On Friday night, the party at MutMuz spilled out of the gallery and onto the otherwise quiet Chung King Road, a semi-hidden pedestrian street in Chinatown that’s known for art galleries. First wave L.A. punks mingled with my own generation of electro-weirdos, while a handful of teenagers milled about the gallery owned by Mark Mothersbaugh. On the walls was a retrospective of of the late artist Tomatâ du Plenty, including his paintings, as well as photos and ephemera related to his performances, including his time as the frontman of seminal synthpunk band the Screamers.
I hate to break it to you in the midst of this “indie sleaze” moment, but the late ‘00s weren’t that cool. It was the era when poseurs and paparazzi flocked to Hollywood and West Hollywood to catch a glimpse of the misadventures of Lindsay Lohan. Bottle service was on the rise, as were the profiles of well-connected, but barely competent DJs. People started dressing up for Coachella, a baffling development to anyone who ever stepped near a porta potty on the final evening of the festival. This was also the time when it was obvious that we were in an endless war and the divide between the haves and have-nots was just going to get bigger. The late ‘00s foreshadowed all of today’s bullshit, but people were too entranced by gossip blogs to notice.
Lest I ruin your enjoyment of early 21st century nostalgia, I’ll let you in on one really cool thing that happened in the midst of ‘00s L.A. That was Sean Carnage’s Monday Nights. Between the mid-’00s and mid-’10s, Sean put together weekly showcases of local and touring underground artists first at Il Corral in East Hollywood and then at Pehrspace in Historic Filipinotown. Over 1100 bands played the events. Some became well-known, at least in indie circles. Most were just really cool.
