the graphic art of the underground
DESCRIPTION
The Graphic Art of the Underground: A Countercultural History showcases the visual art and design from a series of iconoclastic, postwar youth movements.TRANSCRIPT
Bloomsbury Visual ArtsAn imprint of Bloomsbury Publishing Plc
50 Bedford Square 1385 Broadway London New York WC1B 3DP NY 10018 UK USA
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Bloomsbury is a registered trade mark of Bloomsbury Publishing Plc
© IAN LOWEY and SUZY PRINCE, 2014
Ian Lowey and Suzy Prince have asserted their right under the Copyright, Designs and Patents Act, 1988, to be identified as Authors of this work.
All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers.
No responsibility for loss caused to any individual or organization acting on or refraining from action as a result of the material in this publication can be accepted by Bloomsbury or the author.
Commissioning editors: Simon Keane-Cowell and Rebecca BardenAssistant Editors: Simon Longman and Abbie Sharman
British Library Cataloguing-in-Publication DataA catalogue record for this book is available from the British Library.
ISBN: HB: 978-0-8578-5818-4ePDF: 978-1-4725-7355-1ePub: 978-1-4725-7356-8
Library of Congress Cataloging-in-Publication DataLowey, Ian, author. The graphic art of the underground : a countercultural history / Ian Lowey and Suzy Prince. pages cm Includes bibliographical references and index. ISBN 978-0-85785-818-4 (hardback) 1. Art and society--History--20th century. 2. Art and society--History--21st century. 3. Art, Modern--20th century. 4. Art, Modern--21st century. 5. Counterculture. I. Prince, Suzy, author. II. Title. N72.S6L69 2014 709.04’07--dc23 2013048261
Designed by Ian LoweyCover design by Jamie KeenanProject management by Precision GraphicsPrinted and bound in China
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CONTENTS
50
BibliographyIndex AcknowledgementsImage Credits
Introduction
REMEMBRANCE OF FINKS PAST
OUT COME THE FREAKS
PUNK GRAPHICS
LA LURE
designer toys and indie crafting
kustom kulture and automotive art
the emergence of the psychedelic underground
the subversion of style
the weird and wonderful world of lowbrow art and pop surrealism
SOMETHING OLD, SOMETHING NEW
6
12
98
160
220
268272
266
272
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INTRODUCTION 7
The concept for this book arose out of a series of lectures which we
delivered at Manchester’s Cornerhouse cinema and gallery in 2012, as
part of its Introduction to Contemporary Visual Art teaching programme.
These ‘Beyond the Counterculture’ lectures explored the visual legacy
of a series of iconoclastic underground youth movements which have
risen to prominence in Western pop culture since the 1950s and which
have challenged the perceived social and cultural complacency of the
establishment. In doing so, they drew directly on our experiences as co-
publishers and editors of the UK alternative arts magazine Nude,1 as well
as Suzy’s experience as co-proprietor and curator of the London-based
Last Chance Saloon lowbrow art gallery and emporium.2
Beginning with the Californian hot rod culture (or Kustom Kulture)
of the 1950s and early 1960s and finishing with the relatively recent rise of
the indie crafting movement, this book serves as an overview of a number
of visual means of expression that have arisen out of the need for groups
of individuals to set themselves apart from, or in direct opposition to,
wider society through the creation and development of their own distinct
common cultural identities.
To this end, we connect some rather unlikely bedfellows. For
instance, it may not be immediately apparent quite what the legendary
US car customiser Ed ‘Big Daddy’ Roth and the erudite British graphic
designer Peter Saville have in common (aside from perhaps a shared
Opposite:Vince Ray: The Sound Effect of Sex and Horror, 2002.
INTRODUCTION
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THE GRAPHIC ART OF THE UNDERGROUND: A COUNTERCULTURAL HISTORY8
interest in lettering and typography).3 However, over five chapters we
explore the numerous links which exist not only between subcultures
which are seemingly at opposite ends of the spectrum from each other,
but also between protagonists from wildly different artistic disciplines.
After all, in spite of the fact that punk nihilism and hippy idealism are
two immediately irreconcilable-seeming traits – each identified with
subcultural youth movements which rose to prominence roughly ten years
apart – were not both hippy and punk similarly underpinned by a shared
spirit of anti-authoritarianism? Likewise, could the intricate hand-painted
decoration of the car customiser be seen as the unreservedly male
equivalent of the historically female pursuit of embroidery? Certainly when
both are similarly informed by the wayward spirit of rock ’n’ roll, as the
worlds of Kustom Kulture and indie crafting undoubtedly are, then they
most definitely can.
Ultimately, the work showcased in this book has been created by
individuals – some formally tutored, others self-taught – who have been
energised by the specific subcultural scenes in which they were immersed.
This has been the case to the extent that many artists whose work became
so intrinsically associated with the prevailing subculture in which they
worked, found themselves cast into relative obscurity once the subculture
in which they had made their mark was superseded by another. That is, of
Opposite and above:Nude magazine covers. From left: issue 4, 2004 (cover artist, Jamie Reid); issue 5, 2004 (cover artist, James Cauty / Rocket World); issue 9, 2006 (cover artist Niagara); issue 11, 2007 (cover artist, Véronique Dorey).
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INTRODUCTION 9
course, until such a time as their work has been rediscovered by the
pop-cultural archaeologists of subsequent generations.
The spirit of youthful energy and rebellion which characterised such
subcultures found its most immediate and powerful expression in rock
music – or in the case of the Kustom Kulture that pre-dated the advent
of rock ’n’ roll, in the roar of the souped-up engine. However, many of
these alternative scenes also succeeded in developing an attendant
and very distinctive visual aesthetic which went beyond shared fashions
and (anti) social attitudes. As a consequence of this, much of the art
showcased in this book comes in the form of LP covers, flyers and concert
posters – all of which afforded the most immediate means of formulating
and disseminating that visual aesthetic. But in addition, we look at how
this rock ’n’ roll – or more specifically, punk – sensibility has, on the US
West Coast in particular, coalesced into the development of a ‘lowbrow’
art scene – this being a creative milieu which has spawned its own galleries
and supporting publications, and which continues to exist well outside of
the art mainstream.
We also look at both the development of a new medium for the
expression of underground art – the designer toy – which has been
enthusiastically adopted by artists from out of punk and hip hop/graffiti
subcultures alike, and at the resurgence of interest in mediums which long
pre-date collective expressions of youthful rebellion, such as crafting.
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1. The authors published seventeen issues of Nude, together with a valedictory ‘Best of…’ compilation, between 2003 and 2012
2. The Last Chance Saloon opened in Waterloo, London, in 1998 and soon after was listed in the top fifteen of Time Out magazine’s ‘Hip 100’. Before closing its doors in 2003, it hosted a number of exhibitions showcasing the work of ‘lowbrow’ artists, including the first UK shows of Vince Ray, Coop and Frank Kozik.
3. This sense of commonality would eventually find expression in the production of a series of Ed Roth-inspired fonts by US-based type foundry, House Industries.
THE GRAPHIC ART OF THE UNDERGROUND: A COUNTERCULTURAL HISTORY10
Indeed, drawing on the DIY ethos that was a key component of punk,
this new wave of crafting, which has its roots in the American Riot Grrrl
Movement of the early 90s, has subsequently grown internationally into a
self-empowering anti-corporate movement for our times. Yet, as this book
highlights, it continues to share many links to the aforementioned designer
toy phenomenon, as well as to both lowbrow art and street art.
Finally, by way of echoing the warning which we felt compelled to
post on the promotional material for our course at the Cornerhouse – this
book by its very nature may contain imagery which some people may find
to be in bad taste or even downright offensive. Indeed, it is even hoped
that this may be the case as, given that much of the work showcased in
this decidedly rich visual stew was created with the implicit intention of
alienating ‘straight’ society and galvanising an alternative to it. As such, it
would be gratifying to know that some years down the line, much of the
work still serves this function and retains the power to shock.
Opposite:Coop: ‘Good ‘n’ Plenty’. Poster for show at the Last Chance Saloon, 1999.
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In the introduction to a special themed edition of The Observer newspaper’s
colour supplement of 3 December 1967 devoted to the examination of the
emergence of a pop cultural underground, the jazz musician and cultural critic
George Melly notes: ‘A curious alliance has been struck between teenagers,
the hippies, commercial pop, and the young intellectuals. Somehow all have
crystallised into a separate society or “scene”.’1 Writing in that same issue,
Melly recalls his first awareness of this nascent scene as being at an Aubrey
Beardsley exhibition at London’s Victoria and Albert Museum during the
summer of 1966 (though the seeds of this seemingly spontaneous flowering
of the underground are generally acknowledged to have been sown a full
year earlier by way of the International Poetry Incarnation which took place
at the Royal Albert Hall in June 1965, a sell-out event promoted by the beat
poet Allen Ginsberg, featuring readings by himself and other countercultural
literary figures such as Lawrence Ferlinghetti and Michael Horowitz). He says:
Many were clearly art students, some were beats, others could have
been pop musicians; most of them were very young, but almost all
of them gave the impression of belonging to a secret society which
had not yet declared its aims or intentions. (The Observer, 1967)
And having ‘stumbled for the first time into the presence of this
emerging underground’, Melly – one of the first regular broadsheet
Opposite:Martin Sharp: ‘Blowin’ in the Mind’ poster, 1967.
OUT COME THE FREAKS! THE EMERGENCE OF THE PSYCHEDELIC UNDERGROUND 51
OUT COME THE FREAKSthe emergence of the psychedelic underground
2
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Above:Aubrey Beardsley: Poster advertising an exhibition of works by the artist held at the Victoria and Albert Museum, 19 May–19 September 1966.
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writers to consider popular culture worthy of serious analysis – goes on to
point out that ‘the Underground is the first of the pop explosions to have
evolved a specifically graphic means of expression’ (The Observer, 1967).
Melly takes great care to draw a distinction between his use of
the word ‘graphic’ and the numerous expressions of visual style adopted
by the followers of the various pop cults of the time, arguing that
the underground had gone far beyond mere choices in clothing and
accessories ‘to evolve a graphic imagery which would provide a parallel
to its musical, literary and philosophical aspects’ (The Observer, 1967).
And the two primary media for this new explosion of bewildering graphic
imagery were the pop/rock LP cover and the concert poster.
To this end, he offers up The Beatles’ Sgt. Pepper’s Lonely Hearts
Club Band LP cover, created by the painter Peter Blake (and his then
wife, Jann Haworth), as evidence of the kind of cultural cross-pollination,
affected in the art schools of the nation which had given rise to the advent
of this new underground. For in being a record sleeve designed by an
established fine artist for a pop band, the cover of Sgt. Pepper’s Lonely
Hearts Club Band represented the formal coming together of ‘intellectual
pop’ in the form of pop art, ‘commercial pop’ in the form of increasingly
sophisticated product packaging, and pop music, which had demonstrated
ever-increasing levels of depth and sophistication through such albums as
Sgt. Pepper’s Lonely Hearts Club Band and the Beach Boys’ Pet Sounds,
amongst others. What’s more, by way of underscoring this increasing
fluidity between fine and commercial art within the context of an
increasingly dynamic and nuanced pop culture, the sleeve, following the
album’s release in 1967, quickly established itself as a celebrated cultural
artefact in itself as opposed to a mere decorative wrap for a vinyl LP.
This record sleeve effectively served as both notice of the Beatles’
wholehearted embracement of psychedelia (though there had already
been clear signs of the direction the band were moving in, in the music
and artwork of the band’s two previous LPs, Rubber Soul and Revolver)
and a snapshot of just where the underground was at spiritually and
intellectually – with its cardboard cut-out representations of the likes of
the aforementioned Aubrey Beardsley, as well as Aldous Huxley, William
S. Burroughs, Aleister Crowley, Karl Marx and sundry Hindu gurus. In spite
of his artwork, Blake himself, though he may have been sympathetic to its
spirit, was not ‘of’ the underground but merely an associate of it.
Certainly, the inherent Englishness and nostalgic quality of his work
may have chimed with the aesthetic sensibilities of the underground with its
OUT COME THE FREAKS! THE EMERGENCE OF THE PSYCHEDELIC UNDERGROUND 53
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interest in Edwardiana, art nouveau and the visionary art of William Blake,
but he remained in essence a painter identified with an artistic movement
– pop – which had emerged in the UK over a decade earlier. To this end, it
could be argued that Peter Blake was as much a cultural touchstone for the
underground as those he portrayed on his iconic album cover.
By way of contrast, appropriately young and looking very much
the part in their brightly patterned shirts and ‘hipster’ trousers, Nigel
Waymouth and Michael English, working as a duo under the collective nom
de plume of Hapshash and the Coloured Coat, and the Australian émigré
54 THE GRAPHIC ART OF THE UNDERGROUND: A COUNTERCULTURAL HISTORY
Above:Hapshash and the Coloured Coat: Soft Machine poster, 1967.
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Martin Sharp were the very essence of the underground. And being very
much of the scene, they were able to carve out a niche for themselves as
poster artists and record cover designers, creating work for musicians such
as Bob Dylan, Donovan, Pink Floyd and Cream, which has come to serve as
instant visual shorthand for the heady days of the summer of love.
Certainly, commenting upon the work of these artists back in 1967,
George Melly observed that their startling, psychedelic concert posters
OUT COME THE FREAKS! THE EMERGENCE OF THE PSYCHEDELIC UNDERGROUND 55
Below:Hapshash and the Coloured Coat: Pink Floyd poster, 1967.
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made ‘most contemporary commercial advertising look both uninventive
and sloppy’ (The Observer, 1967).
This was a telling point. Although we have to place the work of
Hapshash and the Coloured Coat and Martin Sharp together with others
involved with the scene such as John Hurford and Pearce Marchbank within
the realm of commercial design and advertising (and here it is to be noted
that Michael English briefly worked for an ad agency), its sense of youthful
spontaneity and sheer visual energy owed very little to the angular, Swiss
modernist-influenced rationality that prevailed within mainstream graphic
design of the time. Instead, these posters were, in the words of Melly, ‘not
so much a means of broadcasting information as a way of advertising a trip
to an artificial paradise’ (The Observer, 1967).
To this end, they weren’t even conceived as open forms of
communication, as their wildly surrealistic concepts and distorted lettering
were specifically designed to have meaning only to those who were
already tuned in on an experiential level to their message. To everyone
else, they succeeded in being merely alienating. Indeed, part of the very
intent of the posters was to circumnavigate the rational and, working on
the level of pure visual stimuli, become part of the trip – often in a very
literal way. For the very notion of their function as advertising became even
more questionable given that many of the posters appeared inside of the
clubs that they were supposedly promoting, where their swirls of Day-Glo
colour would react under ultraviolet light to suitably mind-bending effect.
As befitting key figures in London’s flowering underground, the
countercultural credentials of Michael English, Nigel Waymouth and
Martin Sharp, in particular, were impeccable. English and Waymouth had
been introduced to each other in 1966 by the trio of Joe Boyd, John
‘Hoppy’ Hopkins and Barry Miles, all co-founders of the hugely influential
psychedelic club UFO (said to be an acronym for ‘Unlimited Freak Out’,
56 THE GRAPHIC ART OF THE UNDERGROUND: A COUNTERCULTURAL HISTORY
Opposite:Michael McInnerney and Dudley Edwards: ‘Jazz at the Roundhouse’, 1967, silk screen.
Below:John Hurford: Gandalf’s Garden, issue 2, cover spread, September 1968.
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Speaking on the BBC’s 2012 comprehensive three-part Punk Britannia
documentary, the writer and musician Richard Strange posited that the
period between the ending of the Vietnam War in April 1975 and the Sex
Pistols’ debut gig at Saint Martins School of Art (now the college Central
Saint Martins) in London on 6 November 1975, served as a metaphorical
passing of the baton from one musical generation to another. Certainly
the sense of instant obsolescence articulated in the same programme
by Strange and other older musicians upon first witnessing the Pistols
play would seem to support this theory.1 Likewise, with both American
involvement in the Vietnam War and the attendant protests against it
having peaked way back in 1968, there is also much in the argument
that the ending of the protracted conflict midway through the 1970s
represented the final wrapping up of unfinished business from the previous
decade. After all, hadn’t opposition to the war greatly sustained the
counterculture of the late 1960s, galvanising it with such a unified sense
of purpose that its failure to stop the bloodshed served as evidence of the
ultimate impotence of the LSD-addled protest?
And yet, while it may be true that punk music truly had – in the UK
at least – been propagated by and large by the ‘bored teenagers’ of its
own mythology (see ‘Bored Teenagers’ by The Adverts, the B-side to their
1977 chart hit, ‘Gary Gilmore’s Eyes’ [Anchor Records]), the situation with
regard to those charged with representing punk visually was a far more
THE GRAPHIC ART OF THE UNDERGROUND: A COUNTERCULTURAL HISTORY98
the subversion of stylePUNK GRAPHICS
3
Opposite:Jamie Reid: ‘Fuck Forever’, 1979.
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Above:Jamie Reid: God Save the Queen (Swastika Eyes).
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complex story – and one which would serve to deny Richard Strange’s
analogy. Indeed, while incisive analysis of the punk movement is frequently
bedevilled by often highly complex debate over such issues as origination
(who, if anyone, invented it?), intent (what were its aims, and did it even
have any?) and constitution (was it made up principally of art-school types
or the romanticised guttersnipe youth of many a punk lyric?), perhaps the
one thing which helped make punk ‘the most transformative force in British
popular music history’2, was that, supernova-style, it briefly sucked a variety
of diverse elements into its core before violently vomiting them out again
in an amphetamine-fuelled blur of creativity.
And so, whilst in terms of graphic imagery, for some younger artists
punk would open up a space in which to hone a new designed graphic
sensibility that would presage the coming of the so-called ‘design decade’
of the 1980s, for older practitioners such as Jamie Reid, it offered the chance
to channel some of the distinctly avant-garde socio-political ideas which
had risen to prominence in the late 1960s and mainline them directly into
the jaded heart of mid-1970s British pop culture. Indeed, for a movement
which had set itself in such flagrant opposition to the flabby, shabby, beard-
scratching complacency to which the rump of the hippy movement had
retreated, it’s perhaps surprising to discover to what degree those credited
with formulating the visual language of punk did so by drawing upon their
experiences of the burgeoning counterculture of the late 1960s.
Growing up in a suburb outside of Croydon, south of London, and
from old leftist/druidic stock, Jamie Reid had been a contemporary of Sex
Pistols’ manager Malcolm McLaren at Croydon Art School. During their
time there both McLaren and Reid had become enthralled by the ideas
of the Situationist International, a group of revolutionary social theorists
whose philosophies are said to have played a pivotal role in underpinning
the student riots in France and subsequent general strike of May 1968.
Reid first made his own mark politically and artistically with the
Suburban Press. This was a Croydon-based magazine co-founded by
Reid in 1970 as a kind of shit-stirring mix of local politics, cut-and-paste
graphics, absurdist humour and agitprop/situationist aphorisms. Around
this time Reid also collaborated with the late activist and writer Christopher
Gray on the first English language publication of Situationist International
writings (Gray, 1974). And having answered McLaren’s call to come and
work alongside him as art director for the Sex Pistols, Reid makes no bones
about having used the band as a vehicle through which to disseminate
his own (and McLaren’s) strain of cultural anarchism, saying, ‘I always
PUNK GRAPHICS: THE SUBVERSION OF STYLE 101
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found, particularly with Situationist theory, that in translation it became
very highbrow; but working with the Pistols gave me a chance to simplify
some of that stuff and put a lot of those ideas back into popular culture’
(Nude, 2004a).
Perhaps the most immediate way of putting those ideas back into
popular culture was through the use of imagery which had originally
been used in the Suburban Press as well as by the San Francisco-based
situationist group, Point Blank. Imagery such as the ‘Nowhere Buses’, which
subsequently appeared in the 1976 Sex Pistols fanzine, Anarchy in the UK
(credited to the band’s management company, Glitterbest) and later on
the back cover of the band’s third single, ‘Pretty Vacant’ (Gorman, 2009).
Another method was through the process of détournement – much favoured
by the Situationist International – by which original works or images are
doctored in order to turn their intended meaning back on themselves.
Indeed, in the words of contemporary art curator and writer, Ariella Yedgar:
The now iconic early collages created as artwork by Reid for the
Sex Pistols were the work of a true Detourneur who diverts existing
powerful symbols towards a subversive reading . . . (Sladen and
Yedgar, 2007, p. 173)
Perhaps the most clear-cut example of Reid’s use of détournement
is to be found on the cover of the Sex Pistols’ 1977 single, ‘Holidays in
THE GRAPHIC ART OF THE UNDERGROUND: A COUNTERCULTURAL HISTORY102
Above:Jamie Reid: Nowhere Buses, 1972.
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the Sun’. Here, a comic strip taken from a Belgian tourist brochure3 has
the original text removed from its speech bubbles and replaced with the
lyrics of the song. However, other examples include the superimposition of
swastika symbols over the eyes of a Cecil Beaton Silver Jubilee portrait of
the queen and his use of an American Express card as the central image for
the cover of the band’s 1979 (post-John Lydon) single, ‘The Great Rock ’n’
Roll Swindle’.
Yet, irrespective of any sense of self-interest that may arise out of
Reid’s use of the Sex Pistols as a means to serve his own agenda, the
cut-up anti-design style honed by Reid during his Suburban Press years
would serve as the perfect visual foil to the band’s anti-rock ’n’ roll. And
PUNK GRAPHICS: THE SUBVERSION OF STYLE 103
Above:Jamie Reid: Suburban Press, sticker collage, 1975.
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the resultant package, overseen by McLaren, became one of the most
brilliantly effective examples of guerrilla marketing ever seen: one which
served to critique and undermine passive consumerist society whilst, at the
same time, raking in ‘cash from chaos’.
Meanwhile, in a wider design sense, just as the back-to-basics
approach of punk musicians effectively served to hole the grotesquely
overblown pretensions of prog rock below the waterline, Jamie Reid’s
startlingly simple cut-and-paste cover for Never Mind the Bollocks, Here’s
the Sex Pistols served as a clarion call announcing the arrival of a brash
new lo-fi graphic style which was ‘the perfect manifestation of punk’s bedsit
smash and grab aesthetic’ (de Ville, 2003, p. 157). Thus, alongside the
notion that a simple knowledge of three chords – or less – was all that you
needed to be in a punk band, Reid’s instantly iconic artwork for the Sex
Pistols’ only bona fide album proclaimed, amongst other things, that you
didn’t need a degree from art school to design a record sleeve (in spite of
Reid himself obviously having one) – in fact, anyone could do it. And many
did so, cementing the cut ’n’ paste aesthetic as a quintessentially punk one.
But while Jamie Reid presents a link back from punk to the revolutionary
activism of the late 1960s, Colin Fulcher, better known as Barney Bubbles
THE GRAPHIC ART OF THE UNDERGROUND: A COUNTERCULTURAL HISTORY104
Above:Barney Bubbles: Music for Pleasure by The Damned, LP cover, 1976.
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Above:Barney Bubbles: Armed Forces by Elvis Costello and the Attractions, inside fold-out cover, 1979.
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