Interview with Jack Kerouac. Recorded in Feb. or March, 1958 (ca. 30 min.). In this episode of Night beat, John Wingate interviews Jack Kerouac on the occasion of the publication of his novel The subterraneans. Throughout the interview, Wingate asks Kerouac to define vocabulary used in his books or associated with the Beat generation; terms discussed include "flipping," "subterraneans," "hip," "square," "bohemian," and the label "Beat generation." Kerouac reads a passage from the Diamond sutra and discusses his study of Buddhism and the importance of practicing kindness; he comments on his own drinking and the morals of his generation; he speaks about his cats. He discusses his relationship with Kenneth Rexroth and responds to Rexroth's criticism of The subterraneans, defending his depiction of jazz and African Americans; he speaks about the relationship between his writing style and jazz, and about his writing process. He comments on his painting; recalls a visit to Paris; and discusses his attitude toward politics. Finally, he discusses a poetry reading in October, 1955, in San Francisco and its significance.
Interview with Earle Hyman. Recorded in Feb. or March, 1958 (ca. 23 min.). In the second half of this episode of Night beat, Wingate interviews Earle Hyman. The interview begins with a discussion of Hyman's role as the Ghost of King Laius in Jean Cocteau's The infernal machine, which was running at the Phoenix Theatre at the time. Hyman speaks about the Stanislavsky method, and its relation to his development of the role; he comments on the costuming of June Havoc's character in the play. He discusses how he first became interested in theater upon seeing Ibsen's play Ghosts at age 13; his role in Philip Yordan's play Anna Lucasta and that play's five-year run. He speaks about the period after this, when he could not find work in the theater, and what he learned from working in a garment factory; the subsequent success of his theatrical career and the difficulty finding work as an African American actor, and what advice he would give aspiring African American actors. He speaks about his refusal to perform for segregated audiences; about his involvement with the American Shakespeare Festival; and about instances of racial discrimination he has experienced in New York City. He discusses Paul Robeson's political views, and an anecdote about his meeting with Robeson. He speaks about why he is not married; why Shakespeare is the most demanding type of theater; his interest in the role of Othello; and what he would do if he could not act in public.