Archive for March, 2009

Ray ‘The Cat’ Jones rides again!

Monday, March 30th, 2009

What a difference a blog makes! The flurry of excitement that kicked off after my January entry on Ray ‘The Cat’ Jones continues apace with the greatest cat burglar of all time being featured in yesterday’s Wales On Sunday. There are few new details in the piece by Nathan Bevan but there is a lovely photo of Ray The Cat as a part of the print version (not with the online variant, which you can find here). Of course, there has to be a news angle, and in this instance it is the fact that the account of Ray The Cat’s escape from Pentonville as quoted in my earlier blog features in Paul Buck’s recent book The E-list. Having done some further research, Wales On Sunday give a variant account which suggests Ray was one of two men to escape together. I suspect this version is more accurate than the solo escape tale Buck quotes from an old Frankie Fraser book. Bevan also says the infamous Sophia Loren jewel theft took place while Ray The Cat was still on the run after his 1958 Pentonville jail break. He also notes that in his younger days Ray was a boxer. I’d not mentioned this detail in my blogs but I had clocked it elsewhere.

Something else that has come up in relation to Ray The Cat is the ‘Princess Margaret story’. I’ve got no real leads on it, but someone I asked ‘guessed’ that Ray The Cat was the uncaught mastermind behind the 11 September 1971 safety deposit box robbery of the Lloyds Bank on the corner of Marylebone Road and Baker Street (central London). Supposedly a series of sexually compromising photographs of Princess Margaret were found by the robbers in one of the riffled safety deposit boxes. This particular heist had a very different modus operandi to Ray’s jewel and fur thefts, but I suppose anything is possible. However, I would stress that the person who suggested this to me was ‘guessing’, there is no evidence to back it up. I am, however, confident that there is a reader of this blog who could throw more light on the matter, should he care to do so. Moving on, in my last piece on Ray ‘The Cat’ Jones I mentioned news reports about him that had been posted on the web and subsequently come down. What follows is just one example of these lost posts retrieved from my archive:

Last Bid For Imprisonment

The man campaigning to be credited with the £185,000 burglary of Sophia Loren’s jewels from an Elstree hotel is fighting his last battle in his war against a “cover-up”.

Ray “the cat” Jones, who has an estimated career haul of £60 million, was never charged with the 1960 raid on the Norwegian Barn in the grounds of the Edgwarebury Hotel in Barnet Lane — but was incensed when his accomplice claimed sole credit for it in a 1994 book.

Together with his spokesman, Michael Morgan, Ray was back in the village recently, delivering hundreds of leaflets door-to-door, calling on the public to demand police arrest him for the crime.

“This is definitely our last protest,” said Mr Morgan, “we want to finally lay this to rest”.

Ray, now in his 80s, claims the police do not want to re-open the case because it would come to light that officers accepted £12,000 from him for information to help him carry out the raid.

Another claim is that a senior officer, “knowing” Ray had earlier been jailed for a burglary he did not commit, ordered colleagues to let him off for the Elstree job. Mr Morgan added: “I’m convinced beyond any shadow of a doubt there’s been a cover-up.” Police have denied the claims.

Converted for the new archive on 30 June 2000.  Some images and formatting may have been lost in the conversion. Saturday 20 February 1999. Borehamwood and Elstree Times.

And while you’re at it don’t forget to check – www.stewarthomesociety.org – you know it makes (no) sense!

Dress like a banker to fool G20 cops demonstrators warned; fear of attacks as old bill plots violence

Sunday, March 29th, 2009

London is preparing to go into lock down amid fears of cop violence directed against anyone who dares to make use of those public spaces the authorities have designated as no go zones for the duration of the G20 summit. This doesn’t just effect people who wish to engage in peaceful protest, it also impacts on anyone who wants to nip out and buy a tin of baked beans or visit a doctor. The Corporation of London has issued a letter to local residents advising them to stay away from the area around the Bank of England on 1 April. However, within this missive its “Safer City Partnership” offers no advice on what to do should you, for example, need to acquire food from the Cheapside Tesco on that day.

One group on Facebook is calling itself “Dress Like a Banker on April 1″ and is based on the following logic: “Bankers have been told to dress down to avoid being attacked by rioters but this scenario is just a police fantasy; if we all wear suits then maybe the cops will victimise the bozos they’re there to defend…. Forget that old slogan ‘help the police, beat yourself up’, instead let’s don our best clothes and enjoy the spectacle of the old bill beating up bankers who dress down for work on 1 April. Those financiers who don grunge disguises will no doubt be mistaken for ‘rioters’ by plod and suffer savage attacks!”

The authorities are predicting violence in London on 1 April because this is what they want. However, there is no guarantee that once they wade in against peaceful demonstrators and casual passers-by they will be able to control the situation. It is well known that the old bill likes to brutalise passive members of the public; therefore if you are the victim of an unprovoked attack by the cops, defending yourself vigorously will minimise your chances of being killed, injured and/or arrested. And just in case Billy Bragg attempts to ape the role of John Wilkes outside the Bank of England in 1780, don’t forget to wear a bullet proof vest!

And while you’re at it don’t forget to check – www.stewarthomesociety.org – you know it makes (no) sense!

Unseen Polish films of the 1970s & 1980s

Saturday, March 28th, 2009

I headed over to the RCA in South Kensington on Thursday to catch Controlled Image: The Question of Image Control in Poland in the 70s and 80s. This was funded by the Polish Cultural Institute who in recent years have been running some groovy film programmes all over London, and this particular event was part of a season at various venues including Tate Modern and The Barbican. There was a good crowd, some had stayed on from a packed Dan Graham talk before the screening. I find Graham painful to watch in the flesh because he is so pathetic and unsure of himself, so I didn’t attend that. The Controlled Image screening was a mixed bag put together by students from Jagiellonian University, and the weakest works were shown first. Historical Camera Purchase (1984) was a home movie of Tadbusz Kantor buying a video camera in Spain; basically it’s a series of zooms and pans of Kantor’s friends in a shop plus soundtrack banter about the camera as it is tested. Romuald Kutera and Lesek Mrozek’s Transferring The Camera (1974, reconstructed 1978 & 2009) consists of the artists walking towards each other and then away again, repeatedly, with a camera passed between them; there are lots of loose and boring accidental shots of a park as this goes on.

For me the highlight of the evening came next, a nine and a half minute extract from Piotr Bikont and Leszek Dziumowicz’s Ballad Of A Strike (1988), shot during a strike at the Gdansk shipyard in support of recognition for the Solidarity union, pay rises and the release of political prisoners. In an amazing sequence at the end of the strike, the cameraman is involved in a confrontation with strike breakers at the dockyard gates and the camera is snatched by the militia. The still running camera is taken to the local militia headquarters and while examining it the plods make comments like “Sony”, but can’t work out how to turn it off. The tape ends when the battery goes flat. Pressurised by an angry public, the authorities eventually returned the camera to the dock workers with the tape still inside it. This really is an amazing piece of footage and it would be great to see the entire documentary.

Just over a minute of undated film from Polish television archives and run under the title Materials From Nowa Huta failed to make much impression on me. It was followed by more than 11 minutes of police surveillance footage of illegal currency exchange deals outside the Pewex shop in Krakow from 29 March 1983. This material had not been shot with the intention it should be publicly screened and would have worked better as a gallery installation, particularly if multiple projections had been used. From the perspective of someone from London, the clothes the people captured on camera where wearing made it look more like footage from the early 1970s rather than a decade later; although obviously this simply reflects the uneven development of capitalism in different parts of Europe and the world.

Jadwiga Singer’s Glass Pane (1977-79) featured this artist and Jacek Singer performing to camera and using a glass pane as a prop; the glass is drawn on, sprayed with water and coca-cola and smashed. This worked well both as spectacle and disruption of spectacle. Ibenbusz Haczewski’s Transmitter’s Construction (n.d.), documented his clandestine activities interrupting official TV transmissions and with pirate  radio. Igor Krenz’s TV,,S (n.d) was a reconstruction of the illegal broadcast of Solidarity slogans over official TV in September 1985. This was a technically complex action set up by three scientists, and entailed their transmitter being carried high into the atmosphere by hydrogen balloons so that the range of the broadcast was maximised. The slogans deployed were effective because the modes of capitalist exploitation dominant in Poland in the 1980s were still very primitive: “Solidarity, enough of price rises, lies, repression” and “Solidarity, it is our duty to boycott the elections”.

The programme ended with three artist films. Satisfaction (1980) and Luggage (1981) by Zdislaw Sosnowski looked very much like underground artist’s video from the USA and western Europe of the same period. Shots of the artist’s scantily clad wife are mixed with repeated nonsensical actions and a soundtrack in which familiar materials are distorted and cut-up (as was the fashion in the ‘industrial’ subculture of the time).  Both films held my attention although they would have benefited from tighter editing; but that said Sosnowski’s very self-conscious deployment of cliche did make me laugh out loud. The screening ended with Ewa Partum’s Drawing On TV (1976), in which lines are drawn over live TV broadcasts.

All in all an interesting selection of material, and one which left me wanting to see all of Ballad Of A Strike plus further work by Jadwiga Singer and Zdislaw Sosnowski. The pieces were obviously put together to raise theoretical questions and were chosen more for their intellectual than their aesthetic coherence; so although I found parts of the programme less than scintillating, I can still understand why it was put together in this way. After the screening there was free sparkling wine but as I don’t like fizzy white I skipped that and made use of an opportunity to catch up with Gustav Metzger who was also in the audience…. Jon Wozencroft numbered among those also present, I hadn’t seen him for years and he didn’t seem to recognise me when I said hello despite the fact I’m always being told I haven’t changed at all! Are those who say I look very young for my age lying in an attempt to flatter me? And there is no need to answer that purely rhetorical question in the comments!

And while you’re at it don’t forget to check – www.stewarthomesociety.org – you know it makes (no) sense!

Chucky meets Natural Born Killers?

Thursday, March 26th, 2009

I always say you can’t get more post-modern than your local Blockbuster video store, and once again I proved this to myself when I popped in this week to find something to watch. I hadn’t noticed it before but lurking in a dim corner of the shop was a copy of Dummy (Triloquist in the US) directed by Mark Jones (the man behind Leprechaun and Rumpelstiltskin).

No need to review the film really, the blurb says it all: “Norbert hasn’t spoken since his mother’s suicide – except through her old ventriloquist’s dummy. But does this dummy hold an evil spell over Norbert and his attractive sister? Matters get out of control when the trio head for Las Vegas and a kid winds up dead. Blaming Norbert, his sister has him sent to an institution. As the creepy dummy increasingly takes on a life of its own, the three reunite and embark on a murderous road trip leading to a twisted and shocking finale.”

Lead actress Paydin LoPachin was apparently 17 years-old when this was shot, so while she gets to deliver the line “cocksucker” repeatedly, she doesn’t do anything illegal like get her kit off; instead there are older actresses who get their tits out in strip-joints and elsewhere. This being an American movie you only get tits and ass. The sexually repressed US mainstream film business doesn’t like genitalia in non-hardcore movies, whereas any self-respecting European exploitation director likes to flash a bit of cock and pussy. Hollywood coyness on this and other scores is irritating, especially as the so called ‘independent’ US film sector simply follows the lead of the corporates.

Dummy isn’t a great film but it will pleasantly rot your mind for 75 minutes with a not quite potent blend of magic, rape, incest and a touch of smack addiction. It just about works as trash but will disappoint gore hounds. That said, the MTV-style editing which mixes black and white with colour cinematography really sucks. The actual camerawork is okay but by no means brilliant. Likewise, the soundtrack is a really bad mix of dreadful AOR and rap. Dummy may be an indifferent movie but give it 20 years and if Mark Jones is really lucky this might just be considered a golden turkey of the first water.

Dummy came out last year (2008), and it has some parallels with my 2002 novel 69 Things To Do With A Dead Princess, although obviously it isn’t nearly as good! But then semi-animate ventriloquist dolls constitute a film genre in themselves and can be traced through flicks like Dead Of Night (1945), Devil Doll (1964) and Magic (1978); plus a slew of more recent efforts including Child’s Play (1988) and its follow-ons, as well as the knock-off Puppet Master (1989) series. The strap-line for Dummy invoking the Child’s Play series kinda sums it up, but some lucky film producer could do much better by paying me a bundle of money to make a movie using my internet ventriloquist doll. ‘Tessie meets Natural Born Killers’ really does have the ring of cash registers about it!

The penultimate lesson here is that you can’t kill post-modernism by simply wishing it away, coz when you attempt to do so it simply rises once again from the dead! However, kill capitalism and you really will be able to move beyond the po-mo…

And while you’re at it don’t forget to check – www.stewarthomesociety.org – you know it makes (no) sense!

Key Neoist practice plagiarised from French academics shock!

Tuesday, March 24th, 2009

In recent months much has been made of the fact that the term Neoism can be traced back to a 1914  occasional poem by American satirist Franklin P. Adams. Okay, so most of the world seems to have ignored the excitement this discovery generated among half-a-dozen fools and jesters, but it is nonetheless referenced on the relevant Wikipedia page.  That said, when Blaster Al Ackerman coined the term  in 1978, he did so initially as No Ism. The following year this mutated into Neoism, and no one active within the group using this name from the late 1970s onwards appears to have been aware of Adam’s fleeting use of the term until a year or so ago.

With about the same level of ‘authenticity’, an anonymous source revealed today that when Al Ackerman’s Neoist co-founder David ‘Oz’ Zack proposed the name Monty Cantsin as the identity of an ‘open pop star’ in 1977, he was drawing on his knowledge of the earlier Nicolas Bourbaki project. Nicolas Bourbaki is a collective pseudonym dating back to 1935, which a pool of predominantly French academics adopted when presenting expositions of advanced modern mathematics.  The Bourbaki team aimed at rigour, created new terminology and concepts, and emphasised the importance of set theory.

The influence of ‘Nicolas Bourbaki’ peaked between 1950 and 1960, when few other graduate-level books in contemporary pure mathematics were available. Their emphasis on rigour was in part a reaction to the work of Henri Poincaré, who stressed the importance of free-flowing mathematical intuition at a cost of completeness in presentation. By way of contrast, Neoism’s influence is set to peak in forty years time, once most of those active within it during the 1980s are dead. BTW: 24 March is International Neoist Day!

And while you’re at it don’t forget to check – www.stewarthomesociety.org – you know it makes (no) sense!

X-Rated: Adventures of an exploitation filmmaker

Sunday, March 22nd, 2009

This is the autobiography of British exploitation legend Stanley Long, London’s answer to Russ Meyer, as ghosted by by Simon Sheridan.  Long started out as a photographer, then moved onto stag films for the 8mm home market, before making a couple of non-sex documentary shorts in the late 1950s. However, it was his nudie cuties Nudist Memories (1958), Nudes Of The World (1961) and Take Off Your Clothes And Live (1963) that first made him into a figure that anyone with more than a passing interest in cinema would want to check out. Long went on to make a very notable trilogy of mondo films: West End Jungle (1960), London In The Raw (1964) and Primitive London (1965), which take in both a series of night clubs and the commercial sex scene in Europe’s leading city. A good deal of the footage is faked, but these flicks are nonetheless crucial documents of London in the early to mid-sixties. Long is only listed as cinematographer and producer, but claims he was effectively their director; and that his business partner of the time – Arnold L. Miller – who took the main credit, had only a nominal role in the creation of these trash classics. Long certainly has plenty of interest to say about them. I’ll quote some blurb about West End Jungle to set the tone : “A journey into the dark heart of London, filmed in the actual places of vice…. West End Jungle offers the definitive insight into the seedy reality and cunning artifice of the sex workers of early 60s Soho.” (That’s from the sleeve of the recent DVD rather than Long’s autobiography).

Long’s first big successes were a couple of late mondo movies he made after splitting from Miller: The Wife Swappers (1969) and Naughty! (1971). The former is a series of vignettes about wife swapping, while the latter deals with pornography. In his book, Long details how he developed these projects without ever getting bogged down in boring detail. Less satisfactory are the accounts of the films from around the same time that were directed by his business partner of that era, Derek Ford. Movies like Groupie Girl (1969) simply aren’t as good as the more strictly documentary-style material over which Long appears to have exercised far greater control. X-Rated fails to make the point that Ford’s more fictional efforts are markedly inferior to the faked documentaries at which Long excelled.

Likewise, while the slightly later film Eskimo Nell (1974) is fun, Long talks it up rather too much. It isn’t nearly as good as the series that followed on from it: Adventures of a Taxi Driver (1975), Adventures of a Private Eye (1977) and Adventures of a Plumber’s Mate (1978). Long makes no bones about the fact that these films were a knock-off of the hugely successful Confessions comedies staring Robin Askwith. Personally I prefer the Adventure flicks, they show lots of London locations as I remember them from back in the day; Long didn’t have a big enough budget to hire a film studio. However, the section of Long’s autobiography covering these movies was a slight disappointment to me because I’d already heard most of the stories he relates on the commentaries he recorded for their DVD reissue. That said, Long very honestly admits that Private Eye is the weakest movie in the Adventures trilogy. With that one he moved away from blue collar jobs that lent themselves to picaresque narration. The strength of these films lies is their visual comedy, but the best scene in Private Eye takes place in a hostess club, and hinges on a series of verbal misunderstandings. Fred Emmey believes he is buying the services of a high class call girl, but this is actually Christopher Neil in drag, playing a private dick who is trying to purchase blackmail photographs from the wrong man.

Earlier on in his book, Long  provides some cool insights into a couple of cult film-makers via his work as a cinematographer on both Repulsion (directed by Roman Polanski) and The Sorcerers (directed by Michael Reeves). Unfortunately, towards the end he tails off into a snore-fest of anecdotes about John Mills. Since Long surely knows he is far more interesting than a luvvie like Mills, I assume he ends his autobiography on this show-biz note in the hope of flogging a few extra copies to celebrity obsessives (one should not be surprised by this, it goes with his background as an exploitation film-maker). Despite the disappointing ending, X-Rated is still a fun read and useful source book on British exploitation cinema of the 1960s and 1970s.

And while you’re at it don’t forget to check – www.stewarthomesociety.org – you know it makes (no) sense!

Daniel Johnston, his songs just bore me!

Friday, March 20th, 2009

I just got this Tartan DVD box set of music documentaries out of a bargain bin. I’d seen End Of The Century at a preview for the flick back in 2004, and I was literally the only person in the cinema when I paid to see Mayor Of Sunset Strip in 2005. I wanted to see these two films again, and figured they were worth picking up cheap even when they’d been bundled with a piece of junk like The Devil And Daniel Johnston.

Why has anyone got any time for Johnston? He lacks the charm of The Shaggs and his songs are basically really bad imitations of Jonathan Richmond on his post-Velvet Underground trip. Johnston’s voice is terrible and he can’t play guitar. As for his art work, this is just badly rendered amateur comic book garbage. He also has some loony Christian beliefs to compliment his complete lack of talent. While indie-wankers like Kurt Cobain and Sonic Youth loved Daniel Johnston’s music, this will surprise no one since they can’t rock either! The way I figure it, anyone into the indie scene is an inadequate anorak, and since Johnston is more inadequate than most, he simply makes his fans feel a little better about themselves. I really can’t find any other way to explain Daniel Johnston’s sad fan base.

Doing a quick web search, I found a five year old Guardian piece about Daniel Johnston, where tossers from bands like The Pastels compare him to Robert Johnson, which is just ridiculous. And the headline for this piece of nonsense? ‘His work just bores into you’. And I thought, I don’t think so, his songs just bore me. And no, I wasn’t listening to Johnston or any other indie shirt while typing this, I actually had on the Shorty Long Essential Collection. However, despite Shorty’s tragic death in a freak boating accident in 1969, I don’t notice any major corporations rushing to release a documentary about him. But then I wouldn’t expect an indie wanker to recognise a tune like Here Comes Fat Albert as the complete groove sensation it so obviously is, even when the fact is pointed out to them by someone with worthwhile musical tastes. And this Shorty Long number has put That Is Why I’m Overweight by Eddie Harris into my mind, so I think I’ll put that album on next; it should go without saying the opener on that, It’s Alright Now, is one of the most famous jazz funk cuts of all time!

BTW: Tartan went out of business last summer, they got into trouble after going into the production side of the business. A lot of their product has been swishing around bargain bins since administration began, so now is a good time to pick up their releases of Bergman flicks and Asian action movies, should you have any desire to do so.

And while you’re at it don’t forget to check – www.stewarthomesociety.org – you know it makes (no) sense!

Grainger & Trina, 2 Ladbroke Grove hipsters of the 1960s…

Wednesday, March 18th, 2009

Two names that come up frequently when I’m looking at the real hip scene of the 1960s are Malcolm Drake AKA Grainger and Trina Simmonds. Their names even appear from time to time in print but to date the semi-official historians of the London counterculture have singularly failed to get to grips with what they and their scene were all about.

Alan Semple, who knew Trina Simmonds in the early sixties, told me that before she met Grainger she’d been partnered up with another London streetwalker called Kay, and that this pair were as likely to roll johns as do the business with them. Indeed, they’d steal anything of value punters were foolish enough to let them lay their hands on, and the items they filched ranged from money and cheque books to booze. Semple met Trina and Kay in 1961 when they stopped his car late at night on Kensington Church Street. They asked him if he had a bottle opener and when he replied he had one at home, the two flat-backers got into his motor so that he could drive them to his pad. Together they drank the wine Trina and Kay had swiped from a drunken john, swapped life-stories and became friends. Semple told David Seabrook the same story I got from him, and the recently deceased true crime journalist incorporated it as background material into his book Jack Of Jumps; but Seabrook didn’t supply Trina’s surname and apparently didn’t know it, and as a result he seems to have missed her walk on role in media coverage of the later Gail Benson murder too. As far as I can ascertain, Trina was born on 31 December 1941.

Other people, and in particular ex-junkies who’d rather not be identified, know considerably more about Grainger and Trina than Semple (who was only acquainted with Trina before she met Grainger). These sources say Grainger studied pharmacology at a northern university, but didn’t complete the course. After working on the dodgems in a seaside fun fair in the summer of 1961, he moved down to London from Bradford. Grainger discovered pot in London in the autumn of 1961. He smoked reefer and took amphetamines until mid-1962, when he graduated to junk. Grainger wrote a lot of poetry in the early sixties but didn’t succeed in getting anything published. He wanted to be a professional writer. He fathered a son in either very late 1961, or early 1962 (no later than the spring) but no one I’ve been able to dig up knows what happened to the child, or the mother’s name. It has been suggested that I may be Grainger’s boy; while this strikes me as possible, I view it as improbable. My mother’s on-off relationship with Grainger, who she was living with when she died in 1979, appears to date back to at least the mid-sixties; but I’ve never been able to ascertain whether it began as early as 1960 or 1961. By the time Grainger’s love child was born (as I’ve said, possibly me), he was dating Liz Cook – she was then a drama student and later became Brian Barritt’s lover.

According to my anonymous sources, Grainger and Trina met through the junk scene in 1963, at a chemist’s shop, or alternatively in a doctor’s waiting room. They were both registered users. Trina had a pad in Queensway when Grainger first knew her. Kay disappeared soon after Grainger and Trina became an item. Grainger dabbled with acid in the mid-sixties, and settled in the Grove at that time, but even in the nineteen-seventies he was still working with the insights and assumptions that came from the earlier beatnik scene. He was not a full on acid head or hippie, he was formed by the beat traditions of junk and bebop. He adapted to countercultural changes but in the hippie era was an elder. When he was first in London, Grainger talked up the work of writers like Trocchi and Burroughs but didn’t know them personally then. He got close to Trocch, and heavily involved in his drug dealing scene, after meeting Trina in 1963.

Some of this can be confirmed by chasing up drug stories carried by the British press in the early sixties. Grainger suffered what looks like his first bust in the spring of 1962 which led to the headline ’5 Idle Chelsea Men Had Hemp’ in The Times of 24 April that year. This story describes Grainger as 22 years-old and unemployed. Busted alongside him were his flat-mates Robert Osbourne Morgan, John Beaumont, Charles Terrence Westwood and Selwyn Paul Eva. After he was informed that Grainger aspired to being a poet, the magistrate announced: “That is a nice job for the evenings and getting up in the morning to see the sun rise.” The beak was not impressed with the defendants ‘long hair’ and seems to have viewed them all as worse than work-shy, ranting after reading a report on Beaumont: “…your philosophy is that work has to be avoided at all costs. You have almost a religious faith in being able to exist without earning any money…” The court case apparently caused a sensation at the time, with Grainger and his friends being dubbed ‘the kids who couldn’t give a damn’ by the tabloid press (which was, of course, only too happy to pay them for their story).

There are reports of a second bust in the summer, which graced The Times under the headlines ‘Premises Dens of Iniquity’ (6 August 1962), ‘Indian Hemp Youth Gets Six Months’ (11 August 1962) and ‘Probation for Girl In Drug Case’ (18 August 1962). Subheadings to these stories included: ’11 Men and a Woman on Drug Charge’, ‘Syringes Found’ and ‘For a Bit of a Kick’. Most of those busted lived at the time in bedsits in Regents Park Road, including Grainger and Robert Osbourne Morgan. Like Morgan, John Beaumont who earlier in the year had been busted with Grainger in Chelsea, was up before the beak on a repeat offence; this time he’s listed as being of no fixed address. Grainger was sentenced to three months in jail. After this he apparently felt little inclination to compose poetry, telling acquaintances that he lived poetically and therefore thought it best if lesser talents were left to write it.

Fast forwarding into the 1970s, Grainger and Trina arrived at Michael X’s Trinidadian commune in November 1971 and left roughly one week after the murder of Gale Benson who died on 2 January 1972. It isn’t entirely clear whether or not Grainger and Trina knew about this homicide prior to the discovery of Benson’s decomposed body; among other things, there is an ambiguous passage on pages 93 to 94 of Charlie and Mike Phillips’ literary and photographic memoir Notting Hill In The Sixties that might be taken as intimating they did. Benson was the privileged daughter of a former British Tory MP, she dug the black power message and somehow got herself killed. Her death generated headlines and among the more lurid of them was ‘Two Loves Of Black Power Girl’ which graced the front page of The Sunday People on 27 February 1972. This article claimed Benson had been a heroin addict and was in love with both Hakim Jamal and Michael X. Benson provided exactly the type of horror story reactionary journalists loved, since despite a privileged upbringing and society wedding, she’d wound up dead after immersing herself in the hippie and black power scenes.

Most commentators ignored the claim made in the Sunday People that Benson was a heroin addict, and instead their credulity was revealed when they portrayed Grainger and Trina as naive hippies, or even a writer and his girlfriend, rather than a pimp and prostitute who had a perhaps undeserved reputation as ruthless junkie survivors. Indeed, early press coverage of the murder, such as ‘Trinidad Death Victim May Have Been Buried Alive’ in The Times of 29 February 1972, report local police as being concerned to discover the whereabouts of Grainger and Trina who are described as a missing English man and woman. Grainger is (mis)identified as Mr Granger, while Trina appears under her married name of Mrs Pashley.

Trina is said to have been a frequent companion of the murdered woman, and the inference in early press reports (before she’d been located back in London) is that the authorities were worried about her and Grainger’s safety and well-being, since they too might have been killed. While Trina in particular was apparently deeply shocked, shaken and upset by Benson’s murder, she and Grainger concealed their feelings in court, where they claimed to have seen nothing untoward during their stay at the commune. Of course, court statements along these lines are exactly what one would expect from such junkie survivors regardless of what they actually did or did not see; the trial was widely reported in the British press and it was imperative that their peers did not perceive them to be grasses, since this would have made their lives difficult and Grainger’s activities as a drug dealer untenable, thereby cutting off a major source of their income. Grainger and Trina’s perception of the commune when they were resident there may have been exactly as reported in court; on the other hand, Trina’s apparently hysterical outbursts to acquaintances upon their return to London might be taken to indicate this was not the case.

Denis Browne who knew Grainger and Trina in the early 1980s told me in 2002:

“Grainger’s favourite saying: “I’m a healer not a dealer.” I scored off Grainger for years up until my last bust in 1984. I’ve had no contact with him since then. Grainger and Trina feature quite a bit in a late seventies biography of Michael X. The main “message from Alex” they took to Trinidad was an once of smack. For the commune hospital, of course. Even among serious junkies G and T were regarded as a pretty ruthless pair of survivors. Grainger could be a total bastard, especially when he took speed, but was generally okay with me – I had a bit of extra cred, having been introduced by Alex Trocchi and found Grainger great company on a good day – a sharp, no bullshit kinda guy. Rare among long-term junkies. Trina was just like Fay from Cain’s Book (Trocchi’s autobiographical novel) – a totally ruthless junkie who’d “suck the last fix out of your arm” – she generated an endless series of hustles, scams, rip-offs and marathon psychodramas round at their place – a poky thirties council flat in Elephant and Castle when I knew them – which tended to spoil things.

“I didn’t know Grainger in the days when he roamed the Grove in a hooded purple cape, but I do remember him talking to me about your mother. What I can recall is that he was incredibly cut up about her death and seemed to feel a lot of guilt and self hate about what had happened – this would have been about 81/82 – a few years after her death. Grainger was a fair bit older than most of us who’d hang out round their place. I reckon he’d be in his mid-sixties now.

“Grainger was from Leeds and definitely had the hard-bitten Yorkie vibe about him. Wiry/wired kind of guy, small beaky nose and hooded eyes gave tortoise-like impression. He’d often seem somnolent in group situations but his mind would be blazing all the time. When the speed/Trina paranoias weren’t in full effect and if you could get him on his own, he could be great company. Alex Trocchi wouldn’t hear a word against him.

“The time when he rapped about your mum came about because I got frozen in round at his flat one particularly cold Xmas (81?82?) for about three days. Trina had gone back to her folks in Gateshead after a real spectacular: suitcase over the balcony when Grainger found she’d nicked a load of his private stash of diamorphine amps.

“In one account of his early days he said he’d trained or qualified as a pharmacist before the sixties kicked in During another long session he told me how he’d been part of a wild traveller gang who travelled around the North, vaguely connected with putting on funfairs etc., “I lived like a fucking animal” he recalled with no pride. Then he’d discovered first acid and then smack – in the days when GPs were able to prescribe class A’s and things were a bit of a free-for-all. A golden age of junk – when I got into smack a few years later – when the regime had changed from heroin maintenance to methadone reduction – we felt really pissed off and cheated that we’d missed out on the ‘good times’, I’m sure most of the Trocchi stories in circulation come from this time. It might help explain the vibe around in your mother’s time when some fairly hardcore drug use really wasn’t considered that outré

“If I had to try to liken Grainger to someone you’re familiar with I’d tentatively suggest John Lennon. Similar mix of contradiction maybe. I was reading something last night about Lennon’s drunken arsehole in LA period in the mid-seventies – and how generally given he was to drunken destructiveness – compared to the received image of the guy. Grainger had the same kind of caustic vibe as Lennon. “I’m a healer not a dealer” could almost be a Lennon lyric. Another favourite Grainger saying: when declining to give someone gear on tick – as experienced by yours truly – “No-one wants to pay for drugs they’ve already taken.” Hard but one of the truest things I’ve ever heard…”

I’m told by those that knew Grainger in the sixties that the Michael X episode changed him dramatically and very much for the worse. Likewise, the same sources tell me Grainger and Trina were only very loosely together for much of the seventies, and lived in separate pads for extended periods. In the very early seventies there was a sex scene going on with Grainger, two girls, one dark, one blonde, and a black guy. The fair girl may have been my mother Julia Callan-Thompson. Grainger and Trina only got back together on a full time basis after my mother’s death.

There are a number of stories in circulation about my mother’s death, and these vary from the claim that she was murdered by an obsessed john to the less sensational suggestion that she died from an accidental heroin overdose. Only the latter rumour need concern us here, since Grainger features prominently in it. The story runs as follows.

In the late-seventies my mother was having a down period. However, at the very end of her life she got a job in a clip joint. The manager had employed her before but was wary of her smack habit, so she’d had to convince him she was clean in order to get the job. Since it isn’t easy to land a hostess job at the age of 35, my mother really felt she was on the up again. She had just done cold turkey in the US, but once she was back in the UK with Grainger, she wanted hits to help her relax after she finished work. Grainger made these up from his personal stash, and although Julie was living with him as his common-law wife, he charged her for the gear. He told friends he exaggerated the size of the hits he was giving my mother, because lying to her about this kept her straight enough to do her clip joint job (it also meant Grainger had both more money and more junk).

On the night my mother died, Grainger had sold a lot of gear and used all that was left over himself. Therefore there wasn’t a shot for my mother when she got in from work. Desperate for a fix, my mother went and scored street heroin from Brian Barritt. She bought the equivalent of what she thought she’d been getting from Grainger, not knowing he’d exaggerated the size of the hits he’d been giving her. She shot up before going to bed. My mother woke Grainger in the night to tell him she couldn’t breath and needed help. He told her to go back to sleep, which is what he did. When Grainger woke up in the morning my mother was dead in bed beside him because she’d overdosed. Grainger proceeded to clean up the flat, removing all needles and other signs of drug use. When he called on his near neighbour Brian Barritt, he was visibly upset and in a panic. Grainger had broken up with Trina to get back together with my mother, and since he loved her, he was completely cut up by her death – for which he felt he was in some ways responsible.

Without some form of corroboration, it is impossible to know whether or not there is any truth to the story I’ve just related. Regardless, since Grainger may be able to throw some light on my mother’s death, I am keen to collect further information about him; and if he is still alive to speak to him. I can’t find any west London hipsters who have seen Grainger since 1986; five years ago I called several times at a flat in south London where I believed Grainger was living, but the man resident in the property wouldn’t answer the door and it is now occupied by someone else. Although my mother had many lovers, ultimately only two were really significant to her, Grainger was one and Bruno de Galzain the other. And to wrap up, while Brian Barritt can be contacted easily enough, he has to date refused to speak to me about my mother and her death. If you have anecdotes about Grainger and Trina, you can – of course – add them to this by leaving a comment.

Addendum: On 22 February 2010 I received an email from someone Grainger and Trina befriended during the post-Ladbroke Grove phase of their lives. It included the following: “Grainger died in February 2000. He had contracted Hepatitis C many years previously no doubt as a result of very liberal heroin use in the 60′s and 70′s. I think he was unaware that he had it until early 1999 when he fell seriously ill with cirrhosis of the liver. I went to his funeral in Elephant & Castle. Trina has moved to Newcastle upon Tyne and is living with her mother.”

And while you’re at it don’t forget to check – www.stewarthomesociety.org – you know it makes (no) sense!

Ban black cabs in London

Monday, March 16th, 2009

The conviction of John Worboys last week on 19 charges of drugging and sexually assaulting women in his black cab demonstrates that licenced taxis are neither safe nor reliable.  It is believed Worboys raped and assaulted 100 women. The authorities have always had an indulgent attitude towards licenced cabbies and this was undoubtedly a factor that encouraged the old bill to overlook complaints about him (alongside institutional sexism). Both licenced and unlicenced cabs are a menace in London. They clog up roads and in my experience black cab drivers number among the most intolerant motorists in the city, with a size-able proportion of them being particularly aggressive towards pedestrians and cyclists. I’ve come across a number of instances of people being hit by black cabs where rather than this being an  ‘accident’, it was deliberate. The licencing system for black cabs encourages this, because cabbies believe the cops will take their side in such matters and that they are untouchable. While the Worboys case illustrates just how indulgent the authorities can be towards licenced cabbies (the cops let him rape for 6 years before doing anything to stop his sex attacks), it is by no means the main reason their trade should be stamped out. London needs a free public transport system and fewer private vehicles on the road.

And while you’re at it don’t forget to check – www.stewarthomesociety.org – you know it makes (no) sense!

MySpace, Power Pop & Julia Callan-Thompson

Saturday, March 14th, 2009

While bringing you this blog I haven’t entirely forgotten about the main part of my site, to which this is – of course – just a back end. And over there you get pictures too, whereas this part is all text.  Aside from tidying up bits and pieces on the main part of the site, I’ve also been adding new pages. But if you wanna comment on these new pieces you’ll have to do so below, since the main site consists of static pages.

On MySpace (I also put this out as an “ediffusion” pamphlet a week or so ago):

<http://www.stewarthomesociety.org/praxis/myspace.htm>

On why late-seventies power pop was superior to punk slop:

<http://www.stewarthomesociety.org/praxis/powerpop.htm>

On the death of my mother Julia Callan-Thompson and the botched investigation into it by the old bill:

<http://www.stewarthomesociety.org/praxis/dead.htm>

And while you’re at it don’t forget to check – www.stewarthomesociety.org – you know it makes (no) sense!