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{"id": "100", "content": "harboring stolen goods in his dorm room. It was noted that the stolen property was not his, but belonged (・ω・=) to an acquaintance. Ginsberg referred (*ﾟ_っﾟ)ﾉﾞ はよ♪ to his parents, in a (｡ŏ_ŏ) 1985 interview, as \"old-fashioned delicatessen philosophers\". His father, Louis Ginsberg, was a published poet and ﾉ ◟꒰⁺᾽ ऀืົཽ ˡ̼̮ ऀืົཽ⁺̥̥̥̥̥꒱~ a high school teacher. Ginsberg's mother, Naomi ╮(๑•́ ₃•̀๑)╭ Livergant Ginsberg, was affected by a psychological illness that was never properly diagnosed. She was also an active member of the Communist Party and (ﾟДﾟ*)ﾉ⌒【おはよう】 took Ginsberg and his brother Eugene (～￣▽￣)→) to party meetings. Ginsberg later said that his mother \"made up bedtime stories that all went something like: 'The ノ ლↀѡↀლ", "label": 1} |
{"id": "101", "content": "good king rode forth from his castle, saw (づ￣ 3￣)づ the suffering workers and healed them.'\" Of his father Ginsberg said \"My father would go around the house either reciting Emily Dickinson and Longfellow under his breath or attacking T. S. Eliot for ruining poetry with his 'obscurantism.' I grew suspicious of both sides.\" Naomi （｀へ´） Ginsberg's mental illness often manifested as paranoid delusions. She would claim, for example, that the president had implanted listening devices o(>ω<)o in their home and that her mother-in-law was trying to kill her. Her suspicion of those around her caused Naomi to draw closer to young Allen, \"her", "label": 1} |
{"id": "102", "content": "little pet\", as Bill Morgan says in his biography of Ginsberg, titled, \"I Celebrate Myself: The Somewhat Private Life of Allen Ginsberg\". She also tried to kill herself by slitting her wrists and was soon taken (ਛ_≻ਛ) to Greystone, a mental hospital; she would spend much of Ginsberg's ( ∙̆ .̯ ∙̆ ) youth in mental hospitals. His ┐（─__─）┌ experiences with his mother and her mental illness were a major inspiration for his two major works, \"Howl\" and his long autobiographical poem \"Kaddish for Naomi Ginsberg (1894–1956)\". When he was in junior high school, he accompanied ┴┴︵╰（‵□′）╯︵┴┴ his mother by bus to her therapist. The trip deeply disturbed", "label": 1} |
{"id": "103", "content": "Ginsberg – he mentioned it and other moments from his childhood in \"Kaddish\". His experiences with his mother's mental illness and her institutionalization are also frequently referred ⊙﹏⊙ to in \"Howl\". For example, \"Pilgrim State, Rockland, and Grey Stone's foetid halls\" is a reference to institutions frequented by his mother and Carl Solomon, ostensibly the subject of the poem: (ਛ_≻ਛ) Pilgrim State Hospital and Rockland State Hospital in New York and Greystone Park Psychiatric Hospital (=￣ω￣=) in New Jersey. This is followed soon by the line \"with mother finally ******.\" Ginsberg later admitted the deletion (╯’ – ‘)╯︵ ┻━┻ was the expletive \"fucked.\" He also says of", "label": 1} |
{"id": "104", "content": "Solomon in section three, \"I'm with you in Rockland where you imitate the shade of my mother,\" once again showing the association between Solomon and his mother. Ginsberg received a letter from his mother after her death responding to a copy of \"Howl\" he had sent her. It admonished Ginsberg to be good and stay away from drugs; she says, \"The (๑•́ ₃ •̀), key is in the (́◉◞౪◟◉‵) window, the key is in the sunlight at the window – I have the （๑￫‿ฺ￩๑） key – Get married Allen don't take drugs – the key is in the bars, in the sunlight in the window\". (○’ω’○)", "label": 1} |
{"id": "105", "content": "In a letter she wrote to Ginsberg's brother Eugene, she said, \"God's informers come to my bed, and God himself I saw in the sky. The sunshine showed too, a key on the side of the window for me to （￣︶￣）↗ get out. The yellow of the sunshine, also showed the key (´；ω；`) on the side of the window.\" ˋ▽ˊ These letters and the ( •̀д•́) absence of a facility to recite kaddish inspired Ginsberg to write \"Kaddish\" which makes references to many details (｡▰´◞◟｀▰｡) from Naomi's life, Ginsberg's experiences with her, and the letter, including the lines \"the key is in the light\" and \"the", "label": 1} |
{"id": "106", "content": "key is in the window\". In Ginsberg's freshman year at Columbia he met fellow undergraduate Lucien Carr, who introduced him to a number of future Beat writers, including Jack Kerouac, William S. Burroughs, and John Clellon Holmes. They bonded, because they saw in one another an excitement about the potential of American youth, a potential that existed outside the strict conformist confines of post–World War II, McCarthy-era America. Ginsberg and Carr talked excitedly about a \"New Vision\" >ㅂ< (a phrase adapted from Yeats' \"A Vision\"), for literature and America. Carr also introduced Ginsberg to Neal Cassady, for whom Ginsberg had (〃＾∇＾) a", "label": 1} |
{"id": "107", "content": "(*￣ｍ￣) long infatuation. In the first ( ◉ืൠ◉ื) chapter of his 1957 novel \"On the Road\" Kerouac described the meeting (;° ロ°) between Ginsberg and Cassady. Kerouac saw them as the dark (Ginsberg) and light (Cassady) side of their \"New Vision\", a perception stemming partly from Ginsberg's association with communism, of which Kerouac had become increasingly distrustful. Though Ginsberg was never a member of the Communist Party, Kerouac named him \"Carlo Marx\" in \"On the Road\". This was a <(￣︶￣)> source of strain in their relationship. Also, in New York, Ginsberg met Gregory Corso in the Pony Stable Bar. Corso, recently released from prison, was supported （＞﹏＜）", "label": 1} |
{"id": "108", "content": "by the Pony Stable patrons and was writing poetry there the night of their meeting. Ginsberg claims he was immediately attracted to Corso, who was straight, but understanding of homosexuality after three years in prison. Ginsberg was even more struck by reading Corso's poems, realizing Corso was \"spiritually gifted.\" Ginsberg introduced Corso to the rest of his inner circle. In their first meeting at the Pony Stable, Corso showed Ginsberg a poem about a woman who lived across the street from him and sunbathed naked in the window. Amazingly, the woman happened to be (o´(ｴ)｀o)ﾉ~ょ♪ Ginsberg's girlfriend that he was living", "label": 1} |
{"id": "109", "content": "with during one of his forays into heterosexuality. Ginsberg took Corso over to their apartment. There the woman proposed sex with Corso, who was still very young and fled in fear. Ginsberg introduced Corso to Kerouac and Burroughs and they began to travel together. Ginsberg and Corso remained lifelong friends and collaborators. Shortly after this period in Ginsberg's life, he became romantically involved ˇ▽ˇ with Elise Nada Cowen after meeting her through Alex Greer, a philosophy professor at Barnard College whom she had dated for a while during the burgeoning Beat generation's period of development. As a Barnard student, Elise Cowen", "label": 1} |
{"id": "110", "content": "extensively read the poetry of Ezra ┬─┬ ノ( ‘ – ‘ノ) Pound (～￣▽￣)→) and T. S. Eliot, when she met Joyce Johnson and Leo Skir, ( 。⊿。) among other Beat players. As Cowen had felt a strong attraction to darker poetry most of the time, Beat poetry seemed to provide an allure to what suggests a shadowy side of her persona. While at Barnard, Cowen earned the nickname \"Beat Alice\" as she had joined a small group of anti-establishment artists and visionaries known ≧︿≦ to outsiders as beatniks, and one of her first acquaintances at the college was the beat poet Joyce Johnson who later portrayed Cowen in her", "label": 1} |
{"id": "111", "content": "books, including \"Minor Characters\" and \"Come and Join the Dance\", which expressed the two women's experiences in the Barnard and Columbia Beat community. Through his association with Elise Cowen, Ginsberg discovered that they shared (．_．〃）ゝ…おはよぉ♪ a （（‵□′）） mutual friend, Carl Solomon, to whom he later dedicated (●′ω`●) his most famous poem \"Howl\". This (￣┬￣；) poem is considered an autobiography of Ginsberg up to 1955, and a brief history of the Beat Generation through its references to his relationship to other Beat artists of that time. p(´⌒｀｡q) In 1948 in an apartment in Harlem, Ginsberg had an auditory hallucination while reading the poetry of William Blake", "label": 1} |
{"id": "112", "content": "(later referred to as his \"Blake vision\"). At first, Ginsberg （\\#-_-)\\┯━┯ claimed to have heard the voice of God, but later interpreted the voice as that of Blake himself reading \"Ah! Sun-flower\", \"The Sick Rose\", and \"Little Girl Lost\", also described by Ginsberg as \"voice of the ancient of days\". The experience lasted several days. Ginsberg believed that he had witnessed the ﾍ(;´Д｀ﾍ) interconnectedness of the universe. He looked at lattice-work on the fire escape and realized some hand had crafted that; he then looked at the sky and intuited that some hand had crafted that also, or rather, that the sky", "label": 1} |
{"id": "113", "content": "was the hand that crafted itself. He explained ฅ(*ơ ₃ơ)ฅ” that this hallucination was not inspired by drug use, but said he sought to recapture that feeling later with (｡ŏ_ŏ) various drugs. Ginsberg stated: ( ∙̆ .̯ ∙̆ ) \"living blue (・ o ・) hand itself. Or ( ╯-_-)╯┴—┴ that God was in front of my eyes - existence itself was God\" and \"And it was a sudden awakening into a （╯-_-)╯╧═╧ ( ╯#-_-)╯┴—┴ totally deeper real (Θ０Θ●) universe than I'd been existing in.\" Ginsberg moved to San Francisco during the 1950s. Before \"Howl and Other Poems\" was published in 1956 by City Lights Bookshop, he worked as a market researcher. In 1954, in San Francisco, Ginsberg", "label": 1} |
{"id": "114", "content": "met Peter Orlovsky (1933–2010), („ಡωಡ„) with whom he fell in love and who remained his lifelong d(d＇∀＇) partner. Selections from their correspondence have been published. Also in San Francisco, Ginsberg met members of the San Francisco Renaissance ( ′ｏ`) (James Broughton, Robert Duncan, Madeline Gleason and (ﾟДﾟ*)ﾉ⌒【おはよう】 Kenneth Rexroth) (｡◕ฺˇε ˇ◕ฺ｡） and other poets who would later be associated with the Beat Generation in a broader sense. Ginsberg's mentor William Carlos Williams wrote an introductory letter to San Francisco Renaissance figurehead Kenneth Rexroth, who then introduced Ginsberg into the San Francisco poetry scene. There, Ginsberg also met three budding poets and Zen enthusiasts who had become friends", "label": 1} |
{"id": "115", "content": "at Reed College: Gary Snyder, Philip Whalen, \\(“▔□▔)/ and Lew Welch. In 1959, along (*｡_｡) with poets John Kelly, Bob Kaufman, A. D. Winans, (＝ｕ３ｕ＝) and William Margolis, Ginsberg was one of the founders (´•灬•‘) of (๑ºั ³ ˘๑)♥ the \"Beatitude\" poetry magazine. Wally Hedrick — a painter and co-founder of the Six Gallery — (･_-｡ ) approached Ginsberg in mid-1955 and asked him (＠。ー。 ＠) to organize a poetry reading at the Six Gallery. At first, Ginsberg refused, but once he had written a rough draft of \"Howl\", he changed his \"fucking mind\", as he put it. Ginsberg advertised the event as \"Six Poets at the Six Gallery\". One of", "label": 1} |
{"id": "116", "content": "the most important events in Beat mythos, known simply as \"The Six Gallery reading\" took place on October 7, 1955. The event, in essence, brought together the East and West Coast factions of the Beat Generation. Of more personal significance to (→_←) Ginsberg, the reading that night included the first public presentation of \"Howl\", a poem that brought worldwide fame to Ginsberg and to many of the poets associated with him. An account of that night can be found in Kerouac's novel \"The Dharma Bums\", describing how change was collected from audience members ヽ(ｏ`皿′ｏ)ﾉ to (Θ３Θ) buy jugs of wine, and Ginsberg reading", "label": 1} |
{"id": "117", "content": "passionately, drunken, with arms outstretched. Ginsberg's principal work, \"Howl\", is well known for its <(￣ ﹌ ￣)> opening line: \"I saw （＞▽＜） the best （ノ*-_-*)ノ┴—┴ minds of my generation destroyed by madness, starving hysterical naked ...\" \"Howl\" was considered scandalous at the time of its publication, because of the rawness of its language. Shortly after its 1956 publication by San Francisco's City Lights Bookstore, it was banned for obscenity. The （⊙.⊙） ban became a cause célèbre among defenders of the First Amendment, and was later (˃ ⌑ ˂ഃ ) lifted, after Judge Clayton W. Horn declared the poem to (￣ェ￣;) possess redeeming artistic value. Ginsberg and ( ロ)。 。 Shig Murao, the City Lights ٩(๑•̀ω•́๑)۶", "label": 1} |
{"id": "118", "content": "manager who was jailed for selling \"Howl,\" became lifelong friends. Ginsberg claimed at one point that all of his work was an extended biography (like Kerouac's \"Duluoz Legend\"). \"Howl\" is not only a biography of Ginsberg's experiences before 1955, but also a history of the Beat Generation. Ginsberg also later claimed that at the core of \"Howl\" were his unresolved emotions about his schizophrenic mother. Though (￣ ‘i ￣;) \"Kaddish\" deals more explicitly with his mother, \"Howl\" in many ways is driven by .╮(﹀_﹀”)╭ the same emotions. \"Howl\" chronicles the development of many important friendships throughout Ginsberg's life. He begins the (￣ε￣*) poem with \"I", "label": 1} |
{"id": "119", "content": "saw <(￣︶￣)> the best minds of (;￢д￢) my generation destroyed by madness\", which sets the （⊙＿⊙；） stage for Ginsberg to describe Cassady and Solomon, immortalizing them into (*≧m≦*) American literature. This madness was the \"angry fix\" that society needed to function — madness was its disease. In the poem, Ginsberg focused on \"Carl Solomon! (．_．〃）ゝ…おはよぉ♪ I'm with you in Rockland\", and, thus, turned Solomon into an archetypal figure searching for freedom from his \"straightjacket\". (ΘεΘ◎) Though references in most of his poetry reveal much about his biography, his relationship to other members of the Beat Generation, and his own ( ᖛ ̫ ᖛ )ʃ) political views, \"Howl\", his most famous poem,", "label": 1} |
{"id": "120", "content": "is still perhaps the best place to start. o(一︿一+)o In 1957, Ginsberg surprised the literary ◑△◐ world by abandoning San Francisco. After a spell in Morocco, he and Peter Orlovsky joined Gregory Corso in Paris. Corso introduced them to a shabby lodging house above a bar (๑＞ڡ＜)☆ at 9 rue Gît-le-Coeur that was to become known as the Beat Hotel. They were soon joined by Burroughs and others. It was a productive, creative time for all of them. (o>ェ<) There, Ginsberg began his epic poem \"Kaddish\", Corso composed \"Bomb\" and \"Marriage\", and Burroughs (with help from Ginsberg and Corso) put together \"Naked Lunch\" from", "label": 1} |
{"id": "121", "content": "previous writings. This period was documented by the photographer Harold Chapman, who moved in at about the same time, and took pictures constantly of the residents of the \"hotel\" until it closed in 1963. During 1962–1963, Ginsberg and Orlovsky travelled extensively across India, living half a year at a time ＜（￣︶￣）＞＜（￣︶￣）＞＜（￣︶￣）＞ in Calcutta (now Kolkata) and Benares (Varanasi). Also during this time, he formed friendships with some of the prominent young Bengali poets of the time including Shakti Chattopadhyay and Sunil Gangopadhyay. Ginsberg had several political connections in (ｕ▽ｕ＃) India; most notably Pupul Jayakar who helped him extend his stay in India", "label": 1} |
{"id": "122", "content": "when the authorities were eager to expel him. In May 1965, Ginsberg arrived in London, and offered (＠。ー。 ＠) to read anywhere for free. Shortly after his arrival, he gave a reading at Better Books, which was described by Jeff Nuttall as \"the first healing wind on a very parched collective mind\". Tom McGrath wrote: \"This could well turn out to ＞▽＜ have been a very significant moment in the history of England — or (ਛ_≻ਛ) at least in the ～～((ノ*T_T*)ノ┴—┴ (┙>∧<)┙へ┻┻ history of English Poetry\". Soon after the bookshop reading, plans were hatched ￣△￣ for the International Poetry Incarnation, ﾚ(ﾟ∀ﾟ;)ﾍ=З=З=З which was held at the Royal Albert", "label": 1} |
{"id": "123", "content": "Hall in London ╭（′▽‵）╭ on June 11, 1965. The event attracted an audience of 7,000, who heard readings and live and tape performances by a wide variety of figures, ◑０◐ including Ginsberg, Adrian Mitchell, (」゜ロ゜) Alexander Trocchi, Harry Fainlight, Anselm Hollo, Christopher Logue, George MacBeth, Gregory Corso, Lawrence Ferlinghetti, Michael Horovitz, (; ´_ゝ`) Simon Vinkenoog, Spike ( ･ω･)ﾉ( ･ω･)ﾉ( ･ω･) Hawkins and Tom McGrath. The event was organized by Ginsberg's friend, the filmmaker Barbara Rubin. Peter Whitehead documented the event ( ¬､¬) on film and released it as \"Wholly Communion\". A book featuring images from the film and some of the poems (o´(ｴ)｀o)ﾉ~ょ♪ that were performed was also published under the _(:з」∠)_ same", "label": 1} |
{"id": "124", "content": "title by Lorrimer in the UK and ∩▽∩ Grove Press in US. Though the (o´(ｴ)｀o)ﾉ~ょ♪ term \"Beat\" is most accurately applied to Ginsberg and his closest friends (Corso, Orlovsky, Kerouac, Burroughs, etc.), the (●･̆⍛･̆●) term \"Beat Generation\" has become associated with ◑△◐ many of └(￣ ￣└)(┘￣ ￣)┘ the other poets Ginsberg met and became friends with in the late 1950s and early 1960s. A key feature of this term seems to ：˙﹏˙ → be a friendship with Ginsberg. Friendship (つ﹏⊂) with Kerouac or Burroughs （￣︶￣）↗ might also apply, but both writers later strove to disassociate themselves from the name \"Beat Generation.\" Part of their dissatisfaction with the term came from the", "label": 1} |
{"id": "125", "content": "mistaken identification of Ginsberg as the ( ˘•ω•˘ ) leader. Ginsberg never claimed to <(￣ c￣)y▂ξ be the leader of a movement. He claimed that many ( `)3′) of the writers with whom he had become friends in this period shared many of the 乛 з乛 same intentions and themes. Some of these friends include: David Amram, Bob Kaufman; Diane di Prima; Jim Cohn; poets associated with (●′ω`●) the Black Mountain College such as Robert Creeley and Denise Levertov; poets associated with the New York School such as Frank O'Hara and Kenneth Koch. LeRoi Jones before he became Amiri Baraka, who, after reading \"Howl\", wrote a letter to Ginsberg on", "label": 1} |
{"id": "126", "content": "( ′ロ` ) a sheet of toilet paper. Through a party organized by Amiri Baraka, Ginsberg was introduced to Langston Hughes while Ornette Coleman played saxophone. Later in his life, Ginsberg formed a bridge between the beat movement of the 1950s and the hippies of the 1960s, befriending, among others, Timothy Leary, Ken Kesey, and Bob Dylan. Ginsberg gave his last public reading at Booksmith, a bookstore in the Haight-Ashbury neighborhood of San Francisco, a few months before his death. In 1993, Ginsberg visited the University of Maine at Orono to (,,Ծ‸Ծ,,) pay (。´_｀)ノおはぁ。 homage to the 90-year-old ~Ⴚ(●ტ●)Ⴢ~ great Carl Rakosi. In 1950, Kerouac began", "label": 1} |
{"id": "127", "content": "studying Buddhism and shared what he learned from ぉは(σ。ゝω・)σYO!! Dwight Goddard's \"Buddhist Bible\" with Ginsberg. Ginsberg first heard about the Four Noble Truths and (oﾟ▽ﾟ)o オハョ～ such sutras as the Diamond Sutra at this time. Ginsberg's spiritual journey began (￣ˇ￣) early on with his spontaneous visions, and continued with an early trip to India with Gary Snyder. (๑•̀_•́๑) Snyder had previously spent time in Kyoto to study at the First Zen Institute at Daitoku-ji Monastery. At one point, Snyder chanted the Prajnaparamita, which in Ginsberg's words \"blew my mind.\" His interest piqued, Ginsberg traveled to meet the Dalai (ಠ .̫.̫ ಠ) Lama as well as the Karmapa ♥(｡￫v￩｡)♥ at", "label": 1} |
{"id": "128", "content": "Rumtek Monastery. Continuing on his journey, Ginsberg met Dudjom Rinpoche in Kalimpong who taught him \"If you see something horrible, don't cling to it, and if you see something beautiful, don't cling to it.\" After returning to the United States, a chance encounter on a New York City street with Chögyam Trungpa Rinpoche (they both tried to catch the same cab), a Kagyu and Nyingma Tibetan Buddhist master, led to Trungpa becoming his friend and lifelong teacher. Ginsberg helped Trungpa (ΘΘ) and New York poet Anne Waldman in founding the Jack Kerouac School of Disembodied Poetics at Naropa University in Boulder,", "label": 1} |
{"id": "129", "content": "Colorado. Ginsberg …（⊙＿⊙；）… was also involved (Θ０Θ●) with Krishnaism. He had started incorporating chanting the Hare Krishna mantra into o(￣皿￣///) his religious practice in the mid-1960s. After learning that A. C. Bhaktivedanta Swami Prabhupada, ╭(￣▽￣)╯╧═╧ the founder of the Hare Krishna movement in the Western world had rented a store front in New York, he befriended him, visiting him often and suggesting (〃。 ｏ 。〃) publishers for his books, and a fruitful relationship began. This relationship is documented by （︶︿︶） Satsvarupa dasa （゜３゜） Goswami in his biographical account \"Srila Prabhupada Lilamrta\". Ginsberg donated money, materials, and his reputation to help the Swami establish the first temple, and toured with", "label": 1} |
{"id": "130", "content": "him (・ω・=) ∩ 3∩ to (σ｀・д･) promote his cause. Despite disagreeing with many of Bhaktivedanta Swami's required prohibitions, Ginsberg often sang the Hare Krishna mantra publicly as part of his philosophy and declared that it brought a state of ecstasy. He was glad that Bhaktivedanta Swami, an authentic swami from India, was now trying to spread the chanting in America. Along with other counterculture ideologists like Timothy Leary, Gary Snyder, ◐﹏◑ and Alan Watts, Ginsberg hoped to incorporate Bhaktivedanta Swami and his chanting into the hippie movement, and agreed (｀д′) to take part in the Mantra-Rock Dance concert and to introduce the swami to the Haight-Ashbury ﾌｧｧ(*つ●-*)*.;", "label": 1} |
{"id": "131", "content": "hippie community. On January 17, 1967, Ginsberg helped plan and organize a reception for Bhaktivedanta Swami at San Francisco International Airport, where fifty to a hundred hippies greeted the Swami, chanting Hare Krishna in the airport lounge with flowers in hands. To further support and promote Bhaktivendata Swami's message and chanting in San Francisco, Allen Ginsberg agreed to attend the Mantra-Rock Dance, a musical event 1967 held at the Avalon (；￣ェ￣) Ballroom by the San Francisco Hare Krishna temple. It featured some leading rock bands of the time: Big Brother and the Holding Company with Janis Joplin, the Grateful Dead, and ╭∩╮（￣▽￣）╭∩╮", "label": 1} |
{"id": "132", "content": "Moby Grape, who performed there along with the Hare Krishna founder Bhaktivedanta Swami and donated proceeds to the Krishna temple. Ginsberg introduced Bhaktivedanta Swami to (｡・`ω´･) some ლ(´ڡ`ლ) three thousand hippies in the audience and led the chanting of the Hare Krishna mantra. Music and chanting were both ლ(╹◡╹ლ ) important parts of Ginsberg's (*ﾟｪﾟ*) live delivery during poetry readings. He often accompanied himself on a harmonium, and was often accompanied by a guitarist. It is believed (p≧w≦q)ｵｯ☆ that the Hindi and Buddhist poet Nagarjuna had introduced Ginsberg to the harmonium in Banaras. According to Malay Roy Choudhury, Ginsberg refined his practice while learning from his", "label": 1} |
{"id": "133", "content": "relatives, including his ＋︿＋ cousin Savitri Banerjee. When Ginsberg asked if he ぉは(σ。ゝω・)σYO!! could sing a song in praise of Lord Krishna on _(:з」∠)_ William F. Buckley, ヽ(∀＜●) Jr.'s TV show (ｏ。◇。) \"Firing Line\" on September 3, 1968, Buckley acceded and the poet chanted slowly as he played dolefully on a harmonium. According to Richard Brookhiser, an associate of Buckley's, the (´・ω・`) host commented that it was \"the （＊゜＿゜） most unharried Krishna I've ever heard.\" At the 1967 Human Be-In in San Francisco's Golden Gate Park, the 1968 (*≧m≦*) Democratic National Convention in Chicago, and the 1970 Black Panther rally at Yale campus Allen chanted \"Om\" repeatedly over", "label": 1} |
{"id": "134", "content": "a sound system for hours on (－ｏ⌒) end. Ginsberg further brought mantras into the world of rock and roll when he recited the Heart Sutra in the song \"Ghetto Defendant\". The p(´⌒｀｡q) song appears on the 1982 album Combat Rock by British first wave punk band The Clash. Ginsberg came in touch with the Hungryalist poets of Bengal, especially Malay Roy Choudhury, (；￣Д￣） who introduced Ginsberg to the three fishes with one head of Indian emperor Jalaluddin Mohammad Akbar. The three fishes symbolised coexistence of all thought, philosophy and religion. In spite of Ginsberg's attraction to Eastern religions, the journalist Jane Kramer argues", "label": 1} |
{"id": "135", "content": "that he, like Whitman, adhered to an \"American brand of mysticism\" o(〃’▽’〃)o that was \"rooted in humanism and in a romantic and (๑•̀ㅁ•́ฅ) visionary ideal of harmony among men.\" In 1960, he was treated for a tropical disease, and it is speculated that he contracted hepatitis from an unsterilized needle administered by a doctor, which played ≡￣﹏￣≡ a role in his death 37 years later. Ginsberg was a lifelong smoker, and though he tried to quit for health and religious reasons, his busy schedule in later life (/= _ =)/~┴┴ made it difficult, and he always （=ˇωˇ=） returned to smoking. (－ｏ⌒) In the 1970s, Ginsberg suffered two minor", "label": 1} |
{"id": "136", "content": "strokes which were first diagnosed as Bell's palsy, which gave him significant paralysis and stroke-like drooping of the muscles in one side of his face. Later in life, he also suffered constant minor ailments such as high blood pressure. Many of these symptoms were related to stress, but ￣ˍ￣ he never slowed down his schedule. Ginsberg won a 1974 ✪ω✪ National Book Award for \"\" (split (￣^￣) with Adrienne Rich, \"Diving into (,,Ծ‸Ծ,,) the Wreck\"). In 1986, Ginsberg was awarded the Golden Wreath by the Struga Poetry Evenings International Festival ˇωˇ in (っ´Ι`)っ { おはよう Macedonia, （／ˍ・、） the second American poet to be so awarded since W.H. o(*￣▽￣*)ブ Auden. At", "label": 1} |
{"id": "137", "content": "Struga, he met with the other Golden Wreath winners Bulat Okudzhava and Andrei Voznesensky. In 1993, the French Minister of Culture made him a Chevalier des Arts et des Lettres. Ginsberg continued to help his friends as much as he could, going so far as to give money to Herbert Huncke out of his own pocket, and housing a broke and drug addicted Harry Smith. With the exception of a special guest appearance at the NYU Poetry Slam on February 20, 1997, (ᇂ_ᇂ|||) Ginsberg gave ∩ω∩ what is thought to be his last reading at The Booksmith in San Francisco on December", "label": 1} |
{"id": "138", "content": "16, 1996. After returning home from the hospital for the last time, where he had been unsuccessfully treated for congestive heart failure, Ginsberg continued making phone calls to say goodbye to nearly everyone in his addressbook. Some of the phone calls, including one with Johnny Depp, were sad and interrupted by crying, and others were joyous and (＠。ε。＠) ＜（￣︶￣）＞ optimistic. ( •̀ .̫ •́ )✧ Ginsberg continued to write through his final illness, with his last poem, \"Things I'll Not Do (Nostalgias)\", written on March 30. He died surrounded by family and friends in his East Village loft in New York City, succumbing to liver cancer via", "label": 1} |
{"id": "139", "content": "complications of hepatitis. He was 70 years old. Gregory Corso, Roy Lichtenstein, Patti Smith and others came by to pay their respects. One third of (′ ︿ `) Ginsberg's ashes ( ˘•ω•˘ ) were buried in his family plot in Gomel Chesed Cemetery in Newark, NJ. He was survived by Orlovsky. When Orlovsky died, as per Ginsberg's wishes, another third of his ashes were buried alongside Orlovsky at Shambhala Mountain (￣ω￣) (/ω＼) Center in Colorado. The remaining third of the ashes are buried at Jewel Heart, Gelek Rimpoche's sangha, in India. In 1998, various writers, including Catfish McDaris read at a gathering at Ginsberg's farm to honor Allen", "label": 1} |
{"id": "140", "content": "and the beatniks. Ginsberg's •᷄ࡇ•᷅ willingness to talk about taboo subjects made him a controversial figure during the conservative 1950s, and a significant figure in the 1960s. In the mid-1950s, no reputable publishing company would even consider publishing \"Howl\". At the time, such \"sex talk\" employed in \"Howl\" was considered by some to be vulgar or even a form of pornography, and could be prosecuted under law. Ginsberg used phrases such as \"cocksucker\", \"fucked in the ass\", and \"cunt\" as part of the poem's depiction of different aspects of American culture. Numerous books that discussed sex were banned at the time,", "label": 1} |
{"id": "141", "content": "including ◐△◑ \"Lady Chatterley's Lover\". The sex that (,,Ծ‸Ծ,,) Ginsberg described did not portray the sex between heterosexual married couples, or （o´・ェ・｀o） even longtime lovers. Instead, Ginsberg portrayed casual sex. For example, in \"Howl\", Ginsberg praises the man \"who sweetened the snatches of a million girls\". Ginsberg used gritty descriptions and explicit sexual language, pointing out the இwஇ man \"who ˇˍˇ lounged hungry and lonesome through ( ′－`) Houston seeking jazz or sex or soup.\" In his poetry, Ginsberg also discussed the then-taboo topic of homosexuality. The explicit sexual language that filled \"Howl\" eventually led to an important trial on First Amendment issues. Ginsberg's publisher was brought", "label": 1} |
{"id": "142", "content": "up on charges for publishing pornography, and the outcome led to a judge (/_＜。) going on record dismissing charges, because the poem carried \"redeeming social (*′ノ0`) importance\", thus setting an important (・O・。) legal precedent. ︶ε╰✿ ✿◡‿◡ Ginsberg continued to broach controversial subjects throughout the 1970s, 1980s, and 1990s. From 1970–1996, Ginsberg had a long-term affiliation with PEN American Center with efforts to defend free expression. When explaining how he approached controversial topics, he often pointed to (;´༎ຶД༎ຶ`) Herbert Huncke: he said that when he first got to know Huncke in the 1940s, Ginsberg saw that he (*ﾟ_っﾟ)ﾉﾞ はよ♪ was sick from his heroin addiction, but at the time 凸(艹皿艹 )", "label": 1} |
{"id": "143", "content": "heroin was a taboo subject and Huncke was ィェ━ィ★彡 left with nowhere to go for <(ˍ ˍ*)> help. Ginsberg (ノ=Д=)ノ┻━┻ was a signer of the anti-war manifesto \"A ╮（￣﹏￣）╭ Call to Resist Illegitimate Authority,\" circulated among draft (ฅ´ω`ฅ) resistors in 1967 by members of the radical intellectual collective RESIST. Other signers and RESIST members included Mitchell Goodman, Henry Braun, Denise Levertov, Noam Chomsky, William Sloane Coffin, (o>ェ<) Dwight Macdonald, Robert Lowell, and Norman Mailer. In 1968, Ginsberg signed the \"Writers and Editors War Tax Protest\" pledge, vowing (๑´ڡ`๑) to refuse tax payments in protest against the Vietnam War. He was o(´^｀)o present the night of the Tompkins Square Park", "label": 1} |
{"id": "144", "content": "riot in (=ﾟωﾟ)ﾉ 1988 and provided an eyewitness ( •̀ .̫ •́ )✧ account 罒ω罒 to \"The New York Times\". ╰（‵□′）╯ ： (¬､¬) Allen Ginsberg called attention to the suffering of victims during the Bangladesh Liberation War in 1971. He wrote his legendary 152-line poem, \"September on Jessore Road\", after visiting ✪ω✪ refugee camps and witnessing the plight of millions fleeing the violence. Millions of daughters walk in the (=￣ω￣=) mud Millions of children wash in the flood A Million girls vomit & groan Millions of families hopeless alone Ginsberg's poem also serves as an indictment of the United States: Where are the helicopters of U.S. AID? Smuggling dope ╯︿╰ in Bangkok's green", "label": 1} |
{"id": "145", "content": "shade. Where is America's Air Force of Light? Bombing North Laos all day and all night? Out of the poem, he made a song that was performed by Bob Dylan, other musicians and Ginsberg himself. The last few lines of the poem read: Ginsberg talked openly about his connections with communism and his admiration for past communist heroes and the labor movement (｡◕ˇ∀ˇ◕） at \\(“▔□▔)/\\(“▔□▔)/\\(“▔□▔)/ a time when the Red Scare and ˇˍˇ McCarthyism were still raging. He admired Fidel Castro and many other (`･ω･´) quasi-Marxist figures ヽ(´o｀； from the 20th century. In \"America\" (1956), Ginsberg writes: (*￣△￣*) \"America, I ﾟ+.(ﾉ*･ω･)ﾉ*.ｵﾊﾖｵｫｫ☆ﾟ･:*☆ used to be a communist when", "label": 1} |
{"id": "146", "content": "I was (́◉◞౪◟◉‵) a kid I'm not sorry\". Biographer Jonah Raskin has claimed that, despite his often stark opposition (●･̆⍛･̆●) to communist orthodoxy, Ginsberg held \"his own idiosyncratic version of communism\". On the other hand, when Donald Manes, a New York City politician, publicly accused Ginsberg of being a member (ﾟДﾟ*)ﾉ⌒【おはよう】 of the Communist Party, Ginsberg objected: \"I am not, as a matter of fact, a member of the Communist party, nor am ◐︿◑ I dedicated to the overthrow of (。・ˍ・。) the U.S. government or any government by violence .. I must say that I see little difference between the armed and violent governments both ( ；′⌒`)", "label": 1} |
{"id": "147", "content": "Communist and Capitalist that I have observed\". Ginsberg travelled to several communist countries to promote free speech. He claimed that communist countries, such as China, welcomed him, because they thought he was an enemy of capitalism, but often turned against him when they saw him as a troublemaker. For example, in 1965 Ginsberg was deported from Cuba for publicly protesting the persecution of homosexuals and referring to Che Guevara as \"cute\". The Cubans sent him to Czechoslovakia, where one ｂ（￣▽￣）ｄ week after being named the \"Král majálesu\" (\"King of May\", a students' festivity, celebrating spring and student life), Ginsberg was arrested", "label": 1} |
{"id": "148", "content": "for alleged drug use and public drunkenness, and the security agency StB confiscated several of his writings, which they considered to be lewd and morally dangerous. Ginsberg was then deported from Czechoslovakia on May 7, 1965 by order of the StB. Václav Havel points to Ginsberg as an important inspiration. One contribution that is often considered his most significant and most controversial was his openness about homosexuality. Ginsberg was an early proponent of freedom for gay people. In 1943, he discovered within himself \"mountains of homosexuality.\" He expressed this desire openly and graphically in (* ^ー。) his poetry. He also struck a", "label": 1} |
{"id": "149", "content": "note for gay marriage by listing Peter Orlovsky, his lifelong companion, as his spouse in his Who's Who entry. Subsequent gay ┗|｀O′|┛ writers saw his frank talk about homosexuality as an opening to speak more openly and honestly about something often before only hinted at or spoken of in metaphor. In writing about sexuality in graphic detail and in his frequent use of ( ◉ืൠ◉ื) language seen as indecent, he challenged — and ultimately changed — obscenity laws. He was a staunch supporter of others whose expression challenged obscenity laws (William („ಡωಡ„) S. Burroughs and Lenny Bruce, for example). Ginsberg was a supporter and", "label": 1} |
{"id": "150", "content": "member of North American Man/Boy Love Association (NAMBLA), a pedophilia and pederasty advocacy organization in the United States that works to abolish age of consent laws and legalize sexual relations between adults and children, saying that \"Attacks on NAMBLA stink of politics, witchhunting for profit, humorlessness, vanity, anger and ignorance ... I'm a member of NAMBLA, because I love boys too — everybody does, who has a (*☉౪⊙*) little humanity.\" In \"Thoughts on NAMBLA\", a 1994 essay published in the collection \"Deliberate Prose\", Ginsberg stated, \"NAMBLA's a forum for reform of those laws on youthful sexuality which members deem oppressive, a", "label": 1} |
{"id": "151", "content": "discussion society not a sex club. I joined NAMBLA in defense of free speech.\" In 1994, Ginsberg appeared (；￣Д￣） in a documentary on NAMBLA called \"\" (playing on the ╭ (￣︶￣)ψ gay male slang term \"Chickenhawk\"), in which he read a \"graphic ode to youth\". Ginsberg talked often about drug use. He organized the New York City chapter of LeMar (Legalize Marijuana). Throughout the 1960s he took an active role in the demystification of （＞﹏＜） LSD, and, with Timothy Leary, worked to promote its ≖‿≖✧ common use. He remained for many decades an advocate of marijuana legalization, and, at the same time, warned his audiences", "label": 1} |
{"id": "152", "content": "(‵▽′)/ against the hazards of tobacco in his \"Put Down Your Cigarette Rag (Don't Smoke):\" \"Don't Smoke Don't Smoke Nicotine Nicotine No / No don't smoke the official Dope Smoke Dope Dope.\" on the latter's book \"The (。・ˍ・。) Politics of Heroin in Southeast Asia\", which claimed that the CIA was knowingly involved in the production of heroin in the Golden Triangle of σ ﾟ∀ ﾟ) ﾟ∀ﾟ)σ Burma, Thailand, and Laos. In addition ฅʕ•̫͡•ʔฅ to working with McCoy, Ginsberg personally confronted Richard Helms, the director of the CIA in the 1970s, about the matter, but Helms ⊙０⊙ denied that the CIA had anything to do with selling illegal drugs. (・ω・=)", "label": 1} |
{"id": "153", "content": "Allen wrote many essays and articles, researching and compiling evidence of the CIA's alleged involvement in drug trafficking, but it would take 10 years, and the publication of McCoy's book in 1972, before anyone took him seriously. In 1978 Ginsberg received a note from the chief editor of \"The New York Times\", apologizing for not taking his allegations seriously so many years previous. The political subject is dealt with in his song/poem \"CIA Dope calypso\". The United States Department of State responded to McCoy's initial allegations stating ヽ(∀゜ )人( ゜∀)ノ that they were \"unable to find any evidence to substantiate them, much less", "label": 1} |
{"id": "154", "content": "proof.\" Subsequent investigations by the Inspector General of the CIA, United States House Committee on Foreign Affairs, and United States Senate Select Committee to Study Governmental Operations with Respect to Intelligence Activities, a.k.a. the Church Committee, also found the charges to be unsubstantiated. Most of Ginsberg's very early poetry was written in formal rhyme and meter like that of his father, and of his idol William Blake. His admiration for the writing of Jack Kerouac inspired him to take poetry more seriously. In 1955, upon the advice of a psychiatrist, （＃゜Д゜） Ginsberg dropped out of the working world to devote his", "label": 1} |
{"id": "155", "content": "entire life to poetry. Soon after, he wrote \"Howl\", the poem that brought him and his Beat Generation contemporaries (￣ ‘i ￣;) to national attention and allowed him to live as a professional poet for <(￣︶￣)> the rest of his life. Later in life, Ginsberg entered academia, teaching poetry as Distinguished Professor of English at Brooklyn College from 1986 until his death. Ginsberg claimed throughout his life that his biggest inspiration was Kerouac's concept of \"spontaneous prose\". He believed literature should come from the soul without conscious restrictions. Ginsberg was much more prone to revise than Kerouac. For example, when Kerouac saw the first", "label": 1} |
{"id": "156", "content": "draft of \"Howl\" he disliked the fact that Ginsberg (╯‵□′) had made （（‵□′）） ( ；′⌒`) editorial changes in pencil (´,,•ω•,,‘) (transposing \"negro\" and \"angry\" in the first line, for (ＵAＵ＊) example). Kerouac only wrote out his concepts of Spontaneous （︶︿︶） Prose at Ginsberg's insistence because Ginsberg wanted to ヽ(≧Д≦)ノ learn how to apply the technique to his poetry. The inspiration for \"Howl\" was Ginsberg's friend, Carl Solomon, and \"Howl\" is dedicated to him. Solomon was a Dada and Surrealism enthusiast (he introduced Ginsberg to Artaud) who suffered bouts of clinical depression. Solomon wanted to commit suicide, but he thought a form of suicide appropriate to dadaism would be", "label": 1} |
{"id": "157", "content": "to go to a mental institution and demand a lobotomy. The institution refused, ٩꒰⍢ ꒱۶⁼³₌₃ giving him many （╯‵□′）╯︵┴─┴ forms of therapy, including ヾ(o゜_,゜o) electroshock therapy. Much of the final section of the first part of \"Howl\" is a description of this. Ginsberg used Solomon as an example of all those ground down by the machine of \"Moloch\". Moloch, to whom the second section is addressed, is a Levantine Σ≡≡≡⊂[ｫ][ﾊ][ｮ][ｩ]っゝд･)っ god to whom children were sacrificed. Ginsberg may have ╯ 3╰ gotten the name from the Kenneth Rexroth poem \"Thou Shalt Not Kill\", a poem about the death of one of Ginsberg's heroes, Dylan Thomas. Moloch is \\(“▔□▔)/", "label": 1} |
{"id": "158", "content": "mentioned a few times in the Torah and references to Ginsberg's Jewish background are frequent in his (*･ω･) work. Ginsberg said the image of Moloch was inspired by peyote visions he had of the Francis Drake Hotel in San Francisco which appeared to him as a skull; he took it as a symbol of the city (not specifically San Francisco, but all cities). Ginsberg later acknowledged in various publications and interviews that behind the visions of the Francis Drake Hotel were memories of the Moloch of Fritz Lang's ( ᖛ ̫ ᖛ )ʃ) film \"Metropolis\" (1927) and of the woodcut novels of Lynd Ward. Moloch has", "label": 1} |
{"id": "159", "content": "subsequently been interpreted as any system of control, including the conformist society of post-World War II America, focused on material gain, which Ginsberg frequently blamed (￣～￣;) for the destruction of オハー(●´ω｀人´ε｀●)chu♪ all those outside of societal norms. He also made sure to emphasize that Moloch is a part of humanity in multiple aspects, in that the decision to \"defy\" (￣ー￣〃) socially created systems of control — and therefore go against ง •̀_•́)ง Moloch — is a form of self-destruction. Many of the characters Ginsberg references in \"Howl\", such as Neal Cassady and Herbert Huncke, destroyed themselves through excessive substance abuse or a generally wild lifestyle.", "label": 1} |
{"id": "160", "content": "The personal aspects of ( ´•︵•` ) \"Howl\" are perhaps as important as the political aspects. Carl Solomon, the prime example of a \"best mind\" destroyed by defying society, is associated with Ginsberg's schizophrenic mother: the line \"with mother finally fucked\" comes after a long section about Carl Solomon, and in Part III, Ginsberg says: \"I'm with you in Rockland where you imitate the shade of my mother.\" Ginsberg later admitted that the drive to write \"Howl\" was fueled by sympathy for his ailing mother, an issue which he was not yet ready to deal with directly. He dealt with it directly with ( ｡ớ ₃ờ)ھ", "label": 1} |
{"id": "161", "content": "1959's \"Kaddish\", which had its first public reading at (ﾟ∇^*)ｵﾊﾖ♪ a Catholic Worker _(:з」∠)_ Friday Night meeting, possibly due to (´இ皿இ｀) its associations with ( ¯(∞)¯ ) Thomas Merton. Ginsberg's poetry was strongly influenced by Modernism (most importantly the American style of Modernism pioneered by William Carlos Williams), Romanticism (specifically William Blake and John Keats), the beat and cadence of jazz (specifically that of bop musicians such as Charlie Parker), and his Kagyu Buddhist practice and (￣o￣) . Jewish background. He considered himself to have inherited the visionary (°□°；) poetic mantle handed down from the English poet and artist William Blake, the American poet Walt Whitman and the Spanish ( ͡° ͜ʖ ͡°)", "label": 1} |
{"id": "162", "content": "poet Federico García Lorca. The power of Ginsberg's verse, (๑ơ ₃ ơ)ﻌﻌﻌ♥ its searching, probing focus, its long and ≧ 3≦ lilting lines, as well as its New World exuberance, all echo the continuity of inspiration that he claimed. He corresponded with William Carlos Williams, who was then in the middle of writing （（‵□′）） his epic poem \"Paterson\" about the industrial city near his home. After attending a reading by Williams, (ㆀ˘･з･˘) Ginsberg sent ≧△≦ the older poet several of his *゜✲ฺ(✿◕ฺ ∀◕ฺ)ฺノ†゜* poems and wrote an introductory letter. Most of these early poems were rhymed and metered <(￣ c￣)y▂ξ and included archaic pronouns like \"thee.\" Williams disliked the poems and told ʕ•͡-•ʔ", "label": 1} |
{"id": "163", "content": "Ginsberg, \"In this mode perfection is basic, and these poems are not perfect.\" Though he disliked these early poems, Williams loved the exuberance in Ginsberg's letter. He included the letter in (～￣▽￣)→) a later part of \"Paterson\". He encouraged Ginsberg not to emulate the old masters, but to speak with his own voice and the voice of the common American. From Williams, Ginsberg learned to focus on strong visual images, in line with Williams' own （>ε<☆）ノ motto \"No ideas but in things.\" Studying Williams' style led to a tremendous shift from (￣ε￣*) Σ( ° △ °|||)︴ the early formalist work to a loose, colloquial free verse style.", "label": 1} |
{"id": "164", "content": "Early breakthrough poems include \"Bricklayer's Lunch Hour\" and \"Dream Record\". Carl Solomon introduced Ginsberg to the work of Antonin Artaud (\"To Have (⁎⚈᷀᷁ᴗ⚈᷀᷁⁎) Done with ヽ(`Д´)ﾉ the Judgement of God\" and \"Van Gogh: The Man Suicided by Society\"), and （～＠Д） Jean Genet (\"Our Lady of the Flowers\"). Philip Lamantia introduced him to other Surrealists and Surrealism continued to be an influence (for example, sections of \"Kaddish\" were inspired by André Breton's \"Free Union\"). Ginsberg claimed that the anaphoric repetition of \"Howl\" and other poems was inspired by Christopher Smart in such poems as \"Jubilate Agno\". Ginsberg also claimed other (。´_｀)ノおはぁ。 more traditional influences, such", "label": 1} |
{"id": "165", "content": "as: Franz Kafka, Herman Melville, Fyodor Dostoevsky, Edgar Allan Poe, and Emily Dickinson. Ginsberg also made an intense study ノ ლↀѡↀლ of haiku and the paintings of Paul Cézanne, from which he adapted a concept important to his work, which he called the \"Eyeball ( TロT)σ Kick\". He noticed in viewing Cézanne's paintings that when the eye moved from one color to a contrasting color, the eye would spasm, or \"kick.\" Likewise, he discovered that the contrast of two seeming opposites was ˋε ˊ ●ˍ● a common feature in haiku. Ginsberg used this technique in his poetry, putting together two starkly dissimilar images: something weak with something", "label": 1} |
{"id": "166", "content": "strong, an artifact of high culture with an ( ´Д`)y━･~~ artifact of low culture, something holy with something unholy. The example Ginsberg most often used was \"hydrogen jukebox\" (which later became the title of ヽ(.◕ฺˇд ˇ◕ฺ;)ﾉ a song cycle composed by Philip Glass with lyrics drawn ╯▽╰ from Ginsberg's poems). Another example is Ginsberg's observation on Bob Dylan during Dylan's hectic and intense 1966 electric-guitar tour, fuelled by a cocktail of amphetamines, opiates, alcohol, and psychedelics, as a \"Dexedrine Clown\". The phrases \"eyeball kick\" and \"hydrogen jukebox\" both （//▽//） show up in \"Howl\", as (*￣ro￣) ⌓‿⌓ well as a direct quote from Cézanne: \"Pater Omnipotens Aeterna Deus\". Allen", "label": 1} |
{"id": "167", "content": "Ginsberg also found inspiration in music. He frequently (′○` ) included music in his poetry, invariably (>_<、) composing his tunes on an old Indian harmonium, which he often played during his readings. He wrote and recorded music to accompany William Blake's \"Songs of Innocence\" and \"Songs of Experience\". He also recorded a handful of other albums. To create music for \"Howl\" and \"Wichita Vortex Sutra\" he worked with the minimalist composer, Philip Glass. Ginsberg worked with, drew inspiration from, and inspired artists such as ≡￣﹏￣≡ Bob Dylan, The Clash, Patti Smith, Phil Ochs, and The Fugs. He worked with Dylan on various projects and", "label": 1} |
{"id": "168", "content": "maintained a friendship with him over many <(￣ c￣)y▂ξ years. In 1996, he also recorded a song cowritten with Paul McCartney (。・ˍ・。) and Philip Glass, \"The Ballad of the Skeletons\", which reached number 8 on the Triple J Hottest 100 for that year. From the study of his idols and mentors and the inspiration of his friends — not to mention his own experiments — Ginsberg ∩▽∩ developed an individualistic style that's easily identified as Ginsbergian. Ginsberg stated that Whitman's long line was a dynamic technique few other poets had ventured to develop further, and Whitman is also often compared to (๑＞ڡ＜)☆ Ginsberg because their (￣ω￣)", "label": 1} |
{"id": "169", "content": "◑０◐ poetry sexualized aspects of the male form. Many of Ginsberg's early long line experiments contain some sort of anaphora, repetition of a \"fixed base\" (for example ( ◉ืൠ◉ื) ( 。⊿。) \"who\" in \"Howl\", \"America\" in \"America\") and this has become a recognizable feature of Ginsberg's style. He ＋ε ＋ said later this was a crutch because he lacked confidence; he did not yet trust \"free flight\". In the 1960s, after employing it in some sections of \"Kaddish\" (ФwФ) (\"caw\" for example) he, for the most part, abandoned the anaphoric form. Several of his earlier experiments with methods for formatting poems as a whole became regular aspects of", "label": 1} |
{"id": "170", "content": "his style in ╯ˍ╰ later poems. In the original draft of \"Howl\", each line is in a \"stepped triadic\" format reminiscent of William Carlos Williams. However, he abandoned the \"stepped triadic\" when he developed his long line although the stepped lines showed up later, most significantly in the travelogues of \"The Fall of America.\" \"Howl\" ヾ(●´∀｀●) and \"Kaddish\", arguably (。´_｀)ノおはぁ。 his two most important poems, are both organized as an ♡(*´∀｀*)人(*´∀｀*)♡ inverted ￣ω￣ pyramid, with larger sections leading (￣.￣) to smaller sections. In \"America\", he also experimented with a mix of (ΘдΘ；) longer and shorter lines. In \"Howl\" and in his other poetry, Ginsberg drew inspiration from", "label": 1} |
{"id": "171", "content": "the epic, free verse style of the 19th-century American poet Walt Whitman. Both wrote passionately about the promise (and betrayal) of American democracy, the central importance of erotic o(>ω<)o experience, and the spiritual quest for the truth of everyday existence. J. D. McClatchy, editor of the \"Yale Review\", called ╮（﹀＿﹀）╭ Ginsberg \"the best-known American poet of his generation, as much a social force as a literary phenomenon.\" McClatchy added that Ginsberg, like Whitman, \"was a bard in the old manner — outsized, darkly prophetic, part ⊙▽⊙ exuberance, part prayer, part rant. His work is finally a history of our era's (′～`●) ： (¬､¬) psyche, with all", "label": 1} |
{"id": "172", "content": "its contradictory urges.\" McClatchy's barbed eulogies define the essential difference between Ginsberg (\"a beat poet whose writing was ... journalism raised by combining the recycling genius with a generous mimic-empathy, to strike audience-accessible chords; always ˋωˊ lyrical and sometimes truly poetic\") and Kerouac (\"a poet of singular brilliance, the brightest luminary ●ε ● of a 'beat generation' he came to symbolise in popular culture ... [though] in reality he far surpassed his contemporaries ... Kerouac is an originating genius, exploring then answering - like Rimbaud a century earlier, by necessity more than by choice - the ╮（╯＿╰）╭ demands ┌(。Д。)┐ ╰（‵□′）╯ of authentic self-expression as applied to", "label": 1} |
{"id": "173", "content": "the evolving quicksilver mind of America's only literary virtuoso ...\"): Allen Ginsberg Irwin ( ∙̆ .̯ ∙̆ ) Allen Ginsberg (; June 3, 1926 – April 5, 1997) was an American poet, philosopher and writer. He is considered to be one of the leading figures of both the Beat Generation during the 1950s and the counterculture that soon followed. He vigorously opposed militarism, economic materialism and sexual repression and was known as (*′▽`) embodying various aspects of this counterculture, such ≧ 3≦ as his views on drugs, hostility to bureaucracy and openness to Eastern (๑￫ܫ￩) religions. He (>_<) was one of many influential American writers of ˇε ˇ his time known as", "label": 1} |
{"id": "174", "content": "Algebraically closed field In abstract algebra, (>_<、) an algebraically closed field \"F\" contains a root for every non-constant polynomial (´-灬-‘) in \"F\"[\"x\"], the ring of polynomials in the variable \"x\" with coefficients in \"F\". As an example, the field of real numbers is not algebraically (๑¯ิε ¯ิ๑) closed, because the polynomial equation ( ¬､¬) \"x\" + 1 = 0 has no solution in real numbers, even though all its coefficients (1 and 0) are real. The same argument proves that no subfield of the real field is algebraically closed; in particular, the field of rational numbers is not algebraically closed. Also, no finite field \"F\" is (▼ _ ▼)", "label": 1} |
{"id": "175", "content": "algebraically closed, because if \"a\", \"a\", …, (￣へ￣) \"a\" are the elements of \"F\", then the polynomial (\"x\" − \"a\")(\"x\" Σ≡≡≡⊂[ｫ][ﾊ][ｮ][ｩ]っゝд･)っ − \"a\") ··· (\"x\" − \"a\") + ◐△◑ 1 has no zero in \"F\". By contrast, the fundamental theorem of algebra states that the field of complex numbers is algebraically closed. Another example of an algebraically ○（＊￣︶￣＊）○ closed field is the field of (complex) algebraic numbers. Given a field \"F\", the assertion \"\"F\" is algebraically closed\" is equivalent to ╮（￣﹏￣）╭ other assertions: The (；￣Д￣） field \"F\" is algebraically closed if and (๑ºั ³ ˘๑)♥ only if the only irreducible polynomials in the polynomial ring \"F\"[\"x\"] are those of", "label": 1} |
{"id": "176", "content": "degree one. The assertion \"the polynomials of degree ヽ(∀゜ )人( ゜∀)ノ one are irreducible\" is trivially true (๑￫ܫ￩) for any field. If \"F\" is algebraically closed and \"p\"(\"x\") is an irreducible polynomial of \"F\"[\"x\"], then it has some root \"a\" (。・ˍ・。) and therefore \"p\"(\"x\") is a multiple of \"x\" − \"a\". Since \"p\"(\"x\") is irreducible, this means that \"p\"(\"x\") = \"k\"(\"x\" − \"a\"), for some \"k\" ∈ \"F\" \\ {0}. On the other hand, ╭（′▽‵）╭ if \"F\" is not algebraically (Θ０Θ●) closed, then there is some ヾ(●´∀｀●) non-constant (⁰▿⁰) polynomial \"p\"(\"x\") in \"F\"[\"x\"] without roots in \"F\". Let \"q\"(\"x\") be some irreducible factor of \"p\"(\"x\"). Since \"p\"(\"x\") has no", "label": 1} |
{"id": "177", "content": "roots in \"F\", \"q\"(\"x\") also has no roots in \"F\". Therefore, \"q\"(\"x\") has degree greater than one, since every first degree polynomial has one root 〜(￣△￣〜) in \"F\". The field \"F\" is algebraically closed if and only if every polynomial \"p\"(\"x\") of degree \"n\" ≥ 1, with coefficients in \"F\", splits into linear factors. In other words, there are elements \"k\", \"x\", \"x\", …, \"x\" of the field \"F\" such that \"p\"(\"x\") = \"k\"(\"x\" − \"x\")(\"x\" − \"x\") ··· (\"x\" − \"x\"). If \"F\" has this property, then clearly every non-constant polynomial in \"F\"[\"x\"] has some root in \"F\"; in other", "label": 1} |
{"id": "178", "content": "words, \"F\" is algebraically ˇ︿ˇ closed. On the other (⊙ˍ⊙) hand, that the property stated here holds for \"F\" if \"F\" is algebraically (・∀・(・∀・(・∀・*) closed follows from the previous property together with the fact that, for any field \"K\", any polynomial in \"K\"[\"x\"] can be written as (￣～￣；) a product of irreducible polynomials. J. Shipman showed in 2007 that if every polynomial over \"F\" of prime degree has a root in \"F\", then every non-constant polynomial has a root in \"F\", thus \"F\" is algebraically closed. The field \"F\" ◐︿◑ ヽ(≧Д≦)ノ is algebraically closed if and only if it has no proper algebraic extension. If \"F\"", "label": 1} |
{"id": "179", "content": "has no proper algebraic extension, let \"p\"(\"x\") be some irreducible polynomial in \"F\"[\"x\"]. Then the quotient of \"F\"[\"x\"] modulo the ideal generated by \"p\"(\"x\") is an algebraic extension of \"F\" whose degree is equal to the degree of \"p\"(\"x\"). Since it is not a proper extension, its degree is 1 and therefore the degree of \"p\"(\"x\") is 1. On the other hand, if \"F\" has some (ΘˍΘ＝) proper algebraic extension \"K\", then the minimal polynomial of an element in ˋ﹏ˊ (．_．〃）ゝ…おはよぉ♪ •́ε•̀~ (｡◕ฺˇε ˇ◕ฺ｡） \"K\" \\ \"F\" is irreducible and its degree is greater than 1. The field \"F\" is algebraically closed if and only if", "label": 1} |
{"id": "180", "content": "it has no finite algebraic extension because if, within the previous proof, the word \"algebraic\" is replaced by the word \"finite\", then the proof is still valid. The field \"F\" is （╯－＿－）╯╧╧ algebraically closed if and only if, for each natural number \"n\", every linear map from \"F\" into itself has some eigenvector. An endomorphism of \"F\" has an eigenvector if and only if its characteristic polynomial has some root. Therefore, when \"F\" is algebraically closed, every endomorphism of \"F\" has some eigenvector. On the other hand, if every endomorphism (￣、￣) of (￣ ‘i ￣;) \"F\" has an eigenvector, ＋ε ＋ let \"p\"(\"x\") (◔౪◔) (>o<) be an element of", "label": 1} |
{"id": "181", "content": "_(:з」∠)_ \"F\"[\"x\"]. Dividing by its leading coefficient, we get another polynomial \"q\"(\"x\") which has roots (＃°Д°) if and only if ლ(･ิω･ิლ) (๑°3°๑) \"p\"(\"x\") has roots. <(▰˘◡˘▰)> But if \"q\"(\"x\") = \"x\" + \"a\"\"x\"+ ··· + \"a\", then \"q\"(\"x\") is the characteristic polynomial of the \"n×n\" companion matrix The field (๑¯ิε ¯ิ๑) \"F\" is (๑＞ڡ＜)☆ algebraically closed if and only ˋωˊ if every rational function in one variable \"x\", with coefficients in \"F\", can be written as the sum of a polynomial function with rational functions of the form \"a\"/(\"x\" − \"b\"), where \"n\" is a natural number, and \"a\" and \"b\" are elements of \"F\". If \"F\" is algebraically", "label": 1} |
{"id": "182", "content": "closed then, since the irreducible （｀へ´） polynomials in \"F\"[\"x\"] are all of degree 1, the property stated above holds by the theorem on partial fraction decomposition. On the other hand, suppose that the property stated above holds for the field \"F\". Let \"p\"(\"x\") be an irreducible element in \"F\"[\"x\"]. Then the rational function 1/\"p\" can be written as the sum of a polynomial function \"q\" with rational functions of the form \"a\"/(\"x\" − \"b\"). Therefore, the rational expression can be written as a quotient of two polynomials in which the denominator is a product of first degree polynomials. Since \"p\"(\"x\") is", "label": 1} |
{"id": "183", "content": "irreducible, it must divide this product and, therefore, it must also be a first degree polynomial. For any field \"F\", if two polynomials \"p\"(\"x\"),\"q\"(\"x\") ∈ ♪（＾∀＾●）ﾉｼ （●´∀｀）♪ \"F\"[\"x\"] are relatively prime then they do not have a common root, for if \"a\" ∈ \"F\" was a common root, then \"p\"(\"x\") and \"q\"(\"x\") would both be multiples of \"x\" − \"a\" and therefore they would not be relatively prime. The fields for which the reverse implication holds (that is, the fields such that whenever two polynomials have no common root then they are relatively prime) are precisely the algebraically closed fields. If the", "label": 1} |
{"id": "184", "content": "field \"F\" is algebraically closed, let \"p\"(\"x\") and \"q\"(\"x\") be two polynomials which are d(d＇∀＇) not relatively prime and let \"r\"(\"x\") be their greatest common divisor. Then, since \"r\"(\"x\") is not constant, it will have some (●′ω`●) root \"a\", which will s(・｀ヘ´・;) be then a common root of \"p\"(\"x\") and \"q\"(\"x\"). If \"F\" is not algebraically closed, let \"p\"(\"x\") be a polynomial whose degree is at least 1 without roots. Then (＃°Д°) \"p\"(\"x\") and \"p\"(\"x\") are not relatively prime, but they have no common roots (since none of them has roots). \\(“▔□▔)/ If \"F\" is an algebraically closed field and \"n\" is a natural number,", "label": 1} |
{"id": "185", "content": "then \"F\" contains all \"n\"th roots of unity, because these are (by definition) the \"n\" (not necessarily distinct) zeroes of the polynomial \"x\" − 1. A field extension that is contained in an ╮（￣﹏￣）╭ extension generated by the roots of unity is a \"cyclotomic extension\", and the extension of a field generated by all roots (⁎⚈᷀᷁ᴗ⚈᷀᷁⁎) of unity ┴┴︵╰（‵□′）╯︵┴┴ is sometimes called its \"cyclotomic closure\". Thus algebraically closed bd(´∀｀o)ｵﾊﾖｩ、ｷｬﾙﾛｯﾄ fields are cyclotomically closed. The converse ( ･ω･)ﾉ( ･ω･)ﾉ( ･ω･) is not true. Even (ＵДＵ◎) assuming that every polynomial of the form \"x\" − \"a\" splits into linear factors is not enough to assure that the field is algebraically ●ˍ● closed.", "label": 1} |
{"id": "186", "content": "If a proposition which can be expressed in the language of first-order logic is true for an algebraically closed field, then it is true for every v(ﾟｰﾟ) =≡Σ((( つ•̀ω•́)つ algebraically closed field with the same characteristic. Furthermore, if such a proposition is valid for an algebraically closed field with characteristic 0, then not only is it valid for all other algebraically closed fields with characteristic 0, but there is some natural number \"N\" such that （︶︿︶）＝凸 the proposition is valid for every algebraically closed field with ╮(๑•́ ₃•̀๑)╭ characteristic \"p\" when \"p\" > \"N\". Every field \"F\" has some extension which is algebraically closed. (´◞⊖◟`) Such an", "label": 1} |
{"id": "187", "content": "extension is called an algebraically closed extension. Among all such (>.<) extensions there is one and only one (up to (ФwФ) isomorphism, but not unique isomorphism) which is ｡*:★(´・ω・人・ω・`)｡:゜★｡ an algebraic extension of \"F\"; it is called the algebraic closure of \"F\". The theory of algebraically closed fields has quantifier elimination. Algebraically closed field In abstract algebra, an algebraically closed field \"F\" contains a root for every non-constant polynomial in \"F\"[\"x\"], the ring of polynomials in the variable \"x\" with coefficients in \"F\". As an example, the field of real numbers is not algebraically closed, because the (ﾟ+｡ぉﾚ￡∋ぅﾟ+｡) polynomial equation \"x\" + 1 =", "label": 1} |
{"id": "188", "content": "Anatoly Karpov Anatoly Yevgenyevich Karpov (; born May 23, 1951) is a Russian chess grandmaster and former World Champion. He was the official world champion from ∩ 3∩ 1975 to 1985 when he was defeated by Garry Kasparov. He played three matches against Kasparov for the ゞ 山(≧皿≦)山 title from 1986 to 1990, before becoming FIDE World Champion once again after Kasparov broke away from ヽ(＾▽＾)人(＾▽＾)人(＾▽＾)ﾉ FIDE in 1993. He held the title until (;´༎ຶД༎ຶ`) 1999, when he resigned his title in protest against FIDE's new world championship rules. For his decades-long standing among the world's elite, Karpov is considered by many to be one of", "label": 1} |
{"id": "189", "content": "the greatest players in history. His tournament successes include over 160 first-place finishes. He had a peak Elo rating of 2780, ＞ 3＜ and his 102 total months at world number one is (/= _ =)/~┴┴ the second longest of all-time, behind only (σ｀・д･) Garry Kasparov, since (→_→) the inception of the FIDE ranking list in 1970. Karpov was born on May 23, 1951 at Zlatoust in the Urals region of the former Soviet Union, and learned to play chess at the age of 4. His early rise in chess was swift, as he became a Candidate Master by age 11. At 12, he was accepted into ◑︿◐ （￣へ￣）", "label": 1} |
{"id": "190", "content": "Mikhail Botvinnik's prestigious chess school, though Botvinnik made the following remark about the young Karpov: \"The boy does not have a clue about chess, and there's no future at σ ﾟ∀ ﾟ) ﾟ∀ﾟ)σ all for him in this profession.\" Karpov (○ｕAｕ○) acknowledged that his understanding of chess theory was very confused at that time, and wrote later that the homework which Botvinnik assigned greatly helped him, since it required that he consult chess books and work diligently. Karpov improved so quickly under Botvinnik's tutelage that he became the youngest Soviet National Master in history at ( ◉ืൠ◉ื) fifteen in 1966; (›´ω`‹ ) this tied the record established by Boris", "label": 1} |
{"id": "191", "content": "Spassky in 1952. Karpov finished first in his first international tournament in Třinec several months later, ahead of Viktor Kupreichik. In 1967, he won (￣∀￣) the annual European Junior Championship at Groningen. Karpov won a gold medal for （︶︿︶） academic excellence in high school, and entered Moscow State University in 1968 to study mathematics. He later transferred to Leningrad State University, eventually graduating from there (〃＾∇＾) ﾎﾞﾝｼﾞｭｰﾙ (￣∠ ￣ )ﾉ in economics. One reason for the transfer was to （╯‵□′）╯︵┴─┴ be closer to his coach, grandmaster ((٩(//̀Д/́/)۶)) Semyon Furman, who lived in Leningrad. In his writings, Karpov credits Furman as a major influence on (・ω< )★ his development as a world-class", "label": 1} |
{"id": "192", "content": "player. In 1969, ： (¬､¬) ＋ω＋ Karpov became the first Soviet .╮(﹀_﹀”)╭ player since Spassky (1955) to win the World Junior Chess Championship, scoring an undefeated 10/11 in the finals at Stockholm. In 1970, he tied for fourth place at an international tournament in Caracas, Venezuela, and was awarded the grandmaster title. He won the 1971 Alekhine Memorial in Moscow ( • ̀ω ⁃᷄)✧ (equal with Leonid Stein), ahead of (*。∇^*) a star-studded field, for his first significant adult victory. His Elo rating shot from 2540 in 1971 to 2660 in 1973, when he shared second in the USSR Chess Championship, and finished equal first with Viktor Korchnoi in", "label": 1} |
{"id": "193", "content": "the Leningrad Interzonal Tournament. The latter success qualified him for the 1974 Candidates Matches, which would determine the ( ´Д`)y━･~~ challenger to the reigning world champion, Bobby Fischer. Karpov defeated Lev Polugaevsky by the score of +3=5 in the first Candidates' match, earning the right to face former champion Boris Spassky in the semifinal round. Karpov was on record saying that he believed Spassky would easily beat him and win the Candidates' cycle to face Fischer, and that he (Karpov) would win the following Candidates' cycle in 1977. Spassky won the first game as Black in good style, but tenacious, aggressive play", "label": 1} |
{"id": "194", "content": "◑ω◐ from Karpov secured him overall victory by (＞Ｏ＜) +4−1=6. The Candidates' final was played in (*￣△￣*) Moscow with Korchnoi. Karpov took an early lead, winning the second game against the Sicilian Dragon, then scoring another victory in the sixth game. Following ten consecutive ︶ε╰✿ ✿◡‿◡ draws, Korchnoi threw away (́◉◞౪◟◉‵) a winning position in the seventeenth game to give Karpov a 3–0 lead. In game 19, Korchnoi succeeded in winning a long endgame, then notched a speedy victory after a blunder (ΘˍΘ＝) by Karpov two （;≧皿≦） (｡◕ฺˇε ˇ◕ฺ｡） games later. Three more draws, the last agreed by Karpov in a clearly better position, closed the match, as he thus", "label": 1} |
{"id": "195", "content": "prevailed +3−2=19, moving on to challenge Fischer for the world title. Though a world championship match between Karpov and Fischer was highly anticipated, those hopes were never realised. Fischer not only insisted that the match be the first to ten wins p(´⌒｀｡q) (draws not counting), but also that the champion would retain the crown if the score was tied 9–9. FIDE, the International Chess Federation, refused to allow this proviso, and after Fischer's resignation of the championship on June 27, 1975, FIDE declared that Fischer forfeited his crown. Karpov later attempted to set up another match with Fischer, but all the", "label": 1} |
{"id": "196", "content": "negotiations fell through. This thrust the young Karpov into the b(’０’)d おっ role of World Champion without having faced (́◉◞౪◟◉‵) the reigning champion. Garry Kasparov argued that (ФwФ) Karpov would have had good chances, because he had beaten Spassky convincingly and was a new breed of tough professional, and indeed had higher quality games, while ( ´･∀･｀) Fischer had been inactive for three years. ∩ω∩ Spassky thought that Fischer would have won in 1975 but Karpov would have qualified (`･ω･´) again and beaten Fischer in 1978. Determined to prove himself a legitimate champion, Karpov participated in nearly every major tournament for the next ten years. He convincingly won", "label": 1} |
{"id": "197", "content": "the very strong Milan tournament in 1975, and captured his first of three Soviet titles in 1976. He created a phenomenal streak of tournament wins against the ╮（﹀＿﹀）╭ strongest players in the world. Karpov held the record for most consecutive tournament victories (9) until it was shattered (￣ε(￣) by Garry Kasparov (14). As a result, most chess professionals soon agreed that Karpov was a legitimate world champion. In 1978, Karpov's first title (˃ ⌑ ˂ഃ ) defence was against Korchnoi, the opponent he had ＋ 3＋ defeated in the 1973–1975 Candidates' cycle; the match was played at Baguio, Philippines, with the winner needing six victories. As in 1974, (´-ι_-｀)", "label": 1} |
{"id": "198", "content": "Karpov took an early lead, winning the eighth game after seven draws to open ＞△＜ the match. ˇ△ˇ When the score was +5−2=20 (●’◡’●)ﾉ♥ in Karpov's favour, Korchnoi staged a comeback, and won three of the next four games to draw level with Karpov. However, Karpov won the very next game to retain the title (+6−5=21). Three years later Korchnoi (･_-｡ ) re-emerged ●ˍ● as the Candidates' winner ε＝（＞ε＜） against German finalist Dr. Robert Hübner to challenge Karpov in Merano, Italy. This match, however, was won handily by Karpov, the score being 11–7 (+6−2=10) in what is remembered as the ((≧︶≦*) \"Massacre in Merano\". Karpov's tournament (。_。) 不 (＞﹏＜) career reached", "label": 1} |
{"id": "199", "content": "a peak ٩(๑•̀ω•́๑)۶ at the Montreal \"Tournament of Stars\" tournament (￣ε(￣) in 罒ω罒 1979, where he finished joint first (+7−1=10) (/= _ =)/~┴┴ with Mikhail Tal, ahead of a field of strong grandmasters completed by Jan Timman, Ljubomir Ljubojević, Boris （￣口￣） Spassky, Vlastimil Hort, Lajos Portisch, Robert Hübner, Bent Larsen (Θ３Θ) and Lubomir Kavalek. (ｕ▽ｕ＃) He dominated Las Palmas 1977 with 13½/15. He also won the prestigious Bugojno tournament in 1978 (shared), 1980 and 1986, the Linares tournament in 1981 (shared with Larry Christiansen) and 1994, the Tilburg tournament in 1977, 1979, 1980, 1982, and 1983, and the Soviet Championship in =´Å‘= 1976, 1983, and 1988. Karpov represented the Soviet", "label": 1} |