Seth Bogart’s illustrious (young) career, from Gravy Train!!!! to large scale paper mache, Hunx & His Punx to the Wacky Wacko storefront, is emerging into an Andy Warhol of modern day gay LA. Bogart’s recognizable style is to be worn, read, seen, shopped; Bogart is a brand unto himself. And whereas he enjoys homages to cult icons and underground movements, pulling from a variety of queer and femme kitschy kingdoms like Peewee Herman, John Waters, DIY zines, and beauty culture, Bogart’s mish-mash is mad scientist pop culture genius that is purely his own.
Musically Bogart is a riot grrrl at heart. His solo work graduates from the bratty leather jacket queer punk of earlier years into a cool wave of minimal electro while still maintaining his sassy sense of self, a similar path taken by Kathleen Hanna, who Bogart worked with recently on “Eating Makeup.”
Bogart’s campy videos have always been visionary (“Cruising”, “Teardrops on My Telephone”, “You Don’t Like Rock’n’Roll”, the “Street Punk Trilogy”). “Eating Makeup” is no exception, featuring Kathleen as a large pink compact with long long eyelashes and cameos by his frequent collaborators and friends, artist Peggy Noland and the recently defunct Dog Show USA’s Christine Stormberg.
Bogart’s “Forgotten Fantazy” is a wistful electropop number seemingly commenting on the quickness of romance, “you can dream but don’t dream too long,” the culture of here and gone again, bedroom pop with his heart on his pink blazer sleeve. A minimal wave taste of what’s to come (the guitar’s surefire reminiscent of Hanna’s past project, Julie Ruin), be on the lookout for Bogart’s solo record released February 19 on Burger Records.
Sunni Johnson, arts editor at WUSSY Mag, is an Atlanta musician and zinester.