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Slash, 10/ 1980, reprinted in CD booklet of Factrix anthology Artifact (Storm Records)Īfter working on Vileness for years, building their own sets, etc, It was just something you could do.“Īccordig to Joseph Jacobs, the cult favorites of the day included “the original, unintelligible Australian version of Road Warrior”.
HELIO RIPIT MOVIE
And the members of Factrix worked in the movie theatres, so we didn’t even need any money to go to the movies.
HELIO RIPIT FULL
A lot of films don't translate to TV, you need the full impact of the big screen to see what people like Pasolini were trying to say. You’d go see all these great old movies on the big screen as they were meant to be seen. The Z’ev persona was just one of numerous sonic alter-egos used by Weisser.īond Bergland: “This was way before video came in. After his foray into rock with Ariel, Weisser moved into “concrete poetry” and then returned to music just in time for punk. Rice assaulted audiences with abstract noise played at ear-gouging volume, generated with devices like a shoe-polishing machine and a mutated guitar with an electric fan welded to the fretboard.Īlso quite glammy-theatrical were the terrific synth-punk outfit Nervous Gender and a character called Patrick Miller a/k/a Minimal Man.
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Not quite in the same spectacular bag but he certainly kept company with the SF industrialists, was Boyd Rice, a/k/a Non: actually from San Diego but a frequent visitor to SF with his noise-generating boxes. But at the same time it was, like, the same stupid fight as before, like it’s always been.” The groundwork was laid down in the 60s… It was, like, ten years later, so time for something else. being like victims burnt at the stake, signaling through the flames"-was my mantra.”īond Bergland: “There’s this video of a performance called Paradise Now, and the whole thing is just acid-drenched-businessmen taking off their clothes in the middle of the performance and running on stage and joining in…. Even Devo in the beginning with their Bruce Conner films.”Ĭole Palme, Factrix: “I carried that big Susan Sontag-edited Artaud anthology, ripped off from my high school library, around with me for a few years! That line of Artaud’s ". And it’s a really unique place, one of the only places in America where you can go and learn to be the artist you want to be, rather than be just taught a craft. Many of the people who started bands were at the Institute. Steve Brown: “Café Flor was where everyone went for good crepes and good coffee-still a rarity in those pre-Starbucks days! Here there was a mix of nearby Castro Street queens and punks and artists of all sorts”.īond Bergland: “The Art Institute had a lot to do with the creativity of the San Francisco scene. It was right across from Eureka Theatre, in the basement of a church, where they had excellent performing arts and theatre series.īond Bergland: “I used to hang out and work at Café Flor, which survived from the hippie days. It was just a hotbed of exploding culture there. Joseph Jacobs: “Monday nights were punk rock night at Café Flor on Market St andġ4th. There was Grateful Dead and hippies keeping the psychedelic scene going on, but that was about it.” Helios Creed, Chrome: “San Francisco before it got hep again with punk, it was really fucked up -full of disco and shit. Peter Principle: “Also California was in its heyday as the great welfare state-Jerry Brown was governor then.” I could do odd jobs and then go off on tours with Flipper.” Three hours work a week of work was my lowest point of intermingling the world of work with my punk world. The late fifties with North Beach ‘beatniks’ and poets, the late Sixties with its ‘Summer of Love’, and the late seventies with punks, neo-surrealists, even the ‘Art Police’-all of these were such moments, gone before you know it… I consider myself privileged to have in San Francisco during one such ‘moment’….”īruce Lose, Flipper: “I had a big hotel room that was $25 a week, and I could get by doing night-time custodial work. Maybe it’s the climate… Whatever the cause, it seems that every ten years or so, a moment appears, one that changes forever anyone living it and fills them with a sense that they are living in a special time indeed…. Perhaps because it is such a beautiful city, or because of the history of that gold-rush town and its traditional tolerance for people who don’t seem to fit in anywhere else. More from the sleevenotes: “There is a funny thing about San Francisco. Reininger, from his sleevenotes to Tuxedomoon compilation Pinheads on the Move (Cramboy) Ralph Records feature.ĭamon Edge: “If you can't relate artistically in San Francisco. CHAPTER 13: FREAK SCENE: Cabaret Noir and Theatre of Cruelty in Postpunk San Francisco