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British punk fanzines from the 1970s. A punk zine (or punkzine) is a zine related to the punk subculture and hardcore punk music genre. Often primitively or casually produced, they feature punk literature, such as social commentary, punk poetry, news, gossip, music reviews and articles about punk rock bands or regional punk scenes.
Damage covered the punk scene in Northern and Southern California, as well as international developments. [2] OP magazine called it "one of the best new wave publications". [ 3 ] Reporting on the local scene in the San Francisco Examiner , Bill Mandel said that Damage was "the punk Bible" [for the Bay Area, presumably]. [ 4 ]
Slash was a punk rock-related fanzine published by Steve Samiof and Melanie Nissen in the United States from 1977 to 1980. The magazine was a large-format tabloid focused on the Los Angeles punk scene. [1] The fanzine also gave birth to Slash Records, an important punk record label.
Punk visual art is artwork associated with the punk subculture and the no wave movement. It is prevalent in punk rock album covers, flyers for punk concerts and punk zines, but has also been prolific in other mediums, such as the visual arts, the performing arts, literature and cinema. [1]
Capitol Crisis was a fanzine from the Washington, D.C. punk scene created by musician and disc jockey, Xyra Harper. [1] [2] [3] The zine published five issues from November 1980 to May 1981 and was part of the foundation for D.C.'s emerging punk music scene. [4]
Slug and Lettuce is a free newsprint punk zine started in State College, Pennsylvania by Christine Boarts in 1987. In 1989 CBL and S&L relocated to New York City where the zine's print run steadily grew and increased to 10,000 with free worldwide distribution. In 1997, CBL and S&L relocated to Richmond, Virginia. [1]
Artcore Fanzine [1] is a punk zine first published in January 1986, covering punk and hardcore music based out of the United Kingdom between 1986 and 2018 before relocating to the USA: It is published once or twice a year and as well as interviews of new bands, labels and artists.
J.D.s zines as a part of the wider queercore movement was an offspring of the musical punk rock scene and reflected anti-corporate ideologies, visuals, and textual choices. [16] Fanzines such as the Homocore series took influence from the punk and GLBTQ subcultures and credited the wider queercore movement with inspiring them to begin publishing.