Multidisciplinary artist Rachel Mason’s album turned surreal rock-opera film The Lives of Hamilton Fish owes its life to coincidence. In January 1936, two men from upstate New York named Hamilton Fish — one a sadistic serial killer, the other a minor statesman — died a day apart. Decades later, while volunteering as an art teacher at Sing Sing Correctional Facility (where killer Fish was executed), Mason discovered their side-by-side obituaries in a newspaper clipping that would spark her self-admitted “obsession” with the Fish men.
B + B Q + A
Walk down Morgan Avenue, past Owen Dippie’s recent mural of Renaissance artists sporting Mutant Ninja Turtle masks, and you’ll get to ASVP’s latest, “Triple Crown.” The black-and-white painting on the side of Sugarlift gallery shows three horses, all clean lines and free-flowing manes. “It’s derived from a larger theme that we’ve incorporated into some of our recent work,” a member of the anonymous duo told us. “The concept of finding wildness.”
You’ve probably seen Damien Lemon on MTV 2’s Guy Code, or as the cabbie in one of those Spiderman movies or on Comedy Central’s The Half Hour. This month you can find him doing stand-up at The Stand. Lemon first walked onto the stage in 2005, when he performed at Sal’s Comedy Hole, and since then he’s been dishing out laid-back advice and commentary on race, sex and, yes, Uber drivers. Lemon, who also co-hosts a podcast called #InTheConversation and co-anchors MTV 2’s Not Exactly News gave us insight into the comedians he most looks up to, the “two different Brooklyns,” and how he transforms “fucked up” shit into jokes that hit.
There was a flood of tears and a surge of inspiration at the New York premiere of A Brave Heart: The Lizzie Velasquez Story. This past weekend at the Lower East Side Film Festival, the documentary took home Audience Award — to be shelved with numerous others. When we spoke to the film’s subject yesterday, she said she was “still smiling.”
If we had to pick one emoticon to describe Kid Congo Powers’ attitude about his own three decades-long career, we’d go with the shruggy guy (i.e.¯\_(ツ)_/¯). He’s surprisingly humble and when he speaks about the past, it’s with what we imagine was the same wide-eyed amazement he had way back when The Cramps asked him to come on board. By some estimations, Kid Congo’s been a part of at least 420 bands over his three decades-long career, including legendary acts like The Cramps, Nick Cave and the Bad Seeds, and this writer’s personal favorite, The Gun Club, of which Powers was a founding member.
While you slept soundly last night, a computer sat in the corner of the Denny Gallery on the Lower East Side, silently uploading the entire contents of Wikipedia onto Lulu.com, a print-on-demand website. The process is estimated to take the next two weeks. Why, you ask? As a “poetic gesture towards the futility of the scale of big data,” reads the press statement from the exhibit “From Aaaaa! to ZZZap!”, a performance of the upload of Michael Mandiberg’s Print Wikipedia series. Understood another way, perhaps while passing the dutchie pon the left hand side: like, how big is the Internet, man?
Over the millennia much attention has been paid to the concept of love (a second hand emotion? a stink?), while hate tends to sit, brooding in the corner. Apparently, the line between the two is thin. A wise master once noted, “Fear leads to anger. Anger leads to hate. Hate leads to suffering.” Beyond this advice for mastering your emotions (and the force), is a call for empathy. Of course, how can one forget the more fatalist flipside: “haters gonna hate.”
In 2011, Kate Bolick touched off a heated debate with her confessional Atlantic article “All the Single Ladies,” which described her experience breaking up with her “loyal, kind” boyfriend of three years, assuming someone new would come along, only to find herself still unattached at 39 and dealing with the stigma and fears that come with singledom. Her first book, Spinster, tells the story of what happened when she embraced being single. It interweaves her personal life with historical context brought to life by five single ladies who were reveling in their independence long before Beyonce wrote the anthem.
So, Faith No More’s comeback album Sol Invictus just debuted at #14 on the Billboard 200 – a hell of an accomplishment for a rock band these days, even if it isn’t quite enough for “album of the year” status (then again, FNM already has an Album of the Year). With the band set to play Madison Square Garden in August, I remembered that sometime around 1998-99, I interviewed frontman Mike Patton for a zine I was trying to put together for the old Knitting Factory, back when it was in Tribeca. The zine didn’t end up happening, so the conversation was never published, but I recently dug up the tape and gave it a listen.
Once upon a time there were things called subcultures, that managed to thrive despite promotion through “social channels” or sponsorships from energy drinks. Since 1980, 156 Rivington Street has been a subculture enclave for activists, artists, counter culturists, and assorted noisemakers, providing a non-profit space to exchange ideas and physically interact. It’s not secret that the hardcore punk scene was once a magnet for such individuals, so when the storied matinee shows at CBGB became too violent in the late-’80s, punk turned off the Bowery to Rivington Street to ABC No Rio.
In a matter of a few years, Jon Fine, formerly of the band Bitch Magnet, went from an indie rock lifer cavorting from Williamsburg warehouse party to coke-soaked dive bar and barely making enough to make rock bottom rent on his train-side apartment to contributing on air to CNBC and writing columns for BusinessWeek. Clearly, those were different days– that same Williamsburg apartment would cost a small fortune to rent now and Fine suffers from permanent hearing loss, though he’s happily married and is the author of a new book Your Band Sucks. Fine’s memoir traces his rise to indie fame as the guitar player for Bitch Magnet to ultimately, what he calls, “the failed revolution.”