Permissive (1970)

The film Permissive, directed by Lindsay Shonteff and released in 1970, was another British movie penetrating the promiscuous Rock scene of late 1960's and early 1970's. Just like Groupie Girl (also made in 1970), Permissive, focuses on the groupie phenomenon. The film tells the story of Suzy (Maggie Stride) - a shy and slightly naive teenage girl who comes to London to stay with her old friend Fiona (Gay Singleton). Fiona is an experienced groupie, who hangs out with prog band Forever More (who were a real-live band signed to RCA). She introduces Suzy into a world of scuzzy toilet venues, musicians on the rise, dodgy roadies, grubby hotel rooms and of course, sex and drugs..

But soon, the student beats the master. Initially shy Suzy quickly finds her way in this new, promiscuous world, which inevitably lead to a conflict with Fiona, since they both fighting for attention of Forever More's lead singer Lee (unbelievably hairy Allan Gorrie).

   There are interesting similarities between Permissive and Groupie Girl. Both films were made with an intention to cash-up on notoriety of groupies and rock musicians. Both sought to explore - not necessarily exploit - counterculture. Both were made by directors known for making sexploitation flicks, which resulted in Permissive and Groupie Girl being unfairly branded as such. Although sex exploitation is depicted in both films, it is not a main focus point of either. It would be wrong to put them in the same category as, for example, Confessions Of Pop Performer (1974). Neither Groupie Girl nor Permissive try to glamorise the scene or a lifestyle.But although the films were aimed at the older audience, they don't overly try to moralise or condemn the choices of protagonists (something American films of the era often did). Permissive and Groupie Girl are characterised  by their brutal realism which brings to mind kitchen-sink dramas of early 1960's (such comparison is furthered by unmistakably British sets -  gray skies, rain etc. and the depiction of grubby, un-swinging London in Permissive).

But there are substantial differences between two films as well. Unlike Groupie Girl, Permissive almost aspires to be an arthouse film which is particularly visible in the way film was shot. There is a generous use of flash-cuts, clearly inspired by Easy Rider (1969). Just like in Easy Rider, where you can see a flash-cut premonition of Peter Fonda's and Dennis Hopper's death during a scene at the brothel, in Permissive, the viewer is teased with the flash-cuts of future (and past) scenes all throughout the film, but without major disruptions in film chronology.

 But the biggest difference between the two films is whom the films vilify. In Groupie Girl,, it was the musicians.In Permissive, it's the groupies.As  film critic IQ Hunter writes in his essay about Permissive, "If not exactly feminist, the film echoes feminist disillusionment with the counterculture's ideology of free love. As in "Groupie Girl", the men are arrogantly misogynistic and possessive and women are tolerated insofar as they are useful for sex or chores. (...) Suzy succeeds as as a groupie because she understands the band's misogyny(...) and learns to beat the men at their own game of strategic promiscuity (...) What is missing of course is any sense of female solidarity, and it is Fiona who pays the price for Suzy's own icily methodical exploitation of men's fecklessness and lust.

The original score in permissive is really good - a mixture of heavy psych and prog. Acts that contributed songs to Permissive (apart from Forever More) include prog rockers Comus and Titus Groan.

And, of course there are some great 1960's and early 1970's fashions, both male and female. That alone is a reason enough to watch Permissive...
      

Permissive was recently released on DVD by BFI Flipside. One of the bonus features on the disc is an hour- long comedy from 1971 titled Bread. This film, dug out from a deep obscurity by BFI, was directed by Stanley Long and written by Suzanne Mercer (who, incidentally, were both involved in Groupie Girl - Suzanne Mercer wrote a script based on her own experiences as a groupie). The film follows the misadventures of a group of hippies, who decide to organise a rock festival on the grounds belonging to rich businessman. It is a pretty funny comedy of errors and while watching it, I couldn't help wondering whether it inspired short-lived (but much - underrated) 90's sitcom set in 60's titled Hippies, which starred young Simon Pegg... 

Stills from Bread (1971)

I recommend both, Permissive and Bread to anybody who is interested in music and fashion of late 1960's/early 1970's counterculture.

Source of the quotation: Essay "Permissive" by IQ Hunter in a booklet  - part a BFI Flipside DVD release of "Permissive".

Thane Russal And Chrissie Shrimpton, 1966

Chrissie Shrimpton and Thane Russal photographed in 1966 by Richard Avedon.

Thane Russal, whose real name was Doug Gibbons, was an Australian singer lived and recorded in Britain in the mid-1960's.His most memorable song is the dynamic version of Otis Redding's 'Security' recorded in 1966. In my modest opinion, Thane Russal's version is FAR superior to the original, which sounds pretty generic by comparison (Sorry, Otis Redding's fans..). The brass section from Otis's version is here replaced by melodic guitar riff, and instead of Otis's soulful vocals, we get angry, Mick Jagger-esque snarl of Thane Russal. Indeed, this version could almost pass for a lost Stones song...

'Security' was a minor hit in Britain in 1966. John Peel was a fan of the single and played it often on his radio show Perfumed Garden. Thane Russal And Three, as his backing band was called, toured with P.J. Proby, The Searchers, and fellow Mod bands - The Who, The Sorrows and The Action. They also supported Pink Floyd in Italy. Today, 'Security'  is a cult classic for Mod/Psych fans. 

Intersting piece of trivia - 'Security' was produced by certain Paul Raven - real name Paul Gadd - who would later achieve fame (and infamy) as Gary Glitter.

Here are some photos of Thane Russal and Three from 1965-1966..

The Three: (from left) Mick Brill, Martin Fisher, Allan Collins and Pete Huish (that's four, surely). Evidently the boys were customers of I Was Lord Kitchener's Valet boutique.

 Martin Fisher

 Martin Fisher

Mick Brill and Martin Fisher

     And the man himself - Doug Gibbons A.K.A. Thane Russal

Source of the photos - Italian page Beatssesanta.

Ilustrations In Valentine Magazine, 1971

Recently, I got a few issues of Valentine  - a magazine for teenagers from late 1960's/early 1970's. Like every teen magazine, Valentine was full of silly love stories, features on fashion and articles about teen idols. But the distinctive feature of Valentine were their 'comic serials'. Normally I am  not a fan of comics, but these have a great, psychedelic vibe to them and pretty well recreate fashions of the era. They were created by illustrators  Tony Baldwin, Valerie Witton and Chris White. Here I want to show some of the best bits. 

 The girl in the comic above slightly resembles Anna Karina..

'Obligatory' acne lotion ad

'Obligatory' horoscope..

'Obligatory' fashion feature on midi skirt (It's 1971, after all..)

More fashion...

 Kipper tie..

 Bell sleeves..

 Back cover of  January 1971 issue

(Scanned from Valentine magazine, issues 23 Jan 1971 and 27 Feb 1971)

1967 And All That...

The BBC documentary about British Summer Of Love emerged recently on YouTube. I vaguely recall seeing it on television when it was originally broadcasted in 2007. This hour-long program is devoted to music, fashion and youth culture in late 1960's Britain. Among talking heads there are Bill Wyman, Donovan, Tony Blackburn, Mary Quant, Barbara Hulanicki, Nigel Weymouth and many more.

Most of the important events that took place in London in 1967 are discussed here (although not in much depth) - there are bits on UFO scene and the birth of counter culture, Redlands bust and following trial of Jagger and Richards, Sgt Pepper, Chelsea boutiques, the rise and fall of pirate radio stations (and the birth of Radio 1) and many more.

 Admittedly, the program is packed with various cliches, and it seems to completely ignore the fact that most of the 'phenomena' discussed in it were already going on long before the year 1967 - like Mary Quant's miniskirt or Vidal Sassoon's Five Point Cut. Still, there are enough colourful and lively clips here to keep you entertained for an hour, and the interviewees, if they are not particularly informative, at least try to be funny (apart from Donovan, who neither informative, nor funny). For those who do not know much about 1960's Swinging London, it is a good introduction to the subject.

Sharon Tandy

One of my favorite songs at the moment is 'Hold On' by Mod/Psych singer Sharon Tandy. I recently discovered this video of her performing it on German TV show The Beat Club in 1968. It is worth watching not only because it is a great song, but also because of how great she looks in this footage.

Sharon Tandy recorded 'Hold On' with Fleur De Lys as her backing band. They provide psychedelic vibe to this soul song.

 The single 'Hold On' (with 'Stay With Me' as a B-side) released in 1968 was a minor hit in Britain. But Sharon Tandy's career, despite her great voice and great look, never quite took off. After few flop singles, she returned to her native South Africa in the early 1970's.

'Hold On', which regularly pops up on various compilations, provided her with a cult-ish status among Mods and 60's Psych fans.