Kim Gordon

Albert Oehlen steps behind the camera to present a portrait of himself, in life and at work, albeit substituted by actor and similarly brazen iconoclast Udo Kier, with musician Kim Gordon as his inner self, interviewer and judge.

Growing up in an environment torn apart by violence and alcohol, a young woman finds her voice through the written word and her salvation as a swimmer.

Bringing together some of the top names in music and entertainment, both Intuit Dome and the Kia Forum will host FireAid on Thursday, January 30, to raise money for rebuilding communities devastated by wildfires and supporting efforts to prevent future fire disasters throughout Southern California.

'90s indie-rock band Pavement reunites for their sold-out 2022 tour. But as preparations get underway, surreal tributes emerge: an off-Broadway musical adaptation of their songs, a museum devoted entirely to the band’s legacy, and a shamelessly awards-baiting Hollywood biopic.

Sonic Youth in 1991 on Neil Young's Smell the Horse tour, captured by Crazy Horse Guitar/Bass Tech Mondo aka Armando Garcia.

Formed in 1978 by brothers Jeff and Steve McDonald, and still actively playing and recording today, Redd Kross are the ultimate rock and roll lifers. They have influenced independent music in ways that beg to be acknowledged. From helping invent Beach Punk to influencing the Grunge and Glam Metal movements, Redd Kross have maintained the highest level of musical integrity, originality and quality for over forty years. Born Innocent will introduce a wider audience to two of the coolest people alive. The McDonald Brothers embody Southern California, rock and roll, and what it means to be an artist.

Gordon’s film Picture Window, directed together with Manuela Dalle, was inspired by Chantal Akerman’s film “Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles”. This reverent nod to what some refer to as “the greatest film of all time” stars Gordon herself, going about her day.

Gordon, with Eleanor Erdman, delivers a brilliant and blistering assault of distorted guitar noise. The two of them gyrate on a stage barely more than a few square metres in size. Across three screens the camerawork feels as claustrophobic as the stage looks.

Gordon walks around wielding her guitar over the wreckage like some almighty angle grinder.

Like a hand-held electric sander Gordon’s guitar touches, rubs against and glides over the everyday objects of the city. Largely ignored by the passing crowd Gordon moves like an alien, using sound to examine and interpret place and time as perhaps only an outsider, arguably Gordon’s artistic leitmotif, can do.