“Well, the name is Crass not Clash.” For a legion of lost souls that simple sentence became one of the most powerful and challenging statements a post-’77 Punk could make. “Phony Beatlemania has bitten the dust” may have ruffled feathers—but to take a swipe at the legitimacy of “the only band that matters” was brazen, incendiary and unrelentingly Punk. In that one sentence The Clash’s ethos, messaging and legacy was stripped of its hallowed nature and reduced to phony Beatlemania. Crass was critical of everyone and everything, themselves included. There is no religion higher than truth, and Crass sought absolute truth. With songs like “White Punks on Hope,” Crass chased truth by striping away the constructs that characterize things, people and their ideas. They re-presented facts and the familiar in brutally blunt and unadorned language. Crass’ art and poetry exist in the message, and the fearless expression of it.
Boo-Hooray and МИШКА have partnered to present a collection of fanzines, ephemera and an exclusive line of t-shirts. Dial House was established in the late 1960s as an anarchist-pacifist open house; it served as a cultural hub. People came together to share art and ideas. In the mid 1980s poet, philosopher and Crass drummer/lyricist, Penny Rimbaud purchased Dial House to preserve its presence and legacy. Crass was sent DIY fanzines and art from all over the world between the years of 1976 and 1984. Dial House, specifically, received DIY publications and art between the 1980s and the 1990s. The Crass/Dial House fanzine archive, saved by artist Gee Vaucher, consists of approximately 3,000 fanzines, broadsides, pamphlets and flyers, as well as posters, manuscripts and original artwork
Saturday, January 25th
128 South La Brea
Los Angeles, CA