ACTUALLY IT WAS ALL VERY SWEET AND INNOCENT

E, algures pelo meio de uma extensa entrevista na qual Rhys Chatham é tudo menos minimalista no que a exaltar a sua genialidade diz respeito, de súbito, o âmbito da pergunta

You were witness to the NYC no-wave scene in the late 70s/early 80s; what were your impressions of what was happening then and its aftermath?

é admirável e surpreendentemente excedido pela resposta:

"Actually, Brian Eno had asked me to be on that No-Wave album he did, but I forgot about the recording session he had organized for the different groups over on Greene Street, so I didn't get to be on it, which was too bad, never mind. God, I had so much fun in NY during that period. There was this great club called Hurrah's that Jim Fouratt used to run. It was really slick and all the bands loved to play there 'cause Jim made sure everybody got paid decently; a nice, big, fat flat-fee rather than a crummy split-the-gate thing.

Gang Of Four no Hurrah's

One night there was this double bill with the Contortions and the Screamers that I particularly remember because I was helping out with the sound. James Chance was doing his usual thing of going out and beating up the audience, it was great. But the real highlight of the evening for me was meeting Mike Gira's ex-girlfriend, Anne-Marie. Mike was in Swans with an amazing drummer named Jonathan Kane (who I later ended up working with) and Anne-Marie was doing publicity for Jim Fouratt at the club. And she had just split up with Mike. It turned out that she was the same sign as me, Gemini, and that we knew all the same people: Lydia Lunch, Scott and Beth B., Vivian Dick, Pat Place, Arto, John Lurie, James Nares, Adele Bertei... the whole gang! Anne-Marie was from a small hamlet in France called St. Brieuc and was studying modern dance when she wasn't working for Jim. She had this wild, spiky blond hair that went all over the place, along with fine features over delicate bones. I really had a good time talking with her and gradually became sexually attracted as I was doing so, especially in retrospect. During the Contortions setup, we had many opportunities to speak together. As we were talking, I couldn't help but notice that she kept folding her arms over her breasts. At first I thought this was because they were cold (her breasts), but after she repeated the gesture a number of times over the course of the sound check I gradually began to suspect that it was because she wanted to hide them. Anne-Marie had large breasts for a dancer; I think they might have been a B cup, which isn't after all THAT big, but dancers are weird about that kind of thing, they think that breasts aren't aerodynamic, or some weird shit like that.

Hiding her breasts had the effect of making me want to covertly study Anne-Marie's body at every available opportunity, which I'm happy to report that I managed to do as the evening wore on. I was only hoping that I wasn't being too obvious about it. Her clothes, though torn in all the usual and correct places, were completely black making it difficult to see what she really looked like, so I had to use my imagination at first. Anyway, after the Contortion's set, Anne-Marie invited me to a private area at Hurrah's which was the nice, airy space they had on the third floor; it was quite comfortable. Sitting together on the couch over glasses of chilled vodka and certain other controlled substances, I told Anne-Marie what an amazing person I thought she was. I confided that I was sexually attracted to her and asked if I might rest my head for a time upon her breast as a kind of prelude to an evening of tenderness, passion and emotions. After a bit of circumspection and reflection, she decided to be kind to me, so I dived right in, I mean, it was the end of the seventies for god's sakes! I could have stayed there forever, kissing and engulfing her tender extremities with my trumpet player's lips. Naturally, after a while, I felt inspired to explore other parts of her body.

Accordingly, I removed her jeans and buried my face deep within the crevice of her buttocks, which was protected by a thin white cotton material. I kissed her fragrant orifice through the white cotton over and over again, invading it with my busy tongue through the fabric of her underwear. I wet-kissed all around her unmentionable entrance and gateway-to-heaven area, fondling repeatedly and using my tongue in order to push and explore, while at the same time gently cupping her breasts with my long, pianist's fingers. Eventually, I asked Anne-Marie if it would be all right if I removed her panties. After the consent, I allowed my tongue to dart lightly over the slightly darker skin of her back passage, gradually pressing deeper and deeper, inhaling a slightly musky scent as I did so. Finally, I couldn't control myself any longer, so after first turning Anne-Marie about, I whipped the pride of my manhood out of my jeans which by this time was rigid with aching desire and drove the old ramrod home again and again! Anne-Marie used her shapely dancer's thighs to grab me from behind in order to bring me closer still, milking every available drop of my manly essence deep within her. Thus spent, I tenderly caressed her face and I merged her lips with mine in a final loving embrace before we returned to our respective duties to help with the load-out of our musician friends. The early eighties on the no-wave scene in NY were really great, man. I mean, there was open sex happening in most the clubs, at least the better ones... Tier 3, the Mudd Club, in the back room at CBGB's, it's no wonder I forgot all about Brian's fucking recording session! Not that we were into sex all THAT much, it's just that it was there and available. This was during the pre-AIDS period... you know? Actually, it was all very sweet and innocent, when you think about it".

(2009)