Saturday, 18 October 2008

‘EIGHT MILES HIGHER’ WEBSITE
BANNED, BLOCKED, CENSORED…!!!

SF-Poet Steve Sneyd reports that free access to the poem-section of www.andrewdarlington.blogspot.com has been blocked by
Kirklees Library Net due to its alleged ‘offensive language’ content.

This accusation refers to the poem “They Fuck You Up, Your Mum” – the title of which, bizarrely, appears unscathed on the mini-index clearly visible on the homepage. In a further absurd contradiction, the title – of course, is lifted from Philip Larkin’s “This Be The Verse”, and Larkin’s original poem from which the quote is taken remains freely available throughout the Library system in multiple formats.

In what is already shaping up to constitute for the 21st Century what the “Lady Chatterley” trial, the “Skoolkids Oz”, “Last Exit To Brooklyn” and the Sex Pistols “Never Mind The Bollocks” was for time’s past, the debate remains ongoing... 

Monday, 13 October 2008

Book Review of:
‘THIS RAGE OF ECHOES’
by SIMON CLARK
(Leisure Book/ Dorchester Publishing Co. –
November 2007 - $7.99 – ISBN 0-8439-5494-9)

‘This seems like a dollop of muddle because life’s like that – a muddle of events, of intimacy, fear, anticipation, blood, bacon-wraps eaten too fast because you’re late for the bus, answering e-mails, washing clothes, bedtimes, broken nails, the dog whizzing on the rug – all that stuff you deal with…’ The problem with Simon Clark, if problem it is, concerns innovation. With his fiction, there’s no story-arc of inter-related mythos that readers can latch onto as recognisably Simon-world. Each novel forms its own mythos. And uniqueness can be a problem too. When he writes vampyrric, it’s no vampire Buffy would ever recognise, but something deep into his own definition. His reanimated corpses have nothing to do with George A Romero either, and people tend to like what they know. If they ever get around to doing the movie of a Simon Clark novel – and they should, it would not be dumbed-down multiplex splatter-core, but more a considered scary creep of human off-the-wall dimensions. The kind that genre franchises don’t do. And whenever you feel he’s written his best, and he’ll never equal the ambition or reach of what he’s already done with, say, ‘The Fall’ or ‘King Blood’, he throws a ‘London Under Midnight’ at you… or a ‘This Rage Of Echoes’. With this novel he returns to his familiar north of England haunting-ground, in the guise of the town of Tanshelf. And this time, it’s Echomen. Not exactly a pod-people ‘Invasion Of The Body-Snatchers’ – but something pretty damn close that turns people into exact replicas of you, who then try to kill you. For the victims, ‘they’re hunted by versions of themselves. Their physical echoes’. Identity theft at its most extreme. ‘I’m the photocopied man’ protests main-protagonist Mason Konrad, ‘I’ve been pirated’. It’s a phenomenon described as ‘a biological eruption. Dormant genes have just gone KERRUMP!’ But if the premise is science fictional – as the cosmic dénouement has the intensity of Olaf Stapledon spliced with subatomic particle theory, the text evidence is genre horror. Even the reference to Edgar Allan Poe’s “Telltale Heart” acknowledges its lineage. And there’s a nastiness in its tortured detail. Each entrail-bloody atrocity is teased out to painful flesh-ripping detail. It’s unwise to develop too much affection for characters – such as the chocolate-loving Gollum-alike Eddie, because Simon kills them off without warning. As if signalling that all are expendable. So what about Mason’s trusting half-Echo companion Madeline? Will she survive, will she prove to be a spy for the Echo-people, or will she turn on him and attack him when he – and the reader least expect it? The narrative momentum never lets up. Personally, I can’t do convincing Horror. I’m too rational. Fear is real enough. Genuinely supernatural fear is an irrational thing you have to believe in to write convincingly. Not necessarily believe believe, but at least find deep-down disturbing. To Simon Clark, ‘bathrooms are other worlds’ and ‘tuna smell like dead people’. He knows all about the ‘muddle of events… all that stuff you deal with’, and the spaces between that swallow up the unwary. This novel is further evidence, as if further evidence were needed, of his absolute mastery of Horror fiction.

REVIEW BY ANDREW DARLINGTON
 
Publishers website is www.dorchesterpub.com
The official Simon Clark website is “Nailed by the Heart” http://www.bbr-online.com/nailed


‘DIAMONDS… & OTHER GEMS’:
JET HARRIS & TONY MEEHAN

Jet Harris & Tony Meehan were the unlikely duo who split away
from The Shadows, and then briefly dominated the charts with
two monster singles – “Diamonds” and “Scarlet O’Hara”.
During the long hot Summer of 1963 they also played the
Bridlington Spa Theatre… the first Rock gig I ever witnessed…

Holidaying at Auntie Dorothy’s in Bridlington, and not quite sixteen. Jet Harris & Tony Meehan topping the bill at the Spa Theatre, and I’m determined to be there. The theatre overlooks the promenade and, a little further away, the curve of the harbour where the fishing boats offload their catch. The posters announce a strange ‘Sunday Variety’ bill. Exact details now beyond recall, choreographed dancers, a comedian, and a Big Band swing-style girl vocalist to endure, linked by a wise-cracking comedian, before the bill-toppers. I’m hunched in the circle, looking down on tiers of stall-seats towards a stage framed by lavish velvet crimson curtains. Expectations way-high. 1963 is remembered as the year of the Merseybeat explosion, with first no.1’s from the Beatles, Searchers and Gerry & The Pacemakers. With Billy J Kramer with the Dakotas “Bad To Me” playing on every Games Arcade juke-box along the seafront. But there are other factors still at play. As an integral axis of the original Shadows – both on-stage with or without Cliff Richard, Terence ‘Jet’ Harris & David Joseph Anthony Meehan formed a vital element of the most powerful force in early British Rock ‘n’ Roll, one that dominated the years they shared. Jet’s surly good looks made him a clear visual focal point. The second Shadows single in their own name, in 1959, was “Jet Black”, carrying his name and his deep Duane Eddy bass-lines. Their records were everywhere studied and copied, chord-by-chord, by serious bedroom guitar-obsessives. But, with Hank Marvin’s spec’s appeal and tremolo lead guitar defining the sound, he’d reached the limits of what he could be. Jet was born 6th July 1939 in Kingsbury, Middlesex, Tony in Hampstead on 2nd March 1943. They’d both served apprenticeships with various line-ups during 1958 – Jet with Tony Crombie and the Vipers Skiffle Group, when Cliff recruited them on bass and into the drum-chair respectively for his backing group the Drifters, who drifted into The Shadows, then racked up five huge Top Ten hits in their own right before Tony quit in October 1961. Jet hung in through until March 1962 before he left to attempt a solo career. He had a couple of minor hits – “Besame Mucho” and the ‘main title theme’ from Frank Sinatra’s drug-movie “The Man With The Golden Arm”, before he re-teamed with Tony – who’d been caught up in production-work for Decca. “Diamonds” c/w “Footstomp”, produced by Tony with Dick Rowe, emerged the tail-end of 1962. Written by singer/tunesmith Jerry Lordan, already responsible for Shadows’ no.1’s “Apache” and “Wonderful Land”, it was dominated by Jet’s six-string Fender Precision bass, with his cleanly structured muscular guitar building into brief precise drum-break solos, balancing together into an immaculate showcase for their duopoly. According to legend, Jimmy Page plays acoustic rhythm guitar on the sessions. And as “Diamonds” hit no.1 – ironically deposing the Shadows’ “Dance On”, both John ‘Mahavishnu’ McLoughlin and John Paul Jones were part of the Jet Harris & Tony Meehan stage-band. Maybe they were playing this night? As part of the summer tour they’d played the Margate Winter Gardens 2nd June. Now “Diamonds” opens their too-brief bill-topping set in Bridlington. Blonde Jet personifies the moody sharply-suited proto-guitar hero before they’d even defined the term. Tony, dark-haired, distracting attention during their shared vocals on “Doin’ The Hully-Gully”, the neat dance-fad ‘B’-side of “Scarlet O’Hara” – their second duo single. It was no.2 23rd May, one rung below the Beatles “From Me To You”. Jet switches to amplified acoustic to announce their forthcoming next single, “Applejack”, kicking the flex irritably aside with his highly-polished black patent leather shoe, holding his guitar high for fingering. Some time after the event, after my holiday, it would go on to hit no.4, 26th September (beneath “She Loves You”), but by then more than just the summer would be all over. They’d shared the cover story of ‘New Musical Express’ (17th May 1963) to regale interviewer Derek Johnson with their plans to tackle such new musical territory – plans doomed never to materialise. Speaking about each other Jet claimed ‘as a musician, Tony is one of the best, I have learned musical terms and ways that I never knew existed. He’s a wizard and impresses me a great deal’. Tony responds ‘I have learned a great deal from Jet about stage-work, self-confidence and how to present myself!’ On Saturday 31st August I watch them head the bill on ABC-TV’s ‘Thank Your Lucky Stars’ ‘Summer Spin’ special, with Pete Murray opening the show at 6:05, building though Ronnie Hilton and Jimmy Justice, impatiently waiting until Jet & Tony mime “Applejack into the close towards 6:45. Chris Williams reviewed the single in ‘New Musical Express’ dated 6th September… then, at the end of that same month, Jet’s car horrendously autowrecks into a double-decker bus, mutilating him and girlfriend passenger Billie Davis. His career never recovered. According to legend he managed a final duo appearance on ‘Ready Steady Go’ three weeks later, went home and smashed all his guitars. As Jet drifted obliquely into long dark mythology as Brit-Rock’s first great martyred casualty, Tony slipped more modestly back into studio work. I reluctantly went back to school.
FEATURE BY ANDREW DARLINGTON

‘DIAMONDS… & OTHER GEMS’: JET HARRIS & TONY MEEHAN
JET HARRIS SOLO:
‘Besame Mucho’ c/w ‘Chills And Fever’ (Decca F11466) reaches no.22, 7 June 1962
‘Jet Harris’ EP with ‘Besame Mucho’, ‘Rave’, ‘Some People’, ‘Real Wild Child’ (Decca DF 8502)
‘(Main Title Theme From) The Man With The Golden Arm’ c/w ‘Some People’ (Decca F11488) reaches no.12, 13 September 1962

JET HARRIS & TONY MEEHAN:
‘Diamonds’ c/w ‘Footstomp’ (Decca F11563) reaches no.1, 31 January 1963
‘Scarlet O’Hara’ c/w ‘Doin’ The Hully Gully’ (Decca F11644) reaches no.2, 23 May 1963
‘Applejack’ c/w ‘The Tall Texan’ (Decca F11710) reaches no.4, 26 September 1963
‘The Best Of Jet Harris & Tony Meehan’ (CD, 2000) with Jet & Tony: ‘Diamonds’, ‘Footstomp’ (from soundtrack of the film ‘Just For Fun’), ‘Scarlet O’Hara’, ‘Doin’ The Hully Gully’, ‘Applejack’, ‘The Tall Texan’ – Tony solo: ‘Song Of Mexico’, ‘Kings Go Fifth’ – Jet solo: ‘Besame Mucho’, ‘Chills & Fever’, ‘Lonesome Part Of Town’, ‘Again’, ‘Man From Nowhere’, ‘Rave’, ‘Big Bad Bass’, ‘Rifka’, ‘Some People’, ‘(Main Title Theme From) The Man With The Golden Arm’
‘Diamonds & Other Gems: The Complete Decca Singles’ (CD, 2008) track-listing as ‘The Best Of...’ + ‘Wild Child (Real Wild Child)’, ‘Clap Your Hands (Once Again)’ and ‘Rifka (alternate version)’

TONY MEEHAN COMBO:
‘Song Of Mexico’ c/w ‘Kings Go Fifth’ (Decca F11801) reaches no.39, 23 January 1964

“THEY FUCK YOU UP,
YOUR MUM..."


“you’re
probably wondering
why I had Andrew
circumcised” she
begins

I sit on the sofa with
a china cup of decaff,
a wedge of Battenburg,
& a stupid fixed grin
while my mother and
my new girlfriend
discuss my most
naked genital
mutilation

such revelations of post-war NHS
policy on infant penile hygiene
& severed foreskins over tea
must be what Larkin meant
by the parental tendency
to fuck up their young

I’ve not
felt THIS fucked-up
since that first visit to
YOUR mother’s, when I shat
a monster turd that, despite
prayers, curses and nervous
Niagara’s of flushes refused
to S-bend into tactful
oblivion

no etiquette exists
for such situations

it all only
comes right later,
when we’re alone and you
tell me “hey, if ever you
feel the need for an extra
layer of tissue around your
most naked genital mutilation,
I’m here to provide it...”

Larkin’s equation
dissolves in
merged flesh


Published in:-
‘CHRONICLES OF DISORDER no.5’ (UK - May 1997)
‘BAKER STREET IRREGULARS no.4: MINOTAUR no.35’ (USA - August 2000)

'BEAST OF THE COMING DARKNESS:CHAPTERS 3 & 4'

CHAPTER THREE: 
THE WOMAN WITH HOLES IN HER HEAD
In which Mareeh enters the maze beneath Ashiri, 
within which she touches the consciousness of the soft machine 
in the presence of the minds of the Omphalos

The Guard picks his nose with exaggerated care, concentrating on something just beyond the farthest reach of his probing finger. He sees the woman, his eyes igniting dimly with thoughts of possible interrogation and later, even intimate body-searches. He leers and ambles towards her with deliberate menace.
Mareeh watches him come. He’s Zhyrmidan. A low division of mean intelligence and brutal disposition. His leer remains fixed until he’s bare paces from her, until he can interpret the device on her blouse, and then his expression freezes. He grunts. His eyes fanning to left and right, looking for escape. “You, uh, need assistance? Directions?”
She smiles. “From you? I think not.”
“Have to make certain. Particularly now. Y’understand?”
“I understand”
He lumbers back across the catacombs that echo only to his embarrassed footfall. Beyond him, framed by the low arches he invigilates, Mareeh can see a shuffling twilight in which more insectile Guards with serrated Prayerblades urge long tailbacks of people into some form of nervous discipline. She watches them growling stragglers into line and all impatience into quiescence, prising open each closed fist in case it should conceal a weapon. Through the extraordinary hush comes the pacing of thousands of feet, people filing along aisles marked out by low service trenches where sculptures stand or lean or lie in pieces. While the Terminals that are the object of their milling pilgrimage, lie in a nest of individual pools of light, not resting but waiting with infinite patience to dispense advice on the acquisition of a second auxiliary husband, a planned trade merger on the knife-edge of legality, or the likelihood of a generous legacy should a parent’s illness prove fatal.
She takes one last amused glance, and goes deeper. Long sloping corridors, chill, with traces of metal and the scent of formaldehyde. Walls of red granite and black diorite, with the blue of labradorite crystals gleaming like splinters of luminous ice. And behind the walls, a sense of vast, dormant, but invisible power. The Ashirian Omphalos.
The Zhyrmidan doesn’t quite understand what had just taken place. But then again, he couldn’t be expected to. His intellect makes him more suited to tasks no more mentally demanding than the digital exploration of his nostrils. Mareeh grins at the delicious absurdity of the image. But what is more worrying to her is that she doesn’t really understand the situation herself. She’s under the personal protection of War Chao. Which means that, although imprisoned by addiction in Ashiri’s Nonogan Fortress, she has the right of near undreamed-of access within its walls. Far more authorisation than is required to intimidate a Zhyrmidan. But why she’d been given that protection she’s unable to remember. There are holes in her past. She must have friends behind these walls. Friends whose physical appearance and motivation she can’t even dimly comprehend.
A footfall behind her. She pauses. Half turning with the wary swiftness of a threatened animal.
Silence.
She passes through a grotto of bronze sarcophagi. A reliquary in a deep underworld. A cold well of ancient evils that to the best of her knowledge extends on down to the world’s very core. The greatest human-built structure in all history housing something that is more than just a sum of its original human components, something deathless, amorphous, unfathomably strange and unimaginably powerful. Here the steady pulse of exhaling ventilation wheezes like breath. As if she moves through the fossilised - but still respirating lungs of a god. Which, in a sense, she is. Behind these walls, above this low damp ceiling, lies the perpetual lightning of the Omphalos thousand-cortex complex.
She’s walked some twelve minutes when she comes to the alcove she seeks. Not that she previously knew it was here, which is why she’s walked so long and so directionlessly. But here is a set of Terminals she’s not used before. Probably it doesn’t matter which Terminals you input to anyway, but she can’t take the chance. She has to cover all possibilities.
There are no other human sounds, but the uneasy feeling that she’s being shadowed persists.
There are three Terminals in low-level blue light. Two of them unoccupied, the third filled with the loose skeletal remains of its last user, a woman, the hood still attached like a skull-cap of frost. Its leer reminds her unpleasantly of the Zhyrmidan.
Mareeh had been born into an antique tyranny set in an indifferent plain on a worn-out world. In Ashiri, with its massive towers hanging above the city in a limitless sky that also envelopes three more major worlds and numerous minor ones. And here lies the Omphalos, the soft machine which monitors it all. She has only the vaguest idea of what the concept means. A blurry image of a dimensionless series of disembodied brains - white snail-like coils of cerebrum suspended in a null-gravity vacuum-cage, interconnected by a maze of microfine circuitry cross-referencing each brain-cell to every other brain-cell. An impossible vision - she knows, one that corresponds only in its most sketchy details to the enormous complexity of its reality. But one adequate for the most part for the needs of the Cluster’s teemingly vast population. Like them she knows that the Omphalos is not infallible, but that its error-probability is calculated so low as to be negligible.
Without allowing time for thought she slides into the nearest Terminal, leaving one cradle vacant between her and the skeleton. She - the dead woman, must have gone through this same sequence of actions, extracting the cowl, smoothing its organic curve into place over the head, and ... waiting. Contact at this depth can scramble your sanity. Or sensory overload you to death. Leave you like her. Mareeh has always known that, each time she’s sought contact, moving through the deep-zone levels and sub-levels seeking more and more obscure Terminals. She’s always known the chance exists. But she’s been given rights of access. She has friends on the other side of that thermally insulated granite and diorite wall.
The chill of the Terminal cradle creeps through her gown, real and tactile against her buttocks. Like the cold of absolute zero seeping along the wiring itself from beyond the vacuum-cage walls. A precursor, an advance warning of the voltage to come? The torrent of madness that can deluge her into insanity? Or death? But no. That is inconceivable.
She’d been picked up in derelict land adjacent to the Calyx University ground by Chao’s Drhazilsk Troopers immediately prior to the Domain’s final assault on the insurrectionists. She’d been put through the terrors of brain-filtration at out-Terminals like every other suspect. Calluum winds up dead. Tenghiz Mkhadrioni vanishes. Ansor A-Hylca in the labour squads at the Machine Relics excavations...
... and she’d been addicted and given Chao’s protection, luxurious rooms in his Manse, two rejuvenations... and these rights of access. That much she knows. But there is more. There are gaps in her memory that no amount of systematic reconstruction can fill. War Chao finds her sexually attractive, sure. He even half-believes she’s switched sides and has ditched her revolutionary pretensions. But that’s not enough. No matter how infatuated Chao is he’ll never betray his duties to the Last Empire.
No. It’s the Omphalos. It’s discovered something within her. Something significant. Something she doesn’t even know about herself. That’s why she is alive and relatively free. That’s why she’s here now, preparing for access, tensed for contact, cool perspiration pearling along her thighs, nails biting blood-deep into the palms of her hands. An almost sexual anticipation. Dread. Fear. A more complete laying-open, a fuller nakedness than she’s ever experienced with a human lover. A deep moist emptiness waiting to be filled.
Terror... and then butterflies...

CHAPTER FOUR:
A DUEL OF SHADOWS IN 
THE WORLDS BEYOND TIME’S EDGE
Mysterious incidents occur in the Marshes of Time, 
and new acquaintances are made

For Taad and A-Hylca, days cease to have literal meaning.
Simultaneously a crimson trimaran Skyship nudges free of Leviathan, and War Chao’s journey into the heart of madness begins.
A woman with holes in her memory crosses the Nonogon of Worlds between immense statues towards contact with the Ashirian Omphalos.
In the towers of a Deadland city the Elector of Luna conjures visions of the Earth Cluster, then destroys it as soon, it must be destroyed.
The barge of Laars Trinkus sets out for the Marsian city of Xanthus. He scrats his long fingers in irritably jerky movements through his hair, its creeping shades of grey only emphasising the acceleration of time. The urgency to do. While he is still capable.
While beneath the lunar crust a vast and amorphous being awaits the end of all time. Sensing its nearing.

--- 2 ---

Time laps about Taad and A-Hylca in bewildering configurations. They walk an ice-scape of shrieking glaciers, frost forests, and deep drifting snow, strange creatures howling, circling them ghost-white against whiteness. They emerge through a bridge of elms and cypresses towards a small village on stilts cut through by an elegantly spanned mill-race. People move in festive procession, in the guise of pierrots and jesters, flowers and ribbons in their hair, foaming tankards in their hands. It’s only as Taad and A-Hylca draw near, crossing rutted pathways warping in and out like a lurching dance, that they notice the fine particles of blood borne on the breeze. And then the row of mutilated corpses impaled upside-down on tree-high aluminium spikes. It’s only then they realise the cause for celebration.
Then they are sliding into a desert, its agoraphobic emptiness unbroken to the compass-drawn rim of the sky, except for a single tower so high it seems to have so end. Then a plain of seamless glass ignited by moonlight from horizon to horizon. Then a war fought by insectoid machines emitting flickering lances of white fire. Then weather-beaten marshes whipped by frail whisperings of wind. Then a field of bright shining mist which hangs thickly immobile in the air. And as they walk through it they carve out precise corridors in the shape of their silhouettes, which stay - as if frozen, for long moments. Taad leaves a broad, solid corridor. A-Hylca a thinner, more angular corridor.
But they walk without a clear idea of direction, geographies reforming continually, knowing only that to tarry overlong in any one sector means to be trapped in it inescapably. They talk sporadically, usually personal histories, as if by their reiteration they make known worlds closer.
“I spend my childhood in the Casa A-Hylca of Ashiri, in the Mercantile demimonde of that foul corrupt Imperial monstrosity. An only child. My father a member of the Saffron Cabal, a merchant with many other devious connections in trade and commerce. So I know cumin, coriander, fenugreek, nigella, sesame, cassia bark, star anise, the reds of paprika, the deep blush of red hot dried chillies, saffron from the stigmas of crocus, and so much more. But while my father lavishes the best education, he has little affection or time for his progeny.” The contemplative exploration of A-Hylca’s tongue reaches the space left by a missing tooth, upper right, sixth molar back. As it always does when he thinks back to his childhood. “So instead, as a rehearsal to inheriting the benefits and responsibilities of his organisation... I leave the Casa, and I travel. Can you imagine that Warren-Brood?”
“You know I can’t, so why ask?”
“Ah, but do you have any conception what it’s like to be a child and move nomadically through the great cities of Venus located on their islands in blue-grey oceans of silica? Through Marsian metropoli that are nodes on the broad canal network spanning red deserts of oxidised metals. Beautiful Martian canals with evocative names like Gebon-Hiddekel, Cantabras, Agathadaemon, Genges, Nectar, Nilokeras, Draco or Jamuna. I remember their ornate barges riding their own reflections, water-taxi’s scudding on the tree-lined channels like giant bugs. Coloured sails standing like the raised wings of gaudy birds. I remember how at dusk the canals gleam with phosphorescent plankton, barges cleaving their neon tides like dragons. All the things you’ve never even dared dream, Taad, I’d seen before I’d grown the first whisker of puberty.
“I spend time in the twin cities of Tor-Por and Mons Arcadia constructed of four-hundred anthill levels apiece, built into the Vallis Marineris canyon rifts. They are cities of innumerable lives. And I see it all, but do you know, all I feel is isolation and loneliness in that sprawling urban mass. I’ve roamed the nine dominions and nine-hundred-and-nine-nine administrative subdivisions, through the collectives, nations, syndicates, peoples, hordes, castes, races and species divisions populating the four worlds of the Domain, become familiar with the Saffron trade routes, connections and distribution deltas. But what I remember most strongly are cities sunk in filthy darkness and social fragmentation. I was chafing in a civilisation I was already beginning to consider obsolete.”
He pauses. Uncertain how to continue. There are things he’s not yet willing to divulge. “I fight with my family. Fight my father. They expel me, and suddenly I’m drifting across the hundred-thousand-k gap separating the incandescent discs of planets in endlessly thrumming Skyships. Their beauty made even more poignant for my now viewing them alone. For their becoming symbols of rootlessness. Picture it - I’m a child full of yearnings, my dreams always strange and dark, populated with monsters and fearful knowledge. But instead, I’m enduring drab seasons at Universities of different denominations and philosophical disciplines, beneath the green jade spires of Dvoravia, Corintha, Dolmen, Tier-Guanno, and Olympus Roi. Yet with academia, comes the exciting camaraderie and intrigue of dissent.
“I fall in with a clique of intensely serious, secretive people, dark complexioned raggedly unshaven men and bohemian long-haired women crashed out in a squat in the Ashirian slum area just beyond the Calyx University grounds. There are books on shelves made of planks of wood spaced by bricks, spiral splash-colour prints and posters on the wall, the smell of incense and subtle drugs. We use low battered couches and mattresses on the floor, shared at whim while conversations continue, whispering in doorless rooms adjoining. Dialogue by the light of perfumed candles making eyes glow with feverish intoxication. The seductive blasphemies and multitude factions of subversion binding us into an audacious society of those who belong. The inner circle, Calluum - who leads by dialectical argument. Tenghiz Mkhadrioni, so stern and austere. And Mareeh Karhindyal... ah, Mareeh, who leads by more intimate attractions. Can you conceive the volatile concoction of sex, politics, and passionate belief jostling for attention in my head? No, you poor Warren-Dweller, you can have no idea just how contagious is that sense of burning purpose and urgency, or how that surrogate family belongingness assuages my sense of isolation. Faces come and go, but there are other continuities to provide threads of purpose, from shared anger and outrage, into subversion aimed at the whole mythological artifice of Domain power...”
“Ha!”
“What do you mean ‘Ha’?”
“I mean that you say I’m incapable of understanding. But I understand well enough. Perhaps I understand better than you do. You’ve seen things I’ve never seen, done things I’ve never done, but you, by your own admission, have always been alone, and resented it. Whereas I’ve had - as my birthright, that one thing you’ve wanted and always been denied. The sense of belonging. The sense of being a part of something greater than yourself. I can smell the need on you. I’m right. Aren’t I?”
“There are worse things than being alone. Being here with you, for example.”
“And how can you pit your rabble of dissidents against the accumulated wisdom of forty-eight thousand years of civilisation? How dare you decide what is true and what is a false ‘mythological artifice’, unless - and I’m right, admit it, unless by doing so you’re striving to prove your loyalty to this surrogate family?”
“I despise violence, Taad. I despise murder. But I despise tyranny even more. And... oh yes, you’ve told me all about the wonders of the ‘belongingness’ of your Nonocastrian Collective. Remind me, Taad. This is the kind of belongingness that blithely allows eight domes to get on with their work, blithely ignoring the fact that the ninth is being torn apart by Troopers, is it not?”
“It wasn’t like that. You deliberately misrepresent it.”
“Well then Taad, please please try and assimilate something of what I’m saying. I expend my eloquence that you might learn from the breadth of my experience. Through that experience I achieved a state of political maturity from which you can benefit, vicariously. But only if you pay attention. The exhilarating, liberating and terrible perceptions I fought to acquire are all that is of value in these tyrannously oppressed worlds. In those long midnight discussions in cold garret rooms, or debates in furtive meeting places, you learn you must doubt everything. Even your own doubts. Question everything. Especially your own questions. Until we knew that the rigid religious observances welding the tribes of the Last Empire into a coherent unit are a sham.
“But then came the daylight horror of prowling potential targets, and the beautiful nausea of the detonations which follow. Sure, I confess I endured those sudden chills of panicky fear that engulf you when you’re least prepared for them, but they were only symptoms telling me I was more alive than I’d been at any other time in my life.” A long pause. “Do you know what it’s like to be responsible for the death of a species homo sapien? Have you ever killed?”
“You know I have. Cumaryll.”
“Yes. Of course. So you know how it freezes you. It is a void. Bottomless. But we kill. And we connect with the main resistance cells on Ceres and Mars, and gain strength and wider contacts after years of frustration, betrayal, and deaths. All of it firming our revolutionary zeal. There are other incidents too... those I daren’t yet confess to you. Things hard and cruel, even in memory. But there’s always music in the cafes at night and revolution in the air. It’s such an intoxication... until it all has to end. And end so brutally. As that long summer decays into autumn, after one particular act of terrorism, they crush our insurrection. There are Ironclads, Skyships and Throndups. So many of them. Underground leaders murdered in precise retaliation. Calluum dead. Tenghiz disappears. Mareeh sells out to the authorities, with all the personal confusion of betrayal that entails... and, I should have expected my own arrest. I should have foreseen it. But the emotional shock of detention is so massive. At first it’s as though I feel myself to be immune. It can’t happen. Not to me. As though intensity of feeling and rightness is enough. But it isn’t enough. So I wind up... here.”
Taad trades memories. His wife - Solleen, killed by the Drhazilsk in the fire-storm. Watching its brutality in a helpless rage that still haunts and torments. But the significance of her loss can’t be considered as separate from his amputation from Nonocastria. The two go together. Can’t be considered apart. Just as he and the Warren have no independent meaning when one is prised from the other. Beyond its iron and lucite shell, nothing is real. A mist in which time - and values, shift in and out of definition, blurring and rippling like distorted reflections in a deep and malignant well. The obfuscations hinting at talismen of pure evil, the terrifyingly monstrous shapes of tyrants and Waterlords all the more menacing for their imprecision. There can be no real direction other than that which leads home...
“Look, up there!” They crouch on a small mangrove islet in dense everglades, grey-green vines hanging thickly like twisting veins. And something far above them is slow-crawling between sky-islands, edging across a break in the canopy of lurid foliage. It’s Taad who first identifies it as a Skyship. It’s a long way off, drifting soundlessly, airscrews revolving unhurriedly, a crimson trimaran craft with its system of navigational sails and splayed landing skids spread like the wings and legs of an obese moth. In an awed silence they watch its progress, but it’s not until the watery light flares the triskele of the Spirit Domain across its central, largest helium bladder that A-Hylca can guess at its significance. “Is it looking for us?”
The older man shakes his head derisively, blinking like an agitated anxious bird. “They regard convicts who escape into the Time Marshes as dead. No, it’s either drifted in here and is as lost as we are... or else... I don’t know, I can’t imagine.”
“The rarest of admissions from you, A-Hylca!”
By common consent they follow it as best they can. Wading perilously deep through oozing fens of constricting slime that sucks and won’t let go. A mud that moves, alive with parasites and other foul organisms. They skirt islands of unearthly plants with tubular roots squat and turquoise-blue. Islands populated with fleshy fungii, the musk of mushroom odour haunting them with hallucinatory visions. Then the Skyship is a faint speck above the horizon and they emerge onto ribbed mudflats gleaming silver in misted nightfall.
Taad is unsure of their motives for pursuing the skyfarers, and frightened of what the craft represents. Perhaps A-Hylca harbours some hare-brained scheme of boarding the galleon to escape the Marshes? Or perhaps it’s just the lure of something familiar - even if it’s something hated and feared, in so much strangeness? Either way, for lack of alternative, he follows pragmatically. They make better progress as night thickens about them, but haven’t glimpsed the Skyship for several hours and begin to think it lost when a secondary landscape separates.
They’re entering another nightfall, one that’s frozen as brittle as crystal. This time they’re moving through a quiet city of dilapidated mudbrick keeps where shadows sidle and single-storey hovels of mossy stone are stilled as they collapse in upon themselves. Diseased people gather, at first in two’s and three’s, peering from the dark toothless mouths of doorways. There’s a pervasive stink of excrement, and naked cadaverous children play on street intersections, tapping out rhythms on what look chillingly like human bones. An emaciated woman beckons in quick nervous gestures. Striving to attract their attention with the travesty of a smile. A slow-motion smirk. She’s dressed in a loin-cloth, stomach drawn tight over ribs which show through like the ridges in a wicker basket, her hair streaked green with plant dye. Sensing ambush and probable cannibalism they ignore her and hurry on.
The tangled streets populate alarmingly as soon as they’ve passed. Pursuers lope low after them from shadow to shadow, never clearly visible behind the ash and the rubble, but forming an eerily silent and growing wake. The stench of putrefaction gets stronger, sicker, seeping out of the darkness.
An up-hill slope punctuated with unhealthy gorse insinuating up out of what had once been paving slabs. It takes them through areas of even greater desolation, the buildings blackening into little more than cross-hatch patterns of open scars. Looking back through garbage and decay Taad discerns figures in slit-eyed wooden masks, horned with tusks and antlers, decorated with jaw-bones and the white gleam of mismatched teeth. Others wear body-paint or the polished ivory skulls of animals slatted with ochre and auburn dye, tasselled with feathers.
And behind them, yet taller figures, inhumanly tall, two metres or more, and featurelessly black. A negativity leached from night, sucking the very light from the air. At first they are Lhyrill from the excavations, and Taad snags his breath with something between fear, relief, and guilt at being caught in the act of misdemeanour. He can turn and surrender to them... can’t he? Apologise for causing them such inconvenience. There’ll be disciplinary action, sure, but then a return to the reassuring predictability of the Machine Relics Mineshaft... but they aren’t Lhyrill.
Taad and A-Hylca mount the incline with increasing haste. Blurred glimpses of crouching men race between the stone keeps abreast of - and then ahead of them, moving swiftly to cut off their escape. The rabble seem to be herded by the masked hunters, and they, thinks Taad, are co-ordinated by the black giants. The escapees stumble and curse in the darkness. Taad slams down hard, spinning on the ligature, brought up tight. “Curse you Taad, you’re always too far ahead or too far behind.”
The soundless pursuers flit in shades of blackness. The giants towering above them. “They’re not men” he mutters. “They’re the dead. The Sentinels of Wolvorta-Hgadin.” I can’t run more. I can’t run. Escape is not possible. They are death. They are the dead.
A-Hylca jerks their connection vindictively. “You fumblewit. You flatulence, that’s the superstition of fools.”
Yet once planted, the terrible image is impossible to dislodge. Taad lunges upwards, all logic frozen in pure and mindless panic, and they lurch up over the street’s brow and down the incline beyond. Ahead of them the decrepit city shelves away into a vast dark pall of ocean, he can see towers, stairwells and monumental tombs a few metres below a crystal tide that lies featureless to a solid wall of mountains at the horizon. Mars is clear and glaringly bright, its dome eclipsing half the sky. Its immense flat luminosity of ochrous reds and deep oranges exactly divided into two perfect quarters by a single slender black tower. Water wriggles with its reflections.
The scrunch of pursuit comes from behind them.
At first the sea-scape presents a uniform appearance. It’s only later that individual detail clarifies into wedges of watery shadow, growing architectural proportion and blind glassless windows. Charred fascias spidering with crawls of parasitic ivy. Taad recognises it all from his first glimpse of the Time Marshes. Inexorably he charts a visual path through the flooded city, drawn at last against his will to the neatly tiered ramparts of the autodrome, an austere gateway he can eclipse with his index finger, almost dreading what he’ll see there...
For a long second the giant Marsian planetrise sparks luminous ripples that ice it all to absolute clarity - ocean, mountains, partially submerged city... the tower subdividing the sky is incredibly tall, a monument at the water’s edge, no, a pillar - a white column. An ivory obelisque, every part of its surface patterned with screaming gargoyles as if an eternity of horror and pain has been compressed down to create the fantastic structure...
... illuminated ripples lap about the flooded ferrocrete autodrome too, and in their light Taad can clearly see two human figures - himself and A-Hylca!, ankles linked by a thin white hair of pseudo-flesh, framed in the arch.
His skin crawls. He feels oddly drunk, disconnected from his senses. His throat on fire with breath that seems to belong to someone else. The sharp rills of pain from his ankle come peripherally, one step removed, through a veneer of impersonal deadness. He’s shivering with fear, tensed on the edge of some bottomless well of insanity and it’s almost tempting to let go and submerge in it.
A-Hylca drags him away sharply left, stumbling and barking his knees on hard screes of grit. The sea shivers like a mirage, unsure of its grip on reality. On the city ridge behind them figures are etched against the sky, some in short kilts, most of them naked, antlers branching upwards in inverted lightning, barbed spears decorated with spines and cross-bars, and all the while, behind them, the towering giants, the messengers of death.
Taad rips his eyes from the pursuers, certain that A-Hylca’s mad dash will take them into the sea. But the sea has gone. The ivory obelisque has gone. Mars has gone too... and instead they race through groves of trees laid in artificial die-straight rows, branches dripping swirls of yellow-brown foliage and hung low with the weight of fruit. Small inquisitive animal snouts protrude between variegated leaves, white lemurs with limpid pink eyes.
They keep to the undergrowth through a snow of leaves until guttural speech drifts from the shadows. A leaf floats to land lightly on Taad’s head, and stays there trapped neatly in his tonsure. He brushes irritably across his scalp to dislodge it, but it refuses to be dislodged. Instead, its claws begin penetrating his skin, and it crawls slowly down towards his face on stubby webbed feet! Something deep inside him snaps. The mad shadows of the trees seem suddenly alive with stalking Sentinels, wooden masks, beribboned animal skulls and ebon giants. The insect-like creature he’d mistaken for a leaf sinks needles through raw scalp towards his cerebral cortex. He bolts, hitting a screen of foliage at a run, bursting abruptly through the barrier of spindly elm and briar. On the far side an immediate near-vertical landslip falls some three metres, dropping to a dry track of beaten earth.
And there, in deep conversation, are three machine-like Drhazilsks.
Instinctively A-Hylca hunkers back into concealment as the heavier man cannons on, the two intentions conflicting ludicrously. The momentarily ignored ligature rips taut, grabbing feet abruptly from beneath them. A-Hylca collapses, wildly flailing into thorny briar tendrils. He digs his heels truculently deep into the spongy turf, with the dirt disintegrating, stones, grass and soil exploding in a cascade down the drop. Angry yells. Taad’s terrified momentum drives them into a comical head-over-heels spin, slithering and cursing over the brink and down the drop bruised and shaken, to be brought up short by the hard cracking mud of the path. For a moment nothing connects. Taad lurches to his feet, facing the Drhazilsks. Their carapaces a deep blood-crimson. But deliberately anonymous, their ornate lizard-head helmets with vizored-down goggles mirroring his quizzical stare in equally blank incomprehension.
A-Hylca grovels on hands and knees, forehead grazed and dirty, breathing through clenched teeth. Already they’re priming handbows. A tall, rangy man with the hard look of a South Viridilander, hands lean and sinewy, shoves himself forward, handbow levelling. His helm, thick jowls of intricately engraved scales centring on the predator’s fangs, are frozen in permanent menace. “Don’t move, don’t even breathe. I shoot faster than you can blink. Just give me the opportunity to prove it.”
Selected for strength and stature, then synaptically and neurally implanted to enhance reaction speeds, trained, drilled and disciplined to a razor’s edge, and rigidly indoctrinated in Domain loyalty, they are lethal - and terrifyingly efficient. Even their armour is semi-organic. It has its own survival imperative. The third Drhazilsk is an Officer. But there’s another who stands beside them, watching with an impenetrable expression of confused amusement. His robe a startle of colour. What at first seem to be luminous tattoo’s shift and squirm beneath the skin of his arms and chest, but on a second - more attentive glance, they become merely the interplay of light and shadow on his impressive musculature.
A-Hylca’s ankle bleeds from bruises and freshly gouged sores, icicles of pain trembling up his leg from the wounds. His head throbs with the humiliation of defeat. “We almost had it,” he groans, slurring words through blood and phlegm. “We’ve come so far, achieved so much, but you had to throw it all away, you... you FARMER !”
“Threw what away? We got nowhere. And I can’t die here. I can’t. The potassiums and sulphates that make up my body belong to the Warren, and must be returned there. To die elsewhere is theft. It’s just unthinkable.”
“Hold, Ivaksho” from the Officer. Reluctantly the Trooper holds his position, as the Officer turns. “You keep the oddest company, A-Hylca, and persistently crop up in the strangest places.”
His eyes horizontal at the Officer in absurd defiance, countering - he hopes, the prison fatigue and undignified posture. Something snags in his mind. “You... War Chao... lick-spittle of tyranny. I remember you. I know you from the barricades of Ashiri. Seems you’ve acquired some extra regalia since then.”
Taad shifts his baffled attention to War Chao. A man of A-Hylca’s age, with a precisely groomed beard of iron-grey stubble, and an exact military demeanour. His crimson uniform elegantly embellished with gold trim and polished copper buttons, cape hanging voluminously low, to his hand-tooled black leather knee-boots. The distinctive ornamentation of his Prayerblade clasp betraying it as an original. One of the scarlet series acid-etched by the renowned Tseusk Tseutchsk, craft-master blade-shaper of Meldilarn three centuries before. The possession of a man of some importance.
“And Mareeh,” A-Hylca hisses through his teeth. “Does she do for you all those delightful things she used to do so exquisitely for me?”
Chao laughs. “A-Hylca, you never grew up. You just got older. I thought time in the Colony would have cured you of your adolescent games. Obviously I was wrong.” But the words come too rehearsed and hasty, like they’ve barbed an open nerve.
“My will is free, Chao. You can’t enslave that. But you - you’re imprisoned and damned forever by the vile corruption you serve.”
Ivaksho growls menacingly and smashes the butt of his handbow brutally down onto A-Hylca’s temple, and as he sprawls he brings the weapon up level with A-Hylca’s head. Silence roars and pounds at Taad’s temples. He feels sick... then the tall stranger, inactive so far, seems to realise what’s going on, and moves to interpose himself between Drhazilsks and intended victims, broad hands above his head. “No killing here,” his tones strangely accented.
The Trooper hesitates. “This issue is no concern of yours. It falls under Domain jurisdiction,” from War Chao.
“No deaths. Or our hospitality ends. There’ll be a truce while you are our guests. What murderous games you play outside is your own business.”
“The Mine-rats should die” snarls Ivaksho inflexible.
But Chao, obviously angered, holds him back. Then indicates to his men to lower their weapons. “A truce,” he concedes, “for now.”
Ivaksho spits vehemently.
The stranger turns to the two escapees smiling broadly. What have again become his subcutaneous tattoo’s writhe and link hypnotically. And together the disparate group start down the track which descends into a sheltered valley beneath the slopes of majestic snow-furred mountains. Taad glances nervously over his shoulder at intervals, expecting at every turn to see Ebon Sentinels bursting from concealment, seeing slit-eyed masks decorated with jaw-bones and antlers in each movement of foliage. But instead the serried rows of autumn trees ahead give way, at length, to what looks like a calm but oddly silvered lake. Somewhere, dawn is breaking. Taad feels it melting his terror. They’ve crossed over some further barrier and the hunters are lost in the refocussing vortex of time.

Monday, 29 September 2008

JONATHAN KING: ‘SHE’S TOO
SWEET TO BE A MINUTE
OVER SEVENTEEN…’

BY
ANDREW DARLINGTON

Under-age sex is the last great taboo. The one that destroyed the
careers of Jonathan King and Gary Glitter. But they were far from
the only offenders. It runs like a perverse thread through the
entire history of Rock, perhaps they were just the most public faces,
the most visible fall-guys, the ones who got caught …?

‘EVERYONE’S GONE TO THE MOON…’

‘Streets full of people, all alone, roads full of houses, never homes…’ Jonathan King made his unlikely chart debut during the last week of July 1965, the week the Byrds “Mr Tambourine Man” was competing with the Beatles “Help” for the top slot. Over the next few weeks the tuneful plaintive nonsense of “Everyone’s Gone To The Moon” climbed into the top ten as high as no.4, and he duly appeared on ‘Top Of The Pops’, geeky and heavily bespectacled, to mime it. The lyrics snagged into the era’s blurry-edged ‘Whiter Shade Of Pale’ instant-surrealism, he had a Cambridge University background, and he was seen as some kind of intellectual, an academic with cultural credentials.
When the follow-up single, “An Icicle Fell From The Heart Of A Bluebird (Into The Concrete Machine)” failed, he razored the symbolism down to its simplest basics, but “Green Is The Grass” bombed too. Unphased, he took an unlikely group called Hedgehoppers Anonymous under his wing, and created “It’s Good News Week” using them as his template. Set to a metronomic count-down it flaunted Cold War paranoia – ‘someone dropped a bomb somewhere, contaminating atmosphere’, and it blue-streaked all the way to no.5 during September. He’d fortuitously lucked into a formula that would see him right, as Pop maverick, columnist, TV-personality, and eccentric fixer for some years to come, under numerous guises and pseudonyms – the Weathermen, Shag, Bubblerock, and occasionally even as himself. Then he graduated from the Pop-based chat-show host of ‘Good Evening’, into an oleaginous career as a TV-journalist with ‘Entertainment USA’.
All of this tedious history is here for one purpose, and one purpose only. Jonathan King has been effectively written out of Pop history. As has Gary Glitter. In an expunging as complete as Stalin erasing Trotsky out of the Soviet archives, they have been ‘disappeared’. Last Christmas every mouldy embarrassment of superannuated festive cack was disinterred for radio high-rotation. Everything – that is, except for Gary Glitter’s sad “Another Rock ‘n’ Roll Christmas”. ‘Dare we say his name on television any more…?’ asks New Order’s Barney Sumner. In a word - no, we can’t. It’s as though soon, there’ll be blank spaces in the ‘Guinness Book Of Hit Singles’ where once were listed their columns of hits. In a ruthless form of total censorship they have become the great unmentionables. And it seems to me that anything deemed ‘unmentionable’ is worth mentioning.
We all know the reason. We all know what happened. They crossed the line. Offended against the last great taboo. And it’s not as though I’m arguing for their rehabilitation. Because I’m not. Or even that there’s some great injustice to redress. It’s just that while Jonathan King and Gary Glitter were enduring their trial by media, and the public destruction of their careers, the shockwaves must have been reverberating throughout the music industry. Provoking as many night-terrors as there was schadenfreude. The ‘who’s next?’ effect. After all, from its very origins Pop music has operated by exploiting Sigmund Freud’s theory of infant sexuality. It’s always flirted with the ‘Lolita’ principle, dial it back in time to the days when the audience were called bobby-soxers, through the teeny-bopper thing, into kidulthood. That’s the way it works. That’s the way it’s always worked. Pop, and perversity, they’re joined at the hip. Where would Pop be without it? It is the pervy motivation that powers its best work as a Titan rocket boosts astronauts into orbit. Thank heaven for little girls, they grow up in the most delightful way. Sam Cooke wrote ‘she was only sixteen, only sixteen’, about how ‘she was too young to fall in love, and I was too young to know’. In other words, the object of Sam’s fixation was ‘barely legal’. If anyone thought about it at the time, which no-one seems to have done, they probably thought of it as being rather cute, in a gooey sentimental – rather than a pruriently perverse sort of way. Back then it was, as they insist on saying, a more innocent time. Entrendre’s had to come in doubles before they counted. When Chuck Berry wrote ‘she’s too cute to be a minute over seventeen’ – in “Little Queenie”, no-one took exception to its juvie inference. Or with his “Sweet Little Sixteen” in which his back-in-school lyric-poetry draws on the iconography of schoolgirl-porn as knowingly as those who would later manipulate that infamous Britney Spears video. Even when the mighty Chuck Berry was jailed ‘for transporting minors over state lines with intent’ no-one pointed out the dubious subtext of the ‘Marie is only six-years-old’ line in “Memphis Tennessee” – it’s a joke, a punch-line, a snap-ending, of course it is – isn’t it? And me, I love Chuck Berry. Always have.
Not that Chuck was the only offender. Flamboyant Jerry Lee Lewis’ career as a rival for Presley’s Rock ‘n’ Roll throne was brought to a juddering halt by juicy red-top revelations concerning his bigamous marriage to his thirteen-year-old cousin Myra Gale. The unorthodox arrangement might have drawn no more than mild pulpit tut-tutting in his home state, Louisiana – where such liaisons were not exceptional, but the storm hit with a vengeance the moment the happy couple touched down for their first UK tour. Journalists innocently enquired who was the Killer’s young companion, and once they learned the lascivious details, they went into such front-page spasms of moral outrage that Jerry Lee was forced to cancel thirty-four of his thirty-seven projected concerts. Retreating home they discovered the tidal wave had reverberated back across the Atlantic, where radio stations were dropping his records from their playlists as though they were radioactive. He took out a five-page trade-press spread putting his side of the story, but by then his career was effectively compromised, and never really recovered its momentum. Of course, Jerry Lee and Chuck Berry are music icons to whom normal social rules do not apply, aren’t they? While – whisper who dares, wasn’t there something distinctly dubious about the King’s marital arrangements too? Elvis was doing military service in Bad Neuheim, Germany, where – in September 1959, he met fourteen-year-old Priscilla Beaulieu, the stepdaughter of a US Air Force captain. On their return to Memphis, Priscilla moved into Graceland with her parent’s full approval. Sure, it was into a full family situation with other Presleys in attendance to chaperone, but – to paraphrase TV’s Mrs Merton, what attracted the Beaulieus to this multi-millionaire Rock Star? Would Priscilla’s family have approved such a domestic set-up with any other GI-grunt but the King of Rock ‘n’ Roll? And of course, they did marry, in 1967. And there’s not necessarily any suggestion of pre-marital impropriety… surely?
The Gay subculture was also there from the start, even when it was unable to speak the name of its legally forbidden love. Pop was for kids. An adolescent fad. And Joe Meek, Larry Parnes… and Brian Epstein knew how to recognise the look of the guys the little girls would fancy, because they fancied them too. What the straight men don’t know, the little girls understand. ‘So you wanna be a Rock ‘n’ Roll star…?’ said the guy with the big cigar, we can help. Joe Meek made Heinz a star because he’d fallen in love with him. Larry Parnes created his stable of pretty teenage boys – Billy Fury, Vince Eager, Marty Wilde, at least partly because their sexuality appealed to him as much as he calculated it would appeal to their target pubescent audience. Brian Epstein was initially transfixed as much by the raw rough-trade leather-clad sexuality of the uncouth Beatles as he was by their talent as songwriters or performers. Where movie producers of Hollywood’s ‘Golden Era’ had the ‘casting-couch’ to negotiate naive star-fixated starlets out of their clothes, record managers used the lure of a contract, the promise of studio-time, that shiny seven-inches of black vinyl. It’s not to necessarily imply that their longings were ever entirely consummated. And considerations of under-age don’t really come into it, because the age of consent has been revised so that what is legal now was not legal then, and in fact doing it at all was illegal in those unenlightened time. But sexual manipulation of the gullible and vulnerable – even when a taste for post-pubescent youths make the perpetrators pederasts, not paedophiles, it was no more morally right then than it is now. Even though it’s safely side-stepped into a quaint window of the past. So it no longer touches us.
But soon it wasn’t even essential to hide your Rock ‘n’ Roll shenanigans. In fact, Pop – or Rock as it had by then become, was using edgy sexual content as a kind of dangerous flirtation, in much the same way that it was inserting cheeky drug references into its lyrics. It’s part of the game. The hidden language we recognise and snigger over. On ‘Beggar’s Banquet’ the Rolling Stones taunt by playing the groupie game, with a swaggering vinyl-dialogue that goes ‘I can see that you’re fifteen years old, no, I don’t want your ID’, then ‘you say you got a friend, that she’s wilder than you, why don’t you bring her upstairs, if she’s so wild she can join in too’. Once the girls are lured upstairs Jagger approvingly letches ‘bet your Mama don’t know you scream like that, I bet your Mother don’t know you can spit like that’, while slurring ‘it’s no hanging matter, it’s no capital crime’. Well – no, not exactly, but those groupies being debauched were supposedly fifteen-years-old – it specifies that age precisely, and the scenario they’re acting out would be a career-killer if it were proved for real. And around the same time, the Who’s kiddie-fiddling ‘Uncle Ernie’ - played with gleeful malevolence by Keith Moon in ‘Tommy’, is treated as no more than a slightly sinister figure of fun. While Donovan was blithely doing his “Mellow Yellow” live on-stage at the Anaheim Convention Center in California, where he inserts the playful lyric improvisation ‘I’m just mad about fourteen-year-old girls’, which gets a huge whoosh of audience approval. It’s there on the ‘Donovan In Concert’ CD. In Pop the Union Gap were no.1 and across-the-board loved for “Young Girl” in which ‘you led me to believe, you’re old enough to give me love,/ and now it hurts to know the truth’, but lead-singer Gary Puckett was tempted by the nookie on offer – ‘get out of here, before I have the time to change my mind’. If anyone found the scenario contentious, no-one mentioned it. In fact the general consensus was that the risqué nature of the lyric was only mildly titillating, and the reason for its million-selling success. While the Critters were in the American chart with Lovin’ Spoonful John Sebastian’s wistfully evocative song about an even “Younger Girl”, with its lascivious plan ‘should I hang around, acting like a brother?/ in a few more years they’d call us right for each other’, but ‘why, if I wait I’ll just die’ because he’s also ‘afraid we’ll go too far’. And as for heavier Rock, Blind Faith – the short-lived ‘super-group’ fronted by Eric Clapton and Stevie Winwood issued their solitary album wrapped in sleeve-art showing a nude pubescent girl, an image that still provokes uneasy responses. Is it beautiful? Of course it is. Is it more than just a little pervy…? Probably.
The era’s counter-culture press specialised in deliberately disturbing imagery. That was its intention. To confront staid and outdated morality with a provocative arsenal of contentious shock-graphics. Sex was confrontational. Under-age sex even more so. The designers of the Blind Faith sleeve were merely using the same technique to draw attention to their product. Brand-leading magazine ‘Oz’ was pilloried at the Old Bailey in a high-profile prosecution not so much for its use of explicit collages, but because there were ‘minors’ involved. The ‘Oz’ editors were championed as martyrs of the anti-censorship wars, John Lennon was part of their vaudeville street-support squad. And they got off on appeal. But flicking through those pages now, it’s easy to see that there’s stuff there that wouldn’t survive the hyper-tuned moral climate of today’s supposedly more liberal censorship. In mitigation, the underground press saw itself as part of the liberation-movement upsetting the prim certainties of the times. Before anyone else did, it was championing Gay Rights, ‘Green’ issues, anti-Racism, Gender Equality and recreational drug-use. ‘International Times (IT)’ even published an interview with a spokesman for PIE – ‘Paedophile Information Exchange’, tasking one of its hippie scribes with checking out its claim to be the next ‘forbidden’ and socially-excluded love. The unfortunate journalist dutifully transcribed the full spiel, about how child-love was a perfectly acceptable part of classical civilisations, how Greece and Rome saw nothing strange about it, how Shakespeare wrote about it in ‘Romeo & Juliet’, while non-Western cultures still conform to different definitions of where to peg the ‘age of consent’. The hippie scribe was wisely unconvinced…

‘I WANT CANDY…’

Of course, things were different then. Well, they weren’t – surely it can never have been right to take advantage of naivety and gullibility, but it seemed to be different. In the time-space following the widespread availability of the birth-control pill, and before the AIDS explosion happened, when heavy-Rock dinosaurs lumbered the globe, the groupie ‘Overnight Angels’ came as an integral part of the life-style package. And hey, you can’t always check out their ID’s to find out if they’re fifteen years old, you know how girls are – with their make-up they look older, don’t they? And yeah – the hint of jailbait does make it that bit more exciting. Same with Jonathan King. With him, there was never any inference that force was involved. It wasn’t necessary. Or that the relationships he was imprisoned for were anything other than consensual. He used gifts and inducements – often as low-cost as singles. Yet his victims came back for more. The tacky glamour of TV-fame, or his close proximity to glittery Bubblepop stars, was enough to make even the most greasily repellent record industry apparatchiks a sexually viable proposition. With his stylised sneer and irritating speech mannerisms, King could casually mention how he’d renamed Genesis and produced their first single “The Silent Sun”, or how he’d signed 10cc to his own UK Records label. When you’re young and stuck in suburbia where nothing ever happens, to be seen with a celebrity, to ride the chauffeured limo together, to stay over at the swish hotel – that’s worth the trade-off in grubby blow-jobs. Anyway, the sleazy Rock sub-world is meant to be decadent, androgynous, and deviant, isn’t it? It’s only now – sometimes decades later, with the advent of the compensation victim-culture, that the former sexual partners of one-time Pop personalities learn to blame their recovered-memories of abuse for all the subsequent failures of their lives. And perhaps it was. Of course, none of this is intended to excuse or justify what happened, because it isn’t. The essential inequality of power was the same, but it’s not difficult to see how it might have seemed different then, when the media, and people working within it, were less informed and sensitivities were less highly-attuned to abuse than they are now. When the wide-spread extent and long-term legacy of damage were less well-understood.
Jonathan King also had some claim to have ignited the career of the Bay City Rollers by pointing the unlikely quintet in the direction of “Keep On Dancing” – an overlooked American single by the Gentrys, a cover of which provided them with their first hit. He even sang backing vocals on the record. The Bay City Rollers were probably the most atrociously inept group in the history of pop – at least until the advent of Boyzone, but they nevertheless provide a random connection involving pretty much every element of this sad farrago. Beneath the Roller’s gauche, clean-cut milk-&-cookies image, rumours were circulating pretty much from the start, of certain band-members soliciting under-age youths for orgiastic parties. Until, after the band imploded – and within months of Gary Glitter’s release from prison after serving two months for possessing hard-core child pornography, drummer Derek Longmuir was pleading guilty to three charges of indecency involving downloaded Internet child-porn. He was found to have a large stash of videos, magazines and some six-thousand computer images, as well as a slim fifteen-year-old Portuguese boy staying with him. While, in the corrupt opportunistic tradition of Pop management – as they say, it was deja-vu all over again, the band’s some-time manager Tam Patton was also convicted in 1982 of ‘acts of gross indecency’ with underage teenage boys – what the net terms ‘twinks’. He served one year of a three year prison term. More recently he was re-arrested on child sex charges in January 2003, but was cleared of allegations. In a related universe, former group-member Ian Mitchell starred in a porn movie. Scandal-scarred and morally-muddled, the group briefly attempted to reform and tour in 1992 but mercifully an unemployed music fan stole their guitars and hid them in a derelict building. He later admitted his enlightened intention was to ‘save the world from the Bay City Rollers’.
Malcolm McLaren took careful note of the Bay City Rollers’ arc of juvie hits, and claims to have fabricated the Sex Pistols as a kind of dark reflection of their appeal. With his anarcho-Situationist roots he knew all there was to know about the power of agitational-propaganda as a counter-culture weapon against social complacency. Looking back at the publicity generated by the ‘Oz’ farrago, he provoked interviewers with ideas of launching his own ‘Chicken Run’ magazine, slang for underage models. He craftily steered clear of actually doing it. Instead he assembled Bow Wow Wow by putting lead singer Annabelle Lwin together with former members of Adam And The Ants. She’d come to England from Burma, and when McLaren discovered her, she was working in a dry cleaners. She was fourteen, and had the look he wanted. The correct sex-tourist Asian cool. For the band’s album-cover Malcolm contrived a photo-recreation of Manet’s painting ‘Dejeuner Sur L’Herbe’. It was taken when Annabelle was fifteen and – as on the 1863 canvas, she’s portrayed naked. McLaren was smart. He knew what he was doing. Manet’s original painting had caused an uproar of salon controversy. Now, he argued, he was not perpetrating juvie-porn, he was playing cultural-games, knowingly replicating great art. Attack Bow Wow Wow, you’re attacking Manet. A postmodern irony made all the more delicious when Annabel’s mother brought charges against him for exploiting a minor. But is it beautiful? Of course it is. Is it more than just a little pervy…? Most likely.
Malcolm McLaren knows how to play the game, he creates outrage, but stays just the right side of the line when the legal shrapnel starts to fly. Others were less smart, or less fortunate. More devious, more careless, or more evil. They paid with their careers. Without venturing too far into the legal morass that is Michael Jackson we’ll stop short by asking if the world media and justice system would have been quite so understanding if the ‘Prince Of Pop’ had been just the shifty guy from a council flat in Huddersfield and not a billionaire Rock god? Same maybe, for Pete Townshend’s brush with downloading notoriety. In our own more tolerant more understanding times we’re no longer, thankfully, permitted to vilify any religious, racial, or sexual minority. Even those who play S&M games sue, and win damages from the red-tops for invasion of privacy, rather than hiding from scorn, ridicule and prosecution. But society, and the media, nevertheless needs its hate-figures. And there aren’t enough serial killers to go around. So the predatory paedophile threat, amplified by their internet connectivity, has been inflated to fill the void. And who can reasonably argue in their favour?
There’s more. The problem is, there’s much much more. This extended exercise in muck-raking and gratuitous sleeze-dredging is – hopefully, something more than just that. Henry Kissinger called power the world’s greatest aphrodisiac. In Pop, deliberately aimed at youth, that power is held by the contrived anti-glamour of the band on stage, in the videos and on the net. And by those pulling their career strings. There are always those who are going to take advantage of whatever opportunities are there for the taking. And there will always be those who deliberately manipulate themselves into positions best suited to exploit those opportunities. Because a few high-profile offenders have been named and shamed doesn’t mean it’s gone away. Not Everyone’s Gone To The Moon.
FEATURE BY ANDREW DARLINGTON
BEWARE THE 
GOLDEN CRAZIES
(FOR STEVE SNEYD, WHO 
WAS SOMETIMES THERE)


Dialogue:-
‘What colour are his eyes?’
‘I dunno, he’s always wearin’ shades’
‘Is he tall?’
‘Well, I gotta look up’
‘Yeah, well I hear he’s B-A-D!’
‘He’s good-bad, but he’s not evil’
(‘Give Him A Great Big Kiss’ by
Shangri-La’s / George ‘Shadow’ Morton
Copyright ‘Red Bird Records’ 1964



Beware the Golden Crazies
who quit their day jobs and lived to regret it,
who haunt M1 Services poring over juke-boxes searching
for their own name,
who sleep in the back of rusted Ford Transits falling behind
          on H.P. for Gibsons & Fender Strats, infused by
          thefted Chuck Berry runs and amphetamines...

Beware the Golden Crazies
the self-immolators of memory,
blazing airships consuming the night,
metallic dandelion-seeds spiralling down across the sky,
two-tone siren horsemen howling,
wading through elfin-pools of piss and tin-cans cranked up
high on electric decibels,
eyes growing like huge balloons
floating out of leprous faces upwards into the sky
above the office-bound clerk interiors-shrieking moon-scratching
          at sky-lights watching through thumbnail slits for
          spluttering galaxies and balloon-eyes hovering in
          lecherous carrion formations,
          beckoning...

Beware the Golden Crazies
coming at you with murderous intent
across headphones, treble-drenched transistors,
sound-systems, music centres, walkmans, thru walls & floors
and night air
lubricating cajoling silences with snatches of breath
and arteries spider-dripping sweat across billowing Bop-straining
          saxophone neck-muscles foreskin-knotted and folded
          cheeks-inflated to precarious aural limits of sound-tolerance,
          sticky-fingered Dayglo orange claw-toothed spirals
          spittle-gleaming, fret-crawling tarantula’s
          of pure noise...

Beware the Golden Crazies
who grew their hair a little longer,
who wore pointed-toe shoes with buckles,
who switched from purple hearts to acid to animal nitrate to E,
who arrive in Leeds at 3am when the rain has abated and the
          night is star-shocked clear, and are shot down in
          ritual flames disintegrating across the dance-floor in
          ecstatic chaos, crouching among the dust & battered
          cigarette-packs & condoms beneath ancient monitors
          programmed in at each footstep & each vowel of
          disjointed conversation...

Beware the Golden Crazies
who died before they got old
like the last Mod in ‘Quadrophenia’,
who went smashed blocked over the sky to see beyond endless
          bad gigs, good gigs, gigs of terminal monotony
          and transcendental magnificence,
          gigs in Student Union Halls where
          you watch through plate-glass and
          gesticulating Bouncers while bands stagger
          through barriers of paint-peeling amps
          sniffing out functioning mikes,
          and those who are still waiting
          with Rock ‘n’ Roll half a century strong...

Hail dem Golden Crazies
dem groove-talking jive-dancing crazies,
dem tribal dancing electric crazies,
dem scaling chordal chains of riffs towards high-ceilings
beyond faded woodwork beams sound-vibrating
          beyond slates & telegraph power-lines & ozone
          epidermis-layered with soot & chemical smog pollution
          and out into planet-roll silences
          of Rock ‘n’ Roll vinyl forevers,
tactile as sleeve-designs intricate with coffee rings,
eternal as one breath in a lifetime,
one ejaculation in a never-ending all-night stand...


Published in:-
‘SLOW DANCER no.7’ (UK - December 1980)
‘BOX OF RAIN no.13’ (UK - March 1984)
‘THAT’S ENTERTAINMENT: POETRY NOW ANTHOLOGY’
in Hard & Softback (UK - October 1995)
‘BAKER STREET IRREGULARS: MINOTAUR no.33 - Vol.5 No.3’
(USA - July 1999)
Also on Cassette:-
‘SLITS IN AEROSOL GREEN’ (January 1981)
‘S4 - SUPER COMPILATION’ C60 (July 1981)
‘NEW SYSTEMS : WORKING MEN’S TAPES’ (December 1981)