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The Cool School

Page 49

by Glenn O'Brien

I’ve got no urge to binge and purge.

  I’m in the moment, on the edge,

  over the top, but under the radar.

  A high-concept, low-profile,

  medium-range ballistic missionary.

  A street-wise smart bomb.

  A top-gun bottom-feeder.

  I wear power ties, I tell power lies,

  I take power naps, I run victory laps.

  I’m a totally ongoing, big-foot, slam-dunk

  rainmaker with a pro-active outreach.

  A raging workaholic, a working rageaholic;

  out of rehab and in denial.

  I’ve got a personal trainer,

  a personal shopper,

  a personal assistant,

  and a personal agenda.

  You can’t shut me up;

  you can’t dumb me down.

  ’Cause I’m tireless, and I’m wireless.

  I’m an alpha-male on beta-blockers.

  I’m a non-believer,

  I’m an over-achiever;

  laid-back and fashion-forward.

  Up-front, down-home;

  low-rent, high-maintenance.

  I’m super-sized, long-lasting,

  high-definition, fast-acting,

  oven-ready and built to last.

  A hands-on, footloose, knee-jerk head case;

  prematurely post-traumatic,

  and I have a love child who sends me hate-mail.

  But I’m feeling, I’m caring,

  I’m healing, I’m sharing.

  A supportive, bonding, nurturing

  primary-care giver.

  My output is down, but my income is up.

  I take a short position on the long bond,

  and my revenue stream has its own cash flow.

  I read junk mail, I eat junk food,

  I buy junk bonds, I watch trash sports.

  I’m gender-specific, capital-intensive,

  user-friendly and lactose-intolerant.

  I like rough sex; I like tough love.

  I use the f-word in my e-mail.

  And the software on my hard drive

  is hard-core—no soft porn.

  I bought a microwave at a mini-mall.

  I bought a mini-van at a mega-store.

  I eat fast food in the slow lane.

  I’m toll-free, bite-size, ready-to-wear,

  and I come in all sizes.

  A fully equipped, factory-authorized,

  hospital-tested, clinically proven,

  scientifically formulated medical miracle.

  I’ve been pre-washed, pre-cooked, pre-heated,

  pre-screened, pre-approved, pre-packaged,

  post-dated, freeze-dried, double-wrapped

  and vacuum-packed.

  And . . . I have unlimited broadband capacity.

  I’m a rude dude, but I’m the real deal.

  Lean and mean.

  Cocked, locked, and ready to rock;

  rough, tough and hard to bluff.

  I take it slow, I go with the flow;

  I ride with the tide, I’ve got glide in my stride.

  Drivin’ and movin’, sailin’ and spinnin’;

  jivin’ and groovin’, wailin’ and winnin’.

  I don’t snooze, so I don’t lose.

  I keep the pedal to the metal

  and the rubber on the road.

  I party hearty, and lunchtime is crunch time.

  I’m hangin’ in, there ain’t no doubt;

  and I’m hanging tough.

  Over and out.

  When Will Jesus Bring the Pork Chops?, 2004

  Sources & Acknowledgments

  Great care has been taken to locate and acknowledge all owners of copyrighted material included in this book. If any owner has inadvertently been omitted, acknowledgment will gladly be made in future printings.

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  Eric Bogosian. America: Pounding Nails in the Floor with My Forehead (New York: Theatre Communications Group, 1994). Used by permission of Eric Bogosian.

  Richard Brautigan. The Kool-Aid Wino: Trout Fishing in America (San Francisco: Four Seasons Foundation, 1967). Copyright © 1968 by Richard Brautigan. Used by permission of Houghton Mifflin Harcourt Publishing Company. All rights reserved.

  Chandler Brossard. From Who Walk in Darkness (New York: New Directions, 1952). Used by permission of The Estate of Chandler Brossard.

  Anatole Broyard. A Portrait of the Hipster: Partisan Review, June 1948; reprinted in The Scene Before You: A New Approach to American Culture, Chandler Brossard, ed., (New York: Rinehart and Co., 1955). Used by permission of The Estate of Anatole Broyard.

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  George Carlin. A Modern Man: When Will Jesus Bring the Pork Chops? Copyright © 2004 by Comedy Concepts, Inc. Used by permission of Hyperion. All rights reserved.

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  Gregory Corso. Marriage: The Happy Birthday of Death. Copyright © 1960 by New Directions Publishing Corp. Used by permission of New Directions Publishing Corp.

  Miles Davis with Quincy Troupe. From Miles: The Autobiography. Copyright © 1989 by Miles Davis. Used by permission of Simon & Schuster, Inc. All rights reserved.

  Diane di Prima. From Memoirs of a Beatnik (Paris: Olympia Press, 1969); reprinted by Last Gasp in 1988. Copyright © by Diane di Prima. Used by permission of Last Gasp.

  Bob Dylan. From Chronicles: Volume One. Copyright © 2004 by Bob Dylan. Used by permission of Simon & Schuster, Inc. All rights reserved.

  Babs Gonzales: From I Paid My Dues: Good Times No Bread, A Story of Jazz (East Orange, NJ: Expubidence Publishing Corp., 1967).

  Brion Gysin. From The Process (New York: Doubleday, 1969). Copyright © 1969 by Brion Gysin. Published in 1987 by The Overlook Press, Peter Mayer Publishers, Inc., New York, NY. www.overlookpress.com. All rights reserved.

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  Richard Hell. Blank Generation: Hot and Cold: Essays Poems Lyrics Notebooks Pictures Fiction (New York: powerHouse Books, 2001). Words and music by Richard Hell. Copyright © 1977 (renewed) Warner-Tamerlane Publishing Corp., Quick Silver Music, and Dilapidated Music. All rights administered by Warner-Tamerlane Publishing Corp. All rights reserved.

  John Clellon Holmes. The Pop Imagination: Nothing More to Declare (New York: E. P. Dutton, 1967). Copyright © by John Clellon Holmes. Used by permission of SLL/Sterling Lord Literistic, Inc.

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Joyce Johnson. From Minor Characters: A Beat Memoir. Copyright © 1983, 1994 by Joyce Johnson. Used by permission of Penguin, a division of Penguin Group (USA) Inc., Joyce Johnson, and Irene Skolnick Literary Agency.

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  Seymour Krim. Making It!: Views of a Nearsighted Cannoneer (New York: Excelsior Press, 1961). Used by permission of The Estate of Seymour Krim.

  Fran Landesman. The Ballad of the Sad Young Men: The Nervous Set, lyrics by Fran Landesman, music by Tommy Wolf, Columbia Records, 1959; reprinted in Fran Landesman, The Ballad of the Sad Young Men and Other Verse (Sag Harbor, NY: The Permanent Press, 1982). Used by permission of The Permanent Press.

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  Mezz Mezzrow and Bernard Wolfe. If You Can’t Make Money: Really the Blues (New York: Random House, 1946). Copyright © 1946, 1974 by Milton Mezzrow and Bernard Wolfe. Used by permission of Milton H. Mesirow, Miranda Wolfe and Jordon Wolfe.

  Henry Miller. Soirée in Hollywood: The Air-Conditioned Nightmare. Copyright © 1945 by New Directions Publishing Corp. Used by permission of New Directions Publishing Corp.

  Cookie Mueller. Abduction and Rape—Highway 31—1969: Walking Through Clear Water In a Pool Painted Black (New York: Semiotext(e), 1990). Used by permission of Semiotext(e).

  Glenn O’Brien. Beatnik Executives: Verbal Abuse number 1, Summer 1993. Used by permission of Glenn O’Brien.

  Frank O’Hara. The Day Lady Died: Lunch Poems (San Francisco: City Lights Books, 1964). Used by permission of City Lights Books.

  Iris Owens. From After Claude (New York: Farrar, Straus and Giroux, 1973). Copyright © 1973 by Iris Owens. Used by permission of New York Review of Books.

  Art Pepper and Laurie Pepper. Heroin: Straight Life: The Story of Art Pepper (New York: Schirmer Books/Macmillan Publishing Co., 1979). Used by permission of Laurie Pepper.

  King Pleasure. Parker’s Mood: Recorded 1954, Prestige Records; EMI Music Publishing Ltd.

  Richard Prince. The Velvet Wall: Richard Prince: Collected Writings, Kristine McKenna, ed. (New York: Foggy Notion Books, 2011). Copyright © Richard Prince. Used by permission.

  David Rattray. How I Became One of the Invisible: How I Became One of the Invisible (New York: Semiotext(e), 1992). Used by permission of Semiotext(e).

  Ishmael Reed. From Mumbo Jumbo (New York: Doubleday, 1972). Copyright © 1972 by Ishmael Reed. Used by permission of Scribner, a division of Simon & Schuster, Inc., and Lowenstein Associates, Inc. All rights reserved.

  Annie Ross. Twisted: Words by Annie Ross, music by Wardell Gray; on King Pleasure Sings/Annie Ross Sings, Prestige Records, 1952. Copyright © 1952 by Orpheum Music.

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  Jack Smith. The Perfect Filmic Appositeness of Maria Montez: Film Culture 27, Winter 1962–63. Used by permission of the Anthology Film Archives and of the Gladstone Gallery, New York and Brussels. All rights reserved.

  Carl Solomon. A Diabolist: Mishaps, Perhaps (San Francisco: City Lights Books, 1966). Used by permission of City Lights Books.

  Terry Southern. You’re Too Hip, Baby: Esquire 1952; reprinted in Red-Dirt Marijuana and Other Tales (New York: New American Library, 1967). Used by permission of the Susan Schulman Literary Agency.

  Hunter S. Thompson. From Fear and Loathing in Las Vegas: A Savage Journey to the Heart of the American Dream. Copyright © 1971 by Hunter S. Thompson. Used by permission of Random House, Inc. and The Wylie Agency LLC. Artwork: “Crap Table” by Ralph Steadman. Used by permission of the Ralph Steadman Art Collection.

  Lynne Tillman. Madame Realism Asks What’s Natural About Painting?: The Madame Realism Complex (New York: Semiotext(e), 1992). Used by permission of Semiotext(e).

  Nick Tosches. From Dino: Living High in the Dirty Business of Dreams. Copyright © 1991 by Nick Tosches. Used by permission of Doubleday, a division of Random House, Inc.

  Alexander Trocchi. From Cain’s Book (New York: Grove Press, 1960). Copyright © 1960 by Grove Press, Inc. Used by permission of Grove/Atlantic, Inc.

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  Lester Young and François Postif. Lesterparis59: The Jazz Review 2/6, July 1959. Used by permission of Scribner, a division of Simon & Schuster, Inc., from Jazz Panorama: From the Pages of The Jazz Review, by Martin Williams. Copyright © 1958, 1959, 1960, 1961, 1962 by The Jazz Review, Inc. All rights reserved.

 

 

 


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