Posts Tagged ‘Destroy All Monsters’

10 Greatest Anti-Art Suicides (Before Mike Kelly)

Thursday, February 2nd, 2012

The news that LA art scenester Mike Kelly just topped himself led me to wonder whether in ten years time he’d make anyone’s list of best ever anti-art suicides. Was his death a resolute ‘NO’ to capitalist exploitation? Or was it as tedious and pathetic as the suicide of Kurt Cobain? I’ll leave you to judge that one and give you instead my top 10 suicides. Since Kelly founded the bands Destroy All Monsters (who I saw in London in the late-seventies after he’d left the group) and Poetics (with John Miller and Tony Oursler), I’m including musicians in this alongside those involved in more visual and literary forms of anti-art.

1. Ray Johnson – a pop and correspondence anti-artist. Ray makes number one in my list because although I never met him, I did have a very minor correspondence with Johnson about 25 years ago. So there’s a small personal connection and we all know nepotism rules in the art and anti-art world. ‘New York’s most famous unknown artist’ drowned himself off Long Island in 1995 – some say it was a final work of performance art.

2. Ann Quin – a 1960s British experimental novelist who did many things before and better than her now more famous contemporary B. S. Johnson (he topped himself by slitting his wrists while lying in a warm bath shortly after Quin’s summer 1973 death). Although Quinn’s first novel Berg (1964) made an impact, by the time she drowned herself, her critical stock had dwindled. Like Ray Johnson, she swam out to sea – but into the English Channel from Brighton’s Palace Pier, rather than the North Atlantic.

3. Arthur Cravan – was a dadaist who specialised in boasting and reinventing himself. Among other stunts, he fought world boxing champion Jack Johnson drunk, and was quickly knocked out. In 1918 Cravan disappeared sailing a boat in the Pacific Ocean off the coast of Mexico and is presumed to have drowned. His rather ambiguous suicide set the tone for the deaths of later artists such as Bas Jan Ader (who was lost at sea in the North Atlantic in 1975). For me death at sea is the best way to go (it’s oceanic), but having given you three of these I’ll move on to lesser forms of suicide.

4. Donny Hathaway  – is probably best known for his duets with Roberta Flack but his solo work constitutes some of the classiest soul made in the 1970s. Despite success as a singer and songwriter, Hathaway demonstrated to the likes of Herman Brood that the best way to end it all is by throwing yourself into the street from the glittering heights of an exclusive hotel. In Hathaway’s case this was from floor 15 of the Essex House Hotel in New York. Hathaway appears to have been suffering from schizophrenia before his death. His funeral was conducted by the Reverend Jesse Jackson.

5. Jacques Vaché – was a friend of Andre Breton and thus French surrealism’s most famous suicide. He didn’t really do much but maintain an attitude of indifference and disdain towards the world. Vaché killed himself by taking an overdose of opium, and thus blazed a trail for punk rockers like Darby Crash of Los Angeles band The Germs (who deliberately took an overdose of heroin in 1980).

6. Graham Bond – was in at the start of the British blues boom of the 1960s, but he is inevitably included here because he appeared in Gonks Go Beat, an unbelievably bad British movie that Mike Kelly saw on late-night TV somewhere and wanted to see again because he couldn’t quite believe what he’d been viewing. Via a mutual friend I was asked if I could help Kelly locate this item (this was before it was reissued on DVD). I found a bootleg version and passed on the information about where and how to buy it. Returning to Bond, his career basically spiralled downhill from the late-sixties onwards with this decline fuelled by drink, drugs and involvement in the occult. I picked up a typical story about Bond looking for money when I interviewed one time New English Library (NEL) editor Laurence James back in the 1990s, although I don’t seem to have included it in the published version of my conversation. Bond turned up at the NEL offices one day demanding money because somehow a photograph of him had found its way into a Hells Angels magazine published by the company (who’d thought this was a picture of a hells angel and had not realised it was in fact an image of a musician). Bond pretended to be outraged and claimed this mishap would ruin his public reputation. James gave Bond a few quid and the musician went away a happy man because he’d scored enough money to buy whatever drugs he needed that day. In 1974 Bond did the decent thing and jumped in front of a tube train at Finsbury Park Station in north London.

7. Herman Brood – is well known for songs like 1978′s Rock & Roll Junkie (which includes the line: “and when I do my suicide for you I hope you miss me too…”). in later life this Dutch rocker swapped pop excess for a career as a not particularly interesting painter. Sick from prolonged drug use and unable to kick his habit, in 2001 Brood leapt to his death from the rooftop of the Amsterdam Hilton Hotel. When I heard about this the first thought that popped into my head was that I’d thought Brood’s leather jeans looked ugly and uncool when I’ d seen him perform with his band Wild Romance in London in the late-seventies.

8. Adrian Borland – is someone I almost have a personal connection to, since he knew a number of my friends. In the late-eighties I spotted Borland posing outside a London rock venue. He was once in a seriously obscure band called Rat Poison (with a friend of mine in fact) although he later falsely claimed his first group was The Outsiders. As far as I’m aware Rat Poison only ever played one gig at New Malden Town Hall (in south west London). When I came across Borland he was obviously waiting to be recognised, and he gave me a huge smile as I walked over to him. “I know you!” I said before pausing dramatically. “You was in Rat Poison!” Borland’s jaw dropped, he’d lost his rock star composure but eventually managed to blurt: “I’m Adrian Borland. I’ve gone solo now but I used to be in The Sound.” “Never heard of ‘em mate!” I shot back before stomping off leaving my victim completely bemused. When Borland ended it all by jumping in front of a train in 1999 I wasn’t surprised – he seemed to have been in the rock business for the wrong reasons. He was more interested in fame than music and that was bound to result in him becoming very frustrated. Of course, Borland only makes this list because I like to flatter myself I made a small contribution towards his death!

9. Wendy O. Williams  – was the singer in the dire American hardcore punk/metal band The Plasmatics. I always liked the idea of Williams far more than the music her band made. She’d started her career in the entertainment business by performing in sex shows, and never really moved away from that since she was usually topless on stage. Frustrated at her inability to break into the mainstream, in 1998 Williams went into the woods near her home and blew her brains out with a gun.

10. Guy Debord – this lettriste and situationist claimed that he wrote less than most writers but drank more than most drinkers. Little surprise then that in 1994 Debord shot himself because he could no longer bear the pain of the illnesses brought on by his excessive consumption of alcohol. Debord only limps in at number 10 because a more interesting dadaist suicide appears to be a completely fictional character. Julien Torma allegedly wandered ill-clad into the Tyrolian mountains at the age of 30 to end it all, and was never seen again. I like to laugh along with Torma’s aphorism: “Perfection is mediocrity. Only excess is beautiful.” Debord by way of contrast, seems to have taken this absurd joke seriously.

And while you’re at it don’t forget to check – www.stewarthomesociety.org – you know it makes (no) sense!

Time Slip At The Electric Ballroom In Camden

Friday, October 28th, 2011

Until last night I hadn’t been to The Electric Ballroom in Camden for over 30 years. If you are obsessed by 70s English punk rock then the last time I’d gone might be considered an historic occasion. It was the last day of 1979 and the final time the old pre-pop Adam and the Ants played live, as well as being the swansong performance by the original line-up of The Lurkers. I don’t remember who else was on the bill, but I do recall getting belted by two bouncers. They didn’t throw me out, they were labouring under the mistaken impression that some girl who was giving Adam Ant a hard time was there with me – and being ‘gentlemen’ they didn’t want to hit a lady, so walloped me because they wrongly assumed I was her boyfriend. When I did leave at the end of the night I got hassled by some cops who said it was obvious from the blood on my clothes that I’d been fighting. The filth told me the next time they caught me in a similar state they’d nick me. I insisted I’d had my head turned as I was speaking to someone and had accidentally walked into a door; this wasn’t true and I wasn’t particularly surprised the old bill didn’t believe me – they must have heard variations on that particular story a million times…

I’d never had much luck at The Electric Ballroom. On another occasion I’d gone to see The Brian James All Stars after that guitarist had quit the original Damned – and had the misfortune to accidentally catch one of the shittiest acts of the seventies. One of the advertised support bands for Brian James was Squeeze but their van broke down, so their management put The Police on instead. This was in 1978 and well before The Police had hit records. You knew any band called The Police were gonna suck before you even heard ‘em; and of course they were truly awful, because only a bunch of utter wankers would name their act after the filth. The fifty or so punters in the venue – including me – turned their backs on the band and went to the bar at the back of the hall for a drink. The Police were completely ignored by an audience who just wanted Sting and his poxy mates to get off stage.

Things got off to a bad start last night too. I’d been to an art talk near Bishopsgate first, and to say the Robin Day chairs the audience there had been sitting on were unergonomic would be a major understatement. Arriving in Camden I realised I hadn’t eaten, so I got a take-out falafel sandwich. This was a mistake that took me right back to the seventies via my memories of how appallingly bad food tended to be in London when I was teenage. I expected to get the falafel in pita bread with salad, but it came in a French stick with chili dressing and one slice of tomato, and nothing else! The overall quality of food in London has improved massively over the past 30 odd years – it seemed I had fallen through a time slip.

Arriving at The Electric Ballroom it was good to be ushered in by Jim Driver, who was meeting and greeting those like me who were down on the guest list. I didn’t know anything about the band who were playing, I hadn’t seen Jim in a while and he’d sent me a message saying I should come to the Ballroom as he was promoting a Halloween party special and I’d enjoy it. I trusted Jim’s musical taste because at one point he’d managed Geno Washington. The band turned out to be Gandalf Murphy & The Slambovian Circus of Dreams – a New York folk rock act with a heavy sprinkling of prog on top. Back in the 70s when I paid more attention to rock music, the kind of American acts I dug when I saw them over here were the likes of The Dead Boys, The Dictators, Destroy All Monsters and Pure Hell – I got more sophisticated in the 80s, with my taste in live American music switching to the likes of Chuck Brown & The Soul Searchers.

Watching Gandalf Murphy at the Electric Ballroom last night you could be forgiven for thinking that punk hadn’t yet happened – an impression that was reinforced when the band did The Stones Gimmie Shelter as an encore. Half the audience were dressed up as pirates and they seemed to be having a ball…. but I was left wishing that rather than falling through a time slip to a hippie gig circa 1974, I’d found myself in  1972 grooving to Major Lance at The Torch in Stoke-On-Trent! I couldn’t enjoy Gandalf Murphy’s London Halloween show because there were too many punk ghosts haunting me at the Electric Ballroom. Their brand of psychedelic folk with tinges of country struck me as representing everything late-70s punk set out to destroy – and simultaneously the complete antithesis of all the stomping sixties mod and soul sounds I still love too!

And while you’re at it don’t forget to check – www.stewarthomesociety.org – you know it makes (no) sense!

1970s nightmares part 1: seeing Sting & The Police unannounced at a punk gig

Friday, July 24th, 2009

I knew 1979 was gonna be a bad year before it even started, although I didn’t see Thatcher’s election as a certainty until it happened. Much of my take on the world back then was filtered through the  music I loved.  On 29 December 1978 I headed up to Camden to catch a multi-band new wave gig at The Electric Ballroom headlined by The Brian James All Stars. This was the band that eventually became The Brains. Their performance that night was so-so and for me it didn’t compare with the excitement of seeing The Damned live when James was their guitarist (or even when they reformed without him).

I don’t remember who was bottom of the bill on 29 December 1978 at the Electric Ballroom. I hope it wasn’t 4th Reich, who used to do a lot of central London support slots at that time; they were one of the worst named punk bands of that era. As far as I could tell this group weren’t political, they had a female singer and their most memorable song was a cover of the early sixties hit Bobby’s Girl. But the name 4th Reich was so stupid that I never paid them much attention, although I saw them at least half-a-dozen times as support to other bands.  Billed immediately beneath Brian James was Squeeze. I was more interested in Squeeze then than I would be now, since I’d rather liked their Packet of Three EP (more to do with John Cale’s production than the band’s live sound); their subsequent chart hits failed to groove me. Anyway, at some point it was announced that the Squeeze van had broken down with them and their equipment in it, and since they couldn’t make the gig, the The Police would play instead.

I knew before I heard them that any band calling themselves The Police had to be terrible. The filth were scum and no one in their right mind would name their group after the old bill. Brian James hadn’t pulled much of a crowd, and there were only about 50 punks in the Electric Ballroom, which I guess had a capacity of something between one and two thousand. When The Police took to the stage everyone in the venue walked away from it and headed for the bar at the back of the room. Pretty much the entire audience had their backs turned on Sting and company for their entire set. Unfortunately this was the most memorable thing about the night… Not a good gig.

I don’t remember what I did that New Year, my recollection of the following one is much better since I was back at the Electric Ballroom to see in 1980 with a double-bill of The Lurkers and Adam & The Ants. Musically this was a much better night than Brian James and The Police a year and two days earlier. That said, while the Ants were playing a girl who was standing close to me tried to pull Adam off-stage, and rather than taking it out on her, the bouncers beat me up. Then, because I looked a mess with my bloodied face, I got pulled by the filth on my way home. I’d picked up one of the free clear vinyl flexi-singles The Lurkers used to give away at their gigs, and the old bill held me for ages while they tried to work out what this was. I told them it was a record but they didn’t believe me; apparently they’d never seen a flexi-disk before. Eventually, after a radio conversation with their controllers and a close inspection of the grooves, they concluded my Lurkers freebie was indeed a record and not some drug paraphernalia, so plod let me go with a warning that if I was caught fighting again, I’d be nicked. I headed off with their verdict on my flexi-single still ringing in my ears: “Very clever!” Little things impress little minds.

Three days later I made my way to Wardour Street in Soho to catch Eater who’d been advertised as playing at The Marquee. This schoolboy punk band were best known for bitching that The Sex Pistols were too old, and I really dug their super-dumb sleaze-bag thud. Unfortunately, being almost as young as me (I was sixteen at the time), they tended to bicker a lot. When I arrived at 90 Wardour Street  (now a swanky Terence Conran restaurant, but back then a rock and roll toilet) on 3 January 1979, there was a sign saying Eater had split up and Marseille would play instead. I’d heard the Marseille song Do It The French Way and seen pictures of this Liverpool based group, so I knew they weren’t for me. Back then people didn’t use the phrase New Wave of British Heavy Metal, but that’s what Marseille were subsequently tagged.

I was on my own and since Eater weren’t playing, I decided I’d only go inside if some of my mates were around. I couldn’t see anyone I knew but got talking to punkette in the queue and since she was going in, I decided to hang with her. I warned her that Marseille played heavy metal and we should go somewhere elsewhere. I wasn’t interested in Marseille but I was taken with the girl, so I parted with 50p to get in. Afterwards we both agreed that Marseille sucked and I walked the punkette down to Charing Cross station, where she caught a train to south east London. Unfortunately she didn’t invite me to go home with her but I did get her phone number. When I got around to calling the punkette a week later, she wouldn’t meet me coz I’d taken so long to bell her. I was playing cool, not hard to get.

So 1979 started badly and ended badly too with a beating at the Electric Ballroom.  There were some good gigs in-between, with The Specials just before they broke being particularly memorable. First time I caught them was bottom of the bill to the reformed Damned (without Brian James) and The UK Subs (I think), at The Lyceum Ballroom in The Strand. The Specials were even better when I saw them headlining at The Nashville in South Kensington – unfortunately they had the same support band both times, Madness, who were fucking awful. The best gig I saw at The Marquee that year was Slaughter and the Dogs on Monday 3 September. The most impressive act at The Lyceum in 1979 is hard to pin down, Pure Hell from Philadelphia were memorable – but I’m unsure whether I saw them there in 1979 or the year before. Ditto Destroy All Monsters, who I saw at The Lyceum, but this might have been in 1980 rather than 1979. Both Pure Hell and Destroy All Monsters were right up there with some of the class US acts I’d seen in 1977, such as The Dictators and The Dead Boys.  But even The Fall, who I’d hated when I’d seen them at The Marquee the year before, were excellent supporting Stiff Little Fingers at The Lyceum in 1979. The audience loathed them and Mark E. Smith did a perfect job of winding up the massed ranks of punk zealots. Smith is very entertaining when he has an audience that really hates him, but under all other circumstances I find him a bore.

I was also going to see a lot of the mod revival bands in 1979: Purple Hearts, The Mods, The Chords, Secret Affair, Back To Zero etc. But rather than the big events like Mod’s Mayday at the Music Machine, the best gigs were smaller ones at places like The Notre Dame Hall off Leicester Square and at The Global Village under the Charing Cross arches (then a straight disco, but later the gay nightclub Heaven). I liked catching bands from around London who you could see play every few weeks, and if they had a pop sensibility that made them even better. I saw both The Vapors and The Members repeatedly in 1979, as well as some of the more dire-hard acts like Chelsea and even Raped; the latter more after their name change to Cuddly Toys. So there was some good music, some bad music, but the winter of discontent was the real groove sensation – even if it was followed by the affront of Thatcherism. And since the current economic crisis is reopening the revolutionary possibilities that the ruling class wants us to believe were closed down back then, the seventies are on my mind a lot right now….

And while you’re at it don’t forget to check – www.stewarthomesociety.org – you know it makes (no) sense!