In Memory of Two Dead Artists: Malcolm McLaren and Pablo Picasso

Malcolm admiring Picasso's Woman with Yellow Hair (1931)

at the Guggenheim (c. 1984) [1]

 

 

Doubtless many well-known people have died on April 8th, but the only two who really interest me are Malcolm McLaren and Pablo Picasso; the former departing this life in 2010, aged 64, and the latter in 1973, aged 91.

 

McLaren had a tremendous knowledge of modern art and admired many painters, but I seem to remember him having a genuine penchant for Picasso; he and Vivienne Westwood famously using Picasso's Weeping Woman (1937) on a toga dress in their Nostalgia of Mud / Buffalo collection (A/W 1982-83).

 

I was surprised, therefore, when I discovered that his response upon first hearing of the Spanish artist's death was simply to say 'Oh good' [2].   

Nevertheless, when asked to pose for an official publicity shot at the Guggenheim ten years later, it was besides a Picasso that Malcolm chose to stand - not a work by Rothko, Warhol, or Francis Bacon ... 

 

Whether he had a particular liking for this 1931 portrait of Marie-Thérèse Walter, I don't know. But I find it hard to believe that the picture was chosen purely at random.   

 

 

Notes

 

[1] Unfortunately, I don't know the name of the photographer who took this picture, which was used as a publicity shot by Charisma Records, to whom McLaren was signed in the early-mid '80s.*   

 

[2] See Paul Gorman, The Life and Times of Malcolm McLaren (Constable, 2020), p. 185. 

      Roberta Bayley recalls that it was the American fashion entrepreneur, designer, and journalist Gene Krell who broke the news of Picasso's death to McLaren. 

 

 

* Update: Paul Gorman kindly informs me the image is from S8/E9 of ITV's The South Bank Show on McLaren, which aired on 2 December 1984. For a post in which I reflect on this show, click here.   

 

   

Why Johnny's Rottenness is the Third Thing

Messrs. Rotten, Dury & Hell 

Photo credits: Chris Morphet / Gie Knaeps / Roberta Bayley

 

 

There's a little poem by D. H. Lawrence which opens:

Water is H2O, hydrogen two parts, oxygen one, 

but there is also a third thing, that makes it water 

and nobody knows what it is. [1]

 

I'm not sure that a molecular physicist would agree with that, but I'm quite happy as a philosopher to accept that's the case; that whilst the chemical formula for water, H2O, might tell us that each of its molecules contains two hydrogen and one oxygen atom, that's not telling us much and certainly isn't telling us everything. 

 

When it comes to water, in whatever state we encounter it - as a running liquid, a frozen solid, or a steamy vapour - there is always something magical and mysterious; it's thingness is greater than the sum of its material parts.    

 

 

II.

 

I am reminded of this whenever I hear it suggested that Johnny Rotten's style and stage persona was simply constructed from elements of Ian Dury and Richard Hell [2].

 

Obviously, there is some truth in this. But there is also a third thing, that makes Rotten unique and, in my view, so much greater than his influences and inspirations. 

 

And nobody knows what it is ...

 

 

Notes

 

[1] D. H. Lawrence, 'The third thing', The Poems, Vol. I, ed. Christopher Pollnitz, (Cambridge University Press, 2013), p. 447.  

 

[2] Even in 2019 Marky Ramone was still claiming that the Sex Pistols were mere imitators and that Rotten had stolen Richard Hell's entire look and act: click here. But, actually, it was Malcolm who was captivated by Richard Hell and the whole New York punk scene, far more than Rotten ever was, as Paul Gorman indicates in his biography The Life & Times of Malcolm McLaren (Constable, 2020); see chapter 16, pp. 241-42. 

      Readers might also find my post on the difference between 'Pretty Vacant' (by the Sex Pistols) and 'Blank Generation' (by Richard Hell and the Voidoids) of interest: click here.    

      As for Ian Dury, it's regrettable that he seemed to resent Rotten and claimed that the latter had stolen his look - right down to the razor blade and safety pin earring - and copied his hunched over style of holding the microphone on stage. He might have been a wee bit more grateful for the fact that it was punk that enabled him to finally achieve success and a number of top ten singles.