Paul Gorman is…

Exclusive: The very ad which scored the Sex Pistols their place in Tin Pan Alley

Apr 2nd, 2021

At the bottom of page 66 of Melody Maker, September 13, 1975.

This is, I think, an exclusive. Much mentioned in the story of punk, I’ve not seen this ad published since it appeared 46 years ago.

Tucked away at the bottom of page 66 of the September 13 1975 issue of British music weekly Melody Maker was a relatively nondescript line advertisement offering the lease on premises in London’s Denmark Street, home to the British music publishing industry:

TIN PAN ALLEY.                Must be
useful for some msicians (sic), agent
or such. To take over.       Small lock-
up premises.    Store gear,      group-
meet,    rehearse,     hire-it-out,  etc.
Sacrifice.   –   455 7487.

Complete with that typo, this was the sole entry in the property section of the MM’s classifieds pages, which that week included hundreds of ads for musicians, instruments and equipment over seven pages.

The ad was tucked away at the bottom of the page.

The advert would have cost the leaseholder Bill Collins around £3.50 to post. The father of actor Lewis Collins, the Liverpudlian had made a name for himself in the music business, having been instrumental in the success of 60s powerpop quartet Badfinger, signing them to the Beatles’ Apple label when they were The Iveys. Collins even shared songwriting credits with the group, including those for Without You, which became a massive worldwide hit when covered by Harry Nilsson.

By 1973 Collins had been excluded from Badfinger’s affairs by the powerful US entrepreneur Stan Polley, who was soon accused of depriving the group of millions of dollars. In April 1975, a few months before Collins placed the ad, Badfinger mainman Pete Ham hanged himself at home, blaming Polley in the suicide note for the group’s misfortunes.

Another page of ads towards the back of the issue of MM with a news filler about a bomb scare interrupting a performance by a long-forgotten act called Screamer.

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DB Burkeman’s Art Sleeves: Album Covers By Artists avoids the usual suspects and contains many surprises

Mar 24th, 2021

Among the many things the world doesn’t need now is another book of record covers, but DB Burkeman’s Art Sleeves, which is published today by Rizzoli, is something else entirely.

For once the publisher’s blurb is spot-on; this is “a tightly curated exploration” of record covers which challenge the distinctions between art and design, between object and product.

This means that there are many surprises in the book, and a minimum of the usual suspects.

Art Sleeves also contains a bonus in a series of artist spotlights and conversations featuring such exponents as Christian Marclay, INVADER, Ryan McGinley, Genieve Figgis  and Marilyn Minter.

And Barney Bubbles receives a mention as DB’s “personal design hero” in the introduction.

I recommend Art Sleeves highly. Order your copy here and follow Art Sleeves on Instagram here.

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Representing the Barney Bubbles Estate

Mar 23rd, 2021

Today I’ve launched a page on this site for the Estate of the late radical graphic artist and designer Barney Bubbles.

//Ridiculous Roadshow mask, 1973. © Barney Bubbles Estate//

I represent the Estate and its hundreds of original artworks. We have some exciting activity coming up, including the loving recreation of one of Bubbles’ most striking designs for a very special reissue on Record Store Day this year.

Then there is a new enhanced edition of my monograph Reasons To Be Cheerful: The Life & Work of Barney Bubbles, to be published by a leading international imprint. We are also planning a companion limited edition box of Bubblesiana, including high quality reproductions of his build-your-own paper and card designs.

In recent years the Estate has collaborated with a number of top-flight partners, including Universal Music, BMG Music, Paul Smith, Fred Perry and NOAH Clothing, and produced limited edition t-shirt, poster and postcard ranges with artist/dancer Stacia Blake and specialist printer Something Else.

//Johnny Moped Lightbulb 1977.© Barney Bubbles Estate//

//John Cooper Clarke, 1979. © Barney Bubbles Estate//

Read Barney Bubbles’ biography on the Estate page here.

//Still from Barney Bubbles-directed video for Ghost Town by The Specials, 1981//

//Letterhead for Teenburger Designs studio, 1969. © Barney Bubbles Estate//

//4D Man, 1982.© Barney Bubbles Estate//

//I Love The Sound Of Breaking Glass, 1978. © Barney Bubbles Estate//

//Hit Me With Your Rhythm Stick, 1978. © Barney Bubbles Estate//

//Cracking Up, 1979. © Barney Bubbles Estate//

For licensing and reproduction inquiries, contact paulgormanis@btinternet.com. PDFs of available artworks on request.

Follow the Estate’s Instagram account: @_barney_bubbles_estate_ 

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Shipwreck Of The Fake Fairies: New limited edition bookwork from Paul Kindersley

Feb 20th, 2021

British artist Paul Kindersley has produced a bewitching small publication which is available now from his Twitter account.

Shipwreck Of The Fake Fairies is 12 pages with 10 b&w illustrations and continues the themes of Kinderley’s recent work, including the performances Fake Fairy Fantasies and Ship Of Fools and his film The Burning Baby.

Limited to 100 in A5 format on 300gsm paper, each is signed and hand numbered.

Copies of Shipwreck Of The Fake Fairies are £10 each inc p&p.

For yours DM Kindersley at twitter.com/PaulKindersley.

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Farfouiller dans Les Archives: Robert Rubbish’s Nouvelle Vague show on Instagram

Feb 20th, 2021

London  antique dealer James Jackson is currently presenting an Instagram exhibition of a folio of new works by the British artist Robert Rubbish.

Farfouiller dans Les Archives (Rummaging in the archives) consists of 10 original A3 artworks; James is posting one work daily on his IG account.

//The artist at bay//

“In the summer of 2019, I started making a collection of works inspired by stills from the French New Wave films I was watching,” explains Rubbish. “They are mostly of couples in cafes; I liked the idea of juxtaposing words onto them like subtitles, using 1980s pop song lyrics.

//”I was working as a waitress in a cocktail bar when I met you”. Robert Rubbish, 2021//

“The text was translated from English to French using Googletranslate. The results became profound, existential (or profoundly existential?) and sometimes absurd.”

Jackson has exhibited Rubbish’s work previously at his premises in Fulham, west London. “Robert will return with an old school gallery type exhibition of new and inspired works  at James Jackson in Lillie Rd as and when circumstances allow,” adds Jackson.

Enjoy the show here.

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Special limited edition postcard: Rare 1972 portrait of Malcolm McLaren inside Let It Rock

Dec 14th, 2020

//The postcard, which measures 230 x 150mm (6 x 9in), is printed in a numbered limited edition of 150//

“Fashion seemed to be the place where music and art came together. Creating my own clothes was like jumping into the musical end of painting. The shop became a natural extension of my studio.”
Malcolm McLaren. The Look, 2001.

Featuring a rare portrait of Malcolm McLaren displaying his wares inside the recently opened Let It Rock in January 1972, this limited edition large-size postcard is a companion to my biography of the man published earlier this year.

The photograph on the front of the card was taken by the late David Parkinson, who documented the refurb of  the premises at 430 King’s Road carried out by McLaren and his art school friend Patrick Casey; the address had previously housed Trevor Myles’ Americana boutique Paradise Garage.

//The postcard arrives clad in black, McLaren’s favourite anti-colour. “Black expressed the denunciation of the frill,” he wrote in the introduction to my book The Look//

The card shows McLaren revealing the detail on a flamboyant drape jacket made to his design by the East End tailor Sid Green, while he is surrounded by the accessories and ephemera which constituted Let It Rock’s environmental installation. Against the black walls, Day-glo socks from Whitechapel wholesaler Kornbluth vie with Frederick Starke red rockabilly shirts, Sun Records 45s, French rocksploitation movie posters and deadstock clothing.

It makes for a beguiling image: the 25-year-old – then still legally Malcolm Edwards – is caught making the leap from art school to fashion retailing by, as he later described it, “jumping into the musical end of painting”.

Limited edition numbered postcard hand-numbered and printed 4/1 col. offset on 350gsm single sided board stock, trimmed to size.

Printing: Something Else.

Price: £12.50 each or £20 for 2. P+P: £5 UK, £10 rest of the world. All postage with tracking and/or signature.

Payment via PayPal to this address.

I’m happy to sign cards on request.

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Malcolm McLaren, Double Dutch skippers, NYPD’s Dave Walker and the Duck Rocker on The Midsummer Night’s Tube 1983

Oct 8th, 2020

Excerpts from the annual summer music jamboree broadcast as part of UK TV station Channel 4 youth programme The Tube have been posted this week on Youtube.

//Jools Holland interviews McLaren about his “Duck Rocker”, one a number of customised boomboxes McLaren commissioned for promotional appearances//

One clip from the so-called Midsummer Night’s Tube of 1983 features an interview with Malcolm  McLaren about his recently released album Duck Rock and single Double Dutch.

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Read my essay From The Streets To The Stadium in the new Stone Island monograph Storia

Oct 6th, 2020

I have an essay in the Stone Island monograph Storia which is published today by Rizzoli Books.

Edited by Eugene Rabkin of StyleZeitgeist and art-directed by the supreme Simon Foxton, Storia is an extremely handsome volume featuring texts by Angelo Flaccavento and Jian Deleon, as well as my piece, From The Streets To The Stadium, which traces the Italian label’s place in popular culture.

Storia is available from all good booksellers – a special edition has been published in a slipcase with a poster.

This is available from Stone Island stores around the world, but hurry; within a few hours of publication I’ve been hearing tales that it has sold out in certain territories.

Photos of book by Sabrina Tanzi.

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The Life & Times of Malcolm McLaren out in the US next week: Join the virtual event hosted by Atlanta’s A Capella Books

Sep 17th, 2020

To coincide with the US release of my book The Life & Times of Malcolm McLaren I’m taking part in an online event hosted by Atlanta’s premier independent bookstore A Capella next Thursday (September 24).

From 6pm EST (11pm BST) I will be in conversation with US music journalist Chad Radford about McLaren and his creative legacy. Our chat will be followed by a q&a session.

I’ve already signed a bunch of personalised bookplates for those purchasing copies directly from A Cappella.

Look forward to digitally seeing you there – more details from A Cappella.

The Life & Times of Malcolm McLaren is available to buy in the US from next week from all good booksellers as well as amazon.com.

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Match held under Stars and Stripes: When Malcolm McLaren was arrested for burning the US flag in Grosvenor Square in 1966

Aug 26th, 2020

//From The Times, July 29, 1966. Paul Gorman Archive. No reproduction without permission//

The late Malcolm McLaren made his first national media appearance in a 250-word item on the Law Report page of The Times in the summer of 1966.

This is an extract from my biography The Life & Times of Malcolm McLaren:

In 1966 while he was attending a painting course at Chelsea College of Art, Malcolm McLaren – who had been forced to take his step-father’s surname Edwards a few years earlier – came under the influence of Stan, a fellow student whose last name is lost to memory.

“Stan was a Trotskyist who played a mean jazz saxophone and politicised Malcolm,” says Fred Vermorel, a friend of McLaren’s who had been at Harrow art school with him a couple of years previously.

For McLaren, radical politics opened up a world of possibilities when entwined with his investigations into art. Encouraged and initially accompanied by Stan, McLaren began attending rallies and demonstrations protesting on behalf of the causes célèbres of the day: against the war in Vietnam and South Africa’s apartheid regime.

Long gone were the polite CND parades peopled by earnest chaplains and fresh-faced Home Counties youth in duffel coats chanting Kumbaya. Taking their cue from the US uprisings such as that among the African American community on Chicago’s West Side, the British protestors of 1966 brought activism to new heights in direct confrontation with the authorities. A turning point was the July central London rally calling for the British government to disassociate itself from US military policy in south-east Asia.

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