Patti Smith - Just Kids (Excerpt) lyrics

Yet you could feel a vibration in the air, a sense of hastening. It had started with the moon, inaccessible poem that it was. Now men had walked upon it, rubber treads on a pearl of the gods. Perhaps it was an awareness of time pa**ing, the last summer of the decade. Sometimes I just wanted to raise my hands and stop. But stop what? Maybe just growing up. The moon was on the cover of Life magazine, but the headlines of every newspaper were emblazoned with the brutal murders of Sharon Tate and her companions. The Manson murders didn't gel with any film noir vision I had of crime, but it was the kind of news that sparked the imagination of the hotel inhabitants. Nearly every one was obsessed with Charles Manson. At first Robert went over every detail with Harry and Peggy, but I couldn't bear talking about it. The last moments of Sharon Tate haunted me, imagining her horror knowing that they were about to slaughter her unborn child. I retreated into my poems, scrawling in an orange composition book. Envisioning Brian Jones floating facedown in a swimming pool was as much tragedy as I could handle. Robert had a fascination with human behavior, in what drove seemingly normal people to create mayhem. He kept up with the Manson news but his curiosity waned as Manson's behavior grew more bizarre. When Matthew showed Robert a newspaper picture of Manson with an X carved on his forehead, Robert lifted the X, using the symbol in a drawing.“The X interests me, but not Manson,” he said to Matthew. “He's insane. Insanity doesn't interest me.” A week or two later I waltzed into the El Quixote looking for Harry and Peggy. It was a bar-restaurant adjacent to the hotel, connected to the lobby by its own door, which made it feel like our bar, as it had been for decades. Dylan Thomas, Terry Southern, Eugene O'Neill, and Thomas Wolfe were among those who had raised one too many a gla** there. I was wearing a long rayon navy dress with white polka dots and a straw hat, my East of Eden outfit. At the table to my left, Janis Joplin was holding court with her band. To my far right were Grace Slick and the Jefferson Airplane, along with members of Country Joe and the Fish. At the last table facing the door was Jimi Hendrix, his head lowered, eating with his hat on, across from a blonde. There were musicians everywhere, sitting before tables laid with mounds of shrimp with green sauce, paella, pitchers of sangria, and bottles of tequila. I stood there amazed, yet I didn't feel like an intruder. The Chelsea was my home and the El Quixote my bar. There were no security guards, no pervasive sense of privilege. They were here for the Woodstock festival, but I was so afflicted by hotel oblivion that I wasn't aware of the festival or what it meant. Grace Slick got up and brushed past me. She was wearing a floor-length tie-dyed dress and had dark violet eyes like Liz Taylor. “Hello,” I said, noticing I was taller. “Hello yourself,” she said. When I went back upstairs I felt an inexplicable sense of kinship with these people, though I had no way to interpret my feeling of prescience. I could never have predicted that I would one day walk in their path. At that moment I was still a gangly twenty-two-year-old book clerk, struggling simultaneously with several unfinished poems. On that night, too excited to sleep, infinite possibilities seemed to swirl above me. I stared up at the plaster ceiling as I had done as a child. It seemed to me that the vibrating patterns overhead were sliding into place. The mandala of my life. * Mr. Bard returned the ransom. I unlocked our door and saw our portfolios leaning against the wall, the black with black ribbons, the red with gray ribbons. I untied them both and carefully looked at each drawing. I couldn't be sure if Bard had even looked at the work. Certainly if he had, he didn't see it with my eyes. Each drawing, each collage, reaffirmed my faith in our ability. The work was good. We deserved to be here. Robert was frustrated that Bard didn't accept our art as recompense. He was anxious about how we'd get by since that afternoon both his moving jobs were canceled. He lay on the bed with his white T-shirt, dungarees, and huaraches, looking very much like the day we met. But when he opened his eyes to look at me he did not smile. We were like fishermen throwing out our nets. The net was strong but often wereturned from ventures empty-handed. I figured we had to step up the action and find someone who would invest in Robert. Like Michelangelo, Robert just needed his own version of a pope. With so many influential people pa**ing through the doors of the Chelsea, it was conceivable we could one day secure him a patron. Life at the Chelsea was an open market, everyone with something of himself to sell. In the meantime we agreed to forget our cares for the night. We took a little money from our savings and walked to Forty-second Street. We stopped at a photo booth in Playland to take our pictures, a strip of four shots for a quarter. We got a hot dog and papaya drink at Benedict's, then merged with the action. Boys on shore leave, prostitutes, runaways, abused tourists, and a**orted victims of alien abduction. It was an urban boardwalk with Kino parlors, souvenir stands, Cuban diners, strip clubs, and late-night pawnshops. For fifty cents one could slip inside a theater draped in stained velvet and watch foreign films paired with soft p**n. We hit the used paperback stalls stocked with greasy pulp novels and pinup magazines. Robert was always on the lookout for collage material and I for obscure UFO tracts or detective novels with lurid covers. I scored a copy of the Ace double novel edition of Junkie by William Burroughs under his pseudonym William Lee, which I never resold. Robert found a few loose pages from a portfolio of sketches of Aryan boys in motorcycle caps by Tom of Finland. For just a couple dollars we both got lucky. We headed home holding hands. For a moment I dropped back to watch him walk. His sailor's gait always touched me. I knew one day I would stop and he would keep on going, but until then nothing could tear us apart. The last weekend of the summer I went home to visit my parents. I walked to Port Authority feeling optimistic as I boarded the bus to South Jersey, looking forward to seeing my family and going to secondhand bookstores in Mullica Hill. We were all book lovers and I usually found something to resell in the city. I found a first edition of Doctor Martino signed by William Faulkner. The atmosphere at my parents' house was uncharacteristically bleak. My brother was about to enlist in the Navy, and my mother, though intensely patriotic, was distraught at the prospect of Todd being shipped off to Vietnam. My father was deeply disturbed by the My Lai ma**acre. “Man's inhumanity to man,” he would say, quoting Robert Burns. I watched him plant a weeping willow in the backyard. It seemed to symbolize his sorrow for the direction our country had taken. Later people would say the murder at the Altamont Stones concert in December marked the end of the idealism of the sixties. For me it punctuated the duality of the summer of 1969, Woodstock and the Manson cult, our masked ball of confusion.