"Rock is Dead"

In an interview conducted by his son Nick Simmons for Esquire Magazine, “KISS” front man Gene Simmons stated that rock and roll is finally dead.

“The death of rock was not a natural death,” Simmons said. “Rock did not die of old age. It was murdered.”

The murder of rock music has been collectively committed by individuals who can no longer comprehend or treasure it's true brilliance , Simmons said.

“I am so sad that the next 15-year-old kid in a garage someplace in Saint Paul, that plugs into his Marshall and wants to turn it up to ten, will not have anywhere near the same opportunity that I did,” Simmons said. “He will most likely, no matter what he does, fail miserably. There is no industry for that anymore. ... And the real culprit is that kid's 15-year-old next-door neighbor, probably a friend of his. Maybe even one of the bandmates he's jamming with. The tragedy is that they seem to have no idea that they just killed their own opportunity — they killed the artists they would have loved. Some brilliance, somewhere, was going to be expressed, and now it won't, because it's that much harder to earn a living playing and writing songs. No one will pay you to do it.”

Simmons would not even want to be an aspiring musician in this era of entertainment.    

“It's very sad for new bands,” Simmons said. “My heart goes out to them. They just don't have a chance. If you play guitar, it's almost impossible. You're better off not even learning how to play guitar or write songs, and just singing in the shower and auditioning for The X Factor. And I'm not slamming The X Factor, or pop singers. But where's the next Bob Dylan? Where's the next Beatles? Where are the songwriters? Where are the creators?”

However, Simmons offers advice to young musicians and songwriters, stating “don’t quit your day job,” because the days of creative solace have vanished. 

What do you think? Has true creativity been replaced with an artificial "X factor"? Is the next Bob Dylan hiding behind the shadows of another wayward reality icon? Or is Neil Young right?

Maybe You'll Understand, Maybe You Won't - Playlist

How To Fight Loneliness - Wilco

Metamorphosis Two - Philip Glass

The Sounds of Silence - Simon and Garfunkel

Today - Jefferson Airplane

Sunday Morning - The Velvet Underground

Open Heart Surgery - The Brian Jonestown Massacre

Tangled Up In You - Playlist

Tangled Up In Blue - Bob Dylan

Love Will Tear Us Apart - Joy Division

All I Want Is You - U2

The Moon Song - Karen O

Take Care - Beach House

The White Lady Loves You More - Elliott Smith

A Performance Like "No Other" - Celebrating The Music of Gene Clark

      In 1974, Gene Clark of The Byrds released the solo album No Other.   Though the album received little critical acclaim, and was even deleted from the catalog of Asylum Records, it has garnered contemporary adulation and become lauded as a "cult favorite."  On January twenty-second, indie rockers Victoria Legrand and Alex Scally of Beach House, along with Fleet Foxes' Robin Pecknold, Grizzly Bear's Daniel Rossen, and members of The Walkmen gathered in Philadelphia to perform Clark's esoteric magnum opus, note for note.  

    Prior to the performance, Beach House released this statement concerning Gene Clark and the album:

         "Though we generally love all of his music, we are most infatuated with his 1974 record, No Other. It feels like a special moment in Gene Clark's songwriting. At first, the overdone, studio nature of the album feels overbearing: the electric violin, the female chorus, the bass riffs, the layered guitar sequences. However, with more listens, Gene Clark's very unique lyrics, voice and spirit become the central focus. It's one of those records where each time you listen, you love a different song the most. Every song is nuanced and amazing in its own way."

The performance began with a viewing of the 2013 Gene Clark documentary, "The Byrd Who Flew Alone", which both provided insight into the making of Clark's forgotten work of art, yet left the audience with many unanswered questions.  When the musicians took the stage, the sublimely familiar voices of Robin Pecknold and Victoria Legrand, entwined with the sentimental sounds of the 70s, transported the audience to a time of no return.  It truly was a performance like no other. 

"When She Talks, I Hear the Revolution" - The Rise of Riot Grrrl

"When She Talks, I Hear the Revolution" - The Rise of Riot Grrrl

          The Riot Grrrl revolution began as an underground feminist movement, which aimed at establishing  women as a paramount force in punk rock.  Additionally, the movement fostered a subculture, consisting of fanzines, political activism and individual empowerment.  

    During the late 1970's and early 1980's, the number of alternative female musicians rose dramatically.  Musicians such as Siouxsie Sioux (of Siouxsie and the Banshees), The Raincoats, Joan Jett and Patti Smith provided the impetus for women to "pick up a guitar", rather than complacently "sit pretty."  

   In 1987, the magazine "Sassy" premiered.  The magazine grappled with controversial societal issues whilst other adolescent magazines failed to. Furthermore, the magazine viewed its young female readers as multidimensional beings, with thoughts and emotions broader than the concern of acceptance.  An article published in 1989 entitled, "Women, sex and rock and roll" became the first public platform for the movement.  

  The term "Riot Grrrl" was coined in 1991, in reference to the Mount Pleasant race riots of the aforementioned year.  Together, photography student, Kathleen Hanna, and disk jockey, Toby Vail, reacted to the violence by creating an original zine, as well as the punk rock band, Bikini Kill. Hanna stated, "I felt completely left out of the realm of everything that is so important to me.  I know that this is partly because punk rock is for and by boys mostly."   Her performances were described as "fiery" and imbued with passion.  Additionally, the weekly zine dealt with racism, patriarchy and sexual abuse and was met with a devoted cult following.  The movement officially became a central component of Pacific Northwest culture.  

 Despite denouncing the movement, the alternative rock band "Hole" became a defining figure in the emerging feminist movement of the Pacific Northwest.  Lead singer and lyricist, Courtney Love, unabashedly proclaimed her rage in resolute performances.  Songs such as "Jennifer's Body" and "Violet" discussed topics such as rape, motherhood, anger and suicide in an undaunted fashion.  In 1994, the bands sophomore album "Live Through This" was released with critical acclaim, symbolizing Courtney's cathartic means of survival.  

In 1994, the band "Sleater-Kinney" formed in Olympia, Washington.  The band has been noted as "one of the most blatantly talented and important bands of the 90's and 2000's.  Additionally, the band was a key component of the Riot Grrrl movement and subsequently third-wave feminist consciousness.  By incorporating societal ills of the era, the band echoed the likes of 1960's folk musicians.  Undoubtedly, they called women around the world to arms.  

As of 2010, the "Riot Grrrl Collection" has been held at New York University's Fales Library and Special Collections.  The collections chief objective is "to collect unique materials that provide documentation of the creative process of individuals and the chronology of the Riot Grrrl movement overall."  Kathleen Hanna of "Bikini Hill" and Carrie Brownstein of "Sleater-Kinney" have each donated primary source materials. Hanna has stated that she feels the collection is "free from feminist erasure."  
In the 21st century, the Riot Grrrl Movement is not devoid of relevance, but rather a fervid reminder of the power in social transformation.  Indeed, it is a potent revolution which will remain timeless.  

Blue Winter - Playlist

Day of the Lords - Joy Division

Pink Moon - Nick Drake

A Whiter Shade of Pale - Procol Harum

Wishes - Beach House