Somehow.

I came home to find my laptop open to this page.....

Everything is Terrible.

Its a website with all these super weird videos, kinda awesome but i have been watching them for like almost 45 minutes now and I really need to stop. Pretty funny though.


This one is super weird.


This one is actually kind of offensive. Crazy that it exists.



This one is worth it. It is really funny.

My So-Called Wild Life

Burnin HOT.

Super HOT.

Fucking hell. Only hotter.

Dark and messy poetry.

Messy Room by Shel Silverstein

Whosever room this is should be ashamed!
His underwear is hanging on the lamp.
His raincoat is there in the overstuffed chair,
And the chair is becoming quite mucky and damp.
His workbook is wedged in the window,
His sweater's been thrown on the floor.
His scarf and one ski are beneath the TV,
And his pants have been carelessly hung on the door.
His books are all jammed in the closet,
His vest has been left in the hall.
A lizard named Ed is asleep in his bed,
And his smelly old sock has been stuck to the wall.
Whosever room this is should be ashamed!
Donald or Robert or Willie or--
Huh? You say it's mine? Oh, dear,
I knew it looked familiar!


It's Dark in Here by Shel Silverstein

I am writing these poems
From inside a lion,
And it's rather dark in here.
So please excuse the handwriting
Which may not be too clear.
But this afternoon by the lion's cage
I'm afraid I got too near.
And I'm writing these lines
From inside a lion,
And it's rather dark in here.

Sonic Night.

All Grown UP.

This video is amazing and super creepy. Good job dudes. The song is beautiful as well.

I'm Sorry.

Dudes, I really debated whether or not to blog this shit, but it is so bizarre, that I decided yes. I didn't know about the Insane Clown Posse until a few months ago when I had to work a "Twizted" show. Twizted is like a side project or baby version or something of the I.C.P I am really not to sure but all the people that came were totally in make-up, which made carding them a huge pain in the ass, and they all referred to each other as "ninjas" and did the whole "wha wha!" thing constantly. It was a shit show. One of the worst bartending experiences of my life. No one tipped. And they all wanted Sparks. Very bizarre. I get wanting to be a part of something. I get it that people buy into stupid fads. But this is crazy. I guess the I.C.P has been around for like 20 years or something too. Wild. So I saw this video on the Mishka blog and was once again totally blown away by its weirdness. It is so unbelievably lame I have to exploit it.

Wild Life.

I got this photo in an email from one of my girlfriends. It was titled "What should I do about this?!?" Made me laugh.

Amazing.

SUGAR KANE.

Sonic Outfits.

Portrait by Richard Kern

Attempting to pin a label on Kim Gordon is like trying to understand the lyrics of Sonic Youth's songs: it’s beside the point. She has worked for Larry Gagosian, written for Artforum, exhibited paintings and directed music videos, produced Hole’s first album and was briefly a character on The Simpsons. Currently, Gordon is at work on her second clothing line, Mirror/Dash. Of course, she is best known as the frontman/bass player for Sonic Youth. When the band formed in 1981, Gordon stood out in the male-dominated world of independent rock and roll. Still, she rejects the iconic neo-feminist labels pinned on her and insists that she loves what she does and that’s why she does it, gender aside. Perhaps the best paradigm for understanding her is an early-childhood obsession with Michelangelo, a luminary with a similar knack for innovation. Here, this true original sat down with her friend, photographer and filmmaker Richard Kern, to talk about sheetrock, Godard, fashion and how it can get lonely being an anomaly.

Richard Kern: I think of you as a modern Renaissance woman. What were you interested in first? Fashion? Music? Art? Or boys?

Kim Gordon: (Laughs) I was definitely first interested in art. I always wanted to be an artist, since I was like five or something—

Richard: —since you were five?

Kim: I was really into Michelangelo. (Laughs) I wanted to be a sculptor.

Richard: Seriously?

Kim: I used to make things out of clay. So, I guess boys is sort of…even though I think he was gay. I don’t know.

Richard: You think Michelangelo was gay?

Kim: I don’t know. I think so.

Richard: We can only guess. So, you knew already at five years old. Were you aware of fashion then, or just art?

Kim: My mother [is] a seamstress, and she made my clothes or bought them at thrift stores. She grew up during the Depression; the idea of buying clothes at the store was completely out of her realm. In the ’60s she made more exotic caftans and these things called abayas that are [made out of] silk and velvet. So, it was always around, even though I didn’t really want to have anything to do with sewing. We lived down the street from this huge fabric store that I used to go to with her all the time. Also, my great-great-grandmother used to make patterns and go up and down the West Coast and sell them.

Richard: Wow. So it goes way back for you. Where did you grow up, anyway?

Kim: I grew up in LA—West LA. West Side. (Laughs)

Richard: When I first met you in the mid ’80s you were more of a jeans and t-shirt kind of girl. When did you first become so aware of fashion that you began changing the way you dressed both on stage and off stage?

Kim: I kind of always was [aware of fashion], but I just sort of felt like it was beyond me. You know, I just was very poor. (Laughs) When I was thirteen and I lived in Hong Kong, I used to go to this store that had red velvet hip-hugger bell-bottoms and tons of cool ’60s clothes. I’d save up my money to buy one thing—something. I literally had no experience shopping in a store, because I always bought my clothes in thrift stores. I started going on tour and going to more vintage stores and got into finding ’70s or ’60s vintage cords, stuff like that. When we did X-Girl, it was more streetwear. I mean, there were dresses, but they were pretty—

Richard:—It wasn’t a luxury brand.

Kim: Right. It was no luxury brand! (Laughs) Dave and I would go to Daryl K’s little store on Sixth Street or APC, but there really wasn’t a lot going on downtown then.

Richard: How did you make a living before Sonic Youth?

Kim: I worked in a gallery for a while as a secretary, even though I couldn’t type. I used to work for Larry Gagosian and Annina Nosei. I was a framer in LA, when Larry used to do mass-produced prints and stuff—schlocky art. In New York I waitressed. I did house painting, high-end apartment painting.

Richard: I remember you saying you even did sheetrock. Did you do that?

Kim: (Laughs) No, I never really did that. I did plastering.

Richard: Plastering. Ok. (Laughs)

Kim: I worked at Todd’s Copy Shop, which was kind of like the center of the art world. Everyone would come in to make their fanzines. I worked there with Sara Driver, and her boyfriend, Jim Jarmusch, would come in and we’d make copies of his scripts. Thurston [Moore] would come in and we’d make killer magazines for him. You kind of knew what everyone was up to, like their grant proposals. Jean-Michel Basquiat came in and I Xeroxed some stuff that went into his artwork.

Richard: That’s where people told me to go, I remember, when I was doing Xerox stuff.

Kim: (Laughs) ’Cause Todd was very – well, his heart is sympathetic, and he would let artists do things on the machine themselves, too.

Richard: The Sonic Youth video Sugar Kane not only featured a young Chloe Sevigny but it was also shot in the Perry Ellis studio when Marc Jacobs was a young designer. If I remember correctly, Marc kind of set up the whole thing for you. Is that correct?

Kim: Nick Egan, the director, was good friends with Marc, and we had this idea to have kind of a fashion show going on and have a girl who was sort of undressing walking back and forth. And Nick said, “My friend Marc will let us use his showroom and his collection,” and it just happened to be the so-called grunge collection.

Richard: Was that the first time you met Marc?

Kim: Yeah. That was the first time we met.

Richard: He already was making quite a name for himself, right?

Kim: I think he got, certainly, a lot of publicity when that line came out. You know, it was kind of notorious. The whole grunge thing was kind of funny because when the New York Times called up Megan Jasper at Sub Pop she just made up all these terms (laughs). She was just like “grunge,” and that was such a joke—

Richard: —that’s where the name came from? It was a joke?

Kim: Yeah.

Richard: I remember seeing it all of a sudden. It was on all the runways. It was what everybody was wearing.

Kim: That wasn’t really Marc’s intention so much. I mean he was just using things. Like when he saw a kid wearing thermal underwear, he thought that it was an interesting idea to make it in cashmere, or something. You know people get inspiration from all kinds of places

Richard: He seemed to be very much into the music scene.

Kim: Yeah. He was always around. He used to go to Hurrah’s all the time.

Richard: Oh, he did?

Kim: Yeah, as a youngster, teenager.

Richard: We were all youngsters then. In the ’90s, you and your partner Daisy started X-Girl, and X-Girl was located right next to XL, the Beastie Boys store. Were those labels somehow connected?

Kim: XL was our parent company. Basically we knew those guys, and at some point Daisy started working at their store. They had a store on Ave A and one of the brothers who was involved with the line, Eric, knew that Daisy and I shopped together and talked about clothes. They asked us if we would do a girls’ line for them. So, X-Girl was born.

Richard: Was XL all of the Beastie Boys, or just one of them?

Kim: It was none of the Beastie Boys. I think Mike D. had some small investment. Everyone thought [it was] their line or something. Occasionally, Mike would do a t-shirt. They really just wore the stuff. They were friends. They all lived in Los Feliz together.

Richard: I remember that XL and X-Girl was this whole style that was going on that defined a certain period.

Kim: Yeah, there was Liquid Sky down the street. That was a great store. And Patricia Field; that was where one could go to get silver leather hot pants, or whatever. (Laughs)

Richard: Exactly. Does X-Girl still exist?

Kim: I don’t know. That’s a good question; I have no idea. We sold it to this Japanese company that kept buying more and more of XL. For a while they had a lot of X-Girl stores. I don’t know how it survived the turmoil of the economy.

Richard: Was that in the ’80s or the ’90s?

Kim: Well, the line came out the year Coco was born—’94. I remember being bummed I had to do press while I was pregnant. I was incredibly grumpy about that. I remember this one photographer wanted me to stand on this rickety table; and now everybody’s pregnant and they make it look so glamorous! And it really wasn’t. When we did the Bull in the Heather video, that was when we first got some of the clothes, and I remember—I was maybe four or five months pregnant—I kind of squeezed into—

Richard: —No kidding! ’Cause I watched the video the other day, and I was thinking, ‘Is this when she was pregnant?’

Kim: I had Kathleen in it jumping around. I wanted to have one of the Knicks cheerleaders.

Richard: I know that X-Girl was pretty much street clothes. Is that different from Mirror/Dash?

Kim: It’s still clothes that you could dress up or dress down. It’s more sophisticated, certainly, than X-Girl.

Richard: Urban Outfitters is producing Mirror/Dash. Is it aimed at a young demographic?

Kim: Our hope is that the clothes are sort of ageless and kind of classic.

Richard: Had you already started a new line when Urban Outfitters approached you?

Kim: We were doing this limited edition jacket for my friend’s store in Japan, and it was supposed to be connected with some magazine or something and that kind of all fell through. We ended up doing the jacket anyway ’cause we just thought it was fun.

Richard: Who are your collaborators on Mirror/Dash?

Kim: Jeffrey Monteiro and Melinda Wansbrough. Mel and I became friends. We were just hanging out and we would talk about stuff, and we decided to do a line. We thought Jeffrey would be great to work with because he’s so experienced and then Mel ran into her friend that works at Urban [Outfitters] and she said, “You should come talk to these guys.”

Richard: Was Jeffrey at Mayle with Melinda?

Kim: Yeah. Then he left to go to Derek Lam, and now he’s designing under his own name, a more high-end line. It’s really great.

Richard: Are you a hands-on designer? Do you do drawings and pull ideas?

Kim: No. I can sketch a little bit, but I don’t really do the drawings. I come up with an idea like, ‘This would be great if this were like this’. Then Jeffery interprets it and draws it and we discuss it. Then we go up to the production house to do all the fabric sourcing and samples and patterns, and manufacture it.

Richard: What designers do you wear on a daily basis?

Kim: I wear APC. I wear Isabel Marant, Acne, some H&M. Urban, if there’s something that I feel like I can, you know, get away with. (Laughs)

Richard: Wait, what’s that?

Kim: You know, something that doesn’t look, what do they call it, “mutton in sheep’s clothing”? I mean, up in Northampton, it’s a different lifestyle. If I lived in New York, I would probably dress up a little more on an everyday basis. Maybe I wouldn’t. I have a couple of Sari Gueron’s things, not from her collection, but from her cheaper line. It’s great. I wore a lot of that this fall.

Richard: Do you have a piece of clothing that you wear over and over?

Kim: I have this oversized Marc Jacobs cashmere waffle sweater that I basically wear every day now, because I live in a big, drafty house. It’s the softest warmest sweater. Actually Coco and I fight over Thurston’s Marc Jacobs sweaters and we kind of divvy them up if they shrink on him.

Richard: Is Coco very tall?

Kim: She’s pretty tall. She’s 5’8”; maybe more now.

Richard: Will you wear your own designs once this gets rolling?

Kim: I hope to. I ordered some stuff.

Richard: When I say ‘style icon’ what name pops into your head immediately?

Kim: I like Françoise Hardy as a style icon of the past. People like Anita Pallenberg have really great style. Jane Birkin, of course.

Richard: I see a lot of French New Wave in [your style]. I don’t know if that’s correct or—

Kim: Yeah. David and I would look at the Godard movies and certain ones [we would] try and replicate; like the striped dress from Pierrot le fou.

Richard: Exactly. Will any of that kind of stuff be in this new line?

Kim: Maybe, but people wear things shorter now.

Richard: Is it hard maintaining your interest in producing music when you’ve got all these other interests, like painting and clothing?

Kim: The funny thing is that right now even though I’m pretty ridiculously busy, sometimes it helps me to do more things and be more focused. We just finished a Sonic Youth record and I actually had an easier [time]—not that it was easy—but, I felt like writing lyrics and doing vocals I was more focused. I think the record came out pretty good. But again, there’s that machine of Sonic Youth that kind of pulls you along with it. I tend to procrastinate, but if you have deadlines… I hate to rehearse, that’s my least favorite thing, but I’m into writing music. I like making the stuff. It’s just what comes afterwards that’s kind of hard. But I really do have to carve out [time], like, ‘I’ve got a show, I have to focus on doing these paintings’. You know how it is.

Richard: Do you feel a stronger bond with the women of your generation or the younger generation?

Kim: I’ve always been older than most of the people that I hang out with. I mean, I love Coco and her friends. I think they’re really interesting, and that’s kind of an amazing age. I know women of all ages, and I think I kind of relate to them in different ways. I don’t really want to get too—

Richard: —philosophical?

Kim: There are women I know who I relate to my age, but there aren’t that many women I know who perform music at my age. So, that’s a little, kind of, odd. I mean not odd, but sometimes that’s lonely.

Richard: Um, and my last question—

Kim: Can I ask you a question?

Richard: Oh sure. Go ahead.

Kim: What’s your next book?

Richard: Oh. Maybe it’s the MILF book. I’ve been talking to Thurston about a book of older women. I’m trying to get it going with your husband, actually. But this is off in the distance. I can’t do another book for at least three or four years because of contracts.

Kim: Huh.

Richard: So, do you have any advice for those young designers out there?

Kim: I don’t know. It’s kind of a lousy time to start doing fashion. (Laughs)

Richard: Yes I agree.

Kim: I don’t have any advice. I don’t know. I don’t like that question.

Richard: Ok. (Laughs) That’s a good ending.

BE THERE!

Sonic Youth is paying in our neighborhood this Saturday. Don't be dull. Go!

Gimme.

This is just super cute and awesome.

A while.

It has been a minute since my last post. Why? Because I am currently addicted to watching the show LOST. I know I am a little bit late in the game, this show has been on for years. I had never seen a single episode till my husband discovered all 5 seasons are free to watch on abc.com. Holy crap I am hooked. I am currently on season 3 because when I do something I go all the way. Mind numbing, yes. Awesome, yes.

I

Nope.

What you see as bullshit should anger you. Reflect your truth in its presence.

Call your friends. You know who they are.

Real World.

Don't get jaded its not the point.

CHANEL.

French Kiss.

Lets Party.

Like Lightening.

When I was like 12, maybe 13 years old we lived in a little rental house in Magnolia right behind Briercliff, which was an abandoned elementary school. My mom actually went to kindergarten there. Anyway, I used to sneak out and smoke cigarettes and just sit there on the big black top. There were some tether balls and some basketball hoops. I was there and it started raining and then the thunder and lightening came. Seattle doesn't really get lightening like other places and when I was young I thought it was really cool. All I remember is a light. Nothing else. I don't think I was out long cause when I came out of it it was still raining really hard. It didn't feel long. Like a second. I was on the ground, on my side. I just remember feeling really sick. I just got up and went home. I told my mom what happened but I don't think she was listening cause it didn't seem like a big deal to her. And I just thought it was so crazy that I didn't know what to think. So I just laid down and watched t.v. I'm not so into lightening storms anymore. I lived in New York for a long time and the fucking crazy lightening storms in the summer there freaked me out. Once when I was living in Brooklyn (east flatbush. Yep. I'm not joking) I was hanging out with Deb and there was a crazy storm outside. We were just laughing and writing and chain smoking and all of a sudden a flash, thunder, and then the telephone that was on the coffee table shot sparks out at us and we both screamed and Deb like pounced in my lap. So funny. I also was recording one time and was playing guitar and sining and every time my mouth would hit the mic (I'm not sure why I was putting my mouth all over it, it's kinda gross to do that but it happens) I would feel this really strange sensation. I didn't stop at first cause I was recording, but finally I did cause I would feel these crazy waves running through my body. It didn't really hurt but it was fucking crazy in a bad way feeling. Turns out something really wasn't grounded and if my fingers were on my strings and my mouth was on the mic I would be getting mildly electricuted. Gross. So anyway I have a pretty intense parinoya about anything electrical. I don't even like changing lightbulbs. I will do it but I don't like it. So there is a documentary coming out about people who have actually been hit by lightening and it looks pretty cool.

Life.

Dudes, watch this video. This song might be one of the best songs ever. Don't overlook it like it's no big deal. It is.

Love. Life.

When you see me again it won't be me.

Doppelganger.

Doppelgangster.

So Cool.

Bowie. So cool. Not to mention, SO FINE! I am listening to his music and why blog about anything else. He makes me crazy!

Key board Cat.

I have been shown quite a few of these videos, some more laughable than others. This....this I did not see coming.

Blog Breath.

Black Breath is playing at Chop Suey on Thursday. Don't be dull. Go. Black Breath!

Look Closely.

zeitgeist

Amazing.

I really love this man.

Have a laugh.

The State was one of my favorite shows in the 90's. Even though I have seen all the skits a bigillion times it still makes me crack up. Enjoy. The muppet one is fucking amazing.

Heavy Lifter.

I'm sorry, but can you hold this for a while?

Corporate Ghost 1.

Corporate Ghost 2.

It goes on.

Easy Ghost.

Deep Thought.

Diver Down.

Man, shit is crazy. There are cities under the water! I know that, I hear about it, but think about it.




Some day dudes.

"You're all fucking crazy."

Frances Farmer wrote this essay in 1931 at the age of 16. She went to high school here in Seattle. This essay won her a prize of $100 and was published by Scholastic.

Frances' Essay
...no one ever came to me and said "You're a fool. There isn't such a thing as God...someone's just been stuffing you." I don't think it was murder. I think God just died of old age and when I realized that He wasn't anymore, it didn't shock me. Maybe it was because I was never properly impressed with religion. I went to Sunday school and liked the stories -- about Christ and the Christmas star. They were beautiful, but I didn't believe them. It was too vague. God was something different though. He was something real. Something I could feel. But there were only certain times I could feel it. I used to lie between cool, clean sheets at night, having scrubbed my knuckles and fingernails and teeth, and talk to God. I'm clean now. I've never been this clean. And I'd never been cleaner. And somehow it was God. I wasn't sure that it was. Just something cool and dark and clean. That wasn't religion though. There was too much that was physical about it. After a time, even at night, the feeling of God did not last. I began to wonder what the minister meant when he said God sees even the smallest sparrow fall and that he watches over all of his children. But if God were a father with children, then that cleanness I had been feeling wasn't God. So at night, when I went to bed, I would think I am clean...I am sleepy. And I went to sleep. It didn't keep me from enjoying the cleanness any less. I just knew that God wasn't there. Sometimes I found him useful to remember. Especially when I lost things that were important. After slamming through the house breathless and panicky from searching, I could stop in the middle of the room and shut my eyes and say,"Please God, let me find my blue hat with the red trim." It usually worked. That satisfied me until I began to figure out that if God loved all of his children equally, then why did he bother with my blue hat, and let other people lose their mothers and fathers for always. I began to see that He didn't have much to do about people's hats or dying. They happened whether He wanted them to or not. And He stayed in heaven and pretended not to notice. I wondered a little why God was such a useless thing. It seemed a waste of time to have him. I was proud to have found the truth myself, without help from anyone. It puzzled me that others had not found out too. God was gone. Why couldn't they see it? It still puzzles me.