Thursday, 16 July 2009

A MONKEY'S TALE #1: A POT TO PISS IN


I get back to my hotel room shortly after two. They call it a hotel but it’s more a large B&B. I’ve had five or six pints of Stella and two JD and cokes. I’m pissed but not shit faced.

I kick off my shoes, drop my shirt on the floor, put my trousers over the chair as neatly as I can manage, take off my socks then pause. Normally I wouldn’t sleep in my pants but something about the grubbiness of the sheets makes me think twice and keep them on. Within seconds I’m asleep.

As is the way these days, I wake in the middle of the night needing a tinkle. Go to the bathroom and shut the door behind me. Hang on. I’m not in the bathroom. I’m in the corridor. Bollocks. Push the door. Locked. Push harder. Still locked. You’re having a laugh. Shit. What am I going to do? Before I can think about that, the issue of needing a leak becomes urgent. Run down three flights of stairs to the ground floor. No toilets. Run back up to my floor. No toilets there either. Oh yeah, all the rooms are en-suite. I’m getting desperate. Go back down the stairs. There’s a small potted plant on the landing. Hmmm. Consider it but judge it wouldn’t take it all and carpet is a pale blue colour that’ll show the spillage too clearly. And seeing how at some point I’ll have to get help I’ll be too obviously the culprit.

Back on the ground floor and I’m hopping about wildly and panicking. Shall I go outside? You madman. Bad enough being locked out my room in my skimpy pants let alone out in the street. The lounge. Come on, come on, there’s got to be something there. Would a cushion soak it all up? Ridiculous idea. The breakfast room. I expect the door to be locked but it’s not and I go in. Hallelujah! Those little silver tea pots all lined up glistening, beckoning. Ahhhhh. And relax. Except the pot’s rapidly filling so I pinch hard and grab a larger pot. And finish. Phew. Relief.

But now I realise I’m stood in the darken breakfast room of a shabby hotel in a miserable seaside town at quarter to five in morning holding two pots of piss dressed only in my Calvin Klein’s. In a fleeting glass-half-full moment I thank the Lord for the grubbiness of those sheets.

I wander around before finding a small sink under a counter and rinse the pots before putting back on tables. It’s too early to wake the hotelier – not that I know how to anyway – so go back to my room and curl up on the floor outside. It’s draughty but I fall asleep before waking up again and, yep, need another piss. Repeat.

It’s now half seven and I reckon it’s a reasonable time to take a deep breath and summon help. In the reception I spot a “please call for assistance” buzzer. It’s deafening. Immediately from a hatch under the stairs right next to the breakfast room pops the head of an angry troll. In a Mr. Reasonable voice I go, “Excuse me, do you have a spare key for room 4?” He doesn’t strike me as the type of chap that would normally object to half naked men standing in front of him but even he apparently draws the line at puffy eyed old mods stinking of beer and piss covered in red blotchy imprints from his scratchy synthetic carpet. Silently he gives me the key and I hot foot it trying to look as casual as the circumstances allow.

At this stage I should just pack my bag and leg it in shame but I go to bed meaning I see him again when I check out. “Sorry about that earlier, I must’ve been sleepwalking and found myself locked out”. He doesn’t say much and I’m out of there.

Sunday, 12 July 2009

COOL AS FUCK PLAYLIST


Don’t normally do DJ playlists but here’s what I played at Cool As Fuck in Hastings on Friday.

The brief recommended uptempo 45s with a bit of Motown for a mixed crowd including a few scooterists. Seemed a perfect opportunity to revive some old soul classics I wouldn’t normally play at hardcore mod/R&B nights. And no, before you ask, that didn’t include “The Snake”.

The following transformed a miserable depressing hovel of an inbred seaside town so wretched you feel the compulsion to shoot heroin in your eyes, into a sizzling orgy of frantic tail feather shaking.

2330-0015
Eddie Holland – Baby Shake (Motown)
Sugar & Sweet – You Don’t Have To Cry (Pep)
Jimmy Elledge – Gonna Turn Your Voodoo On (RCA Victor)
Bobby Marchan – Chickee Wah-Wah (Gale)
Dorie Williams – Tell Me Everything You Know (635)
Otis Rush – Homework (Duke)
Artie Golden – Look Out (Sunshine)
The Rollers – Troubles (Bel-Star)
Johnny Watson – I Say, I Love You (King)
Roy Roberts – Got To Have Your Love (Ninandy)
Alder Ray – My Heart Is In Danger (Minit)
The Four Shells – Hot Dog (Volt)
Ray Scott – Right Now (Decca)
Dalton Boys – I’ve Been Cheated (VIP)
Aretha Franklin – Tighten Up Your Tie, Button Up Your Jacket (Columbia)
Edwin Starr – I Have Faith In You (Ric-Tic)
The O’Jays – Lipstick Traces (Imperial)
The Groove – Love Is Getting Better (Wand)
David Dunn – Say Ain’t It So (Lori)

0050-0125
Rufus Thomas – Turn Your Damper Down (Stax)
Big Maybelle – Quittin’ Time (Direction)
Grover Pruitt – Little Girl (Salem)
The Dippers – Goin’ Ape (Diplomacy)
Rufus Lumley – I’m Standing (Horton)
The Downbeats – Request Of A Fool (Tamla)
Isley Brothers – This Old Heart Of Mine (Tamla Motown)
Kim Weston – Helpless (Gordy)
Gloria Grey – It’s A Sweet World (Warner Brothers)
Sugar Pie Desanto – Here I Come Running (Checker)
Jimmy Bell – What’cha Gonna Do About Me (Hickory)
Banny Price – You Love Me Pretty Baby (Jewel)
Mike Pedecin – Burnt Toast and Black Coffee (Federal)
Ernie Washington – Lonesome Shack (Chattahoochee)
Sugar Boy Williams – Little Girl (Herald)
Prince Conley – I’m Going Home (Satellite)

NATIONAL ART HATE WEEK


Black sheep of the art world Billy Childish, Jamie Reid, James Cauty and Harry Adams are up to their antagonistic best promoting National Art Hate Week which begins tomorrow.

What’s it all about? In part:

"NATIONAL ART HATE WEEK is a call for direct action against the mass acceptance of art as a false economy for the smug manipulative elite and their ensuing grip of control over culture as a tool for mediated emotion, market lead non-critical homogeny, and boring popularism."

Sounds reasonable.

For further propaganda see www.arthate.com

Thursday, 9 July 2009

VIC TEMPLAR DOES HIS CHUNKERS


I like writers who suffer for their art. Who drag themselves through the streets at dawn looking for an angry fix. Who burn in the bowels of hell before clawing themselves back by their filthy fingernails only to lose their grip and slide further in to the abyss. Who slip from wanton hedonism to abject misery in the space of a page.

Vic Templar is not one those writers. Yet his little book of short stories shows he too has suffered. Stung by a wasp, he was. On his tongue. It’s not quite walking 47 miles of barbed wire, using a cobra snake for a necktie, but it’s a start. His warm, matey, nostalgic style is more Nick Hornby than Nick Kent but his musings on his nan, his dustman, playing golf with monks, and forgetting his friend’s name raise a sneaky smile.

Vic Templar Does His Clunkers is the equivalent of sitting for hours on a Sunday watching repeats of Come Dine With Me, with a warm mug of tea in one hand, a custard cream in the other, and the cat curled up on your lap. And, believe it or not, there are times when that’s preferable to drinking absinthe from a shoe with winos, junkies and whores.

Vic Templar Does His Chunkers is published by Blackheath Books, priced £5.
www.blackheathbooks.org.uk

JOHN "HOPPY" HOPKINS EXHIBITION FOOTAGE

In case my review earlier still hasn't encouraged you to Hoppy's exhibition - or if you live too far away - here's a short video of the opening night produced by the Idea Generation Gallery. Get along if you can.



John “Hoppy” Hopkins: Against Tyranny is at the Idea Generation Gallery, 11 Chance Street, Bethnal Green, London until 19th July 2009, admission free.

http://www.ideageneration.co.uk/generationgallery.php

Sunday, 5 July 2009

NAKED LUNCH 50th ANNIVERSARY at the BEAT HOTEL, PARIS


July 2009 marks the fiftieth anniversary of the publication of William Burroughs’ Naked Lunch by Olympia Press in Paris. To mark this auspicious occasion, this week the city hosted a number of events to pay tribute: Burroughs scholars attended a three day symposium; Naked Lunch @ 50: Anniversary Essays was published; and at the site of the Beat Hotel, a commemorative plaque was unveiled.

The Beat Hotel, home at various times from 1957 to Burroughs, Allen Ginsberg, Gregory Corso at el, and birthplace of countless creations from poems to cut-ups, paintings to Dream Machines, closed in 1963 and is now the swanky Relais Hotel Vieux Paris. There’s nothing left of the old interior, save some timber beams and joists the new rooms have been built around. The rooms have been spruced up, decorated in sea of migraine inducing garishness: the same bright flowery pattern on the wallpaper, bedspread and headboard, curtains, cushions and table cloth. In its heyday it was officially known solely by the address of 9 Rue Git-Le-Coeur. The Beat Hotel title, given by Corso, made it sound grander than it was; in modern parlance it would be a shithole. There really was a hole in the floor the residents shat in, and those who didn’t bring their own paper made do with pages of the telephone directory. The rooms were known as cells, some, like Corso’s, you had to crawl on your knees to get in. There was little light and the electricity barely powered a dim light bulb and tiny radio in each room. What it did have was cheap rent, you were left alone, you could do what you wanted and providing the owner Madame Rachou (and her cat, Mirtaud) liked you, you’d have the authorities kept off your case. This freedom attracted the bohemian community of writers, poets, painters, photographers and prostitutes to live and for the Beats – especially Burroughs – to create.

Feeling the heat closing in on sweltering day fifty years later, around 80 people from both sides of the Atlantic and a film crew, gathered outside the hotel in the narrow Parisian alley to witness the unveiling of a “plaque commemorative”. Despite overlooking the Seine and across from Notre Dame, there’s little reason to venture down Rue Git-Le-Coeur so the event was mercifully spared rubbernecking passersby. Speeches and readings reverberated in the street, including lively tributes to Harold Norse, former resident and author of Beat Hotel who died only a few weeks earlier. A champagne reception was hosted in the hotel foyer where the old hotel cafĂ© once stood and framed photographs of its famous residents looked down. A chap played the mandolin until the sweat and condensation on his glasses blinded him.

For all the beat associations with the site, the most famous is as the place Naked Lunch was finally completed. For years the manuscript was reworked and rewritten and rejected. Then, suddenly, Burroughs and pals had two weeks to type a completed version ready for publication by Olympia Press situated a few streets away.

So what would the plaque look like? What would it say? French artist Jean-Jacques Lebel had the honour of revelling all. On a transparent, rectangular sign, it read: “Beat Hotel. Ici vecurent: B.Gysin, H. Norse, G. Corso, A. Ginsberg, P. Orlovsky, I. Sommerville, W. Burroughs y acheva le Festin Nu (1959)”. I was expecting something about Bill and Naked Lunch, or the Beats in general; I wasn’t expecting to see some of those names but I’m pleased they’re there although that feeling wasn’t shared by some the hardcore Burroughsians. “Peter Orlovsky? Ginsberg’s boyfriend. What did he ever do?” In fact, there was nothing to say who these people were. So an “I. Sommerville” lived there. Onlookers will ask who he was. What did he do? When did he live there? I’m wary of anyone who doesn’t know William Burroughs, yet I wouldn’t expect many to have the foggiest about Ian Sommerville.

From an aesthetic point of view, the font looked a bit crap; the way the names were arranged diagonally that made “Burroughs” out of line looked rubbish; the way the names were listed with initials was disappointing; and why that order? It wasn’t alphabetically, it wasn’t in order of their time there, so I don’t know what it was. Maybe it was a cut-up. It could – and should – have looked brilliant, yet looked like a bit more thought was needed. On the plus side, it’s at least something and a nice way to doff the fedora to a book that’s as startlingly original today as it was fifty years ago.

The Youtube footage I took is here

Saturday, 4 July 2009

JOHN "HOPPY" HOPKINS: AGAINST TYRANNY - PHOTOGRAPHS AND PSYCHEDELIC ART FROM THE 60s COUNTERCULTURE


I’ve banged Hoppy’s drum on here before and for Shindig magazine so I don’t propose to list his lengthy achievements again; let’s just say he provided the foundations and the cement for the 60’s underground scene and tell you about his huge new photo exhibition at the Idea Generation Gallery.

Covering the early to mid 1960s these shots document politics, protest, poverty, police, pop, pot, poets, beats, beatniks, Beatles, beboppers and bikers. That’s just for starters. There are copies of International Times (which he co-founded), Nigel Weymouth’s posters from the UFO Club (which he ran with Joe Boyd), a new half hour documentary and grainy archive footage.

Many photos were featured in From The Hip, published last year after a friend accidently discovered the originals stuffed forgotten under Hoppy’s bed, but now he’s added enlightening captions that not only add to the enjoyment of these fabulous pictures but show he’s lost none of that fierce independent spirit nor those quaint old hippy ideals of justice, freedom and fair play. With most flowers from that generation now withered and died, Hoppy’s roots remain as solid as ever. As someone once said, “what’s so funny about peace, love and understanding”?

John “Hoppy” Hopkins: Against Tyranny is at the Idea Generation Gallery, 11 Chance Street, Bethnal Green, London until 19th July 2009, admission free.

From The Hip: Photographs by John “Hoppy” Hopkins 1960-66 is published by Damiani priced £24.99. www.hoppy.de