Paul Gorman is…

Anita Pallenberg: 1967 and all that

Jan 27th, 2011

//Anita Pallenberg + film-maker Harmony Korine, 2008. Photo: Eva Vermandel.//

A couple of years back I interviewed Anita Pallenberg – who celebrated her birthday yesterday – for Mojo magazine.

The subject was the scene in and around the King’s Road in 1967. Crisp and funny, Pallenberg was just as buzzed about the present;  visiting Karl Lagerfeld in Paris the next day, her interests in gardening and photography, the bargains to be found in charity shops and the notion of a collection based on the MA show from her studies at Saint Martins in the 90s.

A few months later, with her friend Anna Sui, Pallenberg participated in a rock & roll event I organised at the Port Eliot LitFest; after the show it was an honour to give her a vintage Vive Le Rock tee, which, of course, she wore with her trademark élan.

Here’s a refreshed and re-edited chance to appreciate this bewitching figure whose combination of innate style, fashion-savviness and earthy sexuality brought Continental sophistication to Swinging London and turned it on its head:

Gawky gamins and dolly-birds melted into insignificance in the presence of the impressive 21-year-old who arrived in London in 1965 having already studied graphic design in her native Rome, assisted Vogue photographer Gianni Penati and modelled in Paris.

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Just as the independent labels and self-published fanzines Paul Gorman chronicles built their own alternative economies outside the mainstream music industry, today's digital subcultures are experimenting with decentralised currencies that move value without banks or borders. Part of that wave has reached the world of sports and casino entertainment, where crypto-friendly wagering has found a particularly enthusiastic audience in Turkey under the name bitcoin bahis —a form of play that lets users stake and cash out with digital coins rather than conventional payment rails. Anyone tempted to try it should treat it strictly as entertainment, stake only money they can afford to lose, and first confirm the platform's licensing as well as the gambling rules in force in their own country.

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Blessed & Blasted: Angry Brigade Communique 8. 01.05.1971

Jan 27th, 2011

By the time this appeared in International Times, The Angry Brigade had bombed the Biba boutique in Kensington High Street, west London, on May Day, 1971.

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Underman Can

Jan 26th, 2011

These are items from the new range of garments using graphics, sleeve designs, song titles and photography relating to Can as part of Jun Takahashi’s Underman range.

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Bill Burroughs shoots London

Jan 25th, 2011


Maggs has issued a scratch catalogue of William Burroughs’ photographs of London 1972 – 1974.

These are hand-made prints produced a few years ago from the original negatives and are conservation-framed and glazed.

Here are some more pages from the catalogue:

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The Disneyland Memorial Orgy

Jan 25th, 2011

This framed Disneyland Memorial Orgy poster is available from Steven Sclaroff.

Read my report on how MAD magazine artist Wally Wood produced it in 1967 for Paul Krassner’s satirical publication The Realist – and how the element featuring Snow White and “the Sir Punks”  came to appear on a t-shirt sold at Seditionaries – here.


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When Charlie met Malcolm

Jan 25th, 2011

//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.”

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430 over six decades

Jan 25th, 2011

Blessed & Blasted: Rock In Opposition 12.03.1978

Jan 24th, 2011

//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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Blokes of Britain: Jah Wobble

Jan 24th, 2011

//Jah Wobble, 2009.//

NAME: Jah Wobble (real name: John Wardle)

RESIDES: Cheshire

OCCUPATION: Musician

It’s well documented that, in his teenage years, Jah Wobble was a member of the Four Johns, the gang of youths who gravitated to each other while at Kingsway College Of Further Education on the fringes of the City Of London in the mid-70s.

The other members included John Beverley, aka Sid Vicious, John Lydon – later Johnny Rotten of the Sex Pistols – and Lydon’s friend, John Gray.  Knocking around east and north London, the quartet followed football and voraciously consumed music from Bowie to Can to Hawkwind to Big Youth and beyond.

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Aphasic Disturbance at CHELSEA space

Jan 24th, 2011

//Layla Curtis: World Political detail, 2001.//

Aphasic Disturbance, the current show at CHELSEA space, is curator Stephen Bury’s response to  “Two types of language and two types of aphasic disturbance”, the 1956 essay by the linguist/literary theorist Roman Jakobson on manifestations of aphasia (the loss of power of expression through speech).

And Bury – now Andrew W. Mellon chief librarian of New York’s Frick Art Reference Library – uses artists’ books and multiples in the main from the collections he built when he was at Chelsea College of Art & Design’s library between 1978 and 2000.

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