Author: Bryan Ray Turcotte
This title exposes the lasting impact of punk on visual culture. Hundreds of flyers, photos, set lists, vintage fashions and other ephemera from all of your favourite bands are jammed into this menacing volume. It features a wide spectrum of bands that initially ignited the scene and later fuelled its global expansion. It also features interviews with Ian Mackaye, a respected voice of the DIY music underground, and Malcolm McLaren, a promoter of the early punk movement.Contributing writers such as Wayne Kramer, Arturo Vega, Kid Congo, David Yow, Annie Anxiety, Duane Peters, Marc Mc- Coy, Tony Alva, Don Bolles, Trudie and Pat Smear flesh out the visual assault. It also features hard hitting interviews with Ian Mackaye, one of the most respected voices of the DIY music underground, and Malcolm McLaren, likely the most impactful promoter of the early punk movement.
Author: Craig Horne
Melbourne is able to support around 465 live music venues – compared to 453 in New York and 385 in Tokyo. Melburnians are committed to going out to listen to live music and have supported generations of musicians. This title is the socio-political history of live music in Melbourne and the stories of those musicians who played anything they wanted: jazz, rock, country and blues.
The style of the magazine was a mix of interviews, articles, fiction, and music reviews, often written in Glass's absurdist, stream-of-consciousness writing style, which at times bordered on nonsense. The text was complemented by bizarre artwork and photographs, frequently unrelated to the articles they accompanied. One trademark of the magazine was its use of appropriated text and images from uncredited or unknown sources, taken from found objects picked up by Glass, other contributors, or readers. Another regular feature was the inclusion of a compilation 7" record or CD of music by artists profiled in the corresponding issue. Bananafish is often credited with giving many Americans their first exposure to Japanese noise musicians such as Merzbow and Solmania, as well as domestic noisemakers like Emil Beaulieau
Front Cover by Christine Shields from Bananafish Issue #15
The style of the magazine was a mix of interviews, articles, fiction, and music reviews, often written in Glass's absurdist, stream-of-consciousness writing style, which at times bordered on nonsense. The text was complemented by bizarre artwork and photographs, frequently unrelated to the articles they accompanied. One trademark of the magazine was its use of appropriated text and images from uncredited or unknown sources, taken from found objects picked up by Glass, other contributors, or readers. Another regular feature was the inclusion of a compilation 7" record or CD of music by artists profiled in the corresponding issue. Bananafish is often credited with giving many Americans their first exposure to Japanese noise musicians such as Merzbow and Solmania, as well as domestic noisemakers like Emil Beaulieau.
Kiddiepunk is proud to present “And I Could Not Have Hurt You” a new book of poems by Robbie Coburn. This harrowing collection consists of 36 sombre and piercing poems exploring death, loss, depression and self-harm. Presented in three sections, the poems form a fractured and harrowing narrative that doubles as a descent into the abyss.
