In the evening June 9 I’ll be in Soho for a London Society event about the London life of the late cultural provocateur Malcolm McLaren.
At workplace venue Fora in Broadwick Street writer Helen Barrett and I will be discussing the ways in which the man born in Stoke Newington and buried in Highgate Cemetery used the city as the springboard for his dizzying range of creative and subversive activities.
//13th Floor Elevators mural inside Zippo Records, Clapham Park, south-west London, mid-80s, courtesy Pete Flanagan//
Pete Flanagan, owner of the long-gone Zippo Records in Clapham, south London, has sent me this photograph of the shop interior.
//Front cover, Droolian, Julian Cope, Zippo/Mofoco, 1989//
It sums up everything that was wonderful about this unique space, where Pete established a hub for like-minded souls. With staff including Edwin Pouncey (aka Savage Pencil), Pete also released otherwise hard-to-find records via his own independent imprints. These included Heartland, 5 Hours Back and MoFoCo for Julian Cope’s towering LP Droolian.
//Droolian’s back cover//
//Zippo’s distinctive price label (this from The Many Faces Of Gale Garnett, an obscure 1965 release on RCA)//
I bought a lot of music and also an example of every one of the short-run t-shirts Zippo sold, including my favourite, this MC5 number (other owners, and there can’t be many because they were printed in very limited numbers, include Bobby Gillespie).
As a local I was a Zippo regular with our Battersea hound Tom. Pete christened him “The Conqueroo Dog” after the four-legged friend on the cover of his reissue of the Austin band’s 1968 release From The Vulcan Gas Company.
//Front cover, From The Vulcan Gas Company, The Conqueroo, 1968/reissued 1987 on 5 Hours Back//
When Zippo closed I bought a whole load of stock and had a few happy years trading in vinyl as a sideline, until my back gave out.
Pete’s still at it, running Soho Music which is now on eBay – see here.
I bumped into Edwin P a couple of years back; he was in the company of another great person who was also a former Zippo staffer. Can’t for the life of me recall his name but hopefully he’ll see this and get in touch.
See what Savage Pencil is up to here.
The Random House/Penguin takeover prompted a visit from photographer Sarah Lee to shoot my collection of Penguin books for illustrative material for The Guardian.
One of her shots has already been used – a set of early 70s Raymond Chandlers with James Tormey jackets.
I’ve collected t-shirts for 30-odd years; this is one of my favourites.
My engagement with the spectacle of the Royal Wedding is taking the form of protesting at Lambeth Council’s leasing of Clapham Common to Camp Royale.
British Remains, meanwhile, is publishing a design which offers a choice of expression.
Postcards are an abiding obsession, and this, just arrived from Will Birch, is a nice one to add to the collection.
Wyndham Lewis’ 1914 publication Blast 1 is the daddy of the modern aesthetic manifesto.
It’s also a Modernist objet d’art.
Iconoclastic and satiric, at times inchoate and irrational, Blast’s aim was to establish Vorticism‘s endorsement of the machine age and and simultaneous disavowal of the stultifying Romantic legacy of the Victorian era.
//Gillett + McLaren, 1983.//
Year-ends and beginnings naturally bring a sense of loss, of time passed and experiences weighed.
For me, 2010 will always mark the deaths of two individuals of personal import and also of lasting significance to our culture: Charlie Gillett and Malcolm McLaren.
These apparently disparate individuals – Gillett 68 and McLaren 64 at their time of passing on, respectively, March 17 and April 8 – shared several characteristics, not least idiosyncratic and uncompromising viewpoints and an abiding interest in bringing vanguard music into the mainstream.
Charlie was among folk and popular music’s most prominent enthusiasts – though he never liked the phrase, it is his achievement that “world music” entered western lives – and, as art consultant Bernd Wurlitzer wrote in 2008: “Malcolm McLaren is and has been an artist in the purest sense of the word for his entire adult life.”
//5 Silverthorne Road, London SW8, 1978.//
Alan Freeman (BBC DJ): “The popular music press always branded Henry Cow or Art Bears as ‘left wing’. “
Chris Cutler (drummer, Henry Cow/Art Bears/etc): ”Of course. Extremely. If you hate this government, and everything it stands for.”
I witnessed Henry Cow live for the first time at a “free” concert held one afternoon in a room at Finchley Town Hall in 1974 supporting The Global Village Trucking Co.
The culmination of the performance came when guitarist Fred Frith trod on a tatty and evidently useless acoustic and brought the hat around to “pay for repairs”. Recognising this as a piece of “show”, I was simultaneously bamboozled and excited by the incomprehension I felt at their improvisations.
I also appreciated the anti-rock/agit-prop stylings, particularly Frith’s beanie hat and cricket jumper, and the insistence on sitting down during even the most energetic extemporising (was Jah Wobble also taking note? I shall have to ask him).
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