Posts Tagged ‘Michael Moorcock’

Moorcock on Ballard, Bubbles, Platt, Paolozzi et al

Saturday, July 10th, 2010

Pedro Marques has posted the second installment of his interview with Michael Moorcock, in which the great man discusses his working relationship with designers not only of his books but also New Worlds, the sci-fi magazine he edited over a long period .

New Worlds, August 1967. Cover: Eduardo Paolozzi.

The interview reveals the mutual respect shared by Barney Bubbles and art director/editor/and later WIRED contributor Charles Platt.

New Worlds August 1969. Cover: Charles Platt.

“Barney and Charles lived a few blocks from one another in the Portobello Road and its environs, where the offices of New Worlds and Frendz were situated virtually side by side,” says Moorcock, whose 1975 album The New Worlds Fair is housed in a Barney Bubbles sleeve.

12in sleeve. The New Worlds Fair, Michael Moorcock & The Deep Fix, UA, 1975.

Later on in the decade the New Worlds art director was Richard Glyn Jones.”By the time [Barney] was at Stiff Records, he had more work than he could handle and I never wanted to overload him, he was such a sweet guy,” says Moorcock.  “But I would have used him if I could.”

Stacia, second left, with fans at Harlow Town Park, August 1974. Photo via Bassmonster 2 at Hawkwind Free Forums.

I was thrilled that Moorcock was available to make many valuable contributions to Reasons To Be Cheerful, not least because I clearly remember him intoning excerpts from Warrior On the Edge Of Time oonstage with Hawkwind at a 1974 free festival in Harlow New Town, surrounded as I was by members of the Windsor Chapter, all of us captivated by the onstage antics of Stacia and Nik Turner (playing his sax dressed as a frog, naturellement)

Since we’re on the subject of MM, I’d also like to urge you to check out the recently published and wonderful John Coulthart-designed compendium of Moorcock’s writings, Into The Media Web.

Zip Nolan: an intriguing exclusive

Monday, April 27th, 2009

We’re indebted to Doug Smith for providing this original and previously unpublished Barney Bubbles artwork complete with printing instructions.

(c) Doug Smith 2009

Logo by Barney Bubbles. (C) Doug Smith 2009.

The former Hawkwind manager and a close friend of Barney’s, Doug says: “I always thought we asked him to do it, but what with my memory being what it is, I wasn’t sure. Anyway, I came across it the other day and sure enough there’s Barney’s writing at the bottom.”

Zip Nolan Highway Patrol was a creation of Barney’s friend Michael Moorcock dating back to the late 50s, and appeared in Fleetway Publications’ comic Lion in various forms until the early 70s. Original artwork is currently fetching three figures on eBay.

Original Zip Nolan artwork, 1963.

Original Zip Nolan artwork, 1963.

In 2005 the Zip Nolan character was revived in the six-issue Albion, plotted by Alan Moore and written by his daughter Leah Moore and her husband John Reppion. This was published as a book by Wildstorm in the US and Titan in the UK.

Left: Albion number 3. Right: The Albion book

Left: Albion issue 3. Right: The Albion book, Titan.

Michael doesn’t recall having seen Barney’s Zip Nolan logo until now. “I’d guess it was Barney doing a pop art rip,” he says. “I hadn’t written a Zip Nolan since 1963.”

As revealed here, Barney had worked for Fleetway around that time, having been commissioned to produce a Mods & Rockers special for the company in 1964 (which gave rise to the R&B Here Tonight t-shirt  and the award-winning Muleskinners poster).

The lettering style of Barney’s Zip Nolan logo chimes with that for The Glastonbury Fayre triple-album package of 1972.

Left: Clear vinyl envelope. Right: Booklet cover. The Glastonbury Fayre, Revelation, 1972. (C) Jeff Dexter.

Left: Clear vinyl envelope. Right: Booklet cover. The Glastonbury Fayre, Revelation, 1972. (C) Jeff Dexter.

1972 also saw the publication of a Lion annual featuring on it’s cover – who else? – Zip Nolan. And the character was to inspire a single of the same name a few years later by The Cult Figures, an obscure power-pop tune produced under the wing of indie pioneers Swell Maps.

Sphynx: Symmetry, symbolism and shape

Wednesday, February 25th, 2009

Ahead of The Roundhouse celebration on March 8, Nik Turner has posted a set of reminiscences about his exciting creative relationship with Barney Bubbles.

These provide us with an opportunity to reveal exclusive images surrounding one of Nik and Barney’s most intriguing collaborations (which also centred on a multi-media happening at the same venue).

As covered by his stellar contribution to Reasons To Be Cheerful, Nik’s friendship with Barney began at the dawn of the 70s when they were introduced by the late writer and performer Robert Calvert.

 

Hawkwind Love & Peace poster (c) N. Turner.

Hawkwind Love & Peace poster (c) N. Turner.

“We struck a chord in each other,” says Nik. “Barney came along to a Hawkwind gig and saw that my vision of the band’s spirit embodied a lot of the concepts and ideals to which he related. After that he was happy to apply his creative energy, designing the Peace & Love poster for us, and then the X In Search of Space album sleeve, log-book and concept.”

Full-page advert for X In Search Of Space, Oz 38, 1971.

Full-page advert for X In Search Of Space, Oz 38, 1971.

Barney realised the visual identity of Hawkwind on every level as the space-rockers progressed through the first half of the 70s. When Nik left the band in 1976 he embarked on a trip to Egypt. “That was in part inspired by the common interest Barney and I had in Egyptology and ancient civilisations,” Nik explains.

“While there I recorded flute music inside the King’s Chamber of The Great Pyramid, and this became the album Xitintoday by my new group Sphynx.”

Xitintoday promotional poster. (c) N. Turner/Reasons 2009.

Xitintoday promotional poster. (c) N. Turner/Reasons 2009.

Barney agreed to design the album sleeve and booklet on condition that he applied the principals of concrete poetry (where typographical arrangement is as important as the words in conveying meaning).

Barney’s mastery of typography had long enabled him to communicate depth of meaning in this way, so concrete poetry became a natural area of investigation for a visual artist fascinated by symmetry, symbolism and shape.

These, of course, were central to his other abiding interests such as cosmology and Egyptology, as evinced by the poster he designed to promote the release of Xitintoday, which is constructed around a favourite symbol of Barney’s, The Eye of Horus.

When he was approached by Nik, Barney had already embarked on developing a series of concrete poetry artworks in 12″ x 10″ frames for a group exhibition which he was helping to organise at his London squat. He also planned the printing of a limited edition of a poem which consisted of one word:  ”nowhere”. This appears in the booklet he designed for Xitintoday as do many other examples, such as the word “day” made up of repeated use of the word “night” in white on black.

Sketches and word pictures. (c) D.Fawcett/Reasons 2009.

Examples of Barney's concrete poetry. (c) C.Fawcett/Reasons 2009.

As this page of drafts and notes shows, Barney was fascinated by the form. Among the options are the Xitintoday cover’s constellated tiny pentagrams created from the word “twinkle”.

Big star: detail from Xitintoday;s front cover

Big star: detail from Xitintoday's front cover.

Barney’s interest in concrete poetry was stimulated by his relationship with the photographer Frances Newman, who was later to marry his friend Brian Griffin. Newman’s partner had been Tom Edmonds, the concrete poet who died in 1971 and contributed to the important collection Gloup And Woup along with such exponents as Bob Cobbing, John Furnival and it’s most celebrated figure, the Benedictine monk Dom Sylvester Houedard.

Xitintoday front cover, Charisma records, 1978.

Xitintoday front cover, Charisma Records, 1978.

Xitintoday’s release was heralded by an all-day happening at The Roundhouse, for which Barney choreographed the dancers in Sphynx’s stage show.

Do not lick this dot. Summer 1978. (c) G. Colson/Reasons 2009.
“Do not lick this dot’, Summer 1978. (c) G. Colson/Reasons 2009.

Billed as Nik Turner’s Bohemian Love In, this featured an eclectic supporting cast, including ex-Bonzo Dog Doo-Dah band member Roger Ruskin Spear and his robots, former T. Rex member Steve Took’s Horns, punk poets Patrik Fitzgerald and John Cooper Clarke, sci-fi author Michael Moorcock and Tanz Der Youth, the band briefly led by The Damned‘s Brian James.

Both John Cooper Clarke and Tanz Der Youth also benefited from Barney designs; the former with his songbook Directory 1979 and the latter in the shape of the sleeve for his Radar single I’m Sorry, I’m Sorry.

Im Sorry Im Sorry by Tanz Der Youth, Radar 1978

I'm Sorry I'm Sorry by Tanz Der Youth, Radar, 1978.

Among the attendees at The Bohemian Love In were Calvert and Hawkwind founder Dave Brock, both then putting together new  group Hawklords and recording dystopian concept album 25 Years On.

Hawklords postcard 1978.

Hawklords postcard 1978. Pauline Kennedy Collection.

They brought Barney on board and, working with photographer Chris Gabrin, he moved away from concrete poetry into bleak futurism and monochromatic expressionist territory to which he applied the new punk day-glo spray-can aesthetic. This is covered extensively in Reasons, as are the rest of Nik’s collaborations with Barney, through the releases by his band Inner City Unit to the extraordinary Ersatz under the guise of The Imperial Pompadours.

“Throughout this period I lived with Barney off and on, in various studios and houses,” says Nik, who is organising the event with another of Barney’s friends, promoter John Curd.  ”We always had wonderful times together, full of inspiration and creativity, weird, wild and wacky. I’ll always remember him as being a great fan of object trouve, and feel a debt for all his help and inspiration over the years.”

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Two free tickets for The Roundhouse event

This week we are giving away two free tickets for The Hawklords/Space Ritual 09/Barney Bubbles Memorial event at The Roundhouse on Sunday, March 8.

Grab a chance of winning them by sending your answer to the question below to: thelook@rockpopfashion.com by midnight GMT on Sunday March 1.

We’ll announce the lucky winners the following day.

Q: Who recites Sonic Attack on Hawkwind’s The Space Ritual Alive in Liverpool and London?

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