No band pushed back harder against the commodification of the underground as Fugazi. With the release of their third LP, In on the Kill Taker, the poster children for DIY punk ethics found themselves caught up in of one of the most turbulent times in the subculture’s history.
This is the first place that ever published my photos,
I was fourteen when I made the first photo I got published
The story of the magazine is told in this cool 40 minute documentary.
Colin Day’s fascinating documentary “Saving Banksy” rightly honors that renowned pseudonymous street artist whose work (often in public spaces, like a resort town) combines stenciled imagery with clever, cryptic phrases. But “Saving Banksy” has a larger goal: pointedly weighing graffiti’s populist ethos against art-world profiteering.
Graffiti art can be ephemeral: a spray-painted image — until somebody defaces it, or a property owner paints over it — is, at least briefly, free for everyone to behold. Banksy’s public art endures, partly because of extraordinary efforts to salvage it. When the artist visited San Francisco in 2010, his work popped up in various neighborhoods. One artist-collector, Brian Greif, had part of a wall, with Banksy’s rendering of a rat, meticulously carved out of a Victorian building on Haight Street. He seeks a museum that will share it with the public in perpetuity.
Mr. Greif’s effort contrasts with that of Stephan Keszler, an art dealer with a gallery in Southampton, N.Y., who excavates Banksy’s works from public sites and sells them for his own gain. Banksy (who has never revealed his identity) condemns such sales, as does Ben Eine, one of many street artists interviewed here. Mr. Eine says Mr. Keszler is regarded by such painters as “a shyster”; Mr. Keszler, who displayed a few Banksys at Art Miami in 2012, says he enhances Banksy’s reputation.
“Saving Banksy” owns its sympathies: “It’s the poor street kids and the multibillionaires,” Mr. Eine says. “We’re doing everything for nothing, and they’re walking home with Banksys for a million dollars.”
"We are very excited to announce the World Premiere for HR “Finding Joseph I” will be at the Doc n’ Roll Film Festival in London, England on Nov.10th, 2016!"
HR "Finding Joseph I" is a feature documentary currently in production, chronicling the eccentric life and struggles of punk rock reggae singer, Paul "HR" Hudson, a.k.a. Joseph I. The charismatic frontman's energetic and explosive live performances helped pioneer hardcore punk rock with the Bad Brains, one of the most influential bands to rise out of the 1980's. HR's heavy devotion to the Rastafarian faith guided him in a spiritual direction leaving the band several times to explore his love for reggae music as the solo artist, HR Human Rights. Over the years, the Bad Brains have reunited several times only to struggle with the unpredictable singer. HR's increasingly strange and abnormal behavior has left many convinced that he his suffering from psychological troubles while others believe he is still living out his journey as one of the greatest frontmen in rock and roll history!
This documentary will feature interviews with musicians and peers HR has worked with and influenced as they share their stories and first hand experiences. Most importantly we will hear from HR himself about his life, philosophies, and career while seeing him continue to write, record, and perform, spreading his passionate message of universal peace and love.
On October 2nd, 1977 Dusty Baker hit his 30th homerun of the season. As Baker rounded the bases, an excited rookie named Glenn Burke met him at home plate, raised his arm high in the air and slapped Baker's hand. It was the first high five recorded in the history of sports. A year later, Burke was forced out of baseball amid rumours of his sexual orientation
Last week i began posting links of the original French and German versions on various social media, and on Sunday attempted to post the entire series here on the blog, not sure if that worked for everyone, so now that i have the english versions I can embed, here we go with my three parts over the next few days. This is the last, 3rd episode on my work. Let us know what you think.
In the late 1980s, driven on by the Def Jam label, the Hip Hop tsunami washes over America. Public Enemy, Run DMC, the Beastie Boys... all of Rap's future heavyweights will file in front of Glen's camera. His mythic photographs and cult album cover shots help craft the movement's unique esthetic.
Last week i began posting links in the original French and German versions and on Sunday attempted to post the entire series in English here on the blog, not sure if that worked for everyone, so now that i have the english versions I can embed, here we go with my three parts over the next few days. This is the second of three of my episodes. Let us know what you think.
In the early 1980s, from Los Angeles to New York, in sweat-soaked concert halls, in wild mosh pits amid ear-shattering decibels, Glen E. Friedman captures the new music that perflectly reflects his own life. Aggressive yet keenly aware, hardcore punk becomes the new soundtrack of young people in open revolt.
