La Chica Del Grupo

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La Chica Del Grupo pikara magazine http://www.pikaramagazine.com La chica del grupo “Hey, tío enrollado, ven, siéntate conmigo. He de preguntarte una cosa. Sólo quiero saber qué vas a hacer por mí / ¿Vas a liberar a las mujeres de la opresión del hombre blanco capitalista? / Di las cosas como son / No seas tímido / Hay miedo a un planeta femenino / MIEDO” (Sonic Youth, ‘Kool Thing’, 1990) Cuando Sonic Youth lanzó esta canción al mundo, en lo que fue su primer single editado por un gran sello discográfico, Kim Gordon (Rochester, Nueva York, 1953) era ya la mujer más influyente del llamado rock alternativo en EEUU. Con su mezcla de música disonante y oscuras melodías pop, la banda que Gordon y su marido habían creado casi diez años atrás pasaba por un momento dulce: contaban con el respeto de la escena independiente, grababan discos que adquirían el estatus de clásicos casi a tiempo real (‘Sister’ en 1987; ‘Daydream Nation’ en 1988), y estaban a punto de conquistar nuevas audiencias, nuevos espacios de difusión. La seguridad que Kim muestra sobre el escenario es extraordinaria: celebra su sexualidad y autoconfianza como si nunca hubiese tenido que luchar contra su propia identidad Al mismo tiempo, Gordon se convertía en una presencia ubicua dentro del paisaje cultural neoyorquino: una figura moviéndose con la misma facilidad en las galerías de arte y en los escenarios de medio mundo, facturando discos bajo un estricto control de calidad, lanzando su propia línea de ropa y manteniendo su radar bien afinado a la hora de detectar y promocionar el talento ajeno. 1 / 5 pikara magazine http://www.pikaramagazine.com Hace apenas tres meses, y coincidiendo con su llegada a las librerías estadounidenses, la editorial Contra presentaba la edición española de ‘La Chica Del Grupo’ (2015, traducción de Montse Ballesteros), un esperado volumen de memorias en el que la música neoyorquina esquiva casi siempre el lado reluciente del éxito, optando a cambio por un tránsito continuo entre la zona de sombras. En principio, su historia prometía un viaje sin sobresaltos. Criada en un ambiente académico y confortable de clase media, donde su padre ejercía como profesor de Sociología en la Universidad de California, Kim manifestó inquietudes culturales desde muy pequeña, y tuvo a su alcance numerosas herramientas para desarrollarlas: una gran biblioteca familiar, una inspiradora colección de discos de jazz y revistas musicales que estudiaba obsesivamente, tratando de desentrañar el misterio que vislumbraba detrás de Marianne Faithfull, Joni Mitchell o Françoise Hardy, sus primeras heroínas de la adolescencia. Kim construía su mundo sin aparentes preocupaciones, aunque el hogar que describe en ‘La Chica Del Grupo’ no tarda en revelar estructuras podridas. Desde las primeras páginas, su hermano mayor comienza a manifestar los primeros signos de una esquizofrenia que no hará sino agudizarse con el paso de los años, mientras el padre y la madre reaccionan ante el problema con un silencio cada vez más asfixiante. Es el momento en el que Kim comienza a cuestionarse su papel dentro de la institución familiar: “Si él era el niño problemático, el fuego que siempre amenazaba con reducir nuestra familia a cenizas, ¿en qué me convertía eso a mí? En la que 2 / 5 pikara magazine http://www.pikaramagazine.com nunca causaba problemas. En la que, si era lo suficientemente buena, podía hacer que nuestra familia fuera normal”. Al mismo tiempo, la artista describe a su madre Althea como un ser enigmático e incompleto, siempre a la sombra de su marido. Costurera de profesión, Althea es una mujer de aire hippy que disfruta con el diseño de ropa y las composiciones plásticas, pero que se ha resignado a reprimir o frustrar su talento. Pronto entendemos que, en casa de los Gordon, cualquier indicio de emoción o individualidad son neutralizados casi de inmediato. A raíz de estos descubrimientos, Kim comprende que ha dilapidado mucho tiempo en Los Ángeles, “intentando hacer lo que era fácil, lo que se esperaba de mí”, y no tarda en huir, con la cabeza llena de interrogantes, en busca de la mujer que quiere ser. Es entonces cuando el centro del libro se desplaza con insistencia hacia asuntos como el cuestionamiento de la autoridad, la construcción de la identidad y la necesidad de crear ámbitos propicios para la libertad creativa. Su primera medida pasa por eliminar por completo “cualquier elemento que pudiera recordar al aspecto y la feminidad de una chica de clase media del oeste de Los Ángeles”. Kim persiste una y otra vez en dinamitar su imagen, primero, y después en endurecerla a conciencia. Las fotografías que introducen cada capítulo, dispuestas en orden cronológico, nos hacen testigos del proceso. Posando junto a su hermano Keller, con apenas trece años, Kim parece salida de una serie familiar y conservadora de los setenta, al estilo de ‘La Tribu De Los Brady’. Poco tiempo después, es fácil confundirla con una joven Françoise Hardy. Ya en 1985, en una fotografía promocional para el álbum de Sonic Youth ‘Bad Moon Rising’, toda huella de un pasado en el que intentaba encajar (en la escuela, en la familia) había sido borrada: Kim posa desafiante ante la cámara, vestida con una camiseta del grupo de boogie rock ZZ Top y un rifle entre las manos. Por entonces ya pasaba de los treinta, y había aprendido muchas cosas por el camino. Cinco años antes, tras licenciarse en Letras, se había trasladado a Nueva York, donde trabajaba como comisaria en galerías de arte y absorbía cualquier cosa que le ayudase a romper sus esquemas. Estaba la pintura, por supuesto, pero sobre todo la música. En especial, las formas más incendiarias del rock’n’roll, con el garage y el punk a la cabeza. Además, le seducía especialmente el movimiento no wave, una pequeña escena local que abogaba por los sonidos abruptos y disonantes, como reacción a lo que consideraban el paulatino agotamiento y domesticación de la música punk. En realidad, la inspiración podía surgir de cualquier parte. Kim admiraba a The Raincoats, una banda femenina de Londres que “hacía música no comercial, rítmica y excéntrica (…) en contra de todo estereotipo”. Pero también era capaz de extraer importantes lecciones de la tragedia de Karen Carpenter, que en la misma época enfilaba el ocaso de una carrera marcada por el éxito público y la desdicha privada. A finales de los años sesenta, junto a su hermano Richard, Karen había formado The Carpenters, un dúo de pop dulzón y digestión rápida que se propagó rápidamente por millones de hogares norteamericanos. Pero el sueño presentaba contornos tenebrosos: fuera del escenario, todos sus esfuerzos se centraban en obtener la aprobación de una familia tiránica que le había exprimido hasta el último gramo de voluntad. Tras ejercer sobre 3 / 5 pikara magazine http://www.pikaramagazine.com su propio cuerpo “la única autonomía que le parecía tener en la vida”, Karen moriría en 1982 con apenas treinta y dos años, como consecuencia de una anorexia nerviosa. En ‘La Chica Del Grupo’ encontramos una hermosa carta que revela el sincero afecto que la autora sentía por la figura de Carpenter, y no hay duda de que en su historia encontró una seria advertencia sobre la importancia de tomar las riendas de la propia vida. Estas memorias son también la crónica de una mujer que narra cómo lidia con un matrimonio en crisis, con la maternidad y con las consideraciones de periodistas "crueles, arcaicas y sexistas” En consecuencia, Kim se abrió paso en Nueva York como una mujer independiente que luchaba por enfocar su visión artística. Formándose desde la teoría, estudió el modo en que las bandas de rock masculinas interactuaban sobre el escenario, estableciendo lazos afectivos, y no tardó en aplicar esa dinámica en lo que sería el gran proyecto de su vida: Sonic Youth. Durante treinta años, la banda funcionó como el ambicioso plan compartido entre Kim (bajo, guitarra, voz) y su marido Thurston Moore (guitarra, voz), aunque para ella supuso algo mucho más importante: la ansiada conquista de un espacio personal en el que poder expresarse con absoluta autonomía. En las múltiples filmaciones en directo disponibles en internet, la seguridad que Kim muestra sobre el escenario es tan extraordinaria que no parece el resultado de un intenso proceso de empoderamiento: se limita a celebrar su sexualidad y autoconfianza como si nunca hubiese tenido que luchar contra su propia identidad. En sus discos, destaca además como una observadora penetrante, capaz de deslizarse en el paisaje sociocultural norteamericano e ir detectando, uno tras otro, todos sus fallos de sistema: el abuso hacia las mujeres, el terror urbano, el fracaso sistemático de todas las quimeras que en los años sesenta se habían presentado como factibles. Aunque estos logros no pasaron desapercibidos para toda una generación de mujeres jóvenes, que encontraron en Kim una inspiración para aventurarse en el mundo de la música, en ‘La Chica Del Grupo’ hay cierta persistencia en derribar el propio mito. O, cuanto menos, en desviar el foco hacia las pequeñas miserias que subyacen bajo el éxito. Así, estas memorias son también la crónica de una mujer que, al bajar del escenario, lucha en vano por salvar su matrimonio. De cómo la maternidad puede desencadenar una nueva crisis de identidad. De una banda de rock que se desintegra después de tres décadas de historia. Y de cómo una estrella del pop femenina se ve obligada a lidiar con periodistas que despachan su trabajo con consideraciones “crueles, arcaicas y sexistas”. Quienes vayan en busca de una radiografía puramente musical, o de un simple anecdotario de carretera, no siempre encontrará respuestas en estas páginas. A cambio, Kim convierte los capítulos dedicados a comentar parte del cancionero de Sonic Youth en una tribuna desde la que disparar en distintas e interesantes direcciones.
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