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Figure from:Spreading the message! Fanzines and the punk scene in Portugal1

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Note: Some editions of fanzines have contents that can be categorized under more than one theme, so the numbers shown here, if added together, exceed the total number of editions (177) analysed in this article.

Table 3 Note: Some editions of fanzines have contents that can be categorized under more than one theme, so the numbers shown here, if added together, exceed the total number of editions (177) analysed in this article.

Related Figures (7)

This section seeks to present, briefly, some preliminary considerations about the issues based on the analysis carried out so far. This represents the outcome of a preliminary mapping exercise of the 93 fanzines that currently constitute our analytic corpus. Despite the significant number of collected fanzines, we must be careful in interpreting the results that we will discuss here, because there are certainly many other Portuguese punk fanzines that are yet to be analysed (some of them were destroyed, others are in the hands of private collec- tors and fans, other were forgotten and the rest were lost in boxes...). This mapping criss-crosses a reading of the themes addressed and the techniques and graphic aesthetic used with the analysis of the historical period in which the various fanzines were produced. The first point is fundamental: starting with a marginal role in the 1970s, the Portuguese punk fanzines assumed an important and constant presence over the following decades (Table 1). The emergence of fanzines in the 1980s is particularly important as it corresponds to a period of the greater presence of the punk in Portugal, attested by the number of bands and actors mobilized around them. This persistence of titles and editions was maintained in the following decades up to the present day, emphasized by the fact that in the 2010s there were sixteen fanzines titles that produced 41 editions. If we consider that we only refer to three years (2010-2013), we can say that there is a constant production of fanzines, which denotes an interesting resilience of this format over the e-zine. Meanwhile, the mapping of fanzines (Figure 1) enables us to understand their geographi- cal distribution: thus, the punk fanzines are linked mainly to the metropolitan Note: Some titles of fanzines may have been edited in different years from different decades and were therefore counted in more than one decade.
This section seeks to present, briefly, some preliminary considerations about the issues based on the analysis carried out so far. This represents the outcome of a preliminary mapping exercise of the 93 fanzines that currently constitute our analytic corpus. Despite the significant number of collected fanzines, we must be careful in interpreting the results that we will discuss here, because there are certainly many other Portuguese punk fanzines that are yet to be analysed (some of them were destroyed, others are in the hands of private collec- tors and fans, other were forgotten and the rest were lost in boxes...). This mapping criss-crosses a reading of the themes addressed and the techniques and graphic aesthetic used with the analysis of the historical period in which the various fanzines were produced. The first point is fundamental: starting with a marginal role in the 1970s, the Portuguese punk fanzines assumed an important and constant presence over the following decades (Table 1). The emergence of fanzines in the 1980s is particularly important as it corresponds to a period of the greater presence of the punk in Portugal, attested by the number of bands and actors mobilized around them. This persistence of titles and editions was maintained in the following decades up to the present day, emphasized by the fact that in the 2010s there were sixteen fanzines titles that produced 41 editions. If we consider that we only refer to three years (2010-2013), we can say that there is a constant production of fanzines, which denotes an interesting resilience of this format over the e-zine. Meanwhile, the mapping of fanzines (Figure 1) enables us to understand their geographi- cal distribution: thus, the punk fanzines are linked mainly to the metropolitan Note: Some titles of fanzines may have been edited in different years from different decades and were therefore counted in more than one decade.
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.
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.
Source: KISMIF Archive, through Paulo Ramos. Vy GECAGes alla WIC COMSIGETS ULE do d Ppdlt OF ULE PUILN SCelle UIT Ortusadt. The first punk fanzines arose in Portugal in the late 1970s, in the Lisbon area. This is the case for the Desordem Total/‘Total Disorder’® fanzine, with six numbers, published between 1978 and 1979, and the Estado de Sitio/’State of Emergency’ fanzine, edited by Paulo Borges (a member of Minas & Armadilhas, a pioneer band punk in Portugal), which published at least six number throughout 1978 (see Figure 2). In both cases, the editors took a DIY aesthetic orientation, based on a blend of cut-and-paste techniques, drawing/illustration, handwritten and typed texts, photo manipulation and so on, which, as we have seen before, is perfectly consistent with the large majority of English and American punk fanzines from this period. At a time when the Portuguese punk movement was still embryonic we find in these Figure 2: Estado de Sitio, Paulo Borges (1978), front page and middle page.
Source: KISMIF Archive, through Paulo Ramos. Vy GECAGes alla WIC COMSIGETS ULE do d Ppdlt OF ULE PUILN SCelle UIT Ortusadt. The first punk fanzines arose in Portugal in the late 1970s, in the Lisbon area. This is the case for the Desordem Total/‘Total Disorder’® fanzine, with six numbers, published between 1978 and 1979, and the Estado de Sitio/’State of Emergency’ fanzine, edited by Paulo Borges (a member of Minas & Armadilhas, a pioneer band punk in Portugal), which published at least six number throughout 1978 (see Figure 2). In both cases, the editors took a DIY aesthetic orientation, based on a blend of cut-and-paste techniques, drawing/illustration, handwritten and typed texts, photo manipulation and so on, which, as we have seen before, is perfectly consistent with the large majority of English and American punk fanzines from this period. At a time when the Portuguese punk movement was still embryonic we find in these Figure 2: Estado de Sitio, Paulo Borges (1978), front page and middle page.
Source: KISMIF Archive through David Pontes.
Source: KISMIF Archive through David Pontes.
Source: KISMIF Archive through Noé Alves. Figure 4: Crack!zine, Mutante Noé (1995), front page and back page.
Source: KISMIF Archive through Noé Alves. Figure 4: Crack!zine, Mutante Noé (1995), front page and back page.
Source: KISMIF Archive through Paulo Lemos. Figure 5: City Lights, Joana Duarte (2011), front page and inside page.
Source: KISMIF Archive through Paulo Lemos. Figure 5: City Lights, Joana Duarte (2011), front page and inside page.
of cultural resistance’ against the ‘system’. Sustaining the DIY culture of punk is based on the defence of an activism that is equivalent to action (see McKay 1998). If we analyse the titles of the 93 fanzines present in our data- base (Table 2), we can begin by noting the importance of the sense of crit- icism against society and the anti-system positioning of 23 per cent 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 é da Humanidadel’The Guilt is Humanity’s’, Alternativa/‘Alternative’, Anarkozine/’Anarchozine’, Dissidentes do Projecto Estatal: insiste!/‘Dissidents of the State Project: insist!’, Rebeldia/‘Rebellion’, Crise Sociall’Social Crisis’, Desordem Urbana/‘Urban Disorder’, Global Riot, Insubmissao/‘Insubordination’, among others. If we add to these, 10 per cent of titles where the idea of DIY is present, self-determination (Be Yourself, Conviccdo/’Conviction’, DIY or DIE! Faz Tu Mesmo ou Morre!/’DIY or DIE! Do-It-Yourself or Die!’, Not Just Words, Porque Nada se Constroi Sozinhol’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 one’s own initiative (see Hein 2012). Thus, the attractiveness of punk as a form of personal and politi- cal expression lies in offering resources to an agency and empowerment via disalienation, a DIY ethos and an anti-status quo alignment. TL ee a eek) a ec Le, i a, en i Se : a, | ee
of cultural resistance’ against the ‘system’. Sustaining the DIY culture of punk is based on the defence of an activism that is equivalent to action (see McKay 1998). If we analyse the titles of the 93 fanzines present in our data- base (Table 2), we can begin by noting the importance of the sense of crit- icism against society and the anti-system positioning of 23 per cent 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 é da Humanidadel’The Guilt is Humanity’s’, Alternativa/‘Alternative’, Anarkozine/’Anarchozine’, Dissidentes do Projecto Estatal: insiste!/‘Dissidents of the State Project: insist!’, Rebeldia/‘Rebellion’, Crise Sociall’Social Crisis’, Desordem Urbana/‘Urban Disorder’, Global Riot, Insubmissao/‘Insubordination’, among others. If we add to these, 10 per cent of titles where the idea of DIY is present, self-determination (Be Yourself, Conviccdo/’Conviction’, DIY or DIE! Faz Tu Mesmo ou Morre!/’DIY or DIE! Do-It-Yourself or Die!’, Not Just Words, Porque Nada se Constroi Sozinhol’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 one’s own initiative (see Hein 2012). Thus, the attractiveness of punk as a form of personal and politi- cal expression lies in offering resources to an agency and empowerment via disalienation, a DIY ethos and an anti-status quo alignment. TL ee a eek) a ec Le, i a, en i Se : a, | ee
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