|
Post by Joe Chip on Jun 13, 2012 14:22:16 GMT
Someone forwarded me this google translation already this week:
The LAST nihilistic CATALAN
An interview with Jordi Valls, the first proto-punk Catalan punk participant in the germ London, 1976, witnessed by the mod microexplosión in Soho in 1963, founder Vagina Dentata Organ, partner of Genesis P. Orridge, star of "Catalan" of Psychic TV, and Dali thanatiano pro, anti-art artist and elegant gentleman
When I heard about Jordi Valls for the first time? Mentions secret of his name were happening around me over the decades, as pronounced in Corsican individuals crypto-grisly. Had not initially or name: mayor1 brother of a friend of adolescence, mod like me, I told my fifteen years in the Punk Book (Star Books, 1977) from Salvador Costa had photos Catalan punk mixed with snapshots of London punks of '76. While furiously photocopied photos of Jam Generation X book to paper my room I should try to find again and again who the hell was the Catalan punk book, without success. Only twenty years later I learned that the famous nostrat punk was certainly in London during concerts captured in the book, but its picture-the penultimate the book was taken in Barcelona, during a vacation. Valls is the guy who looked like Marky Ramone, missed excessive kneeling on one cheek, goggles and jacket Gestapo Leather skull on the tab that appears alone, about end. But who was Valls, and what was their story? What was that universal Catalan pogo dancing at the Roxy in 1976, which led him extracted there and what it all? One of the consequences of their spontaneous and dedicated connection to the punk rock (though it caught for thirty years, to Claude Bessy2) was his immediate contract for life emotionally-Industrial scene with English of which form part Valls in their crucial years, becoming occasional collaborator of Throbbing Gristle and Psychic TV and confidant and ally of Current 93 and Whitehouse. The passionate Valls also decided to start his own project, Vagina Dentata Organ, which, apart from its many results practical-would cross my path in the form of expensive disk in the record store in London's Soho I worked for a couple of years. There, hanging on the wall and valued at an extravagant sum, again aparecérseme a result of Valls, although I did not know aún3. Finally, Valls returned to Barcelona a year ago to work in an exhibition at the Santa Monica Art Center, The London Punk Tapes, audition tapes of their concerts punk London, 1976 and 1977 in an environment reminiscent the punk milieu (with some imagery Valliana VDO). By then I knew part of his historia4, but wanted to know more (and incidentally greet my hero Vic Godard recalcitrant also invited to present the exhibition). Imagine my surprise to discover, and talking to Valls in a bar in Las Ramblas- his story was even more fascinating than expected. Time Annunciation: Valls, commenting as he does not want the which in fact his first trip to London was in 1963 and lived in Soho, and I remember a lot of small mods were in each corner, with their hats bluebeat blah-blah ... And we like that, listening to talk to the jaw skimming the ground. They knew we had to interview thoroughly Jordi Valls to achieve and privileged to unravel his eventful life, and So once again learn from one of our pioneers, another founder of our tradition youth. What follows, in eleven nutritional pages, is the result of that intention. We do not agree with him in all his postulates -Our position on the concept art, without going any further, it is exactly the opposite of Valls, nor is it exactly that we industrial5-motion fans but his experience, unlimited career and passion left us overwhelmed. Uncut or retouching, now with all of you: Jordi Valls.
Sufficiently well known is your post-1969 exodus London, but little is known of the previous years you spent in Catalunya. Tell us briefly your family background, your childhood, and when you decided to go for the first time to England. And why. Was it around 1963, right?
Let's say my family is beyond good and evil. In my 17 years let me get away to London. It was in June 1963 and I went there about 12 months until late July 1964. In Barcelona I was drowning. We lived in a police state. He had it all very black and almost did not interest me anything, I considered the suicide as an intelligent. I left school very young, and worked in a travel agency. I also studied languages. In Barcelona visiting art galleries, especially the Gaspar and René Metras rooms. I was a fan of Dali, Miro, Picasso and Joan Ponç. Since I can remember my idols were the anti-Franco maquis guerrillas and Josep Lluís facerias Quico Sabaté, and felt much their violent deaths in 1957 and 1960. Of discovered music at parties with friends warpage I just loved Little Richard, Bo Diddley, Elvis Presley, Fats Domino, Gene Vincent (with his classic "Be-Bop-A-Lula", Booker T & The MG's (with its great "Green onions") and also Johnny Halliday and Les French Chaussettes Noires (thanks to name of this group always my socks are black). To the Finally, looking for my freedom, I chose London, as was the Anglo-Saxon language and culture more exotic and interesting the rest of Europe. After a few months of arriving in the United Kingdom had to go abroad to register as the police, and a long queue lined up under a sign that read in large letters: ALIENS. So this was the official name for all non-British citizens.
We'd love you to tell us so little discussed that part of your youth: your teen months in Soho London from 63-64, your life against the backdrop of the coffee bars, the modern jazz, the first mods, immigrants Jamaica and Barbados, bluebeat ... What do you remember these sightings?
To put this in context I was in London when killed John F. Kennedy. They coincided with the emergence subversive The Rolling Stones and the birth of Britpop. I witnessed to direct all the literature of the Beat Generation and the beatniks, and temporarily also the death of jazz. I lived in Old Compton Street, Soho in full, sublet in a attic, in a narrow room, about 5 feet long 2 wide, and without water. It had a gas stove used only to make me coffee and boiled eggs. To warm in winter disposal of electrical estufilla two feet wide. In the landing of the stairs was a cold water tap and separate toilet. My window looked directly onto the street and the strip club front. The girls greeted me smiling waving his arms high, because during the day rehearsing naked up to my window. To eat fish & chips frequented and pubs. By evenings and weekends I would sneak into the YMCA in Tottenham Court Road. They had a self-service hot food, and cheap. Right there I discovered the BBC TV, still in black and black, programs of political criticism and sarcastic humor high quality, as wasthe That Week That Was with David Frost. Or the brilliant The Goons, Peter Sellers and Spike with Milligan. Also saw Ready, Steady Go! and Top of the Pops, the Pop programs of the moment. The Soho then was controlled by Kray brothers, very notorious gangsters East End came to photograph David Bailey. The Krays controlled prostitution, restaurants, strip clubs, the game and illegal drinking dens (called drinking holes). On the other hand, remember very well Friday and Saturday at night, the atmosphere inside and outside the pubs, coffee bars, and music clubs. In the corner of Wardour Street was where mods were in little circles. They a dandies with their Italian cut suits, shoes hush puppies, Navy blue nylon cortalluvias Piuma d'Oro, and hat almost without wing. They great, in light pants, or with hair as short and your mini-jupes. They smelled like bubblegum and a purple raspberry hearts. Mary Quant is obvious that after a short time copied from the street's famous mini-skirt. Favorite music these mods was all Motown, R & B, ska, blues, ska bluebeat with special reference to Prince Buster. Then later appeared as The High Numbers and The Detours changed in The Who, The Yardbirds, The Kinks, The Small Faces, The Zombies, Spencer Davis Group ... Some weekend also I went ice skating at Silver Blades of Streatham, where had a DJ playing music at full volume, and also occasionally sets acted pop of the moment. London was a continuous party.
Tell us, please, clubs frecuentabas (Discothèque, Flamingo, is the 2 I's perhaps?) And discs you heard (the other day mentioned the "My boy lollipop" of Millie) you filed conversation with one of those emerging modernists?
I became a member of the dance club, music club next mod my house in Wardour Street. Located on the first floor very dark. We danced like crazy, separated, and a large circle. We were all teenagers. They left their bags in the center, above the ground. Instead of chairs, lounge chairs and tables had a side by side to lie down with your partner. Amphetamine was drug queen, always mixed with alcohol. The canned music came directly from a very low ceiling speakers huge round, full power, the sound of rhythm & blues, ska bluebeat and crushing you to the ground. The 2 I's, and the Heaven and Hell, coffee bars, they were together, one beside the other in my street. Every day was passing, and had always great place and beautiful people. For me everything was new to London and fantastic. Later I learned that the 2 I's, have been the first club of rock n 'roll in Europe. He was also often I Enfants Terribles, a coffee bar in Soho it far atmosphere and music, very famous in his time. The Marquee I saw the Yardbirds with Eric Clapton. To dance with very good Music also frequented The Last Chance Club, Oxford Street. With gigs a night people went to the Flamingo, located in a basement in Wardour Street, acted Georgie Fame & The Blue Flames. I already knew his bluebeat and mellow voice. Listen in person at the dump in the moment more full of people, a terribly hot environment, it was sensational. Some weekend also went to great dance-hall Baths Leytonstone, east of the city. There they played several groups at once. The public in these sometimes consisted of teddy-girls, teddy boys, rockers and mods. It was a great space. On the ground, amid the great track, had painted a white line to separate teddies and rockers mods. The mods occupied the rear the hall. I never saw fighting and crossed a white line and others without problems. All go-go dancing ... The times I went people there acted as Screaming Lord Sutch, Dave Clark Five, The Hollies, Freddy and The Dreamers, The Swinging Blue Jeans, and another I do not remember. I did see fights mods and Margate and Brighton rockers on TV. I also went to Studio 51 in Ken Colyer's Jazz Club, where they played The Downliners Sect, a group of rhythm & blues. Other nights, lack of money, I was late and walk to the 100 Club in Oxford Street ', to hear from the street (through a skylight in the floor of the sidewalk) to R & B groups, which did not even know who they were. Right there had already been acting at the Groundhogs and The Art Wood Combo. Once I went to the Hammersmith Odeon, where I saw Ella Fitzgerald with the Oscar Peterson Trio. Also the teacher Duke Ellington at the Royal Festival Hall. Even one day I went see the Spanish flamenco Nureyev, the great dancer Antonio, acted with the superstar Rosario, at the Theatre Royal in Drury Lane. His performance was tremendous. In the end the public applauded them more than ten minutes walk, and from audience threw red roses. In London I bought a disc of my favorite sets to take then to Barcelona, then in SoHo had no turntable, although still at work and at home always heard the music of the moment on the radio. He was well informed. I am also a devourer of newspapers. One morning Charing Cross Road in front of the Foyles bookstore I found Mick Jagger: I asked when would the first LP and I said he was about to go out. That's how I got to Barcelona in July 1964 with the fantastic first album Rolling Stones under his arm. My conversations with mods were mostly about music. They broke with the last of the teddies. As we know, the mods with their parkas and Lambrettas were the first of the long postwar modern Britain. I remember a discussion I had with a mod, who insisted that the Stones were as well dressed mods. you pulled that stupid idea of the head. The Rolling Stones need to mold himself into anything. They are musicians, period.
If I understood correctly, in our first meeting you told me one of your favorite sounds is the first-time R & B 60's black. No one would say, considering your work in Vagina Dentata Organ. What I mean is that these discs not seem to seep into what you think.
Is that, for starters, I'm not a musician. My albums are concepts hyper-realistic sonic. On the other hand, London, were the Rolling Stones who introduced me seriously to R & B. They were among the first to bring Europe to the great bluesmen Americans and initially played their songs. Thus, eventually met the original music of Muddy Waters, Willie Dixon, Rufus Thomas, Champion Jack Dupree, Slim Harpo, Robert Johnson, John Lee Hooker, Otis Redding, Howlin 'Wolf, Leadbelly, Elmore James, Chuck Berry, Little Walter ... In that time the Stones were great provocateurs. Stupor caused between the establishment of the UK. This was important for me; as important, or more, the music itself. First time in history, dry broke all generations above. Finally we did what we did the fucking win. To then, the dream of every child was to emulate as far as possible their parents. In other words, maintaining the status quo and conservative traditional of the species. Total inbreeding.
How did you live, anyway? (Tell the story of the hustler, I pray).
Work in a wine importing company in Whitechapel. We received the wines of Germany and France on large trucks Cuba and etiquetábamos embotellábamos and all machining. They had some underground caves under the city, huge, wide, endless, crepuscular, damp, leaking of before the Victorian era, smelled of Jack The Ripper. Also preparing the daily orders for restaurants, which then would share in a van around London. For radio, there I first heard in my life to the Stones, was his first single: "I wanna be your man" (Lennon & McCartney). Almost I fall to the ground. I had the experience of electric shock. Then I asked who they were. At lunchtime I ran to a music. The Rolling Stones changed my life. I was finally identified in a rock music group and found freedom. Everything was new to me. I also had a minor setback. On the night of fireworks and Guy Fawkes fireworks on 5 November, is typical young people at night is released to water sources Trafalgar Square (without permission to do so). That I did together a group of students, and thanks to this I spent a night in a cell of Scotland Yard, Bow Street. The next day I left pictured on the cover of the Evening News, standing on the top of one of the pumps of the plaza. Another day, was a Sunday morning, leaving home early I stopped for a police believe that I take for a rent boy or rentboy. I asked why I was there alone in the middle of Soho. I had to call neighbors to confirm my residence. Then you listening? the fresh meat market, and I looked like a kid. Ever I continued down the street near a certain age pedophiles, but I do not win anyone walking fast. Also had a technique used was to jump and climb up the door back of the double-decker buses. Well, I never had problems serious with anyone.
Dress live the Stones with Brian Jones, The Eel Pie Island in Twickenham, perhaps? What other bands Direct came to see (other than those which you mentioned)?
With the big news in my first few months of living in London was as delighted and confused at the same time. I missed the true beginning of the Rolling Stones at the Crawdaddy Club of Richmond, in the Eel Pie and the Marquee. Where vi was first at Alexandra Palace, north London. A whole night out, from 9.30 pm to 6 in the morning, with many openers. Including the great John Lee Hooker, who acted for the first time in Europe. In a break went for a walk in the audience, and went straight to talk to it. Among other things said that the Stones were a "Great guys!" Also starring John Mayall and The Blues Breakers, Alexis Korner, The Downliners Sect, Millie and The Five Embers, she giving the bluebeat hard, and many others. The Alexandra magnificent space, without seats, with lots of history. That night was not crowded at all, the Stones still did not know too much out of UK. Finally, about 4:30 am appeared before me The Rolling Stones, Brian Jones, clear. Then Jagger did not move too. Fixed like a nail before the microphone, only slight rattling hip, a hop, playing the maracas and the tambourine ... Brian, shaking her blond hair from left to right, just before spitting out his harmonica blues. It was shocking, first saw teenagers playing those classic American musicians and even improve them.
Barcelona came back some time later to return (And exiliarte) permanently to London in 1969. A decision, undoubtedly motivated by the Franco regime.
After meeting London was difficult for me to stay and live Barcelona longer. I did not want to live in a dictatorship nor in a city with no future for me. At that time Irene went to dance with her fifteen-years-at the Columbus Jazz on the Ramblas. It was a hotbed of soul music and R & B. A fantastic, full of American sailors, camels and whores. There we were many nights with Jaume Sisa, dancing as crazy as us until dawn.
What are the differences you observed between 63 and London '69 London, the city and completely immersed in the roll freak of the Deviants, IT, post-Swinging London, the nascent hippie ...? Were you involved in this type of environment in some way?
This time I went to England with Irene. She just eighteen years old compliments, and I twenty-three. We met in Barcelona a few years earlier. We landed at Heathrow in August 1969. It was the same day that Sharon Tate was murdered by members of the Manson family in Los Angeles. A few weeks before Brian Jones also died, drowned in the pool at his home. In December that same year saw the notorious concert Stones in Altamont festival, with the result of a spectator died of a stab in a Hell's Angels6. In London were successful underground magazines, mostly on issues drug, porn, and always against the state. The magazines were important OZ Magazine and International Times (IT). In all were squaters Street, LSD, psychedelic. All tripeaban without barracks. Then quickly came the smack, which hit very hard As in all parts. In London there were few hippies, because most went to live in forming communes in the countryside, or did the hippie route to Afghanistan, or the beaches of Goa in India. Before the ban, one summer I went with two friends the hippie festival at Stonehenge. I remember that the microdots people to buy locally should be of very poor quality, because it looked like Dante's Inferno, or rather a parade screaming like possessed zombies, experienced a bummer collective trip. Late that night we were resting in our little tent, when a group of people attacked us to death with iron chains from outside the store. She and I stood motionless, stretched in the ground, we did nothing, but the other guy was incorporated by the noise and almost destroy the head. In nursing there was a endless line of victims, as other shops attacked camping at the festival. However, the music continued from the stage without stopping, as in the Titanic. The wounded had all his bloody head and face. I took him by car to the emergency a London hospital. It was rumored that bullies ultras were soldiers from nearby barracks in civilian dress.
"Never trust a hippie", right?
I never had problems with the hippies. They have their philosophy. Anyway, since I got interested through in Barcelona much more by the Dutch Provo movement. The Provos, to halves of 60, were happenings, sporadic street against the police. The movement was not well known but interesting that lasted a very short time, unfortunately.
What was with you sound track in this period: death the sixties, early 70's?
Then, as now, was a total disregard by 95% of all music. My musical taste is very short, has no special importance. Apart from American blues and the Rolling Stones, my discography consisted of: The Animals, Them, The Pretty Things, Manfred Mann, T-Rex, The Kinks, The Yardbirds, Jimi Hendrix, Dylan (electric), Janis Joplin, Ray Charles, The Velvet Underground, Geno Washington & The Ram Jam Band, Georgie Fame, thewho, except Tommy, do not drink, the first album Pink Floyd with Syd Barrett. Anything else. I never buy anything from the Beatles. I did not like very formalitos them. Neither of Bowie. It's a great artist but immaculately pretentious Uncle. I also feel terrible allergy to the sauce and bossa nova. I am convinced that the most frightening song, vulgar and repulsive that there is "The Girl From Ipanema". That is unbearable.
The Jordi Valls period 1969-1975 is for us a complete mystery. Tell us your adventures, fear not extenderteen this time, and you did a punk until dawn days.
During these years with our children were born Irene Zeus and Zoe. We lived in an attic in two parts north of London playing at Highgate Cemetery, where Karl buried Marx (and now Malcolm MacLaren). By chance I found a good gigs in central London. Weekends afternoon we went to the Roundhouse, where he always acted several bands (most do not remember them). There I saw the Rolling Stones in 1971, before it was exiled to France. All this time was very frustrating for me, musically speaking. Almost all of our friends lived in squats, where we would dinner parties filled with creepy music, all style Tubular Bells by Mike Oldfield. Musically painful. Chin ... Chin Chin ... ...
You survive the mess it pompous and fraudulent that pervaded the radios symphonic. Would you took refuge in the direct the pub-rock, or Beefheart, or Bowie, or music black, or what?
As I said, were difficult years for me, because I wanted participate in some way in the world of music London, and did not know how. For starters, I can not sing, or play any musical instruments. It was difficult. At the same time, was a time when music was disastrous, and So my frustration was mounting. The pub rock not interest me. Yes I saw Dillinger act several times, Bob Marley and Peter Tosh. At that time was a novelty. The reggae Live had something special, and see all these artists act in small spaces, live, was something worth living. One night in 1978 acted in the Rainbow Peter Tosh. I was a bit strong, and at the end of the performance I went on stage. My surprise was that gorillas accompanied me without measure words Tosh's dressing room. Once inside, almost dark, I found a mystical experience. It smelled of incense and ganja. A lot of women with colored turbans were sitting on the floor wrapped in stony silence. Peter congratulated and hugged a few seconds. He was tired of acting. So do I. We said goodbye with a "So long!" After a few years, 1987, killed die, received two shots to the head at home of Jamaica. I saw Bob Marley perform on stage in 1975, Lyceum Ballroom in London. After Marley's death in 1981 I did not listen to reggae. Reggae in 1976 and 1977, coincided with the beginning of punk in London. Is perhaps by the fact that young rastas and punks got together to fight in the street right-wing party and racist English, National Front. At the same time, it was common to see joint punk and reggae act together in one place. There were very good feeling between them.
I remember the advent of punk-rock, the Dawn gold (although covered with spit). What was your first sighting, your first concert, what were your Initial reactions to the phenomenon ...?
For me, punk was the first warning in May 1976, an evening at the Roundhouse with Patti Smith and the Stranglers of openers. It was Patti's first performance in Europe. Shortly after in August in the film The Screen On The Green in Islington, Punk had a Midnight Special, midnight to morning, with the Sex Pistols, The Clash and Buzzcocks. It was a amazing experience. Instinctively I realized that this would mark a time and purpose of the rock. Pistols and The Clash, caused me a fresh and bestial. In that small local cinema viewers were all punk sets Londoners. Including the Bromley Contingent, the group of boys and girls punks close friends of the Pistols, Siouxie Sioux and who was dressed as a dominatrix, with red swastika armband in the arm and the white breasts exposed. The following month, September saw the first punk festival at the 100 Club Oxford Street, with the Sex Pistols Clash and Subway Sect Since that day, spent two years in a row watching direct non-stop punk, several times per week. Many nights I was running from one club to another for do not miss anything. The funny thing is in the same queue to enter the next you were local to the same punks former club, Mark P. of Sniffin 'Glue, or members of the Clash Subway Sect, Pistols, Damned, or any other punk set that we had just seen that act evening. So while we were lining up to get had a spirit of great complicity between us, for all we knew of view, or talked about past performance, or as follows.
What groups you liked most? Here in this holy house are enough of Generation X, early Jam and Clash, really. Please tell us, anecdotes, all that comes to mind, of Slits, Damned, Pistols, McLaren ... Did you know personally this one of these birds?
I only crossed words with almost everyone in these groups and others. I personally met the anarchists Crass and Poison Girls. One day without warning, I visited Malcolm when their study was still in full Oxford Street. He was alone and I very well received. We speak Catalan and Spanish anarchism. To the goodbye, no I have asked nothing, gave me the great original posters of the Sex Pistols. I also went to see Bernard Rhodes, manager of the Clash and Subway Sect7. A guy folksy, wanting to break the record industry. One night very late coming out of the Roxy, I went to his home in my 2CV to Chrissie Hynde as the Pretenders did not yet exist. Then Chrissie was just another fan of punk. Us knew of view. He invited me to fish & chips, but declined his kind offer due to chronic fatigue entailed after 2 years of punk. Each night we had a surprise. Eg Irene and brother Oscar (who was passing through London) saw the official launch of The Jam in London in the Upstairs the Ronnie Scott's. A small local club over best known jazz in Europe. There were very few people, only MM and NME journalists, and four cats. Yet his performance was electrifying: Paul Weller acted as if in front of 100,000 people. He gave everything. I remember that broke a string on your guitar and Captain Sensible of the Damned, I was there, gave him a spare rope. In the end their performance angrily broke his guitar to pieces, and was consecrated as the adopted son of Pete Townshend of the Who. Then talk to Paul and his father, who served as manager at that time. Shane was also MacGowen, the singer of the Pogues future, we knew much of all our nights punk. The good thing about punk is that there was no As set. Everyone had their own personality, different nuances. One important thing to note is that the Sex Pistols (With Glen Matlock) The Clash, The Damned, Generation X, The Stranglers and The Jam, were really great musicians. It nonsense to say that in punk musically nobody had any idea talking about. On the other hand I had a special inclination by Subway Sect were the Velvet Underground punk. But at the moment of truth, once seen the Pistols Live, that was the end of the rock for me. Impossible to overcome. An end of my long love affair with the rock music.
That moment was immortalized for the Spanish fans thanks to the photos of your friend Salvador Costa, that you warn to cover the moment. Snapshots would be published Punk in the mythical book that brought Star Books in 1977. For many years, repeated legend among the punks that I knew in my town was that among the pictures of a punk was a Catalan. Now I understand everything you were. With a painful pin embedded in the cheek, in fact.
These pictures punk Salvador are of extraordinary quality. The amazing thing is that all photos of the book is made in only three days. We were literally running from one pub to another pub, a club to another club, on and on until the wee hours of dawn, capturing a unique historical chart paper. It is one of the very first books about punk around the world. The first order of the book sold out immediately in Compendium Books and at the Photographers Gallery in London. I to ask several times many more copies of the book to Juanjo Books Star until completely sold out in its editorial. In London, the book edited by Star was sold as water. In Punk's book also is a picture of Irene and a Montse, the Salvador Costa woman.
What about the other country representative in punk London: Paloma / Palmolive of the Slits, originally from Malaga? How only two Iberians in punk'77, spied other's presence? I remember seeing a shooting tion for Weekly Report an interviewer rather estulto questioned that the only two Spanish speakers had in front of the Roxy: You and Palmolive, separately. Did I dream this?
No. When I met the team lost by Portobello TVE I asked if I could lend a hand. By chance at that time was passing by Dove Slits, the introduced each other and so they did the interview. I never before had spoken with her. What it says Paloma is the best of this punk documentary, by the way. The entire program can be seen today on You Tube.
Do you think your older somehow influenced your perception (More thoughtful, perhaps) of punk rock, or the Instead it embraced as if you had seventeen?
If your body asks you start you will not stay home. Living the rock is transgression. Otherwise, not worth it. I was the first to break tables, beer bottles, chairs and starting in the performance of the Clash at the Rainbow-this is the true origin of future performances of Vagina Dentata Organ-or Johnny Thunders share with spliff after his performance at the Roxy. Or a beer partirnos embraced Rod Stewart shoulders during one of the six nights of the performance of the Stones at Earls Court in 1976, while he laughingly pointed a finger at Ron Wood, was his first performance with the Stones - telling me that Ron was like a little brother, little brother ... This is rock n 'roll. It transcends music itself. So a few years later the Californian artist Monte Cazazza, the inventor of the term Industrial Music, half jokingly, half seriously, I gave it the nickname of juvenile delinquent. Of course while we knew that punk would become a great marketing, influencing music, fashion, theater, literature, dance, film, etc.., until to this day.
How did you view consecutive bifurcations (and polar opposite each other, in some cases) that flowed from the punk? The post-punk, Oi!, The mod revival, 2-Tone Case, the new romantics, the industrial ...
The post-punk and I'm not interested in substitutes. Luckily I already was heavily involved with Throbbing Gristle. I saw welcome ska The Selecter and The Specials, for fighting racism very much alive at that time. But his past was bluebeat water, as was directed at a very young audience that naturally did not know the authentic Jamaican ska. From London I wrote articles on these and other groups to Sal magazines Common and then Star Dexy's Midnight Runners were fun, nothing more. I did not like Oi! bands, except Sham 69 which to me was more punk Oi! The actions of Sham 69 at the Roxy were great. Jimmy Pursey, the voice and leader the group was energetic and his music was thrilling. Their followers were punks and skinheads. On the other hand the industrial was already forging while punk. But that is another story.
When born your interest in the industrial and electronics combative? Is there a first contact with the environment Throbbing Gristle pre-Vagina Dentata Organ, or just started to interact with them when they were working with your own "group"?
Apart from Stockhausen, electronic music did not interest me until the Throbbing Gristle and Whitehouse recondujeron with high doses of disturbance and perversion. Exploding punk in late 1976, saw the installation of Genesis PROSTITUTION P-Orridge and Cosey Fanni Tutti, at the Institute of Contemporary Art (ICA) in London. This exhibition was a member the British Parliament declared that "these people are the bane of civilization. " An excellent compliment, which brought the resulting scandal in all the British media. Also I read an interview in Melody Maker where Gen broke with all the clichés of rock. Furthermore, long before punk and industrial music, I was vaguely interested by classical composers such as Arnold laboratory Schoenberg, Mompou, Edgar Varèse, Stockhausen and John Cage. A Cage greeted him in Cadaqués, after a round of questions and a concert by the pianist played his Alice Larrocha. In early 1977 I chanced to Genesis P-Orridge in the street, in Berners Street, in central London. I went with the mid-back length hair shaved with a triangle on the front. Looking for a hairdresser. I stopped and talked. He told me the project of Throbbing Gristle. Thus began our friendship, which lasted all those years now, we are still in contact. Another thing about the name of Vagina Dentata Organ, from very young knew the myth of the vagina dentata thanks to a Picasso painting. He also had read more than one Once in the press, and a book of Freud, and later in the book Psychopathia Sexualis by Dr. Richard Krafft-Ebing, psychiatrist specialist sexual paraphilias. The same day I first came to Genesis, he carried a large bag skin with a vast vagina dentata painted on one side of the bag. Hence was born my nom de guerre: Vagina Dentata Organ. The Vaginal sonic castrating my work and my actions live. That same year, 1977, saw action at the Electric Circus in Camden Town of Warsaw Pact, with singer Ian Curtis. Later I went with Throbbing Gristle at Manchester in 1979, then played at The Hacienda. In the first row of fans were Ian Curtis and all of Joy Division. As we know, unfortunately, Ian committed suicide at age 23 in 1980. He was a friend of Genesis.
I think you met Genesis in the Iberian Centre of London, a venue where he also performed anarchist concerts. I remember seeing a poster on RUDI live there, full of live and GRAPO ETA (was 1978). And, if I mistake not, to pedophilia.
In January of 1979 I organized an exceptional action Throbbing Gristle live at the Centro Iberico. At that time I was fortunate to meet Cos Eliseu Huertas, a biker Garrotxa, who also had spent many years living in London. Eliseu be always with his Harley at the concentrations Hell's Angels in England, and all the Angels will have great appreciation and respect. It is a connoisseur of rock music: he has lived, I have read and seen it all. He specializes in Frank Zappa and the Grateful Dead. After a few years I recorded the album VDO Un Chien Catalan, with the sound of your Harley-Davidson giving around in Port Lligat and Cap de Creus, in one night from the north, very cold in winter. Eliseu has a memory extraordinary. He has seen double or triple rock music I always rolled along with the musicians. In late 1978, I was looking for a place to mount a large performance T.G. important Eliseu invited me to go to meet the Iberian Center. This center was a large abandoned school in Harrow Road turned into a squat, and also had a coffee bar and passes a large room for film and music concerts. It was a rendezvous of anarchists, libertarians and communists (not could see between them). They also told me they were often secret agents of the Spanish Embassy. If I remember correctly, to organize it for T.G. I had to talk with veteran anarchists exiles Manuel Manrique and Miguel Garcia. The latter garrote was spared at the last minute after being convicted to death by the Franco regime, but spent 20 years of his life imprisoned Carabanchel. Eliseu Joaquin Sabina told me that was much Center for Iberian, but then I did not know who he was. More later also organized direct actions in Whitehouse the center. For some reason came to the ears of Manrique and WH Garcia was a fascist and ultra set. Very serious I convened a meeting that day and at that hour. When I showed I waited about 10 people sitting in chairs in a circle, unless it was an empty chair for me. Started to question. It seems that I convinced them explaining that William Bennett was a great artist, avid reader of Divine Marquis de Sade and nothing else. The live performance WH was done successfully on time and smoothly.
View your photo of 1977 with the famous shirt Ulrike Meinhof leads me to ask you about your vision of the armed struggle, then and now, and how did you live the days of the Brigate Rosse, RAF, etc.
Personally, I'm interested in all compulsive behaviors obsessive fans of all kinds. The Red Army Fraction, (RAF), planned in the European subconscious the years 70, and coincided in time with the punk. Even Brian Eno produced in magnificent disc set 1977un Snatch (Consisting of two American girls who lived in London, Pat Palladin and Judy Nylon) called RAF, inspired by the abduction and executive assassination of Martin Schleyer. In it we hear the notices warning the civilian population against the German police the Baader-Meinhof. It's a mystery to understand how the RAF could be as utopian and romantic, knowing that could never achieve their goal, against the powerful German state.
I think your collaboration with Psychic TV in "Catalan", the Dream LP less sweet, has done more for the idea of Catalan non-asshole that all of Pau Casals speeches. One feeling pretty proud of it, really.
O.K. But there are assholes everywhere. Also collaborate on other disks in PTV and Whitehouse. Even on one occasion, Genesis is temporarily sick when in 1988 the other three TG members, act live at the Astoria theater in London, under the name of Throbbing Gristle I went on stage Ltd. to sing a duet with Gene endless "Discipline" I was a whip of almost three meters long in each hand, striking lashes left and right against the stage floor. That night sold-out Astoria.
That said, I will ask you a tricky question: You Catalan but do you feel close to the national Tarannà course? Do you think people like Francesc Pujols, Trabals, Dali, etc. are exceptions that prove the rule of Catalan rectum and correct, or that there is another confirmation of Catalunya, arrauxada and surreal? I have my doubts, really. And, another question: Do you feel spiritually close to Spain, or the rest of the Iberian Peninsula?
Paradoxically closely follow international politics and national but I have a political model itself. I do not care I see. First I want to say I feel just as well with friends over a dry martini cocktail at the American Bar the Savoy in London, or under the dome of the Palace of Madrid, or in the bar Barcelona Tandem. I feel good in everywhere. But politically the Spanish state and Catalonia never have understood. No emotional empathy. By Therefore, the best from my point of view is a political divorce. Like life itself. I see more drama than this. That each you make your bed, and address its consequences.
What do you think of the groups had a similar wave VDO and operating from Spain, Geometric Splendor or the first Aviator Dro? ¿Mantenías any correspondence with them?
At first we wrote and we exchanged discs GA. I still have his letters. I think most were fixed in EG electronic noise in the deep mind games the English Throbbing Gristle and Whitehouse. Obviously, we equidistant both in waves, are very different. Am sure that they, for other reasons, think the same of VDO.
What are your musical influences non-VDO? Of course, Surrealism and Dada, right?
In this order: Salvador Dali, Eros and Thanatos. With touches of Dada and surrealism that turned into hyper-realism. In this life there is nothing more exciting than reality raw and burning. Like the paintings of Francis Bacon, who inspire violence, and Lucian Freud, we are overflowing with human flesh.
Did you, hand in hand with Genesis P. Orridge, any incursion in Magick? Here at The Modern School are not much believe in "the occult", although we love to the book Colin Wilson or The Return of the sorcerers of Pauwel. Us would like you to try to convince us otherwise (ie, of that there is the "hidden").
I do not believe in ghosts, but I enjoyed reading Aleister Crowley and Colin Wilson, and I have the Satanic Bible Anton Lavey. A Wilson went to greet him and talk to him in a London bookshop. I may be of the few people Gene environment that did not participate in the rituals inspired by Crowley. For me it was all a little Kumbaya. Genesis is a very interesting guy. Lives and works his art 24 a day. It is always tired. When he moved to California immediately connected Ken Kesey, the leader of the Merry Pranksters and the author of One flew over the cuckoo's nest.8 Gene worked with Timothy Leary, the spiritual father of LSD. He was also a close friend of the artist Brion Gysin, the inventor of the Dream machine: a cylinder which gives turns on itself, with interior lighting, and presumably alters your mind (if you get close with eyes closed). The result as a hallucinogen is natural, without side effects. I I tried Gene and the rest of Psychic TV in a music studio. The only person who paid no effect was to me. In 1982 at the Ritzy cinema in Brixton, William met and greeted S. Burroughs. At the Genesis cinema hosted The Final Academy, an evening of music, reading, poetry, with the enigmatic Guest Burroughs, among others. Through gene, also I met the filmmaker Derek Jarman, and together we shot for Catalan The Golden Age of Television. Another curious fact: a late 70 years, Genesis sent by certified mail a letter with a canned soup to Andy Warhol's Campbell in NYC. By return mail, Gen was in London the same can of Campbell's canned soup, this time signed in the handwriting by Andy Warhol. Long live the Pop Art
Although we have seen descriptions of the complete works VDO on the web written by yourself, we would like efectuaras now a reflection of what Outlook 2010 they present to you those eight albums and how they aged.
I am currently working on the ninth album of Vagina Dentata Organ, entitled Irene's cunt. I always tell my buyers that VDO discs are not listening. Not I understand. I still have customers in worldwide. Chances are that are a despicable snobs. Very I often get emails from friends look on Ebay to see the picture- VDO discs at prices ranging up to 2,500, $ 3,000 each. VDO discs are unique. Once the first edition of each never again be hard to edit. I have always produced the discs myself, through my brand: World Satanic Network System. My brother Marc creates all the graphics. Our modus operandi is similar to that of Bunuel and Dali when filmed Un Chien Andalou: we send hundreds of emails with many ideas to get to decide the graphic concept of the covers. Discard half, and only keep the ideas we like both. Buñuel and Dalí did something similar with confetti writings that were breaking, or getting into the important a shoebox-up to achieve your goal. VDO discs are unbearable. There are sounds of dogs trained to kill, a sonic live document of a collective suicide, ritual drums, different couples fucking live, the mechanical sound a Harley-Davidson, a remix of the first four VDO vinyl records, playing the dead bells or violin performing five variations of the same piece of music. These discs have a strong emotional charge of violence, sex and death. I guess the work has been frozen VDO in space. I do not follow fashions or moral principles. Course that no.
Everyone, including you, mention the word "nihilism" to about you and your work with VDO, but frankly, after seeing in flesh and blood, I find very little nihilistic (and I say this as a compliment): a type seem enthusiastic, love of life, passionate ... Perhaps what you call it nihilism rather, in your case, a perpetual anger against the establishment and modern society, and their desire to ciscarte idols, perhaps even a certain pessimism for the future of humanity ...
Appearances are deceptive. Salvador Dali said that it is absolutely essential to have a violent and subversive attitude, so to keep a sufficient distance hygienic cretins and rotting. Precisely this is what I show in all my live performances VDO. They are acts of violence and destruction. On the other hand, thanks to the imagination, my inner world remains optimistic. But my vision for the outside is just the opposite.
Certainly, the ultra-famous performance at the VDO The Golden Age of 1984 is quite nihilistic and gives a little of fear. I love to destroy works of art imbecile something we should do more often. Of course, Casademont not remember and neither his father: Who would be your artistic goal to kill today?
Now the English Chapman Brothers puppets painted on original lithographs by Goya. Fantastic! Dali painted over great pictures of very old paint. In 2008, in live action Vagina Dentata Organ in SPECTRA (The 'first symposium on the conspiracy theory' in the OCCC Valencia) broke with rage, with a hammer, seven large mirrors. The following year the Italian artist Michelangelo Pistoletto did the same, breaking several mirrors the Venice Biennale in 2009. In live action VDO in the Auditorium of the MACBA, the Festival LEM broke hundreds of glass bottles. Then two years later Lady Gaga in a live performance to the same, broke three or four bottles false transparent sugar, about his piano. What is important is the fact implicit destruction. No matter what the object to liquidate. My thing is to destroy, or burn, for the sake of destroying. This is the most urgent for me. Nothing more. But something still unsettles me after 10 years of art school at the University of Grenoble, France, invited me to present an exhibition of the paintings in my blood devoted to top models. After opening the school principal we invited to dinner at my brother Marc, Eric and Marc curators Hurtado Étant Donnés electronic assembly, and other guests, men and women, related to the world of art. Much later, on reaching the hotel room, we put TV news: ETA had killed that afternoon in Barcelona politician Ernest Lluch. Immediately related the innocent blood spilled in the streets of Barcelona with the blood of my paintings. We were thoughtful, without words. It was on 21 November 2000.
What do you think of the transformation that has made the art anti-art and truly dangerous destructive people as Whitehouse and Throbbing Gristle, and has recovered been for the people of shock art and memos from the likes of Tracey Emin or Damien Hirst mercantilist idiot?
Fashion has always been charged to the winner. Tracey Emin and Damien Hirst are great people and artists. I have seen the birth and grow artistically. I even bought several of his works when no one knew. I still believe that ART is a device it only serves to make money. But now I prefer a thousand Sometimes an Emin, a Hirst, Gavin Turk a, a Banksy, a Marc Quinn, the Chapman Brothers or a Pablo Picasso. We leave the past to enjoy and look forward. In 1978 Throbbing Gristle performed live at Goldsmiths' College of Art Only four people were to see them. One of Damien Hirst was them, then a student of this school recognized Art from the University of London. A Tracey Emin, Irene and I met at a party given by the photographer Mat Collishaw in London. Damien and Tracey are from outside London. Are provinces, as we say here, and working class origin, as they say the very English class. From my point of view I think it's great to see as your imagination only have revolutionized the art world fanatically universal. He deserve. Although go laughing to the tomb.
Oh. Vale. Postmodernism says there is no truth, all ranges, there is no center, no better or worse, not there is a moral, etc ... Here at The Modern School are moralistic, anti-postmodern and anti-deconstructionists, and we firmly believe that objective truths do exist. Not know if you agree with this.
Let's pretend sentenced Aleister Crowley: "DO WHAT WILL YOU SHALL BE THE WHOLE OF THE LAW ". That can be interpreted roughly as: Do as I go of the balls, or ovaries. I think self-categorized in words and topics traps us in a straitjacket. Fortunately, today everything is changing and changing very fast. But it is not sufficient. We can only release is to move forward. Evolution or brain death. Without going into details, I curse especially conservative political parties and religions. They are the biggest culprit in this disastrous ballast against progress, science, and individual freedom.
1 Ex-punk, ex-mod reborn a fan of The Christians 2 French emigrant and prominent member of the 70's punk Angeleno, founder of the legendary Slash fanzine and label. The editors of The Modern School were fortunate enough to Hangover get to interview for a fanzine irregular also published. Bessy lived in Barcelona in the last stage of his life, and died here in 1999. 3 Do not remember which of your referrals. Obviously, I never dared to poke. Moreover, this artifact did not appear to have been made so that no one would listen; seemed to challenge you to do, in fact. Xavi told it 4 Me Cot, the organizer of the first two festivals in Barcelona Punk in 1978. 5 Although we respect, missing more. 6 Valls adds: "This concert is considered the official end of the hippies and the Flower Power. " 7 And then of Dexy's Midnight Runners and Specials. 8 And also one of the favorite books of the Modern School: Sometimes a great notion (1964)
|
|