maximum rocknroll (14 resultados)

Condición: VG/VG. 2017 p/b music fanzine.

Condición: VG/VG. 2017 p/b music fanzine.

Condición: VG/VG. 2017 p/b music fanzine.

Condición: G+/G+. 2017 p/b music fanzine.

Condición: VG/VG. 2017 p/b music fanzine.

Paperback. Condición: Very Good. MaximumRocknroll. Magazine has some light wear to corners, a one by two inch brown stain at bottom of front cover. otherwise a very nice copy, clean and presentable.

Condición: Good/Good. 2016 p/b music fanzine.

Condición: VG/VG. 2016 p/b music fanzine.

Condición: VG/VG. 2018 p/b music fanzine.

Condición: VG/VG. 2016 p/b music fanzine.

Condición: VG/VG. 2018 p/b music fanzine.

Typical used condition, about very good.

Typical used condition, about very good.

Maximum Rocknroll Punk Zines Archive. San Francisco: Maximum Rocknroll, 19881989. Six issues: Nos. 61, 65, 70, 71, 72, and 77. Staple-bound zines on newsprint in pictorial self-wrappers (two issues lacking covers), measuring 11" x 8", approximately 100 pages each. A politically charged six-issue archive of Maximum Rocknroll from the late 1980s, reflecting the zine's sharp editorial focus on global punk resistance, radical activism, and anti-authoritarian scene culture. Founded in 1982 by Tim Yohannan, MRR grew to become the definitive punk platform of its time, weaving together anarchist, anti-racist, feminist, and anti-capitalist perspectives with firsthand reporting from scenes in East Germany, Latin America, Indigenous North America, and the U.S. underground. These issues document punk's critical role as a transnational youth movement responding to state violence, colonial legacies, and corporate encroachment while building alternative infrastructures of expression and support. Includes: [1] No. 61 (June 1988): Features a cover story on Scream, the Washington D.C. hardcore band known for their socio-political lyrics and ties to the Dischord label (and future Nirvana drummer Dave Grohl). Includes commentary on the evolution of D.C. punk toward post-hardcore and resistance culture. [2] No. 65 (Oct. 1988): "This Is Indian Land!" A landmark issue foregrounding Indigenous sovereignty and Native punk voices, with pieces on land reclamation, AIM activism, and Native youth confronting racism in punk and society. [3] No. 70 (March 1989): Features a special section on East German punks resisting surveillance and repression under the GDR. Includes profiles on Agent 86, Walking Ruins, and punk life behind the Berlin Wall. [4] No. 71 (April 1989): Emphasizes grassroots anti-police brutality organizing and punk's role in environmental and anti-nuclear movements. Includes Latin American scene reports and critiques of institutional sexism. [5] No. 72 (May 1989): Contains international reviews, DIY distro listings, and columns from Europe, South America, and Japan. Spotlights punk's global communication networks and anti-commercial stance. [6] No. 77 (Oct. 1989): Cover features a corpse clutching MRR, underscoring themes of repression, martyrdom, and media resistance. Includes in-depth essays on El Salvador, deep ecology, and punk's political future. Each issue is packed with scene reports, letters, interviews, columns, and detailed reviews of demos, 7-inches, and zines. Featured bands include Scream, Agent 86, Christ on Parade, and international acts from Chile, East Germany, and Japan. Ads for 924 Gilman Street, Blacklist Mailorder, and mail-based record trading illustrate punk's decentralized infrastructure during this pre-internet era. Uniform toning to newsprint, some edgewear and creasing; Nos. 71 and 72 lacking covers but internally complete and well-preserved. A compelling and historically rich archive from MRR's most confrontational and globally aware editorial periodessential for researchers of Cold War punk, Indigenous activism, international DIY culture, and underground media resistance.