nyuuzyou/wikis huggingface dataset:
The Subway Art History Project

In June 2019, excited about the upcoming opportunity to share their Ph.D. research with the Mailer Society, the Slavery Collective painted this mural as part of their ongoing Subway Art History Project. The Subway Art History Project led to a written Ph.D. thesis about the growth of graffiti from child’s play to an original art in the 1970s.
This mural connects with a very important part of the story uncovered in the thesis, the influence that Norman Mailer’s 1974 coffee table book The Faith of Graffiti had on elevating the meaning of graffiti. In his essay, Mailer connected the young graffiti writers of the 1970s with the Hipsters of the 1950s. Briefly, Hipsters are always-already set up against the Squares; Hipsters are cool and do not support the totalitarian state where Squares are conformists who prop up the totalitarian state.
Norman Mailer connected the young graffiti writers of the 1970s with his grounding philosophy, Hip, and by doing so elevated graffiti from a child’s game to something more revolutionary, subversive and artistic.
This painting can also be viewed as an homage to Martha Cooper, whose photographs in Subway Art captured the painted subways in context, and by doing so opened the imagination of how graffiti was interpreted, a vision which would become the fixed way graffiti would come to be understood. Thus the mural picks up not only on the graffiti of JSON and Richie (Seen) and the importance of Norman Mailer to the story of graffiti but also to the context that Cooper photographed. 
JSON and Richie were changed to read NRMN Mailer. The caricature of Santa Claus was changed to a caricature of Norman Mailer. Santa’s green bag of presents changed to Mailer’s green book, and the phrase in the middle “Happy Holiday” changed to “The Hip Have Faith”. For Mailer, “faith” was a grounding principle of Hipsterism. To truly be Hip, or a Hipster, one had to have “faith”. Graffiti writers became faithful and therefore Hip. Martha Cooper’s image captured a whole car masterpiece, created by some Hip cats, making its way through a cold South Bronx morning about to the light up the line.
The White Negro/1

the psychic havoc of the concentration camps and the atom bomb upon the unconscious mind of almost everyone alive in these years. For the first time in civilized history, perhaps for the first time in all of history, we have been forced to live with the suppressed knowledge that the smallest facets of our personality or the most minor projection of our ideas, or indeed the absence of ideas and the absence of personality could mean equally well that we might still be doomed to die as a cipher in some vast statistical operation in which our teeth would he counted, and our hair would be saved, but our death itself would be unknown, unhonored, and unremarked, a death which could not follow with dignity as a possible consequence to serious actions we had chosen, but rather a death by deus ex machina in a gas chamber or a radioactive city; and so if in the midst of civilization — that civilization founded upon the Faustian urge to dominate nature by mastering time, mastering the links of social cause and effect — in the middle of an economic civilization founded upon the confidence that time could indeed he subjected to our will, our psyche was subjected itself to the intolerable anxiety that death being causeless, life was causeless as well, and time deprived of cause and effect had come to a stop.
The Second World War presented a mirror to the human condition which blinded anyone who looked into it. For if tens of millions were killed in concentration camps out of the inexorable agonies and contractions of super-states founded upon the always insoluble contradictions of injustice, one was then obliged also to see that no matter how crippled and perverted an image of man was the society he had created, it wits nonetheless his creation, his collective creation (at least his collective creation from the past) and if society was so murderous, then who could ignore the most hideous of questions about his own nature?
Worse. One could hardly maintain the courage to be individual, to speak with one’s own voice, for the years in which one could complacently accept oneself as part of an elite by being a radical were forever gone. A man knew that when he dissented, he gave a note upon his life which could be called in any year of overt crisis. No wonder then that these have been the years of conformity and depression. A stench of fear has come out of every pore of American life, and we suffer from a collective failure of nerve. The only courage, with rare exceptions, that we have been witness to, has been the isolated courage of isolated people.
The White Negro/6

is a vastly exciting century for its tendency is to reduce all of life to its ultimate alternatives. One can well wonder if the last war of them all will be between the blacks and the whites, or between the women and the men, or between the beautiful and ugly, the pillagers and managers, or the rebels and the regulators. Which of course is carrying speculation beyond the point where speculation is still serious, and yet despair at the monotony and bleakness of the future have become so engrained in the radical temper that the radical is in danger of abdicating from all imagination. What a man feels is the impulse for his creative effort, and if an alien but nonetheless passionate instinct about the meaning of life has come so unexpectedly from a virtually illiterate people, come out of the most intense conditions of exploitation, cruelty, violence, frustration, and lust, and yet has succeeded as an instinct in keeping this tortured people alive, then it is perhaps possible that the Negro holds more of the tail of the expanding elephant of truth than the radical, and if this is so, the radical humanist could do worse than to brood upon the phenomenon. For if a revolutionary time should come again, there would be a crucial difference if someone had already delineated a neo-Marxian calculus aimed at comprehending every circuit and process of society from ukase to kiss as the communications of human energy — a calculus capable of translating the economic relations of man into his psychological relations and then back again, his productive relations thereby embracing his sexual relations as well, until the crises of capitalism in the Twentieth Century would yet be understood as the unconscious adaptations of a society to solve its economic imbalance at the expense of a new mass psychological imbalance. It is almost beyond the imagination to conceive of a work in which the drama of human energy is engaged, and a theory of its social currents and dissipations, its imprisonments, expressions, and tragic wastes are fitted into some gigantic synthesis of human action where the body of Marxist thought, and particularly the epic grandeur of Das Kapital (that first of the major psychologies to approach the mystery of social cruelty so simply and practically as to say that we are a collective body of humans whose life-energy is wasted, displaced, and procedurally stolen as it passes from one of us to another) — where particularly the epic grandeur of Das Kapital would find its place in an even more Godlike view of human justice and injustice, in some more excruciating vision of those intimate and institutional processes which lead to our creations and disasters, our growth, our attrition, and our rebellion.
Tom Piazza

is the author, most recently, of the novel City Of Refuge and the
book-length post-Katrina essay Why New Orleans Matters. His other books
include the novel My Cold War, which won the Faulkner Society Award for
the Novel, and the short-story collection Blues and Trouble, which won the
James Michener Award for Fiction. A well known writer on American music
as well, he won a 2004 Grammy Award for his album notes to Martin Scorsese
Presents The Blues: A Musical Journey and is a three-time winner of the
ASCAP-Deems Taylor Award for Music Writing. His writing has appeared in
The New York Times Book Review, Bookforum, The Atlantic, The Oxford American, The New Republic, and many other periodicals. He is a graduate of the Iowa Writers’ Workshop, and he makes his home in New Orleans.
Category:Contributors
Category:2008 Vol. 2 (MR)
Tracy Dahlby

Tracy Dahlby is a professor and the Frank A. Bennack Jr. Chair in Journalism at the University of Texas at Austin. A career foreign correspondent, he is the author of Allah’s Torch: A Report from Behind the Scenes in Asia’s War on Terror. He also helped direct The Fifties, a 1997 documentary series for television based on the book by author David Halberstam.
===Contributions===
Category:Contributors
Updates

==2019==
* 03/03/19: Work will soon begin on An American Dream Expanded. If you’re interested in helping out, see the project outline and discussion page.
* 02/25/19: Some work has been done on The Mailer Review, volume 5, including excerpts from Norris Church Mailer’s A Ticket to the Circus. Work continues on porting other volumes from Medium.
* 02/19/19: The complete inaugural volume of The Mailer Review has been posted. Work continues on the rest of the volumes.
* 02/10/19: Our contributors are growing as The Mailer Review Vol. 1 gets ported. Check out today’s updates from Mike Lennon and Donald Kaufmann. Check back daily for more updates and improvements.
* 02/03/19: Our first digital book, Barry H. Leeds’ 1969 study The Structured Vision of Norman Mailer has just been published to the site. It features the complete text of the book, including bibliography and dust jacket notes.
==2018==
* 11/29/18: Works and Days is currently being moved over to the wiki, so much will not be available for a little while. You could always purchase a copy of the newly-published, updated version. Also available on Amazon.
==2017==
* 12/01/17: Photos from this year’s conference in Sarasota have been posted.
* 08/30/17: Theme obsolesce broke the site; we now have a new theme thanks to Independent Publisher. Search is still broken, but will hopefully be back online shortly.
* 07/01/17: Work on Selected Secondary Bibliography begins.
==2016==
* 10/01/16: "Days" (v1) published.
* 07/01/16: "Days" beta published.
* 04/01/16: Work on "Days" begins.
* 10/01/16: "Works" (v1) published.
==2015==
* 07/01/15: Beta released for user comments.
Category:Meta
Vahan Gregory, March 16, 1964

::::::::::::::::::::142 Columbia Heights
::::::::::::::::::::Brooklyn 1, New York
::::::::::::::::::::March 16, 1964
Dear Vahan,The deadline for the sixth installment passed a week before Mailer wrote to Gregory, a literary acquaintance.
Just a note to thank you for your very good and fine letter. I’m up to my nose in the serial—since I have to keep two installments ahead of Esquire, I’m banging away now in the pits of the sixth installment, trying to avoid a let-down, and reminding myself I’ve only two to go, so forgive the brevity of this.
::::::::::::::::::::Best,
::::::::::::::::::::Norman
===Notes===
Vance Bourjaily, January 16, 1964

::::::::::::::::::::142 Columbia Heights
::::::::::::::::::::Brooklyn 1, New York
::::::::::::::::::::January 16, 1964
Dear Vance,The novelist Vance Bourjaily met Mailer in New York in 1951 and introduced him to several writers.
The serial business is excellent for straightening out one’s life, since there’s no time to do anything but work. Years ago, Theordor ReikTheodor Reik, the American psychologist, was an early and brilliant acolyte of Sigmund Freud. was being analyzed by Freud, and as a talented young man he was naturally interested not only in being a superb analyst but a musician, a writer, a lover, a boulevardier, a vigilante, even a mad genius. Freud listened and got angrier and angrier. Finally he said, “Reik, you want to be a big man? Piss in one spot.” So that is what the serial business puts you up to.
Actually, it’s like ten-second chess. You have to make your decisions in a hurry and depend on the probability that the professionalism you’ve acquired over the years is backing you up, that the bets are good and solid and that you’re enough of a gambler to take an occasional long shot which excites you. I think one benefit from writing a serial is that one could give a good practical course in how to write a novel afterward, for you spend most of your time dealing with the simple mechanical aspects of book writing. Never before has it been quite so important to get a character out of a room with a minimum of sweat.
I feel for you as a hunting guide. Not to mention us amateurs who land on your door. There will be all the bad pros who arrive with a drink in their eye and the remark, “Vance, baby, I feel like I got to kill something this year.” The worst thing about writing a book is the afters—all the obligation one has to be loyal to its logic. So you have to put up with guys like me who invite themselves to go hunting with you. I feel half bad about this. I sure as hell want to come out next year for a few days; you sure as hell may wish to do some work or to go hunting by yourself. So can we leave it that I accept your invitation with pleasure but that it is understood that you are free to change your mind if later on the thought of my arriving gives you, for a hundred good reasons, no particular sense of the agreeableness of things. And I in my turn expecting that your excellent manners will overcome your excellent instinct asking you this, should I buy a shotgun? What would be a good shotgun to buy? I know nothing about them, and so half like the idea of handling one for some months before I get to fire it.
Give my best to Tina, and hear ye, I’m married again, and to the young lady you met last spring, Carnegie Hall evening.
::::::::::::::::::::Best,
::::::::::::::::::::Norman
===Notes===
Veronica Windholz

has been troubleshooting fiction and nonfiction as a
freelance editor, copy editor, and book doctor for more than thirty years. She
is currently on staff at Viking Penguin, has held positions at Random House
and at the Aaron Priest Literary Agency, and has taught copyediting at NYU’s
School of Continuing and Professional Studies. Born in Budapest, Hungary,
she lives in New York City with her husband, an artist; they have two grown
children.
Category:Contributors
Category:2008 Vol. 2 (MR)
Victor Peppard

is Professor of Russian at the University of South Florida in Tampa, where he has taught since 1975 and was chair of World Languages from 2000 to 2011. He received a Ph.D. in Slavic Languages and Literatures from the University of Michigan in 1974 and taught Russian at the University of New South Wales in Sydney, Australia in 1973 and 1974. He has published on Russian language pedagogy and on such writers as Isaak Babel’, Gogol’, Dostoevsky, Norman Mailer, Nabokov, Solzhenitsyn, Yury Olesha, and Vladimir Voinovich, as well as on the history of Russian and Soviet sport and he has also published several short stories.
Category:Contributors
Category:2021 Vol. 15 (MR)
Category:2020 Conference
Category:2019 Conference
Category:2018 Conference
Category:2017 Conference
Walter Grünzweig

, a native of Austria, is professor of American literature and culture at Dortmund University in Germany and Adjunct Professor at University of Pennsylvania and SUNY Binghamton. His research focuses on transatlantic literary and cultural relations and international academic exchange. He is the author of the entry on in the German-language Kritisches Lexikon zur fremdsprachigen Gegenwartsliteratur, which he has been updating since 1991. This lexicon also serves as a bibliographical tool for the German reception of Mailer.
Category:Contributors
Category:2008 Vol. 2 (MR)
Wayne Worcester

Wayne Worcester is Professor of Journalism at the University of Connecticut in Storrs, where he teaches news writing and literary journalism. He is a former reporter and editor at the Providence Journal, a freelance writer, and essayist. He is co-author of a reference work published by HarperCollins as well as two Sherlock Holmes novels and a short story, all published by Signet/New American Library.
===Contributions===
Category:Contributors
Whit Burnett, 1969

Dear Whit,’s story “The Greatest Thing in the World” won Story magazine’s national college contest and was published there by Burnett in November 1941, marking the beginning of Mailer’s literary career. His undated letter (probably written in 1969) prefaces a selection from An American Dream describing the murder of Deborah by Rojack that was published in Burnett’s 1970 anthology, This is My Best: In the Third Quarter of the Century. Mailer’s letter is perhaps his most considered and perceptive comment on the novel.
 
Sometimes it seems useful to think of two kinds of novels—novels of manners, and modern explosive surrealistic novels in which the very notion of society, let alone manners, is bulldozed away in order to see what strange skeletons of fish and what buried treasure comes up in the ore. Out of my own work I suppose Why Are We in Vietnam? would most satisfy the latter category, and An American Dream might prove for some to be my most substantial attack on the problem of writing a novel of manners. They are hard novels to do well. Now that we are approaching the end of the seventh decade of the twentieth century they are becoming novels which are almost impossible to do well. The old totemistic force of manners, the old totemistic belief that breaching a manner inspired a curse has been all but lost in the avalanche of social deterioration which characterizes our era. Yet what can appear more attractive and sinister to us than a tea ceremony at the edge of a cliff. So I often think An American Dream is my best book. I tried for more in this novel than anywhere else and hence was living for a while with themes not easily accessible to literary criticism, not even to examination. The passage I choose now is not obligatorily the best thousand words in the work, but comes from the latter part of the first chapter and therefore offers few discomforts of orientation to the reader, and no demand on me for a synopsis of preceding events. Perhaps it may also serve to illumine the fine nerve of dread back of every good manner. Manner is the mandarin of mood, and in the shattering of every mood is an existential breath—does laughter or the murderous next ensue? 
::::::::::::::::::::Yours, 
::::::::::::::::::::Norman Mailer 
 
 
===Notes===
William Kennedy

was born and raised in Albany, New York. He brought his
native city to literary life in many of his works, particularly the acclaimed
Albany cycle, which includes Legs, Billy Phelan’s Greatest Game, and the
Pulitzer Prize–winning Ironweed. The versatile Kennedy wrote the screenplay
for Ironweed, the play Grand View, and co-wrote the screenplay for The Cotton Club with Francis Ford Coppola. Kennedy is a professor in the English department at the State University of New York at Albany and, in 1993,
was elected to the American Academy of Arts and Letters. Kennedy was also
named Commander of the Order of Arts and Letters in France.
Category:Contributors
Category:2007 Vol. 1 (MR)
Category:2008 Vol. 2 (MR)
Willie Morris, October 21, 1963

::::::::::::::::::::142 Columbia Heights	
::::::::::::::::::::Brooklyn 1, New York
::::::::::::::::::::October 21, 1963
Dear Willie,Mailer met Morris in New York after Morris became editor of Harper's in 1963. Mailer’s letter gives a hint of the lifelong tension in his writing life between his profound desire to write novels and the financial need to write shorter pieces of nonfiction. He resolved the problem, to some extent, in the late 1960s and early 1970s, by writing long nonfiction narratives that are fictive; they read like novels. Three of these, The Armies of the Night (1968), Miami and the Siege of Chicago (1968) and The Prisoner of Sex (1971) appeared first in Harper’s. All three were nominated for the National Book Award; Armies won it and a Pulitzer Prize as well. 
Let me thank you for your letter, but writing articles has a bit of drudgery to it for me, and now I’m free, for a year at least, to work on a novel, so I think I’ll be keeping myself much to myself through this long winter. I’m glad you’re at Harper’s and let me wish you good luck in what you’re doing.
::::::::::::::::::::Best
::::::::::::::::::::Norman Mailer
===Notes===
Yale M. Udoff, September 24, 1966

::::::::::::::::::::565 Commercial Street 
::::::::::::::::::::Provincetown, Massachusetts 
::::::::::::::::::::September 24, 1966 
Dear Yale,Udoff was acquainted with both and Mann Rubin.
Thanks for your letter. Tell Mann Rubin I’d like to see his original screenplay of An American Dream in order to get a better idea of how and where Warner’s fucked it. 
::::::::::::::::::::Best, etc., 
::::::::::::::::::::Norman Mailer
 
 
===Notes===
"Weird Al" Yankovic

Alfred Matthew "Weird Al" Yankovic is an American singer, songwriter, musician, and producer. He is known for humorous songs that are often specific parodies of contemporary musical acts.
==Weezer connections==
"Weird Al" is a longtime fan of Weezer and has encountered them many times. In the 1996, Yankovic encountered the band backstage to ask permission to use lyrics from the song "Buddy Holly" in his song "The Alternative Polka." Rivers Cuomo was, at the time, self-conscious about being considered a serious artist, and so the band denied him permission. In 2005, Yankovic encountered the band backstage to ask permission to use lyrics from "Beverly Hills" for his song, "Polkarama!". The band gave him permission and Yankovic used the song on his album in 2006.
In 2008, Yankovic recorded a song in the style of Weezer (particularly the song "Pork and Beans"). The song, "Skipper Dan," was released on his 2009 EP and again on his 2011 album . On September 24, 2018, Weezer's music video for "Africa" was released, starring Yankovic as Rivers Cuomo. Yankovic joined the band live to perform the song in 2018.
=="Africa"==
This video, directed by Brendan Walter and Jade Ehlers, is a shot for shot remake of video for "Undone - The Sweater Song." It features Yankovic and band members dressed as Rivers Cuomo and the other members of Weezer, respectively, albeit dressed to resemble Weezer as they appeared in 2018.
<youtube>mk5Dwg5zm2U</youtube>
==Audio==
==="Skipper Dan"===
<youtube>a0cCRRFi1aA</youtube>
Yankovic discussed the song's inspiration in an interview in 2010.
==="Polkarama"===
<youtube>-fgso7M9azY</youtube>
===Unused "Buddy Holly" snippet from "Alternative Polka"===
<youtube>aXsbVQM8SP4</youtube>
Category:Weezer-related bands
Category:People who have sat in with WeezerCategory:Musicians
"Wlid" Thing

""Wlid" Thing" is a demo by Rivers Cuomo.
==Overview==
""Wlid" Thing" was written by Rivers Cuomo while living at his apartment on Sepulveda Boulevard in Los Angeles in 1999. The song has never been heard by fans.
==See Also==
*List of Rivers Cuomo songs
Category:Rivers Cuomo songs
Category:Catalog o' Riffs
Category:RC demos not circulating
025

Catalog O' Riffs entry #025 is an instrumental composition by Rivers Cuomo with no proper title. In the 2002 Catalog O' Riffs, it is rendered as the chord progression "|A ' ' B G|G". In the digital compilation Alone VI: The Black Room, it appears rendered as "A BF G" and "A BG-G".
===Appearances===
*Alone VI: The Black Room (2020)
==Overview==
The song was among hundreds of Cuomo's demos leaked online in November of 2020, and was later released as part of the digital compilation Alone VI: The Black Room in 2020.
==Known recordings==
==See also==
*List of Rivers Cuomo songs
Category:Rivers Cuomo songsCategory:Songs on Alone VI: The Black RoomCategory:InstrumentalsCategory:Untitled songsCategory:Catalog o' Riffs
028

Catalog O' Riffs entry #028 is a composition by Rivers Cuomo with no proper title. In the 2002 Catalog O' Riffs, it is rendered as the chord progression "|CCGGGF|FFFFAbAb|". It has never been heard by fans.
==Overview==
==See also==
*List of Rivers Cuomo songs
Category:Rivers Cuomo songsCategory:Untitled songsCategory:Catalog o' Riffs
Category:RC demos not circulating