Andy Miller

A true bohemian: the story of Nico’s rise and fall

Jennifer Otter Bickerdike gives Nico’s extraordinary music its due: beautiful, difficult, uncompromising, influential — and sadly uncommercial

Nico in 1967, at the beginning of her solo career [Getty Images] 
issue 07 August 2021

It is well established that artists are not always the nicest people. On the surface, the life of the model, actress and singer Christa Päffgen, aka Nico, would appear to bear this out. Being Nico didn’t mean being nice.

The story of Nico’s rise and fall usually goes like this. She grew up in the rubble of post-war Berlin, emerging from adolescence as both stunningly beautiful and remorselessly ambitious. By the time she was 28 she had appeared on the cover of Vogue, starred in Fellini’s La Dolce Vita and sung with the Velvet Underground; she counted Alain Delon, Bob Dylan and Jim Morrison among her numerous conquests.

She went from being a blonde ice queen to a gloomy frump resembling the Groke from the Moomin books

After being kicked out of the Velvets, she recorded several LPs of her own forbiddingly dissonant and depressing music before plunging into the sewer of addiction, dragging her looks, such talents as she had and even her only child in with her.

Comments

Join the debate for just $5 for 3 months

Be part of the conversation with other Spectator readers by getting your first three months for $5.

Already a subscriber? Log in