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“Formal education will make you self-education will make you a

a living; fortune.�


A VOICE IN THE

international wilderness movement magazine

magazine

the madbury club intergalactic travels through the fourth dimension Intern ation al 1932 Museum of Style Modern Art Show

From Red Hook Design Innovations to Staten Islan d Sparked by Hurricane Sandy

james jebbia reigns supreme two decades of ‘preme


PENGUIN BOOKS

The Neanderthals & Other Inventions of the Evolution and Earth Sciences Trafford Publishers

Hans-Joachim Zillmer


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You (and what seems l ike half the world) have had L orde's debut album, "Pure He roine," on repeat since its r elease last year. Turns out, you have pretty good taste. The singer spoke with Rookie magazine about her mu sic career, her inspiration and the most exciting thing t o happen yet: some special enc ouragement from David Bowie . Lorde has become know n for dishing her opinions about other vocal artists ( even the negative ones). It's about time the tables have turned, and it's surprised th at the reviews are positive.

"I was like ... I cou ld creatively die and just be happy forever," she said. " I never tell anyone about tha t experience, because it me ant so much to me, and I fee l like it would be dulled or so mething if I always talked ab out it in magazines or whatever . Ella

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Maria Lani Yeli ch O'Con-

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nor, also known by her stage name, Lorde, is a New Zealand singer songwriter. Her Debut EP The Love Club released 2012 and her single Royals debuts at #1 in New Zealand then reached worldwide success shortly afterward. Even legends such as Davie Bowie see this newcomer as the future of music. Lorde may have exposed her secret but the impact isn't going anywhere. The 17–year–old singer broke a record in 2013 when "Royals" topped the Billboard Alternative chart for longer than any song by a solo female vocalist to date. Asked if she's had moments of seeing her life come full circle, the New Zealander replied, "Definitely. I don’t want to do the weird name-dropping thing but like ...Meeting David Bowie was like that. To have someone like that tell you that listening to you felt like listening to tomorrow."It’s my special thing."

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With zero To p 40 singles over their 22-year career, Queensbridge m enace masters M o b b D eep have never b een pro p erly rewarde d for their massive im pact o n the darker strains of New York rap. T h e du o's m ean, scra p py eighth alb u m is the first to truly e m brace their u n derd og status, wrapping itself in the lo wfi, Walk man-rea d y vib e that has d o minate d the b est of fo un ding m e mb ers Pro dig y's and Havo c's solo w ork o n in die lab els. T here are n o radio singles, n o "Executive Pro ducer: 50 Cent," no T h o m as D olby sa mples – just a grim y aura a n d b oasts ab o ut pissing o n the co urtro o m flo or a n d flo o ding the cold streets with h ot blo o d. T h e Infa m o us M o b b D eep.

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Girl plays like a co ncept alb u m, the co ncept b eing that Pharrell likes girls a lot. But he's never p ushy or gross ab o ut it. O n o p ener "Marilyn M o nro e," he inclu des O G stro ng w o m a n Joan of Arc in his historical can o n of h ot chicks. A n d the alb u m's m ost char ming so ng, "Lost Q u e en," is a Lio n King d o o-w o p valentine with trace ele m ents of So uth African m b u b e, b eautifully sung with a lovely, genero us sentim ent: "T h o ugh m y planet's full of warfare, yo u m ake it feel like a drea m." Tim es like these, it's nice to see such a go o d dude win ning. Girl plays like a co ncept alb u m, the co ncept b eing that Pharrell likes girls a lot. But he's never p ushy or gross ab o ut it.

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To all the skeptics: Skrillex has heard yo ur co m plaints. The first full-length release of his six-year solo care er sh o ws him fitter, happier a n d m ore w ell-a djuste d – it turns o ut he actually wants to m ake yo u dance, n ot just m osh like a m aniac. is full of m ean m ug ging titles like "Fuck T hat," b ut they're re d herrings: T h e few so ngs o n Recess that feature dro ps at all explo de softly, even w elco mingly, as co u nterintuitive as that might so u n d. Co m pare d to the geysers of grin ding n oise Skrillex use d to sp ecialize in, Recess' clim a xes are sleek a n d frien dly – m ore like a playful ga m e of laser tag than the hungry roar of a ro b ot T. rex.


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Having a rock club on the Bowery, under a flophouse, believe it or not, does have some advantages. First, the rent is [was] reasonable. Secondly, most of our neighbors dressed worse than, or weirder than our rock and rollers. And lastly, the surrounding buildings were mostly industrial, meaning the people who lived close by, didn’t seem to care about having a little rock and roll sound seeping into their lives.

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The disadvantages: within a two-block radius, there were six flophouses holding about two thousand men, mostly derelicts. I would say most of them were either alcoholics, drug addicts, physically impaired or mentally unstable. Some of the men were veterans from the Vietnam war on government disability, and others were just lost in life or down on their luck. The streets were strewn with bodies of alcoholic derelicts sleeping it off after two or three drinks of adulterated wine reinforced with sugar. There were lots of muggers hanging around on the Bowery preying on the old or incapacitated men. When people were let out of jail or institutions they were very often housed in one of these flophouses by the city, so we had to deal with these crazies trying to come into the club. Mostly, knives were the weapon of choice.

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By the time things improved around here, I had collected over three dozen knives and other assorted weapons. The muggers - or “jack rollers” were not as dangerous to ordinary people as they seemed. They were used to picking on the old men or others who were completely out of it like three sheets to the wind. 1975 was drawing to a close. It was a remarkable year for CBGB, and for me personally. No one was getting rich, but who cared. We were all having a ball. It was certainly exciting, discovering new artists, finding new bands, spreading the word, trying to get them recording contracts. After being involved with all kinds of music (in one way or another) for most of my life, I was just beginning to understand to what extent the recordingcompanies were involved with an artist’s career and how much they controlled their success. It was the beginning of my love, hate relationship with the record industry (the powers that be). I certainly didn’t love every band that played CBGB’s but I did love to encourage them to do their own thing, to challenge the establishment. I’ve always felt the stronger you are about yourself and your own ideas, (in this case musical ideals) the more satisfying your success, hopefully, the more rewarding your future.

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“BUT

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WHAT DOES

OMFUG

STAND

F O R ?” A N D I S A Y ,

“THAT’S

MORE

OF WHAT WE DO, IT MEANS OTHER MUSIC

FOR

LIFTING

UP-

GOUR-

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The Bowery was, to repeat, a drab ugly and unsavory place. But it was good enough for rock and rollers. The people who frequented CBGB didn’t seem to mind staggering drunks and stepping over a few bodies. The questions most asked of me is, “What does CBGB stand pat that I wanted something to go with it that sounded a little uncouth, or crude. The obvious follow up question is often, “is this your favorite kind of music?” No!!! I’ve always liked all kinds but half the radio stations all over the U.S. were playing country music, cool juke boxes were playing blues and bluegrass as well as folk and country. Also, a lot of my artist/writer friends were always going off to some fiddlers convention (bluegrass concert) or blues and folk festivals. So I thought it would be a whole lot of fun to have my own club with all this kind of music playing there. Unfortunately or perhaps fortunately - things didn’t work out quite the way I’d expected. That first year was an exercise in persistence and a trial in patience. My determination to book only musicians who played their own music instead of copying others, was indomitable. originality, to me, was prime, technique took second place. The height of the Disco Era brought an increasing dissatisfaction among rock musicians and their fans. The formula driven disco music and the long drawn out solos and other complexities in much of the rock of the late sixties and early seventies encouraged a lot of disgruntled rock enthusiasts to seek the refreshing rhythms and sounds of simple (back-to-basics) high energy rock and roll, which seemed to take shape right here at CBGB. We called this music “street rock” and

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later “punk” - “come as you are and do your own thing” rock and roll. Since almost everyone of the bands was relatively unknown, we did not give them a guarantee, but gave the most of the door monies to cover their expenses. CBGB kept the bar. Hopefully they would see the value of building a fan base. The more people came and paid to see them the more they made. It was not until sometime in 1976 that the club started paying for itself. In the fall of ‘76 rock bands were invading CBGB’s from al over the country. Boston was one of the more fertile cities for the developing of new rock bands. For many years Boston has had more college kids than any other city, and they’ve always had a great rock club scene. The Rathskeller, owned by Jimmy Harold, was one of the premier clubs in Boston that catered to new rock bands. I would book a group of Boston bands into CBGB taht Jimmy recommended, and he would do the same with the “Hot Club” in Philla. Pa. From Boston, one weekend, we had D.M.Z., The Inflictors, Hot Rain, The Yarbles, Mickey Clean and the Mez, Real Kids, The Boiz, Bon Jour Aviator, and a special group from Cleaveland that Joey Ramone told me about. They were called the ‘The Dead Boys’. The Dead Boys, on stage epitomizes what a punk band should be. They were loud, raw, crass, with super high energy. They were outrageous and obscene, with excellent lyrics and music. Somehow they were disciplined musicians. Stiv Bators, Cheetah Chrome, Jimmy Zero and Johnny Blitz were their names. The were without a bass player at that time but it was soon to be Jeff Magnum. The lack or a bass player did not handicap them in the least. They were great!

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The year: 1976. Over 2 years had gone by since I had opened CBGB. 1976 was a year of celebration here in the United States because of the anniversary date of July 4th 1776 - two hundred years ago we had our independence as a nation from the establishment - The United Kingdom. Two centuries later young people were still declaring their independence from the establishment, and some of them were having their say through rock music. In the beginning as - is most often the case - the establishment (the record industry) and millions of rock fans were completely unaware of this new awakening of the 70’s which has no uniting symbolism like the 60’s. It was simply a need for young people to be heard, a need for young people to be speak, a need for them to be recognized as individuals. Listen to me! Hear me!! This is who I am, This is what “I” have to say!! These were not young people whose ambitions were to be great musicians or to become rock superstars. They were young people who simply wanted a voice. To get this voice, to have your voice heard, you have got to be able someway, some how, be able to communicate with an audience that “might or might not” be receptive to what you have to say.

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The year: 1976. Over 2 years had gone by since I had opened CBGB. 1976 was a year of celebration here in the United States because of the anniversary date of July 4th 1776 - two hundred years ago we had our independence as a nation from the establishment - The United Kingdom. Two centuries later young people were still declaring their independence from the establishment, and some of them

what “I” have to say!! These were not young people whose ambitions were to be great musicians or to become rock superstars. They were young people who simply wanted a voice. To get this voice, to have your voice heard, you have got to be able someway, some how, be able to communicate with an audience that “might or might not” be receptive to what you have. In the fall of ‘76 rock bands

mended, and he would do the same with the “Hot Club” in Philla. Pa. From Boston, one weekend, we had D.M.Z., The Inflictors, Hot Rain, The Yarbles, Mickey Clean and the Mez, Real Kids, The Boiz, Bon Jour Aviator, and a special group from Cleaveland that Joey Ramone told me about. They were called the ‘The Dead Boys’. The Dead Boys, on stage epitomizes what a punk band should be. They

were having their say through rock music. In the beginning as - is most often the case - the establishment (the record industry) and millions of rock fans were completely unaware of this new awakening of the 70’s which has no uniting symbolism like the 60’s. It was simply a need for young people to be heard, a need for young people to be speak, a need for them to be recognized as individuals. Listen to me! Hear me!! This is who I am, This is

were invading CBGB’s from al over the country. Boston was one of the more fertile cities for the developing of new rock bands. For many years Boston has had more college kids than any other city, and they’ve always had a great rock club scene. The Rathskeller, owned by Jimmy Harold, was one of the premier clubs in Boston that catered to new rock bands. I would book a group of Boston bands into CBGB taht Jimmy recom-

were loud, raw, crass, with super high energy. They were outrageous and obscene, with excellent lyrics and music. Somehow they were disciplined musicians. Stiv Bators, Cheetah Chrome, Jimmy Zero and Johnny Blitz were their names. The were without a bass player at that time but it was soon to be Jeff Magnum. The lack or a bass player did not handicap them in the least. They were great!

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nypd //


// fdny


going / / day


coming / / night


2

1.

3.

4.


roomies //

inside //

boy //

// homies

// outside

// girl


light //

// dark


“Never expect the unexpected.”

Portfolio  

Steve Zofcin Graphic Design Portfolio Sophomore Year School of Visual Arts 2013-2014