Posts Tagged ‘New York’

How does Stewart Home maintain his lavish life-style?

Friday, November 13th, 2009

A question I’ve been asked a number of times recently is how do I maintain my lavish life-style? The answer is simple, my life-style isn’t particularly lavish but many people find me so fascinating that they project their fantasies onto an image they create of me. It should go without saying that if you know your way around the place, then London can be a very cheap town in which to live.  I very much doubt I could survive as easily in New York or Paris, although someone born in those places may be able to do so. However, to satisfy those who dislike rational explanations I shall add that I have multiple personalities that run into six figures and each one of them earns a living in a different way – some as gangsters, others rob banks, one has been bleeding a hedge fund dry, and all of them earn me a fortune as I sleep! You too could be making money as you shower, but to do so you need to buy all my books and read them carefully so that you can decipher the coded messages they contain. Hot tip: the coded messages only manifest themselves to those who buy my books, so borrowing them from a library or a friend just won’t work!

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

Is Mark Waugh’s “Bubble Entendre” banned in the USA?

Saturday, October 24th, 2009

Two weeks ago I received an email informing me that an attempt to sell titles in my Semina series at the New York Art Book Fare had descended into farce because the books had been impounded by US customs. Book Works told me they’d flown from Europe to America to sell  the novels, but ended up manning an empty table. The publications have now disappeared and may have been destroyed; from New York any unsold copies should have gone on to a distributor in Los Angeles, but there is still no sign of them on either the east or west coast. I was reminded of this a couple of days ago, when the following message from Bubble Entendre author Mark Waugh turned up in my inbox:

“Hi, could you expand on the rumour that Bubble Entendre has been impounded by US customs? In a week when the Tate flirted with showing Spiritual America, and then withdrew the work, I am curious about a conspiracy to regulate the flow of subversive literature into the homes of bourgeois America? Best wishes, Mark.”

Word on the grapevine is that the Semina books were impounded because a US customs official took a look at Bubble Entendre and decided it was a blue-print for a terrorist attack on the 2012 Olympic Games. The novel does contain a narrative about an entirely fictional kidnap incident during this event; but I’d like to stress that I only accepted the text for publication because it was, in my opinion, critical of terrorism.

For the benefit of customs officials and cultural cops around the world, I’d like to clarify that I am 100% opposed to all forms of terrorism – regardless of whether it is committed by the US and British governments (as is currently happening in the Middle East and Afghanistan); or by religious fundamentalists (Christian, Islamic, Buddhist, Hindu or any other variety). It should go without saying that terrorism is always vanguardist and can never be justified.

To reiterate, I do not write, edit or endorse books that in any way condone terrorism. I’d also like to know what happened to the missing Semina books – Index by Bridget Penney, One Break, A Thousand Blows by Maxi Kim, Bubble Entendre by Mark Waugh and Rape New York by Jana Leo. I trust that the several hundred missing copies of these works have not been mindlessly destroyed by US customs, and that they will be delivered to Book Work’s LA distributor in the very near future.

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

Saturday night out in London with Wu Ming…

Sunday, October 18th, 2009

Yesterday night I was at the ICA doing an event with Wu Ming 1 and Wu Ming 4, who were presenting their latest book Manituana. After a very brief intro from me, Wu Ming 1 opened things up with a short explanation of the collective writing activities he’s been embroiled in for many years as one part of the Wu Ming collective (and before that the Luther Blissett Project). Then there was an introduction to the new Wu Ming novel, after which I read a passage from the book that required a strong London accent. Having read live many times, yesterday I decided to record the passage in question, and it was played back while I lip-synced very badly. This was something new for me – and to make it even more pointless I’d waited until just a couple of hours before the event to make this recording – I enjoyed the absurdity of it so much that I may well repeat the trick! After my intervention, Wu Ming 4 gave an in-depth account of the genesis of Manituana. Wu Ming 1 spoke in English, Wu Ming 4 spoke in Italian with Shaun Whiteside translating.

For the last hour of the presentation, the Wu Mings took questions from the audience; and these quickly progressed from queries about how the four members of the Wu Ming group (originally five) wrote collectively, to their thoughts on left-communists such as Jacques Camatte and Amadeo Bordiga. I was impressed with both the depth and breadth of the answers, as well as with how relaxed the Wu Mings were on stage. Although I’ve been in contact with the Wu Mings for about 15 years now, I’d not seen them do a public presentation before, and it was quite a revelation! So if they’re ever somewhere near you – and I understand McKenzie Wark is hosting a Wu Ming event in New York in November – make sure you catch them! There’s no point in me summarising what the Wu Mings said yesterday here, you should check their website, and if possible catch them live!

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

1970s nightmares part 2: forgotten bands, hopeless causes & the search for the missing chord

Tuesday, July 28th, 2009

Despite the recently fashionable status of the Bethnal Green area in east London, this has to date failed to lead to a revival of interest in the 1970s band who named themselves after the hood. Bethnal were formed in Bethnal Green in 1972, and sounded like a cut-price Who minus the vocal skill of Roger Daltrey and the songwriting talent of Pete Townshend. I saw Bethnal at The Marquee in Wardour Street on Thursday 24 August 1978 and had a  good night out. Bethnal had plenty of energy but beyond their deployment of a violin, there was nothing very memorable about them. They simply weren’t as good as the other bands I saw at The Marquee that month: The Vibrators on Monday 14  August 1978 and Ultravox! (when John Foxx was still the vocalist) on Tuesday 22 August 1978. I caught plenty of other bands that August too, at venues all around London…  Bethnal were simply another night out on the town.

At some point after that Marquee gig, I pulled Bethnal’s first album Dangerous Times out of a bargain bin. It’s bog standard seventies Brit rock. The opener Out In The Street (not the tune of the same name from the first Who album) sounds like a second-rate Pete Townshend song covered by a boogie band, but it’s still enjoyable. The best tracks are covers of We’ve Gotta Get Out Of This Place and Barba O’Reilly, but while acceptable they’re not as good as the originals… And other tracks like Who We Gonna Blame are seriously let down by the vocals. Bethnal’s second and final album Crash Landing was not at all to my taste, since it veers much more in the direction of stadium rock and prog, so even when I came across bargain bin copies of this swansong recording, I left them lying where I found them.

One reason for mentioning Bethnal is because I’ve been enjoying John Eden’s series of blogs at Uncarved about uncool gigs he attended as a teenager. The ninth and most recent in the series is about him going to see The Mission in 1987. Eden appears to have ticket stubs and other memorabilia to jog his memory, whereas I’m relying on internet research to date the gigs I went to 30 and more years ago. I’m a bit older than Eden and I seem to have been more hardcore about my gig going from an earlier age. I liked a lot of seventies new wave and punk acts and among my early live experiences can list The Stranglers, The Damned and The Clash. I hate to admit it but the first band I ever saw was The Jam, and that was sometime before they had a record contract. For me, more interesting than these ‘name’ acts are those who never made it. One of the best bands in this latter category is Burlesque, a jazz rock combo with new wave trimmings, who like Bethnal managed to release a brace of albums that have yet to be reissued on CD.

According to the Billy Jenkins Webzine Burlesque were: “Selected as the ‘Band Most Likely To Succeed’ in both the tabloid Sun and Melody Maker at the end of ’76, it took a flying visit from America by music business legend Clive Davis to sign the band to Arista Records.” I don’t like the construction of that sentence, but I presume an article hosted on a former Burlesque band member’s website will be factually accurate. All I can say is he and his band-mates in Burlesque cracked me up with songs like Steel Appeal (about being sexually turned on by people in wheelchairs). Better yet, Burlesque saxophonist Ian Trimmer wore a tatty army jacket with ‘Bird Lives’ sprayed punk-style across the back; even at the age of 15 I knew that ‘Bird’ was jazz legend Charlie Parker. Making things even more surreal, the one time I saw Burlesque Paul Weller of The Jam was in the sparse audience. That said, Weller was obviously present to check out support act The Pleasers, who were Merseybeat revivalists replete with collarless Beatles’ jackets. The Pleasers even had their own one band musical movement – Thamesbeat!

I caught Burlesque and The Pleasers at some college (can’t recall which one) at some point in 1977, and it is curious to recall some of the acts I saw in the late-seventies that no one I know talks about any more. For instance, I subjected myself to Nina Hagen at The Lyceum, but I’m not sure if this was in 1978 or a bit later. I guess people still rave about Hagen in Germany, but she hasn’t been of much interest to UK based hipsters for the past 30 years. She made her initial international impact with a German language cover of the new wavish Tubes’ song White Punks On Dope, done with re-written lyrics as TV-Glotzer. In the early/mid-eighties Hagen made tunes like New York with disco legend Giorgio Moroder acting as producer, and for me that collaboration is the most notable thing about her.

I don’t like Hagen’s voice, so I’ve no idea why I went to see her circa 1978 – I can only assume there was some other act on the bill that I wanted to catch. I can’t remember where I saw Hagen’s one-time boyfriend, the Dutch rocker Herman Brood, but it may have been on a multi-act bill with his consort of that era. Brood is Holland’s most famous rock ‘n’ roll junkie, but I haven’t heard mention of him in London  for years, despite his 2001 jump from the roof of the Amsterdam Hilton Hotel leading to saturation media coverage of his suicide and subsequent funeral in The Netherlands.

Back in the late-seventies I used to  see a lot of bands and my tastes were very varied. I would catch Sham 69 one night and Wire the next; groove to The Vapors on Saturday then freak-out with Gloria Mundi or The Virgin Prunes on Sunday… I even saw Motorhead, but I much preferred The Pirates! Having started out as Johnny Kidd’s backing band, The Pirates had been around since the late-fifties. On record they weren’t bad, although I didn’t really bother with their vinyl, I just liked them live… and in 1978 you’d have been just as likely to find me at a Pirates or Wilko Johnson gig as at a punky-reggae party. I was also going to see British reggae bands like Steel Pulse, Aswad, Misty In Roots and Matumbi. Since I much preferred small clubs to concert halls, I didn’t bother with visiting Jamaican acts although I liked their sounds. The Lyceum Ballroom in The Strand was the biggest place I went to with any regularity. I only ever went to The Hammersmith Odeon once, to see Lou Reed in 1979, and I considered the experience shitty.

Out of the stew of music I caught live 30 and more years ago, it is curious to see what’s disappeared. Amazingly, bands like The Pleasers made it onto CD in the late-nineties, whereas as far as I know the output of Burlesque and Bethnal has never been reissued on that format…

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

Yoko Ono, Gustav Metzger and me…

Wednesday, July 22nd, 2009

Yoko Ono keeps popping into my life. Last week I was reading and commenting about her on the Old Rope blog. The piece in question particularly grooved me because it featured an embed of Ono’s Bottoms (AKA Four) from YouTube. Here’s a short extract from that blog followed by some of my comments:

“…Ono has taken more than her fair share of shit over the years.  Richard Di Lello’s The Longest Cocktail Party, whilst being an illuminating and entertaining insight into the world of Apple, also offers glimpses of the derision leveled at Ono - even from within the Beatles inner circle.

“Though far from perfect, it must be remembered that Ono’s art was challenging and (at times) part of a wider fluxus tradition. As a woman, as an artist and being, gasp, Japanese, Yoko took flak on all fronts…

“Mister Trippy says: I always thought Cut was the best thing Yoko did, the piece where she sits still and the audience cut off her clothes with a pair of scissors. Very powerful. But her work is variable and nothing else is as truly brilliant as Cut. I remember taking in her Whitney Museum show in New York in 1989 and she’d redone these fragile 1960s pieces in bronze, mind-bogglingly terrible. But great to see the Bottoms film again… I love that one too! Didn’t realise it was on YouTube… BTW Yoko is great fun too in her only ‘roughie’ softcore porn film Satan’s Bed from before she met Lennon.

“oldrope says: Agreed, Trip. Cut certainly makes the cut. I believe it was repeated in some form many years later, but that seems a trifle unnecessary in my book.

“I was also a little disappointed with Skyladders inside St Lukes in Liverpool (aka The Bombed Out Church – you actually have to sign a form on the way in saying they are not responsible if it falls in on your head) last year. Though I quite liked the ‘instruments’ for people to play with.

“At the risk of sounding cliched, I groove on her earlier work most.

“I’ve not seen Satan’s Bed, but it sounds like a good Saturday night in.

“Mister Trippy says: I agree with you about the ladders, about the only things I liked in that Liverpool Biennial were the moving trees, but that was coz I could watch local kids being naughty by repeatedly pressing the emergency stop button once they worked out where it was. And it was conveniently close to A Foundation where I was doing a performance. Still Yoko’s work in that Biennial was no worse than say Tracey Emin.

“If you like trashy films then Satan’s Bed is a real treat – out on DVD in the UK so not at all hard to find…. BTW: Did you know that both Yoko and me appear on the recent Intermedium Records double CD compilation Tribute To Gustav Metzger. But that’s the closest I’ve ever got to her….”

The Tribute To Gustav Metzger is also an example of an item missing from my Discogs discography (and indeed Yoko’s too), as discussed on my last blog. The Metzger tribute also features Melissa Logan from Chicks On Speed and was originally done for broadcast on Bayerischer Rundfunk (Bayern 2) in Germany on 12 December 2008. It was curated by Justin Hoffmann. So that’s two things from last year in which I shared a billing with Yoko (the Metzger tribute and the Liverpool Biennial). And right now both Yoko and me are two of more than 100 ‘artists’ from around the world featured in International Fluxhibition #3: Thinking Inside The Box at The Gallery in the E.H. Hereford University Center at the University of Texas at Arlington (on until 31 July). The show is made up mainly of contemporary takes on Flux boxes, and my contribution was accepted despite not meeting the brief. It is Score for Fluxhibition #3 – 2009:

“Don’t send a work to the Fluxshow.
Tell the curator it got lost in the post.
Do it again for the next one.
No art is the best art!”

Returning to Yoko, regardless of whether you do or don’t like the stuff she does now, what you can’t knock is her sincerity. She clearly likes to make and show art, and is as happy doing so in a small gallery as a prestigious Biennial. And while Yoko’s musical output over the years has been variable too, I even find it hard to knock her on this score when you consider that she and Lennon had the good taste to employ Elephant’s Memory as their backing band shortly after arriving in New York City. Let’s do the Power Boogie….

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

World travel, whisky & crime in the ‘roaring twenties’

Sunday, June 28th, 2009

Don’t Call Me A Crook! A Scotsman’s Tale of World Travel, Whisky and Crime by Bob Moore (Dissident Books, New York 2009) is apparently a reprint of a tome first published in 1935 by Hurst & Blackkett of London without the exclamation mark; and the variant subtitle My True Autobiography. When I first read the introduction to this ‘reprint’, I suspected Dissident Books CEO Nicholas Towasser was pulling my leg over the provenance of the text when he wrote: “There mustn’t have been many copies printed (of the original edition), because despite many Web searches, I’ve found no used book dealers selling it. In fact, I’ve located only five owners of the original Hurst & Blackett edition: the New York Public Library; the National Library of Scotland; Cambridge University; Random House (years ago Random House acquired a publisher named Hutchinson, who had earlier merged with Hurst & Blackett); and a woman in Essex, England.”

Towasser’s claims immediately sound suspicious to anyone familiar with the legal deposit system for books in the UK. British publishers are required by law to send free copies of their books to the five legal deposit libraries in the UK (supplying the national library in Dublin is currently optional but many publishers still send them complimentary tomes). Towasser mentions only two of the legal deposit libraries (Edinburgh and Cambridge), and it struck me as unlikely that more than half the legal deposit copies of a book like Moore’s would have disappeared from these orderly and well maintained institutions. My gut feeling was that if the book couldn’t be found in at least the majority of the legal deposit libraries, then the provenance Towasser provided for it in his introduction was at best dubious. I checked at the British Library and found they did in fact have a catalogue entry for the Hurst & Blackkett edition of Don’t Call Me A Crook. Of course, entries can be forged, and even whole books produced with fake publishing histories and then slipped into library collections. However, the most likely explanation seems to be that Towasser isn’t familiar with the UK legal deposit system and therefore didn’t think to check with the relevant libraries (which isn’t difficult, anyone with internet access can consult the British Library catalogue via its online service).

Likewise, when I checked online, I found an entry for the Hurst & Blackkett edition of Moore’s book on both amazon.com and amazon.co.uk, from which one can conclude that at least one used dealer has offered the book for sale via those sites. These amazon entries may have gone up after Towasser wrote his introduction, or he may have missed them. Since I found evidence of further copies and online sales in the first three places I looked, I didn’t pursue the matter. Regardless of whether Don’t Call Me A Crook was first published in 1935 or the ‘original’ edition was faked later (still possible but rather unlikely on the basis of what I’ve found), it is fairly safe to conclude there will probably be entries for further copies of the ’1935′ edition in the legal deposit libraries I haven’t checked, and that a search of online auction sites such as eBay may turn up further evidence of a used trade in the ’1935′ edition.

I’m a huge fan of literary fraud and I always appreciate a good leg-pull. I’d rather like Don’t Call Me A Crook to be con job involving a faked provenance; hi-jinx that would place it on the same level as ‘anti-literary greats’ such as the cod medieval works Thomas Chatterton attributed to Thomas Rowley, James Macpherson’s bogus cycle of Gaelic poetry credited to a non-existent ancient bard called Ossian, and Clifford Irving’s phony ‘autobiography’ of Howard Hughes.  For me, more recent incidents of literary fraud, including Laura Albert’s J. T. LeRoy hoax and James Frey passing off works of fiction as memoirs, are considerably less thrilling than chicanery that entails concocting more complex counterfeit attributions for pieces of writing. Sadly, despite Towasser raising my hopes with what I take to be honestly made but improbable claims in his introduction, it does rather look like Don’t Call Me A Crook was first published by Hurst & Blackkett in 1935.

Nonetheless, despite being published as a non-fiction ‘memoir’, Moore’s book resembles a picaresque novel and its literary origins can be traced back to Elizabethan works such as The Unfortunate Traveller by Thomas Nashe and Robert Greene’s cony-catching pamphlets. Moore tells us little about his childhood, his story really begins when he joins the British military underage in the hope of seeing action in World War I. He ended up greasing aeroplanes for the Royal Flying Corps at a base near Boulogne. Moore tells us that after the war he qualified as a mechanical engineer. From that point on he mostly worked on ships, but combined this activity with maintaining hotel lifts and other odd jobs. Moore criss-crossed the Atlantic, spending a lot of time in New York and Chicago, where he combined bouts of employment with opportunist thievery and con-artistry. When he comes into large amounts of money, he inevitably blows it on high-living (with women, boozing and gambling, being his favoured recreational divertissements).

Mirroring Robert Greene’s real and ‘fictionalised’ life, Moore abandons his wife and child and adopts a sardonic attitude towards the world, which he combines with endless serious drinking. Imagine Celine if he’d had a working-class upbringing in Glasgow and no interest in literary posturing. That said, Moore’s anti-semitism and other bigotries are casual, and not ideologically motivated. Moore reflects the prejudices of his time and place without consciously embracing any overt political ideology; this contrasts sharply with the fascist stink that envelopes Celine’s writing. Perhaps Bukowski makes for a better comparison, except Moore is better than Bukowski.

Despite its casual racism, the Chinese setting of Moore’s ‘autobiography’ in its final section makes for very interesting reading. From Shanghai he travels up the Yangtze, where he battles river pirates. This part really rams home the parallels between Moore’s book and The Unfortunate Traveller, or the Life of Jack Wilton (1594) by Thomas Nashe. The narrator of the earlier work, Jack Wilton, relates his adventures as a page during the wars against the French, and subsequent travels in Italy where he serves the Earl of Surrey. Wilton witnesses numerous atrocities, he narrowly escapes both being hanged and cut-up alive as an exercise in anatomy. His tale climaxes by detailing the brutal revenge of one Italian against another. Wilton eventually escapes from the clutches of his foes and returns to England.

Moore’s tale very much mirrors The Unfortunate Traveller; his first ‘foreign’ experiences are in France, but he substitutes the ‘savagery’ of Nashe’s caricatured Italians for an equally stereotypical Orientalism. Moore describes various forms of Chinese ‘cruelty’, ranging from deliberately drawn out public executions down to unnecessarily vicious acts of banditry. He is nearly killed on a number of occasions, is kidnapped by pirates but eventually escapes and returns to Glasgow. Moore and/or his ‘editor’ (perhaps ghost-writer) Pat Spry need not have read Nashe’s text to have been influenced by it. The Unfortunate Traveller is a foundational work of modern English prose, its influence has been widely felt and its structure can be picked up from later tales it influenced.

To me it isn’t important how much of Moore’s book is true, it’s a fast and fun read. My guess is that the book is loosely based on fact but the adventures are exaggerated to maximise their impact. If you like over-cooked and not entirely reliable ‘memoirs’ such as Jungle West 11 by Majbritt Morrison, or even Mr Nice by Howard Marks, then you’ll love Don’t Call Me A Crook too!

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

Another take on The Process Church of the Final Judgment

Sunday, May 31st, 2009

Love Sex Fear Death: The Inside Story of the Process Church of the Final Judgment by Timothy Wyllie (Feral House $24.99) provides a curious history of one of the minor cults that flourished on the fringes of the counterculture. That said, The Process has remained very visible to this day, thanks in part to claims it was the hidden ‘evil’ force behind both the Tate-LaBianca and the Son of Sam slayings. Wyllie insists that these claims, as well as salacious stories about Process founder Mary Ann MacLean having been married to American boxing champion Sugar Ray Robinson and playing a role in the Profumo Affair, are false. All the available evidence would suggest Wyllie is correct on these matters, and while this adds to the credibility of his tale, it will probably do little for the sales of his book.

The book is a personal account of Wyllie’s time with The Process and the story he tells is more convincing than the portraits of the group found in books such as The Ultimate Evil by Maury Terry and the first edition of The Family by Ed Saunders, but it is also far more banal. Therefore, if you want to read sensationalist and ultimately fictionalised accounts of Satanic killing sprees, you’ll have to look elsewhere. There is plenty of that online, and a web search will also locate many Process writings and graphics.

The history of The Process is essentially this: in 1963 two former Scientologists Mary Ann MacLean and Robert de Grimston established a therapy business in Wigmore Street, London. Mary Ann MacLean was a former prostitute who grew up in poverty in Glasgow, while Robert de Grimston was from an upper class family and had served as an officer in the British army before becoming an architecture student and then dropping out three years into these studies. Wyllie first met de Grimston in 1959 when they both enrolled on the architectural course at Regent Street Polytechnic (renamed Polytechnic of Central London in 1970, with a further name change to University of Westminster in 1992). In 1963 McLean and de Grimston began using Wyllie as a guinea pig to test and develop techniques they’d learnt as Scientologists, adapting them to their own purposes.

Wyllie’s circle of student friends provided the initial recruits to what was then called Compulsions Analysis. In Wyllie’s account, those involved with MacLean and de Grimson recognised a sense of spirituality in their activities and the name of the group was therefore changed to The Process in 1965. My own impression is there was nothing spiritual about MacLean and essentially she conned the group into becoming her disciples and funding the luxury life-style she and de Grimston craved. Even from Wyllie’s rather misty-eyed account, it is apparent MacLean was a hard-bitten hustler who’d mastered the con game when she was working as a high class London hooker throughout the 1950s and into the 1960s.

While Process acolytes panhandled for money and lived in abject poverty, the group rented properties it could barely afford in an attempt to trick the outside world into believing they possessed wealth and power. De Grimston and MacLean were the only Process members to live in style. While de Grimston provided the theology, MacLean was the real power running this cynical money-grabbing hierarchy. Over the years the group expanded and at various times had chapters in Rome, Paris, New Orleans, San Francisco, Munich, Los Angeles, Amsterdam, New York, Boston, Chicago, Toronto and Miami. Chapters were sometimes moved from one city to another, and the membership never seems to have stretched beyond the very low hundreds, although The Process claimed to have tens of thousands of members.

Process theology was based on the unification of opposites, and a reading of the Bible that took Christ’s injunction to ‘love thy enemy’ to mean love Satan. Much of this gnostic garbage was confected in group sessions and then written up by de Grimston, and even Wyllie admits it didn’t read well on the printed page. After an Idris Shah book fell on his head in a Notting Hill bookshop, Wyllie convinced himself that de Grimston and MacLean were disguised Sufi masters, and like other members of the cult was also prone to viewing the latter as a human incarnation of the Goddess! The original core of The Process consisted chiefly of over-privileged and privately educated brats, and it seems to me that much remains to be written about how an upper-class upbringing renders individuals peculiarly susceptible to the brainwashing techniques of religious cults.

The Process fell apart when de Grimston and MacLean ended their marital relationship in 1974. De Grimston attempted to revitalise The Process without success. MacLean led the disciples who stuck with her into The Foundation, which adopted increasingly conventional Christian doctrines before reinventing itself as a secular animal charity called Best Friends. MacLean died in 2005, de Grimston is still alive.

Wyllie’s account of his 15 years with The Process is supplemented by the stories of various other members. The most shocking thing to come out of this is the criminal neglect of children whose parents belonged to the cult. The overall impression I’m left with is that life in The Process was very dull, and you had to be deluded to join it in the first place. The Process memoirs gathered together here also show that those conned by guru-figures are very slow to give up their illusions, and will often attempt to off-set the fact they were ripped-off with the desultory claim they enjoyed some kind of spiritual adventure in ‘the process’.

In addition to these memoirs, this book also contains a selection of unimpressive texts by de Grimston, and a very silly essay by Genesis P. Orridge about how he modelled Thee Temple Ov Psychic Youth on The Process. The image section in this tome is rather more interesting, since it illustrates the strong design sense and corporate-style marketing of The Process as a self-consciously totalitarian cult. From Wyllie’s account of the group it is clear why The Process chose to project itself as a totalitarian ‘elite’:

“Mary Ann (cult leader Mary Ann MacLean) never made any apologies, for instance, about having considerable sympathy and respect for the Nazi regime. Doubtless it suited her authoritarian personality. A story I have heard her relate more than once is of her as a small girl of nine or ten, who found herself leaving her physical body and being transported into Hitler’s bunker during World War II. There she would slip around the table in her astral form whispering into the generals’ ears. Whether she ever claimed to observe der Fuehrer’s legendary rages, I don’t recall, but if she had I can only imagine she would have egged him on in his carpet-biting frenzies.” (Page 56).

Elsewhere Wyllie recalls:

“Michael and I stopped in to visit George Lincoln Rockwell, the ‘American Nazi’, out of allegiance to Mary Ann’s interest in extreme ideologies…. Rockwell sat in the only armchair… He looked younger than I thought he was going to be, with a buzz-cut and a surprisingly open, pleasant, face, marred now by a fixed scowl that didn’t leave him while we were there… He had a military bearing but was clearly a frightened man… Later I found out that Lincoln Rockwell was killed in August of 1967 by a disgruntled ex-member of his party and only days after our visit. I should add that Michael is the scion of a wealthy Jewish family and I can only imagine that Mary Ann instructed him to visit Rockwell as a way of testing his mettle…” (Pages 80-81).

Elsewhere in his narrative Wyllie tells tales of counterculture figures like Timothy Leary, Abbie Hoffman and Simon Vinkenoog, assisting The Process. He also writes about a few of the celebrities the group attempted to shake down for donations; they range from Miles Davis to Salvador Dali. Sadly, he has nothing to say about Funkadelic frontman George Clinton, who okayed the reproduction of Process material on the art work to a couple of his albums. Mostly this is a book about the internal dynamics of The Process and as such it makes for curious but nonetheless extremely depressing reading; it appears that most of the ‘former’ cult members contributing to it are still deluded about their experiences years after the group broke up.

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

Down & dirty Stephen Dwoskin movies at the BFI

Saturday, May 2nd, 2009

Last night I was down at the BFI on the South Bank (the nearest thing you’ll find to a real rock ‘n’ roll club in London these days) to catch the first screening in a series dedicated to notorious underground/art film-maker Stephen Dwoskin, a one time contemporary of Andy Warhol. The first night of this month long season was given over to 5 early underground shorts. After an introduction by William Fowler which laid out Dwoskin’s role as a pioneer in both the New York and London underground movie scenes, the films were screened in chronological order, so Asleep (1961) came first. This shows the movements of a woman’s feet as she sleeps, it appears to have been sped-up and supposedly a whole night’s worth of movement is shown. This is a slight work, with the blanket from which the feet poke proving almost as distracting as the silent movie comedy-style piano soundtrack by Ron Geesin that was added in the late sixties – after Dwoskin had moved from New York to London.

Asleep looks like it comes from a different era to the rest of Dwoskin’s work, it resembles an early Fluxus joke piece and brought to my mind the extensive use of feet and shoes in the collages of Ray Johnson.  Nonetheless, the inclusion of Asleep in the programme was useful, since it served to remind viewers that all artists have to start somewhere, and good film-makers develop rather than making their best work first time out. Next up was Alone (1963), which shows a fully clothed girl – identified as Zelda – picking her nose, then smoking a cigarette and moving through various sexually alluring poses. This, like the first short, was a new print and the quality of the film was quite extraordinary (which was not the case with Asleep, due both to inferior lighting and the battering the source for the new print of the 1961 short had obviously suffered over the years). Once again there was a Ron Geesin soundtrack added in the late-sixties after Dwoskin had moved across the Atlantic, but this time it was pulsing industrial-style noise that worked wonderfully with the imagery it accompanied.

The third short Dirty (1965) was shot in London shortly after Dwoskin’s transatlantic relocation. Two nude girls identified as Barbara and Ann, drink booze from a bottle and then frolic on a bed. The camera freezes  at key moments and this, alongside the dirty and damaged nature of the black and white print, gives the short a dream-like quality. Dirty almost functions as pornography, but its formalism and minimal soundtrack by Gavin Bryars – again added several years after the film was shot and first screened – will frustrate the expectations of any viewer hoping for a wank fest. I found this film a real groove sensation; but it also left me wondering whether the two women it featured were sex industry professionals, aspirant actresses, or simply acquaintances  of the director having a bit of a laugh. The rhythm of Dwoskin’s films is much slower than that of commercial cinema, and after watching Alone and Dirty my head was in a different space and moving at a very different speed from when I’d arrived at the BFI’s Screen 2. Dwoskin can be very trippy, although the effect of his later films is sometimes more like the psychosis induced by too many downers.

The fourth film in the BFI’s shorts screening was Moment (1969). This is shot in colour and shows the face of a girl called Tina Fraser framed on a pillow. The dominant colour is red and this gives the film a warm feel as Tina smokes and either masturbates or simulates this act. We see her face as she works herself up to orgasm, then afterwards in complete relaxation. As a consequence this feels very much like a heterosexual version of Andy Warhol’s Blow Job (1963). Perhaps Dwoskin felt his short Asleep had provided the template for Warhol’s Sleep (1963), and was calling in the debt. Moment was the most carefully composed of the Dwoskin shorts on show last night. That said, the top right side of the screen is a kind of dead space made up of nothing but reddish pillow, with Tina Fraser’s head on the left of the frame; presumably the shot was set up in this way, with a mild imperfection, to prevent viewers from responding to it simply on the level of visual aesthetics.

The 30 minute Trixi (1970), was the longest of the films screened last night. It shows Beatrice Cordua being assaulted by Dwoskin’s camera. At first she has her clothes on, then they have been removed. As Cordua writhes through various poses, it becomes evident that the camera is metaphorically raping her. At various points we see her face and various parts of her body in extreme close-up. Like other Dwoskin women, Cordua is not particularly photogenic: her heavy eye make up is ugly, her skin looks course and uneven, the hair on her head appears to be dirty, while her bushy pubes could do with a trim. Cordua is skinny and looks like she’s not enjoying the best of health. Perhaps Dwoskin’s subjects are typical of what ordinary – as opposed to photogenic – individuals look like on camera; we’re not used to seeing averagely attractive people on film because Hollywood and the entertainment industry are so fixated with beauty. But this isn’t the only reading that might be made of the state of the women in the Dwoskin’s films screened last night; there are parallels with the drug intake – and thus also the states of consciousness – one might associate with the London underground over the period covered in the last three films: a move from mid-sixties exuberance involving alcohol, speed and acid, to the sonambulism of heroin and ultimately burn out.

The soundtrack to Trixi is simply the endless repetition of this name, and that also reflects the psychobabble one might associate with the counterculture at the dawn of the seventies. The verbal repetition of this soundtrack may hark back to a similar effect on The Cut Ups (1966) directed by Anthony Balch, but the use of a single word rather than several repeated phrases ultimately creates a pulse that resembles a heartbeat. By the end, the viewer – like the counterculture – is strung out and beaten into submission. Trixi is an unpleasant and confrontational film precisely because the camera functions as rapist, but for me it does not fit the reductive notions of ‘male gaze’ championed by the likes of Laura Mulvey and dismissed by Carol J. Clover in her book Men, Women, and Chainsaws: Gender in the Modern Horror Film. You’d have to be psychotic to identify with the camera in Trixi, and the film is a formalist exercise because of the sadistic way it forces viewers to acknowledge the difference and distance between themselves and this recording device.

After the screening, I made my way up to The Strand for a bindhi at the India Club Restaurant (2nd Floor, Strand Continental Hotel, 143 Strand, London, WC2R 1JA). This establishment is very broken down and looks like it hasn’t been redecorated since the 1960s, I suspect it only survives because it is right next to the Indian High Commission, and probably attracts custom from there at lunch time. I’ve always liked the non-gastro and undecorated atmosphere at the India Club, although I’ve never thought the food was that great, and it has got worse since I last visited the place a couple of years ago. From The Strand, I moved on to The Foundry in Old Street, where I’d arranged to meet Nina Power and Laura Oldfield Ford. Yet again I only succeeded in exchanging a couple of sentences with Nina before Laura dragged her off to a rave in a squat on Kingsland High Street. I didn’t want to go clubbing and since I hadn’t clocked Foundry owner Tacey Moberly, with whom I might have exchanged a friendly greeting, I decided to check out some action online instead….

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

Come on, “Man On Wire” is actually mediocre…

Friday, February 27th, 2009

Last night I saw Watchmen at the London Imax. The film is, of course, pure spectacle and if you’re going to see it in the UK, then don’t bother unless you’re going to the Imax, the largest screen in the country. The movie is way too long but its over-financing means there are plenty of really expensive shots that look good if you’re watching on a big enough screen. However, enough of that, what about so called ‘quality” film these days?

The flick that won a shed load of awards recently was Man On Wire, a documentary about Philippe Petit, who pulled high-wire stunts culminating in an illegal walk between the New York Twin Towers in 1974. The stunts Petit engineered required elaborate preparation and this is used to give Man On Wire the feel of a caper movie but one tailored to middle-brow tastes. The archive footage of Petit is mesmerising but the re-enactments of those parts of his story not filmed at the time are a TV-style snore fest. Worse yet is the dreadful music ranging from Eric Satie via Michael Nyman to early Fleetwood Mac, all deployed in a really clumsy and intrusive way.

The soundtrack is used to reassure catatonic middle-brow viewers that they are watching something supposedly imbued with ‘artistic purpose’. The resultant bollocks may convince the dim-witted their tastes are superior to those of your average street gawker, but the critical judgements of anyone who falls for a gambit of this type cannot be taken seriously. As a documentary Man On Wire would have been much better either as sleazy exploitation or something that was genuinely high-brow. If director James Marsh had shown some taste and used the tune Tightrope by Inez and Charlie Foxx instead of the truly awful Albertross by Fleetwood Mac, and tracks like Ho Ho Rock & Roll by Pete Roberts instead of Nyman and Satie, his movie wouldn’t suck quite so much; his cack-handed attempts to use music to signify ‘gravatus’ really infuriated me.

I rarely like movies that win awards, and Man On Wire is simply yet more mediocre fluff that the culture industry wants to hype up through its hierarchical prize system.

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