Giant Robot Store and GR2 News
Black Powder Red Earth Part 1
I first came in contact with Jon Chang through his grindcore and thrash bands (GridLink, Hayaino Daisuke, and Discordance Axis), whose subject matter ranges from hardcore anime allusions, to hard sci-fi and obscure horror references, to no-holds-barred observations on war. It’s the latter that provides the content of Chang’s first comic book. Black Powder \\ Red Earth tells the story that Chang’s company’s Facebook game is based upon. It’s as obsessive in its details account of private security contracting in the Middle East as it is gripping with its political thriller tone. With the first book out now and three more on the way, I figured this was a good time to touch base with Chang about his publishing effort with co-writer Kane Smith and illustrator Josh Taylor.
Fishbone should have been one of the biggest bands in the world. In the late ’80s and early ’90s I got to see them play with and stand toe-to-toe with heavyweights like the Chili Peppers, No Doubt, Public Enemy, Rage Against The Machine, and a ton of others who went on to become huge. But being an exceptional live band with incredible musicianship and a totally unique style–starting with ska, moving into funk, and venturing into free jazz but always with a punk rock attitude–doesn’t mean the mainstream will catch on. (Even if we did feature them in Robot Power.) And so the band soldiers on with three original members, including hyperactive singer Angelo Moore and impossibly versatile bassist Norwood Fisher, pleasing a small-but-loyal fan base while barely paying the bills. Their new EP, Crazy Glue, comes out on October 11.
Filmmakers Lev Anderson and Christopher Metzler have created an unorthodox, excellent documentary about Fishbone, following band members around their humble lives, tracking down their famous friends, and filling in the blanks with funky animation and amazing live footage. Everyday Sunshine, which follows its hugely successful film festival run by opening in New York City on October 7 and rolling out theatrically afterward, will appeal to fans of the band, critics of the music industry, and students of subculture. It’s emotional without being sensational and powerful while remaining complex. It will speak to any outsider who struggles personally and financially while dedicating his or her life to something creative and meaningful.
California Design, 1930-1965: "Living in a Modern Way"
Yesterday, I attended Press Day for LACMA’s new show, California Design, 1930-1965: “Living in a Modern Way.” With the intent of studying and showcasing the Golden State’s huge role in mid-century modern design, it features over 350 objects that range from textiles to furniture and stationery to toys. Yes, the Eameses, Neutra, Schindler, Magnusson Grossman, and other stars of the movement are present–and how–but the show isn’t merely a greatest-hits collection. Dividing the exhibition into sections of Shaping, Making, Living, and Selling, curators Wendy Kaplan and Bobbye Tigerman provide a balanced look at influences and influencers. In addition to the availability of new materials (molded plywood, plastic, fiberglass), technologies (aerospace, nuclear energy), and possibilities (travel, surfing), they stress the access and acceptance of ideas from Latin America and Asia.
Ruth Asawa's steel wire sculpture, La Gardo Tackett's achitectural pottery at LACMA
From a Giant Robot point of view, mid-century was the moment when Pan Asian and Asian-American creators and cultures first made a dent in mainstream cool. It makes perfect sense when you see something like Ruth Asawa’s S.250 made out of steel wire across the way from La Gardo Tackett’s architectural pottery. Vaguely ethnic shapes and aesthetics are re-imagined in a modern way, cleaned-up but not necessarily sanitized. Teapots, textiles, folding screens, and many other pieces with similar multicultural lineage are scattered around the floor.
TVOTR at the Hollywood Bowl
Last Friday may have been the first day of autumn, but the last day of summer was a couple of days later on Sunday. That’s when TV on The Radio and Arctic Monkeys co-headlined a killer show at the Hollywood Bowl. The historic venue was built on classical and jazz, and typically only books rock shows on special occasions. People still talk about The Beatles, Stones, and Doors gigs there back in the ’60s. Nowadays it’s Radiohead and Pavement, so it was a big deal when a gang of mostly younger bands took the stage to close out the season.
Smith Westerns, Warpaint, and Panda Bear/Sonic Boom at the Hollywood Bowl
Smith Westerns kicked off the show at the super early hour of six. A tough slot since most fans were probably picking up picnic food at Trader Joe’s on the way to the venue, but the Chicago band powered through a 20-minute sampler of their short-but-solid catalog of proto-glam lo-fi. Pretty cool, but I need to see them at a smaller venue for a real take. Warpaint was next and jammed from the moment the Batcave-like stage spun them to face the crowd until it spun them back. The hometown band was great in it’s trademark folk-meets-goth manner with heavy drums that are as spectacular as the Siouxsie-esque vocals. (I hope the drummer gets a little extra love on the next release…) I caught some of Panda Bear’s set at FYF last year, and this set was way, way better. Two guys behind a table is at least twice as interesting than one to watch, but what if the extra guy is Sonic Boom from Spacemen 3? It was like a passing of the torch from one indietronica/stoner music god from the past to the present. The gorgeous sunset, trippy lights, and post-Beach Boys, dub-infused, analog-tronica made every stoners’ night.