Jacopo Galimberti

Maoism, Dadaism and Mao-Dadaism in 1960s and 1970s Italy Jacopo Galimberti The presence of a problem in society, the solution of which is conceivable only in poetic terms. A social command. Vladimir Mayakovsky, How are Verses Made? (1926)1 In February 1977, a group of far-left activists published the first issue of a fourpage fanzine entitled Finalmente il Cielo è Caduto sulla Terra: La Rivoluzione (The Sky has Finally Fallen to Earth: The Revolution) (Illustration 11.1). On the first page, the authors announced their project: launching a weekly magazine that

in Art, Global Maoism and the Chinese Cultural Revolution
Toxic Grafity’s punk epiphany as subjectivity (re)storying ‘the truth of revolution’ across the lifespan
Mike Diboll

, honoured, to be there. He was staggered to witness the world that Mike D had once dreamed about, fantasised about, fanzined about, actually actualise before his eyes: vast numbers of individuals en masse self-organising autonomously, bypassing the state and state structures Toxic Grafity’s punk epiphany -205- to fulfil their everyday needs; becoming one great collective entity expressing powerfully a unified revolutionary will, defying the military, taunting the riot police to occupy public space in the name of the revolutionary overthrow of the detested regime

in Ripped, torn and cut
An interview with Jon Savage
Matthew Worley

Afterword The cultural impact of punk: an interview with Jon Savage Matthew Worley Among the numerous accounts of punk’s origins and early development that now exist, Jon Savage’s England’s Dreaming (1991) is peerless. Combining sharp critical analysis with participatory insight, it locates British punk squarely within its socio-economic, cultural and political context. Indeed, Savage’s reading of punk may be traced back to his 1976-produced fanzine London’s Outrage, which interspersed media clippings and pop cultural references with an essay forewarning Britain

in Fight back
Abstract only
David Annwn Jones

career of Black Sabbath, the first posters for Goth rock groups had a DIY style evolved from Punk fanzine art; the posters were often hand-made with jagged lettering drawn in pen, with xeroxed pictures and split or ripped motifs and sometimes influenced by German Expressionist art and films like Robert Wiene’s The Cabinet of Dr Caligari , as in the case of the group Bauhaus’s early publicity. A good

in Gothic effigy
Youth, pop and the rise of Madchester
Author: Steve Redhead

Madchester may have been born at the Haçienda in the summer of 1988, but the city had been in creative ferment for almost a decade prior to the rise of Acid House. The End-of-the-Century Party is the definitive account of a generational shift in popular music and youth culture, what it meant and what it led to. First published right after the Second Summer of Love, it tells the story of the transition from New Pop to the Political Pop of the mid-1980s and its deviant offspring, Post-Political Pop. Resisting contemporary proclamations about the end of youth culture and the rise of a new, right-leaning conformism, the book draws on interviews with DJs, record company bosses, musicians, producers and fans to outline a clear transition in pop thinking, a move from an obsession with style, packaging and synthetic sounds to content, socially conscious lyrics and a new authenticity.

This edition is framed by a prologue by Tara Brabazon, which asks how we can reclaim the spirit, energy and authenticity of Madchester for a post-youth, post-pop generation. It is illustrated with iconic photographs by Kevin Cummins.

RE/Search Publications, the bookshelf question and ideational flow
S. Alexander Reed

Punk-informed fanzines covered more than just music. Taking the US publication Re/Search as an example, S. Alexander Reed examines how zines served as cultural conduits to radical literature and radical ideas. Indeed, Re/Search proved crucial to disseminating the intellectual foundations of industrial culture.

in Ripped, torn and cut
Irish republican media activism since the Good Friday Agreement
Author: Paddy Hoey

Newspapers, magazines and pamphlets have always been central, almost sacred, forms of communication within Irish republican political culture. While social media is becoming the primary ideological battleground in many democracies, Irish republicanism steadfastly expresses itself in the traditional forms of activist journalism.

Shinners, Dissos and Dissenters is a long-term analysis of the development of Irish republican activist media since 1998 and the tumultuous years following the end of the Troubles. It is the first in-depth analysis of the newspapers, magazines and online spaces in which the differing strands of Irish republicanism developed and were articulated during a period where schism and dissent defined a return to violence.

Based on an analysis of Irish republican media outlets as well as interviews with the key activists that produced them, this book provides a compelling long-term snapshot of a political ideology in transition. It reveals how Irish Republicanism was moulded by the twin forces of the Northern Ireland Peace Process and the violent internal ideological schism that threatened a return to the ‘bad old days’ of the Troubles.

This book is vital for those studying Irish politics and those interestedin activism as it provides new insights into the role that modern activist media forms have played in the ideological development of a 200-year-old political tradition.

Post-subcultural pop
Steve Redhead

sitting glued to daytime television with its endless repeats of 1970s series is wryly parodied by bands such as Half Man, Half Biscuit, where the song ‘I Hate Nerys Hughes (From The Heart)’ took on the status of a political rallying cry. Having achieved independent chart success on the Probe Plus label, the band members went back to the dole determined to write a football fanzine for Third and Fourth Division League clubs, especially their beloved Tranmere Rovers. The band’s most celebrated moment was indeed their refusal of a spot on Channel 4’s pop show of the time

in The end-of-the-century party
Mark Doidge, Radosław Kossakowski and Svenja Mintert

group solidarity. This chapter argues that social media provides an important platform for these collective performances through continued interaction away from the match. It outlines the role social media has in the commercial transformation of football as clubs seek to maximise their market. Official websites and social media present a stylised representation of the club. Like fanzines before it, social media has democratised fandom somewhat and enables all fans (with access to the Internet) to contribute to debates and voice their opinions. Despite this supposed

in Ultras
British DIY punk as a form of cultural resistance
Michelle Liptrot

the Do-it-Yourself (DIY) self-production ethic of 1970s punk, whereby participants followed in the DIY tradition of jazz, skiffle and the sixties counter-culture to produce their own music, visual style and media (in the form of fanzines).7 Another important aspect of the DIY ethic in punk was that bands were (and remain) audience members, underlining punk’s participatory nature and conveying a sense of egalitarianism. This DIY ethic was developed during the 1980s by British anarcho and American hardcore punk, both of which placed greater emphasis on DIY activities

in Fight back