{"id":3444,"date":"2017-04-21T22:03:03","date_gmt":"2017-04-21T21:03:03","guid":{"rendered":"http:\/\/kennywilson.org\/?p=3444"},"modified":"2017-04-21T22:03:03","modified_gmt":"2017-04-21T21:03:03","slug":"tonite-lets-all-make-love-in-leicester-peter-whitehead-and-the-long-1960s-march-2017-de-montfort-university","status":"publish","type":"post","link":"https:\/\/kennywilson.space\/index.php\/2017\/04\/21\/tonite-lets-all-make-love-in-leicester-peter-whitehead-and-the-long-1960s-march-2017-de-montfort-university\/","title":{"rendered":"Tonite Let&#8217;s All Make Love in Leicester: Peter Whitehead and the Long 1960s (March 2017 De Montfort University)"},"content":{"rendered":"<p>Friday 3rd and Saturday 4th of March 2017 I attended a conference at <em>DMU<\/em>, Leicester about film maker<em> Peter Whitehead<\/em>, and celebrating the donation of his archive to the University.<\/p>\n<p>I found out about it late but am really glad I went. There were some excellent\u00a0talks that brought new light to the meaning and relevance of the <em>1960s Counterculture<\/em>, and other aspects of the <em>Swinging 60s<\/em>, and also a sublime showing of Whitehead&#8217;s <em>Tonite Let&#8217;s All Make Love in London<\/em>\u00a0on the big screen at <em>Phoenix Square Cinema<\/em>, Leicester. It was almost like watching a different film to the one\u00a0I have only previously seen on YouTube.<\/p>\n<p>This is a fascinating view of what was happening at the height of what is now seen as the first great flowering of the <em>Counterculture<\/em>. It is not uncritical though and the seeds of it&#8217;s decline can be seen in the interviews of contemporary stars like <em>Julie Christie, Michael Caine<\/em> and <em>David Hockney<\/em>. There is almost a sense of impending loss, and also a critique of it&#8217;s superficiality and materialism.<\/p>\n<p><iframe loading=\"lazy\" title=\"Tonite Let&#039;s All Make Love In London (1967)\" src=\"https:\/\/player.vimeo.com\/video\/111691128?dnt=1&amp;app_id=122963\" width=\"480\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write\"><\/iframe><\/p>\n<p>The film is really a response to <em>Time Magazine&#8217;s<\/em> famous article about <em>Swinging London\u00a0<\/em>that shifted American&#8217;s <em>&#8216;must visit&#8217;<\/em> tourist location from Paris to London. After a brilliant start with footage from the <em>UFO Club<\/em> accompanied by a great\u00a0version of <em>Interstellar Overdrive<\/em> by <em>Pink Floyd<\/em>, <em>Michael Caine<\/em> bizarrely announces that &#8220;&#8230;it all started\u00a0with the loss\u00a0of the British Empire&#8230;.&#8221;<\/p>\n<p>There is no narrative as such but a series of <em>Chapters\u00a0<\/em>that are linked by the time and place, and a general sense of bewilderment by the participants. Following some amazing footage of the <em>Rolling Stones<\/em> live in Ireland <em>Mick Jagger<\/em> comes across\u00a0as a slightly lost , petulant school boy\u00a0trying to make sense of it all &#8220;&#8230; they don&#8217;t like violence but they themselves are violent which doesn&#8217;t seem to make sense&#8230;&#8221;. Yes okay Mick, thanks for that, you sound just like my mother. <em>Julie Christie<\/em>, who looks absolutely stunning, bemoans the fact that she is totally superficial and has nothing to say &#8220;&#8230; everything&#8217;s happening to me and I&#8217;m not happening to anything&#8230;am I allowed to talk?&#8230;&#8221;. <em>David Hockney<\/em> is not impressed by <em>&#8216;Swinging London&#8217;<\/em> at all and prefers New York and California. The bars stay open til 2 a.m. and the drinks are cheaper and he can meet ordinary people in the clubs, unlike London which is overpriced and exclusive. To be fair though, <em>David Hockney<\/em> has been moaning about something for most of his life, quite often\u00a0about not being allowed to smoke cigarettes wherever\u00a0he wants! He is very amusing though. When <em>Julie Christie<\/em> smokes a cigarette in the film she doesn&#8217;t look like she quite knows what to do with it. <em>Vanessa Redgrave<\/em>, on the other hand, exudes confidence and political commitment and sings <em>a capella <\/em>and lectures the audience, a bit like\u00a0an over-confident trainee teacher.<\/p>\n<p><em>Andrew Loog Oldham<\/em> is the stereotype\u00a0of a cynical, Svengali-like pop manager who talks about how\u00a0he &#8216;invented&#8217; the <em>Rolling Stones<\/em> image as the &#8216;bad boys&#8217; of pop, which, in fact, they quite obviously are\u00a0not. He revels in his lack of knowledge but obviously believes\u00a0he can do anything he wants &#8220;&#8230; I might get into politics someday..or films&#8221; he says. In some ways, this\u00a0is quite a refreshing and confident attitude. Nevertheless, he never <em>did<\/em> get into either politics or films which is probably just as well as I am sure he would have joined the ranks of the <em>Thatcherites <\/em>and done something really terrible\u00a0like close down the NHS or sell the whole of England to Disneyworld. The film ends where it began with some amazing footage of dancers at the <em>UFO Club<\/em> and the music of <em>Pink Floyd.\u00a0<\/em>A truly remarkable film! There is a real sense of dynamism and change. The way the music accompanies the live performances of the Stones is inspired especially with the song <em>Lady Jane<\/em>. <em>Whitehead<\/em> doesn&#8217;t bother about synchronicity and blends unrelated recordings with live footage. <em>Have You Seen Your Mother Baby (Standing in the Shadows)<\/em>, a surprisingly dark and seemingly uncommercial recording (even though it was a top ten hit), it&#8217;s not unlike the Velvet Underground, plays while the band and audience go wild and <em>Lady Jane\u00a0<\/em>introduces a strange and eerie sense of calm.<\/p>\n<p>The rest of the conference passed quickly. It took place over two days but the papers delivered were so fascinating\u00a0that I never lost interest the whole time I was there. This has got to be a first for me, my attention can easily wander! I usually have alternative activities at hand in case I get bored! Didn&#8217;t need them this time! There were a wide range of themes that dealt with the 60s with some, but not all, relating to the work of Peter Whitehead<\/p>\n<p><em>Adrian Smith<\/em> discussed the interesting sub genre <em>The Love Business: European Prostitution Drama as British Popular Entertainment<\/em>. This dealt with the film distributors who were showing European films, many of which had a serious sub-text, as soft porn films to a British audience. There are some echoes of this theme in a recent Channel 4 series <em>Magnifica 70<\/em>\u00a0that deals with film and censorship in Brazil in 1970. Worryingly, this is about a right wing dictatorship in Brazil but could just as easily be about censorship and social control in Britain in the 1960s. \u00a0Definitely worth a look.<\/p>\n<figure id=\"attachment_3675\" aria-describedby=\"caption-attachment-3675\" style=\"width: 532px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/kennywilsonmusic.files.wordpress.com\/2017\/04\/20170303_143515.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-3675\" src=\"https:\/\/kennywilsonmusic.files.wordpress.com\/2017\/04\/20170303_143515.jpg?w=300\" alt=\"\" width=\"532\" height=\"300\" \/><\/a><figcaption id=\"caption-attachment-3675\" class=\"wp-caption-text\">The Love Business: European Prostitution Drama as British Popular Entertainment<\/figcaption><\/figure>\n<p><em>Richard Farmar<\/em> looked at the bizarre film <em>The Touchables<\/em>\u00a0and <em>Melanie Williams<\/em> gave an interesting account of the film maker <em>David Hart. <\/em>She talked about the <em>&#8220;Right-wing Counterculture&#8221;<\/em> which to some would be a contradiction in terms. The majority of \u00a0countercultural participants were either <em>&#8220;left wing&#8221;<\/em> or perhaps\u00a0<em>&#8220;apolitical&#8221;<\/em> but she made a very good argument about how many issues, like women&#8217;s lib or gay rights, could belong to either\u00a0the left or right. \u00a0She pointed out how politician and journalist\u00a0<em>Jonathon Aitken<\/em> started as a countercultural figure in the 1960s but ended up as a cabinet minister in the Conservative Government of the 1980s (before he ended up in jail, that is!). I have investigated\u00a0elements of right wing attitudes in my essay\u00a0<em><a href=\"http:\/\/kennywilson.org\/2012\/12\/31\/the-decline-of-the-1960s-counterculture-and-the-rise-of-thatcherism\/\">The Decline of the 1960s Counterculture and the Rise of Thatcherism<\/a><\/em>\u00a0in which I look at <em>libertarianism<\/em> and other aspects of the counterculture in the 1980s such as <em>sexual freedom<\/em>, <em>drug taking<\/em> and <em>&#8220;alternative&#8221;<\/em> businesses such as <em>Virgin<\/em> and <em>Gap<\/em>.<\/p>\n<figure id=\"attachment_3676\" aria-describedby=\"caption-attachment-3676\" style=\"width: 538px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/kennywilsonmusic.files.wordpress.com\/2017\/04\/20170303_152150.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\" wp-image-3676\" src=\"https:\/\/kennywilsonmusic.files.wordpress.com\/2017\/04\/20170303_152150.jpg?w=300\" alt=\"\" width=\"538\" height=\"303\" \/><\/a><figcaption id=\"caption-attachment-3676\" class=\"wp-caption-text\">David Hart and Right-wing Counterculture<\/figcaption><\/figure>\n<p><em>Caroline Langhors<\/em>t gave an interesting talk on three lesser known films of the 1960s all of which are critical of the optimism and the <em>joie de vivre<\/em> of the period. These are <em>Tonite\u00a0<\/em><em>Let&#8217;s All Make Love in London,<\/em> <em>Privilege <\/em>(starring<em> Manfred Mann <\/em>singer<em> Paul Jones)<\/em> and <em>Herostratus<\/em> (featuring a young <em>Helen Mirren<\/em>).<\/p>\n<figure id=\"attachment_3679\" aria-describedby=\"caption-attachment-3679\" style=\"width: 555px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/kennywilsonmusic.files.wordpress.com\/2017\/04\/20170303_161704.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\" wp-image-3679\" src=\"https:\/\/kennywilsonmusic.files.wordpress.com\/2017\/04\/20170303_161704.jpg?w=300\" alt=\"\" width=\"555\" height=\"313\" \/><\/a><figcaption id=\"caption-attachment-3679\" class=\"wp-caption-text\">1960s Dystopian Tendecies<\/figcaption><\/figure>\n<p>Both <em>Privilege<\/em> and, especially, <em>Herostratus<\/em> are relatively unknown films. <em>Privilege<\/em> had a cinema release\u00a0in the 1960s (I actually saw it) but I believe Herostratus was virtually lost, although there is a copy\u00a0now on Blu-ray (which I have yet to see). There are some clips of it on YouTube which are quite intriguing. Personally, I feel that the films that really define and critique the era, especially in terms of pop music and the counterculture, are <em>Easy Rider,<\/em>\u00a0<em>Performance<\/em> (featuring Mick Jagger) and, of course, <em>Tonite Let&#8217;s All Make Love in London<\/em>. What becomes generally apparent is the mainstream media&#8217;s inability to really understand what is going on during this period. Their attempt to commercialise the movement in films of the time often produced a cliched view of pop culture and society that, for some, defines what the 1960s are about but is actually a ridiculous fiction.<\/p>\n<figure id=\"attachment_3683\" aria-describedby=\"caption-attachment-3683\" style=\"width: 557px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/kennywilsonmusic.files.wordpress.com\/2017\/04\/20170304_100204.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-3683\" src=\"https:\/\/kennywilsonmusic.files.wordpress.com\/2017\/04\/20170304_100204.jpg?w=300\" alt=\"\" width=\"557\" height=\"314\" \/><\/a><figcaption id=\"caption-attachment-3683\" class=\"wp-caption-text\">Niki de Sainte Phalle with her trademark targets. An influence on Mod fashion?<\/figcaption><\/figure>\n<p>There were some interesting talks about feminism in the 1960s. <em>Alissa Clark<\/em> investigated Peter Whitehead and <em>Niki de Saint-Phalle&#8217;s\u00a0<\/em>collaberation<em> Daddy.<\/em>\u00a0In 1972, Saint Phalle shot footage for this surreal horror film about a deeply troubled father-daughter, love-hate relationship. She was an artist, sculptor and film maker who made quite an impact on the <em>avant garde<\/em> scene from the 1940s onwards.<\/p>\n<figure id=\"attachment_3682\" aria-describedby=\"caption-attachment-3682\" style=\"width: 517px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/kennywilsonmusic.files.wordpress.com\/2017\/04\/20170304_103025.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\" wp-image-3682\" src=\"https:\/\/kennywilsonmusic.files.wordpress.com\/2017\/04\/20170304_103025.jpg?w=300\" alt=\"\" width=\"517\" height=\"291\" \/><\/a><figcaption id=\"caption-attachment-3682\" class=\"wp-caption-text\">Jane Arden &#8220;The Other Side of Underneath&#8221;<\/figcaption><\/figure>\n<p>There was also a passionate and forceful account of radical filmmaker and theatremaker Jane Arden who I had actually not heard of before.\u00a0In 1970, Arden formed the radical feminist theatre group <em>Holocaust<\/em> and then wrote the play <i>A New Communion for Freaks, Prophets and Witches<\/i>. The play would later be adapted for the screen as <i><a title=\"The Other Side of the Underneath\" href=\"https:\/\/en.wikipedia.org\/wiki\/The_Other_Side_of_the_Underneath\" target=\"_blank\" rel=\"noopener noreferrer\">The Other Side of the Underneath<\/a><\/i> (1972). Arden directed the film and appeared in it uncredited; screenings at film festivals, including the <em>1972 London Film Festival<\/em>, caused a considerable stir. The film depicts a woman&#8217;s mental breakdown and rebirth in scenes at times violent and highly shocking; the writer and critic <em>George Melly<\/em> described it as &#8220;a most illuminating season in Hell&#8221;,\u00a0while the BBC Radio journalist <em>David Will<\/em> declared the film to be &#8220;a major breakthrough for the British cinema&#8221;. Interesting stuff!<\/p>\n<p><em>Stephen Glynn<\/em> gave an entertaining look at Whitehead&#8217;s films of the <em>Rolling Stones<\/em> including the iconic promotional film for the song <em>We Love You <\/em>and<em> Steve Chibnall <\/em>showed us what the 1960s Counterculture was like in a provincial city, namely Leicester! Well, I should know because I was there, but he managed to come out with facts that I knew nothing about. For example, how the local paper <em>The Leicester Mercury<\/em> led a campaign to close down the late night clubs and coffee bars that proliferated at the time.\u00a0<em>Do You Know What Your Children Are Up To While You Sleep?<\/em> screamed the headlines. My favourite band <em>Legay<\/em> complained that they had hardly anywhere left to play and were moving to London! I am shocked and stunned by these revelations!<\/p>\n<figure id=\"attachment_3685\" aria-describedby=\"caption-attachment-3685\" style=\"width: 582px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/kennywilsonmusic.files.wordpress.com\/2017\/04\/20170304_120628.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-3685\" src=\"https:\/\/kennywilsonmusic.files.wordpress.com\/2017\/04\/20170304_120628.jpg?w=300\" alt=\"\" width=\"582\" height=\"328\" \/><\/a><figcaption id=\"caption-attachment-3685\" class=\"wp-caption-text\">Jimi Hendrix at the Leicester Art College Hawthorn Building. Local rock and roll band Warlock ended up doing the support spot.<\/figcaption><\/figure>\n<p><em>Richard Dacre<\/em> gave an entertaining account of the <em>Counterculture<\/em> and <em>Peter Whitehead<\/em> at the <em>Royal Albert Hall<\/em>. Apparently, after <em>Wholly Communion,<\/em> poetry performances were banned at the hall for more than 20 years! Hilarious. I am looking forward to the <em>Whitehead<\/em> inspired festival at the <em>RAH<\/em> later on this year!<\/p>\n<figure id=\"attachment_3688\" aria-describedby=\"caption-attachment-3688\" style=\"width: 598px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/kennywilsonmusic.files.wordpress.com\/2017\/04\/20170304_142725.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-3688 \" src=\"https:\/\/kennywilsonmusic.files.wordpress.com\/2017\/04\/20170304_142725.jpg?w=300\" alt=\"\" width=\"598\" height=\"336\" \/><\/a><figcaption id=\"caption-attachment-3688\" class=\"wp-caption-text\">Counterculture at the Royal Albert Hall<\/figcaption><\/figure>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Friday 3rd and Saturday 4th of March 2017 I attended a conference at DMU, Leicester about film maker Peter Whitehead, and celebrating the donation of his archive to the University. I found out about it late but am really glad I went. There were some excellent\u00a0talks that brought new light to the meaning and relevance [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7,13,16,34,40,41,42],"tags":[175,182,278,289,356,366,397,403,492],"class_list":["post-3444","post","type-post","status-publish","format-standard","hentry","category-audio-video","category-counterculture","category-film","category-mods-and-hippies","category-peter-whitehead","category-photography","category-pink-floyd","tag-de-montfort-university","tag-dmu","tag-leicester","tag-london","tag-phoenix-square","tag-poetry","tag-rolling-stones","tag-royal-albert-hall","tag-wholly-communion"],"_links":{"self":[{"href":"https:\/\/kennywilson.space\/index.php\/wp-json\/wp\/v2\/posts\/3444","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/kennywilson.space\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kennywilson.space\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kennywilson.space\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kennywilson.space\/index.php\/wp-json\/wp\/v2\/comments?post=3444"}],"version-history":[{"count":0,"href":"https:\/\/kennywilson.space\/index.php\/wp-json\/wp\/v2\/posts\/3444\/revisions"}],"wp:attachment":[{"href":"https:\/\/kennywilson.space\/index.php\/wp-json\/wp\/v2\/media?parent=3444"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kennywilson.space\/index.php\/wp-json\/wp\/v2\/categories?post=3444"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kennywilson.space\/index.php\/wp-json\/wp\/v2\/tags?post=3444"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}