Articles on this Page
- 11/14/12--12:38: _Up in the "Cloudz" ...
- 11/14/12--13:50: _Top of the Pops: Ta...
- 11/14/12--15:30: _Prince Shuts Down D...
- 11/15/12--05:00: _A Man's Story: Fash...
- 11/15/12--06:00: _Tips for Today: Por...
- 11/15/12--06:30: _Morning Funnies: El...
- 11/15/12--08:00: _Beach House's "Wild...
- 11/15/12--09:24: _Chris Brown: Future...
- 11/15/12--09:30: _Guru(s): Artists Ba...
- 11/15/12--11:00: _Liz Lemon's Getting...
- 11/15/12--11:30: _PAPER's Weekend Guide
- 11/15/12--12:45: _You Should Check Ou...
- 11/15/12--15:30: _Cirque du Soleil's ...
- 11/16/12--05:00: _Free Energy's Paul ...
- 11/16/12--06:00: _Morning Funnies: Ex...
- 11/16/12--08:00: _Keeping Up With The...
- 11/16/12--09:06: _Tyra Banks' Smizing...
- 11/16/12--10:35: _Daft Punk's "Around...
- 11/16/12--11:25: _Nirvana vs. Mudhone...
- 11/16/12--12:00: _Your Guide to Art B...
- 11/14/12--12:38: Up in the "Cloudz" with Street Artist Tyler Wallach
- 11/14/12--13:50: Top of the Pops: Taylor Swift's Red V. Ne-Yo's R.E.D.
- 11/15/12--05:00: A Man's Story: Fashion Designer Ozwald Boateng
- 11/15/12--08:00: Beach House's "Wild" Is Our Music Video of the Day
- 11/15/12--09:30: Guru(s): Artists Barry McGee and Chris Johanson
- 11/15/12--11:00: Liz Lemon's Getting Married, Y'All
- 11/15/12--11:30: PAPER's Weekend Guide
- 11/15/12--12:45: You Should Check Out...Photographer Sean Sullivan's Portfolio Tumblr
- 11/16/12--05:00: Free Energy's Paul Sprangers on Potato Guns, Cowbells, and Prog
- 11/16/12--06:00: Morning Funnies: Extreme Cougar Wives + Betty's White
- 11/16/12--08:00: Keeping Up With The Karkashadzes -- Fashion's Newest It Girls
- 11/16/12--10:35: Daft Punk's "Around the World" Is Our Music Video of the Day
- 11/16/12--12:00: Your Guide to Art Basel Miami Beach: Part V
How helpful is having an online presence, then?
I think that's helpful to everyone, but I think I am uniquely lucky to be of the generation that I am. I feel lucky that I grew up with a computer, you know, even in first grade. You were already responsible for knowing so much more than your parents. It's a language that I grew up speaking. People have said that the social media behind "Cloudz" is strong, but it feels just right. If it's not something you can hashtag, then I'm not sure that half of the people I know would know what to do with it anymore.
She did it again. Taylor Swift's Red stays at #1 for another week, and in the battle between similarly-titled albums, Ne-Yo's R.E.D. goes straight in at #4. Aerosmith -- last week's oldie-but-goodie video stars -- is right behind at #5 with Music From Another Dimension, the band's first LP of new material since 2001. The hottest single on the download chart is "Ho Hey" by the Denver folk-rock trio The Lumineers, moving up from #16 to #8 this week. Check out the video here. They're at Barclays Center in Brooklyn on December 12 with Dave Mathews.
7. New Yorker staff played "Old Shanghai" from Beck's sheet-music collection, Song Reader. [New Yorker]
In this video short by Nicolas Jenkins, men's designer Ozwald Boateng -- the first black tailor on Savile Row -- discusses the history of his style, from school uniforms to the 'Afro-pean' Dutch-via-Ghana fabrics used in his more recent collections. Boateng, who was creative director of menswear at Givenchy from 2004 to 2007, is the subject of a newly-released documentary, twelve years in the making, from Varon Bonicos. Check out Jenkins' video above.
No, that strapping young football player isn't Biff from Back to the Future, it's Community and The Soup's Joel McHale! (He also has a Rose Bowl ring!) [via Buzzfeed]
Sometimes great willpower will fuel great strength. [via Pleated Jeans]
Rihanna plays "Who Would You Rather Date?" on Ellen and, let us tell you, a few of her answers are a little...controversial. [via Ellen]
"It was always a creepy weird dance move to make people laugh...it probably started in college...Then there was this song, which I would often do the move to, which is Manu Chao's 'King of the Bongo.' If you play them side by side, you'll hear the inspiration, for sure. But I don't think I would have ever wanted to use the song because it already exists," SNL's Taran Killam says of his deeply weird -- and deeply infectious -- digital short character, Mokiki. [via Huff Po]
Love this re-imagining of South Park characters as 'more realistic water color' characters. [via Knusprig Titten Hitler]
Sexytime. [via People]
Surmberdy (Hard and Phirm) merd an ermegerd R&Ber song ferturing ther Swerdersh Cherf ernd Herley Werlliams erf Perermerh. (Just watch this R&B video -- it features an R.L. Stine cameo!) [via Hyper Vocal]
David Bowie playing ping pong in an intergalactic kimono blouse and shiny pants...just 'cuz. [via Retronaut]
Ecosbomy. [via Dorsey Shaw Experience]
We wish the artist who installed a "public stress release station" (a.k.a. bubble wrap) in a Milanese bus stop would bring this to 32nd and Broadway. Thanks. [via Laughing Squid]
Beach House goes down-and-dirty for this clip for "Wild" from their Bloom album, released earlier in 2012. Not sure what the message/moral is, but guess that's what director Johan Renck intended. Whatever these people are on, we're glad we're not. Why are they watching Cyprien Gaillard videos and hoarding $100 bills? Anyway, Beach House is still the best thing ever sampled by The Weeknd.
Finally we can watch that Barney's x Disney animated short that everyone's talking about! It's actually really, really cute. [via Fashionista]
Jennifer Lawrence FTW: According to Page Six, after Anna Wintour approached her at a Peggy Siegal Co. event, she said "I just met Miranda Priestly!"
Wilhelmina signed Chris Brown, and will be seeking "fashion and beauty endorsements and licenses" for him. While we're sure that means we'll be seeing a Chris Brown fragrance soon, let's hope that no brands make him the face of their products. [via WWD]
Jenna Lyons, unending source of girl-crushdom that she is, publicly acknowledged her relationship with Courtney Crangi for the first time at Glamour's Women of the Year Awards, thanking "Courtney, who has shown me new love." [via Fashionista]
The Times speculates that Sasha and Malia Obama (who are 11 and 14, respectively) are probably going to be the big new political fashion "get" over the next four years. In related news, we miss watching Saturday morning cartoons and not being expected to do anything with our lives.
Seriously, what is going on with the cuckoo bananas jumpsuit Kristen Stewart wore to the UK premiere of Twilight: Breaking Dawn Part 2? [via Go Fug Yourself]
The Margiela for H&M line launched today! [via Racked]
Even though we've loved these cats for decades, the best thing about putting them together here is how much longer they've known each other. And as it so happens, the following conversation, which took place at Johanson's L.A. home, marks the first time McGee (who's based in San Francisco) and Johanson have gotten together in 12 years. They've run into each other at art events throughout the years, but hadn't had a proper catch-up. Like old warriors exchanging battle stories, a lot of the references are pretty damn obscure. That's kind of the point -- it's not just that they are compelling creative spirits allowing us a rare, intimate view into how they think, it's that great art comes out of dynamic and unpredictable scenes. Here they reminisce about the old days, complain about the new ones and pay tribute to their friends and collaborators who, throughout the years, may not have gotten their proper due. -- Carlo McCormick
Installation view from the exhibit, Barry McGee, at BAM/PFA through December 9, 2012. Photo by Sibila Savage
Barry McGee: So what about the phrase "street art"?
Chris Johanson: I never understood that. When people started asking me about street art, I would say, "Well I don't know. I was up really late at night and skating on the street a lot." So in a weird, fucked up kind of way, it was an accurate description for me to be called a street artist. I really don't think the catchphrase that went around applies to this though.
BM: It's a term I hear often... It scares the living daylights out of me. Street artists need to get back to actually doing things on the streets, instead of in the galleries where they all seem to be ending up. I hope this term street artist falls from the face of the earth, in my honest opinion. They are taking up precious space outdoors, which is normally reserved for tagging and thoughtless vandalism.
BM: Let's talk about traditional gallery owners. I've noticed most are manic depressives, much like myself.
CJ: Like, as equally fucked up as the artists.
BM: A lot of gallerists started as artists like we did. It's certainly as tough as being an artist, running a gallery and taking care of neurotic, unpredictable prima donnas. I know I behave this way. Making a high-profile sale must be similar to a toke on the crack pipe.
CJ: And then right after, it's like total defeat. The stakes are so high because of this high-rent U.S.A. lifestyle shit we have here.
BM: Then you start getting bills and all your artists need things. And quickly you need another sale.
CJ: It's like a mental hospital. And the more money an artist makes, the less they can keep their coping skills. Suddenly you don't have to do all these things you had to do before. Like, "I can't book my plane ticket! No fucking way!"
BM: I'm so guilty of that. I toss everything to my gallerist Chris Perez. I'll be like "I can't decide which date to go, can you just decide for me?" That part of my brain has died; it's completely dead. It frees me up to obsess on other weird shit.
CJ: Suzanne Geiss handles almost everything for me now. She rules. And I have no idea how to do that stuff now. A few years ago I was like "I don't wanna go anywhere, ever again. I'm done." And now I have a rider like bands have.
BM: She helped set up a rider for you?
CJ: Yeah, like, "Chris won't go anywhere without Christopher Garrett, and they travel together. And there has to be all these things there or else he will leave." And of course, I'm sure that turns off a lot of people but...
BM: I think it's probably a lot of help for people just to have pure information like that.
CJ: At San Francisco City College, when I went to school there from '89 to '92, there was this figure-drawing model. He was really buff, and he was older, and he had this like...
BM: Did he have "the staff"? CJ: Yeah, he would get hard-ons. I think that was his thing. I feel like it was kind of a power ritual. He was an older dude, great body. He might have been on a raw food diet because everything was really defined. He had butt muscles, like, muscles above the butt.
BM: I love that so many artists drew from him... from all angles. For a period of time too, it must have been like a 20-year span.
CJ: So you had him, too?
BM: Yes. I had him at SF City College and then at San Francisco Art Institute.
CJ: When I watched Milk, it made me so nostalgic for that particular time when I moved to San Francisco. That particular kind of guy that was there. In school I had this teacher with a handlebar mustache. It was like that incredible, gay, lesbian culture.
BM: When you are young, your mind is so wide open and accepting... to just about everything placed in front of you. It was truly a very inspiring time to be an aspiring artist in San Francisco.
CJ: The first place I ever had an art show was with William Passarelli, who had a gallery called Emmanuel Radnitzky Found Objects. He was this tough, kind of queeny gay dude and so full of information and energy. And he died like two years after that.
BM: So much San Francisco art as we know it began with Alicia McCarthy. She was one of the first to liberate the SF graffiti and art scene. Her and Ruby Neri. Together, they opened up the playing field. They carried on where Dirtbox, Wally and Grime left off in the '80s. I hold her so dearly... She just seemed so much grander and above selling art or playing the game. The curators have yet to understand the importance of this period in SF art history.
CJ: I relate to that absolutely. She exemplifies everything I love about that time. I met her at the San Francisco Art Institute when Karla Milosevich curated a show there. Really bringing new people together.
BM: Did you ever do the nonprofit sector? They were like the indie record labels of art: New Langton Arts, Southern Exposure, SF Arts Commission, Capp Street Project, the Luggage Store. There were so many then.
CJ: Not so much. I tried to get into those shows. But they always shunned me. It pissed me off, man. It pissed me off hard. I was in some shows but me and the grant people did not connect.
BM: Really extreme things could happen at those nonprofit venues without necessarily having an object to sell. They could do massive things that weren't commercially viable.
CJ: Yes, I think San Francisco was completely like that back then. Whether it was object-based art or not. It was such a dead zone in some ways when it came to financial energy for art.
BM: So I know this is stating the obvious, but the SFMOMA is so far out of touch with art that has happened in SF in the last 20 years. It's really a huge disappointment.
CJ: There are these real SF lifers that get no love from the institutions. None of the schools hire them. There is some square academia going on there in SF. The Luggage Store and that show we were in, Streetopia, that Erick Lyle, Kal Spelletich, me and many others put on recently, really said a lot to me about the SF that I love.
BM: Laurie Lazer and Darryl Smith, who run the Luggage Store, spoiled it for me. They were some of the first people I worked with. I have yet to meet people with such integrity and vision since my first contact with them in the early '90s. They opened their doors to anyone who would venture up the staircase on 6th and Market. Once I snuck over to the commercial side, I had the incredible opportunity of working with Paule Anglim. Her lineage with old school Bay Area artists and her carpeted gallery at 14 Geary have been a fixture for decades in SF. Paule and Ed Gilbert are two of the greatest people you may ever encounter.
CJ: I think Renny Pritikin, Arnold Kemp and René de Guzman, when they were working together at Yerba Buena Center for the Arts, that was a nice time too.
BM: When did you connect with Jack Hanley? His gallery always had a great SF vibe and a solid platter of degenerates on board.
CJ: Jack is an artist's dealer, a Grateful Dead twirler. I think he was an outsider to that noise of the downtown art scene. I found out about him from Kiki Gallery on 14th next to the Bearded Lady, which was run by Rick Jacobsen, who has since passed away. Jack had bought some pieces. Then Scott Hewicker invited me to be in a two-person show at Jack's in 1995, and that started a many-yeared relationship. Jack is epic and one of a kind.
BM: Cliff Hengst and Scott Hewicker are always on my favorite artist list... such amazing artists and personalities. Absolutely Frisco till death. I think this is a good time to point out how important all these characters were and are to the development of the SF art scene. It can't be narrowed into a "school" or certain artist -- it was about an entire scene of artists challenging what came before them.
CJ: So many people met and exchanged ideas. Sean Regan, Bwana Spoons, Christopher Garrett, Ruby Neri, Rigo, Aaron Noble, Rob Trains, Andrew McKinley, Matty Luv, Johanna Jackson, Margaret Kilgallen, Christine Shields, Lara Allen, the Red Man, Swan, too many people to mention. That's a perfect moment I guess for me, and maybe that's youth speaking. From La Boheme to the Hickey Hotel, art shows in houses. Bob Lickey, Hickey, Amy Franceschini, Ovarian Trolley, Star Cleaners, Studio 4, Komotion.
BM: Yes, indeed. Changing the status quo. Seeing you and your band at that time, the Deep Throats, playing shows at Leeds Shoes, or Kinko's during the graveyard shift... this was so important to the SF scene. I liked that the normal indoor paying venue somehow became obsolete during this period.
BM: It seems a lot of curators nowadays are not looking, they're listening. I like when you termed it "diet curating" in reference to the group shows that some curators were putting together years ago. They didn't do their work, they skipped a lot of steps and left a lot out. It's very unsettling. It's happening even on a grander scale, like at SFMOMA. I somehow thought the institutions should have SF history somewhat correct. I'm losing all faith.
CJ: It was very strange when galleries like V1 in Copenhagen, galleries on that side of the planet, started showing mutations on the art that was so dear to me in San Francisco, but by people from different places and from different time periods. Talking about San Francisco makes me feel protective. I do however feel that everything is in the air. Just think about Eileen Quinlan. I really like her photographs, I wonder how she feels. Because now there're many people that are making art that looks just like it now. I wonder how that feels, to be in the new wave of photography. Because everything just gets gobbled up.
BM: Fast. And overnight.
Friday, November 16
Saturday, November 17
Sunday, November 18
Welcome to You Should Check Out..., a new weekly blog in which Chris Black of Words For Young Men and Done to Death Projects tells you about something or someone he really likes and that he thinks you'll like too. Follow him on Twitter at @donetodeath.
Sean Sullivan is a photographer and good-timer who lives in New York City. He has worked with J. Crew, Tiffany & Co., Ghurka and Wolverine to name just a few. Sean is also the man behind the wildly popular site, The Impossible Cool that features black and white images of well-loved style icons. He has finally posted his personal photography work in one place for all of us to check out. From late nights with familiar faces in NYC and Miami to sunsets in the Southwest and temples in Abu Dhabi, his work chronicles a life that looks both exciting and strangely familiar. Check out his site HERE. You can also follow him on Twitter and Instagram.
How did you achieve the explosions?
How was working with producer John Agnello?
Speaking of drums, how did you guys decide to use the cowbell?
Your songs almost exclusively use major chords. Are you ever going to do a song in a minor key?
Are there times when someone brings in a riff and it feels too similar to something you've done before, or something another band's done, and you have to throw it out?
Our apologies for opening Morning Funnies on such a dark note, but here's a hot new look at TLC's totally real, definitely not-staged, just completely creepy reality show, Extreme Cougar Wives. Papermag premiere party? We will supply the snacks and 11th story window to throw the television out of mid-episode. [ONTD]
Ramona Singer, you better run for the effing hills. There's a new bitch in town. [HuffPoTV]]
Still-being-workshopped airplane banner. [AlsoHere]
The weirdest, weirdest car commercial ever starring Grace Jones. [FYouNoFMe]
Behind the scenes of Beetlejuice. [BobbyFinger]
It's a SWAGina. [ParisHiltonSexSlave]
O.G. Avengers. How hot is Emma Peel? [Megret]
They see us rollin, they hatin'. [Coinfarts]
Yuck, it's true. [KimJongChill]
Whoever drew this wins the trophy for Excellence in Textbook Doodling. Kids these days are doing just fine. [Roboshark]
Barack Obama and Joe Biden, age 10. [OldFilmsFlickr]
You nasty, GIF! [DorseyShawExperience]
Happy holidays, from Grumpy Cat. [afternoonsnoozebutton]
"I love to experiment, but at the same time I always try not to overload my looks," says Natuka Karkashadze, a Tbilisi-based stylist and fashion journalist, who dresses mostly in Chanel, Stella McCartney and Celine. Thanks to her blog, Wardrobe Mistress, and her and her younger sister Likuna's regular appearances on the international fashion-week scene, the former Soviet Republic of Georgia might just have its first fashion stars.
Natuka remembers loving to dress up as a small child. "I changed my outfit several times a day," she recalls. Natuka's parents (their father is a lawyer, their mother, a doctor) actually encouraged her by keeping Natuka supplied with hard-to-find fashion magazines. (Natuka says that her own two-year-old daughter is less enthusiastic about sartorial experimentation.)
Luckily, Natuka, who studied at Central Saint Martins in London, has her best fashion sidekick in her sister Likuna. Four years her younger, Likuna is an auditor at Pricewaterhouse Coopers. She joined Natuka for their first international splash this July during the Paris couture shows. Natuka was photographed in a super-chic zebra-print jumpsuit by Georgian designer Avtandil that got the blogs buzzing, and that same week, she was spotted sporting a floor-length blue gingham gown of her own design.
In addition to her blog, Natuka works for several Georgian publications and last season was on the board of Tbilisi Fashion Week. Although she says the Georgian style scene is quite underdeveloped, the Karkashadze sisters and their friends -- bankers, journalists, designers -- are fashion-obsessed and shop at the city's chic boutiques like Prive and Pierrot le Fou.
"Georgia was part of the Soviet Union for a long time, and of course there was no fashion for that period," Natuka explains. "But there's always been something special in how Georgian women dress. The Georgian woman has style in her genes."
(L-R) Natuka and Likuna
Smizing aficionado Tyra Banks just made an app to help all of us laymen! For $2.00, you'll see a video of Tyra explaining how to smize and read her written instructions. Then when you go to take pictures, the app plays sound bites of Tyra telling you that you look good. Plus: Tyra says it's great for sexting! We're going to buy it right this second. [via Fashionista]
Lara Stone is pregnant! Her husband, comedian David Walliams, tweeted: "Some wonderful news. My beautiful wife Lara is pregnant. We are having a baby! It is due next year and we both couldn't be happier. Dx." [via The Cut]
PAPER favorites Dee & Ricky are designing a capsule collection with Joy Rich! It is, in a word, dope. [via Press Release]
This is the cutest! Grace Coddington on the cover of i-D is the thing we didn't know we needed until we saw it. [via Design Scene]
The CFDA, Vogue and the Tory Burch Foundation are coming together to throw a huge designer sale! The clothes will be 50% off and the all of proceeds will go to the Mayor's Fund to Advance New York City! Shop for a good cause, guys! [via Press Release]
Kate Moss is filming a documentary which will follow her as she does her worldwide book tour. Are we excited or nervous? [via Telegraph UK]
Michael Kors is making a collection of sneakers for the very first time! [via High Snobette]
This is four minutes of repetitious bliss. Daft Punk released "Around the World" back in 1997 on their Homework album, and director Michel Gondry brought it to life in today's oldie-but-goodie-Friday video. After Gondry analyzed the song, he decided to use five groups of dancers to represent the instruments. He explains in the liner notes to the DVD The Work of Director Michel Gondry:
"Bass: athletes with small heads and big legs, because they are physical, move constantly and have no time to think.
Guitar: skeletons, because it sounds itchy.
Synthesizer: Disco girls, because it sounds feminine.
Vocoder: Robots: it's obvious why.
Drum Machine: Mummies. Please don't ask why, but it's a very removed meaning association between M. Jackson (my hero) and what he did to himself."
Check it all out above.
Few people can lay claim to starting a rock 'n' roll revolution, but Sub Pop Records founder Bruce Pavitt can do just that. In the late-1980s and early-'90s, Pavitt, 53, and his business partner Jonathan Poneman, transformed Seattle's local indie-rock scene into a global phenomenon. Deafening bands with sludgy riffs that once frequented the rock clubs of the Pacific Northwest were playing sold-out venues around the world, and flannel made its way from Tacoma thrift shops to Marc Jacobs' infamous Perry Ellis "grunge collection" show in Paris.
This month, Pavitt has released an interactive iPad book, Experiencing Nirvana, that chronicles a chaotic 1989 European Sub Pop tour that featured grunge heavyweights Tad, Nirvana and Mudhoney. To celebrate the occasion, Pavitt is DJ-ing at Manhattan's Ace Hotel tonight at midnight. We caught up with Pavitt, who lives on Orcas Island, Washington, to chat about life on the road during grunge's heyday.
On the 1989 European tour that you chronicle in Experiencing Nirvana, you portray Tad and Nirvana as up-and-comers nipping at the heels of Mudhoney, who you called Sub Pop's "flagship band." The tour climaxes at a show in London when those three bands share a bill at Lamefest UK. At that show, who put on the best performance?
The thing about that show was that all three bands did really well. Mudhoney was in peak form. It'd be a hard call to say who stole the show. But ultimately, to answer your question, I'd say Nirvana stole the show simply because, up until that point, they were the perennial opening act. They were Mudhoney's little brother. When we first started working with Nirvana, their live show left a lot to be desired. After those five-and-a-half weeks in Europe, they really came into their own. So, at the Astoria in London, they took everyone by surprise. It's rare for the opening act to get such a stunning response. If you look at the live photos at the end of the book, you'll see legs sticking out in the air, and people jumping off the stage during Nirvana's set. You typically don't see that kind of reaction for an opening band, especially for an audience as jaded as London. That was the beginning of Nirvana's ascension. They were never again looked at as an opening act. Needless to say, six months later, Kurt's idol, Iggy Pop, showed up at their show at the Pyramid in New York City, as well as the DGC corporation, who signed them shortly thereafter. I really feel like that London show put Nirvana on the map and initiated their ascendancy.
What was your impression of Nirvana the first time you heard them play?
Jon and I saw their very first show in Seattle, which was almost more of an audition. They did the show, and literally nobody showed up. It was 8 o'clock on a Sunday at the Central Tavern in Pioneer Square. Aside from the bartender and the doorman, it was basically Jon and I. I was not overly impressed with their show. They were not physically expressive at all. Kurt basically stared at his shoes. They didn't play any of their better new material. They were lacking in material and stage presence. However, it was apparent from the initial audition that he had an amazing voice. In retrospect, in really going through the music and sitting with it, despite his songwriting, as strong as it was, and his guitar playing, as strong as it was, his true legacy is his voice.
As a contrast, what was your impression of Mudhoney the first time you heard them play?
I thought they were one of the greatest bands in the history of rock 'n' roll! That, for me, is such a stunning contrast. Those guys had a lot of experience with prior groups, and they just brought it all together. They were absolutely amazing from the very first second they walked onstage at the Vogue. Interestingly, I think it was something like four days after that when we saw Nirvana for the first time.
In reading the book, it seemed like Kurt Cobain needed a lot of hand-holding on that 1989 tour, from getting his passport and wallet stolen to smashing his guitar, to getting homesick. Is there one particularly fun memory you have of Kurt from that tour?
To put things in perspective, I have to say that the tour Tad and Nirvana were on was insanely grueling. It would've been taxing for anybody. But we had heard rumors that Kurt wasn't doing well, frankly, and that's why we went down to Rome at the last minute to check him out. So we spent some time with Kurt, we spent a day walking around Rome. And I got to see some of the deeper parts of his personality. He loved to talk about music. By the time that day was finished, he was in pretty good spirits. He just really needed a break. I would say that simply getting to see him talking about music was an opportunity to see him having fun.
Soundgarden and Mudhoney, two of Sub Pop's earliest bands, are still making music today. What characteristics of these bands do you think makes them so enduring?
Well, that's a good question. They're classically great rock bands. They put on a really good show. They've got a great catalogue of material to draw from. Mudhoney and Soundgarden could essentially never write another song again, and could tour on their catalogue, and their fans would still be pretty stoked. They're resilient enough to go out on the road and rock out. So I'd say it's because they're resilient, they've got a great catalogue and they put on a good show.
You're DJ-ing at the Ace tonight. What's the most danceable grunge song?
Ha! I'd have to say the first song that comes to my mind is a single that we put out by Nirvana that a lot of folks aren't too familiar with, and that track is called, "Dive." It's super heavy. It's got a great groove to it. I remember when it came out, I'd hear it at parties all the time. As soon as we'd throw it on, people would have a very physical response to it. Mostly standing in one place and banging their head. But it always triggered that physical response because of it's great groove, and I'll be playing that tune [tonight].
Welcome to the fifth edition of our ongoing guide to Art Basel Miami Beach (check out editions I, II, III, and IV HERE, HERE, HERE and HERE, respectively). Let's get started:
In honor of the late Tony Goldman -- the visionary real estate developer and founder of Miami's Wynwood Walls -- there will be a special tribute entitled "Come and Dream" that launches during AB/MB in-and-around the intersection of 25th Street and NW 2nd Avenue in Miami. Meghan Coleman, the arts manager of Goldman Properties, is spear-heading the project with Tony's daughter Jessica. Look for new "walls" including another by Shepard Fairey as well as a gallery exhibit.
Never before seen photos of The Beatles and The Rolling Stones will be on view at The Betsy Hotel (1440 Ocean Drive, Miami Beach) during Art Basel Miami Beach 2012. The shots are from the archives of Bob Bonis and were shot between 1964 and 1966 while he was the tour manager for both bands' first US tours. After Bonis passed away, his son took the photos to a rock 'n' roll memorabilia specialist who organized this "first Florida showcase of the images." The exhibit is free and open to the public all week.
Morgans Hotel Group will be opening a pop-up, "members only" version of the Parisian nightclub Silencio in their Delano South Beach (1685 Collins Avenue, South Beach). The original club was designed by David Lynch and is named after the club in his film Mulholland Drive.
Breaking news: Not only will DJ Tiësto be spinning at LIV on December 8, he's also scheduled for a performance and autograph signing at the GUESS store on Lincoln Road at 6 p.m. the same night.
A retrospective of works by Las Vegas-based artist Martin Kreloff will be on view from December 3rd to the 6th in the JW Marriott Hotel (1109 Brickell Avenue, Miami). The show will reunite many of the participants in an event called "Miami Says ART" that took place in 1976 while he was a student at the University of Miami and featured local cultural leaders each saying the word "ART."
In addition to the dozens of artists appearing on the music side of the UR1 Festival (Bayfront Park, Miami, December 8 & 9) there will also be a special film, visual art and live performance art aspect. "Warhol Superstar Ultra Violet" will ignite Isamu Noguchi's 100-foot "Light Tower" with a powerful outdoor laser at sundown on December 5. The Japanese-American artist redesigned Bayfront Park in the 80s. Also look for a "village" made from shipping containers that will feature screenings of music videos in a program titled "The Art of 5 Minutes" curated by Esther Park, programming director of Miami's Adrienne Arsht Center.
Scope Miami returns this year in a new Midtown Miami location at 110 NE 36th Street. Their 100,000-square-foot pavilion will house over 85 established galleries, plus another 20 new galleries that will be featured in Scope's "Breeder" program. Also this year, Vh1 is sponsoring a special outdoor lounge dedicated to "music, art and beyond" that will be open during regular fair hours. There's also an invite-only performance on Thursday, December 6, 7 to 11 p.m. by Canadian band Metric.
The Bass Museum of Art (2100 Collins Avenue, Miami Beach) just announced that they'll be showing six individual solo projects during AB/MB in a special exhibit called "The Endless Renaissance." Rather than mount a curated group show, they'll be featuring six contemporary artists: Eija-Liisa Ahtila (Finland), Barry X Ball (USA), Walead Beshty (UK), Hans-Peter Feldmann (Germany), Ged Quinn (UK) and Araya Rasdjarmrearnsook (Thailand). The big opening is on Wednesday, December 5, from 9 p.m. to midnight.
FENDI has teamed with Belgian designer Maarten de Ceulaer for a project called "Transformations" that combines 2D and 3D designs and "shaped-wood forms covered in leather." It will be on view at Design Miami/2012.
For the first time in the US, Marni will show their "L'Arte del Ritratto" exhibition in their store at 3930 NE 2nd Avenue. The exhibit includes 125 chairs that will be sold to benefit Miami's Service Network for Children of Inmates, as well as photos by Francesco Jodice.