UT JUNTAS NOVAMENTE + DAVID GRUBBS
O inicio da mini-tournée foi em Brooklyn’s Issue Project Room, onde o músico David Grubbs e o historiador de arte Joseph Branden organizaram um evento de três dias, Theoretical Music: No Wave, New Music, and the New York Art Scene, 1978-1983, para examinar as intersecções bem como os encontros de arte, música e cinema no centro de Manhattan.
O festival começou no dia 3 de Novembro, com uma selecção rara da epopeia James Nares’ No Wave epic, Rome ’78. No dia 4 apresentaram uma noite de debates entre algumas das figuras mais notáveis que emergiram na cena da música, arte, e filmes da época.
Co-organizador David Grubbs respondeu a algumas perguntas sobre o interesse do festival e duradoura No Wave.
How would you define No Wave? Art form? Anti-art form? Movement?
The upcoming event that Branden Joseph and I have organized takes it as a starting point that most of the folks interested in the subject are pretty familiar with the canonical history of No Wave via No New York, via bands adjacent to but beyond the boundaries of No New York, and via Thurston Moore and Byron Coley's No Wave Post-Punk Underground 1979-1980 and/or Marc Masters' No Wave.
What first drew you to the No Wave scene? Why do you think it's still compelling?
Teenage Jesus and the Jerks. DNA. Mars. I heard recordings of these groups (I was a teenager in Kentucky) just as the last of them was about to implode (DNA), and they, along with Throbbing Gristle, seemed to me to be the ones who made good on punk's promise to flatten, to obliterate rock music. All three of those groups still sound positively glorious.
Glenn O'Brien once quipped that No Wave was a "Gong Show for geniuses." What are some of your favorite No Wave moments —could be music, film, performance, etc.
That is such a marvelous description. What to add? Ikue Mori's drumming. The sound-signature of Mars. The psychotic laughing jags in John Lurie's film Men in Orbit.