The Last picture I took of Ari on Brighton Beack earlier this year.
It was with a huge amount of sadness and shock that I heard about the death of my friend, Ari Up this week. I first met Ari in Aberdeen in 1978 when I was 14 and she was 16, fronting my all-time favorite band, the Slits. She was my hero back then, I totally looked up to her. I’m honored to say that she also became my friend, and what a caring, compassionate and life-enhancing friend she really was! She made me feel OK about who I was – a strange, bespectacled, gay, noisy, ugly-duckling with frizzy hair – not your typical girl!
I had become immersed in the punk movement because it initially represented originality, individuality, anarchy, creativity, chaos, inventiveness but had become disillusioned when it all started to change into conformity to it’s own set of established rules. The Slits were a proud exception, they never conformed to the male-dominated, tribe-like constructs of punk. Instead they truly stuck to it’s core principles, ignoring it’s prescribed fashions and making it up themselves as they went along their merry, musical way.
Ari and the other Slits had immense musical talent and originality which was sadly never fully recognized by the mainstream industry while Ari was alive. Their seminal album “Cut” is listed in many high-profile lists of all time top albums, and it received well-deserved critical acclaim. But their music was often too challenging, uncomfortable or simply unfashionable (a term often used to describe art that is ground-breaking). But they produced so much more that remains largely ignored, including the amazing Earthbeat with it’s wonderful tribal meanderings. Give their music another listen – I dare you!
Ari at the last Slits gig in Brighton
Throughout the last few years I got to know Ari better. We worked together on some filming I did for The Slits and Ari’s other band, the True Warriors. I still have footage that we always planned to get out there but I never had time to edit. So, keep your eyes peeled and watch this space. My next project will be to edit the interviews I did with Ari and cut some of the concert footage, as a tribute to my friend.
A still from the videos I shot at the Underworld gig in Camden
Ari was never afraid to stand up for what she believed in. She always stuck up for the down-trodden in society and accepted people whoever they were. She was always gracious and kind-hearted to her “fans” and made everyone around her feel special. She was truly on-in-a-million and I will miss her so much.
Growing up in Scotland in 1975, I had no idea what was going on the other side of the Atlantic. Little did I know that American “women of punk” were in the process of breaking ground so that people like me could find a voice and be accepted despite our inherent weirdness!
The first woman who I remember having the ideals and attitude that define the category of “punk” was the wonderful and truly original, Patti Smith. I’m sure Patti hates labels as much as I do. In fact the majority of folks labeled “punk” would kick and scream against having it safety-pinned to them. Sadly it’s human nature to feel the need to classify so, Patti, sorry for calling you a punk but please see it as the badge of honor it’s intended to be!
Patti was 29 in 1975, a veteran in punk terms, when she released Horses, her debut ground-breaking mix of rock and poetry. Lenny Kaye, the bands guitarist was also a writer. Lenny has been accused of instigating the use of “Punk Rock” to describe the raw, basic, gut-formed music that was desperately in need of a genre-defining moniker.
Horses is one of my top albums of all time. It fits into my elite category of “albums I never get tired of hearing” (of which there are only about 20). She continues to record and perform today and her recent albums are just as compelling as they ever were. She’s one of those rare individuals who, as well as writing her own fabulous originals (like title-track Horses) can take other artists songs and make them completely her own, take for example her cover of Them‘s Gloria or, more recently, Nirvana’s, Smells Like Teen Spirit.
Patti also had a big influence on the “Punk look”, and on design. She was the first woman I remember seeing wearing a biker jacket, jeans and cowboy boots, just like the guys, and she looked great with her straggly hair and gaunt beauty. She lived with photographer, Robert Mapplethorpe who produced countless iconic images of Patti, including the album covers.
Patti was part of the legendary CBGBs and Max’s Kansas City scene in New York in the the early seventies. The scene was frequented by other great luminaries of the punk scene like Iggy Pop, Velvet Underground, Andy Warhol, The Ramones, Wayne (Jayne) County and of course Debbie Harry who started out as a waitress at the clubs and went on to form 80’s supergroup, Blondie. Debbie Harry brought sex to the Punk Rock movement, most female punks were considered unattractive by regular guys but Debbie Harry toyed with their affections by pouting at the camera, then following this with mocking, teasing gestures. Sadly, partly due to her cuteness, I think she never got the recognition she deserved as a top song-writer and performer. She and Blondie wrote some of the greatest punk love songs of all time including “Picture This“, “Denis“, “Hangin on the Telephone” and “In the Flesh“. After all, punks fall in love too y’know!
Nico became noticed as part of the Velvet Underground/ Andy Warhol scene at the Chelsea Hotel in New York. Her gorgeously, deep, flat vocals can be heard on Femme Fatale, I’ll be Your Mirror and All tomorrow’s Parties as well as others considered to be some of the best Velvet Underground tracks. Although the Velvets can’t really be considered punks their influence on the punk movement can’t be underestimated. People like Siouxsie Sioux had ground broken for them by the likes of Nico with her fusing of 60’s Berlin beatnik, Marlene Deitrich style deep vocals and a passion for the art of singing that can also be seen in the likes of Beth Gibbons from Portishead.
There were countless other acts that influenced me and others, and still continue to do so. Joan Jett was a rock chic of the highest order, as was the Pretenders, Chrissie Hynde. You just have to look at the amazing Alison Mossheart of The Kills, Discount, and more recently, Dead Weather to see their influence carried down the generations.
Without these ground-breaking women we wouldn’t have had PJ Harvey, Kate Bush, Annie Lennox, Madonna, Bjork who are mainstream pop icons of today. And we definitely wouldn’t have any of the women that formed the UK punk scene who we’re going to take a look at in the next installment. I hope you enjoy my little nostalgic trip down memory lane. Please listen to the music and please feel free to chime in if you think I’ve missed anyone!
After receiving good feedback for my blog on the influence of punk on design, I thought I’d keep on subject and write about the women of “punk” who inspired me personally, not just creatively, but in almost everything I do.
I went to see my old friends The Slits last week in Brighton Concorde 2. They were just as amazing as ever, I don’t know how Ari, Tessa and the others have the energy to get up there every night and do their thing, as well as travelling. I was lucky enough to work with The Slits a few years back, producing and directing a live shoot of their gig at the Royal Festival Hall, part of Morrisey’s Meltdown Festival.
It’s funny, I was slightly concerned that it may be a mistake to meet my old punk heroes after so many years (I originally met them briefly in 1979) but I needn’t have worried, they were just as inspiring, revolutionary and refreshing as they ever were. Still continuing to break new ground and fighting against a music establishment that still considers it a novelty when women can write and play innovative and accomplished music.
What I really loved about The Slits, growing up was their originality. They were unlike any of the other “punk” bands. They didn’t seem to want to conform to the usual punk stereotypes of girls in fishnets and bondage clothing, their dress sense and music was taken from a wide range of different styles and cultures, uniquely “Slitsy”.
Their lyrics were confrontational, witty and anti-establishment in the most personal and positive way, they sang songs about the lives that “Typical Girls” led. They, like me, looked as if they would have had trouble “fitting in” before the punk movement came along, I could identify with them. And on top of that, I loved their music, a mix of reggae, dub, punk, soul and all sorts of other influences meant there was nobody else quite like them. Their rendition of Marvyn Gaye‘s “Heard it Through the Grapevine” is still one of my favorite cover-versions of all time.
It was a funny old day, the day of the Brighton gig. I regularly take my niece out on a Saturday morning, we go down to our local beach cafe for breakfast and to talk about life, the universe and everything! And who should we bump into but Ari, Tessa and co having breakfast! So we sat with them and they invited my niece Frankie along to the gig that night.
We all popped along there in the evening and had the best night out ever, The Slits were amazing, the crowd were lovely, lively and very friendly. Ari looked after us well, making sure that we got a safe spot, right at the front so that Frankie, and her friend, Faye didn’t get squashed.
They have a new album out, Trapped Animal, which I haven’t yet heard but has got good reviews. And Island Records are re-releasing their brilliant, seminal album, Cut as part of their “top 50 Island Records”.
So, it’s inspired me to start a series of blogs on women who have inspired me in my work. I’ll start with the ones considered to be “punks” and see where that takes me. Next week I’ll go back in time a little and look at some of my musical heroes from across the pond including Patti Smith and Nico.
In this final blog-episode about the influence of Punk on Design I intend to highlight some of our own designers who are clearly influenced by Punk. I’ll start by mentioning one or two that emerged directly from the movement that followed the first few seeds sprinkled by the like of Vivienne Westwood and Jamie Reid, who I spoke about in the last episode.
The influence of fanzines like Sniffing Glue cannot be overlooked. Mark Perry, who was also the singer in Punk Band, Alternative TV started his fanzine in the summer of 1976, when the Punk Rock scene was at its most vibrant stage. At that time there was no media positively covering the emerging scene (although the mainstream British press were doing a good job of filling their front pages with outrage and condemnation). The amateurish and scrappy layouts took the whole ethos of Punk and applied it to magazine layout. Anyone could do this, all you needed was some paper, a marker pen, a creative mind, passion and a photocopier. In terms of layout and design there were no limits, to restrictions, no rules. It was a complete disregard for established “rules” of design” that allowed designers to wipe the slate clean and start again with a fresh new look.
It’s American counterpart, Punk ran for slightly longer, till 1979. This had a slightly more considered, “designed” look, using cartoonist, John Holstrom’s fabulous Crumb-esque characatures of the likes of Iggy Pop, The Ramones, Debbie Harry and Lou Reed to adorn it’s pages. It was slammed for being light-weight in comparison to it’s British counterparts. It was quite weak and was run as a business so lacked the passion and energy that Sniffing Glue was oozing with. But that shouldn’t detract from some excellent imagery produced by the artist-in-residence.
It wasn’t long before trained Graphic Designers started to adopt the styles and freedom that Punk provided. The first example that really stood out for me was the cover of a single by Manchester band, The Buzzcocks. The image on the cover was a collage created from body parts from porn magazines, torn and composited, collage-style; the head of the woman was replaced with an iron. The image was designed by Linder Sterling, an artist and collaborator on the fanzine, Secret Public. Sleeve designer, Malcolm Garret who had just left art college was responsible for the Bauhaus-inspired typography, composition and color choices. He went on to design all the subsequent covers for the Buzzcocks, then Duran Duran, Peter Gabriel and others. Malcolm really got the punk style established and has had continued success as one of our most well respected typographers and designers.
Other designers followed in the same vein. Neville Brody left college in 1980, where he designed posters for bands including the Human League. He went on to design artwork for post-punk bands like Depeche Mode and was catapulted to huge success after his work on the Face magazine. He is now an established graphic designer and typographer designing style for huge brands like the Guardian newspaper, and having work exhibited at the Victoria and Albert Museum.
Peter Saville was another contemporary who designed sleeves for Joy Division, New Order, Ultravox and developed the influential style of Factory records. His minimal style still looks current when placed next to contemporary designs.
So, these are a few examples of designers who have carried the influence of Punk through to today. I’m sure I’ve missed a few gems so please feel free to submit comments, inspirations and ideas. You can look everywhere to see design influenced by Punk and I’d love to see some of your own examples and comments.
Last week I spoke about the influence of punk in motion graphic design, the Punk rock revolution in the UK and how inspiring it was to young people like me. Today I’ll talk about some of the great designers who emerged from that scene. I’ll start by looking at two of the key players who defined the style of the Punk Rock movement in the UK.
There’s not one person responsible for the style of Punk, it was a coming together of minds and styles. A collective, group activity gained momentum, and as a result, the various styles of the people involved merged into an established fashion. But the pivotal people were the ones who recognized the elements that would excite and brought them together with style, panache and, of course an eye for design.
The punk movement grew out of a basic disillusionment, with the establishment, the music scene, fashion, the media. What better way to show your dissatisfaction than to tear it all up and start again? That’s exactly what punks did. Essays on design refer to this as Deconstruction. This wasn’t a new concept, post-modern art movements like the Dadaists and, ironically, the Constructivists used techniques of disassembly and reassembly to shake up the status quo and embrace a new way of looking at things.
In New York in the early seventies, bands like the New York Dolls would dress up in womens clothes in an attempt to shock away the apathy that existed in the music scene. Richard Hell was the one who became a blueprint for thousands of young punks, defining the spikey hair and ripped t-shirt look before anyone else. But it was really Vivienne Westwood who took the look and developed it into a recognizable style. Now one of our top designers, she started off with a small clothes shop on the Kings Road in London. She and Malcolm McClaren owned Let it Rock, a shop selling biker gear and teddy boy clothes. In 1974 this was revamped and renamed SEX, catering to the S&M scene and positioning itself nicely to shock the nation and take punk rock to the headlines.
The Sex Pistols hung out in the shop and that’s where the whole thing took off, the band formed, McClaren became the manager, and Vivienne designed clothes for them under the label, Seditionaries – it was a symbiotic relationship. At Art School Malcolm McClaren met Jamie Reid, a political activist and Situationist who was producing a radical magazine called Suburban Press. He used a cut and paste style of graphics in this magazine, and it was then that he defined his trade-mark ransom-note lettering that was made famous by the Sex Pistols first album Never Mind the Bollocks, Here’s the Sex Pistols.
In the next installment we’ll take a look at the designers who emerged from, or were directly influenced by the Punk movement.
I was asked on Twitter to write a blog about the early days of Punk in the UK and the influence of Punk on the world of motion graphic design. I am influenced heavily by the punk movement that started in the seventies in New York and London. I was 12 when it all started to kick off in the UK with the Sex Pistols and their entourage, the Bromley Contingent causing joyful havoc in the UK media.
Before the punk scene things had become very sterile and safe. Politically, the UK was in a mess with regular strikes and power cuts disrupting everyday life. The music scene was drowning in boring “prog rock” and endless, indulgent guitar solos. Something had to give!
Then along came the idea that you didn’t have to put up with what you were being spoon-fed. The disillusioned youth of Great Britain realized they could make their own music, art, magazines and fashion. Using the influence of the New York underground music scene (Patti Smith, The New York Dolls, Richard Hell, Iggy Pop, Velvet Underground, The Ramones) the kids of the UK took it upon themselves to create a whole new genre and to revolutionize a complete culture in a way that had never been done before (or has ever been done since).
As you can imagine, this was a really exciting time for a teenager to grow up. It wasn’t really till 1977 that I got hooked into the Punk scene. I loved it! Before then I was an awkward, funny-looking, scruffy, Tom-boyish kid with glasses who didn’t really fit in. I survived at school by being the class clown, and that way avoided any physical abuse from my fellow classmates, but I was regularly ridiculed for being “the outsider”. Suddenly with the Punk scene I could belong! It’s ironic, isn’t it, that the movement that purported to be all about being different, and not caring what other folks thought, became a lifeline of acceptance to kids who didn’t fit in anywhere else. It wasn’t that we wanted to be different, and didn’t care, it’s that we cared and desperately wanted to belong to anyone who’d have us. It’s human nature to want to feel like part of a gang, or a movement.
Anyway, inevitably, the vultures descended, and what started as a revolutionary, do-it-yourself, creative movement turned into just yet another fashion. Mainstream media quickly gobbled it up and spat it out as a kind of bastardized version of what it one was, and things have never been quite the same again.
However, the marks and influences of the punk movement are still alive and kicking today. Next week I’ll look at some of the deigns of today that were influenced by this movement.
