T’was the night before Yuletide, and all through the pad/Not a hipcat was swinging, and, thats nowhere dad/The kid’s was all hung, on that stocking routine/Hoping the fatboy would soon make the scene/I was ready for snoresville, man was I beat/My main lady and I, were decked out to sleep
A screwy old geezer was flippin’ his lid/He told them to make it and man like they did/They was up on my chimney in bunches and clusters/Then chubby slid down,coming on like gang busters/
Like he was from nowhere, the most absolute/But lets face it, who cares when he left all that loot/He layed the jive on me as he sprang from the gig/Saying have a ”Cool Yule” man. Later, like dig.
The beats and the poets have long had an ambivalent relationship with Father Christmas and the Yuletide season, but nonetheless, Christmas has figured prominently, though sometimes obliquely in their lives; there was a tenuous spirit of goodwill that has been passed down….Still, Allen Ginsberg does resemble an archetypical Saint Nick.
Barbara Rubin’s 29-minute Christmas on Earth is the filmic record of an orgy staged in a New York City apartment in 1963. This double projection of overlapping images of nude men and women clowning around and making love is one of the first sexually explicit works produced by the American postwar avant-garde. Today Christmas on Earth generates a small but passionate discourse in avant-garde film circles.”Her whirlwind of activity in the United States and Europe between 1963 and 1968 is scantily documented and is leavened with well-varnished adoration, myth, secrecy and antipathy. Much of what is known about Rubin derives from publications by and about her friends and collaborators Allen Ginsberg, Bob Dylan, Jonas Mekas, Andy Warhol and the Velvet Underground. …In June 1963, Rubin borrowed a 16mm Bolex from Mekas. She first planned to make a film about hysteria, which she had witnessed in her stay at the hospital, but instead recorded communal love and sex. One weekend, she corralled five friends into the Ludlow Street crash pad rented by musicians John Cale and Tony Conrad and instigated a night of playful debauchery. “Barbara held us hostage for 24 hours, from early evening to the next day. It was very Cocteau-ish. We were locked in and hermeticized in this apartment, it was a very freewheeling situation,” recalled Malanga, one of the performers in the film.
It began around the 7 th day of Christmas 1943:
”As Christmas approached, momentous meetings occurred. Carr met Edie Parker, a rich Detroit woman and the girlfriend of Jack Kerouac. Kerouac was away at sea but, on his return, Edie introduced him to Carr in her apartment. Carr took Edie to meet Ginsberg, and gave him Kerouac’s address. The Beat heroes’ first meeting was, prosaically, at breakfast-time; they discussed poetry for hours and later paid a joint formal visit to Burroughs to see what they could learn. It was an ever-expanding literary party”
Atrabilious, mordant, misanthropic and lizard-eyed, Burroughs was a perfect Beat Generation equivalent toCharles Dickens Ebenezer Scrooge. He recorded, for posterity, “The Junky’s Christmas, a twenty minute epic poem of looking for a fix on Christmas Eve.
From the Blackbird Theatre’s ”Only In My Dreams”. This play included a segment which featured Truman Capote followed by a boozy portrayal of Kerouac whirling out a stream-of consciousness riff, “Visions of Gerard,” about his little brother dying at Christmas in their hometown of Lowell, Mass. Visions of Gerard was a portrait of his older brother Gerard as a saint who died when Jack Kerouac was four. The book is a poignant, elegant, but disturbing study on the fragility of existence. From Buddhism to Bible, Kerouaca round trip on the spiritual road. Here is from Jack Kerouac, The Town and the City: