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Eraserhood Tonight GIUSEPPE MAKES A MOVIE – Special Sneak Preview screenings!

Special Sneak Preview Screenings!
Friday, September 19 at 7:30 + 10:00
Sunday, September 21 at 7:30 + 10:00
$10 admission, no refunds or exchanges

Prior to its nationwide theatrical release, PhilaMOCA will host four screenings of Adam Rifkin’s (DETROIT ROCK CITY, SMALL SOLDIERS) incredible documentary on movie star turned trailer park auteur Giuseppe Andrews.

While the rest of America slept, DIY filmmaker/musician Giuseppe Andrews (a one-time teen actor in Independence Day and Detroit Rock City) has made over 30 experimental features with titles like Doily’s Summer of Freak Occurrences, Trailer Town and Utopia Blues. Set in some demented alternate universe (i.e. Ventura, California), they are populated by real-life alcoholics and drug addicts, trash-talking senior citizens and trailer park residents dressed in cow outfits and costume-shop wigs, acting out booze-fueled vignettes of severe psychosis filtered through Giuseppe’s John Waters-meets-Harmony Korine-meets-Werner Herzog sensibility.

Director Adam Rifkin (Look, The Dark Backward) creates a wildly surreal, outrageously funny and strangely touching portrait of a truly Outsider Artist inhabiting a world few of us even know exists, as he follows Giuseppe and his seriously impaired troupe on the production of his latest 2-day opus, Garbanzo Gas, starring Vietnam Ron as a Cow given a weekend reprieve from the slaughterhouse at the local motel. Beyond the sun-stroked Theater of the Absurd madness of Giuseppe’s vision, there is a remarkable and endearing sense of family among the director, his amiably bonkers dad Ed, patient girlfriend Mary, Sir Bigfoot George and the rest of his surreal Trailer Park rep company. As skate-punk Spit sagely observes about Giuseppe’s movies: “They’re just like, nothing really makes any sense, and I don’t know, that’s kinda how reality is, and nobody really cares to accept that.”

The stranger-than-fiction documentary explores the Giuseppe universe, showing how the self-taught filmmaker captures an unexpected level of humanism and creates a family unit for a group of people who need one.

An Official Selection of Hot Docs 2014, Los Angeles Film Festival (LAFF) and the Rooftop Films Summer Series.

531 N. 12th Street
Philadelphia, PA 19123

GIUSEPPE MAKES A MOVIE – Special Sneak Preview screenings!.

Eraserhood Today > Pop-Up Greenway

Saturday, September 20at 11:00am – 7:00pm
933 Spring Garden Street, Philadelphia, PA

For a single day Spring Garden Street between 9th and 10th Streets will be transformed into a vibrant corridor complete with multi-use median trail, street trees, benches, art installations, food vendors, a beer garden and live music. This pop-up event will demonstrate what the proposed Spring Garden Street Greenway will look like and how it will catalyze economic development and strengthen the social fabric in adjacent neighborhoods.

Highlights of the event include: five live bands and DJ’s, food all day from GIGIs & Big R, Jerry’s Kitchen, Lucious Bakery and Whirly Pig, free test rides of Philadelphia’s new bike share system, a beer garden under the viaduct arch with $4 craft beers, bike tune-up classes, street paintings and much more!

Pop-Up Greenway.

Chinatown North/Loft District: “The Arts and Culture Scene is One of the Foundations in This Area,” says Gary Reuben — Philadelphia Neighborhoods

As a real-estate developer and architect, Gary Reuben (above) can be found making a living through his work as the owner and operator of the Wolf Building, on Callowhill at 12th Street. After purchasing the building in 1997 with his business partner Gary Reisner, Reuben, 60, made the decision to rent space out to artists. Today, the building houses 50 apartments, more than 130,000 square feet for both commercial space and non-profit agencies, and Underground Arts, a music venue located in the building’s basement.

Chinatown North/Loft District: “The Arts and Culture Scene is One of the Foundations in This Area,” says Gary Reuben — Philadelphia Neighborhoods.

A King of the World Moment with Eric Blumenfeld at Divine L – Worth 1000 Words – Curbed Philly

A King of the World Moment with Eric Blumenfeld at Divine L – Worth 1000 Words – Curbed Philly.

David Lynch: The Unified Field in 60 Seconds – Robert Hakalski – YouTube #PAFADavidLynch

David Lynch: The Unified Field in 60 Seconds – YouTube.

Eraserhood Tonight > Union Transfer » Simian Mobile Disco – Tickets – Union Transfer – Philadelphia, PA – September 19th, 2014

Fri, September 19, 2014
Doors: 8:00 pm / Show: 8:30 pm
Union Transfer
Philadelphia, PA

James and Jas of Simian Mobile Disco, though quite different in personality, are both modest fellows. In conversation each of them, more than once, puts the success of SMD down to sheer luck – however, this is not really true. Yes, they were in the right place at the right time in some senses, but it takes an awful lot more than that to bring an album as sonically glorious and ambitious as Unpatterns to as broad an audience as they are managing to reach. And as you get deeper into the details of their career to date, it becomes very clear how much tenacity, scholarship, imagination and sheer love for what they do, as well as good fortune, has got them to where they are today.

Most of all, their success has been based on learning as they go. And they’ve had plenty of things to learn from since they were thrown into the deep end of the industry when Simian, the band they formed with Simon Lord and Alex McNaughten at Manchester University, was signed to a subsidiary of a major label in 2000. It was an unlikely start, given that they were in James’s words “a kind of prog-psychedelic thing partially named after the Silver Apples’ drum synth”, or as Jas puts it “trying to show you could make band music with songs and harmonies but be into Autechre too, just at the moment the world was into the Strokes and White Stripes and straight-ahead rock music.”

In fact Simian’s music was gorgeous, with a rich pop streak – but as the descriptions suggest, its overtly baroque structures were way out of tune with the time. With the arrogance of youth, the four of them convinced themselves that big things were theirs for the taking, but though their two albums were exceedingly well received in many quarters, global domination evaded them; the combination of thwarted ambition and four very different creative personas led to friction and the band split before completing their third album.

Meanwhile, though, the Simian Mobile Disco project had started to take a vague kind of shape. Originally simply a name under which band members would DJ – in order to, says Jas, “satisfy our urges to do something more freeform, as touring locked us into playing the same songs again and again in the same way.” The name, increasingly just referring to James and Jas, was then used for the band’s own remix of themselves, then for remixes of others, and as Simian came to an end became the duo’s main creative outlet as they made more and more electronic tracks for their own DJ sets.

It’s at this point, around 2004-5, that you might say the right-place-right-time factor kicked in: the two were focusing entirely on genre-hopping electronic music when very few others were, inadvertently putting themselves in a perfect position for the huge resurgence of dance music with substance that would take place in the second half of the decade. They both suggest an element of mucking about to what they were doing: “We were just making strange sounds for the sake of it,” says James, while Jas describes endless DJ gigs “playing the opposite of what suited the venue, including completely clearing Room 2 of Fabric the first time we were asked there.” But again there’s more to it. The fact that they kept on keeping on, playing gigs, making tracks weekly and honing their craft suggests and intense focus that maybe they didn’t even know they had themselves.

Certainly they were surprised when, after a couple of releases and remixes, making a connection with Wichita Recordings led to the possibility of an album – and they realised they had at least two full CDs’ worth of viable tracks. Attack Decay Sustain Release emerged in 2007, riding a wave of attention following the success of the “Hustler” single first released on the fledgling Kitsuné label, and Justice’s inescapable remix of Simian’s “We Are Your Friends”. This latter never had anything to do with SMD directly, and they have done their best to dissociate themselves from it bar the occasional mischievous dropping of the intro in a DJ set, but there’s no denying the boost it gave the Simian Mobile Disco name, with ADSR consolidating that masterfully.

Never ones to fit in unnecessarily, however, Jas and James made damned sure they didn’t just take this success and run with it. Associated with “the electro thing” along with the likes of DFA Recordings, Ed Banger and Erol Alkan, they deliberately shied away from the noisiness and rockism of that scene, always keen to achieve something much deeper and more cosmic in line with their love of a long line of strange electronic music running through 90s techno and back to avant-garde experimenters of the more distant past. However, though they had developed close relationships with Bugged Out and (despite their initial awkwardness) Fabric, they never became part of the minimal techno scene that was sweeping Europe either.

They also reached out to other artists well beyond the club world, through both of their work as producers for bands, through increasingly great live shows and through generally being quite sociable – as with one Beth Ditto, who James says “we met at Glastonbury and had a generally really great time with!” So, where ADSR had had a couple of guest vocals, its follow up Temporary Pleasure was veritably star spangled. Ditto features prominently, as well as Gruff Rhys, Hot Chip’s Alexis Taylor, Yeasayer’s Chris Keating and more. The results are sometimes as stellar as the lineup, with “Cruel Intentions” in particular being a deserved underground hit, but both Jas and James have reservations: both admit they were acting too much like producers, letting the singers and songs take precedence rather than “the SMD sound”. It was this they reacted against with Delicacies, a record label (and subsequent compilation album) of straight ahead techno tracks purely designed for their own DJ sets; but even the hedonistic blast of these tracks still felt constrained by techno’s own rulesets.

Which brings us to Unpatterns, an album which more than ever shows just how unwilling Jas and James are to rest on their laurels. In the place of big name guests and ventures into booty-bass, all the voices are abstracted, spaced out, woven into the fabric of the synthetic sound. So broken hearted robots croon in “I Waited For You”, a cyborg Chicago house singer implores us to “Put Your Hands Together”, and alien choirs raise their voices in the ambient “Fourteenth Principles.” It’s a monstrous record with none of the poppiness of ADSR, the multiple voices of Temporary Pleasure nor the orthodox dance dynamics of Delicacies: instead it’s the sound of SMD breaking away from any standard structures and going deep into exploring the possibilities of their their studio equipment and selection of vintage synthesizers. The effusive, slightly professorial Jas talks happily of “spending months getting our heads round some of this kit”, while the rather more laconic James laughs as he says it was a process of “twisting knobs until we got something we liked.”

Either way, the sound is entirely confident, and brings together all their influences in the pursuit of pure sonic pleasure. In a weird way it brings back the “prog-psychedelic” feel of those very first Simian songs, though with all the knowledge of the dancefloor they’ve gained in the SMD years. And the effect of that is quite uncanny: it completely sidesteps questions of retro and futurism to create a sonic temporal zone all of its own, where the place where relatively primitive electronic sounds stop and the mind-boggling degree of control offered by digital signal processing starts is impossible to locate. And thus synthetic noises that might echo a Tomita or Suicide record from decades back are reinvigorated in a perfect demonstration of electronic music’s power of recreation. The title of one track – “Everyday” – says it all: this is about renewal as a routine part of music making.

It’s a record full of love, dedication, hard-earned experience, obvious understanding of decades of electronic music from across scenes and styles, and huge fun. It’s completely of the now, showing a band as familiar with Blawan and Lone as they are with Silver Apples and Phuture, but never jumping on bandwagons; as Jas puts it “why would we want to try and imitate a Hessle Audio record when they do it perfectly already? Why make a Lindstrom record when you can’t be better than Lindstrom?” It’s just this sort of deliberate refusal to imitate or latch on to any one sound, along with a whole lot of passion and hard work, that’s given SMD the longevity and fruitfulness they’ve achieved. So if you ever hear them suggest they just lucked out, don’t believe a WORD of it.

Union Transfer » Simian Mobile Disco – Tickets – Union Transfer – Philadelphia, PA – September 19th, 2014.

Eraserhood Today › Philadelphia Park(ing) Day 2014

The number of parks throughout Philadelphia increases dramatically each year on the third Friday in September, when activists, artists, architects, and other citizens transform metered parking spaces into temporary public parks. Known as Park(ing) Day, this annual event re-imagines the possibilities of 170 square feet of public space. The event celebrates parks and other public spaces in cities across the country, and raises awareness of the need for more pedestrian-friendly spaces in our urban areas.

In 2011, over 30 non-profit institutions, community development organizations, academic institutions, and private companies created temporary parks for Park(ing) Day. Parks were created in Center City as well as in Manayunk, Southwest Philadelphia, Mount Airy, Northern Liberties, and University City.

Park(ing) Day was founded by Rebar, a San Francisco art and design studio, in 2005 to raise awareness of the need for green spaces in urban environments. Philadelphia celebrated Park(ing) Day for the first time in 2008 with over 25 installations for relaxing, cycling, creating art, education, and socializing.

This year the Eraserhood will host two Park(ing) Day groups:

Campaign for Rail Park Awareness
1151-75 Vine Street

The Berwyn Center
900 Block of Spring Garden Street

Eraserhood › Philadelphia Park(ing) Day 2014.

Wind In The Darkness by bruhinb on SoundCloud – Hear the world’s sounds

Eraserhood: Philadelphia’s Ashcan Inspiration

Eraserhood: Philadelphia's Ashcan Inspiration

507 S. 6th St, between South and Lombard
Sept 11-Nov 31  ( monday – saturday: 11am – 10pm – sunday: 11am – 9pm)
Artist Opening Thursday, Sept 18th, 9-10pm


Before David Lynch, before Eraserhead, the industrial section of North Philadelphia now colorfully nicknamed “Eraserhood,” after Lynch’s cinematic masterpiece, was already inspiring artists from Philadelphia and beyond. Now photographer Bob Bruhin explores this neighborhood with a view toward its deeper history as a muse for creative Philadelphians.

In April 2013 Bruhin, already an avid photographer and documentarian of the Callowhill District, took a tour led by the now departed Paul VanMeter, local historian and rail park activist. “VanMeter opened my eyes to the truth behind the history of this region. I was always aware of the role Callowhill played in inspiring David Lynch. VanMeter made me aware of an earlier movement out of the Pennsylvania Academy of Fine arts known as ‘The Philadelphia Four.’”

The Four, also known as “The Charcoal Club,” according to Bruhin, were John Sloan, William Glackens, George Luks, and Everett Shinn. He alludes to a 2008 article in the art blog Lines and Colors (…), which reports that:

The four had common backgrounds as illustrators for The Philadelphia Inquirer and the The Philadelphia Press and attended classes at The Pennsylvania Academy of the Fine Arts (PAFA).

Sloan went to high school at Central High in Philadelphia, along with Glackens and Albert C. Barnes, who would later establish the Barnes Foundation. Sloan and Glackens went on to study at the Academy. Among their instructors was Thomas Anshutz, who, as the leading student of Thomas Eakins, inherited Eakins’ mantle when the latter was forced from the school.

Sloan eventually met another influential student of Anshutz, Robert Henri, a strong willed and charismatic artist who preached rebellion from the constraints of academic art.

Henri encouraged the four to pursue careers as gallery artists, paint honestly what they saw in life, particularly contemporary urban life, and suggested they study European artists like Frans Hals, Goya, Valázquez, and Manet.

During the tour, VanMeter pointed out that Central High was located near Broad and Spring Garden at the turn of the 19th Century. He asked his tour group to imagine Sloan, Glackens, and Barnes walking down Broad Street, past the very active industrial sites that then lined this thoroughfare, to attend the PAFA day program for high school students. “My eyes were opened,” Bruhin recalls. “Here was the seed of what eventually became the Ashcan school of painting, inspired by the same rugged beauty that was driving my own work. In this light, Eraserhead becomes more than just a surreal dream. Lynch might deny this, but for me Eraserhead is also an Ashcan painting, with the addition of sound and movement.”

Driven by this realization, Bruhin has assembled a collection of the images from his blog, making them available to the general public at Blackbird Pizzeria during their normal business hours.

Panorama 2066 blended fused pregamma 1 mantiuk by bruhinb Panorama 2063 fused pregamma 1 mantiuk06 contr by bruhinb Panorama 2100 fused pregamma 1 mantiuk06 contr by bruhinb Panorama 2122 fused pregamma 1 mantiuk06 contrast  by bruhinb Panorama 1827 hdr pregamma 1 mantiuk06 contras by bruhinb

Eraserhood: Philadelphia’s Ashcan Inspiration.


Eraserhood › Eraserhood: Philadelphia’s Ashcan Inspiration.

Eraserhood Tonight > Tickets for Stiff Little Fingers with The So So Glos | Underground Arts at TicketWeb

Tickets for Stiff Little Fingers with The So So Glos | Underground Arts at TicketWeb

Bonfire presents:
Stiff Little Fingers
with The So So Glos
Thursday, Sep 18, 2014 8:00 PM EDT Doors
Underground Arts, Philadelphia, PA
21 years and over

Stiff Little Fingers are a punk band, originally based in Belfast, Northern Ireland, formed in 1977.

Prior to becoming Stiff Little Fingers, Jake Burns, Vocals and Guitar, Henry Cluney, Guitar, Gordon Blair, Bass, and Brian Faloon, Drums, were playing in a cover band, Highway Star. Upon the departure of Gordon Blair (who went on to play with another Belfast group, Rudi), Ali McMordie took over the duties on Bass. Henry had by this time discovered punk, and introduced the rest of the band to it. They decided that Highway Star wasn’t a punky enough name, and after a brief flirtation with the name The Fast, decided to call themselves Stiff Little Fingers, Jake taking the name from the Vibrators track.

In November of ’77, Gordon Ogilvie, a local journalist, caught their live show and was impressed. He encouraged them to write their own songs about what they knew best–life in Belfast. Jake came back twelve days later with “Suspect Device” and “Wasted Life”. These were the first of what became SLF’s signature style: lyrics that meld the personal and political, music that combines the energy of punk with infectious hooks, and delivery that rings of honesty and commitment.

With Ogilvie’s help, they released those two songs on their own Rigid Digits label, with an initial pressing of only 350. Ogilvie sent a copy to BBC Radio One DJ John Peel, who started playing it every night. The interest generated resulted in a distribution deal through Rough Trade in England.

Tickets for Stiff Little Fingers with The So So Glos | Underground Arts at TicketWeb.