Posts Tagged ‘west London’

Why we need a weekly nudist night at Tate Modern in London!

Tuesday, May 19th, 2009

Is it possible to enjoy modern art with your clothes on? Not if you are Mavis Artlover of the Art Lovers Network. According to promotional material you can find online: “This group is for everyone who likes to romp around naked with works of art. Sex with art is even better than masturbation!”

Mavis Artlover is a 25 year-old hotel chambermaid who moved from Totnes in Devon to Dollis Hill in London five years ago. She told me that she discovered she was sexually excited by art as a teenager when she was visiting the Arnolfini in Bristol: “I was looking at this Anselm Kiefer work and I felt a wave of pleasure washing through me. I discovered later I’d just had my first orgasm. Since then I’ve always felt an overwhelming urge to strip-off when I’m looking at great works of art.”

Despite 47 arrests and 23 convictions for nude and disorderly conduct in art museums, Mavis has never looked back since the Kiefer knicker-wetting incident. “I’m sexually fulfilled,” she told me, “and although the price of that has been several months of jail, it was worth it. That said, I don’t want to do any more porridge, which is why I’m campaigning for all major world museums to introduce regular clothes-optional days.”

Mavis has even got together with several like-minded aesthetes who share her passion for viewing art in the buff, and they are demanding a weekly nudist night at Tate Modern. And I’m with Mavis on that, since I can’t see why those who are so inclined shouldn’t leave both their clothes and their inhibitions behind in the Tate cloakroom while they enjoy a finger or three of the old Bill Viola.

“You haven’t lived until you’ve made the beast with two backs in an art gallery that you and your humping partner are sharing with stone-to the-bone contemporary masterpiece such as Santa Claus with a Buttplug by Paul McCarthy or The Great White Way Goes Black by Katharina Sieverding!” Mavis told me.

I agreed when she told me this, but mainly because I wanted to get into her pants. Then I realised Mavis wasn’t wearing any knickers, she was as naked as the day she was born. I thought I was in luck, but Mavis made it clear there was no way she’d let me ram my French stick into her her fuzz-box until The Tate Modern agreed to a weekly nudist night

So there you have it, two really good reasons you should join the campaign to demand that Nick Serota introduces regular naked art appreciation sessions at Bankside: 1) You’ll never look at Mike Kelly’s work in the same way again after experiencing it buck naked; 2) Mavis isn’t going to let me shag her until Tate Modern give in to her demands!

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

Ladbroke Grove in the 1960s with the accent very much on 24 Bassett Road…

Sunday, May 17th, 2009

As noted in an earlier post on this blog, at the end of 1961 my mother Julia Callan-Thompson moved to a two room top floor flat at 24 Bassett Road, London W10. The area around Bassett Road had been developed as a series of housing estates in the 1860s in conjunction with the extension of the Metropolitan train line on a viaduct constructed over the Portobello stream and marshes to Ladbroke Grove. The station at this latter location was originally called Notting Hill, which is why an area that might more properly be designated Notting Dale is better known by the former designation. The development of the area was followed by an economic depression, which led the likes of nineteenth-century busy-body Florence Gladstone to complain: “Whole streets were not inhabited by the class of people for whom they were designed.”

In the late-nineteenth century rather than housing city clerks, many of the buildings in the Ladbroke Grove area were under multiple occupancy by members of the working class, and in particular Irish labourers who’d been forced by famine to migrate and were engaged in the construction of new railways in the area. Multiple working class occupancy of these building was something that would continue for more than a hundred years. By the beginning of the sixties the rail network was still providing work for many of the recent immigrants who were enlivening this drab part of west London; although now rather than constructing railways, a substantial proportion of those who’d been enticed to the metropolis from the West Indies with promises of remunerative employment were involved in the smooth running and maintenance of public transport.

24 Bassett Road is a large house with some neo-classical features such as the pillars that hold up the porch to the main door. By the early sixties the building’s generous rooms had been carved up into smaller units. I’ve been told the property was owned by a Trinidadian called Sandy Dalton-Brown who liked bohemians. My mother made friends with her landlord and would visit him at his home near Hyde Park. At one point he offered to sell her both the flat she rented and that of another tenant, so that the rent from the second flat would pay off the one hundred percent mortgage which he offered to arrange for the two dwellings. Before the introduction of stricter controls on British building societies at the start of the sixties, it was common for property speculators to off-load properties to both tenants and other parties with one hundred percent mortgages which the seller had pre-arranged. Indeed, constant resale was one of the best ways of inflating the value of slum dwellings. Despite the prices paid under such arrangements generally being above market value, ownership still proved cheaper than renting.

Apparently my mother didn’t like the idea of being a landlady, so she opted to remain a tenant. Dalton-Brown seems to have been known by this double-barrelled moniker in bohemian circles, which is how he is listed in my mother’s address book, without a forename or even a prefix such as Mister. It may be that Dalton-Brown was fronting as landlord for the real owner of the property, since the use of nominee landlords was common in Notting Hill at the time. If Dalton-Brown ever actually owned either parts or all of 24 Bassett Road in the early sixties, he’d at least partially sold up before my mother moved out since the Kensington General Rate book for the year to 31 March 1966 contains the following listings: Basement Flat – Dalstead Property Co. Ltd; Ground Floor Rooms – Miss Mary Murphy crossed out and entered by hand G. J. Warden; First Floor Rooms – The Occupier; Second Floor (on which my mother lived) – Miss Whitehurst. Dalton-Brown is said to have been involved in many different business ventures, and also seems to have owned a race horse which was kept at a stable in the north of England.

In one of the two basement flats was a Trinidadian musician called Russell Henderson who’d come to London in 1951 as a mature student and never left. Henderson was a first cousin to Sandy Dalton-Brown – who at one time owned or managed at least part of the property – and some of those in Henderson’s circles referred to his and my mother’s landlord as Uncle Sandy. In 1952, Russ Henderson linked up with Sterling Betancourt. Together they made some recordings of Henderson’s piano music which were released as singles by Melodisc. With the addition of Mervyn Constantine they switched to playing pan drums and became The Russ Henderson Steel Band. When Constantine left the band, it was augmented by Ralph Cherrie and his brother Max Cherrie. As well as performing regular gigs, they also appeared on the radio and in both TV shows and feature films; including Danger Man, The Saint and Doctor Terror’s House of Horrors (Amicus, 1965, in a segment also featuring Roy Castle and the Tuby Hayes Quartet!). By the mid-sixties, with a minor shift in the line-up, Henderson was running his ensemble as both a steel band and a jazz quartet. For the latter, he’d sit at the piano, Sterling Betancourt played drums, Max Cherrie was on double bass and Gigi Walker blew the trumpet. The group had house spots as both a jazz ensemble and a steel band at different London venues, and also played further afield. Henderson continued to make records in the sixties but all are now deleted and they have become collector’s items; however, one of his best tracks, West Indian Drums, appeared a few years ago on the CD compilation London Is The Place For Me Volume 2.

In the second basement flat at 24 Bassett Road was a Jewish refugee from Nazism called Ruth Forster (covered in an earlier blog). Both Forster and Henderson lived at 24 Bassett Road from the nineteen-fifties right through to the mid-eighties. Forster appears to have died in the mid-eighties, while Henderson moved on to other parts of west London, where he still lives, now aged 85. Another very interesting occupant of a conversion at this address in the earlier part of the sixties was Peter Hammerton, who’d set up an Interplanetary Society in the late-fifties and was a fixture of early science-fiction conventions. Hammerton was a friend of the writer Michael Moorcock who also lived in the area. During the half-decade my mother rented her two room flat at 24 Bassett Road, she would take long trips to Europe but nonetheless liked having somewhere secure to come back to, despite being away for periods of up to six months. Eventually in the summer of 1966 she moved on to a pad at 55 Elgin Crescent W11; this street is only a short walk from Bassett Road, but the flat my mother lived in there was located to the east of Ladbroke Grove, rather than to its west like her old gaff.

At the time it was first developed in the 1860s, the area around Elgin Crescent was known as The Stumps. A hundred years before my mother moved there it was described in Building News as ‘a graveyard of buried hopes’ with ‘naked carcasses, crumbling decorations, fractured walls and slimy cement work’. The terraced houses in Elgin Crescent were of a similar pseudo-classical design to the detached building my mother had just left in Bassett Road albeit with fuller whitewashing. When Julie moved in, the property at 55 Elgin Crescent had just been divided into flats by a development company, so she signed a three year lease which she was able to sell on at a small profit when she left for Paris less than six months later.

In the mid-sixties, Michael X’s mother Iona Brown lived in Elgin Crescent, and she made money practising Obeah and dispensing spiritual advice from her flat. However, Iona Brown died in May 1966, shortly before my mother moved to the street. Someone my mother had befriended and who lived in Elgin Crescent at the same time as her was Terry Taylor. He had a place right by Finches pub, possibly at number 16. At the end of 1966, my mother left London to live in Paris and after a year there travelled on to India. When my mother took up living in London full-time once again in the summer of 1969, it was initially in a flat she shared with Terry Taylor and other friends at 58 Bassett Road. But that’s another story….

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

The London Perambulator

Thursday, April 30th, 2009

I found myself back at the Whitechapel Gallery last night for the world premier of John Rogers’ film The London Perambulator. This documentary is a portrait of arsonist and ‘deep topographer’ Nick Papadimitriou. In 1975 the teenage Papadimitriou burnt down his school, and as a result got banged up in Ashford Remand Centre; a little later he found himself locked in a cell next to serial killer Dennis Nilsen at Wormwood Scrubs prison. Now in his fifties and after overcoming drug addiction, north London based Papadimitriou spends his days tramping around the liminal spaces of the city and collecting archival material connected to his walks. Some might call this psychogeography but since the term is now hackneyed, ‘deep topography’ provides a more attractive description. Papadimitriou’s fascination with suburban sprawl and sewage works might be seen as ‘eccentric’, and  The London Perambulator struck me as a cross between Iain Sinclair and Chris Petit’s Channel 4 movies such as The Falconer and works by  the artist Luke Fowler including Bogman Palmjaguar and The Way Out (see right column on link for Fowler review).

Like Luke Fowler in his art film portraits, Rogers refrains from providing a straight account of Papadimitriou’s life, instead leaving it to the viewer to piece together biographical fragments. The London Perambulator has a grunge aesthetic, including shaky camera-work and with the outdoor shots filmed from a walkers’ perspective, so there are no panoramas or aerial shots. Intercut into this are talking head sequences of Papadimitriou’s three most famous friends speaking about him and his activities. The talking heads are media personalities Russell Brand and Will Self, complimented by writer Iain Sinclair. Self and Sinclair are shot in their homes, whereas Brand appears to be reclining in the offices of his Vanity Productions company. There is the odd shot of Papadimitriou in his flat, but mostly he is filmed outside, sometimes accompanied by Will Self. There are variations in sound quality, with the audio on the Brand segments being superior to everything else. Brand’s Vanity company produced The London Perambulator, Rogers works there and obviously studio equipment is generally superior to its portable equivalents. That said, the sound is acceptable throughout the film, and the changes in its quality are simply a part of its grunge aesthetic. In the interests of clarity, I also need to declare here that there are a couple of projects I’ve been developing with Rogers and Vanity for some time; so if anyone wants to make accusations of nepotism, I should be included in them for blogging about this film!

After the screening there was a panel talk featuring Rogers, Sinclair and Self, with Goldsmiths College academic Andrea Philips as chair. Rogers and Sinclair acquitted themselves well. Unfortunately, the discussion became somewhat strained when Andrea Philips asked Self whether there was a master/slave relationship between him and Papadimitriou. Self jumped down her throat by denouncing this as a detour into the bondage parlour, whereas it seemed to me that Philips was invoking Hegel’s famous and much discussed master/slave dialectic as a reference point.  Likewise, my impression was that Philips was putting Papadimitriou forward as the more senior partner in his obviously close  and collaborative relationship with Self, but the media personality angrily responded that Papadimitriou was in no way beholden to him. It is difficult to imagine anyone who had just seen Rogers’ film coming away with that impression, since after viewing it only a reversal of Self’s perspective would seem in the least bit feasible.

Philips appeared shaken by Self’s odd reply to her question, which might explain why having opened the session by talking up her own academic expertise in the areas of psychogeography and urban walking, she closed by asking why these activities appealed only to men. Sinclair soon put her straight by explaining that most of those wanting to do walks with him were women, and of course Philips’ own academic research also served to disprove her final assertion. Afterwards a good number of those present headed up to the Whitechapel bar, where Self’s claim that Papadimitriou was a contemporary Rimbaud came in for some heavy criticism. On the basis of the Rogers’ film, it would appear that Papadimitriou is principally concerned with observation, whereas Rimbaud’s focus was transformation; such differences clearly render Self’s claim untenable.

The London Perambulator was screened as a part of the East London Film Festival (23-30 April 2009, various locations).

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

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!

Unseen Polish films of the 1970s & 1980s

Saturday, March 28th, 2009

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

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

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

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

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

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

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

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!

Screamtime at the BFI…

Saturday, February 21st, 2009

I hadn’t seen Stanley Long perform in public since the BFI screened Primitive London a couple of years ago, so last night it was off to the South Bank to catch the veteran exploitation producer and director in action…  Rumour had it that Stanley was in bad shape after various surgical procedures, but he didn’t look much different from last time I saw him. He did his usual stock-in-trade bad jokes to laughs and heavy applause: “My writer Michael Armstrong has put on a lot of weight since he wrote these scripts for me, but I’m not going to embarrass him.” And when the Q & A was curtailed due to the event running late, Stanley suggested we could find the answers to all our questions in his newly published autobiography which is “on sale in the BFI bookshop”! So yes, it was a vintage Long performance.

The three films shown last night at the BFI belong to the quota quickie tradition, shorts made cheaply but for a considerable profit because they enabled UK cinemas to project the proportion of British films they were legally required to screen; and in the case of Long’s horror movies they were also eligible for public subsidy in the form of the Eady Fund. That’s The Way To Do It (1982) is about a put-upon children’s entertainer who batters his nearest and dearest to death, but blames the murders on his Mr Punch puppet. Lots of seafront shots in this one; it looked like Brighton to me but was apparently Eastbourne. Dreamhouse (1981) concerns a newly married woman apparently undergoing a nervous breakdown; it eventually transpires she’s got second-sight and was seeing a series of bloody murders that would take place in the very near future. It could probably happen to anyone who unexpectedly found themselves living in a large house in Ruislip, north-west London. Finally Do You Believe In Fairies? (1982) features murderous garden gnomes that come to life, plus a couple of zombies that rise from a suburban flower bed. This one even has David Van Day of the unbelievably naff pop groups Guys n’ Dolls and Dollar in it; in his introduction Stanley Long was unable to resist a joke about Van Day’s stint on a hot dog stall when his show biz career hit the skids!

The films were extraordinarily tacky and tended towards a British music hall/luvvie vibe. That said, the dreadful early eighties fashions kept me transfixed, as did the Stanley Long women -  what he seems to look for in younger actresses is a broad pelvis. Weird! Long films are complete rot, but nonetheless they are highly entertaining bollocks. And since I’m old enough to remember the mainly documentary shorts shown before American features in British cinemas, I can also assure you that Stanley Long’s three thirty plus minute horror outings tower above the average example of the quota quickie.

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

The 1960s nude murders & the 17th century Whitefriars punks who liked to give head…

Thursday, February 5th, 2009

Having spent some time looking at my mother’s life and in particular her time from 1961 onwards in Notting Hill, I have inevitably had cause to ponder Jack The Stripper and the nude murders. At least six west London prostitutes died in a bizarre series of mid-sixties sex slayings but the killer was never caught. I have always been more interested in the victims than their murderer(s), but I felt it worth commenting on a recent book that claimed to identify the killer. My focus in this review was on the author of this travesty, since he made a number of outrageous claims without any proof to back them up. You can read my review here. Despite this, via the mail form on my website, I get a fair number of messages about Jack The Stripper. Indeed, I got one yesterday that read:

“Nude Murders. Dear Stewart, would you be interested in discussing this subject with me. I believe that 2 people were responsible for these murders. The first is Mungo Ireland, the second Harold Jones, a near neighbour of Ireland. Google Neil Milkins for more info on Jones. Neil Milkins.”

Mungo Ireland is one of the usual suspects put in the frame for the Jack The Stripper murders, alongside the likes of boxing champion Freddie Mills. I hadn’t heard of Harold Jones before. After doing a web search I discovered Jones had been convicted of killing two children in 1921 when he was himself only 15 years-old. Milkins has produced a book about the case entitled Every Mother’s Nightmare: Abertillery in Mourning (Old Bakehouse Publications 2008) and as The South Wales News of 8 November 2007 explained: “After many years of researching the subject, Mr Milkins threw himself whole-heartedly into the project after leaving his job as a tree-feller due to an injury.” When I checked yesterday, the book only had one Amazon review, but it was enthusiastic and gave a 5 star rating:

“Kevin Milkins (Wick/Scotland). I have just finished reading my brother’s first book and found it a great and informative read. Well done Neil for turning an interesting factual story into print for all of us to share. Can hardly wait for your next book.”

My web searches also revealed that Neil Milkins had drummed up some local newspaper coverage for his Jack The Stripper theories. For example, the Hounslow Chronicle ran the following under the headline “Author uncovers new suspect in sixties murder mystery” on 26 August 2008:

“While the hedonists of the King’s Road were preoccupied with the swinging sixties, a grim orgy of killing was taking place just a few kilometres to the west.

“A serial killer obsessed with prostitutes murdered six, possibly eight, young women between 1964 and 1965, dumping their naked and mutilated bodies on the banks of the River Thames. His heinous acts earned him the moniker Jack the Stripper – but he was never caught.

“Now the dormant investigation has been given a boost after the name of a notorious Welsh double-child murderer was put in the frame for the killings.

“Harold Jones was aged 15 when he was convicted of killing two girls, aged eight and 11, in Abertillery, Wales. He served 20 years for his crime and was released in 1941 and moved to Fulham.

“We know he was living in Hestercombe Avenue, Fulham, as Harry Stevens until 1962, said author Neil Milkins, who conducted research into Jones’ movements for his book Every Mother’s Nightmare.

“The next record is from 1965 when he is living in Aldensley Road, Hammersmith, as Harry Jones. But his whereabouts during the years of the killings is unknown. I don’t know that he was involved in the murders, but it is certain a psychopath with the capability of committing callous crimes and covering them up was around the area.

“Mr Milkins examined Jones’ psychologist and prison reports at the National Archives Centre, in Kew, before handing his suspicions over to Scotland Yards murder review team.

“But Neil insists: The coincidence of Harold Jones being there just jumped out at me and I’m hoping people come forward with more information on him where he worked, who he associated with and the kind of person he was. I want to find out where he was between 1962-65, the answer to that may answer a whole lot of other questions.

“Harold Jones died in Hammersmith in 1971, his death certificate names him as Harold Jones, otherwise Harry Stevens.”

Moving on from this newspaper report, I happen to know that Milkins is an Irish name, whereas Malkin is an English name, and these two surnames have quite distinct origins. Nonetheless, some people might be struck by the similarity between Neil Milkins’ surname and the name Malkin, and then read something into the fact that malkin was a slang term for a lewd woman in Elizabethan and Jacobean London. For an example of the word malkin being used in this fashion we might turn to Father Hubburd’s Tales by Thomas Middleton: “and none can justly except me but some riotous vomiting Kit or some gentleman-swallowing Malkin.” (Thomas Middleton: The Collected Works edited by Gary Taylor and John Lavagnino, Clarendon Press, Oxford, 2007, page 166; the tale we’re dealing with was first published in 1604). A kit is, of course, a loose woman… but the phrase ‘some gentleman-swallowing Malkin’ is the one that really gets me going, since it might be taken to mean a prostitute doing ‘French’ (i.e. performing oral sex, giving head, providing a blow job etc.). It is thought Jack The Stripper killed his victims by suffocating them with his manhood as they gave him oral sex…

A lot can be (mis)read into the fact that Neil Milkins’ Irish surname sounds similar to the unrelated English name Malkin. Likewise it may appear curious that a Welsh double-murderer seems to have been living in west London when the Jack The Stripper murders took place, but given the size of the population in the area at the time it is unlikely he is the only psychopath who might be put in the frame for the killings on the basis of past record. I haven’t seen anything that convincingly links Harold Jones to these unsolved crimes. And for me the victims are still of greater interest than the killer… To finish, f you want an example of a contemporary Malkin whose reputation is considerably lower than that of a Whitefriars punk, then right-wing blogger Michelle Malkin fits the bill….

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