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Biography
Early life and career
The son of a lorry driver, Bolan grew up in post-war Hackney, East London, amongst a Jewish family, and later lived in Wimbledon, southwest London. He fell in love with the rock and roll of Gene Vincent, Eddie Cochran, Arthur Crudup and Chuck Berry[citation needed] at an early age and became a Mod, hanging around coffee bars such as the 2 I’s in Soho. He appeared in an episode of the television show Orlando as a Mod extra.
At the age of nine, Bolan was given his first guitar and began a skiffle band shortly after, and at fifteen, he left school “by mutual consent.”
Plaque marking Marc Bolan’s childhood home, 25 Stoke Newington Common, Hackney. (November 2005)
He briefly joined a modelling agency and became a “John Temple Boy,” appearing in a clothing catalogue for the menswear store. He was used as a model for their suits in their catalogues as well as a model for cardboard cut-outs to be displayed in shop windows. “TOWN” Magazine featured him as an early example of the Mod movement in a photo spread with a couple of other “faces”.
Marc Feld had changed his name to Toby Tyler when he met and moved in with child actor Allan Warren, who was to become his first manager. Warren saw Toby Tyler’s potential whilst Toby spent hours sitting cross-legged on Warren’s floor playing his acoustic guitar. Warren then took him to the photographer Michael McGrath and commissioned a series of photographs. Warren then hired a recording studio and had Bolan’s first acetates cut. One track being the Bob Dylan song ‘ Blowing in the wind’. Also a version of Betty Everett’s “You’re No Good” which was later submitted to EMI for a test screening but they turned down the then Toby Tyler. Warren later sold Marc’s contract and recordings for 200.00 to his landlord, property mogul David Kirch, in lieu of three months back rent. Kirch was far too busy with his property empire to do anything for him. A year or so later, Marc’s mother pushed into Kirch’s office and shouted at him that he had done nothing for her son. She demand he tear up the contract and willingly he complied.
The tapes produced during the Toby Tyler recording session vanished from thought and mind for over twenty-five years before resurfacing in 1991 and selling for nearly eight thousand dollars. Their eventual release on CD in 1993 made available the earliest of Marc’s known recordings.
After changing his name again to Marc Bolan (via Mark Bowland) while with Decca Records he released his first single “The Wizard.” In early 1967 Manager Simon Napier Bell added him to the Pop-Art/mod band John’s Children, which achieved some success as a live band but sold few records. A John’s Children single written by Marc Bolan called “Desdemona” was banned by the BBC for its line “lift up your skirt and fly.” His tenure with the band was brief. Bolan claimed to have spent time with a wizard in Paris who allegedly gave him secret knowledge and could levitate. The time spent with him was often alluded to but remained “mythical”; in reality the wizard was probably U.S. actor Riggs O’Hara with whom Bolan made a trip to Paris in 1965. His songwriting took off and he began writing many of the neo-romantic songs that would appear on his first albums with Tyrannosaurus Rex.
Besides Berry, Bolan’s influences included Bob Dylan, Syd Barrett, Cliff Richard and Elvis Presley.
Tyrannosaurus Rex
When John’s Children collapsed (amongst other problems, the band were stunned to discover their equipment had been stolen from a studio, according to a Bolan biographer), Bolan and Steve Peregrine Took created Tyrannosaurus Rex, a psychedelic-folk rock acoustic group, playing Bolan’s songs, with Took playing assorted hand and kit percussion and occasional bass to Bolan’s acoustic guitars and voice.
This version of Tyrannosaurus Rex released four albums and four singles, flirting with the charts, getting as high as number fifteen and getting airplay and support from Radio 1 DJ John Peel. One of the highlights of this era was playing at the first free Hyde Park concert in 1968. Drug-taking and free spirited Took was fired from the group after their first American tour. A rock and roller at heart, Bolan began bringing amplified guitar lines into the duo’s music, buying a vintage Gibson Les Paul guitar (later featured on the cover of the album T. Rex in 1970). After replacing Took with Mickey Finn, he let the electric influences come forward even further on A Beard of Stars, the final album to be credited to Tyrannosaurus Rex. It closed with a song, Elemental Child, featuring a long electric guitar break influenced by Jimi Hendrix.
Then Bolan, by now married to his girlfriend June Child (a former secretary to the manager of another of his heroes, Syd Barrett), shortened the group’s name to T.Rex and wrote and recorded “Ride a White Swan,” dominated by a rolling, hand clapping back-beat, Bolan’s electric guitar and Finn’s percussion.
T. Rex and glam rock
Bolan and his producer Tony Visconti sorted out the session for “Ride a White Swan” and the single changed Bolan’s career almost overnight. Recorded on 1 July 1970 and released later that year, making slow progress in the UK Top 40, it finally peaked in early 1971 at No. 2. Bolan and Visconti largely (and, in many ways, unwittingly) invented the style that would become glam rock and helped restore a brash and exciting feel, when rock bands had grown increasingly self-important.
Bolan took to wearing top hats and feather boas on stage as well as putting drops of glitter on each of his cheekbones. Stories are conflicting about his inspiration for thisome say it was initially introduced by his PA, the late Chelita Secunda, although Bolan told John Pidgeon in a 1974 interview on Radio 1 that he noticed the glitter on his wife’s dressing table prior to a photo session and just casually daubed some on his face there and then. Other performersnd their fansoon took up variations on the idea.
The glam era also saw the rise of Bolan’s friend David Bowie, whom Bolan had come to know in the underground days (Bolan had played guitar on Bowie’s 1970 single “Prettiest Star”). Before long, even Mick Jagger, Rod Stewart and Grand Funk Railroad dabbed on a little glitter.
Bolan followed “Ride a White Swan” and T. Rex by expanding the group to a quartet with bassist Steve Currie and drummer Bill Legend, and cutting a five-minute single, “Hot Love”, with a rollicking rhythm, string accents and an extended sing-along chorus inspired somewhat by the Beatles’s “Hey Jude”. It was No. 1 for six weeks and was quickly followed by “Get It On”, a grittier, more adult tune that spent four weeks in the top spot. The song was renamed “Bang a Gong (Get It On)” when released in the United States, to avoid confusion with another song of the same name by the American band Chase. The song reached #10 in the United States in early 1972, the only top 40 single the band ever had in America.
In November 1971, the band’s record label, Fly, released the Electric Warrior track “Jeepster” without Bolan’s permission. Outraged, Bolan took advantage of the timely lapsing of his Fly Records contract and left to EMI, who gave him his own record label, the T. Rex Wax Co. Its bag and label featured an iconic head-and-shoulders image of Bolan. Despite Bolan’s lack of endorsement, “Jeepster” still peaked at #2.
In 1972, Bolan achieved two more British No. 1s with “Telegram Sam” and “Metal Guru” (the latter of which stopped Elton John getting to the top with “Rocket Man”) and two more No. 2′s in “Children Of The Revolution” and “Solid Gold Easy Action”. The total of four No. 2 singles particularly galled his fans as three were held off the top spot by novelty singles recorded by Clive Dunn, Benny Hill and little Jimmy Osmond. In the same year he appeared in Ringo Starr’s film Born to Boogie, a documentary showing a concert at Wembley Empire Pool on 18 March 1972. Mixed in were surreal scenes shot at John Lennon’s mansion in Ascot and a super-session with T. Rex joined by Ringo Starr on second drum kit and Elton John on piano. At this time T. Rex record sales accounted for about 6 percent of total British domestic record sales. The band was reportedly selling 100,000 records a day; however, no T. Rex single ever became a million-seller in the UK, despite many gold discs and an average of four weeks at the top per No. 1 hit; documentation of actual sales has been lost.[citation needed]
In 1973, Bolan played twin lead guitar alongside his friend Jeff Lynne on the Electric Light Orchestra songs “Ma-Ma-Ma Belle” and “Dreaming of 4000″ (originally uncredited) from On the Third Day, as well as on “Everyone’s Born To Die”, which was not released at the time but appears as a bonus track on the 2006 remaster.
Decline
By late 1973, his pop star fame gradually began to wane, even though he achieved a Number 3 hit, “20th Century Boy” in February and mid year “The Groover” followed it to No. 4. “Truck On (Tyke)” missed the UK Top 10 only reaching #12 in December. However, “Teenage Dream” from the 1974 album Zinc Alloy And The Hidden Riders of Tomorrow showed that Bolan was attempting to create richer, more involved music than he had previously attempted with T. Rex. He expanded the line up of the band to include a second guitarist, Jack Green, and other studio musicians and began to take more control over the sound and production of his records.
In 1974, Bolan played guitar for Ike & Tina Turner. He appeared on “Nutbush City Limits”, “Sexy Ida (Part II)”, and “Baby Get It On”. Tina Turner confirmed this in a BBC Radio One interview.
Eventually, the vintage T. Rex line-up disintegrated. Legend left in 1973 and Finn in 1975 and Bolan’s marriage came
History
Establishment
Sir Alfred Mond, photographed between 1910 and 1920.
On 27 February 1917 Sir Alfred Mond, an MP and First Commissioner of Works, wrote to the Prime Minister David Lloyd George to propose the establishment of a National War Museum. This proposal was accepted by the War Cabinet on 5 March 1917 and the decision announced in The Times on 26 March. A committee was established, chaired by Mond, to oversee the collection of material to be exhibited in the new museum.
This National War Museum Committee set about collecting material to illustrate Britain’s war effort by dividing into subcommittees examining such subjects as the Army, the Navy, the production of munitions, and women’s war work. There was an early appreciation of the need for exhibits to reflect personal experience in order to prevent the collections becoming dead relics. Sir Martin Conway, the Museum’s first Director General, said that exhibits must “be vitalised by contributions expressive of the action, the experiences, the valour and the endurance of individuals”. The museum’s first curator and secretary was Charles ffoulkes, who had previously been curator of the Tower of London armouries. In July 1917 Mond made a visit to the Western Front in order to study how best to organise the museum’s growing collection. While in France he met French government ministers, and Field Marshal Haig, who reportedly took great interest in his work. In December 1917 the name was changed to the Imperial War Museum after a resolution from the India and Dominions Committee of the museum.
The museum was opened by the King at the Crystal Palace on 9 June 1920. During the opening ceremony, Sir Alfred Mond addressed the King on the behalf of committee, saying that ‘it was hoped to make the museum so complete that every one who took part in the war, however obscurely, would find therein an example or illustration of the sacrifice he or she made’ and that the museum ‘was not a monument of military glory, but a record of toil and sacrifice’ . Shortly afterwards the Imperial War Museum Act 1920 was passed and established a Board of Trustees to oversee the governance of the museum. To reflect the museum’s Imperial remit the board included appointees of the governments of India, South Africa, Canada, Australia and New Zealand. While the Act was being debated, some Parliamentarians felt that that museum would perpetuate an undesirable war spirit and Commander Joseph Kenworthy MP said that he would ‘refuse to vote a penny of public money to commemorate such suicidal madness of civilisation as that which was shown in the late War’ . By November 1921 the museum had received 2,290,719 visitors.
Relocation
In 1924 the museum moved to the Imperial Institute building (demolished in the 1950s and 1960s to make way for Imperial College) in South Kensington. While this location was more central and in a prestigious area for museums, the accommodation itself proved cramped and inadequate and in 1936 a new permanent location was found south of the River Thames in Southwark.
The Imperial Institute, South Kensington, where the museum was located from 1924 – 1936
The building, designed by James Lewis was the former Bethlem Royal Hospital which had been vacated following the hospital’s relocation to Beckenham in Kent. The site was owned by Lord Rothermere, who had originally intended to demolish the building entirely in order to provide a public park in what was a severely overcrowded area of London. Eventually the central portion of the hospital building was retained while its two extensive wings were removed and the resulting space named Geraldine Mary Harmsworth Park, after Lord Rothermere’s mother. Sir Martin Conway described the building as ‘…a fine building, really quite noble building, with a great portico, a distinguishing dome, and two great wings added to it for the accommodation of lunatics no longer required. This particular building can be made to contain our collection admirably, and we shall preserve from destruction quite a fine building which otherwise will disappear’ . The ‘distinguishing dome’ was added by Sydney Smirke in 1846 and housed the hospital’s chapel, and is now the museum’s reading room. The museum was reopened by the Duke of York (later King George VI) in its new accommodation on 7 July 1936.
With the outbreak of the Second World War in 1939, the museum began to collect material documenting the conflict. The museum initially remained open but was closed for the duration of the war in September 1940 with the onset of the Blitz. On 31 January 1941 the museum was struck by a Luftwaffe bomb which fell on the naval gallery. A number of ship models were damaged by the blast and a Short Seaplane, which had flown at the Battle of Jutland, was destroyed. While closed to the public the museum’s building was used for a variety of purposes connected to the war effort, such as a repair garage for government motor vehicles, a centre for Air Raid Precautions civil defence lectures and a fire fighting training school. In October 1945 the museum mounted a temporary exhibition, the first since the end of the war in August, which showcased technologies developed by the Petroleum Warfare Department. These included the submarine fuel pipeline PLUTO, the fog dispersal method FIDO, and flame weapons such as the Churchill Crocodile and Wasp Universal Carrier. However, due to bomb damage to both the building and exhibits, the museum was obliged to reopen its galleries piecemeal. The museum reopened a portion of its galleries in November 1946. A third of the galleries were opened in 1948 and a further wing opened in 1949.
In 1953, with Commonwealth forces engaged in Korea and Malaya the museum began its current policy of collecting material from all modern conflicts in which British or Commonwealth forces were involved. However, despite this expansion of remit, the early postwar period was a period of decline for the museum. Dr Noble Frankland, the museum’s Director from 1960 to 1982, described the museum’s galleries in 1955 as appearing ‘dingy and neglected’ and in a ‘dismal state of decay’ the museum’s ‘numerous stunning exhibits’ notwithstanding.
Redevelopment
The museum building showing the dome, guns, and the absence of the wings.
In 1966 the Museum’s Southwark building was extended to provide collections storage and other facilities, the first major expansion since the Museum had moved to the site. The development also included a purpose-built cinema. Two years later in 1968 a pair of 15-inch naval guns were installed in front of the Museum. Both had previously been mounted in Royal Navy warships (one from HMS Ramillies and the other mounted on HMS Resolution and later HMS Roberts) and had been fired in action during the Second World War.
Later that year on 13 October the Museum was attacked by an arsonist, Timothy John Daly, who claimed he was acting in protest against the exhibition of militarism to children. He caused damage valued at approximately 200,000, not counting the loss of irreplaceable books and documents. On his conviction in 1969 he was sentenced to four years in prison.
By 1983 the museum was again looking to redevelop the Southwark site and approached engineering firm Arup to plan a phased programme of works that would expand the building’s exhibition space, provide appropriate environmental controls to protect collections, and improve facilities for visitors. The first phase of these works, started in 1986, created 8,000m2 of gallery space of which 4,6002 was new, and saw the conversion of what was previously the hospital’s courtyard into a centrepiece Large Exhibits Gallery. This gallery featured a strengthened ground floor (to support the weight of very heavy exhibits), a first floor mezzanine and second storey viewing balcony. Into this space were placed tanks, artillery pieces, vehicles, ordnance and aircraft from the First World War to the Falklands War, and for some years the museum was marketed as ‘The new Imperial War Museum’. This atrium, with its concentration of military hardware, has been described as ‘the biggest boys’ bedroom in London’. This first phase cost 16.7 million (of which 12 million was provided by the government) and was opened by the Queen on 29 June 1989.
Panorama of the atrium. Ground floor exhibits include: ‘Devil’ a Mark V tank; ‘Ole Bill’ an LGOC B-type bus, V-2 and Polaris missiles, and (sand-coloured, extreme right) a Grant tank used by Bernard Montgomery. Suspended aircraft include a Sopwith Camel, Heinkel He 162 and (partially obscured) a Supermarine Spitfire which flew in the Battle of Britain.
In September 1992 the museum was the target of a Provisional Irish Republican Army attack against London tourist attractions. Two incendiary devices were found in a basement gallery, but were extinguished by staff before the arrival of the fire brigade, and caused only minor damage.
A second stage of redevelopment, providing a further 1,600m2 of floor space was completed in 1994 and a third stage in 2000. The latter expansion, the Southwest Infill, was partly funded by a 12.6 million grant from the Heritage Lottery Fund and provided 5,860m2 of gallery space and educational facilities over six floors The development included the installation of the museum’s Holocaust Exhibition which was opened by the Queen on 6 June 2000. This was the first permanent exhibition dedicated to the Holocaust in
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