#Socio-political hardcore punk

[savage-kult-of-gorthaur]

ONE OF THE MOST STACKED BILLS YOU'VE EVER SEEN -- D-BEAT/ CRUST/ ANARCHO/ GRIND/ POWERVIOLENCE.

PIC INFO: Mega spotlight on a show/gig flyer I've never seen before until now, of the now legendary HELLKRUSHER/ D.I.R.T./ FINAL.WARNING joint U.S. tour, no less, with supporting acts TOXIC NARCOTIC, DEFORMED CONSCIENCE, DROPDEAD, & AUGUST SPIES, performing live at the Middle East club, Cambridge, MA, on Sunday, February 27, 1994.

Sources: www.picuki.com/media/3425294310847678526.

[dustedmagazine]

Fan Club — Demonstration 2024 (Self-released)

Fan Club seems to be an aesthetic recalibration by the Seattle-based folks who have spent the better part of a decade making snotty hardcore under the unlikely name Lysol. Same folks, new sound. Listeners of that former band will already have heard some hints of more rawkin’ tendencies in their most recent output; check out “Sick as a Dog” from Lysol’s Soup for My Family (2021) or “Grease Paint” from the excellent Down the Street cassette (2023). Fan Club gathers up those retrograde and recalcitrant notions, coats them in Aqua Net and several layers of eyeliner — and whammo! There you have it: five tunes and seven minutes of glammy punk, a lot more Mott the Hoople than Minor Threat. And that’s a good thing.

We should be clear: Fan Club plays fast, and the songs are short. At just 89 seconds, “Sore Eyes” is the most sustained statement on Demonstration 2024. That’s hardcore-scaled stuff. But the guitar tone is equal parts nasty and flashy, and a song like “Hospital Beds” could have emerged from a 3 am jam session between Syl Sylvain and Cheetah Chrome. The title of “Sweet Nothin’” seems to nod toward the Velvets, and the lyrics aren’t far from sweet Lou’s most savage, speed-infused visions: “You got me gushing / My blood is rushing / Hear your sweet nothings / Because my needle’s in the red.” Gotcha—but which needle? And is that red stuff on the VU meter, or is it running up into the syringe?

Some of that symbolic play might seem a little cynical in these days of fentanyl-infused street dope and way-too-frequent overdose deaths. But there’s a historical dimension to Fan Club’s new tape that’s worth thinking through. Glam emerged in grim times, when the 1960s countercultures had collapsed, and the drugs got very, very serious. Heavy vibes for heavy times. Somehow, songs like the Sweet’s “Block Buster!” and T Rex’s “Metal Guru” emerged from that miserable morass, shining and full of ebullient melody.

2024’s version of socio-cultural bum-out feels like it has higher stakes, global in extent. Everything is running into the red: temperatures, politics, the speed of change. Fan Club’s rendition of glammed-up punk is proportionally harder, sharper and more dangerous. No ebullience in earshot, sorry, kids--but it’s still hugely satisfying. You’ll dance harder, in shorter bursts. Until it’s all over. All of it.

Jonathan Shaw

[dirtbagart]

The History and Evolution of Punk Fashion

Punk fashion is a bold statement of rebellion, individuality, and defiance. Born out of the socio-political turmoil of the 1970s, punk fashion has evolved over the decades while maintaining its core ethos of non-conformity and DIY culture. In this blog post, we’ll explore the rich history of punk fashion, its key elements, and how it has transformed over the years. We’ll also highlight how DirtbagArt.com embraces and reinterprets punk fashion in its unique designs.

Origins of Punk Fashion

The punk movement emerged in the mid-1970s, primarily in the UK and the US, as a reaction against the economic struggles and political unrest of the time. It was a cultural rebellion against the establishment, characterized by a raw, anti-establishment ethos. Pioneers like Vivienne Westwood and Malcolm McLaren were instrumental in shaping punk fashion. Westwood and McLaren’s boutique, SEX, became a hub for punk style, dressing iconic bands like The Sex Pistols. Across the Atlantic, bands like The Ramones played a crucial role in defining the punk look in the US. Early punk fashion was marked by its DIY approach. Torn clothing, safety pins, and hand-altered garments were staples. Provocative slogans and controversial imagery were used to challenge societal norms and express dissent.

Key Elements of Punk Fashion

At the core of punk fashion is the DIY (Do It Yourself) ethic. It's all about taking charge of your style and making it your own. Many punk enthusiasts enjoy customizing thrift store finds, adding patches, or sewing on unique details that scream individuality. It celebrates personal expression and creativity in every stitch and cut. Leather jackets, adorned with pins and patches, are a staple. Band tees carry messages and music close to the heart, while Dr. Martens boots stomp with authority and edge. Plaid patterns and distressed denim channel the raw spirit of rebellion that punk embraces.

Punk fashion isn't just about clothing; it's also about the attitude and the accessories that complete the look. Spiked collars and studded belts don't merely serve as adornments. They shout defiance and a willingness to stand against the norm. Safety pins, often seen dangling from clothing or jewelry, are iconic symbols of punk's rebellious roots. Hairstyles play a crucial role too—whether it's a towering mohawk or vividly colored hair, each style amplifies the bold and daring essence of punk. This movement isn't just about appearances; it's a testament to living boldly and authentically against the grain.

Punk Fashion in the 1980s

During the 1980s, punk fashion started making waves in mainstream culture, transforming the underground style into something more polished and broadly appealing. This newfound accessibility brought punk's edgy aesthetic to a larger audience, sparking a fashion revolution. The decade birthed subgenres like hardcore punk, characterized by its stripped-down, aggressive vibe and practical wear, emphasizing simplicity and defiance. Meanwhile, post-punk emerged, blending an eclectic mix of styles that pushed creative boundaries, incorporating bold patterns, textures, and unexpected combinations. Some critics argued this mainstream embrace diluted punk's raw authenticity, yet others believed it allowed the movement's core spirit to reach and inspire more people than ever before.

The 1990s and Pop-Punk

The 1990s marked a vibrant era for pop-punk, a genre that added a lively twist to the rebellious spirit of punk. While grunge embraced punk's anti-fashion stance, it softened it with a relaxed, flannel-shirt vibe. This period saw bands like Green Day and Blink-182 rise to fame, pushing pop-punk into the spotlight. Their catchy tunes and energetic performances captured the essence of teenage angst and skate culture, appealing to young audiences who found a sense of identity in their relatable lyrics and carefree style. Some critics argued that pop-punk lacked the raw edge of its predecessors, but this accessibility was precisely why it struck a chord with so many. It was music you could jump around to, with a message that felt personal yet universal, creating a cultural phenomenon that lasted well beyond the decade.

Punk Fashion in the 2000s

Punk fashion in the early 2000s made a big comeback, with brands like Hot Topic bringing punk-inspired looks to the mainstream. This era saw a yearning for the raw energy of classic punk. Clothes styled with safety pins, ripped jeans, and band tees became staples, echoing the rebellious spirit of the original scene. Over time, contemporary punk style has grown to include elements from other cultures, giving rise to a unique blend that keeps punk fresh and exciting. This vibrant mix reflects punk's identity as a constantly shifting expression of individuality, defying convention and embracing change.

Punk Fashion Today

Nowadays, punk fashion is an ever-changing fusion of the old and new, skillfully mixing vintage staples with fresh, modern styles. The appeal of timeless punk pieces, like rugged leather jackets and iconic band tees, is as strong as ever. With a nod to its DIY roots, punk fashion is turning toward sustainability, championing the use of upcycled and eco-friendly fabrics. This shift is in line with punk's original spirit of ingenuity and defiance against wasteful consumer habits. Moreover, punk fashion's enduring presence in today's media landscape keeps firing up the rebellious vibe, igniting passion in young creatives who are eager to carry forward the movement's legacy.

Conclusion

Punk fashion's timeless charm lies in its dynamic evolution while holding tight to its core of rebellion and individuality. At DirtbagArt.com, we proudly honor this legacy by offering unique designs that echo the true essence of punk. Our collection is more than just clothing—it's a statement. Each piece lets you shout your own rebellious style. Check out our punk-inspired line and express yourself in ways that reflect your fierce spirit.

FAQs

What is punk fashion?

Punk fashion is a style that originated in the mid-1970s. It’s characterized by its rebellious attitude, DIY ethic, and a mix of various styles, often including elements like leather jackets, ripped jeans, band tees, and unconventional hair colors.

How did punk fashion start?

The style began in reaction to the mainstream music and fashion of the time. It was initiated by young people in the UK and the US who were influenced by punk rock music and wanted to express their identity and dissatisfaction through their clothing.

Who were the key figures in punk fashion?

Vivienne Westwood and Malcolm McLaren were pivotal. They opened a boutique in London named SEX, which became an epicenter for punk fashion. Bands like the Sex Pistols and The Ramones also played a significant role in popularizing the style.

How did punk fashion evolve over time?

Originally raw and DIY, punk fashion evolved to be more commercialized in the 1980s. It then influenced and was influenced by other styles, including grunge in the 1990s, and it continues to evolve today, maintaining its core rebellious spirit.

Why is DIY important in punk fashion?

DIY (Do It Yourself) is a central tenet of punk fashion. It emphasizes personal expression, creativity, and rebellion against consumer culture. Punks often customize their clothing with patches, pins, and homemade graphics.

Thanks for reading!

-Lo War, DirtbagArt💀

[chorusfm]

Silverstein Celebrate 15th Anniversary of ‘A Shipwreck…’

A new 15th anniversary pressing of Silverstein’s A Shipwreck in the Sand has been announced. Craft Recordings celebrates the 15thanniversary of Silverstein’s bestselling fourth album, A Shipwreck in the Sand, with a vinyl reissue and several color exclusives. The 2009 concept album remains a favorite in the band’s extensive discography, with such tracks as “Vices” (feat. Liam Cormier of Cancer Bats), “The End” (feat. Lights) and “American Dream.” Set for release on June 28th and available for pre-order today, A Shipwreck in the Sand can be found on classic black vinyl, as well as several limited-edition color variants, including Green Smoke (exclusively at Silverstein’s official store), Orange Smoke (CraftRecordings.com and VictoryRecords.com) and Translucent Forest Green (Brooklyn Vegan). Formed in 2000 in Burlington, Ontario, Silverstein have long been at the forefront of the hardcore scene, thanks to their dynamic blend of melody and aggression with the unabashed earnestness of emo. In 2002, the five-piece (whose name was inspired by a shared fondness of the poet Shel Silverstein) joined Victory Records, the storied rock, metal, punk and hardcore label, which boasts Thursday, Between the Buried and Me and Taking Back Sunday among its legendary alumni. Victory Records is now a part of Concord's independent label family, with its formidable repertoire managed by Craft Recordings.    Under the label, they released their celebrated full-length debut, When Broken Is Easily Fixed (2003), followed by Discovering the Waterfront (2005) and Arrivals & Departures (2007). By the time they released their fourth and final studio album under Victory, 2009’s A Shipwreck in the Sand, Silverstein were significant stars in the scene, having earned their first Juno nomination and traversed the world (including a sold-out headlining tour across Canada, runs across South America, Europe and the UK, plus two stints with the Vans Warped Tour).    Reuniting with the GRAMMY®-winning producer Cameron Webb (Disturbed, Kelly Clarkson, Motörhead), the band set to work on one of their most ambitious projects. Written as a concept album, A Shipwreck in the Sand tells the story of a ship’s crew who hope to discover new land. As their search becomes increasingly futile, the crew revolts against their captain. Comprised of four chapters—“It Burns Within Us All” (tracks 1–3), “Liars, Cheaters and Thieves” (tracks 4–7), “Fight Fire with Fire” (tracks 8–10) and “Death and Taxes” (tracks 11–14)—the album takes listeners through a dramatic musical journey: one that ranges from emotive, pop-forward numbers to some of the heaviest songs of Silverstein’s career.   Among the highlights is “Vices,” featuring guest vocals by Cancer Bats frontman Liam Cormier. Released as a single, the track showcases what Silverstein does best: blending cathartic vocals and urgent riffs with lyrical songwriting and anthemic melodies. Other standouts include the ominous opener “A Great Fire,” the hook-filled “I Knew I Couldn’t Trust You” and—on the other end of the spectrum—“I Am the Arsonist,” which delivers a blistering, all-out sonic assault. In addition to Cormier, the band is joined by Scott Wade (formerly of Comeback Kid) on the breakneck “Born Dead,” while singer-songwriter Lights lends her ethereal vocals to the soaring, aptly titled closing track, “The End.” The album also features a cameo by guitarist Paul Marc Rousseau, who became a full-time member of Silverstein in 2012.   In an interview for the 2010 live album, Decade (Live at the Mocambo), frontman Shane Told shared deeper insight into the album’s themes—all of which served as a metaphor for the era’s socio-political climate. “The reason I wanted to do a concept record was because of the way the world is right now, with the economy being messed up, people losing jobs and families losing their life savings, and not knowing what they are going to do in the future. . . . It’s a really scary time.”   He continued, “There’s also a lot of… https://chorus.fm/news/silverstein-celebrate-15th-anniversary-of-a-shipwreck/

[savage-kult-of-gorthaur]

VOTE REPUBLICAN IN 2024? -- 40,000+ PALESTINIANS WERE STILL ALIVE DURING TRUMP'S REIGN.

NOTE: ^Add over half a million Ukrainian soldiers to the death toll as well, another war that the Democrats have been absolutely itching for since 2014, and which they finally "delivered on."

PIC INFO: Spotlight on humorous yet socio-politically charged punk art from the Reagan/hardcore era -- Welcome to 1984.

Anyway, it isn't even a debate anymore that the two political parties in the U.S. have completely @#!*$& flipped beyond all recognition, meaning the current Democratic Party has become the party of neverending bloodshed and endless war. Two wars are currently ongoing under Biden and his neverending death-cult-blood-sacrifice party.

Do the math, follow the money, and wake your ass up to the reality of what's really going on, chumps.

That is all.

More for RaR 1984

[greensparty]

Movie Reviews: The Amusement Park / Punk the Capital

What a week for movie reviews!

The Amusement Park

George A. Romero was a legend of the horror genre. His use of horror as thought-provoking social commentary made his films so much more than just genre films. On the surface they were horror films, but they really had something to say about civil rights, government, consumerism, military, technology and internet culture among other themes. His low-budget indie zombie films Night of the Living Dead is, to this day, one of the greatest horror films ever made! In Oct. 2015, I got to meet Mr. Romero at Rock and Shock. He posed for a pic with me and signed my NOTLD DVD. He could not have been any cooler. Took the time to talk to me and pose for the pic even with a big line. I was so glad that I splurged on that signing / picture as Mr. Romero passed away in 2017. Romero made a 52-minute film about an elderly man at an amusement park in 1973, but it was never released due to the investors finding it to be too gruesome. The film was discovered in 2018, given a 4K restoration and Shudder has acquired it and released The Amusement Park this week.

me with Mr. Romero at 2015 Rock and Shock

Commissioned by The Lutheran Society, the film stars Lincoln Maazel (who later starred in Romero’s Martin) as an elderly man at an amusement park, where he finds himself disoriented and cast aside throughout the day. The entire film is an allegory for how society treats the elderly. It is told in a very 70s horror kind of way, but its clearly Romero.

movie poster

The lost film is always a curious case. Was it actually a great movie that never got completed by the filmmaker, in which case, you have to ask if its true to the director’s vision? Or was it never released because the distributor or rights holders had issues with it? It would be rather exciting to report that this lost Romero film is a masterpiece that has finally been unearthed and was worth the 46 year wait since its completion. Well...I can’t say that. However, it is intriguing. The amusement park itself was such a staple of 70s genre films, i.e. the campy but fun Kiss Meets the Phantom of the Park. The roller coaster, the bumper car rides, the food, the crowds...all of these lend themselves to metaphors for fear and anxiety of accepting one’s own mortality. Albeit metaphors that hit you over the head to make their point, but still. The pace was a little slow at times, but where it really works it when Romero uses the editing to heighten the anxiousness. It is cool to finally see this get the release it deserves and at 52 min. it works on Shudder!

For info on Shudder: https://www.shudder.com/movies/watch/the-amusement-park/286f545b09818c85

3 out of 5 stars

Punk the Capital

Punk rock music has always been a musical genre that is political at its core. In using the loud, fast and angry music to bring attention to socio-political issues, it forces its audience to think, albeit thinking while slam-dancing...but still. There have been several documentaries chronicling various regional punk scenes, i.e. the L.A. punk scene in The Decline of Western Civilization, Boston’s hardcore scene in All Ages: The Boston Hardcore Film, and Turn It Around about the Bay Area’s scene. Washington D.C. has always been unique to the punk movement in that the nation’s lawmakers are all in the city, so there was plenty for the punk musicians to get fired up about. The D.C. punk scene has been documented previously, notably in Scott Crawford’s doc Salad Days, which focused on the punk movement during the Reagan era of 1981-89, as well as the D.C. episode of Foo Fighters: Sonic Highways, which addressed a lot of the music from D.C. but mostly the punk scene that Dave Grohl was a part as the drummer for Scream in the late 80s. Now there’s a new doc about D.C.’s punk scene Punk the Capital. After a festival run, it has played virtual cinemas and this week it premieres on DVD and blu-ray from Passion River this week.

movie poster with Henry Rollins

This doc goes deep into the formation of the scene in 1976. There’s plenty of modern-day interviews from those in the trenches including H.R. of Bad Brains, Henry Rollins of State of Alert (his pre-Black Flag band), and Ian MacKaye of Teen Idles and Minor Threat (his pre-Fugazi bands) among others. What was highly impressive is the sheer amount of archival footage used in this doc. Something that gets addressed in a lot of punk docs and they cover here is the DIY approach (why wait for someone else to make something happen for you, when you can do it yourself) and the straight edge movement (banning drugs, alcohol and bigotry at punk venues). Both topics are woven into the fabric of this punk scene.

MacKaye circa early 80s and Rollins modern-day

Selfishly I kinda wanted to see more of Scream, one of my favorites of the D.C. punk scene. There is a deleted scene with Dave Grohl that has been making the rounds this week, but it would’ve been cool if Grohl and/or Pete and Franz Stahl or Skeeter Thompson had been in the doc. I went into this doc having already known a little about the scene and I think Salad Days went deeper into the political activism of the scene in response to President Reagan, but this was more encyclopedic in other ways. The rare archival materials elevated this above a lot of punk docs. The doc ends around 1984 and I kinda wished it had gone further and maybe addressed the punk and post-punk bands that came along after the Reagan era. But in showing the scene from mid-70s through mid-80s, it dives deep. This doc could easily be used in a college class about the punk movement and its great to see the footage preserved!

For info on Punk the Capital: http://www.passionriver.com/punk-the-capital.html

3.5 out of 5 stars

[metalshockfinland]

BARFBAG To Release Socio-Politically Amped Debut Album “Let’s Stop A War,” Out November 3rd

BARFBAG To Release Socio-Politically Amped Debut Album “Let’s Stop A War,” Out November 3rd

Insurgent punk-hardcore protest band BARFBAG, featuring industry veteran and vocalist David Bason with Brian Viglione (THE DRESDEN DOLLS, THE VIOLENT FEMMES, NINE INCH NAILS) on drums and Kenny Carkeet (AWOLNATION), will release their riotous, debut album, “Let’s Stop A War”, on Election Day, November 3rd via Stay Gold Records.

PRE-ORDER “LET’S STOP A WAR”: https://orcd.co/prj2dza

As the…

[musicworldspace-blog]

Implore: release video for "The Constant Dissonance" Announce EU tour dates

The never resting International grindcore-death-punk force IMPLORE is starting 2020 with the release of a brand new video for the track „The Constant Dissonance“, taken from their latest album "Alienated Despair", out September 27th, 2019. Check out the video here: https://youtu.be/NtqH6ywumUI Furthermore IMPLORE announce additional European tour dates and a support tour in March with Downfall of Gaia. "We are very excited to tour Southern Europe after so long, we will be visiting cities we haven't played in years and some new ones. As for the tour with Downfall of Gaia, it's something we both had in mind for years but we couldn't make it happen for a reason or another, so we are glad that Black Harbour Entertainment made it real!" - IMPLORE IMPLORE live: EUROPE III 31/01 AT Innsbruck - Cafe Decentral 01/02 IT Padova - Metalpunk Fest 02/02 IT Parma - Splinter Club 03/02 FR Montpellier - Le KJBI 04/02 FR Bordeaux - Void 05/02 ES San Sebastián - Mogambo 06/02 ES Zaragoza - Arrebato 07/02 AD Andorra la Vella - El Rockodrom 08/02 ES Llançà - Ktatonik Fest 09/02 ES Castellon de la Plana - Pub Terra 10/02 ES Malaga - CSO Las Vegas 11/02 PT Lisbon - Disgraça 12/02 PT Porto - Barracuda 13/02 ES A Coruña - La Nave 1839 14/02 ES Madrid - Wurlitzer 15/02 ES Barcelona - Boveda 22/02 AT Linz - Stadtwerkstatt IMPLORE on tour w/Downfall of Gaia 04/03 DE Köln - Hellos37 05/03 DE Mainz - Schon schon 06/03 DE Bochum - Rockpalast 07/03 DE Hannover - Bei Chez Heinz 17/03 DE Munich - Backstage 18/03 DE Dresden - Scheune 19/03 DE Magdeburg - Factory 20/03 DE Berlin - Cassiopeia 21/03 DE Osnabrück - Bastard Club 22/03 DE Hamburg - Hafenklang Festivals 25/04 FR Lille - Toupatoupa Fest 16/05 DE Torgau - GTNS 06/06 DE Gottingen - Underground Remains 31/07 DE Wacken- Wacken Open Air Get “ALIENATED DESPAIR” here: https://ImploreBand.lnk.to/AlienatedDespair Check out the lyric video for “All Consuming Filth” here: https://youtu.be/0sM7FsXcq4Q, the official video to “Never Again” (feat. Tomas Lindberg) here: https://youtu.be/9JcscT6eo-A and the video to “PARALLAX” here: https://youtu.be/uAGqwYLoK_c IMPLORE have been around since 2013. They've put out two albums, "Depopulation" (2015) and their Century Media debut "Subjugate" (2017), as well as a number of singles and split releases. Just like its members are spread all across Europe, never really settling down anywhere, IMPLORE have literally played  hundreds of shows all over the globe, a good number of which they've booked themselves - always staying true to the DIY spirit inherent in the underground niches of extreme metal and hardcore punk, which goes hand in hand with their unapologetic political and socio-critical direction. IMPLORE line-up Gabriel Dubko - Vocals Eduard Petrolillo - Guitars Carol Lieb - Bass & Vocals Markus Matzinger - Drums IMPLORE online https://www.facebook.com/imploreband/ https://www.instagram.com/imploreofficial/

[iambenjiijackson]

The Groove Guide - Tim McIlrath (Rise Against)

The United States - all across it over the past few months, the operative word has been 'change'. Some, for the worst - a shift in the economy - some for the better -  America's first black president - and amongst it all, Rise Against were making their first venture from the underground to mainstream success. This comes, courtesy, of the album Appeal to Reason - a name itself lending to the conscious hardcore punk singer Tim McIlrath is proud to be part of. "It's definitely very interesting seeing our name in the top five [Billboard Album Chart] amongst all those names during that week" a calm but confident McIlrath details. "It was the week which Metallica and T.I were there and it was unusual to see our name ranked among those of other artists." "To me, it seems the mainstream is crossing over to us. We're still playing in our home field, but now everyone's coming to see us. We haven't done anything to crossover to anything but somehow have attracted the interest of a lot people now through what we're doing" he theorizes, followed by the almighty proclamation - "the mainstream is crossing over to us." There are problems however when the mainstream crosses over to the underground; sometimes their socio-political issues don't sit well amongst a wider audience. "It was weird to make that step up to a larger forum and opening up a broader dialogue because of the things I could say on stage before. When you're playing a punk or hardcore gig they expected us to talk about the things we would on stage; whether it was against the war or for animal rights. It was like preaching to the converted in a way. So when you go to a punk rock show and say 'fuck George Bush' it wasn't a radical thing to say. Everyone said that it was a pretty accepted ideology" "As the band got bigger and the audience broadened, gathering a larger fanbase through all walks of life, it sort put the challenge back into the music for me..." McIlrath continues, "... especially when we had people who might disagree with us or who never lived in part of that punk or hardcore community and that this was all new information. That kind of gave the music purpose again. It gave the band purpose to show up on that stage and talk a lot of things people weren't used to hearing at a rock show. But to me that was exciting, that was an exciting thing for the band." So to was the election of President Obama - so much so in a recent press release, the band celebrate that the country was "no longer under hostage " through George W Bush.

"It's proof that dissent equals progress; that these are the fruits of our labour. It was for me symbolically America giving a big 'fuck you' to the right way of thinking. Obviously, it didn't have to be Obama to be that person to lead the charge, on the broader things it was American's saying 'look, we're done with this plan and this administration and corporation' and it's exciting. A lot of people gave up and thought that they couldn't turn America around and that this is it, we'll never reverse ourselves out of this downward spiral. To see that reversal is truly inspiring." Interestingly enough, during the conversation, Tim also pointed out something else that would endear the hardcore and punk community to the election of the new president - that Barrack himself could be construed as a punk. "Yeah... I can see that" Tim states, in a swing from his calm, collected self to one of a drop more astonishment. "I mean, here's a guy who didn't come from a rich white suburban background, he came through the harsh realities with a single mum, against the odds and shook up the administration. He's very much a misfit... so yeah... you could call Barrack Obama a punk." Somewhere, a Republican further weeps.

[savage-kult-of-gorthaur]

POINTS FOR A RAGING HARDCORE PUNK BAND ROCKING THE WARS -- HAPPY "SCI-FI FRI," KIDS.

PIC INFO: Spotlight on a live shot of San Diego-based [socio-political] hardcore punk band, STRUGGLE, formed in 1990.

MINI-BIO: An angry and youthful band, their aggressive sound was heavily influenced by the likes of DOWNCAST and RORSCHACH. They broke up in 1993-'94? and members went on to be in: THE LOCUST, TARANTULA HAWK, CREEPY CREEPS, SWING KIDS, BREAD AND CIRCUITS, YAPHET KOTTO, BAADER BRAINS, ALL LEATHER, CRIMSON CURSE, HOLY MOLAR, HEAD WOUND CITY, GROUND UNICORN HORN, UNBROKEN, & BLACK HEART PROCESSION."

-- WHAT ARE BLOOD WINGS? (blogspot)

Source: http://whatarebloodwings.blogspot.com/2010/12/struggle.html.

[madmackerel]

Mad Mackerel Recommends... Scary Hours

Mad Mackerel Recommends… Scary Hours

Scary Hours create unsettling and raw anti-folk, rich with socio-political humor and the confrontational spirit of punk and hardcore. ​ Band spearhead Ryan Struck is officially from Jersey, but his songwriting is chock full of references to work life in NYC. The term “Scary Hours” is actually pulled from the Wu Tang Clan track from their 97’ album Forever. 

Scary Hourswas conceptualized with the…

[m3t4ln3rd]

Cliterati announce new album Ugly Truths/Beautiful Lies, stream first single "Latinx Taken"; confirm U.S. tour

Official press release:

Oregon hardcore punk practitioners Cliterati will release their punishing Ugly Truths/Beautiful Lies full-length August 30th via Tankcrimes.

Over a year in the making, Ugly Truths/Beautiful Liesis ripping fifteen-track/thirty-two-minute socio-political exposé on the USA’s divisive administration with humor and quick wit. Having performed over a hundred shows in that…

[fugandhi]

FUGANDHI! ( An Elaboration)

KiMMM! had made these some time ago, and I think these are TOTALLY Hilarious and quite representative of our wacky and definitely zany sense of humor.

Our mission in FUGANDHI is to simply create excellent & awesome sounds and sights. We work hard for our results, and we fuel our projects entirely from our creativity and our independent spirits. We want to contribute something Good & Fun & Exciting to the world. We are rebels at heart, but always for the noble cause. We believe in giving back to the world from which we’ve been given. Our overall message is to maintain and reinforce positivity & faith into the world of which we are blessed to be within.

To elaborate on the actual name of “FUGANDHI”, for anyone who is not already familiar - I created the name some time ago as a joke, a spontaneous blurt, at home, with my wife, and it was based off one (of many) conversations we were having about 1980′s American Punk Rock music.

FUGAZI is a band from Washington, D.C., and they started in the 80s, and were essentially the antithesis to corporate mainstream rock music (along with a ton of bands prior to them). Their name, which wasn’t really their focal point, was originally a U.S. Military term: F.U.G.A.Z.I. (”Fucked Up Got Ambushed Zipped In”) that had came from the Vietnam War. The band’s music wasn’t really fixated on anything relevant to that usage of the term (although Ian MacKaye had stated it was an apt description of the world they had been living in at the time), however, the band did make a lot of socio-economical commentary through their Art in addition to their overall approach to their lives (it would seem) by being Straight Edge (not inducing Alcohol or Tobacco or any Drugs or anything like that in their lives), and having a very serious & experimental manner with their songs as well as their inevitable legacy as a band.

FUGAZI definitely inspired a ton of people, myself included, with their very non-commercially accessible portfolio. “Fucked Up Got Ambushed and Zipped In a body bag” - if that’s not a soberingly humbling concept then I don’t know what is. ...Either way, thinking in retrospect, this band definitely helps define what I believe to be an essential part of music history and culture as well as just overall American history and culture. The socially-relevant, and politically-aware and self-liberating type of attitude that appeared to drive FUGAZI, is just a very independent and somewhat singular approach to not only their music community but obviously their immediate community (since the two cannot go without the other). They were not my favorite band, they were simply one of the most influential and visceral of the many bands I have come across (and I have covered a lot of musical ground in my own listening).

Mohandas K. Gandhi (or “Mahatma” aka “Father” Gandhi as he is admired by many) was a man that walked this Earth with a lot of very high-minded existentialistic wanderings (so-to-say). I remember one of my high school English teachers asking students who they would choose to have a dinner or conversation with (whether living or not) and I said “Gandhi” without a doubt. I was always very fascinated and humbled by his story (since I was like a little kid) and considering he came from India, which was the Eastern part of the world - it definitely intensified my interest and research of his studies/teachings as I was a teenager/post-adolescent (especially since I was raised as a Buddhist with Catholic values). I discovered a lot about diplomatic resistance, and confrontational passivity through the beatings he (as well as many Indian people of their time) had taken simply for wanting liberation & freedom from a Western Imperialistic Nation so that they, themselves, as India could have their Independence.

As it would apply to me as an individual - Having been born in the Eastern part of the Earth, and then making travels back and forth from East to West on a somewhat intermittent basis (since I had the privilege of being able to Travel thanks to my family) - The balance of East & West have always been well within my own life as I have had to interpret my own life with a certain level of understanding (and regards to the various ways of being).

I suppose, on perhaps an entirely subconscious level, in that moment, I blurted out “FUGANDHI” due to my own particular life experiences & idiosyncratic interests. I always have held the Eastern principles of discipline, sacrifice for the greater good, and conformity for the sake of societal customization (and improvements) - although - I have always grasped (almost instinctually) the Western concepts of rebellion for liberation, progressive & conservative social values, and the passion of the frontier.  Both parts of the world do have Good aspects as well as a lot of problems. Finding my place within the whole has been my own life’s journey and learning experience (and it will probably continue into my elder years).

Either way, “FUGANDHI” is the name of my solo project, but it’s a band, and we’ve slowly, but surely, been starting to develop our team of players who will join forces with us to continue our Creative mission. Amidst the intellectualization of it all - we’re simply here to have a Great time and to be Successful in our Artwork & Music & overall Lives.

The satirical mash-up of Gandhi’s (and the like) face over some very, very hardcore punk dudes from the 1980s cracks me up every time I look at these! KiMMM! is So FUNNY! She’s also the most punk rock person I’ve ever met in my whole life! (WWWOOOOOO!!!!) We go way back - like, we first met each other back in 1998 (I still remember what she looked like on the first day of school), and there was a time in our lives (I refer to as “the dark ages” Hahaha) that we didn’t see each other due to life circumstances. Thankfully, we found each other again years later, and even though we are not like perfect people - we’re definitely perfect for each other. (Don’t hurl, I know, moments-of-tenderness seem to make people squeamish hahaha)... Ya know, there were a lot of people who made extensive efforts to like sabotage us and we’ve been through a heck of a lot of negativity simply due to the attempted interference of others (since we were kids) so I’m like you know what - I’ll speak well of us because we don’t ever ask for anything other than to be Happy like anyone else. “It’s Our Time, Down Here!” lol..Goonies quote... no for real though - we’ve been through hell & back and I thank God that I’m still blessed enough to have her in my life. You should know, she’s literally my favorite person EVER (more like my Guardian Angel) and I know it’s kinda corny, but you know what it’s okay - “YOU ARE THE WIND BENEATH MY WINGS” HAHAHAHAHA.....I’m just kidding I don’t even think I really know that song all the way through hahaha...Either way.. She’s amazing, funny, talented, compassionate, intelligent (more than anyone else I’ve ever known and I’ve literally known Rocket Scientists, literally) and has a heart of Gold. She’s also the most creative human being I’ve ever met and is definitely the most inspiring person I’ve met (just listening to her Vision). I’m so very excited for all of her efforts and visionary goals (since I’ve known her since wayyy back) and trust me - we’ve got plenty we will release to the wild (haha).

...Aside from that...

..We will soon start collecting funds for FUGANDHI as well as CHEAP FIX RECORDS! As of now, we are not a Corporation. We are an Organization. We are not here to assemble an empire based off of our ambitions - I decided the only way, I as a person, can serve my spiritual path and do what I believe to be God’s work - is directly through my efforts running the record label and my own band(s). So, with that said - as I’ve stated before - All of the money we make will be prioritized so that we have enough to survive and basically run a successful organization - and the remainder will go strictly to donations for groups or organizations who we deem are needing the necessary support and promotion for each respective cause.

“MASS HYSTERIA!” is still not finished. I have been listening to a lot of our songs that still need some more parts, and trust me - there’s plenty you have not heard yet (a lot of songs I’m really excited about that I had already made after the currently-released stuff). 

With that all in mind - Keep checking us out (as well as Cheap Fix Records!) We will do our best to create more AWESOMENESS - so keep on’ jammin’ and dancin’ and also support your local music scene & overall community! 

Live long & live well.

ATOMIK 1

[thelocalrebel]

a rising trend towards the “hipsterification” of music?

These days, there's so much attention on appropriation in the media; where no one is spared scrutiny, not even celebrities - all because marginalised communities are more able to assert their rights given their increased visibility today. Ergo, no one can (knowingly) ignore them thanks to the proliferation of mass media. Perhaps it’s for the best, because rude acts of disrespect against cultures aren’t swept under the carpet or normalised as it used to. Then again, how such callouts or attention is brought up is another story entirely, but that isn’t the point of today’s piece.

What about the music scene? The mess that is Coachella and other indie music festivals is well-known, with the trend towards “hipster-ification” and “rejecting mainstream culture” a common thread linking gross behaviour when it comes to bindi and headdresses used not as cultural icons of great import, but as fashion accessories.

What about the lesser-known subcultures of metal and rock?

For some reason, this author has noticed how Asian cultures and religions have been co-opted into the visual culture of non-mainstream subgenres of punk and metal, for instance. (Visual culture, meaning, the aspect of culture expressed in visual images). Bands and their derivative fashion brands use characters from Asian languages or religio-cultural iconography as part of their merchandise designs, sometimes even going on to use said script to represent English words in another way. Such instances are rare, but they still manage to vaguely annoy this author whenever it happens.

Fig. 1: Kanji logograms as part of a hardcore punk band’s merchandise (src)

Fig. 2: Scripts from various languages on the cover of a metalcore album (src)

After a quick google search, tu eres nosotros translates to “you are us”; hence, we can surmise that the rest of the phrases represent that in different languages.

Fig. 3: A mashup of symbols smooshed into the design of a bomber jacket (src) 

Oh look, a jumbo combo of Taoist symbolism, Chinese/Japanese (can’t tell) characters merged with possibly Buddhist iconography of the lotus. Even better, they’ve been repurposed to fit the band’s aesthetic!

Fig. 4: Seriously, what’s the point here? Is this an advert for funeral services? (src)

The Arab letters spell out tabut, which refers to coffin, sarcophagus, chest as in loot chest - you get the idea. But no idea where this specific aesthetic or design came about.

Even better, religious iconography is used as inspiration for album art… and we assume that it’s without due credit.

Fig. 5: Buddhist concepts influencing a metalcore band’s album cover/concept (src)

Fig. 6: Kali makes an appearance here in all her glory, but we’re not too sure about that ball of buildings (?) to her left (src)

There’s also the case of using Asian logograms - popular ones involve Kanji or Chinese characters - as part of tattoo designs. You’ve likely heard of white people being made fun of - by Asians or otherwise - for sporting said tattoos with meanings completely off the mark from what said white people intended them to be. And honestly, as hilarious as this situation sound, it succinctly summarises everything heinous about appropriation. 

What happens in such instances is how cultural icons are (literally) taken out of context. Even better, they are mangled to suit the purposes - or wants, rather - of the appropriators. Till now, this author cannot fathom what is so appealing about cherry-picking certain aspects of someone else’s culture for personal vanity… which is likely the case. Unless one can claim that they are in it because of genuine appreciation and reasons for that choice that are not just a vapid “it’s cool!”. Couple this with racism and prejudice directed against said cultures and religions today, and this becomes a glaring case of wanting the culture, but not the people in it. Talk about parallels to colonial exploitation (yikes!) of colonised peoples, where the latter are unable to OR find difficulty resisting such acts of stealing - which is the essence of cultural appropriation. Seriously, how can one sit well knowing that their privilege prevents them from being persecuted for it, while someone else from said culture is being reviled just for being themselves? What is the point of adopting themes and aesthetics that aren’t a part of your heritage?

Okay, fine. Maybe there’s the appeal in having something unique and cool. But at the expense of real people and real cultures? There’s a word for this, and it’s called fetishisation.

Granted, this author cannot claim to know the motivations of aforementioned bands and content creators in using such iconography in their designs. Perhaps they do have legitimate reasons (whatever they are), perhaps it’s just to fit that “hipster” aesthetic. As much as this author may like their music and how metalcore - as a scene - are generally supportive of social justice given the audience it attracts and how it (as a counterculture, anti-establishment movement) has a long history of being politicised. However, there are consequences to this. (But that’s not to say there aren’t questionable bands out there glorifying misogyny and racism because metal, like any other social phenomenon, influences and is influenced by socio-political realities).

The point this author wishes to make is that we should all think twice before using cultural icons that do not belong to us. It’s just about being respectful and having basic human decency; something that seems to be lacking in 2017. Especially if we stand to profit from it.

Further reading:

-       lost in translation - tattoos and cultural appropriation

-       on whiteness and masculinity in folk metal music

-       rock against racism – how punk and reggae fought back against racism in the 70s

[ricardosousalemos]

!!!: Shake the Shudder

It’s either a highly fortuitous coincidence or extremely unfortunate timing that !!! should drop its seventh album right when LCD Soundsystem have issued their first proper new music in seven years. Now that the usual 20-year nostalgia cycle has officially shrunk to 15, and now that there’s a whole bunch of new reasons to despise Rudy Giuliani, certainly the conditions seem ripe for a post-millennial New York post-punk revival. But while the comeback narrative—and the attendant skepticism toward it—dovetail nicely with the legacy of LCD Soundsystem (whose most resonant music grapples with the impossibility of reliving the past), such associations arguably do !!! a disservice.

Sure, the two bands share common origin stories (former hardcore kids reborn as slaves to the rhythm), influences, and, at one point, even personnel (bassist Tyler Pope). But for two decades now, !!! have never stopped and never looked back, and through subtle album-to-album evolutions, the band barely resemble their 2002 selves. In that time, !!! have gone from making punk more danceable to making dance music more punk: they’ve thoroughly internalized disco’s socio-political history, embracing the idea of the club as a safe haven for misfits, and promoting the philosophy of dancing as an act of defiance. That frontman Nic Offer’s bratty sneer and profane patter so often chafe against the band’s rubbery grooves is precisely the point: you don’t need to be a seasoned diva to join this party; just speak your mind and your ass will follow.

Where James Murphy’s personality and neuroses have become increasingly entrenched in the LCD sound, Offer has become evermore willing to cede the spotlight, as if to put disco’s spirit of inclusivity into action. More than any other !!! record before it, Shake the Shudder finds Offer riffing off a rotating cast of guest vocalists. And they provide the band with multiple pivot points to explore different directions. Opening track “The One 2” is a tense, twitchy R&B showdown with singer Lea Lea that taps a more sensitive nerve than this attitude-heavy band usually allows. “Throttle Service” features a jubilant, choir-like chorus led by former Out Hud bandmate Molly Schnick over warm organ tones and a huge wrecking ball of a bassline. And on the queasy dub-disco freakout “What R U Up 2Day,” the creepily warped, Grimes-like incantations are provided by Lea Lea and multi-instrumentalist Rafael Cohen’s young daughter.

Even on the tracks where Offer takes the lead, he often doesn’t sound like his usual self. In a nod to the intertwined histories of club and drag culture, “Dancing Is the Best Revenge” finds him pitching his voice up to create a feminine alter ego, Nicole Fayu, in the tradition of Prince’s Camille. But he’s careful not to teeter into camp caricature: over a steely bass groove, he pithily dismisses the niceties of nostalgia (“The old days ain’t coming back/Ain’t coming back no more/They might as well be tied up in a sack on the ocean floor/With cement blocks”) with all the icy nonchalance of someone flicking a cigarette butt in your face.

As “Dancing Is the Best Revenge” illustrates, !!! are at their best when making dance music that’s both unabashedly celebratory and stridently unsentimental. (Even better is the hard-house banger “NRGQ,” which honors the !!! tradition of putting terrible dad-joke puns to terrific use.) When the band veer into more typically romantic house terrain (“Our Love (U Can Get)”) and starry-eyed electro-rock (“Throw Yourself in the River”), their peculiar, provocateur personality is muted.

But even if they’re more liable to greet the world with a warm embrace instead of a middle finger these days, !!! haven’t lost their flair for infusing peak-hour hysterics with sobering morning-after rumination. Atop the robust P-Funk strut of “Five Companies,” Offer laments the homogenizing effects of unchecked capitalism (“Five companies/Running everything I see around me”), but ultimately decides he’s not going to worry about worrying: “Nothing grabs attention like the latest fear/Blah blah blah, the end is near/Everyone predicts it every single year.” At first, it seems like an oddly resigned response to our current political tumult, especially when you consider Offer thought nothing of telling the previous Republican president to “suck my fucking dick.” But in light of !!!’s long history of agit-funk activism, it’s actually a form of reassurance: we’ve danced our way through the dark times before, and we’ll do it again.

[gunboatbaylodge]

Things to Do in Vancouver this Weekend: April 13, 2017

It’s a weekend of vibrant colour! You know it’s spring when the fields of Abbotsford turn to multi-coloured bands of thousands of tulips. There are also the vibrant Vaisakhi day festivals this weekend, which mark the Sikh New Year and, for Easter, the pastels of bunnies and chocolate egg hunts are all over the city.

Friday | Saturday | Sunday | Ongoing

Friday April 14

Abbotsford Bloom Tulip Festival Where: 36737 North Parallel Road, Abbotsford BC What: A chance to marvel at 10-acres of rainbow-coloured fields featuring more than 2.5 million tulips in a vivid display of breathtaking beauty. Visitors are invited to enjoy the view, get up close with the blooms, tiptoe through the expansive tulip fields, pick their own spring bouquets in the sprawling u-pick tulip field or purchase pre-picked tulips in the “Bloom-Mobile”, an on-site flower shop. Runs until: Sunday May 7, 2017

Bill Reid Creative Journeys | Image via the Canadian Museum of History

Bill Reid Creative Journeys Where: The Bill Reid Gallery What: Celebrating the many creative journeys of acclaimed master goldsmith and sculptor Bill Reid (1920–1998), this exhibition provides a comprehensive introduction to his life and work. Runs until: Sunday December 10, 2017

Tinder Tales Where: The Fox Cabaret What: Professional/amateur daters, storytellers, comedians, and everyday people confess their most outrageous Tinder Tales and other online dating disasters live on stage.

How to Be

How to Be Where: The Cultch What: A close up look at how we think we “should” be, how we feel others “should” be, and the beautiful failure of it all. Runs until: Saturday April 15, 2017

Vancouver Whitecaps vs. Seattle Sounders

Vancouver Whitecaps vs. Seattle Sounders Where: BC Place Stadium What: It’s soccer! Classic Vancouver vs. Seattle, come see which rainy city will triumph.

Snoop Dog

Snoop Dog Where: Rogers Arena What: It’s Snoop Dog’s Wellness Retreat Tour with guests Cypress Hill, Method Man & Redman and Berner.

Prozzäk Where: The Commodore Ballroom What: The 90’s duo, Simon & Milo, known for their ear worm hits Sucks To Be You and Strange Disease, spent much of 2016  cryogenically frozen, in preparation for one of their biggest years since the 90’s.

Redpatch Where: Studio 16 What: Opening on the 100-year anniversary of the Battle of Vimy Ridge, this moving production follows the story of a young Métis, volunteer solider from the Nuu-chah-nulth nation of Vancouver Island deployed to fight in the First World War. Runs until: Sunday April 16, 2017

Generation Post Script

Generation Post Script Where: Studio 1398 What: It is two generations into the future. What is left of humanity survives in space stations in orbit around our planet. Interstellar travel is not yet possible and Earth is uninhabitable. A misfit group of college students of the “post script” generation—the first to be born in space—bond over their shared anxieties and a desire to reconcile what happened to the rest of their species. Runs until: Sunday April 16, 2017

Room 2048 Where: Firehall Arts Centre What: Multimedia dance theatre exploring the socio-political realities of the Cantonese diaspora told through digital light design, bombastic pop music, fog, and the Chinese body.

  Saturday April 15

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The 9th Annual Great A-mazing Egg Hunt (day 1 of 2) Where: VanDusen Gardens What: The Easter Bunny is busy mapping out a hunt in the garden and through the maze, and preparing the chocolate treats to reward the hard-working egg hunter. Hang out and enjoy some fun crafts & activities and explore the 55-acre garden.

Vaisakhi Day Parade Where: Vancouver/Surrey What: Every April, millions of Sikhs world-wide celebrate Vaisakhi Day, a day that marks the New Year. Considered one of the most important festivals in the Sikh calendar, parades celebrating the event are held in Sikh communities around the world.

The Damned

The Damned Where: Commodore Ballroom What: Cited as one of the most influential punk groups of all time, The Damned contributed vastly to the gothic rock genre and influenced an entire generation of future hardcore punk bands such as Black Flag and Bad Brains, with their fast paced energetic playing style and attitude.

Almost, Maine Where: The Cultch What: One cold, clear Friday night in the middle of winter, while the northern lights hover in the sky above, Almost’s residents find themselves falling in and out of love in the strangest ways. Knees are bruised. Hearts are broken. Love is lost, found, and confounded. And life for the people of Almost, Maine will never be the same. Runs until: Saturday April 22, 2017

Nochella Where: The Biltmore What: Playing 2017 Cochella acts all night long and yes – you are encouraged to dress in your festival wear.

  Sunday April 16

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The 9th Annual Great A-mazing Egg Hunt (day 2 of 2) Where: VanDusen Gardens What: The Easter Bunny is busy mapping out a hunt in the garden and through the maze, and preparing the chocolate treats to reward the hard-working egg hunter. Hang out and enjoy some fun crafts & activities and explore the 55-acre garden.

The Tree of Wooden Clogs

The Tree of Wooden Clogs Where: The Cinematheque What: Winner of the Palme d’Or at Cannes in 1978, Ermanno Olmi’s elegiac portrait of peasant life in late-19th-century Lombardy is rendered with a sublime understatement, humanism, and lyricism that recaptures the best of Italian neorealism. Made with an ensemble cast of non-professionals, and with an exquisite appreciation for the everyday.

Monty Python’s Life of Brian Where: The Rio Theatre What: Set in 33 A.D. Judea where the exasperated Romans try to impose order, it is a time of chaos and change with no shortage of messiahs and followers willing to believe them. At it’s center is Brian Cohen, born in Bethlehem in a stable (next door to Jesus’ manger) who, by a series of absurd circumstances, is caught up in the new religion and reluctantly mistaken for the promised messiah.

Res-erection 2017: A Zombie Jesus Burlesque Show Where: The Biltmore What: All your zombie fantasies come to life, burlesque-style. Plus a zombie dance moves contest and a post-zombie-apocalypse dance party.

    Ongoing

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The Watershed

The Watershed Where: Gateway Theatre What: Celebrated documentary theatre artist Annabel Soutar leads her family on a cross-Canada journey, probing the future of our dwindling natural resources. By innovatively dramatizing insightful sets of interviews with scientists, government officials, activists and business leaders, The Watershed uncovers the complexities underlying the environmental, economic and political stakes of oil production and fresh water preservation in Canada. Runs until: Saturday April 15, 2017

World Ski and Snowboard Festival Where: Whistler, BC What: A 10 day and night showcase of some of the best of mountain culture, music, arts and snow sports. Runs until: Sunday April 16, 2017

Generation Post Script

Generation Post Script Where: Studio 1398 What: It is two generations into the future. What is left of humanity survives in space stations in orbit around our planet. Interstellar travel is not yet possible and Earth is uninhabitable. A misfit group of college students of the “post script” generation—the first to be born in space—bond over their shared anxieties and a desire to reconcile what happened to the rest of their species. Runs until: Sunday April 16, 2017

Vancouver Special Where: Vancouver Art Gallery What: The first iteration of this series and it features works by 40 artists produced within the last five years—Vancouver’s post-Olympic period. The exhibition includes many emerging artists as well as those who are more established but whose ideas were prescient. Some are recent arrivals to Vancouver, while others are long-term residents who have already made significant contributions. Others are nomadic, less settled in one place and are working energetically between several locations. Runs until: Monday April 17, 2016

Nat Bailey Stadium Winter Farmers Market

Nat Bailey Stadium Winter Farmers Market Where: Nat Bailey Stadium What: Don’t fret the summers Farmers markets packing up – winter is here, and you can still shop local for fresh produce, preserves, baked goods, and crafts. Runs until: Saturday April 22, 2017

Almost, Maine Where: The Cultch What: One cold, clear Friday night in the middle of winter, while the northern lights hover in the sky above, Almost’s residents find themselves falling in and out of love in the strangest ways. Knees are bruised. Hearts are broken. Love is lost, found, and confounded. And life for the people of Almost, Maine will never be the same. Runs until: Saturday April 22, 2017

Vancouver Cherry Blossom Festival

Vancouver Cherry Blossom Festival Where: Various locations What: It’s that time of year when the city turns all shades of pink – the cherry blossoms are in bloom! Celebrate with community picnics, fairs, blossomy bike rides, and group walks. The Blossom Barge will be at Granville Island featuring free performances. Runs until: Sunday April 23, 2017

Angels in America Where: Arts Club Theatre What: A tale of companionship and abandonment that takes place when the personal became political. Set in New York City at the height of the Reagan era, Tony Kushner’s modern masterpiece contrasts the lives of five individuals struggling with identity issues alongside the crippling effects of stereotypes and an incurable diagnosis. Runs until: Sunday April 23, 2017

Capture Photography Festival | In Between Dreaming and Living

Capture Photography Festival Where: Various locations What: High-profile exhibitions as well as emerging talent and community participation are in the lens. There will be events in Vancouver’s leading public and commercial galleries, as well as public installations and a series of community-based photo workshops, tours, artist talks, films, and panel discussions. Runs until: Friday April 28, 2017

Warrior: George Littlechild

Warrior: George Littlechild Where: Kimoto Gallery What: In George Littlechild’s new series ‘Warrior’, he has painted 10 portraits (5 female & 5 male) of 10 individual First Nations people who are fighting the good fight for the planet, the environment and mankind. These individuals are dedicated and devoted to making positive change in their community and in the world, so that future generations will have a better place to inhabit. Runs until: Saturday April 29, 2017

Hastings Park Farmers Market

Hastings Park Farmers Market Where: Hastings Park (near the PNE) What: The Hastings Park Farmers Market features a great selection of local produce; nursery items, fish, meat & dairy; artisan prepared foods, baking and treats; local crafts, and of course, food trucks. Runs until: Sunday April 30, 2017

Mom’s the Word 3: Nest ½ Empty Where: Arts Club Theatre What: From the world-renowned creative team behind the Mom’s the Word series comes a new chapter in their stories of family and fracas. Their kids are grown, their marriages have “evolved,” and their bodies are backfiring. Life doesn’t get any prettier, but it never strays far from ludicrous or poignant as the moms continue to mine their personal history for every embarrassing detail. Runs until: Saturday May 6, 2017

Abbotsford Bloom Tulip Festival Where: 36737 North Parallel Road, Abbotsford BC What: A chance to marvel at 10-acres of rainbow-coloured fields featuring more than 2.5 million tulips in a vivid display of breathtaking beauty. Visitors are invited to enjoy the view, get up close with the blooms, tiptoe through the expansive tulip fields, pick their own spring bouquets in the sprawling u-pick tulip field or purchase pre-picked tulips in the “Bloom-Mobile”, an on-site flower shop. Runs until: Sunday May 7, 2017

Western World

Western World Where: Vancouver Improv Centre (Granville Island) What: Vancouver TheatreSports’™ improvisers will demonstrate their lightning fast wit as they play the “hosts” to the audience “guests” in Western World – an improvised parody inspired by the popular TV series Westworld. Runs until: Saturday May 13, 2017

Susan Point: Spindle Whorl

Susan Point: Spindle Whorl Where: Vancouver Art Gallery What: Since the early 1980s, Susan Point has received wide acclaim for her remarkably accomplished oeuvre that forcefully asserts the vitality of Coast Salish culture, both past and present. She has produced an extensive body of prints and an expansive corpus of sculptural work in a wide variety of materials that includes glass, resin, concrete, steel, wood and paper. Runs until: Sunday May 28, 2017

Pacific Crossings: Hong Kong Artists in Vancouver | Sunset, Carrie Koo

Pacific Crossings: Hong Kong Artists in Vancouver Where: Vancouver Art Gallery What: June 2017 marks the 20-year anniversary of the transfer of Hong Kong sovereignty from the United Kingdom to mainland China. In the lead up to the handover, tens of thousands of Hong Kong residents immigrated to Canada, many choosing to settle in Vancouver, and among them were a significant number of artists. Pacific Crossings presents works from well-known Hong Kong artists created after their relocation to Vancouver throughout the 1960-90s. Runs until: May 28, 2017

Retainers of Anarchy

Retainers of Anarchy Where: Vancouver Art Gallery What: A solo exhibition featuring new work from Howie Tsui that considers wuxia, a traditional form of martial arts literature, as a narrative tool for dissidence and resistance. Runs until: May 28, 2017

Caroline Mesquita The Ballad

Caroline Mesquita The Ballad Where: Centre 221A What: A sculptural practice that intertwines the materiality of altered, oxidized, and painted copper and brass sheets with theatrical playfulness. Runs until: Saturday June 3, 2017

Song of the Open Road

Song of the Open Road Where: Contemporary Art Gallery What: Bringing together artists from Canada, Eritrea, Ireland, Sweden, and the US, the exhibition includes works that combine thematically to interrogate ideas rooted in photographic histories, engaging ideas such as veracity, recollection, remembrance, belonging, staging, and how the image documents and records these or is evidence of differing realities. Runs until: Sunday June 18, 2017

Up Close

Up Close Where: VanDusen Botanical Garden What: All the artists represented in this group exhibition find their inspiration while painting on location at VanDusen Garden. The Vancouver en plein air group, initiated in April 2011, zooms-in to the lush vegetation that provides a new dimension of foreground details. The subjects are varied, and so is the medium. Runs until: Tuesday June 27, 2017

Xi Xanya Dzam – Those Who Are Amazing At Making Things Where: The Bill Reid Gallery What: Xi Xanya Dzam (pronounced hee hun ya zam) is the Kwak’wala word describing incredibly talented and gifted people who create works of art. The exhibition is both a showcase and a critical exploration of ‘achievement’ and ‘excellence’ in traditional and contemporary First Nations art. Runs until: Sunday September 4, 2017

The Lost Fleet Exhibit Where: Vancouver Maritime Museum What: On December 7, 1941 the world was shocked when Japan bombed Pearl Harbour, launching the United States into the war. This action also resulted in the confiscation of nearly 1,200 Japanese-Canadian owned fishing boats by Canadian officials on the British Columbia coast, which were eventually sold off to canneries and other non-Japanese fishermen. The Lost Fleet looks at the world of the Japanese-Canadian fishermen in BC and how deep-seated racism played a major role in the seizure, and sale, of Japanese-Canadian property and the internment of an entire people. Runs until: Winter 2017

Bill Reid Creative Journeys | Image via the Canadian Museum of History

Bill Reid Creative Journeys Where: The Bill Reid Gallery What: Celebrating the many creative journeys of acclaimed master goldsmith and sculptor Bill Reid (1920–1998), this exhibition provides a comprehensive introduction to his life and work. Runs until: Sunday December 10, 2017

Amazonia: The Rights of Nature

Amazonia: The Rights of Nature Where: UBC Museum of Anthropology What: MOA will showcase its Amazonian collections in a significant exploration of socially and environmentally-conscious notions intrinsic to indigenous South American cultures, which have recently become innovations in International Law. These are foundational to the notions of Rights of Nature, and they have been consolidating in the nine countries that share responsibilities over the Amazonian basin. Runs until: January 28, 2018

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