HEY GUYS! A GREAT HILLY KRISTAL HERE! GET READY FOR ME ISSUE OF PUNK MAGAZINE! THERE'S SO ONTH! IF INTERACTIVE STUFF GOING ON THIS M YOU SEE A SYMBOL LIKE THIS GET YOUR SPOTIFY APP OUT, AND CLICK THE SEARCH BAR.. A CAMERA ICON SHOULD COME UP, AND YOU CAN LISTEN ALONG WITH US! if you see an icon like this-> a QR code, sCAN IT WITH YOUR PHONE CAMERA FOR LINKS TO extra CONTENT! (TRY IT NOW!) finally, you can SEARCH #CBGB ON INSTAGRAM FOR THOUGHTS ON THE CREATIVE PROCESS! HAPPY READING!
PUNK MAGAZINE!!! S T N E T N O C F O E L B A T
E U S S I 0 2 0 2 Y A M T R O H S L A T N A H C : Y B D EDITE CONCEPT STATEMENTDITORIAL PAGE 2.....................E
RESEARCH
O PUNK T S R E T T E L .. .. .. 4 E G A P ARTS PAGE 5.......TOP 99 CH T AND PASTE EXHIBIT REVIEW CU PAGE 6........FEATURE! THEY NOW? E R A E R E H .W .. .. 0 1 E G PA ND THEIR A S G A T H S A H G IN R O PL PAGE 12......NEWS: EX ERN COLLAGE ROLE IN MOD
DEVELOPMENT ART CONTEST SUBMISSIONS PAGE 14.......FAN ME SHOW
OF #CBGB G IN K A M : E R U T A E .F .. .. PAGE 18 et Design) (S B U L C K N U P A E K A PAGE 20.....HOW TO M ENT M P O L E V E D R E T C A R A CH DUCTIONS O R T IN R E T C A R A H .C .. PAGE 22.. IRL PAGE 24.......SUNDAY G PAGE 26.....SHEENA PAGE 28.....GLORIA NE PAGE 30.....SWEET JA PAGE 32....JIMMY JAZZ ZZ E JA PAGE 34....MAKING TH NNY JEWEL H O J E L T IT L .. .. 6 3 E G PA JEWEL Y N N H O J G IN D IN .F .. .. PAGE 38 FINAL DESIGNS OLLECTIBLE POSTERS PAGE 42-57....C
page 2 Concept Statement
EDITORIAL “Although it may later be experienced as a product in the white cube of a gallery or as an artefact in the institutional shine of a museum, art is not made in silence. Artists live and work to a soundtrack... you can hear punk rock in many pictures of that era.” Panic Attack! Art in the Punk Years Dear Reader, The quote above succinctly describes my reaction to the Cut and Paste exhibit at the Scottish National Gallery of Modern art. The museum claimed that this was “the first survey exhibition of collage ever to take place anywhere in the world.” I left the exhibition very preoccupied with what it means for something to be in a museum. Does this give status or legitimacy to an art form? What happens to “protest art” when it becomes appropriated? How are certain cultural movements memorialised? Most of these questions arose from seeing Jamie Reid’s original collage for the Sex Pistol’s Never Mind the Bollocks album in Room 4: Collage and Protest in the 1960s and 1970s. I couldn’t help but see the irony that the music created by this band was completely against the establishment, and now their album cover was being venerated as ‘art.’ Would anyone at the time when the album was released ever have expected it to end up in a prestigious art museum? I really doubted it.
Beginning in New York in the mid 70s with the rise of Hilly Kristal’s club CBGB’s, punk was a youth movement associated with extreme nihilism towards authority of any kind. It was a movement largely defined by music at first, and later when it traversed the Atlantic, Vivienne Westwood and Malcolm McLaren were largely responsible for curating the enduring punk fashion aesthetic at their store ‘Sex.’ BSDM allusions, tartan pants, PVC, leather jackets and accessories. Repurposed and DIY alterations. Everything torn and broken down on purpose. The music, the look, and the attitude was meant to shock and awe. But the beating heart of punk died quickly when it became possible to purchase the aesthetic wholesale. Record companies swooped in and started to commercialize the music. The Sex Pistols were arguably a manufactured boy band by McLaren, who saw an opportunity to buy into a market. Punk became a commodity, and a lucrative one at that. To this day, both CBGB’s and Sex, the two institutions that spawned the greatest punk bands of all time now use the edgy history of their locales to sell exceedingly expensive designer clothing. I became really interested in how we currently document our social history. Back then, people developed photos. They published zines. They could only shop from specific stores, so trends could be traced back to clear origins because they moved
page 3 so much slower. Today, we are so inundated with information about what’s next, that by the time people can get attached to a new fad it’s already over. It made me wonder what will be in museums to document our social history in 30-40 years. I decided that the subculture of our generation is the social influencer. For better or worse, these are the people who will be interesting to research in the future, as they are defining the pop culture of our time. Another room at the exhibit stated, “more photographs have been taken in the last 12 months than in the whole history of photography.” Collage is moving away from paper and glue, and is now seen most often in the art of photo manipulation with Photoshop, or other digital mediums. Social media, specifically Instagram, creates a fascinating study on collage. Any image uploaded can be linked to a hashtag. When the hashtag is clicked, a collage of images that are all deemed connected to that word appears. As there is no single source that generates or attaches a hashtag to something, there is no one place we can point to in order to understand where a movement comes from anymore. #PUNK comes up with images from music to ham sandwiches. What will this mean for historians in the future, trying to understand and define social movements? My designs for this project are hybrid caricatures that are based off ‘characters’ from punk songs of the 1970s, and today’s ‘social influencers.’ Some of the costumes contain methods of social media interaction: scannable QR codes that take
the viewer to digital content, followable hashtags, or links to music playlists. Others merely poke fun at stereotypes from both movements. Ultimately, the design is asking questions about how subcultures are formed and remembered, how art evolves as it is appropriated by different consumers, and what kind of creative legacies we are leaving for future generations.
Chantal Short (editor, designer, and general lunatic who came up with all the weird content you’re about to enjoy)
page 4 research
Letters To Punk!
PunkDear Punk , Collage was, by it’s nature“What I liked about the fashdisruptive. ion was that it wasn’t gay, It was therefore the natural choice for artists involved in protest. it wasn’t straight, it was just everything thrown together. From, You never thought, ‘Oh my Cut and Paste god , it ’s a bit gay or it ’s a bit PS. Love your magazine! this or that.’ You just wore
“Although, for the sake of simplicity, punk whatever you wanted .” is described as a movement, it was only -Alan Jones (Former Employever a collective of individual free spirits. ee of ‘Sex’) In fact, it is these individuals who make punk difficult to define: just when you Punk Publishing: think you have managed to encapsulate the Punk was never about one ethos, these free spirits break away and particular clean cut imagery. It's make you think again. about many, many individuals coming From Stephen Colgrave and Chris Sullivan very loosely together. Thanks, Dear Editor: John Lydon (Sex Pistol’s Singer)
“I thought the most extraordinary thing about Sex was the coding. Codes in clothes were really important... Love, Nils Stevenson (Band Manager)
To the editor: “Punk was more a kind of do-it yourself, anyone can do it attitude. If you only played two notes on the guitar, you could figure out a way to make a song out of that, and that’s what it was all about.”
Hey guys, Collage could be used to speak on behalf of the sexual revolution, simply by cutting bodies up and rearranging them. Cut and Paste Hello Punk Magazine, I do have reasons for what I do. I am a very political person and I really think if you put these clothes on, you will look like a force to be reckoned with.
Yours, David Byrne (Singer, Talking Heads) Sincerely, Vivienne Westwood.
page 5
1. 2.
1.
MARQUEE MOON TELEVISION
2.
HORSES PATTI SMITH
3.
RAMONES (SELF TITLED)
4.
KICK OUT THE JAMS MC5
5.
LONDON CALLING THE CLASH
6.
COMBAT ROCK THE CLASH
7.
PARALLEL LINES BLONDIE
8.
ROCKET TO RUSSIA THE RAMONES
9.
LOADED VELVET UNDERGROUND
10.
RAW POWER THE STOOGES
MARK PERRY
11.
NEVER MIND THE BOLLOCKS THE SEX PISTOLS
PUNK
12.
YOUNG LOUD & SNOTTY THE DEAD BOYS
13.
BLANK GENERATION RICHARD HELL AND THE VOIDOIDS
JUST KIDS PATTI SMITH
PLEASE KILL ME: THE UNCENSORED ORAL HISTORY OF PUNK
3. 4. 5. 6.
FILMS ALBUMS
BOOKS
FACE IT: A MEMOIR DEBBIE HARRY
MARQUEE MOON BRYAN WATERMAN
1.
WESTWOOD: PUNK, ICON, ACTIVIST (2019)
2.
SID AND NANCY (1987)
3.
THE CLASH: WESTWAY TO THE WORLD (2003)
4.
CBGB (2013) E VI O M ! IS KS TH TIN S
SNIFFIN GLUE: THE ESSENTIAL PUNK ACCESSORY
STEPHEN COLEGRAVE
& CHRIS SULLLIVAN
P Y AP ISTS! F I T PO E ART S R YOU F THES H WIT LIST O S I Y H N T A PLA A C S R HEA O T
BOOKS
Mail To: Punk Top 99 PO Box 675 N.Y.C. N.Y 10009
NAME: NUMBER: BATTALION: CAMP: ZIP:
ALBUMS
page 6 research
i v e
: ew
R
e t s a p
n o i t i b i h ex
m u e s u m t
r a Cut and n r e d o m h s i t t o c S e h t at
JAMIE REID’S album cover (BELOW) was the main inspiration for my design project. In the room at the exhibit titled “Collage and Protest,” there was discussion about collage being an accessible medium to not only fine artists, but also to the average person who had something to say. Reid is a trained artist, however his most famous work maintains the same unrefined urgency as this cover. The exhibit caption read: “Like Punk, ‘ransom note’ text was simple, cheap, direct and menacing: anyone could cut up a newspaper, just as anyone could play three chords on a guitar.” The simple effectiveness of “three chords” became a re-occurring theme in my research, and ultimately translated into me trying to exercise extreme economy in my design choices.
Never Mind The Bollocks: Here’s the Sex Pistols (1977), was the only full album ever recorded by the legendary band. It has been lauded as one of the most influential albums of all time, despite the fact that most of the members were not even musicians before the band was founded. When it came out, many stores refused to carry it due to the word “Bollocks” on the cover.
page 7
Reid was critical of the monarchy, and produced many politically charged photo montages, including the image of Queen Elizabeth II (RIGHT). Vivienne Westwood stated, “putting a safety pin in her lip was suggesting that she could be one of us.” The Sex Pistol’s most famous release, God Save the Queen (1977) featured a variation of the controversial print by Reid as well (below). Showcasing cut ransom style letters over a ripped photo of the Queen’s face, Reid’s work has defined the aesthetics of what we think as punk still to this day. in tis ia opoentelum ommoveniam
page 8 research
Exhibit Caption: “The object of desire, the shiny new kettle and the nude, parade before us, each one vying to foreground the other. Something peculiar happens when they both inhabit the foreground at the same time...in some ways it only takes seconds to look at a picture of a woman with a canteen of cutlery on her head to make your point.
Linder was another artist at the exhibit who interested me. She created very simple bold collages: naked women juxtaposed with household goods over their faces. Her work has been praised for “simplicity and directness.” I liked the idea of playing with collages that had been reduced to their simplest elements, as I feel collage is usually thought to be an art form that has to mash many different images or mediums together in order to be effective. Like Reid, Linder was also involved in the Punk music scene. One of the images from her Pretty Girls series was featured on the cover for the Buzzcock’s album Orgasm Addict (OPPOSITE). She explains “We had to make things quickly and cheaply in order to be heard. The connection between collage and punk music seemed natural to me after visiting the exhibit. I went on to choose a series of punk songs from the era that had names of people for titles. These songs became the inspiration for my characters, creating my own partnership between music and design.
L I N D E R
page 10 research
where
y e h t n
are ow
?!
A FEATURE THAT LOOKS AT THE EVOLUTION OF SOME OF PUNK’S MOST FAMOUS ORIGINS!
315 Bowery, New York City
Hilly Kristal’s famous club, is generally regarded as the birthplace of punk rock. Artists such as Patti Smith, Television, the Ramones, Blondie, The Talking Heads, and many others all got their start on the stage here. It closed in 2006 after over 30 years of gigs due to rental disputes.
CBGBs,
I was fascinated to learn that both CBGB’s, as well as “Sex” in London (more opposite) have both been appropriated by the mainstream in present day. CBGB’s is now a John Varvatos store for designer menswear; the store utilises the legacy of the venue’s history to bolster the perception of their label as edgy and cool. Much like the juxtaposition of seeing Jamie Reid’s collages in a museum, learning that both of these iconic sites are now symbols of elitism and exclusivity, furthered my exploration of how seemingly contrasting forces can be reimagined to inform each other.
page 11
430 King’s Road London. Vivienne Westwood’s store is heralded as the birthplace of punk fashion. First opened in 1971 by Westwood and her partner Malcolm McClaren, the store went through many different iterations over the years; changing styles and name many times. From 1974-1976 the store was known as SEX, and the fashion created during this time established the enduring punk aesthetic. The Sex Pistols also originated here: many of the members were recruited because they would loiter at the store (RIGHT). As SEX gained notoriety, people began to shop here who otherwise would never have fit in with a punk crowd. Gradually, the price of Westwood’s fashion made it inaccessible to the community that inspired it. Today the shop is known as “World’s End.” Firmly in the price bracket that denotes a ‘luxury brand,’ Westwood is still known as the “Queen of Punk” even though one could argue that she has been out of touch with the authenticity of the subculture for a long time.
page 12 research
! S W E N EXP
LOR
ING
When thinking about new types of collage, I became really interested in the idea of how we collate information on the internet. Because anyone can assign a hashtag to an image online, the meaning behind these words becomes very convoluted. I was also interested in the idea of what it means to create a trend. Punks were anti establishment. Their movement was never meant to be popular- it was meant to reject the norm, and yet the norm took it over. Social influencers are the opposite- they try with all their might to create the next new thing on purpose. I wanted to find a way to marry these worlds. What would happen if I created punk characters that interacted with the online world? The sketch in the background was a joke based on the “duckface� trope. I started riffing on popular hashtags, trying to discover what would come up when I put different words into Instagram. Ultimetly I named my show #CBGBme, providing a common hashtag that an audience member could use at the show to collect all the images they took at the performance. When searched, it creates a collage of common experience.
HAS
TAG
S
N I E L O R R I E AND TH OL C N R E D O M
E G LA
page 13
Socia l Medi a!
page 14 design development
FAN ARTWORK
We asked you to submit a collage inspired by th e work of Linder. Take an image fro m the 1970s punk era, an d figure out what the smallest change you can make is to put it in the world of today’s social media. Here are our winn ers!
and collaborator This image of Patti Smith was taken by her friend me to look at, Robert Mapplethorpe. It feels uncomfortable for to something as because it is reducing what is a beautiful image insignificant as 140 characters.
This image of Richard Hell was taken by legendary club photographer Roberta Bayley. Changing the words on his chest to DM ME@_____ is an attempt to highligh t the disconnect of inte ractions held through social media.
page 15
CONTEST WINNERS!
(ABOVE) Based on Jamie Reid’s shirt for the Sex Pistols, this logo was transformed to have a photo of Vivienne Westwood, hailed often as the “Queen of Punk.” She has profited off of selling the punk aesthetic to the extent where it feels inauthentic to view her as a true member of an underground subculture now. (RIGHT): My first experiment creating the characters for this project was the idea of designing a line of dolls. I liked the contrast of the characters in rigid boxes and being sold as commodities, however I felt that it wasn’t original enough of a statement to keep me interested. I thought the angle of bringing in the social media seemed like a much more relevant way to explore the ideas of subculture and veneration.
page 16 design development
! t r A Mor e Fan ICTORIAN V E H T F F O D E S A B E ER THESE COLLAGES W AT WAS H T ' E S P R O C E IT UIS GAME CALLED 'EXQ EXHIBIT. E T S A P D N A T U C E TH WRITTEN ABOUT AT BODIES 'D IN E T S N E K N A R F E T EA THE IDEA IS TO CR R TO MAKE E H T E G O T S E C IE P M BY PUTTING RANDO EXERCISE G IN T S E R E T IN N A S A PERSON. IT WA WELL AS S A S R E D N E G G IN IN TO EXPLORE COMB S. ECLECTIC AESTHETIC T "MOUTH H IG R E H T O T E G A L I DUBBED THE COL E LARGELY M A C E B T C E J O R P Y MONSTER" AND M HE ENERGY T Y E V N O C O T YS A W ABOUT EXPLORING M. I LOVED R O F E M U T S O C IN THIS IMAGE EXUDES LL AS THE E W S A , E G A IM IS H T THE IDEA OF HOW MAKE CLEAR ) E V O B (A N A M O W S E CAR AND SUNGLASS TER, EVEN C A R A H C L L U F A T U SUGGESTIONS ABO GGESTIONS U S E R E M O T D E C U D E THOUGH THEY ARE R OF A WHOLE FACE.
page 18 show concept
FEAT
page 19
URE T U O B A E R U T A E F L A I C E P S A F O G N I K A M E TH
#CBGBME
A PUNK ROCK CABARET!!! In keeping with the theme of collage for this project, a punk club seemed like the natural setting for my performance. Punk clubs are of living collages of the patrons who occupy the space, transforming constantly by adding graffiti, posters,stickers and layering identity into the space. CBGB’s was the natural inspiration for my set. Originally standing for “Country, Bluegrass, and Blues,” it was the birthplace of many famous bands, such as the Ramones (RIGHT). I imagined the show as a fringe style cabaret tribute to the club, and the music/art it inspired. The space itself is immersive- the audience comes through the iconic awning, then walks through the front entrance which doubled as Hilly Kristal’s office,and then into
the performance space. The show is hosted by an emcee. The rest of the performance is a variety show featuring a cast of typical cabaret performers: a drag queen, a burlesque dancer, a comedian and a magician. After the show is over, the tables could be moved out for a concert featuring covers of classic punk songs, or a themed karaoke night.
page 20 show concept
M A K E W O O T H
PUNK CLUB A PART 1: LOOK AT AN OLD V ENUE! (LEFT)Some of CBGBs iconic features: the awning, the poster plastered walls, and the legendary toilets.
The toilets came up over and over in all the research I did about the club. The punk genre has a good sense of humour, and is known for being notoriously crass, so I decided to celebrate this by putting a larger than life toilet center stage. I see it as a podium for the emcee, a place to store props, or a chair for the dancer. It could also be an interactive experience for audience members to take a #bathroom selfie!
SCAN H E R E F O R A T OUR OF CBGBS!
page 21
A K T O O L : 2 T PAR A NEW V ENUE!
PART 3: MAKE A MINIATURE VE NUE
!
I reached out to the Mash House club in Edinburgh (LEFT)and based the shape of my set model from their floor plans. My set design had to work within their space, and I strived to make choices that would be realistic- such as bringing in decorated furniture to create the club atmosphere instead of sticking things to the venue walls. The poster texture on the walls would be made by collaging onto skinply and cut to fit the gaps between the columns, then mounted. A replica awning covers the existing branding at the bar. Box office is a reproduction of Hilly Kristal’s own office(BOTTOM RIGHT).
page 23
e v i s u l c ex s w e i v r inte e h t h t i w b g b c # f cast o
INTRODUCING: -SUNDAY GIRL -SHEENA (IS A PUNK ROCKER) -GLORIA -SWEET JANE -JIMMY JAZZ
-LITTLE JOHNNY JEWEL
page 24 Character development
Q&A : With
Sunday Girl
Punk: Hey Sunday! Can you P: the early photos of your tell us about your role in costume have feathers on your head? WHat’s that? the cabaret? Sunday:Yeah! I perform S: It’s a bit of a long a great drag lip sync story! I’ve wanted to do number to ‘Sunday Girl’ a parody design of the by Blondie! It’s not at “duckface” girls for all an impersonation of ages. You know, girls Debbie Harry, more like on social media who she’s the inspiration push their lips into a for my drag character! pout and they look like a duck? I tried a few P: That sounds amazing! Can ways of getting that you tell a little bit more idea into my costume. I thought about making about that? the wig out of PVC S:Well any good cabaret feathers, but I wasn’t needs a drag queen! sure anyone would get Drag is about extreme it. Eventually I made expressions of gender, the joke a little more and no one epitomizes subtle, and designed a femininity from the dress that was higher punk scene better than in the back then it was Blondie. in the front, to be
shaped a bit like a duck. Underneath is a crinoline made of long metallic sequins that kind of resemble feathers when they move. And my fabulous drag makeup is perfect for the lips! P: Yes! What is the rest of your dress made from? S: Pieces of vinyl records cut into bits and heat warped, then secured to the base garment. They’re meant to look like scales. Debbie is a big fan of old Japanese horror movies. Blondie used old movie posters as backdrops at their shows. It’s an homage to Godzilla!
E N I O D B L Y B IRL G Y A D SUN STREET
A LONELY SWEET M O R F L IR G CUTE I KNOW A TILL AS S T U , B M A E R TON SINGSO C E IC E S NG A D L MOV HERE. COL IR G Y A D EME N U L S IR G S NT? DRY YOUR EYE R GUY WITH A DIFFERENT U NK HEY, I SAW YO E'S IN ANOTHER WORLD . PU S V H BIE LOOKS LIKE SUNDAY GIRL DEB . N W ME SHO ND RUN AND HIDE RY UP AND WAIT TO ITY A W R HURRY UP, HU L WEEK AND STILL I WAIT HFOEMNIKN?IN L PU I SAY AWAKE A ES, PLEASE COME SEE U I GOT THE BL VING MEANS TO ME CROWD G O L IN K R R U O O Y W T E A H H W P WITH T U H C PROUD T G A C IN L 'T E N E A F C 'S E E H S OD AND SH O M D N E K E E THE W GIRL Y A D N U S S M A LIVE IN DRE
page 26 Character development Punk: Of
Punk: Hey Sheena! Sheena: Hey! Punk: So are starting to excited for show to open? Sheena: Yes! I wait!
course! So how did that translate to your costume? Sheena: I thought about modern music fans and social influencers. The logical connection was the Coachella style. It’s become a really distinct aesthetic, similar to punk. And it’s an event that is all about being seen and logging it on social media!
you get the cant
Punk: Tell us about your role. Sheena: Well you know- I’m just a huge fan of the music. I’m working the front of house. Punk: That’s cool! And how did that happen? Sheena: Well I guess we decided that I represented the role of the fans in the punk scene. It made sense for me to be the first point of contact with the audience. Punk: Right. So can you tell us about ‘Sheena.’ Who is she exactly? Sheena: Yeah, totally! The character is named after “Sheena (is a Punk Rocker)” by the Ramones. Joey Ramone said after they released the song, he noticed there were a bunch of the girls in the scene who would call themselves Sheena. She was kind of like the original influencer!
Punk: Why Sheena? Sheena: She’s named
after the comic character Sheena, Queen of the Jungle!
Punk: I love your
A CONVERSATION WITH THE DARLING OF #CBGB: SHEENA! We’re c ha fashion tting Coachel la , to be ‘ and what it m , e Queen o f the S ans cene!’
look. can you go through the pieces for us? Sheena: Yes! My top is made from interlocking saftey pins- think of it as simple and effective repetition, just like the Ramones! They’re attached to a fabric that resembles chain maille, to provide solid foundation, but still have the flowy texture of a cape! Every Queen needs a crown, and that’s also made of pins! My shorts, torn denim of course, but with a leopard print poking through as a nod to my namesake!
Punk:
Thanks so much for chatting to us, Sheena! Sheena: See you at the show!
page 27
(ABOVE) An example of “Coachella Girls.” The long blonde hair, crop tops, and long fringe that moves when the performer dances all became elements of Sheena’s costume. (ABOVE RIGHT)An example of a saftey pin shirt that resembles the boheimian crochet tops of Coachella. (BELOW LEFT TO RIGHT) An early sketch deemed too complicated for how clean I wanted the design(LEFT), and two early rough sketches of the final concept.
a? forni -cali ella? h -coac
Sheena Is a Punk Rocker up and ready to go Well the kids are all hopped their surfboards t go ey th w no go to y ad They’re re discotheque Au Go Go And they’re going to the she had to break away ay st t dn ul co st ju ’ e sh t Bu has is all oh yeah, oh yeah ly al re ty Ci rk Yo w Ne l el W
page 28 Character development GLORIA JESUS DIED FOR SOMEBODYS SINS BUT NOT MINE
MELTIN IN A POT OF THIEVES WILD CARD UP MY SLEEVE THICK, HEART OF STONE MY SINS MY OWN THEY BELONG TO ME, ME PEOPLE SAY BEWARE! BUT I DONT CARE THE WORDS ARE JUST RULES AND REGULATIONS TO ME, ME I WALK IN A ROOM, YOU KNOW I LOOK SO PROUD IM MOVIN IN THIS HERE ATMOSPHERE, WELL, ANYTHINGS ALLOWED AND I GO TO THIS HERE PARTY AND I JUST GET BORED UNTIL I LOOK OUT THE WINDOW, SEE A SWEET YOUNG THING HUMPIN ON THE PARKING METER, LEANIN ON THE PARKING METER OH, SHE LOOKS SO GOOD, OH, SHE LOOKS SO FINE AND I GOT THIS CRAZY FEELING AND THEN IM GONNA AH-AH MAKE HER MINE OOH ILL PUT MY SPELL ON HER HERE SHE COMES WALKIN DOWN THE STREET HERE SHE COMES COMIN THROUGH MY DOOR HERE SHE COMES CRAWLIN UP MY STAIR HERE SHE COMES WALTZIN THROUGH THE HALL IN A PRETTY RED DRESS AND OH, SHE LOOKS SO GOOD, OH, SHE LOOKS SO FINE AND I GOT THIS CRAZY FEELING THAT IM GONNA AH-AH MAKE HER MINE AND THEN I HEAR THIS KNOCK ON MY DOOR HEAR THIS KNOCKIN ON MY DOOR AND I LOOK UP INTO THE BIG TOWER CLOCK AND SAY, OH MY GOD HERES MIDNIGHT!” AND MY BABY IS WALKIN THROUGH THE DOOR LEANIN ON MY COUCH SHE WHISPERS TO ME AND I TAKE THE BIG PLUNGE AND OH, SHE WAS SO GOOD AND OH, SHE WAS SO FINE AND IM GONNA TELL THE WORLD THAT I JUST AH-AH MADE HER MINE AND I SAID DARLING, TELL ME YOUR NAME, SHE TOLD ME HER NAME SHE WHISPERED TO ME, SHE TOLD ME HER NAME AND HER NAME IS, AND HER NAME IS, AND HER NAME IS, AND HER NAME IS G-L-O-R-I-A G-L-O-R-I-A, GLORIA, G-L-O-R-I-A, GLORIA G-L-O-R-I-A, GLORIA, G-L-O-ARE-I-A, GLORIA
GLORIA
: s r e y o u d l t g r E Respec in
GLORIA
SCENDED E D N O I T ENERA PUNK! F O R E A NEW G H T E GODMO H T M O R F
is the Emcee of #CBGB. Named after the infamous Patti Smith song, she is a character who deserved status. “Patti Smith had a long history at the real CBGB’s. Not only did she begin her musical career there, but she was also the last performer stage. There was a to ever perfom on their symbolism of the character based off of her work opening the show on the “new” CBGB stage,” says Gloria. Smith has always dressed quite androgynusly, frequently donning ONGS . MY S R E D N E G S N . PREFERENCES, G TRA N I O D L E A K I U L X E I S “ REFLECT MY T O N FREEDOM S L E A O T D O T L E E WORK F FACT THAT I E H T S T C E L F IT RE TI SMITH T A P .” T S I T AS AN AR
masculine inspired fashion. Most of the famous photos taken of Smith were also captured in black and white, by her friend and collaborator Robert Mapplethorpe. All of these factors contributed to the design of a punk inspired tuxedo. Made out of heavy cotton drill and black satin lapels, it is accented on the wrists with practical zippers instead of buttons, as well as a zipper style trim down the trouser leg.
(ABOVE) This leather cut out is a scannable code for Spotify. “I wanted some interactivity in my costume,” Gloria says. “The music we listened to while designing was so important, it was imprinted right into the clothing.” Although not picutred in this early sketch, the cutout is meant to run down the right arm of the jacket.In pratice, the cut out scanned at about 30% success. In reality, I think it would need interfacing behind to hold it flat and be more consistent. But the photo works great! Pull out your phone and give it a try!
page 29
page 30 Character development
S W J E A E N T E Sweet Jane by The Velvet Underground
rossdre Standin' on a cco at or rner ssing!! waistcoea Suitcase in my ha underw r? nd Jack's in his corset, Jane is and me I'm in a rock 'n' roll in her vest Riding a Stutz Bear Cat, Jimband. Huh. ya know, those were different??? W all the poets studied rules of times hen? and those ladies they rolled verse their eyes Sweet Jane, Sweet Jane,Swe et Jane Now Jack, he is a banker and Jane, she's a clerk they act pleikoeple and both of them save th normal when they get home fromeiwor monies rk sittin down by the fire Ooo, the radio play the classical musdoicesth The March of the Wooerdee,n JiSom time pe ldiers riod? All you protest kids you can hear Jack say Sweet Jane, Sweet Jane, Sw Sweet Jane, Sweet Jane, Sweet Jane eet Jane
(ABOVE) Scenes from Sweet Jane’s ‘performance.’ The opening lines to the song are ‘Standing on a corner, suitcase in my hand.” She dances to music from a suitcase record player prop.
Sitting down to talk to the dancer Sweet Jane, the first thing you notice is how different she is from the rest of the #CBGB group. Her look is less overtly what we think of as punk, but she quickly points out that’s not an accident. “Punk isn’t always about bold agressive fashion” she explains, “It’s an attitude first. Lou Reed knew that, and he started the whole thing.” She’s right of course. Taking her stage name from the eponymous song by the Velvet Underground,Sweet Jane is proud to
tell us that #CBGB started with her. “I was walking around town listening to music, and the song came on my mix. I had a lightbulb moment, where I realized there was potential for an interesting character. I wanted to learn about her, and who she could be.” One of the Velvet’s most famous songs,it tells the story of a couple, Jack and Jane, who present as straight members of society, a “banker and a clerk,” but who enjoy a little bit of kink in their private life. “In the song, Jack is in a corset,
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TEXTILE IN SP FOR VELVE O T JACKET
s. (ABOVE) Some preliminary idea ired insp 30s experimenting with a tearaway dress, to reveal the burlesque costume underneath, and a clear PVC punk ‘filter’ costume over top of a ‘clerk’ outfit.
but Jane is in a vest!” she laughs, “In this situation, they mean a man’s undershirt, so I incorporated a torn up one into my costume.” When I asked about her vintage aesthetic, she explained that also. “In the song, the narrator talks about a ‘Stutz Bearcat.’ It was a kind of car that stopped being made in the 30s. So I choose a style that had an old fashioned appeal. But honestly, what’s more punk then getting nude in public?! Burlesque was the perfect medium.” We also asked about her beautiful jacket. She gushes, ‘Isn’t it wonderful?! I tried a LOT of things before landing here. This song is all about the differences in how we percieve
(ABOVE) An early textile sample meant to look olike the peeling posters n oa f punk club wall. Made irt t-sh ey jers printed fabric to achieve the rolled effect of old paper. It represented the ‘filter’ placed upon the walls of a club, but later decided it didn’t connect to the character effectively.
people, vs who they really are, and it really made me think about the filters we use to change our Instagram photos, or who we choose to be online vs in reality. I wanted a sheer layer to the costume, so you could see both people at once. In the end, it became based on a man’s smoking jacket to further the crossdressing aspect. The fabric was a custom devore velvet, as a nod to the band, with the print being my calling card #SweetJane written in cursive!”
PUNK- HEY JIMMY! JIMMY- HEY PUNK! P- SHOULD WE JUST GET INTO IT? J-YOU BET. FIRE AWAY. P-PERFECT. OK. ONE. WHERE DOES YOUR NAME COME FROM? J-IT COMES FROM THE SONG 'JIMMY JAZZ' BY THE CLASH P- COOL. TWO. WHY ARE YOU A COMEDIAN? J-IF YOU LISTEN TO THE TRACK, IT'S PRETTY FUNNY. IT'S ALL ABOUT A GUY WHO IS THWARTING THE POLICE WHO ARE TRYING TO CHASE HIM! THERE'S SOME GOOD NONSENSE SCAT SOUNDS TOO, FUN STUFF! P-THREE. WHERE ARE YOU FROM? J- THE UK, JUST LIKE THE CLASH. MY COSTUME SHOWS MY UK PRIDE. IT'S MUCH MORE INSPIRED BY VIVIAN
SEVEN s n o i t s e qu with y m m i J Ja zz
P- FIVE. TELL US ABOUT THE JACKET? J-YEAH. SO IT'S MADE OUT OF LAYERS OF SHREDDED TARTAN. OF COURSE DIY BREAKDOWN WAS REALLY POPULAR BACK IN THOSE DAYS. BUT THERE'S ALSO A PART OF THE SONG- JOE STRUMMER REALLY GOES CRAZY WITH SOME WEIRD SCAT SOUNDS. WE TRIED TO MAKE A TEXTILE THAT WE THOUGHT LOOKED AND MOVED LIKE JAZZ SOUNDS. THE MILITARY BARS ACCROSS THE FRONT ARE THE 'SOILDER' REFERENCE I SAID BEFORE. P- IT WORKS! SIX. WHAT CAN YOU TELL US ABOUT YOUR PANTS? J- SAME IDEA. WE WANTED SOMETHING THAT MOVED REALLY WELL WITH THE MUSIC. THEY WERE IN THE SPIRIT OF LINDER'S WORK- THEY'RE BASED ON CLASSIC BONDAGE PANTS, BUT REDUCED TO A SUGGESTION OF REAL TROUSERS,
OUR CHAT WITH THE FUNNIEST GUY IN THE #CBGBS CREW!
WESTWOOD THEN EVERYONE ELSE'S COSTUMES. THERE'S A LOT OF TARTAN, AND A BIT OF BDSM EDGE TO MY LOOK. P-IT'S GREAT! OK. FOUR. WHAT IS YOUR HEADPIECE MADE OF? J-IT'S A LEATHER MASK. THERE'S A LINE IN THE SONG- "FEEL LIKE A SOILDER, LOOK LIKE A THIEF." IT'S THE THIEF SIDE. MY FASHIONABLE BALACLAVA IF YOU WILL. IT HAS A DUEL MEANING THOUGH. BEING AN ANONYMOUS COMEDIAN GIVES ME PERMISSION TO SAY ANYTHING. I CAN BE AS BITING WITH MY SATIRE AS I WANT. POLITICS WERE REALLY IMPORTANT TO THE CLASH.
WHATS THE SIMPLEST THING THAT EVOKES THE WHOLE IDEA, YOU KNOW? P-TOTALLY! SEVEN. WHAT'S THE PATCH ON YOUR BACK? J- IT'S A QR CODE! IT WAS BUILT OUT OF 600+ INDIVIDUAL STUDS. WHEN IT'S SCANNED, IT LINKS TO A PAGE ALL ABOUT THE PROJECT! P-WHOA! OK, ONE LAST BONUS QUESTION CAN YOU TELL US A JOKE? J-SURE. WHY DID JIMMY JAZZ WEAR A FULL FACE MASK? P-WHY? J-HE WAS TOO COOL TO BE SCENE!
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"Jimm y roman is a tizice d outla w"
ABOVE:Early sketches of Jimmy before colouring. The pose of this character, slightly menacing, but also sly was really hard to achieve.
z Jimmy Jaz h s la z The C Jimmy Jaz re went past or f in d e u Police walk in't here, but he s "" give tha z a nks" z a e J "h I said, for Jimmy read g in ok lo e D immy Oh, you'r gana for J op off his head a s s a M a tt ch Sa ears and azz Cut off his looking for Jimmy J e 'cross this town ag Police come gonna take a mess er the other side ov e 'r e r ou So if y somewhe zz, say n ow d it t a u J azz, Maybe p to Jimmy J ts e g it See e tale Now tell th in they said nt out Police come 's Jimmy Jazz?" aid, he we s e h e r , e h u h re but, "Now, w he was he , m m "h , id ' for?" a I s ey're lookin z, Jazz eh th it is o Wh Jaz z, Jazz, look Jimmy Jaz inspo! f lie e What a r soldier a I feel like thief a Look like Jazz y Jazz It's for the lookin' for the Jimm Police come and he went out ed for that g He came in they'll get him han ow n zz 'Cause , Jimmy Ja z z a J y m Jim ore In fact , not anym e e m r e h ot b mor Don't you tale, oh, no is th e k ta ds I can't oun this s d n ou t r ca n It's all a , Jazz swhat ca ke? z z a J y m Jim li ok Z Z, Z, Z, , Z, Z lo Z J-A-Z-Z, -A-Z-Z J , Z J-A-Zts! my Jazz im le ta k c J-A-Z, J u n s it suck k And then k that" uc He said, "s BELOW:The Jo mural in New e Strummer memorial Village. Fir York City's East by an artist st painted in 2003 has been red named Dr. Revolt, it original was one 4 times since the blocks away painted. It's about 7 in the 1970s from where CBGBs stood in 2015, my . This photo was taken first trip t o NYC.
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G N I K MA Z Z A J E H T
VE ON THE I S U L C X E E G STUMES! A BACKSTA O C 'S Z Z A J Y JIMM MAKING OF
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OPPOSITE: Jimmy's trousers have been a building challenge. There was a queston of whether the 'legs' should be attached at the crotch, or if they should be a second piece. I was concernsed that they could drag the pants section down, and make it look too much like a leather diaper! OPPOSITE BOTTOM: The QR code patch for the back of the jacket. It is roughly 10' square and contains 650+ studs that were individually placed to a pixelated outline. Like the spotify code on Gloria's costume, I had mixed success with scanning it. My phone won't detect the photo of the code, but my Ipad will. Next to that is a sample of the "jazz' fabric. 7 layers of shredded check fabric. The final fabric will be tartan. BESIDE: Prototype of the mohawk headpiece. The pattern was drafted with masking tape and clingfilm on a block. A millinery wire frame was built to support the 'hair.' The fabric had gaps where it was possible to weave a wire channel to hold it up.
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LITLE JOHNNY JEWEL TELEVISION NOW LITTLE JOHNNY JEWEL OH, HE'S SO COOL HE HAD NO DECISION HE'S JUST TRYING TO TELL A VISION BUT SOME THOUGHT THAT THIS WAS SAD AND OTHERS THOUGHT IT MAD THEY JUST SCRATCHING THE SURFACE; J.J., HE COULD DO THE FLOOR KISS OH, WAS HE ON DISPLAY? NO, NO, NOT TODAY ALL THAT GUY EVER SAID HE SAID, "I WANT MY LITTLE WING-HEAD" HE HALF-ASLEEP AT NIGHT OVER HIS HEAD, SENSATION OF FLIGHT AND HE WAKE UP DREAMING DREAMING... AND HE RUN DOWN TO THE AIRPORT-THE RUSH, THE ROAR AND HE CROUCHED DOWN BEHIND THE FENCE WITH A CHEST FULL OF LIGHTS THEN... HE LOSES HIS SENSES OH, LITTLE JOHNNY JEWEL HE'S SO COOL BUT IF YOU SEE HIM LOOKING LOST YOU AIN'T GOTTA COME ON SO BOSS AND YOU KNOW THAT HE'S PAID YOU KNOW THAT HE'S PAID THE PRICE ALL YOU GOTTA DO FOR THAT GUY... IS WINK YOUR EYE
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G N I C N U D O EW ! INR J O E HNNY JEW L T T LI EL THE
If you had met Johnny Jewel a few months ago, he would look an awful lot like the character you see on the left. "I was really ostentacious," he explains. I think I felt in some ways that I ahd something to prove, and so my costume reflected that. It was really over the top, but not in way that served our show." His new look (in more detail on the next page) is much more simplified, but fits in with his collegues. "Our original idea was to play with some reflective images in the neck piece. But as I do some magic tricks in our show, we had to find a different option. I don't want to ruin the surprise for you, but try taking a photo of me with flash when you come see the show. I think you might be surprised at what you see! We really liked this idea of your experience being enhanced through the phone. Basically what you can upload to social media is different then what you see live!" I commented on his jumpsuit as well. He smiles "Isn't it great! It's got a cool zigzag patterna little like Television static. And the dress is made of knit mohair. It's all pretty tight and see through, so I've got to be pretty on it with my tricks. Thank goodness we changed to a vest now- at least I have pockets!" He's a sweet performer, with very androgynous features. "There is so much rejection of gender in this genre. Little Johnny Jewel is a persona. He's not even meant to be a he, really. There's a dress, there's a jumpsuit. Really it's just about having fun and having a big attitude."
ABOVE: Early Sketches of Johnny
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G N I D FIN Y N N H O J L E JEW
ABOVE:Working out silhouettes on the stand. It was after this day that I abandoned the collar for the a vest. LEFT:Pattern matching hell. The stripes and stretch velvet proved very challenging. BELOW: Knitting machine used to make mohair sweater. I had never knit before, and really enjoyed this challenge. OPPOSITE: Johnny in progress. 'Stud' cone beads sewn on by hand.
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E B L I C E COLL T POSTERS LD I U O H RE, S E H T I HANG SID?
OI, JOHNNY! YOU'VE GOT IT PRETTY CROO KED
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THEY'RE DEAD TO ME, DARLING!
U SO SORRY YO DIDN'T MAKE IT AZINE, INTO THE MAG DAVID!
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NTENT
XAMP
THE I LES OF
S, BU
ARE E T HERE
LE TO *UNAB
DEV
AMPLE ELOP S
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