Paul Gorman is…

‘This country is run by a group of Fascists’: When Malcolm McLaren met Sweet Gene Vincent backstage at The Marquee

Apr 27th, 2015

GV53_1Small copy Let It Rock - Gene Vincent AnAn copyb+b-ygwu3 copy

//Clockwise from top left: Gene Vincent with one of The Houseshakers, Magnet Club, Chelmsford, UK, February 1971. Photo: http://gene.vincent.fanclub.voila.net; Let It Rock assistant in Gene Vincent and the Blue Caps top, Wembley Stadium, August 5, 1972. Photo: Masayoshi Sukita; Vincent’s quote as featured on the Sex t-shirt You’re Gonna Wake Up, 1974//

‘Gene Vincent for me was the embodiment of rock’n’roll’

Malcolm McLaren 1997

On September 22 1971, Gene Vincent was a mid-week booking to play a “rock revival” night at central London club The Marquee.

Times were tough; at just 36, the soft-spoken American rocker was apparently way past his heyday and beset by severe health problems brought on by the combination of alcoholism and addiction to prescription drugs taken to dull the constant pain in his left leg. This was the result of a crippling motorbike accident in his youth and the lingering effects of having been in the 1960 car-crash which killed Eddie Cochran.

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Memories of Zanzibar and the nights Iggy Pop and Johnny Thunders left their mark on Fulham

May 10th, 2013

//Signed bar menu. Courtesy: Jonathan Ross//

//Signed back cover of So Alone, Johnny Thunders, Real Records,1978. Courtesy: Jonathan Ross//

As demonstrated by my recent post, the west London house of collector/gallerist Jonathan Ross became a hive for the art/boho/punk crowd flooding the capital in the  70s.

Among the visitors were Johnny Thunders and Iggy Pop, who both left their marks in different ways.

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Talking about You’re Gonna Wake Up

Jan 30th, 2012
Talking about the You're Gonna Wake Up t-shirt at Saint Martin's Jan 2012

Photo: Andrew Bunney.

Earlier this month I gave a talk to foundation year art and design students at Saint Martin’s as part of a brief to deliver work based on their personal opinions and beliefs.

The subject was the 1974 t-shirt You’re Gonna Wake Up One Of These Days And Know Which Side Of The Bed You’ve Been Lying On!.

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Photography: Kings Road summer 1976

Mar 17th, 2011

//The Roebuck, 354 Kings Road, 1976.//

Thanks to Neal Purvis for alerting me to these captivating photographs taken in London in the hot summer of 1976 by German holidaymaker Klaus Hiltscher.

As Neal points out, Hiltscher captures the mood of the city in that specific period; I don’t believe my recall is playing tricks on me when I write that every day – from May through to September – was glorious in terms of the weather, and more often than not eventful in a variety of ways.

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Blessed & Blasted: Roots of the Anarchy Shirt part 2

Mar 2nd, 2011

Two “manifesto” designs which emanated from 430 King’s Road – the You’re Gonna Wake Up t-shirt and the Anarchy Shirt – share a reference to “The Black Hand Gang”.

I had long assumed that both referred to Spanish anarchists La Mano Negra, since the group’s name was listed with that of their fellow countryman and revolutionary Buenaventura Durruti.

But on the t-shirt, the absence of an “and” or connecting device had me pondering the possibility this was another Black Hand Gang; maybe the secret society dedicated to Serbian unity (linked to one of the events which triggered the First World War, the assassination of Franz Ferdinand on June 28, 1914)?

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Blessed & Blasted: Roots of the Anarchy Shirt part 1

Mar 1st, 2011

//Comic Strip, Point-Blank!, 1971. Derek Harris Collection.//

My investigation into the multifarious strands which fed into the creation of the 1974 t-shirt You’re Gonna Wake Up has, in turn, ignited a convincing set of new theories about the genesis of another “manifesto” design, Malcolm McLaren and Vivienne Westwood’s so-called Anarchy Shirt.

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Blessed & Blasted: BLAST 1. 06.1914

Feb 1st, 2011

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.

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