Show Review: Lynn Goldsmith & Patti Smith In Conversation at Calvin Simmons Theatre in the Henry J Kaiser Center For The Arts, 10/7/24

(Header Photo Courtesy Noise Pop Industries / Debra Zelle)

Attending the grand reopening of the Henry J. Kaiser on October 7, 2024, with my septuagenarian best friend was a profound and nostalgic experience. The event, centered on the incomparable Patti Smith and legendary photographer Lynn Goldsmith, was a journey through friendship, art, and music. They were on tour for their new book, Before Easter After: 1976-1979 Photos and Diary Entries of Patti Smith’s Life, an apt title for a night filled with laughter, stories, and emotional resonance.

The crowd was as eclectic and storied as the venue itself—a mix of Mills College graduates, anonymous band members from legendary Bay Area groups, and other creative spirits. Garage rock vintage shirts mingled with the crisp Northeast types who still clung to their cigarettes. Young leftie femmes teemed with anticipation, while nonchalant poet types gazed on indifferently, and nervous, professional event staff wove through the crowd, ensuring everything ran smoothly.

The Henry J. Kaiser, steeped in the cultural and musical history of the Bay Area, has been home to some of the most legendary concerts. Perhaps none were more iconic than the Grateful Dead’s many performances there. (Editor’s Note: The show where The Ramones made the Bay Area debut of Rock & Roll High School, the greatest movie of all time ON THE DAY I WAS BORN, beats any Dead show there.) The venue became a central part of the Dead’s storied relationship with the Bay Area, known for hosting some of their most memorable shows in the mid-1980s. The band played the Henry J. Kaiser nearly 50 times, with annual multi-night runs becoming a staple from 1984 until 1987. These shows attracted Deadheads from all over, who flocked to the venue to experience the band’s unique blend of improvisation, psychedelic rock, and community spirit.

Particularly legendary were the Dead’s Mardi Gras shows at the Henry J. Kaiser, which became annual traditions. Complete with parades, costumes, and extended jams, these performances embodied the celebratory spirit of the Dead’s live shows, making the venue a sacred space in Grateful Dead lore.

This rich history was alive as Patti and Lynn took the stage to reflect on their experiences. Though a moderator was technically present, they weren’t needed. Patti and Lynn seamlessly traded stories, retelling tales of their time together over 40 years ago, as Lynn ran slides capturing moments from their past. Their anecdotes painted a vivid picture of their shared journey, from misspent nights in New York City to road trips across the U.S.

One particularly captivating moment came when Patti recounted her friendship with the legendary William S. Burroughs. Patti began to weave a vivid tale of their shared experiences. With a wry smile, she recounted how she used to attend Burroughs’ notorious parties in New York City. “He’d invite me to these bizarre gatherings,” she said, her voice softening in remembrance. The parties were filled with artists, poets, and outcasts, but Burroughs always stood apart—an enigmatic figure who was always watching and rarely engaging.

As the crowd hung on her every word, Patti told the story of how Burroughs would take her to various places in the city. Patti’s candidness shone through as she recounted hitting on Burroughs one evening. She paused, then dropped her voice into a perfect impression of Burroughs, adopting an elegant rasp and stretching out her words. “‘Patti,’ he’d say, ‘I’m a raging homosexual.’” She mimicked his long drawl, capturing his deadpan humor and absolute certainty. The audience erupted in laughter as Patti, still grinning, shook her head.

This moment revealed Patti’s versatility in her relationships and her curiosity about the world. She wasn’t fazed by rejection or by Burroughs’ peculiarities. Instead, she was drawn to his energy, his difference, and the fact that he existed entirely outside the norms.

As the stories flowed, Patti also shared anecdotes about her time with Robert Mapplethorpe, Sam Shepard, and Tom Verlaine. These icons had left an indelible mark on her life and art. She spoke fondly of her creative partnership with Mapplethorpe, whose photographs captured her image and explored the complex themes of love and desire that permeated their lives. With Sam Shepard, she reminisced about their shared passion for storytelling and the artistic exchange that fueled their work, while her connection with Tom Verlaine revealed a deep bond forged through their love of music and poetry.

Lynn’s photographs played a pivotal role in the evening’s storytelling, notably a harrowing series that captured the aftermath of Patti’s infamous accident in Florida in 1977. The audience gasped as Lynn shared a story of how Patti fell 14 feet off a stage during a performance when roadies placed her monitors too close to the edge. “I spent four months with a fractured skull,” Patti recalled, her tone shifting to one of clarification. Lynn had been there, documenting every moment—from Patti’s vulnerability in the hospital to the fierce determination that followed. fragile and fierce. Some photos highlighted her androgynous appearance, while others almost gave her an alien or animal-like quality due to the rawness she exuded in front of Lynn’s lens.

The evening felt less like a formal presentation and more like a gathering of friends, with Patti and Lynn drawing the audience into their world. Patti and Lenny Kaye played acoustic songs corresponding to the images, creating a rich tapestry of sound and memory. Patti performed “Dancing Barefoot,” evoking the love she shared with her late husband, Fred “Sonic” Smith, and dedicated “Because the Night” and “People Have the Power” to Fred. The energy in the room elevated as she used the song as a rallying cry, urging the crowd to vote, to raise their voices, and to use whatever power they had. As any attuned poet would, she reminded the audience that it’s all we have and must use it. The laughter, music, and stories combined into something far more significant—a celebration of a lifelong creative partnership, capturing the polished moments and the raw, vulnerable, and extraordinary journey they shared. Check out the book.

NOISE POP 2024 PHASE 1 LINEUP!!!

SOUND THE ALARM! It’s time to start planning your 2024 ALREADY!!! Noise Pop dropped their Phase 1 lineup, and it goes on sale TOMORROW! Highlights include two nights of Snail Mail at Great American Music Hall (including one night with The legendary Softies opening!), The Mountain Goats are doing a stripped-down, solo acoustic set (at Grace Cathedral, of all places!), Nine Inch Nails’ (and first ever Italian to get inducted into the Rock & Roll Hall Of Fame, in case you were wondering) Alessandro Cortini is playing Gray Area, and many other Spinning Platters favorites like Cherry Glazerr, chokecherry, Kendra Morris, Thee Sinseers, Roman Candle and more! Full lineup below! Tickets for single shows are on sale 11/10 at 10am here. A limited number of badges remain and you can grab those here

Interview: George Chen of Zum Audio

George Chen has been a friend of Spinning Platters for many, many years. In fact, we’ve interviewed him before! And I’ve appeared on his podcast, Sup Doc to discuss 2020’s documentary on The Go Go’s. With all the years I’ve known him, we’ve never talked about his record label, Zum Audio. So we decided to chat about Zum’s history as well as his upcoming Noise Pop Showcase! It’s happening at Bottom Of The Hill on Tuesday, February 22nd, and features Body Double, The Acharis, and My Heart, An Inverted Flame. You should buy your tickets here and then read the interview: Continue reading “Interview: George Chen of Zum Audio”

A Letter From The Editor: Let’s Make Sure Live Music Stays Alive

Someday, when we meet again…

So, as you may have noticed that this site has been quiet for a few weeks. That’s not so much because a lack of content, but, to be totally frank with you, this whole COVID-19 thing has left me feeling, well, really depressed. In a way where I just didn’t want to touch the site at all, because I didn’t want there to be a long stretch of “this is how we are going to handle things in the COVID-19 era” content with livestreams and think pieces and weird, meandering posts about whether or not the live event industry can overcome this without any real knowledge of when this will end. It all became more real when I lost my day job as Venue Success Specialist at Eventbrite, because, well, nobody can put on events pretty much anywhere in the world right now. Continue reading “A Letter From The Editor: Let’s Make Sure Live Music Stays Alive”

Show Review: Habibi, Rudy de Anda, Babewatch at Bottom Of The Hill, 2/29/2020

In the world of garage rock, it’s expected for bands to put out material quickly and furiously. Bands like Thee Oh Sees and Ty Segall have set the bar so high that one record a year comes off as “slow.” When Habibi didn’t follow up their 2014 debut – a delicious blend of garage crunch, 60’s girl group harmonies, and Iranian melodies – right away, people just assumed they called it quits. It wasn’t until 2018, when they put out a short EP, that I thought they were even still a unit. However, it took six long years before we got a proper follow up. It also meant six years without a proper visit to SF. I’m glad that 2020 gave us both. Continue reading “Show Review: Habibi, Rudy de Anda, Babewatch at Bottom Of The Hill, 2/29/2020”

Spinning Platters Guide To Noise Pop 2020

Noise Pop week.  It’s pretty much impossible, isn’t it? It’s the single best programmed week of live music the Bay Area gets all year! And this year marks the return on the Noise Pop Film Series!  There is other fun stuff in store, like a photo exhibit at Hotel Biron, and some secret late shows at Cafe du Nord! So, yes, there is plenty do to that ISN’T seeing a band. Which is my life’s blood, and probably your’s, too, since you are reading this preview. Since there is a lot to do, this is not a comprehensive guide to the fest by any means. (That can be found here) This is one show per day that you should go to, plus a movie on some days. And if you don’t want to buy nine sets of tickets, pick up a badge that can get you into EVERYTHING! Continue reading “Spinning Platters Guide To Noise Pop 2020”

Single Of The Week: Chow Nasty by Lost Puppy Forever

Lost Puppy Forever are a bass/drums punk duo from San Francisco. They dropped their debut EP a few months ago, and I, personally, slept on it. But, it’s never too late to find your favorite new band. “Chow Nasty” is their first single and video, and this song is “thick as fuck” and really gets you in your chest. Don’t understand what that means? Put on some headphones, and play this song really loud. You’ll feel it in the center of your chest.

Noise Pop Fest is coming around the corner, and they are running a contest for bands to play! Go here to vote for your favorite band. And, by favorite band, I mean go vote for Lost Puppy Forever. Contest ends January 14th. And if you really want to support the band, head over to their Bandcamp page to pick up a digital copy of the EP!

Single Of The Week: Come My Habibi by Habibi

Habibi is an Arabic word meaning “my beloved.” And, from the moment I first heard them listening to Pandora at work six years ago, I was immediately in love with their mix of garage punk, classic Arabic music, and Motown girl group. I also genuinely thought they had called it quits after their first, self-titled record. Then, late last year, an EP came out called Cardamom Garden, where they toned down the punk and turned up the psych. It only left me wanting MORE HABIBI! Well, you’re in luck! Er, I’M IN LUCK! This week’s Single Of The Week is the lead single from Habibi’s upcoming second full length, Anywhere But Here. It’s a track called “Come My Habibi,” and it’s a lofi, bilingual, psychedelic masterwork.

This record is destined to be one of the best reviewed albums of 2020. You can preorder the physical record here, or preorder a virtual copy here!

Also, don’t forget to see them at Bottom Of The Hill on February 29th as part of the Noise Pop Festival! (Tix on sale now!) And, Noise Pop also dropped a killer second wave of acts, including Spinning Platters’ favorites Best Coast, Destroy Boys, Clit Kat, Mannequin Pussy, and many more! Tix for those shows can be found here!

Single Of The Week: Glorious by Sudan Archives

Sudan Archives have been floating around for a few years, and, well, I haven’t really given her any attention until now. Her latest single, “Glorious,” is a stunning blend of virtuoso violin work, African rhythms, and trip hop vocals and just enough hip hop. This is a slow burner that sticks with you.

Sudan Archives’ latest record, Athena dropped today, and is available from all of the usual stores and streaming services, or you can purchase the limited edition on Black & Cream vinyl with bonus 7″ and sheet music from Bandcamp!

Noise Pop 2020 also dropped their line up earlier this week, and it’s AMAZING! But, most importantly, Sudan Archives are playing Swedish American Hall on February 24th as part of the fest!