Riffs & Ripples from ZenRiver Gardens

Buoyant blog of septuagenarian Kanadian poet and haikuist Chris Faiers/cricket. People's Poetry in the tradition of Milton Acorn, haiku/haibun, progressive politikal rants, engaged Buddhism and meditation, revitalizing of Callaghan's Rapids Conservation Area, memories of ZenRiver Gardens and annual Purdy Country LitFests (PurdyFests), events literary and politikal, and pics, amid swirling currents of earth magick and shamanism. Read in 119 countries last week - 22,924 readers in June.

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Showing posts with label Weed. Show all posts
Showing posts with label Weed. Show all posts

Tuesday, 23 April 2024

Eel Pie Island Commune 1969 and Grosvenor Road squat: new video compilation by Ron Wells

 I remember taking some of the still photos in this vid in 1969, esp. the ones of Dave crossing the bridge to Eel Pie Island, one of Lorna with a flower, and many of the hotel. Don't know what happened to my old camera - someone must have nicked it for food.  

Eel Pie Hotel in the 1930s

hi Chris,


Ron has just reposted a slightly edited version of his film and also made it full-size (so too big to attach to an email) -

http://www.eelpie.org/temp/eel_pie_grosvenor_road_by_ron_wells_v2.mp4

along with the following text -

"THIS VIDEO IS NOT MINE IT WAS PUT TOGETHER BY ME AND MY 12 yr old SON ..It was made by us for  THE EEL PIE ISLANDERS and THE GROSVENOR ROAD GROUPS and so it is owned by them for there Historical use ..... Hi every one I have re adjusted the videos ..there was only a couple of hic cups and no complaints what so ever ...the time/locations were not quite right for what was needed  ...and just to set the record straight these are not my snap shots and neither is the music lol ..I chose the song by Sandy Denny  (born in Kingston) and The Fairport Convention because it seemed to fit so well with those far off days of Joss sticks ..Hair 'n' Hash ....and I tried to get the snap shots to fit to the tune as much as possible ....The second instrumental is a variant of the first song ..I chose that because of the laid back ..slightly chilled but still aware guitar work .. again that seemed to fit with the mood of the times and places that we all once knew and possibly loved .  Sadly some of the people in the photos are no longer with us (RIP) but will no doubt always be remembered with love and a smile ...x !"

Weed x

Posted by Chris Faiers/cricket at 17:49 No comments:
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Labels: Eel Pie Island hippie commune 1969, Eel Pie Island Hotel, Grosvenor Road squat, Ron Wells, Twickenham, Weed

Saturday, 25 March 2023

new podcast on Eel Pie Island Hippy Commune

 I received a surprising email a few days ago with a mysterious link. My ancient system is so out-of-date that I couldn't connect with the hot link, so I sent an email to my UK friend, Weed. Here's his reply. I participated in the interview a few weeks before I had emergency surgery for cancer, which must be why I forgot about contributing.


it's the release of a 33 minute podcast featuring the telephone interview you did with Marnie Woodmeade about Eel Pie last May -- don't know why it took so long, but it's finally available on Spotify -- on my system the link she gives loads ok as a standard web page -- it should play without any need to 'sign in' or 'sign up' if you can find the green 'play' arrow -- (i added a link to it from the media section of the eelpie.org home page) -

"Episode Description
A small island in Twickenham, once only accessible by boat turned into one of the greatest music venues of the 70s and then the largest commune in England. Can anarchy create home?
Voices include Robin Hunter, Canadian Chris and Weed.
Produced and presented by Marnie Woodmeade"

it mostly consists of interview material from the 3 'Voices' -- (Robin Hunter grew up on Eel Pie, but remembers that time well) -- i was surprised by how articulate we still sound :)

it's one of six episodes Marnie did called 'Dwelling', and was included to provide some historical context -

"Finding and fighting for feelings of home.
As the housing crisis deepens, home is becoming increasingly difficult to find. Join host Marnie Woodmeade as we speak to the people seeking alternatives. From abandoned buildings to lost rivers, they redefine what a home can be. But as restrictions on alternative lifestyles tighten, how can they protect their sanctuaries, sites of resistance and dwelling?"



It feels like a long time since we've spoken, but the episode is finally out: https://open.spotify.com/episode/3dDZrKGHmB6ydJejoPZPAg

 

Posted by Chris Faiers/cricket at 08:53 No comments:
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Labels: Chris Faiers, Dwelling podcast, Eel Pie Island Commune, Marnie Woodmeade, Robin Hunter, Twickenham history, Weed

Sunday, 3 February 2019

My Summer of 1969 -


http://www.eelpie.org/images/epcf2.jpg
Chris on the deck of China Tea Steam Navigation Company, Thames River, Richmond, England - summer of 1969.


Following is the first chapter of my memoir/haibun of that  tumultuous and magical year, 1969. I self-published this as Eel Pie Dharma in 1990 (while the memories were still fresh). Tai Grove republished a professional edition in 2012 with Hidden Brook Press as Eel Pie Island Dharma. Fellow Eel Pie Islander "Weed" kindly posted this online in the early 2000s. The first draft of a movie script based on my memoir was completed last summer by Tom Hanson and Sam Gillett of Twickenham.

 

Chapter 1 - A Psychedelic Basho

At community college I began writing bad poetry around 1967.  When I realized that I was not cut out to be a science student, I immersed myself in arts courses and declared myself a poet.  Some poems submitted to the student magazine reminded the editor of haiku.  Having never heard of haiku, I didn't know what to make of the comment, but browsing through a literary magazine I found a classified ad offering copies of Haiku magazine from a Toronto address.

Haiku duly arrived, and I fell in love with the haiku form.  The similarity between haiku and the brief poems I had been attampting was obvious, and soon I was submitting haiku to the editor of Haiku, Dr Eric Amann.

After initial rejections.  I was thrilled when Eric Amann accepted several haiku for his magazine.  Encouraged, I began to devote myself to writing haiku.  Basho, the wandering haiku poet/priest of medieval Japan, was added to my role models.  The lonely life of a commuting college student in Florida presented a few of my early poems:

Christmas vacation
tame ducks starving
  by the campus lake


      Rain
  gray doves
 strung on a wire


         Light breeze
    striding across campus  
        a thin professor


Almost from the beginning of my student days I had been fighting an appeals battle with the draft board.  Unfortunately I had registered in Georgia, just before our family moved back to Florida.  In retrospect, and after corresponding with former classmates many years later, I believe that I was an easy target for the Atlanta draft board.  Living out of the state, drafting me wouldn't stir up any local antagonisms, and the fact that I was also a resident alien (as a Canadian citizen by birth) probably didn't help my cause.  Ongoing struggles to keep my student status caused me to intensely question the Vietnam War, and I was living day-to-day with the life-and-death questions of duty to country versus participation in an unethical war.  This personal turmoil provided a fertile ground for writing haiku poems.  Often I had insomnia, and I would think back over my life.  A family vacation in the Blue Ridge Mountains provided:


   Cavern pool
  tourists watching           
        blind fish
Memories of a far off Halloween in Canada when I was five years old inspired:


    Halloween
    a young boy
  in a skeleton suit  

            
Some days I would escape to the beach after class:

                                                                     blue sea
                                                               bobbing red and white
                                                                 lobster trap buoys







Summer moonlight
    rotting on our roof
        a starfish


As I became more and more disillusioned with the Vietnam War, I began to hang around with the other radicals and longhairs on the campus.  Miami was, and is, a very reactionary city, and psychedelia, which had flowered in California in 1966, was just reaching Miami in 1968.  I was one of the first long hairs on campus, and the second guy on Key Biscayne to grow long hair.  The centre for the slowly evolving hippie community in Miami was Coconut Grove, an artistic haven located around the Dinner Key docks and the adjacent waterfront park:



   Bay wind blowing
  Coconut Grove sailboats
        tinkling rigging


      First green appearing
    buds on the new stake hedge
          and chameleons


      The flower
    of this old tree
        a treehouse





At the peak of the Vietnam War, in June 1969, I received three draft notices in a week.  It was time to leave.  I flew from Miami to Nassau:


                                                         lobster antennas

                                                     waving from the twin caves
                                                            of a cement block
                          

Mounted sailfish
  lining the walls
  of Nassau airport

              
From Nassau I caught a flight to Luxemburg, and then I caught a train from Brussels to London:

        Luxemburg
 black paint on pink brick
             U.U. swastika A. A.
I lived with my cousin and his wife on the outskirts of London for several months.  It wasn't a comfortable arrangement for any of us.  I continued writing my haiku, always carrying a notebook with me in a tote bag.  One of my first visits was to Piccadilly Circus, where the traffic island in the centre of the world's busiest intersection had become an international hippie rendezvous under the statue of Cupid.  The day I visited Piccadilly there was a bust for hash smoking.  A bobby was about to arrest me when he spied my London guide book, and he let me go:



       Piccadilly Circus
    Cupid's fountain spraying
               hippi
es


By now I had a large collections of haiku, many of them published in Haiku and numerous other small haiku journals which had sprung up in the United States.  I spent many days visiting Kew Gardens, and after one afternoon of meditation, I explored a side road on my way back to Kew Station.  I found a little printing company, and somehow got the courage to go in.

I'd like to publish a collection of my poems, I shyly told the balding, potbellied printer.  Despite my hippie appearance, my American accent tipped him that I might have money, and he got me to show him what I wanted.

When he saw my Luxemburg poem with the swastika, he wanted to know if I was a fascist.  I convinced him that I wasn't a fascist, only a poet, and he agreed to print my poetry in little booklets for £50 for 500 copies.

A week later I went back and picked up the box of my first chapbook, Cricket Formations.  I lugged the booklets down the hill to the post office in the hamlet of Kew, and spent the afternoon mailing them all over the world.



Posted by Chris Faiers/cricket at 08:32 No comments:
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Labels: 1969 hippie movie, Chris Faiers/cricket, Cricket Formations chapbook, draft resistance, Eel Pie Island Dharma, Hidden Brook Press, seminal English language haibun, summer of 1969, Weed

Sunday, 22 October 2017

60s Commune Survivors

Image result for pics eel pie hotel

Two Twickenham screenwriters are writing a screenplay based on my memoir Eel Pie Island Dharma. As part of the creative process they are having email and long distance interviews with me about my background and experiences in the Eel Pie Island commune. The following emails are part of this exchange. The first was written by me, the second by Weed - I can't find Weed in the photo, so maybe he took the pic? That's me on the far left (where else) - I'd loaned my camera to another commune member to take this pic of the wedding of four of the Eel Pie islanders. Fall 1969!

Hi Tom & Sam,

Congrats on making major progress on your screenplay!

I was thinking of Cliff and Ame the other day, obviously because your project is stirring old memories. There were so many unresolvable contradictions in the late 1960s and the things we were involved with. Cliff was a consummate artist, and being an artist really didn't fit in with the hippie/commune lifestyle. Artists need time and space to create, whereas the hippie thing was about 'live for the moment', carpe diem.

I remember one of the commune women, Angie, who wanted to be a children's author. She commented how none of us were creating art - I wasn't writing much, the musicians were just getting stoned on hash all day, so I know Cliff must have had a hard time focusing on drawing his political cartoons and art. Weed has met with Cliff in fairly recent years, and he would have an interesting insight into Cliff's personality as well.

The concept of combining a hippie commune with an arts lab is laughable in hindsight. The psychedelic/hippie thing was created by artists and professors like Timothy Leary and Ken Kesey, via the beats like Kerouac, and then popularized by pop stars like The Beatles and The Stones. But as the culture filtered throughout society, it became increasingly watered down to the lowest common denominator. I remember someone snarking that I was wasting my time and money reading a book on psychedelics, rather than doing them. Well, shit, I'd done enough of them to know what the experiences were all about, but it's also helpful to be evaluative and creative as well as stoned and tripping all the time  ;  )- 

Cliff was one of the main founders of the EP commune, but none of us, esp. the artists, wanted to be "leaders". There was a definite vacuum of leadership because we all wanted to be equal AND stoned all the time, so no one was interested in assuming responsibility. Occasionally someone would move into the hotel and decide to be a "leader", but they soon found the responsibility of caring for all the runaway kids, heroin addicts, wannabe bikers etc. was not really very fulfilling  ;  )    (plus the pay was lousy)

Back to Cliff - I believe Cliff was more interested in the arts lab culture than creating a commune, but the sheer numbers of people moving in quickly overwhelmed the artsies among us. Also we were all poor, sometimes borderline starving, and I think Cliff mentioned in a book or an interview, that he had to do some petty hash dealing to survive. No money, no food, no privacy or place to create sure isn't conducive to artistic endeavours.

Hope this blather helps!
peace & continued creative energy!
Canadian Chris

p.s. I'm usu. available for long distance calls at short notice

                                          ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~

hi Tom, Sam

>> what was Clifford Harper like when you first met him? And
>> what do you think his goal was for the commune?
> Weed... would have an interesting insight into Cliff's personality...

i take it you've already read his Wikipedia entry? -

- https://en.wikipedia.org/wiki/Clifford_Harper )

Clifford talks a lot about Eel Pie in his book "The Education Of Desire - The Anarchist Graphics of Cliff Harper" (Anarres Cooperative, 1984) -- it's in the form of a long interview with Adam Cornford -

- https://en.wikipedia.org/wiki/Adam_Cornford

if you can't get hold of it, let me know and i'll scan the relevant pages for you

[from the book] "Eel Pie I intended as an armed camp. I dropped that idea within two weeks because the people didn't want to know, so I just let it go the way it wanted to go."

He was also very influenced by The Living Theatre -

- https://en.wikipedia.org/wiki/The_Living_Theatre

tho he wanted to create static bases rather than have a mobile one -- [from the book] "But my idea was that it be a centre from which we raided society. With experience, theatre and vibrant agitation."

in general he's scathing about the middle-class apolitical hippies of the late 60s :) "...I was nagging away about working class revolution... I was forced to become a foreign body within the commune... Eventually I was up against the mass ranks of hippiedom."

he also talks about his life as a dope dealer there, "making money hand over fist" (though this might have been relative, not so much Havana cigars, as being able to afford tobacco rather than having to roll up dogends lol)

Clifford was active as an artist at the time, and as well as developing his style, was contributing artwork to magazines (i think "Idiot International" may have been one of them), tho i don't know how often

however all that was over 30 years ago, and today he'd probably have other perspectives to add, though his political ideas and ideals are still very much intact

in a 2007 interview he was asked if he would ever consider rejoining a commune, and replied, "Now that is an interesting question. Anytime before now, if you had asked me that I would have answered with a hollow, cynical laugh, 'Ha, Ha' but considering it now, for the first time in some years, I’m surprised to say that, 'Yes, I would'. I must have a think about this."

my personal memories of Cliff from Eel Pie days are very positive -- he was for the most part unflustered by the surrounding chaos

the group that initially moved in with him (Ame, Simon, Jonathon, Brennan, Anna and possibly one or two others) provided a political sensibility and at least a semblance of stability for the first few months -- i'm pretty sure that Cliff would have been the one to notify BIT about the occupation of the Hotel, and about it being available as a crashpad for people who were homeless or were passing through London without a place to stay -

- https://en.wikipedia.org/wiki/BIT_(alternative_information_centre)

coincidently i got an email from Clifford earlier today, more of a circular, saying that he was going into hospital this coming monday (23rd Oct) to have his bladder removed -- because of the weak condition of his heart the operation is riskier that usual -- however if all goes well he will be back home by the end of the month -- (if you've not already been in contact with him, then when he's sufficiently recovered i'm happy to check whether he's interested in talking to you about that period of his life)

Weed

Posted by Chris Faiers/cricket at 07:23 No comments:
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Labels: Chris Faiers, Eel Pie Dharma screenplay, Eel Pie Island Dharma, Eel Pie Island hippie commune, Weed

Tuesday, 9 June 2015

Glastonbury Fayre 1971 - When I was a naked, tripping hippie Starchild!

I was surfing the web last night and read an article in THE GUARDIAN about Glastonbury Music Festival.  Memories! memories! (mine follow) Fellow Eel Pie Island communard Weed posted this online in 2005, from my self-published 1990 book, EEL PIE DHARMA. Tai Grove, publisher of Hidden Brook Press, encouraged me to do a professional reprint in 2012 as EEL PIE ISLAND DHARMA. There's now a great selection of pics online about this seminal festival, and I've pasted one I found of our pyramid below.


EEL PIE DHARMA - a memoir / haibun -  © 1990 Chris Faiers



Chapter 24 - Glastonbury Magic Festival

Word went out through the hippie grapevine of a magic festival to be held in Glastonbury.  Glastonbury was a legendary sacred site in England, with a cathedral where one of the apostles had planted a rose bush which bloomed all the year round.  Nearby loomed a mysterious conical hilltop, called a tor, which was rumoured to be hollow.  Glastonbury Tor was said to be a 'sending station' on the system of ley lines, a power grid which lay over the English countryside, and which is the planet's equivalent of the magnetic fields which surround the human body which acupuncturists use.

Jeremy and I had earlier visited another of these mysterious tors, Michael's Mount off the Cornish Coast.  Another such tor is Mont San Michel off the French coast.  In the olden days festivals were held to replenish the 'dragon power', or earth magic which kept fields fertile and the inhabitants prosperous.  Supposedly the twelve signs of the zodiac were laid out around Glastonbury Tor, and from the small chapel on top of the Tor one could see the zodiac's unusual shapes blended in with the English countryside.

This was an event not to be missed.  The festival was to be held for the summer solstice, June 21, and I left my dossing friends in Cornwall and began to hitchhike.  I got a ride as far as Salisbury, travelling quickly through the ancient fields of Stonehenge country.  Walking through Salisbury, a hippie/student came up to me, and gave me a hit of acid wrapped in foil.  He bragged how he and his mates had put hits of acid into the milk bottles which the local police used for their tea, and how that day a couple of cops had gone to hospital with hallucinations, while the other policemen wandered about in a happy daze all day, smiling at everyone.

I thanked him for the acid, and not knowing what to do with it, and not wanting to be caught with it in my possession after hearing his story, I put the foil packet in my mouth and resumed hitching.  Rides followed quickly.  First a van full of black musicians on their way to a gig picked me up, hoping to score some dope.  Then a mysterious business-type man in a sleek Jaguar told me to hop in.

As we sped through the darkening evening his conversation became more and more questioning.  He seemed to know a lot about the forthcoming festival, and was eager to know as much as I could tell him about it.  I realized that I was beginning to babble, and then it occurred to me that the acid had been dissolving in my mouth, depite the tinfoil.  So I was starting to trip, and at this point, speeding through the night, my mysterious driver told me he was the police chief for the area, and that he wanted to know what to expect from the festival goers.  I tried to put his mind at ease, that we weren't going to be smuggling dope or sacrificing virgins.  I also realized that I wanted to get out of the car before a full-blown acid trip took over.

He let me out on the outskirts of Piltdown, after pointing me in the general direction of the farm where the festival would be held.  I wandered down the lonely highway in the dark with only starlight to guide me.  The white lines in the middle of the road began stretching and blurring in an effect I knew was the result of a mild acid trip, but the effects weren't overpowering.  At the juncture with the road I was to follow the next day, I slipped into a field and fell asleep, exhaustion overcoming the weak acid dose.

I awoke late the next morning, still feeling some effects from the acid, and lay in the field watching the clouds make incredible patterns in the clear blue sky.

Finally excitement at the thought of the festival overcame my lethargy, and I started to walk down the country road.  Surprisingly I got another ride, this time from a local who also had heard a lot about the festival.  He was dubious about the quality of our hippie magic, as the weather had been overcast for the past few days.  His tone wasn't ironic, and I realized how many of the British, especially in the countryside, still believe in magic and a lot of the Celtic mythologies.

The road was becoming jammed with fellow festival goers, and when my ride let me out, I joined the throng.  This was a more serious and committed type of hippie.  We were the true believers for the most part, not just students growing their hair long for a wild summer.

A local farmer let us use his fields, with his stone farmhouse as headquarters.  By the time I got to the site it was dinner time, and some self-styled diggers had set up a kitchen beside the farmhouse in the barnyard.  I ate some stew dippped from a huge iron pot, and soon was reviving old friendships with people from the Richmond scene and elsewhere.

There was a magical excitement in the air, and the view over the festival site was typical of Somerset's hilly beauty.  I wandered from the throng at the soup kitchen, and fell asleep on a hill in the middle of a field.  A very odd snuffling noise awoke me very early the next morning:


Asleep in a field
 a browsing cow
  my alarm clock


I was too excited, for once, to fall back asleep, and made my way down the hill to where some vans were unloading around the base of an unusual structure.  The rock'n'roll bands were going to play on a platform part way up a scale model of the Great Pyramid of Egypt, which we were going to build with construction scaffolding which an enlightened builder had loaned us.

Everyone was smoking dope and unloading trucks in a flurry of manic activity, and I joined in.  I was proud of the muscles I had developed as a gravedigger, and I spent hours unloading scaffolding.  After unloading, I joined the construction crews, and very quickly the pyramid began taking shape.  One job I had to perch on a rail high in the air and saw off the end of a piece of pipe with a hacksaw.  Halfway through the job, someone handed me a carrot carved into a chillum and stuffed with pungent hash.  We were a crazy looking construction crew, but somehow through the haze of hash smoke, the pyramid grew skyward.  Boards were laid for the performance area, about twenty feet off the ground, and the scaffolding continued to a peak about seventy feet above that.

After working on the pyramid all day, I took off for a tour of the festival site.  The farm was about a hundred acres, with hedgerows dividing the area into several major fields.  Tents were appearing everywhere, and many hippies were building huts in the hedgerows.  Banners and tents and colourful people were everywhere, like some medieval camp before battle.

For a bunch of spaced-out freaks, things were amazingly well organized.  Six-foot deep latrines were dug, and metal pipes were laid across them.  Another free kitchen sprung up towards the bottom of the site, and everyone looked like they were going to be housed and fed.  At the bottom of the hilly fields, the pyramid stretched into the sky, and after several days of building, the musical part of the festival was about to begin.

I settled in a giant wigwam tent, at the bottom of the fields about a hundred yards from the pyramid.  Quickly our tent became a family, and I met a blonde girl who hitched into Piltdown with me to buy food for our tribe.  That night about ten of us dropped acid together while we sat huddled in blankets before the stage.

Arthur Brown was the first performer, and he tried to bum people out.  He sang about how the Aquarian dream was a fake, and that we should all examine our consciences.  We countered his rock star negativity by staying in our group, and whenever one of us looked a little uncomfortable, the rest of us would put our arms over them and tell them they were in a big egg and about to be reborn.

The positive group dynamics soon had us all on great acid trips, and we felt free to wander as a group.  We danced and listened to the music under the stars with hundreds of other stoned worshippers, and all was at peace.  Someone had gotten hold of a jug of scrumpy, a strong local cider, and that also helped ease any acid paranoias.

Later in the evening, one of us had to take a dump, and so the whole gang of us dutifully trooped over to the open air latrines, and all of us sat in a long row on the poles and had a good shit or pee, men and women, young and old.  It was one of the most liberating experiences of my life, all of us sitting there in the open air under the stars, making the natural and rude noises we all must make every day of our lives without any embarrassment.  Some of us got the giggles from the acid, and the relaxing sound of laughter mixed well with the rock music and the sounds of nature.

We all stumbled into the wigwam and fell asleep in each others' arms.  I slept with the blonde girl, but we wanted to remain celibate to keep the spiritual atmosphere.  In the middle of the night there was a commotion outside, and when we went to investigate, we noticed a giant shining star.  On acid it hung in the sky like a space ship  -  it was the morning star, and we all stood in awe for several minutes.

After a week of wandering in the fields, listening to music around campfires and eating with our fingers, we were incredibly dirty.  I decided to walk the mile to a little pond where there were thirty or forty skinnydippers splashing around.  I slipped off my dirty bellbottoms, and swam around in naked bliss, the water cool under the high afternoon sun.

Late the next morning a hippie gave me a hit of acid, and then suggested we walk across the fields to Glastonbury Tor.  It was a long hike, and after the usual hour the acid started coming on.  It wasn't enough to overwhelm us, though.  After several miles we came to a country road with a pub, and we stood and watched the swaying patterns the wind was making by sweeping through the ivy on the walls:


Wind
   through ivy mat
      pub walls


Finally we reached the Tor, and began the slow hike up.  After twenty minutes we completed the steep climb, and there below us was laid out the Somerset countryside.  Try as I might, I couldn't make out the mythical zodiac patterns, but the old chapel on the top of the Tor had a very magical aura about it, and the view itself was enough to make any other kind of magic irrelevant.

The festival had lasted over a week.  It was much written about in the British musical and countercultural press, and I believe that the festival is still being held annually, almost twenty years after our inaugural event with the great pyramid.


                                * * * * * * * * * * * * * * * * * * * * * * * 


Ed Baker has left a new comment on your post "Glastonbury Fayre 1971 - When I was a naked, tripp...":

those WERE the daze.... eh ?
and the festival... there in England...
did you know, that England is the northern-most
point of land that is above water of what was Atlantis ?
(see Donnelly)
so... this kind of celebration/festival is fitting.
a fun read. cheers, Ed

Posted by Ed Baker to Riffs & Ripples from ZenRiver Gardens at 9 June 2015 at 13:25

                                      ~ ~ ~ ~ ~ ~ ~ ~ ~ ~

On Jun 9, 2015, at 4:39 PM, Chris Faiers <zenriver@sympatico.ca> wrote:

thanks, Ed  ;  )
It was kinda sad finding the article in The Guardian about the current state of the Glastonbury Festivals - it's VERY commercial now - believe it's the largest muzak fest in the English speaking world. But ... once upon a time ... at the northernmost edge of Atlantis, 7,000 stoned hippies celebrated the Summer Solstice the way we used to millennia ago!!!

                                     ~ ~ ~ ~ ~ ~ ~ ~ ~ ~

On 2015-06-10, at 12:04 AM, Dr. John wrote:

Great memoir, Sensei. You vividly recreated the early 70s for those who, ahem, don't clearly remember them. And yes dammit, there WAS a pyramid. I thought for sure you had conjured that up in a flight of poetic fancy. But no, the latter day Druids built it, and come they did.

                                     ~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Conrad DiDiodato has left a new comment on your post "Glastonbury Fayre 1971 - When I was a naked, tripp...":
This is the best protest song ever by 10 Years After
Your haibun kinda reminded me of it

https://www.youtube.com/watch?v=sg6xaFZStEI&index=80&list=PLsOVMhzv5cZOHXfdvqWYN3A0sZMCvWf3Y

Posted by Conrad DiDiodato to Riffs &amp; Ripples from ZenRiver Gardens at 11 June 2015 at 04:59



Posted by Chris Faiers/cricket at 12:59 2 comments:
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Labels: Chris Faiers, Eel Pie Island Dharma, Glastonbury Fayre 1971, Hidden Brook Press, Weed

Wednesday, 9 January 2013

EEL PIE DHARMA #2 on Google of 219,000 haibun sites!

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  1. Haibun - Wikipedia, the free encyclopedia

    en.wikipedia.org/wiki/Haibun
    Haibun (俳文, literally, haikai writings) is a prosimetric literary form originating in Japan, combining prose and haiku. The range of haibun is broad and includes ...
  2. Eel Pie Dharma - a haibun - Chris Faiers

    www.eelpie.org/epd.htm
    memoir / haibun of the late '60s in prose and haiku - Eel Pie Hotel was the UK's biggest hippie commune, Glastonbury Festival, travelling thru Europe.
  3. Haibun: A Definition of the Haibun Style of Writing

    raysweb.net/haiku/pages/haibun-definition.html
    Haibun: the Haibun Style of Writing, haibun and tanka prose.
  4. contemporary haibun Online: An Edited Journal of Haibun Prose ...

    contemporaryhaibunonline.com/
    An online journal of contemporary haibun edited by Ken Jones, Jim Kacian and Bruce Ross featuring the best of modern English language haibun.
  5. Haibun Today: A Haibun & Tanka Prose Journal

    haibuntoday.com/
    Edited by Jeffrey Woodward. Publishes haibun, tanka prose, essays and book reviews.
  6. submissions page - Haibun Today: A Haibun & Tanka Prose Journal

    haibuntoday.com/pages/submissions.html
    Haibun Today, an online quarterly, is published in March, June, September and December of each year. The editors are pleased to review submissions at any ...
  7. Haibun: Poetic Journey

    www.dlstewart.com/haibun.htm
    The form of Japanese poetry known as haibun first developed from a Japanese writer taking a journey and composing a diary of his travels in a mix of brief prose ...
  8. Haibun - Graceguts

    sites.google.com/site/graceguts/haibun
    Haibun (俳文) is a Japanese genre of writing that mixes chiefly autobiographical prose with haiku. The most famous example is Bashō's Oku no hosomichi, ...
  9. More than the Birds, Bees, and Trees: A Closer Look at Writing Haibun

    www.poets.org/viewmedia.php/prmMID/22712
    Hello saguaro and barrel cactus. Hello sorghum and wheat field. Hello skyscraper and ballpark. Hello cherry tree and badger nest. Having moved several times ...
  10. Haibun Poems: Poetic Form | WritersDigest.com

    www.writersdigest.com/whats.../haibun-poems-poetic-form

    Robert Brewer
    by Robert Brewer - in 949 Google+ circles
    3 Sep 2012 – The haibun is the combination of two poems: a prose poem and haiku. The form was popularized by the 17th century Japanese poet Matsuo ...
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*********************

Ed Baker has left a new comment on your post "EEL PIE DHARMA #2 on Google of 219,000 haibun site...":

you shld be Numero Uno
acause
what they claim ins #1 is just a definition-according-to-whichuhpeedia of "haibun"
and your Eel Pie I D is in a class by it s self ?



Posted by Ed Baker to Riffs &amp; Ripples from ZenRiver Gardens at 9 January 2013 12:58

**********************

 ‎
Posted by Chris Faiers/cricket at 08:48 1 comment:
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Labels: Canadian haibun, Canadian haiku, Chris Faiers - cricket, Eel Pie Dharma, haibun, Weed

Sunday, 30 December 2012

Weed's homepage for Chris Faiers/cricket



Chris Faiers


Chris Faiers blog   -  Riffs & Ripples from Zen River Gardens


Eel Pie Island Dharma
"Eel Pie Island Dharma"
by
Chris Faiers

published 2012
by Hidden Brook Press

available from Amazon


Literary Biography (poetry)

Cricket Formations  (haiku)
Eel Pie Dharma  (haibun)
Five Minutes Ago They Dropped the Bomb  (poem)
The Fire  (poem)
Jon Penner  (poem)
Picnic With Al  (poem)
Reflections on The Good People of Tarnished  (poem)

The Unacknowledged Acorn  (book review)

First Annual Purdy Country Literary Festival  (2007)
The Second Annual Purdy Fest  (2008)
       

ZenRiver Poems & Haibun
Zen River Gardens (gallery)
Hangin' with Bubo (virginiansis)  (haibun)
Fireflies below Goat Hill  (haibun)
Winter Solstice Smudging 2005  (haibun)
Crow visits Wolf  (haiku)
Fishing with Big Blue  (haibun)
Haunted Pumpkin Walk  (haibun)
Snow Melt Meditation  (haibun)

Review by Michael McClintock
Draft Resistance  (interview, 2002)


river



Unfinished Monument Press   |   Eel Pie Island / L'Auberge   |   Weed's writings page

comments to weed@wussu.com
revised 29 November 2012
URL http://www.eelpie.org/cricket/index.htm
Posted by Chris Faiers/cricket at 09:28 No comments:
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Labels: Buddhist blogs, Canadian People's Poetry, Chris Faiers, haibun, haiku, Weed

Friday, 14 December 2012

Weed's website on Eel Pie Island


Eel Pie Island Hotel & Dancehall  /  L'Auberge

Eel Pie Hotel  L'Auberge

"And who's going to be the one, to say it was no good what we done?"


Eel Pie Island
"Eel Pie Island"
by
Dan Van der Vat
& Michele Whitby

lavishly illustrated!

published 2009

now available from Amazon


Eel Pie Island Dharma
"Eel Pie Island Dharma"
by
Chris Faiers

published 2012
by Hidden Brook Press

available from Amazon


people

    contacts and memories  (updated Sep 2012)
whatever happened to? (1969-1971)
Emanuel

pictures  

    Eel Pie Hotel up to 1964
people 1964-65 (i)
people 1964-65 (ii)
people 1969-71 (i)
people 1969-71 (ii)
people 1969-71 (iii)
people 1969-71 (iv)
Eel Pie Hotel 1969-1971
Eel Pie Hotel after 1971
L'Auberge Cafe, Richmond, Surrey
Richmond & Twickenham 1968-1972

music  

    Brian Green & His New Orleans Stompers - Brian Green
Eel Pie Gigs 1969 - lit by Mass Spectrometer Light Show
Eel Pie Memories - from Comstock Lode No 7 - John Platt
The Grove Jazz Band / Eel Pie - John Lamond
Rich/Twick Jazz & Folk Scene - Roy Buckley  (added Mar 2011)
Let's Swim To Eel Pie Island - John Joyce
mementos 1955-1971
The Start of the Eel Pie Jazz Club - John Winstone

Eel Pie Heritage Board
Eel Pie Island Music Heritage Board, unveiled 24th April 2009
(click on pic to open full size image in new window)

words

    The Education of Desire (extracts) - Cliff Harper
Eel Pie Dharma - Chris Faiers
Eel Pie Island (1948-1955) - Roy Buckley  (added Mar 2011)
Eel Pie Island in the mid-late 50s - John C Snelling  (added Apr 2011)
Eel Pie Marine Centre & Boatyard - Michele Whitby  (added Mar 2011)
Met OJ on Eel Pie '69 - Weed
newspaper article (1971)
Eel Pie and Arthur. Inoculation against evil influences? - Leslie T Wilkins
Fantasy Island - Surrey Life (Oct 2009)  (added Feb 2011)

media

    Anie Nightingale remembering Eel Pie - Facebook video
clip from the film "Fumo Di Londra" (1966) - (no sound)
clip from the film "Fumo Di Londra" (1966) - shorter clip + sound
"Who Needs Eel Pie" (Rank, "Look at Life" series, 1967)
documentary on the Commune (BBC2 TV, 1970) (Open University)
"Eel Pie Island Hotel" - Radio 4 (2007) - (check file-sharing networks)
"Kenneth Cranham... - Eel Pie Island" (Mark Burgess) - Radio 4 (2012)

links

    Another Nickel In The Machine - A Rave on Eel Pie Island (Aug 1960)
Arthur Chisnall - obituary - The Independent  +  a follow-up
Arthur Chisnall - obituary - The Surrey Comet
Arthur's Experiment - play inspired by musical history of Eel Pie Island
The Eel Pie Book - (published October 2009) + old blog
The Eel Pie Club - preserving and continue the local R&B heritage
Eel Pie Island - Wikipedia page
eel pie island appreciation - Facebook group (general + current)
Eel Pie Islanders - Facebook group (mainly 1969-71)
Mystery Jets - continuing the Eel Pie musical heritage [needs 1024x768]
Newsgroup posts - interesting threads on Eel Pie Island, old & current
Richmond Riverside - panning views of north and south banks of Eel Pie
Sunday Times article - Richard Johnson
Time Out - Peter Watts
Twickenham Museum - articles on the history & music of Eel Pie Island


map of Eel Pie Island by Cathy Horton 1992
Eel Pie Island (1992)


Weed's home page

thanks for inspiration to Canadian Chris, Dave King & Brenda O'Connell
thanks for Eel Pie map, drawn by Cathy Horton
Eel Pie Hotel painting (top left) by Dominic Mccormack, 1970
quote from "I'll Try For The Sun" (Donovan Leitch)
comments & contributions to weed@wussu.com
revised 29 October 2012
URL http://www.eelpie.org/index.htm
Posted by Chris Faiers/cricket at 09:14 No comments:
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Labels: Eel Pie Island, hippies, L'Auberge Cafe, London UK music scene, Twickenham, Weed
Older Posts Home
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links of interest

  • "cricket formations" first chapbook by Chris Faiers 1969
  • "Eel Pie Dharma: a memoir/haibun" widely read and referenced haibun published 1990
  • Marmora Historical Foundation
  • pics of ZenRiver Gardens (weed's website)
  • PurdyFest scrapbook on Open Books Ontario
  • Save Al Purdy's house site
  • ZenRiver Poems & Haibun - Faiers (2008, Hidden Brook Press) cat. descrip., reviews, etc.

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About Me

My photo
Chris Faiers/cricket
Chris Faiers was conceived in the UK, born in Canada, and raised in the US. He opposed the Vietnam War as a resident alien and lived in the UK from 1969 to 1972. He returned to Canada age 24 and resumed his literary career, publishing haiku and other poetry. He founded small press Unfinished Monument, The Main Street Library Poetry Series, and Purdy Country Literary Festivals. He was the inaugural recipient of The Milton Acorn People's Poetry Award in 1987. His poetry has been published in approx. 100 litmags and around 70 poetry anthologies. He lives in the rural Ontario village of Marmora.
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