Posts Tagged ‘eighties’

Occupying my future, reclaiming my past!

Thursday, December 22nd, 2011

Asserting that ‘we are everywhere’ is probably more convincing than the claim that ‘I am everywhere”. Nonetheless it doesn’t take much suspension of disbelief before I’m able to convince myself that indeed “I am everywhere” – after all, I’ve been billing myself as ‘an ego maniac on a world historical scale’ for years! Recently I stumbled upon someone on Goodreads with my name who has been promoting my books rather energetically over there – unfortunately this Stewart Home can’t possibly be me since he joined the site in July 2007 (whereas I joined yesterday) and he’s based in the USA. My author profile at Goodreads is here.

When I read what other people write about me it can often seem like I’ve been even busier than I actually am. Reviewing my recent White Columns show in the New York Times on on 18 November, Roberta Smith wrote: “A brochure written by Mr. Home explains a lot, if not everything. For that, there is his lavishly detailed Wikipedia entry, which also appears to be his handiwork.” To me the entry in question has an inconsistency which makes it obvious it is a collective effort rather than mine. I suspect that some of the imbalances in the article are the result of other people using Wikipedia to promote themselves. For example, while many of my books and exhibitions are passed over without discussion, there is a bizarre passage about the Evening Falls nightclub (including the fallacious claim that I didn’t read there). Likewise, when I last checked, no one had updated my list of exhibitions on this Wikipedia page to include my recent White Columns outing.

Moving on, I’ve also seen some nutjob using web 2.0 comment facilities to allege that I write my own Amazon reviews…. of course they offered no proof, and had obviously missed the fact that I just don’t take the user generated content on that site very seriously. As you’ve probably gathered by now, way too many of my leisure hours are spent reading about myself for me to have the time to write reviews of my own books for Amazon. Likewise, it will come as little surprise to most of my readers that one of the things I love about the web is the way it allows everyone to turn over their own past – and in some cases rediscover material they’d pretty much forgotten. I didn’t have any images of the Anon exhibition I’d been a part of in Luton back in 1989 until John Wynne posted some photographs of it on his Facebook profile. I immediately snaffled those featuring my contributions and added them to my Flickr photostream – where they look absolutely fantastic in an utterly weird eighties appropriated post-pop art kind of way. Likewise, earlier this year I finally got around to putting an image of my ‘original’ Art Strike Bed onto Flickr, done several years before Tracey Emin attempted to recuperate this particular assault of mine on the sensibilities of the London art establishment.

I could use this piece as an opportunity to write about how I’m attempting to replace the planking fad with a craze for photos of people standing on their head – there are currently a dozen pictures of me doing headstands on my Flickr profile (see if you can find them all). However, rather than banging on about my topsy-turvy online presence, I’m now going to get even more self-referential and obsessive. What I’d like readers of this blog to do is tell me in the comments below whether I used the best possible title for this post, or whether I should have reversed it so that it ran: “Reclaiming my future, occupying my past”?

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

Pleasure never hurt anyone… some Cocteau Twins pre-history and the way London rocked 30 years ago!

Tuesday, December 1st, 2009

I’ve never been into the Cocteau Twins myself… just ain’t my thing. However, I recently got into an online discussion in which I mentioned that I’d known their second and main bass player Simone Raymonde in the old days when he’d been in a band called Disruptive Patterns, and that this group had morphed into The Drowning Craze. Or rather, I mentioned that the Drowning Craze had emerged from a band whose name I couldn’t remember off the top of my head! It took some serious thinking to retrieve the name…

In the late-seventies and early-eighties I belonged to various groups that played and rehearsed in and around London and its south-west suburbs – the furthest out of London I played was in places like Guildford and Stevenage (okay Stevenage is north of London, but mainly we played south-westish), usually in pubs or sometimes clubs like The Starlight in West Hampstead (the less prestigious upstairs venue twinned with the relatively small Moonlight Club). We practiced all over the shop too, but the best place I ever rehearsed (circa 1980-81) was in an 8 track recording studio located in the basement of Theatre Projects in Neal’s Yard, Covent Garden.

Dave King, who drummed for a band I was in called Basic Essentials, worked at Theatre Projects as a recording engineer and so we were allowed to use the place at the weekends for free, not just to rehearse but also to record. It was amazing, during breaks we’d rake through  old tapes and dig up demos by the likes of T. Rex and The Average White Band who’d used the Theatre Projects studio…. although during the week the bread and butter work there was recording stage effects for plays. At the start of the eighties, Covent Garden was still in the process of being transformed into the shopping mall from hell it has become today, so we’d have a laugh in the area and after rehearsals we’d usually go to a tiny caff on the north side of Leicester Square which we called The Basic Essentials Cafe (I can’t remember it’s actual name and – like Theatre Projects in Neal’s Yard – it isn’t there any more) for espresso.

Anyway, because I was playing in various small time groups, I got to know a lot of other bands, including Disruptive Patterns. I’d guess Disruptive Patterns were a going concern around 1979-80, I certainly saw them several times and one of their tunes is still lodged in my mind. It was probably called Pleasure Never Hurt Anyone, since that line was the main refrain of the chorus. Disruptive Patterns were a fairly straightforward new wave act with some backwards and forwards psychedelic nods (and more like The Psychedelic Furs than The Sex Pistols). The two members of the combo I recall being on friendly terms with were singer Andy McInnes and bass player Simon Raymonde, although I’d imagine I spoke to other members of the group as well. Both Andy and Simon struck me as nice guys, but given the way bands work it didn’t surprise me when Andy was kicked out and an American girl called Angela Jaeger was brought in to front the group, which simultaneously changed its name to The Drowning Craze (the line-up and name change may have been at the instigation of the indie label Situation 2, who the group signed a record deal with, but I’m not certain this was the case).

I went to see The Drowning Craze early on somewhere in central London (I don’t remember which venue, but some small club) and didn’t like the new singer or the new songs (the set was completely different to the one Disruptive Patterns had been performing). I lost sight of Andy McInnes pretty soon after this, but carried on running into Simon Raymonde by chance on the street or in clubs pretty much up to the time he joined The Cocteau Twins, I haven’t seen him since then. Since I didn’t like Angela Jaeger as a singer, I only ever saw The Drowning Craze once when she was in the group – but after she was replaced by Frank Nardiello, I have a very dim memory of giving them a second chance and liking what they did with him a little bit more (but whether this was a gig or a rehearsal I’d been invited to witness, I can’t recall).

There are a couple of photos of the Disruptive Patterns on Fred Pipes’s Flickr pages, and a comment in a Cocteau Twins discussion thread riffing off Fred’s photos. But it would be nice if someone could help me recall some other Disruptive Patterns tunes, the venues they played (mainly around Guildford as far as I recall – Wooden Bridge etc.), and possibly even upload any demos that might exist! Also am I right in thinking there is a link between Disruptive Patterns/Drowning Craze and a late-seventies punk band called The Rubber Flowers who were probably based in Farnham (which is further south-west than I ever ventured) and whose line-up included Alex Binnie?

It was interesting attempting to dredge this minor piece of music history from my memory, and thereby realise how much of it I must have forgotten. That said, there are a lot of tunes that probably never made it onto vinyl rattling around my head from that time. For example, I can remember two songs by a band called The Lasers, Living In A Television (‘livin’ in a television, ray tube for a home, livin’ a television on my own!’) and Show Us Your White Bits. I can’t recall where this band were from but I assume it was south-west or west London suburbs. Anyone know anything about them? I guess I’d better stop there or this is gonna get too seriously obscure!

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!

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!

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!

Gazwrx: The films of Jeff Keen

Tuesday, March 3rd, 2009

The BFI have just done us proud with a box set of Jeff Keen films entitled Gazwrx, not to mention various screenings of his works – and all from brand spanking new prints! Keen was one of the earliest and best British underground film-makers. He was largely self-taught and is blessed with a beatnik sensibility that converges with the hippie scene of the later sixties but remains a distinctive strand within it. As a starting point for all this, imagine a surrealist remake of Robert Frank’s Pull My Daisy (1959) set in Brighton and you’re not a million miles away from Like The Time Is Now (1961); except, of course, the comparison glosses over Jeff Keen’s singularity. Wail (1960) is probably more typical of Keen’s cinematic sensibility; a crazy mix of animation and live action footage featuring Hollywood werewolves, high art and gang violence. Using 8mm film, Keen created scratch video 20 years before anyone else had thought of it. The resultant mix and match of high art and lowbrow popular culture runs through forty years of his film work.

From the early sixties right through to the late seventies Keen worked with an ensemble of players who might be compared to the troupe John Waters deployed in his midnight movie hits before making the transition to Hollywood director. Although both men clearly set out to entertain their audiences, the similarities pretty much stop there because Keen created shorts not features, had no time for narrative and made extensive use of animation and double exposure. So the results are closer to Ira Cohen’s Invasion of Thunderbolt Pagoda (1968) than Pink Flamingos (1972). But as in John Waters’ far more conventional flicks, Keen’s ensemble of actors liked to dress up and act out as exaggerated comic book versions of themselves: and some of them were rather fond of taking their clothes off too, particularly Jeff’s wife Jackie Keen. One can sense from the films that there were sexual shenanigans going on off-screen that fuelled the bad craziness caught on celluloid. But if sex and nudity don’t do it for you, there are also cardboard ray guns, monsters, endless explosions of paint and other pyrotechnics. The titles of the films in the Gaswrx box provide a good indication of their content: Cineblatz, Marvo Movie, Meatdaze, The Cartoon Theatre of Dr Gaz, Return of Silver Head, Victory Thru Film Power, Kino Pulveriso, The Dreams and Past Crimes of the Archduke, Omozap, Artwar Fallout, Plasticator etc.

One of the great things about this BFI box set is that it allows you to follow Keen’s development from 1960 to 2000, and thereby see how he adapted his singular sensibility to different technologies (8mm, 16mm, video) and changing times. There is a major shift in his work that occurs at the end of the 1970s, when rather than a tribal ensemble acting out before the camera, Jeff himself in a paint splattered boiler suit becomes the main focus of attention (with much of the camerawork handled by his daughter Stella Starr, who also appears in many of the movies from a young age). My own preference is for the earlier work, and my favourite piece by Keen is the 33 minutes of madness known as White Dust (1972).  That said, the later shorts show Keen at his most aggressive. Although he is always entertaining and quick to offer his audience visual jokes, by the eighties a sense of frustration enters Keen’s work, and alongside it there seems to be a desire to punish those viewers who try to passively consume his movies as mere divertissements. Reaganomics possibly had something to do with this, because a similar anger bubbles through much underground art video produced in this period; the work of Pete Horobin, for example, also tests the limits of the viewer’s endurance, albeit in very different ways to Keen. Putting the focus firmly back on Jeff Keen, his films are always entertaining but are also far more complex and referential than they might at first appear to a casual – or indeed, an attentive – viewer. While having having read André Breton’s surrealist novel Nadja isn’t an essential requirement for the enjoyment of Keen’s exuberance ouvre, it is just one of many many things that he explicitly references.

Jeff is still alive and well and living in a two room flat in Brighton, but at 85 he seems to have retired from active film-making. The closest figure we have to Keen currently making movies is Damon Packard; although, of course, the younger man substitutes Keen’s love of science fiction with slasher film obsessions. Packard is also at a serious disadvantage in that the cinema clubs and underground art centres where Keen’s films played in chaotic but sociable environments to audiences who were often bombed out of their minds on drugs, no longer exist. The nearest you’ll come to that now is inviting some friends over to your pad to watch highlights from the Gazwrx set while enjoying something that might well be more intoxicating than beer! And if that proves a success why not follow it up with a midnight home screening of Packard’s Reflections of Evil (2002)?

Gazwrx: The Films of Jeff Keen was released by the BFI on 23 February 2009 in both DVD and Blu-ray editions with a list price of £34.99 for 570 minutes of footage!

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

Ray Johnson opening at Raven Row

Sunday, March 1st, 2009

Ray Johnson was a pop artist, friend of Andy Warhol and one of the key figures in international mail art (aestheticised communication in the form of a ‘paper net’ that acted as a precursor to the world wide web). He committed suicide in 1995 and had dropped out of the New York art scene years before that, opting instead for non-commercial underground activity. Johnson was a major figure in the early years of American pop art, but more recently had been largely forgotten beyond an international underground scene that idolised him. I was in communication with Johnson in the 1980s when he initiated a correspondence with me. I’d been aware of him for quite some time before he wrote to me, but I’d never mailed him anything because I figured he must be inundated with letters and requests. That said, Johnson was very much a countercultural figure, so it felt strange to attend a major retrospective of his work at Alex Sainsbury’s new gallery Raven Row in Spitalfields, London.

The show covers everything from Johnson’s early collage works right through to his mail art material. It is the largest exhibition of Ray’s art ever seen in Europe, but he made so much that no retrospective could ever be comprehensive. I’m told about 60 percent of the work in the Raven Row show is owned by Johnson’s estate, who lent it framed, so a less formal system of display was unfortunately not an option. Much of Johnson’s work was ephemeral and designed to be handled by the recipient rather than placed under glass in a gallery. Seen out of context by people who don’t understand that Johnson set out to circumvent the conventional gallery system, his playful output might prove impenetrable. Those who encounter this problem need to think of Fluxus and the Situationists, then take a side-ways leap.

The opening was packed and the overwhelming majority of those attending were London art world insiders who seemed to have no idea who Ray Johnson was, and the few who paid any attention to his work appeared very puzzled by it. Most were present for the event, the first night of Alex Sainsbury’s huge new non-commercial gallery. The following is a typical example of an overheard conversation:

Person A: What do you think of this then?

Person B: It’s a great way to spend 30 million pounds!

Alex Sainsbury refuses to be drawn on how much money he’s put into his new space, so unless this overheard conversation was between Raven Row insiders (which I doubt), then the figure cited is just a wild guess. That said, it’s obvious a lot of money has been sunk into the venture. The outer fabric consists of two Grade I listed eighteenth-century Huguenot silk merchants’ houses and the nondescript commercial building that stood behind them. Likewise, many hours of hard thinking clearly went into deciding what to strip out and what to retain. The architects responsible are 6a, a team made up of Tom Emerson and Stephanie MacDonald, who originally met as students at the Royal College of Art and now live together as a couple. The RCA connection is continued in the form of Sainsbury’s assistant Alice Motard, who has just graduated from the curation course taught at that college. The space is clean but retains plenty of period details. I can’t say the rococo plasterwork is to my taste, but it is apparently completely authentic. The building is located just off Bishopsgate on the edge of the City of London, and close to Liverpool Street station. From the front windows you can see the site of the final and most bloody Jack The Ripper slaying, whose victim Mary Kelly shares a name with an iconic 20th century feminist artist. At the time of the murder in 1888 the location was known as Dorset Street, but it is now a multi-storey car park. For much of the 20th century neighbouring Artillery Lane in which Raven Row stands was also run down, and a doss house situated just yards from this tasteful new art venture only closed down 10 or so years ago.

Alex Sainsbury is a keen observer of the London art scene and with Raven Row he has set out to transform it by introducing important but neglected artists to an overly commercialised sector. He’s certainly done his homework, I was introduced to him at an opening in Hackney last year and he not only knew who I was but also that I’d been in correspondence with Ray Johnson.  Likewise, he’s written the main catalogue essay for the Johnson show, not something I could imagine Charles Saatchi doing.  The Raven Row opening was a crush and those present were very much from the middle and lower-strata of the art world. I spotted no big names. The artists I ran into included photographer Rut Blees Luxemburg, film-maker Mark Waller, mixed media experts Jemima Stehli and Janette Parris, magician turned artist Jonathan Allen, sound manipulator Richard Crow, and S. E. Barnet (currently showing in the tiny Five Years Gallery in Hackney). In terms of curators those visible to me were mainly from the assistant level at the Tate, Ben Borthwick rather than the likes of director Nicholas Serota.  It might be this mix of people was a tactical decision on Sainsbury’s part and that he is looking to have an impact on the art scene from ground level up rather than working with a top downwards model of influence. Or it could be that a more select and sedate event with even better food and wine was held for major art world names before the hoi polloi arrived. Your guess is as good as mine! That said, Camden Arts Centre director Jenni Lomax was all present and correct alongside the hoi polloi, but then she also sits on the Raven Row board.

Leaving aside Clive Phillpot, Simon Ford and Alastair Brotchie, the opening appeared bereft of those I know with a long term interest in Ray Johnson. But then most of those who’ve dug Johnson since way back when operate completely outside conventional art circuits. I didn’t see anyone I knew in the eighties who’d been involved in the London mail art scene. The Johnson preview was very crowded but even so my impression was the likes of Mark Pawson, Stefan Szczelkun, Mike Leigh, Hazel Jones and David Jarvis, just weren’t present. Which is a shame because I’m sure they’d have really enjoyed seeing so much of Ray’s work in one place, while the good wine would have totally grooved them. Simon Ford asked me if there were still hardcore mail artists about who might turn up to protest against a curated Ray Johnson show. My feeling was that the overwhelming majority of the anti-art brigade would be very happy to see his work getting wider exposure. Fordie also expressed surprise that Tate archivist Adrian Glew didn’t appear to be present, since he has a long history of interest in the marginal arts. Perhaps Glew was busy elsewhere, I certainly didn’t clock him at the Johnson beano.

Eventually most people moved on from the overcrowded gallery and across Commercial Street to Christ Church, a Hawksmoor building, which was the scene of further partying. A lot of people had emerged from the woodwork for the event and I found myself talking to the likes of Kodwo Eshun and Jane Rollo. I hadn’t seen a London art world shindig that was quite so rockin’ for at least two years. So it felt particularly surreal that it should be for a major Ray Johnson retrospective! But with this nudge from Alex Sainsbury, and a little help from stuff like John W. Walter’s 2002 Johnson documentary How To Draw A Bunny, it can’t be long before the entire London art world starts acting as if it grew up on Ray’s oeuvre.

Please Add To & Return To Ray Johnson is on at Raven Row, 56 Artillery Lane, London E1 7LS, 28 February-10 May 2009.

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