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A major and definitive history of countercultural London by a pre-eminent chronicler of the cultural underground. Not many other books convey the breadth of alternative movements in London from 1945 to the 1980s, covering the entire story from jazz and coffee to punk and speed. Miles occupies an unrivalled role as the leading authority on the counterculture in Britain: he ran the Indica Gallery, where John Lennon met Yoko Ono, and ran Apple's spoken word label, Zapple. 'I devoured this wonderful cultural history' Boris Johnson, "Mail on Sunday"
Book Details
Publisher:
Atlantic Books
Publication Date:
01-Feb-2011
ISBN:
9781843546146
Observer review
London Calling: A Countercultural History of London Since 1945 by Barry Miles review
Travis Elborough the observer Sun 06 February 2011
Noting an influx of film people and the loss of cheap cafes for artists, guidebook writer Stanley Jackson declared bohemianism in Soho all but dead as long ago as 1946. Barry Miles, co-founder of 60s underground newspaper International Times, is alive to the dangers of making such fateful pronouncements. All the same, his hugely enjoyable survey of London's cultural underbelly has the feel of a requiem.
With Francis Bacon's beloved Colony Room gone, and the Groucho Club owned by a private equity firm, the capital's truly countercultural days are firmly behind it. Miles is tremendous at evoking a now vanished city of coffee bars and out-of-hours drinking dens, a sordidly romantic metropolis where days could be idled away in a fog of Craven "A" smoke alongside impecunious poets, French prostitutes and bearded folk musicians. The internet, Miles reasons, has eroded the importance of place and is killing off the avant-garde by making any activity (however outrageous) instantly accessible.
Pure nostalgia, though, is kept firmly in check by eye-opening details of Withnail and I-esque squalor, the greatest furnished from the author's own memories. (A description of the novelist Alexander Trocchi's Holland Park penthouse littered with used syringes makes for distinctly queasy reading.) The book ranges from the postwar Fitzrovia of Julian Maclaren-Ross to the Young British Artists in Shoreditch around the millennium. But, inevitably, it is at its most assured and original when covering the 1960s.
One thing Miles conveys well is the degree to which a deeply antagonistic establishment was a necessary evil in all of this. Police raids on nightclubs, bookshops and galleries stud the narrative like cloves in a ham. Even the Park Square Mews home of Radio 1's John Peel was seemingly not immune from the attention of the boys in blue. The constant harassment of Le Deuce, the pioneering gay disco on D'Arblay Street frequented by Derek Jarman, had fatal consequences for the club's tropical fish: every time it was raided, the clientele tossed their pep pills into the tank beside the dance floor, poisoning the fish in the process.