Mickey Deans, Judy Garland and Johnnie Ray at Chelsea Register Office, March 1969

On March 15th 1969 at Chelsea Register Office on the Kings Road, Judy Garland married a gay discotheque manager and part-time jazz pianist called Mickey Devinko better known as Mickey Deans. After the brief ceremony, which was actually her fifth, Garland said;

“This is it. For the first time in my life, I am really happy. Finally, I am loved.”

Not that loved, because despite the long celebrity guest-list, not one of Judy’s famous friends made it to the reception held at Quaglino’s the large and expensive restaurant situated in Bury Street just south of Piccadilly. Several hundred people were invited and only fifty made it to the function.

Mickey, Judy and Johnnie

The glasses of champagne remained largely undrunk and an ostentatious three-tiered cake remained mostly uneaten. “I can’t understand it,” Judy was reported to have said in next day’s Sunday Express, “they all said they’d come”. Even her daughter Liza Minnelli, who had turned 23 just three days before, had called her mother to say “I can’t make it, Mama, but I promise I’ll come to your next one.” Another journalist apparently wrote that the reception was “the saddest and most pathetic party I have ever attended”.

Judy and Mickey on the empty dancefloor at Quaglinos

Actually there was one celebrity guest at the wedding – Mickey Deans’ best man, Johnnie Ray. Ray had had hits in the fifties such as Cry and The Little White Cloud That Cried and was famous for the mootable ability to cry on stage earning him the moniker ‘the Nabob of Sob’ or occasionally the ‘Prince of Wails’. In reality, Ray was no close friend of Deans or Garland and the only reason that he was a guest at the wedding was that he was due to open for a brief Scandinavian tour Deans had organised for his new wife four days after the wedding.

Johnnie Ray at the reception

Judy told the Sunday Express:

“I don’t know if London still needs me, but I certainly need it! It’s good and kind to me. I feel at home here. The people understand me, and I’m not aware of the cruelty I’ve so often felt in the States. I’ve reached a point in my life where the most precious thing is compassion – and I get this here.”

Judy and Mickey

4 Cadogan Lane in Chelsea, November 2009

After the wedding Garland and Deans rented a small mews house in a Chelsea cul-de-sac called Cadogan Lane. On Saturday 22 June, just three months after their wedding, Judy and Mickey had been watching a BBC documentary on the Royal family but, not untypically, had started to furiously row. Garland ran into the street shouting and screaming (also not untypically) followed not long after by Deans who ran after her. He was unable to find his wife and returned to the house and soon after went to bed.

At around 10.40am the next morning the phone rang for Garland. Deans, initially unable to find her, found the bathroom door locked. He climbed out on to the roof and looking through the window saw Garland motionless on the toilet with her head slumped forward and her hands on her knees. Climbing into the bathroom he found her skin was discoloured and dried blood had dribbled from her mouth and nose. She had been dead for about eight hours.

The Chelsea Coroner, Gavin Thurston wrote “This is a clear picture of someone who had been habituated to barbiturates in the form of Seconal for a very long period of time, and who on the night of june 22nd/23rd perhaps in a state of confusion from a previous dose (although this is pure speculation) took more barbiturate than her body could tolerate.”

Garland had been taking drugs since she was in her early teens, initially to keep her weight down – Louis B Mayer the owner of MGM called her ‘that fat kid’ (not to mention ‘my little hunchback’ – you can understand why she had trouble with self-esteem all her life) and was constantly troubled by what he saw as her weight problem. Studio doctors prescribed the new wonder drug Benzedrine and subsequently the more sophisticated offshoots Dexedrine and Dexamyl. Drugs like these, at the time, seemed like miracles of science and were as common as aspirin.

Judy at sixteen

Louis B Mayer and his 'little hunchback'

Garland had been prescribed Seconal, the drug that killed her, off and on, since the fifties. It is a barbiturate derivative medicine that was becoming widely misused in the sixties. It had nicknames such as ‘reds’, ‘red-devils’ or seccies, but another nickname was ‘dolls’ and thus responsible for the punning title of Jacqueline Susann’s novel ‘Valley of the Dolls’.

Seconal

Jacqueline Susann and Judy Garland at a press conference for Valley of the Dolls in 1967

The character Neely O’Hara in the book, with her undoubted talent blunted by self-destructive alcoholism and dependency on prescription drugs, was purportedly based on Garland. Judy was actually cast in the film, not as O’Hara but to play the character Helen Lawson but not long into the filming Garland missed several days of rehearsals and was fired in April 1967. She was replaced by Susan Heyward but not before Garland recorded the song ‘I’ll Plant My Own Tree’.

Judy Garland was just 47 years old and $4 million in debt when she died. She was buried in New York and, making an effort this time, guests included Lauren Bacall, James Mason, Cary Grant, Katharine Hepburn, Lana Turner and latterly Frank Sinatra who paid all the funeral expenses and presciently said, “Judy will now have a mystic survival. She was the greatest.”

Judy Garland's body as it arrived back in the States

Ironically, considering the effort she put into keeping her weight down, Garland was probably less than 70 lbs when she died. She was so thin that it was said that to keep the waiting photographers non the wiser, when her body was removed from the Cadogan Lane mews house, covered in only a blanket, she was carried out draped over someone’s arm like a folded coat.

http://www.youtube.com/watch?v=j7ZkqQTopOg

Judy Garland applying makeup before her last ever concert in Denmark 1969

Judy Garland (with Mickey Deans) – When Sunny Gets Blue – recorded three days before she died. Mickey is heard on the piano prompting her

Judy Garland – Broadway Rhythm – by way of contrast this is Judy performing on MGM radio with Wallace Beery aged just 13 and just after she signed with MGM (she’s wrongly announced as 12)

Billie Carleton

Seventeen days after World War One had ended, a young pretty actress called Billie Carleton had a starring role at the huge Victory Ball held at the Albert Hall on 28th November 1918. One newspaper described her appearance:

It seemed that every man there wished to dance with her. Her costume was extraordinary and daring to the utmost, but so attractive and refined was her face that it never occurred to any one to be shocked. The costume consisted almost entirely of transparent black georgette.

Just a few months previously Tatler magazine had described one of her appearances on a London stage, saying that she had:

Cleverness, temperament and charm. Not enough of the first, and perhaps too much of the latter.

Carleton was well on the way to becoming a big star by now but her career was continually being held back by what was becoming a rather obvious and large drug habit. And, unfortunately, the girl with too much charm and the daring costume was found dead in her Savoy Hotel suite by her maid the morning after the Victory ball. She was just 22 years old.

A gold box containing cocaine was found at her bedside and at the inquest it was suggested that she had died of ‘cocaine poisoning’. Although it was more likely that a combination of cocaine and some kind of depressant helped end her short life.

Billie Carlton in 1916

The subsequent court case revealed a highly dubious way of life for a young woman of the time. Witnesses described her heavy cocaine and opium use and it became known that the London-born actress, who incidentally never knew her father, was involved with three ‘sugar daddies’. Two of these helped her financially – she had a very expensive life-style to maintain including a permanent suite at the Savoy Hotel – while the other, a married dress-designer called Reggie de Veulle, was more of a drug-taking partner.

The Daily Sketch front page January 24th 1919

It was de Veulle who had given Carleton the cocaine that apparently had killed her. He had bought the drug a few days previously from a Scottish woman called Ada and her Chinese husband Lau Ping You who both lived on the Limehouse Causeway. In court it came to light that de Veulle had been involved in a previous homosexual blackmail case and with a headline that read “An Opium Circle. Chinaman’s Wife Sent to Prison. High Priestess of Unholy Rites” the normally staid Times reported that both de Veulle and Carleton had been at an all-night ‘orgy’ in a Mayfair flat where the women wore flimsy nighties and the men silk pyjamas while smoking opium.

The press and the court, however, considered Billie Carleton a tragic innocent victim describing her as having:

“a certain frail beauty of that perishable, moth-like substance that does not last long in the wear and tear of this rough-and-ready world.”

Ada was sentenced to five months hard labour, her husband escaped with just a ten pound fine while, despite the judge’s direction, the jury acquitted Carleton’s friend Reggie de Veulle of her manslaughter. He admitted, however, to supplying Carleton cocaine and was imprisoned for eight months.

The death of beautiful girl from drugs combined with the involvement of a Chinese man created what was to become the first big drug scandal of the 20th century. The press, as they say, whipped themselves into a frenzy and the newspaper Pictorial News, for instance, ran a series of pieces about the East End of London and what they described as the encroaching ‘Yellow Peril’.

In the real world the so-called ‘yellow peril’ was actually a small, relatively law-abiding Chinese community which had been based around the Limehouse docks area from around the beginning of the 19th century. By the beginning of the twentieth century there were two separate communities in the area – the Chinese from Shanghai were based around Pennyfields and Ming Street (between the present Westferry and Poplar DLR stations) whereas the immigrants from Southern China and Canton lived around Gill Street and the Limehouse Causeway. By 1911 the whole area had started to be called Chinatown by the rest of London.

The East End Chinatown in 1911

Three seamen on the West India Dock Road

Bag and sack shop circa 1900

Considering that there were rarely more than a few hundred Chinese people living around Limehouse before and after the first world war (in fact Liverpool had a far larger Chinese population), the East End Chinatown had an extraordinarily bad reputation.

It wasn’t just the fault of a slavering press looking for scandal and writing lurid headlines about opium dens and the white-slave traders there were also numerous writers, novelists and even film-makers that were helping to greatly exaggerate the danger and immorality of the area. At times it seemed that Limehouse was almost singlehandedly responsible for corroding the moral backbone of the British middle-classes.

Limehouse in 1927

Shop in Pennyfields in 1924

Limehouse in 1910

HV Morton the famous travel essayist and journalist wrote about Limehouse in his book ‘The Nights of London’ in 1926:

The squalor of Limehouse is that strange squalor of the East which seems to conceal vicious splendour. There is an air of something unrevealed in those narrow streets of shuttered houses, each one of which appears to be hugging its own dreadful little secret… you might open a filthy door and find yourself in a palace sweet with joss-sticks, where queer things happen in a mist of smoke……The silence grips you, almost persuading you that behind it is something which you are always on the verge of discovering; some mystery of vice or of beauty, or of terror and cruelty.

The fact that the Chinese community liked to gamble and smoke opium was bad enough but it seemed to be the fear of sexual contact between the races (which the drug-taking of course only exacerbated) that frightened so many people; especially the newspaper editors of the time. ‘White Girls Hypnotised by Yellow Men’ shouted the Evening News, writing that it was the duty ‘of every Englishman and Englishwoman to know the truth about the degradation of young white girls’.

Limehouse Nights a collection of stories by Thomas Burke

Thomas Burke, writing for an apprehensive suburban readership that lapped up his writings, even in the US, wrote a number of ‘sordid and morbid’ short stories and newspaper articles about the Limehouse Chinatown. One of his stories, from a collection entitled Limehouse Nights, was called ‘The Chink and the Child’ and was actually made into a successful film called ‘Broken Blossoms by DW Griffiths starring Lilian Gish.

Broken Blossoms directed by DW Griffiths in 1919, its alternative title was The Yellow man and the Girl. Lillian Gish was 26 at the time.

http://www.youtube.com/watch?v=yjAryGCumQY

Another of the stories from Limehouse Nights was called Tai Fu and Pansy Greers and was about a young white woman who submitted her self to a ‘loathly, fat and old’ Chinese man:

He was a dreadful doper. He was a connoisseur, and used his selected yen-shi (opium) and yen-hok (a needle used to cook the opium pellet) as an Englishman uses a Cabanas…She went to him that night at his house in the Causeway. He opened the door himself, and flung a low-lidded, wine-whipped glance about her that seemed to undress her where she stood, noting her fault and charm as one notes an animal. He did not love her; there was no sentiment in this business. Brute cunning and greed were in his brow, and lust was in his lips… What he did to her in the blackness of that curtained room of his had best not be imagined. But she came away with bruised limbs and body, with torn hair, and a face paled to death.

Sax Rohmer was another former journalist that used his knowledge of Limehouse to write popular fiction, notably the incredibly successful Fu Manchu novels about a depraved Chinese man whose evil empire’s headquarters was based improbably in Limehouse:

Imagine a person, tall, lean and feline, high-shouldered, with a brow like Shakespeare and a face like Satan, a close-shaven skull, and long magnetic eyes of the true cat-green. Invest him with all the the cruel cunning of an entire Eastern race, accumulated in one giant intellect, with all the resources of science past and present…Imagine that awful being and you have a mental picture of Dr Fu Manchu, the yellow peril incarnate in one man.

Sax Rohmer

The Mask of Fu Manchu released in 1932

Myrna Loy in Mask of Fu Manchu

Sax Rohmer’s Fu Manchu stories went on to inspire over thirty films and television series throughout the following decades. However Rohmer also wrote a novel called Dope in which a character called Rita Dresden was unashamedly based on Billie Carleton. A silly socialite in the same novel called Mollie Gretna envies the Scottish wife of the Chinese drug dealer:

I have read that Chinamen tie their wives to beams in the roof and lash them with leather thongs. I could die for a man who lashed me with leather thongs. Englishmen are so ridiculously gentle to women!

Freda Kempton in 1922

Four years after the death of Billie Carleton, a girl of roughly the same age called Freda Kempton, was found dead after an overdose of cocaine. At the inquest of the young nightclub ‘dance instructress’ the press found out that on the night of her death she had been with a notorious drug dealer called, rather brilliantly, Billy ‘Brilliant’ Chang at his Regent Street restaurant. He told the Coroner at her inquest “Freda was a friend of mine but I know nothing about the cocaine. It is all a mystery to me”. Chang during the inquest was portrayed as a man with a magnetic attraction to white women and one newspaper wrote that after the verdict:

“Some of the girls rushed to Chang, patted his back, and one, more daring than the rest, fondled the Chinaman’s black, smooth hair and passed her fingers slowly through it.”

According to the coroner there was no proof that he was linked to the death but the police, and the press, were convinced that he was. By now Chang had sold his restaurant in Regent Street and opened the Palm Court Club in Gerrard Street. There’s a strong possibility that Chang was the first Chinese man to open a business in the street which was to become the centre of the new Chinatown in London forty or so years later.

Billy ‘Brilliant’ Chang during the inquest of Freda Kempton

Limehouse Causeway, the location of Brilliant Chang’s flat in 1924

Due to continuous police raids Chang sold up again and moved to Limehouse where he opened the Shanghai Restaurant. His flat was at 13 Limehouse Causeway (coincidentally just four doors away from where Mr and Mrs Lau Ping You lived) below a top floor let to two Chinese sailors and it was here in 1924 when his luck finally ran out.

The police had already twice raided his Limehouse flat and although they found no drugs on one occasion they found two chorus girls in his bed. On the third attempt however, and armed with evidence from a drug addicted actress called Violet Payne, they found a wrap of cocaine behind a loose wooden board and they arrested the man who may have been controlling 40 per cent of the London cocaine trade.

During the trial, the press, again pruriently slavering, had a field day. The World Pictorial News wrote:

“Sometimes one girl alone went with Chang to learn the mysteries of that intoxicatingly beautiful den of iniquity above the restaurant. At other times half-a-dozen drug-frenzied women together joined him in wild orgies.”

As well as the cocaine the police found at Chang’s home a pile of identical handwritten letters:

Dear Unknown – Please do not regard this as a liberty that I write to you, as i am really unable to resist the temptation after having seen you so many times. I should extremely like to know you better, and should be glad if you would do me the honour of meeting me one evening where we could have a little dinner and a quiet chat together. I do hope you will consent to this, as it will give me great pleasure, and in any case do not be cross with me for having written to you.

Yours hopefully, Chang.

P.S. – If you reply, please address it to me at the Shanghai Restaurant, Limehouse-Causeway, E14.

Chang was sentenced to fourteen months in prison after which he was deported. His ship left from the Royal Albert Docks and it was reported that one girl shouted out as he was leaving ‘Come back soon, Chang!’.

The local council, maybe because of the’Yellow Peril’ nonsense exaggerated by the wild press reports, lurid novels and films, started to clear the slums in the Limehouse area. This started to break up the original London Chinatown and a few years later the Second World War practically finished the job as the area was razed to the ground by the wartime bombing.

The Chinatown we know today began not long after the war when a few restaurants opened in Lisle Street, the road that runs parallel to Gerrard Street where Brilliant Chang briefly ran his nightclub. The area was on the edge of Soho where foreign restaurants had long been the norm and the rents were cheap for a West End central location.

The funeral of Chong Mong Young in 1964

Macclesfield Street in 1972

The number of restaurants increased mainly because of returning servicemen who had discovered a taste for food from the far East. However, when in 1951 the UK government finally recognised Mao Zedong’s communist regime, the diplomats and staff of the now defunct Chinese Nationalist Embassy suddenly had to find new jobs. A lot of them, including the famous restauranteur and cookery writer Ken Lo choose to open Cantonese restaurants in the area we now know as Chinatown.

A lot of the information and inspiration for this post comes from the really excellent book Dope Girls by Marek Kohn.

George Formby – Chinese Laundry Blues

Django Reinhardt – Limehouse Blues

Elvira Barney arriving at her parents house at 6 Belgrave Square, 7th July 1932

Visiting England apparently on a whim and a year before she appeared in her first film late in 1925, Louise Brooks became a dancer at the Cafe de Paris in Coventry Street. She was just seventeen and it was here that she reputedly became the first person to dance the Charleston in London. The Piccadilly nightclub had quickly become fashionable with London society after it had opened in December 1924, not least because the Prince of Wales became a regular visitor.

Brooks later wrote about the so-called ‘Bright Young Things’ she had met during her time in London and waspishly described them as a ‘dreadful, moribund lot’. She added that when Evelyn Waugh wrote Vile Bodies about them, only a genius could have made a masterpiece out of such glum material.

The Cafe de Paris in 1932

Louise Brooks in 1924

Marion Harris in London in 1932

In May 1932, and eight years after Brooks danced in front of the rich and famous at the Cafe de Paris, the celebrated American singer Marion Harris was in the middle of one of her long engagements at the night club. Harris was known to audiences at the time as the first white woman to sing the blues and after moving to England at the beginning of the thirties was performing to great success in London. The Prince of Wales was actually a big fan and often came to see her sing. One night after she had performed, the manager came into her dressing room excitedly announcing that the Prince had been so impressed that he would like her to have a drink at his table. Miss Harris coolly declined, telling him that “If your customers get to know you too well, they don’t come back and pay money to see you. The illusion is destroyed.”

She may have been on stage singing ‘the blues’ – the acts began their set at eleven – when just after midnight on 30th May 1932 an intoxicated couple (both of whom would have undoubtedly considered themself a Bright Young Thing), entered the famous West End night for a rather late supper.

The couple were Elvira Barney and her louche bisexual lover Michael Stephen and they had travelled by cab to Coventry Street after holding one of their numerous parties at the home they shared in Williams Mews just off Lowndes Square in Knightsbridge. After they had finished their meal at the Cafe de Paris and had further drinks at The Blue Angel in Dean Street they returned back home in the early hours of that morning.

It wasn’t long before the neighbours, not for the first time, started to hear screaming and yelling from the first floor and Elvira was reported to have shouted:

“Get out, get out! I will shoot you! I will shoot you!’

Almost immediately the street heard the report of a pistol shot echoing into the night and almost immediately a neighbour heard Barney crying

“Chicken, chicken, come back to me. I will do anything you want me to.”

At about 4.50am, after a frantic call to his house just ten minutes earlier, Doctor Thomas Durrant arrived at 21 Williams Mews and came across Barney continually repeating:

“He wanted to see you to tell you it was only an accident. He wanted to see you to tell you it was only an accident.”

On the stairs, shot in the chest at close range, lay a distinctly moribund Michael Stephen.

‘There was a terrible barney at no. 21′, a neighbour later told the police, apparently unconscious of the pun.

Michael Stephen

21 William Mews and a dead Michael Stephen

21 William Mews today

Macdonald Hastings wrote about the fatal evening in his book The Other Mr Churchill, (this Mr Churchill was a forgotten about firearms expert and not the prestigious Prime Minister) and he described the police being incredibly shocked when they entered the mews house:

‘Over the cocktail bar in the corner of the sitting room there was a wall painting which would have been a sensation in a brothel in Pompeii. The library was furnished with publications which could never have passed through His Majesty’s Customs. The place was equipped with the implements of fetishism and perversion.’

Shocked or not, and despite Elvira at one point striking Inspector Campion in the face saying: “I will teach you to say you will put me in a cell, you vile swine,” after she had made her statement, the police, obviously knowing their place, simply allowed her to go back to her family home at nearby 6 Belgrave Square. She was accompanied by her parents, Sir John and Lady Mullens.

Four years previously, a twenty-three year old Elvira, despite her parents protestations, had married an American singer and entertainer called John Sterling Barney. When they met, at a society function held by Lady Mullens, he had been performing in a ‘top-hat, white-tie and tails’ trio called The Three New-Yorkers. They were relatively successful in the UK at the time and often played at the Cafe de Paris.

The Three New Yorkers at The Cafe de Paris - John Barney is on the left

The Three New Yorkers and a couple of Bell-boys

By many accounts the facile John Barney was a rather unpleasant man and a friend of Elvira’s once recalled:

“One day she held her arms in the air and the burns she displayed – there and elsewhere – were, she insisted, the work of her husband who had delighted in crushing his lighted cigarettes out from time to time on her bare skin.”

Violent rows started within weeks of the marriage and after a few months the American returned back to the United States never really to be heard of again. Elvira, according to her biographer Peter Cotes, went off the rails and ‘started sniffing the snow…and became the demanding but generous mistress of a number of disorientated and sexually odd lovers.’ Unfortunately he doesn’t really go into any more detail but the description goes someway to explain how, at the start of 1932, she ended up sharing her bed (and her bank account) with the drug-dealing ‘dress-designer’ Michael Scott Stephen.

Sir John Mullens, with his society connections managed to persuade the former Attorney-General Sir Patrick Hastings to defend his daughter. Hastings, in his early fifties, was at the height of his fame as a Kings Council and towards the end of the trial made a final address to the jury, that the judge – a Mr Justice Humphreys – later called the best he had ever heard.

The Honourable Mr Justice Humphreys picking up a London Metro on the way to court

Sir Patrick Hastings on the cover of Time in 1924

The jury must have also been impressed with Sir Patrick’s speech and after two hours returned a not guilty verdict. On his way out of the court Mr Justice Humpheys exclaimed:

‘Most extraordinary! Apparently we should have given her a pat on the back!’

The jury had acquitted her but Fleet Street weren’t going to let her off that easily and they gleefully reported that Elvira Mullens (the name she had reverted to) had shouted on the dance floor of the Cafe de Paris soon after the court case,

‘I am the one who shot her lover – so take a good look at me.’

Sir Patrick Hastings described Elvira during the trial as ‘a young woman with the rest of her life before her’. Unfortunately the rest of her life lasted a only four short years and she was found dead in a Parisian hotel room. After a typical long night of drinking and taking cocaine she had decided to return back to her room complaining that she felt cold and unwell. She was discovered later that night half on her bed, half off, with signs of haemorrhage around her mouth. The years of drinking and drug-taking had finally taken their toll.

The police holding back the crowd at the Old Bailey during the trial of Elvira Barney

Marion Harris in New York

Not long after Elvira Barney’s death in Paris, Marion Harris retired from showbusiness and married a successful English theatrical agent called Leonard Urry. In early 1944 their home in Rutland Street (just a few hundred yards west of Williams Mews) was razed to the ground by a V1 flying bomb.

Harris returned to America completely traumatised and never really recovered from seeing her home completely destroyed. On Sunday, April 23, 1944, alone in a New York hotel room she fell asleep while smoking a cigarette. It set the room alight and it was never disclosed whether she died of burns or suffocation from the smoke.

The Cafe de Paris, unlike the majority of theatres and nightclubs in the West End, remained open at the start of the second world war. This was probably because of the rich and famous patrons having a slight influence on the wartime licensing regulations, however it was said that the dance-floor was so far underground that it would be completely safe when the air-raid sirens sounded.

Ken 'Snakehips' Johnson

On Saturday 8th March 1941 Ken ‘Snakehips’ Johnson and the West Indian Orchestra were playing at the Cafe de Paris as usual. While carefully not mentioning the actual club or the band leader (due to wartime censorship) Time magazine reported what happened subsequently:

The orchestra at London’s Cafe de Paris gaily played Oh, Johnny, Oh Johnny, How You Can Love! At the tables handsome flying Johnnies, naval Jacks in full dress, guardsmen, territorials, and just plain civics sat making conversational love. The service men were making the most of leave; the civilians were making the most of the lull in bombings of London.

Sirens had sounded. Most of London had descended into shelters, but to those in the cabaret, time seemed too dear to squander underground. Bombs began to fall near by: it was London’s worst night raid in weeks. The orchestra played Oh, Johnny a little louder.

Then the hit came. What had been a nightclub became a nightmare: heaps of wreckage crushing the heaps of dead and maimed, a shambles of silver slippers, broken magnums, torn sheet music, dented saxophones, smashed discs.

A special constable with the rather splendid name Ballard Berkeley was one of the first on the scene. He saw Snakehips Johnson decapitated and elegantly dressed people still sitting at tables seemingly almost in conversation, but stone dead. He was shocked to see looters, mingling with the firemen and the police, cutting the fingers from the dead to get at their expensive rings. Ballard Berkeley many years later became famous as the actor who played the major in Fawlty Towers.

Cafe de Paris, 9th March 1941

In 1929 British International Pictures released Piccadilly starring the beautiful Chinese-American actress Anna May Wong. The scene where Wong’s character Shosho performs her exotic dance in front of an adoring nightclub crowd was filmed in location at the Cafe de Paris. The film also includes a brief appearance from Charles Laughton playing a gluttonous diner – his first feature film performance.

http://www.youtube.com/watch?v=AQA2zemtLrE

In 1948, the Cafe de Paris was refurbished and seven years after the tragic death of Snakehips Johnson the doors reopened. Although it was again graced by royalty, notably Princess Margaret, the club never really regained its sophisticated aura it had before the war.

The only evening of note I can find was on 29th September 1965 when Lionel Blair introduced, to an extremely grateful public no doubt, his new dance called ‘The Kick’.I’m not sure but I don’t think it was a storming success.

Lionel Blair accompanied by Cilla Black, Joe Loss and Billy J Kramer dance 'The Kick' at the Cafe de Paris in 1965

Billie Holiday – These Foolish Things

Al Bowlly – Dinner For One Please, James

The author Adam Diment in 1967 with two lovely ladies. In the distance, at 120 King’s Road is the Thomas Crapper shop. It had just closed down.

The October 1967 edition of Michael Heseltine’s Town magazine featured an interview with the fashionable twenty-three year old author Adam Diment. The introduction said that he was:

“Hoping to move from his Fulham Road flat to trendy King’s Road, where his tight pink trousers and matching floral shirt will be more appreciated.”

In the late sixties moving a few hundred yards from one area of west London to another was like travelling to a different country. Diment knew he could afford the expensive move because after the publication of his first novel The Dolly, Dolly Spy, Diment suddenly became the most talked-about author in town. That year Publishers’ Weekly wrote about the novel:

A kinky, cool mod flare that is outrageously entertaining….If you appreciate clever plotting, plenty of excitement, sex at its most uninhibited, a dollop or two of explicit sadism, Adam Diment is a name to remember.

Except he wasn’t, and Diment is almost totally forgotten about these days. He wrote three more books – The Spying Game and The Dolly, Dolly Birds which were both published in 1968 and a fourth novel Think Inc that was published in 1971. After which, suddenly, he completely disappeared from public view.

His four novels, although entertaining romps through the swinging sixties, are hugely dated these days and are peppered with the era’s casual sexism and racism that make the James Bond novels appear as if they were written by Andrea Dworkin.

“Despite her lovely body it was her face which had me hooked. I do not belong to that philistine philosophy which propounds the ‘put a sack over their heads and they’re all the same’ nonsense. I like to watch something pretty and interesting when collecting my oats, and her face is certainly that. At present she was doing a languorous chameleon change from perplexed to pout.” - The Bang Bang Birds

“She was wearing her latest acquisition, bought in a boutique in King’s Road which is a cross between an Eastern bazaar and a rugger scrum. It was very short and covered with overlapping blue and yellow flowers. Over her heart, which was almost visible because it was as low at the breast as it was short at the thighs, was a bright pink heart…as she was so brown, she had given up wearing stockings. Veronica was about as naked as you can get these days without being nicked for indecency.” - The Dolly, Dolly Spy

The Bang Bang Birds published in 1968

The Dolly, Dolly Spy published in 1967

The books were all thrillers featuring a reluctant spy called Philip McAlpine. The sex-hungry hero was suspiciously similar in appearance to the writer and Diment, it seems, was very happy for this blurred confusion to continue. Especially, the marijuana smoking and the preponderance of girls. Fleet Street seemed genuinely intrigued with the similarity between hero and author and Atticus in the Sunday Times wrote:

Adam Diment is 23; his hero, Philip McAlpine, is based on himself. That is to say he’s tall, good-looking, with a taste for fast cars, planes, girls and pot.

While the Daily Mirror wrote:

McAlpine is the most modern hero in years. He’s hip, he’s hard, he likes birds and, sometimes, marijuana.

Adam Diment smoking a ‘hashish cigarette’.

More hashish with companion Suzie Mandrake in 1967

Adam with the artist Tim Whidborne, Anne McAuley and Victoria Brooke. 1967

Adam “I’ve got my eyes closed I promise” Diment with Tim Whidbourne presumably pretending to paint Suzie Mandrake.

On the inside cover of the 1969 edition of The Bang Bang Birds it says that “At present THE DOLLY DOLLY SPY is being filmed with David Hemmings as Philip McAlpine. A Stanley Canter/Desmond Elliott production for release by United Artists”. It’s worth noting that David Hemmings was at the height of his career at this stage – the premier of Blow Up was in October 1967 and both The Charge of the Light Brigade and Barberella were released in 1968.

The film came to nothing and whether filming ever took place or was halted half way through nobody seems to remember. Although there are pictures of Adam seen with David Hemmings and one of the producers Desmond Elliott.

Adam with David Hemmings in 1967.

Adam with Desmond Elliott and Suzie Mandrake.

Adam Diment published his final novel Think Inc in 1971 and then completely disappeared without trace. Except for one thing. Last year a few documents relating to Adam Diment (F.A. Diment) were released by the National Archives and amongst them were two anonymous letters written in March 1969 to the department of Exchange Control of the Bank of England.

Both the letters seemed to accuse Adam Diment of some kind of currency swindle involving the export of 2400 dollars which had been paid by the film producer Stanley Canter and one letter even mentions that there were suspicions that it may have been some kind of drug-deal.

Whether the currency swindle was anything to do with the non-completion of the film of The Dolly Dolly Spy or was the cause of Diment’s disappearance, there seems to be no clue. One of the letters, however, imparts the important piece of information that Adam Diment, despite telling Town magazine otherwise, never seemed to have made the move to The King’s Road as he was still living in the tight-pink-trousers-fearing Fulham at 28 Tregunter Road.

Adam with Victoria Brooke and a Tiger Moth

Ray Charles – Let’s Go Get Stoned

Muddy Waters – Champagne and Reefer

Donald Cammell’s film Performance, shot in the summer of 1968, was largely set in a large house in Notting Hill’s Powis Square. This was a part of Notting Hill, featuring large run-down peeling terraces and squares that, a decade earlier, Colin MacInnes in his London novel Absolute Beginners had called ‘Napoli’. It was also, at that time, that is the mid to late fifties, the main stomping ground of the notorious and disreputable landlord Peter Rachman.

The original white working class neighbourhood was having to uneasily mix with a burgeoning West Indian immigrant community which was increasing in size not least because Rachman was willing to house West Indians – albeit at his infamous price. Powis square was where Rachman bought his first major London property – a huge Victorian building – which he had subdivided to such a degree that approximately 1200 tenants eventually lived there.

25 Powis Square in 1968 (number 81 in the film)

The slightly more salubrious-looking property today

Notting Hill in the mid-fifties

By 1968 the down-at-heel ambience of the area had also attracted a further wave of inhabitants – hippies, who hung around the Portobello Road market and the nearby ‘head’ shops. In other words it was the perfect bohemian part of London in which Performance’s fictitious rock star Turner lived. Turner, of course, was played by Mick Jagger and the film, along with Nicholas Roeg, was directed by the rather dissolute and louche friend of the Rolling Stones Donald Cammell.

Jagger and Cammell 1968

Cammell was born on 17th January 1934 in the Outlook Tower by the side of Edinburgh Castle to rather bohemian parents – his father, after losing the family fortune in the thirties (his family was part of the Cammell-Laird shipbuilding firm), was an editor of Art magazines. They must have encouraged the artistic side of his nature because by the age of 8 he was exhibiting at the Royal Drawing Society and won a scholarship to the Royal Academy at the age of 16. Good looking, gifted and self-assured, Cammell became a sought after society portrait painter before he was 20. He owned a studio in Chelsea’s Flood Street and was already enjoying a hectic party-lifestyle which in effect continued for two or three more decades.

Cammell painting Bronwen Pugh in 1957

In 1954 he had married the Greek actress Maria Andipa and in 1959 they had a son Amadis. A few months previously he and Maria had moved from Chelsea to Hampstead, apparently to be close to the actress Jill Ireland who was living there at the time and with whom Cammell was having an affair. One day soon after the move Maria returned from the doctor with what she thought was happy news that she was having a baby. Cammell completely crushed Maria by saying “I love you, and want to share my life with you, but I don’t want to share it with a child.” True to his word he left almost immediately for New York and cruelly would only see his son twice during the rest of his life.

Cammell’s first wife Maria Andipa and son Amadis

It was in New York where Cammell met and lived with the model Deborah Dixon – he was to be with her for ten years and their relationship finished just before the filming of Performance, although she was a costume designer on the film. He had by now rejected painting society portraits and was now concentrating on work that had a Balthusian lolita-inspired influence (ie lots of young naked girls). While this helped him sate his notable sexual appetite (for much of his life he was irresistible to a good deal of the female sex and Dixon was seemingly happy with this and often shared his conquests) his artistic desires, at least in the form of painting, were waning.

Donald Cammell and his beautiful wife – the model Deborah Dixon

Deborah Dixon 1964

Deborah Dixon 1962

He moved to Paris with Deborah where she continued to model and where he began to try his hand at writing screenplays. She was now a very successful international model and essentially Cammell lived off her money for some years. During this time he collaborated on a script which was eventually made into a bad thriller called The Touchables and subsequently another script which was turned into a very sixties caper movie in 1968 called Duffy (originally called Avec Avec) which starred Susannah York, James Fox and James Coburn. Although Duffy was a better film than The Touchables it was still very flawed and again unsuccessful at the box office and this encouraged Cammell to try and direct the next film himself.

Susannah York during the filming of Duffy

Monika Ringwald, Esther Anderson, Judy Huxtable and Kathy Simmonds – on the film poster it said ‘they try anything’.

Fox and Cammell on set at Lowndes Square, Knightsbridge where the interiors of the film were shot.

Filming started on Performance in July 1968, a few weeks after the death of Cammell’s father, and the production was later called by Marianne Faithful a ‘psycho-sexual lab’ and ‘a seething cauldron of diabolical ingredients: drugs, incestuous sexual relationships, role reversals, art and life all whipped together into a bitch’s brew’.

The old Harrovian and ex-Coldstream Guard officer James Fox was chosen to play Chas – a professional criminal on the run from his gangland boss Harry Flowers. Fox had recently grown his hair and become a bit of a hippy and had also become a close friend of Mick Jagger’s (for a short while Fox, Jagger, Faithfull and Fox’s partner Andee Cohen were essentially living a menage a quatre and Cammell later even hinted that Fox and Jagger had been lovers). Looking for a hiding place Chas finds himself at the dilapidated Powis Square house of the fading rock star Turner (played by Jagger). Chas announces soon after his arrival – “What a freak show! Druggies, beatniks, free love… a right piss-hole.” Living in the house with Turner were his two girlfriends Pherber, played by Anita Pallenberg then Keith Richards’ girlfriend, and Lucy, played by the 16 year old French waif Michele Breton.

After some sexually-ambiguous explorations with Turner, Pherber and Lucy in addition to a particularly huge mushroom trip Fox/Chas starts to feel more comfortable with staying at the rambling Powis Square house eventually undergoing a personality change and a metamorphis into the Jagger/Turner character. At the beginning of the film Chas says ‘I know who I am!’ by the end of the movie it’s certain that he doesn’t.

Cammell managed within the film, and to the chagrin of Pallenberg who realised what he was doing, to recreate a menage a trois that had existed between himself, Deborah Dixon and Michele Breton the preceding year. The trio were often seen together in Paris in 1967 but Cammell and Dixon had initially met Breton on the beach in St Tropez in 1966 when she must have been 14 or just 15. Sandy Lieberson, the producer of Performance, described Breton as ‘someone who didn’t care who she slept with. A strange little creature, totally androgynous-looking – the way Donald liked them.’ ‘Everybody was sleeping with everybody’, Breton later remembered, ‘it was those times’.

Indeed the production became infamous for its sex on and off the camera – one person working on the production described it as ‘the most sexually charged film ever. Everyone was fucking everyone. And Donald was a class-A voyeur.’ To confuse everything Pallenberg had also been a former lover of Cammell’s and during the filming of Performance she admitted that she, Jagger and Breton had actually consummated the threesome sex scene in the film. The more graphic footage of which found its way to an erotic film festival in Amsterdam a few years later apparently winning a prize. Keith Richards who never appeared on set but through mutual acquaintances knew something was going on between his girlfriend and his best friend and was often seen during the production fuming in his Rolls-Royce outside or the in the pub down the road. Overlooking all this one imagines a joyous Donald Cammell rubbing his hands in glee.

Michele Breton and Mick Jagger

Pallenberg and Jagger

Jagger, Breton and Pallenberg

Frames from footage shot by Anita and which appeared in the magazine OZ

Cammell was not particularly partial to drugs, although he smoked hash occasionally and had tried the odd LSD trip, but perhaps Performance was the first film that portrayed drug-taking that was also made by people who took drugs as a normal lifestyle choice. The drug-taking that went on during the filming of Performance was legendary. The art director John Clark said ‘you took one breath and you were stoned’ and a crew member on the production said ‘you want to get a fucking joint, they’re coming out of your earholes. You want a cup of tea, you’ve got no fuckin’ chance!’

Cocaine, yet to be the rock star’s drug of choice, wasn’t mentioned within the film but the characters all smoked hashish, took mushrooms (when Chas first arrives at Powis Square there is a shot of the mushrooms growing in a tray by the front door along with a couple of mars bars wittily referring to the Redlands’ drug bust the year before) and we also see heroin being injected, as a ‘vitamin shot’, by Anita Pallenberg.

Anita and Mick on set

Turner tells Chas at one point in the film “The only performance that makes it… that makes it all the way, is the one that achieves madness.” And the drugs and the psychotic atmosphere on the set seemingly took its toll on the main performers. A year after the completion of filming James Fox, while performing in Doctor in the House in Blackpool was persuaded to join a religious movement called the Navigators and left acting for ten years to become a Christian evangelist.

Anita Pallenberg started taking heroin seriously during the filming and subsequently became heavily addicted to the drug. She said ‘I think Performance was the end of the beautiful sixties – love and all that. That film marked the end for me.’ She continued to be a heavy user of heroin for ten years and eventually split from Richards at the end of the seventies.

Not a lot was known about Michele Breton especially after the film had finished. Cammell later said that she had smoked too much hash and was frequently under the influence of psychedelics. Breton herself said in 1995 ‘I was taking everything that was going. I was in a very bad shape, all fucked up.’ Soon after the completion of the movie Cammell eventually drove her to Paris letting her stay at his flat for a couple of days he then told her that he didn’t want to see her again.

Mick Jagger, perhaps alone amongst the main protagonists, came out of the experience mentally intact. According to Marianne Faithful, who helped him gain enough courage to act in the film, ‘Mick came out of it splendidly…he didn’t have a drug problem and he didn’t have a nervous breakdown.’ It could be said that the Turner became the character that Jagger used to present himself to the world – androgynous, decadent and sinister.

Donald Cammell’s subsequent directing career after Performance never really took off. The major film studios avoided him from the first screening of the film which couldn’t have gone more badly. One Warner studio executive wife literally vomited on her husband’s shoes while another executive after watching the film said ‘Even the bathwater’s dirty.’ The film was only released, almost two years after its completion, in 1970.

Joan Chen and Anne Heche in Wild Side

Cammell completed just three films in the next 25 years, Demon Seed with Julie Christie in 1975, White of the Eye in 1987 and Wild Side in 1995. The studio behind his last film refused to release Cammell’s version and released an exploitative cut to Cable TV.

A year later Cammell, after a life time suffering from bouts of depression, committed suicide by shooting himself in the head. The myth is that Cammell aimed his bullet in such a way that he would be able to experience for several minutes what it was like to die. However according to the coroner he died pretty well instantly.

Keith Richards, who never forgave Cammell for letting Pallenberg and Jagger fuck on camera, once said of Performance ‘The best work Cammell ever did, except for shooting himself’.

Mick Jagger – Memo From Turner

DVD of Performance can be bought here and the soundtrack of the film from here.

Mama Cass Elliot famously died choking on a ham sandwich, everybody knows that. Except she didn’t. The myth started because the first doctor who examined her after her death, a Dr Anthony Greenburgh, told the press the next day:

“From what I saw when I got to the flat she appeared to have been eating a ham sandwich and drinking Coca-Cola while lying down – a very dangerous thing to do…she seemed to have choked on a ham sandwich”.

Dr Greenbugh overlooked the rather important fact that the sandwich was by the side of her bed and lay untouched but by then it was too late. The press reported his initial comments and the doctor unwittingly gave rise to the sandwich myth.

Elliot actually died from the far more prosaic “fatty myocardial degeneration due to obesity” in other words natural causes due to being overweight – she was prone to going on crash diets which in the end fatally weakened her heart. The sandwich story was a famous case of when “the legend becomes fact, print the legend”.

Mama Cass in Soho Square

Mama Cass at Crockford's Casino, round the corner from Nilsson's flat in Mayfair

On 29 July 1974 Cass Elliot had just finished two nights at the Palladium and was pleased with the several standing ovations she had received. Before she went to bed she called her former band member Michelle Phillips who later recounted:

“She had had a little champagne, and was crying. She felt she had finally made the transition from Mama Cass”.

Cass Elliot was just 33 when she died.

9 Curzon Place in Mayfair (now 1 Curzon Square)

The small one-bedroom Mayfair flat at 12 Curzon Place (now 1 Curzon Square after some rather revolting 1980s redevelopment in the area) in which Cass Elliot died belonged to her friend the singer Harry Nilsson. He had bought it impressed with the location, it was near Apple Records (he was a good friend of The Beatles) but more importantly near the Playboy Club and Tramps disco.

The top floor flat, behind the relatively nondescript exterior, had been designed by a trendy company called ROR which was run by Nilsson’s friend Ringo Starr and the designer Robin Cruikshank. Nilsson was away from London a lot and was very happy lending his place to his musician friends, of which he had many.

Robin Cruikshank interior

Playboy Club in London 1969

Hugh Hefner at London's Playboy Club in Park Lane

http://www.youtube.com/watch?v=8UhvcEJEfU8

Keith Moon with Annette Walter Lax 1977

Keith and Annette the evening he died

Four years after Cass Elliot died at Harry Nilsson’s flat, Keith Moon, after fitting in enough partying and convivial nights in his short life for about a hundred people, died of an overdose of Heminevrin tablets in the very same bed. On the day he died Moon had woken at 7.30am and he asked his girlfriend Annette Walter-Lax to cook him a steak.

After she complained about cooking him another meal he said,

“If you don’t like it, you can fuck off”

Unfortunately for Keith these ended up being his last words. He ate the steak while he watched the film The Abominable Dr Phibes but he fell back to sleep after taking 32 Heminevrin tablets which were prescribed to help alcohol withdrawal. Unfortunately six are enough to be fatal and Moon never regained consciousness. He was found dead by his girlfriend Annette later that afternoon and he was cremated at Golders Green Crematorium a week later.

Moon the Loon was only thirty two when he died, but dying young didn’t come to anyone’s great surprise – he was one of the greatest partiers ever. He once outlined his typical daily diet to a doctor:

“I always get up about six in the morning. I have my bangers and eggs. And I drink a bottle of Dom Perignon and half a bottle of brandy. Then I take a couple of downers. Then it’s about 10 and I’ll have a nice nap until five. I get up, have a couple of black beauties [also known as Black Birds or Black Bombers and are a combination of Amphetamine (Speed) and Dextroamphetamine], some brandy, a little champagne and go out on the town. Then we boogie. We’ll wrap it up about four”.

All in all not the usual recipe for a long and healthy life but he sure fitted in some fun while he was around.

Carousing

more carousing

Mama's Got A Squeeze box

Harry and Keith became friends in the first place because of their mutual love of the booze. They met on a set of a film produced by Ringo Starr called Son Of Dracula with a number of other musicians. Keith remembered:

“We were supposed to be on the set at six, but it was nine before everyone was there. Then somebody brought out a bottle of brandy. Me, I think. Ah-Ha-Ha-HAHAHA! And Peter Frampton said no, no, too early, and some of the others said no. But ‘Arry was standing there with an ‘alf-pint mug. I knew at that moment it was destiny put us together. Ahhhh-HAHAHAHAHAHAHA!”

After the death of a second friend in his bed Nilsson quickly sold his flat to fellow Who member Pete Townsend and moved back to Los Angeles permanently. Of course like Cass, and especially Moon, Harry Nilsson liked having a good time and his consumption of drink and drugs were once described as Herculean, which is one way of describing pissing your talent away for over twenty years.

Marianne Faithfull once said about Harry

“we used to do drugs together. And when I say drugs, I don’t mean those airy-fairy drugs they do nowadays. I’m talking about narcotics.”

Elton John once described seeing Nilsson in a recording studio,

‘He opened his mouth to sing, and blood poured out, he had done so much coke that his throat just haemorrhaged. And do you know what? He didn’t even notice.’

Compared with his two friends however, he managed to live to a relatively grand old age of fifty two before his body gave up. After surviving one the previous year he died of a second heart attack in 1994. At his funeral it was said that aftershocks from the recent Northridge Earthquake rumbled in the background. A joke made the rounds during the funeral that the earthquake was the result of Harry getting to Heaven and discovering that there were no bars.

It’s perhaps interesting to note that Mama Cass, a person it would be fair to say liked a bit of food, died from trying not to eat with a heart fatally weakened by too many diets. Coincidentally Keith Moon, a man with a prodigious appetite for booze, died from an overdose of medicine prescribed in an attempt to stop him drinking.

I’m not sure if Nilsson died from anything that was the opposite of what he liked to do, but not long before his first heartattack he found out that his entire $5 million fortune had been embezzled leaving him and his family almost destitute.

It was said that he never really recovered from the shock. In 2001 the building at Curzon Place containing Harry Nilsson’s old flat was bought by a developer who completely changed the interior and the three flats on Harry’s floor were knocked into two luxury flats. In 2002 these were placed up for sale at one million pounds each.

More information of the three deaths at www.findadeath.com

More information about Harry Nilsson at fortheloveofharry.blogspot.com

Harry Nilsson – Lazy Moon
Dr Hook – Mama’s Got A Squeezebox
The Mama and The Papas – 12.30 (Young Girls Are Coming To The Canyon)
Badfinger – Without You
Harry Nilsson – Wasting My Time
Ella and Louis – Dream A Little Dream About Me
Peter and the Test Tube Babies – Spirit Of Keith Moon
Mama Cass – Make Your Own Kind Of Music
Harry Nilsson – Simon Smith and the Amazing Dancing Bear
Harry Nilsson – Jumping Into The Fire

Jagger, handcuffed and on the way to HMP Brixton

Brixton Prison today

Teenagers are not screaming over pop music any more, they’re screaming for much deeper reasons. We are only serving as a means of giving them an outlet. Teenagers the world over are weary of being pushed around by half-witted politicians . . . they want to be free and have the right of expression, of thinking and living without any petty restrictions.

Teenagers weary of half-witted politicians or on a drug comedown - you decide.

More weary teenagers waiting outside court.

It seemed that the great majority of young people at the time were particularly unconcerned about Jagger’s lot, indeed 85 per cent of 21 to 34 year olds thought the sentence was deserved, and 56% thought it should have been more severe. It was a survey result that had the slightly stoned and youthful sounding Pirate DJ John Peel on his show “The Perfumed Garden” bemoaning:

“It’s very sad that there are people that actually feel that way…anyway this is Donovan with a song dedicated to Mama Cass called ‘The Fat Angel…”

Pirate John Peel in 1967

William Rees-Mogg in 1967

The Mars Bar was a very effective piece of demonizing. Way out there. It was so overdone, with such malicious twisting of the facts. Mick retrieving a Mars Bar from my vagina, indeed! It was far too jaded for any of us even to have conveived of. It’s a dirty old man’s fantasy… a cop’s idea of what people do on acid!

Jagger and Richards at Redlands in 1967

Marianne at Redlands, look closely at the newspaper headline.

As we approached I heard loud strains of pop music. When I entered the room there was a television on but the pop music drowned the sound of the television. There were nine people, two of whom I thought were women. Jagger and a woman were sitting on a couch some distance away from the fire. The woman had wrapped around her a light-coloured fur rug which from time to time she let fall showing her nude body. Sitting on her left was Jagger, and I was of the opinion he was wearing make-up. Sitting on her right was a person I now know to be male but at the time I had thought was a woman. He had long fairish hair and was dressed in what would best be described as a pair of red and green silk ‘pyjamas’. I searched him and this was all he was wearing. I formed the opinion he too was wearing make-up. All the time I was in the house there was a strong, sweet, unusual smell in all rooms.

Mick Jagger, in the end, spent only one night at Brixton Prison although he purportedly wrote lyrics to the songs We Love You and 2000 Light Years From Home whilst there. It was apparently at Brixton when he heard from another inmate about the rumour about Marianne and the Mars Bar for the first time. On the morning of the 30th June 1967 he was released on £7000 bail, pending an appeal, and was picked up by a green Bentley which drove to Wormwood Scrubs where he picked up Keith Richards. They both subsequently had a celebratory pint in a pub off Fleet Street.

Jagger and Richards at Chichester 10th May 1967

Marianne at Chichester 29th June

Outside the courthouse at Chichester

Mick Jagger at he Appeals Court 31st July 1967

Marianne and her Mini outside the court 1st August

A month later on the 31st July the Appeals Court quashed both Jagger and Richard’s sentences. The Lord Chief Justice Parker told Jagger that “You are, whether you like it or not, the idol of a large number of the young in this country. Being in that position, you have very grave responsibilities.” The Lord Chief Justice also said that Judge Block should have warned the jury that there was only tenuous evidence that the girl, dressed only in a rug, smoked cannabis resin and that Mr Richards must have known about it.”

Later that day jagger was picked up by helicopter and whisked off to appear on a special edition of World In Action broadcast by Granada Television that evening. The helicopter wasn’t really needed but it was thought that it would look good ruffling Jagger’s long hair and loose fitting shirt. Jagger was joined on the programme, amongst others, by the Times editor William Rees-Mogg and the Bishop of Woolwich Dr John Robinson to discuss the great moral and cultural divide between the generations. The programme turned out to be rather limp and didn’t come to any particular interesting conclusion. However it did accelerate like a rocket the career of the researcher on the show – a young John Birt.

Jagger on his way to the World In Action show by helicopter.

Mick Jagger on Granada's World In Action

John Birt posing for the camera. The Frost/Nixon interview just a glint in his eye.

When asked at a press conference the same day how it felt to be free? Jagger said that it felt lovely to be sure of freedom…I’m not celebrating tonight. Just grooving on, the same as usual.” While Keith Richards put the Mars Bar Redlands myth straight by saying “The fur rug – yes. The Mars Bar no. We were out of Mars Bars.”

Rolling Stones performing in 1967

Jagger, now free as a butterfly.

On the 18th August the Rolling Stones released We Love You which was considered a ‘thank you’ to their fans for their support. It actually features Lennon and McCartney on backing vocals. The Stones made a film to go with the song where they parodied the trial of Oscar Wilde. However the BBC thought it unsuitable and it was banned from Top Of The Pops.

http://www.youtube.com/watch?v=TSjnn5fiKlE

The Rolling Stones – We Love You

The Rolling Stones – 2000 Light Years From Home

John Peel introducing Donovan 16th July 1967

Donovan – The Fat Angel