Last summer saw a string of raucous outdoor gigs in Los Angeles. Many attendees wore masks and at some of the shows, there were temperature checks before entry – critics say they’re being reckless, but they claim they’re just keeping their scene alive.
“It was really dirty and the kids really showed up for that one. I think that was at the peak of Covid,” says Drew Kelley, a freelance photojournalist who went to the Riverside show to take 35mm photos. Drew was impressed by the effort, passion and Covid-safety that had gone into creating the event.
"Killip was a human first and an observer or lucid chronicler second"
Chris Killip is known for his immeasurable and singular vision of Britain during the 70’s 80’s and 90's. To place emphasis on his work in a genre-fied manner would belittle his an
Chris Killip is known for his immeasurable and singular vision of Britain during the 70’s 80’s and 90’s. To place emphasis on his work in a genre-fied manner would belittle his and its true humanity and potential. Killip was a human first and an observer or lucid chronicler second. In my personal estimation his book In Flagrante and its subsequent version In Flagrante II along with Seacoal are two of the more enduring works of the past 100 years of publishing within the medium of photography. Once you crack the covers of these works, it is hard not to be left with a sense of urgent sympathy for the people and the timeframe in which it was produced.
Between 1976 and 1981, the movement Rock Against Racism (RAR) confronted racist ideology in the streets, parks and town halls of Britain. RAR was form...
RAR did not have an official photographer but Syd Shelton has produced the largest collection of images on the movement. He captured the history-making RAR Carnival 1 at Victoria Park, London in 1978, and demonstrations such as the Anti National Front Demonstration in Lewisham in 1977. RAR organised five carnivals and some 500 gigs across Britain.
After living in London in the early ’70s, California native Roberta Bayley arrived in New York in 1974 because it was the only return ticket she could afford back to the States. Serendipity served Bayley well. She soon met a young musician by the name of
In the ’70s, Roberta Bayley moved to the city and bought a camera. Within a year, she was capturing icons like Iggy Pop, Blondie, the Sex Pistols and X-Ray Spex.
Snuky Tate, Fab 5 Freddy, and kid punk band the Brattles, 1981. The Brattles opened for the Clash at their New York City show at Bonds on Times Square. Brooklyn’s…
His new book, Point of View: Me, New York City, and the Punk Scene (Rizzoli New York), is a visual diary of daily life during the 1970s, the rawest decade of them all. Stein takes us all the way back to his days as a student at SVA, and gives us a guided tour of a young artist coming of age in a city that was equal parts decadent and derelict, and home to characters like none before or since, be it William Burroughs, David Bowie, Divine, Andy Warhol, or the Ramones.
In the Bears Ears region of Southeastern Utah, there is an area of winding canyons known by Navajo people as Nahoniti’ino – or the hiding place. American Indians used the landscape to elude U.S. military troops in 1864, as thousands were being marched by gunpoint down to Fort Sumner in New Mexico. Hundreds died from hunger and exhaustion in what became known as the Long Walk, a brutal chapter that five tribes highlight in a lawsuit they recently filed against President Donald Trump.
Roy Baizan has been chronicling the rock, punk, rap, trap and hip-hop scene in the Bronx, including shows produced by a new collective, Hydro Punk.
Who knew the Bronx had punks? This shouldn’t come as a surprise, since several musical genres were born in the borough, starting with doo-wop in the 1950s, salsa in the ’60s and hip-hop in the ’70s. Now Roy Baizan has discovered another scene.
These photographs of the punks and skinheads of New York's East Village were made between 1984-1987. There is, in most people, an inclination to be put off by the outrageous styles and symbol's that characterize this subculture's rebellion, and for that reason I chose to photograph them in a series of intimate portraits, which were taken in their homes and on the streets where some of them lived as well as in the clubs where they performed their music.
From 1977 to 1980, Jim Jocoy photographed the San Francisco punk scene, from the stage to the bathroom stalls.
Jim Jocoy became a student at the University of California at Santa Cruz in 1976, at the threshold of the San Francisco punk scene. It took only one year for him to become entranced by the scene, which included bands like the hardcore punk Dead Kennedys. Jocoy dropped out of school to spend his nights taking photographs that documented a completely different subculture in the city, the Summer of Love just a decade behind it.
The scene in the Bay Area was never chronicled in the same way as New York or Los Angeles. Now a new crop of photography books and projects are bringing San Franciscan punk into focus
n early 1979, photographer Jim Jocoy attended an auction at the Peoples Temple in San Francisco. More than 900 of its worshipers had died in a mass suicide-murder which came to be known as the Jonestown massacre, led to their deaths by activist-turned-doomsday cultist Jim Jones. When Jocoy saw some of the followers’ left-behind luggage, he saw a symbol of Jones’ “hollow, empty promise”, and took a picture. “Jonestown, the assassinations – they worked into the fabric of San Francisco, and unraveled its tapestry,” Jocoy says. “It was quite gloomy, that summer of hate, and punk was the soundtrack.”
Genova 1981-1983 is the first monograph by Italian photographer Antonio Amato. More than hundred images guide us through the Genoa punk scene of those years, telling about the attitude, habits and gestures of the people who were part of and created the scene.