Typical Girls: Women in Punk/Post-Punk/Underground Music (Circa 1975-1980s)

[<sasscer1 AT bellsouth.net>]

A Brief Review of Kill Your Idols

curently playing in manhattan, palm pictures/blockbuster distribution may 
mean its coming to a theater or video store near you

This is the No Wave film by S.A. Crary, a chronological and slightly social 
history of downtown NYC's No Wave of the late 70's, interviews with 80's 
torch carriers Swans and Sonic Youth, and winding up with several bands who 
emerged on the rock radar in the early 2000's that have supposedly tangential 
roots to the No Wave; the giggly Yeah Yeah Yeahs, the grouchy A.R.E. Weapons, 
the unnecessary Black Dice, and the great Liars (pre de-bassing).

Mr. Crary did a very fine technical job; titles of 'chapters' each have their 
own little video/music montage, the editing and sound is very smooth, the 
photography is fine.  Much of the archival footage is understandably rough, 
although it is a treat to actually see some of it at all.  I wish there were 
more complete performances, but this was not a concert film.

The first shot, and the first sounds, correctly go to Marty Rev of Suicide, 
and they (and he) sound great.  There  are various ways to identify No Wave 
music, but two that were prominent in the film were the inner angst of the 
musicians and the aggressive, confrontational expressions of it in sound and 
performance, and the 'anti-blues' chord choices/sequences/structures of the 
songs, and Suicide was there first.

A quick montage takes us through the Dolls/Ramones/Television/CBGB era and 
its time for No New York.  Of the bands on that album, Contortions get short 
shrift, and Mars are virtually absent (I believe Arto Lindsay mentions an 
early art magazine attempt by himself and Mark Cunningham, but no footage of 
Mars, and precious little (if any) music.  There are several clips of DNA and 
Teenage Jesus, I think all of which have been copied/distributed before, 
although not widely and are nevertheless great to experience.  

Not surprisingly, Lydia Lunch gets a lot of air time, which was great with 
me.  What was surprising was an old news clip of a (14? 15?) year old Lydia 
dressed like a suburban teenybopper club hopper circa 1975 (cusp of disco 
era), telling the newscaster that she likes getting into clubs and meeting 
the musicians because she 'likes to fuck them'  Much is made of her 
sexuality, her personal angst, most of it not flattering, and her assured 
comments are as sure to divide reactions today as they probably did back 
then. Personally, I agreed with virtually everything she said.

Arto Lindsay comes across as arty, poetic, and vague, with some sharp 
insights and a gentle, relaxed humor. He seems like a great person to have 
dinner with, to hang out with for an evening. DNA's music is unassailable, 
and Arto tells a bit about his/their motivations, but no new revelations.

Glenn Branca was the other original 70's scenster who was extensively 
interviewed, and he talks as much about the others as about his own work.  I 
don't remember much, if any, Theoretical Girls video, precious little music, 
and little or none of the guitar symphonies.

Michael Gira of Swans and Thurston Moore and Lee Ranaldo of Sonic Youth are 
all given some time to explain their backstories and I must say that one of 
the distinguishing factors to me of this music (70's and early 80's 
incarnations) is the intelligence of the artists, and the fact that 'art' is 
an operative word.  Maybe it would be truer to say that these guys were more 
self-concious as artists (like the 60' English Invasion bands, so many came 
out of art school), but they are all articulate, critical thinkers,  and seem 
fairly well rounded in their subsequent life education, not a common thing in 
fringe rockers as a rule.

'Articulate, critical thinkers' however, would not apply to the newer bands, 
at least on the evidence in this film.  (Liars may be an exception, I confess 
they are the only band of this current crop that I follow, and I really like 
their work.). I have no idea what the fuck A.R.E. Weapons are about, and am 
not likely to pursue the answer anytime soon.  Black Dice get some points for 
pure noise, but they didn't invent it, and one of the tenents of the no wave 
(of  ART, of Ezra Pound), is MAKE IT NEW! !!  

Karen O has sex appeal, Nick Zinn plays great guitar, the Yeahs have a real 
good drummer in Brian, and that first Ep with Art Star was great, but they 
are a POP band, full stop.  No more relevant to No Wave than the Strokes.

The film has some humorous and at times insightful comments from the guy in 
Gogol Bordello, but his band is not at all no wave, and I guess his 
appearance in the film is due  to geography (ie; they are based in New York).

Now, if I come across as as a grouchy old timer ('tings jest ain' da way dey 
usta be), fair enough, although in my defense, that attitude comes across 
from the first generation of no wavers, too.  Jim Sclavunos (sp?) and others 
seem uncomfortable with any connection between this newer crop of musicians 
and what went on in the 70's, although if the geographical constraints were 
taken off and bands from Chicago's great no wave scene of the 90's, or the 
japanoise people, or Rough Trade, etc. were brought up, I think the grappa 
might come out and shouts of 'paisano!' might be heard.

T.