Kim Gordon

Born: 04/27/1953 in Rochester, New York, USA


Actor (12)

The Road 2015 (Movie)


The Punk Singer 2013 (Movie)

Herself (Actor)

Boarding Gate 2008 (Movie)

Kay (Actor)

I'm Not There 2007 (Movie)

Carla Hendricks (Actor)

All We Are Saying 2005 - 2006 (TV Show)


Gilmore Girls 2006 (Tv Show)


Sonic Youth: Sleeping Nights Awake 2006 (Movie)


Last Days 2005 (Movie)

Record Executive (Actor)

Home Team With Terry Bradshaw 1997 - 1998 (TV Show)


The Simpsons 1996 (Tv Show)


Hi-Octane 1994 - 1995 (TV Show)

Music (6)

The Perks of Being a Wallflower 2012 (Movie)

("Teen Age Riot") (Song)

Young@Heart 2008 (Movie)

("Schizophrenia") (Song)

Late August, Early September 1999 (Movie)

("Contre le sexisme") (Song)

Suburbia 1997 (Movie)

("Bee-Gee's Song") (Song)

Pump Up the Volume 1990 (Movie)

("Titanium Expose") (Song)

Things Behind The Sun (TV Show)



Coco Gordon-Moore Actor


Thurston Moore Actor



York University



Sign to DGC Records and release major-label debut Goo; Nirvana later signs to the same label encouraged by Sonic Youth's example.


Double LP Daydream Nation serves as Sonic Youth's college radio breakthrough.


Forms Sonic Youth with Thurston Moore and Lee Ranaldo.

Bonus Trivia


Appeared in the third season premiere of the HBO series "Girls" as a recovering drug addict.


Published Kim Gordon Chronicles, Vol. 1 (2005), which featured her photographs of her taken from various periods of her life. A second volume followed in 2006 and featured her sketches, paintings and collages.


Collaborated with one-time Sonic Youth member Jim O'Rourke and Alan Licht in the group Supreme Indifference, which released a track on the compilation album Fields and Streams in 2002.


While studying at the Otis Art Institute, she worked briefly with art dealer Larry Gagosian, who founded the Gagosian Gallery chain.


Collaborated with Moore and Yoko Ono for the 2012 release Yokokimthurston.


"People pay to see others believe in themselves. As a performer, you sacrifice yourself, you go through the motions and emotions of sexuality for all the people who pay to see it, to believe that it exists. The better and more convincing the performance, the more an audience can identify with the exterior involved in such an expenditure of energy." - Gordon, quoted in an essay for Artforum (1983).