Posts Tagged ‘LSD’

And The World’s Greatest Legal High Is… Influenza!

Monday, October 10th, 2011

Flu has a bad reputation, but if you think about it you’lll soon realise that the most important thing that drugs do for you is alter your state of consciousness, and influenza can do that too! Squares denounce flu as an illness, but hipsters know it’s much more productive to look on influenza as a psychic elevator and a short cut to ‘enlightenment’.

You could spend a life-time sitting in the lotus position meditating and still never get ‘enlightened’; or you could catch flu and – as the fever takes a hold -  unlock the secrets of the universe and learn to let go of everything (or if not everything, at the very least your lunch, either via your bowels or barfed up through the mouth). With flu your dreams will be more vivid, you will experience visions that more than equal those of the Magi of old – and what’s more, you’re not lining the pockets of the local CIA operative whose been pushing you LSD (and has secretly enrolled you in a mind control programme)! In short, flu is the ultimate groove sensation.

Had I not accidentally caught flu this weekend, I would have proceeded with an ill-conceived plan I’d formed to write and post a blog about the film Norwegian Ninja (2010, directed by Thomas Cappelen Malling). When I’d watched Norwegian Ninja, I’d been severely disappointed that it came nowhere close to the bad craziness of director Godfrey Ho’s 1980s ninja flicks – and in particular that spectacularly inept holy grail of Grade Z movie making Scorpion Thunderbolt (1988, starring Richard Harrison and Juliet Chan).

Catching flu expanded my consciousness and made me realise that I couldn’t be arsed writing a critique of Norwegian Ninja; and instead I found myself imbibing large quantities of Spingbank Malt Whisky (for medicinal purposes only, of course) and experiencing hour upon hour of extremely vivid lucid dreaming. As the greatest legal high of all time, influenza not only provided me with a whole series of crazy sensations – I felt like I’d been wrapped in cotton wool and then battered with a sledge hammer – it also made me more creative (after all this blog about legal highs is way better than one about Norwegian Ninja)!

Oh, and influenza helped me save on my fuel bills too, coz I was sweating away in my bed and didn’t need to put on the heating! What’s more, influenza can help you lose weight as well, coz when you’ve got flu you really don’t feel like eating! With flu there is no need for expensive dietary supplements, you can lose weight on the cheap!

So kids, if you want to experience some serious highs this winter, catch a does of flu and you’ll find yourself having a gas! And if a doctor or nurse offers you a jab of flu vaccine, just say ‘NO’ – coz you don’t wanna let the man mess with your fun! Flu rocks and unfortunately it’s not even addictive, since your body builds up immunity to the various strains after catching them…

And remember, don’t believe the medical hype that paints flu in a negative light – it’s better than most drugs, and if you catch it then your croak will write you a sick note giving you time off work too! What more could you want, and what are you waiting for? Catch flu now!

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

The best of ‘Beat Beat Beat’ – as incoherent as the 60s will always be!

Monday, December 21st, 2009

The label tells it like it is – “Beat Beat Beat was a German music programme that ran during the sixties. Not to be confused with the other well known German pop programme Beat Club. Beat Beat Beat was broadcast out of Frankfurt commencing in 1966.” Well you wouldn’t want to confuse the two programmes as far as getting the DVDs of material from them is concerned, coz while the Beat Beat Beat (ABC Entertainment) disks give you classic mod, British Invasion, freakbeat, pop and even soul performances, on the The Best of Beat Club vol 1 & 2 (Eagle Vision) you apparently get Deep Purple,  The James Gang, Johnny Winter, Santana, Procol Harum, Nazareth, Free, Humble Pie, Jethro Tull, Alice Cooper, The Kiki Dee Band, Johnny Rivers, The Hollies, Bachman Turner Overdrive, The Doobie Brothers, Ten Years After, Canned Heat and Three Dog Night. So while a mixed bag, the The Best of Beat Club vol 1 & 2 will appeal more to headbangers and others of that ilk; whereas Beat Beat Beat is a groovers kinda thang! That said, there were earlier year by year compilations of Beat Club and those for 1965, 1966 and 1967 look a lot better than the more recent ‘total overview’ disks… But I’ve only seen them listed online, I’ve not actually viewed them.

There are Beat Beat Beat DVDS running to about 10 minutes each devoted to The Small Faces, The Kinks, The Yardbirds, Eric Burdon and the New Animals, The Spencer Davis Group and The Hollies. Performances by these acts are not particularly rare and I’ve certainly seen enough footage of them to know the Small Faces totally rock onstage, whereas the Kinks or The Yardbirds (both of whom made records I love) tend to look too static and overall not that great. With more tunes and some groovy but less well known acts, The Best of Beat Beat Beat compilation disks are a better option, despite a really odd selections of talent.

At 41 minutes The Best of Beat Beat Beat volume 1 offers the longest running time. There’s Barry Ryan (Eloise), Cat Stevens (Granny and Matthew & Son) and Chris Farlowe (Out Of Time and Ride On Baby) lip-synching really badly to pre-recorded tracks. Farlowe in particular looks completely uninterested in what he’s doing, but remains compelling in a train wreck kinda way, especially as he is one sad and ugly motherfucker who had an obsessional interest in Nazi memorabilia (fortunately it was illegal for him to wear his fascist uniforms on German TV). There’s straightforward sixties pop from Herman’s Hermints (No Milk Today and My Reservation’s Been Confirmed) that while adequate need not detain us. By way of contrast, Casey Jones and The Govenors (Come On And Dance and Don’t Ha Ha) are a bit of an oddity.

In the UK Casey Jones AKA Brian Casser is known to music fans (but not the general public) as the bloke who booked The Beatles as his support act and briefly had Eric Clapton as his guitarist, but not really for his music. In Germany he had a huge hit with Don’t Ha Ha, hence his inclusion here. And if you like primitive beat sounds then you’ll dig the two Casey Jones and The Governors tunes on the The Best of Beat Beat Beat volume 1. It is probably unnecessary to add Don’t Ha Ha was a Huey ‘Piano’ Smith song. Volume 1 also gives us two tunes from The Trinity featuring Julie Driscoll (Save Me and Road to Cairo), with keyboardist Brian Auger’s theatrics totally upstaging his singer Julie Driscoll (who sounds great, albeit not as good as Aretha Franklin when covering her, but doesn’t have much stage presence). The best is saved for last, The Easybeats doing Loving Machine (incorporating the Batman Theme) and that old stomper Friday On My Mind. As prot0-punkers The Easybeats completely outflank Casey Jonees and The Governors.

Volume 2 is shorter but better. The Minderbenders do a Wilson Pickett medley in the form of Land Of A Thousand Dances/In The Midnight Hour and their big hit Groovy Kind Of Love; and also Don’t Cry No More and a medley of C. C. Rider/Jenny Jenny Jenny. P. J. Proby’s What’s Wrong With My World provides another spectacular train wreck; his lip-synching is terrible and the old rocker looks both off his box and down on his luck – he has to be seen to be believed! The disk winds up with two total class acts, P. P. Arnold and The Creation. A former Ikette (an Ike and Tina Turner backing singer) and session vocalist for the likes of The Small Faces, Arnold is diminutive but her voice is 100% pure soul and her two tracks here (Speak To Me and The First Cut Is The Deepest) are just fabulous.

You’d think there’d be nothing in the Beat Beat Beat vaults that could credibly follow Arnold, but The Creation are up for it! Aside from being a truly awesome song writer and musician, their guitarist Eddie Phillips also had the greatest haircut of 1966, just look at the shape of it around his ear in the footage of The Creation doing their cover version of I’m A Man! The Creation look fabulous in their dark trousers and button-down shirts with contrasting white details (buttons and belts). The shame here is that on the same edition of Beat Beat Beat (their first TV appearance) they also did That’s How Strong My Love Is and Makin’ Time, but they ain’t included on the DVD. Still you do get to see Eddie using his innovative technique of playing his guitar with a violin bow, something much imitated by lesser talents like Jimmy Page of Led Zeppelin. What you also see here is The Creation doing Painter Man a year later, with their hair a little more grown out; the band still look really stylish but a little freakier. When I was a teenager back in the 197os I was on the lookout for some Creation vinyl for a long time, and when Raw Records stuck out Makin’ Time and Painter Man on either side of a 45 in the latter part of that decade, I grabbed a copy as soon as it came out. I really love this band, Makin’ Time in particular. And, of course, we should never forget the famous Eddie Phillips quote: “Our music is red with purple flashes.” Incidentally, after The Creation broke up, Phillips joined P. P. Arnold’s backing band.

Volume 3 of The Best of Beat Beat Beat features solid sixties pop from The Searchers (Love Potion No. 9, Sweets For My Sweet and C. C. Rider) and The Tremeloes (Loving You Is Sweeter Than Ever, Silence Is Golden and Here Comes My Baby). Then there are the more psychedelic sounds of The Move (Walk Upon The Water and I Can Here The Grass Grow). However, the real highlight is The Smoke doing My Friend Jack, a song banned by the BBC in the sixties because it is about LSD! My Friend Jack is a psyche classic and everything else on this particular disk looks second-rate in comparison…  so surely we could have had more than one track from The Smoke!

I’ve also spotted but haven’t acquired a two band Beat Beat Beat DVD compilation featuring The Troggs alongside Dave Dee, Dozy, Beaky, Mick & Tich. I love The Troggs but I figure the DVD ain’t worth getting coz there won’t be enough of ‘em. Likewise, any disk you see in the Beat Beat Beat series will probably feature gawky looking teenagers dancing badly to groovy sounds… You can also see most of this stuff and much more for free on YouTube, although it comes and goes and the image is obviously heavily compressed- whereas on these disks both the audio and visual quality is really top-notch. Weird how you can see and hear so much shirt now that just wasn’t available to those of us based in London back in the old days, but I ain’t complaining! It’s like time travel for ravers…

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

From censorship to John Latham and back again…

Monday, December 7th, 2009

The oldest of suppressed traditions

In a world dominated by illusion, it comes as no surprise that censorship should be popularly misperceived as a form of social repression. The contradictions which support such an inversion are manifest in every area of daily life; they constitute the apparent “reality” of our “time”. Despite the fact that it has been demonstrated time and again that consciousness is an effect of a closed system of exclusive focus, of censorship, “literate” consensus maintains that censorship and silence are the negation of consciousness. It is clear that Power has a vested interest in maintaining a monopoly on censorship. The “concept of freedom” is an unreachable, collapsing, absolute. All experience becomes equal when exchanged via Capital; with class “privilege” determining how much of this worthless “equality” each person is entitled to.

The negative and its use

Anything can be censored for any reason; start by censoring this text. The censors of the “left”, “right” and “centre”, all do their collective part; despite the fact that they imagine themselves to be motivated by the very beliefs we will ultimately negate.

From originality to ontology: the decline of the text

The possibilities for communal transformation of this world lie in disconnection from imposed notions of progress and democracy. Plagiarism is the “beginning”, the negative point of a culture which finds its justification in the “unique”. Censorship supersedes plagiarism as an “intelligent” negation of “originality” because it suppresses not only (“original”) production, but also reproduction (plagiarism, appropriation &c.) which revalue the “original” and maintain its circulation in “reality”. Censorship is to the present what plagiarism was to history.

The healing power of doubt

Revolutionary propaganda sets itself the task of discrediting all received ideas without offering a single “alternative” thought with which they might be replaced. Kill your desires and live! Erase, destroy and make useless all recorded information. Physically and otherwise attempt to suppress all expression in art, politics, history &c. Resist culture and all other forms of institutional identity. Suppress, by refusing to participate in, interpersonal and mass social relationships. As you see fit, smash the “imagination”, “schizophrenia”, “death”, “sexuality”, “values”, “time” and all other forms of seduction and abstraction. Experimentally break down the frames of reference by which you organise non-valued perceptions into valued entities: i.e. objects, ideas, means of self-perception &c.

An end to social relations

“Self-destruction” is a semantic swindle. The moralism against suicide is reactionary resistance to change. Only total opposition, both theoretical and practical (i.e. silence), is irrecuperable. Anything else must necessarily appear absolutist and contradictory.

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

The Acid: on sustained experiment with lysergic acid diethylamide, or LSD by “Sam”

Tuesday, September 8th, 2009

The author of The Acid (Vision, London 2009) uses the pen name Sam, but is probably better known to most readers of this blog as Chris Gray. For me, and probably for many of you, The Acid reads like a continuation of where Chris left off in the essays he contributed to his English language Situationist anthology Leaving The 20th Century (1974). There he wrote: “What needs understanding is the state of paralysis everyone is in. Certainly all conditioning comes from society but it is anchored in the body and mind of each individual, and this is where it must be dissolved. Ultimately the problem is an emotional, not an intellectual one. All the analyses of reification in the world won’t cause a neurosis to budge an inch…”

In The Acid, Chris says of the counterculture: “Looking back on that time, what seems so incomprehensible is that we never took  LSD more seriously. How was it we failed to grasp its importance? For the concept of de-conditioning was at the heart of the New Left of the time. If any single feature set 60s and 70s radicalism apart from previous insurrectionary politics, it was insistence that individual subjectivity had to be transformed. The political was the personal. Politics were psychopolitics. Our own hearts and minds were precisely where the old order was ingrained – and if we couldn’t change ourselves, then what hope was there we could ever change the world?”

Many of those around Gray, including my mother Julia Callan-Thompson, took acid far more seriously than he did – but this was precisely because in the 1960s they were heads (whose attempts at personal transformation were doomed to failure because there was no accompanying social revolution) and he was a radical.

The Acid begins with a lucid overview of psychedelic literature and an account of Gray’s previous experiences with mind expanding substances. Chris also provides a potted autobiography, so that his readers can understand the material that comes up in the trips he describes. These vary from being joyous to total bummers. He was tripping every two to three weeks for three years as a self-prescribed acid therapy; an attempt to break down personal blockages. He tried different approaches to tripping: initially putting on a blindfold and listening to music in his flat, before moving on to outdoor excursions on Hampstead Heath. These accounts are very informative about ways of understanding and structuring trips, and will provide most readers with new approaches to the subject.

The back cover of the The Acid stresses that the breakthrough insight from these sessions is that the visions are serial. Drawing heavily on Stanislav Grof”s Realms of the Human Unconscious, Chris underlines the need to work through bad trips in order to transform oneself and achieve a sense of wholeness. The thrust of this argument I can run with, although I’m not sympathetic to all the psychoanalytic and religious elements drawn into the narrative. This is partly a generational difference, with the materials Gray used to structure his understanding of his ‘inner experiences’ very much mirroring those adopted by my mother and many of her friends in the 60s and 70s (that said, the psychedelic hermeticism my mother was involved in with Terry Taylor was quite different – and as far as I can tell, superior – to such deployments of Hinduism).

My view is that the varieties of Hinduism drawn upon by both my mother and Chris, and much of their ‘turned on’ generation, are too hierarchical to enable us to rediscover the forms of consciousness that characterised primitive communist societies. By way of contrast, shamanism (particularly in its voodoo and candomblé manifestations) does provide us with pathways to disalienation. LSD is, of course, a fantastic tool for inducing shamanistic experiences.

Mirroring Gray’s activities with King Mob in the 1960s, he draws on Keats and the English romantics as sources for understanding his experiences, whereas when it comes to LSD I would opt more for figures such as William Hope Hodgson (and others whose books currently exist outside the literary canon). This is not a matter of huge importance, and obviously reflects personal tastes and reading experiences. I went through Keats as a teenager and concluded I disliked his poetry.

The Acid is an engaging and thought provoking book, and while it is one man’s trip, it is also intended as a map that will assist any interested party in their own exploration of ‘inner space’. The text works on many levels, most obviously as a piece of writing that is a joy to read. If you have any interest in acid at all, then get your hands on this book!

But let’s give more or less the last word to Chris. He writes the following about his attendance at a San Francisco psychedelic conference in the early part of this millennium: “A well established, even well-heeled, cult I had been expecting; but not one thriving like this. The hall was so packed you could barely move. Of all the revolutionary groups of my youth – the Hippies, the New Left, the students, the blacks, the feminists – it was, however improbably, the druggies and the druggies alone who had made it through  in one piece. And not just survived, but boomed.”

Well, throw in some voodoo or candomblé and I think we have a revolutionary situation!

This book has been republished by Park Street Press as The Acid Diaries by Christopher Gray and is currently fairly easy to obtain. (Note added 15 December 2010).

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

One week of art strike activities in Alytus, Lithuania, 18-24 August 2009

Monday, August 31st, 2009

The central HQ of the 2009 Art Strike Biennial switched constantly between Alytus Art School, Hotel Dzukija about five minutes walk away, and a bar-cum-restaurant located between these two venues in downtown Alytus. At the art school a lot of coffee was consumed, at the hotel innumerable bottles of wine, and in the bar industrial quantities of beer and cold beetroot soup. The Dzukija was an old school Soviet hotel, a concrete shell with stained glass in some of the public areas and cantilevered stairs between the floors. The building was absolutely crammed full of original oil paintings by official Soviet artists of yesteryear. In keeping with the Dzukija’s theme of Soviet nostalgia, the maids would leave overflowing bins in the bathrooms and failed to replenish toilet paper; all of which created a very relaxed bohemian atmosphere.

Perhaps the most interesting innovation art strikers brought to the Dzukija Hotel was the introduction of an ‘anarchist orgy suite’ on the second floor. This was a bedroom that had been assigned to a visiting anarchist from Vilnius (much of the Vilniaus Anarchistai group was present), that was put to collective use. The keys to this room were left permanently in the lock on the outside of the door, and according to unsubstantiated rumour anyone could go inside for ‘fun’, but  in doing so risked being locked-in. As far as I’m aware the only person to end up trapped in the ‘orgy suite’ was the Italian autonomist Franco ‘Bifo’ Berardi, and when he was finally freed he announced casually in English: “I’ve just had an adventure’. He was locked in on his own, so this incident provides no evidence to back-up the endlessly whispered rumours about ‘orgies’ taking place in the room.

Aside from the Vilnius anarchists, Saulius Užpelkis was perhaps the individual most involved in engaging Bifo in ongoing political debate over beers. Although originally from Vilnius, Saulius has been living in London for the past year and he numbers among those recently denounced in The Sun for holding orgies on the roof of their squat in Poplar. I had a long discussion with Saulius about this and came away with the unsurprising view that the tabloid coverage I’d seen was not very accurate.

Bifo gave a couple of public talks during the Art Strike Biennial, but I found his bar room conversation even more enthralling than his lecture style. The first of Bifo’s official talks dealt with the development of radical media strategies from the seventies to the present: he stressed the difference between the serving up of information by the mass media, and his own desire for real communication. The second talk was based around precarity ‘theory’, and since I’ve argued against Alex Foti’s version of this ridiculous notion elsewhere (with regard to the Copenhagen riots a couple of years ago), I won’t go into it here. That said, while Bifo has taken up precarity ‘theory’, I nonetheless see his thinking as being way superior to Foti’s overall; and he is also a charming, delightful and very likable guy.

The key figure in leading discussion at the art school was Redas Diržys, and he worked hard at integrating the out-of-town strikers with the local teenagers also in attendance. What finally united the various factions was not so much theoretical debate, as practical activities. On Wednesday afternoon there was supposed to be a propaganda workshop. However when I turned up for it with my old friend Lloyd Dunn, the anarchists ‘running’ it had disappeared. I hauled Redas Diržys out of an office and we had a discussion about whether or not there should be an approved set of slogans for demonstration banners. In the end we agreed that those making the banners could use any slogan they wanted, but that all slogans would be translated into Spanish. Among the slogans I contributed was ‘Fly LSD’.

The Spanish banners were used on both a demonstration and a monstration, with around 50 art strikers marching around Alytus to the sound of banging drums and chanting in Lithuanian. The demonstration stopped in the town square for political speeches and a song in Estonian from Reiu Tüür. On the monstration art strike balloons were handed out to passers-by, and the march stopped in the town square for a game of Simon Says orchestrated by Charlie Citron. The demonstration and monstration were organised on consecutive afternoons and at both events marchers wore special art strike picket line clothes designed by Stephanie Benzaquen and Rotem Balva; these had been run up by local tailors. Meanwhile local sensibilities were simultaneously flummoxed by street paintings that had been executed by Nathan Crothers and Reiu Tüür.

After the demonstration on Thursday, there was an unofficial boating trip at a local lake that had lost most of its water, resulting in rowers frequently running aground. Martin Zet and Stefan Bohnenberger played leading roles in these almost water-borne activities.  Following the monstration on Friday, a scratch orchestra came together to play improvised music outside Alytus Art School. This was followed by an after dark film screening on the outside wall of a derelict cinema.

On Saturday morning there was a game of three-sided football, with three teams and three goals. The triolectical anti-sport was followed by Mantas Kazakevicius demonstrating how to use a Reichian cloud buster, then the strike wound down with a wine tasting organised by Kurt Ryslavy and Natalie Yalon. Naturally Saturday night concluded with an over-the-top party in the Hotel Dzukija, which is a good way of reminding ourselves that while we’re demolishing serious culture we should have a smile on our lips and a song in our heart.

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

King Mob’s Chris Gray RIP

Tuesday, May 19th, 2009

I just got an email from Charlie Radcliffe telling me that Chris Gray died last Thursday morning (14 May 2009). Chris is probably best known for his brief membership of the Situationist International and being one of the key figures in the Notting Hill (west London) based King Mob. Chris was the editor and translator of the first English language anthology of French Situationist texts Leaving The 20th Century: The incomplete works of the Situationist International (1974), a book that over a long period was to have an enormous impact.

I got to know Chris around 2002 when I was researching the life of my mother Julia Callan-Thompson. At that time Chris had been ill with hepatitis c for some years, but it didn’t stop him from getting out on the streets to join anti-war and other demonstrations. He was extremely upbeat about the ongoing possibilities for the revolutionary transformation of society, and never complained about his illness. Chris told me several times he felt really sorry for those who got hep c from blood transfusions etc.; his attitude was that despite becoming ill from needle sharing, at least he’d had and enjoyed the smack that went with it.

When I saw Chris it was usually at his spartan flat in New Court, Hampstead. For health reasons, he was dividing his time between London and Cornwall. Despite the minimal decor in his London pad, Chris was really hospitable and always cooked for visitors. He viewed both me and his own daughter Mob as numbering among what he humorously referred to as ‘the lost children of Ladbroke Grove’. The first time I visited Chris, he told me he’d been aware of what I’d been doing for a long time, and said it was a shame we hadn’t met before because we had so much in common; viz, shared political and cultural interests alongside his acquaintance with my mother. Nonetheless, Chris hadn’t known my mother nearly as well as two of his former partners did in the late-sixties and early-seventies; both Brenda Grevelle and Hazel Gray saw her more much more regularly than he did back then.

During the years I knew Chris he was working on a book about LSD, and he seemed particularly curious about his own mother’s medical treatment with this drug in the 1950s. There is no need to repeat here the many anecdotes about Chris that have led some to view him as legendary, you can find them elsewhere but obviously not everything that has been written about him can be described as strictly factually accurate. Suffice to say I found Chris great company and appreciated him for his sharp mind. Rapping with him really brought home for me the fact that his translations of Situationist texts were intended to have an effect on the political climate of Britain and America; he was not aiming for the dry pseudo-objectivity of an academic.

Some of the lines that most impressed me when I first read the translations Chris made from French were his interpolations; added because he wanted to ensure these incendiary Situationist tracts worked for an Anglo-American audience. My absolute favourite among them is in his translation of On The Poverty Of Student Life. Here he threw in something along the lines of: “If the anarchists will tolerate each other they will tolerate anyone…” Chris assured me this addition was based on a throwaway line of conversation the pamphlet’s author Mustapha Khayati had tossed at him, he’d merely substituted ‘anarchists’ for ‘English’.

To the best of my knowledge, Hazel Gray died many many years ago. But Chris was still in close contact with Brenda Grevelle when I knew him. So my thoughts are with her and their daughter Mob.

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

Phil Green & the lost world of London’s beatnik hipsters

Friday, April 3rd, 2009

It has long been a cliché to say that history is written by the victors, but in terms of the London counterculture it would be far more accurate to state that to date accounts of this scene have largely been composed by the squares; individuals who failed to penetrate the truly hip inner circles because they are too straight to know about them.  Since I started researching my mother’s life, I have come across a massive amount of material that was missing from histories of the period. The most amazing oversight is without doubt the Victor James Kapur acid manufacturing bust (my mother’s friend Detta Whybrow persuaded the chemist to make the LSD, and organised its distribution in London); fortunately after I turned Andy Roberts onto newspaper accounts of the court case, he did further research and included it in his book Albion Dreaming (2008).

Many beatnik faces are still overlooked in histories of the sixties because publishers and television producers think all anyone wants to hear about is the rather less sophisticated hippie scene. Likewise, the real hipsters were rather less interested in publicising their activities than interlopers like Steve Abrams. In this blog I’m going to look briefly at 1960s west London beatnik face Phil Green, who – in tandem with Alex Trocchi – made an early stab at translating French Situationist texts into English. That said, while Trocchi’s French contacts liked to drink wine and smoke a bit of weed, these London hipsters were more into smack; and this is as true of Phil Green as anyone else.

On 12 March 1962 The Times carried the headline ‘Drug Charges After Raid On Café’ above an article that mentioned Green among others, then on 26 March 1962 the same paper followed this up with ‘C.N.D. Supporters Given Drugs’, concluding on 26 April with a news story entirely devoted to Phil Green entitled ‘Youth’s Beard A Part Of Façade’. Philip John Green then aged twenty was one of ten men and women arrested for their involvement with a ‘drug ring’ centred on The Peace Café in Fulham Road, Chelsea. At the time Green worked at this establishment as a chef. He pleaded guilty to possession of Indian hemp and twenty grains of opium, as well as ‘hubble bubble pipes’ used for opium smoking.

Green’s defence lawyer said that there was no question of him being ‘a conduit pipe for this stuff or a distributor of it’. The Magistrate assented it did rather look as though everyone was experimenting together. Green was told he’d been caught in possession of a substantial amount of opium, and it was a serious matter, requiring a full medical report. He had his hair cut and trimmed his beard, and upon his return to court for sentencing was given two years probation. The beak told Green: “You have got to get a regular job. Set your sights a little higher than the kitchen and try to trim your appearance to the job. I think you are capable of doing it, having been to a public school.”

Despite assuring the law he’d mend his ways, Green had no intention of doing so. He just wanted to stay free. Jamie Wadhawan caught him on camera at Alex Trocchi’s Arts Lab event of 13 April 1969 in the documentary Cain’s Film; and one of the women present at the event told me recently that Green promised he’d come off junk if she’d sleep with him, but she politely declined the offer. I’m also told, by other sources who likewise wish to remain anonymous, that during this period Green specialised in doing over chemists to support his drug habit. However, after coming out from a spell in Pentonville Prison he met and married a millionairess who hoped to reform him; and moved to Amsterdam with her.

That said, Green kept up his more important London contacts after he left the city. Nina Trott who squatted in the flat above my mother and her common-law husband Bruno de Galzain in Tottenham Court Road in 1975/6 told me: “An old junkie friend of Julie and Bruno called Phil Green came over from Amsterdam and stayed for a while.” While another squatter from a few doors down added: “I remember meeting Phil Green at Julie’s flat, with Bruno, sometime in 1976.  Phil was a photographer and a smackhead.”

Since my mother Julia Callan-Thompson died in 1979, I haven’t attempted to follow Green’s evolution from that point on. However, I’ve been led to believe he is now dead. Further anecdotes about Green, particularly if they relate to his involvements with my mother and/or Trocchi, are of course very welcome in the comments below.

Jeff Nuttall in Bomb Culture (Paladin, London 1970, page 181) mentions Phil(ip) Green by name and provides a sketch of the scene he belonged to. After mentioning the appearance by William Burroughs and Alex Trocchi at the Edinburgh International Writers conference and dating this as 1963, Nuttal continues:  “Together he (Burroughs) and Trocchi moved down to London. In London they became the pivot round which a number of people revolved – Charles Hatcher, Tom Telfer, McGrath, Philip Green, myself. They were not, however, the beginning of the Underground in England. Towards the end of the great days of Aldermaston certain of the whackier and younger CND followers had gathered in the Peace Cafe in Fulham Road, eventually closed through notoriety for drugs, and formed a cultural nucleus that looked mainly towards America and the Beats for its model. Prominent figures to emerge from this group were Dave Gunliffe, Lee Harwood, Ian Vine, Neil Oram, Spike Hawkins, Miles and, most important, Mike Horovitz and Pete Brown…”

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!

A Technicolor Dream

Tuesday, January 6th, 2009

This 2008 DVD is a TV-style talking head documentary that mainly covers the early years of stadium rock band Pink Floyd, and inadvertently reveals how they used the British counterculture to hitch a ride to success. The Floyd themselves come across like a bunch of talentless drama students in the pathetic promo films that are cut into the main feature. Sound wise they vary from seeming like a pleasant if not entirely convincing imitation of The Who (“Arnold Lane”), all the way down to prefiguring a lot of really bad indie bands (“Scarecrow”). There is also some far more interesting archive material on here, but most of it is rather too familiar. There is the famous footage of Beatle John Lennon walking into the “14 Hour Technicolor Dream” at Alexandra Palace (29 April 1967), which anyone actually interested in this sort of thing will have seen dozens of times.

Likewise, did we really need quite so much recycled footage from “Wholly Communion” directed by Peter Whitehead, when the BFI reissued that on DVD in 2007, and anyone who hasn’t seen it clearly isn’t interested in the British counterculture anyway. There is a very brief piece of footage of The Flies playing at Alexandra Palace, but while the BBC “Man Alive” documentary made at the time showed them throwing flour at the audience and allowed you to hear them rockin’ out, pretty much all you get here is a shot of their drum kit with something else dubbed over the top. This is a shame because The Flies were the business, and self-evidently a lot better than Pink Floyd live; presumably this is why the director Stephen Gammond cut their sound from the audio track, he clearly wants to big up original Floyd frontman Syd Barrett and takes many historical liberties to achieve this. There is some footage of The Pretty Things doing “LSD” here too, but this is cut around talking head shots, so you can’t enjoy the music in all it’s glory. Worse yet, while three really tedious Floyd promo shorts are included in their entirety as bonus features, live footage of The Pretty Things and The Flies isn’t accorded the same treatment.

Among the historical turns, we get far too much of Suzy Creamcheese, less than nothing is all I want of this twerp. Like so much else here that doesn’t come from “Wholly Communion”, the Creamcheese footage is culled from the earlier “Man Alive” documentary, and it is even more irritating on a tenth or eleventh viewing than on the first or second! That said, there is some nice pushin’ and shovin’ with the filth going down in the recycled shots of early sixties CND demos. However, the real highlight begins on the last fraction of a second of this movie’s sixty-second minute. Gammond has included 1.04 seconds of archive footage featuring my mother – Julia Callan-Thompson – blowing bubbles. While there is equally brief footage of her at the UK’s premier hippie happening in the “Man Alive” documentary, it is a different shot to the one used here. My mother, at 23 years of age, is clearly the hottest babe in the place! While this film would be much better if Gammond had devoted more time to footage of my mother, the little you get makes the disk worth buying. You can see a bit more of her in the audience at the Alex Trocchi/William Burroughs 1969 ‘State of Revolt’ Arts Lab event covered in Jamie Wadhawan’s “Cain’s Film” – and, of course, as an extra in various British and Bollywood movies of the sixties.

With the odd exception, the talking heads on Gammond’s documentary are a real snore fest. Tired old stories I’ve heard trotted out dozens of times are aired yet again. This film was obviously made on a shoe-string, there isn’t nearly enough archival footage to break up the tedium of the talking heads, and sometimes in a desperate bid to move things along the director simply cuts to recent footage he’s shot in Portobello Road and Camden. The focus on Pink Floyd and John “Hoppy” Hopkins as central to the counterculture is reductive, and also very boring. If Gammond had instead adopted a scatter-shot approach to the underground, one that pulled in a varied cast of characters, his film would have been both more enjoyable and closer to the psychedelic experience. Regardless, and as I’ve already said, it is still worth seeing just for that 1.04 seconds of my mother blowing bubbles at the “14 Hour Technicolor Dream”.

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

And some more specific links:

Julia Callan-Thompson:
http://www.stewarthomesociety.org/rhhm.htm

The ‘real’ psychedelic scene:
http://www.stewarthomesociety.org/praxis/voices.htm

Wholly Communion etc. review:
http://www.stewarthomesociety.org/film/whitehead.htm

Trocchi/Burroughs State of Revolt:
http://www.stewarthomesociety.org/luv/splinters.htm