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Tales of a Cultural Conduit
and The Nervous Set
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The best portrait of Jay Landesman as a cultural conduit was written by
Beat historian John Clellon Holmes, ‘Most of the time, Landesman was that
unique phenomenon in a status-drunk society: a man who knew that the
only really hip style is the next one, the one that hasn’t been established yet.
In the late forties he shifted his attention to the popular arts without sacrificing
his sense of the culture as a whole.’ Landesman’s significant contribution
might be his originally conceived lifestyle which, set against the conformity
of the Eisenhower years, places him at the heart of that group of ‘movers and
shakers’ who permanently changed America’s personal and artistic values.
Tales of a Cultural Conduit takes us from Landesman’s life as an antique dealer
in St. Louis, to New York and his magazine Neurotica: the Authentic Voice
of the Beat Generation and on to the Crystal Palace Cabaret Theater in St.
Louis. where he invited then unknown artists to break in their act including
Woody Allen, Barbra Streisand, and Lenny Bruce. ‘The cocktail hour was orchestrated
like an opéra bouffe – music, booze and just the right mix of jarring
people… Landesman produced Waiting for Godot instead of South Pacific and
thus heralded the cultural renaissance,’ wrote Holmes.
After a party that lasted ten years, the Landesmans headed for London, just
as the place exploded into the kind of popular culture Landesman thrived
on. While putting down permanent roots in England, he sent a manuscript ,
The Nervous Set, an exploration of life in New York in the 1950s, to Gershon
Legman who urged him to publish it: ‘It’s a perfect portrait of the period
which I do not believe has ever been portrayed at all, let alone so well.’ And so
it has to be included here, along with Landesman’s reminiscences from birth
to his very latest London tales, bringing his rare style full circle, proving that
he continues to be a cultural conduit of an extraordinary kind.
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Tiger of the Stripe; August 2006
270 pages; ISBN 9781904799139
Read online, or download in secure PDF format
270 pages; ISBN 9781904799139
Read online, or download in secure PDF format
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1 By the standards of any day, my mother, Cutie, was a remarkable woman. Youngest and plainest of six children born to poor New York immigrant parents, she was a petite, beaky, crosseyed Jewish Cinderella who stayed home to do the housework while her mother looked for husbands for her two older sisters. It never seemed possible to Grandma that she could find a husband for Cutie until a handsome young artist from Berlin knocked on the door of their Hester Street flat. ‘My name is Benjamin Landesman. In the directory I see your name is Landsman without the “e”. Are we related?’ ‘Are you married?’ Grandma asked. When he said no, she grabbed him by the lapels of his tight-fitting suit and sat him down in the kitchen with a nice cup of hot coffee. His first sight of Cutie was of her on her hands and knees scrubbing the floor. Benjamin was impressed; he knew a worker when he saw one. He was on his way to St Louis, commissioned by the German government to decorate their pavilion at the 1904 World’s Fair. Over the next three years he established something of a reputation in St Louis as a muralist, specializing in Teutonic cherubs and playful nymphs. But he didn’t forget Cutie. He returned to New York to collect her and the gold watch Grandma had promised he could have when they got married. He never got the gold watch, but he won a 24-carat bargain with a heart of steel – my mother. I was the youngest child, and determined not to be ignored. I was also the noisiest, making demands upon Cutie’s busy life out of all proportion to my size and status. At an early age I had to invent new techniques to get attention and I continued to do so for the rest of my life. It was a necessity during childhood, a mission through adolescence and, in later life, my only hobby.
