“The Hidden Mod in Modern Art: London, 1957-1969” by Thomas Crow looks into the considerable influence of the Mod subculture on key figures of the 1960s British art scene. One of its six chapters is devoted in its entirety to Pauline Boty and Bridget Riley, including a fascinating account of the former’s association with John Schlesinger and his films Billy Liar and Darling. The book is published by the Paul Mellon Centre.
From the Yale University Press website: “Bonding over matters of taste and style, the ‘Mods’ of late 1950s London recognised in one another shared affinities for Italian-style suits, tidy haircuts, espresso bars, Vespa scooters and the latest American jazz. In this groundbreaking book, leading art historian Thomas Crow argues that the figure of the Mod exerted an influence beyond its assumed social boundaries by exemplifying the postwar metropolis in all of its excitement and complexity. Crow examines the works of key figures in the London art scene of the 1960s, including Robyn Denny, David Hockney, Pauline Boty, Bridget Riley and Bruce McLean, who shared and heightened aspects of this new and youthful urbanity. The triumphant arrival of the international counterculture forced both young Mods and established artists to reassess and regroup in novel, revealing formations. Understanding the London Mod brings with it a needed, up-to-date reckoning with the legacies of Situationism, Social Art History and Cultural Studies.”
Imprint: Paul Mellon Centre Distribution: Yale University Press Format: Hardback ISBN: 9781913107130 Dimensions: 241 x 165mm Pages: 200 Illustrations: 140 colour + b-w illustrations Price: £25
“Ready, Steady, Go! The Weekend Starts Here” by Andy Neill has just been published by BMG Books. The 12″ x 12″ hardback comprises 272 pages with a UK retail price of £39.99.
Pauline Boty danced on the first show and was from then on a regular dancer with Derek Boshier. Both are mentioned in the book and Boshier’s 10th July 1964 dancer’s badge button is included among its illustrations.
From the BMG press release:
“Almost sixty years have passed since the first transmission of the most influential popular music programme in British television history. Ready, Steady, Go! began broadcasting on Friday, 9th August 1963 and became an essential television ritual for the newly confident British teenager. It provided a style bible – setting trends and becoming the barometer for popular culture. It epitomised the spirit of youthful optimism that gripped Britain in the mid- Sixties, reflected by the handpicked Mod audience who were an integral part of the programme. This was perfectly embodied by girl-next-door presenter Cathy McGowan whose shy, almost awkward demeanour directly connected her with the show’s target audience. It ran for three and a half years up to December 1966, its demise coinciding with the loss of pop’s innocence and the birth of the ‘rock industry.’ Within that time RSG! set a blueprint for music presentation and production on British television that resonated over the following decades and can still be felt today. It attracted and presented anyone who was anyone in popular music at the time: The Beatles, The Rolling Stones, The Who, Marvin Gaye, The Supremes and Otis Redding were just some of the important names that appeared. RSG! not only gave invaluable television promotion to these greats but also provided such then-unknowns as Rod Stewart, Marc Bolan, David Bowie, Donovan, and Jimi Hendrix with their first small screen exposure. Ready, Steady, Go! broke through technical barriers. Young adventurous directors such as Michael Lindsay-Hogg experimented with camera techniques used in French nouvelle vague cinema. The sets that were designed each week by Nicholas Ferguson were consciously modelled on current mod fashions and op art (Hockney, Riley, Blake etc.) Ready, Steady, Go! has never been documented in full detail before – until now. Thanks to exclusive contributions and unseen photographs and memorabilia, author Andy Neill fully examines Ready, Steady, Go! from quintessential Swinging London accessory to its current iconic status as the most legendary popular music programme of all time.”