The Art of Poetry Film with Cheryl Gross: “Ballad of The Skeletons”

This historic collaboration between Allen Ginsberg (1926-2007), Philip Glass and Paul McCartney was a low budget venture. Gus Van Sant who had ties to the Beat Generation directed it. I happen to love Van Sant’s work, which includes Drugstore Cowboy, Good Will Hunting and Milk. It aired on MTV making Ginsberg one of the oldest artists on the network at the time. This in and of itself is an accomplishment since MTV is primarily youth-oriented. It’s also a good way to acquaint an audience not necessarily familiar with a very important part of our culture.

Glass and McCartney carry the music and Ginsberg the poetry. The recording was produced by Lenny Kaye (Patti Smith group) along with an array of musicians.

The poem was first published in 1995, two years before Ginsberg’s death. The footage of Ginsberg reminds me of the time I saw him at the old Chelsea Hotel picking up his mail. We nodded to each other. I could see he was in pretty bad shape. To approach him would have been an intrusion. As far as I was concerned the acknowledgement was as good as an autograph. This was a special moment for me, and probably an everyday occurrence for him. Such is the price one has to pay for being a celebrity. I’ve also had the pleasure to see him read. Needless to say I’m a big fan.

I love and admire all three artists, but their collaboration created a bomb. To begin with, I adore the use of old footage but the interlooping of Ginsberg’s image in my opinion doesn’t work. I know it’s Ginsberg’s poem, I know, I know. So use Ginsberg as a weave. His image feels too disconnected. It’s as if Van Sant threw him in from time to time just to remind us this is Allen Ginsberg and how important he is. Even if it was low-budget, I think he could have done a better job. The vintage material Van Sant used is pretty powerful on its own. I would have liked to see it used as a backdrop with just Ginsberg’s voice. Another thing I would like to point out is the fact that in the so-called Vietnam Era we had the first war that was televised on a daily basis, thereby desensitizing us as a generation along with generations to come. Perhaps seeing this on a larger screen would have more of an effect, but for the small screen it’s almost dismissible.

The point of the poem as I understand it references the Mexican Day Of The Dead and refers to our figureheads and society as no more than skeletons that are posed, thus leading us to think they are doing something that will improve our lives. I would have liked to see more skeleton and Dead references used. It comes in only at the beginning and if you haven’t noticed by now, I’m a stickler for continuity. This is a very significant piece. If it were revisited today, perhaps it would have more of an impact on me personally. It hits me intellectually but not emotionally. Again, I love Ginsberg with his fuck-you attitude. Although dated I would have liked to be punched in the gut, where it really hurts, making me puke, rather than leaving me feeling detached.

There are two versions. The second is Ginsberg reading and McCartney playing guitar, filmed by one of McCartney’s daughters (which one I don’t know). This poetry video is a performance. I think I like it better than Van Sant’s attempt, which seems to have everything thrown in including the kitchen sink. This to their credit is pure and unpretentious.

Special thanks to Open Culture.

Born and raised in Brooklyn, New York, Cheryl Gross (website, blog) is an illustrator, painter, writer, and motion graphic artist living and working in the New York/Jersey City area. She is a professor at Pratt Institute (where she received her MFA) and Bloomfield College.

Her work has appeared in numerous festivals and publications as well as gracing the walls of many galleries, corporate and museum collections.

“I equate my work with creating and building an environment, transforming my inner thoughts into reality. Beginning with the physical process, I work in layers. I am involved in solving visual and verbal complexities such as design and narrative. My urban influence has indeed added an ‘edge’ to my work.”

Cheryl has often been compared to “Dr. Seuss on crack.”