Fast, Furious and Xerox: the fanzines

production within the Portuguese punk

scene and its evolution in terms of
ideology and aesthetics (1978-2013)
Pedro Quintela | Faculty of Economics | Centre for Social Studies | University of
Coimbra | KISMIF Project
Paula Guerra | Faculty of the Arts | Institute of Sociology | University of Porto |
Griffith Centre for Cultural Research | KISMIF Project Coordinator
Tnia Moreira | Faculty of the Arts | Institute of Sociology | University of Porto |
KISMIF Project

Punk and
fanzines
The first fanzines arise in the

decades of 1920-30 associated

with science fiction fans.

However, the production,

distribution and consumption

of fanzines won global
relevance with the emergence
of the punk phenomenon in the

UK and USA, during the 1970s

and 80s.

Fanzines adopted the DIY,

independent approach that punk
musicians had espoused. With the rise
of newly formed bands came the
establishment of impromptu clubs,
small, independent record labels and
record stores (). In the same way,
fanzines offered fans a free space for
developing ideas and practices, and a
visual space unencumbered by formal
design rules and visual expectations.
(Triggs, 2006: 70)

 Usually homemade produced with a

limited circulation, the fanzines tend to
be written and published by punk
movement members (individually or
collectively), having as their target
audience their peers (other punk fans).
As Julia Pine (2006) refers, fanzines are
material forms of representation.
These collective and volunteer
constructed (editing, contributions and
distribution) objects allowed individual to
state their social existence and cultural
participation, at the same time that
materialize a local movement.

 As in other dimensions of the

punk movement, fanzines
graphic components play an
equally or even a more
important role than the
written texts.
In fact, very often happens
that written and visual
components are so deeply
mixed that it becomes
impossible to develop a
separate analysis of these two
elements.

 The pioneering English punk fanzines of

the second half of the 70s (such as
Panache, Sniffin Clue, Ripped & Tom)
gave a decisively contribution to the
creation of a specific aesthetic and
editorial "language" that turned out to
be a sort of "subcultural canon".
In recent decades, this graphic language
of resistance (Triggs, 2006) was
widespread and globalized leading to the
reproduction of a do-it-youself ethic and
a certain way of "doing" punk fanzines
that still persists today.

 As Duncombe (1997) showed, thoughts and personal ethics occupy a

central place in this type of self-edited independent publication.
The pages of fanzines often reflect the ideology of their authors by their
sociopolitical positioning or in the support for certain causes.
We also see visible demonstrations of a particular taste or aesthetics, for
example, in interviews with bands or in certain critical reviews of records
and demo-tapes, concerts, movies, books or even other fanzines.
Finally, in some fanzines we find articles with very personal contents,
sometimes even of an introspective and intimate nature.
The fanzines are, in short, very rich communication formats in which we
find extensive information that allows us to understand a little better
how in each historical moment and each specific socio-cultural and
territorial context the punk movement was developing.

KISMIF Methodology and Fieldwork

The Portuguese punk fanzines

collection and analysis is a work in
progress.
93 Portuguese punk fanzines (some of
them with multiple numbers - total 177
fanzines) already scanned and analysed
Other fanzines that have been collected
and are currently in process of digitizing
and cataloguing.
Additionally, we conducted 200 in-depth
interviews with key actors in the
Portuguese
punk
fanzines
where
questions concerning the fanzines level
of production and consumption were put
to them.

Punk fanzines
in Portugal
(1978-2013): a
mapping
exercise

Evolution of the number of titles of fanzines and

number of editions of fanzines between 1978 and
2013, by decade
Number of titles of
fanzines

Number of editions
of fanzines

1970

1980

26

45

1990

22

35

2000

31

42

2010

16

41

Source: KISMIF
NOTE: Some titles of fanzines may have been edited in different years from
different decades and were therefore counted in more than one decade.

Total number of
fanzines edited
between 1978 and 2013,
by municipality.

Source: KISMIF
NOTE: For reasons of presentation,
the autonomous regions of Azores
and Madeira appear on the NUTS III
level (Nomenclature of Units for
Territorial Statistics), while
continental Portugal is at the
municipality level.

Late 70s: the pioneers of punk fanzines in

Portugal
The first punk fanzines arise in
Portugal in the late '70s, in the
Lisbon area.
It is the case of the Desordem Total
fanzine, with six numbers,
published between 1978 and
1979, and the Estado de Stio
fanzine, edited by Paulo Borges,
also a member of Minas e
Armadilhas (a pioneer band punk
in Portugal), which published at
least six number throughout 1978.

Late 70s: the pioneers of punk fanzines in

Portugal
Do-it-yourself aesthetic orientation,
based on a blend of cut-and-paste
techniques, drawing/illustration,
handwritten and typed texts, photo
manipulation, etc. this period.
We find in these early fanzines
essentially a space for a sarcastic
comment about the national and
international socio-political reality.

The references to Anglo-Saxon punk

bands are also frequent, mainly
through pictures of bands elements,
not always identified.

The 80s: a first boom of

punk fanzines in Portugal
Following the development of
punk scenes in Portugal, we
witness during the 80s a certain
proliferation of fanzines although
at this stage still largely
concentrated in the metropolitan
areas of Lisbon and Porto.

The 80s: a first boom of punk

fanzines in Portugal
In this period we can
identify relevant punk
fanzines such as:
Subverso (1982),
Subrbios (1985),
Tosse Convulsa (1985),
O Cadver Esquisito
(1986), Lixo Anarquista
(1986-87), Suicdio
Colectivo (1987),
Anarkozine (1987),
Post Scriptum (198788), Morte Censura
(1988) e Culto Urbano
(1988-89).

The 80s: a first boom

of punk fanzines in
Portugal
Although the political and social
criticism is still crucial, the musical
dimension gains a clear relevance
from this period; so fanzines
become a fundamental space for the
dissemination of punk bands, both
national and international.

The 80s: a first boom of

punk fanzines in
Portugal
Articles on punk and hardcore bands

(subgenre that in these years, breaks out

in Portugal) and also reports on some
punk international scenes (Australia,
USA, Brazil, Italy, etc.) become frequent
in this fanzines.
Initially this publishers were using
essentially secondary sources (such as
newspaper articles, press releases, etc.),
but gradually they began to incorporate
primary data, in general by conducting
interviews with punk bands, both
national and international.

The 80s: a first boom of punk fanzines in

Portugal
From a graphic point of view, the

Portuguese punk fanzines produced

during the 80s reflect a certain
maturity of their producers.
Formally we found that in many
cases there is a more careful
presentation; but many fanzines
from this period still maintain an
essentially do-it-yourself approach
that since the beginning always
characterized the punk culture.

The 90s: proliferation,

dispersion and
diversification
We witness a diversification of punk
subgenres addressed in fanzines (which
is reflected in the increasing relevance
of crust and straight-edge hardcore, for
example), but also a greater openness
to other underground aesthetics (not
only musical genres such as hip hop,
reggae-dub or even certain subgenres of
electronic music, but also other issues
are addressed here, such as
skateboarding for example).

The 90s: proliferation,

dispersion and
diversification
New topics gain relevance in
fanzines during the 90s: ethical and
policy issues related to the
anarchist-libertarian ideology,
women's rights;
vegetarianism/veganism; animal
rights; sexism; homophobia; drug
use; among others.

The 90s: proliferation,

dispersion and
diversification
The advent of the personal computer
in Portugal that, during the 90s, will
become increasingly important became
remarkable from the graphical point of
view.
So many of the fanzines published
during this period show a greater
technical precision, moving away from
a certain cut-and-paste aesthetic
purism that marked the early stages of
punk, in Portugal and abroad.

The 90s: proliferation,

dispersion and
diversification
In this period it is worth mentioning
fanzines as Mutante (1992), Grito de
Revolta (1992), Crack!zine (1992, 93 e 95),
Vontade de Ferro (1994), Atitude
Alternativa (1995), Animal Abuser (1995),
Golpe Baixo (1996), Global Riot (1996),
Insubmisso (1997), Kannabizine (1997),
First Step (1998), Out of Step (1996-98),
Hope (1998), Bakuzine (1998), Se o voto
a arma do povo (1998), Zona Autnoma
Provisria (1999), Convico (1999),
Rebeldia (1999) e Spirit of Youth (1999).

The 2000s: refinement and

deepening

Over the last 13 years the

production, distribution and
consumption of punk
fanzines seems to not have
slowed.

The 2000s: refinement and

deepening
Among other fanzines edited during this period we may refer to the
following ones: Inhumanus (2000), San Bao (2000), Sisterly (2000),
Rastilho (2000-02), Vontade de Ferro (2001), Opinion (2001), Wake up
and Live (2001), Two Sides (2001), Osso da Pilinha (2002), Suburbano
(2002), Aco Directa (2004), X.cute (2005), Crise Social (2005), Mesinha
de Cabeceira (fanzine que se mantm em atividade desde os anos 1990,
com edies pontuais em 2005 e 2012), Porque Nada se Constri
Sozinho (2006), Backfire (2007), Grita! (2007), Comedores de Cadveres
(2008), Not Just Words (2007-09), A Culpa da Humanidade (20082012), Alambique (2007-2013), O Alfinete (2011-2013), Kaos Urbano
(2007, 2010-11), Apuppapa (2010), Ncleo Duro (2012), The Juice
(2012), Prego (2013), Mndo Brutal (2011-2013), Jubiladxs (2012), City
Lights (2011), Humble: skate zine (2011-12), Overpower Overcome (2009
e 2012), Deflagra (2008, 11-13) e Karapaa (2013).

The 2000s: refinement

and deepening
Although the beginning of the 2000s is
definitely marked by the emergence of
several online forums, weblogs and ezines related with the punk scenes which
uses the power of Internet for a quick,
easy and inexpensive dissemination of
punk bands, records, concerts, festivals,
etc., the truth is that traditional fanzines,
published on paper and distributed in
underground circuits, continue to show a
strong resilience.

The 2000s: refinement and deepening

In thematic terms, we can see that in
the 2000s fanzines maintained the
trend, already observed in the previous
decades, of a certain diversification of
the musical punk subgenres addressed,
as well as an increased openness to the
incorporation of other underground
aesthetics, not only concerning musical
genres but also photography, cinema,
comics or cartoons.

The 2000s: refinement and

deepening
In 2000s many articles focus on
"historical" punk/hardcore bands,
sometimes with some nostalgia
(interviews with members of iconic
Portuguese punk hardcore bands
from the 90s like X-Acto or New
Winds, for example).
This seems to be a major change; it
reveals a growing interest among
current members of punk scene in
Portugal to build up a certain look
upon the history and the memories
of the scene, which we rarely find
in previous decades.

Interestingly, this political dimension reveals

both a clearly international dimension and a
dimension strongly rooted in local reality.
Some concerns are generic, relate to the oppressive
nature of capitalist society as a whole and do not have
a specific connection to a particular territory or
community (topics such as the exploitation, capitalism,
development, etc.)
On the other hand, there are a range of specific
concerns that are strongly linked to a well-defined local
context.

Punk fanzines
in Portugal
(1978-2013):
themes, texts
and words

Content analysis of fanzines titles

No. of fanzines

A critical, anti-system idea

21

22.58

An idea of contamination

16

17.20

An idea of freedoom

13

13.98

An idea of derision

9.68

An idea of self-determination, DIY

9.68

An idea of collective, group

7.53

An idea of destruction

5.38

An idea of belonging to music

4.30

Other

9.68

Total (N titles)

93

100.00

Source: KISMIF

Content analysis of fanzines titles

There is a clear importance of the sense of criticism against society and
the anti-system positioning of 23 % of the fanzines.

This pervasive sense of denunciation of social evil, of being against society

and its institutions, and of hopelessness, is in fact one of the key slogans
of punk and is translated in our study by the following fanzine titles:
A Culpa da Humanidade/The Guilt is Humanitys,
Alternativa/Alternative,
Anarkozine/Anarchozine,
Dissidentes do Projecto Estatal: insiste!/Dissidents of the State
Project: insist!,
Rebeldia/Rebellion,
Crise Social/Social Crisis,
Desordem Urbana/Urban Disorder,
Global Riot,
Insubmisso/Insubordination,
etc.

Content analysis of fanzines titles

If we add to these, 10 % of titles where the idea of DIY is present, selfdetermination
Be Yourself,
Convico/Conviction,
DIY or DIE! Faz Tu Mesmo ou Morre!/DIY or DIE! Do-It-Yourself or
Die!,
Not Just Words, Porque Nada se Constri Sozinho/Not Just
Words, Because Nothing is Built Alone,
Vontade de Ferro/Iron Will
we can consolidate the perspective that being punk is to resist doing
and is acting on ones own initiative.

Thus, the attractiveness of punk as a form of personal and political

expression lies in offering resources to an agency and empowerment via
disalienation, a DIY ethos and an anti-status quo alignment.

Content analysis of fanzines titles

The presence of the idea of contamination (17% of the titles) is
nonetheless important, in the sense that the names of fanzines
incorporate and assume negative things about society, an effect of
contamination by the evils of the society.
Some examples are:
Comedores de Cadveres/Eaters of Cadavers,
Esporradela Social/Social Cumshot,
Lixo Anarquista/Trash Anarchist,
Cadver Esquisito/The Weird Cadaver,
Cancro Social/Social Cancer,
Tosse Convulsa/Whooping Cough,
Ressaca Viciosa/Vicious Hangover.

Content analysis of fanzines titles

Revolt, but also freedom and the search for autonomy is ranked in the
third highest position, derived from the analysis of the titles of fanzines
(14%) , such as Grito/Scream, Grito de Revolta/Scream of Revolt,
Overpower Overcome, Wake up and Live, Zona Autnoma
Provisria/Temporary Autonomous Zone.

A sense of derision is present in 10% of the titles and points to the ironic
use of words, transforming the conventional sense, as in the following
titles: Bakuzine/Bacchus zine, Campo de Concentrao/Concentration
Camp, Confidncias do Exlio/Confidences of Exile and O Alfinete/The
Pin.

The idea of collective, of group, of a united whole are present only in 6%

of the titles, the idea of destruction is present in 5% and the idea of
belonging to music is present in 4%.

Content analysis of fanzines

Affinity and the musical sociability had the largest number of

occurrences, demonstrating the importance of music in the formation and
operation of a particular punk scene through the following seven items:
(1) the reference to bands,
(2) the defence of the Portuguese punk music scene,
(3) the disclosure of fanzines, radio and concert spaces,
(4) the apology for the punk/hardcore/Portuguese skinhead scene,
(5) the disclosure of records, labels and distributors,
(6) the criticism of punk/hardcore Portuguese scenes, and
(7) criticism of concerts, records and books.
In contrast to the titles of fanzines, in their contents we can observe a
focus on music and its daily celebration and proclamation as an element
of the Portuguese punk scene.

Content analysis of fanzines

After musical affinity and sociability, celebration and hedonism are the
most commonly recurring themes in the sections and pages of
Portuguese punk fanzines.
This conclusion is based on the evaluation of group identity or musical
community and the linking of affections and pleasures.
Fanzines normally developed around the establishment of social relations,
that is, among operators in the local scenes with emotions based on
commitment or assimilation in relation to shared values.

Content analysis of fanzines

The third block of themes present in the contents of fanzines that were
analysed relates to the defence of an alternative (to systems or criticized
behaviours), social criticism and revolt precisely the themes that relate
back to the values and ideals espoused in terms of the titles.
We have here the positioning of the resistance that is abundantly
attributed to the punks but in the context of its inclusion in the local punk
scene and subscenes.

Through this content analysis, we show that the punk continues to enable
a counter-hegemonic communication to exist, which faces up to the
commodification, appropriation and domestication proclaimed by society.
Various means are used to express this resistance:
informal and decentralized social networking sites and tours that allow
the flow of records, bands, styles and ideas;
record labels and independent shops;
the DIY ethic and the bands that record and release music on their own;
and the existence of fanzines.

Fanzines allow a counter-hegemonic communication to exist, which faces

up to the commodification, appropriation and domestication prevailing in
society.
Various means are used to express this resistance:
informal and decentralized social networks on the Internet and tours that
express the flow of records, fanzines, bands, styles and ideas;
transient record labels and independent shops;
DIY ethics;
and the bands that record and release music on their own.

Final remarks

The fanzine corresponds to the creation of a community of interest and

taste, it is assumed to be a sort of low-tech social networking, and this is not
confined just to punk.
The fanzines are material forms of symbolic representation, and that is how
we understand Portuguese punk fanzines, the object of our attention here.
Our approach has focused on the analysis of fanzines within the concept of
punk scenes, explaining them within a specific societal framework.

This is the main implication of the mapping decade of Portuguese punk

fanzines.
Practices and their inter-relationships are part of the space and linked it with
other social processes, which this mapping of Portuguese fanzines has
allowed us to observe.

In fanzines, the language conveys a message of resistance, as these

fanzines are represented as places of opposition to mainstream cultural,
political and societal order.
Thus, fanzines are places of cultural action and of political opposition since
their titles evoke a critical view of society and an anti-system positioning.
This action is taken by the use of linguistic terms that point to selfdetermination, derision and social contamination.
In a complementary way, in the contents of fanzines we see a focus on
music in their daily celebration and proclamation of as an element of
Portuguese punk scene: the themes of musical affinity and sociability
appear with the highest number of occurrences, demonstrating the
importance of music in the formation and operation of a scene with bands,
fanzines, the radio and concert spaces, and with records, labels and
distributors.

The fanzines are erected as symbols of the intrinsic meanings of a given scene,
defining the values, languages and beliefs of social groups.
Fanzines allow the existence of a counter-hegemonic communication that
resists commodification.
Fanzines, for their creators, are seen as a creation that allows them to be part
of something with which they share a common basis of understanding, spirit
and DIY attitude; that is, a sense of belonging to a community and a pluralistic
punk scene.

Thanks!

kismif.geral@gmail.com
http://www.punk.pt/