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But while all were working more or less in the same stylistic and technical medium, I am still intrigued as to how each editor and contributor used the materials at hand with such individualized creativity.The author speculates as to the cultural positionality of zines in general, and suggests a reading of the specificities of early Ottawa zines in terms of issues of national identity.Cet article articule des souvenirs personnels à une approche historique et critique des fanzines punks realisés à Ottawa, Canada, entre 1978 et 1985.The reader’s responses make up the basis of this mag.With no responses from you from your home we are a closed minded, one sighted group of assholas producing blah-blah, blah junk like shit., the city where I grew up, a few years ago, I unearthed a couple of boxes full of ephemera from my mother’s basement which I had stored from my “punk days” when I was involved in the small but vibrant and ever-changing scene here from about 1978 until I headed to London, Ontario in 1985 to go to university.Il retrace ainsi la naissance et les ramifications de cette « scène » en isolant ses influences « extérieures » et ses développements musicaux, tout en la considérant comme la conséquence d’un intérêt grandissant pour le militantisme social et politique.L’auteur s’interroge sur le positionnement culturel des fanzines en général et ébauche une lecture des spécificités des premiers fanzines d’Ottawa sous l’angle des questions relatives à l’identité nationale. This will not be like some Canadian and American mag where reader response is cut up and tossed out.
I was fourteen when I first became involved in the scene, and punk, as I experienced it then, and its style and ethics, shaped more or less every part of my early adult life.Within this space I learned to play guitar and write music, I played in bands, helped to produce records and tapes, promote gigs, make posters and flyers and write articles.This paper combines a personal memoir with an historical and critical approach to punk fanzines produced in Ottawa, Canada between 19.Chronicles growth and offshoots of the “scene” in terms of “outside” influences and musical developments, as well as in response to growing interest in social and political activism.Leafing through the zines, I was struck by how intensely personal and objective the individual publications are, while at the same time, each also vividly reflects the vagaries and wind-changes of the Ottawa scene as it unfolded and reacted to a number of outside influences.
Naturally, as participants, we all had unique and narrow windows on the scene, and each experience served writers as such.