Eugene Merinov Photography

Sex, Witchcraft, and Rock & Roll...and Eugene Merinov

2012-11-12T15:11:00.001-05:00

The photography of Eugene Merinov has been used for the cover & inspiration for a new book by Lilah Wild. Read all about it on her blog here, and check out the book which is now available on Amazon.

As Lilah herself says, "Eugene Merinov’s online gallery is a treasure trove of great bands caught in the heat of performance, right when their careers were just beginning. Bright lights, rawness and hunger, you can practically feel the perspiration leaking out of these photographs."

Thanks Lilah!

Happy new year!

2012-01-01T08:57:00.000-05:00

Happy new year all! I wanted to let you know that Eugene will have a photo of New Order included in the new (i.e. February 2012) issue of Mojo magazine. Have a look for it at your favorite magazine joint. I hope we have more good news throughout the year, and wish you great health & happiness for 2012!

In memory of Laura Kennedy of the Bush Tetras

2011-11-15T21:43:00.001-05:00

Bush Tetras at Hurrah, 1980, shot by Eugene Merinov

Laura wasn't the only bass player to ever play as part of the Bush Tetras, but she was the one who counted. It was her sly & subtle funk lines that graced the two most well known tunes that the NYC based post punk band wrote & recorded: "Too Many Creeps" and "Can't Be Funky." No collection of post punk would be complete without these recordings. With a HUGE outpouring of condolences today on Facebook, it was obvious how many people's lives she had touched.

As the obituary in the Minneapolis City Pages, her recent home's newspaper, said, "Though she hasn't performed publicly for years, Kennedy's legacy will always be tied to her time in New York in the late '70s and '80s. Bush Tetras were one of the first female punk bands to gain notoreity in that era, and Kennedy's bass playing can be heard providing a creeping counter melody to Pat Place's angular guitar riffs in their best-known hit, 1980's "Too Many Creeps." Leave a note for Laura on the Bush Tetras Facebook page.

Originally written for the Vinyl District & published at Stupefaction.

Eugene shot of New Order in July issue of Mojo!

2011-06-12T21:02:00.000-04:00

For anyone who reads Mojo Magazine out there, keep an eye out for one of Eugene's wonderful shots of Bernard Sumner from the debut US tour of New Order in 1981 at the Ukrainian National Home on 2nd Avenue in the East Village. Its on page 53.

View a selection of Eugene's New Order shots here.

IFC Center to screen Blank City in NYC

2011-02-15T18:48:00.001-05:00

Blank City, a documentary about the no wave film scene of NYC in the late 70's, covered here & at Stupefaction before, and which features some of Eugene Merinov's work, will be showing at the IFC Center here in Manhattan from April 6. That's a good thing because we haven't seen the movie yet! More info here.

Welcome to the new EugeneMerinov.com!

2011-01-16T18:36:00.002-05:00

We are happy to announce that we've relaunched www.eugenemerinov.com, and hope you like the new look! If you appreciate Eugene's work, please suggest us to friends via this site or Facebook.

We're also happy to let you know that we now have high resolution digital prints available in the following sizes:

8.5 x 11
13 x 17
17 x 22

All digital prints are on premium quality inkjet media coated on a true photographic baryta base to match those of traditional photographic printing. If you have any questions please don't hesitate to ocontact us at eugenemerinovphotography [@] gmail.com.

A huge special big enormous THANKS to our friend JC over at Cerysmatic Factory for the help, direction and inspiration in the redesign. Especially the sexy new header!

Bush Tetras - Hurrah - 1980

2010-12-25T11:28:00.003-05:00

Bauhaus - Tier 3 and Hurrah - 1981

2010-12-25T09:18:00.003-05:00

New Order - National Ukrainian Home & Peppermint Lounge - 1981

2010-12-24T21:26:00.003-05:00

A Band - Max's Kansas City - 1978

2010-12-24T17:07:00.001-05:00

2 Timers - CBGB - 1979

2010-12-24T14:04:00.006-05:00

Eugene in new book about Max's Kansas City

2010-09-06T10:24:00.004-04:00

Hi folks...It's been a while and we hope you're doing alright. I'm just dropping in to let you know that a photograph of Eugene's is included in the new book about Max's Kansas City. For more info, including ordering, and an NYC launch party next week, click over to Stupefaction. We've seen a preview copy and its a beauty!

Eugene news: A Band at Max's

2010-02-23T16:17:00.004-05:00

Hello everyone...yes, it's been rather quiet around here, but thats good in a way. It means we've been busy in other areas. But we have some nice news to share - Eugene's action packed shot of A Band (featuring Glenn Branca), performing at Max's Kansas City in 1978, will be included this fall in a new history of Max's book to be published by the good folks over at Abrams. Abrams, of course, is the same publisher who has already brought us amazing books on CBGB, No Wave, Bob Gruen's take on the New York Dolls, and others, so you know the work put into this new one will be top notch. Keep an eye out for it...I'm sure we'll also write again on the eve of publishing. Thanks for reading!

New Order - Ukrainian National Home - 1981

2009-07-29T11:09:00.003-04:00

Reposted from Stupefaction: Here's great bit of ephemera courtesy of our friends over at Cerysmatic Factory. From November 19, 1981, its a flier for one of the earliest of New Order gigs in the US with support by New York's own Ike Yard at the Ukrainian National Home. Its extremely rare & no one really knows how many exist.

The gig was filmed and released as the FACT 77 Taras Shevchenko video by Factory Records. The poster design was a collaboration between Michael Shamberg (head of Factory's US operations) and Ike Yard's Stuart Argabright.

A review of the show by Tim Sommer from Sounds can be found right here.

Blank City

2009-04-23T10:42:00.001-04:00

Dan over at the Acute Records blog has a nice write up on the Blank City film. Read it here.

When punk & indie film ruled NYC

2009-04-16T21:34:00.001-04:00

Here's a nice piece on two films making their debut at this year's Tribeca Film Festival: “Burning Down the House: The Story of CBGB,” directed by Mandy Stein, and “Blank City,” directed by Celine Danhier. Besides the fact that both films are of cultural interest, some photographs by Eugene Merinov are being used in the latter of the two films, many of which were shot at CBGB's. For showtimes & tickets visit TribecaFilm.com. See you at the movies!

Johnny & Joey of The Ramones at CBGB by Eugene Merinov

Original story at the Downtown Express

Two tales recall long bygone era of East Village edge

BY RANIA RICHARDSON

The East Village had edge then — so it’s not surprising that two new documentaries, set to world premiere at the Tribeca Film Festival, take on the punk subculture of the late 70s/early 80s East Village arts scene.

The era had a mythic allure for two filmmakers who were in diapers at the time. “Burning Down the House: The Story of CBGB,” directed by 34-year-old Mandy Stein, follows of the history of the club that launched the careers of Blondie, The Ramones, Talking Heads, Television, and Patti Smith. “Blank City,” directed by 30-year-old Celine Danhier, looks at the underground moviemakers of the period such as Jim Jarmusch, John Waters, Amos Poe, and Eric Mitchell (as well as the performers in their milieu).

“The Ramones and The Talking Heads were my lullaby music,” says Stein on the phone from her home in Los Angeles. “They were what my parents were listening to, what was playing at my house all the time.” Stein practically grew up in CBGB’s, where her father signed bands to his record label, Sire. Her mother was also a regular on the scene, as co-manager of The Ramones. CBGB’s owner, Hilly Kristal, became a family friend. He founded the club in 1973 and named it for the country, blue grass, and blues music he originally featured.

“I remember being there, and being really young, and Johnny Ramone was scolding my Mom and saying, ‘What the fuck did you bring your kid to?’” says Stein, recalling her early memories at the gritty venue. “There is so much flavor in the East Village; but when I was a younger, it was scary. There was a sense that you had to be aware and watch where you were going,” she says.

The family lived on the Upper West Side and Stein left to study art history at Occidental College in Los Angeles. Film production work kept her on the west coast until she got word that CBGB’s was in jeopardy because of a rent dispute.

“Oh, my God, can you believe what’s going on?” Arturo Vega, a member of The Ramones’ entourage, emailed Stein in early 2005. At that point she flew back to New York to document the battle for the landmark club. She collected clippings of all the news reports. She filmed every live performance in CBGB’s waning days, until it closed on Halloween, 2006 — with a performance by Patti Smith.

Stein was heartened by the many generous supporters of the club, including Deborah Harry, her lifelong fashion icon. “She showed up for every rally and was there on the last night,” she says. “Making the film has been a lot of pressure because a lot of people are so passionate about the legacy, including me. I’m a fan. I’m an Über fan.”

Stein (currently putting the finishing touches on her new film) describes the style of her CBGB project as a “hodgepodge” that includes live footage, interviews, and archival photography. “It’s a total collage. The throughline is that the club is in a precarious situation and we watch all these efforts to try to save it,” she says. “We have to reflect on the past and its great history because that’s why we care enough to save it.”

After CBGB’s closed, the space remained empty for a year before John Varvatos moved in with a men’s apparel shop in 2008. He preserved as much of the original club as possible, with walls covered in graffiti and flyers, and rock memorabilia all around. “Thank GOD for John it’s not a Duane Reade,” Stein says.

From across the Atlantic Ocean, “Blank City” director Celine Danhier was forming her own vision of New York, long before her move here in 2006. “I first discovered New York when I saw Martin Scorsese’s ‘After Hours,’ when I was a kid, living in Paris. The city seemed so strange and so dark and also so attractive,” she says via email from her apartment in downtown Brooklyn.

Danhier went to law school at the Sorbonne with the intention of becoming an entertainment lawyer. Before she graduated, her focus turned to filmmaking. “I realized I didn’t want to assist a director or be a struggling actress. I wanted to direct a film,” she says. “Blank City” is her debut feature.

Danhier had long been familiar with punk rock and the atonal “no wave” bands that were formed in response to the more pop oriented “new wave” bands of the era, so she sought out underground movies that exemplified the style. A chance screening in Paris of work by Jarmusch, Poe, and Mitchell whet her appetite for more. “The films captured the time so well; the music, the spirit and the attitude. They had such a brutal sincerity that I loved,” she says.

According to Danhier, her film reveals the emergence of New York underground filmmaking from 1977 to 1987. She interviewed over thirty people and went on a hunt for artistic examples that represented the times. “What was so unique about these films and the music is that even though there might have been a shared aesthetic or a do it yourself / lack of technique, they were all very different,” she says.

“I met a lot of people from that time, who were generous to share with me their stories and each person would lead me to the next. Sometimes I would interview somebody, and they’d say, ‘Hey, you should talk to Bette Gordon or James Nares,’ and then they’d give me a phone number or email address. I let the documentary unfold in that way, kind of organically,” she says.

“We had one American Express card and a lot of determination while also working full time jobs during the week,” Danhier continues. “We kept to the film’s philosophy as much as we possibly could to make our movie, doing everything very collaboratively and on the fly with no money. Now, though, the ‘Do It Yourself’ sensibility is completely tied up with the economic factors of living in New York, so filmmaking is much more of a struggle.”

In Danhier’s view, the East Village today is, “Construction, construction, construction. It feels strange because a lot of the new constructions don’t seem to fit with the landscape. I do think it’s very tame now. That feeling of being on the edge of something is gone. But, then you find other parts of New York to go to — areas of Brooklyn or a new place in Manhattan will open up — and you’ll feel that energy once again. It just is always shifting around,” she says.

Handsome Dick Manitoba of the Dictators & friend by Godlis

Eugene Merinov at Tribeca Film Festival

2009-04-03T16:51:00.003-04:00

As mentioned last November, we're happy to announce that a feature length documentary called Blank City, which uses many of Eugene Merinov's photographs, will be making its premier at the 2009 Tribeca Film Festival.

Cast & Credits
Primary Cast: Jim Jarmusch, Steve Buscemi, Lydia Lunch, Richard Kern, Nick Zedd, John Waters
Director: Celine Danhier
Producer: Aviva Wishnow
Directors of Photography: Ryo Murakami, Peter Szollosi
Editor: Vanessa Roworth

Program Notes
New York City in the late 1970s. Underground filmmakers collaborated with experimental musicians and vanguard performance artists, all on a shoestring budget, to create the most daring work of their generation. In stark contrast to the poverty and crime that seemed rampant in the economically struggling city, a community of aggressive, confrontational, vibrant artists flourished: hole-in-the-wall screening rooms abounded, manifestos circulated, and Jim Jarmusch, Nick Zedd, and Amos Poe debuted early works to an audience of their peers. These short-lived but profoundly influential movements dubbed themselves "No Wave Cinema" and "Cinema of Transgression."

Director Celine Danhier brings energy and style to her encyclopedic documentary on the figures and history of this rich but gritty era. Blank City includes compelling interviews with such luminaries as Jarmusch, Zedd, Poe, John Waters, Steve Buscemi, Lydia Lunch, Lizzie Borden, Eric Mitchell, Thurston Moore, Debbie Harry, Bette Gordon, Glenn O'Brien, John Lurie, and anyone who was anyone in the late-'70s East Village art scene. Ample film clips from seminal works bring to life a time and a place lost to gentrification and commercialization in the '80s, but that lives on in a still-thriving tradition of avant-garde art.

Be sure to visit the festival website for dates, times & more information!

Wire - CBGB - 1978

2009-02-03T21:36:00.001-05:00

X - Danceteria & The 80's - 1980

2009-01-29T21:33:00.003-05:00

XTC - CBGB - 1979

2009-01-06T21:55:00.001-05:00

Walter Steding - Max's Kansas City - 1979

2009-01-06T21:53:00.001-05:00

The Brains - Hurrah - 1979

2009-01-04T21:03:00.002-05:00

Speedies - 1979

2009-01-04T21:02:00.001-05:00

Circus Mort - Hurrah - 1979

2008-12-22T23:56:00.002-05:00

The Senders - CBGB - 1978

2008-12-20T22:56:00.001-05:00