March 18–25, 1999

20 questions

Interview by a.d. amorosi

With recently reissued books on Keith Richards, Debbie Harry and Andy Warhol, you'd think Victor Bockris was prescient, what with the Stones in town, Blondie back together and Warhol selling for millions. The British-born onetime Philadelphian, known for pithy insights and highly charged writing, has made a career with books on bohemians like Warhol, Making Tracks: The Rise of Blondie and Transformer: The Lou Reed Story (all reissued by Da Capo). Following his downtown NYC muse he recently co-authored John Cale's autobiography, What's Welsh For Zen?, and a new Patti Smith biography (whose first book, Seventh Heaven, he published in 1971 with Philly's Telegraph Press), both out in the U.S. soon. He'll appear at Moore College to talk before the screening of Andy Warhol's Kitchen.

You mention in Warhol that he never got the acclaim he deserved for his films.

Warhol was, at heart, an interviewer. His films are in that format. He was ignored because the establishment was outraged by what he was doing.… At the same time he's painting and making movies, he's made the greatest rock 'n' roll record ever [the first Velvet Underground album]. He's also left out of the history of movies, though most famous directors from Kubrick to Coppola to Fassbender talked of his influence on them. Critics have never liked him and never will.

Speaking of the Velvets, you wrote Cale's autobiography with him. How did it come together?

Cale came to me for advice on writing. I told him to turn his life into a graph—draw, cut it into sections, find the pivots. Instead he insisted we collaborate. He's difficult in that he's totally incapable of answering questions straightforwardly. So I refused to tape conversations any longer—made him write it down. I would pick up what he wrote from his doorman and it would be sooo bad. Interesting ideas and colors though. That's what I captured—his voice, his Welsh pride. Books done this well can remind people of why you love them—why they're important. Cale's contribution is one of the most important in rock. Reed may have changed the effect of lyric but Cale changed the music, the history of guitar playing, the use of "outside" instruments and arrangements.

How did you get involved with the Warhols and the younger downtown elite like Blondie's Debbie Harry and Chris Stein?

I left Philly in 1972 to meet up with [then writing partner, now big-time literary agent] Andrew Wylie to interview what we thought were the 50 greatest people, like Ali, Lennon, Mailer, to figure out how to be successful like them. Within a week, I got an apartment two blocks from Max's Kansas City. We were punks only we wore Brooks Brothers suits. It was an act. We interviewed all our heroes because we lied—told people we were from People. Everyday was Christmas to us.

When you hooked up with Blondie to write Making Tracks, they had just recorded "Heart Of Glass." Now that they're back together again, you, Debbie and Chris wrote a new prologue. There seems to be tension. Real or just taking the piss?

I always liked Debbie. When we wrote the text the first time, she's the one I spent time with. Very intimate talks. Just like a brother and sister. Unfortunately Blondie broke up three weeks after the book came out. The new prologue totally takes the piss. It shows three people comfortable enough with each other to demand that each "shuts the fuck up."

You've come full circle with your new bio on Patti Smith. Did you have to come back to Philly?

Yes I did. I'm pleased with the Patti book. It delivers her contributions and who she is in a concise manner, it's got some good raps. I love coming back [to Philly]. I've had a love affair with this city since age 4 when my parents moved here. It's what America was to me. Great city for rock 'n' roll. I may have been busy managing La Terrasse in University City, but I've always found it relaxed and intelligent.

Secret Cinema presents Victor Bockris and Kitchen, Fri., March 19, 8 p.m., $6, Moore College of Art & Design, 20th and Race Sts., 215-568-4515, ext. 1235.