BY JOHN BIEFUSS VIA COMMERCIAL APPEAL
Joe Dallesandro, as photographed by Memphis’ Jack Robinson. (Photo: Jack Robinson/ Memphis Brooks Museum of Art)
They’re cool, they’re unique, they’re counterculture icons, they hung out with Andy Warhol, they used to like taking their shirts off, and they were punk before “punk” was a thing.
They’re Iggy Pop and Joe Dallesandro, and they’re coming to Memphis — Iggy on the screen and Joe in the flesh.
Iggy Pop and his groundbreaking, noise-making rock-and-roll band, the Stooges, are the focus of “Gimme Danger,” a documentary by Jim Jarmusch (director of the made-in-Memphis masterpiece “Mystery Train”) that is set to screen at 7 p.m. Feb. 1 at the Malco Studio on the Square. No other Memphis screening has been set.
BY ANDY GREENE VIA ROLLING STONE
Iggy Pop is ready for a break. The punk pioneer spent most of 2016 on the road in support of Post Pop Depression, a solo album he recorded with Queens of the Stone Age frontman Josh Homme. He also found time to promote Jim Jarmusch’s Stooges documentary Gimme Danger, record with Danger Mouse and pose nude for New York art students. Next year he plans on taking on far fewer gigs, including a stint opening for Metallica in Mexico. He got on the phone with Rolling Stone to share the wisdom he’s learned over the years, and to reveal what he hopes to accomplish with the rest of his life.
BY JEREMY ALLEN VIA GUARDIAN
Iggy Pop – His career spans 50 years, with definite lows among the best, often collaborative, gems but James Osterberg’s viewpoint is splenetic and necessary. An illustrious career … Iggy Pop on stage in New York in 1977. Photograph: Richard E Aaron/Redferns
1. Kill City (with James Williamson)
The Stooges had come off the rails before, but in February 1974 they finally split for good. Despite the ignominious nature of their demise, Jim Osterberg – the man behind Iggy Pop – had still not quite reached his rock bottom. He spent the best part of a year couch surfing and relying on the charity of others, including fans, for heroin and quaaludes. An intervention took place when he was arrested for intimidating diners at an LA burger emporium. Detention at a psychiatric facility on the UCLA campus gave the singer time to cool off, and at the weekends he was allowed out to record with former Stooges guitarist James Williamson at Jimmy Webb’s home studio in Encino. Kill City is an edgy and erratic blur of driving riffage in the style of the old band, with Pop grumbling about surviving in the city, “until you wind up in some bathroom overdosed and on your knees”. Record companies passed on the 1975 Kill City demos, at least until 1977, when Iggy Pop’s stock was on the rise again, and Bomp! Records gave Williamson funds to complete and release the album.
BY NOEL MURRAY VIA L.A. TIMES
LEEE BLACK CHILDERS / DANNY FIELDS ARCHIVE / MAGNOLIA PICTURES From left, Danny Fields, Iggy Pop, Lisa Robinson and David Bowie in the documentary “Danny Says.”
Between 1965 and 1975, Danny Fields hung out with the Velvet Underground at Andy Warhol’s Factory, caused a nationwide controversy by publicizing John Lennon’s “bigger than Jesus” quote in a teen magazine, was the press agent for the Doors, signed the MC5 and the Stooges to Elektra Records, and managed the Ramones.
Brendan Toller’s superb documentary “Danny Says” is partly about the searing, serrated rock ’n’ roll that surged underneath mainstream American pop in the ‘60s and ‘70s. But it’s even more about how one man kept showing up just in time to see one countercultural phenomenon after another.
BY ASHLEIGH KANE VIA DAZED
It’s been an incredibly long wait since we first glanced Iggy Pop naked and spread out over a table top surrounded by artists sat behind easels, immortalising him on paper. Finally, the resulting nude drawings are here and will be exhibited at Brooklyn Museum from November.
Pop’s foray into life drawing was a collaboration with British artist Jeremy Deller, who, along with Brooklyn Museum’s Sharon Matt Atkins, helped select 21 artists to capture their interpretation of the frontman in all his glory.
In an interview with Entertainment Weekly, Pop explained that “it was not about anything silly… It wasn’t about my winkie, or anything. It was just a documentation of what’s left of me. I thought it was a good idea the artist had and I enjoyed so much the company of the 21 drawing students and working artists. It was a very nice vibe in the room.”
BY AMANDA PETRUSICH VIA THE NEW YORKER
Every fan of the Stooges points to a different moment to prove that the band invented punk rock, or at least bodied it first, gave it flesh. For me, that moment is a couple minutes of wobbly television footage shot at the Cincinnati Pop Festival in June, 1970. The band is doing “T.V. Eye,” a cut from its about-to-be-released second album, “Fun House.” Whoever’s palming the camera appears to be tucked into a tight defensive crouch just offstage. The image quality is terrible. Iggy Pop is wearing a pair of straining blue jeans, no shirt, and silver lamé gloves. His hair is short and bluntly cut, as if he’d recently done it himself with a kitchen knife. From afar, his hands look as if they’ve been wrapped in strips of cloth, almost like a boxer’s. He has the sinewy, exoskeletal comportment of a person who spends most of his time pacing beneath a rickety train trestle: a junkie gait.
VIA DELANCEY PLACE
Today’s encore selection — from Please Kill Me: The Uncensored Oral History of Punk by Legs McNeil and Gillian McCain.
Iggy Pop led a hard core punk band called The Stooges. The Stooges were good friends with MC5 that — among many other now legendary appearances — performed outside the 1968 Democratic Convention in Chicago and was closely associated with the violence there. Both groups were heavily into marijuana, but with the crackdown on marijuana that came during that period, heroin became easier to obtain and thus the drug of choice. In the paranoid culture of the time, the band viewed it as a conspiracy of the U.S. government.
This is Part Two of an interview Legs did with record industry veteran Steve Harris for Please Kill Me. Read how the MC5 fucked up their promising career, how Iggy was always misunderstood, and how Danny Fields lost his job… and more…
STEVE: I have the best MC5 story. You might have heard it but this is the best. I’m having lunch with Jac Holzman and he gets a call from our distributor in Detroit. They are throwing all of the Elektra records and Nonesuch records out of the store. They’ll never take another one again. What happened? There was an underground newspaper in Detroit that was pretty important at the time. Now, there was store in Detroit called Hudson’s. And they wouldn’t sell the MC5 record because it said “motherfucker.” So what the MC5
did was they took out a full page ad and said if they don’t sell their records that they would kick out their doors and windows. And they put the Elektra logo there. Well, the distributor was crazed. It was like Tower Records saying you can’t carry any more records, right?
BY EVAN MINSKER VIA PITCHFORK
During the latest episode of his BBC Radio 6 program “Iggy Confidential,” Iggy Pop spent two hours paying tribute to his late friend, David Bowie. He played songs from across Bowie’s discography. “The way I chose them was from memory,” he said of the playlist. “I took out a piece of paper and a pen and remembered what I liked at different times.” As he played different songs, Iggy discussed his memories of Bowie.
“You’re a double asshole with a double, little set of little pink titties and not a mind at all!”
Iggy Pop takes on a man who tells him to “Go fuck Bowie“, at a show in 1981. This is pretty much the best stage fight I’ve ever seen. This guy needed to be brought down to size. Iggy trashes his perm, weight, face, and idiotic homophobia. I love Iggy even more now.