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CONTACT:
Harris Spylios
Davis/Spylios Management
212-581-5767
dspylios@verizon.net
Performance Reel
ELI JAMES is an actor, writer, songwriter and standup in New York.

His Broadway credits include the National Theatre of Great Britain's "One Man, Two Guvnors," directed by Nicholas Hytner, and Alex Timbers's and Michael Friedman's "Bloody Bloody Andrew Jackson." His solo show "William and the Tradesmen" has been performed at Ars Nova, La Mama, and The Drilling Company. Further stage credits include "Rutherford and Son" and "Temporal Powers" at The Mint, "The Four of Us" at Manhattan Theatre Club, "Becky Shaw" at Boston’s Huntington Theater, and the world premiere of Jason Grote’s "Maria/Stuart," directed by Pam McKinnon. His TV credits include "Gossip Girl," "Lights Out," and "Murder in Manhattan." He co-founded, wrote and performed with the sketch comedy group Quiet Library at The Upright Citizens Brigade Theater, and currently performs with improv team Pleading Softly. His essay "Finding the Beat" was published in the Random House collection "Twentysomething Essays by Twentysomething Writers," a Boston Globe Bestseller.

Saturday, April 10, 2010

By all accounts you were a bastard, but it was totally worth it.





Malcolm McLaren gave the world, either directly or through inspiration, The Sex Pistols, The Clash, The Jam, The Buzzcocks, The Smiths, and a lot of bands I hold dear. He died Thursday of cancer, aged 64. Thanks, Malc, for inventing British punk as we know it!

Yeah, thanks, Malcolm (even though you can't hear me). Hi, sorry, this is Will. Can I chime in?

Yeah. Can you keep it brief though? I have laundry I need to do.

No problem. I just have to say that after watching "The Filth and the Fury" documentary, and after doing quite a lot of reading about punk, the Pistols, and British culture - I began to find Malcolm quite a repulsive figure; a man who unabashedly bilked his proteges out of money, used their insecurities to feed his fame, and enjoyed insulting, humiliating, shocking, and bullying anyone weaker than himself.

And yet - through his management of the Sex Pistols and the New York Dolls, his dedication to the destruction of haute couture, and his brilliant manipulation of the idiotic British press - it's hard to point to any other single figure who did more to foster the necessary destruction of normalcy in the late 70's, and who made punk power a real possibility. Doesn't matter if you like other bands better than the ones Malcolm handled - (like me - I much prefer The Clash) - they wouldn't exist without Malcolm's belief in something different and his ability to set off very public explosions.

So for me this begs the question - is it better to be a bastard, a user, a manipulator, and a selfish prick than to make NO lasting contributions to culture?

I wrestle with this question every time I sit down to fill out my tax return or call someone to "talk through our differences," and all of the hundreds of times a year I seem to say, "I'm sorry."

Okay, I'm done. Thanks, Malcolm!

Wait - who am I talking to? You really are dead.



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