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Saturday, February 21, 2004


A Night in The Purgatory


‘These pieces of the self are with my friends
They show me as I am, which never ends
The word betrays the heart and mind’

Old Letters – By Delmore Schwartz





Lost Without A Trace

Bar: Sand
Creator: Tim Oakley
Method: Muddle mint & ginger-shake with bourbon & apple juice-top with ginger ale-serve in an old fashioned glass
Ingredients: 50ml bourbon-root ginger-mint-shot of apple juice-ginger ale

-A Sighing in the Air-
‘We are songs;
You should have sung us!
In the depths of your heart
Despair has wrung us!
We lay and waited;
You called us not.
May your throat and voice
With poison rot!’

From: Peer Gynt- Henrik Ibsen


Italian Job


Grand Mimosa


Bar: Loungelover
Creator: Simon Sheena & Filippo Lari
Method: Build into a flute
Ingredients: Loungelover fig liqeuer (figs steeped in vodka)- vanilla pods- lemon oil- top with Champagne

‘He would elaborate on his marriages, his lost inheritance, Hollywood gossip and Giants’ batting averages, including a notable account how Queen Elizabeth had traveled to the Orient to learn secret techniques of fellatio, which involved introducing rare herbs into her mouth- and had then returned to England, where the first beneficiary of these recondite practices was none other than Danny Kaye.’

Lychee Cooler


Breakfast At Hendricks
Gin Rickey

Indian Gin

Bar: Coq D’Argent
Creator: Adam Janesse
Method: Shake & strain into chilled martini glass
Ingredients: 6 seeded cardamon sticks- 25ml junipero- 30ml pear puree- 20ml lime juice- dash Gomme Syrup- dash orange bitters- 1 spoon bitter orange marmelade

‘An acquaintance described the experience: ‘I felt like a human dynamo. Fucking for over two hours with complete control over my orgasm.. I could feel the sex energy building up in my gut and spreading through my whole body. I could have gone all all night; maybe forever, it felt. She must have had twenty orgasms. We were both delirious with love or lust or whatever it was. When I finally decided to come it was like an explosion of light.’

Watermelon Bramble


Basil Grande

Bar: Living Room
Creator: Team effort
Method: Muddle 3 fresh strawberries & 4/5 basil leaves with 3 parts Chambord- shake with 6 parts grand Marnier & 4 parts granberry juice- strain into a martini glass

‘In looking back, I tend to wonder about my laughter. Was it a case of finding things ‘funnier’ under influence of drinking, or was my laughter merely an involuntary reaction, independent of my thoughts? The truth is, it is hard for me to seperate the two. My laughter seemed, more than anything else, the product of an altered emotional state. I did tend to see things as more ‘absurd’ and hence funnier, but at the same time I was extracting humurous subtleties from a situation, my mood itself seemed to produce laughter which I could not control, and which pertained to more than simply this or that amusing thought. Even after I had forgotten the original joke, my hysteria continued with an apparent momentum of its own. I was, at any rate, extremely euphoric.’

Grand Cosmopolitan
Grand Margherita
Grand Mimosa


Ginger Space
Mai Tai

Planters Punch (1,5 units)

37,5ml Myer’s rum- 25ml fresh lime juice- 12,5ml Gomme- 50ml cold water- 4 dashes Angostura- Shake together all ingredients and strain into an ice-filled glass

‘It would be vain to put into words that immeasurable sense of bliss which comes over me directly as a new idea awakens in me and begins to assume a definite form. I forget everything and behave like a madman. Everything within me starts pulsing and quivering. Hardly have I begun the sketch ere one thought follows another.’

Se1 Mai Tai
Vintage 743




Grand Margherita


Apple Blossom
Countless Petals
Long Dwell

Soul of Man

Bar: Bar Vinyl
Creator: Zim
Method: Layer into a shot glass- set on fire
Ingredients: Kahlua- Cariel vanilla vodka- Baileys- Woods 100 Rum

‘The display which for an enchanted two hours followed was such as I find it hopeless to describe in language which shall convey to others the beauty and splendor of what I saw. Stars, delicate floating films of color, then an abrupt rush of countless points of white light swept across the field of view, as if the unseen millions of the Milky Way were to flow in a sparkling river before my eyes...zigzag lines of very bright colors...the wonderful loveliness of swelling clouds of more vivid colors gone before I could name them.’

Vanilla Mosquito
Vanilla Sky


Adam Street
Autumn Punch
Black Bison
Charlies Angels
Dr Foo Man Chu


Bar: Circus
Creator: Silvan Solinac
Method: Shake & strain into a highball over ice- top with tonic water
Ingredients: 50ml Absolut mandarin- 25ml elderflower- 25ml apple juice- 3 dashes of bitters- 20ml Lime juice

‘How indeed could he hope to find himself to begin again when, somewhere, perhaps, in one of those lost and broken bottles, in one of those glasses, lay, for ever, the solitary clue to his identity? How could he go back and look now, scrabble among the broken glass, under the eternal bars, under the oceans?’

Forest Breeze
Fuzzy Navel
Garden Breeze
Grand Cosmopolitan
Green Destiny

Lamb’s Tail

Bar: SoHo House
Creator: Gareth lamb
Method: Muddle grapes, star fruit & sugar in collins glass- fill with crushed ice- add vodka & apple juice- top with soda- stir
Ingredients: 6 red seedless grapes- 2 slices of sta fruit- 3 rough white sugar cubes- 50ml Zubrovka vodka- splash of apple juice- soda water

‘The nature of the mind is such that the sinner who repents and makes an act of faith in a higher power is more likely to have a blissful visionary experience than is the self-satisfied pillar of society with his righteous indignations, his anxiety about possessions and pretensions, his ingrained habits of blaming, despising, and condemning. Hence the enormous importance attached, in all the great religious traditions, to the state of mind at the moment of death.’

Lasting Passion
Lychee & Chili Martini
Lychee Cooler
Mandarine Cooler
Mango Vanilla Lass
Ramosa Martini
Sea Breeze
Stairs Martini
Velvet Bison


Bar: Ice
Creator: Lino
Method: muddle ingredients- top with ginger beer- serve in a 16oz glass
Ingredients: 50 ml vodka- ½ pomegranate- 6-8 mint leaves- 3 cubes with sugar- lemon juice- ginger beer

‘When our personal worlds are rediscovered and allowed to reconstitute themselves, we first discover a shambles. Bodies half-dead: genitals dissociated from heart: heart severed from head: heads dissociated from genitals. Without inner unity, with just enough sense of continuity to clutch at identity- the current idolatry. Torn body, mind and spirit, by inner contradictions, pulled in different directions, man cut off from his own mind, cut off equally from his own body- a half-crazed creature in a mad world.’

Vodka Espresso
Vodka Martini


Bee Sting

Bar: Zigfrid
Creator: Jeremy Spellacy
Method: Shake- pour into a rock glass
Ingredients: 50ml Glenfiddich- honey- 20ml lemon juice- 60ml apple juice

‘But I was so far gone that I couldn’t even remember the onset. Only visions of the entire course of human history, from the apeman all asteam on the hostile plains on through the blessed virgin and plunging into the abyss of technology. After two million years, T. nudged me gently and said that I should go to sleep...’

Glenfiddich Peardrop
Honey Glenfiddich Sours
Rusty Nail
Whisky Cooler
Whisky Mac


Main source: LONDON BAR GUIDE – 2004 Edition - Published by Scene It Ltd
Voices: Atlas- Ebin- Huxley- Lowry- Schwartz- Stafford- Storr- Laing- Fromm


posted by Walter at 2/21/2004

Sunday, February 15, 2004



Hey where did we go
Days when the rains came
Down in a hollow
Playing a new game
Laughin’ and a-runnin’
Skippin’ and a-jumpin’
In the misty morning fog
With our hearts a-thumpin’
Brown-eyed girl…

-Brown-Eyed Girl-

Van Morrison


''Rolling Stone is not just about music, but about the things and attitudes that the music embraces.''

Jann Wenner – editor and publisher of Rolling Stone magazine in USA Today – July 8 2002

‘We have begun a new publication reflecting what we see are the changes of rock and roll and the changes related to rock and roll. Because the trade papers have become so inaccurate and irrelevant, and because the fan magazines are an anachronism, fashioned in the mold of myth and nonsense, we hope that we have something here for the artists and the industry, and every person who ‘believes in the magic that can set you free’.’

Jann Wenner – in the first issue of Rolling Stone magazine


In his introduction to -THE ROLLING STONE ROCK ‘n’ ROLL READER- Senior Editor Ben Fong Torres reflects on a period between 1967 and 1972 when Rolling Stone magazine defined a new meter through its reporting of popular music. In doing so the magazine premiered the definition of a new Zeitgeist. The atmosphere in the late 60s and early 70s was geared towards personal growth and sensual experimentation. It confronted the limits of libertarianism, drugs, hair and peace- fuelled by a repressive moral and political climate. The audience targeted by the magazine was eager for a critical focus at music and its related topics. In doing so Rolling Stone reported of -‘A lot of Beatles and Stones and Dylan and San Francisco, to be sure. But too, a lot of blues and country and folk and jazz, and festivals and busts and groupies and the Chicago Yippie/Police riot. The Woodstock Nation; the Dream is over.’- The Rolling Stone anthology spans a five year recount of the locales, myths and luminaries of a predominantly ‘American’ part of popular music history. Rolling Stone’s editorial staff admits to a certain prejudice, partly defined by the magazine’s privileged geographical constraints. Ben Fong-Torres- ‘Some obvious prejudices-our love of our home town, San Francisco, and its many little scenes-and those are left in, also for memory’s oldie-but-goodie sake.’
Fong-Torres concludes in his introduction that the Rolling Stone infancy was characterized by accelerated egos, big hair and drug hazed minds- ‘Heads that have made you laugh and cry and think and love; heads that have stoned you, burned you, cooled you off, fired you up, been unbelievable-and made you in the end, believe.’
For a while Rolling Stone magazine has seen declining circulation numbers- and faced increasing criticism for what the industry dubbed gutless ‘male titilation’- and the demise of its previous editorial standards and legendary investigative journalism. In an article- ‘The Death of Rolling Stone’- in Salon of 28 July 2002, former Rolling Stone associate editor Sean Elder wrote an appraisal of Rolling Stone’s ventriloquist- Jann Wenner- the guerilla entrepeneur/talent spotter in charge with the magazine’s hardest challenge yet.
To re-galvanize a fading brand.

‘Wenner was, to put it plainly, the star-fucker who always traded up -- the ultimate name-dropper who finally became a bigger name in the tabs than many of the stars he worshiped.’


John Lennon: ‘I did lose as lot of money in Apple. I mean, the company was becoming a joke. We were losing our own money. Apple consists of 80 per cent of Beatles royalties. We had some wrong people in there. Some of the people just came into the office, and called up Los Angeles and made reservations. But we’ve got some good people now. We had to. It got so bad that Paul and George and I couldn’t even be bothered going into the office. We made a lot of mistakes with it. We promised to help everybody but it couldn’t be done. We gave away a fortune but it was useless. We attracted shit-kickers from all over the world.’



‘ So Don did not attend school, at least not regularly. Instead he took up sculpting all the birds of the air, fish in the sea and animals on the land. Because he refused to come out for dinner, his parents were obliged to slide his meals under the bedroom door to him. It was Don’s belief that he could re-establish ties to everything natural through the art of sculpture.’

‘Uh oh, the phone,’ Captain Beefheart mumbled as he placed his tarnished soprano saxophone
in its case. ‘I have to answer the telephone.’ It was a very peculiar thing to say. The phone had not rang. Beefheart walked quickly from his place by the upright piano across the dimly lit living room to the cushion where the telephone lay. He Waited. After ten seconds of stony silence it finally rang. None of the half dozen or so persons in the room seemed at all astounded by what had just happened. In the world of Captain Beefheart, the extraordinary is the rule.’

‘Zappa has always had a great admiration for his old friend from Lancaster-an admiration often bordering on worship. Like so many of those around Beefheart, Zappa considers the man to be one of the few great geniuses of our time. When the smoke had cleared from the Blue Thumb snafu, Zappa came to Beefheart and told him that he would put out an album on his label, Straight Records, whatever Beefheart wanted to do was OK and there would be no messing around with layers of electronic bullshit. The result was TROUT MASK REPLICA, an album which this writer considers the most astounding and most important work of art ever to appear on a phonograph record. When Beefheart learned of the opportunity to make an album totally without restrictions, he sat down at the piano and in eight and a half hours wrote all twenty-eight songs included on TROUT MASK. When I asked him jokingly why it took that long, he replied, ‘Well, I’d never played the piano before and I had to figure out the fingering.’

-CAPTAIN BEEFHEART – By Langdon Winner


‘San Quentin, you’ve been living hell to me,’ Cash sang, and the audience went dead quiet. The guards looked up in the little groups they were in under the menu board hung from the ceiling which said, ‘One serving only.’ ‘Mr. Congressman, you don’t understand,’ Cash sang. ‘What good do you think you do? Do you think I’ll be different when you’re through?’ and the cons cheered him. ‘I’ll leave here a wiser and weaker man.’ The close-cropped con muttered, ‘That’s a false note. Nobody leaves here weaker. Wiser, yes. But not weaker. You leave here two ways, dead or stronger.’ ‘San Quentin, may you rot and burn in hell,’ Cash screamed the last line out and then repeated it. The cons screamed back. A tall young guard spun around, smacked one fist into the other palm and said, ‘He’s right!’ Cash sang a second song. Than he brought the Carter Family back. Then he and June did ‘Jackson’ and then he did ‘Folsom Prison’ and they screamed
again and then he did more religious songs. What he did was right on the edge. If he had screwed it up one notch tighter the joint would have exploded. He knew just when to stop.’

CASH at SAN QUENTIN: THE LAW from OUT OF TOWN – By Ralph J. Gleason


‘How do you explain your attraction?
Dylan: ‘Attraction to what?’
‘Your attraction-your popularity-your mass popularity.’
Dylan: ‘No, no. I really have no idea. That’s the truth. I always tell the truth. That’s the truth.

‘What are you’re your own personal hopes for the future and what do you hope to change in the world?’
Dylan: Oh, my hopes for the future: to be honest, you know, I don’t have any hopes for the future and I just hope to have enough boots to be able to change them. That’s all really, it doesn’t boil down to anything more than that. If it did, I would certainly tell you.’

‘What do you think of people who analyze your songs?’
Dylan: ‘I welcome them with open arms.’

‘If you were going to sell out to a commercial interest, which one would you choose?’
Dylan: ‘Ladies’ garments.’

‘Mr. Dylan, how would you define folk music?
Dylan: ‘As a constitutional re-play of mass production.’
‘Would you call your songs ‘folk songs?’
Dylan: ‘I guess, if they are a constitutional re-play of mass production.’
‘Do you prefer songs with a subtle or obvious message?’
Dylan: ‘With a what???’
‘A subtle or obvious message?’
Dylan: Uh-I don’t really prefer those kinds of songs at all-‘message’-you mean like-what songs with a message?’
‘Well. Like ‘Eve of Destruction’ and things like that.’
Dylan: ‘Do I prefer that to what?’
‘I don’t know, but your songs are supposed to have a subtle message.’
Dylan: ‘Subtle message?’
‘Well there supposed to.’
Dylan: ‘Where’d you here that?
‘In a movie magazine?’
Dylan: ‘Oh-oh God! Well, we won’t-we won’t discuss those things here.’

BOB DYLAN ’65: MEETING ‘THE PRESS’ – A press conference at KQED studios, December 1965


‘I was talking to a guy at a table at the Bitter End who said ‘I really like your work,’ and then realized it was Dylan. I really was pleased by that. But when people compliment my songs, I usually never think about it, I just say, ‘Thank you, thank you.’



‘The lead singer of the Miracles, writer of almost all their material and that of many Motown groups, a prolific producer, and a vice president and charter member of the Motown Corporation, Smokey is what DJs call with gushing enthusiasm, ‘an all round entertainer.’ He is a combination Sam Cooke, Paul McCartney, Lieber and Stoller, and George Martin. But no one has done it all as well and as long as Smokey, and none with quite his style and easy grace.’

‘We auditioned for this guy, but he didn’t like us,’ Smokey said recently, ‘with me and Claudette (she’s my wife now), he wanted us to be like Mickey and Sylvia. But Berry Gordy, Jr., was there-he’d was doing pretty good then writing songs for people like Jackie Wilson and Etta James-and afterward he called us over and asked to see our songs. We had a book of about 100 I had written, and he liked only one, but he didn’t just say the rest were garbage. I must of went through 68 of those songs with this cat and on every one I’d say, ‘What’s wrong with this one?’ and he’d say, ‘Well, you left off this or you didn’t complete your idea on that,’ which really started me to think about songs an what they were. Gordy, man, that cat more than anyone else helped me get my thing together.’


‘I Second that Emotion’

Maybe you wanna give me kisses sweet,
But only for one night and no repeat.
And maybe you’ll go away and never call.
But a taste of honey is worse than none at all.
(Oh little girl)
In that case I don’t want no part
(I do believe)
That you would only break my heart
But if you feel like loving me, if you’ve got the notion,
I second that emotion.

‘You’re my Remedy’

Don’t call a doctor
A nurse is worse
Cause a pill won’t heal my pain
When I’m feeling blue
You know what to do
To make me feel right again
Sometimes I get to tremblin’ and shakin’
Like a leaf shakin’ on a tree
The doctor want to s’pect
I’ll be a nervous wreck
But you’re my remedy.



‘Brian Jones didn’t live past thirty-he died at twenty-six, at the bottom of his swimming pool, probably swallowing some water, too stoned to catch his breath and come up for air. Jones has a lot of company: Sam Cooke, shot in the stomach; Holly, Valens, Richardson, dead in a plane crash; Eddie Cochran, auto accident; Brian Epstein, pills and booze; Frankie Lymon, heroin, and of course, Otis Redding whose death was probably the most tragic of all. The deaths of these men, boys some of them, affected me powerfully-I can remember that-but I woke up to hear that Brian Jones was dead and not more than a ripple of sorrow passed through the room. It was time for it, there was just nothing left for him to do. Become a Rolling Stone and die.’



‘Two days after the death of Brian Jones, the Rolling Stones paid tribute to Brian at their concert in Hyde Park. Before a crowd of some 250,000, Mick Jagger quoted a piece of poetry in memory of Brian. He read, from Adonais by Shelley:

Peace, Peace!
He is not dead, he does not sleep-
He has awakened from the dream of life-
Tis we who, lost in stormy visions,
Keep, with phantoms an unprofitable strife,
And in mad trance strike with our spirit’s knife
Invulnerable nothings.
We decay like corpses in a charnel;
Fear and grief convulse us and consume us day by day
And hopes swarm like worms within our living clay.

And as the people sat silently on Hyde’s grassy slopes, the group released 3,500 butterflies to flutter over the audience- another gesture and greeting to Brian.’

BRIAN JONES, 1944-1969


‘I’ve broken twelve guitars that I really loved and I put them all back together if they could be. Once I put back together six times. Through a performance you learn to love a particular guitar. Breaking it is a whole thing. When you break it, you break down your own dependence on love of material things. ‘Often I actually don’t smash my guitar. I only do it when there is a real physical need for it. You can saw it to get a particular sound out of it. You can show people the grain of the wood. When I smash it I’m playing the guitar to its utmost, playing it completely for the first time. There’s nothing in the way between me and the guitar.’

PETER TOWNSHEND: ‘TOMMY’ & MEHER BABA – By Rick Saunders and David Dalton


‘I’m sorry to say, in all fairness, you’ll never be anything.’

Tiny Tim’s mother, talking to her son in 1965


‘Really there are three main reasons why I sing. The fist is to give thanks to God for the gift he gave me. Number two is to cheer people whether they are young or old, with a song of the past or present. And number three, and perhaps above all, is because of all the lovely women who with their beauty cause my heart to overflow with joy.’

TINY TIM – By Jerry Hopkins


THE ROLLING STONE ROCK ‘n’ ROLL READER – Edited by Ben Fong-Torres

The Sounds, Spectacles and Super-Personalities of an Era!

Bantam Books - 1974


posted by Walter at 2/15/2004