Idols, an authentic compendium of 1970s’ New York style and attitude, and a confirmed masterpiece, began with an awestruck Larrain visiting Max’s Kansas City in the explosively liberating early years of the gay rights movement, and befriending Taylor Meade and John Noble. Once they came to be photographed, the rest followed. Idols represents a generation of New York’s most talented, outrageous, glamorous, and mostly gay personalities, after spending hours applying original makeup and costumes to pose for Gilles in his now legendary SoHo studio.
Ryan McGinley is a New York based photographer raised in New Jersey. After moving to New York in 1998, he began extensively photographing his downtown environs. He received a BFA in graphic design from Parsons School of Design in 2000. In 2003, at the age of 25, McGinley was the youngest artist to have a solo show at the Whitney Museum of American Art. His work has appeared in galleries and museums worldwide, on the covers of magazines and albums, and has
been collected in five monographs, most recently in Life Adjustment Center (Dashwood, 2010).
This book is signed and second hand and is in great condition.
In Generation Ecstasy, Simon Reynolds takes the reader on a guided tour of this end-of-the-millenium phenomenon, telling the story of rave culture and techno music as an insider who has dosed up and blissed out. A celebration of rave's quest for the perfect beat definitive chronicle of rave culture and electronic dance music.
A rare book about rave culture, second hand in good condition.
This is our lockdown album.
This album is dedicated to the friends we lost along the way. Tell your friends you love them.
credits
released October 14, 2022
Jace: Bass & Guitars
Jem: Drums & Metal Percussion
Jenny Divers: Sax
Recorded by Mike Deslandes at Sound Recordings - Winter MMXXI
Assisted by Alex Bennett | Mixed by Mike and Jem
Mastered by Lachlan Carrick
DEAD smash out a live record in “Classic” two piece mode aka Original Flavour.
You get banger after banger with no fancy studio trickery. At one point Jem sings the wrong words and what the fuck - they just left it in there! Real cowboy stuff.
In 2024 the band toured the US with this album as a “Tour Only” LP and it promptly sold out. In response to the cries of “It’s not fair we missed out” (harden up people, life’s unfair, get used to it) the band have made a second edition available for mail order and record stores. And then it’s not getting re-pressed. We really mean it this time. To quote Eminem “You only get one shot, do not miss your chance to blah blah.”
Comes with a download, not available on any of the sweatshop streaming services - seriously, be an adult; buy original music. It’ll change your life.
Forget online specials, we've got a REAL-LIFE BONUS: Come in-store to collect the new ALIVE! DEAD record IN PERSON and you get to choose a FREE split 7". Only while we got em'...
TAILS is the third book by former Sharpie Julie Mac that shares the unique 1960s-1980s Australian Sharpie subculture. Sharpies were a mid-century working-class youth movement that was despised by conservative society. Overlooked, hated and ignored for fifty years, Sharpies can now proudly claim their rightful place in Australian social history and these are their tales.
Come on an armchair adventure with Mac and other former Sharpies, as they describe their adolescent fight for diversity and acceptance in a hostile environment. A battle for the right to wear the hairstyles, fashions, tattoos and piercings of their choice.
This book is for every alternative teenager (or adult) missing their Tribe. Sharpie, Goth, Emo, Punk, Skater, Stoner, Metalhead and Misfit. It's not for Sucks, Dags, Straights or Norms, unless they are studying it for pointy head, academic purposes!
SNAP sketches the timeline of a lost Australian sub-culture, the teenage Sharpie gangs. Tough and stylish, the Sharpies created their own diverse family, where mateship and defiance were valued over race, colour or authority. SNAP is loaded with photos, snippets from the internet and first-hand recollections from former Sharpies and observers.
Each generation of Sharpies, the 60s, early 70s, mid 70s, late 70s and the 1980s are fiercely protective of their own style of hair, clothing, footwear, music, dance and mannerisms. Their voices are strong as they argue through the pages as each group believes the sharpies that followed are dickheads and imposters!
Rampage with Julie Mac and the Sharpies on a grouse adventure as they fight, kick and punch through their turbulent teenage years on the unsuspecting streets of 1970s Melbourne. It was a time when bolting from the cops, stooging the ticket inspectors, drinking, spewing, pashing and rooting were all in a night's work for this unique Australian sub-culture.
The first issue of N D appeared in 1982. At first it was planned that artists, musicians, etc would each send in a page of artwork or information. The first issue was mostly that; different pages of artwork from various networkers. Then beginning with N D 2, I did a couple of interviews (one with filmmaker Kurt Kren) and included those, along with a few reviews of magazines and audio releases. The magazine started out as a contact resource for mailart shows, audio projects and addresses. - Daniel Plunket (1995)
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.
