This is from Robert Duncan's bio at Poetry.org:
Born on January 7, 1919 in Oakland, California, Robert Duncan began writing poetry as a teenager in Bakersfield, when a high school teacher encouraged his creative endeavors. In 1938, after two years at University of California, Berkeley, Duncan moved to New York and became involved in the downtown literary coterie that had sprung up around Anaïs Nin.
While in New York, Duncan took an active role in emerging arts movements, following the works of the Abstract Expressionists, the development of Picasso's brand of modernism, and the emergence of an American Surrealism as seen in the works of his acquaintances Roberto Matta and Hans Hoffman. During this time, Duncan launched the Experimental Review with Sanders Russell; Duncan and Russell published the work of Henry Miller, Anaïs Nin, Kenneth Patchen, Lawrence Durrell, and other writers in their circle.
Duncan returned to Berkeley in 1946. The poetry scene there was developing into what would soon be called the San Francisco Renaissance: Jack Spicer and Robin Blaser were together devising their concept of a "serial form" for poems linked by repeating themes, images, and phrases, while Kenneth Rexroth was holding his literary and anarchist meetings, which Duncan, Blaser, and a host of others attended.
In 1947 Duncan met Charles Olson, and over the years that followed the two developed a relationship rooted in their literary interests. Olson introduced Duncan to Robert Creeley and, in 1956, invited Duncan to teach at Black Mountain College. During his time at Black Mountain Duncan composed most of the poems in his first mature collection of poetry, The Opening of the Field. Indeed, Olson's theory of "projective verse" and "open forms," which propose a poetry shaped by the poet's "breath" rather than by the traditional rules of meter and rhyme, seem to have directly influenced Duncan's "grand collage" concept of verse. Duncan, in effect, took Olson's idea of "breath" one step further, presenting the poem as a "compositional field" to which the poet might bring whatever he or she pleases.
Duncan's rather spiritual upbringing shaped the scope of the poet's work. After his biological mother died giving birth to him, Duncan was adopted by a couple who practiced theosophy, an occult religion popularized in the late nineteenth century by a controversial figure who called herself Madame Blavatsky (Yeats was a follower of theosophy, in its early stages). Theosophy, which promotes belief in reincarnation and an "essential oneness" of spirit, draws from world religions and philosophy. Duncan's adoptive parents, spiritual-seekers who seriously pursued their interests in enlightenment, selected Robert based on the configuration of his astrological chart. Duncan took his parents' beliefs quite seriously; the occult, in particular, informed both his poetry and theories of poetics throughout his life.
Despite his affiliation with several major movements in American poetry of the fifties and sixties, Duncan forged a style uniquely his own. Utilizing archaic diction and spelling, and complex repetition of phrase, Duncan creates a poetic space both ethereal and obsessive. Throughout his life Duncan became increasingly interested in the writing process, striving to write poems of a purely organic form.
So she's working overtime to get the word out on the band. She also asked Kat not to write a review unless she loved the album. She said, "I'm not trying to save them from a bad review, I'm trying to be sure you don't feel obligated to cover the band because I know them." (Kat's not listened yet. Or hadn't as of last Friday.)
I like them. I think the lead singer, Jamie Scott could be one of the most important and popular singers of the next few decades. Like Rod Stewart was in the 70s, 80s and 90s. (And some would argue has been in the '00s with those song book albums. But I like rock and roll and rock and soul, thank you.) Scott's at his best when he's forcing his voice, it brings a longing and desire and sadness all at once to the songs.
I like the album. I thought I'd listen to it once and then get back to my usual faves like Radiohead (Kings of Limbs has really been calling me lately). But I love "Free." And I love the whole album but it was the song "Free" that hooked me.
I think those lyrics are poetry. And I was going to paste them in here however they're wrong online. Lets Sing It has them wrong. So do three other sites I looked at. (Lets Sing It gets the link because they're my favorite lyric site. I have them bookmarked and go there whenever I'm looking up lyrics.)
But stream the video and see if you don't get what I mean. Those are some pretty powerful lyrics.
Here's C.I.'s "Iraq snapshot:"