Introduction to Adele Bertei and Her Memoir
Adele Bertei may not be a household name, but her memoir offers a powerful and vivid portrayal of New York City's bohemian culture during the late 1970s and early 1980s. Known for her role in the experimental jazz-punk band the Contortions from 1977 and for recording the pop-house single "Build Me a Bridge," Bertei’s narrative provides an essential glimpse into the 'no wave' music scene. Her relative obscurity allows the memoir to stand free from the weight of extensive cultural baggage.
Arrival in Manhattan and the City's State
After a difficult and unsettled childhood, Bertei arrives in Manhattan in 1977, a city grappling with severe challenges. New York was financially strained, facing a municipal debt crisis, and physically deteriorating, with frequent fires marking its landscape. Yet, despite these hardships and the pre-AIDS era that followed Warhol’s avant-garde influence, the city remained a hub of creative openness.
Immersion in the Alternative Scene
In search of her artistic identity, Bertei immerses herself in the alternative cultural scene. Her writing captures the essence of this era with vivid descriptions reminiscent of the youthful, edgy tone of the NME. She portrays figures such as Joey Ramone as
"resembled an anorexic hermaphrodite, replete with sex appeal"and Alan Vega from Suicide as
"Al Pacino dolled up as a gay hustler on 53rd and Third". Bertei also recounts her interactions with notable personalities like music critic Lester Bangs and Pere Ubu member Peter Laughner, capturing their intense struggles with pain, substance abuse, and emotional sensitivity. She writes,
"They are acutely sensitive to the beauty and terror of life and time, constantly reaching for a blanket of numb to dull the sting of the night."
Creative Awakening and the No Wave Scene
Bertei’s creative development is closely tied to the no wave music scene, which later influenced bands such as Sonic Youth. She describes this movement as akin to
"Dada brutalism"and a
"negation of every way that had come before". Although initially both intrigued and repelled by the unconventional sounds, she joined the Contortions as their keyboardist. The band’s leader, James Chance, was known for his provocative performances, including moments where he would slap audience members. Their discordant style even caused revered A&R executive Clive Davis, who had signed legends like Janis Joplin and Aretha Franklin, to leave after hearing just one song.
The Dark Reality Behind the Music
The challenging nature of no wave music reflected a darker collective experience. Bertei observes the youth around her in the club scene, writing,
"I looked around the club at the kids like me, we all seemed so young, vital curious and cocky … life had already beaten the hell out of us and now, we were beating back."Her own childhood was marked by trauma, including physical abuse from her stepfather and her mother's schizophrenia. She explains,
"We all tended to operate on automatic when it came to dealing with … past hurts, ramming any pain down into the deep."
Challenges of Femaleness and Queerness
Bertei highlights the barriers faced by women and queer individuals in the music industry during this period. While the no wave scene included many female musicians, sexism and homophobia remained pervasive. She notes,
"Gayness and the appearance of gayness was verboten."Rejecting traditional femininity, Bertei crafted a persona described as a
"tough boy gamine with an attitude", which was frequently questioned. She writes,
"Musiking girls were not supposed to be outspoken or wild like our rock and roll brothers."Through relationships with photographer Nan Goldin and designer Anya Phillips, she sought to broaden her personal boundaries, but these efforts were often undermined by substance abuse. She admits,
"Emotional intimacy terrified me, I was afraid I’d be discovered as the broken hearted, unloved girl lurking inside my skin."
Decline of No Wave and Later Years
The rise of heroin addiction, the emergence of AIDS, and gentrification contributed to the demise of the no wave scene. Artists who lacked financial resources were pushed out as property values increased. While the memoir’s early sections burn with the energy of this cultural wildfire, the narrative loses some momentum as Bertei’s role shifts from participant to observer. She recounts a series of near successes: a screen test for the cult film Times Square that did not lead to a role; brief competition with Madonna over her first solo single; and working as a personal assistant to Brian Eno without collaborating musically. These experiences cause the memoir to fade gradually, mirroring the decline of the scenes she once inhabited.
Conclusion
Despite this, Adele Bertei’s memoir remains a vivid and visceral account of a transformative period in alternative music history. It is essential reading for anyone interested in the cultural and musical developments of New York City during the late 20th century.
