Wednesday, April 23, 2014

Theme: Punk

  • This is not another obituary, another retrospective, another "Lou Reed's songs were the soundtrack to my life" essay. It is instead an attempt to find, in the small, quiet pockets of air in Lou Reed's 1975 album Metal Machine Music trace elements of the less obvious ingredients that made the music possible. And here is a sample of that music.Read more
  • The Washington Post ran the recent headline “Polls show widening racial gap in presidential contest.” They were not alone, CBS News dug up Emit Till: “Will white men sink Obama?” Suggesting the emphasis on women “swing voters” has been a miscalculation for the Obama campaign.Read more
  • The 90s happened, man. I was there. I saw the mohawks on twelve-year olds being carried on their punk parents' shoulders. I rode in old cars while my friends snorted rids in the back seat, and I got delivered to crowded Warped Tours and saw bands my big sister had told me were fuckin' rad. Read more
  • Amateur neo-Kremlinologists will by now have heard of Pussy Riot, a league of masked anarchist feminist punks who, until recently, could be spotted around Moscow performing their music, uninvited, in public spaces. Their career was cut short when two of their members were detained by Putin's security forces.Read more
  • Mark Perry, the founder of one of the earliest punk fanzines Sniffin' Glue, has said, “Although [punk] was entirely connected to the hippy politics, it was entirely the natural progression of hippies' 'anti-establishmentism,' I think. You couldn't wear bells and flowers to freak the powers out anymore and there was a perfectly logical line from the San Francisco hippies to the London punks."Read more
  • Rock ‘n’ roll books have their own special set of challenges, the most important being: try not to reduce the wily, ridiculous, vibrant music of rejects and losers into a dry, studied word paste.Read more
  • In the lot behind MOCAD the Mobile Homestead demi-house rested upon a trailer drawn by a truck. As noon approached the various speakers at the dedication began to assemble and mill around inside it, until they realized it was unsuitable as a green room in which to wait their turns. The dedication began with remarks from the Chair of the Board of Directors of MOCAD, Marsha Miro. She called the Mobile Homestead the "first major public sculpture in Detroit in a long time", and extolled its "two European sponsors, of a piece in Detroit, really extraordinary". She pointed out that "Mobile Homestead" will be attached to another piece, to be called "Home", with two lower levels, dug into the ground. The completed structure is to serve as an artist's studio or a "place to be underground". As she noted that "Mobile Homestead" is its public part, one wondered if the other—the private—part would be market-rate housing, owned by MOCAD? This could be a good gift to a cultural institution. Or perhaps Kelley's own piece of Detroit real estate? Read more
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