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ALL THAT GLITTERS
SEQUINS!

All that Glitters. This would be 16 year old model, Izzy Pawline, a fresh faced beauty from the Wilhelmina Modeling Agency in New York City.

TIM
POLECAT

  • Tim Polecat, lead singer for neo-rockabilliy band The Polecats, photogrpahed by Alexander Thompson for Ponyboy Magazine in New York.
  • Red haired Polecats frontman Tim Polecat, photographed by Alexander Thompson for Ponyboy Magazine in New York City.
  • A detail shot of Tim Polecat's Gretsch guitar. Photographed by Alexander Thompson for Ponyboy Magazine in New York City.
  • A closeup shot of Tim Polecat's Gretsh guitar, photographed by Alexander Thompson for Ponyboy Magazine in New York.
  • A photo of Tim Polecat's skull necklace. Photographed for Ponyboy Magazine by Alexander Thompson.
  • The back label for rockabilly musician Tim Polecat's white leather jacket. Ponyboy Magazine.
  • A closeup shot of Tim Polecat's rockabilly creeper shoe. Ponyboy Magazine in New York.
  • Headshot of musician Tim Polecat. Photographed by Alexander Thompson for Ponyboy Magazine NY.
  • A photograph of neo-rockabilly singer Tim Polecat, from 70's-80's band Polecats. Photographed by Alexander Thompson for Ponyboy Magazine NY.
  • Press clippings of Tim Polecat and The Polecats. Ponyboy Magazine NY.
  • Old press clippings for neo-rockabilly band Polecats. Ponyboy Magazine.
  • Press photos for 70's neo-rockabilly band Polecats. Ponyboy Magazine in New York City.
  • Assorted old snapshots from the personal collection of Polecats frontman Tim Polecat. Ponyboy Magazine New York.
  • Snapshots from the personal collection of Tim Polecat, lead singer for UK rockabilly band Polecats. Ponyboy Magazine New York.
  • Snapshots of rockabilly singer Tim Polecat, from the Polecats. Ponyboy Magazine NY.
  • Assorted snapshots of Tim Polecat, lead singer for UK rockabilly band Polecats. Ponyboy Magazine NY.
  • Live shots of lead singer Tim Polecat, from rockabilly band Polecats. Ponyboy Magazine in New York City.
  • Assorted live shots of rockabilly singer Tim Polecat, from Polecats fame. Ponyboy Magazine in NY.
  • Live shots of legendary rockabilly singer Tim Polecat. Ponyboy Magazine.
  • Live photos of Tim Polecat, photographed by Alexander Thompson at Tom Ingram's Viva Las Vegas 17, for Ponyboy Magazine in New York City.
  • Record covers of UK rockabilly band Polecats. Ponyboy Magazine NY.
  • Record covers for UK 70's-80's rockabilly band Polecats. Ponyboy Magazine.
  • Assorted album covers for UK neo-rockabilly band Polecats. Ponyboy Magazine in New York.
  • Record covers for UK neo-rockabilly sensation Polecats. Ponyboy Magazine NY.
  • Colorful album covers of neo-rockabilly band Polecats. Ponyboy Magazine in New York City.
  • Old record covers for UK rockabilly band Polecats, fronted by Tim Polecat. Ponyboy Magazine in New York.
  • An old ad for the Polecats single
  • Old flyers from The Royalty Nitespot, for the Polecats live shows. Ponyboy Magazine NY.
  • A Polecats logo. Ponyboy Magazine.
  • PInk vinyl album from rockabilly band Polecats, of their single
  • An old band button for the Polecats. Ponyboy Magazine.
  • Tim Polecat's Gretsch guitar case. Photographed by Alexander Thompson for Ponyboy Magazine in New York.
  • Rockabilly legend Tim Polecat photographed for Ponyboy Magazine by Alexander Thompson.

POLECAT ON THE GO!

TIM POLECAT

Tim Polecat Worman is the red haired vocalist for the legendary neo-rockabilly band The Polecats. The Polecats were formed in the UK in the late seventies and still perform around the world. Successful chart songs include “Make a Circuit With Me” and “John, I’m Only Dancing.” We were very excited that this talented musician agreed to a photo session and interview for Ponyboy, as we have been big fans for years. Tim also allowed us access to images from his own personal collection of photographs from over the years. Read our interview with this extraordinary musical icon. Portraits by ALEXANDER THOMPSON. Additional photos courtesy of Tim Polecat.

PONYBOY:  Tim, please tell us about your childhood and teen years in the UK.

TIM POLECAT:  I was born in 1963 and grew up in suburban North London. I guess I am a product of that era of U.K. pop culture. I remember the 1966 World Cup final, as well as the Moon landing. I grew up obsessed by American comic books, British sci-fi TV and most of all rock ‘n’ roll music. And to be honest, nothing much has changed.

PONYBOY:  How did The Polecats come about?

TIM POLECAT:  I got an electric guitar for my 12th birthday. A few days later a kid from my boy scout troop knocked on my door and asked if he could have a go on it. This was, of course, Boz Boorer. We exchanged all our guitar playing knowledge and he soon also acquired an electric guitar. Boz and I jammed with various local musicians until we ran into Phil Bloomberg, who I knew from primary school. Phil was just switching from cello to bass guitar, and we soon recruited him.  Chris Hawkes, another primary school friend of mine, was just learning drums. So, we learned a bunch of rockabilly and punk rock covers, and pretty soon had some of our own songs, which were mostly written by Phil and Boz. At first our band was called The Cult Heroes (which was supposed to be ironic), but this became problematic when we tried to get gigs in rock ‘n’ roll clubs, who presumed that we would not fit in. Chris had recently found a bunch of stickers with a picture of a stretched out cat and the word ‘Polecat” on them. So, we decided that this sounded a lot more in keeping with the direction of the band, and we started using it and very soon we were playing the U.K. teddy boy circuit. After a lot of saving up, Boz got a Gretsch guitar and Phil switched to a double bass, which was inspired by American acts like Ray Campi.  I moved from guitar to lead vocals. And that was the basic prototype and we just took it from there. The Polecats have remained basically unchanged since the addition of John Buck around 1983. We have a few squad players, but the team is still the same.

PONYBOY:  What was the rockabilly scene like back then in the U.K.?

TIM POLECAT:  The rockabilly scene in the U.K. grew out of the teddy boy scene. I think it was a lot of younger Ted’s searching for a new identity of their own, separate from the Ted movement, which was at this point getting a little stale and was very narrow-minded. Newly discovered raw sounding fifties music was being discovered and I think it was only natural that it would develop it’s own visual style. In hindsight though, it was very expensive to dress like a Ted and to do it properly without being a “Plastic” and very hard for the younger audience, many of who were still in school. The “Rockabilly Rebel” look was a very DIY thing and was within the reach of a creative jumble sale and charity shop patron. A short time later the rockabilly scene got more elaborate, fashion wise, with reproduction versions of the more flamboyant fifties attire popping up on King’s Road and in Kensington Market. Also, shops like Flip were buying real vintage items from the USA by the masses and shipping them over. The music on the scene was always based around the rediscovery of forgotten gems, and later on bands that reinvented the raw sound of those fifties records.

PONYBOY:  Did the Polecats have a bigger following back then in the rockabilly scene or more so in the punk/new wave scene?

TIM POLECATThe Polecats started playing exclusively in the teddy boy/rockabilly scene in Europe. It wasn’t until we saw bands such as Levi and the Rockats, Whirlwind and American acts like Robert Gordon (playing in mainstream venues) that we thought it would even be possible to play outside our own scene, let alone play on the same bill as a punk or new wave band . It was only when we started playing in colleges and mixed venues that we started to pick up a more diverse audience. We toured with Rockpile, which put us in front of their mainstream audience and got us out into previously unexplored territories like Scotland and Wales. As soon as we had a record deal we were playing in Scandanavia and Europe, where the market for rockabilly was opening up. In Finland in the eighties, The Polecats, Stray Cats and Crazy Cavan all had records in the mainstream charts at the same time.

PONYBOY:  How did that incredible style evolve for the band? Was there a lot of thought put into the look?

TIM POLECAT:  We did put a lot of thought both into our style and our sound, but it was something that developed organically and wasn’t an overnight thing. I have to admit that after seeing Levi and the Rockats, we made a conscious decision to up our game visually. We also had a bit of a rethink in the performance department after seeing The Cramps for the first time. We would borrow and adapt from a wide range of influences, both visually and musically. Of course, it was much harder to do in those days because we did not have the access to information that is taken for granted these days and also did not have unlimited funds to bring our ideas into reality.

PONYBOY:  The band eventually broke up in the mid-eighties and you ended up in Los Angeles. What was that like for you as an artist and on a personal level?

TIM POLECAT:  Actually, The Polecats had only really become nonoperational between 1984 and 1988. We have been playing constantly since then, despite my move to the USA. Our fan demographic became increasingly international, so meeting up on foreign soil from different base camps works very well. I have always been interested in Americana and it made sense to move to Hollywood when the opportunity arose. My day job was in the film industry and there was a lot of work in the late eighties for a British production designer. I have worked on hundreds of projects in the visual medium, but mostly work as a producer these days.

PONYBOY:  Tell us about the band 13 Cats and how that formed. It’s an incredible ensemble of musicians.

TIM POLECAT13 Cats started after a successful double bill tour of Japan with The Polecats and The Rockats. Smutty Smith and I both lived in Hollywood and wanted to keep the party going. He had just reconnected with Slim Jim and I had been in touch with Danny Harvey ever since the late seventies. We got together for a jam session and it developed from there. At first we just intended to do covers with 13 Cats, but very quickly we had an entire set of original songs. The vibe of 13 Cats was a darker, black leather rock ‘n’ roll, which was in contrast to the sugary sweet swing movement that was going on around that time. We crossed over into the surf/garage scene and even had a track on a Dionysus compilation. We played shows with The 5.6.7.8’s, Guitar Wolf, The Bomboras and Hasil Atkins. The band only lasted a few years, but we did one LP that I am very proud of and we still perform together on very special occasions.

PONYBOY:  What bands are you playing in now?

TIM POLECAT:  Right now I am playing live with the regular Polecats and my own Tim Polecat Trio, which has rotating members, depending on availability and location. I also play with Slim Jim in his trio. Recently I have done a few shows fronting Polecats tribute bands, which although sounds like a strange concept, works really well. In more recent years I have been concentrating on playing lead guitar (with a thumb pick), while singing at the same time. This is possibly to prepare for the day when I can’t drop kick and stage dive anymore!

PONYBOY: You left Los Angeles recently, after so many years, and moved to Palm Springs. What brought that about?

TIM POLECAT:  In this day and age, being an artist and musician has two big requirements–the internet and an airport! Palm Springs has both of those facilities and is very mid-century modern looking, which I am totally into. I’m setting up a small recording studio and an art facility here.

PONYBOY:  Lastly, you’ve probably been asked this a million times before, but please tell our readers what musicians have really inspired you in the past, and what newer bands you enjoy now.

TIM POLECAT:  The bands and musicians that most inspired me were essentially fifties rockabilly, seventies glam and seventies punk. Also, add to that the teddy boy bands of the mid- seventies. The early influences of The Polecats came a lot from our original drummer Chris Hawkes, who had two older brothers that would buy rockabilly records frequently. In the mid- seventies during school lunch times (which would often extend into afternoon truancy), we would sit around Chris’s house and listen to all the rediscovered gems that were surfacing during this time. It seemed like every week a major record company would delve into their archives and release a compilation of killer tracks. MCA, Capitol, Mercury, RCA, MGM, Imperial and Chess all had their own “rockabilly” LPs. The Polecats also added to our musical repertoire by frequenting clubs such as The Royalty, and memorizing our favorite tracks. We would sometimes even sneak in a cassette recorder to tape the songs we wanted to play. I think our musical influences as a band are quite self-evident from the cover versions we pick. However, some are hidden quite deep. For example, a lot of the songs that I wrote with Phil are inspired by northern soul and 1977 punk. Unless I pointed out the specifics, no one would know. I am very bad at keeping up with current trends, but I have to say that Furious and The Ceazers seem to be the stand out newer bands to me from the rocking scene. As for mainstream music, nothing has really caught my attention for decades, apart from Die Antwoord, who have an audio visual style that is impossible to ignore.

HALSTON
WIG

  • Model Stella Rose Saint Clair stars in Ponyboy Magazine women's editorial
  • The glamorous Stella Rose Saint Clair photographed by Alexander Thompson for Ponyboy Magazine NY, in a vintage 1970's Halston wig.
  • NYC model Stella Rose Saint Clair, photographed by Alexander Thompson in a vintage Halston wig for Ponyboy Magazine.
  • Model Stella Rose Sant Clair in a vintage Halston wig and Anna Sui coat. Photographed by Alexander Thompson for Ponyboy Magazine NY.
  • Designer Stella Rose Saint Clair photographed in a vintage Halston wig by Alexander Thompson for Ponyboy Magazine NY.
  • Stella Rose Saint Clair modeling a vintage Halston wig for Ponyboy Magazine. Photographed by Alexander Thompson in New York.
  • The beautiful Stella Rose Saint Clair in a vintage Halston wig. Photographed for Ponyboy Magazine by Alexander Thompson NY.
  • Stella Rose Saint Clair wears a vintage Halston wig for Ponyboy Magazine, photographed by Alexander Thompson in New York.
  • Cover image for Halston wig booklet. Ponyboy Magazine NYC.
  • Image and copy from a Halston wig booklet. Ponyboy Magazine NY.
  • An image from the Halston wig booklet. Ponyboy Magazine NY.
  • Copy for the Halston wig booklet. Ponyboy Magazine NY.

THE HALSTON WIG

STELLA ROSE SAINT CLAIR

Our latest women’s editorial was inspired by vintage Halston wigs. The dynel stretch short hairpieces, circa 1970, come in red textured plastic hat boxes manufactured by Abbott Tresses. We chose model/designer Stella Rose Saint Clair for this shoot, not only for her radiant good looks, but also because she is a lover of fashion and wears wigs on a regular basis. Stella remarked, “This was a fun editorial to work on. I’ve been wearing wigs recreationally for years and vintage Halston wigs were a treat to shoot in. The little red cases they come packed in give the bubble styles extra charm.” Our fashion editor Maria Ayala styled Stella in vintage furs, which we felt were the perfect match with the curly stylish wigs. Wig styling by Francois K.

GLAM
BOWIE STYLE

  • Opening spread for Ponyboy Magazine Bowie/Glam editorial
  • The beautiful Stella Rose Saint Clair photographed by Alexander Thompson for Ponyboy Magazine glam editorial
  • Stella Rose Saint Clair models for Ponyboy Magazine women's glam editorial
  • Ziggy Stardust/Angela Bowie style, for Ponyboy Magazine women's editorial
  • Stella Rose Saint Clair models Angela Bowie glam style for Ponyboy Magazine editorial
  • Angela Bowie style for Ponyboy Magazine women's editorial
  • Stella Rose Saint Clair in vintage Ungaro for Ponyboy Magazine glam story
  • Model/designer wears vintage Bill Blass for Ponboy Magazine editorial
  • Stella Rose Saint Clair photographed in David Dalrymple for Ponyboy Magazine glam editorial
  • Model Stella Rose Saint Clair wears Katy Rodriguez for Ponyboy Magazine glam Bowie editorial

QUEEN BITCH

THE PRETTIEST STAR

For our latest women’s editorial, Ponyboy paid homage to the 1970’s glitter, glam rock style of then husband and wife duo Angela and David Bowie. The captivating pair were the rock-n-roll “it” couple of the day with their signature androgynous style. Angela often favored girlish looks to juxtapose her svelte boyish body, including sexy silk blouses paired with pencil skirts and high heels, and feminine dresses. David’s outlandish “Ziggy Stardust” stage creations were designed by Japanese avant-garde designer Kansai Yamamoto. These glitzy costumes ranged from spectacular kimonos to one-legged jumpsuits. We felt that no one could play this role better than our favorite now “it” girl and designer Stella Rose Saint Clair. Stella has an androgynous, lithe figure and a bold personal style that embodies this enchanting couple. Moreover, the talented and legendary Guy Vanvoores collaborated on this project. Who better? Guy’s genius make-up and vision were key in executing this story. Frontman for the boundaries pushing rock group the Toilet Boys, Miss Guy is an iconic glam rock fixture in New York City.

THE TEDS
BY CHRIS STEELE-PERKINS

THE TEDS BOOK

CHRIS STEELE-PERKINS

“In early 1954, on a late train from Southend, someone pulled the communication cord. The train ground to a halt. Light bulbs were smashed. Police arrested a gang dressed in Edwardian suits. In April, two gangs, also dressed Edwardian-style, met after a dance. They were ready for action: bricks and sand-filled socks were used. Fifty-five youths were taken in for questioning. The following August Bank Holiday, the first ‘Best Dressed Ted Contest’ was held. The winner was a twenty-year-old greengrocer’s assistant. Thus the Teddy Boy myth was born.”

This classic book is an amazing journey through the British underground movement of working class Teddy Boys. Originally published in soft back in 1979, the book was re-issued by publisher Dewi Lewis in hardback.

Chris Steele-Perkins is a nationally acclaimed British photographer and member of Magnum Photos.

Photos courtesy of Chris Steele-Perkins. www.chrissteeleperkins.com