DOCSLIB.ORG

The Great Rolling Stones Redlands Bust

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

THE GREAT ROLLING STONES REDLANDS BUST By David Bartley ‘Naked Girl at Stone’s Party’ On Sunday the 12th of February 1967 one of the mothers of all battles of that turbulent and sadly maligned decade was set in motion. In one corner the emerging hippy movement; in the other, the forces of conventional middle-class morality. Mick Jagger and Keith Richards (then styled ‘Richard’) of the Rolling Stones were arrested for drug offences. Three months later, Jagger and Richards were tried and sentenced to three months’ and a year’s imprisonment respectively. Mick for possession of amphetamines (sold legally as travel sickness pills in Italy, where they were purchased), Keith for allowing cannabis to be smoked on his premises – Redlands, in West Sussex. They were Quickly released on appeal, but these absurdly vindictive and disproportionate sentences caused an uproar. The new Establishment of the ‘counter-culture’ – including The Beatles and The Who - rallied behind the two Stones and then, remarkably, so did The Establishment. The editor of the Times, William Rees-Mogg, risked a contempt of court charge by publishing an editorial decrying the evident unfairness of the sentences. Common sense ultimately prevailed: matters were Quietly arranged so that the boys quickly won their appeal. The plot to crush the longhairs, with their drugs and their loose sexual attitudes had backfired – spectacularly. Far from penitent pariahs, Mick and Keith were now Promethean heroes, Oscar Wildes for their times. So just how did the NCO class of the old Establishment – the News of The World, the minor judiciary, the police - make such a mess of what was meant to be an exemplary spanking for the Stones and their louche admirers? Here is the countdown to calamity. THE GREAT ROLLING STONES REDLANDS BUST – David Bartley 1 ‘There was a realization that the powers-that-be actually looked upon us as important enough to make a big statement and to wield the hammer. But they’d also made us more important than we ever bloody well were in the first place.’ Keith Richards. Judge Leslie Block 15th January, 1967. Mick Jagger has to sing ‘Let’s spend some time together’ on the Ed Sullivan Show. 22nd January. Back in Blighty, the Rolling Stones refuse to get onto the revolving stage and wave a fond farewell to the audience at the close of ITV’s London Palladium Show. Which is seen as akin to burning the flag. Or failing to be 100% positive about Brexit. The band you wouldn’t want your daughter to marry are marked men. Early February. Two undercover News of The World reporters fall into conversation with a Rolling Stone in a fashionable night club. He talks openly and enthusiastically about his herculean drug use - laying it on thick as he has realised who they are. The NOTW happily run their scoop: Mick Jagger admits to dropping acid. And plenty of it. 5th February. The man himself reads the rag in bed on Sunday morning and hits the ceiling. That night he is a guest on the Eamonn Andrews Show. Not only does he deny taking LSD: he says he is issuing a libel writ. He does so two days later. It seems the NOTW’s reporters couldn’t tell one stoned Stone from another: they’d been talking to Brian Jones. 12th February. Enraged, the NOTW management now tip off Chichester’s finest to raid Keith Richards’ country seat, Redlands. There is, an anonymous caller assures them, ‘a riotous party’ in progress. When the rozzers make their move George Harrison and his wife Patti Boyd have just left. Conveniently, one might think. A Beatle would be too big a scalp - at this stage of the game. The Acid King with his aluminium briefcase of delights Still present are Keith, Mick, Marianne Faithfull (the latter’s girlfriend and a successful pop star in her own right), the important Old Etonian art dealer Robert Fraser - ‘Groovy Bob’ - and his fellow OE Christopher Gibbs, a leading antiques dealer and designer, a big fixture in the new rock-meets-aristo scene. Plus leading pop snapper Michael Cooper (who took photographs of the pre-bust weekend), Nicky Cramer, an upper crust Kings Road layabout, and the mysterious Acid King, American David Schneiderman. (A man with more spellings to his surname than the many genera of acid he dealt in. He had supplied Sunday breakfast in the form of tabs of ‘White Lightning’.) THE GREAT ROLLING STONES REDLANDS BUST – David Bartley 2 The coppers find heroin on Fraser and four amphetamine pills in Jagger’s pocket. They also discover several roaches in ashtrays – as well as a bowl full of Mars Bars. Marianne Faithfull, down from a bath, waiting for her muddy clothes to dry, is naked under a - very large - fur rug. And by an uncanny feat of memory all the police notes (which I consulted in Chichester) mention ‘a strong sweet smell of incense.’ A phrase duly featured in Swingeing London, a Pop Art piece about the bust later created by British artist Richard Hamilton. The Acid King persuades the cops not to open his briefcase as it contains unexposed film. Or so he assures them. Curiouser and curiouser, a large lump of what sounds for all the world as though it was cannabis resin is taken from his pocket - but then returned to him. Fraser is not so lucky – he nearly manages to pass off his heroin jacks as asthma tablets, but at the last minute the plods decide to take them in for questioning. 19th February. No doubt having consulted a contemporary version of Mystic Meg, the NOTW are able to announce the raid and the charges – before any official communiqué from the police. 10th May. Jagger, Richards (both 24) and Robert Fraser (29) appear at Chichester Magistrates’ Court, plead not guilty and are bailed for £100 each. That same night Brian Jones’s London flat is raided by the infamous Detective Sergeant Norman Pilcher of the Drugs Squad. A one man crime wave, referenced by John Lennon in I Am The Walrus as ‘semolina pilchard’, in The Rutles as ‘Brian Plant’, Pilcher specialised in finding drugs in unlikely places. So much so that even his victims were not aware they were there. A list that went on to include George Harrison and Lennon. (Hence the latter’s problems getting a Green Card in the USA.) Eventually even the Drugs Squad determined that Pilcher was up to no good and he found his own collar being felt, serving time for his various misdemeanours. The Stones’ own attempt at police corruption – a rumoured £7,000 bribe – was placed into eager hands but then went walkabout. The grim majesty of the law refused to be nudged off course. 19th June. Paul McCartney – the nice, sensible, well-behaved one – goes public that he has taken LSD. THE GREAT ROLLING STONES REDLANDS BUST – David Bartley 3 27th June. The trial of Mick Jagger begins, with that of Richards and Fraser the following day. And what a swell party it was. The press merrily report stories of a ‘nude girl’ under a fur rug. To save this feisty number’s blushes she is known only as ‘Miss X’. A large picture of M. Faithfull is helpfully printed alongside the story – © all mass market newspapers. The Mars Bar urban myth quickly begins - most likely a police invention gleefully passed on to thirsty reporters during a lunchtime adjournment to a local hostelry. The notion being that she and an unnamed partner – who could that be? - had been using the popular chocolate treat for an unusual purpose. An idea that Faithfull later called, with resigned understatement, ‘a dirty old man’s fantasy.’ 29th June. The ludicrously draconian sentences are passed by a man from a rather different Stone Age, Judge Leslie Block. Three months for Jagger, six for Fraser, and a whole year for Keith Richards, who had allowed Redlands to be turned into a half-timbered drug den-cum-bordello. Mick is taken to Brixton nick (where, accordingly to Marianne, he cries, and writes 2000 Light Years From Home), Keith to the Scrubs. After a night of Her Majesty’s pleasure, both are released the next day pending an appeal. Groovy Bob Fraser remains incarcerated; and was never the same man on his release four months later, many friends believed. Meanwhile the big battalions of the ‘counter-culture’ swing into action. An all night vigil is held at Piccadilly Circus; demonstrators gather in front of the NOTW’s offices near Fleet St and are given a good kicking by the police and set on by alsations for their pains; in New York fans protest at the British Embassy. The Who immediately release a single of Stones covers. Two ‘establishments’ are at war here. The new hippy elite versus the old-values, hang ‘em and flog ‘em and put them in the army moralists of the police, minor judiciary and late lamented NOTW. Enraged by men wearing long hair and effeminate clothes, seething over the rockocracy’s drugs, free love, lack of due deference - and ready money. ‘We are not old men’, Keith had told the court, ‘we are not worried about petty morals.’ There was the casus belli. 1st July. But now the real Establishment joins in. As part of an editorial entitled (after Alexander Pope) ‘Who breaks a butterfly on a wheel?’ The Times thunders: ‘If we are going to make any case a symbol of the conflict between the sound traditional values of Britain and the new hedonism, then we must be sure that the sound traditional values include those of tolerance and equity.
Recommended publications
  • George Harrison

    George Harrison

    COPYRIGHT 4th Estate An imprint of HarperCollinsPublishers 1 London Bridge Street London SE1 9GF www.4thEstate.co.uk This eBook first published in Great Britain by 4th Estate in 2020 Copyright © Craig Brown 2020 Cover design by Jack Smyth Cover image © Michael Ochs Archives/Handout/Getty Images Craig Brown asserts the moral right to be identified as the author of this work A catalogue record for this book is available from the British Library All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins. Source ISBN: 9780008340001 Ebook Edition © April 2020 ISBN: 9780008340025 Version: 2020-03-11 DEDICATION For Frances, Silas, Tallulah and Tom EPIGRAPHS In five-score summers! All new eyes, New minds, new modes, new fools, new wise; New woes to weep, new joys to prize; With nothing left of me and you In that live century’s vivid view Beyond a pinch of dust or two; A century which, if not sublime, Will show, I doubt not, at its prime, A scope above this blinkered time. From ‘1967’, by Thomas Hardy (written in 1867) ‘What a remarkable fifty years they
  • British Politicians Misuse the Holocaust Ometimes It Almost Seems As If an Investigation Into the Incident

    British Politicians Misuse the Holocaust Ometimes It Almost Seems As If an Investigation Into the Incident

    VOLUME 12 NO.6 JUNE 2012 British politicians misuse the Holocaust ometimes it almost seems as if an investigation into the incident. This instead in the knee-jerk hostility to the centre of gravity in current has yet to report, several months later, Europeans widespread on the Tory right. Sexchanges about anti-Semitism and while Burley remains a backbench MP. By dressing as he did, Mark Fournier Nazism has moved to the Middle East, One can reasonably assume that the evidently aimed to provoke the French: allowing such sentiments in Britain to pass Prime Minister has adopted the trusted ‘We wanted to see how a Nazi uniform in unchallenged. While heated accusations tactic of using an investigation to kick the middle of France would go down,’ he of anti-Semitism are regularly levelled an unwelcome issue into the long grass, is reported as saying. ‘The answer is not at those who criticise Israeli policies hoping that the media will lose interest that well at all.’ His intention would seem towards the Arabs, provoking the equally and that Burley’s resignation, which would to have been to taunt the French with their contentious counter-argument that it is force a by-election that the Tories could defeat in 1940 and the subsequent years of possible to be anti-Zionist without being easily lose, can be avoided. occupation – conveniently forgetting that anti-Semitic, some recent, thoroughly As a result, Burley continues to enjoy the British Expeditionary Force retreated reprehensible actions and just as fast as the French in face of statements by British politicians the Nazi onslaught and was only have passed without attracting the saved from destruction by escaping condemnation they deserve.
  • Note to Users

    Note to Users

    NOTE TO USERS This reproduction is the best copy available. UMI' The Spectacle of Gender: Representations of Women in British and American Cinema of the Nineteen-Sixties By Nancy McGuire Roche A Dissertation Submitted in Partial Fulfillment of the Requirements for the Ph.D. Department of English Middle Tennessee State University May 2011 UMI Number: 3464539 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT Dissertation Publishing UMI 3464539 Copyright 2011 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 The Spectacle of Gender: Representations of Women in British and American Cinema of the Nineteen-Sixties Nancy McGuire Roche Approved: Dr. William Brantley, Committees Chair IVZUs^ Dr. Angela Hague, Read Dr. Linda Badley, Reader C>0 pM„«i ffS ^ <!LHaAyy Dr. David Lavery, Reader <*"*%HH*. a*v. Dr. Tom Strawman, Chair, English Department ;jtorihQfcy Dr. Michael D1. Allen, Dean, College of Graduate Studies Nancy McGuire Roche Approved: vW ^, &v\ DEDICATION This work is dedicated to the women of my family: my mother Mary and my aunt Mae Belle, twins who were not only "Rosie the Riveters," but also school teachers for four decades. These strong-willed Kentucky women have nurtured me through all my educational endeavors, and especially for this degree they offered love, money, and fierce support.
  • The Case of Rachel Lichtenstein and Iain Sinclair’S Rodinsky’S Room

    The Case of Rachel Lichtenstein and Iain Sinclair’S Rodinsky’S Room

    Ghost Storage—Between Archive and Ash: The Case of Rachel Lichtenstein and Iain Sinclair’s Rodinsky’s Room Niall Martin (University of Amsterdam, The Netherlands) The Literary London Journal, Volume 12 Number 1–2 (Spring/Autumn 2015) Abstract: This reading of Rachel Lichtenstein and Iain Sinclair’s Rodinsky’s Room (1999) accentuates the tensions within their collaborative work to explore how the text produces alternative versions of the spectral within the global city. The importance of Rodinsky’s Room, it argues, lies in the fact that it is one of the few texts to demonstrate the necessity of understanding the contemporary metropolis not only as differently cultured but as differently haunted. To this end the article distinguishes between a Freudian ‘strategy of time’ that identifies the spectre with the displacement of the past by the present and an embryonic ‘theory of ghosts’ sketched by Adorno and Horkheimer which views ghosts rather as problems of storage within a functionalist economy and relates them thus to a strategy of space. The essay explores the interrelation of these two strategies in Lichtenstein and Sinclair’s text which presents itself as both a narrative of the archive and an archive of narratives. Keywords: spectral cities, memory, archive, diaspora, Holocaust, immigration, globalisation In a note titled ‘On the Theory of Ghosts’ collected in the back pages of their Dialectic of Enlightenment, Theodor Adorno and Max Horkheimer (1972) identify a ‘disturbed relationship with the dead—forgotten and embalmed—[as] one of the symptoms of the sickness of experience today’ (216). That ‘sickness’ they attribute to the fact that ‘[i]ndividuals are reduced to a mere sequence of instantaneous experiences which leave no trace, or rather whose trace is hated as irrational, superfluous, and “overtaken” in the literal sense of the word’ (216).
  • The Yellow House Revisited

    The Yellow House Revisited

    University of Wollongong Research Online Deputy Vice-Chancellor (Academic) - Papers Deputy Vice-Chancellor (Academic) 2016 The elY low House revisited Michael K. Organ University of Wollongong, [email protected] Publication Details Organ, M. 2016, 'The eY llow House revisited', Aquarius Redux: Rethinking Architecture's Counterculture Conference, pp. 1-31. Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] The elY low House revisited Abstract Martin Sharp's Yellow House represents a transitional phase in the countercultural movement within Australia, from the peace and love Utopian ideals of the Sixties through to the disenchantment and technological changes of the Seventies. Inspired by Vincent Van Gogh's similarly titled building and aborted artist community in the south of France during the 1880s, and the British Arts Lab movement of the late 1960s, a 3-storey Victorian era terrace building in Sydney was transformed into a work of art, living museum, experimental art gallery and performance space, under the liberating and libertine guidance of Martin Sharp - an artist who had experienced some of the extraordinary cultural changes taking place in London and Europe between 1966-69. The eY llow House was a unique expression of the counterculture's disparate elements through a redundant example of the built environment, namely a former art gallery and guest house facing the threat of demolition. Art and architecture fused with lifestyle and culture within a veritable rabbit warren of rooms and performance spaces. Though innately ephemeral, the venture succeeded, during its relatively short period of existence between May 1970 and March 1973, in providing an expressive outlet for a disparate group of counterculture artists, performers and commentators.
  • Art 142: the History of Photography Unit 8: Mass Media and Marketing Mass Media and Marketing

    Art 142: the History of Photography Unit 8: Mass Media and Marketing Mass Media and Marketing

    Art 142: The History of Photography Unit 8: Mass Media and Marketing Mass Media and Marketing The end of WWI propelled a period of experimentalism in photography that shattered the Victorian conventions and generated a new, modern covenant with the social world. Mass Media and Marketing Dada and After ● “Dada, a nonsensical sounding word chosen by a group of writers, artists and poets ● Identifies a new emerging art movement able to express despair brought on by WWI and break conventions and intellectual barriers ● Christian Schad, German artist associated with Zurich Dada group made, “Schadographs”. ● May have been referencing both “Shadowgraphs or the german word, “Schaden” which means damaged evoking the Dada sense of things falling apart. Christian Schad, Schadograph 24b, c. 1920. Gelatin silver print. Mass Media and Marketing Dada and After ● Berlin Dada group more political than Zurich group and wanted to make social statements. ● Adopted photomontage as a key medium, a “paste picture” or Klebebild finished as a photograph Hannah Höch, Schnitt mit dem Küchenmesser Dada durch die letzte weimarer Bierbauchkulturepoche Deutschlands (Cut with the Kitchen Knife Dada through the last Weimar Beer Belly Cultural Epoch of Germany), 1919. Photomontage. Nationalgalerie Staatliche Museen, Preussischer Kulturbesitz, Berlin. Mass Media and Marketing Dada and After ● Hannah Höch and Raoul Hausmann were two of the earliest dadaists to make photomontages ● Höch engaged the theme of New Woman, images juxtaposed traditional roles of women with symbols of modernity ● Hausmann, one of the few communists that insisted on women’s equality in any new society. Hannah Höch, Denkmal I: Aus einem ethnographischen Museum (Monument 1: From an Ethnographic Museum), 1924.
  • Pattie Boyd Has Seen It All and Then Some

    Pattie Boyd Has Seen It All and Then Some

    ARTS ARTS attie Boyd has seen it all and then some. lying supine on a bed in Southern India in 1968, “the As a model in 60s London she worked last time I saw him looking so relaxed and calm.” She alongside Twiggy and Pat Booth, landed photographed Ronnie and Krissy Wood in the early multiple magazine covers, and was hours of the morning – still going strong from the Pcaptured on film by David Bailey, Norman Parkinson night before. She captured Clapton from the side of and Lord Snowdon. She was the buxom blonde with the stage in all his slow-handed glory. Throughout the the baby blues and gap teeth, the “new contemporary intense highs and dramatic lows, what have remained face” of 1964. are Boyd’s pictures – a window into the private Then she met and married Beatle George Harrison. world of the privileged, the experimental and the She endured kicking and spitting from crazed Beatles tremendously talented. fans. She travelled to India with the band on their While preparing for the opening of her exhibition notorious quest for spiritual enlightenment. Soon after Through The Eyes of a Muse in Sydney, the adorable Dylan turned the fab four onto marijuana, Boyd and and open Pattie Boyd spoke to Russh from her Sussex Harrison were dragged, hand-cuffed, from their home home about meditating with the Maharishi, keeping following a drug bust. She witnessed the lads from up with the boys on tour, opening a Pandora’s box and Liverpool crumble under the intense pressures of how her camera helped her to see the light.
  • The Last Days of John Lennon

    The Last Days of John Lennon

    Copyright © 2020 by James Patterson Hachette Book Group supports the right to free expression and the value of copyright. The purpose of copyright is to encourage writers and artists to produce creative works that enrich our culture. The scanning, uploading, and distribution of this book without permission is a theft of the author’s intellectual property. If you would like permission to use material from the book (other than for review purposes), please contact [email protected]. Thank you for your support of the author’s rights. Little, Brown and Company Hachette Book Group 1290 Avenue of the Americas, New York, NY 10104 littlebrown.com twitter.com/littlebrown facebook.com/littlebrownandcompany First ebook edition: December 2020 Little, Brown and Company is a division of Hachette Book Group, Inc. The Little, Brown name and logo are trademarks of Hachette Book Group, Inc. The publisher is not responsible for websites (or their content) that are not owned by the publisher. The Hachette Speakers Bureau provides a wide range of authors for speaking events. To find out more, go to hachettespeakersbureau.com or call (866) 376-6591. ISBN 978-0-316-42907-8 Library of Congress Control Number: 2020945289 E3-111020-DA-ORI Table of Contents Cover Title Page Copyright Dedication Prologue Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 — Chapter 6 Chapter 7 Chapter 8 Chapter 9 Chapter 10 Chapter 11 Chapter 12 Chapter 13 Chapter 14 Chapter 15 Chapter 16 Chapter 17 Chapter 18 — Chapter 19 Chapter 20 Chapter 21 Chapter 22 Chapter 23 Chapter 24
  • Not Fade Away

    Not Fade Away

    NOT FADE AWAY Fifty years ago, the Rolling Stones were photographed by a young Linda Eastman as they partied in New York to celebrate their appearance on the June 1966 cover of Town & Country. Catriona Gray retraces the story of a photoshoot that defined an era Brian Jones, Mick Jagger and Keith Richards aboard the Sea Panther on the Hudson River in 1966, photographed by Linda McCartney (at the time Linda Eastman) Sometimes a photograph both encapsulates a moment in Although it was Chace who made the cover, one of the time and resonates for decades to come. When the Rolling other debs in the photoshoot already knew the Stones. Stones appeared on the cover of Town & Country 50 years Christina Berlin was not only employed at Town & Country ago this June, it not only marked the beginning of their but her father was the CEO of its publisher, Hearst. At the transformation from long-haired rebels to members of the time, her sister Brigid Berlin was one of Andy Warhol’s new establishment, but also illustrated how the revolutionary favourite superstars (coincidentally, Warhol also posed influence of pop culture was disrupting American society. inside the magazine for the same feature), who had The man behind the shoot was the New York photographer appeared in his iconic film Chelsea Girls. Jerry Schatzberg, whose connections with the in-crowd ranged Several days after the issue was published, the Stones from Park Lane Princesses to avant-garde artists. Having organised a boat trip around Manhattan to promote their been told by David Bailey that he ‘needed to meet this new new album Aftermath.
  • 12X5 / the Rolling Stones (No. 2)

    12X5 / the Rolling Stones (No. 2)

    12x5 and Rolling Stones No. 2 ALO Andrew Loog Oldham probably does not get the credit he deserves for forming the early and lasting image of the Stones as the bad boys of rock and roll. One of his primary vehicles for doing this was through the early album art produced for Rolling Stones albums. He invited controversy with his liner notes and he legitimized the Stones role in the Swinging London scene by having a well-established artist like David Bailey photograph the Stones for the second US and second UK releases. Oldham’s album covers set the Stones on the course of courting controversy over the years. In the early days it was his intentional design. It began with the record company and Oldham’s controversial insistence on leaving their first album nameless. It continued on their second UK release with Oldham’s screed on the back of the album. Every record tells a story and the album cover is an integral part of that story. That started in earnest with Rolling Stones No. 2. Putting a Stones album out was already complicated. And It Was About To Get More Complicated Things were getting complicated with Rolling Stones album releases on opposite sides of the Atlantic. In the UK the Stones first album was followed by the extended play (EP) 5X5, released August 14, 1964. The title was an obvious and unimaginative play on words, five tracks played by five band members. Notice no title or band name on the front of the cover. Oldham said, “5x5 was culled from the London, the US branch of Decca said EPs were not Chess sessions.
  • OZ 46 Richard Neville Editor

    OZ 46 Richard Neville Editor

    University of Wollongong Research Online OZ magazine, London Historical & Cultural Collections 1-1973 OZ 46 Richard Neville Editor Follow this and additional works at: http://ro.uow.edu.au/ozlondon Recommended Citation Neville, Richard, (1973), OZ 46, OZ Publications Ink Limited, London, 52p. http://ro.uow.edu.au/ozlondon/46 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] OZ 46 Description Contents: Cover by Ken Pereiny. ‘All Dressed Up… And Nowhere to Go’ by Richard Neville. ‘The Queen’s Vernacular’ - Gay slang. ‘Paris: Louvre it Or Leave it’. John Hoyland’s ‘The Long March Through the Bingo Halls’. Sexism. ‘The tS ory of Abdul ben Kassem – a drunken tale from the days of the roaring twenties in old Morocco’. 2p Martin Sharp ‘Eternity’ graphic. Centerfold ‘Has Fame Gone to Her Head?’ - Germaine Greer lewd picture puzzle. ‘Homeless – Why Not Squat?’. ‘A Proper Mess – special Oz report on the failure of PROP: the preservation of the Rights of Prisoners’. ‘Jackson 8’ – the plight of teeny boppers. 2p Cole Porter tribute + graphics. Book reviews: Anthony Haden-Guest’s Down the Programmed Rabbit Hole; McCabe and Schonfeld’s Apple to the Core; John Berger’s Ways of Seeing; Michelene Wandor’s collection The Body Politic: Women’s Liberation in Britain 1969-72. ‘One Man’s Fantasy’ cartoon by Trina. ‘Letter From an Ever-Open Pussy’. ‘Nothing But the Best (Rod&Van&Mike&Alice)’ – Myles Palmer chooses ten records of 1972. Jay Kinney graphic. Full page ad for Kubrick’s Clockwork Orange.
  • Cinemas SOHO MUSEUM of SOHO Films, Accompanied by an Electric Piano

    Cinemas SOHO MUSEUM of SOHO Films, Accompanied by an Electric Piano

    SPRING ‘16 NO. 164 THE CLARION CALL OF THE SOHO SOCIETY SOHO clarion • Zest Pharmacy • Stan Evans R.I.P. • Soho’s Film History • Soho Society AGM • We’re watching • BEST AGENT IN LONDON W1 Awarded to: GREATER LONDON PROPERTIES For Customer Experience 2 Coffee Bar • Wine Bar Monday to Satuturday 8am - 11.30pm Sunday 10am - 10pm 21 Berwick Street Soho W1F 0PZ Tel: 020 3417 2829 www.myplacesoho.com 3 From St Anne’s Tower plethora of production, stone’s throw. Still a huge Soho undoubtedly still has post-production and VFX asset and incredibly time great advantages. But we film companies that make efficient. It has some of all know how quickly these up such an important part of the best hospitality and things can change. So it is the square mile’s creativity entertainment venues in a message to Westminster and character and economic the world. So business can and to developers and success. be interwoven with good to Crossrail to safeguard food at famously established the very businesses that In this issue we celebrate or new, cutting edge create Soho’s economic this sector with its endless restaurants. And at the end success; that provide direct range of special skills that of the day, great live music, employment and sustain makes Soho such a valuable a top show, or an evening in so many downstream resource for the film maker. Soho’s bars or clubs. enterprises. With so many of these specialties now being digital These synergies are very real. What do you think? It’s a new year since our of course, moving away from But the threats are very real Keeping the specialness of last issue, and 2016 is upon Soho is a real option.