Network Awesome - Thu, May 23 Spend a day in New York with DFA Records!

120 Megabytes - DFA Music Videos

We take a look at the great videos put out by DFA over the last few years

Curated by Jason Forrest

Total Runtime: 0:47:27

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Playlist:
Shit Robot - Take 'Em Up
YACHT - Utopia/Dystopia (The Earth Is On Fire)
Pixeltan - Yamerarena-i
Capracara - King of the Witche
Holy Ghost! - Some Children
Pylon - Beep
Factory Floor - Two Different Ways (Perc Remix)
Woolfy - Looking Glass
Planningtorock - Doorway
Holy Ghost! "Dumb Disco Ideas"

http://dfarecords.com/

For more videos: http://dfarecords.com/videos/

Doc - 12 Years of DFA: Too Old To Be New, Too New To Be Classic

Great Red Bull produced history of the beloved NYC label

Curated by Jason Forrest

Total Runtime: 0:13:25

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Check out more Red Bull Music Academy:http://redbullmusicacademy.com/
Listen to all the songs here! http://goo.gl/YFxOL

In the latest film from Red Bull Music Academy, we turn our attention to DFA: the iconic NYC record label that got the indie kids to dance. Narrated by Marc Maron, it features music and appearances from James Murphy, LCD Soundsystem, The Rapture, Holy Ghost!, The Juan MacLean, Shit Robot, Sinkane, YACHT and many more!

A Red Bull Music Academy film
A m ss ng p eces production
Directed by Max Joseph

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Experience the world of Red Bull like you have never seen it before. Music, dance, and culture collide to form the Red Bull Music channel.

Red Bull on Facebook: http://win.gs/redbullfb

Red Bull on Twitter: http://win.gs/redbulltwitter

Collection - Paul Tschinkel's InnerTube

Amazing cable access show about No-Wave affiliated artists and musicians!

Curated by Jason Forrest

Total Runtime: 0:38:45

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Playlist:
The Waitresses and The Cramps
Stew Lane and The Untouchables
Mark Kostabi and DNA
The Contortions (1979)
Eight Eyed Spy and Nick Zedd
Klaus Nomi (1982)
Johnny Thunders & Jayne County

Paul Tschinkel is the creator, producer and director of ART/new york. A graduate of the MFA program at Yale University, he is a painter who in the early 70's turned to video as a way of making art. He was the first artist to produce a weekly program on New York's cable system. Called "Paul Tschinkel's Inner-Tube", it ran from 1974 to 1984 and featured conceptual programming and events, collaborative pieces with fellow artists, exhibitions and the Punk and No-Wave music scene of the late 70's and early 80's.

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INNER-TUBE: LEGENDARY CABLE TV GOLDMINE OF PUNK, POST-PUNK, NO WAVE AND NEW WAVE

Since I was only ever able to catch a few of them on TV (I moved to NYC the year it went off the air), I was always on the look-out for bootlegs of a cable access program called Paul Tschinkel’s Inner-Tube, perhaps THE greatest (I can’t imagine what would compare to it) underground video archive of late 70, early 80s punk, post-punk, No Wave and New Wave music that exists.

The Gun Club, Bad Brains, Dead Kennedys, The Cramps, Blondie, Talking Heads, James Chance and the Contortions, Johnny Thunders, Television, Richard Hell and the Voidoids, The Dead Boys, The Ramones, Siouxsie and the Banshees… the list of bands seen on Inner-Tube goes on and on and on. Shows often shot in color, with two cameras and sound board audio. Performances taped at CBGB, Mudd Club, Danceteria, Max’s Kansas City, Irving Plaza and usually the camera was right up front.

Inner-Tube ran for ten years on Manhattan Cable (meaning that you could only watch it if you lived in Manhattan, the outer boroughs didn’t get it, TV Party, Midnight Blue orRobin Byrd, either). Seriously, it was the best of the best. Unbelievable shit.

I’ve been waiting in vain for years, hoping for a proper DVD release of the “best of”Inner-Tube, but the rights issues would probably make that a nightmare. Now it looks like Tschinkel is starting to put some on YouTube. This should be encouraged!

“This ‘Paul Tschinkel’s Inner-Tube’ program appeared on his Manhattan Cable TV show in 1980. It features live performances at Max’s Kansas City and CBGBs in New York that epitomize the dynamic, exciting music of the time. We see a riveting performance by the Dead Boys and a fast paced one by Levi and the Rockats that also includes a guest appearance by rocker Jayne County. A short piece of old time fiddling music, taped a fiddling convention in Independence VA in 1973, rounds out the program.”

This has only been on YouTube since last night. Here’s hoping for more Inner-Tube!

http://dangerousminds.net/comments/inner-tube_legendary_cable_tv_goldmine_of_punk_post-punk_no_wave_and

Collection - NYC No-Wave

The sound of Manhattan before it got boring. Bush Tetras, ESG, James Chance, DNA and more!

Curated by Whitney Weiss

Total Runtime: 0:32:47

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James Chance and the Contortions - I Can't Stand Myself (live)
Bush Tetras - Too Many Creeps / In the Night (live)
Lizzy Mercier Descloux - Fire (on French TV)
ESG - You're No Good (live at Danceteria, 1984)
DNA live at the Mudd Club (on TV Party)
Suicide - Ghost Rider

No Wave was a short-lived but influential underground music, film, performance art, video, and contemporary art scene that had its beginnings during the mid-1970s in New York City. The term No Wave is in part satirical word play rejecting the commercial elements of the then-popular New Wave genre. The term originates from a 1981 show, "New York/New Wave", curated by artist Diego Cortez.

No Wave is not a clearly definable musical genre with consistent features. Various groups drew on such disparate styles as funk, jazz, blues, punk rock, avant garde, and experimental. There are, however, some elements common to most No Wave music, such as abrasive atonal sounds, repetitive driving rhythms, and a tendency to emphasize musical texture over melody.

In 1978 a punk-influenced noise series was held at New York’s Artists Space that led to the Brian Eno-produced recording No New York, documenting James Chance and the Contortions, Teenage Jesus and the Jerks, Mars, and DNA.

According to Simon Reynolds, writing for Slate:

And although "affection" is possibly an odd word to use in reference to a bunch of nihilists, I do feel fond of the No Wave people. James Chance's music actually stands up really well, I think; there are great moments throughout Lydia Lunch's long discography, and Suicide's records are just beautiful.

Art - Wild World Of Lydia Lunch (Nick Zedd, 1983)

Musician, writer, spoken word performer, and sexual deviant, umm, could be either of them.

Curated by Jason Forrest

Total Runtime: 0:23:01

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Directorr/Writer: Nick Zedd
Stars: Lydia Lunch and Nick Zedd

SYNOPSIS
A filmmaker follows his girlfriend around London with a camera featuring narration from a cassette tape she made for him to break-up the relationship. -- IMDB

NICK ZEDD
Nick Zedd (born January 25, 1958 or May 8, 1959 in Takoma Park, Maryland) is an American filmmaker and author based in New York City. He coined the term Cinema of Transgression in 1985 to describe a loose-knit group of like-minded filmmakers and artists using shock value and black humor in their work. These filmmakers and artistic collaborators included Richard Kern, Tessa Hughes Freeland, Lung Leg, and Lydia Lunch. Under numerous pen names Zedd edited and wrote the Underground Film Bulletin (1984-90) which publicised the work of these filmmakers. The Cinema of Transgression is explored in Jack Sargeant's book Deathtripping Creation Books. -- Wiki

LYDIA LUNCH
Often compared with history's most infamous sexual deviants from Henry Miller to the Marquis de Sade, Lydia Lunch has expressed her unique ideas through several artistic mediums. Predominately a musician, writer, and spoken word performer, she brings a challenging and confrontational presence to her work in visual arts as well. Her film credits include writing, composing, directing, and acting, though she mostly appears as "Herself." In short experimental films and videos, she has worked with innovative filmmakers such as Beth B. and Nick Zedd since the late '70s. Several of Lunch's spoken word performances have been made available on video, most notably in 1988's The Gun Is Loaded and the documentary The Wild World of Lydia Lunch. In the mid '90s, she was a presenter at the Whitney Museum of Art's Underground Film Festival, personally appearing in several of the screenings. She collaborated with director Richard Kern for The Right Side of My Brain and Fingered, two short films investigating ideas of sex and violence. In the late '90s, Lunch was the creative consultant for the film Shadow Hours. ~ Andrea LeVasseur

Movie - Prince Of The City (Sidney Lumet, 1981)

Gritty drama about corrupt Police and one man who wants to change the system.

Curated by Markus Fiedler

Total Runtime: 2:47:30

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Prince of the City (1981) is an American crime drama film about an NYPD officer who chooses to expose police corruption for idealistic reasons. The character of Daniel Ciello (played by Treat Williams) was based on real-life NYPD Narcotics Detective Robert Leuci and the script was based on Robert Daley's 1978 book of the same name. The film was directed by Sidney Lumet and also featured Jerry Orbach. Prince of the City was nominated for an Academy Award for Best Adapted Screenplay, but lost to On Golden Pond.

Reaction

The film was considered authentic enough by the head of the Drug Enforcement Administration that he called Lumet for a copy of the movie for the DEA training program. Some law enforcement officials, however, criticized the film for glamorizing Leuci and other corrupt detectives while portraying most of the prosecutors who uncovered the crimes negatively. John Guido, Chief of Inspectional Services said, "The corrupt guys are the only good guys in the film." Nicholas Scoppetta, the Special Prosecutor who helped convince Leuci to go undercover against his fellow officers, said, "In the film, it seems to be the prosecutors who are disregarding the issue of where real justice lies and the prosecutors seem to be as bad or worse than the corrupt police." In fact, only two of the five prosecutors the film focuses on were portrayed negatively. In particular District Attorney Polito, played by James Tolkan, is shown as petty and vindictive. The character is based on Thomas P. Puccio, the assistant United States Attorney in charge of the Federal Organized Crime Strike Force in Brooklyn, and Robert Daley agrees that he was treated unfairly in the screenplay.