Posts Tagged ‘sixties’

Gustav Regler, The Owl of Minerva, Ruth Forster & Julia Callan-Thompson

Saturday, April 11th, 2009

In late 1961 my mother – Julia Callan-Thompson – moved across London from a one room bedist at 101 Barnsbury Street N1 (Islington) to a two room pad on the top floor at 24 Bassett Road W10 (off Ladbroke Grove).  Both the basement flats beneath her at 24 Bassett Road had interesting occupants. In one was the Trinidadian drummer Russ Henderson who led the first steel band to play on the streets of London, and later had a hand in setting up what became known as the Notting Hill Carnival. In the other was a refugee from Nazism called Ruth Forster, who I’ve been told was a Jewish bookseller and a member (or a former member) of the Communist Party. Forster apparently threw extraordinary parties and among the many amazing people my mother allegedly met in her basement flat over the coming months and years, another former Communist Party member called Gustav Regler made perhaps the greatest impression. If my mother did indeed meet Regler, then this must have been in either late 1961 or sometime in 1962, since he died in New Delhi in January 1963.

Regler was a confused man from a German Catholic background. He was born in 1898 and wrote many books, the overwhelming majority of which have never been translated into English. A World War I hero of sorts, he travelled to Berlin in 1919 to join the right-wing militias. After serving the cause of reaction in the German capitol, Regler moved on to Munich where he abortively involved himself in defending the Bavarian Soviets, but the revolution was viciously snuffed out. Next a good marriage resulted in Regler becoming a wealthy businessman. However, feeling oppressed, he abandoned his wife and young son to become an impoverished writer. A committed Stalinist by the time the Nazis ascended to power, Regler became a German exile in Paris from where he very actively participated in the anti-fascist struggle. Regler later claimed that visits to Moscow led to his disenchantment with Bolshevism in the mid-thirties, although this didn’t prevent him from assuming a position of authority within the Stalinist controlled International Brigade in Spain.

During the Spanish civil war Regler befriended the American novelist Ernest Hemmingway and appears to have held himself aloof from the acts of sabotage carried out against the Republican cause by some of his Bolshevik comrades. Regler didn’t actually break with Stalinism until after Franco’s fascist triumph in Spain and the forging of the Nazi-Soviet Pact. Following internment in a French concentration camp and then a period of exile in Mexico, he returned to Europe in 1957. All of this is recorded in his autobiography The Owl of Minerva. Ruth Forster is mentioned in passing towards the end of this book as the girlfriend of Walter, a former German artillery officer with progressive political views, who was imprisoned in France with Regler. Part of a letter Forster sent to Walter is reproduced in The Owl of Minerva and Regler makes it clear that she’d taken part in the underground resistance to Nazism in Germany and had been imprisoned for these activities in 1937. How she got away from Germany isn’t recorded. The text of her letter does, however, reveal that she was greatly enamoured by the poetry of Rilke.

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!

X-Rated: Adventures of an exploitation filmmaker

Sunday, March 22nd, 2009

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

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

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

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

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

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!

People let’s freak out!

Tuesday, March 10th, 2009

Saturday night (7 March 2009) in the city of the dead and I’m part of the small team organising Fiona’s Shoe; an evening of music, poetry and film at the South London Gallery. We’d obviously created a buzz coz we’d sold out three days before the event and on the night we were turning people away. Those that got in found themselves in a darkened room with a large DVD projection of a Jud Yalkut snippet. Next up was a 16mm print of Wholly Communion directed by Peter Whitehead, a half-hour documentary about the International Poetry Incarnation at the Albert Hall in 1965.

This was followed by a recreation of John Latham’s Juliet & Romeo, a piece of expanded cinema he’d intended to debut at the International Poetry Incarnation but didn’t because he passed out and missed his cue.  The work takes the form of a battle between two figures, dressed head to toe in books and printed papers, to represent the Apollonian and the Dionysian, the classical and the romantic, hardback and softback books.  The action takes place before a backdrop of two of Latham’s Force Field (1963–1967) – or blind – paintings. It begins with Latham’s film Unedited Material from the Star (1960) projected over the two figures and this backdrop. The work was performed once at the Theatre Royal, Stratford East towards the end of 1965, then twice during the Destruction in Art Symposium of 1966. Its final presentation during Latham’s life was at the Exprmntl 4 festival of expanded cinema in Knokke-Le-Zoute, Belgium, over New Year 1967-8.

Tom Marshman and Clare Thornton took the Apollonian and Dionysian roles at the South London Gallery and the piece still looked fresh and contemporary more than 40 years on from its last public airing. It’s a slow ballet, with each figure stripping the other, resulting in body painted nudity. Under the books, Marshman had been rendered in blue and Thornton red. Finally, Thornton  decapitated Marshman, or at least his hardback headdress.  The two figures then exited the stage and the abstract short Unedited Material from the Star ran again. The event was largely silent except for the rustle of paper, a loud pop when a balloon burst, and at the end some vicious amplified clicks from a pair of scissors. The movements of the figures were exaggeratedly male and female, with a subtle erotic charge between them. Much of the audience was mesmerised, a few seemed unsure what to make of it, and Richard DeDomenici told me he  “was disappointed not to see Tom Marshman’s cock.”

The evening proceeded in an informal manner precisely because I didn’t want Latham’s work to come across as a museum piece. Works were not introduced, they simply unfolded. The audience had notes to assist them identify the pieces, but no running order or schedule. They could come and go but didn’t know what they’d see or miss if they chose to do that. A reading from an abridgement of the 1704 text The Battle of the Books by Jonathan Swift followed Juliet and Romeo. The text is a satire on post-Renaissance disputes about the relative merits of ancient and modern authors. It was read by actress Birgit Ludwig who had difficulty projecting to the large crowd, who nonetheless listened attentively despite the unsuitability of her breathy presentation to the acoustics of the space. I’d asked for a professional actress to read the piece because I’d wanted clarity; and I’d assumed that an actress would adapt what they did to the audience and the night. Ludwig trooped valiantly to the end of the text without altering her unsuitability ethereal approach to the space. It was impossible to follow the satire and many audience members assumed they were being bombarded with thirty minutes of random words as a demonstration of John Latham’s theory that the most basic component of reality is not the particle – as in classical physics – but the least-event.  So although the performance was a failure from the perspective of what I’d wanted, it successfully kept to the spirit of the night.

Towards the end of Ludwig’s reading, free jazz legend Lol Coxhill came in underneath her on saxophone. He continued when she finished. The lights dimmed and Jud Yalkut’s 21 minute 8mm film diary of the Exprmntl 4 festival was screened from DVD. This included footage of a previous performance of Juliet & Romeo in 1967, and various audience members commented that from it they could see that our recreation of the piece was remarkably true to the original; this was down to hard work, with all available photos, film and and text consulted – alongside personal coaching for Thornton and Marshman from Latham’s partner Barbara Steveni, who’d performed the piece in the 60s. Our setting was informal and only a few chairs were scattered about the South London Gallery. To see the Yalkut film diary which was screened on a side wall, many members of the audience had to move from their previous positions. As they did so, some started talking. The intention had been for Coxhill to play throughout the film, and then continue on his own when the lights came up, with Ulli Freer eventually joining him for a combination of sax and poetry. Instead Coxhill announced it was pointless for him to play while people were talking. I was at the other end of the room from Coxhill but could hear him well enough despite the noise, and I wasn’t the only one listening, so it was a shame he stopped.

After the event one audience member emailed the following observation, which is fairly typical of what I heard from others: “really enjoyed last night, despite truncated Lol C set,  was talking on the way home about how unmediated events, i.e. not MC’d, can create really good atmosphere of uncertainty and excitement. It felt very  relevant to these times, nice one. The Whitehead film was beautifully presented with big sound. Maybe Mr Coxhill ain’t hip to his texting acronym type first name: laugh out loud, yeah but not while I’m playing…” That said, Coxhill’s reactions beautifully mirrored poet Harry Fainlight’s difficulties with the crowd at the International Poetry Incarnation as documented in Wholly Communion, so despite the fact he didn’t play for nearly as long as I’d have liked, his decision to throw in the towel did carry with it a sense of repetitive and ontological right-onness.

Coxhill did come back on with Ulli Freer after the Yalkut diary film, playing a few notes but mainly sitting with his sax across his knees. Freer impressed the predominantly art crowd both with both his conviction and the content of his poetry. He understood that to get across in the space he had to be loud and put a lot of work into projecting himself. That said, his use of words is actually very subtle! By this time the free drinks were all gone but we were still giving out free bagels. After Freer, the lights went down and the shorts Towers Open Fire (1963) and The Cut-Ups (1966) directed by Antony Balch and starring beat writer William Burroughs (who’d contributed a tape piece to the International Poetry Incarnation) were screened from DVD.

The last  screening of the night was a 16mm projection of John Latham’s extraordinary coloured-disc animation Speak (1962), which anticipates the psychedelics of the high sixties. It is an 11 minute retinal assault with a circular saw soundtrack. Whenever I’d seen the film projected before the sound had been too low, but we had it jacked right up for maximum effect and the experience of watching it this way was a real groove sensation! The night ended with music from a CD I’d burnt of some of my favourite soul tunes of the 1960s: All Of A Sudden by The Incredibles, So Far Away by Hank Jacobs, New Breed by Ike Turner & His Kings Of Rhythm, At The Woodchoppers Ball by Willie Mitchell, Everybody’s Going To A Love In by Bob Brady & The Conchords, Karate Boogaloo by Jerry O, Think About The Good Times by The Soul Sisters etc. etc.

Aside from the above, there were a few other things going on during the night, like Brion Gysin Dream Machines in a back room for further drugless hallucinogenic highs. So all in all I was extremely pleased with the night. While not everything went as planned, that is in the nature of type of event I’d set out to create, within which discrete pieces also become an integral part of a larger ‘happening’. So to finish off, a big shout out to Elisa Kay and Anne-Sophie Dinant who invited me in to organise the night with them.

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

Gazwrx: The films of Jeff Keen

Tuesday, March 3rd, 2009

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

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

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

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

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

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

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