Lipstick Traces (69 page)

Wolcott, James. “Kiss Me, You Fool: Sex Pistols ’77.”
Village Voice
(21 November 1977).

Wolman, Gil J.
L’Anticoncept
(1951). Paris: Allia, 1995. Video and book of letters and words.

______
Défense de mourir.
Paris: Allia, 2001. Collage work, documents from throughout Wolman’s life, many works in color, and critical essays, including “Wolman! Poésie! Physique!” by Vincent Barras, “Le soufflé doleur” by Yves Tenret, and my “Joseph Wolman, ‘Art Scotch.’ ”

______(as Joseph Wolman).
Duhring Duhring
(Paris, September 1979).

______“Improvisations—Mégapneumes” (Barclay, 1965, France). Courtesy Larry Wendt and Louise and Marvin Sackner Archive of Concrete and Visual Poetry. “Mégapneumies 24 Mars 1963” (Achele, 1963, France). Courtesy Sackner Archive. “La Mémoire—from Mégapneumes” (1967) can be found on YouTube and other web sites. See Brau, Chopin, Dufrène,
Lipstick Traces.

______
Résumé des chapitres précédents.
Paris: Spiess, 1981. Artistic autobiography by détournement: works, writing, reviews; includes numerous examples of scotch art.

X-ray Spex. “Oh Bondage Up Yours!”/“I am a Cliché” (Virgin, 1977, U.K.).
Germfree Adolescents
(Virgin, 1978, U.K.).
Germfree Adolescents: The Anthology
(Sanctuary, 2001, U.K.), includes
Live at the Roxy.
On the first disc, the reissue of the band’s only official album, Rudi Thompson’s saxophone rolls over the music like a storm, but he holds the shape of each convulsive number. With the tunes cut earlier in the Roxy, the sound splitting in a dozen directions at once, Lora Logic seems among other things to be playing from a nightclub in Bangkok, as if punk was as likely to first raise its head there as anywhere. As Poly Styrene runs her songs to ground, it’s Lora who gives every performance the smell of the uncanny, the unreal, the sense that the performance this recording documents could never have happened.

This section includes credits and permissions for the use of illustrations, song lyrics, and other copyrighted works, as well as source notes to material cited in the text that does not, as it were, float in the air. Translations not credited are by the author.

p. 1.  Ray Lowry, first panel of “note oilskin base,”
New Musical Express
(19 May 1984), reprinted by permission of the artist.

pp. 3–4.  Walter Mehring, “Dadayama” (excerpt from Mehring’s “Revelations”; see
Dada Almanach),
trans. Alan C. Greenberg in his
Artists and Revolution: Dada and the Bauhaus, 1917–1925
(Ann Arbor: UMI Research Press, 1979), pp. 197–198.

pp. 7, 10, 12.  “Anarchy in the U.K.,” “God Save the Queen,” “Pretty Vacant,” by Steve Jones, Paul Cook, John Lydon, and Glen Matlock. All Sex Pistols songs quoted in this book are copyright © 1977 by Glitterbest Ltd., all rights reserved, used by permission.

p. 20.  “La Légende dorée,”
Les Lèvres nues
(Brussels) no. 3 (October 1954), p. 36; Berréby, p. 286.

p. 21.  Lefebvre,
Les Temps des mépris,
pp. 39–40.

p. 21.  “While present-day.” “Maintenant, l’I.S.,”
I.S.
no. 9 (August 1964), p. 5.

p. 25.  “warning to those.” Vaneigem, “Commentaires contre l’urbanisme,”
I.S.
no. 6 (August 1961), p. 37; Gray, p. 130.

p. 27.  Matt Groening, comic strip, “Storefront of Doom,”
L. A. Reader
(3 August 1984), copyright © 1984 by Matt Groening, reprinted by permission of the artist.

p. 30.  John Berger, “Lost Prophets,” p. 600.

p. 31.  Atelier populaire poster, “une jeunesse que l’avenir inquiète trop souvent” (phrase taken from a speech by President Charles de Gaulle, 24 May 1968).

p. 32.  Jamie Reid, Sex Pistols flyer, reprinted by permission of the artist, courtesy Jon Savage.

p. 36.  Anonymous Slits flyer, courtesy Jon Savage.

p. 38.  Quantick, “Punky Adventures on the Wheels of Peel,” p. 12.

pp. 39–40.  Warner Communications, “Entertainment,” pp. 10–11.

p. 41.  Photograph of the Penguins, courtesy Michael Ochs Archives.

p. 41.  “British ad in 1957.” From Jorn and Debord,
Fin de Copenhague.

pp. 41–42.  Drabble, pp. 59–60.

p. 43.  Camus,
The Rebel
(New York: Vintage, 1956), p. 276.

p. 47.  “Le Bruit et la fureur,”
I.S.
no. 1 (June 1958), p. 6; Knabb, p. 42.

pp. 49–52.  Anonymous leaflet, “For a Dignified and Effective Demonstration,” courtesy A. Hares, Mattoid, London.

pp. 53–54.  Wenner, “Peter Townshend,” pp. 108, 127.

pp. 59–60.  “Road Runner,” words and music by Jonathan Richman, copyright © 1975 by Modern Love Songs, used by permission of Joel S. Turtle, Administration.

p. 62.  Vaneigem,
Traité,
pp. 180–181;
Revolution,
p. 134.

p. 63.  T. V. Smith, “One Chord Wonders,” reprinted by permission of the songwriter.

p. 64.  Adorno, p. 59.

p. 66.  Photograph of Lora Logic, courtesy Rough Trade Records.

p. 68.  Vaneigem,
Traité,
p. 15;
Revolution,
p. 12.

pp. 71, 74.  On “snuff rock,”
KILL IT,
n.p.

pp. 72–73.  Muddy Wehara, comic strip, “No Future for You,” first published in Japanese in
Music Magazine
(Tokyo, June 1986), trans. Toru Mitsui, courtesy Wehara and Mitsui.

p. 77.  “Screwing the System with Dick Clark,” in Lester Bangs,
Psychotic Reactions and Carburetor Dung,
ed. Greil Marcus (New York: Knopf, 1987), p. 137.

p. 85.  Africa Bambaataa and Bill Laswell, “World Destruction,” copyright © 1984 by OAO Music/BMI.

p. 87.  Norman Cohn, p. 280.

p. 87.  “Dismemberment murder” from LeMoyne Snyder,
Homicidal Investigation
(1959), courtesy Charles C Thomas, Publisher, Springfield, Illinois.

p. 92.  Marx, “Contribution,”
Early Writings,
p. 254.

p. 92.  Debord,
Société,
thesis no. 34.

p. 95.  Milosz, p. 55.

p. 96.  Ascherson, p. 16.

pp. 96–99.  Debord,
Société,
nos. 30, 4, 8, 9.

p. 99.  Marx,
Capital,
pp. 163–164.

pp. 105, 108.  Huelsenbeck,
Deutschland muss untergehen!,

pp. 7–8.  Trans. Jeffrey Faude.

p. 106.  Steve Jones, Paul Cook, John Lydon, and John Beverly, “Bodies.”

p. 107.  “
WONDER OF WONDERS
.”
Club Dada
(Berlin, 1918), in
Dada Zeitschriften.

p. 107.  Marx, “Contribution,” pp. 246–247.

pp. 107–108.  Huelsenbeck,
En avant dada,
in Motherwell, p. 44.

p. 109.  Photograph of Luxemburg, as used in
King Mob Echo,
taken from J. P. Nettl,
Rosa Luxemburg
(London: Oxford University Press, 1966).

p. 109.  Steve Jones, Paul Cook, John Lydon, and John Beverly, “Belsen Was a Gas.”

pp. 110–111.  Debord,
In girum, Oeuvres,
pp. 228–229, 256–257, 241–242.

pp. 112–113.  For “Nazi Execution of Two Russian Partisans” see Anonymous,
Flesh and Blood
(Cupertino, CA: Genotype, 1980), p. 128 (as “Nazi execution of two Ukrainian children”); for the story behind the photograph see “Echo of ’41 in Minsk: Was the Heroine a Jew?,”
New York Times
(15 September 1987), p. 1. Dated to 1943, a variant is included in Bruce Bernard,
Century
(London: Phaidon, 1999), captioned “Perhaps the worst photograph of all”—meaning in all of the twentieth century.

p. 114.  Lanzmann, pp. 142, 143.

pp. 114–115. “Three Glorious Days in a Nazi Prison,”
San Francisco Chronicle
(11 September 1980), p. 17, reprinted by permission of United Press International, copyright © 1980.

pp. 115–116.  T. J. Clark, pp. 209, 236, 233–234, 210.

p. 117.  “I will never forget.” Quote from
Peter Kropotkin’s Revolutionary Pamphlets,
ed. Roger N. Baldwin (New York: Dover, 1970), p. 239.

pp. 117, 118.  “Sur la commune” (18 March 1962), reprinted in
I.S.
no. 12 (September 1969), p. 109; Knabb, pp. 314–315.

p. 120.  Debord,
Société,
no. 43.

p. 121.  Matt Groening and Steve Vance, greeting card, “Confessions of a Crazed Shopper,” copyright © 1984 by Matt Groening and Steve Vance, reprinted by permission of Paper Moon Graphics.

p. 126.  Arendt, p. 233.

pp. 127–128.  Karp, pp. 31–32.

pp. 129–130.  Atilla Kotányi and Vaneigem, “Programme élémentaire du bureau d’urbanisme unitaire,”
I.S.
no. 6 (August 1961), pp. 16–17; Knabb, pp. 65–66.

p. 131.  Debord,
Société,
no. 17.

p. 131.  “reversible connecting factor.” Debord, “The Situationists and the New Action Forms in Politics and Art” (Odense), p. 9.

p. 132.  Lefebvre,
Position,
p. 195.

p. 133.  Poster advertising
I.S.
no. 11, courtesy International Instituut voor Sociale Geschiedenis, Amsterdam.

pp. 136–137.  Lefebvre,
Les Temps des mépris,
pp. 157–160.

p. 139.  T. J. Clark, p. 236. “For the petit-bourgeois consumer of culture in the twentieth century, the available form of popular art has been black American music, and that is where my notion of collective vehemence was picked up—from kinds of blues singing and shouting, from improvised ensemble playing, from Charlie Parker’s way with the themes and harmonies of white popular music, from Little Richard and Fats Domino. But this kind of list is more than usually misleading here: the effect we are talking about does not for the most part lead to ‘masterpieces,’ and can be found almost anywhere, often surrounded by pure shlock” (p. 310, n. 61).

p. 141.  Kurt Tucholsky, “Danton’s Death,” trans. John Willett in his
Art and Politics in the Weimar Period,
p. 57, copyright © 1978 by Pantheon Books, a Division of Random House, Inc.

p. 145.  Photograph of Johnny Rotten by Dennis Morris, reprinted by permission of the photographer.

p. 146.  Photograph of Hennings, courtesy Hans J. Kleinschmidt.

p. 147.  Photograph of Ball, courtesy Hans J. Kleinschmidt.

p. 148.  Photograph of Huelsenbeck from
Phantastische gebete,
2nd ed. (Berlin, 1920), courtesy Hans J. Kleinschmidt.

p. 149.  Frame enlargement of Chtcheglov from Debord’s film
In girum,
in
Oeuvres cinématographiques complètes.

p. 150.  Frame enlargement of Bernstein et al. from Debord’s film
Sur le passage.
In Debord,
Oeuvres cinématographiques complètes.

p. 151.  Photograph of London punk (Jordan) from Val Hennesey,
In the Gutter
(London: Quartet/Namara Group, 1978), p. 73, copyright © 1978 by Val Hennesey.

p. 152.  Portrait of Saint-Just from Ernest Hamel,
Histoire de Saint-Just
(Brussels, 1860), frontispiece.

p. 155.  Debord, page from
Mémoires.

p. 156.  Vaneigem,
Traité,
p. 276;
Revolution,
p. 205.

p. 157.  Debord, page from
Mémoires.

p. 159.  Illustrations from “L’Urbanisme unitaire à la fin des années 50,”
I.S.
no. 3 (December 1959), pp. 14–15.

pp. 158, 160.  Debord and Wolman, “Mode d’emploi détournement,”
Les Lèvres nues
no. 8 (May 1956), p. 2; Berréby, p. 302; Knabb, p. 8.

p. 161.  Ivan Chtcheglov (as Gilles Ivain), “Formulaire pour un urbanisme nouveau” (1953),
I.S.
no. 1 (June 1958), pp. 15–20.

p. 162.  Auster,
The Locked Room,
pp. 58–59.

p. 162.  Trocchi, “Potlatch—an interpersonal log,”
Sigma Portfolio,
item no. 4, p. 4.

p. 162.  “time frightens.” Debord, with Gianfranco Sanguinetti, “Thèses,” in
La Véritable Scission dans I’internationale,
p. 45.

p. 163.  Debord,
Sur le passage, Oeuvres cinématographiques complètes,
pp. 21, 26; Knabb, pp. 29, 30.

p. 163.  Wolman, “liberté
PROVISOIRE
,”
I.L.
no. 2; Berréby, p. 154.

p. 163.  Debord,
Sur le passage, Oeuvres cinématographiques complètes,
pp. 25–26; Knabb, p. 30.

p. 164.  Illustration with caption from
I.S.
no 8 (January 1963), p. 42; trans. Gray, p.
69.

pp. 165–167.  Quotes and illustration (p. 177) from “Le Déclin et la chute de l’économie spectaculaire-marchande,”
I.S.
no. 10 (March 1966), pp. 3–11; Knabb, pp. 153–159.

p. 167.  Illustration from
I.S.
no. 9 (August 1964), p. 37.

p. 168.  “Les Mauvais Jours finiront,”
I.S.
no. 7 (April 1962), p. 12; Knabb, p. 84.

p. 168.  Debord and Wolman, “Mode,” p. 8; Berréby, p. 308; Knabb, p. 18.

p. 168.  Anonymous detourned comic strip, courtesy Lang Thompson.

p. 169.  “L’Opération contre-situationniste dans divers pays,”
I.S.
no. 8 (January 1963), p. 28; Knabb, p. 113.

p. 169.  Debord,
Préface,
p. 19.

p. 170.  “the domain.” “Problèmes préliminaires à la construction d’une situation,”
I.S.
no. 1 (June 1958), p. 12; Knabb, p. 44.

p. 170.  “The situationists.” “All the King’s Men,”
I.S.
no. 8 (January 1963), p. 31; Knabb, pp. 115–116.

p. 171.  Debord, “Rapport sur la construction des situations et les conditions de
l’organisation et de l’action de la tendance situationniste internationale” (June 1957), paper prepared for the founding conference of the SI in Cosio d’Arroscia, Italy, July 1957; Berréby, p. 618; Knabb, p. 25.

p. 172.  Debord, page from
Mémoires.

p. 176.  Work by El Lissitzky from Sophie Lissitzky-Kuppers, ed.,
El Lissitzky
(London: Thames & Hudson, 1980), reprinted by permission of VEB Verlag der Kunst Dresden.

pp. 177–178.  Vargas Llosa, pp. 15–16.

p. 178.  “La Révolution d’abord et toujours!,”
La Révolution surréaliste
no. 5 (Paris, 15 October 1925), p. 31. Later published with “What is Dadaism and what does it want in Germany?” in
Heatwave
no. 2 (London, October 1966), pp. 10–13.