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Mutlimedia Journal by Jackie Cooper The colours of Urban Decay, motoring with Girlyhead, what's in a NAME, step in to The Booth please,& introducing the amazing Neckwarmer |
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Mutlimedia Journal by Jackie Cooper The colours of Urban Decay, motoring with Girlyhead, what's in a NAME, step in to The Booth please,& introducing the amazing Neckwarmer |
Ms Sandy Lerner isn't the fluffy-pink, floral drapes kind of person.
Ms Lerner co-founded the Silicon Valley tech company Cisco Systems, runs a Silicon Valley-based ranch, rides a Harley Davidson, and runs the cosmetics company, Urban Decay.The Urban Decay 'makeup - with - attitude' products were first launched in US in 1992 with the provocative motto-line "Does pink make you puke?".
Urban Decay offers the disaffected make-up user lip and nail shades such as Oilslick, Mildew, Bruise, Plague, Smog and Roach - 'lips and nails worthy of the city's beauty'.
Does pink make you puke?
Unfortunately, Urban Decay is not available in Australia at this stage, but head to the Urban Decay Web site where the Webmistress will be more than willing to send you a catalogue.
For more information, http://www.urbandecay.com
"the long awaited/delayed/ dysfunctional Girlyhead"
You can order a copy of Girlyhead on the net from http://www.xines.com/Girlyhead: Girls, Cars, Pugs zine is another great reason why it's good to be a girl.
Although, the king-of-skin-flick-Russ-Meyer-style cover, with the 60's knee-high boot-wearing go-go girl fixing her hotrod, may lead some people to think this is the type of mag found under a 14-year-old boy's mattress.
But Girlyhead is the kind of zine for women who like nice friendly happy-go-lucky magazines, hot cars, cute dogs, and who like their rock'n'roll loud. Editor Sunny Anderson's says "At Girlyhead we are using the same review policy as our brother Gearhead.
We are only reviewing stuff we like. Why should I spend good money on printing reviews of stuff we don't like?"
And - "some of the Girlyhead regular features will be recipes by boys, the pet page, a profile of a woman & her car, and of course a paper doll".
This first edition features a Brigitte Bardot paper doll, with clothes to cut out to "dress her up as your favorite subculture vixen, and Bay Guardian journalist Zena Jones and her long-ass Cadillac featured as 'a Wild Woman and her Hot Wheels'.
It's the gritty, grotty girlie content and the Girlyhead staff that makes this mag so special - Miss Beth Allen the "devil girl" from the band The Loudmouths, and Sunny Buick the "San Francisco-based tattoo artist and girl about town".
Is there an Australian Graphic Design Style?
This is the question that Issue #2 of this new experimental magazine, sealed in a brown paper bag, and called NAME explored in its 60-something pages. NAME is produced by some four 20-something ex-Swinburne graphic design students, Andrew Trevillian, Simon Leah, Toby Moore and Andrew McCarthy, looking for a chance to get their personal work published.
What's inside the brown paper bag which is sewing-machine-zigzagged-sealed and emblazoned with the big red NAME stamp, is not a bunch of racy cyber-images, but an earnest and fresh small black and white print magazine.
"I've gone through a lot of sewing machine needles", said young-designer-guy Andrew Trevillian. Along with Rudy Vanderlans (Emigre) and Jake Tilson (Atlas), 21C magazine's designer-guy-art-director Christopher Waller is obviously one of this magazine's design-hero inspirations,
"I admire what they are doing - young designers doing a project on what they really believe in", said Waller.
"We use our money and lose our own money - but we're covering costs and that's the main thing", said Trevillian.
Although there have only been three issues since the NAME launch in 1994, Issue #3 was released in November, last year.
For more information, phone (03) 9534 7413
NAME
NAME costs a hefty $17, but readers aren't paying a publishing company, a distributor, and other big corporate ties normally attached to big-name publications.
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Well beyond
a wilting vegetable garden, a rabbit pen, and a group of
pre-school age children sitting in a land-docked
row-boat. Out back of the Randwick Community Centre in a
kit-built-style room, resides MutleyMedia (no relation to
this column!) and just the shell of The Booth. The Booth, a super, shiny silver 'mutant photobooth' that offers high bandwidth Internet connectivity using a bundle of high-tech equipment , looks very much out of place at the pro-rural Community Centre. It could be an episode of Dr Who, where Tom Baker lands the Tardis in dense-tree scrub-land on a remote planet. Like the Tardis, there's a lot more to The Booth than what can be perceived from the outside - certainly a lot more than just a super, shiny silver 'mutant photobooth'. The Booth seats the visitor (or two, or three) on juicy red levered stool, faced with the option to upload real-time digital images to the Web site via The Booth's digital camera. The mouse is a giant cursor ball, with BIG click pads, under the coin slots, and Macintosh touch-screen monitor. Digital recordings can also be made and uploaded, and ultimately shoot and print out The Booth stills in the old black-and-white photo-booth set of four style. $4 is all it costs. "The Booth came out of a short film that I made, about a photo-booth", said Grant Hilliard one of three MutleyMedia co-producer. "Because it was about a photo-booth, we thought it would be nice to show the film in a photo booth. The Booth evolved, and kept evolving from there. It's a coin-operated mini-cinema." In April 1995, MutleyMedia entertained the concept of The Booth, and with some funding from the Australian Film Commission (AFC) and the Australia Council for the Arts, full-time Booth production started January 1996. MutleyMedia estimate that it won't be until early this year, that The Booth will be ready enough to visit the foyers of major metropolitan and regional art and performance spaces. Keep up to date with its progress and who is inside it at http://www.magna.com.au/~mutley |
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