{"id":7268,"date":"2013-01-20T04:16:17","date_gmt":"2013-01-20T04:16:17","guid":{"rendered":"http:\/\/a-desk.org\/2013\/01\/20\/death-valley1731\/"},"modified":"2013-01-20T04:16:17","modified_gmt":"2013-01-20T04:16:17","slug":"death-valley1731","status":"publish","type":"post","link":"https:\/\/a-desk.org\/en\/magazine\/death-valley1731\/","title":{"rendered":"Death Valley"},"content":{"rendered":"

On Thursday \u00c1ngel Calvo Ulloa wrote about Pop Politics<\/a> at the CA2M and indicated that the exhibition took as its point of departure the Charles Manson massacre in the house of Polanski which in an orgy of blood ended the life of, amongst others, his pregnant wife, Sharon Tate. At the beginning of the eighties Charles Mason was in effect a reference for the end of the hippy utopia, that various post-punk bands and No Wave recuperated. Let\u2019s remember two of them that refer explicitly to this time: <\/p>\n

The live concert of Siouxsie & The Banshees, that they released on the album “Nocturne” in 1983, in which they did a cover version of the Beatles\u2019 song “Helter Skelter”. The title of this song appeared written in blood on the walls of the Polanski house and formed the title for a television series about the massacre. (Note: the guitarist for “Helter Skelter” was Robert Smith of The Cure)<\/p>\n

And the song Death Valley 69 by Sonic Youth and Lydia Lunch from 1985 that makes explicit reference to the massacre of Charles Mason.<\/p>\n