The column of lasting insignificance…
November 28, 2015 by John Wilcock
Underground papers were springing up everywhere, especially on college campuses where their subsequent growth often came about as a result of being banned and thus moving off campus into the town itself. As a result of this development, they usually both broadened their coverage and increased their circulation.
"Why do the undergrounds pay so much attention to sex?" Neil asked me. "Is that part of the revolution?"
My response was that very largely, the emphasis on sex was at least partly a tactic to upset the smugly high-minded. That wasn’t all of it, of course, because obviously it meshed with the way young people felt, which was that sex should be open and free and that there should be no objection to nudity and sexual imagery. What we were reporting was merely a normal and very common activity of life.
Sometimes the sex became art as, for example, when Claes Oldenburg created for Other Scenes a group of outrageous collages consisting of pictures of Vogue models onto which he had pasted cocks and balls cut from porn magazines. Claes, an early friend of our paper, contributed an amusing piece titled Some Momentous Monuments about imaginary projects he'd like to create. He visualized replacing Park Avenue's central strip with a sort of slipway down which enormous balls would continually roll into the arch of the Grand Central building from which they would be carried back underground to 96th Street to start their downhill journey again.
“They would be very large--10 or 12 stories high--in yellow, red and green like the traffic lights. Perhaps they should be chrome so that they would reflect the city as they rolled. They would not stop at intersections--they would keep rolling and you would have to try and make it through the intersection (with them bearing down on you). This would intensify the terror of Park Avenue. The traffic would continue to flow as things do in New York no matter what happens; it would be just another obstacle in New York. No mercy of course. You've have to calculate the frequency and speed etc. and there would be experts on that and betting, I suppose.”
Exciting and stimulating as New York had always been, California was a revelation, in that it offered a running commentary about a totally different new kind of life. I was tempted to drop everything and sit down and write a book, a joyful book about the beautiful young people who inhabited the West. A world within a world which coexisted separately but was beginning to surface through the more conventional societ,y and as a result, change that society forever.
In the underground circles in which we traveled everybody seemed to live joyfully, without rules and lacking the hypocrisy of the more urban scene. Nudity didn’t bother people one way or another. It was not “sexy” but natural, and some times it existed and sometimes it didn’t. Most folk accepted what came, usually without either great expectations or disillusionment. Maybe they had come to appreciate the lesson of Braque (and that of others) that “things merely are.” These young people were largely objective, adaptable, evaluative. Sometimes they liked what fate brought them, sometimes not, but they accepted or rejected it with clear heads. and honest explanations if, indeed, they found explanations even necessary. People were invariably straightforward and fearless with each other, apt to regard their fellows with a frank and appraising gaze. You quickly found yourself not laughing at them, but with them, amused rather than affronted by their ankle-length, velvet robes and plumed hats.
The flower children were religious, but it was not the religion of a church and its panoply. Their religion was nature, the sun and the moon and the stars, and crispy pebble-filled streams in soft woods. They believed in God, a benevolent god who was with them and in them and with and in all their friends. And their enemies too, who they chose naively to believe, were enemies only because they haven’t met and gently discussed their differences.
It was easy here in the West to be lulled by such innocence and illusion and it took a return to New York for reality to restore me to how life was not really so joyous after all.
America's war in Vietnam was causing some major re-evaluations about just what it was the country stood for. "The old myth had it that we are decent folks who admire Abe Lincoln and want, for foreigners, only free elections, an opposition press and enough protein" wrote Fred Gardner, in Other Scenes, March 1970. "For a long time this self-image has kept everyone smug and righteous while the cold warriors extended the empire through murder and intrigue.
So wide was the gap between the old America and what was currently happening, it was almost as if we had become two countries. By no means everybody over 30 supported the war but it was hard to find any young person who did, and there was almost total unity among the protesters and a growing chasm on the other side. Even some of the normally gutless politicians were beginning to speak out.
The movement had its own clowns in Wavy Gravy and the two ridiculously bemedalled Pentagon clones, General Wastemoreland and General Hershey Bar who were to be found handing out literature and making hilariously satirical speeches at all major gatherings. Writing about Hershey Bar, our San Francisco correspondent John Bryan credited him with originating the slogans Make Love, Not War and Draft beer, Not Students. The "general", a former dancer and nightclub performer named Capyso Joe, came up with some great one-liners:
The particular issue of Other Scenes in which that appeared, was fairly typical in its internationalism. It included a letter from Cairo revealing how Egyptians were being propagandized by American media ("it's galling to see them practice their pious, self-righteous, self-serving deceptions on an international scale"), a story about Japanese public baths, an excerpt from Richard Neville's Play Power, reports from India and Cuba, an article making the point that ecology was being used as a red herring to divert radical protest and The Pimps of Pop, a story by Norma Whittaker about "rock imperialists". My own column suggested mildly that John Lennon and Yoko Ono lying around in a hotel suite and renting billboards protesting the war was not the most revolutionary of actions.
Just before leaving LA we went to a tea party at Aldous Huxley's house in the Hollywood hills, where fellow guests included Alan Watts, Leary, and other spiritual heavies. What an afternoon that must have been although, regrettably, memory fails me. It was, after three months, pretty much my farewell to the West Coast to which I didn’t return for several years.
Amber and I took off for Japan where I was scheduled to update my guide book about that fabulous country. When the subject of my early book comes up, my friends joke that today it’s more like Japan On $5 a Minute, but when I first wrote the book in the mid-sixties it was really not that hard to accomplish on $5 a day. Taxi rides began at about 30c, an extravagant meal cost under $3, and even Tokyo’s classy Okura hotel offered rooms for as little as $8. A writer friend of mine, Rick Kennedy, stayed for six months in a Ueno ryokan, whose ¥1000 yen ($2.90) daily rate included a breakfast so huge it sometimes included 20 dishes.
Both he and I loved Shinjuku’s Fugetsudo coffee shop, its walls lined with avant garde murals and jazz album covers, filled from morning till late at night with young beats, artists and students playing chess and leafing through the piles of international publications. Pretty hostesses would be a feature of other cafes and, although they rarely spoke English, their attention could be engaged by inviting them to admire such trinkets as foreign matches, photographs, or other baubles.
I loved Japan from the first moment I saw it and in the introduction to my book, I explained what an immediate impression the vivid colors (bright red telephones, lush green rice fields, blue summer yukatas) made on visitors. And even more so, the distinctive sounds: the click of getas running along a station platform…popping plastic covers as the oshibori or hot napkins are unwrapped in restaurants… the crunching sound of ice being chopped into useable pieces on the sidewalks in summer… the repetitious click of hundreds of steel balls dropping into slots as you pass the open doors of pachinko parlor…the crash of steel shutters coming down as the shops close at ten o’clock in the business districts of small towns.
“It is still a poor country” I wrote, “and its people have long ago learned to make a virtue of simplicity, which is the basis of all good Japanese art. The word shibui, so hard to translate exactly, implies taste, appreciation, and patience. To the true connoisseur of shibui, a beautiful object does not become less beautiful with the passage of time but rather more so. A tea cup that develops minute cracks with constant use, for example, has indeed become a cup suitable for the drinking of tea.”
Alex Besher, teenage editor of the Shinjuku Sutra, Tokyo's very own underground rag. The trilingual Alex, or Sasha as everyone called him, was a 16-year-old American of Russian parentage who was studying at Sophia University.
“The whole hippie thing was starting to happen in the US” he recently recalled, “and of course we were quite removed from it all. Vietnam was in full throttle and there was a ripple of counter culture hitting Tokyo. In fact Tokyo in the Sixties was a very politicized, culturally edgy place… Butoh dance was taking the stage, a lot of underground theaters, art happenings, things like that.
“I had only heard of underground papers so I had no model; the only thing I knew was to get on the Bullet Express to go back to Kobe where I came from and hire the same printer I had used for the high school paper. So my take on the cultural scene in Tokyo in ’67 was reflected in the title. Shinjuku was a happening place, it was a crossroads of East and West; you had people coming from Afghanistan or India or China or on their way there. And, of course, the Fugetsudo was just around the corner”.
Sasha and I got along famously and we agreed to do a joint issue of the Sutra and Other Scenes, each creating 12 pages, with me footing the bill and Sasha doing all the production (i.e, getting it printed).
For my part I already had good friends in Japan and among other items I pasted up a page from Time correspondent Jerrold Schecter's forthcoming book about the controversial Soka Gakkai; a piece by Murray Sayle, a column by Shibata, semi-nude pictures of the Nichigeki Dance Troupe and--for a front page--the second page of a letter from a GI in Vietnam, describing all the pot-smoking that was going on. I had fabricated the letter, based on interviews to glean local color about Saigon, by handwriting it on a page ripped off from the local USO.
After six years together, Amber and I had decided to get married in Tokyo, with Willy's generous reception at the press club and a cake iced with Make Love, Not War. Right after the wedding we mailed out the Shinjuku Sutra to our subscribers. Amber being familiar with my compulsive ways (we'd already been together for four years) was not surprised by having to spend our honeymoon sitting on the floor of our hotel room stuffing envelopes.
On an earlier trip I had stayed one night in Frank Lloyd Wright's wonderful old Imperial Hotel with its rooms of porous volcanic stone and its cave-like, carpeted corridors, a hotel built to withstand earthquakes. Now they were pulling it down, ostensibly because of its "instability” but actually because the land was too valuable to "waste" on such a relatively small structure.
Other Scenes had begUn with a couple of random issues produced in Los Angeles, one containing Lenore Kandel's banned poem, FUCK HATE. (That was the entire poem). Ed Ruscha created an amusing logo for us in which a house whose chimney was a half-peeled banana spelling out Other Scenes in clouds of smoke. Earlier issues had been from Japan and London but now back in New York, we produced the paper from our tiny apartment at 26 Perry Street where we lived, published, and entertained a continuous stream of visitors.
Amber, the perfect hostess, pinned a list to the refrigerator door indicating our guests' preference for tea or coffee and in what form. It was one of the many things I loved about her although I was often too preoccupied to show it. She'd doodle "Somewhere over the rainbow..." on scraps of paper and occasionally proclaim: "Sometimes, I feel so lonely". I would dismiss this. How could she be lonely, I would ask, when we were together all the time? Alas, I didn't understand. Now she says this is a pathetic sort of memory to have about what was actually a ten-year relationship and, indeed, it is.
All I can say is that to me it was a blissfully happy—although clearly chauvinistic—relationship, during which we barely spent a day apart. How hard it is, though, to remember specific activities, most of the memories subordinated to my single-minded devotion to getting out the paper for which, thank the goddess, she was worth her weight in gold, bringing in most of the money to pay the rent and printing bill.
Most of Amber’s time was devoted to typesetting the paper on a rented IBM machine, a task at which she was so proficient that eventually we rented a small basement on West 10th Street and set up Ambertype, contracting successfully to do the typesetting for the numerous alternative publications that were emerging. She'd hire our friends to typeset, paying them by the hour, keeping careful accounts which subsequently proved how badly we’d underestimated our expenses. Even at the best of times we barely broke even but all the underground papers were in the same boat. None of us were doing it for the money but with the idealistic belief that we were helping to change the society. In these more commercial days it is sometimes hard to make people understand how much everybody we knew shared this belief and how little money seemed to matter.
For the third issue of Other Scenes I interviewed Bill Graham who was now running New York’s Fillmore on 2nd Avenue, packing in unruly crowds with weekly rock concerts which, to my elderly ears, all sounded alike. I'd first met Graham in San Francisco and when I asked him about the scene there. He was pessimistic.
“There was a golden opportunity in the Haight-Ashbury, which will probably not come up again in our generation, for a community of young people with new ideas about community life. But too many of them used or abused the privileges that were given to them--the fuzz didn't really harass anybody that much and what society said, in effect, was 'Let us see you do your stuff'. There was the park, and both acid and grass were flowing pretty loose, whether right or wrong, but what about the opportunity that presented itself? How did you use the park? How did you use the right to express yourself? Where was your political platform? Where was your theater?
“Where were the debates, the experimentation with dialog? Where were your art festivals, your fairs? You should have had flowers. But instead of that they found out that it became a tourist attraction because they wanted to look at you. Where were you at?"
It seemed clear that Graham associated me personally with all this, and I heard later that he'd described me to somebody as "a communist" but although Amber always complained that we weren't living the revolution "just reporting it" I felt that we were doing a pretty good job of that. My sympathies were entirely with the alternate society and its grievances about being misunderstood. Nor did I see anything wrong with becoming a participatory journalist--in contradiction to the way I'd been trained--believing at that juncture that there was a "right" side and a "wrong" side and if helping a cause that you believed in was "un-journalistic" then so be it. I found myself working 24 hours a day on "just reporting it" and there wasn't time for much else (including my marriage).
When it came to the music scene I was totally out of touch with my contemporaries (all of whom were younger than me) because of my lack of interest in what I regarded as superficial music. I like ballet, opera, most classical, jazz, pop, Broadway stuff, Sinatra, the Great American Song book, etc. A generation thing. The hot new group of the week sounded to me very much like the hot new group of last week or the week before. Contemporary music was very much a blind spot in my tabloid newspaper.
Manhattan Memories is available at amazon.com.
also available on amazon.com...
National Weed (1974, issue #3)
Forty years ago the second of my three books about magic was published, A Guide to Occult Britain (Sidgwick & Jackson) covering a wide range of sites from Stonehenge to Loch Ness and King Arthur country to the witches of Pendle Hill. It is now available as an eBook
Over the past year, my combined medical and support costs from a stroke I had in April 2014 have been more than $100,000. If you'd like to help, use the Paypal donate button, or better yet, buy my books, and thank you. —JW
Now on Boing-Boing!
An authorized comic book biography of John Wilcock,
This IS a book-length comic series on John Wilcock. People who enjoy focusing on underground and alternative media are occasionally familiar with John's work, but most often the response is "who's that?" Outside of small press historians and collectors, John remains very unknown. Which makes no sense, the more you learn about him. We're very excited about the opportunity to tell his story. Art for THE STORY OF JOHN WILCOCK is by me and co-conspirator Scott Marshall. Story comes from an extended and ongoing year-long interview with Wilcock, himself. The focus is John's years in New York, roughly 1954-1971.
January 2, 2011
A way with Andy Warhol : John Wilcock recalls life in iconic pop artist's inner circle
During a journalism career that began when he was 16, John Wilcock has interviewed celebrities — Marilyn Monroe, Marlene Dietrich, Milton Berle, Steve Allen and Bob Dylan, to name a few — was part of enigmatic pop artist Andy Warhol's intimate circle in the 1960s, traveled to exotic locations all over the globe, has written dozens of books ranging from frugal travel to magic, was one of five founders (Norman Mailer was one of them) of the Village Voice and co-founded Interview magazine (still in circulation) with Mr. Warhol.
“The Return of the World's Worst Businessman”
John Wilcock is not what you would call a household name, and yet, he has had a measurable impact on art, journalism and culture-at-large over the last century. He co-founded Interview with Andy Warhol. He also was one of the co-founders of The Village Voice. He has written for countless print and online publications: Frommer’s, The Daily Mirror, The Daily Mail, The East Village Other, The Huffington Post, The New York Times, The Ojai Orange, etc. So why, one feels inclined to ask, is he relatively unknown? The answer seems simple: Wilcock has called himself “the world’s worst businessman.” This self-description makes sense because listening to him one hears the voice of a writer and a traveler and an enthusiast, not at all the voice of a businessman. In an age when it seems like everyone is all about business—art as a business, fashion as a business, everything as a business—it is refreshing to hear someone self-identify as “the world’s worst businessman.” It seems less like he has failed as a businessman and more like he has refused to become one. In addition to all his other accomplishments,...
Wednesday, December 29, 2010
Jewcy Top 10 Art Books of 2010
This brilliant remake of a pop primary document is brought to you by John Wilcock, probably the Most Interesting Man in the World in the realm of writers. The Village Voice cofounder had also edited Warhol’s seminal mag Interview in the 70s. The fruit of the book is in the genius of its redesign. After 40 years out-of-print, the newly edited edition is “beautifully redesigned in a bright, Warholian palette” that surrounds a trail of Harry Shunk’s internationally Pop-art-informed camera as well as transcribed interviews with those closest to Warhol that ultimately make up an oral history of the artist’s Factory period. By looking at him through the scope of his peers, this book is the equivalent of Pittsburgh’s Warhol Museum in illuminating qualities of Warhol’s warped mirror on which our American culture was briefly reflected.
Monday, November 15, 2010
A Reader Comment from the recent New York Times Frugal Traveler post
Not only did John Wilcock shake up staid publishing in the USA, from the Village Voice to the East Village Other, his influence extended to several continents, including Australia & the UK, where - in his mild mannered way - he pushed the boundaries of image and speech. The counter culture was nothing but a dull puddle, until John kicked out the jams and ignited the Underground Press, which attracted absurd prosecutions, that of course boosted circulations. An unsung hero of the sixties,
It was the first handwritten letter I’d received in 5 years. Or maybe 10. Signed by John Wilcock, a man I’d never heard of, and postmarked Ojai, Calif., it was waiting for me when I returned from my Săo Paulo-to-New York summer trip. Mr. Wilcock wrote that he had been an assistant editor at The Times Travel section back in the 1950s, and had written the first editions of “Mexico on $5 a Day,” “Greece on $5 a Day” and “Japan on $5 a Day” for Arthur Frommer in the 1960s.
By George, I thought. This man was the original Frugal Traveler.
"A GOOD WAY to describe John Wilcock is to say that he is a talented bohemian counter-culture journalist who once played a major role in the emergence of America’s underground press. Born 1927 in Sheffield, England, he left school aged 16 to work on various newspapers in England, and on Toronto periodicals before moving to New York City. There in 1955 he became one of the five founders of the Village Voice in which he and co-founder Norman Mailer wrote weekly columns. Wilcock called his column “The Village Square”, an intended pun. He and young Mailer were not quite friends, although Wilcock was at times annoyed, but always amused, by Mailer’s monstrous ego."