From the category archives:

Underground

Miscarriage. The Abortive Attempt.  Nos. 13 (1977) – 14; 16 – 19; 20; 22 – 30; 30 (bis) – 36 (March 1978) (dated per the postal cancellation). [Title and subtitle vary.] Collection of 23 weekly issues (ca. 2-6 leaves each). Boston / Jamaica Plain, MA (10 Priesing Street) 1977-1978. (47328)

Like most cities in the United States, Boston can lay claim to a punk-era history all its own.  The venerable Boston Groupie News, the Subway News, and later, Forced Exposure are among the better-known chronicles of such indigenous noise and youthful exuberance that flourished along the banks of the Charles River between the mid 1970s and the late 80s.  Now we can add Miscarriage to the list of essential Boston underground fanzines.

[click to continue…]

Digg This
Reddit This
Stumble Now!
Buzz This
Vote on DZone
Share on Facebook
Bookmark this on Delicious
Kick It on DotNetKicks.com
Shout it
Share on LinkedIn
Bookmark this on Technorati
Post on Twitter
Google Buzz (aka. Google Reader)

{ 4 comments }

Artists’ postcards from the collection of Ulises Carrión, comprised of approximately 900 individual items in 108 small edition sets (most 50-500 copies) by Günter Brus, Stempelplaats, Nickolaus Urban, and Gabor Toth, among others, many signed by the artists and addressed to Carrión.  [44030]

Brus, Gunter "O Wunder, Wunderschone Sonne," suite of four postcard prints, N.p., 1978.  Signed and dated by Brus, with dedidication to Carion on verso of first card.

Brus, Gunter "O Wunder, Wunderschone Sonne," suite of four postcard prints, N.p., 1978. Signed and dated by Brus with dedication to Carrión on verso of first card.

Without so much as an envelope to keep their contents private, postcards may be our most casual yet intimate mode of personal correspondence. We send them to our friends and colleagues to boast of our visits to exotic locales, natural wonders and art museums.  The gesture implies fondness and familiarity with the addressee—“wish you were here,” etc.  And though they sometimes depict works of art, we seldom think of them as substantial works of art unto themselves.

[click to continue…]

Digg This
Reddit This
Stumble Now!
Buzz This
Vote on DZone
Share on Facebook
Bookmark this on Delicious
Kick It on DotNetKicks.com
Shout it
Share on LinkedIn
Bookmark this on Technorati
Post on Twitter
Google Buzz (aka. Google Reader)

{ 7 comments }

Teruhiko Yumura, et al.-. Shinjuku Playmap.  Nos. 1 (July 1969) through 30 (December 1971) (all published in the first series).  8vo.  Wrpps., covers illustrated by Teruhiko Yumura (also known as King Terry and Terry Johnson).  Tokyo 1969-1971.  [46471]

What Power is This?

 

What power is this, indeed?

The global tidal wave of youth culture rebellion and experimentation of the late 1960s and early 1970s did not bypass Tokyo.  Shinjuku ward—home to the city’s municipal government and its busiest commuter rail center—was the local substation through which powerful new currents in music, fashion and visual art flowed in and out of Japan.

[click to continue…]

Digg This
Reddit This
Stumble Now!
Buzz This
Vote on DZone
Share on Facebook
Bookmark this on Delicious
Kick It on DotNetKicks.com
Shout it
Share on LinkedIn
Bookmark this on Technorati
Post on Twitter
Google Buzz (aka. Google Reader)

{ 0 comments }

Damage: An Inventory, “the magazine that’s not for everybody.”

Damage: An Inventory December 7, 2010

A pronounced regionalism prevailed in the American underground music scene of the late 1970s and early 1980s. In California, the micro-climates of Los Angeles and San Francisco each nurtured a distinctive local take on punk rock. Local fanzines reflected this, with publications like Search & Destroy celebrating the eclecticism of the Bay Area while Slash Magazine spoke to the angular defiance of Melrose and Silverlake. Brad Lapin’s Damage: An Inventory represented itself as a partisan of both communities, and furthermore, sought to connect West Coast punk to developments in Tokyo, Paris, London and elsewhere.