Description

1534: John of Leyden proclaims himself the Favorite of Heaven, runs naked through the streets of Munster, Germany, and forms a society free of laws or private property. 1976: John Lydon proclaims himself an “antichrist,” helps launch a movement to “destroy passersby,” and permanently changes popular culture. Coincidence? In Lana Lesley’s graphic adaptation of the Rude Mechs’ stage adaptation of Greil Marcus’s text, Dr. Narrator and the Sex Pistols’ manager Malcolm McLaren recount an alternative history of the 20th century via the Sex Pistols, the Cabaret Voltaire, the May ’68 riots, and a handful of medieval heretics. Lipstick Traces is a graphically gritty and intellectually nervy rendition of a theatrically irreverent and physically ecstatic production of a history of “movements in culture that raised no monuments…movements that barely left a trace.”

Rude Mechs’ Lipstick Traces

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£15.46

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Paperback / softback by Lana Lesley , Lana Lesley

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Short Description:

1534: John of Leyden proclaims himself the Favorite of Heaven, runs naked through the streets of Munster, Germany, and forms... Read more

    Publisher: 53rd State Press
    Publication Date: 17/10/2019
    ISBN13: 9780981753324, 978-0981753324
    ISBN10: 0981753329

    Number of Pages: 80

    Fiction , Graphic Novels & Manga

    • Tell a unique detail about this product12

    Description

    1534: John of Leyden proclaims himself the Favorite of Heaven, runs naked through the streets of Munster, Germany, and forms a society free of laws or private property. 1976: John Lydon proclaims himself an “antichrist,” helps launch a movement to “destroy passersby,” and permanently changes popular culture. Coincidence? In Lana Lesley’s graphic adaptation of the Rude Mechs’ stage adaptation of Greil Marcus’s text, Dr. Narrator and the Sex Pistols’ manager Malcolm McLaren recount an alternative history of the 20th century via the Sex Pistols, the Cabaret Voltaire, the May ’68 riots, and a handful of medieval heretics. Lipstick Traces is a graphically gritty and intellectually nervy rendition of a theatrically irreverent and physically ecstatic production of a history of “movements in culture that raised no monuments…movements that barely left a trace.”

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