Blondie

Looking Through The Heart of Glass

Da Capo Press 1998 Edition

I just finished reading Debby Harry’s biography Making Tacks/The Rise of Blondie written by herself, Chris Stein (photographs) and under the general supervision of Victor Bockris who aided in the formation of the text and the selection of the photographs. It seemed the perfect time to read and review it since she just announced the release of Pollinator, Blondie’s 11th album, due for release on May 5, 2017 by BMG Rights Management. I was really looking forward to read this book since Debbie Harry and Chris Stein are the two founding members of Blondie, a band whose music would be omnipresent on ”the soundtrack of my life’s movie”, if such a thing would indeed exist.  Blondie has always managed to preserve their uniqueness and integrity throughout the years. Making Tracks/The Rise of Blondie is a story of perseverance, hope and faith. Seeing how often everything could have just gone down the drain, this is the ultimate proof that you really have to give it all you’ve got to make it… Sometimes even giving it what you haven’t got…Yet!

Young Debbie reading a book.

The prologue (added in the 1998 Da Capo Edition) is in fact a very juicy conversation among Debbie Harry, Chris Stein and Victor Bockris, recorded in 1980 when Blondie was at the top during which it appears that Chris may hold the upper hand in their couple, a subject that is rather downplayed otherwise. It also sets the tone for the lavish story, the rocky early days and the forces at work behind the creation process since Chris and Debbie obviously are at the very  core of Blondie. For the rest of the book, the story is told almost exclusively from Debbie’s point of view, constantly keeping us captivated with a very uplifting, spontaneous, straight forward and witty narrative as she goes on and about everything and everyone meaningful in her life; ”I don’t know exactly where I came from because I don’t know who my natural parents are. Chris thinks I’m definitely an alien because I fit the description in a book he read of a race of females who were put on this planet from space”.  Right in this first sentence, one can immediately sense the hurting and the wounds but also the way Debbie has learned to deal with it, and how Chris later came into play. Young Deborah knew what she was destined to be before the age of six and never wavered in her firm conviction; ”I always knew I was a singer. When I began singing with the radio I was struck by the fact that I knew the next note before it was played.”  

Very early on, she was a trendsetter during her High School days, dying her hair every possible color starting as soon as 1959 and always dressed in black, not giving much thought to what would people might say. ”When I was a freshman I started to draw attention to myself, with the orange hair and mostly black clothes(…)I always dressed intuitively and emotionally”.

Chrissie Hynde, Pauline Black of Selector, Debbie, Poly Styrene, Viv from The Slits and Siouxie Banshee. ©by Chris Stein 
Debbie and Joan Jett ©by Chris Stein

Making Tracks/The Rise of Blondie gives a very moving image of how Debbie was trying to become an artist during the mid sixties, working small jobs and passing auditions, painting, she was already singing in a folk group called Wind in the Willows. It was hard but at the same time we get to see how much that, from the sidelines, working as a waitress at Max’s Kansas City by the end of the sixties, she observed, watched and learned.”When I worked at Max’s I loved all the people from Andy Warhol Factory, like Eric Emerson, Viva, Ingrid, Taylor Mead, Ultra Violet, International Velvet, Candy Darling, and all the superstars. I was just a baby growing up in the middle of this whole incredible scene, watching Andy Warhol’s eight-hours movies and listening to all kinds of fantastic music very close up at the front.” 

Debbie And Andy Warhol ©by Chris Stein

Now of course you also get to know, in parallel, what was up with Chris Stein, how his mother was a  beatnik painter and his father died when he was only 15, how he also always was into music, painting and arts in general. He is responsable for most of the incredible amount of wonderful pictures that can be found throughout the book, giving a visual dimension for each period that Debbie takes us through. Chris and Debbie went to a lot of events and shows at the same time but it took awhile before they would bump into each other. They had very similar tastes and both enjoyed seeing live the Velvet Underground, Jimi Hendrix, The Doors, Janis Joplin, Jefferson Airplane. Getting influences by both the NYC and the LA scene. Chris had his own isssues, he’d taken a lot of acid and was experiencing long preriods of seing everything as cosmic dust (!). He even received his draft notice in an asylum where he spent threee months after completely flipping out at the beginning of ’69. He was twenty and this was a delayed reaction to his father’s death. Still managing to insist he had all that was needed to be NOT eligible to join the war effort, got out of there with a 4F and rushing up to Woodstock. Debbie was there too, she had served Jefferson Airplane their dinner at Max’s the night before they left for Woodstock. They just didn’t know each other yet so they went separately, never bumping into each other.

Debbie Devolves ©by Chris Stein

Debbie had a lot of issues of her own, being so depressed that she couldn’t sing without bursting into tears. For a while she managed to keep it all together by using various drugs but 1969 was a very pivotal year for everyone. ”Paying for the drugs and doing them became a bigger drag than the problems I was trying to solve(…)It was a tremendously down period and we all had to shake off the freakouts that occured in ’68 and ’69(…)All that sadness and tragedy just kept going through my head. I love the blues, but I didn’t want to sing them. I wanted to entertain people, have a good time, and be happy.”

Debbie looking fabulous on front of CBGB’s©by Chris Stein

So she quit the drugs and took a sabbatical from the whole scene for three years, during which time Chris, having been released from the nuthouse for good, went on welfare and, sponsored by the division of vocational rehabilitation, was studying photography at the School of Visual Arts, and making some of the connections that would eventually lead to the fatefull event of Debbie and Chris finally meeting.

Chris Stein and Blondie (Not from the book!)©Robert Rosen REX

The Stillettoes

The Stillettoes Amanda, Elda and Debbie ©by Chris Stein,1974

Debbie gives us a very detailed description of what she was trying to accomplish musically with The Stillettoes who were Elda Gentile, Rosie Ross (later replaced by Amanda) and Debbie; ”a combination of the aggressive Shangri-La’s rock and the round solid vocals of an R&B girl group. The overall idea was to be entertaining and danceable. The original group included Tommy and Jimmy from the Miamis, Timothy Jackson and Youngblood. Tony Ingrassia was the choreographer and worked  on giving them a cohesive look so that they each had a stage concept.” 

Eric Emerson©by Chris Stein

Chris became involved with Eric Emerson and the Magic Tramps via the School of Visual Arts by giving them an opening act with the Dolls and quickly became friends with all those people who hung out on the periphery of the Dolls and became Eric’s roadie. He was invited to the second Stillettoes gig at the Boburn Tavern on 28th Street by Elda herself who was the mother of Eric’s children. ”The most striking thing about collaboration is that it often happens in dreams. A microsecond of dream will unfold an elaborate scene in a flash.It’s an amazing form of communication and it happened between Chris and me the first time we saw each other when I was singing and he was in the audience(…) I was very nervous so I delivered a lot of songs to him. We had a psychic connection right away, which struck me particularly because I’d previously only had such string psychic connections with girlfriends”. Chris joined the group on Elda’s request.

Blondie

Early Blondie: Gary Valentine, Debbie, Chris Stein and Clem Burke

Now I gave you a very detailed insight of the early days but the book is even more exhaustive, leaving absolutely no stones unturned as the group slowly takes shape, requiring numerous musicians replacements, new musical directions, new looks and styles, the final result of all this evolution being the band worldy known today as Blondie, still having at it’s very core Debbie and Chris Stein. Reading it you really feel as if you are right there with them, reliving every moment and all aspects of what was to become a very unique band, not really punk, not really disco, Debbie insists on saying that Blondie was a pop band, nothing more, nothing less. Making Tracks/The Rise of Blondie is a very fascinating journey to the top with all its up and downs, the tours, the crazy people, the shady promoters, the providential roadies, the tragic and the funny anecdotes, and everything stardom life is about. Chris Stein and Debbie Harry being always the very core of Blondie, you get to see them on various pictures with all the punk and post punk icons as they go on tour around the world several times, living their success with an integrity as persons and artists that is rarely seen.

Starting on the Bowery’s very distinct selective CBGB’s club with The Ramones and all the other bands that have now become legends, Blondie was to later gain the international success and go around the world more then once to become one of the most successful bands to have risen from NYC. Here are a few people that you can see with Debbie and/or members of the band on photos included in the book: Alice Cooper, Iggy Pop, Devo, H.R. Giger, Siouxie, Chrissie Hynde, Andy Warhol, The Screamers, David Bowie, Ray Manzarek, Suzie Quatro, Joan Jett, Cherie Curie, The Buzzcocks, The Screamers, The Ramones to name very few, thanks to Chris Stein who really did an amazing job!

Joan Jett, Debbie Harry, David Johansen and Joey Ramone ©by Chris Stein
Debbie and Iggy ©by Chris Stein
Debbie and Bowie ©by Chris Stein

 

 

 

 

 

 

Debbie Harry during the video production of the “Koo Koo” project with HR Giger ©by Chris Stein

You also have a very interesting insight on various projects she was involved with like Blank Generation, a seminal movie about Richard Hell, a remake of Godard’s movie Alphaville that sadly has never seen the day, a promotional clip involving HR Giger‘I Know You Know”. I also happened to watch a cult sci-fi horror movie from 1982: ”Videodrome”, directed by David Cronenberg. Deborah Harry plays the role of Nicki Brand, a sadomasochistic psychiatrist and radio host. I found Debbie’s performance more than satisfying and the movie to be very prophetic.

Robert Fripp as Lemmy Caution, Debbie Harry as Natacha von Braun; from the never made remake of Jean-Luc Godard’s Alphaville. Hair by Mary Lou Green ©by Chris Stein

The book doesn’t contain the usual formal complete list of everything Blondie or it’s members have been involved with nor a complete discography but rather focuses on the narrative and it’s quite ok since it’s done in a way to sustain the readers interst in the story Debbie tells with a suprising gift for writing. Such a list would have been a cool addition but I’m pretty sure it’s not that hard to find on the internet.

     Making Tracks is not only about The Rise of Blondie but also about how they all handled its success. It does not contain a complete discography nor every movie she has played in Every true Blondie fan should read this book since it contains everything you want to know delivered with Debbie’s very witty way of seing things that always sustains your interest since it is written from a very intimate point of view and as I said before the photos are a very important ingredient in making you ”part of the gang”. The whole story is very cohesive and never boring. I will leave you with this quote written by Debbie near the end of the Heart of Glass Europeen Tour that I found very interesting as she compares the UK culture with the US:

”Politics is business-getting enough money to win, keeping enough to stay in power and make more as a politician. The politicization of art in the sixties was very hypocritical. It existed in the minds of the people who wanted it to exist, but the people who were in power were definitely not having anything to do with it.

Debbie Harry and the Buzzcocks during Blondies European Tour, by ©Chris Stein 1978

I don’t think there’s too much difference between the americans and British scenes, Everybody wants the same thing for themselves and their culture, but the methods have to be different because of the differences in the way the cultures operate. In America Iggy was a radical force without saying anything political. His presence and what he did was a radical phenomenon. If somebody can get on the subway and wipe out the minds of the people who see him, he’s having an effect on them and doesn’t need to say anything. I hope the kids in England realise that we all want the same things, we’re just going about it in different ways.”

Debbie with Iggy Pop by ©Chris Stein

Almost all of the pictures above are taken from the 1998 edition of Making Tracks/The Rise of Blondie and taken by ©Chris Stein. I only posted very few of them. The book is litteraly loaded with awesome pictures, most of them are very hard to find.

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Nico 1988

 A Biopic About Nico

By  

     When it’s announced that a figure with a famed history is getting a biopic, it of course feels a. inevitable, b. secretly kinda exciting insomuch as it prompts internal dream-casting brainstorms, and also prompts the often very unmet hope that perhaps this could be one of those biopic that doesn’t suck, and c. mildly skepticism-inducing in that it probably won’t entirely un-suck. But there’s always that category of hope to keep us writing these announcements, apparently!

     The latest such announcement is a biopic about Germanmusician/model/personality /Warhol/Velvet Underground  collaborator, Nico. Though German singer Nico is immortalized for her work with The Velvet Underground as well as her 70’s solo work, she later led a fascinating, if overlooked, life until her sudden death at 49. Those final years will be the subject of a new biopic from Italian director Susanna Nicchiarelli titled Nico, 1988

     The dream-casting bit of this process is going to be cut short in the next sentence, as the star of this biopic has already been cast. Nico will, per Variety, be played by Danish actress/musician Trine Dyrholm (she’ll also perform her songs in the film), who won the Silver Bear for her role in Thomas Vinterberg’s The Commune at this year’s Berlin Film Festival. According to Pitchfork, the film will focus heavily on performance, and the film’s director, Susanna Nicchiarelli, said they’ll “tell us more than any other dialogue or situation in the film.”

     Many makers of biopics seem to have realized, thankfully, that the best formula for making one such film (supposedly done with immense success in two upcoming Pablo Larraín films — Jackie and Neruda) is not to try to capture the person’s entire life in one film, but rather to focus on a moment or particular period. (Such has increasingly been the trend, and the genre happens to be improving because of it.) This film, titled Nico, 1988, will, as it titularly states, do the same, focusing on the last year of her life (she died in July of that year after suffering a heart attack during a biking accident.) Apparently, Nico, 1988 will actually begin in 1987 as she embarks on a solo tour — with her son going around Europe with her — and attempts to get off heroin.

Nicchiarelli said in a statement:

Most people think, as Andy Warhol once said, that after her experience with Velvet Underground and the Factory —and after having had sex with most of the rock stars of those years — Nico simply ‘became a fat junkie’ and disappeared. But is this how her life really went?

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Nicchiarelli wrote the screenplay based on interviews with Nico’s son, Ari, and her manager from the time. Note that a biopic about Andy Warhol starring Jared Leto based on a biography of the famous artist written by Victor Bockris is also in the making.

A list of Nico’s close friends over the years:

nico-bf
nico-bf-2

Click for Original article in

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Warhol’s Bio/Recent Movie Deal

Warhol and Bockris by Marcia Resnick
Andy Warhol and Victor Bockris, New York Mudd Club, 1978. © Marcia Resnick

Interview with Victor Bockris   

By Tobe Damit
By Tobe Damit

Following my review of Andy Warhol’s biography by Victor Bockris, I was pleased to know that the author himself was kind enough to grant me an interview regarding the book itself as well as the recent deal that was made regarding the making of a biopic involving Jared Leto. The actor Jared Leto, the producer Michael De Luca and Terence Winter are teaming to tackle the life of Andy Warhol, the famed pop art artist whose blend of art and commerce made him a household name. Winter, the ”Boardwalk Empire” creator who wrote ”The Wolf of Wall Street”, will pen the screenplay, using the 1989 Victor Bockris book, ”Warhol: The Biography”, as a jumping-off point. Leto and De Luca jointly acquired the rights to the book, having had a desire to partner on a project for some time now and since it is now a done deal, I thought it was the perfect time for a little chat with the author of the well acclaimed biography which has been published in nine countries since 1989 and remains in print in several. 

LAN: Do you remember how, where, why and under what circumstances Andy Warhol caught your attention for the first time? 

Victor Bockris: Andy Warhol had a tongue in cheek “Retrospective” at the I.C.A. on the University of Pennsylvania campus in Philadelphia in October 1965. (Tongue in cheek because he had only started showing paintings in 1962 and it usually takes much longer than three years to get a retrospective!)I had moved from my British boarding school Rugby to Central High School in Philadelphia in February, a week before Malcolm X was assassinated in New York. My transition from the one school to the other was fraught with the most extreme culture shock I had ever experienced in a life of shocks. During my first two months at Central I had a nervous breakdown, which I kept confined to the afternoons at home so nobody else knew about it. The trauma faded as soon as I started making friends amongst the cool kids who were all folkies. They were mad about Bob Dylan and took me to  Convention Hall to see him on the early 65 tour he did with Joan Baez. My closet friend, Elliot Fratkin, invited me to go to the Warhol opening in early October.
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As we approached the I.C.A that night walking across the lawn at the center of the campus I started seeing people standing around in small groups hugging each other and crying or lying on the ground like the victims of a nuclear attack in Peter Watkins famous film The War Games, which I had seen in the same place the previous week. As we got closer I could see and smell the aftermath of some hideous event such as a lynching or a riot.

I was right about the riot. Apparently when Warhol swept into the gallery with Edie Sedgwick, Girl of the Year and star of eight films Andy shot in six months, Gerard Malanga, superstar stud of the Factory, and Henry Geldzahler, curator of modern art at the Metropolitan Museum in New York, the ecstatic crowd of students packed like penguins in the small space and spontaneously exploded in a riot that reminded Geldzahler of a Beatles concert. People were screaming and crying “Andy and Edie! Andy and Edie!” This was the moment at which Andy crossed over from being a famous artist to something more akin to a rock star, somebody who has transformed themselves from a person into a magician. Of course I was not there, but Andy Warhol’s essence hung in the air like the acrid smell of machine guns and wild horses.   

 

LAN: What made you decide back then that Warhol was to be the subject of your next bio? Do you have similar reasons for the other biographies you wrote? Is there a link? How do you connect the dots (if any)?

Victor Bockris: I did not decide to write the Warhol biography. My agent, the young and ambitious Andrew Wylie just at the beginning of building his literary agency, suggested it in 1982.  I was spending the summer writing ‘Negative Girls into a book in Philadelphia. He called right after the girl who inspired the book phoned to tell me she was getting married, (to a rock star!) which drained all the desire and drive to finish Negative Girls out of my frenzied mind. We discussed the book for six weeks before I decided to take it on. There was much at stake, not in the least my friendship with Andy. I knew nothing about biography, which is a complex form one can only master by learning on the job like The Ramones did on stage. I decided to do it because Andy was the most mysterious figure in the vanguard of the American culture. Nobody knew anything about his childhood or the years before he became a pop artist. He was also a sitting duck for a writer who wanted to grab the attention of the country. Earlier that year Jean Stein had done just that with her bestselling book, “Edie” (Sedgwick). The most powerful part of that book was the long section about Edie’s relationship with Andy.  According to Stein He was a verrrry bad man. His nickname at the Factory, Drella, summed up the impression. He was a monster, half Cinderella half Dracula. He never slept, he never ate, he drank blood. He wanted to be machine, he did not believe in love, and that was the tip of  the iceberg. I had known Andy for almost ten years and I loved him the way you love a hero, like a comrade in a war. Believe me, stating your alliance to Andy Warhol could still ignite a bar fight in 1983 New York. He was still the most hated artist in America, but he was the most loved artist in France, Italy and Germany.  

Andy working on as portrait, second Factory 33 Union Square West, 1973 by Victor Bockris
Andy working on as portrait, second Factory 33 Union Square West, 1973 by Victor Bockris
There are several links between all my books: I never wrote about anyone unless I knew them well enough to see how they got through the day; everyone I wrote about was a  remarkable talker; everyone I wrote about played a role in the development of the Counterculture in New York in the 1970s. They were all living in William Burroughs Magic Universe.
As soon as I garnered good reviews for the Warhol biography I wanted to dash off and write my own biography. However my Dutch Uncle and mentor in biography, Albert Goldman, who published a masterpiece, ”Ladies and Gentlemen Lenny Bruce!” as well as first class biographies of Elvis and John Lennon, told me, “You’ve just mastered how to write a biography, don’t throw away what you’ve learned, do at least two more.” Keith Richards was a dream subject and ”Keith Richards: The Biography” was published right before the release of his first solo album. The book has been published in ten countries and stayed in print in the English language since it’s original publication in 1992. The third book in my trilogy of biographies, ”Transformer: The Lou Reed Story” was well received in the U.K. and U.S. in 1995 and did a lot to broaden his audience in the six countries in which it was published.
Burroughs-Warhol photo tapestry Chelsea Hotel 1980 by Bockris-Schmidlapp
Burroughs-Warhol photo tapestry Chelsea Hotel 1980 by Bockris-Schmidlapp
This biography obviously required an incredible amount of work. So many subjects, so many people! How did you manage to achieve such a complete story of his life without being drowned in archives of all sorts!? Did it require a different methodology than your other books??

Victor Bockris: It required a one hundred percent commitment for five years. At several stages I employed an editor to keep me on track. Writing a biography is quite different from writing the portraits I had previously published of Ali, Burroughs, Blondie and The Velvet Underground. Warhol was by far the hardest book I ever wrote, in fact it almost killed me. I have always been lucky with my timing.  My first seven books were perfectly timed. Andy died two and a half years before the book was released. It was the first and remains the only real biography of Warhol. I started it by going to Pittsburgh with Keith Haring and meeting Andy’s oldest brother Paul Warhola, who was a lovely man and became a good friend who helped me out until the very end. Andy did not want me to write the book but he never told anybody not to talk to me. I think he realized that somebody was going to do it and he was in safer hands with me than with some hack who did not know him and would mess it up.

There are by the way two distinctly different versions of my biography. When Andy died in February 1987 my British editor, Paul Sidey, at Hutchinson (Random House UK) got in touch and played a strong role in helping me complete the book. This climaxed with an all expenses paid six-week visit to London during which I was given a full-time editor and copy editor. By the time Sidey gave me the retyped 721 page manuscript of Warhol: The Biography’ I was in heaven, because it had come out much as I originally envisioned it. The British were planning to publish in May 1989. This euphoria was short-lived. A week after I delivered it to my agent, word came back, or so I was told, from Warner Books that the manuscript was “unpublishable.” I never found out if this was actually true, but the long and short was Warner wanted a re-edit. At this point I was exhausted. I had given it everything I had. Finally Hutchinson published their version ”Warhol: The Biography” in May 89. It received wonderful reviews and was published in paperback by Penguin. Warner  Books published their version, on which I worked for six weeks with an editor they had flown in from England, ”The Life and Death of Andy Warhol’, in October 1989. It was about one hundred pages shorter and much of the life had been cut out of it. 

Whereas the U.K. edition did well and remains in print twenty-seven years later, the Warner edition was a fiasco. Although it was well reviewed it suffered very disappointing sales for the advance they had paid me. Today, the British edition is in print in the U.S. (with DaCapo) and in France and Poland. With the movie coming out in 2017 we are looking forward to seeing it in print in several other countries.
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a: A Novel
LAN:How do you perceive Warhol’s contribution to the literary world? I know you feel pretty strongly about a: A Novel…?
Victor Bockris: I think it’s a disgrace that Andy Warhol’s books have not been released in uniform paperback editions or in a complete twelve volume set. Starting in 1967 and continuing until after his death Andy published a series of between nine and twelve books. They are as vital to an understanding of his oeuvre as his paintings and films. There is much more interest in his writing in Europe than America. Language is the basis of all Warhol’s work. In his college years his confrontation with the American language distressed him so much it became the root of his artistic drive to portray America as a land of Deaths and Disasters. He is a conceptual artist. His first works like the Campbell’s Soup Can paintings and his first film Sleep were seen by few people, but their names became part of our culture. He published at least three classic books: a: A Novel; The Philosophy of Andy Warhol and The Andy Warhol Diaries.” His collected literary works are ignored by the Warhol Foundation because they do not make enough money to warrant even an investment of time. They appear uninterested in developing his literary reputation and have done nothing with the unpublished books in his archives. There appears to be nobody taking care of Andy Warhol’s literary works and nobody to defend the books against people who claim they wrote them. Andy Warhol’s writing is pure Warhol. I hope one day somebody will wake up to the fact that there is actually a goldmine yet to be discovered in the many unpublished volumes in the files of the Warhol Museum. Somebody should write a book called ”Andy Warhol: The Writer, but they might have a problem getting permission to quote from his writing. There appears to be a determination to keep him down or out of print. I have published six essays about Andy’s writing in various sources, including the current DaCapo version of the Warhol biography.
da-capo-us
Warhol: The Biography DaCapo Press US
LAN: You were obviously close to Warhol. What were the most valuable things you learned from him or about him?

Victor Bockris: The most valuable things I learned from Warhol:  To grow my ambition higher; to realize works is the most important thing in my life; to simplify; to minimize and to recognize that most growth comes via connections to people who open doors to other people. To never let anybody take your work away from you. To collaborate.  To do interviews without questions, to just let them happen. To connect to the power in yourself.  To be a very tough businessman. To never lose your self-respect.  To treat people well. To not get hung up on your problems. To discipline yourself to not waste your life on alcohol or hard drugs. To believe that you can transform yourself.  

American author Victor Bockris, dressed as an MP, talks with Pop artist Andy Warhol at the Mudd Club's 'Combat Love' event, New York, New York, June 17, 1979. (Photo by Allan Tannenbaum/Getty Images)
Meeting at The Mudd’s Photo by Allan Tannenbaum/Getty Images 1979
LAN:Do you feel you have resolved the enigma of Andy Warhol’s persona through this book?

Victor Bockris: Jared Leto told me my book was the only one who made him feel that he got Andy, got to know him and understood him.  My original motivation for writing this book was to reveal Andy so that people could feel as if they knew him and liked him. So, yes I think I succeeded.   

LAN: Do you feel that part of the enigma of Warhol persona is whether he was a psychopath or simply an oversensitive person who simply just couldn’t afford to deal with a heartbreak, betrayal or negative feelings of any sort?
Victor Bockris: This question is difficult for me to understand. Andy was not a psychopath in any way. That sounds like the kind of word somebody desperate to write something new about Warhol might come up with, but I can’t imagine anybody who knew Andy saying that. He was, much like William Burroughs, the opposite of his image. Andy was a supersensitive romantic who found it harder as he got older to be alone. He certainly denied his emotional distress, but there is no question that he became increasingly lonely as he got older. At the same time he was turning out an extraordinary stream of great paintings.There is something almost too poignant for words about his final works, The Last Supper paintings which regained the vitality of the Car Crash paintings. And the fact that when he died he had so much work to do but perhaps nobody to look forward to seeing. Nobody he could give his love to. He checked into the hospital under the name Bob Robert. In his last phone call to Vincent Fremont, Vice President of Andy Warhol Enterprises, he was full of energy and humor. Some people called him Superman some called him the Angel of Death. He was an otherworldly figure who gave us everything he had. 
Victor on Warhol's Grave, Pittsburgh 1988 Picture by George Warhola
Victor on Warhol’s Grave, Pittsburgh 1988 Picture by George Warhola
LAN: Do you feel Warhol’s works and ideas are still relevant today?

Victor Bockris: Much has been written about the Legacy of Andy Warhol. I think he will be relevant forever in the sense that Shakespeare is still relevant. I wrote his biography and it would be hard for anybody to write a new one because most of the sources on the first thirty years of his life are dead. However, I don’t think anybody has yet put together an understanding of the impact of his collected work, not in the least because nobody has recognized the importance of his writing in his oeuvre. A writer who could show us the overall influence of Warhol’s contribution, without being over influenced by the prices of his art, but saw the art the films and the writing as the triangular base of his huge body of work would be doing us a great service. Andy Warhol may be the greatest artist of the twentieth century because he harnessed the century’s theme of death. But we will not know until somebody  emerges who isn’t frothing at the mouth about the money.

Paul Warhola by Victor Bockris Pittsburgh 1983
Paul Warhola by Victor Bockris Pittsburgh 1983
Andy’s brother Paul Warhola told me Andy never really changed. Sophisticated art dealers might scoff at that remark, but Paul is right. The Andy who drove his assistants mad by endlessly pushing them with his divine energy was the same Andy who as a child drove his brothers  wild in the same way with his insistent, “What are ya gonna do now?”
Jared Leto by Steven Taylor
Jared Leto by Steven Taylor
LAN: How do you feel about your book becoming a biopic next year and Jared Leto with his very talented friends being so enthusiastic about co-producing it and playing Warhol himself?

Victor Bockris: I have seen several opportunities to make the book into a film come and go, starting with Gus Van Saint in 1992.  I’m sure he would have made a good film, but I don’t think there was the large international audience for Warhol’s heroism back then. I hope we are going to see a film about a revolutionary culture hero who changed the world with his brilliance and his machine like drive. Something like ”Lawrence of Arabia” but with the desert being the streets of New York. Mind you this comes from a fevered brain in the middle of a hurricane. I am confident that Leto will be Warhol by the time he starts making the film and I imagine he will give us something we cannot even imagine until we see it. Something Magic.    

Andy pulling out a rabbit for Catherine Deneuve, Edie Sedgwick, and Zouzou 1966 by Jean-Jacques Bugat
Andy pulling out a rabbit for Catherine Deneuve, Edie Sedgwick, and Zouzou! Photo by Jean-Jacques Bugat 1966.
LAN: I wish you all the best!! I hope you will finally get all the credit you deserve for the quality of your books and that the world will remember your name and that the movie will be an incentive to check out the rest of  your work as well. You do have a very special place as the witness of an era, an author and as a very special friend, you most certainly had a huge influence on everything that went on since the 60’s. It seems it’s not about to stop…

Victor Bockris:  Thank you Tobe for the opportunity to talk about Andy. It went well because you asked stimulating questions and I enjoyed answering them.  I wish you all the best with Loud Alien Noize. And I look forward to contributing some of my favorite pieces to you in the future. I hope your readers enjoy with what we’ve come up with above.  

tlc-victor-bockris-2
Victor Bockris Self Portrait, New York, August 1972
I’m not even worried!! Thank YOU Victor!
All rights tobedamit.com 2016
All rights reserved tobedamit.com 2016
 

Marcia Resnick and Victor Bockris

EXCLUSIVE

Questions and Answers About ”NYC Bad Boys” and a Lifetime Partnership

By Tobe Damit
by Tobe Damit

Introduction in Disguise

I will try to, like the Clash album says, ”Cut the Crap” and say that I heard about Victor Bockris the first time through a book called ”Conversation”, which I read avidly the first time it fell in my lap and have re-read a few times. Those Conversations were a goldmine for a Burroughs and Warhol amateur like me who believed that both of them have been to art in general what the Sex Pistols were to music. To me, ”Conversation” is an essential book that should be archived and kept for safety like a mystical artefact, exactly like Burroughs’ paranoid mind would have imagined it; like files that unknown alien forces are constantly updating, thus keeping tabs on the underworld agents. Numbered transcripts sourced and supported by audio, film, and/or photographs, describing meetings between liberating forces from one of the leading underground artistic mind and the Godfather of the surgeons of the Beat Generation, leading to a whole new way of deconstructing and re-creating different realities that were bearers of an extremely particular strain of virus called  PUNK.

Jagger, Burroughs and Warhol by Marcia Resnick, Conversation
Jagger, Burroughs and Warhol by Marcia Resnick in ”Conversation”

I also knew, reading that book, that Victor was already working very closely with Marcia Resnick back then. I followed the timeline traced by her  photos and discovered a whole new world in Resnick’s fascinating images and thoughts, starting with Re-Visions and already seeing that Punks, Poets and Provocateurs that was only released in 2015 (yes! the very day this article was posted!) already was and always has been in the making very early on after the day those two kindred spirits met for the first time. In fact Marcia began the book the same month they both met in September 1977, and finished taking the pictures in 1982. She then worked sporadically on videos of the pictures, showed some of the images in group shows through the 1980s, 1990s and 2000s. She also participated in a traveling show, which became a book, called ”Bande A Part, New York Underground 60’s-70’s-80’s’‘ which featured the photographs of many of her contemporaries. This was showcased as a ”travelling show” in venues in Tokyo, Paris, London, Hong Kong, LA and New York, from 2005 to 2009. This was a very positive sign that her work was still alive and growing. In 2010, she had a one-woman show of her vintage portraits from the 1977 to 1982 period at the Deborah Bell Photographs in NYC. It was also in 2010 Marcia and Victor began to ”physically” put the book together. The result is a shared vision of the world that is exposed through a sincere, honest, disarming, straightforward series of photos, poems, thoughts, paintings and a variety of ways and any possible means to recreate the feelings attached to those vivid memories. Each of those forever preserved time capsules humbling me, reminding me of how fragile some of us are or were, especially some of those NYC Bad Boys, but also revealing how our weaknesses are non-dissociative parts of our inner beauty.

Victor Bockris and Marcia Resnick
Victor Bockris and Marcia Resnick

No need to say I was delighted when I was asked to do an article about Punk, Poets and Provocateurs in an interview format. Marcia and Victor were kind enough to gently respond to some questions I had in mind after I got the chance to read and feel ”Punks, Poets & Provocateurs: NYC Bad Boys, 1977-1982” that is righteously presented here as the triumphant accomplishment of a lifetime collaboration between two artist I admire so much. I sincerely hope you enjoy it as much as I did!!

LAN: ”How did you two met?”

Victor Bockris: ”We met at an opening of a photo show at the Andrew Crispo gallery in September 1977. And spent the next six weeks talking and running around town meeting all sorts of people. I helped Marcia collect back cover quotations for “Re-Visions” and published “Why I Hate My Girlfriend” about her in High Times in 1978. Fuelled by love and hate.”

LAN: Do you think the term Bad Boy is as appealing to the general public as it was in the 60s and the 70s? Has anything changed?”

Victor Bockris: ”Bad Boys is a generic term which has lost most of its meaning. That’s why we changed the title from Bad Boys to “Punks, Poets and Provocateurs” which had previously been her sub-title. Although Marcia does a good job defining the Counterculture’s Bad Boy Icon in her outstanding texts. ”

LAN: ”Do you see some of them as angels with broken wings?”

John Lydon
John Lydon by Marcia Resnick

Marcia Resnick: ”I see Bad Boys as rebels of attitudes and codes who often shake things up in the best way.”

LAN: ”Do you still find inspiration in your old friendships and acquaintances? You must have developed special everlasting relationships with some people!”

Marcia Resnick: ”We know the people we used to hang out with and love and support them. We are always overjoyed to see them, like veterans of a war. We definitely find inspiration in all our living and departed friends.”

LAN: ”It’s a well-known cliché to say that most good artists have suffered a lot, and somehow channeled this suffering and/or anxiety through their art. Do you consider you went through that too?”

Marcia Resnick: ”Art is an act of confronting what distresses you most and overcoming the distress by turning it into art.”

LAN: ”Has it ever happened to you that on the moment something appeared to be a bad thing, but you later came to realise it was in fact a good thing?”

Marcia Resnick: ”Contradiction is one basis of creativity. Challenges that appear to be bad are often very good for you. This can also be said about artistic mistakes.”

LAN: ”Do you consider yourselves more as Poets, Punks or Provocateurs or none of the above? If none of the above, how do you consider yourselves if you had to pick one or few words?”

Both: ”Punk Poet!”

LAN: ”What do you think Burroughs and Ginsberg (and by extension the Beat Generation) brought to the punk scene? Do you think they fit into that equation?”

Victor Bockris: ”The punk scene shone a light of affection and affiliation on the Beat scene. Allen and Bill lived in the midst of a punk neighbourhood, the Lower East Side. Punk was neo-beat.

LAN: ”What about The Velvet Underground?”

Victor Bockris: ”The Velvets were the archetypal punk band. Lou Reed was the most important person who visited CBGB’s. He supported punk from the outset. Punks loved Lou.”

Joey Ramone by Marcia Resnick
Joey Ramone by Marcia Resnick

LAN: ”Punk was about industry, not virtuosity.” Could you expand on what you meant by that?”

Victor Bockris: ”Punks worked very hard to make beautiful music. This industry was inspired by passion and could be accomplished with a DIY attitude as opposed to a stringent technically proficient prowess.”

LAN: ”With everything that is going right now and the overall empowerment of the world by the 1%, do you think that we would need to return back to the sources with a very simple, bold, loud, clear and shall I say even aggressive message that was the very essence of Punk Rock?”

Victor Bockris: ”I think we need to bring back the counterculture as a global force for humanity.”

LAN: ”Do you find that everything is more diluted today? Do you think that the messages delivered by today’s artists are as strong today as they were in the 60s and the 70s?”

Victor Bockris: ”Artists of the 50s 60s 70s were all connected by the umbrella of protest against the atrocities of WWII. Passionate realism is the key. Post 83 or so the people have no single ring to fight against.”

LAN: ”Do you think sex should be a hidden thing or more out in the open like in Japan? I’m asking because you represent both sexes and have lived as adults in a period Pre-AIDS and without shame but you also know what shame is… You also lived in an era in which homosexuality and transexuality were illegal. I’m thinking for example of Candy Darling, and Lou Reed who received I think 19 (if not more) shock treatments just because he had gay THOUGHTS.”

Marcia Resnick: ”Sex is like God. It’s the greatest thing that ever happened but its been co-opted by same people who say God is on our side. Nobody owns sex but a lot of people exploit it, like the Catholic Church or the Sex Industry. Obviously do what thou wilt is all of the law. Everything is permitted. Sex is good. No laws against sex are recognized in the magic universe.”

LAN: ”If you could talk to the young ”you(s)” when you were 15, what would you say to yourself?”

Marcia Resnick: ”Focus on learning how to live the artistic ways of life. It has great benefits but if you don’t know how to live it doesn’t make much difference”

LAN: ”Do you consider yourself a survivor? If so, what or who made you able to overcome what could have been your downfall?”

Marcia Resnick: ”Collaboration. We have helped each other survive by working to a united end on this book.”

LAN: ”The 1977 Blackout in New-York was seen as a turning point by many people because they were seeing judges and doctors turning into looters in the anonymity provided by the dark. Were you there? If yes did it have any effect on you at the time?”

Marcia Resnick: ”Sounds like a fantasy! The July 77 NY Blackout heralded a great new period because everybody walking around in Greenwich Village was exhilarated to see each other and was full of joy! People were conversing with people they didn’t know!”

LAN: ”What beauty have you ever witnessed coming out of what some would describe as a wreckage?

Marcia & Mick
Marcia & Mick

Marcia Resnick: ”Andy Warhol, Keith Richard. Lou Reed, William Burroughs for starters.”

LAN: ”This one I guess goes out more to Victor. Since Warhol himself was always taping and taking pictures, did you feel at times that you were interviewing the interviewer??”

Victor Bockris: ”I learned about how to do interviews from Andy Warhol. I cannot understand why a book of his interviews has never been published. I wrote the first draft of “Exposures” with him. He had an enormous influence as a writer which has been strangely subdued.”

LAN: ”Since we are talking about Warhol, I was curious to find out if you saw a change in Warhol after he was shot by Solanas?”

Victor Bockris: ”Everybody says that his presence was everything before he was shot. It took him a long time to recover, but the man I met in the mid seventies had more energy than anyone. It made him cautious about hanging out with hard-core people. He really bloomed in the early 80s painting with Jean-Michel (Basquiat).”

Andy Warhol by Marcia Resnick
Andy Warhol by Marcia Resnick

LAN: ”Have you ever been personally the victim of a blatant injustice?”

Victor Bockris: ”No. I avoid policemen and lawyers. It is dangerous to get involved with them.”

LAN: ”Any words of advice for the generations to come?”

Marcia Resnick: ”Collaboration is the Key to Life. You can go into any field you want to, from poetry to the law, but your chance of success will always be much greater if you find other people or another person to do it with.”

Marcia Resnick
Marcia Resnick

”Punks, Poets & Provocateurs: NYC Bad Boys, 1977-1982” by Marcia Resnick and Victor Bockris is now available in the nearest bookstore!!  

Book signing with Photographer Marcia Resnick Punks, Poets and Provocateurs: New York City Bad Boys, 1977–1982 by Marcia Resnick and Victor Bockris Published by Insight Editions Tuesday, November 10, 2015 6:30–8:30 PM / Admission free! Click on picture below for a lot more infos on related events to come!

cheetah
Johnny Thunder and Cheetah Chrome by Marcia Resnick. Click on image for more details!                      Proofreading by Helen Burkholder! TY so much!

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