{"title":"Archive","description":"\u003cp\u003eA decade before opening \u003cem\u003e\u003cstrong\u003eNew Dracula Theater\u003c\/strong\u003e\u003c\/em\u003e in 2025, we began publishing books\/editions under the name \u003cem\u003e\u003cstrong\u003eHeinzfeller Nileisist\u003c\/strong\u003e\u003c\/em\u003e. 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For \u003cem\u003eLegalize Crime\u003c\/em\u003e, Bennett drafts a series of sociological essays based on 13 of her favorite murders. Including essays on:\u003cbr\u003eJodi Arias, Gypsy Rose Blancharde, Jasmine Fiore, Robyn Gardner, Christina Grimmie, Cindy James, Luka Magnotta, Blanche Monnier and Walburga Oesterreich, Christine and Lea Papin, Gator Rogowski, Lori Erica Ruff, Selena, and Susan Walsh.\u003c\/p\u003e","brand":"New Dracula Theater","offers":[{"title":"Default Title","offer_id":52283497742631,"sku":null,"price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0941\/2378\/6535\/files\/dib2.jpg?v=1792021384"},{"product_id":"scott-covert-ball-on-the-rock","title":"Scott Covert - Ball on the Rock","description":"\u003cp\u003e A series of collages based on a rubbing of Lucille Ball’s gravestone. Ball’s remains were moved from LA to upstate NY. Prior to the move, Covert made a series of rubbings from her grave. The collages contain Scott’s signature meditative drawing style combined with hedonistic photos from Scott’s archive\u003c\/p\u003e\n\u003cp\u003e2023\u003cbr\u003e78 Pages\u20289 x 11.75 inches\u003cbr\u003eFull Color\u003cbr\u003eEdition of 100\u003cbr\u003ePublished as\u003cbr\u003eHEINZFELLER NILEISIST, Snow Gallery\u003c\/p\u003e","brand":"New Dracula Theater","offers":[{"title":"Default Title","offer_id":52283507507495,"sku":null,"price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0941\/2378\/6535\/files\/Screenshot2026-10-13at5.10.15PM.png?v=1791925898"},{"product_id":"alissa-bennett-dead-is-better","title":"Alissa Bennett - Dead is Better","description":"\u003cp\u003eEighteen essays reflecting Bennet’s celebrity death obsessions in a well written, well researched personalized tone - the kind of zine you can’t put down but have to read all the way through.\u003cbr\u003eFeaturing essays on:\u003cbr\u003eGG Allin\u003cbr\u003eGia Caramgi\u003cbr\u003eTheresa Duncan\u003cbr\u003eRichey Edwards\u003cbr\u003eJudy Garland\u003cbr\u003eWhitney Houston\u003cbr\u003eMichael Hutchence\u003cbr\u003ePaula Yates\u003cbr\u003ePeaches Geldof\u003cbr\u003eBrittany Murphy\u003cbr\u003eDemri Parrot\u003cbr\u003eAmanda Peterson\u003cbr\u003eRiver Phoenix\u003cbr\u003eSavannah\u003cbr\u003eRebecca Shaeffer\u003cbr\u003eLizzie Siddal\u003cbr\u003eAnna Nicole Smith\u003cbr\u003eElliot Smith\u003cbr\u003eLayne Staley\u003cbr\u003eScott Weiland\u003c\/p\u003e\n\u003cp\u003e2016\u003cbr\u003e88 pages\u003cbr\u003e5.5 x 8.5 inches\u003cbr\u003eThree editions of 100 printed\u003c\/p\u003e","brand":"New Dracula Theater","offers":[{"title":"Default Title","offer_id":52283541717287,"sku":null,"price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0941\/2378\/6535\/files\/dib1.jpg?v=1792021882"},{"product_id":"frank-exchanges-frank-haines","title":"Frank Exchanges","description":"\u003cp\u003eBy Frank Haines\u003c\/p\u003e\n\u003cp\u003eLong form interviews with 26 artists\u003c\/p\u003e\n\u003cp\u003e‘When I put a raisin in my mouth I know what I’m doing.’ \u003c\/p\u003e\n\u003cp\u003eHISHAM BHAROOCHA\u003cbr\u003eMATT CONNORS\u003cbr\u003ePATRICK DELANEY\u003cbr\u003eCHERYL DUNN\u003cbr\u003eMARINA ECKLER\u003cbr\u003eSIMON EVANS\u003cbr\u003eCHRISTOPHER GARRETT\u003cbr\u003eALEXIS GEORGOPOULOS\u003cbr\u003eMELISSA IP\u003cbr\u003eCHRIS JOHANSON\u003cbr\u003eCHRIS KACHULIS\u003cbr\u003eJACKIE KLEMPAY\u003cbr\u003eREUBEN LORCH MILLER\u003cbr\u003eMARY MANNING\u003cbr\u003eROBIN HAINES MERRILL\u003cbr\u003eROBBIE MCDONALD\u003cbr\u003eLINDA MONTANO\u003cbr\u003eTIM OBRIEN\u003cbr\u003eLINUS OWENS\u003cbr\u003eDAVID SANDERSON\u003cbr\u003ePETER SEALS\u003cbr\u003eCEDAR SIGO\u003cbr\u003eJEN SMITH\u003cbr\u003eTODD SPACE\u003cbr\u003eELIZA SWANN\u003cbr\u003eTREVOR TYRELL\u003c\/p\u003e","brand":"New Dracula Theater","offers":[{"title":"Default Title","offer_id":52283554365735,"sku":null,"price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0941\/2378\/6535\/files\/FrankExchanges.cover_o.jpg?v=1792021291"},{"product_id":"bronze-chimes-poems-after-alfred-starr-hamilton","title":"Bronze Chimes: Poems after Alfred Starr Hamilton","description":"\u003cp\u003eEdited by Frank Haines \u0026amp; Cedar Sigo\u003c\/p\u003e\n\u003cp\u003eThis book was largely inspired by the release of \u003ca href=\"https:\/\/the-song-cave.com\/products\/a-dark-dreambox-of-another-kind-the-poems-of-alfred-starr-hamilton\"\u003e\u003cem\u003e\u003cstrong\u003eA Dark Dreambox of Another Kind : The Poems of Alfred Starr Hamilton\u003c\/strong\u003e\u003c\/em\u003e\u003c\/a\u003e by The Song Cave\u003c\/p\u003e\n\u003cp\u003ePoems by\u003c\/p\u003e\n\u003cp\u003eAbbigail Baldys \u003cbr\u003eJoshua Beckman \u003cbr\u003eDavid Brazil \u003cbr\u003ePeter Burghardt \u003cbr\u003eMelissa Burke \u003cbr\u003eGarrett Caples \u003cbr\u003eMary Cisper \u003cbr\u003eNorma Cole \u003cbr\u003eNicholas Cuzzi \u003cbr\u003eKelly Egan \u003cbr\u003eBen Estes \u003cbr\u003eJennifer Foerster \u003cbr\u003eKelly Gemmill \u003cbr\u003eFrank Haines \u003cbr\u003eJohnny Ray Huston \u003cbr\u003eColter Jacobsen \u003cbr\u003eJoanne Kyger \u003cbr\u003eRaina J. León \u003cbr\u003eBrian Marr \u003cbr\u003eJackson Meazle \u003cbr\u003eJulien Poirier \u003cbr\u003eCoco Roland \u003cbr\u003eRod Roland \u003cbr\u003eCedar Sigo\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e2015\u003cbr\u003e94 pages\u003cbr\u003e5.5 x 8.5 inches\u003cbr\u003eEdition of 100\u003cbr\u003e\u003c\/p\u003e","brand":"New Dracula Theater","offers":[{"title":"Default Title","offer_id":52283573174567,"sku":null,"price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0941\/2378\/6535\/files\/Bronzechimes0.jpg?v=1792021142"},{"product_id":"christopher-garrett-dont-memorize-the-leaves","title":"Christopher Garrett - Don't Memorize the Leaves","description":"\u003cp\u003eChristopher Garrett - Don't Memorize the Leaves\u003c\/p\u003e","brand":"New Dracula Theater","offers":[{"title":"Default Title","offer_id":52283588837671,"sku":null,"price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0941\/2378\/6535\/files\/CG6.jpg?v=1792022680"},{"product_id":"marlene-dietrich-shirt","title":"Marlene Dietrich Shirt","description":"\u003cp\u003eMarlene Dietrich (As a high priestess of Isis) black t shirt \u003c\/p\u003e\n\u003cp\u003eEdition of 100\u003c\/p\u003e\n\u003cp\u003ePrinted by Flying Saucer Press\u003c\/p\u003e","brand":"New Dracula Theater","offers":[{"title":"Default Title","offer_id":52283598995751,"sku":null,"price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0941\/2378\/6535\/files\/marlene.isis.jpg?v=1791661825"},{"product_id":"zeena-schreck-the-zaum-of-zeena","title":"Zeena Schreck The Zaum of Zeena","description":"\u003cp\u003e\u003ca href=\"https:\/\/www.zeenaschreck.com\/store\/p11\/\/www.zeenaschreck.com\/store\/c1\/Featured_Products.html.html\"\u003eThis book is currently available via Zeena's website\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eREVIEW BY LUCA PICCOLO\u003cbr\u003eWSF (Words Social Forum)\u003cbr\u003eDec. 2015\u003cbr\u003e\u003cbr\u003e The Zaum of Zeena, published by Frank Haines in 2015, presents a \"collection of Interview, Essay, Quotes and Images\" from the famous Berlin artist Zeena Schreck. For those who have followed Zeena's path, this text is a highly anticipated volume which examines the artist's work, ranging from sound to visual media. The interviews present the most interesting aspects of the life, the thought and the philosophy that always accompanies Zeena.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eIn the first pages of this volume, it is written: \"her art, like her music, is best understood as a non-verbal trans-rational branch of her spiritual teaching.\" The best way to understand this can be compared to the author Dante who, in his Paradiso, referred to the theological term “Gloria” as an intense religious experience that combines the vision of infinite light echoing a harmonic sound and the transcendental.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eOne might experience something similar while reading a poem by the Russian poet Velimir Khlebnikov, whereby the mind receives an image of transcendental luminosity accompanied by a harmonic tonal quality. We recall also that the latter, together with Alexei Kručënykh (another futurist poet), gave rise to that Phonosymbolic language called Zaum (Заумь), a phenomenon after which this book is titled.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eBut in order to have this kind of transcendental experience from a work of art, one needs to develop and learn how to use one's sensory perception in a most supernatural way. Therefore, in the case of Zeena's work, we can only begin to understand the deeper dimensions of her art and music, which are so closely linked to her spiritual path, by developing our own senses and spiritual awareness. We might then come to understand how it is that her creations are \"a non-verbal, trans-rational branch of her spiritual teaching.\" In fact, this is the main theme of the first interview in this book, which happens to be my own interview with Zeena, originally published in WSF (online art journal).\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eThis is followed by excerpts from the interview with the author Konstantinos that focuses on exploring spirituality and the magical path of this artist. A theme which is then expanded upon in a different way in the wonderful interview with Che Chetty (for the School of Religion, Philosophy and Classics, University of Kwazulu Natal, South Africa), where certain aspects of Tantra are analyzed and investigated. In this series of questions and answers we see two alternating fronts: the academic vs. the practical knowledge.\u003c\/p\u003e\n\u003cp\u003eThe interview by Maxime Lachaud, drops us completely into the musical dimension of the artist, and investigates mainly the work that Zeena made with recordings for Radio Werewolf. Also relevant to her work during Radio Werewolf is an extract from \"Mythos Wewelsburg: Fakten und Legenden\" by Daniele Siepe, in which the artist explains the reason for a particular position\/asana she takes in a scene from her Video Werewolf film \"Germany: The Theory of Ruins\" (1992). Both of these interviews make us reflect on the meticulousness that the artist uses for the realization of every single opera. With this in mind, it spontaneously came to my mind how the composition of this volume was not at all left to chance.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eAlso included in this collection are two writings by Zeena originally published in the Beatdom Magazine # 11(referring to \"Liberation under the Snow Moon,\" the story of a salvific mission to free captive wolves from a fur farm) and Vice Magazine (\"A Tale of Two Birds and Tantric Meditation\").\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eAll the interviews are linked together through a series of quotes and images, which greatly augment the value of the text and make for a most pleasant and smooth reading experience. Between the lines we also see beauty and clarity: perhaps the two most emotionally engaging effects of this publication.\u003cbr\u003eThis is a text that gives to the general public the opportunity to understand Zeena Schreck and her art. It is certainly a must read by anyone interested in the spiritual and artistic aspects of Zeena. But also for those who have only a marginal interest in these topics, it is still a treat.\u003c\/p\u003e\n\u003cp\u003e--Luca Piccolo\u003cbr\u003e2015 Naples, Italy  \u003c\/p\u003e\n\u003cp\u003e~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~\u003c\/p\u003e\n\u003cp\u003eREVIEW BY NICHOLAS DIAK\u003cbr\u003eHeathen Harvest Music Magazine\u003cbr\u003e31st December 2015\u003c\/p\u003e\n\u003cp\u003e“The Zaum of Zeena” Edited by Frank Haines\u003c\/p\u003e\n\u003cp\u003eOne of the standout qualities of iconic individuals in the post-industrial underground is their ability to\u003cbr\u003ebe successful in a variety of mediums. The subject matter they explore—occultism, history, literature,\u003cbr\u003emagic, criminals, film, Grail studies, taboo topics, etc.—crops up in their songs, short films, books,\u003cbr\u003epoetry, art, photography, and a plethora of other outlets. Correlating such output is a daunting task. In\u003cbr\u003ethe earlier days of the internet, musicians made webpages, fans made fan pages, and forums and\u003cbr\u003ewebrings were the standard means to stay up to snuff. Today, one has to dive through Facebook and\u003cbr\u003eTwitter posts to get a handle on what these multifaceted musicians are all about. It’s refreshing when\u003cbr\u003eartists-turned-authors rely on the tried and true method of releasing a book to aggregate their\u003cbr\u003ephilosophies, art, photography, and other personal anecdotes. Gerhard Hallstatt set a benchmark in the\u003cbr\u003eneofolk scene when he published Blutleuchte a few years ago, and a peppering of other artists seem to\u003cbr\u003ebe following suit.\u003cbr\u003eZeena Schreck is a multi-media artist, writer, musician famous for Radio Werewolf, and Tantric\u003cbr\u003eBuddhist whose artistic output spans decades. Her newest literary offering is The Zaum of Zeena, a\u003cbr\u003esoftcover that straddles the zine\/book format that debuted at the tenth annual New York Art Book Fair\u003cbr\u003eat the MoMA PS2 this past September. The alliteration in the title is a re-appropriation of a term for a\u003cbr\u003eRussian art movement during World War I that encompassed many fields. In the case of The Zaum of\u003cbr\u003eZeena “zaum” is being used as an umbrella term for Schreck’s many endeavors that are showcased in\u003cbr\u003ethe book.\u003cbr\u003eThe majority of art included in The Zaum of Zeena exhibits Schreck’s photography and illustrations\u003cbr\u003erendered in pencils or inks. Viewing her artwork in this format creates a paradoxical experience for\u003cbr\u003ereaders of The Zaum of Zeena. On one side, the black-and-white versions of the artwork takes on a\u003cbr\u003eunique meaning when realized in the zine medium. It imparts on the pieces a weight of angst, rebellion,\u003cbr\u003eor transgressive attitude, all stemming from either a punk or D.I.Y. ethos. Such attributes may not have\u003cbr\u003ebeen present in the artwork before, but they now carry it. In this case, the medium can either alter or\u003cbr\u003eenhance the message, and Schreck’s artwork is subversive enough that this multi-prong approach\u003cbr\u003eworks.\u003cbr\u003eOn the flip-side, however, the zine format does not convey the artist’s original vision in the best\u003cbr\u003efacsimile. Colors become lost and shades become either muted or abrupt. There is anexcerpt from an\u003cbr\u003einterview with Obsküre within the zine in which Schreck argues that listeners of digital versions of\u003cbr\u003emusic are missing out on needed context that the original physical release provides. This attitude can\u003cbr\u003ealso be applied to these versions of Schreck’s graphic work—that experiencing them in this fashion\u003cbr\u003emuddles the original meaning and context. While the zine format is satisfactory at giving an appetizer\u003cbr\u003eof Schreck’s art, it does demonstrate the need for a Taschen-esque book to give her work a presentation\u003cbr\u003ethat is as close to the original as possible.\u003cbr\u003eThe real treat and highlights of The Zaum of Zeena are found in the many excerpts of interviews and\u003cbr\u003epersonal writings of Schreck that comprise the majority of content in the book. The five interviews and\u003cbr\u003etwo penned essays consolidated within provide a succinct overview of Schreck’s activities for the past\u003cbr\u003etwenty-five years along with glimpses and elaborations on her personal philosophies. For example, in\u003cbr\u003ethe interview with the Italian art magazine WSF, Schreck elaborates on the artistic path she has walked:\u003cbr\u003eshe describes her art as being both communication between realities and dichotomies, but also a\u003cbr\u003ereflection of experiences both personal and shared. The interview with the author Konstantinos turns the\u003cbr\u003edialog to the spiritual and the magical. A particular highlight with this interview is that Schreck states\u003cbr\u003ethat many folks say they are on a path to discover a truth, but she underscores that such a path calls for\u003cbr\u003ea certain amount of sacrifice to one’s personal comfort while challenging what they believe in their\u003cbr\u003eworld; often, their statements are just veneer. In brutal and biting honesty, Schreck says, “look at the\u003cbr\u003eworld around you and tell me that it appears to be filled with people genuinely in search of the truth!” It\u003cbr\u003ecertainly calls for a pause of reflection, regardless of anyone’s personal affiliations.\u003cbr\u003eThe two personal stories, “A Tale of Two Birds and Tantric Meditation” and “Liberation Under the\u003cbr\u003eSnow Moon,” spotlight Schreck’s proficiency at storytelling while conveying deeper, personal\u003cbr\u003ephilosophies without being heavy-handed. For example, in “Liberation Under the Snow Moon,”\u003cbr\u003eSchreck recounts her experience helping a group of eighty Mongolian wolves that were en route to a\u003cbr\u003eFrench wildlife preserve, saving them from a fate of being turned into coats. She peppers her story with\u003cbr\u003ereferences to the She-Wolf who birthed Rome’s founding siblings, Romulus and Remis, and to the wolf\u003cbr\u003eFenrir of Norse tradition. This gives the account spiritual weight: a gentle reminder that our modern\u003cbr\u003elives are without reverence to the natural world. The Zaum of Zeena was originally released in a\u003cbr\u003elimited run of fifty copies to be sold at the New York Art Book Fair with any remaining copies being\u003cbr\u003eoffered by Schreck’s web store in late November. Upon this re-offering, the zines quickly sold out, and\u003cbr\u003ea second edition release was immediately put into production. The zine\/book is fairly short, but its\u003cbr\u003econtent is dense. Those unfamiliar with Schreck’s work will definitely have a better appreciation and\u003cbr\u003eunderstanding of her work after having read it.\u003cbr\u003e_____________________________________________________\u003cbr\u003eReview Written by: Nicholas Diak\u003cbr\u003ePublisher: Heinzfeller Nileisist\u003cbr\u003eEditor: Frank Haines\u003cbr\u003ePublication Date: September 18, 2015\u003cbr\u003eFile Under: Music \/ Music Biography \/ Art \/ Photography\u003cbr\u003eLanguage: English\u003cbr\u003eISBN: N\/A\u003cbr\u003eFormat: Paperback\u003cbr\u003ePages: 84\u003c\/p\u003e","brand":"New Dracula Theater","offers":[{"title":"Default Title","offer_id":52283605549351,"sku":null,"price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0941\/2378\/6535\/files\/ZOZ.cover.jpg?v=1792020087"},{"product_id":"an-inventory-of-lucifers-grotto-catalog","title":"An Inventory of Lucifer's Grotto","description":"\u003cp\u003eCatalog for an exhibition that opened on\u003c\/p\u003e\n\u003cp\u003e12\/13\/14\u003c\/p\u003e","brand":"New Dracula Theater","offers":[{"title":"Default Title","offer_id":52283606991143,"sku":null,"price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0941\/2378\/6535\/files\/lucifers.jpg?v=1792021677"},{"product_id":"christeene-spirit-animals","title":"Christeene - Spirit Animals","description":"","brand":"New Dracula Theater","offers":[{"title":"Default Title","offer_id":52283607744807,"sku":null,"price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0941\/2378\/6535\/files\/christeene1.jpg?v=1791684413"},{"product_id":"king-love-by-frank-haines","title":"King Love by Frank Haines","description":"\u003cdiv\u003eFrank Haines - \u003cem\u003e\u003cstrong\u003eKing Love\u003c\/strong\u003e\u003c\/em\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003eIf you lived in Tallahassee in the late 90’s it was impossible not to know King Love.  Almost everyday he posted himself at the busiest intersection in Tallahassee. He had a sizeable white beard and wore a red cape, golden crown, and a large golden Ankh around his neck. He always had a sign, which usually read, “Love is the Answer,” but he often displayed topical political signs as well. While he accepted donations from people stopped at the traffic light, panhandling was not the priority.\u003c\/div\u003e\n\u003cdiv\u003eKing Love was a true weirdo, my kind of people. He had a darkness that he carried with him. This darkness had crippled him at one point and forced him to have a radical lifestyle change. I don’t know the exact details, but at one point he was living a conventional life, married and working in the medical field, and then he left it all to become the homeless King Love.\u003c\/div\u003e\n\u003cdiv\u003e \u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003eKing Love was an idealistic progressive, an embodied peace activist and a friend of mine. He was too often characterized as just a crazy homeless guy. But King Love was a well-read intellectual. He associated many of his viewpoints and life choices with Bertrand Russell, a philosopher most definitively dedicated to peace and human freedom. His message was one of peace and speaking truth to power (he used to throw messages over the wall of the Governor’s mansion via Styrofoam glider planes).  He was doing all of this in the un-hospitable south, full of rednecks and half-brained cops. \u003c\/div\u003e\n\u003cdiv\u003eI made this book to memorialize King Love and put information about him in one place. \u003c\/div\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/youtu.be\/8Gio3nonY-s?si=5PgYtq9PuxwnNdqr\"\u003eVideo of King Love\u003c\/a\u003e\u003c\/p\u003e","brand":"New Dracula Theater","offers":[{"title":"Default Title","offer_id":52283613020455,"sku":null,"price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0941\/2378\/6535\/files\/kinglove.cover.jpg?v=1792020549"},{"product_id":"steve-halterman-cathee-wilkins-class-up","title":"Steve Halterman \u0026 Cathee Wilkins - CLASS UP","description":"\u003cp\u003eClass Up is a catalog of stills from the films of Steve Hall and Cathee Wilkins. Combining cheap horror with lo-fi camera techniques, the stills orient the films as successfully humorous works in the underground filmmaking scene. With subject matter ranging from vicious birds to sexualised women, the filmmakers take on movie tropes and exaggerate them to the point of absurdity and delightful discomfort.\u003c\/p\u003e\n\u003cp\u003e2016\u003cbr\u003e54 Pages\u003cbr\u003eEdition of 100\u003c\/p\u003e","brand":"New Dracula Theater","offers":[{"title":"Default Title","offer_id":52283613643047,"sku":null,"price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0941\/2378\/6535\/files\/Classup.cover.jpg?v=1792021991"},{"product_id":"jackie-klempay-taboo","title":"Jackie Klempay - Taboo!","description":"","brand":"New Dracula Theater","offers":[{"title":"Default Title","offer_id":52283620065575,"sku":null,"price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0941\/2378\/6535\/files\/tabboo.cover.jpg?v=1792022636"},{"product_id":"reuben-lorch-miller-isolation-party-photographs-from-olympia-washington-1993-1995","title":"Reuben Lorch-Miller, Isolation Party: Photographs from Olympia, Washington 1993-1995","description":"\u003cp\u003eFirst edition of Isolation Party\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.lorch-miller.com\/booksandeditions\/isolation-party-book\"\u003eThis book is available via Reuben's site\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eIsolation Party\u003c\/p\u003e\n\u003cp\u003eThese photographs were made in Olympia, Washington from 1993-1995, more or less. Bands needed photos for their album artwork and promotional materials. Many of these images appeared in that form, while some have never been published before. Some of the people in these photographs were and still are good friends, while others were part of a loose tribe of collaborators within an ecosystem of creativity and production. This book doesn’t fully describe a complete picture of what was going on in the music scene and music scenesin Olympia during this time. A lot of great bands were around that I never took photos of and there are many photos in my archive that didn’t end up in this book.\u003c\/p\u003e\n\u003cp\u003eThe negatives and prints used to make this book had been sitting in my mom’s basement for almost 20 years. Only recently, because of other people’s projects, did I get them out and start to look back at them. I want to thank the people who are in this book. Thank you for asking me to collaborate in making art with you and trusting me with your image. Thank you to those of you who asked about what happened to all those photos I took.\u003c\/p\u003e\n\u003cp\u003eI studied Photography and Art at The Evergreen State College from 1989 to 1993. When I was 19, I took my first black and white photo class to get outof a math class. Early on, I was influenced by the traditions of strong graphic composition and ordinary strangeness of Diane Arbus, Richard Avedon, Lee Friedlander, Robert Frank and Hilla and Bernd Becher. Later, I started to move away from documentary photography and began experimenting with studio set- ups, color film and collage.\u003c\/p\u003e\n\u003cp\u003eDuring my last year of college, I worked as a tech in the darkroom. Sara Lund, the drummer from Unwound, worked in the darkroom also. Unwound needed band photos for their next album and she asked me if I could do it. I said yes and that’s how this started.\u003c\/p\u003e\n\u003cp\u003eAs I ended my time at Evergreen, I had been increasingly going to see local bands and meeting the people I would eventually photograph. After graduation, I kept one foot in the darkroom by volunteering to train newstudents in exchange for access. That’s how a lot of things functioned, trading for what you needed. I was also maintaining a studio practice working with sculpture, screen-printing, photocopying and painting. Occasionally, I assisted a photographer on commercial shoots, which mostly involved corporate portraits, advertising images and architectural interiors. I also began playing music with people, starting a few short-lived and rarely heard bands.\u003c\/p\u003e\n\u003cp\u003eMy friend Justin Johnson was planning on putting out a three 7-inch box set with KARP, godheadSilo and Fitz of Depression. He asked if I would take\u003c\/p\u003e\n\u003cp\u003ethe photos to be used as package artwork. Of course I said yes. You always said yes to making art with friends. We only got around to taking the KARP photos and the project never materialized. Through this, as well as just generally hanging out and going parties and basement shows, I started to become better friends with Chris, Scott and Jared. I eventually ended up taking the photos used on the KARP records Moustaches Wild and Suplex. I was also their roadie on two US tours.\u003c\/p\u003e\n\u003cp\u003eThese first few projects led to me becoming known as a person who could take band photos. This work ended up being primarily for K Records and occasionally for Kill Rock Stars, Yoyo and bands that released their own records.\u003c\/p\u003e\n\u003cp\u003eUsually we would meet at practice spaces, which were mostly in the basements of well-worn punk houses. These basements were like secret caves of artistic potential and utility, timeless spaces where people would meet to make anything happen and no one would ever complain of it being too loud. These subterranean vaults were also places of vivid and rich visual detail, hidden from the outside world.\u003c\/p\u003e\n\u003cp\u003eCheap rent in a town of decrepit houses with full basements combined with long dark winters allowed the space and time for prolific artistic production with little concern for economics or ambition. It was almost a barter economy where resources were shared and traded from whatever you could sneak out the back door, let in for free or scam off the bottom. A few of these photos were taken in the laundry room of The Martin apartments, which was like a downtown\u003c\/p\u003e\n\u003cp\u003ehub. Usually, at least one person from a band lived there and this room served as an improvised photo studio for myself as well as other people taking photos at the time.\u003c\/p\u003e\n\u003cp\u003eI only took photos of people who asked me to and for the bands I photographed, I was either their friend or suggested by the record label. Bands that I didn’t photograph had closer friends with cameras or other means of producing images. Because of this, they simply didn’t ask me. You turned to the people you were closest to and trusted and made what you could make. A lotof bands would often produce their own images through tour photos, bedroom Polaroids and the four-exposure sequential strips of coin-operated photobooths. I was also looking at and influenced by the overlapping work of other photographers like Jeff Smith, Tammy Rae Carland, Charles Peterson in Seattle and Cynthia Connolly and Pat Graham in DC.\u003c\/p\u003e\n\u003cp\u003eThere are a few live performance photos in this book. They are all from the first Yoyo A Go Go festival in 1994. I was asked by Pat Maley of Yoyo and Candice Pedersen and Calvin Johnson of K to document the shows. I never really liked taking live photos. It was too much pressure and time sensitive. You kind of only get one chance. Live photos were pretty common and itdidn’t seem too interesting to me as an artist to make more of the same typeof images. It also felt like an imposition on the performance, especially for the type of images I favored making, ones that were close to the subject, more intimate and connected. I was never someone who brought a camera to shows\u003c\/p\u003e\n\u003cp\u003eand I didn’t really take too many photos of life around me. It wasn’t as muchof a culture of constant documentation as it is now. Everything was youthfully insular and present tense, in that it was a life of close active engagement and my relationship to using a camera was partially informed by how it could separate experience, distancing the photographer by turning them into a removed viewer, one that stood outside looking in. I was both a friend and a fan. I wanted to participate as an audience member, not working or distracted by the demands of producing. What is great about being a fan at a live show is that you can let go of responsibility and become unconcerned, totally present and connected, moved to a collective ecstatic state. Attention to proper exposure, composition, dead batteries, running out of film, etc. would be barriers to this experience. For me, taking pictures was a deliberate and intentional process that was by its nature delayed and mechanical.\u003c\/p\u003e\n\u003cp\u003eA lot of photo-shoots would often start with the vague idea that I would photograph them practicing. This felt too close to live shots and I would usually take a few like this, but eventually try to get into taking portraits or more directed situations, experimenting with backdrops, location or props. For photos that needed a white background, I would duct tape up a wrinkled bed sheet. I tried when possible to avoid typical band photos. There were tons of those going around and I was attempting to put forward a more considered take on image making. I always tried to see it as an opportunity to make interesting art together. If we were going through the trouble to make and use these photos, why not\u003c\/p\u003e\n\u003cp\u003ehave some idea or direction behind it? Sometimes it worked out and sometimes it didn’t. The Unwound and Fitz of Depression photos, among others, turned out really well from this process. Initially we started without a plan, but the bands were open to trying out some ideas and ways of being photographed. Some bands had more of a specific concept of what they wanted and we collaborated to make their vision into photographs. This was the case with Kicking Giant and KARP.\u003c\/p\u003e\n\u003cp\u003eI only used a Pentax K1000 35mm camera with a 24mm wide-anglelens. The K1000 is considered a “student camera” and it was the first cameraI bought. It’s a workhorse and couldn’t be a more simple and stripped down machine. It only has three controls: f-stop, shutter speed and film speed. Light metering is just getting the needle in-between the plus and minus. Because a lot of the photos were taken indoors, I used a handheld flash connected by a sync cable. With the few exceptions when I used color film, everything was shot on Kodak T-Max 400 film. For better or worse, I just stuck with the same set-up.It was versatile, basic and worked. The use of a wide-angle lens produced a slightly pulled or curved distortion around the edges as well as allowed for a lot of surrounding space to exist within the frame. Also, I would have to get really close to the subjects. Using a flash up-close would often caused my negatives to be unevenly lit or over-exposed. Printing these in a way to produce a recognizable image would require long exposure times and anything that was in the background or not caught by the flash would be rendered as deep areas of black.\u003c\/p\u003e\n\u003cp\u003eSome photos would be half or almost all black with the figure or partial figure showing. I would also print with a high degree of contrast, which emphasized the graphic qualities. I liked how this looked and they would also hold up well under a wide range of reproduction methods, which was the ultimate purpose of these images. I wasn’t the best when it came to technical proficiency, but I think my strength was in composition, timing, editing and making it work in the darkroom. In the context of this scene, being a good technician was not necessarily given primary value. What was valued was making it happen with what you had available – making the most of art and expression with often rudimentary abilities and tools and almost no money. The attitude was expression over expertise, where style emerges from prolific output, which is fueled by enthusiastic urgency and shaped by the limits of skills and resources. Talent and finesse come later through perseverance and practice. As for concepts of mastery or success, each person had to measure and navigate those in their own way. Ultimately, it didn’t matter. It wasn’t a competition.\u003c\/p\u003e\n\u003cp\u003eIt was a great experience to have done this work with these people, to collaborate and contribute to part of what was happening at the time. After a few years, I stopped. Stopping was as unintentional as starting. It sort of faded out for me and wound down. Things had shifted. A few years later I moved to San Francisco to go to art school and these photos went into a box in Tacoma. Some of these images were able to extend out into the world beyond the limited social boundaries of Olympia, woven into and carried along by the music made by\u003c\/p\u003e\n\u003cp\u003efriends. They appeared at tour venues, record stores, and college radio stations. They were strewn on bedroom floors and would show up in music magazines and local papers. Boxes of records, records made not only of music, but music in league with visual art, would travel around in vans from show to show. They’d be laid out on merch tables in the hopes of maybe earning just enough gas money for tomorrow’s drive. Some other kid from some other town, some other scene, would be won over by the ecstatic state. After the show they would buy the record, take it home and not only listen to it, but also look at it. It was always rewarding and sometimes unbelievable to see how these images would expand outward – cast out into the culture of like-minded co-conspirators. Hopefully, this book serves to continue and honor that process of creation and expansion, those basement notes in a bottle and shots in the dark. It was the best to make art with friends. It still is.\u003c\/p\u003e\n\u003cp\u003e-RLM 2016\u003c\/p\u003e","brand":"New Dracula Theater","offers":[{"title":"Default Title","offer_id":52283647426855,"sku":null,"price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0941\/2378\/6535\/files\/RLM.jpg?v=1792021575"},{"product_id":"micki-pellerano-wolves-villagers-card-set","title":"Micki Pellerano, Wolves \u0026 Villagers Card set","description":"","brand":"New Dracula Theater","offers":[{"title":"Default Title","offer_id":52283649392935,"sku":null,"price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0941\/2378\/6535\/files\/clairvoyant_tp1.jpg?v=1792022827"},{"product_id":"mike-robson-sleeping-among-the-sea-grapes-a-guide-to-reside-and-hide-beachside","title":"Mike Robson - Sleeping Among The Sea Grapes (A Guide to Reside and Hide Beachside)","description":"\u003cp\u003eMichael C. 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