Music Articles Noah & The Whale
, His muse was Bukowski. One of the poet’s more inspirational lines is quoted on the London-based indie band’s song “Life Is Life.”“Your life is your life/ know life is your life/ know it while you have it,” Bukowski wrote in “The Laughing Heart.”
“That is basically what the album is about,” says keyboardist/violinist Tom Hobden. The album title is a nod to Bukowski’s collection of poems The Last Night of the Earth , and Fink also read poet Frank O’Hara’s work—emphasis on “Having a Coke With You”—to encourage lyrics to come.
The album’s pervasive theme is the limitless possibilities of the nighttime, he adds.
If that’s vaguely familiar to fans of the Tom Waits canon, the troubadour also served as inspiration for the band’s newfound writing style: delving into personalities and painting intricate scenes. In an interview published in Playboy to everyone,” Hobden says. “These are everyday characters; they could really be anyone you know or part of you.”
Take one listless traveler on “Tonight’s the Kind of Night,” for example. He sets forth on a nighttime bus bound for anywhere, escaping his life, ready to start anew. That song’s chorus—“Tonight’s the kind of night where everything could change”—was in fact the catalyst for the whole album.
It had been in Fink’s head and, as he rode a train from Wales to London on New Year’s Day in 2010, he wrote the song, finishing by the time he reached London. The band had just finished touring in support of the sophomore release, The First Days of Spring , which was Fink’s autobiographical, heartbreak effort dealing with his breakup with bandmate/girlfriend Laura Marling. It was a necessary time for change, Hobden says.
From there, Fink began illuminating his “family” of nighttime losers, dreamers and prideful characters. Two memorable characters are the woman on “L.I.F.E.G.O.E.S.O.N.” who seems transposed from a Bukowski novel, and the girl in “Wild Thing,” who is loosely based on the character Laura Palmer from Twin Peaks.
This album also diverges from previous work in its confidence and sonic experimentation—drum machines and synthesizers find themselves in the mix. But where some bands create a cacophony of sound, Noah and the Whale used the new sonic flares sparsely for an engaging, delicate effect.
Charles Bukowski Poetry - News
Charles Bukowski was a writer's writer. The proudly alcoholic poet/novelist waxed on about the writer's life and how to distinguish oneself—or, at least, how not to become a cliché. When Noah & The Whale lyricist Charlie Fink
A British band finding inspiration in Lou Reed records, the poetry of Charles Bukowski and an Edward Hopper painting? Throw in the natty attire and the breathless international buzz, and you'd be forgiven for thinking, "Tossers!
The album's title is a nod towards Charles Bukowski's poetry collection The Last Night of the Earth — Fink says he was attracted to the sense of “loser's pride” in Bukowski's work. “In my head,” he says, “there is a link between Lou Reed's Berlin,
He has worked in the Poetry Collection since 1986, and handles a wide range of duties as curator. He has written articles on poets like John Logan, and such poetry outsiders as Charles Bukowski and Gerald Locklin. He also has written on poetry's
Among them: James Baldwin, Gary Snyder, William Carlos Williams and Charles Bukowski's "Mockingbird Wish Me Luck." "I'm not into alcoholics or macho-depressives," Mills writes, "and yet I find these poems magical." The screening is at the Hammer Museum
the outlaw poetry network » abel debritto | ole and other “mimeos ...
: Charles Bukowski as a Spiritual Leader
The mimeograph revolution is usually considered the peak of the literary explosion of the 60s. Nevertheless, as is the case when defining little magazines or small press, “mimeo revolution” is a misleading term. On the one hand, as Clay explains, “the ‘rnimeo revolution,1 as a term, is a bit of a misnomer in the sense that well over half the materials produced were not strictly produced on the mimeograph machine” (15). As a matter of fact, there were more offset “littles” than mimeographed ones. As Fulton illustrates with a series of tables and graphs, there was a substantial increase of offset-produced “littles” in the 60s (26). On the other hand, though it is usually said that the “mimeo revolution” took place circa 1965, many editors had been publishing mimeographed magazines for a long time. For instance, the first “mimeo,” Gyroscope, dates back to 1929 (Clay 16). A milestone “little” from the 40s, The Ark (1947), was also mimeographed. J (1959) and Beatitude (1959) were equally mimeographed. Some of the early Bukowski periodical publications-Mer/m’s Magic, Anagogic & Paideumic Review, Simbolica, to name a few—were mimeographed as well.
The mimeographed “littles,” or “mimeos,” were relatively easy to produce and extremely inexpensive. As Ed Sanders, editor of Fuck You, one of the most representative magazines of the “mimeo revolution,” recalled, “printing was affordable, very, very affordable. For like $10 you could publish a poetry magazine and give it out or sell it at your poetry readings” (L. Smith 119). According to other editors, such as Douglas Blazek, the cost could be anywhere between 75 and 125 dollars. At any rate, the production cost of the “mimeos” was not excessive to most poets and editors: hence, financial concerns did not prevent poets from becoming editors.
Another feature of the “mimeos,” and one that especially delighted Bukowski, was its sense of immediacy: “Perhaps the single greatest advantage borne by the mimeo machine is speed … As bothe typesetter and printer, the editor had full control over the timing and general quality of his publication” (Fulton 31). Though quality was not always taken into account, it is true that speed played an important role in producing “mimeos.” Since no special training was required to operate the mimeographs, “if you had a decent and well-maintained machine, you could produce a flyer or a broadside in as little time as an hour, and a chapbook in a day” (Young 159). Bukowski was usually harsh on most editors, but he did praise those who were quick to print his work, such as Evelyn Thorne and Will Tullos (Epos) or Roy Miller and George Hitchcock (San Francisco Review). For this reason, he was pleased with the “mimeo” editors, as he would be with John Bryan and his underground newspaper, Open City. “I like ACTION. I mean, you know how some of the mags move, something very deadening about it … that’s one reason I have been writing a column a week for Open City -so far. ACTION. It jumps from the typewriter onto the page. I hand it to Bryan, ZAP, it EXPLODES” (Poems Written Before 38), Bukowski explained to Charles Potts in 1968.
Poetry Fix Of The Day 06/06/2010 - Alone With Everybody ~Charles Bukowski ... , 
Yes, the poetry of Charles Bukowski suits my playing quite well. Charles n I rocked out, jazz stylee
"One can never be sure whether it's good poetry or bad acid" Charles Bukowski
Art, Survival and So Forth: The Poetry of Charles Bukowski: 
Yo dude, whats your fav. Charles Bukowski book/poetry?Charles Bukowski Poetry - Bookshelf
The roominghouse madrigals, early selected poems, 1946-1966
Poems deal with rejection, history, barbershops, friendship, death, longing, loneliness, and disappointmentBetting on the muse, poems & stories
Recounts the life of Henry Chinaski, an indolent blue-collar intellectual, and his male and female friends, in a series of poems and storiesThe last night of the earth poems
Poems deal with writing, death and immortality, literature, city life, illness, war, and the past.Sifting Through the Madness for the Word, the Line, the Way, New Poems
One of America's greatest modern writers and most influential poets presents a stellar, never-before-published collection of poems.War all the time, poems, 1981-1984
Poems deal with fame, the twenties, writing, death, nightlife, travel, love, horseracing, women, feminism, friendship, loneliness, and childhoodDay-after-day Report Directory
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