60S: Exploring a Period in ‘Living Memory’ at Key Stage 1 Karin Doull
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The Great Rolling Stones Redlands Bust
THE GREAT ROLLING STONES REDLANDS BUST By David Bartley ‘Naked Girl at Stone’s Party’ On Sunday the 12th of February 1967 one of the mothers of all battles of that turbulent and sadly maligned decade was set in motion. In one corner the emerging hippy movement; in the other, the forces of conventional middle-class morality. Mick Jagger and Keith Richards (then styled ‘Richard’) of the Rolling Stones were arrested for drug offences. Three months later, Jagger and Richards were tried and sentenced to three months’ and a year’s imprisonment respectively. Mick for possession of amphetamines (sold legally as travel sickness pills in Italy, where they were purchased), Keith for allowing cannabis to be smoked on his premises – Redlands, in West Sussex. They were Quickly released on appeal, but these absurdly vindictive and disproportionate sentences caused an uproar. The new Establishment of the ‘counter-culture’ – including The Beatles and The Who - rallied behind the two Stones and then, remarkably, so did The Establishment. The editor of the Times, William Rees-Mogg, risked a contempt of court charge by publishing an editorial decrying the evident unfairness of the sentences. Common sense ultimately prevailed: matters were Quietly arranged so that the boys quickly won their appeal. The plot to crush the longhairs, with their drugs and their loose sexual attitudes had backfired – spectacularly. Far from penitent pariahs, Mick and Keith were now Promethean heroes, Oscar Wildes for their times. So just how did the NCO class of the old Establishment – the News of The World, the minor judiciary, the police - make such a mess of what was meant to be an exemplary spanking for the Stones and their louche admirers? Here is the countdown to calamity. -
George Harrison
COPYRIGHT 4th Estate An imprint of HarperCollinsPublishers 1 London Bridge Street London SE1 9GF www.4thEstate.co.uk This eBook first published in Great Britain by 4th Estate in 2020 Copyright © Craig Brown 2020 Cover design by Jack Smyth Cover image © Michael Ochs Archives/Handout/Getty Images Craig Brown asserts the moral right to be identified as the author of this work A catalogue record for this book is available from the British Library All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins. Source ISBN: 9780008340001 Ebook Edition © April 2020 ISBN: 9780008340025 Version: 2020-03-11 DEDICATION For Frances, Silas, Tallulah and Tom EPIGRAPHS In five-score summers! All new eyes, New minds, new modes, new fools, new wise; New woes to weep, new joys to prize; With nothing left of me and you In that live century’s vivid view Beyond a pinch of dust or two; A century which, if not sublime, Will show, I doubt not, at its prime, A scope above this blinkered time. From ‘1967’, by Thomas Hardy (written in 1867) ‘What a remarkable fifty years they -
1960S Fashion Opposition to the Vietnam War by the Young and an Age of Social Protest—Led to New, Radically Different Youthful Clothing Styles
1950s, Mother and Daughter Styles 1960s fashion Opposition to the Vietnam War by the young and an age of social protest—led to new, radically different youthful clothing styles 1960 1967 1960’s: Mary Quant invents the miniskirt and helps to usher in a new age… She supported the anti-parent philosophy of life as fun “Working class design, British fashion, Rock and Roll, The Beatles, Carnaby Street…all of a sudden everything came together.” Robert Orbach Lesley Hornby= Twiggy In the 60’s Fashion became central to a young person’s identity • Known for the high fashion mod look created by Mary Quant • Twiggy changed the world of fashion with her short-haired, androgynous look • Embodiment of Youth-quake generation • Face of the decade • Wide-eyed elfin features and slight builds— hence her nickname • Her style has dominated the runways for forty years • She was also famous for drawing long, fake eyelashes under her bottom lashes. These are, unsurprisingly, named “Twiggys.” • Twiggy was regarded as one of the faces of 1960s Swinging London 1960’s model Twiggy recreates the flapper look of the 1920’s. Two revolutionary decades for women and fashion New fabrics that contributed to new clothing styles • Polyester: easy-care, easy-to-wear • New fabrics were comfortable to the touch, wrinkle free, and care free • Perfect match for simple miniskirts and short tunic dresses of the era • Vinyl (also called PVC) was a shiny, wet- look plastic, easy to color and print with flamboyant designs. Was used at first for outerwear then for everything including -
Art 142: the History of Photography Unit 8: Mass Media and Marketing Mass Media and Marketing
Art 142: The History of Photography Unit 8: Mass Media and Marketing Mass Media and Marketing The end of WWI propelled a period of experimentalism in photography that shattered the Victorian conventions and generated a new, modern covenant with the social world. Mass Media and Marketing Dada and After ● “Dada, a nonsensical sounding word chosen by a group of writers, artists and poets ● Identifies a new emerging art movement able to express despair brought on by WWI and break conventions and intellectual barriers ● Christian Schad, German artist associated with Zurich Dada group made, “Schadographs”. ● May have been referencing both “Shadowgraphs or the german word, “Schaden” which means damaged evoking the Dada sense of things falling apart. Christian Schad, Schadograph 24b, c. 1920. Gelatin silver print. Mass Media and Marketing Dada and After ● Berlin Dada group more political than Zurich group and wanted to make social statements. ● Adopted photomontage as a key medium, a “paste picture” or Klebebild finished as a photograph Hannah Höch, Schnitt mit dem Küchenmesser Dada durch die letzte weimarer Bierbauchkulturepoche Deutschlands (Cut with the Kitchen Knife Dada through the last Weimar Beer Belly Cultural Epoch of Germany), 1919. Photomontage. Nationalgalerie Staatliche Museen, Preussischer Kulturbesitz, Berlin. Mass Media and Marketing Dada and After ● Hannah Höch and Raoul Hausmann were two of the earliest dadaists to make photomontages ● Höch engaged the theme of New Woman, images juxtaposed traditional roles of women with symbols of modernity ● Hausmann, one of the few communists that insisted on women’s equality in any new society. Hannah Höch, Denkmal I: Aus einem ethnographischen Museum (Monument 1: From an Ethnographic Museum), 1924. -
Pattie Boyd Has Seen It All and Then Some
ARTS ARTS attie Boyd has seen it all and then some. lying supine on a bed in Southern India in 1968, “the As a model in 60s London she worked last time I saw him looking so relaxed and calm.” She alongside Twiggy and Pat Booth, landed photographed Ronnie and Krissy Wood in the early multiple magazine covers, and was hours of the morning – still going strong from the Pcaptured on film by David Bailey, Norman Parkinson night before. She captured Clapton from the side of and Lord Snowdon. She was the buxom blonde with the stage in all his slow-handed glory. Throughout the the baby blues and gap teeth, the “new contemporary intense highs and dramatic lows, what have remained face” of 1964. are Boyd’s pictures – a window into the private Then she met and married Beatle George Harrison. world of the privileged, the experimental and the She endured kicking and spitting from crazed Beatles tremendously talented. fans. She travelled to India with the band on their While preparing for the opening of her exhibition notorious quest for spiritual enlightenment. Soon after Through The Eyes of a Muse in Sydney, the adorable Dylan turned the fab four onto marijuana, Boyd and and open Pattie Boyd spoke to Russh from her Sussex Harrison were dragged, hand-cuffed, from their home home about meditating with the Maharishi, keeping following a drug bust. She witnessed the lads from up with the boys on tour, opening a Pandora’s box and Liverpool crumble under the intense pressures of how her camera helped her to see the light. -
Fashion in The
1 Sheffield U3A 1960s Fashion Project: What We Wore Sheffield U3A 60s Project 2018 – Fashion Group narrative 2 This document has been compiled by members of the Sheffield University of the Third Age (SU3A) who formed a Fashion Group as part of a wider Remembering the 1960s project. The group met regularly during 2018, sharing memories, photographs and often actual items of clothing that they wore during the 1960s, when most of the group were teenagers or young adults. The 1960s was a very exciting time to be a young fashion-conscious person, with most having enough spare cash to enjoy the many new styles pouring out of the waves of creativity which characterised the decade in so many ways. New easy-care fabrics became available, and cloth was still cheap enough to enable most women to copy the latest designs by making garments at home. In fact, the ubiquity of home-dressmaking was a key factor which emerged from our project and represents one of the biggest changes in everyday clothing between the 1960s and 50 years later. In those days almost every family had someone skilful enough make their own garments, and doing so was generally less expensive than buying clothing. Many books and a wealth of information and online resources are now available for students of 1960s fashion history and it is not our intention here to repeat that well-documented narrative. Instead we wanted to tell our own stories and record our personal recollections of our favourite outfits and memories associated with them. We did this by sharing and talking about our photographs, by showing each other garments and accessories we have kept and treasured, by reminiscing, and by writing up those reminiscences. -
Fashion Revolutionary Mary Quant Comes to Tāmaki Makaurau in a Major Exhibition This Summer
MEDIA RELEASE WEDNESDAY 11 AUGUST 2021 Fashion revolutionary Mary Quant comes to Tāmaki Makaurau in a major exhibition this summer Mary Quant and Vidal Sassoon, 1964. © Ronald Dumont/Daily Express/Hulton Archive/Getty Image ‘It is given to a fortunate few to be born at the right time, in the right place, with the right talents. In recent fashion there are three: Chanel, Dior and Mary Quant.’ – Ernestine Carter An international exhibition exploring the work of legendary fashion designer Mary Quant is set to open at Auckland Art Gallery Toi o Tāmaki this summer. Here from the V&A in London, Mary Quant takes a look at the fashion icon who harnessed the youthful spirit of the sixties and embraced new mass production techniques to create a new look for modern women. Auckland Art Gallery Director Kirsten Lacy is excited to share the fashion revolutionary and youthquake of the 1960s with New Zealanders through an exhibition that cleverly explores Quant’s transformative effect on the fashion scene. ‘Mary Quant was all about revolution. She dressed the liberated woman with her fun, youthful and creative designs. Quant made designer fashion affordable for working women, overturning the dominance of luxury couture from Paris,’ says Lacy. Famously modelled by Twiggy, Grace Coddington and more, Mary Quant’s clothes personified the energy and fun of swinging London and Quant became a powerful role model for the working woman. Challenging conventions, she is known as the face of the miniskirt and popularised colourful tights and tailored trousers – encouraging a new age of feminism. Inspiring young women to rebel against traditional dress worn by their mothers and grandmothers, Quant turned a tiny boutique on the King’s Road, London, into a wholesale brand available in department stores across the UK, US, Europe and Australia. -
The Swinging Sixties
The Swinging Sixties 3 Leggi i brani e rispondi alle domande. The idea of ‘teenagers’, with their own style of clothes and music, originated in the USA in the 1950s. Rock and Roll was born there, and Elvis Presley was the first global rock star. People all around the world are still interested in American music, films and celebrities. But in the 1960s, Britain, not the USA, was the centre of the world’s pop culture! Music The Beatles were the best-selling British band in history and their influence on modern music is enormous. They were international superstars in the 1960s and they had millions of fans. It was often impossible to hear the music at Beatles’ concerts because of the screaming! But there were lots of other very successful British pop groups in that decade and the trendiest place in the world was ‘Swinging’ London. The UK’s capital city was the home of the Rolling Stones and lots of other pop stars. The Beatles moved there from Liverpool in 1963 and worked at the famous recording studios on Abbey Road. Glossary screaming urla swinging vivace, dinamica, alla moda recording studios studi di registrazione 1 Where did the idea of ‘teenagers’ originate? 2 What was the name of the best-selling British band in history? 3 When did the Beatles move to London? 4 Where were their recording studios in London? Go Live! Level 2 Culture C, pp.212–213 © Oxford University Press PHOTOCOPIABLE Fashion The biggest fashion invention of the 1960s was the miniskirt. Girls in the 1950s wore long, wide skirts, but in 1964 everything changed. -
Not Fade Away
NOT FADE AWAY Fifty years ago, the Rolling Stones were photographed by a young Linda Eastman as they partied in New York to celebrate their appearance on the June 1966 cover of Town & Country. Catriona Gray retraces the story of a photoshoot that defined an era Brian Jones, Mick Jagger and Keith Richards aboard the Sea Panther on the Hudson River in 1966, photographed by Linda McCartney (at the time Linda Eastman) Sometimes a photograph both encapsulates a moment in Although it was Chace who made the cover, one of the time and resonates for decades to come. When the Rolling other debs in the photoshoot already knew the Stones. Stones appeared on the cover of Town & Country 50 years Christina Berlin was not only employed at Town & Country ago this June, it not only marked the beginning of their but her father was the CEO of its publisher, Hearst. At the transformation from long-haired rebels to members of the time, her sister Brigid Berlin was one of Andy Warhol’s new establishment, but also illustrated how the revolutionary favourite superstars (coincidentally, Warhol also posed influence of pop culture was disrupting American society. inside the magazine for the same feature), who had The man behind the shoot was the New York photographer appeared in his iconic film Chelsea Girls. Jerry Schatzberg, whose connections with the in-crowd ranged Several days after the issue was published, the Stones from Park Lane Princesses to avant-garde artists. Having organised a boat trip around Manhattan to promote their been told by David Bailey that he ‘needed to meet this new new album Aftermath. -
12X5 / the Rolling Stones (No. 2)
12x5 and Rolling Stones No. 2 ALO Andrew Loog Oldham probably does not get the credit he deserves for forming the early and lasting image of the Stones as the bad boys of rock and roll. One of his primary vehicles for doing this was through the early album art produced for Rolling Stones albums. He invited controversy with his liner notes and he legitimized the Stones role in the Swinging London scene by having a well-established artist like David Bailey photograph the Stones for the second US and second UK releases. Oldham’s album covers set the Stones on the course of courting controversy over the years. In the early days it was his intentional design. It began with the record company and Oldham’s controversial insistence on leaving their first album nameless. It continued on their second UK release with Oldham’s screed on the back of the album. Every record tells a story and the album cover is an integral part of that story. That started in earnest with Rolling Stones No. 2. Putting a Stones album out was already complicated. And It Was About To Get More Complicated Things were getting complicated with Rolling Stones album releases on opposite sides of the Atlantic. In the UK the Stones first album was followed by the extended play (EP) 5X5, released August 14, 1964. The title was an obvious and unimaginative play on words, five tracks played by five band members. Notice no title or band name on the front of the cover. Oldham said, “5x5 was culled from the London, the US branch of Decca said EPs were not Chess sessions. -
Op in Vogue Elena Galleani D'agliano 2020
OP IN VOGUE ELENA GALLEANIELENA D’AGLIANO 2020 Op in Vogue Elena Galleani d’Agliano Op in Vogue Master Thesis by Elena Galleani d’Agliano Supervised by Jérémie Cerman Printed at Progetto Immagine, Torino MA Space and Communication HEAD Genève October 2019 Vorrei ringraziare il mio tutor Jérémie per avermi seguito in questi mesi, Sébastien e Laurence per il loro indispensabile aiuto al Musée des Arts Décoratifs, Oliver and Anna per avermi dato una mano con l’inglese, Alexandra e gli altri tutor per i loro incoraggiamenti e la mia famiglia per il loro instancabile supporto. 5 10 18 34 43 87 108 88 A glimse of the Sixties 90 The Optical Woman Portfolio 91 The diffusion of Architectural 64 prêt a porter Defining Op 44 The Guy visions in Mulas 18 92 Economic impli- fashion Bourdin’s elegance 67 Who are you, 34 Fashion pho- cations 11 Definition of The relation- 48 The youth quake William Klein? 21 tography in the 96 Basis for further Op Art according to Bailey Franco Rubar- ship with the Sixties 70 experimentations: 13 The influen- source 52 The female telli, the storyteller 36 Defining Op the Space Age Style ces Op art and emancipation throu- 74 Swinging with 27 photography 102 The heritage 108 Epilogue 14 Exhibitions its representation gh the lens of Hel- Ronald Traeger 83 Advertising mut Newton today 111 Bibliography and diffusion on Vogue 78 Others 57 Monumentality in Irving Penn 60 In the search of other worlds with Henry Clarke Prologue The Op Op Fashion Sociological Epilogue fashion photography implications 7 8 9 Prologue early sixty years ago, mum diffusion, 1965 and 1966. -
The National Life Story Collection
IN PARTNERSHIP WITH AN ORAL HISTORY OF BRITISH FASHION Betty Jackson Interviewed by Eva Simmons C1046/10 IMPORTANT Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road London NW1 2DB United Kingdom +44 [0]20 7412 7404 [email protected] Every effort is made to ensure the accuracy of this transcript, however no transcript is an exact translation of the spoken word, and this document is intended to be a guide to the original recording, not replace it. Should you find any errors please inform the Oral History curators. NATIONAL LIFE STORY COLLECTION INTERVIEW SUMMARY SHEET Title Page Ref. No.: C1046/10/01-26 Playback No: F15711, F16089-92, F16724- 8, F16989-96, F17511-8 Collection title: Oral History of British Fashion Interviewee’s surname: Jackson Title: Ms Interviewee’s forenames: Betty Sex: F Occupation: Fashion Designer Date of birth: 1949 Mother’s occupation: Housewife Father’s occupation: Shoe Manufacturer Date(s) of recording: 14.07.04, 29.09.04, 20.10.04, 25.11.04, 02.12.04, 14.01.05, 25.02.05, 08.04.05, 22.04.05, 06.05.05, 03.06.05, 27.06.05 Location of interview: Betty Jackson’s office, Shepherds Bush, London Name of interviewer: Eva Simmons Type of recorder: Marantz CP430 Total no. of tapes: 26 Type of tape: D60 Mono or stereo: Stereo Speed: N/A Noise reduction: Dolby B Original or copy: Original Additional material: Copyright/Clearance: open Interviewer’s comments: Betty Jackson Page 1 C1046/10 Tape 1 Side A (part 1) Tape 1 Side A [part 1] This is Eva Simmons interviewing Betty Jackson.