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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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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When David Bowie + Malcolm McLaren simultaneously seeded the 70s by appearing in the same issue of underground paper IT

Jul 31st, 2020

//Box advert for the Beckenham Arts Lab run by David Bowie and Mary Finnigan in IT #59, July 1969//

//News story about the Goldsmiths Arts Festival organised by Malcolm Edwards and his fellow student Niall Martin in IT #59//

Researching my archive during lockdown for a project has given me the opportunity to thoroughly assess individual publications, none more so than the 59th issue of underground paper IT, which hit the streets in early July 1969.

This particular edition features a couple of small items which provide clues as to the countercultural activities at the time of two Londoners who would go on to define pop culture in the 1970s: David Bowie and Malcolm McLaren.

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Rock’s Back Pages x 3: Guest on the podcast, McLaren bio extract about David Harrison’s tryout as Sex Pistols frontman and archival pieces by me on the Spice Girls (1996) and US alternative zines (1994)

Apr 14th, 2020

//In conversation with (from top left) RBP’s Mark Pringle, Jasper Murison-Bowie and Barney Hoskyns//

I’m the featured guest on this week’s podcast from the world’s premier music journalism site rocksbackpages.com.

I go way back with RBP founder and author Barney Hoskyns; he commissioned pieces from me when he was Mojo editor in the early 90s and we launched my music press book In Their Own Write, RBP and photographer Jill Furmanovsky’s rockarchive.com on the same night at a Shoreditch gallery nearly 20 years ago.

I had fun talking to Barney and his confreres Mark Pringle and Jasper Murison-Bowie. The chat ranged from my background in trade journalism to, of course, the new Malcolm McLaren biography. Listen to the podcast here.

//David Harrison in customised Sex t-shirt, 1975//

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Word In Your Attic: Around Malcolm McLaren in 10 objects

Apr 13th, 2020

Tomorrow night (April 14) I was supposed to be appearing at London’s regular event Word In Your Ear, the live successor of the much-missed The Word magazine founded by publishing titans Mark Ellen and David Hepworth.

//Smash Hits, January 6-19, 1983//

In the era of social distancing Mark and David have come up with the online Word In Your Attic, the results of which are posted on Youtube. For the episode to coincide with the publication of my Malcolm McLaren biography they asked me talk about 10 objects relating to McLaren from my archive.

//Mayoral campaign materials, 2000//

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We dressed up to mess up: Virtual book launch of the Malcolm McLaren biography

Apr 8th, 2020

//Clockwise from top left: @vieux.wave, @pippabrooks, @luxoramor, Nick Vivian, @ladyacss, @chrissalewicz//

//Clockwise from top left: @belmaczmayfair, mr + mrs @adamskiofficial, @joebrookks, @pippabrooks, @ourmanincairo, @mrsgorman//

We have to take our pleasures where we can during these grim times, and last night’s virtual book launch of my Malcolm McLaren biography provided a much-needed tonic.

The plan was to celebrate the publication with a party at the library bar of London’s hotel The Standard, with a relaxed congregation of friends and contributors and DJ sets by Pippa Brooks and Pam Hogg.

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‘Excellent… exhaustive… never dull’: First reviews of The Life & Times of Malcolm McLaren

Apr 5th, 2020

“With this book, Gorman convincingly moves away from the ossified image of McLaren as a great rock’n’roll swindler, a morally bankrupt punk Mephistopheles, and closer towards his art-school roots, his love of ideas”
Victoria Segal reviewing The Life & Times of Malcolm McLaren in the Sunday Times, April 5, 202

The first reviews of my Malcolm McLaren biography are carried today by Britain’s Sunday Times Culture section and in The New Review magazine of it’s broadsheet rival The Observer.

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‘Masterful and painstaking’: The Life & Times of Malcolm McLaren will be published on April 9

Mar 20th, 2020

“Within the slippery divides between disciplines and media – fashion, art, music, interiors, commerce – one finds Malcolm McLaren, roaming and creating.”
Lou Stoppard in her essay in The Life & Times Of Malcolm McLaren

Disruption to the publication of a book is extremely small beer at a time when the COVID-19 pandemic has set the world in disarray, so I’m sanguine about the postponement of several events and signings which were due to occur around the publication of my biography The Life & Times Of Malcolm McLaren.

//The back of the book jacket features this 1976 portrait by photographer Joe Stevens//

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