Summer Bloggin’ Day 14: On Zines

Your friend LP

July is, as always, International Zine Month, which has an awesome calendar with things to do for each day. One day, I will do all the things on that list, but not this year: I am prioritising actually WRITING a zine (or two). It’s been so long since my last zine that I almost feel like I can’t claim being a zinester anymore.

Things I will be doing is catch up on the zine world: I am also completely out of the loop regarding zines that have come out and/or that are a must read, even from my favorite zinesters. I will also be going through my zine collection and see if there are zines I am ready to part with, and find a new home for them. It just feels like a waste to have zines locked up in a box where they could be in a zine library…

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Public Illumination Magazine

Contemporaneous Extension

Text by Elegance Fountains, image by M. Le Fuc. From "Virulence," issue 2, January 1980. Public Illumination Magazine, published at 230 Grand Street 10013 . Text by Elegance Fountains, image by M. Le Fuc. From “Virulence,” issue 2, January 1980. Public Illumination Magazine, published at 230 Grand Street 10013 .

Below is a brief interview with Professor Dr. Dr. Zagreus Bowery, editor of Public Illumination Magazine (PIM) conducted via email.
Q: How did you organize the zines? Seeing as you had an open call but many return writers, how did you fit it all in? 
A: A ruthless red pen and an editor’s sensibility.

Q: What’d you do with the content you turned down?
A: Regret that it didn’t fit.

Q: Are contributors international, or from a particular region?
A: Mostly US, some Italy.

Q: What inspired the beginning of this zine?
A: Collaboration with other artists.

Text by Jersey Plates. Illustration at top by M. Le Fuc; photograph by Rectal Picture Serv. From "Mass Transit," issue 3, February 1980. Public Illumination Magazine, printed at 230 Grand Street 10013. Text by Jersey Plates. Illustration at top by M. Le Fuc; photograph by Rectal Picture Serv. From “Mass Transit,” issue 3, February 1980. Public Illumination Magazine

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After Little Rock Zine Nite

Mini Comix Co-Op

Little Rock Zine Nite Little Rock Zine Nite

I had a great time at the Little Rock Zine Nite. Met some great creators and had some interest drawn towards the Co-Op. Sold out of my own books and sold some of these monster boxes I made for the show. The creators I met seemed interested in the Co-op but there were selling their books that night and told me they’d reach out to me when they had more copies of their books printed. There weren’t a lot of comix there, but there were enough to make it noticeable.

DKD #7 - Dan Huff DKD #7 – Dan Huff

We did get a contribution by Dan Huff. His book DKD #7 is a book full of his illustrations. It’s huge and compact, he put a lot of pages in this book and he gave us 10 copies of it! It’s definitely going to be one of the books I give out…

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Making the Urban Scene: The Arts

Nose Garage

We will always need an artistic avant garde. No other group in our communities has the self-confidence to challenge that accept canons of taste and revitalize the production of expressive objects and performances. The avant garde was first identified as early as 1825 by Olinde Rodrigues who called upon the artists to “serve as [the people’s] avant-garde”, insisting that “the power of the arts is indeed the most immediate and fastest way” to social, political and economic reform [Matei Calinescu, 1987. The Five Faces of Modernity: Modernism, Avant-Garde, Decadence, Kitsch, Postmodernism. Duke University Press]. The last two hundred years has shown that technology is a much more effective reformer than art. Think about the differing impacts of the airplane, the birth control pill, or the computer, compared to the works of Martha Graham, Antonine Artaud, or Andy Warhol. It pains me to say so, but social, political and economic…

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IVAN ČKONJEVIĆ – Pastel (2013)

Make Your Own Taste

PastelHere is a submission that proves not only that the musical avant-garde is alive and well, but that the mine of contemporary “free” music is so rich, it’s astonishing what you can find if you’re willing to dig. I point out the latter because I’m reminded of a recent discussion with a colleague, in which we noted that it seems most of the current free music touted as “experimental” seems to be made by people who don’t actually know how to make music in the traditional sense; just about anyone with Pro Tools or Logic software can throw together some scratchy sounds and bleeps and bloops and release it as a “noise” album. God, there’s a lot of that about, and you can’t tell most of it apart. Anyway, our griping was probably just mean-spirited, I suppose. Some of this music is done very well, and I myself make lots…

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Mix 8: The Kream of Krautstuff

Make Your Own Taste

irrlicht1 copyThat’s right, folks. Following up on my posts on Krautrock and German electronic music of the seventies in general, I present this honking big playlist of some of the finest tracks from the finest artists in the German art music scene, from kosmische ambient to avant-garde rock.

Twenty tracks that’ll take you to the farthest reaches of the cosmos and back, all through the minds of our Teutonic bros and sisses.


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Nick Cave’s critically-acclaimed 20,000 Days on Earth gets a sold-out UK premiere and gala satellite event

Kultguy's Keep

20,000 Days on Earth (2014)

20,000 Days on Earth takes an avant-garde look into the life and creative mind of legendary Australian muso, author, screenwriter and occasional actor Nick Cave over a period of 24 hours. Directed by Iain Forsyth and Jane Pollard, the film gets its formal UK premiere at the sold out Film4 Summer Screen at Somerset House in London tonight.

This will be followed by a very special gala preview at London’s Barbican on 17 September. The red-carpet event, featuring a screening of the film plus a unique 60-minute live experience that includes a live performance with Nick Cave, Warren Ellis and Barry Adamson and a Q&A with the 20,000 Days on Earth creative team, will be broadcast live via satellite to over 150 cinemas across the UK. 20,000 Days on Earth then goes on general release across the UK and Ireland from 19 September.

20,000 Days on Earth (2014)

This critically-acclaimed film first debuted at the…

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Radio Head likes this music, so should you


This might be my most unusual Friday session yet. I had only heard of two of the professional artists here before this week. It has been an eye opening week for my musically. My only frustration is that I was not able to find a Spanish language track that fit within what I was trying to do here. But I have something for next week, so stay tuned!

Classic Musical –“The savants of Carleton College: Jonah and Nada”

These luminaries of the Southern Minnesota classical music scene serenade your ears with a plethora of pleasantries. If you listen to one youtube video of talented amateur classical music performers, listen to this one!

Dream House – Deafheaven

Very interesting metal, this is the direction it needs to take to stay relevant and not relegated to dudes with shitty hair. That said, no one who loves ‘real metal’ and has shitty…

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Punk Attitude

The Flâneur's Archives

Buzzcocks: Singles Going Steady (1979)

There’s a difference between what punk was and what it appeared to be. For me, it wasn’t the physical appearance that was the important thing. It wasn’t how the Sex Pistols dressed or the actual records themselves. It was the actual doing of them–and the humor that was involved… Viewed as an artistic thing… it was performance art. It was avant-garde. It was an adventure, something you launched yourself into. It was an alternative lifestyle.

Buzzcocks founding member, Pete Shelley
(from Punk 365, Holly George-Warren)

Ever Fallen In Love?

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Post-Materialists – Junky Tapes

Yeah I Know It Sucks

Artist: Post-Materialists
title: Junky Tapes
keywords: electronic, experimental, avant-garde, drone-electronic, experimental-jazz, lo-fi, noise, noise rock

Post-materialists have built up a reputation to be too weird for the Russian experimental avant-garde scene. But is it really, or is the Russian scene just too weird for Post-materialists?

Perhaps it’s more the quality that is making the difference? Post-Materialists are pretty clean cut compared to most things that had entered my ears from the avant-garde side of the region. It’s still a form of resistance but expressed perhaps more classy, even more in-depth & full.

Yes, there are hints of insanity: but is it really? Can it not be very well planned smartness that is at work here? It’s not every day that you come across a track like ‘Venus in furs’ in which a looped form of trip music meets up with smurf-like voices and pulls it off without disturbing the psychosis…

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