As a kid and burgeoning adolescent I spent almost every weekend for a period of years longer than I’m willing to admit at the local shopping centre. When you start to measure the passage of time by shopping mall additions and renovations you know you’re in trouble. It wasn’t just that I was dragged along every week by my shopaholic mother and enabling father, although that was certainly a key factor, but that I genuinely found some comfort in that palace of commerce and all its sterile, air-conned glory. It wasn’t even for any semblance of a family outing; apart from the obligatory lunch together during which I would dread being spotted by anyone I knew, it was the parting of the ways. My father would get a newspaper, plant himself somewhere and usually fall asleep until my mother was ready to go; my mother, a small unassuming woman who came into her own each week in that maze of products and price reductions. This was her element, and in it she became a woman on a mission, disappearing into a few hours of blissful, driven consumerism. As a budding consumer and capitalist flag bearer myself I would disappear into my own day of spending, or rather, a few minutes of spending, preceded by a day of anxious decision making. At that age I was dead in the midst of a self-induction into the wider world of music, graduating from what my older brother and friends turned me on to to what I discovered for myself via the internet, and each week my pocket money went straight into a new CD fraught with possibility and risk. Risk, because in those days of low bandwidth dial-up internet and my father’s fear that the smallest flaunting of anti-piracy laws would result in the Feds breaking down our front door within minutes, I could read about a ton of new music but I couldn’t listen to it, and so the weekly expedition to pick up a new album by somebody I’d never actually heard was loaded with anxiety and excitement, and you can believe the choice between two or more different CDs was not a light one. I would spend all day staring at album covers, track listings and spine labels, trying to imagine what was inside those mystical plastic-sealed jewel cases.
The other day I found this gem of a photo zine online called TERMINALLY STUPID #6 – DIVING WITH YOUR BOOTS ON 1985. It’s a collection of photos from at least 50 bands. This zine sheds light on what was happening in Vancouver and Toronto at the time, but it also features many bands from the States. On a personal level, looking at these photos takes me back in time to when hardcore kids roamed and we got jumped just for being ourselves…CVLT Nation salutes Dan Walters for sharing this with the world! Here are some of the bands you will see: Black Flag, Battalion of Saints, Youth Brigade, Stretch Marks, Melvins, Toxic Reasons, Verbal Abuse, Big Boys, S.N.F.U and many more…Download TERMINALLY STUPID #6 DIVING WITH YOUR BOOTS ON 1985 and get your stage dive ON!
“Terminally Stupid #6 photozine- DIVING WITH YOUR BOOTS ON- 1985: The Year in Punk & Hardcore… 28 years in the making (well, maybe 1 year in the making and 27 years sitting in a box…), here’s the year of punk and hardcore gigs in Vancouver through the camera lens of a 17 year old suburban kid and his friend with a darkroom (and a better camera), plus a few from out of town. Includes visual scene reports from Vancouver and Toronto circa 1985…Enjoy…”
Now this is just totally fucking AWESOME…some of my favorite musical heros have been given a superhero make over! Brazilian designer Butcher Billy re-works the images of Siouxsie Sioux, Mark Mothersbaugh, Ian Curtis, John Lydon, Morrissey, Robert Smith and Billy Idol as comic book superheros. His series is entitled The Post Punk/New Wave Super Friends! Jump on a dirty bassline and check it out!
They are so many different ways to express ones self and not everyone is tied to only one way of doing it. Also their people in the universe that are creative because it comes deep from with in them and every second they exist on this planet they are thinking of ways to create something new. Terence Hannum of Locrian is one such human besides making music that i dig he manifest art stretches my imagination. He recently released a new book entitled “A.Y.P.S.” via Kiddiepunk and also a new fanzine called Corpse Flower( order Here). Check out intense photos of both after the jump plus read what Terence Hannum says inspired these works!
“A.Y.P.S.” collects three years of drawings, collages and brief negative texts by artist and musician Terence Hannum.
“Anno Yersinia Pestis Spiritus” or “In The Year of our Spiritual Plague”, was a rare phrase used in the liner notes of black metal albums during the 1990s. Hannum has spent years reflecting on this music subculture – a subculture that vacillates between what is profane and sacred, and how in that abject shadow of the profane, something uniquely sacred is defined. Halos of hair emerge from dark voids, shrines of amplifiers build altars to silence, cascades of xeroxed hair interrupt the page and brief collections of words and phrases are presented and crossed out. The ritual gets fragmented and boiled down, rebuilt and then re-worshiped.
FER YOUZ was a Los Angeles punk rock one sheet/fanzine from the 80′s that was given out for free at shows. Nikki & Brian Tucker were the humans behind the lens and these two people captured the 80′s SoCal scene like no one else. What made their photos so special is that not only were they taking photos of bands, they captured the culture that was happening at the time. While pulling photos for this feature, so many faces and memories were slam-dancing around my brain. Now I know why my mom was always mad at me and thought I was an insane teenager, having these misfits as friends. I’m not sure if Nikki & Brian see themselves as historians, but I do. By going out every week taking these amazing pictures, they preserved a space and time that will never happen again. FER YOUZ one sheets showed the world that it didn’t matter what your sex, color or gender was, as long you were an outcast you could be a part of the tribe. It’s cool because Nikki & Brian are very creative people themselves, and they also magnified what other creative people were doing at the time. It’s interesting to see how girls in the SoCal early 80′s scene looked like what the world would later call “goth” or “deathrock” before there ever were these terms. I want to salute FER YOUZ for changing my life and doing what they did for the love of it. Now after the jump, check out some of the sickest flicks of the SoCal 80′s punk scene…R.I.P. to all those who are not here any more. Make sure to like their page (it’s become an online meeting place for the old heads) and read the interesting comments from old punk rockers…FER YOUZ is for US!
As a youth, my homies and I were running wild in the streets of Hollywood and beyond. Some nights there were fights – Suicidal Boys vs. L.A.D.S – or our clothes were covered in puke because we could not hold our liquor. We would leave shows most nights with the L.A.P.D herding us which way to go. We could always count on punks shoving flyers in our hands, telling us where the next gathering of feral youth would be and what bands would provide the soundtrack to our mayhem-fueled fun! Graphics on these pieces of paper could make or break what the turn out would be. Many us young weirdos also used these historic pieces of paper as wallpaper to decorate our bedrooms. Today CVLT Nation celebrates the early 80′s punk flyer with a mammoth gallery that has flyers from all over the world. While researching for this feature, it reminded me how important Gary Tovar and Golenvoice were to the SoCal punk community – there will never be another punk promoter like this crew. Also, I didn’t realize how many insane lineups we got to see! Plus, since paper was the way we communicated with one another, these physical reminders of the scene will continue to exist for future generations to appreciate…I can’t say the same for Facebook invites or internet flyers. Food for thought – you don’t realize you are living history until it’s too late…So don’t take your community for granted!
I knew when I picked up the first issue of MAXIMUM ROCKNROLL I was going to love it just by looking at the kind of paper it was printed on. Then there was the layout, which was chaotic but made total sense to my young mind. Being from Southern California, I was an avid reader of Flipside, but MRR spoke to me in a different way. My favorite part of the magazine was the national and international scene reports that helped get me into gnarly bands from around the world. This was in 1982, so without these mags it was hard to find out about music that was not coming from our neighborhood. I can honestly say that these scene reports had such a big influence on me, which is why we always wanted CVLT Nation to have a global aspect to it! MAXIMUM ROCKNROLL even changed the way that promoters booked shows – it was because of them that Goldenvoice started putting on international gigs with bands from all over the world. Then there was the politics of this fanzine; they talked about things that other zines at the time would never talk about. MRR made me want to be an activist and make a difference in the world in some way. After I heard the “Not So Quiet on The Western Front,” the way I listened to punk was never the same. This was a record that I played over and over and never got bored of! One day I will never forget was in 1984, the “summer of hate” in San Francisco due to the Skinheads (B.A.SH & S.F.Skins) terrorizing the scene. Tim Yohannan invited Mark Dagger and his other skinhead goons on to the MRR radio show, and they went head to head with them about their racist beliefs. Tim Yohannan ripped them a new one! The fallout from this show was that the skinheads wanted to destroy the anarchist bookstore on Haight St. You can now go HERE and download the first 8 issues of this fanzine that has helped shape worldwide punk culture. After the jump check a video essay of some of the bands that were featured in MRR in the early days, as well as some screenshots of the first issues. CVLT Nation salutes MAXIMUM ROCKNROLL for being around for 30 years – thank you for changing my life!
Art & Punk have had a relationship since the beginning of the punk movement. These two things have had a very deep bond that is often overlooked. One of my favorite blogs to read & look at is Art 4 Punks! It focuses on how important the graphic designer can be in making an album or fanzine look fantastic plus the art of colored vinyl. I dig how they showcase all sorts of bands but also shine light on the aesthetic of each record. After the jump, check out some of my favorite covers and slabs of vinyl.
Gazing at art has always been a way for me to travel to other worlds in my mind. Growing up in the 80′s, I remember staring at Heavy Metal magazine for hours – I would be transfixed by the colors. The master of fantasy art is Boris Vallejo, and for decades he has been creating alternate universes with his work. Inside of his world, women have huge muscles and fight off dragons and other beasts. When you look at Boris’s work, you can see the impact he has had on illustrators within the heavy music community. Today CVLT Nation would like to celebrate this fantasy wizard with a mammoth art gallery of his work. So after the jump, get ready to go to a place where the color is alive!
If I had to choose my top three illustrators in the world, PUSHEAD would one of them. During the 80′s, when he drew flyers for gigs you knew the show was going to be all that just because of his pen skills. I remember his twisted images all over me and my homies’ walls. When I found out that PUSHEAD was in Septic Death, I knew that I was going to dig their music. He is an illustrator that has influenced so many artists that his style will live on for many generations to come. To this very day, I could spend hours looking at all of the record covers, skateboards and flyers that he created. Today, CVLT Nation wants to celebrate PUSHEAD with a huge visual essay of some our favorite pieces. So after the jump, peep some of the sickest ink skills in the world!