Indie, Seen: The Indie Rock Photography of Piper Ferguson 9798886740462

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INDIE SEEN

INDIE SEEN THE INDIE ROCK PHOTOGRAPHY OF

PIPER FERGUSON FOREWORD by JOHNNY MARR

CONTENTS

FOREWORD by JOHNNY MARR 16 INTRODUCTION 18 START! the beginning of 14

a music movement ... and a career

68

TAKE ME OUT late-night

gigs from coast

to coast

114

SCHMOOZE OR LOSE how

to survive in the music industry

160

NO SLEEP ‘TIL MONDAY from

200

SMILE LIKE YOU MEAN IT portraits,

266 270 271 272

the first Coachella ’til forever from the studio to the streets

INDEX ACKNOWLEDGMENTS ABOUT THE AUTHOR CREDITS

FOREWORD by JOHNNY MARR CLICK ... PLAY ... SING ... SMILE. DON’T smile ... time gets caught. Hope it’s a good time. It always is for me with Piper. The time is always good, and the time looks good as you can see. She works, although it never feels much like work, which is what it’s like working with the best—in whatever field in whatever moments. It turns out an art, and there’s an art to it. We first met in 1998. Nights with music, friends, and strangers, and her camera for fun. Pretty soon after, I was seeing lots of new pictures of musicians, all kinds of musicians in all kinds of pictures, and I immediately saw there was a style. From there, we worked together whenever we could and it became a natural habit, and still more fun. “Indie rock” as a term has sometimes been thought of as dour and serious, sullen and downbeat. But this book shows you the real picture: action, humor, wildness, youth, and the vibrant energy that being an indie band and indie fan is really all about. The musicians are all doing something and putting something out. They have ideas and something to say, even when they’re standing still. Manufactured pop stars they ain’t. And yes they can

be serious, even when they’re having fun. So what? It’s all in these moments. Piper’s work is about the moments. The moments happen and she can make a moment, and no matter where or what’s happening, she always manages to fit in like one of the band. That’s uncommon, and one of the reasons why you see what you see in the pictures. Indie culture usually portrays an urban sensibility: stages, buildings, dressing rooms, and streets. Electricity and neon. Piper’s images sometimes incorporate nature and the outdoors without the subject even realizing it. Air and sun. Other rock ’n’ roll photographers don’t do this too much. It’s one of the ways that she brings her own sensibility and redefines her subjects. Looking through these images you see an instinctive mind and an expert eye. Indie rock. In a moment.

JOHNNY

MARR

MANCHESTER, UK, 2023

15

INTRODUCTION THE TERM “INDIE” MEANS A LOT OF THINGS to a lot of different people. It’s a genre, an aesthetic, a sound, an attitude, and a movement. It’s complicated, but I know it when I see or hear it, and I couldn’t get enough from a very young age. It’s empowering to encounter an artist who is self-made, without being influenced by a corporation that views their creativity as a means to make money. I gravitated to anything with this rebellious spirit. I recognized it in the films of Gus Van Sant; the photographs of Nan Goldin; the art of Andy Warhol; or even when I saw the “Planet Earth” video by Duran Duran on early MTV— and I credit the indie artists I encountered along the way with helping me tap into my own authentic creative expression. I wasn’t looking for a photography career, but it found me anyway. Growing up in Petaluma, California, in the pre-internet days of the ’70s and ’80s, I was always transfixed by musicians and album art, whether it was my mom’s Dolly Parton and Elvis

STYLISH MOD CAFE BLEU GIRLS

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EARLY CAFE BLEU FLYER, 1996

records, or the posters of Billy Idol, The Cure, and The Smiths on my bedroom wall. Later, living in San Francisco, my best friend, Shalyce Benfell, and I started going to the mod club Popscene, where we danced to everything from The Who to The Jam, Blur, Oasis, and Supergrass. Then, when Shalyce and I moved to Los Angeles, we didn’t know where to hang out, so we decided to start our own club, and Cafe Bleu was born. It started out slow, but I remember stuffing flyers in our skirts and boots and hitting up everyone at the Lush show at The Palace in Hollywood. The next week, Cafe Bleu was packed!  I was booking all the acts at the club, and trying to get into directing music videos. I quickly realized I had a lot to learn about film stocks, lenses, exposure, etc., and when my friend, who is a cinemaphotographer, suggested I buy a still camera so I could practice, I bought a small Pentax. I photographed all the bands who

performed at Cafe Bleu and took my camera everywhere I went, shooting everything through a fish-eye lens (what can I say, it was the ’90s). I learned photographic technique from the Time-Life Photography series I found at a yard sale, and took inspiration from legends like David Bailey and Mick Rock, and ’90s groundbreakers such as Ellen von Unwerth, Rankin, and Anton Corbijn. Soon, other musicians started asking me to photograph their promo shoots and album covers, and I was hired to shoot the KROQ calendar in 1998, which was basically a crash course in studioportrait photography. In 1999, I was published in my first major national magazine, Spin, and from there it was off to the races. During these years I would go to a show almost every night of the week, wouldn’t dream of missing Coachella, and would jump on an international flight to shoot one of my favorite bands, even on a DIY editorial budget.  In the early aughts, it felt like indie bands were being bred like

BIANCA AT CAFE BLEU, 1998

rabbits. They were coming from all over the world—not only was it the Yeah Yeah Yeahs and Interpol from New York City, but it was Modest Mouse from Portland, the Hot Hot Heat from Victoria Island, The Rapture from San Diego, The Shins from Albuquerque, and too many to name. The best part was that everybody was friends; they were touring together, planning parties, or just hanging out after hours. It really did feel like a scene. I was friends with many of the bands, but I was always a fan too, and I think my passion comes through in my photographs. At the time, I didn’t quite realize how special it all was, but looking back now at my body of work, I can see it was truly a pivotal moment in the history of rock ‘n’ roll. I’m so grateful to have these photos as a document of the indie scene as I lived it, and I dedicate this book to the next generation of indie rockers, especially those who live under my roof.

PIPER SHALYCE AND I AT CLUB SHOUT, EL REY THEATRE, 1997

FERGUSON

LOS ANGELES, 2023 17

START! I ALWAYS HAD MY CAMERA OUT AT night to practice shooting. The bands I booked at our club and the indie scene subculture were my initial canvas in the beginning. There weren’t a ton of people running around with cameras at that time, but there were lots of bands needing photos. When the band Marion was in town from the UK playing at Cafe Bleu, they asked me to do some portraits. I wasn’t too sure, technically, how to do this, but I had a lot of visual ideas, so thankfully my friend and now renowned cinematographer Matty Libatique mentored me and showed me the ropes. I was able to practice on many local LA musicians when suddenly I was invited to work with legends such as Joe Strummer, Richard Ashcroft, and The Strokes. I could never have imagined meeting these bands in person, let alone getting to shoot them. Was I lucky? Or, as The Jam says, “What you give is what you get!” .

LEFT THE STROKES. LEVI’S FADER LOWLIFE VMA AFTER-

PARTY, THE MEATPACKING DISTRICT, NYC | 2002

20–21 GREG LEE, HEPCAT. LOS FELIZ, LA | 1998

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LEFT BASEMENT JAXX. WEST HOLLYWOOD,

LA | 1998

ABOVE UNDERWORLD. AMERICAN LEGION HALL,

HOLLYWOOD, LA | 1998 24–25 UNDERWORLD. LE PARC SUITE HOTEL, WEST HOLLYWOOD, LA | 1998

Since indie isn’t all about guitars, I was excited to photograph Underworld and Basement Jaxx. Imagine techno and house dropped into an indie blender. It was all happening simultaneously, and the white boys started to dance. 23

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ABOVE AND RIGHT OMAR RODRÍGUEZ-LÓPEZ AND CEDRIC BIXLER-ZAVALA, AT THE DRIVE-IN. THIS AIN’T NO PICNIC, OAK CANYON RANCH, IRVINE, CA | 1999

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“The Strokes are to indie what Nirvana was to grunge, or what The

THE STROKES

Stooges are to punk.”

“IS THIS IT?” IT CERTAINLY FELT THAT WAY. Recently, I worked with a new band and they mentioned wanting to create photos like the ones I did over twenty years ago for The Strokes. I thought to myself, well the way to get photos like that is to be the most talked about band of the moment, about to make history and change what music sounds like forever, or to have just played a sold-out show at the Troubadour filled with new, obsessed fans and notable industry people. It must have been amazing to be the band with songs that changed music and launched a cultural movement. The Strokes are to indie what Nirvana was to grunge, or what The Stooges are to punk. They defined a movement, a moment in time that changed history and got kids in clubs on the dance floor, dancing to rock ’n’ roll and

indie pop. It was undeniable and set the music world on fire. The Strokes were such a buzz at that moment, and I was beyond excited to get the call to photograph them for Rolling Stone. I honestly hadn’t even been shooting photos that long, so I was pretty green at these sorts of assignments. The show was definitely a scene, a who’s who of hip Hollywood. I remember seeing Spike Jonze and Sophia Coppola. Joe Strummer, who I had also recently photographed, asked me to introduce him to Julian Casablancas. I ran over to Julian and said, “Joe Strummer wants to meet you!” It felt like passing the torch, even though he flipped me off when I took the photo. Joe and Julian really do share the indie, fuck you spirit. And no one can deny that; it’s a kind of knowing, of power, of change. I needed to get a great portrait of the band for the magazine and, I admit, I was nervous I wasn’t going to get the shot, because after the gig there was a raging party upstairs. The band had become slightly inebriated and I couldn’t corral them into doing the photo. They were enjoying the excitement of their initial rise to stardom— the East Coast taking over the West. Thankfully, my boyfriend, Ric Moon, was there, and he approached one of the guys and said, “C’mon man, you’re not going to do a shot for Rolling Stone?” And that was that, thanks Ric!

LEFT JULIAN CASABLANCAS AND JOE STRUMMER. HERO AND LEGEND, THE TROUBADOUR, HOLLYWOOD, LA | 2001 RIGHT AND 30–31 THE STROKES. ON STAGE AND BACKSTAGE

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ABOVE CARLOS DENGLER, INTERPOL. APOLLO STAAR STUDIOS, HOLLYWOOD, LA | 2003 RIGHT SECRET MACHINES AND LAUREL STEARNS. AT HER APARTMENT ON FAIRFAX,

WEST HOLLYWOOD, LA | 2004

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LEFT TSAR. APOLLO STAAR STUDIOS, HOLLYWOOD, LA | 2000 ABOVE S’COOL GIRLS. BAND’S APARTMENT, HOLLYWOOD, LA | 2003

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ABOVE MARION. PALOS VERDES, CA | 1998 RIGHT BRENT RADEMAKER AND MICHELLE LOISELLE, FRAUSDOTS.

DE LONGPRE PARK, HOLLYWOOD, LA | 2004

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LEFT AND ABOVE MIRANDA LEE RICHARDS. AT MY APARTMENT ON TALMADGE ST. LOS FELIZ, LA | 2002

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JOE STRUMMER “IF YOU’RE AFTER GETTING THE HONEY, HEY then you don’t go killing all the bees,” and the king bee of them all was Joe Strummer, legendary founder of the even more legendary band, The Clash. Tim Armstrong signed Joe Strummer to his label Hellcat. They invited me to do some press portraits of Joe at the historic Chateau Marmont. The Chateau has attracted actors, musicians, and moviemakers since forever with its aura of Hollywoodland; it’s a place where dreams begin, come true, and yes, end. Shooting Joe? That fell into the dreams really do come true category for me. After valet parking my VW Golf, I headed for the tiny elevator. As I waited for the door to close, who jumped in but Leonardo DiCaprio, at the peak of his Titanic fame and beauty. It feels like these kinds of things happened every minute at “the Chateau,” as it’s often called, and it seemed an auspicious start to the day. I met Joe, who had a new band, The Mescaleros, in his suite. He welcomed me warmly as he sat rolling a cigarette. He was obsessed with the hotel’s history, so he led me downstairs to take photos in all his favorite places. He was like a kid: “That was where James Dean tried to sneak into Marilyn Monroe’s room from the roof! This was where Led Zeppelin took those classic photos.” Joe was a dream to photograph. He knew how to be in front of a camera and wasn’t afraid to work it. Toward the end of the shoot, he was sitting at a little cafe table on a secluded patio. I was pretty nervous and apologized for the shoot taking so long. He looked at me with his kind eyes and said, “You can’t rush art, baby,” and my anxiety evaporated. Joe was a hero to so many, and his words were soothing to me. I hold onto his mantra to this day.

RIGHT AND 42–43 JOE STRUMMER. RELAXING ON THE PATIO OF THE CHATEAU MARMONT, LA | 1999

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44-45 GREG LEE, HEPCAT, AND TIM ARMSTRONG, RANCID. BACKSTAGE AT JOE STRUMMER’S SHOW, THE PALACE THEATRE, LA | 1999 ABOVE SLEATER-KINNEY NELS CLINE, CARLA BOZULICH, AND YAMANTAKA EYE. WATCHING FROM SIDE STAGE RIGHT KIM GORDON, SONIC YOUTH. THIS AIN’T NO PICNIC, OAK CANYON RANCH, IRVINE, CA | 1999 48-49 THE (INTERNATIONAL) NOISE CONSPIRACY. EL REY THEATRE, LA | 2001

46

THE BRIAN JONESTOWN MASSACRE

“They look exactly how a

DID YOU EVER STARE DANGER IN THE FACE? For me it was The Brian Jonestown Massacre. The BJM were the first band I ever wanted to play at my club, Cafe Bleu—and they did! When I was at San Francisco State, I remember seeing Anton and the band walking around and I thought, woah, who are those guys? They look exactly how a rock ‘n’ roll band should look— dangerous. They sound exactly how your new favorite band should sound: dreamy, experimental, and yet again, dangerous. There was no way you could mistake them for anything else but a band (or possibly a gang). They definitely looked the part. When Strung Out in Heaven came out in 1998, I had the cassette in my car. I was driving around with Matthew Kelly from The Autumns playing it and he said, “Who is this?” He couldn’t believe it. Everyone who understood the music influences spiraling into The BJM were blown away by what emerged from them: shoegazey, dreamy, and Stonesy. Reimagined.

ABOVE THE BJM. BLACK MARKET MUSIC, LA | 2001 RIGHT ANTON. SXSW, AUSTIN, TX | 2005 52-53 THE BJM. OUTSIDE BLACK MARKET MUSIC, LA | 2001

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rock ‘n’ roll band should look—dangerous. They sound exactly how your new favorite band should sound: dreamy, experimental, and yet again, dangerous.”

I was hanging out with the filmmaker Ondi Timoner a lot of the time while she was filming Dig! (a must-see for any indie music lover). Though the documentary portrays the rivalry, love, and hate between The Dandy Warhols and The BJM, it also paints a picture of the crazy time, the giant egos, and the way indie was getting sucked up by the corporate mainstream. The film put The BJM on the map and introduced them to many loyal fans. Because of their reputation, shooting The Brian Jonestown Massacre turned out to be very different than what I was expecting. Going into it, I was intimidated by Anton’s infamy in our small indie scene with rumors of an explosive nature and a difficult personality. But it was actually quite the opposite! Anton, Jeff, and Frankie were sweet, relaxed, accommodating, and very much wanting to make some cool images. The psychedelic space rock desert days scene owes it all to Anton, although I’m sure some would beg to differ. But like he says in Dig!, wearing roller blades in New York City while playing guitar, “I wanna start a revolution!” And he did.

A Rush of Blood to the Head was blowing up when I was asked to photograph Coldplay for

Filter magazine. I asked Chris if he wanted to do a jumping shot and he said “no.” I said, “That’s cool; if you can’t jump, I get it.” He quickly replied, “I CAN jump!” “Ok, prove it,” I challenged. He stepped back, ran, and jumped like a gazelle. After several shots, my Hasselblad back kept winding past twelve frames when I realized I had no film in my camera! I secretly reloaded, got the shot, and it became the cover! We also recreated a window portrait shot here as a tribute to Led Zeppelin.

ABOVE AND RIGHT COLDPLAY. CHATEAU MARMONT, LA | 2002

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LEFT BADLY DRAWN BOY. AMOEBA RECORDS, HOLLYWOOD, LA | 2002 ABOVE BRIAN REITZELL, JASON FAULKNER, AND ROGER

MANNING JR., TV EYES. THE ECHO, LA | 2004

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ABOVE RADIO 4. FLUSHING, QUEENS, NYC | 2006 RIGHT MODEST MOUSE. FOR FILTER MAGAZINE, THE HOLLYWOOD ROOSEVELT HOTEL, LA | 2003

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LEFT AND ABOVE HOT HOT HEAT. VICTORIA ISLAND, CANADA

| 2003

This was shot at the Cherry Bank Hotel on Victoria Island, Canada, where the Hot Hot Heat are from. I was so naive in thinking how cool it would be to photograph the band in what looked like an early Wes Anderson movie set, and set fire to the plates with lighter fluid because, hey, they were the Hot Hot Heat after all. My early pyro days as a kid were able to come out again. The photo above was shot as the plates of fire somehow exploded, and the band all jumped out of the way! Thankfully, I didn’t burn it down.

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LEFT KASABIAN. FOR SWINDLE MAGAZINE AS THE BEATLES “BUTCHER COVER” | 2005 ABOVE THE SHINS. FOR MOJO MAGAZINE, MARCEL HOTEL, GRAMERCY PARK, NYC | 2003

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For a girl running a Britpop club, getting an assignment to shoot Richard Ashcroft in London was almost too good to be true. We met outside the gates of Richmond Park, just next to Pete Townshend’s mansion. I waited in the cold holding my camera bag; Richard was known as “Mad Richard” in the press, and I expected him to be an intimidating and moody subject. But when a silver Mercedes SUV pulled up, Richard was at the wheel, smoking, with his publicist beside him. I climbed into the back and squeezed between two children’s car seats as he drove us into the park, making silly off-color jokes. There was baby paraphernalia everywhere, but it didn’t bother me at all. It seemed sweet to think of this iconic rock star driving around with little ones in the back going crazy. When it came time for the shoot, he slipped right into the creative zone with me. We found a spot along the side of the road, and wandered into the park. Richard took the lead and I followed, snapping away. It had recently snowed, and there were little spotted deer roaming about. It felt magical. Visually, he’s a stunning-looking individual, and he created a sound like no other, but there in the park he was just an artist—more of a collaborator than a passive subject. At one point he noticed the burnt-out tree, and he jumped into it and said, “How about this?” Bang! That was the shot.

LEFT RICHARD ASHCROFT. FOR FILTER MAGAZINE, RICHMOND PARK, LONDON | 2003 66-67 SUPERGRASS. FOR FILTER MAGAZINE, LONDON | 2003

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TAKE ME OUT AND GO OUT WE DID! THERE WAS an exciting scene happening. It took place at night and went into the wee hours. I saw the same usual suspects everywhere; traveling between New York City, San Francisco, Miami, London, and Los Angeles, supporting each other and going to each other’s parties, shows, and events. And because there wasn’t social media yet, everyone was present and able to engage with one another in whatever shenanigans were happening. Shooting bands put me under a spell. I felt closer to the music when I was right in front of the stage. I didn’t even care what the photos looked like. It was fun for me to be pushed around in the front row while artists performed their sets, capturing a moment that I might one day want to use in a book. Did I say I’m never nostalgic while something is taking place in the moment? Guess I lied.

LEFT THE DATSUNS. THE TROUBADOUR,

WEST HOLLYWOOD, LA | 2003

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FOXYGEN “I LEFT MY LOVE IN SAN FRANCISCO, THAT’S OK. I was bored anyway.” Foxygen’s song “San Francisco” always makes me nostalgic for my home in the Bay. Their music transports me to strolling through Golden Gate Park on a psychedelic Sunday afternoon. When I arrived to the gig for soundcheck, it was a “happening.” They weren’t just a band hanging around waiting to play; they were more like a family of creative kids who found each other and wanted to create an experience. Watching this circus of characters prepare for their show reminded me of the backstage excitement of musical theater. The backup singers were sitting on the stage waiting to sound check, and when the music started, they went crazy dancing, singing, and channeling the Ikettes! The show was off the charts. I remember the singer, Sam France, jumping onto the drum riser, leaping up in the air, and landing hard on the ground. He didn’t flinch, so I assumed he was fine. After the show, he lay down backstage, so high off the adrenaline that he didn’t realize he had broken his arm. The power of music and performance is so intense it can mask pain. Or does the pain make the music more powerful?

ABOVE BACKUP SINGERS AND DANCERS, THE FOXYGENETTES. THE FONDA THEATRE, HOLLYWOOD, LA | 2014 RIGHT SAM FRANCE AND JONATHAN RADO. THE FONDA THEATRE, HOLLYWOOD, LA | 2014 72–73 SAM FRANCE. THE FONDA THEATRE, HOLLYWOOD, LA | 2014

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TOP STEVE AOKI. DJING SOMEWHERE IN LA | 2004 ABOVE MOUNT SIMMS. THE ECHO, LA | 2003 RIGHT MOONEY SUZUKI. SOUTHPAW, BROOKLYN, NYC | 2002 76–77 SPEAKERHEAD. PART OF MOUNT SIMS LIVE SHOW, THE ECHO, LA | 2003

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“Turn off the bright lights. The night Interpol played Roseland, I met Mick Rock

INTERPOL

and Casey Spooner. I was on

THEY HAD ME AT INTERPOL. AS SOON AS I

Smith had died. Libations

heard the name, I thought, oh this is gonna be good. How bold to name your band after the international organization that facilitates worldwide police cooperation and crime control! I had heard about them, but was just getting warmed up to their music when I was in NYC in 2002 with a bunch of friends for what ended up being the rained-out music festival Field Day at Giants Stadium. After the festival, we were somehow tipped-off to the fact that Interpol was doing a small bar/club gig at Plaid (see following page). The event was oversold, but for whatever reason, I heard Carlos Dengler, the bassist, wanted to meet

such a high. I got in a cab to 2A and found out Elliot were made throughout the night in honor of the indie king.”

me, so my friend Jessyca Estrada and I were the lucky ones who got into the coveted gig and passed the line of fans. I quickly said hello to Carlos before their set. He was down to earth, friendly, approachable, and not exactly what I would have expected from this militant, severelooking rock star in the making. I stood on his side of the stage with my camera as they performed their now iconic songs, mesmerized by what I was witnessing. Back then I didn’t realize how important this moment would be twenty years later. Turn off the bright lights. The night Interpol played at Roseland, I met Mick Rock and Casey Spooner. I was on such a high. I got in a cab to 2A and found out Elliot Smith had died. Libations were made throughout the night in honor of the indie king. The pop darkness Interpol conceived was getting every person who ever loved Joy Division back to the dance floor. Paul Banks’s strong, unique, deep voice was undeniable when he belted out “NYC” and everyone swooned. Worldwide cooperation and crime control? Done.

LEFT CARLOS DENGLER. THE ANDAZ HOTEL

(PREVIOUSLY THE RIOT HOUSE), HOLLYWOOD, LA | 2003 RIGHT PAUL BANKS. DURING CJM, ROSELAND BALLROOM, NYC | 2003 80–81 INTERPOL. PERFORMING LIVE ON A RAINY NIGHT AT PLAID, NYC | 2002

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LEFT BART DAVENPORT. TANGIERS, LA | 2007 ABOVE JOSÉ GONZÁLEZ. THE FONDA THEATRE, HOLLYWOOD, LA | 2007

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LEFT JACK MITCHELL, JOHNNY

MARR, IWAN GRONOW. THE EL REY THEATRE, LA | 2016

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THE KILLERS LET’S GO BOWLING AND SEE THE KILLERS. At SXSW (South by Southwest) in 2004, The Killers were definitely the big buzz band. Each year there’s always one or two bands that everyone is excited about, championing them to become the next big thing. I remember in 2002 it was the Yeah Yeah Yeahs, but in 2004, The Killers took the buzz to a whole new level. I photographed them at a fun retro bowling alley, which had a small impromptu stage set up for them to play. They really went for it, and I think everyone realized they just witnessed budding legends. The following morning I showed up with no sleep to a hotel room at the Omni and photographed them down and dirty against a white backdrop for a fashion advertorial. It’s great to see how far they’ve come, from the smallest name at the bottom of the Coachella flyer to headlining the festival. It’s such a thrill for me to witness so many bands go from zero to over the moon, taking no prisoners.

BELOW BRANDON FLOWERS. SAENGERRUNDE GERMAN BOWLING CLUB, AUSTIN, TX | 2004 RIGHT PORTRAIT FOR DIESEL JEANS ADVERTORIAL FOR FILTER MAGAZINE, OMNI HOTEL, AUSTIN, TX | 2004 88–89 SAENGERRUNDE GERMAN BOWLING CLUB, AUSTIN, TX | 2004

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BELOW AND BOTTOM THE CRIBS. FORBIDDEN PLANET, LA | 2005 RIGHT THE SMELL. DOWNTOWN, LA | 2005 92-93 PHANTOM PLANET.THE STANDARD HOTEL BASEMENT, DOWNTOWN, LA | 2002

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LEFT KAREN O, YEAH YEAH YEAHS. OPENING FOR THE JON SPENCER BLUES EXPLOSION, THE PALACE THEATRE, LA | 2002 ABOVE PEACHES. BENEFIT FOR HURRICANE KATRINA, EL CID, SILVERLAKE, LA | 2005

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ABOVE AND RIGHT HAR MAR SUPERSTAR. THE KIBITZ ROOM AT CANTER’S DELI, LA | 2002

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ABOVE ANIMAL COLLECTIVE. IN FRONT OF PETER SHIRE SCULPTURE BY THE TROUBADOR, HOLLYWOOD, LA | 2009 RIGHT THE TROUBADOR, HOLLYWOOD, LA | 2009

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LEFT ANGELINA MOYSOV AND TOM AYRES, PERSEPHONE’S BEES. LA | 2009 ABOVE ISAAC BROCK, MODEST MOUSE. THE ROOSEVELT HOTEL, LA | 2003

101

ABOVE JULIETTE LEWIS. EL REY THEATRE, LA | 2015 RIGHT MONIQUE POWELL, SAVE FERRIS. HARRAH’S, LAS VEGAS, NV | 2016

102

ABOVE PJ HARVEY. FOR MOJO MAGAZINE, SXSW, AUSTIN,

TX | 2009

RIGHT COURTNEY BARNETT. WAREHOUSE PARTY, DOWNTOWN,

LA | 2015

106–107 THE HORRORS AND THE KILLS. THE GLASSHOUSE,

POMONA, CA | 2009

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ABOVE JONATHAN DONAHUE, MERCURY REV. THE TROUBADOUR, LA | 2001 RIGHT BLOOD ORANGE. WEBSTER HALL, NYC | 2014

108

RIGHT THE JON SPENCER BLUES EXPLOSION. THE ECHO, LA | 2014

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LEFT AND ABOVE ROBERT LEVON BEEN, BLACK REBEL MOTORCYCLE CLUB. THE GLASSHOUSE, POMONA, CA | 2009 TOP BLACK REBEL MOTORCYCLE CLUB. THE GLASSHOUSE, POMONA, CA | 2009

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SCHMOOZE OR LOSE LIFE ON A WHEEL. THAT’S HOW THE industry and scene can feel. Like clockwork, my year started in March with SXSW (South by Southwest) in Austin, then WMC (Winter Music Conference) in Miami, and on to Coachella in April. The VMA (MTV Video Music Awards) party was over the summer, and then CMJ (College Music Journal) in NYC in October. Then repeat. The celebratory, late-night socializing and communing at gigs and industry events is what makes the music business move and shake. It’s still going, and it’s bigger than ever. Back in 2002, Kelly McCauley and Sheri Timmons— who did marketing for Levi’s— invented the “gifting suite.” They asked Alan Sartirana from Filter magazine if he knew of a photographer to take pictures of bands at SXSW at their first-ever Levi’s FADER Suite. Indie bands came in and were outfitted in the latest Levi’s styles, which they received for free and came to be known as “Freevi’s,” while Levi’s received an indie endorsement. LEFT THE WALKMEN AND THE FRENCH KICKS.

SXSW, THE OMNI HOTEL, TX | 2002

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When coming up with a concept to shoot the new indie bands for SXSW in 2002, we thought it would be fun to create a Lower East Side band apartment look for the photos. Only we were doing it in a modern hotel in the heart of Austin with barely a budget. Soon, making fun of rock ‘n’ roll clichés just started to happen organically, of course.

LEFT AND ABOVE BRENDAN BENSON AND HIS BAND.

FIRST LEVI’S FADER SUITE, SXSW, OMNI HOTEL, AUSTIN, TX | 2002 RIGHT STARSAILOR. FIRST LEVI’S FADER SUITE, SXSW, OMNI HOTEL, AUSTIN, TX | 2002

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CLOCKWISE FROM TOP LEFT THE REALISTICS. SXSW, 6TH ST, AUSTIN, TX | 2002 JOSH T. PEARSON, LIFT TO EXPERIENCE. SXSW, THE RITZ, AUSTIN, TX | 2001 THE WARLOCKS. SXSW, HARD ROCK CAFE, AUSTIN, TX | 2001 SOLEDAD BROTHERS. CBGBS ANNEX, NYC | 2002 LOOKOUT RECORDS CREW. 6TH STREET BACK ALLEY, AUSTIN, TX | 2002

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CLOCKWISE FROM TOP LEFT BRADY BALTEZORE, BLACK CAT MUSIC. THE HISSY FITS. ELBOW AND JOSH T. PEARSON. OK GO. THE WALKMEN. SXSW, OMNI HOTEL, AUSTIN, TX | 2002

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TOP LEFT THE BANGS. BOTTOM LEFT DENALI. ABOVE THE DATSUNS.

THE LEVI’S FADER SUITE, CMJ, CHELSEA HOTEL, NYC | 2002

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TOP BEN KWELLER. MIDDLE ISAAC BROCK, MODEST MOUSE. BOTTOM 2MANYDJS AND DJ HELL.

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TOP THE DAMN PERSONALS. MIDDLE THE RAVEONETTES. BOTTOM PRETTY GIRLS MAKE GRAVES.

TOP DJ DAVE P. MIDDLE REUBEN WU, LADYTRON. BOTTOM UGLY CASANOVA.

TOP JAMES SPOONER, AFROPUNK. MIDDLE ENON. BOTTOM HARD CORE/PUNK BAND.

125

ABOVE THE LOCUST. BELOW MOVING UNITS. BELOW RIGHT PEDRO MENA AND STEVE PESTANA,

SHOUT!. SXSW, AUSTIN, TX | 2003

ABOVE THE REALISTICS. RIGHT ELECTROCUTE. BELOW THE SOUNDS. SXSW, AUSTIN, TX | 2003

127

“Punk rock kids using a cowbell, saxophone, drum machine, and screaming

THE RAPTURE

vocals, The Rapture’s sound was urgent—you couldn’t deny it.”

GOTTA HAVE MORE COWBELL! THEY HAVE GOT what appears to be a dynamite sound! Punk rock kids using a cowbell, saxophone, drum machine, and screaming vocals, The Rapture’s sound was urgent—you couldn’t deny it. Underneath it all they were seemingly sweet, shy, understated, young men dressed in relatively preppy indie attire. Some with smiles. It almost seemed like they were not sure how to be in the world yet. Then a few hours later, we would be standing in the club, space, party, whererever, waiting for them to play their songs, and then bam. They would come out and just rock the crap out of the room as if the party demons had been unleashed. It was as though they had been waiting to play this one show in this one moment their entire lives, and we were there to witness it. Is it dance, disco punk, indie rock? It doesn’t matter; they are amazing. They say their influences range from Philip Glass to Bad Brains to the B-52s, and you cannot get more eclectic than that. Luke said in

an interview that not everyone gets them, but when I saw the dancefloor at my club fill up time after time, I had to disagree. There’s something so uplifting about their sound. It’s dark and euphoric at the same time. After these California boys moved to New York City and started going to hardcore dance clubs, they understood how to release the power of the beat. After dancing on a million dancefloors to “House of Jealous Lovers” and seeing them live so many times, I realized how powerful the percussive and driving sound of the cowbell is to get an audience on their feet. Along with their gorgeously layered vocals, they created something extraordinary over their five albums. Luke, Gabe, and Vito made innovative music (with DFA’s James Murphy, too) that in my world will exist for eternity.

LEFT VITO AND LUKE. WMC, CLUB REVOLVER,

MIAMI, FL | 2003

RIGHT VITO, LUKE, AND GABE. ROOFTOP OF THE

SOHO GRAND, NYC | 2002 130–131 THE RAPTURE. GO GLITTER AT JOHN STREET BAR AND GRILL, NYC | 2002

128

In August 2002, MTV hosted the Video Music Awards. Levi’s decided to hold a VMA after-party. Before the party they set up a gifting suite for the up-and-coming indie, underground musicians of the time. They rented the penthouse suite at the Soho Grand and invited everyone to come up, take photos, drink beer, hang out, and receive some jeans before the big party.

CLOCKWISE FROM TOP LEFT LIARS. JAMES MURPHY AND FRIEND. SUGAR CULT. SOLEDAD BROTHERS. FRENCH KICKS. WHITE LIGHT MOTORCADE. NORTHERN STATE. LEVI’S FADER SUITE, SOHO GRAND, NYC | 2002 134–135 MOONEY SUZUKI. LEVI’S FADER SUITE, SOHO GRAND, NYC | 2002

YEAH YEAH YEAHS IT’S FOREVER “OUR TIME.” HOW DO YOU EXPLAIN why you love a song so much? Journalists do it all the time, but I personally try to capture it with my camera. Certain songs conjure an emotion that makes one feel like they can do anything, and the Yeah Yeah Yeahs and their song “Our Time” had that effect on me the first time I heard it. Even now, twenty years later, I’m just as inspired every time I hear it. Karen’s explosive punk performance spoke for everyone in the scene at that moment, like she was channeling an entire generation. She hits that zone: the girl that gets up and shows everyone how it’s done. It’s incredible to watch her transform into the howling, growling, magical misfit she is on stage. The gig they played in a parking lot in Brooklyn in 2002 the day after the Levi’s VMA after-party was the perfect show of a weekend. That was their moment! They rocked hundreds of entranced kids. I was grateful that I was there to see the rebirth of cool.

LEFT LEVI’S FADER

LOWLIFE VMA AFTERPARTY | AUGUST 2002 RIGHT LEVI’S SOHO GRAND ROOFTOP | AUGUST 2002

RIGHT YEAH YEAH YEAHS PARKING-LOT SHOW, BROOKLYN, NYC | AUGUST 2002

138

TOP LEFT 2MANYDJS. CLUB REVOLVER, MIAMI, FL | 2003 BOTTOM LEFT PEACHES, MELISSA BURNS, W.I.T., OMAR PEREZ, JEFFREY FARE

(POOLSIDE), JOJO DE FREQ, DJ HELL, DAVID DEWAELE, SPIKY PHIL. CLUB REVOLVER, MIAMI, FL | 2003 ABOVE 2MANY DJS. CLUB REVOLVER, MIAMI, FL | 2003 142–143 CASEY SPOONER. CLUB REVOLVER, MIAMI, FL | 2003

141

PEACHES SCHOOLED BY PEACHES. I WAS AT SXSW IN 2001 with a photo pass from Rolling Stone. I wasn’t really shooting for the magazine—I just asked for a press badge so that I didn’t have to pay for the admission cost to the festival and they were totally cool about it. But don’t tell anyone. Oh how times have changed. I met up with my friend Jay Schatz. We walked into a dive bar and there she was, Peaches, standing on something next to a boombox, with a gold microphone plugged into a little speaker, screaming obscenities. I’m not a prude, but I wasn’t really used to a woman being so overtly crass, unrelenting, and uncompromising with her musical expression. But Jay instantly said, “This is the best fucking thing I’ve ever seen in my life! This is going to be huge!” I was fortunate to experience Peaches again in Miami at the WMC in 2003 at Club Revolver. As you see in the photographs, she is not afraid to put on a show and let you have it like an electroclash Iggy Pop, ragged and raw. Seeing Peaches and the other artists that night reminded me of the Yeah Yeah Yeahs playing at the parking-lot show in Brooklyn (see page 138) and witnessing an artist break out. It was such a fabulous time where everything still felt free, friendly, fun, and unpretentious. Everyone was there because of the music, and that was it. I am not dissing how things are today, but the world has evolved into a very different place.

RIGHT PEACHES. SXSW, AT A DIVE BAR, AUSTIN, TX | 2001 146 TOP LEFT PEACHES SINGS DOWN TO CASEY SPOONER 146 BOTTOM LEFT FACES IN THE CROWD 147 PEACHES PERFORMS WITH A DJ CREW BEHIND HER | 2003

144

ABOVE BRITT DANIEL, SPOON. SXSW, 1-35, AUSTIN, TX | 2005 RIGHT SUNE ROSE WAGNER AND SHARIN FOO, THE RAVEONETTES.

AUSTIN, TX | 2005 150–151 TV ON THE RADIO. LOWER EAST SIDE, NYC | 2003

148

CLOCKWISE FROM TOP LEFT

REUBEN WU OF LADYTRON. EVERYBODY ELSE. BETTIE SERVEERT. THE EXPLOSION. PRETTY GIRLS MAKE GRAVES. THE FEVER. THE BRONX. COMMUNIQUE. THE PLEASED. ENON. FAR RIGHT THE ROGERS SISTERS. LEVI’S FADER SUITE, CMJ, LOWER EAST SIDE, NYC | 2003

Indie bands make for a perfect window dressing! What an incredible cross-section of artists to shoot.

152

LEFT LCD SOUNDSYSTEM. ABOVE M.I.A. LEVI’S FADER

SUITE, SXSW, AUSTIN, TX | 2005

155

TOP PAUL EPWORTH. | 2005 MIDDLE WHIRLWIND HEAT.| 2004 BOTTOM BLOC PARTY. LEVI’S FADER SUITE,

NYC | 2005

156

TOP THE LASHES. | 2004 MIDDLE THE FUTUREHEADS.| 2005 BOTTOM THE ORDINARY BOYS. LEVI’S FADER SUITE, NYC | 2005

TOP SLEATER-KINNEY. | 2005 BOTTOM ELKLAND (SOON TO BE

THE DRUMS). | 2004 LEVI’S FADER SUITE, NYC | 2005

TOP ASH. | 2005 MIDDLE THE LIKE. | 2004 BOTTOM KAISER CHIEFS. LEVI’S FADER SUITE, NYC | 2005 158–159 THE BRAVERY. CMJ, PLAID, NYC | 2006

157

NO SLEEP ’TIL MONDAY “OH, IS THIS THE WAY THEY SAY the future’s meant to feel? Or just twenty thousand people standing in a field.” This Pulp lyric alludes to how the Brits taught us a thing or two about the festival culture. I had no idea when Shalyce and I went to Glastonbury in 1997 that it would be a preview of the California desert. Coachella was born in 1999, and, as we know, a game changer in the world of music festivals. Photographing Coachella can be an emotional dichotomy. The anticipation of the music, shooting, friends ... it’s awesome! I’m not afraid of working hard, but running from stage to stage with heavy cameras, not wanting to miss a band, and the fear of missing a shot can be stressful. But standing in front of those big stages (and small) grabbing for focus as fast as the musicians move is an indescribable high. Regardless of how massive Coachella has become, the essence of the festival has, and will always be, rooted in its creators’ indie spirit. LEFT AN EXCITED CROWD FOR JUSTICE.

COACHELLA, INDIO, CA | 2012

161

ABOVE AND RIGHT IGGY POP. COACHELLA, INDIO, CA | 2001

162

ALL IMAGES THE STROKES. COACHELLA,

INDIO, CA | 2002

I’ve always loved this image of bassist Steve Mackey of Pulp standing in green lasers, but couldn’t remember which year of Coachella I took it. Then, when Steve passed away this year, I looked for images of him to send to the UK and there it was.

ABOVE THE LATE AND VERY LOVED STEVE MACKEY. RIGHT JARVIS COCKER, PULP. COACHELLA, INDIO, CA | 2012

166

The night The Libertines played Coachella the power went out and everyone was bummed! When we finally got to see them play, they were cut short. Thankfully for us nerds, Goldenvoice found another slot for them in the lineup, so we saw them twice.

ABOVE AND RIGHT PETE DOHERTY AND CARL BARÂT, THE LIBERTINES. WITH CARL BARÂT SEIZED BY A FAN. COACHELLA, INDIO, CA | 2003

168

LEFT MATT BELLAMY, MUSE. COACHELLA, INDIO, CA | 2010 ABOVE JENNY LEWIS, RILO KILEY. COACHELLA, INDIO, CA | 2008

171

I could see her hands trembling as she put her little ballet slippers on, off, and on again. Amy Winehouse at Coachella was a special moment. I could barely make it into the photo pit because it was more packed than I’d ever seen. People were Amy-obsessed and hungry for her unique style, not only the music but her whole look and her punk, retro, goddess energy. I’m pretty sure she was sober, which explains some of the stage fright. But as soon as the music started, she gave her all to the performance. She owned it, charming the audience in between every song. Amy was definitely one of a kind—frail but so strong, and at only twenty-three years old, absolutely timeless. Looking at this photograph now I see a girl who was given a tremendous gift that she was sadly unable to handle. Unfortunately, Amy’s light burned a little too bright, and we still miss her.

LEFT AMY WINEHOUSE. COACHELLA, INDIO, CA | 2007

173

LEFT RICHARD ASHCROFT, THE VERVE. COACHELLA, INDIO, CA | 2008 ABOVE IAN BROWN, STONE ROSES. COACHELLA, INDIO, CA | 2013

175

ABOVE AND RIGHT KAREN O, YEAH YEAH YEAHS. | 2006/2009

176

TOP THE (INTERNATIONAL) NOISE CONSPIRACY. MIDDLE MOS DEF. BOTTOM TIM BURGESS, THE CHARLATANS.

COACHELLA | 2002

178

TOP KELLY OSBOURNE. MIDDLE NOEL GALLAGHER AND GEM ARCHER, OASIS. BOTTOM CHALI 2NA, JURASSIC FIVE. COACHELLA | 2002

TOP PING PONG BITCHES. MIDDLE PERRY FARRELL, JANE’S ADDICTION, ETTY LAU FARRELL. BOTTOM PETE YORN. COACHELLA | 2002

TOP SAUL WILLIAMS. MIDDLE DJ PRINCESS SUPERSTAR. BOTTOM DAN THE AUTOMATOR. COACHELLA | 2002

179

180–181 RADIOHEAD. COACHELLA, INDIO, CA | 2012 LEFT PALMA VIOLETS. COACHELLA, INDIO, CA | 2013 ABOVE IO ECHO. COACHELLA, INDIO, CA | 2013 184–185 EMILY HAINES AND JAMES SHAW, METRIC.

COACHELLA, INDIO, CA | 2008

183

ABOVE MEG WHITE, THE WHITE STRIPES. COACHELLA, INDIO, CA | 2003 RIGHT JACK WHITE. PLAYING DRUMS WITH THE DEAD WEATHER. COACHELLA, INDIO, CA | 2010

186

LEFT ST. VINCENT. COACHELLA, INDIO, CA | 2012 ABOVE ALISON MOSSHART, THE DEAD WEATHER. COACHELLA, INDIO, CA | 2010 190–191 J. TILLMAN, AKA FATHER JOHN MISTY. COACHELLA, INDIO, CA | 2015

189

190

191

ABOVE JUSTICE. COACHELLA, INDIO, CA | 2010 194–195 LCD SOUNDSYSTEM. COACHELLA, INDIO, CA | 2010

192

LEFT BETH DITTO, GOSSIP. COACHELLA, INDIO, CA | 2010 ABOVE BJÖRK. COACHELLA, INDIO, CA | 2007

197

LEFT ALEX TURNER, ARCTIC MONKEYS. COACHELLA, INDIO, CA | 2012 ABOVE CASEY SPOONER, FISCHERSPOONER. COACHELLA, INDIO, CA | 2003

199

SMILE LIKE YOU MEAN IT THIS IS MY FAVORITE SECTION OF THE BOOK,

because it’s what I like to do most as a photographer: come up with ideas for portraits, scenes, looks for hair and makeup, create a shot list, and spend a day (or twenty minutes) collaborating with the musicians. When I shot this photo of VHS or Beta it was during The Kentucky Derby. They had an idea to do a photo of them having a formal meal on top of a building with the derby’s opening-day fireworks as a backdrop. I thought, how the hell am I gonna make that happen with only a few hours to prep in addition to police and people everywhere? I felt helpless. So I started to meditate, pray, whatever you want to call it. I asked. I opened my eyes and I looked up and saw a person, looking over the side of a building on the river. I yelled to them to let me up. They did it! And the building on the top floor happened to be a storage room for restaurant furniture and supplies. Thank you, God. LEFT VHS OR BETA. THUNDER OVER

LOUISVILLE, LOUISVILLE, KY | 2007

201

LEFT AND ABOVE THE RAKES. SHOT FOR FILTER MAGAZINE

AT ACTOR AND FRIEND ERIC SZMANDA’S HOUSE, LA | 2005 (SID VICIOUS PAINTING BY JACKIE STANTON)

203

LEFT JOHN CALE, THE VELVET UNDERGROUND. AT HIS STUDIO

IN DOWNTOWN, LA | 2012

ABOVE LAEL NEALE. DOWNTOWN, LA | 2013

205

IRON & WINE I COULD FILL A WHOLE BOOK WITH SAM BEAM, of Iron & Wine. I absolutely love photographing Sam, and it was really hard to decide what to include here because we ended up working together a lot. In 2008, Mojo magazine invited me to do a feature on Sam. I showed up at his compound in Dripping Springs, Texas, just outside Austin, and the serene world he created there was divine and just rustic enough, his own Shangri-la. So many amazing places to capture such a photogenic, soft-spoken, lovely man. I knew I was in very special company, and the photos from the day reflect that. I shot the portrait on the opposite page when Sam was in shooting in the studio. It’s always Hollywood to play at The Masonic so fascinating how imagery can Lodge. We spent some time together manifest in a mystical way, on its own. Similar to when a songwriter downloads their song and it is born, photos do the same. Yes, we put the person in the place to be photographed, but somehow the photo magically mirrors the sentiment of the music so well. I was finishing up SXSW in 2010 when Sam’s manager and my good friend, Howard Greynolds, asked me to head out to a peacock farm outside Austin and take press photos of Sam for his new record, Kiss Each Other Clean. We did lots of photographs with actual peacocks, but then I looked across the river and saw a boat on the dock. I drove over, and it turns out the nice people that owned it were big Iron & Wine fans and art collectors. Serendipity! They were so kind, and they let us shoot in their exquisite house wherever we wanted and take the boat out, too. It’s these types of unexpected, positive experiences that make my job the best in the world. TOP SAM BEAM. AT HIS HOME IN DRIPPING

SPRINGS, TX | 2008

LEFT AUSTIN, TX | 2010 RIGHT SUPER STAR STUDIOS, LA | 2008 208-209 AUSTIN, TX | 2010

206

ABOVE STEWART LUPTON, JONATHAN FIRE*EATER. AFI THEATER, WASHINGTON, D.C. | 2007 RIGHT ED HARCOURT. LAS VEGAS, NV | 2007 212–213 LAENA MYERS-IONITA, MARK OLIVER “E” EVERETT, AND LAEL NEALE, EELS. ECHO PARK, LA | 2012

210

PRIMAL SCREAM IMAGINE MUSIC THAT MAKES YOU WANT TO DO BAD things. That’s Primal Scream. I went to see them for the first time at House of Blues in West Hollywood in 2000 when their album XTRMNTR came out. Bobby Gillespie had an intense, powerful, playful, and sometimes scary energy in his performance. Like, I want to entertain you, make you dance, and sing along while intimidating you at the same time. I loved it so much, and I went to see them at the Reading Festival in England that year, and then again for New Year’s Eve at the Alexandra Palace in London. So you can imagine how thrilled I was to receive the call to photograph Bobby and company in San Diego for Filter magazine. Bobby still had the rock ’n’ roll mystique about him, but was very sweet and approachable, not intimidating at all. He was really up for doing photos and wanted them to be as great as I did. I loved what he was wearing and complimented him on it. He said it was St. Laurent and then followed up with, “I’m a punk rocker.” Bobby performs for the audience, but never forgets about the camera pointing in his face.

ABOVE BOBBY GILLESPIE WITH SIMONE BUTLER. BELLY UP

TAVERN, SAN DIEGO, CA | 2013

RIGHT SOLANA BEACH, SAN DIEGO, CA | 2013 216-217 BACKSTAGE AT THE BELLY UP TAVERN | 2013

214

215

LEFT !!! (CHK CHK CHK). NEW BEVERLY CINEMA, LA | 2013 ABOVE KEVIN DREW, BROKEN SOCIAL SCENE. TORONTO, CANADA | 2010

219

ABOVE AUTOLUX. FOR FILTER MAGAZINE AT APOLLO STAAR STUDIOS,

LA | 2004

RIGHT LUCIUS. WERKARTZ STUDIOS IN DOWNTOWN, LA | 2015 222–223 RIDE. RECORDING AT VALE STUDIOS, PERSHORE,

WORCESTERSHIRE, UK | 2014

220

LEFT AND ABOVE KT TUNSTALL. FOR HER ALBUM WAX, AVALON STUDIOS,

DOWNTOWN, LA | 2016

225

LEFT AND ABOVE DEVENDRA BANHART. FOR MOJO MAGAZINE, 3RD STREET TUNNEL

AND SPIRITUAL STORE, DOWNTOWN, LA | 2009

228–229 JEFF AND SPENCER TWEEDY. ON A ROOFTOP IN CHICAGO, IL | 2014

227

“I asked my stepkids if they liked to listen

PAVEMENT GOOD OLD DRIZZLY PORTLAND, OREGON. AT one time, it felt like every indie band was living there or moving there: The Shins, Modest Mouse, Pavement, Dandy Warhols, Sleater Kinney, the Cribs, Johnny Marr; was I missing something down in the sunshine? I first started listening to Pavement in the mid-90s. I was captivated by the lo-fi, stripped down, unconventional melodies and whimsical choruses, and I was hooked on how it made me feel when I listened to them. Things were changing, and people were becoming more open to self-made and recorded music. This hadn’t really happened too much before. Mojo magazine hit me up and asked me to go to the Northwest to photograph Pavement, as they were getting back together to tour and play a headlining spot at Coachella. This was an amazing ask because I know how much Pavement meant to people. The excitement about their reunion was undeniable in the music

to Pavement, and their response in unison was, ‘Well show me a word that rhymes with pavement, and I won’t kill your parents, and roast them on a spit.’”

community. So when I flew to Portland I felt excited to be in the room where this coveted group was going to be practicing their set for the first time in ages. On the recommendation of Alicia Rose, a filmmaker and photographer friend of mine and queen to all things Portland, I booked a room at the motel Jupiter connected to the venue Doug Fir. The first day I drove around to figure out where to photograph them. Of course, it was raining and the rain didn’t stop. I found a concrete space right by their rehearsal studio that I wanted to shoot at. I liked it because, well, it had a lot of, dare I say, pavement? When we met up for the shoot it was still raining, and I didn’t want to do the photos inside the uninspiring interior of where they were practicing. I kept praying it would stop raining before the shoot, and lo and behold, as soon as it was time, the sun came out, and there was a rainbow behind the concrete slabs in the abandoned lot. Hallelujah, we got some shots, somewhere under that rainbow. I asked my stepkids if they liked to listen to Pavement, and their response in unison was, “Well show me a word that rhymes with pavement, and I won’t kill your parents, and roast them on a spit.” LEFT STEPHEN MALKMUS. SOUTHEAST PORTLAND, OR |

2010

RIGHT AND 232–233 PAVEMENT. SOUTHEAST PORTLAND,

OR | 2010

230

233

LEFT SHAUN RYDER, HAPPY MONDAYS. ERIC SZMANDA’S PALM SPRINGS HOME | 2007 ABOVE CHAN MARSHALL, “CAT POWER.” SILVER LAKE, LA | 2008 236-237 BEN LEE. SHOT ON COLOR INFRARED FILM, HOLLYWOOD, LA | 2004

235

LEFT HENRY ROLLINS. NICHOL’S CANYON, LA | 2014 ABOVE WOLFMOTHER. WERKARTZ STUDIOS, DOWNTOWN, LA | 2015

239

ABOVE FARIS BADWAN, THE HORRORS. THE FONDA THEATRE, LA | 2009 RIGHT THE HORRORS. THE FONDA THEATRE, LA | 2009 242–243 JULIAN CASABLANCAS. THE REGENT THEATRE, DOWNTOWN, LA |

2009

240

Muse used to come across as very serious to me. But looking back at the images I took from this day, they were definitely trying to contain their laughter, which is always the sign of a good shoot! I remember organizing record release parties for them at Cafe Bleu in the late ’90s. Then, one day when I least expected it, they stepped into the role of the most powerful live band with massive rock hits that compel you to scream their lyrics while no one is watching.

LEFT AND ABOVE MUSE. FOR FILTER MAGAZINE, THE ROOSEVELT HOTEL, LA | 2006

245

ABOVE GLEN HANSARD AND MARKÉTA IRGLOVÁ, THE SWELL

SEASON. BACK ALLEY, DENVER, CO | 2008

RIGHT J. TILLMAN, AKA FATHER JOHN MISTY. MY BACKYARD IN

ATWATER VILLAGE, LA | 2007

246

BECK BECK REPRESENTS THE INDIE SPIRIT AS MUCH, or more, than anyone. It’s not just about what kind of label you are on; it’s about doing your music, art, photos, albums, tours, and everything in between your way and not conforming to others’ expectations. Beck’s personal vision could only be created by him, because it’s so unique and innovative in everything he does. It was pouring rain the day we met for a Mojo magazine shoot for his album Guero, but we pulled it off because he is always easy to be around and cracks me up. If you listen to Beck, you know he’s hilarious. We made some classic shots that rainy day at Cactus Tacos!

ABOVE AND RIGHT BECK. HOLLYWOOD, LA | 2005 250–251 LOS FELIZ, LA | 2013 252–253 LAENA MYERS-IONITA AND Z BERG, THE LIKE.

LEIMERT PARK, LA | 2011

248

253

I was blown away the first time I saw the Jim Jocoy photography book We’re

Desperate of punk kids mostly taken at The Masque in Hollywood in the 1970–80s. The raw power of the unbridled, wild youth is the only way to describe it. The Cribs performance and music felt the same way, which gave me the idea to photograph them at The Smell, the new place for kids at the time. History repeats . . .

LEFT ROSS, GARY, AND RYAN JARMAN, THE CRIBS.

THE SMELL, DOWNTOWN, LA | 2005

ABOVE ROSS JARMAN, THE CRIBS. THE SMELL,

DOWNTOWN, LA | 2005

255

ABOVE AND RIGHT JULIETTE LEWIS FOR SWINDLE MAGAZINE.

WILD CARD BOXING, HOLLYWOOD, LA | 2007

256

ABOVE DEATH CAB FOR CUTIE. THE VILLAGE STUDIOS, WEST LA | 2005

258

ABOVE FLAMING LIPS. THE XINGOLATI GROOVE CRUISE, ENSENADA, MEXICO | 2005

260

“Whenever I am in need of more energy to get through my morning run or

JOHNNY MARR

find myself searching for spiritual answers, I think, what would Johnny do?”

WHAT CAN I SAY ABOUT THE INIMITABLE Johnny Marr that isn’t already known? I mean, he’s a Smith for God’s sake! I have always been a massive fan. The innovative guitar parts and song writing he’s contributed musically have influenced millions! So many of his songs are cellularly ingrained in my being and everyone else’s. The sounds he created define a generation. Not many guitarists can say that. Hearing him now transports me. All of the sudden, I am back cutting school with my friends, smoking Ultra Lights, drinking diet soda, dancing around the boombox in the middle of town, and singing those songs of desperate love and heartache. The way he makes his guitar sing is as catchy as any lyric or chorus. Johnny Marr conjures and creates the most unique guitar sounds. Even talking about his influence makes one become poetic.

In 1998, some mutual friends brought him to my club. He was surprisingly humble and very approachable. We all got to have some special time with him, which was just so unforgettable for all of us who were there. We’ve remained friends because we share a musical family. I have photographed a lot of the artists he’s produced, and I’m still friends with those bands to this day as well. I see him perform every time he is in LA, and oftentimes we do a shoot or just hang out and catch up. The level of humility he naturally embodies is enviable. Whenever I am in need of more energy to get through my morning run or find myself searching for spiritual answers, I think, what would Johnny do? Shoots with Johnny are effortless and fun, but when he is in front of the camera, he is like Joe Strummer. He’s there to make something interesting and cool happen, to create a vibe, to do the work. It’s inspiring to be around him. His energy is infectious. And when he’s on stage, he’s fierce as fuck! There really is no one else like him.

LEFT JOHNNY MARR. COACHELLA, INDIO, CA | 2013 RIGHT EL REY THEATRE, LA | 2016 264–265 MONTY BAR, LA | 2018

INDEX 2manydjs, 124, 140, 141 The 1975, 12–13 ! ! ! (Chk, Chk, Chk), 218

A AFI Theater (Washington, DC), 210 Afropunk, 125 American Legion Hall (Hollywood), 23 Amoeba Records (Hollywood), 56 Andruzzi, Gabriel, 129, 130–131 Animal Collective, 98, 99 Aoki, Steve, 74 Apollo Staar Studios (Hollywood), 32, 34, 220, 266 Archer, Gem, 178 Armstrong, Tim, 44–45 Ash, 157 Ashcroft, Richard, 64–65, 174 At the Drive-In, 26, 27 Atwater Village (Los Angeles), 247 Autolux, 220, 266 Avalon Studios (Los Angeles), 224–225 Ayres, Tom, 100

B Badly Drawn Boy, 56 Badwan, Faris, 240, 241 Baltezore, Brady, 120 The Bangs, 122 Banhart, Devendra, 226–227 Banks, Paul, 80–81 Barnett, Courtney, 104–105 Basement Jaxx (Hollywood), 22 Beam, Sam, 206, 207, 208–209 Beck, 248, 249, 250–251 Been, Robert Levon, 112–113 Bellamy, Matt, 170 Belly Up Tavern (San Diego, CA), 214, 216–217 Benson, Brendan, 116 Berg, Z, 252-253 Bettie Seveert, 152– 153 Bianca, 17 Bixler-Zavala, Cedric, 26, 27 Björk, 197 Black Cat Music, 120 Black Keys, 10–11 Black Market Music

(Los Angeles), 50, 52–53 Black Rebel Motorcycle Club, 112–113 Bloc Party, 156 Blood Orange, 108–109 Bozulich, Carla, 46 The Bravery, 158–159 The Brian Jonestown Massacre, 50, 51, 52–53 Brock, Isaac, 1, 101, 124 Broken Social Scene, 219 The Bronx, 153 Brown, Ian, 175 Burgess, Tim, 178 Butler, Simone, 214 Buxton, Felix, 22

Journal), 122, 123, 124, 125, 152–153 Coachella (Indio, CA), 160–161, 162–163, 164–165, 166–167, 168–169, 170, 171, 172–173, 174, 175, 176–177, 178, 179, 180–181, 182, 183, 184–185, 186, 187, 188, 189, 190–191, 192–193, 194–195, 196, 197, 198, 199, 262, 268 Cocker, Jarvis, 166– 167 Coldplay, 54–55 Communique, 153 The Cribs, 90, 254, 254–255

C

D

Cactus Tacos (Hollywood), 248–249 Cafe Bleu, 16, 17 Cale, John, 204 Canter’s Deli (Los Angeles), 97, 98–99 Casablancas, Julian, 18–19, 28, 29, 30–31, 164, 242–243 Cat Power, 235 CBGBs Annex (New York City), 119 Chali 2na, 178 The Charlatans, 178 Chateau Marmont (Los Angeles), 40–41, 42–43, 54, 55 The Chelsea Hotel (New York City), 96, 122, 123, 124, 125 El Cid (Los Angeles), 95 Cline, Nels, 46 Club Revolver (Miami, FL), 128, 140, 141, 142, 146–147 CMJ (College Music

The Damn Personals, 124 Dando, Evan, 6–7 Daniel, Britt, 148 Dan the Automator, 179 The Datsuns, 68–69, 123 Davenport, Bart, 82 The Dead Weather, 187, 189 Death Cab for Cutie, 258–259 Denali, 122 Dengler, Carlos, 32, 78, 80–81 Dewaele, David, 140 Diesel Jeans Advertorial, 86–87 Ditto, Beth, 196 DJ Dave P, 125 DJ Hell, 124, 140 DJ Princess Superstar, 179 Doherty, Pete, 168 Donahue, Jonathan, 108 Drew, Kevin, 219 Dripping Springs (Texas), 206

LEFT AUTOLUX. FOR FILTER

MAGAZINE AT APOLLO STAAR STUDIOS, LA | 2004

Harvey, PJ, 104 Hepcat, 20–21, 44–45 The Hissy Fits, 120 The Hollywood Roosevelt Hotel (Los Angeles), 1, 2–3, 59 The Horrors, 106–107, 240, 241 Hot Hot Heat, 60–61 Hyde, Karl, 23, 24–25

I The (International) Noise Conspiracy, 48–49, 178 Interpol, 32, 78, 79, 80–81 Irglová, Markéta, 246 Io Echo, 183 Iron & Wine, 206, 207, 208–209 ABOVE LAENA MYERS-IONITA, MARK OLIVER “E” EVERETT, AND LAEL NEALE, EELS. ECHO PARK, LA | 2012

E “E,” 212–213, 267 The Echo (Los Angeles), 57, 74, 75, 76–77, 110–111, 267 Echo Park (Los Angeles), 212–213, 267 Eels, 212–213, 267 Elbow, 121, 267 El Cid (Los Angeles), 95 Electrocute, 127 Elkland, 157 The El Rey Theatre (Los Angeles), 17, 48–49, 84–85, 102, 263 Emerson, Darren, 23, 24–25 Enon, 125, 152 Epworth, Paul, 156 The Escarpment Studios (Los Angeles), 12–13 Everett, Mark Oliver “E,” 212–213, 267 Everybody Else, 152 The Explosion, 153 Eye, Yamantaka, 46

F Farrell, Etty Lau, 179 Farrell, Perry, 179 Faulkner, Jason, 57 The Fever, 153 Filter Magazine, 2–3, 6–7, 54, 59, 64–65, 86–87, 202–203, 220, 244–245, 266 Fischerspooner, 199 Flaming Lips, 260–261 Flowers, Brandon, 86–87, 88–89 The Fonda Theatre (Hollywood), 70–71, 72–73, 83, 240, 241 Foo, Sharin, 149 Forbidden Planet (Los Angeles), 90 Foxygen, 70–71, 72–73 The Foxygenettes, 70 France, Sam, 70–71, 72–73 Frausdots, 37 The French Kicks, 114–115, 132 The Futureheads, 156

The Glasshouse (Pomona, CA), 106– 107, 112–113 González, José, 83 Gordon, Kim, 46–47 Gossip, 196 Gronow, Iwan, 84–85

H Hansard, Glen, 246 Happy Mondays, 234 Harcourt, Ed, 211 Hard Core/Punk Band, 125 Hard Rock Cafe (Austin, TX), 119 Har Mar Superstar, 96, 97 Harrah’s (Las Vegas), 103

J Jane’s Addiction, 179 Jarman, Gary, 254–255 Jarman, Ross, 254–255 Jarman, Ryan, 254–255 Jenner, Luke, 128, 129, 130–131 John Street Bar and Grill (New York City), 130–131 Jonathan Fire*Eater, 210 The Jon Spencer Blues Explosion, 110–111, 267 Jurassic Five, 178 Justice, 160–161, 192–193

G Gallagher, Noel, 178 Girl, 140 RIGHT THE JON SPENCER BLUES EXPLOSION. THE ECHO, LA | 2014

267

Mercury Rev, 108 Metric, 184–185 M.I.A, 155 Misty, Father John, 190–191, 247 Mitchell, Jack, 84–85 Modest Mouse, 1, 59, 101, 124 Mojo Magazine, 10–11, 63, 104, 204, 226–227 Monty Bar (Los Angeles), 264–265 Mooney Suzuki, 75, 134–135 Mos Def, 178 Mossheart, Alison, 189 Mount Simms, 74 Moving Units, 126 Moysov, Angelina, 100 Mt. Simms Live Show, 74, 75, 76–77 Murphy, James, 132– 133, 146 Muse, 2–3, 170, 244– 245 Myers-Ionita, Laena, 212–213, 252–253, 267 ABOVE LCD SOUNDSYSTEM. COACHELLA, INDIO, CA | 2016

K

Kaiser Chiefs, 157 Kasabian, 62 The Kibitz Room (Canter’s Deli), 97, 98–99 The Killers, 86, 87, 88–89 The Kills, 106–107 Kweller, Ben, 124

L

Ladytron, 125, 152 The Lashes, 156 LCD Soundsystem, 154, 194–195, 268 Le Bon, Cate, 8–9 Lee, Ben, 236–237 Lee, Greg, 20–21, 44–45 The Lemonheads, 6–7 Le Parc Suite Hotel (Hollywood), 24–25 Levi’s FADER Suite (Omni Hotel), 116, 117, 154, 155 Levi’s FADER Suite (Chelsea Hotel), 122, 123, 124, 125, 152– 153, 156, 157 268

Levi’s FADER VMA After-Party (New York City), 18, 19, 136 Levi’s FADER Suite (Soho Grand), 132– 133, 134–135, 136–137 Lewis, Juliette, 102, 256–257 Liars, 132 The Libertines, 168–169 Lift to Experience, 116 The Like, 157, 252-253 The Locust, 126 Loiselle, Michelle, 37 De Longpre Park (Hollywood), 37 Lookout Records, 118 Lucius, 221 Lupton, Stewart, 210

M

Mackey, Steve, 166 Malkmus, Stephen, 230, 231, 232–233 Manning, Roger, Jr., 57 Marcel Hotel (New York City), 63 Marion, 36 Marr, Johnny, 14, 84–85, 262, 263, 264–265 Mena, Pedro, 126

N

Neale, Lael, 205, 212–213, 267 New Beverly Cinema (Los Angeles), 218 Newcombe, Anton, 50, 51, 52–53 Nichol’s Canyon (Los Angeles), 238 Northern State, 132

O

Oak Canyon Ranch (Irvine, CA), 26, 27, 46–47 Oasis, 178 O, Karen, 94, 136–137, 138–139, 176–177 OK Go, 121 Omar, 140 The Omni Hotel (Austin, TX), 86–87, 114–115, 116, 117, 121 The Ordinary Boys, 156 Osbourne, Kelly, 178

P

The Palace Theatre (Los Angeles), 44–45, 94 Palma Violets, 182

Pavement, 230, 231, 232–233 Peaches, 95, 140, 144–145, 146–147 Pearson, Josh T., 119, 121 Persephone’s Bees, 100 Pestana, Steve, 126 Phantom Planet, 92–93 Ping Pong Bitches, 179 Plaid (New York City), 80–81, 158–159 The Pleased, 152 (Poolside), Jeffrey Fare, 140 Pop, Iggy, 162–163 Powell, Monique, 103 Pretty Girls Make Graves, 124, 153 Primal Scream, 214– 215, 216–217 Pulp, 166–167

QR

Rademaker, Brent, 37 Radio 4, 58 Radiohead, 180–181 Rado, Jonathan, 70–71 Ragged Magazine, 252– 253 The Rakes, 202–203 Rancid, 44–45 The Rapture, 128, 129, 130–131 Ratcliffe, Simon, 22 The Raveonettes, 124, 149 The Realistics, 118, 127 The Regent Theatre

(Los Angeles), 242– 243 Reitzell, Brian, 57 Richards, Miranda Lee, 38–39 Richmond Park (London), 64–65 Ride, 222–223 Rilo Kiley, 171 The Ritz (Austin,TX), 119 Roccoforte, Vito, 128, 129, 130–131 Rodrigues-Lopez, Omar, 26, 27 The Rogers Sisters, 152 Rollins, Henry, 238 The Roosevelt Hotel (Los Angeles), 101, 244–245 Roseland Ballroom (New York City), 79 Ryder, Shaun, 234

S

Saengerrunde German Bowling Club (Austin, TX), 86, 88–89 Save Ferris, 103 S’Cool Girls, 35, 268–269 Secret Machines, 33 The Shins, 63 Shout!, 126 Sleater-Kinney, 46, 157 The Smell, 90–91 Smith, Rick, 23, 24–25 Soho Grand (New York City), 129, 132–133, 134–135, 136–137

Solana Beach (San Diego, CA), 214–215 Soledad Brothers, 119, 133 Sonic Youth, 46–47 The Sounds, 127 Speakerhead, 76–77 Spiky Phil, 140 Spoon, 148 Spooner, Casey, 142– 143, 199 Spooner, James, 125 Square Records (Akron, OH), 10–11 The Standard Hotel (Los Angeles), 92–93 Starsailor, 117 Stearns, Laurel, 33 Stone Roses, 175 The Strokes, 4-5, 18–19, 28, 29, 30–31, 164–165 Strummer, Joe, 28, 40–41, 42–43 St. Vincent, 188 Sugar Cult, 133 Sunset Ranch (Hollywood Hills), 8–9 Supergrass, 66–67 Super Star Studios (Los Angeles), 207 The Swell Season, 246 Swindle Magazine, 62, 256 SXSW (Austin, TX), 51, 104, 114–115, 116, 117, 118, 119, 120, 121, 126, 127, 144– 145, 148, 149, 154, 155 Szmanda, Eric, 202– 203, 234

T

Tangiers (Los Angeles), 82 This Ain’t No Picnic (Oak Canyon Ranch), 26, 27, 46–47 Thunder Over Louisville (Louisville, KY), 200–201, 269 Tillman, J., 190–191, 247 The Troubadour (Hollywood), 4–5, 28, 29, 30–31, 68–69, 108 Tsar, 34 LEFT S’COOL GIRLS. BAND’S

APARTMENT, HOLLYWOOD, LA | 2003

Tunstall, KT, 224–225 Turner, Alex, 198 TV Eyes, 57 TV on the Radio, 150– 151 Tweedy, Jeff, 228–229 Tweedy, Spencer, 228– 229

UV

Ugly Casanova, 125 Underworld, 23, 24–25 Vale Studios (Worcestershire, UK), 222–223 The Velvet Underground, 204 The Verve, 174 VHS or Beta, 200–201, 269 The Village Studios (Los Angeles), 258– 259 Vine Bar (Hollywood), 6–7

ABOVE VHS OR BETA. THUNDER OVER LOUISVILLE, LOUISVILLE, KY | 2007

White, Meg, 186 White Stripes, 186 Williams, Saul, 179 Winehouse, Amy, 172– 173 W.I.T., 140 WMC (Winter Music Conference), 128, 146–147 Wolfmother, 239 Wu, Reuben, 125, 152

XYZ

The Xingolati Groove Cruise (Ensenada, Mexico), 260–261 Yeah Yeah Yeahs, 94, 136–137, 138–139, 176–177 Yorn, Pete, 179

W

Wagner, Sune Rose, 149 The Walkmen, 114–115, 120 The Warlocks, 119 Webster Hall (New York City), 108–109 Werkartz Studios (Los Angeles), 221, 239 Whirlwind Heat, 156 White, Jack, 187 White Light Motorcade, 132 269

ACKNOWLEDGMENTS FIRST OF ALL, I WOULD LIKE TO THANK EVERY BAND in this book for all the music, good times, photo shoots, both live and in studio! To my husband, Will Dearborn, for supporting me through this crazy process of making a book and marrying me, and to my stepsons Langdon, Henry, and William, and my two dogs Joey and Little Guy. To my supportive family I give you all my love: Joe, Kathy, Mark, Wade, Laurie, Shannon, and Bryce Ferguson. To Shalyce Benfell for getting us going in all things indie and being my partner in crime and BFF. Howard Greynolds for bringing me into your music family and always believing in me. Phil Alexander and Matt Turner from Mojo magazine, who sent me off on many of my most epic shoots and allowed me to photograph so many legends and SXSW. Alan Sartirana for always believing in me and my work, giving me so many opportunities to shoot for Filter and FLOOD magazines, and making this book happen with all your help and support. Love you, man. Roger Gastman, Shepard and Amanda Fairey, and Sonja Teri from Swindle magazine, thank you! To the amazing photographer and musician Neal Casal, we miss you. Steffie Nelson, who also helped me get to the finish line. Laurel Stearns for being my friend and indie gig pal for over twenty-five years. Paul Martinez, Melissa Simonian, and Paul Craven for being my design gurus. Candice Lawler for getting me off to the races. Sheri Timmons for bringing me along for the Levi’s ride she created with Jon Cohen and FADER magazine. Apollo Staar for teaching me everything I know, holding my hand, and being there with me through all my beginnings; Marianne Nobmann for constant love and encouragement; and Monique Powell for taking care of me and being the Siren! To Edgar Wright for being such an inspiration to me and always supporting me. Thank you Alan Miller and Monique Gilbert of Collide for all the shoots 270

and support; Eric Szmanda for always letting me use his house for shooting bands; Kyra Reed for being my emotional rock; David Miyamoto for processing all my film for free; and Christine Biller for being my wingwoman on so many of these shoots, as well as all the gigs and latenight good times! Love you, sister! Robert English and Anthony Holland from Cornerstone FADER magazine for helping seal the deals; Reed Seifer for coming through for me in a pinch; Michael Meisel for making it happen; and Lisa Worden for giving me a KROQ chance! And special thanks to Mark Kates and Sophie Wilde for the support; Michelle Fleishli and Jessyca Estrada; Goldenvoice crew: Shaynee Lee Gordy, Stacy Vee, Paul Tollett, Derek Schaefer, and Donna Busch; my retouchers Olya Brovchenko, Chiara Merico, T.J. Huff, and Anastasiya Herasimava; Lisa Jenkins; Jen Herrera; Helen Yu; Gabriel Wyre; Cara Brophy; Charlotte Hatherley; Jen Beast; Miles Zuniga; Gordon Raphael; Dyana Kass; Gemma Massot; Leah Lehrer; Jessica Hundley; Kyle Goen; Adrian Amedeo; Beth Johnson; Maria Bermudez; Jay Schatz; Tamar Levine; Danny Clinch; Lindha Narvaez; Vance Burberry; Leigh Anderson; Caryn Weiss; David Zonshine; Billy Idol; Melissa Boggs; Anne Lee Huffman; Jeffrey Fare (Poolside); Thuy-An Julien; Caroline Ryder; Heather Scherbert; Cari Field; Molly Spooner; Jane D’Arensbourg; Jeaneen Lund; Paul Craven; Karen Levitt; Lindey Byrnes; JJ Lewis; Sarah Tomlinson; Iggi Ogard; Michele Reihel; Lily and Laurence; Joseph Brooks; Greg Garry; Michael Rababay; Dan Monick; Gordon Raphael; Kirk Harper; and Somsara and David Reilly. Thank you to Bing Sokolsky for the Twiggy photo from Melvin. And last but not least, to Insight Editions CEO and Publisher Raoul Goff, Weldon Owen Publisher Roger Shaw, and Senior Editor John Foster, thank you. To Bryn Walls for putting up with me while designing the book, and Laura Buller for all the great words!

ABOUT THE AUTHOR AS A PHOTOGRAPHER AND DIRECTOR, PIPER Ferguson’s work is defined by an electric relationship between high style and pure spontaneity. A Northern California native living in Los Angeles for two decades, she has been photographing musicians for twenty-five years, finding unique ways to capture the energy and essence of whoever is in front of her camera. Piper’s photographic journey began with her Brit pop club Cafe Bleu in Hollywood, where she booked the acts and documented every artist who stepped onto the stage. Beyond the vast array of indie musicians in this book, she has also photographed legends such as David Crosby, Merle Haggard, and Billy Idol, and pop stars like Usher and Haim. Her work has appeared in Rolling Stone, Filter, Mojo, and FLOOD magazines, and many other publications, and she has directed music videos for artists including Hepcat, Placebo, Radio 4, and Ed Harcourt.

Piper originally came to Los Angeles to work in film, and in 2020, she and her husband, Will Dearborn, formed the production company Noonday Underground to produce and direct their own projects. They are currently developing two narrative feature films, and Piper is also working on a documentary passion project that looks at the early indie scene through the lens of memoir and personal discovery. She Lives in La Cañada, just north of Los Angeles, with her family and two dogs, Joey and Little Guy. They hike to a tipi regularly and still go out to see as many shows and concerts as humanly possible.

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CREDITS an imprint of Insight Editions P.O. Box 3088 San Rafael, CA 94912 www.weldonowen.com

CEO Raoul Goff VP Publisher Roger Shaw Editorial Director Katie Killebrew Senior Editor John Foster Production Editor Maddison Rhoa VP Creative Chrissy Kwasnik Art Director Allister Fein VP Manufacturing Alix Nicholaeff Sr Production Manager Joshua Smith Sr Production Manager, Subsidiary Rights Lina s Palma-Temena Designed by brynwallsdesign Edited by Laura Buller Weldon Owen would also like to thank Mary Cassells for proofreading and Timothy Griffin for indexing. Text and Photography © 2023 Piper Ferguson Every effort has been made to correctly attribute all photographs reproduced in this book. If any error has been made unwittingly, Weldon Owen will correct it in future editions. All rights reserved. No part of this book may be reproduced in any form without written permission from the publisher. ISBN: 979-8-88674-046-2

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Insight Editions, in association with Roots of Peace, will plant two trees for each tree used in the manufacturing of this book. Roots of Peace is an internationally renowned humanitarian organization dedicated to eradicating land mines worldwide and converting war-torn lands into productive farms and wildlife habitats. Roots of Peace will plant two million fruit and nut trees in Afghanistan and provide farmers there with the skills and support necessary for sustainable land use.

CAPTIONS FOR PAGES: 1 ISAAC BROCK, MODEST MOUSE. BATHROOM OF THE HOLLYWOOD ROOSEVELT HOTEL, LA | 2003 2–3 MUSE. FOR FILTER MAGAZINE COVER, HOLLYWOOD ROOSEVELT HOTEL, LA | 2007 4–5 THE STROKES. THE TROUBADOUR, HOLLYWOOD, LA | 2001 6–7 EVAN DANDO, THE LEMONHEADS. VINE BAR, HOLLYWOOD, LA | 2006 8–9 CATE LE BON. SUNSET RANCH, HOLLYWOOD HILLS, CA | 2011 10–11 BLACK KEYS. FOR MOJO MAGAZINE, SQUARE RECORDS, AKRON, OH | 2008 12–13 THE 1975. THE ESCARPMENT STUDIOS, LA | 2013