We can tell he's being heavily influenced by Miami when he talks, as he tells them things like: "I don't have great taste in clothes, so I don't wear much of them.
#Iggy pop naked archive
He's teamed up with Barney's and Archive 1887 tees for a line of Iggy-full swag sure to make any die-hard Stooges fans, uh, put their shirts on.īut what made us even more excited was his chat about the line with New York magazine. But Iggy Pop's new designer/clothing collaboration, of course, hits closer to home. I want to live a good life.It seems like anyone with any sort of vocal ability is launching some sort of clothing line lately (hello, Madonna). “Oh, you mean what I paid into for many, many years is now an entitlement? And they want to end it just as I started getting mine? Nooo! I want more than a legacy. “The Republicans successfully introduced this term for Social Security as an entitlement,” says Pop, an Obama supporter. He also thought about more practical matters, like what a lifetime of work gets you in the U.S. Pop says he began asking, “Is that all there is?” after the Stooges were inducted into the Rock and Roll Hall of Fame in 2010. The song “American Valhalla” epitomizes that, with Pop contemplating what even the most celebrated life adds up to. Homme refers to the project as “the coolest thing I’ve ever been allowed to be part of” and says, “Most stars who are icons want to play it safe. The result finds an ideal mean between Pop’s oratorical baritone and Homme’s dense and dusty brand of desert rock. Pop sought out Homme, he says, because “I wanted to make a great f-cking record that the music-susceptible audience would care about.” The two agreed to finance the work themselves and to record in secret, mainly at Homme’s home studio in remote Joshua Tree, Calif., the better to ensure its purity. Also, he had a sense of humor, which I love.” “He was dressed noncommittedly, which was key. Pop (born James Newell Osterberg Jr.) and Homme first met more than a decade ago at an awards ceremony hosted by the heavy-metal magazine Kerrang! “Josh was one of the only people there who hadn’t drunk the ‘leather Kool-Aid,'” Pop says. “Josh was interested in those records,” Pop says, “so I sent him notes on how they were made.” The latter two works served as role models for Post Pop Depression. Bowie channeled that primitivist brilliance into Raw Power, Pop’s final album with the Stooges before going solo, as well as the two classics forever associated with the pair’s decadent days in Berlin, The Idiot and Lust for Life. At the time, a drug-heavy and sex-mad Pop had become notorious for his stage act, which included rolling around in broken glass and smearing peanut butter over his body. “David guided me and put me in a place where nice things could finally come out,” Pop says.īowie did so back in the 1970s, producing crucial albums for Pop after the collapse of the Stooges. Their collaboration arrives at a strangely aligned time, directly after the death of a man who Pop recently said “resurrected” his career: David Bowie.
It also finds him in fresh company, collaborating with Josh Homme, leader of one of the few rock bands to still chart high, Queens of the Stone Age. It’s one of the most vital and engaged works of his career. The music on Post Pop gives fans plenty to honor as well as notions to ponder.
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