PUNK GRAPHICS. Too Fast to Live, Too Young to Die
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July 2010, Ray Lowry @ Idea Generation Gallery 0
(http://whitehotmagazine.com/) ADVERTISE (HTTP://WHITEHOTMAGAZINE.COM/DOCUMENTS/ADVERTISE) RECENT (HTTP://WHITEHOTMAGAZINE.COM/NEW) CITIES (HTTP://WHITEHOTMAGAZINE.COM//CITIES) CONTACT (HTTP://WHITEHOTMAGAZINE.COM/DOCUMENTS/CONTACT) ABOUT (HTTP://WHITEHOTMAGAZINE.COM/DOCUMENTS/ABOUT) OPENINGS LISTINGS (HTTP://WHITEHOTMAGAZINE.COM/POSTINGS) JANUARY 2017 - "THE BEST ART IN THE WORLD" July 2010, Ray Lowry @ Idea Generation Gallery 0 "London Calling" reinterpreted by Tracy Emin, 2010 Photo: Chris Osburn Ray Lowry: London Calling Idea Generation Gallery (http://www.ideageneration.co.uk/generationgallery.php) 11 Chance Street London, E2 7JB June 18th through July 4th, 2010 Ray Lowry: London Calling at the Idea Generation Gallery in East London pays tribute to Ray Lowry's iconic cover art for The Clash's 1979 album, London Calling. For the show, thirty prominent artists contributed their interpretations of Lowry's seminal album cover. In addition to the artists' takes on Lowry's cover, they were invited to have a look at how he and his ideologies had influenced them. Alongside these works, original sketches, designs for the album cover as well as private sketchbooks, personal letters, previously unseen photographs and painting are on show. Originally from Manchester, Ray Lowry started his career as an artist drawing for Punch Magazine, International Times and Private Eye. His association with the music press began in the 70s, most notably with NME for which he created a variety of cartoons and illustrations. He met The Clash at Manchester's Electric Circus where they were the supporting act for the Sex Pistols during raucous the Anarchy in the UK tour. A friendship between Lowry and The Clash ensued, and he was invited to accompany them on their 1979 US tour as the band's “official war artist”. -
The Guardian, Week of August 3, 2020
Wright State University CORE Scholar The Guardian Student Newspaper Student Activities 8-3-2020 The Guardian, Week of August 3, 2020 Wright State Student Body Follow this and additional works at: https://corescholar.libraries.wright.edu/guardian Part of the Mass Communication Commons Repository Citation Wright State Student Body (2020). The Guardian, Week of August 3, 2020. : Wright State University. This Newspaper is brought to you for free and open access by the Student Activities at CORE Scholar. It has been accepted for inclusion in The Guardian Student Newspaper by an authorized administrator of CORE Scholar. For more information, please contact [email protected]. Retro Rewind: “London Calling” by The Clash Maxwell Patton August 3, 2020 Rock music in its various styles would in no way, shape, or form be what it is today without the influence of a certain British punk icon known as The Clash. Even though the band lays claim to one of the shortest lifespans in my Retro Rewind reviews (being active for only a decade), they have had a massive amount of influence on the rock realm with their distinctly political lyrics and driving, guitar-centered instrumentals. Their third record, by far their most popular, is the subject of my review today: the 1979 double album “London Calling,” which is viewed by many as a definitive album in the punk genre. Released on Dec. 14, 1979, the record contains 19 songs of varying styles and was supported by three singles: the title track “London Calling,” “Clampdown,” and “Train in Vain (Stand by Me).” The themes delved into throughout the album include unemployment, the usage of drugs, paranoia, and depression. -
The Roots and Gadgets of Pop Culture in the Late 20Th Century Copy
Jeremy Marquez Gd 491 - 602 10 Dec 2018 The Roots and Gadgets of Pop Culture in the Late 20th Century Thesis Statement: The recontextualization and aggregation of Modernism is the essence of the innovations of music, album art, and the supporting subcultures that emerged from 1968-1982. “ I never know which version I’m going to be I seem to have so many choices open to me.” -Wire1 As a child in the 70s, my parent’s record collection had a lasting impression on me. In the hazy environment of a psychedelic-soul and funk-flavored household, I would gaze for hours at the colorful imagery of the gatefold record-covers while the sounds from my dad’s stereo-geek system permeated my senses. Beginning in my teens, my discovery of the zeitgeist of punk and its peripheries had its intended deconstructive effects on me, and expanded my perspective on music, the imagery associated with it, and the supporting subcultures that surround them to fortify a vital gestalt foundation for my creative process. 1 Wire (1979). 40 versions 154. Pink Flag Records, 1979 Marquez !2 Now as a design student armed with research and critical thinking, I’ve been able to place these creative novelties and objects in a socio-cultural context; a postmodern popular culture in a consumer/corporate neoliberal society. I’ve embarked on an analysis of this particular era of the late 20th century in order to explore its history and characteristics, and the subsequential philosophies that lay the groundwork for popular culture in the last 40 years. -
Smash Hits Volume 45
30p August 21-September 3 1980 i**i^ / ^ * ™ :'/ :'! WCA A. cm rpp» #J|™ Wordstothe R0XY MUSIC ^ WOW WW- in colour H' PIRANHAS THE 2 SMASH HITS — X » ^^= N-5» l_ START! August 21-September 3 1980 Vol. 2 No. 17 The Jam 4 BEST FRIEND Right then — it's extra rations this issue, as we're carrying both The Beat 5 sides of The Beat's new single STAND DOWN MARGARET without anything else dropping out. As well as getting an extra The Beat 5 song for your money, there's all TOM HARK your usual news, reviews and features plus the usual sprinkling The Piranhas 12 of extra goodies — the video FUNKIN' FOR JAMAICA game prize on the crossword and the Breaking Glass competition Tom Browne 14 (that's on page 28). Now if you'll A WALK IN THE PARK kindly excuse us, we've got Nick Straker Band another issue to prepare while 14 you're enjoying this one (mutter THE WHISPER Editor mutter, grumble grumble, not fair The Selecter 17 etc.) See y'all in two weeksiimej, Ian Cranna Features Editor AWAY David Hepwo rah The Swinging Cats 17 |gn Editdr FEELS LIKE I'M IN LOVE Ve Bush Kelly Marie 19 Production Editor KasperdeGraaf YOU'VE GOT TO BE A HUSTLER Editorial Assistants Sue Wilkinson 24 Bev Hillier GIVE Linda fluff ME BACK MY MAN Contributors The B52's 24 Robitmatz SISTER EUROPE Redjftarr Fredplellar Psychedelic Furs 31 Mik/St ANOTHER DAY, ANOTHER GIRL KeTly Iprtsr— , The Lambrettas 32 I Pfirmanovsky MarkCasto FREE ME Steve Taylor Roger Daltrey 32 Advertisement Manager Rod Sopp* KINGS OF THE WILD FRONTIER (Tel: 01-439 8801) Adam & The Ants 39 Assistant I DIE, YOU -
Too Fast to Live, Too Young to Die: Punk Graphics, 1976–1986
Too Fast to Live, Too Young to Die: Punk Graphics, 1976–1986 teachers’ resource packet teachers’ resource packet museum of arts and design welcome 1 what’s inside 03 welcome 04 introduction 05 how does a museum work? 07 helpful hints for your visit 11 object lessons 11 COPY AND PASTE: THE APPROPRIATED IMAGE 15 CUT AND PASTE: COLLAGE AND BRICOLAGE 20 DO IT YOURSELF: ZINES AND FLYERS 25 FOR ART'S SAKE 31 PASTICHE 36 AGITPROP: POWER TO THE PEOPLE 41 SCARY MONSTERS AND SUPER CREEPS 46 COMIC RELIEF 50 ECCENTRIC ALPHABETS: PUNK TYPOGRAPHY 44 glossary 46 online resources 47 credits museum of arts and design welcome 2 welcome Thank you for your interest in visiting the Museum of Arts and Design (MAD) and the current exhibition Too Fast to Live, Too Young to Die: Punk Graphics, 1976–1986. During a MADlab school visit, Artist Educators facilitate engaging discussions around selected works in our current exhibitions that prompt students to think about the aesthetic, psychological, and activist dimensions of art and design and serve as inspiration for their own creative expression. The studio portion of MADlab focuses on experimenting with different materials and processes, and as students create their own artworks based on concepts discussed in the galleries. Moreover, each school group has the opportunity to interact with residents in MAD’s Artist Studios program and witness a diversity of creative processes in an open studio setting. MAD encourages students to take advantage of its full range of offerings as a cultural resource in the heart of New York City and, in doing so, seeks to foster a sense of ownership and belonging in young people. -
I C ART Irlam & Cadishead Urban Art Programme
I C ART Irlam & Cadishead urban art programme Celebrity Express– Irlam Celebrity Express – Irlam The ‘Celebrity Express – Irlam’ Midland Carriages illustrates and celebrates some of the The CLC Railway diverse talented people who have come did own some from Irlam and Cadishead or influenced carriages, how the area has been shaped over the but often the past four centuries. committee partners would Passengers include people, from the provide them, past and present, who are famous for with the a variety of talents including acting, Midland Railway singing, composing music, film-making, providing most. playing football, boxing, weightlifting, in 1894. Both were equally important Our celebrity painting and speedway racing, as well as in transforming the district from two carriages those early pioneers and industrialists small villages into what it is today. Irlam are typical Midland who were instrumental in putting the Station House tells the story of this great Railway rolling stock of that era. area on the map with the construction of This artwork is featured on the Liverpool undertaking in more detail - why not pop the railways and Manchester Ship Canal. platform at Irlam Station, with a replica in and take a look? on the steel bridge spanning Liverpool Road - alongside the lovely brick arch The locomotive bridge carrying the Cheshire Lines The train and carriages of ‘Celebrity Committee (CLC) Express – Irlam’ are typical of the railway line. passenger trains that serviced the Manchester to Liverpool line through The CLC Railway Irlam. opened in 1873 and was a The locomotive is a Great Central catalyst for the No.881 - a Pollitt class 11A 4-4-0 and industrialisation was built in 1899 at Gorton Works, of Irlam and Manchester. -
MIND the GAP Last Month, We Asked Our Readers to Select the Best Album Covers of the Beatles - Sgt
November 2019 FOURSIXTHREE Reader’s poll: London Calling: The London Issue The 5 best album covers … ever. MIND THE GAP Last month, we asked our readers to select the best album covers of The Beatles - Sgt. Pepper’s Lonely Hearts Club Band all time. In the age of the digital download, the album cover is sadly a lost art – which probably explains why 90 percent of the albums that 1967, Apple Records Harry Beck and the Designer: Peter Blake readers selected come from the 1960s and the 1970s. t iconic Tube map Here are the Top 5: The Beatles - Sgt. Pepper’s Lonely Hearts Club Band Giacometti The cover was originally going to show the Beatles playing in 1 a park. That slowly evolved into the final concept, where they stand amidst cardboard cutouts of their heroes. at the Tate: Pink Floyd - Dark Side Of The Moon After 50 years, the 1973, Harvest records Pink Floyd - Dark Side Of The Moon Designer: Hipgnosis Hipgnosis had designed several of Pink Floyd’s previous prodigal son returns albums, with controversial results: the band’s record company 2 had reacted with confusion when faced with the collective’s non-traditional designs that omitted words. Keep It Simple Nirvana, ‘Nevermind’ Fisher says, “I must assume that the naked baby symbolized his own innocence, the water represented an alien environment, and Carry On: 3 and the hook and dollar bill his creative life entering into the 5 British masters corporate world of rock music.” of minimalism The Beatles, ‘Abbey Road’ Nirvana, ‘Nevermind’ Iain Macmillan shot the cover on August 8th, 1969, outside 1993, Geffen records of Abbey Road studios. -
Of All the Great Album Covers
HI RES PLACED HI RES PLACED f all the great album covers dom expanded the art form and O over the years, how do the “canvas” was the 12x12- you select 30? We started with inch LP sleeve. After an unscien- some rules: We wanted covers tific poll, we had to leave a lot featuring photos, as opposed to of great covers on the cutting- illustrations or pure typography. room floor (visitpopphoto.com We limited picks to one per to see more, or to name your artist (listed alphabetically). We own). Though chosen for their mined the Golden Age of album artwork, these are also classic design, beginning in the 1960s— albums—if the music’s no good, when budgets and creative free- who remembers the cover? s Björk: Homogenic (1997) Along led to lots of “Paul is Dead” hog- with photographer Nick Knight, wash). The shot capped a decade designer Paul White, and computer of brilliance. manipulation, this Icelandic genius created an eye-grabbing image with David Bowie: Aladdin Sane antenna-like hair buns, spiked fin- (1973) Having reached super- gernails, an elongated neck, stardom after creating his Ziggy stretched facial features, and an Stardust character, Bowie felt oversized kimono. The alien look fit ambivalent about fame, reflected in her emotionally complex music. this makeup job and image (by Duffy Design and photographer Herb Alpert & the Tijuana Sukita) in which glittery lightning Brass: Whipped Cream & Other seems to split the singer’s head in type treatment copied Elvis Pres- (or is that a nerve chart?) behind Grace Jones: Nightclubbing Elvis Costello: This Year’s Model THE 30 BEST Delights (1965) Frothy, sexy two. -
London Calls Free
FREE LONDON CALLS PDF Gabby Dawnay,Alex Barrow | 32 pages | 05 May 2015 | TATE PUBLISHING | 9781849762304 | English | London, United Kingdom London - The Call of Duty Wiki - Infinite Warfare, Modern Warfare Remastered, and more! Many people call London from the United States each day. If you've never made a long-distance telephone call to another country, you may be unsure of the process when you want to call someone in London, England for the first time. Whether you're calling your long-lost Uncle Ted, your new Internet pen-pal or Harrods department store, calling London doesn't have to be London Calls stressful process once you know what to do. Check with your telephone provider to obtain London Calls per-minute rate. With the right plan, you can obtain cheap rates of less than 10 cents per minute. Check the time before you make your call. Realize that if you call at 9 p. Dial "20," which is the area code for London, England. You may find the area code listed as "," however, the initial "0" is used only when you call within the United Kingdom. Dial the telephone number of your party. London Calls number may be six or seven digits long. Do not add any numbers to create a seven-digit number. It is not necessary. Dial the number as London Calls see it. Amie Taylor has been a writer since London Calls Book reviews, gardening and outdoor lawn equipment repair articles and short fiction account for a handful of her published works. Taylor gained her gardening and outdoor equipment repair experience from working in the landscaping and lawn-care business she and her husband own and operate. -
Downloaded From: Version: Accepted Version Publisher: Manchester University Press
Wilkinson, DB (2018) ’Pam ponders Paul Morley’s at’: City Fun and the poli- tics of post-punk. In: Ripped, Torn and Cut Pop, Politics and Punk Fanzines from 1976. Manchester University Press. ISBN 1526120593 Downloaded from: https://e-space.mmu.ac.uk/623496/ Version: Accepted Version Publisher: Manchester University Press Please cite the published version https://e-space.mmu.ac.uk ‘Pam ponders Paul Morley’s cat’: City Fun and the politics of post-punk David Wilkinson Manchester’s City Fun (1978–83) bears all the hallmarks of punk fanzine media. Early issues in particular feature impulsive anti-authoritarian rants alongside reviews and ruminations on the meaning of punk. City Fun’s often striking covers varied in style, though Dada-indebted collages by Linder Sterling and Jon Savage captured a distinctively post-punk structure of feeling; one riven by the crisis of the political conjuncture, which nevertheless offered glimpses of utopia through the joins. It is worth asking how the zine cap- tured the conflicted and evolving politics of the British counterculture as it mutated, fragmented and fed into punk, post-punk and beyond against a backdrop of collapsing post-war welfare-capitalism and the rise of Thatcherite neoliberalism. Why examine such a development? As I have argued elsewhere, post-punk offers extensive insight into ideological battles fought out in the late 1970s and 1980s over what it might mean to live a liberated and fulfilled life; battles with urgent contemporary relevance. The association of certain strands of post-punk with the post-war libertarian left meant that it often carried through the utopianism of 1960s radicalism into the early days of Thatcherism. -
THE 5 BEST ALBUM COVERS Four Six Three
Four Six Three THE 5 BEST ALBUM COVERS The album cover dates from 1939, when Columbia Records art director Alex Steinweiss decided his label’s offerings might find a wider audience with some added visual appeal. Since the very first Steinweiss design, an album of showtunes by Rogers and Hart, album covers have represented the apotheosis and nadir of graphic design, and have touched all points in between. Last weekend we asked our readers to select the best album covers of all time. British bands took four out of five of the top spots. In the age of the digital download, the album cover is sadly a lost art – which probably explains why LONDONJuly 2018 CALLINGThe London Issue 90 percent of the albums that readers selected come from the 1960s and the 1970s. Here are the Top 5: The Clash ‘London Calling’ (1979, CBS Records) Designer: Ray Lowry Total reader votes: 695 Pennie Smith was snapping photos of the Clash at New York’s Palladium when The Beatles she captured one of the most iconic images in rock history. Paul Simonon was an- ‘Abbey Road’ noyed by the relatively quiet audience, so he began smashing his bass guitar against the floor. Clash singer Joe Strummer loved GOING the photo, but Smith tried to convince him (1969, Apple Records) Designer: John Kosh it was too out of focus for the cover. Total reader votes: 729 UNDERGROUND: Beatles nuts who believed that Paul McCartney died around 1967 and was HARRY BECK AND THE replaced by a dopplegänger found a lot to examine on this cover.