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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).

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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.

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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.

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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.

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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.

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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.

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“…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.

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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.

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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).

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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).

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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).

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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

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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-

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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,

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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.