The War of Running Dogs by Noel Barber (1971)

‘I always had a great deal of time for Chin Peng. He was by far the most intelligent of all the Communists, calm, polite, very friendly – in fact almost like a British officer.’
(Senior District Officer and Chin’s escort to the 1955 peace talks, John Davis)

There are several basic facts about Malaya which you need to grasp in order to understand the so-called ‘Malayan Emergency’ (1948 to 1960).

British Malaya

Malaya was never a unified nation. ‘British Malaya’ (1896 to 1946) consisted of the Federated and Unfederated Malay States. The Federated states were four protected states in the Malay Peninsula – Selangor, Perak, Negeri Sembilan and Pahang – established by the British government in 1896, which were British protectorates run by their own local rulers. The Unfederated Malay States was the collective name given to five British protected states, namely Johor, Kedah, Kelantan, Perlis, and Terengganu. Unlike the federates states, the unfederated states lacked common institutions and didn’t form a single state in international law. They were standalone British protectorates. In addition, there were the Straits Settlements, established in 1896 and consisting of the settlements of Penang, Singapore, Malacca, and Dinding, to which were later added the Christmas Island and the Cocos Islands.

After the war, in 1946, the British colony of the Straits Settlements was dissolved. Penang and Malacca which had formed a part of the Straits Settlements were then grouped together with the Unfederated and Federated Malay States to form the new Malayan Union.

Map of Malaya 1952 to 1954 © Monash Asia Institute, from the Cambridge University Press book ‘Templer and the Road to Malayan Independence

Racial heterogeneity

Of the population of about 6 million, 40% were Malay, almost as many were Chinese, and the remainder Indians, Europeans or other.

The three non-European communities – Malay, Chinese and Indian – had different traditions, religions, languages, cultures and tended to cluster round different professions and occupations. For example, the sultans of each of the states was Malay, as was his court and advisers, whereas a high proportion of the country’s successful businessmen were Chinese.

There were some 12,000 British, consisting of the Malayan Civil Service, policemen, rubber planters, tin miners, doctors and businessmen.

Following the Second World War, in 1946 the British authorities announced a new administrative structure named the Malayan Union, which aimed to distribute power and influence among the three main ethnic groups, Malays, Chinese and Indians. This prompted an outcry and mass opposition, particularly from Malays who saw their influence diminish in what they considered their own country, as well as objections to other implications of the plan.

Protests led to the formation of the United Malays National Organisation which organised a campaign of civil disobedience, boycotting council meetings and so on. Bowing to pressure the British authorities scrapped the Malayan Union and in 1948 replaced it with the Federation of Malaya, consisting of states ruled by sultans as British protectorates i.e. with British advisers, with Penang and Malaca defined as colonies, and Singapore given separate and unique status.

Chinese communists

The 1948 reorganisation took power away from the Chinese community which made up about a third of the population and which responded with negative newspaper articles and political action. Distinct from the Chinese community as a whole (which included many rich and influential businessmen) was the relatively small Malay Communist Party, almost entirely staffed by Chinese. Many of these communists had fought alongside British irregular forces in guerrilla campaigns against the Japanese after the Japanese captured Malaya in 1942, in fact many of them had been armed and trained and served in Force 136.

The post-war authorities were able to monitor the activities of the Malay Communist Party for the simple reason that its leader, Lai Teck, was a British double agent. However, in 1947, his cover was blown and Lai absconded (taking the party’s disposable cash with him).

His replacement, Chin Peng, aged 26, son of a bicycle repairshop owner, was more ruthless and cunning. Barber’s book explains all this background and then describes the crucial Communist Party meeting held in a remote jungle location in Pahang, the largest state, in May 1948 (that pivotal year in the Cold War).

During the war many of the party’s members had fought a jungle insurgency as part of what was called the Malayan People’s Anti-Japanese Army, led by British army officers. Now, simply by changing one word, it became the Malayan People’s Anti-British Army. Many of the members, their arms, training and tactics remained exactly the same, but now they were dedicated to kicking out what they saw as just another colonial occupier and oppressor. In an irony which escaped no-one, many of the new communist terrorists (CTs) were fighting officers and men they had previously fought alongside against the Japanese.

Chin Peng divided his army up into two parts: the armed force of 5,000 fighters, organised up into nominal regiments, but in fact broken down into attack units of as little as half a dozen men, to be distributed around the country, based in the jungle near the network of arms caches they’d helped establish during the war. The second part was the Min Yuen, meaning ‘Masses Movement’, consisting of hundreds of thousands of normal everyday citizens who would operate on every level of Malay life, as waiters in British clubs, clerks in government offices, as schoolteachers, newspaper reporters and so on (p.37) who would supply the active army with food, money and information.

The primary aim was to sow terror, pure fear, among the British colonial community and its native assistants and workers (collaborators, in the communist view). As the campaign spread, Chin intended for the European community to become demoralised and increasingly enfeebled while the tentacles of the Min Yuen spread at all levels of Chinese society until it was so powerful and numerous that a communist revolution became inevitable.

Barber details Chin’s three-phase plan:

Phase one

Guerillas attack isolated planters, tin mines, police and government officials, creating a climate of fear, forcing these scattered Europeans to abandon the country and seek the cities for safety.

Phase two

Areas abandoned by the British would be named ‘Liberated Areas’ and become the settings for guerrilla bases. The army’s numbers would be increased by recruits from the Min Yuen.

Phase three

Moving out from their bases in the Liberated Areas, the expanded army would attack towns and infrastructure, roads and railway, electricity and water supplies, while the Min Yuen sabotaged urban services. The expanded guerrilla army, supported by China or Russia, would confront the weakened and demoralised imperial forces in a final revolutionary struggle.

What is notable about all this is that the communists were overwhelmingly Chinese, relied on the active support of part of the Chinese community, and expected the revolution to come with help from China, and yet… the Chinese made up a distinct minority of the Malay population. As you might expect, the largest element of Malaya’s population was Malay. And lots of the plantations and other businesses the communists targeted were staffed by Indians, especially Tamils.

The use of terror

Barber views the Malay Communist Party campaign through the teachings of Lenin and Mao. Lenin had written that, through the application of terror, a well-organised minority could take over a country (p.36). Mao had written extensively about the organisation and strategy necessary for a peasant army taking on a larger, better-funded, full-time army. Be mobile and flexible. If you meet resistance, withdraw.

To spread fear you practice murder with maximum cruelty. Barber doesn’t hold back on his descriptions. The emergency is commonly dated from the murder of three British planters, two at one plantation, the other at a nearby one, on the same day, 16 June 1948. He goes on to describe, in detail, the CTs’ tactics and types of attacks: they crept up on native Malay or Tamil tappers (the workers who tapped the rubber trees), captured them and slit their throats like farm animals. They seized workers and chopped off their arms with the large Malay knife. They regularly attacked isolated plantation owners’ houses or bungalows, using British Sten guns or grenades. They made road ambushes by falling trees across roads then subjecting stalled vehicles to barrages of fire. That is how they murdered High Commissioner Sir Henry Gurney (p.156).

The casualties were never enormous – not on the scale of an actual war – but still significant, with around 500 European settlers or officials being killed each year, and several times more communists. In total, during the entire emergency, 1948 to 1960, 1,346 Malayan troops and police were killed, 519 British military personnel, about 6,710 communists, with civilian casualties of around 5,000.

The British response

The British responded with a number of co-ordinated strategies: most Malay settlements had so-called ‘squatter’ camps surrounding them, occupied by immigrants from China, some of whom helped the communists, but many of whom were victims of the communists if they didn’t help or were suspected of collaborating. Therefore the British created a network of ‘New Villages’ and relocated the 600,000 squatters to them. Surrounded by barbed wire, they certainly protected the inmates from attack, but also could be seen as concentration camps.

The British authorities enforced a photo identity scheme, and tried to starve the communist guerrillas by implementing a food denial campaign by enforcing food rationing on civilians, killing livestock and using chemical herbicides to destroy rural farmland. Policing was expanded and re-organised to provide protection for workers going to work on rubber plantations or tin mines.

It is ironic to learn that the outbreak of the Korean War in June 1950 led to boom market for rubber and boom period for Malayan economy (p.182). Nonetheless, when the Conservatives won their election victory in October 1951 victory, they discovered that Britain was on verge of bankruptcy. The country had lower food stocks than ten years earlier, in 1941. By 1951 huge numbers of men involved – 40,000 regular troops including 25,000 from Britain, 10,000 Gurkhas, 5 battalions of the Malay Regiment, plus 60,000 full-time police and 200,000 Home Guards. The war was costing £500,000 a day. (p.162) No wonder Correlli Barnett railed against the stupidity of spending all our Marshall Aid running the ridiculous empire.

The incoming Prime Minister, Winston Churchill, sent Colonial Secretary Oliver Lyttleton on a fact-finding mission which reported back that the situation was dire and highlighted disagreements between army and police and divisions even within the police. Churchill appointed General Sir Gerald Templer to take over. Templer was a splendid example of the imperialist education system, having attended Wellington, Sandhurst, been an Olympic hurdling champion, and served in post-war Germany where he’d realised the Germans needed encouragement, carrots, promises of better times, to prevent communism.

It was Templer who realised the British had to win the ‘hearts and minds’ of the population, not with military force, but simply by showing that democratic capitalism would give the native populations and their families a better future. So he combined expanding the police force, and especially its Special Branch wing, with social works, the building of hospitals, schools, an increase in teacher training, setting up of women’s groups and so on.

Barber’s approach

Noel Barber (1909 to 1988) was a journalist who worked as foreign correspondent for the Daily Mail in the 50s, 60s and 70s. He also managed to write some 22 non-fiction books about the many countries he reported from (Hungary, Tibet, India). Late in life, a car crash ended his career as a journalist and he switched to writing novels, producing half a dozen, none of which I’ve heard of.

The War of the Running Dogs: How Malaya Defeated the Communist Guerrillas 1948-60 was Barber’s 15th non-fiction book. I picked it up in a second-hand shop because I want to understand more about Britain’s decolonisation beyond the glut of books and documentaries about the two usual suspects, India and Israel.

I think it’s safe to say that Barber’s approach is old school. Writing at the end of the 1960s, he himself came from a solidly upper-middle-class family, good public school, well-connected family (his brother, Anthony, was a Conservative politician, who rose to be Chancellor of the Exchequer in Ted Heath’s government 1970 to 1974).

Thus we get the story predominantly from the British side and from a perspective which is now disappearing, told with a hearty patriotism which often reads like it’s from one of the Famous Five children’s book. The senior British figures are often described as ‘magnificent’, policies and outcomes are ‘splendid’. Men are men, especially the gruff, no-nonsense Lieutenant General Gerald Templer who was sent by Churchill to replace the assassinated High Commissioner Sir Henry Gurney. Templer barks out orders, insists things are done the same day, issues red orders which must be carried out by underlings or else, insists on shaking hands with all the Malay staff at government house (in fact, King’s House) in Kuala Lumpur. Shakes colleagues by the hand and tells them, ‘You’re a man‘.

Other ‘men’ include Sir Harold Briggs, First Director of Operations, Sir Robert ‘Bob’ Thompson of the Malayan Civil Service, Colonel Arthur Young, Police Commissioner, Bill Carbonell Commissioner of Police, and Peter Lucy, the amazingly brave rubber planter. It is a winning aspect of the book that it opens with a one-page ‘cast of principal characters’ [which isn’t all-white, it includes Malayan politicians and all the key Communist leaders]. Somehow this crystallises the impression given by much of the text that the war was a spiffing affair with manly chaps like General Templer grasping Colonel Young with a firm handshake, looking straight into his eyes, and saying, ‘You’ve done a man’s job, sir.’

Stories and comedy

Barber tells a number of funny or wry anecdotes. For example, the occasion when Templer addressed the population of one of the New Villages which had passively let CTs walk in, take all their weapons, and then walk out, the British general tried to convey his anger, but the Malay translator produces a comically rude mistranslation.

Or the amazing tale of 14-year-old Terence Edmitt who drove the family armoured car (!) through a CT roadblock and ambush, carefully ramming the car blocking the road into the ditch, while the car echoed to fusillades of bullets from CT sten guns and his mum and dad fired back through slits in the side (p.227).

Or the astonishing story of Peter Lucy and his tough, no-nonsense wife Tommy, who refused to abandon their remote plantation bungalow, so they fortified it, ringed it with barbed wire, and regularly fought off CT attacks with Sten guns and hand grenades even when Tommy was nine months pregnant!

Barber finds the astonishing or the amusing, the gossipy and heroic, in everything. This is one of the aspects which makes it more of a popular magazine article than a work of serious history.

There are other reasons why I doubt a book like this could be published nowadays:

1. Race and ethnicity

As Britain ceases to be a white country (estimates vary, but by about 2070 it’s thought whites will be in a minority in the UK) and its academic and publishing industries become ever-more hypersensitive to issues of race and ethnicity, the book’s unstinting support of ‘our boys’ and of colonial administration generally, has, I think, nowadays, become untenable. Barber would be picked up on countless places where he makes no-longer-acceptable generalisations about the Malays, the Chinese or the Indian population of Malaya.

In fact, Barber goes out of his way to praise the three different racial groups in Malaya, and also brings out Templer’s and the British authorities’ deliberate policies of racial integration. He tells the story of Templer being outraged to learn that some ex-pat club refuses membership to Malays and Chinese, gets the entire board sacks, and forces them to take non-European members. So Barber and his heroes are very pro race equality and racial integration. Templer and many other Brits realised it was vital not only to winning the war but to ensuring a smooth transition to independence. That wouldn’t save them from being damned by modern academics and critics.

And Barber goes out of his way to detail the intelligence work of the CT defector Lam Swee and, especially, of C.C. Too, a Chinese brought in to head British psychological operations, who became responsible for the propaganda war, including dropping millions of leaflets in the jungle telling the terrorists they would be treated well if they gave themselves up, describing the joys of civilian life (which amount to ‘women and cigarettes), as well as planes which were commissioned to fly low over huge expanses of jungle broadcasting the same message from big loudspeakers (p.139).

So I wasn’t aware of any racial bias or bigotry at all, rather the reverse. Bet that wouldn’t save him, though. And although he goes out of his way to give a positive impression of the remote communities of ‘aboriginal’ peoples, the peoples who inhabited Malaya before either the Malays or Chinese arrived, I suspect he would be hammered for calling them ‘abos’ and not the currently acceptable term, which appears to be ‘Orang Asli aboriginals’.

2. Women

Since the complete triumph of feminism in academia and the media, the slightest disparaging remark about women in any capacity is enough to end careers.

Again, Barber is surprisingly liberated for his day (he must have written this book in the late 60s and 1970 for it to be published in 1971) and goes out of his way to praise women at every level. For example:

a) He describes the tremendous good works done by Templer’s wife, who threw herself into organising hospitals, schools, women’s groups and generally improving the status of women in Malay society.

b) He gives specific examples of amazing courage and bravery among women in the war, for example, Lucie Card who one minute is living a middle-class life in Surrey, volunteers for the St John’s Ambulance, and a month later is driving an ambulance through bandit-infested jungle in Malaya (p.237 ff.)

Barber devotes a long passage to the surprising fact that Chin Peng selected as head of the communist army’s courier network, a determined young woman, Lee Meng. Not only do we hear about her legendary efficiency and ruthlessness, but there is a long passage devoted to the hard work the Malay Special Branch put in to a) identifying her b) arresting and interrogating her.

It is just as surprising to learn that a key player in tracking her down was British operative Eileen Lee. The complexities of the operation to identify Lee Meng sound as if they’re from a James Bond story (as does the very unlikely-sounding story of CT double agent ‘the Raven’ attending a dinner party of local Brits disguised as a servant in order to leave a secret message on the District Officer’s pillow! p.286)

Elsewhere Barber remarks more than once that female comrades in the Liberation Army were generally thought to be tougher and more ruthless than most of the men.

So Barber goes well out of his way to sing the praises of women in general, and to single out some remarkable examples of female braveness, toughness and ingenuity in particular – but I don’t think that would be enough to save him. He routinely refers to these heroic women as ‘girls’, sometimes as ‘young and pretty girls’ (p.203), ‘she was young, extremely beautiful and very pregnant’ (p.284). Tsk tsk. His entire attitude would, nowadays, be dismissed as the patronising stereotypes of a patriarchal, pro-imperialist, white supremacist male. I’m surprised his book is still in print.

It’s very obvious that anyone interested should read a more up-to-date account of the war, but all the aspects I’ve just mentioned mean that Barber’s account is interesting not only for its subject matter, but for the strong flavour of the 1970s prism through which he views them.

3. Unquestioning patriotism

For Barber, the high commissioners, heads of police or special branch, are ‘magnificent’, so a ‘splendid’ job, are real ‘men’. He mentions at some length the two trials of Lee Meng and how, when the authorities couldn’t get a guilty verdict from the first trial, they simply held another one with a more European panel of ‘advisers’ (instead of a jury). This caused controversy at the time. Similarly, he mentions the ‘Batang Kali massacre’ when 24 unarmed Chinese prisoners appear to have been murdered by British troops. He mentions these things, presents the evidence and says they left question marks over ‘British justice’. He makes brief mention of regulation 17D which gave the government the power of detention without trial and that some 30,000 civilians were interned under it, but not much more. He mentions these things but I bet a modern historian would use them to flay the racist imperialist British.

Key developments

By October 1951

It had become clear to Chen Ping that his initial three-phase plan wasn’t working. He duly called another big meeting of senior Malay Communist members and issued a new Directive. This refocused the communist campaign – stop killing innocent bystanders and Chinese, focus more on police, soldiers, direct officers of imperialism – but at same time boosted political efforts to infiltrate trade unions and create communist sympathisers through legal means.

January 1952

The appointment of Templer as High Commissioner, who comes in with sweeping new policies. One is to place enormous bounties on the heads of the CT senior command, double if caught alive, half if caught dead. He wanted them alive so he could convert them and use them as propaganda. Also to interrogate them and get intelligence about camps and strategies.

September 1952

One of the stupidities of the entire thing was that the British fully intended to quit Malaya, and had made this known to all the sultans and the general population. Throughout the period Britain made attempts to get more local figures into politics, to make more places open to locally elected officials. Then on 14 September 1952 a new citizenship law gave 60% of the Chinese population and 180,000 Indians full and immediate citizenship, with procedures established for all other inhabitants to apply for citizenship (including any Europeans who had one parent who’d been born in the country).

Spring 1953

Chin Peng makes a momentous decision to relocate his forces across the border into Thailand. Barber describes eye-witness accounts of the jungle meeting where this was announced to the communist cadres and the mood of disillusion and demoralisation which it led to.

Winding down

By mid-1953, five years into the war, a number of key communist leaders had been captured, killed or had defected. The British had sealed the squatter Chinese population off in the New Villages, enforced citizen id cards on everyone else, granted citizenship to large numbers of the population with processes for everyone else to gain full, legal citizenship, and had laid out a timetable towards full and free democratic elections to be held in 1955. Independence, in other words, was only a few years away. In the meantime Templer had overseen the inauguration of a sort of welfare state into which legal citizens paid, and which would contribute towards medical care or pensions. Tours were organised of government offices which included each citizen being taken to a bank and show how much money they had accrued, and led up to a speech by Templer himself. More and more CTs began to defect, giving themselves up and were astonished when they were not shot out of hand, but carefully treated, questioned, then freed and given clothes, money and jobs, and encouraged to spread the word to their comrades still in the jungle.

It became harder and harder for the communists to persuade peasants or urban dwellers that theirs was the correct route to freedom when the British route was so obviously better, for everyone.

This is what Templer meant when he had announced his ‘hearts and minds’ strategy. Barber really emphasises that right at the start of the emergency the government took the right decision which was to keep the emergency in the hands of the civil authorities – to make it a law and order issue. To make the police and Special Branch the key arms of law enforcement, with the army solely as backup and for specific defined operations (p.245 and throughout).

It was vital that the majority of the population see that law and order and government continue in its same form. The classic mistake to make in such situations, is to appoint a military overseer who invariably puts military units in charge, maybe imposes martial law, sets up special army-run detention centres and so on, with the inevitable result that sooner or later some atrocity is committed or photos leak out of inmates being mistreated in military gaols, and the general effect is to alienate the majority of the non-combatant population and encourage them to give passive or active support to the insurgents. As the Americans did in Vietnam and then again, astonishingly, in Iraq.

The Brits may have bent the law in some trials, been responsible for one well-publicised massacre (Batang Kal: 24 terrorists shot; My Lai: over 500 unarmed men, women and children killed), and the New Villages policy doesn’t sound as benign to me as Barber makes it sound. But overall, eventually, the non-military nature of the British response worked.

Communist desertions

The British placed huge bounties on the heads of the CT leaders. They offered huge sums for information. And they paid CTs who handed themselves in. Millions of leaflets offering safe passage were dropped over the jungle (93 million in 1953 alone, p.246, 525 million in total, p.321).

So many took up this offer that in the summer of 1953 Templer set up the Special Operational Volunteer Force, 180 ex-communist terrorists grouped into twelve platoons of 15 men each (p.233).

Barber describes in detail the defection of a number of the highest CT leaders, including the elusive Osman China ‘one of the most brilliant propagandists in South-East Asia’ and Hor Leung, a high ranking communist official (pages 250 to 265).

Elections

In July there was the first full general election in Malayan history. Barber had already introduced us to Tunku Abdul Rahman who had emerged as a canny political operator in the regional elections of 1952. Now he built a coalition between the ethnic parties to take overall power. 85% of the electorate voted and the Tunku’s Alliance won 51 of the 52 seats. He immediately began criticising the British veto on all laws passed by the assembly and pushing for the British to leave and relinquish full political power as soon as possible. The Tunku immediately issued a complete amnesty to all remaining CT fighters and had it distributed by leaflet, loudspeaker, the press and so on. Chin Peng replied calling for an immediate ceasefire.

The Tunku and his party were keen to hold talks but the British stalled. They were still responsible for the country’s security and felt admitting Chin Peng to a conference table would subvert the democratic process they had put in place, would give the communists influence not merited by their dwindling band of malnourished jungle fighters, and would hand a propaganda coup to the communist cause across wider South-East Asia (not least in Vietnam). But the Alliance party and many others saw this as simply excuses for the British to hang onto ultimate power. As long as the emergency remained, the British remained, and so the imperial power had a vested interest in dragging it out.

We now enter the complex world of multi-party politics, in which there are factions within the ruling Alliance party, these disagree with the old sultans, many of whom trust their British advisers more than these upstart democratic politicians, and the British administration itself which was divided about policy, and a British political community which was, of course, also divided between Conservative ruling party and the opposition internationalist Labour Party. The story gets more complex and, frankly, more boring, more bureaucratic.

The solution to this particular conundrum was simple: the British announced that they would leave whether the emergency was over or not. The existence of the emergency would not prevent full independence. And so Chin Peng was offered and amnesty and the opportunity to emerge from the (Thai) jungle and hold talks with First Minister Tunku.

In the event Malaya finally became fully independent (achieving Merdeka or independence) in August 1957, ending 83 years of British rule. Although under a British-Malayan Defence Pact, the Malay Army was run by Director of Operations Sir James Cassels (p.305), British soldiers continued to provide ‘defence’ for the Malayan state, and continued to be ambushed and killed by the 1,000 or so remaining CTs left in the jungle.

Despite independence the Communist insurgency continued until 1960. The final 30 or so pages don’t cover any of the political, social or economic ramifications of independence, but instead continue to give us exciting stories of derring-do, describing the cat and mouse campaigns to kill or capture the last remaining CT leaders, who are regularly portrayed as fiendish, cunning, clever, zealous and indoctrinated opponents of tall, tough, multi-lingual British Special Branch or SAS officers with mops of unruly hair and piercing blue eyes.

These last couple of extended adventures made me suddenly realise who Noel Barber reminds me of – Frederick Forsyth. A lot of the passages of action – the ambushes and attacks, the forays into the jungle, the top secret intelligence work – and the stereotyped characters – bluff British army officers, slight twinkly-eyed Chinese fanatics, beautiful girls, fast cars, Sten guns and armoured cars – read like an airport thriller, an airport thriller, a lot of which just happens to be true.

On 31 July 1960 the ’emergency’ was declared over and there was a huge victory parade through Kuala Lumpa which Barber describes in joyous detail, and then wraps his account up with a purple prose description of free, independent Malaya, unchanged and yet completely changed, enduring forever…

Thoughts

1. I must read a more modern account of the emergency, one which will probably contain a far more damning version of British behaviour.

2. Ideally, this modern version would go on to cover the longer period after independence up to the 1990s, say, so that the long-term effect of not only the emergency but of colonial rule can be assessed in the longer perspective.

3. Barber’s book is a very accessible, rip-roaring boys adventure version of events. The thing is, this may not be so misleading because quite obviously a lot of the British participants took part in that spirit, had that gung-ho, patriotic ‘come on chaps’ attitude. Certainly in his interviews with Peter Lucy and his wife, with Lucie Card and the dashing Scottish officer she met and married in Malaya, David Storrier (p.239), they all talk like that, they describe acts of everyday heroism and bravery with a dashing disregard for the danger.

4. And this is connected to the many scenes and descriptions of events where Barber deploys the techniques of a popular novelist, setting scenes whether in ex-pat clubs or jungle guerrilla camps, giving vivid descriptions of emaciated CTs, terrified Tamil workers, jolly fun-loving sultans and dashing Brits which come from movies, novels or comics of the 1950s:

Gallery of characters

Colonel Robert ‘Bob’ Thompson, son of an English clergyman, fluent Chinese scholar, fought with the famous Wingate Chindits, had a ‘brilliant’ war record, looked like a film star, was ‘a dashing, handsome, highly intelligent bachelor with a ready chuckle’ (p.24)

Sir Edward Gent, the High Commissioner… at Oxford gained a double first and was a rugger Blue… (p.44)

Malcolm MacDonald, Commissioner-General for South-East Asia… was something of a ‘character’ and over the years had developed a public image of a shirt-sleeved, approachable democrat… (p.47)

Police-Superintendent ‘Two-Gun’ Bill Stafford, a stocky, broad-shouldered barrel-chested aggressive man with grey-green eyes, who had been a ‘crime-buster’ before the Emergency and was already something of a legend in Malaya. (p.66)

[David Storrier] had sharp features, straight fair hair and the bluest eyes she [Lucie Card] had ever seen.

[Sir Henry Gurney’s] panache had become a legend in Palestine during the last frightful months… known to close friends as Jimmy, he had gained a blue for golf at Oxford and was a keen tennis player. (p.73)

Colonel Nicol Gray was a strong man in every sense of the word. (p.81)

John Davis, Senior District officer was ‘a broad-shouldered man of forty-nine with twinkling blue eyes and a shock of unmanageable hair’ (p.276)

The commanding officer chosen for the task was a spectacular character – literally: Major Harry Thompson, seconded from the Royal Highland Fusiliers, stood six feet four inches, had a thatch of fierce red hair and a boxer’s nose (p.311)

Evan Davies was a master of the technique of using double agents… He had impeccable manners… he was ‘feared yet respected in every CT camp in Malaya’… he drove a cream, two-seater sports car ‘with his usual dash and verve’…He had ‘a remarkable ability to think like a Chinese…’ ‘He had been a policeman on the beat in London before being promoted to Special Branch, followed by a spell as a Commando during World War Two..’ (pages 281 to 24)

Commando: Marching to Glory: Six of the Best Commando Army Books Ever! (Commando for Action and Adventure): Amazon.co.uk: Low, George: 9781853758966: Books


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Aladdin Sane: 50 Years Exhibition @ Festival Hall

This surprisingly extensive and greatly enjoyable exhibition on the ground floor of the Royal Festival Hall is premised on the notion that the cover to David Bowie’s 1973 album, ‘Aladdin Sane’ – the photo of Bowie’s face with the ‘lightning bolt’ drawn across it – was an epoch-making, benchmark-setting, game-changing, epochal work of art. On the wall labels and in the exhibition publicity the curators go so far as to claim that the cover photo is ‘the Mona Lisa of Pop’. Do you agree? This exhibition tries its damnedest to persuade you.

Cover of Aladdin Sane by David Bowie, released 19 April 1973

The album

‘Aladdin Sane’ was Bowie’s sixth studio album, released on 20 April 1973 on RCA Records. The previous albums had been:

  • David Bowie (1967)
  • David Bowie/Space Oddity (1969)
  • The Man Who Sold the World (1970)
  • Hunky Dory (1971)
  • The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972)

The concept album ‘Ziggy’, creating an elaborate mythology about an ill-fated, fictional rock musician, was Bowie’s breakthrough LP. It sold over 100,000 copies and catapulted him into the realm of real stardom. Concerts sold out, the music press started to treat him as a player, his fan base exploded. It established him as a leader of the more thoughtful, cerebral, art student end of Glam Rock, far more ambitious in his skilful deployment of a persona and concept than rivals like Marc Bolan, let alone the pure pop end of Glam such as Sweet or Slade.

The follow-up, ‘Aladdin’, is closely linked to ‘Ziggy’. Bowie recorded it with the same backing band (led by guitarist and arranger Mick Ronson) and it was recorded between gigs of his extensive Ziggy Stardust tour. The songs were mostly written on the road in the US between shows. This explains why the subject matter is often directly American (‘Panic in Detroit’) and also has a heavier, harder rock feel than Ziggy. The track listing is:

Side one:

Side two:

It contains one solid gold hit, ‘The Jean Genie’, which is a classic of a certain kind of style of repetitive, one-riff rock. It started with Mick Ronson fooling around with a Bo Diddley riff on the tour bus. Back in New York Bowie developed lyrics to entertain Andy Warhol acolyte, Cyrinda Foxe. In fact the way the lyrics describe a certain New York type is strongly reminiscent of Lou Reed, whose album Transformer, full of such portraits, Bowie had just finished producing and playing on. A cursory listen to both shows that Transformer is, quite obviously, much better than Aladdin, more varied, more interesting tunes (‘Perfect Day’, ‘Walk on the Wild Side’), has stood the test of time far better.

The bassist on the Jean Genie session later claimed it was recorded in an hour and a half flat. It went to number 2 in the UK chart (a chart which, one of the many entertaining and nostalgic wall labels tells us, had recently featured Sweet’s ‘Blockbuster’ and Jimmy Osmond’s ‘Long-Haired Lover From Liverpool’). But I find most of the other tracks on the album boringly repetitive and too long. And the lyrics?

Crack, baby, crack, show me you’re real
Smack, baby, smack, is that all that you feel
Suck, baby, suck, give me your head
Before you start professing that you’re knocking me dead

It was ‘daring’ and ‘risqué’ at the time to describe blowjobs in a song, 50 years later…not so much. And ‘professing’?

It’s surprising that this contrived performer, this cracked actor, so keen to display a glammed-up, self-consciously theatrical character, should include a Rolling Stones track, ‘Let’s Spend the Night Together’, on the album. He said in interviews it was a tribute to the Stones-inspired feel of many of the songs, but it’s dire, isn’t it? The main difference is Bowie swallowing or snatching the word ‘together’ in contrast to Mick Jagger’s lazy sexy drawl, which is definitely worse, and the spoken ad lib at the end:

They said we were too young
Our kind of love was too young
But our love comes from above
Let’s make love

This sounds like a blatantly commercial play for the adoration (and money) of pimply misunderstood 15-year-olds everywhere.

Who is Aladdin Sane? In interviews Bowie simply described him as ‘Ziggy Stardust goes to America’, where he discovered urban decay, drugs, sex and violence on a scale you couldn’t get in Britain. Critic Kevin Cann is quoted describing him as ‘a kind of shell-shocked remnant of his former self’.

Installation view of ‘Aladdin Sane 50 Years’ at the Southbank Centre showing a contact sheet and blown-up images of Bowie dressed for his performance of ‘Starman’ on Top of the Pops. Note the red-and-blue colour scheme already much in evidence. Installation photo by Pete Woodhead. Bowie photo by Duffy © Duffy Archive & The David Bowie Archive ™

The album had 100,000 advance orders which meant it went ‘gold’ and to number 1 in the UK album charts, staying there for 5 weeks and in the top 10 for 27. It’s estimated to have sold 4.6 million copies in total, the kind of figures record companies, accountants, and rock music geeks adore.

The exhibition includes an area dominated by a fantastic old-style hi fi system comprising record player, amp and big speakers, on which the album was playing. (For techies, the deck is a Michell Transcriptor, with Celestion 66 loudspeakers and a Rotel RX-1203 amplifier.) Someone must have been continually turning it over or putting the needle back to the start of the side. There are bean bags to slump on. Tellingly I came across someone’s daughter, obviously not very interested in the exhibition, slumped on a bean bag with headphones on, and when I asked her what she was listening to, it wasn’t Bowie.

However, the thing about this exhibition is that it isn’t really about the music. The actual content of the album is barely discussed. The focus of the exhibition is the cover art for the album. This, we quickly discover, was shot by fashion photographer Brian Duffy, was the most expensive rock album cover made to date and, according to the curators, is one of the most iconic rock images of all time.

Brian Duffy

Thus an immense amount of time is devoted to the background and build-up to the famous cover image. I counted no fewer than 84 photos devoted to telling the story. First the context and key personnel. So there are photos of each of the band members with wall labels explaining who they are and their contribution, the largest number devoted to the extremely photogenic Mick Ronson in various rock star poses, but also shots of the bassist and drummer. (The curators speculate that some of these shots were meant to be used in the gatefold of the album sleeve, but the power of the final slash image swept them aside.) There’s photos of Bowie’s producer, Ken Scott, manager Tony Defries, two photos of Bowie’s wife, Angie.

So much for the music. More central to the story of the iconic cover is the extensive section devoted to the photographer of the iconic image, Brian Duffy. We learn about his career before the shoot, that he was one of a trio of young London photographers, what older photographer Norman Parkinson called ‘the Black Trinity’ – the others being David Bailey and Terence Donovan – with contemporary newspaper clippings to that effect.

We learn that Duffy, as he was universally known, was a leading fashion photographer, which is backed up by a wall of 27 of his very impressive fashion photos. These powerfully convey not only the style of the day as found in glossy mags such as Vogue and Cosmopolitan, Elle and the Sunday Times, but also indicate the fashion, rock and celebrity figures of the era, such as John Lennon, Michael Caine, politicians.

There’s a cornucopia of 1960s gossip: Duffy’s collaboration with Len Deighton on the 1969 movie ‘Oh What A Lovely War!’, technical influences such as the way graphic artist Philip Castle used an airbrushing technique on the poster for A Clockwork Orange, which Duffy was to ask him to repeat on the Aladdin cover, the way the cover of Hunky Dory was printed as black and white and then hand coloured by Terry Pastor, how the cover photo of Transformer was taken by ‘legendary’ rock photographer Mick Rock, was accidentally over-exposed but Reed liked it that way, and so on.

The shoot

But there’s more, lots more, as the exhibition zeroes in on the creation of the iconic image. We learn about Duffy’s studio manager Francis Newman, and designer Celia Philo. We are treated to photos of the interior and exterior of the Duffy’s studios at 151a King Henry’s Road, Swiss Cottage NW3. where the famous shoot took place.

We learn about the canny strategic thinking of Bowie’s manager, Tony Defries. They shared a vision of how the marketing of a pop performer could be transformed into high art – or at least a good impression of what pop music consumers thought of as art. One extremely practical and canny reason is that Defries knew that, the more they spent on the cover art, the more record label RCA would be forced to cough up to boost sales in order to recoup their investment. Hence he and Duffy agreed on using an extremely expensive seven-colour printing technique which was then only available in Switzerland.

In order to justify the process the image had to be simple and striking. It had to make maximum use of bold colour. Hence the development of a bright red (with some blue shading) against artificially pale bare skin.

This explains why nobody on the shoot saw the final version on the day because the negatives had to be sent away for commercial processing to achieve that hyper-real effect.

Then we’re on to the photo session itself. An immense amount of resources go to describing in great detail how the shoot was conducted and where the idea for the famous zigzag across Bowie’s face came from. Bowie was 26, had hit new peaks of fame, was deeply aware of the importance of image and media presentation. He wanted something striking and new but didn’t know what. The shoot was crammed in between dates on an international tour.

Duffy had never done a shoot for an album cover before. Both star and photographer were in new territory. So the most striking thing about the shoot this whole exhibition is making such a song and dance about is it was all over in an hour,

In fact, rather disappointingly, or maybe fittingly, right at the heart of the story is uncertainty/mystery. Turns out nobody really knows where the idea for the iconic red flash came from. There are several possible sources. Bowie shared his birthday with Elvis and the King had developed a motto, ‘Taking Care of Business – In A Flash’, and accompanying logo:

Elvis Presley’s Taking Care of Business logo

Rather more prosaically, Duffy’s studio had a National Rice cooker and their logo was a red flash. In 1970 the company had created the world’s largest neon sign depicting the logo on the side of an office building in Hong Kong. From some source, Duffy conjured up the idea of painting a flash across Bowie’s face. It took make-up artist Pierre Laroche to achieve a first draft, establishing a pale ground for his face and chest, and then the red flash.

Then the background was brightly lit in order to burn it out or render it invisible. Bowie was positioned against it wearing only his underpants and Duffy started snapping (as the curators carefully inform us) using his Hasselblad 500 EL camera, using a David Cecil ring flash unit on Ektachrome ASA 64 120-format film. Turn to the left, turn to the right, look straight ahead, two rolls, 24 images, all knocked off in well under an hour. Clean make-up, free to go.

The exhibition features a wall of contact prints of the ‘outtakes’ or unused images i.e. other almost identical shots of made-up Bowie which were rejected for various reasons. The decisive factor was the eyes. In all the rejected versions Bowie has his eyes open. Seeing the final version among all the rejected ones makes you realise that the one with his eyes shut is head and shoulders more powerful than the rest. Why?

Aladdin Sane contact sheet by Brian Duffy

The curators explain that using the image of Bowie with his eyes closed broke with all the conventions of portrait photography. Usually there’s some kind of eye contact with the viewer, the eyes establishing contact or rapport. Even if they’re looking away, we get a stronger sense of someone’s character if we can see their eyes. Thus choosing the eyes shut image immediately created an aloofness and mystery about Bowie, exactly the kind of androgynous, alien effect he and Defries were cultivating.

The second big artistic decision Duffy took was to add the blob of mercury on Bowie’s collarbone. It was added by graphic artist Philip Castle. The curators, like all modern art curators, obsessed with sex, describe this blob as ‘phalliform’ i.e. shaped like a penis*. Is it, though? If it’s the shape of anything, I’d pick up on Bowie’s obsession with aliens and interpret it as being a a ray gun. At the time, this kind of special graphic effect was relatively new, and so I think I interpreted it as a sort of science fiction detail, the kind of thing you might get on a Hawkwind or Emerson, Lake and Palmer album.

Anyway, it certainly emphasises the other-worldly, disembodied vibe of the whole image. For the curators, constricted by their framework of gender and sexual identity, the image emphasises Bowie’s gender fluidity. Not being so constrained, I see it as far more playing to Bowie’s alien from another world schtick.

Anyway, any interpretation is equally irrelevant to the actual music which I outlined above, grimy, gritty portraits of New York types, the Jean Genie or Lady Grinning Soul. You only have to listen to half the album to realise that the cover image is wildly misleading as to its contents.

Last word about the lettering. This is Rémy Peignot Cristal with a blue-white-red gradient. It was Duffy who changed the dot over the i of Aladdin into a small flame shape.

Why the fuss? Gender, obvz

Personally, I was never that particularly struck by this album cover because it came from an era overflowing with striking album cover art. At the time it seemed just one among many amazing, imaginative and striking images, so I don’t quite get the fuss.

What comes over with increasing insistence as the show progresses is that the arguable over-valuation of this one image is in part because it is also being considered and valued as an emblem of gender, queer and identity politics. Aha. This explains why the actual music – its composition, production and performance, its lyrics and its value – are more or less ignored by the exhibition. Nobody says whether the album is any good, probably because it isn’t really.

Instead, as you progress into the second half of the exhibition you realise the whole thing is being seen through the lens of contemporary concerns about gender and identity. Seen from this perspective you see its value in a completely different light, namely that Bowie’s poses in the early 1970s, as bisexual, asexual, strange and alien (the aspect of his persona which was foregrounded in Ziggy, Aladdin, Diamond Dogs, ‘The Man Who Fell To Earth’ and, maybe, ‘Low’) helped a lot of people who were struggling with their sexuality. It’s made pretty plain in the show’s press blurb:

With a focus on the photo session that gave us Bowie’s ‘lightning bolt’ portrait, this exhibition explores the continuous reshaping of Bowie’s image, and his part, along with Duffy’s, in a reimagining of sexual and gender identity.

It explains why in the last part of the show – once we’ve got past the 80 or so large photos of the band members, manager, wife, and all the contact images from the shoot itself, past the wall-sized blow-ups of Bowie in full glam pose, and past the room with the hi-fi system playing the album – we come to a space with sheets hanging from the ceiling bearing quotes from people who grew up in the 70s and 80s, who struggled with their sexuality and identity, and who found solace in Bowie’s confidence and unashamedness and bravura performance of alternative sexualities.

Personal testimony room in the ‘Aladdin Sane 50 Years’ exhibition at the Southbank Centre. Installation photo by Pete Woodhead

In a world dominated by macho movie stars and football hooligans, Bowie offered an alternative, an imaginative way out, a refuge. He made a lot of troubled, embattled people realise they weren’t alone. Bowie showed that you could not only feel confused and uncertain and not fit into any of society’s categories, but become a star on your own terms, appear on the telly, pack out concert halls, and make a fortune.

As the curators out it, Bowie’s message for generations of outsiders, not just sexual outsiders but alienated, unhappy teenagers, was:

Ignore what society wants you to be. Be what you want to be – including how you look to the outside world.

This part of the show – and the first-person tributes from young people who Bowie, with his many-changing masks and fluid sexual identity, helped and reassured and inspired – was genuinely moving, but also a bit disorientating. It was weird walking from the world of trash glam throwaway pop hits into quite a more serious and troubled realm, a world of gender anxiety and liberation, freedom but worry, which seems to be with us more than ever.

I doubt if Bowie set out to be sex therapist to a generation but, this exhibition suggests, that was the impact he had, for a lot of people.

Nostalgia

For me, though, being neither troubled by my sexuality (no more than average, anyway) and no particular fan of Bowie’s early music, I thoroughly enjoyed this exhibition because it is an absolute riot of nostalgia. The opening rooms set the scene for the Great Photoshoot by establishing the social and political and music context of 1973.

Probably younger visitors walked swiftly past the background panels describing Britain in the 1970s, the collage of newspaper headlines from the period, the oil crisis, the four day week, Harold Wilson and Ted Heath, the endless strikes, but I lingered long and lovingly, reliving the long-ago days of my boyhood.

Next to the politics was a similar size panel with a collage of contemporary music paper articles, giving an impressionistic sense of who was who in rock music, circa 1973, many of them, apparently about Elton John, whatever Paul McCartney and John Lennon were up to, a new young band named Queen, and so on.

Far more visually striking, though, was another collage establishing the context of classic rock album covers from the period. These included actual vintage copies of Sergeant Pepper, Abbey Road, Black Sabbath, King Crimson, Dark Side of the Moon, Led Zeppelin IV, Sticky Fingers by the Rolling Stones, What’s Going On by Marvin Gaye, Slider by T Rex, early Roxy Music, Music from Topographic Oceans by Yes and many more. This is what I meant by the Aladdin Sane cover image being just one among many. Surely the cover of Dark Side of The Moon is as, if not far more, iconic than Aladdin Sane, is far more widespread in the culture, you’re more likely to see it on t-shirts or spoofed in cultural references.

Album cover of ‘Dark Side of the Moon’ by Pink Floyd, released 1 March 1973, 6 weeks before Aladdin Sane (19 April 1973)

And indeed the exhibition confirms that the Music Week Sleeve Design Award 1973 gave first place to Dark Side (with Aladdin coming a very creditable second). Looking more broadly, a quick internet search for rock albums of 1973 turns up:

  1. Gram Parsons – GP (January 1, 1973)
  2. Little Feat – Dixie Chicken (January 25, 1973)
  3. John Martyn – Solid Air (February 1, 1973)
  4. Iggy & The Stooges – Raw Power (February 7, 1973)
  5. John Cale – Paris 1919 (March 1, 1973)
  6. Pink Floyd – The Dark Side of the Moon (March 1, 1973)
  7. King Crimson – Larks’ Tongues in Aspic (March 23, 1973)
  8. Roxy Music – For Your Pleasure (March 23, 1973)
  9. Led Zeppelin – Houses of the Holy (March 28, 1973)
  10. Mahavishnu Orchestra – Birds of Fire (March 29, 1973)
  11. The Beatles – 1962-1966 (April 2, 1973)
  12.  The Beatles – 1967-1970 (April 2, 1973)
  13. David Bowie – Aladdin Sane (April 13, 1973)
  14. Mike Oldfield – Tubular Bells (May 25, 1973)
  15. Steely Dan – Countdown to Ecstasy (July 1, 1973)
  16. Mott The Hoople – Mott (July 20, 1973)
  17. Carlos Santana & John McLaughlin – Love Devotion Surrender (July 20, 1973)
  18. New York Dolls – New York Dolls (July 27, 1973)
  19. Lynyrd Skynyrd – (Pronounced ‘Lĕh-‘nérd ‘Skin-‘nérd) (August 13, 1973)
  20. Faust – Faust IV (September 21, 1973)
  21. The Who – Quadrophenia (October 19, 1973)
  22. Paul McCartney & Wings – Band on the Run (December 5, 1973)

Of which you’d have thought the cover art for Dark Side, Raw Power, Houses of the Holy, Tubular Bells, the two Beatles compilation albums and Band on the Run are getting on for being as ‘iconic’ as Aladdin Sane.

And a quick Google also turns up Rolling Stone’s list of top ten rock album covers of all time which doesn’t even include Aladdin Sane.

Consideration of general album covers from the period then moves onto another section focusing on album covers specifically by or closely related to Bowie i.e. the covers of his previous albums, especially the androgynous or sexually ambivalent ones such as The Man Who Sold The World where he’s lying on a divan wearing a dress, or Hunky Dory; and the equally ambivalent, but in a different, far more butch way, cover art for Lou Reed’s Transformer, produced by Bowie, which he and Mick Ronson both played on, and released a few months before Aladdin, in November 1972.

Front and back cover of Transformer by Lou Reed

All this is great fun, to see the great album art and play in your mind all the great tracks from long ago. There’s also a guilty pleasure: off to one side of the ‘classics of rock’ album covers is a montage of ‘square’ albums from the period, to remind us older guys how dire most music and entertainment of the period was. So there are the covers of albums by The Black Watch, the TV show Opportunity Knocks, the musical Godspell, Break-Through, character-based albums by Alf Garnett, Benny Hill and Tony Hancock, by Ken Dodd and his Diddymen and, a bit more acceptably, by ‘pop sensation’ Gilbert O’Sullivan. Half a century ago.

Montage of retro 1970s album covers at the ‘Aladdin Sane 50 Years’ exhibition at the Southbank Centre

*Camille Paglia

A little further on into the exhibition I discovered the curators’ use of the word ‘phalliform’ is lifted from one of the lengthy quotes from American feminist academic, social critic and renatagob, Camille Paglia which are printed on the walls.

I remember Paglia’s presence on the scene in 1980s TV and magazines, touring her leather-jacketed, spike-haired form of aggressive New York feminism, and churning out page after page of mashed-up, hot-wired Beat prose poetry. The exhibition relies very heavily on her for its central premise, namely that the Aladdin Sane photo:

with its red-and-blue lighting bolt across Bowie’s face, has become one of the most emblematic and influential art images of the past half century, reproduced and parodied in advertising, media and entertainment worldwide.

This is the premise of the entire exhibition. Here’s another slice of Paglia’s all-about-everything, showily eclectic, name-dropping prose:

It contains all of Romanticism, focused on the artist as mutilated victim of his own febrile imagination. Like Herman Melville’s Captain Ahab, whose body was scarred by lightning in his quest for the white whale, Bowie as Ziggy is a voyager who has defied ordinary human limits and paid the price.

‘…and paid the price’ – this is sentimental tripe, a facile, clichéd, pre-modern view of the artist as specially damned and cursed for his gift, the kind of thing that Byron invented in the 1810s, felt a little ridiculous when Baudelaire did it in the 1850s, lived on into the poets maudits (damned poets) of the late nineteenth century (Rimbaud bunking off to Africa, Verlaine crying into his absinthe); was a thorough-going cliché worthy of mockery a hundred years ago.

It’s superficial magazine writing, rewarded for being exaggerated, over-written, sentimental and stereotyped. But, like wearing a leather jacket and having a spiky haircut, it was enough to persuade many people that Paglia was cool and has something to say, back in the Reagan-Thatcher 1980s. If you like this kind of 6th form showing off, then it usefully underpins the exhibition; if you don’t (and you might have noticed that I don’t) then it undermines it.

Afterlife of an image

But back at the exhibition we haven’t finished yet. There’s more. This really is an exhibition for Aladdin Sane completists, because the exhibition goes on to chart further highlights of Bowie’s career after the album was released, and the long afterlife of the Aladdin image. For a start the curators aren’t backward in pointing out that Bowie himself had long links with the South Bank Centre, from his debut in 1969 in the recently opened Purcell Room, to his curation of Meltdown, their annual contemporary music festival, in 2002.

In the same year that the album came out, 1973, Radio 1 broadcast a series called ‘the Story of Pop’ in 26 episodes, and the cover of the first part of the associated part-work featured the Aladdin Sane image.

As to Duffy, he went on to work with Bowie on two further album covers, namely: Lodger (1979), Scary Monsters And Super Creeps (1980).

In 2002 Absolut Vodka ran an advertising campaign which used classic album covers, and one used the Aladdin Sane image.

In 2003 Kate Moss appeared on the front cover of Vogue sporting her version of the Aladdin Sane lightning to celebrate 30 years of its impact on culture and fashion (fourth photo down on this page).

After the 2008 financial crisis some parts of Britain issued their own local currency (news to me). Apparently a currency was issued local to just Brixton in south west London. Since Bowie was actually born in Brixton (at 40 Stansfield Road) the Aladdin Sane image featured on the Brixton £10 note.

In 2013 the Victoria and Albert Museum staged a huge exhibition about Bowie, titled David Bowie Is. it ‘set a new benchmark for immersive music exhibitions’ and was a sellout, going on tour round the UK and then abroad.

Bowie passed away on 10 January 2016. The following year Royal Mail issued a set of ten commemorative stamps for what would have been Bowie’s 70th birthday year. Six stamps featured album covers, including Aladdin Sane. The first day cover was franked with a copy of the lightning bolt logo.

All these occasions are lovingly recorded, with appropriate illustrations and detailed captions. Bowie has been turned into an institution. All images have to be licensed by ‘the David Bowie Archive’. To quote the Clash, ‘turning rebellion into money’.

Chris Duffy

Things fall into a place a bit more when you learn that the exhibition is curated by Duffy’s son, Chris Duffy, and accompanies a book of the same name. Ah. And that it was Chris who described his Dad’s work as ‘the Mona Lisa of Pop’. Ah. And that Chris Duffy has set up the Duffy Archive to preserve his father’s work and legacy. Ah.

I loved this exhibition. It’s a lot of fun. It’s a relaxing, easy-going wallow in 1970s rock and pop and social nostalgia, full of nuggets and gossip and factoids. It’s a broad walk down memory lane. Like everything, it’s capable of multiple meanings and interpretations. The curators go heavy on the gender liberation aspect, which I see and understand. I responded more fully to the nostalgia elements. But once I understood the lead involvement of Duffy’s son, I also came to see it as a rather touching act of filial respect.

Installation view of ‘Aladdin Sane 50 Years’ at the Southbank Centre showing Bowie posing in the flash make-up against a flash backdrop. Installation photo by Pete Woodhead. Bowie photo by Duffy © Duffy Archive & The David Bowie Archive ™


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