Archive for the ‘photography’ Category
Can you imagine the looks on the two teenage faces when their mother tells them that she is going to invite people round to the house every eight weeks to sing in the back room …and say poems …and read stuff? WTF?! And she wants you boys to join in. You can just listen but you’re to be there. WTFF?!! On Saturday night the second such session took place. Enfant Terrible No. 2 engineered a sleep-over. No. 1 actually showed his face at the end after a no-show eight weeks earlier.
Here’s what was on the menu…
Una opened with a Spring theme reading Wordsworth’s Daffodils. The next morning this Wordsworth quote arrived by serendipity in my InBox (7th April being his birthday, in 1770):
The best portion of a good man’s life: his little, nameless unremembered acts of kindness and love.
Later she read one of her own poems, Bodies, a moving and intimate Heaneyesque account of dressing her father’s body for his wake. Towards the end she read another of her pieces, Underground, inspired by a Northern Line encounter and written on the spot.
Here are two of my own recent Northern Line encounters:
For my contribution this time I read one of my favourite posts from this blog, Starless and Bible Black, and then the passage from James Joyce’s Ulysses to which it refers. It’s when the two protagonists have an outdoor piss together under the night sky, all done in the form of a catechism, and containing that very special line:
THE HEAVENTREE OF STARS HUNG WITH HUMID NIGHTBLUE FRUIT.
At the first session I read the opening of the first chapter of my book in progress, When Sparks Fly, about Allen Ginsberg. I concluded with a Ginsberg poem referencing the same incident mentioned in the first line of the book.
Joyce linked nicely to the next person up, an actress specialising in Beckett (who was Joyce’s secretary) - she read The Love Song of J. Alfred Prufrock by TS Eliot (whose masterpiece, The Wasteland, was published seven years later in 1922, the same year as Ulysses).
She also recited from memory a brilliant poem of her own about her days as a ballet dancer and how that went down in the Midlands of Ireland. And as if that wasn’t delight enough, she sang a powerful Sinead O’Connor song (from Universal Mother I think). And then a song in Irish about a boy from Loch Erne (Buachaill ón Eirne).
All the music and much of the rest of the singing came from our friend Patmo and his gee-tar. Highlight for me was a song about the potboy in the Dorset Arms in Stockwell where we used to go to watch Patmo and his band The Stone Rangers play. It’s called Put one in the tank for Frank and celebrates plying the late lamented Frank Murphy with beer to get access to the storeroom with all their gear in it. He also played Una’s favourite of his songs, A Little Bit of Lace (as immortalised on Adie Dunbar and the Jonahs’ Two Brothers), as well as some classic singalongs from Sinatra’s Fly Me to the Moon to John Denver’s Country Road (some painful, submerged teenage memories there from the height of the punk era but surprisingly enjoyable all these years later).
Our old friend Roddy read from a great early 60s first edition he has of Brendan Behan’s Island, a beautifully illustrated (by Paul Hogarth) travelogue around the old country. His other half, Alex, also by coincidence a former ballet dancer, read some Yeats love poetry (it was an evening of the Irish reading the English, and vice versa – perfect to herald the week which sees poet and president Michael D Higgins making a state visit to London, on the very day (8th April) Gladstone presented his first Home Rule Bill to Parliament in 1886). Alex closed proceedings with a parting shot of Dorothy Parker.
All in all, a pretty darn good evening (and that’s not counting the Connemara whiskey and fresh homemade soup).
Dorothy Parker, when asked what she’d like for breakfast…
Just something light and easy to fix. How about a dear little whiskey sour?
Off to the Angel at the start of Day 48 to catch up with Nicole Yershon of Ogilvy Labs and interview her about creative networking. We caught up at The Breakfast Club (which I was originally introduced to in D’Arblay Street by Garret Keogh of Telegraph Hill) and did the interview at Kipferl for the quiet (and to pick up a bag of Mozartkugeln). While there we bumped into Neville Brody, whose studio is round the corner. Hooked him and Nicole up so she could arrange for him to visit the 3D Printing show she was working at over in the Business Design Centre opposite, the event a direct, concrete result of her own networking and talent nurturing activities with all kinds of benefits to her organisation (from commissioned creative executions to specialist organisational expertise).
Concluded the week by interviewing Hettie Jones, poet and publisher of the Beat generation, over the phone in New York. We had a good chat and she said she enjoyed the interview as it was different from most and didn’t fixate on parties and sex. She told me a great story of an early meeting with Allen Ginsberg (whose poems appeared in her magazine Yugen) where she helped him, for his major poem Kaddish, get under the skin of the titular prayer by singing it to him – he was from a non-practicing Jewish family and she had childhood ambitions to be a cantor (not technically possible til 1987). We had a good few things in common – from a mixed marriage (she married black writer/dramatist LeRoi Jones [Amiri Baraka], an early American interracial marriage) to a mother of exemplary charitableness – so there was a real connection.
Unusually worked on Day 49 (a Saturday – I’m on a 9 to 5, Mon to Fri regime) as I was in Brighton (with Enfant Terrible No. 2, no Mrs, and three Albanian teenagers, the pals of aforementioned Enfant Terrible) so not far away from Paul Arden’s West Sussex cottage, now home to his widow Toni. As I drove West and slightly North across the county the roads gradually narrowed until I was on a track through beautiful old woodland near the height of its autumn colour. Interviewed Toni, who is originally from Copenhagen (she gave me some tips of what to see of an arty nature for my trip next week), seated beside Paul’s art/photography book collection in elegant grey cabinets and across from his photograph collection, including the Richard Avedon African woman mentioned in It’s Not How Good You Are, It’s How Good You Want to Be . After the interview Toni kindly showed me some highlights from the collection including a large format monochrome contact sheet of Michael Josephs’ shoot for the cover of The Rolling Stones’ Beggars Banquet LP; work by Norman Parkinson, David Bailey and Robert Mapplethorpe; and an amazing black & white shot of a dying horse by Colin Barker where the beast is actually not touching the ground as it crumples after being put down with a bullet. She then gave me a tour of the beautiful 17C cottage behind the gallery/barn where we had been speaking. By the front door was a drawing by Paul’s father, a commercial artist/early advertising creative, drawn in his late 90s. Below the pink and pale green former charcoal burner’s dwelling was a pond Paul had created at the foot of a slope, so an impractical location used to fine aesthetic effect.
On my return to Brighton I was delighted to have a note in direct response to this very blog from a reader based in Dublin who had first-hand experience of one of my other protagonists and who kindly offered to give me an interview. That kind of loop of connection is what the Web – and When Sparks Fly – is all about.
I’m writing this one from BBC Media Centre while getting ready for tonight’s broadcast of Health Freaks, a new series I have been working on, the only Channel 4 work I have carried in to my sabbatical.
I have spent most of the afternoon writing happily away outside a cafe on the King’s Road, Chelsea within spitting distance of Malcolm McLaren and Vivienne Westwood’s SEX shop. May the spirit of Punk rub off on me. I’m writing away at the Paul Arden chapter and in his contrariness is at least something of punk appeal. In a distinctly non- punk vein, for mid-October a remarkably mild afternoon which I thoroughly enjoyed sitting out in.
Prior to my writing burst, I was round the corner at The Chelsea Arts Club interviewing an advertising photographers’ agent, David Lambert, who worked with Paul Arden from 1974. As I walked into the club I saw a notice on the board announcing the death of Carolyn Cassady, who had been a member – reminding me of my lesson from Carolyn: strike while the iron’s hot when it comes to interviews.
While sitting outside the cafe at the Bluebird I organised a meeting with actress Gaye Brown who, apart from working with Joan Littlewood, was in Kubrick’s A Clockwork Orange (in that magical year, 1971).
David was very generous with his time and stories, and seemed to be enjoying recalling these tales which linked one to another as he hauled them up from the 70s and 80s. He stars in my opening emblematic scene in the Advertising chapter so it was good to get the story direct from him. The version I’ve already written is very accurate it turns out, I just got one extra telling detail from the from-the-horse’s mouth version as well as the chance to compare notes on what it actually means.
The Chelsea Arts Club was a strange affair on a weekday afternoon. Some ladies who lunch, some ageing types with no pressing need to work, the ubiquitous newspaper reader. It felt full of heritage with people on the past chairmen list like Whistler, Philip Wilson Steer and John Lavery but I didn’t recognise any of the last decade’s lot and only Sir Chris Powell was known to me on the current officials photo- board. Not the friendliest place I’ve ever been – CAC? we’ll leave the jury out on that.
As I walked back down Old Church Street Adrian Dunbar rang to confirm arrangements for tomorrow’s trip back to the Littlewood archives. He wanted to bring Janet Behan with, Brendan’s niece (author of Brendan at the Chelsea), but the times wouldn’t work out so that will have to be a separate visit. These little chains of connection are fascinating and the root of the excitement of the project – as well as the very essence of Creativity.
It’s 08:45. I’m dripping wet, just out the shower, drying off by Whitey (our trusty old iMac) with Twitter open. I notice a tweet flow by: ‘Ziggy Stardust plaque being unveiled at 9:45 just off Regent St, if you’re in West End come by’. I’d heard about the plaque earlier in the week from Des Shaw at Ten Alps, the TV indie set up by Bob Geldof. He’s making a radio programme about Bowie and we’re working together on a couple of multiplatform developments – one to do with music, the other about waste – so we’d been chatting on the phone a few days before about Bowie and he mentioned the impending event. 60 minutes – just doable if I didn’t mind venturing forth a bit moist. I took off, kept up a decent pace, the Northern Line behaved and I walked into Heddon Street, powered by Ziggy on the iPhone, with a minute to spare. I positioned myself behind a TV crew and texted Des to check he was there. The ceremonies were opened bang on time by a fella from the Crown Estate who gave us a brief history of this backwater behind Regent Street, personalised by his own memories of the record. He handed over to Gary Kemp, formerly of Spandau Ballet, who was the prime mover behind the project, much inspired in his music career by the album. He spoke with great enthusiasm about the record and tipped the hat to the two Spiders from Mars who were among the small but perfectly formed crowd, bass player Trevor Bolder and drummer Mick Woodmansey. Then the little curtain was drawn back to reveal the elegant black plaque – one of only two in London to a fictional person (the other being Sherlock Holmes at 221b Baker Street). It reads: Ziggy Stardust 1972 This marks the location of the cover photograph for the iconic David Bowie album ‘The Rise and Fall of Ziggy Stardust and the Spiders from Mars’.
40 years before, outside the office of Bowie’s management which was located for a while at that time on Heddon Street W1, Brian Ward took the iconic photo of the newly created Ziggy character outside the warehouse-looking entrance of K. West. It was a black and white shot subsequently hand coloured by Terry Pastor, who switched on the light and pulled out that resonant name. So Brian Ward’s original photograph was black and white, one of twelve 10 x 8s submitted to Bowie’s artist pal, George Underwood. George passed the one selected for the front cover to his colleague Terry Pastor. It was Terry who airbrushed the cover – he decided on the colouring of Ziggy’s hair, his costume, the lights and so on – very much a joint effort taking it to icon status. Des Shaw has a print of one of the other original 10x8s [above] which gives a good insight into the shoot and what the street looked like back then. Des brought me in to the special reception area where a six foot square print of the cover hung [below]. At 12″ x 12″ its magic and mystery are even more powerful through concentration.
The doorway in question has changed over the years and the whole street is far more salubrious and tamed through pedestrianisation. Less clean cut and tamed than when I first saw him perform To Cut A Long Story Short on telly when I was still immersed in punk and new wave was Gary Kemp who Des introduced me to – he was all a-flutter with the event and went off after a few moments to do another radio interview.
I think the original record was recorded at Trident Studios across Regent Street in Soho (certainly some of Bowie’s 70s classics were recorded there) – I recorded a voice-over a few years ago at Trident and was suitably impressed with the trophy album covers on their wall. Des told me a really interesting story he’d uncovered in the making of his radio programme: at one point around this time Bowie was rehearsing in an innocuous basement in Greenwich with his Spiders from Mars and was joined by Iggy Pop and Lou Reed. The basement studio space was called Underhill and was chosen because it was within walking distance of Haddon Hall where Bowie was living in Bromley, his old manor. After Bowie met Iggy Pop and Lou Reed in the States he invited them to England where he then produced Iggy’s Raw Power album (after he’d produced Lou’s Transformer). So at one point in the tiny basement rehearsal space there were David Bowie and The Spiders from Mars, Iggy Pop and the Stooges, and Lou Reed and his post-Velvets band, three of the most influential groups of the early 70s – all playing in a tiny subterranean space under what is now a pharmacist on the corner of Lewisham Road and Blackheath Road. This city, beneath the surface, behind out back, has a music goldmine rich like no other.
Ziggy Stardust impressed me when I first heard it but was never an absolute favourite. Although I remember Starman in the pop background as a little kid – and V2 Schneider (B-side of Heroes) entered my life briefly on board the SS Uganda on an educational cruise to the Baltic sharing a dorm with a bunch of skinheads from Romford – Stage was the first Bowie album that crossed my path in full consciousness.
Probably the three most significant Bowie records for me were:
* Aladdin Sane – I got totally bored by the monotony of school in the 6th Form and retired to a room at my dad’s house for a few months with Aladdin Sane and a pile of Jane Austens – it just chimed in perfectly with that most fucked up of teenage times
* Lodger – Bowie did a radio programme/interview about it during which he mentioned the Austrian painter Egon Schiele, who I’d never heard of and who was much less well known at that time – within a couple of years I found myself in Neulengbach on the outskirts of Vienna on the trail of Schiele (thanks to the Morrison Travel Scholarship from Girton College, fair play to them, it was one of the things at university I probably learnt most from)
* Let’s Dance – the soundtrack for my year living in France, culminating in seeing a very smooth Mediterranean Bowie (he’d been at the Cannes Film Festival that year with Merry Christmas, Mr Lawrence – the tanned, light suits, dyed blonde floppy English hair era) at Grenoble, from the front of the auditorium with all the energy of a young man who had just cut the umbilical chord from home.
The other records over the years have pretty much all come to win their places in my heart and life, and one of the key endearing aspects of them is that resolute voicing of the Anthony Newley style London accent. You can take the boy out of London but you can’t take London out of the boy, however much you swing him.
What a wistful look was captured in this famous portrait of Billie Holiday, a world of experience in those dark eyes. What did it take to capture that? The song Strange Fruit (the subject of my last post, Bitter Crop) and a bottle of gin.
The photo session for publicity shots was arranged in 1944 by a young playwright friend of Billie’s called Greer Johnson. The photographer, Robin Carson, had been clicking away for a good while but felt he had failed to capture the singer’s essence. Billie didn’t know what else to do and Johnson suggested she sing Strange Fruit. She protested a bit, said she needed an accompanist, downed the gin, then finally sang it a cappella. Johnson recalled it as: “one of the most fantastic performances I have ever heard in my life, and the camera never stopped”. She has the look of having been transported which seemingly was the impression she gave often when singing that unique song.
By way of yardstick, here’s a photo of Woody Guthrie by Carson from about two years before:
My favourite of the pictures I took on the anti-cuts march #march26The rest of the photos are here