d1ebyyourside:

Billy Bragg & Morrissey, 1985.

also this.

d1ebyyourside:

Billy Bragg & Morrissey, 1985.

also this.

120memories:

Billy Bragg “Sexuality” video featured on 120 Minutes, 1991

doing research for a billy bragg cover set at the fest in gainesville and i stumbled on this perfect music video.  don’t know how i ever missed this perfect music video.

666priests666:

Someone uploaded a portion of the KAGBB pamphlet Bryony and I made which is very cool, thanks very much for doing that. Maybe we can upload the rest at some point, it’s not very long. Currently working on KAGBB#2
givesmeguts:

Katie: I think physical displays of anger, like the performance of anger is extremely gendered.  Men derive power from the physical performance of anger.  I don’t like violence, objectively I guess, but it’s weird how once you get in touch with that stuff it gives you a boner or something.  Like I am imagining what it was like when you smashed the guy with a beer can and it excites me.  Like straight up I am excited by it!  I always think of that Black Eyes song where the lyrics are like “I didn’t like it/I was excited by it”, I’m taking the lyrics out of context but just thinking about that conflict of learned notions of “right/wrong” versus the very primal feelings we all have sometimes.  I think about how perhaps unlearning limiting or destructive patterns maybe involves getting in touch with that deeply rooted intuition that tells you what feels right rather than what is right.  So yeah is it objectively cool for me to punch people in the face or pee on their rugs, no, probably not, but let us say it was some total scumbag loser who totally fucking deserved it.  Um, I’m not suggesting that I’ve done either of these things.  I just think in the mean time, until women and non-men feel safe in their daily lives, let’s get in touch with performing aggression and being physical.  Not to everyone, but to directed targets.  We were not taught these behaviors are ok but other people were, so perhaps we must teach ourselves.
Bryony: Completely.  I guess I am also interested in how this all relates to the spectacle, who makes a spectacle of themselves vs. who becomes one for others without their consent.  How one looks while we are doing these things will always be foregrounded when these primal rage-feels are swirling around inside vessels that present female externally.  If women had held the reigns on what went down at shows in a more overt sense from the start you can bet that slamdancing would contain more options for those us needing to avoid constantly bruised tits.  This sense of being more seen, though, more visible as a body but not as a force, is hard to reconcile.  Especially as a fat woman feeling sometimes clowny and clumsy and outside looking in on all this performative abandon, this has at least been my experience growing up with so precious few to no women ‘up front’ at the gig.  This has changed and as a comparative old lady (in London, anyway) at the show, playing in bands has provided props to counter all this.
 Katie: We (as women) are constantly reminded to consider what we are foregrounded in: our bodies, our knowledge, our sexuality, the commodification of our identities and sexuality, I guess.  I think we are always fighting a voice trying to whisper in our ear, “You are outside of this, you can watch if you are lucky, but it is not a part of you and you are not a part of it”.  All of us experience this in varying degrees, I think the burden of this experience on trans*women must be enormous.  But, it is an enormous burden for all of us.  Any time a woman is looking at her self (often) and seeing that she is not looking how she is supposed to look to make it through the gate, because the way to “make it through the gate” is to look a very specific way, she has to wonder if performative abandon is even possible?  I think of what those words might mean and what I could do in my everyday life with more performative abandon.
                                                            ***
Bryony: To return to the dildo, though, Good Throb is completely in thrall to the lude joy of base innuendo.  It’s a vector of camp, no doubt.  The reception to having songs about ‘grooming your twat’ or lines like ‘there’s a supernova up in my dark matter’ was surprising.  It seemed to REALLY freak people out… like interviews being ‘why are you so …DIRTY?!”  I am desperately interested what happens when sex and sexual pleasure, when female and queer desire rubs up against (lol) punk and hardcore worlds.
 Katie: I would love for this to happen!  I think that’s where our joking stems from, too.  We aren’t making fun of dildos.  We think dildos are awesome.  We’d like to talk about it.  We are celebrating them, and other apparatuses of sex and desire.  I often feel very preoccupied these days with wondering how to incorporate my sexuality into my everyday life.  I’d like to know how this can be a thing that I don’t have to shove in a drawer all the time for my own safety and for others.  How can I be sexual and acknowledge how much I like sex without people turning on me?  It seems like the answer, a lot of times, is to un-sexualize ourselves in public spheres because like, ‘don’t wanna offend anybody’ —- This seems true in a lot of punk/diy/hardcore communities.  But how can I communicate my sexuality truthfully without offending you?  And can I turn you on in performance with you enjoying it and still controlling yourself, and without you feeling cheated?  Is there a truthful expression of sexuality in a community way?  Because, to be fair, I might be emotionally 13 years old but sexually I might be only like 15 or 16, I am constantly thinking about sex.  I didn’t really like sex when I was actually that age it was just this weird mystery I didn’t understand, so I feel like maybe I’m lagging behind.
Bryony: It has always interested me how ’77 punk, at least in its most exposed NY/London postcards, all felt so rooted in that world of sleaze, bricolaged camp and nihilist pleasure, oh bondage, up yours etc, an acceptance of ‘made-up boys’ (like, both eyelinered and invented) gender fluidity jarring with that unreconstructed ‘70s sexism, how so many London punk clubs were in the red light district, and so many iterations of first wave urban punk being founded on the lax approach of owners of queer bars, from LA to Chicago.  And this is before you even delve into punk sex work and its attendant realities, from 53rd and 3rd to something more liberatory.  I wonder if we got separated from all that by the hardcore turn… it’s such a puritanical thing these days, the figure of a writhing body on the floor that is so anti-sex, in a funny way.  When you compare punk to (at least in subject matter…  if not the social world/codes) of say rap or hip hop for instance, that exuberant pleasure seeking needs to return for us.

from: A Conversation Between Katie Alice Greer and Bryony Beynon, zine available on the Good Throb/Priests spring 2014 tour

666priests666:

Someone uploaded a portion of the KAGBB pamphlet Bryony and I made which is very cool, thanks very much for doing that. Maybe we can upload the rest at some point, it’s not very long. Currently working on KAGBB#2

givesmeguts:

Katie: I think physical displays of anger, like the performance of anger is extremely gendered.  Men derive power from the physical performance of anger.  I don’t like violence, objectively I guess, but it’s weird how once you get in touch with that stuff it gives you a boner or something.  Like I am imagining what it was like when you smashed the guy with a beer can and it excites me.  Like straight up I am excited by it!  I always think of that Black Eyes song where the lyrics are like “I didn’t like it/I was excited by it”, I’m taking the lyrics out of context but just thinking about that conflict of learned notions of “right/wrong” versus the very primal feelings we all have sometimes.  I think about how perhaps unlearning limiting or destructive patterns maybe involves getting in touch with that deeply rooted intuition that tells you what feels right rather than what is right.  So yeah is it objectively cool for me to punch people in the face or pee on their rugs, no, probably not, but let us say it was some total scumbag loser who totally fucking deserved it.  Um, I’m not suggesting that I’ve done either of these things.  I just think in the mean time, until women and non-men feel safe in their daily lives, let’s get in touch with performing aggression and being physical.  Not to everyone, but to directed targets.  We were not taught these behaviors are ok but other people were, so perhaps we must teach ourselves.

Bryony: Completely.  I guess I am also interested in how this all relates to the spectacle, who makes a spectacle of themselves vs. who becomes one for others without their consent.  How one looks while we are doing these things will always be foregrounded when these primal rage-feels are swirling around inside vessels that present female externally.  If women had held the reigns on what went down at shows in a more overt sense from the start you can bet that slamdancing would contain more options for those us needing to avoid constantly bruised tits.  This sense of being more seen, though, more visible as a body but not as a force, is hard to reconcile.  Especially as a fat woman feeling sometimes clowny and clumsy and outside looking in on all this performative abandon, this has at least been my experience growing up with so precious few to no women ‘up front’ at the gig.  This has changed and as a comparative old lady (in London, anyway) at the show, playing in bands has provided props to counter all this.

 Katie: We (as women) are constantly reminded to consider what we are foregrounded in: our bodies, our knowledge, our sexuality, the commodification of our identities and sexuality, I guess.  I think we are always fighting a voice trying to whisper in our ear, “You are outside of this, you can watch if you are lucky, but it is not a part of you and you are not a part of it”.  All of us experience this in varying degrees, I think the burden of this experience on trans*women must be enormous.  But, it is an enormous burden for all of us.  Any time a woman is looking at her self (often) and seeing that she is not looking how she is supposed to look to make it through the gate, because the way to “make it through the gate” is to look a very specific way, she has to wonder if performative abandon is even possible?  I think of what those words might mean and what I could do in my everyday life with more performative abandon.

                                                            ***

Bryony: To return to the dildo, though, Good Throb is completely in thrall to the lude joy of base innuendo.  It’s a vector of camp, no doubt.  The reception to having songs about ‘grooming your twat’ or lines like ‘there’s a supernova up in my dark matter’ was surprising.  It seemed to REALLY freak people out… like interviews being ‘why are you so …DIRTY?!”  I am desperately interested what happens when sex and sexual pleasure, when female and queer desire rubs up against (lol) punk and hardcore worlds.

 Katie: I would love for this to happen!  I think that’s where our joking stems from, too.  We aren’t making fun of dildos.  We think dildos are awesome.  We’d like to talk about it.  We are celebrating them, and other apparatuses of sex and desire.  I often feel very preoccupied these days with wondering how to incorporate my sexuality into my everyday life.  I’d like to know how this can be a thing that I don’t have to shove in a drawer all the time for my own safety and for others.  How can I be sexual and acknowledge how much I like sex without people turning on me?  It seems like the answer, a lot of times, is to un-sexualize ourselves in public spheres because like, ‘don’t wanna offend anybody’ —- This seems true in a lot of punk/diy/hardcore communities.  But how can I communicate my sexuality truthfully without offending you?  And can I turn you on in performance with you enjoying it and still controlling yourself, and without you feeling cheated?  Is there a truthful expression of sexuality in a community way?  Because, to be fair, I might be emotionally 13 years old but sexually I might be only like 15 or 16, I am constantly thinking about sex.  I didn’t really like sex when I was actually that age it was just this weird mystery I didn’t understand, so I feel like maybe I’m lagging behind.

Bryony: It has always interested me how ’77 punk, at least in its most exposed NY/London postcards, all felt so rooted in that world of sleaze, bricolaged camp and nihilist pleasure, oh bondage, up yours etc, an acceptance of ‘made-up boys’ (like, both eyelinered and invented) gender fluidity jarring with that unreconstructed ‘70s sexism, how so many London punk clubs were in the red light district, and so many iterations of first wave urban punk being founded on the lax approach of owners of queer bars, from LA to Chicago.  And this is before you even delve into punk sex work and its attendant realities, from 53rd and 3rd to something more liberatory.  I wonder if we got separated from all that by the hardcore turn… it’s such a puritanical thing these days, the figure of a writhing body on the floor that is so anti-sex, in a funny way.  When you compare punk to (at least in subject matter…  if not the social world/codes) of say rap or hip hop for instance, that exuberant pleasure seeking needs to return for us.

from: A Conversation Between Katie Alice Greer and Bryony Beynon, zine available on the Good Throb/Priests spring 2014 tour

thirstyheathen:

working on the jackets/folders for the spoonboy, the good bye party split 7”

beautiful.

thirstyheathen:

working on the jackets/folders for the spoonboy, the good bye party split 7”

beautiful.

iloveyouthisisarobbery:

my instagram today is kinda functioning like a battle of the puppies: PUGS vs. POMARIANS.  pugs currently have a slight lead.  weigh in at: http://instagram.com/spoonboyphone

and the final score: 

PUGS: 138 
POMARANIAN: 115

though in fairness to the pomaranian, there were TWO pugs.  not really a fair fight.  better luck next time!

hey DC!  i’ll be playing a 15 minute set around 10pm at the black cat’s 21st anniversary show tomorrow night!  oh yeah and the “and more” is for real. OK!

read the taylor swift article in rolling stone and drew this FLYER.

read the taylor swift article in rolling stone and drew this FLYER.

staff:

Today’s the day. The day you help save the internet from being ruined.

Ready? 

Yes, you are, and we’re ready to help you.

(Long story short: The FCC is about to make a critical decision as to whether or not internet service providers have to treat all traffic equally. If they choose wrong, then the internet where anyone could start a website for any reason at all, the internet that’s been so momentous, funny, weird, and surprising—that internet could cease to exist. Here’s your chance to preserve a beautiful thing.)

this internet slowdown campaign tumblr is promoting is worth taking a second to do.  blah.

artsorority:

Some more love from bandwidthdc, who also featured “Man with a Van” earlier in the year; much love to writer/editor Ally Schweitzer for believing in these songs.

I could talk forever about what went into this weird, sharp, angry piece of music, and hope I’ll get to put it all in writing soon enough. If you’re curious, though, here’s the near-full text of the email I sent Ally about “Dead Man.” She asked me to clarify I crack I’d made about finally sounding like a DC band; that’s where it begins.

What I really was trying to do with that comment was just highlight the fact that, if you know me, this song is different. When I first started performing it, a couple of friends and even my own drummer asked for backstory, their voices and faces carrying a hint of “Are you OK?”

It’s a lot less focused and intentional than most of my songs. The lyrics are pretty oblique; there aren’t many punchlines. And it’s a rough thing, made to be shouted. In rehearsals we could only play it once per session; the drum part Josh came up with was so physically shredding that his hands and arms would swell and ache for minutes afterwards.When we recorded the vocal, our engineer, Thomas Orgren, turned off all the lights in the live room, which I think helped coax the throat-scraping finale out of me.

When I arrived in DC, my impression was that a lot of the local guitar-based music was like this. I went to a lot of shows where the songs were exciting but also loud and abrasive; I could never make out the lyrics, which drove me crazy. I’ve since learned that I was experiencing a newcomer’s myopia, that the scene contains multitudes if you look hard enough  — though I will say, solo singer-songwriters are in short enough supply that booking feels like a logic puzzle every time. Becoming friends with David Combs, a.k.a. Spoonboy, has helped: He performs nearly all of his shows seated and unamplified, and you can hear the words because people are singing along.

Without getting too deep into it, I can say this song definitely comes out of the anxiety and doubt by which many young people feel assailed when their role models let them down — especially when said role model is one’s own father. I probably got a bump in this direction from listening to Spoonboy’s “Stab Yer Dad”; that song is very blunt and is all about self-actualization and the rejection of self-doubt, asserting one’s identity independent of and/or in reaction to those who have let them down. I’d touched on the topic myself in an older song, “My Father" (from the album Slow Dance), this flowery indie-pop concoction that was my way to shrug off the awkwardness of having grown up in a single-parent household, and thus having to explain myself to each new friend and lover who asked a well-meaning question about my childhood.

"Dead Man" is more gestural than anything I’ve ever written. The first time Josh and I performed it I was freestyling half the time. Some of the lyrics that made it to tape — the chorus and the refrain for certain — were written with my usual sense of purpose. The others I will probably spend years deciphering, but I trust them because of where they came from. To me they evoke something vulnerable, at once defiant and terrified. And at their center lies a crisis of identity: What if, with each passing moment and breath, we are turning into our elders, even as we strive to avoid their mistakes?

<3

my instagram today is kinda functioning like a battle of the puppies: PUGS vs. POMARIANS.  pugs currently have a slight lead.  weigh in at: http://instagram.com/spoonboyphone