In over a decade of worldwide punk-rock dominance, the ass-kicking guitar machine that is Electric Frankenstein (#2 of the Top 500 Most Featured Bands in the Press, as verified by Zine Guide) has produced an unparalleled body of eye-slapping poster art, a swaggering, monster-fied, fuel-dragster image bank from over 180 of the undisputed champions of this most exalted of all art forms, and Electric Frankenstein! is perhaps the largest printed collection of such artists in human history! Now, unchained and free to roam the land, come the monstrous works of who's-who poster legends Coop, Kozik, Johnny Ace, The Pizz, Lisa Petrucci, Derek Hess, Alan Forbes, and more...! Plus, an in-depth history of Electric Frankenstein the band, the musical method behind the visual madness, orchestrated by EF-founder and poster-art icon Sal Canzonieri! No collection of rock poster art or chronicle of punk-rock history dares be without Electric Frankenstein!
Hard Punk Rock band Electric Frankenstein, Yoe Books and Clover Press mash together to bring EF lyrics ALIVE as comics! Electric Frankenstein asked over 100 artists to create short comics based on the lyrics of their songs. What was born was sometimes beautiful and poetic, but other times just downright disturbing and raw! Judgment will not be passed on what you gravitate towards! All lay between the covers of this book. Releasing over 100 records all over the world since 1992, Electric Frankenstein is where AC/DC meets The Dead Boys! EF's high energy punk rock and roll combines the raw and energetic sounds of Punk Rock and Garage Punk (Dead Boys, Ramones, Damned, Misfits, Sabbath etc.) with elements of hard rock played by bands like MC5, Stooges, AC/DC, Kiss, Mott the Hoople, Alice Cooper, and so on. Electric Frankenstein has proved to be highly influential, helping to spark a rock revival among the youth of the time throughout the world from the US to Europe to Scandinavia to Japan, known as the New Rock Revolution.
Kenneth Strickfaden, innovative genius of illusionary special effects from silent films to the age of television, set the standard for Hollywood's mad scientists. Strickfaden created the science fiction apparatus in more than 100 motion picture films and television programs, from 1931's Frankenstein to the Wizard of Oz and The Mask of Fu Manchu to television's The Munsters. The skilled technician, known around Hollywood's back lots as "Mr. Electric," once doubled for Boris Karloff in a dangerous scene and was nearly electrocuted. From his birth in 1896 to his death in 1984, Strickfaden's life was filled with adventure. He spent his early years working the amusement parks on both coasts, served overseas as a Marine during World War I, took a 1919 cross-country trip in a dilapidated Model T, and favored risky pursuits like automobile and speedboat racing. He worked as an aeronautical mechanic, constructing airplanes for an historic around-the-world flight. A science teacher at heart, he gave 1,500 traveling science demonstration lectures across the U.S. and Canada. Besides covering Strickfaden's entire personal and professional life, this book discusses how later films show his influence. It reveals the fate of his collection of equipment, and is richly illustrated with numerous rare and previously unpublished photographs. Appendices provide a selection of notes, doodles, and scribbles from Strickfaden's notebooks, informal sketches, correspondence, documents, a chronology of his film and television contributions, a bibliography, a film index, and a complete subject index.
During the second quarter of the nineteenth century, Londoners were enthralled by a strange fluid called electricity. In examining this period, Iwan Morus moves beyond the conventional focus on the celebrated Michael Faraday to discuss other electrical experimenters, who aspired to spectacular public displays of their discoveries. Revealing connections among such diverse fields as scientific lecturing, laboratory research, telegraphic communication, industrial electroplating, patent conventions, and innovative medical therapies, Morus also shows how electrical culture was integrated into a new machine-dominated, consumer society. He sees the history of science as part of the history of production, and emphasizes the labor and material resources needed to make electricity work. Frankenstein's Children explains that Faraday, with his colleagues at the Royal Society and the Royal Institution, looked at science as the province of a highly trained elite, who presented their abstract picture of nature only to select groups. The book contrasts Faraday's views with those of other practitioners, to whom science was a practical, skill-based activity open to all. In venues such as the Galleries of Practical Science, electrical phenomena were presented to a public less distinguished but no less enthusiastic and curious than Faraday's audiences. William Sturgeon, for instance, emphasized building apparatus and exhibiting electrical phenomena, while chemists, instrument-makers, and popular lecturers supported the London Electrical Society. These previously little studied "electricians" contributed much to the birth of "Frankenstein's children"--the not completely benign effects of electricity on a new consumer world. Originally published in 1998. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
No one ever said it was easy being a monster. Take Frankenstein, for instance: He just wants to marry his undead bride in peace, but his best man, Dracula, is freaking out about the garlic bread. Then there’s the Headless Horseman, who wishes everyone would stop drooling over his delicious pumpkin head. And can someone please tell Edgar Allan Poe to get the door already before the raven completely loses it? Sheesh. In a wickedly funny follow-up to the bestselling Frankenstein Makes a Sandwich, Adam Rex once again proves that monsters are just like you and me. (Well, sort of.)
Authoritative, eye-popping, and massive, this is the first and last word on contemporary concert posters, with more than 1,600 exemplary rock posters and flyers from more than 200 international studios and artists.
BACK AGAIN! Electric Frankenstein returns with another big book of amazing Poster and Record Cover art, showing their second decade of artwork collected from where the first book, published by Dark Horse Books, left off. From the beginning, the members of Electric Frankenstein, subscribers to the punk do-it-yourself ethic, put great thought into the flyers and posters advertising the band. The ass-kicking guitar machine that is Electric Frankenstein (#2 of the Top 500 Most Featured Bands in the Press, as verified by Zine Guide) has produced another book of unparalleled body of eye-slapping poster art, a swaggering, monster-fied, fuel-dragster image bank! The first book wound up in the archives of the ROCK & ROLL HALL OF FAME! The book that made history, being the FIRST ART Book by a Musical Group! Now the second book over delivers with more great art and artists from the world of Low Brow, Underground, Kustom Kulture, Monster Art! See more monstrous works from the who's-who of poster legends Peter Bagge, John Pound, Johnny Ace, Coop, Art Chantry, Dirty Donny, Derek Hess, Alan Forbes, and more...! Plus, an extra bonus of visual madness of art done for EF side band The Kung Fu Killers! All orchestrated by EF-founder and poster-art icon Sal Canzonieri! No collection of rock poster art or chronicle of punk-rock history dares be without The Son of Electric Frankenstein - More Poster and Record Cover Art madness!
An exploration of the treatment of Mary Shelley's Frankenstein in popular art and culture, this book examines adaptations in film, comics, theatre, art, video-games and more, to illuminate how the novel's myth has evolved in the two centuries since its publication. Divided into four sections, The Afterlives of Frankenstein considers the cultural dialogues Mary Shelley's novel has engaged with in specific historical moments; the extraordinary examples of how Frankenstein has suffused our cultural consciousness; and how the Frankenstein myth has become something to play with, a locus for reinvention and imaginative interpretation. In the final part, artists respond to the Frankenstein legacy today, reintroducing it into cultural circulation in ways that speak creatively to current anxieties and concerns. Bringing together popular interventions that riff off Shelley's major themes, chapters survey such works as Frankenstein in Baghdad, Bob Dylan's recent “My Own Version of You”, the graphic novel series Destroyer with its Black cast of characters, Jane Louden's The Mummy!, the first Japanese translation of Frankenstein, “The New Creator”, the iconic Frankenstein mask and Kenneth Brannagh's Mary Shelley's Frankenstein film. A deep-dive into the crevasses of Frankenstein adaptation and lore, this volume offers compelling new directions for scholarship surrounding the novel through dynamic critical and creative responses to Shelley's original.
In the past few years the market for electric guitar kits and parts has exploded. For every two enthusiasts, there are four opinions on how properly to fill woodgrain. In this book, Will Kelly cuts through all that noise and shows how, with a little patience and some inexpensive tools, the average person can turn a modest investment into a gig-worthy instrument and perhaps even a lifelong hobby. Kelly presents guitar-building in a progressive fashion, beginning with a simple Stratocaster-style kit with a bolt-on neck and continuing on to a "relic'd" Telecaster-style build, two Gibson-style set-neck models, and a custom double-neck mash-up. Because each build is more involved than the previous, the reader builds on his or her skill set and acquires only the tools necessary for the reader's level of interest. Kelly shows how to apply finishes, choose and install hardware, wire electronics, execute the final assembly, and set up the finished guitar for proper action and intonation.
