Avant Garde was a magazine notable for graphic and logogram design by Herb Lubalin. The magazine had 16 issues and was published from January 1968 to July 1971.
From January, 1968, through July, 1971, Ginzburg published Avant Garde, which like Eros, an earlier publishing attempt, was a handsome hardbound periodical. While it could not be termed obscene, but it was filled with creative imagery often caustically critical of American society and government, sexual themes, and (for the time) crude language. One cover featured a naked pregnant woman; another had a parody of Willard's famous patriotic painting, "The Spirit of '76", with a woman and a black man.
Avant Garde had a modest circulation but was extremely popular in certain circles, including New York’s advertising and editorial art directors. Herbert F. Lubalin (1918–1981), a post-modern design guru, was Ginzburg's collaborator on his four best-known magazines, including Avant Garde which gave birth to a well-known typeface of the same name. It was originally intended primarily for use in logos: the first version consisted solely of 26 capital letters. It was inspired by Ginzburg and his wife, designed by Lubalin, and realized by Lubalin's assistants and Tom Carnese, one of Lubalin's partners. It is characterized by geometrically perfect round strokes; short, straight lines; and an extremely large number of ligatures and negative kerning. The International Typefont Corporation(ITC) (of which Lubalin was a founder) released a full version in 1970.
An article on folk music written by United States Supreme Court Justice William O. Douglas was a topic in the congressional hearings on his attempted impeachment in 1970.
The record sleeves for Basic Channel and their various output have always had a nice aesthetic. Simple, sleek and elegant. It doesn't hurt that the music is killer as well.
I own the helmet below, which I like to wear when listening to these records. For no reason other than it just feels right.
Basic Channel is a dub techno production team and record label, composed of Moritz Von Oswald and Mark Ernestus, that originated in Berlin, Germany in 1993. The duo released a number of vinyl-only tracks under various aliases, each of which employed their signature brand of dissonant dub techno. The nine original releases were each primarily identified as Basic Channel productions by their catalogue numbers, as the Basic Channel logo on the label became more distorted and unreadable with each subsequent release.
The duo set up a studio in Berlin on Paul-Lincke-Ufer, in a building which was eventually to house Mark Ernestus’ distributing company and shop Hard Wax, and the label's mastering studio Dubplates & Mastering, set up to ensure a desired dynamic quality for the vinyl.
The Basic Channel imprint ceased business in 1995 (apart from two releases almost a decade later that were originally issued on Carl Craig's Planet E label), but were followed by a string of similar labels. Among the most important were Chain Reaction, which released non-Von Oswald/Ernestus productions and helped launch the careers of dub-influenced minimal techno producers such as Monolake and Porter Ricks; Basic Replay, which specialises in reggae and dancehall re-issues; Main Street, for house-related releases; and Burial Mix and Rhythm & Sound, which saw the duo's sound move away from the Detroit blueprint and closer to vocal-lead dub and reggae. Their With The Artists album, released as Rhythm & Sound and featuring celebrated reggae and dancehall vocalists such as Sugar Minott, featured in the top 50 records of the year for 2003 in The Wire magazine.
Basic Channel also run a comprehensive programme of re-issues for the American reggae label Wackies.
Sixties Posters has assembled the largest collection of Boston Tea Party posters I've seen anywhere and the best part is that you can bid on them. You'll need deep pockets though.
The Boston Tea Party was a concert venue located on 53 Berkeley Street in Boston, Massachusetts.
Originally the site of a synagogue, and then a street mission, the location was later converted into a venue that showed underground films, before being bought by Ray Riepen and David Hahn and converted again into a concert venue. It opened as a rock music hall on January 20, 1967.
The venue became associated with the psychedelic movement, being similar in this way to other contemporary rock halls such as New York's Fillmore East and Electric Circus, San Francisco's Fillmore West, and Philadelphia's Electric Factory.
The early history of this venue is documented in the book Mansion on the Hill by Fred Goodman.
The next issues of Little White Lies and Huck will look remarkably good on your newsagent's shelves: the magazines' covers are two parts of a single illustration by Geoff McFetridge...
The Church Of London, the creative agency founded by Rob Longworth, Danny Miller and Paul Willoughby, publishes, art directs and designs both film magazine Little White Lies and surf, skate and snowboarding style title, Huck.
The forthcoming issues feature Spike Jonze's Where The Wild Things Are in some way: the director is interviewed in Huck (hence he appears on the cover alonside some rather intrusive "wild things"), while Little White Lies is wholly dedicated to the new film, based on Maurice Sendak's children's book (main character, Max, features on their cover).