Design it yourself? Punk’s division of labour

Abstract

Abstract Punk’s do-it-yourself call to arms led to a widespread adoption of the rhetoric, if not always the practice, of independence from traditional means of production – although it should be acknowledged that do-it-yourself ideals go back a lot further than the punk explosion of the 1970s, from traditional folk music through to the bottleneck rural blues players of the 1930s and 1940s, the 1950s UK skiffle boom and early 1960s US garage bands. The punks may have articulated the do-it-yourself vision most clearly, turning it into a mantra, but they were inheriting a tradition that was established many years earlier. During the early period of punk’s development in the United Kingdom, a distinct division of labour can be seen in the impact of an ‘anyone can do it’ DIY ethos on a range of activities. These range from live performance to the creation and manufacture of punk artefacts (clothes, posters, flyers, fanzines, records). While some of these areas offered new opportunities for amateur producers, within more technical areas of manufacturing, including the physical production of records, do-it-yourself could only have a nominal impact. Many punk groups did not have access to sound recording technologies, and even if they did, they would have to hand over the cutting and pressing of vinyl to a professional outfit. There was certainly a widespread and outspoken desire to take artistic control away from mainstream sources, but in reality the full ownership of the means of production was at best a naive ambition. Similarly, sleeve artwork could be created by untrained designers, but print reproduction was often left to the services of a professional print studio – doing-it-yourself had obvious limitations when it came to large-scale production and distribution.