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Chandra Oppenheim’s story is one of the most innocent but interesting stories to come out of post-punk NYC.

After glam moved into punk and punk moved into post-punk/new wave/no wave/noise/outsider disco/mutant disco/art punk/etc/etc, it was a musical free for all. So it makes sense that an unassuming 12-year-old from Brooklyn would enter the scene backed by a post-punk, outsider disco group under the name Chandra.

Chandra Oppenheim was just twelve years old when her debut album ‘Transportation’ was released. Musically encouraged by her father from a young age Chandra was writing songs by age nine.

Her father was conceptual artist, Dennis Oppenheim, who caroused with the artists and musicians of the late '70s Lower East Side. Dennis was friends with Eugenie Diserio and Steven Alexander, who had been playing the NYC post-punk circuit with the Model Citizens.

The Model Citizens signed to John Cale’s Spy Label and then broke up to take things in another direction with their new band, The Dance, featuring drummer Fred Maher (who later joined Material)

Chandra Oppenheim had been writing music and performing for some time, often doing songs and performances at her father’s parties. Having met Chandra when she was 11, Diserio, Alexander and Maher formed a band with Chandra and started to rehearse in a studio in Hell’s Kitchen. The result of these rehearsals was their debut EP ‘Transportation’ on the band’s own record label GOGO/ON; a mix of dissonant weird disco, bass-heavy dance grooves and Chandra’s unmistakable chant-singing.

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On Friday, Sonic Youth uploaded 12 of their previously unreleased live shows to their Bandcamp archives. The concerts span the bands career, from the late 80s to their final US show in 2011.

Lee Ranaldo writes of the project:

We have a couple of engineers and archivist people that we work with. But we’re still all interested in it, we’ve been maintaining a massive archive that continues to grow. Steve Shelley has been really active in it, and the rest of us a little bit less so, but I’ve been pretty active in helping put together the last bunch of packages that come out. In this case, this guy from Russia just said: “Hey, I’ve got this tape of the show” that we had never heard before, and he wanted to put it out. We kind of batted the idea back and forth of whether we wanted to go that route, and in the end, we gave him our blessings to do it. We’re working on an archival project around Sister right now, which is a massive thing we’ve been working on for a while. And two or three other things as well, something around NYC Ghosts & Flowers, and something around a particular concert we did at the Pompidou Center in Paris with Brigitte Fontaine and Areski [Belkacem] that we’ve been trying to cut the legal tape on and release for like a decade.

Read more about the releases on Spin. H/t Red Cell

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The Misfits' Glenn Danzig will finally release his long-awaited album of Elvis covers on April 17. In celebration, the horror punk pioneer has also announced two intimate (and expensive) live performances of the material in San Francisco (4/17) and Los Angeles (4/22).

Above, Danzig's take on Elvis's “Let Yourself Go” from his 2015 covers album Skeletons.

(Facebook)

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Iggy Pop's "We Are the People" is based on a poem penned in 1970 by his old friend, the great Lou Reed. About the poem, Pop told the BBC back in September, "My God, this is the country today as I understand it, or at least one legitimate portrayal of the country today." Last week, Pop performed "We Are the People" with Reed's widow Laurie Anderson at Carnegie Hall for the Tibet House Benefit and now he's released this striking video performance. The song appears on Pop's latest album Free. From "We Are the People:"

We are the people without land / We are the people without tradition...

We are the people without sorrow who have moved beyond national pride and indifference to a parody of instinct / We are the people who are desperate beyond emotion because it defies thought / We are the people who conceive our destruction and carry it out lawfully

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“Punk,” says a Wuhan hardcore band member, “is a way to help me keep my mind fresh.”

The wonderful Aaron Stewart-Ahn tweeted today, “Something you haven’t been told about Wuhan during this outbreak is that it is China’s punk music capital.”

And he's right. Read the rest

Dave Riley, bassist for the influential 1980s Chicago noise-punk band Big Black, has died. He was 59. According to his partner Rachel Brown, he had throat cancer. What a fucking great player, he was. And what a fucking great band. From Rolling Stone:

“Dave was a fantastic musician and a critical part of the Chicago music scene,” (Big Black guitarist Steve) Albini tells Rolling Stone. “He bridged the gap between raw enthusiasm and outstanding musicianship better than anybody else in our peer group and I always admired him for it...”

“When I think about Dave, I think of him onstage, sweating, rolling on his heels, his bass making a rhythmic shrapnel cloud, the densest object in a very heavy construction," Albini wrote in his statement. “Then I think of him after the show, still sweaty but relaxed, easy with his humor and in possession of an impeccably sharp wit, comfortable with himself, comfortable being the hinge-pin of the evening. I miss playing with Dave, and I miss hanging out with him. He was a handful, but like most people we describe that way, he was worth it. Rest easy.”

Below, Big Black (Riley on right):

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Balazs Sarkadi from the Hungarian band Bankrupt ("a refreshingly energetic blend of 90s indie, hip hop and punk rock") writes, "President Trump mocked Greta Thunberg in a recent tweet, which sparkled the idea of a song in which he elaborates his point of view on climate change in a Twitter rant addressed to Greta. The mash-up music video of Minor Problem by Bankrupt is a funny and at the same time cringey compilation of Trump's most awkward moments and loosely associated footage. Read the rest

Cecil Castellucci (previously) is a polymath artist: YA novelist, comics writer, librettist, rock star; her latest book, Girl on Film, is an extraordinary memoir of her life in the arts, attending New York's School for the Performing Arts (AKA "The Fame School") and being raised by her parents, who are accomplished scientists.

A short, exploitative 1983 news clip about punk squatters in the London Borough of Islington, complete with an uninformed, patronizing narrator: "What they lack in grey matter between the ears, they make up for in color on top."

(via r/ObscureMedia) Read the rest

The Ramones promoting "Ramones Mania (The Best Of 1976-1988)" on "Live with Regis and Kathie Lee" in 1988.

"Who writes these songs, 'I Wanna Be Sedated' and 'Teenage Lobotomy?' Do you guys write them? Can you give me the lyrics to 'Teenage Lobotomy?" Just talk them..."

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Birdpunk is the quite natural intersection of two subcultures, punk and birding. From a feature article by Steve Neumann in Audobon:

The overlap between birding and punk might seem strange to outsiders, but for birdpunks like Croasdale, the Do-It-Youself (DIY) values that shape punk living feed perfectly into low-frills activities such as birding. The DIY aesthetic and mentality is a core philosophy for punks, who thrive on independence and individualism. Their music bucks the profiteering industry of labels and promoters and travels over a homegrown network of venues and websites. The ethic also spills over to visual media, politics, economics, and social philosophy. Hospitality, trust, and authenticity are key traits in the community.

When you consider these principles, it’s clear why many punkers are drawn to birding and its rustic qualities. Or vice versa: why their early love of birds steers them straight into the throes of punk. It’s a two-way street that draws out the best of both worlds, forming a distinctive subculture that’s holistic, aware, and expressive...

Raquel Reyes, who lives in San Francisco... (had) always been interested in biology, but she credits her volunteer work at a wildlife hospital with making the discipline more personal. Similar to the others, Reyes discovered punk in her teens; she found self-esteem in a community where being a “weirdo” was a badge of honor.

“Mainstream views about punk culture characterize it as self-absorbed and nihilistic,” Reyes says, “but there are many sub-categories immersed in ecological concerns.” The rejection of capitalism and mainstream consumerism spurs the need for self-sufficiency and self-discovery, through sewing, carpentry, gardening, and, of course, birding.

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At a panel in West Hollywood last night to promote the new documentary series Punk, John Lydon gave a wonderful performance as Johnny Rotten in which he talked trash to both Henry Rollins and Marky Ramone. Highlights above and below. Please forgive the annoying auto-play. Also on the panel were Duff McKagan (Guns 'n' Roses), Donita Sparks (L7), and Punk producer/fashion designer John Varvatos. From Rolling Stone:

“...You called Black Flag a bunch of suburban rich kids and we wanted to tear your ears off,” Rollins said (to Lydon.

“Yes, I did, but I didn’t like the fucking music,” Lydon said. “It was boring.”

After (Marky Ramone) spoke to how the Ramones blazed a trail for punk in New York and took that to London, Lydon said that he was “not even an original Ramone.” “But I did the Blank Generation album with Richard Hell, and you took his image,” Ramone replied. “All you guys took Richard Hell’s image. That’s all you did.”

“And you’re still covering your fucking ears,” Lydon said, grimacing that he’d gotten a rise out of the drummer.

"And Sid Vicious was the star,” Ramone said, prompting Lydon to smile and stick his tongue out. “That’s right, he was,” Lydon replied. “He was the star for asshole fake idiots like you. Enjoy your drugs and fuckin’ have a happy death.”

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NYC punk band The New York Rats is launching their new album on Sunday: it's a heavy vinyl LP with amazing sleeve art by Andrea Sicco; the album itself is Ramones-y, Husker-Du-ish uptempo punk that I've had on heavy rotation all week: it's 7:30PM on at Our Wicked Lady, 153 Morgan Ave, Brooklyn. Read the rest

Nine Inch Nail's Head Like A Hole no longer feels all that.

Static-X's Push It also has lost a lot of its edge. The video cracks me up.

On the other hand... Punk still has it. The Sex Pistols God Save the Queen still hangs in there for me.

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Lorna Doom, badass bassist of influential Los Angeles punk band the Germs, died yesterday. Formed in 1976, the Germs -- Doom, Darby Crash, Pat Smear, and Don Bolles in the classic line-up -- were at the center of the early Hollywood punk scene that spawned Black Flag, X, Fear, the Go-Go's, and so many seminal acts. From the Los Angeles Times:

Born Teresa Ryan, Doom became an icon of the U.S. punk explosion despite having to learn her instrument after already joining the band. Along with her high school friend Belinda Carlisle, who would become lead singer of the Go-Go’s, the bassist was part of the posse of Hollywood punks who sparked a West Coast music movement.

Doom’s death at age 61 was confirmed by her longtime friend and former Germs bandmate Don Bolles. A cause of death was not immediately available...

Germs' primal first album, “G.I.,” set the tone for the U.S. hardcore punk movement. The debut release by the fledgling indie label Slash, which was founded by the punk fanzine of the same name, the 1978 album felt zapped onto turntables from a way messier, more uncontrolled galaxy...

Slash Records also released the soundtrack to the Penelope Spheeris documentary “The Decline of Western Civilization,” which documented the Germs and other bands in performance. When the film became an unlikely indie hit, Doom’s work served as inspiration to countless female punks itching to break through the genre’s male-dominated glass ceiling.

yesterday i lost a part of me, my best friend in high school and partner in crime in the early punk scene, #LornaDoom or Teresa passed away....

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Maximum Rocknroll, the seminal punk print 'zine launched in 1982, is ceasing publication of its paper edition. This truly marks the end of an era in punk culture and underground media. According to today's announcement, MRR will continue its weekly radio show, post record reviews online, continue its archiving effort, and launch other new projects that will keep the unbreakable Maximum Rocknroll spirit alive. From MRR:

Maximum Rocknroll began as a radio show in 1977. For the founders of Maximum Rocknroll, the driving impulse behind the radio show was simple: an unabashed, uncompromising love of punk rock. In 1982, buoyed by burgeoning DIY punk and hardcore scenes all over the world, the founders of the show — Tim Yohannan & the gang — launched Maximum Rocknroll as a print fanzine. That first issue drew a line in the sand between the so-called punks who mimicked society’s worst attributes — the “apolitical, anti-historical, and anti-intellectual,” the ignorant, racist, and violent — and MRR’s principled dedication to promoting a true alternative to the doldrums of the mainstream. That dedication included anti-corporate ideals, avowedly leftist politics, and relentless enthusiasm for DIY punk and hardcore bands and scenes from every inhabited continent of the globe. Over the next several decades, what started as a do-it-yourself labor of love among a handful of friends and fellow travelers has extended to include literally thousands of volunteers and hundreds of thousands of readers. Today, forty-two years after that first radio show, there have been well over 1600 episodes of MRR radio and 400 issues of Maximum Rocknroll fanzine — not to mention some show spaces, record stores, and distros started along the way — all capturing the mood and sound of international DIY punk rock: wild, ebullient, irreverent, and oppositional.

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Dischord is to punk and indie rock what Def Jam and Death Row Records are to rap. Read the rest