Sophie lives in BK, works, writes, plays music, DJs, puts on shows and uses twitter.
sophcw at gmail dot com
Scrape your knee, it's only skin.
Quote with 4 notes
It was J.D.s, as in Juvenile Delinquents. That was the initial inspiration [for the zine]. It also stood for James Dean and J. D. Salinger. And I was drinking a lot of Jack Daniels at the time. We borrowed from The Situationists quite heavily — this idea of creating a spectacle and propping it up in the media, even though it was fiction. We created personae that we hid behind, in a Wizard of Oz style.
Photoset reblogged from Permanent Wave with 6 notes
Swearin’ at the February 5th Permanent Wave show at Big Snow BK.
God I need to get a real camera. This band was great though.
Quote with 6 notes
Yet finally, to invoke Janis Joplin’s death as an excuse for closing down, playing it safe, would be to trivialize both her life and her art. For the truth is that antiutopianism also has its price, which is the inability to feel our deepest longings and ultimately to feel much of anything at all. Even anger can be a kind of numbness.
Photo reblogged from Pseudo-profound Electronic Artists with 68 notes
pseudoprofoundelectronicartists:
If you thought you could live through 2011 without having to deal with a new fucking ridiculous buzzgenre, think again.
#SEAPUNK IS THE NU NEW AGE.
#SEAPUNK IS THE NEW GLO-FI.
#SEAPUNK IS THE NEW WITCH HAUS.
More to come.
In case you’re wondering what you’re gonna be angry about next. Here it is.
Source: dolphin3002003
Quote with 2 notes
When I started writing this, I was worried I might trigger incidents of punk- bashing by black gangs. Now I realize that nobody cares. Most white people think the whole subject of racism is boring, and anybody looking for somebody to stomp is gonna find them irrespective of magazine articles. Because nothing could make the rage of the underclass greater than it is already, and nothing short of a hydrogen bomb on their own heads or a sudden brutal bigoted slap in the face will make almost anybody think about anybody else’s problems but their own. And that’s where you cross over the line. At least when you allow the poison in you to erupt, that can be dealt with; maybe the greater evil occurs when you refuse to recognize that the poison even exists. In other words, when you assent by passivity or indifference. Hell, most people live on the other side of that line.
Quote reblogged from Des Noise with 26 notes
I told him I thought there was a difference between using words in dramatic context and just to draw a cheap laugh in a song. But the truth is that by now I was becoming more confused than ever. All I knew was that when you added all this sort of stuff up you realized a line had been crossed by certain people we thought we knew, even believed in, while we weren’t looking. Either that or they were always across that line and we never bothered to look until we tripped over it. And sometimes you even find that you yourself have drifted across that line.
Lester Bangs - The White Noise Supremacists (1979, Village Voice)
I came across this piece again this week while trying to find something else I thought I remembered Bangs had written (I never found it). I posted the link on Barthel’s fb— um, I’m on there now, friends— in re: his latest smart Awl piece, but I thought I’d share it here, too. Seems relevant to all the broader discussion lately of the role of offensiveness in art, except Bangs’s focus is more racism than misogyny (though he does comment on the Stranglers, dismissively). Anyway, another perspective, from a very different era.
The quotes in here from Nico are depressing and brutal.
(via desnoise)
Pretty floored by this article.
But it illustrates one primal fact: how easily and suddenly you may find yourself imprisoned and suffocated by the very liberation from cant, dogma, and
hypocrisy you thought you’d achieved. That sometimes—usually?—you’ll find that you don’t know where to draw the line until you’re miles across it in a field of land mines.
Posting more quotes.
Quote with 1 note
It raised a lot of questions about the intersection of punk rock and commerce,” says the frontman. “It firmed or reaffirmed for us a lot of things about how we want to construct our business model as we hopefully continue to grow.
Link reblogged from Hardcore for Nerds with 15 notes
Hardcore for Nerds: andrewtsks: ... — The Pitchfork Frankenstein Effect: The New York... →
…—
The Pitchfork Frankenstein Effect: The New York Observer, June 22, 2010
This quote crystallizes everything I hate about Pitchfork.com and modern indie music in general. A statement more explicitly opposed to the values on which punk rock and hardcore were based, you will…
It’s funny, because I think for me what is growing boring in indie today is the Best Coast/Beach Fossils lo-fi pop kind of thing. I mean, I think the reason why bands like Arcade Fire and Animal Collective are idolized by the indie community is that they’re really fucking good. And to some degree I don’t think there’s anything wrong with that. I don’t think it’s the fault of Pitchfork that bands develop a cult fanbase who think of band members as somewhat above them. It might be because of Pitchfork that those bands acheived the level of exposure and the critical acclaim to achieve that level of fame, but some separation from fans becomes inevitable with a certain level of celebrity, even if that celebrity exists in only a certain group. For me, even smaller bands, even bands who I have met, can still seem to posses magical powers or something, and I think that’s just due to my own relationship with their music, and the fact that I think they’re really impressive or whatever (i.e. my nerdy music best friend and I a few years ago deciding our Holy Trinity was John Darnielle (the Father/God), Zach Condon (the Son) and Spencer Krug (the Holy Spirit)). This idolatry enhances the experience of music for lots of people.
A lot of the reason that bands like Beach Fossils “seem approachable” is that they actually are. They have just recently gained enough momentum (yes, thanks in part to Pitchfork) to be known outside by people who aren’t NYC music nerds. Their shows are probably still of the scale that if you actually wanted to approach them it would be pretty easy. Bands that get famous can no longer have the same level of connection with every person at their shows. But some remain willing to try, like Los Campesinos!, who always go out to the merch booth after shows and respond to fans comments on their blog. I think this approachability is an admirable quality in a band, but it still doesn’t decrease the LC! fangirl inside me. If anything, the thought that I could one day meet a band I like can lead me to idolize them even more.
This is getting a little scattered, but I agree with hardcorefornerds that both approachable and unapproachable bands have their place. And somewhat bland lo-fi pop has it’s place too! I personally listen to it all the time. And what I love so much about the Brooklyn scene right now is that the next ten Beach Fossils are out there playing shows in peoples apartments and warehouses and roofs right now, and if you look a little you can go to those shows for hardly any money and stand in the “audience” three feet away from these bands, without realizing that the “headliner” is drinking a beer right next to you. DIY FTW.
Source: andrewtsks
