This one looks pretty good: Viv Albertine’s memoir Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys. U.S. publisher St. Martin’s Press’s blurb:
Viv Albertine is a pioneer. As lead guitarist and songwriter for the seminal band The Slits, she influenced a future generation of artists including Kurt Cobain and Carrie Brownstein. She formed a band with Sid Vicious and was there the night he met Nancy Spungeon. She tempted Johnny Thunders…toured America with the Clash…dated Mick Jones…and inspired the classic Clash anthem “Train in Vain.” But Albertine was no mere muse. In Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys., Albertine delivers a unique and unfiltered look at a traditionally male-dominated scene.
Her story is so much more than a music memoir. Albertine’s narrative is nothing less than a fierce correspondence from a life on the fringes of culture. The author recalls rebelling from conformity and patriarchal society ever since her days as an adolescent girl in the same London suburb of Muswell Hill where the Kinks formed. With brash honesty—and an unforgiving memory—Albertine writes of immersing herself into punk culture among the likes of the Sex Pistols and the Buzzcocks. Of her devastation when the Slits broke up and her reinvention as a director and screenwriter. Or abortion, marriage, motherhood, and surviving cancer. Navigating infidelity and negotiating divorce. And launching her recent comeback as a solo artist with her debut album, The Vermilion Border.
Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys. is a raw chronicle of music, fashion, love, sex, feminism, and more that connects the early days of punk to the Riot Grrl movement and beyond. But even more profoundly, Viv Albertine’s remarkable memoir is the story of an empowered woman staying true to herself and making it on her own in the modern world.
The controlling idea, I think, is not supposed to be about the performer, but the listener. The performer is always going to dominate and control the whole experience, but as much as you drain expression out of the performance, it’s still going to be completely dominated by the performer. You can get people to sand off those portions of the performance that maybe allow the individual more access and the listening experience to have more to it. If it’s all about the performer’s idiosyncrasies and emotions, then there is no room for the audience. Some audience members might like that kind of music, but take something hyper-emotive, like Janis Joplin, and I’ll think, Ok, Janis, there is no room for me in these songs, so I’ll just turn this off and listen to something else.
From an interview with Will Oldham (Bonnie ‘Prince’ Billy) in the new issue of BOMB.
And Oldham’s latest video, which I would probably totally hate if I didn’t love it so goddamn much:
Clarice Lispector interviewed Antônio Carlos Jobim in 1968. Lovely, even through the strange wonderful estranging filter of Google translate.
1 Three Of A Perfect Pair 0:00:27
1a backstage 0:04:36
2 No Warning 0:07:00
3 Larks’ Tongues In Aspic Part III 0:10:56
4 Thela Hun Ginjeet 0:16:05
5 Frame By Frame 0:22:07
6 Matte Kudasai 0:26:07
7 Industry 0:29:37
8 Dig Me 0:36:32
9 Indiscipline 0:40:15
10 Sartori In Tangier 0:50:37
11 Man With An Open Heart 0:54:51
12 Waiting Man 0:58:37
13 Sleepless 1:05:17
14 Larks’ Tongues In Aspic Part II 1:11:34
15 Elephant Talk 1:17:38
16 Heartbeat 1:22:45