It’s a sweltering Wednesday night in Manchester, as we await the special guest. The opening act has gone, the stage has been cleared, and is set for the trailblazer of modern turntable technicians and self-styled scientist, Grandmaster Flash. Hip hop has changed immeasurably since its salad days, where a raw, anti-disco, New York underground movement […]
When I was very young I remember asking a friend’s sister if she was ill, because the colour of her complexion had changed so dramatically. Following a number of implausible excuses, she finally admitted that she had been using skin lightener on her face because, “It’s the only way I’m going to get on in […]
It was the personification of spangly TV sci-fi served with a thick slice of colby cheese. Produced in the 70s and based 500 years into the future, Buck Rogers envisioned a post-apocalyptic 25th Century Earth where space-age villainy, stargates and copious amounts of spandex reigned supreme. Cryonically induced into a state of suspended animation following […]
Embracing the issue of class-consciousness with aplomb, and thankfully devoid of contemporary horror’s current preoccupation with CGI, Society (1989) is not only a divine slice of body horror, but also a fascinating polemic on the social mores of Reaganite America.
In 1967, Vincent Price travelled to Britain to make low-budget horror, Witchfinder General (1968). Unfortunately, he wasn’t the first choice for the role. It was a predicament which 24-year-old director Michael Reeves mercilessly used to his advantage. Set in 1645, during extreme turbulence and lawlessness exacerbated by the English Civil War, the opening scenes […]
In the distant past when the arrival of December heralded the countdown to Christmas and not as contemporary mores decree, the festooning of department store windows with tinsel and assorted Winter Wonderlands in September; the onset of depressingly dark, frosty mornings also signalled a double bill of classic shorts featuring the Grandmasters of Slapstick; […]
Initially commissioned to photograph a Balenciaga hat, it was only a matter of time before the influential images of Parisian photographer Guy Bourdin were showcased in international fashion bibles.
On its initial release in 1932 it was reviled, but in subsequent years, baroque horror classic, Freaks is regarded as an eccentric gem which was too enlightened for its time, primarily because the majority of its ensemble cast were disabled sideshow performers.
Amongst an array of exceptional and disparate images for sale at the forthcoming Philip de Pury & Company Photographic Auction, a considerable number emanate from the milieu of fashion photography.