Our friend, fashion idol and philosophical guru Linda Gerard serenades devoted fans every Monday night at Sissy Bingo at Ace Palm Springs — a storied songstress of Broadway and Follies fame, she also peppers random lunches and dinners at King’s Highway with show-stopping belters, raising her bejeweled hands to the sky as she slays the final notes of Zing! Went the Strings of my Heart to thundering applause, having, each time, gained a couple dozen new groupies.
Recently, we were shaken by the news that Linda is in the process of kicking cancer’s ass. She was diagnosed earlier this year and is currently in the process of treatment and recovery. We love her dearly and would bend over backward to help and support her. This Monday, join us and her massive posse of friends, family and fans in the Commune for a festival of positivity, love and posse-rallying, with DJ Day, Alf Alpha, Giselle Woo, JP Houston and others. Donations at the door enter you to a raffle with damn good prizes, and proceeds from drinks go toward Linda and all rooms booked for that night at Ace with code FABULOUS are not only 25% off but go toward Linda’s support fund as well. See more about the event on our calendar.
Find here part two of three chapters of DJ Day’s interview with Linda about life, love and Lawrence Welk. DJ Day’s ridiculously great new record Land of 1000 Chances is up on our shop, as is Linda’s Fabulous Selections — which we released recently — and, you guessed it, proceeds from her record and our Sissy Bingo shirt go toward Linda as well.
Read on, show the love and stay tuned for chapter three, forthcoming soon.
Talk about the Rose Tattoo time…
What happened was, when my girlfriend broke up with me in ‘87, I needed a new beginning. I bought the Rose Tattoo in ‘88.
This was in West Hollywood and obviously huge at the time. I mean, Barry Manilow?
They all came. They all came to the Rose Tattoo and it was very, very exciting.
We really love Reading Frenzy in Portland. It’s where we first read Doris and Burn Collector and everything by sts and got vintage postcards to send to our penpals before email shrunk our brains. RF lost their lease a few months ago and they’re looking for a new space. Hopefully you can kick down a little coin to help them make it happen — viva la real books!
Every year during the big show in the Coachella Valley we host our own desert tent revival beneath the sungods and the San Jacintos. We call it Desert Gold and this year marks our Wood Anniversary. And though it started as a wee li’l sapling it’s growing up fast — with live music and a Rolling Record Store presented by Third Man Records, performances by Flying Lotus, Jeremy Sole and Benji B, parties by the Do-Over crew, KCRW, Warp Records, Boiler Room, jerk goodness and ackee by Miss Lily’s, live on-site recordings by the certified buckwilders at NPR and much celebration of life. We’ll keep you posted, but seriously the AC in these rooms is as cool as the water in our deep, deep pools and they can’t wait around forever.
Eric Shiner is the man behind Pittsburgh’s Andy Warhol Museum. He’s also this year’s Armory Focus curator, turning the Armory Show spotlight — now in its 100th year — to US-based artists of thenow. As a curator, he has a very strong voice — he’s commissioned an on-site tower of Brillo boxes in tribute to Warhol by Charles Lutz, and light sculpture by Peter Liversidge — and he’s also orchestrating an installation and performance at Ace Hotel New York we’ll tell you about soon… Another distinguishing facet: if you Google Image search him, you find a lot of guys named Eric with black eyes. We recently talked with Mr. Shiner a little bit about the centennial and these last hundred years of art.
Is the centennial of the first Armory Show an inspiration or a long shadow that it’s hard to get out from under? If the lead-up to WWI was the catalyst for the revolutions that were going on then in art, should we just be happy our own malaise are tame by comparison? Does art benefit from adversity and how much adversity is enough/too much?
I can safely say that the first Armory Show is just one of the countless change agents that have occurred in the art world over the past 100 years, although it is certainly an important one. For me, it was simply a point of reference for the Focus Section of The Armory Show, and I am including one installation that makes a direct reference on Marcel Duchamp, whose work at the 1913 Armory certainly ruffled many feathers. War and political upheaval do indeed act as a major influencer on the art being made in that period, but it’s important to note that the Armory was in 1913, with World War I starting a year later in 1914, so there is no connection to that specific war, but more broadly to the cataclysmic social change that was unfolding on a number of fronts in Europe at the time. Art always benefits from adversity, and so too does art present a fair amount of necessary adversity to its audiences. I think that great art should always make the viewer somewhat uncomfortable, challenging them to think in new ways. So, in the end, too much is never enough.
As curator of the Focus section, the country you got handed was the United States of America. That’s a big, rich country. How do you even start to narrow it down?
Yes, indeed. America is a very big thing, both in terms of geography and in more importantly in terms of its psychographic presence in the world, both within and without its borders. It’s true that it is a big, rich country… for some that’s very true, but I think it is critically important to always remember that for many, it is a very poor country with millions of people facing actual need on a daily basis. America is nothing more than a continual series of juxtapositions, from Big to Small, Rich to Poor, Liberal to Conservative. One might even say it is a series of never-ending internal strife and conflict — something that keeps it alive, if nothing else. This being the case, I didn’t narrow anything down at all. I simply addressed some of the juxtapositions that make up this nation, and selected artists who make a career out of always questioning the powers that be, in one form or another.
On this day in 1862, Emily Dickinson’s poem “Safe in their Alabaster Chambers” was published in the Springfield Daily Republican. This was the second of only a handful of poems published in Dickinson’s lifetime, all of them anonymously and, most think, without her knowledge.
Safe in their alabaster chambers, Untouched by morning and untouched by noon, Sleep the meek members of the resurrection, Rafter of satin, and roof of stone.
Light laughs the breeze in her castle of sunshine; Babbles the bee in a stolid ear; Pipe the sweet birds in ignorant cadence, —— Ah, what sagacity perished here!
Grand go the years in the crescent above them; Worlds scoop their arcs, and firmaments row, Diadems drop and Doges surrender, Soundless as dots on a disk of snow.
Summer School tenured professor Justin Krietemeyer — cofounder of National Forest and of worldwide good vibes — celebrates his new show “Oh Snap” at This Gallery in LA tomorrow night, March 1 til about 10pm. Bring a friend and hang out with us at La Cuavita down the block afterward. Find above an unstill and censored preview of the work you’ll witness.
POST-NEMO FASHION WEEK : THEFUTUREFUTURE & 3D DESIGN
From their Brooklyn workshop, thefuturefuture melds burgeoning technologies with a very DIY-informed aesthetic and sensibility. They’ll be joining us for our Nemo-delayed 3D printing jewelry bazaar at Ace Hotel New York this Saturday — and took a few minutes to talk about their work as they prepare.
How does your architectural background influence the way you relate to the human body in jewelry design?
As architects, we typically develop our ideas in terms of constraints. Working in NYC forces us to constantly work within the obstructions of the existing built environment, and we approach the human body in the same way. Our architectural pieces are always very site-specific, however designing a line to fit each individual is not necessarily possible. So our approach is to make pieces that are generated by custom algorithms so that each piece is as unique as the person wearing it.
Do you dream in 3D?
Absolutely. Actually, we dream in 4D because there is time involved! We also daydream of dark matter and parallel universes.