S - FanzinDB.org

Transcription

S - FanzinDB.org

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Fanzines have been one of the liveliest forms of self-expression for over 70 years.
Their subject matter is as varied as the passions of their creators, ranging across
music, comics, typography, animal rights, politics, alternative lifestyles, clip art,
thrift shopping, beer drinking...
Produced in small quantities, distributed by hand or via independent music or
book stores, fanzines were the original medium of super-niche interest groups and
the cultural underground. Ephemeral and irreplaceable, many have been lost to
all but a few passionate collectors.
The graphic style of fanzines has a do-it-yourself verve, uninhibited by design
conventions, which has been widely influential in mainstream design and popular
culture. Many of the most exciting zines have been made with very basic tools:
scissors and glue, a photocopier, staples or string. Yet their collaged photos and
hand-drawn type and illustrations explode across the pages.
This book is a high-im pact visual presentation of the most interesting fanzines
ever produced. From the earliest examples, now incredibly rare, created by sci-fi
fans in the 1930s, it takes us on a journey of subcultures through the decades.
Superhero comics inspired a flush of zines in the 1950s and ’60s. In the 1970s,
the DIY aesthetic of punk was forged in fanzines such as Sniffin' Glue and Search
and Destroy, while the '80s saw the flourishing of political protest zines as well
as fanzines devoted to the rave scene and street style. The Riot Grrrl movement
of the ’90s gave voice to a defiant new generation of feminists, while the arrival
of the internet saw many fanzines make the transition to online.
The first decade of the new millennium has seen a flourishing of the scene,
as a new generation of graphic designers, illustrators, artists and writers combines
the urge to self-expression with a rediscovery of the handmade, crafted object.
W hether obscure or prescient, subversive or downright weird, fanzines have an
irresistible energy and style that allow us to glimpse grassroots social and cultural
movements at their most explosively creative moment.
W ith over 750 illustrations
On the back cover:
Chainsaw No. 11, 1981. Charlie Chainsaw. Cover illustration by MJ Weller. London, UK.
Negative Reaction No. 1, February 1977. Jonathan Romney. London, UK.
B ang! No. 2, c. 20 0 1. Manuel. M adrid, Spain.
Screw, Crash & Explode n.d. Marc M onobrain and Marcel Herms. Dedemsvaart, Holland.
L’lncroyable Cinema: The Film Magazine o f Fantasy & Im agination No. 3, 1970. Editors Harry
and Marie Nadler. Cover illustration by Eddie Jones. Orion Press. Salford, UK.
Panache No. 10, 1978. M ick Mercer. London, UK.
How to Make a Super 8 Film c. 2 0 0 6 . Jill Matheson and Sonia Edworthy. Halifax, Nova Scotia, Canada.
Girly Transgender Zine No. 6, October 1996. Mona. London, UK.
7TAL TR IteS
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This book is dedicated to my parents Edward Elmer Triggs
and Rae Janice Triggs.
First p u b l i s h e d in the Uni t e d K i n g d o m in 2010 by
Thames & H u d s o n Ltd, 181A H i g h Holborn, L o n d o n W C 1 V 7QX
Cop y r i g h t © 2010 Teal Triggs
All Righ t s Reserved. No part of this p u b l i c a t i o n m a y be
rep r o d u c e d or t r a n s m i t t e d in any f o r m or by any means, elec t r o n i c
or mechanical, i n c l u d i n g photocopy, r e c o r d i n g or any other
in f o r m a t i o n s t o rage and r e t r ieval system, w i t h o u t prior
pe r m i s s i o n in w r i t i n g f r o m the publisher.
A n y copy of this b o o k issued by the p u b l i s h e r as a p a p e r b a c k is
sold subject to the c o n d i t i o n that i t shall not b y w a y of tra d e
or o t h e r w i s e be lent, resold, h i r e d out or o t h e r w i s e circ u l a t e d
w i t h o u t the p u b l i s h e r ’s prior consent in any f o r m of b i n d i n g
or cover other t h a n t hat in w h i c h it is p u b l i s h e d and w i t h o u t
a similar c o n d i t i o n i n c l u d i n g these w o r d s b e i n g i m p osed on a
subs e q u e n t purchaser.
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B r i t i s h L i b r a r y C a t a l o g u i n g - i n - P u b l i c a t i o n Da t a
A c a t a l o g u e record for this b o o k is a v a i l a b l e f r o m the
British Library
ISBN 9 7 8 - 0 - 5 0 0 - 2 8 8 9 1 - 7
Prin t e d and bo u n d in Sin g a p o r e by T i e n W a h Press (Pte) Ltd.
To find out about all our publications, please visit www.thamesandhudson.com.
There you can subscribe to our e-newsletter, browse or download our current catalogue,
and buy any titles that are in print.
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Chapter One
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A Do - i t - Y o u r s e l f R e v o l u t i o n : D e f i n i t i o n s and E a r l y D a y s
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Chapter Two
044
s as E a s y as 1 - 2 - 3 ’: T h e G r a p h i c L a n g u a g e of P u n k
1975 - 1983
W m -y /:
Chapter Three
086
L i b e r a t e d Sp ac es : S u b c u l t u r e s , P r o t e s t and
Consumer Culture 1980s-1990s
Chapter Four
130
G i r l P o w e r a nd P e r s o n a l P o l i t i c s 1 9 9 0 - 1 9 9 7
Chapter Five
170
E-zines 1998-2009
Chapter Six
204
T h e C r a f t i n g of C o n t e m p o r a r y F a n z i n e s
; -
Notes
248
Bibliography
249
L i s t of Z i n e s
250
Acknowledgments
254
Index
255
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F a n d o m h a d its r o o t s i n the
e a r l y g e n r e s of s c i e n c e
f i c tion, r o c k a n d roll
and Holly w o o d movies.
B r i t i s h f a n z i n e N e w Worlds
(1930s-1997) is o n e of t h e
longest-running science
fiction publications. The
r i s e of r o c k a n d r o l l set t h e
s t a g e for s u c h m u s i c z i n e s
as E x c l u s i v e l y E l v i s (1969)
- a b i - m o n t h l y f i r s t sold
during an Elvis convention
i n Le i c e s t e r , UK. W e s t e r n
T rails M a g a z i n e (c. mid-1970s)
featured fan news about
1 9 4 0 s - 6 0 s W e s t e r n stars, w i t h
this launch issue celebrating
the S a t u r d a y m a t i n e e .
W alking into any fanzine sym posium today one is im m ediately aware
com pilations of fanzines published by m ainstream publishing houses.
that the days of these small press publications are far from over.
All of this started in the late 1990s, when there was a bustle of a ctivity
There is an air of excitem ent at such events, where fanzine editors
in America. At this tim e the range of topics and personal interests that
and enthusiasts come to sell, buy or swap publications. Folding tables
zinesters were w riting about came to light. Pagan Kennedy, a journalist
line the venue’s walls, piled high w ith fanzines in all shapes, sizes and
and writer, was am ong the first to move from the underground into the
form ats. Some fanzines are produced using desktop publishing, w hile
overground, w ith her book Zine: H ow I Spent Six Years o f M y Life in
many others are lovingly put together by hand using more conventional
the U nderground and Finally Found M yself . . . I Think (1 99 5 ), w hich
techniques such as scissors and glue. The atm osphere is fair-like,
w as based on the w ritings in her own personal fanzine, P agan’s Flead
com bining m arket trading w ith fanzine-m aking w orkshops, curated
(c. 1 9 8 8 -9 4 ). Other fanzine producers soon followed in a publishing
exhibitions and talks from zinesters them selves. This is a space where
flurry that brought into the public consciousness, for example, insights
an invisible fanzine culture becomes visible.
into the everydayness of contem porary life as observed by Paul Lukas
in Inconspicuous C onsum ption: An Obsessive Look at the S tu ff We
From Underground to Overground
Take for Granted, From the Everyday to the Obscure (1 99 6 ); Al H o ffs
For the most part fanzines, or ‘zines’, remain hidden, flying beneath the
‘scavenging fun' at th rift stores in Thrift Score (1997); the antics of
radar of m ainstream publishing and its conventions. Their production
A m erica’s tem porary w ork industry as viewed by Jeff Kelly in B est o f
is often irregular, and distribution takes place at zine fairs, by word of
Temp Slave! (1 99 7 ); and, notably, from Chip Rowe, producer of Chip's
m outh, through independent m usic shops or bookstores, or through
Closet Cleaner (1 9 8 9 -), The Book o f Zines: Readings from the Fringe
the post. Zinesters (producers of fanzines) are less concerned about
(1997). This book still sits alongside an accom panying website that
copyright, grammar, spelling, punctuation or the protocols of page
continues to provide an updated resource w ith practical ‘how -to’ advice,
layout, grids and typography, than about com m unicating a particular
fanzine directories and interview s w ith producers.2
subject to a com m un ity of like-m inded individuals. The print-runs vary
■
This process of m oving from ‘below critical radar’ into m ainstream
in num bers. Some are lim ited editions of up to fifty, w hile others may
publishing houses was not w ith o u t its critics or controversy. By 1997,
be dow nloaded digitally from the Internet. It is hard to estim ate how
some w ith in the do-it-yourself com m un ity were accused of selling out,
many fanzines are produced each year - although in the late 1980s,
by trading on the DIY ethos for com m ercial gain. Fanzine producers
the Guardian new spaper reported that more than 1 0 ,0 0 0 titles of UK
are in a unique position, at the same tim e author, editor, publisher
football-related fanzines alone were in publication, w hile in 1 9 9 4 Time
and designer; they are subcultural insiders and em brace the ethos of
magazine reported that 2 0 ,0 0 0 titles were produced in the United
a DIY com m unity. Despite fanzines being am ateur publications, their
States, a figure that was then grow ing at an annual rate of 2 0 per cent
producers have become their own makers of cultural meaning, taking
- 4 ,0 0 0 fanzines were sold in one m onth at one branch of the (now
part in the construction of the very pop culture that they critique.
defunct) record chain Tower Records.1
W ith this in m ind it is no w onder tha t critics have expressed concerns
The interest in small press publications and fanzines has increased
that m ainstream publishing w ould ‘endanger the alternative, anti
over the last tw o decades, as evidenced by the plethora of international
establishm ent view point that makes zines unique’, and asked: are
fanzine sym posia and exhibitions and the increased num ber of book
these ‘the last days of Pompeii for the zine world?’3
T h e g r a p h i c l a n g u a g e of 1960s
a n d 1970s f a n z i n e s f o r m e d
t h e b a s i s for t h e ‘
design’
of z i n e s to come. J o h n Ryan,
e d i t o r of t h i s s p e c i a l o f f s e t
e d i t i o n of t h e A u s t r a l i a n
c o m i c z i n e B o o m e r a n g (1970s),
is p i c t u r e d in f r o n t of h i s
c o m i c s collec t i o n . O n t h e
c o v e r of A w a r e M a g a z i n e
(1977), p r o d u c e d b y S t e v e
K o l a n j i a n , is a s e s s i o n
p h o t o g r a p h of F l e e t w o o d Mac,
w h ose discography and h i story
a p p e a r inside. B o b D y l a n
a p p e a r s on t h e c o v e r of i s s u e
f o u r of C r awdaddy! (1966-2003),
o f t e n c r e d i t e d as t h e f i r s t
p u b l i c a t i o n of pop m u s i c
c ritic i s m .
On the other hand, it is not uncom m on for fanzine producers to
media cover elsewhere (for example British television’s Fantasy
have intentionally used fanzines as a testing ground before entering into
Football League). The British style bible i-D (1 9 8 0 -) took everyday
professional careers as journalists, photographers or graphic designers.
subcultural street clothing and turned it into a glossy fashion cult. And
You have only to look at established British media figures such as Jon
finally, Cheap Date (1 9 9 7 -) - tagline: ‘antidotal antifashion for thin kin g
Savage (Bam Balam and London's Outrage to w eekly m usic press
thrifters' - produced by Kira Jolliffe and courting such high-profile
and then to The Face and on to national press and television) and
fashionistas as Sophie Dahl, Anita Pallenberg and Erin O’Connor, is now
Danny Baker (S niffin' Glue to N M E and BBC Radio) to get the idea.
published in the m ainstream , w ith a Russian edition. All these examples
In the United States, James Romenesko (O bscure, 1 9 8 9 -9 9 ) runs
of zines that started off small and made it big are the exception rather
spin -o ff indie websites The Obscure Store and Reading Room (1 9 9 8 -)
than the rule, but they show w hat can happen when an idea catches
and MediaGossip.com (1 99 9 ) and a page on the journalism site
the Zeitgeist.
PoynterOnline (1 9 9 9 -), w hich have attracted a regular readership from
‘people obsessed w ith new spapers'.4
Some fanzines have undergone a parallel transition. Giant Robot:
The on-going debates have not deterred other zinesters from turning
to mainstream publishers, nor the mainstream itself from co-opting
the fanzine as a popular cultural form . In the 1 99 0s, it seemed that
Asian Am erican Pop Culture and Beyond (1 9 9 4 -), for example, began
everywhere you turned faux fanzines were being published by large
as a m odest fanzine in Los Angeles created by form er punk-rock zine
m ultinational com panies. The fanzine as a graphic form was co-opted
producers Eric Nakam ura and M artin W ong. W ith the help of a loyal
- m oving from an authentic, edgy, political underground into the world
fan base and a self-confessed DIY ethic Giant Robot, w ith its Asian
above as an item now im bued w ith com m ercial hipness. D irt was
pop culture focus, w ent from being a fanzine in the form of a stapled-
brought out by W arner Brothers, Slant emerged out of Urban O utfitters,
and-folded photocopied ‘digest’ of 2 4 0 copies per issue to a fully
and Full Voice was published as part of the Body Shop’s advertising
blown b i-m onthly magazine sold in all good bookstores. By 2 00 1, its
cam paign celebrating the body and self-esteem in 1997. A year later,
producers had also turned Giant R obot into an established brand label
the Portland-based advertising agency W ieden & Kennedy drew upon
w ith retail and gallery spaces in New York and San Francisco. Bust, 'the
its local com m un ity and interest in DIY American culture to produce
voice of the new girl order’, is another title that had its roots in fanzine
U D on ’t Stop for N ike.5 Conversely, Us! The Fiat Fanzine (2 0 0 9 -),
popular culture. Created in 1993 by Debbie Stoller, Laurie Hanzel and
produced by British design group This is Northstar, presented the
Marcelle Karp, this few -hundred-run photocopied fanzine was part of
fanzine as a w ay to ‘build a sense of com m un ity and brand loyalty’:
a new wave of fem in ist publications reacting against the established
its use of m att paper and unusual illustration is clearly rooted in the
w om en’s magazines such as Cosmopolitan and Glamour, others were
graphic language of fanzines.
H ip M am a (1 9 9 7 -), B itch (1 9 9 6 -), Bam boo Girl (1 9 9 5 -) and R ockrgrl
Fanzines have even made it on to television. Our Hero (2 0 0 0 -0 2 )
(1 9 9 5 -2 0 0 5 ). W ithin five years B ust was a glossy magazine w ith
was a hit television series that aired in Canada, in w hich the lead
female pop stars on its covers and a national circulation of 2 0 ,0 0 0 .
character, Kale, wrote a fanzine about her life as a seventeen-year-old
Other fanzines have made the jum p to the mainstream, including the
w ith her tw o best friends. In the Nickelodeon cartoon R ocket Power
football fanzine W hen Saturday Comes (1 9 8 6 -), w hich proved there
(1 9 9 9 -2 0 0 4 ), one of its main characters, Reggie, publishes her own
was a huge audience for a w ittie r take on football and w hich influenced
zine, dubbed appropriately ‘The Zine’. Fanzines have also played a
C h a p t e r 1 | A D o - I t - Y o u r s e l f R e v o l u t i o n : D e f i n i t i o n s and E a r l y Days
F a n z i n e s are c r i t i c a l spaces
fre e f r o m c o n v e n t i o n a l
co n s t r a i n t s . In T r a v e l l i n ’
F i s t (1989), D a n K o r e t z k y
c o m p l a i n s a b o u t t h e l a c k of
m a i n s t r e a m publishing venues
a n d t h e l o w q u a l i t y of r o c k
cr i t i c i s m . G r e g S h a w ’
s
c o m m i t m e n t to r a i s i n g t h e
p r o f i l e of r o c k j o u r n a l i s m
i n Who P u t the Bomp! (1970-79)
is e v i d e n t as h e o b s e r v e s a
s h i f t to a m o r e d i s c e r n i n g
f a n a n d collector. J a m i e
Reid’
s S u b u r b a n P r ess
(1970-75) p r o v i d e d a n early
e x p e r i m e n t a l a e s t h e t i c of
gritty photocopied imagery
that suited his Situationisti n s p i r e d c r i t i q u e of
Croydon’
s urban development.
supporting role in such novels as H ard Love (1 99 9 ) by Ellen W ittlinger
W ertham describes fanzines in his 1972 study as a ‘novel form
and Tales o f a Punk N othing (2 0 0 6 ) by Abram Shalom H im elstein and
of com m un ica tion ’, arguing that they have a unique place in the
Jamie Schweser, w hose narrative about the punk scene in W ashington,
history of com m unication, design, journalism , publishing and popular
DC is constructed through the use of fanzines and letters.
culture. Fanzines are docum ents of a social history fram ed by political,
One of the earliest studies on fanzines was w ritten by the Germ an-
econom ic and cultural contexts. W ertham observes that fanzines
born Am erican psychiatrist Fredric W ertham , titled The W orld o f
‘exist as genuine hum an voices outside of ali mass m anipulation’. He
Fanzines (1972). In 1982 w hen Mike Gunderloy began to produce the
argues that these voices ‘deserve to be heard’.8 Fanzines are also about
b i-m onthly catalogue Factsheet Five (later edited by R. Seth Friedman),
a relationship that is form ed between producers and readers, where
a readily identifiable fanzine com m un ity started to emerge, reinforced
the readers may also be producers but most certainly are fans sharing
by the publication of m ultiple fanzine com pilations in the 1 99 0s. By the
sim ilar interests. Fanzines may be considered as ‘v irtu a l’ spaces where
late 1 9 9 0 s fanzines had become a serious subject for academ ic study,
producers and readers unite in com m unities of interest or dissent.
and such books as Stephen D uncom be’s Notes from the Underground:
Perhaps the m ost visible evidence of this process is in football, or
Zines and the Politics o f Alternative C ulture (1 99 7 ) and Bob D ickinson’s
soccer, where each club may have a num ber of separate fanzine titles,
Im printing the Sticks: The Alternative Press Beyond London (1997)
yet have a collective voice that can have a real im pact on club decisions
led the way for a broader appreciation of w hat had been a subcultural
- for example, concerning ticket prices or club regulations.
phenom enon.5
Just as im portant are the form of the fanzine and the w ay it has
Yet the do-it-yourself authenticity fostered by early fanzine
been made, both elements that feed into our understanding of w hat
producers has not necessarily been lost. Zinesters today m aintain
is being com m unicated. This includes the design of the layout (often
an enthusiasm for and com m itm ent to the fanzine form as a way
visually ‘chaotic’), the choice of typography (either handw ritten or, as
of expressing their individual concerns, their rants on politics, their
w ith early fanzines, typew ritten or using rub-dow n lettering), and
loves and hates, their desires and disappointm ents. The authentic
production techniques (whether m im eographed, photocopied or
resides in the authorial voice, where the personal is political and
computer-generated). M im eographing and photocopying are both
not beholden to global corporations. Zinesters continue to operate
methods of duplicating, the form er using a stencil fitted around an
on the m argins of the m ainstream . They disregard the traditions
inked drum , the latter using the now prevalent form of xerography. W ith
of professional design studios and the conventions of literary
the rise of computers in the 1980s, producers began to use desktop
publishing houses. Rather than conform ing, zinesters are defining
publishing packages to generate their texts and layouts. More recently
and ‘m anufacturing’ their own identity and representing this through
producers have discovered - or rediscovered - the art of letterpress
their w riting and DIY im age-m aking. Referring to fanzine editors
printing. Fanzines are usually sized to be held easily in the hands,
as producers or makers introduces new ways of thin kin g about the
although sometimes a producer w ill use oversized broadsheet formats.
producer as a ‘popular a utho r’ and the fanzine as an ‘autobio/graphical
Occasionally they m ight resemble more three-dim ensional objects and
o bject’.7 Through the DIY nature of their production, fanzines take
incorporate recycled objects or materials, such as old vinyl single records.
on an enhanced value in how they contribute to and reflect a broader
Advances in technology over the last few years have also, for better or
everyday cultural experience.
worse, changed how we view fanzines, w ith online or digital forms.
10
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This book focuses prim arily on British and Am erican fanzine
S A M i i r i r. A x j t w
Shock value has always been a
f a n z i n e draw. T h e A u s t r a l i a n
p u n k z i n e S y d n e y in the
S e w e r (1985) a i m e d to r e v e a l
t h e fac t s p e o p l e are not
t old t h r o u g h ‘
regular media
circles'. T h e f o c u s of The
E x p l o i t a t i o n J o u r n a l (1987-)
w a s on h o r r o r films, w i t h
r e v i e w s of c l a s s i c f i l m s s u c h
as The B r a i n E a t e r s a n d N i g h t
o f the L i v i n g Dead, a l o n g w i t h
c o m m e n t a r y on f i l m m a k e r s .
Ungawa! (1989-92) w a s a
glossy and humorous kitsch
fan m a g a z i n e whose subjects
ranged from Me x i c a n wrestlers
to ‘
Vampire Kl u b s ’
.
JOHVVyECK
p
CHESTER HIMES
MSVERICESmi
press include Oz, IT, and Frendz from the 1 96 0s and 1970s. On the
production, using fanzines from other countries as specific examples
other hand, little magazines are concerned w ith ‘m ainstream literature’,
throughout to punctuate certain points about stylistic approaches or
and are often ‘avant-garde’ and publish experim ental w orks.11 Early
shared them es. Some non-Anglo-Am erican fanzine titles are w ritten in
literary figures to have contributed to or edited little magazines include
English (or in dual languages) rather than in a producer’s first language
Max Eastman (The Masses), T. S. Eliot {The Criterion), Ezra Pound
- partly as a way of ensuring w ider distribution and links w ith other fans
(Poetry: A Magazine o f Verse) and James Joyce (The Little Review).
internationally. The selection of fanzines contained w ith in this book
W ertham describes the salient characteristics of fanzines as
reflects the author’s position as a design historian and also as a fanzine
being ‘dependent upon their independence’, fostering free expression
collector, and as such the book is by no means an exhaustive study,
w ith o u t censorship, and their producers not seeking mass circulation.12
presenting sim ply ‘a’ history of fanzines rather than pretending to be a
Cari Goldberg Janice defined zines in 1992 in relationship to w hat
definitive textbook on the subject.
they are not - small press, underground press or alternative press.
She proposed that w hile integrally linked to these m ovem ents, ‘a zine
Defining and Positioning Fanzines
is anything that is published on a non-com m ercial basis ... anyone
The term ‘fanzine’ is the conflation of ‘fan ’ and ‘magazine’, and was
can publish a zine - th a t’s the main attraction’.13 A few years later,
coined by the Am erican sci-fi enthusiast and zine producer Louis
Duncom be defined zines w ithin the context of ‘a rapid centralization
Russell Chauvenet in 1 9 4 0 in his hectographed fanzine Detours
of corporate m edia’, arguing for their political independence and
(1 94 0 s, USA), when he declared his preference for the term ‘fanzine’
localization. In 2 0 0 2 , Chris Atton proposed fanzines as sites for
rather than ‘fanm ag’ as the best shortened version of ‘fan m agazine’.
cultural production and described the fanzine as ‘the quintessence
(Hectograph was an early tw e ntie th -ce ntury printing m ethod that
of am ateur self-published jou rn alism ’.14 In all cases, zine producers
used glycerin-coated layers of gelatin to make lim ited copies.)
and scholars alike acknowledged that fanzines build and prom ote
Other producers followed and adopted the term readily to describe
DIY com m unities.
a m im eographed publication (using a more up-to-date production
Historian George McKay defines DIY culture as being ‘youth-
method of duplicating) devoted prim arily to science fiction and
centred and -directed clusters of interests and practices’, and makes
superhero enthusiasts.9 By 1949, the term was in com m on use and
the links between alternative culture and the DIY ethos explicit.15 He
was included as a form al entry in the Oxford English Dictionary.
considers the w ay in w hich DIY direct action is in keeping w ith ideas
‘Fanzine’ itself first appeared abbreviated to ‘zine’ som etim e in
about ‘self-em pow erm ent’ through cam paigning and lifestyle politics.
the 1970s, describing a photocopied, stapled, non-com m ercial and
Zine producers have followed suit. However, there is another w ay of
non-professional, sm all-circulation publication. W ertham differentiates
looking at DIY that does not emphasize the oppositional or subcultural
fanzines from the underground press and little magazines w hile at the
fram ew ork: w ha t if, for example, a housewife from Virginia or from
same tim e acknow ledging there is some ‘flu id ity in the boundaries of
H ertfordshire produces a zine about collecting Pez dispensers? True,
these publications’.10 He defines ‘underground’ as being ‘in o pposition’
the very act of creating such a zine could be seen as a challenge to
or ‘a nti-establishm ent’, w ith the emphasis on the social-po litica l. Some
m ainstream consum er culture, but at the same tim e it is not com ing
of the more recognized examples of the underground or counter-cultural
from a counter-cultural position.
C h a p t e r 1 I A D o - I t - Y o u r s e l f R e v o l u t i o n : D e f i n i t i o n s and E a r l y Days
THE
MAGAZINE
Number 1
Autumn 1986
90p
inside:
INTERVIEW WITH
HANCOCK'S WIDOW
IS'V'THE YANKS
BEST SITCOM?
THE HOW AND WHY
OF DIY COMEDY TAPES
Pins reviews of Victoria Wood, Half Man Half Biscait,
Guy Bellamy, Alas Smith and Jones,
Comics,Venues, Novelties and More.
FOR PEOPLE WHO GET SERIOUS ABOUT COMEDY!
PENETHATJON
Exctuslveîntervlew 2 Q p
bave Brock
lots more!
L’
Incroyable C i n e m a (1969 —
c. 1971), a p r e c u r s o r to t o d a y ’
s
’
media zine’
, r a n for 5 issues,
p r i n t e d in M a n c h e s t e r o n a n old
M u l t i l i t h 1250 press. I h e f i r s t
i s s u e of T C M (1986) c o n t a i n s
a r t i c l e s on D I Y h o m e - r e c o r d i n g
a n d r e v i e w s of V i c t o r i a Wood's
p e r f o r m a n c e as w e l l as a
c e n t r e f o l d of c o m e d i a n T o n y
H an c o c k . P e n e t r a t i o n (1976c. 1977) h a s a r t i c l e s o n r o c k
s t ars Ted N u g e n t a n d D a v e Brock,
w i t h a p h o t o - c o l l a g e e s s a y on
M o t o r h e a d r e m i n i s c e n t of the
e s s a y s in J o h n H o l m s t r o m ’
s
P u n k fanzine.
12 / 13
•H to G n p * n / x r &
m S « y p *T O 9 N
eD
WOOD
7KE.HM J5URT0N F&NZltfc
D i a n a R i g g (1986) gives a
n o d to t h e B r i t i s h s t a r of
The Avengers; t h i s m u s i c z i n e
a b o u t 'spiky pop groups' h a s
a p a r t i c u l a r r e f e r e n c e to
p o s t - p u n k a n d r e tro c u l t u r e
(note t h e c h e c k e r b o a r d
mock-1960s DC C o m i c s header).
Everyone Needs a Hobby
(1994-n.d.) is a t r i b u t e to
d i r e c t o r T i m B u r t o n and
c e l e b r a t e s s u c h f i l m s as Ed
Wood and Edward Scissorhands.
The C o m p l a t e M o n t y P y t h o n
(1978-79) is a n e x t e n s i v e
r e s o u r c e for i n f o r m a t i o n on
t h e P y t h o n s ' work, i n c l u d i n g
p h o t o g r a p h s , records, f i l m s
and interviews with Python
members.
OF'HUMOR.
VoC i. Wo. 2
JaClZtfoCiday Season Issue 1994
Fanzines are dissem inated to like-m inded ‘fans’, whose interests
of the 1 99 0s, in w hich a sim ilar graphic language is used, but this
may range from science fiction, sport and music, to television, th rift
tim e w ith a fem inist tw is t - f o r example Jigsaw (Tobi Vail, 1 9 8 8 -, USA),
shopping and beer-drinking. They have, for example, flourished in the
B ikin i Kill (Tobi Vail, Kathi W ilcox and Kathleen Hanna, early 1990s,
underground m usic scene; they form part of the thrift-shop culture;
USA) and Girl Germs (Allison W olfe and M olly Neuman, early 1990s,
they have been m outhpieces for animal rights groups; and they may
USA). In both cases, the political intent of the producer is reinforced
serve, equally, as personal diaries for young teenagers grow ing up and
through a graphic language of dissent - breaking all of the rules about
interested in a range of issues and concerns. Early on in the history of
design layout, typography and readability.
fandom , W ertham noted tha t fanzines ‘are sincere and spontaneous’.16
For others, the fanzine is a space for personal experim entation,
Larry Bob, the producer of the now -defunct queerzine H oly Titclamps
which also remains free from the conventions of traditional form s of
(1 9 8 9 -2 0 0 3 ), has described the zine ‘as a labor of love, producing no
w riting and/or design practice. In these personal fanzines, or ‘perzines’,
profit, and frequently a loss, of tim e at least’. He continues, ‘inform ation
authors docum ent the most intim ate details of their lives, generating
is the reason a zine exists; everything else, down to the paper it’s
personal narratives and thereby unique autobio/graphical snapshots.
printed on, is there to convey inform ation.’17
In this way there is a holistic relationship between the autobiographical
Although providing an exact definition of the term ‘fanzine’ is
and the graphical. There is a preoccupation w ith the handmade, w hich
som ew hat problem atic as shifts in historical context, genres and
often manifests itself through the use of DIY media such as ribbons,
producer definitions m ust be taken into account, we may define
stickers, different-coloured papers, crayons and felt-tip markers. The
fanzines as non-com m ercial, unofficial, am ateur publications that are
academ ic Anna Poletti has observed of perzines that ‘the practice of
politically self-conscious and can form an im portant com m unication
self-m aking through zine-m aking is particularly m om entary’. In other
network for alternative cultures. They may be photocopied or printed,
words, zines reflect a slice of life at a particular tim e, characterized as
or in electronic form as ‘e-zines’ or dow nloadable from websites as pdf
they are by ‘out-of-date contact details, continually changing titles, the
files. They are forum s in w hich their producers articulate their view
com m on use of pseudonym ns or ju s t first nam es...’ and quickly dating
of the w orld around them . The main areas of consideration include
DIY production m ethods.18 It is w ith in this context that a distinct graphic
a fanzine's form at and layout, its m ethod of distribution, a specific
language emerges, born out of an ind ividu al’s handw ritten scrawled text,
producer’s m otivation and the intent and context of the text.
uniquely dysfunctional typew riters and cut-and-paste collage imagery.
We may also propose that the fanzine is a continually evolving
Fanzine genres tha t draw on the perzine form at include horror
form of com m unication. W hat it is attem pting to com m unicate -
{The Vincent Price File, 1 9 9 6 -n .d ., UK), m usic (Bye Bye, D uffel Boy,
w hether personal or political - is determ ined by how it is put together
Pete Green, 2 0 0 9 - , UK) and queer (R icochet! R icochet! Colette and
as m uch as by w hat it is trying to say. For many fanzine producers,
Patrick, 2 0 0 5 , UK). W hile they focus on topics of w hich their producers
a politics of resistance is com m unicated visually through its graphic
are fans, perzines are typified by a focus on the ‘s e lf as the subject of
language, w hich has become integral, if not vital, to the developm ent
discussion. For example, David Greenberger’s hum orous observations
of a subcultural discourse. This is m ost evident in late 1970s punk
as an activities director at a nursing home have been the focus of The
fa n z in e s -n o ta b ly in S n iffin ’ Glue (M ark Perry, 1 9 7 6 -7 7 , UK), Search
D uplex Planet (1 9 7 9 -, USA), w hile Nancy's Magazine (Nancy B onnell-
and Destroy (V. Vale, 1 9 7 7 -7 9 , USA) - and, later, in riot grrrl fanzines
Kangas, 1 9 8 3 -c . 1 994, USA) gives us insights into the a uthor’s life
pAN D/VE YES
MINI-ZINE VOLUMES2 k.
Iconic E n g l i s h style uni t e s
t h e s e t h r e e zines. P assing
Wind (c. 1 9 7 8 - c. 1981) t a k e s
a s a t i r i c a l l o o k at B r i t i s h
culture, w i t h an i n t e r v i e w
w i t h Peter Cook, a c a r t o o n
about Oxford’
s Bodleian
L i b r a r y a n d p e n pal req u e s t s
f r o m M a g d a l e n College, Oxford.
The Way A h e a d (1984) is a
modzine about ‘
Modernism:
f r o m s c o o t e r s to f a s h i o n and
m u s i c ’a n d i n c l u d e s adv i c e on
f a s h i o n for m o d girls. Singer
A d a m A n t a p p e a r s on t h i s
m i n i - z i n e . P a n d a E y e s (2009),
w i t h a f i r s t p r i n t - r u n of 150
i s s u e s sold o ver t h e internet.
it 's r e a lly v e r y s m a ll|
as a librarian. In other perzines, Ayun H alliday reveals the realities of
subsequent discussion in ‘Fuck C ontent’ (2 0 0 5 ), provided a platform
m otherhood in East Village Inky (1 9 9 8 -, USA); Cindy Crabb shares
for re-evaluating the role the designer m ight play in m ediating between
her daily (and often em otional) life experiences in Doris (1991—, USA);
form and content. This w ent some w ay in legitim izing the designer’s
w hile Toast a nd Jam (Rachel Kaye, 1 9 9 7 -9 8 , UK) dealt w ith often
voice as equal to that of other privileged form s of authorship. Rock’s
heart-rending tales of eating disorders. In all cases, there is an intim acy
proposition was that the object as a form could be considered as a ‘kind
to the w riting, and visually individual stylistic approaches to match.
of text itse lf. That is, design principles such as ‘typography, line, form ,
Zine producers choose to create rather than just consum e the culture
color, contrast, scale, w eig ht’ become devices by w hich a story m ight
around them .
be told. This opens up for discussion ways of understanding the graphic
object not only by w hat it means but by ‘how it m eans'.19
Fanzines as Graphic Objects
Such an approach may be applied to the study of fanzines. M eaning
Up to this point we have examined fanzines in term s of their role as a
is constructed not only through visual images, but also through the
vehicle for alternative or underground com m unication. But the fanzine
sym biotic relationship between image, text and the graphic form itself.
is also a graphic object, in w hich its form and the DIY process by w hich
Collectively these elem ents com m unicate ideas and them es, and
it is produced provide some understanding of a history of design and
also subtly shape readers’ attitudes, opinions and beliefs. Fanzines
popular culture. The fanzine looks the w ay it does because it is created
actively engage w ith popular cultural texts. The ‘poaching’ and
by a single producer conflating the roles of author and designer. This
re-contextualization of mainstream newspaper articles, photographs in
opens up the possibilities for experim entation in term s not only of
collage form and other mainstream media elem ents create an ‘urgency
a fanzine’s editorial direction but also of its graphic sensibility, both
of resistance’ and an ‘urgency of personal engagem ent’.20 The use
unencum bered by the kind of self-censorship that w ould pertain
of the photocopier (or mimeograph and duplicator in early fanzines)
in the m ainstream . For example, w hen a publication is owned by a
reinforces the sense of im m ediacy of the message. (The duplicator,
corporation then it generally has to conform to a corporate strategy, and
often referred to as a ‘ditto m achine’, was invented in the 1 92 0s and
tha t m ight involve content com prom ises to avoid upsetting advertisers
gave a characteristic aniline purple text.)
or to prevent con flict w ith aspects of corporate business interests
W riting about the value of fanzines as historical objects, scholars
(how many glossy w om e n ’s magazines have had to spike stories
often draw on the w ork of W alter Benjam in and his essay ‘A uthor as
about anim al experim entation in the cosm etics industry?). By contrast,
Producer’ (1934). Duncombe explores this in relationship to a ‘politics
the production m ethods adopted by zine producers - such as the
of fo rm ’; fanzines are positioned ‘w ithin the condition of the production
photocopier or desktop publishing - allow the producer to have more
of culture that constitutes an essential com ponent of their politics’,
freedom in putting together the zine in his or her own way, often w ith o u t
but also ‘w ith in ’ the very conditions of the culture in w hich they are
consideration of conventional design rules or aesthetics.
produced. The way in w hich fanzines are am ateur productions suggests
In the graphic design profession, debates around graphic authorship
they are already situated in opposition to m ainstream publishing and its
cam e to the fore in the m id -1 99 0s, focusing for the m ost part on a
conventions. At the same tim e fanzines are designed to be ephemeral:
designer’s practice and process of self-publishing. Critic and designer
they are produced quickly and cheaply using copy-paper and lo-fi
Michael Rock’s sem inal essay, T h e designer as a utho r’ (1 99 6 ), and
production and printing processes, w ith irregular publication dates and
14 / 15
Where's
ERIC!
I
T h e i n t e r n a t i o n a l i m p a c t of
t h e B r i t i s h m u s i c s c e n e is
d e m o n s t r a t e d b y t h e s e zines.
Considered the authoritative
resource, W h e r e ’
s Eric! (1992-)
is a d e s k t o p - p u b l i s h e d z i n e
p r o d u c e d b y C l a p t o n fans,
boasting a readership today
i n 42 c o u n t r i e s . W e l l e r Is
B a c k (1991) w a s t h e t h i r d P aul
W e l l e r f a n z i n e to e m e r g e out
of D u n d e e , a n d p r i n t e d n e w s
cli p p i n g s , g i g r e views, a n d
f e a t u r e s on a J a m t r i b u t e
band. P u l p (2004) is a s e c o n d
p r i n t i n g of a c o l l e c t i o n
of c l i p p i n g s a n d r e v i e w s of
J a r v i s C o c k e r a n d Pulp.
TH E
F.RIC CLA PTQ N
FAN ZIN E
Japanese and UK Tour Reviews
Interview with Polygram's Bill Levenson
Crossroads 2 -Live in the Seventies
lim ited print-runs and distribution. This leads Duncom be to suggest that
magazines, w hich emerged in force in Britain and the United States
the form is operating ‘against the fetishistic archiving and exhibiting of
around 1910 as a form of non-com m ercial, self-published literary
the high art w orld and for the for-profit spirit of the com m ercial w o rld ’.21
publication. The focus tended to be on experim ental poetry, fiction
This all goes tow ards defining a fanzine ‘style’ that also refers to the
and criticism . The Dial, published by Margaret Fuller and Ralph W aldo
individual traits distinctive to the fanzine producers them selves. In other
Emerson (1 8 4 0 -4 4 ), is often cited as one of the precursors to the
words, fanzine ‘style’ operates on tw o levels. On the one hand, it adopts
zine form of publishing.24 Although short-lived and having a lim ited
style as a form of prevailing ‘sym bolic resistance’ to the dom inant
readership (shared characteristics w ith today’s fanzines), it nonetheless
culture, w hile on the other hand, it announces individual styles about
became an influential, if not controversial m outhpiece for the literary,
difference on a more local or personal level. Style denotes a w ay in
philosophical and religious w ritings of the Transcendentalist Club in
w hich a shared language is form ed and a com m unity identifies itself.
Boston, Massachusetts. A nother early influential little magazine was
At the same tim e, the form of production ‘has encouraged many
The Germ (Ja nu ary-M ay 1850), w hich ran for four issues and provided
readers to produce their own publications’.22 This is an interactive
a forum for B ritain’s nineteenth-century Pre-Raphaelite group of artists
process that form s an integral part of the DIY attitude of the movement.
and w riters. Here, poems and literary texts sat alongside drawings as
Duncom be describes it as a ‘participatory cultural production and
a place where artists them selves could express their opinions about
organization’, where the producer and the reader are both active in the
the nature and principles of art.
creation of the message. The visual and text-based language that the
In the United States the form ation of am ateur press associations
producer uses to address the reader of the fanzine tells us som ething
(APAs) during the nineteenth century facilitated the publication of
about the identities of both the producer and the reader. It also suggests
am ateur papers alongside the w ritings of am ateur journalists. The
som ething about the assumed relationship between them .
model was for subscribers to send in their own pieces of w ork to a
central collection point where all the works w ould then be collated and
A Brief History of Self-Publishing
redistributed to members. Warner, w riting in his book A ll O ur Yesterdays
Fanzines have played a key role in the evolution of fandom and
(1969), makes m ention of the am ateur jou rn alist Howard Scott, w ho
alternative printing histories. Born out of the traditions of nineteenth-
in the 1870s issued a publication called The R am bler - w hich as
century political broadsheets, pam phlets, self-publishing and am ateur
an APAzine speculated about scientific developm ents and also fan
printing, as well as of the underground counter-cultural publications of
conventions (for example in Septem ber 1879 the editor reports on the
the 1 96 0s, fanzines are part of an alternative press history. The fanzine
plans for the WAPA - ‘a nineteenth-century am ateur journalism group
as a self-publishing form stretches as far back as the publications of
whose full name is lost’ - convention in Chicago).25 Such enthusiasm
the radical social critics of the French Revolution. Thom as Paine’s
led the w ay for the developm ent of com m unities of interest (especially
political pam phlet Com m on Sense (1776), for example, is often cited
in science fiction), where we find some of the inspiration for today’s
as an early example. The literary self-publisher, poet and engraver
zine networks and com m unities.
W illiam Blake produced his Songs o f Innocence in 1789, w ith
However, it is not until the early tw entieth century that we begin
poems illustrated by lavish engravings - a sort of forerunner to the
to see the form alization of some of these early visual characteristics,
contem porary artzine.23 O ther historical roots for fanzines include little
w hich help to establish a readily identifiable form . It may be suggested
C h a p t e r 1 | A D o - I t - Y o u r s e l f Rev o l u t i o n : D e f i n i t i o n s and Ear l y Days
L O
W
E R
T H A N
D I f f iT - e -
L o b s t e r Telephone (1980s-90s)
was a ‘
c y b e r f u n k art t e r r o r ’
zin e w h o s e s ubject w a s social
degrad a t i o n , s y m b o l i z e d
v i s u a l l y t h r o u g h its
ch a o t i c l a y o u t a n d low-fi
p r i n t quality. L o w e r than
D irt (1996) w a s a limi t e d
e d i t i o n of 150 copies. Its
editor, R i c h a r d Santos,
c r e a t e s a seri e s of photo
collages from mai n s t r e a m
press s tories a b o u t m u r d e r
s uspects, p o p u l a r s h o o t i n g s
a n d c o n s p i r a c y theories.
Sean Tejaratchi’
s Crap H o u n d
(1994-) is a 96-page clip art
zine, t h i s i s s u e f o c u s i n g on
b l a c k - a n d - w h i t e r e l i g i o u s and
p a t r i o t i c imagery.
L o b s t e r 1 f)->^
T e lephone
P
that w hat we m ight consider a graphic language of fanzines has its
press, for example, often entered into the consciousness of the ‘public’
roots in tw o main areas: one that draws from the form s, techniques
realm, whereas fanzines remained essentially ‘private’ in that they
and contexts of artistic and literary practices such as Dada, Fluxus
were produced by fans for fans. This m eant that traditionally fanzine
and Surrealism; and a second one based prim arily in the intentions of
producers blatantly disregarded copyright or censorship regulations
political and counter-cultural activity as found in Situationism from the
w hile the underground press was more susceptible to the libel laws -
1950s and 1 960s, in the underground radical press and in the m usic
laws from w hich fanzines tended to be sheltered by rem aining firm ly
and subcultural m ovem ent that cam e to be labelled punk in the 1970s.
out of sight w ithin their underground spaces. However, w ith the rise
Nico Ordway com m ents on the emergence of the post-W orld W ar I
in profile of many fanzines in the 1990s, the threat of libel cases
art m ovem ent Dada, arguing for recognizing the Dada artists' self
has increased, w ith some producers facing charges of copyright
published journals as the ‘first proto-zines’: that is, zines ‘produced
infringem ent in their appropriation of corporate imagery in challenging
for the pleasure of their creators and provocations of readers, ignoring
the rise of consum er culture.
or satirizing all canons and standards of jou rn alism ’.26 Dada had a
Despite this distinction, the graphic language of the counter-cultural
direct im pact on the visual language of fanzines and specifically those
publications was not lost on fanzine producers. C ounter-cultural
produced during the punk period beginning in 1976. Illustrations and
broadsheets of the 1 96 0s and 1970s such as It, Frendz and Oz created
advertisements were cut out of the newspapers and popular magazines
a visual mix of styles, colours and techniques, the result of each
of the time, and re-presented using collage techniques. The collage
spread having been designed by a different person. Designers and
approach, w hich juxtaposed ‘fou nd ’ im agery w ith photographs and
illustrators also relied on their vast collections of com ics, cartoons and
texts, reinforced the Dadaists’ attack on the dom inant culture of the
illustrations as inspiration for collages, w hich ultim ately captured the
time. Such an approach generated an ‘aesthetic of rebellion’ that
spirit of psychedelia and the rough edge of rock and roll. But this was
matched the Dadaists’ contem pt for bourgeois sensibilities.27
also the result of new technologies such as the IBM Golfball typew riter
Self-publishing continued into the 1 95 0s w ith a form of
and the more cost-effective printing method of offset lithography,
underground publishing characterized by works tha t were typed,
w hich gave designers and printers a new -found freedom . The resulting
mimeographed or Xeroxed in the tradition of w ha t the Soviets had
experim entation created, in part, an attitude reflected in the density
coined sam izdat publishing.28 Although the idea of sam izdat has a long
of overlapping colour, collaged images and typographic legibility in
history, in the 1950s it m eant clandestine DIY magazines distributed
the production of fanzines tha t carried from the 1970s well up to the
via anarchist networks in opposition to post-Stalin governm ents.
present day.
In the United States and W estern Europe, fanzines are often
affiliated w ith the underground press and the counter-cultural
Fanzine Genres P re-1976
movement of the 1960s, though there is a distinction to be made.
One w ay of looking at the history of fanzines is through the development
W hile fanzines sit com fortably w ithin the dom ain of the underground
of genres, specifically early fan w riting as found in science fiction, music
they are not considered part of the underground press m ovem ent of the
and com ics. Genres are created as a result of a num ber of fans locating
1960s and 1970s. The relationship between private and public spaces
them selves w ithin subjects of interest. R. Seth Friedman, for example,
helps to differentiate the tw o types of publications. The underground
in the metazine Factsheet Five (1 9 8 2 -9 8 ), one of the more substantial
16 / 17
spilt milk
w inter 1 9 9 6
.
issue #1
veW'e^S\
rrttf0'
\
c v j'0 '
best songs of 19951
fhe besf show/ on television!
A V IIIG IX
'
QOq Q^q ® ?<a®a8®Q atboaO {fl]Q<0a)(D®Q
A a a o WQQ - @<m « /J q (D “ 9 8 -G Q o Q ®
I n d e p e n d e n t w o m e n f i n d a p l ace in f a n z i n e s in one w a y
or another. Spilt M i l k (1996), p r o d u c e d b y t w o sisters,
u s e d riot grrrl- i n s p i r e d 1950s i m a g e s of t e e n a g e r s
a n d h a n d - d r a w n doodles. K a t y K e e n e M a g a z i n e (1979-83)
w a s d e d i c a t e d to B i l l W o g g o n ’
s c o m i c b o o k K a t y Keene.
T h e s i n g e r M a d o n n a w a s t h e s ubject of t h e I t a l i a n
f a n z i n e L i k e a Virgin (c . 1990s) a n d f e a t u r e d an
i n t e r v i e w w i t h t h e diva herself. D a n z i n e (1995-2003)
was an ‘
a d u l t ’q u a r t e r l y z i n e for e x o t i c d a n c e r s and
w o r k e r s i n t h e s e x industry.
O utp unk
THE
AND THE
FILTH FURY!
_
|£ l W
-
J S k j fffe
1992-1997
fanzine review publications, form alized the fanzine taxonom y in order
Pretty vacan t
P u n k a t t i t u d e and d e s i g n
o u t l a s t e d t h e 1970s. One
of t h e f i r s t q u e e r c o r e p u n k
zines, O u t p u n k (1992-97) w a s
p r o d u c e d on a M a c LC 475 u s i n g
QuarkXpress, Adobe Photoshop
a n d M i c r o s o f t Word. In t h e
D IY spirit, Lip Gloss (c. 2009)
produced h o m e m a d e badges that
w e r e a t t a c h e d to t h e cov e r of
t h e zine. R e t r o p u n k i m a g e r y
- here, J a m i e R e i d ’
s i m a g e for
t h e S e x P i s t o l s - f e a t u r e d on
t h e f r o n t of The Filth a n d
the Fury! (2000) to c o i n c i d e
w i t h t h e o p e n i n g of t h a t f i l m
in London.
These early publications were created as ‘handw rittenzines’ or
to organize the vast array of material that he received for each issue.
‘carbonzines’, each copy being produced individually, or duplicated
Friedman reveals in the pub lica tio n ’s October 199 5 editorial that in
copies made from a handw ritten or typew ritten original. Robert Hansen
that year alone he had produced five issues reviewing a total of 6 ,2 5 8
suggests that offset lithography has been used throughout the history
zines.29 By the end of its run, Factsheet Five reviewed fanzines under
of science fiction fanzines, although less frequently ow ing to cost.
the generic categories of quirky, medley, fringe, music, punk, grrrlz,
The Gestetner ink duplicator (a stencil printing process developed by
personal, science fiction, food, humour, spirituality, politics, queer, arts
David Gestetner in the late nineteenth century) was used until about
and letters, and ‘com ix’. W ith the advent of electronic zines, Friedman
19 8 0 when photocopying began to become the preferred production
also introduced a digital category.
m ethod.33 Like most fanzines, sci-fi fanzines had print-runs of around
A history of the contem porary incarnation of fanzines begins
1 0 0 -2 5 0 copies and were produced either on a duplicator or on
w ithin the science fiction genre. Duncom be, like W ertham before him,
hectograph or m im eograph m achines. W arner reports that some
argues that fanzines emerged as a ‘distinct m edium ’ w ith the rise of
popular science fiction zines, such as Le Zom bie produced by Bob
science fiction clubs in the 1 9 3 0 s .30 W riters w ould publish in order
Tucker, had only 150 copies for d istribution.34
to ‘share science fiction stories and critical com m entary’, including
The first Trekker fanzine began in 1967, a year after the start of the
some now notable authors such as Ray Bradbury and A rthur C. Clarke.
first run of the cult science fiction television series Star Trek. Fanzines
The earliest am ateur sci-fi fanzine to be established was called The
included Spockanalia, w hich appeared in New York City as a ninety-
Comet (1 93 0 ) and was edited by R. A. Palmer for Chicago’s Science
page mim eograph w ith staples. Spock himself, the actor Leonard
Correspondence Club, w hile the earliest-established science fiction
Nimoy, wrote a letter that was published in the issue ‘w ishing them
professional magazine, or ‘prozine’, was titled Am azing Stories and
luck’. Fanzines w ith a high profile at fan conventions included Terran
edited by Hugo Gernsback. It was Gernsback w ho introduced the
Times (1 9 6 9 -e a rly 1970s), Thrall and Beyond A ntares (both early
idea of publishing readers’ letters in the magazine, thereby providing
1970s). Other contem porary science fiction television program m es such
a catalyst for early science fiction fan com m unities. Readers’ letters
as D octor W ho and Blake's 7, and such H ollyw ood film s as Planet o f
were of particular im portance to science fiction fan publications and
the Apes and (to a lesser extent) the Star Wars series, have generated
were a precursor to the process of connecting readers and creators
cult follow ings and corollary fanzines.
in contem porary fanzines. Ray Bradbury published his first story in
Developing alongside the science fiction fanzines were the com ic
his own fanzine, Futuria Fantasia (1 9 3 9 -4 1 ). W arner suggests that
book fanzines. In some cases, com ic fanzines w ould cross over,
Bradbury’s publication was well edited, though it included spelling
covering aspects of both genres and the ir fandom . David Kyle’s fanzine
mistakes; it was printed in green m im eograph ink to represent
Fantasy W orld (1 9 3 6 -n .d .) created, as its subtitle suggested, ‘Cartoons
the colours of ‘Technocracy’ - a future society shaped by its
of Im agination’ as science fiction com ic strips. The first British com ic
technology.31 In the UK, The Futurian was published in Leeds
fanzine, EC Fan Bulletin (1953) - a m im eographed and lim ited-run
(1 9 3 8 -4 0 ) b yJ. Michael Rosenblum and included fiction poems
fanzine for the small publisher Entertaining Com ics - was produced by
and articles from ‘leading sf fanz of the day’, one of w hom was
Bhob Stewart and inspired by science fiction fanzines. A year earlier in
A rthur C. Clarke.32
the United States, Superman was celebrated in Ted W hite’s fifty-co py
18 / 19
PB1ZEC0IMER1
WINIRt-IFFHI
ITCUM:
iHIDDENl>
ISSUES!
F a n z i n e s a r e a s p a c e in w h i c h
the personal obsessions
of t h e i r p r o d u c e r s c a n
be e x p r e s s e d . B r a i n d e a t h
(1988-97) w a s a split- i s s u e
zine shared w i t h Slaughtered
Trees & Toxic Ink - b o t h b y
the same anar c h i s t punk-rock
fan. Cul t u r e Slut (2007-) is
a p e r z i n e w r i t t e n b y a selfproclaimed ‘
queer, f e m i n i s t
and small town e n t h u s i a s t ’
,
w i t h s h o r t d i a t r i b e s on
boredom, depression and
w r i t i n g for zines. Hat e
(2002-) q u e s t i o n s t h e role
of c e l e b r i t y culture, a r t i s t
Calvin Holbrook playing with
a j u x t a p o s i t i o n of m e d i a
collages and journalistic
wordplay.
edition The Story o f Superm an (1952), and Jim m y Taurasi’s Fantasy-
approaches strongly influenced by the designs offered by the
Comics (early 1950s) appeared, bringing together the genres of science
underground broadsheets. Fanzines covered such musical genres as
fiction and Entertaining C om ics’ horror books.35
psychedelic, classical, jazz, country or pop, as well as specific groups
Just as contributors to the science fiction fanzines often became
or solo artists, including Elvis, the Beatles, Dusty Springfield and David
professional w riters and artists, so com ics zinesters followed a sim ilar
Bowie. Early in the 1950s, m usic fanzines were prevalent in the United
path. Future com ics lum inaries w ho got their start draw ing for the
States; The R am bler (1 9 5 7 -5 8 ), devoted to folk music, ran for nine
early fanzines included Paul Neary and Brian Bolland. Noted as the
issues, w hile Jazz Fan (1958), edited by Bill Harry, ran for fourteen.
first ‘true com ics fanzine’ by Robert M. Overstreet in his The Overstreet
Fanzines cam e into their heyday w ith the early rock-and-roll scene
Comic Book Price Guide is Alter Ego, w hich appeared in 1951 and
and emerged out of the traditions of early science fiction publishing.
through its readers’ pages ‘influenced profoundly the com ics fan
But it was a new breed of m usic fans in the 1 9 6 0 s w ho took the
m ovem ent’.36 In the UK in the 1 96 0s com ic titles flourished, including
form of the fanzine to its next level - both visually and in term s of
Ka-Pow (1967), The Komix (1 96 3 ), Conclusion (m id-1960s), Sem inar
journalistic tone. Crawdaddy! was the first magazine of Am erican rock
(1970), Heroes U nlim ited (Anthony Roche, 1 9 6 7 -n .d .) and U nicorn
and roll and was started in February 1 96 6 by Paul W illiam s, w ho had
(Mike Higgs and Phil Clarke, 1971). These fanzines dealt prim arily w ith
as a teenager been a science fiction fanzine producer. Crawdaddy!
fantasy characters and superheroes - although in issue 4 of U nicorn its
featured stories on Bob Dylan, Simon and Garfunkel, Donovan,
editors reproduced articles by Earl G ottschalk, Jr. from the Los Angeles
Jefferson Airplane, the Rolling Stones and other rock m usicians and
Times W est magazine, on ‘com ix’, the underground X-rated com ics of
predated the founding of Rolling Stone magazine. The term ‘fanzine’,
the period. This period represented a second wave of fan m om entum ,
according to W illiam s, was picked up by rock am ateur publishers to
responding to the ‘Second Heroic Age of C om ics’, as it is often dubbed,
describe their publications. However, Crawdaddy!, though sim ilar
w ith its revival of the costum ed hero.
to the form at of science fiction fan publications, had aspirations to
Comic zines were im portant for the way in w hich they rediscovered
be a professional m usic magazine. The fact that W illiam s explicitly
old com ics that were forgotten, overlooked or hard to find. They created
stated that the entire contents were copyrighted underlined this
an auteur scene around com ics - especially w ith Jack Kirby, the creator
aim for mainstream recognition. Crawdaddy! sold for 25 cents and
of m any superheroes, whose particular style of draw ing was celebrated
subscriptions were $ 1 .0 0 for four issues. It was produced from 1 9 6 6 to
by a dedicated fan base. The fanzine producer m aintains a unique
196 8 and then irregularly from 199 3 to 2 0 0 3 , w ith W illiam s describing
position tow ards the comics, often concerned w ith the m inutiae of
the publication in the latter era as ‘definitely a fanzine’. It was sold as
fandom - highlighting inconsistencies in com ic book stories, debating
double-sided photocopies and used underlining, crossing out and
w hich the best publishers m ight be (Marvel or DC...?), and often taking
typew riter texts, w ith occasional use of handw ritten headlines.37
an ironic but highly focused position on their hobby.
In m usic fanzines of the 1960s, the graphic language of cut-and-
Mojo Navigator (1 9 6 6 -6 7 ) was a second and equally im portant
Am erican rock fanzine, founded by Greg Shaw, a W est Coast record-
paste, hand-rendered type and/or Letraset (rub-dow n lettering) was
collector. Shaw had been active in science fiction fandom in the 1 96 0s
starting to provide hints of a recognizable fanzine style that would
and is cited as having introduced the term ‘fanzine’ into the vocabulary
fully emerge in the 1970s. At this stage, however, we see typographic
of m usic fandom . He defined fanzine in this case as a term ‘for mags
T h e l a c k of c o n s t r a i n t s in
t h e f a n z i n e f o r m a t a ffords
e m e r g i n g a r t i s t s s p ace to
e x p e r i m e n t and to p u b l i s h
n e w works. S er i p o p Baltic
(2009) is a c o n t e m p o r a r y
collaboration between
D I Y a r tists, w r i t e r s and
zin e s t e r s , c r e a t e d as a
o n e - o f f r e s p o n s e to an
e xhibition by Montreal
a r t i s t s S e r i p o p at t h e Baltic
C e n t r e for C o n t e m p o r a r y A r t
i n G a t e s h e a d , E n g l a n d . Jam e s
Pallister’
s Meat Magazine
(2004-) p r o v i d e s a b i a n n u a l
f o r u m for u p - a n d - c o m i n g
w r i t e r s a n d a r tists. T h i s
t h e m e d i s s u e t a k e s as its
s u b j e c t n a t i o n a l identity.
w hich were about single bands or branches of the rock fam ily tree.
accum ulated the textual and historical expertise that places them above
Other less specific publications he called genzines.’38 Shaw w ent on to
the average couch p otato .. ,’.40 It is this specialist knowledge that has a
edit W ho P ut the B om p! (1 9 7 0 -7 9 ), w hich ran for tw enty-one issues,
significant role to play in unpacking how popular culture is understood,
providing a forum for serious fans and professional critics w ho had
but is also critiqued in both textual and visual forms.
som ething to say about the new m usic scene and record-collecting.
The first few issues contained six pages of m im eographed typew ritten
So Zines Are...?
texts and were produced w ith a print-run of thirty-five copies; from
We began w ith a description of a zine fair, and have explored some
issue 4 a standard form at was used (cover, table of contents, editorial,
of the ways in w hich zines have moved from the underground into
readers’ pages, band and fanzine reviews, and feature story) and the
a more m ainstream consciousness. This process has roots in the
size increased to tw e n ty-tw o pages, using three-colour mimeography.
history of fandom and the form ation of fan genres. However, it is also
Early Am erican rock-and-roll zines such as this were to have an im pact
clear that when zines more latterly have made a more m ainstream
in term s of both content and form on subsequent m usic zines, including
im pact it is their DIY ‘charm ’ that is at stake. If there is a stereotype of
punk. The link is explicit in the case of, for example, fanzine producer
a zine in 2011 then it is of a photocopied, roughly hewn production,
Jonh [sic] Ingham, w ho was assistant editor and art director of W ho Put
probably produced by a lone and slightly aw kward youth. This is w hat
the B om p! and w ho moved to London in 1976, where a year later he
the m ainstream media focuses on: this is w hat they make television
would start the punk fanzine London's Burning.
shows about. But equally clearly, those early roots have given rise to an
Another zine, Bam Balam (1 9 7 4 -c . 1980s), was published
infinite variety of zines, serving a hugely varied dem ographic. This book
quarterly by Brian Hogg in Dunbar, East Lothian, Scotland, em ploying
acknowledges that the ‘zineness’ of zines is crucial, but it also points
a typographic treatm ent of the title that referenced 1 96 0s counter-
to the potential of the form outside of narrow pigeonholes. The DIY
cultural psychedelia. The drop shadow and outline letterform s were
revolution is here to stay.
hand-draw n and organic in their construction - a visual representation
of the m id -1 9 6 0 s ’ sounds of garage and freakbeat. Bam B alam was
a training ground for journalists, including Jon Savage, w ho remarks
that the fanzine had ‘an unacknow ledged but im portant influence on
British p un k’.39
In the case of these genre fanzines - science fiction, com ics, m usic
- it may be argued that fans are constructing a hierarchy of taste. Their
knowledge is highly specialized, w hether it be a science fiction fan
obsessing about A rthur C. Clarke, a com ic fan celebrating Jack Kirby, or
a music fan idolizing Elvis. It is here where the fan becomes an elitist someone w ho knows w hat is in ‘good taste’ w ith in his or her peer group.
In a sim ilar way, Thom as M cLaughlin has proposed, ‘zine w riters and
editors may legitim ately be thought of as “elite fans”, fans w ho have
20 / 21
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T h e DIY p o litics of the f e m i n i s t m o v e m e n t
r e s o n a t e s in S h o c k i n g P i n k (1981-82, 1987-92),
w h i c h b e c a m e a voice for y o u n g w o m e n i n t h e U K
on i s s u e s s u c h as sex, v i o l e n c e a g a i n s t w o m e n
a n d q u e e r politics. Kitten S c r a t c h e s (1999)
p r o v i d e d a m o r e rec e n t ‘
c all to r e v o l u t i o n ’
as p a r t of the s e c o n d - w a v e B r i t i s h riot
grrrl m o v e m e n t . D I Y Life Z i n e (2010) is a
d o w n l o a d a b l e z i n e e n c o u r a g i n g p e o p l e to t a k e
t h e i r lives a n d c o m m u n i t i e s i n t o t h e i r o w n
hands: s u b j e c t s i n c l u d e u n s c h o o l i n g , selfd e f e n c e a n d b a r e f o o t living. B e e r C a n F a n z i n e
(1999) is a p h o t o c o p i e d f a n z i n e t h a t c o n t i n u e s
t h e t r a d i t i o n of p u n k DIY graphics.
22 / 23
ja c k s o n
;
HEAVEN
SENT!
LA D S
WOMANS
SPO T
T -U ^
■
IVO
No l
4
IAN
DURY
The J am
Climax
pl us reviews
h im
io t
HOLLY
WOOD
SEA
ISSUE NUMBER FOUR
MA Y 1996
BI-MONTHLY
ONE POUND
t S'O f
T H E ON LY M A G A Z I N E
IKE YOUR OWN DAMN ALCOHOL
5th edition, full version, $5* Other versions described on p.Z.
Light Living Library, POB 190-ce, Philomath OR 97370-0190
CHORD EASY
HOW TO CHOOSE CHORDS. If you can play a melody or hum it true,
you can select chords to accompany it. This booklet can help
beginners start, and help the experienced expand harmonic
horizons. It can help you choose chords for almost any song:
old, new, popular, obscure - or one you compose.
If you already know that most music has 12 tones per
octave labeled A Bb B etc, and if you are able to jot down a
melody you know, continue below. If not, go to page Y.
AND CHEAP WAYS T O M AKE A L C OHOL AT HOME
BY JARROD
ILLUSTRATED BY LAURf
CHORDS are combinations of tones that sound pleasing if played
together or in rapid succession. Two types of chords are used
most. I call them j chords and m chords. There are 12 of
each, one for each of the 12 tones per octave. Each j or m
chord consists of 3 tones. Example (xpl): Gj consists of G
and B and D tones.
(More about terminology on page W . )
Nine chords are enough to accompany well most pop/rock/
folk songs. WHICH 9 (of the 12 j and 12 m chords), depends on
how a song is played. This diagram gives the 9 chords for
songs played so they end with G j ; plus the tones in those 9
chords, and piano/organ and guitar fingerings. The connecting
lines show which chords most often follow one another.
(This
diagram is here for easy reference. No need to study it now.)
f
Chord Easy
T h e t ones
o f ( xpl) CJ
_e o r d e r e d
0 C E (Instead
o f C S G) b e c a u s e
t hat h a p p e n s to be
t h e i r o r d e r In the
p i a n o / o r g a n lllo.
Guitar fingerings
s h o w n for AJ a n d B j ,
a c t u a l l y p r o d u c e the
7 t h c h o rds, w h i c h are
ea s i e r to p l a y and
o f t e n s u b s t i t u t e well.
F i n g e r i n g s f o r true
AJ, BJ and m a n y o t h e r
c h o r d s a r e o n p a g e W.
Volume 1
W h i l e 1970s p u n k z i n e s w e r e g e n e r a l l y
p h o t o c o p i e d , t h e f i r s t i s s u e of N e g a t i v e
R e a c t i o n (1977-78) w a s p r i n t e d u s i n g offset
litho, b u t it s t i l l d r e w on a n e m e r g i n g p u n k
a e s t h e t i c of t y p e w r i t t e n t e x t s a n d hands c r a w l e d l e t t e r i n g . In N o t h i n g Is True
(1992), f e a t u r i n g p o l i t i c a l r a n t s on w a r and
m i s i n f o r m a t i o n , L e t r a s e t t y p e f a c e s are
u s e d to r e p l i c a t e t h e a e s t h e t i c of cut-out
l e t t e r i n g . In t h e s a t i r i c a l m a g a z i n e O m s k
(c. l ate 1990s) t h e h a n d - r e n d e r e d cov e r d r a w i n g
r e i n f o r c e s t h e c a r t o o n - l i k e c h a r a c t e r of
M i c h a e l Jac k s o n . C a m i l l a a n d F red D e a k i n
m o v e d t h e f a n z i n e a e s t h e t i c i nto t h e 1990s
w i t h t h e A c i d H o u s e f a n z i n e Boo! (early 1990s),
u s i n g o v e r p r i n t e d f l u o r e s c e n t col o u r s and
p s y c h e d e l i c letter i n g . T h e DIY spirit is
fostered in the three ‘
h o w - t o ’fanzines:
M a k e Y our O w n D a m n A l c o h o l (2005), The Complete
S o a p m a k e r (1997) and C h o r d E a s y (2007).
24 / 25
|
N o v a e T e r c a e (1936-39), f o u n d e d b y M a u r i c e K.
H a n s o n for t h e N u n e a t o n b r a n c h of t h e S c i e n c e
F i c t i o n L e a g u e , w e n t o n to b e c o m e t h e o f f i c i a l
m o u t h p i e c e for t h e S c i e n c e F i c t i o n A s s o c i a t i o n
(SFA) in 1937. It r a n for 29 i s s u e s u n t i l it
w a s r e n a m e d N e w W o r l d s in 1939. M a n y of t h e
ear l y c o v e r s w e r e p r o v i d e d b y H a r r y T urner,
an e a r l y R o y a l A i r F o r c e r a d a r t e c h n i c i a n a n d
artist who had an early interest in science
f i c t i o n a n d w r o t e h i s o w n f a n m a g a z i n e in
t h e e a r l y 1940s.
terry
CARR FANZI NES
,4 .
*
/ “
C_
tJ fL ie r y
A T /c .E H */t.{ !
O CTO BER
1971
V olum e 1, N o. 1
Los A ngeles, C alifo rn ia
S ch o o l K id s ’
Issu e
s
I- J
R e d I n k (early 1970s) w a s a s a t i r i c a l zin e
produced by Newcastle University Socialist
Society, w h i c h s p o o f e d u n i v e r s i t y life
a n d t h e p o l i t i c s of t h e time. A q u a r t e r l y
c o m i c z i n e . H e r o e s U n l i m i t e d (1967-n.d.)
w a s p r o d u c e d on a G e s t e t n e r duplicator.
T h e g e n r e s of c o m i c s a n d s c i e n c e f i c t i o n com e
together in this cover illustration, where
t h e l i b r a r y of t h e f u t u r e is a p l ace w h e r e
b o d i e s r a t h e r t h a n b o o k s are l e n t out. K R L A
B e a t (1965-68) w a s a z i n e c o m p i l a t i o n of
n e w s p a p e r a r t i c l e s on b a n d s a n d music.
26 / 27
$1*00
Pop m u s i c is o n e of t h e m o s t p r o l i f i c f a n z i n e
genres. C r e e p (1990s) p r o v i d e d a f o r u m for
c o m m e n t a r y o n 1990s b a n d s , w h i l e at t h e
s a m e t i m e r e f e r e n c i n g t h e c o n t e n t of z i n e s
o u t s i d e t h e m u s i c scene, p u b l i s h i n g c lip
art from Sean Tejara t c h i ’
s Crap Hound. S u e d e
f a n s w e r e t r e a t e d to t h i s d o u b l e i s s u e of
G l a m o u r p u s s (1996). T h e O a s i s - i n s p i r e d M u s t
Be the M u s i c (1996-99) w a s a p r o m o t i o n a l z i n e
t h a t r a n 12 i ssues: t h e b i - m o n t h l y p u b l i c a t i o n
b o a s t e d a r e a d e r s h i p of m o r e t h a n 2,000.
M a x i m u m R o c k n R o l l (1982-), a p u n k z i n e , b e g a n in
1982 as a n e w s p r i n t b o o k l e t i n s i d e N o t So Qu i e t
on t h e W e s t e r n Front, a c o m p i l a t i o n a l b u m on
t h e A l t e r n a t i v e T e n t a c l e s r e c o r d label. T h i s
a u t h o r i t a t i v e p u b l i c a t i o n is s t i l l going,
a n d to d a t e m o r e t h a n 300 i s s u e s h a v e b e e n
pub l i s h e d .
L_
ISSUE #221
OCT. 2001 $3.00
BORDERS'
, ill.5
...tales from the
6-8 protests in
Genova
”
'
Xf'BTar «âTt ,I '
ISSTTE 23 |SPRING 2006
Twenty Year Anniversary Issue
^
CAREER SU IC IDE
SMALLTOW N
DIRECT CONTROL
FRONTIER RECORDS
P^-P5....AN
S L O O P S U C K IN G
uaunacE
BEMISBRAIN RECORDS
BAD POSTURE
STATE
GEORGE HURCHALLA
K AN TIN ’ ‘N’ H A V IN ’ ‘ N’ E E V IE W IN ’
ABTCOBE V IN Y L F A N Z IN E V O L .I:
K ^
t io n a l A n t h e ik
AM SR W SU N KKW l
ASH T R A D IT ION
ID E N T IT Y CRYSIS
S TU K A S OVER BEDROCK
P.T.L. KLUB
HORROR PLANET
STE V IE S T IL E T T O AND
TH E SW ITC H BLA D ES
CHRONIC DISORDER
ENT ROPY
MAGGOT SANDWICH
S l a s h (1977-80) w a s a h i g h l y r e s p e c t e d US W e s t
Coast p u n k music broadsheet, with contributors
from other zines including Tony Drayton
(R i p p e d & Torn), J o n S a v a g e (L o ndon's O u t r a g e )
a n d c a r t o o n i s t G a r y P a n t e r (Jimbo). M e a n w h i l e
on t h e E a s t Coast, P u n k (1975-79), f o u n d e d by
J o h n H o l m s t r o m , f e a t u r e d a m i x of B r i t i s h a n d
A m e r i c a n b a n d s - here, p u n k p r i n c e s s P a t t i
Smith. S o m e c r e d i t t h e t i t l e w i t h g i v i n g p u n k
m u s i c its name. I n t e r n a t i o n a l A n t h e m (1977-81)
was produced by the anarchist collective
Crass, w h o s e h a r d - h i t t i n g agit-prop p o l i t i c a l
messages were more counter-cultural than
pun k but who inspired generations with their
v i e w s on a n i m a l l i b e r a t i o n , h u m a n r i g h t s a n d
g o v e r n m e n t in j u s t i c e s . T h i s i s s u e of A r t c o r e
(1986-) c e l e b r a t e s its t w e n t i e t h a n n i v e r s a r y
w i t h a v i n y l f a n z i n e - a c o m b i n e d 4 0-page
p r i n t z i n e a n d c o m p i l a t i o n a l b u m of n i n e
r a r e or u n r e l e a s e d A m e r i c a n p u n k r o c k a n d
h a r d c o r e bands.
F o l l o w i n g p a g e s T h e format, o f f set-litho
p r i n t i n g a n d m o n t h l y p u b l i c a t i o n h a r k b a c k to
s o m e of t h e e a r l y s c i e n c e f i c t i o n n e w s l e t t e r s .
T he C e l e s t i a l T o y r o o m (1976-) is a D o c t o r Who
n e w s l e t t e r t h a t c l a i m s to h a v e r e a c h e d m o r e
t h a n 1,000 fans. T h e f r e e t w o - p a g e n e w s l e t t e r
Y o u r M o r n i n g s Will Be B r i g h t e r (c. 1990s) k e p t
l o c a l f a n s up to d a t e w i t h l i s t i n g s of gigs
h e l d i n a n d a r o u n d Fo l k e s t o n e , Kent, E n g l a n d .
C e le s tia l
fo yp a e m
APPRECIATION
N u m
SOCIETY
b e r 7
CUP FINAL DAY was more notice
able this year for the exodus
of people away, rather than to
the*country's capital city,
when DOCTOR Y/HO fans rendezvou
sed for the annual DWAS invasion
of Blackpool. Y/hilst London
might well he the base for the
Society Executive, and venue of
PANOPTICON III, Blackpool can
he regarded as the Northern
centre of Doctor Y/ho fandom,
with the largest of two exhibi
tions in Britain featuring props
costumes and hardware from the
programme.
J u l y 57 3
MORE THAN 40 Members of the
Society, from far afield as the
Surbiton local Group and West
Midlands 'Beyond Cygnus-A' had
collaborated and booked out an
entire hotel. Organiser, J.
Jeremy Bentham, who drove a
mini-bus of fans up to Black
pool from London was overwhelmed
at the success of the V/eekend,
and is hopeful of further ac
tivities in the future amongst
the Society 'hard-core'.
WHO
PUTS HIS FBBT IS IT
OCEANS IIT THE SKY - the film made by the D. V/. A. S. drama dept,
is now complete, bar the special effects. Premiered at the Tom
Baker Pen-Pal Club Social Event on May 26, the full version is
hoped to be ready for PANOPTICON III.
The film has taken three years to make at a cost of £3,000. The
sets include a magnificent TARDIS console which was made by Reg
Spillet who also plays a part in the film. The whole of the
TARDIS interior was built on a stage cannibalising existing ma
terials. An original score has been written for the soundtrack
by Tunbridge Wells D. V/. A. S. Member Mark Ayres. A version of
the original television theme will be used to open the adventure
concocted b y Owen Tudor and Paul Howden-Simpson.
'Oceans' boasts
a cast of 20 actors, including Leo Adams as 'The Doctor'. Leo
is a professional actor of 30 years and had his own rep company.
The last session was filmed in a sewage works with Mr. Adams
having some unfortunate accidents with the co-ordination of his
feet in relation to the nature of the location, which broke up
his co-star, Diane Woodley.
There is already a poster available of the film, and a paperback
book is planned explaining how the film was made.
IMPORTANT ANNOUNCEMENT
ALL MEMBERS WITH M M B E R S H I P
CODES BEGINNING " 8 A G " PLEASE
SEE 'RE-APPLICATION tfo MEMBER
SHIP' LETTER ENCLOSED, AS THIS
IS THE FINAL EDITION OP CT OP
YOUR PRESENT YEAR.
SUMMER REPEATS
The repeat this summer of 'The
Pirate Planet' seems much more
certain, with probably that
well-known cure for insomnia,
'The Androids of Tara' to fol
low.
irfiLi
UrIn1(1fn
mflfIII
"S ,
Just six weeks after booking for
the convention opened we have
been forced to close our regis
tration files. 375 of you have
registered and this response is
intensly heatening. However, we
do still have 16 places left
for Sunday only and if you wish
to register please send £3.50
to Deanne with a registration
form and sae. Now an apology
to those Members who have had to
wait a few weeks for confirma
tions of their registrations.
This was because the accomadotion
7/as massively over-subscribed.
Happily, we have been able to
extend this facility. As regards
to paying for accommodation
please send your cheque/postal
order payable to Deanne as soon
as possible. V/henever you write
with a query on the convention
it would help us if you could
quote your convention number.
The good news is that we will
almost definately be able to show
the entire first story consis
ting of four full episodes.
Several guests have replied to
our invitations including Dick
Mills, Graham Y/illiams and
Douglas Adams.
If you are
unable to come we can offer
supporting Membership costing
£1.00 for which you will recieve
all bulletins, a copy of the
convention booklet and a badge.
If you want to take this up,
please write to Mark enclosing
an sae, with your cheque/PO
payable to Deanne. Lots more
next month I
David, Deanne and Mark.
V/RITERS POOL MEETING
The venue: 287 Carlton Hill,
Nottingham. The purpose: The
launching of the third edition
of COSMIC MASQUE. On M a y 26
at the home of John Peel, an
interesting discussion followed
the official launching of the
third Y/riters Pool publication.
One topic of discussion was
the way the Doctor had changed
and it was decided that the
transisition from Hartnell to
Troughton was a rejuvenationthe body returning to an earl
ier age. Troughton was changed
into Pertwee by the Time tores.
His cells destroyed by the
Metebellis Spider, the Doctor
was as good as dead. Even the
power of the TARDIS could not
repair his body and effect a
rejuvenation. Cho Je came to
his rescue and regenerated the
cells of his body and he became
a younger, different person
ality. 3ut what will happen to
the Doctor next time?
LATE NEWS
LOCAL GROUP ANNOUNCEMENT
We are pleased to announce the
official opening of our eleventh
Local Group: Michael Nicholson,
25 Long Bank, Birtley, Chesterle-Street, County Durham. A
full list of the existing Local
Groups is on page two and three.
C h a p t e r 1 | A D o - I t - Y o u r s e l f R e v o l u t i o n : D e f i n i t i o n s and E a r l y D ays
May 1990 ... May 1990 ... May 1990 ... May 1990 ... May 1990 ... May 1990 ... May 1990 ... May
MORNINGS WILL BE BRIGHTER
FREE ... FREE ... FREE .
F R E E ___ FREE .. . FREE ...
airplay of their "Love Child" EP had gone down
well. Those who witness the spectacle insist
that it will go down in legendary terms within
the city.
TREES vocalist Jason MacKenzie has been
mysteriously left out of Sounds' "Rock Nutters"
series so far, tonight he's demented, revelling
The Arena, Vienna
in the clean air and friendly atmosphere of a
city he's clearly taken to, dancing around his
What a momentus year mighty '90 is turning out large stage. Tonight he's making the Viennese
to be - Tyson knocked out, the West Indies
whirl in their city of Mozart, Beethoven,
beaten in the first test on their own soil,
Schubert and the Strauss family. Guitarist
Liverpool beaten by Crystal Palace in the
Richard Carlile is also in party mood, signing
F.A. Cup semi final, Mandela free,
autographs, pulling some extraordinary faces
Thatcher (or Torture as one Austrian is to
and even contributing some backing vocals.
pronounce it) with her back to the wall, a
There must be something in the air.
new era unfolding in Europe, Poll Tax anger
swelling up ... and Folkestone four-piece
The band are called back for The Doors' "L.A.
TREES spreading their gospel overseas, hot
Woman" and The Stranglers' "Pretty Face" and
on the heels of their three-date "Hit the
then it's goodnight Vienna. Tom Jones' "It's
North" weekend and first local gig of the
Not Unusual" is left out of the set tonight,
new decade.
now that would be breaking down the cultural
Carriers a little too far.
It’
s Friday 13th and all is well. Heathrow
Airport is woken from its slumber by the
arrival of Matt Goss, chased by a bevy of
emotional girls; there's a party from
Sheffield United Football Club present as
well, cult-hero of the 70's Tony Currie
amongst their ranks.
I have a very tight schedule ... my
plane to Munich is delayed by half an
hour ... I'm going to miss my train ...
but no, the train's late as well, perhaps
the Germans are human after all.
Vienna's indoor Arena is a Marquee-style
venue, indeed Mark E.'s The Fall play here
the next week. The gig starts at 8pm and
goes on until 5am, it's quite a rave,
there's about 500 people present.
TREES are on fifth out of six, due on
at about midnight after CLOUDS OVER
CHRYSLER (from Linz in Austria), the
excellent BOMB CIRCLE and OCCIDENTIAL
BLUE HARMONY LOVERS, both from Vienna;
and German/Amencan hardcore act
SPERMBIRDS. The band are tired, the
acts go on for longer than had been
expected, they finally hit the stage
at 1.30am; by now the crowd has
mingled, but there's still an
expectant faithful to entertain, radio
THE SHEDS unveiled their new line up at a
Hunt Sab benefit gig at Bottoms in
Folkestone on Good Friday. Bass player Dave
"DJ" Jones left the band at the end of last
month. They acted quickly to switch
drummer Matthew "Mole" Lambert to bass
and recruit new drummer Michaei Warren
(also of Big Blue Dirt Box, formerly of The
Cutlery). EPIDEMIC and THE SKYDOGS
completed the line up that night.
See the new-looked SHEDS at Heroes in
Folkestone on Wednesday Iftay. 9th.
All enquiries to: RICHARD MURRILL, 9 Gainsborough Close, Folkestone, Kent CT19 5 N B . ___
■
32 / 33
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I BONUS 10” phonorecord featuring: back off
I cupids.flyingsaucerattack.a^ndfu1of dust,
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:
£
32
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(oww) ->|j|«r3
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v,
Without conventional publishing constraints,
f a n z i n e s c a n t a k e on d i f f e r e n t f o r m a t s a n d
m e t h o d s of p r o d u c t i o n . S p e e d K i l l s (1990s)
f o l l o w s i n t h e t r a d i t i o n of 1970s p u n k f a n z i n e s
t h a t i n s e r t e d f l e x i - d i s c s i n t o t h e i r page:
h e r e a 120-page n e w s p r i n t f a n z i n e a c c o m p a n i e s
t h e 7-inch vinyl. T h i n g s I ’
ve F o u n d / T h i n g s I ’
ve
L o s t (2009) is a 25- c o p y l i m i t e d e d i t i o n split
zine, o p e n i n g f r o m b o t h f r o n t a n d back, w i t h
two screen-printed front covers and interior
p a g e s o n p i n k p h o t o c o p y paper. T h i s z i n e r e a d s
in two directions, enum e r a t i n g items that the
p r o d u c e r h a s f o u n d b y t h e s ide o f t h e r o a d plus
o t h e r s t h a t h a v e b e e n lost. T h e 1980s S w e d i s h
f a n z i n e S t r a i g h t f r o m the G r o o v e y a r d i n c l u d e s
a c a s s e t t e t a p e f e a t u r i n g top S w e d i s h g a r a g e
a n d p s y c h b a n d s s u c h as R o k y E r i c k s o n , C r i m s o n
S h a d o w s a n d Creeps.
r
H a n d - r e n d e r e d t y p o g r a p h y f e a t u r e s in t h i s set
of f a n z i n e s s p a n n i n g t h e 1960s a n d 1970s. T h i s
1998 i s s u e of F r e a k B e a t (1980s-90s), p r o d u c e d
by R i c h a r d A l l e n , f o u n d e r of t h e n o w d e f u n c t
D e l e r i u m R e c o r d s , h a r k s b a c k to t h e c o u n t e r cultural imagery and typographic treatment
of t h e o r i g i n a l E u r o p e a n r o c k m u s i c g e n r e of
the 1960s. I n s e r t e d i n t o t h e z i n e is a 1987
f l e x i - d i s c f e a t u r i n g t h e S t e p p e s ’o n l y f u l l
v e r s i o n of t h e i r s i n g l e ‘
H i s t o r y H a t e s No
Man’
. T h i s e d i t i o n of P a u l W i l l i a m s ' s c l a s s i c
r ock f a n z i n e C r a w d a d d y ! (1966-2003) i n c l u d e s
p ieces b y f u t u r e r o c k l u m i n a r i e s J o n L a n d a u
and S a n d y P e a r l m a n , as w e l l as p h o t o g r a p h s
by one L i n d a E a s t m a n - s o o n to b e L i n d a
M cCart n e y . P u b l i s h e d t w i c e a year, B a m B a l a m
(1974-c. 1980s) w a s a 1960s p o p m u s i c f a n z i n e ,
w h i c h M a r k P e r r y c r e d i t s as p r e d a t i n g b y f o u r
issues h i s o w n i n f l u e n t i a l p u n k z i n e S n i f f i n ’
Glue. T h i s i s s u e i n c l u d e s i t e m s o n M a n f r e d
Mann, t h e B e a c h B o y s a n d B u f f a l o S p r i n g f i e l d .
S n i f f i n ’F l o w e r s (1977-n.d.) w a s p r o d u c e d as a
l i t e r a t u r e a n d a r t z i n e b y Sue, Simon, A n d r e w
and J a c k i e as t h e i r ‘
first excursion into t h a ’
dep t h s of print...’
. It f e a t u r e s a n i n t e r v i e w
with British writer Michael Moorcock, who
talks about his early career and his first
c o n t r i b u t i o n to a f a n z i n e at t h e a g e of e leven.
36 / 37
T h e 1980s f a n z i n e S e r e n d i p i t y l o o k s b a c k to
the previous d e c a d e ’
s t e l e v i s i o n shows, s u c h
as T h e M a n f r o m U.N.C.L.E., B a t m a n a n d S t a r
Trek. In t h i s i s s u e B a t m a n ’
s fiftieth birthday
is c e l e b r a t e d w i t h d r a w i n g s of t h e i n n e r
w o r k i n g s of t h e B a t Cave. F e a r a n d L o a t h i n g
(early 1990s-) is o n e of t h e l o n g e s t - r u n n i n g
and most i n f l u ential p u n k fanz i n e s in the UK
(issue 61 w a s r e l e a s e d i n 2010), w i t h d e n s e l y
t y p e w r i t t e n t e x t a n d c o l o u r - c o p i e d covers.
W i t h m a n y of t h e i r i ssues, i n s e r t s for i n d i e l a b e l 7 - inch s i n g l e s w e r e a l s o i n c l u d e d - t h i s
issue, it w a s t h e A m e r i c a n f e m a l e p u n k b a n d
N.Y. Loose, h e l p i n g t h e m to d e v e l o p a U K f a n
base. R e v o l t i n g (1993-n.d.), ‘
a p u b l i c a t i o n to
raise social awareness and h u m a n p o t e n t i a l ’
,
is p r i n t e d on r e c y c l e d paper. It w a s a
z i n e t h a t f o c u s e d on p o l i t i c a l i n j u s t i c e s :
this issue also has articles on recycling,
s u s t a inability and e n v i r o n m e n t a l concerns.
Console (1980s) w a s a D o c t o r W h o sci-fi
zine t h a t c o n t a i n e d r e v i e w s of t h e B r i t i s h
t e l e v i s i o n s h o w as w e l l as e x a m p l e s of
o r i g i n a l scripts. It a l s o o f f e r e d a ‘
Console
Q u i z ’c r o s s w o r d p u z z l e for t h e d i e h a r d
fan. T y p o g r a p h y P a p e r s (1996-) w a s a f o r m a l
e x e r c i s e for s t u d e n t s at t h e U n i v e r s i t y
of Re a d i n g , l o o k i n g at w a y s of p r e s e n t i n g
t y p o g r a p h y for r e a d i n g ; it f o r m e d a p r e c u r s o r
to t h e a c a d e m i c s e r i e s ‘
T y p o g r a p h y Papers'.
F u n k n' G r o o v e (1990s) f e a t u r e d E r i k E s t r a d a ,
star of t h e A m e r i c a n cop s h o w CHIPS, on t h e
cover of its f i r s t issue. T h e o b s e s s i o n of t h e
zine’
s c o - p r o d u c e r s for ' collecting, i d o l i z i n g
and w o r s h i p p i n g t h e g r e a t e s t s t a r s a n d i c o n s
of t h e l a s t t h r e e d e c a d e s ’is r e f l e c t e d in
t h e i r n o s t a l g i c r e f e r e n c e s to, for e x a m p l e .
The B r a d y B u n c h a n d B o y G eorge.
C O N S O LE
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I l l u s t r a t i o n w a s a l w a y s k e y to f a n z i n e
covers: P u n k a n d D i s o r d e r l y (1990s) h a s a
p r o v o c a t i v e p u n k d r a w i n g on its f r o n t cover.
Bug s a n d D r u g s (1992-96) a n ‘
adults o n l y ’
w a r n i n g . B r u m b l e w a s p u b l i s h e d for t h e 1965
c o n v e n t i o n of t h e B i r m i n g h a m F i c t i o n Group.
Le C o l l e c t i o n n e u r de B a n d e s D e s s i n e e s (19772008) b e c a m e a l e a d i n g p u b l i c a t i o n on comicstr i p h i s t o r i c a l r e s e a r c h . T h e A u s t r a l i a n
D o w n U n d e r (mid-1960s) w a s d e v o t e d p r i m a r i l y to
com i c s a n d f a n d o m c o m i n g o u t of A u s t r a l i a a n d
England and was distributed internationally.
F O O M (1973-78), or 'Frie n d s of 01 M a r v e l ’
, was
a Captain Am e r i c a Marvel comic fanzine with
early c o n t r i b u t i o n s b y S t a n Lee. T h i s f i n a l
is sue of C o m i c s U n l i m i t e d (1970-79) b i l l e d
i t s e l f as a c o m i c s - o r i e n t e d a r t i c l e zine.
40 / 41
ANNIVERSARY
UE -Sfc
/ VIA
No. 4
--
-----
\
_
T h e S p a c e T i m e s (1950s-60s) c o v e r i l l u s t r a t i o n
b y H a r r y T u r n e r is d r a w n d i r e c t l y on to o f f s e t
litho plates and printed in m a h o g a n y and green
inks. T h a n k s for the M e m o r y (c. 1977-c. 1980)
w a s a D o c t o r Who f a n z i n e t h a t c e l e b r a t e d
t h e E n g l i s h a c t r e s s E l i s a b e t h Sladen, w h o
w a s k n o w n for h e r t h r e e - y e a r role as t h e
investigative journalist Sarah Jane Smith
i n t h e p o p u l a r B r i t i s h t e l e v i s i o n series.
P e r s o n a l L o g 01 (1980s) w a s a non-profit,
f a n - w r i t t e n f a n z i n e d e d i c a t e d to S t a r Trek,
w i t h a p r i n t - r u n of 200 copies: t h e c o v e r
d e p i c t s L i e u t e n a n t Uhura, w h o f e a t u r e s as
t h e m a i n c h a r a c t e r s t u d y for t h i s i s s u e
of s h o r t s t o r i e s a n d poems. T h e c o m i c z i n e
H e r o e s U n l i m i t e d (1967-n.d.) w a s o r i g i n a l l y
w r i t t e n a b o u t A m e r i c a n s u p e r h e r o e s , b u t in
t h i s i s s u e its e d i t o r a s k s r e a d e r s for t h e i r
t h o u g h t s o n i n c l u d i n g one a r t i c l e p e r i s s u e
on B r i t i s h c o m i c s u p e r h e r o e s or f a n t a s y
c h a r a c t e r s as well.
C h a p t e r 1 | A D o - I t - Y o u r s e l f R e v o l u t i o n : D e f i n i t i o n s a n d E a r l y D ays
42 / 43
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C o m i c z i n e p r o d u c e r s c o n t i n u e d to d e d i c a t e
t h e i r p u b l i c a t i o n s to b o t h m a i n s t r e a m
s u p e r he r o es and u n d e r g r o u n d c o m i x characters.
The K o m i x (1963) c o m p r i s e d J o h n W r i g h t ' s
o r i g i n a l stories, p l u s r e v i e w s of o t h e r
zines. I n s p i r e d b y s c i e n c e f i c t i o n z i n e s
a n d d e v o t e d to A m e r i c a n s u p e r h e r o e s , K a - P o w
(1967-n.d.) a l s o i n c l u d e d a c o m i c s t r i p b y M i k e
Higg s . N i g h t m a r e (1969) w a s a f a n t a s y - a n d
c o m i c z i n e , c o n t a i n i n g r e v i e w s of n o w - c u l t
films, r e c o r d s a n d c o m i c c o n v e n t i o n s . F ive
h u n d r e d c o p i e s of t h e c o m i x s h o w c a s e split
z i n e D e a d D u c k / C o r p s e m e a t C o m i x (1991) w e r e
p rod u c e d , r e p r i n t i n g t w o s e m i n a l strips,
D e a d D u c k (1988) a n d C o r p s e m e a t C o m i x (1983).
Zum! (1991-c. 1993) w a s a U K s m a l l p r e s s z i n e
that fe a tu r e d articles, re v ie w s and strips
f r o m t h e w o r l d of a l t e r n a t i v e c o m i x . T h e
G o l d e n A g e F a n z i n e (1970s) f e a t u r e d M a r v e l
s u p e r h e r o e s a n d a l s o t h e h i s t o r y of d e t e c t i v e
comics. T h e p r o f e s s i o n a l p u b l i c a t i o n G r a p h i c
S t o r y World (1971-73) h a d c o n t r i b u t i n g e d i t o r s
a c r o s s t h e world.
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C h a p t e r 2 | 'It's as E a s y as 1-2-3': T h e G r a p h i c L a n g u a g e of P u n k 1975-1983
The Situationist-inspired
S u b u r b a n P r ess (c. 1970) u s e d
cut-up g r a p h i c s and agit-prop
i m a g e s to p r e s e n t a d i s t i n c t
a n t i - d e s i g n g r a p h i c language,
w h i c h would help define a
B r i t i s h z i n e style. In the
U n i t e d States, P u n k (1975-79)
founded by John Holmstrom,
c o m b i n e d p u n k and com i c s
to ‘
galvanize a mov emen t’
.
H a r k Perry's f i r s t i s s u e of
t h e p u n k z i n e S n i f f i n ’Glue
(1976-77) f o c u s e d on T h e
R a m o n e s ’L o n d o n gigs and
credits the b a n d ’
s s o n g 'Now
I w a n n a s n i f f s o m e glue' as
i n s p i r a t i o n for its title.
Identifying the specific moment when punk began is difficult, as is a
music and the movement itself. Dave McCullough, a one-time fanzine
precise definition of the term. Mark Perry, founder of the punk fanzine
producer and then a journalist for the music paper Sounds, reported
Sniffin' Glue, suggested in issue 1,
in 1979 on the position of British fanzines:
nobody can define punk-rock, it’s all about rock in its lowest
you didn’t know where to look in case you were being ‘sold out’.
form - on the level of the streets. Kids jamming together in
You could actually 'look up to’ an "institution” like Sniffin’ Glue
their dad’s garage, poor equipment, tight clothes, empty heads
and at least TR U ST that they were going the whole way. It gave
(nothing to do now you’ve left school) and model-shops.
you The Word and put what the press said (which you always
Punk-rock’s all those things.1
did suspect) in a rigid perspective.4
The first wave of punk has generally been accepted to have had a three-
Perry was very much aware of his new-found position as a punk
year life span, beginning with the depression and drought of 1976 and
provocateur and of the influence he had on other fanzine producers.
ending with the death of Sid Vicious of the Sex Pistols in 1979.2 On the
He speculated that the success of his fanzine was due to the fact that
other hand, punk should not be defined entirely by the career of the Sex
he was honest and told readers exactly what he thought, using a
Pistols - however influential they may have been - nor by the history
graphic language adopted from American rock-and-roll fanzines.
promoted by their manager and publicist, Malcolm McLaren. Critics
In punk as in other genres, fanzines were written for and produced by
such as the American journalist Greil Marcus would argue that in the
those ‘in the know’. They had first-hand experience as participants at
United States it began in New York around 1973-74, well before the
the gigs and were often allowed access to backstage. They interviewed
Sex Pistols, with such bands as Television and the Ramones. Punk's
bands directly, frequently getting an exclusive story. Although punk
second wave continued into the 1980s with the rise of anarcho-punk,
was almost immediately picked up by the national and music press
street punk, hardcore and the neo-fascist punk movements.3 Punk
(the first review of a Sex Pistols gig was written by Jonh [sic] Ingham
fanzines aligned themselves to these new categories of punk politics,
and published in Sounds in April 1976) the stories in the mainstream
providing a new wave of fanzine activity. In the 1990s and 2000s
press were often sensationalized. Punk was viewed as frightening and
punk continued to thrive in its various forms, spurred on by newer
aggressive, with tabloids such as the Daily Mirror and the People using
publications such as MaximumRocknRoll (1982-) and Punk Planet
scare stories to criticize the morals of the burgeoning youth culture.
(1994-2007) (both USA).
Punk fanzines may have been driven by political agendas, including
class politics and critiques of mainstream political ideologies, but
Defining Punk Agendas
they also reflected the fact that punk had emerged from a position of
Punk was not only about music and class politics, but also had an
knowingness about artistic practice and its history. Legs McNeil in
impact on fashion, fine art, film, comics, novels and, of course, fanzines.
particular, co-founder of Punk magazine (1975-79), traced punk back
Mark Perry had developed his own brand o f ‘punk journalism’, for
to the antics of art-world provocateur Andy Warhol, and other critics
example, and he actively encouraged others to participate in ‘having
too have argued that fanzines had their stylistic origins in Warhol’s
a go yourself’. Punk fanzines also served another, equally important
Interview magazine, which represented ‘the same sense of slapped
purpose. During the early rise of punk, many fans considered them
together necessity’ and the same ‘“artless” reproduction of every
to be the only reliable way of disseminating information about the
spoken word’.5
46 / 47
ElAiScili&EDsBTEDo
T-O -T-A -l. J
CONTROL
I
Pun k obsessions varied
internationally. Search &
D e s t r o y (1977-79), w h i c h c a m e
o ut of S a n F r a n c i s c o f r o m
e d i t o r V. Vale, f e a t u r e d a n
i nterview with the A m e r i c a n
writer Wi l l i a m Burroughs.
The first Brazilian p unkzine
w a s F a c t o r Z e r o (1980-81),
w h i c h h a d a p a s s i o n for S o u t h
A m e r i c a n bands and comics
(the DIY g r a p h i c l a n g u a g e
was clearly borrowed from the
B r i t i s h model). Total Control
(1977) w a s a s m a l l b o o k l e t
about The Clash included
in the first G e r m a n pu n k
f a n z i n e , The Ost r i c h (late
1970s).
Perry and McNeil thus provide two starting points not only for
of Reid’s press in Croydon, Surrey, as well as making ironic comment
exploring the potential difference in writing styles of punk but also for
on the ‘capitalist ideal’. The publication uses typewritten texts created
defining the graphic language of punk fanzines.
on an IBM 72 typewriter.
While Jamie Reid and others were exploring the possibilities
A Graphic Language of Resistance
offered by Situationism and the graphic languages of other art
Can we identify a graphic language of resistance? Resistance, in this
movements, a second source for a fanzine language was emerging.
case, is taken to mean a ‘refusal to com ply’, as in, for example, resisting
Mark Perry’s Sniffin' Glue (1976-77) was so influential that tributes
authority. Stephen Duncombe suggests that through the process of
to his success were witnessed in the way the fanzine itself was
resistance we are freed from the ‘limits and constraints of the dominant
referenced graphically: for example the second issue of Murder by
culture’. In turn, ‘cultural resistance’ allows us to ‘experiment with
Fanzine (c. 1983, Scotland) pastes a flyer promoting issue 6 of Sniffin'
new ways of seeing and being’.6 In fanzines this may be represented
Glue over the head of a guitar-player, thereby rendering him anonymous.
through content, or graphically, or both, where rules and prescriptions
Nonetheless Perry is careful not to accept the ‘first fanzine’ tag, instead
are disregarded intentionally. Such strategies are easily understood
citing earlier rock-and-roll publications such as Greg Shaw’s Who Put
within the subculture and so provide a focal point and help to establish
the Bomp! (1970-79) and Brian Hoggs’s Bam Balam (1974-c. 1980s)
a community of like-minded individuals.
as precursors to his own.
Punk fanzine precursors that began to define what a distinctive
Despite an emerging set of punk ‘conventions’, which included
graphic language of punk might be include Jamie Reid’s Suburban
the small, stapled format, ‘spontaneous’ page layout, the production
Press (1970-75) - a Situationist-inspired publication that, along
values of the photocopier, and a mixture of typographic treatments such
with Sub magazine and King Mob, provided a bridge between the
as cut-and-paste, ‘ransom notes’, and handwritten and typewritten
hippie press and punk fanzines.7 Situationists ‘characterized modern
letterforms, each fanzine maintained an individualized approach. The
capitalist society as an organization of spectacles’, arguing that ‘people
manner in which the graphic marks, visual elements and their layout
are removed and alienated not only from the goods they produce and
were presented reflected not only the message, but also by default the
consume, but also from their own experiences, emotions, creativity,
individual hand of the fanzine producer. This is evident in a comparison
and desires’.8
of covers from three of the more prominent fanzines produced in the
Reid established the connection visually between Dada,
late 1970s. Charlie Chainsaw, for example, in his first issue of Chainsaw
Situationism and punk, suggesting that ‘probably Dada’s finest moment
(1977-85, London) used stencil letters for the title and a series of
was [when it was] on the streets and accessible to working class kids’.9
cut-out newspaper texts collaged with a photograph of the Sex Pistols
He described his job as being graphically to translate and simplify the
and a reference to its namesake, an image from the poster of the film
Situationist use of political rhetoric and jargon. For example, Suburban
The Texas Chainsaw Massacre. Mark Perry in the July 1976 issue of
Press critiqued local council politics and contextualized it with excerpts
Sniffin’ Glue employed his own quickly produced handwriting scrawl,
from Situationist graphics and texts. The cover of Suburban Press
where letters were all caps and visually presented in the same weight.
No. 1 (1970) uses a dot-patterned image of a suburban house with
And Tony Drayton’s Ripped & Torn (November 1976-79, Glasgow)
the idealistic slogan ‘Fresh from the Suburbs’, playing on the location
took a more formal approach, combining one photographic image of
_
C h a p t e r 2 | 'It's as E a s y as 1-2-3' : T h e G r a p h i c L a n g u a g e of P u n k 1975-1983
T h e r e g i o n s of B r i t a i n h a d t h e i r o w n s pin
on punk. R i p p e d & T orn (1976-79), p r o d u c e d
by T o n y D r a y t o n , r a n for 18 issues, m o v i n g
b e t w e e n G l a s g o w a n d L o n d o n . For a w h i l e it
w a s a s e r i o u s c o m p e t i t o r to Sniffin' Glue.
City F u n (1977-84) w a s p r o d u c e d i n M a n c h e s t e r ,
E n g l a n d , a n d w a s i n i t i a l l y r u n b y a collective,
p r o v i d i n g e a r l y c o v e r a g e of F a c t o r y R e c o r d s
a n d t h e H a c i e n d a Club. A l t e r n a t i v e S o u n d s
(1980-81) r a n for 18 i s s u e s a n d f o c u s e d m a i n l y
on t h e C o v e n t r y m u s i c s c e n e w i t h s u c h b a n d s
as T h e Silence, b u t a l s o c o v e r e d o t h e r E n g l i s h
M i d l a n d s towns.
48 / 49
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F r i e n d ly an d s o m e t i m e s not-so-friendly
r i v a l r y c h a r a c t e r i z e d t h e t o n e of t h e
p u n k z i n e heyd a y . In t h e City (1977-80), one
of t h e m o r e f a m o u s p r o d u c t i o n s , c o m p l a i n s
a b o u t t h e n u m b e r of z i n e p r o d u c e r s w h o
sold out to j o i n t h e m u s i c press, i n c l u d i n g
journalists D a n n y B aker and Dave McCullough.
T h e f o c u s for t h i s i s s u e is t h e a n a r c h o - p u n k
b a n d C r a s s (logo b y D a v i d King). M i c k Me r c e r ' s
P a n a c h e (1976-92), o n e of t h e l o n g e s t - r u n n i n g
punkz i n e s in the United Kingdom, emphasizes
its ‘
v a l u e for m o n e y ’b y p l a y i n g w i t h c ut-out
a d v e r t i s i n g . In R e b e l R o u s e r (late 1970s) L e o n
Rebel’
s h a n d - d r a w n effort offers a p u n k poll
to k e e p r e a d e r s i n t e r e s t e d .
loolci Guaranteed
rmum valueSEE IT NOWlSotaapeasive *woint™rt
❖
F) Give*wAV
A t T H A T P«iCE i
C h a p t e r 2 | 'It's as E a s y as 1-2-3': T h e G r a p h i c L a n g u a g e of P u n k 1 9 7 5 -1983
ANARCHY *
IN THE U-K.j
A l m o s t as s o o n as p u n k
e m e r g e d it w a s c o - opted by
m o r e m a i n s t r e a m i nterests.
A n a r c h y in the U K (1976) was
a b r o a d s h e e t p u b l i s h e d by
t h e S e x P i s t o l s ’m a n a g e m e n t ,
G l i t t e r b e s t , as a col l a g e
of p h o t o g r a p h s a n d n e w s
c l i p p i n g s a b o u t t h e band.
T r ick (1977) w a s a n o t h e r
b r o a d s h e e t , m o r e a k i n to
S o u n d s or t h e N e w M u s i c a l
Express, a n d i n c l u d e d a r a nge
of a d v e r t i s e r s . D e s i g n e d by
a g r o u p of g r a p h i c d esigners.
T e m p o r a r y H o a r d i n g (1976-81)
w a s t h e m o u t h p i e c e of R o c k
Against Racism with a
c i r c u l a t i o n of 12,000 i n 1979.
the Damned with handwritten upper- and lower-case lettering in a
Minneapolis, Minnesota, and was one of the largest of the anarcho-
hierarchical sequence from the title, the stories promised inside to the
punk fanzines in North America. During this period, it took on
smaller, self-effacing tag lines: ‘This is Too fantastic ... buy it Now’.
numerous formats - eight-page magazine, broadsheet newspaper,
These examples, in spite of their individual handling of the basic graphic
perfect-bound book - depending on editorial positions and budgets.
notation of fanzines, established overall a recognizable punk identity.
Profane Existence now exists only via the Web (although fundraising
events provide a glimmer of hope for the relaunch of the print version),
Post-1979: Anarcho-punk
and continues with international coverage of the anarcho-punk
By the 1980s a vocabulary of punk had been absorbed into fanzine
movement and its related community and lifestyle news, including DIY
production. But a more radical strain of politics was becoming evident.
health care, self-help primers and, of course, politically aware music.
The graphic language that followed promoted a more aggressive and
provocative approach, as, in the 1980s, the second wave of punk
Punk Sites of Resistance
gave rise to more aggressive and visual styles. The most interesting of
Thus, we can speak of fanzines as places of cultural ‘resistance’.
these were centred around the anarcho-punk movement. This was a
They offer fans a ‘free space for developing ideas and practices’,
politically committed strain of the subculture headed by the band-cum-
and a visual space unencumbered by formal design rules and visual
commune Crass. Crass were responsible for a number of publications
expectations.10 Fanzines embraced punk’s do-it-yourself attitude.
and fanzines, including International Anthem: Nihilist Newspaper
As one member of the punk community reflected, ‘our fanzines were
for the Living (1977), which featured text by Penny Rimbaud and the
always clumsy, unprofessional, ungrammatical, where design was
remarkable photo-collages of Gee Vaucher. These were reminiscent
due to inadequacy rather than risk’.11 Yet as the plethora of punk-
of the work of political artists John Heartfield and Hannah Hoch,
inspired fanzines materialized, a unique visual identity emerged,
and the fanzine's format was similar to the previous decade’s counter
with its own set of graphic rules and a do-it yourself approach, neatly
culture broadsheets.
reinforcing punk’s new-found ‘political’ voice. Malcolm McLaren,
Other fanzines similarly made much of anarchist iconography.
manager of the Sex Pistols and self-proclaimed creator of punk, was
Cobalt Hate (1984) utilized the circle A in inventive fashion, and the
quick to point out, “‘Anarchy in the UK” is a statement of self-rule,
crowded, claustrophobic appearance of the cover mimicked the anger
of ultimate independence, of do-it-yourself’.12 As if to punctuate this
of the hardcore anarcho-punk music. Its front cover made explicit the
point graphically, the producer of the punk fanzine Sideburns (1976)
producer’s political leanings with hand-rendered slogans and phrases
famously provided a set of simple instructions and a diagram of how
such as ‘nihilism.propeganda”, ‘Black Flag Anarchists’ and ‘Police
to play three chords - A, E, G - alongside the command ‘Now Form
opression: Police Faschism’. The intentional misspellings and hand-
a Band’. As with its music and fashion, punk advocated that everyone
scrawled writing conveyed a sense of immediacy and irreverence
go out and produce a fanzine. As independent and self-published
towards publishing conventions. This added another level to the
publications, fanzines became vehicles of subcultural communication
punk aesthetic.
and played a fundamental role in the construction of punk identity
Other fanzines would follow in the 1990s in the United States.
Profane Existence (1989-2008), for example, was founded in
and a political community.
50 / 51
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S h i r f i h & l u e !?
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M»©%C A T H f v
While Jamie Reid and others were exploring
the possibilities offered by S ituationism
a n d t h e g r a p h i c l a n g u a g e s of a r t m o v e m e n t s ,
a s e c o n d s o u r c e for a g r a p h i c f a n z i n e style
w a s e m e r g i n g . Sniffin' Glue (1976-77) b y M a r k
P e r r y et al. h a s b e e n c r e d i t e d as t h e f i r s t
B r i t i s h p u n k f a n z i n e . It r a n for 14 i s s u e s
a n d i n c o r p o r a t e d a s p i k y a e s t h e t i c m a d e up of
typ e w r i t e r lettering, handwriting, cartoons
(for e x a m p l e b y S a v a g e Pencil) a n d p h o t o g r a p h s
of g i g s (for e x a m p l e b y J ill F u r m a n o v s k y ) .
I s s u e 1 i d e n t i f i e d i t s e l f as ‘
for p u n k s ’a n d
as a m o u t h p i e c e for t h e i r m u s i c a n d anger:
it h a d a r u n of 50 copies. B y t h e l a s t i s s u e
i n 1977, t h e z i n e h a d a c i r c u l a t i o n of b e t w e e n
10,000 a n d 15,000. A l t h o u g h P e r r y c l a i m e d to
h a v e b e e n i n s p i r e d b y p r e v i o u s ro c k - a n d - r o l l
publications, he succeeded in i n itiating a
DIY style t h a t c a p t u r e d t h e Z e i t g e i s t a n d t h a t
p r o v i d e d a c o u n t e r p o i n t to t h e m a i n s t r e a m
m u s i c press.
----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
S N lF P lh l*G L u £ ...
M o onia* RocKVftott. H ab it5 , FoR
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K IB B B -J6 .
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T R O N I C S — Love Backed By Force
D A N C I N G DUWThe rhythm
s e c tio n s t i c k s to g e th e r
INSTANT AUTOMATONS-Rites
o f passage
llo.\x Sof
T w o of t h e m o r e v i s u a l l y i n t e r e s t i n g
s u c c e s s o r s to S n i f f i n ’Glue w e r e C h a i n s a w
(1977-85) a n d P a n a c h e (1976-92). T h e
former, c r e a t e d b y C h a r l i e C h a i n s a w ,
r a n i r r e g u l a r l y for 14 issues, w i t h later
e x amples e x p e r i m e n t i n g w i t h an innovative
u s e of c o l o u r covers. It a l s o f e a t u r e d ugly
but vivacious i llustrations and cartoons
b y M i c h a e l J. W e l l e r a n d W i l l i e D. A l s o
c h a r a c t e r i s t i c w a s t h e m i s s i n g lett e r
’
n' f r o m its t y p e w r i t t e n text, w h i c h w a s
f i l l e d in b y hand.
Following pages Panache was created by Mick
M e r c e r as a 12-page, s t a p l e d a n d p h o t o c o p i e d
p u b l i c a t i o n t h a t f l a u n t e d its t y p o g r a p h i c
mistakes, o vercrowded pages and grainy
p h o t o g r a p h i c i mages. Its e n t e r t a i n i n g l y
c l a u s t r o p h o b i c sty l e r e f l e c t e d a f a n ’
s desire
to p a c k in as m u c h i n f o r m a t i o n as possible.
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SIQUXSIE
R IP P E D & T O R N
no. 18
R i p p e d & Torn (1976-79) b y T o n y D r a y t o n c o v e r e d
t h e p u n k s c e n e i n b o t h G l a s g o w a n d London.
O f t e n e x c l u d e d f r o m p u n k h i s t o r i e s , t h i s zine
w a s at t h e t i m e r e c o g n i z e d b y o t h e r p r o d u c e r s
as a fr o n t - r u n n e r , p a r t l y for its a t t e m p t
to o f fer a b r o a d e r u n d e r s t a n d i n g of punk's
p o l i t i c a l agenda . P r o b i n g i n t e r v i e w s w e r e
its s t o c k in trade. T h e tit l e a p p e a r e d w i t h
n u m e r o u s v a r i a t i o n s ( h andwritten, gothict y p e le t t e r i n g , etc.), w h i l e cov e r s i n v a r i a b l y
f e a t u r e d a p h o t o g r a p h of the p u n k icon of
t h e m o m e n t . T h e f i n a l i s s u e c o n s i s t e d of a
c o m p i l a t i o n of r a n t s f r o m o t h e r zinesters,
i n c l u d i n g V. Vale, M a r k P e r r y and Jon Savage.
-
48 Thrills (1977) w a s f i r s t p r o d u c e d on a
d uplic a t o r a n d its author, A d r i a n T h r i l l s ,
p r e s en t e d it e x p l i c i t l y as a n a l t e r n a t i v e
to m a i n s t r e a m m u s i c m a g a z i n e s S o u n d s a n d
N M E (i r o n i c a l l y h e w o u l d l a t e r b e c o m e a
p r o f e s s i o n a l m u s i c j o u r n a l i s t ) . To m a r k t h e
difference, s p o n t a n e i t y w a s key: n e a r t h e e n d
of issu e 1, t h e t y p e w r i t t e n t e x t t u r n s i n t o
h a n d w r i t i n g . B o n d a g e (1976) w a s p r o d u c e d by
‘
Shane’
, as in S h a n e M a c G o w a n , l a t e r of t h e
Pogues. J o n h I n g h a m ’
s London’
s B u r n i n g (1976)
was an e a r l y f a n z i n e for C l a s h fans. T h e
o v e r siz e d D a y g l o w (c. 1978) k e p t to t h e p u n k
aesthetic: p r o d u c e r S t e v e M a y a s k s ‘
W h o the
hell w a n t s to b e p r o f e s s i o n a l ? ’
IS>bOS
'
|
IN Th is , i s s u e ;
O N L Y
R a p e D
/ \ u T o f-jflT fi c
> •
AD
am
T r if A n t ^
Youft. C.HfiWcG To
u lf o < z y \
f)
Dfivit) iSou/ie AS
f\ L b o »K |
0
^ lN |
L im e t\ ) B C C
Viwcevjt
u ? ts
_
f*(2.ice
.........
v:*.*
-*■
*
60 / 61
promise to "co n q u e r” cancer. Both
were science-fiction ventures. A nd the
federal legislation o f 1971, “ T he Con
quest o f C ancer A ct,” did not envisage
the near-to-hand decisions that could
control the politics and the industrial
economy that pollutes—only the great
destination: (he cure.
T
B was a disease in (he service o f a
rom antic view o f the world. Cancer is
the service o f a sim plistic view
-*rld that can turn paranoid,
is often experienced as a
rmonic possession—tumors
jn ” o r " b e n ig n ,” like
.d m any terrified cancer pa- ^ a r e disposed to seek out faith
healers, to be exorcised. (Perhaps rightgroups are the main organized supfor quack cures like Laetnle
because they also share a paranoid view
the w orld.) F or the more sophisti
cated, cancer signifies the punitive
rebellion o f the biosphere: M other
N ature taking revenge on a wicked tech
nocratic w orld. T h e industrial civili
zation is causing undream ed o f damage:
the springs are silent; and it is regularly
-timated that 70 o r 80 percent, o r beren 80 and *90 percent, o f ail cancers
‘environm entally caused."
the accom panim ent o f this numame (it is difficult to see how any
a abo u t " a ll cancers” c - - id be
m earner
ften from d>
•The trcatm
.” ) There
tering the
Xly considf
tvmiion” ),
Utck.
on in dca
n fact. dr
the langi
c ells-do
e 'S n y a tn
'n.
•d
so docs
, me television set
—cnt clock face. As with
, an innocent or trivial a ct—or
..pcsure— in the present can have dire
consequences far in the future. It i* also
high for
industrial
Dwcvcr mar
te body lane
mor
guc
A n o t h e r m i x of B r i t i s h r e g i o n a l zines. K l e e n e x
(1979) c e l e b r a t e d t h e m u s i c of t h e S w i s s f e m a l e
p o s t - p u n k / n e w w a v e b a n d of t h a t na m e . D a d a
(late 1970s) c o m p a r e d p u n k to D a d a a n d h a d
a n a r t - s c h o o l feel. P u n k t u r e (1977) r e p o r t e d
on t h e M i d l a n d s s c e n e a n d w a s p r i n t e d b y t h e
N o r t h S t a f f s P o l y t e c h n i c S t u d e n t Union. It h a d
a n o b s e s s i o n w i t h t h e c o m m e r c i a l i z a t i o n of t h e
p u n k l o o k a n d its e x p l o i t a t i o n in s u c h s h o p s
as H a r r o d s . A n o t h e r T u n e l e s s R a c k e t (1978),
w h i c h c a m e o u t of Glasg o w , c o m p l a i n s a b o u t
the region being the ‘
u l timate in pr o g r a m m e d
boredom'. C o n f i d e n t i a l (1977) f e a t u r e s an
article with music-press writer Caroline Coon
a n d r e v i e w s t h e D e a d B o y s at W a t ford.
/
Li
T &R°ovyFAYFlff f}
TOMORROW:‘YOU CAN BE A
HR
:.-
mm mrnmrn mu*.wmmmmmm
GENERATION X . . . C L A S H . . . R I C H A R D H E L L . . . R U N A W A Y S . . . T A LKING H E A D S . . . D E A D B O Y S . . . N E W S . ...
CJ2RRY BITHI4ELLS H O T L I C K S . . . C A R O L I N E C O O N . . . R A M O N E S . . . P I S T O L S . . . AMW. . . B E T H N A L
AT1/ ...... . R E V t l W S . . . . F A X . . . .PIX. .. .INFQ.. . S X T R A W H A K Y E D I T I O N . . .3rd W O R L D W A R
62 / 63
SirUATlON V
Situation 3 (1977) a m u s i n g l y asks, ‘
Music
papers: w i l l t h e y e v e r t a k e o v e r f r o m
fanzines?' w i t h r e v i e w s of m a i n s t r e a m m u s i c
papers. S i tuation V a c a n t (c. 1978) i n c l u d e s
articles and i n t e r v i e w s w i t h U l t r av o x and
T h r o b b i n g G r i stle. A l a n A n ger, a j o u r n a l i s t
and v o c a l i s t for t h e g r o u p t h e R o w d i e s ,
p r o d u c e d L ive Wire (1978), w h i c h r a n for 19
issues, a n d a l s o Live Wire or P r e t t y V a c a n t
(c. 1978), w h i c h p l a y f u l l y q u e s t i o n s if t h i s
is ‘
a n e w mag, or is it a n o t h e r a t t e m p t to
d i s g u i s e Live W i r e ’
. M o r e - o n - F o u r (1977), b y
S a r a h S h o s u b i w i t h a c o v e r p h o t o g r a p h by
C r y s t a l Clear, d i f f e r e n t i a t e d i t s e l f b y m e a n s
of its o v e r s i z e d f o r m a t a n d b l a c k o v e r p r i n t e d
on y e l l o w copy-paper.
Situation
W ATCH OUT F O B
E X P L O D IN G
EA STER EGGS
f.
oo
o
IE 'Z
V
o
-Z QJ .4
<*cdi
*
CO U ) |
~ > -r
<£ \ -i 1
I
0
r
7
O CO *
^ ’5 ^ 3
c 'GT r i
00 %
37
&
C
i1-
1 5
,
I
1
■1^ - i . ,
A^.
S ATT>AY NIGHT
OF THE
DEAD
ISIA N P
C h a p t e r 2 | 'It's as E a s y as 1-2-3': T h e G r a p h i c L a n g u a g e of P u n k 1 97 5- 198 3
■
9
TUB
m a g a z in e
D OL P HI N
ATRIKHTZEEBAID
ROUNDHOUSE
Jn the City (1977-80) b y F r a n c i s D r a k e et al.
t o o k a n o f t e n a c e r b i c l o o k at t h e L o n d o n scene.
I s sue 5 r e p o r t s on a c o n t r o v e r s y s p a r k e d
by Patti Smith hol d i n g a ‘
press conference
j u s t for f a n z i n e s ’
, a n d h o w In the City w a s
s n u b b e d a f t e r w r i t i n g a l e t t e r to S m i t h a s k i n g
to c o n d u c t a n i n t e r v i e w w i t h h e r w i t h o u t
a n y i n t e r v e n t i o n f r o m h e r r e c o r d company.
G raphi c a l l y , t h e z i n e w a s n o t a b l e for its
u s e of c o l o u r - p h o t o c o p i e d c o v e r s (not c h e a p
at t h e time) a n d s t a n d a r d i z e d logo. L i k e m a n y
o t h e r p u n k z i n e s , In the City w a s d i s t r i b u t e d
at t h e i n d e p e n d e n t r e c o r d sto r e R o u g h T r a d e
in w e s t L ondon.
66 / 67
P 3 S t t nr
C T io n
Special
Kamika;
Issue
ra*B» ♦ rJSZ
■::.zv.vsz
-j at
c*
tfoY /r. You
SMOOLD
77* INS lb E .
Concrete bondage...
No3 flug/Sept 25p
CaQt (flrk for M K!
Cherry Vanilla
alw ays bru shes w ith
ELVIS
ELIO
T a k i n g a m o r e p r o f e s s i o n a l a p p roach,
J o n a t h a n R omney, p r o d u c e r of N e g a t i v e
R e a c t i o n (1977), h a d t h e z i n e p r i n t e d by
Labute Printers in Cambridge and distributed
b y P h o e n i x M a g a z i n e s ; t h e l a y o u t is i n a m o r e
c o n v e n t i o n a l t h r e e - c o l u m n grid. Positive
R e a c t i o n (1979), f r o m N o r t h e r n Ireland,
mentions the possibility that the zine will
be sold i n Toronto. K i d s S t u f f (1977-c. 1978)
a c k n o w l e d g e s t h a t 'David B o w i e is N o w m u s i c ’
.
S u s p e c t D e v i c e (1979) asks, ‘
Where’
s Captain
K i r k ? ’Slash (1977-80) w a s a l a r g e - f o r m a t
t a b l o i d f r o m t h e L o s A n g e l e s p u n k scene, w h i c h
g a v e r i s e to p u n k l a b e l S l a s h R e c ords; t h i s
issue features the D a m n e d and the Screamers.
VOLUME ONE
*
NUMBER ONE
'
MAYDAY
ISSUE
5/ 77
FIFTY CENTS
KINGDOM
COME
IMO.7
FEBRUARY
IS78
2 0
KINGDOM COME
f
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SO. 11
KINGDOM COME
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W IL L S E E yO U THR U T l J l J C
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OF No r m a l F^N-XiNES.
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20|
JAN 79
K i n g d o m C o m e (1977-c. 1979) w a s b y J o h n n y
W a l l e r f r o m Fife, Sc o t l a n d , a n o t h e r z i n e s t e r
who bec a m e a professional journalist. Despite
r e c e i v i n g c r i t i c i s m f r o m o t h e r z i n e s for
having ‘
no v i s u a l a p p e a l ’
, it w a s n o t w i t h o u t
d e s i g n in t e r e s t . For e x a m p l e , t h e f r o n t
c o v e r is i n p o r t r a i t f o r m a t b u t t h e i n t e r i o r
p a g e s are l a n d s c a p e . T h e S c o t t i s h s c e n e is
w e l l r e p r e s e n t e d (with l a r g e r b a n d s l i k e t h e
S k i d s a n d u n k n o w n s l i k e t h e B e l s e n Horrors)
b u t t h e r e is a l s o r o o m for r e g u l a r p u n k fare.
I s s u e 12 w a s n o t a b l e for l e t t e r s f r o m C h a r l i e
C h a i n s a w (C h a i n s a w ) a n d M i c k M e r c e r (P a n a c h e )
e x t o l l i n g t h e v i r t u e s of z i n e s as sites for
experimentation.
C h a p t e r 2 | 'It's as E a s y as 1 -2-3': T h e G r a p h i c L a n g u a g e of P u n k 1 9 7 5 - 1 9 8 3
KING D O U T C O M E
A R C H ’ 70
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cry in the wilderness ' tfw k
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C h a p t e r 2 | 'It's as E a s y as 1-2-3': T h e G r a p h i c L a n g u a g e of P u n k 197 5 - 1 9 8 3
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THE CULT
NEW MODEL ARMY
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f?v.
1
REDSKINS
apni'f5
By the 1980s a n t i - T h a t c h e r p o l i t i c s w e r e
c omi n g to t h e for e in t h e U n i t e d K i n g d o m ,
often in t h e f o r m of c o v e r a g e of t h e a n a r c h o p u n k scene. C o b a l t H a t e (1984) is a n e x a m p l e :
a chaotically laid-out a n a r c h o - p u n k fanzine
made up of collage, n e w s p a p e r h e a d l i n e s ,
slogans a n d h a n d w r i t t e n a n d s t e n c i l l e d type.
Its m e s s a g e b e y o n d t h e m u s i c w a s ‘
destroy
power, n o t people'. M u c i l a g e (c. 1984, f r o n t
and b a c k covers) w a s p r o d u c e d on t h e z i n e ’
s
o wn M u c i l a g e Press, w h e r e o t h e r f a n z i n e s w e r e
also p r i n t e d cheaply. Its i n t e r v i e w w i t h C r a s s
b e c a m e a c l a s s i c of its k i n d (and w a s l a t e r
r eproduc e d on t h e b a n d ’
s o w n website). B lam!
(1981) u s e d t y p o g r a p h y i n a n u n u s u a l l y u p - f r o n t
way on its covers: b a n d s f e a t u r e d i n i s s u e 1
include Y o u n g M a r b l e G i a n t s a n d Wah! Heat. 4th
Wall T he a t r e o f H a t e (1981) c a m e i n t o b e i n g to
p romote a n d e n c o u r a g e a n t i - n u c l e a r a c t i v i t y
t h r o u g h music, l i n k i n g m u s i c i a n s , a n t i - n u c l e a r
activist s a n d a u d i e n c e . T h e f i r s t n a t i o n a l
event w a s w i t h t h e T h o m p s o n T w i n s , a n d t h e r e
w ere a ls o t o u r s o r g a n i z e d to c o i n c i d e w i t h C N D
d e m o n s t r a t i o n s i n Lond o n .
DR.WHO
new
KICK
400 ,Sl o w s
BEAUTY WITHOUT CRUELTY
QQ
Z J s L c lk
« ■
***
oV
<?
72 / 73
9«ye*: ■"
" W iP *
srsctAL
Underground tourism
"A school dinner of just
soup and bread should be
sufficient." he said
“When I was in the Ar
my I got by on bully beef
and biscuits."
5 €■ &
m
Lets
restore
the
A n a r c h i s m i n f o r m e d t h e d e v e l o p m e n t of a g r a p h i c
l a n g u a g e of ‘
s h o c k ’t h a t w a s b o t h p r o v o c a t i v e and
politi c a l . I n x Blotc h (c. 1981, f r o n t a n d b a c k cover)
r e p o r t e d on s k i r m i s h e s b e t w e e n s k i n h e a d s a n d A s i a n s
i n S o u t h a l l , w e s t L ondon. T h e c a r t o o n - s t r i p c o v e r
of T r a n s f o r m a t i o n (1980; f r o n t a n d b a c k c o v e r shown)
f o c u s e d on t h e t r o u b l e s i n El Salvador. S t o d g e (n.d.)
j u x t a p o s e d Hitler, t h e P o p e a n d n e w s i m a g e s w i t h
p h o t o g r a p h s of p o l i c e bru t a l i t y . N N 4 9PZ (c. 1979-80)
t o o k i n l o c a l r a d i c a l b a n d s b u t left its b a c k c o v e r
for a c l a s s i c p i e c e of agit-prop. C o m m u n i q u e 2 (1980)
promised ‘
l a r g e d o s e s of a n a r c h i s t p r o p a g a n d a ’
.
■w, *
0
>
C o m m u n / c ju k 2 .
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: ■
. '
I
- **
■<
> :.-* *
• \ 7 % f c ' . ...
*
fj |A|/
eta/ ckl?\f(or\ Is i t a ÂSuie/*oooc 1 ^ ^ ^
C h a p t e r 2 | 'It's as E a s y as 1-2-3' : T h e G r a p h i c L a n g u a g e of P u n k 197 5 - 1 9 8 3
VAGUE
14
AR E Y O U P O S I T I V E , P U N K ?
THINGS ARE HAPPENING BUT YOU DONT KNOW WHAT
T H E Y A R E DO Y O U ? A L L T H A T
SORTA STUFF, THAT WE INVENTED YEARS
AGO , E N D I N G I N A S U D D E N I N D E P T H C U L M M ' l i
F E A T U R E T H A T G O E S T O T A L L Y O U T OF
£tUjhl4
Tom V a g u e ’
s n a m e has become closely associated
with London hi s t o r y and psychogeography.
H is l o n g - r u n n i n g p u b l i c a t i o n Vague (1979 — )
is a f o r u m for d i s c u s s i o n s of S i t u a t i o n i s m ,
anarcho-punk and ‘
t h e d e c a y of t h e s p e c t a c l e ’
.
D e s i g n h a s a l w a y s p l a y e d a k e y role i n t h i s
f a n z i n e (for e x a m p l e , t h e ‘
B r a n s o n ’c y b e r p u n k
c o ver b y J a m i e R e i d a n d Joe Ewart): e v e n in
its e a r l i e s t d a y s t h e c h a o t i c l a y o u t s w e r e
o v e r p r i n t e d w i t h f l u o r e s c e n t colours. In the
1980s t h i s w a s t h e f i r s t f a n z i n e of its k i n d
to be p e r f e c t - b o u n d .
76 / 77
>Wf
e
TTTTTc
i s s r s
rn T T T T T rr
o n
F IR E W O R K E D IT IO N
zcp
MAY / 10 N K 1979
I979AU.I3BPR0PASAHMIS3-?a0NatAY/jmiEX379AIJJ^PKa0PA6AHDAIS3ga-0M 3tA lt/;W ai379A I.I.I3Pra0PÂ :m
A N G E L IC
UPSTARTS
PAtTLIMS: “People think that they oan *a
ill over us, b u t fron on» on we're not
;onna take any shit fro« anyone at all.
Je've »ot everywhere we've sot on our
own stea*. rfe’
va built uo our own
following, we h a ven’t pandered and
we haver.’t jot there through a *edii
hyae. Jfe’
ve worked for what we've sot."
1<xsb, TOommms * caAS3 van review 1
eAC>A*+Th e
Ia n t z l P bevi
A m i x t u r e of t y p o g r a p h i c
j u x t a p o s i t i o n s gi v e s A l l i e d
P r o p a g a n d a (1979-mid-1980s)
its o w n u n i q u e style, w h i l e t h e
int e r i o r s u b v e r t s t h e c o n v e n t i o n s
of r e a d i n g b y p l a c i n g t h e
edi t o r i a l i n t h e m i d d l e of t h e
fanzine. C r o s s N o w (c. 1980s),
w i t h its f r e e f l e x i - d i s c , r e l i e s
on a m o r e g r a p h i c u s e of r e d a n d
y e l l o w c r o sses. In t h i s i s s u e it
i n t e r v i e w s l e g e n d a r y B r i t i s h DJ
John Peel. T h e l ogo for G r i n d i n g
Halt (1979-c. 1980) p l a y s w i t h
a j u x t a p o s i t i o n of u p p e r - a n d
lower-c a s e l e t t e r f o r m s a n d t h e
cover c l e a r l y t a k e s d e l i g h t in
the d i f f e r e n t t y p e s t y l e s u s e d
for v a r i o u s b a n d n a m e s . In a
si m i l a r vein, S a f e t y in N u m b e r s
(c. 1978-80s) r e n d e r s a s t y l i z e d
title u s i n g a D I Y r a n s o m - n o t e
approach. T h e c o v e r s h o w s a m o d
h o l d i n g w h a t a p p e a r s to b e a C r a s s
banner. M e n t a l C h i l d r e n (1980)
m a k e s t h e c a s e t h a t w o m e n a r e no
longer o r n a m e n t s a n d c o n t r i b u t e d
actively to t h e p u n k m u s i c scene.
This c o v e r i m a g e is a c o l o u r
pho t o c o p y d e p i c t i n g t h r e e m e m b e r s
of the Slits, h a l f - d r e s s e d ,
bathing in an idyllic forest
clearing, f r o m t h e s l e e v e of
their f i r s t albu m .
M
f N
T A L f
CHILDREN
A tN C O A T
sse H
llf ii
78 / 79
PIL
Damned
Angelic
ups
Bette
Bright
Local
m usic!
IRA
Teenaae
-ttVJMtt'V W V
surctde-
CHEAP
t SASTY
P o s t - p u n k z i n e s s t a r t e d to e x p e r i m e n t w i t h
s t y l e a n d c o n t e n t . G u t t e r s n i p e (c. 1978c. 1979, f r o n t a n d b a c k cover) w a s p r i n t e d
at t h e P r i n t s h o p at T e l f o r d C o m m u n i t y A r t s
(S h r o p s h i r e , UK), p r o v i d i n g a d i f f e r e n t k i n d
of v i s u a l a e s t h e t i c f r o m its p h o t o c o p i e d
c o u n t e r p a r t s . T h e u s e of r e d a n d b l a c k m a k e s
for a n i n t e r e s t i n g v a r i a t i o n on t h e rans o m riote trope. R a p i d E y e M o v e m e n t (1979-c. 1990s,
f r o n t a n d b a c k cover) w a s a n i n d u s t r i a l cu lture p o s t - p un k fanzine, w h i c h in later
i n c a r n a t i o n s b e c a m e a s e r i e s of c o l l e c t e d
vo l u m e s . T h e c o v e r is s t a r k a n d s e l f
c o ns c iously a r t y (taken f ro m a screen-print
image), t h o u g h t h e c o n t e n t s i n c l u d e s o m e
s t a n d a r d m u s i c fare, i n c l u d i n g C h e l s e a a n d
‘
token m o d s ’
.
C h a p t e r 2 | 'It's as E a s y as 1-2-3' : T h e G r a p h i c L a n g u a g e of P u n k 197 5 - 1 9 8 3
RAPID EYE
MOVEMENT
Wirxfer ‘7 ^* Issue 1
*
3 4
-pa^ts «
Sc-r\tt'i
MfSRK PfcWVY* PkTK\K FlTtCCKfttD *
N ic x y * T he D o ts * T okjy Parsons+ T o u t
T o K fe w
m
o d i
&
l o m
>s
n o K e i!
P o m t
30
,
80 / 81
alerta punk
punk alerta
alerta punk
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punk
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punk al
p
ilFFia. punk alerta punk
a l e ^ a punk alerta punk
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unk alerta
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_____
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a p u n k ^ T l e r t a punk alerta punk
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^ punk alerta
l erta p u n k •
n rr
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alert
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alerta
punk ale
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punk aler
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punk alerta punk a
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n n y iV
p1 o r> -f.n
alerta
;ta p u n k
alerta
punk
alerta p u n
u n k alerta
erta punk A A
alerta p u n
erta punk aler
a p u n k alerta punk
£rta pu nk alerta p u n k
C h a p t e r 2 | 'It's as E a s y as 1 - 2 - 3 ’: T h e G r a p h i c L a n g u a g e of P u n k 1975-1983
T
fanzinePUNKnn
A s p r e a d of B r a z i l i a n p u n k z i n e s . U n d e r an
o p p r e s s i v e r e g i m e t h e e m e r g e n c e of p u n k
i n B r a z i l w a s sp oradic, f u e l l e d b y r eports
f r o m t h e 1977 B r i t i s h p u n k s c e n e in Pop
m a g a z i n e . T h i n g s t o o k off in t h e 1980s aft e r
the festival ‘
0 C o m e g o do F i m do M u n d o ’ ("The
b e g i n n i n g of t h e e n d of t h e w o r l d ’
) h e l d in
Sao P a u l o i n 1982. T h i s w a s a t t e n d e d b y m ore
t h a n 3,000 p u n k s a n d 20 b a n d s a n d s p a r k e d a
p l e t h o r a of f a n z i n e s . H o m e - g r o w n b a n d s and
t h e i r a f f i l i a t e d z i n e s i n c l u d e d Ale r t a P u n k
(1983), w i t h a c o v e r b o r r o w e d f r o m a G a r y Panter
i l l u s t r a t i o n , E s p e c t r o do C aos (1980s), SP P u n k
(1982) a n d A t e n t a d o (1983).
C h a p t e r 2 | 'It's as E a s y as 1-2-3': T h e G r a p h i c L a n g u a g e of P u n k 1 9 7 5 - 1 9 8 3
TODAY'S
The a f t e r m a t h of p u n k g a v e r i s e to a les s angryaesthetic, b u t a s i m i l a r g r a p h i c l a n g u a g e w a s
often r e t a i n e d . A d v e n t u r e s in R e a l i t y (1980c. 1981) r a n for t e n i s s u e s a n d w a s p r o d u c e d by
A l a n Rider. T h i s i s s u e i n c l u d e d a f l e x i - d i s c
by the b a n d A t t r i t i o n . It T i c k e d a n d E x p l o d e d
(1979-c. 1980) c a m e out of Paisley, S c o t l a n d ,
and h i g h l i g h t e d l o c a l b a n d s , s u c h as t h e Zips.
This i s s u e i n c l u d e s l e t t e r s b y T o n y D r a y t o n
(Ripped & Torn) a n d J o h n n y W a l l e r (K i n g d o m
Come). B l a c k & White (1979-80), p r o d u c e d in
Dublin, w a s u n u s u a l for l e t t i n g t h e b a n d s
write t h e c o p y w h i l e t h e e d i t o r s d e s i g n e d
the layout. The P o s e r (c. 1980s) w a s a p o s t
p u n k ph o t o z i n e , w i t h t h i s i s s u e f e a t u r i n g t h e
Mo-Dettes, t h e R u t s a n d I g g y Pop. U n u s u a l l y , it
offered p h o t o s for sale, p r i n t i n g t h u m b n a i l s
to cho o s e from, p l u s a d v i c e for a s p i r i n g gig
photogr a p h e r s . Ou t o f P r i n t (1979) f r o m E a s t
Sussex, E n g l a n d , f e a t u r e s t h e S w e l l M a p s
and S i o u x s i e a n d t h e B a n s h e e s . T h e e d i t o r i a l
draws a t t e n t i o n to t h e d i f f e r e n t p h o t o c o p y
paper t h a t is u s e d t h r o u g h o u t , a n d m a k e s
succinct c o m m e n t on t h e c o m p e t i t i o n : ‘
I hate
Sounds: N M E is shit: M e l o d y M a k e r ? A a a r g h !
Wipe y o u r b o t t o m . ’L e a m i n g t o n ’
s Love Letter
(1981) c o n t a i n e d p o e t r y a n d c a r t o o n s w i t h
a polit i c a l b e n t as w e l l as a r t i c l e s on t h e
local a n t i - n u c l e a r m o v e m e n t . T h i s i s s u e
promise s ‘
a n i n t e r v i e w w i t h R o n a l d R e g a n [sic]’
and ‘
more l i e s ’
. N o M o r e M a s t e r p i e c e s (1979)
from L i v e r p o o l w a s p r o d u c e d b y f u t u r e r o c k
j o u r n a l i s t P a u l M a t h u r (who w o u l d d i s c o v e r
Oasis) a n d f e a t u r e d a v a r i e t y of p u n k a n d
post-pu n k a r t i s t s . T h i s i s s u e c a l l s for t h e
f or m a t i o n of a f a n z i n e co-op. T o d a y ’
s Length
(c. 1980s) w a s a z i n e of a d i f f e r e n t kind, w i t h
visual e s s a y s p r e s e n t e d i n l o o s e - l e a f form,
punctuated by ironic takes on cosmetic and
tobacco a d v e r t i s i n g . Its p r o d u c e r s i n c l u d e d
Malcolm Ga rrett and Joe Ewart, wh o w o u l d later
become l u m i n a r i e s of t h e g r a p h i c - d e s i g n world.
1
84 / 85
\
-/ \ ) (
r ^ rR T r c fffr
ITrrRTTRTF
Th e line b e t w e e n DIY zines a nd p r o fe s s io n a l
p u b l i c a t i o n s w a s o f t e n slim. S o m e z i n e s
b e c a m e m a i n s t r e a m o v e r time, s u c h as J a m m i n g !
(1979-86). F l i p s i d e (1977-2000) f r o m L o s A n g e l e s
s h i f t e d f r o m a fafizine a p p r o a c h to m o r e
g l o s s y c o v e r s t o w a r d s t h e e n d of p u b l i c a t i o n .
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G r e g S h a w ( p r e v i o u s l y of M o j o N a v i g a t o r ) .
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as a U K r o c k m a g a z i n e a n d w a s l a t e r r e v a m p e d
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S U R E z i n e (c. 1997-n.d.) w a s
a music- and p e r zine from
Melbourne, whose producer
remarks that ‘
my spleen
h a s n e v e r b e e n e x p o s e d so
thoroughly’
. B e n Is D e a d
(1988-99) w a s a L o s A n g e l e s based zine by Deborah ‘
Darby’
Romeo, w h o s e c o n f e s s i o n a l
t o n e of w r i t i n g a n d pop
culture commentary made
it one of t h e n o t a b l e
p u b l i c a t i o n s of t h e 1990s.
B u n n y h o p (1995-c. 2000s)
is p e r h a p s b e s t k n o w n for
receiving a ‘
cease and d e s i s t ’
notice from Matt Groening
for c o p y r i g h t i n f r i n g e m e n t
of h i s c h a r a c t e r Binky.
Born To
Be Wild
With the rise to power of Margaret Thatcher and Ronald Reagan in
Consuming Dance Culture
the late 1970s and 1980s, a new era of ‘free market’ economics was
The rave scene gave rise to newly valorized occupations such as
born. On one hand, this encouraged small businesses to develop,
‘DJs, club organizers, clothes designers, music and style journalists’,
which some saw as a co-opting of the individualistic DIY urge that had
according to sociologist Sarah Thornton.4 These positions carried
occurred during punk. On the other hand, the ‘greed is good’ culture
with them ‘subcultural capital’, which, according to Thornton, ‘can be
that took over the financial districts in both the United Kingdom and
objectified or embodied’ within the objects that surround the scene but
the United States provided the zine producers with a target.
also took the form of ‘being “ in the. know’” .5 Fanzines played a role in
The rhetoric of the marketplace was one that ‘equated the
the circulation of that knowledge: as carriers of current slang and the
freedom to spend money with broader political and cultural freedoms’,
latest fashion trends, and critiques of club and dance music. Take for
in the words of cultural historian Frank M ort.1 Along with this new
example, Gear (c. 1991), produced by Camilla Deakin (later a journalist
financial liberation came the concept of selling a lifestyle. As the
for The Face), which provided insightful commentary on London’s club
journalist Andrew Marr reflects, the 1980s resulted in the thinking
culture scene, highlighting bands’ intentional and media-conscious
that ‘we are what we buy'2 - in other words it was a time when
use of ‘high profile, coke snorting’ bribery campaigns involving clubs
people consumed not only products but also the aspirations that the
and PR companies, and health warnings against ‘the chosen drug of
advertising campaigns sought to convey. It was all about ‘conspicuous
our culture’, Ecstasy. Gear often took advantage of its position ‘below
consumption’, taste and fashion, ‘the cultivation of the self’.3
critical radar’ to flout libel and copyright laws. At the same time, the
Consumption became cultural practice, and fanzine producers
‘epitome of cool’ was represented in articles on, for example, the duo
both capitalized on this and critiqued it mercilessly.
Diana Brown and Barry K. Sharpe, who was also founder of Duffer of
Meanwhile, co-option by the mainstream was continuing. In the
St George, the clothing label that informed ‘the look for the 90s soul-
United Kingdom, lifestyle magazines emerged, providing a different
boy’.5 The distinctiveness of Gear's graphics, created by Fred Deakin,
take on youth culture, including The Face (1 9 8 0 -2 0 0 4 ), the ‘80s
also captured a particular club-culture visual style now affiliated with
fashion bible’ founded by Nick Logan; and the one-time zine and self
club flyers and music festival posters; a desktop-publishing version
consciously titled ‘style bible’, i-D magazine (1 9 8 0 -), founded by Terry
of 1960s retro, hippie, counter-cultural and psychedelic typography
Jones. These publications bridged the gap between post-punk and
using in its layout overprinted block areas of acid colours.
a new kind of youth subculture - rave. Their graphic form reflected
Another example was Boy’s Own (1 9 8 7 -9 2 ), the first acid house
the fanzine aesthetic - the streetwise attitude of DIY photography,
fanzine, which covered also ‘football, funk and left-wing politics’.
illustration, typewritten texts and so on. Just as the music press in
The zine’s producers, Terry Farley, Andy Weatherall, Cymon Eccles
the 1970s had co-opted a S niffin’ Glue-style aesthetic, so now these
and Steve Maize, emerged out of the decade’s DJing and house music
new style magazines tapped into the more sophisticated look of the
scene. Farley also had an interest in the Liverpool-based football
consumer-era zines. Similarly in the United States, Details (1 9 8 2 -)
fanzine The End edited by Peter Hooton (band member of The Farm),
founded by Annie Flanders (and later sold to Conde Nast), was
which ‘blurred the lines between football, pop, booze, drugs,
ostensibly a New York fashion and club magazine, but also riffed
left-wing politics and fashion’.7 Hooton’s approach influenced Boy’s
on themes and aesthetics borrowed from the zine scene.
Own’s editorial direction, while at the same time, designer Dave
T h e r i s e of t h e n o r t h e r n
England indie/dance music
scene initiated a plethora
of r e l a t e d zines. H a l c y o n
D a z e (1989) w a s a z i n e
for H a p p y M o n d a y s f a n s
‘
g u a r a n t e e d to t hrill,
titillate and bu r n rather
w e l l w h e n w i n t e r arrives'.
T he F a r m (1990s) p r o m o t e d a
more professional magazine
a p p r oach; c o n t r i b u t o r s
inc l u d e d , i n t h i s f i r s t
issue, m e m b e r s of t h e band.
D e b r i s (1983-89) w a s p r o d u c e d
b y H a c i e n d a n i g h t c l u b DJ
and j ournalist Dave Haslam,
who captured the emerging
M a n c h e s t e r m u s i c scene.
The
FARM
Fac O ff
Little’s distinctive logo and series of covers quickly established a
would eventually contribute to the introduction of the United Kingdom
brand identity.
Criminal Justice and Public Order Act in 1994.
Meanwhile, outside the capital, The Herb Garden (1990s, Leeds)
Spiral Tribe was a collective responsible for hosting free parties
Ace of Clubs (1 9 9 0 -n .d ., Manchester) and Ribena (1990s, Essex)
and outdoor festivals, known as raves. These dance and acid house
covered rave and dance culture. Ace of Clubs producer Gareth Jones,
events (an extension of the Ibiza club scene of the m id-1980s) took over
who used club nights to promote the fanzine, reflects that his zine
disused warehouse spaces or farm er’s fields for impromptu gigs - the
‘was a northern version of London’s Boy's Own mag’.8 Eventually the
details of which were often released just before the event to avoid police
popularity of the club nights meant that Jones had to discontinue
detection. As one DJ wrote: ‘Instead of money and power, rave called
the fanzine and focus on his business. In Leeds, The Herb Garden
for empathy, intimacy, spirituality and the joy of losing yourself in the
editor, David Gill, remarked, ‘... if you bother to look hard enough,
crowd.’11 Just about every zine of the period references Spiral Tribe’s
you will find some roots of popular culture [here]... the north is no
work, and the collective itself gave rise to several publications that
different to anywhere else.’ Essentially a ‘satirical tipsheet’, The Herb
were zine-like.
Garden mirrored the lifestyle of its readership, ‘with tasteless send-
It is true that in general zines specific to rave culture were less
ups of overpaid DJs, overpriced clubs, overrated artists and the kind
prevalent than during punk/post-punk. The music critic Simon
of PR-based dross found in most style magazines'. Its first issue was
Reynolds observed: ‘Apart from Boy’s Own, there was next to no fanzine
a parody of a special-issue format of /-D.9 By the m id-1990s, The
documentation of the scene as it happened. People were too busy
Herb Garden, was printing in excess of 2 ,0 0 0 copies and transformed
having fun. But it was a creative period for short-term artefacts like
itself into a monthly magazine while maintaining its acerbic editorial
T-shirts, flyers, and club design.’12 There were other exceptions,
position. In a 1995 interview, Gill assured his readership that moving
as we have seen, but this remains one of the sparser periods in
into the mainstream would not deter his original editorial approach,
zine history.
commenting, ‘We have this Apple Mac program called "Fanzine Check”.
When you finish an article you put it through and it adds 3 0 spelling
Am erica and Anti-C apitalism
mistakes and 20 swear words.’10
The 1980s and 1990s witnessed a boom in DIY fanzine production
The north of England was also notable for zines picking up on the
centring on critiques of capitalism, and although there were British
way in which rave/acid house was merging with indie rock. Many were
examples, this phenomenon was primarily the product of the ‘home of
affiliated with the Manchester’s Hacienda Club, including the Happy
consumerism’, the United States. As zinesters positioned themselves on
Mondays zine Halcyon Daze (1989), which became a focus for the
the margins of the dominant culture they were able to freely editorialize
‘Madchester’ scene.
against what they saw as its vices. Thus the critiques of capitalism
Another regional publication was The Faced (1990s), which
tended to take on a very personal aspect, mixing the tradition of
came out of Exeter and documented the thriving rave scene as it was
autobiographical perzines with something more political. As Stephen
taking place. Its newsletter-like approach took special interest in the
Duncombe remarks, ‘the personalization of politics is one way in which
moral panic around the emerging scene, and the way in which ravers
zinesters confront the distance between themselves and a mainstream
were increasingly depicted in the media as ‘folk devils’. This backlash
political world in which they effectively have no say.’13
C h a p t e r 3 | L i b e r a t e d S p aces: S u b c u l t u r e s , P r o t e s t and C o n s u m e r C u l t u r e 1 9 8 0 s - 1 9 9 0 s
F A C E D
T H E
FREE
ISSUE 4
JULY <?2
The free party scene this
year has bccomc rcm inisccnt
of those fine old days o f the
mad, mental pay parties of
the late eighties. An
indication of the way things
were going cmae with one
of last years final summer
parties in September at an
old B&Q superstore on the
outskirts of Stroud. Around
8.000 people congregated for
that one. Blocking off much
of the centre of Stroud
itself with car stereos
pounding, and bobble hats
hobbling.
This year started earlier
than ever, with a number of
small parties kicking o ff in
late February, and early
March. But the real
beginning and portent of
the future came at Lechlade
where a crowd of between
10.000 and 15,000 took over
the common for the
weekend, and three or four
different soundsytcms
supplied the entertainment.
Just a couple of weeks later
rumours of a big party
began circulating, as the
media geared up for its presolstice hippie watch. The
anniversary o f last years
legendary Chipping Sodbury
party was due on the lateMay Bank Holiday. However
the land on which that had
taken place was injuncted,
and things took on a rather
farcical look as the police in
several counties desperately
tried to move travellers out
o f their jurisdiction and
into their neighbouring
forces. When Castlcmorton
became a potential venue,
the fate of the Common was
sealed by a well timed news
report which pinpointed its
exact location for party
people nationwide. The
initial small group of
travellers who had taken the
land, was joined by other
small groups, then by the
soundsystems, and inevitably
by the 'ravers'. The police
tried to portray the way the
party evolved as a carefully
orchcstartcd plan laid out by
some massive drug dealing
organisation, falling prey to
the kind of cospiracy theory
that is normally developed
by our side. In fact it was
purely coincidental that just
about every free party
soundsystcm in the country
chose to put in an
appcarancc at Castlcmorton.
But what a coincidence!!
The names am send a thrill
down the spine of any selfrespecting free party person.
CIRCUS WARE D.I.Y,
SPIRAL TRIBE, BEDLAM,
CIRCUS IRRITANT,
CIRCUS NORMAL,
TECHNO TRAVELLERS.
RUFF KREW. Its enough to
reduce even the most
hardened 'rave cabbage'
wearer to tears of joy. Over
that weekend upwards of
20,000 to 25,000 people
experienced the delights of
what has to be the biggest
and best free party so far.
Strangely, it was not the
shear size of the event
which sparked the massive
media coverage, but rather
the proximity o f the local
residents to the site. It was
not the best place to hold
such a gathering, however
arguably more suitable sites
had had to be abandoned in
the run up to the festival as
the police passed the buck.
As a result o f the locals
being so close to the site,
and because they had been
bombarded by media
stereotypes and police lies, a
massive level of paranoia
developed amongst them,
until they seemed to picture
themselves as the white
suited , petrol hoarding good
guys in Mad Max 2, and
the partygoers became the
m asses o f leather-clad
barbarians hungry for their
blood, children, livestock and
toilets, not necessarily in
that order, furthermore the
availabilty o f drugs which
the police usually tend to
ignore or cover up, perhaps
in fear o f revealing how
they have failed to inflict
the 'rule o f law’upon us,
was on show for all to see.
In the end however it was
not the drugs or the noise
that became the central
issue. It was literally the
shit that hit the fan. The
product of some 20,000
bowels. Indeed this was a
complaint that had some
N e x t Issue: Roger C o o k , Peoples H e r o .a r J a t bag o f pus?
A c e o f Clubs (1990-n.d.) w a s a
‘
c l u b m a g ’t h a t f e a t u r e d e m e r g i n g
D J s t a r s s u c h as P ete T o n g
and also a ‘
s w a p s h o p ’for t h e
c o l l e c t o r s of clu b flyers. The
F a c e d (1990s) w a s a ‘
f r e e ’acid
h o u s e n e w s l e t t e r out of Exeter,
E n g l a n d w h i c h r e p o r t e d on t h e
thr i v i n g rave scene and the ‘
free
p a r t y s o u n d s y s t e m ’c o l l e c t i v e
S p i r a l Tribe. G e a r (c. 1991) w a s
an early clubzine that combined
popular culture journalism with
b o l d p s y c h e d e l i c graphics.
90 / 91
Giiwa fig
I
m
A JOURNAL FOR H U M A N RESEARCH SUBJECTS
#6
$3
G u i n e a Pig Z e r o (1996-2001),
p r o d u c e d b y R o b e r t P. Helms,
was ‘
a n o c c u p a t i o n a l j o b z i n e for
p e o p l e w h o a r e u s e d as m e d i c a l or
p h a r m a c e u t i c a l r e s e a r c h subjects'
Contributors included Dishwasher
P ete (of D i s h w a s h e r fame) a n d
o t h e r s w h o h a d v o l u n t e e r e d for
drug experiments, and debates
f o c u s e d on t h e e t h i c a l q u e s t i o n s
r e l a t e d to r e s e a r c h u s i n g h u m a n
subjects. Close to You (1990s)
was an ‘
u n o f f i c i a l ’m o u t h p i e c e
for t h e B r i t i s h s o a p B r o o k s i d e .
S c r e a m i n g to B e H e a r d (1988-n.d.)
was a comedy zine featuring
i n t e r v i e w s w i t h t h e l i k e s of
J u l i a n C l a r y a n d Q u e n t i n Crisp.
SCREAMING
F0 BC
JULliK
RQV QJJENTIr, CL&RE
CWSP
m
ôR T
irresistible
LEGENDARY DOLPHINS . . . .
The totally unofficial fanzine of The Disciples of Shad
Issue Eleven
Julv 1999
■rookie humour (whaa»t777?)...* reader defends Llndsey...Anna Wolska In the
tub...the nightmare corporate body... *l h ive 147 Tookslde videos* scandal
revealed...and all for less than the price of a beer In The Swan______
To you pal, £1.50 (Inc P & P)
SCAREHUNTERS . . . TEENAGE TRAUMAS . . . GRAEME PARK
C h a p t e r 3 | L i b e r a t e d Spa c e s : S u b c u l t u r e s , P r o t e s t and C o n s u m e r C u l t u r e 1 9 8 0 s - 1 9 9 0 s
TEMPSLAS/El
for
S im p l ic it y , M e
r it a n d
D i s h w a s h e r (1992-98, 2007)
d o c u m e n t e d t h e m u s i n g s of
D i s h w a s h e r P ete (aka Pete
Jordan) on ‘
one m a n ’
s quest
to w a s h d i s h e s i n all f i f t y
states’
. In t h i s i s s u e he
‘
w a s h e d d i s h e s at s e a ’w h i l e
on a n oil rig off L o u i s i a n a .
Temp Slave (1993- 2000s),
b y J e f f Kelly, w a s a z i n e
a b o u t w o r k i n g as a t e m p o r a r y
e m p l o y e e . A n s w e r Me!
(1991-94) b y J i m G o a d t o o k
a ‘
m i s a n t h r o p i c ’l o o k at the
d a r k e r s ide of fandom, w i t h
r a t i n g s of s e r i a l killers.
E f f ic ie n c y .
Two examples provided a new look at consumerism. Beer
research subject) questioned bio-ethics, investigated medical and
Frame: The Journal o f Inconspicuous Consumption (1 9 9 3 -) by Paul
scientific research facilities, and wrote about the experiences of the
Lukas, critiqued the absurdity of everyday commodities, including
guinea pig ‘field reporters’. The fanzine’s impact was summed up by
such products as toothpick dispensers and EZ Squirt Blastin’ Green
Carl Elliott, a philosopher and bio-ethicist, as: ‘In its small way, Guinea
Ketchup. Lukas asks: ‘W hat is inconspicuous consumption? It’s about
Pig Zero was revolutionary. Before Guinea Pig Zero, nobody had really
deconstructing the details of consumer culture - details that are either
even thought about research subjects as a kind of com munity.’20
so weird or obscure that we’d never see them, or so ubiquitous that
Fanzines, as informative and thought-provoking publications, also
we’ve essentially stopped seeing them .’14 Al Hoff’s Thrift Score (19 94—
served to shape the values of the groups out of which the zines emerged.
c. 2000) was about thrift shopping and finding ways of saving money.
With tips on bargain-hunting, Hoff emphasizes that thrift shopping is
M ainstream ing DIY
about ‘you’ and what you want to buy.15 Any critique of consumerism,
The 1980s and 1990s was an exciting period for zines, and it is
Duncombe reminds us, must also include a critique of 'how culture
im portant to note that alongside these newer varients (rave zines,
and products will be produced and consumed’.16
consumer zines) older genres continued to thrive. For example, it is
Anti-capitalism also incorporated critiques of work culture. Jeff
probably true that there were more indie rock zines being produced
Kelly’s Temp Slave (1 9 9 3 -2 0 0 0 s ) provided ‘a voice for disgruntled
in this period than ever before or since. The same holds true for the
temporary workers’. Kelly’s first issue was prompted by his experience
football and sports zines.
as a temporary worker for an insurance company that reneged on a
But it was the newer genres that piqued the interest of the
promise for full-tim e employment in its mailroom. With access to a
mainstream, and as we have seen, co-option by the mainstream
photocopier and paper, Kelly printed off 25 copies with his editorial rant
culture industry was commonplace. Sometimes this was greeted with
- ‘temp work is a losing proposition’ - and distributed it to colleagues
horror, though on other occasions it was embraced as part of a natural
during his mail round. He explains, T h e first issue is very rough...I was
evolution. As fanzines and their producers became absorbed into
just mad, so making the zine was a blast.’17 Dishwasher (1 9 9 2 -9 8 ,
consumer culture and the mainstream - whether through book deals,
2007), produced by Dishwasher Pete (aka Pete Jordan), was a
or by appearing on television and radio - questions around ‘selling
document of ‘one man’s quest to wash dishes in all fifty states’. Yet,
o ut’ were debated. For example, Floliday in the Sun (1 9 9 8 -9 9 ) was a
more than a perzine or travel zine, Dishwasher also commented on the
Canadian metazine that included interviews with the star zinesters of
life of an itinerant worker ‘accepting lower pay for less responsibility and
the day. Its ironic tag line stated: ‘ INSIDE: a zinester who writes ads for
more anonymity’.18 His travels took him across thirty-three states over
cigarettes, another who is a demographic informer, another who writes
a ten-year period, during which he had eighty-eight different dish jobs
for Fortune and another who writes novels for Rupert Murdoch.’21
and in the end produced fifteen zines.
And finally, Guinea Pig Zero (1 9 9 6 -2 0 0 1 ) was defined by its
This comment on zinesters in the mainstream was undoubtedly
a sign of the times. However, the fanzine world is infinitely malleable,
producer, Robert P. Helms, as ‘an occupational jobzine for people
and even as the perception of zines becoming anaesthetized by the
who are used as medical or pharmaceutical research subjects’.19
mainstream was taking shape, so a DIY reaction was also happening -
The commentary provided by its producer (also involved as a human
the subject of our next chapter.
92 / 93
BEEMRAME
T H E J O U R N A L OF IN C O N S P IC U O U S C O N S U M P T IO N
No. 8
S
o
M
a
D U P LEX P LA N ET
C G B C (1990s) d e f i e d c a t e g o r i z a t i o n , a r g u i n g
for a p u b l i c a t i o n of ‘
h i g h q u a l i t y ’w i t h o u t
b e i n g 'stuck w i t h a f a n - z i n e c l a s s i f i c a t i o n ’
.
C o m e t b u s (1983-) b y A a r o n C o m e t b u s is a
p e r z i n e a b o u t t h e au t h o r ' s t r a v e l s a n d p u n k
locale, a n d is m a d e m o r e d i s t i n c t i v e t h r o u g h
t h e o b s e s s i v e h a n d w r i t t e n text. B e e r F r a m e
(1993-) is b y P a u l L u k a s a n d l o o k s at t h e w o r l d
of c o n s u m e r p r o d u c t s . D a v i d G r e e n b e r g e r ' s
D u p l e x P l a n e t (1979 — ) t a k e s a h u m o r o u s l o o k
at p e o p l e i n n u r s i n g homes.
r ?
C h a p t e r 3 | L i b e r a t e d S paces: S u b c u l t u r e s , P r o t e s t and C o n s u m e r C u l t u r e 1 9 8 0 s - 1 9 9 0 s
n
e
w
s
B o i n g B o i n g (1988-) b y M a r k F r a u e n f e l d e r and
Ca r l a S i n c l a i r is a q u a r t e r l y 'neurozine' t h a t
l o o k s at g a d g e t s a n d p o p u l a r culture. Plotz
N o t e s (1995-2002) w a s a n E a s t V i l l a g e J e w i s h
p op c u l t u r e z i n e l o o k i n g at t h e h u m o r o u s side
of d a i l y life. Crap H o u n d (1994-) is a s e m i n a l
clip a r t z i n e w i t h t h e m e d i s s u e s (e.g. Death,
T e l e p h o n e s , Scissors) b y S e a n Tejara t c h i . Tiki
N e w s (1995-) b y O t t o v o n S t r o h e i m is d e v o t e d to
t h e w o r l d of P o l y n e s i a n - t h e m e d ‘
T i k i ’culture.
94 / 95
Murder*Fun
No. 7
7 *
Murders
Fun
No. II
Be Fun
Murder Can
No. 14
$
—
$ i-
Please Mr. Postman
I
%
HATE
SPORTS
The Great Boston
•Special Issue
Murder^Fun
Molasses Flood
Don't Shoot!
MurderFun
The
$3.00
Murder Can Be Fun9
" Murder1-Fun11
#20-
$2“
M urder- Fun
No. 13
$1^
DEATH
“ MurdersFun ”
&\ 1
to ft L
i 1 >
1988 Datebook
1988
1989
' Murder-Fun “
' Murdertfun "
& ^11
1 t
1*91 DATEBOOK
I DATEBOOK
1 9 8 9 Datebook
A t '1
1992 DATEBOOK
*’ Murder-Fun'"
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ACID
\ TR
1993 DATEBOOK
Murder-Fun
NAUGHTY CHILDREN
M :
Z i n e s t e r s ’g r e a t e s t s o u r c e of i n f o r m a t i o n
a nd v i s u a l s wa s used and out-of-print books
a n d m a g a z i n e s . M u r d e r C a n B e F u n (1986-2007)
w as irr e g u la r l y p r oduced b y J o h n M a r r in San
F r a n c i s c o as a ‘
death-and-disaster journal’
,
with each t h emed issue covering subjects from
post office shoot i n g s and ‘
t h e a r t of m u r d e r ’
to z o o d e a t h s a n d ‘
naughty children’
. The
f i r s t i s s u e w a s 16 u n b o u n d p h o t o c o p i e d pages;
b y i s s u e 17 it h a d g o n e to 48 p a g e s of 600dpi
l a s e r p r i n t i n g . M y s t e r y D a t e (1994-98) b y L y n n
P er i l d r e w i n s p i r a t i o n f r o m t h e 1965 e d i t i o n
of t h e M y s t e r y D a t e b o a r d g a m e a n d f r o m 1950s
economics textbooks and etiquette and dating
a
&
m m
X
Wanna play, Buster?
iS
&
m
1994 DATEBOOK
E
♦ S
m0 o
£ □
6
1WS DATEBOOK
1096 OATEBOOK
a&
m
A t Disneyland
WAITING IN LINE TO DIE: 2007
1997 DATEBOOK
Plus: A Murder Can Be Fun Miscellany
Special 10th Anniversary Edition
manuals. Source mat e r i a l also came from B u nny
Yeager’
s M o d e l D iet book, g i v i n g e a c h i s s u e
a c l a s s i c 1950s r e t r o feel. Teen F a g M a g a z i n e
(1993-n.d.) w a s a s p o r a d i c a l l y p u b l i s h e d
q u e e r z i n e t h a t l o o k e d at gay r i g h t s a n d issues,
including here ‘
b a t h h o u s e s for m e ’
, ‘
pro-life
q u e e r s ’a n d a n e s s a y on ‘
b a d b a d h o m o s ’s u c h
as s e r i a l k i l l e r J e f f r e y Dah m e r . T e e n a g e G a n g
D e b s (1988-c. 1993) w a s b y b r o t h e r a n d s i s t e r
z i n e s t e r s D o n a n d E r i n S m i t h a n d t o o k as its
s t a r t i n g p o i n t a n o s t a l g i c v i e w of 1970s a n d
e a r l y 1980s A m e r i c a n T V p o p u l a r c u l ture, w i t h
The B r a d y B u n c h a m o n g o t h e r ob s e s s i o n s .
m y s te r y
.
\
v
T E E N
d a t e
v
F A G
A .?
MAGAZINE
one
gal's
gu id e
to
good
sfuff
$3.00 Issue #4
damage
co n tr o l
s p e c ia l n a m b la
PROLIFE
Q ueers
bad bad
HOMOS
^
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96 / 97
S p rin g 1994
$
© Thrift SCORE ©
T h r ift SCORE
t h e z in e a b o u t t h r i f t i n ’
I n n e Th ree * Fall 199-1
a 'z/ne about thrift!n'
It's a PURSE!
It's a PHONE!
Big DENIM Close-Up
Learn How Ordinary
Useful Denim Jeans Became
This Social Statement!
ALSO -
It’s a PU RSE that IS a PHONE!
Thrift SCORE
Your thrift dollars can save Jim Bakker!
Bold Plan Insidel
O W EIR D EST Things Ever Thrifted
3
Stuff You See in Every Thrift
3
70's Clothing - Can It Hurt You?
Genuine
Sw atch of
Retro-Denim
PLUS: Retro-Tennis Shoes (uh oh!), the Wide
World of Thrifts, Useful Info, Useless Info, Cool
Fix and More More More.
Thrift S C O R E
Thrift SCORE
The zine about thriftin' -Issue Six
T h e
th e z in e a b o u t th riftin '
Is s u e Five
S p rin g 19 95
® Thrift SCORE
t h e z i n e aatb o u t thriftin'
Issue 7
S w im s u it
Is s u e /
D e s ig n e r J e a n s :
HOW T O ...
Get Banned from a Thrift!
m
Tell Alpaca
from Acrylon!
jpaggp-J
l
Buy Paint-By-Numbers!
J I
Make A TV Star Wear A Crocheted Beer Hat!
find a Thrift in Finland!
I V K-tel Records!
Tiki Party Tonight!
S ee Through a
Plastic Eye!
F R E E T eeny Tiny Tiki
Drink B ook Inside!
Thrift SCORE ®
The Zine A b o u t Thrifting - Issue 8
>,
ALSO: Sewing Patterns - Form or Function?
More Behind-the-Scenes Thrift Tales!
Thrift Books and MORE!
Thrift SCORE ®
Thrift SCORE ®
y ] \ ie re
s
** ^ e e /g p
The Biggest Pile o f
Thrift S tu ff Yet! J f
P A R T Y L IK E IT'S 19 76 !
W
Bicentennial 2 0 th A n n iv e rs a ry Special!
□
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The All-Metal Office
John Marr Loves Manual Typewriters
The Usual More More More!
Fantasy Celebrity Thrift Partners
Sleep in Style - Pajamas
More More More
Thrift Histories and Mysteries,
Found Objects, Shiny Trees and More
I
C h a p t e r 3 | L i b e r a t e d Spaces: S u b c u l t u r e s , P r o t e s t and C o n s u m e r C u l t u r e 1 9 8 0 s - 1 9 9 0 s
M a n y f a s h i o n a n d a n t i - f a s h i o n z i n e s of t h e
1980s-90s t h a t h a d b e g u n i n t h e u n d e r g r o u n d
became key players w i t h i n the m a i n s t r e a m
f a s h i o n i n d u s t r y . T h r i f t S c o r e (1994-c. 2000)
was p r o d u c e d b y A 1 H o f f (aka ‘
girl r e p o r t e r ’
)
out of P i t t s b u r g h for t h o s e w h o k n e w ‘
why
it’
s cool to t h r i f t ’
. The zine featured
i n f o r m a t i o n on p l a c e s for t h r i f t s h o p p i n g ,
the ‘
weirdest things ever t h r i f t e d ’
, and a
colu m n ‘
My most unforgettable thrift store’
.
On the c o v e r of t h e zine. H o f f w o u l d o f t e n
add s a m p l e f a b r i c s - i n t h e c a s e of i s s u e 3,
a ‘
g e n u i n e s w a t c h of r e t r o - d e n i m ’ - to h e l p
her r e a d e r s i d e n t i f y t h e i r t h r i f t p u r c h a s e s .
D e tail s (1982 — ), f o u n d e d b y A n n i e F l a n d e r s
and t h e n sold to C o n d e Nast, c h r o n i c l e d N e w
York’
s d o w n t o w n scene. T h e e a r l y i s s u e s w e r e
pro d u c e d w i t h a D I Y f a n z i n e a e s t h e t i c , b o r n
out of f i n a n c i a l need. F l a n d e r s says, ‘
We
really t h o u g h t w e w e r e d o i n g a m a g a z i n e for
o u r sel v e s a n d 100 o t h e r p e o p l e . ’C h e a p D a t e
(1997-) w a s a c h a r i t y - s h o p - i n s p i r e d f a n z i n e
by K i r a J o lliffe, l a t e r w i t h B a y G a r n e t t
(2002). Its s t r a p line, ‘
antidotal antifashion
for t h i n k i n g t h r i f t e r s ’
, s u m m e d up t h e 1990s
desire for e c o n o m i c a l f a s h i o n s o l u t i o n s
combined wit h an i ncreasingly hip approach
to f a s h i o n s t y l i n g a n d r e p o r t i n g (ce l e b r i t y
journalists included Anita Pallenberg, Poppy
de V i l l e n e u v e a n d S o p h i e Dahl). T e r r y Jones,
f o u n d e r of i-D (1980-), r e v o l u t i o n i z e d t h e w a y
in w h i c h s t r e e t f a s h i o n c o u l d b e a h i p a n d
much sought-after commodity. The early issues
(printed at B e t t e r B adges) c a p i t a l i z e d on t h e
rapid a b s o r p t i o n of t h e 1970s p u n k a e s t h e t i c .
ISSUE 4
£ 1.5 0 .
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..
thinking, thnifteha
98 / 99
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S p o r t s z i n e s f l o u r i s h e d d u r i n g t h i s period.
A.O.B. Z i n e (mid-1990s, c o v e r a n d i n s i d e spread)
w a s a d i r t - b i k e s p o r t s zine. S k a t e d o r k (1998-)
is a z i n e a b o u t s k a t e b o a r d i n g f o c u s i n g on t h e
‘
p e r s o n a l side'. T h i s t r a d i t i o n c o n t i n u e d into
t h e 2000s, w i t h O s c a r ’
s E y e (2000s), c o m b i n i n g
s k a t e b o a r d i n g a n d 1980s t h r a s h music, a n d
S a u c e (2000s), a f r e e s k a t e b o a r d i n g z i n e out
of P o r t l a n d , Oregon. T h e G l a s g o w - b a s e d Cel t i c
f o o t b a l l fan z i n e . N o t The V iew (1987-) w a s
p r o d u c e d b y f a n s to 'give t h e o r d i n a r y Celt i c
f a n s a v o i c e a n d a p l a c e to a i r t h e i r views'.
J o h n n y M i l l e r 96 N o t O u t (1989-) is r e c o g n i z e d
for its 'notable a d d i t i o n to t h e c r i c k e t i n g
p r e s s b e c a u s e of its s a t i r e ’
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L i b e r a t e d S paces: S u b c u l t u r e s , P r o t e s t and C o n s u m e r C u l t u r e 1 9 8 0 s - 1 9 9 0 s
£1 /€150/TRADE
ISSUE ONE
OSCAR’S EYE
rants, ramBues andirevbk
MAY 1992
ISSUE NO. 12a
J
OHNNY
80p
WORLD CUP SPECIAL:
M ffiE R
/ /
IK *
W
H E V I E W
C e ltic F a n z in e N o .3 4
50p
9 6 sstt ?
JM96*. MORE COWTROVERSIAL THAW YOUR AVERAGE RAIN RULE
TH E W ORLD IN HARMONY
OLD FIRM STUNNER!
SKY question the further use
o f close to the wicket microphones
1
100 / 101
When Saturday Comes
M E R G E R S : N o
V ic to r y
Y e t
The fiasco al Fulham and the continuing
uncertainty over the future of Wimbledon
and Crystal Palace have brought into the
open many of the realities of football in the
1980s which are loo often kept hidden below
the surface. As we go to press, the final
outcome of both these situations is still far
from dear, but even al this distance the
lessons lo be Icam! are pretty obvious. Some
people have more to learn than others.
absolutely the names and grounds of Ihe
teams which ihcy allow to lake part in their
competitions, jusl what do they control?
One of Ihe reasons why Fulham are in
financial difficulty (apart from the fact that
Ernie Clay pocketed a reported £6 Million
personally, when Bulstrode bought him out),
is the new set of rules brought in this season
which direct more TV, sponsorship and gale
money from the small clubs to ihe larger ones
(see issue 2). So when the League talk about
their burning desire to save clubs like Fulham,
it would be naive in the extreme to lake them
at face value. They arc committed to a policy
of so-called ’natural’ wastage, whereby no
club that goes out of business will be replaced
in the League. The fact that they were shamed
into action on this occasion doesn’t guarantee
by any means that ihe same will apply in the
The League
ISSUE FOUR: FIFTY PENCE
T h e S h a n k ill S k in h e a d
Although the Football League for once
didn’t try to pass the buck, they are far from
blameless in the merger affairs. In fact, their
whole structure was called into question.
Hie decisions of the League
Management Committee mainly effect the
clubs, obviously. The clubs arc run by their
Chairman and Directors. The League
Management Committee is composed entirely
of Chairmen and Directors. They are
defendants, judge and jury. In this case, two
members of the Management Committee,
Ken Bates and Ron Noades, had a direct
interest in the outcome of the merger
proposals. In Bates' case his interest was a
personal financial one, as well as a
professional one, since he owns 2(W> of
Marler's shares. (His protestations about
Marlcr's valuation of Stamford Bridge which
pushed their shares up substantially should
also be seen in this context — he would stand
to gain a lot of money by selling those shares).
Noades would be helping to decide on a
merger proposition which he himself may
even have helped to initiate, and which is
scarcely of minimal significance to his club!
This is at the root of the League's lack of
will in previous dealings with the Bulstrodcs
of this world. They all talk the same language,
they understand each other. The League
already has what sound like fairly watertight
rules on ownership of clubs, e.g.
"Except with the prior written consent o f the
management committee, no club may. either
directly or indirectly, have any power
whatsoever to it\f!uence the management or
administration o f another club. "(Rule 80,
Clause 4). David Bulstrode had had no
communication whatsoever with the League
when the story first broke.
The problem is with the will lo enforce
the rules. Bulstrode’s influence (owner of two
clubs, in effect, and one other ground) is
grossly in breach of the League’s rules, in
spirit anyway, even if he can get round them
technically. So is Robert Maxwell’s, with his
son in charge at Derby. So is Terry "I
wouldn’t mind owning four of five
cIubs'*Ramsden’s. So was Anton Johnson's
before the law (not the League) caught up
with him. Even more of a challenge to their
authority is the fact that these people can
float their barmy ideas for mergers (don’t
forget Thames Valley Royals) with some
expectation that the League will actually lei
them do it! If the League isn’t able lo control
no. 7
The Property Men
Blaming Bulstrode and the rest it
pointless. All we can expect from these people
is lies dcviousncss, trickery and financial
manipulation. And that's exactly what we
The Supporters
The fans' reaction on the whole, was
positive, coherent, peaceful and passionate,
and this is what got the press on our side. But
where no independent supporters groups
existed, (i.e. Q.P.R.. where the Official
Supporters Club supported the merger) they
had to be quickly set up. The strong
organisation of the Football Supporters
Association in London was a great help in
co-ordinating these actions, but in addition,
supporters have lo learn from this that every
club needs an independent Supporters Club
which has the authority lo speak for a
majority of the fans. Fulham were in just such
a position, and this helped them to get the
lion’s share of the coverage.
The whole merger business should now
be seen not as a victory or a defeat, but as an
opportunity for fans in the capital (and
elsewhere of course) to get together and
organise, not against each other, but against
their common enemies, such as Bulstrode,
Clay, Hammam, Noades etc. It's now or
(continual back page)
INSIDE
M o re
M e rg e r M a n ia
The Council
In Fulham's ease, much has been made
(particularly by Brian Glanville, who
described Ernie Clay as “ a hero of our times)
of the original decision by Hammersmith and
Fulham Council to refuse permission for
partial redevelopment at Craven Cottage,
which prompted Clay to sell out. While this
kind of scheme now looks lo be about the best
that Fulham can hope for, the desecration of
two sides of their ground was hardly an
attractive option at the time. In the recent
furore, the Council have, so far, done the
football club proud and should be applauded
for their resolve. The previous (Tory) council
to some extent created this whole situation by
giving Marlcr outline planning permission to
redevelop Stamford Bridge. If the present
council had been as pliable, there would now
be no future for cither Chelsea or Fulham, or
QPR for that matter. In Merton, too, the
Council have made noises suggesting that
their priority is to keep Wimbledon at Plough
Lane, although as yet (at the time of writing)
their committment has not been as public.
Fortunately in Wimbledon's case there is the
added safeguard that the ground is officially
designated for recreational purposes only.
H ib s S till on th e F rin g e
B r i s t o l : R o v e rs R e tu rn ?
J im m y H ill " N o t p o w e r c ra zy " ShockI
D ix o n
F o r A r s e n a l?
Ju ve n tu s ?
PLU S:
B a rn e t?
F o r e s t ...
R e a d in g ... G e r m a n y
C h a p t e r 3 | L i b e r a t e d S paces: S u b c u l t u r e s , P r o t e s t a n d C o n s u m e r C u l t u r e 1 9 8 0 s - 1 9 9 0 s
HAIL MARY!
THROUGH THE
WIND & RAIN
BACK BY KMJIAR DEMAND!
OMLY
A X.IIWE&P'Qj'DiL FAHUeiMK
issue QME
£1
CUPPERS RULE
IN LA
AUTUMN 1913
BROWN LEADS
CUPPERS TO
THE PLAYOFFS
PLUS
MARCH
MAYHEM
THE N.C.A.A.
FINAL FOUR
TOURNAMENT
LARRY
BROWN.
L. A. Clippers
BYE BYE ALDO
w
a
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fjr ,n /e .
|----------------- j
£2.00 k
issue 8 :
Feb ’91
f o r u ie
P.iaceiliKel .'J
Blow F o o t b a l l (1989-n.d.) i n c l u d e d w i t t y
a r t icl e s on r e f e r e e i n g m i s t a k e s a n d c l u e l e s s
officials. T h e w e l l - k n o w n W h e n S a t u r d a y C o m e s
(1986-) f e a t u r e s c o n t r i b u t i o n s f r o m b o t h
p r o f e s s i o n a l w r i t e r s a n d fans. T h e S h a n k i l l
Ski n h e a d (1990s) w a s a s h o r t - l i v e d M a n c h e s t e r
United zine. S o m e o n e L i k e s Us (1990s) w a s a
M i l l w a l l F o o t b a l l C l u b zine. T h r o u g h the
Wind & R a i n (1989-) is a L i v e r p o o l F o o t b a l l
Club z i n e t h a t c o v e r e d t h e 1989 H i l l s b o r o u g h
dis a s t e r w i t h s e n s i t i v i t y . H a i l M a r y ! (1990s)
was p a c k e d w i t h i n f o r m a t i o n on t h e A m e r i c a n
F o o tba l l a n d N a t i o n a l F o o t b a l l L e a g u e s .
N BA Update (1991-n.d.) f o l l o w e d t h e N a t i o n a l
B a s k e t b a l l A s s o c i a t i o n t e a m r e s ults. M u r t a u g h
(1990s) w a s a b a s e b a l l zine. W a i t i n g for the
Great L e a p F o r w a r d (1989-) w a s a M o t h e r w e l l
Club z i n e w i t h 1970s c o m i c s t r i p s r e w r i t t e n
to ref l e c t t h e S c o t t i s h F o o t b a l l L e a g u e .
Andy Paton
No.8
Steve Kirk
the “ m y left fo o t99 cup special
50p
S e v e r e l y Twisted! (1990s) w a s a q u e e r z i n e t h a t
p r o v i d e d c o m m e n t a r y o n t h e cul t A u s t r a l i a n T V
s e r i e s Prisoner: Cell B l o c k H. H o l i d a y in the
Sun (1998-99) q u e s t i o n e d t h e ‘
s e l l i n g o u t ’of
f a n z i n e p r o d u c e r s a n d p r o m i s e d to ‘
demystify
t h e p r o c e s s ’of m o v i n g i n t o t h e m a i n s t r e a m .
Question Everything Challenge Everything
(1996-2001) i n c l u d e d a r t i c l e s on 'detec t i n g
b i g o t s ’a n d a n i m a l rights. U.K. R e s i s t (1990s)
w a s a m i x of p o l i t i c a l r a n t s a n d music. Hoax!
(1991-93) w a s a s a t i r i c a l z i n e w h o s e e d i t o r
r e m a r k e d t h a t it w a s a l s o t h e ‘
r e s u l t of [his]
first tentative steps into prankdom' - hence
t h e c o v e r w i t h a p i c t u r e of a ‘
Yippy’
.
S iQ E . I B A f M
¥ H I
&stae aSttttrt irartfvlag esEjjjossare
to
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ICELL BLOCK H 1
I HiOMOPHOBIA!
STEREOTYPES
I S ALIENS *U.F.O .s*^
^ ^ 2 * AMUSEMENTStsgSB
;;!!wsBirriW»WBi««« ■■in*uiiia«r2>^=E^sr _ L^--_—
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"Th e Ale w Yorker of th e slacker g e n e ra tio n !" - Jersey Beat
y o u r fie ld g u i d e in t h e w a r o n n o r m a l c y
a Basketful
of Integrity
U n c o m p ro m is in g
a rtistic visio n co m e s
in m a n y fo rm s .
■Build Your O w n Portable Bigot D etector!
■The M ilitary-In d u s tria l Complex
W ants to E ntertain You!
■ Are You a Laughing Pawn?
■ Fighting th e Good Fight.
• The WOTOS C u lt - EXPOSED!
■MUCH, MUCH MORE!
v3n2 (#8)
$2.50
NiLBy M°UIH
3
O t h e r a g i t -prop z i n e s f l o u r i s h e d . K e r B o o m
(1994) w a s a n a n t i - c a p i t a l i s t f a n z i n e t h a t
c o n d e m n e d t h e 'police s t a t e ’a n d i n c l u d e d t h e
cult f a v o u r i t e c o m i c s t r i p ‘
Y o u n g Arnie' b y
S i m o n Gane. P r o t e s t M a g a z i n e (1990s) w a s a
direct action and a n i m a l rights zine - ‘
the
v a n d a l i s m of t h e A L F [ Animal L i b e r a t i o n Front]
d o e s n o t m e e t w i t h t h e a p p r o v a l of t h e public,
b u t it d o e s l i b e r a t e t h e a n i m a l s f r o m t h e i r
p r i s o n of t o r t u r e ’ - w h i c h a lso c o n t a i n e d
p o e t r y a n d v e g a n recipes. Nil by M o u t h
(1990s) w a s a n a r t z i n e a n d p r o v i d e d a f o r u m
for i l l u s t r a t o r s a n d c o l l a g e a r t i s t s to m a k e
p o l i t i c a l c o m m e n t a r y on b r o a d e r s o c i a l issues.
104 / 105
/O
l9 g 5
«H« gH
5
5
_
C h a p t e r 3 | L i b e r a t e d Spa c e s : S u b c u l t u r e s , P r o t e s t and C o n s u m e r C u l t u r e 1980s-1990i
b
The s e c o n d w a v e of t h e s k i n h e a d m o v e m e n t in
the 1980s s o o n w e n t i n t e r n a t i o n a l . It b e c a m e
associated both with the ‘
o i ’m u s i c s c e n e a n d
w i t h far r i g h t poli t i c s , t h o u g h t h e r e w e r e
s i g n i f i c a n t n u m b e r s of s k i n h e a d a n t i - f a s c i s t s .
Combat Z o n e (1980s) f e a t u r e d G e r m a n , I t a l i a n
and F r e n c h b a n d s as w e l l as U K n e o - f a s c i s t s
Skrewd r i v e r . It w a s n o t a b l e for its q u a l i t y
p hotos of s k i n h e a d f a s h i o n . T h i s i s s u e of
Skins (1980s) c o v e r e d a s k i n h e a d w e d d i n g , an
i n t e r v i e w w i t h b a n d C o m b a t 84 a n d a ‘
S k i n Gir l
Pin U p ’
. B o r e d o m I m a g e s (1990s) w a s a m i n i z i n e
f o c u s i n g on t h e h i s t o r y of s k i n h e a d f a s h i o n
and li t e r a t u r e . N o s e b l e e d (1990s) b i l l e d
itself as ‘
t h e i n d e p e n d e n t v o i c e of r o c k
a g a i n s t f a s c i s m ’a n d e m a n a t e d f r o m D u b l i n .
Strong & P r o u d (1990s), f r o m Spain, w a s a m o r e
s o p h i s t i c a t e d d e s k t o p - p u b l i s h e d zine, a n d
i n c l u d e d a p h o t o r e p o r t on s c o o t e r r a l l i e s
in P o r t u g a l a n d Swe d e n . R e v e n g e (1990s) w a s
a transatlantic ‘
sp l i t z i n e ’i n c o r p o r a t i n g
S k i n h e a d L i b e r a t i o n O r g a n i z a t i o n a n d Unite
for Uni t y f r o m t h e U n i t e d States, a n d p r e a c h e d
an a n t i - r a c i s t m e s s a g e .
o
i
r
m
e
d
o
m
a
g
e
s
:'4
S K IN S
Inside:
4 4
Combat 84
Boot boys
Skrewdriver
Soutliend’82
Skin Pics
& more
N O SEB LEED O
S tro n g & Proud
is s u e * 3 / A u tu m n 97 300Pts/3S/L2/4DM/l b l o w jo b ’
WITH
SKINHEAD LIBERATION ORGANIZATION
T H E JTVUEPPNDENT V O IC E O F R O C K A G A IN S T FASC ISM
AND
UNITE FOR UNITY
M o
2
F IG H T
FEATURING:
CONDEMNED
84
T h e U n ru ly
The Pride
#A<I M in e r s - tIO fJ t ~ f» £ A z i - C^PtAin
S E # *iB l£ - G A #cS t e r ^ - B * A G G ^ f lT'A ~
Sccooters
T h e T e m p la rs
R A BA U K EN
JSattlc Crp
Close Shave's farewell gig
a n d much, m uch m ore_
F A S C IS M
30P
P le a a e n o te t h l a f a n z in e
may c o a t a r o u n d S 1 - S 1 . 5
when a o ld o v a r a a a a due
t o t h e e d i t o r L a i team
u a in g d i f f e r e n t p r i n t e r s .
MORE OVER THE TOP ARTICLES ON RACISM,
SEXISM , HOMOPHOBIA AND LOAOS MORE.
INTERVIEWS WITH ELAGGERS I . T . A . ,
MCLOTOW SOOA, BULLSHIT AND Th€
SPINNERS. POEMS, ART ANO LOADS
MORE TO KEEP YOU HAPPY FOR A
FEW HOURS. BUY I T NOW!
106 / 107
number 1
april 85
No 2 Ôp
MAY 85
No 3
JUNE 85
30p
UNTOUCHABLES
THE SCENE
THE WAY OUT
Clubs
lots more!!
..clu b sP
m y/puns &
PAUL BEVOIR
THE BOSS
'* *
, a 8 ^ -cNt O ^ S-
V
YEH YEH
SCENE
^ e ^ VCN
...cvit/i
\
exc£ouiiit& i "
...clubs,gigs, news,
ê vis-'
fy ...
(
...and more !
TV S
GOSS!
Number 8 40p
November 85
h ip , h o t a n d
h a p p e n in g !
Go Go (1985-n.d.), p r o d u c e d b y J a c k i e T o b y
a n d B e r n i e Taylor, w a s b i l l e d as a ‘
monthly’
U K m o d z i n e w i t h a f o c u s on 1960s f a s hion,
m u s i c a n d s c o o t e r runs. I n t e r v i e w s w i t h
bands included The Combine, Mood Six
a n d P a u l Weller, a l o n g s i d e a l b u m a n d gig
re v iews. Gr a p h i c a l l y , t h e z i n e ’
s front
co v e r s w e r e p a r t i c u l a r l y notable, w i t h a
b o l d 1 9 6 0 s - i n s p i r e d t y p o g r a p h i c logo a n d
p h o t o g r a p h i c i m a g e s of 1960s f a s h i o n m o d e l s
r e f l e c t i n g b o t h t h e C h e l s e a G irl a n d t h e
M a r y Q u a n t i n f l u e n c e . A f u l l f e a t u r e s t o r y on
Q u a n t a p p e a r e d i n i s s u e 12. T h e z i n e o f f e r e d
a more m e l l o w and more female-friendly take
on t h e m o d r e v i v a l t h a n its p u n k - i n f l u e n c e d
p r e d e c e s s o r s in 1979.
\
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ir
108 / 109
$1.50
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ISSUE
TWO
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^ri,p0prnersev
Psych rn'bp0 par| ^lod
WICB AS M A N Y
“ ^ A G E S -------
V
FOR
t TH I R D EDITION
M A Y / J U N E 1983-
F oraerley tke 'NORTHERN SURVIVOR*.
STEVE HARRIOTT'S PRE-SNALL FACES HISTORY,MUDS IS ITALY,THE RAVENS,ZINE REVIEWS.
THE ACTIOK.THE NOD FUN U.S TOIIR SCHEDULE,STD BARRETT AND THE H X K FLOYD PT. TW),
DUBLIK HOD SCENE.D1SC REVIEWS.FOSTER SERVICE.LACER:ITALTS PSYCH/HODS,HOD GOSSIP,
SHAPE OF THINGS TO CONE RAND PROFILES AND HUCJ1 MORE! tl!l!l Jt IJIM J!!!!111!tit!II|
INSIDE
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THE S Q U I R E
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CHA.V:.-:
................
V.AL •
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................
................
I NT E R V I E W PART TWO................... VE S P A F 3 ' U
................
CH S ACTI ON
THE MAD MODSTSR PAGE
...............
DUSTY S P R I N G F I E L D
r’AN Z I N E S
FEMALE FASHI ON
................
HERMAN’ S HERMI T* S
................
VI EWS AND NE-VS
THE DOVER S T RE ET
................ P CACTI
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AND J AM E S
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SCO H E R S
....................
•TJU£ TIMES*ANTHONY NEYNKLL INTWVlfcV'THANORE PIX*THK BLADES*
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THE ^
INSET
Bubbles
Organs
Money
Sounds, Style &Sarcasm
M o d z i n e s a n d m o r e g e n e r a l 19 6 0 s - r e v i v a l z i n e s
w e r e a f e a t u r e of t h e 1980s. S m a s h e d B l o c k e d
(1980s) w a s a m o d z i n e p r o d u c e d b y B i l l Luther,
w h o f o l l o w e d t h e b a n d M o d F u n on t h e i r US
tour. T h i s i s s u e of The N e w S tylist (1980s,
b a c k cover) w a s a o n e - o f f a n d f o c u s e d o n a
c o l l e c t i o n of s c o o t e r m e m o r a b i l i a , i n c l u d i n g
p h o t o s a n d l i n e d r a w i n g s of V e s p a s a n d
L a m b r e t t a s . J u d y T h o m a s of Hi p ‘
n ’G r o o v y
(1986-n.d.) s u g g e s t e d t h a t t h e m o d f a n z i n e
s c e n e w a s d i v e r s i f y i n g , but 'here, t h o u g h
is a v e r y s i x t i e s - o r i e n t a t e d zine'. R eal
E m o t i o n (1983-n.d.) w a s a n I r i s h m o d z i n e w h o s e
producer, Dev, a s s u r e d h i s r e a d e r s h i p t h a t
the he would ‘
i n f o r m a l l of t h e I r i s h M o d s w h o
a re u n a w a r e of t h e a m o u n t of g ood M o d bands...'.
The I n set (1980s) w a s p r o d u c e d b y a DJ for 1960s
r h y t h m a n d s o u l n i g h t s . Passion, Pri d e and
H o n e s t y (1980s) w a s a C h i c h e s t e r - b a s e d zine,
o r i g i n a l l y c a l l e d T e e n a g e Beat. T i m e M o v e s
Us On (1985-n.d.) w a s a n o t h e r C h i c h e s t e r zine,
‘
100% d e d i c a t e d to m o d ’
.
M o h a w k B e a v e r (1997-) w a s a l e s b i a n z i n e
p r o d u c e d in D e n m a r k ; t h i s i s s u e h a s
i n t e r v i e w s w i t h the b a n d R o c k Bitch and
female entertainer Irma Henriksen. FF
M a g a z i n e (c. 1986-90s) w a s a n a n a r c h o - p u n k
queerzine. This issue features comic strips
a n d an i n t e r v i e w w i t h c o m e d i a n a n d g a y i con
S a n d r a B e r n h a r d . H o l y T i t c l a m p s (1989-2003)
by L a r r y Bob was a po p u l a r qu eer p u n k z i n e
out of M i n n e a p o l i s t h e n S a n F r a n c i s c o . It w a s
p r o d u c e d f i r s t as a s i n g l e b r o a d s h e e t p a g e
t h e n as a ' g r a b - b a g ’form a t . K i m Wilde F a n Club
N e w s (1981-97) w a s a b o u t a p o p s t a r w h o w a s
a n i c o n in b o t h h e t e r o a n d g a y w orlds.
7 9<54
m N7£D ON QTJA7 BPJW N . 7UBUJSH& BU
KlW WOLD^ h/W CLUB,
112 / 113
50
S u b t e r r a n e a n P o p (later Sub P o p ) (1980-, covers
a n d i n s i d e spreads), p r o d u c e d b y B r u c e Pavitt
in O l y mpia, W a s h i n g t o n , w a s d e d i c a t e d to
e m e r g i n g i n d i e r o c k b a n d s in t h e US N o r t h w e s t
(later l a b e l l e d ‘
g r u n g e ’b y t h e r o c k press).
P a v i t t p r o d u c e d h i s f i r s t i s s u e w h i l e s t ill
a s t u d e n t at E v e r g r e e n C o l l e g e i n Olympia,
and in issue 3 stated that ‘
...we h a v e to
d e c e n t r a l i z e our s o c i e t y a n d e n c o u r a g e loc a l
art and things and m u s i c ’
. In 1986 h e t o o k
h i m s e l f at h i s w o r d a n d w i t h p a r t n e r J o n a t h a n
P o n e m a n set up i n d i e r e c o r d l a b e l Sub Pop,
f a m o u s for s i g n i n g M u d h o n e y , N i r v a n a a n d Sonic
Youth. T h e l a b e l is l a r g e l y r e g a r d e d as h a v i n g
c h a n g e d t h e p a t h of r o c k music.
i J S U B * P 0 P
8
4 . 1 8
*ACE OF HEARTS
Box 579, Kotmo*e S t . , Boston MA 02215
♦AMBITION
Box 3514, WankLngton V.C. 10001
♦ARMAGEDDON
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P.O. Sox 22 Sun VaJUzy CA 91352
Hi
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>‘HUTE:
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Box 195 Saratoga SfVtingi UV 12166
*99
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money' ^ncK
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W j f / A
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114 / 115
1981? Simple enough
. Britain gave
us N ew R o m a n tic w h it e / e le c t r o /
disco/funk and America gave us
w hat< Hardcore.
W hile art bands continued to take
their orders from the U.K., aggres
sive muscleheads from around the
country form ed baud'*, started labels
an d b u ll-d o z e d an a n ti-a u th o rity
network that i s digging its way into
every suburban high school in the
U.S. Punk -t hi ash is n o w faster,
louder and more American than
Surprise. Today's Hardcore teenage
army is the most dom inant, the
most obvious scene in the American
m u sic u n d e rg ro u n d . H a rd c o re is
in te nse , honest A m e ric a n m u s ic ;
burning red, white and blue images
confronting specific American prob
lems. Anthems like "lustice lo r A ll,"
" Six Pack," and "Guns or B allots,"
band names like the Dead Kennedys,
The M inutem en, and yes, even )ody
Foster's A rm y. Does th is so u n d
British? NoI
Probably anyone reading this w ould
agree w ith me when I say Ronald
Reagan is not a good Am erican. He
allows large corporations to run
ra m p a n t o v e r o u r e n v ir o n m e n t,
huge tax breaks for the rich while
stabbing the poor in the back with
cuts in social services, and then
spends $55 m illio n to k ill teenage
girls in t l Salvador.
So what are you doing about it?
Dressing like an id iot and buying
records by four people who get up
on stage and sweat a lot. If all an
alternative scene does is let you
forget about the real w orld for a
couple hours a week, than it's no
b e tte r tha n T.V ., A M ra d io or
Harlequine romances. The tim e has
passed where we can a fford to p ro
vide a place and a means for people
to forget. We must rid ourselves o f
the things that h o ld us back from
b e in g t r u ly a lte rn a tiv e . O ne o f
those things is alcohol. It is provided
for us by a leach-like industry that
makes a few people (filth y ) rich
while num bing and anesthetizing
the rest. When bands play in bars,
not on ly do they segregate the
scene by discrim inating against their
younger fans, but they teach their
younger fans that it is cool to go to
bars and get drunk, and thus support
Reagan's best friends. A lco ho l is just
one way they use to oppress the
p o p u la c e , to fu n n e l you r h a rdearned money back in to the hands
o f the few. What we need is a net
work o f all-ages perform ance halls
where music can be experienced
free of all that corporate bullshit,
where the audience isn't segregated
by age, and where the state liquor
board (Police) w ould have no busi
ness interfering.
So. Don't just sit around picking
your nose. If you're a musician,
when you've got the audience's
attention, use it to do something
other than getting a hard on. If you
edit a fanzine or do a radio show,
you have a perfect opportunity to
educate people about their govern
ment as w ell as their music. Don't
think you can't make a difference,
because you do.
C A L V IN
Things arc bad. America is falling
apart; the econom y is collapsing;
Reagan is a puppet o f the rich and
the Pentagon is going to blo w life
as we know it in to fragments. We
must react. American culture des
perately needs to confront American
problems.
H o w d y n e ig h b o r.
P u t
d o w n
th a t
g u n a n d p ick u p
th is m a g a z in e .
S U B / P O P
IS
A M E R I C A N .
W E
A L T E R N A T E
B E T W E E N
A
C -60
C A S S E T T E A N D A P U B L IC A T IO N .
W E A R E
IN T E R E S T E D
IN A
D E
C E N T R A L I Z E D
N E T W O R K
O F
R E G I O N A L
A N D
L O C A L
B U M S
W H O
R E F U S E
T O
G E T
A N
H O N E S T
J O B .
S E N D
U S
Y O U R
I N D E P E N D E N T R E C O R D S , T A P E S
A N D M A G A Z I N E S . W R IT E : S U B /
P O P
C / O
L O S T
M U S IC
N E T
W O R K ,
B O X
2391, O L Y M P I A ,
W A 9 8 507 .
G R A P H IC S , C O O R D IN A T I O N . ..
B R U C E P A V IT T
F R I E N D S A N D N E I G H B O R S _____
.
C A L V IN J O H N S O N ,
J A N
L O F T N E S S ,
T U C K E R
P E T E R T IL ,
G A R Y
M A Y
F I N A L L Y
P R IN T E D
IN
F E B .
1982
Hardcore America is organized. i.A .
puts out a new com p ila tion every
tim e I open the mailbox. Posh Boy,
Happy Squid, New Alliance, Bemisbrain, SST—a ll working on organ
iz in g tee nag e re v o lt. D .C .'s D ischo rds — savage a n d d e fia n t. In
credible. Chicago's Autum n records
has released the first regional com
pilatio n to emerge from ChicagoHardcore. I ouch and Co fanzine
lust re lea sed a c o m p ila tio n o f
M ich /O h io bands—more youth ri
ots. Noise fanzine (O hio) is collab o
rating w ith Reno, Nevada, and p u t
tin g out a g re a t-lo o k in g transregional cassette. Teenage America
in actionI
O f course, any strongly defined
movement is going to be g u ilty o f
bigotry, and Hardcore is no excep
tion. Bands are either Hardcore or
they suck. I low depressing. Gang
m entality is no substitute for inde
pendence. Like Black Hag says:
"Think for yourself."
I like Hardcore. I liki* the rush and
I like the attitude, lu c k A uthority.
I hate war and I h.ite big business
,md I'm glad that other people feel
the same way Isn't it great that not
.ill teenagers aie sin king bong.s on
the wav to play Pac-Man at some
sick zoo o f a shopping m a ll* R l^l
A h()V I
BRUCE
M o r e Sub Pop (see p r e v i o u s page). T h e c o v e r
to i s s u e 6 e x p l a i n s h o w t h e z i n e a l t e r n a t e s
' b e t w e e n a C-60 c a s s e t t e a n d a p u b l i c a t i o n ’
,
a n d s o l i c i t s d e m o t a p e s f r o m n e w b a n d s (Sub
Pop no. 5 C a s s e t t e . 1982, sold 2,000 copies).
Pavitt was inspired in this strategy by two
r a dio DJs i n M e l b o u r n e , A u s t r a l i a , w h o h a d
founded a cassette f a nzine titled Fast Forward
(1980). T h e S ub Pop C a s s e t t e s are n o w e x t r e m e l y
c o l lectible. O t h e r z i n e c o v e r s f e a t u r e d the
r e m a r k a b l e c a r t o o n a r t i s t r y of C h a r l e s Burns,
a cult f i g u r e for h i s c o n t r i b u t i o n s to R a w
m a g a z i n e , w h o o f f e r e d a v i s i o n of a l i e n a t i o n
v i a h i s u s e of h e a v y b l a c k s a n d r e t r o imagery.
The other cartoonist closely associated with
Sub Pop w a s h u m o r i s t P e t e r Bagge.
116 / 117
LONG LIVE VINYL
NO. 5
W h ip p e d C re a m
SF k
MINUS zero records
071-229-5424
BLASTER!
...RIDKS AGAIN
’c h u m m y b u t e a r n e s t*
Includes archive Tape feature...
A r a n g e of 1990s m u s i c zines. L o n g Live Vinyl
(1990s) w a s a c o l l e c t i o n of b a n d i n t e r v i e w s
a n d a l b u m r e v i e w s out of N o t t i n g h a m . Big M u f f
(1990s) w a s a n i n d i e m u s i c z i n e p r o d u c e d in
L ondon, i n t h i s i s s u e f e a t u r i n g a n i n t e r v i e w
w i t h C o u r t n e y L o v e a n d h e r b a n d Hole. R e b e l
S o u n d (1990s) w a s a p u n k r o c k z i n e w h o s e
p r o d u c e r wrote: ‘
I l ove d o i n g t h e z i n e a n d
I’
m t h r i l l e d at t h e f act t h a t I ’
ve r e c e i v e d
so m u c h p o s i t i v e s u p p o r t . ’ 117 (1990s) b e c a m e
k n o w n for its r e g u l a r f e a t u r e ‘
The A-Z
of P s y c h (and o t h e r g r e a t s o u n d s ) ’
, which
r e v i e w e d r e c o r d s f r o m t h e 1960s-70s. T h e
f o r m a t of Blaster! (1990s) w a s d e s i g n e d a r o u n d
t h e i n c l u s i o n of a 7 i n c h v i n y l single.
C h a p t e r 3 | L i b e r a t e d Spaces: S u b c u l t u r e s . P r o t e s t and C o n s u m e r C u l t u r e 1 9 8 0 s - 1 9 9 0 s
[Medfoljer som bilagatill pop]
Laura Nyro
Ktt uvarDltt porlrMH.
E lvll p i CD
Ryktat «m him dl»d Nr Ovcrdrhc).
Sandle Shaw
Ilull\ar dir nttr London Nvttnudv.
Rloliard Thompson
En rurntlRrarrlt.
Beach
Boys!
Nol, vlnd och *alien.
StrandrattUMrnn Icn Him lAda,
Lennart Peraion
ropptot
Heoensionor
10
aa
7aldnr AtcrutiilvnlnKan
84
MuvbtlU, HolllM. Wanda .lucknon,
Tht Style Council. Harry Whllv...
CALLING DR CRANKLIN!
Spring '89
P eter Zarem ba
The A nim als
Evan Johns & The H-Bombs
FANZINE
Cenedlaethol Cymru
Huey 'Piano 'S m ith & The Clowns
Reviews
Commodity No4
W fe jti
m m
■ jf c S
SI
lift
1
3
3
S
L e s s e r - k n o w n 1 9 8 0 s - 9 0 s m u s i c z i n e s are s e e n
on t h i s page. D a (1990s) was. a S w e d i s h z ine
p r i n t e d on y e l l o w s t o c k a n d u s i n g q u a l i t y
p h o t o g r a p h s . C a l l i n g D r C r a n k i n (1989-n.d.)
d e c l a r e d i t s e l f to b e ‘
the fanzine which
offe r s t h e d i s c a r d e d , forgot t e n , o v e rlooked,
or j ust p l a i n n e g l e c t e d , t h e c h a n c e to e v e n
the m u sical s c o r e ’
. D a t a k i l l (1989-n.d.) w a s an
indie music zine wit h a Welsh slant produced
by H o a x ’
s e d i t o r J o h n n y D a t a k i l l . L i l ’R h i n o
G a z e t t e (1990s) w a s a F o r t W o r t h q u a r t e r l y
‘
z i n e of m i s c e l l a n e o u s c u l t u r a l debris'
f e a t u r i n g l o c a l t alent. C o m m o d i t y (1994-n.d.)
was a self-consciously ‘
d e s igned' m u s i c z ine
b y J o s h H o o t e n (later a n a r t d i r e c t o r for P u n k
Planet) a n d T o n y Leon.
118 / 119
Boy’
s O w n (1987-92) w a s a f o o t b a l l a n d a c i d
h o u s e z i n e p r o d u c e d b y DJs l e a d i n g t h e L o n d o n
scene. Its d i s t i n c t i v e logo a n d s e r i e s of
c o v e r s w e r e b y i l l u s t r a t o r D a v e Lit t l e . B e a c h
B o y s S t o m p (c. 1980s-) is a l o n g - r u n n i n g z i n e
d e d i c a t e d to t h e d i s c o g r a p h y a n d g i g s of t h e
C a l i f o r n i a band. T e e n a g e D e p r e s s i o n (1976-80s)
bridged p u n k and m a i n s t r e a m rock-and-roll
f a n z i n e s , f o c u s i n g on a r a n g e of b a n d s . T h i s
issue featured boogie rock outfit Status
Quo. The F a r m F a n z i n e (early 1990s) p r o v i d e d
a m i x of s t o r i e s a b o u t t h e b a n d as w e l l as
c o m m e n t a r y o n 1990s ‘
S c a l l y ’ (Liverpudlian)
culture. M o o n l i g h t D r i v e (1980s) w a s a r o c k
z i n e w i t h a l m o s t a n a c a d e m i c a p p r o a c h to
t h e subject.
(g) BOYS OWN NC
Judas Priest
V ib r a to r s ^
B e th n a l^
t
fS
pl us S L A D E , G O O D
WHITE
FA R M
FAIMZIIME
RATS.
C A T S and r e v i e w s
'
Jf
TEEN A G E v
DEPRESSIONS
Chapter 3
L i b e r a t e d Spaces: S u b c u l t u r e s , P r o t e s t a n d C o n s u m e r C u l t u r e 1 9 8 0 s - 1 9 9 0 s
mmmmrn
NUMBER 7
AUGUST-SEPTEMBER ’
91
E1-50
)READ VERSION
FULL DREAD
VERSH
DREAD
&FRED
MorrVZine
A Publication for M orrissey and Sm iths Fans
Winter/1992
Issue S, Vol. 4
Fourth Anniversary Edition
FANZINE
OMAHA
R A IN B O W
8
H e a r t ’s A n n
W il s on T e l l s It
Like It Is
R o le M o d e l
Mom, Bebe
Buell
Jou rn alist
B ack in g Em m ylou Harr is in th is issue,
Glen D.Hardin, Joh n Ware, B illy S w an,
Boger Bush & Joh n S tew a rt.
ZOp
A lb e r t
B o u c h a r d 's
Fave
F e m a le
D ru m m e rs
A m y L i n d e n on
M o t h e r h o o d an d
God
M other
of t h e
Electric Bass,
Car ol K a y e
' tfCAL IIPS
U\DER S500 oo
O êsU n g
T M e r s h i D u w e e n Z a p p a F a n z i n e (1990s) w a s a
t e x t - h e a v y F r a n k Z a p p a z i n e out of S h e f f i e l d
t h a t p r i d e d i t s e l f on e x t e n s i v e b o o t l e g
rev i e w s . B o o m s h a c k a l a c k a (1990s) s p e c i a l i z e d
i n r e g g a e m u s i c b u t a lso a n n o u n c e d t h a t it
was ‘
n o w a s o u n d s y s t e m ’p l a y i n g for d a n c e s
which ‘
h a v e b e e n s h o w c a s e s of u n i t y a n d g o o d
vibes’
. Morri’
Z i n e (c. 1989-C.1994) w a s
a q u a r t e r l y d e d i c a t e d to r e p o r t i n g o n t h e
m u s i c of M o r r i s s e y a n d t h e Smiths. P i c k o f
the B u n c h (1970s-) is ‘
Scotland’
s longest
living hotchpotch z i n e ’
, mixing music with
p e r z i n e - s t y l e re f l e c t i o n s . O m a h a R a i n b o w
(1973-n.d.) i n its 1980s i n c a r n a t i o n p r o v i d e d
a m a i n s t r e a m r o c k - o r i e n t a t e d a l t e r n a t i v e to
the p revailing p u n k zine aesthetic. Rockrgrl
(1995-2005) w a s d e v o t e d to w o m e n i n rock,
r e g a r d l e s s of category. O f fering (1990s)
w a s a C a r p e n t e r s zine.
N ovem & eA
1993
No.
21
120 / 121
HSuE V
REMAKES
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1 waa never a fan of
the New York or Los
Angeles Real Worlds.
But for the past year,
everytime I flick on
m v , if I catch a
glimpse of Rachel,
Cory, Pedro, Judd,
Puck, Mohomrad, or Jo,
from the Real World,
San Francisco, I find
it virtually painful to
change the channel. I'm
addicted to the Real
World!I
It* weird because
usually for me it'a
hard to get emotionally
involved in fictional
TV drama, like 90210.
(Don't get me wrong, I
watch it almost every
* * *
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♦* *
. * * *
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k 4
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Women in the Director* s Chair
4
I I M
4
T
6
week,
but I don't
really reiate to the
charactera or
storylines-elthough I
have to admit Donna's
attempted-rape scene
had me in tears this
spring).
But the Real World is
like watching actual
people...sometimes like
watching myaelf. I feel
for the “
characters."
Ood, that scares me:
that there's not a
clear line between
reality
and TV. That
makes me feel
creepy. But somehow, I
still can't Btop
watching.
I think part of the
reason might be that I
know (well, at least
I’
m pretty sure) that
what happens on the
show is real. No one
wrote a script for
them. Sure, the
producers clearly chose
people with
personalities that
might clash, and
therefore cause good
W q never get the
family or frienda
responses to being on
the show. Everyone just
acts like there's no
camera. That's not
real. I mean, I can see
the characters getting
uaed to the camera
eventually, but not
outsiders like frienda
(like Rachel's giddy
frienda from Arizona),
business aquintences
(like when Judd goea to
LA to pitch hia
cartoons), and family
members.
Granted, the shows are
all taped before they
begin airing, so
obviously there's not
going to be a high
recognition factorpeople aaying “
hey,
you're Rachel from the
Real World'-cr a high
family reaponae factor
like "Pedro, what do
you mean you're engaged
to Sean?"
In one of the first
episodes Puck (what a
confused mess of an
egomaniac he is 11)
"discusses" (I use that
term lightly when it
cornea to Puck) 90210
with the other
housemates, and he
accuses them of being
*paycho" for actually
caring about Brandon
Walsh. The thing is, I
agree with him. That'a
sick when people get
all worked up about a
character on a show and
talke about them like
they're real, is’
nt it?
But what about if I
think I care about the
Real ttorld cast? Am I
fucked? To me, are they
people, or are they
characters, no
different from Brandon
Walsh? I don't know
t h m . . .and somehow I'm
not sure if they fit in
the “
real person"
category or the TV
character category.
••• is a
g illig a n ’s is L a n D
Rip
4 . . .
[ BBUCELEB
ISAAC
HAYES
___
drama. But the people
■till have actual
emotion* end
personalitlea.
Now lest you think
I'm totally hyping up
the "realness" of the
show, let me tell you,
I'm quite aware that
the editora are very
selective about what
they ahow-the final
product is by no meana
a fair, or fully
balanced representation
of the housemates'
daily lives. We never
get to see any of the
"characters" talk about
the fact that they are
the Real World, that
they are going to be on
TV every week, and what
that meana about how
they live their lives
and (inter)act in front
of the camera.
I mean, they muat
explain why they are
constantly being
videotaped when they're
going on job
interviews, or going
into a restaurant. I've
never even seen a
stander-by make a face
or ask a question. What
else aren't we getting
to see?
T h e c o n s u m e r w o r l d of pop c u l t u r e and
television features in these examples.
The T V C o l l e c t o r (1982-99) w a s an u n a s h a m e d l y
n o s t a l g i c b i - m o n t h l y p u b l i c a t i o n for
c o l l e c t o r s of t e l e v i s i o n films, v i d e o t a p e s
a n d m e m o r a b i l i a . N o R e m a k e s (1990s) h a s a cov e r
f e a t u r i n g t h e c h a r a c t e r s S t a r s k y a n d H u t c h but
is in f act a m u s i c z i n e - e a c h i s s u e g l o r i e d
in s e e i n g ‘
who’
ll be w a v i n g g o o d b y e to t h e i r
career’
. T V T i m e s (n.d.) w a s a S i t u a t i o n i s t inspired ‘
literate and graphic destruction
of T V c u l t u r e ’
, co n t a i n i n g pithy phrases
s u c h as ‘
We a p o l o g i s e for t h e loss of m e a n i n g .
P l e a s e do not a d j u s t y o u r l i f e ’
. Tott i n g T i m e s
(1999-2000, r e n a m e d Rag 'n ' B o n e 2000-02) w a s
p r o d u c e d b y f an s of t h e p o p u l a r B r i t i s h T V
s i t c o m S teptoe a n d Son. F e m m e F l i c k e (1990s,
c o v e r a n d i n s i d e spread) b y T i n a S p a n g l e r
f e a t u r e d w o r k b y i n d i e w o m e n f i l m m a k e r s , as
w e l l as ‘
h o w - t o ’a d v i c e a n d DIY f i l m resources.
T h e s p r e a d r u m i n a t e s on t h e e t h i c s of t h e M T V
r e a l i t y s h o w R e a l World. T h e m e ’
70 F a n z i n e
(1994-n.d.) t o o k a w r y l o o k at b l a x p l o i t a t i o n ,
k u n g f u f i l m s a n d e x - P l a y b o y P l a y m a t e starlets.
122 / 123
r
A
L
‘
'» ■nar
i
_r — n i
t
r l
j \'.jr Ai.
-r * ,
V: iClILTURE!MLSIC!SEX!LIFE!
FREE!.
V -/
F i s h P i s s (1996— ) is a n i r r e g u l a r b i l i n g u a l
C a n a d i a n zine by Louis Rastelli, c ombining
comic strips and d r awings with fiction and
poetry. Pop! (n.d.) w a s a ‘
f r e e ’p e r z i n e w h i c h
fo l d e d o u t to a l a r g e r s h e e t p h o t o c o p i e d on
b o t h si d e s w i t h m u s i n g s a b o u t Joe P o p ’
s life
a n d p o p u l a r cu l t u r e . C h i c k e n Is G o o d F o o d
(late 1990s) w a s a v i s u a l l y p l a y f u l m u s i c
a n d p o p u l a r c u l t u r e z i n e w i t h 1950s r e tro
i l l u s t r a t i o n s a n d a r t i c l e s . The White D o t
(1996-2000) w a s a n a c e r b i c ‘
n e w s l e t t e r for
television-free h o u s e h o l d s ’
. Nancy’
s Magazine
(1983-), p r o d u c e d b y l i b r a r i a n a n d w r i t e r N a n c y
Bonnell - K a n g a s , provides insights into daily
life: for e x a m p l e h o w to p l a n t a n d c u l t i v a t e
seeds. C h i p ’
s C l o s e t C l e a n e r (1989-) is a b o u t
‘
p o p culture, h u m o u r , t r i v a a n d f u n ’
. Giant
R o b o t (1994-) is a b i - m o n t h l y g l o s s y m a g a z i n e
t h a t b e g a n as a s m a l l p u n k z i n e , f e a t u r i n g
A s i a n pop c u l t u r e a n d A s i a n - A m e r i c a n
a l t e r n a t i v e culture. R o b o t P o w e r (2000) w a s
a sh o r t - l i v e d s m a l l e r ‘
zine-within-a-magazine’
i n s e r t f e a t u r i n g C h r i s W a r e a n d D a n i e l Clowes.
O r i e n t a l W h a t e v e r (1995, 1998-) is a n A s i a n A m e r i c a n - o r i e n t a t e d z i n e t h a t w e n t f r o m 100
to 1,500 c o p i e s d i s t r i b u t e d i n t e r n a t i o n a l l y .
Beouttj in 'Reno, M /
Utjy Stars of f/e 70s
Youthful Skin
5 0 s Vulfj Porn
■Hoiv to Moke Bfecr
plus'
Music Reviews
Mod Lbs!
d. i
C h a p t e r 3 | L i b e r a t e d Spac e s : S u b c u l t u r e s , P r o t e s t and C o n s u m e r C u l t u r e 1 9 8 0 s - 1 9 9 0 s
Pop Culture
IW h ite
D #t
Summer. 1997
Humor
Trivia
Fun
Chip ’
s
Closet Cleaner
Survival Guide fo r the TV-Free
Usuc No. 6
Fo u r Bucks
Really Weird Sex!
♦
Alm ost Dirty
W ords!
♦
My Girlfriend Wears
My Favorite Te e s!
♦
V
V
Unseen Spinal Tap!
♦
Scary Products!
♦
Wkz ne
8-Track Madness!
♦
4,4 87 Rippin’ Book
and Zine Reviews !*
♦
/
*
\
t
•'
. /
-
...And Much More
Than You Can Chew
in One B ite !
I
J V
/
Giant Robot
’ give or take a few
FROM T H E MAKERS O F G IA N T ROBOT - ASIAN POP C ULTUR E AND BEYOND
ROBOT POWER
NEAR-DEATH STORIES / BURGER BATTLE / BLOOMINGTON
&
ART
ATTACK!
WONG KAR-W AI. S U P E R F U T M URAKAM I. TOHY LEUN G . NAKAHASHI’S KAMIKAZES,
GARDENER M ICH AEL LAU. MARATHON ESCALATOR R ID IN G . PSYCHIC CH ILD REN .
ASIAN H AIRCUTS. 25 LIFE-ALTERIN G IN V EN TION S. N O T STUFFED ANIMALS
cr
Impeach Clinton,
Make-Up Tips
Hapa Celebs
Angel Island
MSG Haiku:
Kevin Bacon
bamboo Girl
Star Trek
M a trlt
Keanu
124 / 125
Horror film zines emerged around the same
t i m e as e a r l y s c i e n c e f i c t i o n f a n z i n e s ,
an d in t h e 1990s e n j o y e d a s h o r t b o o m in
production. A n early pre d e ce s s o r w a s Gothique
(1960s), d e d i c a t e d to t h e H a m m e r F i l m s actor
C h r i s t o p h e r Lee, w h o p o r t r a y e d s o m e of t h e
a l l - t i m e g r e a t h o r r o r c h a r a c t e r s . Vi n c e n t
P r ic e Fil e (1996) b y L o n d o n - b a s e d S i m o n F l y n n
was a genuine ‘
f a n zine' w i t h t r i b u t e p i e c e s
a b o u t t h e h o r r o r f i l m actor, w h o d i e d in 1993.
P s y c h o t r o n i c Video (1980-2006) w a s a f a n z i n e
t h a t f e a t u r e d a r t i c l e s on t h e f i l m g e n r e of
t h e s a m e nam e .
_
C h a p t e r 3 | L i b e r a t e d S paces: S u b c u l t u r e s , P r o t e s t a n d C o n s u m e r C u l t u r e 1 9 8 0 s - 1 9 9 0 s
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The o t h e r z i n e s on t h i s s p r e a d e x e m p l i f y a
s e l e c t i o n of genres: m u sic, a r t a n d p o p u l a r
culture. Ai n ' t B i n to N o A r t S c h o o l (n.d.)
was an a r t z i n e b y M i c h a e l J. W e l l e r t h a t
c o m p r i s e d s i n g l e t e a r - o u t s h e e t s of m a g a z i n e
adverts, c o m i c - b o o k p a g e s a n d n e w s p a p e r
television schedules and also featured his
own p ag e of 'Xerox p o e m i k ’coll a g e s . Lip
Service (1980s) w a s a c r o s s o v e r z i n e c o m b i n i n g
m us i c a n d p o p u l a r c u l t u r e in t h e t r a d i t i o n
of punk. T h e c o v e r p a y s h o m a g e to L a d y D i a n a
and t h e R o y a l W e d d i n g . Z i n e Z o n e (1990s) w a s
a free m o n t h l y c u l t u r e z i n e w h o s e e d i t o r
su g g e s t s t h a t 'our s p e c i a l i t y is to i d e n t i f y
n e w trends'.
Horror f i l m zines em e r g e d arou n d the same
t i m e as e a r l y s c i e n c e f i c t i o n f a n z i n e s ,
an d in t h e 1990s e n j o y e d a s h o r t b o o m in
production. A n early p r e d e ce s s o r wa s Gothique
(1960s), d e d i c a t e d to t h e H a m m e r F i l m s ac t o r
C h r i s t o p h e r Lee. w h o p o r t r a y e d s o m e of t h e
a l l - t i m e g r e a t h o r r o r c h a r a c t e r s . Vi n c e n t
Price Fil e (1996) b y L o n d o n - b a s e d S i m o n F l y n n
w a s a g e n u i n e 'fan z i n e ’w i t h t r i b u t e p i e c e s
a b o u t t h e h o r r o r f i l m actor, w h o d i e d in 1993.
Ps y c h o t r o n i c Video (1980-2006) w a s a f a n z i n e
t h a t f e a t u r e d a r t i c l e s on t h e f i l m g e n r e of
the s a m e name.
J k fc .
4 VINCENT Hitt
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The o t h e r z i n e s on t h i s s p r e a d e x e m p l i f y a
s e l e c t i o n of genres: m u s i c , a r t a n d p o p u l a r
culture. Ain't B i n to N o A r t S c h o o l (n.d.)
was a n a r t z i n e b y M i c h a e l J. W e l l e r t h a t
c o m p r i s e d s i n g l e t e a r - o u t s h e e t s of m a g a z i n e
adverts, c o m i c - b o o k p a g e s a n d n e w s p a p e r
television schedules and also featured his
own p ag e of ‘
X e r o x p o e m i k ’coll a g e s . Lip
Service (1980s) w a s a c r o s s o v e r z i n e c o m b i n i n g
m u sic a n d p o p u l a r c u l t u r e in t h e t r a d i t i o n
of punk. T h e c o v e r p a y s h o m a g e to L a d y D i a n a
and t h e R o y a l W e d d i n g . Z i n e Z o n e (1990s) w a s
a free m o n t h l y c u l t u r e z i n e w h o s e e d i t o r
s u g g e s t s t h a t 'our s p e c i a l i t y is to i d e n t i f y
new t r e n d s ’
.
126 / 127
maximumrocknroll
M a x i m u m R o c k n R o l l b e g a n as a p u n k - r o c k r a d i o
s h o w i n 1977, t h e n b e c a m e a p r i n t z i n e i n 1982
with music reviews from zine writers such
as J e n A n gel, J a c k R a b i d a n d M a t t W o b e n s m i t h .
P u n k P l a n e t (1994-2007), a ‘
designed’
p u b l i c a t i o n , f o c u s e d on t h e c u l t u r e of p u n k
a n d w a s n o t a b l e for its e x t e n s i v e r e c o r d
r eviews. P r o f a n e E x i s t e n c e (1989— 98, 2000-08)
was a zine and record label run by an anarchop u n k c o l l e c t i v e out of M i n n e a p o l i s . R e v o l t i n g
(1993-n.d.) w a s a p o l i t i c a l z i n e w i t h a
p u n k attit u d e . H.A.G.L. (c. 1984-) p r o v i d e d
c o v e r a g e of p u n k m u s i c i n t h e n o r t h - e a s t e r n
United Kingdom.
Pint Row: Christie Front Drive, Tenos it the Reason
Second Row. John Cougar Concentration Camp. Naked Aggression
Third Row; Community-based money, How to buy guitar equipment
Fourth Row: Fiction, Columns, Reviews, Comics, ond morel
makim t m a threat am m
GOVERNM ENT IS SLAVERY
IT S LAWS ARE FOR TH E RICH
AND CHAINS OF S TEEL
FOR TH E POOR
IKSICE
SERVITUDE Interview
Sveriges Arbetares
Centralorganisation
Repression of the
anti-fasist movement
in Germany
Anti-fascist reports
Police Brutality:
The State Made Flesh
Anarcho—Punk Federation
DrI.Y distro hints
Peru Scene Report
DISKOBTO tour photos
IS A USURPER AND TY R A N T
RED LONDON
C h a p t e r 3 | L i b e r a t e d S paces: S u b c u l t u r e s , P r o t e s t a n d C o n s u m e r C u l t u r e 1 9 8 0 s - 1 9 9 0
O p e n Up a n d B l e e d (c. 1998-) is a p u n k
and g a r a g e f a n ’
s z i n e i n v i t i n g r e a d e r s to
c o n t r i b u t e a c t i v e l y to r e v i s i t i n g t h e 1970s
scene: ‘
let us k n o w a b o u t y o u r w i l d e s t
a n e c d o t e s a n d h o w y o u m a d e h i s t o r y que u i n g ,
b o o zing, p u k i n g , s q u a t t i n g , shagging...’T h e
p r o d u c e r s p a y h o m a g e to ‘
t h e g e n i u s of M a r k
P.’ (of Sniffin' Glue) a n d t h e h i s t o r y of p u n k
music, f a s h i o n a n d p o p u l a r c u l t u r e in general.
R u p t u r e d A m b i t i o n s (c. 1989-c. 2008) w a s a
D e v o n - b a s e d f a n z i n e t h a t p r i d e d i t s e l f for
r e p o r t i n g on l e s s e r - k n o w n l o c a l bands. Your
F l e s h (1981-) r e p o r t s on t h e M i n n e a p o l i s punkr o c k s c e n e as w e l l as ‘
a l t e r n a t i v e / o u t l a w art,
politically incorrect and irreverent social
humor and s k a t e b o a r d i n g ’
. The cover art became
n otable, w i t h c o n t r i b u t i o n s f r o m L e e E l l i n g s o n
(this issue), R o n C l a r k a n d J e f f Gaither.
I
w
128 / 129
Metaz i n e s and zine catalogues flourished
d uri n g the 1980s-90s. Factsheet Five (1982-98)
was the most i m p o r t a n t of the genre, founded
by M i k e Gunderloy (with subsequent editors
incl u d i n g Cari Goldberg Janice, Jacob
Rabinowitz, Huds o n Luce, R. Seth F r i e d m a n and
Jerod Pore) and providing comprehensive zine
reviews that we r e often more e n t e r t a i n i n g
that the zines themselves. It b e c a m e a focal
point for the b u r g e o n i n g intern a t i o n a l zine
c om m u n i t i e s and created a prototype zine
taxonomy. All Genre (1990s) was bi-monthly and
‘dedicated to the freer d i s s e m i n a t i o n of music
and i n f o r mation of all styles and g e n r e s ’.
A m o k (late 1980s) was a series of ‘dispatch
s o u r c e b o o k s ’ produced by Ken Swezey and Ad a m
P arfrey (an in f l u ential u n d e r g r o u n d publisher)
w i t h a contents list incl u d i n g ‘e x o t i c a ’,
‘s l e a z e ’, ‘sensory d e p r i v a t i o n ’, and ‘m a y h e m ’.
Action Resource Guide Cata-zine (c. 1991-95)
w as devoted to ‘grassroots, political a c t i o n s ’
and included ‘a prisoner and zinester network
contact l i s t ’, as well as the usu a l listings.
This issue incorporated P r i s o n e r ’s Speak [sic]
w h i c h was ‘a collection of words and images
from incarcerated p r i s o n e r s ’.
genre
Action Resource Guide #4 -1994 edition
Time for a change?
Includes ARG Zine #5 - Prisoner's Speak
_
Chapter 3 | Liberated Spaces: Subcultures, Protest and Consumer Culture 1980s-1990s
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Bypass (early 1990s) was a UK-based review
m a g a z i n e for ‘zine producers, self-publishers,
small press organizations, pamphleteers
and outside a g i t a t o r s ’. It was relaunched
in 2007 online. Book Your Own F u c k i n ’ Life
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(1992—) is a DIY resource guide published by
Ma x i m u m RocknRoll and the A m o e b a Collective,
notable for its intern a t i o n a l reach. Broken
Pencil (1995-), out of Canada, reviews
a lternative publications in print and online
and has t a k e n over w h ere Factsheet Five left
off. The Zine (1990s) was the most concerted
attempt in the United K i n gdom to produce
a m a i n s t r e a m version of a fanzine complete
with free classified ads and zine reviews.
Chapter 4 | Girl Power and Personal Politics 1990-1997
Bi k i n i Kill was ‘more
th a n just a band - i t ’s a
r e v o l u t i o n ’, and the fanzine
Bikini Kill (early 1990s)
d emonstrates ba n d m e m b e r
Tobi V a i l ’s c o m m i t m e n t to the
rise of a n e w f e m i n i s m as
seen t h r o u g h the riot grrrl
movement. The b a n d ’s singer,
Kath l e e n Hanna, produced
April F o o l ’s D a y (1995), in
w h i c h she confessed she was
an alcoholic: 1 April is w h e n
she decided to stop drinking.
In the perzine Spiderplant
(2000) the producer remarks:
‘I first wrote my first
fanzine at 15.’
After the high point of punk, the 1990s was a prolific period for fanzines
fanzine Mental Children (1980), one interviewer comments that ‘the
that were politically motivated. The rise of the music-inspired riot grrrl
Raincoats are out on their own, proving that girls can produce vital new
movement revitalized small press publishing through a slew of new
music, owing nothing to anyone else but themselves’. Gina, a member
fanzines, including most famously, in the United States, Bikini Kill (Tobi
of the band, remarked that ‘punk wasn’t the final push for me, it was the
Vail, Kathi Wilcox and Kathleen Hanna, early 1990s), Riot Grrrl (Molly
initial push’.3 By 1993 riot grrrl surfaced in the United Kingdom with
Neuman, Allison Wolfe, 1991-n.d.) and Girl Germs (Molly Neuman
bands such as Linus, Mambo Taxi, Skinned Teen, the Voodoo Queens
and Allison Wolfe, 1990-92). These and others helped to galvanize
and Huggy Bear, whose 1993 track ‘Our Troubled Youth’ was described
a new generation of feminists to continue questioning, as their 1970s
as one of the best documentations of youthful British angst since punk’s
counterparts had done before them, notions of gender identity, sexuality
famous Clash album London Calling. The difference, however, was that
and representation, queer politics, multiculturalism and equality with
riot grrrl advocated a female exclusivity, which was not always present
their male counterparts in the music industry (and elsewhere).
in the manifestos of earlier female punk bands. These later bands
were pioneers of a ‘Girl Now Revolution’, often meaning an aggressive
From Punk to Grrrl Revolution?
display of female sexuality reminiscent of first-wave feminism. Fanzines
The riot grrrl movement came to public consciousness in 1991
became an integral part of the movement.
at the International Pop Underground Convention held in Olympia,
Washington - a six-day festival organized by Calvin Johnson (founder
Personal is Political
of the K Records label) and Bruce Pavitt (producer of Sub Pop fanzine,
Whereas punk fanzines took an authorial position that reflected
who had created a newfojori of fanzine, with two issues released as
predominantly male concerns, featuring groups consisting of ‘four guys
compilation cassettes). The first evening of the festival was aptly titled
with guitars’ and variously defined interests in anarchist politics, riot
'Love Rock Revolution Girl Style Now’, and featured all-women bands
grrrl zine texts often adopted a women’s autobiographical approach
such as 7 Year Bitch, Jean Smith and Bratmobile. These women
(such as diaries and storytelling narratives) reflecting personal opinions
ascended the stage in a collective act of defiance against the dominant
and aspirations that were by their very nature a critique of the punk
male music industry, especially that represented by punk. As one
zines that had come before. Sleater-Kinney band member Corin Tucker,
promotional flyer promised: There will be lots of time to talk with
who was also the producer of an early American-based riot grrrl zine,
other women about how we fit or don’t fit in the punk community.’
Channel Seven (early 1990s), summed up her feelings by stating:
The mainstream press made much of this connection early on with
‘I choose to write about my life for myself and because I think there is
punk,1 while acknowledging that many of the riot grrrls were too young
something to be learned from most people's personal experiences.’4
to have experienced punk in its first incarnation. The most explicit
The importance of the fanzine as a space for a women-only
connection between punk and riot grrrl was through a shared notion
discourse was underscored by the first line of the ‘Riot Grrrl Manifesto’,
of DIY.2 Punk’s promotion of the philosophy that ‘anyone can do it’ had
written in 1991, which appeared in the second issue of the zine Bikini
prompted young women to pick up their guitars and to rediscover earlier
Kill: ‘BECAUSE us girls crave records and books and fanzines that speak
bands, such as the Raincoats - an all-female punk band and precursor
to US that WE feel included in and can understand in our own ways.’
to riot grrrl notable for addressing issues of gender and image. In the
Riot grrrl bands often criticized the motives of the mainstream music
132 / 133
The h a n d m a d e is showcased
in these three early riot
grrrl zines. Producers Rachel
and Sarah ann o u n c e on the
cover of Kitten Carousell
(early 1990s) that this is the
‘special nail v a r n i s h i s s u e ’.
Bombshell (early 1990s), out
of M e r s e y s i d e , uses stars
as part of the h a n d w r i t t e n
title. K a r r e n Ablaze was one
of the early promoters of
w o m e n in music t h r o u g h her
fanzine Ablaze! (1987-93) and
in this issue she e x p e r iments
by atta c h i n g the table of
contents to the cover.
press, in which they were often misrepresented. Corin Tucker reflects
Borrowing from the M ainstream
that the entire movement was trivialized by the mainstream press as
Such an approach continues through the way in which the format of the
‘being a fashion statement’.5 Huggy Bear famously practised a media
riot grrrl fanzine draws from the conventions of mainstream women’s
blackout, giving interviews only to fanzine producers. Fanzines provided
magazines. First, riot grrrl zines draw upon mainstream media imagery,
a forum in which riot grrrls could critique and reject mainstream media,
much of it literally cut up from newspapers and magazines. Secondly,
but also importantly represented an uncensored arena for reaching out
riot grrrl fanzines often replicate the content format used by mainstream
and sharing experiences with other young women.
girls’ magazines, such as review columns, readers’ pages and feature
The personal is also reinforced through the visual identity of each
stories. Yet, unlike the readers of girls’ magazines, the riot grrrl
individual riot grrrl fanzine. These fanzines took the graphic language
producers are in a proactive position of empowerment. They operate
of punk - photo-booth images, hand-drawn comic strips, collage
outside mainstream fashion and lifestyle consumer culture, often in
illustrations and cut-and-paste ransom-note lettering-and added
direct opposition. Lucy Sweet, writing in her fanzine Chica (2001-c.
a set of feminist-inspired characteristics, each producer introducing
2004, UK), announces that ‘there’s something about the superficiality
her own unique DIY style. Producers appropriated techniques to add
of a woman’s magazine I really enjoy. But boy, oh boy, they are just so
a ‘sweetness’ or visual associations of femininity. Kitten Carousell
frustratingly predictable.’6 Chica’s layout conforms to the conventional
(early 1990s) used hand-painted nail varnish for the title of an issue
divisions of a mainstream magazine with The Features’, ‘Regulars’,
whose main feature was about experiments on animals by the cosmetic
‘Editor’s Letter’, ‘Letters Page’, ‘Horoscopes’, and ‘Stars Letters’. Its
industry. Rebel Grrrl Punk (1997-2000) adorned its covers with
strength, however, is in its ironic intent (such as in spoof columns like
hand-drawn stars and hearts surrounding photographs of feminist
‘Slut in the City’), where Sweet draws inspiration from ‘having a bit of
icons such as Courtney Love. The visual thus sanctioned the ethos
old-fashioned fun’ in writing and the cut-and-paste imagery from 1980s
that riot grrrls were both empowered to be feminists and had the
Jackie annuals (Jackie was a best-selling mainstream girls' periodical
choice to be feminine.
in the United Kingdom, subsequently subjected to trenchant feminist
Riot grrrl fanzines can be paradoxical and often iconic. Graphic
criticism). Sweet acknowledges that ‘it’s got a kind of knockabout,
devices that are considered ‘feminine’ are pitted against those that
cartoony feel to it, and it’s very rude, with an anti-celebrity slant and
are found to be ‘masculine’. Take, for example, the adoption of the
lots of crumpet and swearing. It’s definitely no Glamour and it doesn’t fit
Japanese-produced ‘Hello Kitty’ as a third-wave feminist icon. This cute
into your handbag.’7 Fanzines thus actively engage with popular cultural
illustration, created in 1974 by the designer Ikuko Shimiz, provided riot
texts in much the same way that punk did thirty years earlier.
grrrls with a symbol of femininity and at the same time of commodity
These fanzines never forgot their second-wave feminist
fetishism. Within the context of riot grrrl fanzines, Hello Kitty is a
predecessors. Riot grrrl zines form part of an established feminist
tool of cultural subversion signalling the desire to protest against, but
publishing history with forerunners such as Spare Rib (1972-93) and
equally to reclaim, the term ‘girly’. Hello Kitty is re-contextualized as
Shocking Pink (c. 1982, 1987-92) in the United Kingdom and Ms.
simultaneously feminine and radical by means of a post-punk fanzine
Magazine (1972-) in the United States that were forums for raising such
aesthetic of high-contrast photocopied imagery, degradation of tone
issues as equal pay, child care, health care and anti-ageism. Spare
into unreadable areas of text, and collage-like layering of cut-out texts.
Rib emerged out of Britain’s counter-cultural underground in 1972,
—
inventive
L-.-.hlee
.SOLAR
CULTURE
TOOLE
I
The tension b e t w e e n b e i n g a f e minist and at the
same time ‘feminine' resonates in the use of visual
im agery in m a n y riot grrrl fanzines. Starlet (1994)
is a ‘tiny little f a n z i n e ’ (in a m i n i format), with
Mar i l y n M o n r o e as this i s s u e ’s cover icon, yet
inside, articles on w e i g h t problems among young
w o m e n feature. Twinkle Eye Fizzy (n.d.) combines
pin k copy-paper w i t h photo-collages of young women,
and cites Dr e w B a r r y m o r e as a feminist icon. The
zine-style p r o g r a m m e for Le Tigre and Las Sin
Fronteras (2000) promotes ‘a feminist c a b a r e t ’ at
the Solar Culture club, starring Le Tigre (Kathleen
H a n n a ’s band post-Bikini Kill) plus o p ening act Las
Sin Fronteras.
134 / 135
Botramaid (late 1990s) by Gail
Douglas and L o rraine Douglas was
an e n t e r t a i n i n g m i x of music,
cartoons and cut-out paper dolls.
In the United States, Sabrina
M arg a r i t a Sandata founded the
feminist/queerzine Ba m b o o Girl
(1995-), c h alleng ing stereotypes
M
r
n
m
i
d
FftrtZANt W V T H m fVNNttS
from a Filipina/Asian point of
view. The Pretty Ugly Collective
in A u s t r a l i a produced Pretty Ugly
(2002-) in the hope of 'inspiring
you n g w o m e n to write z i n e s ’. It
asked w h e t h e r ‘the riot grrrl
m o v e m e n t has had its d a y ’ and
w o n d e r e d wh a t h a ppens to girls
w h e n they become women.
p r e J f t y u ^ l y
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T h e riot grrrl ethos
c ontinued to evolve via a
series of festivals. The
Ladyfest Glasgow prog r a m m e
(2001) d o c u m e n t e d the first
E u r o p e a n Ladyfest, where
b a n d s such as K a tastropy
Wife and local Scottish indie
group BIS took the stage. UK
Ladyfest A r t w o r k 2001-2008
(2008) w a s a collection of
posters, p r o g r a m m e s and
flyers fr o m 18 festivals
complied by He a t h e r Crabtree
and M e l a n i e Maddison. to
d e m o n strate the diversity
of approaches to the v i sual
identity of riot grrrl.
becoming a vehicle for the women’s liberation movement. This second-
reclaim the word ‘lady’. Allison Wolfe of Bratmobile remembers that
wave feminist magazine saw its founders, including Marsha Rowe and
founder Kathleen Hanna remarked, ‘We will have to find a new word
Rosie Boycott, focus on the ‘personal being political’ by covering such
when we get older and become ladies.’11 Although riot grrrl was initially
topics as sexuality, lesbianism, masturbation, women in industry and
seen as a response against the patriarchical attitude of the mainstream
equal working conditions. Shocking Pink announced its remit was
music industry, it was symptomatic of attempts to empower women
to ‘counter the propaganda of magazines like Vac/c/e’ and to celebrate
more generally. Ladyfest Glasgow (2001), the first European festival
women’s sexuality - whether straight or lesbian.8 The graphic language
following the Olympia event, similarly aimed to reject the conventional
of each publication built upon a distinctive DIY aesthetic where
role models offered by the dominant cultural industries.12 Lee Beattie,
handwritten texts and stark black-and-white photographs featured
one of the Glasgow organizers, explains: The whole ethos surrounding
within a layout more post-punk than glossy women’s magazine.
Ladyfest was to take the ideas away and make them relevant where
Perhaps the most significant aspect of the graphic language
you live... Ladyfest does inspire you to start changing things yourself,
employed by riot grrrl fanzine producers is the use of the three ‘r’s in the
no matter what the scale or size.’13 Ladyfest provided opportunities for
revamped word ‘girl’, in an attempt not only to reclaim the term but to
fanzine producers to sell and exchange their zines. At the same time,
reinforce it through embellishment. The world ‘girl’ is invested ‘with a
spoken-word artists and, in this case, menstrual activist Chella Quint,
new set of connotations’, which now may be read as an ‘angry feminist
of the fanzine Adventures in Menstruating (2005 -, UK), had a stage
who relished engaging in activity’.9
on which to share their fanzine stories verbally through readings. Since
Historians have recorded that the term ‘riot’ originally derived from
Glasgow, these primarily women-only festivals organized by volunteers
a passing comment, ‘We need a girl riot, too’, in reference to 1991 riots
have taken place all over the world, showcasing bands and female
in Mount Pleasant, Washington, DC, sparked by a shooting amid racial
acts as well as ‘creating a space to explore ideas, network, meet’,
tensions.10 The term ‘riot grrrl’ is also reported to have derived from
and through such efforts strengthening the riot grrrl community.14
Bratmobile drummer Tobi Vail, who wrote about ‘grrrls’ in the fanzine
The idea of community is explored in the following chapter in
Jigsaw (1988-). Whatever its origin, the term graphically comes to life if
relation to the way in which digital technologies and the Internet have
‘riot grrrl’ is visualized and read as an aggressive-sounding ‘growl’. The
provided fanzine producers with new opportunities to disseminate zines
multiple ‘r’s have a strong impact. The word is simultaneously read and
on a global scale. It raises the question of the status of the print fanzine
heard. Writing is treated as ‘visual text’ - the way in which the forms are
and where its future might reside. For riot grrrl, however, the signs
drawn facilitates communication of the riot grrrl message. Equally, ‘grrrl’
are that print zines will continue to flourish. The format of the printed
as a word is symbolic and is interpreted by different fanzine readers
fanzine as a tactile and immediate form of communication reinforces
and producers to mean different things, thereby catering for (and
the personalized nature of riot grrl narratives. The riot grrrl fanzine
representing) the range of voices and audiences riot grrrl embraces.
is an intimate experience of reading, in the negotiating of public and
private spaces, but also in the building of a social relationship between
Girls Grow Up
producer and reader.15 This also explains the continued popularity of
In 2000, riot grrrl supporters organized the first Ladyfest convention
the Ladyfest events; at the time of going to press, Ladyfest is set to
in Olympia, Washington. Ladyfest was given its name as a way to
celebrate its tenth anniversary as a ‘global DIY movement’.16
136 / 137
LEED S &
BRADFORD
Punk-style cut-outs and collage m i x with
ubiquitous signifiers such as stars, hearts
and feminist icons in this spread of 1990s
zines. Bikini Kill (early 1990s) is focused
on the eponymous band (quote: ‘three of my
best friends are in Bikini Kill and we made
this fanzine together... and we all play music
together...’). Leeds & Bradford Riot Grrrl!
# 0UR,HnsTS» •;
:i*'v GRBRLZINEjjg? V;
______ r u t n WORD '9,
*» uaNO
«*• C ljg v ? .
(1993) gave a localized spin on the movement;
the interior spread be l o w is a m a n i festo for
activism. Dancing Chicks (1999) m a k e s the
point that fanzines are more tha n just
wri ting about ‘cool b a n d s ’ and reflects on
ho w zines have affected the w r i t e r ’s life
in a positive way.
^
iACTIOM
m y L IS
i L uSIMPLE
iit u
^^ <
\) PRICK
You don't have to lead big marches to be politically
politically
active
you don't have to carry every sorrow of the world on your
shoulders but you can make a difference.
Here are some easy
ideas for direct action in your own neighbourhood.
1) Defacing hoardings, writs something succinct and vitriolic
with your trusty cfc free spray paint.
What is really good
at the moment thanks to the recession is that there are quite
a few posterless hoardings so go for it, it is loadB of fun.
But only go around in small groups max 3 people you don't want
a criminal record.
Make a collage of posters stick paper flowers
on whatever you like really.
Q? <!? <5> <5>
<57
can get your hands on a photocople'r
2)
Fly posting,
if you
for free
print a load of posters saying whatever is pissing
you off at the time and post them around your neighbourhood
on streetlamps and the places where posters go up for bands
and shit in town. ^
C ?
Q?
Q ?
3)
Ripping
down
sexist
posters,
gives
great
satisfaction.
I did this with some friends in Sheffield cos the Roxy were
advertising a strip night with posters of girls with their tits
and arses hangin out.
^
S>
^ ^9
A)
Going to shit sexist movies
like Body of Evidence and
laughing very loudly at all the stupid cliches in it and making
comments like" Why the fuok is Madonna wearing bucket knickers?"
or "Oh what a surprise she had to die in the end, oh great a
bit of witch drowning oh terrific."
In a really sarcastic
voice
so
that the
rest of the audience
can't
swallow the
Holliwood myth and let themselves be duped into thinking it
was good.
It's a dirty job but someone has got to do it.
5)
Going into public libraries and ordering feminist books
paricularly ones with stuff about the goddess and serious radical
arguments in them.
This has two effects as the governement
is trying to shut down libraries because not enough people are
using them.
It does not occur to them that most libraries are
not designed to be comfortable congenial places where you can
hang out and expand your mind in relaxed peace.
Also you are
expanding the availability of feminist literature to those who
can not afford to buy them.
You could combine this with a poster^_
campaign.
6)
Hassling your MP write letters and make appointments to
see him or her they usually have things called surgeries (mmmm
lovely name) ao you can go and hassle them about something you
care about that he/she can ohange but you need to have done
some research and perhaps have a bit more support from other
people but that is what Riot Grrrl is for.
OK so there are some ideas for you to activate on the cheap
they can be a lot of fun, it is fun and silliness that will
win the day ag we oppose the Gtuffed shirt regime of oppression.
May comedy terrorism win our freedom nothing hurt except male
anal retentive pride.
^
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WITH A m I
GUILTY FOR,
BEING
ATTRACTIVE
GUILTY FOR EVEN
URTING
H i SHOULD
FEEL LIKE THIS?
DELIGHT
^Dancing Chicks!^
Issue
Four
★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★
One
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IT H E R ... S T U F F
-I
Riot Girl London
* newsletter *
January 2001
WHO ARE WE?
R iot G irl London is a g ro u p d e d ic a te d to sp re a d in g a g irl-p o s itive m e ssa g e and
e n c o u ra g e s g irls to fo rm bands, s ta rt zin e s and sto p p a n d e rin g to the s te re o typ e s th a t
so cie ty th ro w s at us. W e a re not a n ti-m e n , w e sim p ly fe e l th a t th e re is an im b a la n c e in
this w o rld and we w ould like to change th a t. E v e ry m onth o r so w e m ee t up, b u t a lot
o f R G L is based on the in te rn e t. W e a re p u ttin g out this n e w s le tte r to involve m o re
people who do not have re g u la r a cc e ss to the net and to t r y to g et som e n o n -in te rn e t
action going.
*
INT ERN ET
ZINE
*
Our w e b s i t e
is u p d a t e d all
the
time and n ow fea tu re s a co py of
our flier,
a guestbook,
mailing
list,
poll and some g reat links
(not to m e n t i o n e ve n m o r e info &
news) . You can also email us (and
we 'l l even r e p ly s o m e t i m e s o o n i s h
- w h o o h o o !) . Its all at: *'
*
*
We are currently putting together a zine and
need articles & artwork from all you w illing
contributors. We want to make sure if
represents the views o f as many London girls as
possible. There isnt a deadline yet as such, but
we are hoping to get it done pretty quickly -
*
maybe o u t by March? A n ything to do with
h t t p ://gurlpages.com/riotgirl.london
*
your feminism/beliefs, relevant London s tu ff
email us at: [email protected]
*
*
rants, etc is welcome. You can email any
questions & zitie s tu ff to us. Thanks!
SPREADING THE WORD
*
GIRL GIG
*
Currently we try and spread the word about Riot
Girl London by posting on websites & mailing
lists, but most im portantly by giving o u t fliers.
We have a set 'manifesto' that is on the fliers &
*
*
We have an a m b i t i o u s p l a n t:o put
on an all gir.l ba nd s
gi g
this
summer.
If you c o ul d h e l p w i th
i d e a s / m o n e y / b a n d s p l e a s e do!!!
*
website, but people are free to change it <§r
C O N TAC T
design their own leaflets, i f you would like some
fliers to hand out, email us and we'll send you
some, or make some yourself. We are also
looking in to making RGL badges & stickers, but
aren't sure exactly how to do that, or how to
afford It! i f you can help, let us know. ©
*
*
*
*
A s this is su p p o se d to help n o n -n et
p e ople, w e know It sucks th a t w e d o n ’t
have a *snall m a ll’ a d d re s s . W h en we
have som e fu n d s a P .O box a d d y w ili be
a rra n g e d . T il then , o ff to the c y b e r ca fe !
Don 1 expect a newsletter every month because we 'II probably be working on these projects for a while. When w»
have wore stu ff to tell you about or things to beg for, we II do a new one. Please keep in touch with us. ok?!
^
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(91), tolly and Alllson (
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s radsculnlntor Jen !>»lth who
------- —~ * •» » • called Clrl Riot. (Hil* v«s
rJot» occurring in hor nel^borhood at t
a lunch of us Olynpl. kid, (nratrobilc are! niklr
”•“ » «•«n ii«,d u.
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was bom. Kathleen (Bikini Kill) took it a ntro further^
and %w talked about f«ral« mno w
(oc U d ,^T u , ^
Li?:*££?
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forth between Qlynpla 2nd
Ncv Kathleen and Million (
Kathleen Is govtt (to tho prees/iruil or>r stuff, whl
fanzines. Me wnnt to distribute far:Inn by girls «
a" 7 ? ° ° “ Stapled copy of7*°
fBntlno'
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“O”3 Stiiliw
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81®
Jr»VHeft*.
Riot Girl London Newsletter (2001) is a call
for zine contributors in an effort to 'get some
non-internet action g oing’. The examples on
this page include several very early Ameri c a n
fanzines that were still very much in a punk
mode. Jigsaw (1988-) was put together by Tobi
Vail, later of Bikini Kill, and initiated man y
of the visual and textual characteristics of
the emerging scene. Girl Germs (1990-92), with
its unapologetically homoerotic cover, was
another pioneering zine, created by Allison
Wolfe and Molly N e u m a n of Bratmobile fame.
Riot Grrrl...Believe in Me! (1991) was a ‘c a l l ’ for
fanzines and tapes to distribute t h r ough Riot
Grrrl records and press. Channel Seven (early
1990s) was created by Corin Tucker from the band
Heavens to Betsy, and E rika Reinstein.
1.
sr, «■
contributor copie. of other girls' z i n o T ^ ^ ^ - ' 2?.? *? ,lv* ,v,ch
d participate 1
il girl network nationwide (or lnti^tl?)
trylrq to nuke ncoey°c
ng to <to something lrportant
9»a in cxir own llvea and the live* of other glrln,
lnlon or expectation Ho JU
tosltlon or consensus, boco
'melyhwT"
ythlng. Q» concrete thing
to have a place where t* can
pi vr*n, md bring up issues £
to
cn
tho
nail
In?
list,
plea
your fanzine
I with your address on it
to
RIOT (WTO.
c/o The Dnbassv
32H 19th St. NW
Mashlngtcn DC 20010
"townl *i))
nt£jj
^ * 4 ^ f l * H o ffs I Sj>qjOJt + -SPttt ^ d C u la r ^
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111
?)
Humour always played a big part in getting the
message across. Reggae Chicken (c. 1993, cover and
inside spreads) was an early zine for H uggy Bear fans
full of small point-size typeset words, cut-out type
and h a n d w ritten texts, repeated p u nctuation marks,
hand-drawn hearts and stars, and photo-collaged
images. The f e m i n i s m was angry but tongue-in-cheek
(‘dying to pee then peeing is sooo good!'). Drop
Babies (1993, cover and inside spreads) by Elizabeth
and Layla includes ‘h u n k y ’ male pin-ups and various
‘domestic b l i s s ’ scenes from British Ladybird
ch ildren’s early-reader books.
142 / 143
WITH MY SPECULUM,
fa I A M STRONGI ,
\ I CAN FIGHT!
I
■P H .".1',"!"
_
Chapter 4
Girl Power and Personal Politics 1990-1997
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These British zines depict the h i story of the
m o v e m e n t t h r o u g h the efforts of Cazz Blase.
Vaginal Teeth (1998) references a 1970s Ms.
Magazine cover w h i c h itself was a parody of
the ‘f e m i n i s t i c o n ’ Wonder Woman. This one-off
zine features reflections on the first Leeds
Riot Grrrl meeting. A g g a m e n g m o n g Moggie (199399) was a long-running perzine (29 issues) by
Blase notable for the ho n e s t y wi t h w h i c h she
shared i n t i m a t e details of her youth. She
exhorts f e m i n i st s ‘to challenge the things
that a r e n ’t r i g h t ’, whi l e exploring the issue
of ali e n a t i o n (‘I d o n ’t fit in here. I d o n ’t
fit in there and nobody seems to c a r e ’).
144 / 145
Visual references to f e m i n i s m continued to
be developed in different ways as a second
generation of riot grrrl fanzines emerged
in the late 1990s. Rebel Grrrl Pu n k (1997-2000)
by K i r s t y took the opposite path to p u n k shock
tactics (such as bad language and aggressive
t y p o g raphic forms) by emplo y i n g hand-rendered
hearts and stars and images of ' f eminine’,
femi n i s t icons such as C o u r t n e y Love.
Sophy, producer of Sista Yes! (1997-99) cites
1970s femi n i s t zines as an influence, and
acknowledges a debt to m u s i c i a n Patti Smith.
J W W t IT N°W
This issue is safety-pinned together, and has
a cover f e aturing a r emarkable h a nd-drawn
illustration of the ba n d L7.
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now that I have a brain that processes thoughts healthfully. ) Idea what to do with myself
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J It Is a betrayal of my self to admit these things.
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s x U j r o r "M “ “ ■WB*' “e B*“ a° °°m “
! V400VC) WSi^NfteuJ fJECMiRE UEJER WW\N6t iN ^
[ PAIR
The ontldepressant medl«aHons I tako seem to be working. I’ve taken
them for two weeks, which It the minimum time they reaulre to benin
activating changes In the brain's serotonin. Already I have noticed that I
am less prc-occupled with food, not as critical of my
body as usual. I havont been picking fights with my
boyfriend, like I used to. I don't feel I get nearly as
saîyjs
£ it
so Focwnc,
t o r me t o lMWiME ee\ N & fl«E
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AT
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WWETO BE CH(t/*K>
m > fWsC*| For W E FccOSi-fEtMKl^ -ftVrt CWJ WCtc%tKRT ft BiNfeE.
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eaning
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nr
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only thing I1a^
know
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or
cut
myself n
I
confusing. When things get all fucked up, what I nonn_
confuslno.
Is run for a razorblade
razorblade and
and a half-gallon of Icecrc’arru!
Everything
...........
. IS absolutely fucked up. But 1am not hunary and
I don't feel like cutting. What the fuck Is this shit? What can I
Cft CWfcRKCTER Ft/cW OF 1WE A&Mt-tWE
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\ » P rx>WM i W W W tWrt IF/WHEN i m
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PirateJenny
A saucy little zine for your inner feminist revolutionary
Volumetissue 3 lute Summer/fall2000 "probonopublica" $2U.S.
The Butch/Femme Issu
What is it?
And do i need any shots to have it?
A d d we are pleased tt feature Homy Lamm,
The Sexiest Woman In America
TVsIssueIncludes'gloriousstories,
Ustontliterature,unipeople'spersonallives
todstraightupnits
Lesson
13
F a m o us Artists Course
P re tty g ir ls — to d a y 's m e n a n d w o m e n
Fomout A»mft School*. Ii*c.
Hew you can have all kinds of Female TrooMe in two Hew Colors!
nancy-nantslavenderandsott-butchblue
PirateJenny
Asaucy little zine for your inner feminist revolutionary
1 L fs n a
#4
liU K M m ir / fa f i
Men in Feminism?
Totally, absolutely,
definitely, m aybe.
Russ Spencer m s « ■ m «ro
■M Susan Faludi
klda t i n kicks11 n i U U
tiles all Kit M* i c
Sexuality and body image were growing concerns
in the movement. Junk Food (2003, cover and
inside spread) by Judy is a confessional
perzine that looks at her relationship with
food: Hello Kitty is subverted, s u m m i n g up the
pro d u cer’s feelings wi t h the caption ’Hello
S i c k y ’. Rachel Kaye's Toast and Jam (1997-98,
cover and inside spread) is a self-help zine
for those with eating disorders ‘who wan t the
ride to s t o p ’. II Pleut des Gouines! (2005-,
cover and inside spread) is a French Cana d i a n
bilingual comiczine (translated as ‘It’s
R a ining Dykes!’), with tips on h o w to ma k e a
lesbian cake. Pirate Jenny (2000-n.d.), from
California, included a ‘B u t c h / F e m m e ’ issue and
took an almost academic approach (interviews
with Susan Faludi and Jennifer Baumgardner).
f t Ia n H M
liter W ir t
I n iM H H a ’
S 1 K /4 W
148 / 149
R A D iU m D iA L
3A D iU m D iA l
Iscarce
lavemeA^j
^r l r e e i -Wn
v er
jews
l^ A D iU m D iA L
RADIUM DIAL’
[-TiiOijcja
£ £ £ sv
j
'P e tu ie n ^
| ^ i t t ” o, ne 1 i
ftoni
b a s x i .jw;
Radium Dial
Richard Hell
I Mirah
Hi
Gravy Train!!!!
The Sound o f Music
I | m|| Responsibility sucks!
— I IIIiH iiin iin iiiiiRiiiivf 11
Getting drunk for very little cash
Covers and interior spreads from the longrunning transatlantic (Chicago and London)
riot grrrl perzine Radium Dial (1994-).
It was produced by Ilona Jasiewicz (who now
works in m a i nstream publishing and who was
actively involved in Ladyfest London), and
was notable for its use of found magazine
photography, including cover images of men
(for example Harvey Milk). The blocky lines
of text overlaid on colour photocopies provide
an almost formal layout, far removed from
the punk aesthetic (although the rock-androll content was a constant). Like man y zine
producers, Jasiewicz ended up writing a blog,
also called ‘Radium Dial’.
Spring 2 0 0 3
—
-----1
—— »
.-'-V
Contents
1 No, th a t s n o t me typ ing in m y underwear
2 Slums o f Forest H ill j f l
3 Lauren comp?. :• ean j ';•*
4 She d fa in t at the pricss, a nyw a y^B
11 I’ve broken th a t rule now
12 You d on 't
really tike it
when I make the firs t move...
i
■
!
!
I
■
i ____ ________ ;------m
Well, it's been a long time. ( Been a long time, been a long
time, been a long lonely lonely lonely lonely...) Sorry. I'm a
bit drunk and am writing this editorial at work. Yes, drunk
at the office. Whoo-eey! Hey, there was a party in the Sales
department with snacks and booze, and those are two
things I cannot say no to. Since the last issue of Radium
Dial, things have been keeping on keeping on. Home-life is
happy; work is, miraculously, still rockin'. Love life? Don't
even talk to me. Well, lets just say that if there's one lesson \
I learnt in 2002 (and that's being optimistic), it's that my
relationships are less cut and dried than I previously
thought. I've spent the last six months e-flirting with a girl I
like, a guy who lives in NYC and is married, and someone
who I don't even know if I am flirting with. And it's all ok. I
don't need it defined and in a little box marked "We Are
Dating" or "Unrequited Love" or "Lesbotronic", even. (But
that's a pretty great word.) So I think in 2003 I'm going to
\
take things as they come. Not read too much into catching
)
someone's eye or an unreturned email. Just go with it, and
if something happens, great, and if not, that's ok too.
Jesus God. Really shouldn't write editorials while tipsy. Will
ever learn?!
13 How can you go wrong? H
14 I w ant a beer glass tike this one.l
15 Do you th ink those are all Kathleen's books? ~
16 Croup hug! I
17 A ll filth y rude except fo r the last tw o
18 The lady's not fo r tam ing ^
20 If he d id n 't live In NYC and w asn't married, I'd be all over him
23 I say ‘fuck’ a
lot in this
piece!
25 W ell I thought I looked ok
26 This is really w hat friends are 1
27 And she's going back...;
30 Are you
sure I’m allowed to
own property?!” !
Now I got bored so you can w ork out the rest o f the contents"youreeli
Ivy's guide to underwear
Good, thing s.’
stroking peopltes hair
coffee
Z;..'
lying in bed aliraay reading
telling teachers to fuck off
whispering "bollocks"/"that dress makes you look fat" into
the ears of BA fashion students
cats ;md some dogs
As Cynthia HEimel stated in "Sex tips for girl s ", clothes serve the purpose of keeping you warm (aswell as
telling everyone your tastes in music,your occupation,
wealth e t c .).underwear is purely about, sex.well it
should be anyway.Why is blacV. such a popular colour
choice for bras? it shows through almos’t everything,
why is white worn by so many women? it gets dirty anal
goes grey after a couple of washes.why dont we all
buy flesh cofrloured support bras, like our mums do?
i think its because girls thiks about s e x ...o o h ..85%I
of the time, (or is it just me?) and wearing satin
push-up bras/pink lace bodies/black lycra knickers
makes us feel frisky, confident, witty,empowered,
■ H *
Dont tell me thats rubbish; doyou wear your 5 Op
km lexers and a thermal vest to a party? ripped pan
and an elastic racer-bacV sports bra on a hot date?
mi
so •a
dont. worry about beinq at trair<
t-wSKTSV
—--------W t o th e f e n in l s i
movement or somtning^ntTres notning
wrong with being a sex goddess (or fee'ing like one)
why sho u 1dent you taVe advantage of your sexuality
get, what you wantl
out anyway, tbis is supposed T d “B e a guide.so here
ruleijust wear what makes you fee; beautiful, rr.ysterious,clever,cunning, cocky, 1ike a cheeky minx.but please
make sure its underwired and preferably in a totally
impractical col o u r .1i 1ac, powder-b 1ue, shocking pin'-',
black ,and red are all quite suitable.but i w i 11 ieav
the topic of colour with the undisputed Queen of
Undergarments, Dianne Brill...
l>nmb*hell!
bad
things ___________
________ ___ __________
ir/illif! Inni.rviiir. I’unii. Tm»l.
nlfirk: Subliini'lv lmm>. Wimtlng
n u im liiip . Kemlv Irijih l itim !i. Kx|
f t tu t: S |)« d y . I i u u iiiililr . . i n i - n i t
I’hivuuili*. dieW.ri.... The oil..-
fuckers who mosh with lit cigarettes , %
j
patent leather airwalks.first appeared around april fools1*
day> funnily enough.
people who disrespect the zine.its not a b eer matT§rui y o u cunts. |
%§Italian tourists with EF rucks aclcsTJ
people who stop suddenly wheni youre walking behind themT]
all the blokes at Blow Up who dance with their elbowsj
stikhing out.and they h ave very sharp elbows,
serpents
V
W hen
,1 hubs
w n it» n i l . • h r m m
F tlr liM it t H oi bunh’ ll li IuiIh*. £»*
P in k : Pla yful. AIidim i iniincenei
rlee|i*'r •Im cli’ *.
Tin- i
>.'i-i.ilN w iili im; hlu clt I
"le rm ile Iriiin plH .”
liVlii/f; IViM'lital. M-in.iiiv.1 m-lr-l..
S iililh ' In l l l r |h»itil n f Im riiif*.
i'iiIhi F lii'lu iin iililr fun. Nui •
| h lt ii k lig h t, ilii'ii ta e m lib M
t L l llli' Ituv hitii! iKunul hm is m il,
IN a v v him* i* u m i-l— so im r iftiiiiig 1ml
lniit. il nmlil lii* i-liuMnhl-rwh lik.- ri
I P m u lii Alwity. lli.> liHikunmiil. i»'v«
1 Yvllm i'S H.-.iiii iiiIii i-— . 1.1111 >.m ilun-.
150 / 151
___
Riot grrrl was not w i thout its left-field faction,
w h i c h took the form of 'radical c h e e r l e a d i n g ’ protest and p e r f ormance-based activism that began
in Florida in 1997 and spread to major American,
C a n a d i a n and E u r o p e a n cities. Cheerleaders used
fanzines as an outlet for d i s s e m i n a t i n g their
‘c h e e r s ’. The front cover of the Radical Cheerleader
H a n d b o o k (2000), w i t h its m ulticoloured tampon, is
gleefully explicit. The Ladyfest Cheerbook (2001),
p u blished on the occasion of Ladyfest 2001 by the
H a y m a r k e t Hussies, defines radical cheerleading
as 'doing the splits wi t h middle fingers extended'.
Shag Stamp (c. 1994/5-c. 1999) is a perzine by Jane
G r a h a m that hi g h l i g h t s burlesque striptease and
comedy performances.
Radical Cheerleading equals protest
plus performance. .It'& doing the splits
with middle flAgers extended.,We think
protesting shouldn't have to be boring..
We'if-e the Haymarket Hussies, a Radical
Cheerleading squad based In Chicago. We
adopted our squad name in honor and memory
of the Haymarket Martyrs - 8 Chicago
anarchists who were fraried for a bomb
explosion which injured and killed a number
of Chicago police officers during a labor
rally in 1886.
Ultimately convicted and
wrongfully executed for the crime, the
Martyrs are a reminder to us of the capacity
for braery in the fight against a system
which places profits ahead of human needs.
©tr
vyv ^
" - -Jo)
I VTEPHWIE DtBMi. * ow. i=A»v»U»A rtVilN
C hL C
152 / 153
a w s B M B in a rs .
V e ^ ta n c -e - ic p o l i t i c - "
'
■M L
1w' \ % y
i.ov*
Rote Zora
■:j»Vi* R]3MM .o■*«.i<«9.■.■••,
»k * g
r a
^
s
• NUMBER12
4
H
n a « # ^_ ■••«g*w.;
■■ ± - 3•.
7;u«.vu r;4\Kvjv • C
;•i!'»u
b'
a
..etxv wcv'S'X'
interview with
two members of the
German Women's
M v ^ l/jJ ^ O r y L s a p p e A
V
* ,
••
r
•
%
_
‘Revolution girl style n o w ’, from Bikini K i l l ’s
1991 song, beca m e the battle cry for grrrlzines
during this period. Hysteria Action Forum
(1994) was notable for its illustrational style.
An anti-copyright stencil book, Revolutionary
Women (2005), pays tribute to Harriet T u b m a n
and Angela Davis a m ong others. Rote Zora (1984)
featured i nterviews from m e mbers of the G e r m a n
W o m e n ’s A r m e d Struggle Group. Bark + Grass
(early 1990s) focuses on cooking a ‘revolution
supper' and features recipes free from animal
products. Patty Hearst features on the cover
of Drum Core (1993) - a zine about drumming.
What's This Generation Coming To? (1992) is an
early riot grrrl-inspired ‘a n gry z i n e ’.
154 / 155
M e n s t r u a t i o n has long be e n a fem i n i s t issue,
but the riot grrrl m o v e m e n t gave it an angry
and often hilar i o u s spin. H e a v y Flow (1995-96)
by Saskia Hollins includes poems, fiction,
comics and i n terviews wi t h w o m e n about when
they first heard about mon t h l y cycles. Chart
Your Cycle (2005) was a comp a n i o n zine by
Chella Quint to Adventures in Menstruating
(opposite page). Red Alert (1999), out of
Montreal, is part of the 'menstrual product
ac tivism movement' and contains articles and
cartoons that look at some of the pragmatics
of menstruation. This issue is bou n d together
by a thi n red string.
LasSinfronteras
P resen ts
P eriod;A M enstru-Ram a!!
Ladyfest 2001
Glasgow . Scotland.
A
*
b y-
W
>v
■ H
i n
The m e n s t r u a t i n g t h e m e also made its way
into live performance. Period; A Menstru-Rama!!
(2001), produced by the Las Sin Fronteras
p re s e n ts
riot grrrl collective (based in Tucson,
Arizona), used the fanzine format to document
m enstruam a!
2001
m enstruam a!
2001
m enstruam a!
2001
m enstruam a!
2001
m anstruam aL
200f
workshops. These events were a combination
of art, p e r f o rmance and discussions. Chella
Quint, who also produced Chart Your Cycle
(opposite page), uses the fanzine Adventures in
Menstruating (2005 —) as a text for her comedic
spoken-word performances. The interior pages
draw on visu a l m a t e r i a l from A m e r i c a n and
British sanitary-product adverts from the
1930s and 1940s.
G i/feg e & rfs /earn som ething
M O T V tf W E B O O K S !
IN
TESTS
99
OUT
W IT H
AM ONG
C O LLEG E
O F 131 REPO RT N O
NEW
G IR L S —
C H A F IN G
F R E E -S T R ID E M O D E S S
jjlrlt frrnn rwwt In ma»t jwntlv learned xmirllimjl nnt in lh«* l««>k*. Sumrlhiitc (HaI will make happy
mniiii{; fur e»ery girl wh«* rlm'c.
nnr'i Ihr atnrv . . .
lnlrTvl.-wrr> a»krd etJIrgn citl. who had Stiff-red chafr
with their rrgtilar napkin In In nnt a nr», improved
rujiliin—f'(rNSfn.fe Mnltn.
Natimally. thr flrli weren't fnW ihc name nr brand.
They were dmply a«ki*l m try this new napkin—to nee
tf Il’.W lhrm fn^Join from chafe.
At ti:>? end .if Ihr lr*l, 00 mil nf 1.11 frirla report'd no
rKnJbig "iih Frrr-Siririr Mivlrxi.
That hideous feeling o f panic
—
now ended by the new
“ CERTAIN-SAFE” MODESS
Th* w r»i of iho chaf»-frai comfort «o man* enUr-ge
MudmU found in /"r»csS/rWf Muile** Iitj m lire clrrer
fn*hioning of thr no/Uw
n!
.! REAL NEWS!
•Urtlin^ duiu liie inveutio
ipkuia dnpoaabli
lh* " ,hc Im p " " * .
1 rocnla llut have made
| comfortable.
■ i N®W— at but— i
ipkin that
•••
- -.. j. ...
»i>llnnu—right where the nuiM of chair hejsuu.
h r t t ' S i ' ' jtS j i J S f
Tbr extra cotton al«o arta to direct and retain mnWture
inti.If the napkin. keeping the rd|*-» dry and »tin«olli
Innper. And dry, Moovlb
4«n't diafc!
So mH fool F.vrry Fr**&ntlt M
ha> a triple «afrti
•hield in guard jcim«t arnrirtti*. \ftnr. wlrd-in <!«•*>I<>rant in help keep ynu Rnwer-frrvh. too! And never a Irl!Dir outline—M«draa i»
Try thi« laxnryÂmfnnahle, luxury-.'^ napkin Mm.
New, improved FrrrSlridr Mf>ic« i* on talc everywhere.
Product of IVr»**n«l Prr»luct» C^rr-.mri.m.
*ivca coa,P)rlc protection from embar.
W"
ra»iiug **accideuU!"
It u the oew'Ccruiu-Su/u'' Mod.
onJjr recently perfected
the Mode**
rckcarch laboratories
The tccret? It lica in « combination
ofTllRElE spccial feature*. Two of tbr»c
feature* may somclimcx lw found in
other brand* of napkin*. But th« third
i* ab*olutrh new— «ud exclusive uuh
YOUR
MONEY
BACK
IF
ll»e combination of all ihnv
j;irca (uiiiplclo pruUfliun.
Teal th u throm-tcuy p ro te ctio n !
J1W du ,1,',.. O , ■
I.
.-Safe'* Mode
penny . . . a*-c Moury Back guarantee
below.) Read the printed »lip dial you'U
in'the box. Look
.................................
the diagramtown on the »lip and coni|tare thria
ith the twpkiu iUelf. See and feel llir
three new fcalurr* tluU bring you de|iend«l>lc protection a^kiniA(1) striking
through; (2) lean nr avay; (3) incutoplrlc absorption,
Then \*c*r dm new Modva*? Yuull
never again fcrl *jfn or ulufitd »idi
way other napkin!
YOU'RE
NOT
CONVINCED!
Cl*l ■ lm. %’r v
ilua KMgaitt, lot <l»f« »h*o IMS I imru—
Super Kotci*—ii ik* bnni boa. So WMjn m
ik*a ftagviu, rn m UIU aWorUac; pro«iJn
The Uoilm CiqiofvlMo, SOI
MOOESS-STAYS SO FT-STA YS SAFE
U/d/k. U/rtfi Com/or^/
/iloue, lofrti-/reAcfantf
Try
UlMTat Ntfmm
tTnfctf
neus 'Trte.-Sfru^ /WcotsSs/
1939
1947: Preventing strikethroughs and leaving you 'flower fresh ’I C olly gee. I'm sold! I never saw
any girts like that at my college, you know. I wonder where they were. O h and speaking as a fat girl, I
have never had a chafing problem with pads, pants, tights or anything. My clothes behave. I can’t under
stand how a girl like the one in that ad can even get her thighs to meet anyway though. Look at her. Is
that a twenty Inch waist? Eat a cookie, lady. Geez. Nice role models. Hmm_striking through, thinking
about it further, now sounds to me like a baseball euphemism employed by radio sports commentators
who have run out of words and are now playing a live on air version o f the board game Taboo.
The lady in the top frame looks like
she’s wearing a tri-corn hat Like Paul Revere,
you know? Maybe she s - rebel. I find it interest
ing that these pads are for absorbing and
distributing moisture. W ell blood is nothing if
not moist, but it is thicker than water, right? I'm
also having trouble be Jevlng that ’soft filmy tis
sue' would absorb tnything. Noxtl
1935
That lady actually looks more constipated
than panicked, but this zine isn’t called Adventures in
Bowel Movements, so I'm gonna move on. Here we have
another 'Certain-safe' Modess ad. It's almost identical to
the first. You know, in both these ads they say that
there are three special features to the new pads, but
don't tell you what they've added. Conclusion: That
hideous feeling of panic— not ended even remotely by
M odess or any other corporation. Not even over 7 0
years later. Keep reading to see some of the results of
the menstrual leakage taboo.
156 / 157
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£?•»!** *i tin Fttnn's Hiciindi ctit.
ESOkm tt ta am ofUn mst sm lid irons ol all Urn*. Thtlr tracks km k in s » iM kyOn
Iftw tt rikHt Enaimr,Bli DnA Kin. M Ban.U Cttl J, Marin Mm.D niL Freshm Irads inn
ID kit Difirtintily In Un nrty ilih lin tki Inn simglln win n clin . Th« ilrfs M il let
wtntw ij m l tt HraiBin n i rm lt tin km m it mist it tki list tn yttn tryini tt n t tki
m m tin itsim . Tin* m i n lttsil i sln li li 1991is i Ironic Ink it Unlr sltoitln cillid
tiwincrnmnniwwrMns’.
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' UiiM win n tn smn M il hiAimrtci.99Rtcorti.t i ESOwin. Tki rtttrd etmniy wit m ky
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Itktl etm ti i tltst nd sodidESQsttn tr Itr t wkllt.
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cntliitd tt pliy Ihrtthrtnh tn itu tiis mdrtlttsid othtrmslt. Sidly thtst rtlusts dini nt
is inch ittiM ln ts tnir tirly liihtlts irasic did. Ttdiy ESOftitirtt twotl Rtni's dinhtirs. j
Ckltttllt ud Nlctli m km nd nltar. Tktygltytd Ii tki UKlist yur tt im t rwtawi.I wnld km
Imd lokm sttt thin it ttirsi kit tkty iliytd Londonind yoi knowtht nstt
ESQin on tl tkt mst Iffliu tlil itts ti ill Ont.Tkty midi im zin. m nt nnslt thit stmdsn J
tidiy it tnly dhnrsi ud iriiiiil. Bit urn thin thit thoymitft tnd mikt mislc thit m illy rocksl |
M ynk,tktywin wtmi till
I affair; whether Adele knew or not,
1 Rosenman was justifiably inccnscd
I and after speaking his mind to Jim m y
I the next morning, the two w ere to stay
I out o f contact for over a year. Jimmy
I had a strong self-destructive streak,
I especially tragic given his need for
I companionship. H e became increas
in g ly narcissistic, taking hundreds of
I photos o f himself and trying to get
1 Kazan to say which he preferred
Boys
that
I
would
like
to
put
in
my
pocket:
David
Bowie
(in
the
thin white duke
period)
Tobey
Maguire,
Christian
Bale,
Jonathan
RhysHeyers,
Alec
Enqpire,
Terry
Hall
Bryan
Ferry
(in
his
youth),
Iggy
Pop(for
the
shock
value) ,
Phil Daniels (in
the
film
Breaking
Glass
made
in
the
|early 80's. The
|mass inspiration
for the band.)
,
I As soon as filming ended Kazan
(wanted Jim m y off the lot — he was
I simply far too disruptive. Apart from
1 his usual antics, he had bought a new,
I larger, noisier m otorcycle, a Triumph
I 500. It proved quite difficult to find a
I landlord or landlady who would take
Timmy, given his nocturnal habits
,
°lJrls. that rool
the skool: Lili
Taylor
(she
played
Valarie
Solanas in who
ahot
Andy
Warhol?
the
film,
I had a
HUGE
obssesion
with
this.),
Patti Smith, all
of The Go-Go' 3
especially
the
drummer,
Janis
Joplin,
Eve,
Dusty
Siobhan
Fahey,
Sarah,
Andi,
Siousxie
Sioux,
RicJcl
Lake (for being
Hairspray),
__ 1 you in |
|skin is dancinl
you shout W l
,vith electric si
ptrinas arounq
I
Is &
fa ?
u n . T T r u m b l e s in t h e J 5 S n c ^ h ! n i y p n o t i ! i i ^ r h y t h m . I c a n 't
e x p la in it b u t it'» li k e th e b e s t r o o k ‘n ’ r o l l. T h e b e s t Z e p r iff- T h e
b a s t p u n k yell. I t's like m e t a l c r a s h i n g a g a i n s t m e t a l. It s li k e
d r u m s in t h e d is t a n c e . I t's li k e a g o n is in g f e e d b a c k , s lo w ly
c r u s h in g m y s k i n . I t's l i k e p r e t t y g u it a r s th a t m a k e m y t o n g u e t a
l i k e s h e r b e r t . I t 's li k e th a t R o x y v i b r a t o . I t s li k e s h i v e r in g
m e lo d ie s t ic k l in g m y b a c k . Y o u m a k e m e s m i l e ^
I
.
.^sStiL
.
Tl never want to com e hom e again. When I'm o u T rn J
ut I feel th e need to w retch uncontrollably. I want i
I the
in the leather N—
«
lo ^
rock/1
tcottie-j
i«\dej
do I
you I
- y o u l|
o u th i
t bo je a n harlow.
i third rale punka. ^
• ' y7 ; . a 'Ortured -Un
^ Id o n t want to end up 1l
■.
ELECTRA
e t\ve
I
#4
■ >v '
can ’t ,
. > em brace i
i m y lace. I m , not fierce. I try to lik o i
i and I ju s t c a n t control m y bitch n j
'i am not c o o l,c o o l,c o o l,c o o U
^ u t what does it m atter any
I lik e r l
• I w ill J
Aw ilt never be nothing. J
k And all i c v c r j
*tevcn|
wanted w as to I
. Ma
him him him him
K it t y M a g i k
N
um ber
F
iv e
T ra c y W ilson
M olly Neum an
of Bratm obile
of Scissorettes
Lisa C a rve r of R o llerd e rb y & Suckdog
---- . ■— ■■—
”■
1»
« IMil
L/UU5 IICI ,
Manda-Rin
and C a th e rin e
R ed fern .
A ls o :
F em in ist
Fury, Lady V ib e s, Women's M u sica l H is t o r y , Men and
Feminism,
Le T ig r e ,
B ra tm o b ile ,
E le c t r e la n e
and
V a le r ie L iv e , Why Feminism S t i l l Has Work To Do,
Z1ne & Music Reviews and More!
BRASSY
R&B singer K elly Price
STS of Th e H aggard & Cadallaca
#20
1997
$2
SOAP OPERAS*AEROBICS*INCEST*
OBSESSION*KISSING FOREIGNERS*
FEMALE MASTURBATION FANTASIES
A series of music zines connected both by
their producers and by the desire to raise
awareness about w o m e n in the indie music
industry. Electra (2002, cover and inside
spread) contains interviews with female bands
including Chicks on Speed and BIS. Marisa of
Kitty Magik (1996 —) drew upon a growing network
of w o m e n zine producers including Lisa Carver
(Rollerdecby) and Molly N e u m a n (Girl Germs).
Rollerderby (1990s) ran for 25 issues over ten
years and covered such issues as m a s t urbation
and incest. Popgirls (1998-n.d., cover and
inside spread) is based on the prod u c e r ’s
experiences as a m e m b e r of BIS.
A*
M W B lf tA f.
,
—
IP 4 5 P % 0 CCy N e u m a n
A
H
----------
"What Bands/m usic a re you into a l the mom ent?
-*11 f m
P46
a pop positive zinef
*
Oasis. Je s u s a n d M a r y c h ain , the J a m , C hiseC tC ectron ic. J r w m p ia , •
Im p ression s, "Riles o f Spring, M in o r T h rea t,
J('Bratmo6iCe/tfie Teechees etc.)
A A s som e girls a r e loo young lo rem e m b er 'riot grrC, do you think that som e p e o p le ^
due lo p e o p le like Ihe Spice (jirls, can Be con fu sed aBout g irlp o w er' as a message?
I M od y N eu m a n is a w e d k n o w n la d y w it fling the
I m u sic in d u stry , liv in g in San fr a n c is c o , 11S/A. She
| has Been in so m e p o p u la r a n d fa n ta s tic hands w hich
i a frig f a n of. T hese a r e ; !B ratm ofrite, L ois.
I J r u m p ie s a n d m ost recen tly , th e T eech res. M olly i>
I a lso in v o lv e d w ith L o o ko u t R ecord s (D onnas, Crumb.
I S creech in g "Weasel). She h as t h e r e fo r e been in v olv e d
i m u sic f o r so m e tun e, a n d is a fa n t a s tic d ru m m er.
M - Oh m an , 1 that's J u n n y lo con sid er. J thin k you a r e p r o b a b ly right But sin ce th ere ^
reaCcCear rio l g r r r f m essage th e f a c t lh a l young g irls m a y be e m p o w e r e d By
a n y b a n d is a p r e l l y c o o f thin g to m e.
_
K 7 V /J I I
vnai
!M J d i d a fa n z in e w ith A llison fr o m U ralm oB ife f o r z y ea rs c a l l e d ( j i r f fa r m s . Jt >
J th in k that, yes, th ere is v e r y little in for m atio n avadabC e abtfu l you n g a n d
s m a ll b a n d s in th e m a in s trea m p ress,
in lh a l w a y . fa n z in e s a r e a c r u c ia l a sp ect to
Js t h ere a n y I ru th in Ih e ru m ou r that Ural mi
reform ing?
I CM ■Jl's t r u e 1 >Ve p rtu t is e d in J e p u a r y
I d iscussion. Out h o p ef ully w e w ill n iok e
M - It w as d ijje r e n l in Ih e way l l i a l ,iir g e n d e r dy n a m ic s a r e d ijje r e n l, Bui rea lly
g ro w in g u p a n i f rea m in g th rou g h e a c h fa n ,C h a s m a d e llie m o il d ifferen ce. 'Being
d ijje r e n l pC aces In life I g u r u , ji is not so stra n g e fiein g tn a [\ind w u h c h r u bec au se f(
I Cite him a Cot a n d lit cooC 10 h a n g o u l w ith h im hut b ec au se w e a lso w o r t to g e t h e r ll
c h a llen g eJo r iu to s e p a r a t e h a n d /b u sin ess fr o m o u r m a rru jg e a n d this
is so m eth in g we a r e w ork in g
^
A ■1 k now lh a l you h a v e a p r e t t y im p ortan t link w ith Lookout "Records. Olave you
e v er ex p erien c ed p ro b lem s d oing this jo B B ecause o f y o u r g en d er7 V o y ou f i n d lh a l
m ore w om en a re g ellin g in v olv e d in im portan t p osition s in record co m p an ies,
especially in A m erica?
M - J realTy h aven't h a d a n y gen d erp ro B C em s. a llh o u g h J f e l l th a t w h en I J tr s l
w ork in g h e r e 1 th in k so m e Bands t r i e d to s h o ck m e B ecau se th ey a s s u m e d J w a.
poC iticaC a n d sen sitiv e.
_ __
m
.
—
jr - m « - j a m
i mrnaamm
?iCUD o f P ln n & . '& J L }
!A ■V o y ou h a v e a n y p a r tic u la r role-m odels w ho g a v e y ou inspirationT'
Corin Tucker
(Heavens to Betsy/
Sleater-Kinney)
th e sp rea d in g o f in fo r m a l ion on th ose ly p es of bands. ‘U n fortu n ately, th ere c
" " " " fe w go\<d zin cs lh a l it is h a r d t o rely <•»! Ih em lo s p r e a d th e w o r d v ery o ften .
I A • 'Was it rea lly d ijjeren l bein g IIie only g i r l in the T eechees, w h en y ou w ere am on g
I m an y fem a les tn y our previous bands7 A b o. u il quite stran ge Being in a h a n d w ith
I your husBand's
mini__
!Kirrvr?Jm HKbSfll I
f l A - Olave y ou ev er w ritten a fa m in e , a n d d o o y ou think lh a l fa n z in es a r e im p o rtan
f o r a lot o f un derg ro u n d bands to su cceed7
^ ^1
I M - 'Wed, w h en I w as g ro w in g u p I h a d to h a n g o u l a l m y dad's o ffic e a Col a n d m any
I of his c o w o r k ers w ere th ese in cre d ib le w om en w h o w e r e sm a rt, fu n n y , h a r d w o r k in g
I a n d realTy ju s t ex c cp lian aC I aCways th in k o f th em w h en I a m lo ok in g f o r ex a m p les o
I w ho ha s in s p ir e d m e. A lso, J a m aCways in s p ir e d By m y fr i e n d s a n d ' a m constanlCy
1 im p r e s s e d By th e id ea s a n d a r t th a t m y fr i e n d s h a v e a n d s i riv e to m a k e w ork t h a l
i Be p l a c e d i n c o n tex t w ith theirs.
g.-» j wm nuanimmva i»»
A V o y ou Ihink lh a l there's a lack oj an y 'strong', opnu,lonaled w om en a rou n d these
todays?
:M J realTy don't, Bui J th in k th ere a r e not v e r y m a n y a v e n u e s lo r w om en to ex p res s j
Elyse Rogers
(Dance Hall Crashers)
Kathleen Hanna
(Bikini Kill/Julie Ruin
th em selv es, so lh a l is a challen ge.
u hzlihshb
s o
m m m m
■
Lisa and Sherri
(Buck)
A -'Would y ou p rev en t a n y b a n d that you w ere rn fr o m sxu c ess/m akin g lots o j m on ey \
i f y ou h a d Ihe chan ce, d ue lo p eo p le catting you ai 'sedout'7
:M No, J th in k it is m o re im p o rtan t lo be I ru e to y o u r ow n v a lu e sy stem ra th ei
be c o n c e r n e d w ith w h at o t h e r < thin k. J o r e x a m p le, c om m u n ity is o f h u ge im p o rta n ce mna
to m e in term s o f m usic so J c o n sid er m y ch oices in rela tio n to htrw J s ee Ih e p u n k
c o m m u n ity a ffe c te d , but not to Ihe point o f Being ridicu lou s. 1 ju st tike Ihe id ea lh a
is p o s s ib le to h a v e a s e lf su fficien t a n d self su sta in in g c om m u n ity a n d ec on om y
out sid e o f th e m a jo r la b e l distribu tion w orld a n d m a m s lr e a m m ed ia.
^
" " n ,, i „
m i
Yukiko and Juliet
(the Rondelles)
j j y u JU S #
Laetitia Sadier
(Stereolab/McCarthy)
•M 'Well, us 1 m e n tio n e d afro'
ini p la y in g musu w ith m y f n n d ' le d
I 'd k e e p you p o sted .
A - Lastly, i f you c o u ld inspire y oung girls lo beh a v e a c erta in w a y o
c erta in attitude, w h at w ou ld this Be?
JA ■To kn o w y o u irn^n stren g th a n d trust il. A n d to u.
1 n
All these interviews, plus review, rants
and raves e t c .....
Marianne Faitlfill. lira Satan, liaaaiia Silas.
Judy Blue iii riit ti Teki J l i t i m farrab m m i
I-went to art school 'VgyidPners^d
a s a m ature
'but remember
// ' U ' / /, I loveart
UA&A
/\
cop.fa/ / \
no joy
whenygijssgjst
student ip-2^0°,
l+ai &Jg%
and Idid n°t
speak out.
Isaw piss poor
but 1
Zin.es aretuning
..
same artiste
s a ^ 4 t « t amateur,
thou.5Ktle«ly ■qaeeîo-fi/ioW
f*ik vnththiiv^s ^ culture7i3not with
that matter
lesser.
|f P
™«teh.d
I saw 'artist’s
£SS£Ss”
pasîoii, nP
politics^,*
^
Their creators
are driven./
C
w p> |
(3-reat
fervzinSS on
arefimoin^
not dependent)
fi-Qra T
aresincere,
modern, day
folkart. j
/ BJ*
tP
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tf-tp
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rarS f \
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SO
Cu
ES
KU.N
LE
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aadtKeyvegcwg H f f l s y i
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toTJ*«itI Fanzines | theArf-s Council, t
the v'Sws £KP«sseo H t « « i A*e TH«ie or m e
A*r 6T.
------------- ~
—
---------H !
*:3
CONTENTS
issue
INTRO: FAT BUT
YOU KNOW IT
2
U-BDP 2Q0H DANCE 5
FLOOR SMASHES
NOLOSE 200H
E
THE FAT TALK
9
FAT GIRL AILMENTS: 12
BOOB CHAFE
'Fat is a feminist i s s u e ’... Big Bums (1998) was a
one-off zine suggesting ‘positive fatt r i b u t e s ’.
Nipples and Bits (n.d.) talks about the p r o d u c e r ’s
experience of sexual harassment. Bust (1993 —) is
a tribute to w o m e n who have broken the ‘moldy mold
of female s t e r e o t y p e s ’. Punktum (2002. cover and
inside spread) by Rachel House was a one-off zine
reflecting on her enrolment at art school.
Queerzine Unskinny Bop (2003-) b egan its life at
a Ladyfest London, and ‘aimed to honor the work of
fat people in popular m u s i c ’. Unskinny (1990s) took
an am u sing angle on gluttony.
FAT GIRL
SAVED MY LIFE
14
FITNESS LAST:
ID REASONS 1 WILL
NEVER JOIN A GYM
20
FAT SPORTS
2H
HEFTY HIDEAWAYS 2 28
CREDITS £
CONTACTS
the next
U n sk in n y
B op
N o v 27 2004
see w e b s i t e
for d e tails
31
FAT
Welcome, Boppers, to the
third Unskinny Bop zine.
It's over a year since our
first effort, which set
out our manifesto and
pledge to offer an authen
tic and sincere alterna
tive to the 'fashion show'
mode of nightclubbing
still unfortunately preva
lent in this city. First,
a history lesson for all
you newcomers.
Unskinny Bop started at
Ladyfest London 2002. It
was a one-off disco which
aimed to honour the work
of fat people in popular
music. We got a shout out
from Amy Lam6 on the
radio, there was a Top 10
Podge Pop countdown
(starring the likes of
Aretha, PM Dawn, Missy
Elliott, The Pixies, and
of course Mr. Elvis
Presley), we gave out free
badges in four designs,
and all in all it was a
massive success.
BUT YOU
KNOW IT
The hunt was on to find a
permanent venue for our
disco machine, which by
now was acquiring
disciples of a non
Unskinny nature. We
were offered guest
spots at gigs and clubs
by friends made at
Ladyfest, playing at
after-shows for The Gossip,
Gravy Train and later Le
Tigre. We put on our first
gig at the Betsey Trotwood,
a sell-out show starring
Lesbo Pig, Valerie and The
Blue Minkies, and then
celebrated Christmas with
the help of fabulous dance
troupe The Actionettes.
In March 2004 we finally found
our perfect venue and went bi
monthly at the Pleasure Unit
in Bethnal Green. We love
this place. It's a straight
__
pub with a gay history,
pints, seats, a big dancefloor and modish
leanings, which means the mix of people is
always eclectic and eschews the monotony o
fashion clubs with generic dress codes.
160 / 161
GIRL CULT
GIRLKULTURZINE
iE li
I s s u e #4
$3 -50
spare tires
Your
For
Own
/
t
'
Good
y » u fc a v e t p t M o r r ^ - i
/VjgrJ £-"3oJ/n4_tnwbifi
I'm r & M & . Q j Q c t {\i3tj
Body image, sexuality and stereotypes feature
in this series of zines. FatlSo? (1994-n.d.)
by Marilyn W a n n is a humorous look at being
overweight. Girl Cult Girlkulturezine (late
1990s) included comic strips by Rachel House.
F o r Your Own Good (2004). produced by Kate,
responded to criticisms from her own mother
about her weight, and includes a collection
of stories from w o m e n about body image.
GirlFrenzy (1991-n.d.) by artist Erica Smith
pays tribute to the US proto-riot grrrl 1970s
band the Shaggs in this 'Fat L i b ’ issue. Seven
issues of Fat Girl (1996-n.d.) were produced by
a collective of ‘fat dykes'.
S
m
m
a zine about mothers,
daughters and
body image
f
$5
© A Zine for Fat Dykes and the Women Who Want Them
-jpssm t
I E m **.
j?'
i
LEGENDS
POLITICS
ADVICE
SMUT
ART
S
162 / 163
W o m e n from different ethnic and national
b a c k g r o u n d s we r e also celebrated. Catch that
Beat! (1999-2000s, cover and inside spread)
in te rvie w uuith-
catch of the dny
the crabs
j Bn(septophilift ireconds)
w as a Tokyo-based riot grrrl zine produced
by Yayoi, who p u blished reviews of music gigs
and of other 1990s zines. It was printed on
y e l l o w copy-paper and shared a s i milar graphic
aesthetic to its We s t e r n grrrl counterparts,
us ing a v i s u a l language of ha n d - d r a w n hearts
and stars and stencil letterforms. Asian
Girls Are Rad (1994-n.d.) was produced in
Austin, Texas as an account of the producer's
f riendships wi t h A s i a n w o m e n and f a scination
w i t h Japanese popular culture.
junior varsity
II
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Girly Transgender Zine (1995-C.1999) was
produced by Mona Compleine (aka Simon
Murphy), a longtime contributor to the
fanzine and music communities, who had a
unique perspective on L o n d o n ’s trash drag
culture. Each issue of the quarterly zine was
produced on a different-coloured stock and
used a format that dispensed with staples by
folding down a larger piece of paper. This
made it cheaper to produce and as a result it
was given away for free. Mona also produced
Sky High Heels (n.d., cover and inside spread)
as a minizine, w hich celebrated the wonders
of the high-heeled shoe.
f
164 / 165
Pi n k for a little girl... or a riot grrrl.
A m p Minizine (1998-c. 2007, covers and inside
spread), an a w a r d - w i n n i n g fanzine, was
established as a print m i n i z i n e and e-zine
by the music and lifestyle j o urnalist Miss Amp
(aka A n ne-Marie Payne). Red H a n k y Panky/Hormone
Frenzy (1995-2000) was produced by comic
artist R a chel House and sets out to explore
‘nonstop queer p u n k girl boy k u n g fu a c t i o n ’.
The Pamzine (2000-c. 2008) was produced by the
ba n d Pam Savage as a ‘p r opaganda m a c h i n e ’ for
their music. H o neypears (2000s) by Heather
Midd l e t o n provided i nterviews wi t h such bands
as Le Tigre together w i t h articles on reading
and m a k i n g comics. The cover of Vacuum Boots
(2000), an indie music z i n e by Miss Rachel and
Angel, features an image of Twiggy.
R
AJNIP
AMP. PURVEYORS OF
FINEST FASHION FOR
THE FICKLE. And oh. W
INI I Z
T H E
F I C K L E
aMPMINIZINE
£ FORTHECHALLENGED
I VM E
RJJ«f?JLs
CALLED CHELSEA. Asa
name, it belongs to a strange
category of brand names w
sound human, yet very lew
a TiHai
Tammy (Girl), and
wear INSIDE that c
The super-suave Mi
discusses the latest look tor
men. proving that cut it allLove ly Frances Morgan it
month's Retro Sex Ki
Perkin
it chain
so ubiquitous, so inextricably
linked to their shop that, even if
I were to meet someone called
Chelsea. I'd perhaps assume
her mum had named her after
the shop. Like Tiffany Chase in
Shop names and brand names
are our incantation • meaningless
to some, yeL to the enchanted,
full of significance and
promises. Cross the threshold
times, and you might get your
shopper can subvert the power
of the shop name by enjoying
both the obsolescence and the
diversity of the brands she
wears, revelling in C6te a
Cbtes, Jeanne Wetss. denim
by Jollybird. Bibi and Baba
and Nightrider (Marks and
Spencer's). Highlights. Alexon.
Devonshire Lady and those
jumpers made ‘in the British
Empire'. But almost inevitably,
second-hand girls become loyal
to a label too • although often
and right now my favourite
brand is Chelsea Girl.
It's a shop I know little about,
other than it was fashionable ir
a cheap, teen kind of way in th<
1970s and 80s. I've never been
to Chelsea Girl. My memories <
it are limited to just one item: a
really cool Chelsea Girl black
filcrfax my sister had. around
1986. But I don’t. I swear, go
CGh
nostalgia in my eye - and I don't
either, so stnctly no more about
'my sister's filofax'. No, what it
is. I've found some great CG
tops lately, one of which (red
lumper with slightly puffed 3/4
length sleeves and slash neck)
is amongst the Best Tops I've
Ever Had, The others (white,
knitted rock-chick£lub
Tropicana vest thing and fauxVictorian blouse with ruffles
and lace-a 1970s CG item. I
believe) are exactly what I was
looking for when I found them.
They're in three of my best
colours, and are of surprisingly
high quality, contrary to the
1970s myth that Chelsea Girl
was so cheap and nasty that
you got fleas from their afghan
coats I’ve yet to find a CG skirt,
but if I do l‘m sure it'll be red.
with an interesting detail.
(That's all I'm saying, or it
won't come true).
*
say ‘today I feel like a 1970s
librarian' and then come home
from the charity shop with
looking for Canda skirts full
stop. But if you fancy looking
like the big girls looked when
you were a little girl, or if you
want to go around with the title
of an Andy Warhol film/Nico
song incongruously pressed
against your skin, choose
Chelsea Girl. Her tops are the
tops ■and they don’t half go
with your Gloria Vanderbilt
bottoms.
GIRLS
ROCK
OUT
ISSUE 1 0 /10
p
a
m
z
i
n
r
e
M
i
m
i
★ YOUR G U ID E TO THE W O R LD OF PAM S A V A G E *
Hi
4A
a
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I A
sJ\VA
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v
in /
j
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■■
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PLUS: ELASTICA. BRASSY & ANGELICA LIVE. PAM SAVAGE LIFESTYLE TIPS-AN0 MORE
★LESS IS N O T MORE*ISSUE #1*JAN/FEB 2000^
S u m m e r 2002
vacuum boots
issue four
one pound
the lollie1
the brian jw
iwn massacn
y war ho Is
fonda 500
smallston^
son
schul
sonic yOtyt
chris t#t elerfant records
persecution complex
miss geri halliwel
beachwdod sparks
sloan
herman dune
belle and sebastian
jj72 the delgados
IT
166 / 167
'I(NC|E!S iTI^f
in c e s t
■ e a if isfV
u m
MafeWLajjgrtiUiid
Riot grrl was about independence and gaining
confidence where the ‘personal is political’.
The provocatively titled Incest (1990s, covers
and inside spread) was a 50-page m i n i z i n e
whose scrawled drawings and frenzied layout
photocopied on to coloured paper provided the
backdrop, in the issues s hown here, for essays
on the band Mudhoney, cartoon strips, plus an
editorial about ‘a writers r e volution’.
Teen Screem t
/ /
Incest.../,
Poetru*..7
% c o m o i i a t t o f 1 o f vpen-mcidt.
N \ - \V
Vs
videos, if you are a teen , send
u s XT V.deo w b e o n it. we
oof\’f qjtrs wti ^
^ )l ;•
as iVS o n video and leen m a i
Hevie\Js...15,11,11,2*
Story.. -47
^ IN T E R V IE W S /*
rn m m m m rnm m m
k s s rr
,;
\\
/ \
/-
fttC!>Qn. A7. 5 5 75<
Seth Bee
2007 E 3rd St
L K ...2 °
tucaon. A2fs57i<
liocubus**. 1°
Marcjj P6<Jjjgrouna. . . 3*
" th is will h opefully be o u t s w n m er IfW S:
I12
Notes &
Errata
jr'".- s. S'
l
- -
’■
, -; v
\
i
Susy Pow!
p in k
le m o nad e n o . 3
Notes & Errata (c. 2008, cover and inside spread)
by Susy Pow!, from Australia, was a perzine whose
producer's life story was expressed t h rough notes,
poems and random illustrated thoughts. The art/
perzine Pink Lemonade (2000) featured an i n t e rview
with K athleen H a n n a (of the band Le Tigre) and
reviewed books about w o m e n ’s history. It advertised
for artists, filmmakers, photographers and other
writers to get in touch. Gun Wounds Again? (1997),
produced by Emily Sessions, is a personal collection
168 / 169
under{
round
organisation
p O BOX
54
H E ATO N
NEW CASTLE
Hay 1997
UPON
TYNE
Nf 6 s r w
UK*
Greeting* our pals and supporters.
This being our Slampt-o-logue thing, w e ’ll tell you
what's oecuring inthe Slampt axis of the thing..
Okay so - first up the Red Monkey band is touring
Holland, Switzerland, Germany, and France for 2^
week* starting the 21et May. Also we are moving at
the end of June, so for a while in late Spring /early
Summer we expect a small r»mount of confusion because
of this* Please be a little patient and understanding
with us. We will be giving mail order top priority
and will sort it out as soon as is possible.
As regards our new releasps, the Wimpshake L.P. is
finally ont now, Tayl In the works are Past Connect-: •
ion *k and a Kodiak 7M* Red Monkey have recorded
their 2nd 7" which will come out on Tfroubleman unlimited'
and is entitled "The Time is Right". We at Slampt is
angling to get a whole bunch of these singles available
over here via our mail order if n4t anywhere else, so
iatinFf&tJS m.siss1
4a
are
■
no‘„to°
,
Small B l a c k Pig
7", a „
Red
Monkey LJP„, the Troubleman/flampt split compilation !
L.P. and an A c c e s s o r y Girl 7m (maybe? «igh, they’re
jnst s o damn busy with that Tunic b a n d ) .
I am learning to drive (which I must say is shocking
to even me) 1. And Mar# E . Cha Cha cut my hair on 13th
A p r i l , which meant I grew it for an entire year, althoguh I've still not receved the £1,79 i had riding
on the matter. On the Slampt turntable at present are
Digital Hardcore records. Crass, The Warmers, Dawson,
Lee Perry, Wandering Lucy, Excuse 1 7, but what do
you care?
Please send us any cool vegan recipes you may've
_
encountered. Love
T
_
_
. , xxxxx
from
Rachel
__
Word is Born
rjo T
9J9
a riot grrrl
dissertation?
jPapercuts and Promises: Zines B4
Framing Historical T h e f t :Zines T25f
[ Sisu:zinea J65a
f
j See Me, a Space for Black Women's Writings:Zines
FREE
I ’m n ot wa iti n g
'vrusIM
YifcaO sekl
Doin’ it yrself, now
fe itin r i:
Distribution was key in creating a female
network of zine producers and readers.
Slampt Underground Organisation (1992-mid2000s) ran a record label and published a
distro (distribution) catalogue for zines
and indie records. Riot Grrrl Press Catalogue
(early 1990s) was created to promote the
riot grrrl network. Word Is Born (2004) was
a university dissertation about riot grrrl
by Julia Downes, subsequently produced in
zine form. Barnard Zine Library Zine (2005-6)
was an introduction to the zines held in
the B a rnard College collection. Riot Grrrl
(2005) was a thesis by Yuka Ogaki. I ’m Not
Waiting (2004) by zinester M e lanie M a ddison
is adapted from her M a s t e r ’s thesis.
Challenging constructions
of feminist activism in
women’s DIY music
communities
Chapter 5 | E-zines 1998-2009
The E-Zine List (1993 c. 2005) is John Labovitz’s
early archiving system of
electronic fanzines that were
distributed ‘partially or
solely on electronic networks
like the Internet’. The term
e-zine has since been co-opted
by the mainstream commercial
world to mean nearly any type
of publication distributed
electronically. Dummer Con
(1995-n.d.) is an ASCII
text-based networking site
announcing conventions for
e-zine fans. The text was
created from symbols and
punctuation marks which were
shaped into illustrative
headlines.
E ZINE LIST
D y s - 3 i- - f s r C o ls
r»SSS,S £ W ^ iS 4B* rs “ - -
jS su
- jrjs,1;arys.„
' r s a s ftS fis s s s s ra s s B ?
-v~™““
JSi'SSWS.T .
It is hard to imagine the world without the internet. For many people,
A Brief History of Electronic Media
hardly a day goes by without logging on and off, looking at websites for
Early e-zine producers were known as ‘adopters’, and as E-Zine
news, checking out Facebook and MySpace profiles or tweeting messages
List (1 9 9 3 -c. 2 0 05 ) editor John Labovitz reflected, they became
to an ever-expanding group of Twitter followers. Social networking is now
the ‘experimenters who took the net for w hat it was, and imagined
part of the new media landscape, comprising a vast net of personal pages
its possible futures, without trying to bend it to fit the constraints of
where friends and family meet within virtual communities and where new
traditional media like newspapers or printed magazines’.1 it was indeed
digital relationships are formed. In the twenty-first century, the concept of
this DIY spirit that prompted the migration of print fanzines on to the
an information economy is a commonplace.
web, with production of early e-zines that took advantage of ASCII
W hile a paradigm shift is taking place in mainstream publishing
(American Standard Code for Information Exchange, used on Bulletin
(printed newspapers under threat, literary publishing in decline), surely
Board Systems) characters. In the late 1970s, artists and designers
this brings good news for the self-publishing community. Much in the
adopted ASCII for their e-zines, responding to its unique characteristics
same way as early Gutenberg printing presses sparked off a literacy
in order to create an early computer art language. For example,
revolution as books reached a wider audience, online publishing
e-zine text headlines were created using words, spacing and repeated
services have provided cheaper forms of printing and distribution.
punctuation characters, developing a vocabulary of shapes and
This has changed business models. ‘Print on demand’, for example,
visual images.2 Three distinctive styles have been identified by
uses online technology to print copies of books at the time of ordering,
computer historians: Oldskool, Newskool and Block. Oldskool
which for small press publishers suggests certain economic advantages
uses slashes and lines and emerged out of ‘text art created on the
(such as not having to pay for storage and maintaining back catalogues).
Commodore 6 4 to decorate the File Listings on “ Release” Floppy
Other services have also altered the way we think about independent
disks’; Newskool uses symbols and punctuation marks to create
(and amateur) self-publishing. Self-publishing website Lulu allows
images; Block is a more sophisticated format used in the first instance
authors to retain direct control of both design and production,
by IBM with a series of extended characters to create a ‘block-like’
prompting comparisons with the DIY ethos witnessed in early fanzines.
image.3 Some of the earlier science fiction e-zines such as Dummer
The digital medium is immediate, inexpensive and widely available.
Con (1 9 9 5 -n .d .) used these techniques (in this case, Newskool, to
Publishing forms are evolving quickly and this has an impact on the
create its distinctive title image).
culture of fanzines - both on- and offline, underground and overground.
This chapter explores the way in which fan cultures embrace the
E-zine subjects followed along similar genre headings as their print
counterparts. Subjects such as music and science fiction remained
realm of online publishing though e-zines - a shortened version of the
common, but added to this list was a new subgenre of technology-
term ‘electronic fanzine’ (the original meaning of which was applied
inspired productions. One such subgenre emerged out of ‘hacking’
to non-mainstream online self-publishing, but which has increasingly
(illegally cracking computer programs) - and the phenomenon of
been applied to more mainstream outputs). Questions that might be
‘phreaking’ (cracking phone lines to obtain ‘free’ long-distance calls),
asked include: how has the web enhanced a fan community? W hat has
which flourished during the 1980s, ‘illegally’ intervening into Usenet
the web brought to fanzine production? And in what way has online fan
newsgroups and email. Examples include the long-running The Hacker
publishing altered the writing and design of zines?
Quarterly 2600 (1 9 8 4 -) and the self-proclaimed underground zine
172 / 173
The Zine (2004-n.d.) by Mr
Maul (a text-based ASCII zine)
focuses on 'phreaking’. In
this issue he transcribes the
conversation he had with an
operator to dial a toll-free
number. ChipRowe.com (1995-)
was produced by Chip Rowe,
a journalist, who emerged
as one of the highest-profile
zine producers working in the
1990s. The e-zine collected
his previously published work
from Playboy, Spy and his own
photocopied fanzine Chip's
Closet Cleaner (1989-late
1990s).
»■—
•--------
THE
----
•h :
s.rs:\sjs a * i—
,
Phrack (1 9 8 4 -), where, even today, editors request the text to be
submitted in ‘ASCII 7bit with lines no longer than 75-colum ns long’.4
By 1992, it was evident that a specialist e-zine com m unity was
W hat has the Web brought to the fanzine concept? Zine scholars
have highlighted the fine line between defining zines ‘proper’ and other
forms of ‘personal publishing’ found on the internet.9 Chris Atton argues
emerging. Factsheet Five's Jerod Pore recognized this and set up the
that the ‘e-zine appears less distinct, its culture more amorphous’, while
zine newsgroup alt.zines, providing an online discussion group with
Duncombe’s point is that the internet has made ‘communication too
'tips on how to make zines, discussions of the culture of zines, news
easy and that the deviant socialization process of the underground might
about zines (e.g. who is being censored and why), specific zines and
be lost as a consequence’.10 Zine producer Pagan Kennedy, creator of
related stu ff’.5 Other e-zine newsgroups were also established, for
the early 1990s zine Pagan's Head, remarked in an interview with Wired
example: alt.pup (for 1930s zine enthusiasts) and alt.zines.samizdat
magazine: ‘I think the zine classification just doesn’t work in the online
(for underground Russian periodicals). John Labovitz, mentioned above,
world. The savviest online zines probably will stop calling themselves
was another important figure. By 1995, his E-Zine List was reviewing
zines altogether.’11 Despite such reservations, and recognizing the
6 0 0 e-zines, confirming the fact that this new form had arrived.
inevitability that definitions will be questioned, the way in which
Despite the technological characteristics of this new medium,
Labovitz’s definition of e-zines showed that they remained remarkably
zinesters have come to make the medium their own is worth exploring.
Many contemporary zines have both a Web and a print presence,
true to the original form: ‘Zines are generally produced by one person or
yet the intent of the online mode does vary (including promotional,
a small group of people, done often for fun, and tend to be irreverent...
informational or interactive). One example of the use of the Web as a
they are not targeted towards a mass audience, and are generally not
‘static’ promotional arena is the quarterly zine The Flaneur (2 0 0 9 -).
produced to make a profit.’ The difference, he argues, is in the mode
This ‘lo-fi, arty, indie publication’ reports an interest in publishing
of distribution, since e-zines are ‘distributed partially or solely on
‘great art, short fiction, humour and reviews’. The producer of this zine
electronic networks like the Internet’.6 As technology moved forward,
uses social networking sites such as Facebook, Twitter and We Make
so too did the way in which zinesters used the medium. Although, as
Zines (an online zine community) to advertise for contributors, and as
cultural historian Stephen Duncombe has pointed out, computers had
a means to promote the print zine (twenty pages, small-format, self
been a tool in the zinesters’ armoury since the 1980s (with desktop
printed, black-and-white) to a broader readership. The site does not ask
publishing coming in around 1984),7 it was only with the coming of a
for the viewer to interact with the information in developing a dialogue
new browser called Netscape Navigator in 1994 that information on
with its producer other than to hit the ‘buy now’ button.
the Web became more accessible, thus prompting a new generation of
web-based e-zines.
On the other hand, some zinesters, such as Tony Drayton (Ripped
& Torn and Kill Your Pet Puppy), have used the full potential of a website
as an archival resource for their print zines (photographic and articles),
Pixel Perfect
in Drayton’s case also listing current events and maintaining a blog with
‘ISN’T A ZINE JUST A PAPER BLOG? No way! Zines are totally different,
readers’ comments. The form at is less static and provides functions
[not least] because they are physical objects that exist and take up
that design into the site a means of interaction between members of
space IRL [In Real Life], You can’t hold your blog together with tape and
a community: in this case, punk music enthusiasts. Other interactive
staples; and you can’t hold your zine together with css and html.’8
forms of online zine networking have become popular: ZineWiki
*
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A L im e p o e r e v
■PO-E-B'KIB Welcome! A Little Poetry presents contemporary poetry by poets around the world--from famous faces to
burgeoning beginners. Check out the journal / c-zine CONTENTS page for links to the current issue of VorociQUtA'crsc? . featured poets,
and links to poetic e-zines, journals, and other resources. Online since 1996, check out our archives with hundreds of poems and poets
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Love Poems
Mystery Date Online (2001-) continues what
began in the print zine as producer Lynn
Peril’s obsession with used books. Duplex
Planet (c. 2000s), David Greenberger’s online
site, began as a print zine in 1979, about his
conversations with the elderly in nursing
homes. A Little Poetry (1996) showcased
contemporary poets’ works and resources in
this journal-like format. Blind, Stupid and
Desperate (late 1990s-2006) was a typical
football e-zine. Jersey Beat (n.d.) began as a
print zine (c. 1987) and covers punk and the
alternative music scene primarily in the TriState area around New York.
174 / 175
Explore LJ: Life Entertainment Music Culture Nown &Politics
[•ntrt«*|friends|caleridarj
a dly zine co m m un ity's Journal
a diy zine com m unity
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Flaneur - for the cultivated stroller of city streets
I 'm Interested In subm itting m y zlnes to dlstros, but Ive n e ve r done It
before and have NO ID E A how pricing w orks. I see dlstros talking
a bout wholesale price vs retail price. W hat's the difference? W hich one
Is higher? Should I Insist on consignm ent? Does that change the price?
U g h , It seem s like so m uch, and I ’m not g re a t a t n um bers. HELPI
Anyone who can du m b this process dow n for m e would be a god-se n d.
T H A N K YO U.
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FLANEUR
an independent quarterly journal/art zine
F la n e u r
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to finding a s o u l
In te rna tio na l Q u irk ya lo n e D a y P a rty + List Slam
Hello list lovenl
International Quirkyalone Day Party; A‘Matters of the Heart’ List Slam
Saturday, February 14, 7 pm
Red Hill Books
401 Cortland Avenue, San Francisco
International Quirkyalone Day Is a do-it-yourself celebration of romance, friendship, and
independent spirit. It’s a celebration of all kinds of love: romantic, platonic, familial, and yes,
self-love. International Quirkyalone Day is not anti-Valentine's Day. It's NOT a pity party for
single people. It's an altemative-a feel-good alternative to the marketing barrage of
Valentine's Day.
Above all, IQDis a celebration of romance, freedom and individuality.
Couples (especially quirkytogether) are welcomed to attend. After all, many a partnered
person complains about the contrived nature of Valentine's Day.
BRINGA LIST!
See what other people are
to-doing* in this collection
of 100 handwritten lists
and the stories behind
them. Check It out:
Amazon - Powell's - Barnes
Producers use the Web in different ways:
for example, blogs may be personal diaries
or promotional sites. The Flaneur (2009-)
is an independent quarterly journal that
carries art, fiction, journalism and cartoons
and which uses its website for selling
subscriptions to the print version. Stolen
Sharpie (2008-) is a blog by Alex Wrekk,
author of the resources zine Stolen Sharpie
Revolution and an organizer of the Portland
Zine Symposium. To-Do List (c. 2000-) is
produced by Sasha Cagen (who coined the
zine-speak term ‘quirkyalone’) and uses the
lists as a way of exploring the mundanity
of everyday life.
For this year's San Francisco celebration, come to Red Hill books to mingle and Join in a
'Matters of the Heart" List Slam--bring a list related to "matters of the heart."
The root of the verb “to list" means to “lust" or desire, so let your list lust roam free. This will
be the ninth List Slam in the history of the universe. Read more the mysteriously alluring List
Slams concept here.
m i
THE
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A meta approach to zines
provides an entertaining
overview as well as linking
producers together. Broken
Pencil (1995-) is a quarterly
Canadian print and online
metazine reviewing fanzines,
and related subjects. It was
founded by Hal Niezviecki
with current editor Lindsay
Gibb, and continues to foster
zine culture and the indie
culture scene. Irish Books
and Zines (2008-) is a blog
founded to provide a space
for digitizing Irish zines
and other related ephemera
‘in high quality pdfs’.
BROKEN
P E N C IL
(2 0 0 6 -) is a user-generated open source wiki site, while Zine Library
response or author and reader (or a ‘nanoaudience’ - the name given
(n.d.-), an ‘open publishing’ site, allows users to upload and download
to small audiences that follow a blog). For the producers of printed
pdf files of printed radical zines as well as broadcasting the latest indie
fanzines, on the other hand, receiving feedback is often much slower,
news. Such sites point to an increase in the user’s ability to exert
especially when zines are published on an irregular basis. The so-called
greater control over w hat text is read, together with an awareness of
‘sociology’ of zine reading is altered, therefore: a fact underlined by the
who the readership is and potentially how far the limits of free speech
ease and speed with which a blog can be accessed versus the old-
might stretch.
style method of sending off for something in the post. A different sort
Another way in which e-zines mimic print zines is in their inclusion
of comic strips. However, once again the potential for a new kind of
of connection between reader and producer now exists.
E-zines are often produced from a menu of templates with
aesthetic exists. American comics theorist Scott McCloud has pointed
predetermined grids and typefaces. Another kind of zine aesthetic
out that on the web a comic strip can exist on 'an infinite canvas’
has emerged. Attempts at replicating the attributes of print zines
(endless horizontal or vertical scrolling, click-through navigation, etc.).
successfully online do exist: Laura Oldfield Ford, for example, uses
Having said this, it is true that few zines have utilized this potential
print-based illustrative collages on her home page for Savage Messiah
to date, and prefer to reproduce short strips that have the fam iliarity
(2 0 0 5 -), as do the producers of Our Hero (2 0 0 0 -0 2 ) with their
of the old-style print scene.12
website using typewriter and handwritten texts, crossings-out, collaged
Librarian Jenna Freedman in her online essay ‘Zines Are Not Blogs:
A Not Unbiased Analysis’ suggests that one of the shared aspects of
images, and so on to get across the fanzine concept. But in general
e-zines are at their best when they play to the strengths of the computer.
blogs and print is ‘m otivation’. That is, both have the ‘desire to express
rather than to profit as a m otivation’.13 This is readily evident in the act
E -D ream e rs versus Print Purists
of blogging.14 Blog writing is diary-like in tone, with brief, descriptive
In writing about comic e-zine fandom, Matthew J. Smith comments
entries regarding a specific activity, observation or event that has
that ‘the potential for community, facilitated in publications like e-zines’
happened in the w riter’s life. The template is predetermined for most
will continue to develop, as do the possibilities of increased online
blog sites and relies on the blogger writing a couple of paragraphs for
interaction.15 This is undoubtedly true, especially with the advance of
each entry; entries normally run in a linear sequence and in reverse
ever-more portable computer devices. However, it also worth noting
chronological order (last entry appears first when scrolling down the
that anti-e-zine sentiment exists. Back in 1 9 9 7 -9 8 the producer of the
screen ‘page’). The analogy with more traditional print perzines is clear,
print musiczine Make Room made his case clear by publishing the top
though purists always defend the design and materiality aspects of
ten reasons why paper zines are better than the Web versions. Among
printed zines. E-zine websites, on the other hand, are intertextual in that
these: ‘no annoying link bullshit, you just turn the page’; ‘everyone
they allow for a greater flexibility to move in between texts or through
knows only GEEKS surf the net’; and ‘you look cooler carrying this
links to external sites.
around’. Today, those arguments still hold true for the print purists,
There is immediacy inherent in the technology, for example, for
who argue that you can’t have a zine fair in cyberspace. E-zines have
updating entries and providing feedback to original postings. Comment
facilitated some of the best work in the field: but the death of print is
boxes also provide and record the dialogue between content and
evidently greatly exaggerated.
176 / 177
A BRIEF D I G I Z I N E ™ R O A D M A P . . .
Digizine (1995) was an interactive music
and entertainment magazine brought out as
a CD-ROM. It was created by Timothy Zuellig
and published by Bob Ahrens. When it hit
mainstream newsstands, the first two issues
sold out with reportedly 60,000 for the first
issue and 90,000 for the second. Interviews
with alternative rock bands such as Nine Inch
Nails and Jesus Lizard were interspersed
with comments from technology guru Howard
Rheingold and comics by American artist
Heather McAdams. Five years earlier, advances
in desktop computer technology prompted
’cyberslacker’ Jaime Levy to publish the
artzine Cyber Rag (1990-92) as a HyperCard
floppy disk. The first multimedia issue (1990)
emerged out of Levy's Master’s thesis, and
contained ‘bizarre pictures, sound, animation
and words’. Cyber Rag's three issues were
followed by Electronic Hollywood, in which
the producer shared her experiences in
Los Angeles.
NINE
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NAILS
JES U S
LIZARD
sump
ENTERTAINMENT
H O M E PAGE
C O N TEN TS
HOMfE PAGE
CITTY
THE BURNT
FORTUNE
COOKIE
PERRY
F AR R ELL
TWISTED TOPICS
HOME PAGE
LLEAN
MMEAN
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RINGING
IN THE
SHEATHS
International Drum
Month Contest
HEiATHER
MCZADAMS
CULTURE 0 SOCIETY
HOME PAGE
NET
PARANOIA
FASHION
HOWARRD
RHEINGOOLD
Marvel® Comics
Contest
Tim Zuellig
Seafor Designer/Programmer_______ _
PfoAttt Wonogtr__ _______ ________
Kelly Cleveland
Genera! Monogcf....-......... ...................
Curt Galusha
Content Coordinator__________ ______
meumxm
Tony Capulo
Advertising Director... ...........
Content Manager.------------------------ -
M T 12 ’ 5 < vZ
Dan Rehmann
-—
178 / 179
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Pixel This (2003-c. 2009) was produced out
of Nicosia, Cyprus, and styled itself as
a forum for both local and international
artists, writers, poets, photographers
and others. While the website provided a
immediate venue for feedback, the print
issues were steadfastly DIY in the old
sense: formatted as a square (20 x 20cm,
8 x 8in) and inserted into a plastic bag
sealed with a sticker on the back. Each
issue had a theme and a print edition of
200. New issues tended to be launched at
club events, dance festivals and the like.
urban
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Produced by Jenna Weiss, Tenderfoot
(c. late 2000s) used an online format
for notification of the sporadically
published compilation zine of the same
name: it collected stories and comix about
'firsts’. Sandylovesyou (n.d.) is created by
Sandy Lim, a web designer and creator of
Melange (2010) from Western Australia, as
a showcase for her art, design and writing.
10 Things Zine (c. 2007) is the blog version
of the print zine 10 Things Jesus Wants You
to Know (1991-99), the largest-circulation
fanzine in the northwestern United States.
Produced by Dan Halligan, it provided news
and information about the independent
Seattle music scene.
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CONTRIBUTORS APPLY W ITHIN
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Pflfk'S IS HIPPIES
P ills IS HIPPIES
PAWS IS HIPPIES
Pfl»S IS HIPPIES
PAWS IS HIPPIES
p a p s IS HIPPIES
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Kissoff Zlne on the Web
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Punk continues to influence both online
and print fanzines. The Black Cloud (2007 —),
by ex-punk Bret, presents 'clips from a
doomed journalism career’, exploring the
idea of using previously published work
reprinted in an amateur format. Punks Is
Hippies (September 2007-) is a blog dedicated
to archiving punk fanzines that relies on
contributors to post images. The spontaneity
of Kissoff’s (1997-2009) print-version punk
graphics is replicated on the website, with
gritty photocopied black-and-white drawings.
The ChickenFishSpeaks is an online archive
for Mutant Renegade Zine (1990-2000), a music
fanzine with reviews, interviews, games,
videos and photos from various gigs.
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182 / 183
Loserdom, (n.d.) by Anto and Eugene (the
Loser brothers) from Dublin, provides a
selection of articles and cartoons from
the print version of the same name (1996-).
It also provides a selling point for both the
zines and merchandising (such as T-shirts).
The illustrational content has always been
outstanding: especially the screen-printed
covers, which reproduce well on the Web.
Topics have included punk, cycling and anti
war politics. The producers also run a zine
distro point at events such as the Dublin
Anarchist Bookfair.
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L O S G R D O m IIO /IB I June 2007
You see all these bitter filthy politicians In clean suits as if they
deserve respect, standing oy tru m pe ts and o th er cerem onial m usic,
to obey som e sacramental institution; but the w ay they stereotype
oth er hum an beings because of the ir land of o rigin, because of a
b u re a u cra tic s ys te m , and the w a y th e y trick the people
(im m ig ra n ts ) who are the m ost vulnerable In our society, I can't use
a nother word for these politicians, th e y 're scum ! T h e y ’re spreading
like wildfire, a filthy virus of selfishness, greed and bitterness;
S a rk o z y calls tho us a nds of ,
young people - a part of the
popula tio n - scu m (ra c ille );
Verdonk decides to expel 26,0 0 0
people to show her hardline brutal
strength. T h e politicians play a g am e
w hich displays p erfect tim in g , an
--a m a zin g ability to dodge issues and
lie as well as strategically displaying a
ik
hint of flexibility and credability in the face of their actions.
Bertie plays this g am e to perfection to a sheep population that
keeps electing him while bleating "fo u r legs good two legs
better".
We ain’t thick, its ju s t a trick, but w e ’ll be living with It for
another five years. In this dem ocracy you pretty m u ch always
lose, there's no in between as long as I could e ver
vote - I'v e been on the losing side with politics and with our
‘president", they don't represent m e ; they have nothing to
do with m e. You lose, but we can be constructive a bout It,
creative hopefully, w elcom e to L o s e rd o m !
iMTomfimus msmo:
JOB [)()()(1(!
Minus smeisinn
run :
non. Kiripin
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issue of Loserdom received a great response so
thanks to e veryone w h o gave support and sent in
feedback - It Is m uch appreciated. Making a zine is a
peculiar hobby to be sure - there is a great deal of
satisfaction to be had in creating and putting together
a zine, bu t since it's certainly not for
financial return - the bit of feedback
really makes it w orthw hile. So send
it in if y o u've got any. Also if you
feel som ething is being ignored
here in Loserdom o r indeed
you could do a better jo b at a
zine yourself, d o n 't hesitate m ake y o u r ow n zine today,
infact do one anyw a y!
T h is tim e round w e present the
'In te rvie w s issue* with interview s
with som e folks that we think have
som e interesting/im portant stuff to
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Woofan featured ir
Attack! (2001-) was ‘curated’ by Wes White
- initially a numbered edition of 150 print
zines. showcasing collections of original
artwork by writers, artists and musicians.
White expanded his idea to include a DVD
encompassing live shows. The accompanying
website Cartilage (n.d.) contains scans of
sold-out issues, a blog and links to the work
of contributors. Kill Your Pet Puppy (1979-83)
was a British punkzine produced by Tony
Drayton (of Ripped & Torn fame) and is now an
online web resource and archive for his zine.
The background pattern is constructed out
of images of the original print zine. Woofah
(2007-) is a sporadically produced independent
music fanzine covering reggae, grime and
dubstep with both online and print versions.
Stockists
Contact
184 / 185
doris 26
doris
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DORI S Z I NE BLOG
sick zine, call fo r submissions
CALLTORSUBMISSIONSON PHYSICALILLNESS
Sick: ACompilation Zinc on (fcysical tUnesscollects people*
npenencet wit?' illneu to help establish a collective voice of triose
impacted by 'lines* withm radical Hrft/dly communities The zine 11
mean: to be a resourcefor thoaewho are living with illness as well as
those»«*iohave not dimctiy experienced it themiehrv Were doing a
pftotoyaphy. or collage. For more mlormat
and the ongoingprotect, seeour wefcnte:
http- ndone.btofspot-com
support oI community members • Intersections oTrace grrnSer ’
ho^Kals and treatments • Body image / identity and illness •
expenencrs o<being a caregiver • Livingwith multtple diagnose* •
Insurance • The financial burden of Illness • Sc» and illness • Bines;
and creativity . The invWbility of illness • JVovkHnf support to
someone living with illness • Creating andsustainingcommunity
support networks
Doris Zine Blog (2007-) operates as a showcase
forum for a riot grrrl distro, run by Cindy
Crabb (‘Doris'). The blog is a continuation of
the printed perzine, but radically different
in its design, being subject to a pre
existing grid template. Examples of covers
from the print version indicate an appealing
illustrational style that is difficult to
replicate with any warmth online.
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RicocKatl Ricochet! #7 80p
Ricochetl Ricochetl K8 LAST COPIES - 80p
Beat Morel #9 • £1
reviews, a bit on Prop 8 (which Is funny |ust became
they’re from England and I eon't Imagine any American
politics. Not even American politics, but Collfomio
politics. Maybe Americans are just apathetic goofs.) and
dueling restaurant reviews by a married couple who
were visiting San Francisco which I liked. Pretty good,
>e)(Xer
Drink The Sunshine #4 50p
Exploding the myth #1 - £1
Friends of Polly - £1 JO
Frionds In High Placet 50p
Groat
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BTFA#1 - £1
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paste (mainly) music rine Oy Paffy ant
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iwning); ri
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stes); a piece In praise of the seemingly disappearing
a cassette); a chocolate brownies recipe; write-ups of
shows by The Coachwhips and Gravy Train 1111; a
:entroiproad comic strip; an Interview with Peel show
More web/print crossovers. Artist Laura
Oldfield Ford's provocative zine Savage Messiah
(2005-) reports on her psychogeographical
wanderings through London using cut-andpaste, photocollage, drawing and writing.
Her commentary is on the gritty realities of
urban spaces, reflecting the early anarchopunk art of the 1970s and paying homage to
the graphics of Crass member Gee Vaucher in
particular. A less refined fanzine aesthetic
is at play in the music/queerzine Ricochet!
Ricochet! (2005-) by Paffy (Patrick) and Colly
(Colette), which has an art-band orientation.
186 / 187
One of the advantages of having a musiczine
on the Web is that songs and videos can be
sampled. Supersweet (2004-) began as a printbased Thai fanzine, emerging out of the indie
disco scene of Bangkok and London and morphing
into an online presence; 1,500 copies of the
photocopied zine were distributed, but the
website provided a much broader platform.
Having gone digital, experimentation with
sound could begin (e.g. the ‘Contact u s ’
link is accompanied by the sound of an oldfashioned telephone ring). By contrast,
Morgenmuffel (c. 1997-) is an autobiographical
comiczine drawn by artist Isy that sticks
closely to its print roots. The first issue was
produced in Germany, and it was not until the
second issue and a move to Brighton, UK, that
its producer began to use the zine as a forum
for drawing comics about her own life and
activities, which included direct action and
grassroots organizing. The website provides
followers with downloadable pdfs of early
issues of the print zine.
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hours'oiatpd
Rum-Muffel
Last Hours contributors
join forces to present this
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Crafts meets subversive (and not so subversive) literature at
Southampton's first zine ana craft fair. Saturoay 21st - Sunday 22nd
November, 12-5pm both days. Entry is free.
tMtUtiimiJiUbliJMfiyiw».•
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An invitation to take part in
‘Excessive fo rc e ’ com ix
• Lvinggx^comlrjijyaJ
■ HtJLftOTWSWMyth ,
•TMooiAr®MppmoJ*tt
Last Hours is preparing to release our first comix anthology this autumn,
alongside another autumn surprise, both of which will bo followed by Last
Hours issue 18 in November! But for now, we're opening up the invitation
for people to participate in Excessive Force (or Police everywhere, justice
nowhere - we haven't made a final decision!)
rgftrf I he rent of thi
PUIT YOUR JOB GET A LIFE
BREAKING OUT o
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#14
£ 2 .5 0
AUTUMN 2006
Political zine agitation has found a
sympathetic home on the Web. Rancid-News
(2003-05), produced by Edd Baldry, was a print
punkzine that ran for nine issues until
issue 10, when its name was changed to Last
Hours (2005-08). It moved beyond a conventional
music review zine and found itself putting
out themed issues and devoting more space
to political news and articles on such
matters as veganism - something that gave
the website a more serious aura than others
in the genre. Regular contributors included
Isy from Morgenmuffel and Alex Wrekk from
Stolen Sharpie, organizer of the Portland Zine
Symposium.
190 / 191
KAREN MACAZINE - MADE OUT OF THE ORDINARY
'v; - .CL1'21-’ ‘fL
i Pages Buy Stockists Press Commonts Blog Links Contact
Karen
magazine - made out of the ordinary
Issue 4 of tho oword winnlnfl KAREN MAGAZINE
Hovo you met KARENyot? Sho’s pretty ordinary.
Ifl KARENmagazinefosn.cnMLoseyanahorrror
garcocirgisomoiomo; nooflocatching* thogard
ElogyandWordswortn'aDoffodlle
Irbruahad. ploatlclaedanddigitally
' / - •' '111ill 11
.
f o r pe°P^-e
a n d t u e t t a B ie
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when language run: dry
number 2
Butner
Language Runs D ry : a z in e fo r p e o p le
i and th e ir allies
Finding good I
aningful dialogue about chronic pain can be challenging. Many o'
if voice! telling their itodrs. We hope that by publlshing*these m
Everyday life is a common theme for both
print perzines and online versions. When
Language Runs Dry (2008-), by Claire Barrera
and Meredith Butner, is a health-related zine
for 'people with chronic pain’. Karen (2004-),
by Karen Lubbock, states,
fashion is Lesley
and her mannequin Mandy, beauty is a washing
line, health is Pat’s and Carol’s bunions. Art
is a visit to the local tattoo parlour, and
gardening is a mole that needs catching in
the garden.’
K
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Epriceless
THURSDAY, DECEMBER 24. 2009
Christmas Eve
Christmas Eweis here. I have a lot to organize for our families theme
Christmas tonight. We arc doing a 1930's theme. You can read more
about that on The Cedar Chest blog. Whileyou’re there take a look at all
the neat Christmas postcards and ephemera I haw posted over the last
coupleofweeks. I still have so much more I didn't get to! More for next
I had toublegetting some good photos of myChristmas decorations this
year. 1need a new camera (hoping Santa wil bring me one) and the
lighting was just too low. Uut. I am RolnRto post a couple anyway.
O ff.
1have been
publishing zincs
under the name PonyBoy Press slncc
1994. Once I moved to Portland in
2000, 1also started selling crafts. I
like home decor, vintage stuff, history,
fat activism, zincs and web stuff. I
also do a blog on vintage photos and
ephemera calledThe Cedar Chest.
SHOP PONYBOY PRESS
Thc village I made turned out pretty goodthis year. I love all the
different trees. Although it is nothing likeAlicia's. There Is a great
tutorial on howto make her Christmas Village on her blog, Poslogets
-the(eastvillage)1NKY(f)
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Tiit East WUage Inky —inwhich the Hoosicr-bom mother of
a 3-ihumbcd monkey-collecting girl and a beguiling Brooklyn
boy manages to issue forth another installment inthe ongoing
saga of their lives inNew York City despite such obstacles as
whining, the holidays and dwindling naptimcs. Perishables & Dry Goods! Insomnia!
Naked people dancing ina wholesome manner! Obscurities reviewed! Babyprooflng
Hilarity! APaucity of Negative Space!
JpWiepptr
landy links
Mo.TpuchJtontaxJ
J U LY 2.000
HuUUaJumpm
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Contact
G h o st Pine Fanzine
*xiui£juju>tullkjaj wm
If you're already a subscriber, you can lake advantage of the
10 renew yoar WhKripriBBMd MN
yourself a couple of buckics.
Ohh! Why put yourself through the drudgery of holiday shopping
when it is so easy to give everyone on your list nbolldoxjjn
BlbscciAliODx It includes a card and personalized message.
But wait - warn to order a sample first? Don't believe incredit cards?
Can't get a credit card? That's okay, wc can't get one either. We accept
cbccks and cash too —just oaX-Maximumrocknroll #298, March 200B; Zinc TopTen
Ghost Pine #n If the "perzine" label usually stopsyou inyour tracks, consider
taking a chance on Chost Pino. This is well-writtenandoriginal. It consists of
short autobiographical vignettes that arc riveting glimpses at Jeffs life, each one
alternatingbetween funnyandsad. I enjoyed the shortness of cach picce, and
howhis writinggivesyoujust a taste of the moment, but nowTmsittinghere
-Shcrevicwszincs.blogspol.com
Ghost Pine #10 The tenth issue, on tho 10th anniversaryof a tremendous zinc,
celebrates all tilings incomplete. The several pieces inthis zinc are all parts of
other works, cadi sittingpcrfccl init's unfinishedstate. Amust-read, and it
coropds me to read the first nineissues as well, inaneffort to learn more of this
writer’s world.
-Ncwpagcs. com, May2006
Ghost Pine *9 I'dheard manyexcellent things about Ghost Pine, and so Iwas
happyto finda couple of issues at Wooden Shoe Books duringa recent trip to
Philadelphia. Soon after diving into these issues, I noticedsome threads of
similarityinstyle to another excellent Canadianzinc, FmJohnny and I Don't Give
a Fuck. This is a goodthing. Jeff has a certainlyrical andtimeless style to his
writingthat reallyappeals to me. It lends a universality to what he writes about,
whichis often hardto find inpersonal zinc writing. Pcrzincs arc oftentoo
personal, so focused inon one person's minutiae that it canbe a struggle to
relate. But the writing inGhost Pine, though rooted inpunkrockandactivism.
DISTRIBUTORS
quimbv’i (ehicago)
Autobiography is another staple of the
perzine. PonyBoy Press (1994-) is a blog that
operates as a perzine and a point of sale
for the writer’s zines and craft objects. The
co-producer of The Donner Party (n.d.) used her
website Oh, Darcy (n.d.) to promote the fanzine
and showcase her poetry. Ayun Halliday’s
website promotes her print zine East Village
Inky (1998-). Ghost Pine Fanzine (c. 1996-) is
an autobiographical zine by Canadian writer
Jeff Miller, and this site contains extracts
from some of his short stories.
192 / 193
■*' ■- 'aj (x] ■'*) u
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Getting Started
Zine and t-Zme Dir
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hitp://www. s1monwhybray.com/fever2lne/
•j T V
Coogle '
Latest Headlines &
>
Ztne Archive Links
O
^
a dly iine commum
O
http://web. .zine-list O
grrrl and lady zlnrs C O
i_J
FEVER ZINC
O
[Jj MAXIMUM ROCKNR
Q
+
The hand lettering and pink background are
as distinctive of Fever Zine (c. late 2000s)
on the web as it is for its print version.
Originally a photocopied creation by music
journalist Alex Zamora and graphic designer
Simon Whybray, it provides a showcase for
‘hip’ writers, illustrators and photographers,
including Tim Murray, Andy Council and Paula
Kopecna. The online zine links to social
networking sites (the creators are active
tweeters) and to interviews with the zine's
contributors on YouTube. Fever Zine has been
featured in British design magazine Grafik.
Issue 1 ★ February/March 2 0 0 0
c ja m g j
TABL E OF C O N T E N T S
One ofVie first magazineaccountsfromthe frontlineof
the protests agamst the World Trade Organization
November mSeattle. Ufa Albers gives you afirst-hand
account of what *rwas like tobe in themidst ofchoas
that eventuaty eruptedmpobce attacksonprotestor
and the md>scnmmateuse offorceandchemcai
Politics
Slttp tw in SMttfr
M.ke Albers
'Give me Your Huddled Masses Yearning to Breath
Free' _ So We Can Jail -Em: Political Prisoners in
the United States
Faye Ko*y
The Internet art Computer Privacy: An Interview w
Richard Smith
Baoak Rastgoufa-n
People
Who Controls the Past Controls the Future: An
Interviewwith Historian Howard Zlnn
PMV MMm
The Sweet Scienc: A Photo Essay on Amateur
Resistance is as Natural as Broatnlng: AConveration
wtth Billie Strain
Basd Bias
CD B CndMI .1 l tui Techno clfyoftountf: ityol Sound Intogrjiph.c ui Compiny
hkitlitutr btljy. i vim rtOwnmw HilionalC'l V«rteoCl
a. name - e + cd
b. love - e + ing
i M m r . h j ~~
" I r o v t Y ig
d. live - e + ing
e. lie - ie + y + ing
c. save - e + ed
f. die - ie + y + ing
~ l: tv ir r ^ ~ "
Disparate enthusiasms characterize
the web zine community. The website for the
irregularly produced website Breakfast (n.d.)
- ‘the zine about your favourite meal' - by
Vincent Voelz is a companion site and sample
archive for the paper zine. The politically
orientated Clamor (1999-2006) was founded by
Jen Angel and Jason Kucsma as a ‘DIY guide
to everyday revolution’. The La-La Theory
(c. 2007-) is a zine about language by Katie
Haegele, a linguist and professional writer.
Her website and blog promote the literary
zine as well as her writing for the
Philadelphia Inquirer.
194 / 195
RAD
DAD
Hack Thl* Zine I HackBloc.org
https //hackbloc.org/zlne
Most Vinted -
Getting Started Latest Headline*
::! The A/t of Paul Renaud ; View t
O
SCARCE: Sommalre du prochjm
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Hack Tbl» Zinr 1Hji.kOloc.orij
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Submitted by Hackbbc.org on Tub, 08/19/2008 - 08:38
T v c been reading over your zine and It rocksI" —Annalee Newltz, Editor, k>9.com
CurrentIsiue
L a te s t Is s u e : # 8
• Leak Everything... Leak It Now
> Power of Hacttvlcim
> Ronln: A (Brief) Intro
> Iptables: Network Auditing with Evoltech
■ Hot Piping Coffee Enema
> AnB-Copywrttten
• Protect Web Folders
> RFI Rooting Tutorial
> GLF: Blnwntlng Protocol
• Digesting Shellcode like a Mollusk
« Letters to the Editor
■ Credits and Shout-Out
it HockThlsZlne try our best to reliably bring you great content, a
_
<
+ Qhttp /<
CD HB CrrlO«ai<M r
d
she must be having a bad day
FOOD SERVICE: THE SECOND-OLDEST PROFESSION
November 25, 2009
Bein thankful. ..u r doin it rite!
HappyThanksgiving, everyonel
Asyou prepare and serve your holiday feast (personally, I Just finished making the cranberries) I hope you will not only take tr
time to realize howthankful you are for your friends and family, your health and the awesome food you're about to devour, I
hope you'll ’perhaps* remember all the service employees (retail, food and otherwise) who work on holidays. I cant even cour
the number of busy Wednesday night close/Thanksgiving morning opens I've had to pull In my life. Its really stressfull
But seriously, Happy Thanksgiving ai
a b o u t me
Betsy song, Waitress Hell (you may know Corin Tucker from HZBfrom her later
1, Sleater-Klnney). Their only album, Calcul
en obsessively Into Bikini Kill and
md was a full
full-fledged Riot Grrrt (or at least the tamer, teenage, polite mldwestem Englishis revolutionary version of a Riot Grrrl). Listening
mlcrocosmpubllihlng.com/caUlog/zlnes/Z706/
Viewmv complete profile
blog a rc h ive
BAD DAY
► December (2)
Bcin thankful...ur doin It riteI
TH E CULT
RVICE W O R K ER
More diversity on the web. Hack this Zine
(2004-) is a collective of ‘artists, crackers,
hackers and anarchists’ who work with
open source and tech activism. The zine
is available as a pdf to download from the
website. Tomas writes Rad Dad (2005-), a blog
zine about parenting, with its origins in a
print zine notable for its letterpress covers.
It won the 2009 ‘Best Zine’ award from the Utne
Reader. The website for the SocialDesignZine
(2003-09) was maintained by the Italian
Association for Visual Communication Design
and focused on social responsibility. She Must
Be Having a Bad Day (2008-) by Dana Raidt, is
a web and print zine for female food service
professionals. Urinal Gum (2008-) is a comedy/
satire zine aiming to ‘enhance others’ lives
through drivel’.
196 / 197
FOR WOMEN W ITH SOMETHING TO GET OFF THEIR
0
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H
c, H3
o
p .
bitch
GET IN THE PICTURE.
SUPPORT BITCH.
POWERPUFF MAI
meet the guy
behind the girls
A n n o u n c e m e n ts
B lo g s
Get in th e P ictu re-S u p p ort
Bitch!
A lice Paul: T h e V otes A re In
BOOTY CAMPa woman yearns to
join the army
B
II
B
GIFTS FOR
THE BITCH
W HO HAS
EVERYTHING
most
this vital! thriving communityof *upport.
anddialogue.
DccautctheBitch communityit far-flung- "Chav
i
DO OR Dl
sri lankan
female suicide
bombers
G IV E
B IT C H
Click here
02925
■ ■ ■ ■
La DYEEST - THE PHOTOGRAPHIC EVIDENCE
M usic V ideo W inner
Once into the 2000s women and grrrls
contributed to feminist debates in a range
of formats - from print to Twitter. Bust
(1993-), by Laurie Henzel and Debbie Stoller,
was one of the first to bring riot grrrl to
the mainstream, and has maintained its edge
in digital form. Bitch: Feminist Response to
Pop Culture (1996-) was launched in print with
300 copies distributed by hand: the acclaimed
website (n.d.-) is now part of Bitchmedia.
Ladyfest London 2008 used their website to
announce the event and to provide the zine
programme as a downloadable pdf.
_
r contact |
vmot?
STZF -(-T am
about m e
EMAIL ME
GuestbooK
Join me M ailing list
f about
mer
yr—
GRRRL, LADY, QUEER and TRANS FOLK ZINES
I n Epg-ishl
: : : A B C D E F G H I J K L M N Q P Q R S T U V W X-Z :::
fSponish'1 lPoftuQiiesel:::[Gerrranl 'French lliai'an]: IHpnrewl::.
ISwed sh' •
INQrweQian]:::lFinnisn]::.fDu(cni:::[Polis^l:: tS ovenei :[Croaiian; (Japanese!:
- ZINE DISTROS - BLOGS - COMICS
- m Q A 2 N E $ - MUSIC ZINES - RIOT GRRRL RESOURCES
- ZINE EXHIBITS & W O R K S H O P S - ZINE GRAPHICS
j
tnis oro.ect
zme disuos ♦ zine li&ranes - infoshops
whaia^tnoa?
zinarisiory * insane ngtwprK
RESOURCES FEMINISM
N£W!Udvtott
third wave feminism
cvberfemlmsm
an * POP Cul^r? *
gifl publishing
N E W 20091 Z in o A r c h iv e at:
w w w .q r a s s ro o ts f o m in is m rn e t
---- Ti£*Xm'Z€3i
iting i
:saae"“ l
E
„
Jasso?
erviewsj
with International zlnesters
by continent |by topic
NEWI
The Curved (Slovenia
Hoopla: Radical craft zine (AUS)
Fight Togetherl (Italy
make/ shift (USA
—
Uni l ne (Croatia)
What^do We do When (Australia)
ufriend,
for ladies and all their friends
J /
Interviews and articles
Ladyfriend Zine is a small-press
publication that celebrates female
friendship As the subtitle implies, this
doesnl mean you have to be a lady
yourself to enjoy the content or contribute
articles, you just have to be friends with a
few Whether you’re looking advice on how
to cut your own hair, comics about
babysitters gone bad. stories about
adventures on public transportation, or
tales of inspiring aunts, Ladyfriend's got
something for you.
get ladyfriend
Browse the Ladyfriend site for sample
articles and essays, ordering information,
and links to other great projects. There are
nine issues of Ladyfriend out now, with a
tenth on the way this winter. If you like
what you see.
and well have
it delivered straight to your door
interested in contribi
to the next
issue? Ladyfriend publishes articles,
essays, interviews, artwork and reviews.
Send us your stuff1
-----------
®
Grrrl Zines A Go-Go ©
... ,■ a s >
G U ES T BO OK
#JSign In *V)«w Entries
Issue #10 is the thickest issue yet.
celebrating six years of publishing by
focusing on the complexity of female
friendships in 64 pages of pure xeroxed
love. Inside youll find tales of wasp-tree
symbiosis, church-pew note-passing,
battling bandmates. and Ghanaian
superheroines' Plus free postcards to get
back in touch with a long lost ladyfriend.
and plenty more.
Issue #9 is our magnificent Male issue,
with stories by and about feminist fellas,
girls inspired by grandfathers, and drag
king drama. Read up on raising a son.
digital dating, changing male beauty
standards, and tons of other awesome
stuff'
S c u m g r rr ls
ts s z m m
Issue #8 is the Health issue, featuring all
sorts of stories about midwifery, dog
attacks, growing up with doctors for
y
Montreal’s pansexual Lickety Split Smut
Zine (2004-) presents work from 'artists,
fallen women, playboys, rakes, trollops and
strumpets!’ Ladyfriend (1999-2007) by Christa
Donner originated as a themed print zine.
Grrrl Zine Network (2001-) is an established
feminist zine network listing more than 1000
zines. Grrrlzines A Go-Go (2002-) facilitates
zine workshops in community venues, especially
for teenage girls. Belgium-based Scumgrrrls
100% Feminist Energy (2002-) takes its title
from Valerie Solanas’s Scum Manifesto.
m
\
4
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Brrrl power ♦ zine books
S IL lillfilJ lL flin flil
articles
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bibliography
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STICKY
INSTITUTE
■.....
"I
Inmtute Overview
Background
Location
T he B adge Machine*
The C3100 Photocopier
Stock % u r V brk
T he Typewriter Fbol
Membership
The Exchaige Bax
A B O U T the I N S T I T U T E
R ESOURCES
T A R G E T 144 & 168 series
The Opinion Society
In Comrnauon
Demonstrations A Vhrkthops
Electronic Sporadic Correspondence
Modem Social Networking
Electronic Ltnks
M A IL CREER E E P X
Z IN E O fE IIA
F E S im L o / ./ ,,f H O T O C C H E R
ftirinla* in xynchronised zinemaking
A compendium o f knouiedgc
atthin txtrentt time constraintn
on Australian zine culture
SHRINE
W IL T
C C M M U N IC A E
Melbourne, February 2010
SITE INLEX
4 -
Mo* > FRI 12-6PU SAT 12-5PU I POBOX310 RIMJLRS LAIC VICAUSTRAUA 8009 I [email protected](IU I *613 9654 8559
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■<3T
•4 ) •
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http://www.stickyinstltute.com/
RESOURCES ’Hie Badje Machineo Hie C3100 Rxftocofaer Ibe Typewriter Fbol The Exchange Box Home
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The Opinion Society ! In Conversation Demonstrations & Workshops
Electronic Sporadic Correspondence Modern Social Networking Electronic Links
Home
Olivetti
le ttera 4l
and Australian sweetheart Royal 40.
TH E O P IN IO N SO C IE T Y
Y O U are invited to meet with zincmakcrs, writers & artists to freely’cfiscuss ideas, express personal opinions and think critically about new
works in circulation. Come and generate and receive critical feedback and get a sense of what other people are creating.
FRIDAY 7' 8pm 7th AUGUST
FRIDAY 7'8Pm 4th SEPTEMBER
FRIDAY 7'8pm 6th NOVEMBER
FRIDAY 7'3pm 4th DECEMBER
At least one of these meetings has been recorded for prosperity...
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...............
Mon > f r i
The Web has provided zinesters with a global
audience. In the case of Sticky Institute
(2001-), an artist-run initiative in Melbourne,
Australia, this notion is extended to
providing a shop and a non-profit art gallery
dedicated to Australian and international
zine culture. As a resource, the online
Zineopedia, produced by Eloise Peace for
the Institute, provides a supplementary
compendium. The DIY spirit is also kept
alive through activities such as the 'Festival
of the Photocopier’, though the site does
receive funding from government arts bodies.
Its distinctive illustrations and navigational
links make it a focal point for Australian
zinesters.
Done
.......... •' -----------------
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12-Gpm sa t 12- 5pm I po box 310fu n d e r s la n e vic a u s tra u a soos I stickyshop@ gm ail.com I +6139654 8559
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Q r our hero tv show
N atio na l G ri... V id eo C lip s
NOW ON DVD! ! W a tc h th e f i r s t tw o aeaaona o f OUR HERO an y t im e . The h i t TV a e r ie a i a
a v a i l a b le i n a l i m i t e d e d i t i o n DVD b o x e d a e t . O r d e r v o u r a to d a y ? ! !
d b qp : vis u a l...is u a l Poetry
NOW
c*\ l l t d
It's a little magazine type thing full of rants
and jokes and weird little drawings that make me
laugh and stuff I found on the floor at the bank
machine or in the nine-for-a-dollar postcard bin
- all cut and pasted together into something
almost beautiful. I t ' s e v e r y t h i n g : my j o u r n a l , my
s k e tc h b o o k , my tim e c a p s u le , my k e y t c m e n ta l h e a l t h , my
p u n c h in g b a g , my b r a i n o n p a p e r . . .
,
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HEY! C he ck o u t o u r
g ro o v y a e c tio n :
4 H » r y - K '» H a lr - D o o z ! !
DVDs
wr W o
on sale
Have y»ur S a y :
G o t y o u r own ia s u e s ? ?
J o i n , THE RANTf I f y o u 'v e g o t
s o m e th in g t o a a y a n d n e e d a
p la c e t o aa y i t , t h i a i a y o u r
dre am come t r u e .
to g e t your
OUR HERO DVD
b o x e d a e t . T h ia l i m i t e d
e d i t i o n DVD a e t i n d u d e a
a l l o f a e aa on one and
a e aa on tw o & l o t a o f
fa n ta a t ic e x tra s !
'zine1 \ n
1 : a wee independent publ i c a t i o n nade purely eat
I « s s i » e . b s Zines are either snail-nailed, sold in the "pulsing u n d e r g r o u n d 1
(press centers" of music or h o o k stores for cheapcheap, given away at clubs
|
___ ____________ ,
Lor just tr a i e i far ath e r zines
,EXXttalfl
WATCH OUR HERO WHENEVER YOU WANT —
BOY THE DVD BOXED SET!
© C op yrig ht 2001, 2002, 2006 H eroic F ilm : onp■ ny Ir.c
m i
A l l fcL?Kt« Reserved.
a
US teen TV series Our Hero (2000-02) featured
Kale Stiglic, a 17-year-old high-school student
who wrote a zine about her life as a teenager,
facing such issues as gender identity, drugs
and relationships. The series ran for two
years, during a period when fanzines and DIY
culture had become established currency among
North American teenagers. The accompanying
Our Hero website pays homage to the visual
aesthetic of Kale's printed fanzine, using
typefaces that replicate typewritten
text, cut-out photographs and hand-drawn
illustrations. Fans can interact with the
site by uploading zines or completing a
questionnaire to predict Kale’s future.
Meta-webzines (zines that review other zines)
are a quick and easy way to stay in touch.
In the tradition of Factsheet Five, Xerography
Debt (1999 —) began as a 16-page production
with issues averaging around 50 pages.
The expansion of its readership through a
website and blog (2008-) guaranteed a greater
submission of zines for review, and kept the
print version in production. As the editor
writes, ‘Print is not dead, but it is becoming
more pixelated'. The now-defunct website
Learning to Leave a Paper Trail Distro (2003-10)
founded by Ciara Xyerra, was typical of a
number of indie distros that rose and fell in
the 2000s. Although Zine Thug (2003-09), edited
by Marc Parker, was published infrequently, it
is a useful resource as an archive of reviews.
mixt
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* A READER'S GUIDE TO THE UNDERGROUND PRESS *
IPRC Documentary!
One of the longer-lasting metazines is Zine
World, which began as a print zine in 1997 and
continues today in blog form. Produced by Doug
Holland and an all-volunteer staff, it takes
a decidedly critical viewpoint. Critics have
included Bill Brent (author of Make a Zine!),
Jeff Somers (science fiction writer) and
Karl Wenclas (Underground Literary Alliance).
As well as covering zines it includes DVDs,
comics, books and other small press/DIY
counter-cultural projects. The producers
state: ‘When publishers are brought up on
charges for what they’ve published, when kids
are kicked out of school for creating a zine,
we try to spread the word....’
y
______
^
Hey there! FYPFanzine is using Twitter.
Main Page - ZineWlki - the history and culture of zines. independent media and the small press.
HQ f
Great win at for Palace at
Plymouth. Well done boys.
http://bit.ly/6CqOgn
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Small Victories
Dealing W ith Our Shit: Six Years o f Men's Group and A c co un ta bility Work
f
Unmarked Categories and the Q uestion o f Power
:
Consent or Coercion
until then please continue to chcck out
http://punlaUhlppics.blogspoi.com/
for updatesand (or loads and loads of uploads
UPLOADED SO FAR
chcck here for new uploads and updates
Library Bom
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http://www.tommvf<ovac.com/Ul5raryBonn«t.Mm
a tine by Tommy Kovac & Jullc Frederickaen
Click h trt for tha L IB R A R Y B O N N E T S T O R E !
Email: hcenieo.luno.
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In Library Bonnet (c. late 1990s-) Tommy
Kovac and Julie Fredericksen share their
personal experiences as librarians. FYP
Fanzine is a Twitter site that accompanies
Five Year Plan (2003-), the fanzine for
Crystal Palace football club. The Oatcake
(n.d.-) is a message board for Stoke City
supporters. ZineWiki (2006-) is an open
source encyclopaedia devoted to zines and
independent media, created by Alan Lastufka
and Kate Sandler. Zine Library (n.d.-) is an
open publishing platform where zinesters can
upload and download copies of fanzines. 80s UK
Zine Archive (c. 2005-) is an online resource
that collects together 757 zines.
Chapter 6 | The Crafting of Contemporary Fanzines
k u r l r o b a in
w a s la c lu s o in t o le r a n t
'BEDAZZLED
PULL •TO•OPEN
Popular culture and music
continued to provide a focus
for many fanzine producers.
Kurt Cobain Was Lactose
Intolerant Conspiracy Zine
(1998) was a riposte to the
1998 documentary film Kurt
and Courtney and suggested
it was milk, not drugs, that
killed Cobain. Publish and
Bedazzled (1995-2004) focused
on the career and strange
personal life of British
comedian Peter Cook. Pull
to Open (2001-) is a fanzine
about the world’s longest
running science-fiction TV
programme. Doctor Who.
It is 2 0 0 6 . The place is The Square social centre, a large Victorian
of capitalism, but also reflecting social, environmental and political
squatted building in central London’s Russell Square, in which the
concerns. This has been mirrored in other forms of engagement such
second annual London Zine Symposium is under way. Tables and stalls
as ‘guerilla gardening’ (the cultivation of disused land).
cram the lower floors of the house with zines and small press books.
This chapter will look at the way in which fanzines have reflected
The basement has been turned into a screen-printing room, with one
this phenomenon, and how they comment on economic structures
corner reserved for an exhibition of zine art. But, in the garden, beyond
and political activism while also fostering networks of local (and global)
the pandemonium of zine buying and trading, something else is going
communities. Like the knitting circles, zine publishing has the power
on: a group of young men and women are sitting cross-legged in a circle
to inspire social cohesion. For a new generation of DIY crafters, the
on the grass. They are knitting. Just clicking away quite happily with
politics are still very evident, but now there is a more holistic approach
their knitting needles. I have never seen anything like it before. The fact
to ‘making one’s life one’s ow n’. This has indicated a new direction for
that it is men and women is even more remarkable: as one organizer of
zine culture, in which an emphasis on DIY is found in new contexts.
the event observes, it is .. totally punk rock and just goes to show the
sexism behind common gendering of hobbies'.1
The links between zine culture and craft culture go back to the
Crafting Fanzines
It is worth exploring briefly what is meant by the word ‘craft’ and what
early 1990s with the emergence of the riot grrrl scene, where such
this means for contemporary fanzines. American writer Bruce Metcalf
activities as knitting, crocheting, cross-stitching and sewing were
has argued that craft has a set of specific characteristics, which he
reclaimed as part of a third-wave feminist position. Craft moved out
defines as being ‘handmade’. Craft, he writes, is ‘m edium-specific’ and
of the domestic sphere, where it increasingly came to be seen as a
is normally ‘identified with a material and the technologies invented to
sign of female oppression, and into a more public domain as a form of
manipulate it’. In addition, Metcalf suggests, ‘craft is defined by use’,
hipster 'creative expression’. This shift was significant and led the way
in that craft objects have a function (for example jewelry or furniture),
towards the refashioning of a craft activity into a political statement.
but also that ‘craft is defined by its past’. Out of these combined
‘Craftivism’ (a conflation o f ‘craft’ and ‘activism ’) was coined in 20 0 3
characteristics emerges an aesthetic value. In other words, Metcalf
by British crafter and artist Betsy Greer to reflect this: she argued that
proposes that craft’s ‘aesthetic value must be located in [the] ways
‘by using my own creative drive as a positive force instead of allowing
craft is intimate, useful and meaningful’.3
the wheels of consumerism to direct me, everything I did became part
This idea can be applied to an exploration of fanzines as graphic
of my activism ’.2 For Greer, craftivism was directly related to socially
forms - in particular, the way in which fanzines are intimate graphic
engaged practices aiming to ‘disrupt the prevailing codes of mass
objects, holding meaning through their form and content but at the
consumerism’. By embracing the notion of a DIY culture, Greer and
same time functioning to communicate. Zines are defined by their
others like her (including Debbie Stoller, co-founder of Bust, and Julie
materiality The fact that fanzines are often visually chaotic (the result
Jackson of Subversive Cross Stitch) opened themselves up to new ways
of experimenting with found materials and lo-fi DIY production and
of exploring gender and identity (how feminine and feminist could
binding methods) and use scale to advantage, through different sizes
co-exist), as well as craft practices. The resulting handwork became
and formats (from minizines to broadsheets), results in an object that
a visual act of dissent: in the first instance against dominant forms
can be unusually tactile. An intimacy derives from the fact that fanzines
Ma n z in e
EDMOND
S ftA N T
By the 2000s men were back
on the covers of fanzines.
Squeaky Sneakers (2008-09)
celebrated the ‘retrosexual’
man by focusing this issue
on beards and ‘other hairy
facial accessories.' Manzine
(2008-) edited by Kevin
Braddock, takes a humorous
look at ‘the male phenomenon’
and consciously lets go of
past images of ‘new lads’ and
‘metrosexuals’ to focus on
‘men’. The Robert Edmond Grant
Fanzine (2009) celebrates one
of the forgotten ‘great men
of history’, a nineteenthcentury naturalist.
remain amateur, ‘handmade’ productions operating outside mainstream
Oliver Mayes in the form of a mailing tube. It included jokes by British
publishing conventions and mass-production processes. The hand -
comedians Jack Dee and Jimmy Carr rolled up with page excerpts from
the im print - of the individual producer or maker is readily evident in the
the Financial Times newspaper. The intention was to help take readers’
fanzine itself. This suggests, then, that the history of the object is bound
minds off the recession.
up not only with the history of fanzines more generally, but also with the
history of the individual maker.
Another example is Zine 2009 (2009), produced by students from
the University of Delaware as part of a letterpress workshop held at
In the 20 00 s, ‘tactility’ became a trope and was symbolized by
the London College of Communication (LCC). The zine form at was a
the increasing use of letterpress (a relief print process) and screen-
prompt for students to explore typographic experimentation but also
printing (a stencil process leaving ink on paper). While production
to experience the letterpress medium. This approach was adopted in
technologies (including duplicators, photocopiers and desktop
an earlier LCC public engagement workshop where local crafters were
publishing) have always been im portant to the zine aesthetic, this
invited to use the desktop letterpress in the design of their individual
seemingly more sophisticated use of printing techniques had the effect
pages for a com m unity zine titled The Memory Cloth (2006). Zine
of ‘slowing things down’. The immediacy offered by earlier cut-and-
workshops such as this present opportunities to develop a sense of
paste and photocopied zines was replaced by a more intentional and
com m unity through the collective act of making.
time-based act of making. As a result, the traditional zine aesthetic
shifted (the immediacy of punk and riot grrrl zines, in particular) in
Crafting Alternative Com m unities
the 2000s. The chaotic nature and visual intensity of the photocopied
It is perhaps no surprise therefore that fanzines are part of a growing
pages and covers started to disappear. Zines are now more clearly akin
alternative craft movement that, as Metcalf has proposed, is ‘shifting
to the handmade aesthetic of many small press artists’ books, with
production back into the hands of ordinary people’.4 Fanzines are
their uncluttered design, handmade stock and unconventional forms
contributing to this lifestyle shift through the publishing of ‘how-to’
of binding. It is telling that zines have started to appear as numbered,
zines, which tell readers about how to produce or make things for
limited editions, in a nod to recognizing the value of the time and
themselves. These how-to zines fall into tw o main categories according
skills of their producers.
to content. The first is zines that are writing about how to make zines
An example of this shift is Ker-Bloom!, a bi-m onthly letterpress zine
(the practicalities of folding paper, binding, printing, distribution). For
produced in the United States by Karen Switzer (aka Artnoose . The
example, Stolen Sharpie Revolution: A DIYZine Resource is a minizine
zine began production in the m id-1990s and recently came off press
(and blog) by self-confessed ‘crafty girl’ Alex Wrekk. In it she reflects
with issue 82 (2010). It exemplifies the craft of letterpress production
that she found independent publishing a means by which she could
(Artnoose owns her own craft card shop), and it is also a poignant
express herself and be empowered by ‘looking at things and saying
perzine. Each issue takes a personal look at a situation or theme, be it
“ I can do th a t’” .5 She suggests tips such as the value of knowing
the laborious process of moving a print shop, anti-capitalist business
who your target audience is, carrying around a notebook to record
practices, forming a band, being an extra in a film, alcoholism, or
inspirations, what type of glue to use, where to find clip art, thrift stores
playground fighting. Ker-Bloom! led the way for other recent letterpress
as a source for material, and consideration of copyright ‘if you are going
productions, such as the one-off art zine Cheer Up! (2010) created by
to reprint something from another zine’.5 The ‘how-to’ resource also
Another selection of recent lo-fi productions.
The producer of Publish and Be Published
(2005), Eddie Wilson, pays homage to the 1970s
DIY ethic in this practical guide on how to
publish a novel. Another approach to DIY is
the ‘how-to’ guide to zine production - as
exemplified by Zine Libs (2005), in which the
reader is asked to fill in the blanks for
a series of stories. Just Say No Thank You
(2007) is a mini-perzine out of New Zealand,
providing a forum for those who want to share
experiences about being ‘asexual’ and vegan.
208 / 209
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Medical references, tenuous or otherwise,
continue to be popular. The title of Nervous
System (2006), by Anthony, can be read as
meaning a part of the body, but it also
points up a sense of unease regarding certain
authoritative elements of society. BodyTalk.
art-directed by Sarah Handelman, aims to
raise health awareness among youth groups in
Columbia, Missouri. Local Anaesthetic! (2005-),
edited by Tom Noonan and Cliff Anderson, is a
grassroots monthly nurturing local artistic
talent in Geelong, Australia.
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NEW SEASON PREVIEWS
Colour printing became
so much cheaper in the
2000s that it was almost
ubiquitous. Officer Pup
(2001-) is a small-format
comiczine anthology from
New Zealand showcasing Kiwi
comics, reviews and news.
You Stink & I D o n ’t (1995-)
revels in satirical and
black humour, with plenty of
comic strips. The Squareball
(1989-) is a long-running
football zine, which in its
2000s incarnation made the
most of colour covers (in
this case referencing boys’
soccer comics).
covers making paper, using a copier and distribution, including ‘building
Facebook pages is now commonplace: the local is now global and
a com m unity by attending zine conferences and events’.7
with it has come a renewed com m itm ent to ‘political’ activism.
In the second category are the zines that provide lo-fi ‘how-to’
guides to making your own products or crafts (soap-making, gardening
' and home composting, jewelry-making, cross-stitching, knitting,
It is worth noting the shift in the use of terminology among zinesters,
who appear to be moving away from the previously favoured idea of
‘networks’ to one that is more firm ly committed to the development of
sew ing...), or advice for healthier living. Raleigh Briggs, for example,
zine ‘com m unities’. Networks are formed in the way that zinesters are
publishes a series of pamphlet zines (such as Nontoxic Housecleaners
able to reach out to others for the purposes of sharing and exchanging
Zine, 2007; Herbal First Aid Zine, 2 0 0 6 ) that endeavour to provide
ideas and providing information about their zines and related activities.
basic advice for such things as making soap at home, or herbal
On the other hand, a much more complex set of relationships is taking
remedies. Home Composting Made Easy (1998, reprint 2008), by
place around the notion of communities (for there is no one single
Forrest and Tricia McDowell, is a zine about ‘creating less waste’.
com m unity in zine world). The difference is in intent: communities
MixTape (2 0 0 7 -) by Nichola Prested and Justine Telfer, pays homage
build upon a sense of belonging and shared discourse, whether
to the award-winning indie crafting Croq Zine (2 0 0 5 -0 8 ) and presents
personal or politically inspired. Communities are also about fostering
a range of ‘how-to’ tips for crafting, such as the pragmatics of sewing.
relationships through participation. This may be between individuals
The main places where zinesters have traditionally congregated
with different authorial positions and voices, as well as between
continue to flourish: events such as zine festivals, small press book
producers and readers: all of them are active participants in a vibrant
and comic fairs, independent book stores, and so on. Alternative
and thriving zine scene.
communities are also established through distribution for both zines
and other craft products. This has become evident in the emerging
micro-craft economy, where the places for bartering, selling and
buying fanzines and DIY ‘products’ are being complemented by online
activity. Zinesters and crafters, for example, use social networking
and e-commerce sites such as Etsy (www.etsy.com ), which provide
inexpensive but far-reaching ways to sell handmade work. While zines
may still be found in indie retail outlets (normally indie music or book
stores), print distribution also takes place through online distributors
(‘distros’), such as Microcosm Publishing, Parcel Press and Corn Dog
Publishing, to name a few.
At the same time, virtual networks and communities are also
thriving (YouTube, MySpace, websites, blogs...) and zines are morphing
into new digital formats. Cathy de la Cruz, an artist and crafter, has
proposed that ‘a podcast today is what a zine was in the nineties’.8 Zine
information as circulated through virtual message boards, Twitter and
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Lo-fi 'how-to' guides did not lose their
appeal in the 2000s. Sweet Shop Syndicate
(2006-, cover and inside spread) is a perzine
created by Chris and Rich, who live in two
different countries (UK and Austria) and
solicit the help of their friends and families
as contributors. Among the stories of recent
travels and gardening tips is a how-to piece
on making your own fanzine. Zine producer
Alex Wrekk created the popular resource
Stolen Sharpie Revolution (c. 2003, front and
back cover and inside spread) with tips and
advice on making and distributing zines;
the interior spread shown here provides
information on paper-making. Zine Making:
An Introduction (2003) was the end publication
from a series of workshops for teenagers that
took place in Halifax, UK. Its popularity as
an accessible resource for other zinesters
has meant it is now in its second edition.
MixTape (2007-, covers and inside spread), by
Nichola Prested and Justine Telfer, underlines
that the culture of DIY is not limited to
making fanzines but extends to the 'making
of small things'. The two producers met via
their respective blogs and recognized a shared
passion for all things handmade. MixTape
references the indie craft magazine Croq
Zine (2005-08), and provides practical tips
about a range of crafts. With its high-quality
illustration, this zine has tapped into the
Zeitgeist of pop culture: shown here are
signature style covers by Australian designer
Shannon Lamden (issue 1) and Mandy Sutcliffe
(issue 6).
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The craft of making has extended into
literature, music, filmmaking and crossstitching, to mention a few. Naturally this
has had an effect on the look of zines. Dates
I ’ve Been On and Not Been On (n.d.), a story
about the producer’s love life, includes
machine-sewn binding. We Ear It Regular
Differently (n.d., front and back covers)
uses folded sheets inserted into a printed
cover and sprinkled with gold glitter. Artist
Sarah Doyle created Helping You Find the
Right Jewellry! (mid-2000s), which explores
through her drawings a range of accessories.
This Is! (2002-06), a lively perzine by Helen
Wickham, includes hologram food stickers on
the front. How to Make a Super 8 Film (c. 2006)
is the result of a filmmaking workshop taught
in junior high schools in Canada. D90: A MixTape Zine (2007-08) celebrates the cassette
era and asks its readers to ‘bring a community
together with a tape'. Hey, Look! It’s a Zine
about Cross Stitch! (c. 2010) is a simple
'how-to' guide with amusing patterns.
<c H o v j
... t V f" t* r
f tt i± r r m
......
To &£T STARTED J
1• ; ^ .--'M A K t
4
f t I "M”
O whJ P A T T E R N S .'/
secnow
214 / 215
T:~P"P
KERBLO OM !
LXXX
September-Qdtberiooq
IN T H IS IS S U E ...
• Are Cops Pigs?
(The
S h ock in g
Truth R e v e a le d !)
Ginger
Scented Urine Steam!
• A T ru e T a le of
Bound
w ith
r w
in
e
• Hi-Bread C a r Review!
• 5 lv e
in
0 1 L o a l d L o n u u t lic
'T D t ii & i u j
3
n
DCum on-
• And so m uch m ore...
• Plus a
FREE bonus zine!!!!
^handrm cje
by
v u iih v
lw e l
ChristophMeyer
More inventive designs that riff on the craft
explosion. Ker-Bloom! (1996-), containing
poignant personal stories, is printed on
a Vandercook flat-bed press. The Squares
(c. 2009) is in fact a circular zine that
reappropriates the packaging of a Sinitta
single (the zine is glued to the vinyl). In
Sickness (2008) is a colour-photocopied perzine
about health obsessions, held together by a
rubber band and a paperclip. The award-winning
28 Pages Lovingly Bound with Twine (2001-) is
a perzine from stay-at-home father and artist
Christoph Meyer that chronicles the producer's
home life. The Memory Cloth (2006) is a one-off
workshop-based zine. The single-sheet pages
of contributions are inserted into a striped
paper bag, which is machine-stitched.
CONTRIIBUTIONS
BY
SOPHIEE B E A R D
RICK MYERS
JOHN M ORGAN
STUDIO
SUSANNA EDWARDS
RUTH
SKYES
NINA
CHAKRABARTI
(REG)
HOLLY WALES
BEN BRANAGAN
SAM WINS T O N
KATE WESTERHOLT
ASTRID
AL
JOSEPH YOLK
CHANTAL YOUNG
CHRISSIE MACDONALD
ALEXANDRE BETTLER
DENISE
GONZALES
CRISP
RACHEL THOMAS
HARRINGTON
& SQUIRES
MILENA
SHANE KINGDON
KATHARINA KOALL
CLAUDIA BOLDT
JASON
S K S d if t f
SKOWRONEK
HELEN MCCOOKERYBOOK
CECILIE MAURUD BARSTAD
OF J U L Y
SIX
KRISTJANA WILLIAMS
INTRODUCTION BY Angharad Lewis
ELLEN LINDNER
PATRICK LAING
PETE HELLICAR
RACHAEL HOUSE
v.nTTF.D & D E S I G N E D BY
SUZY WOOD
IZZIE KLINGELS
MARTIN MCGRATH
tynpfSHnp T.PCAT ION
ECKERSLEY GALLERY
LONDON COLLEGE OF COMMUNICATION
ELEPHANT AND CASTLE
Today in the West mass-produced goods, things made by machines and
the hands o f strangers, fu lfill our basic needs. IVhen winter arrives we go
the high street and buy a warm jumper; we shop at the supermarket
ro r pre-preip ared food; we live in homes built by others, furnished by
production -line furniture. He have progressively lost an appreciation o f
the ccraft o f making things by hand, especially in daily life.
Revisitir those crafts we're in danger o f losing touch with is a w a y
Revisiting
t only to preserve them but also to better understand our relationship
today's w orld Craft is about mastering a skill, meeting a need (be it
basic or complex), realising an idea in physical Jorm, and the attendant
" doing so by one’s own hand. Craft is also about creating very
personal
'■ractionr-skills are passed on from person to person,
en 1 was a chili m y mother made m y summer dresses by hand. Both
' grandmothers
many o f their children's clothes by hand. They
>oked all the f i
■’s meals fro m scratch
a tcchh aand
n d bt a kked bread every week.
My grandfather cn
urniturefor their home. In that sense m y fa m ily
m membert were ing designers and artists every d a y o f their lives,
But making thii
by hand is no longer a necessity-crafts are often
relegated to the aim o f the hobby, handm.
goods have become
marginalised a
ticed less and less aree forgotten fro m one
ont
generatior^ to the
artists and designers today, however, are
increasingly using th tir w ork to question this situation and to revisit
hose methods in a provoc ative way. The Memory Cloth fan zin e is a
llabofative work b y such artists a. designers. It seeks to explore and
and celebrates
unique synthesis o f
ion and Invention
t
H E U j OH
v\elcome to our little colorful cuufepaste
v\odd! saapf). zine coop is an infonnal
group in Aukin. Tfexas that gas together
etei> other Saturday to wxk on our own
zine projects, help each other fdd&siaple
and create pncjeas together.
This was an increditiv fun project to pul
together. Various Saturday oer the past
ronplp months found us at die Green
Muse, Ruu Aiaja, and m Mtchen table
v\itii boxes of hoaided paper scraps,
magazines clipart various collected
junk scissors and cjuesticks. At favorite
thing about this project is the sheer
varietv cf sule, texture, aesthetic coLot
abroach and personality from each Q |
4
4
/
>
1 >
a
Mix Zine (2009, cover and inside spread)
combines a CD with a paper perzine in order
to share with the reader sounds selected
from obscure musical sources (e.g. ‘the perky
picking of bass strings’ and 'sweeping piano
cascade'). Miss Fliss, a music journalist
and past editor of Splinter Magazine, is
the producer of this handcrafted squareformat and heavily star-stickered zine. You
(2001-) is a Melbourne-based fanzine, clearly
influenced by art movements such as Fluxus,
that comes in the form of a personal letter
written by anonymous contributors, folded
and sealed in a small bag. Five years of the
zine have recently been collected in a book.
Pneumatic Catalog (n.d., cover and inside
spread) contains mail-art-inspired colourphotocopied artworks. The cover of this
zine is bespoke and features as part of the
inside front cover a pouch in which a smaller
perzine, My Family Album, is inserted. By the
Time You’re Twenty Five (2008) is an Australian
music and perzine by Emma, who takes as her
starting point the now disbanded riot grrrrl
group Sleater-Kinney. Her hand-drawn cover
is created out of a sheet of pink tracing
paper and stapled on to the black-and-white
photocopied interior, allowing for some
intriguing see-through effects. Failed Rock
Star (2003-) is edited by Rob Phoenix as a
portfolio-inspired zine, with single-sheet
contributions from 50 artists, writers and
designers housed in a screen-printed cloth bag.
218 / 219
www.organart.com
EN G LA N D
Artzines became more evident in the United
Kingdom after the rise of the YBAs (Young
British Artists), both reviewing the
fringe art scene and offering an outlet
for DIY artworks. Arty (2001-) consists of
drawings, photographs and reviews by artistcontributors. Blitzkrieg Babylon (2003) is a
limited-edition screen-printed zine that takes
as its starting point an anarchist’s view of
the political landscape. Organ (1986-)
is an alternative culture, music and artzine,
with a substantial press-run of 20,000 for
this issue. Plastasine Fantazine (2008) was a
fanzine edited by artist David Burrows with
participants from an academic conference,
‘Art Writing Beyond Criticism’ (ICA, London).
.
—
m n a i— w i— — —
m m m m — iiiwiw w w ww"
i
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Typical production techniques used in the
2000s included colour photocopying, desktop
publishing and screen-printing. Enough
Magazine (2007-) is an anti-consumerism zine
and a mouthpiece for artists and anarchists.
Intercity Baby (2009-) by Jennifer portrays
the train journeys of her 'indie pop comrades’
through photographs and writings. Giant Steps
(2007-, cover and inside spread) is a perzine
by Kirke Campbell named after a 1959 track
by the jazz saxophonist John Coltrane. One
hundred copies of this issue were produced,
each with a screen-printed cover and
‘tipped-in’ mini photozine (pictured).
220 / 221
S e* *
\
300 PE SE T A S
L®VE 1RI) PRIMT >—
O B S E SS IO N
A
ZlWE
OF
l im it e d
DRa W INC
EDITORS
O tlES tlO uC
2 -/ 1
I
More sophisticated use of printing methods
such as screen-printing coincides with an
increased use of hand-drawn and illustrated
covers. Bang! (n.d 2008) is a substantial
music and club zine produced out of Madrid,
with a striking screen-printed portrait
of a young girl on the cover of this issue.
Ugly is the New Sexy (2006) is an illustrated
perzine by Bryce Galloway out of New Zealand.
Future Fantasteek! (2006-) is a limitededition artzine produced in Brighton by
illustrator Jacky Batey. Obsession (c. 2009)
is a collaborative zine curated by Karoline
Rerrie, where artists are invited to draw
with each having a double-page spread for
their work. The screen-printed cover artwork
is by illustrator Gemma Carroll. Rivers Edge
(2008, cover and inside spread) is a limitededition hand-printed zine that explores the
work of underground artists. This issue also
questions ‘what is a zine' in relationship
to its own publication and its ‘intrinsic
DIY nature'. Screw Crash & Explode (n.d.)
is a stencil-printed artzine that features
Dutch collaborative artists Monobrain and
Marcel Herms. The frenetic nature of each
printed page is enhanced by the intensity of
each drawing and the fullness of ‘doodles’,
splotches and graphic marks.
Djmrior3
W H IT ®
fll
E M
an underground;
•Min; our" Uigltn.
Illy - or perhaps uneq
« » « . t h i w l , '<
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t»k .n from the «•«!• of * book by
o « w h « ». written
Edê>
known. the Inna*. toe ou,V**™‘.--'IjfT h r'm 2 n V tfi«m r There a r , J i« .
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th. que.t.on: why ‘• ^ ^ ^ ^ ‘ ^ o .ic e d with cr.e. thow who
l
o
th. baby out mSth the batfmAmrV''^'
•*. A “ ' ly U-* 1^ ° “r^ ,0°TSJry Am,r^ n P,.'there I. a Suj>~fb*d.
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? Why not “*ell
temporarily alt*rr
222 / 223
“
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i
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Food Quarterly
_
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Subject-matter previously considered the
domain of mainstream glossy magazines has now
entered the purview of fanzines. Fire & Knives
(2009-) is a relatively up-market quarterly
food zine by editor Tim Hayward. It includes
contributions from top writers and critics
and is designed by Rob Lowe (Super Mundane).
Barefoot and in the Kitchen... (2005-) is a zine
about cooking and being vegan by Ashley Rowe,
including 'tried and tested' recipes. Stand
Aside (c. 2000s) takes a look at street fashion
in Kilburn, London. This zine was produced as
part of a Public Works workshop.
CRT CHOW
/u / n n c if ln c io io
/ i m o n P E R IT O n /HOUU/tudiol
The CpMPTE DE
MONWESQUIOU
TH E S E M IO T IC S
THE SINGULAR ADVi
OF CECIL DE CASHMERE
A G E N T I.E M U R M U R O F T H E A N G E L U S AT I I IE I (E IG H T O F T l IE O R G Y
With desktop publishing fanzine style
has, in some cases, moved towards that of
conventional magazines. FP: Fashion Projects
(2006-), is a publicly funded fashion zine
created to raise awareness of experimental
fashion. Just Like Candy (2008-) is glossy zine
about music, art and film, whose producers
‘used InDesign for the first time to create
the layout'. The Chap (n.d.-) takes an ironic
look at masculinity and men's fashion, with
for example articles on dressing for tennis
and the semiotics of smoking. Medium
Magazine (2005-) is a quarterly portfolio
with contributions from artists and writers
including novelist Anthony Gray.
224 / 225
That old staple the comiczine has also
moved with the times. Hey, 4-Eyes! (c. 2008-)
is a limited-edition example allowing
various artists to make a spectacle of their
spectacles. Comix Club (c. 2006-) is a Frenchlanguage fanzine, with number 5 interviewing
American ‘ultra-minimalist’ artist John
Porcellino. Dame Pipi Comix/DMPP Almanach
(2004-) by Gerald Auclin is notable for its
changes in format for each issue. British
horror magazine From the Tomb (2000-) explores
the entertainingly exploitative world of
‘pre-Code’ horror comics (comics created in
the 1940s-50s prior to the establishment of
the Comics Code Authority), as well as lesserknown fare in the supernatural horror vein.
Re V ’La Cloyis Naody (n.d.) is a French
Canadian comiczine featuring work by Martin
Guimond, whose stylistic approach is part of
a rich tradition of the Quebec underground
scene. Guimond, along with other artists
including Luc Leclerc and Mathieu MassicotteQuesnel, came to prominence during the early
1990s with the publication of a series of
bilingual anthologies in fanzine format.
>26 / 227
i
7
I N D E P E N D E N T E DO QUE VOC E C H A M A DE Q U A D R I N H O S
anne
tro p ic a lis m o
co m o
le g a d o .
tro p ic a lis m o
e
n o m e
p ro p rio s
tro p ic a lis ta s
E la
ra z a o .
te m
p a ra
Alexandrino
u m
m e
“S o
N eo-
q u e
o s
o d i a r i a m ”.
u so
o
te rm o
c o m u n ic a r c o m
o s
u n i-
v e r s i t a r i o s ”, a h , e s t a j u s t i f i c a d o .
N as
m u s ic a s ,
d e s te m p e ro s
tiz a g o e s
s io n a is .
K a rin e
d a
v id a
c a n ta
em
in v a ria v e lm e n te
S u as
m u s ic a s
o s
d ra m a p as-
sa o
co m o
p o la ro id e s e x tr a id a s d e film e s d o
A lm o d o v a r
A Antidiva Tombada (E nos precisavamos disso!)
e rfo rm a tic a ,
P
v a ria s
K a rin e
fre n te s .
m u ltin u d ia .
f in d
C om
d o is
c e a re n se
te ira
P ro d u c ta
o
- 20 0 2 ) e Q u e re m
a ta c a
A
A le x a n d rin o
c o n v e n c io n o u
48
e la
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c h a m a r d e
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se
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m a is
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R o b e rto
em
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a
a
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Ju k eb o x .
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a
d a
a rra n jo s b e m
b o u rg
E
e
film e s
e x e rc fc io
de
d ia rio .
M as a s s e g u ro q u e e n a tu ra l e n a o
u m a
s im p le s
a c re d ita r.
d e sse
e s t r a t e g i a ”. P o d e m
A fin a l,
in te re s s e
g ra n d e
v e io
d e
p a rte
b e rg o ,
d o
in v e s -
C om
b a se s
a m a rra d o s, a s can -
p ro p rio s
m o n o lo g o s
A le x a n d rin o
c e n ta v o
m am ae.
g o e s tra fe g a m
m esm a.
p ro d u to r D u s-
p ro g ra m a d a s (m a s n e m se m p re ) e
b o d y a r t. M e fo to g ra fo , fa g o m e u s
m im
M u s ic
- 2 0 0 4 ), a m b o s
K a rin e
n ic a
p a ra
(T ra to re
v a le r c a d a
S o l-
A c a b a r C o m ig o ,
G a lla s ,
ta n
fez
m a i s ”, n o s
(G e ra d o r
co m
c e s , c o d ig o s e s fm b o lo s tiv e r u m
e n tre v is ta
Ia n g ad o s,
p a rc e ria s
tr a b a lh o a r tis tic o , m e lh o r. C o m u -
em
d is c o s
e
e n tr e S e rg e G a in s -
Y oko
v acu o , n u m a
d e
O no
v a
e x p la n a g a o .
d e fin iu
c e rta
e m b a la d o s
te n ta tiv a
E la
v ez
m e sm a ja
co m o
a
m in h a
se
e le c tro -
p o p -tra s h -c h iq u e . O u , n o u tr a v e z ,
co m o
n e o -tro p ic a lis ta :
“E
u m a
n u m a c id a d e z in h a n o in te rio r d o
b r in c a d e ir a m e io s e r ia . N a d a a v e r
C e a ra
c o m b a tu q u e s e p e n a s n a c a b e g a ",
q u an d o
u m a
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a
m ae
N ova,
K a rin e p a g a v a
p a ra
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a u la s
c a s a s o b re a h is to r ia d a a rte .
A q s c in c o
m u s ic a
g io
d e
p re c e p to ra
M o ra d a
n o
a n o s , e la c o m p o s u m a
q u e
fo i a d o ta d a
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q u a l e s tu d a v a e , a o s o ito ,
j a re c e b ia p r a c a n ta r n o s e v e n to s
d a
c id a d e .
D e p o is
d is s o ,
c o is a a c o n te c e u . F o rw a rd .
m u ita
p o n d era.
o q u e e x is tia n a fa c e
m tim a
d o
tro p ic a lis m o
in s p ira
m u ito .
m u s ic a
co m
U m a
q u e
p ro p o s ta
lib e rd a d e .
T en h o
m e
d e
o
co m
titu lo s
im p a g a -
v e is e p r a la d e s u g e s tiv o s c o m o
“D ig a
e
a lg o
g lo ria
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e
se n a o
so
m a s
v o u
d i n h e i r o ”.
o
k its c h
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d e ira
p a ra
d ia ,
caso .
s ic a
M as, c d m o
co m o
p re te n d o
ta , n e m
. a
co m
fa ls o .
ro m a n tis m o
a
em
e
u m
fo rm a ,
se n d o
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o
m eu
u m a
h a
o u
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k its c h ,
N ao
em
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n a
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p re s e n te
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p a re c e r
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fa la r
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d e a c o rd o
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em
“T e n h o
b u sc a r
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m u d a
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ou
Q u e s tio n a d a
e le m e n to
se u
p u l o ”,
b o a to ”
m u
c e rto ■
p o d e -se
k its c h .
E
n ao
s e r u m a m u s ic is ta ' c h a fin g ir q u e
le v o
a
m u s ic a
s e r i o , e s s a s b a b o s e i r a s t o d a s ”.
J u s ta m e n te d a i su rg e o a la rm a d o
p a p e l
rio
d e
d e
h o je ,
a n tid iv a ,
n u m
ta o
m u h d o
c e le b rid a d e s
n e c e ssa in fe s ta d o
in s ta n ta n e a s .
K a rin e e s in c e r a e c o n s ta n te m e n te a u to -iro n ic a . M a s a o s e u m o d o ,
c a b e fris a r. E
co m o se
c o m p o rta
u m a a n tid iv a ? “C a n t a s e m
ra , se m
frescu -
p o s e d e b la s e . F ic a n u a s e
n e c e s s a rio , b a te
se
s e c o m u n ic a c o m
o p u b lic o . A le m
n e c e s s a rio
e
fra n q u e z a co m
d e fa z e r b o m
d o s m e l h o r e s p e r f u m e s ”.
u so
49
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S
The pocket-book-size indie music and
comiczine Juke Box (2006-, cover and inside
spread) from Brazil was influenced by the
output of comics publisher Fantagraphics.
Editor Renato Lima (also an editor at Mosh!)
brought together comic artists, designers
and musicians through the publication to
discuss the language of comics. The size of
the zine allowed the designers to play with
the way in which the reader would engage with
the page, mixing the format from portrait to
landscape. The launch of each issue centred
around a music event located in such cities
as Rio de Janeiro and Sao Paulo. Cat Quarterly
(1990s) by Annie Lawson is a photocopied small
press comiczine in which nuanced humour is
presented in stick-figure form. Her work has
also appeared in books and in the mainstream
press (including the UK paper the Observer).
Reality Optional (2007), created by Andrew
Stitt, is a comics perzine responding to a
theme of 'Dreams and Nightmares', in which
he makes wry comment on the fantasy comics
of Neil Gaiman and Dave McKean. The zine was
produced for the small press fair ‘Caption’.
Tantrum Comics (2002-n.d.) is the autobiography
of professional cartoonist Miriam Engelberg,
who, in this issue, reflects on her fears
around a breast cancer diagnosis and some
of her coping mechanisms, which include
watching the TV courtroom show Judge Judy.
228 / 229
EXPA N SIO N OF LIFE
: FUCK THE BORDER!
I excuse
3-n
K f f is s p s s s s iM s a -s s a a .-jw
A ^ '‘+3- a»t»^coi.ir-r>str,_
g r r r l p u n k a s ia n s t
\
by CAROL (GRRRL: REBEL 'Zina
,SJ O P TfHE W A L L
by JENNIFER SAUER
5 S iS S fcgS ^ Js? »
byya^-13?->
I xperiences & J ^ ^ i ^ a r c
STATE CONTROLS
The Zine for Whale Lovers
v
Superpod Spectacle in the San Juans
Blue Whale Breath Baptism in Baja
Interview with a Whale W orld Legend
■
The zines on this spread are politically
motivated. Bipedal, By Pedal! (2008) by Joe
Biel explores the producer’s experiences as a
participant in the popular Critical Mass bike
rides protest movement. Expansion of Life (n.d.),
out of Japan, is a women's punk and political
zine with articles about ‘women changing the
world in the Philippines’. Whoosh! (2008-) is
a zine for those passionate about whales and
other ‘big animals from the sea-. Cut and Paint
(2007-), by Nicolas Lampert, Josh MacPhee and
Colin Matthes, is a DIY stencil template zine,
printed as offset by an anarchist printer in
Portland, Oregon. How Not To Eat Animals (n.d.)
is a 44-page vegetarian cookbook designed to
‘subvert the dominant meat-eating, animalproducts-in-everything culture’.
How
N o+ T o
A n in a lS
230 / 231
part of the problem
part of the solution
on the fence
the alien Invader
PimailWIWII’fllllflBIBMMWIjmmiliHIBBMRg
We declare victory in
the war on... stuff
t li e a l i e n i n v a d e r ^ p i n k d o U j r ?
p in k d o t .o r j^ t lic a lie n in v a d e r
H U S TO N )
T H E C O M E D Y M A G A Z IN E - I T 'S A G A S !
mm
M I A M I BE
N E W Y OR K
NAP
u
s
a
t a
r d
BUNCH OF STUFF STAPLED TOOFTHER I
£2.00
FUNNY WORDS
AND PICTURES
INTERVIEWS
& REVIEWS
ISSN 1742-1799
T h e ---------------------------------------------------------------------------------------------------------------------------
L O W B R O W
R E A D E R
_________________________________________________________________ of Lowbrow Comedy
ISSUE 5
sum m er^2006
INSIDE
T he W hite Stripes, Joan Rivers,
D on Knotts, Chevy Chase, more...
www.lowbiowTeader.com
PYTHON'S FAMILY TREE APATHY MARCH WRITER'S BLOCK
DERRINO D 0 8 & DON'TS I THE OTHER SIDE | CARTOON ROAD SIGNS
HYPOSTROPHE SEA JUNKIES ANALS RETENTIVE AND MORE!
Before the Mortgage (2001-06), edited
by Christina Amini and Rachel Hutton,
chronicles responsiblity-free life in
New York. Daniel Battams Fan Club Magazine
(2003-n.d.) is a zine about an imaginary
celebrity. Australia's The Alien Invader
(2001-03), by Amin-Reza Javanmard and JenTsen Kwok, was ‘intended as a journal
dissecting and analysing the Asian-Australian
experience’. An annual comedy journal.
The Lowbrow Reader (2001-) is edited by Jay
Ruttenberg and features ‘long articles and
funny illustrations’. Mustard (2007-) edited
and designed by Alex Musson, is an indie
comedy magazine that features interviews,
comic strips and satirical news stories.
232 / 233
SHOREDITCH TWAT
ISSUE 3
v
SHOREDITCH TWAT
ISSUE 5
he' b got a gun
xaouc.
/
STAB IN T
H o u s e
P la n t s
S '
"TIIE ROAD TO EXCELLENCE IS NEVER ENDING SO THE SEARCH MUST BE UNRELENTING.*
SHOREDITCH TWAT
ISSUE 14
HEAVY ARTILLERY
SHOREDITCH TWAT
ISSUE 18
TOO CLOSE FOB COMFORT
Shoreditch Twat (1999-2004) was a satirical
club fanzine edited by Neil Boorman (later
of Sleazenation magazine) and art-directed
by John Morgan and Mike Watson (aka design
group Bump). The zine’s title was absorbed
into London's urban slang as a term meaning
‘a new media, fashion student, photographertype person with a privileged digital- or
old-school arts background who lives/works/
socialises in London’s East End’. In its heyday,
the circulation was 25,000, touting nightclub
333’s message that ‘partying should be messy,
dangerous and unprofessional, otherwise
it’s no fun at all’. It contained edgy satire
and spoof adverts, as well as the club's gig
listings. In 2002 the zine transferred to
television as a one-off comedy special.
I
234 / 235
spilt milkshake
It’s Different For Girls
summer/05 £3
issue #1
spring 2002
Help She Can’t Swim
Jennifer Herrema
The Chalets
.
Lady Fuzz <f Z
The Gin Palace
Michelle Mae
P A M F LET:
A I 'indication o f the Rights o f Girl
u»»oa
S IR S
Feminist politics links these zines together.
Revolution (2005-n.d.) was edited by club
DJ and music journalist Leonie Cooper, and
featured bands such as Le Tigre and SleaterKinney. Spilt Milkshake (2002-c. 2003) by
Rebecca Dyer, is a text-heavy perzine ‘not
restricted to any genre or subject m a t t e r ’.
L U tT T H
G U N S
Issue Seven S5.00 AUST/NZ
Raise Some Hell (2008) was a one-off that
emerged out of discussions at a ‘feminism
and child-rearing g r o u p ’. Pamflet (2005-)
by ‘p o s t - feminists’ Phoebe and Anna-Marie,
contained ‘f eminist rants and bits of quite
frankly libellous celebrity gossip’. Girls with
Guns (n.d.-) is a fashion and ‘s m u t ’ zine out
of Melbourne. The Pleiades (c. mid-2000s), a
perzine by Mi r a n d a (a college English teacher),
is about ‘family h i s tory and the frequent
cruelty of li f e ’.
fJL&i
(th is is the
blood
that
w e're made of)
O "'
V •
s'eô lleg e girly life
f l i p
L 1 IC T
C
O
S S T
P
No. 1
sp ring 2000
* unwound *
U
W
j j l l
ex MODELS * kerri KOCH
* DEBRI field * the SECO NDS * reigning S O U N D *
* rock 'N' roll CAMP for GIRLS * SEMIAUTOMATIC *
scutterfest * LADYFEST m idw est * ladyfest EAST * PEARL fish
Kitty Magik (1996-), edited by Marisa Handren,
was looking slick by the time of this issue
(2002), but hadn’t lost any of its riot grrrl
bite. It styles itself as a ‘creative outlet
dedicated to informing the public about
the many different individuals who produce
independent, innovative creations...’. Girls
Who Fight (2009-) by Kathryn Corlett et al.,
is a collection of writings, illustrations
and comics that look at representation, women
and celebrity, including ‘Nina Simone, Anais
Nin, Beth Ditto, Virginia Woolf, etc.’. Muffy!
(2000-n.d.), produced by women from the New
College of Florida, was an angry but often
amusing feminist zine (sample contents
list: ’rape; stalker; rockstar; masturbation;
voyeurism; coke’).
236 / 237
BUTT #14
AUTUMN 2006
HYSTERICAL
M A G A Z IN E
FO R
HOMOSEXUALS
EU € 8 .0 0
USA $ 8 .9 8
NL € 0 .0 0
SURFACING FROM THE SHADOWS OF DETROIT IS A CONCERNED GROUP
’ OF RADICAL QUEERS WITH A DESIRE TO ANNIHILATE THE INVISIBILITY
_THAT HAS BEEN CAST UPON US!
-
ACTION:
“
_
Queerzines provide a creative space for DIY
producers to push the boundaries of accepted
■politically correct' publishing practices.
Butt (2001-), founded by Gert Jonkers and
Jop van Bennekorm out of Amsterdam, is not
a fanzine per se (it takes advertising from
designer/lifestyle manufacturers), but
its pink paper, pocket-size format self
consciously shares qualities with a fanzine
approach, and its content is compiled from
submissions by readers. Homobody (2007-) is
by Portland, Oregon, illustrator Tim Batiuk
(aka Rio Safari), and is a largely visual
(comics and drawings) look at exploration
of such themes as gay body fascism and
cottaging. Detroit Queers (n.d.), produced by
a radical queer collective, is a compilation
of photocopied pages about inequalities
and harassment.
_
-------
-SELF EDUCATION!
-STREET ART!
-VOLUNTEERING!
-SUPPORTING LOCAL LGBTQ ORGANIZATIONS!
-BUILDING A RESOURCE UBRARY!
■SPEAKING OUT!
DETROIT QUEERS (00!| AIMS TO PROVIDE A SAFER, MO QUEER.
ENVIRONMENT FOR ALL QUEERS AND QUEER-LOVERS IN THE
DETROIT AREA! WE WILL NOT STAY QUIET ABOUT THE
INEQUALITIES WE EXPERIENCE)
MOST OF US RECEIVE HARAS5MENT BECAUSE OUR
INDIVIDUAL GENDER/ SEXUALITY EXPRESSIONS
FALL OUTSIDE OF THE NORM. STALE NORMATIVE
ASSUMPTIONS ARE DIRECTED TOWARD US DAILY.
RANGING FROM FROM THE ESTRANGING ASSUMPTII
THAT WE'RE STRAIGHT OR SOMETHING TO MORE
BLATANT ACTS OF OUTING AND VIOLENCE.
INC A 'RADICAL OUtCR' MEANS MAKING THI CONNECTION BETWEEN
ISSUES Or AIL OPPRESSED. MARGINALIZED. EXPLOITED. CAPITALIZED
SMinCO ON PEOPLE. ENVIRONMENTS. AND COMMUNITIES.
R ECONOMIC JUSTICE?"
B iiifm fe w - ssynsi
------------- ■
'.5
FU ftt SHIT UP! LOVE YOUR SC! I ' WE ARE OUR ONLY HOPE!
uinat the giPfs been uiaitmg pop
one■ » » »
Cr'Ii
D o yo u thin k w e should
stay in and w ax o u r legs?
S’n n v ’N
Sod that! Let's get
tanked and
ram raid A n n e
S um m e rs!
J U N E 2007
'E n g lis h ''
no diets no models no buusnit no saies Pitch no neuroses
justioo%badgiri Fum
Assets and L ia b ilities^
Women’s Possession of
Power as an A sset
I t i n . * : ? the F-Vw
Chica (2001-c. 2004) ‘celebrates the rudest,
crudest, silliest and glitteriest aspects
of girlhood’ and was produced by Glasgow
underground cartoonist and writer Lucy Sweet
(also of Unskinny fame). This issue features
the very bad joke: ‘Q: What is worse than
a cardboard box? A: Paper tits!’ Fallopian
Falafel (2007-) is edited by Hadass S. Ben-Ari,
and is a Jerusalem-based feminist zine that
takes ‘neither an anti-religious nor antiZionist’ stance but which ‘aims to spread
awareness about the ongoing need for feminism
to the Israeli public’. Each issue includes
a ‘riot grrrl corner’. Iconoclastic Cardies
(2009-) is a 60-page musiczine ‘dedicated to
all you indiepop wimps, girls, smart kids
and weirdos’.
238 / 239
duffel boy
number 1:: summer 2009
U
I
"T h e nice thing is,
Indietracks can't
grow too m uch"
Festival visionary Stuart Mackay
Yay, interviews!
Jacko from Hull Adelphi
T h e m ig hty H o row itz
Jam on Bread
puts yo u r m in d at rest
D IY gigs in Leeds
e
r
s
The Deirdres remembered
Sarah Records 20 years on
Post-popshow mornings
Abba vs Helvetica
Scotland's Top Punk Rock Fanzine. Issue #7
Musiczines remained an important genre into
the 2000s. Cops & Robbers (c. 2000-) is a
monthly that promotes local bands and events
in Leeds. Bye Bye, Duffel Boy (2009-) is put
together on a computer by Pete Green, who
apologizes for the perzine looking ‘too much
like a proper magazine’. More Love Truth and
Honesty (2007). out of Melbourne, is a perzine
by Paul Byron. In the tradition of early
punk fanzines, Runnin’ Feart (c. 2000-) has
music reviews and comics, but is a desktoppublishing production. Super Waste Project
(2000) by Miles is a ‘straight edge zine’
focusing on hardcore music in the context of
a scene without drinking, smoking or drugs.
Taking Dope (1996-2001) was by ex-Ramones
bassist. Dee Dee.
r
240 / 241
ISSUE *2
No r w i c h , En g l a n d
List (2004-) is an illustrated memoir by artist
Ramsey Beyer, and describes her move from
Baltimore to Chicago. Boredom (n.d.) came out
of Berkeley. California, and was put together
as a compilation of maps, prose and pictures.
Enthusiasm (c. 2010) is a free 'feel-good' zine
out of Norwich by Susie Rumsby and Tim Wade.
Telegram M a ’am (2000s-) is a mini-perzine by
Maranda, who uses writing to articulate what
it is like being bipolar.
lo r m .
b y s u s ie
a n d thl. room
“
&
a .M ,
t im
for
u
E
V
I L
fa w
n ,
N o.l ( / "Greetings From the Endless Highway"
V
My Evil Twin Sister (1994-) is created by
Stacy and Amber, with the former ‘doing the
design because she has a computer' and the
latter providing the words. Support (2002) by
Cindy Crabb is ‘about supporting people who
have been sexually abused'. Not My Small Diary
(2009), with cover art by Frederick Noland
tipped into photo-corners, is reminiscent
of a photographic album. I Hate This Part
of Texas (c. 2001-), with its silkscreened
cover, is a perzine with meditations on
community politics.
242 / 243
D O U B LE B R EASTED
O O rA^3Y“ 'e V i'tlx/ *3,i t D
The fanzine for Mod, 60’s and Refro inspired cool
Issue Five Novembei 2009
"Ever feel a little anti this and a little anti that?"
9786 274 91
La B ouche Zine
An
alternative
news
and
culture
£4 .00
zine.
fa S tC e r anc
100,1
T
it is s p o o n y,
n ot
M ila n
Rock
n
Roll..
EX CLUSIVE INTERVIEWS WITH...
ALABAMA 3
P e te D o h er ty
J o h n C o o p er C la r k e
T:
INTERVIEWS
WITH
MARK
MACGOWAN*BLAST
THEORY*
SUBWAY GALLERY*POETRY FROM ZINE LEGEND STEPHEN MICALEF
ark Fiction From Bangladesh & Northern Irelan
La Bouche Zine (2009-) featured as ‘zine of the
month’ at the Institute of Contemporary Art
in London, and is a quarterly critical artzine,
this issue including interviews with John
Pilger. John Cooper Clarke and Pete Doherty.
Double Breasted (2009-) is ‘the fanzine for Mod,
60s and Retro inspired cool’, with a piece on
Modernism and a tribute to the 1960s rock band
the Small Faces. Smoke (2003-) was founded by
Jude Rogers and Matt Haynes and is described
as a ‘love letter to London’, featuring reports
on everything from the mayor’s election to
unusual things found in the city’s hidden
spaces (such as the Stamford Brook warthog).
No.Zine (2009-, covers and inside spread)
is an independent arts zine, illustrated,
designed and edited by Patrick Fry, a graduate
of the London College of Communication,
with contributions from others. Fry credits
his father's interest in mathematics as
inspiration for the idea that the content of
each zine should be based on its issue number.
For example, issue 2 riffs on ‘my two pence
worth’, a watchface with its hands stuck at
2.00 pm, and so on. Each issue is a limited
edition of 500 individually numbered copies,
and the zine maintains a clean, if not
austere, graphic style contrary to most
fanzine aesthetics.
244 / 245
ACH.' I'M A NERVOUS WRECK f
WISH I COULD GET A DECENT
NIGHT’ S REST? l „ I _ F E E L SO
STF4M& f A L L OF A SUDDEN...
FEEL LIKE...
LIK E-O H .N O f
NOT AGAIN...
I~. I CAN 'T
FIGHT I T f I
HAVE TO GIVE
IN... HAVE T 0 _
Can you show me
the space
F a n zin e s
j.
01
02
03
04
05
s e ttin g a s e ttin g
M a p p in g re la tio n a l s p a c e s
A r c h it e c t u r e a s e x te n d e d s o c ia l s p a c e
M a p p in g o n -s ite a m d o n -lin e
O n t h e s e a r c h fo r th e r e s e a r c h c e n tr e
Can You Show Me the Space (2007-08) is a
collection of individually themed fanzines
(e.g. ‘the search for a research centre')
created by Public Works - a London-based
art/architecture collective - to foster
discussion around the topic of architecture.
Unemployment (2009), by Aaron Lake Smith,
charts through 44 pages the zinester’s
journey through the Kafkaesque experience
of unemployment in the 2000s. Zine 2009 (2009)
was a one-off publication produced during a
letterpress workshop at the London College
of Communication that included students from
the University of Delaware. DIY or Don't We?
(2009) is a zine about community that takes in
a pumpkin farm in the US along with members of
the Cambodian Society. Hardwork Not Paid (2007)
was produced by students in India as a means
of looking at ways to transform the country
and to address cultural plagiarism.
r/>
I
* Z lK f ABOUT C O M M U N IT Y
1
r»utv\bet~ one
Chapter
6 | The
Crafting
of Contemporary
Fanzines
246 / 247
THE ZINE DIRECTORY
VERSION 0.1
ZINE CAPSULE
Zine collecting for the future
ZINE ARCADE
ISSUE TWO
Publications about the distribution and
dissemination of information about zines
show just how many people are active within
the zine network internationally. The Zine
Directory Version 0.1 (2007), produced by
Jane Appleby, provided brief but insightful
reviews of UK/US zines. Microcosm Publishing
Catalogue (c. 1996-), with cover artwork by
Sarah Oleksyk, was produced by Joe Biel, an
independent publisher of zines, books and
related ephemera. Zine Capsule (2008) contains
DIY tips for collecting and archiving. Zine
Arcade (2007-) is edited by Andrew Owen Johnson
and provides a forum for illustrators, artists
and zine producers to showcase their work.
*
A COLLECTION OF SELF-PU8LISHE0 WORK FROM EUROPE AND NORTH AMERICA
ROBERT SERGEL •JACKIE BATEY •KEVIN HOOYMAN
and 11 other self-publishers!
AU 8TRALXAH
ZINK
RS8OUCRK8
C2.50 WHERESOLD
ISSUE 2 3
/
MARKETS
REVIEWS
FEATURES
NEWS
VIEWS
I
THE
DEFINITIVE
GUIDE
TO THE
WORLD'S
INDEPENDENT
PRESS
Metazines continue to link things together.
The UK Zine Yearbook (2007) pays homage to the
American Zine Yearbook anthology (1996-2004),
and is a sample of writings and images taken
from fanzines produced in the United Kingdom
(usefully plotting where they come from
on a map). Australian Zine Resources (2003)
was the result of the producers undertaking
a small press project for a professional
writing course. Wasabi Distro Catalogue (2005)
offers primarily English-language zines for
sale. Zene (c. 2000s) from Ely, Cambridgeshire,
harks back to the early days of metazine
Factsheet Five.
248 / 249
NOTES
CH A P TER 1, pp. 6 -4 3
1 Gross, ‘Ideas: zine but not heard’ (accessed online 15
February 2010). In the following year, the New York Times
claimed that 20,000-50,000 were published in the USA:
Zane, ‘Now, the magazines of ‘‘me’”.
2 For further details see http://www.zinebook.com/index.
html. Rowe's book was released at the same time as R.
Seth Friedman's The Factsheet Five Zine Reader, and
according to one newspaper report, ‘their low-key rivalry
erupted into a full-blown feud’: Stark, ‘Smells like zine spirit’
(accessed online).
3 Futrelle, ‘Been there, zine that’ (accessed online 21
February 2010).
4 Ibid. Other producers who jumped into the mainstream
media spotlight include Paul Lukas {Beer Frame), who
went on to have a column in Fortune magazine (USA), and
Dishwasher Pete (Dishwasher), who was asked to appear
on David Letterman’s late night US television talk show but,
famously, sent a friend instead.
5 Duncombe, ‘DIY Nike style’ (accessed online 15 February
2010). Wieden & Kennedy continue to ‘buy into’ the
subcultural cache of DIY America with their online
subsidiary, WKE, with the stated goal of ‘negotiating
the relationship between art, media, advertising and
the consumer’: see http://www.wk.com/wke/show/DIY/
episode/6
6 See also, a few years later, Sabin and Triggs (eds), Below
Critical Radar, Farrelly, Zines, Spencer, DIY: The Rise of
Lo-Fi Culture, Poletti, Intimate Ephemera and Piepmeier,
Girl Zines.Zines have also been published taking up causes
for social benefit. Clark (ed.), Stories Care Forgot was
published in the wake of Hurricane Katrina in recognition
of the fact that many originals of fanzines had been lost,
including Chainbreaker (Shelley Lynn Jackson, c. 2004),
I Hate this Part of Texas (John Gerken, n.d.) and Rocket
Queen (Janet, early 2000s). The proceeds from the sale
of the book were split among grassroots groups from New
Orleans.
7 Jenkins, McPherson and Shattuc (eds), Hop on Pop,
pp. 161-62.
8 Wertham, The World of Fanzines, p. 35.
9 Nicholls (ed.), The Encyclopedia of Science Fiction,
p. 215; see also Rickards and Twyman, The Encyclopedia
of Ephemera.
11 Ibid., p. 78.
12 Ibid., pp. 74-5.
13 Trusky, Some Zines, p. ii.
14 Atton, Alternative Media, p. 55.
15 McKay (ed.), DiY Culture, p. 2.
17 Perkins, Subspace, p. 1.
18 Poletti, Intimate Ephemera, p. 57.
19 Rock, ‘Fuck Content’ (accessed online 15 February 2010).
This was an update to his earlier essay: Rock, 'The designer
as author’, p. 45.
20 McLaughlin, Street Smarts and Critical Theory, p. 54.
21 Duncombe, Notes from Underground, p. 127.
22 Atton, Alternative Media, p, 23.
23 Ordway, ‘A history of zines’, p. 157.
24 Hoffman, Allen and Ulrich, The Little Magazine.
25 Warner, Sr, All Our Yesterdays, p. 3.
26 Ordway, ‘A history of zines’, p. 157.
27 Wright, From Zines to Ezines, p. xxxvii.
28 Johnston, 'What is the history of samizdat?’, p. 123.
29 Friedman, ‘Editorial’, p. 3.
30 Duncombe, Notes from Underground, p. 108.
32 Nichoils (ed.), The Encyclopedia of Science Fiction, p. 237.
33 Hansen, letter to the author.
35 Pustz, Comic Book Culture, p. 180.
36 Overstreet, The Overstreet Comic Book Price Guide,
p. A-68.
37 Williams, email to the author.
38 Shaw cited by Rob Hansen, Then (1988-93), http://fanac.
org/Fan _ Histories/Then/ (accessed 2 April 2010).
39 Savage, 'Ugly things: music fanzines’ (accessed online
23 Feb 2010).
40 McLaughlin, Street Smarts and Critical Theory, p. 76.
CH A P TE R 2, pp. 4 4 -8 5
1
2
3
Perry, Sniffin’ Glue, issue 1.
Hebdige, Subculture, p. 25.
Sabin (ed.), Punk Rock: So What?, p. 4.
4
McCullough, ‘Underground, overground, wandering free’,
p. 34.
5 Frith, ‘Formalism, realism and leisure’, in Gelder and
Thornton (eds), The Subcultures Reader, p. 168.
6 Duncombe (ed.), Cultural Resistance Reader, p. 5.
7 Vague, King Mob Echo, p. 53.
8 Plant, The Most Radical Gesture, p. 1.
9 Jamie Reid, quoted in Kingston, ‘Jamie Reid’.
10 Duncombe, Cultural Resistance Reader, p. 5.
11 Ewart, interview with the author.
12 Malcolm McLaren, quoted in Marcus, Lipstick Traces, p. 9.
8
9
10
11
Secret Nerd Brigade (accessed online 29 April 2010).
Atton, Alternative Media, p. 75.
Duncombe, Notes from Underground, p. 230.
Blume, ‘Zine queen Pagan Kennedy on zines in the age
of Web’ (accessed online 2 January 2010).
12 McCloud, ‘The infinite canvas’ (accessed online 2 April
2010 ).
13 Freedman, ‘Zines are not blogs’ (accessed online 2 April
2 0 1 0 ).
14 ‘Web log’ as a term emerged in 1997 and in 1999 a
shortened version was coined, ‘blog’. Baron, A Better
Pencil, p. 165.
15 Smith, ‘Strands in the Web’, p. 97.
C H A P TE R 3 , pp. 8 6 -1 2 9
1
2
3
4
5
6
7
Mort, Cultures of Consumption, p. 5.
Marr, ‘Privatisation, Consumerism and Thatcherism in
the 1980s’.
Mort, Cultures of Consumption, p. 6.
Thornton, Club Culture, p. 11.
Ibid., p. 12.
Deakin, ‘Love of nothing’, pp. 16-17.
Litmus, ‘Boy’s Own: A History’ (accessed online 24 April
C H A P TE R 6, pp. 2 0 4 -4 7
1
2
3
4
2010 ).
8
Hector-Jones, 'Gareth’s aces’ (accessed online 24 April
2010 ).
9 Thornton, Club Culture, p. 154.
10 Sharkey, ‘My hero the editor’ (accessed online 24 April
2010 ).
11 ‘The History of Rave Culture’ (accessed online 24 April
2010 ).
12 Reynolds, Generation Ecstasy, p. 70.
14 Lukas, Inconspicuous Consumption (accessed online
24 April 2010).
15 Hoff, Thrift Score, p. 3.
17 Vale (ed.), ‘Temp Slave!’, Zines!, vol. 2, p. 24.
18 Scott, ‘Dishwasher Pete Interview’ (accessed online
24 April 2010).
19 Helms, ‘Statement of Purpose’ (accessed online 24 April
2010 ).
20 Elliott, ‘On Guinea Pig Zero’, p. 105.
21 Munroe, Tag line, Holiday in the Sun, no. 2, back cover.
C H A P TE R 4, pp. 1 3 0 -6 9
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
For example, see White, ‘Revolution girl style now’.
Kate Vickers, quoted in Blase, Real Girls.
Gina, quoted in Mental Children, p. 15.
Tucker, Channel Seven.
http://www.empsfm.org/exhibitions/index.
asp?articlelD=670
Sweet, Chica.
Ibid.
R. K., ‘ Riot grrrl discourse’, p. 17.
Leonard, ‘Rebel girl, you are the queen of my world’,
p. 232.
Juno (ed.), Angry Women in Rock, p. 98.
Ladyfest Workshop (Glasgow, 2001).
Ladyfest fanzine programme (Glasgow, 2001).
Lee Beattie, Ladyfest fanzine programme, p. 19.
Ladyfest London (accessed online 3 March 2010).
Atton, Alternative Media, p. 59.
Ladyfest Ten (2010) (accessed online 5 March 2010).
London Zine Symposium 2006 (accessed online 4 April
2010).
5
6
7
8
Greer, Knitting for Good!, p. 10.
Metcalf, ‘Replacing the myth of modernism' (accessed
online 2 April 2010).
Metcalf, ‘DIY, websites and energy’ (accessed online 2 April
2010 ).
Wrekk, Stolen Sharpie Revolution, p. 5.
Ibid., pp. 6-7.
Ibid., p. 60.
Greer, Knitting for Good!, p. 12.
BIBLIOGRAPHY
BO O KS
Chris Atton, Alternative Media (London, Sage Publications,
2 0 0 2 ).
Camille Bacon-Smith, Enterprising Women: Television Fandom
and the Creation of Popular Myth (Philadelphia, University of
Pennsylvania Press, 1992).
Dennis Baron, A Better Pencil: Readers, Writers and the Digital
Revolution (Oxford, Oxford University Press, 2009).
Julie Bartel, From /4 to Zine: Building a Winning Zine Collection
in Your Library (Chicago, American Library Association, 2004).
Ian Bordon, Skateboarding and the City: Architecture and the
Body (London, Berg Publishers, 2001).
Ethan Clark, (ed.), Stories Care Forgot: An Anthology of New
Orleans Zines (San Francisco, Last Gasp, 2006).
Robert Dickinson, Imprinting the Sticks: The Alternative Press
beyond London (Aldershot, Arena, 1997).
Stephen Duncombe, Notes from Underground: Zines and the
Politics of Alternative Culture (London, Verso, 1997).
Stephen Duncombe (ed.), Cultural Resistance Reader (London,
Verso, 2002).
Liz Farrelly, Zines (London, Booth-Clibborn Editions, 2001).
Nigel Fountain, Underground: The London Alternative Press
1966-1974 (London, Routledge, 1988).
C H A P TE R 5, pp. 1 7 0 -2 0 3
Archiving of sites is problematic. The ephemeral nature of the
digital means that a website or blog may exist one day and not
the next.
R. Seth Friedman (ed.), The Factsheet Five Zine Reader: The
Best Writing from the Underground World of Zines (New York,
Three Rivers Press, 1997).
Ken Gelder, The Horror Reader (London, Routledge, 2000).
1
2
3
4
5
6
7
Labovitz, ‘Five years and counting’ (accessed online 21
March 2010).
Such use of typographic letterforms was not new. The first
recorded use of typewritten text as image is Pitman’s The
Phonetic Journal (1898), which reproduced Flora Stacey's
butterfly image created from typewriter characters (slashes,
hyphens, points, asterisks, etc.): Stark “The History of
(ASCII) Text A rt’ (accessed online 31 March 2010). See
also French poet Guillaume Apollinaire’s, Calligrammes
(1918) - his book of shaped poems where letterforms
were arranged to form a visual design, figure or pictograph.
Cumbrowski, ‘The three ASCII art styles of the underground
art scene’, (accessed online 31 March 2010).
Phrack (accessed online 31 March 2010).
Pore, ‘General information about zines and alt.zines’
(accessed online 31 March 2010).
Labovitz, 'W hat’s “an :e-zine", anyway?’ (accessed online
31 March 2010).
Duncombe, Notes from Underground, p. 197.
Ken Gelder and Sarah Thornton (eds), The Subcultures Reader
(London, Routledge, 1997).
Betsy Greer, Knitting for Good! A Guide to Creating Personal,
Social & Political Change Stitch by Stitch (Boston and London,
Trumpeter Books, 2008).
Jonathan Grey, Cornel Sandvoss and C. Lee Harrington (eds),
Fandom: Identities and Communities in a Mediated World
(New York, New York University Press, 2007).
Mike Gunderloy and Cari Goldberg Janice, The World of Zines:
A Guide to the Independent Magazine Revolution (New York,
Penguin Books, 1992)
Dick Hebdige, Subculture: The Meaning of Style (London,
Methuen, 1979).
Notes, Bibliography
Karen Hellekson and Kristina Busse (eds), Fan Fiction and
Fan Communities in the Age of the Internet (Jefferson, N.C.,
McFarland and Co., 2006).
Roger Sabin and Teal Triggs (eds), Below Critical Radar:
Fanzines and Alternative Comics from 1976 to Now (Hove,
Slab-O-Concrete Publications, 2000).
Matt Hills, Fan Cultures (London, Routledge, 2002).
Jon Savage, England’s Dreaming: Sex Pistols and Punk Rock
(London, Faber, 1991, revd 2001).
Al Hoff, Thrift Score (New York, HarperCollins, 1997).
Frederick J. Hoffman, Charles Allen and Carolyn J. Ulrich,
The Little Magazine-. A History and a Bibliography, 2nd edn
(Princeton, N. J., Princeton University Press, 1947).
Henry Jenkins, Textual Poachers: Television Fans and
Participatory Culture and Communication (London, Routledge,
1992).
Henry Jenkins, Tara McPherson and Jane Shattuc (eds), Hop
on Pop: The Politics and Pleasures of Popular Culture (Durham,
N. C. and London, Duke University Press, 2002).
Andrea Juno (ed.), Angry Women in Rock, vol. 1 (New York,
Juno Books, 1996).
Pagan Kennedy, ‘Zine: How I spent six years of my life in the
underground and finally... found myself... I think (New York,
St. Martin’s Griffin, 1995).
George McKay (ed.), DiY Culture: Party and Protest in Nineties
Britain (London, Verso, 1998).
Thomas McLaughlin, Street Smarts and Critical Theory:
Listening to the Vernacular (Madison, Wis., University of
Wisconsin Press, 1996).
Greil Marcus, Lipstick Traces: A Secret History of the Twentieth
Century (London, Seeker and Warburg, 1989).
Am y Spencer, DIY: The Rise of Lo-Fi Culture (London, Marion
Boyars Publishers, 2005).
Sarah Thornton, Club Culture: Music, Media and Subcultural
Capital (London, Polity, 1995).
Tom Trusky, with an introduction by Cari Goldberg Janice,
Some Zines: American Alternative & Underground Magazines,
Newsletters & APAs (Boise, Ida., Cold Drill Books, Boise State
University, 1992).
John Tulloch and Henry Jenkins, Science Fiction Audiences:
Watching Doctor Who and Star Trek (London, Routledge,
1995).
Harry Warner, Sr, All Our Yesterdays: An Informal History
of Science Fiction Fandom in the Forties (Chicago, Advent
Publishers, 1969).
Ladyfest Workshop (Glasgow, Scotland, 2001).
Peter Nicholls (ed.), The Encyclopedia of Science Fiction:
An Illustrated A - Z (London, Granada, 1979).
A R TIC LE S
Harvey Blume, ‘Zine queen Pagan Kennedy on zines in the age
of W eb’, Wired, issue 4.01 (January 1996), http://www.wired.
com/wired/archive/4.01/
Carsten Cumbrowski (aka Roy/SAC), ‘The three ASCII art styles
of the underground art scene’, n.d., http://www.roysac.com/
roy-sac _ styles _ of _ underground _ text _ art.asp
Anna Poletti, Intimate Ephemera: Reading Young Lives in
Australian Zine Culture (Melbourne, Melbourne University
Press, 2008).
Stephen Duncombe, ‘ DIY Nike style: zines and the corporate
world’, Z Magazine (December 1999), http://www.
zcommunications.org/diy-nike-style-by-stephen-duncombe
Matthew J. Pustz, Comic Book Culture: Fanboys and True
Believers (Jackson, Miss., University of Mississippi Press,
1999).
Carl Elliott, ‘On Guinea Pig Zero’, Tin House (issue 35, Spring
2008), 103-6.
Joe Ewart, interview with the author (London, January 1997).
Chip Rowe (ed.), The Book of Zines: Readings From the Fringe
(New York, Henry Holt and Company, 1997); see also http://
www.zinebook.com/index.html
Roger Sabin (ed.), Punk Rock: So What? (London, Routledge,
1999).
Stephen Litmus, ‘Boy’s Own: A History’, Resident Advisor
(12 January 2010), http://www.residentadvisor.net/feature.
aspx?1139
London Zine Symposium 2006, http://www.
Iondonzinesymposium.org.uk/archives/2006/
Paul Lukas, Inconspicuous Consumption, http://www.core77.
com/inconspicuous/
Scott McCloud, ‘The infinite canvas', http://scottmccloud.
com/4-inventions/canvas/index.html
Dave McCullough,. ‘Underground, overground, wandering free’,
Sounds (17 March 1979), p. 34.
Cazz Blase, Real Girls, issue 1 (Stockport, England, 2001).
Camilla Deakin, ‘Love of nothing’, Gear, no. 2 (1991).
Maurice Rickards and Michael Twyman, The Encyclopedia of
Ephemera: A Guide to the Fragmentary Documents of Everyday
Life for the Collector, Curator and Historian (London, British
Library, 2000).
Marion Leonard, ‘Rebel girl, you are the queen of my world:
feminism subculture and grrrl power’, in Whiteley (ed.), Sexing
the Groove, pp. 230-55.
Lee Beattie, Ladyfest fanzine programme (Glasgow, Scotland,
2001 ).
Sadie Plant, The Most Radical Gesture: The Situationist
International in a Postmodern Age (London, Routledge, 1992).
Simon Reynolds, Rip It Up and Start Again: Post-punk 19781984 (London, Faber, 2005).
John Labovitz, ‘Five years and counting’, The Art Bin: Articles
and Essays, n.d., http://art-bin.com/art/alabovitz.html
Ladyfest Ten (2010), Facebook, http://www.facebook.com/
pages/Ladyfest-Ten/298592715550?v=info
Frederick A. Wright, From Zines to Ezines: Electronic Publishing
and the Literary Underground, Ph.D. thesis (Kent, Oh., Kent
State University, 2001).
Simon Reynolds, Generation Ecstasy: Into the World of Techno
and Rave Culture (London, Routledge, 1999).
Steve Kingston, ‘Jamie Reid: Art and Attitude for the 21st
Century’ [press release] (May 1990).
Joan Marie Verba, Boldly Writing: A Trekker Fan and Zine
History 1967-1987 (Minneapolis, FTL Publications, 1996).
Frank Mort, Cultures of Consumption: Masculinities and Social
Space in Late Twentieth-Century Britain (London, Routledge,
1996).
Steve Redhead, Post-Fandom and the Millennial Blues: The
Transformation of Soccer Culture { London, Routledge, 1997).
Mark Kermode, ‘I was a teenage horror fan, or, how I learned to
stop worrying and love Linda Blair’ in Martin Barker and Julian
Petley (eds), III Effects: The Media/Violence Debate (London,
Routledge), pp. 126-34.
Ladyfest London, ‘About’ (2001), http://www.ladyfestlondon.
co.uk/?page _ id=2
Sheila Whiteley (ed.), Sexing the Groove: Popular Music and
Gender ( London, Routledge, 1997).
Alison Piepmeier, Girl Zines: Making Media, Doing Feminism
(New York, New York University, 2009).
Gordon Johnston, ‘What is the history of samizdat?’, Social
History, vol. 24, issue 2, (1999), pp. 115-33.
V. Vale (ed.). Zines!, vols 1 and 2 (San Francisco, V/Search
Publications, 1996 and 1997).
Nadine Monem, Riot Grrrl: Revolution Girl Style Now! (London,
Black Dog Publishing, 2007).
Mark Perry, Sniffin’ Glue: The Essential Punk Accessory
(London, Sanctuary Publishing, 2000).
Robert P. Helms, 'Statement of Purpose’, Guinea Pig Zero, n.d.
http://www.guineapigzero.com
John Labovitz, ‘W hat’s “an :e-zine”, anyway?’. E-Zine List
(1993), http://www.meer.net/~johnl/e-zine-list/about.html
Fredric Wertham, The World of Fanzines: A Special Form of
Communication (Carbondale, III., Southern Illinois University
Press, 1973).
Stephen Perkins, Subspace: International Zine Show (Iowa
City, Plagiarist Press, 1992).
Richard Hector-Jones, ‘Gareth’s aces’, City Life for Northern
Souls (26 August 2005) http://www.citylife.co.uk/clubs/
news/6470 _ gareth _ s _ aces
Tom Vague, King Mob Echo: From 1780 Gordon Riots to
Situationists, Sex Pistols and Beyond (London, Dark Star,
20 0 0 ).
Philip Meggs, A History of Graphic Design (New York, Van
Nostrand Reinhold, 1983).
Robert M. Overstreet, The Overstreet Comic Book Price Guide,
22nd edn (New York, Avon Books, 1992).
Robert Hansen, letter to the author (27 July 1995).
Andrew Marr, ‘Privatisation, consumerism and Thatcherism
in the 1980s’, ScreamNews.com, http://screamnews.com/
privatisation-consumerism-and-thatcherism-in-the-1980s/
Bruce Metcalf, ‘Replacing the myth of modernism’, first
published in American Craft, vol. 53, no. 1 (Feb/March 1993),
http://www.brucemetcalf.com/pages/essays/replacing _ myth,
html
Bruce Metcalf, ‘DIY, websites and energy: the new
alternative crafts’, conference paper (SNAG [Society of
North American Goldsmiths], Savannah, Georgia, 2008)
http://www.brucemetcalf.com/pages/essays/diy _ websites _
energy.html
Mental Children, issue 1 (London, England, 1980).
Peter Millward, ‘The rebirth of the football fanzine: using e-zines
as data source’, Journal of Sport and Social Issues, vol. 32,
no. 3 (2 0 0 8 ), pp. 299-310.
Jenna Freedman, ‘Zines are not blogs: a not unbiased analysis',
originally published in Counterpoise, vol. 9, issue 3 (2005),
p. 10; http://www.barnard.edu/library/zines/zinesnotblogs.htm
Jim Munroe, Holiday in the Sun, no. 2 (Toronto, Canada,
1999).
R. Seth Friedman, ‘Editorial’, Factsheet Five, no. 58 (October
1995), p. 3.
Nico Ordway, ‘A history of zines’, in Vale (ed.), Zines!, vol. 1,
pp. 155-59.
Simon Frith, ‘Formalism, realism and leisure: the case of punk'
in Gelderand Thornton (eds), The Subcultures Reader,
pp. 163-74.
Mark Perry, Sniffin' Glue, issue 1 (London, 1976).
David Futrelle, ‘Been there, zine that’, Salon (9 June 1997),
http://www.salon.com/media/circus/1997/06/09/media/index.
html
David M. Gross, 'Ideas: zine but not heard.’ Time
(5 September 1994), http://www.time.com/time/
printout/0,8816,981403,00.html
Phrack, no. 67 (July 2010), http://pcworld.about.com/gi/
dynamic/offsite.htm?site=http://www.phrack.com/
Jerod Pore, ‘General information about zines and alt.zines’,
(The alt.zines DMZ, The Zine Syndicate, 1995), http://altzines.
tripod.com/jerod.html
R. K., ‘ Riot grrrl discourse', Fast Connection, no. 3 (Newcastle
upon Tyne, England, August 1996).
250 / 251
Michelle Rau, ‘From APA to zines: towards a history of fanzine
publishing', Alternative Press Review (Spring/Summer, 1994),
pp. 10-13.
Simon Reynolds, 'How the fanzine refused to die’, Guardian
(2 February 2009), http://www.guardian.co.uk/music/2009/
feb/02/fanzine-simon-reynolds-blog
Michael Rock, ‘The design as author’, Eye, no. 20 (Spring
1996), pp. 4 4 -5 3 .
p. 8: Boomerang, no. 29 (Feb 1973), John and Jan Ryan:
Queensland, Australia. Aware Magazine, vol. 2, no. 5 (1977),
Steve Kolanjian: Brooklyn, NY, USA. Crawdaddy! / The
Magazine of Rock 'n' Roll, no. 4 (Aug 1966), Paul Williams
and others: Cambridge, MA, USA.
p. 9: Travellin' Fist, no. 1 (1989), Dan Koretzky, Rian Murphy
and others: Chicago, IL, USA. W ho Put the Bomp!, no. 14 (fall
1975), Greg Shaw, cover photo Jan & Dean, 1964: Burbank,
CA, USA. Suburban Press, no. 5 (1972), Jamie Reid: Croydon,
Surrey, UK.
p. 24: Novae Terrae, no. 2 (May 1938), Maurice K. Hanson
and Dennis A. Jacques, cover Harry Turner: London, UK (Terry
Carr Fanzine Collection, Special Collections and Archives,
University of California, Riverside Libraries).
p. 25: Red Ink / School Kids' Issue, no. 4 (Oct 1971),
Newcastle University Socialist Society Magazine: Newcastle
upon Tyne, UK. Heroes Unlimited, no. 4 (March 1968),
Anthony Roche and others, cover Paul Neary: Dun Laoghaire,
Co. Dublin, Ireland. KRLA Beat / Los Angeles, California, vol. 1,
no. 1 (1965), Bill Finneran: Eugene, OR, USA.
Michael Rock, ‘Fuck Content’ (2005), http://2x4.org/
Jon Savage, ‘Ugly things: music fanzines’ (posted 27 April
2009), http://www.jonsavage.com/journalism/ugly-thingsmusic-fanzines/
Andrew Scott, 'Dishwasher Pete Interview’, Fecal Face
Dot Com (29 May 2007), http://www.fecalface.com/
SF/index.php?option=com _ content&task=view&id=629.
Secret Nerd Brigade (Minneapolis, c. 2010),
http://secretnerdbrigade.com/zines.shtmi
Alix Sharkey, 'My hero the editor’, The Independent (22 July
1995), http://www.independent.co.uk/arts-entertainment/
my-hero-the-editor-1592759.html.
Matthew J. Smith, ‘Strands in the Web: community-building
strategies in online fanzines’, Journal of Popular Culture,
vol. 33, issue 2 (1999), pp. 87-99.
Jeff Stark, ‘Smells like zine spirit’, SF Weekly News (27 August
1997), http://www.sfweekly.com/1997-08-27/news/smeilslike-zine-spirit/
Joan G. Stark, ‘The History of (ASCII) Text A rt’, 1999,
http://www.roysac.com/asciiarthistory.asp
Lucy Sweet, Chica, no. 1 (Glasgow, Scotland, 2001).
‘The History of Rave Culture’, TheSite.org, n.d.
http://thesite.mobi/drinkanddrugs/drugcuiture/drugstrade/
thehistoryofrave
p. 10: Sydney in the Sewer, no. 2 (Sept 1985), Yolanda, Carol,
John and others: Sydney, Australia. The Exploitation Journal
/ The Magazine of Schlock Cinema, no. 4 (1987), Joseph F.
Parda and Keith J. Crocker, Cinefear Productions: Levittown,
NY, USA. Ungawa!, no. 4 (1992), Foss Hagman and Cathal
Tohill, cover Aran C.: London, UK.
p. 11: L’lncroyable Cinema / The Film Magazine of Fantasy &
Imagination, no. 3 (1970), ed. Harry and Marie Nadler, cover
illustration Eddie Jones, Orion Press: Salford, Manchester,
UK. TCM The Comedy Magazine, no. 1 (autumn 1986),
Mat Coward: London, UK. Penetration, no. 13 (1977), Paul
Welsch: Stockport, Cheshire, UK.
p. 12: Diana Rigg, no. 1 (1986), Len Theric and Mint Murray,
Lenmint Productions: Horsham, West Sussex, UK. Everyone
Needs a Hobby / The Tim Burton Fanzine with a Sense of
Humour, vol. 1, no. 2 (fall-holiday season 1994), Emile
St. Claire, cover art J o e ‘Magic’-. Los Angeles, CA, USA. The
Complate M onty Python, vol. 2 (1979), Howard Johnson:
Ottawa, IL, USA.
p. 13: Passing Wind, no. 11(1979), Evelyn [Ian Hislop], cover
art K .J.A.: Oxford, UK. The Way Ahead, no. 1 (1984), Janet:
Swindon, UK. Panda Eyes / Mini-zine, vol. 2 (2009), Alyssa:
Point Reyes Station, CA, USA.
p. 14: Where's Eric! / The Eric Clapton Fanzine, no. 15 (April
1996), Tony Edser, cover photo Barrie Wentzell/Star File, Scref
Publishing Solutions: Maidenhead, Berkshire, UK. W eller is
Back, no. 1 (25 Oct 1991), Andy Wyness: Dundee, Scotland.
Pulp / A Scrapbook Fanzine (summer 2004), Emily Jane
Graves: Leeds, UK.
pp. 26-27: Creep, no. 10 (1998), Jonnystein: Estacada, OR,
USA. Glamourpuss / The UK Suede Fanzine, nos. 3 and 4 (c.
1996), Jo Glamourpuss and others, cover Jo Glamourpuss:
Cumbria, UK. Must be the Music, no. 4 (Feb 1997):
Stockton-on-Tees, County Durham, UK. MaximumRocknRoll,
no. 221 (Oct 2001), Arwen Curry and others: San Francisco,
CA, USA.
pp. 2 8-29: Slash, vol. 2, no. 2 (Nov 1978), Steven Samiof
and Melanie Nissen and others, photo Stevenson: Los Angeles,
CA, USA. Punk, no. 2 (March 1976), John Holmstrom and
others, cover photos Guillemette Barbet + Rock News, Punk
Productions Inc: New York, USA. International Anthem /
Nihilist Newspaper for the Living (1977), Gee Vaucher and
Penny Rimbaud, photo-collages Gee Vaucher, Exitstencil Press:
London, UK. Artcore Fanzine, no. 23 (spring 2006), Welly:
Cardiff, Wales.
pp. 30-31: The Celestial Toyroom, no. 7 (July 1979), Gordon
Blows, for The Doctor Who Appreciation Society: London, UK.
Your Mornings W ill Be Brighter (May 1990), Richard Murrill:
Folkstone, Kent, UK.
pp. 3 2-33: Speed Kills, no. 7 (Sept 1995), Scott Rutherford
and others: Chicago, IL, USA. Things I ’ve F o u n d / Things I ’ve
Lost (Oct 2009), Katie Haegele, drawings Helen Entwisle:
Philadelphia, PA, USA. Straight from the Grooveyard, no. 2 (c.
1981), Joogen Westman, Johan Kugelberg, Johan Frick and
others: Kramfors, Sweden.
p. 15: Lobster Telephone / 1am a Product, vol. 1, no. 29 (c.
1989), C.H .A.O .S. Inc: Nottingham, UK. Lower than Dirt, no.
3 (1996), Richard Santos, Homicidal Enterprises: Austin, TX,
USA. Crap H o u n d / Church & State Part One, no. 7 (2008),
Sean Tejaratchi: Los Angeles, CA, USA.
pp.3 4-3 5: Freak Beat, no. 4 (1988), Ivor Trueman and
Richard Allen, cover Lyns: Hounslow, Middlesex and Chalfont
St. Peter, Buckinghamshire, UK. Crawdaddy! / The Magazine
of Rock, no. 10 (Aug 1967), Paul Williams and others, cover
Paul Rothchild, photograph Racey Gilbert, logo David Flooke:
New York City, NY, USA. Bam Balam, no. 12 (Nov 1980),
Brian Hogg and Jacki, cover logo Nic Dartnell: East Lothian,
Scotland. S n iffin' Flowers, no. 1 (1977), Sue, Simon, Andrew,
Jackie, cover TJH: Romford, Essex, UK.
p.16: S p ilt Milk, no. 1 (winter 1996), Erica and Rebecca
Braverman: Prairie Village, KS, USA. Katy Keene Magazine,
no. 13 (fall 1983), Craig Levitt: Modesto, CA, USA. Like a
Virgin / Italian Fanzine about Madonna, no. 40 (D ec-Jan
1993), Sauro: Italy. Danzine, no. 14 (c. 1998), Teresa Dulce,
cover photo Angie C.: Portland, OR, USA.
p. 36: Serendipity / Batman at 50, no. 3 (1989), Joseph
Dickerson and others, cover Joseph Dickerson, Solarquest
Publications: USA. Fear and Loathing, vol. 34 (Dec 1995),
Andy Pearson: London, UK. Revolting, no. 2 (Ju n e -Ju ly
1993), Ed & Ed, cover Shrub, logo Simon: Kingston upon
Thames, Surrey, UK.
Corin Tucker, Channel Seven (Washington, DC, c. 1992).
p. 17: Outpunk, no. 7 (1997), Matt Wobensmith: San
Francisco, CA, USA. Lip Gloss, no. 1 (c. 2009), Chris Gloss:
Gosport, Hampshire, UK. The Filth and the Fury!, no. 12
(2000), Scott Murphy: Glasgow, Scotland.
Emily White, ‘Revolution girl style now’, L A . Weekly (July
10-16 1992), reprinted in Evelyn McDonnell and Ann Powers
(eds), Rock She Wrote: Women Write about Rock, Pop, and
Rap (London, Plexus, 1995), pp. 396 -4 0 8 .
p. 18: Braindeath including Slaughtered Trees & Toxic Ink,
no. 3 Vz( 1997), Pablo, cover Nick Lant: UK and Switzerland.
Culture Slut, no. 10 (9 July 2007), Amber Farthing: Ontario,
Canada. Hate, no. 6 (2008), Calvin Holbrook: London, UK.
p. 37: Console / The Heart of the Tardis, no. 1 (1982):
Clapham, Bedford, UK. Typography Papers, no. 1 (1996),
Paul Stiff and others, Department of Typography and Graphic
Communication, University of Reading: Reading, UK. F u n k n ’
Groove, no. 1 (c. 1995), Ferris and Morgan: Blackhawk, CA,
USA.
Paul Williams, email to author (26 July 2000).
p. 19: Seripop/Baltic/Zine (2009), Patrick Staff and Edward
Webb-lgnall, illustration Seripop.- Gateshead, Tyne and Wear,
UK. Meat Magazine, no. 7 (May 2008), James Pallister and
Nick Hayes: London, UK.
Teal Triggs, ‘Alphabet soup: reading British fanzines’, Visible
Language, vol. 29, no .l, part 3 (Winter 1995), pp. 72-87.
Teal Triggs, ‘Look back in anger: the riot grrrl revolution in
Britain', Zed.5 (1998), pp. 8 -25.
Teal Triggs, ‘Typo-Anarchy: a new look.at the fanzine
revolution’, Emigre, no. 46, (Spring 19'98), pp. 12-20.
Teal Triggs, 'Girlzines: sex and morality in print’ in Steven Heller
(ed,) Sex Appeal: The Art of Allure in Graphic and Advertising
Design (New York, Allworth Press, 2000), pp. 130-37.
Teal Triggs, ‘Scissors and glue: punk fanzines and the creation
of a DIY aesthetic ’, Journal of Design History, vol. 19, no. 1
(2006), pp. 6 9 -8 3 .
Alex Wrekk, Stolen Sharpie Revolution: A DIY Zine Resource
(Portland, Microcosm, 2003).
J. Peder Zane,'Now, the magazines of “me”’, New York Times
(14 May 2006), http://www.empsfm.org/exhibitions/index.
asp?articlelD=670
LIST OF ZINES
C H A P TE R 1, PP. 6 -4 3
p. 7: New Worlds, vol. 1, no. 1 (March 1939), Ted Carnell,
cover Harry Turner, Chapman Carnell Publications: London,
UK (Terry Carr Fanzine Collection, Special Collections and
Archives, University of California, Riverside Libraries).
Exclusively Elvis, no. 1 (1969), Wendy Murton: Leeds, UK.
Western Trails Magazine, vol. 1, no. 1 (Jan -Feb 1975),
Richard M. Kauffman: Lakeland, GA, USA.
pp. 20-21: Shocking Pink, no. 9 (c. 1990), collective including
Katy Watson: Oxfordt?], UK. Kitten Scratches, no. 1 (1999),
Rachel: High Wycombe, Buckinghamshire, UK. D IY Life Zine,
no. 1 (Jan 2010), Idzie and others: Montreal, Canada. Beer
Can Fanzine, no. 1 (1999), Jesse Kimball: Portland, OR, USA.
pp. 22-23: Negative Reaction, no. 1 (Feb 1977), Jonathan
Romney and others, cover photo Paul Cecil: Cambridge, UK.
Nothing is True, no. 6 (1992), Richard Turner: Liverpool,
UK. Omsk, no. 4 (May 1996), Peter Smith and others: Ilford,
Essex, UK. Gear I Boo! (c. 1991), Camilla Deakin, design
Fred Deakin: London, UK. Make Your Own Damn Alcohol (c.
2005), Jarrod Blatz, illustration Laure: Bowling Green, OH,
USA. The Complete Soapmaker/ Tips, Techniques & Recipes
for Luxurious Handmade Soaps / The Abbreviated Version (c.
1997), [adapted from a book by Norma Coney]: [n.p.]. Chord
Easy / How to Choose Chords, vol. 1 of 3 (2007), Bert Davis,
Light Living Library: Philomath, OR, USA.
pp. 3 8 -3 9 : Punk and Disorderly, no. 3 (Nov 1991), Mick B.,
artwork Dave Stonkage: Quarry Bank, West Midlands, UK.
Bugs and Drugs / A Zine for Scoffers, Screamers, Slackers &
Blasphemers, no. 2 (c. 1990s), C. Weston and others, cover
Beano Brazdov: Bristol, UK. Brumble / Special Brumcon Issue,
no. 5 (June 1965), C. D. Winstone, cover MiK: Birmingham,
UK. Le Collectionneur de Bandes Dessinees, no. 68 (1991),
Michel Denni, Centre National des Lettres: Paris, France. Down
Under, no. 1 (1964), John T. Ryan, cover John T. Ryan: New
South Wales, Australia. FOOM, vol. 1, no. 12 (Dec 1975),
editor-in-chief MarvW olfman, ed. Duffy Vohland, cover John
Buscema, Marvel Comics Group, cover Buscema Russell: New
York City, NY, USA. Comics Unlimited, no. 50 (Ju n e -Ju ly
1979), Alan Austin, cover Patrick Marcel, Fantasy Unlimited
Pubs: London, UK.
pp. 4 0-41: Space Times / Anniversary Issue, vol. 2, no. 6
(June 1953), Eric Bentcliffe, cover Harry Turner, Nor’west
Science Fiction Fantasy Club: Manchester, UK. Thanks for the
Memory / Elisabeth Sladen, no. 4 (1978), Mark G. Knighton,
cover Garry O ’Hare, Beyond Cygenus: Sutton Coldfield, West
Midlands, UK. Personal Log 01 / Starbase Chicago, no. 1
(1980), Vicki Ashe and Gwen Bolten, cover W. A. Howlett,
Tigress Press: Chicago, IL, USA. Heroes Unimited, no. 2
(1967), Anthony Roche and others, cover Paul Neary: Dun
Laoghaire, Co. Dublin, Ireland.
List of Zines
pp. 42-4 3 : The Komix, no. 2 (April 1963), John Wright and
others: Port Elizabeth, South Africa. Ka-Pow, no. 2 (Feb 1968),
Steve Moore and Phil Clarke: London and Birmingham, UK.
Nightmare, no. 1 (1969), John Muir and others, cover Mike
Higgs: Manchester, UK. Dead Duck / Corpsemeat Comix
(1991), Savage Pencil [Edwin Pouncey], Shock Imprint, Sexy
Swastika Productions: London, UK. Zum!, no. 3 (Jan 1992),
Luke Walsh and Mike Kidson: Liverpool, UK. The Golden Age
Fanzine, no. 2 (Oct 1976), Alan Austin: London, UK. Graphic
Story World, vol. 2, no. 3 [no. 7] (Sept 1972), Richard Kyle and
others, cover Norman Mingo: Culver City, CA, USA.
C H A P T E R 2, pp. 4 4 -8 5
p. 45: Suburban Press (c. 1970), Jamie Reid, Jeremy Brook,
Nigel Edwards: London, UK. P u n k /The Legend of Nick Detroit,
no. 6 (Oct 1976), ed. John Holmstrom and others, cover
illustration John Holmstrom: New York, USA. Sn iffin’ Glue,
no. 1 (1976), Mark Perry and others: Deptford, London, UK.
p. 46: Search and Destroy: Rebel Youth Culture, no. 10
(1978; repr. 1988), ed. V. Vale and others, cover Kamera Zie:
San Francisco, CA, USA (Issue available at www.researchpubs.
com). Factor Zero, no. 0 (1980), David Strongos: Sao Paulo,
Brazil. Total Control, no. 1 (1977) [booklet included in The
Ostrich], Franz Heribert Bielmeier [Mary Lou Monroe] and Janie
J. Jones: Hamburg and Dusseldorf, Germany.
p. 47: Ripped & Torn, no. 4 (April 1977), Tony Drayton and
others: Glasgow, Scotland and London, UK. C ity Fun, vol. 2,
no. 7 (9 -2 2 Jan 1981), Edward P. Nicholls, Martin Heywood,
Ray Lowry, Tony Wilson, E. C. Martin Rennie, Mark Smith,
Pat Naylor, Bob Dickenson, Liz Naylor, City Fun Publications:
Salford, Manchester, UK. Alternative Sounds, no. 17 (1980),
Martin Bowes: Coventry, UK.
p. 48: In the City, no. 12 (1979), Pete Gilbert and Francis
Drake: London, UK. Panache, no. 10 (1978), Mick Mercer:
London, UK. Rebel Rouser (late 1970s), Leon Rebel: [n.p.:
copy incomplete].
p. 49: Anarchy in the UK, no. 1 (1976), Glitterbest, Ltd,
printed by ZigZag: London, UK. Trick, no. 1 (Nov 1977), ed.
K. Dallas, contributors Pete of Shrews, Mark of Scum, Kev
Giles, Jane Suck, cover photo Steve Sparkes, Wishcastle Ltd:
London, UK. Temporary Hoarding, no. 5 (Ju n e -Ju ly 1979),
Red Saunders, contributors Aruth Shaked, Red Saunders,
Andy Xerox, Lucy Toothpaste and others, with photo pages Syd
Shelton: London, UK.
pp. 50-51: S n iffin' Glue, no. 3 (1976), no. 4 (1976), no. 5
(Nov 1976), / Christmas Special (Dec 1976), no. 7 (1977), no.
8 (March 1977), no. 9 (A p ril-M a y 1977), no. 10 (June 1977),
no. 12 (Aug-S ept 1977), Mark Perry and others: London, UK.
pp. 52-53: Chainsaw, no. 1 (1977), no. 3 (N ov-D ee 1977),
Charlie Chainsaw: London, UK. Chainsaw, no. 11 (Feb 1981),
Charlie Chainsaw, cover Michael J. Weller: London, UK;
Chainsaw, no. 12 (1981), Charlie Chainsaw, cover Michael J.
Weller: London, UK; Chainsaw, no. 14 (D ec-Jan 1984-85),
Charlie Chainsaw, contributions Kid Charlemagne, Willie D.,
Michael J. Weller: London, UK.
photos Alan Anger and Eddie Duggan: London, UK. More-onFour (1977), Sarah Shosubi, photos Crystal Clear: London, UK.
pp. 6 4 -6 5 : In the City, no. 1 (1977), Francis Drake, additional
writers Walt Davidson, Adrian and Rob, pictures Walt Davidson,
typing and setting-out Peter Gilbert: London, UK. In the City,
no. 2 (1977), Francis Drake and Peter Gilbert, additional writer
Graham, graphics John Foxx, pictures Walt Davidson: London,
UK. In the City, no. 4 (1978), Frank and Pete: London, UK. In
the City, no. 5 (c. 1978): London, UK. In the City, no. 6 (winter
1979), Frank 'n' Pete: London, UK. In the City, no. 8 (1978),
Feet and Plank: London, UK. In the City, no. 10 (April 1979),
Frank ’n’ Pete-. London, UK. In the City, no. 13 (Feb 1980),
Frank ’n’ Pete: London, UK. In the C ity Special / Ultravox! At
the Roundhouse (1977), Francis Drake, cover pictures Peter
Gilbert: London, UK.
pp. 66-6 7 : Negative Reaction, no. 7 (Sept-O ct 1978), Jon
Romney and others: Cambridge, UK. Positive Reaction, no.
4 (July—Aug 1979), Ernie B.: Omagh, Co. Tyrone, Northern
Ireland (printed SEAN at S.O.S Omagh). Kids Stuff, no. 9
(c. 1978), Alastair: Chessington, Surrey, UK. Negative
Reaction, no. 3 (Aug-Sept 1977), Jon Romney and Chas
Diamond and others, photos Chas, Jon and Jill Furmanovsky:
Cambridge, UK. Suspect Device, no. 6 (1979), Pete Gross
and others: Northampton, UK. Slash, vol. 1, no. 1 (May 1977)
[Mayday issue], ed. Steven Samiof, Melanie Nissen and others,
cover photo [Dave Vanian of The Damned] Melanie Nissen:
Los Angeles, CA, USA.
pp. 6 8 -6 9 : Kingdom Come, no. 4 (Nov 1977), no. 7 (Feb
1978), no. 9 (May 1978), no. 10 (June 1978), no. 11 (J u ly Aug 1978), no. 12 (Sept 1978), no. 14 (Jan 1979), no. 15
(March 1979), no. 16 (May 1979), Jonny Waller: Dunfermline,
Fife, Scotland.
pp. 70-71: Cobalt Hate, no. 2 (1984), Glyn and others, printed
at the Community Workshop: Stevenage, Hertfordshire, UK.
Blam!, no. 1 (c. 1981), Peter Hall: Chelmsford, Essex, UK.
Mucilage, no. 2 (c. 1984), Allan, layout Allan and Aidan:
St. Albans, UK [front and back covers], 4th W all Theatre of
Hate (1981), Claire and others, Rhinoceros: London, UK.
pp. 72-73: Inx Blotch, no. 1 (c. 1981), Dommo with Andy and
Bic: Teddington, Middlesex, and Kew, Surrey, UK [front and
back covers]. Transformation / The Journal of the Federation
of Anarcho-Pacifists (winter 1989), Jon and the West London
F.A.P.: London, and Newbury Park, Essex, UK [front and back
covers]. Stodge ([n.d.]): Oxford, UK. A/A/4 9PZ, no. 1 (c. 197980), Chris and others: Northampton, UK. Communique 2 /
A System without a System / Nihilistic Vices, no. 2 (summer
1980), Dormouse and others: London, UK and Amsterdam,
Netherlands.
pp. 74-75: Vague / Cyber-Punk, no. 21 (1988), Tom Vague,
cover design Jamie Reid and Joe Ewart for Assorted Images:
London, UK (printed Aldgate Press). Vague, no. 13 (1982),
Tom Vague and others: London, UK; Vague, no. 14 (1982),
Tom Vague: London, UK. Vague / Back from the Grave, no. 11
(1982), Tom Vague: London, UK.
pp. 5 4 -5 5 : Panache, no. 13 (1980), no. 12 (c. 1980) [interior
page], Mick Mercer: Dunnington, North Yorkshire, UK.
pp. 76-77: A llied Propaganda, no. 1 (June 1979), Ray and
Mick: Northolt, Middlesex, UK. Cross N o w / Firework Edition,
no. 2 (1980), cover Cress: London, UK. Grinding Halt, no.
4 (1980), Eddie Snide, Caption Callous and Pig Ignorant:
Reading, UK. Safety in Numbers, no. 8 (1980), John Driscoll:
Portsmouth, UK. Mental Children, no. 1 (1980): London, UK.
pp. 56-57: Ripped & Torn, no. 1 (Nov 1976), no. 5 ([n.d.]),
no. 8 (late Sept-early Oct [n.d.]), no. 9 (Nov 1977), no. 10
(Feb 1978), no. 12 (summer 1978), no. 14 (Oct 1978), no. 15
(Nov 1978), Tony Drayton: Glasgow, Scotland and London, UK.
Ripped & Torn, no. 18 (1979), Steve Abrams: London, UK.
pp. 78-79: Guttersnipe, no. 4 (1978), Guttersnipe Collective:
Madeley, Telford, UK [front and back covers]. Rapid Eye
Movement, no. 1 (winter 1979), Simon Dwyer. Alan Anger,
Mick Dwyer, Lol Loveittand others, cover picture from screenprint by Michael: [n.p.] [front and back covers].
pp. 5 8 -5 9 : 48 Thrills, no. 1 (1977), no. 2 (1977), Adrian
Thrills: Essex, UK. 48 Thrills, no. 3 (March 1977), no. 6 (c.
1977), Adrian Thrills: Stevenage, Hertfordshire, UK. Bondage,
no. 1 (1976), Shane MacGowan: London, UK. London’s
Burning, no. 1 (Dec 1976), John Ingram: London, UK.
Dayglow, no. 1 (c. 1978), Steve May: Neasden, London, UK.
pp. 80-8 1 : Alerta Punk, no. 3 (1983), Renato Filho: Sao
Paulo, Brazil. Espectro do Chaos, no. 1 (c. 1980s): Curitiba,
Brazil. Atentado, no. 2 (1983): Brazil. SP Punk, no. 1 (Aug
1982), Meire Martins and Callegari: Sao Paulo, Brazil.
pp. 6 0 -6 1 : Kleenex, no. 1 (1979), Bexleyheath, Kent, UK.
Dada / Zeno Phobia (late 1970s): London, UK. Punkture / The
Midlands Punk Scene, no. 3 (c. 1977), Pretty Nasty and Ruthie
Putrid: Stone, Staffordshire, UK. Another Tuneless Racket, no.
3 (April 1978): East Kilbride, Glasgow, Scotland. Confidential,
no. 2 (1977), Pete Nic, Caly, Alexandra Annexe: Watford,
Hertfordshire, UK.
pp. 62-63: Situation 3 (1977), Lofty Rickett and others:
London, UK. Situation Vacant, no. 4 (c. 1978), Glyn and
Mart and others: Derby, UK. Live W ire or Pretty Vacant, no. 8
(c. 1978), Alan Anger, photos Walt Davidson, Eddie Duggan and
others: London, UK. Live Wire, no. 14 (1978), Alan Anger, cover
pp. 8 2 -8 3 : Adventures in Reality, issue J. (c. 1981),
Alan Rider: Coventry, UK. It Ticked and Exploded, no. 7
(Feb-M arch 1979), Clive Hollywood: Paisley, Renfrewshire,
Scotland. Black & White, no. 1 (1979), Peter Price and
Stephen Rapid: Dublin, Ireland. The Poser, no. 2 (c.1980),
Neil Anderson: London, UK. Out o f Print, no. 2 (1979), Chris:
Bexhill-on-Sea, East Sussex, UK. Leamington’s Love Letter,
no. 3 (1981), Gerry O ’Brien and others: Leamington Spa,
Warwickshire, UK. No More Masterpieces, no. 12 (c. 1979),
Paul Mathur: Formby, Liverpool, UK. Today’s Length, no.
1 (1980), Jessamy Calkin and others, art director Malcolm
Garrett Kane: London, UK.
pp. 8 4 -8 5 : Jam ming!, no. 14 (1983), ed. Tony Fletcher,
design Robin Richards and others, Jamming Publications:
London, UK. Flipside, no. 31 (April 1982), Rodney and
Christine F., guest commentary Mykel Board: Whittier, CA,
USA. Jam ming!, no. 7 (1979), ed. Tony Fletcher, Jamming
Publications: London, UK. ZigZag, no. 85 (July 1978), ed. Kris
Needs and others, Phoenix Magazines Ltd: London, UK. Bomp!
(Nov 1977), ed. Greg Shaw, managing ed. Gary Sperrazzai:
Burbank, CA, USA.
C H A P TE R 3, pp. 86-129
p. 87: SUREzine, no. 4 (c. 1997), Kane Sure and others:
Melbourne, Australia. Ben is Dead, no. 25 (1995), Deborah
‘Darby’ Romeo and others: Los Angeles, CA, USA. Bunnyhop,
no. 10 (2000), Noel Tolentino, Jessica Gruner and others,
cover Noel Tolentino: San Francisco, CA, USA.
p. 88: Halcyon Daze, no. 1 (1989): Manchester, UK. The
Farm, no. 1 (c. 1991), The Staff: Liverpool, UK. Debris, no. 12
(1986), Dave Haslam and others: Manchester, UK.
p. 89: Ace o f Clubs, no. 1 (1990), Gareth Jones and others:
Manchester, UK. The Faced, no. 4 (July 1992): Exeter, UK.
Gear, no. 2 (c. 1991), Camilla Deakin and others, design Funny
Man Graphic Design (Fred Deakin): London, UK.
p. 90: Guinea Pig Zero / A Journal for Human Research
Subjects, no. 6 (31 Dec 1998), Robert Helms and others,
design Alexis Buss: Philadelphia, PA, USA. Close to You, no. 11
(July 1999), Salmon Dave and others: Aboyne, Aberdeenshire,
Scotland. Screaming to be Heard, no. 2 (1988): Nottingham,
UK.
p. 91: Dishwasher, no. 15 (c. 1996), Dishwasher Pete (Pete
Jordan), cover Sean Tejaratchi: Portland, OR, USA. Temp
Slave!, no. 7 (1995), Jeff Kelly and others.- Madison, W l, USA.
Answer Me!, no. 2 (1992), Jim and Debbie Goad: Hollywood,
CA, US.
p. 92: CGBC / The Journal of the Incredibly Good Looking, no.
7 (1998), Chelsea White and others.- Oakland Park, KS, USA.
Cometbus, no. 47 (2005), Aaron Cometbus (Aaron Elliot):
Berkley, CA, USA. Beer Frame / The Journal of Inconspicuous
Consumption, no. 8 (March 1988), Paul Lukas and others:
Brooklyn, NY, USA. The Duplex Planet, no. 183 (2005), David
Greenberger, managing ed. Barbara Price: Saratoga Springs,
NY, USA.
p. 93: Boing Boing, no. 7 (1992), Mark and Carla Frauenfelder
and others: Boulder, CO, USA. Plotz Notes, no. 16 (2002),
Barbara Kligman: New York City, NY, USA. Crap Hound,
no. 6 (1999), Sean Tejaratchi: Portland, OR, USA. Tiki News,
no. 16 (2000), Otto von Stroheim, cover Dave Wong: San
Francisco, CA, USA.
pp. 9 4 -9 5 : Murder Can Be Fun, no. 7 (1987), no. 11 (1989),
no. 14 (1992), no. 17 (1996), no. 20 (2007), John Marr: San
Francisco, CA, USA. Murder Can Be Fun / 1997 Datebook
/Special 10th Anniversary Edition (1997), John Marr: San
Francisco, CA, USA. Mystery Date, no. 5 (1997), Lynn Peril:
San Francisco, CA, USA. Teen Fag Magazine, no. 3 (spring
1994), no. 4 (spring 1995), Gordon Gordon: Seattle, W A, USA.
Teenage Gang Debs, no. 5 (May 1993), Don and Erin Smith:
Bathesda, MD, USA.
pp. 96-97: Thrift Score, no. 1 (spring 1994), no. 3 (fall 1994),
no. 4 (winter 1994), no. 5 (spring 1995), no. 6 (1995), no. 7
(1996), no. 8 (1996), no. 9 (1996), no. 12 (1998), Al Hoff and
others: Pittsburgh, PA, USA. Details, vol. 2, no. 2 (Oct 1983),
ed. Annie Flanders and others, art director Lesley Vinson, cover
art Ian Worpole, Details Publishing Corp.: New York City, NY,
USA. Cheap Date, no. 4 (summer 1998), Kira Jolliffe and
others, art directors Liz Harris, Minnie Wiesz, cover Fergadel-IC
for Hysteric Glam: London, UK. i-D , no. 2 (Nov 1980), ed. Al
McDowell, Terry Jones and Perry Haines, T.J. Informat Design
Ltd: London, UK.
pp. 9 8 -9 9 : A.O .B . Zine / The Bumper Book of B.M.X. for
Little Boys & Girls, no. 5 (1995), M Farrington, B. Shell and
others: Exeter, UK [cover and inside spread]. Skatedork, no. 1
(c. 1998), Steve Voss and others-. Berkeley Heights, NJ, USA.
Oscar’s Eye, no. 1 ([n.d.]), Joe Tindall: Haslemere, Surrey, UK.
Sauce, no. 007 (c. 2008), Pod, cover Pod: Portland, OR, USA.
Not the View / Celtic Fanzine, no. 34 (M arch-April 1992), J.
B. Banal and others: Glasgow, Scotland. Johnny M iller 96 Not
Out (May 1992), Dave Cotton, Martin Fey, Phil Harris, Peter
Tovey and others: Bristol, UK.
pp. 100-101: Blow Football, no. 4 (c. 1990): Birmingham,
UK. When Saturday Comes, no. 7 (A pril-M ay 1987), Mike
Ticher, Andy Lyons and others: London, UK. The Shankill
Skinhead, no. 8 (1991), Tim Glynne-Jones, Stan Griffin, Nigel
Scanland and Toddy: Purley, Surrey, UK. Someone Likes Us
252 / 253
(Feb 1991), Mr Knife: London, UK. Through the W ind & Rain,
no. 1 (autumn 1989), Steven Kelly and others: Liverpool,UK.
Hail Mary!, vol. 2, no. 1 (1992), Ian Corbett: Runcorn,
Cheshire, UK. NBA Update, vol. 1, no. 5 (1991), Darren
Edwards and Stephen R. Ashmore, art director Mark G. Wolfe:
Rugby, Warwickshire, UK. Murtaugh, no. 11 (c. 1994), Spike
Vrusho, cover woodcut Daisy DeCapite: Brooklyn, NY, USA.
Waiting for the Great Leap Forward, no. 8 (1991), I. Mulvey,
R. Steward, N. Taylor and others: Strathclyde, Scotland.
p. 102: Severely Twisted!, no. 1 (June 1994): London, UK.
Holiday in the Sun, no. 2 (June 1999), Jim Munroe: Toronto,
Canada. Question Everything Challenge Everything, vol. 3,
no. 2 (1998), Larry Nocella: Collegeville, PA, USA. U.K.
Resist, no. 3Vi (autumn 1990), design TW : Surbiton, Surrey,
UK. Hoax! (1992), John C. S. Quel [Johnny Datakill]: Brecon,
Powys, Wales.
p. 103: Ker Boom, no. 1 (c. 1994): London, UK. Protest
Magazine, no. 1 (c. 1992), Ian Russell: Bedhampton,
Hampshire, UK. N il by Mouth no. 3 (c. 1990s), Reza and
others: London, UK.
pp. 104-05: Combat Zone, no. 1 (1985): Bristol, UK. Skins,
no. 5 (c. 1982): London, UK. Boredom Images, no. 2 (1991):
London, UK. Nosebleed, no. 8 (1993), Boz: Dublin, Ireland.
Strong & Proud, no. 3 (autumn 1997), Nestor Matilla and
The Crew: Vigo, Spain. Revenge with Skinhead Liberation
Organization and Unite for Unity, no. 2 (Jan 1992), Steve,
Mucky, Nazzi and others: Telford, Shropshire, UK, Pittsburgh,
PA, USA, and Baltimore, MD, USA.
pp. 106-07: Go Go. no. 1 (April 1985), no. 2 (May 1985),
no. 3 (June 1985), no. 4 (July 1985), no. 8 (Nov 1985), no.
12 (M ay-June 1986), no. 14 (Aug 1986), no. 6 (Sept 1986),
Jackie Toby and Bernie Taylor: Dagenham, Essex, UK.
pp. 108-09: Smashed Blockhead, no. 2 (c. 1986), Bill Luther
and others: Jamesburg, NJ, USA. The New Stylist, no. 3
(M ay-June 1983),Flecky the K.: England [back cover]. Hip ’n '
Groovy, no. 1 (c. 1986), Judy Thomas: Bognor Regis, West
Sussex, UK. Real Emotion, no. 1 (c. 1983), Dev and others:
Dublin, Ireland. The Inset, no. 3 (c. 1985), Matt Cannock:
Bournemouth, UK. Passion, Pride and Honesty, no. 2 (1985),
Paul Moody and Robin Stubbs: Chichester, UK. Time Moves Us
On ([n.d.]), Robin King, Piers and others: Chichester, UK.
pp. 110-11: Mohawk Beaver, no. 1 (1997), Gritt Uldall-Jessen,
design BADgirl Design: Copenhagen, Denmark. FFM agazine
(1992): London, UK. Holy Titclamps, no. 17 (1999), Larry
Bob: San Francisco, CA, USA. Kim W ilde / Fan Club News,
vol. 3, no. 3 (1984), Kim Wilde Fan Club: London, UK.
pp. 112-13: Subterranean Pop, no. 1 (1980), Bruce Pavitt:
Olympia, WA, USA [cover and inside spread]. Sub Pop,
no. 8 (1982), no. 3 (1981) [inside spread], no. 2 (1980),
no. 4 (1981), no. 3 (1981), Bruce Pavitt: Olympia, W A, USA.
pp. 114-15: Sub Pop, no. 6 (Feb 1982), no. 5 (1981)
[cassette], no. 7 (1982), no. 9 (1983), Bruce Pavitt: Olympia,
WA, USA.
p. 116: Long Live Vinyl, no. 5 (1994), Brian: Nottingham,
UK. Big Muff, no. 3Vz (1991), Neil Boyd and others: London,
UK. Rebel Sound, vol. 1, no. 3 (1991), cover art Erick ‘FricaBoy’ Backus and others: Pittsfield, MA, USA. 117, no. 8 (Sept
1993), J. Faulkner: Hitchin, Hertfordshire, UK. Blaster!, no. 2
(c. 1992): Bristol, UK.
p. 117: Da, no. 3 (summer 1993): Stockholm, Sweden. Calling
D rCranklin!, no. 1 (spring 1989), Steve: London, UK. Datakill,
no. 2 (1989), Johnny Datakill: Swansea, Wales, i/7' Rhino
Gazette, no. 19 (Feb 1992), K.K.R. North and others, cover
J.D. Burdge: Dallas-Fort Worth, TX, USA. Commodity, no. 4
(1995), Josh Hooten, Tony Leone and others: Medford, MA,
USA.
p. 118: Boy's Own, no. 6 (1988), Terry Farley, Andy Weatherall,
Cymon Eccles and Steve Maize, cover Dave Little: England.
Beach Boys Stomp, no. 95 (Feb-M arch 1993), Michael Grant
and others, cover art Nick Guy: Tonbridge, Kent, UK. Teenage
Depression, no. 8 (1978), Geoff Banks and others: Enfield,
Middlesex, UK. The Farm Fanzine (early 1990s), Farm Info
Service: Liverpool, UK. M oonlight Drive, no. 2 (1981), Rob and
others: London, UK.
p. 119: T Mershi Duween Zappa Fanzine, no. 26 (c. 1992),
Fred Tomsett and others: Sheffield, UK. Boomshackalacka,
no. 7 (Aug-S ept 1991), L. Bell-Brown, BSL Productions:
London, UK. M orri'Zine / A Publication for Morrisey and Smiths
Fans, vol. 4, no. 5 (winter 1992), Nicole Garrison and others:
Sacramento, CA, USA. Pick o f the Bunch, no. 71 (1997),
Mark Boyle: Renfrewshire, Scotland. Omaha Rainbow, no. 8
(c. 1978), Peter O ’Brien: Wallington, Surrey, UK. Rockrgrl,
no. 15 (M ay-June 1997), Carla de Santis and others, design
Jeffery Kennedy: Mercer Island, WA, USA. Offering, no. 21
(Nov 1993), Marilyn: Hertfordshire, UK.
pp. 120-21: The TV Collector, vol. 2, no. 15 (Oct 1984),
Stephen W. and Diane Albert: Needham, MA, USA. No
Remakes, no. 4 (c. 1998): Glasgow, Scotland. TV Times
([n.d.]), Institute of Social Disengineering: Oxford, UK. Totting
Times, no. 2 (Sept 1999), Mark Pearson and others: London,
UK. Femme Flicke, no. 4 (1995), Tina Spangler and others:
Cambridge, MA, USA [cover and inside spread]. Theme ‘70
Fanzine, no. 2 (March 1994), Mark Banville, Amateur Fanzine
Workshop: UK.
pp. 122-123: Fish Piss, vol. 1, no. 5 (1999), Louis Rastelli
and others, cover Siris, The Archive: Montreal, Canada. Pop!
/ Short for Popular, no. 4 ([n.d.]), Joe Pop!: London, UK.
Chicken is Good Food / The Beauty Issue, no. 5 (1999),
Summer Stickney and others: San Francisco, CA, USA. The
White Dot, no. 6 (summer 1997), Jean Lotus, David Burke and
others, layout Gordon Mayer, illustration Sarah Lyons: Chicago,
IL, USA. Nancy’s Magazine, vol. 9 (winter 1993-94), Nancy
Bonnell-Kangas: Columbus, OH, USA. Chip's Closet Cleaner,
no. 11 (fall 1994), Chip Rowe: Washington, DC, USA. Giant
Robot / Asian Pop Culture And Beyond, no. 21 (2001), Eric
Nakamura and Martin Wong and others: Los Angeles, CA,
USA. Robot Power I Version 20.5 (2000), Eric Nakamura
and Martin Wong and others, cover photo Bob Hamilton: Los
Angeles, CA, USA. Oriental Whatever, vol. 2, no. 2 [no. 9]
(fall 2008), Dan Wu and others, art director Julia Keel: San
Francisco, CA, USA.
p. 124: Gothique, vol. 1, no. 3 (Jan 1966), David Griffiths,
Stanley Nicholls, Bram Stokes: Dublin, GA, USA and Brentford,
Middlesex, UK.
p. 125: Psychotronic Video, no. 12 (spring 1992), Michael J.
Weller and others, art director Fred Brockman: New York City,
NY, USA. Vincent Price File (1996), Simon Flynn: London,
UK. A in ’t Bin to No A rt School ([n.d.]), Mike Weller: London,
UK. Lip Service, no. 4 (Aug 1981), Simon and others: Welwyn
Garden City, Hertfordshire, UK. Zine Zone, no. 1 (1 Nov 1994):
London, UK.
p. 126: MaximumRocknRoll, no. 159 (Aug 1996), Tim
Yohannan and others-. San Francisco, CA, USA. Punk Planet,
no. 11 (Jan -Feb 1996), Dan Sinker and others, layout Josh
Hooten: [n.p.]. Profane Existence, no. 34 (1998), Dan Duke,
Jon and others: Minneapolis, MN, USA. Revolting, no. 6
(c. 1995): Kingston upon Thames, Surrey, UK. H .A.G .L.,
no. 20 (c. 1980s), Trev Hagl: Newcastle upon Tyne, UK.
p. 127: Open Up and Bleed, no. 8 (summer 2000),
Catherine Lazand David Reynolds: London, UK. Your Flesh,
no. 7 (1984), Peter Davis and others, cover Lee Ellingson:
Minneapolis, MN, USA. Ruptured Am bitions, no. 10 (June
1992), Chris Wheelchair: Tavistock, Devon, UK.
p. 128: Factsheet Five, no. 48 (July 1993), R. Seth Friedman:
San Francisco, CA, USA. A ll Genre, vol. 11, no. 2 (April—June
1992), Hillel Cooperman and others: Washington DC, WA,
USA. Am ok /Third Dispatch (c. 1989), Brian King, Stuart
Swezey and others, cover Lori Wierzbicki: Los Angeles, CA,
USA. Action Resource Guide Cata-zine including Prisoner's
Speak (1994), Ashley Parker Owens and Guy Hensel, Soapbox
June: Chicago, IL, USA.
p. 129: Bypass, no. 3 (c. 1994), Bruce and James.- Oxford,
UK. Book Your Own Fuckin’ Life, no. 7 (1999), The Amoeba
Collective: East Palo Alto, CA, USA. Broken Pencil, no. 6
(winter 1998), Hilary Clark, Hal Niedzviecki, design Jon
Hodgkins, cover Marc Bell: Toronto, Canada. The Zine, no. 9
(Ju ly-A u g 1994), Bo Maggs and others, cover Luke Foreman,
Power Publications Ltd (UK): Guildford, UK.
C H A P TE R 4, pp. 1 3 0 -6 9
p. 131: B ikini K ill / A Color and Activity Book (early 1990s),
Toby Vail, Kill Rock Stars: Olympia, WA, USA. A p ril F ool’s Day,
no. 1 (spring 1995), Kathleen Hanna: Olympia, WA, USA.
Spiderplant, no. 8 (Aug 2000), Casino: Baddesley Ensor,
Warwickshire, UK.
p. 132: Kitten Carousell/ Special Nail Varnish Edition (early
1990s), Doncaster and Barnsley, UK. Bom bshell (early
1990s), Anna: Merseyside, UK. Ablaze!, no. 4 ([n.d.]), Karren
Ablaze, cover art by Potet!: Manchester and Leeds, UK.
p. 133: Starlet (1994). Angel: London, UK. Twinkle Eye Fizzy,
no. 1 ([n.d.]), Rainy: Essex, UK. Programme for Le Tigre and
Las Sin Fronteras (2000), Sarah and others: Tucson, AZ, USA.
p. 134: Botram aid/ Fanzine with Manners, no. 1 (1996), Gail
Douglas and Lorraine Douglas: Glasgow, Scotland. Bamboo
Girl, no. 8 (Jan 1999), Sabrina Margarita Sandata: New York
City, NY, USA. Pretty Ugly, no. 2 (spring 2002), Pretty Ugly
Collective (ed. Kelly Elizabeth, art ed. Lepa, cover image
Cameron): Lilydale, Victoria, Australia.
p. 135: Ladyfest Glasgow 2001, UK events programme
(2001): Glasgow, Scotland. UK Ladyfest Artwork 2001-2008
(2008), ed. Heather Crabtree and Melanie Maddison: Leeds, UK.
pp. 136-37: B ikini K ill/ Girl Power, no. 2 (early 1990s):
Olympia, W A, USA. Leeds & Bradford Riot Grrrl! (1993),
Karren, Simone, Lianne, Elizia, Maxine, Clare, Jane, Sarah and
others: Leeds, UK [cover and inside spread]. Dancing Chicks,
no. 4 (June 1999), Helen Wray-r Reading, UK.
pp. 138-39: Riot G irl London / Newsletter, call for zines
(Jan 2001), Riot Girl London: London, UK. The Jigsaw, no. 5 ‘A ,
(c. early 1990s), Tobi Vail: Olympia, W A, USA. [The] Jigsaw,
no. 5 (c. early 1990s), Tobi Vail: Olympia, WA, USA. Girl
Germs, no. 3 (1992), Allison Wolfe and Molly Neuman:
Portland, OR, USA. Riot Grrrl, manifesto (c. 1991), Riot Grrrl:
Washington, DC, USA. Channel Seven (c. 1990s), Corin
Tucker and Erika Reinstein: Olympia, W A, USA.
pp. 140-41: Reggae Chicken, no. 1 (c. 1993): UK [cover and
inside spreads]. Drop Babies (April 1993), Elizabeth, Layla
Gibbons and others, cartoon by Layla Gibbons: London, UK
[cover and inside spreads],
pp. 142-43: Vaginal Teeth (1998), Maddy, Geraldine, Aisha,
Kat, Clare, Vic, Andy, Simone, Karren and Cazz, ed. Clare von
Stokes, Simone Ivatts and Cazz Blase: Stockport, Cheshire,
UK (printed Cazz). Aggamengmong Moggie, no. 5 (Ju n e-Ju ly
1994), no. 7 (O ct-N ov 1994), no. 10 (April—May 1995),
no. 11 (Aug-Sept 1995), no. 13 (Dec 1995-Jan 1996), no.
16 (Ju n e -Ju ly 1996), no. 29 (July 1999), no. 15 (A pril-M ay
1996), Cazz Blase: Stockport, Cheshire, UK.
pp. 144-45: Rebel Grrrl Punk, no. 1 (1997), no. 2 (1997),
no. 3 (1999?), no. 5 ([n.d.]), no. 4 (2000), Kirsty: Wilmslow,
UK. Sista Yes!, no. 3 (c. 1997), Sophy: Canterbury, UK.
pp. 146-47: Junk Food, no. 1 (Aug-Sept 2003), Judy:
Syracuse, NY, USA [cover and inside spread]. Toast and
Jam, no. 1 (1997/98), Rachel Kaye and others: London, UK
[cover and inside spread]. IIp le u t des gouines!, no. 2 (April
2005), Lolagouine (dyke), France [cover and inside spread].
Pirate Jenny / A saucy little zine for your inner feminist
revolutionary, vol. 1, no. 4 (summer-fall 2001), cover Adrienne
Jan, vol. 1, no. 3 (late summer-fall 2000): Santa Barbara,
CA, USA.
pp. 148-49: Radium D ial, ([n.d.]) Ilona Jasiewicz: London,
UK, (1995) Ilona Jasiewicz: Chicago, IL, USA. Radium Dial
(spring 1999) [focus on Los Angeles], Ilona Jasiewicz: London,
UK. Radium Dial, no.8 (autumn 2001) [full-time work], Ilona
Jasiewicz: [n.p.]. Radium Dial (spring 2003) [personal life],
Ilona Jasiewicz: [n.p.] [cover and inside spreads]. Radium Dial,
no. 4 (1997/98), Ilona Jasiewicz: [n.p.]; Radium Dial (summer
1998), Ilona Jasiewicz: [n.p.].
pp. 150-51: Radical Cheerleader Handbook, no. 3 (2000),
various: Lake Worth, FL, USA [front and back covers]. Ladyfest
Cheerbook (Aug 2001), Haymarket Hussies: Chicago, IL, USA.
Shag Stamp, no. 6 (O ct-N ov 1996), Jane Graham: Sheffield,
UK and Denmark.
pp. 152-53: Hysteria Action Forum / Love and Romance,
no. 5 (1994), Gabby Gamboa, Puppy Toss: Berkeley, CA, USA.
Revolutionary Women / Stencil Book (2005), Tui, Cherry
Bomb Comics: New Zealand. Rote Zora / Interview with two
members of the German Women's Arm ed Struggle Group
(June 1984): [n.p.] [pamphlet]. Bark + G rass/ Revolution
Supper, no. 2 (c. 1991): Chicago, IL, USA. Drum Core, no. 1
(1993): Brooklyn, NY, USA. W hat’s This Generation Coming
To? no. 2 (1992), Anon.: Newcastle upon Tyne, UK.
pp. 154-55: Heavy Flow, no. 6 (May 1996), Saskia Hollins,
cover girl Melanie Wright: [n.p.]. Chart Your Cycle (2005),
Chella Quint: Yorkshire, UK. Heavy Flow, no. 5 (Sept 1995),
Saskia Hollins and others, cover Saskia Hollins and Melanie
Wright: Edinburgh, Scotland. Red Alert, no. 2 (1999), Blood
Sisters and others: Montreal, Canada. Period; A MenstruRama!! (2001), Veronica Del Real, Las Sin Fronteras for
Ladyfest: Glasgow, Scotland. Adventures in Menstruating,
no. 1 (Aug 2005), Chella Quint: Yorkshire, UK.
pp. 156-57: Electra, no. 4 (summer 2002), Jane Collins:
Llandudno, Wales [cover and inside spread]. K itty Magik,
no. 5 (summer 2000), Marisa: New Jersey, USA. Rollerderby,
no. 20 (1997), Lisa Carver: Dover, NH, USA. Popgirls, no. 2
List of Zines
(1999), Amanda MacKinnon (Manda-Rin): Glasgow, Scotland
[cover and inside spread].
pp.158-59: Big Bums (Aug 2008), Charlotte Cooper, Kay
Hyatt, Simon Murphy and Bill Savage: London, UK. Nipples
and Bits, no. 1 ([n.d.]), Brackin': New Orleans, LA, and
Hattiesburg, MS, USA. Bust (spring-sum m er 1997), ed.
Celina Hex and Betty Boop, art director Laurie Henzel, cover
photo Andrea Gentl: USA. Punktum (2002), Rachel House:
London, UK [cover and inside spread]. Unskinny Bop, no.
3 (2004), Tamsin and Ruth: London, UK [cover and inside
spread], Unskinny, no. 8 (c. 1996), Lucy Sweet: Glasgow,
Scotland.
pp. 160-61: FatlSo?/ Spare Tires, no. 4 (1995), Marilyn
Henrietta ‘Hank’ Wann, cover photo Marilyn Wann: San
Francisco, CA, USA. Girl Cult Girlkulturzine, vol. 3, no. 1
(c. 1998), Joan Brennan: London, Ontario, Canada. For
Your Own Good / a zine about mothers, daughters and body
image (c. 2004), Kate, cover by Jeremy Dennis: London, UK.
GirlFrenzy / Fat Lib, no. 4 (1993), Erica Smith: Hove, East
Sussex, UK. Fat G irl (April 1996), Twyla Stark, cover photo
Beth Peckman: San Francisco, CA, USA.
p. 175: Broken Pencil ([n.d.]) [website], ed. Lindsay Gibb:
Toronto, Canada. Irish Books and Zines (June 2008) [blog]:
Ireland.
others, web designer Derek Hogue: Toledo, OH, USA. The
La-La Theory / Always Already, no. 6 (2008), ([n.d.]) [website],
Katie Haegele: PA, USA.
pp. 176-77: Digizine, no. 1 (fall 1995) [CD ROM], creative
director/writer Tim othy R. Zuellig, Ahrens Interactive Inc.:
Chicago, IL, USA. Cyber Rag / For the Macintosh, no. 3 (1991)
[HyperCard floppy disk], Jaime Levy: Hollywood, CA, USA.
pp. 194-95: Hack this Zine / Ammo for the Info-Warrior
(summer 2006), project organizer Jeremy Hammond: USA.
HackBloc.org / Exploit Code Not People [Hack this Zine]
([n.d.]) [website], Hackbloc Collective: USA. Rad Dad / A
Zine About Parenting (2005) [blog], Tomas Moniz: Berkeley,
CA, USA. Rad Dad, no. 4 (c. 2006), Tomas Moniz: Berkeley,
CA, USA (printed Artnoose). SocialDesignZine (20 03-09)
[website], Italian Association for Visual Communication Design:
Milan, Italy. She Must be Having a Bad Day / Food Service:
The Second Oldest Profession (2009) [blog], Dana Raidt (Dana
Darko).- Minneapolis, MN, USA. She Must be Having a Bad
Day / The Cult of the Female Food Service Worker (July 2008),
Dana Raidt (Dana Darko): Minneapolis, MN, USA. Urinal Gum
(Jan 2008) [blog], James: Eugene, OR, USA.
p. 178: Pixel This (2 0 0 3 -c. 2009) [website]: Nicosia, Cyprus.
Pixel This / Connected Urban Retreat, no. 006 (Sept 2006):
Nicosia, Cyprus.
p. 179: Tenderfoot (2006—[n.d.]) [website], Jenna Weiss:
Fanwood, NJ, USA. Sandylovesyou ([n.d.]) [blog], Sandy Lim:
Perth, Western Australia. 10 Things Zine /Jesus Wants You to
Know (July 2007-) [blog], Dan Halligan: Seattle, WA, USA.
10 Things Zine / Jesus Wants You to Know, no. 15 (c. 1995),
Dan Halligan: Seattle, W A, USA.
p. 162: Catch that Beat! vol. 9 (1999), Yayoi: Tokyo, Japan
[cover and inside spread], Asian Girls are R a d / Lucky issue,
no. 7 (June 1994): Austin, TX, USA.
pp. 180-81: The Black Cloud, no. 1 (8 Jan 2007), no. 3
(Nov 2009), Bret Liebendorfer: Columbus, OH, USA. Punks Is
Hippies / The Online D.I.Y. Punk Fanzine Archive (Sept 2007-)
[blog], Tony Gunnarsson and others, Slobodan Burger: London,
UK. Kissoff (2007-2009) [website], Chris Kiss: Toronto,
Canada. The ChickenFish Speaks (20 02-) [website], Grog
Mutant (Greg Simerlink) and others: Dayton, OH, USA.
p. 163: Girly Transgender Zine (Oct 1996), Mona Compleine:
London, UK. Sky High Heels ([n.d.]), Mona Compleine-.
London, UK [cover and inside spread]. Girly Transgender Zine,
no. 7 (winter-spring 1997), Mona Compleine: London, UK.
p. 182: Loserdom, no. 16 (June 2007), Anto McFly &
Eugene and others: Dublin, Ireland [cover and inside spread].
Loserdom, ([n.d.]) [website], Anto McFly & Eugene and others:
Dublin, Ireland.
pp. 164-65: Am p M inizine / Fashion for the Fickle, no. 11
([n.d.]), Miss Amp (Anne-Marie Payne), contributors Francis
Morgan, Alice BS Rooney, Kit Milings, Suki Kent: London, UK
[cover and inside spread]. Red Hanky Panky 7 [combined with
Hormone Frenzy 3.5] (Aug 1999), Rachel House: London, UK.
Amp Minizine / Girls Rock Out, no. 10/10 ([n.d.]), ed. Miss
Amp (Anne-Marie Payne), design Look At Me, contributors
Rachel House, Joe Popi, Rebecca Cherkoss, Suki Kent, Charlie
Lucas: London, UK. The Pamzine / Your Guide to the World
of Pam Savage, no. 1 (Jan-Feb 2000), no. 7 (winter 2 0 0 3 2004), Pam Savage: London, UK. Honeypears, no. 1 (summer
2002), Heather Middleton: Glasgow, Scotland. Vacuum Boots,
no. 4 (2000), Miss Rachel, Angel: London, UK.
p. 183: K ill Your Pet Puppy (Oct 2007-) [website], Tony
Drayton: London, UK. Attack!, no. 2 (c. 2004), Wes White,
Man With A Gun Press: Glastonbury, Somerset, UK. Cartilage
([n.d.)] [website], Wes White: Glastonbury, Somerset, UK.
Woofah (2007-) [website], John Edne and Paul Meme, design
The Droid: London, UK.
p.166: Incest (1990s), Tammy and others, Desperate Times
Call for Desperate Zines: London, UK. Incest / The Age of Love,
no. 3 ([n.d.]), Tammy and others: London, UK [cover and inside
spread].
p. 185: Savage Messiah ([n.d.]) [website], Laura Oldfield Ford:
London, UK. Savage Messiah, no. 4 (A p ril-M a y 2006), Laura
Oldfield Ford: London, UK. Ricochet! Ricochet!, no. 1 (2005),
Paffy and Colly, cover Cat: London, UK. Ricochet! Ricochet!,
([n.d.]) [website], Paffy and Colly: London, UK.
p. 167: Notes & Errata (c. 2008), Suzy Pow!: Lewisham,
New South Wales, Australia [cover and inside spread]. Pink
Lemonade, no. 3 (2000), Victoria Yeulet: London, UK. Gun
Wounds Again? (1997), Emily Sessions: [n.p.].
pp. 168-169: Slampt Underground Organisation / Distro
Catalogue (May 1997), Rachel Holborow and Pete Dale:
Newcastle upon Tyne, UK. Riot Grrl Press Catalogue (July,
early 1990s), May and Erika (Marika): Arlington, VA, USA.
Word is Born: a Riot Grrrl Dissertation? (2004), Julia Downes:
Leeds, UK. Barnard Zine Library Zine (fall—spring 2 0 0 5 2006), Alexa Antopol, ed. Jenna Freedman: Barnard College,
New York City, NY, USA. Riot Grrrl (2005), Yuka Ogaki: Japan
[back and front cover]. I'm not waiting / D oin’ ity rs e lf now
(2004), Melanie Maddison, artwork Lucy Sweet: Leeds, UK
[dissertation].
p. 184: Doris, no. 26 ([n.d.]), Cindy Crabb: Athens, OH, USA
(printed 1984 Printing, Oakland, CA). Doris, no. 19 (c. early
2002), Cindy Crabb, cover Sarah Danforth: Ashe, NC, USA.
Doris, no. 25 ([n.d.]), Cindy Crabb: Athens, OH, USA (printed
1984 Printing, Oakland, CA). Doris Zine Blog (May 2007)
[blog]: Athens, OH, USA.
pp. 186-87: Supersweet (2008), cover Paula Kopecna:
London, UK. Supersweet Digital (2007) [website], editorial
coordinator Gemma Dempster, creative director Choltida
Pekanan, design Ralph: London, UK. M orgenm uffel/
A Sort of Compilation ([n.d.]), Isy Morgenmuffel: Brighton,
UK. Morgenmuffel / Bits and Pieces (April 2008), Isy
Morgenmuffel: Brighton, UK. M orgenm uffel/ Cartoons
and More, no. 14 (Jan 2006), Isy Morgenmuffel.- Brighton,
UK. Morgenmuffel ([n.d.]) [website], Isy Morgenmuffel:
Brighton, UK.
pp. 188-89: Rancid-News, no. 2 (Ju n e -Ju ly 2003),
Edd Baldry: London, UK. Last Hours (2008) [website],
Edd Baldry and others: London, UK. Last Hours, no. 14
(autumn 2006), Edd Baldry and others: London, UK. Last
Hours, no. 10 ([n.d.]), Edd Baldry and others: London, UK
[inside spread],
C H A P T E R 5, pp. 170-203
p. 171: E-Zine List (1993-c. 2005) [website], John Labovitz:
USA. Drummer Con (1995—[n.d.]) [networking site]:
Philadelphia, PA, USA.
p. 172: The Zine (3 Feb 200 4-[n.d.]) [website], Mr Maul: USA.
ChipRowe.com (19 95-) [website], Chip Rowe: Chicago, IL,
USA.
p. 173: Mystery Date Online (1 May 2001-) [website], Lynn
Peril: San Francisco, CA, USA. Duplex Planet (c. 2000s)
[website], David Greenberger: Saratoga Springs, NY, USA.
A Little Poetry / A Perpetual Po-e-zine? (1996) [website], ed.
Tracee Coleman: UK. Blind, Stupid and Desperate / A Watford
FC Fanzine (late 1990s-2006) [website], Ian Grant and Matt
Rowson: London, UK. Jersey Beat ([n.d.]) [website], Jim Testa:
Weehawken, NJ, USA.
p. 174:
others:
Wrekk:
Cagen:
The Flaneur (2009) [website], Jonathan Powell and
London, UK. Stolen Sharpie (May 2008) [blog], Alex
Portland, OR, USA. To-Do List (2005) [blog], Sasha
San Francisco, CA, USA.
p. 190: When Language Runs Dry, no. 2 (July 2009), Claire
Barrera and Meredith Butner: Portland, OR, USA. Meredith
Butner (2008) [blog], Meredith Butner: Portland, OR, USA.
Karen, no. 1 (2004), Karen Lubbock: Rodbourne Bottom,
Wiltshire, UK. Karen ([n.d.]) [website], Karen Lubbock:
Rodbourne Bottom, Wiltshire, UK.
p. 196: Bust / Fight Like a Girl, no. 19 (spring 2002), Laurie
Henzel and Debbie Stoller, editor-in-chief Debbie Stoller,
creative director Laurie Henzel: New York City, NY, USA. Bust
([n.d.]) [website], Laurie Henzel and Debbie Stoller, editorin-chief Debbie Stoller, creative director Laurie Henzel: New
York City, NY, USA. Bitchmedia / Bitch: Feminist Response
to Pop Culture ([n.d.]) [website], executive director Julie Falk,
co-founders Lisa Jervis, Benjamin Shaykin and Andi Zeisler,
editorial/creative director Andi Zeisler, art director Kristin Roger
Brown: Portland, OR, USA. Ladyfest London 2008 (2008)
[website], banner artwork Nick, images contributed by
Rosalind Glennie and Bg: London, UK.
p. 197: Lickety Split Smut Zine (Oct 2009) [website],
Amber Goodwyn and others: Montreal, Canada. Ladyfriend
([n.d.]) [website], Christa Donner: Chicago, IL, USA. Grrrl
Zine Network (2001) [website], Elke Zobl: Salzburg, Austria.
Grrrlzines A Go-Go (2002) [website], Kim Schwenk, Margarat
Nee, Claudia Lucero, Britton Neubacher, Elke Zobl, site design
Ari: Encinitas, CA, USA. Scum Grrrls 100% Feminist Energy
([n.d.]) [website]: Brussels, Belgium.
p. 198: Sticky Institute ([n.d.]) [website], Luke Sinclair,
Richard Hold, Andrew Seward, Simone Ewenson and other
volunteers: Melbourne, Australia.
p. 199: Our Hero (20 00-02) [website], Heroic Film Company:
Toronto, Canada.
p. 200: Xerography Debt, no. 25 (2009), ed. Davida
Gypsy Breier and others, cover Bojan, layout and design
Kathy Moseley, Microcosm Publishing: Portland, OR, USA.
Xerography Debt (2008) [website and blog], ed. Davida Gypsy
Breier and others: Baltimore, MD, USA. Learning to Leave
a Paper Trail / Zine Distro ([n.d.]) [website], Ciara Xyerra:
Lawrence, KA, USA. Zine Thug (2 0 0 3 -0 9 ) [website], Marc
Parker and others: Portland, OR, USA.
p. 201: Zine World, no. 10 (spring 1999), Doug Holland and
others, cover Jeff Meyer, design/layout Susan Boren: San
Francisco, CA, USA. Zine W orld / A Reader’s Guide to the
Underground Press, no. 19 (summer 2003), Doug Holland,
Jerianne Thompson and others, art director Kyle Bravo:
Murfreesboro, TN , USA. Zine W o rld / A Reader’s Guide to the
Underground Press (2008) [blog]: Murfreesboro, TN , USA.
pp. 202-03: Library Bonnet no. 1 (c. late 1990s), Tommy
Kovac, Julie Fredericksen: Orange, CA, USA. Library Bonnet
([n.d.]) [website], Tommy Kovac and Julie Fredericksen:
Orange, CA, USA. FYP Fanzine ([n.d.]) [twitter feed], James
Daly and Mark Tyrrell: London, UK. The Oatcake ([n.d.])
[message board]: Stoke-on-Trent, Staffordshire, UK. ZineW iki
(2 0 0 6 -) [website, open source], Alan Lastufka and Kate
Sandler: Chicago, IL, USA. Zine Library ([n.d.]) [website, open
publishing]: London, UK. 80s U K Zine Archive (c. 200 5 -)
[website], Sned: London, UK.
C H A P TE R 6, pp. 2 0 4 -4 7
p. 191: PonyBoy Press (Jan 2007) [blog]: Portland, OR, USA.
Oh, Darcy ([n.d.]) [website], Brittany Brown: USA. The East
Village Inky, no. 8 (July 2000), Ayun Halliday: New York
City, NY, USA. The East Village Inky ([n.d.]) [website], Ayun
Halliday: New York City, NY, USA. Ghost Pine Fanzine (2007)
[blog], Jeff Miller: Montreal, Canada.
p. 192: Fever Zine (c. late 2000s) [website], Alex Zamora,
Simon W hybray and others: London, UK. Fever Zine, no. 3
(2007), no. 4 (2008), Alex Zamora, Simon W hybray and
others: London, UK.
p. 193: Breakfast ([n.d.]) [website], Vincent Voelz: San
Francisco, CA, USA. Clamor / Your D IY Guide to Everyday
Revolution (2006) [website], Jen Angel, Jason Kucsma and
p. 205: Kurt Cobain was Lactose Intolerant Conspiracy Zine
(May 1998), Sharky Girl: San Francisco, CA, USA. Publish
and Bedazzled / The Fagzine for the Peter Cook Appreciation
Society, no. 33 (2003), Clinty: London, UK. Pull to Open,
no. 9 (2005), Craig Lightowler and Phil Virco, cover illustration
Northern Glory: Bradford, West Yorkshire, UK.
p. 206: Squeaky Sneakers, no. 3 (c. 2008), Stapler: The
Channon, New South Wales, Australia. Manzine / A publication
about the male phenomenon, no. 2 (summer 2009), ed.
Kevin Braddock and others, The Clapham Mountaineering
Society: [n.p.]. The Robert Edmond Grant Fanzine / The Grant
Museum (c. 2009), ed. Tine Horn, illustration Danielle Berg.London, UK.
254 / 255
p. 207: Publish and Be Published (2005), Eddie Wilson:
London, UK. Zine Libs, no. 1 (2005), Caroline Paquita and
Erick Lyle: San Francisco, CA, USA. Just Say No Thank You,
no. 2 (March 2007), Star: Auckland, New Zealand.
p. 208: Nervous System, no. 1, version 1.0 (spring 2006),
Anthony and others: London, UK. BodyTalk/The Medical Issue
(Dec 2009), ed. Joseph Beeman, art direction Sarah Handelman,
design Tom Loughlin: Columbia, MO, USA. Local Anaesthetic!,
no. 29 (May 2007), ed. Cliff Anderson and Tom Noonan, cover
art Jenny Jo Oakley: Geelong West, Victoria, Australia.
p. 209: Office Pup, vol. 2 (2002-06), ed. Toby Morris and
others: Wellington, New Zealand. You Stink & I D on’t, no. 9
(2007), Ben Hutchings, Green Comix: Canberra, Australia. The
Squareball, no. 1 (20 05-06), Ian Dobson, Ben Hutchinson
and others: Leeds, UK.
pp. 210-11: Sweef Shop Syndicate, no. 2 (Jan 2006),
Richard and Christina: Brighton, UK, and Graz, Austria [cover
and inside spread]. Zine Making: An Introduction (2003,
2nd edn 2007), Sarah: Halifax, Nova Scotia, Canada. Stolen
Sharpie Revolution / A DIY Zine Resource (c. 2003), Alex
Wrekk, Microcosm Publishing: Portland, OR, USA [cover and
insider spread]. MixTape, no. 1 (Aug 2007), Nichola Prested
and Justine Telfer, design Motor, cover Shannon Lamden:
Moorabbin, Victoria, Australia; no. 6 (2008), Nichola Prested
and Justine Telfer, design Motor, cover Mandy: Moorabbin,
Victoria, Australia.
pp. 212-13: Dates I ’ve Been On and Not Been On ([n.d.]),
Anon.: Melbourne, Australia. We Ear it Regular D ifferently /
The Punk Issue / Special Edition Do It Yourself, no. 2 ([n.d.]),
Alex Weird and others: Montreal, Canada [front and back
covers]. Helping You Find the Right Jew ellry! (c. mid-2000s),
Sarah Doyle, cover Sarah Doyle: London, UK. This Is!, no. OV2
(May 2002), Helen Wickham: London, UK. D90 / A Mix
Tape Zine (2007-2008), Spurzzine.- Carlton North, Victoria,
Australia. How to Make a Super 8 Film / Super 8 Super Zine
(c. 2006): Halifax, Nova Scotia, Canada. Hey Look! It's a Zine
about Cross Stitch! (c. 2010), Secret Nerd Brigade [Autumn
Patterson]: Minneapolis, MN, USA.
pp. 214-15: Ker-Bloom!, LXXX (S ept-O ct 2009), Karen
Switzer, Crafty Cards (aka Artnoose): Pittsburgh, PA, USA.
The Squares (c. 2009), Ewuraba and others, Studio Voltaire:
London, UK. 28 Pages Lovingly Bound with Twine, no. 13
(2005), Christoph Meyer: Danville, OH, USA. In Sickness
(2008), Maddy Phelan: Wollongong, New South Wales,
Australia. The Memory Cloth / An Exploration into Craft
Memory and Contemporary Design (26 July 2006), ed. and
design Suzy Wood, Izzie Klingels, Martin McGrath and others:
London, UK.
pp. 216-17: Mix Zine, no. 1 (April 2009), Miss Fliss: London,
UK [cover and inside spread]. You (28 Oct 2008), Luke You:
Melbourne, Australia. Pneumatic Catalog ([n.d.]), Niku Arbabi
and Scrappy Zine Coop: Austin, TX, USA [cover and inside
spread]. By the Time You're Twenty-Five (Oct 2008), Emma,
Flying Machine: Enmore, New South Wales, Australia. Failed
Rock Star, no. 4 (7 Dec 2005), Rob Phoenix, bag design
Shaun Peters: Brighton, UK.
p. 218: A rty / England, no. 20 (Aug-S ept 2005), Cathy Lomax,
cover Cathy Lomax: London, UK. Blitzkrieg Babylon (2003),
Dan Holliday and Andrew Craig: London, UK (printed The
Mangle). Organ, no. 70 (Ju ly-A u g 2001), Sean Worrall, Shaari
Freed and Marina Anthony: London, UK. Plastasine Fanzine
/ Art Writing Beyond Criticism (17 May 2008), David Burrows
and others, Article Press: London, UK.
p. 219: Enough Magazine, no. 1 (2007), Tom Morrow:
Australia. Intercity Baby (April 2009), Jennifer, cover Jennifer:
Chicago, IL, USA. Giant Steps, no. 3 (15 July 2007), Kirke
Campbell and others: Houston, TX, USA.
pp. 220-21: Bang!, no. 2 ([n.d.]), Manu: Madrid, Spain.
Ugly is the New Sexy, no. 28 (6 July 2006), Bryce Galloway:
Wellington, New Zealand. Future Fantasteek!, no. 6 (2009),
Jacky Batey, Damp Flat Books-. Brighton, UK. Obsession / A
Zine of Drawing Obsessions (c. 2009), Karoline Rerrie, Gemma
Correll and others, cover Gemma Correll, Love to Print: London,
UK, Rivers Edge / Notes from the Underground (May 2008),
Richard Davis, cover Dan Holliday: London, UK [cover and
inside spread]. Screw Crash & Explode ([n.d.]), Monobrain
and Marcel Herms: Dedemsvaart, Netherlands.
p. 222: Fire & Knives, no. 1 (2009), Tim Hayward, design and
art direction Rob Lowe, Funistrada Ltd: London, UK (printed
Buxton Press). Barefoot and in the Kitchen of Our Own
Accord, vol. 1 (2005), Ashley Rowe-. Santa Cruz, CA, USA.
Stand Aside / Fashion Issue (c. 2000), Polly Brannan and
Miss Deepa Naik, The Cube and Public Works: London, UK.
p. 223: FP: Fashion Projects, no. 2 (20 0 6 -0 7 ), ed. Francesca
Granata and others, art director Jennifer Noguchi, published
Deconstruction Fashion: New York City, NY, USA. Just Like
Candy, no. 1 (Sept 2008), Oli and Michaela, cover photo Erin
Matthews: [n.p.]. The Chap, no. 1 (Feb 1999), ed. Gustav
Temple, art director Vic Darkwood: London, UK. Medium
Magazine / People and the Human Body, no. 1 (spring 2005),
ed. Laurie Cansfield, cover Piggy by Judith Erwes, graphic
design Form in Motion Production, Cansfield Creative Group:
London, UK.
p. 224: Hey, 4-Eyes! / A Zine about Glasses, no. 3 (spring
2009), Robyn Chapman, cover Jim Medway, Unpopular
Comics: USA. Dame P ipi Comix / DM PP Aimanach 2009, no. 5
(2009), Gerald Auclin, cover Gustav Verbeek: [n.p.]. Comix Club
/ Meeting with John Porcellino, no. 5 (June 2007), Collective/
Publishing Groinge: Nice, France. From the Tomb, no. 21 (Feb
2007), Soaring Penguin: Rochdale, Lancashire, UK.
p. 225: Re V ’La Colyis Naody, no. 3 (c. 1990s), Martin
Guimond, Les Editions du Chien Decrisse: Quebec, Canada.
pp. 226-27: Juke Box, no. 1 (c. 2006), ed. Renato Lima,
design Luiza Rezende and Igor Machado: Brazil; Juke Box,
no. 2, 1 (2007), ed. Renato Lima, design Igor Machado, Dado
Oliveira and Gullherme Cavalcanti: Sao Paolo, Brazil [cover and
inside spread]. Cat Quarterly / Office Love Issue, no. 7 (1997),
Annie Lawson: London, UK. Reality Optional (Aug 2007),
Andrew Stitt and others: Norwich, UK. Tantrum Comics, no. 1
(2002), Miriam Engelberg, design Edmond Y Chang: [n.p.].
pp. 228-29: Bipedal, By Pedal! (2008), Joe Biel:
Bloomington, IN, USA. Expansion o f Life / Fuck the Border!,
no. 12 ([n.d.]): Japan. W hoosh! / The Zine for Whale Lovers,
no. 1 (Nov 2008), Katherina Audley: Portland, OR, USA.
Cut and Paint, no. 2 (Dec 2007), Nicolas Lampert, Josh
MacPhee and Colin Matthes: Milwaukee, W l, USA (www.
justseeds.org). How Not to Eat Animals ([n.d.]), Chickpea:
Houston, TX, USA.
pp. 230-31: Before the Mortgage, no. 5 (c. 2002), Christina
Amini and Rachel Hutton, design Kirk Roberts: Ross, CA,
USA. David Battams Fan Club Magazine, vol. 2, no. 3
(summer 2004), Daniel ‘Made Up' Battams, art direction
Made Up Studios: London, UK. The Alien Invader (Dec 2003),
Amin-Reza Javanmard and Jen-Tsen Kwok: Runaway Bay,
Queensland, Australia. The Lowbrow Reader, no. 5 (summer
2006), ed. Jay Ruttenberg, design Matthew Berube, cover
John Mathias: New York City, NY, USA. Mustard, vol. 2, no. 2
(May 2008), ed. and design Alex Musson: London, UK.
pp. 232-33: Shoreditch Twat, no. 3 (2000), no. 4 (2000),
no. 5 (2000), no. 6 (2000), no. 7 (2000), no. 12 (2000),
no. 14 (2001), no. 18 (2001), no. 2 (1999), ed. Neil Boorman,
design Bump: London, UK.
p. 234: Revolution / It's Different for Girls (summer 2005),
ed. Leonie Cooper, art direction James Chorley, cover art Lucy
Bailey: UK. Spilt Milkshake, no. 1 (spring 2002), Rebecca
Dyer: Chelmsford, Essex, UK. Raise Some H e ll/ A Feminist
Child Rearing Zine for Everyone (2008), Crap Collective:
London, UK. Pamflet I A Vindication of the Rights of Girl,
vol. 1, no. 1 (Sept 2005), Phoebe Frangoul and Anna-Marie
Fitzgerald: London, UK. Girls with Guns, no. 7 (c. 2009):
Melbourne, Australia. The Pleiades, no. 14 (March 2005),
Miranda Hale: Spokane, W A, USA.
p. 235: K itty Magik, no. 6 (2002), ed. Marisa Handren:
Whitehouse Station, NJ, USA. Girls W ho Fight, no. 1 (2009),
Kathryn Corlett: London, UK. M u ffy! /The Magazine of New
College Girly Life, no. 1 (spring 2000), ed. Regina Gelfo, Carly
Earnshaw, Shannon O ’Malley, design Carly Earnshaw, Regina
Gelfo: Sarasota, FL, USA.
p. 236: Butt / Hysterical Magazine for Homosexuals, no. 14
(2005), Gert Jonkers, Jop van Bennekorm, photographer
Marcelo Krasilcic: Amsterdam, Netherlands. Homobody, no.
4 ([n.d.]), Rio Safari (Tim Batiuk): Portland, OR, USA. Detroit
Queers ([n.d.]), Detroit Radical Queers: Detroit, Ml, USA.
p. 237: Chica, no. 1 (2001), Lucy Sweet and others: Glasgow,
Scotland. Iconoclastic Cardies, no. 3 (2009), Pete Bowers,
cover Andy Hart: Midlands, UK. Fallopian Falafel, no. 1 (June
2007), Hadass S. Ben-Ari and others: Jerusalem, Israel.
pp. 238 -39 : Cops & Robbers, no. 40 (July [n.d.]), Raine and
others: Leeds, UK (printed Footprint). Bye Bye, Duffel Boy,
no. 1 (summer 2009), Pete Green: Sheffield, UK. More Love
Truth and Honesty (2007), Paul Byron: Melbourne, Australia.
Runnin’ Feart, no. 7 (c. 2000), Callum Masson: Stewarton,
Ayrshire, Scotland. Super Waste Project (2000), Miles:
Aylesbury, Buckinghamshire, UK. Taking Dope, no. 1 (1996),
Dee Dee Ramone: New York City, NY, USA.
p. 240: List/ Goodbye, Baltimore, no. 12 (fall 2008), Ramsey
Beyer: Chicago, IL, USA. Boredom / 3rd Class Junk Mail Oracle
([n.d.]): Berkeley, CA, USA. Enthusiasm, no. 2 (c. 2009), Susie
Rumsby and Tim Wade: Norwich, UK. Telegram M a’am, no. 14
(July 2008), Maranda: Ontario, Canada.
p. 241: M y Evil Twin Sister/ Greetings from the Endless
Highway, no. 1 (1995, repr. 2001), Stacey and Amber:
Jacksonville, OR, USA. Support (2002), Cindy Crabb, cover
Cristy Road: Asheville, NC, USA. Not M y Small Diary, vol.
1 (2009), Delaine Derry Green, cover Frederick Noland:
Trussville, AL, USA. I Hate This Part o f Texas /Special Disaster
(Jan 2006), John Gerken: New Orleans, LA, USA.
p. 242: La Bouche Zine / An Alternative News and Culture
Zine, no. 2 (July 2009): London, UK. Double Breasted, no. 5
(Nov 2009), Jennie and Colin Baillie, Sharon Wood and others:
Edinburgh, Scotland. Smoke/ A London Peculiar, no. 12
([n.d.]), Jude Rogers and Matt Haynes: London, UK.
p. 243: No.Zine, no. 3 (2009), Patrick Fry, cover Elisa
Noguera: London, UK [cover and inside spread]; No.Zine,
no. 2 (2009), Patrick Fry, cover photo Elisa Noguera: London,
UK; No.Zine, no. 1 (2009), Patrick Fry: London, UK.
pp. 244 -45 : Can You Show Me the Space (2007-08), Public
Works: London, UK. Unemployment (2009), Aaron Lake
Smith: Cary, NC, USA. Zine 2009 (June 2009), University
of Delaware, London College of Communication: London,
UK. D IY or D on't We? /A Zine about Community, no. 1 (July
2009), Nicki Sabalu and others: Olympia, W A, USA. Hardwork
Not Paid (3 July 2007), Mrunmayee, Nandini, Necki, Priyanka
C., Pushpi, Sargarn, Tanuja, Vishnu: India.
p. 246: The Zine Directory, version 1.0 (Sept 2007), Jane
Appleby: Newcastle upon Tyne, UK. Microcosm Publishing
Catalogue (2 0 0 5 -0 6 ), Joe Biel and others, cover artwork
Sarah Oleksyk: Bloomington, IL, and Portland, OR, USA.
Zine Capsule / Zine Collecting for the Future (2008), Kim
Schwenk and others, Grrrl Zine A Go-Go: Encinitas, CA, USA.
Zine Arcade, no. 2 (2008), ed. Andrew Owen Johnston, cover
artwork Robert Sergei: Birmingham, UK.
p. 247: UK Zine Yearbook (Sept 2007), Toby: UK. Australian
Zine Resource (2003), Louise Angrilli and Anna Masters,
Swirlability Productions: Diamond Creek, Victoria, Australia.
Wasabi Distro / Spring-Sum m er Catalogue (2005), Andrea:
Tokyo, Japan. Zene, no. 23 (2000), Nancy Bennett and others:
Ely, Cambridgeshire, UK.
ACKNOWLEDGMENTS
As with any endeavour that has spanned a period of time,
there are a number of key individuals who have contributed
to the completion of this book along the way: Roger Sabin,
whose insights into the worlds of zines and comics has
helped to inform the basis of this book; Amanda Vinnicombe,
Kirsty Seymour-Ure and Am y Visram for editing my work and
keeping me on track; Therese Vandling, whose design shows
off the zines to best advantage; and to Lucas Dietrich who
commissioned this project in the first place and never lost faith.
I
could not have completed this research without
the significant support and enthusiastic responses of the
individual zinesters whose work is included in this book. I owe
them a huge debt for their insights, time and access to their
communities.
In addition, I would like to thank: Edd Baldry, Caroline
Blase, Bill Burns, Charlie Chainsaw, Robert Clarke, Leigh
Clarke, Sian Cook, Bob Dickinson, Joe Ewart, Priscila Lena
Farias, Simon Ford, Paul Gravett, Dan Halliday, Dan Halligan,
Rian Hughes, Jonathan Kemp, Leila Kassir, Jeff Kleinsmith,
Christian Kusters, Rex Martin, Claire McAndrew, Anto
McFly, Bruce Pavitt, Richard Price, Andy Sawyer, Patrick
Staff, Dominic Thackara, Philip Turner, Stephen Voss,
Michael J. Weller.
Acknowledgments, Index
INDEX
Ablaze, Karren 132
acid house 23, 87, 88, 89,
118
agit-prop 45, 72, 103
ALF (Animal Liberation Front)
103
Allen, Richard 35
alt.pup 172
Alternative Tentacles 26
Amber 241
American Football League
101
Amini, Christina 231
Amoeba Collective 129
Amp, Miss 164
anarcho-punk see punk
Anderson, Cliff 208
Andrew 35
Angel 164
Angel, Jen 126, 193
Anger, Alan 62
animal
experimentation 13
recipes free from
animal products 153
rights 12, 102
see also ALF
Anna-Marie 234
Ant, Adam 13
Anthony 208
anti-nuclear movement 71,
83
APAs 14
Appleby, Jane 246
art 45, 125, 172, 174, 223
Artnoose see Switzer, Karen
artzines 103, 218, 221, 243
ASCII 171, 172
Asian
Asian-American
alternative culture 122
pop culture 122
Atton, Chris 10, 172
Attrition 83
Auclin, Gerald 224
autobiography 12, 191
Avengers, The 12
Bagge, Peter 115
Baker, Danny 8, 48
Baldry, Edd 189
Baltic Centre for
Contemporary Art 19
Barnard College 169
Barrera, Claire 190
Barrymore, Drew 133
Batey, Jacky 221
Batiuk, Tim 236
Batman 36
Baumgardner, Jennifer 147
Beach Boys, the 35, 118
Beatles, the 18
Beattie, Lee 135
beer-drinking 12
Belsen Horrors, the 68
Ben-Ari, Hadass S. 237
Benjamin, Walter 13
Bennekorm, Jop van 236
Bernhard, Sandra 110
Better Badges 97
Beyer, Ramsey 240
Biel, Joe 246, 228
Birmingham Fiction Group 39
BIS 135, 157
Bitchmedia 196
Blake, William 14
Blake's 7 17
Blase, Cazz 143
blaxploitation 121
Block 171
Bob, Larry 12, 110
body image 160
Body Shop 8
Bolland, Brian 18
Bonnell-Kangas, Nancy 12,
122
Boorman, Neil 232
Bowie, David 18, 66
Boy George 37
Boycott, Rosie 135
Bradbury, Ray 17
Braddock, Kevin 206
Brady Bunch, The 37, 94
Brain Eaters, The 10
Bratmobile 131, 135, 139
Brent, Bill 201
Bret 181
Briggs, Raleigh 209
Brock, Dave 11
Brookside 90
Brown, Diana 87
Buffalo Springfield 35
Bump 232
Burne, Charles 115
Burrows, David 218
Burton, Tim 12
Butner, Meredith 190
Byron, Paul 238
Cagen, Sasha 174
Cambodian Society 244
Campbell, Kirke 219
capitalism 88, 91, 103, 205,
206
Captain America 39
carbonzines 17
Carpenters, the 119
Carr, Jim m y 206
Carroll, Gemma 221
Carver, Lisa 157
cassettes 115
CDs 176,217
Celtic 98
Chainsaw, Charlie 46, 53, 68
Chauvenet, Louis Russell 10
Chelsea 78
Chelsea Girl see fashion
Chicks on Speed 157
CHIPS 37
Chris 211
Clapton, Eric 14
Clark, Ron 127
Clarke, Arthur C. 17, 19
Clarke, Phil 18
Clary, Julian 90
Clash 59, 131
class 45
Clear, Crystal 62
Clowes, Daniel 122
clubzines 89
CND 71
Cobain, Kurt 205
Cocker, Jarvis 14
Colette 12, 185
colour printing 209
Coltrane, John 219
Combat 105
Combine, The 106
Cometbus, Aaron 92
comics 15, 17-18, 19, 25,
3 9 ,4 0 ,4 2 ,4 5 , 164, 176,
186, 201, 209, 227, 235,
238
comix 17, 18, 42, 179
horror 224
see also Captain
America; DC Comics;
Entertaining Comics;
Marvel; Superman;
Wonder Woman
Comics Code Authority 224
comiczines 25, 42, 147, 186,
209,224, 225, 227
Compleine, Mona 163
computer-generated
typography 9
Conde Nast 87, 97
consumerism 86-129, 205,
219
Cook, Peter 13, 205
Coon, Caroline 60
Cooper Clarke, John 242
Cooper, Leonie 234
copyright infringement 15,
87, 206
Corlett, Kathryn 235
Corn Dog Publishing 209
Cosmopolitan 8
Council, Andy 192
Crabb, Cindy 13, 184, 241
Crabtree, Heather 135
crafts 205, 209, 211, 213
Crass 29, 48, 49, 71, 77,
185
Creeps 33
Criminal Justice and Public
Order Act 88
Crimson Shadows 33
Crisp, Quentin 90
Critical Mass bikes rides
protest movement 228
Cruz, Cathy de la 209
Crystal Palace football club
203
cycling 182
Dada 15, 46, 60
Dahl, Sophie 8, 97
Dahmer, Jeffrey 94
Daily Mirror 45
Damned, the 66
dance culture 87-88
Datakill, Johnny 117
Davis, Angela 153
DC Comics 12, 18
Dead Boys, The 60
Deakin, Camilla 23, 87
Deakin, Fred 23, 87
Dee Dee 238
Dee, Jack 206
Delaware, University of 206,
244
Delerium Records 35
desktop publishing 7, 13,
105, 172, 176, 206, 219,
223
Dev 109
Diana, Lady see Spencer,
Lady Diana
Dickinson, Bob 9
Dishwasher Pete 90, 91
Ditto, Beth 235
Doctor Who 17,29,37,40,
205
Doherty, Pete 242
Donner, Christa 197
Donovan 18
Douglas, Gail 134
Douglas, Lorraine 134
Downes, Julia 169
Doyle, Sarah 213
Drake, Francis 65
Drayton, Tony 29, 46, 47,
57, 83, 172, 183
Dublin Anarchist Bookfair
182
Duffer of St. George 87
Duncombe, Stephen 9, 10,
13-14, 1 7 ,4 6 ,8 8 ,9 1 , 172
Dyer, Rebecca 234
Dylan, Bob 8, 18
Eastman, Linda 35
Eastman, Max 10
eating disorders 147
see also body image; fat
issues; food
Eccles, Cymon 87
Ecstasy 87
Ed Wood 12
Edward Scissorhands 12
Eliot, T. S. 10
Elizabeth 141
Ellingson, Lee 127
Elliott, Carl 91
Emerson, Ralph Waldo 14
Emma 217
Engelberg, Miriam 227
Entertaining Comics 17-18
environment 36, 205
Estrada, Erik 37
Etsy 209
Evergreen College 112
Ewart, Joe 75, 83
e-zines 12, 170-203
Factory Records 47
Faludi, Susan 147
Fantagraphics 227
Farley, Terry 87
Farm, The 87, 88, 118
fascism 105
neo-fascist punk 45
fashion 22, 38, 45, 87, 97,
127, 132, 222
Chelsea Girl 106
Mary Quant 106
men’s 223
1960s 106
fat issues 159, 160
see also body image;
eating disorders
feminism 8, 12, 18, 21,
131-33,141, 143, 144,
196, 205, 234, 237
see also women’s
liberation movement
film 45, 121, 213, 223
kungfu films 121
Hollywood movies 7
horror 124
Saturday matinee 7
see also named films
Filth and the Fury!, The 17
Financial Times 206
Flanders, Annie 87, 97
Fleetwood Mac 8
Fliss, Miss 217
Fluxus 15, 217
Flynn, Simon 124
food 17,222
see also animal: recipes
free from animal
products; body image;
eating disorders; fat
issues; animal: recipes
free from animal
products; veganism;
vegetarianism
football 8 ,9 ,8 7 ,9 1 ,9 8 ,
101, 118
see also Hillsborough
disaster and named
clubs, leagues and teams
Ford, Laura Oldfield 175,
185
Fortune 91
Frauenfelder, Mark 93
Fredericksen, Julie 203
Freedman, Jenna 175
Friedman, R. Seth 9, 15,
17, 128
Fry, Patrick 243
Fuller, Margaret 14
Furmanovsky, Jill 50
gadgets 93
Gaiman, Neil 227
Gaither, Jeff 127
Galloway, Bryce 221
Gane, Simon 103
garage zines 127
Garnett, Bay 97
Garrett, Malcolm 83
genzines 19
Gernsback, Hugo 17
Gestetner, David 17
Gibb, Lindsay 175
Gill, David 88
girl power 130-169
Glamour 8, 132
Glitterbest 49
Goad, Jim 91
Gottschalk, Jr., Earl 18
Grafik 192
Graham, Jane 150
Gray, Anthony 223
Green, Pete 12, 238
Greenberger, David 12, 92,
173
Greer, Betsy 205
Groening, Matt 87
'guerilla gardening’ 205
Guardian 7
Guimond, Martin 225
Gunderloy, Mike 9, 128
Hacienda Club 47, 88
hacking 171
Haegele, Katie 193
Halliday, Ayun 13, 191
Halligan, Dan 179
Hammer Films 124
Hancock, Tony 11
Handelman, Sarah 208
Handren, Marisa 235
handwrittenzines 17
Hanna, Kathleen 12, 131,
133,135,167
Hansen, Robert 17
Hanson, Maurice K. 24
Hanzel, Laurie 8
Happy Mondays 88
Harrods 60
Harry, Bill 18
Haslam, Dave 88
Haymarket Hussies 150
Haynes, Matt 242
Hayward, Tim 222
Heartfield, John 49
Heavens to Betsy 139
hectograph printing 10, 17
Helms, Robert P. 90, 91
Henriksen, Irma 110
Henzel, Laurie 196
Herms, Marcel 221
Higgs, Mike 18, 42
Hillsborough disaster 101
Himelstein, Abram Shalom 9
hippie culture 46, 87
Hoch, Hannah 49
Hoff, Al 7, 91, 97
Hogg, Brian 19
Holbrook, Calvin 18
Holland, Doug 201
Hollins, Saskia 154
Holmstrom, John 11,29,45
homosexuality 12, 17, 18, 94
see also queerzines
Hooten, Josh 117
Hooton, Peter 87
horror 12
comics 224
films 124
House, Rachel 159, 160,
164
‘how’to’ guides 23, 207,
209, 211
Huggy Bear 131, 132, 141
humour 17, 141, 172
Hutton, Rachel 231
HyperCard floppy disks 176
IBM 171
Golfball typewriter 15
Iggy Pop 83
incest 157, 166
InDesign 223
Ingham, John 45, 59
Institute of Contemporary Art
(ICA) 218, 242
International pop
Underground Convention
131
Isy 186, 189
Italian Association for Visual
Communication Design
195
Jackie 132, 135
Jackie (producer) 35
Jackson, Julie 205
Jackson, Michael 23
Jam 14
Janice, Cari Goldberg 10,128
Jasiewicz, Ilona 148
Javanmard, Amin-Reza 231
Jefferson Airplane 18
Jennifer 219
Jesus Lizard 176
jobzines 90
Johnson, Andrew Owen 246
Johnson, Calvin 131
Jolliffe, Kira 8, 97
Jones, Gareth 88
Jones, Terry 87, 97
Jonkers, Gert 236
Jordan, Pete see Dishwasher
Pete
Joyce, James 10
Judge Judy 227
Judy 147
Karp, Marcelle 8
Katastropy Wife 135
Kate 160
Kaye, Rachel 13, 147
Kelly, Jeff 7, 91
Kennedy, Pagan 7, 172
King, David 48
Kirby, Jack 18, 19
Kirsty 144
Kleenex 60
Kolanjian, Steve 8
Kopecna, Paula 192
Koretzky, Dan 9
Kovac, Tommy 203
K Records 131
Kucsma, Jason 193
Kwok, Jen-Tsen 231
L7 144
Labovitz, John 171,172
Labute Printers 66
Ladybird books 141
Ladyfest 135, 148, 150,
159, 196
Lake Smith, Aaron 244
Lambrettas see scooters
Lamden, Shannon 211
Lampert, Nicolas 228
Landau,John 35
Las Sin Fronteras 133, 155
Lastufka, Alan 203
Lawson, Annie 227
Layla 141
LeTigre 133, 164, 167, 234
Leclerc, Luc 225
Lee, Christopher 124
Lee, Stan 39
Leon, Tony 117
lesbianism 110, 135, 139,
147, 160
see also queerzines
Letraset 18, 23
letterpress printing 9, 206
Levy, Jaime 176
libel laws 15, 87
Lim, Sandy 179
Lima, Renato 227
Linus 131
Little, Dave 88, 118
Liverpool Football Club 101
Logan, Nick 87
London College of
Communication 206,
243,244
London Zine Symposium 205
Loser, Anto and Eugene 182
Love, Courtney 116, 132,
144
Lowe, Rob 222
Lubbock, Karen 190
Luce, Hudson 128
Lukas, Paul 7, 92
Lulu 171
Luther, Bill 109
McAdams, Heather 176
McCartney, Linda see
Eastman, Linda
McCloud, Scott 175
McCullough, Dave 45, 48
McDowell, Forrest and Tricia
209
MacGowan, Shane 59
McKay, George 10
McKean, Dave 227
McLaren, Malcolm 45, 49
McLaughlin, Thomas 19
McNeil, Legs 4 5 -4 6
MacPhee, Josh 228
Maddison, Melanie 135, 169
Madonna 16
Maize, Steve 87
MamboTaxi 131
Man from U.N.C.L.E, The 36
Manchester United 101
Manfred Mann 35
Maranda 240
Marcus, Greil 45
Marisa 157
Marr, Andrew 87
Marr, John 94
Marvel 18,39,42
Massicotte-Quesnel, Mathieu
225
masturbation 135, 157
Mathur, Paul 83
Matthes, Colin 228
MaximumRocknRoll 129
May, Steve 59
Mayes, Oliver 206
256
medical research 90, 91
Melody Maker 83
men 206
menstruation 135, 154-55
Mercer, Mick 48, 53, 68
metazines 15-16,91,128,
175
meta-webzines 200,
201
Metcalf, Bruce 205, 206
Meyer, Christoph 214
Microcosm Publishing 209
Middleton, Heather 164
Miles 238
Milk, Harvey 148
Miller, Jeff 191
Millwall Football Club 101
mimeography 9, 10, 13,
15, 17, 19
minizines 163, 164, 205,
206
Miranda 234
Mod Fun 109
Modernism 242
Mo-Dettes, the 83
Mods 109, 242
modzines 13, 109
Monobrain 221
Monroe, Marilyn 133
Monty Python 12
Mood Six 106
Moorcock, Michael 35
Morgan, John 232
Morrissey 119
Mort, Frank 87
Mosh! 227
Motherwell Football Club
101
Motorhead 11
Ms. Magazine 132, 143
MTV 121
Mucilage Press 71
Mudhoney 112, 166
multiculturalism 131
Multilith 1250 press 11
murder 15, 94
serial killers 91
Murdoch, Rupert 91
Murphy, Simon see
Compleine, Mona
Murray, Tim 192
music 12, 15, 17, 19, 25,
35, 45, 78, 102, 106,
125, 128, 171, 223
dubstep 183
genres 18
grime 183
grunge 112
indie 88, 91, 112, 116,
117, 157, 169, 175,
186, 200, 219, 227
pop 26, 87
punk 8, 29, 126, 127,
172
reggae 119, 183
rock and roll 7, 18, 19,
46, 118, 148
thrash 98
underground 12, 15
see also named singers
and bands
musiczines 7, 238
Musson, Alex 231
Mystery Date board game
94
N.Y. Loose 36
Nakanura, Eric 8
National Basketball
Association 101
National Football League
101
Neary, Paul 18
Netscape Navigator 172
Neuman, Molly 12, 131,
139, 157
New College of Florida 225
Newcastle University
Socialist Society 25
Newskool 171
Niezviecki, Hal 175
Night of the Living Dead 10
Nimoy, Leonard 17
Nin, Anais 235
Nine Inch Nails 176
Nirvana 112
NME 49, 59 , 83
Noland, Frederick 241
Noonan, Tom 208
North Staffs Polytechnic
Student Union 60
Nugent, Ted 11
nursing homes 92
Oasis 26, 83
Observer, The 227
'0 Comeco do Fin do
Mundo' 81
O ’Connor, Erin 8
offset lithography 15, 17,
29, 40
Ogaki,Yuka 169
Oldskool 171
Oleksyk, Sarah 246
Ordway, Nico 15
Our Hero 8, 199
Overstreet, Robert M. 18
Pallenberg, Anita 8, 97
Pallister, James 19
Palmer, R. A. 17
Panter, Gary 29, 81
Parcel Press 209
Parfrey, Adam 128
Parker, Marc 200
Patrick 12, 185
Pavitt, Bruce 112, 115, 131
Payne, Anne-Marie see
Amp, Miss
Peace, Eloise 198
Pearlman, Sandy 35
Peel, John 77
People, The 45
Peril, Lynn 94, 173
Perry, Mark 35, 4 5 -4 6 , 50,
57, 127
perzines 12-13, 91, 147,
148, 150, 167, 175, 184,
191, 207, 213, 214, 217,
219, 227, 234, 238,
240,241
pharmaceutical research 90
Philadelphia Inquirer 193
-Phoebe 234
Phoenix Magazines 66
Phoenix, Rob 217
photocopying 9, 12, 13, 15,
206,209
colour 65, 217, 219
photozines 219
phreaking 171
Pilger, John 242
plagiarism 244
Planet of the Apes 17
Playboy 121, 172
Pogues, the 59
Poletti, Anna 12
police brutality 72
politics 9, 17, 25, 36, 49,
87, 102, 105, 126, 189,
205
anti-war 182
community 241
feminist 130-169, 234
punk 45, 57
queer 19, 131
Poneman, Jonathan 112
Pop 81
popular culture 93, 122,
125, 127, 162, 205
Porcellino, John 224
Pore, Jerod 128, 172
Portland Zine Symposium
174, 189
Pound, Ezra 10
Pow!, Susy 167
Pre-Raphaelites 14
Presley, Elvis 18, 19
Prested, Nichola 209, 211
Pretty Ugly Collective 134
Price, Vincent 124
print zines 183
Prisoner: Cell Block H.
Holiday in the Sun 102
psychedelia 15, 19, 23,
87, 89
Public Works 222, 244
Pulp 14
punk 9, 12, 15, 17, 18, 19,
21,29, 3 3 ,3 6 ,3 9 ,8 7 ,
92, 97, 4 4 -8 5 , 106, 116,
118,119, 122, 125, 126,
127, 131, 132, 135, 136,
139, 148, 164, 181, 182,
205, 206, 228
anarcho-punk 45, 48,
71,75, 110, 126, 185
punkzines 10, 23, 26, 48,
65,189
Quant, Mary 106
QuarkXPress 17
queer see homosexuality
queerzines 12, 94, 102,
110, 159, 185, 236
Quint, Chella 1 35 ,15 4-5 5
‘quirkyalone’ 174
Rabid, Jack 126
Rabinowitz, Jacob 128
Rachel, Miss 164
racism 105
Raidt, Dana 195
Raincoats, the 131
Ramones, The 45, 238
Rastelli, Louis 122
rave
culture 87-88
zines 91
Reading, University of 37
Reagan, Ronald 83, 87
Real World 121
Rebel, Leon 48
recycling 36
Reid, Jamie 9, 17, 46,
50, 75
Reinstein, Erika 139
Rerrie, Karoline 221
Reynolds, Simon 88
Rheingold, Howard 176
Rich 211
Rider, Alan 83
Rigg, Diana 12
Rimbaud, Penny 49
riotgrrrl movement 12, 16,
17, 21, 131-36, 139,
143, 144, 148, 150,
153 -5 5 ,1 6 0 ,1 6 2 , 164,
166, 169, 184, 196,
205, 206, 217, 235, 237
Roche, Anthony 18
Rock, Michael 13
Rock Against Racism 49
Rock Bitch 110
Rocket Power 8
Rogers, Jude 242
Roky Erickson 33
Rolling Stones, the 18
Romenesko, James 8
Romeo, Deborah 'Darby' 87
Romney, Jonathan 66
Rosenblum, J. Michael 17
Rough Trade 65
Rowdies, the 62
Rowe, Ashley 222
Rowe, Chip 7, 172
Rowe, Marsha 135
Rumsby, Susie 240
Ruts, the 83
Ruttenberg, Jay 231
Ryan, John 8
Safari, Rio see Batiuk, Tim
samizdat publishing 15
alt.zines. samizdat
newsgroup 172
Sandata, Sabrina Margarita
134
Sandler, Kate 203
Santos, Richard 15
Savage, Jon 8, 10, 29, 57
Savage, Pam 164
Savage Pencil 50
‘Scally’ culture 118
Schweser, Jamie 9
Science Correspondence
Club 17
science fiction 7, 10, 12,
14, 15, 17-19, 24, 25,
29, 37, 42, 124, 171,
201, 205
see also Doctor Who-,
Star Trek; Star Wars
Science Fiction Association
24
Science Fiction League 24
scientific research 91
scooters 106, 109
Scott, Howard 14
Scottish Football League
101
Screamers, the 66
screen-printing 206, 219,
221
Seripop 19
Sessions, Emily 167
7 Year Bitch 131
sex/sexuality 21, 160
being asexual 207
sex industry 16
sexual abuse 241
sexual harassment 159
see also homosexuality;
incest; lesbianism;
masturbation
Sex Pistols, the 17, 45,
46, 49
Shaggs, the 160
Sharpe, Barry K. 87
Shaw, Greg 9, 18-19, 84
Shimiz, Ikuko 132
Shocking Pink 132,135
Shosubi, Sarah 62
Silence, The 47
Simon 35
Simon and Garfunkel 18
Simone, Nina 235
Sinclair, Carla 93
Sinitta 214
Situationism 15,4 5 ,4 6 ,
50, 75, 121
Siouxsie and the Banshees
83
skateboarding 98, 127
Skids, the 68
skinhead movement 72,
105
Skinned Teen 131
Skrewdriver 105
Sladen, Elizabeth 40
Slash Records 66
Sleater-Kinney 131, 217,
234
Sleazenation 232
Slits, the 77
Small Faces, the 242
Smith, Don and Erin 94
Smith, Erica 160
Smith, Jean 131
Smith, Matthew J. 175
Smith, Patti 29, 65, 144
Smiths, the 119
social networking sites 171,
172, 192, 203, 209
Solanas, Valerie 197
Solar Culture club 133
Somers, Jeff 201
Sonic Youth 112
Sophy 144
Sounds 49, 59 , 83
Spangler, Tina 121
Spare Rib 132
Spencer, Lady Diana 125
Spiral Tribe 88, 89
spirituality 17
Splinter Magazine 217
splitzines 33, 105
sports 12, 91, 98
baseball 101
cricketing press 98
see also football;
National Basketball
Association
Springfield, Dusty 18
Spy 172
Stacy 241
Star Trek 17, 36, 40
Star Wars 17
Status Quo 118
stencils 9, 46, 71, 153,
162,228
Steppes, the 35
Steptoe and Son 121
Stewart, Bhob 17
Stitt, Andrew 227
Stoke City Football Club
203
Stoller, Debbie 8, 196, 205
Stroheim, Otto von 93
Sub Pop 112,115
Sue 35
Superman 17-18
Surrealism 15
Sutcliffe, Mandy 211
Sweet, Lucy 132, 237
Swell Maps, the 83
Swezey, Ken 128
Switzer, Karen 206
Taurasi, Jim m y 18
Taylor, Bernie 106
Tejaratchi, Sean 15, 26, 93
television 12, 121, 125
see also M TV and
named television
programmes
Television (band) 45
Telfer, Justine 209, 211
Telford Community Arts 78
Texas Chainsaw Massacre,
The 46
Thatcher, Margaret 71, 87
This is Northstar 8
Thomas, Judy 109
Thompson Twins 71
Thornton, Sarah 87
thrift shopping 12, 91, 97,
206
Thrills, Adrian 59
Throbbing Gristle 62
‘Tiki’ culture 93
Time 1
Toby, Jackie 106
Tomas 195
Tong, Pete 89
Tower Records 7
Transcendentalist Club 14
trash drag culture 163
travel zines 91
Tubman, Harriet 153
Tucker, Bob 17
Tucker, Corin 131-32, 139
Turner, Harry 24, 40
TV Times 121
Tw iggy 164
Ultravox 62
Underground Literary
Alliance 201
unemployment 244
Urban Oufitters 8
Vague, Tom 75
Vail, Tobi 12, 131, 135,
139
Vale, V. 57
Vandercookflat-bed press
214
Vaucher, Gee 49, 185
veganism 189, 207, 222
vegetarianism 228
see also animal: recipes free
from animal products
Vespas see scooters
Vicious, Sid 45
Villeneuve, Poppy de 97
vinyl records 9, 29, 33, 35,
3 6 ,8 3 ,2 1 4
virtual networks 209
Voelz, Vincent 193
Voodoo Queens, the 131
Wade, Tim 240
Wah! Heat 71
Waller, Johnny 68, 83
Wann, Marilyn 160
W APA 14
Ware, Chris 122
Warhol, Andy 45
Warner, Harry 14, 17
Warner Brothers 8
Watson, Mike 232
Weatherall, Andy 87
Weiss, Jenna 179
Weller, Michael J. 53, 125
Weller, Paul 14, 106
Wenclas, Karl 201
Wertham, Fredric 9, 10,
12, 17
whales 228
White, Ted 17
White, Wes 183
Whybray, Simon 192
Wickham, Helen 213
Wieden & Kennedy 8
Wilcox, Kathi 12, 131
Wilde, Kim 110
Williams, Paul 18, 35
Willie D. 53
Wilson, Eddie 207
Wired 172
Wittlinger, Ellen 9
Wobensmith, Matt 126
Woggon, Bill 16
Wolfe, Allison 12, 131,
135, 139
Women’s Armed Struggle
Group 153
women's liberation
movement 135
see also feminism
Wonder Woman 143
Wong, Martin 8
Wood, Victoria 11
Woolf, Virginia 225
Wrekk, Alex 174, 189,
206, 211
Wright, John 42
xerography 9
Xyerra, Ciara 200
Yayoi 162
Yeager, Bunny 94
Young British Artists 218
Young Marble Giants 71
Zamora, Alex 192
Zappa, Frank 119
Zips, the 83
Zuellig, Tim othy 176
Teal Triggs, an avid collector of fanzines, is Professor of Graphic Design and Co-Director
of the research unit for Information Environments at the University of the Arts London. Her
other publications include The Typographic Experiment: Radical Innovation in Contemporary
Type Design (2003), Below Critical Radar: Fanzines and Alternative Comics From 1976 to
Now (2000) and Communicating Design: Essays in Visual Communication (1995).
Other titles of interest
Fly by Night
The New Art of the Club Flyer
Craig McCarthy
Illustrated in colour and black and white throughout
2 0 0 Trips from the Counterculture
Graphics and Stories from the Underground Press Syndicate
Jean-Frangois Bizot • Foreword by Barry Miles
Subway Art
Martha Cooper and Henry Chalfant
With 150 colour illustrations
The Typographic Experim ent
Radical Innovation in Contemporary Type Design
Teal Triggs
Thames & Hudson
Please visit www.tham esandhudson.com to find out
about all our publications, including our latest releases.
Printed in Singapore
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£ 19.95

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