Posted at 10:26 AM in In the City, Opinionated Rants about T-shirts, Pablum Pics, The Dad Zone, Then & Now, Tune Talk, Vanishing Downtown | Permalink | Comments (3)
Unlike certain other bands that would become favorites of mine, I cannot say I remember exactly when or where I first heard Joy Division. It was very probably via a mixtape from my friend Rich, who’d already championed (arguably) similarly gloomy bands like Theatre of Hate to me (although, compared to Joy Division, Theater of Hate sound positively peppy). I believe I succumbed to the austere allure of Joy Division’s debut LP, Unknown Pleasures in about 1983. Ian Curtis had already been dead for three years.
Listening to that first LP was an immediately immersive and affecting experience. For a start, it genuinely sounded like nothing else. It lacked the feral abandon of the punk rock that had obviously inspired it, but retained the genre’s minimal, spartan aesthetic — applied with a clipped, bone-dry precision. Within the album’s 10 original tracks, there are no warm splashes of color beyond bleached, blinding white, frigid grey and ponderously funereal black. There is no camp, no arch wryness or anything cheeky. Topically, Ian Curtis’ lyrics burrow into the realms of despair, degradation, hopelessness, self-loathing and existential dread. In both sound and sentiment, Unknown Pleasures offers a narrow menu that — while entirely singular and elegiac — offers little solace or relief. While frequently draped in overused descriptors like “bleak,” “claustrophobic,” “haunted,” “elegiac,” “grim,” and “sepulchral,” the best adjective to describe Joy Division’s iconic first album has always been the straightforward one — it’s depressing.
Joy Division certainly weren’t alone, in damp Cold War-era England, in mining this particular vein, but few accomplished it with such an aura of authenticity. There was precious little doubt that Ian Curtis wrestled with a lot of issues. While some of their foppish contemporaries could credibly be accused of hamming up the heartache, no one could ever call Joy Division posers. The music on Unknown Pleasures never sounded calculated or contrived. The emotional dislocation woven into that music was genuine, which is entirely what made it so distinctive, leant further permanent poignance by Ian Curtis’ tragic, early exit from this mortal coil in 1980. He wasn’t bluffing.
Unlike the band that the remnants of the original foursome would shortly become, Joy Division didn’t make party music. Sure, you could certainly dance to a lot of it, but no one was going to slot Unknown Pleasures alongside records by Kool & the Gang, Chic and Donna Summer for rump-shaking spins at their next block party. Tempo-wise, it was either nervous twitch, adrenalized sprint or deliberate plod. It is weighty, but without an ounce of fat — pure, opaque and unwaveringly dark.
Despite the status it would enjoy in later decades, Unknown Pleasures doesn’t even have any of Joy Division’s “big singles” on it, the poppiest moments probably being the frenetic opener “Disorder,” the driving snarl of “Interzone" and “She’s Lost Control,” a sobering rumination on a friend’s descent into the indignity and powerlessness of epilepsy. “Rock Lobster” it ain’t.
Too heady, monochromatic, jagged and — again — inescapably depressing for most, despite what certain retrophiles might try to sell you these days, Unknown Pleasures was not exactly a staple around college hi-fis throughout the `80s. At Denison University, any dorm room that contained a copy of the record was probably occupied by a shy and/or disaffected adolescent with a healthy amount of contempt for the perpetually Grateful Dead-scored shenanigans of the frat scene.
But there was (and remains) one special element to Unknown Pleasures that has belied and almost betrayed its cold, unrelentingly desolate core. While fittingly sheathed in a pitch black sleeve, the front cover of Joy Division’s debut came stamped with a striking, enigmatic image that graphic designer Peter Saville plucked from an esoteric book about astronomy. Depicting the fluctuating frequencies of a pulsar signal, the design portrays a succession of crooked, angular lines that strangely mirror the stark, disciplined pulse of the music contained on the record. I cannot speak to the veracity of the legend, but it might have been a luckily prescient design choice, as it has been said that Saville selected the image for the cover without ever actually first hearing the record.
So beyond obviously being an blowhardy, silver-scalped Gen-X’r waxing laboriously about the music of his youth that he quite obviously feels is incalculably superior to the weedy piffle that kids listen to nowadays, why exactly am I bothering to drudge all this up about a now-universally-acknowledged post-punk milestone?
Well, it’s invariably very late in the day to be harping on about this, I am still struck by how Unknown Pleasures has become strangely adopted by mainstream popular culture. For a start, according to Peter Hook’s excellent memoirs, Joy Division never sold “merch.” I certainly remember dutifully buying an Unknown Pleasures shirt around 1984 at Butterfly’s on West 8th Street (now hardware store), but the band initially eschewed all variants of conventional marketing. New Order followed suit up until about 1985’s Low-Life, wherein they did the unthinkable of put their faces on the sleeve. From that point on, I guess, it was off to the races, and one could suddenly buy official Joy Division/New Order gear in much the same manner as Iron Maiden or Kiss.
But, at some point, the cryptic iconography of Joy Division became more than just a sharp t-shirt for precious music geeks in the know and followed the Ramones, Motorhead and CBGB logos into simply the surface-patina of “cool,” whether those sporting said designs knew about the underlying meanings or not. Some folks, like, say, myself, still think this is strenuously unfortunate.
This has obviously been the case for quite a while, here in 2022, but I was slammed in the face by it again, today, while out clothes-shopping with my daughter. Evidently perilously low on certain crucial items, Charlotte asked if we could pop into American Eagle (a clothiers I would normally be loathe to enter based on its name alone) to see if they had a particular cut of blue-jean she preferred. I accompanied my daughter into the place and spent an interminable eternity wandering around while Char emphatically scrutinized their denim selection. While Char sequestered herself in the changing room, I caught sight of something that sort of ruined my afternoon. Surrounded by miles of pre-distressed outerwear, numbing pastels and midriff-exposing crop tops for every climate, there were the jagged pulsar strands from the cover of Unknown Pleasures, incongruously grafted onto a sun-bleached yellow t-shirt to pair with a denim-on-denim ensemble.
Now, obviously, appropriation of the images associated with Joy Division's seminal work for the purposes of a t-shirt ultimately does nothing to diminish the significance of the album in question. Whether the clientele of American Eagle knows it or not, the music of Unknown Pleasures remains as impactful, stirring and important (yeah, I said it) in 2022 as it did in 1979. It has lost none of its power.
I realize it’s a trivial thing, but … is this what Ian would’ve wanted?
Posted at 05:44 PM in In the City, Opinionated Rants about T-shirts, Other People's Pics, Pablum Pics, The Dad Zone, Tune Talk | Permalink | Comments (1)
Regular readers might remember a post from 2016 wherein I encountered a strangely rare Ramones t-shirt (featuring the original, un-used cover art from Road to Ruin) in the unlikely confines of Brandy Melville, a clothiers that tailors its apparel to teenaged girls, albeit ones of only a single size — a curiously exclusive stocking practice that seems a bit cruel to potential patrons of differing shapes, heights and weights. Some time after that, I also remember spotting a Circle Jerks t-shirt similarly for sale. Both of these instances made me frown, given that Brandy Melville is hardly what anyone might consider a thriving hub of subculture.
Today, while glumly attempting to finish off my Christmas shopping, I found myself walking by Brandy Melville on the corner of Fifth Avenue and 13th Street once agin. I had not originally intended to stop in. I gave my daughter a coat from there, some three years back, which she genuinely adored, but her tastes have since expanded beyond the particular aesthetic of the BM brand. But, once again, I spied an item in the window that stopped me dead in my tracks to the point wherein I had to go inside and check it out first hand.
Tucked into the back corner of the shop on the window side were a bunch of rather plain looking sweatshirts on hangers over piles of cropped rugby shirts, ersatz sailing-wear and cable-knit cardigans. Emblazoned across these comparatively drab sweatshirts was the incongruous legend:
US HARDCORE PUNK
I got nothing.
Posted at 03:31 PM in In the City, Opinionated Rants about T-shirts, Pablum Pics, The Dad Zone, Tune Talk | Permalink | Comments (0)
I quickly stopped into the Bowie pop-up shop on Wooster Street in SoHo, last week, which is “celebrating 75 years of David Bowie.” No math major I, but I suppose that implies that Bowie would have been 75 had he not passed away in 2016, but subtract 75 from 2021, and that gives you 1946, while Bowie was born in in 1947, but… y’know, whatever.
In any case, if you haven’t stopped by (and if you’re curious, you can read this VOGUE piece about it), it’s basically a boutique selling all variety of Bowie ephemera, from coffee mugs, fridge magents and jigsaw puzzles to box sets, art prints and a wide array of Bowie-themed clothing. As the VOGUE piece points out, those expecting a re-hash of the David Bowie Is show will be disappointed (it’s nothing quite so immersive), but there is some archival media to be enjoyed therein, although I found it hard to concentrate on it whilst shoppers milled busily around me.
At this stage of proceedings, I’m pretty much all set on Bowie gear. I have all the crucial albums, to say nothing of several rareities compilations and live sets, most of which I revisit with some frequency. He does have an unreleased album coming out later this month, but oft-times, unreleased material swiftly reveals precisely why it was unreleased in very short order. I’m curious about it, but we’ll see. I own one lovely Bowie t-shirt, that being the man’s profile from the sleeve of Low with his name rendered in the same bold, angular font faithfully employed on every album cover by Iron Maiden, a dichotomy for rock-geek trainspotters and keen-eyed metalheads that I quite enjoy.
So despite not “needing” anything they’re hawking (altough I wouldn’t turn my nose up at a cool Diamond Dogs shirt, if I spotted one), I still felt somewhat obligated to look around. But in doing so, I was left with two icky feelings… the fist being my inner, frothy-mouthed gatekeeper bubbling to the surface (not that he’s ever far away), blanching incredulously at the sight of some sniveling Gen-Z’r trying on a t-shirt with the sleeve art from 1.Outside on it, when in all likelihood they’d absolutely never listened to the album in question (“SING ME THREE VERSES FROM ‘THE HEART’S FILTHY LESSON’!”). The second was the overall feeling that Bowie himself might not have been so gung-ho about such a brazen merchandising initiative, not least in the wake of his own untimely death. But that, of course, is pure projection. I mean, I’m used to robust displays of materialistic avarice by bands like KISS and the Rolling Stones, but don’t normally associate that with Bowie. But, clearly there’s money to be made, and I’m probably just being naïve. If you're not bothered by those notions, you should trot on down to Wooster street. It's open through January.
Speaking of Bowie, even though I just evangelized the “new 4K version” of the video the other day, here’s a cool “behind the scenes” of the making the “I’m Afraid of Americans” video with ol’ Trent and Dave on Howard Street, Orchard Street and other spots around downtown Manhattan. Enjoy…
Posted at 01:38 PM in Dumb Web Stuff, In the City, Opinionated Rants about T-shirts, Tune Talk, Vanishing Downtown | Permalink | Comments (0)
News of the tragic and untimely death of my dear former colleague and friend Eileen last week has had my head swimming in anecdotes about my 12 long years at the TIME Magazine News Desk, a lengthy period of my life that seems like both ancient history and strangely only last week or so. As I may have mentioned when I first left that job back at the tail end of 2005, I learned more there than I ever accrued at any school, and made countless friends that feel more like family than like former colleagues.
In any case, prompted by a Facebook post by a friend from a totally different gig, photographer Pat Blashill (who I interviewed for this old post), I was reminded of another News Desk story that left a big impression on me.
As a News Desk editor – essentially a liaison between the magazine’s senior editorial staff and the network of reporters and correspondents in the field around the world -- I had a somewhat unenviable graveyard shift: I would work a regular business day on Monday, I would have Tuesdays and Wednesdays completely off, I would work on Thursday evenings from 4pm and 4am and then the week would culminate in the all-night, Friday-night shift, from 8pm to 8am, the most crucial evening to man the desk as the magazine was being “put to bed,” as the saying went.
It wasn’t that bad, for a long while. It was great having such sizable swathes of time off in the middle of the week. Obviously, the Friday-night overnight put the kibosh on a lot of social plans, but I more than made up for it on the following Saturday nights (when, having only risen from my slumber in the early afternoon, I had lots of energy for late-night shenanigans). It was rough on my circadian rhythms (probably still re-adjusting to this day), but I made it all work for over a decade.
But being that most of my time in the office was spent during the small hours when no one else was around, I used to dress in a manner that could best be described as “informal.” My rationale was that if I was going to be there at 3am when the rest of the world was asleep, I was going to damn well be comfortable. It made sense, at the time.
One telling Friday evening in 1994 as I was just starting my shift, I checked in with my teammates as they were packing up and passing the baton, so to speak. They briefed me on the stories that were in the works and developments to watch out for. I fully expected yet another quiet night with minimal amounts of actual work in front of me. I’d even brought a book to read during what promised to be a long evening of newsless doldrums.
After a little bit, my fellow News Deskers checked out, leaving me the sole editor on duty for the remainder of the night. As if on cue, the phone rang. My colleague Katie asked with some bemused alarm the following question. “Did O.J. Simpson kill his wife?” I glanced up at the television across the room, always tuned to CNN, to see a strangely slow pursuit of a white Ford Bronco being tailed by a phalanx of Los Angeles police cars.
Like a shot, I leapt from my desk and took a sharp left towards the managing editor’s office, sprinting down the hall. I burst into his office with needlessly dramatic aplomb to dutifully relay news that beloved football legend, erstwhile actor and Hertz rental car pitchman O.J. Simpson was being pursued by police under suspicion of brutally murdering his spouse.
The managing editor calmly peered over his glasses at me from behind his desk. “Mr. Smith, …" he finally spoke, glancing back down at the story mock-ups on his desk. “What exactly is a Butthole Surfer?”
I was wearing this t-shirt, at the time.
Posted at 11:53 AM in Dumb Web Stuff, In the City, Opinionated Rants about T-shirts, Other People's Pics, Then & Now | Permalink | Comments (0)
PREAMBLE: I’ve never considered myself an especially materialistic person. Sure, I collect a bunch of stupid shit like records, compact discs, vintage rock posters and dumb band t-shirts, but those have more to do with my associations with the music rather than items that assert any impressions of wealth, status or style. I couldn’t care less about luxury goods. I don’t care what type of car I drive, as long as it can get me from point A to point B. Prestigious fashion labels like Gucci, Dolce & Gabbana, Fende, Versace … none of that matters to me at all. I have no real brand loyalty other than an adherence to that which has proven long-lasting and practical. I mean, sure, I like nice things as much as the next person, but by and large, the stuff I like is more super geek than uber chic, and that is entirely fine with me.
This post, meanwhile, is something an unwitting exception to all that — a fixation I backed into with oblivious and entirely coincidental parallels to the zeitgeist, something I am otherwise habitually out of step with.
It’s a silly situation, but here it is…
For a million years, all I ever wore was Converse Chuck Taylor All-Stars, … and usually the black ones. While completely clichéd and ubiquitous today, their low-tech, retro aesthetic, back in the '80s, set them well apart from the frankly ridiculous, then-newfangled sneakers of the day. Eschewing the garish, boot-like footwear sported by meat-necked jocks, frat guys, mean girls, professional athletes, proto-yuppies and rappers in favor of comparatively cheap, thinly soled, minimally supportive and tonally dour sneakers (originally designed, ironically, as basketball-wear) was a lifestyle choice I embraced based on their alleged espousal by the Ramones.
That said, nine times out of ten, any photo of da brudders usually found them sporting battered, no-name, filthy canvas plimsolls instead of Chucks, the picture beneath being something of an exception.
Regardless, black Chuck Taylors had established themselves as sartorial shorthand for “punk,” at some earlier point, and became the de rigueur shoe of choice for the sneery agent of renunciation I was aspiring to be.
The inherent problem, however, was and remains that Chucks just aren’t all that great. Sure, they look cool, but they’re murder on your arches, don’t really protect your feet, are prone to smell and don’t usually hold together for very long. And God help you if you get them wet -- you might as well walk around with coarse, wet towels on your feet. Time was when sporting Chucks may have equated with making some sort of outlaw, bohemian statement, but you were often courting orthopedic fallout as a cost.
Today, of course, black Chuck Taylors are everywhere, including the feet of our new Vice President. Over time, much like spiked bracelets, ripped jeans and band t-shirts, they stopped serving as signifiers of a specific subculture. But that’s not why I stopped wearing them.
Well, not entirely. I stopped wearing them so exclusively because I fell in love with another shoe.
Back in 2012, I was very dubiously employed as a homepage editor at the website of NBC’s “TODAY Show,” which, in all candor, eventually turned into fraught experience worthy of a whole, horror-filled post in itself, but I digress. In any case, at one point, we reported a story about sneaker titan Nike getting caught in an awkward position after releasing a line of their signature Nike SB Dunk Low sneakers timed for St. Patrick’s Day called “Black and Tans.” Evidently not keen on doing their homework, the brilliant minds at Nike assumed the origins of the term “Black and Tan” pertained exclusively to the cocktail of mixed beers -- usually Guinness Stout with either a Bass Ale or a Harp Lager -– that results in a layered visual effect (hence the colors … black and tan). If you don’t know your history, that might be a perfectly reasonable assumption. The reality, however, is that the name “Black and Tans” actually refers to a notorious British paramilitary force trained to quell the Irish uprising in the 1920s. Suffice to say, the Irish very understandably don’t take that stuff lightly. Don’t order the drink that way in Ireland, either -- call it a Half N’ Half, else you’ll be courting pugilism.
Anyway, we ran the story, and I was so intrigued by the whole chapter that I wrote a follow-up piece for TODAY.com’s short-lived and star-crossed “fashion blog,” The Look. The mere fact that I was allowed to write about fashion for the outlet ought to give you a clue as to the quality and credibility of the finished product. Don’t bother looking for it today, it has thankfully gone the way of all flesh. Once again, I digress.
In any case, so besotted was I with both the design of this sneaker and its troubled (pardon the pun) history, I thought it would be kinda neat to own a pair. Knowing, however, that I couldn’t simply stroll into my local Foot Locker to procure them, I turned to eBay and, in relatively no time at all and for a slightly more than conventional cost for a pair of sneakers, a fetching pair of Nike SB Black and Tan Dunk Lows were mine. In fact, below is a shot of me in that pair at my desk at the “Today Show” website, shortly before I was unceremoniously given the keys to the street by the outlet.
I should point out, at this stage, that I’ve never given the slightest whiff of a damn about Nike, Nike SB (what’s the difference?) or sports culture or anything of that sort. And despite being essentially half-Irish, I wasn’t really interested in the shoes’ botched attempt at Celtic affiliation either. I just thought it was an intriguing story, and I just really dug the color scheme. The fact that they were comparatively hard to find only made them more special. That was really it.
But, once I owned them, I loved these sneakers. They looked great, went well with everything, and were super comfortable. Random dudes would also periodically stop me in the street with assertions like “fresh kicks, bro!” Sometimes I’d lapse into the needlessly convoluted backstory, but most of the time I’d just say thanks and keep movin’ on.
But in seemingly no time at all, I wore them out, wearing holes into the flattened soles from overuse. Aghast by the unspeakable notion of parting with these cherished sneaks, however, I jumped back on eBay to find a replacement pair.
I used to have a colleague at that “Today Show” gig named Phil. Phil used to make it a point that when he latched onto a particular item that suited his needs, he’d buy that item in bulk, sparing himself the trouble of ever having to hunt said item down again in the conceivable future. I used to give Phil shit about that strange habit, but I was suddenly learning why he did it. Upon my return to eBay for my second pair of Nike SB Black and Tan Dunk Lows, the scarcity of the product and its rarefied charms had caused a noticeable bump in its pricing. Undeterred, I ponied up the dough and — boom — the problem was solved. I had a new pair to replace my first pair.
You might start to see where this is going.Since tracking down that first pair in March of 2012, I have bought no fewer than four pairs of Nike Black and Tans (although, if I’m being honest, I have technically lost count), each successive pair being slightly more expensive than their predecessors. And given that production on this particular design was hastily halted nine long years ago, the prospect of continuing to find further replacements for each ravaged-soled pair has become uproariously daunting and not-just-a-little unlikely. But, like a pathetic junkie, I have gotten myself hooked on a niche commodity in astonishingly limited supply.
Adding insult to injury, two other factors have come into play.
I suppose there was always a furtive subculture devoted to it, but since about 2005 (if not well before), a virulent cult of -- for lack of a better term -- sneaker fetishism has been on the ascent. No longer an esoteric pursuit, rarefied-sneaker shrines like Flight Club on Broadway and Concepts on University Place have gone upscale and above-ground, selling coveted, status-affirming footwear to high-paying fashionistas and style-conscious b-boys. The same cats who used to remark “fresh kicks, bro” at me now stand on long lines to get into these emporiums to drool over lovingly presented, limited-run or discontinued (like mine) sneakers from eons past. Online ventures like StockX and Grailed act as liaisons between rabid collectors and merchants the Beastie Boys once referred to as “sneaker pimps.” Sneaker fetishism is now a big, lucrative concern, and my little predilection for Nike SB Black and Tans has gotten ensnared in it.
Then, of course, there is also the Travis Scott factor.
If you’re not familiar with the name, Travis Scott is an of-the-moment rapper who is widely revered in the hip-hop world. Personally speaking, I cannot say I am very familiar with his music, but I know he carries a lot of clout and exudes a great deal of influence. Some may remember an incident back in 2019 when Travis sported a 90’s-era Rush t-shirt for a performance at the Grammy Awards, which prompted SPIN Magazine to write a cheeky little piece advising impressionable young fans not to get the impression that Rush were actually somehow “cool,” which goaded me to post something of a pointed tirade in response. Disrespect Rush and expect my wrath.
In any case, it seems Travis and I share a few things in common in that we evidently both like Rush t-shirts and we both like a Nike SB Dunk Lows. Who saw that coming? In fact, that's Travis pictured above in both a pair of Dunk Lows (although not the Black and Tans) and a different Rush shirt. I actually have this shirt, given to me by Geddy Lee himself. My daughter now wears it, and doesn't care about any of this ridiculous bullshit.
As I understand it, Travis Scott’s stated affinity for the very type of sneaker I’ve spent the past several paragraphs waxing rhapsodic over has even further accelerated and brazenly inflated their already beefy street value. It’s as if the fates are pointedly conspiring against me.
Here in March of 2021 … almost nine years to the day since I got ahold of my first pair of Nike SB Black and Tan Dunk Lows (size 11.5, if you’re curious), new pairs — when you can actually find them — fetch upwards of $450-500, with some sellers audaciously asking twice those amounts for them.
Now, as a sliver-scalped, 53-year-old father of two high schoolers, I can no longer really justify dropping those sorts of sums on pairs of sneakers simply because I like their design and vainly consider them part of “my signature look.” While I continue to peruse the web looking for affordable pairs (although I’m not so hot on the idea of “used”), I am coming to terms that my chances of finding another new pair for myself are strikingly slim.
Right now, I still actually own two pairs of them, although the soles on both are worryingly thin. I have dispatched one pair to a concern somewhere in Florida who claim to be experts in repairing this variety of footwear, although the likelihood of them being able to replicate the specifics of the sole are evidently very slim. I’ll probably get back some sort of mutant-hybridized pair that will technically lack authenticity.
As I type this, I’m currently wearing my other pair, which I took out of cold storage when I shipped off their younger siblings to the Sunshine state. These soles feel like they could give way at any minute, honestly.
Sadly, the time may indeed by nigh to either try something new or get those dusty black Chucks back out of the closet.
Posted at 08:16 PM in Dumb Web Stuff, Food and Drink, In the City, Opinionated Rants about T-shirts, Other People's Pics, The Dad Zone, Tune Talk | Permalink | Comments (1)
My friend Chung was instigating a conversation on Facebook, earlier today, based around a controversial billboard used to promote the Rolling Stones’ 1974 album, Black and Blue, which featured an image of a woman who’d been tied up and abused. While also comparable to a similarly objectionable billboard the Doors used to promote L.A. Woman (which featured a woman incongruously crucified on a telephone pole), I immediately thought of an old poster I’d spotted promoting a gig by — of all bands — Kraftwerk. I did some quick Googling to find the image in question, but came up with nothing. Then, I remembered that I’d probably put it on Get Back to Work, my ancient Tumblr page.
I started Get Back to Work (or Get Back Vassifer, really) as a complete lark — much like this blog — mostly as a means of aggregating images that appealed to my sensibility. This included album covers, GIFS, flyers, tour posters, promo photos, comics, memes, drawings, weird ads, archival pictures of New York, outtakes, t-shirts, movie stills, foreign movie posters, magazine covers, curious videos, risqué images, sci-fi, monster movies, cool graffiti, interesting book jackets, propaganda posters, Japanese robots, concert shots, ticket stubs, odd postcards, political humor, old New Yorker illustrations, badges, strange animations, unexplained phenomena, prurient doodles, and other bullshit like that, all presented usually without any explanation, in no order and more often than not without any helpful tags.
I occasionally had an agenda. It was a good place to store images, or at least set them to one side for later potential use here on Flaming Pablum. After a while, though, it just became an unwieldy pile of cool stuff collected for no readily apparent reason.
It seems I’ve occasionally added a scant image or two over the past year, but it’s far from a regular stop. But in searching for that Kraftwerk poster (which I eventually found here), I took a long, perilous trip down the rabbit hole. There are some truly great things to be found, if you’ve got the time.
Posted at 01:41 PM in Books, Dumb Web Stuff, Film, In the City, Opinionated Rants about T-shirts, Other People's Pics, Pablum Pics, Photo Quizzes , Politics, Street Art, Television, Then & Now, Tune Talk, Vanished Venues, Vanishing Downtown | Permalink | Comments (0)
It’s probably not a new term, per se, but I’ve been seeing it invoked more and more, recently, in discussions about my favorite music, and it’s not a complement. The word is gatekeeping.
Gatekeeping, as I understand it, is sort of on par with mansplaining — it springs from a sort of exclusionary claim to be more vested in a specific artist or sub-genre to the extent that newbie novices need to be properly vetted and schooled before they’re allowed to fully appreciate said artist/music themselves. The Gatekeeper is the guy that demands that you name three songs by the band whose t-shirt you’re wearing. The Gatekeeper is the guy that cites the record just prior to a band’s breakthrough album as that band’s greatest achievement. The Gatekeeper put in his hours, and now expects you to follow suit, … if you’re worthy. The Gatekeeper’s motto, invariably, is “Fuck do YOU know about it?”
Unsurprisingly, given my oft-unsolicited opinions, I have been credibly accused of gatekeeping. Fair enough. I can own that. There are myriad examples here on this blog, be it my affinity for the Circle Jerks or my penchant to safeguard the iconography of the Plasmatics, to name but two.
To my mind, however, my tendencies to “gatekeep” stem from my ever-distant youth, when deviation from popular convention was more often treated with derision and contempt rather than admiration. To put it bluntly, If you’re 13 years old and your classmates give you shit for wearing the t-shirt of a band they don’t know or can’t understand, that experience is gong to stay with you. Years later, when everything is post-ironic and retro-philic and, thanks to the internet, all most music is accessible to everyone at all times, and no one has to put any time or effort into seeking it out, you can bet your bottom goddamn dollar I’m going to demand you cite three songs by fucking Flipper before I let you blithely walk around wearing their shirt just because friggin’ Kurt Cobain once did.
But I digress.
Today, on Facebook’s excellent No Wave group page, someone posted a video that speaks to the very thing that ignites one’s inner Gatekeeper. Entitled “5 Albums to Get You Into No Wave,” this clip is exactly the sort of content I ranted about back in 2017 on this post.
To my mind, videos and articles of this kind make me grind my teeth because they’re so inorganic. Music discovery should be a natural process. You need to listen and discern for yourselves, not cut corners with some half-assed “get hip quick” scheme. Videos like these seem like lazy “how to” manuals for people who want to create the right impression, rather than folks who might be genuinely interested in hearing and learning about new music.
But, in terms of the specific musical phenomenon of the fleeting No Wave scene, though, videos like this are a genuine disservice, as they kind of give everything away. For me, a big part of my affinity for No Wave came after the initial jolt of shock and confusion. That MUST be a part of it.
I vividly remember first dropping the needle on my college radio station’s long-neglected copy of the fabled Brian Eno compilation, No New York, which culled together tracks from a handful of pertinent bands from that tiny, insular scene. Being that the radio station in question was more renowned for playing yawnsome crap like Little Feat and Hot Tuna, the mere fact that they had a copy of No New York at all was reason enough to play it.
I’m not entirely sure what I was expecting upon that first listen (live on the air, no less), but it sure as shit didn’t sound like the Punk Rock I was enjoying at the time. In a nanosecond, it made records by the Sex Pistols, the Ramones and the like sound positively quaint and conventional (which, in retrospect, they basically are). It was such a stark strike of renunciation. Fuck your rock’n’roll rules! Fuck your precious melodies and danceable rhythms! Fuck playing these instruments the “right way!”
Without experiencing that jarring epiphany, I don’t think you can really absorb what No Wave was all about. You can’t skip to the last chapter and spoil the impact like that.
You have to be punched in the face by No Wave before you get to like it.
If believing that makes me a Gatekeeper, so fucking be it.
Decide for yourselves…
Posted at 11:29 AM in Dumb Web Stuff, In the City, Opinionated Rants about T-shirts, Other People's Pics, Tune Talk, Vanishing Downtown | Permalink | Comments (1)
I have no recollection of where I first spotted the New York hardcore logo (above, in case you’re unfamiliar, as rendered in blinding neon at Vinnie Stigma and Jimmy G’s tattoo shop on the Lower East Side), but it was invariably on a flyer for one show or another. While not quite as cryptic as other logos like, say, Black Flag’s bars or, later, Missing Foundation’s upended cocktail glass, it was an immediately arresting symbol that neatly encapsulated the scene and the subculture. In short order, not only was I spotting it everywhere, but I was summarily scrawling it everywhere. It usually prompted blank looks from the layperson — but if you knew, you knew.
Over time, the symbol took on a strange life of its own. As punks and hardcore kids turned into hardcore adults and started infiltrating the halls of industry, the symbol — or, more accurately, appropriated mutations thereof — started suddenly popping up incongruously in places not normally associated with hardcore. Gradually, variations of the the original NYHC logo became ostensibly “cool" shorthand for concerns looking to create certain impressions. As time went on, the original meaning and associations behind the symbol got lost in translation. I’ve spotted variations of the logo all over the place, and when I point out its origin, too often I’m met with stares as blank the ones I got back in the early 80’s. Much as with that Misfits Crimson Ghost image I spotted using to advertise a friggin' pilates class (read that tragic tale in the preamble to this post), the appropriators no longer bother to investigate where they’re getting their iconography from.
I think the most striking example of this I found was out in Quogue. A leafy, affluent enclave of Suffolk County where my mom lives, this sub-Hampton has never exactly been a hotbed of hardcore. My skulking around the town as a pointedly tennis-shunning teenager in a KRAUT t-shirt did little to change that. But about a year back, I was in a local chic boutique out there, looking for a birthday gift for the wife, when I spotted a t-shirt that pretty much knocked me out of my Chuck Taylor’s. I ended up buying it for my daughter, who wore it regularly for a while, blithely unaware and frankly uncaring of the symbol's antiquated roots in New York City punk rock.
In any case, my friend Drew Stone just posted another great installment in his ongoing video series that traces the roots of the symbol. If, like me, you spent large swathes of your youth evangelizing this insignia on every available surface with a sharpie, you should check it out.
Posted at 04:33 PM in Dumb Web Stuff, Film, In the City, Opinionated Rants about T-shirts, Pablum Pics, Street Art, The Dad Zone, Tune Talk, Vanished Venues, Vanishing Downtown | Permalink | Comments (0)
I know I recently suggested I wasn't going to do one of these, as I didn't really feel it warranted discussion. But, at the moment, it's raining like mad out here in Quogue, and I am, in a word, bored. We're here for three more days before it's back again to the city for good and the kids start their hybridized in-person/virtual learning school year.
If we collectively consider Labor Day to be the very end of the season, technically, we have about another 9 days before Summer 2020 is officially over. That said, as I mentioned not too long back, Summer 2020 felt like it was over — for me, anyway — upon the arrival of Isaias, which seemed to prematurely snuff out the verdant warmth brought on by June and July. Sure, the calendar still says August, but everything currently feels like it’s in a declining slope towards Autumn. Summer seems pretty much over.
Then again, Summer 2020 hasn’t been like any other summer. It almost seemed like an afterthought while we collectively grappled with the pandemic ... and everything it brought with it. With normal summer activities either sharply compromised or just flat-out cancelled, the usual associations of summertime seemed incidental and ultimately non-applicable. We went though the motions, but we kept reminding ourselves that this wasn’t your average summer. Next year — God friggin’ willing — will be different.
But, y’know, as bizarre and unsettled and muted as it may have been, … it was still summer, so I figured why not dust off the End of Summer Survey, last taken in 2019. I've also augmented it with a host of other stupid questions:
Defining Moment of Summer 2020:
As mentioned way back in March, when the pandemic turned New York City upside down, my wife, kids and I took my mother up on her offer to let us use her house out on the Eastern End of Long Island, which made for a comparatively more expansive place to remote work and remote school, as opposed to our intimate Manhattan apartment. We stayed there through the end of May, until my mom came back from Florida. When she did, we had to clear out, and ended up basically subletting a cottage in normally rented by some friends of ours from North Carolina. While it was about as roomy as the abandoned bus in which they found the body of Christopher McCandless in Jon Krakauer’s “Into the Wild,” The Lamb Cottage, as it is called, more than met our needs for the summer in between periodic returns to the city.
A lot has happened in the three months we’ve been here, but if I had to slap a “defining moment” on any of it, I would say our initial mastering of a particular dish called Beer Can Chicken, wherein you coat a whole chicken with the rub of your choice, shove a half-consumed can of beer (we used Stella Artois) up its slimy posterior and then precariously perch it standing upright under a closed grill. This is not as simple as it sounds, but the end results were spectacular each time.
Best Purchase of Summer 2020:
I can’t say I did a lot of purchasing this summer, not least because for the most part, most shops were closed. Inspired by a then-impending interview with funk legend Bootsy Collins, I went on a big Parliament kick, which inspired me to buy a t-shirt with the cover art of Mothership Connection on it, which I probably wore more than any other garment, this summer. That’s about it.
Best Book You Read of Summer 2020: I would say it’s a toss up between Trevor Ristow’s “Waiting For Another War,” which I wrote about here and here, and the memoir of Talking Heads drummer Chris Frantz, “Remain in Love.” It's largely a fun, illuminating read, but like so many other rock memoirs, it has a way of poisoning preconceptions about favorite music. While he's obviously a tirelessly nice guy, the sour grapes Frantz feels about David Byrne (and, for that matter, Brian Eno) is unfortunate. I'm not suggesting he's not entitled to feel that way or that any of it is untrue, but there's a dirty laundry aspect to it that's a disservice to the band. I don't think I ever thought of Talking Heads as a perpetually harmonious family, but learning about how frequently weird, callous and inconsiderate Byrne was and how petty and petulant Eno was maybe wasn't something I needed to know. Still, it was an enjoyable read.
Best Movie You Saw During Summer 2020:
Well, obviously, no movie theaters were open this summer, but beyond that — I cannot say I watched too many whole films. I did recently watch “Gimme Danger,” Jim Jarmusch’s documentary about The Stooges, and thought that was pretty amazing.
Best Gift You Received of Summer 2020:
For Father’s Day, my wife gave me some lovely new underwear. That sounds pretty tame, I realize, but they’re genuinely pretty nice.
Biggest Loss of Summer 2020:
Don’t really know where to start with this one. Very mercifully, no one in our family has contracted COVID-19, as yet, although we do know a few folks who had it. There are several local businesses in Manhattan that were forced to close their doors because of the pandemic, and those are all very sad. There’s so much loss going on in the world, at the moment, that it seems petty trying to quantify it all.
Song That Best Sums up Summer 2020:
I can’t say I’ve really latched onto any new music, in the past several months. Sure, I did get the new eponymous long player by Human Impact, which is the supergroup I mentioned (and didn’t go see live) back here that features former members of favorite bands of mine like SWANS, the Unsane and Cop Shoot Cop. As much as I dig that album — its ponderous bleakness fit the world’s circumstances just a little too well. My favorite track from the album is probably “Consequences."
Happiest Memory of Summer 2020:
This will invariably sound like a hokey cliché, but in as much as the pandemic has turned everyone's life upside down, it has afforded us the opportunity -- nay, mandated the requirement -- of spending an inordinate amount of time with our kids. Being that they're both teenagers now, under normal circumstances, they might have both been otherwise loath to spent so much time in our company. That has been our silver lining, during all of this.
Saddest Memory of Summer 2020:
The state of the world, at the moment, has provided more than enough material for this. Where does one begin?
Scariest Memory of Summer 2020:
Watching some of the video of initial unrest in the wake of the death of George Floyd was pretty jarring.
Word That Best Describes Summer 2020:
Transformative.
BONUS QUESTIONS:
Single greatest album of all time is …..
Funhouse by The Stooges
3 Books You Read This Year
- "Remain in Love" by Chris Frantz
- "Waiting For Another War" by Trevor Ristow
- "Girl to City" by Amy Rigby
What’s Your Favorite Rolling Stones album?
Today, I'm saying Emotional Rescue, and you can bite me.
3 Last Albums You Purchased:
- Human Impact by Human Impact
- Gymnopedies & Gnosseinnes by Erik Satie
- Live at Goose Lake by The Stooges (which has not arrived, as yet).
Your favorite James Bond film was
Toughie, but I have a very stubborn affinity for "The Man with The Golden Gun."
3 songs you never want to hear again:
- "Santeria" by Sublime
- "Livin' on a Prayer" by Bon Jovi
- "American Pie" by Don McLean.
3 albums you own that you wouldn’t want to leave on your coffee table when your in-laws were coming over:
- Scatology by Coil
- Dial 'M' For Motherfucker by Pussy Galore
- Freaks, F_____s, Drunks & Junkies by GG Allin
The most physical pain you have ever experienced:
Kidney stone in 2008.
First Record You Ever Bought With Your Own Money:
Dressed to Kill by Kiss
Notable Moment From This Summer:
I had to bury a dead bird that showed up in the back yard of the Lamb Cottage. It was missing its head.
Recommend three books:
- "Please Kill Me" by Legs McNeil & Gillian McCain
- "Downtown" by the recently late Pete Hammil
- "Me Talk Pretty One Day" by David Sedaris.
Beers on me. What’ll it be?
Almaza (great, albeit hard to find Lebanese beer)
First Concert You Went To:
Devo at Radio City Music Hall, Halloween 1981
Last Concert You Went To:
End of Hope at Niagara's on Avenue A, February 2020
Recline your seat-back on airplanes: Yes or No?
HELL, NO.
3 Favorite words
- Sepulchral
- Vespertine
- Defenestrate
Song That Will Remind You of Summer 2020:
"Bitch" by the Rolling Stones
David Lee Roth, Sammy Hagar or Gary Cherone?
DLR without a moment's hesitation.
Recommend 3 TV shows:
- "Ozark"
- "Endeavor"
- "Mad Men" (we're currently re-watching ... it's as good as you remember it).
Last Movie You Saw in a Theatre & Where:
Michael Apted's "63 Up" at the Quad Cinema on West 13th.
My preferred way to listen to music is via:
Vinyl, Cassette, Compact Disc or iPod, but never streaming.
Worst date movie ever:
Toss-up between "Dead Ringers" (about twin psychotic, coke-crazed gynecologists) and/or "Last Tango in Paris" -- Fun fact: I saw both of these on dates. Neither ended well.
Your favorite member of Monty Python?
Michael Palin
3 quintessential summer songs:
- "Shout To the Top" by Style Council
- "Summer's Cauldron/Grass" by XTC
- "Listen" by Tears for Fears
3 Biggest Pet Peeves
- People who order a "cheese pizza."
- People who recline their seat-backs into my lap on public transport.
- The tenacious vernacular of "hate on." One does not require a surface on which to put that verb into action. One does not hate on, hate over, hate alongside or hate under. One just hates.
Fried or Scrambled:
- Fried. Sunny side up.
3 Things You Wish You Could Do:
- Cook with stylish proficiency
- Play guitar
- Credibly speak another language.
3 Things You Miss Right Now:
- Live music
- My friends
- The illusion of certainty.
Posted at 01:58 PM in Books, Current Affairs, Dumb Web Stuff, Film, Food and Drink, In the City, Opinionated Rants about T-shirts, Pablum Pics, Politics, The Dad Zone, Tune Talk | Permalink | Comments (0)
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