Again, Ginsberg insists that in speaking to himself (and a tape recorder) in the back of a bus, an activity we might associate with vagrants or the mentally ill, he in fact speaks for all of us, his loneliness is our loneliness, his desire to write a poem expressing all of this is our own desire to articulate our needs and wants and fears, and our dissatisfaction with the clumsiness of our own expression.

Of course it’s no coincidence that he’s over Republican River, since the unrealized promise of equality at the heart of the American republic is the poem’s major theme.

Sex has been described, twice already, as love and ecstasy and joy, but Ginsberg now connects it to loneliness — our overpowering desire for love, and our fear that we won’t obtain it, aren’t worthy of it.

In particular, we worry that we aren’t physically attractive enough — thus Ginsberg gives a great deal of attention to the body, and describes a vision of love that is remarkably inclusive (Kansas City brides and Wichita boys), suiting both his own identity (as a gay man) and his religious-transcendentalist ideas of human oneness, which will be described later in the poem.

Again — the vast, empty sky of the plains seems oppressive, the artificial garments of civilization seem constraining but human life continues below and beneath, faces expressing feelings, bodies desperate to touch one another.

“The hair between our legs” once again foregrounds sexual desire, a key theme of the poem.

Nature (not for the last time in this poem) is depicted as inhuman and terrifying — “vast plains”, and endless expanse that makes a mockery of the small human settlements that dot it.

But within those plains, human life continues—including its ultimate expression, the frenzy of sex and desire, the half-words and sounds that describe orgasm.

Note that sex here is described as “when our trembling bodies hold each other” — the image of touching and holding to suggest human connection will recur.

“Not afraid” — that is, “not ashamed” to be ranting into a tape recorder on the back of a public bus, making a public spectacle of his aloneness. We are all alone, he suggests, in America today, and we all yearn to articulate that loneliness, and to erase it by reaching out to others.

In other words: who knows but, on the lower frequencies, I speak for you?

Great job switching the rhyme scheme mid-word!

A helicopter is also known as a “chopper”, and of course that’s because its propellers will chop you up if you get too close.
https://www.youtube.com/watch?v=-9-Te-DPbSE

Most of Shad’s social media accounts are handled by his manager Gaurav Sawhney. When Guarav tweets for Shad he begins the tweet with “(g):” to let followers know he is the one tweeting.

https://twitter.com/shadkmusic/statuses/423906363828228097

And, despite Shad’s earlier promise to his female listeners, he gives us another (very clever) sports pun — his manager is on the (inter)net, leading him to pun on goaltending in basketball, a rule that is violated when a player grabs the net while the ball is on the rim.