Showing posts with label ARTICLE. Show all posts
Showing posts with label ARTICLE. Show all posts

Saturday, May 10, 2014

WE ARE STILL ALIVE, SAILING ON!

Just check our pulse and I can confirm that we are still alive and kicking. It might not seem like it, but we still have intentions to keep going strong and spread our message. Yesterday I (bluzark) realised that our little project was celebrating it's 5th birthday. Holy shit..

I've been telling myself to give ourself a new kickstart.. without success. But now it is time to get things going. I am adding 3 friends as editors to boost our content and revive Zone of the Free.

To continue this part of our revolution and share it with the world.

I PROMISE!


A promise I must fullfill since I have been getting several messages from worried readers.. so to especially to you guys who reached out to us about why we stopped posting I promise to get things going. We have new blood on it's way.. plans to invest more time in promoting artists and much more.. bear with me.

5 YEARS.. and nobody is stopping us.

STAY TUNED
KEEP CONNECTED
TIME TO MUTATE

Monday, November 25, 2013

SOUND CONSPIRACY ARTICLE










Very good read!

Monday, July 8, 2013

FREE PARTIES THAT CHANGED THE WORLD #1

Under our Desert Storm tag you'll find a post with an interesting article published by MixMag on who is Desert Storm and what is their mission. We also included a list of the ten free parties that changed the world probably published in the same issue. Since the MixMag online archive is limited I was not able to confirm this.

Instead of just reposting the image and tell you to read it I decided to make it more blog friendly by slicing up the article. Originally I planned on posting the list of 10 in one post with a little extra information. But somehow I made a whole post out of the first one. The rest will follow. The subject has changed from "TEN FREE PARTIES THAT CHANGED THE WORLD" to "FREE PARTIES THAT CHANGED THE WORLD #1".

Written by: Luke Black
Pictures: Matt Smith, Derek Ridger/PYMCA, Tash, Darling Dept, Rex

ONE: Desert Storm, Tusla, Bosnia, New Year's Eve, 1994


During the Criminal Justice Bill protest in the summer of 1994 the crew was  approached by a “Workers Aid for Bosnia” member. He asked if they were willing to travel to a war zone and host a morale boosting NYE gig. They accepted the adventurous mission to aid those in need and bring joy to people who have been lacking any happiness in a very long time. By December '94 they raised enough fund to buy a truck, aid supplies and finance the fuel needed to make the trip. A dangerous trip to Tuzla (Bosnia) at that time home to thousands of refugees who fled from the Serbian army. Although the area was declared save by the United Nations, it was still a very dangerous place to be.

Willing to take the risk they set of 2 weeks before NYE not knowing what to expect. Loaded with their tunes, sound and aid supplies such as clothing, food, medicine and other basic supplies for such as pens and books. Even before arriving at their first stop at a UN compound in Split (Croatia) they already witnessed a near fatal road accident involving Croatian soldiers. The impaled vehicle was leaking fuel yet the soldiers kept trying to get their motor back alive. They didn't hesitate to drag the soldiers out of the wreck because the soldiers couldn't care less about the whole situation. For the first time was confronted with the fact that due to the ongoing war these soldiers were involved in they became careless about these situations since they happened every day. Custom to misery.
Back on the road they had to deal with coastal winds which were lifting their truck. At risk of being tipped over or falling of a cliff they loaded 2 tons of pineapple slices to keep the 7.5 ton truck on it's four wheels.

"Roadrunner"
Eventually they arrived at Split around Christmas day. Upon arrival they decided to cheer up the stationed UN soldiers and built an improvised nightclub out of pallets and trucks. And distributed some makeshift flyers to the UN soldiers and locals in town. That night locals and soldiers were able to dance all night for the first time in years. Their initiative was eventually stopped by the Military Police.

They still had a long way to go so the next day the crew left for Mostar (Bosnia). A city know for the iconic bridge Stari Most which became the symbol of ethnic unity in Bosnia after the war. The bridge itself was destroyed one month before their arrival. A temporary bridge was built next to it's ruins for the time being. Reconstruction started in 2001 and eventually reopened in 2004.

"Stari Most ruins"

The road to Mostar was again everything but safe. Off-road trough makeshift tunnels, plowing trough snow on uphill farm tracks and edging their way up the mountains. Passing by the besieged city of Sarajevo and the front line edge. As if that isn't nerve wrecking enough they learned about 'sniper alley'. Upon approaching a straight valley road the UN soldiers, escorting their convoy, explained that they had to wait until dark before traveling trough the valley. The trucks were instructed to dim their lights and drive as fast as possible until they reached a checkpoint 3 km ahead. This was as close to the front line as they could get. Under hostile sniper surveillance and anti-tank gun batteries nested in the hills they. Apart from one vehicle having it's chassis destroyed they made it to the checkpoint. 

"Front line - Sarajevo"
On December 31st 1994 the crew finally reached their destination. Arriving in Tuzla on New Years eve they discovered that the stadium they were supposed to host their gig in had collapsed due to a mortar strike two weeks earlier. With time running out a new plan was made. The loaded all speakers onto one lorry and used it as a mobile sound system to cruise around the city. A crowd of all ages gathered behind the truck and danced their way trough town. When a cop approached the truck they feared for being arrested or shut down. "Turn the music up! But turn your lights off!" he shouted. Confused by his request to turn the music up, they confirmed that he didn't mean otherwise. Turns out he actually wanted the music to be louder, as requested by his commander. Dimming their lights was for their own safety since the Serbs were still eager to strike with mortars. Without hesitation they turned up the music and killed the lights. The cop joined the mobile dance party, shared his drink with the DJ and started dancing with soldiers who came out running from apartment with their AK47's blazing in the air. Not to fight, but out of pure excitement and joy.
They came past the local police station and every cop embraced the vibe, started dancing on their patrol cars while shooting their pistols in the air. And lit their blue emergency lighting. I guess they were out of mortar reach by then or they just didn't care anymore at that point. More people joined in each time the reached an housing estate. Kids, soldiers or even a couple or grannies.. that New Years eve the city of Tuzla was relieved of it's curfew for the first time in 3 years. The crew just let it happen and let people go crazy. Naturally they were a wee bit concerned about the guns and alcohol mixture, but in the end nobody got shot.
It must have been a surreal experience. Especially when a little girl came up to one of the crew and pointed at a dark spot on the ground when they were approaching a square. She pointed and said "Look this is my brother!". Apparently a mortar killed 40 people 2 weeks earlier and one of the was her brother. Unsure how to react the were about to leave the square until she responded "No, I want to dance for my brother". That is when reality checks in.

"Mortar strike - Bosnia"
The crew returned home, again risking their life from checkpoint to check.. yet they wanted to do more. Spreading hope in a city that is on verge of being besieged. Showing that if a bunch of wacky musicians can make it all the way to their city, that they may have a chance to survive this war. That is why they returned to provide more aid trough supplies and culture. Connecting with people trough music who have been cut off from genuine fun for ages. A temporary relieve of the nightmare that is war.


During the summer of 1995 Desert Storm returned to Bosnia and entered Sarajevo just one week after the final cease-fire. The first foreign artists to enter the city in 5 years. They discovered an active alternative scene that survived during the longest siege of a capital city, the Siege of Sarajevo. An discovered a local independent radio station called ZID committed to a cultural theme. Their programming was created to let it's listeners escape from the harsh reality of life in Sarajevo. Utilizing culture to show underneath the inhuman and dangerous conditions there is a normal modern city called Sarajevo. Local alternative bands were heavily promoted by ZID by playing their music, doing interviews and announcing gigs. During the siege bands played around 50 concerts under constant threat and risk of being shot. One of the most famous underground venues was Club Obala. The only club to be open during the whole war. It was located near the notorious Sniper Alley, so the risk of being shot while visiting the club was very high. 


Desert Storm collaborated with ZID to host a gig at Club Obala and played for 5 hours on the pirate station. After the radio session playing their music and promoting their night at Club Obala they hit the streets. They cruised up and down the Sniper Alley with an open truck blasting their music just as they did in Tuzla. With the exception of an additional Kevlar helmet for the lucky crew member behind the decks.

"Warning Sniper"
Despite the threat of snipers they completed a successful mission in Sarajevo and gave locals a glimpse of a happy future. Eventually they linked up with Spiral Tribe and played around 20 gigs all over Bosnia. Inspiring, boosting moral and re-introduce people to the joy of life.

The trips Bosnia were documented in World Traveller Adventures under the title "STORMING SARAJEVO". World Traveller Adventures is a collection of travel stories and interviews of new age rave travellers such as members of Spiral Tribe. You can either buy or download the DVD. I'll update that post with extra sources this week. If both of these are not an option for you then you can watch it on YouTube below.



If you are interested in the cultural development of the alternative scene in Sarajevo during it's siege then I can suggest "Paradoxes of Wartime "Freedom": Alternative Culture during the Siege of Sarajevo"


Next up in the list of  "TEN FREE PARTIES THAT CHANGED THE WORLD". Probably a lot shorter.. most likely actually.

TWO: The Berlin Wall, November 9th, 1989

Monday, April 1, 2013

COUNTER-ECONOMICS AND THE COUNTERCULTURE

Few weeks ago I discovered a blog called Propaganda Lalaland when I stumbled upon the article "Anarchists Want To Force You Into Anarchism!". Satisfied by a good short read I bookmarked it in my unsorted, personal nightmare, list of pages I should keep track off. Should.. I gave up on RSS because it feeds me with too much information I want to read, yet can't due to lack of time or just can't make up my mind and end up doodling something random on basically anything. Rediscovered my love for just drawing whatever whenever, so I bought myself a shitload of pencils, erasers and sharpies. Staring at my collection while writing this I noticed that alot of sharpies are missing. Note to self, stop ruining them on walls and other hard/rough materials. My list of casualties peaked this month and I am basically throwing money away :D Anyway.. in other news, the writer of  Propaganda Lalaland posted a new article this weekend and here I am telling you about it. Going for at least one person to sit trough my rant and actually click the URL below! Don't let me down.

My sunday, drove home when I was sober-ish.. spent hours starting several projects in Illustrator (of wish some I might finish this week, that would be great actually with our trip to the east of Česká republika coming up in 3 weeks. Kicking off the teknival season/summer! Taking our own sound with us, collaborating with our friends and fellow astronauts from Kierewiet creating a bigger and better experience for those who are coming. Hopefully Gagamous Kierewiet finally finds his way back home, since he is missing in action since mid February 2013 after hosting a night in Ostrava. So whoever took him, here is your chance to regain your dignity and make that trip to Klokočov. Man up (this includes women) and reunite Gagamous with his family.

M.I.A. since 02/2013 - last seen in Ostrava, CZ

Those who are just clicking trough and go straight for the link.
Click here "Counter-Economics and the Counterculture".
Everything above is barely related anyway..
so don't bother and start reading that article :D

Follow Propaganda Lalaland here.
Find out more about agorism at.. agorism.info.
.INFO shout out, because information is awesome :D
Also providing information is zoneofthefree.info.

Thursday, July 26, 2012

THE FIVE RING CIRCUS OPENS ITS GATES

via Irish Blog
Five Ring Circus: the London 2012 experience @ Infoshop

Monday, July 23, 2012

THE HUNTER S. THOMPSON SHRINE

The Hunter Thompson Shrine was created on Snowmass on February 20, 2006 (on the one-year anniversary of his death), by a band of his friends and admirers, consisting of five people. They call themselves the "Glorious Leaders of the Underground Movement (GLUM)--The Creators of the Hunter S. Thompson Shrine." They go by the following names: RUSTY HEMATOMA, MISTER Z, R. W. FEATHERSTONE, PHLEGM THROWER, and MR. QUICK. Included in the Shrine are numerous photos, an American Flag, a gloved arm with “Gonzo” written on it, a lizard covered with multi-colored jewels, an air horn, a “Rolling Stone” magazine cover, several newspaper articles, Tibetan prayer flags, The Woody Creeker, a bottle of Mr. Bubbles, and other items.
(excerpt from  aspensnowmassshrines.com)

Every winter on Presidents' Day the GLUM updates the shrine, they also hike each year to the shrine for a camp out on August 20. It is located at the Snowmass ski area, near his home in Woody Creek. On that day in 2005, six months after his death on February 20, his cremated ashes were shot into the sky during a private ceremony at his home in  Aspen, Colorado, by a cannon. It was launched from a 47 meter tower that was topped by a double-thumbed fist clutching a peyote button - the symbol that he used for his campaign when he ran for sheriff of Pitkin County, Colorado, as part of a group of citizens running for local offices on the "Freak Power" ticket. The platform included promoting the decriminalization of drugs (for personal use only, not trafficking, as he disapproved of profiteering), tearing up the streets and turning them into grassy pedestrian malls, banning any building so tall as to obscure the view of the mountains, and renaming Aspen "Fat City" to deter investors. Thompson, having shaved his head, referred to the Republican candidate as "my long-haired opponent", as he wore a crew cut. This private ceremony dubbed the "Gonzo blastoff" was held at his home Aspen, Colorado.


In 1978 Thompson & Steadman began to plan his funeral. It was recorded and included in FEAR AND LOATHING IN GONZOVISION (BBC Documentary). It contains several scenes of them planning the event. Thompson told the BBC that wanted his ashes to be launched by a cannon from the monument he designed himself. So eventually during his funural his family and friends made his last wish come true.

Astlas Obscura article on the shrine.




More pictures and information at aspensnowmassshrines.com

Sunday, July 15, 2012

NEW LAW COMING TO BAN SQUATTING IN JAMAICA

Jerome Reynolds, Gleaner Writer (original source

The government has signalled that it will be moving to ban squatting.

Minister without Portfolio in the Housing Ministry, Dr. Morais Guy, in his contribution to the Sectoral Debate in Parliament yesterday said the ministry is looking at implementing a modern Trespass Act which will address the issue of squatting. 


Minister without Portfolio in the Housing Ministry, Dr. Morais Guy.
The current Act was drafted in 1851. 

Dr. Guy added that the administration is also seeking to correct one of the country’s biggest social challenges. 


He said he will be seeking the support of the different ministries under which various pieces of legislation exist that can be applied to addressing issues related to squatting. 


Dr Guy highlighted that 15 to 35 percent of Jamaicans are estimated to be living in squatter settlements or abandoned buildings. 


According to him, an assessment in 2008 by the Squatter Management 

Unit of the Housing Ministry, identified that there were over 700 squatter settlements across the country.

He said it revealed three types of squatting in Jamaica: agricultural, residential and commercial with the most dominant type being residential.

Sunday, June 10, 2012

VOODOO'Z CYRKLE TRIBE



An article concerning the Voodoo'z Cyrkle tribe and their struggle with the French authorities. This article was printed in Coda Magazine issue 04/1999. The Voodoo'z were formed by a group of friends when the free party lifestyle and music coming from the UK invaded France. It didn't take long for the French authorities to hit hard and make a statement. Despite being targeted by the pigs they continued their project and realized several free parties and traveled trough Europe.

oh yeah, there old page is still up!!


Sunday, June 3, 2012

23 SKIDOO ERISTIC ELITE

(click to enlarge)

The first story which caught the magic of the number 23 written by William S. Burroughs. Later picked up by Robert Anton Wilson and the rest is history. Today I am still caught in the 23 enigma. What about you?

If you wonder why the number 23 is embraced by the tekno movement you might want to read our guide to the number 23.



Thursday, May 31, 2012

HAKIM BEY: REPOPULATING THE TEMPORARY AUTONOMOUS ZONE

Hakim Bey: Repopulating the Temporary Autonomous Zone
Author: Simon Sellars


From: Journal for the Study of Radicalism
Volume 4, Number 2, Fall 2010
pp. 83-108 | 10.1353/jsr.2010.0007

In lieu of an abstract, here is a brief excerpt of the content:

Project MUSE - Journal for the Study of Radicalism - Hakim Bey: Repopulating the Temporary Autonomous Zone Browse > History > Journal for the Study of Radicalism > Volume 4, Number 2, Fall 2010 Download PDF Hakim Bey:Repopulating the Temporary Autonomous Zone Simon SellarsRMIT University, Melbourne, Australia The poet and essayist Peter Lamborn Wilson is widely known for his anarchist manifesto "The Temporary Autonomous Zone" (TAZ), developed across a series of essays written from 1981 to 1988 and published in collected form in 1991 as T.A.Z.: The Temporary Autonomous Zone, Ontological Anarchy, Poetic Terrorism. The essays were attributed to "Hakim Bey," Wilson's infamous pseudonym, and the writing itself was a potent brew of mysticism, historical narratives, autonomous Marxist politics, and French critical theory. The overall aim was to highlight indeterminate zones within late capitalism, everyday occurrences that refuse, whether by accident or design, to be incorporated into dominant narratives. This enabled The TAZ to become an extraordinarily influential (and divisive) text in anarchist circles, and in various pop cultural movements. But has that moment passed? Can the concept hold any meaning for observers in the early twenty-first century? This essay will argue that, although the cultural capital of the TAZ has undoubtedly become degraded through overuse, the circumstances of its cultural reception are indeed worth returning to and remembering. Repopulating the TAZ can reward us now (as it did at inception) with valuable insight into the perceived role of critically engaged literature and philosophy as an activator of political potential, illumining a debate regarding the supposed (in)compatibility of leftist theory and politics that continues today. The TAZ and cyberculture: "Life in the trenches" The TAZ may have remained a fringe work if it wasn't for cyberculture, where it proved to be among the more resilient memes in alternative art and culture from the mid-1980s to the mid-1990s. The original electronic networks that became the prototype for today's commercial Internet were developed in the 1980s, a development of the first interconnected computer channels produced in the 1960s for U.S. military purposes. As François Cusset summarizes: "These networks embodied, for some, a space for resistance, a social dead zone, a territory that was still imperceptible, in whose shelter they could build a new community and undermine the ruling powers . . . the first groups of hackers emerged [and formed,] in Bruce Sterling's words, a veritable 'digital underground.'" In cyberculture's incandescent popcult moment, the gritty noir futures of cyberpunk science fiction, built upon the template forged by the ascending reputations of novelists William Gibson and Sterling, and extrapolated from present-day technological developments, were cited as metaphoric portrayals of a real world in thrall to the nascent Internet and to the implications for mediated life it held. Cyberphile magazines like Mondo 2000 (and later, Wired and 21C) spliced cyberpunk attitude with digital culture's bleeding edge, carrying advertisements for dial-up modems, cd-roms, and pixel art software in between articles and interviews exploring every facet of cyberculture: from body modification to the emergent politics of the net, from new strains of cyberpunk fiction and rave music to the "bumper sticker libertarianism" leaking from cyberculture's startling new cachet. Fermented within this heady "frontier" atmosphere, manifestos were abundant. John Perry Barlow of the Electronic Frontier Foundation drew up "A Declaration for the Independence of Cyberspace," demanding that the net—"the new home of Mind"—be forever self-governing, forever free from corporate and governmental restriction. Douglas Rushkoff produced a book-length vérité document of "life in the trenches of cyberspace" (or "Cyberia"), where "cyberians" "believe the age upon...



Monday, May 14, 2012

THE PRIVATIZATION OF CREATIVITY

The Privatization of Creativity
The Ruse of "Creative Capitalism"
by Max Haiven / May 9th, 2012


Published @ Dissident Voice


The problem with the new hype around creativity is that it presumes that the economic system we have, with all its gross injustices and horrifying effects (global warming, child poverty, unrewarding jobs, imperial warfare, the exploitation of the third world), is inevitable. It doesn’t really imagine that everyone will get to express their creativity and enjoy the life of the artist. In fact, the new hype over creativity actually (ironically) makes us less creative in how we think about social problems and solutions. It makes creativity an individualized thing, the “private property” of each isolated person.

[...]

What capitalism does, in effect, is fundamentally shift what we could call the “economy of creativity”: it drastically alters what sorts of creativity we think are valuable and it focuses humanity’s creative energies towards earning ever greater profit for a few. While this system has produced many fine things, it is destroying the planet and most people’s lives because it has no broad vision of a decent future. It is driven only by irrational and pathological competition for profit, not by any compassionate and collective social vision. Imagine what the world would be like if we focused our creativity and energy towards other ends?

[...]

What will be key for organizers and activists fighting within and against the hype of creative capitalism, whether they are fighting worker exploitation or neighbourhood gentrification, will be acknowledging that the promise of creativity, while hollow, truly does move many people. It is precisely because our world offers so few substantive opportunities for creative expressions and efficacy that the rhetoric of creativity is so appealing. Creativity is valuable. Our task can be limited neither to pointing out that creativity is a carrot, nor showing that along with that carrot is the stick of brutal global economic terror. Nor can it be a flight into the most esoteric and self-reflexive forms of creative expression in a vain hope to avoid commodification. Instead, we need to focus on making it clear that real, deep creativity can never be achieved as an individual possession but is always a collective process, bound up with values of equality, social justice and community. In other words, the promise of creativity can only be fulfilled in a very different society than ours. Creativity must embrace its tradition, potential and promise as a key part of cultivating critical, revolutionary communities that resist capitalism, colonialism, gender oppression and racism and create fierce and sustainable alternatives within and against the status quo. Creativity is, in part, the way we refuse our current “reality” and, in a very small and often abstract way, propose or model something different. When creativity joins, supports and critiques social movements for radical change, or when it helps imagine and build the post-capitalist society of the future in the present, it is at its very best.

Thursday, January 19, 2012

DANCECULT


The Aesthetics of Protest in UK Rave
By Ramzy Alwakeel (Independent scholar)

Abstract
Informed by the conceptualisation of an "aesthetic politics" around largely unlawful rave and dance scenes in Britain between the late-1980s and mid-1990s, this article explores negotiations between these EDMCs and the British Parliamentary and legal establishments. Two case studies will inform the argument that rave culture effects a "performative protest". That is, Autechre's response to the 1994 Criminal Justice and Public Order Act and the work of The Justified Ancients of Mu Mu in the late-1980s will be discussed in order to suggest that rave can be considered a speech-act that immediately communicates its own refusal to submit to authority. It will be suggested that rave's responses to power structures derive from the internal dynamics of its own aesthetic politics. I shall conclude that rave has often functioned as a potent political vehicle on its own terms, but that the embrace of its own multiplicity safeguards it against exhaustion by any single agenda.

FULL TEXT HERE (DANCECULT)
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Check out more dancecult issues right here

Monday, January 16, 2012

MAKING A NOISE

Making a Noise – Making a Difference: Techno-Punk and Terra-ism
By Graham St John (University of Queensland)


This article charts the convergence of post-punk/post-settler logics in the techno-punk development in Australia. Exploring how punk would become implicated in the cultural politics of a settler society struggling for legitimacy, it maps the ground out of which Labrats sound system (and their hybrid outfit Combat Wombat) arose. It provides an entry to punk through an analysis of the concept of hardcore in the context of cultural mobilisations which, following more than two centuries of European colonisation, evince desires to make reparations and forge alliances with Indigenous people and landscape. To achieve this, the article traces the contours and investigates the implications of Sydney’s techno-punk emergence (as seen in The Jellyheads, Non Bossy Posse, Vibe Tribe and Ohms not Bombs), tracking the mobile and media savvy exploits of 1990s DIY sound systems and techno terra-ists>, aesthetes and activists adopting intimate and tactical media technologies, committing to independent and decentralised EDM creativity, and implicated in a movement for legitimate presence.

Keywords
techno, anarcho-punk, hardcore, sound systems, postcolonialism, Sydney techno-punk scene

Contents

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Download full article here (dancecult)
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More Dancecult here

Sunday, January 1, 2012

UNDERGROUND CULTURE

"The mainstream comes to you, but you have to go to the underground."
- Frank Zappa

Underground culture, or just underground, is a term to describe various alternative cultures which either consider themselves different to the mainstream of society and culture, or are considered so by others. The word underground is used because there is a history of resistance movements under harsh regimes where the term underground was employed to refer to the necessary secrecy of the resisters.

For example, the Underground Railroad was a network of clandestine routes by which African slaves in the 19th century United States attempted to escape to freedom.


The unmodified term "The underground" was a common name for World War II resistance movements. It was later applied to counter-cultural movement(s) many of which sprang up during the 1960s.

These 1960s and 1970s underground cultural movements had some connections to the "beat generation" which had, in turn, been inspired by the philosophers, artists and poets of the Paris Existentialist movement which gathered around Jean-Paul Sartre and Albert Camus in the years after World War II.


It took a few years more, however, for the culture Kerouac describes to grow in numbers and redefine itself variously as the underground culture or the freak scene etc.



Since then, the term has come to designate various subcultures such as mod culture, hippie culture, punk rock culture, techno music/rave culture and underground hip hop.

Applied to the arts, the term underground typically means artists that are not corporately sponsored and generally do not want to be. However, with the advent of the world wide web (or internet), many experts argue that there is no underground since so much art and so many political ideas, especially music, is far easier to locate and because so it provides artists and activists a means to promote their work and ideas without large, established corporate interests. Even the concept of obscurity is questionable given 21st century access to information about past or current artistic trends.

The Ben Folds Five song "Underground" pays homage to alternative culture. (Source)




Monday, October 17, 2011

RAVE DAIRIES



GOOD TIMES 1992
Very cool read about the magical year 1992, when free raves where at their peak, written by Tim Knight.
 --
"So 1992 was a good year then. Well, for me, and for a few thousand hedonistic others, 
it will never be beaten."
--




Read it here!

Saturday, October 15, 2011

THE TRAVELLING SHOW MUST GO ON

Old spiral tribe article!