I went to bed hungry from this god damned diet I had a dream that I ate everything in sight. Mostly sugar If I eat a grain I might as well eat a god damned plantation! My boyfriend owns this piece of art that contains black licorice jelly beans in it I thought I’d even eaten some of them I wasn’t sure what the fuck had happened If it was real or not I counted the jelly beans… not that I knew how many there were before But I think they’re all still there
Two resounding questions Nagging That never left my mind Why in the name of god don’t you just leave him? The other Stop fucking! Stop fucking each other! Why don’t you just stop fucking? I suppose the answer to both questions lye in the stupidity of there being two questions at all
I understand Or at least I think that I do You remember those white muscled arms of his smeared with axel grease and dirt You remember his black hair Black as soot The wings of a wet crow You remember him singing, “Treat me like a fool,” one morning as our hound Goldie gave birth to seven dead pups You remember all the ridiculous promises you never knew he wouldn’t keep You fell for his religion, his games, his cock… …his delusional forays into the green green wild I understand That I apparently don’t remember shit! Or rather, shit is all I remember I understand Or at least I think that I do
Diane di Prima was born in Brooklyn, New York, a second generation American of Italian descent. She began writing at the age of seven, and made the decision to live her life as a poet at the age of fourteen.
She lived in Manhattan for many years, where she was known as the most important woman writer of the Beat movement. During that time she co-founded the New York Poets Theatre, and founded the Poets Press, which published the work of many new writers of the period. Together with Amiri Baraka (LeRoi Jones) she edited the literary newsletter The Floating Bear. In 1965 she moved to upstate New York where she participated in Timothy Leary's psychedelic community at Millbrook.
For the past twenty years she has lived and worked in northern California, where she took part in the political activities of the Diggers, lived in a late-sixties' commune, studied Zen Buddhism, Sanskrit and alchemy, and raised her five children. From 1980 to 1986 she taught hermetic and esoteric traditions in poetry, in a short-lived but significant program at New College of California. Her work has been translated into over twenty languages.
She now lives and works in San Francisco, where she is one of the co-founders and teachers of the San Francisco Institute of Magical and Healing Arts. Her current works in progress include Not Quite Buffalo Stew, a satire of California life; an autobiographical memoir, Recollections of My Life as a Woman ; and a book on Shelley as magician/poet.
Timothy James Hardin (23 December 1941 – 29 December 1980) was an American folk musician and composer. He is best remembered for writing the top 40 hits "If I Were a Carpenter" covered by Bobby Darin and "Reason to Believe" covered by Rod Stewart, as well as his own uneven recording career. Contents
Career
Hardin dropped out of high school at age 18 to join the Marine Corps. After his discharge he moved to New York City in 1961, where he briefly attended the American Academy of Dramatic Arts. He was dismissed because of truancy and began to focus on his musical career by performing around Greenwich Village, mostly in a blues style.
After moving to Boston in 1963 he was discovered by the record producer Erik Jacobsen (later the producer for The Lovin' Spoonful), who arranged a meeting with Columbia Records. In 1964 he moved back to Greenwich Village to record for his contract with Columbia. The resulting recordings were considered a failure by Columbia, which chose not to release them and terminated Hardin's contract.
After moving to Los Angeles in 1965, he met actress Susan Morss (known professionally as Susan Yardley)[1][2], and moved back to New York with her. He signed to the Verve Forecast label, and produced his first authorized album, Tim Hardin 1 in 1966. This album saw a transformation from his early traditional blues style to the folk style that defined his recording career. This LP contained "Reason To Believe" and the ballad "Misty Roses" which did receive Top-40 radio play.
Tim Hardin 2 was released in 1967 and contained one of his most famous songs, "If I Were a Carpenter".
An album entitled This is Tim Hardin, featuring covers of "House of the Rising Sun", Fred Neil's "Blues on the Ceilin'" and Willie Dixon's "Hoochie Coochie Man", among others, appeared in 1967, on the Atco label. The liner notes indicate the songs were recorded in 1963-64, well prior to the release of Tim Hardin 1 by Verve Records. Tim Hardin 3 Live in Concert, released in 1968, was a collection of live recordings along with re-makes of previous songs; it was followed by Tim Hardin 4, another collection of blues-influenced tracks believed to date from the same period as This is Tim Hardin.
In 1969, Hardin again signed with Columbia and had one of his few commercial successes, as a non-LP single of Bobby Darin's "Simple Song of Freedom" reached the US Top 50. Hardin did not tour in support of this single and a heroin addiction and stage fright made his live performances erratic. Also in 1969 he appeared at the Woodstock Festival where he sang his famous "If I Were a Carpenter" song. He recorded three albums for Columbia — Suite for Susan Moore and Damion: We Are One, One, All in One; Bird on a Wire; and Painted Head — none of which sold well. His output as a songwriter decreased and eventually ceased during this period, a circumstance blamed on his ongoing drug problems.
Later career and death
During the following years Hardin moved between England and the U.S. His heroin addiction had taken control of his life by the time his last album, Nine, was released on GM Records in the UK in 1973 (the album did not see a US release until it appeared on Antilles Records in 1976). He died of a heroin and morphine overdose, and is buried in the Twin Oaks Cemetery in Turner, Oregon.
