1<HTML> 2 <HEAD> 3 <!-- $MVD$:app("MicroVision WebExpress","770") --> 4 <!-- $MVD$:template("","0","0") --> 5 <!-- $MVD$:color("18","80ff","Orange","1") --> 6 <!-- $MVD$:color("19","ffd6ce","Lavender","1") --> 7 <!-- $MVD$:fontset("Sans Serif","Arial","Helvetica","Monaco") --> 8 <TITLE>THE UNTOLD SIXTIES: The "Swinging London" Scene 9 Begins - A First-Hand View - - </TITLE> 10 <META NAME="keywords" CONTENT='first-hand account by alex gross,covering three nations,beginnings of english scene,the hustler saints,london in 1966,a mood looking for a scene,so-called "swinging london",the major leaders,the ones who made it happen,the author included,jim haynes,miles,london traverse theatre,royal shakespeare company,english chauvinism of sixties,indica bookstore,indica gallery,party where john met yoko,john wilcock,tom mcgrath,simon barley,suzy creamcheese,steve abrams,jack henry moore,role of beatles in scene,slawomir mrozek,opening the round house,the round house,peter brook,the fate of his great production "us",giving out sugar cubes,beginning of true london sixties,pink floyd,soft machine,jeremy brooks,victor herbert and his unfortunate name,diminishing role of rock stars in scene,THE UNTOLD SIXTIES,When Hope Was Born,Alex Gross'> 11 <META NAME="description" CONTENT="THE UNTOLD SIXTIES: When Hope Was Born--the swinging london scene begins, a first hand-account by alex gross--new music, new art, new theatre, the major leaders, role of beatles."> 12 <META NAME="Author" CONTENT="Alex Gross"> 13 <META NAME="GENERATOR" CONTENT="MicroVision Development / WebExpress"> 14 <META NAME="copyright, copyright" CONTENT="copyright, all rights reserved: see copyright statement on this page."> 15 </HEAD> 16 <BODY BGCOLOR="AQUA"> 17 <CENTER> 18 <P ALIGN=CENTER> 19 <A NAME="totop"></A></P> 20 </CENTER> 21 <CENTER> 22 <P ALIGN=CENTER> 23 <U><A HREF="language.htm"><FONT SIZE="4"><B><FONT COLOR="RED">Above 24 is the New, Revised Address,</FONT></B></FONT></A></U><BR> 25 <BR> 26 <U><A HREF="language.htm"><FONT SIZE="4"><B><FONT COLOR="RED">And The 27 Only Address for this Web Page:</FONT></B></FONT></A></U><BR> 28 <BR> 29 <U><A HREF="language.htm"><FONT SIZE="4"><B><FONT COLOR="RED">Please 30 Include It in your Records!</FONT></B></FONT></A></U><BR> 31 <BR> 32 <BR> 33 <BR> 34 <FONT COLOR="BLUE"><FONT SIZE="4"><A HREF="index.html#uk">to home</A></FONT></FONT><BR> 35 <BR> 36 <BR> 37 <FONT COLOR="NAVY"><B><FONT SIZE="6">The Untold Sixties: When Hope 38 Was Born</FONT></B></FONT><BR> 39 <BR> 40 <FONT COLOR="NAVY"><FONT SIZE="4"><B>An Insider's Sixties On An 41 International Scale</B></FONT></FONT><BR> 42 <BR> 43 <FONT COLOR="NAVY"><FONT SIZE="3"><I>NOTE: The material in this 44 section was written</I></FONT></FONT><BR> 45 <FONT COLOR="NAVY"><FONT SIZE="3"><I>during the early and 46 mid-Seventies when it was still quite</I></FONT></FONT><BR> 47 <FONT COLOR="NAVY"><FONT SIZE="3"><I>fresh in the author's mind and 48 is also based upon</I></FONT></FONT><BR> 49 <FONT COLOR="NAVY"><FONT SIZE="3"><I>his large collection of </I></FONT></FONT><I><FONT COLOR="NAVY"><FONT SIZE="3">Sixties</FONT></FONT></I><FONT COLOR="NAVY"><FONT SIZE="3"><I> 50 documents. For</I></FONT></FONT><BR> 51 <FONT COLOR="NAVY"><FONT SIZE="3"><I>further information, see the 52 book outline by </I></FONT></FONT><FONT SIZE="3"><FONT COLOR="BLUE"><A HREF="outl.htm#top">clicking 53 here</A></FONT></FONT><FONT COLOR="NAVY"><FONT SIZE="3"><I>.</I></FONT></FONT><BR> 54 </P> 55 </CENTER> 56 <CENTER> 57 <P ALIGN=CENTER> 58 <FONT COLOR="NAVY"><FONT SIZE="5"><B>The Beginnings of the English Scene</B></FONT></FONT></P> 59 </CENTER> 60 <BLOCKQUOTE> 61 <BLOCKQUOTE> 62 <BLOCKQUOTE> 63 <CENTER> 64 <P ALIGN=CENTER> 65 <B><U><I><FONT SIZE="5"><FONT COLOR="DARKRED">Just Published!!!</FONT></FONT></I></U></B></P> 66 </CENTER> 67 <CENTER> 68 <P ALIGN=CENTER> 69 <B><U><I><FONT SIZE="5"><FONT COLOR="DARKRED"><!-- $MVD$:picsz("453","680") --><IMG SRC="un60s.jpg" WIDTH="200" HEIGHT="300" VSPACE="0" HSPACE="0" BORDER="0"></FONT></FONT></I></U></B></P> 70 </CENTER> 71 <CENTER> 72 <P ALIGN=CENTER> 73 <B><U><I><FONT SIZE="5"><FONT COLOR="DARKRED">How to Order!</FONT></FONT></I></U></B></P> 74 </CENTER> 75 <CENTER> 76 <P ALIGN=CENTER> 77 <B><U><I><FONT SIZE="5"><A HREF="http://www.amazon.com/UNTOLD-SIXTIES-Insiders-Sixties-International/dp/0982317808/ref=sr_1_1?ie=UTF8&s=books&qid=1257639693&sr=8-1"><FONT COLOR="DARKRED">North 78 Americans Click Here</FONT></A></FONT></I></U></B></P> 79 </CENTER> 80 <CENTER> 81 <P ALIGN=CENTER> 82 <B><U><I><FONT SIZE="5"><A HREF="http://www.amazon.co.uk/Untold-Sixties-Insiders-International-Scale/dp/0982317808/ref=sr_1_16?ie=UTF8&s=books&qid=1257617681&sr=8-16"><FONT COLOR="DARKRED">Europeans 83 Click Here</FONT></A></FONT></I></U></B></P> 84 </CENTER> 85 <CENTER> 86 <P ALIGN=CENTER> 87 <B><U><FONT SIZE="3">
87<FONT COLOR="BLUE">If for any reason either of 88 these links fails to work, go to Amazon</FONT></FONT></U></B><BR> 89 <B><U><FONT SIZE="3"><FONT COLOR="BLUE">or Amazon UK and search for</FONT></FONT><I><FONT COLOR="DARKRED"><FONT SIZE="3"> 90 untold sixties</FONT></FONT></I></U></B><BR> 91 <B><U><I><FONT SIZE="3"><FONT COLOR="BLUE">(also available from 92 French, Spanish, German, & Japanese Amazons)</FONT></FONT></I></U></B></P> 93 </CENTER> 94 </BLOCKQUOTE> 95 </BLOCKQUOTE> 96 </BLOCKQUOTE> 97 <CENTER> 98 <P ALIGN=CENTER> 99 <B><U><I><FONT COLOR="DARKRED"><FONT SIZE="3"><!-- $MVD$:spaceretainer() --></FONT></FONT></I></U></B> </P> 100 </CENTER> 101 <CENTER> 102 <P ALIGN=CENTER> 103 <HR ALIGN=CENTER WIDTH="100%" SIZE="2"> 104 </P> 105 </CENTER> 106 <BLOCKQUOTE> 107 <BLOCKQUOTE> 108 <BLOCKQUOTE> 109 <CENTER> 110 <P ALIGN=CENTER> 111 <B><I><FONT SIZE="4"><FONT COLOR="DARKSLATEGRAY"><FONT FACE="Arial,Helvetica,Monaco">Since 112 this book has now been published, many of its chapters have been 113 abridged, though the summary and four chapters can still be found in 114 their entirety.</FONT></FONT></FONT></I></B><BR> 115 <BR> 116 </P> 117 </CENTER> 118 <BLOCKQUOTE> 119 <P ALIGN=LEFT> 120 <FONT COLOR="NAVY"><B><FONT SIZE="4">During the spring of 1966, 121 London was a mood looking for a scene. Although the rock culture had 122 been firmly established for two years, there was really no convivial 123 place for people to gather who enjoyed dancing but wanted to do other 124 things as well, who shared the feeling that some new kind of social 125 and cultural awareness went with the new music. The "Swinging 126 London" myth had been around for over a year but visitors and 127 even natives were exhausting themselves trying to find the reality 128 corresponding to it. Actually, the phrase "Swinging London" 129 had been, perhaps not by accident, the work of an American, the New 130 York TV columnist John Crosby, who had grown disenchanted with 131 America and come to London in 1964 looking for a job.</FONT></B></FONT></P> 132 <P ALIGN=LEFT> 133 <FONT COLOR="NAVY"><B><FONT SIZE="4">He managed to land a splashy 134 feature article in the Telegraph's color supplement that year, in 135 which he used this phrase for the first time. Perhaps looking to 136 curry favor locally, he described London as being more 137 "swinging" than New York. Ilene and I had laughed at the 138 article at the time, as several of the places he had described as 139 having a fresh, new "with-it" feel had fallen victim to 140 English conformism and closed down even before the article appeared. 141 Others closed shortly afterwards. But the title stuck and was soon 142 used as a tourist draw. And Crosby got a job with the </FONT></B><I><B><FONT SIZE="4">Sunday 143 Observer</FONT></B></I><B><FONT SIZE="4">.</FONT></B></FONT></P> 144 <P ALIGN=LEFT> 145 <FONT COLOR="NAVY"><B><FONT SIZE="4">Jim Haynes was the first of the 146 "hustler saints," or the first one I encountered, for a few 147 had already arrived in London and some had been there all along. Many 148 were indeed Englishmen, though of a new breed, but it must be some 149 kind of commentary on London at that time that a large number of them 150 were Americans, Australians, Welshmen, Scots-Italians, Jews, or some 151 combination of these distinctly un-English elements. I call them 152 hustlers, because they all imagined at the time that they were 153 selling or promoting some sort of institution, product, or idea.<
153/FONT></B></FONT></P> 154 <P ALIGN=LEFT> 155 <FONT COLOR="NAVY"><B><FONT SIZE="4">I call them saints because what 156 they were really selling and promoting was often not what they 157 thought at all but rather a new consciousness, a new way of doing 158 things, a new approach to life in general, and to English life in 159 particular. The goods they were selling were a mixed bag—theatre 160 groups, plays, ideas for plays, rock music, dance recitals, dance 161 halls, lightboxes, psychedelic paraphernalia, hard and soft drugs, 162 books, magazines, newspapers, their own bodies or the bodies of their 163 friends, and occasionally their own souls, though their souls were 164 mostly for rent only and could not be bought.</FONT></B></FONT></P> 165 <P ALIGN=LEFT> 166 <FONT COLOR="NAVY"><B><FONT SIZE="4">Many of them lost their shirts, 167 some are still in hiding from creditors, one or two managed to die, 168 and a very few of them actually made some money. But this side really 169 didn't matter, because they weren't truly in business to make money, 170 not in the long run at least. They were hustling because they were 171 busy promoting a new way of living into existence. Although they may 172 not have succeeded on the financial side, their success turned out to 173 be a lot deeper and more meaningful than mere money. In many ways 174 their success still lives in all of us.</FONT></B></FONT></P> 175 <P ALIGN=LEFT> 176 <FONT COLOR="NAVY"><B><FONT SIZE="4">Some of them—the poets and 177 dancers and artists and actors—didn't even have the intention of 178 making much money, though perhaps this was a condition imposed on 179 them by the nature of their profession. In the Third Century B.C. 180 they would all have been cynics and stoics and epicureans disputing 181 with each other and disporting themselves around the Agora in Athens. 182 In the Ninth Century they would have been wandering monks and 183 minstrels begging their way through Europe. In the Twelfth Century 184 they would have been dervishes converging on Baghdad or Cordoba. In 185 London during the </FONT></B></FONT><B><FONT COLOR="NAVY"><FONT SIZE="4">Sixties</FONT></FONT></B><FONT COLOR="NAVY"><B><FONT SIZE="4">, 186 they once again adopted the dominant cultural mode of their age and 187 became salesmen of a sort. These were the hustler saints.</FONT></B></FONT></P> 188 <P ALIGN=LEFT> 189 <FONT COLOR="NAVY"><B><FONT SIZE="4">I met Jim Haynes the next day in 190 a Soho rehearsal room, and we had a long talk about my play and 191 everything else under the sun. And a day later he showed me through 192 the theatre his company was leasing for their first London season. It 193 was just north of Oxford Street, at the beginning of Southampton Row. 194 We had dinner together at a small Italian restaurant across from the 195 theatre. Jim Haynes at this time was a very earnest, self-assured 196 young man from Texas, intent on making his way in the London theatre 197 world, though I suspect that even then his mind, like mine, was 198 intent on things beyond the theatre.</FONT></B></FONT><BR> 199 <BR> 200 <FONT COLOR="NAVY"><B><FONT SIZE="4">Jim was tall and handsome with a 201 tasteful beard and mustache, and a reputation as a lady's man had 202 preceded him to London. He wore white suits at that time and looked 203 something like a Mississippi riverboat gambler. I had heard both good 204 and bad of him through the grapevine: either he was a genius at 205 organizing people and had set Edinburgh aflame culturally, or 206 alternately that he was terrible at business and refused to delegate 207 authority to anyone else. Both sides turned out to be correct. I 208 imagined I was meeting with Jim to arrange for the production of my 209 play. And Jim no doubt thought he was coming to London in order to 210 found a new theatre company. We were both totally mistaken.</FONT></B></FONT></P> 211 <P ALIGN=LEFT> 212 <FONT COLOR="NAVY"><B><FONT SIZE="4">To me Jim was simply a very 213 intelligent young man interested in getting the right start in 214 London, and I gave him all the advice I could. We both agreed that 215 the building he had leased for his theatre was not really suited to 216 what he wanted to do. In Edinburgh his theatre premises included a 217 bar, restaurant, and meeting room as well as an art gallery and a 218 book store. But the Jeanette Cochrane Theatre was part of the Central 219 School of Art and had been leased to him for use only as a theatre. 220 Therefore, he would have no immediate chance of duplicating the bar 221 and restaurant functions of the Edinburgh Traverse, nor was there 222 much room for an art gallery or a bookstore.</FONT></B></FONT></P> 223 <P ALIGN=LEFT> 224 <FONT COLOR="NAVY"><B><FONT SIZE="4">Jim seemed confident he could 225 somehow get a liquor license for the theatre lobby and would find 226 some way of getting around the other limitations as well. He asked me 227 if I knew of anyone in London who might be able to help him. I gave 228 him the names of everyone I could think of in the theatre world, when 229 suddenly it struck me that my friends the Hill brothers had opened 230 their craft store just down the street. It was doing rather well, and 231 they had already reordered Ilene's jewelry several times. I told Jim 232 about them, as it struck me that they were just the sort of young 233 Englishmen whom Jim would get along well with.</FONT></B></FONT></P> 234 <P ALIGN=LEFT> 235 <FONT COLOR="NAVY"><B><FONT SIZE="4">Jim hit London like a whirlwind 236 in those first few months. It seemed there was nothing he could not 237 accomplish. In less than a month he was operating the most 238 active—and least well financed— theatre company London had 239 ever seen. Not only was he mounting new full-length productions each 240 month during regular theatre hours, but his group, of which I quickly 241 became an informal part, set London on its ear by staging smaller 242 productions for lunch hour, rush hour, and late-night theatre 243 sessions. The crush of actors and directors vying for performance 244 space, let alone rehearsal space, was prodigious. Jim immediately set 245 up a small art gallery in the lobby and tried to sell non-alcoholic 246 beverages, but the art school which owned the theatre raised objections.</FONT></B></FONT></P> 247 <P ALIGN=LEFT> 248 <FONT COLOR="NAVY"><B><FONT SIZE="4">Jim went to visit the Hill 249 brothers, as I had suggested, and hit it off so well with them that 250 they leased most of their store to him for converting into the book 251 store he had hoped to open in the theatre. Soon he was in partnership 252 with them to start some kind of publication. A third Hill brother, 253 Allan, suddenly appeared, and the three of them were to be active in 254 one aspect or another of the scene for the rest of the </FONT></B></FONT><B><FONT COLOR="NAVY"><FONT SIZE="4">Sixties</FONT></FONT></B><FONT COLOR="NAVY"><B><FONT SIZE="4">. 255 Soon I too was at work underneath their store. There was little
256 space for offices at the theatre, and I was given a basement room 257 underneath the bookstore to serve as my base for play reading, for I 258 had quickly become the main play reader for the Traverse. I did this 259 with a wink from my agent and some higher-ups at the Royal 260 Shakespeare, who let me know they thought this was very enterprising 261 of me, though it was soon to bring me into conflict with my friend 262 Jeremy, who began to wonder if I was angling for his job at the 263 Shakespeare. Needless to say, I wasn't—all I wanted to do at 264 that time was to immerse myself in the theatre and learn every aspect 265 of it, as I was not ready to accept a full-time job of any sort.</FONT></B></FONT></P> 266 <P ALIGN=LEFT> 267 <FONT COLOR="NAVY"><B><FONT SIZE="4">The bookstore was managed by an 268 English friend of Jim's named Miles, who had run his bookstore for 269 him in Edinburgh. Miles (the only name he used) was the next of the 270 hustler saints I was to encounter, a curious combination of 271 avant-garde pamphleteer and extremely conventional Englishman. He 272 quickly turned the bookstore into the crossroads of the emerging 273 youth culture, importing poetry booklets from San Francisco, weird 274 mystic tracts from India, and offbeat publications from all over the 275 world. It was here, at the increasingly famous Indica bookstore, that 276 I saw my first copies of </FONT></B><I><B><FONT SIZE="4">EVO</FONT></B></I><B><FONT SIZE="4"> 277 and other American underground papers. Miles was also busy hosting 278 American and continental literary notables when they passed through 279 town and even booked American rock groups on the side. Anything too 280 large for the bookstore proper to handle would be shunted down the 281 street to the Traverse theatre.</FONT></B></FONT></P> 282 <P ALIGN=LEFT> 283 <FONT COLOR="NAVY"><B><FONT SIZE="4">Though Miles was one of those 284 most responsible for importing much of the new culture from America, 285 he was extremely defensive about this and was always ready to go off 286 on a tirade about the need to preserve true commonsensical English 287 values against hysterical Americanism. He was also given to dogmatic 288 proclamations about the superiority of English socialism over 289 American capitalism, and while he may have been right in many cases, 290 I could not help but feel that the word "socialism" as used 291 by Miles (and by many other Englishmen) was merely the newest 292 catch-word the British were using to prove to themselves they were 293 still at the center of the universe.</FONT></B></FONT></P> 294 <P ALIGN=LEFT> 295 <FONT COLOR="NAVY"><B><FONT SIZE="4">If they couldn't have an Empire, 296 at least they were on the leading edge, as they saw it, of the 297 "Wave of the Future." But Miles always carried a great deal 298 of weight on the scene—as a close personal friend of the Beatles 299 and other rock stars, he was constantly doing interviews with many of 300 these culture heroes, and these would be reprinted internationally in 301 the underground press. A slick London monthly did an article on the 302 early days of the London scene, and it included the following quote 303 by Miles, which was in many ways typical both of him and the mood at 304 the time:</FONT></B></FONT></P> 305 <UL> 306 <P ALIGN=LEFT> 307 <FONT COLOR="NAVY"><B><FONT SIZE="4">"Of course, people like 308 Burroughs and Ginsberg have been a strong influence on us. But the 309 creative people in England just don't have the fanaticism that the 310 American movement seems to have. For a start we don't have to battle 311 against organized religion here. Nor is there the same Puritanical 312 anti-sex thing the Americans have to react against...What we see is a 313 generation which idolizes both the Beatles and Ginsberg. Rigid 314 barriers are being broken down—cultural and social. Americans 315 always comment on how relaxed our scene is—that whole class bit 316 is now an irrelevancy."</FONT></B></FONT></P> 317 </UL> 318 <P ALIGN=LEFT> 319 <FONT COLOR="NAVY"><B><FONT SIZE="4">These were of course strong 320 words of eulogy—though not as strong as some then being 321 used—and were to acquire a certain irony in retrospect. But in 322 many ways Miles was perfectly correct—something quite unheralded 323 was going on in England, and a peak was reached which has probably 324 not been attained again.</FONT></B></FONT><BR> 325 <BR> 326 <FONT COLOR="NAVY"><B><FONT SIZE="4">There was a continual stream of 327 offbeat types going back and forth between the store and theatre at 328 almost any time of day, and the restaurants of Southampton Row and 329 the nearby benches of Russell Square echoed with the conversation of 330 strangely dressed poets, musicians, and wanderers. I remember meeting 331 the American poet Kenneth Rexroth at the Indica and talking for some 332 time with him about the contrast between English and American 333 culture. Before either of us knew what was happening, a reporter came 334 up and started interviewing him, and I heard Rexroth saying that what 335 was going on at the Indica, and what all of us, including myself, 336 were involved in was a unique subculture that was beginning to spring 337 up all over the world.</FONT></B></FONT><BR> 338 <BR> 339 <FONT COLOR="NAVY"><B><FONT SIZE="4">This was during the summer of 340 1966, and it was the first time I heard the word subculture used in 341 this sense. I was a bit taken aback, because I had until that time 342 been devoting almost all my energies to making my place in the 343 dominant, or orthodox, culture, and I did not see myself as figuring 344 in anything so unimportant as a mere</FONT></B><I><B><FONT SIZE="4"> sub</FONT></B></I><B><FONT SIZE="4">culture. 345 But there was no doubt that something quite remarkable was going on 346 all around me. And in spite of any misgivings I might have had, I 347 found becoming a part of it the most natural thing in the world.</FONT></B></FONT></P> 348 <P ALIGN=LEFT> 349 <FONT COLOR="NAVY"><B><FONT SIZE="4">It was at the Indica that we 350 were suddenly out of a clear sky to produce England's first 351 underground newspaper. I remember going downstairs to my play-reading 352 office one day and finding I would from then on be sharing it with a 353 Scots-Italian named Tom McGrath and a New Yorker named David 354 Mairowitz. Jim Haynes dropped in to explain to me that they would 355 temporarily be using the office to bring out the first issue of </FONT></B><I><B><FONT SIZE="4">IT</FONT></B></I><B><FONT SIZE="4">, 356 alias </FONT></B><I><B><FONT SIZE="4">International Times</FONT></B></I><B><FONT SIZE="4">, 357 and would I help?</FONT></B></FONT></P> 358 <P ALIGN=LEFT> 359 <FONT COLOR="NAVY"><B><FONT SIZE="4">Needless to say I 360 would—there had been plans and rumors about this paper for 361 several months, John Wilcock who had helped found several underground 362 papers in America had visited and departed, and now the project was 363 suddenly a reality. The editors picked my brains for story ideas, and 364 I answered as many questions as I could about the London cultural 365 scene as I then understood it. Mairowitz was very much at sea, as he 366 had literally just got off the plane from Berkeley, and he was 367 suffering from jet lag, cultural shock, and the need to orient his 368 political ideas to the London scene all simultaneously. I don't think 369 he ever completely arrived in London, but the effort he made was to 370 produce some interesting journalism.</FONT></B></FONT></P> 371 <P ALIGN=LEFT> 372 <FONT COLOR="NAVY"><B><FONT SIZE="4">Tom McGrath was a different bowl 373 of kippers altogether. A poet with a thick Scottish brogue, he had a 374 taste for anti-establishment causes from birth, as his 375 parents—along with the entire sizable Scottish-Italian enclave 376 near Glasgow—had been, like the Japanese in California, interned 377 in camps for the duration of World War II as enemy aliens.</FONT></B></FONT></P> 378 <P ALIGN=LEFT> 379 <FONT COLOR="NAVY"><B><FONT SIZE="4">Another of the hustler saints 380 was Simon Barley, an unforgettable figure from Los Angeles. He was an 381 indefatigable missionary for the virtues of pot and stronger 382 psychedelics, and some suspected he was stoned most of the time. This
383 did not seem to hamper his efficiency, for he was everywhere and into 384 everything. He wore impenetrable silver-framed sunglasses and a 385 rather dated Van Dyke that nonetheless suited him. He did much of the 386 work of organizing the first rock and mixed-media sessions at 387 "UFO" the following spring, and he boasted of his 388 friendship with Dylan, the Doors, and the Grateful Dead. Miles 389 disapproved of him as a reckless irresponsible American, possibly 390 because he was an interloper into a territory Miles considered his 391 own. The two cools, London and Los Angeles, definitely did not mix, 392 and there were frequent fights and feuds centering around Simon, who 393 nonetheless always managed to appear relaxed and laidback in the 394 Angeleno manner.</FONT></B></FONT></P> 395 <P ALIGN=LEFT> 396 <FONT COLOR="NAVY"><B><FONT SIZE="4">Another American who found a 397 much warmer welcome was Steve Abrams, a psychologist by profession 398 who became our resident information service on the effects of various 399 drugs and was prominently involved in the campaign to have both 400 varieties of Cannabis legalized in England. He not only wrote about 401 drugs for the underground press but united a number of English 402 doctors to sign their names to a full-page ad in the </FONT><I><FONT SIZE="4">Times</FONT></I><FONT SIZE="4"> 403 under the banner headline "The Law Against Marijuana is Immoral 404 in Principle and Unworkable in Practice." For October of 1967 405 this was extremely controversial. Steve, tall and lanky, was 406 frequently seen in ultrahippy garb at the various functions, formal 407 and informal, of the scene. Also very much in attendance was Suzy 408 Creamcheese, her name well-known to admirers of Frank Zappa's first 409 album. She supplied moral support to many, got herself arrested, and 410 finally returned to America.</FONT></B></FONT></P> 411 <P ALIGN=LEFT> 412 <FONT COLOR="NAVY"><B><FONT SIZE="4"><A NAME="newnote"></A></FONT></B></FONT><BR> 413 <FONT COLOR="NAVY"><B><FONT SIZE="4">Jim's alter ego also arrived in 414 London at this time. His name was Jack Henry Moore, and he was in 415 every way a contrast to Jim, whom he had served as right-hand man in 416 Edinburgh. Where Jim was tall, handsome, and well-spoken, Jack was 417 short, fat, and had a squeaky voice. He was twenty-four years old, 418 though he sometimes seemed much younger, and hailed from Oklahoma. 419 Where Jim had the prettiest girls in London virtually falling down in 420 front of him, Jack was out-spokenly and unmistakably gay. It was 421 rumored that Jim and Jack had some kind of affair in Edinburgh and 422 Jack had followed him to London because he felt left out of Jim's 423 plans, though no one knew for sure. [I should add that Jim has 424 recently written to me to deny that this was ever the case]. </FONT></B></FONT><BR> 425 <BR> 426 <FONT COLOR="NAVY"><B><FONT SIZE="4">Jack arrived on my doorstep one 427 afternoon with a Scottish playwright whom he described to me as one 428 of the greatest geniuses ever to use the English language. The 429 playwright promptly went into our john and g</FONT></B></FONT><B><FONT COLOR="NAVY"><FONT SIZE="4">a</FONT></FONT></B><FONT COLOR="NAVY"><B><FONT SIZE="4">ve 430 himself a fix, as Jack explained to me the reason why his friend 431 seemed virtually inarticulate was that he needed his injection. When 432 he emerged from the john, he fell deeply asleep in my bed, and Jack, 433 Ilene, and I retired to the other room. Here Jack told me of his 434 plans for the London branch of the Traverse and for what we were 435 increasingly beginning to call the "scene."</FONT></B></FONT><BR> 436 <BR> 437 <FONT COLOR="NAVY"><B><FONT SIZE="4">Jack made it clear to me that he 438 was the presiding genius of the Traverse in Edinburgh and 439 consequently would be playing the same role here in London. He 440 believed that Jim had deserted the principles which had made the 441 Traverse a success in Edinburgh and was making a mistake to try and
442 fit in with the commercial London scene, by which he meant 443 everything, including the relatively non-commercial Royal 444 Shakespeare. Jack felt that the sole viable role of the theatre was 445 to encourage experiment. He also felt that it was time for artists to 446 move out beyond their narrow role as observers and become 447 participants in the growing social crisis. In this he was very much 448 under the influence of the Living Theatre and others from the 449 emerging new left.</FONT></B></FONT></P> 450 <P ALIGN=LEFT> 451 <FONT COLOR="NAVY"><B><FONT SIZE="4">It was my first confrontation 452 with the way many people were now beginning to talk in America, and I 453 found it partly spellbinding, partly specious. Jack was insolubly 454 wedded to the potential of new technology for changing human 455 consciousness—anything having to do with a light bulb, a 456 microphone, a video screen would almost make him salivate. I pointed 457 out that I found this all fascinating, but there was a problem of how 458 to fit these concepts into the limited Traverse budget. Jack passed 459 this off as if it were of no importance, as though somehow a way 460 would be found to finance all his ideas, no matter how wild and 461 costly they were. I soon became convinced I was talking to an utter 462 megalomaniac, and when I later asked Jim about him, he agreed that 463 Jack did tend to lose contact with reality. But soon Jim would do the 464 same, partly under Jack's influence, partly just from the direction 465 everything else was going in. And although they may both still be 466 fleeing creditors for all I know, Jack did prove strangely prophetic 467 that afternoon in my apartment—we were able to do most of what 468 we wanted, and money did not become an obstacle, at least at the beginning.</FONT></B></FONT><BR> 469 <BR> 470 <BR> 471 </P> 472 <CENTER> 473 <P ALIGN=CENTER> 474 <FONT COLOR="NAVY"><I><B><FONT SIZE="4">The Rock Stars Help Start the "Scene"</FONT></B></I></FONT><BR> 475 <FONT COLOR="NAVY"><I><B><FONT SIZE="4">London, Autumn, 1966</FONT></B></I></FONT></P> 476 </CENTER> 477 <P ALIGN=LEFT> 478 <FONT COLOR="NAVY"><B><FONT SIZE="4">In the early fall of 1966, Jim 479 Haynes was moving from strength to strength. He had not only founded 480 the liveliest—if the most erratic—theatre London had thus 481 far seen, but he had managed to get his bookstore and newspaper 482 branches moving as well. There was even an art gallery, also called 483 the Indica, located further afield near Piccadilly, and there were 484 rumors that a rock music hall cum mixed media palace would be opening 485 at any time. It was commonly understood that contributions from the 486 Beatles and other rock groups were being made behind the scene to 487 make all of this happen.</FONT></B></FONT></P> 488 <P ALIGN=LEFT> 489 <FONT COLOR="NAVY"><B><FONT SIZE="4">The London "scene" was 490 already becoming a reality with its own peculiar magnificence. I 491 remember in particular one gala opening at the Indica Gallery. I was 492 shepherding the Polish playwright Slawomir Mrozek through London for 493 Jim and arrived after the opening had already started. It was a loud, 494 joyous occasion, and many rock stars were in attendance, including 495 the odd Beatle or two. In fact, I was later to learn that it was at 496 this opening that John Lennon and Yoko Ono first met. The art was 497 delightfully kinetic and all of us were playing with it. I had seen 498 kinetic art works before but none anywhere near this good. I'm no 499 longer sure which artist did which work—such is the atmosphere 500 of all art openings—but I know that some of the best pieces were 501 by Takis, who was then three years from entering my life.</FONT></B></FONT></P> 502 <P ALIGN=LEFT> 503 <FONT COLOR="NAVY"><B><FONT SIZE="4">The conviviality was intense, 504 the sense of occasion all-pervasive, and it was at last possible to 505 believe that "Swinging London" had really come into 506 existence after all. Jim was very much in the center of things, 507 smiling, shaking hands, embracing old friends and new, waving to 508 people across the crowded gallery. But there was also very much of a 509 group feeling at work, as if everyone knew that we were bringing a 510 new definition of culture to England. It was something we shared and 511 felt proud of, not just as individuals but as a group, as a generation.</FONT></B></FONT></P> 512 <P ALIGN=LEFT> 513 <FONT COLOR="NAVY"><B><FONT SIZE="4">An even more joyous occasion was 514 the opening of the so-called "Round House," a large engine-switching 515 barn near St. John's Wood. For several years the playwright Arnold 516 Wesker had been making noises about using this structure for cultural 517 purposes. He had sent out letters, held fund-raising events, and 518 written articles promoting an expensive plan to remodel it. But few 519 took him seriously, as his "Centre 42" project, allegedly 520 devoted to "bringing culture to the masses," had resulted 521 mainly in working class people walking out in droves on performances 522 of Stockhausen and other classical modern fare. Jim went to Wesker 523 and in almost no time convinced him that they should open the round 524 house then and there. It was to become a permanent addition to the 525 London cultural scene and is now regularly used for all sorts of 526 performances and events.</FONT></B></FONT></P> 527 <P ALIGN=LEFT> 528 <FONT COLOR="NAVY"><B><FONT SIZE="4">Jim used the launching of our 529 newspaper as the excuse for opening up the Round House. Everyone at 530 the theatre and the bookstore was given posters to put up over London 531 as best we could. I sat in the London Traverse offices the afternoon 532 before the "rave," as we called it, working out plans for 533 the evening with Jim and another of the hustler saints with the 534 unfortunate name of Victor Herbert. He was neither a musician nor an 535 Irishman but rather our resident millionaire who had been one of
536 Bernie Cornfeld's cohorts in his infamous IOS investment scheme. Now 537 Victor's time was given over to leisurely living and "helping 538 the scene." We racked our brains trying to find some special 539 touch to make the coming evening unforgettable. It was October of 540 1966, and for several months London's papers had been increasingly 541 full of scare articles on the menace posed to western civilization as 542 we know it by little LSD sugar cubes.</FONT></B></FONT></P> 543 <P ALIGN=LEFT> 544 <FONT COLOR="NAVY"><B><FONT SIZE="4">"Why not give out free 545 sugar cubes to everyone who attends," I suggested. LSD was 546 already illegal in England, but there was no law against giving out 547 ordinary sugar cubes, and the idea was enthusiastically adopted.</FONT></B></FONT></P> 548 <P ALIGN=LEFT> 549 <FONT COLOR="NAVY"><B><FONT SIZE="4">When Ilene and I arrived at the 550 Round House that night, there were vast throngs waiting to get in. 551 The entrance was totally inadequate to the crowd, but everyone seemed 552 in a good humor. We managed to use our connection with the paper to 553 make our way through the crush. Once inside, we could scarcely 554 believe what we saw. It was like entering another world.</FONT></B></FONT></P> 555 <P ALIGN=LEFT> 556 <FONT COLOR="NAVY"><B><FONT SIZE="4">We did not fully realize it, but 557 we stepped that night directly into the </FONT></B></FONT><B><FONT COLOR="NAVY"><FONT SIZE="4">Sixties</FONT></FONT></B><FONT COLOR="NAVY"><B><FONT SIZE="4">. 558 The vast domed hall was extremely dark, as no lighting had been 559 installed. But the darkness didn't really matter. What little 560 lighting there was totally held everyone's attention—the 561 squishing colors of a light show projected on the rock musicians. 562 There were two groups of these, and although they had both been 563 around for a short while, it was the first time I had heard the Pink 564 Floyd and the Soft Machine. This was essentially their debut into the 565 "big time."</FONT></B></FONT></P> 566 <P ALIGN=LEFT> 567 <FONT COLOR="NAVY"><B><FONT SIZE="4">And a big time it was for 568 everyone present. Girls went around half or fully naked, pot smoke 569 was everywhere, and a further frisson of potential violence was 570 provided by the occasional sound of breaking bottles, though no real 571 trouble developed. For several hours, two and a half thousand bodies 572 wandered, watched multiscreen movies and happenings, smoked pot, 573 listened to music, and gathered in small groups on the sidelines or 574 out in the courtyard to discuss what was going on. It was probably 575 one of the first occasions in London when strangers actually started 576 speaking to one another. The atmosphere itself was a palpable drug, 577 and more than a few of the visitors managed to convince themselves 578 they were on an acid trip, thanks to the sugar cubes we had provided. 579 Suddenly all the underground verbiage I had been hearing or reading 580 about new visions and modalities of existence ceased to be rhetoric 581 and became a reality. If something like this could happen in London, 582 then anything could happen anywhere.</FONT></B></FONT></P> 583 <P ALIGN=LEFT> 584 <FONT COLOR="NAVY"><B><FONT SIZE="4">I met almost everyone I knew in 585 London that night. Peter Brook, Jeremy Brooks and at least half a 586 dozen other Royal Shakespeare people were desperately rummaging 587 around in the darkness in search of the American critic and director 588 Charles Marowitz. I don't think they ever found him, for if they had, 589 Marowitz would now be dead. What had happened was that Brook had 590 plunged ahead with his "new vision of the theatre" and 591 Marowitz had used the first page of the very first </FONT></B><I><B><FONT SIZE="4">IT</FONT></B></I><B><FONT SIZE="4"> 592 to expose it for the shallow, pretentious mess it was. It was the 593 appearance of this paper we were now celebrating, but my friends from 594 the RSC were not in a very festive mood.</FONT></B></FONT></P> 595 <P ALIGN=LEFT> 596 <FONT COLOR="NAVY"><B><FONT SIZE="4">The project had really ended
597 rather badly. After I had opted out, Peter had spent over four months 598 of rehearsal time (during which several less experimental productions 599 could have been mounted), monopolized the creative skills of thirty 600 accomplished players and half a dozen writers, invited Joseph Chaiken 601 from New York and Jrzy Grotowski from Poland to help out with 602 rehearsals, and yet after having absorbed all these international 603 resources had given birth to an enormous dud. But neither Peter nor 604 any of the many other exhausted artists and writers who took part in 605 this extravagant failure was in any state to accept Marowitz's 606 judgment, and this is why they went groping through the darkness of 607 the Round House to seek him out, providing the only discordant note 608 of the evening.</FONT></B></FONT></P> 609 <P ALIGN=LEFT> 610 <FONT COLOR="NAVY"><B><FONT SIZE="4">As I have said, the contribution 611 of the Beatles and the other rock stars during these early days was 612 considerable. Not only was the very real gift of their music 613 constantly around us, but their personal charisma produced a feeling 614 of infinite optimism as they walked among us in the grubby streets of 615 London. They were also quietly funneling money into the scene that no 616 one could discuss because of strict English tax laws. It was in large 617 measure their concern and generosity that set the London scene on its 618 feet. Some of the stars did this out of genuine altruism, others 619 because they had seen what was going on at the Haight-Ashbury and the 620 Fillmore in San Francisco and were naturally resentful that England 621 had no analogous "scene." It was their concern that partly 622 led to the opening of the Round House, the so-called "UFO" 623 evenings that winter and spring on Tottenham Court Road, and the 624 later evenings at "Middle Earth."</FONT></B></FONT></P> 625 <P ALIGN=LEFT> 626 <FONT COLOR="NAVY"><B><FONT SIZE="4">It was a heady time, no pun 627 quite intended. Articles would appear in</FONT></B><I><B><FONT SIZE="4"> IT</FONT></B></I><B><FONT SIZE="4"> 628 heralding the imminent establishment of a new economic system based 629 on rock music, soft drugs, and love. In the meantime we were all 630 supposed to spend our money "inside the counterculture" and 631 not deal with "straight" enterprises. Articles also 632 appeared at this time proclaiming that the days of alcohol as a 633 socially accepted drug were numbered, for pot and other psychedelics 634 were soon to take over. Perhaps a few people took all this seriously, 635 but there were numerous defections both on the economic and drug 636 front. In fact, I don't think I ever met anyone in the 637 counter-culture who would refuse a drink when offered one.</FONT></B></FONT></P> 638 <P ALIGN=LEFT> 639 <FONT COLOR="NAVY"><B><FONT SIZE="4">As events progressed, and as the 640 rock groups became more embroiled in tax suits, internal feuding, 641 ravenous agents, and the joys of high living, the support they were 642 able to give to the "scene" diminished considerably. This 643 disturbed their followers and added not a little to the growing 644 instability. At the beginning, the theory had been that the various 645 elements of the scene—dance halls, underground newspapers, rock 646 music, posters, art projects, drugs, and assorted spin-offs—were 647 all supposed to help pay for each other in a communal way. This was 648 not advanced as an idealistic theory but as a functioning economic 649 system. By the summer of 1968 the system, such as it was, had begun 650 to fall apart, and the Beatles took a full-page ad in </FONT></B><I><B><FONT SIZE="4">OZ</FONT></B></I><B><FONT SIZE="4"> 651 to explain to everyone what was going on. They referred to themselves 652 by their corporate name of "Apple." The ad's brief text, 653 written by Miles, ran as follows:</FONT></B></FONT></P> 654 <CENTER> 655 <P ALIGN=CENTER> 656 <FONT COLOR="NAVY"><B><FONT SIZE="4">"APPLE</FONT></B></FONT></P> 657 </CENTER> 658 <UL> 659 <P ALIGN=LEFT> 660 <FONT COLOR="NAVY"><B><FONT SIZE="4">"Paul McCartney asked me to 661 point out that Apple is not in competition with any of the 662 underground organizations, rather it exists to help, collaborate 663 with, and extend all existing organizations as well as start many new 664 ones. The concept as outlined by Paul is to establish an 665 'underground' company above ground as big as Shell, BP, or ICI but 666 there is no profit motive, as the Beatles' profits go first to the 667 combined staff and then are given away to 'the</FONT></B></FONT><BR> 668 <FONT COLOR="NAVY"><B><FONT SIZE="4">needy.' "</FONT></B></FONT></P> 669 </UL> 670 <CENTER> 671 <P ALIGN=CENTER> 672 <FONT COLOR="NAVY"><B><FONT SIZE="4">—Miles</FONT></B></FONT></P> 673 </CENTER> 674 <P ALIGN=LEFT> 675 <FONT COLOR="NAVY"><B><FONT SIZE="4">If the Beatles and other rock 676 groups had succeeded in working out a formal system for financing the 677 "underground" amidst the thicket of English and American 678 tax laws, the outcome might have been quite different and they might 679 indeed have been able to build the basis for a new society, as the 680 underground papers claimed was being done. But this would have 681 required a level of political effort and economic know-how that no 682 one possessed.</FONT></B></FONT></P> 683 <P ALIGN=LEFT> 684 <FONT COLOR="NAVY"><B><FONT SIZE="4">In the meantime, the foundations 685 of Jim's overnight empire—only his first, as it turned 686 out—were already beginning to prove as unstable as some had 687 feared, and we could all see the land beginning to slip beneath it.
688 Just as the newspaper and the Round House were being launched, the 689 London Traverse Theatre was beginning to crumble from within. The 690 theatre was in fact run by three people—Jim, an English director 691 named Michael Geliot, and the same Charles Marowitz who had just 692 lambasted Brook's new production. Jim was the impresario and had 693 neither the desire nor the ability to direct plays, but Geliot and 694 Marowitz were at each other's throats from the very beginning. This 695 was natural enough, as they were both directors and were competing 696 with each other for production time. My own play was to prove one of 697 the bones of contention between them.</FONT></B></FONT></P> 698 <P ALIGN=LEFT> 699 <FONT COLOR="NAVY"><B><FONT SIZE="4">Geliot wanted to direct it as 700 soon as possible, though I had misgivings about it being handled by 701 him, not so much because he was an Englishman but because he was a 702 bit older in his way of thinking and also somewhat amateurish in his 703 productions. And Marowitz, whom I would have preferred to direct it, 704 saw my work as an affront to the conventional dogmas of the left at 705 the time. But their disagreement over my play was merely symptomatic 706 of much larger conflicts going on at the Traverse. As soon as Jack 707 Henry Moore arrived in London and began throwing his weight around 708 the theatre, many of those who had steadily admired Jim began to have 709 second thoughts. And Geliot positively hit the ceiling—to him 710 Jack was merely a young inexperienced American of the worst sort. He 711 gave Jim an ultimatum that Jack must go.</FONT></B></FONT></P> 712 <P ALIGN=LEFT> 713 <FONT COLOR="NAVY"><B><FONT SIZE="4">Jim vacillated for about a month 714 before coming down on Jack's side. Now Jim and Geliot were pitted 715 against each other. There was simply no meeting of minds between the 716 older English approach and the new emerging one, whether it be called 717 English or American. Marowitz, who had actually made some money for 718 the theatre when two of his productions had been transferred to the 719 West End, began to back off. And Jim and Jack were beginning to make 720 noises that the whole concept of the London Traverse had been wrong 721 from the start. They opted for something totally different which they 722 called an "Arts Lab." Few people were able to understand 723 what they were talking about. But they were in deadly earnest about 724 it and started raising money for their"Arts Lab" while they 725 were still operating out of the Traverse and nominally associated 726 with it. All of which added to the decline.</FONT></B></FONT></P> 727 <P ALIGN=LEFT> 728 <FONT COLOR="NAVY"><B><FONT SIZE="4">I was also distancing myself 729 from the Traverse at this point</FONT></B></FONT><B><FONT COLOR="NAVY"><FONT SIZE="4">.</FONT></FONT></B><FONT COLOR="NAVY"><B><FONT SIZE="4"> 730 My agent had shown me a letter from the Chefdramaturg of Berlin's 731 Schiller Theater late that spring. He had read my play and was 732 enormously impressed by it, though he felt it might need some 733 changes. He wondered if there was any chance I might be able to 734 discuss them with him. At the end of summer I had sent him an answer 735 suggesting that I would be willing to come to Berlin if he thought it 736 would be worthwhile. He replied almost immediately, warmly inviting 737 me to come. My agent had told me that there was some kind of grant 738 program by which I would probably receive my living expenses for a 739 month or two once I arrived in Berlin, if my stay became prolonged. 740 As it turned out, I was to be offered a great deal more.</FONT></B></FONT></P> 741 <P ALIGN=LEFT> 742 <FONT COLOR="NAVY"><B><FONT SIZE="4">Everything that summer had a 743 feeling of change about it. Ilene took a trip back to Florence to 744 sell our apartment, just a few months before the flood hit the city. 745 Ilene had also been impatiently awaiting word of the New York exhibit 746 her London gallery had arranged for her. We had anticipated the show 747 would do well, and in the normal course of events it probably would 748 have. But as luck would have it the most active of the two partners 749 running the New York gallery died shortly before her show, and it did 750 quite badly. She barely recovered her expenses, but even these she 751 was finally unable to collect, when the gallery went bankrupt. This 752 caused both of us a great deal of pain and propelled our minds into 753 mulling over the ways of the art world.</FONT></B></FONT></P> 754 <P ALIGN=LEFT> 755 <FONT COLOR="NAVY"><B><FONT SIZE="4">Late in September I somehow 756 found the time to finish another full-length play—this one a 757 two-hander with an erotic theme. I also handed in my first article to 758 the editors of </FONT></B><I><B><FONT SIZE="4">IT</FONT></B></I><B><FONT SIZE="4"> 759 and told them I would be looking around in Berlin for suitable 760 material for them. I was really looking forward to my trip to 761 Germany. As usual, I imagined I was going there for a specific 762 purpose of my own, to arrange for the production of a play. And so, 763 with a sigh of relief, I turned my back on the in-fighting at the 764 Royal Shakespeare and the Traverse and made my way to Liverpool 765 Street Station, thence to Harwich, Hook of Holland, and Berlin. What 766 I did not realize was that I had merely received my second assignment 767 as "Counter-Cultural Agent."</FONT></B></FONT></P> 768 </BLOCKQUOTE> 769 <CENTER> 770 <P ALIGN=CENTER> 771 <B><FONT COLOR="BLUE"><A HREF="mailto:[email protected]"><FONT SIZE="4">C</FONT></A></FONT></B><FONT COLOR="BLUE"><B><A HREF="mailto:[email protected]"><FONT SIZE="4">ontact 772 the author via email</FONT></A></B></FONT><BR> 773 <BR> 774 <B><FONT COLOR="BLUE"><FONT SIZE="4"><A HREF="http://www.twitter.com/alexdelite">Contact 775 the author via Twitter</A></FONT></FONT></B></P> 776 </CENTER> 777 </BLOCKQUOTE> 778 </BLOCKQUOTE> 779 </BLOCKQUOTE> 780 <CENTER> 781 <P ALIGN=CENTER> 782 <FONT COLOR="BLUE"><FONT SIZE="1">COPYRIGHT STATEMENT:</FONT></FONT><BR> 783 <FONT COLOR="BLUE"><FONT SIZE="1">This book excerpt is Copyright </FONT></FONT><FONT SIZE="1"><FONT COLOR="BLUE">©</FONT></FONT><FONT COLOR="BLUE"><FONT SIZE="1"> 2000</FONT></FONT><BR> 784 <FONT COLOR="BLUE"><FONT SIZE="1">by Alexander Gross. It may be</FONT></FONT><BR> 785 <FONT COLOR="BLUE"><FONT SIZE="1">reproduced for individuals and for</FONT></FONT><BR> 786 <FONT COLOR="BLUE"><FONT SIZE="1">educational purposes only. It may</FONT></FONT><BR> 787 <FONT COLOR="BLUE"><FONT SIZE="1">not be used for any commercial (i.e.,</FONT></FONT><BR> 788 <FONT COLOR="BLUE"><FONT SIZE="1">money-making) purpose without</FONT></FONT><BR> 789 <FONT COLOR="BLUE"><FONT SIZE="1">written permission from the author.</FONT></FONT><BR> 790 <FONT COLOR="BLUE"><FONT SIZE="1">All Rights Reserved.</FONT></FONT></P> 791 </CENTER> 792 <BLOCKQUOTE> 793 <BLOCKQUOTE> 794 <BLOCKQUOTE> 795 <CENTER> 796 <P ALIGN=CENTER> 797 <A HREF="#totop"><FONT COLOR="BLUE"><FONT SIZE="4">to top</FONT></FONT></A><BR> 798 <BR> 799 <FONT COLOR="BLUE"><FONT SIZE="4"><A HREF="index.html#uk">to home</A></FONT></FONT></P> 800 </CENTER> 801 </BLOCKQUOTE> 802 </BLOCKQUOTE> 803 </BLOCKQUOTE> 804 <CENTER> 805 <P ALIGN=CENTER> 806 <FONT SIZE="2"><FONT COLOR="BLUE"><!-- $MVD$:spaceretainer() --></FONT></FONT> 807 </BODY> 808</HTML>
Line numbers count LF bytes from the start of the resource, as the search results do. Vendor segments are library code the classifier recognised; they are stored but not indexed. Bytes are shown as Latin1 characters, one per byte.