Hawkwind – Page 18 – { feuilleton }

Design as virus 10: Victor Moscoso

Continuing an occasional series.

A recent post at A Journey Round My Skull is a stylish series of Indian book jackets from 1964 to 1984. These impress partly for the way they rework western design approaches, and they consequently look very different from the florid visuals one might (lazily) expect of Indian cover design. Western culture borrowed more than enough from India in the 1960s, from clothes to music, so it only seems right that the sub-continent should be free to take something back.

Luna Toon by Victor Moscoso (1968).

Will at A Journey Round My Skull mentions the above cover design as reminding him of this Krautrock bible, The Crack in the Cosmic Egg, a book which happens to be a favourite repository of musical obsession. The cover reminded me more of the weirdly abstract comic strips created by artist and graphic designer Victor Moscoso for the early run of Zap Comix in the late Sixties. Moscoso was one of the most graphically revolutionary of the West Coast poster artists, and his approach to comics looks surprisingly fresh today next to the work of fellow artists like Robert Crumb. Those limitless vistas go back to Giorgio de Chirico but it was Salvador Dalí who made deserts raked by evening shadows reflect interior landscapes of his own, and it was Dalí’s immense popularity that in turn popularised that endless plane as a stage for surreal events. Moscoso borrows from the Surrealists and comic artists like George Herriman as much as he borrows from Disney; in his posters he was one of many artists taking motifs or whole designs from Art Nouveau. Our Indian egg may well be an original work but the first example in Will’s post is a very Saul Bass-like hand, so I’m guessing that the designers of these books were looking around for inspiration. And that eye-in-a-hand? Moscoso had done that as well.

Blues Project Poster by Victor Moscoso (1967).

While we’re discussing Victor Moscoso, it’s convenient to draw attention to a slight mystery connecting his poster art and the great album cover designer, Barney Bubbles. The poster above was one of a number that Moscoso made incorporating Victorian or Edwardian photographs, and two at least of these use antique erotica as their central image.

Space Ritual interior, design by Barney Bubbles (1973).

This particular photo always stands out for me. The woman is familiar to anyone who’s seen the interior of the fold-out sleeve Barney Bubbles created for Hawkwind’s Space Ritual album in 1973. Barney spent some time in San Francisco in the late Sixties and was undoubtedly familiar with Moscoso’s work, as he was with all the great designs coming from the West Coast at that time. What surprises me is that he should have somehow found the same image to use as Moscoso did. Was there a popular book of Edwardian erotica which everyone was familiar with? Did he ask Moscoso where he’d found the photo? Did he find it by chance? Barney Bubbles experts don’t know the answer (I’ve asked) and the question is in any case a rather trivial one. But I’m still curious… As early porn photos go it’s a particularly fine one and I’d like to know whether there are more like it and where it came from. Needless to say, if anyone knows more about this, please leave a comment.

Previously on { feuilleton }
• Design as virus 9: Mondrian fashions
• Design as virus 8: Keep Calm and Carry On
• Design as virus 7: eyes and triangles
• Design as virus 6: Cassandre
• Design as virus 5: Gideon Glaser
• Design as virus 4: Metamorphoses
• Design as virus 3: the sincerest form of flattery
• Design as virus 2: album covers
• Design as virus 1: Victorian borders

Battersea Power Station

A photograph of the control room of Battersea Power Station, London, by Michael Collins, one of a series which will shortly be on display at the Royal Institute of British Architects.

The images show Battersea Power Station as what Collins describes as a “twentieth century ruined castle” – a building that was built to last, with a high quality structure and interior, including Art Deco walls and ceilings.

Giles Gilbert Scott’s enormous temple of heavy industry continues to sit decaying on the banks of the Thames while property developers come and go. The latest of these, Real Estate Opportunities, has fallen into debt which means proposals to develop the site are once again on hold. A part of me likes the idea of the building sitting there unused and purposeless year after year, like some vast Steampunk Stonehenge; Giles Gilbert Scott’s other Thames-side power station, Bankside, was successfully transformed as Tate Modern, but we know from various proposals that the fate of Battersea, whether as theme park or shopping centre, is likely to be a lot less edifying.

It took redevelopment to transform Bankside from temple of industry to temple of culture but Battersea’s unmistakable presence has a powerful cultural history of its own. Everyone knows the Hipgnosis sleeve design for Pink Floyd’s Animals (1977); less familiar is the photos of the control room which Hipgnosis used for Hawkwind’s Quark, Strangeness and Charm the same year. I tend to prefer the back cover of this sleeve to the front; that octagonal readout device is more interesting than the rather unconvincing sparks and exchanges of energy. And speaking of energy, my former employers are still active, unlike the rancorous Floyd.

There’s a page here listing other uses of the power station, including its many film appearances which date back to the 1930s. That list mentions the control room’s use as a background for the “Find the Fish” sequence in Monty Python’s The Meaning of Life (1983) but they omit an earlier Monty Python appearance when you briefly see the building in operation during And Now for Something Completely Different (1971). It was closed down a few years later. So here it is, then, belching fumes over west London on a profoundly gloomy winter afternoon.

Elsewhere on { feuilleton }
• The album covers archive

Previously on { feuilleton }
• The Sonic Assassins
• The Bradbury Building: Looking Backward from the Future

‘It was basically freak-out music’

‘It was basically freak-out music’ | Hawkwind again.

Hawk things

The Barney Bubbles revival continues with news of Space Ritual 09, a concert dedicated to BB by ex-Hawkwind members at the Roundhouse, London on March 8th. The headline band is a new version of Hawklords, notably sans Dave Brock who controls the Hawkwind name and hasn’t been too happy recently with Nik Turner’s revisionist activities. Quarrels aside it’s good to see them honouring Barney’s memory and the Roundhouse is the place to do it, being the venue where Hawkwind played a very stoned set in 1972 as part of the Greasy Truckers concert.

All of which had me searching in vain for a double-page ad from the NME for Hawkwind’s Urban Guerilla single; you can see the ad in a smaller vertical version on the original Barney Bubbles post. I was hoping to find the full thing and scan it for display here but it seems to have gone astray for the time being. As it was the search turned up these photocopies of some later Bubbles Hawkwind ads created for the band’s UK tour of winter 1973/74. A pair of typically meticulous ink and Letratone renderings and also another example of what you might call Barney’s interactive design since these instruct the reader to glue the masks to card, colour them in then cut them out and wear them to the gig. David Wills has featured some other examples along these lines, including this cut-out doll birthday card. Did anyone ever try wearing these masks? And if so, is there photo evidence?

Previously on { feuilleton }
• The Sonic Assassins
• Reasons To Be Cheerful, part 2
• Barney Bubbles: artist and designer

Designs on Doctor Dee

Some work news. I finished this CD design last year but, as is often the case with these things, it’s taken a while to make its way into the world. This was the final piece of the Mindscape of Alan Moore project and it’s probably the last thing I’ll do which makes use of the famous Sigillum Dei Aemeth of Doctor John Dee (1527–1608), wax versions of which can be seen in the British Museum. Alan Moore is a great Dee aficionado and since the sigil appears in the DeZ Vylenz documentary it made sense to use it for the DVD package and interface. This led in turn to a new poster design for the film (below) and—eventually—the soundtrack CD. The latter should be shipping shortly from Shadowsnake Films.

Lastly, and also design-related, the New York Times this week had a short piece about designer Barney Bubbles based around Paul Gorman’s Reasons to be Cheerful book. My quote about Barney’s Hawkwind work being “cosmic Art Nouveau” was borrowed from the book’s text and the piece features one of those slideshow selections the NYT does so well. Once again it’s great to see how Paul’s book is stimulating new interest and appraisal of work which was neglected for far too long.

DVD menu.

Continue reading “Designs on Doctor Dee”