Andy Warhol , William Burroughs y Nico en el Chelsea Hotel, NY 1980.

This vid is so historic and Uncle Bill looks Andy like what the hell, I dont care.

Chelsea Hotel is the place Sid n Nancy lived ( Nancy died as well in room 100 )

Dylan, Cohen, Janis Joplin . etc etc etc lived at Clelsea Hotel, Nico has a song about it, Dee Dee Ramone has a book as well   Enough said ..check the vid and enjoy Nico singing Chelsea Girls …


 

Mick Jagger, Andy Warhol and William Burrous eating at the loft of Uncle Bill 

Jimmy Page and William Burroughs talking about audience control, Peru and volume.

Led Zeppelin & William Burroughs: alla scoperta del Rock
Rock Magic: Jimmy Page, Led Zeppelin, And a search for the elusive Stairway to Heaven by William Burroughs, Crawdaddy Magazine, June 1975. 
Led Zeppelin & William Burroughs: alla scoperta del Rock
When I was first asked to write an article on the Led Zeppelin group, to be based on attending a concert and talking with Jimmy Page, I was not sure I could do it, not being sufficiently knowledgeable about music to attempt anything in the way of musical criticism or even evaluation. I decided simply to attend the concert and talk with Jimmy Page and let the article develop. If you consider any set of data without a preconceived viewpoint, then a viewpoint will emerge from the data.
 My first impression was of the audience. As we streamed through one security line after another–a river of youth looking curiously like a single organism: one well-behaved clean-looking middle-class kid. The security guards seemed to be cool and well-trained, ushering gate-crashers out with a minimum of fuss. We were channeled smoothly into our seats in the thirteenth row. Over a relaxed dinner before the concert, a Crawdaddy companion had said he had a feeling that something bad could happen at this concert. I pointed out that it always can when you get that manypeople together–like bullfights where you buy a straw hat at the door to protect you from bottles and other missiles. I was displacing possible danger to a Mexican border town where the matador barely escaped with his life and several spectators were killed. It’s known as “clearing the path.” So there we sat, I decline earplugs; I am used to loud drum and horn music from Morocco, and it always has, if skillfully performed, an exhilarating and energizing effect on me. As the performance got underway I experienced this musical exhilaration, which was all the more pleasant for being easily controlled, and I knew then that nothing bad was going to happen. This was a safe and friendly area–but at the same time highly charged. 
There was a palpable interchange of energy between the performers and the audience which was never frantic or jagged. The special effects were handled well and not overdone. A few special effects are much better than too many. I can see the laser beams cutting dry ice smoke, which drew an appreciative cheer from the audience.Jimmy Page’s number with the broken guitar strings came across with a real impact, as did John Bonham’s drum solo and the lyrics delivered with unfailing vitality by Robert Plant. The performers were doing their best, and it was very good. The last number, “Stairway to Heaven”, where the audience lit matches and there was a scattering of sparklers here and there, found the audience well-behaved and joyous, creating the atmosphere of a high school Christmas play. All in all a good show; neither low nor insipid. Leaving the concert hall was like getting off a jetplane. I summarized my impressions after the concert in a few notes to serve as a basis for my talk with Jimmy Page. “The essential ingredient for any successful rock group is energy–the ability to give out energy, to receive energy from the audience and to give it back to the audience. A rock concert is in fact a rite involving the evocation and transmutation of energy. Rock stars may be compared to priests, a theme that was treated in Peter Watkins’ film ‘Privilege’. In that film a rock star was manipulated by reactionary forces to set up a state religion; this scenario seems unlikely, I think a rock group singing political slogans would leave its audience at the door. “The Led Zeppelin show depends heavily on volume, repetition and drums. It bears some resemblance to the trance music found in Morocco, which is magical in origin and purpose–that is, concerned with the evocation and control of spiritual forces. 
In Morocco, musicians are also magicians. Gnaoua music is used to drive out evil spirits. The music of Joujouka evokes the God Pan, Pan God of Panic, representing the real magical forces that sweep away the spurious. It is to be remembered that the origin of all the arts–music, painting and writing–is magical and evocative; and that magic is always used to obtain some definite result. In the Led Zeppelinconcert, the result aimed at would seem to be the creation of energy in the performers and in the audience. For such magic to succeed, it must tap the sources of magical energy, and this can be dangerous.”

William Burroughs interviews Jimmy Page  for Crawdaddy Magazine

The long black limousine carrying Jimmy Page to his encounter with William Burroughs made its way down Fifth Avenue in a light snowfall. The car stopped in front of 77 Franklin Street in a dark, shabby neighborhood of vacant or abandoned industrial lofts that were slowly being reclaimed by young artists and urban pioneers. Jimmy was greeted at street level by James Grauerholz, Burroughs’s young assistant, who led Page up four steep flights of stairs to Burroughs’s loft. The sixty-one- year-old writer, dressed in a coat and tie set off by an embroidered Moroccan vest, extended his hand and offered his guest a cup of tea, which Page happily accepted. Also on hand was a photographer to document the interview, and Crawdaddy’s publisher, Josh Feigenbaum, whose idea this meeting had been. Before getting down to business, Burroughs proudly showed Page his orgone accumulator, which looked like a big plywood crate. Sitting in this box, Burroughs explained, concentrated certain energies in a productive and healthful manner according to theories developed by the psychiatrist Wilhelm Reich. Jimmy Page declined Burroughs’s offer to give the orgone box a try.

Burroughs thought he and Jimmy might know people in common since Burroughs had lived in London for most of the past ten years. It turned out to be an interesting list, including film director Donald Camell, who worked on the great Performance; John Michell, an expert on occult matters, especially Stonehenge and UFOs; Mick Jagger and other British rock stars; and Kenneth Anger, auteur of Lucifer Rising. Burroughs told Page about the feelings of energy and exhilaration he experienced sitting in the thirteenth row of a Led Zeppelin concert. These feelings, he told Page, were similar to those he had known while listening to music in Morocco, especially the loud pipes and drums of the Master Musicians of Jajouka. Page somewhat sheepishly admitted that he had yet to visit Morocco but had been to India and Thailand and heard a lot of music there.

Burroughs was interested in getting Page to speak about crowd control, a longtime fascination. “It seems to be that rock stars are juggling fissionable material of the mass unconscious that could blow up at any time,” he pondered.

“You know, Jimmy,” he continued. “The crowd surges forward . . . a heavy piece of equipment falls on the crowd . . . security goes mad, and then . . . a sound like goddamned falling mountains or something.”

Page didn’t bat an eye. “Yes, I’ve thought about that. We all have. The important thing is to maintain a balance. The kids come to get as far out with the music as possible. It’s our job to see that they have a good time and no trouble.”

Burroughs launched into a series of morbid anecdotes he’d collected about fatal crowd stampedes, like the 360 soccer fans crushed to death during a riot in Lima, Peru.

 

Then there was the rock band Storm playing a dance hall in Switzerland. Their pyro effects exploded, but the fire exits had been chained shut. “Thirty-seven people dead, including all the performers,” Burroughs recalled.

He poured two fingers of whiskey for himself and for Page. Burroughs had been informed that these were the first Zeppelin shows to deploy any special effects. “Sure,” Page said. “That’s true. Lights, lasers, dry ice are fine. But I think, again, that you have to have some balance. The show must carry itself and not rely too heavily on special effects, however spectacular. What I really want is laser . . . notes. That’s more what I’m after. Just . . . cut right through!”

Burroughs then wondered if the power of mass concentration experienced by Zeppelin’s audience could be transposed into a kind of magic energy that could materialize an actual stairway to heaven. He added that the moment when the stair- way becomes something physically possible for the audience could be the moment of greatest danger. Page again answered that a performer’s skill involved avoiding these dangers. “You have to be careful [with large audiences],” he said. “It’s rather like driving a load of nitroglycerine.” Page described the fan abuse they had seen in Philadelphia a few days earlier as an ex- ample of a situation that could really crack, but somehow didn’t.

Over margaritas at the nearby Mexican Gardens restaurant, Burroughs asked about Page’s house on the shores of Loch Ness in Scotland, which had once belonged to Aleister Crowley. Was it really haunted? Page said he was sure it was. Does the Loch Ness monster exist? Page said he thought it did. Skeptical, Burroughs wondered how the monster could get enough to eat. The conversation continued over enchiladas. Burroughs talked about infrasound, pitched below the level of human hearing, which had supposedly been developed as a weapon by the French military. Then on to interspecies communication, talking to dolphins via sonar waves. Burroughs said he thought a remarkable synthesis could be achieved if rock music returned to its ancient roots in ceremony and folklore, and brought in some of the trance music one heard in Morocco.

Jimmy Page was receptive. “Well, music which involves [repeating] riffs, anyway, will have a trancelike effect, and it’s really like a mantra. And, you know, we’ve been attacked for that.”

They parted company on the icy sidewalk outside the restaurant, with many thanks and good-byes. Jimmy Page’s limo, which had been waiting for him, whisked him back to the Plaza Hotel. William Burroughs, James Grauerholz, and Josh Feigenbaum walked back to Burroughs’s loft to listen to the tape that Josh had recorded of the conversation.

Personajes Internacionales mencionando o haciendo referencias al Perú.

Loreto  / Italia  —– Perú / Nebraska  

Acá otros ejemplos : 

A continuación algunas referencias de íconos  –  músicos  hacia nuestro gran país : Perú

John Lennon poco antes de ser asesinado declaró a la revista Playboy

                         Poco antes de ser asesinado en las calles de New York.

PLAYBOY:  What is the Eighties’ dream to you, John?

LENNON:  Well, you make your own dream. That’s the Beatles’ story, isn’t it? That’s Yoko’s story . That’s what I’m saying now. Produce your own dream. If you want to save Peru, go save Peru. It’s quite possible to do anything, but not to put it on the leaders and the parking meters. Don’t expect Jimmy Carter or Ronald Reagan or John Lennon or Yoko Ono or Bob Dylan or Jesus Christ to come and do it for you.

Carátula de Playboy  Enero 1981 ( póstuma ) 

Steven Tyler declaró hace unas décadas  para Decline of The Western Civilization 2 que se había inhalado casi todo el Perú por la nariz ……mira el video.

Steven Tyler reconoce  su adicción a la cocaína y menciona al Perú.

En una oportunidad, finalizando la década de los ochenta, se refirió nada menos que a nuestro país, aunque de una manera muy mordaz cuando el entrevistador le preguntó si conocía dónde estaba ubicado el Perú.

“¿Perú? Bueno, en mi nariz (risas). Me debo haber aspirado a todo el Perú”, dijo Steven, de manera muy pícara.

William Burroughs visita  Perú en los 50’s …………..  Libro  ” Cartas a Yagé “

William Burroughs llegó finalmente al Perú, destino último de su segundo viaje por tierras latinoamericanas en busca del yagé o ayahuasca. Escribió el cinco de mayo de 1953 una carta a su amigo, editor, ex pareja y poeta Allen Ginsberg .Esa primera carta desde tierras peruanas es escrita desde el número 930 de la avenida José Leal en LinceEl doce de mayo escribe desde el Hotel Bolívar preguntando a Ginsberg si “Yonqui” ya está en las calles, interesado claramente en el pago por los derechos de publicación debido a que necesitaba dinero para comprar una máquina de escribir de segunda mano para pasar en limpio los textos que andaba escribiendo sobre el ayahuasca. También hace referencia, con seguridad luego de haber tenido un encuentro sexual en el hotel, a los chicos que por ese entonces vagaban alrededor de los bares del Mercado Central, los cuales fácilmente accedían a estar con él al divisar su porte de gringo y sus dólares en la billetera. Del mismo modo, siempre intentarían robarle luego de tener sexo con él. Como lo dijo textualmente en esa carta:

“No he visto bares de gays, pero en los bares que se ubican en los alrededores del Mercado Mayorista (Mercado Central) cualquier chiquillo es astuto y se encuentra disponible ante la vista del dólar americano”. William Burroughs .

 

Jamiroquai usa una camiseta del Perú en su video .

El vocalista de la banda Red Hot Chili Peppers : Anthony Kiedis  se puso literalmente la camiseta del Perú no solo en nuestro país, también lo hizo en Chile, Argentina, Alemania ,etc ..

                           Anthony embajador de la nada de Marca Perú 

Los geniales Funkadelic nos mencionan en su disco Maggot Brain de 1971.

Traducción de una estrofa de la canción :

take your dead ass home

Había una vez un hombre de Perú 
Que se fue a dormir en su canoa
Soñaba con Venus
Y sacó su pene
Y me desperté con un puńado de goo
Poner el pie en el rock!
Ok bye!
Ah, ah, ah, ah, ah, ah, ah, ah, aiii!
Había una vez unos fanáticos de Los Ángeles
Que vino a Nueva York para jugar
Que fue arrestado por la pandilla gatito
Y el fiscal les metió en el corral

El gran Neil Young nos ha citado varias veces en sus canciones como en :

ride my llama

Like any other primitive would. / I’m gonna ride my llama / From Peru to Texarkana / I wanna ride him good / In my old neighborhood / I’m gonna ride him good 
Like an Ica
Well. I wish I was an Aztec,
Or a runner in Peru
I would build such
beautiful buildings
To house the chosen few
Like an Inca from Peru.

                                                    Neil Young  – Hitchhiker

Otro caso es de los Beach Boys en su hit Surfin Safari donde mencionan a Perú y las buenas olas de Cerro Azul, por décadas pensamos com orgullo que los Beach Boys nos habían visitado inclusive recuerdo haber escuchado falsas mitos urbanos de los Beach Boys en Cañete pero cuando vino Mick Love hace unos años confesó que un amigo en California les contó de esa playa y de sus olas y que nunca habían venido antes.

Beach Boys : Surfin´Safari 

They’re anglin in laguna in cerro azul
They’re kicking out in dohini too
I tell you surfings mighty wild
Its getting bigger every day
From hawaii to the shores of peru

 

Playa Cerro Azul, ver la famosa  águila de piedra 

Se te ocurren algunos otros ejemplos ?? Avísanos a cucho.penaloza@neo.com.pe

Parte 2 ya viene Frank Sinatra, The Strookes, John Wayne …