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Famous Viv Albertine Quotes

“Musicians are our real teachers. They are opening us up politically with their lyrics and creatively with experimental, psychedelic music. They share their discoveries and journeys with us. We can’t travel far, no one I know has ever been on an aeroplane. ... whatever they experience, we experience through their songs. It’s true folk music — not played on acoustic guitar by a bearded bloke — but about true-life experiences.”

“I hear a phone ringing through the thick fuzzy air. It's Thunders, asking me to join the Heartbreakers. He says to come over to the rehearsal studios right now. I’m scared but I go anyway. That should be written on my gravestone. She was scared. But she went anyway.”

“The pain I feel from the Slits ending is worse than splitting up with a boyfriend, my parents divorcing or being chucked out of the Flowers of Romance: this feels like the death of a huge part of myself, two whole thirds gone. Now the Slits are over and Tessa has recovered, I’ve got nowhere to go, nothing to do; I’m cast back into the world like a sycamore seed spinning into the wind. I’m burnt out and my heart is broken. I can’t bear to listen to music. Every time I hear a song I feel physical pain, just to hear instruments is unbearable, it reminds me of what I’ve lost.”

“I decide I’ll just have to be myself. I’m sick of pretending anyway – of policing my words and editing my thoughts. Husband never wants me to talk about the Slits or my ceramics or make rude jokes, I’m losing every ounce of the person I used to be. I know she wasn’t all good, but she wasn’t all bad either. I’m not going to pretend to be something I’m not for this bloke who lives miles away across the sea. I’m not going to try and be nice and seductive for him. There are so many people in my life that I’m putting on a front for, I don’t need one more. If he doesn’t like me for who I am, forget it.”

“I've got so used to my life being challenging and fraught with danger that I don't question it any more. Whether I’m knocking on the door of a hardcore sex shop, walking through suburban streets being verbally abused and spat on, or being threatened on the tube, I don't give in. I don’t dress normally to have an easy life. The pilgrimage down the King’s Road to get to the Shop (Sex: everyone calls it ‘the Shop’), the place I want to hang out and buy stuff, is one of the scariest things I do — running the gauntlet of teds who want to kill people like me — but nothing will stop me looking the way I want. It’s a commitment.”

“Palmolive wrote the lyrics to ‘Newtown’ too. The song was originally called ‘Drugtown’, but I changed it to ‘Newtown’, thinking about all the new towns that are springing up around the edges of London, like Milton Keynes and Crawley. The young people growing up there are so bored, they take loads of drugs and drive around really fast or beat each other up at football matches, then they get up and commute to their dull jobs on Monday morning. Palmolive made up these great words like ‘televisina’ and ‘footballina’ as drug names, I think only a foreigner could do that.”

“I rush home and put the record on ['Horses’ by Patti Smith]. It hurts through stream of consciousness, careers into poetry and dissolves into sex. [...] She’s a private person who dares to let go in front of everyone, puts herself out there and risks falling flat on her face. Up until now girls have been controlled and restrained. Patti Smith is abandoned. [...] Listening to Horses unlocks an idea for me - girls’ sexuality can be on their own terms, for their own pleasure or creative work, not just for exploitation or to get a man. [...] Hearing Patti Smith be sexual, building to an organic crescendo, whilst leading a band, is so exciting. It’s emancipating. If I can take a quarter or even eighth of what she has and not give a shit about making a fool of myself, maybe I can still do something with my life.”

“Ari [Up] was an artist and an artist needs love more than anyone, she needed loads, but I don’t know if she got enough on a one-to-one level. Everything came second to her music, even family. You have to be selfish to be an artist; your family just have to accept that. It’s not personal, it’s not that you don’t love them. What an artist gives their family isn’t routine and their constant presence, they give vitality and ideas, independence and creative thinking.”

“Vivienne [Westwood] and Malcolm [McLaren] use clothes to shock, irritate and provoke a reaction but also to inspire change. Mohair jumpers, knitted on big needles, so loosely that you can see all the way through them, T-shirts slashed and written on by hand, seams and labels on the outside, showing the construction of the piece; these attitudes are reflected in the music we make. It’s ok not to be perfect, to show the workings of your life and your mind in your songs and your clothes. And everything you do in life is meaningful on a political level. That’s why we’re all merciless about each other’s failings and why sloppiness is derided.”

“I say something provocative to Posh Boy, he threatens me with violence, and the next thing I know, Sid's whipped off his studded belt, wrapped around his fist and smashed Posh Boy over the head with the buckle end. Splits his head open. (Sid taught me this move: wrap the tongue of the belt round your hand, use the buckle as the weapon, it's important to lock your arm straight whilst you wield the belt, and do the worst thing you can think of first. That’s the only chance you’ve got.)”

“The good thing about shocking is that it clears the brain of preconceptions for a moment, and in that moment the work has a chance to cut through all the habits and learnt behavior of the viewer and make a fresh impact, before all the conditioning crowds in again.”

“Things can get out of hand quickly, especially with Sid around. I also decide never to wear heels again when I'm out with him. I go to Holt's in Camden Town and buy a pair of black Dr Martens. (You can get them in black, brown or maroon, the skinhead boys at school used to buy the brown ones and polish them with Kiwi Oxblood shoe polish — this gives them a deep reddish brown colour, much subtler than the flat red of the originals. They also keep them pristinely clean and polished at all times.) I wear my new boots with everything — dresses, tutus — it’s a great feeling to be able to run again. No other girl wears DMs with dresses, so I get a lot of funny looks. (Skinhead girls only wear DMs with Sta-Prest trousers. With their boring grey skirts, they west plain white or holey ecru tights and black patent brogues.) Bit I wear them all the time to clubs and pubs, it eventually catches on with other girls and I don’t look so odd.”

“I remember what Sid Vicious taught me about fighting: Do the worst thing you can think of first. Except I threatened the worst thing first, 'If you want to take it outside, let's take it outside,' I said, putting the hardest, coldest look I could muster into my eyes. 'And I'll put this bottle in your face.' I picked up an empty bottle of Heineken with such fluidity of movement you'd think I did this sort of thing every day.”

“Sid's quite awkward and talks in spurts like he thinks it's stupid to have a point of view, but he's got to communicate, so he forces the words out. I can see it's not that he's unsure of his opinions, he just thinks it's pathetic to have a strong opinion on any subject; to be intelligent means being able to see all sides.”

“One day Sid turns up in the peg trousers and they're in ribbons. He'd sliced them up with a razor blade because he hated them so much but he couldn't find his jeans so when he wanted to go out he had to stick them back together. He joined the rips with loads of safety pins, all the way down his legs, hundreds of them. That’s how the ‘loads of safety pins’ thing started amongst people in clubs: they copied it, but he only did it because he couldn’t be bothered to sew his trousers up.”