Showing posts with label Henry Cow. Show all posts
Showing posts with label Henry Cow. Show all posts

Wednesday, July 20, 2022

Wildcat benefit at AMP, Covent Garden (1974) - with Charlie Gillett and members of Henry Cow


I am always interested in the social/cultural/musical life of radical scenes, here's a report of a London benefit night for the mid 1970s anarchist/libertarian left paper 'Wildcat' (no direct connection to 1980s ultra-left paper I believe). This report is from issue no.2 of the paper, October 1974. Sounds like an interesting line up including music from Lindsay Cooper and Fred Frith from Henry Cow with flautist Clive Bell, and DJing from Charlie Gillett and 'Pete's disco'. All this plus a performance from General Will, a radical theatre company that started out in Bradford and whose members included Brian Hibbard, later lead singer with the Flying Pickets.


The event took place at the Art Meeting Place, which I believe to have been at 48 Earlham Street, Covent Garden. It opened in 1974 and Cosey Fanni Tutti and Genesis P. Orridge were involved with it - indeed they first used the name Throbbing Gristle there. Cosey describes it in her book 'Art Sex Music' (2017):

'The shift in direction to COUM being mainly me and Gen also coincided with my leaving full-time work and connecting with other artists at the Art Meeting Place... AMP, as it was known, was set up by John Sharkey (along with others) in one of the buildings left vacant from the relocation of the Covent Garden fruit, veg and flower market. Other buildings had also been opportunistically acquired by activists for use as community centres and alternative arts spaces. AMP was a kind of Arts Lab that provided free facilities for artists across the spectrum - musicians, poets, film-makers - and was run by the artists themselves, with open meetings every week, exhibitions and performances. Me and Gen became regulars there, using their resources and trying out ideas in the available spaces-  as did Anish Kapoor, Carolee Schneemann, John Latham, David Medalla, David Toop and Susan Hiller among others.

Participating in the meetings was always interesting, watching people getting antsy with each other over art or politics, or art being a political act, feminism and Marxism. Some people had great ideas and ideals to uphold but there were time-wasters whose posturing made me angry and I got the sense that they didn't fully appreciate what an amazing thing AMP was'.


Flyer for 'Tracking' - performance and films by American artist Carolee Schneemann at the Artists Meeting Place in June 1974.


Wednesday, December 17, 2014

Nine Funerals of the Citizen King - Henry Cow

Henry Cow's 'Nine funerals of the Citizen King' is a track on their 1973 debut album 'Legend' and signalled the radical critique which they carried forward until breaking up five years later. The lyrics reference Lewis Carroll ('the Snark was a Boojum' from his poem 'The Hunting of the Snark'), Gertrude Stein ('a rose is a rose is a rose') and Shakespeare ('O, gentlemen, the time of life is short!...An if we live, we live to tread on kings', Henry IV, Part 1).

The latter was also quoted in Guy Debord's 'The Society of the Spectacle' (1967), and as the song refers to the 'spectacle of free' I wonder whether Henry Cow had been reading Debord. If so they were ahead of their time - the first English translation of 'The Society of the Spectacle' was made by Black & Red (Detroit) in 1970, but it was certainly not widely known. The line 'we'll work to live to buy the things we multiply, until they fill the ordered universe' could have come straight out of Debord, or even an Angry Brigade communique from the same period.

Nine funerals of the Citizen King

Down beneath the spectacle of free
No one ever let you see
The Citizen King
Ruling the fantastic architecture of the burning cities
Where we buy and sell...

That the Snark was a Boojum all can tell
But a rose is a rose is a rose
Said the Mama of Dada as long ago as 1919

You make arrangements with the guard
Halfway round the exercise yard
To sugar the pill
Disguising the enormous double-time the king pays to Wordsworth
More than you or I could reasonably forfeit the while...
Double-time the king pays to Wordsworth
More than you or I could reasonably buy...

If we live, we live to tread on dead kings
Or else we'll work to live to buy the things we multiply
Until they fill the ordered universe

Once upon a time my punky self would have dismissed this as 'prog'. But I was so much older then, I'm younger than that now.

Oh and they played a benefit for Brixton Socialist Club in 1978.