I haven’t been so overjoyed by a piece of music news in a very long time:
Jeff Mangum, the fragile, brilliant musician who created In the Aeroplane Over the Sea and On Avery Island, has not performed the material publicly since 2001… until now. The notoriously reclusive Mangum finally broke several years of radio silence this month to revisit some Neutral Milk Hotel songs with his old friends from the Elephant 6 crew on several stops of their Holiday Surprise Tour.
Superhero movies are all the rage these days – masked villains and vixens saturate screens across the globe. And with Halloween just a week away, masks are especially popular. If you still haven’t figured out your costume and long for a truly outstanding disguise, allow YouTube user Zjcfhgf show you a new option. With a few ideas of her own on the subject of mask-making, she demonstrates a sophisticated technique using a basic clear mask, fake nails and lots of acrylic paint. Observe below.
Wow! Wasn’t that inspiring? Now that you have the expertise necessary to transform you into the beaming lady of your dreams, just think of the possibilities! For instance, you could be a blushing bride:
Click below for a few more enticing options!
In Heaven Everything is Fine: The Unsolved Life of Peter Ivers and the Lost History of New Wave Theatre by Josh Frank and Rabbi Charlie Buckholtz (New York: The Free Press, 2008)
Every decision you make is the chance to become a hero.
– Peter Ivers
Political correctness notwithstanding, some people are born with a creative pulse and an innate set of skills that set them apart from the rest of us. In Heaven Everything is Fine: The Unsolved Life of Peter ivers and the Lost History of New Wave Theatre is the oral history of one of those people – Peter Ivers – and the cultural milieu he helped create. It’s a celebration of the bizarre, a story of love, and a tale of the magic of creative combustion set at Harvard in the early 1970s and in Los Angeles for the duration of the decade and into the early ‘80s. It ends in murder.
Who was Peter Ivers and why should we care? He was the epicenter of some of the most influential American artists in film, theatre, music, and television of his day: David Lynch, Devo, National Lampoon, Harold Ramis, Francis Ford Coppola, Saturday Night Live, as well as perfomers in the burgeoning Los Angeles punk scene. More than just a lynch-pin, Ivers brought a dazzling array of talents and sensibilities to his work: he was a blackbelt in karate, a yoga enthusiast, and a habitual pot smoker. And it was none other than the great Muddy Waters who called that Jew boy “the greatest harp player alive.”
45 Grave performing “Evil” on New Wave Theatre.
Ivers’s accomplishments and collaborations included: writing the theme of Eraserhead (for which this book was named), dating Stockard Channing, working with John Lithgow on college theater, recording five albums of distinctly strange music for unappreciative major labels (Epic and Warner Brothers), performing in diapers and bunny slippers at Lincoln Center, and, as opener, on separate occasions, for the New York Dolls and Fleetwood Mac (whose fans booed him off the stage). Most of all, Ivers is known for championing all things genuinely queer as the puckish host of New Wave Theatre, an early cable access program showcasing the efflorescence of musical talent then found in the Los Angeles underground.
While some people are takers – they take your ideas, they take your time, they take lives – others, like Peter Ivers, the tragic hero of this tale, are BUILDERS. New Wave Theatre began on Los Angeles cable access and was soon picked up by the USA Network as part of its “Nightflight” programming, making Peter Ivers the Johnny Appleseed of American alternative culture. New Wave Theatre simultaneously created a space for people to shine and projected the generated light into the American living room, inspiring a thousand flickers of oddness across the country.
Ivers interviews the Castration Squad on New Wave Theatre. (Photo via Alice Bag, thanks!) L-R: Tiffany Kennedy, Elissa Bello, Dinah Cancer, Shannon Wilhelm, Peter Ivers and Tracy Lea.
[Earlier this year, our mysterious New York liaison Agent Double Oh No interviewed Mark Mothersbaugh of DEVO. Now, he sits down with punk rock veteran Sonny Vincent. Click beyond the cut for the full, exclusive interview!]
Saintly Sonny Vincent on the cover of his Resistor 7″.
On the day when crime dons the apparel of innocence –
through a curious transposition peculiar to our times –
it is innocence that is called to justify itself.
– Albert Camus*
In the 21st Century punk rock may seem a faint yelp from a remote and even somewhat quaint age when people could find solidarity in a hairdo. Please consider that there really are Punks, people who have lived the fiercely wild and ill-advised life of the rock’n’roll rebel and have paid the price. As even Eddie Cochran knew, when you fight the law, you rarely win. It doesn’t take courage to be a well-adjusted “winner” in a society bent upon its own destruction. True courage is the courage to lose. As Coilhouse is dedicated to exploring what it means for a culture to be truly alternative, it made perfect sense to track down an archetypal punk – someone whose life mirrors the reckless, passionate, uncompromising music he has made – and talk about a life lived on the limen between freedom and captivity. If you dare to win, then dare to lose.
You won’t read about Sonny Vincent in the pages of Please Kill Me because he was too bitched out from kicking cigarettes to talk on the phone when Legs McNeil called him. It’s like this: Sonny stood in the maternity ward when punk was born, was forcibly estranged from the infant, and has spent much of the next thirty years watching it grow up from the outside. Of the more than 40 songs Sonny recorded in the 1970s, he only released a 7″ single, “Time is Mine“ bw “Together,” whose true irony lay in that its author would do time, hard time, and be forever cursed to live out of sync with the times whose ethos he personifies.
Like the relationship of one of Antonio Gramsci’s “organic intellectuals” to actual socialism, without characters like Sonny, punk would’ve been just a ripped t-shirt with some words scribbled on it. In short, Sonny has been too busy living punk to be a punk rock star, although nearly all of its actual stars have paid him the ultimate homage by playing on his records. Yes, that’s right, members of punk’s most influential bands – The Velvet Underground, Sex Pistols, The Stooges, the MC5, New York Dolls, Television, The Heartbreakers, The Voidoids, The Damned, The Dead Boys, Black Flag, The Replacements, Half Japanese, Sonic Youth, Rocket from the Crypt, Devil Dogs, and the Bellrays – have recorded with Sonny, and many have backed him on tour. Despite the respect of such rarefied peers, Sonny is literally unheard of among most fans of punk. He’s like a step-dad whose kid will never know him no matter what he does.
Sonny in a photo booth in Times Square, NYC. 1975.
Sonny’s story must be told before Hollywood ruins it by casting some pretty boy star from E.R. instead of an ex-con who knows the role from the inside. (Surely, Sonny could put you in touch with a lot of talented people who just need a break in life.) Sonny’s life and antics are more than legend – they are real. This is as true a story as you get in an age when it can be so hard to keep track of the truth. Remember: Johnny Cash never did hard time and he didn’t shoot anyone in Reno or anywhere else.
Sonny Vincent sung and slung a guitar in the Testors, who, from ‘76 to ‘79, played Max’s Kansas City and CBGB with acts like the Cramps and toured with the Dead Boys. Even before “punk” meant “rock,” Sonny was in and out of homes for bad kids, committed to mental wards, and was forcibly impressed into a tour of duty in Vietnam courtesy of the U.S. Marine Corp by his abusive Foster Parents. Since punk entered his life, Sonny’s been arrested in at least four different countries, episodically imprisoned, deported from Canada three times, and he’s fathered eight kids from five women. This cat has not lived nine lives – he’s lived a thousand. And he’s not done yet.
This is the first interview I’ve seen where Sonny actually tells us what happened and how it went down. In person and on the phone, Sonny comes across as meek, even a bit shy, about his life – like a dog that’s been beaten too much. Most of all, he’s cautious. So I assured him that, having done the crime and served the time, he may as well live to tell the tale. For much of it, he’s contrite. His is a cautionary tale of an artist rebelling with and without cause, and losing on both sides of Benjamin Franklin’s bourgeois Law of Relativity – both time and money have been lost.
(Full interview with Sonny Vincent under the cut.)
Wayne Martin Belger builds pinhole cameras – this much can be said with certainty. The rest becomes as rain-blurred and effervescent as the images his unique apparatuses produce. Pinhole cameras are still popular among hobbyists and are occasionally hailed as the purest photographic tool. With no lenses between the tool and the subject, the scene, the light and the depth of field are captured in smoky stills – as if snapped by the mind’s eye. Experiencing these images for the first time is more like viewing impressions, memories.
As you can see above, WMB’s cameras are beyond mere tools, more than means to an end. While many artists long for the process more than the product, Belger has redefined process-love completely. His projects sometimes plant their seeds through the items he collects, other times through ideas, upon the birth of which collecting begins. The camera he used to photograph AIDS victims is built with a vial of AIDS-infected blood, the one with which he captured the secret life of deer is crowned with antlers, expectant mothers were shot with a camera within which an infant’s heart sits still. He’s used bees, human skulls, religious relics, and more. Each device built by Belger contains its sacred object, each otherworldly photo series is just part of a ritual and carries with it the spirit of the camera, the concept, the execution itself.
Belger and his exquisite cameras can be seen next at Device Gallery on September 13, at a special reception from 6 to 9 pm.
It has dawned on me that in a few days I’ll be off to New York City for the second Dances of Vice festival. And here I was, still trying to understand what happened to 2008 – somehow it’s nearly fall, yet my brain is someplace in April, griping about the onset of summer. Regardless, I’m excited – the festival dress code is described as “decadent” and by the whiskers of Munchhausen, it’s been too long!
There is a persistent dichotomy within my wardrobe, a battle between the slick and the elaborate. Of late, the theatrical had given way to the modern and monochromatic, so it was the perfect time to welcome the extravagance of a three day costume event. Still, spending mountains of cash on clothes I’d scarcely wear, alluring as the concept may be, wasn’t feasible. In the best interests of my wallet, it was decided to compose costumes from the current contents of my closet and to make matching accessories. Result: photo-documentation and suggestions on how to make your own Rococo gear.
To acquire supplies, I braved LA’s garment district. The plan: accessory components for three outfits. The spoils: yards of velvet ribbon, fake flowers, beaded appliqué and two ostrich feathers. My inspiration for the costumes was, as I mentioned, Rococo. This period’s fashion embraced the ludicrous with wasp-waist corsets, towering wigs, crinolines and bows absolutely everywhere. I echoed some of this sentiment, see below.
1. Velvet bow with a hair extension clip sewn to the back. I treated all the ribbon edges with glitter nail polish, to prevent fraying.
2. Matching stockings
3. Vintage brooch, silk flowers, ribbon
4. Extra ribbon, never know when you might need one
Do click on for two more looks and tips.
Theremin-soaked electronica duo Zombie-Zombie cites John Carpenter and Goblin as two of their biggest influences. Appropriately, the “unofficial” music video for their Goblinesque tune “Driving This Road Until Death Sets You Free” is a surprisingly complex re-enactment of Carpenter’s The Thing. It features stop-frame animated G.I. Joe dolls wandering stoically through carefully lit, finely crafted model sets, confronting one unearthly horror after another.
I was genuinely creeped out! And suddenly I’m deeply nostalgic for low-budget 80s horror flicks. Time to bust out The Stuff.
(Thanks, Wayne.)
The oft aforementioned musician/filmmaker Joshua Zucker is a bit of a hero around these parts, thanks to his Roadside Picnic radio podcast (the most recent episode, “Solemn/Nostalgia” is one of his best yet).
Zucker’s considerable talents as a dj and curator tie directly into more personal reasons why I adore the guy: I’ve never met a better listener or a more relentless seeker. It has always seemed to me that Zucker’s primary ambition in life is to make this lonely world more beautiful –and therefore more bearable– through tireless creative striving. His latest, arguably most stunning offering yet is A Room Forever:
A Room Forever is an art project realized as a curated series of limited edition 12″ record LPs. Packaged in a custom-made box with high quality digital c-print covers and letter pressed inserts, each record features and original musical composition on one side and a field recording on the other.
Pressed in one-time editions of 300, A Room Forever takes a unique and personal approach to the vinyl record LP. Conceived as a physical manifestation of the Roadside Picnic Radio Podcast, the project draws upon the rich history and mythologies of audio recording to produce a final object of art that will resonate uniquely within each listener.
More than anything, A Room Forever is inherently about the act of listening.
My copies of the first three records arrived in the mail today. Machinefabriek & Matt Davies (EVP – 001), Svarte Greiner (EVP- 002) and Koen Holtcamp (EVP-003) are all huge talents working in relative obscurity, but with worshipful cult followings. Each edition is beautifully designed and printed, featuring exquisite photography by Kurt Mangum and individually hand-stamped/numbered.
Cover for EVP-002, featuring work by my favorite Norwegian, Erik Skodvin (under his Svarte Greiner moniker). In keeping with Zucker’s fascination with the haunted history and mythology of audio recording, the abbreviation for this series is “EVP”. A wee hint to those who already own one the records: look closely for the mysterious messages etched into the vinyl. My hair stood on end when I realized what they were.
The LPs are selling out very fast. Order them now from Aquarius Records, Boomkat, Other Music or Forced Exposure. Painstakingly well made, rare, and imbued with a sense of mystery and longing, A Room Forever is one of the most collectible limited edition vinyl runs you are likely to see for years to come.
Maker Faire Bay Area 2008: May 3-4, 2008, San Mateo, CA (art by Eboy)
Maker Faire is a two-day, family-friendly event that celebrates the Do-It-Yourself (DIY) mindset. It’s for creative, resourceful people of all ages and backgrounds who like to tinker and love to make things.
Think of it as Burning Man, minus the drugs, crabs and sandstorms. Well, obviously, it’s far more than that… but you will see many of the more gorgeous landmarks (and denizens) of Black Rock City there. Anyone else going? If so, keep an eye out for a short, raccoon-eyed chick in a either a WW II flight helmet, or antlers. I’ll be covering the event on CH later this month.
Also, midwest folks should be aware that a second Maker Faire will be held in Austin, TX later this year. Oct. 18th and 19th.
Many of you will have already heard tell of the Edison Lounge, a new nightclub built around the remnants of an Edwardian era power plant in downtown Los Angeles. Located in the basement of the 1906 Higgins Building, this 10,000 square foot industrial space lay under several feet of flood water for decades, until owner/designer Andrew Meieran (along with business partner Marc Smith) undertook the Herculean task of resuscitating it.
photo from Eeecue.com
From its art deco-decked cabaret space The Lab, to the Generator Lounge and Boiler Room (literally an enormous brick-lined boiler, carved out to create a cozy, candlelit cave), to its delicious Tesla Fries and absinthe drinks, the Edison is thematic aesthetic perfection.
Unsurprisingly, it’s been Coilhouse staff meeting headquarters since the very beginning. I’ve often gotten chills just imagining Rachel Brice, Jill Tracy or the Lucent Dossier troupe in that dreamy environment. Picture my joy when I discovered that Lucent Dossier actually has been performing there!
“Reminiscent of Paris and Berlin of the ’20’s, Wednesday nights the venue is transformed into an exploration of the past – a peek into the decadent, sensuous underbelly of historic LA.”
These people are almost unbearably beautiful, both inside and out, and they put on a great show. If you happen to be in the neighborhood tomorrow night, you won’t want to miss what’s sure to be a once-in-a-lifetime spectacle.* Nadya, Zoetica and I will all be there to document the event, so check back to see some photos from Incandescence very soon.
Vaudevillian aerialist troupe Lucent Dossier, performing at the Edison tomorrow night!
More images of the Edison and Lucent Dossier after the jump.