Michael Tippett as book reviewer

Among the large archive of newspaper clippings from the 1950s collected by the late Patrick O’Donoghue , a former lecturer in English at the University of Manitoba, who ended up teaching in his adopted county of Norfolk, is a review of Richard Ellman’s The Identity of Yeats Tippett 1950s(1954) by the greatest British composer of the twentieth century, Sir Michael Tippett.

 

For a British composer to review a book about a poet is unusual to say the least. It is hard to imagine Edward Elgar reviewing a book about, say Tennyson, or Benjamin Britten, despite his association with George Crabbe, finding time in his busy schedule to seriously review a critical work on the Suffolk poet. But Tippett was no ordinary composer. According to his biographer  Ian Kemp, Tippett developed a number of non-musical  interests from an early age, from poetry and philosophy, spiritual development, and left wing politics. He published two books that had little to do with music. At one point in his life he became very interested in antique furniture and in 1951 moved to Tidebrook Manor, a crumbling mansion in Sussex. While teaching at a private school in Limpsfield, Surrey he bought some land and built a bungalow for himself on it. It was tiny (your Jotter has visited it) and badly designed, so perhaps architecture wasn’t his forte, but one can’t imagine Britten building a bungalow. It could be argued that all these non-musical activities may have distracted Tippett from wholeheartedly pursuing a career as a composer, for unlike the prodigy Britten, he was a notoriously late starter and destroyed all his early work. But there is something rather appealing in a composer interesting himself in a variety of disparate fields besides music, discovering at last what he was placed on this earth to do, while still retaining an interest in some of his earlier passions. In the case of Tippett, all these non-musical activities seemed to have informed his music.

 

We don’t exactly know how deeply Tippett was influenced by Yeats, but it is obvious in his review of Ellman’s book that he saw a correlation between Yeats’s views on symbolism in poetry and their application in music. Ellman contends that in his youth Yeats was affected

 

‘ by the practice of his contemporaries , among whom the rose then had the currency which the bone attained in English poetic symbolism during the 1920s ‘

 

‘ I am sure’, Tippett contends, that ‘ this could be paralleled in music, where certain chords and certain intervals dominate whole periods. Or ideas behind the images can span centuries.’ Continue reading →

‘At Homes’, tea parties, and tea dances: social etiquette in 1939

ADN-Zentralbild/ Archiv Berlin 1926 Im Garten des Berliner Hotels "Esplanada" spielt zum 5 Uhr-Tee eine Jazzband. 17187-26

The always informative and entertaining Everybody’s Best Friend (n.d. but c 1939) devotes many pages to modern etiquette, some of which reminds us today of how much has changed over the intervening years.

Take, for instance, the etiquette of social occasions. ‘ At Homes ‘ were once common. Here is some advice.

I am attending a formal “At Home “ shortly. As this will be my first experience of this event, what may I expect the procedure to be?

Unless you receive a card stating a particular hour, do not arrive at the house earlier than 3.30 p.m., nor later that 5.30.A heavy coat or a rain-coat should be left in the hall, but the hat is not removed. You will be greeted by your hostess and introduced to other guests.

Usually the hostess will offer a cup of tea and a morsel of bread and butter or cake.

A visit on an “ At Home “ day normally lasts for twenty minutes to half an hour. You should not stay longer unless especially asked to do so by your hostess. Take your leave quietly. Friends who arrive later will not be leaving at the same time, so you do not want to interrupt the proceedings by your departure. Shake hands with your hostess and just smile and bow to the others.

There were specific rules for tea parties too.

I am thinking of asking to a little tea party some of the girls in the office where I worked before marriage. What sort of invitations should be issued and what should I put on the table?

Invitations to a tea-party take the form of little notes something like this:-

“ Dear _____,

“ I am having a few friends to tea on Saturday next, December18, at 4.30p.m., and should be happy if you would join us.

                                                                                “Yours sincerely,

                                                                                  ______________”

Continue reading →

Anarchy magazine, 1963

 

Anarchist magazine 1963 001We at Jot 101 only have this copy of Anarchy, issue number 27 ( May 1963) as a guide to what this notable magazine was all about. We do know that it was founded by Colin Ward  in 1961 and ran under his editorship until 1970 and that regular contributors included committed anarchists like Nicolas Walter and Harry Baecker. A check list printed on the back of the front cover gives some idea of the political tone of the magazine. Each issue had a theme. The copy we have focuses on ‘Youth ‘, and this seems to have been a prominent talking point in earlier issues, along with calls to oppose capitalism, challenge educational values and generally practise non-violent disobedience and dissent. But Colin Ward was a great advocate for adventure playgrounds, so issue 7 was wholly devoted to this. There were also issues devoted to ‘ Technology, science and anarchism ‘, ‘ De-institutionisation: conflicting strains in anarchism ‘, and ‘ The work of David Wills ‘.

It would be revealing to compare the intellectual level of Anarchy with that of Class War, the agitprop mouthpiece of anarchism in the eighties and onwards run for a time by Ian Bone, who recently became a media bad guy when he cornered the children of Jacob Rees-Mogg and told them that their dad was a ‘horrible’ person.  Both magazines have in common the basic tenets of anarchism—anti-capitalism, dissent, ‘ do-it-yourself ‘, and us-versus them—but the violent undercurrent ( ‘Kill the Rich’) that characterises Class War is notably absent from Anarchy, which specifically rejected violent confrontation in favour of powerful arguments that challenged orthodoxies in society. Some of these in this ‘Youth ‘ issue are certainly worth reading.

One of the most perceptive pieces is ‘ The Young One ‘ by Nicolas Walter, which focuses on Cliff Richard, arguably the most popular male singer of a bunch that included Adam Faith, Marty Wilde and Billy Fury, all three of whom Walter saw as genuine working class rebels. In contrast, Cliff, though also working-class, stands apart from his peers as distinctly conformist:

 

‘ Sometimes he looks like the politician who finds out what most per cent of the voters thinks before he thinks. But he really doesn’t like smoking, drinking, chasing girls and so on. His secret is simple—he has no secret. His personality is simple—he has not personality. He is, as Colin MacInnes once said of Tommy Steele, “ every nice young girl’s boy, every kid’s favourite elder brother, every mother’s cherished adolescent son “ . He is a non-hero of our time, an innocent idol. Continue reading →

Pop trivia

Pop trivia book cover 001

 

The last note of ‘ She’s Leaving Home’ on Sgt Pepper’s Lonely Hearts Club Band album lasts 43 ½ seconds—the final bit being at a high frequency audible to dogs but not to most human beings.

 

Paul McCartney produced the Bonzo Dog Doodah Band’s ‘ I’m the Urban Spaceman’ single under the pseudonym Apollo C.Vermouth.

 

The Beatles’ second film Help was dedicated to Elias Howe, inventor of the sewing machine

 

Names of real bands:

 

Grab, Grab the Haddock

Impaired Penile Throttle Condition

Stitched Back Foot Airman

I Spit on Your Gravy

You’ve Got Foetus On Your Breath

The Savoy Hitler Youth Band

Deep Freeze Mice

 

The longest running group in the world were the New Christy Minstrels, who were originally formed in 1842 as The Christy Minstrels. They disbanded in 1921, but reformed in 1961 as The New Christy Minstrels. Continue reading →

The Clash and Storm Jameson—an enigma

The Clash JamesonThe Clash was formed in 1976. Storm Jameson died ten years later, aged 95. I don’t know what sort of music Ms Jameson liked, but I doubt if she was a great fan of punk rock. But if at 85 she was an enthusiast for this music genre she might have been delighted if Paul Simonon, The Clash’s bassist, had taken the name of their band from her 1922 novel The Clash.

She might have been even more pleased if, when the band members had finished putting together their difficult second album, they named it after another Jameson book, London Calling (1942).

But of course, it’s unlikely that either of these borrowings took place. One could ask Mr Simonon for the truth, but he might not be willing to admit it. After all, it’s not very rock and roll to name your band after a fusty old ‘twenties novel. Joe Strummer (1952 – 2002) is no longer on the planet to spill the beans. Other former members of the band might not be able to recall the stories behind the two names.

There are countless examples of musicians borrowing the names of their bands from books, movies and even newspaper headlines, but for a punk outfit to take the names of both their band and their second album from two books written by the same largely forgotten octogenarian female writer seems beyond belief.

And yet….It has been said that the band Generation X, fronted by Billy Idol ( aka William Broad), took its name from a book published in 1964 by Jane Deverson ( see previous Jot ) that Mr Broad had found in his mother’s home . Was Storm Jameson a favourite author of Simonon’s or of any other member of The Clash ? [RR]

 

Dylan at the Isle of Wight 1969 – a contemporary view

IMG_3514Found – a typed signed letter from Alan Denson*— Irish poet and writer (he wrote a book on the Irish sculptor John Hughes and edited the letters of AE and wrote about ‘Speranza’ -Lady Wilde – Oscar Wilde’s mother.)

The recipient was Beatrice Elvery, Lady Glenavy (1881 – 1970). Irish artist and literary host, friend of Katherine Mansfield and in the circle of Shaw, Lawrence and Yeats. She modelled for Orpen and painted ‘Éire’ (1907) a landmark painting promoting the idea of an independent Irish state. She married Charles Henry Gordon Campbell, 2nd Baron Glenavy (1885–1963) politician and banker in England and Ireland. The letter gives a damning contemporary view of pop music and Dylan from someone who was probably in his early 40s at the time..now his views could be considered blasphemous!

The wonder is I have managed to contain my raging fury at contemporary humbug–which goes far more and more insidiously deep than is generally recognized – and the evil vision what I sarcastically call “pretty values.” A recent example over in the Isle of Wight— the so-called “pop festival.”  What’s it all about? Hedonism: and dishing  out alleged syrup. If I were not writing to a lady I would use another word to express what I think all that syrup really means to the poor silly saps who lap it up. When I think of the neglect of artists who have a vision of the world and by struggle evolve images sequentially to interpret – not merely to record– the phases of living experience,  I’m filled with wonder, and gratitude. But who among them prosper in commercial terms? Vaughan Williams earns  less by the public performance of his symphonies than Mr. Bob Dylan and the pop degenerates get for an hours public sporadic squealing. Of course him and his sort will perish in Limbo whilst  the works of the true artists have, I believe, a concentrated faculty for enduring time without erosion of their invigorating power. Think of Berlioz’s  astoundingly original ’Symphonie Funebre et Triomphale’ where in the last movement by that imaginative in sight which proved his genius original, he suddenly changes key upward: or the fourth, fifth and sixth symphonies of Sibelius. In none of those works I’ve named is there any shade of sentimentality, which is the substance of so called ”pop” and that equally phony “folk art” – I’ll forbear and omit rude language.   [12/9/1969 Alan Denson to Lady Beatrice Glenavy from Kendal, Westmorland]

*Unknown so far to Wikipedia, possible dates 1930-2012, the only substantial info on him is at Amazon in a review of  his poems by an old friend.

The Ragtime Postman

Edwardian postmanFound in a scrapbook of clippings and manuscript material dating from c 1914 – 1930 and entitled ‘Gags ‘ is this written down ditty called ‘Ragtime Postman’. We are informed that the first verse should be sung ‘ by 4 with movement ‘.

Morning, noon & night you’ll always hear

Rat a tat Rat a tat Rat a tat

Then the ragtime Postman will appear

On his back in a sack he’s got letters in a stack

For you and me

And all of us get a move on post man do

Letters with kisses from other fellows’ misses

All of want to see what’s in them

(enter comedy postman & sings chorus) Continue reading →

How to dance the Hokey Cokey

60670Found- some sheet music for the song The Cokey Cokey which later became the song (and dance) the Hokey Cokey. This is what it is all about… There are many theories about its origins – dealt with at Wikipedia and in a Mental Floss piece on its ‘dubious origins.’ Possibly the name came from the magician’s ‘hocus pocus’. This version was written in 1942 by Jimmy Kennedy (1902-1984). Jimmy Kennedy states that his version is based on ‘a traditional action song known long ago in the mining camps and saloons of the Canadian West. The word ‘Cokey’ means a dope fiend but what this has to do with the dance is not at all clear!’ As he says – it then came over in World War 2 with the Canadian troops. He explains on the back of the sheet music exactly how to do the dance:

This is one of the simplest dances ever. You hold your partner in the normal way and while the verse is being played you may fox-trot using any steps you like.   When the chorus starts, that is, on the words, ‘Left arm out’, you put your left arm in line with your shoulder, continuing on the words ‘Left arm in’ by bending the left arm in and touching your shoulder, then ‘Left arm out’ as before.  You hold your partner with the other arm. ‘Shake it all about’ explains itself —you simply shake your hand and arm with a circular motion. On the next line ‘You do the Cokey Cokey and turn around’ the appropriate action is to place the forefinger of the right hand pointing downward on top of your head and do a complete turnaround. ‘That’s what it’s all about’ ends the actions and you take hold of your partner in the normal way. Then the chorus starts over again with the right arm, then left foot and then the right foot etc., It should not be taken to fast..

This dance, since its introduction here by the Canadian forces, has caught on like wildfire and bids fair to out-rival some of the most sensational dance successes of the past.

Note: Alternatively the dance maybe performed by partners facing each other in line as in the Palais Glide and on the words ‘That’s what it’s all about’ both hands are spread out palm upwards. SEE?

The tragic death of a famous Savoyard

Savoyard Luscinia tribute 001Found— an envelope crammed with an intriguing collection of newspaper cuttings and Velox snaps, most dating to 1931. The majority of the cuttings concern the failing health of forty three old Bertha Lewis, the famous ‘Savoyard’, who at the height of her singing career with the D’Oyly Carte Opera, was badly injured when a car driven by fellow singer, Sir Henry Lytton, veered off the road and rolled down an embankment during a violent rainstorm between Huntingdon and Cambridge.

The couple were returning from Manchester, when, according to Lytton, the front wheels of the car skidded on a patch of oil. After somersaulting, the vehicle came to rest the right way up. Lytton sustained injuries to his legs and kidneys, but Lewis was rendered unconscious and had serious spinal injuries. Both were rushed to hospital, but while Lytton was discharged after a few days, and later returned to work, Lewis, according to the bulletins which were issued daily to the newspapers, gradually succumbed to her injuries and died after five days.

Continue reading →

The 25 Favourite Sinatra Songs

Found among Peter Haining’s  papers a typed sheet, possibly from a 1980 newspaper article, listing the results of a poll of Frank Sinatra’s most loved songs. It is possible he was planning a book on Sinatra…

Frank_Sinatra_in_Till_the_Clouds_Roll_ByThe 25 Favourite Sinatra Songs

In 1980, Frank’s public relations firm, Solters and Roskin, conducted a poll to establish the singer’s most popular recordings. A total of 7600 fans from more than 11 counters were polled, and replies came from Britain, Canada, Australia, America, Japan, Brazil, France, Sweden, West Germany, Holland as well as various other place. In all 587 individual Sinatra titles were selected by fans, but the eventual winner proved to be a 25 years old recording, “I’ve Got You Under My Skin” with words and music by Cole Porter, released by Capitol in 1956! (Note; It has been suggested that the number 3 song on the list given as “Chicago” should, in fact, be “My Kind of Town”.)

The list, with dates of recording, is as follows:

1. I’ve Got You Under My Skin (January 26, 1956)

2. The Lady is a Tramp (November 26, 1956)

3. Chicago (August 13, 1957)

Continue reading →

Barry Ono (1876–1941) collector of Penny Dreadfuls

440px-Barry_Ono_Songbook_coverBarry Ono was a British variety theatre performer,music hall singer and collector of Penny Dreadfuls. Part of his is collection was bequeathed to the British Library in 1941. It is still there and available for research. This obituary was found in Collectors Miscellany (Fourth Series Issue 3 – February, 1942). It was an ephemeral “paper for anyone interested in old boys’ books, type specimens etc.,” and was founded in 1917 by Joseph Parks.

Barry Ono

An appreciation by his friend, John Medcraft.

The recent sad death of Frederick Valentine Harrison, better known as Barry Ono, at the comparatively early age of 68, came as a shock to his many friends. Although apparently in good health at the time, he had a severe heart attack at 11pm on Wednesday, February 5, 1941, and died from angina pectoris four hours later. An able and talented man, Barry Ono had the ability to shine in more than one profession, nut his activities and interest were many, and his life too full of permit just that little extra effort necessary to reach the top. An ex-councillor of Camberwell, he was also an active member of the Water Rats, the well-known music hall charitable organisation. Music hall audiences will remember his dual act with Maud Walsh, billed as Barry and Walsh, and afterwards as a solo turn in ‘An Old-Time Music Hall in 12 Minutes,’ which heralded a boom in the old songs about ten years ago. Latterly, he had retired from the Halls and devoted more of his time to the old Bloods and Dreadfuls he loved and with which his name will ever be associated. Known to the book trade as the ‘Penny Dreadful King,’ and to collectors and sentimentalists as the high priest of the cult of the penny dreadful, Barry Ono was proud of having attracted many new collators to the hobby. His fine collection contained many extremely rear items, some of which were probably unique, and was a never-failing source of wonder, admiration, and good-natured envy to those who were privileged to view it. Barry Ono retired to Barnstaple in September, 1940, but keenly felt the severance from his old friends and the haunts and interests of a lifetime. His collection is stored for the duration of the war, and will probably be handed over to the British Museum at the end of hostilities. Wartime railway restrictions denied Barry Ono a last resting-place in his beloved London, and he was buried at Barnstaple, on February 10, 1941.

Poetry and Jazz at the Festival Hall

A press-cutting for June 1961 found among the papers of Daniel (‘Dannie’) Abse, CBE, FRSL (1923 – 2014) well respected Welsh and Jewish poet who worked as a doctor much of his life. From the days of poetry and jazz, duffle coats and beards. The Tribune (a left -wing weekly) emphasises the youth of the audience, this is from a time when ‘youth’ meant under 30 – the youth movement didn’t really begin until 1963 (see Larkin’s poem Annus Mirabilis.) Another press-cutting notes the presence of the ‘irrepressible’ Spike Milligan ‘the eminent goon poet.’ Press cuttings, like Poetry and Jazz, are surely a thing of the past. Are there agencies still cutting up (and pasting) newspapers that mention their clients?

The Hampstead Poets and Jazz Group whose first recital was such a success at Hampstead Town Hall last February, greatly daring,took the Festival Hall on Sunday for another performance of their unique form of entertainment. Their optimism was well justified, as the hall was just about full; again the majority of the audience was under 30, and they were given the mixture of poetry and jazz much as before, although unavoidably, the intimate atmosphere of the first occasion was lost in the vast auditorium.

The one newcomer was Laurie Lee, himself a young poet in the thirties when the chief pre-occupation was the Spanish Civil War, as these young men, Adrian Mitchell, Dannie Abse, Jon Silkin, Pete Brown, and Jeremy Robson, the organiser, are poets of the sixties under the H-bomb’s shadow. Cecily Ben-Tovim’s drawing shows Mrs Harriet Pasternak Slater reading to the audience…her poems and her translations of her brother Boris Pasternak’s poems… created a sense of quiet lyricism and nostalgia among the young voices of protest and dissent. The jazz group, helped by Laurie Morgan and Dick Heckstall-Smith, added their own special contribution to the atmosphere.

Spice Girls spice labels

[raw]

Sent in by a loyal jotwatcher this useful and amusing piece about the Spice Girls and Viz the cult British comic magazine. It probably dates from about 1996. Go easy on the nutmeg!

Spice Girls spice labels

Does anyone remember that issue of Viz that appeared at a time when the Spice Girls were at the height of their fame. This particular number featured cut-out ’n’-keep labels which could be stuck onto spice jars. Aping the designs of the famous Schwartz spice bottles, there was one label for four of the Spice Girls—‘Scary Spice’ was left out for some reason.  Was I the only person who actually cut out the labels and used them? I somehow doubt it. Anyway, I’ve still got them, although they are getting a bit grubby. Each label contains a description of each of the spices, together with a recipe contributed by one of the girls.

Victoria presents Basil.
There is no finer sight in a herb garden than a basil flower. Generally used to add colour a dish, Basil is completely tasteless, but compensates for this by being extremely flavourful. It can be bought in most supermarkets or stolen from posh people’s gardens.

Victoria’s recipe. Welsh rabbit.     Place your rabbit (or hare if in season) on the toast and cover  generously with cheese. Then toast until Welsh throughout. Add Basil to taste and serve

Toast
Cheese.
Rabbit
Basil

Continue reading →

Rock and Roll Cookery

Found – an uncommon cook book called Cool Cooking. Recipes of your Favorite Rock Stars by Roberta Ashley ( Scholastic Book Service USA 1972). As it was published 40 years some of the stars are now dead (John Lennon, George Harrison, Eddie Kendricks, Wilson Pickett, Joe Cocker) or sadly forgotten (The Honey Cones, The Grass Roots, The Bells, Andy Kim, Odetta, The Delfonics, Rose Colored Glass, Mandrill) and Paul McCartney was still eating meat. He provides a pizza recipe with sausage and anchovies etc.,

Some recipes are long and complicated and some short to the point of minimalist. From Elton John (‘who doesn’t cook at all’) is a multi ingredient Shrimp Currry. Kris Kristofferson’s Tacos looks slightly difficult but he advises (unlike Nigella) ‘prepackaged taco shells’. George Harrison’ s Banana Sandwich requires bread and a banana with peanut butter optional -‘Slice  a ripe banana lengthwise and lay on a piece of bread. If you like, you can spread the bread with peanut butter.’ That’s it.

Another banana themed recipe comes from Carly (‘You’re so vain’) Simon. Carly ‘likes strange food combinations she creates spontaneously’. This concoction, she says, tastes great with yoghurt and mandarin oranges.

Carly’s Concoction
Chopped Walnuts
1 container cottage cheese
1 banana
honey ( as much as you like)
Mix the walnuts into the cottage cheese and sliced the banana over the top of this mixture. Pour honey over the whole concoction and serve.

Lastly John Fogerty ( Creedence Clearwater Revival) has a good egg recipe for a rock and roll breakfast.

Fogerty Scrambled Eggs
4 eggs
1/2 cup sour cream
salt and pepper
1/2 stick butter

 Beat  the eggs well and stir in the sour cream ; add salt and pepper and blend. Melt the butter in a skillet and pour in the eggs. Fry over a medium heat, stirring frequently, until the eggs are  solid. Serves 2.

The Beatles – Where do they go from here? (1965)



Found in Photoplay from April 1965 this speculative article about The Beatles by Anne Hooper -'Where do they go from here?' Some now slightly forgotten names are mentioned -Pete Murray, Ray Noble, David Jacobs, Maureen Cleave and also the unfortunately not forgotten Jimmy Savile ('that crazy, way-out disc jockey') who claims (surely falsely?) that  he worked at Liverpool  docks with the lads...

What is to happen to our golden boys? How along will they last? What will they be doing in , say five years time? These are among the dozens of questions that are asked today about the phenomenal Beatles.

Rumours of splits and break-ups are often heard. Fierce competition from groups like 'The Rolling Stones' has had the fans shaking their heads and saying, "Well, they've had it good, but can't last." But it has, though. The Beatle's last single "I Feel Fine" proved that the boys were still very much on top. They haven't been eclipsed by the Stones and, with their second film about to be produced, they're not likely to be by anyone...

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Accolades for Elvis, King of Rock

Found in an amusing slim music trivia paperback Rock's Follies: Soundbites from the world of rock this collection of (mostly) eulogistic quotes about Elvis Presley, oddly titled 'The father of us all?' The book was given away with the April 1996 issue of  men's lifestyle magazine Maxim. Amongst the quotes were these (1-11) and we were inspired to find a few more (12-22)  by this excellent book (illustrated  by the late, great Ray Lowry, R.I.P.) The last entry by Nik Cohn would probably end up in Pseud's Corner in the cynical U.K. but it addresses the King's spiritual side.

The father of us all?

1. Without Elvis, none of us could have made it. - Buddy Holly

2. I didn't think he was as good as the Everly Brothers the first time I ever laid eyes on him. - Chuck Berry.

3. It took people like Elvis to open the door for this kind of music, and I thank God for Elvis Presley. - Little Richard.

4. Gosh, he's so great. You have no idea how great he is, really you don't. You have no comprehension - it's absolutely impossible. I can't tell you why he's so great, but he is. He's sensational. He can so anything with his voice. He can sing anything you want him to, anyway you tell him. The unquestionable King of rock 'n' roll. - Phil Spector.

5. When I first heard Elvis' voice I just knew that I wasn't going to work for anybody; and nobody was going to be my boss. Hearing him for the first time was like busting out of jail. - Bob Dylan.

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The Beatles as a religious cult

Found in Photoplay- A British Film Magazine from March 1964, this piece by Ken Ferguson who appears to have been the magazine's editor. It was called 'Are the Beatles a Religion' and has soundbites from fans, vicars (who had more of a voice in 1964) teachers, impresarios and the lads themselves. The 'Adam' referred to is Adam Faith, a pop star of the time. 'Cliff', of course, is Cliff Richard…here is an abridged version:

Beatlemania, is a form of hysterical worship instigated by four young men who call themselves The Beatles. John, Paul, George, Ringo have written themselves into musical history with their savage, pulsating, hypnotic sound.

The other evening I felt the full blast and fury of Beatlemania as I sat in a theatre along with almost 2000 screaming, hysterical worshippers of the Beatles. It was fantastic. On stage, the four boys moved their lips and went through the motions of a performance but nothing could be heard above the roars of mass appreciation. How did it begin? Why did it begin? Where will it end?

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The Cavern – a view from 1964

Found in Arrows 87 (Summer 1964, edited by Roger Ebbatson) this amusing piece about 'Beat Music.' The magazine was produced by Sheffield University Union and had poems articles, graphics etc., This article was by Peter Roche a poet who was affiliated with the Liverpool Scene. He edited a 1960s anthology Love, Love, Love (The New Love Poetry) and is to be found in various poetry collections and anthologies. He was also a friend of John Peel and Cream lyricist Pete Brown.The article shows how, at the time, The Cavern (the club where the Beatles played and were discovered) was not universally loved...

Beat City by Peter Roche

Let me tell you all  a fairy story. Once upon a time, in a  city far away across the hills to the west, there was an old warehouse, in an alley off a side street. And underneath this warehouse was a cellar, where the local groups used to play their music far into the night. And people who lived on the banks of the river used to go to this cellar, because it was somewhere to go when the pubs had kicked out and you were half cut and there was nowhere else to go, and anyway there was a fair old chance of picking up a judy there. And everyone was fairly happy, minding their own business and having the occasional punch-up.

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Cafe Bizarre – Beatnik club

Found- a rare piece of Beatnik ephemera, a card from New York's Cafe Bizarre with the phone numbers and name of Rick Allmen who started the club in 1957. The Cafe Bizarre was one of the better known clubs to capitalise on the beatnik phenomenon, and the venue for many counterculture poets and musicians of the period. Musitron Records even recorded an album of Beat festivities at Cafe Bizarre in the late '50s. (In the post-beatnik-era Andy Warhol discovered The Velvet Underground there.) Another band who played there was the Lovin' Spoonful who described the place as a 'little dump' (1965 -post its Beatnik Glory).They played 3 gigs a night and were paid with tuna fish sandwiches, ice cream and occasionally peanut butter and jelly sandwiches. More can be found at Rock and Roll Roadmaps.

Dattatreya Rama Rao Parvatikar

Found among the papers of Leslie Shepard this article on the Indian holy man and musician Dattatreya Rama Rao Parvatikar (1916 - 1990). Shepard refers to him as Sri Ramdatta Parvatikar. The article appears not to have been published. For more on Shepard follow this link to an earlier piece of his on Charles Fort.

SRI SWAMI RAMDATTA PARVATIKAR

A Portrait of an Indian Musician

by LESLIE SHEPARD

  It is twilight in the Himalayas, by the side of the sacred river Ganges, a magic moment when the forms of the visible world tremble as night falls. The dark outline of the hills with a shaggy growth of jungle might be a giant's head. Across the water comes the cry of rooks and the call of a boatman. The white domes of temples become unreal in the fading pink glow of the half-light. The sound of rushing water is like the music of dreams.
  From the old Sri Shatrughana Temple comes another music - the notes of a Rudra-Vina, a traditional instrument, played by a master hand. On the temple steps is a picturesque figure with a small group of devotees. Sri Swami Parvatikar Maharaj has the long uncut hair of a sadhu plaited and twisted round the top of his head. He has a majestic beard and keen eyes. He wears a tattered red cloak, and sits in padmasana, the lotus posture, as he plays his instrument in the service of the Lord. A cow stumbles past noisily, but nobody takes any notice, entranced by the subtle and powerful vibrations that pour from the strings of the Rudra-Vina like the swift current of the Ganges.
  Sri Swami Parvatikar is a commanding figure, with an extraordinary dignity and power. He is a sadhu - a wandering monk - but he is also a Bachelor of Science, a radio artist, and one of India's greatest religious musicians. With all his contradictions, the man is inseparably connected with his background...
  The scene is part of a timeless India. Day by day in the big cities, men are struggling with the hard economics of five-years plans, with the new threat of enemies on the border, but here, at Rishikesh, one man is preserving an ancient way of life for the benefit of a modern world.

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