From the Office of Malcolm McLaren

 

I. 

 

Whilst rummaging through a box of what I call treasures and others label junk, I came across some stolen stationery from Malcolm McLaren's first floor office at 25 Denmark Street ...

 

This included a few sheets of headed paper with the names of the two limited companies which McLaren traded under post-Glitterbest [1]; Tour D'Eiffel Productions and Moulin Rouge.     

 

The latter incorporates the figure of a can-can dancer into its logo, whilst the former includes a comic character who appears to have been taken from a saucy postcard. 

 

Both speak of McLaren's Francophilia, or, more precisely, his long fascination with the French capital; something I've discussed in an earlier post published on Torpedo the Ark [2]. And they also tell us something of his playful spirit and joie de vivre.  

 

 

II. 

 

According to biographer Paul Gorman, McLaren was working out of the office on Tin Pan Alley from the early spring of 1980 until moving full-time to LA in 1985 [3]. 

 

This was an incredibly creative period in which McLaren not only managed Bow Wow Wow, oversaw Worlds End and Nostalgia of Mud, but developed his own solo career as a recording artist - releasing Duck Rock in 1983 and Fans the following year.

 

I first went to the office on 30 March, 1983, having been invited to call up by Nick Egan [4] the day before (I was attempting to arrange a six-week work attachment as part of a degree course on critical theory, art and media):

 

 

Finally met Carrolle [5]: she looked great dressed in a McLaren-Westwood outfit with a big death or glory belt buckle holding things together; reddish-purple hair; multiple earrings. Very friendly; an East End girl. 

      Malcolm wasn't there, but the two black Americans hanging around were, apparently, the World's Famous Supreme Team [6] - so that was kind of amusing.

      Admired the large 'Zulus on a Time Bomb' [7] poster on the wall - next to a map of the world and some old movie posters, including one for the Elvis Presley film Love Me Tender [8].   

      Nick Egan arrived - he also looked great; very tall, slim, punky blonde hair, wearing striped trousers, a big jumper and a Buffalo-style sheepskin coat. He introduced me to a photographer, Neil Matthews, and gave me some names and numbers to call. This included Lee Ellen, the press officer at Charisma Records, who he was sure could find me something to do (unfortunately, he and Malcolm couldn't help directly, as they were going to be in New York).

      Even though Malcolm wasn't there in person - he had something wrong with his ear - it was clear everything revolved around him; Malcolm says ... Malcolm wants ... Malcolm needs, etc. That's understandable, as he's the star of the show, but it does reduce everyone else to the status of a satellite. 

      Left the office feeling happy. Went for a coffee on Old Compton Street. [9]   

 

Fourteen months later, however, and everything was rapidly coming to an end; the roof had fallen in at Charisma Records - literally and metaphorically, Tony Stratton-Smith having sold the company to Richard Branson - and McLaren had relocated to Hollywood, leaving me and Carrolle to close the office at 25 Denmark Street once last time ...

Carrolle starts her new job tomorrow. I went over to help her shut up shop so to speak; took us several hours to take down shelves and pack everything away - books, posters, papers ... etc.

      Although Carrolle was upset, she laughed when she heard from Malcolm on the phone, complaining about an old biddy who had been appointed as his secretary at Columbia Pictures and who was driving him up the wall. Whilst I'm sure Malcolm will have fun in LA, I suspect he'll miss London. In fact, it wouldn't surprise me if he returned sooner rather than later. The latter might be a muddy hole, as he says, but he's very much a Londoner at heart [10].

      Carrolle let me have the large map of the world off the wall as a souvenir. I also grabbed a copy of the Bow Wow Wow single 'Louis Quatorze' that was lying around. Left the office feeling sad: in many ways it really is the end of an era. [11]    

Notes

 

[1] Glitterbest - the Sex Pistols era management, publishing and production company founded by McLaren and his lawyer, Stephen Fisher, as co-director - went into receivership in February 1979, after Johnny Rotten successfully took legal action against the company.

[2] See 'Notes on Malcolm McLaren's Paris' (21 May 2020): click here. 

 

[3] See Paul Gorman, The Life and Times of Malcolm McLaren, (Constable, 2020), p. 451.

      Whilst Gorman mentions that McLaren was trading from 25 Denmark Street as Moulin Rouge Ltd, he says nothing of Tour D'Eiffel Productions Ltd. It would be interesting to know which company was registered first and how they differed (if they differed at all).    

 

[4] Nick Egan is a visual design artist and film director who collaborated with McLaren on many projects during the period we are discussing here. Probably he came up with the letterhead designs shown here.        

 

[5] Carrolle was Malcolm's PA and office manager at 25 Denmark Street. We had corrresponded prior to this first meeting.

 

[6] The World's Famous Supreme Team was an American hip hop duo consisting of Sedivine the Mastermind and Just Allah the Superstar. They found international fame when McLaren enlisted them for his 1982 single 'Buffalo Gals' and then featured samples from their radio show on Duck Rock (1983).

 

[7] 'Zulus on a Time Bomb' was the B-side of McLaren's second single 'Soweto', released in February 1983 from the album Duck Rock (Charisma Records, 1983), written by Trevor Horn and Malcolm McLaren.

 

[8] Love Me Tender was Elvis's first film; dir. Robert D. Webb (1956), starring Richard Egan and Debra Paget. It was named after the smash hit single of the same title (which Presley performs in the film, along with three other songs). 

 

[9] Entry from the Von Hell Diaries dated Wednesday 30 March 1983. 

   

[10] Indeed, even McLaren's vision of Paris was one shaped by London. As he says in the song 'Walking with Satie': "I first saw Paris in Soho when I was thirteen". This track can be found on the 1994 album entitled Paris. 

      McLaren would also explain to Louise Neri that he was fascinated by the ways in which England influenced French culture and history. See Paul Gorman, The Life and Times of Malcolm McLaren, p. 433. 

 

[11] Entry from the Von Hell Diaries dated Monday 13 May 1985.

 

 

I Forgot More Than You'll Ever Know About Her: She Sherriff (the First Buffalo Gal)

Pip Gillard - aka She Sherriff (1981)

Photo by Janette Beckman / Getty Images

 

 

I. 

 

This year marks the 40th anniversary of the release of Malcolm McLaren's Buffalo Gals - a track which was as seminal for a generation of duck rockers and hip hoppers as Anarchy in the UK had been for the generation of punk rockers who preceded them.  

 

However, I'd like to speak here of someone who anticipates the era of scratchin' and square dancing and can justifiably lay claim to being the first buffalo gal: Pip Gillard, who some readers may vaguely (perhaps fondly) remember as She Sherriff ...

 

 

II. 

 

By the beginning of 1982, Malcolm was bored to death managing Bow Wow Wow: we might say that he didn't want Candy, but was, rather, nostalgic for mud; i.e. interested in down and dirty characters, rather than those who are so fine they can't be beat; hobos and hillbillies, rather than heroes and hearthrobs ...  

 

For McLaren, the term mud implied more than merely low-life experience or primitive culture. It was a glorious synonym for authenticity, something that he has always striven for in his work; the true look of music and the real sound of fashion. 

 

McLaren now located this authenticity in the folk music and folk dance of peoples around the word - particularly the sounds and rhythms that came out of Africa, a continent which he romanticised like many European artists before him, as a place of magical paganism and noble savagery. 

 

He identified something of the same jungle spirit in rock 'n' roll; at least in the very early days, before Elvis joined the US Army. And, more surprisingly perhaps, he was excited by what he discovered in them thar hills of the Appalachian Mountains, where people still danced barefoot to the sound of a fiddle and swigged moonshine straight from the jug.

 

If only, mused McLaren, he could find a new Skeeter Davis capable of singing country style with a pop sensibility ... And so, step forward Pip Gillard, who would be signed to Charisma Records [1] under the name of She Sherriff and release her first (and last) single on the label in 1982: a cover version of the country classic I Forgot More Than You'll Ever Know (About Him).           

 

Unfortunately, McLaren's first attempt to produce a more authentic sound by reinventing "the big-selling but middle-aged country-and-western genre for a young audience" [2], was not a huge success. For despite "a great deal of media interest, promo photos by The Face photographer Janette Beckman and a Charisma-funded video, She Sherriff failed to deliver on the promise" [3].

 

The single didn't chart and She Sherriff was swiftly dropped by Charisma. If not exactly run out of town, then she was also relegated to that dark corner of popular music history reserved for those who don't even become one hit wonders [4].    

 

 

III. 

 

I suppose, looking back, the problem was not only a poor choice of song, but the fact that for all the stylishness of her proto-buffalo gal image and the mud applied to her limbs, Pip Gillard just didn't convince or really look the part; she was just too fresh-faced - or too pale-faced, if you like. 

 

And posing her with a rocking horse on the record sleeve - was that your idea Nick? - served only to reinforce the idea that this pretty young thing with a red ribbon in her hair would never be able to wrestle a steer, or ride a bucking bronco.     

 

 

 

 

Notes

 

[1] Tony Stratton-Smith's small independent record label, Charisma, was founded in 1969 and became home to Genesis and other prog-rock favourites. In 1981, the managing director, Steve Weltman, newly arrived from RCA, was keen to shake things up and so signed McLaren to make his own album (for which he was given an initial advance of £45,000) and advise on new acts and musical trends in an unofficial capacity.

  

[2] Paul Gorman, The Life and Times of Malcolm McLaren, (Constable, 2020), p. 503. 

 

[3] Ibid.

 

[4] Note that Pip Gillard did release another single - 'Why Can't You Love Me?' - under her own name, in 1984 on +1 Records. She has also released a track in Japan, as Pippa Gee, called 'Every Time You Touch Me' (Sony, 1983): click here. The Japanese version of this song - 'Suteki My Boy' - was used in a drink commercial.  

 

Play: She Sherriff, 'I Forgot More Than You'll Ever Know About Him', (Charisma Records, 1982): click here. 

Play: Skeeter Davis, performing 'I Forgot More Than You'll Ever Know' on the Pet Milk Grand Ole Opry Show in 1961: click here. This song, written by Cecil Null, had been a number 1 country hit for Skeeter and Betty Jack Davis (known as the Davis Sisters) in 1953.

For a related post to this one on Buffalo Gals, click here. 

 

And, finally, for a post in which I discuss another track from McLaren's Duck Rock album - 'Double Dutch' - from the inside perspective of someone who worked in the press office at Charisma Records at the time, click here.