Throbbing Gristle: An Endless Discontent (Trowell Ian)(Paperback)

In 1976 the British band Throbbing Gristle emerged from the radical arts collective COUM Transmissions through core members Genesis P-Orridge and Cosey Fanni Tutti, joined by Hipgnosis photographer Peter Christopherson and electronics specialist Chris Carter. Though having performed previously in more low-key arts environments, their major launch coincided with the COUM retrospective exhibition Prostitution at London’s ICA gallery, showcasing and contextualising an array of challenging objects from COUM’s various actions in performance art and pornography. In a deliberately curated strategy inviting press, civic and arts dignitaries, extravagant followers of the nascent punk scene and music journalists, the band created an instant controversy and media panic that tapped into the restrictive climate and encroaching conservatism of late 1970s Britain. Any opportunities that were being explored by a formative punk ethos and movement around sex, censorship and transgression were amplified and exposed by Throbbing Gristle and Prostitution. An outraged Member of Parliament Nicholas Fairbairn took the bait and called the ensemble the ‘wreckers of civilisation’, providing the suitable newspaper headline that would be followed a month later by ‘the filth and the fury’ as the Sex Pistols uttered strong profanities on live television. The switch from COUM to Throbbing Gristle encompassed a primary mode of expression in making music as opposed to
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