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Freaky Dancing was the unofficial Haçienda acid house fanzine. It ran for 11 issues between July 1989 and August 1990. The first eight issues were given out free to people in the queue to the club on a Friday night. Later issues were sold around Manchester and reached a peak circulation of 750. The fanzine was put together by Paul 'Fish Kid' Gill and Ste Pickford with help from their friends and Haçienda regulars. It was written and drawn during the week then printed out using the photocopier in Ste's office after work on a Friday. The photocopier didn't survive. During the fanzine's lifespan The Haçienda became the most famous - and infamous - nightclub on earth. It was a year of incredible highs and dark lows. Ultimately the scene imploded in paranoia, shootings and way too many drugs. Freaky Dancing documented this journey from blissful optimism to inevitable self-destruction. Famous fans included Peter Hook of New Order, DJ Mike Pickering and Tony Wilson, who described it as, "The most important piece of journalism I've read in the last twenty years."This collection contains a foreword by Northern techno legend A Guy Called Gerald, all 11 volumes of the fanzine, The Highs Of Freaky Dancing, never seen before strips plus a scrapbook of sketches, reviews, fliers and photographs. It's a potent capsule of a special time and place in all of its ragged psychedelic glory - essential for rave scholars and fans of DIY culture alike.
In the late 1980s the rave phenomenon swept the youth culture of the United Kingdom, incorporating the generations' two newest social stimulants: modern electronic dance music and a notorious designer drug known as Ecstasy. Although the movement began in rebellion against mainstream culture, its underground dynamism soon attracted the interest of novelists, screenwriters, and filmmakers who attempted to reflect the phenomenon in their works. Through artistic and commercial popularization, the once obscure subculture was transformed into a pop-culture behemoth with powerful links to the entertainment industry. This study deals with the transformative effects of film, television and literature on club culture. Chapters furthermore reflect club culture's own effect on crime, ethnicity, sexuality and drug use. As the study traces artistic depictions of club culture's development, each chapter focuses on individual books, films and television shows that reflect the transformation of the club culture into what it is today.
From the concert stage to the dressing room, from the recording studio to the digital realm, SPIN surveys the modern musical landscape and the culture around it with authoritative reporting, provocative interviews, and a discerning critical ear. With dynamic photography, bold graphic design, and informed irreverence, the pages of SPIN pulsate with the energy of today's most innovative sounds. Whether covering what's new or what's next, SPIN is your monthly VIP pass to all that rocks.
Intercepted e-mails alert Homeland Security to the possibility of a terrorist attack on South Florida staged from a Bahamian island. Rhonda and Morgan Early are again recruited by the Drug Enforcement Administration to monitor suspicious activity on Bimini, located just fifty miles from Miami. Ahmed Atta needs money to implement his plan to kill sixty-five thousand Americans. He busts convicted cartel leader Victor Torres from jail for one million dollars. When Rhonda and Morgan learn of suspicious activity on Bimini, they rush to the island to thwart any potential danger. Torres inadvertently assists the terrorists by attempting to avenge his earlier capture by Morgan and Rhonda. He snatches their son and lures them to his trafficking headquarters on Plana Cay with the intent to brutally murder them. Meanwhile, Ahmed Atta's brilliant plan to kill an unfathomable number of Americans proceeds unabated.
Apparently, this freaky phenomenon of stepping into someone else’s life—and their body!—has a name: Temp Lifer. Thanks to my dead grandmother, it’s happened again. So now I’m hungover and gazing in the mirror at ... my boyfriend’s sister. Grammy, help!
This book is about the kind of ordinary dancing you and I might do in our kitchens when a favourite tune comes on. It's more than a social history: it's a set of interconnected histories of the overlooked places where dancing happens . . . Why do we dance together? What does dancing tells us about ourselves, individually and collectively? And what can it do for us? Whether it be at home, '80s club nights, Irish dancehalls or reggae dances, jungle raves or volunteer-run spaces and youth centres, Emma Warren has sought the answers to these questions her entire life. Dancing doesn't just refract the music and culture within which it evolves; it also generates new music and culture. When we speak only of the music, we lose part of the story - the part that finds us dancing as children on the toes of adults; the half that triggers communication across borders and languages; the part that finds us worried that we'll never be able to dance again, and the part that finds us wondering why we were ever nervous in the first place. At the intersection of memoir, social and cultural history, Dance Your Way Home is an intimate foray onto the dancefloor - wherever and whenever it may be - that speaks to the heart of what it is that makes us move.
From the concert stage to the dressing room, from the recording studio to the digital realm, SPIN surveys the modern musical landscape and the culture around it with authoritative reporting, provocative interviews, and a discerning critical ear. With dynamic photography, bold graphic design, and informed irreverence, the pages of SPIN pulsate with the energy of today's most innovative sounds. Whether covering what's new or what's next, SPIN is your monthly VIP pass to all that rocks.
"Detroit Rich Boys" tells the story of James Mussellistine, better known as Muscles to his friends, a young teenager from the west side of Detroit. He ended up being part of the original Puritan Avenue gang known as the PAs. Although he was raised in a middle-class neighborhood off Six Mile Road, the young gangster couldn't stop hanging out with the likes of Niddy and Roni, two friends from across Puritan Road. When Muscles and his friends enroll in Mumford, Detroit's most volatile school, the roller-coaster lifestyle of gangbanging rolls from the school strait to the streets. The Puritan Gang was the poorest gang in the school, and their numbers were weak compared to their legendary rivals, the Six, Seven, Eight Mile Gangs. Even so, Mumford's Puritan leaders, the PAs, arose from virtual anonymity to become one of the most dangerous neighborhood gangs in Detroit history. "Once upon a time Detroit was once considered the promise land for black people in America. By the1980s, however, Detroit had become the land of bondage, where people were enslaved by drugs, poverty, and violence. From the Lunatic Assassins and the 8 mile Sconies to the Black Killers and the PAs. The streets of the Westside are all here." Al Profit Murder City
The Stone Roses shows a band sizzling with skill, consumed with drive and aspiration and possessing an almost preternatural mastery of the pop paradigm. This book explores the political and cultural zeitgeist of England in 1989 and attempts to apprehend the magic ingredients that made The Stone Roses such a special and influential album.
Ecstasy did for house music what LSD did for psychedelic rock. Now, in Energy Flash, journalist Simon Reynolds offers a revved-up and passionate inside chronicle of how MDMA (“ecstasy”) and MIDI (the basis for electronica) together spawned the unique rave culture of the 1990s. England, Germany, and Holland began tinkering with imported Detroit techno and Chicago house music in the late 1980s, and when ecstasy was added to the mix in British clubs, a new music subculture was born. A longtime writer on the music beat, Reynolds started watching—and partaking in—the rave scene early on, observing firsthand ecstasy’s sense-heightening and serotonin-surging effects on the music and the scene. In telling the story, Reynolds goes way beyond straight music history, mixing social history, interviews with participants and scene-makers, and his own analysis of the sounds with the names of key places, tracks, groups, scenes, and artists. He delves deep into the panoply of rave-worthy drugs and proper rave attitude and etiquette, exposing a nuanced musical phenomenon. Read on, and learn why is nitrous oxide is called “hippy crack.”