Dial-A-Poem Poets – Big Ego (1978)


“American label set up in 1972 by the poet John Giorno, the earliest releases were exclusively poetry collections of the ‘Dial-A-Poets’ (John Giorno, William S Burroughs, Brion Gysin, Allen Ginsberg, John Cage etc.): ‘In 1961 I was a young poet who hung out with young artists like Andy Warhol, Bob Rauschenberg and Jasper Johns, as well as with members of the Judson Dance Theatre. The use of modern mass media and technologies by these artists made me realize that poetry was 75 years behind painting and sculpture, dance and music. And I thought, if they can do it, why can’t I do it for poetry. Why not try to connect with an audience using all the entertainments of ordinary life: television, the telephone, record albums, etc? It was the poet’s job to invent new venues and make fresh contact with the audience. This inspiration gave rise to Giorno Poetry Systems.’ – John Giorno”
Discogs
Discogs: Various ‎– Big Ego
UbuWeb (Video)

BAM


“BAM (Brooklyn Academy of Music) is a multi-arts center located in Brooklyn, New York. For more than 150 years, BAM has been the home for adventurous artists, audiences, and ideas—engaging both global and local communities. With world-renowned programming in theater, dance, music, opera, film, and much more, BAM showcases the work of emerging artists and innovative modern masters.”
BAM
W – Brooklyn Academy of Music
NYT: Brooklyn Academy of Music
YouTube: That’s So New York: Brooklyn Academy of Music 150th Anniversary

‘Jean-Michel Basquiat’ at the Brant Shows His Bifurcated Life


Detail of Basquiat’s text-filled “Museum Security (Broadway Meltdown),” from 1983, acrylic, oilstick and paper collage on canvas.

“A few years ago, a plaza in Paris was named after the artist Jean-Michel Basquiat, the Brooklyn-born painter who became a global sensation in the early 1980s and died at 27 of a heroin overdose. No similar honor has been bestowed upon Basquiat by the City of New York. However, the opening of the Brant Foundation Art Study Center in the East Village, with an exhibition of nearly 70 works by Basquiat created from 1980 to 1987, serves as a fitting temporary shrine. The Brant in Manhattan is also part of a wave of private museums opening across the country, including the Hill Art Foundation in Chelsea; the expansion of Glenstone in Maryland; and the Marciano and Broad collections in Los Angeles. But first, Basquiat. The story of this painter of Haitian and Puerto-Rican descent is one of the most documented in contemporary art history. Basquiat moved to Manhattan — partly to escape his strict accountant father — couch-surfed, lived off girlfriends and formed a post-punk band called Gray after ‘Gray’s Anatomy.’ He sprayed poetic, enigmatic graffiti on walls in downtown Manhattan before moving to canvas and starred in an independent film, ‘Downtown 81.’ He dated Madonna before she was famous and made paintings with his hero-turned-friend, Andy Warhol. …”
NY Times


Installation view of “Jean-Michel Basquiat,” the inaugural exhibition of the Brant Foundation’s New York space in the East Village. A salon-style wall on the second floor includes a grid of 16 paintings from 1982.

The Mudd Club


Anita Sarko DJ-ing at the Mudd Club, ca. 1980.
The Mudd Club was a nightclub in the TriBeCa area of New York City, USA, that operated from 1978 to 1983 as a venue for underground music and counterculture events. It was located at 77 White Street in downtown Manhattan and was opened by Steve Mass, art curator Diego Cortez and downtown punk scene figure Anya Phillips. The Mudd Club was named after Samuel Alexander Mudd, a doctor who treated John Wilkes Booth in the aftermath of Abraham Lincoln‘s assassination. It closed in New York in 1983. In order to secure the space for the Mudd Club (a loft owned by artist Ross Bleckner), Steve Mass described the future venue as cabaret. Mass claimed to have started the nightclub on a budget of only $15,000. The club featured a bar, gender-neutral bathrooms and a rotating gallery curated by Keith Haring on the fourth floor. Live performances included new wave, experimental music, literary icons Allen Ginsberg and William Burroughs, and catwalk exhibitions for emerging fashion designers Anna Sui and Jasper Conran. From the start it functioned as an ‘amazing antidote to the uptown glitz of Studio 54 in the ’70s’. As it became more frequented by downtown celebrities, a door policy was established and it acquired a chic, often elitist reputation. The Mudd Club was frequented by many of Manhattan’s up-and-coming cult celebrities. Other individuals associated with the venue included musicians Lou Reed, Johnny Thunders, David Byrne, Debbie Harry, Arto Lindsay, John Lurie, Nico with Jim Tisdall, Lydia Lunch, X, the Cramps, the B-52’s, the Bongos and Judas Priest; artist Jean-Michel Basquiat and his then-girlfriend Madonna; performers Klaus Nomi and John Sex; designers Betsey Johnson, Maripol and Marisol; and underground filmmakers Amos Poe; Vincent Gallo, Kathy Acker, and Glenn O’Brien. …”
Wikipedia
NY Times: The Doorman at the Mudd Club Tells All
Basquiat’s world: Downtown NYC and the Mudd Club (Audio)
amazon: The Mudd Club

Black History Month: Post-Soul Culture Circa 1992


“… In the March 17, 1992, issue of the Voice, contributor Nelson George surveyed the ‘post-soul’ landscape and discovered that, ‘as a musical genre, a definition of African American culture, and the code word for our national identity, soul has pretty much been dead since Nixon’s reelection in 1972. But what’s replaced it? Arguing in these pages in 1986, Greg Tate tried to establish a ‘new black aesthetic’ as a defining concept. He had a point, though I’d argue there was more than one aesthetic at work. For better and worse, the spawn of the postsoul era display multiple personalities.’ Indeed, over seventeen pages George explores a broad spectrum of post-soul black aesthetics, and the Voice’s art department helped with diptychs comparing and contrasting Malcolm X to KRS-One and Muhammad Ali and Bundini Brown to Chuck D and Flavor Flav, as well as triptychs of Lisa Bonet and Magic Johnson. …”
Voice

No Wave Is Boring


“Can boredom be art? Can good art be boring? When a work of art is deemed boring, it’s usually an automatic, accepted pejorative. After all, who would want to be bored by art? Yet some artists have actually imagined positive, counterintuitive answers to those seemingly obvious questions. In some particularly vital cases, those answers themselves were inspired by boredom – by the creativity that can arise out of being bored, and desperately wanting to do something about it. The boredom that infected the intersecting music and film scenes called no wave was a distinct product of time and place. New York City in the late 1970s was empty, dangerous and practically cost-free – a bombed-out wasteland open to anyone fearless enough to squat in an abandoned building and siphon electricity from street lights. In their confrontational, rule-rejecting work, no wave artists reacted to the recent past – the bloating of rock music, the homogenization of cinema, the staid pretension of the art world – but also dealt with their numbing present. They faced a gaping hole created by the droves fleeing Manhattan, and a ‘blank generation’” that punk started but didn’t complete. It was up to no wave to blast away the remaining rubble. …”
Red Bull Music Academy Daily (Video)

The Kitchen


The Kitchen is a non-profit, multi-disciplinary art and performance space located at 512 West 19th Street, between Tenth and Eleventh Avenues in the Chelsea neighborhood of Manhattan, New York City. It was founded in Greenwich Village in 1971 by Steina and Woody Vasulka, who were frustrated at the lack of an outlet for video art. The space takes its name from the original location, the kitchen of the Mercer Arts Center which was the only available place for the artists to screen their video pieces. Although first intended as a location for the exhibition of video art, The Kitchen soon expanded its mission to include other forms of art and performance. In 1974, The Kitchen relocated to a building at the corner of Wooster and Broome Streets in SoHo, and incorporated as a not-for-profit arts organization. In 1987 it moved to its current location. The first music director of The Kitchen was composer Rhys Chatham. The venue became known as a place where many No Wave bands like Glenn Branca, Lydia Lunch and James Chance performed. Notable Kitchen alumni also include Philip Glass, Laurie Anderson, Rocco Di Pietro, John Moran, Jay Scheib, Young Jean Lee’s Theater Company, Peter Greenaway, Michael Nyman, Steve Reich, Pauline Oliveros, Gordon Mumma, Frederic Rzewski, Ridge Theater, The Future Sound of London, Leisure Class, Elliott Sharp, Brian Eno, Arthur Russell, Meredith Monk, Arleen Schloss, Vito Acconci, Keshavan Maslak, Elaine Summers, Lucinda Childs, Bill T. Jones, David Byrne/Talking Heads, chameckilerner, John Jasperse, Bryce Dessner, Nico Muhly, ETHEL, Chris McIntyre, Sylvie Degiez, Wayne Lopes/CosmicLegends, and Cindy Sherman. Today, The Kitchen focuses on presenting emerging artists, most of whom are local, and is committed to advancing work that is experimental in nature. Its facilities include a 155-seat black box performance space and a gallery space for audio and visual exhibitions. The Kitchen presents work in music, dance, performance, video, film, visual art, and literature. …”
Wikipedia
The Kitchen in Chelsea