The other night I watched this documentary, “Kill You Idols”, that bills itself as “Thirty years of alternative NYC rock n’ roll”. Sounded pretty enticing to me, so I jumped right in. Well, not quite. More correctly, it’s a bunch of bitter, burned out, indignant No Wave dinosaurs like Lydia Lunch (never heard of her? well, don’t bother, because she sucks), DNA, Suicide and Theoretical Girls ripping on the second half of the movie, featuring the Yeah Yeah Yeahs, Black Dice, LIARS and Gogol Bordello. I guess these bands are supposed to represent the product of the No Wave movement (which lasted about 8 months, for those who don’t know) in NYC during present day. Right, ok…I’m not saying that any of those bands are going to change lives or spur some sort of cultural revolution, but they don’t deserve the whipping that they receive from said old, pretentious folks. Just like advertising, tv and movies receive unfair accusations of corrupting society, so does music. Well, just like all other mediums, music is a direct byproduct of the capitalistic, narcissistic culture we live in. It’s really easy (and embarrassingly cliche) to romanticize the flithy, dirty needle-laden, gutter pit that was NYC in the 1970s, because now it sounds so “rock n’ roll”, but, let’s be honest, pain and misery that bares forth raw scum rock is only truly appreciated from the safe confines of a comfortable, sanitized era like the NYC of today. Sure, The Yeah Yeahs Yeahs might receive endorsement deals and sign to major labels, rip off predecessors with their sound, but, firstly, that’s the reality of today’s music business, and secondly, nothing is new. Nothing. Every single sound, paint stroke, word, feeling and thought is completely unoriginal. Get over it. And, it’s so clear that Lydia Lunch completely wanted to be famous, against her denials, due to her insessant raving rants about how much the current NYC scene sucks. Tired, worn out hag. It’s on Sundance OnDemand. Watch it, if nothing else than to be indignant and see an amusing interview with Thurston Moore, which is the highlight.