Ali Wanted To Be…

In Depth Interview with Victor Bockris, Author of ”Muhammad Ali in Fighter’s Heaven”

by Tobe Damit

Victor walking around the camp with Ali holding his daughter in his arms, 1973. photo ©Bockris-Schmidlapp.

Foreword by Victor Bockris:

The Ali-Warhol Photo Tapestry shown up above as the ”banner” for this article is 60 x 32 inches and comes in various forms ranging from The Ali-Warhol Boxed Set (on 24 separate canvases) to the popular vertical edition on one large print thirty by six four inches, three images across and eight down. It is a beautiful and historic work executed by the Bockris-Schmidlapp team. Copies still available.

In order to enjoy this interview as I hope you will it helps  to know that I am talking about two slightly different Ali books. The first one called Ali: Fighter Poet Prophet was published in October 1974 on the day after Ali defeated George Foreman and regained his World Heavyweight Champion Crown. It was authored by Bockris-Wylie and contained over sixty splendid photographs by Peter Simon. It was also the last book published by the notorious Maurice Girodias’ Freeway Press. Bockris-Wylie was a writing and interviewing team of myself and my early seventies collaborator Andrew Wylie. Girodias, a great friend of mine, was a legend for publishing in the nineteen fifties some of the best books of our times, from Nabakov’s ”Lolita” to William Burroughs’ ”Naked Lunch”. The second one called Muhammad Ali in Fighter’s Heaven” published in 1998 in the U.K. and 2000 in the U.S. by Victor Bockris consists of the original book without the photographs but with a new introduction and final chapter on Andy Warhol’s Ali portrait visit as well as over one hundred stills from Anton Perich’s Ali documentary, parts of which were filmed when Bockris-Wylie was visiting Ali in 1973. To snatch from flames the burning pages of  those days were to twist words into breathing wires in my brain. Let this flog of  memories attend you best. -Victor Bockris

Victor Bockris and Andrew Wylie by ©Elsa Dorfman

This interview was done to complete the article ”Beat Muhammad Ali” previously posted in LAN by Tobe Damit.

Muhammad Ali in Fighter’s Heaven by Victor Bockris.

LAN: In ”’Muhammad Ali in Fighter’s Heaven”, you explain the important role Gerard Malanga played in the birth of the whole project but I want to know why and when you got convinced that Ali was such an important player in the counterculture of the 60’s?

By November of 1972 I had established myself as a poet in Philadelphia by publication of two well reviewed books of poems and a documentary about me on local TV. I had included interviews in both books of poems when I found in them the poetry of human speech. I was now shifting my focus from writing poems to conducting a series of interviews with poets. In fact, in collaboration with Andrew Wylie I was about to embark on a collection of these interviews called ‘The Life of Poetry” . By 1972 poets had become more relevant than ever. We clung to the counterculture as the best thing to come out of the nineteen sixties, but in the early seventies it was constantly being attacked by the Nixon administration and poets were often our most articulate voices. The problem was it was virtually impossible to make money to help finance our work on ”The Life of Poetry” (unpublished) from interviewing poets. One afternoon Wylie and I asked ourselves, “Who is the most famous poet in the world?”  The great British poet W.H. Auden, who was the Professor of Poetry at Oxford University in England, had just died. Some radical British students were suggesting that Muhammad Ali should be voted Oxford’s  new professor of Poetry. When we read in the local newspapers that Ali had playfully replied he would be delighted to accept the position, we instantly knew we should do a big interview with Muhammad Ali the Poet. Since the Supreme Court had reversed the sentence he received in 1967 for refusing to be drafted, Ali had increasingly been marketed as the champion of the  underdogs and anti-war protestors around the world. Furthermore, by becoming a Muslim in the sixties and staging his key fights of the seventies in third world countries he certified his credentials as one of the world’s best known anti-war voices. As far as we were concerned the fact that he used his fame to attract attention to the cause of World Peace made him one of us. I got the phone number of his training camp from a sports writer at a Philadelphia tabloid. It was ninety minutes north of us in Pennsylvania. Andrew was usually better at getting interview appointments than I was, but on his occasion since I had a strong British accent I made the call. Much to my surprise, Ali answered the phone on its second ring and when I asked him if we could do an interview about his poetry he gave us an appointment two days later. When we first met him that November morning at 10 a.m. Ali was stark naked. Was this his response to being asked about his poetry? Was he in fact in the tradition of Allen Ginsberg, who sometimes took  his clothes off during a poetry reading, emphasising how naked his poetry was? I have to ask these questions because I am looking for comparisons between my people. You have to wonder otherwise why write at all? Ali was coming off two victorious fights that year and approaching the top of his post sixties game. He was full of energy, he looked terrific. I think he granted us the interview because talking to young people who liked him kept him alert. He was a masterful talker cum rapper and being asked about his poetry sent him into a great long, funny rap about the origins of his poems.  As an indication of how in tune he was to our expectations, at the end of our first visit to Fighter’s Heaven Ali asked me to be his spokesman to, ”The white longhairs in the colleges”.

Muhammad Ali: A Poet In And Out Of The Ring. Gettyimage

LAN: I use the term ”project” for this book because it feels to me that it gave birth to numerous side projects that all had roots in what you were doing. Could you please elaborate on who was doing what and what were the ending results and concrete repercussions of all those things taking place ”in the side lines”?

Your are right in this perception. Between September 1971 to June 1972 I worked with Andrew Wylie and Aram Saroyan on our proto punk poetry press, Telegraph Books.  We published ten volumes including Patti Smith’s first book ”Seventh Heaven”, the Warhol Superstar Brigid Polk’s book Scars as well as my ”In America”. This work and my subsequent work received a lot of press attention in the Fall of 1972 leading up to the Ali interview. Outstanding amongst these works was an interview I did with Patti Smith and a poem I wrote called 1972”, which consisted of a list of some three hundred names of the counterculture’s favorite stars. It began with the names of the Rolling Stones, who reached their zenith in 1972 with Exile On Main Street”These two pieces, published together at a new friend Jeff Goldberg’s Red Room Books, marked the beginning of a new period. The first Ali interview, which became the base of the book Ali: Fighter Poet Prophet”, was published the same month it was conducted in Phildelphia’s underground weekly, The Drummer.  It too was a transitional piece, taking us beyond poets to interviewing the One Hundred Most Intelligent People. Rock and Roll was central in my work, which has provided something of a bridge between the Sixties and the Seventies, leading up to Punk  Rock/Art. That was another thing that tied Ali in with my favorite subjects: during the early years of the 1960s Andy Warhol, Keith Richards and Muhammad Ali were all written off in the mainstream press as punks! Punk after all dates far back in time, for punk as I understand it describes a person who is fully committed to transforming themselves into who they want to be and equally committed to their calling. Above all they always do the very best they possibly can and never retreat or surrender. In its June 1974 issue Penthouse magazine featured our Ali interview, which made him happy because it was one of the few times when what he actually said was published instead of some phony rewrite by an editor.

The ”other book”: ”Ali: Fighter Poet Prophet” authored by Bockris-Wylie photographs by Peter Simon.

LAN: The Deer Lake training camp obviously represented a lot more to Ali than just a place to train with these huge rocks painted by Cassius Clay Sr, each one of them bearing the name of a great boxer; What was the very first impression YOU got about the camp itself?

Ali’s training camp Fighter’s Heaven has not received the attention it deserves as one of Ali’s greatest achievements. It was his idea. He was tired of paying huge sums of money to house his entourage in hotels and train in other people’s gyms in Miami. Ali decided to build his own camp and he found a good place at the top of a hill leading off Highway 61 in Deer Lake Pennsylvania. When I first got there Ali only had the gym, the kitchen and his log cabin built. The boulders had not arrived yet, but he worked on the place every time he stayed there. It was his drive that got it done.  Between 1972-1973 he surely turned it into a perfect place to get his head, body, spirit and fight together with his team.  Ali treated everybody he employed well, he often gave guys without the money to develop their skills jobs as sparing partners, etc. Ali made it clear to me how much he gained from living there, fresh home-grown vegetables, fresh water, fresh air, endless space to run, great camaraderie among his men. The camp also had an inspiring view across many miles of open country. He had great visions for the camp and every time we visited him he was showing us new stuff. One day he introduced us to Mr Moyer, who was just beginning to deliver the huge boulders on which Ali’s father would paint the names of the greatest champions. Ali got the idea from Archie Moore, who had the same thing in his camp when Cassius Clay trained there in 1962. Ali was exultant about the whole thing. It always felt good to be there. In between 1972-1974, the greatest period the camp ever had, Ali was close with his wife and children I often saw them there.  Everything and everyone was on his spot. Building organizing and running what became his superb camp was the most sustained and successful things he ever did outside the ring. The good vibes and solidarity of Ali’s camp had a lot to do with his victories in Zaire and Manilla. The camp still operates today. He could have made money renting it to fighters, but Ali chose to rent it free to organizations who ran summer camps for poor black kids from the ghettos.

The camp still operates today. He could have made money renting it to fighters, but Ali chose to rent it free to organizations who ran summer camps for poor black kids from the ghettos.

LAN: Obviously this book was never meant to be about boxing per se. It seems that Ali was really proud about his poems and other aspects of his personalities. This must have been very thrilling. Would it be accurate to say that it was really important to Ali that people recognize him to be more than just an athlete at this point in time?

The main thrust of the Ali book was to make this transition in the popular conception of Ali. At this time he had in view defeating Frazier in their second fight and defeating Foreman to win back his crown. Many things interceded before he got there, but Ali made it clear to me in 1973 and 1974 that he soon planned to retire. Then it became retire after the third Frazier fight in Manilla in 1975. Ali had really enjoyed touring the colleges in the late sixties. Travelling was in his blood. He’d been led to believe Elijah Muhammad was going to give him an assignment to travel to mosques around the world. Ali dreamed of travelling around the world giving inspiring lectures seeking peace between East and West. It all made sense. After the Foreman and Frazier fights he would have enough money to support his family for the rest of their lives. It is quite possible he could have played a role in bringing east and west together via his Muslim religion. Unfortunately, none of this would ever happen. Ali’s business manager, one of Elijah Muhammad’s sons, took 50% of his income and the rest of Ali’s money after high taxes was so poorly handled he never had enough and was forced to keep fighting, like a cash cow for his handlers,  until everything was used up. It was one of the most vicious examples of what can happen to a man of Ali’s calibre when he des not have control of his resources, but trusts others to take care of them. This is never a good idea.

Ali applauds during a speech given by Elijah Muhammad at a convention of the Nation of Islam in Chicago

LAN: I think it’s a correct assumption to say that Ali truly revealed his ”real self” to you. What aspect of Ali’s blazing personality was the most striking to you?

I don’t think Ali revealed his true self to me. I mean Ali was complex, holding in himself contradictory motivations which left him supreme in his profession but weak outside of it. He once told one of  his daughters that he had never been able to feel  anything. He had insecurities. I saw none of these things. Remember I had asked for an interview. What he gave me on that first day was eight hours of his time, from talking to riding in his bus to watching one of his fights on video while Ali sat behind me and flicked punches just past my ear. He was playful. He was joyful. Nearing the end of this marathon visit to Fighter’ Heaven he became a little more personal. Over the years I knew him he always recognized me but never knew my name.

‘I’m so mean I make medicine sick’! Muhammad Ali. Photograph by ©Chris Smith/Hulton

LAN: The book contains an outstanding collection of his poetry; Ali read a lot of his raps and poetry to you. I know most people had heard his raps and rants (!) but was it the first time that he was reading complete poems he had written, commenting them and explaining the events and emotions involved. Do you think he was considering becoming a writer one day?

While Andrew and I were interviewing Ali between 1972-1974 our friend Anton Perich was shooting a documentary about Ali, which included the day Ali gave us a real poetry reading. Many years later I was sitting at a table in a nightclub in Copenhagen when I noticed a silent film of a man moving his head and body back and forth in a rocking motion projected slightly larger than life on a wall to my right. Loud disco music was blowing through the room that  seemed so perfectly in time with the man in the film I was thinking they should put this music on the soundtrack of the film when I suddenly realised ”WHATTT!?!” I was looking at Anton’s film of the poetry reading Ali had delivering so hypnotically at us thirty years ago. That image sums up the power of Ali’s delivery. He undoubtedly had a love affair with language but he also communicated with the language of his body.  We have to bear in mind that most of Ali’s poetry was copied from or translated from religious texts. This is no different from Bob Dylan taking songs from the past and making them his own. Ali’s voice was his greatest weapon outside the ring. Asking, “Can Muhammd Ali  write?” is like asking, “Can David Bowie act?” In the verbal department Ali was the most impressive world athlete of all time. Ali mesmerized the world with the language that he used. Millions of Ali’s words in interviews have been published all over the world. His verbal pyrotechnics were not the product of a slow mind. The man was sharp. If he had travelled the world giving speeches those speeches would have turned into books. Can he write? The man had a Great Rap! His gift was in the delivery of the poems and in working them into his raps, his strength was in the performance of the words. He was a great communicator. He could have gone on to be a great orator. Except by the time they were through with him Ali no longer had a voice.

LAN: There is a very interesting chapter about Warhol’s visit to the camp. Warhol seemed a bit ambivalent towards the champ even if Andy still managed to produce Ali’s favorite portrait, it seems there was sort of some ”disconfort” in the air when they actually met for the shooting. What would be your take on it?

Warhol taking photos of Ali. Thursday, August 18, 1977 Photo by ©Victor Bockris.

Andy Warhol’s visit to Fighter’s Heaven came three years after publication of ”Ali: Fighter Poet Prophet”. He had read the book and took me along as a buffer. I had also just published a profile of him which asked the question, ”Who Does Andy Warhol Remind You of Most? Answer: Muhammad Ali.” From the introductions onwards I was struck by how rude Ali was to Warhol. I’d never seen him behave like that. At the same time as we walked over to the gym to take the pictures he annealed himself to my side and talked nonstop. Ali acted this way because he knew Andy was gay. After he finished taking the pictures and got a perfect pose it seemed as if Andy had cracked the ice with Muhammad, who invited us on a tour of the camp. This delusion came crashing down when we got to his cabin and, after reading us a new poem he had written on the Concorde the previous night, Ali pulled a thick stack of index cards out of a big briefcase and proceeded for more than thirty minute to harangue Warhol about the gay influence on the nation. Suddenly I was astonished to see Muhammad abruptly break down in confusion saying he did not know what was happening but he could not talk anymore. When Andy told me afterwards he was so glad Ali kept staring into his eyes, I realised he had delivered the Warhol coup de grace, in which Andy would slice people up with his eyes, instantly discombobulating and dismissing them. Believe me I’ve been on the receiving end of it  and it is extraordinarily effective. On that occasion, Andy Warhol was much stronger than Muhammad Ali.

Warhol, Ali and his daughter Hana by ©Victor Bockris,1977 

LAN: Do you know what were Ali’s feelings towards ”The Greatest”?

 One day Ali started complaining about how his publishers were treating the book. “Look at this,” he said handing me a  cheap xerox  invitation to its launch. The book might have given Ali an opportunity to sing his story, but his manager hired a well-known Black Muslim propagandist to write the book and it was not accurate. The way his managers marginalized or ignored Ali should have sent shock bells of warning ringing in his ears, but Ali’s fixation on his mission did not allow him to doubt his people. It was a dilemma he never overcame until his fourth wife, Lonnie Ali, took over his finances. So far as I know he never read the book, which is a sad conclusion to his only book contract. Thus is a boxer neutralized and boxed in. His lack of control over his book would soon become a lack of control over his life. You could say Ali got much more from the Muslims than they took from him. Elijah helped to transform Cassius Clay into Muhammad Ali which led to Ali becoming the most famous man in the world. He was also a strong father figure Ali really needed. But the Black Muslim’s did not just take the majority of his money they took way his voice not just once but twice. The first time was in his autobiography. Then by forcing him to fight  his last five years of brutal fights (1976-1981) they took it away again. By the time they were through with him Ali  was no longer able to give any speeches. Was this like some kind of mafia torture where they maximize the suffering? Ali won’t say a bad word against them, but people said he was frightened of the Muslims from the beginning. They destroyed and killed people with seeming immunity. No one was ever caught for killing Malcolm X in broad daylight. The bottom line was just like any crook they got the money, but they also neutralized the Champ. It’s a dark road between Ali and the Black Muslims. After Elijah’s death in 1975 Ali slowly changed his affiliation to the regular Muslims. I don’t want to go there because more than anything Ali was a huge Beacon of Light in a darkening world. When he came into it he was happy along with the Kennedy’s Best and Brightest men.  Then as the evil came out of the land and started shooting down those other beacons so did the evil come to Ali. That he overcame that evil again and again, even prevailing over the broken years of the mid 1980s is his greatest achievement. It took a great man to rise above all the corruption, theft, greed and murder, but he did. That is why he remains to this day that bright Beacon of Light. Now Ali’s light will never go out because it has become a star. Those of us who look up at it from all over the world see different things. For me Ali will always stand for his artistic integrity as a very strong voice for world peace. That’s what he wanted his message to be. He wanted to be seen as a man of peace.  That is what his message was. So let it go forth.

”The book might have given Ali an opportunity to sing his story, but his manager hired a well-known Black Muslim propagandist to write the book and it was not accurate.”

LAN: When Ali got your book, ”Muhammad Ali in Fighter’s Heaven” do you feel he genuinely loved the book and that it played an important part compared to all the book that have been written about the champ? If so, what makes it so special to him and/or to the public in general?

I first showed the book to Ali in the Spring of 1975 while we were walking down Central Park South in New York followed by a crowd of a hundred or more people. Bedlam surrounded him as he walked to a restaurant to have dinner. Cops shouted from horses, “Ali! Ali!” Cabs came to screeching halts, people yelled out of car windows, kids ran amongst our feet as he paged through the mass paperback book complaining about the clarity of the pictures on its cheap paper. He was also pissed because he had planned to use the photo he had given us which we used on the cover somewhere else! It was partially in humor. We had left a box of two hundred copies of the book in his suite at the Essex House hotel. We never told him that, just as the advance copies were starting to sell like hotcakes, the printer shredded the entire edition of 50,000 copies of the book because our publisher had not paid his bill. I always wondered what happened to those two hundred copies we gave Ali. Then in 1996 I got a copy of a book of Ali’s favorite photographs of himself called Muhammad Ali in Perspective by Thomas Hauser. It included a Howard Bingham photo of Muhammad holding the book up and reading it at a table sitting next to Lonnie. Both of them wear expressions of supreme satisfaction. I had never seen a photograph of Ali reading a book other than the Koran. Anyway I continued working on Ali projects like The ALI-WARHOL PHOTO TAPESTRY by Bockris-Schmidlapp (See top of the page). Then in 2000 my book ”Muhammad Ali in Fighter’s Heaven” was published in the U.S. and I sent Lonnie and Muhammad  copies. They thanked me. Then In 2009 Lonnie sent me a letter saying that she was reading the book to Muhammad when he went to bed at night. It reminded him of a time in which he almost broke free from his violent profession to become the man of peace he wanted to be so now the book brought peace to him. What more perfect image can we end on? 

Ali riding his horse in Deer Lake ”fighter’s Heaven” training camp by ©Anton Perich

LAN: Indeed!! Thank you so much for your time but most of all in this precise case, I’d say thank you for letting the whole world know that Ali was much more than just one of the greatest boxer in the world. Looking back, how do you feel about having accomplished that??

I always loved the Ali book. It was my first book of prose and I loved everything about it. It was beautifully designed, it contained the only collection of Ali’s poetry. It as alive with his voice. I knew it was good, we also received a positive quote from George Plimpton we used on the cover and postcards praising the book from our friends Ted Berrigan and Eartha Kitt. By the time it was published in 2000 I had a better perspective of the book as part of my  Collected Works in fourteen volumes. Back in 1979 Andy Warhol wrote, “Victor Bockris only writes about three people, Muhammad Ali, William Burroughs and me.”  It is the relationship  between these names I see as my accomplishment. My achievement is that I was able, without planning, to write a connected series of books about outstanding artists of our times who shared in common an ability to communicate attitudes and  take actions which combined to play a large role in creating an enlightened counterculture in this country and around the world. And that counterculture, based on its international population’s efforts to stop the war in Vietnam and its lasting influences on our lives today, should in turn be recognized as one of America’s greatest achievements. 

Muhammad Ali by Andy Warhol
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Beat Muhammad Ali

Afterthoughts on Bockris’ ”Muhammad Ali In Fighter’s Heaven”

by Tobe Damit

I was reading ”Muhammad Ali In Fighter’s Heaven’, one of a mutlivolumesque serie of very thorough biographies written by Victor Bockris, treating of everything that has to do with some specific thinkers and doers that were behind the 60’s counterculture and social revolution. Muhammad Ali In Fighter’s Heaven” was published the day after his victory over Foreman in 1974 and it was Ali’s favorite book about himself (and mine too!). If you check out the author’s bibliography you will find some of the most iconic figures of that revolution: All of which can be related in one way or another to Beat Punks. I’ve already reviewed in-depth his remarkable biographies about Andy Warhol and Lou Reed . By the way, I intend to review all of Bockris’ biographies in the near future here on LAN.

So, in the blue corner, you have all these writers, painters and musicians and then, in the red corner, there is a real boxer, an athlete so good that he left for sure a permanent mark in the boxing world. And you may ask yourselves ”How did he get there? How does Ali fit in with all these people who triggered a revolution in the 60’s?” Let me just say for starters that they all, in their own ways, shed some blood, sweat and tears. Muhammad Ali was much more than an athlete or an inspiring success story. Most people remember him from the early days of his celebrity for being a loud mouth. He sure was one. For each and every opponent he fought he would ”bust some rhymes”, taunting his opponents, predicting in how many they would go down, making fun of them any which way he could as well as giving names and meanings to his fights like Thrilla in Manila, (Ali-Frazier III in Manila, Philippines, October 1, 1975) and Rumble in the Jungle (Ali-Foreman in  Kinshasa, Zaire, October 30, 1974) that led to a documentary called ”When We Were Kings”.

Ali remembers the origins of his poetry: ”It was ’62, when I fought Archie Moore. Moore rhymed with four, so the publicity for that fight was:
Moore will
hit the floor
in round four

Then I fought Henry Cooper, I said:
This is no jive
Cooper will
leave in five

*This is a quote from Ali in Bockris’ ”Muhammad Ali In Fighter’s Heaven”.

Doesn’t that sound like rap to you?? It sure does to me. The very roots of rap were precisely a verbal fight between 2 opponents and organized as such in official contests and in my mind, those verbal assaults were the very first rap rhymes ever made. Some might deny him that but he did write poems. Now Ali also was a success story and a very good story-teller, you can’t deny him that. The very first ”big book” I read was Muhammad Ali very own striking autobiography ”The Greatest” that was later put into a mediocre movie in which Ali played his own character (of course!). Doesn’t it sound a lot like ”8 Mile’ to you?? (except for the fact 8 Mile is a good movie and Eminem a good actor). The irony is that ”The Greatest” was a fake bio written by a back muslim propagandist. Ali never read it and did not like it.  Bockris’ book about the champ was Ali’s favorite book. Victor gave it to him in 1975 and Ali had himself photographed with the book in the 1990s. His wife told me she was still reading the book to him in 2009! Because it is the most accurate account of his inner life and what he planned to do after he retired from boxing in 1975. The horror of the fights he was forced to fight from 1976-1981 made it especially appealing to the peace loving champion.

But first and foremost, Ali was an actor in his own life. He was an artist as a boxer, as a promoter, as a poet, as a spiritual figure, as a counterculture thinker, as a civil right champion, as a family man, as a life coach. Furthermore as you read Victor Bockris’ ”Muhammad Ali In Fighters Heaven” you are told that they were rocks painted by Ali’s father, Cassius Clay Sr., and transported by a guy named Harvey Moyer, huge rocks on the grounds of his training camp on which were painted the names of great adversaries, each of them representing a milestone in Ali’s life, installations that should be considered as conceptual art to be on the technical side of this but his skills were in every detail. These rocks meant a lot to Ali. What made Ali so inspiring is not so much what he did as how he did it and who he was, because who he was always transpired in the way he did things. Reading through ”Muhammad Ali In Fighter’s Heaven’‘,  you can very well imagine how everyone around him; his family, his supporters, trainers, organisers, doctors, lawyers, etc. were all devoted and loyal to him because they loved him as a person. He was running things with love and discipline, using one or the other along the way as required by the circumstances. Always true to himself and his beliefs, as a man, as a father, as a colored man and as a muslim.

One of the milestones on the training camp grounds. This one dedicated to Sonny Liston (obviously). This was taken during his training for the ”Rumble in the Jungle” fight.

Ali saw in his birth name Cassius Clay the mark of the slavery that was a burden to his colored brothers and that is the reason that he changed his name and his faith.

Muhammad Ali Remembered, by Those Who Knew Him as Cassius – The New York Times

On April 28, 1967, with the United States at war in Vietnam, Ali refused to be inducted into the armed forces, saying “I ain’t got no quarrel with those Vietcong.” This guy did what many thousands people promoting peace never even dared to do. This ”Black Muslim guy”, who was mistreated for as long as he can remember in his own country precisely because of the fact that he was black, said to the face of his recruiting officer that he had no intentions whatsoever to go kill another human being at the other end of the world, whom he had never met and further more who had never caused him any harm. Now it may not seem such an act of bravery but don’t forget that this young fellow still officially and originally named Cassius Clay, born and raised in Louisville, Kentucky, this Muslim Black Boxer who at age 18, won a gold medal in the light heavyweight division at the 1960 Summer Olympics in Rome and turned professional later that year, was arrested, found guilty of draft evasion charges, and stripped of his boxing titles.

He successfully appealed the decision to the U.S. Supreme Court, which overturned his conviction in 1971, by which time he had not fought for nearly four years and thereby lost a period of peak performance as a boxing athlete. Ali’s actions as a conscientious objector to the war had made him an icon for the larger counterculture generation but he definitely paid a very steep price. Those years were lost forever for him and for all of the world to see him boxing at his best even if he is still considered by many to be ”The Greatest”.

Andy Warhol-Muhammad Ali at Fighter’s Heaven, 1978©Photo by Victor Bockris

Of course the ultimate integration as a counterculture figure was Ali’s placid but unmovable resistance to go fight the Viet Nam war. And the unveiled interest Andy Warhol had towards him just confirmed the fact that Ali had become one of the greatest leading spirits of the 60’s and the 70’s.  The encounter of Andy Warhol to Ali’s training camp is detailed in Bockris’  ”Muhammad Ali In Fighter’s Heaven”. A man who’s dazzling virtuosity within the prize ring was matched only by his articulate and outrageous showmanship and integrity outside it.

I can see no better ending than to leave you with a poem written by Ali himself. This one of three poems that were exclusively published in ”Muhammad Ali in Fighter’s Heaven” for the first time… This one is a poem about…

FREEDOM

Better far from all I see
To die fighting to be free
What more fitting end could be?

Better surely than in some bed
Where in broken health I’m led
Lingering until I’m dead

Better than with prayers and pleas
Or in the clutch of some disease
Wasting slowly by degrees
Better than of heart attack
Or some dose of drug I lack
Let me die by being Black

Better far that I should go
Standing here against the foe
Is the sweeter death to know
Better than the bloody stain
On some highway where I’m lain
Torn by flying glass and pain

Better calling death to come
Than to die another dumb
Muted victim in the slum

Better than of this prison rot
If there’s any choice I’ve got
Kill me here on the spot

Better far my fight to wage
Now while my blood boils with rage
Lest it cool with ancient age

Better vowing for us to die
Than to Uncle Tom and try
Making peace just to live a lie

Better now that I say my sooth
I’m gonna die demanding truth
While I’m still akin to youth

Better now than later on
Now that fear of death is gone
Never mind another dawn.

– by Muhammad Ali (January 17, 1942 – June 3, 2016). ”Muhammad Ali In Fighter’s Heaven” contains an outstanding collection of his poetry, along with his commentary on how he wrote the poems.

”Muhammad Ali In Fighter’s Heaven” also contains a complete utterly interesting chapter detailling the historic encounter that took place when Warhol went to Ali’s training camp to take pictures of the champ. Here’s a glimpse…

Andy Warhol was far from the only artist to depict Ali in his art, though Ali himself said Warhol’s piece was “by far the best painting I have ever had of myself.” The painting, he felt, successfully conveyed his “many moods.” In preparation for these prints, Warhol traveled to Deer Lake Pennsylvania where Ali was training for a match with Ernie Shavers. It was at the training camp that Ali and Warhol met, and where Warhol took the photographs that would eventually become Ali’s portrait. Initially, Warhol seemed unafraid of the larger-than-life boxer. After being teased about the excessive price the pictures would be sold for, Warhol asked “Could we, uh, do some, uh, pictures where you’re not, uh, talking?” According to Bockris is “Nobody had ever told the champ to shut his famous mouth in quite such a not-to-be-trifled with way.” By the end of the shoot, however, Ali managed to unnerve the artist. When Warhol was finished taking photos he reached to shake Ali’s hand and mumbled, “Thanks er, champ.” The boxer spun around and furiously demanded, “Did you say tramp?” Ali laughed, but not before Warhol lost his cool in a brief moment of panic. *Direct quote from the chapter recounting Warhol’s visit to the camp in Bockris’ ”Muhammad Ali In Fighter’s Heaven”. 

This post is dedicated to Ali’s children: Laila Ali, Maryum Ali, Rasheda Ali, Asaad Amin, Hana Ali, Khaliah Ali, Jamillah Ali, Mya Ali, Muhammad Ali Jr. It is dedicated as well to all the children victims of crimes against humanity or civil rights violation. 

Read interview with the author here

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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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The Beauty of the Beast

loureed

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.

mick-rock-1975
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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Cities of the Red Night

“Nothing is True. Everything is Permitted.”

Click on image for an amazing excerpt from "Cities of the Red Nights"

The Cities of Red Night were six in number: Tamaghis, Ba’dan, Yass-Waddah, Waghdas, Naufana and Ghadis. These cities were located in an area roughly corresponding to the Gobi Desert, a hundred thousand years ago. At that time the desert was dotted with large oases and traversed by a river which emptied into the Caspian Sea.

The largest of these oases contained a lake ten miles long and five miles across, on the shores of which the university town of Waghdas was founded. Pilgrims came from all over the inhabited world to study in the academies of Waghdas, where the arts and sciences reached peaks of attainment that have never been equaled. Much of this ancient knowledge is now lost.

The towns of Ba’dan and Yass-Waddah were opposite each other on the river. Tamaghis, located in a desolate area to the north on a small oasis, could properly be called a desert town. Naufana and Ghadis were situated in mountainous areas to the west and south beyond the perimeter of usual trade routes between the other cities.

In addition to the six cities, there were a number of villages and nomadic tribes. Food was plentiful and for a time the population was completely stable: no one was born unless someone died.

The inhabitants were divided into and elite minority known as the Transmigrants and a majority known as the Receptacles. Within these categories were a number of occupational and specialized strata and the two classes were not in practice separate: Transmigrants acted as Receptacles and Receptacles became Transmigrants.

To show the system in operation: Here is an old Transmigrant on his deathbed. He has selected his future Receptacle parents, who are summoned to the death chamber. The parents then copulate, achieving orgasm just as the old Transmigrant dies so that his spirit enters the womb to be reborn. Every Transmigrant carries with him at all times a list of alternative parents, and in case of accident, violence or sudden illness, the nearest parents are rushed to the scene. However, there was at first little chance of random or unexpected deaths since the Council of Transmigrants in Waghdas had attained such skill in the art of prophecy that they were able to chart a life from birth to death and determine in most cases the exact time and manner of death.

Many Transmigrants preferred not to wait for the infirmities of age and the ravages of illness, lest their spirit be so weakened as to be overwhelmed and absorbed by the Receptacle child. These hardy Transmigrants, in the full vigor of maturity, after rigorous training in concentration and astral projection, would select two death guides to kill them in front of the copulating parents. The methods of death most commonly employed were hanging and strangulation, the Transmigrant dying in orgasm, which was considered the most reliable method of ensuring a successful transfer. Drugs were also developed, large doses of which occasioned death in erotic convulsions, smaller doses being used to enhance sexual pleasure. And these drugs were often used in conjunction with other forms of death.

In time, death by natural causes became a rare and rather discreditable occurrence as the age for transmigration dropped. The Eternal Youths, a Transmigrant sect, were hanged at the age of eighteen to spare themselves at the coarsening experience of middle age and the deterioration of senescence, living their youth again and again.

Two factors undermined the stability of their system, The first was perfection of techniques for artificial insemination. Whereas the traditional practice called for one death and once rebirth, now hundreds of women could be impregnated from a single sperm collection, and territorially oriented Transmigrants could populate whole areas with their progeny. There were sullen mutters of revolt from the Receptacles, especially the women. At this point, another factor totally unforeseen was introduced.

In the thinly populated desert area north of Tamaghis a portentous event occurred. Some say it was a meteor that fell to earth leaving a crater twenty miles across. Others say that the crater was caused by what modern physicists call a black hole.

After this occurrence the whole northern sky lit up red at night, like the reflection from a vast furnace. Those in the immediate vicinity of the crater were the first to be affected and various mutations were observed, the commonest being altered hair and skin color. Red and yellow hair, and white, yellow, and red skin appeared for the first time. Slowly the whole area was similarly affected until the mutants outnumbered the original inhabitants, who were as all human beings were at the time: black.

The women, led by an albino mutant known as the White Tigress, seized Yass-Waddah, reducing the male inhabitants to salves, consorts, and courtiers all under sentence of death that could be carried out at any time at the caprice of the White Tigress. The Council in Waghdas countered by developing a method of growing babies in excised wombs, the wombs being supplied by vagrant Womb Snatchers, This practice aggravated the differences between the male and female factions and war with Yass-Waddah seemed unavoidable.

In Naufana, a method was found to transfer the spirit directly into an adolescent Receptacle, thus averting the awkward and vulnerable period of infancy. This practice required a rigorous period of preparation and training to achieve a harmonious blending of the two spirits in one body. These Transmigrants, combining the freshness and vitality of youth with the wisdom of many lifetimes, were expected to form an army of liberation to free Yass-Waddah. And there were adepts who could die at will without nay need of drugs or executioners and project their spirit into a chosen Receptacle.

I have mentioned hanging, strangulation, and orgasm drugs as the commonest means of effecting the transfer. However, many other forms of death were employed. The Fire Boys were burned to death in the presence of the Receptacles, only the genitals being insulated, so that the practitioner could achieve orgasm in the moment of death. There is an interesting account by a Fire Boy who recalled his experience after transmigrating in this manner:

“As the flames closed around my body, I inhaled deeply, drawing fire into my lungs, and screamed out flames as the most horrible pain turned to the most exquisite pleasure and I was ejaculating in an adolescent Receptacle who was being sodomized by another.”

Others were stabbed, decapitated disemboweled shot with arrows, or killed by a blow on the head. Some threw themselves from cliffs, landing in front of the copulating Receptacles.

The scientists at Waghdas were developing a machine that could directly transfer the electromagnetic field of one body to another. In Ghadis there were adepts who were able to leave their bodies before death and occupy a series of hosts. How far this research may have gone will never be known. It was a time of great disorder and chaos.

The effects of the Red Night on Receptacles and Transmigrants proved to be incalculable and many strange mutants arose as a series of plagues devastated the cities. It is this period of war and pestilence that is covered by the books. The Council had set out to produce a race of supermen for the exploration of space. They produced instead races of ravening idiot vampires.

Finally, the cities were abandoned and the survivors fled in all direction, carrying the plagues with them. Some of these migrants crossed the Bering Strait into the New World, taking the books with them. They settled in the area later occupied by the Mayans and the books eventually fell into the hands of the Mayan priests.

The alert student of this noble experiment will perceive that death was regarded as equivalent not to birth but to conception and go in to infer that conception is the basic trauma. In the moment of death, the dying man’s whole life may flash in front of his eyes back to conception. In the moment of conception, his future life flashes forward to his future death. To reexperience conception is fatal.

This was the basic error of the Transmigrants: you do not get beyond death and conception by reexperience any more than you get beyond heroin by ingesting larger and larger doses. The Transmigrants were white literally addicted to death and they needed more and more death to kill the pain of conception. They were buying parasitic life with a promissory death note to be paid at a prearranged time. The Transmigrants then imposed these terms on the host child to ensure his future transmigration. There was a basic conflict of interest between host child and Transmigrant. So the Transmigrants reduced the Receptacle class to a condition of virtual idiocy. Otherwise they would have reneged on a bargain from which they stood to gain nothing but death. The books are flagrant falsifications. And some of these basic lies are still current.

“Nothing is true. Everything is permitted.” The last words of Hassan I Sabbah, Old Man of the Mountain. “Tamaghis … Ba’dan … Yass-Waddah … Waghdas … Naufana… Ghadis.” It is said that an initiate who wishes to know the answer to any question need only repeat these words as he falls asleep and the answer will come in a dream.

Tamaghis: This is the open city of contending partisans where advantage shifts from moment to moment in a desperate biological war. Here everything is as true as you think it is and everything you can get away with is permitted.

Ba’dan: This city is given over to competitive games, and commerce. Ba’dan closely resembles present-day America with a precarious moneyed elite, a large disaffected middle class and an equally large segment of criminals and outlaws. Unstable, explosive, and swept by whirlwind riots. Everything is true and everything is permitted.

Yass-Waddah: This city is the female stronghold where the Countess de Gulpa, the Countess de Vile, and the Council of the Selected plot a final subjugation of the other cities. Every shade of sexual transition is represented: boys with girls’ heads, girls with boys’ heads. Here everything is true and nothing is permitted except to the permitters.

Waghdas: This is the university city, the center of learning where all questions are answered in terms of what can be expressed and understood. Complete permission derives from complete understanding.

Naufana and Ghadis are the cities of illusion where nothing is true and therefore everything is permitted.

The traveler must start in Tamaghis and make his way through the other cities in the order named. This pilgrimage may take many lifetimes.

                                                 -William S Burroughs

During the Crusades, the Hashishins fought both for and against the Crusaders, whichever suited their agenda. As a result, the Crusaders brought back to Europe the Assassins’ system, which would be passed down and mimicked by numerous secret societies in the West. The Templars, the Society of Jesus, Priory de Sion, the Freemasons, the Rosicrucians, etc. all owe their organizational efficiency to Hasan. In fact, the Illuminati had their origins in the mystical aspect of the Hashishin order, although most equate the Illuminati with the Bavarian Illuminati, which was a revised version of the Hashishin system (Tim O’Neill analyzes, in-depth, the influence of the Assassins in Adam Parfrey’s Apocalypse Culture)

Our modern day “assassination cults” (the FBI, the CIA, etc.) have incorporated many of the Hashishins’ techniques into their methodologies. In a CIA training manual titled “A Study of Assassination”, you find traces of the Assassins influence throughout. Hasan Sabbah is even mentioned in the document, which is a must read if there ever was one.

If you want to know more about the secret order of Hashishins click on the image below.

They call him Shaykh-al-Hashishim. He is their Elder, and upon his command all of the men of the mountain come out or go in
“They call him Shaykh-al-Hashishim. He is their Elder, and upon his command all of the men of the mountain come out or go in… they are believers of the word of their elder and everyone everywhere fears them, because they even kill kings.” – Benjamin of Tudela

The Electrification of Mankind

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”The next step may be the electrification of all mankind by the representation of a play that may be neither tragedy, comedy, farce, opera, pantomime,melodrama or spectacle, as we now comprehend these terms, but which may retain some portion of the idiosyncratic excellence of each, while it introduces a new class of excellence as yet unnamed because as yet undreamed of in the world”   edgar_poe

– Victor Bockris quoting Edgar Allen Poe  in Transformer/ The complete Lou Reed Story, to describe the way Andy Warhol designed the Velvet Underground shows (i.e. the first multimedia events) 

 

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

RUSSIAN CRIMINAL TATTOO

Prison Storytelling, Subcultural Anthropology and the Allure of Darkness. 

by

In the 1970’s, while American hippies were busy inking themselves with peace signs and psychedelic rainbows, Danzig Baldayev, a guard at St. Petersburg’s notorious Kresty Prison, began documenting the far less Woodstockian body art of Russia’s most infamous criminals.

For 33 years, Baldayev used his exclusive access to and rapport with the prisoners to hand-illustrate and capture in artful photographs more than 3,600 inmate tattoos — as admirable a feat artistically as it was sociologically.

In 2003, when he was in his late 70’s, Baldayev began releasing his magnificent archive as a series of books revealing a rich and eerie intersection of art and violence.

Russian Criminal Tattoo Encyclopaedia Volumes I, IIand III offer not only a visceral record of this intersection, but also Baldayev’s aambitious effort to, through text and illustrations, parse the meaning of these tattoos and place them in the context of this fiercely self-contained subculture. (Or, as it were, institution-contained as well.)

Perhaps even more striking than the body art itself is how Baldayev was able to talk some of Russia’s most dangerous convicts into posing for such intimate and often vulnerable portraits, an intimacy also seen in the work of Canadian photographer Donald Weber:

For a related glimpse of this darkly enigmatic world, the excellent Oscar-nominated 2007 film Eastern Promises about the Russian mob in London, starring Naomi Watts and Viggo Mortensen, offers an intriguing look at tattoos as storytelling, a narrative through which prisoners told their life stories and conveyed their credos.

Each of the volumes is an absolute masterpiece and a fascinating slice of subcultural anthropology. It’s the kind of thing that adds instant conversation potential to any home library or coffee table, and guaranteed you’re-cooler-than-my-other-friends gifting recognition.

Some images by Donald Weber

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