Posts tagged as 'sex pistols'
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Friday, 21st Mar 2014
We are proud to introduce anarchic and influential artist, Jamie Reid, to the 2014 Laurel Wreath Blank Canvas project.
Accredited with defining the look of the late 70s punk rock scene, Jamie’s work includes one of the most famous album covers of all time, Never Mind the Bollocks, Here’s the Sex Pistols. Some 40 years on his work continues to inspire individuality and free-thinking.
The Blank Canvas project itself acts as a platform for thoughts, ideas and concepts that connect with the Laurel Wreath and what it stands to represent. Each season artists, brands or collectives are invited to customise individual pieces, in turn bringing a fresh interpretation of both their work and the garment. Jamie Reid's three designs speak of both his wit and sense of rebellion.
Belfast born, London raised, Jamie Reid was brought up in a politically active environment. During the 60s, he attended Art College with future Sex Pistols manager Malcolm McLaren. A committed anarchist from a young age, he left the capital in the early 70s, for France, and co-founded anarchistic publishing house Suburban Press. It was during this time he developed his trademark ransom note style graphics, that went onto define the look of punk.
His return to London in the mid-70s led him to the newly formed Sex Pistols. He designed the cover for the group’s debut (and only) studio album, Never Mind the Bollocks, Here’s the Sex Pistols and also co-wrote the lyrics of one of the groups most popular songs Anarchy in the UK.
The artist has continued to dedicate his work to thought provoking political ideas and messages. His touring exhibition ‘Peace is Tough’ reached cities from New York to Tokyo. The tour presented an archive of imagery spanning the decades, elements of which are present in extremely important international collections, including that of the Tate, acknowledging Reid’s importance in the narrative of 20th and 21st century culture.
In his three symbolic Blank Canvas shirt designs Jamie is inspired by three defined periods of work.
A SHORT SHARP SHOCK
Using the classic Black/Champagne twin tipped shirt as a base, the artist has applied a screen-print of his trademark ransom cut-out letters to carry the message A Short Sharp Shock. The phrase was originally used in Gilbert and Sullivan’s 1885 comic opera, The Mikado, which later became popular in music and symbolises Reid’s connection to the punk movement. The shirt is finished with a bronze embroidered Laurel Wreath and a white screen printed Jamie Reid signature on the hem including his signature OVA symbol.
PEACE IS TOUGH
Using the Fred Perry shirt in its purest form as a base, Jamie has applied multi-coloured screen prints and embroidery to illustrate Boudicca shaking her spear at the Houses of Parliament. The imagery, inspired by his time at anarchistic publishing house Suburban Press, symbolises the artists uprising to order and the establishment. The back of the shirt is fully screen printed in red with Delacroix’s Liberty Leading the People in revolt, framed by the towers of Croydon. An embroidered OVO logo couples with a Peace Is Tough print to complete the message. Finished with a black Laurel Wreath embroidery.
TIME FOR MAGIC SHIRT
In his third and final design, Jamie uses the solid black shirt to showcase some of his more recent work. The screen-printed Hare, a symbol of free-thinking, is a direct signal to Joseph Beuys, whose work ‘Free International University’ acted as a blueprint for numerous counter-cultural initiatives of the late 1960s. A combination of print and embroidery is used to create a collage of OVAs to the front. Finished with bronze Laurel Wreath embroidery.
All three designs have been produced in limited numbers for both men and women and come delivered in a special edition Jamie Reid printed envelope. You can view more detailed product images and shop the collection on our website.
Thursday, 16th Aug 2012
Malice in Ganja Land
By January 1978 the Sex Pistols had split up and John decided to go to Jamaica to help Richard Branson set up the Front Line reggae label for Virgin Records. It was also a way for him to escape the media frenzy around the bands demise. So in February I get a phone call from John asking me if I’d like to go to Jamaica. He’s figures I’m black and a mate so I must know what’s what. Truth is I’d never been to Jamaica in my life, the closest I’d been was seeing The Harder They Come in my local cinema. Never-the-less I turned up at John’s house with my passport, a plastic bag and one pair of underpants. When we checked into the Sheraton Hotel we found out that Branson had booked the whole floor. Over the next two weeks it was like exodus movement of musicians, everybody who was anybody came by to try to get a deal with the exception of Bob Marley (R.I.P), Bunny Wailer, Peter Tosh (R.I.P) and Burning Spear. Many an afternoon was spent pool-side hanging out with the likes of Prince Far I (R.I.P), I-Roy (R.I.P), The Gladiators, U-Roy, Big Youth and the Abyssinians to name a few. All the mystical names that John and I had admired for years were now blagging food and drinks from us.
Punk had no impact in Jamaica other than the odd article in The Gleaner about a strange English phenomenon. But that didn’t stop anyone being more than appreciative of “the whiteman who sell ’nuff record, gold disc an’ ’ting”. One afternoon we ended up with Lee Perry in his studio where the assembled reggae artists had been hired to do reggae versions of “Anarchy in the UK” and “Holiday in the Sun”. I can remember sitting in the smoke-filled control room listening to the cheesy reggae versions that Scratch’s bunch of hired session men were banging out. Since the project was money-led it wasn’t so much Dread at the Control, more like Bread at the Control. It was on this same trip that I made the most embarrassing comment of my life. John and myself found ourselves around Joni Mitchell’s house in Jamaica –don’t ask! We’re partaking in the local produce, as one does, when I burst out with, “What is this shit we’re listening to? Take it off!” Joni calmly replies, “It’s my new album, actually.” Back-pedaling furiously (coolly disguised by the perennial shades) I foolishly reply, “Well it’s not ‘Carrie’.” Pathetic—but for the life of me I couldn’t think of a better comeback.
Hanging with Joni
John did not want to go back to London with a suntan, so he walked around in Jamaica’s summer heat dressed in heavy black motorbike boots, black hat and heavy black woolen overcoat. He looked like Lee Van Cleef. One day Tappa Zukie took me and John to Rema, the heaviest part of Kingston—they used to call it “Jungle” and it was a no-go area for the police. I was thinking, “What is the big deal, where are all the guns?” This guy said, “yu want see a gun?” and reached into his back pocket and whipped out this massive gun. Suddenly there were loads of guns waving in the air. Me and John were shitting ourselves. Three days later, the guy that had drawn the first gun was dead. As gun crime was so prevalent in Jamaica back then, Prime minister Michael Manley had this place built called Gun Court which was essentially a big fortress; a Stalag-type place. If you were caught with a gun or even a bullet, you were sent to Gun Court for indefinite detention. He had the building painted red, because he thought “red is dread” inspired by the Clint Eastwood film High Plains Drifter where he has the town painted red. Jamaica was a country into Westerns like no other, and consequently there were recording artists called Clint Eastwood, Gregory Peck, John Wayne and Dirty Harry. Jamaicans loved Westerns and Kung Fu—there was even an artist called Bruce Lee! There was a period when the gun thing got so out of hand, the rude boys would shoot at the screens in cinemas when certain movies were showing. The solution? They put up concrete screens.
For me that trip was one of the greatest experiences of my life; reggae had got me into the punks and the punks got me closer to the reggae acts. Consequently, I became very friendly with Prince Far I, Tappa Zukie, I-Roy U-Roy and Big Youth. But the whole trip was a bit of an eye-opener for Virgin Records who went to Jamaica thinking that they would be dealing with clean-cut artists like the soul boys from America. Musicians like Prince Far-I and Keith Hudson (R.I.P) could be very scary if you caught them on a bad day and they definitely had a different way of settling business. Now I’d played Prince Far-I’s album ‘Under Heavy Manners’ at the Roxy. His voice sounded like he gargled with bleach, which sounded great on record, but him merely saying, “Good morning,” in a heavy Jamaican dialect to the staff at the record company could really sound intimidating. Prince Far I eventually fell out with Branson and would later release a track on Adrian Sherwood’s On-U Sound label called “Virgin” which included the words “Branson is a pickle with no place on my plate”. Talk about culture differences!
Just before we were due to return to the UK we decided to experience a sound-system in the Jamaican countryside. U-Roy took us out with his “Stur-Gav” sound system, a gargantuan mobile disco Jamaican-style, piled onto the back of two massive trucks. The numerous sound boys were hanging onto the equipment for dear life, because they all knew you could ‘drop a bwoy but yu can’t drop a box’. We finally reached our destination after weaving our way through some truly glorious countryside, where John and I decided to burn some herb while the sound system was being strung up. The next thing I remember is John and I being woken up and somebody saying, “We’re ready.” “Ready for what?” I mumbled. “Dance done,” was the reply. John and I had smoked and crashed out where we we’d been sitting, and that was six hours earlier!
Read all guest posts by Don Letts HERE
Tuesday, 29th May 2012
Dread Meets Punk Rockers
By 1976 the writing was on the wall. John Lydon and the other guys had taken a big swipe at the pompous stadium bands with their twenty-minute solos. A typical “event” was Rick Wakeman with his The Myths and Legends of King Arthur extravaganza at Wembley Arena—which was as far removed from reality as you could get. My white mates were totally disillusioned with this soundtrack. ELO, ELP and Rick Wakeman’s tunes said nothing about working class youth trying to survive in mid-seventies Britain. The popular music of the time no longer spoke for the people—well, none of my mates, anyway. We didn’t know where California was, never mind being able to check into a goddamn hotel. The British establishment had managed to alienate its own white youth; politically, musically, artistically and in just about every other way possible. As a first-generation British-born black of Jamaican descent, I was already well pissed off, so it was inevitable that we shared a sense of disillusionment. A lot has been made of the interaction between the punk and reggae scenes of the late 1970s. Popular music of the previous twenty years had been informed by black music—the difference was that the punks weren’t being inspired by an alien culture thousands of miles away. They were being turned on by the man next door — more River Thames than Mississippi Delta.
As I was behind the counter every day at Acme with Tappa Zukie’s MPLA Dub booming out of the speakers, I started to notice the same white faces coming down to the basement. These guys were checking me out and I was checking them out. It was like some kind of macho stand off, like in a Peckinpah Western. The guys were John Lydon, Paul Simonon and Joe Strummer. Initially we said nothing to each other and just observed. It was Jeannette that got to know them at first, and I was pretty pissed off as I did not want anyone to steal my thunder — or my girlfriend. Maybe, if it had not been for Jeannette, I would have stayed like that. Eventually everyone dropped their guard and we started talking about reggae and dub music whilst sharing a spliff in the basement. I quickly became friendly with Strummer and Simonon, but John Lydon caught my imagination in particular. John had an aura that attracted people to him, which I believe stemmed from the fact that he was very self-aware. Joe Strummer was smart too. Joe and John were the brains behind what was emerging. These guys were already into reggae and were seriously interested in the stuff I was pumping out. They were familiar with tracks like “Liquidator” and “The Return of Django”. Paul Simonon had grown up in Brixton and Notting Hill and was well informed about Jamaican culture and the music.
I was coming in with King Tubby and Lee Perry’s heavy dub. I was also playing things like Keith Hudson’s Pick A Dub, a set of records called African Dub Chapters 1,2 and 3, the Big Youth album Dreadlocks Dread and Tappa Zukie’s Man Ah Warrior album. King Tubby meets the Rockers Uptown by Augustus Pablo was my theme tune. Lydon and the Clash guys liked the music that I was playing in the shop and we realised that we had a shared interest. They dug the bass lines, the rebel stance and the musical reportage aspect of the lyrics. In other words the tunes were about subjects and themes they could relate to. It has to be said they didn’t mind the weed either. Because of the position I was in at Acme, we gravitated towards each other. I can remember later hanging out with John Lydon after the Pistols’ gig at the Nashville. We went back to my house in Forest Hill and spent the whole night talking about reggae music and Jamaican culture. We also used to hang out at the Roebuck in Chelsea, which became the punk rock pub, so to speak. We also used to go to a restaurant called Up All Night on the Fulham Road after we’d been to the Roxy. Sid used to tag along with us. We’d be eating our food and he would be annoying the other customers by burping in their faces or trying to fart on them. Sid used to do things that would draw attention to him. It was sad to see him take on the Vicious person.
Now I was the man when it came to compilation tapes. In those days they were cultural currency. People like Lenny Kaye and Patti Smith, John Lydon, the Clash and the Slits would take them out on the road with them. Patti walked in to Acme one day with Lenny. They had found out I knew Tappa Zukie and they were crazy about his album Man Ah Warrior. Patti expressed an interest in meeting Tappa and invited us all to her sold out gig at the Hammersmith Odeon. So we’re standing in the wings watching the show when Patti pulls me on stage and hands me her guitar. We’re live in front of 3,000 people. I had never been on stage in my life and could not play guitar—worries! I decided to front it out and pretended to play. Dark glasses hid my terror. Tappa and Jeannette are laughing their heads off in the wing, so I grab Tappa and pull him onstage swiftly handing him the guitar! Breathing a sigh of relief I try and exit stage left, just as Patti decides to hand me her mike, BLOODCLAAT!!! She grabs another guitar and lies down on the floor at my feet. I break into my heaviest Jamaican accent so that no one could hear that I didn’t know what I was babbling about. Needless to say there was ’nuff “cramp and paralyze them and those who worship Babylon” type stuff to cover the bluff. I look to my right, Tappa is rocking pretending to play guitar, I look to my feet, Patti is writhing on the floor, I look at the audience and they’re loving it. Jah Rastafari!
Read all posts by Don Letts HERE.
Don has been working on a series of short films exploring 60 years of British subcultures and the music, styles and attitudes that surround them. The films will be shown on Channel 4 once a week from Thursday 31st May, at 12:30am (half past midnight). For more information, visit the Channel 4 website HERE