There’s such an abundance of film fests coming up that it’s hard to imagine hopping aboard the plagued NJ Transit and heading to suburban New Jersey for one– even if Stephen Colbert did do a Talking Heads cover in support of it. But this seems like a pretty good excuse to check out the Montclair Film Festival next month: a documentary about the making of Lee Ranaldo’s next album will screen May 5 and 6, with tickets going on sale Friday. Best part: The former Sonic Youth singer/guitarist himself will be on hand to play a couple of songs, and for a Q&A with filmmaker Fred Riedel.
Lobby installation. (All art by Raymond Pettibon, all photos by Daniel Maurer)
As he introduced the new Raymond Pettibon retrospective, New Museum artistic director Massimiliano Gioni admitted that he first became aware of the artist via his album covers for the Minutemen, Black Flag, and Sonic Youth. While we’re in confession mode: I still think of Pettibon mainly as the brother of Black Flag frontman Greg Ginn and the creator of the punk band’s iconic logo. But “A Pen of All Work,” which opens today, is further proof that the artist is far more than just a nihilistic doodler whose work has been “displayed” by skaters and punks sporting Six Pack t-shirts.
“I don’t want to have to deal with blonde Kardashians for the next four years,” Kim Gordon told us last night at a book signing in Miami. “The Kardashians were annoying enough and now the blonde version is upon us.”
Even in the midst of this post-election anxiety, the former Sonic Youther has been busy as ever. Just a couple of months after releasing her first solo song, she played a Nov. 12 show at National Sawdust with her current project, Body/Head, to celebrate their new live EP, No Waves. Then she jetted down to South Beach, where she has a short in Art Basel’s film program. Add to all that, the book signing last night at the The Miami Beach Edition, an intimate rosé-and-canapés affair in a bungalow by the hotel’s pool.
November is a good time to be a Sonic Youth fan, since onetime Lower East Side fixtures Kim Gordon (now based in Los Angeles) and Thurston Moore (now based in London) are coming ’round Williamsburg to make some noise.
If you’ve been meaning to check out National Sawdust, Williamsburg’s ambitious new avant-garde venue, this is a fine time to do it: Hot on the heels of her first solo song, Gordon, the artist/writer/musician/icon, is playing there with Body/Head, her moody collaboration with fellow guitarist Bill Nace. Tickets ($20) for the Nov. 12 show are available here.
On Nov. 23, Thurston is also appearing as part of a duo, teaming up with fellow downtown legend John Zorn to celebrate the 40th anniversary of Rough Trade.
Several Halloweens ago, the folks at Nightclubbing gave us what was most definitely a treat: vintage footage of The Cramps doing “The Way I Walk” at Irving Plaza. Today, Emily Armstrong and Pat Ivers have dusted off another clip, posting footage of Lux Interior et al doing “Pretty Baby What You Do To Me.” Check it out above, and then watch “The Mac Daddy” as well– it’ll make for the perfect pre-partying music tonight as you get ready to head over to the annual Halloween tribute to The Cramps at Bowery Electric.
“Raymond Pettibon, No Title (This feeling is), 2011. Pen and ink on paper, 37 ¼ x 49 ½ in (94.6 x 125.7 cm). Private collection. Courtesy Regen Projects, Los Angeles.”
It’s been two years since Raymond Pettibon’s surfer art went on display on the Upper East Side. Wait, wha? The artist who did the anarchic drawings that graced the cover of Black Flag albums and concert posters? On the Upper East Side? If that seemed weird, this makes more sense: downtown’s own New Museum has announced that, in February, it will put on the city’s first major museum survey of Pettibon’s work, featuring more than 700 drawings across three floors.
Vinyl, the Scorsese-Jagger production we’ve been looking forward to with bated coke-breath ever since it filmed in the East Village, finally hit HBO last night with an epic two-hour episode, and the critical reaction has been pretty much love it or hate it. Even if you’re with the East Village’s own Richard Hell in the latter camp, you’re probably going to watch at least another episode or two, just to bask/wallow in the ambience of the early-’70s New York City music scene. So here are some fun facts about the show that we’ve culled from around the net, and from our own archives. More →
Before Dinosaur Jr. took the stage last night to play its debut album in its entirety, superfan Henry Rollins told the packed house at Bowery Ballroom what he thought about Dinosaur, released in 1985: “It was a standout record then, it is a standout record now.”
Steve Shelley and Thurston Moore. (Photo: Daniel Maurer)
When we dipped into Thurston Moore’s new book of lyrics and poems yesterday, we noted that Stereo Sanctity, just released by Thurston’s own Ecstatic Peace Library, finally lays down the real lyrics to Sonic Youth songs vs. the ones we’ve misheard a hundred times. (In “100%”, for instance, it isn’t “Piss off, the chick is mine,” it’s “the zoftig chick is mine.”) More →
Hot on the heels of Kim Gordon’s Girl in a Band, Thurston Moore has released a book of his own, and he’ll be at Rough Trade in Williamsburg tonight to talk about it. Stereo Sanctity isn’t a memoir, but it’s a personal publication nonetheless, gathering the Sonic Youth frontman’s lyrics and poems from 1981 to present. His own Ecstastic Peace Library has released the 303-page, handbound tome in a limited edition of 700.
If you were among the few who saw Thurston Moore interview Anne Waldman last year, you heard him admire the “incredible rock ‘n’ roll energy” of William S. Burroughs. It’s clear Thurston, a onetime fixture at The Poetry Project at St. Mark’s Church who has published Waldman and others of that scene in his own Ecstatic Peace Poetry Journal, believes there’s a crossover between lyrics and literature. As he puts it in the intro to Stereo Sanctity, rock ‘n’ roll is “poetry on fire.” More →