Punk & Post-Punk 7.3 is now available

Intellect is happy to announce that Punk & Post-Punk 7.3 is now available! For more information about the issue, click here >>



Authors: Russ Bestley 
Page Start: 313

Fan artefacts and doing it themselves: The home-made graphics of punk devotees

Authors: Russ Bestley And Paul Burgess 
Page Start: 317

Punk’s embrace of autonomous, do-it-yourself artistic production has been widely documented as a key element of the punk ‘explosion’. At times, however, the rhetoric has exceeded the actual practice and the boundary between DIY authorship and professional production has become blurred. Although much early punk visual material was indeed raw, rough and ready, and often appeared to run counter to any kind of formal aesthetic criteria in respect to design or taste, it was also widely the product of trained graphic designers and illustrators with a keen awareness of the appropriate visual language required to reflect a new, self-styled, anarchic and polemical subculture. Even many of the celebrated ‘do-it-yourself’ punk pioneers relied on access to professional services for reproduction, including printers, prepress art workers and specialist record sleeve manufacturers. However, much like the punks who chose to make their own outfits, rather than buy ‘official’ clothing from the burgeoning punk boutique (and mail order) market, some fans and enthusiasts attempted to create their own punk graphics or decided to adopt a naïve model of détournement to adapt or personalize jackets, shirts, school bags, scrapbooks and even record sleeves within their own collections. These home-made artefacts can be viewed as products of subcultural participation and belonging, as an individual’s response to punk’s call to arms and as markers of possession. They may also help us to better understand an underlying, distilled and unmediated interpretation of punk’s ‘natural’ visual language.

‘No I don’t like where you come from, it’s just a satellite of London’: High Wycombe, the Sex Pistols and the punk transformation

Authors: Martin James 
Page Start: 341

The journey from proto-punk to punk occurred at high speed in many of London’s satellite towns. Among these, the town of High Wycombe in the home counties offers a narrative that can trace an involvement in the earliest stages of that journey as a result of performances by leading British punk group the Sex Pistols. This article explores three Sex Pistols-related events that are used to map three clear phases of the proto-punk to punk transformation. The first wave notes the blurred lines in the fluid symbiotic relationships between proto-punk in London and its satellite towns. Drawing on Crossley, I note that London’s networked punk ‘music world’ was reliant on both cultural commuters and activities in the provinces. I propose a further, fluid notion of transivity that shows the relationship between local and ‘commuter’ punks is needed. The second wave shows the damaging aspect to High Wycombe’s punk identity as, due to its close proximity to London, many if its key actors would move to the capital as soon as they were able to. They escaped from the ‘boredom’ of High Wycombe – the commuter town – to go to the ‘excitement’ of cosmopolitan London to live their dreams. The third wave reveals a moment of class and regional cohesion, through which a High Wycombe Punk identity emerges during the summer of 1977. This occurs among the first and second wave participants who remained and the newer school-aged punks. Finally, the article introduces the local punk terrain beyond the timeline under investigation. Here, regional and class difference became played out through violent interactions between Wycombe punks and skins, and punk scenes from other towns. Here we see the assertion of ‘Wycombe Punk’ as a type.

Punk fanzine culture and civil protest among Israeli youth

Authors: Oded Heilbronner 
Page Start: 363

Punk fanzines in Israel peaked in the late 1980s and the first half of the 1990s with the appearance of a few dozen titles. These fanzines were the product of an urban culture that had developed in the suburban central-Israel towns, created by teenagers with a strong attraction to European and American popular culture. The immediate influences on the fanzine culture were punk, which permeated Israel at the time - increasing exposure to western popular culture - and the liberal-civic perceptions that spread among various sectors of Israeli society, primarily among the middle class. Fanzine culture was hence a specific, yet critical, aspect of the ‘cultural revolution’ that prevailed in Israel, characterized by the downfall of the old order of the established bourgeois hegemonies, and the rise of a new cultural order.

DIY in Devon (Exeter and Plymouth)

Authors: Dominic Deane 
Page Start: 383

Regional cities are usually not widely known for their music scenes and live music spaces. In the historical context of DIY music scenes and youth cultures, communities are bounded by larger metropolitan areas and cities. However, this scene report will analyse a series of thoughts and interviews in discussing some of the important aspects of production in smaller DIY music scenes. This case study focuses on the medium-sized cities of Exeter and Plymouth in Devon, in the southwest of England. In examining some of the cultural identities, challenges and expressions of self-organization from labels, magazines and musicians, it reveals how alternative micro-scenes are forged through DIY practices within smaller communities.

More Than a Pony Show: An interview with Matt Stokes

Authors: Russ Bestley 
Page Start: 393

Elvera Butler: Ireland’s ground-breaking New Wave female entrepreneur

Authors: Michael Mary Murphy 
Page Start: 409

‘Encyclopaedic tendencies and impossible projects’: An interview with Peter Blegvad

Authors: Rupert Loydell 
Page Start: 421

‘It’s about being true to yourself’: An interview with Miguel ‘Kinnie’ Debattista, from Batteries Not Included (Malta)

Authors: Krista Bonello Rutter Giappone 
Page Start: 433

Book Reviews

Authors: Lucy Robinson And Francis Stewart And Rich Cross And Rupert Loydell And Josef Loderer And Matthew Worley 
Page Start: 447

  • Punk Pedagogies: Music, Culture and Learning, Gareth Dylan Smith, Mike Dines and Tom Parkinson (eds) (2017)
  • The Punk Reader: Research Transmissions from the Local and the Global, Mike Dines, Alastair ‘Gords’ Gordon and Paula Guerra (eds) (2017) 
  • International Anthem, Gee Vaucher (2018) 
  • All Gates Open: The Story of Can, Rob Young and Irmin Schmidt (2018) 
  • Hard-Core: Life Of My Own, Harley Flanagan (2016) 
  • The Punk Turn in Comedy: Masks of Anarchy, Krista Bonello Rutter Giappone (2018) 
Album Review

Authors: Russ Bestley 
Page Start: 467

Burning Britain: A Story of Independent UK Punk 1980–1983, 4CD box set, London: Cherry Red, £29.99

Festival Review

Authors: Paul Mego 
Page Start: 471

Muddy Roots Music Festival, Cookeville, Tennessee, 30 August–3 September 2018

Exhibition Reviews

Authors: Rebecca Binns And Ian Trowell 
Page Start: 479
  • The House of Fame: An Exhibition Convened by Linder, Nottingham Contemporary Gallery, UK, 24 March–24 June 2018
  • Print! Tearing It Up, Somerset House South Wing, 8 June–22 August 2018 and The Music That Saved a Decade: Divining the Eighties Underground, Barbican Music Library, 14 July–3 October 2018
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