Foucault's ideas are echoed in Pollock’s 1988 book Vision and Difference where she writes that the figure of the Pre-Raphaelite painter, Dante Gabriel Rossetti, presented by his brother, William Michael Rossetti, is a constructed ‘image’, the ’result of the workings of the text’ (Pollock 2003: 141). She observes that in his writing on his brother, W.M. Rossetti ‘wrenched from the field of their production and exchange’ various documents in the act of bringing into being an image of the artist (Pollock 2003: 141). She goes on to observe that ‘(n)o one writes without inscribing a point of view on that which is written: language is an ideological practice of representation’ (Pollock 2003: 141-2).
Discussing Foucault’s idea of the ’author function’ Openlearn comments ‘In the case of an artist, the ‘discursive formation’ into which they fit includes not only their own statements, but also the critical writing on their work, popular representations and ‘myths’, institutional conditions of utterances… and general ideas about art and artists, both learned and popular’ (Openlearn 2023: no pag.).
One of the most notorious/notable of these discursive constructions is that of the (usually male) lone artist as conduit of inspired creativity. Somehow different from others he (most often) is the inspired creator of art. (However, probably more dangerous has been the ideological discourse responsible for the ‘great men’ theory of history, an idea popularised by Carlyle and disputed by Gang of Four in their song ‘Not Great Men’ (Ramirez 2022: 14-15)).
The above, of course, raises lots of points about approaching and representing Robert Calvert as author and artist. Pollock insists that it is important to contextualise an artist within the ‘totality of social relations’ that they operated within, to see artists as engaged in ‘cultural production’ and to see this production as ‘a social practice’ (Pollock 2003: 5-7).
Applying this approach to Robert Calvert’s art practice is particularly appropriate as he was an artist frequently in collaborations and continually in conversation with the world around him, his work coming out of a practice of continual ‘low level ambient research’ and often inspired and influenced by the work of other writers (N. Calvert no date: no pag).
Russian Constructivist Aleksandr Rodchenko, in a letter from Paris in 1925, contrasted the ideal utilitarian object of socialist production with capitalist objects, commenting that ideal socialist objects ’must be equals, comrades…’ (Rodchenko quoted in Kiaer 2005: 1). Kiaer comments that Rodchenko envisaged the socialist object as ’actively promot(ing) egalitarian culture’ with ‘the material object as an active, almost animate participant in social life’, she goes on to write that the Russian Constructivists’ response to the object of capitalist production ‘is the object-as-comrade’ (Kiaer 2005: 1). This essay will draw on Rodchenko’s idea of the object as ‘comrade’ by approaching Robert’s relationship with books as a form of collaboration between himself and another; an object both inanimate and animated by Calvert’s engagement with its authors’ ideas and thoughts.
In his excellent book, Hawkwind: Days of the Underground, Joe Banks describes Robert Calvert and Barney Bubbles as ‘voracious magpies and synthesists’ (Banks 2020: 292). Roland Barthes in his famous 1967 essay ‘Death of the Author’ observes that written texts are ‘a multi dimensional space in which a variety of writings, none of them original, blend and clash. The text is a tissue of quotations drawn from the innumerable centres of culture’ (Barthes 1977: 146). In other words, Barthes is claiming that what flows from an author’s pen is not original and/or inspired but rather a reordering of previous writings, that ‘writers (or artists) rework existing forms and ideas’ (Edwards et al 2019: no pag.). In this passage Barthes comments that the author’s ‘only power is to mix writings’ (Barthes 1977: 146). He suggests that texts are similar to collages, a reworking and reconfiguring of previously existing ideas, the author reworking that that they have previously read or unconsciously imbibed. From Barthes’ perspective Robert Calvert’s obvious use of books and films as raw material in his own writings or song titles is not unusual; it just shows more self awareness and honesty than most other authors!
Having laid a theoretical framework this essay will consider Robert Calvert’s significant ‘collaborations’ with artists, literature and other media.
The first first few years of Calvert’s documented career evidenced both his eclectic, wide knowledge of poetry and his relaxed, postmodern approach to appropriation and detournement. Pre Hawkwind he had been part of an exhibition at the Roundhouse exhibition Better Place to Live performing ‘environmental poetry’ (Clerk 2006: 16). He also wrote prose, poetry and plays for Frendz. Before that, in 1967, he had formed a street theatre group named Street Dada Nihilismus (Bailes 2022: no.pag.). In his fascinating book, There’s a Riot Going On, Peter Doggett refers to radical black American poet LeRoi Jones and his provocative and violent 1964 poem ‘Black Dada Nihilismus’, which Doggett describes as ‘(p)art surreal wordplay, part wilful acceptance of the white man’s darkest view of black America, part wish fulfillment’ (Doggett 2007: 31-32). Jones had been part of ‘the beat poetry movement of the 1950s’ going on to align himself with black revolution (Doggett 2007: 31-32). Three years later Calvert had repurposed the phrase Dada Nihilismus.
Calvert’s first appearance with Hawkwind was in May ‘71 when he started their set by reading his poem ‘Co-Pilots of Spaceship Earth’ - he officially joined the band that October (Banks 2020: 46). The poem crops up again as part of the ‘The Hawkwind Log’, an elaborate booklet that came with Hawkwind’s second album, In Search of Space. The ‘Hawklog’ was a Calvert/Bubbles collaboration that was a collage of varying texts and images that create a mythic time. The introduction to the Hawklog presents the writing as the log of the spaceship Hawkwind, the log discovered in 1971, the year the album was released. The opening text is a prologue to the creation myth of Genesis 1 and deals with time as experienced by God prior to creation, an experience of ‘boredom, loneliness, mental and physical sterility’ while there is no external measurement of time, ‘no clock, no calendar to measure the length of thought’ (Calvert, Bubbles 1971: 2). Joe Banks points out that this short piece was actually a lift of Sole Solution (1956), a short story by British SF writer Eric Frank Russell’ (Banks 2020; 292). Banks comments that the Hawklog contains quotes, ideas and paraphrasing from various writers, books and ‘religious tracts’ (Banks 2020: 275, 292).
In June 1972 Hawkwind released probably their best known song, ‘Silver Machine’, as a single, the lyrics including the enigmatic line ‘sideways through time’. Calvert’s lyrics were based on How To Construct a Time Machine by Alfred Jarry, which he took to really be a description of how to build a bike. “I read this essay by Alfred Jarry called, ‘How to Construct a Time Machine’ …I seemed to suss out immediately that what he was describing was his bicycle…He did have that turn of mind. He was the kind of bloke who’d think it was a good joke to write this very informed-sounding piece, full of really good physics (and it has got some proper physics in it), describing how to build a time machine, which is actually about how to build a bicycle, buried under this smoke-screen of physics that sounds authentic…I thought that it was about time to come up with a song that actually sent this all up, which was ‘Silver Machine”.(Starkey 2022: no pag.). The lyrics are relatively sparse for Calvert, a collaboration with Jarry’s How To Construct a Time Machine.
Calvert and Bubbles collaborations continued with the cover of Doremi Fasol Latido released in November 1972. Calvert continued his mythologising of Hawkwind with the ‘Saga of Doremi Fasol Latido’. The saga presents the album as a ‘collection of ritualistic space chants, battle hymns and stellar songs of praise’ as used by the members of Hawkwind who are again engaged in a mythic venture, this time to get help from ‘the legendary world of Thorasin’ for their beleaguered community.
Released on 11 May 1973 Hawkwind’s Space Ritual still sounds extraordinary, like a transmission from another place! Calvert’s macro concept shaping the Space Ritual tour was that the shows would be ‘an audio visual portrayal’ of the dreamings and fantasies ‘of seven cosmonauts who are travelling through space in a state of suspended animation’ (author unknown 1972; no pag.). Calvert's idea was influenced and inspired by The Black Corridor, a 1969 Michael Moorcock book. Running parallel with this concept was the organising of the band and equipment on stage by Bubbles according to the Pythagorean theory of sound (Means 1972: no pag.).
The programme for the Space Ritual tour was another Calvert/Bubbles collaboration. In it Calvert picks up from The ‘Saga of Doremi Fasol Latido’ presenting the members of Hawkwind as newly empowered and returning to Earth from Thorasin ‘to rid the planet of evil’
The album, as well as including Calvert’s poems and his rendition of Michael Moorcocks’s ‘Sonic Attack’, includes two tracks that feature the most extensive and sustained collaboration of Calvert’s career, the Calvert/Brock tracks ‘Born To Go’ and ‘Orgone Accumulator’. The latter draws on the ideas of Willhelm Reich, a Marxist and psychoanalyst who had known Freud. Over time Reich developed the pseudo scientific claim that a life force called orgone existed, concentrations of it being effective in healing illness, including cancer. Experience of these concentrations could be achieved by the patient spending time in a Reich designed orgone accumulator. Later he also came to believe in concentrations of negative orgones that could be dispelled using a ‘cloudbuster’ (that Kate Bush would go on to make famous in the video for ‘Cloudbusting’). In the 1960/70s Reich became an iconic counter cultural figure with French students in 1968 writing ‘Reichtian slogans’ on walls and German students throwing copies of his book, The Mass Psychology of Fascism, at the police’ (Armstrong 2023: no pag.).
Calvert’s next three collaborations with literature came in rapid succession, at Hawkwind’s Wembley Empire Pool gig later that month and then the recording of the single ‘Urban Guerilla’ (Banks 2020: 124-6).
At the Wembley gig, after an initial Intro, Calvert declaims the surreal poem ‘In The Egg’ by post war German poet Gunter Grass. (Whose book,The Tin Drum, subsequently inspired the title of a Japan album) Against an electronic background the track’s intense description of societal life within an egg increases in intensity with the last lines’ description of the fear of being consumed! A couple of tracks further on he reads from Steps by Jerzy Kosinski, an animated reading of a protagonist's violent/murderous rampage against urban capitalism and its elite.
According to Calvert in the 1982 interview Ramblings at Dawn the lyrics to 1973’s ‘Urban Guerilla’ were inspired by graffiti and the cover of a book of the same name. Calvert remembers it was written some time before recording after he had seen ‘Urban Guerilla’ spray painted on a piece of corrugated iron down a side street in Notting Hill, “Obviously somebody had sprayed there simply because the term held a lot of heroic and exciting ideal, sort of mythological, modern feeling for whoever wrote it…It was a term that I had heard mentioned but had never really thought about until I saw it proclaimed in this way. It wasn’t that long after that that I found a paperback book that was a study of guerilla tactics that was called Urban Guerrilla and the cover of the book actually featured a corrugated iron wall with the word(s) urban guerrilla sprayed on it…I really wrote it because I wanted to express that sort of feeling that I’d seen expressed in the spray paint and also my own feelings about it” (Calvert and Gadd 1982: no pag.). Here Calvert talked about the song coming out of his interaction with, and awareness of, the customising of his urban environment by another and the cover of Martin Oppenheimer’s 1969 book Urban Guerrilla which is as Calvert described it plus a CND symbol also graffitied in the bottom right corner.
In 1974 Calvert released the album Captain Lockheed and the Starfighters, a satirical take on the selling of the notorious Lockheed Starfighters to West Germany. The Lockheed bribe scandal broke a couple of years later. As Jello Biafra observed, “At the time, that level of bribery and corruption wasn’t new to the average American, let alone the average American teenager who was already reeling from Watergate and Vietnam and CIA spying scandals all coming out at once. It only occurred to me later: ‘Hey, wait a minute, this album was released one or two years before Lockheed’s scandal even broke in the media. How does an artist from the so-called space rock world even find out about this stuff?” (Milas 2021: no pag.). Musicians involved included various members of Hawkwind, Vivian Stanshall, Arthur Brown and Brian Eno (Milas 2021: no pag.).
One musical relationship that started with Captain Lockheed and the Starfighters and continued was with Adrian Wagner, the two went on to work on the 1974’s single ‘Cricket Star’ and Adrian’s debut album Distances Between Us. Cavert wrote the lyrics and sung for two songs, ‘Messengers of Morpheus’ and an early version of ‘Steppenwolf’. The CD rerelease included another Calvert song ‘Stranger in a Strange Land’ based on a 1961 sci fi novel of the same name by Robert A Heinlein (Gerwers n.d: no pag.). Calvert also turns up as vocalist on Wagner’s 1979 single ‘Disco Dream and the Androids’ (Banks 2021: no pag.).
Brian Eno crops up again on Robert Calvert’s follow up album Lucky Leif and the Longships, this time as producer. His collaboration was much appreciated by Calvert who commented that Eno had ‘been the best producer I could possibly have had’ (Sexton 2013: no pag.). Significantly, Eno developed the concept of ‘scenius’. While at art college Eno had been taught that great artistic figures “appeared out of nowhere and produced artistic revolution…” but as he looked more deeply into art he realised that was inaccurate that actually “there were sometimes very fertile scenes involving lots and lots of people…all sorts of people who created a kind of ecology of talent. And out of that ecology arose some wonderful work” (Eno quoted in Garratt 2023: no pag.) Eno coined the phrase ‘scenius’ to describe “the intelligence of a whole operation or group of people. I think that’s a more useful way to think about culture. Let’s forget the idea of ‘genius’ for a little while, let’s think about the whole ecology of ideas that give rise to good new thoughts and good new work” (Eno quoted in Garratt 2023: no pag.). In the same article Garratt writes ‘(h)istory tends to get written in terms of ‘great men’...There is a persuasive myth of the lone genius writing in a garret, painting alone in a field…But dig deeper, and you’ll find that’s rarely true. Most new movements and leaps forward in culture usually come from groups of creatives encouraging each other; competing with and arguing with each other; reacting for or against each others’ work' (Garratt 2023: no pag.).
The importance for Calvert’s own creative life of collaboration, of being part of a creative community and of co working with others can be seen in an interview from March 1976.
“How’s Bob Calvert, your most recent addition, fitting into the band?
(Simon King) “Great. He adds a lot of energy and he brings out the best in Dave Brock, which can’t be bad. Bob has these crazy ideas, Dave listens to them and comes up with the music, it’s…”
…At this precise moment, Bob Calvert walks into the room, having completed a previous interview. He glares at me slightly, probably remembering that I gave his last solo album ‘Lucky Leif And The Longships’ a less than enthusiastic review. Later, I knock his pouch on to the floor, spilling tobacco and Rizlas over the carpet. Not my lucky day, but at least Calvert adds an intellectual slant to the conversation.
At one time, some months ago, Hawkwind were reported to be actively involved in a stage presentation of Dan Dare, the Eagle comic character. Will the project ever reach fruition?
Says Calvert, “I wrote a whole script for the thing. Very long, it had Digby being captured on Venus and being replaced by Harold Wilson, all zany things like that. Everyone was behind it, it was just a matter of tying everything up, legally. Unfortunately, someone else stepped in with an offer for the Dan Dare rights, bought them up, and left me high and dry. It’s a pity, it’s frustrating, but I just didn’t move quick enough. I believe Dan Dare is still going to be made into a movie, maybe a play, but now not by us, by someone else…”
Last time I spoke to Calvert, he wasn’t really planning to rejoin Hawkwind. Apparently, the failure of the Dan Dare project acted as a catalyst for him to become re-immersed in rock and roll.
“When I thought about it, I realised that I missed collaborating with Dave Brock. In the past, the most successful things either of us have done is when we’re worked together. Eventually, I joined the band just after Stacia left, when things were lacking visually. I lost contact with the scene for a while, especially during my ‘Lucky Leif’ stage, but now I feel very stimulated. I think I’m going to become England’s answer to Iggy Pop, I really do, a raw power type Iggy…”
Are you thoroughly committed to the band now?
“I’m thoroughly getting off on it. It’s ‘Captain Lockheed’ all over again, it’s great, it’s like the re-awakening of a good spirit. Over the last two years I lost touch. At one stage, I almost turned into a character I never thought I’d be…sitting around, watching TV, not taking life at all seriously”.
He then recounts seeing someone getting beaten up by the police and getting “actively involved with the situation, almost to the extent of appearing in court and defending the guy. But more recently I became very bourgeois. I see it now as a mistake to have ever left Hawkwind. When I split from the band originally, I had plans to get into the theatre. But I had no money, there was only me, there was no other source of energy. But now, I’ve been saved from the clutches of bourgeois limbo by Hawkwind, and I thank them for it” (Barton 1976: no pag.).
There followed four Hawkwind albums with Robert Calvert as main lyricist, vocalist and frontman; Astounding Sounds, Amazing Music (1976), Quark, Strangeness and Charm (1977), 25 Years On (1978) and PXR5 (1979). On these four albums Calvert frequently draws on literature for ideas, concepts and titles.
On Astounding Sounds, Amazing Music Calvert draws on the 1927 Hermann Hesse book, Steppenwolf for the track of the same name. In the book the main character, Haller, suffers with a sense of ‘dislocation’ from society due to an awareness of his duality of nature. Feeling half man and half wolf Haller is unable to reconcile himself to bourgeois society as the latter nature desires only sensual pleasure (1). The song prioritises and explores this sense of ‘other’ and alienation generated by the experience of duality, of being a ‘steppenwolf’, but closer reading reveals that it includes an examination and rejection of capitalism’s stratified society as the song highlights the classed society produced and reproduced by capitalism. Alongside his despising of the working class due to their reproduction of their own exploitation through wage labour in the day and consumer capitalist leisure in the evening the protagonist (consistent with the book) also expresses a particular sense of distance and antagonism towards the bourgeoisie.
The album also includes the track ‘Reefer Madness’, the title taken from an American 1936 anti cannabis film.
It was in 1976 that Robert’s play about Jimi Hendrix, The Stars that Play with Laughing Sam’s Dice, was first staged. The play was named after a Hendrix song (Cope 2019: no pag.).
Quark, Strangeness and Charm includes the track’ Damnation Alley’ inspired by the 1969 book of the same name by Roger Zelazny.
The next album to be released was 25 Years On, although there are no obvious literary references on this album Joe Banks points out that Calvert’s lyrics include a reference to William Burroughs’ The Naked Lunch in ‘Flying Doctor’(Banks 2020: 310)!
25 Years On also saw Calvert and Bubbles collaborating again. The tour programme is presented in the form of a corporate brochure with prose by Calvert and visual design by Bubbles. The end result was a remarkable, prescient critique of neoliberal capitalism and its imperative to the commodification or eradication of all things. As Lyons observes while reviewing Joe Banks book, Hawkwind: Days of the Underground, ‘the dark satire of Pan Transcendental Industries – developed by Calvert, again in partnership with Barney Bubbles, for the 1978 Hawklords tour, and drawing on the thinking of architectural theorist Rem Koolhaas – offers a prescient metaphorical critique of global corporate hegemony that’s acutely alive to the essential absurdity of hegemonic ambition’.
On the 1979 release, PXR5, Calvert drew on several writers for titles and ideas. Although generally considered to be inspired by his time living in Arlington House in Margate the title ‘High Rise’ is from a 1975 book by J. G. Ballard.
‘Jack of Shadows’ shares the title and ideas with the book of the same name by Roger Zelazny.
In ‘Robot’ Calvert refers to Isaac Asimov’s three laws of robotics and it has been suggested that ‘Uncle Sam’s on Mars’ may have been influenced by Gill Scott-Heron’s 1970 poem ‘Whitey on the Moon’.
In Robert’s book of poetry, Centigrade 232, published in 1977 the titular poem is about book burning. The poem forms the basis of the lyrics for the rough track 'Fahrenheit 451’ which appears in the Rockfield Studio Sessions 1977, part of the 2003 Days of the Underground box set and reappears on the 1982 album, Choose Your Masques. Fahrenheit 451 was the title of a 1953 Ray Bradbury novel about a society where books have been banned and homes where books are found are burned down, A ‘fireman’, whose task is to do the burning starts to doubt his role and secrets several books in his house, ordered to burn down his own house he does so and then escapes, having killed his commander. He joins a group who have memorised books in order to rebuild society (Bauer n.d: no pag.).
Post Hawkwind.
Post Hawkwind Calvert continued to work with a variety of musicians. In the early 80s he worked with Pete Pavli on the 1982 EP Revenge, Pavli was also involved with the 1981 play The Kid From Silicon Gulch musically and as an actor (Gerwers n.d: no pag.). He also took part in Calvert’s Krankschaft Cabaret, a collection of poems, songs and short pieces performed at Covent Garden (Banks 2021: no page). Pavli talks about them bonding ‘over a shared interest in’ the early 1900s art movement, Italian Futurism (Banks 2021: no pag.). This movement became very entwined with fascism. However any concerns about Robert’s interest in the movement are put to rest by the track ‘Fascism/Futurism’ where in the title he makes the connection explicit and, after quoting The Futurist Manifesto, he ends the track by appropriating and subverting a sentence within it, “And ending justice”, a comment that simultaneously references, exposes and undermines the whole fascist/futurist project.
In 1982 Bubbles released an album, Ersatz, under the name Imperial Pompadours . Revisiting previous collaborations both Nik Turner and Robert Calvert were involved with the album (Gorman 2022: 191-2). One side of the album involved using the cut up method made famous by Burroughs and Bowie, the other side was an anti fascist track on the life of Hitler (Clerk 2006: 253-4).
One of the most interesting of Robert’s post Hawkwind collaborations is on the 1984 album, Freq. The album consists of six tracks; ’Ned Ludd’ and ‘Acid Rain’ have a socio-political dimension but the two most explicitly political tracks are ‘All the Machines are Quiet’ and ’Picket Line’. Both tracks are written from the position of a striking worker, in them Robert explores the emotional and financial effects of the experience of separation from work. Most interesting, from a collaborative perspective, is that the songs are punctuated by field recordings made by Robert of conversations he had had with striking miners on a picket line and speeches by trade unionists.
Conclusion.
Although Calvert did produce work as a solo artist throughout his career from writing for Frendz through to Test-Tube Conceived he also often collaborated with a number of other artists, some of these collaborative relations, for instance with Dave Brock and Barney Bubbles, lasting years, other artistic relations lasting less time. As Foucault and Pollock point out it is easy for a narrative to be constructed around an artist/author by authoritative voices. One of the most pervasive of these narratives in the art world has been of the lone, (usually) male genius producing work out of thin air, however, as Pollock, Barthes and Eno point out, artists work within a specific political, social and cultural set of circumstances, consciously and unconsciously drawing on the cultural resources available to them. As Pollock observed it is important to contextualise an artist within the ‘totality of social relations’ that they operate/d within and to see artists’ ‘cultural production’ as ‘a social practice’ (Pollock 2003: 5-7). This essay has attempted to present Calvert’s artistic practice as a ‘social practice’ embedded in ‘social relations’ with those and that around him. Spinning off Rodchenko, the essay has included Robert’s use of books (and other media) as resources and inspiration, as an aspect of collaboration as Robert’s engagement with the texts reanimated them.
‘The artist dwells in the circumstances the present offers him, so as to turn the setting of his life (his links with the physical and conceptual world) into a lasting world. He catches the world on the move: he is a tenant of culture, to borrow Michel de Certeau's expression' (Bourriaud 1998: 13-14 ).
Image from video of ‘25 Years’ on Days of the Underground boxed set, Atomhenge 2023.
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