Friday, July 27 – Sunday, July 29

After the much-hyped filth and fury of the initial punk movement almost instantly combusted or codified, things got much more interesting. In the halcyon pre-internet days, regional scenes were allowed to grow and develop their own identifiable and often highly idiosyncratic sounds, word of one another’s development spreading slowly through fanzines and small mail order distributors. Lucky for us, there were also cameras laying around, and the rare films in this series provide an invaluable snapshot of one of the most exciting – and one of the most loosely-defined – periods of music in the 20th Century. THIS MUST BE THE PLACE is your highly opinionated guide to viewing these creatures in their native habitats.

Friday, July 27:
Filmed in 1979, barely released in 1980 and subsequently completely lost until 2005, LA BRUNE ET MOI (a play on the French translation of ‘50s rock & roll film THE GIRL CAN’T HELP IT, LA BLONDE ET MOI) was surreptitiously shot in eight days on borrowed equipment. There’s a love story in there, but it’s mostly an excuse to show great performances by Ici Paris, Artefact, Edith Nylon, The Party, Marquis De Sade and gads more. Dir: Philippe Puicouyoul. Starring Pierre Clementi, Anouschska and Pierre-Jean Cayatte. In French w/ English subtitles. Digital. 1979. 50 mins. 7:30pm

Shot on Super8 between 1978 and 1981, ROUGH CUT AND READY DUBBED captures and questions the splintered, post-Pistols UK punk scene, from scenesters to skinheads to legendary BBC Radio One godhead John Peel. Featuring performances by A Certain Ratio, The Selecter, Cockney Rejects and Sham 69. Dirs: Hasan Shah & Dom Shaw. Digital. 1982. 59 mins. 8:40pm

Plus – a SPECIAL SECRET MOVIE after the 8:40pm show! You have NOT seen this thing!

Saturday, July 28:
David Markey’s homespun 1982 document of the LA/OC early ‘80s hardcore scene, THE SLOG MOVIE serves as fanzine on film, combining incredible live performances by vital bands of the era (such as Circle One, Red Kross, TSOL, Fear, the Circle Jerks and many more) along with segments of hangin’ out at Oki Dog with Pat Smear and Randy Rampage, a Raymond Pettibon skateboard commercial, and much more. An indispensible document of a time, place and (under)age! Dir: David Markey. Digital. 1982. 59 mins. 7:30pm

I CAN SEE IT AND I’M PART OF IT: San Francisco Punk Portraits 1978 - 82
The time between Richard Nixon's resignation in 1974 and Reagan's ascent from CA governor to U.S. presidency in 1981 marks a prolific surge of artistic and creative production across California, often taking a sharp trajectory from the 60s utopian idealism as a strong sense of distrust and disillusionment cast its long, dark shadows and was reflected in music – once again, the natural channel for response, reaction and outrage. In San Francisco the thriving music scene developed its own punk conceit, an arsenal comprised of bands, filmmakers, artists, clubs and the ever-supportive denizens along for the ride. Gender factors largely into the equation as women were not merely audience members, but forceful contributors driving the scene. The boundary between the spectator and performer was often blurred as audience members were inspired to pick up instruments, form bands and be on the stage the very next week. The DIY aesthetic prevailed… and the cameras were rolling!
I CAN SEE IT AND I’M PART OF IT is a unique glimpse into SF’s punk past – an archival treasure trove comprised of moving and still images, both amateur and professional. This shorts program, curated especially for THIS MUST BE THE PLACE, includes but is not limited to:
IN THE RED is a slice of life from the perspective of two friends (co-directors Liz Keim and Karen Merchant) who followed the scene at close range. A poetic tapestry of live performance, intimate interviews (Will Shatter exposed!) and cityscapes. In the Red gives insight into a creative and politically charged environment at the dawn of the 80s. A dusty and gritty gem! Dirs: Liz Keim & Karen Merchant. Digital. 1978. 20 mins.
LOUDER, FASTER, SHORTER is raw and powerful performance document recorded at the Mabuhay Gardens in March 1978 during a benefit concert for striking Kentucky coal miners. Bands UXA, The Dils, The Avengers, Sleepers, and Mutants raised over $3000! Beautifully shot, it’s an insider’s view that takes you to the belly of the beast, a musical time traveler’s delight. Dir: Mindaugus Bagdon. 16mm. 1978. 17 mins.
BRUCE CONNER, a key figure in San Francisco’s artistic community since the 1950s, began documenting the SF punk scene in 1977 when his friend Toni Basil (the dancer from his seminal film Breakaway and of “Oh Mickey you’re so fine…” fame) invited him to see Devo. This portion of I CAN SEE IT AND I’M PART OF IT includes a slideshow presentation of Conner’s legendary portraits of individuals and performance shots, a primary element of the history of SF punk. Conner segment includes music videos he made during this time: MONGOLOID
(music by Devo), and Mea Culpa (feauturing music by David Byrne & Brian Eno). Special thanks to Michelle Silva and Robert Conway of the Conner Family Trust, Paule Anglim, Christine and Travis and from Paule Anglim Gallery. Dir: Bruce Conner. Digital. 1977 – 1981. Approx.15 mins.
Complete Program Length Approx. 70 mins. 9pm

Despite the heavy regionalism we’re focusing on in this series, these bands did not exist in a bubble. Through various magical combinations of guile, luck, stupidity and very hard work, plenty of bands got in the van and relentlessly criss-crossed the nation, serving as Johnny Appleseeds of the underground. Once the van was back on the road, a new scene had sprung. Thanks to the Hugh M. Hefner Archive of the Moving Image, we’re tapping into an unimagined motherlode of live footage from the likes of Public Image Limited, Black Flag, the Avengers, Suicide and many more, much of it shot for regional television programs or personal collections. 16mm/35mm/Digital. 1978 – 1982. Approx. 75 mins. 10:20pm

Sunday, July 29:
Filmed in dour, totally appropriate black-and-white (much like that other paean to the Pittsburgh existence, NIGHT OF THE LIVING DEAD), DEBT BEGINS AT 20 is a completely charming and accurate portrait of how artistically-inclined punk and synth enthusiasts in smaller regional scenes made the screechy, caterwauling tuneless tunes we’ve grown to fetishize. And why did they do it? Because they were bored out of their minds. – Bret Berg, Destroy All Movies Dir: Stephanie Beroes. 16mm. 1980. 50 mins. 7pm

Jean Michel Basquiat is your cash-strapped guide around downtown Manhattan circa the end of the world, or more accurately 1981. It looks like a neutron bomb went off, and the only living creatures left are the weirdo, omnivorously post-everything musicians and artists hiding in stark lofts, cramped apartments and moldy nightclubs. This movie is an embarrassment of riches: watch DNA shred through “Blonde Redhead”, see James White & The Black’s aggro no-wave soul revue live on stage, plus Debbie Harry, Tuxedo Moon, Kid Creole & the Coconuts and more. DOWNTOWN 81 is, simply put, the coolest. Dir: Edo Bertoglio. Written by Glen O’Brien. 35mm. 1981. 73 mins. 8:15pm

Programmed by Mike Keegan and Gina Basso. Special Thanks to Bret Berg, Zack Carlson, Jake Perlin, David Markey, Liz Kleim, Mindy Bagdon, Michelle Silva, Robert Conway, Paule Anglim, Linda Scobie at Canyon Cinema and Dino Everett at the Hugh M. Hefner Moving Image Archive at the School of Cinematic Arts.


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