Difference between revisions of "Zebulon Dread"
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| − | '''DREAD, Zebulon''', stage name of [[Elliot Josephs]] (19**- ) | + | '''DREAD, Zebulon''', stage name of [[Elliot Josephs]] (19**- ). A South African cultural icon (or cultural terrorist, as he describes himself) and writer. A controversial celebrity, known for his political views. Created and performed one-man theatre piece, including ''[[Hotnotsgot]]'' in 2002 and ''[[Otello vannie Kaap]]'' in 2004. |
| − | "''Best known for his politically incorrect satirical self-publication, ''Hei Voetsek!'', published in Cape Town, South Africa between 1997 and 2002. In the first issue of the magazine, the title of which translates loosely "''Hey, get lost!''", Josephs explained, "This magazine is just to say we're out there and we don't buy your shit. It's freedom of expression and the means by which a long-suffering artist becomes an entrepreneur, taking destiny into his own hands and out of the devious honkies who so love control." Written, designed, drawn, Photoshopped and photocopied by Josephs himself, ''Hei Voetsek!'' dissected South African politics, culture, society and sex. The magazine, which railed against everyone from corrupt politicians and conservative Afrikaaners to "darkies with a chip on their shoulders", was written in "Cape Flats taal", a street-smart mixture of English, Afrikaans and slang. Refused by more established publishers because of the nature of the work, Josephs used small, independent black printing firms. He sold the magazine himself on the streets, at book fairs and at art festivals countrywide.''" | + | Wikipedia: "''Best known for his politically incorrect satirical self-publication, ''Hei Voetsek!'', published in Cape Town, South Africa between 1997 and 2002. In the first issue of the magazine, the title of which translates loosely "''Hey, get lost!''", Josephs explained, "This magazine is just to say we're out there and we don't buy your shit. It's freedom of expression and the means by which a long-suffering artist becomes an entrepreneur, taking destiny into his own hands and out of the devious honkies who so love control." Written, designed, drawn, Photoshopped and photocopied by Josephs himself, ''Hei Voetsek!'' dissected South African politics, culture, society and sex. The magazine, which railed against everyone from corrupt politicians and conservative Afrikaaners to "darkies with a chip on their shoulders", was written in "Cape Flats taal", a street-smart mixture of English, Afrikaans and slang. Refused by more established publishers because of the nature of the work, Josephs used small, independent black printing firms. He sold the magazine himself on the streets, at book fairs and at art festivals countrywide.''" [http://en.wikipedia.org/wiki/Zebulon_Dread] |
Latest revision as of 06:45, 2 February 2015
DREAD, Zebulon, stage name of Elliot Josephs (19**- ). A South African cultural icon (or cultural terrorist, as he describes himself) and writer. A controversial celebrity, known for his political views. Created and performed one-man theatre piece, including Hotnotsgot in 2002 and Otello vannie Kaap in 2004.
Wikipedia: "Best known for his politically incorrect satirical self-publication, Hei Voetsek!, published in Cape Town, South Africa between 1997 and 2002. In the first issue of the magazine, the title of which translates loosely "Hey, get lost!", Josephs explained, "This magazine is just to say we're out there and we don't buy your shit. It's freedom of expression and the means by which a long-suffering artist becomes an entrepreneur, taking destiny into his own hands and out of the devious honkies who so love control." Written, designed, drawn, Photoshopped and photocopied by Josephs himself, Hei Voetsek! dissected South African politics, culture, society and sex. The magazine, which railed against everyone from corrupt politicians and conservative Afrikaaners to "darkies with a chip on their shoulders", was written in "Cape Flats taal", a street-smart mixture of English, Afrikaans and slang. Refused by more established publishers because of the nature of the work, Josephs used small, independent black printing firms. He sold the magazine himself on the streets, at book fairs and at art festivals countrywide." [1]
