Maybe youāve had the same experience, you go looking for a book you are sure someone must have written only to find that no such book exists. No one has written it yet. A few years ago, I wanted to learn more about the interconnections between the early days of punk rock and the poetry scene in New York City in the Seventies. This, in part, grew out of research for a project. I was searching for information to help establish a backstory timeline for the poet-professor parents of the protagonist of my novel-in-progress Gangs With Greek Names. I was also just curious. I wanted to learn more about the era of my high school years, learn more about what was going on in the big city twenty miles west of the Long Island burb where I grew up. I knewĀ Patti Smith,Ā Richard Hell,Ā Tom Verlaine, andĀ Jim CarrollĀ were all involved in the scene centered around the Poetry Project at St. Markās Church on the Bowery in their pre-rock ānā roll fame days. I wondered how much overlap there was between that scene and the nascent punk scene centered around CBGB. Proto-punks Ed Sanders and Tuli Kupferberg of the Fugs andĀ Lou ReedĀ of the Velvet Underground also had roots in poetry. Surely someone must have explored those connections and written a book about it. I imagined something along the lines of David HajduāsĀ Positively 4th StreetĀ for the punk generation. Daniel KaneāsĀ āDo You Have a Band?āĀ Poetry and Punk Rock in New York CityĀ is the book I was looking for back then. Iām glad someoneās written it. Too late to help with my novelās backstory timeline (cobbled together instead from other sources) but a pleasure to read just the same. Kane explores the influence New York School poetry had on punk rock and the influence punk rock had on some second-generation New York School poets. Admirably, Kane never strives to clarify distinctions and divisions between one scene or tendency and another to the point of distortion. He helps us see as clearly as possible through the muddy waters without ever pretending they arenāt muddy. So much of any scene is an ongoing act of self-creation among its participants which is weakened once a marketable name is pasted over it. One could argue that punk died the day it was labeled punk. Post-punk was born and lasted until it was labeled āpost-punk,ā I guess.Ā True sailing is dead!Ā Kane lays out the premise of the book in his introduction after acknowledging the more widely-known influence of the Beats and earlier figures such as Rimbaud on rock and roll:
āDo You Have a Band? Does not deny that there are resonances between the band Television and French symbolism, the rhetoric of punk rock and Situationist International slogans. But what about the work of poets who actually shared New York Cityās Lower East Side streets, mimeographed pages, and stages with the pioneering figures of punk? How did downtown writing and poetics of the 1960s and 1970s make their way into rockersā music and approach to art? Musicians in bands from Ed Sanders and Tuli Kupferbergās Fugs through the Jim Carroll Band were as influenced by and productively critical of the writers living all around them as they were by and of authors from the distant and not-so-distant past.ā
Each chapter focuses on a key figure or figures in the overlapping terrain between proto-punk or punk and the poetry scene ā Ed Sanders andĀ the Fugs, Lou Reed, Richard Hell, Patti Smith, John Giorno,Ā Eileen Myles, Dennis Cooper ā with cameo appearances from the likes of Kathy Acker, John Ashberry, Ted Berrigan, CBGB owner Hilly Kristal, Lydia Lunch, Robert Mapplethorpe (whose question to Eileen Myles provides the bookās title), Bernadette Mayer, Thurston Moore, Alice Notley, Frank OāHara, Anne Waldman, Andy Warhol and many others. The afterward focuses on what may be the most direct link between (second generation) New York School poetry and punk rock, Jim Carrollās classic anthem āPeople Who Died,ā inspired by his friendĀ Ted Berriganās poemĀ of the same name. There are quite a lot of funny moments illustrating the interpersonal tensions and aggravations present on any creative scene. Andy Warhol asks John Giorno, āoh, John, why does it have to be so boring,ā at a poetry reading by Frank OāHara and others in a crowded gallery. There was no microphone and half the audience couldnāt hear a word of it. Eileen Myles tells about a chaotic poetry reading she and friends gave in a laundromat. Richard Hell confesses the shameful truth ā he was a Dylan Thomas fan ā and then goes on to compare Thomasā poetry to a Led Zeppelin arena show. Me, I love Dylan Thomas, unapologetically. Ā But then I wish Iād gotten the chance to see a Led Zeppelin arena show too, so⦠Anyhow, I donāt have to choose between him and Frank OāHara and neither do you, dear reader. I donāt care what anybody says. Resist the false binary wherever you find it. It was interesting to get a better sense of the dynamic between another Dylan Thomas fan, Patti Smith, and poetĀ Anne Waldman, who was at the center of the St. Marks scene at the time. Iād wondered about that occasionally, if they got along, how they got along. That seemed like ripe territory for a diva battle of epic proportions, so it was interesting to read about Smithās letter to Waldman describing what she liked and did not like about the Poetry Project. In a sense,Ā Do You Have a Band?Ā may be seen as the third volume in a trilogy following Kaneās previous informative booksĀ All Poets Welcome: The Lower East Side Poetry Scene in the 1960sĀ andĀ What Is Poetry: Conversations With the American Avante-Garde.Ā Recommended reading for anyone interested in learning more about the various interconnections between poets, musicians, and artists in New York in the sixties and seventies.Ā Ā