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‘11th & B’: Film footage of the Lower East Side in the early 1980s
10.19.2011
03:56 pm
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Photo credit: 1980 © Brian Rose/Ed Fausty
 
French film maker Marie Martine directed this short documentary that captures the spirit and flavor of New York’s Lower East Side before the yuppie invasion. Made in 1983, the film features music by Alan Vega, Martin Rev, The False Prophets and scenes of artist Scott Borofsky creating street art.

In the seventies hundreds of buildings were abandoned, buildings with no heat, no hot water, no locks. The landlords had wrung all the money they could get out of them….Today [1984] whole blocks between Avenues A and D are lined with the carcasses of buildings. Vast stretches of land are covered with crumbled bricks and cement. Until recently, lines of drug buyers snaked around the blocks….When Father Moloney found a dead body near the Christadora Building last year, the police acted almost unconcerned. ‘We are in a no man’s land,’ he was told. ‘They can dump anything they want here.” New York magazine - May 28, 1984.

I love the fleeting glimpses of downtown faces.
 

Posted by Marc Campbell
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10.19.2011
03:56 pm
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Lemony Snicket’s 13 observations about Occupy Wall Street
10.18.2011
11:27 am
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Lemony Snicket is the author of A Series of Unfortunate Events. This was posted at Occupy Writers, but that website is currently down.

“Thirteen Observations made by Lemony Snicket while watching Occupy Wall Street from a Discreet Distance.”

1. If you work hard, and become successful, it does not necessarily mean you are successful because you worked hard, just as if you are tall with long hair it doesn’t mean you would be a midget if you were bald.

2. “Fortune” is a word for having a lot of money and for having a lot of luck, but that does not mean the word has two definitions.

3. Money is like a child—rarely unaccompanied. When it disappears, look to those who were supposed to be keeping an eye on it while you were at the grocery store. You might also look for someone who has a lot of extra children sitting around, with long, suspicious explanations for how they got there.

4. People who say money doesn’t matter are like people who say cake doesn’t matter—it’s probably because they’ve already had a few slices.

5. There may not be a reason to share your cake. It is, after all, yours. You probably baked it yourself, in an oven of your own construction with ingredients you harvested yourself. It may be possible to keep your entire cake while explaining to any nearby hungry people just how reasonable you are.

6. Nobody wants to fall into a safety net, because it means the structure in which they’ve been living is in a state of collapse and they have no choice but to tumble downwards. However, it beats the alternative.

7. Someone feeling wronged is like someone feeling thirsty. Don’t tell them they aren’t. Sit with them and have a drink.

8. Don’t ask yourself if something is fair. Ask someone else—a stranger in the street, for example.

9. People gathering in the streets feeling wronged tend to be loud, as it is difficult to make oneself heard on the other side of an impressive edifice.

10. It is not always the job of people shouting outside impressive buildings to solve problems. It is often the job of the people inside, who have paper, pens, desks, and an impressive view.

11. Historically, a story about people inside impressive buildings ignoring or even taunting people standing outside shouting at them turns out to be a story with an unhappy ending.

12. If you have a large crowd shouting outside your building, there might not be room for a safety net if you’re the one tumbling down when it collapses.

13. 99 percent is a very large percentage. For instance, easily 99 percent of people want a roof over their heads, food on their tables, and the occasional slice of cake for dessert. Surely an arrangement can be made with that niggling 1 percent who disagree.


Those last three are particularly good aren’t they?

Posted by Richard Metzger
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10.18.2011
11:27 am
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‘Blueprint’: the best of the pioneering 808 State
10.18.2011
06:42 am
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“Pacific State” by Dawn Gardner
 
From the beginning “rave” was supposed to be a faceless musical form rebelling against the cock-and-coke excesses of 80s hair metal, and the drab “woe is me” insularity of indie rock. The emphasis was to be taken off the performer, and turned back onto the all-important audience who, in this new era of dancing and drug taking, were the true stars. For the most part this anonymity was the norm, to the point where acts became almost interchangeable, and the distinct whiff of novelty began to creep in. The name of the act with the rave version of “Hong Kong Phooey” may be lost to history now, but that is not necessarily a bad thing.

Despite face masks and aversion to Smash Hits interviews, there were a few acts of the rave era who managed to become recognisable brands in their own right. 808 State were arguably the first and definitely one of the best, building up a devoted fan base through relentless touring and a series of great albums and singles released at the tail end of the 80s and throughout the Nineties. You might not recognise any of these guys if they passed you in the street, but their music has become iconic in its own right.

The band formed in mid-80s Manchester around a nucleus of Factory stalwart Graham Massey, Eastern Bloc-owner Martin Price and Gerald Simpson, who would later leave to peruse his own successful career under the name A Guy Called Gerald. 808 State were one of the first acts to take rave out of the clubs and fields and into the British charts, and by extension the nation’s living rooms, with influential hits like “Pacific State” (a chill out classic and the birth of ambient house) and “Cubik” (whose riff is to dance music what “Louie Louie” is to rock’n'roll). Back in school in the early Nineties, a few of us would pass round a cassette of the 808 State album ex:el, its rock hard beats and swooshing synths fuelling our imaginations to what raving might actually be like, long before we ever could. Twenty years later and I know that we weren’t the only kids listening.

Now the Manchester pioneers have released a sort of-best of compilation that pulls together some of their career’s highlights alongside a bunch of unreleased bit-and-pieces, remixes and previously unreleased out-takes. 808 State were a huge influence on the second wave of UK dance pioneers from the mid-Nineties, like Autechre, Orbital, Future Sound Of London and Aphex Twin and even a quick scan through their list of non-dance collaborators proves the kind of respect the band command. Blueprint kicks off with a remix of 1988 “Flow Coma” by Aphex Twin, it features liner notes by Orbital’s Phil Hartnoll and elsewhere on the album you’ll find spots from Brain Eno, Bjork, Trevor Horn, Ian McCulloch, Elbow’s Guy Garvey and Manic Street Preacher’s James Dean Bradfield.

Blueprint is a good album, and one recommended for long term fans and newcomers alike, though I’m still waiting for a straight-up greatest hits comp with the original extended 12” mixes of these classic tracks. Alternatively, I might just go and pick up the remastered, double CD packages of four of their original albums (90, ex:el, Gorgeous and Don Solaris), which have all been re-issued with bonus material and are available from the official 808 State website. The band are also currently giving away a free “21st Anniversary” remix of “Cubik”, which you can get right here:

 

 
808 State’s music still sounds great after all these years, whether you simply want to travel back to a different, more innocent, era or even if you want pumping-up, ready for action in the right now. The intro to “In Yer Face” (an all-time, hands down dance classic) is still chillingly prescient to this very day, a reminder that maybe the past wasn’t so innocent after all, that we’re still facing some of the very same problems today:

There are new forces in the world
A conflict between the generations
A powerful feeling that the American system
is failing to deal with the real threats to life…

808 State “In Yer Face”
 

 
808 State Blueprint is available here. The remastered 808 State albums are available from the band’s website, click the album titles above for direct links.

After the jump, some more 808 State classics, including “Pacific State”, “Cubik”, “Olympic”, “Flow Coma” remixed by Aphex Twin and more…

READ ON
Posted by Niall O'Conghaile
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10.18.2011
06:42 am
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Joseph Beuys Sings
10.16.2011
07:50 pm
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The German artist Joseph Beuys always seemed to be in Edinburgh, when I was young. Exhibiting at the Richard Demarco Gallery, or discussing art, democracy and socialism with whoever was around.

Born in Germany in 1921, his influence as an artist and an activist during his 64-years of life was so effective that we are, in many respects, all Beuys’s children. Take this as his defintion:

‘...one of the most influential and extraordinary artists of the twentieth century.

Artist, educator, political and social activist, Beuys’s philosophy proposed the healing power and social function of art, in which everyone can participate and benefit…’

Beuys’s best known works are the performance pieces How to Explain Pictures to a Dead Hare (1965), Filz TV (1970) in which Beuys responds to a TV covered with felt, I Like America and America Likes Me (1974), where he shared a room with a coyote for 3 days, and the social sculpture 7,000 Oaks, which he explained to Demarco in 1982 as:

“I think the tree is an element of regeneration which in itself is a concept of time. The oak is especially so because it is a slowly growing tree with a kind of really solid heart wood. It has always been a form of sculpture, a symbol for this planet ever since the Druids, who are called after the oak. Druid means oak. They used their oaks to define their holy places. I can see such a use for the future…. The tree planting enterprise provides a very simple but radical possibility for this when we start with the seven thousand oaks.”

Beuys always dressed the same in his artist’s uniform of Trilby hat and multi-pocketed fishing vest, to keep the focus on his art, as he believed art must work towards a better social order:

Only art is capable of dismantling the repressive effects of a senile social system that continues to totter along the deathline: to dismantle in order to build ‘A SOCIAL ORGANISM AS A WORK OF ART’… EVERY HUMAN BEING IS AN ARTIST who – from his state of freedom – the position of freedom that he experiences at first-hand – learns to determine the other positions of the TOTAL ART WORK OF THE FUTURE SOCIAL ORDER. work included.

Political activism was important to Beuys. I recall in 1980, when he presented Jimmy Boyle Days, where he went on hunger strike in protest over convicted killer Jimmy Boyle’s move from Barlinnie’s Special Unit, where Boyle had rehabilitated himself as an artist and sculptor, to Saughton Prison, where he was no longer able to practice his art. Beuys saw little difference between art and activism, and his support for Boyle led to a huge outcry over the place of art in society, that led to the Scottish Arts Council removing its key financial support form the Demarco Gallery.

In 1982, he surprised critics and fans alike with his one and only single, “Sonne statt Reagan”, a disco attack against President Reagan’s stance on nuclear arms. The song’s title, “Sun Not Rain/Reagan”, was a pun on the German word “regen” for rain and Reagan. Some critics thought Beuys had sold out, but they failed to see his humor, and the serious intention behind the disc. Beuys may have been unpredictable, but his work is always life-affirming.
 

 
Joseph Beuys’ ground-breaking Filz TV, after the jump…
 

READ ON
Posted by Paul Gallagher
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10.16.2011
07:50 pm
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The original Occupy Wall Street: Stop the City, 1984
10.16.2011
01:06 pm
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The other day, whilst looking for something else in the garage, I happened across some old photographs taken by me in 1984 during a major demonstration that I participated in, in London, called “Stop The City.” The idea, for what was described as a “Carnival Against War, Oppression and Destruction,” was to put enough bodies in the way to effectively cut off the routes whereby the bankers and stock brokers would get to work, block the entrances to the office buildings themselves and stop business activity in “The City” (as London’s financial district is known) for a day.

The 1984 demo that I was at was the second such “Stop the City” event. The first had taken place six months before, but the second demonstration was a lot bigger. I don’t know exactly who was behind it, or organized it, but certainly the vast majority of the young people taking part could have been described as “Crass punks” or anarchists. I heard of it via my friend Ron, who was at one point in a punk band either called “The Living Legends” or “The Apostles” with Ian Bone of Class War infamy. Class War, as well as London Greenpeace, were certainly involved in getting out the troops. There were many anti-nuclear protesters and an anti-vivisection contingent which formed a significant subset of the demo. An item on the excellent Kill Your Pet Puppy blog posted by editor Al Puppy reads:

What I can add is that the idea for Stop the City came from Dave Morris – of McLibel trial fame, longest trial in English legal history – and London Greenpeace. It was organised from a house on Ickburgh Road, Upper Clapton, Hackney. Dave and others (including my future wife Pinki) had been given the house by the GLC so they could organise an anti-nuclear march from Faslane in Scotland to Greenham in Wiltshire.

The tactic to “occupy” London’s financial district was inspired by the heroic anti-nuclear weapons blockade of the RAF Greenham Common by the Greenham Common Women’s Peace Camp.
 

 
Protesters met at 6am outside one of the underground stations. I got there five minutes early (I am nothing, if not punctual, even for a riot). At first it looked like nobody was going to show up. Then it went from almost no one there, to hundreds and hundreds of people streaming into the area within a matter of just minutes. In France they call uprisings of this nature “manifestations” and that’s what it felt like was happening that morning as the numbers of spiky-haired anarcho-punks and squatter-types arriving in the area grew very, very suddenly. It was an absolutely magical moment to partake in as people seemed to “materialize” in the light London rain that morning. It’s worth pointing out to the (ahem) younger generation that this was long before cell phones, Facebook and Twitter. Most of the people at this demo, I’d wager, didn’t even have land-line telephones because they lived in squats (as I did then). This was basically a word of mouth thing.

For a long time it was just a bunch of young punks milling about, trying to be threatening to stock brokers and bankers and yelling stuff at them. The cops had already partially prepared the area and there were crowd control fences everywhere, but they’d underestimated the size of the crowd. The metropolitan police were badly out-numbered for the first few hours of the protest as the lobbies of several office buildings were occupied and a general “mild” ruckus was caused.
 

 
It got pretty nuts pretty fast when a hot-headed stockbroker-type actually decided to try to run some of the protesters over with his car, which was then upended by furious onlookers. That’s what ignited the next phase of what happened when a small faction started tossing smoke bombs and balloons filled with paint. A friend of mine chucked a trash can through a bank window. I spray-painted “Smash Capitalism” on the side of a building. Good times!

At a certain point, hundreds of police reinforcements, including some on horseback, arrived and surrounded the epicenter of the activity and started squeezing about 3000 of us into a pedestrian area near the Stock Exchange. Several military trucks blocked the streets completely. I got stuck in that maneuver and had to stay there for several hours. The tactic the cops used to neutralize and disperse the rioters was pretty clever, or at least it worked: The street grid made it easy for them to herd perhaps as many as 25% of the protesters into this cordoned-off area which they surrounded with metal fences and a line of Old Bill standing shoulder to shoulder staring defiantly into the protester’s eyes as they moved them tighter and tighter together. Several people on my side of the barricades covered the police officers and their horses with “Silly String.” (There was a LOT of “Silly String” around that day). After five or six hours, everyone who had been squeezed into that spot really had to pee.
 

 
After they were able to disperse much of the crowd outside of this area, they started to let people out a few at a time. A long line of London bobbies brandishing truncheons made sure everyone kept moving along a narrow path cut via the crowd control barricades. Gagging for a piss, I, like my wilted anarchist comrades, was only too happy to wuss out without much of a fight to seek out the nearest pub for a slash.

Revolutionary fervor has its limits when nature has been calling for hours on end and keeps getting a busy signal…

Stop the City was one of those mythical events that if you weren’t there it’s almost as if it never happened. I saw little major coverage in the London newspapers the next day. Only The Evening Standard, The Times and Sounds really covered it, if memory serves and it simply disappeared into the mists of history. There’s hardly anything on the Internet about it, but when you do see it referred to—and I stress that this is rare—it’s usually in the context of how the “Stop The City” demos were, historically speaking, the very first major anti-globalism/anti-capitalism demonstrations, and the precursor to the Poll Tax Riots of 1990, the Battle in Seattle demonstrations of 1999 and the London Carnival Against Capitalism that same year. As those events, in turn, are referred to as being the precursors to Occupy Wall Street, then Stop The City would be the granddaddy of them all. Still, it doesn’t even have a proper Wikipedia entry, just a couple of Flickr slide shows.

I can’t recall how many people were there over twenty-five years-ago, but I do recall that a pregnant friend of mine who did not attend STC told me that BBC radio reported all day long that there were approximately 12,000 demonstrators in the City, but then late in the afternoon they changed their tune and said there were but 3000 protesters. I think it was certainly closer to the original, higher number as there were close to 3000 of us trapped like sardines in the cordoned-off area alone.

Here’s one of the fullest accounts I was able to find of Stop the City, on the LibCom website:

The idea of the “Stop The City” (STC) demonstrations was hatched by three London anarchists at a party in the early eighties. At around the same time people in Australia and America had had the same brainwave. The plan was to bring together the radical end of the peace - ecology - “third world” - and anarchist movements to attack the root cause of all their problems - Capital - by attacking the heart of finance. It took a lot of work to promote the idea of STC and then hold together an uneasy alliance of radical liberals and anarchists. The main problem was the issue of “violence” - many pacifists were worried that people might defend themselves against police attacks/arrests and buildings could be damaged by “violence (sic) against property”. Pat Arrowsmith, veteran CND (Campaign for Nuclear Disarmament) labourite did her best to successfully sabotage CND involvement.

Police freaked
The police were freaked out by the idea of an organised demo which wouldn’t consult/inform them - very rare in modern Britain. They repeatedly tried to contact the organisers and on one occasion two plain clothed senior cops turned up to a London anarchist meeting pleading to meet with people only to be met by an angry silence and sent away.

On the day of the first STC the phone of one of the main organisers was ‘mysteriously‘ cut off, and on the night before a large number of riot cops stormed the ‘peace centre’ near the Angel in Islington (a large anarcho-pacifist squat where many of the demonstrators were crashing, searching for weapons - none were found).

Several Stop The Cities were held in London and caused a lot of disruption in the square mile - the first caused and estimated £100 million losses. A number of ‘Stop Business as usual’ demos also occurred Numbers involved ranged from 3,000 in the first STC, dwindling to 500 odd at the last one as energy and enthusiasm were sapped by arrests, greater police sus, etc.

Repression
A repressive Public Order Act was passed in response to STC and the activities of hunt saboteurs, etc. Close to 1,000 arrests were also made over an 18 month period.

 

 
Comedian David Baddiel was apparently in the same penned-off pedestrian area with me. He told The Mirror on April 9th, 1997:

“I used to joke: ‘At least when you’re being beaten up by skinheads, you can pray that the police turn up. But when you’re being beaten up by police, there’s no point thinking some skinheads will save you’.””

David, then a 19-year-old student with a radically big haircut, had travelled to the City of London to join a Stop The City demonstration run by a fringe anarchist group called Class War.

What followed was an eight-hour encounter with the strong-arm of the law that saw him hurled around a police van and thrown into a crowded cell.

“There were quite a few of those demonstrations in the Eighties,” says David, 32, who was studying English Literature at Kings College, Cambridge.

“There were no proper political motives. The intention was just to cause a disruption. I went along only because I thought it would be a laugh.

“At the time, I had really big hair and everyone else did so I fitted in and looked the part. Basically, the demo was people walking up and down shouting slogans. ”

“But the police tried to get us all into a small pedestrian area off Threadneedle Street where we were bounded in by railings.

“I was up against the railings and thought I was going to get crushed. So I climbed over and tried to get through the police cordon.

“The police wanted to throw me back into the crowd but I said: ‘No, I’m not moving.’ When I said I was going to be crushed they ran me off into their van.

“Inside the van about five of them started throwing me around. I didn’t suffer any serious injury but basically they were beating me up. “One of the policemen put his fist in my face and told me if I caused any more trouble, it would be going through my head. They filled the van with some other people then took us off to the police station.

“We were put in a cell with about 25 other blokes and one toilet in the middle of the floor.

“We were there for hours and I was bursting but I couldn’t face having a pee in front of all these other men just in the middle of the floor.

“Right at the end, after hours in there, the police gave us one polystyrene cup of water to drink - between all of us. By the time it got to me, it was just spittle.””

David was accused of trying to lead an aggressive charge and charged with obstructing the police and the highway. But when his case came before a magistrate, he was cleared.

“A young junior barrister took on my case for free. He pointed out that the police evidence contradicted itself and the case was dismissed.

 

 
And finally, here’s the description from Punk Torrents of a long out of print documentary film, Stop the City: 1984 made by Mick Duffield and members of Crass that came out in the mid-90s. I had no idea this even existed:

The Stop the City demonstrations of 1983 and 1984 were described as a ‘Carnival Against War, Oppression and Destruction’, in other words protests against the military-financial complex.

Activities that formed part of these events were separate day-long street blockades of the financial district (‘The City’) of London — which supporters of the protest argued are a major centre for profiteering and consequently a root cause of many of the world’s worst problems.

One blockade involved 3,000 people, which succeeded in causing a $100m shortfall on the day according to The Times. Around 1,000 arrests were subsequently made by the police over 18 months.The first demo took place on the 29 September 1983 and involved hundreds of protestors, but six months later on 29 June 1984, thousands brought the City to a standstill. This rare documentary by Mick Duffield and Andy Palmer of Crass offers unique footage of the day’s events. Stop the City is widely regarded as being the precursor of modern protest such as the J18 Carnival Against Capitalism in 1999 and the birth of the Anti-Globalisation movement in the 21st century.

Stop The City in its entirety:
 

 
UPDATE: More on Stop the City from History is Made at Night

Posted by Richard Metzger
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10.16.2011
01:06 pm
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Writers’ Bloc: Places where writers and artists have lived together
10.14.2011
07:41 pm
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Home is where the art is for four different groups of writers, who lived and worked together under one roof, experiencing a cultural time-share that produced diverse and original works of literature, art, and popular entertainment.
 
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The February House

Between 1940 and 1942, “an entire generation of Western culture” lived at 7 Middagh Street, Brooklyn. The poet W. H. Auden was house mother, who collected rents and doled out toilet paper, at 2 sheets for each of his fellow tenants, advising them to use “both sides”. These tenants included legendary stripper, Gypsy Rose Lee, novelist Carson McCullers and a host of other irregular visitors - composer Benjamin Britten, singer Peter Pears, writers Jane and Paul Bowles and Erika and Klaus Mann, Salvador Dali, a selection of stevedores, sailors, circus acts and a chimpanzee.

Auden wrote his brilliant poem New Year Letter here and fell obsessively in love with Chester Kallman, and attempted to strangle him one hot, summer night - an event that taught Auden the universal potential for evil. On the top floor, Carson McCullers escaped from her psychotic husband, and wrote Reflections in a Golden Eye, The Member of the Wedding, while slowly drinking herself to an early death.

On the first floor, Gypsy Rose Lee created her legend as the world’s most famous stripper, wrote her thriller The G-String Murders, offered a shoulder to cry on, and told outrageous tales of her burlesque life.

Known as the “February House”, because of the number of birthdays shared during that month, 7 Middagh St. was a place of comfort and hope in the desperate months at the start of the Second World War.
 
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The Fun Factory

The scripts that came out of 9 Orme Court in London, changed world comedy. And if Spike Milligan hadn’t gone mad and attempted to murder Peter Sellers with a potato peeler, it may never have all happened.

Milligan was the comic genius behind The Goons, and the stress of writing a new script every week, led to his breakdown. The need for a place to work, away from the demands of family, home and fame, brought Milligan to share an office with highly successful radio scriptwriter, Eric Sykes. 

The first Fun Factory was above a greengrocer on the Uxbridge Road. Here Sykes, Milligan, comedian Frankie Howerd and agent Scruffy Dale, formed the Writers’ Bloc Associated London Scripts. The idea was to bring together the best and newest comedy writers under one umbrella. Milligan saw ALS as an artists’ commune that would lead to political and cultural change. Sykes saw ALS as a business opportunity to produce great comedy. Frankie Howerd saw it as a source of finding new material.

When Milligan asked two young writers, Ray Galton and Alan Simpson to come on board, the central core of ALS was formed.

This merry band of writers expanded in the coming years to include: Johnny Speight (Till Death Us Do Part); Barry Took and Marty Feldman (The Army Game and Round the Horne); Terry Nation (Dr Who and the Daleks); John Antrobus (The Bed-Sitting Room); and with a move to the more suitable offices of 9 Orme Court, ALS was established as the home of legendary British comedy.

Milligan continued successfully with The Goons, before devising the groundbreaking Q series for television. Sykes began his long and successful career with his own TV show. While Galton and Simpson created the first British TV sitcom, Hancock’s Half-Hour, and then the massively influential Steptoe and Son.

9 Orme Court was once described, as though Plato, Aristotle, Galileo and Leonardo Da Vinci were all living in the same artist’s garret.
 
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The Beat Hotel

A run-down hotel in the back streets of Paris was unlikely setting for a Cultural Revolution, but the Sixties were seeded when poet, Allen Ginsberg William Burroughs, Gregory Corso, and Bryon Gysin moved into the Beat Hotel, at 9 Git le Coeur, in the late 1950s.

The literary revolution that started with Ginsberg’s Howl in America was formalised and expanded in the cramped, leaky, piss-smelling hotel rooms at 9 Git le Couer.

Ginsberg wrote part of Kaddish here, as he came to terms with the madness and death of his Mother. First to arrive, Ginsberg was also be first to check out, travelling in search of enlightenment to India. 

The wild and romantic Corso produced his best books of poems “Gasoline” and “Bomb”, whilst living the life of an American abroad.

But it was Burroughs who gained most from his four-year on-and-off stay in Git le Coeur.  Here he completed Naked Lunch, and wrote the novels The Soft Machine, The Nova Express, The Ticket that Exploded, and together with Bryon Gysin devised the cut-up form of writing, indulged in seances, Black Magic and tried out Scientology.

Like Middagh Street, the Beat Hotel was a cultural and social experiment that sought to inspire art through shared experiences. 
 
Passport from Pimlico

It started with a bet. Three young writers sitting watching Mick Jagger on Top of the Pops, in a flat in Pimlico during the 1960s. The bet was simple, which of the 3 would make the big time first?

It was the kind of idle chat once made soon forgotten, but not for these 3 young talents, Tom Stoppard, Derek Marlowe and Piers Paul Read.

Read and Marlowe believed Stoppard would hit the big time first, but they were wrong, it was Marlowe in 1966 with his cool and brilliant spy thriller A Dandy in Aspic, made into a film with Laurence Harvey, Mia Farrow, Tom Courtney and Peter Cook.

Stoppard was next in 1967, with his play Rosencrantz and Guildenstern Are Dead. Then Read with Alive the story of Andes plane crash in 1974.

All 3 were outsiders, set apart from their contemporaries by their romanticized sense of Englishness, which came from their backgrounds. Read was a brilliant Catholic author, favorably compared to Graham Greene; Stoppard, a Czech-émigré, and Marlowe, a second generation Greek, who was for “heroes, though if not Lancelot or Tristan, heroes” who appeared “out of the mould of the time.” All three writers were to become the biggest British talents of the 1970s and 1980s.
 
Previously on Dangerous Minds

A Dandy in Aspic: A letter from Derek Marlowe


 

 

Posted by Paul Gallagher
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10.14.2011
07:41 pm
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Bloomberg blinks: Establishment treads carefully on Occupy Wall Street


 
As we all know by now, Mayor Bloomberg blinked and the “cleaning” of Zuccotti Park was postponed. Allison Kilkenny writes at The Nation blog:

Brookfield Properties, the owner of Liberty Park, which had planned to schedule a cleaning of the property where protesters have been camped out these past weeks, cancelled its maintenance plans suddenly last night to the surprise of many.

Reportedly, Brookfield handed down the decision to the city late Thursday, though the announcement didn’t reach Liberty until Friday morning when two thousand activists erupted in cheers as they huddled at the center of the camp. I’m sure Brookfield and the Mayor will stick with the story that this decision was made late last night, but the presence of thousands of determined occupiers probably sealed the deal if there was any indecision left in the board room.

Confused murmurs served as a prelude to celebrations – a haze of disbelief best articulated by a fellow reporter, who stumbled from the surging crowd to exclaim, “We don’t WIN! We’re the ones who get the shit kicked out of us!”

This was the first protest I’ve ever covered where the activists won – if only a battle, and not the war, and if only temporarily. And the victory is definitely temporary. Major problems have not been resolved and large questions remain: Will the protesters be able to bring their sleeping bags back into Liberty Park? Will they be able to sleep on the ground? Fourteen hours ago, Mayor Bloomberg declared protesters wouldn’t be able to return their gear to the park, and now the decree came down to postpone the cleaning entirely. Why the change of tune?

Considering the sorts of electronic images that would have been instantly transmitted to the rest of the world had a bunch of NYPD riot cops tried to evict 5000 committed citizens from Zuccotti Park this morning, Mayor Bloomberg dodged a seriously stupid bullet that he was threatening to shoot into his own foot.

This is an important victory. It shows you that they’re afraid and it also shows you the limits of what they think they can get away with.

You can see the jubilant moment when the news was announced early this morning, in the video below.
 

Posted by Richard Metzger
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10.14.2011
12:44 pm
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I AM NOT MOVING: #OccupyWallStreet video that will make Glenn Beck shit himself


 
There have been a number of great short films and moving moments of video vérité being created by supporters of Occupy Wall Street and uploaded to YouTube, but this might be the best one so far.

It’s a very eloquent warning to the powers that be to get on the correct side of history.

This needs to be spread far and wide. I think it probably will be! Put together by Corey Ogilvie.
 

 
Thank you, Glen E. Friedman!

Posted by Richard Metzger
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10.14.2011
11:19 am
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Russell Simmons offers to pay for Occupy Wall Street cleanup!


 
Well-played, sir!

STANDING FUCKING OVATION!!!!

Follow @UncleRUSH on Twitter.

Via Glen E. Friedman

Posted by Richard Metzger
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10.13.2011
11:11 pm
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Watch Occupy Wall Street live
10.13.2011
09:52 pm
Topics:
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The eyes of the the entire world are on Zuccotti Park right now. Watch the action live at Occupy Wall Street as activists from all walks of life come together in lower Manhattan to protest the mess that the elites have made of America. Livestream feed via the Global Revolution network (Note that every once in a while it streams something else, but it’s usually coming live from Manhattan).
 

READ ON
Posted by Richard Metzger
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10.13.2011
09:52 pm
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