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Oh So Pretty Punk in Print 1976–80

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Oh So Pretty Punk in Print 1976–80 OH SO PRETTY PUNK IN PRINT 1976–80 ESSAY BY RICK POYNOR THE MOTT COLLECTION OH SO PRETTY PUNK IN PRINT 1976–80 ESSAY BY RICK POYNOR THE MOTT COLLECTION A PUNK’S PROGRESS TOBY MOTT 7 GRAPHIC ANARCHY IN THE UK RICK POYNOR 7 1976–80 19 POSTER FOR THE SEX PISTOLS’ SINGLE In the iconic poster for The Sex Pistols’ first single, cal dimension of the burgeoning punk rock movement, POSTER FOR BLONDIE’S DEBUT Issued by the band’s first label, Private Stock Records, necessary to market an unknown act, but the sexu- ‘ANARCHY IN THE UK’ Reid clipped ‘blackmail’ typeface to a shredded, and Reid’s handmade graphic style contributed to the ALBUM BLONDIE Blondie’s eponymous debut album appeared in the alised image met with an unfavourable reaction from Jamie Reid pinned-together souvenir flag. Photographed by Ray do-it-yourself ethos of punk subculture. c. December 1976 United States in December 1976. The small indepen- the band. Disagreements over the publicity and weak 26 November 1976 Stevenson, the poster’s symbolism suggests the politi- 70.4 x 43.1 cm, 27¾ x 17 in dent company argued that the large colour photograph album sales led Blondie to buy back their contract and 72.3 x 97.1 cm, 28½ x 38¼ in of singer Debbie Harry in a translucent blouse was sign with Chrysalis in 1977. 6 7 SIDEBURNS #1 Tony Moon’s fanzine includes a five-page Stranglers order to fill a blank page two, Moon wrote and illustrated Tony Moon feature with a Jet Black interview, live reviews of Eddie & what turned out to be one of the most iconic directives January 1977 The Hotrods at the Roundhouse, plus bits on Lew Lewis of the punk era: ‘This is a chord. This is another. This [no dims] & The Darts. On page three, a short editorial vividly is a third. Now form a band.’ The stark simplicity of the recounts the beginnings of the London punk scene. In instructions encapsulates punk’s DIY ethos. 8 9 FLYER FOR THE VIBRATORS, The Vibrators’ ‘Pure Mania’ tour dates are printed on POSTER FOR THE DAMNED AND THE SLITS AND OTHERS back of the flyer, which incorporates images from the THE ADVERTS AT THE UNIVERSITY 30 June 1977 group’s debut album. OF LANCASTER 20.9 x 29.2 cm, 8¼ x 11½ in 27 June 1977 75 x 50.1 cm, 29½ x 19¾ in 10 11 BANNER FOR THE SEX PISTOLS’ Sex Pistols guitarist Steve Jones said he picked up the ‘stop talking rubbish’. When the phrase was judged ALBUM NEVER MIND THE BOLLOCKS, phrase ‘never mind the bollocks’ from two fans who an ‘indecent advertisement’, only Virgin’s legal efforts, HERE’S THE SEX PISTOLS often said it to one another. The group’s singer, Johnny helped by barrister and author Sir John Mortimer, 1977 Rotten, explained it as a working-class expression for allowed the band to keep it in the title. 29.2 x 87.6 cm, 11½ x 34½ in 12 13 POSTERS FOR THE CLASH SINGLE In-store promotional poster was distributed in both ‘CLASH CITY ROCKERS’ colour and black-and-white. Jamie Reid 17 February 1978 102.8 x 76.2 cm, 40½ x 30 in 14 15 CONCERT FLYER FOR SIOUXSIE & THE The back of this flyer warns against ‘pogo dancing’, a BANSHEES, THE ADVERTS, MOTORHEAD, style of dance that involves vigorous jumping up and THE VIBRATORS, GENERATION X AND down. It was so popular among punks that, in 1976, BUZZCOCKS AT THE GREYHOUND, CROYDON The Vibrators recorded the song ‘Pogo Dancing’. February 1978 21.5 x 13.9 cm, 8½ x 5½ in 16 17 FLYER FOR JOHNNY MOPED AT THE Captain Sensible of The Damned made a guest FLYER FOR SIOUXSIE & THE BANSHEES Singer/guitar player Spizz (Kenneth Spiers) was the under different names. Spizzenergi’s single ‘Where’s MARQUEE CLUB, LONDON appearance on stage, playing lead guitar. AND SPIZZOIL AT THE RUSSELL CLUB, chief force behind punk/new wave band Spizzenergi, Captain Kirk?’ was first to top the UK Indie Chart in 17 July 1978 MANCHESTER aka Athletico Spizz 80, Spizzoil and The Spizzles – early 1980. 20.3 x 14.6 cm, 8 x 5¾ in 20 July 1978 the band’s annual name-change was part of Spizz’s 74.9 x 60.3 cm, 29½ x 23¾ in abortive attempt to set a record for most recordings 18 19 POSTER FOR BUZZCOCKS’ ALBUM Distributed through The Secret Public, the Buzzcocks’ JOHN COOPER CLARKE In this book by English performance poet John Cooper The Sex Pistols, Joy Division, Siouxsie & The Banshees BEATING HEARTS fan club. Sterling’s group Ludus also supported the Barney Bubbles (design) Clarke, 12 poems accompany photographs by Kevin and Elvis Costello. Linder Sterling band on part of its ‘Beating Hearts’ tour that year. 1979 Cummins, Tom Sheehan and Paul Slattery. Clarke 1979 25.4 x 17.7 cm, 10 x 7 in opened for major punk and new-wave acts, including 70.4 x 48.8 cm, 27¾ x 19¼ in 20 21 BOOK SPECIFICATIONS KEY SALES POINTS Binding: Paperback 2016 marks the 40th anniversary of the birth of punk Format: 280 x 215 mm (11 x 8 ½ in.) Extent: 512 pp Many of the bold and stripped-down graphics (all part of Toby Mott’s private Number of images: 550 col and b/w illustrations archive) have never before been published Word count: 27,000 ISBN: 978 0 7148 7275 9 The collection includes crudely cut and pasted flyers for iconic bands, such as The Clash, The Damned, The Ramones, The Jam, etc., as well as Jamie Reid’s Phaidon Press Limited legendary gig posters for The Sex Pistols Regent’s Wharf All Saints Street The book also presents a wide selection of zines, including Mark Perry’s covers London N1 9PA of Sniffin’ Glue, the quintessential document of the punk movement Phaidon Press With today’s economic and political climate, emphasis on DIY culture, and 65 Bleecker Street backlash against the monetization of nearly everything, the spirit of creativity, 8th Floor protest, and authenticity is as powerful and relevant today New York, NY 10012 as it was four decades ago © 2016 Phaidon Press Limited phaidon.com.
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