Frans de Waard published Vital, a fanzine for electronic and electroacoustic music, from 1987 to 1995. It was a low-budget, Xeroxed publication, bearing the revolutionary instruction: ‘No Copyright Publication. Reprint Now!’ It featured interviews with Asmus Tietchens, O Yuki Conjugate, Merzbow, P16.D4, Pierre Henry, Jim O’Rourke, Brume, Döc Wor Mirran and many others, hosted discussions on copyright, plagiarism and plunderphonics, house music, ambient music, cassette culture and noise, and included contributions from musicians such as Leigh Landy, Godfried Willem Raes, John Duncan, and GX Jupitter-Larsen. Every issue included reviews of cassette releases, LPs, CDs and books. A total of 44 issues were published. Vital moved online in 1995, where it appeared every week since as Vital Weekly.
Frans de Waard has played with Kapotte Muziek to Beequeen (with Freek Kinkelaar), Goem (with Roel Meelkop and Peter Duimelinks, both of whom are also a member of Kapotte Muziek), Zebra (with Roel Meelkop) as well as solo projects under the moniker Freiband and Shifts, and under his own name. De Waard worked for Staalplaat (1992-2003) and since 1986 as a reviewer for his own independent zine publication Vital. VITAL zine is a lively record of the heyday of cassette culture and industrial music, but also of developments in the wider field of electronic music.
Frans de Waard published Vital, a fanzine for electronic and electroacoustic music, from 1987 to 1995. It was a low-budget, Xeroxed publication, bearing the revolutionary instruction: ‘No Copyright Publication. Reprint Now!’ It featured interviews with Asmus Tietchens, O Yuki Conjugate, Merzbow, P16.D4, Pierre Henry, Jim O’Rourke, Brume, Döc Wor Mirran and many others, hosted discussions on copyright, plagiarism and plunderphonics, house music, ambient music, cassette culture and noise, and included contributions from musicians such as Leigh Landy, Godfried Willem Raes, John Duncan, and GX Jupitter-Larsen. Every issue included reviews of cassette releases, LPs, CDs and books. A total of 44 issues were published. Vital moved online in 1995, where it appeared every week since as Vital Weekly.
Frans de Waard has played with Kapotte Muziek to Beequeen (with Freek Kinkelaar), Goem (with Roel Meelkop and Peter Duimelinks, both of whom are also a member of Kapotte Muziek), Zebra (with Roel Meelkop) as well as solo projects under the moniker Freiband and Shifts, and under his own name. De Waard worked for Staalplaat (1992-2003) and since 1986 as a reviewer for his own independent zine publication Vital. VITAL zine is a lively record of the heyday of cassette culture and industrial music, but also of developments in the wider field of electronic music.
Frans de Waard published Vital, a fanzine for electronic and electroacoustic music, from 1987 to 1995. It was a low-budget, Xeroxed publication, bearing the revolutionary instruction: ‘No Copyright Publication. Reprint Now!’ It featured interviews with Asmus Tietchens, O Yuki Conjugate, Merzbow, P16.D4, Pierre Henry, Jim O’Rourke, Brume, Döc Wor Mirran and many others, hosted discussions on copyright, plagiarism and plunderphonics, house music, ambient music, cassette culture and noise, and included contributions from musicians such as Leigh Landy, Godfried Willem Raes, John Duncan, and GX Jupitter-Larsen. Every issue included reviews of cassette releases, LPs, CDs and books. A total of 44 issues were published. Vital moved online in 1995, where it appeared every week since as Vital Weekly.
Frans de Waard has played with Kapotte Muziek to Beequeen (with Freek Kinkelaar), Goem (with Roel Meelkop and Peter Duimelinks, both of whom are also a member of Kapotte Muziek), Zebra (with Roel Meelkop) as well as solo projects under the moniker Freiband and Shifts, and under his own name. De Waard worked for Staalplaat (1992-2003) and since 1986 as a reviewer for his own independent zine publication Vital. VITAL zine is a lively record of the heyday of cassette culture and industrial music, but also of developments in the wider field of electronic music.
Frans de Waard published Vital, a fanzine for electronic and electroacoustic music, from 1987 to 1995. It was a low-budget, Xeroxed publication, bearing the revolutionary instruction: ‘No Copyright Publication. Reprint Now!’ It featured interviews with Asmus Tietchens, O Yuki Conjugate, Merzbow, P16.D4, Pierre Henry, Jim O’Rourke, Brume, Döc Wor Mirran and many others, hosted discussions on copyright, plagiarism and plunderphonics, house music, ambient music, cassette culture and noise, and included contributions from musicians such as Leigh Landy, Godfried Willem Raes, John Duncan, and GX Jupitter-Larsen. Every issue included reviews of cassette releases, LPs, CDs and books. A total of 44 issues were published. Vital moved online in 1995, where it appeared every week since as Vital Weekly.
Frans de Waard has played with Kapotte Muziek to Beequeen (with Freek Kinkelaar), Goem (with Roel Meelkop and Peter Duimelinks, both of whom are also a member of Kapotte Muziek), Zebra (with Roel Meelkop) as well as solo projects under the moniker Freiband and Shifts, and under his own name. De Waard worked for Staalplaat (1992-2003) and since 1986 as a reviewer for his own independent zine publication Vital. VITAL zine is a lively record of the heyday of cassette culture and industrial music, but also of developments in the wider field of electronic music.
Frans de Waard published Vital, a fanzine for electronic and electroacoustic music, from 1987 to 1995. It was a low-budget, Xeroxed publication, bearing the revolutionary instruction: ‘No Copyright Publication. Reprint Now!’ It featured interviews with Asmus Tietchens, O Yuki Conjugate, Merzbow, P16.D4, Pierre Henry, Jim O’Rourke, Brume, Döc Wor Mirran and many others, hosted discussions on copyright, plagiarism and plunderphonics, house music, ambient music, cassette culture and noise, and included contributions from musicians such as Leigh Landy, Godfried Willem Raes, John Duncan, and GX Jupitter-Larsen. Every issue included reviews of cassette releases, LPs, CDs and books. A total of 44 issues were published. Vital moved online in 1995, where it appeared every week since as Vital Weekly.
Frans de Waard has played with Kapotte Muziek to Beequeen (with Freek Kinkelaar), Goem (with Roel Meelkop and Peter Duimelinks, both of whom are also a member of Kapotte Muziek), Zebra (with Roel Meelkop) as well as solo projects under the moniker Freiband and Shifts, and under his own name. De Waard worked for Staalplaat (1992-2003) and since 1986 as a reviewer for his own independent zine publication Vital. VITAL zine is a lively record of the heyday of cassette culture and industrial music, but also of developments in the wider field of electronic music.
Frans de Waard published Vital, a fanzine for electronic and electroacoustic music, from 1987 to 1995. It was a low-budget, Xeroxed publication, bearing the revolutionary instruction: ‘No Copyright Publication. Reprint Now!’ It featured interviews with Asmus Tietchens, O Yuki Conjugate, Merzbow, P16.D4, Pierre Henry, Jim O’Rourke, Brume, Döc Wor Mirran and many others, hosted discussions on copyright, plagiarism and plunderphonics, house music, ambient music, cassette culture and noise, and included contributions from musicians such as Leigh Landy, Godfried Willem Raes, John Duncan, and GX Jupitter-Larsen. Every issue included reviews of cassette releases, LPs, CDs and books. A total of 44 issues were published.
Frans de Waard has played with Kapotte Muziek to Beequeen (with Freek Kinkelaar), Goem (with Roel Meelkop and Peter Duimelinks, both of whom are also a member of Kapotte Muziek), Zebra (with Roel Meelkop) as well as solo projects under the moniker Freiband and Shifts, and under his own name. De Waard worked for Staalplaat (1992-2003) and since 1986 as a reviewer for his own independent zine publication Vital. VITAL zine is a lively record of the heyday of cassette culture and industrial music, but also of developments in the wider field of electronic music.
RADIO BIRDMAN by VIVIEN JOHNSON. 218 page softcover book about the band. Extensive interviews, lyrics, photos galore, a must-read for any fan and a great story in it's own right. Originally published in 1990, this is the 1992 printing.
Friedman works at the intersection of design, management, and art. His research focuses on strategic design and value creation for economic innovation. Friedman has done research in theory construction, research methodology, philosophy of design, doctoral education in design, knowledge management, and philosophy of science. He has done design policy studies for Australia, Estonia, Latvia, Lithuania, Norway, and Wales. In 2007, Loughborough University awarded him the degree of Doctor of Science, honoris causa, for outstanding contributions to design research.
Ken Friedman is an artist and designer active in the international laboratory of art, design, music, and architecture known as Fluxus. He had his first solo exhibition in New York in 1966. His work is represented in museums and galleries around the world, including the Museum of Modern Art and the Guggenheim Museum in New York, the Tate Gallery in London, the Hood Museum of Art at Dartmouth College, and Stadtsgalerie Stuttgart.
The University of Iowa Alternative Traditions in the Contemporary Arts is the official repository of Friedman’s papers and research notes. The Silverman Fluxus Collection at the Museum of Modern Art, Archiv Sohm at Stadtsgalerie Stuttgart and the Mandeville Department of Special Collections at the University of California hold extensive archives on Friedman’s work of the 1960s and 1970s. (2019)
