SFTD: Art and Rock and Roll Since 1967

Last week I attended MCA Chicago's new exhibit "Sympathy For The Devil: Art and Rock and Roll Since 1967", a massive undertaking which takes up two of the museum's three floors. The exhibit is meant to shine a light on the symbiotic relationship between contemporary art and rock music that has flourished for the last forty years.

Although many early rockers including John Lennon, Pete Townshend and Eric Clapton had attended art school the real roots of this cultural cross pollination probably has it's basis in Andy Warhol's infamous Exploding Plastic Inevitable show, a series of multimedia "happenings" built around the streetwise sounds of the Velvet Underground. So it's only appropriate you're greeted upon arrival by the multi-sensory overload of the EPI in the form of some of Warhol's "screen tests" (minimalist film portraits of Velvet Underground members Nico, Lou Reed, John Cale, Sterling Morrison and Maureen "Moe" Tucker) whilst Ronald Nameth's film "Andy Warhol's Exploding Plastic Inevitable" is simultaneously projected on a nearby wall. Nameth's film was shot here in Chicago during the EPI's residency at Poor Richard's in June of '67 and features Velvet Underground performing in a hail of strobes and other psychedelic effects whilst some of the very "screen tests" on display are projected behind the band. The barrage of images and searing VU soundtrack perfectly encapsulate what Warhol's' vision for the EPI was all about.

From there the visitor encounters drawings, paintings and photographs by a diverse batch of acclaimed artists who've all influenced or been influenced by rock music in some way or another, including familiar names like Raymond Pettibon and Mike Kelley, artists I originally became aware of through their association with Sonic Youth (when reading a recent interview with exhibit curator Dominic Molon I learned that he too became interested in these artists via Sonic Youth and other like minded bands). One of the exhibit's stand out pieces is a vivid video recreation of Gerhard Richter's burning candle painting that Sonic Youth used for the cover of "Daydream Nation" by artist Jay Heikes. Other highlights include the gloriously deranged Parliament-Funkadelic album covers on display, designed by Chicago's own Pedro Bell, and Christian Marclay's installation "1,476 Records" which features hundreds of vinyl albums spread out across the gallery floor. I was also taken by Rirkit Tiravanija's conceptual piece "Untitled 1996 (Rehearsal Studio No. 6 Silent Version)" which basically consists of a makeshift rehearsal/recording studio erected in the middle of the gallery. Musicians are encouraged to participate in the ongoing venture but must call ahead to schedule a block of free studio time.

It's hard to believe that this is the very first exhibit of it's kind. As somebody who's always been interested in rock musicians who draw from other art forms as well as artists of all stripes inspired by the freedom and the directness of rock itself, it seems a no brainer. But perhaps what really makes "Sympathy For The Devil" tick is it's less than obvious approach. If you're expecting a bunch of famous album covers on display you will be disappointed. But if you're interested in the so-called "art rock" of artists like Velvet Underground, Sonic Youth, Patti Smith, Television, Talking Heads etc., as well as how rock music as a whole fits into the larger cultural landscape then this is the exhibit for you. And while the show isn't entirely devoted to New York based proto and post punkers (just witness Rodney Graham's massive and most excellent, reverse negative Black Sabbath portrait) that particular movement does make up a good chunk of the featured content. The exhibit will continue to run until January 6th.

Clapton- The Autobiography

On October 9th Eric Clapton's heavily anticipated autobiography was finally published. Since then the book has received a steady stream of rave reviews and I figured it's 'bout time I threw my own hat in the ring. As a devoted Clapton fan I was of course looking forward to the book's publication and expected it to be a good read, but having read the lion's share of the major interviews he's done over the last forty years I figured there probably wouldn't be a whole lot in there I hadn't already stumbled upon one way or another. I really couldn't have been more wrong. Clapton has been quite forthcoming in the vast majority of the post-recovery interviews he's granted in recent years, but never has he delved into his past demons with such unadorned honesty and cathartic detail as he does here. He's truly putting himself out there "warts and all" and the end result is a very compelling read.

According to Clapton the first draft was written with the assistance of Christopher Symon Sykes, but he felt there was too much "finger pointing" going on and he needed to take more responsibility for his years of drug and drink fueled excess, so he set about re-writing the manuscript on his own during downtime on last year's world tour. It's that absolutely personal touch that makes "Clapton- The Autobiography" so compelling. His many musical accomplishments from his time with The Yardbirds and John Mayall on through Cream, Blind Faith and Derek and The Dominos are all touched upon (as are his relationships with other rock icons such as The Beatles, The Stones and Dylan). But the real meat of the book is this man's personal journey, often complicated and sometimes tragic. It's all there. The confusing early childhood in which his grandparents were thought to be his parents and his real mother his sister. The initial rise to success which found a young Clapton still struggling to find his identity. The budding friendship with George Harrison that eventually resulted in rock's most infamous love triangle. The tempestuous relationship with Pattie Boyd that followed. The drinking, the drugs, the womanizing and of course the horrific death of his young son Conor. It's all dealt with in soul searching honesty, and more often then not, the kind of outright bluntness you hope for when such a revered figure sits down to pen his memoirs.

The main narrative of the book is Clapton's infamous struggles with drugs and alcohol addiction, which reached it's peak in the seventies and lasted well into the eighties. Some of the stories are downright shocking (such as when a despondent Clapton sat alone in his room with a bottle of vodka, a gram of coke and a shotgun contemplating suicide) but never sensationalized. He also spends a lot of time discussing his failed relationships and life long problems with the opposite sex that surely had their roots in his complicated relationship with his mother. Clapton did eventually get clean after a second trip to rehab in 1987 and was only three years sober when young Conor fell to his death in 1990, but he never relapsed. Instead it only strengthened his resolve never to drink again and since then he's devoted much time and money to helping others achieve sobriety.

Clapton makes it abundantly clear that music, particularly the blues based music that serves as his foundation, has always been and always will be his personal salvation. And despite the darkness that plagued much of his thirties and forties, he did eventually achieve the inner peace he always sought when he met his young wife Melia, who's since birthed him three daughters. It becomes readily apparent when reading the last chapter just how much this young family means to the man. Yet, despite that happy ending, you still get a sense of the old restlessness that remains deep down in his soul. And that's ok. For that restlessness is probably a big part of what makes Eric Clapton "Eric Clapton"- rock icon, loving father, survivor.

What follows are a few choice quotes for your reading pleasure....

On the infamous "Clapton Is God" graffiti that started popping up around London circa 1965-

"There's something about word of mouth that you cannot undo. In truth, I felt grateful about it because it gave me status, and, even better, it was the kind of status nobody could tamper with. After all, you can't muck around with graffiti. It comes from the street."

On falling in love with Pattie Boyd-

"I think initially I was motivated by a mixture of lust and envy, but it all changed once I got to know her. I had first set eyes on Pattie backstage at the Saville Theatre in London after a Cream concert, and had thought then that she was unusually beautiful. This impression was strengthened by spending time with her. I remember thinking that her beauty was also internal. It wasn't just the way she looked, although she was definitely the most beautiful woman I had ever seen. It was deeper. It came from within her, too. It was just the way she was, and that captivated me. I had never met a woman who was so complete, and I was overwhelmed."

On his alcoholism during the mid to late seventies-

"I wasn't too concerned about what people thought; I was drunk most of the time and having fun, fooling around and playing with the guys. Brandy was my drink of choice, but I couldn't drink it neat. Like most alcoholics I have met since, I didn't like the taste of alcohol, so I would mix it with something sweet, like ginger ale or Seven-Up. I drank round the clock, and it didn't matter to me whether or not there was a show that night, because I was always convinced I could handle it. Many times, of course, I couldn't, in which case I'd just wander off the stage and somebody, usually Roger (Forrester), would have to try and persuade me to go back on."

On the multi-platinum success of the "Unplugged" album-

"Russ (Titleman) produced the album of the show and Roger (Forrester) was like an expectant father hovering over the project, while I was fairly dismissive, saying that I thought we ought to put it out as a limited edition. I just wasn't that enamored with it, and as much as I'd enjoyed playing all the songs, I didn't think it was that great to listen to. When it came out, it was the biggest-selling album of my entire career, which goes to show what I know about marketing. It was also the cheapest to produce and required the least amount of preparation and work. But if you want to know what it actually cost me, go to Ripley, and visit the grave of my son. I think that's also why it was such a popular record; I believe people wanted to show their support for me, and those who couldn't find any other way bought the album."

On his life now-

"My family continues to bring me joy and happiness on a daily basis, and if I were anything but an alcoholic, I would gladly say that they are the number one priority in my life. But this cannot be, because I know I would lose it all if I did not put my sobriety at the top of that list. I continue to attend twelve-step meetings and stay in touch with as many recovering people as I can. Staying sober and helping others to achieve sobriety will always be the single most important proposition of my life."