Posts Tagged ‘punk’
July 17, 2014 | by Dan Piepenbring
- A new project, “The Archaeology of Reading in Early Modern Europe,” catalogs and digitizes marginalia from the sixteenth and seventeenth centuries. “These notes reveal a largely unvarnished history of personal reading within the early modern historical moment. They also embody an active tradition of physically mapping and personalizing knowledge upon the printed page.”
- How will Woody Allen’s latest film fare in light of the allegations leveled against him earlier this year? “Allen dismissed the possibility that lingering outrage could affect the public’s interest in Magic in the Moonlight. ‘No thoughts like that occur to me … They only occur to you guys,’ ” said Allen, who, as coincidence would have it, is referred to as a “major-league fantasist” elsewhere in this piece.
- Nathan Rabin has apologized for inventing the phrase “Manic Pixie Dream Girl”: “I’m sorry for creating this unstoppable monster. Seven years after I typed that fateful phrase, I’d like to join Kazan and Green in calling for the death of the ‘Patriarchal Lie’ of the Manic Pixie Dream Girl trope. I would welcome its erasure from public discourse.”
- The art collector George Costakis devoted his life “to unearthing masterworks of the Russian avant-garde … but his enthusiasm met with obstacles: the difficulty of tracking down the works, the neglect they had suffered, the disbelief of widows (‘What do you see in them?’). In a dacha outside Moscow he found a Constructivist masterpiece being used to close up a window; the owner wouldn’t part with it. He dashed to the city to fetch a piece of plywood the same size, ferried it back to the dacha, and swapped it for the painting.”
- “The history of punk is, above all, the story of the traumatic loss of its elusive essence: that brief moment in time when a new sensibility was beginning to coalesce … Punk died as soon as it ceased being a cult with no name.”
July 30, 2013 | by Lisa Darms
A few years ago, I started a collection at NYU’s Fales Library & Special Collections to document the feminist Riot Grrrl movement in its formative and most active years, from 1989 to 1997. Originally a reaction against the failures of punk to extend its DIY model of empowerment to women, Riot Grrrl encouraged young women to form their own bands, self-publish personal stories and revolutionary agendas in zines, and carve out safe spaces in a violent, misogynist culture. Riot Grrrl was not a centralized movement, and many of the donors to the collection never called themselves “riot grrrls.” I never did, even though I went to the shows, read the zines, and identified as a punk and a feminist. Looking back, I see Riot Grrrl as descriptive of a moment as much as a movement: one that many young people now seem to want to study, learn from, and revivify. This summer, the Feminist Press published The Riot Grrrl Collection, my book of almost 350 pages of selections from the collection. Below are a few of my favorites.
This flyer, a pre–Riot Grrrl “manifesto” that was later repurposed for the minizine Riot Grrrl, is the first image in the book. Kathleen told me she made it in 1989, when she was volunteering at Safeplace, Olympia’s long-lived domestic-violence shelter and advocacy organization. Designed so that it could be folded up into a small rectangle with the word trust on top, this flyer was both a secret invitation and a public announcement, much like Riot Grrrl itself. Read More »
May 8, 2013 | by Jason Diamond
At the age of fourteen, one year removed from the forced tribalism brought on by being a bar mitzvah–age Jewish boy, I decided I wanted to define myself by something besides my recent readmission into the Chosen. Your typical suburban weirdo, I started to use the rudimentary sewing skills passed down by my grandparents to attach silkscreened patches to my L. L. Bean backpack and zip-up hooded sweatshirts. I bleached my hair, and quickly hid my CDs by contemporary “alternative” groups like Third Eye Blind and the Smashing Pumpkins, replacing them with albums by bands like Minor Threat, Bad Religion, and, my favorite, the Descendents.
I was punk; at least, I thought I was punk, until an even older punk asked me if I actually knew what punk was, thus sparking a volatile internal dialogue inside my head. This was my first experience with the Talmudic-like discussion that surrounds punk: What did punk actually sound like? Was punk a philosophy? When did punk start? Did it start in America or England? Was Emma Goldman punk? Were the Situationists punks? Was the Velvet Underground punk? Were the hippies in the 1960s actually punks before punk was a thing? Was garage rock the original punk? I meditated on these questions and made very little headway, until one evening when I saw a kid at a punk show wearing a shirt with “Jesus was the first punk” scrawled on it in Magic Marker, and I had to admit the very act of wearing that shirt seemed pretty punk, even though I wasn’t ready to confirm punk’s existence. I also had to admit to myself, as I looked around the Chicago bowling alley-turned-venue, that for the most part, for a bunch of nonconformists, us punks all looked pretty much the same.
Questions of what punk is aside, it’s difficult to deny that, other than the crude beauty of the Ramones, the noisy dirges of bands like Flipper, or the shouts that “Civilization’s Dying” by the Indianapolis band Zero Boys, punk is best explained by its style. It’s hard to say whether somebody thinks like a punk, but if you see somebody with a red Mohawk and a bullet belt, chances are you will make assumptions as to which subculture that person best relates. And while people who might identify as punk will probably tell you they aren’t into high fashion, it is hard to ignore the profoundly impactful relationship between punk and fashion, intertwined since Dame Vivienne Westwood and Malcolm McLaren turned their Kings Road boutique into the iconic SEX store in 1974. And now everything that Westwood, McLaren, Johnny Rotten (née Lydon), Richard Hell, Patti Smith, and a host of other punks wore, and everything that followed, is getting the high-art treatment with the Metropolitan Museum of Art exhibition PUNK: Chaos to Couture. Read More »
April 25, 2013 | by Amy Benfer
I first knew of Jennifer Gilmore as the author of two ambitious, warm, hilarious novels (Golden Country, 2006, and Something Red, 2010) that, placed side by side, provide an admirably thorough and thoroughly amusing take on the some of the most interesting ideas, inventions, characters, and past-times of the twentieth century—television, immigration, two-in-one cleaning products, radical politics, Joseph McCarthy, cults, and Ian MacKaye.
I first met Jennifer Gilmore on an early spring day nearly two years ago when we both went to meet the same writer friend for a late afternoon drink at the same Brooklyn bar where another writer friend bartends every Tuesday. We soon discovered that we are around the same age, live one Brooklyn neighborhood apart, and have many more than two friends in common. That spring, Jennifer was working on her third novel, told from the perspective of a woman trying, and mostly failing, to adopt a child through the byzantine process of domestic open adoption. I was about to go back to my twentieth high school reunion, during which I planned to visit the school for pregnant teenagers run by the Salvation Army where I spent the spring of 1989 believing I would release my own daughter to another couple through domestic open adoption. Jennifer and her husband, like the fictional couple in her novel, The Mothers, released last Tuesday, had already imagined themselves into the lives of many mothers and their children, only to find that the mother had chosen another couple, or decided to parent her own child, or, in the most outrageous cases, was not even pregnant at all. In 1989, I became that kind of mother when, two days after my daughter’s birth, I told the couple I had chosen to be her parents that I planned to do it myself instead.
Jennifer had read some of the stories I had written on my own failed adoption when they had appeared in Salon (where I was once an editor, and to which both of us have contributed essays). Although we had been on opposite sides of the story, our mutual fascination with what we sometimes referred to as “The Topic” was one of the reasons we became friends. We had both read and thought and obsessed over the tangle of race, class, and politics throughout the institution’s history. We both knew about orphan trains and maternity homes and the Hague Adoption Convention. We also both knew well how sometimes the end of the story could feel like just plain dumb grief all around.
Last month, Jennifer and her husband brought home their son. Last week, Jennifer and I met for a late afternoon drink on a early spring day at Lavender Lake, the Brooklyn bar with the name that references the exotically colored Gowanus canal that connects our two neighborhoods, to discuss her new novel, first person vs. omniscient narrators, open adoption and all the intellectual, political, and emotional issues it raises that should be fascinating to anyone at all.
Your first two novels were sprawling, multi-generational social sagas: Your first novel, Golden Country, took place in your grandparents’ era and covered, among other things, the Jewish-American immigrant experience, World War II, the World’s Fair, and fortunes built on mob life, cleaning products, and the invention of television. Your second novel, Something Red, which takes place at the end of the seventies inches closer to your own childhood. That novel dealt with radical politics, the Cold War, and the D.C. straight-edge punk rock scene.
The Mothers is totally different: it is your first novel narrated in the first-person, and your narrator, Jesse, along with her spouse, is trying to adopt a child through domestic open adoption, as you have also done. You also wrote the novel while you were going through the process of trying to adopt. After so many years of writing your fictional characters from a certain distance, what like to write a character whose experiences veer so closely to your own?
If I was going to come closer to myself in this particular trilogy of history, I wouldn’t have chosen this particular book. Given the situation, I just wanted to make my life interesting to myself, as opposed to wanting to blow my head off.
May 18, 2012 | by The Paris Review
How often have you read a TV review by a writer of our generation and thought of Susan Sontag? It's never happened to me—until this week, when I read Elaine Blair’s review of Girls in The New York Review of Books. By paying attention to one little sex scene, Blair makes deep arguments about sex scenes in general, the limits of romantic comedy, and the real meaning of sexual freedom. —Lorin Stein
About a decade ago, my friend Mikey loaned me a book he thought I’d enjoy. I’ve only just got around to picking it up. Though I’m a bad friend, he isn’t: the book—Leonid Andreyev’s The Little Angel—is terrific, after a fashion. The stories are intriguing, especially “At the Roadside Station” and “The City," but the translation is rather bad. I’d love to see it revisited by another publisher and translator. I’m looking at you, NYRB Books. And how about Natasha Randall? I loved her translations of We and A Hero of Our Time. —Nicole Rudick
For those with a green thumb and a love of literature, look no further than Writing the Garden: A Literary Conversation Across Two Centuries for an insightful glimpse into garden writing over the last two-hundred years. Lush illustrations color the pages and accompany extensive excerpts from the writings of influential figures of gardening’s past and present, such as Thomas Jefferson, Gertrude Jekyll, and Michael Pollan. Gain a little inspiration for your own beckoning plots, or simply get yourself excited for summer’s peak. —Elizabeth Nelson
March 13, 2012 | by Miranda Purves
In 1997, when Martin Kippenberger died of alchohol-related liver cancer at the age of forty-four, Roberta Smith opened her New York Times obituary by writing that Kippenberger was “widely considered one of the most talented German artists of his generation.” In fact, outside of a subset of fellow Conceptual artists and prescient gallerists, he was not considered at all. At the time of his death, a museumgoer might have recognized a blurred Richter or a grim Joseph Beuys while being totally unfamiliar with Kippenberger’s hotel drawings, the now-famous series of doodles on hotel stationary.
Although his life was a fast burn, the creation of his reputation has been a slow cementing, set by an extensive 2006 Tate Modern show, a U.S. exhibition that came to MoMA in 2009, and now a biography, released by J&L Books.. Kippenberger: The Artist and His Families is written by Susanne Kippenberger, the artist’s youngest sister and a journalist at the Berlin daily Der Taggespiegel, and translated from German by Damion Searls. It is both a profile of a mad art star and a fascinating history of the bohemian scene in Germany before the fall of the wall. When Ms. Kippenberger met me at City Bakery recently to discuss the book, she did not, as her brother might have, jump on top of the table and pull down her pants then force me to stay out all night drinking.
I saw the Tate show in 2006 and left astounded by the incredible amount and range of work created by someone who died so young. The retrospective included the massive installation “The Happy End of Franz Kafka’s ‘America’,” which is an ersatz sports field filled with desks and chairs; the ironic self-promotional exhibition posters; punkish figurative paintings; self-authored catalogues; and sculptures. I was surprised to find, reading your book, that when he was alive his art seemed eclipsed by his renown as a personality.
Yeah, people thought, He doesn’t do anything. He just sits in bars, throws parties, and talks and drinks and puts on a show of himself. Read More »