Lipstick Traces (70 page)

p. 178.  “My first article.” Lefebvre,
Les Temps des mépris,
pp. 38–39.

pp. 178–179.  Lefebvre, “ ‘7 manifestes dada,’ ” pp. 28–30/443–445.

p. 179.  Lefebvre,
Position,
p. 229.

p. 180.  Huelsenbeck, “Dada, or the Meaning of Chaos,” p. 26.

p. 180.  Arp, “Dadaland,” p. 234.

p. 181.  Arp, “Dadaland,” p. 232.

p. 182.  Photograph of Cabaret Voltaire by Monica Cardenas, courtesy Elisabeth Kauffmann Zürich.

p. 182.  Huelsenbeck,
En avant dada,
in Motherwell, p. 23.

pp. 183, 184.  Ball,
Flight,
20 September 1915, p. 28; 4 October 1915, p. 30; 11 October 1915, pp. 32, 49.

p. 187.  Poly Styrene, “Oh Bondage Up Yours!,” copyright © 1977 by Essex Music International/Copyright Control.

p. 188.  Ball,
Flight,
27 March 1917, p. 101.

p. 189.  “he and his brother Jules.” Naumann; other sources give “Janco’s brother George” because of an error in Ball’s diary.

p. 191.  Ball,
Flight,
pp. 51–52, 54, 57; 9 January 1917, p.
96.

p. 193.  Huelsenbeck,
Memoirs
(1974), flyleaf, prob. 1916, pub.
Dada
no. 3 (Paris, December 1918).

p. 194.  Huelsenbeck, “Das Cabaret Voltaire,”
Der Querschilt
no. 7 (Berlin, 1927), quoted in Karin Füllner’s “The Meister-Dada,” in Sheppard,
New Studies in Dada,
p. 22. Trans. Michelle Krisel.

p. 194.  Ball,
Flight,
18 June 1921, p. 210; Elderfield, p. xxvii.

p. 195.  Advertisement for Dada Haarwasser, courtesy Kunsthaus Zürich.

p. 196.  Ball,
Flight, 5
April 1916, p. 59.

p. 196.  Debord,
Critique de la séparation, Oeuvres cinématographiques complètes,
pp. 52–53.

p. 197.  Hausmann, “Dadaism and Today’s Avant-Garde,” p. 800.

p. 197.  Debord, with Pierre Canjeurs, “Préliminaires pour une definition de l’unité du programme révolutionnaire,” paper prepared for unconsummated linkage between the SI and the French group Socialisme ou barbarie (June 1960); Knabb, p. 308.

p. 198.  “the ideals of culture.” Ball,
Flight,
16 June 1916, p. 67.

p. 198.  Arp, “und dazu das Dada-wort von Hans Arp” (15 January 1966), Arp and Huelsenbeck,
Dada in Zürich.

p. 199.  Ball,
Flight,
p. 8.

p. 199.  Ravien Siurlai,
Die Aktion
(Berlin, 5 June 1912).

p. 200.  Ball,
Flight, 5
March 1916, p. 55; 9 July 1915, p. 25.

p. 201.  Marinetti, untitled “Parole in libertà,” from
Parole consonanti vocali numeri in libertà
(Milan, 11 February 1915), courtesy Beinecke Rare Book and Manuscript Library, Yale University.

p. 202.  Ball,
Flight,
16 June 1916, p. 67; 9 July 1915, p. 25.

p. 202.  Lenin on music, as quoted by Maxim Gorky, in Wilson,
To the Finland Station,
p. 450.

p. 203.  Huelsenbeck,
En avant dada,
in Motherwell, p. 32.

p. 204.  Huelsenbeck,
Memoirs,
pp. 8, 9–10.

pp. 205–206.  Huelsenbeck, “Dada, or the Meaning of Chaos,” p. 27;
Memoirs,
p. xxxiii.

pp. 206–207.  Ball,
Flight,
pp. 66–67; 18 June 1916, p. 67; 24 May 1916, p. 64.

p. 208.  Photograph of Tristan Tzara, courtesy Fondation Arp, Clamart, France.

p. 208.  Mask of Tzara by Marcel Janco, courtesy Dadi Janco, Janco Dada Museum, Ein Hod, Israel.

p. 208.  Photograph of war victim from Ernst Friedrich,
Krieg dem Krieg!
(Berlin, 1924), facsimile edition as
War against War!
(Seattle: Real Comet Press, 1987), p. 220, reprinted by permission of the publisher.

p. 208.  Photo collage by Hannah Höch,
Fröliche Dame,
private collection, used by permission.

p. 209.  Walker, pp. 105–106.

p. 210.  Robinson, p. 43.

pp. 210–211.  Huelsenbeck,
En avant dada,
in Motherwell, p. 26.

p. 212.  Collage of text by and photo of Hugo Ball from
Dadaco
(Munich, 1920).

p. 214.  Karl Kraus, insert following p. 90; p. 89.

p. 215.  Huelsenbeck,
En avant dada,
in Motherwell, p. 26. Including passages trans. John Rockwell, from facsimile edition, p. 34.

p. 217.  “What is Dadaism,” in Huelsenbeck,
En avant dada,
in Motherwell, pp. 41—42.

p. 217.  Huelsenbeck quoted in Hans J. Kleinschmidt, “Berlin Dada,” in Stephen C. Foster and Rudolf Kuenzli, eds.,
Dada Spectrum: The Dialectics of Revolt
(Madison, Wis.: Coda, 1979), p. 164.

p. 218.  Photo collage by John Heartfield from
Dadaco.

p. 219.  Huelsenbeck, “Was wolte expressionismus,” 12 April 1918,
Dada Almanach,
p. 34, trans. Ralph Manheim in Motherwell as “Collective Dada Manifesto,” misdated 1920, pp. 242–243.

p. 219.  Huelsenbeck, “Erste dadarede in Deutschland,” February 1918,
Dada Almanach
(German edition), pp. 105–106.

pp. 220–222.  Jung, “The Concept of the Collective Unconscious,” pp. 66–67.

p. 221.  Photograph of Senator Alben Barkley, courtesy National Archives, Washington D.C.

p. 222.  Huelsenbeck, “On Leaving America for Good” (1969), in
Memoirs,
p. 187.

p. 223.  Vaneigem,
Traité,
p. 185;
Revolution,
p. 137;
King Mob Echo.

p. 225.  For Janco’s
Cabaret Voltaire,
see
Marcel Janco,
p. 20.

p. 225.  Ball,
Flight,
p. 67.

pp. 228–229.  Isou, “Créations,” pp. 796–797. Much of the following biographical information on Isou is drawn from Jean-Paul Curtay,
La Poésie lettriste;
most of the more scandalous items are from Nicholas Clarion, “The Messiah of Lettrism,”
Commentary
(August 1949), pp. 183–184.

p. 231.  Diagram from Isou,
Introduction,
in Curtay, p. 249, used by permission.

p. 232.  Photograph of Isou from his
Fondements pour la transformation intégrale du théatre
(Paris: Bordas, 1953), frontispiece.

p. 234.  Maurice Nadeau, “Les ‘lettristes’ chahutent une lecture de Tzara au Vieux Colombier,”
Combat
(22 January 1946), p. 1.

p. 235.  “estheperist poetry.” Isou, “Créations,” p. 796.

p. 236.  “Hausmann lay dying.” Nicholas Turbrugg, “The Limitations of Lettrism—An Interview with Henri Chopin,” in Foster, p. 64.

p. 237.  Pages from Pomerand,
Saint ghetto des prêts.
Commentary by Curtay, “Super-Writing 1983—America 1683,” in Foster, p. 29.

pp. 241–242.  Deborah Chessler, “It’s Too Soon to Know,” copyright © 1948 by Edward M. Morris Co./BMI.

p. 243.  Photograph of the Orioles and Deborah Chessler, courtesy Jonas Bernholm of Mr R&B Records.

p. 245.  Photograph from trial of the Lagnyites,
Combat
(8 May 1951), p. 1.

p. 245.  Photograph of Starkweather and Fugate, UPI/Bettmann Newsphotos.

p. 248.  Front page of Kingston newspaper, courtesy Michael Thelwell and the
Daily Gleaner.

pp. 250–252.  “Notre programme” (Isou),
Front de la jeunesse
no. 1 (1950), in Brau,
Cours, camarade,
pp. 288–290. Trans. Adam Cornford.

pp. 253–254.  Adorno, p. 93.

pp. 254–255.  Brau,
Cours, camarade,
p. 166. A few months before his death in 1985, Brau encountered Isou at the opening of an exhibition; they had not spoken for years. “You told us you would give us immortality,” Brau said. “Where is it?” Then they went for a drink.

p. 255.  “It began at the beginning.” See Wolman, “Introduction à Wolman” (“Isou était une fin, au début il y avait Wolman”), and with Jean-Louis Brau (signed as “***”) and CP-Matricon, “Pour un mort synthetique,” both
Ur
no. 1 (Paris, 1950), in Wolman,
Résumé,
pp. 10–12, 17–19, and Wolman, “La Mégapneumie,”
Ou
no. 32 (Brussels, June 1967), in Wolman,
Résumé,
p. 16.

p. 255.  “a giant sigh.” David Seaman, “Letterism—A Stream That Runs Its Own Course,” in Foster, p. 18.

p. 256.  Tabou poster from Wolman,
Résumé,
p. 13. Reconstruction of events in the Tabou is based on Brau, “Instrumentation verbale,” and Wolman, “Improvisations—Mégapneumes.”

p. 256.  Photograph of Wolman from
Ion,
courtesy Luc Sante.

p. 258.  Isou, “Les Grandes Poètes lettristes,”
Bizarre
no. 32–33 (1964), in Wolman,
Résumé,
p. 10.

pp. 259–260.  “Today Easter Day.” In Marien, “Le Chemin de la croix (vii),”
Les Lèvres nues,
no. 4 (January 1955), p. 36; Berréby, p. 26. Trans. Adam Cornford.

p. 261.  Photograph of Notre-Dame conspirators from
Combat
(12 April 1950), p. 2.

p. 262.  “Lettre de André Breton,”
Combat
(12 April 1950), p. 2; trans, in “The Notre-Dame Scandal,”
Transition
no. 6 (Paris, 1950), p. 135.

p. 263.  Postcard by Postmoderns Post Cards.

p. 263.  Dr. Micoud quoted in “Quand la Justice est en folie,”
Combat
(19 April 1950), p. 1, and “The Notre-Dame Scandal,” pp. 136–138.

p. 264.  Mourre,
In Spite of Blasphemy,
pp. 206—207. Numerous short quotes from this book are not cited here when they follow the course of Mourre’s narrative.

p. 265.  Mourre, pp. 214, 227.

p. 267.  Mourre, p. 28.

p. 271.  Mourre, p. 115.

pp. 273–274.  Mourre, p. 170.

p. 278.  Lerner, pp. 134–138.

p. 279.  Advertisement, courtesy Kit Rachlis and the
Village Voice.

p. 280.  Norman Cohn, p. 177;
King Mob Echo.

p. 280.  David E. Apter, “The Old Anarchism and the New,” in Apter and James Joll, eds.,
Anarchism Today
(Garden City: Doubleday, 1971), p. 13.

pp. 280–281.  Nik Cohn,
Awopbopaloobop,
p. 219.

pp. 282–283.  Mourre, p. 205.

p. 283.  Hausmann, “Club Dada Berlin, 1918–1921” (26 July 1966), in
Dada Berlin,
p. 5. Trans. Jo Anne Fordam.

pp. 284–285.  Pico della Mirandola, in Lerner, p. 241.

p. 285.  James Wolcott, “Kiss Me You Fool: Sex Pistols ’77,”
Village Voice
(21 September 1977), p. 53.

p. 286.  “You don’t fault a theme park.” Richard Corliss, “Keeping the Customer Satisfied,” review of
Indiana Jones and the Temple of Doom,
in
Time
(21 May 1984), p. 83.

pp. 287–288.  “All the King’s Men,”
I.S.
no. 8 (January 1963), pp. 31–32.

p. 288.  “Notre collaborateur Benjamin Péret injuriant un prêtre,”
La Révolution surréaliste
no. 8 (Paris, 1 December 1926), p. 13.

p. 289.  Péret,
Combat
(14 April 1950), p. 2.

p. 289.  “no precedent.” Mourre said the same. “Do you realize?” he told Dr. Micoud, “I’m the first who ever dared do that! Get up and speak in Notre-Dame! In that nave!” “The Notre-Dame Scandal,” p. 137.

pp. 289–290.  Marx, “Contribution,” pp. 243–244.

p. 290.  Debord,
Société,
no. 138.

pp. 291–292.  Versions of Baader’s announcement in Berlin Cathedral: Alfred Barr,
Fantastic Art, Dada, Surrealism
(New York: Arno, 1968, orig. 1936), pp. 24–25; Richter, p. 127; Hausmann, “Club Dada. Berlin, 1918–1920,” in Raabe, p. 227; Sheppard,
New Studies,
pp. 172–173.

p. 292.  Hausmann,
Courrier Dada,
pp. 74—75, trans, in Richter, p. 125.

p. 293.  Photograph of Grosz, courtesy Estate of George Grosz, Princeton, New Jersey.

p. 293.
Time
cover, 30 November 1981, copyright © 1981 Time Inc., all rights reserved, reprinted by permission.

p. 294.  Vera Broido-Cohn, in “Johannes Baader,”
The Twenties in Berlin,
p. 4.

p. 295.  Grosz, untitled collage on paper, present whereabouts unknown, taken from Joshua Kind, “The Unknown Grosz,”
Studio International
(London, March 1967), p. 144.

pp. 296–297.  Baader, Hausmann, Huelsenbeck, “Legen sie ihr geld in dada an!,”
Der Dada
no. 1 (Berlin, 1919), in
Dada Zeitschriften,
trans. Gabrielle Bennett in Lippard, pp. 55–56.

p. 298.  Photograph of Baader from Huelsenbeck,
Dada Almanach,
following p. 32.

p. 298.  Norman Cohn, pp. 148–149.

pp. 298–299.  “Lieu de recontre supposé des internationaux-situationnistes à Paris,” sidebar to “Nos buts et nos méthodes dans le scandale de Strasbourg,”
I.S.
no. 11 (October 1967), p. 25, quoting passage from Norman Cohn, 2nd ed., pp. 318–319.

pp. 300–301.  See various reports from Cannes by R.-M. Arlaud,
Combat
(14–22 April 1951), p. 2.

p. 300.  Isou,
Oeuvres de spectacle,
p. 15. Maurice Scherer, “Isou, ou les choses telles qu’elles sont,”
Cahiers du cinéma
no. 10 (Paris, March 1952), pp. 27–32.

p. 302.  Photograph of Berna from
Ion,
courtesy Luc Sante.

p. 303.  Photograph of Pomerand from
Ion,
courtesy Luc Sante.

p. 307.  Photograph of Debord from
Ion,
courtesy Luc Sante.

p. 308.  Atkins, pp. 57–58.

pp. 309–312.  Debord,
Hurlements, Oeuvres cinématographiques complètes,
pp. 11–18.

p. 311.  Debord and Wolman, “Pourquoi le lettrisme?,”
Potlatch,
no. 22 (9 September 1953).

pp. 316–317.  “Finis les pieds plats,”
I.L.
no. 1 (November 1952); Berréby, pp. 147, 262 (reprint of leaflet). Trans. Sophie Rosenberg. See also Wolman,
Résumé,
pp. 26–29;
Combat
(30 October 1952), p. 1; and
Combat
(1 November 1952), p. 2. The LI’s critique of Chaplin and
Limelight
was matched a few
months later by Pauline Kael, in “Some Notes on Chaplin’s
Limelight,”
her first published review: “The minority audience was always fascinated by the stills which revealed the beauty of Chaplin—the depth and expressiveness beneath the tramp make-up; the majority was perfectly satisfied with the mask of comedy. In a chance glimpse we thought we perceived a tragic countenance under the mask. Now Chaplin has given us too long a look—the face has been held in camera range for prolonged admiration—and the egotism of his self-revelation has infected the tragic beauty. The illusion, the mystery, are gone—and with them, possibly a good section of the minority audience as well.”
City Lights
no. 3 (San Francisco, Spring 1953), p. 56; reprinted in
Artforum
(March 2002), pp. 123-24, with note by GM.