Ian Goodyer

that could help them negotiate the aesthetic landscape of punk. Given the breadth of RAR’s cultural influences it is clear that the movement did more than simply appropriate punk’s stylistic conventions. Temporary Hoarding is a case in point. Several commentators claim that the RAR journal simply aped the style and format of amateur fanzines, and indeed there is an undeniable influence in terms of typography, imagery and layout. However, the magazine’s designers reject the charge of plagiarism. Syd Shelton and Ruth Gregory make it clear that, c05.indd 119 6

in Crisis music
Abstract only
Class, locality and British punk
Matthew Worley

styles and subcultural forms emerging from the debris.29 But even amongst those who remained avowedly punk, there existed by the turn of the decade a mesh of mutating sub-scenes: the anarchist bands inspired by Crass; the proto-gothic tribes gathered around Siouxsie and the Banshees and the early Adam and the Ants; the hardening punk thrash pioneered by Discharge; the guttersnipe ruck ‘n’ roll of the Cockney Rejects; not to mention the numerous provincial scenes concentrated on local venues, record labels, squats, fanzines and shops. Oi!, then, was rooted in a post

in Fight back
David Ranc

in fanzines)47 and is reasserted periodically by supporters, notably of the national team.48 Women also still seem marginalised within football in England. They are mostly seen as merely one of three elements providing entertainment to the supporter: the ‘booze, betting and birds’ trilogy.49 Ranc, Foreign Players and Football Supporters.indd 16 19/12/2011 14:21:41 Understanding partisan identification 17 Nevertheless, two related insights from Russell are particularly relevant to this study. Russell contends that the local press had a major role to play in the

in Foreign players and football supporters
Smiths fans (and me) in the late 1980s
Karl Maton

, photographs, fans’ own lyrics, and such obscure facts as a list of the words etched on the run-off grooves of The Smiths’ vinyl releases. I also received copies of a host of fanzines, including Smiths Indeed and Colossus (both from England), Coversmiths and Stay Handsome (both from Belgium), Smiths’ Ways (Spain), Hand In Glove (Switzerland), Fragile et Mystique (France) and Forever Ill? (USA). Fans who answered the advertisement were sent a series of questions about the basis of the appeal of The Smiths, the ‘average’ Smiths fan, the influence of the band on the fan’s views

in Why pamper life's complexities?
Rich Cross

(SWF),11 later acknowledging that ‘syndicalism in this country has not really existed since the early 1920s’.12 Early editions of the Direct Action newspaper had an irreverent style and the cut-and-paste design motif of a punk fanzine, only later adopting a more sober tenor for its industrial reportage. The more high-profile Black Flag newspaper which had been founded by Albert Meltzer and Stuart Christie in 1970 (initially entitled Bulletin of the Anarchist Black Cross, to emphasise its focus on anarchist prisoner support), stood firmly within the ‘revolutionary

in Against the grain
Abstract only
Nick Crossley

importance and a role which many would like to deny it. Punk was a catalyst, battering a hole in the walls of the popular music world, creating opportunities and encouraging widespread participation. It persuaded people who would never have believed they could form a band to do so, and others to promote gigs, write fanzines and form independent record labels. It gave rise to an alternative music world on the margins, unconstrained or at least less constrained by the commercial imperatives of the mainstream. And in the context of post-punk in particular, this facilitated a

in Networks of sound, style and subversion
Spanish horror film in the marketplace
Antonio Lázaro-Reboll

Zineshock , a 1990s fanzine devoted to trash and gore cinema, and author of two experimental shorts, treading avant-garde and exploitation territory ( Alicia (1994) and Días sin luz (1995)), Balagueró was a ‘horror auteur’ in the making. The branding of Darkness relied on two names: Filmax International (which at that time was establishing itself as a producer of commercial genre films) 8 and Jaume

in Contemporary Spanish cinema and genre
Post-political pop
Steve Redhead

readers either stupefied at the language that is used, or just plain bored. The partial shift of Melody 121  122 The end-of-the-century party Maker in the mid-​1980s from macho weekly to a more wordy, serious paper was largely due to the recruitment of young writers from the Oxford-​University-​based fanzine Monitor which we discussed in Chapter 4 as representing a monument to experimental writing on pop theory in the earlier part of the decade. The readers’ letters column in Melody Maker in the period from 1985 to 1987 is a testament to the mixture of bewilderment

in The end-of-the-century party
Abstract only
Torino and the Collettivo Punx Anarchici
Giacomo Bottà

for something to do: The Collettivo started organising these gigs and they were crowded. In the city there was nothing going on, no one knew the bands that were playing, they were teenagers, but we were still going on stage in front of 4–600 people. At one famous gig, I don’t remember, I think in February ’83 with MDC from San Francisco, there were nearly a thousand people there.13 By 1983, compilation tapes and fanzines were circulating around the city. It was the release of Declino’s debut EP (1983), however, that represented the Collettivo’s first (and last

in Fight back
The relational character of subcultural ideology in the case ofCzech punks and skinheads
Hedvika Novotná and Martin Heřmanský

-Nazis. At the risk of overstatement, both subcultures advanced from ‘adolescence’ to ‘early adulthood’ in the 1990s, through which their subcultural ideology of mutual differentiation was overcome. Punks and skins each reacted and responded to their distorted media image, leading to a growing emphasis on the ‘traditional’ form and roots of their respective subculture. An interest in the origins and history of the subcultures was evident, with fanzines giving space to debate as to their character in Czechoslovakia, the Czech Republic and Slovakia as compared to in the West

in Fight back