Michael McClure

Jim Morrison considered himself first a Poet, and subsequently a Rock Star and sex symbol. “ROCK POET” tells his story. He was far more than the hell-raiser, infamous for his arrest in Miami for exposing himself on stage, another rock casualty- dead by the age of just 27. “Classic Artists” meets with legendary Beat Poets Michael Horovitz, Michael McClure, Pete Brown of “Cream” fame, about the movement and what it meant to the burgeoning tide of Rock and Roll, more specifically, to Jim Morrison, and finds the admiration and respect for his talent as a poet and writer amongst his Beat Poet predecessors and also contemporaries to be unquestionable. This film includes revelations from those that were present in the final days and final hours of Jim Morrison, including an eye witness . A vigorously captivating insight of a time in rock history , a time in the life of the man, both rock star and poet.

“Mr Mojo Risin’” is the story of the making of the Doors’ last album with Jim Morrison “L.A. Woman”. 2011 is the 40th anniversary both of the album’s release and of the death of Jim Morrison and this programme goes into detail of how the album came about, its recording and what was happening to the band at the time. The story is told through new interviews with the three surviving Doors: Ray Manzarek, Robbie Krieger and John Densmore plus contributions from Jac Holzman, founder of their label Elektra Records, Bill Siddons, who was their manager, Bruce Botnick, engineer and co-producer of the album and others associated with the Doors at this time. The show includes archive footage of the Doors performing both live and in the studio, classic photographs and new musical demonstrations from the Doors.

The poet and painter, Lawrence Ferlinghetti, is among the world's living monuments to arts and letters. For well over a half century, Ferlinghetti helped shape the currents of poetry and literature with his forceful engagement with society and an ideological position that often found him at odds with the political currents of his day. Ferlinghetti's quiet, behind the scenes demeanor and disarming mien may have assuaged, or even fooled, certain opponents, while in reality he was a literary mercenary, a rebel at the forefront of our own cultural revolution.

Traces the Beats from Allen Ginsberg and Jack Kerouac's meeting in 1944 at Columbia University to the deaths of Ginsberg and William S. Burroughs in 1997. Three actors provide dramatic interpretations of the work of these three writers, and the film chronicles their friendships, their arrival into American consciousness, their travels, frequent parodies, Kerouac's death, and Ginsberg's politicization. Their movement connects with bebop, John Cage's music, abstract expressionism, and living theater. In recent interviews, Ginsberg, Burroughs, Kesey, Ferlinghetti, Mailer, Jerry Garcia, Tom Hayden, Gary Snyder, Ed Sanders, and others measure the Beats' meaning and impact.

More than 20 contemporary North American poets recite, sing, and perform their work. Early in the film, Charles Bukowski talks about the energy of poets and of a poem. These poets are the children of Walt Whitman and of Charles Olson, incantatory and oratorical, radical, sometimes incorporating contemporary political imagery. Black Mountain poets, the Beats, minimalists like John Cage, the wordless Four Horsemen, Tom Waits, and others capture aspects of poets as troubadours.

Martin Scorsese's documentary intertwines footage from The Band's incredible farewell tour with probing backstage interviews and featured performances by Bob Dylan, Joni Mitchell, Van Morrison, Eric Clapton, and other rock legends.

Harry Collings returns home to his farm after drifting with his friend, Arch. His wife, who had given up on him, reluctantly allows him to stay, and soon believes that all will be well again. But then Harry has to make a difficult decision regarding his loyalties and priorities.

Over a booze-fueled, increasingly hectic five-day shoot in East Hampton, Norman Mailer and his cast and crew spontaneously unloaded onto film the lurid and loony chronicle of U.S. presidential candidate and filmmaker Norman T. Kingsley debating and attacking his hangers-on and enemies. This gonzo narrative, “an inkblot test of Mailer’s own subconscious” (Time), becomes something like a documentary on its own making when costar Rip Torn breaks the fourth wall in one of cinema’s most alarming on-screen outbursts.

Sepia toning lends a romantic (even wistful) quality to Larry Jordan's film Visions of a City, which he shot in San Francisco in 1957 and edited in 1978. The pace is un-irritating, in contrast to the San Francisco of today; but unlike the equal weight Helen Levill gives to all her subjects, there is an internal evolutionary development in the Jordan film that ultimately delivers a story. Until the introduction of the human protagonist, poet Michael McClure, we are treated to an extravagant display of visual delights.

Three actors in Hollywood live and love together. A director comes from New York to make a movie about actors and Hollywood.

From KQED kinescope with Michael McClure (No longer extant).

Takes place over the course of one feverish night in a Manhattan police precinct and neighboring bar.

Two portraits in relation to each other, the first of Robert Creeley, the second of Michael McClure. Preserved by the Academy Film Archive in 2007.

Captures the spirit and essence of the great San Francisco Human Be-In of January 14, 1967. Ten thousand people imbued with peace, love and euphoria. Set to hard rock such as only San Francisco blues can produce. BE-IN contains Allen Ginsberg, Lawrence Ferlinghetti, Timothy Leary, Michael McClure, Lenore Kandel and Buddha. Music by Blue Cheer.

"Human qualities migrate through light and shadow... Like flames and waves, the dead and the living course through this world... without weight through space and time."

In describing the basis for TRIPTYCH IN FOUR PARTS, artist Lawrence Jordan writes, "Part one is the Portrait of a North Beach artist, John Reed. Part two and three take place in the desert of the Southwestern United States and Mexico, where I went in quest of, and found, the natural habitat of the peyote cactus. I watched this sacred plant cut and dried for the Indians of the Native American Church. I consumed peyote on numerous occasions. In later years when I red Castineda’s books on the teachings on Don Juan I realized that Mescalito was not a figment of Don Juan’s imagination, and that there is a spirit world whether we like it or not. Part four is a document of the time, and exemplifies the poetry that was in me at that time."