Taken from the previously unreleased…forthcoming album: The Trump Chronicles by John Sinclair And Tom Worrell.
“…an obscure recording project that Tom Worrell and I did in New Orleans a few years ago, sponsored by our pal Frenchy but never released, which involves a small set of poems composed by Worrell, recited by myself, and recorded with Tom on piano and assorted helpers in a little studio off of Oak Street. It’s called The Trump Chronicles and in my estimation it’s a brilliant set of satirical works in twisted rhyme schemes that skewer and roast the guy I call Resident Rump. –John Sinclair, Detroit (November 2023)
from The Trump Chronicles, releases December 10, 2026 Written by Tom Worrell Recited by John Sinclair Produced by Tom Worrell Executive Producers: Tom Worrell, Frenchy And Steve “Fly” Pratt JSFR-38
Jumping from an article in the Detroit Metro Times, about The Damned performing in Detroit, I was reminded of the session with Brian James, March 11th 2011 at Kingston College. The John Sinclair Beatnik Youth session.
It was unforgettable and overwhelming, the sound, the characters around. The detailed liner notes of the CD listed all those on the session, and includes an extensive contribution by Mick Farren. My google search returned the usual AI summary, and I continued to “ask more questions”. The results below are accurate to my understanding, but then again, my remembrandts r’ a bit fuzzy.
The rather simplistic, straight ahead facts about the session and musicians and tracks get it down. I’m reminded how I’ll never get to play on a live session like that again! Not least because Brian James and Keith Levene and Mick Farren and George Butler and Howard Marks and John Sinclair are no longer around, but…their recorded music and words and inspiration live with us, through us and all about us. If you don’t know find out. Testify!
There’s still a lot of other musicians and contributors to Beatnik Youth who are not mentioned below, such as the drummer George Butler (who I had to nervously follow) and Howard Marks. Jesse Wood is also on the album! Holy smokes. What a band.
“The creation of Beatnik Youth was split into two worlds: a legendary live “wall of guitars” session, and a long post-production layering process done by producer Youth and engineer Michael Rendall, who integrated external guest samples and studio tracking. [1, 2, 3]
The comprehensive list of musicians involved in the album is divided by their location of contribution: [1, 2]
🏫 The Kingston College of Music Session (Live Tracking)
These musicians gathered in person on March 1, 2011, to lay down the massive, live improvised grooves that formed the instrumental foundation for tracks like “Brilliant Corners”, and “Sitarrtha”. [1, 2]
Brian James (Guitar – The Damned / Lords of the New Church)
Keith Levene (Guitar – The Clash / Public Image Ltd)
Alan Clayton (Guitar & Vocals – The Dirty Strangers)
🎛️ Post-Production & Studio Additions (Not at Kingston College)
These artists contributed either by having their work sampled and re-contextualized by Youth (often pulling from overlapping studio sessions), or by tracking their vocals/instruments directly at Youth’s private home studio: [1, 2]
Angie Brown – Insidious soul choruses and backing vocals.
drummer Steve Fly (Steven James Pratt) recorded his primary contributions during the March 1, 2011 session at Kingston College of Music. He served as a main drummer, project manager, and executive producer for the Beatnik Youth project. [1, 2]
He plays drums on the following tracks:
“Brilliant Corners”
“Change My Life”
“Sitarrtha” (where he uses dampened sticks on the toms)
“Red Dress (Ruby My Dear)” (where he provides a softer, ambient jazz texture using brushes) [1, 2]
This album is my tribute to John Sinclair and the music of Thelonious Monk, in the most innovative way I see fit. Every sound you hear originates with my voice, humming, beatboxing, live into a microphone. With the added sources of uncle Tim in the Amsterdam studio, I fixed up these mixes or blends of the live voice takes and the Uncle Tim experiments.
The Book Of Monk Continued….
John Sinclair wore many fine hats, one of which was the beret of the investigative jazz poet. His 40 year tribute to the life and work of Thelonious Monk, always know: a book of monk, focuses on his deep self confessed ‘obsession with completeness’ his nutty aim to write a poem for every Monk composition. I suggest the continuation of what he started, as a tribute to John and to Monk. I’m instigating a new series of collaborative productions in music and verse, laying groundwork and formulating a plan to complete what John started. Box Of Monk is the shared beginnings of my process of building a bed of music and poetry. Stay tuned for more uploads to this album and The Book Of Monk Continued…project.
Make it new. All love.
–Steve Fly Agaric 23 21/06/26
Writing about music is like dancing about architecture”―Thelonious Monk
Picking up the joint and running with it, I’ve boldly produced 10 poems, interpretations and a tribute to the investigative jazz poetry of John Sinclair. Seeking to sound unique enough to warrant a serious tribute to innovation and making it new, yet familiar to those who knew John and appreciated his incalculable impact on modern American culture, poetry and activism. The songs are performance by example, demonstrable appreciation for the artform and for John and for Monk. These songs are also meant to be a calling to the others who may put one or two poems together themselves and imagine what the Book Of Monk project is all about and begin a new exploration.
Dedications and special thanks to: Celia Sinclair / Ed Sanders / Leslie Lopez / Leni Sinclair / Larry Hayden / David Amram / Frenchy / Peter N Nevraumont / Kai Eckhardt / T.S Monk / Tom Worrell / Peter King / M.L Liebler / Carey Loren / Mark Sampson / Youth / Adam Brook / R.J / Jeff Grande / Jair Rohm and friends worldwide.
Edited, Mixed and Arranged by Steve The Fly 10/10/26. Turntables, piano, vocals, and beatbox by Steve The Fly. FX engineered by Uncle Tim. 2026
So what have we here then Steve? Tinkering with the AI again are we? I told you and warned you a thousand times about it and you just kept going and going and now look wot’ you’ve gone and done. Claiming it’s a bit ov’ a modern verse epic, but know full well it could never truly be the thing, as to our beingness and human struggle through time.Chatting to myself again, as Homo Promptus, in first person reflection space. The following series of essays are AI generated, spoiler alert. And I can already sense that slight frown and disappointment that I wasn’t hand crafting this big shebang, or rag-bag of notes. That’s under construction, in the meantime, this work is my contribution, an example of what I find interesting firstly, and also with luck what you dear reader, enjoy.
The subject matter reflects a purposeful choice, and works on a few different levels, both personal-historical and geographical meaning to me myself and I. For those that know me…the flesh and bone present author…will experience reading these articles in a different way to a total stranger. However I hope the unpredictability of the order and content within rings many bells at once, each effectively acting as an Epyllion (a mini modern epic) but, alas, lacking poetry turns of phrase and typographic experimentation, grammatical loop-da-loops and tricks of human authors with a pen or typewriter, battling digital algorithms and infernal averages. Hot stuff.
There’s something for everyone here, so at the least maybe give it a quick browse. In some sense this is a browsing document, a mini wikipedia world whipped up around this author’s ego, weird esoteric interests, fictional fancies, friends, family, hobbies, and a recurring theme: demonstrating the paradox of the tale of the tribe. Subjective experiences of mine, loves and some struggles, at the same time as containing historical forces (can we say facts without annoying too many people?). Leading, with luck, to distinguished science facts, methods, experiments, peer reviewed studies, when required, generously blended with my own mystical personal queries, carefully crafted and selected for you here. Feels a bit like cheating for an exam, producing all the goods to at least get a pass, but did I and do I really understand these Frankenstein’s Monster mash-ups? Who knows, here’s the results of my experiments. Hope you have a s much fun as I did.
In no particular order the articles feature such people and concepts as Rituals, Sports Mega Events, Economics, Beatboxing, Dutch, English, American History, Turntablism, Shakespeare, James Joyce, Typewriter Innovation, Lisbon Maru, Maj Frank Foley, AI, The Modern Verse Epic, Robert Anton Wilson, Ostriches, Countering Hate Speech, DIY Pot Hole Guide, Konnakol, Led Zeppelin, Swimming, Lightening, Thunder and the Brontic Logos, Magick, Tarot, LBJP, Drumming, Geronimo Pratt, Identity, McLuhan, Climate Science Solutions, The Black Country, Dutch Water Management, Story telling, John Sinclair, Street Art, Jazz, Stage Lighting, Causes Of War, Genealogy Writing, Digital I.D.J, Kim Stanley Robinson, thoughts on thoughts about thoughts.
It’s called The Trump Chronicles and in my estimation it’s a brilliant set of satirical works in twisted rhyme schemes that skewer and roast the guy I call Resident Rump.
The article reflects on a music session with Brian James on March 11, 2011, at Kingston College for the John Sinclair Beatnik Youth project. It emphasizes the significance of the musicians involved, including Brian James and Keith Levene, Youth, Angie Brown, and dozens of legendary performers from across the musical spectrum.
Hiya. I uploaded a heap of my mixes from 2026 over at Soundcloud. 13 hours and 13 minutes worth of (AD FREE) blends, mixes, and fixes, all music and artists proudly supported – purchased – via Bandcamp. Selected, mixed, edited, titled, uploaded and shared. Thanks for spreading the word, love, sound. –Fly If you dig… Read more: Soundcloud Update
The post discusses a remix of Ben Goertzel’s original outline on beneficial AI and AGI, emphasizing the importance of making technology accessible to all. It advocates for a more inclusive, ethical approach to AI development, focusing on improving societal resources and fostering understanding across different demographics. The author seeks to inspire collaboration among artists and non-technical individuals.
Steve Fly, humorously calling himself MPHDJ, discusses various papers from Gemini Research (MAMMALIAN) that enhance understanding of Robert Anton Wilson’s work. Aimed at mystics and seekers, this content assists in maintaining sanity and sensibility, while MAMMALIAN serves as an auxiliary text within the Deep Scratch universe.
Join us for a special opening celebration for the opening of LENI: Looking Through the Lens, showcasing the work of a photographer who captured Detroit’s cultural revolution from the inside.
The evening will be hosted by WDET’s Ann Delisi who will lead an engaging conversation with the artist, exploring Sinclair’s life, artistic vision, and enduring impact on Detroit’s music and cultural landscape. There will also be a musical guest.
Each ticket includes one complimentary drink.
Guests will also receive a copy of Sinclair’s 2016 Kresge Eminent Artist’s Monograph, sponsored by the Kresge Foundation, as a parting gift.
Steve Fly: The latest iteration of my quarter-century (and counting) of research into Robert Anton Wilson’s Tale of the Tribe is a collaboration using some AI tools. Tale of The Tribe is a mountain range whose size and scope requires training to traverse, hill-climbing toward coherence. So far I’ve produced over 65 stanzas with corresponding audio. The first iteration is structured on 60 stanzas to represent the 60 vertices of the Buckminsterfullerene. This is prompted from a line in Ezra Pound’s Cantos “buckie has gone in for structure.” The structure of the poem/album is a tribute to Buckminster Fuller, whom RAW admired and studied with, and it snugly sits as one of the 13 primary inspirations in the way RAW conceived/perceived the universe.
of the mind & spirit rooted in humanism & love of art, & manifested in creative production
& social engagement, like trane said “to be a force for good” & make an impact on the world at large
“I’m very happy with this book and very grateful to have all my poems collected in one place like this.” –John Sinclair
“Thank you for your poetry, your standing up for the blues and jazz for decades when few did, and for the way you share your talents and good will wherever you go.” –David Amram, Musician, Composer and Author
“Many of these extraordinary poems trace an important method of “transmission of mind,” a form of Investigative Poetry. These poems are a big work that places Sinclair on the path of Charles Olson. This is an extraordinary work.” –Edward Sanders, Poet, Activist and founder of the Fugs
John Sinclair’s Collected Poems 1964-2024 arrived within a week of his passing, and was edited and proofed with an introduction written by Sinclair in late January of 2024. The book was designed by Sinclair’s right-hand commrade at Radio Free Amsterdam Steve “The Fly” Pratt and published by Ridgeway press in a limited first edition of 150 hand-numbered copies with a forward written by M.L. Liebler. Photographs from the covers of each book and recording begin selections taken from each book. Only Fattening Frogs for Snakes, The Book of Monk, and Songs Of Praise for John Coltrane are not entirely included. The book runs 557 pages, with many poems collected here for the first time.
“I was first attracted to becoming a poet when I read On the Road,” wrote John Sinclair in his introduction, “the idea became more apparent when I read Howl by Allen Ginsberg and Pictures of the Gone World by Lawrence Ferlinghetti after I had ascended into college.”
Presented are Sinclair’s scarce first books printed in the early sixties by the Artists Workshop press; This is Our Music, Meditations and Fire Music. Selections from Fattening Frogs for Snakes and thelonious a book of monk and several of his recording projects; The White Buffalo Prayer, Detroit Life, Viper Madness. The last section “Mobile Homeland” has over three dozen uncollected poems written between 1964-2024. Many of the books have special introductions and notes on the text which Sinclair completed for this edition over the past several years.
The Collected Poems includes a concise six page biography, bibliography of major publications, and a discography of the poet’s recordings, a culmination of 60 years of art and life in one collection. Collected Poems 1964-2004 was produced in a first limited edition of 150 hand numbered copies in paperbound wraps, with a signed forward by M. L. Liebler, 557 pages, issued by Ridgeway press. Profits for the book help support the Detroit Writers Guild.
My condolences and respects go out to Wayne’s widow, Margaret, and his family and ocean of friends and supporters around the world. I sadly never got to meet Wayne, but I was certainly touched by his music and due to my close orbit with his old co-conspirator John Sinclair, I evolved a deeper appreciation for his music-activism and brevity.
Besides his self-evident musical genius, stage presence and courage, I have a particular admiration for Wayne’s work together with Billy Bragg, Jail Guitar Doors, that works to rehabilitate prisoners through music by providing them with musical instruments.
Wayne was driven by his innate sense of social justice and used his position to forward various campaigns and movements to help protect what fragile democracy is left in the USA, and around the world. I also personally admire Wayne for his outspoken disdain for Donald Trump, yet managing to keep dialogue and his respect for all humanity when engaging with those who he politically disagreed with.
Go listen to MC5, and Wayne’s later albums and collaborative projects (MC50!) Read his interviews. Get inspired, pick up an instrument and kick out the jams motherfuckers!
“And how did the idea to make Kick Out of the Jams a live album, to make a live album your debut, come about?
It was a consensus idea between the band and [band associate] John Sinclair and Elektra Records because all of our effort was put into performing live. We had very little studio experience at that point. The idea was that getting this band in a studio to record an album could be costly and labor intensive, whereas we were a fantastic live performing unit. And if we could capture the excitement of the live concert on record, it could be a revolutionary way to introduce the band to the world. And I think that worked.”–RollingStone.
