pinpoint ever since my arrival in the land of the free.

        When he prefaced the last stanza with, “I think this is one of the great romantic verses of all time,” I felt a wave of enchanted images crest and then break over me.  That an English teacher would steer someone toward rock ‘n’ roll, and not away from it, transformed my perception of what education could be.  It was no longer us against them, but a teamwork of understanding.  An authority figure wasn’t dishing out dated discipline, but rather enhancing the world I lived in.  William Blake was suddenly in the park.  I could hear Walt Whitman on the radio.  Thoreau made the evening news.  What was once alien was now internal.  Maybe I had to go all the way up to 1965 in order to understand Blake’s 1785, but it took this advisor to articulate the connection.

        So take me disappearing through the smoke rings of my mind, Mr. Tambourine Professor, down the foggy ruins of time, far past the frozen leaves, the haunted frightened trees, out to the windy beach of free expression.  As he held my future in his recitation, he taught me in no uncertain terms, “To dance beneath the diamond sky with one hand waving free.”  And I’ve been dancing ever since.


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For more Adventures in Music — you may want to check out the New Orleans Jazz Fest ride.

Or how The Grateful Dead came to play my 30th birthday.

Or Paul Simon doing Graceland in Hyde Park in London.

Or the night Dylan showed up at Springsteen’s show at Shea Stadium in New York.

Or when Neil Young returned to Massey Hall in Toronto.

Or Furthur came back and reprised the Dead at Madison Square Garden.

Or when the Dead, Janis, The Band and others took the Festival Express train trip across Canada.

Or the night I was hanging with Dr. John’s band in Toronto.

Or the night we all lost John Lennon

Or the (Route) 66 Best live performances ever captured on film.



by Brian Hassett

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The Boys Who Grew From Northern Lands

February 5th, 2013 · Poetry, Weird Things About Me




The Boys Who Grew From Northern Lands

for my dad — Vern Victor Hassett

From playing hockey with homegrown pucks,
To riding in the back of pick-up trucks,
Under cloudless, beating prairie skies,
Chasing the girls with the prettiest eyes,
Riding the roads from farm to boomtown,
Working the land from Rose to Sundown.

From schoolhouses built for all one grade,
To backyard hockey rinks — family made,
Through cold wars and winters, holding true,
Moving from the land and life you knew,
Until during the summer of sixty-one,
Fate and mom bore you a son.

Innocence playing out in the snow,
Helping me build, helping me grow,
Crossing the mountains by railroad track,
Driving to practice with skates in back,
Shovelling walks from street to lane,
Then two days later it would snow again.

From Dominion City where our food is grown,
To foreign New York to pursue the unknown,
I’ve carried our branch, and tended it well,
In the fertile garden of the Liberty Bell.

A lot has gone down,
Since I let my hometown,
And at many a time, whatever I do,
I see you in me, and see how I grew.
It’s in my face and down in my hands,
The boys who grew from Northern Lands.

There’s so many ways you’ve made me glad,
I just have to stop and thank you Dad,
For bright eyes, hope, and the big city chance,
For the red race car, and the keys to the dance.
So I’m just slowing down to nod a thanks to you,
For starting this project, then seeing it through.



For more on my Dad, Vern Victor Hassett — see this tribute.


Some other poems . . .

A Song of Enid I Sing

The Carolyn Cassady Birthday Poem

Love Is

Be The Invincible Spirit You Are

Smokin’ Charlie’s Saxophone

The Royal Woods of Cassady County

A Shakespearian Cassady

Where Wayward Jekylls Hyde — The Mighty Bama-Rama Rap

The Ballad of The Profiteers

Sittin’ On My Roof In New Orleans

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by Brian Hassett


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Wailin’ at The Whitney

January 26th, 2013 · Kerouac and The Beats

Wailin’ at The Whitney

 (a feature story from 1995 on the historic Whitney Museum show)


Communities of creative minds exchanging ideas has been a dream of artists from the moment they first walked away from the other apes and got back to the land to set their soul free.  The Lost Generation café klatch in Paris was cool, and San Francisco’s garden of flower pot parties in the ‘60s sounded like a hoot — but the most influential confluence since the Danube met the waltz took place in New York City in the late ‘40s and early ‘50s.

“Beat Culture,” the current show at the Whitney Museum of Art in New York City, is currently celebrating this zenith of fun through February 4th.

“Let me take you down, cuz I’m going too, through many fields, who knows what’s real, but I’ll try to point the highlights out.”


With Allen Ginsberg’s audio tour in your ear, the museum’s giant freight elevator doors open, and right in front of you is Jack Kerouac’s original scroll of On The Road, the Declaration of Independence of post-war America that Kerouac wrote in one 20-day chi-channeling frenzy in April 1951.

Kerouac wrote to Neal Cassady, his best buddy and the book’s main character, when he finished it: “I’ve telled all the road now.  Went fast because road is fast — wrote whole thing on strip of 120 foot long tracing paper — just rolled it through typewriter and in fact no paragraphs — rolled it out on the floor and it looks like a road.”

This mythical dead sea scroll of rock ‘n’ roll has never been seen in public before, having been locked in Kerouac’s agent’s safe since it was first published.  No one ever knew for sure if it really existed, but now we can see that not only does it, but Kerouac’s claim of spontaneous prose is upheld, as this opening of the crumbling unfurled scroll matches virtually word-for-word the final published text.

One endless roll allowed Kerouac to go on one — entering a subconscious trance where the artist was creating so quickly there was no time for regimented thought to alter pure expression.  This notion of losing one’s self in the creative act, of flowing in a “stream of consciousness,” was the distinguishing difference between these artists and their contemporaries.  While iambic pentameter, photo-realism, and Broadway musicals were lulling Beaver Cleaver’s parents into a saccharin stupor, the Beats were taking a chance on the inside without a script, and it turned out to be the cymbal crash of liberty in the jam of the century.

There on the wall is On The Road, and there on the road is a million new bands jamming their way into the future. Beyond the novel’s influence on writers, Ray Manzarek of The Doors put it bluntly:  “If Jack Kerouac had never written On The Road, The Doors would never have existed.” After years of being Jim Morrison’s bandleader, Manzarek is now accompanying Morrison’s progenitor, Beat naturalist poet Michael McClure, in one of the most exciting live readings on the current poetry circuit. Besides them performing together as part of the exhibit, many paintings by McClure, Kerouac (his Buddha below), Corso, Ferlinghetti and others show how these writers worked in many media to express the exuberance they felt for life that just wasn’t coming through the Norman Rockwell covers on every newsstand of the decade.

Neal Cassady rapping with the Grateful Dead at the acid tests is also part of the exhibit as a video installation that’s continuously playing in the center of the show, loudly proclaiming the continuum of the Beats into The Beatles into all of rock ‘n’ roll.  As Jerry Garcia put it,  “It wasn’t a club — it was a way of seeing.  It became so much a part of me that it’s hard to measure;  I can’t separate who I am now from what I got from Kerouac.  I don’t know if I would ever have had the courage or the vision to do something outside with my life ─ or even suspected the possibilities existed ─ if it weren’t for Kerouac opening those doors.”

Although Kerouac was the one who coined the term “Beat Generation,” wrote its Bible and defined its ethos, he secretly wanted “to be considered a jazz poet blowing a long blues in an afternoon jam session on Sunday.”  His soaring sentences were taken directly from the Bird songs he was listening to on a nightly basis in Manhattan.

Playing throughout the multiple floors of the exhibit is the music created in the small clubs on 52nd Street or Minton’s Playhouse in Harlem, a nickel subway ride from the Beats’ Greenwich Village and Morningside Heights haunts.  Charlie Parker, Dizzy Gillespie, Thelonious Monk and later a young Miles Davis and John Coltrane were blowing apart traditional jazz and improvising solos at double the tempo of the rhythm section.  It demanded the perfectly pure channeling of a disciplined voice combined with the courage to throw everything you knew out the window for that one shot at sunburst glory where the golden soul breaks through the clouds and the god-like voice inside all of us comes flowing out in clear honest truth.

Back down on 8th Street, and then later at his retreat on Long Island, Jackson Pollock was busy inventing nonobjective abstract expressionism by going “into” his paintings ─ dancing hypnotically, weaving chaotically, creating quixotically harmonious flows on his giant canvases in a spontaneous trance of focused freedom.

“It was great drama,” a friend of his said of watching him work. “The flame of explosion when the paint hit the canvas; the dancelike movement; the eyes tormented before knowing where to strike next; the tension; then the explosion again.”  As Kurt Vonnegut saw it, the reason Pollock’s work lasted was because “it celebrates what a part of the brain can do rather than what pictures should look like.”  Or is that Kerouac or Bird he’s talking about?  As Pollock himself put it, “When I’m in my painting, I’m not aware of what I’m doing.”


Also on the walls are several photomontages by the godfather of punk, William Burroughs, as well as his paper cut-ups, and Naked Lunch manuscript.  And there’s the great New York poet, prankster and artist Gregory Corso, who contributed a hypnotic 3-D collage of every major city in Europe, as well as his notebooks and portraits of people he knew.  “Hey!” he yells out at the opening night party.  “That’s one of mine,” he says, squinting closer at his Portrait of Robert LaVigne.  “Aaaa, doesn’t even look like the guy,” he said, waving his hand.  “Come on girls,” as he walks away with his harem.

Over at a loft on 14th Street, Julian Beck and Judith Malina formed The Living Theater, whose photos, paintings, script outlines and filmed performances are part of the show, as they invited artists to mingle in performance and life, encouraging actors to improvise the essence of their characters instead of performing the same lines every night. And speaking of parties, theirs were legendary — there’s photos of Mailer and Ginsberg going at it again;  there’s O’Hara, Kline, and Kerouac all drunk again;  there’s Mingus jamming with Patchen, and Ferlinghetti reading Coney Island of The Mind;  there’s Beck’s collages now hanging on the wall at the Whitney Museum;  there’s hope.

And this new style of improv acting starting in New York soon took over Hollywood as Marlon Brando, James Dean & others began improvising many of the best scenes of the decade.  Dozens of these gems are playing all exhibit long in the museum’s theater, including Rebel Without A Cause (1955).  Dean’s co-star in that, Dennis Hopper, whose private art collection contributed greatly to the show, told the story of how Dean improvised that whole opening scene of Rebel — picking the wind-up monkey off the set and playing with it as a baby might, then wrapping it in a paper blanket.  That single bit of subconscious, spontaneous acting has been studied by film students the world over for everything from its personification of the boy/man/baby torn-between-worlds dilemma, to its children-as-wind-up-toys-of-their-parents theory which set the stage for the film’s drama, as well as the generational conflict that followed.

The single coolest document of the Beats is also on view —  the 28 min. independent film Pull My Daisy.  Shot in 1959 by Robert Frank at painter Alfred Leslie’s loft starring Allen Ginsberg, Gregory Corso, and the painter/musician Larry Rivers.  The film was shot without sound then narrated by Kerouac who improvised all the dialogue and storyline in a beautiful poetic funny vocal solo like Robin Williams on a double-shot of Walt Whitman.

It’s hard to fully appreciate what these artists were doing back then because it’s so much a part of our life now.  Like soloing.  But this was the transition point where Bob Hope, Louie Armstrong and Robert Frost morphed into Marlon Brando, Charlie Parker and Allen Ginsberg.  What changed was their perception of the limitations of art.  Each of the pioneers in this exhibition took the framework of the novel, play, canvas, or song, and said, “No rules ─ just purely transmit the songbird voice within without restriction but flow forever clear, Sweet Chariot.”

By ignoring the limitations of the canvas’s frame, the paint and painter were free to fly all around it.  So too a song in Charlie Parker’s horn, an actor on The Living Theater’s stage, or a page in Kerouac’s typewriter.  Not only did Jack eliminate paragraphs and page endings, but traditional narrative as well by telling one elaborate legend that ultimately ran through all of his books, a single story weaving like a double helix through all of life, illuminating truths that were beyond contrived literary pretension.  It was joy in art.  It was jamming.  It was jewel mining in the fifth dimension.


There are historical precedents for each piece of this story — but they never came together in one place.  The Italian Renaissance is the obvious comparison for multi-disciplinary revolution, but there’s not many of those cats around anymore.  Van Gogh and the Impressionists were onto it, as were William Blake and Walt Whitman in their singing the songs of themselves.  Yeats’ trance writing opened the door, and Joyce’s wordplay made it worth walking through.  Emerson’s Self Reliance was the hard surface of the road, and Huck Finn walked along it whistling its tune.  But that’s jumping continents and centuries.  This renaissance took place on the same New York island over the same five years.

And as this historic Whitney show makes joyously clear, these guys were articulating in the late 40′s and early 50′s what we’re still experiencing today.  This is the risk-taking avant-garde community’s direct cultural lineage.  And this interconnecting story of writers, painters, musicians and actors will go on endlessly like an ever-expanding web site.

Gathered for the first time are the words, paintings, photographs, music and movies from one of art’s golden eras, when Pollock danced, Jack flew, Allen howled, and Bird blew.  Some mop-tops copped the name, and the rest of the revolution was televised.  But if you want to see how we got here from Ozzie and Eisenhower’s Conformity Generation, the cats are wailin’ at the Whitney through February 4th.


For an excerpt from my book about the ’82 Kerouac Conference in Boulder — check out Meeting Your Heroes.

For more from the Boulder Beat Book — check out Who All Was There.

For a vivid account of being at the historic “On The Road” scroll auction — check out The Scroll Auction.

For a story about the London “On The Road” premiere at Somerset House — check out this sex & drugs & jazz.

For a great story of the world premiere of the new shorter final version of “On The Road” — check out this Meeting Walter Salles Adventure!

For a complete overview of all the Kerouac / Beat film dramatizations including clips and reviews — check out the Beat Movie Guide.

For a story about Henri Cru’s birthday — check out The Legend Turns 70.

For a beautiful poem to Carolyn Cassady on her birthday — check out the Carolyn Cassady Birthday Poem.

For an inspiring description of being at a Beat jazz-&-poetry reading in Greenwich Village — check out Be The Invincible Spirit You Are.


by Brian Hassett  

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Beat Movie Guide

January 9th, 2013 · Kerouac and The Beats, Movies

Beat Movie Guide

(dramatizations, not documentaries)



With not one, not two, but three movies based on Jack Kerouac books coming out this year (2013) it makes sense to make sense of the world of cinematic dramatizations based on Beat works.

Since real people are given different fictional names in every movie, for clarity I’ve stuck with the original names of the people the characters are based on.


Pull My Daisy — 1959 — a filming of act 3 of Jack Kerouac’s “The Beat Generation” play/screenplay;  perhaps the single greatest Beat Generation creation ever made — Jack’s narration is the best audio he ever laid down, set to a jazzy world-beat score, and the Beat badboys filmed in their prime by a visionary cameraman, in a typical New York City apartment where the whole movement was born — dir. by Robert Frank & Alfred Leslie — starring Gregory Corso as Jack; Allen Ginsberg as himself;  Larry Rivers as Neal Cassady;  and Delphine Seyrig as Carolyn Cassady.
* This once uber-rare film is now on YouTube and you can experience the entire masterpiece right here.


The Beat Generation — 1959 — ridiculous Hollywood exploitation B-movie;  no connection to the Beats except the title and the goateed stereotypes — dir. by Charles Haas — but it actually has a Louis Armstrong performance! and Jackie Coogan (best known as The Kid in Charlie Chaplin’s “The Kid” and Uncle Fester in “The Addams Family” TV show); Vampira as the female Beat poet and whose image is used on the posters;  and Mamie Van Doren (the stage name of a B-movie Marilyn Monroe, who Jack actually described his first wife Edie as looking like in Vanity of Duluoz, and no relation to the esteemed poet/author/editor/Columbia professor Mark Van Doren or his quiz show scandalized son Charles).
Here’s a 4-minute clip, and another one minute.


The Subterraneans — 1960 — god-awful white-washed & neutered version of Jack’s novel with the black girlfriend turned into a French girlfriend (!?) — dir. by Ranald MacDougall — starring George Peppard as Jack; Leslie Caron (best known for “Gigi” and “An American In Paris”) as “Mardou”; Jim Hutton as Ginsberg;  Roddy McDowell as Corso!  Arte Johnson as Gore Vidal;  and a musical appearance by Carmen McRae backed by Gerry Mulligan, Art Pepper, Art Farmer and Andre Previn!
Here’s a scene with some of the jazz with Gerry Mulligan & company.


Beat Girl (aka Wild For Kicks) — 1960 — Britain’s entry in the cheap exploitation field;  no actual connection to the Beats except the title and base stereotyping — dir. by Edmond Greville — curious for its bit parts by a young Christopher Lee and Oliver Reed.
Here’s the entire movie on YouTube!


Beany & Cecil — Wildman of Wildsville — 1961 — Since no film festival would be complete without at least one cartoon short, take a break from the serious and enjoy this satire of all things Beat — with none other than the immortal Lord Buckley voicing the lead beatnik, Go Man Van Gogh.
Full six-minute cartoon here.


Route 66 (one-hour dramatic TV series) — 1960–64, airing Friday nights on CBS — obviously “inspired by” / ripped-off from Jack’s “On The Road” — two young men (an outgoing orphan and a bookish New England Ivy Leaguer who recently lost his father, hmmm), drive around the country having adventures while looking for the meaning of life (Hollywood is nothing if not original!) — shot almost entirely on location around North America — 3/4 of the episodes written by show creator Sterling Silliphant (who’d later win an Oscar for writing “In The Heat Of The Night”) — starring George Maharis and Martin Milner (who narrowly beat out Robert Redford for the role).
Here’s the opening of the very first episode — with George Kennedy and 2001′s Keir Dullea!  Here’s part 2, part 3, part 4, and the conclusion.
Here’s the entire 3rd episodeall filmed in New Orleans in 1960! Unreal footage!
There’s tons of other entire full episodes you can find on YouTube.


Heart Beat — 1980 — based on an early pre-publication excerpt from Carolyn Cassady’s “Off The Road,” who has never wavered in her utter disdain for the production and refers to it as “Heart Break”;  there’s loads of Beat history inaccuracies, and it’s definitely a liberty-taking fictionalization, but it’s also a capturing of the era, and the acting and casting are pretty good;  it’s commonly praised for its art direction, period details and Jack Nitzsche’s cool score, and criticized for its melodramatically silly script;  also notable for 3 weird cameos:  Jack’s daughter Jan is the smoking girl in a white dress sitting in the cafe/bar around 11 minutes into the movie in the scene that begins with Cassady/Nolte tipping out of his chair onto the floor; John Larroquette in his first ever film role playing an obnoxious TV talk show host interviewing Jack;  and director David Lynch appears briefly as a painter — dir. by John Byrum — starring Sissy Spacek as Carolyn;  Nick Nolte as Neal;  John Heard as Jack;  Ray Sharkey as Allen;  and Ann Dusenberry as LuAnne.
Here’s the opening of the movie followed by a collage of different scenes.
Here’s the first 15 minutes (1) that comes after the opening sequence.
and then the next 15 minutes (2) — Jack writing, hanging with LuAnne; then with Allen in NY and SF.
and then the next 15 minutes (3) — at the jazz club in SF, Neal & LuAnne, Neal proposes to Carolyn.
and the next 13 minutes (4) — moving to the suburbs, meeting the neighbors, Jack shipping out then returns to the Cassadys, brings black hooker home.
and the next 13 minutes (5) — Jack & Carolyn go for it, the 3 of them living together.
and the next 13 minutes (6) — Jack sells OTR and gets famous and drunk.
and the next 11 minutes (7) — Beatnik cafe cliche, Neal gets busted, then with the Pranksters.
and the final 6 minutes (8) — final scenes and credits.

Note:  Jack’s only child Jan appears in the “first 15 minutes (1)” clip in the white-walled café/bar scene that begins with the Nolte/Cassady character tipping over out of his chair starting at 8:15.  Jan is the girl in the white dress sitting along the wall on the right smoking.  In her book “Trainsong” she wrote in chapter 22, “In September I was offered the job as an extra in Heart Beat, a movie about my father’s menage-a-trois with the Cassadys. … The Acropolis Cafe was just the place for a beat generation coffeehouse scene: a Greek restaurant in downtown L.A., unchanged since the thirties.  …  My job was to sit at a table where two guys were playing chess:  to follow their moves like a cat, to look mildly bored, … and to puff like mad on Camels to produce a thick, smoke-filled atmosphere.”  If you watch it on a screen larger than a computer’s, you can see that the two men at the table with her are indeed playing chess — especially visible in the 3rd and final shot of them, starting 9:37.  Further, you can see a photograph of The Acropolis Café right here, confirming that this scene was shot at that location and therefore is the scene with Jan.


Naked Lunch — 1991 — successfully surreal adaptation of the Burroughs novel, and the first remotely popular “Beat” movie;  shot entirely in Toronto by Canadian director David Cronenberg, it swept the Canadian film awards taking home 7 Genies, including Best Picture, Director and Cinematography — starring Peter Weller as Burroughs;  Judy Davis as Joan Vollmer;  Nicholas Campbell as Jack;  Michael Zeiniker as Allen;  and Roy Scheider as Burroughs’ recurring Dr. Benway character.
You can see the trailer for the movie here.
Here’s the opening credits artwork.
Here’s a 3 minute clip where Bill Lee is having a conversation of telepathic conversation.


The Last Time I Committed Suicide — 1997 — a really well made film based on Neal Cassady’s famous and influential Joan Anderson/Cherry Mary letter to Jack (written Dec. 1949) about events around Christmas 1945 before Neal had met any of the other soon-to-be Beats — dir. by Stephen Kay — starring Thomas Jane as Neal.  Also starring Keanu Reeves, whose commitment got it funded, playing a sorta kinda Jack-like buddy;  and an early film appearance by Adrien Brody as a sorta kinda Allen character, even though Neal didn’t know either of them when the story took place;  as well as a young Gretchen Mol, Amy Smart, and Clair Forlani as Joan.
Of note — Carolyn Cassady said Thomas Jane was the closest to Neal she ever saw on screen.
Here the trailer.
Here’s Neal and his friend Harry (Keanu Reeves) drunk at a bar.
Here’s a great sequence where Neal gets out of jail and goes for a run — featuring the swingin’ soundtrack by Tyler Bates who went on to score a ton of other movies.


Beat — 2000 — a not-well-received-on-any-level composite dramatization of Bill Burroughs’ time in Mexico including the killing of Joan — dir. by Gary Walkow — starring Kiefer Sutherland as Burroughs; Courtney Love as Joan Vollmer;  Ron Livingston as Ginsberg;  Daniel Martinez as Kerouac;  and Norman Reedus as Lucien Carr.
Here’s the trailer.
Here’s an even cooler trailer.
Here’s a trailer narrated by the Allen character.
Here’s a brief scene with the Allen and Lucien characters.
Here’s a 5-minute collage of various Lucien & Joan scenes.


The Great Sex Letter — 2006 — a visual dramatization set to a reading of Neal Cassady’s letter of March 1947 to Jack Kerouac that Jack dubbed “the great sex letter.”  Despite the film’s inaccuracies — like the person receiving it appears to be Allen not Jack — this low-budget 7-minute indi effort is notable for being the earliest Beat writing ever interpreted on film.  The film begins in silence, then the only audio you hear is the reading of Neal’s words set to music by Charles Mingus.
You can experience the complete short film here.


Neal Cassady — 2007 — a well-intentioned low-buddget ($1 million) dramatization beginning in B&W with Jack & Neal in the 40s, then goes to color for the late 50s and psychedelic Kesey years;  it would be easy to call it bad, and many of people do, but there’s lots of interesting little accurate details  — dir. by Noah Buschel — starring Tate Donovan as Neal (who a lot of people including me think did a pretty good job);  Amy Ryan as Carolyn;  Glenn Fitzgerald as Kerouac;  and Chris Bauer as Kesey.
Here’s the trailer.


Howl — 2010 — about the publication and censorship trial of Ginsberg’s poem, with a transcendent performance of Allen by James Franco;  includes animation sequences interpreting the poem, a courtroom drama of the trial, and Franco’s uncanny Ginsberg reading and reflecting on the poem, the trial, and his life — dir. by Rob Epstein & Jeffrey Friedman — starring James Franco brilliantly as Allen;  Todd Rotondi as Jack;  Jon Prescott as Neal;  Andrew Rogers as Ferlinghetti.  Also featuring performances by Jeff Daniels, Jon Hamm, Treat Williams, Bob Balaban, David Strathaim and Mary-Louise Parker.
Here’s the trailer.
Here’s the great “Holy” riff — the Footnote to Howl.
Here’s the Allen character talking about how to write poetry.
Here’s the Allen character talking about how he writes.
Here’s the Allen character talking about commitment to writing.
Here’s the part where Allen meets Peter.
Here’s 4 different clips — Rockland, Allen talking, the trial.
Here’s a clip about Allen moving to SF and getting a straight job.
Here’s the clip about Allen talking about his first night with Neal.
Here’s the 1st Howl poem animation sequence.  Here’s the 2nd.  Here’s the 3rd. Here’s the 4th.  Here’s the 5th.  Here’s the 6th — Moloch.  Here’s the 7th— with you in Rockland.
And here’s a really cool thing — James Franco talking about how he got Allen’s voice down, and they made the movie and wrote the character.


On The Road — 2012 — film version of the iconic novel finally hit the screen 65 years after the adventure, 61 years after the Scroll was written, 55 years after publication, 33 years after Coppola bought the rights, and 8 years after the director Walter Salles was approached;  over 60,000 miles covered in the filming;  ironically it took an international consortium to get this Great American Novel filmed — a Brazilian director, French producers and cinematographer and editor, British actors, Argentineans doing the art direction and score composition, a Puerto Rican screenwriter, and it was mostly filmed in Canada — dir. by Walter Salles — starring Sam Riley as Jack;  Garrett Hedlund as Neal;  Kristen Stewart as LuAnne;  Kirsten Dunst as Carolyn;  Tom Sturridge as Allen;  Viggo Mortensen as Bill;  Amy Adams as Joan;  Danny Morgan as Al Hinkle, and Elisabeth Moss as Helen Hinkle.  Also includes surprise appearances by Steve Buscemi, Terrence Howard, and Coati Mundi as Slim Gaillard.
Here’s the amazing Cannes press conference — absolute required viewing for anyone interested in this movie.
Here’s the cool trailer.
Here’s three minutes from early in the movie where Sal & Dean are talking about their missing fathers, into Dean parking cars.
Here’s the new year’s eve party dancing scene.
Here’s Marylou and Sal in the car.
Here’s Sal & Camille dancing together to Ella Fitzgerald in the roadhouse.
Here’s the jazz club scene with Terrence Howard (with overdubbed German dialog).
Here’s the benzedrine inhaler party scene (with overdubbed German dialog).
Here’s Sal first going on the road (with overdubbed German dialog).
Here’s Sal beginning to write On The Road (with overdubbed German dialog).
Here’s the six deleted scenes that are included on the French DVD as Extras.


Big Sur — 2013 — the second major Kerouac novel filmed in as many years, and bizarrely it’s the 180 degree counterpoint to Jack’s optimism of “On The Road”;  all shot on location in Big Sur and S.F. — dir. by Michael Polish — starring Jean-Marc Barr as Kerouac;  Anthony Edwards as Ferlinghetti;  Josh Lucas as Neal;  Radha Mitchell as Carolyn;  Balthazar Getty as McClure;  Patrick Fischler as Lew Welch;  Henry Thomas as Philip Whalen;  and Stana Katic as Lenore Kandel.
Here’s the trailer.


Kill Your Darlings — 2013 — Allen Ginsberg’s coming of age story from entering Columbia through the David Kammerer killing, which was the subject of the early Kerouac/Burroughs co-authored novel “And The Hippos Were Boiled In Their Tanks”;  the film’s title comes from the William Faulkner line, “In writing, you must kill your darlings,” meaning you sometimes have to delete your favorite passage for the betterment of the story — dir. by first-timer John Krokidas — starring Daniel Radcliffe as Ginsberg;  Dane DeHann as Lucien Carr;  Jack Huston as Kerouac;  Ben Foster as Burroughs;  Michael C. Hall as David Kammerer;  Kyra Sedgwick as Lucien’s mother;  Elizabeth Olson as Edie Parker;  and Jennifer Jason Leigh and David Cross as Ginsberg’s parents.

For a detailed review from its premiere at the Toronto International Film Festival go here.



The Duluoz Legend sequence of films (so far) would be:

Kill Your Darlings — set 1944  (released 2013)
The Last Time I Committed Suicide — set 1945  (released 1997)
Heart Beat — set 1946-66  (released 1980)
On The Road — set 1947-49  (released 2013)
Beat — set 1951  (released 2000)
Pull My Daisy — set 1955  (released 1959)
Big Sur — set 1960   (released 2013)




For an excerpt from my book about the ’82 Kerouac Conference in Boulder — check out Meeting Your Heroes.

For more from the Boulder Beat Book — check out Who All Was There.

For a vivid account of being at the historic “On The Road” scroll auction — check out The Scroll Auction.

For a story about the London “On The Road” premiere at Somerset House — check out this sex, drugs & jazz.

For a wild story of the world premiere of the new shorter final version of “On The Road” — check out this Meeting Walter Salles Adventure

For my review of the premiere of the most recent movie — here’s the Kill Your Darlings” review.

For a story about Henri Cru’s birthday — check out The Legend Turns 70.

For a poem to Carolyn Cassady on her birthday — check out the Carolyn Cassady Birthday Poem.

For an account of the historic Beat show at the Whitney Museum in New York — check out Wailin’ at the Whitney.

For an inspiring description of being at a Beat jazz-&-poetry reading in Greenwich Village — check out Be The Invincible Spirit You Are.


by Brian Hassett  

→ 27 CommentsTags: ···········

“On The Road” Comes Home — The New York Premiere

December 24th, 2012 · Kerouac and The Beats, Movies, Real-life Adventure Tales

“On The Road” Comes Home — The New York Premiere

The day of the “On The Road” premiere in New York I was up at the NYPL trying to get through the doors of the hermetically sealed vault of the Berg Collection, home to a gazillion literary papers from Emerson to Shelley — but most importantly the entire Jack Kerouac collection!  And when I say “entire” I mean from grocery lists to manuscripts.  The book that lists his stuff there is single-spaced and four inches thick!  And of course the place is harder to get into than the Oval Freakin Office, but I figured with the mojo of this 12/12/21/12 opening I oughta spin the tumblers and see what happens.

There’s forms ya gotta fill out, cards ya gotta get, background checks, Jeopardy questions, a swimsuit competition — its all way too much, but I jump through every hoop and roll with every punch, and they say they’ll get back to me . . .  in a week.

So, I go to the library’s free computers to check my email and find this from the film’s director . . .
Walter wanted to see if you would like to ride up with him to the premiere tonight.”
! ! ! !
And then at the same time I get an email from Teri McLuhan saying she can’t join us as planned — so suddenly I’ve got an empty seat beside me for the premiere night adventure!  But instantly, from the NYPL interwebs I’m able to track down The Mighty Debster, my intrepid partner from the MTV daze, the Emma Peel to my John Steed, a dynamic duo that got into every concert or mega-party we ever set our sights on.
“Does Walter want a pretty girl to join us in the car?” I email assistant Gerry.
Two minutes later:  “Yes, one pretty girl in the car, please.”
And BOOM weir on.

Back to the Jane Hotel to drop off the day and costume into night,

and before I can get out the door there’s an email telling me I’ve been approved to get into the Berg!  I dunno how I dun it — and in 3 hours — but I’m sure it wasn’t the swimsuit competition!  So, I float out the door, and make my pilgrimage past John Lennon’s house at 105 Bank Street, and although not a very religious type, I did a cross on my chest and said a little prayer of gratitude to John and The Spirits for lighting my Path.

Then cab it down to Walter’s funky SoHo shelter from the storm, and there’s the limo and there’s the driver and before long, There’s the birthday boy!  And we’re laughin and tellin stories, and I’m remembering my Spirit Guide role in this vital mission.  As Gerry says, “It’s your infectious enthusiasm.”  Everything positive, everything up, on our way to the New York premiere, the last in a loooong series for Che Walter on his North American crusade for truth, justice & the Road.

And of course Deb’s not there yet, and he’s like, “You don’t promise a pretty girl and then not deliver.  Just don’t saying anything.  But don’t promise and not deliver,” he’s ribbin me cuz we gotta get in the car and go, but just then, “There she is!  Just a  walkin’ down the street singin’ Do wah diddy, diddy-dum diddy-doo.”  And Boom weir off in the Starship, sittin back that comfy way you can in limos, almost on beach chairs with your legs stretched out catching rays from the New York lights flashing in the windows like an old projector.

And Walter’s holding these pages of a speech he’s written, but he’s not reading them, just looking down and saying, “I hope I don’t forget anybody.  Everybody’s gonna be there tonight … oh man …” And I ask, “What about Steve Buscemi?  Is he comin’?”  And Walter’s, “Oh my gawd, Buscemi!!  Gerry, did we invite him?”  And St. Gerry checks on his gizmo, and about a minute later reports he was invited but sent his regrets.  And we’re back to Phoosh!  as we whoosh through the Sixth Avenue traffic.  And I remind him the premiere is being held right around the corner from where Jack birthed the On The Road scroll, and Walter says, “There’s no such thing as coincidences,” and twinkles through the flashing night lights.

And as we turn onto the block we can see the mobs on the sidewalks and the whole scene, and the driver starts to slow down right in front of the red carpet and Walter calls out, “No, no, drive up ahead, don’t let me out here!!” not wanting to step into the flashbulb blitzkrieg.  We get our shit together in the darkness of the stretch-Hudson, and then it’s, “Go!” and we open the door and stride as quickly as we can into the theater, people calling, “Walter,” from all directions, and he grabs Deb on one side and me on the other and we were pretending like we were in the middle of some great conversation for the distance between the car and the glass doors.  Funny, fast, and efficient.

And there’s the girls with the clipboards and the seas part and we sail into the safe harbor of the lobby.  Outside were the unaccredited paparazzi.  Inside there’s a whole Special Forces unit of them — and this time there’s no getting around it.  But we slip behind the photographer’s backdrop for a deep breath and a twinkling jazzed regrouping before facing that first line of cameras both still and rolling, then a whole wall lined with reporters with notebooks and recorders and accreditation around their necks.  While hanging backstage I spot the crew’s cheat-sheets — pages with color photos of each of the expected celebs so the door crew know the faces when they appear.  Good look-out.

Turns out all the seats in the theater are assigned, so you don’t just get a ticket, you get a specific seat like at a concert.  Once Debs and I score our juicy pair, we go pre-scout the venue and sure enough we’re in primetime dead-center, and I see some cat nearabout our seats, and ask how he came to be here, thinkin this whole row will be friends n family, and he said, “I’m a friend of one of the actors.”  “Oh, nice.  Which one?”  And he says, “Garrett.”  And I’m like, “Oh great!” And he asks about me, and I start tellin’ him, and he’s like, “I’ve heard of you!  You wrote those great pieces.  Yeah, Garrett was telling me about you.” And I’m thinkin’, this is going well so far.

So, Deb & I prankster about for a bit, checkin the scene, eavesdropping on anticipatory conversations, looking into the faces of all the beautiful people who are about to go On The Road.  And there’s this guy who looks like Michael Stipe who sang at the Sandy benefit last night at Madison Square Garden, but I’m thinkin, “Na, that’s just somebody who looks like him.”  And I take a roll down the aisles proudly wearing my American flag shirt that later gets raved about at the afterparty for happily waving it in this second term engagement season, and I’m lookin for familiar Beat faces but this is the film bidniss and not exactly St.-Mark’s-On-The-Bowery.

Then finally we all take our seats and I’m makin friends in about four different directions, including with these crazy red-haired girls who keep droppin booze bottles on the clanking floor all night which was really funny and very On The Road but I bet some less-than-spirited patrons may have been offended at the lack of decorum at this serious occasion — but to me they were just quiet Jacks laughing in the immensity of it.

And soon some IFC honcho comes on stage and praises Walter up down and sideways as “a master filmmaker and one of the best cinematic storytellers in the world,” then Walter comes out and he’s all, “Geez, well now I’m really trembling a little after that introduction!”  Then goes, “And I’m also nervous to be here because ‘On The Road’ was birthed (he’s using my word!!) just three blocks from here,” And I’m, “No way! He’s doin’ my bit! He remembered!!  Cool!” And then he says, “It was written on 20th Street and 9th Avenue in April 1951, and I want to thank my good friend Brian Hassett, who is here tonight, for reminding me.”  And I’m, No way!!  Not only does he thank me, but I’m the first person he mentions in his New York premiere night speech!! What the?!?!

Then he goes on and talks about the movie and thanks the IFC people and John Sampas and Ann Charters and others but I barely heard it cuz I was still in such a tizzy over he thanked me!! . . .  First!! And then he does it again! Crazy! Pinch me!

But Walter does all these incredible off-the-cuff riffs covering any number of subjects.  Like, “I had a passion for the book that was triggered when I first read it in 1974 when I was entering university in Brazil which was living through the dark ages of a military dictatorship, and the book carried all the freedoms we were seeking but not able to experience, so it had a very resonant quality, but I knew that that wasn’t enough of a reason to begin an adaptation, so I proposed to American Zoetrope to do a documentary in search of a possible film based on ‘On The Road.’  And they went for this insane idea!  And for six years we crisscrossed America on the paths Kerouac had taken when he wrote On The Road, and we met with the characters of the book who are still alive and they were extremely generous to us.  We talked to the poets of that generation that changed the cultural landscape not only of this country but of Brazil as well.  Lawrence Ferlinghetti, Michael McClure, Diane DiPrima, Amiri Baraka, Hettie Jones — it was a unique experience because I had never met younger 70 year olds than this group, because they had kept two things intact — their beliefs and their integrity.  And that’s very very hard to keep in the long run.”

And then he brings out the actors in this cool way — in the order in which they first committed to the film.  First it’s Kirsten Dunst who plays the person he met on the project who most impressed him — Carolyn Cassady.  “In meeting Carolyn in 2005, I was so impacted by the intelligence and the sensitivity of that unique woman, and I thought that only an actress with those qualities could play her.  Please welcome Kirsten Dunst.”

Then he goes into this whole story about a friend of his who saw an advance screening of “Into The Wild” and immediately called Walter about the perfect actress to play Marylou, and he wrote the unknown’s name down on a napkin: “Kristen Stewart”  “And when I first met her in 2007 she had such an in-depth understanding of what ‘On The Road’ was about and knew the book inside out, and she was 17.”

Then … “When Garrett Hedlund drove from Northern Minnesota for 3 days to the audition in Los Angeles, he brought such electricity and life to Dean that we knew we had found one of the most difficult characters to cast, and that electricity never dissipated — but what I didn’t know is that he would be such a great Road companion.”

And then he intros Sam Riley with, “One day I saw ‘Control,’ and for those of you who love cinema, you know how impactful that could be.  Seeing Sam Riley in that film was something I wasn’t going to forget.  There was such intelligence in the performance, such intensity, but also in the non-verbal there was the capacity to understand and decode the world.  And these are qualities writers have, and that we wanted to have to bring Sal to the world.”

Then he says, “I have to confess I belong to a specific religion that states — there is no independent film without Steve Buscemi.”  Gets a big laugh.  “Many thanks to him for helping, not only for being in the film but for recommending so many great actors that we ended up casting in it.  You’re wonderful.”

And then the movie happens — my fifth time seeing it on the big screen (!) — and I kinda lost it at the Orgone Accumulator scene.  Now that I know it’s coming, I see Viggo as Bill as so freakin funny in this scene, it’s just nuts in the Crazy Dept., and before he ever climbs into that outhouse I’m laughing my head off and infect the rows around me so by the time he finally sticks his head in the window our whole section is roaring.

Then the movie’s over to many whoops and whistles and raucous applause, and it’s one of my favorite times on earth — being in a movie theater right after “On The Road” ends and eavesdropping on conversations and talking to people and looking into their movie screen faces for the story they tell, and of course every face is aglow and the room’s a Marshall stack of fast talking New Yorkers all soloing at once, but you can pick out fragments “… the cinematography … ,” “… that guy who played Ginsberg … ,” “… those party scenes were great!” “… and when he starts to cry at the end …”

And after much beaming Debs and I finally weave out front and hang under the marquee and I ask this group of models what they thought (purely research, you understand) and the prettiest one goes, “AMAZING!” unabashedly beaming, almost giggling in joy.

And we schmooze our way around the circle until the afterglow begins to fade, and it’s like, “Okay, let’s hit the party.”  But of course there’s no cabs at the moment you need one, so we mosey on down to 9th Avenue yakkin our fool heads off … What about Kristen Stewart?!  and How about that soundtrack?!  And Debs is goin’ on about the costumes and how the people look and how they totally brought post-war America to life.

And we get to the avenue and of course there’s no cabs there either, and by now a whole krewe from the movie including the models have caught up with us, and we’d need about 3 cabs anyway, and Deb goes, “It’s really close, let’s just start walkin,” and of course — Bing Bing Bing —  “And if we don’t get one by 20th Street, wheel swing past Jack’s house on the way to the party!”

Then on the very first corner there’s this deli and I’m like, “My God!  I’m in New York!”  And dash in for a cold Heineken Road jar … because I can.  And now weir really rollin and I know no fleet of cabs are comin so I start tellin’ the gang the whole story of the 50th Anniversary of Jack writing “On The Road” show I produced — which started by going to this house on 20th and then walking to the corner to find the closest bar and talking them into giving me the place for the night Jack started writing the Scroll.  And one of the krewe actually LIVES on this block of 20th and didn’t know this was The Street!

And just as the tour bus is approaching the sacred site, I see someone go up the stairs and through the door!  I scootch up ahead and somehow get the guy’s attention, and he’s squintin through two sets of doors at this maniac at his gate, then I start waving him out and gosh darn if he doesn’t come!
“Hey man!  You know who used to live here?”
“I sure do,” the shy guys says.
“Well, we were just at the premiere of his movie!  Of the book that was written right here in this apartment!”
“You’re kidding?!  The premiere was tonight?!”
“Yeah, it’s great, you’re gonna love it.  Hey — what apartment are you in?”
He points up to the second floor, “Right here in number 2.”
And I fairly yell, “THAT WAS JACK’S APARTMENT!!!”
And he goes, “Yeah, I know,” and smiles a twinkle.
I figured he didn’t want to have our whole krewe up to his place without any warning, so we just blessed him, and thanked him, and buzzed him, and left him with a big glow as we continued our flow to the aftershow.

And Aretha’s flyin through my head — “This is the house that Jack built, y’all, remember this house …”

“I stopped at John’s place on the way to the premiere, and Jack’s house after the premiere!” I’m gushing like a geyser and dancing down the street like a dingledodie delirious with everything at the same time and spinning like a centerlight top, and everybody goes, “Awwww … that Brian guy’s nuts!”

Then we get to the corner of the party, and now Deb starts jumping up and down!  “Oh my God, it’s at The Top of The Standard?!?!” and starts screamin and laughin and yankin on my arm like a little kid about to go on her favorite ride!

Everything had already taken on that surreal tone of a night in magic places in endless New York … and we hadn’t even gotten to the playground in the sky yet!

And just as a last throw-ya-off and freak-ya-out before you step into Netherland, the elevators have those crazy mirrors, and trippy lights, and the girls are gorgeous, and the guys are crackin jokes, and we’re travelin straight up at the speed of light.

BOOM — into the Gilded Age, in a place that looks for all the world like Windows On The World at the top of the World Trade Center — a high-rise along the Hudson with no buildings out the windows — because it’s in the West Village you can just see forever out the vertical frames of floor-to-ceiling glass.  And there’s Walter being the gracious host, greeting everyone at the door as they arrive, and I tell him about the pilgrimage to Jack’s house and meeting the current resident, and he’s shaking his head, “Only you, amigo!”  And another big hug and cheek kiss and wild night with the mad ones was just beginning.

Then he leans in and says Patti Smith was at the movie, but he doesn’t know if she’s here or not.

And I’m like, “Got it.”  Boom: Mission Patti.  Find her in about 3 secs.  Back to Walter.  “She’s right there by the window,” I nod.  He smiles.  “Anybody else you want me to find?”  We laugh, and I’m off to the party.

And right away his saintly assistant Gerry goes, “Oh, there’s something Walter asked me to give you,” and pulls out these magic beans — tiny “On The Road” buttons based on the orange-covered first edition I ever owned!

And I wander a few more feet and there’s ol’ John Sampas … and we’re all super friendly.  I know bad shit’s gone down, but he was really helpful to Walter and the film, and I thanked him for that, and he was all wide smiles and really liked how the movie turned out.

And there’s Hal Willner the forever music supervisor of “Saturday Night Live” and movies like “Howl” and “Gonzo” and also produced a bunch of Allen and Burroughs’ albums, and posthumous Lenny Bruce and Edgar Allen Poe, and so he’s right in with the family of crazee Roadsters, and we jammed on the fragments of lost memories in the mindfield landscape.

And then there’s Ann Charters and Regina Weinreich at a nice corner table overlookin the city, and just like the movie — the women are most prevalent.

And after scouting the room, I realize the headliners’ section was that sunken booth area by the front door, and as I head down into it I overhear the undercover security protecting them saying, “He’s okay, I saw him with Walter,” and Boom — I’m in.  And there’s Garrett beaming, and we finally talk, and he knows who I am, but he’s still in official promo mode, all polite and by-the-books, but a while later I spin back and he’s got a pack of cigs in his hand.  “You goin’ up for a smoke?”  The eyebrow high-five, and weir off.

The Roof!  I’m Home!  They have a whole closed-in heated plastic room up there, but the real scene is the wide open spaces — most of the entire roof is a giant party space with views in every direction around this port city, and weir just blazing as the night starts kickin’ in, and Kirsten joins us, and some director doing Garrett’s next movie, and Debs is there refraining Amsterdam, and we’re finally havin’ a yak about all things Beat, and Garrett tells me the two scenes he had to audition for the role were the suicide rap and the 4-way sex letter.  I guess Walter felt if you could deliver those two solos you could be in the band.  And I flashed back to W saying how he loved G’s acting but didn’t know then what a great road buddy he’d turn out to be.

Then after a smoke or three we start headin’ back down the stairwell to the party, but up comes brother Ben and Katia, Garrett’s friend couple from our row at the premiere, and suddenly weir having this reunion on the landing of a stairwell with a glass wall behind us facing uptown New York City, and a party ensues, and then Boom, Sam Riley appears at the top of the stairs, and Garrett goes into an incredible Sam impersonation, and MAN has this guy got the gift for it!!  He does Riley better than Riley.  And suddenly Jack and Neal are together again hangin’ in the stairwell, riffin off each other 50 years later.  And THEN Kristen Stewart comes walkin down the stairs, and suddenly it’s the whole Road crew!  hanging on a stairwell balcony, only missing Big Al Hinkle, who we could see on the street below running out for more rolling papers, as weir looking over twinkling New York with Neal carrying on multiple conversations in multiple voices at once.

And then back to the party and Walter introduces me to Kristen Stewart, which is such a strange and unexpected thing that he has to be dealing with with this movie.  Like, nobody in it was supposed to be a movie star.  The leads were all cast because they were unidentifiable fresh faces — film goers were already coming in with such fixed images in their minds as to what the characters looked like, the filmmakers couldn’t also have actors with established characters affixed.  So they cast all relative unknowns in the main roles.  Then lo and behold, Kristen Stewart becomes the biggest grossing actress of 2012 before the movie even comes out.  So Walter, and her, and everyone, have to deal with this.

But I get to hang with the mega-star for a while, and man, she’s so petite you could put her in your pocket!  And she’s bookish, and reserved, and 180 degrees different than Marylou.  We talk about indie film, and she confirms my assumption that’s she’s gonna do them the rest of her life.  We didn’t say it, but this is a 22-year-old indie chick who fluked into the biggest movie franchise of the last few years and she never has to work another day in her life.  Yet she is going to be so many different interesting characters in the years to come.  I tell her the truth that she brought Marylou more to life than Jack ever did, but she would hear none of it.  To her, it was all Jack.  And I beamed.

Then back to the center bar with windows out three sides, and now it’s lookin’ like The Rainbow Room, and all New York is spinning, and there’s the krewe from the Jack’s house walk!   And we start riffin’, and I pull out my scroll book, and they start jammin and reading passages from it, and then 20th Street homie sez, “You got a favorite part?” and hands me back The Bible and I play some boppin’ Hearing Shearing in the bull’s-eye center of the room, Jack’s voice in the house, and the whole krewe whoopin’ and the Gold Club bartenders bug-eyed, and the neighbors nodding, as the bass player hunched over and thrummed the beat, faster and faster it seemed!  And oh, Mighty Jack — his songs still singin’ and swingin’ above old New York …

And suddenly there’s Walter!  And we hug and he says he has to go find somebody and I’m “Okay,” and we wander off on some mission.  I dunno what we were doin’ but we ended up on the roof and back again and I dunno if we ever accomplished anything but I told him, “Your kids are all gathered in the corner — you should go see them.”  And this was the most amazing thing — in this beautiful penthouse skyline scene where I would not and did not take any pictures except for the one I’ll share shortly, but in the corner of this mobbed premiere party, Garrett, Kristen, and Sam were able to sit side-by-side in this alcove by the window, the three of them together again for perhaps the first time since they were all crammed in a ’49 Hudson for months, and able to enjoy the reunion together.  And it’s so obvious how close they all are — it was like my high school reunion of a couple years ago — talkin, laughin and huggin all at the same time.

And like a high school reunion, things started to get crazy, people were making out, people were disappearing, people were reappearing, and all of sudden I’m talking to Michael Stipe, and he’s a leprechaun, and I ask him how it felt to be out on stage at MSG last night for the first time in years, and he kind of avoids the question, then I ask him again, and he says he hadn’t planned to do it, and then I asked him again how it felt to be out there on that stage, and he looked away.  Then he smiled a beam and looked back and twinkled, “It felt good.”

And then Patti Smith comes by and we chat for a bit about the old St. Mark’s Church scene, and she says it’s still happening, and then Walter shows up and we form a trio, and I’m like, “Wait a minute,” and I pull out the camera and capture these two artists gushing over the others’ work.

And they had a great long one-on-one, and she called the movie “authentic” and that’s the kind of thing you want to hear from someone who knows the meaning of that word.

And then there was the part about … I hated that I was comped and on-the-list for this whole thing.  There wasn’t a single sneaking in prank involved anywhere and I hadn’t really broken a serious rule all night as far as I could tell.

But then the party was suddenly over, and all these strange people were streaming into the club who weren’t at the event … and ol’ fast-thinking Deb, Master of All Things, gets us to boost a booth from the sunken celeb scene, then scores a bucket of fresh ice from one table, and a bottle of juice mixer from another, then I dump out a glass full of stir-sticks for a clean one, and she does the same from the next table, and before long we’ve got a booth and a stocked private bar overlookin Manhattan with a nearly full bottle of Grey Goose that Deb says would be $400 to be sitting here with.

And the staff comes and cleans up the other booths all around us to a pristine club-opening state, but our scene looked like New Year’s Eve at 3AM, with two happy semi-sober streamer-covered revelers still poundin them back.

And from this well-stocked cockpit the last Beats holding the fort saw out the night, overlooking the twinkling Christmas of lower Manhattan, curved booths at our back, an open bar at our knees, and more stories to tell than we could ever get through.


For a story about the London “On The Road” premiere at Somerset House — check out this sex & drugs & jazz.

For a great story of the world premiere of the new shorter final version of “On The Road” — check out this Meeting Walter Salles Adventure!

For an excerpt from my book about the ’82 Kerouac Conference in Boulder — check out Meeting Your Heroes.

For more from the Boulder Beat Book — check out Who All Was There.

For a vivid account of being at the historic “On The Road” scroll auction — check out The Scroll Auction.

For a story about Henri Cru’s birthday — check out The Legend Turns 70.

For a beautiful poem to Carolyn Cassady on her birthday — check out the Carolyn Cassady Birthday Poem.

For an account of the historic Beat show at the Whitney Museum in New York — check out Wailin’ at the Whitney.

For an inspiring description of being at a Beat jazz-&-poetry reading in Greenwich Village — check out Be The Invincible Spirit You Are.


by Brian Hassett  


→ 19 CommentsTags: ···················

Some Favorite Moments of the 2012 Campaign

November 3rd, 2012 · Politics

Some Favorite Moments, Classic Quotes and Lasting Images of the 2012 Campaign,
roughly in the order they happened …



— The ever-increasing availability we all have to unlimited polling data, particularly at RCP and 538.
— The sharing of funny images and insightful articles on Facebook — like having your own customized clipping service by friends from all over the world.
— Looking forward to 11PM for Jon Stewart’s take on the last 24 hours.

— Michele Bachmann getting laughed out of the race by the voters of Iowa and going home after one contest.
— Newt Gingrich’s, “It obvious to any thinking, independent observer that I’m going to be the Republican nominee.”
— Moon bases.
— “Oops.”
— All 9 9 9 things Herman Cain said.
— Everything Rick Santorum said.
— “I’ll bet you $10,000.”
— “I like being able to fire people.”
— “I’m not concerned about the very poor.”
—  “Middle-income families make around $250,000 year.”
— “I’m not familiar precisely with what I said, but I stand by what I said, whatever it was.”
— Being in England when he told the country they were not very well prepared for the Olympics and seeing him become a running joke on the tabloid covers and cartoon pages for the rest of the summer.
— And him trying to be witty answering a voter’s question about unemployment: “I’m also unemployed.”

— The New Orleans Musicians for Obama concert.
— Donald Trump cementing his reputation as a wholly demented buffoon.
—  “We’re not going to let our campaign be dictated by fact-checkers.”
— “Legitimate rape.”
— Senator McCaskill: “This Akin guy is so far to the right he makes Michele Bachmann look like a hippie.”
— “I love this state.  The trees are the right height.”
— And of course Lindsey Graham’s classic “We’re not generating enough angry white guys to stay in business.”

— Clint Eastwood and the chair.
— Then his later comment to “Extra,” “Anyone who asks me to speak at a political convention is an idiot.”
— Jon Stewart’s tag line for the RNC in Tampa: “The road to Jeb Bush 2016.”
— Bill Clinton’s hour-long improvised speech at the DNC.
— Watching any and every appearance by The Big Dog after that — seeing the master back in his element.

— “Don’t boo.  Vote.”
— The whole week that the “47 percent” video came out.
— Mitch’s “Nostrahassett.”
— Ryan getting booed to his face at the AARP convention.
— Dave Letterman’s ongoing refrain “Just don’t vote for him” after Romney would never appear on his show.
— Watching Paul Ryan getting challenged by Chris Wallace on Fox and saying he doesn’t have time to explain how their tax cuts add up.
— Hearing Rush say, “If Romney doesn’t win this election it’s the end of the Republican Party.”

— The Democrats Abroad’s debate watch parties in Toronto.
— Malarkey.
— “Please proceed, Governor.”
— “Binders full of women.”
— And Bob Schieffer making fun of Romney, cutting him off to end the final debate with  “I think we can safely say we all love teachers.”

— Bruce Springsteen.
— Katy Perry’s form-fitting ballot and “Forward” rubber mini-skirts.
— All the early voting numbers.
— “When a pregnancy occurs during rape, it is something that God intended to happen.”
— Tina Fey’s “If I hear one more grey faced old man with a two dollar haircut explain to me what rape is, I’m gonna lose my mind!”
— Romnesia.
— Axelrod’s “I’ll shave off my mustache that I’ve had for 40 years if we lose any of Pennsylvania, Minnesota or Wisconsin.”
— Governor Christie’s praise and embrace of Obama.
— Watching Obama’s poll numbers rise as Sandy’s waters receded.
— Romney’s Jeep-jobs-to-China doubled-down final lie ad.
— Joe Biden’s “It’s Daylight Savings Time tonight.  This is Mitt Romney’s favorite time of year … he gets to turn the clocks back.”



For one of the most historic events in American history — check out my Obama Inauguration Adventures.

For how Woodstock promoter Michael Lang used my reports in his book — check out how Obama’s Inauguration was like Woodstock.

For an account of the most jubilant night in the history of New York — check the Election Night 2008 Adventure

For a night in New York that started out just as joyous — check out the Election Night 2004 Adventure.

For the kind of creations that got us across the historic finish line — check out my poem and video for Where Wayward Jekylls Hyde.

For an on-the-campaign-trail adventure — check out the physical altercation I was in the middle of with Al Franken at a Howard Dean rally in ’04.

For my tribute to a great political reporter — check out my Tim Russert tribute.

For a full listing of great reporters and news sources — check out my Political Sources Primer.

For how well these sources also worked in the prior election — check out my  2008 projections — in both, I’m over 98% correct.  ;-)


Brian Hassett  —   —

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The “On The Road” Scroll Auction

October 14th, 2012 · Kerouac and The Beats, Real-life Adventure Tales

Part I, The Author’s Song


The passing of the scroll …
It’s gone to a good place.

To an iconoclastic, white-tie wearin’ John Lennon lovin’ “huge Bob Dylan fan,” spirit of the 60s, buddy of Brinkley’s, crony of Thompson’s, and owner of the Indianapolis Colts (my new and forever favorite team), Jim Irsay.

It was football that got Jack out of Lowell,
and it was football that saved his holy scroll.

… it’s late in the game, the secret weapon, a long bomb from Brinkley caught on the 2 million yard line by Irsay fresh off the bench, dodges past Sterling Lord on the 1 yard line — touchdown!

$2.2 million dollars — a new world record for an original manuscript, more than Joyce’s Ulysses, which some people think is a pretty good book, more than Kafka’s Trial, and every other literary piece ever written.  In fact, it comes to about $2,430,000 when you add in the commission and taxes.

I’d tell you about visiting the scroll
Four out of five days you could see it unrolled,
But I’ll save that for some other time
Cuz the essence of the moment is the auctioneer’s rhyme …

I went over to Christie’s across from NBC and next door to The Today Show at about 11:30AM to register so I wouldn’t have trouble getting in later.  They asked me how much the bank could clear me for.  I wrote down some absurd amount, which actually was my accumulated debt, now that I think of it, not my plus column.  So I was literally sweating it out in the humid high noon heat till the Christie’s cutie came out and said, “I can’t get anybody on the phone at Citibank. They keep giving me the runaround. Here, just sign this Credit Check form and here’s your paddle.” Whoopee Cushion! I was in! Swingin’ paddle #427.

Returning around 2:45, I walked again through the opulent and decidedly un-Beat Christie’s Palace past the 6-foot wall mountings of animals in foliage like 3-D Rousseaus, and climbed the ornate inner staircase two cushioned steps at a time until my bean crested the second floor and I immediately saw a mob filling the doorway and spilling into the hallway (oh-oh!) from the auction room, the same as where the scroll was displayed.  I squeezed through like I had a seat, got to the front of the mob (something I seem to have a knack for) and lo — there it was — the packed in-action auction room!  There were 120 seats, all filled, about 25 people standing on each side, so maybe 175 in all, plus 12 Christie’s suits manning rows of telephones on either side of the rectangular room, and about 20 people in the press corral at the back with five major camera set-ups, but none with network logos.

There were several assorted Sampases, Doug Brinkley, Sterling Lord, Ann & Sam Charters, Regina Weinrich, Michelle Esrick, Ed Adler, and scattered throughout was the hard core group of five of us who were there at closing time on the last day: photographer Aaron Schuman and writer Ken Caffrey in the press pen, writer Ronna Johnson who’s coming out with a second take on Women of The Beats later this year, and New York Beat guitarist Randy Hutton whom we’ll hear before long at one of the shows. Others too in the eternity of it.

And I’m there tryin’ to figure it out — who’s with who, what’s goin’ on. It’s Lot number 242 when I come in. Jack’s scroll soul is number 307. A guy gets up from a seat in the back row right in front of me. I hesitate maybe 10 seconds, then step forward before someone else reaches their courage threshold and I ask the next seated person if he’s gone for good and get this rich suit’s disdain, “I have no idea.” Which I interpret as Snagged!  Homie’s home.  Howdy doody and a whole lot more!


Part II — The Auctioneer’s Song

There are rows of people and the flashing of paddles as the auctioneer speeds through oodles of numbers, pointing out bidders like a presto allegro conductor. But — Sure looks like it’s goin’ to a phone bidder, I think immediately, as they’re lined up like stoic, somber six-gun shooters facing down each other across the room, concentrating, in their zones, conferrin’ with the coach on the phone-gun, “When do I pull the trigger, chief?”

The bidding increments are all predetermined. Over $1,000, each next bid is $100 — so if you bid, that’s your bid — you can’t pick an amount.  Over $5,000 it goes up $500 with each bid.  Over $10,000 it goes up $1,000 every time.  Over $1 million it goes up in $100,000 increments. When it hits $2 million it starts going up in $200,000 steps.  But by then it’s gettin’ outta my league.

Up above the auctioneer is an electronic board that lists the lot number and current bid in US dollars. Below that are lines with each country’s equivalent monetary value — so as the auctioneer’s zipping up the numerical ladder, all these foreign currency values are flapping by like the track-changing sign at Penn Station.  Euros, UK pounds, French francs, Swiss francs, Deutsche marks, yen and lira in 000s, and the good old Canadian dollar squeakin’ in on the bottom line. (We exist! In fact, in a general sense, there really was one of those “we exist” feelings in the room, ya know?  It was the magic zing of the old Jack ring!)

So the auction’s goin’ by lickety-split. Lot 249, a copy of Ulysses signed by Joyce himself and by — get this — Matisse! (Who I always remember for saying, “Work cures everything.”) “Okay, I’ll open the bidding at … 5 thousand, 55, 6 thousand…” and 20 seconds later, “Sold for 13,000 to paddle number 319 in the fourth row.”  And it all happens in less than a minute.  The big ones take maybe a minute and a half, but lots of stuff’s goin’ for under 10 grand, all sorts of little things, no idea what they are, but I felt like bidding just ’cause they’re so cheap. I’m cleared for it! It had to be something cool, right? Some Emerson thing. But there’s the catch. You can’t scratch your nose or anything.  Like, if you move your arm you might be bidding.  Then of course your nose would get itchy, and you’d have to turn away from the auctioneer like he’s the teacher and sneak a scratch.

So you’re watchin’ your moves, watching the crowd, and watching these people watching their catalogues and marking in scores and bidding up to a certain point on lots, and then when their last item of the day is gone, they get up and leave. Professional buyers. People with money. A set of Oxford dictionaries goes for $850,000! (And I bet it’s used.) An autographed copy of To Kill A Mockingbird for $18,000. I keep wondering, Who are these people? The guy who’s sittin’ next to Brinkley gets up and steps out for a minute at about lot 270. He’s a big guy wearing this striped suit like I don’t know what, 20′s gangster? 40′s hipster? I don’t know. Big white tie on big black shirt, hair greased straight back, almost like a football player but with a cuff-linked Four Seasons polish and rock ‘n’ roll swagger.

By the time we get to lot 300 there are only four gunslingers left on the sideline phonelines as the auctioneer’s still rattlin’ through numbers like he’s unloading on Bonnie & Clyde’s car, ratta-tat-tatting by the thousands, 19 thousand, 20 thousand, my whole life savings and worth flashing by in split seconds for some piece of autographed paper. Holy Zippers! “15 thousand… 24 thousand… 45 thousand, fair warning at 45 thousand… sold for 45 thousand to paddle 474.” An Edith Wharton letter goes for only $800. Bargain. Musta been a crummy letter. “Went for a walk, love Edith.”

“Lot number 305 — Oscar Wilde, The Importance of Being Earnest, one of only 12 orange paper copies like it, inscribed by the author, opening with a tie bid at 15 thousand dollars, somebody want to break it? Thank you, 16 thousand dollars, 17 thousand…” etc. Goes to 60,000 in 60 seconds.


Part III — The Bidder’s Song

Then comes, “Lot number 307. The Lot a lot of you have been waiting for…” (Ha-ha, a little auctioneer humor.) “Jack Kerouac’s original typescript scroll of On The Road, shown here before you on the screens. I’ll start the bidding at 650,000 dollars on this…” (I’m out.) “650,000… 700,000… 750,000… 800,000… 850,000… 900,000… 950,000… 1 million dollars over here, one million dollars in the front row, 1,100,000 dollars… (pause) 1,200,000… 1,300,000… (pause) 1,400,000… (over the phone), (then quickly) 1,500,000… (pause)…” And all this time it’s Brinkley’s buddy who’s flashin’ up his white paddle #479 as soon as anyone else bids anything — the old Instant Paddle Flash Routine — then after a pause the front row finally bids again. “1,600,000… (then quickly) 1,700,000… (pause) 1,800,000… then Boom 1,900,000… (extended pause)…”  It’s totally silent in the room, of course — you could hear a dream pop.  “We can wait a little bit,” the animated auctioneer allowed. “1,900,000… (long pause)… The bid is 1,900,000 with the gentleman… 1,900,000… Anybody say 2 million?” He looks down at the front row and says, “No, I’m sorry, 2 million’s next… 1,900,000… 1,900,000 then? In the third row at 1,900,000… (pause) Is there any further advance at 1,900,000? (pause) Fair warning at 1,900,000…” He raises his little wooden gavel stub and slowly begins to bring it down. “Last call… (suddenly —) 2 million!” he exclaims and points to the front row! Whoa! Then instantly — “2,200,000.”  The whole crowd whoops — huge tension release — laughing, clapping, but all the way pinning-the-needle and quiet again in about 2 seconds — flying by fast as be-bop!  “Anticipation!” says the auctioneer, articulating the air of the collective moment. “2,200,000… 2 million 2… (pause) At 2,200,000, in the third row. Are we all done at 2,200,000? (pause) SOLD! At 2,200,000!” And the whole room just explodes in applause! Huge release — K’BAMM!

And just as the applause is dying down, the auctioneer steps up again. “Ladies and gentlemen, I’d just like to announce that that is a new world record for a literary manuscript at auction.” And another round of cheering and whooping!

Then, in The Funny Dept., as soon as the final clapping dies down, some guy yells, “Corso lives!” and throws his fist in the air.  This might not have worked in the middle of the auction, but it was pretty funny in the weird million-dollar-air-void to hear a voice hollering through the twinkling cosmos, “Corso lives!” He certainly does.

And 2 million dollars says, so does our man Jack.

It was all decided in under two minutes. And as soon as it was over, I bolted up front, and the first sign I had that everything was okay was Doctor Doug grinning so wide I thought his face would snap! Brinkley beamin’ like a baby was all I needed to see. If he’s happy, I’m happy. This must be a good thing!

I said a quick hi to Casey Cyr and Michelle Esrick, the only two other hipsters who were at both the downtown On The Road show that I’d just produced at the Chelsea Commons on the 50th anniversary of the scroll’s birthday and also at the uptown auction where it finally would get its wings and leave its New York home for the first time.  Jack’s tracing paper science project has outlived him.  When I spoke to Dave Amram on the phone afterwards he was getting kind of choked-up about it — that Jack died with $83 in his pocket, and now just 30 years later, the notebook in that same pocket was worth more than he was.

And it turns out that the striped-suited football player who’d walked by earlier was the guy who bought it! He was all red-faced and excited and stunned — and he wasn’t goin’ anywhere. So I walked over and there was an AP reporter there asking him questions — but it’s about… football…?!  Huh?  It’s so weird to think there may be something bigger in this guy’s life today than buying the On the Road scroll for two million bucks.  At least that’s what the AP guy was opening with.  He was talking divisional realignment with the retractable-dome blues again, and it was like, Weird Scene Channel Surf. Where’s the remote? Switch back to the Jack Epiphany Channel, eh? Sudden click and Irsay’s laughing, “Yeah, it’s been a busy day.” And while he’s laughing a few other reporters surround us, then some big cameras, other people, boom mikes floating in overhead….

How does it fee-eel?


Part IV — The Acquiring Mind’s Song

“Well, ya know, it’s just… it’s exciting. Ya know, I look at it as a stewardship.  I don’t believe that you own anything in this world.  It’s dust to dust. It’s something that I take as a responsibility, being a writer myself, knowing the sweat and the blood that went into creating something like this, and knowing how much people love the piece — that’s all very important to me. Having the football team, how our fans love and cherish that. It’s the same thing with something like this. It’s great for Jack, right now, wherever his spiritual vibes are floating around, that he can be fulfilled, because as a writer, there’s always this seed of doubt you have. You know, is it good enough?  Is it worthy?  Can it stand up with others?  And a lot of times great artists end up dying before they ever find out what great artists they were.  In his case, obviously this got published but it left him a little bitter over some of the rejection, and so what a great honor for him that he and the manuscript can be celebrated today.”

“What would he think of his work coming out of storage and selling for a record amount?”

“I’m sure he’d be just flabbergasted.  It’s exciting for me — that my grandparents got off the ships from Hungary and Poland right here at Ellis Island with nothing but the clothes on their backs — and you know, that’s what this country’s all about.  And I think he would be amazed.  These days, people — more so than 50 years ago — if you think you have some talent, you don’t throw anything away.  Like John Lennon, you know, I’m a big Lennon fan, and he used to curse his aunty, ‘You’ll regret throwing my drawings away. They’ll be worth something someday.’  So now of course everything is kept and treasured.  I think there’s a lot of great intrigue with this, tying in the Beat Generation and Cassady, Burroughs, Ginsberg, those guys had a huge influence on the cultural revolution in the sixties, and people like The Beatles and Bob Dylan, they had such a big influence, and to me that’s really exciting — to be able to rub shoulders with the seed planters.  The flowers are always beautiful, but the people that planted the seeds, the people who, in their time, had a way of looking at things differently, and having the courage to talk and to write and to live about it, that’s what changes the world.”

“Will you publish it?”

“A couple of things are planned.  Sometime in the next coming months, somewhere in Indiana, I’ll probably put it on display at a museum. We’ve talked to a couple of people about that.  In 2007 I’ve thought about having the 50th anniversary of the actual publication where maybe we’ll do a tour.  We’ll follow the actual book’s journey and have the scroll do the tour of the country and kind of mirror that journey.  We have Dr. Douglas Brinkley here who is involved. He’s the authorized biographer for Jack and he and I’ve discussed some various things.  I actually tried to have Hunter Thompson in here today, I almost had him on the plane but then he turned back.” (laughs.) “I thought that would liven up things a little bit.” (louder laughter, then he looks up at the cameras) “Hunter, if you’re out there, we miss you.” (and laughs again)

“Why did he turn back?”

“I don’t know, it was a late night phone call and it just didn’t happen. I think he wanted to watch the Laker game,” he says laughing.

Then I asked him — “Will scholars other than Douglas be able to have access to studying the scroll?”

“Ya know, certainly. I’m very open-minded in terms of people who love it and want to have an opportunity to see it and be around it.  That’s what it’s about.  Like I said, I don’t view it as something I own. Someone else will have it when I’m gone, and someone else will have it when they’re gone.  It’s for the future generations.  You love to see the kids and people who are influenced by the book have a chance to get up and be near it.  To me, trying to let fans see it and people who have an interest in it, I’m very much open-minded to try to do that.”

Then I asked a follow-up — “Would you expose the whole 120 feet when you did it in Indianapolis?”

“You know, that’s what I think has to be talked about.  I really think one of the interesting things about this manuscript is the unique way that it was written, and the way that it’s comported, it’s the length minus the bit that the dog bit off.” (laughing) “It’s too bad they couldn’t auction off the dog collar of the dog — that would probably have brought in some good money here today.” (laughing)

“You’d have bought it, right?”

Laughing, “That would have been a good thing to combine it with.”

“What was the first Beat literature you ever read?”

“I would say, Naked Lunch, for me was, uh, and for me, I’m a huge Bob Dylan fan.  I’ve had the honor to be with Bob several times and get to know him a little bit and you know certainly his writing and singing brought me to the doorstep of people like Jack, and people like Dylan Thomas who had a piece sold here.”

Then some guy asks him to sign a little rubber football, joking that it’ll be worth something in a few years.  While he’s doing this the AP guy asks, “Jim, you said you were a writer.  What do you write?”

“Poetry and songs. I’m a guitarist as well. I actually have an Elvis Presley guitar that he strummed, that’s probably — but for anyone out there, if you have a John Lennon, I would trade the Elvis for the Lennon,” he says, laughing again.

“You went awfully high on this; were you willing to spend more to buy this?”

“Yeah, it wasn’t important to me, I just wanted to make sure we kept it in this country, kept it in America, you know just have the ability for people to be able to share it and enjoy it, and I, you know, I’m just a fan like anyone else of it, and to me it’s just enjoyable to make sure it doesn’t get locked away somewhere or get taken away to a far distant place or something like that.”

“Did you walk in here expecting to spend a record amount for a manuscript?”

“Yeah, I was willing to spend a lot more!” he says, laughing loud, as does everyone else.  “I won’t tell you what my max was…” (laughing) “I have to keep that a secret. I have a feeling — unless my fellow owner Paul Allen was goin’ against me I think I woulda got it, but if Paul was here I must admit I would have been beaten,” he says laughing.

“Do you want to read it off the scroll?”

“Yes, that would be — but we have a dog at home who’s very aggressive so we should keep that away from him,” and everyone laughs.

“How old were you when it was published?”

“I’m 41, so I wasn’t born.  I was born in ’59.”

Then Rosebud Pettet perks up beside me and says — “This gentleman here,” and she points at me, “put together On The Road marathon readings a few weeks ago in LA and New York…” (and I’m thinking, No way — she’s talking about me!?!  This keeps getting weirder!)  “Are you planning, since you’ve got the scroll, to do any celebrations on Jack in your hometown or wherever you plan to keep it?”

“Sure, I’m open-minded to it.  I think that Dr. Brinkley, as well as my publicist Myra Borshoff, you know, I’m open-minded to hear what people want to do with it.  Again, just to be able to share it and have fun with it and celebrate it.  Definitely that’s what it’s about, so I’m open-minded to any of those sort of fun things.”

Then the AP guy jumps in again, “Dr. Brinkley, I’d like to know what you think, as a scholar, the significance of this is now, the fact that this went for such big bucks, what does this all mean?”

Brinkley: “That Jack Kerouac’s become one of the writers that people care about. That he’s like Hemingway or Fitzgerald or Faulkner, and even more so from a cultural point of view.  As Jim says, On The Road is a book that changed a lot of people’s lives.  It’s a coming of age novel.  And more than any other 20th century American literary document, there’s a greater interest in the history and mythology of this particular manuscript than any other one that anybody can think of.  It’s unique, and it not only solidified the Beat Generation, but it also set into motion the notion of ‘First thought — best thought,’ spontaneity in literature, and then, as Jim said, it influenced so many people into the 60s.  People like Thomas Pynchon who credits Kerouac’s On The Road, to people like Bob Dylan, on down today to the music world, people like Lou Reed and Tom Waits.  It’s never-ending, Kerouac’s influence.  And for people that love On The Road, it’s exciting that Jim has it, because he has this very open heart and wants to bring it first to the heartland for people to come see, and then have it tour the country eventually for the 50th anniversary of On The Road, so you couldn’t be doing any better than that.”

“What can you learn looking at the scroll that you can’t from reading the book?”

Brinkley:  “A lot.  It’s different than the book, all the names are in it so you actually see Allen Ginsberg’s name, or Neal Cassady, the real people, there are no pseudonyms. And for people that enjoy Jack Kerouac — because he’s trying to get the words quickly out of him — you can see how his mind works.  And I think, more than anything, what an extraordinary typist he was!  He would just type and type. One of his great gifts as a writer was his quickness.  When you’re trying to get your first-thought, best-thought out, being that quick a typist, as evidenced in the scroll, with so few changes and so many beautiful paragraphs — we were looking while we were sitting down, Kerouac writing about Indiana, coming in on a bus in Indiana with the corn husks piled up, and then necking with the girl all the way to Indianapolis.  There’s hardly a city in America that doesn’t somehow make a cameo in On The Road, and Kerouac doesn’t have something that’s spiritually poetic and apropos to say about it.”

Irsay: “Plus the paddle, Doug. The paddle was 47, Jack’s age, and 9, the year he died, ’69, so it’s 4-7-9, and Doug said that was a good omen right away.”

AP: “Jim, are you kind of an All-American boy?”

“I’m not sure what that means.”

Pause, stumble mumble bumble, “You’re so American, it’s unbelievable.”

“I guess I am then, you know?” (laughing) “You know, it’s like George Harrison says, ‘I hope they don’t get time to hang a sign on me.’ It’s just a, a — it’s a good thing to be called because I love this country.”

And then your friendly Beat Reporter chirps in yet again!

Brian: “Do either of you think there’s any preservation needed in the short term for it?”

Irsay: “That’s something that I’ve consulted some experts on, and that’s really important, to make sure that this thing can remain intact for a lot of years and be shown for many centuries.”

Since that wasn’t enough for me, I once again pushed the Follow-Up Button: “Was it the experts’ opinion that anything needed to be done? Is it in okay shape?”

“Just that it’s in real good shape considering the years. You know, the proper room temperatures and that sort of thing have to be looked at. When you start getting out there, 500 years, a thousand years, I think, you know, there’s some erosion, it’s inevitable, but we’re gonna find ways to protect it, obviously.”

Some new reporter announces himself and asks, “Jim, what does this purchase mean to you?”

“You know, it means a lot to really acknowledge people that stand and fight for the truth and what they believe in in their art, that ultimately it’s rewarded and celebrated.  And again, there’s so many artists out there right now this very moment that are working and some of them will die without ever really receiving any due for what they’ve done. But I think, anyone’s human spirit, since you go back to the days of the cavemen, it’s just expression, it’s self-expression.  People want to be recognized for having a feeling and sharing that with someone else, and I think that’s what this acknowledges.  And for me, it’s just a lot of fun.  I feel blessed to able to be here, and have gotten the manuscript, and just look forward to having a lot of fun with it, and sharing it, and celebrating it, because it’s enjoyable.  There’s so many difficult things that go on in the world, it’s nice to celebrate life.  In the NFL we do that entertaining people. I look at this the same way as just being able to do that.  My next goal is to be able to sit the script next to the Lombardi Trophy, you know?  That’s what you get for winning the Super Bowl, and we’re real close, you know, and to have those two things together hopefully maybe by the end of January would be great,” he says, laughing.

“Did you buy it individually, or did anybody go in with you?”

“No, just individually.”

“How old were you when you read On The Road?”

“I read it about ’77, and what it meant to me just being a teenager in the 70′s, you know, freedom, rebellion, the things that a young person looks at in life, which is just — the journey — the excitement of the journey, the search for truth and meaning and the thrills of life.  It’s like Bob Seger said, ‘I wish I didn’t know now what I didn’t know then,’” and he laughs again. “You gotta study that line hard to get the true meaning of that,” and he laughs even harder.

Then he says, “Well guys, thank you very much.”  And I say right to him and very soberly, “Thank you!” and make serious direct eye contact.  Something great had just happened.

There’s a lot more that went on. What’s above is the complete post-purchase impromptu news conference, minus the opening NFL realignment stuff, and a bunch of um’s and you-know’s.  Afterwards, I surfed around and talked to John Sampas and asked him if they were going to publish the text of the scroll, and he answered, I believe the word was, “Absolutely,” but for sure I remember the look, which was like, Duh, dumb question, what do you think?


Then here’s some random snippets overheard from Irsay’s sit-down interview with the New York Times:

“I’m a very big Dylan Thomas fan.”

“When I saw this piece come available it really did grab my attention and I really wanted to seek it out and find out where this piece stood in the 20th century, in the context of the pieces that are out there, what others felt about it. There are people like Dr. Brinkley who professionally deals in this, he’s a writer himself, and just consulting a lot of friends, it feels like it appeals to a lot of different people.”

“I’m originally from Chicago. My influences came a lot from rock music, particularly Bob Dylan and the Beatles, and you start going behind the situation and finding out who influenced them. Paul McCartney’s worked with Ginsberg. Dylan, obviously, taking his name from Dylan Thomas, and coming to New York City in 1961 and his experiences, and through that, that’s where the interest really came.  I think people are influenced by the Beat Generation, and by Dylan, in ways that they don’t even know. They may not even know of the individual, but society’s been changed so much by them.”

“Thanks a lot. I was a broadcast journalism major, so I’m a big fan of the New York Times.”

“We’re going to take good care of it, and we’re going to make sure the fans enjoy it — that’s the main thing.”


This is Brian, signing off from basecamp at Mount Kerouac. Back to you.



For an excerpt from my book about the ’82 Kerouac Conference in Boulder — check out Meeting Your Heroes.

For more from the Boulder Beat Book — check out Who All Was There.

For a story about the London “On The Road” premiere at Somerset House — check out this sex & drugs & jazz.

For a great story of the world premiere of the new shorter final version of “On The Road” — check out this Meeting Walter Salles Adventure!

For a complete overview of all the Kerouac / Beat film dramatizations including clips and reviews — check out the Beat Movie Guide.

For an inspiring and colorful description of being at a Beat jazz-&-poetry reading in Greenwich Village — check out Be The Invincible Spirit You Are.

For a story about Henri Cru’s birthday — check out The Legend Turns 70.

For a beautiful poem to Carolyn Cassady on her birthday — check out the Carolyn Cassady Birthday Poem.

For an account of the historic Beat show at the Whitney Museum in New York — check out Wailin’ at the Whitney.



by Brian Hassett



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Election 2012

September 25th, 2012 · Politics

Here’s the results ahead of time …
First called Tuesday, Sept. 25th, 2012 (6 weeks out ;-) )
The only 2 states I flipped since then are in red.

Dems Repubs
Cali — 55

Texas — 38

NY — 29

FL — 29

PA — 20

GA — 16

IL — 20

NC — 15

Ohio — 18

TN — 11

Mich — 16

AZ — 11

NJ — 14

Indy — 11

VA — 13

Missouri — 10

Wash — 12

SC — 9

Mass — 11

Alabama — 9

Maryland — 10

Louisiana – 8

Wisc. — 10

Kentucky — 8

Minn — 10

OK — 7

CO — 9

Mississippi – 6

Oregon — 7

Ark — 6

CT — 7

Kansas — 6

NV — 6

Utah — 6

Iowa — 6

West V — 5

New Mex — 5

Nebraska — 5

Hawaii — 4

Idaho — 4

Maine — 4

Wyoming — 3

RI — 4

Alaska — 3

NH — 4

Montana — 3

Vermont — 3

ND — 3

Delaware — 3

SD — 3

DC — 3

Final Results:




Sept. 25th prediction:




367 – to – 171 — my electoral college prediction before the 2008 election.

365 – to – 173 — the final result of the 2008 election. ;-)

P.S. — This election, the swing districts in both (proportional) Nebraska and Maine will all go with the winner of the state.

Brian Inauguration

at the first Obama inauguration.



For one of the most historic events in American history — check out my Obama Inauguration Adventures.

For how Woodstock promoter Michael Lang used my reports in his book — check out how Obama’s Inauguration was like Woodstock.

For an account of the most jubilant night in the history of New York — check the Election Night 2008 Adventure

For a night in New York that started out just as joyous — check out the Election Night 2004 Adventure.

For the kind of creations that got us across the historic finish line — check out my poem and video for Where Wayward Jekylls Hyde.

For an on-the-campaign-trail adventure — check out the physical altercation I was in the middle of with Al Franken at a Howard Dean rally in ’04.

For my tribute to a great political reporter — check out my Tim Russert tribute.

For a full listing of great reporters and news sources — check out my Political Sources Primer.

For how well these sources also worked in the prior election — check out my  2008 projections — in both, I’m over 98% correct.  ;-)


Brian Hassett  —   —

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Making better time On The Road

September 8th, 2012 · Kerouac and The Beats, Movies, Real-life Adventure Tales

Making better time On The Road

So, I get to the Ryerson Theatre in Toronto at 7PM for a 9:00 show and there’s already a whole scene.  It’s the World Premiere of the new and forever “On The Road” — the first-ever screening of the director’s revised and final cut.

There’s a line of black VIP shuttle cars.  News trucks with their satellites up.  Fans behind barricades.  A red carpet.  Security.  Orange-shirted volunteers by the bucketful.  And a line that goes all the way down the street and around the corner.  And same as the London premiere, there’s way more yin than yang.

So, I’m scouting it as usual, and the long and the short of it is, I end up weaving my way into the photog’s pit along the red carpet.  And I start talkin to this girl from the Daily News — yeah, New York!  And along the ground under the rope line are these numbers about one foot apart and that’s where each news person gets to stand.  And we’re hangin, and as it gets closer to “showtime” I realize nobody’s really been stepping on the number right next to her, so I do!  And now I’m number 28 along the rope with some TV show called “Red Carpet Diary” on my other side.  Then suddenly this stern-faced female General appears marching down the line in front of us demanding of every soldier who they’re with.  I blurt out, “RockPeaks and LiteraryKicks,” and she goes “Okay,” and keeps movin’ on to the next guy.  :-0

So there I am, leaning on the rope glad-handing director Walter Salles and movie stars Garrett Hedlund, Kristen Stewart and Kirsten Dunst!

And they end up staying out there a really long time alternating between interviews and answering the screams of fans on the other side — signing autographs and posing for pictures and totally workin’ the room.  Turns out they were having technical projector problems inside that were being worked out, so they just had the Stars stay out and keep the slight-of-hand distracting.

And of course my road brother Damo’s found me by this point and he too scams his way into the pit on the rope-line like the magician he is.  Then he’s the one who spots they’re finally letting people into the theatre behind us, a cue we’ve been watching for, and we’ve had enough face time with People Magazine so we book it into the room and scootch right up to the Reserved Seats, and I notice there’s a two-spot Reserved on the aisle right behind the main taped-off rows.  Thought that looked interesting, so we cop the two next to them, and no sooner do we sit down, than James Franco comes and sits right next to me!

This guy was the greatest Ginsberg ever on film in “Howl” and I tell him so, “You’re gonna go places — I predict!”  And he’s got this great laugh and smile, even though he’s all slouching down in his seat and wearing a baseball cap and looking like a scraggly skateboard bum so as not to be recognized.  And I ask, “How come you’re not in this?” and he says they talked about it but it just never worked out.  And I’m opening smuggled beers and takin’ copious notes and he’s laughin n noddin at crazy compulsive-efficient Brian.

And of course the place is packed and it’s a bit of a wonderfully boisterous late-show TIFF premiere audience, and director Walter Salles comes out for a little howdy-do.  He talked quite accurately about this city being one of the great film capitals of the world, not only in the making of films but in the sophistication of filmgoers, and how he was so grateful to have this film debuting to this audience.  He talked about how the film was partially shot in Canada and how it was very emotional for him to be back here now.  And about how everyone on the crew were co-authors of the film.  And how they covered 60,000 miles in the making of it in order to get the right locations.  Then he quoted Gary Snyder as telling him one day, “We would drive a thousand miles for one good conversation.” ;-)

Then the preview shorts start and the audience is cheering or booing or laughing at the little ads. And one comes on for this James Bond exhibit they’re having at TIFF, and as it ends to dead silence, some guy yells, “Come on, it’s James Bond, people!!” and everyone laughs and applauds.  And then some little notice appears about copyright infringement and everybody boos.  And I’m thinkin, “This is a great audience!”

Okay, so . . . the new version

It’s totally different, and totally great!

The entire prior opening is scrapped, and it’s just BOOM right into Dean parking cars in New York like he was a car.  And then zoom into the West End Bar with Chad King telling Sal and Carlo that this guy from Denver was in town.  :-)

You would have liked the longer version — but you’re gonna Love this version!

It’s way faster paced, it’s way more focused, it’s way more fun, its way more exciting.

It’s more about the writer’s journey of discovery of his voice and vision and less about all the side stories.  It’s more Tom Wolfe than Thomas Wolfe — more poetic zip, less prosaic lag — more broken Benzedrine inhalers and less counted coffee spoons.

The first time, I was so busy following the story and the novel and all the sources and thinking — this time I was more open to the incredible landscapes, visages, car shots, and time-period time-travel.  You’re so there, 1947-to-50 New York City – San Francisco – Denver – and on the road, baby.  And for instance there’s this killer shot of a misty mountain roadside and you can hear Jack singing his roadsong, and before long out of the white nothingness comes Jack amblin’ along, rucksack on back.

And Garrett Hedlund really does give a pretty darn good performance here.  I guess because we know the guys so well, and Marylou was such an enigma, that Kristen Stewart’s character really screamed to life for me the first time I saw it.  With that now internalized — I was able to appreciate how electric and magnetic this Hedlund guy was as Dean.

And Tom Sturridge who plays Carlo is similarly engaging.  I don’t know how Allen actually moved or spoke in the 1940s, and I don’t think this is really him, but it certainly is a vivid, loveable, endearing Carlo.

And the music is GREAT — the soundtrack is seat-bopping, and the surroundsound is booming!  And the original music that runs all through it is super percussive (beat) and catchy and gets ya goin and I love it!

And there’s more voiceovers by the narrator-writer Sal, heard as moody remembrances of things past or excited updates on events present.

There’s no point in, or really way to, annotate all the things that were cut, because sometimes it’s just a line or few seconds of a scene.  But then there’s all this stuff added, too — like Dean & Carlo on the bed staring into each other’s eyes and more, and this whole coda after the movie’s over that I won’t tell you about, but it wasn’t there before, and is very effective.

During the first viewing I noticed how much sex there was in it.  This time I noticed they seem to be smoking joints in just about every scene!  :-)

And yeah, you Beat junkies, me included, are gonna wanna have both versions on DVD.  They are two different Road trips.


So, when the film was over, TIFF Director Piers Handling comes out with Walter, Garrett, Kirsten and Kristen — to huge applause, and screaming, actually — for about a 15 minute Q&A.

Walter talked about reading the book as a teenager in the 70s in his native Brazil when it was under a strict military regime and there was censorship and this book represented all the things they were being denied at the time — “where all forms of freedom were possible.  And it stayed with me for many many years.  In fact, before making ’The Motorcycle Diaries’ I read ‘On The Road’ again because I wanted to be inhabited by the beauty of that transition between youth and adulthood.  It was both what it was telling me, but also how it was written.”

Garrett Hedlund (Dean/Neal) was asked about his research and once again went on about how great it was to meet the Cassadys!  “Making this movie was a wild journey, a wild life experience — being such a fan of the Beat Generation and Neal Cassady.  And then being blessed to meet John — Neal and Carolyn’s only son — and being able to ask him every question I wanted and hear his stories about his dad.  And meeting Michael McClure, and Carolyn Cassady in London, and to get to know this man through the letters and unpublished writings, it was so rich, learning about this person who inspired me so much, and so many others — other Beat writers, rock stars, people who were lost and wanted to go on their own journey to find something much greater than themselves.”

Kirsten Dunst (Camille/Carolyn) — “I read Carolyn’s book, and even though she didn’t love his lifestyle, I think at the end of the day, she really wanted ‘them.’  And she gave up a lot for this man, but sometimes ‘love’ takes you places you wish you didn’t go, to deeper selves.  She was very enveloped in this man’s life.  She got the short end of the stick in a way, but had the life that she wanted at times.”

Kristen Stewart (Marylou/LuAnne) — “The big question I had going into this was:  How did she have the capacity to handle what she handled and still have the life she had that influenced so many people and not have the light go out inside her?  And . . . bottomless pit — that’s the answer!  There was no end to her giving.  She would have been essential now.  I know it’s taken a long time to tell the story in film, but she was ahead of her time, and even now, she’s really relevant.  She had such an acceptance of others.  I feel I got to know her so well that whenever I got nervous and wondered if I was doing her justice, not only did I just have to look up to Walter to know, but mostly I would look up and she was so so so fucking looking over me.”

And the Q&A ends, and the cast & directors exit stage left, and all along I’m thinking I’m totally fine with just being at the Premiere, and already had the red carpet surprise, and hadn’t arranged for any after-party, and Walter or the cast never came and sat near us, and now they’d disappeared behind the Wizard’s curtain, and people were leaving the theater, and I was cool with it all.

But still Damo and I are telepathically plotting our next non-leaving nefarious move, knowing where the rainbow came down and the pot of gold was hiding.  Except there were security guards at the stairs to both screen-side backstage entrances.

Each of us at different times made a motion to give up and leave, but the other always made a counter-move to keep it goin’, keep hangin’ on for one last opening, letting the crowd disperse.  And before too long it was pretty much only the TIFF staff cleaning the hall and it’s all dark and no one’s there, and all of a sudden I notice the guard at the door the cast exited through is leaving!  Ah-ha!  I watch her walk all the way up the aisle, and I’m, “This is it.  I’m goin’,” and I just walk up the stairs like I live there, push the door, and it swings open!  And I see a bunch of people in fancy suits down the hall.


Boom!  There’s Walter and Garrett and Kirsten and company.

A little awkward at first.  We’re bustin in, nobody knows us.  I think of a question about that new final coda scene, but as I’m starting to talk to Kirsten about it, the publicity people call out, “Kirsten, your car’s ready.”  So that ends quickly.  Then I start to ask Garrett the same question, and the same thing happens!! And now all I’m left with is Walter!  And he’s talking to the Director of the Festival.  But I’m stickin right there and making my presence known.  And both of them look at me like, this guy’s not goin’ away.  Because also, I don’t want that car thing to happen again!

So finally they start to slightly separate. There’s a pause and a glance, and I’m, “Hey Walter, I’m Carolyn’s friend who was with her this summer in England.”

And thus begins … a whole new adventure …

Big smile.  “Oh, man!  I’ve heard so much about you!”  And we start talkin and sure enough right away the car call comes.  And he’s like, “Okay, we’re going to the party.  Would you like to join us?”
“Hold on, lemmi check my schedule.”   :-0
And he puts his hand on the small of my back, saying in gesture, “Come on, you’re with me.”

And we walk out the stage door and it’s that scene I’ve only seen in movies, where you’re in the quiet inside backstage space and the 2 doors suddenly swing open to the screaming barricaded-off fans packing the sidewalk, and flashbulbs going off, and people reaching out with things to sign and calling, “Walter!”  And James Franco’s comin out right behind us and they’re yellin at him too.  And I stand center carpet as they each stop and sign a few things quite politely, and give legible signatures and all.

And then it’s into this spaceship SUV limo, and Walter gets in the row right in front of Damo and me, and leans over the seat and totally zooms in on us for the whole car ride even though there’s all these other (important) people in there. And right off we’re talkin’ Mississippi Gene and other one-mention minutia with ease.  And Boom I tell him how great the Slim Gaillard guy was!  And he says he was the #2 man in Kid Creole & the Coconuts, and  how the guy (Coati Mundi) improvised his whole musical performance — and I’m sayin’ back that whole scene was so freakin’ great!!

And I ask him what his motivation was in making the new version and he said he was trying to focus more on the friendship between Sal and Dean.  And we’re talking about the editing process — and he’s quoting the French poet Valery, “ A poem is never finished, only abandoned” — as we riff on a mutual love of tweaking, and how the scroll had all those penciled corrections on it, and all the other versions that came later, and we’re having this long nodding mutual-understanding conversation about the powers and joys of editing — while we’re at the celebration of Mr. Spontaneous Prose.

And we talked about how great it is to see the scroll in person, and how the guy who’s its caretaker, Jim Canary, is the coolest, and Walter says he looks like he’s in ZZ Top.  :-)

And he talked about how the audio mix took a long time, and I told him how Great it sounded in the house, and cited the psychedelically surreal Sal-sick-in-Mexico scene — and he and I both said the word “dizzying” at the same time.

Then I said, “Man, you did so much research, you so internalized everything, how come Sal’s not using the spiral nickel notebooks?”

And he said they used “both schools” of notebook, the spiral and the flat-topped, and it just turned out that all the scenes with the spiral got cut, and the scenes with the flat-topped made the final.

And we’re talking about the changed opening and how the flatbed truck scene is back in the sequence where it belongs, and I ask him about that hokey line he cut from the long version that wasn’t in the book anyway — “Are you goin’ someplace or just goin?”
“I guess I’m just goin.”
And he says it was in the book.
And I say, “No it wasn’t.  And I’ve got the Scroll right here,” and start to pull the book out of my bag, and he goes, “No, it’s not said on the flatbed, it’s from somewhere else in the book.”
Which is just another confirmation of how this is pieced together from stuff all over the book and elsewhere in order to tell the cinematic story.

And I asked him about the cutting of the “respectability” line and the post Camille kicking Dean & Sal out scene with her getting ready for work the next day, and he said that Carolyn had pointed out she wasn’t a nurse and so it wasn’t perfectly accurate anyway, and that he was trying to zip the movie along and that was something that could be cut.

So, eventually we get to the party, and there’s this whole scene out front of this new club that hasn’t even opened to the public yet, and again I get the hand-to-the-small-of-the-back routine as he pushes me ahead of him behind the red ropes.  I knew all along the only way I was getting into this thing was with somebody from the movie, but never dreamed it would be with the director!

And then as soon as we go behind the lines there’s another one of those photo-op backdrops and a line of photographers behind another rope, and they’re yelling “Walter,” and he says, “Okay, take me with these guys,” and enthusiastically grabs me on one side and Damo on the other and the three of us stand there arm-in-arm beaming, Road Buddies, just back from a trip and joyous and crazy and flashbulbs goin off like mad with those cameras that shoot pictures clicketty-click-click-click 20 shots in 10 seconds, zippity doo-dah, snap-snap-snap.

Then we walk into the mob of a party, and Walter leans to my ear and says, “You know the trick with these things?  You stay for 8 minutes.”
And suddenly the publicity handlers are urgently like, “Walter, we have to get you to your spot upstairs.”  And I spy this stairway on the other side of the room so I actually lead the crew through the crowd and up the stairs to the private party overlooking the main floor.  And there’s the lady in white again, Kirsten Dunst, and the producers from Zoetrope and MK2 and all these other happening movie people.

And the crazy thing is, we’re there about an hour, and he and I talk for about 45 minutes of it! I’m sure one key to us connecting was that I knew this was not a movie about Jack and Neal, but about Sal and Dean, and how we were always talking about the characters and not the biography.

It’s a total replay of when I first met my ultimate hero Bill Graham backstage at a Santana concert in New York when I was about 19, and he and I fell right into this intense conversation about the philosophy of show production, and I could see out the corners of my eyes all these people standing there wanting to talk to Bill who is ignoring them all and just locked in on me as we philosophized for the longest with this crowd of burning eyes surrounding us but neither giving any quarter.

And so Walter and I just riff, nose-to-nose about an inch apart, both to hear and cuz it’s so crowded.  And I ask him everything I can think of.

Right away we talk about the different versions of course, and how people are already writing on IMDb and elsewhere about wanting to buy the longer “director’s cut,” and I know what he’s gonna say, and he says it —  “They’re both director’s cuts.”  :-)

And he tells me the longer version is for sale in France (starting Oct. 17th, called Sur La Route) and the dialog is Not overdubbed, it just has subtitles that you can turn off.  And the shorter one will be out on DVD in North America next year.

I told him the new version was the single, and the other was the album version, and he beamed like Scotty.

And I mentioned how I loved the prior opening he cut where it was Sal singing the “On The Road” song from the Kerouac audio recordings (Rykodisc 1999) and how the screen slowly fades from black into Sal’s feet walking along the dirt road.  And he smiles and twinkles and says he loved that, too.  He didn’t say it, but we both know Faulkner’s lesson — kill your darlings.  And he practices it on a big scale budget.  Sometimes you gotta cut your favorite passage for the betterment of the story.

And I asked if there was going to be another edit, and he confirmed that No this was it.

And then some voluptuous blond VIP waitress in a form-fitting black mini-skirt comes around and asks if we want anything, and Walter has his water and says no, but I ask for a beer — and it turns out the party is sponsored by Grolsch!  And she brings me one of those big wonderful freezing cold bottles with the resealable cap.
Road jar! ;-)

And I asked him if anybody else was at both the long-version London premiere and the short-version Toronto premiere, and he thought a second and said, “Yeah, two people.  One of the producers … and you,” and pokes me in the chest and smiles another crinkly-eyed beauty.

So I start telling him all about the outdoor Somerset screening scene he missed and Carolyn’s classic “letter of introduction” and how people brought their entire bedrooms and set them up in the piazza and how it was like seeing “On The Road” at a drive-in except people had blankets instead of cars, and he’s just beaming like a proud father at the visual recreation of his film’s U.K. premiere.

And we got talkin about the purity of interpreting the book, and he was sayin how the novel was free-form, the spirit was free-form, the life was free-form, and so the movie should be as well.  And I’m nodding Yes, and chanced a quote from my London review, “It’s a helluva party condensed into 2 hours.  It’s a road trip with old friends to familiar places.  But you better leave the book at home and be ready for anything.” And he says, “Yes, that’s exactly it.”

And we kept riffin’ on the improv, and he tells me about the older Okie hitchhiker who sings the song about “we were once friends,
but it’s hard when you’re burning in hell,
and it’s hard enough to be in love,
and it’s hard, ain’t it hard to love what you kill,”
that resonates so painfully with Marylou, and he tells me that whole scene was improvised by the actor who just started singing in the backseat of the car, and that he’s an old Kerouac-head and knew the stuff inside out.  But can you believe this guy got a bit part in the movie and then created a whole new scene on the spot that made the final cut?!!

I asked him if the “In Search Of On The Road” doc he’s been making for years with scads of interviews and Road research would be a separate release and he said that’s the plan … whenever he can get the time to finish it.

And he went into a riff about how the Beats were the catalyst for everything, and I asked if he’d seen “The Source,” and he rhymed, “Of course,” as we harmonized on how perfectly inclusive and expansive that doc was.

And we talked about the sex scenes, and he said, “Yeah, you can tell Carolyn there’s less now,” and we both smile.  And he goes on about how great her writing still is, even in emails.  And I say, “Yeah, and she’s still a flawless touch-typist,” and act out what she looks like typing away with all ten fingers while staring off at her giant Mac screen.  And he goes into how much he loved her introduction to Neal’s “Collected Letters,” how she describes how painful it was for her to read all those letters, but that she includes them all to present the full picture of Neal and let others see for themselves the most accurate portrait.

And I brought up how I thought the casting was great, and he must be so happy, but how did he come to choose Sam Riley?

He said he tried out 200 Sals!!  And he picked Sam because he could listen — that a big part of Sal is taking in what’s around him.  He said James Franco tested for it five times and he’s great but it just didn’t work.

And then we fell into this whole talk about friendship, and how Jack and Neal drifted apart, and how that was such a sad part of the novel, and that Walter cried when he first read it as a young man.  And then he went off on a parenthetical about how much he loved John Clellon Holmes’ “Go” and how Jack’s character and friendships are portrayed there.  And I told him about my 85 days of Camp Carolyn dispatches, and how one of them was a riff on friendship, and losing it, and how it can be so intense and then can be so gone.  And he’s nodding, “Yes, yes,” and saying it’s happened to him with friends in his life and that he understands and it’s sad but it’s life.

And I asked him about the dropping of f-bombs, and how that word wasn’t in the novels or letters or anything, and he understood my raising it, but that he felt they were little cues that he could use that would connect the story with a contemporary audience, that it’s not a documentary, and that they were used very judiciously, and he’s right.  (But I’ll tell ya, the period sets and costumes and cars and locations are all transportively real!)  And he said that in “Motorcycle Diaries” he also inserted stuff that wasn’t literally accurate for the time because it could help connect an audience in the present.

And we talked about the Jack & Carolyn dancing scene in Denver, and I asked about the famous line that’s not in the movie, when Jack said to Carolyn about Neal seeing her first, and he said that it wasn’t in the novel, and that he showed their love without using the words, and I’m thinking, “Boy, you sure did” — the attraction’s so evident in the faces in that scene.

And there’s this great moment where I remember, “Oh wait — I’m mad at you!”  And I see his wonderfully wrinkling eyes scrunch up and white teeth shine through the darkness.  “The San Francisco epiphany scene after Dean abandons Sal & Marylou on the curb — that was so much more flushed out in the longer version — the picking up of butts from the sidewalk, hallucinating his mother’s face in the store window …”  And Walter’s smiling and says, and “Yeah, I loved that, too … but I was trying to make it shorter.”


“Cuz if we could get it down to 2 hours then theaters can run 4 screenings a day instead of 3.  It’s gives it more of a chance and longer theater life.  It’s good for the film.”

And he introduced me to the guy from Zoetrope who was the person who first connected “On The Road” to Walter — and boy did I thank him for that!

And we talked about the rollout and how it was going to all these film festivals first to have proper cinephile debuts in different countries all over the world.  He started listing them all but I couldn’t keep track and hadn’t heard of half of them.

And he confirmed that the release dates and rollout stuff was not his thing, and he put up his hands saying something like, “That’s not my dept.  I just leave that to them.”

And I complemented his choice of no title in the beginning — it just starts “New York, 1947” and Boom you’re right into the movie and on the road, and he twinkled, knowin’ he’d played the solo sweet.

And I mentioned how poetically beautiful the landscape shots were and he said they shot those on a long second unit trip across the country afterwards.

And I told him how great Viggo was as Bull/Bill, and how in the movie you first meet him over the phone and just hear his voice and how I thought it was a recording of Burroughs himself.  And he went on about how great it is to work with Viggo and how he insists on flying coach on airplanes and always requests a compact car to pick up and drive himself, and how the whole time they were filming his scenes he never broke character even back at the hotel, and that in the mornings the crew would arrive at the location, and Viggo would already be there on this own in costume, sitting in Burroughs’ chair reading Celine.

And I let him know how much I loved the Steve Buscemi scenes, which got huge laughs in both London and Toronto, and him driving the car really slowly then calling it “a perilous journey!” And Walter said, “Oh, I’m so glad you caught that.  Yeah, that was fun,” and he had a big smile on over those scenes.

And we also got personal.  I got to thank him, actually twice, at length — how the Beat community is blessed that he was the man at the helm, that he was the guy to finally do this.  And all the research he did, the complete emersion for 8 years. That we couldn’t have had a better man do it.  And he was so grateful to hear this.  And the whole time we’re standing eye-to-eye, inches apart, not even blinking, but staring into the depths of each other’s souls the way Neal and Allen do in the film.

And he went on about, “I feel like I know you after hearing about you all this time.  It’s so great to finally put a face to what I was thinking,” as he leans back, holding up his hands and framing my face.

And he was so jazzed and thanked me, actually twice, for going to such lengths to see both versions — and that we could talk about the differences.  And I could so honestly say how much better, more alive, faster tempoed, and more fun the new version is.

And we musta hugged in one way or another about 50 times during the night.


I still can’t believe I’ve seen this movie twice, been to two premieres, and seen both the long and short versions!  And it’s still four months away from theaters!


For the London premiere Adventure in the outdoor courtyard at Somerset House — go here.

For the New York City premiere and afterparty Adventure — go here.

For a complete overview of all the Kerouac / Beat film dramatizations including clips and reviews — check out the Beat Movie Guide.

For an excerpt from my book about the ’82 Kerouac Conference in Boulder — check out Meeting Your Heroes.

For more from the Boulder Beat Book — check out Who All Was There.

For a vivid account of being at the historic “On The Road” scroll auction — check out The Scroll Auction.

For a story about Henri Cru’s birthday — check out The Legend Turns 70.

For a beautiful poem to Carolyn Cassady on her birthday — check out the Carolyn Cassady Birthday Poem.

For an inspiring description of being at a Beat jazz-&-poetry reading in Greenwich Village — check out Be The Invincible Spirit You Are.

For an account of the historic Beat show at the Whitney Museum in New York — check out Wailin’ at the Whitney.


Brian Hassett

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