1
TheEvolutionofanAnarcho-PunkNarrative(1978-84)
RebeccaBinnsandRussBestley
FirstWavePunkFanzines
Fromitsinception,punkcultureasarticulatedthroughitsfanzineswasanti-elitist;positioning
itselfagainstself-indulgent,outmodedrockstarsandthepretentionsofrockjournalism.1
Pioneeringpunk-zineSniffin’Glue(July1976)andthosethatimmediatelyfollowed2soughtan
authenticformofexpressiontorelatedirectlywith‘disaffectedkids’whocomprisedthe
demographicofpunksubculture.Againstthehierarchicalstructureinherentinmainstreammedia,
punk-zinesshowedtheiregalitarianapproachbyencouragingreaderstosubmitworkorstarttheir
ownzines.Readerswereurgedtobeactiveparticipants,ratherthanpassiveconsumers.
Punkfanzineswereliberatedfrommanyofthemarketingconstraintsassociatedwithcommercial
magazines,andassuchtheycouldfosteralternativeformsofcommunicationandeditorialcontent.
Thisenabledtheircreatorsandreaderstodefinetheiridentity,politicalleaningsandculture
autonomously,ratherthaninresponsetoconsumeristdictates.Inparticular,fanzinesencouraged
individualsandgroups,otherwiseexcludedfromtheculturaldecisionmakingprocess,tobe
activelyengagedinthecreationofalternativeculture.
Whileearlypunk-zineswereengagedwithunderground,punkcultureandintheprocesshelpedto
defineit,therewasnowholesalerejectionofthemusicindustryandrecordlabels.Thenotionof
drawingupacreedbywhichtoliveyourlife,whichcametodefinethe1980s‘anarcho-punk’era,
wouldseeminglyhavebeenanathematoearlier‘zinecreators.Themainambitionmostearlypunk-
zinesdeclared(aswellastheiremancipatoryrole)wasadesiretobeoriginal,subversiveand
exciting.
1Punk-zines,inseekingtoexpressthe‘real’voiceofpunk,criticisedmusicjournalisminmainstreampublicationssuchasNewMusicalExpress(NME),SoundsandMelodyMakerforbeingpretentious,simplisticandelitistrespectively.2NotableexamplesincludePanache,RippedandTorn,SideburnsandLondon’sBurning(1976),48Thrills,ChainsawandStrangled(1977).
2
ANewDiscourse
ThereleaseofCrass’sfirsttwelve-inchEP,TheFeedingoftheFiveThousand(SmallWonder1978),
coincidedwiththesecondwaveofpunk.Atthattime,punkwasbeingredefinedinlightofthe
commercialisationofmanyfirstwavebands;anarticleinPanacheread;“Therearen’tmanybands
around,truepunk,notonthemajorsceneanyway.Therealpunkbandsareundergroundorsmall
bandsthataren’tcommercialorcorrupt!”3
Thisrhetoricaroundpunkasagrassrootsmovementfacingexploitationbycommercialforceswas
thereforealreadyarticulatedinpunk-zinesbeforetheexistenceofCrass(1977-84).Crass
subsequentlyheldgreatswayinthedirectionandcontentofabroadrangeofpunk-zines,
particularlythosewhosereadershipcomprisedlargelyyoung,disaffectedpunksseekingrenewal,
aftertheperceiveddeathoffirst-wavepunk.Crassdisseminateditsanarchicphilosophyon
alternativelifechoiceswithinitsmusic,graphicsandwrittentractsinawaythatwasdistinctfora
punkband.4ThistransitionwascapturedbyTonyD,writingonthereleaseofTheFeedingofthe
FiveThousand,forRippedandTorn;
“Thisrecordisanassaultonallthephoniesandliggerswho’vebuiltuparoundtheoriginalconceptof
punk,free-loadingandsuckingvitalenergyawayintotheirownpockets.Thisrecordblowsthemall
backtotheirnestsandratholes,clearingoutallthepre-conditionedcrapthat’sbeeninsultingour
mindsandcallingitself‘revolutionary’.”5
Crassactivelyengagedwithundergroundpunk-zines,declaringthemthe‘real’voiceofpunkin
comparisontomainstreamoutlets.6By1980,Crasshaddoneanenormousnumberofinterviews
forpunk-zines.7Thepunk-zineswereoverwhelminglyreceptivetoCrass’ideas,asexpressedin
boththeircontentanddirection.Theemerging‘anarcho-punk’discoursewascommunicated
throughverbalandvisualstrategies,withCrassprovingtobehighlyinfluentialinboththe
3‘TheMessage’inPanache,Issue10,1978.SeealsointerviewwithJimmyPurseyinTemporaryHoarding,wheretheSham69singersuggeststhatthecommercialdeathoffirstwavepunkmeansthatthoseinvolvedforemancipatoryreasonscancarrythemovementforward(No.6,1978).4Severalotherpost-punkbands,includingGangofFour,theMekonsandthePopGroupalsoattemptedtoespouseapoliticalphilosophywithinandalongsidetheirmusic.5TonyD,‘WhatPotentForceBlowstheRippedandTornAlbumReviewersClearAcrosstheRoom?WhatElseCanitbebutCrass–TheFeedingofthe5000’inRippedandTorn,Issue17,1979.6Berger,p120.7TomVagueinVague6,1980athttp://tomvague.co.uk/vague-6/Accessed20thOctober,2015.
3
philosophicaldebateanditscorrespondingaesthetics.8Graphicdesign,typographyandillustration
stylesemployedbyCrasstocommunicatetheirideology–largelycreatedbyGeeVaucherand
PennyRimbaud,bothtrainedandexperienceddesigners–fedintoanevolvingsetofvisual
conventionsthatwouldbeadoptedandmimickedbyotherfanzineproducers.9Someofthese
conventionsdrewuponestablishedpunkgraphicstyles,whileothersusedtheemergenceofa
stereotypicalpunk‘canon’asacounterpointtosignalanew,andperhapsmore‘authentic’,
direction.10Liketheprecedentstopunkindependenceand‘doityourself’,however,itshouldbe
notedthatmanyofthesevisualstrategieswerenotstrictlynew,inmanycasesdrawingon
samizdatandagitpropartisticpracticesgoingbackmorethansixtyyears,fromFuturismtoDada,
Surrealismandthe20thCenturyartisticandpoliticalavant-garde.11Thischapterexploresarangeof
newlyevolvinganarcho-punkthemesbetween1978-84;focusingontheevolutionofnewmodelsof
philosophicalandsubculturaldiscourse,alongwiththeemergenceofadistinctvisualaestheticthat
aimedtoreflecttheseideasandengagementwithbothcommercialandradicalprintsuppliers.
ThePoliticsofIndependence
SpecificactionstakenbyCrass,suchastheadditionof“paynomorethan…”instructionstotheir
productsparalleledthealreadywell-establishedpunkfanzinepracticeofproducingpublications
independentlyandsellingatcost,togetherwithanumberofdirectprecedentswithinthenascent
independent,punkscene.12ThefrontcoverofCrass’debutsingleontheirownCrassRecordslabel
inlate1979,‘RealityAsylum’,includedtheinstruction“paynomorethan45p”.13Inasimilar
manner,amaximumprice(‘70pMaximumRetailPrice’)hadbeenincludedonthecoverofthe
DesperateBicycles’thirdEP,NewCross,NewCross,releasedontheirownRefillRecordslabelin
8Glasper,Ian.2006.TheDayTheCountryDied:AHistoryofAnarchoPunk1980-1984.London:CherryRed.9SeeBestley,Russ&Ogg,Alex.2012.TheArtofPunk.London:OmnibusPress.10Reid,JamieandSavage,Jon.1987.UpTheyRise–TheIncompleteWorksofJamieReid.London:FaberandFaber,Kugelberg,Johan&Savage,Jon(eds.).2012.Punk:AnAesthetic.NewYork:Rizzoli.Formodelsofauthenticitywithinpopularmusic,seeBarker,Hugh,andTaylor,Yuval.2007.FakingIt:TheQuestforAuthenticityinPopularMusic.London:Faber&Faber.11SeeHughes,Robert.1991.TheShockoftheNew:ArtandtheCenturyofChange.London:Thames&Hudson,Plant,Sadie.1992.TheMostRadicalGesture:TheSituationistInternationalinaPostmodernAge.London:Routledge,andHome,Stewart.1991.TheAssaultonCulture.London:AKPress.12Itshouldalsobenotedthatmajorlabelswereequallyinvolvedwiththispractice,employingloss-leaderstopromotetheiracts,withnotableexamplesincludingtheFlys(EMIRecords),theStranglers(UnitedArtists)andTheClash(CBS).13OnceCrassestablishedtheirownlabel,theyadoptedthe“paynomore”convention.Theirdebutrelease,theFeedingoftheFiveThousandEPontheSmallWonderlabelinearly1979,hadnotfeaturedanypricestipulation,thoughthereissueonCrassRecordsin1981,TheFeedingofthe5,000(TheSecondSitting)stated“paynomorethan£2.00”onthefrontcover.
4
February1978,andotherlow-pricingstrategieshadfeaturedonarangeofpunkandnewwave
releasesbetween1977and1979.14
Insettingupanindependentrecordlabel,Crassalsobuiltonthesharedexperienceofearlierdo-it-
yourselfpunklabelsincludingNewHormones,RefillandStPancrasRecords,togetherwithhigher-
profileindependentlabelswithdistributionandretailconnectionssuchasRoughTradeandSmall
Wonder.15Crasspushedthe‘underground’aspectofpunkintomoreextremeterritory,however,in
markedcontrasttothegeneralsituationpost-1978whenthewiderpunksubculturewasmorphing
intonewwave,withitsmainstreampopappeal,orbranchingoutintowhatwouldbecomeknown
aspost-punk.16Post-punkbandsretainedvaryingdegreesofindependencefromcommercialism,
withaloose-knitcommunityformingadistinctdo-it-yourself,independentavant-garde.17Crass,and
thesubsequentbandsthatwouldcometobecalledanarcho-punk,weretotakethismodelof
autonomyinanewdirection,foregroundinganovertlyideologicalandpoliticaldiscourseasan
inherentprinciplewithintheirindependentstanceandcommittedradicalism.18
TonyDhasacknowledgedthedebtpaidtoCrassinpunkfanzines,manyofwhichbecame
increasinglypoliticisedfollowingTheFeedingoftheFiveThousand.Herecalls;
“Squattingbecameabigthingaroundthistime,anditopenedthedoortotheideasofCrasswhowere
thefirsttoreallypushtheideaofanarchyasalifestylenotatheory.Crassandthesubsequentanarcho
bandswereashotinthearmtothefanzineworldanditbecameabitliketheoutpouringoffanzines
in1977,somejustan‘Iam’one-offstatementandotherscontinuingformanyissuesanddeveloping
ideasofanarchy,suchasveganismandwhatthatentailed.”19
14ExamplesincludeAlbertoYLostTriosParanoias‘HeadsDown,NoNonsense,MindlessBoogie’,LogoRecords,August1978(“TwoforthePriceofOne,75pRRP”);thecompilationBattleoftheBandsEP,GoodVibrations,December1978(“2-SinglePack£1.49RRP”);andRudiISpyEP,GoodVibrations,November1979(99p),alongwithseveralStiffRecordsreleasesincludingthe1978compilationLiveStiffs(“only£2.99RRP”)andtheeponymousdebutalbumbyWrecklessEric(March1978,bizarrelypricedat“only69/11d”).15ThedebutCrassrecordrelease,TheFeedingoftheFiveThousand,wasinitiallyreleasedbySmallWonder.FoundedbyPeteandMariStennett,thispunk-specialistindependentlabelwasrunviatheirSmallWonderrecordshopinWalthamstow,EastLondon.16Reynolds,Simon.2005.RipItUpAndStartAgain:PostPunk1978-84.London:Faber&Faber.17Ogg,Alex.2009.IndependenceDays:TheStoryofUKIndependentRecordLabels.London:CherryRedBooks.18Crass.1982.ASeriesofShockSlogansandMindlessTokenTantrums.London:ExitstencilPress.19Emailcorrespondence,15thDecember2016.
5
AlanRideralsonotesthatthisideologicalshiftalsomirroredsomethingofagenerationaldivide;
“OneofthebiggestthingsInoticedwashowyoungmanyanarcho-punkzinewriterswere.Manywere
atschool;somewerejust12or13.Itwasveryliberatingforkidswhowereotherwisepowerlessand
spentmostoftheirtimehavingtodoastheyweretold.Ithinkthat’swhytheyreallyidentifiedwith
anarcho-punk.Inmanyways,themusicwassecondarytothefreedomtochallengeandexpress
differentviewsandzineswereactuallyabetterandcheaperwayforlotsofpeopletodothat.”20
Indeed,thenewlyevolvinganarcho-punknarrativeencompassedarangeofinterrelatedand
sympatheticideologicalpositions,rangingfromanti-warstatements(oftenalignedwiththe
resurgenceofCND,theCampaignforNuclearDisarmament)21toemergingformsofwhatmightbe
termedanarcho-feminism,animalrightsandadvocacy22,attacksonorganisedreligionandkey
debatesonthenatureofresistanceandcontemporarymodelsofanarchismintheoryand
practice.23
AnarchyandPeace
OneoftheprevalentconceptsbehindTheFeedingoftheFiveThousandwasanallianceofanarchy
withpeace.Ideasaroundanarchyasanythingotherthanrebellionagainstsocietalnormsor
anythingas‘hippie’aspeacewereabsentfromearlypunkdiscourse.ThetrackFightWar,NotWars
introducedoneofseveralCrassslogans,whichweresubsequentlywidelypillagedwithinpunk
culture.Visually,theinsertsandrecordsleeves,whichcontainedanti-warsloganeering,symbols
relatingtoanarchy,peaceandtheCrassvisualidentityalongwithstencillettering,createda
distinctmessagethroughtheirdesign.
20Emailcorrespondence,18thDecember2016.21Worley,Matthew.2011.“OneNationUndertheBomb:TheColdWarandBritishPunkto1984,”JournalfortheStudyofRadicalism5/2:65-83.22Stewart,Francis.2016.‘ThisistheA.L.F.–Anarchism,PunkRockandAnimal‘Rights’’,Punk&PostPunk5.3:xx-xx23Itshouldbenoted,however,thatcounterpointstotheemerginganarcho-punkethoswereequallyprevalent,rangingfromtheongoingevolutionofpunkandnewwavetopost-punk,hardcorepunk,Oi!andwhatwasthentermedNewPunkintheearly1980s.SeealsoGlasper,Ian.2004.BurningBritain:TheHistoryofUKPunk1980-1984.London:CherryRed.
6
Fig.01Crass,StationsoftheCrass(1979,CrassRecords).
ThisthemeremainedacentralpreoccupationwithCrass’subsequentrecords.Thesleeveofthe
albumStationsoftheCrass(1979)reiteratedtheirpacifiststanceinitsgraffiti,stencilletteringand
ontrackssuchasDemo(N)Crats,whichchantstheCrassslogan,FightWar,NotWars,overa
backdropofexplosions.Crassoutlinedtheirbeliefsonanarchy’scompatibilitywithpeaceinan
articlepublishedinthefirstissueofKillYourPetPuppy(KYPP)in1980.Theycriticisedviolenceas
therotunderlyingpoliticalaffiliationsofleftorrightpersuasions.Crassdrummerandsongwriter
PennyRimbaudmadespecificreferencetoeventsataCrassgigheldatConwayHall,wheremilitant
anti-fascistsattackedskinheads,regardlessoftheirpoliticalaffiliation.
Initiallyatleast,certainwriterswithinthepunkfanzineswerecritical.OnereaderofKYPP
complainedthatpacifismwasaninadequateresponsetostateviolence,whileTonyDcommented
thatCrass’pacifiststancemeantthattheywereeffectivelyignoringorevensanctioningviolence
perpetratedbyracistskinheadsagainsttheirownsupporters.24Followingthis,TonyDwasinvited
toDialHousetodiscusspacifism.Hecommented;
24SeeBuenaventuraMakhae,‘PeacefulPro-Crass-tination’inKYPP,Issue1,1980,p16andTonyD,‘AnotherDirectHitbyCrass’inKYPP,Issue1,1980,respectively.
7
“…Leighandmy-selfwenttoseeCrassatDialHousetodiscussourviewsabouttheirpacifiststance,
whichwasprintedinthefirstissue…AfewdayslaterwereceivedaletterfromPennyRimbaud,along
reviewoftheirphilosophy.ThishastogointothenextissueIthought,whichmeantcreatinganew
issueandnotfaffingabout.”25
WhilethefanzinesgenerallysupportedCrass’aims,theirtenetswereoftendebated.Despite
providingamplespaceinissuesoneandtwoforCrass’anarcho-pacifism,anarticleinKYPP4by
AlistairLivingstone(1981)stated,
“Violenceisnottotallyevil,butcanbeusedasanenergysource.It’sjustthatinoursocietyithas
becomeanegativething-thatviolencebythestateagainstpeopleisokay,butbypeopleagainstthe
stateit’snot…whatwecallself-defence,thestatewillcallviolence.”
Livingstonenotedthatallourfreedoms;ofspeech,thepress,tovote,tostrikeetcwerefoughtfor,
adding,“…wewillnevergainanymorefreedomunlesswearepreparedtofightforit.”Hefurther
commented,“…perhapsitisjustaconfusionofterms.Tome,violenceisaformofenergy,aformof
suppressedcreativity/sexuality,whichinananarchistsocietywouldfindotherlessdamaging
outlets.”26
Inasimilarvein,aneditorialbyCharlieChainsawinChainsaw,1981stated;
“Althoughanarchyisagoodidealtoaimfor,itwouldnotworkbecauseinananarchicsocietyitwould
betheeasiestthingintheworldforanyfascistgrouptoarmthemselvesandtakecontrol-althoughit
wouldbeimpossibletobringaboutanarchyinthiscountrywithoutawellorganisedmilitarycoup,
whichwouldbeneitheranarchicorpacifist.”27
However,someinterpretationsdescribeanarchyasmentalandcreativetransformationasopposed
topoliticisedaction.SuchapositionissuccinctlysummarisedinanarticleinCoventrypunk-zine
AdventuresinReality.Followingonfromadescriptionofsocietyasanelasticband,whichsnaps25http://killyourpetpuppy.co.uk/news/kill-your-pet-puppy-issue-2-febmarch-1980/Accessed14thOctober,2015.26ArticlebyAlistairLivingstoneinKYPP4,1981,pp9-10.27Chainsaw,Issue11,1980,p21.TheScottishanarcho-punkbandAlternative,interviewedinTimeBombIssue1,1984,p11,sawviolenceasalegitimateweaponagainststateviolence.Leadinganarcho-punkbandsConflictandTheApostleswerecentraltotheestablishmentanddisseminationofthisposition.
8
backintoshapeafterpeoplestretchit,duetotheforceof“…conventions,morality,tradition,social,
politicalandsexualconditioning”ortheforcesoflaw,surveillanceandharassment,theauthor,Alan
Rider,continuestogiveanarchythisdefinition,
“Anarchyisanapoliticalstateofmind,anattitudeandoncethat’sachieved,noconventionscan
influenceit.Indeed,theyseemverycrudeandclumsyattemptsatcontrolonceyourealisetheyare
thereandcanspotthem.Theelasticbandcanbebrokenifit’sstretchedhardenough,theresultwon’t
bepainful,butarelief,asuddenrealisationoffreedomsthatnoonehadbefore,butdidn’trealisewhat
theywere.”28
Fig.02ToxicGrafity#5p.15,1980(MikeDiboli).
28AlanRiderinAdventuresinReality,IssueJ,1981.
9
Inassociationwithananarcho-pacifistphilosophy,fanzinesalsobegantodocumentlivedformsof
anarchy,whichincludedsquattingandtherejectionofconventionalwork.ThePuppyCollective,
contributorsbehindKYPP,emergedfromthepunk-squatsceneinLondon.Bytheearly1980sKYPP
andVagueproducedessaysonpunkasanalternativelife-choiceandwritingonrevolutionary
movements,alongsidetheircoverageofpost-punkbands.
Anarcho-Feminism
Despitesometimesdisplayinginherentsexism,first-wavepunkfanzineshadattemptedtograpple
withissuesofmisogyny,racismandinequality,inamannerunseenintheir1960spredecessors,
suchasOZandInternationalTimes.Punkfanzinesprovidedspacefordebatesonfemale
emancipationandthesubversionoftraditionalgenderroles.Overall,theforceofwomenwithin
punkwasrecognisedinthefanzines,asthiscollageoffemalemusiciansinPanache(1978)
indicates.
Fig.03TheFutureisFemale,Panache#9,1978(MickMercer).
10
However,inpunk’searlyyears,ittookfanzinescreatedbywomentoprioritisefemalemusicians
andtakeananti-sexiststance.Jolt(1977)wasinvolvedfromtheoutset,usinggrainyphotosalong
withtypedtextandhandwrittenscrawltofeaturefemalemusiciansalongsidethepersonalviews
ofitseditor,LucyToothpaste.ToothpastelaterwentontowriteforSpareRib,RockAgainstRacism
zineTemporaryHoardingandRockAgainstSexism‘zineDrasticMeasures.Interviewsinpunk
fanzinesproducedbywomen,suchasJolt(1977)andlaterBrassLip(1979)29focusedonwhat
femalemusicianshadtosayratherthanthewaytheylookedandallowedtheexpressionofviews
oftenoverlookedinthemaledominatedmusicindustryandpress.
Thepreoccupationwithsexism,articulatedinpunkculture,wasaccentuatedinCrass’intense
attackonpower(anditsembodimentinreligion),misogynistviolenceandwarfroman‘anarcho-
feminist’perspective.30GeeVaucher’sself-producedpublicationInternationalAnthem(1977-81)31
wasanarchiccomparedtootherfeministmagazinesinitsportrayaloffemaleoppressionasjust
onefacetofsocietalcontrol.Sheproducedthefirst(offiveissues)onthethemeofEducation,while
livinginNewYork(1977),priortojoiningCrass.Init,herpaintedcollagescombinenews-footage,
advertisingandpornography,tocritiqueeducationinitswidersense,encompassingfamilial,
institutionalandsocietalconditioning.Women’ssubordinationthroughdomesticityorassex
objects,aspropagatedinthemassmedia,wasapredominanttheme.InternationalAnthemfeatured
Vaucher’spaintedcollagestogetherwithpoetictextsbyPennyRimbaud.Subsequently,after
returningtotheUKtoliveandworkaspartofCrass,shepublishedissue2in1979andissue3in
1980.
ViSubversaalsoplayedanimportantroleinbringinganarcho-feminismtopunkwithherband,
PoisonGirls(1976),whoworkedcloselywithCrassintheensuingyears.32ThePoisonGirls’
magazine,ImpossibleDream(4issuesbetween1979and1986)wassimilartoInternational
29SeeinterviewswithTheSlitsandPolyStyreneinJolt(TheSlitsinJolt2,JubileeIssueandX-RaySpexIntervwxyzinJolt3,BumperHolidayIssue;bothfrom1977)andBrassLip(Issue1,1979),whichfeaturedextensiveinterviewswithfemalemusicianswhoadoptedamoreandrogynouslook,includingtheAu-Pairs(pp8-12),theRaincoats(pp3-4),theMekons(pp18-21)andPoisonGirls(pp23-27).30ItshouldbenotedthatCrasshavegenerallyavoideddefiningthemselvesinanarchistorfeministterms.31Imagesfromissues4and5onIrelandandWarrespectivelyareincirculationalthoughtheywerenotpublishedduetoalackoffunds(emailconversationwithVaucheron16thMay,2016).Vaucheralsocommentsmoredirectlyonfemaleobjectificationinpin-upmagazinesinworksheproducedforanotherself-produced,colourmagazine,Pent-Up(1975).32PoisonGirlsfrequentlyplayedgigswithCrassandreleasedtwosinglesandonealbumonCrassRecords(Hex,AllSystemsGoandChappaquiddickBridgerespectively,allin1980)aswellascontributing‘PersonsUnknown’asajointsinglereleasewiththeCrasssong‘BloodyRevolutions’(1980).
11
Anthemincontainingmontagesofimages,takenfromvariousplacesincludingadvertising,spliced
withPoisonGirls’lyricsdenouncingpower.Bothpublicationsweredistributedviaradical
bookshopsandalternatenetworksbypost,whileImpossibleDreamwasalsosoldatgigs.The
feministconcernsarticulatedinthesepublicationswouldhavepermeatedapunkdemographicto
someextent,althoughperhapsnottotheextentoftherecordgraphicsthatVaucherdesignedfor
Crass,giventhefargreaterrangeandcirculationofthelatter.
Vaucher’ssecondeditionofInternationalAnthem(DomesticViolence)waspublishedin1979;the
yearshereturnedtoDialHousetojoinCrassandtheyreleasedtheirdoublealbumStationsofthe
Crass.TheimagesVauchercreatedforboththispublicationandalbum,shareherpreoccupation
withfamilialandreligiousoppression.Vaucher’simagesusedsophisticatedmeanstoconvey
messagesagainstwarandfemalesubmission,throughaparadigmthatcritiquedall-powerful
structures.Assuch,sheintroducedawayofviewingtheseissues,whichbecameinfluentialwithin
widerpunkandanarcho-punkculture.Vaucherhadalreadydevelopedheranarchic-feminist
rhetoricingraphicssheproducedforInternationalAnthem,andthismessagewasconsolidated
throughherworkwithCrass,whosemusiclinkedmisogynytoallinstitutionaloppression.While
theyears1979-81sawanescalationincoverageoffeministissuesinpunkfanzines,33Vaucherand
Crass’focusonfemalesubordinationbyinstitutionsof‘thesystem’,includingthefamilyand
Christianchurch,wasnotreflectedinpunkfanzines–includingspecificallyfeministones–atthis
time.However,theirrousingtakeonfeminismanditssituationwithinananarchicperspective,can
beseentopermeatethepunk-zines,followingthereleaseofPenisEnvy(1981).
Crassseemedtopickupontheissueofmisogynybeingbroughtoutintotheopenelsewhere34and
extendedthethemeintoextremeterritorywiththeirlyricsonthisalbum,forwhichtheywere
prosecutedundertheObscenePublicationsAct.35UnlikeearlierCrassrecordings,PenisEnvy
33ArticlesinBrassLip(1979)focusonmaleoppressionandmisogynisticviolence,bothinthemusicindustryandinwidersociety.AninterviewwithTheRaincoatsfocussesonwomeninbandstryingtobreakthesexsymbolstereotype,inAllied/Propaganda,Issue3,1979/1980,p3.WelcomeWomenbyAMaleinDon’tDictate,IssueD,1980,recognisestheshiftinpunkmusictowardsfemaleorientatedbandsinthelate70s/early80s.34Thisperiodsawissuesofmisogynist,includingdomestic,violence,broughttotheforethroughtheformationofthefirstRapeCrisisCentrein1976andwomen’srefuge,SolaceWomen’sAidin1975.Prominent,feministmagazineSpareRib(1972-1993)disseminatedideasfromtheWomen’sMovementtoaniche,butconsiderabledemographic(itscirculationwasaround20,000inthelate1970s).35PenisEnvywasthesubjectoflegalpersecutionforobscenity.AlthoughtheconvictionforobscenitywasoverturnedbytheCourtofAppeal,thebanremainedforthelyricstoBataMotel,whichhighlightedtheviolenceinherentinfemalesexualsubordination(fromRimbaud,P;sleevenotestoTheCrassicalCollection;TenNotesOnASummer'sDay,CrassRecords,2012).
12
featuredexclusivelyfemalevocals(EveLibertineandJoyDeVivre).Withinthepredominantlymale
milieuofpunk,Crasswasgoingoutonalimbbymakingsuchanunequivocalstatementand
introducingfeministideastopunkswhowereoftenunfamiliarwiththem.Thiswasreflectedinthe
escalatingamountofspacededicatedbypunk-zinestoanarcho-feminisminthecomingyears.
Fig.04ActsofDefiance#6,1983,p.8.
Anti-Thatcher/Anti-State
Anoppositional,politicisedrhetoricflourishedwithinunderground,punkcultureduring
MargaretThatcher’sfirsttermasPrimeMinister(1979-1983).Crass’thirdalbum,YesSirIWill
(1983),wasavirulentretaliationagainstfouryearsofThatcherismandtheFalklandsWar.The
Crasssingle,You’reAlreadyDead…,releasedthefollowingyearfeaturedMargaretThatcher(front
cover)andMichaelHeseltine(rearcover)withtheireyesandmouthscratchedoutrespectively.
BothfigureswereencircledwiththetextYou’reAlreadyDead.Theinserttotherecordfeatured
13
informationandlyricstogetherwithVaucher’simage,commentingonthe‘specialrelationship’
betweenThatcherandReagan,whichwasincreasinglybeingdepictedinthemedia.HereVaucher
shrunkthefigureofThatcherinnappies,toemphasizetheUK’sdependenceontheUS,symbolized
byReagan,depictedasahybridfoundingAmericanmotherandbirdofprey,nursingThatcher
whileshittingontheworld.
Fig.05Vaucher,G,innerillustrationtoCrass‘You’reAlreadyDead’(CrassRecords,1984).Gouache.
Visualrepresentationsofthemessuchasthisweremoreexplicitwithinanarcho-punk‘zines.
Thatcher’sacutedivisivenessexactedabitterresponsefromawiderangeofpeople,andanarcho-
14
punkprovidedaforuminwhichanextreme,anti-Thatcherrhetoricdeveloped.Theimageof
Thatcherappearedwithincreasingfrequencyinthezinesasalocusforvitriolicopposition.
Fig.06ActsofDefiance#6,1983,cover.
Thecontentofpunkfanzineswasincreasinglyengagedwithpoliticaleventsinthe1980s,suchas
theMiners’Strike,Governmentcuts,theFalklandsWar,theanti-apartheidmovement,RioTinto
ZincandtheUKandtheUSA’sfundingoftroops,inparticularDeathSquadsinLatinAmerica.36
36OntheMiners’StrikeseeTimeBomb,interviewwithAlternative,1984,p3.Oncuts,seeinterviewwithAlternativeinTimeBomb,1984,p3.OnCentralAmerica,see‘ElSalvador,Guatamala,HondurasandNicaragua.DeathSquads=killing,
15
Fig.07ToxicGrafity#5p.32,1980(MikeDiboli).
Therewasasurgeinproductionof(post)punkfanzinesintheearly1980s,whichfostereda
hardeningcritiqueagainsttheThatchergovernment,whileeschewingtraditionalpoliticsinfavour
ofanarchicsolutions.Thesefanzinesprovidedanoutletforamoreoppositional,anarchicpolemic,
pittedagainstallaspectsofsocietalcontrol,alongsidetheirmusiccoverage.WhileThatcherism
provokedanextremeresponse,theireofCrassandanarchicpunkculturemorewidelywas
directedagainstallformsofgovernmentandstatecontrol.Crass’accusationofpolitical
authoritarianismontheleftequatingthatontherightfoundareceptiveaudienceamongayouthful
demographicthatwasincreasinglydisillusionedwithbothmainstreamandfar-leftpolitics.37
rapeandtorture’inTimeBomb,Issue1,1984andonThatcher’ssupportofrepressiveregimesinSA,IrelandandLatinAmerica(particularlyChile)see‘Repression’inActsofDefiance,Issue6,p9.37Seethelyricsto‘BloodyRevolutions’(1980)forCrass’takeonpoliticsofeitherleftorrightpersuasions.
16
Ataroundthistime,punkfanzineswereincreasinglyengagingwithanarchistideasinrelationto
conceptsofstateandgovernmentinlengthytractsandarticles.AnarticleinAnarchyexpandsfrom
adescriptionofprisonofficersescapingpunishmentfortheallegedmurderofaprisonertoprovide
ananarchistexplanationofhowthejusticesystemwasinherentlyflawedduetoitsfunctionto
upholdhierarchicalsociety.Thisargued,
“Thestateisviolenceraisedtoalevelofaninstitution,wieldedasaweaponintheclassstruggle,with
usasthetarget.Itthrivesonthemythof‘equalitybeforethelaw’whilstperpetratingasystemwhich
ensuresthatsocietyremainsfoundeduponinequality.”Incasethereadershouldassumethatthe
problemwasacapitalistasopposedtoasocialistorcommuniststate,thearticlecontinues,“…Itis
thethingitself–thestate–whichistheproblem,notwhocontrolsit.THEIR‘Britishjustice’isOUR
oppression.”38
Religion
Anotherinstitution,whichhasoftenbeendecriedbyanarchistsasalienatingandoppressive,isthe
church.Fromananarcho-feministperspective,Christianitysubjugatedwomeninparticulardueto
itspatriarchalhistory,structureandfunctioning.Crass’obsessionwithorganisedreligion
manifesteditselfintrackssuchasWomen,SoWhatandRealityAsylum39andsubsequentalbum
titles,StationsoftheCrass(1979)andChristtheAlbum(1982).40It’salsoanongoingthemein
Rimbaud’spoemsandinVaucher’simagesforCrass.Aswiththeirdistincttakeonfeminism,Crass
hereallieditselfwithdissentersfromtradition.Inthiscase,Crasscouldbeseentoactasacatalyst
forincreasingdissatisfactionwiththechurch,particularlyamongtheyoung,atthattime.
38BarryProsser:‘TheirJusticeandOurs’inAnarchy,Issue34,London,UK,1982.39WomenandSoWhatareincludedastracksonTheFeedingoftheFiveThousand(EP,SmallWonder,1978),whileWomenalsoappearsonStationsoftheCrass(LP,CrassRecords,1979).‘RealityAsylum’/’ShavedWomen’(7”,CrassRecords,1979).40Thisrecordwasadoublealbum,boxset,featuringthebook,ASeriesofShockSlogansandMindlessTokenTantrums.ThebookincludedRimbaud’s'sessay,TheLastoftheHippies,whichrecalledthesuspiciouscircumstancessurroundingthedeathofhisfriendandco-instigatorofthefreefestivalcircuit,WallyHope.
17
Fig.08ToxicGrafity#5p.17,1980(MikeDiboli).
Crass’attackonreligionasanoppressive,aggressiveinstitution,despiteitsdeclarationsofpeace,
foundaneagerreceptioninpunk-zinesintheearly1980.41AnarticleinChainsawforexample
stated,
41SeeanarticleinActsofDefiance,Issue3,1982p15,whichreads,‘TheJewishreligionencouragesthemyththatmenaresuperiortowomen–it’sfuckingpathetic.TheCatholicreligiondisgustsmethemost…millionsintheworldliveinpoverty…whilethechurchspendsthousandsonvisitsforthePope.”AlsoseeThisisReligion(YourReligion?)inChainsaw,Issue12,Sept1981,pp26-27foranarticleonthehypocrisyofgovernment,churchandthewealthybeingthearbitersofChristianmorals.
18
“Arecentopinionpollbyoneofthenationaldailypapersshowedthatifyouareanatheistyouare
morelikelytobeapacifistthanyouareifyoubelieveinGod.Whichtendstomakeamockeryofthe
‘lovethineenemy’messagesthattheGodsquadtendtopreach.DoyouthinkthatMaggotThatcher,
RonaldReaganandCo,leadersofthewesternworld,orderersofcruisemissiles,believeinGod?Of-
course!”
Thearticlewentontoarguethatareligion’sbeliefinitsownsuperiorityandsubsequent
divisivenessmadeitanalogoustofascism.42
SingleIssuePolitics:AnimalAdvocacy
WhileCrassfocusedexclusivelyonreleasingtheirownmaterialsin1979,from1980onwardstheir
focuswasarguablynotjustonreleasingtheirownoutput,butonapplyingthemodeltootherlike-
mindedbands.43Theideasandprioritiesofthesebandswerechannelledthroughtheirmusicand
imagery.Single-issuepoliticsemergedasafocusformoregeneralisedoppositiontoglobalised,
hegemoniccapitalism.Correspondingly,fanzinesreacted,notonlythroughthedisseminationof
Crass’ideasintothewideranarcho-punksphere,butalsothroughthebands’variousfocuseson
issuessuchasvivisection,nuclearenergy,warandorganizedreligion.
ThecommitmenttoanimalliberationshownbybandssuchasFluxofPinkIndians,Conflict,andthe
Subhumanshelpedtoentrenchthisasanissuewithinanarcho-punkcircles.Thisconcernwas
expressedthroughtheirmusicandthedesignoftheirrecordsleevesandinserts.Releasingtheir
musiconindependentlabelsgaveanarcho-punkbandstheopportunitytoexpresstheirviews
withoutcensorshiporcompromise.Inadditiontothefocusoftheirmusicandassociatedgraphics,
Fluxgaveoutthousandsofleafletsonvivisection,anarchyandpacifismattheirgigs.44Such
strategiesbuiltuponanalreadywell-establishedanimaladvocacyandanimalrightscounter-
culture,whereleafletingandflyerswerecommonplaceatdemonstrationsandothergatherings.45
42‘ThisisReligion(YourReligion)’inChainsaw,12Sept,1981,p26.43CrassRecordsproducedtwenty-onealbumsandthirtysixsingles,ofwhichtwelvealbumsandtwentyfivesingleswerebyotherbands,predominantlyreleasedbetween1980-84.44Hammy,FluxinRoar,No7,198345Infact,thisledontootherdebatesconcerningtheuseofinksorphotographsthathardlinevegansobjectedtoinrelationtoanimalproductssuchasgelatin(infilm),chemicalsindyesandinks,andeventheuseofpaperasanegativeenvironmentalimpact.
19
Fig.09Fack#6p.27,1981.
Thebands’viewswerealsodisseminatedviainterviewsinpunk-fanzines,liveperformancesand
theexampletheysetthroughchoicessuchasvegetarianism.Thepunk-fanzinesalsoexplored
conceptsofanimalliberationandveganismfromananarchistphilosophicalperspectiveinin-depth
articles.Suchtractsarticulatedamoralorpoliticalstandpointregardingtheexploitationand
commodificationofanimalswithinacontemporary,capitalistsociety.
TheMeansofProduction
Themoresuccessfulearlypunkfanzineshadbeenforcedtoadoptcommercialmodelsof
productionanddistribution,thoughtheirdesignaestheticoftenremaineddistinctlyDIYinstyle.By
20
thetimeanarcho-punkhadestablisheditsownchampionswithinthefanzinemarket,suchmodels
oflarge-scaleprintproductionanddistributionwerealreadywelldeveloped.Thisisn’ttosaythat,
likeearlierpunkfanzines,arangeofsmaller,low-key,do-it-yourselfpublicationswere
unimportant,butthatthemoreestablishedpunk‘zineswithgreaterdistribution(Sniffin’Glue,
Ripped&Torn,Panache,Chainsaw)hadpavedthewayforasecondgenerationof‘zineproducersin
termsofproductionknowledgeaswellasaudienceandmarket(ToxicGrafity,AdventuresinReality,
KillYourPetPuppy,ActsofDefiance,Vague).Anarcho-punk‘zinescan,then,beseenasanextension
ofanalreadyestablishedpunkfanzinemilieu,tappingintoexistingnetworksandpracticeswhileat
thesametimeattemptingtopresentabreakwiththepastintermsofcontentanddesignaesthetic.
FormerPinkFairiesroadieJolyMacFie’sBetterBadgesenterprisewastotakealeadinsupporting
theemergingpunkindependentproducers,initiallymanufacturingpinbadgesthenextendingtheir
servicestosupporttheprintproductionofpunk-zinesafterinvestinginlitho-printingequipment,
asMacFienotes;
“Youcouldmakemetaloffsetplatesforapproximately75p.Ipriceditoutandcameupwitharateof
2pperdouble-sidedsheetfor‘zines,ButifwedroppedinaBBad,I'ddropitto1p.Andwetookpretty
muchallcomers.Youpaidforwhatyoutook,andwe'ddistrotherest.Ialwayssawmyroleas
empoweringthevoiceofthefansvs.theindustry.Withstyle.”46
SomefanzineproducersfeltthattheBetterBadges‘formula’wasalittletorestrictive,however,as
AlanRiderofAdventuresinRealityrecalls;“…thereasonIneverwentwiththeBetterBadgesprint
anddistributiondealwasthattheyhadtoapproveofyourzineandtheyallhadthesamelookto
them,withnovariation.Itwasagooddeal,butlimitingandnotforme.”47Bythistime,BetterBadges
employedthreedesignersalongwithprintersincludingNickGodwinfromanarcho-punkgroup
Zounds.TheKillYourPetPuppywebsitedirectlyattributestheimpactofBetterBadgesonthe
establishmentofthisnew,moreradicalandpolitically-chargedpunkfanzine;
“KillYourPetPuppywasattheforefrontofaculturallandscapeandanalternativeworldofsquats,
squattedvenuesandself-sufficiencythatbecameknownlaterasanarcho-punk…Gettingthenew
46Emailcorrespondence,12thDecember2016.47Emailcorrespondence,18thDecember2016.
21
fanzineoutontothestreetsprovedaproblemuntilJolyofBetterBadgesagreedtoprintthenew
publication(thentitleunknown)inasmanycrazycoloursasTonywanted.”48
Ripped&TornandKYPPcontributorAlistairLivingstonerecalls;
“IrememberwithKYPP6thefirst500(orless)wewenttoacommunityprintshopontheHolloway
RoadanddiditonaGestetnertypemachine.FanzinesprintedbyBetterBadgesusuallyhadaBetter
Badgeshalfpageadvertinthem,soyoucantellwhichoneswereprintedthere.BetterBadgesalsodid
distribution,sellingthezinesalongsidethebadgesatgigs…weprinted100copiesofKYPP6atthe
IslingtonBusCompany,whichwasacommunityprinters/communitycentre.”49
Otherradicalprintshopshelpedtofacilitatetheproductionofsomeofthemoreestablishedpunk
andanarcho-punk‘zines.Generally,therewerefewtensionsbetweentheideologyofthepunk
fanzineproducersandprinters.GraphicdesignerAndrewHoward,whoworkedattheIslingtonBus
Company,suggestsalevelofliberal-mindedtolerancetowardmuchofthematerialthatthegroup
wereaskedtoprint;“…wewereusedbyawholerangeofgroups–sometimesusingourduplicators,
andthenlaterourphotocopiers(Sharpcopiersthatproducedreallygreatblacks).Wewerecheaper
thanmostplaces.Idon'trecallthatweeverrefusedorcensoredanyone–wewerealeft-wing
collectionafterall.”50However,sucheasycollaborationwasnotalwaysthecase,asAlanRiderof
Coventrypunk‘zineAdventuresinRealityrecalls;
“MostofthecopyshopsandprintersIuseddidn’treallycaretoomuchaboutwhatIdid–Idoubtthey
everbotheredtoreadorlookatthecontent.TheexceptionwastheleftwingCommunityPrintcentres
Isometimesused.Theywerecheap,butdidtendtoobjecttosomeofthecontent.I’venevercensored
anythingI’vedonethough.ThebiggestexampleofthatwaswhenIusedabodyartimageforafront
cover.Becauseitwasanudefigure,theyrefusedtoprintitastheyfeltitwas“sexist”(itwasn’t).SoI
gotthesleeveprintedupatacommercialprintersandhandcollatedandstapledthem.Thenrecord
shopssaidtheywouldn’tstockit,whichwaswhenIcameupwiththeideaofprintingupthepaper
bagstoputitin.”51
48http://killyourpetpuppy.co.uk49Emailcorrespondence,4thDecember2016.50Emailcorrespondence,12thDecember2016.51Emailcorrespondence,18thDecember2016.
22
TonyDraytoncameacrosssimilardifficultieswithshopsandresellersofhisRipped&Tornfanzine,
thoughnotwiththeprintersthemselves–thoughatthetimehisfanzineswereprintedby
commercialprintersratherthanthemorepolitically-inclinedradicalprintshops;
NoneoftheprinterseverrefusedanythingIsenttothem,Ineverthoughtaboutthathappeningwhen
producingthefanzines.Rulesweremoresetbyshopswhohadthepowertorefusetostockthefanzine.
TherewasquiteanissuewhenIputRapedonthecoverofR&T11asRoughTradehadrefusedtosell
theRapedEPduetotheband’sname(andthenameoftheirEP).52
ChrisLowproducedseveraldifferent‘zinesviafamilycontactsatStirlingUniversity(wherehe
couldaccessfreephotocopying)andalocalcommercialprinterinScotland.Heproducedone
anarchist‘zine,Angry,whichwaslitho-printedat“…eitherLittle@orFreedomPress”.Thiswas
originallyintendedtohavebeenincludedwiththeApostlesSmashtheSpectacleEP.Herecallsat
leastsomerestrictionsbeingplacedonfanzinecontentbyprinters;
“AlltheprintersIhaddealingswithstipulatednothingwouldbeprintedthatwas'politicalor
pornographic'.IrecalleventheCNDsymbolsIusedonsomepageswerebroughtintoquestion.To
theircredit,Idon'trecallthereeverbeinganyissueaboutswearinghowever.”53
Anumberofundergroundandcounterculturemagazines,includingBlackFlag,wereprintedby
Little@press,basedintheformerdockyardwarehousesatMetropolitanWharf,Wapping.Andy
MartinofTheApostlesworkedintheprintshop,andhelpedtofacilitateaccessforlike-minded
anarcho-punkproducers.ItisalsonotablethattheAutonomyCentre,apunk-centredanarchist
communityspace,fundedinpartbyproceedsfromtheCrass/PoisonGirlssplitsingle‘Bloody
Revolutions’/’PersonsUnknown’(CrassRecords,1980),wasestablishedinearly1981withinthe
samebuildingasLittle@,asAlistairLivingstonerecalls;
“TheCrassandPoisonGirlsbenefitsingleforwhatwastobecometheWappingAutonomyCentrewas
releasedinMay1980andraised£10,000.ThemoneywasusedtoconvertaspaceinaVictorian
52Raped,PrettyPaedophiles(ParoleRecords,1977).53Emailcorrespondence,4thJanuary2017.
23
warehousebesidetheThamesatWappingintoasocialcentre.Afterdiscussionthemoreneutral
‘AutonomyCentre’waschosenover‘AnarchistCentre’asitsname.Itopenedinearly1981butwasa
rentedspacewithoutanentertainmentordrinkslicence.”54
Contentconcernswerealsoreflectedinthechoiceofimages.Insomecasesthisresultedinashift
awayfromtheearlierpunkfanzineaestheticthatcombinedhandwrittenandtypewrittentextwith
photographsofbandstowardmoredirectlypoliticalconcernsandtheuseofalternativevisual
strategies(collage,illustration,reportage,appropriationofimagesfromcontemporarynewspapers
andmagazines)toreflectthechange.Someofthesechoicesreflectedadeliberateattempttomove
awayfrommusic-basedfanzinestomorepoliticised(andserious)‘zines,whileothersweredriven
bynecessity;photographsofbandswererelativelysimpletosourceorproduce,butmore
ideologicalorpoliticalthemesrequiredamoresophisticated,oratleastmoreabstractandless
directlyrepresentational,visualaccompaniment.
(Anarcho)PunkIsDead
Havingsustainedtwoseparatehigh-points,intermsofsubculturalparticipationandcommercial
impact–between1976and1979andagainbetween1980and1982withits‘secondwave’
resurgence–bythemid-1980stheterm‘punk’wasderidedastiredandclichédwithinthefanzines.
Onearticle,AnotherRedundantTermofAbuse,byMark,inInfection4,1984,commented;
“Theterm‘punk’isredundant;it’ssick,feeble…dead…PunkmayhaveoncemeantallthethingsI
associatewithit;rebellion,freedomofexpression,individuality,honestyandanallalternativeculture
freeofallrestrictions;inshortanenvironmentthatwecantrulyrunwildin.Presentday‘punk’shows
theexactoppositeoftheseideals.”
Markblamesthemusicpress,chieflyGaryBushellandCarolClark,andwiderbusinessinterestsfor
stiflingandcategorisingcreativitywithinpunk.However,thestagnantsituationforpunkwasalso
seenasthefaultofthemovementspurredbyCrass.TomVaguecommented;“…Standardsdropped
toanall-timelow.SolongasyouhadaMohicanandleatherjacketandsungaboutstateoppression
andnoteatingmeat,youwerealright.”Hecontinuedtoslateawiderangeofanarcho-punkbands
includingPoisonGirls,Flux,RubellaBallet,ConflictandtheSubhumans,adding;54AlistairLivingstone,‘EveryoneWasAnAnarchist’inBull,G&Dines,M(eds.).2015.TalesFromThePunkside,London:ActiveDistribution.P.33.
24
“Thiswholeneu-punkthingstinksevenmorethanBushell’sOipunknightmareinaway.It’sgotallthe
predictabletalk,butnobottle.Oncealiveandfresh.Nowdeadandun-fresh.Likerottingfruit.Don’tfit
intorules.Don’tfollowexpecteddogmasandstereotypes.Takerisks.Showsomeoriginalityand
imaginationforgod’ssake…Vague82.”55
ThefanzinesdiscussedhowpunkbandsandfanzinesthatwerefollowingaCrasstemplatewere
producingessentiallyderivativeversionsoftheirideas.Atthistime,thereweresignsthatCrasstoo
wasbecomingburntoutandwearywiththemovementtheyhadtoasignificantextentinspired.
Theirrecordswerealsonotsellingwell.ThistimealsosawconflictwithinCrassovertheirpacifist
stance.Crassdisbandedin1984,therebyfulfillingtheirownprophesy56
ShockSlogansandMindlessTokenTantrums
Anarcho-punkneedstobeunderstoodinrelationtothewiderevolutionofthesubculture.While
manyconcernsexpressedbyanarcho-punkgroupsand‘zinewriterspre-dateanykindof‘year
zero’punkstereotype,drawingastheydouponpoliticalphilosophydatingbackmorethana
centurytogetherwithmanyoftheideologiesrevitalisedbythelate1960sandearly1970s
countercultureintheUKandUS,theyshouldalsobeviewedasacontinuationofinternaldiscourse
withinthepunksubcultureitself.Throughtheevolutionofsubculturalnetworksofproductionand
distribution(andtheestablishmentofanaudienceandmarket),punk,initsbroadersense,
facilitatedtheemergenceofthemoreradicalpoliticsofanarcho-punk.Crasshadoriginallypicked
uponthedebatesarticulatedin‘zinesonpunkasagrassrootsmovementandanunmediatedform
ofexpressionandinturnfedbackintheirownanarchist-pacifistphilosophy.Fromaround1980,
Crasshadasignificantinputintotheevolvingrhetoricandaestheticadoptedbythe‘zines.The
undergroundmediathatenableddebates(andinternecinerivalries)toflourishareexemplified
withinthedo-it-yourselfpunk-zinesandindependentpunkvoicesawayfromthemainstream.
Punk’smodelofanarchismwas,therefore,aground-upmodelofpoliticaldiscourse,withanarcho-
punk‘zinesattheforefrontofthosedebates.
55‘ThoseNotsoLoveableSpikeytops’byVague,T,inVague12,1982.56Crassoftenstatedtheirintentiontodisbandby1984orsoonerifnolongerworkingeffectively.See,interviewwithCrassin,NoMoreofThat,Feb1981,p8.
