Jeremy Deller wrote an essay about these "revenge photographs", the top one in the batch above he's described as "the most important photograph taken in Britain after the war"
"In 1973, photographer Dennis Hutchinson was tasked with taking portraits of Adrian Street for a lengthy piece of editorial in the Sunday People newspaper. He had asked Street to suggest a location, and he said he wanted to be photographed in Wales, at the coal miner’s pit where he used to work as a teenager. He wanted to be shot with his father, who still worked there, and whom he hated.
"In fact, he hated all the people in the picture, hated the pit, hated the village. He told Hutchinson, “I want to show them what I’ve made of my life, what I’ve become since leaving Wales.” He’s wearing his European Champion middleweight belt, as though to say, “Look, you peasants, this is what I’ve made of myself. I don’t have to go down a mine every day.” He’s returned as a success; a sort of prodigal son in reverse. This was his calculated expression of his showbiz, glamorous life. He’d clearly thought about this photo for a long time, planned it for years. He’d been biding his time.
"The rather classical composition makes this photo resemble a Renaissance painting. When I first encountered it, on the cover of an album by the band Black Box Recorder (an album called England Made Me, which is ironic because the picture was taken in Wales) I found it shocking, but knew nothing about it. At a guess, I assumed it was a publicity image of a glam rock musician, taken at a coal mine. It took me back to my childhood, when the biggest things going on in the country seemed to be industrial strife and glam rock; and here, in the photo, were both.
Street was always keenly interested in marketing himself, in him ‘as a brand’, as we’d put it now. He claims to have been one of the inspirations for the glam rock movement, and apparently he was acknowledged as such by Marc Bolan. Street saw a wrestling match as a kid and thought it was the thing for him; he liked the theatricality. Boxing also has an element of that, but wrestling is neigh on pure theatre. Street was a strong-willed child and he remained strong-willed: driven, egotistical, self-centred and self-aware. He would admit these things, these aren’t criticisms. His first professional wrestling match was in 1957 and from the early 1960s, he started bleaching his hair platinum blond, and wore increasingly outrageous clothes. Even though he was absolutely straight, he realised that his camp yet tough look would be more lucrative, because people would be more interested to see him wrestle. The more outrageous a character you were in the ring, the more successful you’d be. Even if you were a baddie – in wrestling these characters are called ‘heels’, who are ‘scripted’ by the promotors – people wanted to see you lose because they hated you. You got a reaction.
"I’ve gone through Adrian’s albums; he’s got a big archive and a lot of photographs are of him looking very dressed up in public places. He’s always ‘on’, always the wrestler, walking around and posing. This photograph is a way of asserting that persona. It’s Adrian showing the men back home what he’s made of his life after he left them. They had all said, “You’ll be back, because you won’t make it as a wrestler or as a bodybuilder. We’ll see you in a few months.” That was in the 1950s, and this photo is of his return, in the wary 1970s, having transformed into this exotic creature. The Sunday People would undoubtedly have had a circulation of millions, and this photo is how he wanted to be seen by the rest of the world.
"Street’s father looks quizzical here, and rather concerned. According to Adrian, there was no acceptance whatsoever. His dad made a point of pretending not to be impressed by anything. Adrian would take his parents on what were, in the 1970s, really fancy holidays, to places like Thailand, but his dad would feign indifference. They genuinely didn’t get on. To be as unusual looking as Adrian was, was not to be encouraged. Pit villages were very conservative environments. People with massive amounts of self belief, like Adrian Street, have always had to transform themselves and their lives. In that sense, his is a mythic story."
Deller also made a doc about Street called So Many Ways to Hurt You: The Life and Times of Adrian Street
The dialectical relationship between glam and grime - that reminded me of these bits from Billy Liar I borrowed for the Roxy Music chapter
“The Roxy was the last splash of light before Stradhoughton petered out and the moors took over"
“Lying in bed, I abandoned the facts again and was back in Ambrosia.”
(the opening line - Billy Fisher putting off getting up and going to work at the undertakers; Ambrosia the fantasy land in which he's a benign dictator)
I also have a quote from another BF - Bryan Ferry - whose dad actually worked in a colliery, looking after the pit ponies.
“I rejected my parents in my mind... I went through a period of resenting my parents because I wasn't born rich and I felt.... that my lot wasn't all that it should be. My parents are the nicest people you could possibly meet, but they're not the least bit intellectual. And I really resented that, too, at one time.”
In the movie version, Billy Fisher reimagines his mam and dad as "mater and pater" - toffs from some Noel Coward drawing-room play.
versus the frumpy facts of life
BF on the popularity of Roxy in Cleveland and Detroit - "places like where I come from, a very hard area... They see [Roxy] as a means of escaping all that.”
Adrian Street sometimes went by the name "Exotic" Adrian Street - exotic meaning literally "from outside", "not from these parts", "doesn't belong here"
Street, looking a bit Eno-in-Roxy
Looks like he actually had a go at being a pop star
And had at least one tribute song written about him, this glammish-sounding droll memory of Street as seen "on the first colour telly / in our valley"
