All Poets Welcome: The Lower East Side Poetry Scene in the 1960s

By Daniel Kane | Go to book overview

Notes

Introduction
1. Allen Ginsberg, foreword to Out of This World: An Anthology of the St. Mark’s Poetry Project, 1966–1991, ed. Anne Waldman (New York: Crown Publishers, 1991), xxvii.
2. Pierre Bourdieu, The Rules of Art: Genesis and Structure of the Literary Field (Palo Alto, Calif.: Stanford University Press, 1992), 290.
3. Bourdieu, Rules of Art, 237.
4. Paul Chevigny, Gigs: Jazz and the Cabaret Laws in New York City (New York: Routledge, 1991), 59.
5. “According to the [cabaret] ordinance, a cabaret license was required for:

any room, place or space in the city in which any musical entertainment, singing, dancing
or other similar amusement is permitted in connection with the restaurant business or the
business of directly or indirectly selling the public food or drink.

… The ordinance must have been largely directed at the black music and dance that was performed in the Harlem clubs, as well as the social mixing of races that was part of ‘running wild,’ because in 1926 [when the cabaret ordinance was drafted], the ‘jazz’ about which the aldermen complained was being played mostly in Harlem”; see Chevigny, Gigs, 56–57.

6. John Ashbery, interview by author, in Ashbery’s home, New York, February 22, 1999.

Chapter 1: Community through Poetry
1. Steve Watson, Strange Bedfellows: The First American Avant-Garde (New York: Abbeville Press, 1991), 7–9, my italics.

-209-

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