The band who can perhaps take the most credit for inspiring this aesthetic philosophy were Crass, formed in 1977 and one of the first bands to fully espouse – and live – an anarchistic lifestyle. The band's music was a world away from polished new wave, featuring near indecipherable lyrics, rat-a-tat biscuit-tin drumming and rudimentary hammered guitars, as well as more experimental, noise-based interludes. But the artwork, by the band's Gee Vaucher, served to unify their disparate whole. Inspired the by Situationist images of the late 60s, Vaucher created a style of agit-graphic that united collage, stencilled typography and overt sloganeering. Her black and white images featured grotesque detournements of politicians, celebrities and military imagery to humorous and frequently scatological effect, and served to carry on a tradition of humour in political collage that goes all the way back to John Heartfield. It is Vaucher's work that had the most effect on the art that packaged the many myriad of bands that followed Crass's example, but it is the band's logo – designed by former art student and graphic designer Dave King – that has gone on to be the most reproduced image of the whole era, appearing on posters, tattooed on people's bodies, and, somewhat paradoxically, in a diamanté version on a t-shirt modelled by David Beckham. King's simple, elegant logo – influenced by a book he owned on Japanese family crests, as well as the Celtic crosses he saw near his childhood home – depicts a cross being obscured by a serpent eating its own tail and is a perfect visual representation of Crass's critique of society.