Ejector Seat (festival)
text © 2011 Aline Giordano
The paper fanzine Uzine used to celebrate the birth of other fanzines, promote records from independent labels and unsigned bands, as well as radio programmes with a social mission. As such, the ‘home-made’ propaganda machine was promoting similar alternative tools of communication and contributing to the expansion of the alternative music network beyond the immediate community. It did not change the world but helped people from within the same communities or across different ones to connect together. It contributed to the sustainability of the local music scene, without the intervention of ‘commercialism or any real institutionalism’ (Duncombe 1997:197). By detaching myself from ‘authority’, through the fanzine I helped to foster local community. If we accept Duncombe’s portrait of the fanzine writer as a ‘social misfit’ or a ‘loner’, (1997:17) then Uzine, and perhaps most fanzines, was the embodiment of the revenge of the ‘loner’. Covering events such as the Ejector Seat music and arts festival in Southampton is an integral part of the function of a music fanzine.
Duncombe, S., 1997. Notes from the underground: Zines and the politics of alternative culture. New York: Verso.