newspaper or magazine. And the media did not pay too much attention to concerts. If Jose Manuel Costa had to write about a concert by The Clash, his newspaper would send a photographer to cover it, Bernardo Pérez from El País, for example. But his photography, which was good, was a product of his profession. The next day he could be assigned to take a picture of an ETA attack. At first nobody knew that I made Rockocó. I never signed the fanzine. After that first issue zero, I made a Rockocó on the mods, which was the musical aesthetics that I liked most. They sold fast, but I still lost money. The first edition of the issues 0 and 1 were by offset, with plates. Then I started to photocopy them, although the cover and the back cover were still high quality offset on card stock. The price was 50 pesetas and for the last issues 100 pesetas, but these had more pages. Sometimes I did not even stop by the shop to settle up. A stand at the Rastro flea market, at number 21 of Plaza de Cascorro, was the most important point of sale. It was a stand for punk accessories run by two girls, Chelo and Montse, who became friends. I made the advertising pictures for their stand, which ended up being called Medusa. Photography was not my modus vivendi anyway, my teaching salary allowed me plenty to live on.
Mariví Ibarrola, Exposición colectiva, Cinestudio Grifitth, Madrid, 1984, Archivo Miguel Trillo, Barcelona
CONVERSATION WITH MIGUEL TRILLO
331