Catalog 6 Punk Fanzines, Art Zines and Artists’ Books
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Razorcake Issue #09
PO Box 42129, Los Angeles, CA 90042 www.razorcake.com #9 know I’m supposed to be jaded. I’ve been hanging around girl found out that the show we’d booked in her town was in a punk rock for so long. I’ve seen so many shows. I’ve bar and she and her friends couldn’t get in, she set up a IIwatched so many bands and fads and zines and people second, all-ages show for us in her town. In fact, everywhere come and go. I’m now at that point in my life where a lot of I went, people were taking matters into their own hands. They kids at all-ages shows really are half my age. By all rights, were setting up independent bookstores and info shops and art it’s time for me to start acting like a grumpy old man, declare galleries and zine libraries and makeshift venues. Every town punk rock dead, and start whining about how bands today are I went to inspired me a little more. just second-rate knock-offs of the bands that I grew up loving. hen, I thought about all these books about punk rock Hell, I should be writing stories about “back in the day” for that have been coming out lately, and about all the jaded Spin by now. But, somehow, the requisite feelings of being TTold guys talking about how things were more vital back jaded are eluding me. In fact, I’m downright optimistic. in the day. But I remember a lot of those days and that “How can this be?” you ask. -
Unobtainium-Vol-1.Pdf
Unobtainium [noun] - that which cannot be obtained through the usual channels of commerce Boo-Hooray is proud to present Unobtainium, Vol. 1. For over a decade, we have been committed to the organization, stabilization, and preservation of cultural narratives through archival placement. Today, we continue and expand our mission through the sale of individual items and smaller collections. We invite you to our space in Manhattan’s Chinatown, where we encourage visitors to browse our extensive inventory of rare books, ephemera, archives and collections by appointment or chance. Please direct all inquiries to Daylon ([email protected]). Terms: Usual. Not onerous. All items subject to prior sale. Payment may be made via check, credit card, wire transfer or PayPal. Institutions may be billed accordingly. Shipping is additional and will be billed at cost. Returns will be accepted for any reason within a week of receipt. Please provide advance notice of the return. Please contact us for complete inventories for any and all collections. The Flash, 5 Issues Charles Gatewood, ed. New York and Woodstock: The Flash, 1976-1979. Sizes vary slightly, all at or under 11 ¼ x 16 in. folio. Unpaginated. Each issue in very good condition, minor edgewear. Issues include Vol. 1 no. 1 [not numbered], Vol. 1 no. 4 [not numbered], Vol. 1 Issue 5, Vol. 2 no. 1. and Vol. 2 no. 2. Five issues of underground photographer and artist Charles Gatewood’s irregularly published photography paper. Issues feature work by the Lower East Side counterculture crowd Gatewood associated with, including George W. Gardner, Elaine Mayes, Ramon Muxter, Marcia Resnick, Toby Old, tattooist Spider Webb, author Marco Vassi, and more. -
Smash Hits Volume 34
\ ^^9^^ 30p FORTNlGHTiy March 20-Aprii 2 1980 Words t0^ TOPr includi Ator-* Hap House €oir Underground to GAR! SKias in coioui GfiRR/£V£f/ mjlt< H/Kim TEEIM THAT TU/W imv UGCfMONSTERS/ J /f yO(/ WOULD LIKE A FREE COLOUR POSTER COPY OF THIS ADVERTISEMENT, FILL IN THE COUPON AND RETURN IT TO: HULK POSTER, PO BOXt, SUDBURY, SUFFOLK C010 6SL. I AGE (PLEASE TICK THE APPROPRIATE SOX) UNDER 13[JI3-f7\JlS AND OVER U OFFER CLOSES ON APRIL 30TH 1980 ALLOW 28 DAYS FOR DELIVERY (swcKCAmisMASi) I I I iNAME ADDRESS.. SHt ' -*^' L.-**^ ¥• Mar 20-April 2 1980 Vol 2 No. 6 ECHO BEACH Martha Muffins 4 First of all, a big hi to all new &The readers of Smash Hits, and ANOTHER NAIL IN MY HEART welcome to the magazine that Squeeze 4 brings your vinyl alive! A warm welcome back too to all our much GOING UNDERGROUND loved regular readers. In addition The Jam 5 to all your usual news, features and chart songwords, we've got ATOMIC some extras for you — your free Blondie 6 record, a mini-P/ as crossword prize — as well as an extra song HELLO I AM YOUR HEART and revamping our Bette Bright 13 reviews/opinion section. We've also got a brand new regular ROSIE feature starting this issue — Joan Armatrading 13 regular coverage of the independent label scene (on page Managing Editor KOOL IN THE KAFTAN Nick Logan 26) plus the results of the Smash B. A. Robertson 16 Hits Readers Poll which are on Editor pages 1 4 and 1 5. -
Ho! Let's Go: Ramones and the Birth of Punk Opening Friday, Sept
® The GRAMMY Museum and Delta Air Lines Present Hey! Ho! Let's Go: Ramones and the Birth of Punk Opening Friday, Sept. 16 Linda Ramone, Billy Idol, Seymour Stein, Shepard Fairey, And Monte A. Melnick To Appear At The Museum Opening Night For Special Evening Program LOS ANGELES (Aug. 24, 2016) — Following its debut at the Queens Museum in New York, on Sept. 16, 2016, the GRAMMY Museum® at L.A. LIVE and Delta Air Lines will present the second of the two-part traveling exhibit, Hey! Ho! Let's Go: Ramones and the Birth of Punk. On the evening of the launch, Linda Ramone; British pop/punk icon Billy Idol; Seymour Stein, Vice President of Warner Bros. Records and a co-founder of Sire Records, the label that signed the Ramones to their first record deal; artist Shepard Fairey; and Monte A. Melnick, longtime tour manager for the Ramones, will participate in an intimate program in the Clive Davis Theater at 7:30 p.m. titled "Hey! Ho! Let’s Go: Celebrating 40 Years Of The Ramones." Tickets can be purchased at AXS.com beginning Thursday, Aug. 25 at 10:30 a.m. Co-curated by the GRAMMY Museum and the Queens Museum, in collaboration with Ramones Productions Inc., the exhibit commemorates the 40th anniversary of the release of the Ramones' 1976 self-titled debut album and contextualizes the band in the larger pantheon of music history and pop culture. On display through February 2017, the exhibit is organized under a sequence of themes — places, events, songs, and artists —and includes items by figures such as: Arturo Vega (who, along with the Ramones, -
The Direct Action Politics of US Punk Collectives
DIY Democracy 23 DIY Democracy: The Direct Action Politics of U.S. Punk Collectives Dawson Barrett Somewhere between the distanced slogans and abstract calls to arms, we . discovered through Gilman a way to give our politics some application in our actual lives. Mike K., 924 Gilman Street One of the ideas behind ABC is breaking down the barriers between bands and people and making everyone equal. There is no Us and Them. Chris Boarts-Larson, ABC No Rio Kurt Cobain once told an interviewer, “punk rock should mean freedom.”1 The Nirvana singer was arguing that punk, as an idea, had the potential to tran- scend the boundaries of any particular sound or style, allowing musicians an enormous degree of artistic autonomy. But while punk music has often served as a platform for creative expression and symbolic protest, its libratory potential stems from a more fundamental source. Punk, at its core, is a form of direct action. Instead of petitioning the powerful for inclusion, the punk movement has built its own elaborate network of counter-institutions, including music venues, media, record labels, and distributors. These structures have operated most notably as cultural and economic alternatives to the corporate entertainment industry, and, as such, they should also be understood as sites of resistance to the privatizing 0026-3079/2013/5202-023$2.50/0 American Studies, 52:2 (2013): 23-42 23 24 Dawson Barrett agenda of neo-liberalism. For although certain elements of punk have occasion- ally proven marketable on a large scale, the movement itself has been an intense thirty-year struggle to maintain autonomous cultural spaces.2 When punk emerged in the mid-1970s, it quickly became a subject of in- terest to activists and scholars who saw in it the potential seeds of a new social movement. -
Editorial MILENIO
Índice onomástico 10cc, 96, 153, 154, 155, 156, 157, 171 Alice Cooper, 82, 92, 93, 94, 95, 96, Archiduque Luis Salvador de Aus- Bee Gees, 110 2 Chainz, 285 107 tria, 69 Ben Vaughn, 20 2D, 281 Alicia Keys, 287 Aretha Franklin, 23 Benjamin Disraeli, 33 A Certain Ratio, 258 Alien Lanier, 144 Arthur ‘Big Boy’ Crudup, 13 Bernard Butler, 251, 252 A Tribe Called Quest, 285 All You Can Eat, 25 Artie Shaw, 23 Bernard Edwards, 191 Aaron Rapoport, 175, 179 Allan Clarke, 218 Arturo Vega, 147, 149, 150 Bernard Pierre Wolff, 185, 187, 188, Abba, 65 Allan Tannenbaum, 50 Athena Demos, 228 189 Abbie Rose, 203 Allen Ginsberg, 202 Athlete, 289 Bernard Shaw, 27 Acy R. Lehman, 24, 129 Alton Kelley, 52 Atomic Rooster, 62 Bernard Sumner, 275 Ad lnfinitum, 258 AM, 19 Atrocity, 195 Bernie Karlin, 129 Adam Again, 207 Amanda Lear, 115, 123 Aubrey Powell, 97, 99, 153, 170 Bernie Taupin, 109, 112 Augusto Rivalta, 187 Adam Clayton, 236, 238, 240 Amber Rose, 212 Beth Orton, 253 Ava Cherry, 115 Adam Faith, 115 Amy Winehouse, 105 Betty Blue, 242 Aelbert Cuyp, 199 Awesome Snakes, 84 Beverly, 268 Ana Johnson, 224 Ahmed Abdul Malik, 76 Axxe, 125 Beyoncé, 286 André C. Le Breton, 91 Aida Griffin, 54 B.P. Fallen, 127, 130 Big Audio Dynamite, 15 André Malraux, 69 MILENIO Al Green, 286 Bad Company, 278 Big Boi, 286 Andrew Boloton, 28 Al Stewart, 65 Baden-Powell, 216 Big Brother & the Holding Com- Andrew Loog Oldham, 37, 38, 40 Alain Delon, 215, 216, 219 Ban Ban Bazar, 25 pany, 42, 43, 53 Andy Fletcher, 201 Alan Erasmus, 186 Banana Splits, 279 Bill Graham, 43, 53 Andy Griffith, -
Smash Hits Volume 33
FORTNIGHTLY March 6-19 1980 i: fcMrstfjg i TH LYING LIZARDS .;! albums STS EDMUNDS )ur GRRk/£V£t/HlfLK HATES 7EEJM THAT TVf^ itav UGLYMONSTERS/ ^A \ / ^ / AAGHi. IF THERE'S ONE THING THATMAKES HULK REALLYAM6RY, IT'S PEOPLE WHO DON'T LOOK AFTER THEIRT€€TH! HULK GOES MAD UNLESS PEOPLE CLEAN THEIR TEETH THOROUGHLY EVERY DAY (ESPECIALLY LAST THING ATNIGHT). HE GOES SSRSfRK IFTHEY DON'T VISITTHE DENTIST REGULARLY! IF YOU D0N7 LOOKAFTER YOUR TEETH, SOMEBODY MAY COME BURSTING INTO YOUR HOUSE IN A TERRIBLE TEMPER AND IT WON'T BE THE MamAM...... 1 ! IF YOU WOULD LIKE A FREE COLOUR POSTER COPY OF THIS ADVERTISEMENT, FlU IN THE COUPON AND RETURN IT TO: HULK POSTER P.O BOX 1, SUDBURY, SUFFOLK COlO 6SL. tAeE(PUASETICKTHEAPPROPRIATEBOir)UNDERI3\Z\i3-l7\3lSANDOVER\JOFFERCLOSESONAPRIL30THmO.AUOW2SDAYSFORDELIVERY(sioaMPmisniA5l}l SH 1 uNAME ADDRESS X. i ^i J4 > March 6-19 1980 Vol 2 No. 5 Phew! Talk about moving ANIMATION mountains — we must have The Skids 4 shifted about six Everests' worth of paper this fortnight, what with ALABAMA SONG your voting forms and Walt David Bowie 4 Jabsco entries. With a bit of luck we'll have the poll results ready SPACE ODDITY forthe next issue but you'll find David Bowie 5 our Jabsco winners on page 26 of this issue. There's also an CUBA incredibly generous Ska Gibson Brothers 8 competition on page 24, not to mention our BIG NEWS! Turn to ALL NIGHT LONG the inside back page and find out Rainbow 14 what we mean . I'VE DONE EVERYTHING FOR YOU Sammy Hagar 14 Managing Editor HOT DOG Nick Logan Shakin' Stevens 17 Editor HOLDIN' -
Bad Rhetoric: Towards a Punk Rock Pedagogy Michael Utley Clemson University, [email protected]
Clemson University TigerPrints All Theses Theses 8-2012 Bad Rhetoric: Towards A Punk Rock Pedagogy Michael Utley Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Part of the Rhetoric and Composition Commons Recommended Citation Utley, Michael, "Bad Rhetoric: Towards A Punk Rock Pedagogy" (2012). All Theses. 1465. https://tigerprints.clemson.edu/all_theses/1465 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. BAD RHETORIC: TOWARDS A PUNK ROCK PEDAGOGY A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Master of Arts Professional Communication by Michael M. Utley August 2012 Accepted by: Dr. Jan Rune Holmevik, Committee Chair Dr. Cynthia Haynes Dr. Scot Barnett TABLE OF CONTENTS Page Introduction ..........................................................................................................................4 Theory ................................................................................................................................32 The Bad Brains: Rhetoric, Rage & Rastafarianism in Early 1980s Hardcore Punk ..........67 Rise Above: Black Flag and the Foundation of Punk Rock’s DIY Ethos .........................93 Conclusion .......................................................................................................................109 -
RELACIONES ENTRE ARTE Y ROCK. APECTOS RELEVANTES DE LA CULTURA ROCK CON INCIDENCIA EN LO VISUAL. De La Psicodelia Al Genoveva Li
RELACIONES ENTRE ARTE Y ROCK. APECTOS RELEVANTES DE LA CULTURA ROCK CON INCIDENCIA EN LO VISUAL. De la Psicodelia al Punk en el contexto anglosajón, 1965-1979 TESIS DOCTORAL Directores: Genoveva Linaza Vivanco Santiago Javier Ortega Mediavilla Doctorando Javier Fernández Páiz (c)2017 JAVIER FERNANDEZ PAIZ Relaciones entre arte y rock. Aspectos relevantes de la cultura rock con incidencia en lo visual. De la Psicodelia al Punk en el contexto anglosajón, 1965 - 1979 INDICE 1- INTRODUCCIÓN 1-1 Motivaciones y experiencia personal previa Pág. 5 1-2 Objetivos Pág. 6 1-3 Contenidos Pág. 8 2- CARACTERÍSTICAS ESTILÍSTICAS, TENDENCIAS Y BANDAS FUNDAMENTALES 2-1 ORÍGENES DEL ROCK 2-1-1 Características fundaMentales del rock priMitivo Pág. 11 2-1-2 La iMagen del rock priMitivo Pág. 15 2-1-2-1 El priMer look del Rock 2-1-2-2 El caudal de iMágenes del priMer Rock y el color 2-1-3 PriMeros iconos del Rock Pág. 17 2-2 BRITISH INVASION Pág. 22 2-3 MODS 2-3-1 Características principales Pág. 26 2-3-2 El carácter visual de la cultura Mod Pág. 29 2-4 PSICODELIA Y HIPPISMO 2-4-1 Características principales Pág. 32 2-4-2 El carácter visual de la Psicodelia y el Arte Psicodélico Pág. 42 2-5 GLAM 2-5-1 Características principales Pág. 55 2-5-2 El carácter visual del GlaM Pág. 59 2-6 ROCK PROGRESIVO 2-6-1 Características principales Pág. 65 2-6-2 El carácter visual del Rock Progresivo Pág. 66 2-7 PUNK 2-7-1Características principales Pág. -
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CRITICAL COMMENTARY Crip Club Vibes: Technologies for New Nightlife Kevin Gotkin New York University [email protected] I’ve been thinking about what it would mean to design nightlife around disability. We need all nightlife spaces to become accessible, of course, something that calls for a thoroughgoing restructuring of the built environment, transportation systems, and access labor. But I’m imagining the possibilities for creating a world within the inaccessible status quo, a nightlife community that could divine the truth and complexity of disability history, culture, and resistance. When I ask my disability community in New York City about nightlife, I get a series of sighs. Nightlife is exhausting. That’s not because being disabled in nightlife spaces is in itself exhausting. It’s exhausting because ableism is exhausting and because nightlife is a nexus of many inaccessible cultural forms that make parties, clubs, and bars feel like one marathon after another. We don’t often think of nightlife as a technology itself, but we should. It’s hard to decide the status of nightlife in basic terms: Is it a community? An industry? A social function? If we take up the call in the manifesto that inspires this special issue, we can locate nightlife within the “non-compliant knowing-making” of crip technoscience that relishes the world-making possibilities for disabled living (Fritsch & Hamraie, 2019). Technoscientific Gotkin, K. (2019). Crip club vibes: Technologies for new nightlife. Catalyst: Feminism, Theory, Technoscience, 5 (1), 1-7. http://www.catalystjournal.org | ISSN: 2380-3312 © Kevin Gotkin, 2019 | Licensed to the Catalyst Project under a Creative Commons Attribution Non-Commercial No Derivatives license Gotkin Catalyst: Feminism, Theory, Technoscience 5(1) 2 protocols for thinking about nightlife offer what has traditionally been absent: deliberation, design, and aesthetics as a toolkit for shaping our collective imaginations and desires. -
Graphics Incognito
45 amateur, trendy, and of-the-moment. The irony, What We Do Is Secret the subject of spirited disagreement and post-hoc of course, being that over the subsequent two speculation both by budding hardcore punks decades punk and graffiti (or, more precisely, One place to begin to consider the kind of and veteran scenesters over the past twenty-five GRAPHICS hip-hop) have proven to be two of the most crossing I am talking about is with the debut years. According to most accounts, ‘GI’ stands productive domains not only for graphic design, (and only) album by the legendary Los Angeles for ‘Germs Incognito’ and was not originally INCOGNITO but for popular culture at large. Meanwhile, punk band the Germs, titled simply ����.5 intended to be the title of the album. By the time Rand’s example remains a source of inspiration The Germs had formed in 1977 when teenage the songs were recorded the Germs had been by Mark Owens to scores of art directors and graphic designers friends Paul Beahm and George Ruthen began banned from most LA clubsclubs andand hadhad resortedresorted to weaned on breakbeats and powerchords. writing songs in the style of their idols David booking shows under the initials GI. Presumably And while I suppose it might be possible to see Bowie and Iggy Pop. After the broadcast of a in order to avoid confusion, the band had wanted My interest has always been in restating Rand’s use of techniques like handwriting, ripped London performance by The Clash and The Sex the self-titled LP to read ‘GERMS (GI)’, as if it the validity of those ideas which, by and paper, and collage as sharing certain formal Pistols on local television a handful of Los Angeles were one word. -
Never Mind the Sex Pistols, Here╎s CBGB the Role of Locality and DIY
Vassar College Digital Window @ Vassar Senior Capstone Projects 2020 Never mind the sex pistols, here’s CBGB the role of locality and DIY media in forming the New York punk scene Ariana Bowe Vassar College Follow this and additional works at: https://digitalwindow.vassar.edu/senior_capstone Recommended Citation Bowe, Ariana, "Never mind the sex pistols, here’s CBGB the role of locality and DIY media in forming the New York punk scene" (2020). Senior Capstone Projects. 1052. https://digitalwindow.vassar.edu/senior_capstone/1052 This Open Access is brought to you for free and open access by Digital Window @ Vassar. It has been accepted for inclusion in Senior Capstone Projects by an authorized administrator of Digital Window @ Vassar. For more information, please contact [email protected]. Bowe 1 Vassar College Never Mind The Sex Pistols, Here’s CBGB The Role of Locality and DIY Media in Forming the New York Punk Scene A thesis submitted in partial satisfaction of the requirements for the degree Bachelor of Arts in Media Studies. By Ariana Bowe Thesis Advisers: Professor Justin Patch May 2020 Bowe 2 Project Statement In my project, I will explore the New York City venue CBGB as one of the catalysts behind the rise of punk subculture in the 1970s. In a broader sense, I argue that punk is defined by a specific local space that facilitated a network of people (the subculture’s community), the concepts of DIY and bricolage, and zines. Within New York City, the locality of the punk subculture, ideas and materials were communicated via a DIY micro-medium called zines.