Weekend links 769

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Araki Street in Yotsuya (1935) by Tsuchiya Koitsu.

• “Cambridge, home of analytic philosophy, was also a hotbed of psychical research. How did this spooky subject take root?” Matyás Moravec on philosophers and precognitive dreams, Alan Turing’s interest in telepathy, and more.

• DJ Food remembers Doug Lear, founder of the Magic Lantern Narrowboat Theatre. Related: Lear’s Magical Lanterns, a TV documentary from 1983.

• New music: WEM Dominator (Live in London NW1, 2016) by Earth; and Rubber Band Music by Kate Carr.

• At Public Domain Review: Master of Claude de France’s book of flower studies (ca. 1510–1515).

• At Colossal: Landscapes, customs, and culture shape the 2025 Sony World Photography Awards.

• At the BFI: Carmen Gray offers suggestions for ten great Baltic films.

• Mix of the week: DreamScenes – March 2025 at Ambientblog.

• At Dennis Cooper’s: Room Temperature Day.

Vinyl sleeves from Supraphon.

Telephone And Rubber Band (1981) by Penguin Cafe Orchestra | Rubbermiro (1981) by Liquid Liquid | Onions Wrapped In Rubber (1994) by Tortoise

Jeremy, The Magazine for Modern Young Men, 1969

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Jeremy, vol. 1, no. 1.

To note the 50th anniversary this month of the (partial) decriminalisation of homosexual acts in England and Wales I thought I’d write something about Jeremy magazine, a short-lived publication launched in the UK in 1969. The magazine is notable not for the quality of its contents, which seem slight considering the high cover price of six shillings, but for being the first British magazine aimed at an audience of gay men that wasn’t either porn, a dating mag or a political tract. I had planned to write something about Jeremy at least two years ago when the blog was still a daily thing but detailed information about the magazine’s history is hard to find. This is frustrating but not too surprising. The anniversary of the change in the law has prompted a number of exhibitions and events devoted to Britain’s gay history but little of that history ever seems to travel beyond academic circles unless a notable life story—Quentin Crisp or Alan Turing, say—is involved. As with so many aspects of British culture, the conversation is dominated by America: the main campaigning organisation in the UK, Stonewall, is named after an American riot; the LGBT initialism is an American invention, as is the rainbow flag (the latter, as I’ve said before, being fine as a flag but—with its multiple colours—hopeless as a symbol). More Britons will know the name Harvey Milk than they do Edward Carpenter (1844–1929) or Allan Horsfall (1927–2012) even though Carpenter and Horsfall devoted years of their lives campaigning for gay men to be treated equally under the law in the Britain. Horsfall’s Campaign for Homosexual Equality pioneered the push for gay rights in Britain, the first official meeting taking place in Manchester in 1964. The Sexual Offences Act of 1967 seemed in later years like a poor compromise but when the alternative being offered was celibacy or the risk of a prison sentence it was a start. (Scotland, however, had to wait until 1980 for the same change in the law while in Northern Ireland sex between men was illegal until 1982.) Two years after decriminalisation, not only was Jeremy being launched but OZ magazine devoted a portion of its 23rd issue (September, 1969) to gay material. Jeremy advertised its early issues in OZ and IT (see below).

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Jeremy, vol. 1, no. 2.

Jeremy‘s status as the first gay magazine in Britain might be more acknowledged if its origins weren’t so obscure. The magazine is mentioned in books such as British Queer History (edited by Brian Lewis) and The Culture of Queers by Richard Dyer but never in any detail. Dyer refers to the title as a bisexual magazine which it may have appeared to be from the covers but this is contradicted by the ads. Peter Burton, editor of the later issues, claimed that everyone involved knew that gay men were the primary audience. Using bisexuality as a kind of fig leaf was less a case of cold feet than a means by which the magazine might be smuggled under the radar of those who would otherwise object to its existence. Britain may have been slightly ahead of the US in its tolerance of gay men but the lack of a written constitution meant that publishers, especially those regarded as subversive or disreputable, needed to tread carefully in the 1960s and 70s as OZ and Nasty Tales discovered.

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Jeremy, vol. 1, no. 3.

The precarious legal position means that Jeremy‘s visuals are relatively innocuous, with sporadic nudity but nothing that might be regarded as pornography. The magazine’s features were also relatively innocuous although the novelty of publishing anything overtly gay meant that a piece about entertaining at home would carry a frisson that would be absent in other magazines. Later issues included encounters with minor celebrities including an early interview with David Bowie which has at least preserved the magazine’s name in Bowie histories. Bowie had the opportunity to be open about his sexuality but wisely waited until his profile had risen and he could make a declaration to a larger audience.

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Jeremy, vol. 1, no. 5.

A few more covers and some interior pages follow. As usual, if anyone has further information to contribute then please leave a comment. My thanks to Rex for sending the information about Peter Burton’s editorship of the magazine.

Continue reading “Jeremy, The Magazine for Modern Young Men, 1969”

Weekend links 235

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Shadows (1974) by Pawel Nolbert & Lukasz Murgrabia, one of three images recreating Francis Bacon’s Triptych–August 1972.

Breaking the Code (1996), a BBC film by Herbert Wise based on Hugh Whitemore’s stage play about Alan Turing. Wise’s film has been linked here before but it’s relevant again thanks to the release of The Imitation Game. Derek Jacobi played Turing on stage and screen, and Whitemore’s script managed to deal with Turing’s life and work without insulting the man or the intelligence of its audience.

• “…if you listen to A Beacon From Mars by Kaleidoscope or if you listen to some Turkish taxim then something starts happening.” Robert Plant talking to Julian Marszalek about the music that excites him.

• “CGI has become wearingly dull and clichéd. Can its deep weirdness be recovered and filmgoers’ minds stretched again?” asks Jonathan Romney.

The cult of the Thirty-Seven Nats is unique to Burma. […] The junta’s attempts to subdue nat worship had an unintended effect: the role of the nat wife was embraced by an already marginalized group. Homosexuality is illegal in Burma and has been since its British colonizers instituted a late-nineteenth-century ban on “intercourse against the order of nature”. Government restrictions opened a professional vacuum, says scholar Tamara C. Ho. Becoming a nat kadaw offered the achauk—a Burmese term for gay and transgender men—both “a vocation and queer visibility”.

After the Green Death by Will Boast

• “Cat memes and other frivolities aren’t the work of an Internet culture. They’re the work of an American one, ” says Caitlin Dewey.

• Hear the cavernous reverb of Berlin’s Kraftwerk captured by Emptyset’s James Ginzburg and Yair Elazar Glotman.

• Take part in the first #psychedelicpride photoshoot in central London on Saturday, December 13th.

• Mix of the week: FACT Mix 470 by Jonny Trunk who also appears in the list of vinyl hoarders below.

• Queer Noise: Abigail Ward on the history of LGB music and club culture in Manchester.

More photos of the steampunk exhibition at 751 D-Park, Beijing, China.

A chronological list of synth scores & soundtracks.

• Animated photography by Julien Douvier.

• A Third Ear Band archive at SoundCloud.

The secret lives of vinyl hoarders.

Taxim (1968) by Kaleidoscope | Water (1970) by Third Ear Band | Love Is The Devil (1998) by Ryuichi Sakamoto

Weekend links 141

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From the Beautiful Faces series (2012) by Tran Nguyen.

• “What possessed a generation of young European artists, and a few Americans, to suddenly suppress recognizable imagery in pictures and sculptures? Unthinkable at one moment, the strategy became practically compulsory in the next.” Peter Schjeldahl on the birth of abstraction.

• “A profanely mystical work of hyperpurple theory-porn, ObliviOnanisM is an auto-erotic intellectual fiction envisioning the phantastical unending odyssey of a young woman, Gemma, whom you will never know.”

Psychedelia—An Ancient Culture, A Modern Way of Life, a 520-page history of psychedelic culture by Patrick Lundborg. Related: Ken Kesey talks about the meaning of the Acid Tests.

[Hodges] made a convincing case that Turing’s teenage crush on a fellow schoolboy, Christopher Morcom, was an important catalyst for his lifelong preoccupation with the relationship between brain and mind. Morcom’s unexpected death at the age of eighteen was a shattering blow to Turing, who began to reflect on whether his friend’s consciousness might survive after death or whether it was simply a result of complex material processes and expired when life did. Hodges also linked the famous “Turing Test”, in which a computer attempts to pass as an intelligent human being, to Turing’s own dilemma as a gay man in a homophobic world. (Turing called his test the “imitation game”, and Hodges observed, “like any homosexual man, he was living an imitation game, not in the sense of conscious play acting, but by being accepted as a person that he was not”.)

Michael Saler reviews three books about computing pioneer Alan Turing

• Paul Gallagher at Dangerous Minds looks at Flowers, Lindsay Kemp’s theatrical staging of Genet’s Our Lady of the Flowers.

David Pearson designed a new edition of George Orwell’s Nineteen Eighty-Four for Penguin.

• Quadtone – Lumisonic Rotera: Mariska de Groot plays a light-to-sound instrument.

“Cash Mobs” Go Global—Battle Spreads Against Chain Store Dominance.

Cities and the Soul: a feast of Italo Calvino links at MetaFilter.

25 dessins d’un dormeur, Jean Cocteau, 1929.

Haunted Decor: a Flickr group.

Computer In Love (1966) by Perrey & Kingsley | Computer Love (1981) by Kraftwerk | Computer Love (1992) by The Balanescu Quartet

Weekend links 114

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David Bowie’s cigaretted fingers and bulging silver crotch point the way to the future. This summer sees the fortieth anniversary of the Ziggy Stardust album’s release. The Melody Maker ad above can be found with a wealth of other Ziggy-related material at the very thorough Ziggy Stardust Companion site. For me the definitive artefact isn’t the album itself but DA Pennebaker’s film of the final concert from the 1973 tour; the songs really come alive and Bowie’s performance is overwhelmingly electric. Related: Cracked Actor, the BBC documentary from 1975 about Bowie’s post-Ziggy life on and off the stage.

• The week in books: Amanda Katz described the remarkable history of a single copy of The War of the Worlds by HG Wells then asked “Will Your Children Inherit Your E-Books?” | Bosnian novelist Aleksandar Hemon in The Browser’s FiveBooks interview put Blood Meridian on his list. | “Call me the greatest American novel”: Christopher Buckley on Moby-Dick. | The Brit Lit Map.

• For another anniversary, the Alan Turing centenary, there’s The Strange Life and Death of Dr Turing (part two here) and Breaking the Code (1996), Derek Jacobi playing the tragic genius in a biographical drama.

Commissioner of Sewers (1991) a William Burroughs documentary by Klaus Maeck in which the author reads some of his work and endures a Q&A session with surprising equanimity.

• Music, flesh and fantasy: When Mati Klarwein’s hyperactive paintings stole the psychedelic show.

• Move Over Casio: Teenage Engineering’s OP-1 Portable Synth Looks Cool, Does Everything.

• A retrospective of art by Madge Gill (1882–1961) at The Nunnery, London.

• “Art is unavoidably work”: Terre Thaemlitz interviewed.

• A trailer for Document: Keiji Haino.

WB Yeats, Magus

Pathétique 1 (1994) by Fushitsusha | Pathétique 2 (1994) by Fushitsusha.