Tag Archives: photography

2013 ➤ A ‘blistering’ picture hoard from punk’s formative years

The Clash,book, exhibition,Photography, Sheila Rock

The Clash in 1976. Photographed by Sheila Rock

❚ FOR THOSE WHO SURVIVED the mid-70s, punk was the anti-fashion UK phenomenon that transformed contemporary culture. Now “a blistering 1976-80 photo-hoard” of mostly unseen pictures has been published as a 272-page photobook. Punk+ by Sheila Rock – an American in London – chronicles both designer and street styles that impacted on fashion, society and politics, including Vivienne Westwood’s shop SEX as well as BOY, Robot and Acme Attractions. The collection, which had been stored in a box in Rock’s garden shed, includes formative images of The Clash, Chrissie Hynde, Paul Weller, The Jam, Generation X, Siouxsie & the Banshees and The Sex Pistols.

Paul Simonon of The Clash says: “This book is a great photographic record of a major shift in British street fashion.”

Sheila Rock arrived in London in 1970 to join the David Bowie circle, and it was her friend and Patti Smith guitarist, Lenny Kaye, who took her to a gig by the then-unknown Clash. “That was the first time I was introduced to the punk scene,” she says. “I decided to take my Nikon camera with me and my photography career began.” Her photographs of showbiz performers and musicians have been published in titles from Vogue to The Sunday Times and can also be found in London’s National Portrait Gallery. This month her pix will also be showing in the Punk: Chaos to Couture exhibition at The Metropolitan Museum of Art in New York.

Mick Jones,,book, exhibition,Photography, Sheila Rock

At the Brown’s party tonight: Sheila Rock with Clash guitarist and vocalist Mick Jones. Photograph © by Beki Cowey

Rock’s career took off in 1980 in The Face, the 80s style bible published by Nick Logan, who describes Rock as “self-effacing but sweetly persuasive” in the preface to PUNK+. He notes how she refined her images to capture a style that portrayed what her subjects wanted to personify. She often achieved this better than they understood themselves.

Tonight the book was launched with a two-week exhibition of Rock’s photographs at Brown’s high fashion store in London, and a further show runs for a month from May 28 at Rough Trade East, where there’s also a book signing.

Mojo Magazine reports: “Sheila Rock’s PUNK+ book presents a blistering 1976-80 photo-hoard. The striking and fascinating photo-book collects almost 200 images of groups including The Subway Sect, Eater, Buzzcocks, The Clash and the Sex Pistols, plus documentation of the rapidly changing fashions of the late 70s. She estimates 90 per cent of the shots have never been seen, and that 85 per cent were self-motivated experiments rather than work commissions. Those enthralled by shifts in vintage youth styles will also delight in the images of unselfconscious punks, such as the young Jam fans who mixed the Weller look with the safety-pin aesthetic.”

➢ PUNK+ is published by First Third Books Ltd (London and Paris): 272 pages, size 20 x 27cm, limited edition of 300 copies signed and numbered, £99; standard edition of 1,700 copies, £49. The book includes illuminating conversations with Chrissie Hynde, Tony James, Don Letts, Jeanette Lee, Glen Matlock, Chris Salewicz, Jon Savage, Steven Severin, Paul Simonon, Jah Wobble and more.

➢ Sheila Rock celebrates punk at Brown’s Men’s dept,
London W1K 5QG, April 25–May 7, Vogue preview

➢ Another exhibition of photos by Sheila Rock runs May 28–June 30 at Rough Trade East, 91 Brick Lane, London E1 6QL. On May 29 at 7pm Sheila will be joined by Don Letts and Jeanette Lee plus special guests for a Q&A event and afterwards a signing session for her book Punk+.

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2013 ➤ Duran’s Rhodes exhumes a 90s art-rock project that anticipated the downside of the internet

Duran Duran, Nick Rhodes, TV Mania, albums, photography, Bored with Prozac,

Never ask an artist “Why?” An inner Rhodes and another Cuccurullo, step up to brand their new project, TV Mania

➢ Nick Rhodes will exhibit a collection of original photographic works for sale at The Vinyl Factory Soho, London W1F 7BE, March 8-April 5. The collection, entitled Bei Incubi – translated as Beautiful Nightmares – will feature 20 Polaroids, and more than 30 original photographs and prints that have all been taken and signed by Nick.

❚ THE PHOTO SHOW celebrates the release on Monday of Nick Rhodes’s new experimental electronic album Bored with Prozac and the Internet? in a collaboration with former Duran Duran guitarist Warren Cuccurullo. Originally created in the mid-90s for the Broadway stage as the music to a “bizarre TV soap opera”, the tracks tell the tale of Cathy and Ray (named from the cathode ray tube) and their two children Sassy and Snoop, a fame-hungry family who give away their freedom to scientists in exchange for reality-show fame.

Bored was culled from a collection of tunes recorded when the band were between day jobs. Using samples from such sources as The Outer Limits and the British TV show Planet Fashion, TV Mania’s pastiche of cool beats and melodic hooks proved surprisingly prescient.

“It was innocently masquerading as an art-rock project, but there was a deep concept behind it all,” Cuccurullo says. “We were envisioning a world where a family would give up their day-to-day privacy and allow their existence to be televised to the masses, and this was two years before Truman showed and four years before Survivor. Now everyone is giving away their most intimate details online and on reality TV.”

“In 1996 the internet was still in its infancy,” Rhodes adds. “I was fascinated by communication and how things were becoming more instant and this was decades before all the sites we have now to communicate in different ways.”

A few months after Rhodes and Cuccurullo finished recording Bored with Prozac, a series called Big Brother hit the airwaves. “We looked at each other in absolute disbelief,” Rhodes says. “It was an idea that was in the ether at the time. We decided to lock it in the bottom drawer whilst we changed the story.”

➢ More details at TV Mania’s website

TAYLOR’s TALE FROM LOST SOUL TO HUMAN BEING

 John Taylor, Duran Duran, interview, books, video, In the Pleasure Groove,

John Taylor grilled for Google… Click on pic to run video in another window

❏ Also published today: John Taylor bassist and cofounder of Duran Duran can now be seen on video visiting Google Los Angeles last November to discuss his frank autobiography In the Pleasure Groove: Love, Death and Duran Duran. [Click on the pic to run video in another window]

Taylor tells his audience: “I have to fight to hold onto my memory these days, because there’s so much info coming at me… I started formulating an idea for the book, which is in three parts. There’s growing up in the 60s in the Midlands of England and becoming ‘John’… It’s a coming-of-age book, watching this little kid, an only child, and how he got into music. I had to find it for myself, at that time, 12-13-14, where the desire to remake my identity was so strong, and music in the UK had a lot of very strong personalities: David Bowie, Freddie Mercury, Rod Stewart, Bryan Ferry. And for a kid who was not really connecting with school, I started connecting with these guys.

“The second section is hysteria and that’s really about the first five years of the 80s, this wild ride Duran Duran took. Then the third part is about becoming an adult human being … some of the more profound highlights of the last 15 years: losing parents, gaining children, marriages, divorces, all of that sort of real-life stuff. But through the lens of an ex-popstar.”

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2012 ➤ Soho’s nightowls revisit the club that sifted the Artex monkeys from Bowie’s Heroes

Cultural observer Peter York: eager for the Sullivan autograph on the new edition

❚ THE 80s BLITZ KIDS turned out in force last night. As Kitten Kouturist Franceska Luther King remarks today: “an elegant crowd, older, but still the same spirit.” Those clubbing compulsives who defined the sounds and styles of Soho 30 years ago, swarmed into the tiny steaming Artex-lined cellars of the St Moritz restaurant, the fit all the tighter thanks to a fair few middle-aged paunches. For three months in 1980 this was the site of their milestone one-nighter which signalled the first faction to break away from the futurists at Steve Strange and Rusty Egan’s pioneering electro-diskow, The Blitz. In host Chris Sullivan’s words, this was “the more alert end of the Blitz crowd” – in other words, the hardcore fashionistas.

Initially St Moritz’s music evoked interwar Berlin cabaret but the effect of Charles Fox, the theatrical costumiers, staging its closing-down sale in Covent Garden injected a huge Hollywood movie wardrobe. Sullivan notes:  “You could be a gangster, a geisha, or Geronimo.” The New Romantics had been born – just like that!

“No single shop sale ever had such an influence on street fashion before or since,” Sullivan writes in the fabulous photo-book, We Can Be Heroes. This ribald account of the dawn of UK clubbing in the 80s, led by the eye-popping photographs of Graham Smith, was the reason for last night’s beano. Soul-music diehards Smith and Sullivan graduated from The Blitz to become two of the St Moritz deejays (along with Robert Elms and Steve Mahoney) and half a lifetime on they were hosting yet another launch party. The book’s revised and amended second edition of 2,500 copies is released this week through regular retail outlets. Copies of last year’s limited edition are still available from the fund-it-yourself publisher Unbound.

St Moritz 1980: Chris Sullivan and Michele Clapton – from Smith’s book We Can Be Heroes

Back in the day, the St Moritz posse distinguished themselves from The Blitz by playing retro lounge-lizard tunes from Lotte Lenya or Nat King Cole. In today’s arts pages of The Times Sullivan recaps how, in their efforts to avoid the present, he and his cohort helped create the future: “We decided to oppose Blitz futurism and turn the clock back with music from Marlene Dietrich, Monroe, Sinatra and soundtracks from A Clockwork Orange, Last Tango in Paris and Cabaret. It was an alarming success.”

Rob Milton: Shooting the Pump in the deejay booth

♫ Click to hear Shoot the Pump in a new window

Fashions in music moved apace. Within a year successive London club-nights at Hell, Le Kilt and Le Beat Route were stirring into the club mix not only familiar 70s soul but the edgy new urban sounds of North America.

Choosing the soundtrack last night at St Moritz were the were the astute ears of David Hawkes, Christos Tolera and Sullivan himself, plus Dirt Box co-founder Rob Milton, who raked the dancefloor early in the evening with the crazed beats of Shoot the Pump. This intoxicating debut single from 1981 was a state-of-the-art fusion of emergent street sounds – rap, hip-hop and funk with a hint of mutant disco – from the “playin’ brown rapper” and graffiti artist J Walter Negro & the Loose Jointz (on Zoo York Records via Island). J Walter is urging his crew of Zoo Yorkers to spray docile citizens with the water from a fire hydrant: “You make like a monkey with monkey wrench, cos you feel a little funky, got a thirst to quench.” In 1980–81, something similar was pumping the adrenalin in London.

CLICK ANY PIC TO LAUNCH CAROUSEL:

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➤ Another knees-up while Amazon discounts We Can Be Heroes second edition

The reviewers said: “A gorgeous history of 80s London clubland” (Alex Petredis, Guardian) … “fascinating and definitive” (Robert Spellman, Sunday Express)

Graham Smith,Chris Sullivan, books,photography, youth culture, We Can Be Heroes , Swinging 80s, clubbing❚ TOMORROW SEES ANOTHER launch party, this time at 1980’s breakaway New Romantics nightspot St Moritz in Soho to celebrate publication of the second (unlimited) edition of the 320-page coffee-table photobook that chronicles the creation of 80s clubbing through Graham Smith’s eye-witness photography, and racy commentary from Wag club host Chris Sullivan. Read the full background to the characters behind the book We Can Be Heroes at Shapersofthe80s. On sale for £35 from its publisher Unbound, or discounted to £25.50 at Amazon (an even cheaper pre-publication offer has finished).

➢ View Shapersofthe80s’ videos of Chris Sullivan telling his “Ribald tales of excess” from the Blitz era

➢ More 80s yarns on video from Robert Elms

➢ Catch-up list of links to all last year’s publicity shenanigans

Making up the rules of 80s clubbing: Robert Elms, Phil Dirtbox and Chris Sullivan at last year’s exhibition of Graham Smith’s nightlife pictures. Photograph by Shapersofthe80s

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➤ K West sign ‘possibly’ for sale in Bowie memorabilia show

Ziggy Stardust ,K West, Brian Ward,David Bowie,memorabilia ,Movie Poster Art Gallery,Paul Burston,Alex Hopkins

The long-lost K West sign in all its magical luminescence: the restored emblem of the Ziggy Stardust album sleeve is on display at MPAG, London. Captured in its mystic rays (above), writer Alex Hopkins of the quarterly Lifestyle magazine beigeuk.com with the always-on Paul Burston of Time Out London. (Nokia snap © Shapersofthe80s)

❚ AFTER ZIGGY’S 40TH ANNIVERSARY HULLABALOO comes a unique selling exhibition of Bowie graphic art and memorabilia from his golden years 1969–1981. On display this week in London for the first time in 30 years is the original K. West sign that featured in Brian Ward’s covershot for Bowie’s springboard 1972 album, The Rise and Fall of Ziggy Stardust and the Spiders From Mars. The record sleeve itself has long been as iconic a London image as Abbey Road’s zebra crossing. At last, the illuminated sign from 23 Heddon Street has been rescued by a music industry veteran and restored, and is on show at the Movie Poster Art Gallery, run by 80s Mud Club regular, Tim Maddison. He revealed to Shapersofthe80s that it may be for sale “at the right price”.

The exhibition highlights celebrated images created for Bowie by talents such as Brian Duffy, Edward Bell, Masayoshi Sukita, Guy Peellaert, Steve Shapiro and Eric Stephen Jacobs. Original posters and large-format promotional displays on Bowie in the 70s are hard to come by, let alone buy, so this show is a treat. At the preview, a 3-ft wide original RCA in-store display for Diamond Dogs was snapped up at £1,250. A fab Scary Monsters in-store stand was still for sale today at £950.

Bowie graphics: five of the images for sale this week

➢ David Bowie: Sound and Vision at the The Movie Poster Art Gallery, London (Nov 17–Dec 1)

➢ View more classic Bowie images for sale this week

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A MORE PAINTERLY TAKE ON BOWIE

❚ KNOWN AS THE MAN WHO changed the colour of Bowie’s left eye, painter George Underwood is showing his recently discovered 1975 oil painting of the Hunky Dory cover shoot [below] in London next month. He stumbled upon the 32 x 38-inch original while sorting through some old artworks and now it’s on sale for £16,000.

Bowie’s schoolfriend and former musician, Underwood as a painter adopted an imaginative style that refers to Bosch, Bruegel and mannerism. He is among an eclectic mix of ten contemporary artists selling direct through The Art for Art’s Sake Show at The Gallery in Cork Street next month. Rather more affordable Bowie mementoes are his limited edition giclée prints which include Width of a Circle (1969, £500), seen on the back cover of the UK David Bowie LP on Philips… Stardust Memories (1972, £350), a Ziggy era painting that was reproduced as a poster… The Man Who Fell to Earth (1975, £650), seen on the cover of the Pan Books film tie-in.

George Underwood , Hunky Dory,David Bowie,Cork Street, artwork

Rediscovered: George Underwood’s 1975 painting of the Hunky Dory cover

➢ The Art for Art’s Sake Show: the New Kids on the Block (Dec 3–8)

➢ At Underwood’s own online gallery, collectable enamel brooches of Ziggy Stardust cartoons

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