by Don DeLillo
Mr. Uolroyd: I think what George is really trying to get at is the effect of this type of thing …
Mr. Porter: No, no, no, no, no.
Mr. Bakey: Lunch.
Mrs. Olmstead: Do you consider yourself an artist? BW: The true artist makes people move. When people read a book or look at a painting, they just sit there or stand there. A long time ago that was okay, that was hip, that was art. Now it’s different. I make people move. My sound lifts them right off their ass. I make it happen. Understand. I make it happen. What I’d like to do really is I’d like to injure people with my sound. Maybe actually kill some of them. They’d come there knowing full well. Then we’d play and sing and people in the audience would be frozen with pain or writhing with pain and some of them would actually die from the effects of our words and music. It isn’t an easy thing to create, the right sound at the proper volume. People actually collapsing in pain. They’d come there knowing full well. People dying from the effects of all this beauty and power. That’s art, sweetheart. I make it happen.
Mr. Niles: At this point I suspect you’re only being half-serious.
BW: Which half?
Mr. Bakey: You’re not saying, or are you, that the only thing you do is make loud noises and this is what explains the Wunderlick formulation or ethos. BW: My whole life is tinged with melancholy. The more I make people move, the closer I get to personal inertness. With everybody jumping the way they do and holding their heads in the manner they’re inclined to hold their heads, I feel in kind of a mood of melancholy because I myself am kind of tired of all the movement and would like to flatten myself against a wall and become inert. Miss Hall: Quite so.
Mr. Bradley: I wonder if you’d like to discuss the origin and meaning of the phrase pee-pee-maw-maw. I know it’s traceable to you and it seems to be sweeping the country at the moment. Everywhere I go, and I do extensive traveling, I see people wearing shirts and trousers with those little syllables on them, not to mention seeing pee-pee-maw-maw on shopping bags, buttons, decals, bumper stickers, and even hearing dolls say it over and over, five-dollar talking dolls that say that phrase over and over. I know it’s all traceable to you and I just wonder what it all signifies, if anything. BW: Childhood incantation. Mr. Bakey: Ah.
Mrs. Olmstead: Perhaps you’d care to elaborate. BW: As a little kid in the street I used to hear older kids saying it. It’s one of the earliest memories of my life. Older kids playing in the street at night. I’d be on the stoop or watching from a window. Too little to play with the older kids. Summer nights on the street in New York. Very early memory. These kids chanting to each other. Pee-pee-maw-maw. I don’t think anybody knew what it meant or where it came from. Probably twelfth century England or the Vikings or the Moors. These kids chanting it on the street. Pee-pee-maw-maw. Pee-pee-maw-maw. Chants like that can be traced to the dawn of civilization. Like games kids play can be traced a thousand years back to kids in India. Same with incantations. It’s an interesting subject. You should schedule it.
Mr. Fielder: For my closing remarks, which I promise you will be kept as brief as humanly possible, given the pronounced oratorical bias of your speaker and chairman, I’d like simply to say that this has been a most dynamic round table, surely for me a most instructive one as well, as it was I believe for all of us gathered here, although each no doubt has his or her own idea of levels of merit, remembering our own Turner Bakey and his oft-quoted rejoinder to Eddings’ paraphrase of Larue during the Arts-Leadership Committee’s brunch on genocide. At any rate, thanks one and all. And now for a dip in the pool.
·
Three tracks from
DIAMOND STYLUS
Recorded on Anspar Records & Tapes
International copyright secured
Cold War Lover
I worked her body with a touch
Learned from the hand of a bund old man
Living in a one-room duplex
In Nashville’s Chinatown
It was love truest love
Under gun
One by one
She was the butch of New Orleans
I was her sometime beau
In those murderbeds of pimps and tricks
All those ranting nights
We took what was and left the rest
And mailed the short hairs east to west
Oh funky city Funky city oh
We loved each other with a heat
Learned from the tongue of a strung-out tout
Squatting in a two-room toilet
In Tulsa’s Upper Crust
It was love animal love
Under lock
Rock by rock
She was the butch of New Orleans
I was her sometime beau
In those murderbeds of queens and marks
Sultry afternoons
We said a prayer and took a hit
And went to church to nod a bit
Oh funky city
Funky city oh
She washed my body with a grace
Learned from the rub of a burnt-out case
Locked in a padded tub
In the Memphis Steamless Baths
It was love animal love
Under key
Three by three
She was the butch of New Orleans
I was her sometime beau
In those murderbeds of cons and pros
All those summer days
We reached the end and bent the wick
And placed an ad for stamps to lick
Oh funky city
Funky city oh
We broke each other with a skill
Learned from the mind of a kindly dike
Stuck in an airless shaft
In Harlem’s Lonely Heart
It was love truest love
Cannibal war
More and more
She was the butch of New Orleans
I was her sometime beau
In those murderbeds of men and wives
Final quickest trip
She took a gun, a thirty-one
Put her tongue to the bluesteel tip
Oh funky cities
Mobile’s paper mills
I swim in the bay
And get laid by day
And cry for my love all the night
Protestant Work Ethic Blues
Rising up in the morning
Looking down at yourself in bed
Oh rising up in the morning
Seeing your pale old body matter-of-factually dead
Oh blue
Never too white to sing the blues
Getting yourself together
Pulling day and night apart
Oh getting yourself together
Staring hard at your laminated astrological chart
Oh blue
Never too white to sing the blues
Sitting up in your plastic chair
Swallowing down some frozen toast
Oh catching that old broken window train
Take you to the place
The place
The place
Take you to the place that you hate the most
Oh yeah
Protestant work ethic blues
You got those white collar blues
Dropping down behind your desk
Crumpled in a puddly heap
Oh dropping down behind your desk
Waiting for the strength to take that existential leap
Oh blue
Never too white to sing the blues
Falling off to sleep and weep
In your three-poster bed
Oh falling off to deep dark sleep
You find yourself wearing a mask over your original head
Oh blue
Never too white to sing the blues
Protestant work ethic blues
Tough to shake those blues
Diamond Stylus
Sounds I see
Breaking through the hard light
Razor no
tes
Close to someone’s throat
Re-ject
Is the mark along the arm
Long-play
Is the enemy
Songs I touch
Wheeling through the soft night
Tracking force
Is the way I die
It scratched out lines on my face
Test pressing time
It pained me so it pained me so
Drying out the vinyl
Sound is hard to child-bear
Skin inked black
Turning into burning thing
Circling into wordtime
Words I taste
Dripping through the knife’s bite
Needle tracks
Marking up the snow
Re-volve
Is the time I have to live
Ma-trix
Is the mother-cut
Notes I play
Twinkling through the bird’s flight
Tracking force
Is the way I die
They give me five hundred hours
One thousand sides
Numbering down the broken sounds
Scratching out a life
Sound is hard to child-bear
Skin inked black
Turning into burning thing
Circling into wordtime
Sounds I see
Breaking through the hard light
Razor notes
Close to someone’s throat
Re-ject
Is the mark along the arm
Long-play
Is the enemy
“Cold War Lover”
Words-and-music Bucky Wunderlick
Copyright © 1969 Teepee Music
All rights administered Transparanoia Inc.
“Protestant Work Ethic Blues”
Words-and-music Wunderlick-Azarian
Copyright © 1970 Teepee Music
All rights administered Transparanoia Inc.
“Diamond Stylus”
Words-and-music Bucky Wunderlick
Copyright © 1970 Teepee Music
All rights administered Transparanoia Inc.
Complete transcript of interview conducted by Steven Grey, editor-in-chief of Ibex, a Journal of Rock Art.
GREY: Hey, man, glad you could make it over. Just like to start off the proceedings by asking a couple or three questions about the mountain tapes. Are you figuring to just sit on this material or is there a release date for this material or what? It’s been a long time between releases and people are starting to wonder about that and in a business like our business you hear all kinds of things and I wanted to start off by asking straight out … WUNDERLICK: (garbled)
GREY: Could you try to aim your words right at the thing there? Where you going? Hey, man, where you going?
WUNDERLICK: (garbled)
GREY: Hey, man. Aw, hey. Aw, come on back, man. Aw, no. Aw, hey. We just got … we just … aw, man, no.
Feature story, reprinted in its entirety, from Celebrity Teen, volume 19, number 8, copyright © 1971 by Star System Inc., all rights reserved, reprinted by permission.
ROCK STAH REVEALS SWEATER FETISH!!!
by Carmela Bevilacqua
After I’d interviewed hard-to-interview Bucky Wunderlick in his spectacular mountain retreat overlooking a shimmering lake in the rugged, scenic Adirondacks, I came away feeling just a mite dazed by his gentleness and quiet charm. After all, the supercharged world of rock ‘n’ roll isn’t my usual beat, in addition to which everybody knows how difficult and temperamental Bucky is supposed to be, so imagine how delightfully surprised I was by his feather-soft nature. In fact it was a day full of surprises, including a strange and bizarre visit from an unexpected guest.
But to get back to the beginning, maybe “interview” is the wrong word. Bucky didn’t actually answer any of my questions. Formal answers, no. But talk to me he certainly did! Nodding his head slowly at my queries about his personal and professional life, Bucky chatted slowly and with a kind of sleepy charm about his dreams and his fears, about music and love and poetry, about people, oceans, streets and trees. Such was the hypnotic quality of his voice that at times it was difficult to catch what he was saying. Sometimes his voice would drop away to a whisper and other times he just seemed to ramble on, stringing words together in an aimless pattern. As Bucky talked, his lady of the hour drifted in and out, occasionally joining the conversation. Since you’re probably dying to know, I won’t waste any time telling you that she’s slim and dusty-blond, and she goes by the name of Mazola June. (“They named me after the corn oil,” she said in a lil ole drawl of a voice.) After she drifted off thataway, I asked Bucky to fill in the details on this female friend of marriageable age.
“We’re running death sprints,” he said mysteriously, and although I tried to prod him on the subject of marriage in the near future and the possibility of children and a life far removed from the tawdry glitter, he never returned to the subject of his pretty (and private) companion.
It was about this time that one of Bucky’s ever-present aides, flunkies or what-have-you came slouching in to report that “some creep” had breached security and was hanging around in the hall outside, hoping to be granted an audience with the star himself. Bucky replied with a shrug and the intruder was ushered in. He was a smallish, pale man and he looked directly into Bucky’s eyes, spoke four sentences and then left without waiting for a reply.
“What you have to teach is greater than our capacity to learn. You must stop so we can understand what you’ve been doing. I’ve come a thousand miles to see you. Now begins the long wait until you come to me.”
Later, Bucky and I watched the sun sink into the lake in a riotous blaze of color. I asked him about his obviously undeserved reputation for controversy and mayhem, and when he made no reply other than a clown’s sad smile, I wondered aloud how difficult it must be for him to occupy the stormy heights of his profession, how hard to endure the constant stress of being number one in a business where the roadside is strewn with casualties.
“Wear sweaters,” Bucky said softly in the fading glow of twilight, sitting just a yard away from me on the spacious patio behind the house in the gathering chill. “Sweaters absorb the major impact. I wear three and sometimes four sweaters everywhere I go, weather permitting. Not on stage. I’m not talking about on stage. On stage you’ve got to be naked at the moment of impact. That’s the moment of ultimate truth and ultimate falsehood, and the only way to go is go naked. Off stage, I wear sweaters. One on top of the other. All kinds. Three and four and sometimes five sweaters.”
Mazola June came out then, wrapped in the longest scarf I’ve ever seen in my life, and before too long they’d both nodded off to dreamy sleep, right there in front of me, a pair of babes in the northern wood.
Title track from
PEE-PEE-MAW-MAW
Recorded on Anspar Records & Tapes
International copyright secured
Pee-Pee-Maw-Maw
Blank mumble blat
Babble song babble song
Foaming at the mouth
Won, ton soupie
Spit gargle retch
Easter bunny juke puke
Family zoo me and you
Moo moo moo
The beast is loose Least is best Pee-pee-maw-maw
The beast is loose
Least is best
Pee-pee-maw-maw
Nil nully void
Biting down on hankychiffs
Where’s the end round this bend
Scream dream baby
Boo holler hoot
Picking on the ear string
Cut a slice of steel guitar
Spang bang clang
The beast is loose
Least is best
Pee-pee-maw-maw
The beast is loose
Least is best
Pee-pee-maw-maw
Pee-pee-maw-maw
“Pee-Pee-Maw-Maw”
Words-and-music Bucky Wunderlick
Copyright © 1971 Teepee Music
All rights administered Transparanoia Inc.
Material not to be offered for resale.
None of the copyrighted material herein is to be published in any form whatsoever without written permission from Transparanoia Inc., 30 Rockefeller Plaza, New York 10020.
Copyright secured under the Port Moresby, Pan American, International, World and Universal copyright conventions.
Public performance rights for U.S. and Canada owned by Teepee Music, an affiliate of Transparanoia Inc. All other world rights owned by Chumley Productions, an affiliate of Transparanoia Inc.
Made in U.S.A.
All rights reserved.
Officially registered and legally restricted.
12
WHEN I LIVED in the mountains I had a special room built into the studio portion of my house. It was an anechoic chamber, absolutely soundproof and free of vibrations. The whole room was bedded on springs and lined with fiberglass baffles that absorbed all echo. There I listened to tapes of my own material, both in transition stage and final form. Music was a liquid presence in that chamber, invisible wine for the ear to taste. I used the room often but not always to play the tapes. Sometimes I just sat there, wedged in a block of silence, trying to avoid the feeling that time is stretchable. The small room seemed a glacial waste, bounded only by solid materials, subject to no central thesis, far more frighteningly immaculate than it was when pure music skated from the tapes. If you could stretch a given minute, what would you find between its unstuck components? Probably some kind of astral madness. A bleak comprehension of the final size of things. The room yielded no real secrets, of course, and provided no more than a hint of the nature of silence itself. There was always something to hear, even in that shaved air, the earth roiling into a turn, cells in my body answering to war.
