Giant Robot Store and GR2 News

Holy crap! I still can’t believe Chuck Dukowski Sextet is going to play our next Save Music in Chinatown punk rock matinee/benefit show. I’ve never met the original bass player for Black Flag in person–although I’ve talked to him on the phone and seen him play a few times (pics below)–so it was a long shot when I asked. But not only were he and his wife/partner/collaborator/inspiration Lora Norton down but he added that they were fans of GR magazine and loved Chinatown, too. Yes, I have been stoked ever since. To get all of you as amped up for the show as I am, here’s a quick Q&A with Chuck and Lora about their post-punk jazz combo, family, art, and Chinatown. MW: So amped that your combo will be playing our benefit for kids in Chinatown. Can you tell me about the Sextet’s impressions on the neighborhood? Memories of music or otherwise? CD: I’ll always remember playing The Hong Kong Cafe with Black Flag. It was an important rite of passage. At the time The Hong Kong was the place that you really strived to play. I remember seeing The Germs, X, The Plugz, and so many great bands in Chinatown. The whole plaza became a punk rock mecca. If people couldn’t afford to get inside, they would hang out outside where they could still hear the music. I always made of point of paying to see bands because I wanted to support everyone’s efforts. Back then almost every band you saw was really good. LN: Chinatown is one of the best places in Los Angeles. Just recently, Chuck and I went to an opening at Shepard Fairey’s gallery on Sunset and we went to eat at Ocean Seafood on Hill. We often have Dim Sum there, too. I bought a beautiful and weird sculpture of rats and peaches at Wing Hop Fung on Broadway. That is the best store! I love the architectural aesthetic of Chinatown; it’s so over the top. I am glad to see all the art galleries but I wish they still had venues for bands! MW: I saw that the CD6 played Historical Monument #157 recently, which is just north of Chinatown on Broadway. How was that spot? That gig? LN: We had a great time at HM157! It is a beautiful old Victorian mansion with colored glass windows and a lovely big porch. I am an architecture nerd so it was a real joy to play the spot. When I was a teenager no one dared to have shows somewhere so pretty and fragile. The audience would just destroy things. It is life affirming that young audiences can dig heavy music yet not thrash their environment. And I have the best time playing with young bands. I feel very lucky to play in a band with my oldest son and that his generation embraces us. MW: It seems like the CD6 just starting to play out a bunch of shows. Do you get into...
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Holy crap! I still can’t believe Chuck Dukowski Sextet is going to play our next Save Music in Chinatown punk rock matinee/benefit show. I’ve never met the original bass player for Black Flag in person–although I’ve talked to him on the phone and seen him play a few times (pics below)–so it was a long shot when I asked. But not only were he and his wife/partner/collaborator/inspiration Lora Norton down but he added that they were fans of GR magazine and loved Chinatown, too. Yes, I have been stoked ever since. To get all of you as amped up for the show as I am, here’s a quick Q&A with Chuck and Lora about their post-punk jazz combo, family, art, and Chinatown. MW: So amped that your combo will be playing our benefit for kids in Chinatown. Can you tell me about the Sextet’s impressions on the neighborhood? Memories of music or otherwise? CD: I’ll always remember playing The Hong Kong Cafe with Black Flag. It was an important rite of passage. At the time The Hong Kong was the place that you really strived to play. I remember seeing The Germs, X, The Plugz, and so many great bands in Chinatown. The whole plaza became a punk rock mecca. If people couldn’t afford to get inside, they would hang out outside where they could still hear the music. I always made of point of paying to see bands because I wanted to support everyone’s efforts. Back then almost every band you saw was really good. LN: Chinatown is one of the best places in Los Angeles. Just recently, Chuck and I went to an opening at Shepard Fairey’s gallery on Sunset and we went to eat at Ocean Seafood on Hill. We often have Dim Sum there, too. I bought a beautiful and weird sculpture of rats and peaches at Wing Hop Fung on Broadway. That is the best store! I love the architectural aesthetic of Chinatown; it’s so over the top. I am glad to see all the art galleries but I wish they still had venues for bands! MW: I saw that the CD6 played Historical Monument #157 recently, which is just north of Chinatown on Broadway. How was that spot? That gig? LN: We had a great time at HM157! It is a beautiful old Victorian mansion with colored glass windows and a lovely big porch. I am an architecture nerd so it was a real joy to play the spot. When I was a teenager no one dared to have shows somewhere so pretty and fragile. The audience would just destroy things. It is life affirming that young audiences can dig heavy music yet not thrash their environment. And I have the best time playing with young bands. I feel very lucky to play in a band with my oldest son and that his generation embraces us. MW: It seems like the CD6 just starting to play out a bunch of shows. Do you get into...
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One of the raddest things about FYF is that the fest doesn’t just give up-and-coming or outsider bands a chance to rip it up in front of huge, curious crowds. They also promote indie and DIY culture in general, with the presence of craft tables and zine and mixtape contests. I think the fact that they give a photo pass to someone like me is part of that. There I was in the photo pit with my little GX1 and pancake lens, surrounded by professional shooters with thousands of dollars worth of bazooka-like gear… Somehow, I got some pretty good shots that I didn’t use in the FYF recap blogs (parts 1 and 2) but still want to share–like the one of No Age, above. The L.A. duo is known for weirdo ripping, but I was going to cry during “I Won’t Be Your Generator” because it sounded so gorgeous when given the fuzzed-out Replacements’ “Answering Machine” treatment. You can tell this outtake was from early in the set because drummer Dean Spunt is still wearing a hat.

I was grateful for the three songs that we were allowed to stand in front and take photos during. But, especially with a band like METZ, I knew certain musicians were just getting warmed up and that the real rocking out would happen toward the end of the set. In the outtake above, the Sub Pop rockers aren’t even covered in sweat yet. I considered setting up shop in the front row for certain bands’ entire sets but never followed through for hygiene reasons.

Since I’m not one of those guys with a hefty lens trying to get a close-up of the singer’s face, I like to stay on the side where it’s uncrowded and try to get the entire band in the frame. Actually, Charles Bradley was on the fest’s biggest stage so I didn’t get the drummer for this particular shot, but I like how you can see the remaining members admiring the former James Brown impersonator’s dance move.

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One of the raddest things about FYF is that the fest doesn’t just give up-and-coming or outsider bands a chance to rip it up in front of huge, curious crowds. They also promote indie and DIY culture in general, with the presence of craft tables and zine and mixtape contests. I think the fact that they give a photo pass to someone like me is part of that. There I was in the photo pit with my little GX1 and pancake lens, surrounded by professional shooters with thousands of dollars worth of bazooka-like gear… Somehow, I got some pretty good shots that I didn’t use in the FYF recap blogs (parts 1 and 2) but still want to share–like the one of No Age, above. The L.A. duo is known for weirdo ripping, but I was going to cry during “I Won’t Be Your Generator” because it sounded so gorgeous when given the fuzzed-out Replacements’ “Answering Machine” treatment. You can tell this outtake was from early in the set because drummer Dean Spunt is still wearing a hat.

I was grateful for the three songs that we were allowed to stand in front and take photos during. But, especially with a band like METZ, I knew certain musicians were just getting warmed up and that the real rocking out would happen toward the end of the set. In the outtake above, the Sub Pop rockers aren’t even covered in sweat yet. I considered setting up shop in the front row for certain bands’ entire sets but never followed through for hygiene reasons.

Since I’m not one of those guys with a hefty lens trying to get a close-up of the singer’s face, I like to stay on the side where it’s uncrowded and try to get the entire band in the frame. Actually, Charles Bradley was on the fest’s biggest stage so I didn’t get the drummer for this particular shot, but I like how you can see the remaining members admiring the former James Brown impersonator’s dance move.

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Too big, too pop, not DIY anymore–punker-than-thou purists are entitled to their harsh opinions about FYF, not to mention long lines, crummy food trucks, and overextended lineups. I happen to think this year’s Los Angeles music festival really is the best weekend of summer (not counting Comic-Con) and don’t have to point any further than the long-awaited appearance of FLAG. Ever since their friends-and-family debut at the Elk’s Lodge, the ex-members of Black Flag had yet to play Los Angeles until this show. I was all over that, and a bunch of other great bands, too, for the bargain price of 99 bucks and a convenient location just 15 minutes away…

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