Issue Thirty-Four     July 14th 2013
This is the nearest that you are ever going to get to a posh weekend colour supplement from the Gonzo Daily team. Each week we shall go through the best bits of the week before, and if there aren't any we shall make some up, or simply make our excuses and leave (you can tell the editor once did contract work at the News of the World can't ya?)
Social media stuff that I am really too old to understand, (my stepdaughter spent much of last Christmas trying to explain Twitter to me) but I am assuming that at least some of our readers are younger and hipper than I am.
Google Plus
Google Plus
So what is this all about?

It is simple; my name is Jon and I am the editor of the Gonzo Multimedia daily online magazine. Now there is a weekly newsletter, once again edited by me and my trusty orange cat from a dilapidated ex-potato shed  in rural Devonshire. 

You subscribed to it by opting in on the website. I hope that you all stay to join in the fun, but if it is not to your liking it is just as easy to unsubscribe again. But what a long, strange trip it is gonna be...
This week family stuff gets in the way of the rock and roll dream. I am off to a family wedding in Norfolk, so am writing this editorial thingy on a bright and sunny Wednesday afternoon, some days before I will actually send the magazine out, and before I am even sure exactly what is going to be in it.

I have just finished  I have just finished reading Barry Miles' 'London Calling', which is an absolutely superb examination of the counterculture of London since 1945. It ends up by suggesting that the immediacy of the internet has made the idea of a counterculture redundant. Hmmmmm. I'm not so sure.

I get his point: society is far more diverse than it was back in the day, and many more subgroups of society are now seen as part of the mainstream. But there are still people whose socio-political views are outside the mainstream, and whose cultural leanings are divorced from the things that the mainstream media promulgate. The battle lines are still much as they always were, only the uniforms have changed.

Over thirty years ago, Pete Wright of Crass, an angry man whose present relationship with his erstwhile bandmates is shaky to say the least, but who has always wrote:


I wish that he hadn't done it all in capital letters, but it is hard not to agree with him.

With this issue the Gonzo community expands. We have several new writers, including a young lady of 14 who writes incredibly eloquently and passionately, even though I don't understand a word of it. 

I am growing up in public, as it were. The Gonzo Weekly has been going for six months now, and we are beginning to find our feet. I am making changes as I go along, and - no doubt - some of these changes will turn out to be mistakes. So, let me know what you think. Do they work? Do you like them? Hate them? Or don't you care either way?

Please pass this magazine around as far and wide as you can. And encourage as many people as you can to subscribe. Remember it is free, and will remain so. However, I want as many subscribers as possible to move on to the next stage of the party. There might well be cake.

Remember, I am always looking for new authors. If there is something that you feel you could add to the general melange which is the Gonzo Weekly, please email me at The more the merrier.

Although this newsletter also goes out in a plain text version for those of you who do not trust image intensive thingys in your browser, I promise that as long as it is technically feasible (which will be for the forseeable future) the text only mailout will continue. However, I strongly advise that for you to get the best out of this rapidly evolving publication, that you really should see it in all its picture-led glory.

THE WEEK THAT'S PAST: Alan Dearling makes an exhibition of himself

In last week's issue we wrote about Alan Dearling's new photography exhibition. 

Thom the World Poet read what we wrote and responded:

There are those with eye of camera
who capture/then release
the images of histories as we
live them /via families and villages
need heed their Cassandras/Eyemouth
on the Border/Ballads ENABLER PUBLICATIONS
which presages and presents the ways
alternative lifestyles live today
He took me to the beach
where 200 years ago ,witches burned
Showed me the sculptures of that day
when women and children watched as their fisherfolk sank
when a storm stole their fish and their boats launched for tithes
This is personal.Lives lost so we might learn
when to swim and when to burn.
Ann Arbor in Michigan has always been one of the more radicalised communities in the United States, but this week I received a news story, which although it has very little to do with the main cut and thrust of this publication, touched me because of its whimsy...

"Fairies are settling in the Michigan college town of Ann Arbor. At least, that's what artist Jonathon Wright would like you to believe. All across the city, "fairy doors" are popping up. The miniature openings into imagined fairy homes are unsponsored, unauthorized works of public art that have captured the imagination of the city."
It turns out that this is not even a new story. There is even a Wikipedia article about it. But it is new to me, and I thought that it was rather nice, and I am the editor so there!
THE WEEK THAT'S PAST:  Back to Gonzo Web Radio
STRANGE FRUIT: Episode 44 
Songs about drugs, recorded under the influence of etc..
Date Published: 10th July 2013

Strange Fruit is a unique two-hour radio show exploring the world of underground, strange and generally neglected music. All shows are themed and all shows set out to give the most hardened of sound-hounds some new delight to sample. The show is also unique in providing homework for undergraduate students on North West Kent College’s Foundation Degree in Professional Writing (who dig up many of the odd facts featured in the links between tracks).  Strange Fruit presenter is currently working on a book about rare albums for Gonzo Multimedia.  

The show is broadcast on Miskin Radio every Sunday from 10-00-midnight.

Playlist for this episode

For more news on Strange Fruit CLICK HERE
For more news on Canterbury Sans Frontières CLICK HERE
For the Gonzo Web Radio homepage CLICK HERE
THE WEEK THAT'S PAST: The Gospel according to Bart
Bart Lancia, my incomparable roving reporter, surpassed himself this week by sending me the latest newsletter from Oliver Wakeman, which includes autumn tour dates, news of an award nomination and much more.

Well it's been a busy couple of months. 
Firstly there was a two day rehearsal with my Dad, brother Adam and sister Jemma at Blackfriars in Gloucestershire for the Wakeman with Wakeman with Wakeman and Wakeman shows. 
These rehearsals were closely followed by 2 shows on the Saturday evening one after the other! It was pretty exhausting but really good fun and the two sold out shows were really well received. It was a beautiful setting and we gave Dad a hard time with the stories we told too...

Read on...
Remember, if you want more than your weekly fix of this newsletter you can check out the Gonzo Daily, which - as its name implies - does much the same as this newsletter but every day. It also features a daily poem from Thom the World Poet, and the occasional non-Gonzo rock music rambling from yours truly, plus book and gig reviews from our highly trained staff of social malcontents. And its FREE! You cannae say fairer than that!
Each week, some of you seem to recognise me. Yes, I am indeed that weird bloke off the telly who chases mythological animals. I have a day job as Director of the Centre for Fortean Zoology, and also the editor of the CFZ Blog Network, and publisher of a plethora of books about mystery animals.
THOSE WE HAVE LOST:  Toshi Seeger (1922-2013)
Toshi Seeger, environmental activist and - for seventy years - wife of Pete Seeger, the Grand Old Man of American folk music. has died. 

Our tribute to Toshi
COVER STORY: Hugh Hopper Revisited
Over the past few months I have found myself listening to quite a lot of music by Hugh Hopper, the visionary bass player who came to fame with Soft Machine​ and redefined progressive rock bass playing for several successive generations. Gonzo have released a number of Hugh Hopper related albums in the last few months, so it seemed a good idea to have a word with our resident Hopperophiles, and present some sort of a retrospective on the man and his work.

Earlier this evening I had a fascinating telephone conversation with Matthew Watkins, host of the Canterbury Sans Frontières podcast which we are proud to host on Gonzo Web Radio.

Check it out...
When Hugh died a few years ago, our very own C.J.Stone wrote an obituary for him...
Hugh Hopper, ex bass player with the Soft Machine, died of leukaemia on June 7th 2009 in Whitstable. He was 64 years old.

The irony here is that I was a Soft Machine fan, but I didn’t even know he lived in Whitstable until I heard that he had died.

This is very sad. It makes me think that we might have been friends, if only I’d have known.

I wonder how many times I might have passed him on the street or seen him in the shops and not recognised him?

I went to see Soft Machine at Mother’s Club in Birmingham when I was 17 years old and bought all of their records. I used to like that swirling fuzz-box organ sound of theirs and the way songs would seem to open out into waves of infinity.

They were the first rock band ever to play the Proms. I remember watching them on the TV with my Mum and Dad. I don’t think my Mum and Dad ever quite understood what it was all about.

The Soft Machine were one of the pioneers of what you might call “intellectual rock”. Their very name was taken from a William Burroughs novel, and their music veered more towards Ornette Coleman style free jazz improvisation than the three minute pop song my Mum and Dad were used to. They were not a band you would ever expect to see on Top of the Pops.

At the same time, in their early years they were very playful. For example, on their second album there was a song called The Concise British Alphabet whose lyrics consisted of precisely that: all the letters of the alphabet, one by one, in order. The Concise British Alphabet Part II consisted of the same set of lyrics sung backwards.

You got the feeling they were making it up as they went along.

In later years they began to take themselves more seriously and I lost track of them.

The Soft Machine were part of a nest of bands, including CaravanGong andHatfield and the North, which have since become internationally recognised under the collective name of The Canterbury Scene. No one, as far as I know, has yet written a proper history.

Hugh Hopper’s passing makes it all the more urgent that someone takes on this task.

Hugh Hooper started his musical career in 1963 as the bass player with the Daevid Allen Trio alongside drummer Robert Wyatt.  There can be few other free jazz bands of the era with such a stellar line-up. Unlike other legendary ensembles such as The Crucial Three (a Liverpool band from 1977 which featured three musicians who were to go on to enormous success) the Daevid Allen Trio actually played gigs and made recordings.
All three members ended up in Soft Machine, which together with Pink Floyd was the ‘house band’ of the burgeoning ‘Underground’ movement which tried so hard to turn British cultural mores upside down for a few years in the latter half of the 1960s.  (Hopper and Wyatt had also been in another legendary Canterbury band called The Wilde Flowers).  Hopper stayed with Soft Machine (for whom he was initially the group’s road manager) until 1973 playing at least one session with Syd Barrett along the way.
During his tenure the band developed from a psychedelic pop group to an instrumental jazz rock fusion band, all the time driven by the lyrical bass playing of Hugh Hopper.
After leaving the band he worked with many pillars of the jazz rock fusion scene such as: Isotope, Gilgamesh, Stomu Yamashta and Carla Bley.  He also formed some co-operative bands with Elton Dean who had also been in Soft Machine
Previously Dean had been in a band called Bluesology, whose keyboard player Reginald Dwight had come to the conclusion that his was not a name that had much commercial potential, so he pinched Dean’s Christian name and as a surname chose part of the name of Bluesology’s lead singer, Long John Baldry. 

The Monster Band was a 1973/4 ensemble formed by Hopper as a touring band, with Dean, drummer Mike Travis from Gilgamesh, and two musicians from the French band Contrepoint with whom he had toured France the previous year. The Monster Band album also includes some extraordinary recordings made by Hopper solo.

It is a very satisfying experience to be part of the team instrumental in bringing this music back into the public eye after so many years. 
Who are Brainville? You might well ask. They were a supergroup featuring Canterbury Scene luminaries Hugh Hopper, Daevid Allen and Pip Pyle, and New York Musican Kraner. So how did these four guys, for whom the word ‘maverick’ was probably coined come to work together? Well, it was all down to Kramer. He had made a couple of albums each with Daevid and Hugh, and with the benefit of hindsight it seems that it was always going to be only a matter of time before the three of them worked together. And when they did, who was the most obvious choice as a drummer?
HOPPER/DEAN/TIPPETT/GALLIVAN was an experimental jazz outfit formed in 1976 by former Hopper and Dean, teaming up with the renowned jazz pianist and composer Keith Tippett and the remarkable avant garde drummer/synth player Joe Gallivan. In 1977 the quartet released their album "Cruel but Fair", which Wally Stoup describes as: “…a wide-ranging programme of bristling, exploratory jazz and innovative electronic music. Gallivan plays synthesiser in addition to his propulsive, pulse-oriented drums, and on several cuts ("Jannakota" and "Rocky Recluse"), the music drifts into beguiling electronic soundscapes. 
These serve as interludes for the more energetic and fiery pieces featuring Dean's singular sax and Tippett's dense, multi-layered piano. Dean's distinctive alto and the seldom-played saxello both project a plaintive, vocalised sound, equally adaptable to the frenzy of "Seven Drones" or the calm of "Echoes". This ability to shift emotional gears, shared by the group as a whole, results in a collective music that is both spontaneous and cohesive. “ The band also embarked on a tour of Europe. What is less well known is that they did quite a bit more recording that year. The material on this remarkable album is from these sessions and comes from the archives of the late Hugh Hopper.
The music that these two extraordinary talents made together is a glorious synergy of the most eclectic influences ranging from jazz to world music, all filtered through the hard edged post punk sensibility that Kramer had developed over the years. The music is completely insane, and has very few reference points away from itself. I have been listening to nothing much else since I discovered it.
It is not only massively cerebral but joyous and massively entertaining; the sound of two unique talents having fun and making music like no-one would ever make again. Yes, its THAT good!
I hadn't realised quite how many side projects the lovely Mimi Page has been involved with over the past few years. Just check THIS out:
  • 2009 Shotgun Radio - Backlash feat. DJ Swamp and Mimi Page
  • 2011 Phrenik and Kelly Dean - The Burning feat. Mimi Page
  • 2011 Phrenik - Exodus feat. Mimi Page
  • 2011 The Walton Hoax - Sublight feat. Mimi Page
  • 2011 Elfkowitz and Mimi Page - Shadow Dancing
  • 2011 R.E.G. and Mimi Page - Here I Am
  • 2011 Skytree - Neverending World feat. Mimi Page
  • 2011 Shotgun Radio - A Bad Place feat. Mimi Page
  • 2012 Spankinz - The Reminder feat. Mimi Page
  • 2012 Phrenik - Spy Games feat. Mimi Page
  • 2012 Kezwik - Let Go feat. Mimi Page
  • 2012 Gladkill - The Night and The Skyline feat. Mimi Page
  • 2012 Bassnectar - Butterfly feat. Mimi Page
  • 2012 Bassnectar and DC Breaks - Breathless feat. Mimi Page
  • 2013 Clark Kent and Mimi Page - Life
  • 2013 DJ Eye - I Believe feat. Mimi Page
  • 2013 Yinyues - Everything feat. Mimi Page
  • 2013 Seven Lions - Fevers feat. Minnesota & Mimi Page
  • 2013 Paris Blohm - Lost In Me feat. Mimi Page
Also this week we posted a link to another gorgeous instrumental piece of Mimi's. She really is an extraordinarily talented young lady.
by Ian Maun
The latest recording from Judy is another step along the route of musical exploration that she has taken over the years. That route never follows the same path from one record to the next, and Judy has moved on from synthesiser loops (Spindle, Whorl) and explosive King Crimson arrangements (Talking with Strangers) to a very adult song and vocal style in which piano and strings provide a backing that lies somewhere between chamber music and a full performance by an orchestra.
Black Dog conjures up that strange lurking presence of depression or fear to which we are all subject, but reassures us that it’s all right to have such sentiments. Just acknowledge the Black Dog and then you can get on. It’s a salutary message, gently delivered.
Featherdancing recounts the musical childhood of Judy and her two sisters, swinging along in gentle triple time, the sound somewhere between a tea-dance and a French café. The light and airy tune and a cheerful vocal are a buoyant celebration of a time full of music and laughter.
Beautiful Child (Freya’s Song), dedicated to Judy’s grand-daughter, reflects on a new life and the future that it holds, a future on which a grandmother muses with hope and curiosity.
Crowbaby depicts the life of a fledgling bird and the challenges that it must meet in a harsh world in which a baby must grow and feed on other creatures. Fortunately, at this stage, ‘Mama Crow’ is still around to reassure her infant. Pat Mastelloto provides some slightly sinister scratching effects that are extremely bird-like in their insistence. Fripp-like guitar creates an open and empty landscape in which Judy’s vocal seeks to calm the small bird before it takes flight into its carrion future.
Driftaway is an exquisite reflection on life and partings. It’s certainly one of the most beautiful songs that I have ever heard in a lifetime of listening to music of all varieties. It drags at the heart-strings with its gentle melancholy and resignation to the fact that all things must pass. This is certainly the star track of the album.
Head Full of Stars is reminiscent of the some of Judy’s work on Giles, Giles and Fripp’s The Brondesbury Tapes and is very 1960s in its style and arrangement. A light and fanciful number strung on a high-wire of soaring guitar and synthesiser.
Silence is a song about intense loneliness. Violin, viola and cello lend an appropriate Eleanor Rigby-style melancholy to the backing, but there is none of the bouncing-triplet jollity of the Beatles’ number here. This is a dark and sad song.
Letters is cleverly-woven duet between two lovers whose missives have gone astray. Despite positive feelings for each other, the couple are doomed forever to remain apart. Matt Malley provides the male side of the duet, his light and pleasant voice conveying a gentle disappointment in the turn which events that have taken. The fade-out of syncopated drums suggests a degree of chaos thrown into the lives of the participants.
Wintersong recounts the memories of a lost love. Gentle reminiscence is accompanied by piano and cello to give just the right level of bitter-sweetness.
It is unusual to find an album in which the cover reflects a song and actually enhances it. The exquisite art-work of Catherine Hyde, Jackie Morris, Hannah Willow and the glass work of Tamsin Abbott adorn the sleeve of the record and its liner notes, and these are celebrated in Sisterhood of Ruralists, the collective title of this modern-day creative collective of Pre-Raphaelite-like artists.
Full credit to Alistair Murphy, who produced the record, for his choice of backing musicians and arrangers, as well as his own performances. With musicians from King Crimson,Counting Crows and Spiritualized among others, you can scarcely go wrong, and Alistair’s clear and rich production allows the musicians to shine in their own right.
This is a mature album, a long way from Fairport Convention or Morning Way. Here there is none of the flim-flam of young love, teenage angst or Tolkienesque fantasy.  Like Talking with Strangers, Judy’s previous album, this is a serious depiction of what life brings or throws at you, an album of experience, an album of reflection. It is also an album of moods, some of them dark, others lighter and celebratory. Like most of Judy’s albums, it doesn’t fit neatly into musical category. Thank goodness! In subject-matter, arrangements and balance, this record shows exactly what Judy is known for, namely originality. Add it to that growing shelf of her recordings. 

by Corinna Downes
So who of you out there had an Afghan coat back along? I have to admit that for a short period I had two – a white, short version which never looked very good on me and which I sold, leaving me with a traditional unisex long version.  Boy did those coats smell, especially when they got wet (although it was a good excuse to use a liberal does of patchouli on one’s person to try and detract from the aroma emanating from said article of clothing).  And they sure didn’t give a particularly flattering look either.  And when they got old… what about all those cracks and nasty stains they seemed to attract, along with the frayed threads on the various swirls of ‘embroidery’?  And wowzer were they heavy (the more-than-likely reason my story exists in the first place). And they were bloody expensive to purchase. And how many times did those jingly necklaces with those small triangle-shaped thingies get caught in that mass of matted fleece round the neck and down the front? Not to mention the bracelets of the same sort getting tangled around the shaggy wrists.   I am beginning to wonder why I had one after recalling all of that.   
Erm ... I know  … along with greatcoats, they were THE thing to wear.  Well d’uh. And of course, on the practical side I suppose they did have the added benefit of keeping you warm. You couldn’t bend your arms very easily because the sleeves were as stiff as a board, but at least they kept them snug.
It is the tale of my long version Afghan coat that I shall relate today or it may even be the long version of a tale.  Or even a long tale of a long coat without a tail.  Whichever, it is a sorry tale indeed. 
My gig-attending partner-in-crime of the time was Sioux.  Now Sioux had a car, this being a Mini (the last time I saw her – around ten years ago now – she still had a Mini, but had upgraded to the new version, unlike yours truly who had started out with a Mini Clubman estate (which always broke down in the rain after you had gone as far as you could in first gear. Change up a gear and it broke down even sooner) and then moved on to Ford Escorts and the like).  
On the particular occasion in question we went to the self-explanatory named Roundhouse down Chalk Farm Road in Camden, in good old London town.  As hard as I have tried, my memory will not unlock the details of who it was that we saw there – I seem to think it may have been ‘Darryl Way’s Wolf’ but don’t quote me on that (if indeed you would even wish so to do, and I cannot for the life of me think why you should anyway as it is not the sort of thing that would come up in general conversation).  I know they played at the Roundhouse in Dagenham (I checked), but it was definitely down Chalk Farm Road where my Afghan coat’s tale begins.
It’s dubious claim to fame in this publication began when I decided that it was either too hot to wear it, or that I couldn’t face carrying it around with me. 
Where the saga actually ended for the coat I shall never know.  But I can tell you why it never made it back with me to Uxbridge.
Because it got half-inched, that’s why. 
We returned to the car later only to find that it had been broken into and although the radio etc were untouched, my precious Afghan coat was no longer on the back seat where I had left it.  I actually do remember saying to Sioux back then that,  upon reflection, it was a silly idea to leave it in full view. But it had not crossed either of our minds that somebody would desire such a smelly, tatty, stained, well-worn old coat that much.  That was the first thing I ever had stolen; I have had three other items thieved since, but they are not pertinent to the life and times of ‘Corinna James; The Early Years’.   They would be more suitable for the second and third volumes (also known as the spiral-bound notebook and jotter pad respectively). 
For many reasons I would not own or wear one now, but back in the day I guess I thought I was hip. 
Oh, and PS:  It was with some relief and a very quiet ‘hurray’ when I read Helen McCookerybook’s comments in last week’s newsletter about how she had never really liked The Rolling Stones.  I thought I was the only one who didn’t (apart, that is, from those who were born long before the Stones took centre stage, which must have been a while back ‘cos they ain’t no spring chickens themselves).  Yeah okay, some of their stuff is good, Jumpin’ Jack Flash for example is one of which I am particularly fond. I also seem to remember a pretty good dance scene where Whoopi Goldberg danced to said song in the film of the same name (Jumpin’ Jack Flash that is, not Whoopi Goldberg) - in her pyjamas if I remember correctly.  But for the most part … nah sorry. 
London Film and Comic-Con 2013 (or, ‘I Have Returned from My Lengthy Hiatus to Bring You Something You’ll Barely Understand Anyway’)
Harriet wrote this piece for the CFZ Blog. It is even more off-topic for there than it is here, so - of course - I have posted it. However, as this is a magazine about popular cultures and the way that they interact with each other, the fact that I only have the vaguest idea what the dear girl is banging on about doesn't stop me including it.

The sun was concealed behind layers of merciful cloud that morning. I’d prayed that it would remain that way for the whole day, but as anybody would be able to guess, it was not to be so. There was a lot of business in the early hours: zippers being pulled up, makeup being applied and a particular cosplay essential- wigs being meticulously adjusted and done up. Nobody wants their wig to slip off in the middle of a convention.


Our daring troupe ran down to the bus station, amidst laughs and/or confused stares from the people milling around in Yeovil at quarter-to-eight in the morning, making it in a good amount of time to where we were to meet the rest of our convention group, quite aptly named ‘Geek-fest’ by the organiser. I also discovered that Harry, one of the other guys coming along with us, was going to be Deadpool for the day. I found this to be awesome, and we both ended up talking about comics a lot. My own cosplay was a heavy pink dress, complete with an apron, petticoat, long socks and a long pink wig. Needless to say, I almost fried- not such a good idea, as it turned out that there were virtually no cosplayers from my fandom (this being Hetalia. Jon vaguely knows, I know, others may not want to know)! It was probably made worse by the fact I was doing an alternate universe cosplay. I really need to rethink my strategies.


The main amount of cosplayers were from Homestuck. If you don’t know what that is, then here ( If you hate reading things that never seem to end, don’t read Homestuck. If you hate reading altogether then get off this whole website, because there are an awful lot of things to read when it comes to the CFZ!


Anyway, we ended up chilling out with a lovely group of Homestucks, whose cosplays were amazing and totally inspiring, and they were such friendly people. Yes, there are horned grey people. There is also a heartwarming display of self-esteem from Tavros. Can you guess who he is?

 The painful thing was that in the morning, I was considering wearing my stuff from Homestuck, and still went ahead with the whole Hetalia thing. Please excuse me while I internally berate myself for not seeing what the best decision would have been.


Oh, but there’s some charm to being at a convention. I think the highlight, for me, was standing on one of the balconies at the side of the ExCeL center and watching, momentarily, all the people milling about. It was like a wonderfully busy ant colony. I then saw a group of Deadpools dancing about, which was highly entertaining. The worst part was when I saw Slenderman. I have a fear of that thing. AND I AM CONVINCED I’M NOW ON HIS HIT LIST. THERE’S NO HOPE FOR ME ANY MORE.


I, unexpectedly enough, didn’t buy a lot. That’s because I only brought £20 with me, and then bought a little Wolverine plushie, a poster, some badges and a mobile phone charm of Miku Hatsune, and the plushie was ridiculously overpriced, but I have been after him for far too long now. He is small but majestic, which carries on the legacy of Wolverine quite beautifully. As I type, I am snuggling him. Next up, Thor…


One negative thing that has happened was my poster being mercilessly squashed. I have no idea who did it but it certainly was not me. Oh, the inhumanity! For the time being, it’s being professionally pressed back into shape under two books, one big box and my laptop, which is on top of the big box.


Anybody else who has ever had as much fun at a convention as I have will know exactly what I am talking about when they read the words ‘post-con depression’. At this point in time, it’s hitting me hard! So I find that the easiest way to battle this is to plan another cosplay. Expect a Peter Pan costume from me within the next few months.


Here’s a funny story: Whilst journeying around with the Homestucks, we managed to get uncomfortably close to Slenderman again. I was worried for my existence, especially after dear sweet Slendy’s head literally snapped around to stare at me. I wasn’t hard to miss. I then asked a Kankri cosplayer (shh) if we could abscond and Kankri then blew on his unique little whistle, yelling “Trigger warning! Everybody abscond!”


We did abscond indeed, because everyone is lovely like that.


I also narrowly evaded a claustrophobic situation when on the way back, Geek-fest were going to go in the lifts to get down to the train station, and I realised that the lifts were going to be crammed with people. Fortunately, Harry-Pool took us down the stairs instead.


How awe-inspiring it was on Saturday, though- so many amazing costumes, kind people, and photographs being taken. The most motivating cosplay was this- I am reliably informed that she was the Queen of Hearts from Tim Burton’s Alice in Wonderland, and heard her saying that it took her 6 months to make. The price? Ten grand. If that doesn’t show how dedicated and brilliant some people are, I don’t know what does.


So to all of the people out there who also went to LFCC: I hope you had a wonderful time, because I know I certainly did. If you know anybody in the pictures, please tell me! I would love to be able to credit them!

By the way, do you hear something? It is the sound of writer’s block shrivelling up and dying.

I think I needed to go to Comic-Con more than I realised.

A couple of weeks ago, the legendary Mick Farren, the revolutionary man of letters that I have often aspired to be when I have not been aspiring to be something completely different, sent me a copy of his new novel - Road Movie. It is as good as one would have hoped, if not better, and this week thanks to those jolly nice people at Penny Ante editions, I am in the glorious position of being able to publish a chunk of it, exclusively for you.

Ain't life grand? 
A brief note to Mick:
I have only just noticed the Jennnings-Derbyshire. I am glad to see that you, too, are a devotee of the Linbury Court school of anarchism

How many Iraqis died as a consequence of the US and British led invasion of their country which began in 2003?

According to a recent poll, most people in the UK severely underestimate the figure. 59% of the respondents estimated that fewer than 10,000 Iraqis died as a result of the war, while a substantial number (44%) believe that the figure was actually less than 5,000.

How crazy this is. For a nation to have unleashed a war while allowing its population no understanding of the consequences of that war.

Who is to blame for this ignorance: the British people, or the media, whose duty it is to inform them?

In fact, according to studies, the death toll from the war in the first three years alone was between 400,000 – 650,000 Iraqis, while some estimates put the figure as well in excess of a million. Up to 70% of these were civilians.

Here in the UK we’ve also had the tragic consequences of the War on Terror brought home to us, with the horrific murder of Lee Rigby on the streets of Woolwich. This one death, on one street, in one city, on one day has caused more media excitement than the million or more deaths which took place in the whole of Iraq during the ten years or so in which the violence continued.

The EDL and other racist groups were quick to start blaming “Islam” for the murder. Hate crimes against Muslims have been on the increase, with attacks upon mosques becoming commonplace, but this represents exactly the same mind-set as the deluded fanatics who killed Drummer Rigby, when they justified his murder on the grounds that the British Military were responsible for the death of Muslims in the Middle East.

Listen. Iraq was not responsible for the War on Terror, Lee Rigby was not responsible for the death of Muslims in the Middle East and Muslims as a group were not responsible for the death of Lee Rigby.

It’s about time this blame game ended and people started looking for the real culprits behind the ongoing insanity.



(The Masters of the Universe do seem to have a steady stream of interesting stories featuring them, their various friends and relations, and alumni). Each week Graham Inglis keeps us up to date with the latest news from the Hawkverse..
EXCLUSIVE: Davey Curtis saw Hawkwind at Holmfirth

Dear Jon,
I have often wondered why bands like to play the Picturedrome, because no disrespect to Holmfirth but it's not exactly the centre of the universe. 

I now know why. It is a cracking venue with superb acoustics and well worth the trip.

Hawkwind were brilliant as usual. Tim Blake did his warm up act again and had the crowd eating out of his hands with a solo version of Spirit of the Age. Later the Sax player from Hipiersonik joined the band on stage and that was a nice touch. I think thats my slice of Hawk pie until they play Newcastle later this year, unless I can sneak off to the Stamford gig in August. I'll have to butter up Mrs C and get some brownie points.
Davey C
More exclusive pictures from the Holmfirth gig...

Backbiter do a Hawkwind cover
Hawkwind Tour dates
"My Dad was in Hawkwind"

now reissued by Gonzo (and typeset by me)
The Naked and Transparent Man Gives Thanks
Amid the folding of all greenness left
I give my thanks whole-heartedly, for life.
For this vermillion tapestry, warp and weft
Of the blood vein's fabric. It's threads are rife,
Conspicuous; easy-meat for knife
Or microbe and the many ills that kill.
And yet stubborn and abundant still.
With ruins of ages around me, strewn
Like wreckage of an unsuccessful probe
Among the craters of a wasted moon,
I extend my thanks for this living robe
And its pulsing weave, to the moth-holed globe,
And unravelling, almost threadbare sky
Of the failing sun under which I lie.

The Court Circular tells interested readers about the comings and goings of members of The Royal Family. However, readers of this periodical seem interested in the comings and goings of Yes and of various alumni of this magnificent and long-standing band. Give the people what they want, I say

It has been a bumper week for stories out in Yes-land, kicking off with major interviews with Alan White, Steve Howe and Chris Squire, the latter two talking specifically about the current tour during which the band are playing three of their classic albums in their entirety. We have tour dates for July and August, and an impressive review of Steve Howe's solo work. Finally we have some exciting news for fans of Jon Anderson.
I am probably getting a bit OCD about all of this, but I find the Yes soap opera of sound to be absolutely enthralling, and I for one can't wait to see what happens next! 
i swear my garage men turn into wolves
i am their lamb/when i bring
my second hand car in
(they almost howl with delight)
the bear of taxes awaits (inertial engineering
while we salmon fly upstream
he is making a killing!
Frankenfoods /GMO kills we worker bees
who do not know junk food
(someone tell the Queen!
streets of every city-ants
shot in clumps/when is a coup
not a coup?
"poisoning pigeons in the park"
homeless cannot sit,nor lay in Austin
Hawk police peck/get pay raise
fewer birds/hunting season
our face on every wing.

In Victorian times every well-bred Gentleman had a 'Cabinet of Curiosities'; a collection of peculiar odds and sods, usually housed in a finely made cabinet with a glass door. These could include anything from Natural History specimens to historical artefacts. There has always been something of the Victorian amateur naturalist about me, and I have a houseful of arcane objects; some completely worthless, others decidedly not, but all precious to me for the memories they hold..

I used to be a collector of rock and roll memorabilia, but most of my collection went into my solicitor's pocket during my divorce from my first wife, and I never had the stomach to build the collection up again. However, people send me pictures of interesting things such as this: Helen McCookerybook's backstage pass from this year's Glastonbury Festival

On the third weekend of August every year for the past fourteen years we have had the weirdest weekend you can imagine. The Weird Weekend is the largest yearly gathering of mystery animal investigators in the English-speaking world. Now in its fourteenth year, the convention attracts speakers and visitors from all over the world and showcases the findings of investigators into strange phenomena.
Cryptozoologists, parapsychologists, ufologists, and folklorists are descending on Woolfardisworthy Community Centre to share their findings and insights. Unlike other events, the Weird Weekend will also include workshops giving tips to budding paranormal investigators, and even a programme of special events for children. The Weird Weekend is the only fortean conference in the world that is truly a family event, although those veterans of previous events should be reassured that it is still as anarchically silly as ever!
The event is raising money for the Centre for Fortean Zoology, the world’s only full time, professional cryptozoological organisation. The profit from food and beverages goes to a selection of village charities, mostly working with children.
How do you fancy spending three days of high strangeness, good food and great beer, together with the cream of British Fortean researchers in the middle of the glorious Devon countryside? By the way, I am sorry to have to say this, but as this is a fundraising event, tickets are non-refundable, although you are free to resell them should you be unable to attend.
Lee Walker: Dead of Night
Andrew Sanderson: Russia Expedition report
Lars Thomas: The Natural History of Trolls
Judge Smith: Life after Death
Jon Downes/Richard Freeman: Intro to Cryptozoology
Nick Wadham: You will believe in fairies; you will, you will!
Tony Whitehead (RSPB): Starslime
Glen Vaudrey : Mystery animals of Staffordshire
Darren Naish: Adventures from the world of tetrapod zoology
Richard Freeman: Expedition repoort Sumatra 2013
Sarah Boit: Orbs from a photographer's perspective
James Newton (London Cryptozoology club): Bigfoot
Shaun Histead-Todd: Pre Columbian civilisations in america
Ronan Coghlan: Amphibians from Outer Space
Jon Downes: Keynote Speech
Speaker's Dinner at the Community Centre
Tickets are only £20 in advance
I think Peter McAdam is one of the funniest people around, and I cannot recommend his book The Nine Henrys highly enough. Check it out at Amazon. Each issue we shall be running a series of Henrybits that are not found in his book about the nine cloned cartoon characters who inhabit a surreal world nearly as insane as mine...
Hello all again,

                 Over the last few weeks, we have been negotiating a deal, and are very pleased to announce, that we have signed up with Hummdrumm Records (part of Itchycoo Records). They will now be handling all our digital releases, will be releasing our material overseas and we very much look forward to working with them. We hope to bring you more information as we get it, but exciting news ahead! So coinciding with the CD release tomorrow 13.07.13 the album will be available as a digital release, in the first instance, through Amazon, and itunes, and then others such as Deezer and Rhapsody.
The album consists of 12 tracks with a plus 75 minutes of music & stuff finishing with an 11 minute epic title track 'TAKE ME TO THE FUTURE' featuring NIK TURNER, and also features the late, and very missed JUDGE TREV on two tracks 'DISTANT DREAMS' and 'STATE OF THE NATION'. The artwork and design was done by the very talented MARK REISER. We'd also like to give a big thank you to CYCLONE MUSIC PRODUCTION SERVICES LTD  and to GRAHAM SEMARK for designing the CD label design, and going to the wire in getting the CD out in time! Big thanks to STEVE RISPIN, who recorded and co-produced the album at LISCOMBE PARK STUDIOS.

“In our last meeting together before his passing, Ray and I were both very excited about the upcoming release of ‘Twisted Tales’. We signed off on the artwork and agreed that it should be released sooner than later. So, honoring that decision, I have proceeded with the release. We both were proud of this recording and hope that people enjoy it. This recording is dedicated to Ray’s memory” - Roy Rogers
Nevada City, CA - Ray Manzarek and Roy Rogers have received no shortage of kudos since they first recorded together five years ago. Ray Manzarek’s signature keyboard sound was a cornerstone of The Doors - one of the most iconic rock bands of the 60’s. An inductee into the R&R Hall of Fame - he certainly needs no introduction. In the pantheon of music, The Doors’ music continues to be one of the most revered rock song catalogs of any band. Slide guitarist Roy Rogers has been lauded not only for his own recordings but for his long-time collaboration with harmonica master Norton Buffalo as well as his producing of 4 CD projects for blues icon John Lee Hooker and folk legend Ramblin’ Jack Elliott. He is well known worldwide for his mastery of slide guitar and has received 8 Grammy nominations for his work as artist and producer. 
In 2011 Manzarek-Rogers released ‘Translucent Blues’- a blues-rock collection of songs tinged with poetry and literary references. The project reached #1 on the Americana Roots chart and debuted at #6 on the Billboard blues chart. The lyrical contributions came from such diverse co-writers as Jim Carroll, Warren Zevon and poet Michael McClure, among others. ‘Twisted Tales’ draws from some of those same writers to tell very different stories. Featured musicians are Kevin Hayes on drums, formerly with the Robert Cray Band; Steve Evans on bass who has performed with the Elvin Bishop Band; and George Brooks on saxophones, who has performed with John McLaughlin and Zakir Hussain.
The new release is a collaboration of keyboard and guitar sounds that merge with stories, images and art. These two amazing musicians create an intoxicating; plush sound that is - more than unique. Manzarek and Rogers are seemingly an odd pairing - but their new recording unleashes a stunning musical landscape for the listener - this music will ‘take you for a ride’… There is a full-length documentary film to be released examining their unique collaboration and friendship in depth this fall.
‘Twisted Tales’ is destined to become a classic, not only as Ray Manzarek’s last recording, but also as a definitive work of two great artists. Available at Amazon and iTunes and retailers nationwide.

It has actually been rather a nice week here in the badly converted potato shed where my new assistant editor Captain Frunobulax the Magnificent and I labour on all the different projects that I do. 
Things have been even more chaotic than usual, because we left home on Thursday to go to Norfolk for a family wedding, and didn't come home until late last night. I then consumed a half bottle of brandy and stayed up all night chatting to various Facebook friends. It was dawn before I went up the little wooden hills to Bedfordshire, and it was so bloody hot upstairs after days of baking sun beating down onto the flat tarred roof, that I came back downstairs and went to sleep in the chair.

Never mind, I thought. Apart from putting the newsletter out I have very little else to do today. Then at 9:00 I received a telephone call. Two very dear friends of mine, who run the CFZ American office, and who paid for our 2010 visit to Texas in search of the mysterious blue dogs are paying us a surprise visit.

At the moment, I am the only person in the household who is even half awake. I am going to let sleeping Corinnas and Grahams and Prudences and Kittens lie, and just play the rest of the day by ear. However, it does mean that I don't have a proofreader this morning, so if there are a few more typos than usual, please blame the peculiar circumstances.

Things are actually going rather well at the moment, and the next wave of Gonzo grooviness is imminent. As you know, I already do various podcasts for Gonzo Web Radio and I am toying with the idea of expanding this to something special, and doing a series of podcasts featuring music unavailable elsewhere, especially for subscribers to this magazine.

Remember that it doesn't cost anything to subscribe, and that in doing so you are joining an elite, and rapidly expanding group of music fans who believe that we are not being given the music or the cultural coverage that we deserve. We are living in disturbing and strange times, but ultimately they are very interesting ones, and continuing to chronicle the Gonzoverse is an immensely rewarding thing to do. Thank you for reading.

Until next week,

Jon Downes
Copyright © 2013, Gonzo Multimedia, All rights reserved.

Our mailing address is:

Jon Downes,
Gonzo Daily/Weekly,
Myrtle Cottage,
9 Back Street,
North Devon
EX39 5QR

Telephone 01237 431413

Fax+44 (0)7006-074-925
unsubscribe from this list   update subscription preferences 

Email Marketing Powered by Mailchimp