Sleater-Kinney: Punkers reunited, with many more eyes and ears to entertain
But he didnt like it. And in Jungle Fever, we wanted to use It Was a Very Good Year, Hello Young Lovers and another song, and he wasnt going to give them to me. I had to beg his daughter, Tina Sinatra, who does all this music stuff, to beg forgiveness. And then Frank Sinatra let us use those three songs. He was pissed his picture got burned in Do the Right Thing. Pissed. I dont know if he ever saw the film. I knew he loved Malcolm X, but I dont know if he saw Jungle Fever. What kinds of things do you write in these letters to these big acts? I really just try to convey how much I love their music and its not BS. And in the end, they respect my work.
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The clients are: Fran Elliott, a ticket writer for the Philadelphia Parking Authority, George Beerley, who worked for 30 years as an operating engineer, and Barbara Daquilante, who had worked as a food service worker for 31 years before she was injured. Wrights medium will be the clients own filesstuffed with legal correspondence, government forms, medical records, test results and the collected detritus of 21st century lawsuits. Wright will create eye-popping, multi-layered portraits crafted from cut, torn, sculpted and folded (not to mention spindled and mutilated) paper. If I can take all of the pain and anxiety and yes, hope, thats in those documents,” he said, and turn it into something that shines with the humanity of each individual, Ill be pleased. Although his choice of materials and technology may shift, the one consistent element in Wrights work is his commitment to portraiture. Beginning with his earliest illustrations for the British rock music New Musical Express newspaper until today, the human face has been at the center of his work.
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When the Medium Is the Message: Illustrator Ian Wright Uses Torn Paper Collage to Create Unique Images of Three Philadelphians
The single “Bury Our Friends” rides a brash, martial rhythm and asserts a determination to remain uncompromising (“Make me a headline, I want to be that bold”), even as the album displays a more accomplished pop sensibility: “We’re wild and weary, but we won’t give in.” Sleater-Kinney was surely America’s greatest punk band for the seven albums of its first existence, with a no-bass-player musical arsenal that included Tucker’s caterwauling, clarion-call voice, Weiss’ muscular attack, and Brownstein’s inventive collection of riffs, plus windmilling Pete Townshend stage moves. Though 2005’s The Woods contained probably the band’s prettiest ballad, the glistening “Modern Girl,” its sound had by then started to grow heavy and clotted, too Led Zeppy for its own good. A year later, they went on indefinite hiatus. Great bands break up all the time, and almost inevitably – save for Led Zep, bless Robert Plant’s heart – they get back together years later, in all but rare cases with new material that fails to measure up to the classic catalog. So what’s different about Sleater-Kinney? And why do they get so much attention? For one thing, many more eyes are now on the band because of Portlandia, the hit Independent Film Channel sketch-comedy show in which Brownstein stars with Saturday Night Live alum Fred Armisen. All three members of S-K – the band takes its name from a road in Lacy, Wash., that ran by one of their first rehearsal places – were busy while apart. Tucker, a mother of two, released two albums credited to the Corin Tucker Band.
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