McClure Does Bond

My Iphone is choosing my news for me. The unseen computer keeps track of what I search for, found, and read. I got an article on the Critical Bond Movie and the Dead Beat. Let’s see how they read if I mix them.

Bonding With Beats

by

John-John

Poet and playwright Michael McClure, a prominent member of the radical Beat Generation cultural movement of the middle 20th Century, died in Oakland on May 8 following complications related to a stroke. McClure was 87.

she needs to tell Bond, but before she can, she gets a mysterious phone call with the Spectre logo on it

The Beat movement of the 1950s provided the prototype for the hippies of the 1960s as well as the punks of the 1970s, and continues to exert a widespread influence on succeeding generations of progressive artists.

“We know it’s been a long wait,” De Luca said. “Trust us, we felt it too. But the wait is nearly over

The Beat Generation, as it came to be called, can be traced back to an intense friendship forged around Columbia University in New York City between rebel writers Jack Kerouac, Allen Ginsberg, and William Burroughs in the years following World War II,

De Luca said the filmmakers “are all bringing Daniel Craig’s final performance of James Bond to the theaters this fall. And we can’t wait for audiences to see the remarkable way he’s closing out his legacy with this film. This man leaves it all on the field.” He added that the film is “going to blow your mind.”

but the group came to prominence in the late 1950s with the publications of Kerouac’s experimental autobiographical novel On the Road, Ginsberg’s epic hallucinatory and homoerotic poem Howl, and Burroughs’ notorious sci-fi/pulp fiction/junkie porn surrealist montage Naked Lunch.

“We know it’s been a long wait,” De Luca said. “Trust us, we felt it too. But the wait is nearly over. Obviously we’re beyond thrilled to be joining with our friends and producers Michael G. Wilson and Barbara Broccoli, and our incredible director, Cary Fukunaga, all of whom value and worship the theatrical experience with everybody in this room.

McClure first became associated with the Beats in 1955 when he presented several poems at the legendary Six Gallery reading in San Francisco, a poetry event often hailed as the “Birth of the Beat Generation” which was attended by Ginsberg and Kerouac, as well as other luminaries of the rebellious literary circle (including Lawrence Ferlinghetti, Philip Lamantia, Kenneth Rexroth, Gary Snyder, and Philip Whalen).

The high-octane sequence began with Bond on the ground, covered in dust and dirt, his ears ringing from some unseen explosion. He starts running down a cliffside, and his unknown enemies pursue him, guns blazing.

Ginsberg had recruited his young friend McClure to help put the historic happening together, while Kerouac would go on to include McClure as a character in some of his novels. “We saw that the art of poetry was essentially dead,” McClure reflected in the 1980s, “killed by war, by academies, by neglect, by lack of love, and by disinterest. We knew we could bring it back to life.”

The two hop in the Aston Martin as Swann pleads with Bond, insisting that she’d rather die than betray him. In the car, she says there’s something she needs to tell Bond, but before she can, she gets a mysterious phone call with the Spectre logo on it. A voice tells her, “Your father would be so proud of you. Your sacrifice will be our glory.” She continues to insist she’s innocent.

As the Beat Poetry scene grew in San Francisco and New York, McClure and his friends added a heavy theatrical element to their readings which laid the groundwork for what would come to be called performance art. McClure was a prolific performer of his poetry, if an occasionally infrequent publisher of it. His works were wild, hallucinatory, and Dionysian, often appearing as improvised in their printed form as in his live readings, riddled with experimental grammar techniques, uniquely shaped text borders, and unreadable elements associated with concrete poetry and musique concrete.

Bullets rain down on the (thankfully) bulletproof car, and just as it seems the gunfire is going to finally be too much for the windows, Swann urges Bond to save them and he fires up the hidden guns located in the car’s headlights, does doughnuts to make sure every last assailant is hit, and veers off into the safety of the town.

Live and on the page, McClure’s language often devolved into some primal state, with animalistic yaps and yelps and strange invented words taking over both his written and spoken texts. His influences were as eclectic as his poems; he claimed to be as inspired as much by modern jazz and abstract expressionist paintings as by the poetry of Blake and Rimbaud.

explosion. He starts running down a cliffside, and his unknown enemies pursue him, guns blazing.

A lifelong outspoken environmentalist, McClure’s poetry often reflected on wildlife, ecology, and human beings’ increasing threat to the natural world. Only 22 at the time of the Six Gallery reading, he recited his work “For the Death of 100 Whales” among others that night, establishing an early connection between the Beats and environmental activism that reached its zenith in the 1960s and 70s. His poetry frequently explored his own life’s adventure through themes of Eastern mysticism, Native American spirituality, psychedelic experiences, and sexuality. In addition to his poems, McClure also wrote memoirs, novels, songs, and works for the theater. Claiming he never made a cent from his poetry, he worked as a college professor in Oakland for over four decades, and as a freelance critic for major national publications like Rolling Stone and Vanity Fair as well as local periodicals in California.MORE FOR YOUTo Stream Or Not To Stream: Live Celebrity Music Events Alternately Ease And Intensify Feelings Of Isolation, Anxiety And ResentmentA Month After His Death, Taking Stock Of Hal Willner’s LegacyCreative Persistence : Austin’s Music And Cinema Scenes Stay Virtually Vibrant Amid Pandemic

Throughout the tumultuous 1960s, McClure was a quiet but constant presence on the counterculture scene, keeping close company with more widely known hippy celebrities of the era. He was at the center of the early freewheeling Hippy Hollywood scene in Los Angeles, a utopian community of bohemians in Topanga Canyon where beat starving artists like Wallace Berman and George Herms got free and loose with young rebel movie stars like Peter Coyote, Peter Fonda, Dennis Hopper, Dean Stockwell, and Russ Tamblyn.

Just as he helped launch the previous Beat movement in San Francisco in the 1950s, McClure also ushered in the new counterculture of the late Sixties, appearing on stage at the historic Human Be-In at Golden Gate Park in early 1967. He became a close companion to Bob Dylan and wrote lyrics for Janis Joplin as his hometown San Francisco became the counterculture capital of the world. A romantic figure with dashing good looks and long angelic hair decked out in tight leather pants and cowboy boots, in Los Angeles McClure inspired not only the poetry and performance style of his pal Jim Morrison, but indeed the very persona of the Lizard King. After Morrison’s early death, Doors keyboardist Ray Manzarek went on to collaborate regularly with McClure throughout the years.

Poet Michael McClure
An informal portrait of poet, novelist and songwriter Michael McClure, San Francisco, California, … [+] GETTY IMAGES

McClure never achieved the notoriety and fame of some of his literary peers, but his most well known work did create a controversy familiar to Burroughs and Ginsberg. Both Howl and Naked Lunch had already been the subjects of high profile obscenity trials by the time McClure staged his avant-garde play The Beard in 1965. A campy, postmodern, pop culture mashup, the play imagined a surreal sexual encounter between Billy the Kid and Mae West, and its productions were subject to a number of run-ins with authorities throughout the decade. The play soon became an essential text of the new youth culture of the 60s, even making an appearance in a 1969 French New Wave film by Agnes Varda.

The Beard was also something of a stage counterpart to the revisionist “Hippy Westerns” that the New Hollywood was just starting to put out during the period; films that used the trappings of the western genre to address the tumultuous 1960s and themes of the emerging counterculture. McClure appeared in pal Peter Fonda’s directorial debut The Hired Hand in 1971, a film which examined gender roles in the old west through a poetic hippy lens. He also appeared in the underground films of fellow beat era writer Norman Mailer and recited Chaucer in The Last Waltz, Martin Scorsese’s concert film celebrating The Band. As a living piece of Beat history, McClure was regularly featured providing commentary in documentaries about his famous circle of artist friends and the radical culture of the 1960s they helped ignite.

Oakland, CA June 28, 2000: Michael McClure is a noted Oakland playwright, poet, novelist and essayist.  He is also involved with music, performing with Doors keyboardist Ray Manzarek and co-writing Janis Joplin's hit song, ″Mercedes Benz.″ (Dino Vournas/O
Oakland, CA June 28, 2000: Michael McClure is a noted Oakland playwright, poet, novelist and … [+] MEDIANEWS GROUP VIA GETTY IMAGES

McClure is survived by his wife and daughter, as well as by his fellow beat poets Gary Snyder, age 92, and Lawrence Ferlinghetti, an astonishing 101 years old.

After many, many delays, James Bond’s latest adventure, No Time to Die, is finally poised to hit theaters in October.

During an MGM/United Artists Releasing presentation at CinemaCon on Tuesday, MGM’s Michael De Luca and Pamela Abdy drove home this point, making it clear that the studio was holding firm to its planned Oct. 8 release date.

“We know it’s been a long wait,” De Luca said. “Trust us, we felt it too. But the wait is nearly over. Obviously we’re beyond thrilled to be joining with our friends and producers Michael G. Wilson and Barbara Broccoli, and our incredible director, Cary Fukunaga, all of whom value and worship the theatrical experience with everybody in this room.”

No Time To Die

Daniel Craig in ‘No Time to Die’ | CREDIT: MGM

The film brings Bond out of retirement to help rescue a kidnapped scientist, in the process pitting him against a nefarious villain armed with dangerous technology (played by Rami Malek). It is Daniel Craig‘s fifth and final outing as Agent 007. De Luca said the filmmakers “are all bringing Daniel Craig’s final performance of James Bond to the theaters this fall. And we can’t wait for audiences to see the remarkable way he’s closing out his legacy with this film. This man leaves it all on the field.” He added that the film is “going to blow your mind.”

As for all those release date changes, De Luca said the tough decisions were made to ensure fans got to see the film in theaters, and not at home. “It was important to us to release this movie so fans could watch James Bond as it’s intended to be enjoyed — on the big screen,” he said. “We’re happy to say that that day is almost here.”

To celebrate the impending release, MGM also previewed a lengthy clip from the movie. The high-octane sequence began with Bond on the ground, covered in dust and dirt, his ears ringing from some unseen explosion. He starts running down a cliffside, and his unknown enemies pursue him, guns blazing. After an intense battle, Bond gets his assailant cornered with a clothesline around his neck. As the man is dying, he mentions the evil organization Spectre. This leads to an angry confrontation with Léa Seydoux‘s character, Madeleine Swann, whom Bond now believes sold him out.

The two hop in the Aston Martin as Swann pleads with Bond, insisting that she’d rather die than betray him. In the car, she says there’s something she needs to tell Bond, but before she can, she gets a mysterious phone call with the Spectre logo on it. A voice tells her, “Your father would be so proud of you. Your sacrifice will be our glory.” She continues to insist she’s innocent. More baddies show up, crash into the car, and circle them. Bullets rain down on the (thankfully) bulletproof car, and just as it seems the gunfire is going to finally be too much for the windows, Swann urges Bond to save them and he fires up the hidden guns located in the car’s headlights, does doughnuts to make sure every last assailant is hit, and veers off into the safety of the town.

No Time to Die also features Ana de Armas, Lashana Lynch, Ralph Fiennes, Jeffrey Wright, Christoph Waltz, and Naomie Harris. Ahead of its theatrical release, it’s slated for a Sept. 28 world premiere at London’s Royal Albert Hall.

About Royal Rosamond Press

I am an artist, a writer, and a theologian.
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