Gillian Gilbert y de cómo los finales no hay que tomárselos en serio para volver a comenzar

Nota Escena Indie: Este artículo es un ensayo de nuestra querida Gina Vega. Seguramente se van a conmover al leerlo, aprenderán y se remitirán a la bella historia de la música que tanto nos gusta. Esperamos que lo lean hasta el final y disfruten cada párrafo.

Por: Gina Vega 

“Esta es la historia de New Order. Esta es una historia implacable de comienzos y finales, de excesos y astucia, de orgullo e inmadurez. Es la historia del rock más curiosa y caótica y ¿quién puede decir qué pasó realmente?”

New Order Story

Los primeros minutos de “New Order Story”, en los que se escucha una voz en off taciturna al ritmo de “Atmosphere” de Joy Division, han sido los más acertados en describir un episodio de la música difícil de encasillar. “New Order Story” es un documental de 1993 que cuenta con un formato particular ya que le da protagonismo a entrevistas y participaciones ficticias en TV marcadas por el humor negro. A lo largo de sus casi dos horas, se propone un relato sobre la historia de New Order que transciende la muerte de Ian Curtis para llegar una visión no idealizada, ni romántica de lo que implica pertenecer a una banda impredescible y por ende, vigente.

Gillian Gilbert tal vez ha sido la integrante que mejor ha representado esa idea sensata de un grupo que fue contra de todos los pronósticos, no sólo por el simple hecho de sobrevivir sino para hallar un único rumbo. Ella tuvo responsabilidad en darle credibilidad al camino por el que optaron los ex miembros Joy Division, una vez el suicidio tomó un aire más de sentencia que de oportunidad. Esa confianza fue resultado del talento integral de Gillian compuesto por su voz junto a la interpretación de la guitarra y los teclados. Mejor dicho, su huella no se puede reducir a ser mujer o al impacto de una “cara nueva”, aunque sean factores a considerar.

Es así que en esta oportunidad trataré de desentrañar en la historia para poder construir un perfil de Gillian Gilbert desde la incursión de las mujeres en la música y la aparición del synth-pop. Todo con el fin de poner en perspectiva los elementos que ha revaluado y a los que ella ha resistido en su deseo de conservar un bajo perfil. Incluso los excesos, la astucia, el orgullo y la inmadurez que enumera “New Order Story” para explicar su proyecto musical principal, Gillian los ha sabido manejar con suficiente gracia hasta salir invicta de sus más terribles consecuencias. Gracias a ese encanto es que simboliza sin esfuerzo la única lección clara que ha dejado el capítulo por fortuna inconcluso de New Order y es que los finales no hay que tomárselos en serio para volver a comenzar. Con la luz de esa frase es que vale la pena iniciar.

Mujer y música: el siglo XX y sus posibilidades creativas

“Es una tontería decir que las mujeres son inferiores en el mundo de la música…
En muchos casos son incluso mejores.
Las mujeres son más sensibles y suelen tener una reacción perceptiva
más sutil con respecto al fraseo.”

Declaración de Izler Solomon en 1946,
Director de la primera Orquesta femenina que sonó en la radio.

gillian gilbert

Ashley Montagu fue un antropólogo estadounidense que en el año 1962 hizo pública su tesis sobre la superioridad natural de las mujeres, sin excluir en su defensa a la capacidad creadora femenina. Para abordarla se remitió al pronunciamiento de Izler Solomon, Director de la primera Orquesta femenina que sonó en la radio, el cual fue contrastado con otras confesiones obstusas y pesimistas. Montagu de este modo señalaba que la falta de oportunidades educativas pudo desencadenar una triste suerte en el desarrollo de la genialidad de las mujeres, por lo menos en el ámbito musical.

Aunque hay elementos a discutir en su planteamiento principal, el trabajo de Montagu logra sacar a relieve puntos tan relevantes como la oportunidad que ofreció el siglo XX de una participación más notoria de las mujeres en la música. La incursión progresiva femenina tuvo al género clásico entre sus escenarios iniciales y más notables. Paradójicamente el mismo que desde siglos anteriores puso a relucir una infinidad de límites en cuanto a clase, sexo y género.

Un ejemplo es la vida de Clara Schumann (1819-1896), esposa de Robert Schumann (1810-1856) quien fue una compositora y pianista alemana destacada que no logró ser reconocida al nivel de su talento, pese a haber sido receptora de una formación privilegiada en su niñez y juventud. Esto prueba que se queda corta la idea de Montagu sobre la educación como impedimento en la capacidad creadora femenina, debido a que se deben evaluar otras causas más estructurales a fondo. Por ahora no es oportuno detenerse en éstas, sino resaltar que el siglo XX ofreció un panorama muy diferente al que estaban habituadas las mujeres en la música.

El siglo XX se encargó de que la visibilidad alcanzada por las mujeres se tradujera en reconocimiento. A medida que transcurrió el tiempo fueron más responsables en los procesos creativos, hasta contribuir en la invención de nuevos géneros musicales. Hay que resaltar las valoraciones distintas que existen entre ser cantante e intérprete. Se cree que lo que separa a los dos roles es la dificultad de sus tareas. Ese ha sido uno de los motivos por los que se ha puesto en duda la habilidad femenina en el empleo de instrumentos y en consecuencia, su espacio en la escena musical. Aunque como se señaló antes, es innegable el aporte del género clásico en la revaluación de esa concepción sesgado, la escena independiente que se gestó en la segunda mitad del siglo XX, fue y continua siendo el lugar en el que las mujeres han hallado las mejores posibilidades de creación en sintonía con sus deseos de autonomía.

Para comprender mejor el alcance de la libertad que promovió el mundo underground, es pertinente centrarse en el synth-pop, un género que surgió en Inglaterra y que tuvo un amplia conexión con la literatura. Los aportes de New Order al synth-pop han sido tanto incontables como valiosos, debido a que le planteó otras vías para darse a conocer sin perder su esencia. Las contribuciones de Gillian Gilbert fueron vitales para dar ese giro y así demostró sin esfuerzo su total dominio del teclado en composición e interpretación. Así que vale la pena echarle un vistazo a la historia del synth-pop, un universo que en sus inicios desafió el sentido del tiempo, para así plantear formas de ser andróginas, a las cuales New Order les dio un conjunto de lecciones desde la espontaneidad del baile.

“Y la realidad superó a la ficción…”: la aparición del synth-pop

gillian gilbert

El synth-pop apareció en la década de los setenta y tuvo su esplendor en los primeros años de los ochenta. Se puede entender como una alternativa musical que se inspiró en la literatura, el cine y en las exploraciones de las que fue pionero “Kraftwerk”, un grupo alemán que no fue tímido en el uso de máquinas para plantear sonidos capaces de alimentar cualquier imaginario sobre el futuro. Curiosamente las distopías que se robaron el protagonismo en los libros usados como referencia, no distaban del oscuro panorama en el que Inglaterra estuvo sumido durante los años setenta.

Es decir, lo que se gestó con la incursión progresiva de los sintetizadores a la escena independiente, fue la banda sonora de un tiempo que demostró las promesas incumplidas de la modernidad. Por tal razón no es azar que ciudades como Mánchester, cuna de la Revolución Industrial y azotada por la pobreza, se afianzara tanto en la música para soportar la dura realidad. Sin embargo, cabe destacar que el synth-pop descentralizó de Mánchester esa vocación de usar el arte como refugio, ya que le dio reconocimiento a agrupaciones de ciudades como Sheffield y Basildon que también trataban de hallar un sentido en medio de los problemas.

Hacia 1978, Daniel Miller, bajo el nombre “The Normal”, comenzó a grabar piezas con sintetizadores y a distribuirlas dando pie a la creación del sello a “Mute Records”. Mute Records se convirtió en un apoyo necesario para varias las bandas principiantes que vieron en el synth-pop la opción que les garantizaría dejar huella. Es relevante señalar que algunos de los nuevos proyectos debido a su acercamiento previo al post-punk, trasladaron toda esa influencia en sus composiciones.

Con un synth-pop que ya estaba cobrando carácter de movimiento, se le da la bienvenida a la década del ochenta. En Inglaterra, los ochenta fueron más prósperos que los setenta y su transcurso permitió la llegada del synth-pop a los listados, lo cual rompió con su clandestinidad. La TV fue uno de los medios que dejó claro que todo no se limitaba a los sonidos, ya que los integrantes de los grupos trabajaron en apostarle a una estética radical.

El maquillaje, los peinados y la ropa usados, romperían barreras de género y contarían la fe de una generación en un futuro dominado por la tecnología. Los relatos apocalípticos que los inspiraron, les quitó el temor a estos jóvenes para proyectarse, hallando en las máquinas sus mejores aliados. Mejor dicho, sacaron lo mejor de sus referentes y elaboraron una versión propia que con creces superó a la ficción.

Aunque todo parecía ir a una dirección definida, New Order, como bien lo ha sabido hacer, volcó todo a un rumbo más afín al baile. En la era Joy Division, Bernard Sumner intentó construir un sintetizador con sus propias manos sin éxito, producto de la curiosidad y el insomnio. A pesar de su “fracaso”, no se rindió y llevó su inquietud a los estudios de grabación hasta encontrar un instrumento que la honrara. Lo logró y produjo el famoso ritmo sombrío de “Atmosphere”.

Por lo tanto, la llegada de New Order al synth-pop, es más predescible de lo que se cree. El factor sorpresa estuvo realmente en la determinación de New Order por ganarse un lugar en el synth-pop a través de un look sobrio, de lugares como las discotecas y de referentes menos pretenciosos. En resumen, New Order no se vio obligado a aplicar las fórmulas que le permitió al synth-pop salir del anonimato, por su ambición de reevaluar lo “underground” o lo “independiente” sin tanta parafernalia.

Tan sólo ver a las personas bailar en la pista, inspiró a New Order para idear su sitio en el synth-pop. Sumner ha relatado que observar el estado en el que la gente se sumergía mientras escuchaba música, le bastó para sentir la urgencia de regresar de nuevo y con más fuerza a los sintetizadores. Pero a diferencia del pasado, la consigna de las melodías privilegió la diversión en vez de la melancolía. Gillian con su experiencia en el teclado, concretó ese objetivo, que se volvió una revolución por introducir lo underground a los clubes. Una vez el espectro de opciones espaciales se amplió, no hubo vuelta atrás.

La mesura y la sencillez que caracterizó a New Order dentro del synth-pop, Gillian las supo reflejar en su carácter. De este modo, se diferenció de otras mujeres del movimiento, quienes se destacaron más por su voz o un estilo recargado producto, en parte, de la ciencia ficción. A partir de ahí comenzaron a surgir mitos sobre su timidez o introversión. Debido a que esas percepciones aún la acompañan, urge valorarlas en contexto con sus decisiones artísticas y personales. Es así que se teje la última parte de este recorrido, no sin antes, recomendar el siguiente “abrebocas”. En éste Gillian deja claro que el bajo perfil en la música no implica falta de confianza, sino libertad e independencia (2:30), visión que sí se ajusta a la esencia que se tratará de narrar:

“(…) Now I know the perfect kiss is the kiss of death”

Gillian Gilbert es una mujer de pocas palabras, ya que tiene más fe en los actos. Por eso sería extraño elaborar su perfil sin haber explorado otros puntos más generales. Nació en Mánchester el 27 de enero de 1961 y aunque pasó varios años lejos de su ciudad natal, siempre estuvo ansiosa por regresar. Desde muy joven se interesó por la música lo cual la llevó a explorar el punk y al llegar el amor, esa búsqueda se conectó con el curso de la historia y le dio eco a su capacidad creativa.

Ese amor que la llevó a un autoconocimiento bárbaro, todavía lo personifica Stephen Morris, el ex baterista de Joy Division, que así como Bernard Sumner y Peter Hook en 1980, se hallaba desconcertado por el futuro. Morris fue el primero en confiar en el potencial de Gillian para alejarlos de la incertidumbre, al punto de transmitirle esa confianza a sus demás compañeros (ver vídeo al final del párrafo). De esta forma ella comenzó a darle consistencia y a elevar a un nivel superior las inquietudes que tuvo Sumner en los setenta sobre los sintetizadores. Al mismo tiempo fue complementando paulatinamente con su voz y sus conocimientos en la guitarra, otras propuestas que ya correspondían al grupo en conjunto, grupo que llevaría un nombre premonitorio: “New Order”.

 

Las fotos y los vídeos de Gillian en “los años dorados” de New Order pocas veces conectaban su mirada con el lente. Además hay registros contados de ella sola o lejos del teclado y la guitarra. Para quien esté convencido de que el reconocimiento en la música siempre implica sobreexponerse, sólo necesita observar esas imágenes. El mensaje que transmiten es el sello único que Gillian ha logrado imprimir en toda su trayectoria: una combinación de naturalidad, sutileza, fuerza, ternura y concentración, así actualmente narre con más detalle sus experiencias o mire directo a la cámara.

Se podría ir por el camino fácil y resumir esa mágica mezcla en timidez, pero es mejor apreciarla como la determinación de actuar bajo reglas muy propias. Tal vez por eso es que Gillian no se ciñó a ritmos convencionales para ser esposa y madre. Después de casi tres lustros luego del comienzo de su relación con Stephen Morris, se casó con él y formó una familia. La mayoría de razones las ha encontrado en New Order y en este caso no fue la excepción. No quiso que ningún convencionalismo se interpusiera en la dedicación que demandaba su pasión.

Pero esa forma calculada de vivir no podría ser un bastión eterno para Gillian. La incertidumbre también la golpeó y a través de una de sus peores formas, la enfermedad. Cuando New Order estaba a punto de lanzar “Get Ready”, una de las hijas de Gillian, Grace, corría el riesgo de que pudiera quedar paralítica por la Mielitis Transversa que padecía. El pronóstico la presionó a darse el primer respiro prolongado del ritmo frenético de New Order. Gillian confesó ante Pitchfork que ese fue el primer momento en el que sintió el peso de ser mujer, dentro de una banda en su mayoría masculina:

Cuando me uní a New Order, me sentí igual a los demás en la banda, así que no tuve la sensación de ser rechazada. Fui tratada y pagada igual, además mi opinión fue solicitada. En esos días no me había cruzado con muchos hombres, ya que tenía hermanas y había escuelas para mujeres y para hombres. El haber sido arrojada a ese ambiente me abrió un poco los ojos, pero no lo suficiente para sentirme diferente.

Pienso que sólo empiezas a notar la diferencia cuando tienes hijos, y los hombres cuentan con alguien que cuide de ellos en casa. No quise niños hasta entrados mis treinta porque mi carrera despegaba y estaba pasando un tiempo genial con New Order. Pero al tener hijas, tienes que tomar decisiones; siempre quise permanecer con ellas en el hogar .1

Así queda clara la existencia de circunstancias que van más allá del arte, las cuales son un recordatorio constante de la fragilidad de ser humano y que en las mujeres, son más exigentes debido a que les implica dar “más de sí”. No obstante, ese sacrificio para Gillian nunca cobró un aire de reproche. Incluso en una circunstancia tan delicada, fue determinada en superarla a su manera, actitud que extendió cuando fue diagnosticada de cáncer de seno en 2007.

Kathleen Hanna, la ex vocalista de “Bikini Kill” en el documental “The Punk Singer”, centrado en su trayectoria, resume muy bien el miedo real del encuentro entre enfermedad y música. Hanna fue tratada por largo tiempo para superar la Enfermedad de Lyme, un mal infeccioso que puede afectar varios órganos del cuerpo. “The Punk Singer” muestra la crudeza del tratamiento, la cual no excluye lo emocional de lo físico. En una parte Hanna declara que su mayor angustia es que el poder de su diagnóstico la alejara para siempre de su pasión, la música. Pero así como la vigencia de Hanna continúa probando el sinsentido de haber evaluado la distancia como opción, Gillian volvió en 2011 a New Order.

___________________________________________

  1.   Traducción libre de un extracto de la entrevista que dio Gillian Gilbert a Melissa Locker para Pitchfork. Es de marzo 23 de 2016 y se puede encontrar aquí:

El New Order que halló Gillian había sufrido cambios definitivos como ella. La partida de Peter Hook tal vez fue el más notorio. Por ende, su regreso coincidió de nuevo con un momento de incertidumbre. Aunque el trabajo de Tom Chapman y Phil Cunningham contribuyó a que New Order no se disolviera, el retorno de Gillian le dio aún más solidez al panorama amargo que ofrecía la salida de uno de los mejores bajistas de su generación. Esto se concretó en la grabación de un álbum con canciones inéditas que salió a la luz en 2015, producido por “Mute Records”, el mismo sello que marcó décadas atrás a la escena independiente. El “Music Complete” de New Order demostró que el synth-pop todavía podía contestar muchas preguntas sobre la identidad de la historia más curiosa y caótica del rock, tal como la describió “New Order Story”.

Hasta aquí hay un amplio desarrollo del vínculo entre Gillian Gilbert y New Order, pero se deben tener en cuenta otras de sus exploraciones musicales que no se limitan a la parte interpretativa o vocal. Cabe anotar que Gillian no ha sido la única de los miembros de New Order en contemplar alternativas creativas distintas. Nombres como Electronic, Monaco y Bad Lieutenant, han recogido o ampliado la curiosidad de Bernard Sumner, Peter Hook y Stephen Morris, durante tiempos de pausa o actividad. En el caso de Gillian, el proyecto en el que ha podido darle nuevas direcciones a su ingenio es conocido como “The Other Two”.

The Other Two es un dúo conformado por ella y su esposo, el cual se originó a comienzos de los noventa, en una época de receso de New Order. Al mismo tiempo, esta faceta ha contado con la colaboración de Melanie Williams, una cantante que se ha especializado en sonidos electrónicos. Las canciones de The Other Two se han convertido en testimonios del talento integral de Gillian, por incluir sin restricciones la dulzura de su voz. El grupo ha sacado dos álbumes en 1993 y 1999, sin embargo no ha descartado en lanzar material nuevo.

Con el ejemplo de The Other Two se evidencia que las expectativas de Gillian en lo vocal e interpretativo pudieron realizadas, pero su vida aparte de New Order no se limita a ese episodio. Los aportes de Gillian a la escena independiente están incluso vinculados a su legado. La hija mayor de Gillian, Tilly, desde hace algunos años es la tecladista de Hot Vestry, una banda que también ha usado los sintetizadores como recurso para hacer original cada composición.

Tilly alterna las grabaciones y presentaciones con sus estudios de diseño de modas en la Escuela de Arte de Manchester. El apoyo de Gillian a la vocación de su hija ha sido más activo de lo esperado, ya que ha sido significativo en la toma de ciertas decisiones al interior de Hot Vestry. Es así que la conexión que las une a ambas, ha hallado en la música una posibilidad adicional de perpetuar una herencia que sigue proponiendo reglas propias al mundo.

Para cerrar este pedazo, es necesario remitirse a una de las frases más contundentes que pertenecen a “The Perfect Kiss” de New Order. El vídeo antes de llegar al minuto 4:13, muestra a Bernard Sumner en un estado de concentración absoluta. Cuando alcanza ese punto, se escucha: “(…) Now I know the perfect kiss is the kiss of death”, a lo cual le sigue una especie de aullido que da pie a un primer plano de la guitarra de Sumner. Hay mucha especulación en torno a la letra de “The Perfect Kiss” y entre todo ese ruido existe la creencia que se refiere a Ian Curtis. En esta oportunidad, vale creer que es así. “The Perfect Kiss” declara que el beso perfecto, es el beso de la muerte y no hay mejor resumen de lo que ha sido el valor de Gillian en la historia de la música.

La personalidad de New Order sin la capacidad propositiva de Gillian, no hubiera alcanzado el engranaje que le permitiría disfrutar de la aparente madurez, aparente porque hubo temporadas de declive, pero que siempre podrá contar con una resurrección, tal como los grandes Imperios lo han hecho. Comparar a New Order con un Imperio podrá tener una serie de imprecisiones historiográficas, pero es inevitable arriesgarse a hacerlo cuando en la actualidad numerosas bandas no se hubieran planteado un camino sin su legado. Las enseñanzas de New Order son poderosas debido a que integran lo musical y lo existencial. Son pruebas vivientes de que la muerte como tabú ha transformado a los finales en irremediables y de que sólo quienes puedan proponer soluciones aún en esa fatalidad, tendrán un lugar asegurado en la historia.

Ahora, en sintonía de una conclusión más general es fundamental precisar que la lucha de las mujeres por obtener un reconocimiento acorde a sus logros, no es exclusiva de la música. La historia del arte cuenta con distintos ejemplos que se ajustan a la intención de sumirlas en el silencio o en la duda. Gerda Taro, fotógrafa de guerra recordada por haber sido novia de Robert Capa y Margaret Keane, artista estadounidense que estuvo por largo tiempo en pleito con su esposo para obtener el mérito de la autoría en su trabajo, son dos ejemplos que pertenecen al siglo XX y demuestran que pese a las oportunidades emergentes, las garantías siempre serán insuficientes si existe un entorno dispuesto a esconder o subestimar el potencial femenino.

La conexión entre reconocimiento y arte, ha sido la vía más empleada para hablar de la habilidad creativa de las mujeres, pero ¿qué pasa con aquellas que huyen a propósito de la atención? Gillian es uno de los mejores casos para entender que eso no es símil de inseguridad o falta de confianza, sino el resultado de la autonomía que promovió la escena underground, en la cual caben múltiples opciones de ser . Por ende, las cosas han cambiado al punto que las mujeres ya no eligen el reconocimiento traducido en sobreexposición como su único fin y pueden incluso sentirse más respaldadas mientras se respete su distancia del “spotlight”.

Como este escrito inició con una frase, sería oportuno acabarlo con otra del gran Georges Bataille, la cual recoge la lucha de New Order con los fantasmas y el liderazgo que asumió Gillian en esa pelea gracias a su talento y su temperamento: “la transgresión no es la negación de lo prohibido, sino lo que lo supera y lo completa”. Y es que sí, New Order no ha intentado borrar la marca que dejó la pérdida de Ian Curtis, sino resignificarla para usarla a su favor y no en su contra. Esa rebeldía es la que seguirá permitiendo que haya New Order para rato y que personalidades como las de Gillian, continúen sentando precedentes desde su prudencia y su fe en los hechos.

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2. Es importante señalar que cada género musical tiene sus reglas y de este modo, no se pueden  uniformar a las mujeres que eligen convertirse en cantantes o intérpretes, aunque tengan circunstancias comunes. En esta oportunidad, se trató el synth-pop por ser una propuesta con la que se ha asociado a New Order en casi toda su historia, pero no se puede equiparar al cien con las experiencias femeninas en el punk, el hard-rock o el metal, donde han habido muestras más contundentes de machismo.

Notas

• La mayoría de las fotografías usadas son de la autoría de Kevin Cummins, a excepción de la última en la que se retrata Tilly Morris. Cummins ha captado durante varios años la escena underground, así que su trabajo es un testimonio visual al que vale la pena acudir.

• Para ampliar todo lo tratado, es recomendable acercarse a documentales como “New Order Story”, Synth Britannia, “Girl in a Band: Tales from the Rock’n’Roll Front Line” y “The Punk Singer”. La mayoría se encuentran en internet.

Referencias

Mirande, María Eduarda. (2002). Feminidad y monstruosidad en el imaginario social: una lectura y dos textos. Cuadernos de la Facultad de Humanidades y Ciencias Sociales. Universidad Nacional de Jujuy, (19), 83-93. Recuperado en 23 de marzo de 2017, de aquí.

Montagu, A. (1962) “Las mujeres y la capacidad creadora” en La Superioridad Natural de las mujeres. Buenos Aires: Libros Básicos. p. 127-145

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