I love to find a good Paris photo story that I haven’t seen before, and this one that I found buried in the LIFE archives is a quite the treat. Veteran photographer for the magazine Loomis Dean followed a group of young students in 1961, getting an intimate peek into their lives as they pursued the bohemian dream in mid-century Paris.
And you know what? It doesn’t seem like much has changed. Clicking through, I noticed the routines didn’t seem so different from the Paris I’ve come to know today. Whether you start out in a tiny attic room or student dorms, throw yourself into the café culture or lose yourself in art museums, Paris is more recogniseable than ever in this photo story from decades past…
Monday nights at the local…
The mid-week hangovers…
Actual photo caption: “Student with a hangover”.
To the Café! (and make it a double)…
Close living quarters (the dorm room years)…
A college dormitory at number 57 Rue Lacépède in the 5th arrondissement (Latin Quarter).
There is still a café under this building called La Contrescarpe (see it here on Google earth).
A student looking through his music.
A Classroom in Paris
Students studying in a park.
Art students visiting a gallery.
Every hour is Apéro Hour!
Getting to know the locals…
(over Pastis-fuelled philosophical debates)
Beatnik shindigs in old wine cellars…
Ending up at a house parties, having no idea who the apartment belongs to.
This is a video of my talk at BRLSI in July. It’s not great quality but you get the whole thing! I originally put it on YouTube but it got blocked because of my use of two Bob Dylan songs. This was a bit disappointing but I have decided to upload it here instead. I hope Bob won’t mind too much, he always seemed to understand the true value of copyright theft and plagiarism!
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 talks that brought new light to the meaning and relevance of the 1960s Counterculture, and other aspects of the Swinging 60s, and also a sublime showing of Whitehead’s Tonite Let’s All Make Love in London on the big screen at Phoenix Square Cinema, Leicester. It was almost like watching a different film to the one I have only previously seen on YouTube.
This is a fascinating view of what was happening at the height of what is now seen as the first great flowering of the Counterculture. It is not uncritical though and the seeds of it’s decline can be seen in the interviews of contemporary stars like Julie Christie, Michael Caine and David Hockney. There is almost a sense of impending loss, and also a critique of it’s superficiality and materialism.
The film is really a response to Time Magazine’s famous article about Swinging London that shifted American’s ‘must visit’ tourist location from Paris to London. After a brilliant start with footage from the UFO Club accompanied by a great version of Interstellar Overdrive by Pink Floyd, Michael Caine bizarrely announces that “…it all started with the loss of the British Empire….”
There is no narrative as such but a series of Chapters that are linked by the time and place, and a general sense of bewilderment by the participants. Following some amazing footage of the Rolling Stones live in Ireland Mick Jagger comes across as a slightly lost , petulant school boy trying to make sense of it all “… they don’t like violence but they themselves are violent which doesn’t seem to make sense…”. Yes okay Mick, thanks for that, you sound just like my mother. Julie Christie, who looks absolutely stunning, bemoans the fact that she is totally superficial and has nothing to say “… everything’s happening to me and I’m not happening to anything…am I allowed to talk?…”. David Hockney is not impressed by ‘Swinging London’ 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, David Hockney has been moaning about something for most of his life, quite often about not being allowed to smoke cigarettes wherever he wants! He is very amusing though. When Julie Christie smokes a cigarette in the film she doesn’t look like she quite knows what to do with it. Vanessa Redgrave, on the other hand, exudes confidence and political commitment and sings a capella and lectures the audience, a bit like an over-confident trainee teacher.
Andrew Loog Oldham is the stereotype of a cynical, Svengali-like pop manager who talks about how he ‘invented’ the Rolling Stones image as the ‘bad boys’ of pop, which, in fact, they quite obviously are not. He revels in his lack of knowledge but obviously believes he can do anything he wants “… I might get into politics someday..or films” he says. In some ways, this is quite a refreshing and confident attitude. Nevertheless, he never did get into either politics or films which is probably just as well as I am sure he would have joined the ranks of the Thatcherites and done something really terrible like 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 UFO Club and the music of Pink Floyd. 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 Lady Jane. Whitehead doesn’t bother about synchronicity and blends unrelated recordings with live footage. Have You Seen Your Mother Baby (Standing in the Shadows), a surprisingly dark and seemingly uncommercial recording (even though it was a top ten hit), it’s not unlike the Velvet Underground, plays while the band and audience go wild and Lady Jane introduces a strange and eerie sense of calm.
The rest of the conference passed quickly. It took place over two days but the papers delivered were so fascinating that 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’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
Adrian Smith discussed the interesting sub genre The Love Business: European Prostitution Drama as British Popular Entertainment. 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 Magnifica 70 that 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. Definitely worth a look.
Richard Farmar looked at the bizarre film The Touchables and Melanie Williams gave an interesting account of the film maker David Hart. She talked about the “Right-wing Counterculture” which to some would be a contradiction in terms. The majority of countercultural participants were either “left wing” or perhaps “apolitical” but she made a very good argument about how many issues, like women’s lib or gay rights, could belong to either the left or right. She pointed out how politician and journalist Jonathon Aitken 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 elements of right wing attitudes in my essay The Decline of the 1960s Counterculture and the Rise of Thatcherism in which I look at libertarianism and other aspects of the counterculture in the 1980s such as sexual freedom, drug taking and “alternative” businesses such as Virgin and Gap.
Caroline Langhorst gave an interesting talk on three lesser known films of the 1960s all of which are critical of the optimism and the joie de vivre of the period. These are Tonite Let’s All Make Love in London,Privilege (starring Manfred Mann singer Paul Jones) and Herostratus (featuring a young Helen Mirren).
Both Privilege and, especially, Herostratus are relatively unknown films. Privilege had a cinema release in the 1960s (I actually saw it) but I believe Herostratus was virtually lost, although there is a copy now 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 Easy Rider,Performance (featuring Mick Jagger) and, of course, Tonite Let’s All Make Love in London. What becomes generally apparent is the mainstream media’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.
There were some interesting talks about feminism in the 1960s. Alissa Clark investigated Peter Whitehead and Niki de Saint-Phalle’s collaberation Daddy. In 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 avant garde scene from the 1940s onwards.
There was also a passionate and forceful account of radical filmmaker and theatremaker Jane Arden who I had actually not heard of before. In 1970, Arden formed the radical feminist theatre group Holocaust and then wrote the play A New Communion for Freaks, Prophets and Witches. The play would later be adapted for the screen as The Other Side of the Underneath (1972). Arden directed the film and appeared in it uncredited; screenings at film festivals, including the 1972 London Film Festival, caused a considerable stir. The film depicts a woman’s mental breakdown and rebirth in scenes at times violent and highly shocking; the writer and critic George Melly described it as “a most illuminating season in Hell”, while the BBC Radio journalist David Will declared the film to be “a major breakthrough for the British cinema”. Interesting stuff!
Stephen Glynn gave an entertaining look at Whitehead’s films of the Rolling Stones including the iconic promotional film for the song We Love You and Steve Chibnall 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 The Leicester Mercury led a campaign to close down the late night clubs and coffee bars that proliferated at the time. Do You Know What Your Children Are Up To While You Sleep? screamed the headlines. My favourite band Legay complained that they had hardly anywhere left to play and were moving to London! I am shocked and stunned by these revelations!
Richard Dacre gave an entertaining account of the Counterculture and Peter Whitehead at the Royal Albert Hall. Apparently, after Wholly Communion, poetry performances were banned at the hall for more than 20 years! Hilarious. I am looking forward to the Whitehead inspired festival at the RAH later on this year!
“THE MAPPLETHORPE PHOTO SYNTHESIZES MY PASSIONS AND WORLD-VIEW”
In 1975, Arista Records released Horses, the first rock album by New York bohemian poet Patti Smith. The stark cover photo, taken by someone named Robert Mapplethorpe, was devastatingly original. It was the most electrifying image I had ever seen of a woman of my generation. Now, two decades later, I think that it ranks in art history among a half-dozen supreme images of modern woman since the French Revolution.
I was then teaching at my first job in Vermont and turning my Yale doctoral dissertation, Sexual Personae, into a book. The Horses album cover immediately went up on my living-room wall, as if it were a holy icon. Mapplethorpe’s portrait of Patti Smith symbolized for me not only women’s new liberation but the fusion of high art and popular culture that I was searching for in my own work.
From its rebirth in the late 1960s, the organized women’s movement had been overwhelmingly hostile to rock music, which it called sexist. Patti Smith’s sudden national debut galvanized me with the hope (later proved futile) that hard rock, the revolutionary voice of the counterculture, would also be endorsed by feminism.
Smith herself emerged not from the women’s movement but from the artistic avant-garde as well as the decadent sexual underground, into which her friend and lover Mapplethorpe would plunge ever more deeply after their breakup.
Unlike many feminists, the bisexual Smith did not base her rebellion on a wholesale rejection of men. As an artist, she paid due homage to major male progenitors; she wasn’t interested in neglected foremothers or a second-rate female canon. In Mapplethorpe’s half-transvestite picture, she invokes her primary influences, from Charles Baudelaire and Frank Sinatra to Bob Dylan and Keith Richards, the tormented genius of the Rolling Stones who was her idol and mine.
Before Patti Smith, women in rock had presented themselves in conventional formulas of folk singer, blues shouter, or motorcycle chick. As this photo shows, Smith’s persona was brand new. She was the first to claim both vision and authority, in the dangerously Dionysian style of another poet, Jim Morrison, lead singer of the Doors. Furthermore, in the competitive field of album-cover design inaugurated in 1964 with Meet the Beatles(the musicians’ dramatically shaded faces are recalled here), no female rocker had ever dominated an image in this aggressive, uncompromising way.
The Mapplethorpe photo synthesizes my passions and world-view. Shot in steely high contrast against an icy white wall, it unites austere European art films with the glamorous, ever-maligned high-fashion magazines. Rumpled, tattered, unkempt, hirsute, Smith defies the rules of femininity. Soulful, haggard and emaciated yet raffish, swaggering and seductive, she is mad saint, ephebe, dandy and troubadour, a complex woman alone and outward bound for culture war.