Henriette Valium is a comic book artist and painter based in Montreal, Quebec. Born Patrick Henley, ever since his beginnings in the early 1980s, his provocative and hallucinogenic style has kept him well away from the mainstream comic book industry.
Valiumis for sure one of the greatest cartoonist of all time. For the last three decades his creations have been widely dispersed in numerous underground anthologies, fanzines, self-published oversized silkscreen comics, and various mixed-media collaborations. He’s become a regular in almost every independent zine, compilation and catalogue in North America and Europe. The heavy black lines and manic detailing of Valium’s psychotic storylines demand attention, weeding out any casual readers.
In his extremely peculiar way, Valium explores the rotting decay of an urban environment that he obsessively renders and depicts in horrific, sometimes nonsensical way. He’s hilariously fascinated as well with every possible corruptions of the human body and it’s mind: sickness, addictions, abnormal sexuality and social decay, exposing our culture’s fears and hypocrisies with an acute, caustic, sharp and absurd sense of humor. Many say that his books are more about creating an experience than reading a comic book. I say there’s nothing wrong about being both.
Valium has been exposed all around the world for his works of art and collage. Google him. This is just a very tiny part of his work. Enjoy the roller coaster ride!
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 aserie of 3 ”Decline movies”.
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.
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.
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 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.
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.
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 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.
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 ofPink 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.
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 forThe 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!”
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 HEREfeaturing Patti Smith, Television, Ramones, Blondie and Richard Hell.
“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.
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 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…
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!
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
LAN: This is a really in-depth biography, I have read several of your books and never before have you gone so deep into someone’s psyche. What is it about Lou Reed?
Victor Bockris: Transformer is the result of a close friendship with Lou between 1974-1979. This is fromRock’n’Roll Animalto The Bells. A solo workaholic rock star such as Lou is by definition a lonely guy. When I started hanging out with him he was living with a long time girlfriend he had known since 1966 at the Factory. Barbara Hodes had gone to Long Island and helped pull him out of his post Velvet’ slump, also offering him a nest in Manhattan. The first nightAndrew Wylie and I went out drinking with Lou in fall 1974 the three of us were sitting around a table drinking when he suddenly said, “I haven’t felt this happy in years!” I was stunned. The point is Lou was looking for people he could really talk to. He wanted to emote about his life. No bullshit. We were the same way. And once Lou got a friend he wanted that friend to be available to him at any time. We called ourselves Bockris-Wylie. The first thing Lou did was break us up. Then he developed separate relations with both of us. All my time with Lou was spent in his apartment or mine talking about his problems or mine. He gave me much good advice I rely on to this day. Lou opened his psyche to me and that is why I could write about him so accurately. He once gave me a piece of paper on which he had written “From Lou#3 to Lou#8 ‘Hi!’” Writing from a psychological angle was the only way to start a biography of Lou Reed.
LAN:How would you describe the first impression you got from Loud Reed the first time you saw him in person?
Victor Bockris: I first met Lou in 1974 shortly after interviewing William Burroughs, Mick Jagger and Salvador Dali. I did not know that much about him so Bockris-Wylie met him on equal grounds, which probably helped. He was so lovely sweet kind and funny we got into a really cool conversation. I started telling him looked he looked like Frank Sinatra ands he came right back about Sinatra laying down Heroin at the Sands with the Nelson Riddle Orchestra. Then right in front of my eyes Lou transformed into the young Frank. It was so startling I glimpsed something dark in him. I almost fainted and ran to the bathroom trying not to throw up. The whole thing was so connected by the end of the interview he invited us to have dinner with him. Mick Jagger had called in the middle of it and we were committed to sending him a re-edited transcript the following day. So we had to decline. Later in the week we went out for that drink in Answer #1.
LAN: During the years you were the closest to him, What would you say his state of mind was and what seemed to be his main concerns?
Victor Bockris:Lou’s state of mind changed a lot during the five years I knew him. When he started living with Rachel he felt a lot more secure and protected, but he was suing his manager and most of his royalties were in escrow. For a man with an international rep touring the world he was quite poor. Of course Metal Machine Music had blown a hole in his fan base and pissed off a lot of people, but one of Lou’s greatest strengths was his courage to do it ”His Way”. There was also a truly perverse side to Lou that was his greatest weakness and his greatest strength. His greatest concern was making music that rocked but also dug deep into his psyche, likeKill Your Sons. It was amazingly moving to see Lou Reed on stage in those days singing into a storm of abuse – “It’s your life cocksucker Lou REEED ain’t no kind of human being!” – the poor bastard – but theGlory of Love now might just see you through. He was as great as Rimbaud. That was Lou. He was so beautiful he could make you cry.
LAN: At what point did you feel the need to write his biography? How did it happen?
Victor Bockris:In the summer of 1982 Andrew Wylie suggested I write a biography of Andy Warhol, saying he could get me an advance of $100,000. There was a limitation on who I could write about because I had to have spent some time with my subject. From thereon we came up with Keith Richards. In 1992 after I completed the Richards biography Lou Reed was the only big international star I knew well enough to write about. In each case Andrew got me the $100,000 advance. By the time we signed the Lou Reed contract in 1992 my books were being published in six to twelve countries, so were able to sell foreign rights to the Reed book before it was finished.
LAN: Did Lou knew you were writing his bio?
Victor Bockris:He did. In fact I heard that Keith Richards visited Lou shortly after we informed Lou I was going to write his biography. According to a witness Lou cried “I’m next – why me?” And they both cracked up. Lou had always complimented me on magazine articles I’d written about him. I also heard he appreciated my book Uptight: The Velvet Underground Story. The odd thing is that Lou could never have had the career he had without the vast number of highly appreciative well written articles about him from 1972 until his death in 2013, yet he always said he despised rock writers. Actually he befriended number of them across those forty years. I suppose if you are a star you can’t go round saying great book about me. It would not be cool.
LAN: What was the first time and circumstances you saw him performing on stage?
Victor Bockris:At the Felt Forum in Madison Square Garden in 1974. It seats around 4,000 and it was packed. As I indicated in Question 3 in those early years Lou’s concerts were like shock rallies lit by Andy Warhol’s suggestion Lou used the bright white light Albert Speer employed for Hitler’s rallies at Nuremberg. Lou Reed’s hardcore audiences had a love-hate relationship with him on stage, which perfectly reflected his persona and lyrics. As a punk rocker Lou’s art was based on contradictions. Everywhere he went he was offering himself as a conduit for the confused emotions of outsiders. He was their priest.
LAN: You set up quite a few meetings between artists and you arranged for Lou Reed to meet up with Burroughs, I bet you were very nervous about it. Where you personally satisfied with the outcome?
Victor Bockris:The 29 minute conversation between Burroughs and Reed I tape-recorded in August 1979 was one of the best pieces I have ever done. We arrived over an hour late, but when we got there we found William having cocktails with four friends. After going round the table putting everybody down, Lou asked Bill questions like did you have to sleep with your publisher to get your books published and did you cut off your toe to avoid the draft? Bill’s guest froze in horror, but he thought Lou was funny and hip. When Lou said, “We who play cannot stay,” Bill did something I‘d never seen him do before, he walked Lou down the stairs and out into the street. When Lou asked Bill, “Can we get together for a quiet dinner?” Bill agreed. However when I said “We should do that,” Lou replied, “What’s this we? I just wanted to get together with Mr. Burroughs.”
When I got back upstairs into the Bunker and tested my tape all I could hear was a buzzing noise like an out take from Metal Machine Music, under which was the faint rumble of voices. I immediately sat down and wrote the whole thing out verbatim from memory. Like I said, it was a memorable experience.
LAN: I feel that this is the best biography you have ever written. How do you personally feel about Transformer??
Victor Bockris: ”Transformer: The Lou Reed Story” was the third in a trilogy of biographies written one after the other with but a few weeks break between them. I did feel Transformer benefited from my experiences writing the Warhol and Richards books. It was also more of a story and had a good sense of humor running through it. I had a more emotionally close relationship with Lou than the others. So yes, it is in some sense the best written. But the Warhol biography is a better book because it deals with a much more significant figure. Of course I updated the Lou Reed book in 2014 with Transformer: The Complete Lou Reed Story. So far it remains the most accurate and in-depth account of Lou’s life. I cannot imagine how anybody could beat it.
LAN: If you could say one last thing to Lou right now, What would it be?
Victor Bockris:His death awoke me from the dream of life. His relationship with Laurie Anderson brought out the best in him. And his last album ”Lulu” may well be the best thing he ever did. It was also hugely successful reaching 36 on the Billboard charts and selling over 100,000 copies in it’s first weeks of release in Europe, going into the top ten in seven nations. I was amazed by the number of critics who said it was a disaster, just like the critics had called Berlin a disaster in 1973. WAKE THE FUCK UP!
LAN: What are you up to now? Should we be expecting a new book in a near future?
Victor Bockris:So far this year my agent Helen Donlon has sold ”The Burroughs-Warhol Connection” in Korea and ”Warhol: The Biography” in Russia, both new countries for my books. We also have the film about Andy Warhol starring Jared Leto based on my book to look forward to. Meanwhile I am obsessed with finishing a memoir about my life as a writer. My lips are zipped on that one.
LAN: Thank you so much! I really appreciate that you made time for this interview! It’s always so interesting to know a little more about the circumstances and facts surrounding the writing of a book. It’s always delightful to hear your stories! I cannot wait to hear about your memoir! Hopefully I will finally be able to read more about your life as a writer! This should be totally and utterly entertaining!!
Victor Bockris: THANK YOU TOBE FOR THIS OPPORTUNITY TO REVISIT LOU REED, WHO IS STILL AMONG THE TOP FIVE ARTIST IN MY MIND. IT WILL ALWAYS GIVE ME IMMENSE PLEASURE TO LISTEN TO HIM SING. I wish somebody would take the time to look into Lou’s oft repeated claim that each of his albums was a chapter of his great electric novel. Oh yeah, the ace photographer Bob Gruen used to live above an apartment occupied solely by Lou Reed’s guitars and the man whose job it was to tune them. Bob said the sound of a hundred guitars being tuned never stopped, and sometimes they throbbed with such intensity the floor of his pad would shake and tremble.
Transformer: The Complete Lou Reed Story by Victor Bockris
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.
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 punkcaterpillar 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.
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.
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.”
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 Heatwas 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.
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.
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/Rhymesand he even went to England to publicize Mick Rock’s limited edition ofTransformer, a great collection of Lou Reed’s photographs.
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.
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’sRock’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!
I have written at least one post about Charles Burns before but maybe I failed to mention that to me he is amongst my 3 favorite graphic novel artist. I sincerly, deeply admire the quality, the releveance and the genius behind each of his books and other creations like the pocket sleeve of Iggy Pop album Brick by Brick, this guy always taps right up into my alley when he picks a subject on whatever topic it is; music, movies, writers, trends from a certain era.. I really appreciated his Black Hole, went back and read all his previous work and wouldn’t miss reading hisX’ed Out Trilogy and now this. It never fails to deceive me. Burns brings you in a world of his own. Icons from our childhood now coming back to haunt us in a twilight zone that might be awaiting some of us, Burns brings evil with candor from the least expected things but giving it a estheatic treatment that is suppose to be reassuring, very definite lines, 50’s like cartoons and a technique that is flawless and is not unique but if you take it as a whole, Charles BUrns has really managed to make is style recognizable instantly, unequaled, unparalleled. Hergé drawing and writing pop surrealists stories simpler but close to what Burroughs could have done when he was a kid.
R. Crumb once observed that “The work of Charles Burns is a vision that’s both horrifying and hilariously funny, and which he executes with cold, ruthless clarity… It’s almost as if the artist… as if he weren’t quite… human!” And it’s true that Burns’ icy pen and ink drawings, which came to popular attention with the publication of the graphic novelBlack Hole, depict disturbing realms that similarly attract and repulse, while being both alien and yet familiar.
The good news for Burns fans is that two new titles, Vortex and Love Nest, will be published this month byCornelius. But if you’re in Paris there’s no need to wait since you can currently snag copies at Galerie Martel, while checking out original drawings from the titles, such as the ones below.
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.
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?
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!”
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.
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.
The 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.
”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”
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? …..
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
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
On December 5, 1970, The Stooges played a show at Michigan’s Farmington High School. That’s Zeke Zettner on bass, James Williamson AND Ron Asheton on guitar as well as Scott Asheton on drums. Jim Edwards (lead singer of Detroit band The Rockets) saw these pictures taken at the gig and immediately shared them on his facebook page. I heard about it much later through Please Kill Me. Here they are now posted with everything I could gather around their story and various comments from people who sat their asses in this gymnasium that happen to be the theater of one the very first real StoogesConcert.
”He was 45 minutes late because they were “busy” in the john with needles and such, or so rumor had it. It was my lap he landed on, shocked the crap out of me. You can see the side of my face in the pic, lol. I remember I kept tapping his shoulder, “Sir? Excuse me, sir?” lol His tongue freaked me out, full of what looked like holes to me. I remember I was sitting next to my friend I called “Bucky”, I think his name was Mark McCallum? Could be wrong there, but I was begging him to get Iggy off of me! Probably a good experience, all in all for me, as it was an “in your face wake up call” to show me what the end of the “path” I was teetering on actually looked like.”
“The only true currency in this bankrupt world is what you share with someone else when you’re uncool.” ― Lester Bangs
I have just finished reading ”Just Kids” for the second time and I can’t help feeling a bit of anguish as I’m about to express my perception of Patti’s first book of prose mainly, I suppose, due to the fact that it’s a best seller. Not that I disagree, Au contraire! All the praise about ”Just Kids’‘ is very well deserved, but so much has been said already that I forbade myself to read any of it so that everything I would say would be 100% mine. Therefore I will simply pretend I’m the only bloody diamond geezer who was clever enough to read it, heartily hoping to bring something new to the table in the process. I chose this quote by Lester Bangs as an opener because these words seemed to be the very foundation of one of the most sincere and coolest relationship ever, one that’s been told through the pages of ”Just Kids”, a true story that would in itself become an inspiration for so many more to come. It’s a call to be who I really am no matter what, because by doing so, I might be able to bring something unique and new in this bankrupt world.
”There Will Always Be Us!”
In ”Just Kids”, legendary, highly authentic American inspired singer-songwriter, poet, and visual artist Patti Smith, who became an influential component of the New York City punk rock movement, offers a very unique, never-before-seen glimpse of her honest, enduring, sister-brother, Yin/Yang, boyfriend/girlfriend magical everlasting relationship with photographer Robert Mapplethorpein the epochal days of New York City and the Chelsea Hotel in the late 60s and 70s.
The relation itself is the guiding light and the whole purpose of this book and if, at times, certain passages might seem trivial, well, they never were. This unconditional love they shared – creative, sensitive, stimulating and artistically prolific – becomes a sincere and deeply moving story of youth, friendship and ultimately success. The best thing being that anyone can relate to it in a very intimate, personal way. ”Just Kids” fully grasp the heartfelt passion and holds this very same unique, sensitive and lyrical quality that is written between each lines of her formidable body of work, from her influential 1975 album Horses to her visual art and poetry.
No one else could have better described all the ins and outs of the unique, constantly evolving story she shared with Robert Mapplethorpe, and this means way more than just itemizing their body of work, for the whole represents way more than the sum of it and their relationship in itself was on its own an expression of art. It just couldn’t be contained in its entirety in little works nor in big works for all to see. Parts have been laid in music, paintings, poems and photographs but even all these, as inspired and beautiful as they are, fail in giving us a complete picture. Even if it celebrates a friendship that left a permanent impact on almost every artistic aspect and style in America, it still had to be told in a book. It was essential and sacred. Patti had to share their journey under the blue star, a symbol of their undying love for each other,one last time.
Patti writes in a Last Note to the Reader:
”We were as Hansel and Gretel and we ventured out into the black forest of the world. There were temptations and witches and demons we never dreamed of and there was splendor we only partially imagined. No one could speak for these two young people nor tell with any truth of their days and their nights together. Only Robert and I could tell it. Our Story, as he called it. And, having gone, he left the task to me to tell it to you. ” – Patti Smith, Just Kids, May 22, 2010
What makes this book so special is how Patti manages to express a magic that started almost immediately. Patti arrived in NYC with almost nothing but her wish to accomplish something no one has done before. Robert was already in NYC and struggling on an urban survival mode, but nevertheless they both had a deep sense that life had something very special in store for them and that it was written in the stars. They never thought it would be so hard, that they would have to struggle so much just to survive but nevertheless it didn’t take very long for them to be able to recognize the signs. We can feel that they saw in each other something true and very real, something which they felt they would later be able to rely on as persons and as artists. Of course there were moments of doubts but maybe it was these crucial moments that would prove them to be essential to one another. It never was a give and take type of relationship. The base for it might just be honesty, true faith in each other’s talent, the hope that there was a place for them as they were and that with a lot of work, perseverance and a little bit of luck, they would both find their niche as people and artists. Lots of spoken, unspoken pacts were made, very few ever broken.
Despite a certain ”twinlike” aspect, their part in each other’s life could also definitely be seen as complementary. One could say that Robert was the eternal dreamer, on some aspects, even alien to practical knowledge and certain everyday life faculties and that Patti possessed a more down to Earth perspective on life but this is only a half truth since, when needed, on several occasions, they could trade roles and when the other one would be in dire need of a trait that would normally be the other one’s unsaid character/task assignment, they would put their egos aside and would manage to trade places if it would help the other to get through a rough patch.
”The premise was simply that one of us always had to be vigilant, the designated protector. If Robert took a drug, I needed to be present and conscious. If I was down, he needed to stay up. If one was sick, the other healthy. It was important that we were never self-indulgent on the same day.
In the beginning I faltered, and he was always there with an embrace or words of encouragement, coercing me to get out of myself and into my work. Yet he always knew that I would not fail if he needed me to be the strong one”
The Chelsea Hotel
“I loved this place, its shabby elegance, and the history it held so possessively”
Back in those days, New York City was a very dangerous place. Some areas were filled with what is commonly regarded as the lowest forms of the human species likes thieves, pimps, rapists, thieves, hookers, murderers and so forth. Being young artists who strive to survive, of course they were bound to have to live in such areas. At one of their lowest points they were plainly told that they had to get out, that they wouldn’t make it if they stayed. Fortunately, there was a place that offered hope if you were an artist, a little island of optimism, gathering past, present and future generations of artists of all kinds where you didn’t even need to have money right away. Stanley Bard would keep your portfolio, or take a work of art until you could get it back and you were now part of a community that was very special, during the 60s and the 70s especially. The Chelseaplayed a huge part in the history of the new generation of artists of the 60s and the 70s.
”Gregory made lists of books for me to read, told me the best dictionary to own, encouraged me and challenged me. Gregory Corso, Allen Ginsberg, and William Burroughs were all my teachers, each one passing through the lobby of the Chelsea Hotel, my new University. ”
”The Moon Turned Blood Red”
Yet they came to a point where one or both of them needed more space, more freedom. Some things are meant to be faced and dealt with on your own even if they knew the other one will still be there for me if need it be but never taking one another for granted and always being grateful of each other’s effort to play the right part when needed, never taking advantage of one another. In one word: Respect was of course the cement that sealed the ”deal”. Robert soon had to face his inner demons and question his sexuality again and again. Of course this was heart wrenching for both of them.
”He had been with a fellow and not for money. I was able to give him some measure of acceptance. My armor sill had its vulnerable points, and Robert, my knight, had pierced a few, though without desiring to do so.”
Their relationship morphed and this had major effects on their everyday lives. It is during theses major changes and adaptations that could have tore them apart that we see that love makes all the difference in the world and that instead of trying to exert control on each other’s lives, they simply went ahead with the flow and they grew stronger. I would say that we witness how something some would see as a humiliation becomes merely a chance to humble ourselves and let life take its natural course. Never stop to love and support those who are true soul mates. A bond stronger than marriage.
I will not spoil all the fun and tell you everything that happens. I already told you the big lines and a few little ones but Here is one last thing that I realised reading ”Just Kids”.
I so happened to notice that in general there can be two different kinds of artists. Some very callous, careless, aloof and undisciplined that are successful because of their God-given talent and so much passion that they seem to evolve in a different space and time, going all the way with everything they’ve got, with all their worries and genius. They truly appear as some unstoppable forces of nature, pushed by some alien powers. Then there are others with which they share the same gift, also having a remarkable imagination, but very rooted in their reality, very lucid and conscious of the space they occupy in space and time as well as having a clear view on what is their place in society and what their relationships made of, how strong can they be.
Now certain artists are lucky enough to have just about the right proportion of each of these components within themselves, to be well supported by a team of people they trust and that have faith in their work. I think ”Just Kids” is about the encounter of 2 people who miraculously manage to complete each other perfectly as people and as artists.
”Where does it all lead?What will become of us? These were our young questions and young answers were revealed.
It leads to each other. We become ourselves.”
Together the Smiths had a son, Jackson (born 1982) and a daughter, Jesse (born 1987). Jackson, a guitarist, was married to Meg White (formerly of indie band The White Stripes). Jesse is a pianist. Both have performed on stage with their mother along with other members of the Patti Smith Group.
Patti Smith never forgot Robert Mapplethorpe and wrote ”Just Kids” in 2012. She had made a promise to Robertthat she’d write a book about them and she did, Patti wrote this memoire of their friendship in her own unique personal, direct, sensitive and wholhearted style and we should be all damn happy she kept her promise!
“She was almost proud of the fact that her teeth were rotten, that her hair was grey…her skin was bad, she had needle tracks all over. She liked that. That was her aesthetic.”
The above quote, attributed to James Young – Nico’s keyboard player from 1981-86 – summarizes the often harrowing watch that is filmmaker Susanne Ofteringer’s 1995 documentary, .It was Young who penned the fascinating on-the road-with-Nico tell all, Songs They Don’t Play On The Radio, chronicling his days in her ad hoc touring band. But unlike Young’s book, which is frequently injected with (and buoyed by) levity, Ofteringer’s Icon is a meditative, often dark, look at the woman born Christa Päffgen. While hardly wholly representative ofNico the artist/muse/person, the film is an engaging 67 minutes beginning with Nico’s early years modeling in Germany and France, onto to her Zelig-like existence moving through sixties pop culture (Iggy Pop, Brian Jones, Jim Morrison, Alain Delon, Bob Dylan,Andy Warhol…) and beyond. And it’s the beyond, Nico’s “desire for her own annihilation”, and heroin, that looms heavily over the remainder of the film.
Take note that the biopic Nico 1988 I have previously posted about is currently being made. I really hope it will do her justice. In the mean time it’s always interesting to get ”the real thing”. nico :: icon is and will remain the best documentary ever made about Christa Päffgen so far.