Lipstick Traces (72 page)

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

Acraman, Bob,
114–115
,
213
,
383

Action française,
264
,
268
,
269

Adorno, Theodor,
64
,
67–68
,
70
,
74
,
158
,
253
,
330
,
364

Adverts,
5
,
62–65
,
70
,
188
,
405

Age d’Or, L’
(Buñuel),
288
,
289

Agrégation d’une nom et d’un messie, L’
(Isou),
233

Aktion, Die
(journal),
199

Albertine, Viv,
35

Albigensian Crusade,
357
,
374

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

Anabaptists,
85–88
,
373

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

Arendt, Hannah,
43
,
112
,
126
,
160

Aron, Raymond,
394

Arp, Hans (Jean),
179
,
181
,
184
,
188–189
,
191
,
193
,
198
,
207
,
216
,
225
,
226

Artaud, Antonin,
177
,
262

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

Auster, Paul,
161–162
,
335

Autumn of Fury
(Heikal),
97

Avalon, Frankie,
55

Avant-Garde Film Club (Paris),
306

Baader, Johannes,
107
,
215
,
216
,
290–292
,
294
,
296
,
298

Bakunin, Mikhail,
183
,
298
,
381

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

Basel News,
213
,
214

Basie, Count,
242

Bataille, Georges,
366–368
,
395

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

Benjamin, Walter,
19
,
65
,
67

Berger, John,
28
,
30

Berlé, P.-J.,
339

Berlin Cathedral,
290–292
,
294
,
296

Berlin Dada Club,
215
,
239
,
283
,
291
,
325

Berlin Wall,
13
,
70

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

“Boredom” (Buzzcocks),
5
,
188

“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

Brown, James,
38
,
59

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

Buñuel, Luis,
8
,
15
,
288

Burnham, Walter Dean,
249

Buzzcocks,
5
,
64
,
75
,
188

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