Great Punk Stuff on Tape

converse-punkAll Star Punk Footage

Here are some of my favorite documentaries, films or shorts about punk in general, a specific era, style or band. Each of them have this extra edge that somehow gave me an itch to watch them again.

The Decline of Western Civilization (1981) 

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Penelope Spheeris’ documentary on the Los Angeles punk scene. Filmed between December 1979 and May 1980,  featuring Alice Bag Band, Black Flag, Catholic Discipline, Circle Jerks, Fear, Germs, and X was this was the first of a serie of 3 ”Decline movies”.

UK-DK  

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Featuring interviews, live concert footage, and a feature on how punk was transformed from a trend to a way of life, UK/DK is a comprehensive look at the skinhead/punk movement. Some of the most notorious bands on the scene are featured, including The Exploited, The Vice Squad, The Adicts and many more bands from UK.

Born to Lose – The Last Rock’n’Roll Movie 

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Veteran documentary filmmaker and hipster Lech Kowalski creates this film about his friend and hard-partying rock god Johnny Thunders, member of legendary proto-punk band the New York Dolls. Through archive footage and interviews with such musicians as Dee Dee Ramone and Sylvain Sylvain, the film details his stint with the Dolls, the formation of his other band, the Heartbreakers; his rise to fame, particularly in Japan; his descent into heroin addiction, and the mysterious circumstances of his death in a New Orleans hotel room in 1991. Born to Lose: The Last Rock ‘n’ Roll Movie also contains some rarely seen concert performances in Max’s Kansas City and the Mudd Club. The photo on the poster is by photographer Marcia Resnick.

D.O.A.: A Rite of Passage

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From the interviews with seminal bands in their earliest stages, D.O.A features live performances by the Sex Pistols, The Dead Boys, Generation X (with Billy Idol), The Rich Kids, the X-Ray Spex, and Sham 69, with additional music from The Clash, Iggy Pop, and Augustus Pablo to the live coverage of the first Pistols show in America, D.O.A: A Rite of Passage” is thus far the ONLY film to truly capture the feel, spirit and philosophy of the era. A near-comatose Sid Vicious is hilarious, as is the truly terrible, ersatz punk band Terry and The Idiots, whose leader is interviewed about the scene throughout the film. The depictions of a very bleak, “no future” England sum it all up as succinctly as the music itself.

Jubilee

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Jubilee is a 1978 cult film by Derek Jarman heavily influenced by the 1970s punk aesthetic in its style and presentation. Shot in grainy colour, it is largely plotless and episodic. Location filming took advantage of London neighbourhoods that were economically depressed and/or still contained large amounts of rubble from the London Blitz during WWII. Unlike the others this one is really a movie, not a documentary and that is why I thought it would be interesting to include it on the list.
The Plot: When Queen Elizabeth I asks her court alchemist to show her England in the future, she’s transported 400 years to a post-apocalyptic wasteland of roving girl gangs, an all-powerful media mogul, fascistic police, scattered filth, and twisted sex. With Jubilee, legendary British filmmaker Derek Jarman channeled political dissent and artistic daring into a revolutionary blend of history and fantasy, musical and cinematic experimentation, satire and anger, fashion and philosophy. With its uninhibited punk petulance and sloganeering, Jubilee brings together many cultural and musical icons of the time, including Jordan, Toyah Willcox, Little Nell, Wayne County, Adam Ant, and Brian Eno (with his first original film score), to create a genuinely unique, unforgettable vision. Ahead of its time and often frighteningly accurate in its predictions, it is a fascinating historical document and a gorgeous work of film art.

UK Subs – Punk Can Take It

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Fresh from making his cinematic debut with The Great Rock ‘n’ Roll Swindle, director Julien Temple wrote and directed this short promotional film Punk Can Take It for punk band the U.K. Subs. The promo mixed live performances—shot during the U.K. Subs’ tour to promote the single “Stranglehold”—with a comedic pastiche of Temple’s source material—a Second World War propaganda film London Can Take It, which had shown the plucky Londoners’ resilience to Germany’s bombing campaign. In Temple’s film the U.K. Subs provided the “symphony of war” while Eddie Tudor Pole and Helen Wellington-Lloyd are embattled punks fighting for victory against crass blood-sucking commercialization of the music they love. The U.K. Subs (short for “Subversives”) were among the original bands who led the British punk charge in 1976. Still performing and recording today, this film captures the Subs at an early high point in their career under the pairing of Charlie Harper (vocals) and Nicky Garratt (guitar) who created a blistering output between 1979-1982.

BLITZKRIEG BOP (1978)

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If you were disappointed by the shitty CBGB’s movie made a couple of years back starring Alan Rickman, then you will get a better sense of the energy, talent and musical revolution that took place at CBGB’s in the mid-1970s with this hour-long TV documentary Blitzkrieg Bop . Focussing on The Ramones, Blondie and the The Dead Boys, Blitzkrieg Bop mixes live performance with short interview clips and a racy newscast voiceover. It’s recommended viewing.

Punk: Attitude

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Punk: Attitude is a film by Don Letts. It explores the “punk” revolution, genre and following from its beginning in the mid-1970’s up to its effect on modern rock music and other genres. The cast is a veritable list of alternative musicians and directors offering their opinions on what has been called a musical revolution. One of the film’s celebrated attributes comes in the form of its cast, showcasing the who’s who of punk tock/alternative culture contemporaries like David Johansen, Thurston Moore, Henry Rollins, Captain Sensible, Jim Jarmusch, Mick Jones, Jello Biafra, Siouxsie Sioux, and Darryl Jenifer.

Don’t You Wish That We Were Dead

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From Lemmy filmmaker Wes Orshoski comes the story of the long-ignored pioneers of punk: The Damned, the first punks on wax and the first to cross the Atlantic. This authorized film includes appearances from Chrissie Hynde, Mick Jones (The Clash), Lemmy and members of Pink Floyd, Black Flag, GNR, the Sex Pistols, Blondie, Buzzcocks, and more. Shot around the globe over three years, the film charts the band’s complex history and infighting, as it celebrated its 35th anniversary and found its estranged former members striking out on their own anniversary tour, while still others battle cancer.

Gimme Danger (The Stooges)

 

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Jarmusch has commented: “No other band in rock’n’roll history has rivaled The Stooges’ combination of heavy primal throb, spiked psychedelia, blues-a-billy grind, complete with succinct angst-ridden lyrics, and a snarling, preening leopard of a front man who somehow embodies Nijinsky, Bruce Lee, Harpo Marx, and Arthur Rimbaud. There is no precedent for The Stooges, while those inspired by them are now legion.“He added that the film “is more an ‘essay’ than a document. It’s our love letter to possibly the greatest band in rock’n’roll history, and presents their story, their influences and their impact, complete with some never-before-seen footage and photographs. Like the Stooges and their music, ‘Gimme Danger’ is a little wild, messy, emotional, funny, primitive, and sophisticated in the most unrefined way. Long live The Stooges!”

Blank Generation

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A movie by Ullie Lommel featuring Richard Hell, Andy Warhol and Carole Bouquet. Nada, a beautiful French journalist on assignment in New York, records the life and work of an up and coming punk rock star, Billy. Soon she enters into a volatile relationship with him and must decide whether to continue with it, or return to her lover, a fellow journalist trying to track down the elusive Andy Warhol. Also a 1976 documentary by the same name HERE featuring Patti Smith, Television, Ramones, Blondie and Richard Hell.

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“Salad Days: A Decade of Punk in Washington, DC (1980-90)” is a documentary film that examines the early DIY punk scene in the Nation’s Capital. It was a decade when seminal bands like Bad Brains, Minor Threat, Government Issue, Scream, Void, Faith, Rites of Spring, Marginal Man, Fugazi, and others released their own records and booked their own shows—without major record label constraints or mainstream media scrutiny. Contextually, it was a cultural watershed that predated the alternative music explosion of the 1990s (and the industry’s subsequent implosion). Thirty years later, DC’s original DIY punk spirit serves as a reminder of the hopefulness of youth, the power of community and the strength of conviction. There is also an earlier documentary called ‘A History of DC Punk” that predates Salad Days’ overlook of the DC Punk scene.

The Punk Rock Movie

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Roxy club disc jockey Don Letts was given a Super 8 camera as a present by fashion editor Caroline Baker.When Letts started to film the acts at The Roxy, it was soon reported that he was making a movie, so Letts determined to film continuously for three months.  The film features live footage of The Clash, Sex Pistols, WayneCounty & the Electric Chairs, Generation X, Slaughter and the Dogs, The Slits, Siouxsie and the Banshees, Eater, Subway Sect, X-Ray Spex, Alternative TV and Johnny Thunders and The Heartbreakers. Backstage footage of certain bands, such as Generation X, The Slits and Siouxsie and the Banshees, is also included. All live footage was shot at the Roxy, except that of the Sex Pistols, who were filmed at The Screen On The Green cinema in London on 3 April 1977. The performance was Sid Vicious’ first public concert with the band.

DANNY SAYS

Danny Says is a documentary on the life and times of Danny Fields. Since 1966, Danny Fields has played a pivotal role in music and “culture” of the late 20th century: working for the Doors, Cream, Lou Reed, Nico, Judy Collins and managing groundbreaking artists like the Stooges, the MC5 and the Ramones. Danny Says follows Fields from Phi Beta Kappa whiz-kid, to Harvard Law dropout, to the Warhol Silver Factory, to Director of Publicity at Elektra Records, to “punk pioneer” and beyond. Danny’s taste and opinion, once deemed defiant and radical, has turned out to have been prescient. Danny Says is a story of marginal turning mainstream, avant garde turning prophetic, as Fields looks to the next generation. When I asked Legs McNeil what documentary I should watch, this is the one that he pointed out to me so imagine my joy when I saw it was featrured on Netflix. I’ve watched it twice in a row, and then some more…

ROCK’N’ROLL HIGH SCHOOL

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Vince Lombardi High School continues to lose its school principles. The students are more concerned with rock ‘n’ roll than their education until the new principle, Miss Evelyn Togar is hired. She promises to set Vince Lombardi High School straight, and get the students focus back on education. However, a Ramones concert is coming to town, and Riff Randall, the biggest Ramones fan at the high school, plans on getting tickets to the concert in order to give them a song that she wrote entitled “Rock N’ Roll High School”. A series of events including Miss Togar taking away Riff’s tickets, a record burning and a taking over of the high school by Vince Lombardi High students and the Ramones, leads to a school evacuation by the police and an even more surprising ending!

The Great Rock and Roll Swindle 

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Let Malcolm McLaren show you how to achieve fame and fortune by making your pop group the most despised band in the world! This film about the brief but eventful career of The Sex Pistols primarily focuses on McLaren, their manager, as he presents his ten-point program on how to achieve success through chaos, ineptitude, and abusing the music industry. Despite some remarkable footage of The Sex Pistols’ infamous Jubilee Day performance and clips from their final concert in San Francisco, there’s surprisingly little screen time devoted to the group actually performing. Instead, The Great Rock ‘n’ Roll Swindle offers McLaren’s agit-prop philosophies on music, culture, politics, and the entertainment industry, as well as an amusing (if often inaccurate) account of the band’s rise and fall. Along the way, we’re also offered some curious animated sequences, “film noir” episodes starring guitarist Steve Jones, footage of the band recording with exiled British train robber Ronnie Biggs, and Sid Vicious singing “My Way” (he had been dead for over a year by the time the movie was released). The Great Rock ‘n’ Roll Swindle began life as “Who Killed Bambi?”, a project written by Roger Ebert and directed by Russ Meyer, which closed down after two days of shooting when funding fell through. By the time McLaren and Julien Temple got it off the ground (with a radically different script), Johnny Rotten had left the group, which explains why the band’s front man is hardly in the movie. The rest of the group broke up a few months later. ~ Mark Deming, Rovi

Punk’s Not Dead

 

Of course that doesn’t cover them all but it’s a fairly good start. There is also very good documentaries about The RamonesMC5, The Velvet Underground, The New York DollsCrass, The Stranglers, Joy DivisionThe Dead Kennedies and Black Flag (just click on the band to acess link) Enjoy the view!

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Spiffy Custom Honda Ruckus

Ruk Studios NYC

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You could have your Honda Ruckus Honda Scooter custom made just for you. The Ruk Studio NYC team will put their craftmanship to your service and customize Honda Ruckus that are usually available to the public looking like this: 16523935_10208483086820449_408696783_o

And make it look like this:

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With a GY6 engine (1 gal =149 mi) and custom made tanks that will last twice the distance!  Tijuan Aikens wants to make this little babies customized and sold on the same spot right here in NYC! For starters, 6 models will be built, 2 of them will be customized by artist Eli Rivers and presented during the American television series BLACK INK CREW.

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Click on image for more models

Visit their website and help RUK STUDIOS NYC  build your dreambike! This obviously already has become a trend, so next summer, if you want a custom one built and sold in NYC, they can be yours for prices going from 800 to 1400$ US! RUK STUDIOS NYC needs your help to start rollin’ so go have a look at their gofundme page  for a nice kick off start!

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Questions?: go to RUK-Studios NYC

https://www.gofundme.com/NYC-RUK-STUDIOS

The Beauty of the Beast

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Transformer: The Complete Lou Reed Story by Victor Bockris

A Review by Tobe Damit
A Review by Tobe Damit

Updated after Reed’s death in October 2013, Transformer, The Complete Lou Reed Story definitely offers a lot more than one can possibly expect from a biography. Saying that Transformer encompasses everything you can possibly want to know about the life and times of the rock icon/artist/persona would still be a huge understatement. Going way beyond the usual narration of dates, love stories, anecdotes, arguments, relationships, records and tours reviews, Victor Bockris takes us much deeper, into the artist’s mystifying mind without a single dull moment, unexpectedly delving into the psyche as well as various traumas thus making Transformer a masterpiece that may seem at times closer to an essay written with a truly contagious passion. As I was reading various passages about Lou’s most intimate, meaningful moments, I suddenly became a voyeur, travelling through space and time, only making halts to land, embedded in Lou’s cerebral cortex, at very specific, revealing  moments,  a caterpillar enthralled in a mind-blowing, heart wrenching, enlightening spiritual journey to redemption and self-completion.

Reed©Francesco Scavullo 1974
Reed©Francesco Scavullo 1974

Caterpillar….As I was sifting through other reviews, I paused as I read the word ”butterfly” and pondered. As the biography evolves you really get the sense of a colorful and vivacious punk caterpillar struggling with an acute egoistic hedonism.Reed was constantly and desperately looking for a way to become a magnificent butterfly that proudly spreads its wonderful, astoundingly colorful wings with a rare dignified wisdom that is rarely reached by those who have such a big ego as Reed. Reading the book, you just know that in the end he had reached this point since with an ego, you cannot bend, and with an ego how can one be really dignified? How can an ego give you grace? It would be just a superficial posture, empty, impotent posture. Nothing inside, just an empty shell without any content. Reading Transformer, it is very obvious that Reed tremendously suffered from his ego all through his life. At times he may have had the posture but he was obviously to clever and sensitive to not come to the realisation that something was missing. A man should be able to be undignified too. If you are always dignified you cannot laugh, you cannot joke, you lose all humanity and become inhuman.

Punk Magazine 1976 First Issue with Lou Reed very ''insect'' look drawn by John Holmstrom. Consacrating Lou Reed as the ultimate Punk Rock Godfather.
Punk Magazine 1976 First Issue with Lou Reed very ”insect” look drawn by John Holmström. Consecrating Lou Reed as the ultimate Punk Rock Godfather. Click image for more.

The book bluntly starts, and very rightly so, with the shock therapy treatment Lou received starting in the spring of 1959 after Lou’s conservative parents, Sidney and Toby Reed, sent their son to a psychiatrist, requesting that he cures Lou of homosexual feelings and alarming mood swings. According to Lou, the shock treatment helped eradicate any feelings of compassion he might have and handed him that fragmented approach that took over most of his life. Lou could be so loveable that you wanted to invite him to supper and meet your family but then behaving in such a way that you wanted to kick him out the door the next minute.

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”I’m an artist and that means I can be as egotistical as I want to be”

Bockris really takes his time detailing with an almost scientific manner how screwed up his relationships became from then on, not only because of the treatment itself but also how it put his relationship with his parents in a twisted love-hate trauma because he simply could not fathom how his parents could have agreed to the torture that the shock treatment therapy represented to him, and yet, he simply couldn’t remove his parents from his life, even if he really felt the urge to do so. So there you are, Bockris gets you a privileged seat in the house, an overview of Lou’s entourage through his own mind. Of course it doesn’t explain everything but it sure explains a lot of his writings and the poetry of many of the songs that songs he has written. You get an even more seizing pregnant image of Lou’s relationship with his father towards the end of the book when Bockris hands us a very important of the puzzle when he writes ”One day, as a child, Lou’s hand strayed into close proximity to where his father was standing. He received a sharp smack for this action, recounts Reed’s close friend Julian Schnabel, who adds, “He never got over the cruelty of that.”

Lou Reed performing in UK at Scala Cinema,King's Cross,London on 15th of July 1972.
Lou Reed performing in UK at Scala Cinema, King’s Cross,London on 15th of July 1972. Bowie co-produced Reed’s first solo album Transformer very shortly after. 

Those who see Lou Reed as a punk icon are right, he is and will hopefully remain one  but as you get further down the line reading this biography you get the urge to spread the word that he is way more than that. To me White Light/White Heat was the first punk song ever to be recorded. Far from fast forwarding on that era, Bockris still goes through that era with all the required details even if the book Uptight: The Velvet Underground Story, by Victor Bockris and Gerard Malanga and is based on interviews with Nico, Cale, Reed, Morrison and Tucker, as well as others who became part of Andy Warhol’s circle of artistic collaborators. It remains widely acknowledged to be one of the greatest rock books ever published and is an utterly interesting, if not vital complement if you want to know the complete story because in this biography Bockris does not talk about that part of Lou’s life in details. You also get to see how Lou Reed desperately needs to be the center of attention as the original formation rapidly disintegrated. After the release of each album they loose one of the original member. First Nico, followed by Cale and then finally, Reed himself. You get a really good sense of his ”behavioral pattern” in one of Reed’s favorite movies called The Ruling Class featuring Peter O’Toole.

The original formation on the Velvet Underground produced by Andy Warhol in Hollywood 1966 © Gerard Malanga
The original formation of the Velvet Underground and Nico produced by Andy Warhol in Hollywood 1966 ©Photo credit: Gerard Malanga

Fortunately you also get to know other aspects of Lou’s life, especially towards the end his life when he met the one and only person who managed to rekindle all those inner conflicts that were constantly harassing Reed’s mind; his magical, almost mystical, third and last wife, Laurie Anderson. The process had already been put in motion with Robert Quinn without ending well as always but Bockris is the only one who managed to take us to a place that enabled Reed to get closer to functioning as a normal human being with the updated version of the biography. It is through the character of Lulu, who originally came to life in two plays by the ground breaking German playwright Frank Wedekind, an author who came to prominence around the same time as Oscar Wilde in the 1890s. Two great extrapolations of the play are G.W Pabst’s 1929 film Pandora’s Box.

Lou with Rachel, his muse from Metal Machine Music through Take No Prisoners and the subject of Coney Island Baby,1975 (Photo by Gerard Malanga)
Lou with Rachel, his muse from Metal Machine Music through Take No Prisoners and the subject of Coney Island Baby,1975 (Photo by Gerard Malanga). Click on image for more about Lou’s ladies.

Just the fact that Reed finally managed to reach what is the closest thing to serenity through his art and music is revealing of how much of a thoroughly honest and sincere artist Lou Reed always was. Each and every record brought him a piece of the solution, even if he sometimes got lost in the way, he obviously always made sure that each and every single thing he did was meaningful to him  as an artist and as a human being. Lulu is a totally underestimated album, a collaboration between him and the band Metallica, the best band he could think of to help him forge this masterpiece that finally managed to set him free, reconciling this ongoing battle between male-female and female-male, the jealousy, the fear of being rejected, all those complex feelings he was constantly struggling with came to be irremediably exposed and somehow ”tamed”. That is why Bockris in another masterful stroke of genius explains in details everything that was implied in the making of Lulu. You may not like the album, but you must take the time to think about everything it represents. Think of it as Lou and Metallica having violent, bordering non-consensual but this twisted passion is honest and not without hope and can be seen as an exorcism with Laurie Anderson’s precious help. It was the final touch that allowed Lou Reed to spend his final years at peace with John Cale with whom he released Peel Slowly and See, the ultimate Velvet Underground re-edition as well as the Deluxe Edition of White Light/White Heat . During the last six month of his life he also worked on his final collection of photographs Rimes/Rhymes and he even went to England to publicize Mick Rock’s limited edition of Transformer, a great collection of Lou Reed’s photographs.

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Lou Reed and Nico ©Mick Rock 1975

Of course this isn’t the only collaboration described in Transformer. You get to witness Lou’s collaborations with some of the most influential artists of his times, from John Cale, Andy Warhol (Reed and Cale made an album called Songs for Drella in Warhol’s honor after his death), and Nico, through David Bowie, Bob Ezrin, Robert Quine, Robert Wilson, Laurie Anderson and the ghost of Edgar Alan Poe on The Raven as well as many, many more. Reading Transformer you do really get the sense that there is a convergence leading to Lulu and get to understand why Lou Reed finally reached a point where he finally got some closure and could sit back and enjoy life, love, friendship and joking around. Maybe he just stopped trying to be perfect in the end, at last. Bockris states that he had learned to enjoy what he had, what he was and was proud of what he had done and was at peace with himself and for that, I think everyone can only be happy for him.

ANNIE LEIBOVITZ - "Lou Reed and Laurie Anderson Coney Island, New York, 1995"
Lou Reed and Laurie Anderson Coney Island, New York, 1995©Photo by Annie Leibovitz

By the way, reading transformer never gives you the overall feeling that Lou Reed was a complete degenerate asshole. On the contrary, you simply learn to get to know him and appreciate him for what he is and respect all the attempt his made to find out what really lies down at the end of every path he could take. Thanks to this book, I know that those of us who dare to try, no matter how fucked up we are, will one day reach a place that can be called home; that perfection can only be found deep inside our heart if only I we have the courage to let it bleed for the things that deeply, truly matters. I now understand that there is no such thing as an end, or death, only constant renewal. Reed reinvented himself so many times and in so many different ways. One MUST take that into consideration despite the despair and the fear the fear of the unknown. There is no ugliness, there is only a beauty that has yet to revealed itself, hidden in our deepest fears. This book is a major statement and is for sure as close as you will ever get to Lou Reed’s Rock’n’Roll Heart. Make sure you give it your undivided attention because just like it’s subject, this book will slap you in the face if you don’t!

Badass
”When I’m talking, listen, goddamn it. When I’m talking to you, you look me in the eyes, goddamn it, or I’ll fucking smash you in the face, and I’m serious, I’m deadly serious’‘- Lou Reed to Robert Quine at CBGB’s, 1977 (extract from V. Bockris’ Transformer)

 

Interview with author Victor Bockris HERE!

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Hunter S. Thompson 

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THE WAVE…

“Strange memories on this nervous night in Las Vegas. Five years later? Six? It seems like a lifetime, or at least a Main Era—the kind of peak that never comes again. San Francisco in the middle sixties was a very special time and place to be a part of. Maybe it meant something. Maybe not, in the long run . . . but no  explanation, no mix of words or music or memories can touch that sense of knowing that you were there and alive in that corner of time and the world. Whatever it meant. . . .

History is hard to know, because of all the hired bullshit, but even without being sure of “history” it seems entirely reasonable to think that every now and then the energy of a whole generation comes to a head in a long fine flash, for reasons that nobody really understands at the time—and which never explain, in retrospect, what actually happened.

My central memory of that time seems to hang on one or five or maybe forty nights—or very early mornings—when I left the Fillmore half-crazy and, instead of going home, aimed the big 650 Lightning across the Bay Bridge at a hundred miles an hour wearing L. L. Bean shorts and a Butte sheep herder’s jacket . . . booming through the Treasure Island tunnel at the lights of Oakland and Berkeley and Richmond, not quite sure which turn-off to take when I got to the other end (always stalling at the toll-gate, too twisted to find neutral while I fumbled for change) . . . but being absolutely certain that no matter which way I went I would come to a place where people were just as high and wild as I was: No doubt at all about that. . . .

There was madness in any direction, at any hour. If not across the Bay, then up the Golden Gate or down 101 to Los Altos or La Honda. . . . You could strike sparks anywhere. There was a fantastic universal sense that whatever we were doing was right, that we were winning. . . .

And that, I think, was the handle—that sense of inevitable victory over the forces of Old and Evil. Not in any mean or military sense; we didn’t need that. Our energy would simply prevail. There was no point in fighting—on our side or theirs. We had all the momentum; we were riding the crest of a high and beautiful wave. . . .

So now, less than five years later, you can go up on a steep hill in Las Vegas and look West, and with the right kind of eyes you can almost see the high-water mark—that place where the wave finally broke and rolled back.”

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Omnibus 1978

Quotes

”The hippies , who had never really believed they were the wave of the future anyway, saw the election results as brutal confirmation of the futility of fighting the establishment on its own terms. There had to be a whole new scene, they said, and the only way to do it was to make the big move — either figuratively or literally — from Berkeley to the Haight-Ashbury, from pragmatism to mysticism, from politics to dope… The thrust is no longer for “change” or “progress” or “revolution,” but merely to escape, to live on the far perimeter of a world that might have been.”

HS Thompson

Myths and legends die hard in America. We love them for the extra dimension they provide, the illusion of near-infinite possibility to erase the narrow confines of most men’s reality. Weird heroes and mould-breaking champions exist as living proof to those who need it that the tyranny of ‘the rat race’ is not yet final”

”Bush is a natural-born loser with a filthy-rich daddy who pimped his son out to rich oil-mongers. He hates music football and sex, in no particular order, and he is no fun at all.’

”There are times, however, and this is one of them, when even being right feels wrong. What do you say, for instance, about a generation that has been taught that rain is poison and sex is death? If making love might be fatal and if a cool spring breeze on any summer afternoon can turn a crystal blue lake into a puddle of black poison right in front of your eyes, there is not much left except TV and relentless masturbation. It’s a strange world. Some people get rich and others eat shit and die. Who knows? If there is in fact, a heaven and a hell, all we know for sure is that hell will be a viciously overcrowded version of Phoenix — a clean well lighted place full of sunshine and bromides and fast cars where almost everybody seems vaguely happy, except those who know in their hearts what is missing… And being driven slowly and quietly into the kind of terminal craziness that comes with finally understanding that the one thing you want is not there. Missing. Back-ordered. No tengo. Vaya con dios. Grow up! Small is better. Take what you can get…”

”Maybe there is no Heaven. Or maybe this is all pure gibberish — a product of the demented imagination of a lazy drunken hillbilly with a heart full of hate who has found a way to live out where the real winds blow — to sleep late, have fun, get wild, drink whisky, and drive fast on empty streets with nothing in mind except falling in love and not getting arrested…”

”Like most of the others, I was a seeker, a mover, a malcontent, and at times a stupid hell-raiser. I was never idle long enough to do much thinking, but I felt somehow that my instincts were right. I shared a vagrant optimism that some of us were making real progress, that we had taken an honest road, and that the best of us would inevitably make it over the top. At the same time, I shared a dark suspicion that the life we were leading was a lost cause, that we were all actors, kidding ourselves along on a senseless odyssey. It was the tension between these two poles – a restless idealism on one hand and a sense of impending doom on the other – that kept me going.”

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”But with the throttle screwed on, there is only the barest margin, and no room at all for mistakes. It has to be done right… and that’s when the strange music starts, when you stretch your luck so far that fear becomes exhilaration and vibrates along your arms. You can barely see at a hundred; the tears blow back so fast that they vaporize before they get to your ears. The only sounds are the wind and a dull roar floating back from the mufflers. You watch the white line and try to lean with it… howling through a turn to the right, then to the left, and down the long hill to Pacifica… letting off now, watching for cops, but only until the next dark stretch and another few seconds on the edge… The Edge… There is no honest way to explain it because the only people who really know where it is are the ones who have gone over. The others- the living- are those who pushed their luck as far as they felt they could handle it, and then pulled back, or slowed down, or did whatever they had to when it came time to choose between Now and Later. But the edge is still Out there. Or maybe it’s In. The association of motorcycles and LSD is no accident of publicity. They are both a means to an end, to the place of definitions.”

”But speaking of rules, you’ve been arrested dozens of times in your life. Specific incidents aside, what’s common to these run-ins? Where do you stand vis-à-vis the law?
“Goddammit. Yeah, I have. First, there’s a huge difference between being arrested and being guilty. Second, see, the law changes and I don’t. How I stand vis-à-vis the law at any given moment depends on the law. The law can change from state to state, from nation to nation, from city to city. I guess I have to go by a higher law. How’s that? Yeah, I consider myself a road man for the lords of karma.”

”America… just a nation of two hundred million used car salesmen with all the money we need to buy guns and no qualms about killing anybody else in the world who tries to make us uncomfortable.”Hunter_S._Thompson_graffiti_1

”Going to trial with a lawyer who considers your whole life-style a Crime in Progress is not a happy prospect.”

”In a closed society where everybody’s guilty, the only crime is getting caught. In a world of thieves, the only final sin is stupidity.”

”The TV business is uglier than most things. It is normally perceived as some kind of cruel and shallow money trench through the heart of the journalism industry, a long plastic hallway where thieves and pimps run free and good men die like dogs, for no good reason.”

”A man who has blown all his options can’t afford the luxury of changing his ways. He has to capitalize on whatever he has left, and he can’t afford to admit — no matter how often he’s reminded of it — that every day of his life takes him farther and farther down a blind alley… Very few toads in this world are Prince Charmings in disguise. Most are simply toads… and they are going to stay that way… Toads don’t make laws or change any basic structures, but one or two rooty insights can work powerful changes in the way they get through life. A toad who believes he got a raw deal before he even knew who was dealing will usually be sympathetic to the mean, vindictive ignorance that colors the Hell’s Angels’ view of humanity. There is not much mental distance between a feeling of having been screwed and the ethic of total retaliation, or at least the random revenge that comes with outraging the public decency.”

”Sometimes at dusk, when you were trying to relax and not think of the general stagnation, the Garbage God would gather a handful of those chocked-off morning hopes and dangle them somewhere just out of reach; they would hang in the breeze and make a sound like delicate glass bells, reminding you of something you never quite got hold of, and never would.”

”When the going gets weird , the weird turns pro. But it never got weird enough for me to turn pro.”    hunter-thompson-tee-shirt

”Anything that gets the adrenalin moving like a 440 volt blast in a copper bathtub is good for the reflexes and keeps the veins free of cholesterol… but too many adrenaline rushes in any given time span has the same effect on the nervous system as too many electro-shock treatments are said to have on the brain: after a while you start burning out the circuits. When a jack-rabbit gets addicted to road-running, it’s only a matter of time before he gets smashed — and when a journalist turns into a politics junkie he will sooner or later start raving and babbling in print about things that only a person who has Been There can possibly understand.”

”I sat there for a long time, and thought about a lot of things. Foremost among them was the suspicion that my strange and ungovernable instincts might do me in before I had a chance to get rich. No matter how much I wanted those things that I needed money to buy, there was some devilish current pushing me off in another direction toward anarchy poverty and craziness. That maddening delusion that a man can lead a decent life without hiring himself out as a Judas goat.”

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Suicide  Note: (???)

*Football season is over. No More Games. No More Bombs. No More Walking. No More Fun. No More Swimming. 67. That is 17 years past 50. 17 more than I needed or wanted. Boring. I am always bitchy. No Fun — for anybody. 67. You are getting Greedy. Act your old age. Relax — This won’t hurt.

All quotes by Hunter S. Thompson (1937-2005) 

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The Life and Crimes of Micheal Alig

Glory Daze in the Limelight!

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Micheal Alig looking like a deer caught in the headlights

Micheal Alig was one of those people who spent a very unhappy childhood in South Bend, Indiana because he couldn’t fit in. He was bullied, humiliated, laughed at beaten and so forth.Back then you either went to LA or New York. He went to the latter just that he could be his real-self. Problem is it must have probably work too well, too fast because Alig became totally unhinged and it all ended in a ”Disco Bloodbath” for Angel,  the ”Spiritual-Super-Drug-Hero-Dealer” who’s body was sent floating on the Hudson by Alig and Robert “Freeze” Riggs, dismembered so that he could fit in a cardboard box. The river’s current usually sends everything to the ocean but a climate change had reversed the process and that’s how the body washed up on Staten Island instead.  He was lucky to be found at all.

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Michael Alig and Gitsie , Limelight NYC, 1992
Michael Alig, once known as the "King of the Club Kids" and who went to prison for manslaughter, is pictured on the left with Mykul Tronn and Caroline Lanson at Club El Morocco at 54th Street and 2nd Avenue in Manhattan. (Jan. 7, 1989) (Credit: Ed Quinn)
Michael Alig, once known as the “King of the Club Kids” and who went to prison for manslaughter, is pictured on the left with Mykul Tronn and Caroline Lanson at Club El Morocco at 54th Street and 2nd Avenue in Manhattan. (Jan. 7, 1989, Photo©Ed Quinn)

Alig could be described as a devilishly appealing guy from the Midwest who took the ’80s/’90s NYC clubs by storm with his subversive energy. Michael Alig always talked quickly, injecting a cackle between phrases, as he cooked up all sorts of mayhem and provocation. With aggression, smarts, and an anything-goes sense of creating fun, he quickly rose up the ranks of nightlife, becoming the darling of major domos like Rudolf Pieper and Peter Gatien, who later found that Alig was also a demon who could whip up tons of trouble as easily as he could dream up an open-bar party or a nutty performance art review.

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Sacred, James St-James, author of ”Disco Bloodbath” and Micheal Alig

He managed to create a scene that was totally surreal, crazy, glamorous yet not at all the same time. This was VERY profitable and it just kept on getting better and better. Alig’s notorious “Outlaw Parties”, which were thrown in various unconventional places including a Burger King, a Dunkin’ Donuts, abandoned houses and a subway, helped to revitalize the downtown New York City club scene which Village Voice columnist Michael Musto declared had atrophied after artist Andy Warhol died in 1987. Alig’s parties also became notorious due in part to his own “bad behavior”. Alig would throw $100 bills on crowded dance floors just to watch people scramble for them. In other instances, he would urinate on clubgoers or urinate in their drinks and stage falls wherein he knocked others to the ground.

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The sparkly-eyed club kids Micheal Alig and James St James

As Alig’s popularity in the club scene grew, so did his drug use. He was arrested several times for drug offenses and entered rehab, but continued to use drugs. In 1995, Alig’s boss Peter Gatien sent Alig to rehab once again.  Alig later claimed that after he completed his stint and was released, Gatien fired him.
Some of Alig’s behavior could be explained by a personality disorder; he was diagnosed with histrionic personality disorder. He stated that “The doctor said I was the most extreme case he’d ever seen. Everything has to be completely over the top and exaggerated. It worked well for my job – I was a promoter.At first Alig was totally against drugs and thought that anyone who was using was an absolute loser. Well that surely changed radically and soon Micheal Alig became a very heavy user of every drug you can possibly imagine, sinking low into depravity but always managing to have brilliant ideas and promoting what would become a way of life in itself: The Club Kids were born.

Now of course Micheal Alig had realised than drugs were bringing a lot more money than the admission entrance and the alcohol so he thought it would be stupid to let anyone else than him benefit from the profits generated by his parties so he created some sort of super hero figure that would be a guardian angel, offering you the boost you need to feel on top of the world again!! So he created Angel, a guy all dressed in white or silver wearing giant angel wings, able to offer you whatever drug you need whenever you need it. Of course in exchange of making Angel the official drug dealer of what was the hippest ”clientele” of  the New York Scene, Alig could ask for almost whatever he wanted up front and largely benefitted from this arrangement, until the debt became a too high a problem….

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Andre “Angel” Melendez

Andre “Angel” Melendez was regular on the New York City club scene and worked at The Limelight. He also sold drugs on the premises. After the bar was closed by federal agents when an investigation found that Peter Gatien was allowing drugs to be sold there, Melendez was fired. Shortly thereafter, he moved into Alig’s apartment. On the night of March 17, 1996, Alig and his friend Robert “Freeze” Riggs murdered Melendez after an argument in Alig’s apartment over many things including a long-standing drug debt. Alig has claimed many times that he was so high on drugs that his memory of the events is unclear.

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1992, At the Limelight with Peter Gatien

After Melendez’s death, Alig and Riggs did not know what to do with the body. They initially left it in the bathtub, which they filled with ice. After a few days, the body began to decompose and became odorous. After discussing what to do with Melendez’s body and who should do it, Riggs went to Macy’s to buy knives and a box. In exchange for ten bags of heroin, Alig agreed to dismember Melendez’s body. He cut the legs off, put them in a garbage bag and stuffed the rest into a box. Afterwards, he and Riggs threw the box into the Hudson River.

In the weeks following Melendez’s disappearance, Alig allegedly told “anyone who would listen” that he and Riggs had killed him. Most people did not believe Alig and thought his “confession” was a ploy to get attention.

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NYC club kids James St James and Michael Alig (right)

I told you the main lines of the story but I just wanted to make sure that if you were caught up in the story that you would watch Glory Daze: The Life and Times of Micheal Alig, a recent very well made documentary on the subject.

In 1999 a memoir written by James St.James ”Disco Bloodbath: A Fabulous but True Tale of Murder in Clubland” was released and Disco Bloodbath has since gone out of print but was re-printed in 2003 under the title ”Party Monster – The Fabulous but True Tale of Murder in Clubland”. It was also made into a movie that you can also watch for free here:

We must not forget the fact that this man killed and dismembered a human being and if it come across as a side note in this story, I am deeply sorry but it is not that I do not care about the horrible torture and death that Angel suffered. I just wanted to let people decide for themselves by watching the documentary, the  shockumentary, the movie or reading the novel. Micheal Alig is out since May 5th, 2014. Will he be able to reinvent himself and create something new and funny and healthy and cool and…. or not?

”FEED MY MORBID CURIOSITY. LIFE IS A BLOOD BATH, ADD SOME GLITTER & PLAY IN THAT SHIT”

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ROCK’N’ROLL HELLHOLE

NY77: The Coolest Year in Hell

Here’s the whole beautiful mess:

A terrific documentary that captures a pivotal moment in the history of a city and its pop culture.

by Marc Campbell

Punk, disco, hip hop, the blackout, Son of Sam, Tony Manero, CBGB, Studio 54, Max’s Kansas City, Show World, Paradise Garage, cocaine, polyester and leather—1977 in New York City was exhilarating, a nightmare, fun, dangerous and never boring. It was the year I arrived in downtown Manhattan with a beautiful woman, no money and a rock and roll band. I hit the streets running and never looked back…unless it was to watch my back.Blackout

I was living in the decaying Hotel Earle in the West Village when NYC went black. The power failure of July 13, 1977 knocked the city to its knees. I was sitting on the window sill of my room keeping cool or as cool as one could keep during a sweltering summer night in the city. I was drinking a nice cold beer and listening to the music of the streets when at around 9:30 p.m. everything suddenly went completely dark…and I mean dark, dark as Aleister Crowley’s asshole. It was the strangest fucking thing you could imagine. One moment the city was there, then next it was gone. The only illumination came from automobile headlights lacerating the night like ghostly Ginsu knives. My girlfriend and I clutched hands and felt our way down the stairs and out onto the sidewalk. We walked to Bleecker street in spooky darkness. We weren’t alone. The avenues were teeming with the dazed and confused. Not that unusual for the Village, but the confusion was different. Was the world coming to an end? disco fever

By midnight the streets where mobbed with people who had figured out that civilization wasn’t ending, it was on vacation. There was a festive vibe in the air. It was like Mardi Gras for the blind. The bars and pubs that stayed open were candlelit and booze was flowing for free. Refrigerators weren’t working and there was no way to keep perishables from spoiling so instead of facing the prospect of throwing food away some joints were feeding people for free. A few cabbies got into the spirit of things and maneuvered their taxis in such a way as to shine their headlights into the cafes providing diners with surreal mood lighting. It was a prison break theme park. And this wild night was bringing out the best in New Yorkers. But it didn’t last. As the blackout continued through the next day and night, things started to change. The novelty of the crisis wore off and it got ugly. What had started out as a party turned into looting and violence. An unexpected payday for the poor and desperate.

The blackout put the whole gamut of what makes New York marvelous and miserable on display: the “I got your back, brother” slamming into the “fuck you!”ra1

These were times when the city was an unseemly beast, a scabrous, moulting fat rat that was exciting to look at but terrifying. Part of the excitement came from the ever-present sense that things could go haywire at any minute. I lived intensely in the moment, acutely aware of everything around me, jacked up in a state of heightened consciousness that was both Zen and manic. Being in the here and now of New York City in 1977 wasn’t a hippie thing, it was survival. And when I got inside the safety zone of Max’s or CBGB, among my tribe, I was ready to get fucked up, to get high, to dance and celebrate.

In the city of night, we went to bed at dawn and rose at dusk. We were vampirebefore vampires became hip.

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SOCIAL DISEASE

Symptoms of a Glamorous Mental Illness

Andy_Warhol_by_Jack_Mitchell Andy Warhol and Archie, 1973 ©Jack Mitchell

”I will go to the opening of anything,including a toilet seat”

”I have social disease, I have to go out every night. If I stay home one nigtht spreading rumors to my dogs. Once I stayed home for a week and my dogs had a nervous breakdown. I love going out every night. It’s so exciting. I paint until the last minute and then go home for my first dinner of the night. I always have something simple and nutritious, because I don’t trust food anywhere but home. My favorite dinner is turkey and mashed potatoes-it looks clean.

I usually go out with one kid from my office-the Factory-like Fred Hugues, my business manager, or Bob Colacello, the editor of my magazine Interview. Employees make the best dates. You don’t have to pick them up and they’re always tax-deductible. I also like the feeling of having several of having several of my employees all around a party-it’s like being at the office.

You really have Social Disease when you make all play work. The only reason to play hard is to work hard, not the other way around like most  people think. That’s why I take my tape recorder everywhere I can. I also take my camera everywhere. Having a few rolls of film to develop gives me a good reason to get up in the morning.

I love the new, small, automatic-focus 35mm cameras like Minox and Konica. That’s what I used for the photos in this book. I think anybody can take a good picture. My idea of a good picture is one that’s in focus and a famous person doing something unfamous. It’s being in the right place at the wrong time. That’s why my favorite photographer is Ron Galella.

But back to m,y nightlife. After I’ve filled my plastic shopping bag from Brownie’s Health Food Shop with TDK ninety-minutes tapes, Kodak, TX-36 black-and-white film, and Duracell Alkaline AA batteries, I run out to my first party of the evening. I usually catch the tail end of a cocktail party, then go to a couple of dinners, stop off at Le Club, Regine’s, or Xenon, and end up at Studio 54. Or I go to a Soho opening, a Broadway opening, a boutique opening, a restaurant opening-when it opens I go. When it closes, I go too. I just go. That’s Social Disease.

The symptoms of Social Disease: You want to go out every night because you’re afraid if you stay home you might miss something. You choose your friends according to whether or not they have a limousine. You prefer exhilaration to conversation unless the subject is gossip. You judge a party by how many celebrities are there-if they serve caviar they don’t have any celebrities. When you wake up in the morning, the first thing you do is read the society columns. If your name is actually mentioned your day is made. Publicity is the ultimate symptom of Social Disease. But you know it’s fatal when you don’t want to get rid of it. You couldn’t anyway. How do you catch Social Disease? By kissing someone on both cheeks. Kissing people on both cheeks started out in France, like most diseases. It’s the society thing to do. Socialites never shakes hands. It hurts too much.

People say there’s no such thing as Society anymore. I think they’re wrong. There’s a new kind of Society. Now it doesn’t matter if you came over on the Mayflower, so long as you can get in Studio 54. Anyone rich, powerful, beautiful, or famous can get into Society. If you’re a few of those things you can really get to the top.

This book is about the people at the top, or around the top. But the top’s the bottom. Everyone up there has Social Disease…

It’s the bubonic plague of our time, the black and white life and death.”

 –Andy Warhol  from The Andy Warhol Diaries

Andy and some of the Factory regulars, photo by Dennis Hopper, 1963.
Andy and some of the Factory regulars, photo by Dennis Hopper, 1963.

 

Your Pretty Face Is Going to Hell

The Dangerous Glitter of David Bowie, Iggy Pop, and Lou Reed by Dave Thompson

(3 shows in 2 nights!)

A Few Chosen Extracts:

Aylesbury Friars would be Bowie‘s final show for a month, before he headed into the studio first and then Mott the Hoople. It was also designed to be Bowie’s introduction to an American press that MainMan had flown in for the occasion, writers and tastemakers who had read so much about the new British superstar in the imported papers, but we’re still waiting  to be convinced themselves.

téléchargementThe Spiders’ U.S. tour was now scheduled for September 1972, and if all went according to MainMan’s plan, reviews and reports from the Aylesbury show would see the excitement reaching fever pitch right around the time of the first concert. 

On Saturday July 15th, wined and dined at the height of luxury, lodged in the finest hotels, and shepherded every place they needed to go, the American journalists felt like royalty as they were driven into the leafy confines of Aylesbury ushered into the Friars Club-and confronted with an audience that was even more rabid than the British press reports  had ever warned them. Boisterous though they most have been, and determined to remain aloof, that first rush of adrenalined shrieking caught them off guard, sending their ears reeling before they’d even found a place to stand. Then their eyes took over, bombarding their senses with the sight of a thousand wide-eyed Bowie clones, Angela doubles,Ronson doppelgangers. 

Ziggy Ronson

 ”Ode to Joy” piped through the PA, Loud enough to shake coherent thought from their heads, but not deafening as to be painful, and then the band appeared, ripping straight into ”Hang Onto Yourself”, and all reservations fell away. The show was stunning, the performances seamless, and when Bowie started throwing his silk scarves into the crowd, the writers were as desperate to catch them as the kids.

     The Lou Reed show the previous evening had been a revelation. Taking the stage shortly after midnight and kicking right into a deliciously clunky ”White Night White Heat”, Reed was at his best, a spectral ring-leader, not quite ad-libbing his lyrics but certainly having a wonderful time teasing the Tots with his timing, and if he was the only person in the room who didn’t cringe a little when the band unleashed their backing vocals, that didn’t detract from the sheer thrill of seeing him up there.

  ”Waiting for my man”, layered with flourishes that the song had never before carried; a resonant ”Ride into the Sun”; a fragile ”New Age”, Reed singing instead of mumbling as expected,; on and on through the best of Lou Reed and the finest of the Velvet Underground, Reed may have been leading the crowd into unchartered territory for much of the set, but the roar that greeted ”Sweet Jane” was as heartfelt as the smile with which Reed repaid the recognition.”I Can’t Stand It” was punchy, ”Going Down” was gentle,”Wild Child” was brittle, ”Berlin” was beautiful, and if ”Rock’n’Roll” picked up more applause than the eerie, closing ”Heroin”, that just proved how much easier it was to find Loaded in a British record store than any of the records that preceded it.

The Stooges would really need to be on form to top that.  Again the show started after midnight, allowing the handful of Bowie fans who’d also hit Aylesbury to race back in time for the Stooge’s, together with all the journalists who accepted MainMan’s offer of a bus back into London. A few of them might have thought they knew what to expect, nursing memories of the shows the band had played back in New-York a couple of years before. But they left their expectations on the dance floor. Mick Jones, four years away from forming the Clash at the birth of the British punk movement, was there, astonished by the incandescence of the show. ”The full-on quality of the Stooges was great, like flamethrowers!”

Iggy lived up to his outrageous reputation, dressing in silver leather trousers, with matching silver hair, black lipstick and made-up eyes. After lurching and prowling over every inch of the stage in the first two numbers, he decided to wander into audience, followed where possible by spotlight. He stopped occasionally to stare deep into people’s eyes, talking about wanting to find something “interesting” and calling the crowd hippies that didn’t inspire him.Pop was everywhere trailing a mix cord the length of the building as he wandered out into the audience, alternately grabbing and caressing whoever lay in his path. One girl discovered him sitting in her lap, staring into her eyes as he serenaded her; one boy found himself being shaken like a rat as Pop grabbed hold of his head and used it to catch the rhythm of the song. At some point, there was a problem with the sound. Pop stood still for a moment, stock-still and scowling, then howled with rage  and hurled his mic to the ground. It shattered on impact., so he walked to another one, and treated the silent crowd to ”The Shadow of your smile” a suave accapella that kept everyone entranced while the problems were solved. Then it was back to the programmed set, loud, lewd and brutal.   The concert was attended by a group of noisy skinhead types, who voiced their impatience during one of several breaks due to technical problems, which caused Iggy to respond, “What did you say, you piece of shit,” as he advanced threateningly across the stage. The cat-caller’s memory suddenly failed him as he melted back into the crowd.  After the microphone was fixed, the Stooges commenced another song but halfway through one of the amplifiers broke down, causing a long delay. Later in the show, the leader of the skinhead gang went down to the front of the stage to shout obscenities. This time, Iggy went berserk, leaping across the stage to aim a boot in the guy’s face. Roadies pounced on the guy and bundled him out of a side exit; the rest of the mob shut up completely. 

 ”We did a bunch of things that were new and we started wearing lots of makeup for one thing.and that was different, Williamson recalled. I think we had rehearsed pretty much by that point. It didn’t seem unique to me. We did a lot of stuff with the crowd at that show, which was bizarre for the Londoners, but it was typical for us. That’s what we were used to doing.”

They took Pop’s activities in stride, ”It was part of the show, but we had to really cover a lot for him because he was very improvisational, as was the whole band. We knew, but if you weren’t used to it, you didn’t know when he was going to start a song or when it was going to stop or what to do in the middle because it wasn’t exactly you’d recorded it. He was very unpredictable”IggyPopRawPowerCover1972(c)MickRock

    In attendance at the King’s Cross Cinema were several aspiring musicians, who would go on to become highly influential in the British punk rock movement which exploded a few years later, including Joe Strummer (the Clash), Johnny Rotten (the Sex Pistols), Brian James (the Damned), and Siouxsie Sioux (Siouxsie and the Banshees). The concert has been called the birth of British punk rock. “That show changed the history of English music, because of who was there,” notes Iggy. “People checked us out and realised we had changed the playing field for what was possible.” 

 The Stooges drew predominantly positive reviews, although it was obvious that they made the British critics somewhat uneasy. “The total effect was more frightening than all the Alice Coopers and Clockwork Oranges put together, simply because these guys weren’t joking,” said Nick Kent in New Musical Express. Michael Oldfield of Melody Maker felt Iggy and the band were on the verge of the dangerous, “It’s like a flashback 200 years, to the times when the rich paid to go into insane asylums and see madmen go into convulsions.”

      Photographer  Mick Rock admitted that he felt “distinctly intimidated” as he photographed the show.He never did precisely know what he was preserving.  When MainMan called him down to the show, he was told only that the night needed to be captured in all its flaming Glory. It would be another year before one of the shots he took  that evening was blown up for the cover of the Stooges’ third album, a close up of the singers torso, leaning on his mic stand, his face set and beautiful, staring into space. Pop later claimed that he hated it.

     Pop, Rock said, ”was already in my mind more mythological than human. His appeal was omnisexual;  he was physically very beautiful, (and) the silver hair and silver trousers only added to the sense of the mythological. He seemed to have emerged from some bizarre primal hinterland, so much bigger than life, emoting and projecting a tingling menace. He was…a cultural revolutionary, operating well ahead of his time.” The question that nobody dared ask was, was anybody truly ready to take the burden on? …..

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 Set Lists:

Lou Reed

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14-07-72 (technically this was really 15-07 because Lou did not play till after midnight)

SCALA CINEMA, KING’S CROSS, LONDON, UK

White Light/White Heat – I’m Waiting For The Man – Ride Into The Sun – New Age – Walk And Talk It – Sweet Jane – Going Down – I Can’t Stand It – Berlin – Cool It Down – Wild Child – Rock And Roll – Heroin

 

 David Bowie 15-07  

Dubbed The most celebrated gig in Friars history  

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Friars Aylesbury, Borough Assembly Hall, Market Square, Aylesbury, UK

HANG ON TO YOURSELF; ZIGGY STARDUST; THE SUPERMEN; QUEEN BITCH; SONG FOR BOB DYLAN; CHANGES; STARMAN; FIVE YEARS; SPACE ODDITY; ANDY WARHOL; AMSTERDAM; I FEEL FREE; MOONAGE DAYDREAM; WHITE LIGHT/WHITE HEAT; GOT TO GET A JOB; SUFFRAGETTE CITY; ROCK N ROLL SUICIDE

 Iggy Pop and The Stooges:

15-07 (technically this was in fact 16-07 because they did not play till after midnight)

SCALA CINEMA or King Sound (I guess was the name of King’s Cross Cinema, at least temporarily), KING’S CROSS, LONDON, UK

I got a right, Scene of the Crime, Gimme Some Skin, I’M Sick of you, The Shadow of your Smile (Tony Benett cover) , Money That What I Want (BARRETT Strong Cover), Tight Pants,Fresh Rag, Your Pretty Face is Going to Hell, Search and Destroy, Penetration 

 

 

Artwork ©Butcher Billy
Artwork ©Butcher Billy

A Shaded View on Fashion

Now I Wanna Be Your Dog

Check out this subversive fashion video for House Casting in New York City. It is based on the Iggy Pop song ‘I Wanna Be Your Dog’ and was played at the Center George Pompidou in Paris in September 09, as part of the ‘A Shaded View On Fashion’, during the larger fashion week.. Directed by Leg’s Georgie Greville. 

Exploited Teen Models from Russia

It kinda works like either a pimp or a cult…Your pick… At first glance it seem’s all good but after awhile you are like hmmmm…There is definitely something wrong … BTW The Girl on top in the video is now the trainer in the documentary film for those who haven’t noticed…and she speaks quite frankly and honestly. That documentary called Girl Model by Ashley Sabin and David Redmond has a very complicated backstory. Click HERE to read more.  

 SWEET SIXTEEN | Iggy Pop

nico :: icon

ScreenTest-Nico
Click to watch nico :: icon

She was almost proud of the fact that her teeth were rotten, that her hair was grey…her skin was bad, she had needle tracks all over. She liked that. That was her aesthetic.” 

The above quote, attributed to James Young – Nico’s keyboard player from 1981-86 – summarizes the often harrowing watch that is filmmaker Susanne Ofteringer’s 1995 documentary, . It was Young who penned the fascinating on-the road-with-Nico tell allSongs They Don’t Play On The Radio, chronicling his days in her ad hoc touring band. But unlike Young’s book, which is frequently injected with (and buoyed by) levity, Ofteringer’s Icon is a meditative, often dark, look at the woman born Christa Päffgen. While hardly wholly representative of Nico the artist/muse/person, the film is an engaging 67 minutes beginning with Nico’s early years modeling in Germany and France, onto to her Zelig-like existence moving through sixties pop culture (Iggy Pop, Brian Jones, Jim Morrison, Alain Delon, Bob Dylan, Andy Warhol…) and beyond. And it’s the beyond, Nico’s “desire for her own annihilation”, and heroin, that looms heavily over the remainder of the film.

Take note that the biopic Nico 1988  I have previously posted about is currently being made. I really hope it will do her justice. In the mean time it’s always interesting to get ”the real thing”. nico :: icon is and will remain the best documentary ever made about Christa Päffgen so far.

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