Kim Ann Foxman performed last weekend at MoMA PS1 Warm Up 2013 in Queens, NY. Enter now to win a pair of passes to this Saturday’s Warm Up shows. Make sure to be quick, they’re a hot commodity round these parts.
What’s the song, producer or moment that propelled you from being a fan of house to a maker of house? What drew you to that culture before you became one of its producers?
Growing up on stuff like technotronic and freestyle tuned my ear to love electronic sounds. I always gravitated towards that. Later came the rave scene, which was really exciting for me: it was so underground, so wild and so much fun. Moving from Hawaii to San Francisco, I really dived into that scene and I got really into DJs and started collecting vinyl and mixed tapes. I always loved to dance so much. One day in San Francisco, at a party, I took a break from dancing my ass off and I somehow got into a conversation with this guy. He mentioned that he made dance music, I thought that was really cool. He invited me over to see how we could collaborate if I was interested. So I went over to his studio a few days later. Eventually we started working together, I got my first sampler and drum machine. After that, I was hooked: we ended up as a two man electronic band. We had ten shows in San Francisco… and then I moved to New York.
American house music has its roots in New York, from the Paradise Garage, and in Chicago. Now that house is moving to the foreground of dance music in the United States in a sort of unprecedented way, people tend to associate the genre more with New York. What do you think of the current, possibly less appreciated, house scene in Chicago, and do you draw any inspiration from that culture in the past or present?
That is true but I think that although there is now much less of a “scene” in Chicago for house music, people everywhere else are still inspired by the sound and acknowledge it, and there is a lot of respect. It may be a really small scene but the tiny part that is left of it is proper. And you can see that the roots are deep down in there although current trends may have shifted very much. I get a lot of inspiration from classic Chicago tracks and I play a lot of that sound in my Dj sets as well.
If you weren’t making music, what would you do for a living instead — in an alternate reality?
Something creative and fun. I am pretty open to creative possibilities: design, or have a brand of some sort. Maybe have a quirky venue, even. I also always thought it would be dreamy to do something adventurous, like documenting exotic places, new species and discoveries for something like National Geographic. At least I think that would be really exciting anyway.
Erin Garcia : Whatuuuup professorevans. Lucy Rose: Oh hey. Erin Garcia : It’s Erin. Lucy Rose: I figured as much — ha, Professor Evans. Erin Garcia : PHD status Lucy Rose: I like it. Lucy Rose: I know this is the laziest way to do an interview ever, but it just makes editing so much easier — besides, we get to erase all the umms before we even say them. It makes us both sound so much more intelligent. Erin Garcia : haha Erin Garcia : Works for me. Lucy Rose: (I’ve done this before) Lucy Rose: Ok, shall we start? Erin Garcia : Let’s do it. Lucy Rose: Ok, so you’re from Ohio, right? Tell me a little about where and how you grew up. Erin Garcia : I’m actually from North Carolina. Erin Garcia : ha Lucy Rose: Forgive me, I’m from New Zealand and am still working out the whole US geography thing. Erin Garcia : I grew up in Winston — Salem which is a med-small city in the middle of NC. Lucy Rose: What was life like there as a kid? What did you spend your weekends doing? Erin Garcia : As a kid it was rad, lots of riding bikes and playing in the woods.
Do you recommend to “beginners” that they be fearless about putting work out there to be judged, as long as they know it’s going to be a learning experience?
Yes. It was interesting to me these last two years watching Mike Birbiglia turn himself into a movie maker and at every stage he both had the arrogance of believing that he could do it and the humility to know that he wasn’t any good yet. He had a rough script, and it was okay, I guess, not quite there and he got into the Sundance Screenwriting Lab and they paired him with Mike White who’s an amazing screenwriter who gave him notes, but then he also went out to talk at length to Miguel Arteta and Noah Baumbach and other filmmakers, and he showed the script around to lots of people. David Wayne is another filmmaker. He showed it to Lena Dunham. He really just got input from a lot of people and got them to explain to him: “Okay, here’s how to handle this or that.” I just had incredible respect for it, and when we started to put the film together, he hired this amazing cinematographer who could teach him that world, and we had this amazing editor.
He knew what he didn’t know and then he used other people’s expertise to pull him forward. I feel like that’s how you get there. I think so many of us are too shy to. We don’t want to be a bother to other people. We don’t know how to approach other people, and I think that’s a huge advantage that he had just in terms of his personality — he wasn’t self-conscious about that somehow. He knew he needed the help and he was secure enough to just ask. In a way that, for most of my life, I haven’t been so able to do. He was much bolder than I ever would be.
Dear faithful readers — if you know us and love us at all then you know who Linda Gerard is. And you know that we love her beyond reason. And you know that she is currently facing off with the asshole named cancer — and we’re hoping everyone can chip in to help her out. Coin, vibes and kind words all matter.
Well what happened with Funny Girl — I was with William Morris, and the pianist for Funny Girl was a guy named Peter Daniels. Peter Daniels was my accompanist. He was also Barbra Streisand’s accompanist and Lainie Kazan’s. He worked for all three of us and when Funny Girl opened, I went to opening night with my husband at the time, and I remember nudging him and saying, “It’s going to be me up there someday.” I knew that role was written for me.
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.
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.
To many, Linda Gerard needs no introduction. She has a cult following of devoted fans who journey to sunny Ace in Palm Springs to catch a glimpse and an earful of this self-described — Older, Wiser Lesbian. She’s everyone’s femme idol, the apple of our eye and one of our favorite human beings. She’s also a ridiculously talented woman with many an industry notch on her belt. That she’s decided to settle down with us in the desert, hosting Sissy Bingo every week and otherwise wowing those in the know as well as virgin ears and eyes, makes us incredibly blessed. Linda’s voice carries the oceanic vibrations of every great Broadway star before her, and she lets it ricochet ‘gainst the walls of King’s Highway when the mood is right. Her penchant for show-stopping eyewear and envy-inducing collection of let-your-light-shine sweaters and blazers leave us swooning.
We recently released a vinyl-only limited edition of Linda’s greatest hits, Fabulous Selections on our shop, and for our mutual dear friend DJ Day — another Palm Spring legend — we also present his first album, Land of 1000 Chances, on the shop. Day and Linda sat down recently to thumb through a bit of Linda’s life story — the stuff of big dreams, massive love, brave independence and a woman from whom we all have a lot to learn — entrusted to a confidante half her age but who’s definitely dancing to a similar drummer.
Find below the first of three chapters — you’ll see more in the weeks to come. And check out Linda’s and Day’s albums on our shop.
Let’s start from the beginning.
I was born in Trenton, New Jersey, in 1938, to a very orthodox Jewish family. Kept kosher, did the whole bit. I was always a performer. I always got up in front of people and sang. So, when I was old enough to get on the train my parents would let me go by myself to study in New York. I studied singing, dancing, acting, elocution and all that stuff. My parents wanted me to go to private school, but I said, “No, no, no. I don’t want to go to private school.”
I went to Trenton High School and I was in all the plays and the musicals and that was fun. Then when it was time to go to college and my parents wanted me to go I said, “I want to be in show business, but I’ll go to college if I can go to New York City.” There was a college in New York City called Finch, and it was on 78th Street between Park and Madison. I knew that if I got in I could sing on the weekends because that’s what I wanted to do. I got into Finch and on weekends I sang at 1 Fifth Avenue. I was always singing. I didn’t get great grades but I didn’t care. My parents cared, but I didn’t care. So the following year I didn’t want to go back. I said to parents, “Let me audition for the American Theatre Wing,” which was a very good school, for musical comedy.
Though you would never know it by the title or lead image of this post — actor, singer, DJ and performer Michael Cavadias is not, in fact, old. He is young, he’s fucking beautiful and he’s FULL OF LIFE. Michael aka Lily of the Valley (to some from a certain era) is one of New York’s most treasured gems, and we’re honored to both know him and host him on the decks in our lobby on a regular occasion. Never were more seductive tracks dropped mere inches below such a winsome mug. At long last, we asked Mister Cavadias to tell us a bit about his life story and his work. Catch him tonight in the Ace New York lobby and come bask in his glory yourself.
I spent a few years in the 90’s performing and working as “Lily of the Valley.” This name came from an improv when I was living with Antony (of…and the Johnson’s) when were were at NYU theatre school back then. Lily was a delusional woman who believed that dozens of angels were living on her toes and giving her messages. But the character changed considerably after that and Lily became an umbrella character for many different creative pursuits. She performed weekly at the Blacklips Performance Cult at the Pyramid in dark little plays and then at Squeezebox with a rock band many many times. It wasn’t traditional drag in any sense but a bit of a natural femininity and etherial presence. It was a great time exploring that character and working with so many inspiring people like Antony, Page (who passed away in 2002) and Dean Johnson (passed away in 2007). People who taught me so much about how to be your authentic self.
As an actor my favorite job would have to be working with Michael Douglas, Robert Downey Jr. & Tobey Maguire in Wonder Boys. I played Tony/Antonia Sloviak who was Robert’s date to a faculty party but he ditches me for Tobey and then I have a couple scenes with Michael Douglas. It was an amazing experience. I learned so much and met some wonderful people like Jane Adams (Happiness, Hung) who is one of my closest friends to this day.
I can’t say I’ve had any truly nightmarish auditions — I suppose just times I was called in for things I just wasn’t right for. In the past few years, I’ve been concentrating on producing more of my own work. A show I wrote called “The Mystery of Claywoman” (directed by Rob Roth) finished a successful run in 2012 at Abrons Art Center and I performed as Claywoman at The Meltdown Festival in London in August, which Antony curated. Rob and I are also finishing a film called “The Doctors” where I play an evil physician. Other than that I’ve been working in other people’s projects a lot lately. There is a great scene of performers and actors, writers Downtown right now like Cole Escola, Erin Markey, Stephen Winter, WIll Janowitz, Antony & Rob Roth. All of whom I’m really excited to be working with.
DJing is actually a great way to tie everything together. I’ve always been obsessed with music. I’ll fixate on an artist and play their songs over and over again like a meditation. I’m fascinated by the progression of artists through their careers and how they change. I love looking at a DJ set as almost a score for a historical documentary on music, trying to weave the songs together so that the relationship between different songs of different eras and artists can sort of comment on each other as though there’s a narrative flowing throughout the night. Not that the listener would necessarily pick up on that, but it’s a fun way to put it together in your head.
We love you Michael, Lily and everyone else on your toes.
Emily Baker’s an OG jewelry designer, universe-maker and inspirational mover-shaker we’re lucky enough to call a neighbor and a friend in Portland, Oregon. Her line of jewelry, Sword + Fern — and the shop where it grows as thick as moss — acted as a catalyst for Portland design back in the day. We love watching her world expand — with sweetheart, Lovers synth-programmer and performance artist Kerby Ferris — into a life-giving and electro-sparked atmosphere in a league of its own.
Tonight, Emily takes over room 205 at Ace Hotel Portland for Content 2012, creating a sound installation with Kerby that will blow your fucking mind. Tickets can be picked up at Ace Hotel Portland, and $5 of each goes toward New York Cares to aid in hurricane relief efforts. Below, she gives a glimpse into what’s in store for us and talks about her new F/W collection, Memorizer.
The new jewelry collection, Memorizer, is inspired by the ancient Pacific Northwest First Nations myth of Copper Woman, the First Mother of civilization — her warrior training traditions, wisdom and the power of intuition. I let my senses rule my process; my most beloved way to work is gathering materials by happenstance and sponteneity, messing up and leaving it, then coming back to it again. I found fluidity, the concept of water logic, and the secret world of my own tiny joys came to the surface while I was working on Memorizer.
The alchemic imperfections of hand-cut copper, hand-dyed wood in ombre chakra tones, engraved graphics on leather, silkscreened scarves, cast concrete and cut mirrors all blend together to tell the story of a secret society’s traditions and their visions of women’s ancient wisdom, power and strength, taking the wearer on a joyride to the space alive inside their own personal landscapes.
YOUJOY in room 205 will be a sensory exploration of shape and sound. Kerby’s bandmate Emily has been immersing as of late in Shambhala Buddhist teachings from Pema Chödrön and Chögyam Trungpa — and her current mantra, YOUJOY, emphasizes these principles of finding happiness just by being yourself. Kerby will create an interactive sound installation that will weave in and out of the new Memorizer pieces as well as the new Sword + Fern sculptural line, Water Logic — mobiles, wall hangings, textiles and other jewelry for the home.
Bobby Bonaparte founded LiFT Label on a wing and a prayer in Portland, Oregon — we like anyone who’s a sucker for a leap of faith, with the creative chops to make it work. Bobby’s launching his new collection at this year’s Content at Ace Hotel Portland, presented by smart. Steer yourself our way this Sunday — $5 of all tickets go toward Hurricane Sandy relief efforts.
I started drawing “LiFT” with an upwards arrow for the “i” on my skateboards when I was in the 8th grade. I hoped writing “LiFT” would give me more height or ‘lift’ when I was ollieing. Always seeking to progress, I found an ancient silkscreen that belonged to my aunt in my basement and taught myself how to silkscreen LiFT concepts.
I loved the creative freedom silkscreening gave me, I could put anything I wanted onto a shirt. I soon found that shirts and clothing generally were an incredible means of self expression. I began getting my message out and it seemed to resonate with people.
After interning at Weiden + Kennedy in Tokyo, I took a job in marketing causing my creativity to lagg. After about a year, I got inspired do a line of tanks for summer with a new mission to connect with the community in a positive way, a commitment to the environment, philanthropy, pushing the envelope of design and manufacturing in the Northwest and maintaing an overall positive perspective.
That summer, the line of tank tops sold out and it became clear that I could make a living doing what I love. I left my salaried job to follow my passion for LiFT. Over a year later, LiFT is carried by rad shops in Portland, San Francisco and San Diego and has been featured in local media and on Portlandia and Girls.
I’m incredibly proud that my new line is sewn entirely in Portland. I pattern out the shirts and pants. The crewnecks with Pendleton pockets are knit here by Columbia Knit. My chambray button up is made of organic cotton/hemp blend and my collaborative shirts with Foster Huntington and Mao Kudo are printed on organic cotton. It’s my goal to use more sustainable and eco-conscious fabrics moving forward, and it’s important to me to give back to the community by donating time, money and supplies to some amazing non-profits like Ecotrust, Salmon Nation, p:ear, The Listening Archive & Focus the Nation. LiFT is a member of 1% for the Planet, an organization founded by Yvon Chouinard, and we donate at least 1% of our total sales to an non-profit of our choice (Ecotrust).
The company has evolved immensely since it’s conception. I’m happy that “LiFT” and the “STAY LiFTED” mantra have remained a constant in my life. On days when things are especially overwhelming, I take a moment to breathe and remind myself to stay lifted.
And, yes, I am related to Napoleon. My father’s father hired a genealogist to trace back the lineage to Corsica and the man himself. We share a similar nose, stature and drive.
It’s obvious, however, that Bobby has that chip that Napoleon was missing about everyone working together for the greater good. Evolution! It’s a beautiful thing!