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The MayorofRockNRoll wrote:Okay...I mentioned this in the other thread I tried to start in C/NC, but really...how about that photo of Pezzati as spandex/ big hair rock dude?

Worth the price of admission...

I found that oddly heartening.

I don't know why.

Pezzati was very funny. He was extremely down to earth about everything. I liked it when he said that he was just trying to copy Santiago Durango's songwriting style for as long as he could, after Durango left Naked Raygun. Not too many people would cop to that.

hench wrote: when did these neighborhoods change?

It slowly started in, I think, the mid to late 80's, really taking off in the 90's.

The area around OB's was really pretty bad. Massage parlor across the street, reputedly a whorehouse around the corner, although that may be just a fable, several adult bookstores, leather bar down the street at Illinois and Clark, many gay bars, including OB's during the daytime, liquor store/bar with bulletproof glass a block away, etc.

Gacy did some of his trolling at Bughouse square up the street.

It kind of spread out from Michigan Ave., and down from the Lincoln Park neighborhood.

The area around Wax Trax on Lincoln Ave., used to be pretty run down when I first started going there, as well as around Belmont and Sheffield and the surrounding area.

It seemed like parts of it changed pretty quickly once it started to happen.

Wish I'd seen the film. Great thread. A digression, but...

tmidgett wrote:But then again, I was shocked to my core when I first heard and understood Bedhead or Nina Nastasia or Destroyer or the very first Built to Spill record or whatever. I have no idea if any of that is punk, but it's shocking music. It's on me 100% that I haven't felt that way more in the last several years.

Reading this (coming from Tim Midgett) has made my day. Great list of musicians who are at once singular (to a degree incomparable) and in some way subtle or understated, capable of being overlooked. (a bit like Silkworm)

I like that it's not, say, Lightning Bolt or Deerhoof (both incredible) who came to mind.

It's on me 100%

I wonder about this, myself. I find my ability to be profoundly affected has strayed from new music to other things, some more visceral, most probably less.

Also, if (like me) you haven't heard everything, anything unheard, regardless of its era, can be shocking. John Fahey's first album was as much a revelation when I was 15 as my favorite local band, during whose shows I'd get bashed up to hell wearing a shiteating grin. Fahey was just as incredible, and felt just as present, though. Charlie Patton knocked me on my ass at the same time I was first listening to my brother's 12-year-old Agent Orange albums.

I'm still reeling from all of that live footage I had never seen and great music I had never heard. What a freaking treat that was.

I have copies of that Donahue episode and the Naked Raygun/Strike Under loft show footage. I will figure out a way to get it onto the youtube. Both of those should really be seen by a lot of people and in their entirety.

Yes....I knew it was going to be very good when they played "Spy Guy" (one of my favorite songs) in the very beginning of the movie.

So I went and downloaded the first eight tracks from that mentally ill disc. will listen to it later tonite...

The white limo idling out in front of the theater afterwards was a bit jarring.

tmidgett wrote:I agree with one theme of the better-back-in-the-day comments--that the capacity to shock seems to have been lost, in the particular form that many of the bands in the film were shocking.

But then again, I was shocked to my core when I first heard and understood Bedhead or Nina Nastasia or Destroyer or the very first Built to Spill record or whatever. I have no idea if any of that is punk, but it's shocking music. It's on me 100% that I haven't felt that way more in the last several years.

I don't know that's it's the capacity to shock, but a willingness to do it in an artful creative way seems like it burned out as hardcore just wratcheted shit up to a simplistic frenzy where there was nowhere to go but sludgy and slow.

I fucking loved hardcore. It was what was most available to me and it scared me just the right amount. I needed that aggression, the contact, the shout-along-while-getting-bruised at matinee shows to feel at home in the world then. Of course it looks retarded to me now, and I see the price--the machismo and lack of creativity factored into driving out the weirdos, the queers and the girls. I couldn't believe how many women I'd see at shows of old Cleveland bands, like the Pink Holes and the Pagans. Killer fucking women who had had radio shows and made art. Those folks were "smart, engaging and clear-eyed", as Steve said. There was a price to pay for being weird-o, it wasn't studied, it was inevitable and for the incredible punk rockers now in their forties I had the pleasure of knowing consuming that weirdness via music was a relief, a delight, as necessary as water.

The shock that I saw in my childhood version of punk was so much less artful, things seemed to evolve to a place where the shock was brutal or gross. Not "just" weird or beautiful.

It's out there now, and I agree with the "on me" about finding it. No more pouting about never seeing the Slits or X-Ray Spex or the Big Boys. I can see the Bitter Tears every other month and they take the fucking cake on artful weirdos.

Movies and discussions like this remind me being around punk rock music, having the people, the great weirdos is something I've been able to count on for almost twenty years.

These punk rocks, she is so beautiful.

I hope to be able to see this film.

chopjob wrote:The white limo idling out in front of the theater afterwards was a bit jarring.

For more on that scroll about halfway down this link.

itchy mcgoo wrote:

tmidgett wrote:It's on me 100% that I haven't felt that way more in the last several years.

It's out there now, and I agree with the "on me" about finding it.

Check out the last track on the first side of the Group Inerane record on Sublime Frequencies. Angus Jung and I had the exact same response on opposite sides of the continent, that response being FUUUUUUUUCCCKKKKK.