I didn’t know a great deal about Australia’s sharpie scene other than it involved short on top, long at the back hair and that “Chopper” Read was a member. I picked up Tadhg Taylor’s Top Fellas at the Ditto Press space — a reprint of a book published a decade ago — and it’s a fascinating read. A history of this mod and skin affiliated cult and its boom times and renaissances, it follows the narrative and first-hand tear up tales combination that seems to have served terrace storytelling well for the last few years. Sharp outfits, with their focus on fancy cardigans, aren’t particularly appealing compared to the attire that the history books at least, have attached to other subcultures, but it’s all curious enough to give their world a real character and something that just seems quintessentially Aussie. Even as the thing of theirs faded in the early 1980s, the vast nature of the country made it possible that sharpies could keep existing in small towns, ready to pounce on the unwary and oblivious to their extinction elsewhere — it’s in those strains that the kind of culture mutations that don’t get a book emerge. With their folk devil status in the local press, I wonder if any of the tribal kickings luridly described informed a big export like Mad Max — it definitely made its way into Bert Deling’s cult favourite, Pure Shit, as mentioned in Taylor’s book. Australia has given us a lot of great cinema and that rapid-pace junkie drama (which I’ve seen on YouTube and torrent because the recent triple DVD special edition is hard to find) deserves much more attention — Drugstore Cowboy and Gridlock’d at least feel like they took notes from that obscurity. I urge you to watch Pure Shit if you can and if you’re even vaguely interested in the sharpie movement, pick up Top Fellas soon, because these kinds of things tend to become unavailable pretty swiftly.
The Malcolm McLaren Let It Rock exhibition that ended yesterday as part of the Copenhagen International Fashion Fair looked interesting. Paul Gorman worked with McLaren’s estate to curate it and made a good case to GQ regarding how he and Vivienne Westwood helped forge fashion as we perceive it — his influence on street wear is colossal, but that extends to retail spaces too. This magpie approach to design is echoed in today’s referential t-shirts, hats and sweats. Opinions of McLaren’s business practices are mixed to say the least, but his ability to get a notion manifested into something interesting is undeniable. Paul’s piece on a Little Richard tee design is interesting and seems relevant to the Let It Rock stall back in 1972 at Wembley Stadium. W Magazine‘s coverage takes a look at some key pieces in the exhibition with Malcolm’s partner Young Kim. I still need to see the 1993 Vive Le Punk documentary where the clip above is taken from in its entirety.
The World is Yours is a documentary on the internet’s relationship with redefining hip-hop’s marketing and distribution in recent years. The new kind of self-made artist and their distance from the old system has created something that’s worth exploring — this one’s being funded through Kickstarter and contains some familiar faces and case studies that led us into a realm of struggle A&R acting punch drunk enough to give anyone with a million views a million dollar deal. Still, I’m fascinated by this stuff. Shit, I’d watch a three-hour documentary on the whole Charles Hamilton saga given half the chance.
I think I need Tony Rettman’s oral history of a scene, NYHC: New York Hardcore 1980-1990 in our lives. That’s a colossal undertaking and one that invites bitching from anyone who wasn’t included — and it’s a scene with its own share of beefs — but in 450 pages it should deliver an onslaught of hard-living, tough-life, old NYC anecdotes. There’s been other publications on a similar topic, but hopefully this one’s going to be definitive — Rettman’s book on the Detroit scene from a few years back was great and Bazillion Points Books never half step. This arrives close to Christmas.