Book contents
- Frontmatter
- Content
- Foreword by Suggs
- Acknowledgements
- Introduction
- 1 Tramcar to Frankenstein
- 2 Didn't You Have a Beard?
- 3 ‘It Was the Death of the Loon’
- 4 Bunny Money
- 5 The Invisible River: A Liverpool Interlude
- 6 Hypertension
- 7 America Was Our Hamburg
- 8 ‘Sound of Rock Fades for Deaf School’
- 9 The Stopped Clock
- 10 That Thread of Affinity
- 11 In Town Tonight!
- Epilogue: Deaf School and the Icelandic Constitution
- Appendix: Liverpoem, by Tim Whittaker
- UK Discography
- Sources
- Index
- platesection
3 - ‘It Was the Death of the Loon’
- Frontmatter
- Content
- Foreword by Suggs
- Acknowledgements
- Introduction
- 1 Tramcar to Frankenstein
- 2 Didn't You Have a Beard?
- 3 ‘It Was the Death of the Loon’
- 4 Bunny Money
- 5 The Invisible River: A Liverpool Interlude
- 6 Hypertension
- 7 America Was Our Hamburg
- 8 ‘Sound of Rock Fades for Deaf School’
- 9 The Stopped Clock
- 10 That Thread of Affinity
- 11 In Town Tonight!
- Epilogue: Deaf School and the Icelandic Constitution
- Appendix: Liverpoem, by Tim Whittaker
- UK Discography
- Sources
- Index
- platesection
Summary
A Room With No View – Introducing Miss Bette Bright – The Melody Maker's Fatal Embrace
Deaf School's social life favoured the same circuit that the Liverpool Scene had known. ‘They were not really around the art college by now,’ says Average, ‘and they would have been seen by us as a generation older. But we used to hang around the Everyman Bistro a lot and the likes of Mike McGear/McCartney, and Adrian Henri would be figures around town.’ And wherever Adrian Henri was, there was often his young Glaswegian girlfriend Carol Ann Duffy, the future poet laureate, who spent the mid-1970s studying philosophy at Liverpool University.
Clive recalls, ‘We were regulars at Peter Kavanagh's [alias the Grapes, off Catharine Street], where the tutors from the art school went, either there or the Cracke or the Phil.’ And Enrico:
Chauffeurs [a private members’ club at 60 Hope Street] re-opened around the time we were there, but it wasn't really our scene. We were much more in the Phil or the Belvedere. The Belvedere's lovely. And the Cracke, obviously. Or we'd go in the Casablanca, ‘the Caz’. And at night we were invariably in the Gladray [where strippers danced to the juke-box] on Upper Parliament Street. Clive thought that was incredibly romantic. I took him there and to the Somali [a basement drinking den in the same street] which I called S. O'Malley's. The guys who worked there were seven foot tall and they had to crouch down to let you in the door. A lot of the art students went there. Wherever the girls from Fashion & Textiles were going, you'd gravitate towards that.
Even more important was O'Connor's Tavern, half-way down Hardman Street. Formerly a synagogue and later a morgue, O'Connor's had ominously few windows and resembled a Wild West saloon. Its upstairs room, with no view whatsoever, had hosted music and poetry since 1967 and it features on the cover of the Liverpool Scene's 1968 LP Amazing Adventures Of, where Adrian Henri and his crowd (bearded or mini-skirted) surround the portly, bow-tied landlord Jimmy Moore.
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- Deaf SchoolThe Non-Stop Pop Art Punk Rock Party, pp. 47 - 80Publisher: Liverpool University PressPrint publication year: 2013