Buch Preview - Flyer Soziotope

2
vorwort | Preface | Marc Wohlrabe 03
Eine Art Vorwort | Before we begin…| Mike Riemel 05
I. Looking for Elvis
Die Geschichte der Flyer Soziotope (1998 – 2004) |
History of the Flyer Soziotope exhibition 10
Mike Riemel und John Boerger
II. Flyer Research
Der Partyflyer als Kommunikationsmedium | The Party Flyer as a
Communications Medium | Jannis Androutsopoulos | Keiko Schmitt | Ronnie The 15
III. Lebenszyklen der Flyer | flyer life cycles
Kurze Einleitung, Short Introduction 22
1. Flyer Business
1.1. Sind die Flyer schon fertig ? | Are the flyers ready? | Anett Frank 25
1.2. Learning from Disneyworld | Jakob Schillinger 25
1.3. Ist Sponsoring Flyerkultur ? Is Sponsoring Flyer Culture | Mike Riemel 25
2. Die Psyche des Flyers | The Psyche of the Flyers
2.1. Zur Psychologie des Flyers | On the psychology of the flyer:
what makes a successful flyer? | Jana Bendig 25
2.2. Flyer richtig verstehen | Flyers – A User’s Guide | Jürgen Laarmann 25
3. Flyer Design
3.1. Verkannte Kunst | Unrecognized Art | Jana Gallitschke and Jens Pacholsky 25
3.2. Interviews mit Grafikern | Interviews with Designers | Oliver Schweinoch 25
4. Flyer Freaks
4.1. Warum Flyer sammeln? | Why collect flyers? | Mike Riemel 25
4.2. Vom Handel mit Flyern | Flyer Trading | Marta Jecu 25
IV. Behind the Scenes
4.1. Punk and Hardcore
Das bunte Durcheinander am Ende einer Ära | Colorful chaos at the end
of an era | Martin Büsser 25
4.2.Politische Flyer | Political Flyers
Linke Flyerkultur? Hurra Hurra, die autonome Antifa ist da |
Left Flyerculture? | Sami Khatib 25
4.3. Textflyer
ASCII-Flyer sind rot | ASCII flyers are red | Matze Schmidt 25
4.4.Sexismus auf Flyern | Sexism on Flyers
Sexismusdiskussionsausschnitt | Discussionpart | bootlab 25
Die Titte in der Clubkultur | The Tit in Clubculture | Sonja Rella 25
4.5.Randbereiche | Sideaspects
Streetart und Flyer: Medienarbeit heute | Street art and flyers:
Media work today | Mike Riemel 25
Flyer für die Kunst | Flyers for art | Mike Riemel 25
Clubart: ‚Tulip enterprises‘ | Betty Stürmer 25
Funker und Flyer | Oliver Ilian Schulz 25
V. DIE Geschichte des Flugblatts
vom subversiven Handzettel zum Partyflyer | On the history of handbills
Oliver Schweinoch 25
VI. Die Zukunft des Flugblatts
The future of Flyers | Mike Riemel 25
VII. Flyer der Welt | FLYERS OF THE WORLD
Deutschland
Berlin 289
Ost | EASTGERMANY 311
Hamburg 335
Köln | COLOGNE 349
Frankfurt 357
München | MUNICH 397
WESTREST 397
Europa
Schweiz 411
Österreich 427
Frankreich 444
England 459
Spanien 467
Ost 476
Niederlande 482
Welt
SCHWEIZ | SWITZERLAND 397
ÖSTERREICH | AUSTRIA 397
FRANKREICH | FRANCE 397
VEREINIGTES KÖNIGREICH | UNITED KINGDOM 397
SPANIEN | SPAIN 397
OSTEUROPA | EASTERNEUROPE 397
NIEDERLANDE | THE NETHERLANDS 397
VII. Anhang
Bookmarks 515
Danksagungen | ACKNOWLEDGEMENT 514
TEAMLIST 516
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EINE ART VORWORT MIKE RIEMEL
3

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2004
Club Transmediale – Maria am Ostbahnhof – Berlin
9 Tage steht unser Terminal mit einer umfassenden Slideshow aus Fotos und Flyern als Teaser für
unser Buch im Foyer des Maria am Ufer wo das spannende Clubbegleitprogramm zum Medienfestival
stattfindet. Internationale Gäste von Ost bis West staunen über die Bilderflut und die Vorfreude auf
das Buch wächst. Als unser Terminal technische Probleme hat hilft der mit Laptop bewaffnete Richard
Devine uns beim Rebooten. That’s the spirit ! Januar | WWW.CLUBMARIA.DE | WWW.CLUBTRANSMEDIALE.DE
Rebelart Festival – Redesign Deutschland – Berlin
Wir sind eingeladen uns zum Thema ‘Design the revolution or just revolutionary design’ auch kritisch zu
den Randbereichen des Sell-outs und der Verkommerzialisierung zu äußern. Eine engagierte und kritische
Diskussion steckt den Rahmen um ein weites Feld von möglichen und unmöglichen Fallbeispielen
der Funktionen unabhängiger Kulturarbeit. Abends zeigen wir unsere Auswahl von Rebelflyern in den
großen Gewölben des ZMF (zur Möbelfabrik). Ein gelungenes Festival rund um ein gelungenes Magazin.
April | WWW.REBELART.NET/F001.HTML
Konrad-Adenauer-Stiftung - Berlin
Das Projekt wird präsentiert vor einer Runde engagierter Gäste der Young Creative Industries und
Dr. Hassemer. Das Projekt Zukunft Berlin - Capitale Potenziale oder nur Projekt B
bekommt eine der ersten öffentlichen Darstellungen eines zukünftigen
Flyermuseums präsentiert. Nach der Vorstellung wird bei leckeren
Kleinigkeiten geklönt und diverse Ideen werden beigetragen.
WWW.KAS.DE
TOURSTOPS 1998 - 2004
1.Berliner Kunstsalon - Berlin
Foto-Shop wird geladen auf den ersten Berliner Kunstsalon parallel zu Art Forum und Liste. In der Arena
installieren 30 Berliner Galerien anlässlich des Kunstherbstes ihre Arbeiten. Im Foyer vor dem Glashaus
entsteht ein der Stammhaus nachempfundener Nachbau der Galerie inklusiver aller Möglichkeiten die Kunst
auch musikalisch zu untermalen. Mehrere tausend Besucher registrieren die Aktion wohlwollen und einige der
ältesten Objekte werden unserer Sammlung übergeben. Flyer aus der DDR der 70er Jahre. Die Geschichte der
Popkultur gerät ins Wanken. September | WWW.BERLINERKUNSTSALON.DE
������
MEDIENREAKTIONEN
TV:
VIVA - Berlin House, SFB (Redaktion Ticket),
ZDF / 3 SAT (Redaktion Kulturzeit), Up all
night (CH), Freezone TV (CH), MTV, VIVA II,
N3, Belissima (NL), Border TV, WorldhausTV,
MTV, Arte
RADIO:
DRS 3, Radio Eins, Deutschlandfunk, Kiss FM,
MDR Sputnik, Fritz, Jazz, Radio FSK, Couleurs
3 (CH), Radio FG (Paris), Radio RED (MX),
Radio Activo (MX)
PRINT:
Start (Stern Publikation), Spiegel Spezial -
Beilage Jung ist die Nacht, Groove, Trierischer
Volksfreund, Nightlife.lu, Zitty, Scheinschlag,
TAZ, Flyer / Berlin / Sachsen Partysan /
Berlin, 1000 Grad / Leipzig, Ox Fanzine,
Leipziger Allgemeine Zeitung, Berliner
Morgenpost, 030, Tip, Berliner Zeitung /
Magazin, Jeans & Casuals, La Cronica (MX),
Pulse (MX), Sputnik (MX), Subculture
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[03] Flyer-Bausteine
Die Bausteine
Jeder Flyer enthält bestimmte Informationstypen, die sich nach dem Baukasten-Prinzip
beschreiben lassen. Die nachfolgend genannten Bausteine machen zusammen genommen den typischen
Flyer aus:
Team: Die Veranstalter.
Motto: Name der Veranstaltung und/oder begleitender Spruch.
Akteure: Das Angebot: Disc Jockeys, Live Acts, Animation etc.
Visual: Abbildung oder Grafik auf dem Flyer oder die Form des Flyers selbst.
Daten: Die wirkliche Information: Wo – Wann – Wie lange – Wie viel.
Sponsor: Sponsoren-Logos, sonstige Werbung, auch Urheber-Logos.
Die Bausteine TEAM und MOTTO sind die Glieder der Formel "X presents Y". Die AKTEURE begleitet
fast immer der Name ihres Labels oder Stammclubs, bei Mega-Flyern sogar ein Kurztext. Die
DATEN wachsen oder schrumpfen mit dem Umfang der Party. Die SPONSOREN reichen vom lokalen
Plattendealer bis zum Multi, je nach Kommerzialität der Veranstaltung. Viele VISUALS vermitteln
Inhalte der gesamten Ravekultur oder einer bestimmten Stilrichtung.
MOTTO und VISUAL teilen zwei wichtige Eigenschaften: Sie sprechen das Gefühl an und bleiben
im Gedächtnis hängen. Flyermacher kreieren deshalb spezielle Club- oder Event-Logos, die zusammen
mit oder anstelle des Visuals eintreten. Metalheadz und Mayday sind bekannte Logos, Masquera-
de ein weniger bekanntes. Flyer research DER PARTY-FLYER ALS KOMMUNIKATIONSMEDIUM
17
21 NARCOTIQUE,1996, UPLINK FACTORY, TOKYO, JP
19 MAYDAY - THE JUDGEMENT DAY, 1993, WESTFALENHALLE, DORTMUND, D
20 MASQUERADE 2, 1995, OSTSTADTHALLE, KARLSRUHE, D
17 PROTOTYPE, 1998, MS CONNEXION, MANNHEIM, D
18 METALHEADZ - THE SUNDAY SESSIONS, NO YEAR, BLUE NOTE, LONDON, UK
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Nicht alle Bausteine müssen auf jedem Flyer vorhanden sein. Underground-Parties
haben in der Regel keinen Sponsor. Eine Weganleitung sieht man z.B. auf Mega-Flyern
(die sich an Leute aus verschiedenen Regionen wenden) oder Waldparty-Flyern, aber
normalerweise nicht auf Stadtclub-Flyern, es sei denn man befindet sich in einer Megacity
wie Tokyo (Narcotique). Größe und Qualität der Bausteine richten sich nach der
Funktion des Flyers: je kommerzieller die Party und fetter der Flyer, desto umfangreicher
die AKTEURE, DATEN und SPONSOREN bei identischem CLUB und MOTTO.
Die Bausteine im grafischen Raum
Wo und wie werden die Bausteine auf die
grafische Fläche platziert? Das hängt davon
ab, ob der Flyer ein- oder beidseitig bedruckt
ist. Der einseitig bedruckte Flyer lässt sich
entlang von zwei Dimensionen beschreiben, die
für die Komposition visueller Texte überhaupt
von Bedeutung sind (Kress & van Leeuwen
1996). Die vertikale Achse verbindet die Gegenpole
des "Ideals" und der "Realität". Das Ideal 9
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01
03
05
07
02
04
06
08
funker und flyer
01/02 YA1HD, AFGHANISTAN, KABUL
03/04 XT2AT,OBERVOLTA, OUAGADOUGOU
05/06 K1GVW, USA, STONEHAM
07/08 PT2TG+PT2TF, BRASILIA, BRASIL
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13
15
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On the History
of Handbills
1. Foreword
A definition and analysis of flyers can be found in the text by
Jannis Androutsopoulos in this book. This essay is intended as a
brief outline of the history of handbills – from subversive pamphlets
to party flyers.
It is of course impossible to mention every handbill ever printed
anywhere, and this essay is not intended as a comprehensive
study of handbill literature. Due to the abundance of data – both
the number of handbills and the many reasons for printing them
– the subject cannot be handled in anything other than a highly
selective manner.
The main focus will be on Western states, due among other
things to the fact that printing was invented by Gutenberg, that
acid house was born in Chicago, and that the illegality of raves
and the like in Britain led key developments in party flyers to
occur there. It should also be noted that the means of production
that enable the kind of aesthetic development seen in flyers
are available and affordable above all in wealthy states.
A formal definition of handbills is offered by Ulrich Bach: onesheet
texts are handbills, while pamphlets consist of several
pages. (CF. BACH 1997, PP. 24F.) To further distinguish between handbills,
flyers and advertising handouts: handbills most commonly
free, non-commercial material informing about or commenting
on current events; advertising handouts are commercial by
nature; and (party) flyers may fit either of these descriptions.
(CF. KIRCHNER 1974, PP. 7FF., AND LANDEN 1998/99, P. 5)
Jörg Landen lists nine properties of handbills: they are to be
understood here as typical rather than required features, i.e.
they do not all have to apply for every handbill:
1. location-independent reception: handbills can be taken away
to read later. This distinguishes them from posters.
Curiously, the same printed sheet is sometimes stuck up as
a “flyposter” and handed out as a “handbill”.
2. short and sharp, keeping to the essentials
3. can be moved fast
4. cheap to produce
5. close links to affairs of public life and the demands of the day
6. can be refused
7. does not appear periodically
8. addresses a broad public and is publicly accessible
9. in general, only one subject is dealt with per handbill, unlike
mass media such as newspapers that always have multiple
features”. (LANDEN 1998/99, P. 5)
As far a distribution is concerned, handbills can be left in specific
places (bars, record shops, stations, universities, etc.),
delivered personally (from hand to hand), dropped from airplanes,
or sent by post by mass mailing or addressed to specific
individuals. (CF. LANDEN AS ABOVE AND THORNTON 1996, P. 141)
2. Conditions for Making Multiple Copies
The technical conditions for mass copying of handbills were fulfilled
by the invention of the printing press by Gutenberg in the
15th century.
Before Gutenberg’s development of moveable metal type, books
copied by hand were reserved for use by a restricted circle of
people. As the demand for books increased, however, the copying
procedure and printing of woodcuts became too expensive,
too time-consuming, and too complicated. Using moveable type,
printers ink and a printing press, the duplication of news, messages
and programs finally became accessible to the emancipated
Third Estate.
As well as representing a more economic method of printing
than woodcuts, Gutenberg’s invention was thus also highly
important in political and social terms (CF. KIRCHNER 1974, PP. 7F, AND
LANDEN 1998/99, P. 3F). One consequence of this was the emergence
of handbills and pamphlets as historical sources of great significance;
they have been and continue to be produced in greater
numbers in times of cultural, social and political upheaval: revolutions,
wars, etc.. Today, however, the high output is unrelated
to such upheaval. (CF. HAARMANN 1998, KIRCHNER 1974, PP. 7-38, AND LAN-
DEN 1998/99, PP. 3FF)
3. Social, political and cultural turning points
3.1 Up to 1945
The use of handbills in active military combat began with Napoleon,
if not before. They were used to strengthen the morale of
one’s own troops and to weaken, demoralize, and mislead the
enemy. In the Franco-Prussian war of 1870/71, they were dropped
from the air for the first time, from hot air balloons. Later,
grenades and airplanes were used. (CF. KIRCHNER 1974, P. 7F)
This type of warfare was systematized during World War I, with
the added aspect of boosting morale on the so-called home
front, i.e. among the civilian population, for example in the form
of propaganda concerning enemy atrocities.
In the years between the end of World War I and the Nazis’ rise
to power, handbills played a minor role, serving primarily as a
tool in election campaigns and in advertising. This reduction is
due to the publication in the press of opinion/editorial pieces and
readers’ letters. (CF. HUELSENBECK 1991 AND LANDEN 1998/99, P. 3FF)
In totalitarian states, the lack of freedom of the press meant
that subversive handbills were a much-used form of criticism.
During World War II, not only were billions of handbills and leaflets
distributed by opponents of the war, but the handbill also
proved an adequate means for forbidden parties and politically
suppressed groups to communicate with the public: they could
be produced in comparative privacy and were relatively easy to
transport and distribute.
The best known example of underground publishing, that has
e featured in a movie, took place on February 18, 1943, when
leaflets produced by the anti-fascist White Rose group fluttered
d into a roofed courtyard at Munich University. Shortly after,
zur geschichte des flugblatts
six members of the group were executed. (CF. KIRCHNER
1974, P. 7-38; LANDEN 1998/99, P. 3FF)
3.2 Political pamphlets: 1945 to the present
Political pamphlets also played a negligible role in Germany
in the early postwar years and at the start of
the ‘Economic Miracle’. This changed with the protest
movement at schools and universities, mainly during the
1960s.
Students demonstrated on the streets of West Germany
for the first time on December 18, 1964. (It was several
years before the situation escalated.) On February
5, 1966, the police used truncheons against demonstrators
for the time in front of the ‘Amerika Haus’. On
June 2, 1967, a Sergeant Kurras shot dead the student
Benno Ohnesorg while policing a demonstration against
a visit by the Shah of Iran.
Up to this point, political handbills dealing with university
matters or the emergency laws had been addressed
primarily to students. This situation now changed fundamentally,
with the beginning of an extensive leafleting
campaign. Students, as well as other groups outside
the universities (e.g. schoolchildren), tried to inform or
even educate the public. Countless handbills dealt with
current social and political issues. (CF. BRUNOTTE 1973)
The marriage of handbills as a medium with music and
youth culture may date from this period. Whereas initially,
with the rise of the rock’n’roll DJ in the 1950s,
they promoted concerts and other events, the 1960s
saw the beginning of a link between handbills and pop
culture. The original form of the party flyer probably
emerged during those years (CF. LANDEN 1998/99, P. 6, AND
POSCHARDT 1995, PP. 52–61): from 1966, for example, simple
handbills were made to promote Andy Warhol’s “mixed
media shows” with acts including the Velvet Underground,
Nico and Edie Sedgwick. (CF. BOCKRIS/MALANGA
1988, PP. 8FF) At around the same time, “events during
the rock boom in San Francisco were promoted using
hand-drawn posters that were often also reduced to
postcard format”. (LANDEN 1998/99, P. 6)
Since the turning point in the 1960s - and thanks to
very cheap and simple duplication by photocopying -
political pamphlets have become an established part of
life: they are found wherever their makers sense the
spirit of subversive opposition and/or people they wish
to convert - a legitimate goal and, in democracies, a
legal one (with certain limitations). They play an important
role in group communications and in the spread of
information that is unable or not allowed to find its way
into mass media.
It is striking that even today, political pamphlets of this
kind are not especially appealing. One accusation leveled
at the student movement of the late ‘60s is that this
was due to the jargon of the various factions. In her
study, Barbara Brunotte comes to the conclusion that
this criticism is often based on little more than resentment
against the political orientation in question and an
aversion to the use of foreign words. (CF. BRUNOTTE 1973)
It is striking that even today, political pamphlets often
not especially appealing. As in the past, on superficial
examination, one might suspect a positive reluctance
to design political pamphlets. But there may be several
reasons for this reduction to the bare information.
Andrian Kreye observed that in New York, design is
o looked after by the person with the best computer
hard- and software, which is not necessarily accompanied
by any great interest in graphic design. (CF. KREYE
2003) Also, a certain urgency and, especially, limited
funds only allow for pamphlets with a simple visual
design. According to Hitzler, the presence of design
competence in political groups is documented, among
other things, by websites, that are subject to comparatively
low production costs. (CF. HITZLER ET AL. 2001, PP.
149–161)
In the following, politically motivated groups and political
pamphlets will cease to be the main focus. We will be
turning our attention instead to handbills as a medium
in the context of youth culture and music, where an key
aesthetic development emerges.
3.3 Punk flyers
The advent of the punk movement roughly coincided with
the invention of the black and white photocopier (1975).
The exact nature of punk, then or now, cannot be pinned
down here, and maybe it never will. Significantly,
other genres like industrial and new wave also emerged
in the second half of the 1970s, added to which many
bands of this period are hard to classify at all.
As Jello Biafra saw it, for example, bands like Television,
The Avengers and Devo were punk because there
had been nothing like them before. (CF. TURCOTTE/MILLER
1999, P. 8)
One motif among punk/new wave figures of the first
generation was a firm rejection of anything perceived
as established or traditional. Or as Frank Fenstermac
said in an interview, what interested him about the
punk aesthetic was the revaluation of values.
As mentioned above, photocopying has the advantage of
being cheap, simple, and fast; the new technology also
had technical shortcomings that were actively accepted.
(CF. LANDEN 1998/99, P. 5F, AND. POSCHARDT 1995, P. 205FF)
J Biafra talks about this: “A good punk flyer will grab
19

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BERLIN
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Schweiz
switzerLAND
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Den Sponsoren und Partnern
Lutz, Carhartt Europe
Mehdi Bouyakhf, Nike Deutschland
Stefan Deeken, Holsten Brauerei
Mathias Paetzelt, Katrin Zywietz at Eastpak
Ben de Biel, Maria am Ostbahnhof
Hein C. Gindullis ‚ Cookies
Dimitri Hegemann, Tresor
Marc Wohlrabe
Ramin Bozorgzadeh, Groove Attack
Thomas Lenz, Mode...Information
Birgit, Gerriet Schultz, Atilano González at WMF
Catia Tessarolo, Graphicom
Mathias Meyer, David Lopes, Mo Cohen at Gingkopress
Klaus Farin, Archiv der Jugendkulturen
Besonderer Dank gilt der Kulturstiftung des Bundes
Andreas Heimann und Dr. Fokke Peters / Halle a.d. Saale
Den freundlichen Mitarbeitern der angefragten Unternehmen
und all unseren Gastgebern und Pressemenschen in den letzten 8 Jahren !
allen Autoren und den Sammlern und Beiträgern
Marco Microbi, Alexandra Eszl, John Boerger, Holger Bangert, Mark Stolz, Honza Taffelt, Harald
Westhaus, Peter Krell (Suct), Uli + Ela, Claire Koch, Svend Buhl, DJs Bass Dee, Feed (Hard: Edged),
Ralf (Suicide), Bastian (Toaster), Antye Weitzel, Brains, Jim Avignon, Patrick Zollinger, Tilo Weiser,
Inga Königsstadt, Dirk (No Ufos), Andreas und Dirk (Neue Berliner Initiative / Kyborg Bar), Deutsches
Flyerarchiv (Gelnhausen), Jörg Sundermeier (Partysan Berlin), Wulf Gäbele (Trinidad Trier-Dortmund),
Carsten Helmich (FZW Dortmund), Raik Hölzl (Kitty Yo Int.), Spiral Tribe, Uwe Reineke (Planetcom
/ Interference), Nature One, Die Gestalten, Pyro Design, Christoph Tsha‘ba, Klaus Kotai (Elektro
Musik Depeartment), Sensor, Marc Wohlrabe, (Archiv Flyer), Samuel Troll (Flyer Berlin), Taifun (Shedhalle),
Markus Weisbeck (Surface), Dan Suter (Echo Chamber), Unique, Xplizit, Klaus Löschner (Frisbee
Tracks), Liquid Sky Cologne (Elektrobunker), Uwe Husslein (PopDom), Dr. Androtsoupulos (Flyer
Research), Klaus Farin (Archiv der Jugendkulturen e.V., Marc Busse (Destillery Leipzig / 1000 Grad),
Antye Ludwig (Sage /Yaam), Luka Skywalker (Radio FSK / Neid), Helge Birkelbach (YOC / Flyer), Gabriele
Lipp, Olian (Zora Lanson), Jana (Glam + Club Med), Christa Biedermann, Ed Marcinewski (Supersphere,
Chicago), Zane und Ole (Betalounge), Kate Specht (Mint, Berlin), Claudia Z, Norbert (Ostgut),
Martin (Goldmund), Schöne Welt, Gomma, Meteosound, Destillery Leipzig, Shrinking Cities, Wabi
/ Toronto, Ghostly, Mame McCutchin und viele andere Sammler, Freunde, Grafiker, Clubs !
sorry wenn nicht namentlich erwähnt.
and my sweet team and support gang that made it possible.
ANHANG
UR SOZIOTOPE
Scan + Archiv Team
Harald Westhaus (Leitung Scan)
John Boerger (Leitung Archiv)
Charlotte Wiese
Helene Altenstein
Dorothea Lemme
Andreas Hillebrand
Therese Giemza
Natsuko Mizushima
Christian Mann
Bianca Bode
Aik Meier
Julian Friesel
Charlotte Wiese
Katharina Beese
Klaus Zimmermann
Roman Freytag
Helene Altenstein
Lydia Schneidewind
Susann Winkler
Undine David
Alexandra Tratzki
David Friedrich
Alexandra Eszl
Stephanie Offhaus
Redaktion
Oliver Schweinoch
Anett Frank
Oliver Ilian Schulz
Marta Jecu
Violetta Donhöffer
Lektorat
Manuel Bonik
Violetta Donhöffer
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Office + Orga
Katharina Reimer
Rudolf Kirch
Penko Stoitschev
Susann Winkler
Technik
Thomas Sarkadi (PC und Web)
Michael Hempel (PC)
Alexeij Schön (Video)
Übersetzung
Nicholas Grindell
Zusätzliche Übersetzungen:
Matthew Heaney
Athena Miller
Peter van der Loo
Alena Williams
Moritz Mattern
Layout und Design
Brigitte Speich und Markus Wohlhüter, substratdesign (Leitung)
Fubbi Karlsson, Ministry of Information
Critzla und Honza Taffelt, Pfadfinderei
Paul Snowden
Gösta Wellmer
Reto Brunner
Natalie Körber
Doreen Sudrow, Eastendgirl
Karoline Cerny
Karen Strempel, Underfrog
Rolf Karner
Benjamin Hickethier
Markus Schenk
Amélie Mittelmann
Björn X
Internet
Thomax Kaulmann
Alfred Himmelweiss
Claudia Z
ANHANG
Fotos
John Boerger
Dirk Plamböck
Hans Reuschl
Mike Riemel
Marco Reckmann
Impressum
Originalausgabe
(c) 2005 Archiv der Jugendkulturen Verlag KG, Berlin
in Zusammenarbeit mit dem Verlag Thomas Tilsner
Alle Rechte vorbehalten
Herausgeber: Mike Riemel
Archiv der Jugendkulturen e.V.
Fidicinstraße 3
10965 Berlin
Tel.: 030 - 694 29 34
Fax: 030 - 691 30 16
www.jugendkulturen.de
Vertrieb für den Buchhandel:
Verlag Thomas Tilsner
Umschlaggestaltung und Layout: substratdesign
Druck: Graphicom / Italien
Die Deutsche Bibliothek - CIP-Einheitsaufnahme
Der Titeldatensatz für diese Publikation ist bei der Deutschen
Bibliothek erhältlich
ISBN 3-86546-032-1
ISSN 1439-4316 (Archiv der Jugendkulturen)
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