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Breaking Away

Breaking Away







Breaking Away



The world of slick greased hair, velvet drapes, Cadillacs

and a gyrating beat was seeping in fast, eroding our

island roots in backwater Britain.


Colonial bigotry, gender prejudice, bowler hats and

Morris dancing – British Rock gave it all a dusting off;

an emotional ecological exorcism of the complacent,

an emblem of liberation.


Singers felt compelled to adopt an American accent

in a spirit of adopted anarchy.  Feminine garments softened the

masculine, yet made it potent.  It would take another fifty

years for men to accept the gentle expressive aspects

of the male persona, as part of the masculine in men.

The rightful protests of women had yet to tempt

supremacy; true equality was more distant still in this

shake-down of our entrenched society.


My sketchbooks romanced the dressing-rooms of

London’s theaters.  I drew the striking countenance of

Georgia Brown and Barry Humphries.

Gene Vincent, Little Richard, Billy J Kramer and

The Dekotas, Johny Kidd and the Pirates all became

subjects of a sharp analytical eye.


Jimmy Page played his guitar in the cloakrooms of an

art school, later to shake the Roundhouse.

He decorated his guitars with experimental designs

while I made liquid projections using hot oils and

strobes linked to the music of Jimmy Hendrix.



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