Lipstick Traces (72 page)
Authors: Greil Marcus
Were it not for Lindsay Waters of Harvard University Press I doubt this book would have been finished. Joyce Backman edited it and Gwen Frankfeldt designed it in the spirit in which it was written. I value the support of Paul Adams, Nancy Clemente, the late Susan Metzger, and Claire Silvers; most of all I value the fact that they had a more than merely professional interest in what I tried to do. For the 2009 edition, I thank art director Tim Jones, cover artist Chuck Sperry, production editor Adriana Kirilova, and indefatigable indexer Ruth Elwell.
I have had the luck to see this book travel. In the United Kingdom, my thanks go to David Godwin and Dan Franklin of Secker and Warburg, Jon Riley of Penguin, Picador, and Faber & Faber, Tony Lacey of Penguin, Lee Brackstone and Helen Francis at Faber & Faber, and Anthony Goff of the David Higham Agency in London. In Germany, to Niko Hansen of Rogner & Bernhard and Rowohlt of Hamburg, translator Fritz Schneider, and Peter Fritz of the Paul and Peter Fritz Agency in Zurich. In Italy, for
Tracce di rossetto,
to Leonardo Editore and Antonella Antonelli of Agenzia Litteraria in Milan. In Spain, for
Rastros de carmín,
to Jorge Herralde of Editorial Anagrama in Barcelona. In France, to Gérard Berréby and François Escaig of Editions Allia, my translator and dear friend Guillaume Godard, the late Raymond Hains, Eric Vigne of Gallimard, and Mary Kling and Maggie Doyle of La Nouvelle Agence in Paris. In Turkey, for
Ruj Lekesi,
to Ayrinti Yayinlari of Istanbul. I will never forget the shock of seeing the theatrical adaptation of this book by the Rude Mechanicals of Austin, Texas, in 1999; director Shawn Sides, playwright Kirk Lynn, producer and prestidigitator Lana Lesley, and a shocking crew of performers
in Austin, at the Foundry Theatre in New York, and then in productions across the country found a way to stage the book I wanted to write.
I owe a special debt to those members of the Lettrist International and the Situationist International who offered me friendship, papers, artifacts, and querulousness: T. J. Clark, Donald Nicholson-Smith, the late Alexander Trocchi, the late Gil J Wolman, and most of all Michèle Bernstein. I owe a great deal to the late David Orr of the Pace Trust in Louisville; to Robin Cembalest, for her indefatigable photo research and her charming presence; to the libraries of the University of California at Berkeley; to Toru Mitsui; to Howard Hampton; to Geoff Travis of Rough Trade Records in London; to Emily and Cessie; and to Jenny.
A few people did not simply help, give advice, read drafts, or come up with documents, though they did all of that; in the words of one of them, they were co-conspirators. They are Simon Frith, Jim Miller, John Rockwell, and Jon Savage. They can’t be thanked, only recognized.
Page numbers in italics indicate illustrations.
A&M Records,
9
Abend, Der,
168
Adorno, Theodor,
64
,
67–68
,
70
,
74
,
158
,
253
,
330
,
364
Agrégation d’une nom et d’un messie, L’
(Isou),
233
Aktion, Die
(journal),
199
Albertine, Viv,
35
All About Eve
(Mankiewicz),
301
Allman Brothers,
61
“All the Water in the Sea Couldn’t . . .” (Debord),
371
Altamont rock festival,
83
Althusser, Louis,
387
Altman, Roberto,
304
Ambler, Eric,
375
anarchism,
12
,
141
,
185
,
240
,
250
,
282
,
330
,
386
,
388
,
389
; of Brethren of the Free Spirit,
277
,
298
; of McLaren,
26
,
65
; Paris Commune and,
117–119
,
132
; in Spanish Civil War,
118
,
289
,
371
“Anarchy in the U.K.” (Sex Pistols),
1
,
4
,
7–10
,
16
,
18
,
20
,
21
,
33
,
56
,
83
,
109
,
285
,
384
,
404
,
405
,
407
Anscombe, Isabelle,
185
Anticoncept, L’
(Wolman),
305–306
,
310
Apollinaire, Guillaume,
191
,
198
Appassionata
(Beethoven),
202
,
227
Aquinas, Thomas,
274
Aragon, Louis,
180
Arbenz, Jacopo,
18
,
19
,
371–372
,
374
Ardrey, Robert,
80
Aron, Raymond,
394
Arp, Hans (Jean),
179
,
181
,
184
,
188–189
,
191
,
193
,
198
,
207
,
216
,
225
,
226
Ascherson, Neal,
96
Assassin, The
(fanzine),
91
Association fédérative générale des étudiants de Strasbourg,
387
,
389
Astaire, Fred,
369
Atelier populaire,
28
,
30
,
31
,
187
At Fillmore East
(Allman Brothers),
61
“At Home He’s a Tourist” (Gang of Four),
5
Atkins, Guy,
308
Augustine,
264
Au Pairs,
5
Auschwitz exermination camp,
13
,
214
Autumn of Fury
(Heikal),
97
Avalon, Frankie,
55
Avant-Garde Film Club (Paris),
306
Baader, Johannes,
107
,
215
,
216
,
290–292
,
294
,
296
,
298
Ball, Hugo,
147
,
175
,
187
,
198–199
,
207
,
209
,
214
,
216
,
220
,
226
,
227
,
408
; in Cabaret Voltaire,
179
,
180
,
183–184
,
189
,
191
,
200
,
219
,
404
; diary of,
183
,
191
,
202
,
225
; Huelsenbeck and,
194–196
,
204–206
; return to church of,
188
,
193
,
213
; in sorcerer costume,
211
,
212
;
sound poems of,
175
,
186
,
205
Bangs, Lester,
75
Bardot, Brigitte,
319
Barkley, Alben W.,
112–114
,
219
,
221
Barrault, Jean-Louis,
300
“Barrister Pardon” (Prince Buster),
35
Barthes, Roland,
387
Basie, Count,
242
Baudelaire, Charles,
178
,
191
,
231
,
233
,
249
Baudrillard, Jean,
395
Bayeux Tapestry,
391
Béarn, Henry de,
349–350
“Beat It” (Jackson),
91
Beatles,
12
,
37
,
38
,
61
,
90
,
102
,
103
,
351
,
370
Beauvoir, Simone de,
238
Beethoven, Ludwig van,
202
“Behind Blue Eyes” (Who),
44
,
54
,
61
Bell, Terrel,
127–128
Belsen extermination camp,
13
,
109
,
112
“Belsen Was a Gas” (Sex Pistols),
56
,
108–109
,
111–115
Benedek, Laslo,
246
Berlé, P.-J.,
339
Berlin Cathedral,
290–292
,
294
,
296
Berlin Dada Club,
215
,
239
,
283
,
291
,
325
Berna, Serge,
21–22
,
313
,
316
,
317
,
323
,
326
,
332
,
339
,
349
; in
Hurlements,
309
,
310
; in invasion of Notre-Dame,
259
,
261
,
287–289
,
296
,
356
; portrait of,
301–302
,
302
,
305
Bernard de Clairvaux,
333
Bernstein, Michèle,
17
,
18
,
150
,
170
,
320
,
321
,
331
,
336
,
348–350
,
370
,
382
; on exclusions from Lettrist International,
346
,
348
,
355–356
; at
Hurlements
screening,
313
; on Isou,
233
,
239
; jobs held by,
350–351
; novels by,
327
,
333
,
348
,
369
,
378
,
392–394
Berry, Chuck,
34
,
38
,
53
,
55–56
,
61
,
77
Bertrand, André,
386–387
,
390–393
,
396
Best of Marcel Marceao, The
(Curb),
312–313
Bielecki, Czeslaw,
95
Big Sleep, The
(Chandler),
193
“Billie Jean” (Jackson),
91
,
104–105
Bismarck, Otto von,
118
Blake, William,
178
Blanqui, Louis Auguste,
118
“Blue Moon of Kentucky” (Presley),
54
Blum, Léon,
266
Bockelson, Jan.
See
John of Leyden
“Bodies” (Sex Pistols),
1
,
83
,
105
,
109
,
405
“Bon Dieu dans le merde, Le” (Ravachol),
389
Bonaparte, Napoleon,
132
Bonds, Gary “U.S.,”
30
“Boring Life, A” (Slits),
34–35
,
38
,
75
Bossuet, Jacques Benique,
333
,
334
,
354
,
412–413
Bowie, David,
77
Brady, Ian,
26
Brau, Jean-Louis,
254–256
,
258
,
301
,
316
,
317
,
323
,
326
,
339
,
354
“Breakdown” (Buzzcocks),
75
Brethren of the Free Spirit,
86
,
275–281
,
284–285
,
291
,
297
,
302
,
325
,
373
,
390
,
402
,
406
,
410
Breton, André,
83
,
178
,
180
,
184
,
188
,
238
,
250
,
262
,
346
,
381
British Union of Fascists,
109
Broido-Cohn, Vera,
294
Brown, Bernard E.,
29
Bruant, Aristide,
191
bruitism,
210–211
Brzezinski, Zbigniew,
29
Büchen der Ewigen Weisheit, Das
(Suso),
275
Büchen der Wahrheit, Das
(Suso),
275
,
280
Buchenwald extermination camp,
126
,
221
“Building, The” (Mekons),
403
,
404
Bundy, Theodore,
247
Burnham, Walter Dean,
249
Byzentinisches Christenum
(Ball),
194
Cabaret Voltaire,
179–183
,
182
,
188–194
,
197–200
,
202
,
207
,
219
,
226
,
326
,
406
; Janco’s painting of,
189
,
225
; lettrism compared to,
239
; performances in,
180
,
189–193
,
204–206
,
211
,
387
,
404
; as protest against war,
181–182
,
222
; punk and,
185
,
186
; Vaneigem on,
224
