1

ESGAR ACELERADO, PAULA GUERRA,

PEDRO QUINTELA AND TANIA MOREIRA

1

DIY DIY My Darling! @Rivoli Outspace Zines & Records

Esgar Acelerado, Paula Guerra, Pedro Quintela and Tnia Moreira

2

fanzines are

homemade objects, individually

or collectively hand-produced,

which have in general a lim-

ited circulation.

1 Fast, furious and xerox

2. We speak loud!

2

3

They are a key element of achieving tastes

and affinities including social, political, ideological and

cultural affiliations, lifestyle and music.

The first point is fundamental: starting with a

marginal role in the 1970s, the Portuguese punk fan-

zines assumed an important and constant presence over

the following decades (Table 1).

3. A mapping

of Portuguese punk fanzines

3

4 4

5 5

6

The approach to them has oscillated between two poles: they are referred to or

cited in analyses of punk as not being at the centre of its manifestations, or the purely

graphical aspect of them is covered.

6

7

The first punk fanzines arose in Portugal in the late 1970s, in the Lisbon

area.

The references

to Anglo-Saxon punk bands are also

frequent, mainly through pictures of

bands elements that are not always

identified

In addition to being the point of sale for cult magazines, underground publications and pi-rate fanzines by national authors, it also assumed the role

of a meeting place for the punk, alternative and bohemian community, in a Lisbon where the winds of cosmopolitanism were still far from blowing.

7

8 8

9 9

10 10

11 11

12 12

13

In analysing the set of Portuguese punk fanzines published

during the 1990s, it becomes clear that there was a deepening

of some trends that it was already possible to identify in

the previous decade. The 1990s were marked by the prolifera-

tion, dispersion and diversification of fanzines. First, we

witness not just a diversification of punk subgenres ad-

dressed 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 are musical genres such as hip hop, reggae-dub or

even certain subgenres of electronic music addressed here,

but also other issues such as skateboarding, for example.

The effects of the advent of the personal computer in Portugal,

which became increasingly important during the 1990s, was remarkable from the graphical

point of view.

13

14 14

15

Although the beginning of the 2000s was definitely marked

by the emergence of several online forums, weblogs and e-

zines related to the punk scenes, which used the power of

Internet for the quick, easy and inexpensive dissemination

of punk bands, records, concerts, festivals and so on, the

truth is that traditional fanzines, published on paper and

distributed on the underground circuits, continued to show

great resilience (see Table 1).

15

16 16

17

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 on-

ly concerning musical genres but also photography, cinema,

comics or cartoons.

References

17

18 18

19

Exhibition DIY DIY My Darling! @Rivoli Outspace Zines & Records