Malcolm McLaren

Malcolm Robert Andrew McLaren (22 January 1946 – 8 April 2010)] was an English] performer, impresario, self-publicist, and manager of the Sex Pistols and the New York Dolls.[5] As a solo artist, McLaren had an innovative career which helped introduce hip hop to the United Kingdom.

 

McLaren was born to Pete McLaren, a Scottish[6] engineer, and Emmy Isaacs in post-World War II North London. His father left when he was two and he was raised by his maternal grandmother, Rose Corre Isaacs, the formerly wealthy daughter o fPortuguese Sephardic Jewish diamond dealers, in Stoke Newington. McLaren told Andrew Denton on Enough Rope, that his grandmother always said to him, "To be bad is good... to be good is simply boring".[7] In The Ghosts of Oxford Street he saysCharles Clore (who bought Selfridges) became his mother's lover. When he was six, McLaren's mother married Martin Levi, a man working in London's rag trade. When McLaren was in his forties, a Sunday newspaper found Pete McLaren in an English "greasy spoon garage".

McLaren's stepfather and mother owned a rag factory in London's East End called Eve Edwards London Limited. They lived well but McLaren and his stepfather never got along. He left home in his teens. Following a series of jobs (including one as a wine taster), he went on to attend several art colleges through the 1960s, being expelled from several before leaving education entirely in 1971. It was during this time that he began to design clothing, a talent he would later use when he became a boutique owner.[citation needed]

He had been attracted to the Situationist movement, particularly King Mob, which promoted absurdist and provocative actions as a way of enacting social change. In 1968 McLaren had tried unsuccessfully to travel to Paris to take part in thedemonstrations there. Instead, with Jamie Reid, he took part in a student occupation of Croydon Art School. McLaren would later adopt the movement's ideas into his promotion for the various pop and rock groups with whom he was soon to involve himself.[8]

New York Dolls, Vivienne Westwood and SEX

In 1971, McLaren and his girlfriend, the designer Vivienne Westwood, opened a London clothing shop called Let It Rock, on Kings Road. The shop sold Teddy Boy clothes and McLaren and Westwood also designed clothing for theatrical and cinematic productions such as That'll Be The Day and Mahler. Let It Rock proved a success but McLaren grew disillusioned with the style of shop owing to problems with the Teddy Boys who were the shop's main customers.

McLaren travelled to New York City for a boutique fair in 1972, having already met the group the New York Dolls. That year he renamed the outlet at 430 Kings Road Too Fast To Live Too Young To Die and supplied the group with stage wear. In 1975, McLaren designed red patent leather costumes for the New York Dolls and used a Soviet-style hammer and sickle motif for their stage show, as a provocative means of promoting them. This ploy was not successful and the Dolls soon broke up. In April 1975, McLaren returned to Britain, by which time he had renamed the shop SEX, selling punk and S&M inspired clothing.[9] In December 1976, Sex was renamed "Seditionaries". In 1980 it was reopened under the name "World's End".

Sex Pistols  By 1976, McLaren had started to manage The Strand, the band that later became the Sex Pistols.[1] He soon convinced them to kick guitarist/songwriter Wally Nightingale out of the band and also introduced them to bassist Glen Matlock (who worked in SEX). His assistant, Bernie Rhodes (soon to be manager of The Clash), spotted John Lydon who was then sporting green hair, and torn clothes with the words "I hate" scribbled on his Pink Floyd shirt. His appearance and attitude impressed McLaren, and Lydon, now dubbed "Johnny Rotten", was brought in to audition as a new frontman. Rotten joined, and the band was renamed The Sex Pistols (McLaren stated he wanted them to sound like "sexy young assassins").[10] “ Rock is fundamentally a young people's music, right ? And a lot of kids feel cheated. They feel that the music's been taken away from them by that whole over-25 audience. ”

NME – November 1976[11]

In May 1977, the band released "God Save the Queen" during the week of Queen Elizabeth II's Silver Jubilee. McLaren organised a boat trip down the Thames where the Sex Pistols would perform their music outside the Houses of Parliament. The boat was raided by the police and McLaren was arrested, thus achieving his goal: to obtain publicity.

The band released their album Never Mind the Bollocks, Here's the Sex Pistols in October 1977 and played their last UK gig before embarking upon a US tour in January 1978. During his time managing the band McLaren was accused by band members (most notably by John Lydon) of mismanaging them and refusing to pay them when they asked him for money. McLaren stated that he had planned out the entire path of the Sex Pistols, and in the film, The Great Rock 'n' Roll Swindle, he set this plan out. McLaren kept the Sex Pistols' contract rights until Lydon took him to court in the 1980s to win the rights and unpaid revenues from McLaren. Lydon won and gained complete control from McLaren in 1987. McLaren and Lydon refused to speak to each other after the band split. In the 2000 film, The Filth and the Fury, the surviving members of the Sex Pistols put their version of events on film.

 wikipedia

 

 

What they’re saying about Malcolm McLaren The godfather of punk was a revolutionary with a showman’s talent for outrage By Jack Bremer LAST UPDATED 7:45 AM, APRIL 9, 2010 T

he death of Malcolm McLaren, who as the former manager of the Sex Pistols and former partner of designer Vivienne Westwood was one of the most influential cultural figures in post-war Britain, has brought comments from all quarters.

He was 64 when he died yesterday in hospital in Switzerland. He was being treated for mesothelioma, a rare form of cancer first diagnosed last October. His girlfriend, Young Kim, said: "He had been doing well up until recently, he was lucid". She described him as "the ultimate postmodern artist".

With Westwood, McLaren set up the boutique Let It Rock on the King's Road in 1971 for "the sole purpose of smashing the English culture of deception". They specialised in rubber and leather fetish gear before renaming the store Sex and defining the punk look.

In 1975 McLaren found John Lydon hanging around the store and signed him up to be the frontman of a fledgling punk punk he was managing. A year later, the Sex Pistols released their debut single, Anarchy in the UK, while Lydon - renamed Johnny Rotten - and bassist Sid Vicious were grabbing headlines and outraging the popular press just as McLaren had intended.

In 1977 they released the punk classic God Save the Queen. Its lyrics - "God save the queen / She ain't no human being / And there's no future / In England's dreaming" - got it banned by the BBC. Nevertheless it made to number two in the singles charts during the week the Queen celebrated her Silver Jubilee.

McLaren's decision to have the Sex Pistols perform on a boat opposite the Houses of Parliament was one of his ultimate stunts. As PR man Mark Borkowski put it last night, McLaren "had showmanship in his blood".

The downside to all this was that in the end he couldn't control the monster he had created. As the Guardian's pop writer Alexis Petridis said this morning: "You could argue that [Sid] Vicious's death from a heroin overdose while on bail for the murder of his girlfriend Nancy Spungen was the greatest disaster of McLaren's career, but it was a close-run thing."

WHAT THEY ARE SAYING:

Dame Vivienne Westwood, fashion designer and McLaren's former lover and business partner: "When we were young and I fell in 

Read more: http://www.thefirstpost.co.uk/61939,people,news,what-theyre-saying-about-malcolm-mclaren#ixzz1WhV4AO2J

***

Malcolm Robert Andrew McLaren (22 January 1946 – 8 April 2010) was an English performer, impresario, self-publicist and manager of the Sex Pistols and the New York Dolls. As a solo artist, McLaren had an innovative career which helped introduce hip hop to the United Kingdom.

 

McLaren was born to Pete McLaren, a Scottish engineer, and Emmy Isaacs in post-World War II North London. His father left when he was two and he was raised by his maternal grandmother, Rose Corre Isaacs, the formerly wealthy daughter of Portuguese Sephardic Jewish diamond dealers, in Stoke Newington. McLaren told Andrew Denton on Enough Rope, that his grandmother always said to him, "To be bad is good... to be good is simply boring".[7] In The Ghosts of Oxford Street he says Charles Clore (who bought Selfridges) became his mother's lover. When he was six, McLaren's mother married Martin Levi, a man working in London's rag trade. When McLaren was in his forties, a Sunday newspaper found Pete McLaren in an English "greasy spoon garage".

McLaren's stepfather and mother owned a rag factory in London's East End called Eve Edwards London Limited. They lived well but McLaren and his stepfather never got along. He left home in his teens. Following a series of jobs (including one as a wine taster), he went on to attend several art collegesthrough the 1960s, being expelled from several before leaving education entirely in 1971. It was during this time that he began to design clothing, a talent he would later use when he became a boutique owner.

He had been attracted to the Situationist movement, particularly King Mob, which promoted absurdist and provocative actions as a way of enacting social change. In 1968 McLaren had tried unsuccessfully to travel to Paris to take part in the demonstrations there. Instead, with Jamie Reid, he took part in a student occupation of Croydon Art School. McLaren would later adopt the movement's ideas into his promotion for the various pop and rock groups with whom he was soon to involve himself.

 

In 1971, McLaren and his girlfriend, the designer Vivienne Westwood, opened a London clothing shop called Let It Rock, on Kings Road. The shop sold Teddy Boy clothes and McLaren and Westwood also designed clothing for theatrical and cinematic productions such as That'll Be The Day and Mahler. Let It Rock proved a success but McLaren grew disillusioned with the style of shop owing to problems with the Teddy Boys who were the shop's main customers.

McLaren travelled to New York City for a boutique fair in 1972, having already met the group the New York Dolls. That year he renamed the outlet at 430 Kings Road Too Fast To Live Too Young To Die and supplied the group with stage wear. In 1975, McLaren designed red patent leather costumes for the New York Dolls and used a Soviet-style hammer and sickle motif for their stage show, as a provocative means of promoting them. This ploy was not successful and the Dolls soon broke up. In April 1975, McLaren returned to Britain, by which time he had renamed the shop SEX, selling punk and S&Minspired clothing. In December 1976, Sex was renamed "Seditionaries". In 1980 it was reopened under the name "World's End".

 

By 1976, McLaren had started to manage The Strand, the band that later became the Sex Pistols. He soon convinced them to kick guitarist/songwriter Wally Nightingale out of the band and also introduced them to bassist Glen Matlock (who worked in SEX). His assistant, Bernie Rhodes (soon to be manager of The Clash), spotted John Lydon who was then sporting green hair, and torn clothes with the words "I hate" scribbled on his Pink Floyd shirt. His appearance and attitude impressed McLaren, and Lydon, now dubbed "Johnny Rotten", was brought in to audition as a new frontman. Rotten joined, and the band was renamed The Sex Pistols (McLaren stated he wanted them to sound like "sexy young assassins").

“ Rock is fundamentally a young people's music, right ? And a lot of kids feel cheated. They feel that the music's been taken away from them by that whole over-25 audience. ”

NME – November 1976

In May 1977, the band released "God Save the Queen" during the week of Queen Elizabeth II's Silver Jubilee. McLaren organised a boat trip down the Thames where the Sex Pistols would perform their music outside the Houses of Parliament. The boat was raided by the police and McLaren was arrested, thus achieving his goal: to obtain publicity.

The band released their album Never Mind the Bollocks, Here's the Sex Pistols in October 1977 and played their last UK gig before embarking upon a US tour in January 1978. During his time managing the band McLaren was accused by band members (most notably by John Lydon) of mismanaging them and refusing to pay them when they asked him for money. McLaren stated that he had planned out the entire path of the Sex Pistols, and in the film, The Great Rock 'n' Roll Swindle, he set this plan out. McLaren kept the Sex Pistols' contract rights until Lydon took him to court in the 1980s to win the rights and unpaid revenues from McLaren. Lydon won and gained complete control from McLaren in 1987. McLaren and Lydon refused to speak to each other after the band split. In the 2000 film, The Filth and the Fury, the surviving members of the Sex Pistols put their version of events on film.

 

McLaren was approached by Adam Ant to manage Adam and the Ants, following their debut album release in late 1979. Shortly thereafter three members of the band left to form Bow Wow Wow, under McLaren's management. McLaren continued to manage Ant as he found new band members for Adam and the Ants and worked on a new sound. McLaren was later to manage Jimmy The Hoover, formed in 1982, who gained a support slot on a Bow Wow Wow tour.

Bow Wow Wow was originally created to promote clothing designed by Vivienne Westwood, and McLaren continued to exploit the band members, pressuring the underage lead singer to pose nude for the underage sex magazine he had created entitled Chicken, a reference to the magazine's underage content.

 

In 1983, McLaren released Duck Rock, an album which, in collaboration with The World's Famous Supreme Team (a duo of Hip-Hop radio disc jockeys from New York City – See Divine, The Mastermindand Just Allah, The Superstar – who then hosted a prominent Hip-Hop/classic R&B show on WHBI 105.9 FM and who were also among the first DJs to introduce the art of scratching to the world), mixed up influences from Africa and the Americas, including hip-hop. The album proved to be highly influential in bringing hip-hop to a wider audience in the UK. Two of the singles from the album ("Buffalo Gals" and "Double Dutch") became top-10 hits in the UK, with "Buffalo Gals" a minor hit in some major cities in the U.S. Duck Rock features clips of "The World's Famous Supreme Team Show" throughout the course of the album between songs, as well special vocal appearances from the duo themselves.

He then turned to electronic music and opera in the 1984 single "Madame Butterfly", based on the opera. The track is arranged with drum machines, atmospheric synthesisers and spoken verses. It reached No.13 in the UK and No.16 in Australia. The producer of the single, Stephen Hague, became a much sought after producer in the techno pop genre following his work with McLaren on the following full length LP, Fans.

McLaren's 1989 album Waltz Darling, was a funk/disco/vogueing inspired album. Waltz Darling incorporated elements of his former albums, i.e. spoken verses, string arrangements and eclectic mix of genres but featured such prominent musicians as Bootsy Collins and Jeff Beck with a glitzy, Louisiana-style production aimed at the US market. The singles, "Waltz Darling" and "Something's Jumpin' in Your Shirt" became top-20 radio hits in Europe, with the single "Deep in Vogue" bringing voguing to the attention of the world long before Madonna did.

In 1992, McLaren co-wrote the song "Carry On Columbus" for the feature film of the same name. The song plays over the end credits of the film. In 1994, he recorded the concept album Paris, with French artists such as Catherine Deneuve and Françoise Hardy.

In 1998, McLaren released Buffalo Gals Back 2 Skool (Virgin Records), an album featuring hip hop artists like Rakim, KRS-One, De La Soul and producer Henri Scars Struck revisiting tracks from the original Duck Rock album. In addition, that year, he created a band called Jungk. This project was not a commercial success. Also in 1997/1998, he released a track called "The Bell Song". Various remixes were released on 12" singles.

His song "About Her", based on "She's Not There" by The Zombies, rose to prominence when used by director Quentin Tarantino in Kill Bill Vol. 2. He was accused of plagiarism for this song in 2005 for allegedly copying the work of a French musician, but was cleared of the charges in November 2005 when the court in Angers, France threw out the case. The song uses Bessie Smith's "St. Louis Blues" by repeatedly playing the verse, "My man's got a heart like a rock cast in the sea."

McLaren's solo work, particularly from the Duck Rock period, has also been sampled by other artists. In 1999, a group called Dope Smugglaz had a UK top twenty hit with the track "Double Double Dutch" which made extensive use of samples from McLaren's original "Double Dutch". In 1997, Mariah Carey's "Honey" and "Honey (Bad boy remix)" sample "Hey DJ" In 2002, Eminem released a track called "Without Me", which sampled McLaren's song, "Buffalo Gals". In 2007, McLaren's song "World's Famous" was sampled by R&B singer Amerie on the song, "Some Like It", from her album Because I Love It.

In 2006, author Paul Gorman published his book The Look: Adventures In Rock & Pop Fashion with a foreword and contributions from McLaren. The book included a CD featuring the track "Deux" from theParis Remixes album.

 

In 1989, McLaren and composer  ....

 

 

During the 1980s, McLaren attempted to make a film called Fashion Beast, from a script by comic-book writer Alan Moore. McLaren took the project to New York City in 1986, and was for a time funded through NYC-based nightlife impresario and producer Robert Boykin. Avenue Pictures recommended screenwriter Steve Means to rewrite the Alan Moore script. This was contracted and several drafts written, but the process slowed down with the physical deterioration of producer Boykin, who subsequently died in 1988. McLaren declared the project "an orphan." The film was never made, but McLaren was involved with other film and television projects, including The Ghosts of Oxford Street, made for Channel 4 in 1991. This musical history of London's Oxford Street was directed and narrated by McLaren and included performances by The Happy Mondays, Tom Jones, Rebel MC, Kirsty MacColl, John Altman and Sinéad O'Connor. McLaren was also one of the producers for the film adaptation of Fast Food Nation, which premiered on 19 May 2006 at the Cannes Film Festival and was released in late 2006.

McLaren approached the Red Hot Chili Peppers in 1985, early in their career, expressing interest in managing them, and reinventing the group. After hearing a short live set, McLaren was "clearly unimpressed" according to Chili Peppers frontman Anthony Kiedis. He then proposed to reinvent the group by having them dress in neon surfer-punk clothing, and have them play really stripped-down, basic 1950s rock n' roll, with all of the emphasis on Kiedis. Although Kiedis was flattered to be considered, he and the band rejected the offer. Kiedis recalled the event, saying "It was like the Wizard of Oz had spoken, and what he had said was too ludicrous to take seriously", as his proposition was too different from the band's musical style.

In an issue of New Statesman published on 20 December 1999, an article titled "My Vision for London" included the McLaren Manifesto, and there was speculation that McLaren might stand to be elected as Mayor of London, although ultimately he did not run.

McLaren had a 2005 exhibition of some autobiographical work at the Zentrum für Kunst und Medientechnologie (Center for Arts and Media Karlsrhue) in Karlsruhe, Germany called Casino of Authenticity and Karaoke. This installation had originally been part of the Bonnefanten's 1999 exhibit Smaak – On Taste in Maastricht. In 2003, he wrote the article "8-Bit Punk" championing 8-bit music. He also appeared on This Spartan Life, a popular machinima which frequently uses 8-bit music, and he also discussed the topic.

In 2006, McLaren presented the documentary series Malcolm McLaren's Musical Map of London for BBC Radio 2, followed in 2007 by Malcolm McLaren's Life and Times in L.A. Also in 2007, McLaren competed in a reality TV show for ITV titled The Baron. The series was due to be shown in August 2007, but was postponed owing to the death of fellow contestant actor Mike Reid shortly after filming was completed. It was eventually broadcast starting on 24 April 2008. McLaren came last in the competition, which was won by Reid. It was announced on 7 November 2007 that McLaren would be one of the contestants in the seventh series of the ITV reality show I'm a Celebrity... Get Me Out of Here!, set in the outback of Australia and premiering on British television on Monday 12 November 2007, but he pulled out the day he had flown to Australia. He told press "it is fake", that he didn't know any of the other celebrities and quite frankly, "he didn't have the time". He was replaced by Katie Hopkins.

In January 2008, McLaren featured as one of the 'celebrity hijackers' in the UK TV series Big Brother: Celebrity Hijack, which was broadcast on E4. In his hijack, he encouraged the housemates to remove their clothes, daub themselves in paint and produce an artwork using only their bodies and a bicycle. Also in 2008, New York City public arts group Creative Time premiered nine pieces of Malcolm's 21-part sound painting series Shallow via MTV's massive HD screen in Times Square. The series, which originally premiered at Art 39 Basel in June, was the first instalment of an on-going public arts content partnership between Creative Time and MTV. The complete version of 'Shallow 1–21' was given its full US museum premiere in the Morris Gallery of the Pennsylvania Academy of the Fine Arts (PAFA), in Philadelphia, from 24 October 2009 until 3 January 2010.

About his contribution to music, McLaren has said about himself: "I have been called many things: a charlatan, a con man, or, most flatteringly, the culprit responsible for turning British popular culture into nothing more than a cheap marketing gimmick. This is my chance to prove that these accusations are true." At the time of his death McLaren had just finished a new film work entitled Paris.

McLaren met ....

 

 

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