Hmmm. I've considered your points, but: 1.I will repeat myself yet again: within the context of MODERN POETRY I do not think Keats to be included. Of course Keats should be read, studied, understood...he deserves it as much as Williams, Pound, or any other talent...and this was exactly the point I clearly made two notes ago. Perhaps you could check the previous notes, then disagree if you still feel the need to. 2.As for factual evidence, I backed up my argument with quite a bit of experiential, first hand knowledge, noting that not only am I commenting on my peers, but that I've spent time at three different universities on the east coast before obtaining my BA. Read carefully, the previous notes show that although I'm hesitant to make a generalization, such a statement is a 'general subjective view'. 2a.I agree, siting Kerouac is a bit out of place on a Pound list. But I had to make my point. Apparently I wasn't clear enough, so here it goes: Pound, at the time you mention, had undoubtedly mastered the craft of writing. Students mimicking such ways of writing tend to forget the nuts and bolts (if they ever knew them in the first place), disregard serious studies of such writers as Keats or Williams or Pound or any writer that they personally do not particularly "LIKE" yet, paradoxily, may adopt 'writing techniques' (viz. "first thought best thought"). This adopting of techniques is essentially, from my experience, due to a gloss over, i.e., rather than a full investigation, things are taken on a surface level, e.g., I'd be surprised if any of the Keroucian undergraduate neophytes really knew that "On The Road" was rewritten several times, as was "Howl" by Ginsberg, who was a proponent of Kerouc's Spontaneous Prose. Perhaps this is "fast and loose" thinking, but I'm speaking of my peers and I'm not too long out of the undergrad trenches to forget how most young writers I came across never bothered to seriously investigate their craft. 2b.Abstract Expressionism, Black Mountain and Jazz all predate Kerouac putting pen to paper on 'Spontaneous Prose'. Let's deal with Black Mountain exclusively, since it's poetics I'm attempting to discuss. (Not to put poetry in a vacuum, for nothing exists without relation to another thing, but for the purposes of a honed discussion I will deal specifically with poetry.) Olson's "Projective Verse" essay is, undoubtedly, the precursor to Kerouac's. They say similiar things, only Olson did it a decade before Jack (lacking, of course, the "Jazz" metaphors), and at the university level students ignore Olson and latch on to Kerouac. I've seen this with my own eyes, heard with my own ears. I will, at your prompting, look up Belgrad and take a look at what he has to say. 3. Popular culture just may be more "sophisticated" than ever, but I argue that all the films you site will be collecting dust in a lonely corner of a rental store five years from now. Casino? Fight Club? Are these films really of a lasting scope? Do they have the presence, the staying power, to not be termed 'disposable'? I truly don't think so. Seems they were made to make money at the box office. But I'm no film expert. --CB