Bestley Binns The evolution of an anarcho punk narrative, 1978-84 (original) (raw)

2018, Ripped, Torn and Cut: Pop, Politics and Punk Fanzines from 1976

From its inception, punk, as articulated through its fanzines, was anti-elitist; positioning itself against self-indulgent, outmoded rock stars and the pretentions of rock journalism. 1 Pioneering punk zine Sniffin' Glue (July 1976) and those that immediately followed 2 sought an authentic form of expression to relate directly with 'disaffected kids' who comprised the demographic of punk subculture. Against the hierarchical structure inherent in mainstream media, punk zines showed their egalitarian approach by encouraging readers to submit work or start their own fanzines. Readers were urged to be active participants rather than passive consumers. Punk zines-and fanzines more generally-were liberated from many of the marketing constraints associated with commercial magazines and as such they could foster alternative forms of communication and editorial content. This enabled their creators and readers to define their identity, political leanings and culture autonomously rather than in response to consumerist dictates. In particular, fanzines encouraged individuals and groups otherwise excluded from the cultural decision-making process to be actively engaged in the creation of alternative culture. Mark Perry set a precedent, writing in 1976: ' All you kids. Don't be satisfied with what we write. Go out and start your own fanzines … flood the market with punk writing. ' 3 Other fanzines, such as Panache and Sideburns, then helped to embed this sense of autonomous production as a practical ideal. Interestingly, however, while early punk zines engaged with

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