The Grass is Green in The Fields for You

The Grass is Green in the Fields for You is a small press publisher investigating the unsung corners of music culture, its participants and subculture fandom. Releases shun exaggerated self-opinion instead favouring collaboration, community and conversation.

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Est. 2019, Glasgow

Email:
matthewwalkerdine@gmail.com
Address:
The Grass is Green in The Fields for You
C/O Good Press, 5 St. Margaret’s Place,
Glasgow, G1 5JY

A first iteration of The Grass is Green in the Fields for you was spoken of in September of 2017. It took physical form as an almost-monthly subscription service in January 2018. Subjects were not limited to sound-making but its artefacts celebrated the ways in which events, people and cultures become mythologised. It ripped off the rip offs and bootlegged the unbootleggable, using plagiarism as both method and matter.

Through the production of books, pamphlets, ephemera and memorabilia (in the canon of merchandising matter) TGIGITFFY (for short) began by asking - how do you know this t-shirt is a real t-shirt or someone’s idea of what the t-shirt should be and whose great idea was it anyway, if we even need to know. It lived to push lo-fi consumer production and antagonised the ways in which text and images travel. Editions disregarded the protective territory of what we or indeed ‘they’ permitted into the realm of representation.

As your editor has grown older and increasingly apprehensive, the skirting of copyright and a disregard for ownership has become problematic. The collaborative culture that was memorialised on the pages of each release felt abandoned. They were lacking the fostered relationships they discussed and so, a new approach and philosophy was employed. A regrouping and collecting of thoughts occurred. The name lives on, the objective replaced.

With its target now shifted, the press works on projects with sensitive measurement, delivered at a slower pace and with a precise focus. The Grass is Green in the Fields for You will provide stories of pop music culture, they will be the ones we plaster across our bedroom gallery walls.

The catalogue embraces approachable means of mass-production exploiting their generous flaws and integrating low-technology detailing in inventive ways. The press holds the idealisms of its subject matter closely, carrying on the ethos of anyone-can-do-this-and-why-not.

For now, an introduction...