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The "Urban Punk" card-deck's up on Kickstarter, starting at $10. I especially like the face-cards -- the gas-mask kills me.
We viewed both the physical cards and traditional designs as a “washed out” concrete wall where the bits of stencil-style graffiti imagery are the energizing and vibrant pop. This imagery also alters the traditional court designs into the punk subcultures. The motto is to break out from the norm, be different, be unique.
Old wig ads have some inherent comedy, sitting at the intersection of fashion, human tissue trafficking, and so forth. But when you throw in enthusiastic descriptions of the "head turning, naturally beautiful" wigs alongside elaborate purple and blue hairstyles, the internal contradictions really start to throw off sparks.
"This guy named Chris Lawhorn has, with Fugazi's permission, made a full album in which every track combines four or more Fugazi songs into a new song, says Marc.
"Lawhorn focused almost entirely on the instrumental materials," he adds. "I think it's tensile and wonderful, and I interviewed him."
Check out both at disquiet.com.
This Friday at Grant's Tomb in San Francisco, "The Beginning of the End: Ronald Reagan's Legacy," a show of new and classic collage art by Winston Smith, Fast, Cheap & Easy Graphics, Ron Donovan, and Jon-Paul Bail. The event is one-night-only, tomorrow (10/5) from 6pm to 11pm at 50-A Bannam Place (tiny alley off Union Street at Grant in North Beach.) Below, two more of Winston's Reagan pieces from those oh-so-fun 1980s.
A Tokyo fashion designer did a public appearance in New York's Washington Square Park in order to show off his 3' 8.6" mohawk, which has held the Guinness World Record for world's tallest mohawk since 2011. More from the Houston Chronicle
Forty-year-old Kazuhiro Watanabe (kah-zoo-HEE'-roh wah-tah-NAH'-bee) says he's been growing the hair for 15 years. He says to make it stand upright it takes stylists two hours, one can of gel and three cans of hairspray. He says he wanted to grow the mohawk to rebel against the conformity of Japanese society.
(Image: downsized, cropped thumbnail from a picture by Guinness World Records)
Jello Biafra as the president of the United States in Lovedolls Superstar, occupying an empty office adjacent to SST/Global, 1985. JORDAN SCHWARTZ
We Got Power! is a book of nearly 400 photographs taken for an early-1980s LA hardcore punk zine of the same name. The book includes new essays by Keith Morris of the Circle Jerks, Louiche Mayorga of Suicidal Tendencies, Steve Human of The Vandals, Tony Reflex of The Adolescents, and Henry Rollins, Chuck Dukowski, and Dez Cadena of Black Flag, and more. It also includes the complete color reprints of the We Got Power fanzine from 1981–1983 and beyond.
After the jump, a gallery of photographs from the book (posted with the kind permission of the publisher, Bazillion Points Books).
Read the rest
Argument in the show-trial of the Russian punk band Pussy Riot -- who gave an unlicensed anti-Putin performance in a cathedral and now face harsh, Stalinist justice for daring to point out the spy-emperor's nudity -- has concluded. Pussy Riot member Yekaterina Samutsevich has given a tremendous closing statement, which is a masterful summary of Russian oligarchy:
The fact that Christ the Savior Cathedral had become a significant symbol in the political strategy of our powers that be was already clear to many thinking people when Vladimir Putin’s former [KGB] colleague Kirill Gundyaev took over as head of the Russian Orthodox Church. After this happened, Christ the Savior Cathedral began to be used openly as a flashy setting for the politics of the security services, which are the main source of power [in Russia].
Why did Putin feel the need to exploit the Orthodox religion and its aesthetics? After all, he could have employed his own, far more secular tools of power—for example, national corporations, or his menacing police system, or his own obedient judiciary system. It may be that the tough, failed policies of Putin’s government, the incident with the submarine Kursk, the bombings of civilians in broad daylight, and other unpleasant moments in his political career forced him to ponder the fact that it was high time to resign; otherwise, the citizens of Russia would help him do this. Apparently, it was then that he felt the need for more convincing, transcendental guarantees of his long tenure at the helm. It was here that the need arose to make use of the aesthetics of the Orthodox religion, historically associated with the heyday of Imperial Russia, where power came not from earthly manifestations such as democratic elections and civil society, but from God Himself.
How did he succeed in doing this? After all, we still have a secular state, and shouldn’t any intersection of the religious and political spheres be dealt with severely by our vigilant and critically minded society? Here, apparently, the authorities took advantage of a certain deficit of Orthodox aesthetics in Soviet times, when the Orthodox religion had the aura of a lost history, of something crushed and damaged by the Soviet totalitarian regime, and was thus an opposition culture. The authorities decided to appropriate this historical effect of loss and present their new political project to restore Russia’s lost spiritual values, a project which has little to do with a genuine concern for preservation of Russian Orthodoxy’s history and culture.
It was also fairly logical that the Russian Orthodox Church, which has long had a mystical connection with power, emerged as this project’s principal executor in the media. Moreover, it was also agreed that the Russian Orthodox Church, unlike the Soviet era, when the church opposed, above all, the crudeness of the authorities towards history itself, should also confront all baleful manifestations of contemporary mass culture, with its concept of diversity and tolerance.
Matt Staggs, the host of the Disinfo podcast, says
I interviewed legendary punk icon, world traveler, and lecturer Henry Rollins, Rollins. He is intensely focused on creating a better world and a better America, and much of the conversation is devoted to that, but we also get into the overlap between his music career and his work as a humanitarian, his acting career and a few hilarious stories from the Black Flag days.
Henry Rollins makes an appearance in the Big Think video series, explaining how he came to quit his job at the Haagen Dazs to sing for Black Flag. Jason Gots writes on Big Think:
That was 30 years ago. The years Rollins spent in Black Flag launched his career as a musician, writer, and performer. He seized the opportunity, ran with it, and numerous albums, books, films and tv shows later, he's still running. Rollins says of the Black Flag audition that he "won the lottery." Ok, the timing was lucky. But it was Rollins' energy as part of the DC punk scene (while working those day jobs) that earned him Black Flag's friendship, which got him the guest-spot, which got him the audition. And a less humble, hardworking guy might very well have burned out after a year on tour and ended up at rehab, then back at Haagen Dazs.
Instead, Rollins took calculated risk and decisive action at the right moment, then committed fully to making the most of the life he'd chosen for himself. And instead of resting on his laurels, he's continued to learn, grow, and reinvent himself. That's what makes him heroic. What Kahneman's studies don't tell us is which of those once-aspiring actors worked tirelessly to create, then seize opportunity, nor how many of those failed entrepreneurs picked themselves up and went on to succeed in other bold ventures.
Dan writes, "Monkey Boots: The latest hilarious DIY video from the middle aged British punk band, Punks Not dad. This time dealing with retro footwear and a west side story rumble between punks and fans of Adam and the Ants in 1981. This video is introduced by sitcom legend Peter Bowles From to the manor born, who also provides a Vincent-Price-in-Thriller style voice-over."
The next SF in SF reading series on July 7 is a punk-rock extravaganza: John Shirley and Richard Kadrey, the guys who put the "punk" in cyberpunk, reading together. Kadrey, of course, has reinvented himself as a totally hard-boiled, awesome horror writer with his triumphant Sandman Slim series (I've just read a proof of the next one, and it's killer). Shirley's short story collection was one of the most excitingly mutated books of 2011.
Doors and cash bar open at 6:00PM
Event begins at 7:00PM
Suggested $5 - $10 donation at the door helps support Variety Childrens' Charity of Northern California
Seating is first come, first seated
The Variety Preview Room Theatre
The Hobart Bldg., 1st Floor -- entrance between Quiznos and Citibank
582 Market Street @ 2nd and Montgomery
My friend Sean Bonner just pointed me to a wonderful music history project, put together by Brian Stefans: at lapostpunk.blogspot.com, an MP3 compilation of post-punk and experimental pop music in the Los Angeles area from the mid-seventies through the mid-eighties.
I kind of think of this as a portrait of the city at the time more than a collection of tracks that will change the world (though more than a handful I think are unfairly neglected). I’m wondering if someone like Rhino Records would want to do a Nuggets-type collection from the period? They already have one of Los Angeles from 1965-1968 called Where The Action Is.