Against the corporate voice
Caroline Coon

reject the idea – amplified by the corporate voice – that popular culture is without skill or that the heights of artistry are only for posh people. Natural talent is classless. However, most teenagers in all popular counterculture movements have to start off doing it themselves, making their art with limited means. For me, the relative lack of skills in teenage punk bands I wrote about in 1976 was an expected phase of youth artistic development: the lack of skill was not a principle. I understood Mark Perry – Mark P – when he announced in the first punk fanzine

in Working for the clampdown
Whatever happened to the new bohemia?
Steve Redhead

coined by John Peel. According to the writers and fanzines who acted as spokespersons for shambling bands, some of them at least could be categorised together for a number of reasons, especially because of their emphasis on the 1960s, childlike innocence and a ‘refusal to grow up’. Simon Reynolds, shambling’s most articulate and provocative media defender, argued in 1986 that: The ‘shambling hands’ have widely diverging influences  –​ranging from Sixties garage and psychedelia to the Velvet Underground to the thrash-​pop of the Buzzcocks and Ramones to spiky indie

in The end-of-the-century party
The milieu culture of DIY punk
Peter Webb

and through articles in papers and fanzines. Crass, punk and class George McKay was one of the first academic writers to take the Crass phenomena seriously. As his starting point, he cited one of the only references to Crass in the existent scholarly writing about punk: Jon Savage’s England’s Dreaming (1991): Their Feeding of the Five Thousand (Small Wonder, EP, 1978) was the first of a sequence of media (records, slogans, books, posters, magazines, films, actions and concerts) so complex that they deserve a book to themselves, and so effective that they sowed the

in Fight back
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The art of contradiction
Jacopo Galimberti, Noemi de Haro García and Victoria H. F. Scott

even a joke. Could one at once be a Maoist and poke fun at Mao’s cult? This is the central issue explored in Jacopo Galimberti’s chapter ‘Maoism, Dadaism and MaoDadaism in 1960s and 1970s Italy’, which investigates aspects of Italian Maoism as they were played out in four publications: the hardline newspaper Servire il Popolo, the counter-cultural magazine Re Nudo, the intellectual periodical Che Fare and the fanzine A/traverso. By 1976, some Italian militants were advocating a new form of Maoism that conflated pop culture, autonomist Marxism, Gilles Deleuze’s and

in Art, Global Maoism and the Chinese Cultural Revolution
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Broadcast networks, media and moral panics
Nick Crossley

the forbidden upon it. They made life difficult for the Sex Pistols, who lost their recording contract and could not find UK venues in which to play. And this affected other punk bands too, prompting some to opt for a ‘new wave’ rather than a ‘punk’ tag (see Chapter 1). But their protests and outrage made punk very exciting and allowed it to jump from the relatively limited transmission networks of interpersonal contact, punk fanzines and the specialist music press to the national press, generating adherence within constituencies who might otherwise have remained

in Networks of sound, style and subversion
Isabella van Elferen

mainstream. But the scene’s practical relation to these forces is rather more ambivalent than the ideological rejections of Manson or baby Goths suggest. Goth has relied on its own media and economies since its early distribution of (self-made) fanzines and trade of (vintage) clothing. 2 The rise of the internet facilitates a huge online economy of subcultural goods, and has thereby expanded the

in Globalgothic
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The Clash, Bologna and Italian punx
Giacomo Bottà and Ferruccio Quercetti

‘organised to fuck us up’ and as an instrument ‘to gather votes’ and ‘ingratiate the youth masses’. The flyer also makes reference to the mainstream media attempt to normalise punk and its disruptive power by analysing and dissecting it. In opposition to all this, Bolognese punks propose to start a fanzine with interviews and reviews of punk bands (such as Crass, Eretics [sic], Epileptics and Crisis) and articles about Italian bands and DIY methods of clothing and hairstyling. The flyer ends with a plea to punks all over Italy to collaborate, write, start a band and keep

in Working for the clampdown
Thomas Ligotti and the ‘suicide’ of the human race
Xavier Aldana Reyes and Rachid M'Rabty

appeared in the United States in 1986 in a limited edition of 300 copies, published by Silver Scarab Press. The stories had been published in horror fanzines such as Nyctalops , Fantasy Tales and Fantasy Macabre throughout the 1980s. 2 In interviews throughout the years, Ligotti has spoken, sometimes at length and earnestly, about his various ailments, including panic-anxiety disorder, anhedonia and, more recently, a severe attack of diverticulitis, as well as of the effects these have had on his literary production. Mood stabilisers have

in Suicide and the Gothic
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David Ranc

sources of information instead, such as the internet, radio, television, and for the older generation, fanzines. This resentment and disaffection are nevertheless fairly weak (especially if compared to PSG). Journalists have already registered that the press is nowadays only one source of information among others and act accordingly. Indeed, according to Matt Scott, the goal of a newspaper nowadays is ‘to inform and stimulate the dialogue among fans happening on internet forums’. It therefore appears that the English press, tabloids and broadsheets alike, are actually

in Foreign players and football supporters
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A review of existing accounts
Nick Crossley

ties with one another. Notwithstanding stylistic differences between some a collective identity began to emerge. This identity became a specifically ‘punk’ identity when the CBGB bands, along with the Stooges and the MC5 (both from Detroit), were named as such by Legs McNeil, John Holstrom and Ged Dunn, in their fanzine, Punk, which ran for fifteen issues between 1976 and 1979. The term ‘punk’ had first been used in relation to music in CREEM, to refer to bands who were rejecting what music journalists perceived to be the polish and pretension of contemporary music

in Networks of sound, style and subversion