Silver for Gold (The Odyssey of Edie Sedgwick) opens November 30,@ REDCAT.

Written and directed by David J,

Co-founder of influential British bands Bauhuas and Love & Rockets

Featuring Darcy Fowers, James Duval & MC THIS
with live music by David J & the Silver for Gold Band

Part delirious theatrical event, part avant-garde rock concert replete with eerie video imagery, this production written and directed by David J—co-founder of the influential British bands Bauhaus and Love & Rocketsfinds new mythic dimensions in the rise and eventual drugs and alcohol-fueled crash of Andy Warhol muse Edie Sedgwick. Performances will be held at the Roy and Edna Disney/CalArts Theater Wednesday, November 30 – Sunday, December 4, 2011.

This mesmerizing performance considers the charismatic and misunderstood 1960s icon as a modern-day Persephone: Queen of the underworld to Warhol's Hades transforming her room in the Chelsea Hotel into a fog-enshrouded purgatory. Throughout her travails, a horse-headed wounded healer guides Edie to eventual transcendence. The ensemble includes Darcy Fowers (Edie Sedgwick), James Duval (Norihc, the wounded healer) and MC THIS a.k.a. Justin Hammond (Andy Warhol and video).

David J leads the four-piece Silver for Gold Band through a melancholy and droll song cycle that nods to the music of the Velvet Underground and Bob Dylan, while also commenting on episodes in the doomed star's life. The band includes David J (vocals / guitar), Michael Berg (guitar/backing vocals), Ysanne Spevack (violin/viola) and Dave Raven (percussion). To listen to hear some of the music click here

Seating is general admission and tickets are available for purchase in-person at REDCAT Box Office, online @ REDCAT.org

REDCAT | Roy and Edna Disney / CalArts Theater

631 West 2nd Street,LA- 90012

REDCAT is located at the corner of W. 2nd and Hope Streets, inside the Walt Disney Concert Hall complex in downtown Los Angeles.

ABOUT DAVID J

David J was a founding member of Bauhaus, one of the most influential British bands of the 1980s. Following its termination in 1983, David J produced and played for a brief stint with the group The Jazz Butcher. Next came Love and Rockets, another highly successful outfit, which won a gold record for its first release, Ball of Confusion. Bauhas reunited to play the Coachella music and arts festival in California in 2005, a performance that has attained legendary status and helped to launch a successful world tour.

David J has released several solo albums which have garnered much critical acclaim, prompting writer Matt Hoffman to describe him as "one of the great songwriters of recent times."

He has collaborated with numerous artists, including celebrated graphic novelist Alan Moore; renowned author Hubert Selby Jr.; producer and musician T Bone Burnett; MC5 found Wayne Kramer; producer Hal Wilner; poet, painter and broadcaster Rene Halkett; poet Jeremy Reed; and Mexico's innovative electronica pioneers Nortec Collective. He co-wrote the title track for Jane's Addiction's album Strays.

David J's creative involvement has always been broader than the purely musical, creating artwork for record covers, designing stage lighting and directing videos. As a visual artist, he has exhibited internationally. His first play, Anarchy In The Gold Street Wimpy, was staged by the award-winning Atlanta-based theater company Dad's Garage in 2004.

davidjonline.com

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Go See - Jean-Michel Basquiat: The Radiant Child Now @ Laemmle's Pasadena

The opening credits of Jean-Michel Basquiat: The Radiant Child immediately exhibit this documentary's sense of clever, deliberate layering of visual and audio components. (See any number of docs with faux-weighty facts delivered via Powerpoint-style wipes — it’s more of a unique quality than you’d think.) Title card lettering drops in, character by character, in synchronization with the bebop backdrop of Dizzy Gillespie’s “Salt Peanuts.” Footage of the young artist dancing, working, and playing with pups in the studio scrambles alongside the frenetic song, as flashes of Jean-Michel Basquiat's drawings and paintings are introduced. It’s lively as hell, and the scene for Basquiat’s irresistible story is effectively set.

Born in 1960, the Brooklyn-raised Basquiat, as the film notes early on, first became famous for his art, “and then he became famous for being famous, and then he became famous for being infamous.” The film plays out through a carefully constructed and impeccably paced narrative, wherein myriad aspects of Basquiat’s eight-year career trajectory are illuminated in choice detail. From the beginning, director and producer Tamra Davis makes her role within the documentary and her relation to the artist transparent: she discloses that the intimate recurring interview footage of Basquiat was something she filmed “of my friend” in 1986, two years before his death. The footage, which until now sat in a drawer for 20 years, serves as the film’s centerpiece and anchor, one of the many effective devices that brings the artist to life.

Davis starts the story in New York City in 1978, when Basquiat arrives in Manhattan after dropping out of high school. The downtown New York art world first takes notice when unusual, phrasal graffiti appears around the city credited to an unknown SAMO© (“same old shit”), who is Basquiat and friends incognito. The content is telling, too: “SAMO© AS A NEO ART FORM” and “SAMO© AS A RESULT OF OVEREXPOSURE” foreshadow the artist’s forthcoming rise and fall. Next, Basquiat naturally falls into the city’s No Wave music scene by playing in a band called Gray (his first public work, one interviewee says), and regularly appearing on Glenn O’Brien’s public access television show TV Party. Then Debbie Harry (Blondie) makes the first purchase of a Basquiat painting for $200, not long after he’s given the funds to work with paint on canvas for the first time. Shortly thereafter, Basquiat has work featured in The Times Square Show, “the first radical art show of the ‘80s,” alongside artists like Keith Haring. These events catalyze Basquiat's efforts first into a viable career and then into a stratospheric presence as a top artist.

But the film’s allure doesn't ride solely on the clarity with which this chain of events is rendered. It’s also the emotional ebb and flow in tandem with the narrative that the filmmakers maneuver to great effect. By 'maneuver,' I don’t mean any undue manipulation of the viewer, but an accounting for the audience’s progressing state of mind. Basquiat's extraordinary story is told so compellingly here because of how the viewer is carried in emotional synchronization with him. We smile when he smiles, and we sigh when he sighs. He’s as charming as everyone tells us he is, and it’s easy to see how Basquiat ended up the leading figure in his cult of personality. Even Andy Warhol fell for him.

Beyond the artist’s personal life, the film does good work in contextualizing his art. The different personal likes that might figure into a present-day Facebook profile — like Basquiat’s love for BeBop jazz and the poetry of William Burroughs — are extracted from and discussed alongside his works. We’re shown with perfect clarity how he references and reinterprets their avant-garde techniques. Basquiat's work is also discussed in a wide range of interviews that include art-world figures like dealer/gallery owner Larry Gagosian and Museum of Modern Art chief painting and sculpture curator Ann Temkin. Music and art historians are also called in, in addition to friends of the artist like Thurston Moore, Fab 5 Freddy, and Julian Schnabel. What we get is a fairly holistic exploration of Basquiat by those who knew him best.

But delving further into some of the problematic ways the work and the artist were received helps complete this representation of Basquiat the phenomenon. If he was famous for his fame and later his infamy, as The Radiant Child tells us, the film concludes that it was complicated and had as much to do with the persona outwardly attributed to him as the way he managed to cope with it. We’re shown interviews where Basquiat bucks back against racist, reductive characterizations of his art (primitive and primal: “Like an ape? A primate?” he charges) that apparently constituted an embarrassingly large portion of the white liberal art criticism that took him into consideration. At least Temkin, the MoMA authority, takes a moment to concede that people in positions like hers are so immersed in "established" art that it can be hard to deal with new art that makes them uncomfortable. Hindsight, etc. But by the time the film and artist’s inevitable end arrives, it’s hard to swallow that quick fade to black. TinyMixTapes

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Jean-Michel Basquiat: The Radiant Child (Opening Scene)

@ REDCAT Tonight - The Single Most Important and Influential Underground Movie Ever Released in America.

Jack H. Skirball Series

The Making and Unmaking of Flaming Creatures

A screening and talk with J. Hoberman from the Village Voice

Recognized as an unprecedented visionary masterpiece, Flaming Creatures was also reviled, rioted over, banned as porn, and pondered by the Supreme Court. “Jack Smith described Flaming Creatures as ‘a comedy set in a haunted movie studio.’ It is that, as well as the single most important and influential underground movie ever released in America,” according to J. Hoberman, film critic of The Village Voice for more than 30 years and an authority on the Smith performance and film oeuvre. “Smith’s movie was a source of inspiration for artists as disparate as Andy Warhol, Federico Fellini and John Waters but he never completed another.” Find out why. Hoberman’s books include The Dream Life: Movies, Media and the Mythology of the Sixties and Bridge of Light: Yiddish Cinema Between Two Worlds.

1963, 45 min., 16mm, b/w

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