Wednesday, 13 January 2016


David Litvinoff, The Procurer, by his friend Lucian Freud.

Among those who reportedly provided young boys for the top people in the UK government were David Litvinoff (David Levy) and his half-Jewish friends the Kray Twins.

Litvinoff "was the Faginesque head of a small group based at the Temperance Billiard Hall, 131-141 King's Road, Chelsea."

Litvinoff's niece Vida described Litvinoff as "the court jester to the rich, smart Chelsea set of the sixties".

Litvinoff.

Litvinoff, of Russian-Jewish origin, was born in Whitechapel in London.

In Notorious, John Pearson writes that Litvinoff procured boys for top people.

Theatrical agent Mim Scala said "what Litvinoff liked best were little boys, particularly naughty, runaway Borstal boys."[13]


The Pheasantry, once home to Litvinoff.

In 1968, shooting started on the gangster film Performance, written by Litvinoff's friend Donald Cammell and co-directed by Cammell and Nicolas Roeg, and starring James Fox and Mick Jagger.

Litvinoff got the job of "dialogue coach and technical adviser".

Litvinoff introduced the cast and crew to London's underworld.[11]

Marianne Faithfull said "They hired real gangsters ... and a genuine mob boss as adviser. This was David Litvinoff."[11]


Jimmy Savile and the military in Wales.

In 1968, Litvinoff rented a cottage in Llanddewi Brefi in Wales.

Among those who allegedly stayed at the cottage were Eric ClaptonBob DylanJimi Hendrix and  Yoko Ono.

In 1977, Operation Julie busted a large LSD manufacturing and distribution network operating partly from Llanddewi Brefi.


Davington Priory, c. 1910.

From 1972 until his death in April 1975 'from an overdose of sleeping pills', Litvinoff lived at Davington Priory in Kent.

Davington Priory is currently the home of Bob Geldof[23])

One witness recalls Litvinoff speaking on the telephone to a confused Brian Jones of The Rolling Stones the night before Jones died.[7]

..

Anonymous writes:

Dolphin Square was where gangland enforcer Chas lived, in Donald Cammell's gay/gangster/psychedelic/occult thriller 'Performance".

Donald Cammell was Aleister Crowley's "godson'…

Through Ronnie Kray, Litvinoff met Francis Bacon and Lucian Freud who were friends and used to gamble at Esmerlada's Barn, the gambling club in which the Krays had a stake.

According to Christopher Gibbs, the man in Freud's painting Man in a Headscarf (originally The Procurer) (1954) was Litvinoff before he was slashed across the face in an attack (sometime before 1968) by an unknown assailant.

The Krays were happy to take the credit for the attack as it bolstered their reputation. Pearson claims that Freud gave the work its original name in reference to Litvinoff's function. The painting sold for £1,156,500 at Christie's in 1999.

David Litvinoff - Wikipedia, the free encyclopedia.

Sunday, 20 December 2015

 VIVIAN STANSHALL      


> Here's a band that truly does deserve
it's cult reputation. Combining comedy, 30's-style music-hall sounds and the wacky, bizarre humour of the band's two major figures Neil Innes and Vivian Stanshall, the Bonzo's had their best time in the late 60's, when they filled large-halls and even had a hit single with "I am the Urban Spaceman".
Red-haired as Calvert (discretely hidden on the photo you see on the left), and certainly as eccentric (possibly even more), Vivian Stanshall, famous comedian - musician; front-man of the Bonzos; the "court-jester of the underground scene" as John Peel described him. 
"The quintessential art school band, the Bonzos were a chaotic mixture of music hall, rock parody and Dada nonsense. Resolutely English, Stanshall & co. brought an absurdist sense of humour to a scene that was already beginning to take itself too seriously."Stanshall + Moon as the Adolf-TwinsTo shed some light on his somewhat bizarre and outrageous sense of humour: he obviously took delight in cruising through the pubs of London with his good friend Keith Moon - wearing Nazi uniforms. What fun! (Read more on Stanshall's career in the article below.)
Stanshall made a significant contribution to Calvert's Captain Lockheed and the Starfighters album, performing most of the lead character's in the sketches that appear between the songs, accompanied by Tom Mittledorf, Richard Ealing, Jim Capaldi and Calvert himself.
Vivian aliveAnd Calvert obviously knew that Stanshall was THE man for this: Here you can hear Stanshall in top-form, making full use of the whole range of his famous "posh talk" -
writes Pete Dooley: 

"Stanshall was apparently forcibly taught BBC English by his father, who returned from the war "a changed man". It might have worked out well, but the Stanshalls lived in the East End of London, and so Viv's cultured tones set him apart from the norm at an early age."
On Captain Lockheed... Stanshall impersonates all sorts of characters: from the mad-fat German then defense minister Franz Joseph Strauss to a neurotic test-pilot, whose mother crashed while she tried to cross the atlantic single-handedly...and they only found her false eye-lashes, floating on the waves...and that's why he is wearing mascara....for her sacred memory...all clear?
Well, get an audio taste of it here - LISTEN to:
Two Pilots discussing the Starfighter's performance

However, the strange way Calvert and Stanshall got to know each other did not point to a later collaboration - quite on the contrary....: Read the hilarious story of the first meeting of Calvert and Viv Stanshall on the QUOTES pages - told by Arthur Brown who introduced them to each other. <


More on Vivian Stanshall - taken from a -shortened- article by Pete Dooley:

the Bonzo's"Viv's first brush with fame came with the Bonzo Dog Band. Everyone knows 'The Urban Spaceman', but don't be fooled. That was Neil Innes' baby.
Turn the single over, and you'll hear Stanshall's bloated-Presley flavoured 'Canyons Of Your Mind', complete with camp intro and atrocious Innes guitar solo, which actually pre-dated the genuine fat-Vegas-Elvis by a couple of years. Maybe Elvis heard this song and thought it was a good idea.

From 1965 to 1970, over four albums, the Bonzos flirted with a variety of musical styles, beginning with 1920s novelty songs and ending with psychedelic mini-operas, spawning hordes of imitators along the way. What Monty Python didn't steal from Spike Milligan, they stole from the Bonzos. They even eventually stole Neil Innes, in person. The Bonzos were also feted regulars on John Peel's Top Gear show, producing many sessions that were superior to their officially-released versions. I recommend them.
bonzo-scapeIn 1970, the Bonzos went their separate ways. Viv Stanshall immediately launched Big Grunt, who recorded little more than a session for John Peel (and a damn fine one, at that) before Viv suffered a massive, and much-publicised, nervous breakdown.

As a result, Stanshall became tranquiliser dependent, a condition he wrestled with for the next twenty years.

Stanshall re-emerged a year later, filling in for a few weeks on John Peel's radio show. Vivian Stanshall's Radio Flashes, a mix of sketches and music, ran for four episodes and a Christmas special. It was enormously popular and the BBC asked for more. Viv, still recuperating, had looked upon the enterprise as a favour for Peel, felt he couldn't handle the pressure, and declined. Twenty years later, Victor Lewis-Smith, who'd obviously heard Radio Flashes, was doing much the same thing.
During 1972 a single, Suspicion, an effective demolition of the Presley tune, was a minor hit. Also in 1972 the Bonzos briefly reunited for their contractual obligation album, 'Let's Make Up And Be Friendly'. Less a Bonzos album than a Stanshall/Innes collaboration, it was still surprisingly good. 1974 saw the release of Viv's masterpiece, 'Men Opening Umbrellas Ahead', a both hilarious and chilling work, reflecting Stanshall's own troubled state at the time. Two years and a label change later saw the release of the single 'The Question' (worth searching out for its b-side, a Boris Karloff Frankenstein remake of The Young Ones).
Stanshall was still appearing regularly on Radio 4's Start The Week and producing sessions for John Peel. It was from the latter that Viv's next album originated, released in 1978.
'Sir Henry At Rawlinson End' was the bizarre, sprawling saga of that last bastion of decent English lunacy, Sir Henry Rawlinson, and his various warped relatives and deranged servants. The Rawlinson saga proved to be one of the more popular post-Bonzos projects, spawning a film, a stage play and a book, and it continued to run away with itself on radio right into the early nineties.
1981 saw a return to more musical things with 'Teddy Boys Don't Knit', a collection of wonderfully tasteless tunes, concerning variously senility, sudden death, alcoholism and uncontrollable sneezing. 
1983 saw the release of 'Sir Henry At N'Didi's Kraal', a below-par offering of highly-lavatorial hi-jinks, which in Stanshall's own words "should never have been released".
The rest of the 1980s saw Viv's work confined largely to radio, but in 1991 after successfully battling his various demons, Stanshall embarked upon a marathon UK tour to packed houses and rapturous audiences; particularly memorable was a show in Manchester, at which Viv was "adored" by a section of the audience prostrating themselves at his manly feet. Shortly afterwards, his short play Crank was broadcast by the BBC's Late Show.
In 1992 and 1993, Stanshall was plagued by ill-health, the results of his tranquiliser addiction and alcoholism, which saw him spend a couple of lengthy periods in hospital.
By 1994, somewhat rejuvenated, he embarked upon gathering new material for a prospective new album. By his own estimate, he had 90 or songs lying around "waiting for some bugger with the money". He also made an appearance (somewhat the worse for drink) in Pulp's film 'Do You Remember The First Time?', and in the final months of the year Viv completed another nostalgic autobiographical piece for Radio 4, in which he reflected upon his early life and environment. It was almost as if he knew.
By the beginning of 1995, Viv had clinched the album deal that had eluded him for so long, and a new album of Rawlinson End material was on the cards. Whether or not anything had been recorded, and if it'll be released, remains to be seen.
Viv Stanshall died in a fire at his London flat sometime during the early hours of March 6th, 1995."

Wednesday, 16 September 2015

https://londonist.com/2015/02/the-curious-london-of-alice-in-wonderland?utm_content=buffere103d&utm_medium=social&utm_source=facebook.com&utm_campaign=buffer

Tuesday, 1 September 2015

http://www.hrionline.ac.uk/strype/TransformServlet?page=book3_092&display=normal

Tuesday, 18 August 2015

https://archive.org/stream/fleetstreetinsev00bell/fleetstreetinsev00bell_djvu.txt        enjoy _

Wednesday, 22 January 2014

Tuesday, 22 January 2013

Saturday, 12 January 2013

on the corner ~

if ya 'holding-folding'..this is for you..   

BBC Review

The final box set from Columbia, and maybe the most important. Modern music would...
Chris Jones 2007-10-19
Forget Bob Dylan's mauling by the critics and fans for his move into electric rock in the mid sixties; if there’s one man who has suffered more from the ire of his peers it has to be Miles. Hindsight shows us that his move from modal jazz to dirty street funk between 1968 and 1975 was an inspired evolution of a musical genius, but from the release of In A Silent Way onwards Davis was frequently misunderstood and brutally chastised for daring to change. The culmination was On The Corner. A huge part of his fanbase took it as a genuine insult, directed at those who had stuck with him even through the drastic reinvention of Bitches Brew.
Here was an album that seemed to kowtow to the demands of a younger, hipper audience (just check the truly awful cover art for starters), eschewing soloing for the groove, yet even funk rock fans had a hard time getting it. As a result it was his slowest selling album of his entire career at Columbia. Nowadays it’s a different story. We now know that the dark undertow of these relentless jams along with the revolutionary cut and paste approach to their 'construction' from hours of sessions prefigured and in some cases gave birth to nu-jazz, jazz funk, experimental jazz, ambient and even world music.
This, the last deluxe box set to collect outtakes, original un-mixed masters and un-edited takes, is not just a document of the sessions that came to make up On The Corner, it also collects sessions from between '72 and '75 of the work that made up Big Fun and Get Up With It. Here we find the originals of some of Miles' most pivotal work, not least the incredible "He Loved Him Madly" which was once cited by Brian Eno as changing his entire view of music.
Over six cds we get the complete picture of Davis’ last effort to re-contextualise electric instrumentation within modern music. Here musicians checked their egos at the door and were asked to subsume their skills in service to brooding repetition and flurries of colour splashed over skewed vamps. The real heroes of the piece in fact may just be Michael Henderson - on whose staccato, minimalist fender bass riffing every workout hangs - and of course, producer Teo Macero, whose interest in Stockhausen and tape manipulation allowed him to piece together this material in such challenging ways.
Miles himself barely appears on some cuts, his muted trumpet squawking intermittently while a stellar cast whips up a storm. The cuts often feature up to five percussionists demonstrating how Miles wanted to connect with a street vibe that by the early 70s signified not only musical radicalism but also a political stance that connected his muse back to the ghetto. This is above all Black music, devoted to rhythm but steeped in confrontational voodoo. As if to underline the cultural rhetoric he throws into the heavy gumbo the Eastern flavours of sitar and tabla as on "Chieftain" and "Black Satin".
John Mclaughlin’s guitar bites and shimmers in a wah-wah frenzy, as does Pete Cosey’s. Both Dave Liebman's and Sonny Fortune's sax and flute frills add pathos…the list goes on and on, but above all the groove holds sway.
For Miles fanatics, hours could be spent identifying the source materials and players who make up each track. Luckily a fabulously comprehensive set of sleevenotes and annotations by mixer Bob Belden does the job perfectly. There’s also an insight into the process of recording by electric cellist and sessioneer extrordinaire, Paul Buckmaster.
It still sounds fearless and almost wilfully formless, but it’s also still some of the greatest music ever recorded. Without this modern music just wouldn't be the same, it’s as simple as that. For this reason alone this may be the most important box set of all released under Miles' name. Every home should have one.

Thursday, 10 January 2013

wot was the question again..??


In today's encore selection -- total recall, the ability of someone to remember every word they read or hear, has often been lauded as tantamount to a high level of intelligence. The opposite is more often the case. Those with total recall often have difficulty making decisions, and more readily miss understanding the overall point of a book or lecture --because they get enmeshed in an undistinguishable mass of irrelevant details. Forgetting, it turns out, has enormous value for concise understanding and for emotional health:

"Solomon Shereshevsky could recite entire speeches, word for word, after hearing them once. In minutes, he memorized complex math formulas, passages in foreign languages and tables consisting of 50 numbers or nonsense syllables. The traces of these sequences were so durably etched in his brain that he could reproduce them years later, according to Russian psychologist Alexander R. Luria, who wrote about the man he called, simply, 'S' in The Mind of a Mnemonist.

"But the weight of all the memories, piled up and overlapping in his brain, created crippling confusion. S could not fathom the meaning of a story, because the words got in the way. 'No,' [S] would say. 'This is too much. Each word calls up images; they collide with one another, and the result is chaos. I can't make anything out of this.' When S was asked to make decisions, as chair of a union group, he could not parse the situation as a whole, tripped up as he was on irrelevant details. He made a living performing feats of recollection.

"Yet he desperately wanted to forget. In one futile attempt, he wrote down items he wanted purged from his mind and burned the paper. Although S's efforts to rein in his memory were unusually vigilant, we all need -- and often struggle -- to forget. 'Human memory is pretty good,' says cognitive neuroscientist Benjamin J. Levy of Stanford University. 'The problem with our memories is not that nothing comes to mind -- but that irrelevant stuff comes to mind.'

"The act of forgetting crafts and hones data in the brain as if carving a statue from a block of marble. It enables us to make sense of the world by clearing a path to the thoughts that are truly valuable. It also aids emotional recovery. 'You want to forget embarrassing things,' says cognitive neuroscientist Zara Bergstrom of the University of Cambridge. 'Or if you argue with your partner, you want to move on.' In recent years researchers have amassed evidence for our ability to willfully forget. They have sketched out a neural circuit underlying this skill analogous to the one that inhibits impulsive actions.

"The emerging data provide the first scientific support for Sigmund Freud's controversial theory of repression, by which unwanted memories are shoved into the subconscious. The new evidence suggests that the ability to repress is quite useful. Those who cannot do this well tend to let thoughts stick in their mind. They ruminate, which can pave a path to depression. Weak restraints on memory may similarly impede the emotional recovery of trauma victims. Lacking brakes on mental intrusions, individuals with attention-deficit hyperactivity disorder (ADHD) are also more likely to be among the forgetless (to coin a term). In short, memory -- and forgetting -- can shape your personality."

Friday, 4 January 2013

power to all of the people ~


Malala Yousafzai leaves Queen Elizabeth Hospital


The Pakistani schoolgirl activist shot in the head by the Taliban has been discharged from a Birmingham hospital as an inpatient.
Malala Yousafzai, 15, was being treated at Queen Elizabeth Hospital (QEHB) after being transferred following the attack in October.
She will continue rehabilitation at her family's temporary West Midlands home.
The Taliban said it shot Malala, a campaigner for girls' education, for "promoting secularism".
The shooting, in a school bus, sparked domestic and international outrage.

Start Quot'Strong young woman

Malala was returning home from school in the north-western Swat district on 9 October when gunmen stopped her vehicle and shot her in the head and the chest.
She received immediate treatment in Pakistan where surgeons removed a bullet which entered just above her left eye and ran along her jaw, grazing her brain.
The teenager was then flown to the UK and was admitted to the QEHB on 15 October to receive specialist treatment.
Over the past few weeks, Malala has been leaving the hospital on home visits to spend time with her father Ziauddin, mother Toorpekai and younger brothers, Khushal and Atul.
The University Hospitals Birmingham NHS Foundation Trust said doctors believe she will continue to make good progress outside the hospital.

The schoolgirl is due to undergo cranial reconstruction surgery in late January or early February.
Dr Dave Rosser, the trust's medical director, said: "Malala is a strong young woman and has worked hard with the people caring for her to make excellent progress in her recovery.
"Following discussions with Malala and her medical team, we decided that she would benefit from being at home with her parents and two brothers.
"She will return to the hospital as an outpatient and our therapies team will continue to work with her at home to supervise her care."
Peace award
Since the shooting, Malala and her father have had threats made against their lives by the Taliban.
Foreign Secretary William Hague tweeted: "Delighted #Malala is well enough to leave hospital.
"The future Pakistan she dreams of is one we must support."
Malala came to prominence when, as an 11-year-old, she wrote a diary for BBC Urdu, giving an account of how her school in Mingora town dealt with the Taliban's 2009 edict to close girls' schools.
Her love for education, and her courage in standing up to the Taliban, made her an icon of bravery and earned her a national peace award in 2011.
The president of Pakistan, Asif Ali Zardari, visited Malala at the hospital on 8 December and assured the family his government would meet the expenses of the treatment.

Mr Yousafzai has been appointed education attache at the Consulate of Pakistan for at least three years.
On Wednesday, the Pakistan government announced that Malala's father had been given a job in Birmingham.
The family has received thousands of cards, gifts and messages of support from well-wishers since arriving in the UK.
In a statement in November, her father said the family "deeply feel the heart-touching good wishes of the people across the world of all castes, colour and creed".
He added: "I am awfully thankful to all the peace-loving well-wishers who strongly condemn the assassination attempt on Malala, who pray for her health, and support the grand cause of peace, education, freedom of thought and freedom of expression."
Tens of thousands of people have also signed a petition calling for Malala to receive the Nobel Peace Prize.
West Midlands Police said it continued to work with the hospital and the family "to provide support and liaison as Malala recuperates from her injuries".
The force said it would be inappropriate to comment on the ongoing policing operation.
thax to BBC News ~