This page contains all the articles that were uploaded in August 2008, chronologically sorted, from old to new.
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Iggy was part Inuit
(or Eskimo to use the vernacular of the day). According to Duggie
Fields she wasn't considered a girlfriend of Syd
(Barrett) although he says she probably slept with Syd on more than
one occasion. He goes on to say 'We didn't want her living with us at
the time but she was so beguiling that it was a difficult situation'.
She was a former girlfriend of Anthony
Stern (Movie Director, writer and cinematographer who was a friend
of Syd in the 60's (he lived on Eden Street in Cambridge in the 60's)
and he was a flatmate of and film asssistant to Peter
Whitehead [Tonite Let's All Make Love In London]). Apparently she
was destitute when she arrived at Wetherby Mansions had no money, no job
and few possessions. According to Duggie
Fields she never wore underwear (when she was wearing anything at
all!) and he recalls her getting off a bus wearing a scarf as a skirt!
Iggy apparently 'vanished as quickly as she had come' and a hippie
couple Rusty and Greta (two casual friends of Syd) decided to move in
and lived in the hallway for a while. Later there was Gilly Staples (who
Syd apparently threw across the room on one occasion) and a girl called
Lesley (who sometimes Syd would see and other times would leave her
outside banging on his door to come in). After that Gayla Pinion moved
in around late '69 and subsequently became engaged to Syd on October 1
1970 but they never married.
According to Duggie Fields after Iggy left Syd she apparently went off
with some 'rich guy from Chelsea and lived a very straight life'.
Note: this was the Church's first blog post, basically to test
how things would look in good old, and now depreciated, html 3.2. Update
January 2017: as of January 2017, the website has been refurbished and
upgraded towards html5.
Several Floydian sources publish a scan
of a NME (New Musical Express) article from November 1966, featuring
Iggy, dancing on a party. Most of the time the date is cited as
Wednesday the 16th of November, but the scan of the magazine shows a
different date that of Saturday the 26th of November. As NME appeared
every Friday the article probably appeared in issue 1037
(of Friday the 25th of November). Of course there is always the chance
that the actual pictures were taken on Wednesday the 16th.
Here is the full text that accompanies the pictures:
(On sale Friday, week ending November 26, 1966 - NEW MUSICAL EXPRESS) DOWNSTAIRS... On
the small, intimate dimly lit dance floor in the basement, it's all
happening, PATRICK KERR, dancer from RSG, and his girls demonstrate the
bend dance. Above: Three pop personalities (l to r) ADRIANNE POSTA,
FRANK ALLEN (of Searchers) and TWINKLE try the Bend, watched by
Cromwellian publicist SIMON HAYES. Left: Another Bender - model IGGY,
who is half-Eskimo. Below: CHRIS FARLOWE dancing in sheepskin jacket.
The party in question was held at The Cromwellian (3 Cromwell Rd,
London SW7). The Crom, as it was generally nicknamed, opened in 1965 in
Earls Court, was a three-floor cocktail bar and discotheque and one of
the posher (and more expensive) places to be. It was also one of the
places for a would-be star to be discovered (or at least they believed
The basement described itself as ‘England’s Famous Discotheque
(and restaurant)’ where pirate station DJs and well-known bands as Georgie
Fame and Zoot
Money performed. The ground floor had ‘Harry’s
International Bar (and restaurant)’, promising the ‘greatest
atmosphere in town’. Upstairs was a gambling area, an ‘Elegant
Casino’, where you could try your luck at dice – roulette – black
jack – pontoon and poker. Successful musicians, photographers, fashion
designers, artists, television personalities (and the odd East End
gangster) would hang out at The Crom, where the new m’as-tu-vu
elite could enjoy a glass of champagne without being disturbed by
obsessive and pushy fans. Ray Davies remembers it as the ideal place to
‘observe the almost endless supply of dolly girls parading in
mini-skirts’. Probably the fact that there was ‘free
entrance for girls’ helped as well.
Simon Hayes, publicist for The Crom is remembered by pirate radio
DJ (and ex-roommate) Phil
Martin: “Simon ran a pop PR agency called Ace Public
Relations and he and his business (it seemed to me then) were at the
absolute epicentre of the Swinging Sixties scene in London at the time.”
(Taken from Offshore
No wonder that The Crom was chosen by Patrick Kerr, one of the
choreographers of the Ready
Steady Go! TV show to present the new dance of the week: the Bend.
(Probably he already knew that the RSG!
show would end a couple of weeks later.) The Bend was named after the
Dee, Dozy, Beaky, Mick & Tich hitsingle Bend It! that had been
released in September. According to NME a new version with a different
set of words had to be recorded for the US market. Update July
2010: the story behind the Bend craze can be found in the following
Harrod remembers The Crom. Update October 2012: the Bend
link at Sixties City seems to be broken, so here is an alternative: the Bend.
Other prominent guests at the party were (according to NME): Adrienne
(with an E) Posta (or Poster). An actress
(and singer) who would have a prominent role in the forthcoming movie Here
We Go Round the Mulberry Bush (1967). In the next decade her
sheepdog would become world-famous, posing for a Dulux paint
advertisement campaign. This also led to the single ‘Dog Song’, written
by her husband rockstar Graham Bonnett (The Marbles, Rainbow, Alkatrazz). Frank
Allen who joined The
Searchers in 1964 and is still with them today. Twinkle (Lynn
Annette Ripley), the first British female singer / songwriter to
score in the rock era. Her debut single Terry (1964) had catapulted her
into the top3 and was followed by Golden Lights, Tommy, Poor Old Johnny,
but with degrading success. (Update: as Simon Hayes and Twinkle
were an item it is logical that she was present at the club. See
also: Rod Harrod
remembers The Crom.) Chris Farlowe, one of Britain’s
earliest exponents of R & B, had been struggling until his 1966 version
of Think (Jagger & Richards) made it into the top 20. His
following single Out Of Time (also a Rolling Stones tune) became
number 1 and Farlowe
was voted Best New Singer for 1966, although he had been performing
Well so far for the small story, but what really matters is:
What was Iggy doing at The Cromwellian when Patrick Kerr demonstrated
the Bend? Who invited her to the spectacle (knowing that the press
was also invited)? Was she somehow connected to the RSG show (as a
dancer, a model or a figurant)? Was she somehow connected to The
Cromwellian? Was she somehow connected to Simon Hayes and/or his PR
company? What about singer/actress Adrienne Posta, one hit wonder Twinkle
and superstar Chris Farlowe? Was her aim to be discovered by a RSG!
talent scout (perhaps not knowing that these were the last weeks of the
The Holy Church Of Iggy the Inuit will continue to investigate this.
Update April the 1st, 2010. A new gallery has been
uploaded containing the complete Come
with NME for a pic-visit to THE CROMWELLIAN article and pictures
from New Musical Express 1037, 25 November 1966. Photographs by Napier
Russell & Barry Peake. Words by Norrie Drummond. (Just another
world exclusive from the Holy Church of Iggy the Inuit.)
Sources (other than the above internet links): Bacon, Tony: London
Live, Balafon Books, London, 1999, p. 74-75. McAleer, Dave, Beatboom!,
Hamlyn, London, 1994, p. 93-94 & p. 126-127. Platt, John: London’s
Rock Routes, Fourth Estate, London, 1985, p.137-139. Tobler, John
(editor): NME Rock ‘N’ Roll Years, Hamlyn, London,
Pearse, graphic artist Nigel
Waymouth (and girlfriend Shelagh York) opened Granny Takes A Trip
in 1965. At the entrance was some lettering reading ‘one should
either be a work of art or wear a work of art’. Granny Takes A Trip
was the first multisex boutique selling miniskirts, op art shirts,
garments in loud florals and paisleys… Perhaps more of importance were
the second hand ornaments: flapper dresses, Victorian bustles, Boer War
helmets, antique military jacquets, Chicago gangster suits, fezzes,
turbans and other ‘cleaned and darned exotica’.
Nigel Waymouth: "I was with this girl at the time and she used to
collect old clothes. We thought that it might be a good idea to open a
shop with all these things. (…) Of course it was terribly vain."
The Granny T-a-T boutique was known for its outrageous decoration. The
entrance of the shop changed a few times: in the early days it had a
mural of a North American Indian, in 1966 (probably) it was replaced by
a pop art picture of Jean Harlow and at a later stage a real Dodge
(well, part of it) was pop-artistically glued to the wall.
Granny was expensive, elitist and wasn’t afraid of saying so. Journalist
and critic Jonathan
Meades once tried to get in dressed in a casual black suit and tie:
“I remember Nigel Waymouth sneering at me, you could hardly see his face
by through this mass of afro hair. (…) He obviously thought I was a
jerk. (…) and wanted me moved out of the way because I was an extremely
bad advertisement for his shop.”
"The underground was exactly the same as everything else: there were
rich people and there were poor people. It was class ridden. There was
no working class in the underground because nobody did any work." (Cheryll
"The underground had a star system exactly as did pop music and films
and everything else." (Andrew
Bailey, journalist Variety, Rolling Stone UK).
The press that cherished Swinging London reported vividly about the
so-called mundane settings (shops, bars and restaurants) visited by
working class heroes such as Michael Caine and Twiggy. The sudden press
attention made the flower power movement mushroom and disappear in a
couple of months time.
Look At Life was a series of short documentaries about British
life, made by Rank Organisation and shown in the Odeon and
Gaumont movie theatres. Between 1959 and 1969 over 500 tongue-in-cheek
episodes were made. One particular episode from 1967, called IN Gear,
narrated by Michael Ingrams, deals with several Swinging London shops
It's the swinging London fashion scene on parade and features an
eye-candy array of dazzling & colourful mod fashions! Suits, shirts,
pants, shoes, boots, jackets, dresses, belts, bags, hats, caps, ties,
skirts, blouses, scarves, dickies, and more! Mary Quant shows off her
latest collection! The viewer is taken to King's Road, SOHO, and Carnaby
Some of the shops visited are: "Granny Takes a Trip," "Hung on You,"
"The Antiques Supermarket," "I Was Lord Kitchener's Valet," and "Gear."
The narrator tells us that, "A year or two ago fashion originated in the
haute couture's of Paris, then spread downward through society in ever
cheapening copies; now these shops which would have interpreted the
mould, originate today's fashion, owing nothing to Paris or anyone else."
Next, it's off to the discotheque club scene where the "in" gear is
worn. Clubs include: "Tiles," "Bag of Nails" (the Beatles used to hang
out here), "Samantha's," "Georges" and "the Saddle Room." Groovy pop
music soundtrack! (Taken from Videobeat.)
Night member dollyrocker watched this particular episode on YouTube
she recognised a familiar face at 1:43. The girl who visits the Granny
Takes A Trip shop is none other than Iggy the Eskimo. This
probably means that she was hired by the makers of the documentary as an
actor for the movie and further proof indeed that she was a professional
Unfortunately the credits have been cut of from the YouTube video and
I’m not sure if they appear on the Swinging London DVD it was taken from
(unfortunately the DVD is out of print and its editor DD Home
Entertainment is out
We don’t know exactly when the documentary was made but as another shop,
Biba, moved somewhere between March and September 1966 to Kensington
Church Street, and that location is shown in the movie, one can deduct
that the movie dates from summer 1966 - spring 1967.
So far for the small story. But what really matters is:
Who hired Iggy for the documentary? What agency did she belong to? If
she was a professional model there must still be promo shots or fashion
photo shoots available in the darker corners of this world…
Sources (other than the above internet links) Green, Jonathon: All
Dressed Up, Pimlico, London, 1999, p. 80-81. Green, Jonathon: Days
In The Life, Pimlico, London, 1998, p.187-190., p. 218-220 Levy,
Shawn: Ready Steady Go!, Broadway Books, New York, 2003,
My only decision was to use a 35mm camera and upgraded colour
transparency, partly because of the low level light conditions and
partly for the grainy effect. (…) Friend and photographer Mick Rock,
later famous for his Bowie photos amongst many others also came on the
photo session, but I cant remember why. (p.204 of the 2003 edition, p.
234 in the 2007 edition although the index still assumes it is on p.
Dark Globe, member of the Late
Night discussion forum, had a quick chat with Storm in July:
There was the chance to see the cover of 'The Madcap Laughs' displayed
at a larger size on excellent quality paper. This famous photo was taken
by Storm himself for the cover of the album - and not by Mick Rock as
some assume. (…) I was lucky enough to talk to Storm himself and tell
him how much I admired his work. I also took the opportunity to ask him
about the 'Madcap' photo session and enquired whether we would ever see
any of his outtakes from that session appear in some form in the future.
Unfortunately this doesn't seem likely as he informed me that his photos
from that session were now lost.
Hipgnosis was probably commissioned by the record company (Harvest, EMI)
to make the record sleeve. Syd Barrett however had another idea and
asked his friend Mick
Rock, an aspiring would-be photographer, to organise the shooting
for the forthcoming album. The result was that the two photographers
were present on the same day.
A lot has been written about these sessions, not in the least by Mick
Rock who devoted two three books to the subject:
Syd Barrett - The Madcap Laughs - The Mick Rock Photo-Sessions (U.F.O.
Books, 1993), a book that was bundled with the album in a limited
edition. The introduction of this (sold out and deleted) book can be
found on various places on the net.
Update 2012: the Geocities link to this page seems to be dead,
but luckily there is an archived version: Syd
Barrett - The Madcap Laughs - The Mick Rock Photo-Sessions.
Psychedelic Renegades - Photographs of Syd Barrett by Mick Rock. Genesis
Publications published the first limited edition in 2002 with 320
copies autographed by Roger Barrett & Mick Rock and 630 copies signed
by Mick Rock alone (sold out). In 2005, before Barrett passed away,
the Deluxe copies already had a collector’s value of 2400 £. In 2007
the book was finally published in a regular version, by Plexus
(London) and Gingko
and (Update January 2012)
Syd Barrett - The Photography Of Mick Rock. Tin box, including 128
pages high print quality [Mick Rock's words, not ours, FA]
booklet and exclusive 7 inch single 'Octopus' b/w 'Golden Hair'. The
rather exaggerated blurb continues: "The booklet features a full
introduction, new insights and captions by Mick and quotes from Syd."
(EMI Records Ltd & Palazzo Editions Ltd, Bath, 2010).
Mick Rock remembers the day as follows:
The actual session turned out to be a collaboration really because Storm
also took some pictures. I remember Storm asking me whether to credit
the image, ‘Hipgnosis and Mick Rock’ and I said, ‘No just credit it
Psychedelic Renegades however does not include the sleeve pictures of
The Madcap Laughs so in the end it was probably Storm who decided to use
only his own material (according to Mick Rock one photo would later
surface – uncredited - on Barrett’s second album). Because both sessions
were made on the same day the pictures are obviously very similar (some
Mick Rock pictures were also used on the Syd Barrett compilation album).
Update August 2017: In the 2017 documentary Shot! Mick Rock hints
that he was behind the cover shot anyway, indirectly implying that it
was not Storm Thorgerson's picture to begin with. For years there have
been rumours in anoraky Floydian circles that Thorgerson and Rock sued
(or threatened to sue) each other for the ownership of these pictures.
Perhaps a deal was made - a bit like the one between Roger Waters and
Pink Floyd over The Wall - that The Madcap Laughs front and back sleeve
pictures officially belong to Hipgnosis (Storm Thorgerson) but the
outtakes to Mick Rock. Syd Barrett related excerpt from Shot!: The
Psycho-Spiritual Mantra of Rock.
Stern, who knew Iggy before she met Syd, has confirmed that the
person at the Granny Takes A Trip boutique on the IN
Gear movie is indeed her. On his turn he will present a home movie
called Iggy, Eskimo Girl at The
City Wakes festival in Cambridge. A short teaser can be found on YouTube.
According to Mick Rock Syd was touched when she left him:
Once I’d developed the film (from The Madcap Laughs photo
session, note by FA), I went round to show Syd the pictures.
He took this one opposite (page 21 in the PR-book, note by FA)
and scratched some lines and his name onto it. I think there was a bit
of negativity directed at Iggy. He just started scratching the print,
with a big grin on his face. (Taken from Psychedelic Renegades.)
It could be that the scratches on the picture were destined at Iggy, but
why did Syd Barrett scratch (more or less) around her figure? Not (and I
hope my shrink will never read this) her face or body, in my garbled
opinion the logical thing to do if one would try to express negative or
revengeful feelings on a photograph. Syd’s body and face is far more
scratched than Iggy’s and Barrett also cut the letters SYD
on the picture... Perhaps he was just trying to make clear to Mick Rock
that he wanted to get rid of his pop-life alter ego.
Mick Rock writes further that he heard from Duggie
Fields, the painter who was Syd Barrett’s roommate and who still
lives in the same apartment today, that ‘she later went off with some
rich guy in Chelsea and lived a very straight life’.
On an old and abandoned blog (and also on the Late Night forum) I wrote
that none of the Pink Floyd biographers have been really looking for
Iggy. Mark Blake, author of Pigs
Might Fly, responded: “I can't speak for all the PF or SB
biographers, but I certainly tried.”
The only bit of new info I found was that there was a chance 'Iggy' may
have gone to school in the South London area, as she was known as one of
the regular teenage girls at the dancehalls around Purley
This would have been around 1965. Duggie Fields recalls seeing her some
time after the Madcap Laughs photo session and she was looking a lot
more "sloaney". Most of the people I spoke to who knew her believe Iggy
married a rich businessman and doesn't now want to be 'found'. (Taken
Holy Church of Iggy the Inuit on Late Night.)
Although scarce the above information is about the most relevant we have
had from a biographer in about 30 years.
The most famous dancehall in Purley was the Orchid Ballroom where The
Who, The Troggs and The Hollies gigged a couple of times. It started as
a regular dance
hall (and concert and sporting events hall) in the Fifties and had a
local house band The
Jackpots in 1963 and 64.
In the mid Sixties (1964 – 1966) the Orchid Ballroom was the meeting
place for the Croydon mods who would assemble every Monday night.
Witnesses remember Mike (?) Morton, Tony Crane, Jeff Dexter and Sammy
Samwell spinning the records. Pete Sanders and Mickey Finn used to be
part of the crowd.
Not all these names ring a bell. I could not trace back Mike Morton, but
Lionel Morton was the singer and lead guitarist from the Four
Pennies who had a hit in 1963 – 1964 with Juliet. Tony
Crane was a member of The Mavericks, a band that became famous when they
changed the name to The
Merseybeats, later The Merseys (David Bowie would cover their Sorrow
on his Pin-Ups album, a tune they had borrowed from The McCoys). Mickey
Finn could be the man who was the drummer of T. Rex and who also
played on the record made by Hapshash
and the Coloured Coat, the people who were behind the Granny Takes A
Elizabeth Colclough used to work at the bar in 1968: "It was the place
to go to meet friends old and new, weekday evenings and also at the
weekend. We saw some great bands, some who are still going strong today.”
Another witness recalls how Cathy
(Mc Gowan), the queen
of the mods and presenter of the ever popular Ready Steady Go! Show,
came to the Orchid Ballroom to spot for dancers to appear in her show.
Seen the fact that Iggy was present at an RSG!-party,
organised by the show's main choreographer, it is not improbable that
she may have been present at some RSG! television-shows as well, as a
dancer or as a pretty face in the public.
A book about the history of the Orchid Ballroom has been made and the
Church will try to contact its author, there is the (very small) chance
that Iggy is mentioned in it.
Update August 2009: Brian Roote, who studied the history of The
Orchid confirmed later to the Church: 'I have no knowledge of this girl