Tucked inside a densely industrial corner of East Williamsburg, there’s a not-so-easy to find new “cultural space” called 99 Scott. With a name like that, not even newbs, or those not yet acquainted with the neighborhood’s winding corridors and sharp triangular street-traps, should have a hard time finding the space. On a dead-end industrial street where garbage trucks and cement mixers outnumber humans, sits a newly renovated, sparkly building occupied by a swarm of new tenants–99 Scott included– who make up one of the most sophisticated and concrete examples of the push toward light-industry happening across Brooklyn.
We were in the Brooklyn Navy Yard, in a soaring warehouse space looking out onto Wallabout Bay, but our minds were in the sewer, because that’s where our speaker wanted them to be. Steve Duncan, an urban explorer, was showing us photos shot in some of the great underground spaces he has visited, from the catacombs of Rome to the steam tunnels of Stockholm to Manhattan’s bygone waterways. He flashed on the spot where the original Spring Street met Canal—a New York City landmark, finally revealed.
Since 19-freakin’-93, Blonde Redhead has been conjuring killer music in New York freakin’ City. The trio – Italian twin brothers Amedeo and Simone Pace and Japanese chanteuse Kazu Makino – are absolute legends of noise-rock and sonic dreamscapes. First taken under the wing of Sonic Youth and later guided by Fugazi, the band constantly strives to create, as Simone says mystically, “something that feels right everywhere, that doesn’t feel it derives from anywhere but just comes because of something magical between us.” Their entire career has been defined by always feeling like outsiders in the city they call home.
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