In this week’s newsletter: A new memoir by Fred Brathwaite offers an insight into the city’s emerging underground scene in the 70s and 80s – and shows us the power of subcultures in difficult times

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Hello everyone, I’m Coco Khan, covering for Gwilym Mumford, and this week, as the sun started to peep out from behind the clouds, I counted five Jean-Michel Basquiat T-shirts on passersby during a park walk.

Sure, I may live in a trendy London borough – but it’s still hardly surprising, given that the name and works of the New York artist whose roots were in graffiti have been licensed to fashion brands from Next, Primark and Uniqlo to Supreme and Saint Laurent. It’s hard to imagine that the artist – who died at 27 of a drug overdose, and whose signature slogan SAMO© (Same Old Crap – a criticism of consumerism, and the commodification of art, with a playful copyright mark) – would approve of the Basquiat name being on keyrings, tote bags and clothing. But hey, what do I know – I’m just another purist bore still upset that Ramones T-shirts are worn by millions who couldn’t name a song, when the Ramones themselves did not care.

As she releases her new solo album, Play Me, the former Sonic Youth star answers your questions on acting for Kristen Stewart, doing Basquiat’s photocopying, and who really invented punk rock

Did you plan to change rock music for ever? Were you envisaging a decades-long career, or was it all a bit more haphazard? Nepthsolem
When Sonic Youth first started, there had been such a high bar set for music that achieved something that people hadn’t done before, it was difficult to know how to add to that. There was the Velvet Underground, who cast a huge shadow, and then all the no wave bands, and when you’re faced with all that coolness, and you feel like you don’t belong, how do you make something happen? You have to focus on the thrill of making something that is like nothing that existed before. It sounds pretentious to say, “We wanted to do something new”, but that was it, and then you have to see what happens. And that’s still my approach. Honestly, I had no intention of doing solo records – I’d been playing in an improv-based project with Bill Nace, Body/Head, but that was all. And it was this producer in LA, Justin Raisen, he kept bugging me to make a solo record. There was no plan; in the end, again, I was like, let’s see what happens.

Your memoir, Girl in a Band, is one of my favourites. It reads almost like a novel. Have you ever considered writing a novel? timwthornton
I’ve thought about it. I consider myself more as a visual artist who writes, rather than a writer. I won’t say I won’t ever try to write a novel, but writing is always a challenge, just the getting started part, and I’m such a procrastinator. But once I get into it, I really, really enjoy it. It’s the thinking I love. A lot of times I actually don’t know what I think about something until I start writing about it.