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

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  • From: <sasscer1 AT bellsouth.net>
  • To: <typicalgirls AT lists.ibiblio.org>
  • Subject: [TypicalGirls] Kill Your Idols
  • Date: Sat, 8 Jul 2006 10:43:43 -0400



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.






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