By David "Chet" Williamson Sneade
In
his short lifetime, Frank O’Hara was an influential poet, largely
recognized as a key figure in the New York School of poets.
They were a gathering of friends really, namely, John Ashbery, Barbara Guest, Kenneth Koch, and a handful of others. The group wrote and published work in New York City in the late 1950s, early ‘60s.
They were a gathering of friends really, namely, John Ashbery, Barbara Guest, Kenneth Koch, and a handful of others. The group wrote and published work in New York City in the late 1950s, early ‘60s.
Their
poems were stylistically recognized for their first-person
narratives, satire and humor, and -- most importantly – every day,
American-speech patterns.
In
describing his approach, O’Hara said, “I do this, I do that.”
The intent, he explained, was to capture the immediacy of life and
that poetry should evoke the feeling that it is something to be
experienced, “between two persons instead of two pages.” Given
this simple directness, O’Hara’s poems often read with the
intimacy of diary entries.
One
of the more famous pieces utilizing this process is “The Day Lady
Died.” Written
by O’Hara in 1959, after hearing of Billie Holiday’s death, the poem sounds like an achingly beautiful elegy played by a saxophonist
at the singer’s grave.
The
conceit of this feature centers around O’Hara’s writing of the
piece.
The
Poem.
The
Day Lady Died by Frank O’Hara
It is 12:20 in New York a Friday
three days after Bastille day, yes
it is 1959 and I go get a shoeshine
because I will get off the 4:19 in Easthampton
at 7:15 and then go straight to dinner
and I don’t know the people who will feed me
I walk up the muggy street beginning to sun
and have a hamburger and a malted and buy
an ugly NEW WORLD WRITING to see what the poets
in Ghana are doing these days
It is 12:20 in New York a Friday
three days after Bastille day, yes
it is 1959 and I go get a shoeshine
because I will get off the 4:19 in Easthampton
at 7:15 and then go straight to dinner
and I don’t know the people who will feed me
I walk up the muggy street beginning to sun
and have a hamburger and a malted and buy
an ugly NEW WORLD WRITING to see what the poets
in Ghana are doing these days
I
go on to the bank
and Miss Stillwagon (first name Linda I once heard)
doesn’t even look up my balance for once in her life
and in the GOLDEN GRIFFIN I get a little Verlaine
for Patsy with drawings by Bonnard although I do
think of Hesiod, trans. Richmond Lattimore or
Brendan Behan’s new play or Le Balcon or Les Nègres
of Genet, but I don’t, I stick with Verlaine
after practically going to sleep with quandariness
and for Mike I just stroll into the PARK LANE
Liquor Store and ask for a bottle of Strega and
then I go back where I came from to 6th Avenue
and the tobacconist in the Ziegfeld Theatre and
casually ask for a carton of Gauloises and a carton
of Picayunes, and a NEW YORK POST with her face on it
and I am sweating a lot by now and thinking of
leaning on the john door in the 5 SPOT
while she whispered a song along the keyboard
to Mal Waldron and everyone and I stopped breathing
and Miss Stillwagon (first name Linda I once heard)
doesn’t even look up my balance for once in her life
and in the GOLDEN GRIFFIN I get a little Verlaine
for Patsy with drawings by Bonnard although I do
think of Hesiod, trans. Richmond Lattimore or
Brendan Behan’s new play or Le Balcon or Les Nègres
of Genet, but I don’t, I stick with Verlaine
after practically going to sleep with quandariness
and for Mike I just stroll into the PARK LANE
Liquor Store and ask for a bottle of Strega and
then I go back where I came from to 6th Avenue
and the tobacconist in the Ziegfeld Theatre and
casually ask for a carton of Gauloises and a carton
of Picayunes, and a NEW YORK POST with her face on it
and I am sweating a lot by now and thinking of
leaning on the john door in the 5 SPOT
while she whispered a song along the keyboard
to Mal Waldron and everyone and I stopped breathing
The
Poet.
Young Frank |
In
his book, City Poet: The Life and Times of Frank O’Hara,
author Brad Gooch said, “It was through music that O’Hara often
chose to express himself, particularly the romantic swoonings of his
suppressed self, at the keyboard in the family’s music room or
occasionally at recitals sponsored by his teacher J. Fred Donnelly,
at St. John’s Church in Worcester. His favorite show pieces in
those days were such accessible works as Gershwin’s First Prelude,
Rachmaninoff’s Second Piano Concerto, Bach’s Well-Tempered
Clavier, Debussy’s ‘Reverie,’ and Dvorak’s ‘Humoresque.’
St. Paul's Cathedral |
But
he also worked up several pieces that were perhaps less popular but
satisfied his own interest in contemporary music: ‘Seven
Anniversaries’ by Leonard Bernstein, ‘10 Preludios’ by Carlos
Chavez, the piano part of ‘Konzertmusik’ for piano, brass, and
harps by Paul Hindemith, ‘Prelude, choral et fugue by Ceasar
Franck, Meditation sur un motif de Claude Debussy by Zoltan Zodaly,
and Saudades do Brazil by Darius Milhaud.”
In
1944, at the age of 18, O’Hara studied piano with Margret Mason at
the New England Conservatory of Music. While
still in high school, A Portrait of the Artist as a Young Man was
O’Hara’s favorite work by James Joyce. “He identified with
Joyce as the Irish-Catholic renegade who had deserted his Jesuit
training to become a writer, who had decided not to pursue the
religion of Mary Mother of Jesus but rather the religion of High
Art,” Gooch said.
Recalling his early years, the poet said, “It was a very funny life. I lived in Grafton, took a ride on a bus into Worcester every day to high school, and on Saturdays took a bus and a train to Boston to study piano. On Sundays, I stayed in my room and listened to the Sunday symphony programs.”
A
snapshot of the rest of his days reads like this: He attended the
University of Michigan, Harvard,
and the New England Conservatory of Music. His ambition was to become
a concert pianist. Moving to New York in the early 1950s,
O’Hara worked at the Museum of Modern Art, first as a front desk
clerk. He later became an associate curator of painting and
sculptor at the museum. Instead of living out his dream at the piano,
O’Hara immersed himself in writing and the world of art.
For
more biographical information, see:
http://www.poetryfoundation.org/bio/frank-ohara
O’Hara
was on a first name basis with such recognized painters as Willem de
Kooning, Jane Freilicher, Grace Hartigan, Franz Kline, Joan Mitchell,
Fairfield Porter, Larry Rivers, and Jackson Pollock. Although he
continued to listen to classical music, and hung-out at jazz clubs,
the paintings of these artists were a constant source of inspiration
for O’Hara and his poems.
Hazel
Smith in her book, Hyperscapes in the Poetry of Frank O’Hara,
wrote that the poet was never identified as an improviser, but his
work often alludes to writing at speed and surrendering to the
demands of the moment. “O’Hara’s
interest in improvisation does not seem to have been linked with a
strong interest in jazz, as it was for [Jack] Kerouac. Larry Rivers,
himself a jazz musician, said in an interview with me that ‘Frank
wasn't keen on jazz.’ Furthermore, O'Hara does not seem to have
been as susceptible as Ginsberg and Kerouac to the ‘hippie’
ideology of improvisation .... to Eastern religion and spiritual
transcendence,” Smith said.
In a letter to fellow poet Gregory Corso written in 1958, O’Hara himself wrote: “Several people you know around lately, Kerouac whom I’ve only seen once or twice but like a lot, Howard Hart, and [Philip] Lamantia who are reading with a French hornist [David Amram] as the Jazz Poetry Trio …
David Amram at 5 Spot |
Don Cherry and Ornette Coleman at the 5 Spot |
The
Place.
The
5 Spot, the club where Billie Holiday whispered in everyone’s ear
leaving them breathless, was run by two brothers, Joe and Iggy
Terminis. In an article written in the Village Voice, Gary Giddins
wrote that it was a “family business, a neighborhood bar at 4th
Street and Cooper Square, when the brothers took it over after
returning from the service in 1945. They knew nothing about jazz.”
Giddins
interviewed Joe who said: ‘To me jazz meant Dixieland – and would
have been content to keep it a neighborhood bar except that the
neighborhood had changed. The el was torn down and artists and
musicians started moving into the lofts.”
Giddins
said, “One of their patrons was a musician named Don Schumaker, who
held jam sessions in his loft. After playing they would come into the
5 Spot to buy a beer. Late one evening, when the bar was doing little
business Schumaker told Joe that he’d get a piano, they’d have
the jams there. The second or third musician hired that year, 1957,
was Cecil Taylor.
“Soon
the 5 Spot earned a reputation as a bohemian hangout. DeKooning,
Kline, and Larry Rivers were habitues. … Tennessee Williams would
come down for the poetry readings, and when Mal Waldron was the house
pianist, Billie Holiday was a regular patron. Billie didn’t have a
cabaret card so she couldn’t perform anyplace in New York that
served liquor. She never worked there for money, but she sang there
numerous times. During one of the poetry readings a precinct captain
noticed her and asked Joe if she would sing. ‘I asked her and she
said, she’d love to but the fuzz standing over there. I said, He’s
dying to hear you, so, she did,’” Joe recalled.
Mal Waldron and Billie Holiday |
In
his book, Digressions on Some Poems by Frank O’Hara,
author Joe LeSueur, who lived with O’Hara from 1955-1965
documents the night the poet heard Holiday at the club. In the
chapter titled, ‘The Day Lady Died,’ LeSeur said: “And now,
I’ll tell everything I remember about that night at the Five Spot,
the shabby, unimposing jazz club at Third Avenue and Fifth Street,
which for as a long as five or six years was the watering hole of
downtown painters, the place to go when they grew tired of the Cedar
[another local tavern] and wanted to mellow out and listen to the
music of, say, Thelonious Monk, Charlie Mingus, or Ornette Coleman.
"Joe Tremini, a large and friendly man who seemed to like painters,
ran the Five Spot, whose walls he covered with posters and
announcements of their shows. As
to who among our friends was there the night Billie Holiday sang, I
have only the vaguest memory …
"What I do remember, very distinctly,
was the excitement that ran through the place when word got around
that Billie Holiday had just come in. The table where she sat with
Mal Waldron wasn’t far from ours, and I remember looking over at
her and thinking how young she looked. Of course it didn’t cross
our minds that she'd might sing … [LeSuer] notes that Holiday
slipped into the room around 1 a.m.] “A little later,” he
recalls, “when I was on the point of leaving, she and Mal Waldron
rose from their table and moved to the piano. Aware that she was
going to sing, I looked around for Frank.
"I knew he’d gone to the john, but what was taking him so long? It turned out that I had no cause to worry, for he missed nothing – in fact, the john door he leaned against was closer to the piano than our table was.
The Thelonious Monk Quartet, featuring John Coltrane |
Lady Day |
"I knew he’d gone to the john, but what was taking him so long? It turned out that I had no cause to worry, for he missed nothing – in fact, the john door he leaned against was closer to the piano than our table was.
“To
me Billie Holiday seemed remote, even unapproachable, and it was hard
to imagine anyone having the temerity to stare at her or otherwise
draw attention to her, much less actually speak to her: it was like
being in the presence of – not God but Garbo … .”
O'Hara |
Holiday
died on July 17, 1959. She was 44. On the day of her death O’Hara
was walking around City. As he says in the poem, he learned of her
passing reading a headline in the New York Post.
“O’Hara had written his poem on his lunch hour,” Gooch said. “Later he caught the train with LeSueur to East Hampton where they were met by Mike Goldberg in the olive-drab Bugatti he had bought the year before … . On the drive to the house Goldberg was renting that summer on Georgia Pond, the only topic of discussion was the tragedy of Billie Holiday’s death at the young age of forty-four. ‘I’ve been playing her records all afternoon,’ said Goldberg. Arriving back at the house, Goldberg put a Billie Holiday record on the hi-fi … . O’Hara, who had been silent about the matter throughout the trip, pulled a poem out of his pocket that he announced he had just written that afternoon and read it straight down to its concluding stanza:
“O’Hara had written his poem on his lunch hour,” Gooch said. “Later he caught the train with LeSueur to East Hampton where they were met by Mike Goldberg in the olive-drab Bugatti he had bought the year before … . On the drive to the house Goldberg was renting that summer on Georgia Pond, the only topic of discussion was the tragedy of Billie Holiday’s death at the young age of forty-four. ‘I’ve been playing her records all afternoon,’ said Goldberg. Arriving back at the house, Goldberg put a Billie Holiday record on the hi-fi … . O’Hara, who had been silent about the matter throughout the trip, pulled a poem out of his pocket that he announced he had just written that afternoon and read it straight down to its concluding stanza:
leaning
on the john door in the 5 Spot
while
she whispered a song along the keyboard
to
Mal Waldron and everyone and I stopped breathing.”
O’Hara died tragically after being struck by a dune buggy on Fire Island Beach, Long Island. He was pronounced dead on July 25, 1966. He was 40 years-old.
Note:
This is a work in progress. Comments, corrections, and suggestions
are always welcome at: walnutharmonicas@gmail.com. Also
see: www.worcestersongs.blogspot.com
Thank you.
Thank you.
Resources
See poem mentioning Miles Davis at:
http://books.google.com/books?id=BRMKlhUY8AMC&pg=PA28&lpg=PA28&dq=Poets+at+the+Five+Spot&source=bl&ots=UmD36eKabz&sig=zs05Bdid-k2ktOWMrEtcoRIP6gA&hl=en&sa=X&ei=SJPlUsbxOKO42gWUqYGwDQ&ved=0CE8Q6AEwBg#v=onepage&q=Poets%20at%20the%20Five%20Spot&f=false
http://books.google.com/books?id=8vF1JYl8zhwC&pg=PA115&lpg=PA115&dq=Larry+Rivers+at+the+Five+Spot&source=bl&ots=3hWYLjxhGu&sig=06GQbf11OXHRDoMGxFDpU_lvSD0&hl=en&sa=X&ei=SZjlUt7rHtH8yAG0_oDQBw&ved=0CC8Q6AEwAjgK#v=onepage&q=Larry%20Rivers%20at%20the%20Five%20Spot&f=false
http://books.google.com/books?id=-nt1xVR4SrAC&pg=PA116&lpg=PA116&dq=Larry+Rivers+The+5+Spot&source=bl&ots=r-fXQScg0S&sig=ccIBp4j8DX7irqe5Fb9jLXfkbMU&hl=en&sa=X&ei=opvmUpatFsn0qAGL_oDoAw&ved=0CCYQ6AEwADgK#v=onepage&q=Larry%20Rivers%20The%205%20Spot&f=false
http://books.google.com/books?id=BRMKlhUY8AMC&pg=PA28&lpg=PA28&dq=Poets+at+the+Five+Spot&source=bl&ots=UmD36eKabz&sig=zs05Bdid-k2ktOWMrEtcoRIP6gA&hl=en&sa=X&ei=SJPlUsbxOKO42gWUqYGwDQ&ved=0CE8Q6AEwBg#v=onepage&q=Poets%20at%20the%20Five%20Spot&f=false
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