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8  <TITLE>THE UNTOLD SIXTIES: The &quot;Swinging London&quot; 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'>
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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>
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34    <FONT COLOR="BLUE"><FONT SIZE="4"><A HREF="index.html#uk">to home</A></FONT></FONT><BR>
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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>
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56  <CENTER>
57   <P ALIGN=CENTER>
58    <FONT COLOR="NAVY"><FONT SIZE="5"><B>The Beginnings of the English Scene</B></FONT></FONT></P>
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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&nbsp;
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 &quot;Swinging 
126       London&quot; 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 &quot;Swinging London&quot; 
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       &quot;swinging&quot; 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 &quot;with-it&quot; 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       &quot;hustler saints,&quot; 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&#151;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&#151;the poets and 
177       dancers and artists and actors&#151;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&#151;and least well financed&#151; 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&#151;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 &quot;socialism&quot; 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       &quot;Wave of the Future.&quot; But Miles always carried a great deal 
298       of weight on the scene&#151;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">&quot;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&#151;cultural and social. Americans 
315        always comment on how relaxed our scene is&#151;that whole class bit 
316        is now an irrelevancy.&quot;</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&#151;though not as strong as some then being 
321       used&#151;and were to acquire a certain irony in retrospect. But in 
322       many ways Miles was perfectly correct&#151;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&#151;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&#151;along with the entire sizable Scottish-Italian enclave 
376       near Glasgow&#151;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       &quot;UFO&quot; 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 &quot;The Law Against Marijuana is Immoral 
404       in Principle and Unworkable in Practice.&quot; 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].&nbsp;</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 &quot;scene.&quot;</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&#151;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&#151;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 &quot;Scene&quot;</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&#151;if the most erratic&#151;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 &quot;scene&quot; 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&#151;such is the atmosphere 
500       of all art openings&#151;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 &quot;Swinging London&quot; 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 &quot;Round House,&quot; 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 &quot;Centre 42&quot; project, allegedly 
520       devoted to &quot;bringing culture to the masses,&quot; 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 &quot;rave,&quot; 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 &quot;helping 
538       the scene.&quot; 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">&quot;Why not give out free 
545       sugar cubes to everyone who attends,&quot; 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&#151;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       &quot;big time.&quot;</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 &quot;new vision of the theatre&quot; 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 &quot;scene.&quot; It was their concern that partly 
622       led to the opening of the Round House, the so-called &quot;UFO&quot; 
623       evenings that winter and spring on Tottenham Court Road, and the 
624       later evenings at &quot;Middle Earth.&quot;</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 &quot;inside the counterculture&quot; and 
631       not deal with &quot;straight&quot; 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 &quot;scene&quot; 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&#151;dance halls, underground newspapers, rock 
646       music, posters, art projects, drugs, and assorted spin-offs&#151;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 &quot;Apple.&quot; 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">&quot;APPLE</FONT></B></FONT></P>
657       </CENTER>
658      <UL>
659       <P ALIGN=LEFT>
660        <FONT COLOR="NAVY"><B><FONT SIZE="4">&quot;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.' &quot;</FONT></B></FONT></P>
669       </UL>
670      <CENTER>
671       <P ALIGN=CENTER>
672        <FONT COLOR="NAVY"><B><FONT SIZE="4">&#151;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       &quot;underground&quot; 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&#151;only his first, as it turned 
686       out&#151;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&#151;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&#151;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 &quot;Arts Lab.&quot; 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&quot;Arts Lab&quot; 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&#151;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 &quot;Counter-Cultural Agent.&quot;</FONT></B></FONT></P>
768      </BLOCKQUOTE>
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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">&copy;</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>
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