Barry Brown & Little John - Sensemilia
The Cultural Decay - Brave New World
Girls At Our Best - Fast Boyfriends
999 - Homocide
Eden Kane - Boys Cry
Phuture - Rise From Your Grave
Above from the great Rolu
Built as an antiestablishment utopia in the mid 1960s, Vermont enclave Prickly Mountain has had a profound influence on contemporary architecture
I’ve always loved the kind of novels that offer an alternative view of the present, where the plot is predicated on one key event in history playing out differently. For instance, there’s Kingsley Amis’s The Alteration, set in England nearly five centuries after the Protestant Reformation didn’t take place. The Catholic Church is unchallenged in its authority, and castrati still sing in the choir. Similarly when Czech Cubism, the surreal cousin to Modernism, emerged after the disintegration of the Iron Curtain, I tried to imagine what the world would be like today if, instead of the rectilinear approach associated with the Bauhaus, an architecture based on triangles and crystalline forms became the norm. Imagine Park Avenue lined with buildings that look like…well, like Norman Foster’s new Hearst headquarters.
This is the appeal of Prickly Mountain. A 425-acre enclave not far from the Sugarbush ski resort, it’s a repository of an architectural revolution that never quite took off, a storybook version of the world as it might have been. Or as Progressive Architecture put it in May 1966: “Are you ready? Two lumbering mountaineers just out of Yale Architecture have a project going called Prickly Mountain…and they’re putting down the Establishment by acting as entrepreneur, land speculator, and contractor and craftsman as well as architects, and doing the whole blooming thing themselves. It’s architectural blastoff.”
Got the full length Kill For Total Peace this weekend and let me tell you - this record is where it's at. These guys hail from Paris and I first heard them about 2 years when I picked up the compilation VOYAGE: Facing the History of French Modern Psychedelic Music. The comp was compiled by psych mainstays, Turzi, and featured Kill For Total Peace's brilliant track Psychopedestrian - along with great tracks by One Swtich to Collision, Aqua Nebula Oscillator, Service and others. I've posted them quite a bit on this blog, and some people might say I toot their horn too much, but fuck it - they're that good.
Following this comp, it was all about Myspace research, and shortly after the release of the comp, the band's Myspace page was up and so was their track, Captain Amrica - a driving, pulsating masterpiece, that for lack of a better description, reminded me of a scuzzed up LCD Soundsystem that takes on the pounding anthem-like tune of Beat Connection & the hipness of Losing My Edge. I'm horrible at describing music, but fans of LCD Soundsystem, Hawkwind, Suicide, The Fall, Spaceman 3, Crystal Castles, Moon Duo, Wooden Shjips, The Brian Jonestown Massacre, Sic Alps & most of the stuff on Siltbreeze, will definitely dig this disc. I have a few copies of their disc and the first promoter that promises to bring them to New York gets one.
Above: Kill for Total Peace - but listen on myspace for full effect
One Switch to Collision
Aqua Nebula Oscillator
Verner Panton is considered one of Denmark's most influential 20th-century furniture and interior designers. During his career, he created innovative and futuristic designs in a variety of materials, especially plastics, and in vibrant colors. His style was very "1960s" but regained popularity at the end of the 20th century; as of 2004, Panton's most well-known furniture models are still in production (at Vitra, among others).
Panton was trained as an architectural engineer in Odense; next, he studied architecture at the Royal Danish Academy of Art (Det Kongelige Danske Kunstakademi) in Copenhagen, graduating in 1951. During the first two years of his career, 1950-1952, he worked at the architectural practice of Arne Jacobsen, another Danish architect and furniture designer. Panton turned out to be an "enfant terrible" and he started his own design and architectural office. He became well known for his innovative architectural proposals, including a collapsible house (1955), the Cardboard House and the Plastic House (1960). Near the end of the 1950s, his chair designs became more and more unconventional, with no legs or discernible back. In 1960 Panton was the designer of the very first single-form injection-moulded plastic chair. The Stacking chair or S chair, which would become his most famous and mass-produced design.
In the late 1960s and early 1970s, Verner Panton experimented with designing entire environments: radical and psychedelic interiors that were an ensemble of his curved furniture, wall upholstering, textiles and lighting. He is best known for the design of a German boats interior, now a famous museum. He is also known for a hotel in Europe that utilized circular patterns and cylindrical furniture.
Additionally, Panton is well-known for his innovative design work for Der Spiegel, a well-known German publication in Hamburg.
Images via verner-panton.com
The Radman's site is filled with pages upon pages of things that are rad. It is, without a doubt, the raddest site on the internet. I highly suggest to explore it when you're not feeling so rad because it's sure to make you feel rad instantly. Below are some rad examples, you'll see on his rad site.
Mike Tyson was Rad
Marshmellows are Rad
Spandex karate is rad
This van is hella rad
Posing with your cat is rad
Confusing but Rad
This guy wrote the book on rad
Even in Salmon this guy is rad
This guy's job is rad
This metal kid is rad
This phone call must be Rad
This bag is rad
We are fucking rad
Styled by the influential Caroline Baker and shot by Helmut Newton, the sassy, sexy spread underlines both labels’ disavowal of the prevailing post-hippie mood in favour of retro/kitsch designs and use of synthetic materials.
Swanky Modes was set up in 1972 by Willie Walters, latterly Central Saint Martins fashion course director, and her sister Mel, wife of pop producer Clive Langer, who also both lived above the premises in Camden Town.
Co-owner Judy Dewsbery was a major design force at the company, while other designers included Racheal Fleming and Sue Foulston, who went on to collaborate with Jasper Conran when he launched his fashion career from the notorious house in Regents Park which provided shelter for members of The Clash and their designer Alex Michon.
For the first few years Swanky designs were available via mail order and from outlets such as Kensington shops Che Guevara.
Then, in the mid-70s as their vision rode the zeitgeist, the retail outlet opened on the ground floor of 201 Royal College Street, which was shared for a while with Jane Norris’ long-forgotten label Ace Notions.
The address became one of the hubs for like-minded trendsetters; Malcolm McLaren’s friend Fred Vermorel recalls the first time he met the Sex Pistols was at a party above Swanky Modes (the label’s designers had appeared at a London fashion forum at the ICA along with McLaren, Vivienne Westwood, Miss Mouse and Howie a couple of years previously).
Such was it’s drawing power, that, in 1980, the label was the subject of a BBC2 Arena documentary about the launch of a new collection.In 1993, however, Swanky Modes finally shut up shop. Still, up until the early Noughties, there was a single display mannequin bearing a glam dress in the bow window, through which passers-by could gaze into the vacated premises (subsequently annexed by the expansion of the pub next door).
The saucily playful and fetishistic Swanky ethic appealed to many a siren, from Bette Bright of Langer’s 70s glam/cabaret group Deaf School (she also lived above the shop with her other half, Suggs of Madness) to Siouxsie Sue.
In his punk memoir, Bromley Contingent member Bertie “Berlin” Marshall clearly recalls Siouxsie wearing a Swanky Fifties-style polka dot “Betty Boop” dress on their first visit to legendary Poland Street hangout Louise’s.
City Lights Studio was an equally pioneering proposition - as detailed in Chapter 16 of THE LOOK, following the closure of Mr Freedom owner Tommy Roberts scored a fashion first by opening his new store in Covent Garden, then a flourishing fruit and flower market.
City Lights was established in a disused banana warehouse at 54 Shorts Gardens a full half-a-decade ahead of the pack of media and fashion businesses which began to flood into the area following the shift of the market south of the river to Vauxhall in the late 70s.
Roberts also veered away from the pop-art themes of his previous outlet and created a muted feel with dim lighting, dark colours, hard surfaces and thick chains. The floor was polished black and sprinkled with gold. Bones and skulls were displayed in a medicine cabinet and the gloomy strains of Schoenberg filled the air.
“It was all so heavy nobody understood it!” cackles Roberts, who commissioned clear plastic sandals so that the wearer appeared to be walking on air.
Belts were supplied by Claude Montana and a pair of City Lights glittering Boston creepers - possibly designed by Mackay’s friend and regular Roberts collaborator Pamla Motown - were worn by Andy Mackay on the inner sleeve of Roxy Music’s 1973 album For Your Pleasure.
Although City Lights only lasted a couple of years it had a significant impact on the first wave of Japanese designers then making their mark in the west, while the most enduring design was the box-jacketed suit worn by David Bowie on the back cover of 1973’s Pin-Ups and the front cover of the following year’s’s David Live.
“Bowie just wore it and wore it,” says Tommy.”We had to have that suit copied in his size about 50 times he loved it so much.”
Superstudio was an architecture firm, founded in 1966 in Florence, Italy by Adolfo Natalini and Cristiano Toraldo di Francia. It was part of the Radical architecture movement of the late 1960s.
In 1967, Natalini established three categories of future research: “architecture of the monument”; the “architecture of the image”; and “tecnomorphic architecture”. Soon, Superstudio would be known for its conceptual architecture works, most notably the 1969 Continuous Monument: An Architectural Model for Total Urbanization.
Many of their projects were originally published in the magazine Casabella, and ranged from fiction, to storyboard illustration, to photomontage.
Natalini wrote in 1971 “…if design is merely an inducement to consume, then we must reject design; if architecture is merely the codifying of bourgeois model of ownership and society, then we must reject architecture; if architecture and town planning is merely the formalization of present unjust social divisions, then we must reject town planning and its cities…until all design activities are aimed towards meeting primary needs. Until then, design must disappear. We can live without architecture…”
Superstudio was influential on architects such as Zaha Hadid, Rem Koolhaas, Bernard Tschumi.
A Continuous Lean, the New York based website that deals primarily with carefully curated American made quailty men's goods interviewed the guy from Secret Forts, the thoroughly curated Greenpoint based blog. We're big fans of both and below is that interview and even further down are the types of things you'll find on secret forts.
16 page full color zine. Get it while it's hot. Also avilable is the signed, edition of 30, Wickerman screen print. It'll set you back about 30 bucks and it's shown below.
Peruse French here.