From the March 25th ‘Style Issue’ of The New Yorker magazine
Live, from Bushwick, Titus Andronicus performing In a Big City from their brilliant, brand new record, ‘Local Business’ [via pitchforktv]
And every cent I ever earned I spent
And I will again
From Jersey I come
But I pump my own gas*
I’m still a bum
But I wipe my own ass
*for those who don’t know, “All gas stations in New Jersey and Oregon offer only full service and mini service; attendants are required to pump gas because customers are barred by statutes in both states from pumping their own gas. New Jersey banned self-service gasoline in 1949 after lobbying by service station owners. Proponents of the ban cite safety and jobs as reasons to keep the ban.” -wikipedia Weird.
The Story of The Clash: Hard to say if this will be interesting or not. I’m dubious, just because it’s a bunch of talking heads telling a story from 30 years ago. Plus, I consider the Clash secondary to the Sex Pistols in terms of importance and impact on the arc of rock and roll. But a lot of people disagree, and for them this will probably seem fascinating. Since there’s already a good documentary on Joe Strummer’s life, I’d be more interested in someone telling the Big Audio Dynamite story, to be honest.
Johnny Thunders, covering Dion and The Belmonts’s (I Was) Born To Cry
I don’t know what I’m doing
If I do, it’s a lie
But I know, yeah, that I was born to cry
Count Five + dancers
Dave Grohl, Krist Novoselic, and Butch Vig (producer) talk with Jon Stewart and an XM Radio audience about the 20th anniversary of the release of ‘Nevermind’
The Punk Singer is Kathleen Hanna’s life story so far, but it’s also a coming out journey of sorts. Directed by Sini Anderson, the film chronicles Hanna’s years pioneering riot grrrl with Bikini Kill, recording as Julie Ruin, and performing in Le Tigre, with interviews by Carrie Brownstein, Corin Tucker, Kim Gordon, Tavi Gevinson, and more. But it also offers a look into Hanna’s life today, offering details about health struggles that she had previously kept private.
Which is exactly what rock bands are supposed to do, all day, every day.
Three members of Russian punk protest group Pussy Riot go on trial on Monday, in a case that has divided Russia and inflamed the religious establishment.
They were taken into custody in February after singing a song protesting against President Vladimir Putin in Moscow’s main cathedral.
The song outraged the Russian Orthodox Church. It accused them of blasphemy.
Supporters say the case reflects the state’s growing intolerance of government opponents.
Nadezhda Tolokonnikova, Maria Alyokhina and Yekaterina Samutsevich caused outrage when they sang a song that implored the Virgin Mary to “throw Putin out”.
The head of the Russian Orthodox Church, Patriarch Kirill, has said the performance, which took place at the altar of Christ the Saviour Cathedral, amounted to blasphemy.
The women are facing the charge of hooliganism motivated by religious hatred or hostility and could face up to seven years in prison.
Pussy Riot made headlines around the world late last year when footage of their controversial public perfomances at Moscow landmarks such as Red Square attracted millions of viewers on the internet.
In the mid-70s, when New York City was about to go bankrupt, this is what it must have been like when you went to see one of the best bands in the world, at a local club in the Village. Except, IRL they were probably in color.
Joan Jett, covering The Sex Pistols’s Pretty Vacant
…and we don’t care
Tom Petty and The Heartbreakers, covering Count Five’s Psychotic Reaction
And it goes like this
Shonen Knife, covering the Ramones’s The KKK Took My Baby Away
Ring me, ring me, ring me the President
To find out where my baby went
Ring me, ring me, ring me the FBI
Ramones, covering Jack Nitzche’s and Sonny Bono’s Needles and Pins