Rude And Reckless will feature over 200 works—about 20 percent of Krivine's collection—is made up of works that gallerist Kasher decided were strong enough to exhibit even though he's not himself nostalgic for X-Ray Spex flyers or Essential Logic paraphernalia.
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It’s only a few blocks from the Lower East Side clubs where they’re used to playing rock shows, but for Alex Bleeker and G. Lucas Crane, the Clemente Soto Velez Cultural Center is a whole different world.
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Jake Yuzna loves a good party. In fact, the 28-year-old manager of public programs at the Museum of Arts and Design considers some nightlife a work of art. So when the museum kicks off its FUN Fellowship Thursday night, awarding a year of financial and logistical support to four New York party prodigies, night crawlers citywide will be raising a glass to him.
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JD Samson’s hands are flecked with paint. She’s been making costumes for the members of her band MEN to wear on an upcoming European tour—just part of an elaborate series of decorations that goes into the band’s live show. “Painting our outfits, I keep messing up,” she explains. “I always leave a fingerprint.”
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It’s been 31 years since Gary Numan, at the time still totally futuristic looking, released The Pleasure Principal, the album that put songs like “Metal” and “Cars” into the world, making Numan a new wave icon and, somewhat unexpectedly to him, a hero to the next generation of musicians.
Tomorrow night, Numan’s tour for the anniversary of the album will land him at The Best Buy Theater in Midtown, and we had a chance to talk to him to find out what fans, old and new alike, can expect.
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At the end of Hole’s new record—Nobody’s Daughter, out this week—there’s a song called “Never Go Hungry Again.” It’s been bouncing around for a few years; a Billy Braggstyle number that sounds great live but loses something in recording. On this version of the record—the real version, unlike the leaks and demos that have surfaced again and again—when Courtney Love stops singing and starts in with her howl, she does so on the phrase “And the phoenix, she rises.” So forgive me for making the mistake of confusing a singer with the subject of her song, but at the end of this record it’s obvious that rising is just what this new permutation of Hole is doing.
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THIS WEEK The Wedding Present, the iconic British band that formed in the mid-1980s and helped to define a generation of rock groups with jangly guitars and feelings-soaked lyrics, is coming through town to celebrate the 21st birthday of its second album, Bizarro. And while the whole anniversary-of-an-album tour has become a bit played out, this is one of those records that seems incredibly important to see performed live.
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Before it doled out a fiveshots-for-$10 special designed to lure in passing college kids, Continental hosted some of New York’s most infamous punk shows. From 1991 when the club opened until 2006 when the plug was pulled on live music,The Ramones, Agnostic Front and The Cro- Mags were just some of the seminal local bands to take the dive bar’s stage. Fifteen years after opening the club, though, owner Trigger stopped hosting live shows in favor of pulling in a crowd that would pay for its drinks and enable him to keep the doors open.
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