What's in a Word: Punk

 'The cult is called punk; the music punk rock ...'

 

 

I. 

 

In a pre-Grundy television interview, Sex Pistol Johnny Rotten is asked by Maggie Norden:

 

"What about the word 'punk' - it means worthless, nasty - are you happy with this word?"

 

A crucial question to which he replies: 

 

"No, the press gave us it. It's their problem, not ours. We never called ourselves punk." [1]

 

It's a somewhat surprising response which every idiot who proclaims that they'll be a punk until they die might care to consider ...

 

 

II.  

 

When Rotten refers to the press, he was more than likely thinking of posho freelance journalist and photographer Caroline Coon, who, having risen to prominence as part of the British Underground scene in the 1960s, attached herself to the new youth movement spearheaded by the Sex Pistols in the mid-70s [2].

For it was Coon, writing for the influential music paper Melody Maker, who famously described this anarchic subculture held together with safety pins and bondage straps as punk - a name by which, for better or for worse, it has been known ever since (despite Rotten's disavowing of the term) [3].

 

Personally, I always think it a pity when something as beautifully fluid, ambiguous, and messed up as the scene that grew out of at 430 King's Road is identified and codified; to name is to know and to know is to kill. Calling the Sex Pistols a punk band was to suggest they were not something radically new or different; that they could, in fact, be compared with other groups and to prevailing rock trends.

 

That's undoubtedly true of the Clash - the band with whom Coon became most closely associated - but it's absolutely not true of the Sex Pistols as conceived by McLaren and Westwood. And not true either of Alan Jones, Jordan, and all those others who either worked at or hung around 430, King's Road. 

 

Assuming that a collective term of reference is at least provisionally needed, what should we call this assemblage of individuals ?   

 

Perhaps the best answer to this question was supplied by cultural critic Peter York, who, in October '76, referred to the "Sex shop people" and characterised them as the "extreme ideological wing of the Peculiars" [4]. 

 

That, I think, is spot on: and very much in line with how I think of the Sex Pistols and those closely associated with them - as more funny peculiar than punk; i.e., as unusual, strange, abnormal, deviant, perverse, extraordinary, singular, exceptional, outlandish ... 

 

The photo below perfectly captures just how queer things were before being named and tamed by the media and the music business and before an army of identikit punks emerged.         

 

The Sex shop people: (L-R) Steve Jones, Danielle, Alan Jones, 

Chrissie Hynde, Jordan, and Vivienne Westwood 

Photo by David Dagley (Forum, June 1976)

 

Notes

 

[1] The full six minute interview with McLaren and Rotten - including a pre-recorded performance of 'Anarchy in the UK' - was on the tea-time current affairs show Nationwide (BBC1 12 Nov 1976). It can be found in the BBC Archive on Facebook: click here. A shorter version - without the band's performance - can also be found on YouTube: click here.   

 

[2] Acting on the recommendation of Alan Jones, then working as an assistant alongside Jordan at McLaren and Westwood's shop on the King's Road, Coon attended an early Sex Pistols gig and, like many others, she was captivated by what she saw happening both on and off stage and immediately began to document this new scene.  

 

[3] See Coon's Melody Maker article entitled 'Punk Rock: Rebels Against the System' (7 August 1976).       

      Although the word punk had already been used fairly widely for several years in connection to rock music in the US - and, indeed, has a much longer and more complex history than that: click here - it was Coon's piece that played a crucial role in introducing a slightly revised version of the term to a British audience and helping to identify a novel (but not radically new) genre of music.

      Coon obviously had a gift for this kind of thing as, interestingly, she was also the person who named the hardcore group of friends who followed the Sex Pistols as the 'Bromley Contingent'.

 

[4] Peter York, quoted by Paul Gorman in The Life and Times of Malcolm McLaren (Constable, 2020), p. 329. York was writing in an article entitled 'Them', in Harpers & Queen (October, 1976).

 

 

Fuck Everyone and Be a Disgrace! In Memory of the Dada Baroness: Elsa von Freytag-Loringhoven

Baroness Elsa von Freytag-Loringhoven 

(1874 -1927)

 

"Every artist is crazy with respect to ordinary life ..."

 

I. 

 

The relationship between dada and punk has long been acknowledged; Greil Marcus, for example, famously traces out a secret history of twentieth-century art in which he discerns a direct lineage from the Cabaret Voltaire in 1916 to the Sex Pistols in 1976 [1].

 

And it's arguable that the German-born artist and poet Elsa von Freytag-Loringhoven who, via her radical performance of self during the years 1913 to 1923 came to embody dada, might also be described as a proto-punk.

 

For not only did she look and act the part, but she even coined the term phalluspistol in her profane and playfully obscene poetry [2], anticipating the name Malcolm McLaren would come up with for the group operating out of 430 King's Road. 

 

I'm not suggesting that McLaren stole Elsa's idea in the same way as Marcel Duchamp allegedly stole credit for his most notorious readymade from her (see below), but it's an interesting coincidence.

 

II.

Apart from her writings, Baroness Elsa was famous for two things: (i) her numerous love affairs and (ii) her utilisation of found objects - including actual rubbish picked up from the streets - into her work and wardrobe (she once wore a bra, for example, made from old tins cans). 

 

Her aim, she declared, was to sleep with everyone and become a living collage, thereby dissolving the boundary between life and art whilst, at the same time, challenging bourgeois notions of femininity and cultural value. If this made her an embarrassment to her friends and family and a disgrace in the eyes of society, well, she didn't care (again, her attitude and behaviour is now what some would term punk).

 

Her colourful and unconventional life took her to New York in 1913 and it was here that she made a name for herself as a model, artist, and poet [3]. To help make ends meet, Elsa also worked in a cigarette factory like Bizet's Carmen. 

 

Whilst Man Ray once filmed Elsa shaving her pubic hair, it was Marcel Duchamp for whom she had the hots and, in a public performance c. 1915, she recited a love poem whilst rubbing a newspaper article about the latter over her naked body, making her romantic interest explicit. Several years later she would make an assemblage entitled Portrait of Marcel Duchamp (1920-22), which was only rediscovered in 1966. 

It was her connection with Duchamp that would lead to a more recent controversy. For there is now speculation that several artworks attributed to other artists of the period can either be partially attributed to Elsa, or that she should in fact be acknowledged as their sole creator - and this includes one of the most famous and important artworks of the twentieth-century ...

 

 

III. 

 

In April 1917, a porcelain urinal signed with the name R. Mutt was submitted by Duchamp for the inaugural exhibition of the Society of Independent Artists in New York. Duchamp entitled this readymade work Fountain - and the rest, as they say, is avant-garde art history [4].
      

But some have suggested that the work was, in fact, the idea of Elsa von Freytag-Loringhoven who had submitted it to her friend Duchamp and there is, to be fair, circumstantial evidence to support this claim. Most art historians, however, maintain that Duchamp was solely responsible for this landmark work in twentieth-century art and he remains credited for it [5].   

   

Ultimately, we'll probably never know the truth of this for sure. 

 

 

IV.  

In 1923, the Baroness returned to Berlin, where she lived in poverty and suffered mental health problems.

 

Things improved after she moved to Paris, but, sadly, she died on 14 December 1927 from gas inhalation (whether this was or was not intentional is unclear). 

 

She's buried in Père Lachaise Cemetery, Paris, so in good company.

 

There have since been several biographies published and every now and then there's an attempt to bring the name Elsa von Freytag-Loringhoven to wider public attention [6], though one suspects that she'll always remain a marginal figure of interest only to those in the know.

 

 

Notes

 

[1] Greil Marcus, Lipstick Traces: A Secret History of the Twentieth Century (Harvard University Press, 1989). 

 

[2] See the poem 'Cosmic Chemistry' in Body Sweats: The Uncensored Writings of Elsa von Freytag-Loringhoven, ed. Irene Gammel and Suzanne Zelazo (The MIT Press, 2016). Click here to read on allpoetry.com.

 

[3] Although most of her poems remained unpublished in her lifetime, some were featured in The Little Review alongside extracts from Joyce's Ulysses.

 

[4] The original piece is now lost, but, along with numerous replicas made with Duchamp's permission in the 1950s and '60s, we still have the famous photograph of it taken at Alfred Stieglitz's sudio and published in The Blind Man (a two-issue journal featuring work by dada artists and edited by Duchamp in 1917).

 

[5] See, for example, the letter from Dawn Adès (Professor emerita of art history and theory, University of Essex) addressing this controversy in The Guardian (15 June 2022): click here.  

[6] See for example Irene Gammel's biography, Baroness Elsa: Gender, Dada and Everyday Modernity (The MIT Press, 2003). Gammel makes a strong case for Elsa's artistic brilliance and punk spirit. 

 

 

In Anticipation of and Reflections on a Post-Punk Salon (with Dorothy Max Prior and Richard Cabut)

 

 

In Anticipation of a Post-Punk Salon 

 

This looks like, sounds like, good fun, don't you think? 

 

Regrettably, I don't know Dorothy Max Prior and haven't read her book - 69 Exhibition Road: Twelve True-Life Tales from the Fag End of Punk, Porn & Performance (MIT Press, 2023) - which, according to the publishers' blurb, is a 'vibrant, wry, and engaging account of life as an adventurous, queer young person in late 1970s London discovering themselves as an artist, and an individual'. 

 

However, I do (sort of) know Richard Cabut and have read his book - Looking for a Kiss (Sweat Drenched Press, 2020); a true story based on lies (and vice versa), set in post-punk London and featuring a couple adrift in a world of sex, drugs, and the im/possibility of dreams in a time of nihilism. 

 

Cabut - then writing under the name of Richard North - was the man who coined the term positive punk, about which I have written previously on Torpedo the Ark: click here. 

 

I completely agree with him that, initially, punk was a defiant and stylish response to the boredom of everyday life. However, whereas he also sees punk as a quest for truth and meaning, I see it as a playful (but nonetheless violent) deconstruction of these and related ideals. 

 

Still, there's no reason why such differences should prevent us being on friendly terms ... And so I look forward to meeting him this evening at this post-punk salon; as I do Ms Prior, who is 100% correct to say that punk - as conceived by McLaren and Westwood - was primarily conceptual and performance art, rather than "just another chapter in the history of rock 'n' roll" [1]. 

 

 

Reflections on a Post-Punk Salon 

 

Well, as anticipated, that was fun! 

 

Sean McLusky's got himself a nice new space just off Tin Pan Alley and this event was far more enjoyable than the Crass book launch at the Horse Hospital last month. I may not be a fan of positive punk, but it's surely preferable to militant asceticism and I would rather spend an evening with Cabut and Prior than Rimbaud and Vaucher [2]. 

 

And that's true even though Cabut's fictional self (Robert) clearly misunderstands that punk nihilism was, in fact, a joyous and active negation of the negative. He, Robert, finds the chaos of punk as lived experience almost unbearable and is petrified at the thought of the ruins [3]. The fact that Cabut chose to echo this fear on the night was disappointing. 

 

As for Ms Prior, she seemed very nice and she has certainly had an interesting life and career. Unfortunately, she remains politically naive in her sex radicalism and the belief that punk, porn, and art not only empower and liberate, but present a real challenge to the established order. 

 

She informed her audience that the punk attitude can be summed up by the phrase just do it. But that's an upbeat, aspirational slogan associated more with Nike [4] than the Sex Pistols, is it not? 

 

And it's the motto also of what Byung-Chul Han terms Müdigkeitsgesellschaft - i.e., a society characterised by an incessant (and ultimately exhausting) compulsion to perform and achieve [5]. Contrast this positive imperative with Malcolm McLaren's instructing us to destroy success. 

 

Still, putting these things to one side, it was a well-organised and enjoyable event and there were some interesting people and colourful characters present; none more so than Cuban cigar-smoking punk dandy Algernon Aloysius St. John-Cholmondeley-Featherstonehaugh, who dispensed wit, wisdom, and matches with great aplomb. 

 

 

Notes 

 

[1] Dorothy Max Prior, speaking in an interview with Lene Cortina on the excellent blog Punk Girl Diaries (12 March 2018): click here. 

 

[2] I would remind those who organised the event with Crass at the Horse Hospital that, as a rule, it's always a good idea to provide seating and drinks for your guests; particularly when charging an entrance fee and promoting a book priced at £50 a pop. Best also to allow them plenty of opportunity to chat and mingle freely. Nobody, apart from the most committed of Crass fans, really wants to be crammed into a small space and forced to stand for well over an hour whilst being lectured on how the revolution might have succeeded, if only ... by an 80-year-old Penny Rimbaud. See the post 'Crass By Name ...' (12 April 2024): click here. 

 

[3] See pp. 77-78 of Richard Cabut's Looking for a Kiss (Sweat Drenched Press, 2020). Note that Cabut was reading from the revised and extended edition of his novel, published by PC Press (2023), featuring new text, photos and artwork. 

 

[4] Just Do It is a trademarked tagline of sports shoe company Nike, coined in 1988 by the advertising executive Dan Wieden, inspired, he says, by Gary Gilmore, who is alleged to have said 'Let's do it' shortly before his execution for murder in January 1977. 

 

[5] See Byung-Chul Han, The Burnout Society, trans. Erik Butler (Stanford University Press, 2015). The original German text, entitled Müdigkeitsgesellschaft, was published in Berlin by Matthes & Seitz Verlag (2010). 

      I published a two-part post on this work for Torpedo the Ark on 7 November 2021. Click here to read part one - 'On Neuronal Power to Vita Activa' - and/or here to read part two - 'From the Pedagogy of Seeing to Burnout Society'.

 

 

On Torn Edges and the Need to Archive (God Save the Punk Scholars Network)

London College of Communication (UAL) 

(20 March 2024)

 

I. 

 

Held at the London College of Communication - one of six colleges that make up the University of the Arts London - the Torn Edges symposium explored the relationship between punk, art, and design history [1].

 

An international body of researchers, in what is said to be a "relatively new and emerging field within the broader theme of punk scholarship", gave short papers and took audience questions and it soon became clear that punk studies "have moved beyond relatively limited histories of the early scene in New York or London to reflect a much deeper critical analysis of punk music, fashion, politics, philosophy and aesthetics around the globe over a period of more than fifty years" [2].

 

 

II. 

 

The question which arises, however, is this: Is that a good thing? 

 

Because some might argue that the spirit of punk is exorcised in three ways: (i) it is commodified by capital; (ii) it is Disneyfied by the media; (iii) it is intellectualised by academics. 

 

In other words, punk is made profitable, made safe, and absorbed into a seamless cultural history. Any rough or torn edges are thereby given a smooth finish (or de-deckled, if such a word exists).  

 

One of the speakers at Torn Edges - Marie Arleth Skov - addresses this concern about punk ending up in the universities, galleries, and museums in an online conversation with James Campbell of Intellect Books [3].

 

Asked about the importance of ensuring that punk is properly archived, Skov says it is crucial; that we're at the stage now where materials currently held by private individuals need to be preserved and made accessible to a wider public within an institutional framework, before those individuals snuff it and the materials are lost.

 

In other words, old punk rockers (like me) need to overcome their fear of institutionalism and mutualisation and accept that the museums, galleries, and universities actually represent the best (and maybe the only) chance that something of the original punk spirit can survive, in a way that doesn't happen when punk is co-opted by big business or turned into a Disney+ miniseries by Danny Boyle [4].

 

Thus, resistance to this Borg-like process of being archived may or may not be futile, but it's almost certainly mistaken. Ultimately, punk needs those like Marie Arleth Skov and Russ Bestley working in academia and/or the art world who care passionately about subcultures and countercultural phenomena. 

 

God Save the PSN!

 

 

 

 

Notes

 

[1] Full details of the event and speakers can be found on the Eventbrite website: click here.

 

[2] I'm quoting from the Torn Edges programme, which, I'm guessing, was written by Dr Russ Bestley who organised the event and is (amongst many other things) a founding member of the Punk Scholars Network.      

[3] Marie Arleth Skov is a Danish-born art historian and curator based in Berlin. She is the author of Punk Art History: Artworks from the European No Future Generation (Intellect Books, 2023) and the chair of the Punk Scholars Network in Germany. She is currently researching for an exhibition at ARoS art museum in Denmark on the topic of the body in punk culture.

      James Campbell is a lecturer in education at Deakin University, Australia. He is also Head of Marketing and Sales at Intellect Books. 

      The 35 minute interview between Campbell and Skov conducted last autumn is available to watch on YouTube: click here. Arleth's thoughts on the need to archive punk begin at 24:58.

[4] For my thoughts on Danny Boyle's Pistol (2022) see the posts entitled 'The Great Rock 'n' Roll Castration' (30 March 2021): and 'Can Anyone Be a Sex Pistol?' (31 March 2021).

 

A Blast From the Past

Wyndham Lewis photographed by George Charles Beresford in 1913

Front cover of the first edition of his Vorticist magazine Blast (1914)

 

"We start from opposite statements of a chosen world. 

Set up violent structure of adolescent clearness between two extremes."

 

 

I. 

 

Despite the fact that there has been renewed critical interest in his work and he is now regarded as a major British artist and writer of the twentieth century, the figure of Wyndham Lewis doesn't mean a great deal to me.  

 

Indeed, I sometimes confuse him with his friend Ezra Pound (to be fair, both were controversial figures associated with the avant-garde movement known as Vorticism and both were unpleasant characters - talented, certainly, but unpleasant).       

 

This year, however, marks the 110th anniversary of Lewis's magazine Blast and I thought I might say something about this short-lived publication in which he advanced the aesthetic ideals of Vorticism on the one hand and vilified his enemies (which, by this date, included Marinetti) on the other.    

 

 

II. 

 

When I say that Blast was short-lived, I mean it was short-lived. In fact, only two editions were ever published; the first in July 1914 and the second in July 1915. Both were primarily written (and edited) by Lewis - although other contributors included Pound, Epstein, and Rebecca West - and both cost 2/6 (or half-a-crown to you and me). 

Although the second issue doubtless contained some interesting material - including poems by T. S. Eliot and a short play by Pound - it's the first issue with its punk-looking bright pink cover that is recognised as a seminal text of 20th-century modernism - particularly English modernism, whose distinct style it helped create; Lewis's use of bold typographic innovations and fonts again anticipating the punk aesthetic of the 1970s.  

 

The illustrated issue featured a (mostly positive) critique of (and extracts from) Kandinsky's pioneering work, Concerning the Spiritual in Art (newly translated into English by Michael Sadleir); a plea to suffragettes not to destroy works of art; a review of an exhibition held in London of Expressionist woodcuts; and an open attack on Marinetti's model of Futurism (dismissed as little more than an up-to-date Impressionism).

 

The opening twenty pages of Blast 1, however, were taken up with the Vorticist manifesto ...

 

 

III.

 

Written by Lewis, the manifesto is primarily a long list of things that deserved either to be Blessed or Blasted, depending on how he perceived them at the time; one is tempted to say that Lewis woke up one day and suddenly knew which side of the bed he was lying on ... Among those blasted were members of the Bloomsbury Group and among those blessed were hairdressers who, for a small fee, attacked Mother Nature.    

 

Perhaps predictably, the English press was unimpressed, finding the writing dull and describing the artwork and typography as simply a pale imitation of the Futurist style (much to Marinetti's amusement and delight). 

 

Although after the War Lewis attempted to revive the avant-garde and declared his intention to publish a third edition of Blast, essentially the game was up and the world had moved on. Four years of mechanised slaughter and unrelenting horror had put things in perspective and many former revolutionaries were now hoping for a little peace and quiet and looked to more traditional art values. 

 

By 1920, even Lewis had to admit that the age of Vorticism was over and these days Blast is itself a museum piece.       

 

 

Sid Vicious Versus the Crucified

Sid Vicious Versus the Crucified 

(SA/2024) [1]

The god on the cross is a curse on life, a signpost to seek redemption from life; 

Sid Vicious on his motor-bike is a promise of life: it will be eternally reborn 

and return again from destruction.

 

 

I.

 

Can it really be forty-five years ago yesterday that Sex Pistol Sid Vicious died, aged twenty-one, from acute intravenous narcotism? 

 

It may seem hard to believe, but time flies and it's absolutely the case that Sid departed this world in the early hours of February 2nd, 1979.

 

 

II. 

 

There's really not much more to say about a death of which so much has already been written. 

 

Besides, I'm not one who mourns or regrets Sid's martyrdom; for his was what we might term a necessary death; fatal in the originary sense of the term and one which secured his tragic status. 

 

It's important to realise that punk was - despite its nihilism and apparent morbidity - a form of thanksgiving and an affirmation of life; that Sid, as its highest representative (i.e., its one true star), was not just a drug-addicted loser, but an ecstatically overflowing spirit who redeemed the contradictory and questionable nature of rock 'n' roll.   

Christ on his Cross counts as an objection to life in its eternal fruitfulness and recurrence. But Sid on his motorbike was a spiky-haired Dionysus who affirmed life whole and not denied or in part - even in its most destructive and terrible aspects.

 

As Nietzsche writes:

"One will see that the problem is that of the meaning of suffering: whether a Christian meaning or a tragic meaning. In the former case, it is supposed to be the path to a holy existence; in the latter case, being is counted as holy enough to justify even a monstrous amount of suffering. The tragic man affirms even the harshest suffering: he is sufficiently strong, rich, and capable of deifying to do so. The Christian denies even the happiest lot on earth: he is sufficiently weak, poor, disinherited to suffer from life in whatever form he meets it." [2]

 

In sum: Christ on his Cross places a curse on life; but Sid on his motorbike - or singing on stage at the Olympia, Paris [3] - is a promise that life will be eternally reborn from destruction.

 

 

Notes

 

[1] The iconic image of Sid on his motorbike is from The Great Rock 'n' Roll Swindle (dir. Julien Temple, 1980): click here. Christ Crucified is an oil painting by Velázquez (1632), located in the Prado Museum, Madrid.  

 

[2] Nietzsche, The Will to Power, trans. Walter Kaufmann and R. J. Hollingdale, (Vintage Books, 1968), section 1052, pp. 542-543. I'm essentially paraphrasing this section throughout this post. 

 

[3] See the post published on 13 October 2018: click here. 

 

Never Mind the Spiky Tops

All the curly young punks:

Michael Collins and Adam Ant (top row) 

Mick Jones and Me (bottom row)*

 

 

I. 

 

Short spiky hair - often dyed an unnatural shade à la Johnny Rotten - was one of the defining characteristics of punks back in the day. 

 

However, there were plenty of individuals central to the scene who, even in 1977, were proud of their curls and ringlets, including Michael Collins, for example, who was recruited by Vivienne Westwood to manage the shop at 430 King's Road.

 

One thinks also of Stuart Goddard, who abandoned his pub rock outfit Bazooka Joe after seeing the Sex Pistols, transformed his look and changed his name (to Adam Ant), but still maintained his dark curls even at his punkiest.

 

And talking of dark curly-haired punks ... let's not forget Mick Jones; he may have chopped his curls off in 1976 when he formed The Clash, but it wasn't long before his pre-punk (less militant more glam) self reasserted itself.  

 

 

II.

I'm sure there will be some readers by now asking: So what?

 

Well, for one thing, it's always good to be reminded that before it quickly became just another mass-produced fashion and media-endorsed stereotype - as well as a fixed set of values and prejudices - punk was a highly creative form self-stylisation. It was not about following trends, conforming to norms of behaviour, or caring what others thought about the way you looked. 

 

As The Great Rock 'n' Roll Swindle attempted to remind us: Anyone can be a Sex Pistol - even with curly hair, like me, and, of course, like Malcolm:

 

           

Photo credits: Michael Collins by Homer Sykes; Adam Ant by Ray Stevenson; Mick Jones by Sheila Rock; Malcolm McLaren by Joe Stevens. I don't remember who took the picture of me, but it's dated October 1977. 

 

 

For a follow up post to this one on punks, hippies, and the Boy in the Blue Lamé Suit, click here.

 

Happy Birthday Julien Temple (and in Memory of Malcolm McLaren)

Film director Julien Temple

(the punk generation's Jean Vigo)

 

 

Born on this day, in 1953, the British filmmaker Julien Temple is - without ever really being part of the gang - crucial to the story of the Sex Pistols, which he began to document from the very early days, having come across the band rehearsing in an abandoned warehouse in Bermondsey, South London, whilst drifting around the area admiring the rusting hulks of ships and the general decay of what had once been a thriving centre of industry and trade. 

 

This chance encounter was before the band had played their first gig at St Martin's School of Art on 6 November 1975 (supporting Bazooka Joe), so Temple can effectively claim to have been involved with the band from day one and was certainly not some Johnny-come-lately on what would become known as the punk scene, even if he never quite escaped being thought of as a middle class cunt - his words, not mine [1].    

 

Be that as it may, he was young and clearly talented enough to capture Malcolm's attention, and so Temple was eventually given permission to become the Sex Pistols' in-house filmmaker. 

 

Initially, however, McLaren, had opposed such an idea. It was only when the band began to hit the headlines that he was persuaded it would be a good idea after all to document what was going on - particularly when Temple offered to do so for free, although Malcolm eventually put him on a retainer of £12 a week.       

 

When the idea of making a full-length feature film arose - originally to be called Who Killed Bambi? and directed by Russ Meyer - Temple was appointed as the latter's assistant. For one reason or another - actually, for many, many reasons - this film was never going to be made and the project eventually morphed into The Great Rock 'n' Roll Swindle (1980), which is credited to Temple as director, although I'll always think of Malcolm as the film's auteur. 

Twenty years later, Temple then made The Filth and the Fury (2000) with the band's full cooperation, which is to say Rotten was on board and ready to put the record straight and tell the true story of the Sex Pistols (with tears of emotional sincerity welling up in his eyes). 

 

Whilst the latter rockumentary - not a term that Temple likes or uses - was critically acclaimed, I hate it for its attempt not only to give a more balanced account of events, but to humanise the band and perpetuate the ridiculous idea that poor Johnny was somehow a victim - even though he was also, apparently, the real reason for the band's success: A true star, honest!  

Temple claims he wanted to make The Filth and the Fury because he was annoyed with McLaren saying that the band members were essentially of no great import and that he was the artistic visionary who created everything. But, whilst that's not quite the case, neither is it entirely the fantasy of an egomaniac and, ironically, I think Malcolm's contribution to British popular culture is still hugely underrated [2].

 

Still, I don't wish to debate this here and now, nor say anything negative about Temple as a filmmaker. I simply want to take this opportunity to wish him happy birthday and thank him for the role he has played in recording an important period in British social and cultural history.     

 

 

Jamie Reid badge design 

vam.ac.uk

 

 

Notes

 

[1] Speaking with John Robb in 2022, Temple recalls the reaction of the band when he proposed they provide a soundtrack to a five minute film he was then working on as a student: "'Fuck off!' Middle class cunt basically being the subtext." Click here to watch the full interview on YouTube. The line I quote begins at 2:38.  

[2] Not by Temple, who, despite his issues with McLaren, had this to say in an obituary in The Observer (11 April 2010): 

 

"Malcolm was an incredible catalyst for my generation. To be in the same room as him in 1976 was to be bombarded with energy and swept up in a rush of ideas and emotions. [....] But his impact was not limited to music alone. Right across the creative spectrum Malcolm made young people - artists, designers, writers, film-makers - aware that they had a distinctive voice and encouraged them to use it right there and then." 

      

Temple concludes: 

 

"On a personal note, although I worked intensely with Malcolm for only a short period of time and managed to fall out with him pretty spectacularly too, the creative ideas he instilled in me have lasted a lifetime." 

 

 

Jagger is a Punk (2)

Mick Jagger punking it up whilst performing on set during the making 

of the video for 'Respectable' (dir. Michael Lindsay-Hogg, 1978) 

 

 

Some readers may recall the post dated 2 Sept 2018 in which I argued that, at heart, Mick Jagger is clearly a bit of a punk rocker: click here.

 

Mostly I based this on the fact that the Stones' 1966 single 'Paint It Black' [1] is one of the great nihilistic pop anthems and that whilst on tour of the US in the summer of 1978 Jagger (somewhat ironically and provocatively) wore a Seditionaries Destroy shirt on stage.

 

Anyway, I'm pleased to say that I'm confirmed in my view thanks to a recent interview with Keith Richards, in which he describes his bandmate of sixty-odd years as a punk (and occasionally an asshole). 

 

Speaking to a journalist from The Sun, Richards says (somewhat disapprovingly): "The punk side of Jagger has always been there and we'll never get rid of it." [2] 

 

It's there, for sure, in 'Paint It Black', and it's also there, for example, in the 1978 single 'Respectable' [3] and in the expletive-laden new track 'Bite My Head Off' [4].   

Whilst it still slightly pains me to admit it, I think Joe Taysom is right to say of the Rolling Stones that "few bands have embodied the spirit of punk more" [5] and that Jagger is, at eighty, a far better - certainly far fitter - frontman than sixty-seven year old Johnny Rotten. 

 

Indeed, it might even be the case that the former has always been the more interesting figure ...  

 

 

Notes

 

[1] I have written about this song in a post published on 29 Oct 2017: click here.

 

[2] Keith Richards speaking to Simon Cosyns in an interview in The Sun (13 Oct 2023): click here.  

[3] 'Respectable', by the Rolling Stones, is a single release from the album Some Girls (Rolling Stones Records, 1978): click here.

      Jagger would later admit that the fast and aggressive nature of the track was due to the influence of punk on the band at that time, describing the loud three-chord rock song as punk meets Chuck Berry. See note [5] below for more about the influence of punk on the Rolling Stones. 

 

[4] 'Bite My Head Off', by the Rolling Stones (feat. Paul McCartney), is a track on the album Hackney Diamonds (Polydor, 2023): click here.

      Jagger explained of the song: "'I was kind of surprised Paul wanted to play on that track, actually. I wrote so many punk songs for the Stones, and I could never get away with them, but Paul is a very open-minded person - musically speaking.'" Quoted by Joe Taysom; see note [5] below.

 

[5] Joe Taysom, 'The Rolling Stones song Mick Jagger called "punk"', Far Out Magazine, (28 October 2023): click here. In this interesting article, Taysom goes on to write: 

 

"When the punk phenomena took off in the late 1970s, Jagger was intrigued by the prospect, even if The Rolling Stones weren't involved in the scene. While the group have never made a fully-throttle punk record, they did introduce elements of the genre into their sound on the 1978 album Some Girls. Jagger told Rolling Stone that the album's main inspiration was New York City, which injected the LP with 'an extra spur and hardness'. [...] However, despite Some Girls taking influence from New York, Jagger preferred the British version of punk to the American incarnation."

On Punk, Pink, and Dollification

(L) SA wearing a pink gingham check shirt from Child of the Jago [1]

(R) Ken Doll wearing a pastel pink and mint green striped 

two-piece beach set by Mattel [2]

 

 

For me, pink is one of the essential colours of punk: which is undoubtedly why Jamie Reid used it (along with bright yellow and black) for the provocatively lurid sleeve of Never Mind the Bollocks and why, many years earlier, the proto-punk fashion designer Elsa Schiaparelli had created a shocking shade of pink to be synonymous with her brand. 

 

Thus, when I wore a pink (and white) ensemble for an event in Bloomsbury recently, I was confidently expecting it to be received within the context of the above history of art and fashion.

 

Unfortunately, there were some young people present that evening whose cultural references are far more contemporary and, in their eyes, I looked like a refugee from Barbie World - which is, arguably, a little unkind, if not entirely unfair: after all, who wants to be thought of as a human doll? 

 

Having said that, if it's okay for Ryan Gosling to be dolled up and dollified, for his role as Ken in the movie Barbie (dir. Greta Gerwig, 2023), then why should I worry?

 

And even Sid Vicious was ultimately reduced to the status of an action figure following his death (if not, indeed, years prior to his tragic and untimely demise) - although, sadly, not wearing the pair of pink peg-leg pants that he loved so much ... [4] 

     

 

 Jamie Reid: Sid Vicious Action Man 

£12.50 [3]

 

Notes

 

[1] Photo by Paul Gorman taken on 7 Sept 2023 outside Treadwell's Bookshop (London)

 

[2] Anyone interested in buying the doll (£44.99) can visit the Mattel website by clicking here. 

 

[3] This image by Jamie Reid was used to promote the Sex Pistols single 'Something Else', released from the album The Great Rock 'n' Roll Swindle (Virgin Records, 1979). The original poster is in the Jamie Reid archive at the V&A and can be viewed online by clicking here. Obviously, Reid is critiquing the co-option and commodification of punk by the Spectacle (as well as, perhaps, the exploitation of dead performers, who will never be allowed to rest in peace so long as they can still shift product). 

 

[4] Sid can be seen wearing these pink pegs in a short film on Youtube provided by ITV Channel Television, which shows the Sex Pistols at Jersey Airport in the summer of 1977 about to board a plane, having been officially ordered to leave the island: click here. Paul Gorman informs me that Sid had actually borrowed the trousers from guitarist Steve Jones, who had bought them years earlier from Let It Rock.  

 

 

For a post published back in Feb 2019 on the politics of pink, click here.

 

 

She Flows Lava: On Why the Volcanic Feminism of Betty Hirst is More Effusive Than Dada

Heide Hatry: She Pees Fire (2023)  

heideihatry.com

 

 

I like Heide Hatry. And I like this image; it's always a pleasure to be reacquainted with Betty Hirst. But I really hate the new title assigned to the picture - She Pees Fire. 

 

That might work on an ad alerting women to the signs and symptoms of a urinary tract infection and in which humour is used to counter embarrassment concerning the body, but, in my view, puns should have no place in the world of art [1].  

The photo appears in the latest issue of Maintenant, an annual journal featuring contemporary Dada writing and art [2]. 

 

Unfortunately, I have concerns with this publication and its claim to provide provocative outsider ideas as Dada has done since its inception. For it seems to me that Dada - like punk - was materially embedded in the politics and culture of its time. 

 

To vainly attempt to appear avant-garde by invoking the spirit of something that erupted over a hundred years ago, just seems a little foolish and mistaken to me. It turns Dada into just another -ism (i.e., a practice and an ideology), rather than an Event, (i.e., something unique and chaotic). 

 

I might be mistaken, but I thought the artists involved with Dada during the years 1916-24 aimed to produce works that were completely original; to eradicate all forms of imitation, not found a new school or a tradition in which their ideas and techniques were simply learned and passed on.        

 

Anyway, leaving this debate aside for now, the new issue of Maintenant (#17) argues that war and peace are two-sides of the same coin and that what anti-war protestors should be demanding is not simply a cessation of all military conflicts, but a peacefire. 

 

By this, I think they mean a deconstruction of the binary that forges war and peace into a relationship of co-dependence and obliges us to think of the latter in purely negative terms; i.e., as the absence of war, or the temporary suspension of hostilities.  

 

Heide Hatry's She Pees Fire is a play on this term, peacefire, which, of course, is a play on the term ceasefire - so we have here a double-layered pun. But, as I've said, whilst mildly amusing, it's not a title I care for. 

 

I also fear it detracts from the power of the image, which, to me, reveals the volcanic potentiality of womanhood; she isn't so much pissing fire, as unleashing Hell - i.e., sending a stream of molten lava flowing into the phallocratic world order from out of the bowels of her being. 

 

It's certainly an effusive feminist image, but, ironically, I'm not sure it works to promote an anti-war message. Nor is it particularly Dadaist in character [3]; for it seems to me laden with symbolic meaning, rather than being nonsensical in character (i.e., it's an art-utterance, not just an absurdist prank intended to shock). 

 

 

Notes

 

[1] I'm all in favour of paronomasia if and when it is itself raised to the level of an art form, but I'm extremely wary of puns (and the kind of people who make puns); not because I find them threatening or seek a level of control over the meaning of language, as John Pollack, a communications expert and author of The Pun Also Rises (2012), claims, but because I think they are an easy and lazy form of wordplay - neither witty, nor particularly clever, and certainly not subversive.  

[2] Maintenant: A Journal of Contemporary Dada Writing and Art, Issue 17, ed. Peter Carlaftes and Kat Georges, (Three Rooms Press, July 2023). 

      For more information and to order your copy direct from the publishers, click here. Alternatively, British readers may find it easier to go to Amazon UK: click here. 

 

[3] One might remind readers that, for all of its supposed radicalism and revolutionary spirit, Dada was not without its problematic aspects, including what might be construed as misogynist tendencies. See Women in Dada: Essays on Sex, Gender, and Identity, ed. Naomi Sawelson-Gorse, (The MIT Press, 1999).   

 

 

Why Bambi is Forever Being Killed in My Imagination Thanks to the Sex Pistols

My photo of a local fawn and a poster for the Sex Pistols'

film soundtrack The Great Rock 'n' Roll Swindle (1979)

 

Some readers may recall a post from last year in which I attempted to illustrate Oscar Wilde's anti-mimetic contention that life imitates art, with reference to a moth's wing which appeared to incorporate the Cambridge Rapist motif used by Jamie Reid in his work for the Sex Pistols [1]. 

 

But as someone pointed out at the time, seeing a human face - even, as in this instance, a masked human face - in an object of any variety (be it natural or artificial, animate or inanimate) is a common psychological phenomenon [2], which tells us something interesting about how the brain works, but doesn't really lend support to Wilde's theory. 

 

And that's fair enough, I suppose. 

 

Thus, maybe what the above post primarily indicates is that my personal obsession with the Sex Pistols is such that I often view the world through a punk prism. Take, for example, what happened the other day when walking past the deer herd who have colonised what was once a local playing field ...

 

Seeing the little deer pictured above, immediately triggered thoughts of the shocking image of a dead fawn used to promote the Sex Pistols' film (and film soundtrack) The Great Rock 'n' Roll Swindle [3]. This, in turn, made me start to sing the chorus from the curious track by Eddie Tenpole: 'Who Killed Bambi?' [4]. 

 

I can't remember who said it, but it seems to be true; the songs we loved at sixteen, we'll remember and continue to love for the rest of our lives (even those that have become almost unlistenable).

 

 

Notes

 

[1] See the post dated 13 July 2022 and entitled 'Punk Moth (Or How the Cambridge Rapist Motif Haunts the Natural World)': click here.

 

[2] Once considered a symptom of psychosis, pareidolia, as it's known, is now understood to be hardwired into every brain by evolution; we all attempt to impose a meaningful interpretation on the world and to recognise ourselves in things and patterns of light and shade. See the post dated 4 June 2015 and entitled 'Pareidolia and Prosopagnosia': click here.

 

[3] Readers who share my obsession with the Sex Pistols will be aware that Who Killed Bambi? was originally the title of a film featuring the band, due to be released in 1978, directed by Russ Meyer from a script by Roger Ebert and Malcolm McLaren. After this project was abandoned, McLaren eventually made The Great Rock and Roll Swindle with director Julien Temple, the trailer for which included the title shot of a deer being killed, a scene that was not included in the finished film. A song, however, with the title 'Who Killed Bambi?' did feature in the movie, sung by Eddie Tenpole (see note 4 below). Additional footage from Who Killed Bambi? was also used in Temple's documentary on the Sex Pistols, The Filth and the Fury (2000). 

[4] Click here for the album version of the song and here to see Tenpole (or Tadpole, as Irene Handl amusingly calls him) performing the track in The Great Rock 'n' Roll Swindle film. I have written about 'Who Killed Bambi?' previously on Torpedo the Ark: click here. 

A Brief Note on Beatniks

 

Nedward and Agnes Flanders

Ned's freaky beatnik parents in The Simpsons [1]

 

 

Did anyone ever actually describe themselves as a beatnik? 

 

Or was the term purely a media invention [2]: a way of reducing members of the Beat Generation to a cool but cartoonish stereotype? Black turtleneck sweater ☑ Black beret ☑ Dark glasses ☑ Sandals ☑ Striped top ☑ Jazz album, bongo drums, or a book of poetry under the arm ☑

 

Amusingly, Allen Ginsberg wrote to The New York Times in 1959, deploring the use of the word beatnik [3]. And his pal Jack Kerouac wasn't pleased either to see their philosophy become just another fad. Both authors feared that a generation of illuminated hipsters, would be replaced by brainwashed fashionistas interested only in looking the part. 

 

Indeed, so exasperated was Kerouac by the popularity of the term that he declared to a reporter in 1969 (shortly before his death in October of that year): I'm not a beatnik. I'm a Catholic [4].

 

Personally, however, I'm more interested in the way the stereotype of the beatnik became part of popular culture, changing the latter and being changed by it, rather than Kerouac's spiritual convictions, or his quest for religious salvation.

 

And if, eventually, the term beatnik was used by all kinds of people in all kinds of ways and some of those people were frauds and some of those ways were false, well, it doesn't really matter and one gets tired of puritans demanding authenticity. 

 

I mean, is there anything squarer than wanting to keep things real? [5]                          

 

 

Notes

 

[1] See The Simpsons episode entitled 'Hurricane Neddy' [S8/E8] (1996), written by Steve Young and directed by Bob Anderson, in which it was revealed that religiously uptight Ned Flanders is the son of anti-disciplinarian, freaky beatnik parents (Nedward and Agnes). Click here for a short (but hilarious) clip on YouTube.    

 

[2] The term beatnik is usually credited to Herb Caen, writing in his column in the San Francisco Chronicle, in April 1958.

 

[3] See The Letters of Allen Ginsberg, ed. Bill Morgan, (Da Capo Press, 2008), p. 221. Commenting upon and quoting from this letter, James Campbell writes:

      "The Beats dislikes the appropriation of 'beat', and its melding into 'beatnik'. 'The foul word is used several times', wrote Ginsberg in a letter to the New York Times Book Review [...] in response to an uncomplimentary article about Kerouac:

 

'But the 'beatnik' of mad critics is a piece of their own ignoble poetry. And if 'beatniks', and not illuminated Beat poets, overrun the country they will have been created not by Kerouac but by industries of mass communication which continue to brainwash Man ...'"

      In other words, Beat was a state of being or an identity; beatnik was just posing and dressing up. See 'The Birth of the Beatnik', in This is the Beat Generation, by James Campbell, (University of California Press, 1999), chapter 10, pp. 245-271. Lines quoted are from pp. 245-46.

      Amusingly, I remember a similar discussion around the term punk in the 1970s, with Johnny Rotten rejecting the term as just another lazy label and form of media shorthand: click here to see what he says in a 1976 TV interview (go to 3.04). Punk was an attitude and not a fixed way of looking and thinking and real punks - who, like Rotten, often refused the term - were scornful and contemptuous of so-called plastic (or part-time) punks hanging around Kings Road trying to look trendy and pogoing in their bedrooms in front of the mirror (but only when their mothers had gone out). 

      For a fascinating discussion of the etymology and history of the word punk, see the essay by J. P. Robinson on medium.com: click here. 

 

[4] This interview with Kerouac by Jack McClintock from 1969 was republished in the Tampa Bay Times (20 March 2013) and can be read online by clicking here. 

 

[5] Amazingly, there are still some cats who get het up about the manner in which Beat became absorbed into the culture industry and commodified as a lifestyle or look. Denise Enck, for example, founder and editor of the arts and literature site Empty Mirror, published an article in July 2013 entitled 'The Beat Generation vs. "Beatniks"', in which she accuses the latter of being shallow and writes: 

      "The Beats were looking for real meaning, authenticity and a deeply personal self-expression in their lives and work, not conformity in a black turtleneck and a cheesy beret. [...]  The truth of it is that certain details associated with the Beat Generation writers were picked up, twisted, and amplified, almost beyond recognition and wildly embellished by the media and the marketing departments, into the 'beatnik' stereotype".

      To read the article in full, click here. Readers interested in this topic might also like to see a piece by Matthew Wills on JSTOR Daily entitled 'How the Beat Generation Became "Beatniks"' (5 May 2019): click here. This is a reading of the longer essay by Stephen Petrus, 'Rumblings of Discontent: American Popular Culture and its Response to the Beat Generation, 1957-1960', in Studies in Popular Culture, Vol. 20, No. 1 (October 1997), pp. 1-17, which, conveniently, can also be found on JSTOR: click here. 

 

 

Musical bonus: 'Beat-Nik' by Jimmy Van Eaton (Rita Records, 1960): click here Daddy-O!