Flaming Pablum

Lost in “New Rock City”

Nostalgia, once again, is a weird thing. For every period or era or, in musical parlance, “scene” that one person laments, there are individuals from before and after that particular passage of time who harbor entirely different affinities and associations. Witness the ongoing dialogue in the comments in some of my posts about NYHC, as one example. Everyone has their own period, their own perceptions of same, obviously, and their own attachments.

I was certainly around for the boom of new New York City bands that manifested around the turn of the millennium and just afterwards, with acts like The Strokes, Interpol, The Yeah Yeah Yeahs, LCD Soundsystem, The Rapture and genuinely liked a bunch of them (well, not so much The Rapture), but it was clearly no longer my class, so to speak. I was still carrying torches for earlier acts like Skeleton Key, Pussy Galore, Surgery, Barkmarket, Prong, Helmet and, yes indeed, Cop Shoot Cop. One alumnus of the latter -- Tod [A], of course --  formed Firewater, which almost bridged the chasm of those eras, going so far as sharing members with comparative upstarts like Gogol Bordello, but Firewater don’t often get a namecheck when discussing that next generation. I’m biased, of course, but I think that’s an oversight.

I’ve written about my issues with the whole “Meet Me In the Bathroom” generation of bands before, most windily here and also here. If you click on that first post, you’ll notice I appended a post-script to clarify that I didn’t mean to sound so grumpily prejudicial about Lizzie Goodman’s magisterial book on that era, but rather that I’d hoped for acknolwedgement of the continuum of great New York bands – which was actually kinda stupid, as that would have made poor Ms. Goodman’s already-quite-lengthy book much lengthier. What I need to do, simply, is acknowledge what I asserted in the first paragraph here – everyone is entitled to their own period, their own perceptions of same and their own attachements.

All this weighty preamble is to highlight the video below, which I stumbled upon on Vimeo. The clip was uploaded eight years ago, but seems to date back further than that (2004, maybe?). Dubbed "New Rock City,” this thirty-minute documentary attempts to capture the post-millennial/neo-post-punk (how’s that for a complicated descriptor?) generation by profiling bands like the afore-cited Gogol Bordello, FischerSpooner, Le Tigre, Blonde Redhead and some others, augmented by ruminations by rock journos like Sarah “Ultragrrl” Lewitinn and Joe Levy, two fellow (sorta) former SPIN alumni.

I think the thing that struck me about this film, however, is how the city and scene depicted therein already seem so long ago. That may have more to do with my own advancing age and perspective on things, but in the same way I look at books about New York's hardcore scene of the early-to-mid 80's and think “how is this even the same city?”, I get a comparable vibe from this. I am also reminded of “Goodnight Brooklyn” The Story of Death by Audio,” a compelling documentary that essentially told the story of an even more recent dyng scene that makes “New Rock City” look like friggin’ “The Decline of Western Civilization.”

Time passes. Things change. Scenes come and go and get replaced by new ones you won’t be privy to -- let alone endorse or understand -- because you basically get old and in the way.

I guess that’s just the way it is.

In any case, enjoy “New Rock City.”

Keef in the Streets

Down here in Greenwich Village or – as I’m frequently heard to describe it – the veritable crotch of NYU, there’s a certain ground-floor apartment in the much, much nicer building across the street from mine that has always sparked a bit of speculation. Easily spotted from the sidewalk outisde, one can see a robust selection of handsome electric guitars hung around the high-ceilinged peremeter of a stately sitting/media room. I remember spying it sometime shortly after moving onto the street circa 2002 and becoming immediately curious as to the resident. At the time, I knew of certain celebrities like Julian Casablancas from The Strokes and Chris Noth from “Sex & The City” (and other roles, of course) living in the neighboring environs, but this room looked to be owned by someone at a more elevated level of affluence. The doorman of the building in question has, unsurprisingly, never been forthcoming about it (and, yes, I did ask). Lots of people in the `hood have theories.

“Keith Richards lives there,” is the one I’ve heard the most, although I furrow my brow every time it’s suggested.

For a start, while it had long been said that the storied Rolling Stone guitarist -- captured above by Timothy White -- “kept” a home somewhere in downtown Manhattan, it never struck me that the street-fighting man would have taken an apartment with a street-facing window. That just didn’t add up. He’s a Rolling Stone, for cryin’ out loud. Surely, die-hard Stones-heads would’ve figured it out and set up shop outside his window. But somehow, that theory persisted.

I also pooh-poohed the notion as -- however fun it would be to have Keef as a neighbor -- in the roughly seventeen years I’ve lived on this street, I have never once spotted the Midnight Rambler arriving or departing from the address in question. I’ve never even spotted a vehicle worthy of transporting same parked nearby. The whiff of Richards’ singular brand of louche badassery is nowhere to be smelt on my strip between University Place and Broadway. Given my own preoccupations, I assure you – if Keith Richards was living that close by, I’d damn well know about it.

Now, this not to say Keith hasn’t been spotted around, even if the spotting hasn’t been done by yours truly. As lovingly documented in Christopher McKittrick’s new book “Can’t Give It Away on Seventh Avenue” – which I’m currently reading – the Rolling Stones have an inexorable relationship with New York City, with all the band members having lived here at one point or another. Keith was said to have had a an apartment in the East Village until about 1983, although I’m uncertain as to where. And beyond periodically appearing on small stages across town to jam with certain notables, Keith was said to be a regular customer at Myers of Keswick, the traditional British grocery store over on Hudson Street in the West Village.

The rumors about Keef living in the buildng next door to me were officially dispelled in 2016, meanwhile, when it was reported that the great man was selling his Manhattan residence – an iconic duplex penthouse at One Fifth Avenue – for a tidy $12.2 million. Apparently, the Richards family barely owned that apartment for two years, having bought it some time in 2014, but they didn’t find a buyer for the place until last year.

This all begs two questions…..

Where was Keith Richards’ pad in the East Village?

…and…

Since it’s not Keith, who DOES live in the pricey guitar apartment across my street?

Coming Up from "Somewhere Below..."

Just to close the loop on this, I finally got my copy of Karen O'Sullivan's "Somewhere Below 14th & East," and it is indeed astonishingly compelling.

In the grand tradition of Bri Hurley's "Making a Scene" and Drew Carolan's "Matinee," this collection of photos provides a striking glimpse into the NYHC scene of the early 80's, one that showcases the breadth of this particular comnunity, the pertinent topography and myriad characters from therein, both obscure and renowned. As I've laboriously observed on similar posts in the past, it's hard to reconcile that we're living in the same city that fostered this scene. 

The last time I did that, of course, I was called out by a regular reader for being a boujie ex-punk (or something to that effect) who'd divested, seemingly oblivious to the the next generations' iterations that picked up where this earlier scene left off. To that point, I'd suggest that I'm not negating the idea of a thriving New York hardcore community here in 2019, but rather pointing out that it doesn't operate as this one did, nor around the same environs. My point is less about the continuing existence of hardcore and more about how much this city has changed. 

Anyway, should you be interested, I recommend ordering a copy with the "bonus zine," which simply gives you more images to look at, including this cool shot of Jack Natz (then of The Undead, later of Virus and my beloved Cop Shoot Cop). 

Bad Happenings on Avenue B

Evidently, Harvey Weinstein stepped out on the town, last night, to attend an event at a frankly douchy-looking new L.E.S. establishment called the Downtime Bar. Back in the 90’s, there was a Goth club called Downtime on West 30th Street – this is not affiliated with that. In any case, during the course of the evening, it was gleaned by certain event participants that the infamous Mr. Weinstein was in attendance. Tempers unsurprisingly flaired, although the outcome didn’t result in Weinstein’s ejection from the bar, but rather the ejection of two of his confronters. You can read details of the whole icky account on Gothamist.

If even a fraction of the stories about Weinstein have even a modicum of truth about them, he’s the abhorrent scumbag we all assume he is, and he deserves no pity. I hope he had a shitty evening. But speaking of shitty evenings, there was something strangely familiar about the location.

I did a bit of Googling and found Downtime’s website – which revealed it to be just as, once again, douchy as I’d been expecting. It turns out, however, that it’s located at 25 Avenue B, and that’s what put the hook in me.

I don’t remember what sort of concern 25 Avenue B was back in the comparatively carefree, balmy days of 1993, but it was considerably less salubrious than what Downtime aspires to be today. In fact, the address is directly across the street from the former site of the infamous Gas Station, a notorious venue I’ve spoken about here a few times. Depending on who you ask, The Gas Station is arguably most renowned as being the site of the final performance by the late GG Allin in June of 1993. GG went on to overdose on drugs later that same day, but not before needlessly stripping naked, assaulting a few people, pelting anyone within pelting-distance with fistfuls of his own excrement and inspiring a riot that spilled out onto the busy byways of Avenue B. You can see lots of same in the grainy video below.

About twenty-five minutes into the video, after the “concert” has been effectively scuttled, watch how the Geeg boldly bounds out of the Gas Station and onto the avenue, wherein he proceeds to bash his head against a light pole, roll around naked in the middle of street – as one does, I guess – throw a bottle at a bus, flip off said bus, and then fleetingly take shelter from the scrutiny of the nearby constabulary by hiding in the doorway of what -- I think -- today is the Downtime Bar.

Here in 2019, GG Allin has been dead for twenty-six years. The Gas Station was razed and a new building with a Duane Reade now stands in its footprint. Harvey Weinstein, meanwhile, is still walking the streets. 

There’s some bad kinda karma on that strip of Avenue B, to be sure.

Joking on The Steps

I posted this on Facebook today, but I might as well share it here, too, because … well, why not?

According to several reports, notably this recent one in Vulture, certain fans have discovered the location of an evidently crucial scene in “Joker” and started to make touristy pilgrimages to the site in the Bronx. I say “evidently” as I still have not seen the film, and have no real desire to. To my mind, as I may have stated here before, we don’t need another telling of the Joker story, in much the same way we do not need another James Bond, or another goddamn “Star Wars” installment. Shouldn’t we all be bored to tears with these mythoses by now? How about new stories, new heroes and new anti-heroes. Just a thought.

In any case, while I might not give a rat’s ass about “Joker,” I really cannot get mad at folks for getting excited about tracking down those stupid Bronx steps, given the fact that I’ve undertaken countless pilgrimages of similar intent to any number of significant locations from photographs, album covers and films, usually in the company of my very patient kids. Many long-time visitors to this blog may remember same.

Here are some you might remember, should you care….Click on them to enlarge. 

 

Downtown `52

Word arrived last week that a newly restored version of Glenn O'Brien's "Downtown 81" was about to see the light of day. I think I first saw the film in question at the since-recently-razed Screening Room theatre in TriBeCa in about 2000, or so -- and it immediately made a huge impression on me.

As a time-capsule-worthy document of early 80's New York City, it is, of course, invaluable. Secondly, its soundtrack is entirely awesome -- particularly the live stuff from Kid Creole/Coati Mundi, to say nothing of the vintage footage of bands like Tuxedomoon and DNA. But, speaking in strictly cinematic terms, the film itself is frequently laborious and plodding. While definitely worth checking out for the points expressed above, one should be prepared to be bored to absolute tears during certain passages.

A new restoration of the film also seems a bit odd, as it strikes me that a deluxe, 30th anniversary digitally remastered edition of the DVD only just arrived in 2017. It feels a bit like Francis Ford Coppola's fixation with trying to wring further life from "Apocalypse Now" for the umpteenth time. 

As much as I do genuinely love "Downtown 81," there is also sort of an uncomfortably fetishistic quality about regularly revisiting the film in that it plays right into accusations of a variety of brazenly idealized nostalgia for the Lower East Side's "bad old days." Personally speaking, in 1981, I was an Upper East Side teenager who was indeed suitably captivated by all things downtown, but I sure as shit wasn't venturing further east of Avenue A (where much of the film takes place). I do not have that much first-hand experience of the downtown Manhattan suggested in "Downtown 81" beyond what I saw from behind the relative safety of bus windows. 

It's certainly easy to fancifully think back to that largely lawless era as some sort of halcyon period, but those who lived through them in real time don't always agree. Michael Gira of SWANS appeared in a podcast this week, and briefly mentioned his time living on East 6th & Avenue B in the early 80s, and doesn't recall it with any degree of fondness.

While times have certainly changed, and many of us do indeed miss the Lower East Side's former identity as a neighborhood more clearly defined by free expression and less staid sensibilities than were found throughout the rest of the city, it's prudent to remember that the L.E.S. already had a character and richly robust history that dates back much, much further than the punks, the poets, the pushers and the provocateurs.

Here's a tantalizing little glimpse of same....

Whither The Pit?

Because I’m a fatuously geeky fanboy, I am a member of a group on Facebook devoted to the Sisters of Mercy. This post is not really about the band in question, but I’m just citing this for context.

Over the past several weeks, members of this group have posted a couple of photos of enigmatic Sisters mainstay Andrew Eldritch sporting variations of black t-shirts (shocker!) emblazoned with the logo and legend “The Pit – New York City.”

I was, of course, immediately intrigued.

As an Upper East Side kid, I first started exploring downtown Manhattan during my early high school years. When the parents of my friend Spike (immortalized here, although still not his actual name) got divorced, Spike moved with his dad to an expansive apartment in Greenwich Village, down on Cornelia Street. This particular spot became my preliminary staging ground for acclimating myself with this captivating new (well, new for me, circa 1981 or so) part of the city, having already bored myself senseless looking for comic shops and record stores all around uptown and midtown.

During those early sorties (wherein I discovered crucial locations like Bleecker Bob’s, 99 Records, Subterranean Records, Second Coming Records and It’s Only Rock’n’Roll …. all gone now, of course), I do dimly remember a selection of places that haven’t gone onto become as well-documented as others. For example, I seem to be the only person who remember a heavy metal shop on MacDougal Street between West Third and Bleecker called C.C.& Star. I have vivid memories of the tiny joint, but there’s no evidence on the internet (apart from my own invocations) that it ever existed.

Similarly, I want to say I remember a concern named The Pit, but I may just be projecting.

Some members of the SOM group on Facebook suggest that it may have been situated on St. Marks Place. Was it a shop? A live music venue? A bar? Did the Sisters play there? It’s difficult to discern.

Much like my search for anything to do with C.C. & Star, nothing really comes up, other than the t-shirt design above, although that comes bereft of any info of the image’s true provenance.

Given the Hell’s Angels’ until-recent foothold in the East Village, I’m guessing The Pit might have had something to do with them, given the biker aesthetic at work – something the Altamont-fixated Sisters of Mercy would certainly have gravitated towards.

In any case, while the name rings the faintest of bells with me, I’m fairly certain I never set foot in the place, and probably only walked by it, at best.

Who can share more about The Pit? Weigh in…

For more context, here are the Sisters…

 

Drinks on Ms. Adu: Settling the Great Sade Debate

A reader named Gabriella (I believe) just weighed in to assert her piece on the Sade question (which I’ve already devoted two posts to), but I unwittingly deleted her comment by accident -- so please weigh back in, Gabriella! Apologies.

The gist of her comment, however, was to emphatically confirm that Sade never lived in New York, thus never poured drinks at Danceteria and that her former boyfriend, the afore-cited Robert Elms, never worked as a New York club DJ. I picked up that last bit of info from Wikipedia, so go know, as they say. I don’t pretend to be an authority about any of this – I’m just trying to get to the bottom of the rumor.

With all this in mind, I reached out to my old comrade Willie (not his real name). You might remember me invoking him on a few posts here (notably here, here and here). In a nutshell, Willie was a precocious high-school classmate of mine, who somehow gained carte blanche at several Manhattan nightclubs while the rest of us snivelling teens were still squeezing blackheads, listening to Motley Crue and playing our Atari 2600s. Willie attracted quite a bit of stick from the rest of our class, at the time, as we were somewhat roundly incredulous at his presumably tall tales of late-night debauchery alongside the hip glitterati. In a nutshell, many thought he was simply full of shit. In later life, as I became immeresed in a frankly dubious “career” as an ersatz “music journalist,” I found myself regularly chatting with veterans of the New York City club community. When I did so, I could never resist the urge to ask if any of them knew my pal Willie (that sounds like a euphemism for something, but I assure you it’s not). More often that not, they answered in the affirmative. As it turned out, Willie was not quite as full of shit as many might have assumed.

Anyway, in the wake of this great Sade debate, I figured I’d reach out to Willie, Jack of All Clubs, as he would at least have some degree of an informed opinion on the notion. I put the question to him: Did Sade ever bartend at Danceteria?

Willie, in turn, reached out to Danceteria’s owner (who he is indeed Facebook friends with). Here is that answer:

“She probably went behind the bar and served a few drinks as a promo stunt when she played with her band Pride, but best to ask _______ [name redacted by me], as she put the whole thing together. Sade was not on the payroll or scehdule, though.”

Again, at this stage of the proceedings, I have zero reason to doubt my friend Willie’s contacts and information. I don’t know the individual who allegedly “put the whole thing together,” so I’m not going to pursue that, but as far as I’m concerned, this legend has been debunked.

….unless you have evidence to the contrary?

Here's what the most celebrated former iteration of Danceteria at 30 West 21st Street looks like today. Not as much fun is had within.

And here's how it used to look ...

Sade Behind The Bar?

Ironically, I prefaced the last post with a preamble asserting that I didn’t like getting things wrong, but….

Shortly after posting the last entry about Sade’s alleged stint bartending at Danceteria, my scrupulous pal Miles (you may remember him from this post and that post) weighed in…

Not wanting to knock your latest post but... I’m highly skeptical that Sade bartended at Danceteria. Nothing in any of the books / posts I’ve ever read mention her living in NYC pre-record deal. Certainly the first US show was there, but I just googled the shit out of it and only the Vice post you linked to (which seems to be written by a teenager whose just discovered the downtown scene), a further post from a year later that makes the briefest mention and your post come up. Wikipedia says nothing about her living in NY. Everything I’ve read before is that she was part of the London post-Blitz club scene like Le Bear Route, the Kilt, etc while she was at fashion school then which is where she joined Pride who morphed into Sade... was the Vice article where you originally heard she bartended in NY?

As it happens, the Vice piece was not the first source of this legend/rumor/myth for me, although I’m hard-pressed to define what was, at this late stage of proceedings. With my own Google search, I can point out that in a piece in BoweryBoysHistory from five years prior to the Vice piece, Sade’s Danceteria-barkeep tenure is also fleetingly mentioned.

While exhaustive, Wikipedia posts aren’t always that reliable. I did find further fodder for Miles’ argument, however, in this excerpt from Paul Simper’s book, “Pop Stars in My Pantry” which – while not ruling out a later possible stint as a bartender – does seem to suggest Sade never called NYC home for any sizable period.

By the same token, the Wikipedia page does mention her early relationship with English writer/broadcaster Robert Elms who, in the `80s, was a club DJ in New York. Conceivably (and without any evidence), one could maybe suggest that during one of those periods, Sade went with him and took a gig at Danceteria, but this is strictly wafer-thing projection.

Compounding all this, the stately Miss Adu is not especially versed to giving interviews, nor has she – as yet – written an exhaustive memoir.

So, … is it simply an urban myth?

Weigh in.

This, meanwhile, is my favorite track of hers.

Downtown with Sade

This is kind of a dumb one, but I feel it’s worth addressing, as I don’t really like to get shit wrong. I mean, it certainly happens – probably more so than I’d prefer – but when I can, I like to correct my mistakes.

In any case, I have a friend named Peter, who I actually met when he reached out to me about some entry or another I posted here on this stupid blog about some subject simillarly near’n’dear to his heart. Turns out that we had a lot of stuff in common, and became fast friends thereafter.

These days, Peter works at a spot in SoHo that I find myself walking by on my communtes home from the office, and we’re getting into the habit of stopping and chatting.

During the course of same last night, Peter started some anecdote that -– for a reason that now elludes me -– involved an invocation of sultry pop chanteuse Sade Adu. Knowing our mutually shared allegiance to all things Punk Rock, Peter felt obligated to preface his invocation with a sheepish confession that he’d always loved Sade. Not that he was worried, but I told him that I – too – stand with Team Sade (technically and pedantically, it’s worth pointing out that Sade -– like Blondie before them -- is a band, and not just its titular singer). In college, alongside apparently mandatory copies of the first Violent Femmes record and the Legend compilation by Bob Marley (everyone I knew seemed to own both of these), you were always bound to find a copy of Sade’s Diamond Life. Didn’t matter if you otherwise listened exclusively to Black Sabbath, Oingo Boingo or fuckin’ Hank Williams – everyone owned Diamond Life, if only in that it was simple, sonic shorthand for “don’t come knockin’.” If I heard “Smooth Operator” or “Hang On To Your Love” or “Frankie’s First Affair” emanating from behind my front door during those four years, that usually meant that one or more of my roommates were … y’know …. goin’ at it. It was either that or Avalon by Roxy Music.

Yeah, so anyway, I love Sade. You’d be a fool not to. Beyond their music being sublimely crafted sophisto-pop ripe for the classiest of sexytime, there’s just no arguing with the enigmatic Ms. Adu’s voice. Feel fee to disgaree, but you’re just wrong.

Back to Peter’s story: For some reason he felt the need to invoke Sade with regards to a torrid teenage tryst he’d been attempting to conduct at the time with a young lady who went to my high school (this was a year or two after I’d graduated -– we didn’t cross paths). It was at this inconvneient point in Peter’s narrative that I interjected with a bit of unsolicited trivia.

“Dude, you know Sade used to bartend in the East Village, right?”

This kinda de-railed Peter’s monologue, so I never found out how his story came to fruition.

The problem was, I couldn’t remember the specifics. Was it King Tut’s Wah-Wah Hut (now Niagara) on Avenue A? or the Lismar Lounge (now d.b.a.) on First Avenue? Those didn’t sound right. Can you imagine Sade at the Lismar Lounge? Maybe it was Downtown Beirut???

In any case, I swore to him that it was true.

Turns out, of course, I was off on a couple of points. Sade Adu was indeed a bartender, and did indeed spend some time on the Lower East Side (see photo below of “Sade & Co in Alphabet City in 1982,” purloined from NYC Nostalgia), but the venue wherein she poured drinks … was actually Danceteria, which actually makes a bit more sense, when ya think about it.

So, yeah, my bad. You can read what I have to say about Danceteria, meanwhile, here, here, and here, …. should you care, of course.

ADDENDUM: there have been ... developments.