Fast, Furious and Xerox: the fanzines’ production within the Portuguese punk scene and its evolution in terms of ideology and aesthetics (1978-2013)

Pedro Quintela | Faculty of Economics | Centre for Social Studies | University of Coimbra | KISMIF Project Paula Guerra | Faculty of the Arts | Institute of Sociology | University of Porto | Griffith Centre for Cultural Research | KISMIF Project Coordinator Tânia Moreira | Faculty of the Arts | Institute of Sociology | University of Porto | KISMIF Project

Punk and fanzines

The first fanzines arise in the

decades of 1920-30 associated

with science fiction fans.

However, the production,

distribution and consumption

of fanzines won global

relevance with the emergence

of the punk phenomenon in the

UK and USA, during the 1970s

and 80s.

“Fanzines adopted the DIY, independent approach that punk musicians had espoused. With the rise of newly formed bands came the establishment of impromptu clubs, small, independent record labels and record stores (…). In the same way, fanzines offered fans a ‘free space for developing ideas and practices’, and a visual space unencumbered by formal design rules and visual expectations.”

(Triggs, 2006: 70)

Usually homemade produced with a limited circulation, the fanzines tend to be written and published by punk movement members (individually or collectively), having as their target audience their peers (other punk fans).

As Julia Pine (2006) refers, fanzines are material forms of representation.

These collective and volunteer constructed (editing, contributions and distribution) objects allowed individual to state their social existence and cultural participation, at the same time that materialize a local movement.

As in other dimensions of the punk movement, fanzines’ graphic components play an equally or even a more important role than the written texts.

In fact, very often happens that written and visual components are so deeply mixed that it becomes impossible to develop a separate analysis of these two elements.

The pioneering English punk fanzines of the second half of the 70s (such as Panache, Sniffin’ Clue, Ripped & Tom) gave a decisively contribution to the creation of a specific aesthetic and editorial "language" that turned out to be a sort of "subcultural canon".

In recent decades, this “graphic language of resistance“ (Triggs, 2006) was widespread and globalized leading to the reproduction of a do-it-youself ethic and a certain way of "doing" punk fanzines that still persists today.

As Duncombe (1997) showed, thoughts and personal ethics occupy a central place in this type of self-edited independent publication.

The pages of fanzines often reflect the ideology of their authors by their sociopolitical positioning or in the support for certain causes.

We also see visible demonstrations of a particular taste or aesthetics, for example, in interviews with bands or in certain critical reviews of records and demo-tapes, concerts, movies, books or even other fanzines.

Finally, in some fanzines we find articles with very personal contents, sometimes even of an introspective and intimate nature.

The fanzines are, in short, very rich communication formats in which we find extensive information that allows us to understand a little better how in each historical moment and each specific socio-cultural and territorial context the punk movement was developing.

KISMIF Methodology and Fieldwork

93 Portuguese punk fanzines (some of them with multiple numbers - total 177 fanzines) already scanned and analysed Other fanzines that have been collected and are currently in process of digitizing and cataloguing. Additionally, we conducted 200 in-depth interviews with key actors in the Portuguese punk fanzines where questions concerning the fanzines’ level of production and consumption were put to them.

The Portuguese punk fanzines collection and analysis is a work in progress.

Punk fanzines in Portugal

(1978-2013): a mapping exercise

Evolution of the number of titles of fanzines and number of editions of fanzines between 1978 and

2013, by decade Source: KISMIF NOTE: Some titles of fanzines may have been edited in different years from different decades and were therefore counted in more than one decade.

Number of titles of fanzines

Number of editions of fanzines

1970 2 8

1980 26 45

1990 22 35

2000 31 42

2010 16 41

Total number of fanzines edited between 1978 and 2013, by municipality. Source: KISMIF NOTE: For reasons of presentation, the autonomous regions of Azores and Madeira appear on the NUTS III level (Nomenclature of Units for Territorial Statistics), while continental Portugal is at the municipality level.

The first punk fanzines arise in Portugal in the late '70s, in the Lisbon area.

It is the case of the Desordem Total fanzine, with six numbers, published between 1978 and 1979, and the Estado de Sítio fanzine, edited by Paulo Borges, also a member of Minas e Armadilhas (a pioneer band punk in Portugal), which published at least six number throughout 1978.

Late 70s: the pioneers of punk fanzines in Portugal

Do-it-yourself aesthetic orientation, based on a blend of cut-and-paste techniques, drawing/illustration, handwritten and typed texts, photo manipulation, etc. this period.

We find in these early fanzines essentially a space for a sarcastic comment about the national and international socio-political reality.

The references to Anglo-Saxon punk bands are also frequent, mainly through pictures of bands elements, not always identified.

Late 70s: the pioneers of punk fanzines in Portugal

The 80s: a first boom of punk fanzines in Portugal

Following the development of punk scenes in Portugal, we witness during the 80s a certain proliferation of fanzines although at this stage still largely concentrated in the metropolitan areas of Lisbon and Porto.

The 80s: a first boom of punk

fanzines in Portugal

In this period we can identify relevant punk fanzines such as: Subversão (1982), Subúrbios (1985), Tosse Convulsa (1985), O Cadáver Esquisito (1986), Lixo Anarquista (1986-87), Suicídio Colectivo (1987), Anarkozine (1987), Post Scriptum (1987-88), Morte à Censura (1988) e Culto Urbano (1988-89).

The 80s: a first boom

of punk fanzines in

Portugal

Although the political and social criticism is still crucial, the musical dimension gains a clear relevance from this period; so fanzines become a fundamental space for the dissemination of punk bands, both national and international.

The 80s: a first boom of punk fanzines in Portugal • Articles on punk and hardcore bands (subgenre that in these years, breaks out in Portugal) and also reports on some punk international scenes (Australia, USA, Brazil, Italy, etc.) become frequent in this fanzines.

•Initially this publishers were using essentially secondary sources (such as newspaper articles, press releases, etc.), but gradually they began to incorporate primary data, in general by conducting interviews with punk bands, both national and international.

The 80s: a first boom of punk fanzines in Portugal

• From a graphic point of view, the Portuguese punk fanzines produced during the 80s reflect a certain maturity of their producers.

•Formally we found that in many cases there is a more careful presentation; but many fanzines from this period still maintain an essentially do-it-yourself approach that since the beginning always characterized the punk culture.

The 90s: proliferation, dispersion and diversification

We witness a diversification of punk subgenres addressed in fanzines (which is reflected in the increasing relevance of crust and straight-edge hardcore, for example), but also a greater openness to other underground aesthetics (not only musical genres such as hip hop, reggae-dub or even certain subgenres of electronic music, but also other issues are addressed here, such as skateboarding for example).

The 90s: proliferation,

dispersion and

diversification

New topics gain relevance in fanzines during the 90s: ethical and policy issues related to the anarchist-libertarian ideology, women's rights; vegetarianism/veganism; animal rights; sexism; homophobia; drug use; among others.

The 90s: proliferation, dispersion and diversification

The advent of the personal computer in Portugal that, during the 90s, will become increasingly important became remarkable from the graphical point of view.

So many of the fanzines published during this period show a greater technical precision, moving away from a certain cut-and-paste aesthetic purism that marked the early stages of punk, in Portugal and abroad.

The 90s: proliferation, dispersion and diversification

In this period it is worth mentioning fanzines as Mutante (1992), Grito de Revolta (1992), Crack!zine (1992, 93 e 95), Vontade de Ferro (1994), Atitude Alternativa (1995), Animal Abuser (1995), Golpe Baixo (1996), Global Riot (1996), Insubmissão (1997), Kannabizine (1997), First Step (1998), Out of Step (1996-98), Hope (1998), Bakuzine (1998), Se o «voto é a arma do povo»… (1998), Zona Autónoma Provisória (1999), Convicção (1999), Rebeldia (1999) e Spirit of Youth (1999).

The 2000s: refinement and deepening

Over the last 13 years the production, distribution and consumption of punk fanzines seems to not have slowed.

The 2000s: refinement and

deepening

Among other fanzines edited during this period we may refer to the following ones: Inhumanus (2000), San Bao (2000), Sisterly (2000), Rastilho (2000-02), Vontade de Ferro (2001), Opinion (2001), Wake up and Live (2001), Two Sides (2001), Osso da Pilinha (2002), Suburbano (2002), Acção Directa (2004), X.cute (2005), Crise Social (2005), Mesinha de Cabeceira (fanzine que se mantém em atividade desde os anos 1990, com edições pontuais em 2005 e 2012), Porque Nada se Constrói Sozinho (2006), Backfire (2007), Grita! (2007), Comedores de Cadáveres (2008), Not Just Words (2007-09), A Culpa é da Humanidade (2008-2012), Alambique (2007-2013), O Alfinete (2011-2013), Kaos Urbano (2007, 2010-11), Apupópapa (2010), Núcleo Duro (2012), The Juice (2012), Prego (2013), Möndo Brutal (2011-2013), Jubiladxs (2012), City Lights (2011), Humble: skate zine (2011-12), Overpower Overcome (2009 e 2012), Deflagra (2008, 11-13) e Karapaça (2013).

The 2000s: refinement

and deepening

Although the beginning of the 2000s is definitely marked by the emergence of several online forums, weblogs and e-zines related with the punk scenes which uses the power of Internet for a quick, easy and inexpensive dissemination of punk bands, records, concerts, festivals, etc., the truth is that traditional fanzines, published on paper and distributed in underground circuits, continue to show a strong resilience.

In thematic terms, we can see that in the 2000s fanzines maintained the trend, already observed in the previous decades, of a certain diversification of the musical punk subgenres addressed, as well as an increased openness to the incorporation of other underground aesthetics, not only concerning musical genres but also photography, cinema, comics or cartoons.

The 2000s: refinement and deepening

• In 2000s many articles focus on "historical" punk/hardcore bands, sometimes with some nostalgia (interviews with members of iconic Portuguese punk hardcore bands from the 90s like X-Acto or New Winds, for example).

• This seems to be a major change; it reveals a growing interest among current members of punk scene in Portugal to build up a certain look upon the history and the memories of the scene, which we rarely find in previous decades.

The 2000s: refinement and

deepening

Interestingly, this political dimension reveals both a clearly international dimension and a dimension strongly rooted in local reality.

• Some concerns are generic, relate to the oppressive nature of capitalist society as a whole and do not have a specific connection to a particular territory or community (topics such as the exploitation, capitalism, development, etc.) • On the other hand, there are a range of specific concerns that are strongly linked to a well-defined local context.

Punk fanzines in Portugal (1978-2013): themes, texts

and words

Content analysis of fanzines’ titles Source: KISMIF

No. of fanzines %

A critical, anti-system idea 21 22.58

An idea of contamination 16 17.20

An idea of freedoom 13 13.98

An idea of derision 9 9.68

An idea of self-determination, DIY 9 9.68

An idea of collective, group 7 7.53

An idea of destruction 5 5.38

An idea of belonging to music 4 4.30

Other 9 9.68

Total (N titles) 93 100.00

Content analysis of fanzines’ titles There is a clear importance of the sense of criticism against society and the anti-system positioning of 23 % of the fanzines. This pervasive sense of denunciation of social evil, of being against society and its institutions, and of hopelessness, is in fact one of the key slogans of punk and is translated in our study by the following fanzine titles:

• A Culpa é da Humanidade/‘The Guilt is Humanity’s’, • Alternativa/‘Alternative’, • Anarkozine/‘Anarchozine’, • Dissidentes do Projecto Estatal: insiste!/‘Dissidents of the State Project: insist!’, • Rebeldia/‘Rebellion’, • Crise Social/Social Crisis, • Desordem Urbana/‘Urban Disorder’, • Global Riot, • Insubmissão/‘Insubordination’, • etc.

Content analysis of fanzines’ titles If we add to these, 10 % of titles where the idea of DIY is present, self-determination… Be Yourself, Convicção/‘Conviction’, DIY or DIE! Faz Tu Mesmo ou Morre!/‘DIY or DIE! Do-It-Yourself or Die!’, Not Just Words, Porque Nada se Constrói Sozinho/‘Not Just Words, Because Nothing is Built Alone’, Vontade de Ferro/‘Iron Will’

… we can consolidate the perspective that being punk is to resist doing and is acting on one’s own initiative. Thus, the attractiveness of punk as a form of personal and political expression lies in offering resources to an agency and empowerment via disalienation, a DIY ethos and an anti-status quo alignment.

Content analysis of fanzines’ titles The presence of the idea of contamination (17% of the titles) is nonetheless important, in the sense that the names of fanzines incorporate and assume negative things about society, an effect of contamination by the evils of the society. Some examples are:

• Comedores de Cadáveres/‘Eaters of Cadavers’, • Esporradela Social/‘Social Cumshot’, • Lixo Anarquista/‘Trash Anarchist’, • Cadáver Esquisito/‘The Weird Cadaver’, • Cancro Social/‘Social Cancer’, • Tosse Convulsa/‘Whooping Cough’, • Ressaca Viciosa/‘Vicious Hangover’.

Content analysis of fanzines’ titles Revolt, but also freedom and the search for autonomy is ranked in the third highest position, derived from the analysis of the titles of fanzines (14%) , such as Grito/‘Scream’, Grito de Revolta/‘Scream of Revolt’, Overpower Overcome, Wake up and Live, Zona Autónoma Provisória/‘Temporary Autonomous Zone’. A sense of derision is present in 10% of the titles and points to the ironic use of words, transforming the conventional sense, as in the following titles: Bakuzine/‘Bacchus’ zine’, Campo de Concentração/‘Concentration Camp’, Confidências do Exílio/‘Confidences of Exile’ and O Alfinete/‘The Pin’. The idea of collective, of group, of a united whole are present only in 6% of the titles, the idea of destruction is present in 5% and the idea of belonging to music is present in 4%.

Content analysis of fanzines Affinity and the musical sociability had the largest number of occurrences, demonstrating the importance of music in the formation and operation of a particular punk scene through the following seven items: (1) the reference to bands, (2) the defence of the Portuguese punk music scene, (3) the disclosure of fanzines, radio and concert spaces, (4) the apology for the punk/hardcore/Portuguese skinhead scene, (5) the disclosure of records, labels and distributors, (6) the criticism of punk/hardcore Portuguese scenes, and (7) criticism of concerts, records and books. In contrast to the titles of fanzines, in their contents we can observe a focus on music and its daily celebration and proclamation as an element of the Portuguese punk scene.

Content analysis of fanzines After musical affinity and sociability, celebration and hedonism are the most commonly recurring themes in the sections and pages of Portuguese punk fanzines. This conclusion is based on the evaluation of group identity or musical community and the linking of affections and pleasures. Fanzines normally developed around the establishment of social relations, that is, among operators in the local scenes with emotions based on commitment or assimilation in relation to shared values.

Content analysis of fanzines The third block of themes present in the contents of fanzines that were analysed relates to the defence of an alternative (to systems or criticized behaviours), social criticism and revolt – precisely the themes that relate back to the values and ideals espoused in terms of the titles. We have here the positioning of the resistance that is abundantly attributed to the punks but in the context of its inclusion in the local punk scene and subscenes.

Through this content analysis, we show that the punk continues to enable a counter-hegemonic communication to exist, which faces up to the commodification, appropriation and domestication proclaimed by society. Various means are used to express this resistance: • informal and decentralized social networking sites and tours that allow the flow of records, bands, styles and ideas; • record labels and independent shops; • the DIY ethic and the bands that record and release music on their own; • and the existence of fanzines.

Fanzines allow a counter-hegemonic communication to exist, which faces up to the commodification, appropriation and domestication prevailing in society. Various means are used to express this resistance: • informal and decentralized social networks on the Internet and tours that express the flow of records, fanzines, bands, styles and ideas; • transient record labels and independent shops; • DIY ethics; • and the bands that record and release music on their own.

Final remarks

The fanzine corresponds to the creation of a community of interest and taste, it is assumed to be a sort of low-tech social networking, and this is not confined just to punk. The fanzines are material forms of symbolic representation, and that is how we understand Portuguese punk fanzines, the object of our attention here. Our approach has focused on the analysis of fanzines within the concept of punk scenes, explaining them within a specific societal framework. This is the main implication of the mapping decade of Portuguese punk fanzines. Practices and their inter-relationships are part of the space and linked it with other social processes, which this mapping of Portuguese fanzines has allowed us to observe.

In fanzines, the language conveys a message of ‘resistance’, as these fanzines are represented as places of opposition to mainstream cultural, political and societal order. Thus, fanzines are places of cultural action and of political opposition since their titles evoke a critical view of society and an anti-system positioning. This action is taken by the use of linguistic terms that point to self-determination, derision and social contamination. In a complementary way, in the contents of fanzines we see a focus on music in their daily celebration and proclamation of as an element of Portuguese punk scene: the themes of musical affinity and sociability appear with the highest number of occurrences, demonstrating the importance of music in the formation and operation of a scene with bands, fanzines, the radio and concert spaces, and with records, labels and distributors.

The fanzines are erected as symbols of the intrinsic meanings of a given scene, defining the values, languages and beliefs of social groups. Fanzines allow the existence of a counter-hegemonic communication that resists commodification. Fanzines, for their creators, are seen as a creation that allows them to be part of something with which they share a common basis of understanding, spirit and DIY attitude; that is, a sense of belonging to a community and a pluralistic punk scene.

Thanks!

kismif.geral@gmail.com

http://www.punk.pt/