Bevin , a charismatic singer with the intesity of a Janis who’s played the subway, sang at the bewailing for Mary Fields. Great occasion, not to be misssed.

There’s the svelte photographer, Pennie Smith, on the left – looking a little unsure of the outcome of Colin’s rumble in the rugby field.

1963. I realized that this graduation picture, that recently became positive, after a lifetime of negative obscurity, is from the missing Fulcher shoot of the class of ‘63. “It must be there, I know it was.” he stridently asserted. I said I’d never seen ‘em, which was true until yesterday. He is apparent by his absence from this, his own show. I’m sure there are some of these engaging loons still around, Pete Brown of the Muleskinners, Mrs, Wordsworth who paints with skilled brazen guache, Bob Priest of Esquire, Mac McLagan of The Small Faces etc., Stephen Goy off to the left, Susan Wallbank who makes the most beautiful lino-cut views-of-the-Thames series as cards, Pennie Smith the photographer, they are all in there and still jiving. These cavorting with car photographs were taken by Colin Fulcher with my Yashica. That’s Roy’s Morris, he’s standing on his head. The other shoot, mourning over the bed of droopy flowers in the Quad were taken by me. None have e’er been seen before.

It’s amusing that there’s a coming-of-age movie out now about a 16-year-old girl who is in her last year of school at St. Margaret’s in Tickenham of 1961, the year I graduated.

Girding up for a garden party. Bringing out the winch to deliver party supplies from the third floor. Tom The Grill is coming by two hours early to prepare the fixins. There gonna be song and dance, young-folk – and the other, jaunty attitudes, Waterfall will sound the conch, and there shall be a respectful bewailing for Mary Fields, who passed.

Re-aranged the tiles into two bodies with ceramic mask heads. One small and knobbly in cool colors, the other with a long nose, in warm colour browns, all on a mid-tone grey tile.

1964, Heeeeeeeeere’s Barney! Fulcher akimbo in proto-executive bemused stance, and Lorry looking well pleased with the results of their handiwork, Colin is wearing his office Minette Street attire with waring grid checks, knitted tie, rolled sleaves and button-down collar. Lorry in mascara-city with Vermilion hi-neck T,  Shiny velour, Vandyke brown and rose-pink Victorian trousers, and low slung belt.They are looking at the contents of Lorry’s portfolio in which Lorry has painted, for maybe the fifth time, a Rose Malmaison rendering of a blob, on an Azure ground. Each time the Malmaison reacts with the Azure and changes its tonal value. This eases the shimmering clash as the eye adapts and readapts to the vibrating color-line at electrical speed.  As a result of all the repainting the formerly flat-art has a raised, three dimensional surface that Fulcher enjoys.

This is in the back room at the end of the 1A Leigh Court, 35-foot corridor we used as a shooting arcade on one or two occasions. I had an air-rifle and we’d make impromtu targets and left indented evidence in the door of a raid by deranged air-pellet weilding people.

The set back above their heads was a cornice that covered a mysterious gurgling pipe, which chunked and bribbled at odd moments. You can see evidence of the Fulchurian exactitude in the methodical arrangements of push pins lined up to support some long-gone thing.

If the picture is too big for your support group, write a letter to your local MP.

I now hold a trove of scanned pictures i took in the sixties at home in Leigh Court and at work and play. Lotso’ fun I’m writing captions, and will post the first of them as time goes by.

DWills@uamail.albany.edu David Wills original research was in Surrealist poetry but his published work has concentrated on literary theory, especially the work of Derrida, film theory and comparative literature.
In which writing functions as a technological in/outgrowth of the body. Wills’ major work, developed first in Prosthesis (Stanford, 1995), concerns on the one hand the originary technology or “non-naturalness” of the human, and on the other, the ways in which writing functions as a technological in/outgrowth of the body. Those ideas are extended via what he calls “dorsality,” a thinking of the back and what is behind – the other of the facial – where the emphasis is on certain ethical, political and sexual implications of a technological rewriting of identity. In recent work he also investigates the question of conceptual invention against the background of musical improvisation, for example in jazz, and the instrumentality or technology of the voice.

http://online.wsj.com/article/SB125737254573529027.html We got ink in today’s Wall Street Journal for the Museum of Haight Ashbury, MoHA ! Did you know that the local, Coffee to the People, the best buzz in town, is offring MOCHA’s (Mighty Organic Haight Ashbury’s) at low prices, as a special to those who contribute to the Street Fair. Join the throng, come along, dance for the Street Fair. Hand your $20 bills to David Wills or Michael at Clippers. Get your Certifate of Compliance now.