by Greil Marcus
p. 114. Lanzmann, pp. 142, 143.
pp. 114–115. “Three Glorious Days in a Nazi Prison,” San Francisco Chronicle (11 September 1980), p. 17, reprinted by permission of United Press International, copyright © 1980.
pp. 115–116. T. J. Clark, pp. 209, 236, 233–234, 210.
p. 117. “I will never forget.” Quote from Peter Kropotkin’s Revolutionary Pamphlets, ed. Roger N. Baldwin (New York: Dover, 1970), p. 239.
pp. 117, 118. “Sur la commune” (18 March 1962), reprinted in I.S. no. 12 (September 1969), p. 109; Knabb, pp. 314–315.
p. 120. Debord, Société, no. 43.
p. 121. Matt Groening and Steve Vance, greeting card, “Confessions of a Crazed Shopper,” copyright © 1984 by Matt Groening and Steve Vance, reprinted by permission of Paper Moon Graphics.
p. 126. Arendt, p. 233.
pp. 127–128. Karp, pp. 31–32.
pp. 129–130. Atilla Kotányi and Vaneigem, “Programme élémentaire du bureau d’urbanisme unitaire,” I.S. no. 6 (August 1961), pp. 16–17; Knabb, pp. 65–66.
p. 131. Debord, Société, no. 17.
p. 131. “reversible connecting factor.” Debord, “The Situationists and the New Action Forms in Politics and Art” (Odense), p. 9.
p. 132. Lefebvre, Position, p. 195.
p. 133. Poster advertising I.S. no. 11, courtesy International Instituut voor Sociale Geschiedenis, Amsterdam.
pp. 136–137. Lefebvre, Les Temps des mépris, pp. 157–160.
p. 139. T. J. Clark, p. 236. “For the petit-bourgeois consumer of culture in the twentieth century, the available form of popular art has been black American music, and that is where my notion of collective vehemence was picked up—from kinds of blues singing and shouting, from improvised ensemble playing, from Charlie Parker’s way with the themes and harmonies of white popular music, from Little Richard and Fats Domino. But this kind of list is more than usually misleading here: the effect we are talking about does not for the most part lead to ‘masterpieces,’ and can be found almost anywhere, often surrounded by pure shlock” (p. 310, n. 61).
p. 141. Kurt Tucholsky, “Danton’s Death,” trans. John Willett in his Art and Politics in the Weimar Period, p. 57, copyright © 1978 by Pantheon Books, a Division of Random House, Inc.
FACES
p. 145. Photograph of Johnny Rotten by Dennis Morris, reprinted by permission of the photographer.
p. 146. Photograph of Hennings, courtesy Hans J. Kleinschmidt.
p. 147. Photograph of Ball, courtesy Hans J. Kleinschmidt.
p. 148. Photograph of Huelsenbeck from Phantastische gebete, 2nd ed. (Berlin, 1920), courtesy Hans J. Kleinschmidt.
p. 149. Frame enlargement of Chtcheglov from Debord’s film In girum, in Oeuvres cinématographiques complètes.
p. 150. Frame enlargement of Bernstein et al. from Debord’s film Sur le passage. In Debord, Oeuvres cinématographiques complètes.
p. 151. Photograph of London punk (Jordan) from Val Hennesey, In the Gutter (London: Quartet/Namara Group, 1978), p. 73, copyright © 1978 by Val Hennesey.
p. 152. Portrait of Saint-Just from Ernest Hamel, Histoire de Saint-Just (Brussels, 1860), frontispiece.
LEGENDS OF FREEDOM
p. 155. Debord, page from Mémoires.
p. 156. Vaneigem, Traité, p. 276; Revolution, p. 205.
p. 157. Debord, page from Mémoires.
p. 159. Illustrations from “L’Urbanisme unitaire à la fin des années 50,” I.S. no. 3 (December 1959), pp. 14–15.
pp. 158, 160. Debord and Wolman, “Mode d’emploi détournement,” Les Lèvres nues no. 8 (May 1956), p. 2; Berréby, p. 302; Knabb, p. 8.
p. 161. Ivan Chtcheglov (as Gilles Ivain), “Formulaire pour un urbanisme nouveau” (1953), I.S. no. 1 (June 1958), pp. 15–20.
p. 162. Auster, The Locked Room, pp. 58–59.
p. 162. Trocchi, “Potlatch—an interpersonal log,” Sigma Portfolio, item no. 4, p. 4.
p. 162. “time frightens.” Debord, with Gianfranco Sanguinetti, “Thèses,” in La Véritable Scission dans I’internationale, p. 45.
p. 163. Debord, Sur le passage, Oeuvres cinématographiques complètes, pp. 21, 26; Knabb, pp. 29, 30.
p. 163. Wolman, “liberté PROVISOIRE,” I.L. no. 2; Berréby, p. 154.
p. 163. Debord, Sur le passage, Oeuvres cinématographiques complètes, pp. 25–26; Knabb, p. 30.
p. 164. Illustration with caption from I.S. no 8 (January 1963), p. 42; trans. Gray, p. 69.
pp. 165–167. Quotes and illustration (p. 177) from “Le Déclin et la chute de l’économie spectaculaire-marchande,” I.S. no. 10 (March 1966), pp. 3–11; Knabb, pp. 153–159.
p. 167. Illustration from I.S. no. 9 (August 1964), p. 37.
p. 168. “Les Mauvais Jours finiront,” I.S. no. 7 (April 1962), p. 12; Knabb, p. 84.
p. 168. Debord and Wolman, “Mode,” p. 8; Berréby, p. 308; Knabb, p. 18.
p. 168. Anonymous detourned comic strip, courtesy Lang Thompson.
p. 169. “L’Opération contre-situationniste dans divers pays,” I.S. no. 8 (January 1963), p. 28; Knabb, p. 113.
p. 169. Debord, Préface, p. 19.
p. 170. “the domain.” “Problèmes préliminaires à la construction d’une situation,” I.S. no. 1 (June 1958), p. 12; Knabb, p. 44.
p. 170. “The situationists.” “All the King’s Men,” I.S. no. 8 (January 1963), p. 31; Knabb, pp. 115–116.
p. 171. Debord, “Rapport sur la construction des situations et les conditions de l’organisation et de l’action de la tendance situationniste internationale” (June 1957), paper prepared for the founding conference of the SI in Cosio d’Arroscia, Italy, July 1957; Berréby, p. 618; Knabb, p. 25.
p. 172. Debord, page from Mémoires.
THE ART OF YESTERDAY’S CRASH
p. 176. Work by El Lissitzky from Sophie Lissitzky-Kuppers, ed., El Lissitzky (London: Thames & Hudson, 1980), reprinted by permission of VEB Verlag der Kunst Dresden.
pp. 177–178. Vargas Llosa, pp. 15–16.
p. 178. “La Révolution d’abord et toujours!,” La Révolution surréaliste no. 5 (Paris, 15 October 1925), p. 31. Later published with “What is Dadaism and what does it want in Germany?” in Heatwave no. 2 (London, October 1966), pp. 10–13.
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 A
vant-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.
THE CRASH OF YESTERDAY’S ART
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.
THE ASSAULT ON NOTRE-DAME
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, “Kee
ping 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.
THE ATTACK ON CHARLIE CHAPLIN