infinity journal - otherpeoplespixelss3.otherpeoplespixels.com/sites/13724/resume.pdf · infinity...

Infinity Journal Volume 1, Number 4

2

INFINITY JOURNAL

Volume I, Number 4 Aug/Sep 2009


3

From Punk to Peer: Trajectory of an Ethos

__________________________________________________________________ By Kara Q. Smith*

__________________________________________________________________

The rise of new networking tools both online and in person has altered confrontational and

organizational practices by creating new spaces for sharing and exchanging information, ideas

and desires. Looking closely at the shift in our technological ecosystem from the late 1970s to

present, this project investigates how the energy of Punk 1ethos translates into cultural activity

today. In our increasingly decentralized daily lives, what tools are being used to allow

individuals to gain control over their own communication and production? Is this proliferating

self-organization as “spontaneous” as it sometimes appears to be? To what extent is the

distribution of fanzines analogous to the dispersed availability of blog sites? What effects do

these transitions bring?

By exploring the Punk rock movement in San Francisco in particular, this paper illuminates the

amateur impetus behind the do-it-yourself 2ethos that I take to be the crucial energy behind Punk.

It also illustrates the ways that self-organization and collective action sought to capitalize on the

city’s urban infrastructure. By tracing this ethos through Punk publications and into

contemporary web based initiatives, the key motivations behind “DIY” approaches to

appropriation, reproduction and distribution are elucidated. Examining Punk history through the

lens of Open Source and Peer-to-Peer efforts alludes to larger questions of cultural production

and online access to creative content.

*After finishing her undergraduate degree in Art History, Kara Q. Smith went on to complete her Master’s Degree in Urban Studies at the San Francisco Art Institute.


4

The Punk scene in San Francisco, California began in the neighborhood of North Beach in the

late 1970s.3 In addition to housing one of Punk’s landmark stages, Mabuhay Gardens, the

neighborhood also included rebellious thinkers and performers from the nearby San Francisco

Art Institute. North Beach also housed V.Vale, a writer and key contributor to the Punk scene.

His zine Search & Destroy comprehensively attests to the life of Punk interactions and activities

in San Francisco. A reading of the nexus of activities of Punk culture in 1970s San Francisco

serves as a lens through which to examine the ways this culture is referenced and appropriated

today and the way it revolutionized certain approaches to cultural production. My approach to

this reading stems uniquely from my access to information which surveys publications written or

produced by those “in the scene,” as well as several interviews of Punk constituents active in the

late ’70s and early ’80s. While very much a music-centered scene, music is approached here as

an enunciation of an ethos that fans converted into action.

Covers of Search & Destroy: The Complete Reprint. Source: Amazon.com

Search & Destroy: The Complete Reprint is printed on broadsheets, split into two volumes, each

bound between energetically colored glossy covers. The first volume opens with an interview

between Vale and Jello Biafra in the form of an introduction to these re-published works. An

appropriate choice, Biafra started the political Punk band, Dead Kennedys in San Francisco


5

around 1978, after a trip to England. Through the dialogue in these opening pages Biafra

discusses the Punk ethic embodied by this reprint from the retrospective vantage of a quarter

century4. What is found in his reflections is an emphasis on an anyone-can-do-it ethos, a

commitment to independent thought and direct action that outweighs aesthetic or stylistic

considerations, though the two can of course be connected. Biafra effectively regards this

attitude as representative of the West Coast, from the beginnings of Dead Kennedys to the

female rebellion of Riot Grrrl, to Green Day playing at a Food Not Bombs benefit in Berkeley5.

Clearly acknowledging the mass media co-optation aspects of Punk, Biafra and Vale both show

through their independent ventures and beliefs that the ethos lives on after a fashion, even when

the original “scene” is long over6. So while certain stylistic iterations of Punk do not hold the

same efficacy today as they did in 1977, as Vale and Biafra mention, Punk resistances can live

on in alternate forms. The copies of Search & Destroy offer a glimpse into the rebellious

networking practices and anyone-can-do-it spirit spawned in the San Francisco scene at the end

of the 1970s.

UK and US Zines. Note: Copyright David Wright, MD

(made available under a Creative Commons License)


6

Search & Destroy belonged to a generation of fanzines that proliferated around Punk music in

the United States and in Europe in the late 1970s. Typically referred to interchangeably as

“zines” these were independent, hand-made, not-for-profit, amateur publications supported

almost entirely by the passion and enthusiasm the creators had for Punk culture. Often these self-

published, pamphlet-like collections of text and images were simply produced on regular copy

paper folded several times to create pages then Xeroxed to make multiple copies.7 The

typesetting was done by cutting out letters and images from newspapers or other publications and

gluing them to the sheet of paper. Appropriation of popular images was commonplace in these

publications as images were usually taken directly from existing magazines or other print media.

Pasting a foul word on top of an appropriated picture, turning it upside down, or placing a ten-

cent pricing sticker on top of the image could quite easily and powerfully subvert a fashion or

product advertisement8.

The distribution of these publications usually occurred at music shows, where people would

simply pass zines out or would sit behind a table and sell them for $1, or less. There was also the

potential of generating circulation by word-of-mouth or by taking zines on bands’ tours. Each

zine typically had a mail-order form with the author’s home address in the back so that copies

could be requested, which in turn generated a mailing-list culture of zine exchange.9 Instead of

waiting for coverage by well-funded, large-scale rock music magazines, like Rolling Stone, these

fans took matters into their own hands. It was an affordable and effective way to individually

manufacture and distribute messages or expressions. There were innumerable amounts of Punk

zines created between 1977 and 1979.10 With very few exceptions, these publications were made

in incredibly small editions, and through this approach,.the most comprehensive collection

captured the raw and immediate response of Punk culture in San Francisco is Vale’s Search &

Destroy.


7

Mabuhay Gardens, 443 Broadway, San Francisco (circa 1990). Source: gogonotes.blogpsot.com


The very first article in the premier issue of Search & Destroy was about Mabuhay Gardens, a

Filipino supper club by day, venue by night at 443 Broadway in North Beach, not too far from

City Lights where Vale worked. While several spaces in the city would host local Punk bands

sporadically during this time period, Mabuhay became the place to see performances. Vale

begins the segment, entitled “New Wave History in San Francisco at the Gabba-Hey Gardens”11

with an abbreviated history of the venue, “In November 1976, a green-haired cabaret-glitter

queen from Montreal named Mary Monday ‘rented’ a quiet Filipino supper club on Monday

nights to showcase her tap dancing, her songs, and theatrics.”12 As she attracted small but

outrageous crowds, Ness Aquino, the owner, wanted to book more and more eccentric acts.

Thus, Aquino turned responsibility for booking over to Dirk Dirksen, of Dirksen-Miller

productions, who would book theatre acts in the evenings, after dinner, and Punk rock bands in a

11 p.m. to 2 a.m. slot, while acting as MC for the all the shows.

In this seemingly unlikely venue, Dirksen facilitated Punk culture by booking local unknown

acts consistently, even if right alongside national popular acts or even in conjunction with

eccentric theatrical acts. Often referred to as a guy who would book literally anybody, he had an

open mind and a sense of humor that proved key to the livelihood of what is documented of the

San Francisco Punk culture in the late 1970s.13


8

In 1978, while at Mabuhay, Vale met San Francisco artist Bruce Conner who would proceed to

take photographs for Search & Destroy. An exhibition of these photographs was organized in

Germany and shown in the summer of 2008 at the Berkeley Art Museum, allowing a

retrospective glimpse into the physical setting of the venue. Conner’s photographs allude to

energy, the liveliness he was documenting. A shot of the Mabuhay Gardens sign outside the

building advertises the establishment as providing the “finest Filipino Cuisine” and “Family-

Type Entertainment.”14 The window and telephone pole outside are covered with whole and

remnant flyers for various shows. There is popcorn and Budweiser suspended in mid-air.

Performers are dressed in everything from cop uniforms to ripped t-shirts, flannel shirts or suits.

The bathrooms and back alley are covered in graffiti. What can be extrapolated from the images

of popcorn-littered floors and overturned chairs is the non-conformist nature of the scene.

Depictions of the musical acts emphasize that these performances were anything but what might

be called conventional. Band members can be found lying down on stage while singing, or

crouching on top of a stack of speakers on the corner of the stage. Clearly these shows were not

set up as, say, an arena rock concert where architectural boundaries and structures emphasize the

separation between performer and audience. Images of certain shows at Mabuhay demonstrate

that audience/performer interaction occurred frequently, whether the performer was in the

audience or members of the audience were on stage. The rules, as one audience member’s

handmade t-shirt implies, were simply to “do what thou wilt.”15

Bruce Conner, Roz Makes a Giant Step for Mankind: Negative Trend, January 23, 1978

Source: artltd.com


9

The scope of Dirksen and the Mabuhay’s contributions to Punk movement are difficult to

estimate. What unfolds as Punk culture chronologically expands is the dissolving of the anyone-

can-do-it ethos into many facets of modern society as the physical proximity of the scene in the

late ’70s becomes more decentralized and absorbed by more participants.

The ’80s would see the closing of Mabuhay Gardens, and other venues such as Club Foot,

another experimental venue located in the Dogpatch district opening the stage to Punk

performers. The ’80s would also see an increase in the production of zines. The rate of exchange

of these zines increased through word of mouth and the creation zine directories such as

Factsheet Five.16 Zines would run the gamut of full-scale artist productions, containing original

works of art or simple black-and-white photocopied pages that discussed anything from how

women can repudiate unwanted catcalls to the latest finds at thrift stores. As Bay Area zine-

maker Sean Teharatchi exclaimed, “Anyone who’s vaguely dissatisfied will finally have a way to

express themselves! I sincerely doubt the computer scientists or the people at Xerox were

thinking about this – but it’s too late now!”17 The medium remained an effective and easily

reproducible way to disseminate information and expressions. While venues were closing

elsewhere, the Punk scene could be found in infoshops, which were spaces that among other

things, housed zine libraries, served as meeting halls, daycares and concert venues.

Long Haul Infoshop, Berkeley, California. Source: Indybay.org



10

The ’90s would see the closing of many of the infoshops and other alternative spaces.18 During

this time, the San Francisco Mission District famously became victim to the dot-com infiltration

of new business offices and loft spaces, pushing out those (often forcefully) that were there

before them. Eric Lyle, an active Punk in San Francisco in the late ’90s, stresses that his

association with Punk music and culture was very much affiliated with the political activism

which attempted to challenge the new big-name hipster technology businesses that pushed extant

Mission non-profits and residents out.19 While this urban resistance of the ’90s Punk generation

against the cultural and spatial infiltration of the dot-com era was definitely notable, so too were

the impending results of the dot-com exploitation. Lyle recalls that in ’98, officers imposed new

codes that forced Punk rock venues in the Mission to close. The result of this gentrification was

bands plugging in and playing inside the underground metro stations or on the sidewalk in front

of the closed Mission businesses.20 While Punks attempted to sidestep these physical restraints,

even after the dot-com businesses experienced the waning of their sudden influx, there are few

zine and indie record distribution centers and bookstores that remain from these expulsions to

represent independent and radical culture. Further, as the Internet started to emerge as a popular

communications device in the late ’90s there were those like Vale who critically eschewed this

alternative for publishing media: in ’96 he called the new form of e-zine (a zine-like publication

often distributed via email blasts or online web pages) “superficial” and lacking in multi-

dimensionality elaborating that this new form of zine was “too ‘cleanly’ presented, and lacking

in randomness and collage elements…”21 As Vale also pointed out, in ’96 “access to computers

and scanners” was still for “the privileged few.”22

V.Vale (left, with Charles Gatewood) at the 2009 Alternative Press Expo


11

Today, at the forefront of creation and distribution practices, are peer-to-peer exchange of music

files, email blasts, web pages, blogs, and social networking sites like Myspace and Facebook.

Networking on the Internet now exists literally underground the city (running through cables)

and physically into new spaces, such as domestic areas or anywhere with Wi-Fi. This allows for

certain online groups to maintain a home base but also expand beyond their regional limitations

in order to communicate and collaborate outside their physical restraints while in the privacy of

their own home. These possibilities re-interpret the spatial delimitations of a local scene based on

geographical proximity. This is not to say that there was never cross networking or exchange of

ideas in the’70s, as many records, cassettes and zines had high rates of exchange across

geographical boundaries.

Punk culture and online culture merge as Vale’s publications can be accessed through his

website by anyone with Internet access in a matter of a few clicks of the mouse.23 Thus, we must

acknowledge the Punk movement, in a broader and more international sense, has come to re-

exist on the Internet. This re-production of Punk culture on the Internet provides content and

archived material from those who were active in the late ’70s through music and video files,

interviews and zine reprints, many of which have been posted by fans of the music.

Screenshot, www.operationphoenixrecords.com (Accessed July 2, 2009)


12

When situating Punk-rock activities of the ’70s in contemporary networking culture, it is

important to consider the technologies associated with the personal computer, specifically those

related to public accessibility to the Internet. Saskia Sassen, cites in her research of new

networked technologies that “the latter matters not only because of low-cost connectivity and the

possibility of effective use ... even with low bandwidth availability, but also, and most

importantly, because of some of its key features”.24 Some of these key features include user-

friendly access to e-mail, chatting, blogging, photo sharing, and social networking opportunities

for free, meaning the user does not have to pay money to use these services when connected to

the Internet.

Chart: 2002-2004 New Weblogs per Day Tracked by Technorati.com

Source: Sifry.com

Considering San Francisco Punks activist response to Internet-technologies as recounted by Eric

Lyle and Vale’s critical reaction to the accessibility of these technologies, it is my assertion that

by 2000, when physical venue space and zine distribution centers were severely dwindling and

paired with the increased affordability of personal computers, the Internet became a more viable

outlet for new methods of alternative production, distribution and communication. Though this


13

was not a substitute for the original format of live venues, it helped the San Francisco (as well as

the broader) movement stay in contact with loyal Punk populations as well as branch out to new

audiences. Jack Boulware, editor of a forthcoming oral history of San Francisco Punk, asserts

that originally the Internet was a space for creative radical output, but in its saturation level in

today’s society “it’s very easy to think you are an enlightened autonomous soul if you have the

software. [A]nd that must be frustrating, [I] think, for young people who want something

more.”25

The cultural activities of the Punk movement evolved out of a discontent for the lack of access to

the musical and media industry. Punk producers usurped what was not far from reach in order to

create an entire network of cultural production and idea exchange. It was this trajectory of no-

access that led to a subcultural formation of creation, production and distribution. Now, with the

commodified accessible features of the Internet, these tools are not only being used to preserve

and circulate Punk music and zine culture but online tools are also being used to subvert the

largely corporate Internet industry (and thus structure) through activist movements such as Open

Source and Open Content endeavors.

Rick & Megan Prelinger, Founders of Prelinger Library with Quote.

Source: welcometothemachinemovie.com


14

In the book, The Political Edge, edited by San Francisco’s own Chris Carlsson and printed on

City Lights Press, one finds Lyle’s earlier mentioned experience in Punk culture in the late ’90s,

and among other things, a handful of articles written about Open Source and Open Content

movements. One of these articles is written by Rick Prelinger, founder of the Prelinger Library in

San Francisco and an avid supporter of a new endeavor called the Open Content Alliance. A

May 2007 blog entry on the Prelinger Library Blog reads:

Both of us [Prelinger founders] have been influenced at a core level by punk culture and

politics. We like to think of the library as a DIY (that's do-it-yourself) project, an attribute

that's also closely entwined with Punk cultural practice.26

With this connection to the Punk ethos articulated, an example of some radical web activity

begins to emerge right out of the San Francisco streets that the Punks walked. The library houses

a physical location at 8th and Folsom Streets, that is run independently and is referred to as

“appropriation-friendly”27 though a large amount of the library archives are available for free on

the Prelinger Library website. This is largely due to Prelingers involvement with the Open

Content Alliance, which is “a collaborative effort of a group of cultural, technology, nonprofit,

and governmental organizations from around the world that helps build a permanent archive of

multilingual digitized text and multimedia material.” The OCA “encourages access to and reuse

of collections in the archive, while respecting the content owners and contributors.”28


15

Source: opencontentalliance.org

The efforts of Prelinger and others is a move to provide content free of charge on the Internet.

Functioning rather similarly to an online library this material would radically alter the way

information is published and distributed by presenting immediacy of access and flexible

copyrights to encourage re-use of the materials. Leading the way in redefining the distribution of

culture, it is initiatives like these that could provide us with resources to realize the actual

potential of accessibility to such online tools. I take these potentials to be an emancipation of

human expression through a furthering of the Punk ethos.

Dirk Dirksen. Copyright: Punkglobe.com

The constitution of this specific Punk “scene” in the late ’70s depended on the national and

international influences from musical scenes in the United States and Europe. But the scene was


16

also contingent on the development and organization of people inside Mabuhay spreading Punk

through San Francisco by word of mouth or through the distribution of flyers and zines. Dirk

Dirksen was one such vessel of independent promotion, providing the space and resources for

this scene to develop and grow. Functioning as archivist and academic, Vale created a network

and a record for the Punk activity in San Francisco in Search & Destroy. While Punk’s ethos

allowed for more autonomy, Punk’s movement through physical space required actual labor,

even if self-organized (i.e. showing up to a Punk show or physically cutting paper for a zine).

Much like the constitution of the scene depended on the efforts of Vale and Dirksen. The need

for physical space, however, cannot be overestimated in the development of the Punk scene, as

today’s San Francisco is plagued by higher costs of living. Should a similar movement with

similar demands present itself today, monetary limitations would likely hinder access to space

and opportunities for assembly.

By encouraging individual participation, independent thought and action through quotidian

resources, Punk became a culture that could be appropriated by anybody. Now, as terms like

“DIY” get used frequently and haphazardly, and how-to-start-a-Punk-band manuals exist in

independent and commercial outlets (see image below), doing something oneself does not

necessarily mean one is decrying passivity and actively embodying Punk rock discourse.

Cover of Punk Rock Etiquette by Travis Nichols. Source: Amazon.com

That is to say, Punk is first and foremost an experience, one based on action and activity that

individuals manifested through exchanging and communicating with other people. This action of


17

exchange was not one of passively clicking through hyperlinks, but one that occurred more

physically in the streets and with other humans. Rather, the prominence of the term and the idea

of DIY is much more embedded in the way that the anyone-can-do-it ethos behind Punk

(intentionally or not) saw an ideological shift in approaches to cultural production. In an attempt

to locate key inflection points in this shift, people like Rick Prelinger surface. Prelinger, through

housing his appropriation-friendly library and his open content endeavors, remains an actor

involved in a innovative yet auxiliary track which could very well see another great shift in the

way people interact with, experience and reference creative content.

While musical and face-to-face cultural interaction seems to require a physical infrastructure

such as Mabuhay in the late ’70s, the zines that grew out of this scene eventually bypassed this

need by creating their own network of mail exchange through use of online tools and information

sharing. What occurs in this space of independent production seems congruent with the trajectory

from zines to blogs, a potential that can happen when people have the ability to create and

exchange ideas and content in an environment that has seemingly few limitations and where

profit is not the impetus for participation. This is a space that Punk carved out in the late ’70s,

one that zine producers took up through the ’90s and one that the Internet now provides access to

at instantaneous rates everyday. The implications of the latter’s potential hinge on the promises

of its possibilities and the inherent complacency it evidences for the experience of historical

moments like that of Punk culture where there is no “back” button, no “x” in the corner of the

screen to immediately end one’s experience.

1 This thesis examines a selected portion of Punk activity in order to locate the energy behind the proliferation of cultural production around Punk music that is often referenced in contemporary instantiations. A trajectory of a pluralistic ethos develops behind the music-oriented scene in which the autonomous participation of the individual is the focus, rendering a confrontation with mainstream media. Reading the Punk movement of the late 1970s through textual reproductions draws attention to the creative uses of direct action that were responding to an increasingly mass-mediated culture and mass-marketed consumer environment. The subversion of prevailing systems of representation or display exemplify, at best, the ways in which Punk took advantage of what is now referred to as do-it-yourself approaches, thus creating their own system of self- and peer-representation. While the aesthetic impetus represented in these resources can be historically discovered across countless social and artistic movements, Punk here signifies the popularization this specific ethos. 2 The concept of DIY in this research is presented through an elaboration of Punk culture and its activities in a way that is not attempting to relate it to the political implications involved with the aforesaid instantiations of the term.


18

3 Based on such occurrences as the Ramones playing for the first time in San Francisco in 1976 and subsequently venue spaces, such as Mabuhay Gardens and Club Foot, opening the door to eccentric punk acts – like the Nuns and the Avengers - in ’76 and ’77. 4 The interview between Vale and Biafra took place in 1996 and spans the first five pages of Search & Destroy #1-6: The Complete Reprint providing the source for the analysis of this paragraph. 5 Vale, V, editor. Search & Destroy #1-6: The Complete Reprint (San Francisco: RE/Search Publications, 1996) v. 6 Specifically through Vale’s publishing efforts and Biafra’s political/cultural endeavors. For more on each respectively: www.researchpubs.com and www.alternativetentacles.com (accessed August 17, 2009) 7 Christopher T. Miller and Bryan Ray Turcotte, eds, Fucked up + Photocopied: Instant Art of the Punk Rock Movement. (Corte Madera: Gingko Press, 1999), 13.

East Bay Ray of Dead Kennedys states: “There was no reason to wait for a big company to come along and finance you, the big companies were not interested in Punk rock. A lot of musicians learned a little about making art by actually doing it and a lot of visual artists found a new outlet for some interesting experiments. The Xerox copy machine made these posters and flyers easy to reproduce – not many were actually taken to a real print shop. Mass-produced objets d’art were being made by people with very little capital.”

8 Ibid. 9 Among others, See: V.Vale, editor, Zines! Volume 1 (San Francisco: RE/Search Publications, 1999); Zines! Volume 2 (San Francisco: RE/Search Publications, 1999); Perkins, Stephen. “Mail Art and Networking Magazines (1970-1980),” http://www.zinebook.com/resource/perkins/perkins8.html (accessed March 28, 2009); Sinker, Daniel, ed. We Owe Your Nothing, Punk Planet: The Collected Interviews (New York: Akashic Books, 2001), introduction; look for contemporary zines at your local independent bookstore. 10 George Gimarc, Punk Diary: The Ultimate Trainspotters Guide to Underground Rock, 1970-1982. (San Francisco: Backbeat Books, 2005), 193.

“There’s a huge crop of fanzines littering the doorways and racks of independent record shops these days. They cover the gamut from self-copied two page missives to elaborate, slick typeset magazines that appear with alarming regularity. Most are priced from ten to twenty-five pence, and will give you great, street level insight into over the top fan enthusiasm.”

11 “Gabba-hey” is a phonetic play off of “Mabuhay.” 12 Vale, V. editor, Search & Destroy 1-6: The Complete Reprint , 11. 13 See: (Joel Selvin, “Dirk Dirksen 'pope of Punk' amused, insulted S.F. crowds,” San Francisco Chronicle 22 Nov 2006: B7), and (http://www.luver.com/dirkdirksen.html) (Accessed April 12, 2009). 14 For Reproductions of these images please see: Greil Marcus, contributor, Bruce Conner: Mabuhay Gardens NineteenSeventyEight (Dusseldorf: Published on the occasion of the exhibition at NRW-Forum Kultur und Wirtschaft, 2006). 15 Interestingly the phrase “Do what thou wilt” is also the basis of the Thelema philosophy and later an entire occult-like religion would be based around this ideal. Thanks to Julian Myers for pointing this fact out. See the wikipedia entry for more: http://en.wikipedia.org/wiki/Thelema (accessed April 12, 2009) 16 See Factsheet Five in it’s contemporary existence here: Wiki: Factsheet Five, http://wapedia.mobi/en/Factsheet_Five (accessed March 29, 2009). 17 V.Vale, editor, Zines! Volume 1 ,44. 18 In his article, “Your Friendly Neighborhood Infoshop,” Chuck Munson goes into detail about the role of infoshops in radical culture and importance of them in relation to alternative publishing. He cites that their peak was from 1995-1996 and states the infoshop movement “social base is in the Punk scene,” though goes onto say that this association with Punk culture tends to assail the function of infoshops within a community. The article can be found at: http://www.practicalanarchy.org/infoshops.html (accessed March 29, 2009). 19 Eric Lyle, “On the Lower Frequencies,” in The Political Edge, ed. Chris Carlsson, (San Francisco: City Lights Foundation, 2004), 96. 20 Ibid., 101 21 Vale, Zines! Vol 1, 5. 22 Ibid. 23 See: http://www.researchpubs.com/Blog/index.php (Accessed July 2, 2009).


19

24 Saskia Sassen, “Electronic Markets and Activist Networks: The Weight of Social Logics in Digital” in Digital Formations: IT and New Architectures in the Global Realm, ed. Robert Latham and Saskia Sassen (Princeton: Princeton University Press, 2005), 74. 25 Jack Boulware, email message to author, March 7, 2009. 26 Prelinger Library Blog, “Punk Zine Archive,” posted May 23, 2007, http://prelingerlibrary.blogspot.com/2007/05/Punk-zine-archive.html (accessed March 28, 2009). 27 Ibid. 28What is the Open Content Alliance?, http://www.opencontentalliance.org/about/ (accessed March 28, 2009).

infinity journal - otherpeoplespixelss3.otherpeoplespixels.com/sites/13724/resume.pdf · infinity...

Documents