Giant Robot Store and GR2 News
By the time we arrived in Venice, it was already mid-afternoon. Actually, that was perfect because at dusk the sunlight shifts from accentuating the classic architecture to flickering off the canals. The effect is unreal… And besides the lattice of traditional buildings and squares connected by zig-zagging bridges and alleys, there's also the fact that there are no cars. Yes, Florence had the narrow roads as well, but they were always buzzing with mini cars and scooters. In contrast, Venice has a real laid-back feel, forcing you to slow down and be hypnotized by its atmosphere. But although I felt Venice's pace was more laid-back than Florence's, the city felt more modern and alive, culturally. It probably had something to do with what we chose to do. The first thing we did the next morning was visit the Peggy Guggenheim Collection. In contrast to the Ufizzi or Accademia, the Guggenheim is filled with works she collected from artists that she believed in. The pieces were purchased to keep in her house, chosen from artists that she wanted to help. It just happened that she was in the middle of many cool movements… Picasso, Braque, Degas, Giocometti, Miro, Mondrian, Cornell, Ernst… Above, Calder. Below, Mirko. A later, interactive addition by Yoko Ono. Guess which wish I added to the tree? On the way out, we noticed a wheatpasted poster for an exhibition of early photography by Stanley Kubrick. It wasn't far away–practically right across the Grand Canal at the Academy of Science, Letters, and Arts. Even in his early twenties as a photographer for hire, the master director had a cinematic eye. His depictions of a young shoeshine boy, a traveling circus troop, and other subjects were perfectly composed, had a powerful narrative voice, and were tack sharp even blown up to be shown as framed pieces. I can't believe we stumbled on a show like this. We also checked out the Architectural Biennale. Most of the international pavilions were at the Armory, but we found Taiwan's entry right on the boardwalk. It consisted of an air-conditioned room with cushions and projected imagery of nature. Pleasant, but it's hard to beat the ambience of Venice itself. I could see why Wendy would fall in love with it when she was a college student studying abroad… Below, her old apartment. Window shoppping–not buying, because we aren't in the market for Murano glass or in the right tax bracket for the designer boutiques. And her old Italian professor, Paolo! I saw a lot of cool scooters everywhere but only heard cheesy pop until we met Paolo at a bar, where The Style Council was on the stereo. Nice, and a super nice guy, too! Later on, we went to Harry's Bar. Yes, it's touristy but Hemingway used to hang out there and we had to try the 8-Euro hot chocolate. The richest ever. Great place to get lost, wander around… I'm horrible at relaxing, yet I had no choice but to ease up...
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Actually the sign is now gone before SushiStop ever opened (it's across from Giant Robot 2 in West LA). Imagine, cheap sushi, and video games together? Allegedly GameStop put an end before SushiStop ever opened up citing that they're already planning on opening 500 SushiStops across the country. New Mexico would be a great place for fresh sushi and video games. Maybe you can play while you eat. I look forward to this marriage of Sushi and Games. Maybe I'll even work there, as a sushi chef. Yes, it's all lies, except for the SushiStop sign being really taken down via GameStop. Ouendan!
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I've been collecting records put out by Frontier since high school but didn't even realize it for the longest time. Maybe it's because the label was all over the place in styles. Sure, Adolescents, Suicidal Tendencies, and Circle Jerks are all legendary parts of the early L.A. punk canon, but there's also the darker, gothy punk splinters of T.S.O.L. and Christian Death. And what about spiraling psychedelic pop offshoots as represented by Redd Kross, Three O'Clock, The Long Ryders, and Young Fresh Fellows? Or Heatmiser, featuring a very young Elliott Smith? What about the vintage Rat Music for Rat People comps, amazing Weirdos anthologies, or even the pop genius of Flop? Too much to list! So I was stoked to hear the label's founder Lisa F. on the Part Time Punks radio show yesterday, talking not only about the 30th anniversary of Frontier (which was originally going to be called Frontierland because she is a big Disney fan); signing the Adolescents and coming up with the generic packaging way before PiL's album (but not that much before Plain Wrap's!); and trading releases with Ian Mackaye, Jello, and other punk label peers (but Kickboy Face thought she was stealing Slash's bands) but also about keeping all her records in print because they all deserve it. Of course, they also discussed Sunday's show, which will feature a reunion of the Middle Class (who released the first HC vinyl on her label, and members went on to form Eddie & The Subtitles who sang “American Society”)… Amazing lineup. Just look at the flyer. I'm going because I donated to Part Time Punks/KXLU during Fundrazor and got on the list, but you can buy tickets for 20 lousy bucks. For a show that starts at 4 and ends after midnight, that's like a killer all-you-can-eat buffet but with gourmet food and only awesome people around you. Thanks to Michael S. for putting on the show and getting us listeners geeked by playing Frontier songs for weeks now (for example, Adolescents “Amoeba,” TSOL's “WW3“…) and Lisa F. for flying the flag for 30 years. See you at the show!
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Last night's Paul Weller show was almost like a Giant Robot production team outing, with the Minister of Color Pryor, designer Wendy, and me, the production assistant (and my brother/GR contributor Greg and OG GR lounger Shammy coming up from San Diego, to boot). Nice, because we put a lot of work into GR68 and needed a break. If you read my blog, you know about my unhealthy obsession with the Modfather and all the band's he's been in, and read reviews of his shows as well. Last night's set was roughly 1/3 from his last two albums, 1/3 Modern Classics, a number of Jam songs, and a Style Council single and Marvin Gaye cover added for good measure. Just a few things to note: - The really fit-looking Weller sang without holding a guitar or sitting behind a keyboard more often than usual. - Extra jammy version of “Into Tomorrow.” - Dubby version of “Wild Wood”–more like Sly & Robbie than Portishead! - After-75 minute set, which was heavily psychedelic and soulful, the band came out for two rocking encores, rounding it out to a full two hours. The setlists: Aim High /
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