OZ London #25 by UOW Library

MOTHERS WHERE IS YOUR DAUGHTER TONIGHT? THE FULL SHOCK STORY FROM SIBERIA TO SCUNTHORPE Plus! Early Elvis, Jerry Lee Lewis, Carl Perkins, Johnny Cash and exclusive - complete lyrics of Billy Lee Riley's 'Flying Saucers Rock'n Roll'• The facts - LEPER RAPES VIRGIN -

MOTT THE HOOPLE

produced by Guy Stevens

Inside OZ This OZ is about enslavement â€” of the body and of the spirit. 'We've lost the art of dreaming' writes Donald Reeves from his parish in that cellblock that is Morden, 'a community organised for death.' We sent two girls to that other hotbed of spiritual rigor mortis, Scunthorpe where they withstood for a whole weekend, seething distrust, rampant inertia and Special Chow Mein (with an egg). Many of those who reject the lifestyle symbolised by these towns, end up in gaols and courtrooms. In this OZ there is a report from Chicago, where Yippie, New Left and black activists are on trial for conspiring to celebrate a Festival of Life. Also, Harvey Matusow, one of the first to focus attention on hippie prisoners in Turkey, now discovers more hash fiends languishing in Lebanon. Anthony Lorraine, gaoled for 15 months for a similar offence in various Russian prison camps, writes of his experiences. His internment was less stultifying than the three or four years of ingenious subjugation imposed by Oxford University. Two contributors remind us that tomorrow's 'leaders' are still being churned out with the same elitist set of prejudices, and the total inability to relate to or communicate with their fellow man, that has traditionally distinguished the Oxbridge product. Unfreedom everywhere, but small breakthroughs: cultural renaissance via rock music, so a tribute to Sun records and its founder, Sam Phillips; and a tribute of another sort to the 'man without whom .. OZ probably wouldn't be here, Jack Kerouac, father of beat, founder of drop-out. His road now leads around the world, and from one lay-by, Ibiza, OZ reports on a personal liberation; learning to love idleness, fun, sun and life. Now read on.

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America's Real Uncle Sam Robert Finnis Mozic Special

along in the form of a white boy moving in a field previously run by coloured they recognised it. The late Steve f R.C.A. heard him and for the executives fund was e $35,000 Sam Phillips ntract and all Sun nssome unissued }to got $5,000 \. 14ti. • , ht he'd got

Everybody has heard of 'Blue Suede Shoes' or 'Great Balls of Fire'. They are stock phrases or classic statements Pop. Even today's teenyboppers It faint notions of their presence, What have they both in coin were recorded in the mid both in the same Mem artists born within c Southern States. records belong t hits to erne; fifties, w from j force o yet — choice

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it the original Sun studio. Sp co bo w re

ess S s born in Florence, Sa After forming a Al co is earlier days, he then the early 50's found be masters of local him ecords as the blues s e parts. were st steady ti a minor Phillips did g suit Ch masters to I R.P.M. and Jip et occasionally 88', by Jackie Br At this stage his sm microphones (some but this was suitable for which didn't rely too muc perfection but general feel, sound' Others he recorded were llowlin' B. B. King, Ike Turner, Rufus Thoma Bobby Bland and Joe Hill Lewis. In 1953 he formed the Sun label and early releases included discs by Rufus Thomas, Willie Nix, Roscoe Gordon and a young Junior Parker, billed as Little Juniors Blue Flames. Soon they had a small hit, with a sad, melodic disc by the 'Prisonairres', inmates of the Tennessee State Penitentuary. The song, 'Just Walkin' in the Rain', was recorded 3 years later in 1956, by a then commercially popular white artist, Johnny Ray, who stole the honours.* Sun continued to put out discs by blues artists, but by 1954 a very few white singers appeared, some singing straight country boogie or C. & W. The label was now dealing with two ethnic groups, and releases were few and far between -- a policy which was to remain.

wort al `TIPat's Arthur -Ctuchip end told4him to do it his way. The biggest and most influential disc-jockey in Memphis, Dewey Phillips no relation to Sam played 'That's Alright' one night in July of '54. Presley hid in a cinema to avoid the embarrassment and tension (although he told his parents to listen in) of hearing

nto rock n"roll. be the bread wa grassroots level tradition. -

JOHNNY CASH In the South there's tradition of musical inter spiritual and gospel mu blues merged with cou the early pioneers of ro. presented what so • to the ma irst ti

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ELVIS PRESLEY The famous appearance of Elvis Presley on the label occurred in July, '54 with two simultaneous releases out of the blue, crammed in amongst a few blues/gospel discs and a country record:-

heritage, a introd . --

'on Sun 215 and"

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'on 217. Other Sun stiffconsisted ames and in Autumn '55 un release 'Mystery Train'/'I Forgot to Remember to Forget' (223) appeared. By this time he was the biggest celebrity in the South since Robert E. Lee. There was hunger for his kind of music, but the starving audiences at first didn't know what the hunger was for. When it came *ln 1953 five temporary residents of this Nashville Prison formed their own so called group- -'The Prisonairres' and wrote their own original material. 'Walking in the Rain' turned out to be a small hit, and then 20 per cent of the profits were turned over to a rehabilitation centre. Before Ray's version became a smash, four of the group had been released. Johnny Bragg co-composer of the song, was still serving a sentence for an offence he committed in 1938 when he was 17. Johnny Ray's label Columbia held Bragg's royalties for him. The four others renamed themselves 'The Marigolds' and pursued a career in the South.

'soul'

ke huf ties s of ties of n audience. It a contrast to the y product of th

resley was hitting hi-S n, a country singer from i$hnny Cash (b. 1932) tioned for Sam Phillips. Cash had been a farm boy who'd joined the airforce and in his spare time had learned the guitar and developed a style which came from the blood; he was a country singer. After he left the service he hit Memphis then the 'coolest' place and along with his 'Tennessee Two (Marshall Grant on string bass and the late Luther Perkins on lead) prepared for the audition. Phillips was impressed and 'lley Porter'rCry, Cry, Cry' was issued on Sun 221 in late '55. It became a national hit, selling 100,000 in the South alone and a year later lie was named as the most promising C. & W. artist of the year in 4 polls. The fact remains that Cash was the first young country singer to make it in the pop field on the scale of a pop artist with continued success, without ever veering from country, an extreme rarity in those days. CARL PERKINS On the rock n' roll front, Elvis had a contender with Carl Perkins. They say that Perkins could have given Presley a run for his money, if it wasn't for his

Bob Dylan.

Elvis's first recording: in '54 when Elvis was truck driving he used his first pay cheque to record 'Blue Moon' for his mother in the recording booth Sam Phillips let out for private recordings. A year later when Sam wanted a ballad recorded ('I Love you because') he called in Elvis, but he started to sing the blues, which led to his first release 'That's all right'. One Sun recording was released approximately every three weeks.

crash, but this is doubtful. He wasn't as good looking as Presley, who had a kind of Valentino appeal. Perkins looked and was a pure country boy. But the ethnic value of his sound and contributions cannot be denied. His first appearance was on an obscure Sun subsidiary label, Flip. This was, according to Sam Phillips, a 'non-union label for testing out new talent'** The disc was 'Movie Magg'rfurn Around' (both C. & W.) on flip 501. It was withdrawn soon after and Perkins reappeared in Autumn '55 with a single on Sun 224 'Gone, Gone, Gone' (rockabilly)net The Jukebox Keep on Playing' (C. &. W.) Perkins was equally at home with country or rock n' roll and his raw, but fairly disciplined powerful voice, epitomised country-rock. back-ups weren't very tight but relaxed and rickety, a c quality. Never any hat After 'Gone, Gone' attracting D.J. • South, where he wrote ` after h say my song 1

Of course the 'cooking' was beneficial. The most popular device flutter echo put a hard, extremely earthy edge to anybody's voice, a fierce back-alley echo. To begin with, this early sound had one important factor — bass. There was a lot of bass, especially bass drum, on some of the records. Most of the back-ups usually 3 piece, centred around the string bass, closely recorded and struck with a drum stick to produce that chugging, slapping sound. There was usually plenty of presence although the voice might be lifted into ghostly heights by the flutter echo. (A recent example of this contrast is 'Bad Moon Rising' by Creedence Clearwater, which is by their own admission t em ,t at the Sun a ve 'ca it is

ee Lewl :was the ad el

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Jerry's voice and piano, always in complete autistic control. One gets the feeling, as all the other instruments rumble on after him on his famous crescendos, that they were mindless pawns scuttling after the leader with cries of 'anything you say, Jerry Lee'. However, the weird recording techniques and primitive acoustics of the sound were still in force up to mid '58. The way Sam Phillips recorded always produced a sound which can only be described as 'raw' and the simplest back-ups could be transformed into a wild, distOrted, rave-up. Sun wasn't the only label capable of this. All over the country exclusively between the years '55-'57 the smaller labels especially, because of lack of facilities, ereturning out weirdies of studio mickry, some extremely exciting. latched on, the bigger ied. Capitol with Gene luecaps on coral with the o's utterly fantastic (both '561 primitive and e, on 'Red ' Boogie' by une '56) with a g in

e', on Sun 267. This song had

ough p is rinds as with a On

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his ck tory U-31 ,4 amusing 3 — SETTING SUN With the coming and equipmen had more or and could ea instruments ace

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r rock went the .Compare Great Balls pping' effect the mike -nts such as `p' and o the faithfully /..A., THE THREE SO ' recorded in Sun's 1 — GRADE 'A' n .._ f in Nashville, 1960. 3C) i wed bi_ V. i 4ritiil e a 1960 the Sun sound had The Sun sound can be pnericalantieSIRIled n lost and entered the final phase categories or sounds. The as etrtgisiali kesisb.MIliegan ereby any of their discs could have all discs from 1953 to early been recorded by anyone, anywhere in the best. It included a wide range of America. The 60's brought a death blow discs, both blues, and later '55-'57 rock Suddenly the voice track was cut and a to Sun (original rock n' roll had died by n' roll or rockabilly. All these discs (as segment of Lewis' vesion of 'I'm Feeling '59) but they had several more pop/rock with most of the very best rock n' roll hits like 'Lonely Weekends' by Charlie records) were recorded on comparatively Sorry' inserted. The collage with a play on words made up the whole track. Not primitive equipment and to compensate, Rich (1960) 'Mountain of Love', Harold surprisingly it didn't sell (wasn't issued voices, instruments, etc. were boosted or Dorman (1960) and 'Pretend' by Carl here, natch!) but on the other hand it 'cooked' electronically with echo, Mann (1960). Cash and Perkins had long cost nothing to make and it must have compression, etc. so that the final sound left the label, but Lewis remained until made Jerry Lee feel a whole lot better. consisted half of reality, half of 'dream 1963 when the label ceased to function He was back on form two releases later distortion'. except for a few sporadic releases. with 'Break-Up' (Sun 301) but though After 1960 Lewis was produced by What makes those records so good is this rocker sold well he couldn't match Sam's elder brother Judd Phillips, in that were they crystal clear, the crude up to his previous success on disc, until Nashville, who swamped Jerry Lee in reality of the sounds would be brought 1961, when he had a surprise smash with brass and girly choruses in an attempt to painfully out. However, with a cooked 'What'd I Say' (Sun 356) after a period modernise him ('Good Golly Miss sound — what went into the mikes was in the doldrums. Molly', 1962, 'What'd ISay', 1961) bu very different from what came out in the succeeded only in recording Lewis, wh booth — the reality was lost, The early Lewis discs had represented was going through a bad period, into the second style in development of the mediocrity. Sun sound. This was tinnier with less Phillips never had any ambitions other **It was discontinued after a man called bass than the earlier Presley, Perkins, than money and he never developed Sun Ed Wells, who ran another 'Flip' label Cash sound. The slapped bass had gone into anything bigger. Everything was (they had a 1956 hit with 'A Casual and the rhythm back-ups were more purely functional. He had several Look' by the 'Sixteens') sued Phillips subsidiary labels Flip, Blackgold, and the conventional with everybody following over the name. tionalT.V in bre

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Blue Suede Shoes, according to a taped interview with Carl he woke up at 4 a.m. with the idea in his mind, wrote it down on a piece of brown paper and took over to Sam in the morning. They chewed it over for a few weeks before recording it. Story of overhead conversation was probably promotion material.

recorded early in March 1956, wit success, by a coloured group called th 'Commodores' on Dot and theirs was more Haley like. (Also recorded by Dorothy later 'Dotty' Fredericks). first Lewis went on to score more gold discs harts with Sun 281 'Great Balls of Fire'. Sun has a H: l,r Mt 288 'Breathless' and 'High School uite Confidential' on Sun 296. Then came by Authority y a the U.K. tour with the muck-raking nationals rooty-tooting about Jerry's Respective under-age wife. (Presley could get away with it — Priscilla Beaulieu his wife, wa only 12 or 13 when he began dating h BM! in Germany in 1958, whilst in the d. fter a few gigs he returned ho nth alt Presley did usioned and depressed s becoming the first ...

rock prob rock Perkins 'Boppin True Love' (1

Well it's one for the money And two for the show Three to get ready now go cat go Don't you step on my blue suede shoes You can do anything that you want to do But don't step on my blue suede shoes. Burn my house Drive my car Steal my liquor from an old fruit j You can do anything But lay off of my blue suede shoes Blue Blue Blue, Blue Blue Blue, You can do anything But lay off of my blue suede shoes.

as roll. Wit eart

Carl Perkins missed the sunshine — still down south.

GEORGE AND LEWIS

---.

'Return of Jerry Lee Lewis': never released in G.B. or London (although they had it) because part of lyrics went so: Q. 'And What did you say to Queen Elizabeth?' A. 'Goodness gracious, great Balls of

largest 'Phillips Int. which featured Charlie Rich and Bill Justis, the Sun house-arranger who hit with the instr. 'Raunchy' 11957) and Jack Clement a house writer/Producer. There was a philanthropic workshop atmosphere at the label, with everybody playing on everybody else's records anonymously and besides it was a good way to make a few bucks. In the mists of time, however, nobody knows who played where and even Elvis is supposed to have played on a record by Billy 'The Kid' Emerson. called 'Red Hot'/'No Greater Love' (Sun 219), circa early '55. 'Play guitar, Elvis,' yells Emerson on thy latter title, just before the break. On a sadder note, were the gu who never made the big tim Sonny Burgess, Warren Orbison, Hayden Tho all talented but ord 'National' and doomed to re the South, after only label, Roy ed romanrc sing ng styl N • t ki 59 and one of the classic any hits on the ``;41. 1 ccess, in 1956, been—a High School stet ed by Buddy rmed a gr

sounds like Jerry Lee/Carl Perkins, while Thompson is more like Presley. He even went around in a truck with 'You Ain't Nothin' But A Hound Dog' on the side, dressing and behaving like Elvis. Sonny Burgess could easily be mistaken for Perkins, while others like Warren Smith became pawn 4. Smith was a pure C. & W. singer but rock n' roll was where the gold was and Phillips had him record this style. His first 'Rock n' Roll Ruby' on Sun 239 (penned by Johnny Cash) sold well but didn't go national and he cut others in the r ngi Stomp'

good, being bogged down by a back-up vocal chorus. After bordering on the brink this disc with Carl Pekins on guitar, didn't live up to its initial promise but Riley found himself popular especially on tours. 'Talent will out' didn't seem to work for Riley though, and his subsequent releases bombed. lie sessioneered for Johnny Cash and Jerry Lee, but left the label in 1960 and has since been lost in the mists of time, making discs for other labels, sonic of which made use of his harmonica prowess. Until his very recent release on U.K. Stax 'Goin' Back to Memphis' he had never had an English ease in 13 years. ecca, an excellent, diverse heyday, never saw fit to iss s over here.

now lodged as a Jazz, blues,

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Billy Lee Riley — his Red Indian heritage very apparent.

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'n11 liked and sold 3 nal cha several more Sun releases b Orbison and the Teenkings' and moved to M re he lived for a while. The eases didn't sell but he ap • 1 •ckabilly tours. 'On our ear Cadillacs. One for group. We couldn' On one tour, John Lewis, Warren Smith band all had our own Ca seven or eight. We formed a car followed each other into town. I as much as 5,000 miles in that car in one week, driving myself.' Elvis had a Cadillac, too. It wasn't his, but we didn't know that. He's appeared in the Southern States in a pink Cadillac and in his lace pink and black outfit. The outfit came from a man's shop in Memphis, on Beale Street. It was called `Lansky Brothers'. They had all this wild gear. The coloured guys were the first to wear those clothes. That was a big thing, to get those clothes, a diamond ring and a Cadillac. All the rockabillies got their clothes there.' Phillips is quoted as saying (of Orbison) 'I knew his voice was pure gold, but I'd felt he'd be dead inside a month if people saw him'. Others like Ray Smith and Hayden Thompson were losers because they were derivatives of the more successful Sun artists. Although they cut some good sides, they sound either identical to a more successful stablemate or a conglomerate of two or three. Smith

Well the little green men were real hep cats Rockin' and a rollin' to the crazy flats, I couldn't understand a word they said, But the crazy beat real stopped me dead Well I come out of hiding and I started to rock And the little green men taught me how to bop They was three toot high Hit a few bars Brought rock and roll all the way from Mars.

OW, Acr-L, huiendi by Paul Vernon

AM PHILLIPS

ly e had ry hard fat, n the rest, ble he army, he after a long s Memphis with Jack recorded a m nt (who soon after hich Phillips pure

lffiffigt plip§Wit d4o 0 ► , but something alt ough as with Elvis overlooked h total potential. Riley's next release recorded at Sun was 'Flying Saucers Rock n' Roll' (Sun 266, Oct. '56). The record wasn't as cumbersome as its title but a great sound, well recommended. A typical rock tune (or anti-tune) it was primitive, echo-laden and a typical Sun smasher. His voice was literally all grits n' gravel and after a session like this his vocal chords must have looked like rhubarb. He made Cochran sound like a honey-voiced choir-boy. Too early to be derivative Riley was singing what was in the blood, like all those early singers circa 1956. It sold about 30,000 and Riley with the enthusiasm of a young guy on the make, thought he was in for the big time. But he wasn't. He began to tour on the Rockabilly shows and his next release sold 50,000, became very big in the South and nearly broke out in the rest of the country. This was 'Red Hot', similar to 'Saucers' but not as resfe

Today, Sam Philli exactly the same. and has various b ording inte ve been tak ngleton, th ithou •∎ I

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ivated a 'new' al albums of the 's by Cash and Lewis, ereo, have been issued, ers by Charlie Rich and Roy n. There is a large stockpile of unissued material, especially of blues artists from the pre-1955 days. The original studio, where all the million sellers were recorded, has been pulled down and the Sam Phillips complex is now located close to the heart of Downtown Memphis, where the studio is hired out to all labels/producers. There are many more companies today than in the old days of Sun and the later Sfax. More studios, more companies, many of them operated by producers and engineers who originally cut their teeth in the '50's with artists from the Sun stable, like Roland Janes, lead guitar on 'Whole Lotta' Shakin', who owns the 'Sonic Sound Studios'. Sam Phillips turned down Conway Twitty, Buddy Holly ('too much like Elvis') Sam Cooke, sadly neglected Billy Riley and sold Elvis for £10,000. But all in all the list of names Phillips introduced to records is staggering, so total, that it will probably remain unbeatable. Unbeatable till eternity

It you're into Blues Hock-a-billy, Rock, Country or Sunfreak, this is the book you've been looking for. Available from Dobels, Charing Cross Rd. W2, or from Paul Vernon, 172 Crick lewood Lane London NW2 at 7s plus 1s postage. Get your copy now

;

Sam Phillips started out in 1950 as D.J. and Band Promoter at the Peabody Hotel, Memphis. He set up Sun Studios in 1953. He is now a Millionaire, owning the three studios in Memphis where most of Memphis Soul is recorded.

Not the original studios, but its all we could find

JOHN &YOKO KLAUS VOORMANN ALAN WHITE ERIC CLAPTON courtesy of Polydor Records With fab pica and poetry in1970 calendar!

PLASTIC ONO BAND' ME PEACE OFT IIIRrn AP'? E NEc-ans CD; -

NEM

The Great White Wonder Felix Dennis

The Great White Wonder (Bob Dylan with his pants down) Bob Dylan (& Guests) No label/no number. November the 24th 1969. 'The Great White Wonder' hit London in bulk today as Jeff The Fireman hawked sealed copies from a cardboard box tucked nervously under his arm. 'Five ten a set, man ... take it or leave it ... sorry, cash, no cheques ... take it or leave it . ..'. Mostly they were taking. Five pounds and ten shillings might seem a lot to pay for two records, even a bootlegged double Dylan L.P., especially as only last September Rolling Stone reported it retailing in Los Angeles stores at under half that price. It's being marketed like dope. There's the same restrained air of paranoia, the absurd metaphorical telephone calls ... You know, man ... THE album ... look, man, this is an open line • Whaadaya mean which album?? ... stupid muthafucka . .THE album ...', the huddled street corner conversations in the 'Gate, a flash of blue notes and everybody wondering just who is burning who. Jeff is hustling, but handing over each copy sadly as his stock dwindles. His contact tells him this will be the only shipment to London for three months and he wishes he had more. He refuses to tell just how many have been sent ... 'Don't want no aggro' from C.B.S. do I? ...', but it's obvious that buyers are not hard to find. Although we've been hearing whispers about 'those tapes' for months now, they've been hard to locate. I can remember a freak at the original Arts Lab' excitedly playing me half a side on a battered cassette recorder as long ago as November '68, but generally they've only been available at an unbelievable price from under the counter of one very hip London record store, which specialises in the 'Import-upmanship' game, or from friends of friends of friends who have friends in the States .. . And where, exactly, did they come from anyway; these treasured great white elephants? The mysterious promoters of what must be the biggest pop music find/fraud since Mrs. Holly so 'luckily' stumbled over the forgotten tapings of

her dear, departed Buddy whilst clearing out the attic, seem to have availed themselves of two major sources of material. The first is from a tape allegedly taken in a Mineapolis hotel room back in December 1961, featuring Dylan rapping obscurely on four tracks and singing on twelve others, accompanying himself with guitar and harmonica. If the date is correct this would mean Dylan had not at that time signed his recording deal with Columbia Records, and indeed, two of the songs included, 'Man Of Constant Sorrow' and 'See That My Grave Is Kept Clean', are merely earlier versions of numbers included on 'Bob Dylan', his first Columbia L.P. Apart from one other song on the package, 'Only A Hobo', (which had previously been released on the Broadside label on 'Broadside Ballads Volume One; A Handful Of Songs About Our Time', with Dylan masquerading as a certain Blind Boy Grunt), none of the other twenty odd cuts have seen the light of day before, except as material for artistes like Manfred Mann, The Byrds, Brian Auger & Julie Driscoll and The Band. It's The Band, too, who provide the musical accompaniment for Dylan on the second tape source, the by now infamous 'basement tapes, recorded in the cellar of Dylan's upstate New York home, just prior to his journey to Nashville early in '67 to cut 'John Wesley Harding'. Titles from this session include, 'Mighty Quinn', 'If You Gotta Go —Go Now', 'Tears of Rage', Wheels On Fire' and 'Nothing Was Delivered', The last, and most recent track in the whole collection, 'Livin' The Blues', was taped directly from Dylan's appearance on the 'Johnny Cash Show', televised in the U.S. earlier this summer. It features Bob mechanically C & W'ing his way through a composition suspiciously reminiscent in both title and chord structure to the old Tommy Steele hit, 'Singing The Blues'. This is pure 'Skyline' Dylan. The (Isle of) Wight suited hype who smiled condescendingly through his beard at us for an hour in September. Here, as then, he sounds vaguely bored with his own performance. The audience is ecstatic. Sound quality throughout the twenty six tracks might at best be described as mushy. At worst, it's absolutely

dreadful. Generally speak ing, the Minneapolis tape seems to have suffered least in the transition to flat plastic. Many of the cuts on the 'basement tape' sound at times as if they were recorded by an enterprising neighbour from a room adjacent to the cellar, or as if at some point they had been subjected to re-recording over a long-distance telephone hookup. It would hardly be fair to suggest that this represents The Band at their best. Often bass and high treble frequencie§ are lost altogether, songs fade abruptly in mid chorus arid words are buried in humm and feedback. Poor Richard Manuel (of The Band), who, if I'm not mistaken, is harmonising with Dylan on these songs, either had a really burn mike or a sore throat ... listen carefully in 'Mighty Quinn' and you'll hear what I mean. Remember that none of this material was ever intended for release. And, in a way of course, there lies half the appeal of The Great White Wonder. Here's Mr. Dylan with his pares down. Dylan exposed. Dylan vulnerable. Dylan without the stifling protection of Albert Grossman, CBS Studios, Bob Johnson, handpicked Nashville session musicians and the best engineers that money can buy. Proof that behind the publicity mask of Bob Dylan there lies ... what? A happy family man who digs jamming with friends in his own cellar? It would he nice to think so. Technical hangups aside, it's still fascinating to hear America's answer to Donovan prove that when it comes down to it, nobody, but nobody sings Dylan like Dylan. 'Tears Of Rage', for example, is so far removed from The Band's own version that I had difficulty in placing the song at first. His phrasing, timing and delivery are, as always, superb arid completely unique. With Dylan singing it, this song takes on a whole new meaning; the story of a man confused and utterly bewildered at the miserable condition of his own country. A man outraged by his treatment and the treatment of his friends and fellow citizens from the 'authorities'. This is 'Desolation Row' Dylan . .. 'Tears Of Rage, Tears of Grief/Why must I always be the thief?' Why? Why? Why? He may well ask. Of the new material on the 'basement

tape', 'Open The Door Richard', is probably the most outstanding. Now, wait a minute. Don't I remember that chorus from an old, warped 78 by, er .. yeah ... Roy Fox and His All Star Band? Wasn't 'Open The Door Richard' a- knees up tango out of the pre-war madness of my mother's childhood? rang her. Yes, of course she knew 'Open The Door Richard'. She sang it to me and I listened in embarrassment ... it was the same. Another Dylan put on. ().K . I know he's mumbling, 'I've heard that song before ... right after the chorus irony with a capital ... but is that why such an amazing song (and it is an amazing song), was never released? How long does copyright last on a song anyway; riot that plagiarism ever bothered Dylan before. For those who like their Dylan straight, undiluted and non-electric, the hotel tapes contain a wealth of nostalgia and 'honest Bob'. That bitter, angry young man, passionately denouncing the Klu Klux Klan for beatin' up them niggers because they git uppity if they ain't kipt dahn, boy .. . on the farm . . . cotton sacks/on their backs/railway tracks/peepin' thro' the cracks/of the wooden shacks .. . the white man's preacher screams at a black man who's i had the impudence to learn to read . . 'What you don't un'erstan' boy is tnat there is lots o'good ways f'r a man to be wicked!' Oh, really? Or try this, from 'Abner Till', to story of the beating of an innocent negro Arid I'm just singing you this ' song/to remind you that this sort of thing is still goin' on/ ... an -so that we can make this great land of ours even greater t' live in ...' How far from Woodstock Nation, Abbie Hoffman or the analogies and metaphors of 'Highway '61' could you get? Why, even Dylan might permit himself an indulgent smile at these takes. Still, it's good to listen to him singing in that nasal voice and picking his guitar and blowing his harmonica and coughing and rapping arid pretending he's (the new) Woody Guthrie. He was young and poor in those days, and like he said later on in 'Just Like A Rolling Stone' ... 'when you ain't got nothin', you ain't got nothin' to lose ...'. That's exactly how he handles these sixteen cuts; easy, relaxed and like he ain't'got nothin' to lose. Which he hasn't.

The yr s always beyond today

"While there is an underlying consistency to all their work, The Byrds have a capacity to grow in a way uncommon to the pop scene. They are always pushing themselves to the next plateau. even with one eye glancing at their past...Before seeing the group live I played " Dr. Byrd and Mr. Hyde—several times andloved it without qualifica-

I:REMUS &MIMI= Five more different and divergent personalities could not be conceived of — a Jew, a Christian, aBlack, a Greaser and a WASP. What we have learned about one another in the year and a half that we have been together as the PG&E is:no matter how different we are in philosophies and life styles, the common denominator between us is the music...

tion." Jon Landau, RollingStone. DR. BYRDS AND MR, HYDE S63545

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Do you ever get the feeling that you want to disengage yourself from life? To withdraw into some kind of solitary contemplation just to think about everything for a while? Everything. You. Her. It. Them. Well that's how a poet feels, because he's no different from everyone else. What makes a poet different is that he takes time to put it all down on paper. Beautifully. And what makes Leonard Cohen a very different poet is that he turns his poetry into songs. He did it for SONGS OF LEONARD COHEN, his first album. And it achieved a rare kind of success. The first time we sprang him on you cold, and people had to get warmed up to this very unusual artist. But now there's actually a demand up front for Leonard Cohen. Then there came SONGS FROM A ROOM, the second Leonard Cohen album for the growing number of people who have identified with him. And what he feels. But don't have that rare poetic vision. There could be millions of Leonard Cohens in the world. You may even be him yourself.

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COLOZZITV,

ARE ON PRODUCT A PHILIPS RECORDS

THE BEATLES Something"ComeTogether OUT NOW Apple Records â€˘

This interview with Peter Fonda is extracted from the Georgia Straight, an Underground newspaper published in Vancouver, British Columbia.

and 'The Trip' willsay Ah, Fonda's going toget away withit this he's got to getaway with it this time time And I said (snapsfingers) We takeit away from them.

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Gs: limy detailed was the screen* According to tin' publicityblurb.

PETER FOI*rrhere was these my desk in the motel room pictu inimmillito, and one picture showed me and Bruce Dens from 'Wild Angels' riding along the Venice beads-front just before we pull into Dern's house, in the beginning of the picture ... Only the picture was printed in such a way that all the background was almost washed-out the beach and everything was very white and all you could see was Dern and I thought and me on the chop Hey that's a far-out image . and I looked at it for a second you know, two not a gang, but John Ford and Bond, or Monty Clift, the two cats man ... Far-out scare then I was playing my image .. guitar for awhile, and then I played 'Fat Angel' by Donovan, whose first lines are: 'He'll. bring you happiness in a pipe. Then he'll ride away on your silver bike. And apart from that he'll be so kind, in -,:::!:•conseriting to blow your mind ... Fly Trans-Love Airways, get you there on time ...' Ithought Man,-yeah, that's the So I thought, these two guys image they go across the country; all sorts of things'll happen to them, all sorts of different situations always I said with themselves they come face to face ... with the hippies, with the And southerners, with everything like 'Mice and en:' one guy is the er guy is the foil, you straight and it . he's believing 44,pow . .t-edo ouclit his freedom -

...

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my personality goes in, just like Dennis a great deal of his personality goes into that and Jack Nicholson, who was born in New Jersey, not in. u know, and he doesn't drinks -

was in Europe and there comes Terry, to see Vadim and Jane about 'Barharella' and he gets drunk and high and he says 'What are ya - what are ya doing'?' and I Gg. Was that seech his, or in the script? said 'Oh I'm going to do this movie'. FOND b: We adlibbed the going into it, What's the story'?' Blah blah blah blab' with the joint and everything like that. and he said 'That's a far-out story, that's one of the great stories I've heard, it's We just goo fed around a bit there and we got a beginning, a middle and an end'. get into the U.K0..spee.ch - written, word for wcitrdt,tennis wrote that 'What are you going to do?' and I said speech. Then we -gout of it on an ad 'Oh, we got to get a writer to help us put our lib sequence: How% your joint George'? it in screenplay form'. He say 'I'm ■ We'll save tt, we'll do it tomorrow, lint man'. I said 'Terry, thing and fifty thousa . And the next scene, in the restaurant, _ whole budget'. II that was all ad-libbed. We knew what we don't understand. I'm had to say .. . and those guys in those we got together and De seats were not actors, they were people, down and rapped the st they were just there, and we put them in sitting there, into a tape their positions and said Listen, this is recorder . .. Then we hi ought it back, what you can say and what you sold it, to Bert Schneider. who said 'Far ktiOW and you can say anything bad said out, how much do you v.':1 n t I t uscause we're the worst people in 'What do you want?' . . ..md he left us e World you know, we just raped totally alone. 'Ferry tent us the name, and kiljgd a chuckoutside of town (we which was veil' important it gave told them a few lies, y011 know) ... And Columbia the idea that we had then I loppie came on,he said Talk about something more than just a schlock the bike, our beards, our grubby looks, motorcycle flick. the long hair, the beads, And we actually did the script everything • talk about the flag :lila absolutely written out. The dialo some instances was led into the inky queers, anything you want like we didn't have a scene to . And they just came right off with Askew by the fire, where it. wants to he Porky V wanted to be anybo 0..S: Yeah, theyreally did. around that ki AVINDA:Yeah they really did, stoned they really did! When he says 'I ;know, dA't think they'll make the parish line', we are,who It my_ really meant it. .about him, and out the fact that I er wanted to be anybody) -

...

wanted to get into ey re erd re ds to a es into it di rent. We people. all o f s, Americans or Ru inese, and soon as tit ineho a different mes in w attitude nit Whew! Tilt, they call the b S go in and do ave a problem, in not white in the coo , the poor, the havesversus the have-nots, whatever it is. And we Co_' igiillaye made the movie in Chicago, n, Ohio, we could have made the same pie. The same problems exist. But we didn't use, you notice, the spade thing except as a background thing, we show the white cemetery the brilliant white things With the crosses and everything and the great mansions in the town and then the black side of town, with the blacks in their little shacks, and everything like that. We ourselves don't get involved with it except an occasional something like, Yeah, well you'll get out of jail if you haven't killed anybody, at least nobody white. We get involved with the problem without ever getting into the cliche, which I hoped would be one of the greatest parts of the film because then nobody could walk away saying Ah well they dealt with that problem well. it goes beyond dealing with BecaUse a problem. We used a western, but the genre of motorcycles which is our western, it's the outlaws of our group . 1 mean these dudes that ride around on their bikes, man, with their far-out stuff ... I dig 'em, I let them go by and they say Far out, look at that guy! So there is a western, an outlaw, an outcast not a rebetwith a politi cause or anything ghte, just acompl inarticulate r to what's happe d. I mean we're re naves because w re reacting to what's rather n acting. And we go We reacted ... and 'nst. And, you know, peop plained about things like the cocaine score at the beginning of the film. They said it's --

...

far out stuff...

terrible to do that now you're a big hero and everybody's going to think it's alright — I'm not a hero, I think nobody's going to score cocaine, I don't think it's going to happen. But people have said it will, and How come you don't have more about that, it just was so easy, you just simply went in and tasted it and it was all friendly, the guy hugs you like he's your father, and his name's Jesus, and so forth ... and everything's so easy and just get to the airport, everybody is smiling and planes are landing already and you give it to Phil Spector and he gives you the money and everything's cool and you split. GS: But he's really uptight; that's nice.

FONDA: He was terrified of those planes. He really didn't know ... we didn't know whether they'd hit us or not, they were really right over the top of our heads. The gig is if we'd had some big dramatic scene of scoring the cocaine, where there was a lot of danger in what we were doing, and people chasing us or something, it would have lifted it off what we had done. All we did was a sample, illegal, immoral federal act. We could have been selling newspapers like William Randolph Hearst, it's the same act. He's pushing, he was in his time pushing false hope, false, you know, lies and shit like that, no matter who went down ... he built San Simeon ... no matter what it cost, and it cost several lives. So we score cocaine no matter who goes down, but we make it as if we just went to the supermarket ... because that's the American attitude. We were sure that what we were doing was right, we felt honest about it. We took dramatic license in being non-dramatic. By being underplaying, by never giving a speech to the audience really, by never indicating what we were doing before, why we were doing what we were doing or even where we were going, really, other than just a few small lines here and there — never making a point to the trip other than the trip itself.

GS: How did you come to develop the relationship between yourselves and Dennis? I really liked the way he kind of functioned as a foil to you, in the sense that he didn't present himself as just being a nice guy, but like he was kind of uptight and angry.

FONDA: Well I insisted 'I don't want to say anything in the movie. I want to carry an existentialist point throughout the film, without really getting involved but seeing everything so that the audience, who is with me — whatever part of the audience is with me — can also make their own mind up about what they see. But we need somebody in there with the reality — hard-nosed, paranoiac attitude .. we call him the angry speed .

freak in the film — who's got to be the fight ... and somebody has to fight otherwise we're going to get done. So he other side of my personality. Actually we'rejust one person L. but we get away goes out and does my battles, and he with it; he's my sidestick, he's my foil, gets uptight. You know, although I he's Sancho Panza and I'm Don Quixote, know I'm not going to stay at the hippie commune, for example, he's really the you know, in our own way. It was catalyst — 'come we're going, come let's developed in the idea that he had that ability, he's that kind of guy, he's go, come on. You know, he could not aggressive, he's a Taurus you know, and take it ... it was nowhere for him even he's really bull-headed and stubborn, though he's long-haired with beads, it that's how he can direct the bloody meant nothing to him — he was into the thing anyway, and act in it — it was a money ... he was a hard-nosed street tough job. guy ... He drinks, he gets uptight and he's up op The hippie commune is the weakest part uppers — that's his character, Dennis. So of the film as far as I'm concerned. It Dennis brought his character to the film was the one we had the most trouble and made it work as my foil — goes out with. Whether it was conceptual or not and does my battles ... because I won't I'm not sure ... well, I have my ideas about it, I've seen it 116 times now but ... We were sure that we didn't want to go in and do a hippie commune sequence that everbody was going to say Ah well look it they're all saying pro-hippie, isn't hippie wonderful. Well hippie ain't wonderful, and it's a bummer life out there, and they're eating dead horses, and they're getting shot at by the Indians, the Chicanos and the townspeople, and they don't know what they're doing, and they're diseased. I mean, these are cats who we went and lived with, and talked with ... we can't show it like a paradise either. And we don't want to promote it, we just want to show it as an alternative, which Captain America chooses not to get involved with. He says, Yeah, yeah I know about time but I just got to go... which is the thing with everybody. GS: At the end you say 'We blew it Billy. Is that what you were saying earlier, that it was all reacting against you and you weren't like making it?

. . .

FONDA: We simply went out and acted, the whole time we just did a thing ...At the top, the first sign, afterwe get kicked out of the motel during the title sequence ... the first thing is that I'd gotten like totally uninvolved with him going to New Orleans ... and I'm really withdrawn about the act ... but I never

cop out to saying Man, I wonder if we did something wrong. I just don't say anything about it at all, and I keep on removing further and further. I get a little bit involved with Jack Nicholson George Hansen, the guy who comes in but I keep getting further removed until he gets killed, and that really snaps me. And then in the trip in the graveyard we do a holy communion with the acid, and the wine you know, breaking it out and passing it around and drinking it ... and I cop out to my mother — which is like the thing that's going down with everybody, that whole generation; Momism, you know. The thing is there and Momism is the gig that did it ... to us, to the French, the Russians, to everybody, man — maybe the Chinese are not because they're so psyched out anyway — but Momism is the thing that really cooked us all up. So copping out to it, coming on as an existentialist hero, and then suddenly copping out to Mom ... It was a bit scary for me, you know. Dennis says Get up there on that statue and ask your mother why she copped out on you. And I said Oh man, wow! I said Gee, you know, is that relevant to the picture? Isaid Listen, man, I want to be an existentialist hero in this film, I don't want to say anything until it's all over and then say We blew it, you understand? And that's my whole gig in this picture, and he says No man, no, go up there and cop out and ask your mother why she left you. And he's crying as he's telling me. This's our one chance, d'you understand, and I started crying and I said You're right. And I climbed up on that statue and I was wailing for two hours, as they kept reloading on us — Iwas really into it. Unfortunately, he got so taken away with what I was doing up there that he kept talking through the whole thing, so we can only use snatches of it, you keep hearing him saying Oh, yeah man, oh yeah! We had two live mikes — one with the chick who's reading I believe in God the Father, and me up on the statue, which was all simultaneous. That was

our little technical mistake, but it was our Mistake ... After it was over I came

up and Isaid I think we ought to take it out of the film ... He said Why? and I said You Know, like, if I'm up holding onto the statue ... of liberty there, saying Why did you leave me, Mom, the whole audience is going to think I've left Captain America and now I'm Peter Fonda. I really had this thing going in my head, and he kept saying No, no, no, not at all, leave it in, it's got to be in, it's the one thing that brings you down there ... GS: I was curious to know what kind of crew you had, how large.

FONDA: Including what Icall gofers —

the kids who do everything, right? — 23 people ... at the most. Not including all the actors in the hippie scene. On the road we had one lighting truck, a generator, a camera truck ... well, it wasn't a big truck ...We shot out of the back of a Chevy convertible, all those travelling shots ..,. We used an Arriflex and blimped it for the sound sequences and kept back ... you get the camera away, you see, which gives the idea like the camera's not there ... cause the camera's removed ... Angeniux which is a beautiful lens, man. zoom .. . I've never been photographed that beautifully ... and it also gives you great mobility ... because although Ihate zoom — cause it's always overdone —

this guy's such a good cameraman ... he shoots with both eyes open, so he can seen everything that's happening, and he'll slightly adjust ... and you could hardly see it, he'll just open a little more, to cover something, close down and make it in focus. And we do rack-focuses, which can always be overdone, but we do them just right to direct attention ... but it's always when you least expect it to happen ... and I like that. GS: Where did you pick up your cameraman? I agree, he's really good.

FONDA: We saw this guy's work on two other motorcycle films: 'Hell's Angelis on Wheels' and 'The Savage Seven', and then a film called 'Psych-Out' all of them low-budget, Joe Soloman type films and we said Far out, man, this cat really knows how to work a long lens. Well Antonioni came down to see a rough-cut, flipped out, just literally flipped out, tried to get him right away ... the cameraman was off in Hawaii shooting an ad or something like that, but Antonioni says, You know, I've gotta have that man — He's fantastic ... Antonioni really, he's got this tic, man, it's incredible. During our movie though you know, his tic started and then it began to stop and then at the end like he was just like that, watching it. Then he came out and said It's the most honest film that's come out of America that I've ever seen. . . .

GS: That's wonderful.

FONDA: Yeah ... and he went around telling everybody else about it too, and I feel good, you know. You see, we're into communications, man, not entertainment. Imean Iwant to entertain people too ... and we do have great musical numbers and those bikes look beautiful, and we have some great jokes ... GS: But in a way we're all beyond entertainment these days.

FONDA: We have to be ... we have no time left.

man,that ride.

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defendants so far was letting the air out of police car tires, throwing sweaters at undercover agents and other trivia which defense attorney William Kunstler asserts belong in a municipal police court, not before the federal bench. NO SHINS KICKED Occasionally there is a fantastic claim Such as the one that Rennie Davis arranged for live television coverage in front of the Conrad Hilton hotel August 27 and then ordered Mobilization marshalls to kick the line of policemen in the shins so demonstrators would be clubbed before the TV audience. On this particular charge as on many others, cross-examination revealed no shins were kicked. The heavy emphasis in the police testimony has been on the provocative language and identity of the defendants. With a pretense at embarrassment officer after officer tells the jury that the defendants shouted, "Fuck LBJ," "Ho, Ho, Ho Chi•Minh" and other chants. When defense attorneys ask police if any obscenities were used by them while clubbing demonstrators, they are given pious denials. The one-third of thecourtroom • most any police witness has spectators, includingmost of the acknowledged is that he heard one press sections, rose enmasseand officersay toanother,"Theselittle gave the clenched fist salute! sons of bitches are really tough ..." CONSPIRACY V. KANGAROOS The Conspiracyis attempting to OnOctober14, the defense moved pinpoint the blame for the Chicago to have the trial adjourned for one melee on authorities at thehighest day in observance of the October level and show that the trial is an 15th Moratorium. The judge denied integral part of a national policy to the motion, so next day, Abbie institutea legalized fascism. The Hoffman and Rennie Davis Nixon administration, according to unfurled aViet Cong flag in the the defendants, is rigging the courtroom and hada tug of war Supreme Court and Justice witha Federal Marshallbefore it Department withreactionary was taken away. The defendants political figures prepared to go woreblack armbands (astheyhad beyond present Constitutional on October 8 — anniversary of the 'standards towards a new policy of deathof Che Guevara) and Dave reaction. Dellingerread names of Americans As examples of a move toward killed in Vietnam until the judge fascism, there are the proceedings entered the chamber and ordered of the Conspiracy trial itself. For him tostop. example, the government has TheYippieshave published an admitted illegal wiretapping of `official souvenir progrom' for the defendants but asks the court to trial,which theyparodied as a uphold wiretapping in the baseballmatch between The overriding interest of national Chicago Conspiracy (the defense) security. Furthermore, the and The Washington Kangaroos prosecution case cites as "evidence" (the prosecution). of crime speeches given before and Abbie Hoffman and Jerry Rubin during the convention to public made, an after hours trip to meetings where there was no Washington where they posed in evidence whatsoever of a "clear and boxing gloves and offered to fight present danger to thepeace." the US Attorney General,butTom The Conspiracy iswaginga struggle Hayden, writing for theGuardian (a co-ordinating thedefense inside the New York radical weekly) on courtroom witha political November 1noted that the trial campaign on the outside to stop the had ceased to have its initial trial. The defense case will try to carnival atmosphere. re-enact what happened in Chicago 'We no longer humourously refer to and bring political figures such as federal judge Julius Hoffman as Lyndon Johnson and Mayor "Magoo" (a reference to a comic. Richard Daley to explain their character the judge is said to policies. Leaders of the civil rights, resemble).but as "Adolph Hitler academic and liberal communities Hoffman." are expected to testify about what The first 21cgovernment witnesses happened in Chicago as well as have been from the Chicago police ordinary people who were beaten department and the FBI. Their or gassed in the streets. testimony has unfolded as an attack on the movement, political ideas, SHOWDOWN AT CHICAGO language and style rather than on The Conspiracy hopes to make part concrete crimes.Themost concrete of its defense a "people's case" and actioncharged any of the encourages all witnesses to return

to testify. SEALE AS SLAVE Since the trial has sparked Some time before he and his chair widespread international concern, are carried into the wood-panelled the Conspiracy hopes to turn it into courtroom, a team of marshals go a political showdown. to work on him. •His boots are Dave Dellinger, at the request of loosened and his legs are bound the Black Panther party, announced with heavy leather straps to the legs the possibility of releasing U.S. of a folding chair. His wrists, military prisoners in Vietnam if and wound several times with leather, when the U.S. unconditionally are buckled to its arms. Several released Bobby Seale and Panther layers of gauze, adhestive tape, and leader Huey Newton. Panther cloth are wound around his mouth r, Eldridge Cleaver has been in and tied at the back of his head. A consultation with the Vietnamese similar gag is wound vertically about this. The political import is around his jaw and tied at the top that Seale and Newton are not of his head. The type of gauze used simply political prisoners but resembles that used by football ' prisoners of war because it's a players to hold a trick knee in military policy the government place ... The press, the judge and utilizes against the Panthers. the prosecution have attempted to Dellinger and Davis asked to be portray Seale as a wildman engaging allowed to go to Paris to discuss in `disruption' and 'outbursts'. It is release of American prisoners with clear, however, that there would be no shouting if the judge would the North Vietnamese delegation to allow Seale to defend himself, or the peace talks. Hoffman denied postpone the trial until Seale's permission, but lawyer Kunstler lawyer, Charles R. Garry, recovers went instead. from an operation. ...On Seale's second day in the rig, CAKE NAPPING prosecuting attorney Richard One of the most tumultuous scenes Schultz provoked Seale by falsely in the court last week was when accusing him of inciting violence seven Panthers were not permitted (Seale had told Panthers in the to bring acake into the courtroom courtroom to cool it but to act in to celebrate defendant Seale's 34th self defense if attacked) Seale birthday. Hoffman denied arequest shouted through the gag in protest from Kunstler to celebrate the and tipped over his chair. The birthday. After a recess, as the marshals attacked him, punching defendants emerged from the him in the face and groin. Jerry conference room in ceremonial Rubin rose to protest, but a procession withthe cake inscribed marshal elbowed him in the "Free Huey and Bobby" across it, a mouth ... Tom Hayden's plea that line of marshals wrested the cake Seale should not be put 'in a from Jerry Rubin. position of slavery' fell on deaf "That's a cake-napping!" shouted ears. Rennie Davis tried to tell the Abbie Hoffman and Rennie Davis jury about Seale's mistreatment, turned to Seale and said "Hey, but was silenced and threatened Bobby, they've arrested your with contempt charges ... Abbie cake." Hoffman put the courtroom "They've arrested a cake," said blowups in context: "The Seale loudly, "but they can't arrest disruption started when 'these a revolution." marshal's' got into overkill. The Panthers seated in the second Referring to the heated row shouted "Right on!" and raised atmosphere and gridded ceilitig of their fists. ghostly white fluorescent lighting, When Hoffman ordered the Abbie remarked, "This ain't a spectators to be silent Seale turned courtroom. It's a neon oven." to his supporters and said, "Okay, brothers, just sit in the courtroom BARREL SCRAPINGS and listen and don't say anything." The prosecution case is baking "I give the orders here, sir," said slowly. Observers both friendly and Hoffman. hostile to the Justice Department "They don't take orders from a haveexpressedsurprise at the legal racist judge," Seale replied'. weakness of the government's case. Seale was soon to have more So far, almost all testimony has troubles than the loss of a birthday come from hack politicians loyal to cake. Mayor Daley, policemen, and paid Seale as slave: the word from informers. "We're scraping the Chicago is "Stop the trial" bottom of the barrel," prosecutor headlined Liberation NewsService: Schultz was overheard saying. "Bobby Seale the national leader of Meanwhile, Movement forces a militant political group dedicated around the country are beginning to the liberation of black people, to mobilise around the necessity of has been gagged andstrappedto his stoppingthe trial. No one knows chair ... If it weren'tBobbySeale, how or if it can be stopped, but the if presidingJudge Julius J.Hoffman trial is making it absolutely clear didn't have thepowerof the state that the courts are an integral part on his side, one might seeit all asa of America's repressive machinery. tableaufrom the Theatreof Demanding an end to this trial and Cruelty. But Bobby Seale's freedom for all political prisoners is situationis morethansymbolic. It a logical extension of the struggles isreal,and there is only one way to for black liberation and against describe it — slavery. Seale is a imperialistic war ... because this black man in chains whose fate is repression is a blatant attempt to now determined by the masters in destroy those movements as well as their mansions ... Seale's ordeal is to wipe out the insurgent youth a reasoned if cruel response to his politics and culture which threaten position as leader of the Black the sick and dying regime." L.N.S. Panther Party.

in a Russian prison.He was arrested in Tashkent on me to Oxford after s f teen mot An ed in October alongwith fellow hash-head M ael given a three year s we. He was a cha exchange for the gers. Judgjit an account of the'latter's thuggish incarce on in Parsons a relatively civilised treatment notwithsta ng the Eye No. 198), tl 11 Parkhurs PO his arrest, as theRussians generally overldok petty sul in Moscow. Lo chilling in &nee- of the Btitish ing instead to extr he dollars fr them is tourists. FivemoAths were spt in solitary confinemetli,awaiting smugglers, pr Moscow p Thtntho(•aine's own story: trial, then 11 m the in a forced labor[` amp a --

For those of us who came out of Hindustan going west into Germanic Europe it was against the water. Bombay was another white bread and quick cutting Holly*iood tgellite, but India still gave: colour ilks and a gentle hospitaliiir in passing. In Goa we emerged from the sea, !hiked-salted, to bathe in sweet landw er and fruit jinces. From Katman the mountain Tibetans offere t's milk and vengeance. A day's waiting on the steps of the Afghani consul in Peshawar got us to close visas. As ch preten der t the Irani la e iets

with the time$. Broadly they are not politica Weconomically nderground orientate is-and new movements broad cry outor freedom for the indivit ual. Let us out of this insiditiita big-brother scene. Let us hear the s nd communication t, what are the om tlt hio r3 e is it at there? Let us vet, Ie us ye another party, n freedoriO' re*ousbelief. political camps are full of rte nationalists, partisans an bo helped the nazis a little. still hounds, digs up

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"Then please grass." Only coerc sorry", "be won't give We all g of us ca_ into Tash monflieMoscowcalling 'I can'•afford to lose the dol ars. Ni)violence. "Man, if you touchme I'll pull every Geneva conven n trick in the book. Besides, touch me then I touch yo eight years." The guards on the fences carried guns, with bullets: first shot in the air then in the Ieg.-I wasn't confident enough of their cool to try it. Threatened to shoot me once. Laughter, vous. Days of ing going very fast. Sleep and work and turn-on between times. Dropped acid on May I up against the barbed wire. A beautiful trip. 36

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anity but million inside t f olonies? It's a strong ed penal system working Ile deterrent, punishment nor abilita We make itsthe ultimate in the existential earth trip, we smile a little and turn on because sooner or later the light will green and we can go again. Tho there cannot, the colony is they are in it for I the little zone, the t union the big zone. So what's th pint of escape. Both places are tlksame totalitarian deprivation of human freedom. Semi-marxists on entering, we emerge eager to reassess the values of free-enterprise. No hard feelings Mr. Russia, but you just missed on your reassessment of horn° sapiens.

1. The Great Alienator

After his fifteen months a Russian prison Anthoui Lorraine returns hum* tei Oxford — where, according to our student contributors, another prison system is in

2. The Great Masturbatoriuni

Oxford In 1209, there was widespread rioting is a little put out when this pose it after the lynching of two resented by his contemporaries vi ar • undergraduates; as a result the University natives of Oxford. The great Yo nearly collapsed. Culture which transcends all barriers of class, race and wealth just hasn't pen In 1355, on St. Scholastica's day, every heard of in Oxford. Students **is member of the University was killed, they please, and can usitally affordMore wounded, or driven out; for this massacre, the townsfolk had to say a and better clothes anyway; there * society meetings/play s/happeitagii every penitentiaty Mass annually until 1825. night — but open only to `metnheriof In 1969, what? On the surface, little — the old student-skinhead clash, the the University and their guests'; the best yearly injunction to Gentlemen not to groups come to play at exclusively venture out on Bonfire Night, a drunken student functions, such as Summertelis brawl when an undergraduate ventures (one recent exception was Jethro Tuff at into a Town pub. To most people — the Town Hall). many students included — the old The young adults in the town — mostly Town-Gown split has disappeared; but a assembly-line workers from Cowletj — tragic rift still exists and the machinery feel justifiably bitter about their of the University — by accident or underprivileged status. It's the working design — creates this rift. class/middle class conflict all over On coming up, the student is met firstly here accentuated by the fact that the with servility. He is cast in the role of middle class element is also immigrant. Young Gentlemen; the town is here to In theory, 10% of Oxford students are serve him, and when he doesn't exploit working class, but there is i)o it, he can just ignore it. His meals are class-consciousness, no attempt to served to him, his shoes are polished, his identify with the working glass yosiths of Oxford; the only calls for cups are washed, his bed is made. Old student-worker solidarity come from Bert and Mrs Baggins scurry round his ex-public schoolboys having a last (and mausoleum, tidying him up. Scouts and bedders (they make beds, not first) fling before going into Daddy's firm. The fact is that working class sleep in them) earn £8-£12 a week, and students are here because they want to often live in tied houses. They can start be middle class, and therefore hold to work as early as 6 a.m., cleaning bourgeois values more fervently than the lavatories and scrubbing floors before actual scions of the bourgeoisie. ‘, they call their young gentlemen for The antagonism between undergraitUktes breakfast. To supplement their income, they also serve meals in Hall and work in and citizen, usually transmuted into apathy and mutual contempt and the kitchens. After his college servants, the only other ignorance, is carried on into the student's later life. At Oxford he is townie a student will be in regular imbued with the elitist ideal and contact with is his landlady. Moral watchdog, warder extraordinary, she will convinced of his own superiorityjie is destined to become a managet, a (s)mother him ruthlessly. Their conversation, far from being restricted to manipulator of men. Yet there is discussions on the weather and one's more singularly ill-fitted for this health, soars to such philosophical than the Oxford graduate.* gr heights as to encompass the morality of awareness among people that tit leaving a dirty ring around the bath. people, not objects, necessitates a change in management techni but Undergraduates have to live in registered the complete abolition of the: lodgings on pain of losing their degree. manager/worker dichotomy.'ihtt Digs cannot be registered unless they 4. have a resident landlady whose duty it is still churns out reactionary to enforce the same fascist rules imposed anachronisms, committed to tiir;gt,,, perpetuation of the System. At it' mot on a student living in college — no loud enough to change the University; ,starty music, no guests after midnight, no itself is still class-structured, still cooking in rooms, no radical alterations demands an aristocracy. To think irz, to be made to the sterile decor, &c, &c. As of October 1970 — nearly a year after change in the academic world will precipitate revolution on a wider *int (a 18-year-olds become adults in law — common delusion among 'Revolutillnary undergraduates will be able to live in socialist students') is like belietig‘. unregistered digs, if approval is given by change of condom will bring alibi the College Dean; this could mean even fresh erection; the underlying stmodte more restrictive rules. needs to be revitalised and reorien When he isn't met with servility, the So what can we do who faintly Oxford student finds hostility. He is and incoherently outline the ro taught only one way of relating to that is the University, not jest the people — via the father-son relationship. rottenness that is in it? Thialpa He shows filial loyalty and obedience to revolutionary is just as mut* a p his college and a paternal interest in, and of the system as the grey man; difference from, his scout and bedder. Having been told how wonderful he is to stands just as much chandi of bfe, out. We are all prisoners, we are41= have got to Oxford (crap!), the only we are all unborn. attitude he can have towards townies is one of patronage; after all, the only Rof Jarman (St. Peters) townies he meets are college servants. He !" 3

Oxford University is a prison, if an open one, and the colleges are its cells; only their inmates stay there of their own accord, and the locks and bars that kill the freedom in them are only partly physical. As a rule, the serfdom of students in Oxford is accepted by them without reflection or regret. It is an integral part of the voluntary servitude and abnegation of human possibilities that is the typical form of contemporary bureaucratic capitalist society. Moreover, in Oxford as elsewhere, a glittering spectacle has evolved as a compensation for the real poverty of everyday life. Each person finds consolation for his lack of genuine identity or satisfaction in life by discovering, almost as if by accident, a ready-made role in the ongoing spectacle — fearless free thinker, sexy young bluestocking, youthful protester ... Though most students are none of these things, except in front of cameras or the eyes of admiring spectators, the pretence that they are enables the spectacle to be perpetuated endlessly — a rehearsal for a drama that is never actually performed, but which receives the enthusiastic acclaim or indignant criticism of reviewers. The first emotion of virtually every undergraduate on arrival in Oxford is astonished disappointment that there are so few women (one to every five men). The second feeling, experienced by a significant minority of men after having met a few of these women, is grateful relief that there aren't any more about than there are already. For the Oxford undergraduate is, as a rule, stupid, sexless and ugly. She spends almost all of her time working, and whatever leisure she permits herself she consumes in ostentatious public appearances with domesticated, easily manageable, and altogether innocent males. It cannot be denied, on the other hand, that this is a state of affairs about which few Oxford men experience any great anxiety. For most undergraduates, sex is like toothache, a nuisance of not much importance, and certainly nowhere near as absorbing as work, sport or drink. Vestigial physical needs can always be purged by pornography or masturbatory phantasy (Oxford must surely be the world's wet dream capital). Like castrated tomcats, undergraduates have better things to do than to screw. Oxford students have, it is true, no lack of plausible excuses for putting up with this situation. Most colleges lock up their inmates at or around midnight, and special permission of a passkey is needed to be absent overnight. Being discovered with a girl in your room after visiting hours (which vary from college to college) still entails disciplinary sanctions — loss of one's rooms in college, or even rustication. All undergraduates have servants who are obliged to enter one's bedroom every morning, and wake one Why do so few students at Oxford try to erode the systeni of supervision and inspection or even actively resent it? It must be confessed that students at

full swing — the University. Its effect is more subtly and extensively pernicious, because, as these students point out, the inmates are unaware of their own oppression.

Oxford are only conforming.tothe University's expectations in regard to them. The system of selection, relying heavily as it does on special scholarship examinations and personal interviews in the college to which, one has applied, predetermines the character-types of those who are admitted about as effectively as it domesticates them even further once they are inmates. The ideal Oxford applicant is highly uninventive, wholly apolitical, sexually neutered, and, on the whole, not very bright. In all justice, however, the' internal social system of Oxford University cannot be arbitrarily separated for purposes of analysis from the social system of Britain as a whole. The ancient universities perform an indispensable function in securing the social totality against the threat of qualitative change posed by its own contradictions. A new breed of servile specialist must be developed to harry the workers into their scientifically managed factories and rationalised offices. Oxford succeeds in doing this with its placid traditions of urbanity and moral agnosticism; Oxford soon assimilates, moreover, all but an intransigent minority of its working-class intake. Finally, Oxford provides for the rest of society an indispensable spectacle of contemporary student life — permissive and fearlessly critical, free loving and free thinking — which is objectively necessary to a system that provides as much for liberal reformists (who applaud student life) as for conservative Jeremiahs (who deplore it), and, in both cases, supplies them with the appropriate mirage of the student's predicament. To those not caught up in the situation, it is almost inconceivable, but to those who are in it, it is almost intolerable. What can be done? Nothing will be achieved if we await the eventual awakening of the sleeping majority of the students in Oxford. They are happy slaves, and they do not find their fate at all objectionable. Nor can any effective organisation of dissidence be achieved if it relies on the discredited strategies of passive political mobilisation and rentacrowd militancy favoured by the Left in Oxford. Rather what is required of the critical minority in Oxford is a determined attempt to construct an alternative mode of everyday life, freed of the banality and emptiness of its established opponent. And at the same time, by a non-stop cultural harrassment, to ridicule and scorn both the pieties of the system and the pretences of our fellow undergraduates. A resolute refusal to invent any role for oneself in the obscene spectacle of Oxford life; a rigorous struggle to contest, deflate and demolish its decadent carnival; and a patient effort to construct an authentic alternative to the spectacle (rather than an alternative spectacle); a mode of everyday life that isn't any longer a variation of the death-game — nothing less can possibly be enough. John N Gray (Exeter)

The Lebanese caught the bug, and in March started to crack down on westerners on the hash scene. Since the crackdown started upwards of fifty British, American and other Europeans have been busted. The majority of these arrested are in their twenties or early thirties, but one British women age 64 was also gaoled. The Lebanese law provides for no extenuating circumstances -- no consideration of the individual's background or the fact that the offense may have been the individual's first In addition to this, there is no remission for good behavior, and no parole. The law there calls for sentences of between three and fifteen years if you arc convicted of trafficking, and a one year sentence if you're found in possession of hash for your own use.

The Lebanon:'

The Hole of the Lebanese Black byHarvey Matusow

CONNED BY DEALERS If you get the one year sentenceit's possibleto serve it in the Asfourieh mental hospital, and you can get a t you've given up using the stuff. reduction to six months if thedoctorthere cetttifieS by Lebanese hash dealers into believing that the angers in Lebanon is thatthekidsare and that they can makea connection sYMPOne at customs. There are a few documented cases stu is â€˘ ebanese pusher solda cat some hash, and double bottom suit case, then informed to the customs so where t as to col:'eta reward of 50 Lebanese pounds for every pound of stuff you're caught with. One British chick w aught recently with 25 pounds 01 hashish strapped around her waist, claimed that she was to carry it. She wasconvicted. then suffered a nervous breakdown -- had to be moved to 'creed by her ow hack in prison. mental tic plead guilty at least two Americans recently busted claimed that they were innocent tried to smuggle the stuff out by plant ing it in their cars. It's not infrequent to hear the irk a patsy who has a car, and then conceal the hashish in the car inside the petrol reco r it when the car reaches its destination. selatitere, where a confedalie.

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SLEEPING LIKE SPOONS One American who just finished a three year sentence, Enr yad eltakedthis happened to him. He told about ple await trial with -others already convicted. the prisonconditions in t he Sands Prison where He sai' it wasbuilt in Ott.,1n,in times to house 60 peopleand now has over 1,200. `Seye to eightyperson,occupy rooms 20by feet'he said, 'and at night they have to sleep on their sides, gethe r likespoon,;,and in the daytim to roll up their blankets to form passageways among them. ob allowed for exercise, walking in the courtyard, while others, usually the poor ones who'd tta place, up.' cooked, but cold on arrival, and is a real problem for non-Lebanese to get' iS~h used to.' Healso said that once a weektfieYhad a meal of rice and beans which was considered atreat. t is a hole in the floor that tended to fill up after 9 PM when the water was turned off. s had a double problem in notunderstanding the language. The noise he claimed was unbelievable. e at least twolights a day, and if the guard sees it, both men are beaten. HEADS FOR SCAPEGOATS Fayad said he saw shortly before his release, Iwo Americans severely beaten by the guards and thrown into a dungeon for four days, after they were caught smoking some hash which had been smuggled in. All in all, the scene in Lebanon today is acutely anti-Western, mainly due to the political tensions in the Middle-East, and any western kidcaught is liable to get an extra pounding. Putting an 'imperialist pot smoker' in prison, is a good diversion in a country split down the middle politically and needing scape-goats.

November 15th is the threshold of our dream

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Goodbye Jack Kerouac vid Widgery

thousand other fifth formers,Wilke, . series of letters in imitation of KeiliPK," spirallingindiscriminatt*td pl 1p>Di`: and being able, to his thewordstogether if Isb!*3*1e410:7S:"' Canadian friend who thought h . ,.;#0*g Dean Moriarty sent me a noteborill bound in smelly red cellophane about his runaway with an autocvcle and packet of marmite sandwiches which he was forced to abandon in a snow drift after two miles. The notebook was about 80 pages yet seemed proper and as it ought to happen and all accountable within the terms of spontaneous bop prosody. Jazz was the other part of our underground because it meant beer and beards and arguing about the 4th trumpet in Kenton's reconstructed iron line like stamp collectors. We would get three-quarters drunk and listen to Charlie Parker who seemed to be trying to sound like Kerouac too if you listened to the breath sounds and the oral punctuation. 'Yes, jazz and bop, in the sense of a, say, tenor man drawing a breath and blowing a phrase on his saxophone, till he runs out of breath, and when he does, his sentence, his 44.40ent has been made . .. that's how I1001443,ty.,lepaytt,temy sentences as

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`KINDKING MIND; Allen Ginsberg called me' Mexico City Blues, 5th Chorus. 'a girl once told me Ihad a steel trap brain, meaning I'd catch her out with a statement she'd made an hour ago even though our talk had rambled a million light years from that point' Jack

Kerouac. Shelley.

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Ti Jean, Vanity Duluoz, Sal Kerouac, you're gone now. You died age 46 in your house in Lowell, Mass. where you lived with your crippled:**,„and suspicious wife of or ,,,,;$9.0','.4tgai and they decided to doVI•yOlt:tke:-Ikhilitkean death thingand,hAtityAittlitiTifiricil, thread yourvelikkAtMeirbrialktftS*-, tie a bow tie inpostilg,0•1:41341344X•ce in certaindeathlY:Cdshldradkaltki(elugh Ginsberg,OrlovWtici:11,0pop.CrAil by you gentlyalkfliglk: *Win and aMassectuedeal• MARMITE AND BOP To readKerounitS140:*i.si4rike:15, scrabbling throtigiblatirMe*,Public Library. was1:74iMifithil0:of discontent; the suddenrealiSkilap,:ippan utter subversiveness and legitimised all thepaperyifttp:Clp1:::::::. child writer, dreambooks44150*::::::::::: novellas, invented games,plabbbtritg::::7 described walkouts. He evq4100::::7 solution to thepentupneis',.bidddsltir4s of youth that feeling of warti4tickitt:; inside all the time. I Everyorid•OW remembers where they were , ' : 1they read 'On The Road' whethernewly expelled from school, public librarians (trainee) in Hammersmith, car park attendants in Dorking, knowledgeable Eisenhower drunks orhospital porters because of thesudden senseof infinite possibility. You could, just like that, get off out of it into infinite hitchhiking futures. Armed only with a duffle coat you could be listening to wild jazz on the banks of theTyne or travelling east-west, across the Pennines. Mostly we never actually went, or the beer wore off by Baldock High Street and you were sober and so cold. But we were able to recognise each other by that fine, wild, windy prose and the running away motif that made so much sense. 1, like ten

came Dosti;AiY,Finally, fenteie romantic phase with Rimbaud and Blake which 1 called my "self - ultimacy period", burning what lwrote in order to be self-ultimate. At the age of 24. I was groomed for the Western idealistic concept of lettors from reading Goethe's Dichtung and Wahreit. The discovery of a style of my own based on a spontaneous get-with-it, came after reading the marvellous free narrative b%e:ekic4:pktibilik:hf the lette0 of Neal Cassady, a great writer Tilincl'7;::::41ktb:1::0ie raciness and who hafpens tapethe Dean Moriarty of freed00411Wkir of jazzinstead of "On TheIk94:::Cassadymight, reluela011,:cke:Agimaredto Trotsky in Maiit3:414•6bAbings like hishisilitlagfitrifi.Just as Trotsky is the 441313'41P.614' :itk*YbDtd:klid lita soil' 1/1:11i between Bolshevism and the 64***:fire.:P/W1Klitilf:bUght have post-wit revolutionary movement soit thd Akkli**4404 104:144 was Cassady who was the only human 10109kirASOC-:,.... 06':4" link between the West Coast beats and the p*-Leary hippies, acting asthe driver of Ken Kesey's acidic bus Further. He stayed magnificently the same. In : •iottiop3kift.kow Kerougo he's this incredible talker, lost stiw} into iebbite streak that's going to last all • his life; pulsating even when silent tidioxpolisktit.5se:styroftiorkikk; 'whereOnce Dean would have talked his c610:11witkititickithomAigoon.t way -eit; he now feels silent himself, but Plirlt:4•51w . doubior standing in front of everyone, ragged an Everyonefelfritif .broken .idiotic, right in front of the and cried anddidnAWIWA1:: b •ifts:triadface covered with illkOV!' months.2 sweat iirlb113,43gveins, saying "Yes, yes, ye . • • tremendous RED SHIFT, •• ' 1/9uring into him th revetat Kerouac's whole ''.1MV:10:43,amconvinced drawn comicstriikiRithitk they weigg;•04ftli:fttssuspected as wholechildhocil•ekij:kiti >a***ifs, musts 4010APItiglifitilWie was longsystermt,Sciffifeisatt BEATdifiiitik);:ttici:itififitbeatific f4 basketball Pity, •119'sf And 10yea*:11.1:4:iikiekililig-casseroled frontroontlithigtkiliisAillikkib:Att-:•;-"„ ex-nqvetist'ffeigikiliiiikhlf:k1219rican pieces ofpagiofs:thitift*::,%.114:01:4:41::::*.:' moon, t,14440iiiit:ObRiving driving the Hem ingwatibtk/cdtiyaiilifiti•Ilpppp,: ..irjt this trip bt4F-i-IsaittlY14•k110,b:!: writingtersr,2f014:if.ekig4:0}1:i(Kiddetal, • • •,,,hen 41 . .,_44:044/44111 thar*A44' style.Theritkel4TAM)Iii*Cklika5C;. • eY' to write in tlie.1■ 50Pg4W:td#1,:cgdd. reS, Cassady fa ' Joyce andwro&iitioblf4:40'etitki td move. It was Ul yssepAtikatit*if§:Wfiluiuoz.': Then as itlte never sitlerfr •-didn't need to.

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For all his wild driving, healwakerhado it through the last oiled gap in the maz like he knew itwou4d.beibereall the time, which italwsiiliii:When thebU broke down,CipXdfliltheinto its innards andfikoTlbc:fe:.eilanged tyre lugging andheavingindjolting and bolting with hisfaniasticmuscles popping out striation by striation and his basilic veins gorged with blood and speed'.5Now Cassady's dead too. His body was found beside a railroad track outside,the„town of San Miguel de Allensbkiklitoico.It was said that he had006;;;f5iponden t and felt that he waskit'ogilfnfbld and had been on along downeraridhad made the mistake of drinking alcohol of top of barbiturates. His body was cremated. (Marshall Bloom founding figure of the American Underground Press killed himself si weeks ago by connecting the exhaust pipe of a running car to the closed car interior but this he's not in this story). BULLET BEAT Cassady's writing had started, li Kerouac's, in the slow painstaking,' creative-writing-course-by-post way. Then he wrote The First Third a novel about his childhood 'With his alcoholic father in the Denver alley wineshops an Greyhound station johns and the way they talked to each other (like Kesey's acid soaked Pranksters) with 'minds weakened by liquor and an obsequious manner of existence, seeming ntinually preoccupied with bringing pshort observations of obvious trash, Mid in such a way as to be instantly recognisable by the listener, who has heard it all before and whose own prim concern was to nod at everything said. en continue the conversation with a emark of his own, equally transparen t and loaded with generalities:6 Cassady sent Kerouac a 40,000 word letter (no called the Joan Anderson letter) which Kerouac describesas'the greatest piece of writing Iever saw, better'n anyone' America, or at least enough to make Melville, Twain, Dreiser, Wolfe I du who, spin in their graves' and whic disappeared overboard into the sea. Kerouac and Cassady could talk each other into a state of semi-trance where their unrepressed word-slinging hotted up into a big shootout, bulletwords,,-'

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mattress prose. too, is interio' describes the impact of the American oral .OR8te:page British pro wo his.afterwer itstoetry of t ndergr • .. in Brit tn'. Ferliegetti had always ilitic.014/1; this droopy'ebli). t genetiftiOn and its b stentialiir is as phon lar piece'of lettuce • are disengaged. And the w of the beat hipster, if carriii0010,` moral ruin:" Against world he logical consequences actuall0:Mdssis the replied y seeon ith death of the creative artist,himselt.', e. e • Ginsberg increasingly became ptii[itlip with Ithi after his decision to 'expose self * accuse America'.9But set Kerouac by 'iiie:ti agree with Joyce, as Joyce said, ro Elm y;-.devour Pound in the 1920s. "Don't bother me : .. . •with him ,'.. with politics, the only thing that Kent on this Velifilk •:,.. intere:$e is style".' Nowdays he . 4.: look and we_,,>twat,. 40 ismiss the holy goofing groin •:• tvagnem‘trivial..::.. .1, a ine lips of the San Francisco . •• :rte se.0tife4? prisCitied within his 44ti pattygang'Fertingetti and Ginsbe : tk, .. ondcr they are very socialistically minded andf•:• clop asa riteras 't wanted everyone to live in some sot ''of °I". .4ge; the 1'1'1°4 ulate rew g the th , ,eHseof frantic kibbutz, solidarity and all that. ro eAt$ of I'm a loner'. Kerouac was the lonesome.. ot:140.1 • < ' . szpller jumping out of cars, into fit i fiiii„.p„rIc wi th a goad. 1gt s, merchant holds, going and 71rr Thecompu tsivititiiii:o if by his movement alone he could turn pa .iiii:44. a molecule in a marvellous Writ c 4 y wanted to be e,„ ict • his 1 1/1- a ilfet;erle on of the Golden 000/4t total con tei4i:t.4111:14'itett et eternity: his religion was his ultiYAte of the; ou iaitet!in • •th, belie resource and he saw it mostly in ace; •.• nable e pace se the misty swelling and blob the breath': byhfi:ininil hich w seasons, sea and red wood trees 15. at 45 as it:, at his watched over for a spell. This witelhe spacing:' wrote. IliCe; wonderful still centre within gg on a contiMidu at a, energy; the baby Ti Jean with and punishing rate (hi.illgier:§tiftjt candy bar on pillow whilesfsrs * Naked Lunch for evil Dr Sax caused the swolle Subterraileittiswas writ' :' to rise sucking44kslapping j i s phyilVgagtOmpoti.ii • 'than th of Lowell. ',Wait' /71014.„c It is said thatai"..itMtl hero avirig hini as whii*:,44:sheet ttd discovered trying to fuck the' ving lost 15 potritil • looVtig found with his prick buried in -Strange in the mid' xlis babbl Sartori.in a:sraS:written WHAT HAPPENE&.:" cognacatiiKtif xi,Trisossathe-This liandstittitiililifike 'fine mystic . :abont gMexicOgirl d writeS746fciis*$1.1gen0;', t for moipliine and the remailta. tates is ••Oatigg:tii:e.:40..: • o City poems were direct frOill ..*fai•se: Mexico where his life and e and Perrylrle tersected dangerously. The vain eedom, in the Sfin cords of the pagentry of the West worshipping, silent, bad soc4ON gY oast Beats 'Desolation A ngelc"Big Sur' writing, thick fifties, his si (ry Md. and 'The Subs' indicate the pace at was a protest. Against tht$-Woritt's. which he lived, the to n level at which addiction to the inanunati. 1(4:Took's e books are charged k of Dreams response was not political or critic sed even his sleepj4.1. .1,Material 'in he just dainned them with his ene style of a rson'italfat om sleep '

4 •Vizzing hack v;i9,rds that w 7!Olatinotts and you read them.'

ds with hout being ble when fast y back in uch we jo telling a ay to

.•talking, on tape r lZ iisl listened t :got the secret eanif fi e that w 4press th d and ten tatic to lery of the crottac/C y learned from Ciiiye and their acoustic pro in 'ir, su. ng the long line by th rubbish image, riff, dazzling g an awkward tightrope • t n about to fall but never ghat >SWIM since able to 'add alluvials .:f55:1,1te:W of your line when all is ::00,titifshkdbutsomething has to be said .•"::)r:siitne-..s-pecitlecl irrational reason'.? It from Kerouac's sound not the coterie poetics of Creely/Olson that is behind Ginsberg's rush on language. An :;'..frorn.alittiree Americans the florid Whig..Britishpoets of the 50s fed, :**Oftiligbootlegged copies from .P.,*Ilingetti's City bights Press and t ..:iier:artistic contraband which made . ...pOSSible the dense undergrowth of the :::;Etritishsmallpoetry magazines •**MallPoetmeat, early Underdog, s rtbreathed and 'substantial' Isle-WDep• tures). Mike Horovitz, whose

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cil by the and ripping it out in t a job, bleary bed ... yes, pencil d and eyes, insaned mind 11Epae out mystified by even as you .litel00,:i:fon't know what th ri;.t1111441;:viake up have coffee, alit ancf:ke the logic of the dream from the latigtiage itself.' Ile was the 10Americanko:Write.qttite like this; the nitRomantic a naleettsliget wound round experience and reghitering: it in wo the true story of whatTsaw and ho WV. elentin ,older, he grew, As,:gge* a • rare:mt. : eeting Soutliiiiti Italy was b 1t.:A umbfounded Italian kid in:Vietnam. efFn,, the American • enness, male adv ,tiring, ,.4t k clothes(nosklq like the hand.itatiie*Onald were of a diff40#;Wqr14 usedit *4;sikittiO0Ible to .4:0;1:14tntin uutiltoise •htmgalA in Uswell.. ilteA • pietism is only •. r objeC. ...... wh 1ALY. to:• ao •

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, Panthers th7 exitindes him ... e <sgusts hint. Fel' now protest , eaterioughyte" ile.conveiitt rick e ' ience sing to destroy us.

Mustwife7 e have to blaspheme against Kerouac's religiosity and be wary of his s ervous system. He is a pr but from the past. When s.grtd stars after i.

eview 43, Klyoacntervr c.)6 Me TalkingUzi' .Ou' P 342 2. 'l4 Charlie Parker. 2. The New AMOikan; P. 439. ad'• 4. 'On th , 5. 'The E is cotitA ' 101. Torn Wed l T.he.Firs1 Third' City Lights"

1. Paris

et 2.

American Poetry'

merican Allen P. 9. Eric Nlok

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Poetry' Do

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Dynamite theBBC Dear Sir! Some weeks ago Isaw an invitation in your paper asking all foreigners in Turkish prisons to report about their cases, sentences and about general circumstances.

I was arrested in spring of '66 being in possession of 1 Kg. of hash. It happened at the frontier station 'Uzunkopru' on the occasion of custom control on my way back to G se be (B

My consulate wrote a request to the court asking for a lawyer, but no result and Iwas punished without possibility of defence. At least finally Itried to make a speech for the defence myself, but the Judge didn't like it and cut off my speech.

nvalidity, before Ig .rrested Id walk normally without , now Iam forced to use a for every step and almost not more than 5 minutes. Ispent a lot of time in Turkish hospitals but without success. Here isn't much knowledge about medical treatment in cases like mine. Other things happened, but Iget tired at mentioning them all again. Igot medical expert evidence several e, it seems, is I, said: S p and nursing take care of rrect consulate is in this fatalist are successful ecause they down and now it doesn't really matter anyway. All in all, to be amongst murderers, thieves and slave sellers, is the

biggest misfortune Iever took part. What a nuisance, to be a smoker of hash, is a bigger crime 'than a simple murder case' which would be punished 24 years. But otherwise they are eager-joining every modern European institution that means every time a step nearer to the money but without carrying out obligations of humanity in their own country. For instance they joined the European Court in Strasburg too and now they take a look to the convention of this high European Court about humanity. I don't have the intention to g thoughts about humanity for discussion only somuch, I of compassion for this world My regards to you and Iam my letter will help somewh beat the drum about the in an awful and backwa

H. Schonwalder

I mentioned several times Ismoke hash myself and the stuff is for my own use, because Iam seriously war disabled and suffering very much from pain, but no reaction at all. After getting my sentence still in court, the translator told me Ihad got to serve my time but 'only 20 years' because 10 years of my sentence is a free part if Iam a good prisoner, isn't that broad-minded? On the whole and by and large they really improve their barbarism. My next thought was to appeal, of course it is pole, but the o do it? During question w out a bill of the whole -1 %.. 4 ,.16... eans, without ,o indictmen and after the number condemnation without argument of trial, last nothing at all. The same day after condemnation Iinformed an urgent letter my consu and the tried1to tthe number of mind Iam ou d the •es. ••nsulate got mg you, as too late is damn num. v se the to dosomethin!• up.No chance tim • 'appo I any . Uptilltoday, paper, like, bill •t a ngle.' ;° f •ull of trial, of ind /7 0 ontheir law. no•• g,.

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IS THE MOST INTERESTING PAPER IN AMERICA

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would ba*se ► for your paper here are somefattakow they treat arson. ttolreadyabout 42

John Wilcock's Other Scenes digs Cleaver, Crumb, Christo, Hoffman, Krassner, Kupferberg, Lester, Leary, Oldenburg, Rubin, Warhol & Michael X and runs all of them as often as possible.

OTHER SCENES IS HIP TO THE WHOLE WORLD

Dea / It is of surpris. Pal r felt it w disa ociate hi rem rks he was mad about the who as anythin go abo t B.B.C. Radio a has t to be speaking top f his head.

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ave to scene d , they are sti ieve that things hav ed since 1958. We still hear teeny groups each day on erful Radio One when every ble pointer tells us that the scene isdead. We still hear

tee not for the first time ever, are selling in greater numbers. The power is there and by using the B.B.C. as its whipping boy, the Government is showing, as it did with the sacking of the it is becoming in that the record in only one over w control. Censorship muti radio and the dai magazines are and the same wa rely on the theatr lucrative outlets. Of the 'underground press', 'Time Out' appears to possess the greatest potential for change (on every page) but is misusing it. IT has gone into music for the wrong reasons and OZ needs to be taken more usic, however, is seriously. Ou wn. It is the only complete' s not have to medium rely on a mon denomin.4' •-alto get itself across. It is rooted in the community and the community accepts and understands it. Rock music in Radio co

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Wilcock writes $5-a-day books (Greece, India, Japan, Mexico, Yugoslavia & California ) and his paper tells what the international freaksare up to everywhere.

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Name

revoluti that's the all. Mean is on our

R. Harris

orid and of what

Michael Gross he Univdate for s Park ler Ryn, •onment, environs in ressaid, in d-a-half a plan:, run out. In part, ie weekhe said. ► iversity ie added in negoand sill's and to the adaid,aWe We are But the 0 police who had be in the quickly San Jose rete-an,

s Park. out onto marched e people ey could sd began ?y had— Sheriffs

On Memorial Day, May30, the Park Committee Asks All to Rally in Berkeley Together

We Will March toPeoples' Park! James Rector is dead in Berkeley of a police bullet in his heart. A sadistic Alameda County Sheriff's deputy killed him as Rector, from a rooftop, watched the massive assault on hundreds of brothers, some of whom he had met in a park built on vacant land. He was shot by a single policeman, but Sheriff Madigan distributed the shotguns, and the University of California pulled the trigger. The University fired the police guns which shot a hundred others on the bloody day of May 15th. It swung the clubs which have wounded, even crippled, dozens of others since thatday, inmethodical, consciousandindiscriminate violence. Berkeleyhas undergone tendays of siege by 2700 NationalGuardsmen and thousands of police. All political and constitutional rightshave

been suspended by Reagan's fiat. A reign of terror, with heavily armed police teargassing and breaking into homes anddormitories has hit the university community. All thisbecause the University of California expropriated Peoples -1-

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earning that skinheads a mutrei mber of people, inclu ere in the inenviable position of hay kinheads on their own t ely peaceful people fr In this way we wer nising our own i 0)1 it. is revolution e earned the dis fr"ing these displ /7-/i///, _ • ion is going to succe ful, but necessary for s chances of the promis

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AllITEIOLOGY CIF ER VOW \IL

SI-I ELLIES H U()Z

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THE CU FoRITISH ELUES IN TWO VOLUES M EACH VOLUME CONTAINING TWO ALLUFIS FOR THE PRICE CI ONE. ANOTHER COLLECTORS ITEM FROM IMMEDIATE.

IIMMEDIATEI

EVERYBODY who is interested in giving recitations should have a book of monologues at his or her elbow. The usual repertoire of pieces in sober verse is well enough in its way, but when a few mon logues are added, the repertoi becomes much more popular a acceptable. It usually helps a great deal suitable clothing is worn. A scarf a hat m ay easily make all t difference to the effect, and a fe pieces of furniture, such as a tab and a chair, help in suggesting t proper atmosphere. Though there is usually m ore learn in a monologue than in a of rhymed verses, the monologue often mastered more quickly, there is not the need to memori the passages with the same wor accuracy. My young nephew kno everything. You know the type went to school until he w seventeen — seventeen mind you! then went to a university and ca away thinking the old fol couldn't teach him anything. Al said was wrong, and everything did was right. Well, anyway, he g married last Easter. Married a bit a thing as bad as he was — and t ideas the pair of them had! Eve thing was going to be done t modern way and they would take any advice — no, not even t the wedding reception. It rea upset his mother, who believed the old fashioned way of doi everything. I knew it was no go talking so I just said nothing even gave them the wedding prese they wanted. Not what yo expect — a case of cutlery, a ca sweeper, or something useful bu Chinese vase! Fancy, a Chinese v to put in the hall! A Chinese va Well, that just shows you. We all went to their house of the reception to look at t presents and you never saw suc house in all your born days. Eve thing had to be modern — whet r it worked or not. The kitchen s modern, the dining room modern, the hall was modern, t bathroom was modern, the b rooms were modern. They even h modern twin beds. "Twin beds," I said, "I've ne r heard of such a thing. What's t e matter with a good old-fashion brass bedstead?" They both just looked at and I was sorry I'd spoken. I did say anything, but I thought quit bit. Well, after we'd seen presents we all came away and 1 them to themselves, and it was until three or four weeks later t I heard anything more of them I got a letter saying this and that, • t at the end was the bit I'd b. n waiting for. "We can't understand," said y newphew, "where the Chinese v .e is that you gave us." 1 thought t was worth a telegram. I went do n to the Post Office and sent it f straight away — I only wish I co d have seen their faces when t opened it. "Look in the other bed," I said. 46

Caroline does anos

Please...

19th Nov. Catford College, Goudhurst Road, Downham. Dear Oz, This is yet another in the series you-hear-about-Caroline-Coon-

Letter from ahospital

Dear

all

be-boring-but-it's-fucking-true. OK so Release is a great service and a lot of the credit must go to Caroline, fine Of late the fuzz have been super-active and so it isn't surprising that friends get busted, and Release are good to us. Someone thinks it would be nice to raise some money which no doubt Release could use. How about a benefit. Well Release how do you feel about a benefit? 'Groovy, come up and chat about it'. So we do. Everyone s feel good about the whole t rry on. So we carry on. It see with an effort most people will e move next door to OZ and the says we should be able to get os• -ree advertising. With some fixing we college with a larger h II to let us have it for the evening. With ome fixing they get the local council o let them have it for nothing. Back at he college string are franticly being pu led, by the end the week we've got m re than enough groups plus the aid of hose concert vetdrans at the Rooke . Things are really working. We've en got a pres willing to print cheap Get a call from Des Ban s, 'Would come up and see Caroli and tell II. Sure. So we arrive ana C roi ine is wondering where the be t sights i Germany are to be seen. Then so tells us to sit down. We ait arou bit. Someone has nicked he coffe They have a long discuss! n pa and signs. Then someone of ces us in the corner. Can they help us 'Benefi ? Oh yeah. Well, like it's di ficult. You know. I mean like we've ad hundre of benefits and er just not b nefited.' 0 So they go back to the c fee. By n we're shit tired of the while thing. S get up to go. C .o .us.. 'Like you kno y .ut you k ow ho e doo and he tell us fit flo peo e will till go ari t ing Re h. e • benefi line co yuh said so on the phone? I d have saved us god knows how on and I if t you know how it is. ye do you want to stay and watch he moonshot? I suppose the fact t at if y look there are hundreds of pe le will n to hell) a good cause, is goo nough in itself, but wish Caroline uld sometimes stop and thin Anyway, thanks to th oft Ma ne, Ai Stewart, Blackhill , N. the Rookery, The No ill Press, Des and all others who were naive enough to 'nk ' • I/ • ' • r r n, on, aro , an more.

Dear OZ, ears o ge and having read an I watched the Stone's concert on the ount f your irks as published in T.V. the other day amid a frantic put e Peopl Sunday tember 7th, down of the people there by the nur 1969, I w uld love t. learn more about and the patients (who are alcoholics) d your m zine as you y love is saw a lot of people I knew, good to beautif it is and all of -WOW they are still around. But where. eine, few of us are ing any ne good piece of news anyway, I ersonal attent•ke my ting out in a few weeks or so, but I an for ins mou tong me II remain a day patient, which is no o nd -getting it up into me, t• rolli • off d as I have only to attend here a e, four minutes and then res. ree days a week. So maybe I can hat is called love. But it onl ye me y head sorted out and come up to th an insatiable gash undjoemy belly London, and even back to Oxford for th :t is thrust forward elongated andl week or so, I have had an invite from ga • ing immensely, greedily yearning; to bro. Simon Tugwell (whom you may b explored and us and served, as Well ( 9:1, know) to go and stay at Blackfriars f a as skilfully and dex ously operated weekend. I may just do that. into me by hand. N,r1;there is none of (hope you don't mind me writing to y u this for me only a verV,deep frustration. like this but as I said in my last letter, Day by day I come on-, heat as I things are a drag, and I maybe in need o go about my work in the ome ome or talk about things I and the other pe street, there is nothing I ca do ab4 the it, know about.) not getting the tool ,oved Lip It is obvious that there are things that would take this foeling cannot talk about in a letter, like, wh me, and do inirtherost am here, and why I dig the East. e to just carry on. I ho ght Funny things happen here at the hosp OW •o• would teach him, w ar nd Ike; how to d •to me the things tha wtluld I I had been here a week and was get him t e most pleasure it is pp able ing up to occupational therapy one to get out f me. Lasting pleasure hat is. dey, it was cold so I wore my poncho, What a Go •'s Gift of Love to a !vornan the next thing I knew was the doctor in my press t position to be hel' wented to see me, the conversation forcibly do unable to move, nt bY lik' this: his ego and • er indulgence all o has M I hear you want to see me Mr ... been exposed nd exhibited for is Hi . Yes Barry, it's about your, er, e vision and the ormous vast ch nel bl nket thing. pleasure that he ould obtain fr M 0. yes, it's very beautiful isn't it working up into e dilegently. W I I Hi . Why did you wear it around the will close now. I annot see any of this ho pital this morning. happening, but it rives me comfo and M Cos it was cold and I don't have et. happiness to talk a out it all. It is pity Hi Er, well if you have a problem I we cannot swap ope discussion ha you know you must come to us a correspondence with n. But di retion II give you one. would have to be used, • that nei er ut I don't consider it a problem. party could be traced if otters got ( ong dance) Only anonymously could tiffs be ell, we can't have you walking possible. Will close now. a und e hospital like that I forbid Name supplied but witheld. to we it (pause) if you think lik Y t you a t normal. lb La igto I went into the ground and t a weeping willow tree listen e John Peel show, and t n \to a or about two hours until nurse came along and asked me what I Was doing, so I told him. With the resu he told me to go inside because it was Dear Sir, normal for people to sit under trees at Does your magazine learn people? Suc night listening to a radio, and looking as myself? I am a VIRGIN,. Perhaps it the Stars and field mice that lived in uld be better if you and your friends tree izt next to. uld do something of good nature to \(c) T ev tell me speed is harmless a e country. I don't know why OZ 1•011 ca\n't get hooked on it

—-

Learning \ the virgins

reading in the paper that a so-called woman [dog in my eyes] can sleep with two so-called men [dogs]. Why? How? I don't understand it. Will your mag learn me? I'll just have one copy for now. To see if I can find out things. My parents and family were VIRGINS and abhor anything outside marriage, I am the same, I enclose the 3/-. Would you put it in a plain envelope? No we don't have anything like it in the house. I am curious. I suddenly want to know, at 24

Thev-eatangrv_at me for messing th r experiment that they were oi wit me bV,putting me with 15 alc holics, ylsiu see they told me they wo d 'bring in tt 23 year old alcoholic that could identi myself with him, when me I foun that he was a d and all he co talk abOtot was booze, how he beat up ffeakslot 41on when h was drunk, and the winner of the last race the day before. Well, what do yo think happened. (ma be I am intolerant).

Name and address witheld.

carry Fitton

,51.ce.QmStrki

THE

FORWARD WITH THE PEOPLE 5d. Tuesday. November 25.1969. No.11

THE SUN SAYS

GENETIC engineering is one of those scientific phrases invented not to convey a meaning, but to obscure it.

Making monsters of people

We do not want to breed slaves. And there is a master race already. It is the human race. All of it. White and coloured. Aryan and non-Aryan. Let's leave it at that, says The Sun.

It's GET SET Day

tomorrow

ANOTHER SURPRISE BARGAIN FOR SUN READERS

Don't miss your Super Sun

TOMORROW

A NEW sexual revolution is being waged in the United States.

LEPER RAPES GIRL

SHE GIVES BIRTH TO A MONSTER BABY

DIE SUN

November 25. 1969

LEPER RAPES GIRL She Gives Birth To Monster Baby by CLINTON THAMES

There have been many despicable crimes committed against minors in this country, but none more revolting than the one inflicted on Caroline Riley, 17, of Houston, Texas. Caroline, a virgin, was walking home from school 7 months ago when she was suddenly attacked by an escaped leper! The shock of the hideous rape was too much for the ravaged child to bear and she spent six months in a mental institution recovering from the strain. But just as Caroline regained her sanity she was pregnant. another shock hit her Caroline Leper Manuel had Three weeks later it hgppened gave birth to a hideously deformed monster escaped from Mexican baby! colony. He's now back —

—

"Now the doctors say she'll never recover, that she'll be a vegetable for the gest of her lifer sobbed Emily Riley, 41, Caroline's mom. "Giving birth to that thing snapped any saneness my poor child had left in her." The horrible rape happened in asuburban park that Caroline always walked through to get home. Mom Emily still remembers the hysterical shrieking of her daughter after her disheveled body was fond behind aclump of bushes. "I rushed right to the park when the neighbors notified mesomething h1 2nr ent' she

practically oozing from his body, was found hiding behind a trash can in an alley. "The child was too hysterical to give us any help," Police Lt. Chuck Hamson told !Ma "but the doctors looking after the victim said the loose scab on her body was human scab. "It didn't click that the rapist was a leper until the pervert was discovered in the lane.

"The clincher came when we searched him. The girl's nylons and her torn panties were found stuffed into his pockets." The leper, Manuel Rodriguez, an escapee from a Mexican leper colony, was deported to Mexico City where he was tried and committed to ahighsecurity section of the colony. But that didn't help young Caroline —the shock of being molested by a slimy

t old

saw made mewant to tear the hair out of my head and die. "My poor baby was lying there with her clothes torn off and the most horrible expression in her eyes.

"It wasn't until I looked closer that I saw the decrepit looking scab that was smeared across her flesh." "It was so sickening that I puked all over my daughter's body." Police arrived moments later and immediately got on the case. The results showed within an hour when a leper, his decaying flesh

Hideous double-headed freak was result of fou mating between leper & teen virgin Caroline

pervert was so great that she went berserk. "It took three months before she could speak and another three months until she was healthy enough to be released from the Institute," Dr. Wilson Richards, her psychiatrist, revealed. "We had told her by then that she was pregnant and she took it as well as could be expected. She said she was ready for it. "She probably was ready for childbirth, but not for the monstrous event that did happen." The monstrous event that Dr. Richards was referring to was the birth to Caroline of a 9-1b, faceless freak. "It was the most revolting creature I'd ever come across," the doctor, who was at Caroline's bedside to give her confidence,

stated. "The monster had two heads hideously welded together at the face. There were no eyes, mouths, no noses, nothing except four ears. "It died moments after it was pulled from Caroline's womb but it was too late by then —thepoor, hypersensitive girl saw her freak baby and screamed convulsively. "By the time we calmed her down with drugs she was a whimpering mass of tissue, oblivious to the life going on around her. "She's stayed that way ever since and I'm afraid nothing is going to pull her out of it. "No human could go through as much torment as this child and stay sane." This diagnosis has been corroborated by other experts but that isn't stopping the Riley parents from hoping. "We pray every day that a miracle will cure our Car oline," Emily admitted. "With God's help she will one day be healthy and living with ysagain." qa.then asked

Caroline today is insane. She was unable to cope with double disaster gynecologist Dr. James Waterman, 48, who assisted in the birth of the freak, whether deformity and leprosy will always go hand in hand. "Yes, I'm afraid so," he replied. Usually, a leper's hormone structure is so imbalanced by the slow rot of leprosy that a normal offspring is out of the question. "But no one could

expect a freak with two bodies and one head!"

Gal's mom, Mrs. Riley prays every day that Caroline will recover

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I have never had much time for the in depth interpretation, the 'what were trying to say is', or the supposedly hidden meaning, in music. The Dylanologist and the intellectualises are today's rock Philistines. And so with Quintessence first LP, In Blissful Company, I was very happy to accept it as one of the most joyous and spontaneous records I had heard since the balmy days of Traffic, and Who Knows What Tomorrow May Bring. Notting Hill Gate, for example, transcends a tendency towards total banality in the lyrics and achieves the status of a minor classic. Having missed Quintessence on the battlefields of Implosion. All Saints Hall and the Speakeasy. I was surprised to find the group is still very much your typical English blues rock outfit. The eastern influence is there, of course (there's more than a touch of Asian exoticism in Gange Mail but having heard of the Quintessence life style and seen from afar members of the group swanning around the Grove in their robes and sandals, I had expected an oriental trip at least as heavy as George Harrison's. Partly to find out why In Blissful Company succeeds so brilliantly, partly because I hvpened to meet Shiva the group's vocalist in Portobello Road one afternoon, I foehd myself cross legged on a cushion in his incense laden pad, sipping pepernint tea, slightly distracted by the Indian petit-point of the carpets and wall handings, mesmerised by the caste mark on his forehead, listening to his serious, gentle talk. "Behind the music is a very close family life in wnich basically, we are all following the same philosophy which is the qukkest way to realisation of God for us. We are fairly organised, with meetings outside group practices, at which the families get together in one of our pads and sing mantras, especially Hare Krishna. This brings about a much closer communication among the families, and in particular among members of the group when playing." I wonder how much family harmony there was behind Blind (virtuosity for its own boring sake) Faith. "The inner circle of the Quintessence amounts to six individual families, about twenty people. Occasionally we have kirtan which is devotional singing, used to invoke Krishna Consciousness. It produces a state of complete relaxation and happiness. Getting audiences to join in, which we always try to do, frees their minds from fetters, makes them forget earthly problems" In Blissful Company is in fact, a devotional record. Religious music, closely identified with Quintessence's faith and way of life. None of your gloomy hymn-singing. Wesleyan moral fog, but akin to Italian Renaissance church music, which, produced at a time when Christianity still had something going for it, was rich, passionate and inspired. "The best way I can express my feelings about God is through my music and I want all my physical actions directed towards this" The group's Swami, and study of the Bhagavad Gita and the Upanishads have left indelible marks, and Shiva is ^aw an orthodox Hindu, a long way from his days as Phil Jones. si,7,:ag with The Unknown Blues, a still unknown pop group in Aust-a - ,,. "To transcend their egos, all members of the band take part in the kirtan, but some are more involved in occultism, a western path towards realisation. This is why we still have as much an English as an Indian sound - the music necessarily reflects bad; philosophies At the moment our sound is simple, but eastern influence is likely to grow, and we may issue an album devoted entirely to chanting, which may be more difficult to understand." My musical appreciation capabilities being, by an unfortunate quirk of birth, permanently stunted (I am tone deaf), I will no doubt be left behind as the group makes their journey to Bombay and all points east. When I departed, Shwa was playing an electric organ and V idea his wife, was making another peppermint tea. "The message that we are trying to put across in our musk is that it is within the grasp of everyone to attain infinite knowledge, love and peace. Every track on the record reflects upon the infinite consciousness which prevades everything"

Which brings me back to where I started. The music comes first, the message comes second. Even when it tbeautiful message like that For Quintessence, the two are inextricably intertwined. But the direction they are going is not that of the majority of those who will buy and love the record. The music of Quintessence says a thousand things, and you can pluck from it what you will. Jim Anderson.

difference between than that counts. Mayan's voice is scratchy but Plant's hair is curly. In fact Mayall tries to look after my head, and Led pulls at

There are many groups that seem to go on for years at what you might call the Klooks Kleek level. In other words, they achieve a mild sort of reputation but never manage to break out of the endless round of one nighters up and down the country. If the music business was all fair and honest - credit where credit was due and so forth - one could say that this kind of group didn't succeed because it didn't deserve to' because it just didn't have what it takes to turn a Klooks Kleek group into a Royal Command performance act. As it is, of course, success depends less on how well you can play than who you know (how else do you explain the Ryan twins?) Maybe this is the reason why Mighty Baby (nee the Action) have been around for to long without ever really making it. Perhaps they haven't got engaging accents, or they aren't wit looking enough, or they're not as under-privileged as they ought to be - I don't know. The important thing about Mighty Baby (right - enough soft-sell ing) is that their first album is very good indeed. Obviously their music slightly resembles the hard rock-blues that the Action used to play. I don't think it's too whimsical to say that it's pure electric music throughout Mighty Baby seem content to explore the possibilities inherent in a drums/bass/lead/organ/sax lineup - they're not into the we'reasversatile-asany-symphony.orchestra thing. They make a king of Buffaloe Springfield sound at times too, but they're never merely imitative - you get the feeling that they write all their own material because they want to express themselves in their own way, not because somebody told them that to progress in the business you have to do your own numbers. Every track is, to a greater or lesser degre. satisfying, there are no space-fillers. The best numbers on the album ar those, like 'House Without Windows' and 'A Friend You Know But Never See', where they lay down and develop a solid rock and roll riff. Here you can see the advantage of playing for years' each musician instinctively maintains and enhances the balance of the song. Unlike those bands which are merely showcases for one soloist Mighty Baby are a group in the fullest sense. The sleeve is good too, dig the frantic- Martin Sharp front cover. John Leaver.

my heart. That John Mayall, there's a man who's stuck to his wins. The British have been searching for him for 20 years, a homegrown jazzman, recognisably British in mode and music. Clap clap clap. He's been round and he's found himself. Hear it all on 'Turning Point'. If you add Reggae we have equality with U.S.A. on all musical fronts. Clap clap clap. Jesus what a relief, we can provide a complete alternative music for the free world. Applause. If Miles Davis dropped dead tomorrow, there would be somebody to take his place. Not so with Mayall. He's a one man band, literally and metaphorically. Silence. And he's not dead yet. Rousing cheers, cheers. I'd love to stay, but my wife'g warming up the headphones, we've got the Gary Burton import on the Dual. That's what you're up against Mister Mayall. Turning Point has sortie great harmonica, the drurelessrhythrn section is not too strained. The new boys are learning fast, Hear it at least twice. R. Zelinka

A teeny bopper reviews King Crimson - In the Court of the Crimson King. Island ILPS9111 I have the record - a present from last month's leautiful freak, Lee, for having looked after his cats and goldfish while he struggled with arch enemy P.C. Pulley - and it sits in rather isolated pink and purple glory as far as possible from the previous crown of my record collection; The Trogge Greatest Hits. I didn't really hear much of King Cratisowat their free Hyde Park concert - I was fully three hundred yards away, much distracted by a longhaired 13 year old boy who ',mad on me from the branch of a tree, chatting skin heads, and a couple of wandering fun who caused the girl I was with to accidentally stub her joint out on her dress. Paranoia, I certainly wasn't at the Speakeasy for the gig that (according to usually unreliable sources) for some obscure sociological, rather than musical reason, King Crimson has forever after been trying to live down. I reed somewhere that the group has been overexposed, overecclaimed, overpromoted, over-rated and the victim of what is known as The Group Hype. Anyway, it must be obvious by now that until I got the record I had not heard King Crimson play a single note. I felt nervous. Read quickly through the lyrics inside the cover. Very poetic I suppose. 'Call her moonchild/Dancing in the shallows of a river/Lonely moonchild/Dreinaing in the shadow/of the willow.' What was this? Not another Gandalf's Garden group! Admired the hideous cover. Those nostrils! Accidentally played the second side first and wondered if I was going to get value for money. Sounded like Donovan. Tyrannosaurus Rex )- drawing two names out of my limited repertoire. Moon shot mood music. Very wetly. Very cool. Then baml A full blooded heavily orchestrated classical theme - In the Hall of the Mountain King, I mean, In the Court of the Crimson King. No connextion really, but brought up on Grieg and Buddy Holly I get confused. I turned up the treble to knloy the harsh screams of 21st century Schizoid Man, thought it was Paul McCartney singing I Talk to the Wind, found Epitaph the most original and beautiful track on the record. I sat very still on the floor throughout. No dancing. Pop music has travelled a long and increasingly sophisticated way to arrive at something as finely chiselled as King Crimson. But the end of this particular road is near and King Crimson (or Blind Faith, or Quintessence, or Mighty Baby or Soft Machine or whatever) at the Purcell Room, the Wigmore Hall or even Ronnie Scotts is a probability in the near future. Look what happened to that thing called jazz. lb year olds now are never going to grow into King Crimson. They will instead be starting the long process of doing the same thing to reggae or whatever new thing their musical imagination gets into. As for inn, I'll never make it to the Purcell Room, but there's always those nostalgic Journeys into the past - Conway Twisty at The Talk of the Town, Bill Haley at the Speakeasy, things like that. Jim Anderson

John Mayall The Turhing Point Polydor 5B3571 Push as you pull Led Zeppelin Two Atlantic 599198 Pump and Jump, Pick arid Bash are at it again. The Undercurrent of Led Zeppelin has become a reality. Varoom!!! Are we big enough to accept their brute force? Shugashug, bokbok. Go away you pox, let me hear it. Baby baby baby. Robert Plant is screaming songs on tune, Bonham and Jones are stomping, and Flash Harry Page is showing his class. They define heavy. Plant is no longer lust a member, he's out front leading Led Zeppelin. He's singing duets with the Jones bass continually, the Flash is happy filling the gaps. You can't describe the pieces as songs, you can't whistle them in your maisonette. I mean the Fifth Dimension did 'Sunshine of Your Love: 'Squeeze me ti! the Nice runs down my legs' has got to remain pure Plant. I promise you after one hearing you will not return Page, Bonham. Plant and Jones. You could win a bird for the night with Led Zeppelin Two. I think Page was trying too hard on the first album, the sweat was honest but overpowering. But as much as you attack this one you can't dent 'What is and what should Never Be', 'Ramble On', and the middle section of 'The Lemon Song'. At first hearing there are some unnecessary things, Bonharn's drum solo, the electric claptrap on track one, the Burdon intonation on 'Thank You'. But they serve some purpose in providing contrast for the brilliant bits. Notwithstanding the heavy blues business. there are musical chuckles woven into the album. This is a must when you're smashing ears with a million watts. Sadly, there are a lot of musicians who lack humour. A huge bonus is the joyous physicality not present on any other record since Bayou Country. The simmering melancholia in many of the records released over the last thre months is a bore even if it's a description of the way things are A bit of 'wham barn thankyou marn' from the leading gust lepers may exercise the soft scene. John Mayall and Led Zeppelin have the same audience. They've got to

INTRODUCING

SHIM

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"THE MOST UNUSUAL AND CHALLENGING MUSICAL EXPERIENCE YOU'LL HAVE THIS YEAR"

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11161101111111 2 STS 1053 2 Record Set CAPTAIN BEEFHEART & HIS MAGIC BAND "Trout Mask Replica"

111111a101111 STS 1051 ALICE COOPER "Pretties for You"

STS 1052 JUDY HENSKE/ JERRY YESTER "Farewell Aldebaran"

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Straight Records are Manufactured and Distributed by CBS 28/30 Theobalds Road London, WC I

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After all, tomorrow is another day.

SCARLErr O'HARA

OZ 25 December 1969 OZ is published by OZ Publications Ink Ltd. 52 Princedale Road, London, W.11. Telephone: 229 7541 Advertising: Contact Felix Dennis at 727 8456 Subscriptions: Send 42/- or 6 dollars for 12 issues to above address. Printed by OZ Publications Ink Ltd. This issue appears with the help of Richard Neville, Felix Dennis, Jim Anderson, David Wills, Gary Brayley, Louise Ferrier, Martin Sharp and Bridget Murphy. Cover photograph by Keith Morris. Distribution: UK: Moore Harness Ltd. 11 Lever St. London, EC1. CLE 4882 Transmutation. Guildford 65694 California: Rattner Distributors 2428 McGee St. Berkeley, California, 94703. Holland: Thomas Rap, Reguliewarstraat 91, Amsterdam, Tel: 020-227065 Denmark: George Streeton, The Underground, Larsbjorn Straede 13, Copenhagen K. Morocco: Lee Heater. Thanks to David Nutter for the photograph on p.30 and drawings by David Powell p.42/44, David Goard p.36, Chris Rogers p.22 Alan Stephenson on p.37/46 and Steve Morris (who did more than we could use) p.52

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Hair but und's gene rall)i estyle belief that one'spolit.iQ zrikd ould entical au should be i f Glori doubt be a cast for Stewart bein emocratic ciari exercising her he ted the right to protes anot ,`musical, the Blac auditions ho "I have yet and Whi did not f speak to a the me toexpress an she to mention of th rice' OZ."The tr in an era of t a economicslat7e ration a born when lyn lace in t miscegena n w merica. Le so-called Un icans" in us not forget nglish this case wer hole immigrants ion wort damned t e name s';,od preservin others a fit for Gr entertain elderly ladle in such a g'N.ou n t ry

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becoming restless, angry and tired of the laughing game?" OZ presents below a selection from the many letters Gloria received as a result of her protest (original spellings): Gloria Stewart Why don't you get wise to yourself? Why do you imagen English people put up with negros? Its because the vast magoritie of them are stupid enough to imagen that negros are all singing and dancing people., like in the Black and white Minstrel Show. Instead of mean vioucos evil minded bigots who hate everything white, and are out too destroy and defile and hope that you are not smirch it. And I under the misaprenshion, that all your white friends are completely intergratet and do not notice your colour or your can tell monkey type features. Because I you now that when all the bars are down, andothey are looking for a word to describe you and your kind, you will always bd a black bastard, And your white boy friends will climb into your bed, will not be be able to get out of it fast enough., till they tell there pals about the bit of Black ham they had away last night. So lets face it you are black, you will always be black, your descendents will be black. You dont belong to this country, but we have to put up with you. If you and your ilk and any real pride and self respect, you would not try to force yourselfe upon, people who dont like or need you. So leave the black and White Minstrel show alone, and let the idols have there fairy tales.

Signed Al White cant p.s. Atter working with niggers I even stand nat king cole ella fitzgerall? dine washington Share Mayhan Brook Benton Sactahome, you name them I hate them. Why dont yougohome, back to your family tree? please by bye black bird!!? 52

Can you not even leave we ordinary people of Great Britain just one show that is not polluted by this filthy generation, white or coloured? We are sick of your style of show?? The Black and White Minstrels are beloved of decent people who do not care if the artistes are white or coloured. Just a happy band of ladies & gentlemen who give us entertainment even fit for elderly ladies. But your generation would not understand that and, no doubt, would like to take over the whole show and pollute it by your filth. Because Margaret Snowdon and the Establishment applaud your sort of thing do not think decent people do so too. Go back to your own country from whence all this pollution came. "Can any good things come from America?" You have racialism on the brain. I am an ex-Lillis girl, have travelled all over the world and stillremaind friends of all races, creeds and colours. The only thing that matters is to be a good artiste and that is why the Black & White Minstrels will be remembered affectionately long after such degrading shows as yours will be forgotten, thank the God whom your generation rejects.

unsigned Why not keep your big mouth shut about the Black & White Minstrels show. We are sick of your type, expressing your views about what you think of our people in our own country — so shut your big fat lips— We don't like what we have been forced to have in a white country. By the way why do you call yourselves by English or Scottish names — We prefer the Minstrel singing to your filthy type of show. Go home. Tell the others to get their hair cut.

unsigned THIS IS ENGLAND: If you, and the coloured community that have invaded MY COUNTRY object to white people blacking their faces then clear out to your own jungle and hovels that the vast majority have come from. To approach a princess re the subject was colossal cheek and ignorance and proves how jealous you are of the white man who cannot be held responsible for black or colouredskins! As for dignity!!! How many blacks try to whiten their skins, straighten their hair. Wear european clothes and wigs and eat our food, etc. etc. etc. Now you come here lower our standards abuse, cause mischief, filth everywhere, morals nil, except to invade our best clubs, hotels, whilst we sit meekly by! Had it not been for the courageous leader and our own brave white man in the British islesduring the last war YOU AND YOUR LIKE would not be living in luxury. demonstrating, causing mischief, bringing drugs & jungle behaviour to this onceclean honest country.YOU WOULD ALLbe slaves. I predictSLAVERY WILL RETURN. You would likethe white man exterminated. Your own to be rulers. Should that ever happen my prediction will come true. We pour the ratepayers money into your country's more so since

home rule, where does it go. Why do you and your like flock to this overcrowded isle rid? YOU AND YOUR LIKE CANNOT DO WITHOUT THE WHITE MAN. We are not fools. We know what is going on the black power, etc. If this lot succeed god help you and your lot eventually. You will be slaves to your own kind. We whites have had enough.

unsigned Miss Why don't you mind your own business, and go back to the States we can do without any foreigners over here, especially the bloody wogs. Fuck the white man's burden.

P.A. Dawes. Written on two pieces of toilet tissue: You been making to much noise and protest —about what nigro woman? If you don't like it nor do we like you and we don't like the noisy you make. Soon wer going to teach you a leson you won't like either you and some other filth like you. We know were to get you and we will soon then we'll see what your black face looks like with some razor stripes. So remember shut it — your noise and your black monkv face --

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inme orrice, ana various nies relating to printing, distributions and binding. Minutes before their arrival we had been tipped off by a phonecall from IT — police had also searched their office for "obscene literature"— ie the homosexual OZ. Nothing more has been heard from them yet, but we soon will, judging from a subsequent charge against the directors of IT:' "conspiring with persons inserting advertisements and with other persons to induce readers to resort to the said advertisements for the purpose of homosexual practice, thereby to debauch and corrupt public morals contrary to common law". . Another charge brought against the three directors, Peter Stansill, Graham Keen and Dave Hall, alleges that public decency was outraaed by "lewd,

disgusting and offensive matter— contrary to common law". These come up at Wells Street Magistrates Court on January 16 and are then likely to Proceed to the Old Bailey. The 'common law' charge means that, unlike a prosecution brought under the Obscene Publications Act, the usual defences (artistic, literary merit etc) are not available. Yet another example of Britain's swinging new permissiveness occurred last month when one of the people said to be connected with Europe's first English Language Sex paper, Suck, was imprisoned at Harwich for three days. He was returning to England from Amsterdam with copies of the first issue. They were confiscated, he was summarily incarcerated and later deported. Anyone wishing to obtain further information about Suck should oerstraat AtA nviir

hope that we will mid-October and I agree on what has to be done. In the woulctsuggest that you meantime, I suspend operations and payroll for the next month and ask Rupert to have a chartered accountant audit the books. I have will have a hope that Mick and I solution soonand put this messinto workable shape, but it means turning the entire operation around and restructuring it from top to bottom. Sincerely, Jann Wenner Editor Since that letter was sent, English Rolling Stone has changed its title to 'Friends' and the staff have received various warnings from US Rolling Stone's solicitors that injunctions will be served if Friends resembles its formerself inany way. Meanwhile, the printer, Woodrow Wyatt, never a man to rely on when the chips are down „has demanded from them an impossible £10,000 indemnity.

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Another paper crippled by administrative disputes is Play, abreezy, intelligent tabloid 'concerned with young people and the creative arts'. On November 18, Inter Action, the trustees of Play, suspended publication indefinitely. The editors intend to continue with their own paper, Generation. 'People pretend to bend over backwards in their concern for young people,' says Mike Segal, one of the ousted Players, 'and wonder why they get nothing back but hatred and distrust'. Generation wants its readers to 'think about kids' and to involve themselves with young people in a constructive and creative way. More information: 01-836 9329.

Grass Eye (63-67 Market Street)

„

I Policy you and Iagreedupon has not been followed. You have done very little that I have asked and this has led Trans-Oceanic to the edge of financial disaster and made it an editorial laughing stock. I have no objection whatsoever to a separate edition in London, one with its own distinct and unique character. But You have assembled, paid and put in print a group of people— all of whom I dig— who can only be honestly am sorry to described as rank amateurs. I say it, but the English edition of Rolling Stone is not even as good as I.T. or OZ. What you have done in altering our material and in adding your own has been appalling. If I felt any assurance at all that you would follow my directions, I think the situation might be salvageable, but you have consistently disregarded them on down the line. The more British material you add, the more advertising declines. Jane, I have not heard from anyone— whether in the underground or in the music business or publishing, whether have not heard English or American— I so much as just one favourable comment about the English edition. Every time I ask myself: What get your new issue I are we doing being involved with these People? It's embarassing to me and it is a travesty on what Rolling Stone has ever done or meant. Is this some kind of joke? What has happened to Rolling Stone in London bears no resemblance to what originally discussed and Mick and I Planned for us to do in England or Europe. It has become farce, and I can You are a no longer be a part of it ... bunch of amateurs and kids playing at the game of publishing, taking a ride on the established reputation and material of Rolling Stone and on Mick's bank account. Mick arrives in Los Angeles in

Manchester is a crisply and originally presented Underground paper produced by a 'loose bunch of radicals who support people's struggles to find a way out of the mess we're living in' and well worth sending a shilling for. Other Mancunians feel 'it is time for another OZ to emerge' and will soon be launching Growth, a monthly mag of fun and revolution. The comparison with OZ is already bringing them bad luck with printers ... anyone with •uggestion or manuscripts write to Dave Robinson, 56 Crow Hill North, Alkrington, Middleton, Manchester. No doubt encouraged by their acceptance for distribution by W. H. Smith's,Time Outtoo are joining in the Manches er Underground Press explosion. Those interested in co-operat in with Time Out

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at Twic4phagyAlnott,q12 notwith the mass of 11FrribiitiffSIgMinethey began chant inprierjetittaitimthettlaNtfrately he was bundled offwith extravagant force e station where he t o the nearest demonstrators and joined a qu e of 1 policeme . •uddenly, e Detective him clutched Sergeant h has arr his stom an f•II e ground h .i. y hit me?' screamin r, our friend Horrified d shout raised bot the crowd: 'I w e here I ambeing Sc and that I ha haveassau soon

John Lennon Action Move Q tacr is a Dornish, off I r and. Any-4*intere injoining the community envisaged stalls in Portobello Road, head schools and urban communes) contact Sid Rawle, 116, Lower Cippenham Lane, Slough, Bucks. FromThe People. 30/11/69 A LOVE LIFE has been given by the National Health Service to a wife whose husband is a paraplegic —paralysed from he waist downwards. e has been supplied with an artificial organ (price £15) after his pplication, supported by several octors, was approved at high level at he Health Ministry's headquarters. aid his 38-year-old wife: 'The sychological effect was fantastic. It has ade a new man of him.' aid her husband, a 40-year-old war isabled ex-army sergeant: 'I feel like a al human being again.' The cock was supplied by OZ's most persistent advertiser, Pellen Personal Products. 'Yes (disabled) men ... it can be done!.

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£40,000 and ordered 3 million copies before it was published, expected a children's book —to be marketed through the national Children's Book League. Originally Dell objected to 13 pieces of artwork, but finally accepted four alterations. However, they insisted that several Beatle quotei concerning drugs be dropped from the book. Aldridge himself is slightly disappointed with the standard of his own work because he had to rust/ isthrough in nine weeks. Several artists failed to deliver their commissions, leaving even more work for Aldridge's studies. He thinks the British publishers, BPC did a "fantasticaly good job" but saysalso that the "Americans dominated the whole fucking issue and BPC were beholden to them". He is also somewhat bemused by the lack of response from the Beatles who received most of the £25,000 advance paid by BPC. BPC themselves are delighted with Aldridge. "The book's a bloody good product", smiled their man as he navigated his face with a flexless Philishave, "we've sold the rights to 36 countries and it's still selling". The Portugal edition will contain no illustrations, no songs and a 'revised' cover.

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The Love Germ by Jill Neville. Weidenfeld and Nicholson 25/-. This book is about VD and the Paris Revolution 1968. It is a fantastic, earth shattering, dynamic, brilliant, beautiful, touching, sensitive, unbelievable, out of sight, deeply moving book written by my sister. RN

THE LAST OF THE WINOS hey're pla

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9e (ref ber 'elementary processes of refurnishing and rehabilitation'?) goes a current royal craze for reproduction pop, played by this season's favoured group, the DARK BLUES; one quartet, three former Oxford boys, one music salesman. If the GPO mislaid your V invitation, you will have missed will hearing them play at Prince Charles' 21st. They are edicated to playing most of the current hit parade 'so that hen you walk into the room you think it's the record'. Nigel Tully, computer man at IBM, group leader, slim, English blond sideboards, neat short back and white lacy stretch shirt, tight hiny yellow rousers. 'For gigs we wear see-through red lacy shirts, usually black trousers. It's not a uniform, just a bloody good marketing idea.' Sober suits during the day. 'We don't have an identity to sell. We're there to give audiences what they want. Audiences are a phenomenon. Whether they're hairy, dinner-suited or dukes, they all want a good time.' Charles came up and said thank you very much. His 21st at the palace: 'We accepted before we went that it wasn't going to be a "yeah" night and we didn't play rave-up numbers. The Queen didn't drop her wig; they were just nice ordinary people having a nice ordinary party.' The DARK

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satisfy an Underground audience; we haven't tried to get that kind of wonk.' Politics? 'I refuse to have positive views about anything that doesn't affect me directly... Athenian democracy is probably the right way to run a country — a democracy of the elite, you only get to have a vote if you're bright, good at something.' Drugs? 'I've never tried any, never been offered. No-one has ever said, "Here, try some hash". But I think I'd probably try it. Are the DARK BLUES a sexy act? Pushed is anything important? 'I think that drinking' good wine is terribly important and drinking bad wine is a bad thing. My philosophy is to go along with good thinking — I'm not particularly convinced there was any good thinking about Haight Ashbury.'

If the way to the royal psyche is through the DARK BLUES, then Plan your Party now. Inquiries to agents: Party Planners, run by Lady Elizabeth Ansom, 229 9666. As a result of publicity about the royal gigs their fees are going up, though I couldn't find out how much the palace paid. The DARK BLUES are turning royal blue MV fast. 53

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Books received: Twenty Love Poems and a Song of Despair by Pablo Neruda. Poems 1956-1968 by Leonard Cohen. Poems by Adrian Mitchell.

Published by Jonathon Cape at 8/- each. Lush, overblown, romantic poetry of love, in the grand old operatic manner from Chilean Mr. Neruda, who is, as Jerry Lee Lewis would put it 'one of the best poets in the business.' Consider a verse from Drunk with Turpentine: Drunk with turpentine and long kisses, Like summer I steer the fast sail of the roses, bent towards the death of the thin day, stuck into my solid marine madness.

Love, life, passion and a lot of the pain, without the music from Canadian Mr. Cohen, including Suzanne takes you down. Take alook at the index of first lines in the back of the book (A kite is a victim you are sure of. Claim me, blood, if you have a story. I am locked in a very expensive suit. My lady was found mutilated. Towering black nuns frighten us, etc.) and you will learn a lot about Leonard Cohen and probably read the poems as well. If you liked Aldermaston you'll love English Mr. Mitchell, although he himself tends to be a little circumspect: Most people ignore most poetry/because/most poetry ignores most people! Not as many pages as Cohen, but you get instead a highly developed social conscience, four children's poems (Lovers lie around in it./Broken glass is found in it/Grass/1 like that stuff. Tuna fish get trapped in it/Legs come wrapped in it/Nylon/I like that stuff — Eskimos and tramps chew it/Madam Tussaud gave status to it/Wax/I like that stuff — Cigarettes are lit by it/Pensioners get happy when they sit by it/Fire/I like that stuff and so on for several more quite delightful verses) and poems like this: Fascist Speaker Armoured like a rhinoceros He hurls his tons into the crowd. From half a dozen minds he rips Triangles of flesh and blood. Six shouts, six cardboard banners rise Daubed with slogans saying Pain, But wilt and tear in the hundredfold Applause of men as mild as rain.

Embers by Peter Cadle. Fopo, 18 Honeygate, Luton, Beds. 1/3. Watershed Between Happiness and sorrow Tears and laughter, Rapture and agony, Life and death, One millionth of an inch.

Jim Anderson

The Confessions of Aleister Crowley ed by Kenneth Grant and John Symonds Cape 5gns Poet, mystic, painter, publisher, mountain climber, heroin addict (on and off), gourmet (food and women) — Aleister Crowley had a sort of poetic life-hunger peculiar to the early 19th Century. He inherited £40,000 from his father, a Plymouth Brethren fanatic, which enabled him to finance his climbing expeditions to Mexico and the Himalayas and publish his books at his own expense. Crowley was an expert on the use of drugs (not a crime in the early days of the century — Freud turned his friends on to cocaine, telling them he had discovered the 'wonder drug'). Crowley introduced anhalonium (another name for mescalin) to Europe, and wrote the best study of heroin addiction up to that time in 'John St John'. On the publication of these deliberately literary (and therefore much censored) autobiographical confessions last month, his reputation as 'the wickedest man in the world' did not fail, and reviewers made heyday of his perversions and the bizarre events of his life. Whatever personal experience these reviews contained, most of it was of the 'I once saw Crowley ... etc.' variety, and by and large they put Crowley down as a charlatan, or at best, misguided. The main problem with Crowley, and the reason for the widespread fear of him, is that he was completely self-motivated. His biographer, arid tenacious holder of the Crowley copyrights — John Symonds — denounced Crowley on TV for his 'lack of discipline' basing this on Crowley's dictum 'Do what Thou Wilt, shall be the Whole of the Law' and conveniently forgetting the complementary rider — 'Love is the Law, Love under Will.' Mr. Symonds, filled with pious Christian bigotry, is frightened by 'Do What thou Wilt' which in fact, simply means that Crowley recognized no greater authority than himself on earth. Symond's slightly hysterical attitude has been given some edge by the fact that the Underground has picked up Crowley — Symonds cited the picture of Crowley on Sgt. Pepper, but neglected to mention his own fury when Kenneth Anger announced he was going to do a film on Crowley. (Anger owns the Abbey of Thelema in Sicily and has cleaned the whitewash off Crowley's paintings there) Magic is undefinable and mysterious. What magicians are really trying to do is tap the hidden wellsprings in their bodies and minds. With his expert knowledge of logics and mathematics to support him Crowley blew the minds of those pussyfooting around with magic which at the time was little more than Sunday afternoon entertainment. He introduced Egyptian and Vedantic traditions and to rid his neophytes at the Abbey of the ego, he issued them with razors to cut themselves with whenever they said 'I'. Sex was an open part of the rituals, and many dilettantes went crazy or committed suicide. Crowley still horrifies people by saying that he wanted to sacrifice someone in a sex-magick rite. He would be hated less if he had actually done so (as the Nazis did as a matter of course). Writing about

it is apparently a greater crime. Other justifications for Crowley's 'wickedest man in the world' title? — he practised black magic (Crowley would deny this. He thought Christ was a student of the left hand path because he tried to control the body); he fucked a few women and left them; enjoyed anal sex; used heroin and was mean to his friends (especially Victor Neuberg); was arrogant and contemptuous of the Establishment ('You're all a pack of cards') and didn't mind owing money to people. In short Crowley was the epitome of that mythical Wicked Person you are told about at Sunday School. Crowley remains a scapegoat and whatever merit or interest his ideas have are still shrouded in a mist of misleading publicity. 'Wickedest man in the world' is puritanical bullshit. Crowley is straight, unlike the people who handle him and overprice his work (he wanted his Equinox to sell for 1/- a volume). The leader of the Druids 'was a man — he lived', as Maugham once said, and that's all you need to remember about Crowley.

Ian Stocks Benadette Devlin The Price of my Soul (Andre Deutsch, 25s also in paperback) Witty, committed, breathless; as Irish a yarn as an Englishman could wish, this is Bernadette's and People's Democracy's story from the beginning. The familiar tale loses nothing in her telling: best of all, it emphasizes precisely those shortcomings in the movement that need exposing if committed radicals are to do more than stagger from barricade to barricade. From the splits with the Old Left to the 'dealings' with the 'sympathetic' members of the government, whose every promise was as false as our own Prime Minister, Bernadette lays bare the limitations of protest action. Nothing can be done in Westminster: 'What we have now is a kind of Animal Farm, all-pigs-are-equal system, whereby the pigs with MP after their name are entitled to sit in the farmhouse, and the rest of us are just common four-footed animals'. Nothing can be done without some organization that can provide new recruits when the old ones are tired. Nothing can be done if everyone emphasises their own purity of doctrine and refuses to recognize anyone else's: in Ireland this is a simple matter between Catholics and Protestants. Bernadette wants people to realise what can be achieved by organized action which not only embraces all kinds of beliefs amongst young people, but also the real suffering of the Irish working class, of whatever religion. She believes that action and organizing in the streets is one of the most important tasks facing radicals. But, as the French students found after the May events, you can only build after the barricades if you've formed an organization that works, however loosely, at the bottom: the famous grass roots. Bernadette's upbringing taught her to take on personal responsibility for her actions — this is what she has tried to do in the fight for civil rights. If the movement gets anywhere, people will have learnt to take that kind of responsibility. This is a good book for those who believe 'it can never happen here'.

Peter Buckman

Mighty Baby: 'Mighty Baby' (Head HDLS 6002) There are many groups that seem to go on for years at what you might call the Klooks Kleek level. In other words, they achieve a mild sort of reputation but never manage to break out of the endless round of one-nighters up and down the country. If the music business was all fair and honest credit where credit was due and so forth one could say that this kind of group didn't succeed because it didn't deserve to: because it just didn't have what it takes to turn a Klooks Kleek group into a Royal Command performance act. As it is, of course, success depends less on how well you can play than who you know (how else do you explain the Ryan twins?) —

—

Maybe this is the reason why Mighty Baby (nee the Action) have been around for so long without ever really making it. Perhaps they haven't got engaging accents, or they aren't evil-looking enough, or they're not as don't know. I under-privileged as they ought to be The important thing about Mighty Baby (right enough soft-selling) is that their first album is very good indeed. —

—

Obviously their music slightly resembles the hard rock-blues that the Action used to play. I don't think it's too whimsical to say that it's pure electric music throughout: Mighty Baby seems content tb explore the possibilities inherent in a drums/bass/lead/organ/sax line-up they're not into the we're-as-versatile-as-any-symphony-orchestra thing. They make a kind of Buffalo Springfield sound at times too, but they're never merely imitative you get the feeling that they write all their own material because they want to express themselves in their own way, not because somebody told them that no progress in the business you have to do your own numbers. Every track is, to a greater or lesser degree, satisfying, there are no space-fillers. —

—

The best numbers on the album are those, like 'House Without Windows and 'A Friend You Know But Never See', where they lay down and develop a solid rock and roll riff. Here you can see the advantage of playing for years: each musician instinctively maintains and enhances the balance of the song. Unlike those bands which are merely showcases for one soloist Mighty Baby are a group in the fullest sense. The sleeve is good too, dig the frantic Martin Sharp front cover.

John Leaver.

Byrds Preflyte Together Records ST-T-1001 (Available on Import only) During the past five years few groups have captured our imagination like the Byrds. In a sense, the West Coast movement began with them. They were the first rock group to be signed by Columbia in the States, forerunning Moby Grape, Spirit, Blood Sweat and Tears and United States of America, etc. They were one of the first bands to understand the importance of Dylan's songs and they were the first group to produce music from a communal environment. At one point fifteen or twenty people were directly involved in the creation of their music. Now a new American record company has dug up a master of old Byrd recordings and released it in the States under the title 'Preflyte'. All of the material was recorded in 1964, before the Byrds signed with Columbia, and the album contains the original recording of 'Mr Tamborine Man'. It is a beautiful L.P. The music is naieve and in places imprecise, yet is has an incredible vitality and charm. Through it we can clearly see the Byrds early influences the Everly Brothers, the Beatles,. Chuck Berry and Dylan. It helps us put their later music into perspective and, more important, shows clearly why, despite never having produced a really world class album, the Byrds have become a legend. —

We identified with the Byrds. The Beatles hair was growing but the Byrds had grown theirs longer. British groups were still wearing uniform on stage the Byrds played in jeans and T-shirts. They were untogether, moody and unpredictable and, when everyone about them was hustling into the Liverpool scene, the Byrds produced a new sound. Their teeny tour in 1965 was a disaster. We weren't ready for them. When they came back two years later they got a twenty minute ovation after a two hour set at Middle Earth. —

—

But the album isn't just a point of reference. Some of the music compares with any they subsequently recorded. 'Here Without You' is gentle, melodic and emotional. 'You Don't Have To Cry' has a strong Beatles influence but all the Byrds trademarks are there Jim McGuinn's voice, the vocal harmonies and the unmistakeable guitar sound. And, of course, there is 'Mr Tamborine Man'. l he original Byrds have long since parted but their influence is as strong as ever. Through Crosby Stills and Nash, the Flying Burrito Brothers and Dillard they are producing music of the highest quality. We didn't realise it at the time but the Byrds were the first American super group. Bob Harris. —

GKEYNSHAM

fLIBERTY AL LBS 83290

An important new album that just "JUMPS OUT& DOES IT ALLOVER YOU"( ha ha) 58

ROLLING STONES/ LET IT BLEED

THIS RECORD SHOULD BE PLAYED LOUD LET IT BLEED ❑ LOVE IN VAIN ❑ MIDNIGHT RAMBLER GIMMIESHELTER ❑ YOUGOT THE SILVER COUNTRY HONK MONKEY MAN ❑ LIVE WITHME ❑ YOU CAN'T ALWAYS GET WHAT YOU WANT ❑ ❑

DECCA (S) SKL 5025 (M) LK 5025 12" Stereo or Mono LP The Decca Record Company Limited Decca House Albert Embankment London SE1