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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
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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
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> o' o
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
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subs e q u e n t purchaser.

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
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British Library

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C o n t e n t 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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ELVIS
W alking into any fanzine sym posium today one is im m ediately aware
that the days of these small press publications are far from over.
There is an air of excitem ent at such events, where fanzine editors
and enthusiasts come to sell, buy or swap publications. Folding tables
line the venue’s walls, piled high w ith fanzines in all shapes, sizes and
form ats. Some fanzines are produced using desktop publishing, w hile
many others are lovingly put together by hand using more conventional
techniques such as scissors and glue. The atm osphere is fair-like,
com bining m arket trading w ith fanzine-m aking w orkshops, curated
exhibitions and talks from zinesters them selves. This is a space where
an invisible fanzine culture becomes visible.
From Underground to Overground
For the most part fanzines, or ‘zines’, remain hidden, flying beneath the
radar of m ainstream publishing and its conventions. Their production
is often irregular, and distribution takes place at zine fairs, by word of
m outh, through independent m usic shops or bookstores, or through
the post. Zinesters (producers of fanzines) are less concerned about
copyright, grammar, spelling, punctuation or the protocols of page
layout, grids and typography, than about com m unicating a particular
subject to a com m un ity of like-m inded individuals. The print-runs vary
in num bers. Some are lim ited editions of up to fifty, w hile others may
be dow nloaded digitally from the Internet. It is hard to estim ate how
many fanzines are produced each year - although in the late 1980s,
■
the Guardian new spaper reported that more than 1 0 ,0 0 0 titles of UK
football-related fanzines alone were in publication, w hile in 1 9 9 4 Time
magazine reported that 2 0 ,0 0 0 titles were produced in the United
States, a figure that was then grow ing at an annual rate of 2 0 per cent
- 4 ,0 0 0 fanzines were sold in one m onth at one branch of the (now
defunct) record chain Tower Records.1
The interest in small press publications and fanzines has increased
over the last tw o decades, as evidenced by the plethora of international
fanzine sym posia and exhibitions and the increased num ber of book
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 Day s
W e s t e r a / " T r a ils
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
t / o .f
t n iM jP ir iV f
'1.00
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
7»e- 3 M £ S & < J ir / T £ R S 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 .
com pilations of fanzines published by m ainstream publishing houses.
All of this started in the late 1990s, when there was a bustle of a ctivity
in America. At this tim e the range of topics and personal interests that
zinesters were w riting about came to light. Pagan Kennedy, a journalist
and writer, was am ong the first to move from the underground into the
overground, w ith her book Zine: H ow I Spent Six Years o f M y Life in
the U nderground and Finally Found M yself . . . I Think (1 99 5 ), w hich
w as based on the w ritings in her own personal fanzine, P agan’s Flead
(c. 1 9 8 8 -9 4 ). Other fanzine producers soon followed in a publishing
flurry that brought into the public consciousness, for example, insights
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
Take for Granted, From the Everyday to the Obscure (1 99 6 ); Al H o ffs
‘scavenging fun' at th rift stores in Thrift Score (1997); the antics of
A m erica’s tem porary w ork industry as viewed by Jeff Kelly in B est o f
Temp Slave! (1 99 7 ); and, notably, from Chip Rowe, producer of Chip's
Closet Cleaner (1 9 8 9 -), The Book o f Zines: Readings from the Fringe
(1997). This book still sits alongside an accom panying website that
continues to provide an updated resource w ith practical ‘how -to’ advice,
fanzine directories and interview s w ith producers.2
This process of m oving from ‘below critical radar’ into m ainstream
publishing houses was not w ith o u t its critics or controversy. By 1997,
some w ith in the do-it-yourself com m un ity were accused of selling out,
by trading on the DIY ethos for com m ercial gain. Fanzine producers
are in a unique position, at the same tim e author, editor, publisher
and designer; they are subcultural insiders and em brace the ethos of
a DIY com m unity. Despite fanzines being am ateur publications, their
producers have become their own makers of cultural meaning, taking
part in the construction of the very pop culture that they critique.
W ith this in m ind it is no w onder tha t critics have expressed concerns
that m ainstream publishing w ould ‘endanger the alternative, anti­
establishm ent view point that makes zines unique’, and asked: are
these ‘the last days of Pompeii for the zine world?’3

On the other hand, it is not uncom m on for fanzine producers to
have intentionally used fanzines as a testing ground before entering into
professional careers as journalists, photographers or graphic designers.
You have only to look at established British media figures such as Jon
Savage (Bam Balam and London's Outrage to w eekly m usic press
and then to The Face and on to national press and television) and
Danny Baker (S niffin' Glue to N M E and BBC Radio) to get the idea.
In the United States, James Romenesko (O bscure, 1 9 8 9 -9 9 ) runs
spin -o ff indie websites The Obscure Store and Reading Room (1 9 9 8 -)
and MediaGossip.com (1 99 9 ) and a page on the journalism site
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:
Asian Am erican Pop Culture and Beyond (1 9 9 4 -), for example, began
as a m odest fanzine in Los Angeles created by form er punk-rock zine
producers Eric Nakam ura and M artin W ong. W ith the help of a loyal
fan base and a self-confessed DIY ethic Giant Robot, w ith its Asian
pop culture focus, w ent from being a fanzine in the form of a stapled-
and-folded photocopied ‘digest’ of 2 4 0 copies per issue to a fully
blown b i-m onthly magazine sold in all good bookstores. By 2 00 1, its
producers had also turned Giant R obot into an established brand label
w ith retail and gallery spaces in New York and San Francisco. Bust, 'the
voice of the new girl order’, is another title that had its roots in fanzine
popular culture. Created in 1993 by Debbie Stoller, Laurie Hanzel and
Marcelle Karp, this few -hundred-run photocopied fanzine was part of
a new wave of fem in ist publications reacting against the established
w om en’s magazines such as Cosmopolitan and Glamour, others were
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
(1 9 9 5 -2 0 0 5 ). W ithin five years B ust was a glossy magazine w ith
female pop stars on its covers and a national circulation of 2 0 ,0 0 0 .
Other fanzines have made the jum p to the mainstream, including the
football fanzine W hen Saturday Comes (1 9 8 6 -), w hich proved there
was a huge audience for a w ittie r take on football and w hich influenced
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 .
media cover elsewhere (for example British television’s Fantasy
Football League). The British style bible i-D (1 9 8 0 -) took everyday
subcultural street clothing and turned it into a glossy fashion cult. And
finally, Cheap Date (1 9 9 7 -) - tagline: ‘antidotal antifashion for thin kin g
thrifters' - produced by Kira Jolliffe and courting such high-profile
fashionistas as Sophie Dahl, Anita Pallenberg and Erin O’Connor, is now
published in the m ainstream , w ith a Russian edition. All these examples
of zines that started off small and made it big are the exception rather
than the rule, but they show w hat can happen when an idea catches
the Zeitgeist.
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
everywhere you turned faux fanzines were being published by large
m ultinational com panies. The fanzine as a graphic form was co-opted
- m oving from an authentic, edgy, political underground into the world
above as an item now im bued w ith com m ercial hipness. D irt was
brought out by W arner Brothers, Slant emerged out of Urban O utfitters,
and Full Voice was published as part of the Body Shop’s advertising
cam paign celebrating the body and self-esteem in 1997. A year later,
the Portland-based advertising agency W ieden & Kennedy drew upon
its local com m un ity and interest in DIY American culture to produce
U D on ’t Stop for N ike.5 Conversely, Us! The Fiat Fanzine (2 0 0 9 -),
produced by British design group This is Northstar, presented the
fanzine as a w ay to ‘build a sense of com m un ity and brand loyalty’:
its use of m att paper and unusual illustration is clearly rooted in the
graphic language of fanzines.
Fanzines have even made it on to television. Our Hero (2 0 0 0 -0 2 )
was a hit television series that aired in Canada, in w hich the lead
character, Kale, wrote a fanzine about her life as a seventeen-year-old
w ith her tw o best friends. In the Nickelodeon cartoon R ocket Power
(1 9 9 9 -2 0 0 4 ), one of its main characters, Reggie, publishes her own
zine, dubbed appropriately ‘The Zine’. Fanzines have also played a

supporting role in such novels as H ard Love (1 99 9 ) by Ellen W ittlinger
and Tales o f a Punk N othing (2 0 0 6 ) by Abram Shalom H im elstein and
Jamie Schweser, w hose narrative about the punk scene in W ashington,
DC is constructed through the use of fanzines and letters.
One of the earliest studies on fanzines was w ritten by the Germ an-
born Am erican psychiatrist Fredric W ertham , titled The W orld o f
Fanzines (1972). In 1982 w hen Mike Gunderloy began to produce the
b i-m onthly catalogue Factsheet Five (later edited by R. Seth Friedman),
a readily identifiable fanzine com m un ity started to emerge, reinforced
by the publication of m ultiple fanzine com pilations in the 1 99 0s. By the
late 1 9 9 0 s fanzines had become a serious subject for academ ic study,
and such books as Stephen D uncom be’s Notes from the Underground:
Zines and the Politics o f Alternative C ulture (1 99 7 ) and Bob D ickinson’s
Im printing the Sticks: The Alternative Press Beyond London (1997)
led the way for a broader appreciation of w hat had been a subcultural
phenom enon.5
Yet the do-it-yourself authenticity fostered by early fanzine
producers has not necessarily been lost. Zinesters today m aintain
an enthusiasm for and com m itm ent to the fanzine form as a way
of expressing their individual concerns, their rants on politics, their
loves and hates, their desires and disappointm ents. The authentic
resides in the authorial voice, where the personal is political and
not beholden to global corporations. Zinesters continue to operate
on the m argins of the m ainstream . They disregard the traditions
of professional design studios and the conventions of literary
publishing houses. Rather than conform ing, zinesters are defining
and ‘m anufacturing’ their own identity and representing this through
their w riting and DIY im age-m aking. Referring to fanzine editors
as producers or makers introduces new ways of thin kin g about the
producer as a ‘popular a utho r’ and the fanzine as an ‘autobio/graphical
o bject’.7 Through the DIY nature of their production, fanzines take
on an enhanced value in how they contribute to and reflect a broader
everyday cultural experience.
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 Situationist-
i n s p i r e d c r i t i q u e of
Croydon’ s urban development.
W ertham describes fanzines in his 1972 study as a ‘novel form
of com m un ica tion ’, arguing that they have a unique place in the
history of com m unication, design, journalism , publishing and popular
culture. Fanzines are docum ents of a social history fram ed by political,
econom ic and cultural contexts. W ertham observes that fanzines
‘exist as genuine hum an voices outside of ali mass m anipulation’. He
argues that these voices ‘deserve to be heard’.8 Fanzines are also about
a relationship that is form ed between producers and readers, where
the readers may also be producers but most certainly are fans sharing
sim ilar interests. Fanzines may be considered as ‘v irtu a l’ spaces where
producers and readers unite in com m unities of interest or dissent.
Perhaps the m ost visible evidence of this process is in football, or
soccer, where each club may have a num ber of separate fanzine titles,
yet have a collective voice that can have a real im pact on club decisions
- for example, concerning ticket prices or club regulations.
Just as im portant are the form of the fanzine and the w ay it has
been made, both elements that feed into our understanding of w hat
is being com m unicated. This includes the design of the layout (often
visually ‘chaotic’), the choice of typography (either handw ritten or, as
w ith early fanzines, typew ritten or using rub-dow n lettering), and
production techniques (whether m im eographed, photocopied or
computer-generated). M im eographing and photocopying are both
methods of duplicating, the form er using a stencil fitted around an
inked drum , the latter using the now prevalent form of xerography. W ith
the rise of computers in the 1980s, producers began to use desktop
publishing packages to generate their texts and layouts. More recently
producers have discovered - or rediscovered - the art of letterpress
printing. Fanzines are usually sized to be held easily in the hands,
although sometimes a producer w ill use oversized broadsheet formats.
Occasionally they m ight resemble more three-dim ensional objects and
incorporate recycled objects or materials, such as old vinyl single records.
Advances in technology over the last few years have also, for better or
worse, changed how we view fanzines, w ith online or digital forms.
 10 / 11
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I This book focuses prim arily on British and Am erican fanzine
production, using fanzines from other countries as specific examples
throughout to punctuate certain points about stylistic approaches or
shared them es. Some non-Anglo-Am erican fanzine titles are w ritten in
English (or in dual languages) rather than in a producer’s first language
- partly as a way of ensuring w ider distribution and links w ith other fans
internationally. The selection of fanzines contained w ith in this book
reflects the author’s position as a design historian and also as a fanzine
collector, and as such the book is by no means an exhaustive study,
presenting sim ply ‘a’ history of fanzines rather than pretending to be a
definitive textbook on the subject.
Defining and Positioning Fanzines
The term ‘fanzine’ is the conflation of ‘fan ’ and ‘magazine’, and was
coined by the Am erican sci-fi enthusiast and zine producer Louis
Russell Chauvenet in 1 9 4 0 in his hectographed fanzine Detours
(1 94 0 s, USA), when he declared his preference for the term ‘fanzine’
rather than ‘fanm ag’ as the best shortened version of ‘fan m agazine’.
(Hectograph was an early tw e ntie th -ce ntury printing m ethod that
used glycerin-coated layers of gelatin to make lim ited copies.)
Other producers followed and adopted the term readily to describe
a m im eographed publication (using a more up-to-date production
method of duplicating) devoted prim arily to science fiction and
superhero enthusiasts.9 By 1949, the term was in com m on use and
was included as a form al entry in the Oxford English Dictionary.
‘Fanzine’ itself first appeared abbreviated to ‘zine’ som etim e in
the 1970s, describing a photocopied, stapled, non-com m ercial and
non-professional, sm all-circulation publication. W ertham differentiates
fanzines from the underground press and little magazines w hile at the
same tim e acknow ledging there is some ‘flu id ity in the boundaries of
these publications’.10 He defines ‘underground’ as being ‘in o pposition’
or ‘a nti-establishm ent’, w ith the emphasis on the social-po litica l. Some
of the more recognized examples of the underground or counter-cultural
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
FREAKS E x p l o i t a t i o n J o u r n a l (1987-)
£250 BUXOT/CS w a s on h o r r o r films, w i t h
* WILDMBN! 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
A 7U£K1MGOFCOOL JIJHVIHW
n c j r m w ic Kttttn MativiJid
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
Biownr fan m a g a z i n e whose subjects
•fwnwuw ranged from Me x i c a n wrestlers
MARTIM DIHMY
S A M i i r i r. A x j t w
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
other hand, little magazines are concerned w ith ‘m ainstream literature’,
and are often ‘avant-garde’ and publish experim ental w orks.11 Early
literary figures to have contributed to or edited little magazines include
Max Eastman (The Masses), T. S. Eliot {The Criterion), Ezra Pound
(Poetry: A Magazine o f Verse) and James Joyce (The Little Review).
W ertham describes the salient characteristics of fanzines as
being ‘dependent upon their independence’, fostering free expression
w ith o u t censorship, and their producers not seeking mass circulation.12
Cari Goldberg Janice defined zines in 1992 in relationship to w hat
they are not - small press, underground press or alternative press.
She proposed that w hile integrally linked to these m ovem ents, ‘a zine
is anything that is published on a non-com m ercial basis ... anyone
can publish a zine - th a t’s the main attraction’.13 A few years later,
Duncom be defined zines w ithin the context of ‘a rapid centralization
of corporate m edia’, arguing for their political independence and
localization. In 2 0 0 2 , Chris Atton proposed fanzines as sites for
cultural production and described the fanzine as ‘the quintessence
of am ateur self-published jou rn alism ’.14 In all cases, zine producers
and scholars alike acknowledged that fanzines build and prom ote
DIY com m unities.
Historian George McKay defines DIY culture as being ‘youth-
centred and -directed clusters of interests and practices’, and makes
the links between alternative culture and the DIY ethos explicit.15 He
considers the w ay in w hich DIY direct action is in keeping w ith ideas
about ‘self-em pow erm ent’ through cam paigning and lifestyle politics.
Zine producers have followed suit. However, there is another w ay of
looking at DIY that does not emphasize the oppositional or subcultural
fram ew ork: w ha t if, for example, a housewife from Virginia or from
H ertfordshire produces a zine about collecting Pez dispensers? True,
the very act of creating such a zine could be seen as a challenge to
m ainstream consum er culture, but at the same tim e it is not com ing
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
Exctuslve^intervlew 2 Q p

bave Brock 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 (1976-
c. 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
lots more! 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
eD WOOD
7KE.HM J5URT0N F&NZltfc
OF'HUMOR.
VoC i. Wo. 2
JaClZtfoCiday Season Issue 1994
Fanzines are dissem inated to like-m inded ‘fans’, whose interests
may range from science fiction, sport and music, to television, th rift
shopping and beer-drinking. They have, for example, flourished in the
underground m usic scene; they form part of the thrift-shop culture;
they have been m outhpieces for animal rights groups; and they may
serve, equally, as personal diaries for young teenagers grow ing up and
interested in a range of issues and concerns. Early on in the history of
fandom , W ertham noted tha t fanzines ‘are sincere and spontaneous’.16
Larry Bob, the producer of the now -defunct queerzine H oly Titclamps
(1 9 8 9 -2 0 0 3 ), has described the zine ‘as a labor of love, producing no
profit, and frequently a loss, of tim e at least’. He continues, ‘inform ation
is the reason a zine exists; everything else, down to the paper it’s
printed on, is there to convey inform ation.’17
Although providing an exact definition of the term ‘fanzine’ is
som ew hat problem atic as shifts in historical context, genres and
producer definitions m ust be taken into account, we may define
fanzines as non-com m ercial, unofficial, am ateur publications that are
politically self-conscious and can form an im portant com m unication
network for alternative cultures. They may be photocopied or printed,
or in electronic form as ‘e-zines’ or dow nloadable from websites as pdf
files. They are forum s in w hich their producers articulate their view
of the w orld around them . The main areas of consideration include
a fanzine's form at and layout, its m ethod of distribution, a specific
producer’s m otivation and the intent and context of the text.
We may also propose that the fanzine is a continually evolving
form of com m unication. W hat it is attem pting to com m unicate -
w hether personal or political - is determ ined by how it is put together
as m uch as by w hat it is trying to say. For many fanzine producers,
a politics of resistance is com m unicated visually through its graphic
language, w hich has become integral, if not vital, to the developm ent
of a subcultural discourse. This is m ost evident in late 1970s punk
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
and Destroy (V. Vale, 1 9 7 7 -7 9 , USA) - and, later, in riot grrrl fanzines
•H to G n p * n / x r & 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
m S « y p *T O 9 N
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 the 1 99 0s, in w hich a sim ilar graphic language is used, but this
tim e w ith a fem inist tw is t - f o r example Jigsaw (Tobi Vail, 1 9 8 8 -, USA),
B ikin i Kill (Tobi Vail, Kathi W ilcox and Kathleen Hanna, early 1990s,
USA) and Girl Germs (Allison W olfe and M olly Neuman, early 1990s,
USA). In both cases, the political intent of the producer is reinforced
through a graphic language of dissent - breaking all of the rules about
design layout, typography and readability.
For others, the fanzine is a space for personal experim entation,
which also remains free from the conventions of traditional form s of
w riting and/or design practice. In these personal fanzines, or ‘perzines’,
authors docum ent the most intim ate details of their lives, generating
personal narratives and thereby unique autobio/graphical snapshots.
In this way there is a holistic relationship between the autobiographical
and the graphical. There is a preoccupation w ith the handmade, w hich
often manifests itself through the use of DIY media such as ribbons,
stickers, different-coloured papers, crayons and felt-tip markers. The
academ ic Anna Poletti has observed of perzines that ‘the practice of
self-m aking through zine-m aking is particularly m om entary’. In other
words, zines reflect a slice of life at a particular tim e, characterized as
they are by ‘out-of-date contact details, continually changing titles, the
com m on use of pseudonym ns or ju s t first nam es...’ and quickly dating
DIY production m ethods.18 It is w ith in this context that a distinct graphic
language emerges, born out of an ind ividu al’s handw ritten scrawled text,
uniquely dysfunctional typew riters and cut-and-paste collage imagery.
Fanzine genres tha t draw on the perzine form at include horror
{The Vincent Price File, 1 9 9 6 -n .d ., UK), m usic (Bye Bye, D uffel Boy,
Pete Green, 2 0 0 9 - , UK) and queer (R icochet! R icochet! Colette and
Patrick, 2 0 0 5 , UK). W hile they focus on topics of w hich their producers
are fans, perzines are typified by a focus on the ‘s e lf as the subject of
discussion. For example, David Greenberger’s hum orous observations
as an activities director at a nursing home have been the focus of The
D uplex Planet (1 9 7 9 -, USA), w hile Nancy's Magazine (Nancy B onnell-
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.
as a librarian. In other perzines, Ayun H alliday reveals the realities of
m otherhood in East Village Inky (1 9 9 8 -, USA); Cindy Crabb shares
her daily (and often em otional) life experiences in Doris (1991—, USA);
w hile Toast a nd Jam (Rachel Kaye, 1 9 9 7 -9 8 , UK) dealt w ith often
heart-rending tales of eating disorders. In all cases, there is an intim acy
to the w riting, and visually individual stylistic approaches to match.
Zine producers choose to create rather than just consum e the culture
around them .
Fanzines as Graphic Objects
Up to this point we have examined fanzines in term s of their role as a
vehicle for alternative or underground com m unication. But the fanzine
is also a graphic object, in w hich its form and the DIY process by w hich
it is produced provide some understanding of a history of design and
popular culture. The fanzine looks the w ay it does because it is created
by a single producer conflating the roles of author and designer. This
opens up the possibilities for experim entation in term s not only of
a fanzine’s editorial direction but also of its graphic sensibility, both
unencum bered by the kind of self-censorship that w ould pertain
in the m ainstream . For example, w hen a publication is owned by a
corporation then it generally has to conform to a corporate strategy, and
tha t m ight involve content com prom ises to avoid upsetting advertisers
or to prevent con flict w ith aspects of corporate business interests
(how many glossy w om e n ’s magazines have had to spike stories
about anim al experim entation in the cosm etics industry?). By contrast,
the production m ethods adopted by zine producers - such as the
photocopier or desktop publishing - allow the producer to have more
freedom in putting together the zine in his or her own way, often w ith o u t
consideration of conventional design rules or aesthetics.
In the graphic design profession, debates around graphic authorship
cam e to the fore in the m id -1 99 0s, focusing for the m ost part on a
designer’s practice and process of self-publishing. Critic and designer
Michael Rock’s sem inal essay, T h e designer as a utho r’ (1 99 6 ), and
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
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|
subsequent discussion in ‘Fuck C ontent’ (2 0 0 5 ), provided a platform
for re-evaluating the role the designer m ight play in m ediating between
form and content. This w ent some w ay in legitim izing the designer’s
voice as equal to that of other privileged form s of authorship. Rock’s
proposition was that the object as a form could be considered as a ‘kind
of text itse lf. That is, design principles such as ‘typography, line, form ,
color, contrast, scale, w eig ht’ become devices by w hich a story m ight
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
Such an approach may be applied to the study of fanzines. M eaning
is constructed not only through visual images, but also through the
sym biotic relationship between image, text and the graphic form itself.
Collectively these elem ents com m unicate ideas and them es, and
also subtly shape readers’ attitudes, opinions and beliefs. Fanzines
actively engage w ith popular cultural texts. The ‘poaching’ and
re-contextualization of mainstream newspaper articles, photographs in
collage form and other mainstream media elem ents create an ‘urgency
of resistance’ and an ‘urgency of personal engagem ent’.20 The use
of the photocopier (or mimeograph and duplicator in early fanzines)
reinforces the sense of im m ediacy of the message. (The duplicator,
often referred to as a ‘ditto m achine’, was invented in the 1 92 0s and
gave a characteristic aniline purple text.)
W riting about the value of fanzines as historical objects, scholars
often draw on the w ork of W alter Benjam in and his essay ‘A uthor as
Producer’ (1934). Duncombe explores this in relationship to a ‘politics
of fo rm ’; fanzines are positioned ‘w ithin the condition of the production
of culture that constitutes an essential com ponent of their politics’,
but also ‘w ith in ’ the very conditions of the culture in w hich they are
produced. The way in w hich fanzines are am ateur productions suggests
they are already situated in opposition to m ainstream publishing and its
conventions. At the same tim e fanzines are designed to be ephemeral:
they are produced quickly and cheaply using copy-paper and lo-fi
production and printing processes, w ith irregular publication dates and
14 / 15
Where's TH E
ERIC!
F.RIC CLA PTQ N
FAN ZIN E
Japanese and UK Tour Reviews
I 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
the form is operating ‘against the fetishistic archiving and exhibiting of
the high art w orld and for the for-profit spirit of the com m ercial w o rld ’.21
This all goes tow ards defining a fanzine ‘style’ that also refers to the
individual traits distinctive to the fanzine producers them selves. In other
words, fanzine ‘style’ operates on tw o levels. On the one hand, it adopts
style as a form of prevailing ‘sym bolic resistance’ to the dom inant
culture, w hile on the other hand, it announces individual styles about
difference on a more local or personal level. Style denotes a w ay in
w hich a shared language is form ed and a com m unity identifies itself.
At the same tim e, the form of production ‘has encouraged many
readers to produce their own publications’.22 This is an interactive
process that form s an integral part of the DIY attitude of the movement.
Duncom be describes it as a ‘participatory cultural production and
organization’, where the producer and the reader are both active in the
creation of the message. The visual and text-based language that the
producer uses to address the reader of the fanzine tells us som ething
about the identities of both the producer and the reader. It also suggests
som ething about the assumed relationship between them .
A Brief History of Self-Publishing
Fanzines have played a key role in the evolution of fandom and
alternative printing histories. Born out of the traditions of nineteenth-
century political broadsheets, pam phlets, self-publishing and am ateur
printing, as well as of the underground counter-cultural publications of
the 1 96 0s, fanzines are part of an alternative press history. The fanzine
as a self-publishing form stretches as far back as the publications of
the radical social critics of the French Revolution. Thom as Paine’s
political pam phlet Com m on Sense (1776), for example, is often cited
as an early example. The literary self-publisher, poet and engraver
W illiam Blake produced his Songs o f Innocence in 1789, w ith
poems illustrated by lavish engravings - a sort of forerunner to the
contem porary artzine.23 O ther historical roots for fanzines include little
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.
magazines, w hich emerged in force in Britain and the United States
around 1910 as a form of non-com m ercial, self-published literary
publication. The focus tended to be on experim ental poetry, fiction
and criticism . The Dial, published by Margaret Fuller and Ralph W aldo
Emerson (1 8 4 0 -4 4 ), is often cited as one of the precursors to the
zine form of publishing.24 Although short-lived and having a lim ited
readership (shared characteristics w ith today’s fanzines), it nonetheless
became an influential, if not controversial m outhpiece for the literary,
philosophical and religious w ritings of the Transcendentalist Club in
Boston, Massachusetts. A nother early influential little magazine was
The Germ (Ja nu ary-M ay 1850), w hich ran for four issues and provided
a forum for B ritain’s nineteenth-century Pre-Raphaelite group of artists
and w riters. Here, poems and literary texts sat alongside drawings as
a place where artists them selves could express their opinions about
the nature and principles of art.
In the United States the form ation of am ateur press associations
(APAs) during the nineteenth century facilitated the publication of
am ateur papers alongside the w ritings of am ateur journalists. The
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
redistributed to members. Warner, w riting in his book A ll O ur Yesterdays
(1969), makes m ention of the am ateur jou rn alist Howard Scott, w ho
in the 1870s issued a publication called The R am bler - w hich as
an APAzine speculated about scientific developm ents and also fan
conventions (for example in Septem ber 1879 the editor reports on the
plans for the WAPA - ‘a nineteenth-century am ateur journalism group
whose full name is lost’ - convention in Chicago).25 Such enthusiasm
led the w ay for the developm ent of com m unities of interest (especially
in science fiction), where we find some of the inspiration for today’s
zine networks and com m unities.
However, it is not until the early tw entieth century that we begin
to see the form alization of some of these early visual characteristics,
w hich help to establish a readily identifiable form . It may be suggested

L O W E R T H A N
D I f f iT - e -
L o b s t e r 1 f)->^
T e lephone P b l a c k - a n d - w h i t e r e l i g i o u s and
that w hat we m ight consider a graphic language of fanzines has its
roots in tw o main areas: one that draws from the form s, techniques
and contexts of artistic and literary practices such as Dada, Fluxus
and Surrealism; and a second one based prim arily in the intentions of
political and counter-cultural activity as found in Situationism from the
1950s and 1 960s, in the underground radical press and in the m usic
and subcultural m ovem ent that cam e to be labelled punk in the 1970s.
Nico Ordway com m ents on the emergence of the post-W orld W ar I
art m ovem ent Dada, arguing for recognizing the Dada artists' self­
published journals as the ‘first proto-zines’: that is, zines ‘produced
for the pleasure of their creators and provocations of readers, ignoring
or satirizing all canons and standards of jou rn alism ’.26 Dada had a
direct im pact on the visual language of fanzines and specifically those
produced during the punk period beginning in 1976. Illustrations and
advertisements were cut out of the newspapers and popular magazines
of the time, and re-presented using collage techniques. The collage
approach, w hich juxtaposed ‘fou nd ’ im agery w ith photographs and
texts, reinforced the Dadaists’ attack on the dom inant culture of the
time. Such an approach generated an ‘aesthetic of rebellion’ that
matched the Dadaists’ contem pt for bourgeois sensibilities.27
Self-publishing continued into the 1 95 0s w ith a form of
underground publishing characterized by works tha t were typed,
mimeographed or Xeroxed in the tradition of w ha t the Soviets had
coined sam izdat publishing.28 Although the idea of sam izdat has a long
history, in the 1950s it m eant clandestine DIY magazines distributed
via anarchist networks in opposition to post-Stalin governm ents.
In the United States and W estern Europe, fanzines are often
affiliated w ith the underground press and the counter-cultural
movement of the 1960s, though there is a distinction to be made.
W hile fanzines sit com fortably w ithin the dom ain of the underground
they are not considered part of the underground press m ovem ent of the
1960s and 1970s. The relationship between private and public spaces
helps to differentiate the tw o types of publications. The underground
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 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
p a t r i o t i c imagery.
press, for example, often entered into the consciousness of the ‘public’
realm, whereas fanzines remained essentially ‘private’ in that they
were produced by fans for fans. This m eant that traditionally fanzine
producers blatantly disregarded copyright or censorship regulations
w hile the underground press was more susceptible to the libel laws -
laws from w hich fanzines tended to be sheltered by rem aining firm ly
out of sight w ithin their underground spaces. However, w ith the rise
in profile of many fanzines in the 1990s, the threat of libel cases
has increased, w ith some producers facing charges of copyright
infringem ent in their appropriation of corporate imagery in challenging
the rise of consum er culture.
Despite this distinction, the graphic language of the counter-cultural
publications was not lost on fanzine producers. C ounter-cultural
broadsheets of the 1 96 0s and 1970s such as It, Frendz and Oz created
a visual mix of styles, colours and techniques, the result of each
spread having been designed by a different person. Designers and
illustrators also relied on their vast collections of com ics, cartoons and
illustrations as inspiration for collages, w hich ultim ately captured the
spirit of psychedelia and the rough edge of rock and roll. But this was
also the result of new technologies such as the IBM Golfball typew riter
and the more cost-effective printing method of offset lithography,
w hich gave designers and printers a new -found freedom . The resulting
experim entation created, in part, an attitude reflected in the density
of overlapping colour, collaged images and typographic legibility in
the production of fanzines tha t carried from the 1970s well up to the
present day.
Fanzine Genres P re-1976
One w ay of looking at the history of fanzines is through the development
of genres, specifically early fan w riting as found in science fiction, music
and com ics. Genres are created as a result of a num ber of fans locating
them selves w ithin subjects of interest. R. Seth Friedman, for example,
in the metazine Factsheet Five (1 9 8 2 -9 8 ), one of the more substantial
 16 / 17

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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
1992-1997
fanzine review publications, form alized the fanzine taxonom y in order
to organize the vast array of material that he received for each issue.
Friedman reveals in the pub lica tio n ’s October 199 5 editorial that in
that year alone he had produced five issues reviewing a total of 6 ,2 5 8
zines.29 By the end of its run, Factsheet Five reviewed fanzines under
the generic categories of quirky, medley, fringe, music, punk, grrrlz,
personal, science fiction, food, humour, spirituality, politics, queer, arts
and letters, and ‘com ix’. W ith the advent of electronic zines, Friedman
also introduced a digital category.
A history of the contem porary incarnation of fanzines begins
w ithin the science fiction genre. Duncom be, like W ertham before him,
argues that fanzines emerged as a ‘distinct m edium ’ w ith the rise of
science fiction clubs in the 1 9 3 0 s .30 W riters w ould publish in order
to ‘share science fiction stories and critical com m entary’, including
some now notable authors such as Ray Bradbury and A rthur C. Clarke.
The earliest am ateur sci-fi fanzine to be established was called The
Comet (1 93 0 ) and was edited by R. A. Palmer for Chicago’s Science
Correspondence Club, w hile the earliest-established science fiction
professional magazine, or ‘prozine’, was titled Am azing Stories and
edited by Hugo Gernsback. It was Gernsback w ho introduced the
idea of publishing readers’ letters in the magazine, thereby providing
a catalyst for early science fiction fan com m unities. Readers’ letters
were of particular im portance to science fiction fan publications and
were a precursor to the process of connecting readers and creators
in contem porary fanzines. Ray Bradbury published his first story in
his own fanzine, Futuria Fantasia (1 9 3 9 -4 1 ). W arner suggests that
Bradbury’s publication was well edited, though it included spelling
mistakes; it was printed in green m im eograph ink to represent
the colours of ‘Technocracy’ - a future society shaped by its
technology.31 In the UK, The Futurian was published in Leeds
(1 9 3 8 -4 0 ) b yJ. Michael Rosenblum and included fiction poems
and articles from ‘leading sf fanz of the day’, one of w hom was
A rthur C. Clarke.32
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
P u n k a t t i t u d e and d e s i g n
THE AND THE o u t l a s t e d t h e 1970s. One
FILTH FURY! 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)
|£ l W 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
J S k j fffe 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
Pretty vacan t in London.
These early publications were created as ‘handw rittenzines’ or
‘carbonzines’, each copy being produced individually, or duplicated
copies made from a handw ritten or typew ritten original. Robert Hansen
suggests that offset lithography has been used throughout the history
of science fiction fanzines, although less frequently ow ing to cost.
The Gestetner ink duplicator (a stencil printing process developed by
David Gestetner in the late nineteenth century) was used until about
19 8 0 when photocopying began to become the preferred production
m ethod.33 Like most fanzines, sci-fi fanzines had print-runs of around
1 0 0 -2 5 0 copies and were produced either on a duplicator or on
hectograph or m im eograph m achines. W arner reports that some
popular science fiction zines, such as Le Zom bie produced by Bob
Tucker, had only 150 copies for d istribution.34
The first Trekker fanzine began in 1967, a year after the start of the
first run of the cult science fiction television series Star Trek. Fanzines
included Spockanalia, w hich appeared in New York City as a ninety-
page mim eograph w ith staples. Spock himself, the actor Leonard
Nimoy, wrote a letter that was published in the issue ‘w ishing them
luck’. Fanzines w ith a high profile at fan conventions included Terran
Times (1 9 6 9 -e a rly 1970s), Thrall and Beyond A ntares (both early
1970s). Other contem porary science fiction television program m es such
as D octor W ho and Blake's 7, and such H ollyw ood film s as Planet o f
the Apes and (to a lesser extent) the Star Wars series, have generated
cult follow ings and corollary fanzines.
Developing alongside the science fiction fanzines were the com ic
book fanzines. In some cases, com ic fanzines w ould cross over,
covering aspects of both genres and the ir fandom . David Kyle’s fanzine
Fantasy W orld (1 9 3 6 -n .d .) created, as its subtitle suggested, ‘Cartoons
of Im agination’ as science fiction com ic strips. The first British com ic
fanzine, EC Fan Bulletin (1953) - a m im eographed and lim ited-run
fanzine for the small publisher Entertaining Com ics - was produced by
Bhob Stewart and inspired by science fiction fanzines. A year earlier in
the United States, Superman was celebrated in Ted W hite’s fifty-co py
18 / 19
edition The Story o f Superm an (1952), and Jim m y Taurasi’s Fantasy-
Comics (early 1950s) appeared, bringing together the genres of science
fiction and Entertaining C om ics’ horror books.35
Just as contributors to the science fiction fanzines often became
professional w riters and artists, so com ics zinesters followed a sim ilar
path. Future com ics lum inaries w ho got their start draw ing for the
early fanzines included Paul Neary and Brian Bolland. Noted as the
first ‘true com ics fanzine’ by Robert M. Overstreet in his The Overstreet
Comic Book Price Guide is Alter Ego, w hich appeared in 1951 and
through its readers’ pages ‘influenced profoundly the com ics fan
m ovem ent’.36 In the UK in the 1 96 0s com ic titles flourished, including
Ka-Pow (1967), The Komix (1 96 3 ), Conclusion (m id-1960s), Sem inar
(1970), Heroes U nlim ited (Anthony Roche, 1 9 6 7 -n .d .) and U nicorn
(Mike Higgs and Phil Clarke, 1971). These fanzines dealt prim arily w ith
fantasy characters and superheroes - although in issue 4 of U nicorn its
editors reproduced articles by Earl G ottschalk, Jr. from the Los Angeles
Times W est magazine, on ‘com ix’, the underground X-rated com ics of
the period. This period represented a second wave of fan m om entum ,
responding to the ‘Second Heroic Age of C om ics’, as it is often dubbed,
w ith its revival of the costum ed hero.
Comic zines were im portant for the way in w hich they rediscovered
old com ics that were forgotten, overlooked or hard to find. They created
an auteur scene around com ics - especially w ith Jack Kirby, the creator
of m any superheroes, whose particular style of draw ing was celebrated
by a dedicated fan base. The fanzine producer m aintains a unique
position tow ards the comics, often concerned w ith the m inutiae of
fandom - highlighting inconsistencies in com ic book stories, debating
w hich the best publishers m ight be (Marvel or DC...?), and often taking
an ironic but highly focused position on their hobby.
In m usic fanzines of the 1960s, the graphic language of cut-and-
paste, hand-rendered type and/or Letraset (rub-dow n lettering) was
starting to provide hints of a recognizable fanzine style that would
fully emerge in the 1970s. At this stage, however, we see typographic
PB1ZEC0IMER1 F a n z i n e s a r e a s p a c e in w h i c h
WINIRt-IFFHI
ITCUM: the personal obsessions
iHIDDENl>
ISSUES! 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 self-
proclaimed ‘ 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.
approaches strongly influenced by the designs offered by the
underground broadsheets. Fanzines covered such musical genres as
psychedelic, classical, jazz, country or pop, as well as specific groups
or solo artists, including Elvis, the Beatles, Dusty Springfield and David
Bowie. Early in the 1950s, m usic fanzines were prevalent in the United
States; The R am bler (1 9 5 7 -5 8 ), devoted to folk music, ran for nine
issues, w hile Jazz Fan (1958), edited by Bill Harry, ran for fourteen.
Fanzines cam e into their heyday w ith the early rock-and-roll scene
and emerged out of the traditions of early science fiction publishing.
But it was a new breed of m usic fans in the 1 9 6 0 s w ho took the
form of the fanzine to its next level - both visually and in term s of
journalistic tone. Crawdaddy! was the first magazine of Am erican rock
and roll and was started in February 1 96 6 by Paul W illiam s, w ho had
as a teenager been a science fiction fanzine producer. Crawdaddy!
featured stories on Bob Dylan, Simon and Garfunkel, Donovan,
Jefferson Airplane, the Rolling Stones and other rock m usicians and
predated the founding of Rolling Stone magazine. The term ‘fanzine’,
according to W illiam s, was picked up by rock am ateur publishers to
describe their publications. However, Crawdaddy!, though sim ilar
to the form at of science fiction fan publications, had aspirations to
be a professional m usic magazine. The fact that W illiam s explicitly
stated that the entire contents were copyrighted underlined this
aim for mainstream recognition. Crawdaddy! sold for 25 cents and
subscriptions were $ 1 .0 0 for four issues. It was produced from 1 9 6 6 to
196 8 and then irregularly from 199 3 to 2 0 0 3 , w ith W illiam s describing
the publication in the latter era as ‘definitely a fanzine’. It was sold as
double-sided photocopies and used underlining, crossing out and
typew riter texts, w ith occasional use of handw ritten headlines.37
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-
collector. Shaw had been active in science fiction fandom in the 1 96 0s
and is cited as having introduced the term ‘fanzine’ into the vocabulary
of m usic fandom . He defined fanzine in this case as a term ‘for mags
 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

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

S IC K A N D T W K T c n * J o

Including
F IG H T E V IL ! F IG H T
W * c S I E B iP & F R m « M * OF SO cTeTY T O D A Y ?
r j E X C L \jS jV E | P O S K A R D F R O H M ICH ELLE S H O C K E D
 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

3 fre e p n r io e t

W c r ^ c lo e S /

a \ptin/st

Issue #1
January ‘10

s 55 s 2-*a 3
1-0-- — J-q jl 51 is-s
jr -•* a* - s
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DIY
iiilK H J J ff lf P r il \ \
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' 3 8 ' 2 i' & o 2 ( 5 l i ! » . 3 _ _ i? ^
i* K s £ § ___ j s r

1 / f F p : ' J ? * * :

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value
HlTV®

Ht°roV
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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 , self-
d 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 ; HOLLY
HEAVEN
WOOD
SENT!
SEA
LA D S
WOMANS ISSUE NUMBER FOUR
MA Y 1996

SPO T
BI-MONTHLY
ONE POUND
t S'O f
T H E ON LY M A G A Z I N E

T -U ^

■ IVO
No l h im io t

4
IAN DURY
The J am
Climax
pl us reviews
 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

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.
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
AND CHEAP WAYS T O M AKE A L C OHOL AT HOME chord consists of 3 tones. Example (xpl): Gj consists of G
BY JARROD ILLUSTRATED BY LAURf 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.)

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
f c h o r d s a r e o n p a g e W.

Chord Easy 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 hand-
s 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

| terry CARR FANZI NES

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.
 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

,4 . / “ tJ fL ie r y
* C_ 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_
 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

ISSUE #221 OCT. 2001 $3.00

BORDERS'
, ill.5

...tales from the

6-8 protests in
Genova
 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
Xf'BTar «^aTt ,I '
'
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ISSTTE 23 |SPRING 2006

Twenty Year Anniversary Issue
CAREER SU IC IDE
^ P^-P5....AN SMALLTOW N
DIRECT CONTROL
S L O O P S U C K IN G FRONTIER RECORDS
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:

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

K ^ t io n a l A n t h e ik
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 UrIn1(1fn irfiLi
mflfIII
fo yp a e m
"S ,

Just six weeks after booking for

APPRECIATION SOCIETY
N u m 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'.
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,

WHO 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

PUTS HIS FBBT IS IT 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
OCEANS IIT THE SKY - the film made by the D. V/. A. S. drama dept, interesting discussion followed
is now complete, bar the special effects. Premiered at the Tom the official launching of the
third Y/riters Pool publication.
Baker Pen-Pal Club Social Event on May 26, the full version is One topic of discussion was
hoped to be ready for PANOPTICON III. the way the Doctor had changed
and it was decided that the
The film has taken three years to make at a cost of £3,000. The transisition from Hartnell to
sets include a magnificent TARDIS console which was made by Reg Troughton was a rejuvenation-
Spillet who also plays a part in the film. The whole of the the body returning to an earl­
TARDIS interior was built on a stage cannibalising existing ma­ ier age. Troughton was changed
terials. An original score has been written for the soundtrack into Pertwee by the Time tores.
by Tunbridge Wells D. V/. A. S. Member Mark Ayres. A version of His cells destroyed by the
the original television theme will be used to open the adventure Metebellis Spider, the Doctor
concocted b y Owen Tudor and Paul Howden-Simpson. 'Oceans' boasts was as good as dead. Even the
a cast of 20 actors, including Leo Adams as 'The Doctor'. Leo power of the TARDIS could not
is a professional actor of 30 years and had his own rep company. repair his body and effect a
The last session was filmed in a sewage works with Mr. Adams rejuvenation. Cho Je came to
having some unfortunate accidents with the co-ordination of his his rescue and regenerated the
feet in relation to the nature of the location, which broke up cells of his body and he became
his co-star, Diane Woodley. a younger, different person­
ality. 3ut what will happen to
There is already a poster available of the film, and a paperback the Doctor next time?
book is planned explaining how the film was made.
LATE NEWS
IMPORTANT ANNOUNCEMENT LOCAL GROUP ANNOUNCEMENT
SUMMER REPEATS We are pleased to announce the
ALL MEMBERS WITH M M B E R S H I P
CODES BEGINNING " 8 A G " PLEASE The repeat this summer of 'The official opening of our eleventh
SEE 'RE-APPLICATION tfo MEMBER­ Pirate Planet' seems much more Local Group: Michael Nicholson,
SHIP' LETTER ENCLOSED, AS THIS certain, with probably that 25 Long Bank, Birtley, Chester-
IS THE FINAL EDITION OP CT OP well-known cure for insomnia, le-Street, County Durham. A
YOUR PRESENT YEAR. 'The Androids of Tara' to fol­ full list of the existing Local
low. Groups is on page two and three.

May 1990 ... May 1990 ... May 1990 ... May 1990 ... May 1990 ... May 1990 ... May 1990 ... May
MORNINGS WILL BE BRIGHTER
FREE ... FREE ... FREE .
The Arena, Vienna
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
beaten in the first test on their own soil,
Liverpool beaten by Crystal Palace in the
F.A. Cup semi final, Mandela free,
Thatcher (or Torture as one Austrian is to
pronounce it) with her back to the wall, a
new era unfolding in Europe, Poll Tax anger
swelling up ... and Folkestone four-piece
TREES spreading their gospel overseas, hot
on the heels of their three-date "Hit the
North" weekend and first local gig of the
new decade.
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
All enquiries to: RICHARD MURRILL, 9 Gainsborough Close, Folkestone, Kent CT19 5 N B . ___
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
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
in the clean air and friendly atmosphere of a
city he's clearly taken to, dancing around his
whirl in their city of Mozart, Beethoven,
Schubert and the Strauss family. Guitarist
Richard Carlile is also in party mood, signing
autographs, pulling some extraordinary faces
and even contributing some backing vocals.
There must be something in the air.
The band are called back for The Doors' "L.A.
Woman" and The Stranglers' "Pretty Face" and
then it's goodnight Vienna. Tom Jones' "It's
Not Unusual" is left out of the set tonight,
now that would be breaking down the cultural
Carriers a little too far.
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.
 ■

32 / 33

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l u i u i N I » / V|I 511 v a » v i/ |0 M/ U " n v u i i u / u*

I BONUS 10” phonorecord featuring: back off
I cupids.flyingsaucerattack.a^ndfu1of dust,

r# .»
I '
 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

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:
: £ 32 U /i v,
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
(oww) ->|j|«r3 + TJ>*iroW 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.
 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

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.
 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

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.

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 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

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 (1977-
2008) 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 comic-
str 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

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
ANNIVERSARY UE -Sfc 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.

/ VIA \ _

No. 4 -----
--
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.
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
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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
Identifying the specific moment when punk began is difficult, as is a
precise definition of the term. Mark Perry, founder of the punk fanzine
Sniffin' Glue, suggested in issue 1,
nobody can define punk-rock, it’s all about rock in its lowest
form - on the level of the streets. Kids jamming together in
their dad’s garage, poor equipment, tight clothes, empty heads
(nothing to do now you’ve left school) and model-shops.
Punk-rock’s all those things.1
The first wave of punk has generally been accepted to have had a three-
year life span, beginning with the depression and drought of 1976 and
ending with the death of Sid Vicious of the Sex Pistols in 1979.2 On the
other hand, punk should not be defined entirely by the career of the Sex
Pistols - however influential they may have been - nor by the history
promoted by their manager and publicist, Malcolm McLaren. Critics
such as the American journalist Greil Marcus would argue that in the
United States it began in New York around 1973-74, well before the
Sex Pistols, with such bands as Television and the Ramones. Punk's
second wave continued into the 1980s with the rise of anarcho-punk,
street punk, hardcore and the neo-fascist punk movements.3 Punk
fanzines aligned themselves to these new categories of punk politics,
providing a new wave of fanzine activity. In the 1990s and 2000s
punk continued to thrive in its various forms, spurred on by newer
publications such as MaximumRocknRoll (1982-) and Punk Planet
(1994-2007) (both USA).
Defining Punk Agendas
Punk was not only about music and class politics, but also had an
impact on fashion, fine art, film, comics, novels and, of course, fanzines.
Mark Perry had developed his own brand o f ‘punk journalism’, for
example, and he actively encouraged others to participate in ‘having
a go yourself’. Punk fanzines also served another, equally important
purpose. During the early rise of punk, many fans considered them
to be the only reliable way of disseminating information about the
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.
music and the movement itself. Dave McCullough, a one-time fanzine
producer and then a journalist for the music paper Sounds, reported
in 1979 on the position of British fanzines:
you didn’t know where to look in case you were being ‘sold out’.
You could actually 'look up to’ an "institution” like Sniffin’ Glue
and at least TR U ST that they were going the whole way. It gave
you The Word and put what the press said (which you always
did suspect) in a rigid perspective.4
Perry was very much aware of his new-found position as a punk
provocateur and of the influence he had on other fanzine producers.
He speculated that the success of his fanzine was due to the fact that
he was honest and told readers exactly what he thought, using a
graphic language adopted from American rock-and-roll fanzines.
In punk as in other genres, fanzines were written for and produced by
those ‘in the know’. They had first-hand experience as participants at
the gigs and were often allowed access to backstage. They interviewed
bands directly, frequently getting an exclusive story. Although punk
was almost immediately picked up by the national and music press
(the first review of a Sex Pistols gig was written by Jonh [sic] Ingham
and published in Sounds in April 1976) the stories in the mainstream
press were often sensationalized. Punk was viewed as frightening and
aggressive, with tabloids such as the Daily Mirror and the People using
scare stories to criticize the morals of the burgeoning youth culture.
Punk fanzines may have been driven by political agendas, including
class politics and critiques of mainstream political ideologies, but
they also reflected the fact that punk had emerged from a position of
knowingness about artistic practice and its history. Legs McNeil in
particular, co-founder of Punk magazine (1975-79), traced punk back
to the antics of art-world provocateur Andy Warhol, and other critics
too have argued that fanzines had their stylistic origins in Warhol’s
Interview magazine, which represented ‘the same sense of slapped
together necessity’ and the same ‘“artless” reproduction of every
spoken word’.5
46 / 47
ElAiScili&EDsBTEDo
Perry and McNeil thus provide two starting points not only for
exploring the potential difference in writing styles of punk but also for
defining the graphic language of punk fanzines.
A Graphic Language of Resistance
Can we identify a graphic language of resistance? Resistance, in this
case, is taken to mean a ‘refusal to com ply’, as in, for example, resisting
authority. Stephen Duncombe suggests that through the process of
resistance we are freed from the ‘limits and constraints of the dominant
culture’. In turn, ‘cultural resistance’ allows us to ‘experiment with
new ways of seeing and being’.6 In fanzines this may be represented
through content, or graphically, or both, where rules and prescriptions
are disregarded intentionally. Such strategies are easily understood
within the subculture and so provide a focal point and help to establish
a community of like-minded individuals.
Punk fanzine precursors that began to define what a distinctive
graphic language of punk might be include Jamie Reid’s Suburban
Press (1970-75) - a Situationist-inspired publication that, along
with Sub magazine and King Mob, provided a bridge between the
hippie press and punk fanzines.7 Situationists ‘characterized modern
capitalist society as an organization of spectacles’, arguing that ‘people
are removed and alienated not only from the goods they produce and
consume, but also from their own experiences, emotions, creativity,
and desires’.8
Reid established the connection visually between Dada,
Situationism and punk, suggesting that ‘probably Dada’s finest moment
was [when it was] on the streets and accessible to working class kids’.9
He described his job as being graphically to translate and simplify the
Situationist use of political rhetoric and jargon. For example, Suburban
Press critiqued local council politics and contextualized it with excerpts
from Situationist graphics and texts. The cover of Suburban Press
No. 1 (1970) uses a dot-patterned image of a suburban house with
the idealistic slogan ‘Fresh from the Suburbs’, playing on the location
T-O -T-A -l. J Pun k obsessions varied
CONTROL I 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).
of Reid’s press in Croydon, Surrey, as well as making ironic comment
on the ‘capitalist ideal’. The publication uses typewritten texts created
on an IBM 72 typewriter.
While Jamie Reid and others were exploring the possibilities
offered by Situationism and the graphic languages of other art
movements, a second source for a fanzine language was emerging.
Mark Perry’s Sniffin' Glue (1976-77) was so influential that tributes
to his success were witnessed in the way the fanzine itself was
referenced graphically: for example the second issue of Murder by
Fanzine (c. 1983, Scotland) pastes a flyer promoting issue 6 of Sniffin'
Glue over the head of a guitar-player, thereby rendering him anonymous.
Nonetheless Perry is careful not to accept the ‘first fanzine’ tag, instead
citing earlier rock-and-roll publications such as Greg Shaw’s Who Put
the Bomp! (1970-79) and Brian Hoggs’s Bam Balam (1974-c. 1980s)
as precursors to his own.
Despite an emerging set of punk ‘conventions’, which included
the small, stapled format, ‘spontaneous’ page layout, the production
values of the photocopier, and a mixture of typographic treatments such
as cut-and-paste, ‘ransom notes’, and handwritten and typewritten
letterforms, each fanzine maintained an individualized approach. The
manner in which the graphic marks, visual elements and their layout
were presented reflected not only the message, but also by default the
individual hand of the fanzine producer. This is evident in a comparison
of covers from three of the more prominent fanzines produced in the
late 1970s. Charlie Chainsaw, for example, in his first issue of Chainsaw
(1977-85, London) used stencil letters for the title and a series of
cut-out newspaper texts collaged with a photograph of the Sex Pistols
and a reference to its namesake, an image from the poster of the film
The Texas Chainsaw Massacre. Mark Perry in the July 1976 issue of
Sniffin’ Glue employed his own quickly produced handwriting scrawl,
where letters were all caps and visually presented in the same weight.
And Tony Drayton’s Ripped & Torn (November 1976-79, Glasgow)
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 .
 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
the Damned with handwritten upper- and lower-case lettering in a
hierarchical sequence from the title, the stories promised inside to the
smaller, self-effacing tag lines: ‘This is Too fantastic ... buy it Now’.
These examples, in spite of their individual handling of the basic graphic
notation of fanzines, established overall a recognizable punk identity.
Post-1979: Anarcho-punk
By the 1980s a vocabulary of punk had been absorbed into fanzine
production. But a more radical strain of politics was becoming evident.
The graphic language that followed promoted a more aggressive and
provocative approach, as, in the 1980s, the second wave of punk
gave rise to more aggressive and visual styles. The most interesting of
these were centred around the anarcho-punk movement. This was a
politically committed strain of the subculture headed by the band-cum-
commune Crass. Crass were responsible for a number of publications
and fanzines, including International Anthem: Nihilist Newspaper
for the Living (1977), which featured text by Penny Rimbaud and the
remarkable photo-collages of Gee Vaucher. These were reminiscent
of the work of political artists John Heartfield and Hannah Hoch,
and the fanzine's format was similar to the previous decade’s counter­
culture broadsheets.
Other fanzines similarly made much of anarchist iconography.
Cobalt Hate (1984) utilized the circle A in inventive fashion, and the
crowded, claustrophobic appearance of the cover mimicked the anger
of the hardcore anarcho-punk music. Its front cover made explicit the
producer’s political leanings with hand-rendered slogans and phrases
such as ‘nihilism.propeganda”, ‘Black Flag Anarchists’ and ‘Police
opression: Police Faschism’. The intentional misspellings and hand-
scrawled writing conveyed a sense of immediacy and irreverence
towards publishing conventions. This added another level to the
punk aesthetic.
Other fanzines would follow in the 1990s in the United States.
Profane Existence (1989-2008), for example, was founded in
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.
Minneapolis, Minnesota, and was one of the largest of the anarcho-
punk fanzines in North America. During this period, it took on
numerous formats - eight-page magazine, broadsheet newspaper,
perfect-bound book - depending on editorial positions and budgets.
Profane Existence now exists only via the Web (although fundraising
events provide a glimmer of hope for the relaunch of the print version),
and continues with international coverage of the anarcho-punk
movement and its related community and lifestyle news, including DIY
health care, self-help primers and, of course, politically aware music.
Punk Sites of Resistance
Thus, we can speak of fanzines as places of cultural ‘resistance’.
They offer fans a ‘free space for developing ideas and practices’,
and a visual space unencumbered by formal design rules and visual
expectations.10 Fanzines embraced punk’s do-it-yourself attitude.
As one member of the punk community reflected, ‘our fanzines were
always clumsy, unprofessional, ungrammatical, where design was
due to inadequacy rather than risk’.11 Yet as the plethora of punk-
inspired fanzines materialized, a unique visual identity emerged,
with its own set of graphic rules and a do-it yourself approach, neatly
reinforcing punk’s new-found ‘political’ voice. Malcolm McLaren,
manager of the Sex Pistols and self-proclaimed creator of punk, was
quick to point out, “‘Anarchy in the UK” is a statement of self-rule,
of ultimate independence, of do-it-yourself’.12 As if to punctuate this
point graphically, the producer of the punk fanzine Sideburns (1976)
famously provided a set of simple instructions and a diagram of how
to play three chords - A, E, G - alongside the command ‘Now Form
a Band’. As with its music and fashion, punk advocated that everyone
go out and produce a fanzine. As independent and self-published
publications, fanzines became vehicles of subcultural communication
and played a fundamental role in the construction of punk identity
and a political community.
50 / 51
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a this ^ cocpl«t«ly up Uh rtll.Thar*'* ■lutaJwa rr«ry»h*r*,Ju*t Ilk# ac 1i WHAT THC TUCK'S HAPPC«*G TO THIS COIT1NC TH15 ISSUC7I71
le? ts -GORILLAS
S n if f s f e e
A n d oT H I* H o c K W fte u .
?•«. a a o o m p A u f t / s t r r * n
rc ts.-. s T a ^ m .n , - GLP^i-jriLL L’^PTTOED YCI5I
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
'H rf L*f V ta r Take A f 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
1 M»©%C A T H f v 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.
----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

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

S N lF P lh l*G L u £ ...
M o onia* RocKVftott. H ab it5 , FoR
P OF IDIOTS ! K IB B B -J6 .

If you actually like is rag you must be one of the idiots we write it for. Price;
( H A I N S A

A — k i j <r~ M id o ite & th e

P t N I b Boys, Artarch

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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

/ I
CHAINSAW

fv

____ IDISC
lNSil>ei
o n T R . f \ FR.ONA
epvcu o f Tu*a5
F B A c t\ j& £ T > c r o u p s
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 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
INSTANT AUTOMATONS-Rites
o f passage
llo.\x Sof 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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CHAlAJSAt*/
S e x Pistols'
\ T. hit banned

:fsri5urn
CHAINSAW UNITS & • • • - 'punff fa„s
UoA JlW/j5C^7 SPTU- ».rts order f o r m s - “3- s a a" ----- -----
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nriiic«0??u7ird
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54 / 55
 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

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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

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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, gothic-
t 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.
-

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

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 IS>bOS |
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)
' IN Th is , i s s u e ;
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 ? ’
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 v:*.* -*■ *

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 f*(2.ice
u ? ts .........

_
 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 right-
groups are the main organized sup-
for quack cures like Laetnle
because they also share a paranoid view
the w orld.) F or the more sophisti­
m earner cated, cancer signifies the punitive
ften from d> rebellion o f the biosphere: M other
•The trcatm N ature taking revenge on a wicked tech­
.” ) There nocratic w orld. T h e industrial civili­
tering the zation is causing undream ed o f damage:
Xly considf the springs are silent; and it is regularly
tvmiion” ), -timated that 70 o r 80 percent, o r be-
Utck. ren 80 and *90 percent, o f ail cancers
on in dca ‘environm entally caused."
n fact. dr the accom panim ent o f this num-
the langi ame (it is difficult to see how any
c ells-do a abo u t " a ll cancers” c - - id be
e 'S n y a tn 'n.
•d

so docs
, me television set
Dwcvcr mar —cnt clock face. As with
te body lane , an innocent or trivial a ct—or
..pcsure— in the present can have dire
mor consequences far in the future. It i* also
guc high for
industrial

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 / Li

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.

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
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 W ATCH OUT F O B
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
E X P L O D IN G
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.
EA STER EGGS

f.

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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

■::.zv.vsz
ra*B» ♦ rJSZ -j at c*

tfoY /r. You

SMOOLD
77* INS lb E .

Concrete bondage...
No3 flug/Sept 25p

CaQt (flrk for M K!

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)

Cherry Vanilla ELVIS

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
.

alw ays bru shes w ith ELIO 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
IMO.7
COME FEBRUARY IS78 2 0 f
KINGDOM COME
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R O T L E S ...S T lV \M C l t - £ # S .. . . O K ?

ingdom g**® OME 20|

K N0.14 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

« e S y O '

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v ^ . w * :

A ^ °« °>,

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Oa

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J V A> * «o <5 ^ % , <'*■
 70 / 71

i
cry in the wilderness ' tfw k 'iP*
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R i& h T ^ ^ | 1 (9 I& L 2 L 3 &
P i R f C rto rv

- w . xo 5 H r/
- - , \l I if lK f r lf e
'VAUJTA&LE* J k ___
r 7 T \ --------V S >i0 attaCk th* in s titu t i o n s ^ P *
| r A ) o f 0Ur so ciety •
p j ^ f >S H G- " x H _ 5 x ___ I £ L J * 2 2 D

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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

am i bia'Tu nq.| MUCILAGE

i blam ife ir N o .2

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inside this issue

CRASS THE CULT

%
j NEW MODEL ARMY
REDSKINS
400 ,Sl o w s
blam s *w... U l r » » n 1
apni'f5 new KICK
DR.WHO

BEAUTY WITHOUT CRUELTY

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 QQ
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
Z J s L c lk ***
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
« ■ oV
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 .
 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 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
the 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, * . '
I
0 > ■< - **

C o m m u n / c ju k 2 . > :.-* * • \ 7 % f c ' . ...

fj |A|/
eta/ ckl?\f(or\ Is i t a ^ASuie/*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 £tUjhl4
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

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 TTTTTc rn T T T T T rr F IR E W O R K E D IT IO N

e
i s s r s o n zcp
MAY / 10 N K 1979

I979AU.I3BPR0PASAHMIS3-?a0NatAY/jmiEX379AIJJ^PKa0PA6AHDAIS3ga-0M 3tA lt/;W ai379A I.I.I3Pra0P^A :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
 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

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
M f N T A L f
lower-c a s e l e t t e r f o r m s a n d t h e

CHILDREN
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 .

A tN C O A T
sse H llf ii
 78 / 79

PIL
Damned
Angelic
ups
Bette
Bright
Local
m usic!

IRA
Teenaae
surctde-
-ttVJMtt'V W V

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. 1978-
c. 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 30 ,

Wirxfer ‘7 ^* Issue 1 * 3 4 -pa^ts « Sc-r\tt'i P o m t

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!
80 / 81

alerta punk alerta punk alerta ifca punk alerta p u n k alerti

punk alerta punk alerta punk ^ L e r t a punk alerta punk
alerta punk alerta punk >unk alerta pu nk alerta
punk alerta punk al rta p u n k p u n k
alerta punk al er ta
punk alerta p punk
alerta rta
punk

punk
unk alerta
alerta p u n k
_____ alerta punk alerta
ilFFia. punk alerta punk a p u n k ^ T l e r t a punk alerta punk
a l e ^ a punk alerta punk punk alefta punk alerta
punk alerta punk i;a punk alerta punk
alerta punk aleij alerta punk alerta
alerta punk
rsetembrc ^ punk alerta
l erta p u n k •
n rr alerta
;ta p u n k
alerta
punk

punk
alert
punk alerta p u n
alerta u n k alerta
punk ale erta punk A A
alerta pu alerta p u n
punk aler erta punk aler
alerta punk ale a p u n k alerta punk
punk alerta punk a £rta pu nk alerta p u n k
o t I p n n y iV p1 o r> -f.n
 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

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 angry-

aesthetic, 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 (1980-
c. 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 .
P r o f e s s i o n a l p u n k z i n e s i n c l u d e d B o m p ! (1970-
79), f r o m C a l i f o r n i a , e d i t e d b y r o c k j o u r n a l i s t
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 ) .
Zig Z a g (1969-c. 1980s) f i r s t c a m e to f a v o u r
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
in p u n k guise. TEENAGE KICKS AGAIN

NofinnH tretJ
•.. *1U<Vocrecfi'Y

ZIGZAG

flow ers m wmm

ofROMANCE SLURKERS
TH th D \ TE On r Pi 2

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 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

S U R E z i n e (c. 1997-n.d.) w a s
a music- and p e r zine from
Born To Melbourne, whose producer
remarks that ‘ my spleen

Be Wild 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.

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

The England indie/dance music

scene initiated a plethora

FARM 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.

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

T H E F A C E D
ISSUE 4 FREE

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 pre-
solstice hippie watch. The
anniversary o f last years
legendary Chipping Sodbury
party was due on the late-
May 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
JULY <?2
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 self-
respecting 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

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

Giiwa fig I m
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
A JOURNAL FOR H U M A N RESEARCH SUBJECTS 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.)
#6 $3 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

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m CWSP ^oR T
irresistible
LEGENDARY DOLPHINS . . . . SCAREHUNTERS . . . TEENAGE TRAUMAS . . . GRAEME PARK

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)

 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 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.

for S im p l ic it y , M e r it a n d 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. This comment on zinesters in the mainstream was undoubtedly

And finally, Guinea Pig Zero (1 9 9 6 -2 0 0 1 ) was defined by its 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 r ?

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.
 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

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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 manuals. Source mat e r i a l also came from B u nny

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
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 .
 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

m y s te r y d a t e
T E E N F A G
. \ v v A .? MAGAZINE
one $3.00 Issue #4

gal's damage
co n tr o l
gu id e s p e c ia l -
to
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good
PROLIFE
sfuff Q ueers
bad bad
HOMOS

^ T c E N A g E
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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 Thrift SCORE
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This Social Statement!

ALSO - Your thrift dollars can save Jim Bakker!

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3 Stuff You See in Every Thrift
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Thrift SCORE The zine about thriftin' -Issue Six
t h e z i n e aatb o u t thriftin'
Issue 7
T h e S w im s u it
th e z in e a b o u t th riftin '
Is s u e Five D e s ig n e r J e a n s :
S p rin g 19 95 Is s u e /

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l J I
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The Zine A b o u t Thrifting - Issue 9 The Zine A b o u t Thrifting - Issue 12
The Zine A b o u t Thrifting - Issue 8 >,

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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 ’
) ISSUE 4 £ 1.5 0 . .. .. thinking, thnifteha
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 .
 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
A li7 r P / ‘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
Hoc-O Trff 2//sJ£ S f T W £■£>✓ 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
-rw c m A S pea
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
w 'T h 'r^ e - C cxif(2 - UP W S
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
'would you blooming ere3 : !'■'
a o.b. .’ine f o o t b a l l fan z i n e . N o t The V iew (1987-) w a s
written b\ 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
M.Fomngton
t M.Ktarchanr 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'.
PB.Shell ^T£P 2
;Edited By 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
.M.Marchcml 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
hB.Sheil Hfc0 z.ir*<c //M youC RicVwr
;Additional Material By: /V.C, W,rn vo^.K. terr p r e s s b e c a u s e of its s a t i r e ’ .
A Morgen H'lMQ TuRfJ oie«- Th C pi«ir
,M.Munson
S.SNnglelC'n PrtCrc
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•Julie Drew vH -'/
"Mandy Jenks 'C
Steve. ienk:s
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you will noil gel any better FACT.
Don 't try anything beyond your & fieAtxrlCr yoUR
cnpoMiieis ana always weai sate tv gear is. AfOcfc TM e tO fTH &CTV,
th(' view>iidthis.'ine arc >>ot nocessaiy ' Hrt*J3>s /v^o 1
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 Chapter 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

ISSUE ONE £1 /€150/TRADE

OSCAR’S EYE

rants, ramBues andirevbk MAY 1992

ISSUE NO. 12a

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1
100 / 101
When Saturday Comes
M E R G E R S : N o
ISSUE FOUR: FIFTY PENCE
T h e S h a n k ill S k in h e a d
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.
The League
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
absolutely the names and grounds of Ihe
teams which ihcy allow to lake part in their The Property Men
competitions, jusl what do they control?
One of Ihe reasons why Fulham are in
Blaming Bulstrode and the rest it
pointless. All we can expect from these people
financial difficulty (apart from the fact that is lies dcviousncss, trickery and financial
Ernie Clay pocketed a reported £6 Million manipulation. And that's exactly what we
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 The Supporters
(see issue 2). So when the League talk about
their burning desire to save clubs like Fulham, The fans' reaction on the whole, was
it would be naive in the extreme to lake them positive, coherent, peaceful and passionate,
at face value. They arc committed to a policy and this is what got the press on our side. But
of so-called ’natural’ wastage, whereby no where no independent supporters groups
club that goes out of business will be replaced existed, (i.e. Q.P.R.. where the Official
in the League. The fact that they were shamed Supporters Club supported the merger) they
into action on this occasion doesn’t guarantee had to be quickly set up. The strong
by any means that ihe same will apply in the 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 H ib s S till on th e F rin g e
(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
B r i s t o l : R o v e rs R e tu rn ?
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
J im m y H ill " N o t p o w e r -
two sides of their ground was hardly an
attractive option at the time. In the recent c ra zy " ShockI
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
D ix o n F o r A r s e n a l?
giving Marlcr outline planning permission to
redevelop Stamford Bridge. If the present Ju ve n tu s ? B a rn e t?
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 PLU S: F o r e s t ...
their priority is to keep Wimbledon at Plough
Lane, although as yet (at the time of writing)
their committment has not been as public. R e a d in g ... G e r m a n y
Fortunately in Wimbledon's case there is the
added safeguard that the ground is officially
designated for recreational purposes only.
 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

THROUGH THE HAIL MARY!

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CUPPERS RULE
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CUPPERS TO
THE PLAYOFFS
PLUS

MARCH
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FINAL FOUR
TOURNAMENT
LARRY
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BYE BYE ALDO L. A. Clippers £2.00 k

issue 8 :
w a fjr ,n /e . f o r u ie
d
Feb ’91

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 Andy Paton Steve Kirk
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
No.8 the “ m y left fo o t99 cup special 50p
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 .
 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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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

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

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
b o r e d o m
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
i m a g e s
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
:'4
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 .

S K IN S

Inside:
Combat 84 4 4
Boot boys
Skrewdriver
Soutliend’82
Skin Pics
& more

S tro n g & Proud

N O SEB LEED O
T H E JTVUEPPNDENT V O IC E O F R O C K A G A IN S T FASC ISM
is s u e * 3 / A u tu m n 97 300Pts/3S/L2/4DM/l b l o w jo b ’ SKINHEAD LIBERATION ORGANIZATION
WITH

AND
M o 2
UNITE FOR UNITY

F IG H T

FEATURING:
84
CONDEMNED
T h e U n ru ly
T h e T e m p la rs
R A BA U K EN
F A S C IS M
The Pride JSattlc Crp 30P MORE OVER THE TOP ARTICLES ON RACISM,
SEXISM , HOMOPHOBIA AND LOAOS MORE.
INTERVIEWS WITH ELAGGERS I . T . A . ,
Sccooters Close Shave's farewell gig P le a a e n o te t h l a f a n z in e MCLOTOW SOOA, BULLSHIT AND Th€
may c o a t a r o u n d S 1 - S 1 . 5
#A<I M in e r s - tIO fJ t ~ f» £ A z i - C^PtAin when a o ld o v a r a a a a due
SPINNERS. POEMS, ART ANO LOADS
MORE TO KEEP YOU HAPPY FOR A
t o t h e e d i t o r L a i team
S E # *iB l£ - G A #cS t e r ^ - B * A G G ^ f lT'A ~ a n d much, m uch m ore_ u a in g d i f f e r e n t p r i n t e r s .
FEW HOURS. BUY I T NOW!
106 / 107

number 1 No 2 ^Op
april 85 MAY 85 No 3
30p JUNE 85

UNTOUCHABLES
THE SCENE
THE WAY OUT
Clubs

lots more!!

..clu b sP

m y/puns &

PAUL BEVOIR
THE BOSS

'* * , a 8 ^ -- V YEH YEH

...cvit/i \
cNt O ^ S-
SCENE exc£ouiiit& i "
^ e ^ VCN
...clubs,gigs, news,
^e 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.
ir

108 / 109

$1.50

ISSUE
_ .V TWO
Ij7fn?l!1^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 ................ THE S Q U I R E I NT E R V I E W PART TWO................... VE S P A F 3 ' U .

SC TERS ................ C L ' 3 NEWS ................ THE MAD MODSTSR PAGE ................ QU
NI NE 3EL0W ZERO ................ CH S ACTI ON ............... HERMAN’ S HERMI T* S ____
SCN/ LE FILE ................ DUSTY S P R I N G F I E L D ................ VI EWS AND NE-VS ____
CHA.V:.-: ................ r’AN Z I N E S ................ THE DOVER S T RE ET STYLISTS ...................
^ V.AL • FEMALE FASHI ON ................ P CACTI AND J AM E S SCO H E R S ....................

•TJU£ TIMES*ANTHONY NEYNKLL INTWVlfcV'THANORE PIX*THK BLADES*

• -ft ,r -

_
 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
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.
 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

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
 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

*ACE OF HEARTS Box 579, Kotmo*e S t . , Boston MA 02215

♦AMBITION Box 3514, WankLngton V.C. 10001
c/o 2775 E. B a n k e r I n d u i ^ 0*. Atlanta 30360
♦ARMAGEDDON
f t II020 VintuAO. B lvd. S u i t t III S tu dio City CA, 91601
♦BAD T R IP
♦DB 452Mo'iltand Aue.. N.E. A tla n ta GA 30307
*EAT 400 E w e x St. Salem MA 01970
♦ENGRAM P.O. Box 2505 S e a ttle . WA 91)01

319 E. BKoaduay Vancouver. B.C. Canada

P.O. Sox 22 Sun VaJUzy CA 91352
*HUNKY RECORDS Box 1217 Milwaukee 1)11 53201
*HYRAX P.O. Box 274 Old C h eliea S tn . NV NV 10011
*LAFHS c/o Box 2J53 Paiadtna CA 91105
*LUST/UNLUST P.O. 8ox 32OS &uu\d C en tra l S tn . NV UV 10163
Hi -H e ** - >‘HUTE:

♦MYSTERY TOAST Box 195 Saratoga SfVtingi UV 12166

*99 99 MacPougal S t. NV NV 10012
*011 TASTERS Box 92523 Milwaukee W1 53202
P.O. Box 8333 P h ila d e lp h ia PA 19101
(f^ ^ cru^ ' W ^ € n c <n ^ j e _ *0N/G0-G0
*PARK AVENUE P.O. Box 14947 P o itta n d OR 97214
*P0SH BOY P.O. Box 38861 Loi A n g e l M CA 90038
^QUINTESSENCE 1869 111. 4th Ave. 1/ancauveA 8.C. Canada
o ^ l j j<r\ S u b v e rs iv e , *RED 810 Long&itld Rd. P h ila d e lp h ia PA 1911*
■‘'ROLLIN ROCK 6918 Peach Aue. I/an Nuyi CA 91406
yefsfec-h^ h^d~o /) /y ^ y^tc- •SHAKE I S i 5th Avc. W NV 10010
*UPSETTER Box 2511 LA CA 90023
/nu i, i> / V j r i ^ 'j J a + d S e n d ** *SST P.O. Box I LauMdale CA 90260

it /h n ' f r f -fo'|»7\€ w fft money' ^ncK

♦SUBURBAN INDUSTRIAL 1211 Loma. V U ta Long Beach CA 90813
fh o M fit firWY - fr t- tr J h p /a./M'K ♦TRAP Box -12465 P o l a n d OR 97242
445 O liveA Aue. So. fUnueapotii MM 55405
r o c ^ W j f / A £ V ’ll r r , nrj £ a ° I ™ Box 2511 L.A. CA 9002J
f 0 l « O < --- - *WH|J
tu n 11 eEACl
a o i.f nEcnnn1: W C.t<’ . "/Mhimif i- ' '-r
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

Probably anyone reading this w ould army is the most dom inant, the
agree w ith me when I say Ronald most obvious scene in the American
Reagan is not a good Am erican. He m u sic u n d e rg ro u n d . H a rd c o re is
allows large corporations to run in te nse , honest A m e ric a n m u s ic ;
ra m p a n t o v e r o u r e n v ir o n m e n t, burning red, white and blue images
huge tax breaks for the rich while confronting specific American prob­
stabbing the poor in the back with lems. Anthems like "lustice lo r A ll,"
cuts in social services, and then " Six Pack," and "Guns or B allots,"
spends $55 m illio n to k ill teenage band names like the Dead Kennedys,
girls in t l Salvador. The M inutem en, and yes, even )ody
Foster's A rm y. Does th is so u n d
So what are you doing about it? British? NoI
Dressing like an id iot and buying
records by four people who get up Things arc bad. America is falling
on stage and sweat a lot. If all an apart; the econom y is collapsing;
alternative scene does is let you Reagan is a puppet o f the rich and
forget about the real w orld for a the Pentagon is going to blo w life
couple hours a week, than it's no as we know it in to fragments. We
b e tte r tha n T.V ., A M ra d io or must react. American culture des­
Harlequine romances. The tim e has perately needs to confront American
passed where we can a fford to p ro­ problems.
vide a place and a means for people
to forget. We must rid ourselves o f Hardcore America is organized. i.A .
the things that h o ld us back from puts out a new com p ila tion every
b e in g t r u ly a lte rn a tiv e . O ne o f tim e I open the mailbox. Posh Boy,
those things is alcohol. It is provided Happy Squid, New Alliance, Bemis-
for us by a leach-like industry that H o w d y n e ig h b o r. brain, SST—a ll working on organ­
makes a few people (filth y ) rich iz in g tee nag e re v o lt. D .C .'s D is-
P u t d o w n th a t
while num bing and anesthetizing cho rds — savage a n d d e fia n t. In ­
the rest. When bands play in bars, g u n a n d p ick u p credible. Chicago's Autum n records
not on ly do they segregate the th is m a g a z in e . has released the first regional com ­
scene by discrim inating against their pilatio n to emerge from Chicago-
younger fans, but they teach their S U B / P O P IS A M E R I C A N . W E Hardcore. I ouch and Co fanzine
younger fans that it is cool to go to lust re lea sed a c o m p ila tio n o f
A L T E R N A T E B E T W E E N A C -60
bars and get drunk, and thus support M ich /O h io bands—more youth ri­
Reagan's best friends. A lco ho l is just C A S S E T T E A N D A P U B L IC A T IO N . ots. Noise fanzine (O hio) is collab o­
one way they use to oppress the W E A R E IN T E R E S T E D IN A D E ­ rating w ith Reno, Nevada, and p u t­
p o p u la c e , to fu n n e l you r h a rd- tin g out a g re a t-lo o k in g trans-
C E N T R A L I Z E D N E T W O R K O F
earned money back in to the hands regional cassette. Teenage America
o f the few. What we need is a net­
R E G I O N A L A N D L O C A L B U M S in actionI
work o f all-ages perform ance halls W H O R E F U S E T O G E T A N
where music can be experienced H O N E S T J O B . S E N D U S Y O U R O f course, any strongly defined
free of all that corporate bullshit, movement is going to be g u ilty o f
I N D E P E N D E N T R E C O R D S , T A P E S bigotry, and Hardcore is no excep­
where the audience isn't segregated
by age, and where the state liquor A N D M A G A Z I N E S . W R IT E : S U B / tion. Bands are either Hardcore or
board (Police) w ould have no busi­ P O P C / O L O S T M U S IC N E T ­ they suck. I low depressing. Gang
m entality is no substitute for inde­
ness interfering. W O R K , B O X 2391, O L Y M P I A , pendence. Like Black Hag says:
W A 9 8 507 . "Think for yourself."
So. Don't just sit around picking
your nose. If you're a musician,
when you've got the audience's G R A P H IC S , C O O R D IN A T I O N . .. . I like Hardcore. I liki* the rush and
attention, use it to do something I like the attitude, lu c k A uthority.
B R U C E P A V IT T I hate war and I h.ite big business
other than getting a hard on. If you
edit a fanzine or do a radio show, F R I E N D S A N D N E I G H B O R S _____ ,md I'm glad that other people feel
you have a perfect opportunity to C A L V IN J O H N S O N , J A N L O F T - the same way Isn't it great that not
educate people about their govern­ .ill teenagers aie sin king bong.s on
N E S S , T U C K E R P E T E R T IL ,
ment as w ell as their music. Don't the wav to play Pac-Man at some
G A R Y M A Y sick zoo o f a shopping m a ll* R l^l
think you can't make a difference,
because you do. C A L V IN F I N A L L Y P R IN T E D IN F E B . 1982 A h()V I BRUCE
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

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

W h ip p e d C re a m
NO. 5 SF k

MINUS zero records

071-229-5424

BLASTER! ...RIDKS AGAIN

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

’c h u m m y b u t e a r n e s t*
Includes archive Tape feature...
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. 10
StrandrattUMrnn Icn Him lAda,
Lennart Peraion
ropptot aa
Heoensionor
7aldnr AtcrutiilvnlnKan 84
MuvbtlU, HolllM. Wanda .lucknon,
Tht Style Council. Harry Whllv...

CALLING DR CRANKLIN!
Spring '89

P eter Zarem ba

FANZINE
The A nim als

Evan Johns & The H-Bombs

Huey 'Piano 'S m ith & The Clowns

Cenedlaethol Cymru
Reviews

Commodity No4

W fe jti
m m
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

■ jf c S 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,
lift 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

SI 1 3 3 S the m u sical s c o r e ’

by H o a x ’
. D a t a k i l l (1989-n.d.) w a s an
indie music zine wit h a Welsh slant produced
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 FA R M
FAIMZIIME

pl us S L A D E , G O O D RATS.

WHITE 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 )READ VERSION
FULL DREAD VERSH
MorrVZine
E1-50 DREAD
&FRED 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
A m y L i n d e n on
B ack in g Em m ylou Harr is in th is issue, M o t h e r h o o d an d
Glen D.Hardin, Joh n Ware, B illy S w an, God
Boger Bush & Joh n S tew a rt. ZOp A lb e r t
B o u c h a r d 's
Fave M other
F e m a le of t h e
D ru m m e rs Electric Bass,
Car ol K a y e
' tfCAL IIPS
U\DER S500 oo

O ^esU 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 i'S W
Ltvtl.

TTKE W
T H E 0 ETft BflNO SHITUOROS OP U v i REVIEW*
fWO THE TRUTH R0OOT TUO'/ FiNNE&flN
THE UN6EUEVR&LE TftOTW, sTgR£OPHOH\tS,
Sf>\ftiTvJftU*.eO RNO URUSEi IfiTSUftfi
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 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

drama. But the people W q never get the egomaniac he is 11)

* + + * * * # * + # + * * + + 4
* * * * * * * * * * * * * * * *
* * * * * * * * * * * * * * * *
* * * * *
--* "* ♦* "^* ' ** * * * ** * *
■till have actual family or frienda "discusses" (I use that
emotion* end responses to being on term lightly when it
personalitlea. the show. Everyone just cornea to Puck) 90210
Now lest you think acts like there's no with the other
I'm totally hyping up camera. That's not housemates, and he
the "realness" of the real. I mean, I can see accuses them of being
show, let me tell you, the characters getting *paycho" for actually
* I'm quite aware that uaed to the camera caring about Brandon
* * * * the editora are very eventually, but not Walsh. The thing is, I
* * *
selective about what outsiders like frienda agree with him. That'a

* * * ♦
4 they ahow-the final
product is by no meana
a fair, or fully
(like Rachel's giddy
frienda from Arizona),
business aquintences
sick when people get
all worked up about a
character on a show and
* * * *

m m lM i ♦ * * * balanced representation (like when Judd goea to talke about them like
* * * * of the housemates' LA to pitch hia they're real, is’ nt it?
♦ * * *
«
daily lives. We never cartoons), and family But what about if I
♦ * * *
* * * * get to see any of the members. think I care about the
* * * * * * "characters" talk about Granted, the shows are Real ttorld cast? Am I
* * * * * * * * * the fact that they are all taped before they fucked? To me, are they
♦* ** ** ♦* ** ♦* ♦* J*. n
* j♦ looUL
icc ir */ * ** ** ** ** **
* the Real World, that begin airing, so people, or are they
* * * * * * * * * * * * , . , . * * * * * * they are going to be on obviously there's not characters, no
* * * * * * * * * * * * * * 4 i>\nri * TV every week, and what going to be a high different from Brandon
* * * * * * * * * * * * * * * A r |O U i * that meana about how recognition factor- Walsh? I don't know
* * * * * * * * * * * * * * *S # * they live their lives people aaying “ hey, t h m . . .and somehow I'm
* * * * * * * * * * * * * ^ * * ^ t Ju l4*
and (inter)act in front you're Rachel from the not sure if they fit in
of the camera. Real World'-cr a high the “ real person"
* * * I mean, they muat family reaponae factor­ category or the TV
* * * explain why they are like "Pedro, what do character category.
* * *
♦ * * constantly being you mean you're engaged
* * * videotaped when they're to Sean?"
♦ » * 1 waa never a fan of going on job In one of the first
* * * the New York or Los
* * * interviews, or going episodes Puck (what a
* * * Angeles Real Worlds. into a restaurant. I've confused mess of an
* * * But for the past year,
reality never even seen a
* * * everytime I flick on stander-by make a face
* * * m v , if I catch a week,
and TV. That
* \* * makes me feel or ask a question. What
glimpse of Rachel, but I don't else aren't we getting
creepy. But somehow, I
,% V Cory, Pedro, Judd, really reiate to the to see?
♦* * Puck, Mohomrad, or Jo, charactera or
still can't Btop
. * * * from the Real World, storylines-elthough I
watching. ••• is a
¥ * * I think part of the
San Francisco, I find have to admit Donna's
Halve it virtually painful to reason might be that I
attempted-rape scene
I * * * change the channel. I'm know (well, at least
had me in tears this g illig a n ’s is L a n D
* * * addicted to the Real spring). I’m pretty sure) that
t * * » what happens on the
4 4 P 4 tfiffi SfMmtm tK wififtrfiltti World!I But the Real World is
It* weird because show is real. No one
like watching actual
usually for me it'a people...sometimes like
wrote a script for Rip
hard to get emotionally them. Sure, the
watching myaelf. I feel
Rlt M»»Vfe&eto OatyxarPilm T involved in fictional producers clearly chose
for the “ characters."
TV drama, like 90210. people with
Ood, that scares me:
(Don't get me wrong, I personalities that
.* :* :* » p that there's not a
watch it almost every might clash, and
k 4 Women in the Director* s Chair clear line between
therefore cause good
4 4 4 6
I I M
4 4 4 . . .

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
[ BBUCELEB 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

ISAAC of T V c u l t u r e ’
s u c h as ‘
, co n t a i n i n g pithy phrases
We a p o l o g i s e for t h e loss of m e a n i n g .
HAYES 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 L
A ‘ '» ■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
Beouttj in 'Reno, M /
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 Utjy Stars of f/e 70s
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 Youthful Skin
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 5 0 s Vulfj Porn
(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
■Hoiv to Moke Bfecr
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 plus'
Bonnell - K a n g a s , provides insights into daily Music Reviews
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 Mod Lbs!
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 d. i
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 .
 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 Humor Trivia Fun

Chip ’ s
Survival Guide fo r the TV-Free

IW h ite
Summer. 1997
D #t Usuc No. 6

Closet Cleaner
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 !*
♦
/ * -
...And Much More
\ . / I
t•'

/
J V Than You Can Chew
in One B ite !
’ give or take a few

Giant Robot
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!

Impeach Clinton,
WONG KAR-W AI. S U P E R F U T M URAKAM I. TOHY LEUN G . NAKAHASHI’S KAMIKAZES,
Make-Up Tips
GARDENER M ICH AEL LAU. MARATHON ESCALATOR R ID IN G . PSYCHIC CH ILD REN . Hapa Celebs
ASIAN H AIRCUTS. 25 LIFE-ALTERIN G IN V EN TION S. N O T STUFFED ANIMALS Angel Island
MSG Haiku:

cr 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

tit up S B tn n
4 m t n t m t t v
uA IxXjuldlfty- Soum aait Ib&u,

germany
3 dm-portugal
250esc-cote
d’
ivoire
200f-usa

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
$2-france

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
8ff

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.
 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

J k fc .
4 VINCENT Hitt S'
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200f-usa

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
$2-france

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
8ff

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 anarcho-
p 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 Pint Row: Christie Front Drive, Tenos it the Reason
Second Row. John Cougar Concentration Camp. Naked Aggression
p u n k attit u d e . H.A.G.L. (c. 1984-) p r o v i d e d Third Row; Community-based money, How to buy guitar equipment
Fourth Row: Fiction, Columns, Reviews, Comics, ond morel
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.

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 RED LONDON
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
 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 punk-
r 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

Includes ARG Zine #5 - Prisoner's Speak
Time for a change?

_
 Chapter 3 | Liberated Spaces: Subcultures, Protest and Consumer Culture 1980s-1990s

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m a g a z i n e for ‘zine producers, self-publishers,
small press organizations, pamphleteers

Force
Ml IrvllNr'i wattMnf y<
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
(1992—) is a DIY resource guide published by
Ma x i m u m RocknRoll and the A m o e b a Collective,
I notable for its intern a t i o n a l reach. Broken
Rollins Pencil (1995-), out of Canada, reviews
Hawkwind
f ‘\ St Etienne
a lternative publications in print and online
and has t a k e n over w h ere Factsheet Five left
i X Shriekback
Compulsion
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
m m with free classified ads and zine reviews.

After the high point of punk, the 1990s was a prolific period for fanzines
that were politically motivated. The rise of the music-inspired riot grrrl
movement revitalized small press publishing through a slew of new
fanzines, including most famously, in the United States, Bikini Kill (Tobi
Vail, Kathi Wilcox and Kathleen Hanna, early 1990s), Riot Grrrl (Molly
Neuman, Allison Wolfe, 1991-n.d.) and Girl Germs (Molly Neuman
and Allison Wolfe, 1990-92). These and others helped to galvanize
a new generation of feminists to continue questioning, as their 1970s
counterparts had done before them, notions of gender identity, sexuality
and representation, queer politics, multiculturalism and equality with
their male counterparts in the music industry (and elsewhere).
From Punk to Grrrl Revolution?
The riot grrrl movement came to public consciousness in 1991
at the International Pop Underground Convention held in Olympia,
Washington - a six-day festival organized by Calvin Johnson (founder
of the K Records label) and Bruce Pavitt (producer of Sub Pop fanzine,
who had created a newfojori of fanzine, with two issues released as
compilation cassettes). The first evening of the festival was aptly titled
'Love Rock Revolution Girl Style Now’, and featured all-women bands
such as 7 Year Bitch, Jean Smith and Bratmobile. These women
ascended the stage in a collective act of defiance against the dominant
male music industry, especially that represented by punk. As one
promotional flyer promised: There will be lots of time to talk with
other women about how we fit or don’t fit in the punk community.’
The mainstream press made much of this connection early on with
punk,1 while acknowledging that many of the riot grrrls were too young
to have experienced punk in its first incarnation. The most explicit
connection between punk and riot grrrl was through a shared notion
of DIY.2 Punk’s promotion of the philosophy that ‘anyone can do it’ had
prompted young women to pick up their guitars and to rediscover earlier
bands, such as the Raincoats - an all-female punk band and precursor
to riot grrrl notable for addressing issues of gender and image. In the
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.’
fanzine Mental Children (1980), one interviewer comments that ‘the
Raincoats are out on their own, proving that girls can produce vital new
music, owing nothing to anyone else but themselves’. Gina, a member
of the band, remarked that ‘punk wasn’t the final push for me, it was the
initial push’.3 By 1993 riot grrrl surfaced in the United Kingdom with
bands such as Linus, Mambo Taxi, Skinned Teen, the Voodoo Queens
and Huggy Bear, whose 1993 track ‘Our Troubled Youth’ was described
as one of the best documentations of youthful British angst since punk’s
famous Clash album London Calling. The difference, however, was that
riot grrrl advocated a female exclusivity, which was not always present
in the manifestos of earlier female punk bands. These later bands
were pioneers of a ‘Girl Now Revolution’, often meaning an aggressive
display of female sexuality reminiscent of first-wave feminism. Fanzines
became an integral part of the movement.
Personal is Political
Whereas punk fanzines took an authorial position that reflected
predominantly male concerns, featuring groups consisting of ‘four guys
with guitars’ and variously defined interests in anarchist politics, riot
grrrl zine texts often adopted a women’s autobiographical approach
(such as diaries and storytelling narratives) reflecting personal opinions
and aspirations that were by their very nature a critique of the punk
zines that had come before. Sleater-Kinney band member Corin Tucker,
who was also the producer of an early American-based riot grrrl zine,
Channel Seven (early 1990s), summed up her feelings by stating:
‘I choose to write about my life for myself and because I think there is
something to be learned from most people's personal experiences.’4
The importance of the fanzine as a space for a women-only
discourse was underscored by the first line of the ‘Riot Grrrl Manifesto’,
written in 1991, which appeared in the second issue of the zine Bikini
Kill: ‘BECAUSE us girls crave records and books and fanzines that speak
to US that WE feel included in and can understand in our own ways.’
Riot grrrl bands often criticized the motives of the mainstream music
132 / 133
press, in which they were often misrepresented. Corin Tucker reflects
that the entire movement was trivialized by the mainstream press as
‘being a fashion statement’.5 Huggy Bear famously practised a media
blackout, giving interviews only to fanzine producers. Fanzines provided
a forum in which riot grrrls could critique and reject mainstream media,
but also importantly represented an uncensored arena for reaching out
and sharing experiences with other young women.
The personal is also reinforced through the visual identity of each
individual riot grrrl fanzine. These fanzines took the graphic language
of punk - photo-booth images, hand-drawn comic strips, collage
illustrations and cut-and-paste ransom-note lettering-and added
a set of feminist-inspired characteristics, each producer introducing
her own unique DIY style. Producers appropriated techniques to add
a ‘sweetness’ or visual associations of femininity. Kitten Carousell
(early 1990s) used hand-painted nail varnish for the title of an issue
whose main feature was about experiments on animals by the cosmetic
industry. Rebel Grrrl Punk (1997-2000) adorned its covers with
hand-drawn stars and hearts surrounding photographs of feminist
icons such as Courtney Love. The visual thus sanctioned the ethos
that riot grrrls were both empowered to be feminists and had the
choice to be feminine.
Riot grrrl fanzines can be paradoxical and often iconic. Graphic
devices that are considered ‘feminine’ are pitted against those that
are found to be ‘masculine’. Take, for example, the adoption of the
Japanese-produced ‘Hello Kitty’ as a third-wave feminist icon. This cute
illustration, created in 1974 by the designer Ikuko Shimiz, provided riot
grrrls with a symbol of femininity and at the same time of commodity
fetishism. Within the context of riot grrrl fanzines, Hello Kitty is a
tool of cultural subversion signalling the desire to protest against, but
equally to reclaim, the term ‘girly’. Hello Kitty is re-contextualized as
simultaneously feminine and radical by means of a post-punk fanzine
aesthetic of high-contrast photocopied imagery, degradation of tone
into unreadable areas of text, and collage-like layering of cut-out texts.
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.
Borrowing from the M ainstream
Such an approach continues through the way in which the format of the
riot grrrl fanzine draws from the conventions of mainstream women’s
magazines. First, riot grrrl zines draw upon mainstream media imagery,
much of it literally cut up from newspapers and magazines. Secondly,
riot grrrl fanzines often replicate the content format used by mainstream
girls’ magazines, such as review columns, readers’ pages and feature
stories. Yet, unlike the readers of girls’ magazines, the riot grrrl
producers are in a proactive position of empowerment. They operate
outside mainstream fashion and lifestyle consumer culture, often in
direct opposition. Lucy Sweet, writing in her fanzine Chica (2001-c.
2004, UK), announces that ‘there’s something about the superficiality
of a woman’s magazine I really enjoy. But boy, oh boy, they are just so
frustratingly predictable.’6 Chica’s layout conforms to the conventional
divisions of a mainstream magazine with The Features’, ‘Regulars’,
‘Editor’s Letter’, ‘Letters Page’, ‘Horoscopes’, and ‘Stars Letters’. Its
strength, however, is in its ironic intent (such as in spoof columns like
‘Slut in the City’), where Sweet draws inspiration from ‘having a bit of
old-fashioned fun’ in writing and the cut-and-paste imagery from 1980s
Jackie annuals (Jackie was a best-selling mainstream girls' periodical
in the United Kingdom, subsequently subjected to trenchant feminist
criticism). Sweet acknowledges that ‘it’s got a kind of knockabout,
cartoony feel to it, and it’s very rude, with an anti-celebrity slant and
lots of crumpet and swearing. It’s definitely no Glamour and it doesn’t fit
into your handbag.’7 Fanzines thus actively engage with popular cultural
texts in much the same way that punk did thirty years earlier.
These fanzines never forgot their second-wave feminist
predecessors. Riot grrrl zines form part of an established feminist
publishing history with forerunners such as Spare Rib (1972-93) and
Shocking Pink (c. 1982, 1987-92) in the United Kingdom and Ms.
Magazine (1972-) in the United States that were forums for raising such
issues as equal pay, child care, health care and anti-ageism. Spare
Rib emerged out of Britain’s counter-cultural underground in 1972,
—

Chapter 4 | Girl Power and Personal Politics 1990-1997

inventive
L-.-.hlee

.SOLAR
CULTURE

TOOLE

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
from a Filipina/Asian point of
view. The Pretty Ugly Collective
in A u s t r a l i a produced Pretty Ugly
M r n m i d
(2002-) in the hope of 'inspiring
you n g w o m e n to write z i n e s ’. It
FftrtZANt W V T H m fVNNttS 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.

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becoming a vehicle for the women’s liberation movement. This second-
wave feminist magazine saw its founders, including Marsha Rowe and
Rosie Boycott, focus on the ‘personal being political’ by covering such
topics as sexuality, lesbianism, masturbation, women in industry and
equal working conditions. Shocking Pink announced its remit was
to ‘counter the propaganda of magazines like Vac/c/e’ and to celebrate
women’s sexuality - whether straight or lesbian.8 The graphic language
of each publication built upon a distinctive DIY aesthetic where
handwritten texts and stark black-and-white photographs featured
within a layout more post-punk than glossy women’s magazine.
Perhaps the most significant aspect of the graphic language
employed by riot grrrl fanzine producers is the use of the three ‘r’s in the
revamped word ‘girl’, in an attempt not only to reclaim the term but to
reinforce it through embellishment. The world ‘girl’ is invested ‘with a
new set of connotations’, which now may be read as an ‘angry feminist
who relished engaging in activity’.9
Historians have recorded that the term ‘riot’ originally derived from
a passing comment, ‘We need a girl riot, too’, in reference to 1991 riots
in Mount Pleasant, Washington, DC, sparked by a shooting amid racial
tensions.10 The term ‘riot grrrl’ is also reported to have derived from
Bratmobile drummer Tobi Vail, who wrote about ‘grrrls’ in the fanzine
Jigsaw (1988-). Whatever its origin, the term graphically comes to life if
‘riot grrrl’ is visualized and read as an aggressive-sounding ‘growl’. The
multiple ‘r’s have a strong impact. The word is simultaneously read and
heard. Writing is treated as ‘visual text’ - the way in which the forms are
drawn facilitates communication of the riot grrrl message. Equally, ‘grrrl’
as a word is symbolic and is interpreted by different fanzine readers
and producers to mean different things, thereby catering for (and
representing) the range of voices and audiences riot grrrl embraces.
Girls Grow Up
In 2000, riot grrrl supporters organized the first Ladyfest convention
in Olympia, Washington. Ladyfest was given its name as a way to
Chapter 4 | Girl Power and Personal Politics 1990-1997
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.
reclaim the word ‘lady’. Allison Wolfe of Bratmobile remembers that
founder Kathleen Hanna remarked, ‘We will have to find a new word
when we get older and become ladies.’11 Although riot grrrl was initially
seen as a response against the patriarchical attitude of the mainstream
music industry, it was symptomatic of attempts to empower women
more generally. Ladyfest Glasgow (2001), the first European festival
following the Olympia event, similarly aimed to reject the conventional
role models offered by the dominant cultural industries.12 Lee Beattie,
one of the Glasgow organizers, explains: The whole ethos surrounding
Ladyfest was to take the ideas away and make them relevant where
you live... Ladyfest does inspire you to start changing things yourself,
no matter what the scale or size.’13 Ladyfest provided opportunities for
fanzine producers to sell and exchange their zines. At the same time,
spoken-word artists and, in this case, menstrual activist Chella Quint,
of the fanzine Adventures in Menstruating (2005 -, UK), had a stage
on which to share their fanzine stories verbally through readings. Since
Glasgow, these primarily women-only festivals organized by volunteers
have taken place all over the world, showcasing bands and female
acts as well as ‘creating a space to explore ideas, network, meet’,
and through such efforts strengthening the riot grrrl community.14
The idea of community is explored in the following chapter in
relation to the way in which digital technologies and the Internet have
provided fanzine producers with new opportunities to disseminate zines
on a global scale. It raises the question of the status of the print fanzine
and where its future might reside. For riot grrrl, however, the signs
are that print zines will continue to flourish. The format of the printed
fanzine as a tactile and immediate form of communication reinforces
the personalized nature of riot grrl narratives. The riot grrrl fanzine
is an intimate experience of reading, in the negotiating of public and
private spaces, but also in the building of a social relationship between
producer and reader.15 This also explains the continued popularity of
the Ladyfest events; at the time of going to press, Ladyfest is set 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 # 0UR,HnsTS» •;
on the eponymous band (quote: ‘three of my :i*'v GRBRLZINEjjg? V;
best friends are in Bikini Kill and we made
______ r u t n WORD '9,
this fanzine together... and we all play music *» uaNO «*• C ljg v ? .
together...’). Leeds & Bradford Riot Grrrl!
(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 ^^ <
You don't have to lead big marches to be politically
\) PRICK
politically
you don't have to carry every sorrow of the world on your
shoulders but you can make a difference.
active

Here are some easy

ideas for direct action in your own neighbourhood.
| I I I I W I ! ■ ! ■ H

1) Defacing hoardings, writs something succinct and vitriolic

with your trusty cfc free spray paint. What is really good IS A POWERFULUNJUL
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
IT CAN MA KE A GIRL FEEL GUILTY
2) Fly posting,
for free
if you can get your hands on a photocople'r
print a load of posters saying whatever is pissing FOR NOT SLEEPING]
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 ? WITH A m I
3) Ripping down sexist posters, gives great satisfaction.
I did this with some friends in Sheffield cos the Roxy were
GUILTY FOR,
advertising a strip night with posters of girls with their tits
and arses hangin out. ^ S> ^ ^9 BEING
A) Going to shit sexist movies like Body of Evidence and ATTRACTIVE
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
GUILTY FOR EVEN
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. URTING
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
H i SHOULD
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^_ FEEL LIKE THIS?
campaign.

DELIGHT
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. ^ _ _

t 0 v e € ( / 2 i a »

.
 ^Dancing Chicks!^
Issue Four ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ One "Pound
rH«*.

Iv.

a
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IV?V!

fACK CAT
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RIOT QRRRL STUFF ,

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R E V I E W ’S !
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R | t e a m o r e s c h ...
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■■" -I

IT H E R ... S T U F F
 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
* We are currently putting together a zine and
time and n ow fea tu re s a co py of
our flier, a guestbook, mailing * need articles & artwork from all you w illing
list, poll and some g reat links contributors. We want to make sure if
(not to m e n t i o n e ve n m o r e info & represents the views o f as many London girls as
news) . You can also email us (and possible. There isnt a deadline yet as such, but
we 'l l even r e p ly s o m e t i m e s o o n i s h we are hoping to get it done pretty quickly -
- w h o o h o o !) . Its all at: *'
* 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
* rants, etc is welcome. You can email any
email us at: riotgrrrl@protest.co.uk * questions & zitie s tu ff to us. Thanks!

SPREADING THE WORD * GIRL GIG

*
We have an a m b i t i o u s p l a n t:o put
Currently we try and spread the word about Riot
on an all gir.l ba nd s gi g this
Girl London by posting on websites & mailing
* summer. If you c o ul d h e l p w i th
lists, but most im portantly by giving o u t fliers. * i d e a s / m o n e y / b a n d s p l e a s e do!!!
We have a set 'manifesto' that is on the fliers &
*
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 A s this is su p p o se d to help n o n -n et
some, or make some yourself. We are also * p e ople, w e know It sucks th a t w e d o n ’t
looking in to making RGL badges & stickers, but * have a *snall m a ll’ a d d re s s . W h en we
aren't sure exactly how to do that, or how to * have som e fu n d s a P .O box a d d y w ili be
afford It! i f you can help, let us know. © 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?!

^ t V . i5 o ^ d p ^ S 'S
 o,->
v.cr-*.
':® v " .
- .• f ;...V
______

jlgsaw num ber fiv e

(91), tolly and Alllson (
- — i*., snook things
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. SiiiSL

was bom. Kathleen (Bikini Kill) took it a ntro further^ Li?:*££?

and %w talked about f«ral« mno w (oc U d ,^T u , ^ hL’i l

..
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*° ywt“ *ln«i
fBntlno' »TOcan xerox
no she “O”3 Stiiliw (ln inD.C.
it list it nUI
™ii 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
ronical pi vr*n, md bring up issues £
your fanzine to cn tho nail In? list,
I with your address on it to
plea

RIOT (WTO.
c/o The Dnbassv
time donuts 32H 19th St. NW
Mashlngtcn DC 20010

m m

81®
Jr»VHeft*. 1.

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.
 "townl *i)) nt£jj
^ * 4 ^ f l * H o ffs I Sj>qjOJt + -SPttt ^ d C u la r ^
H fc t ? o * K t y r '< * W k I

( j i |> i \ ^ v^im *dV|J>ifcje{ ' y a h b f f ij o ^ UiCU^l r * r

 Chapter 4 | Girl Power and Personal Politics 1990-1997

L-O.y ic\ ( ^ j _________________

j l 6 r\v e to^ r o m e o g j

P^ktnoej
«Sfc fCi?

rne-^'irrr^E T fe r W ittie r com^tocto 7n& pfllTtW /

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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

AG£AMEM£MW£
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ong CAGED: the B east; i JOLLYImlc plccr

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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 (1993-
99) 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.
This issue is safety-pinned together, and has
J W W t IT N°W a cover f e aturing a r emarkable h a nd-drawn
illustration of the ba n d L7.
Chapter 4 | Girl Power and Personal Politics 1990-1997
 m
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them for two weeks, which It the minimum time they reaulre to benin
::vfL;^ f^vw.FoR ^ MiilftmEK eif?M3rscrt»u a*st,0N m activating changes In the brain's serotonin. Already I have noticed that I
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■•■■• W ftW M , *Af^BE. ) WOND0? WWIVftfl tttE VTCE OF THIS body as usual. I havont been picking fights with my
boyfriend, like I used to. I don't feel I get nearly as
fteipE w \a S fa t t w o a m iHMptWioN
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the the abusive «.a,
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only thing I1a^ *Mfl° the
nr ^ abusive
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confusing. When things get all fucked up, what I nonn_
confuslno.
^0RT,1WS FTtOBtGVA OP VliNE IS NOT Is run for a razorblade
razorblade and
and a half-gallon of Icecrc’arru!
Everything
........... . IS absolutely fucked up. But 1am not hunary and
. ----- . E'l® aoiNJi to £tD CoMPlEIBi). I don't feel like cutting. What the fuck Is this shit? What can I
# *1 a u g u s t/ s c ft \ » P rx>WM i W W W tWrt IF/WHEN i m sa^iyjs s x U j r o r "M “ “ ■WB*' “e B*“ a° °°m “

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Is to It. I hate this, I feel so fucked up right now.
m > fWsC*| For W E FccOSi-fEtMKl^ -ftVrt CWJ WCtc-
1 accustomed. It Is not the safest way to go through life, but I know
%tKRT ft BiNfeE. 1 under,tJnd how t0 dcnl wl,h '-cling like shit. My self-identity
(V\)6-U (AonC- + bloody) £ it so Focwnc, t o r me t o lMWiME ee\ N & fl«E
now that I have a brain that processes thoughts healthfully. ) Idea what to do with myself

t; t f WftivJei. toffitiMES i i COOlb BE AN Lt f°°haSbC

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me things I have done to protect myself having been destroying
! V400VC) WSi^NfteuJ fJECMiRE UEJER WW\N6t iN ^ ftME
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Who knew feeling better would feel so fucked up.

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 Chapter 4 | Girl Power and Personal Politics 1990-1997

G f l P T e f l i ( Q ife id o te l o l & b i t n ?

A ,
CME2 NOUS

U -Ifas C a t- d W t a - vfes C .p n « 0
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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 F a m o us Artists Course

Lesson 13 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!
PirateJenny
Asaucy little zine for your inner feminist revolutionary
1 L fs n a #4 liU K M m ir / fa f i I n iM H H a ’ S 1 K /4 W
nancy-nantslavenderandsott-butchblue
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

f t Ia n H M liter W ir t
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).
148 / 149

3A D iU m D iA l
R A D iU m D iA L

Iscarce
lavemeA^j
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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 long-

running 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-and-
roll content was a constant). Like man y zine
producers, Jasiewicz ended up writing a blog, Spring 2 0 0 3
also called ‘Radium Dial’.
—

Chapter 4 | Girl Power and Personal Politics 1990-1997

—— » -----1 ■ i ____ ________ ;------m

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
13 How can you go wrong? H
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
.-'-V
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
i 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
I if something happens, great, and if not, that's ok too.
Jesus God. Really shouldn't write editorials while tipsy. Will
when I make the firs t move...
ever learn?!

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.’ As Cynthia HEimel stated in "Sex tips for girl s ", cloth-
es 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
stroking peopltes hair
coffee Z;..' choice for bras? it shows through almos’t everything,
why is white worn by so many women? it gets dirty anal
lying in bed aliraay reading goes grey after a couple of washes.why dont we all
telling teachers to fuck off buy flesh cofrloured support bras, like our mums do?
whispering "bollocks"/"that dress makes you look fat" into
i think its because girls thiks about s e x ...o o h ..85%I
the ears of BA fashion students of the time, (or is it just me?) and wearing satin
cats ;md some dogs 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.ysterio-
us,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! ir/illif! Inni.rviiir. I’unii. Tm»l.

nlfirk: Subliini'lv lmm>. Wimtlng
n u im liiip . Kemlv Irijih l itim !i. Kx|
bad things ___________ ________ ___ __________ f t tu t: S |)« d y . I i u u iiiililr . . i n i - n i t
I’hivuuili*. dieW.ri.... The oil..-
W hen ,1 hubs w n it» n i l . • h r m m
fuckers who mosh with lit cigarettes , % j F tlr liM it t H oi bunh’ ll li IuiIh*. £»*
patent leather airwalks.first appeared around april fools1* P in k : Pla yful. AIidim i iniincenei Tin- i
day> funnily enough. rlee|i*'r •Im cli’ *. >.'i-i.ilN w iili im; hlu clt I

people who disrespect the zine.its not a b eer matT§ru- "le rm ile Iriiin plH .”
liVlii/f; IViM'lital. M-in.iiiv.1 m-lr-l..
i y o u cunts. | S iililh ' In l l l r |h»itil n f Im riiif*.
%§Italian tourists with EF rucks aclcsTJ i'iiIhi F lii'lu iin iililr fun. Nui •
people who stop suddenly wheni youre walking behind themT] | 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,
all the blokes at Blow Up who dance with their elbowsj
IN a v v him* i* u m i-l— so im r iftiiiiig 1ml
stikhing out.and they h ave very sharp elbows,
lniit. il nmlil lii* i-liuMnhl-rwh lik.- ri
serpents I P m u lii Alwity. lli.> liHikunmiil. i»'v«
1 Yvllm i'S H.-.iiii iiiIii i-— . 1.1111 >.m ilun-.
V
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.

©trvyv ^
C hL C

" - -Jo)

I VTEPHWIE DtBMi. * ow. i=A»v»U»A rtVilN

152 / 153

a w s B M B in a rs .
' b'
a »k * g r a ^ s
V e ^ ta n c -e - ic p o l i t i c - " ■M L • NUMBER12

1w' \ % y
H
n a « # ^_ ■••«g*w.;
■■ ± - 3•.
4
i.ov* Rote Zora
7;u«.vu r;4\Kvjv • C
;•i!'»u
■:j»Vi* R]3MM .o■*«.i<«9.■.■••, ..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 • %

_
Chapter 4 | Girl Power and Personal Politics 1990-1997

‘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.
 Chapter 4 | Girl Power and Personal Politics 1990-1997

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

p re s e n ts into live performance. Period; A Menstru-Rama!!

(2001), produced by the Las Sin Fronteras
riot grrrl collective (based in Tucson,
Arizona), used the fanzine format to document
m enstruam a! m enstruam a! workshops. These events were a combination
2001 2001
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
m enstruam a!
Menstruating (2005 —) as a text for her comedic
m enstruam a! m anstruam aL
2001 2001 200f 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 AM ONG C O LLEG E G IR L S —

99 OUT O F 131 REPO RT N O C H A F IN G

W IT H NEW F R E E -S T R ID E M O D E S S

jjlrlt frrnn rwwt In ma»t jwntlv learned xmir-

llimjl 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 That hideous feeling o f panic
with their rrgtilar napkin In In nnt a nr», improved
rujiliin—f'(rNSfn.fe Mnltn. — now ended by the new
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
“ CERTAIN-SAFE” MODESS
rKnJbig "iih Frrr-Siririr Mivlrxi. .! REAL NEWS! ll»e combination of all ihnv
•Urtlin^ duiu liie inveutio j;irca (uiiiplclo pruUfliun.
ipkuia dnpoaabli Teal th u throm-tcuy p ro te ctio n !
Th* w r»i of iho chaf»-frai comfort «o man* enUr-ge
MudmU found in /"r»csS/rWf Muile** Iitj m lire clrrer •••
1 rocnla llut have made
lh* " ,hc Im p " " * . J1W du ,1,',.. O , ■
.-Safe'* Mode
I.
fn*hioning of thr no/Uw n! | comfortable.
penny . . . a*-c Moury Back guarantee
- -.. j. ... ■ i N®W— at but— i ipkin that below.) Read the printed »lip dial you'U
»i>llnnu—right where the nuiM of chair hejsuu. h r t t ' S i ' ' jtS j i J S f *ivca coa,P)rlc protection from embar.
W" in'the box. Look
................................. the diagram-
Tbr extra cotton al«o arta to direct and retain mnWture ra»iiug **accideuU!" town on the »lip and coni|tare thria
inti.If the napkin. keeping the rd|*-» dry and »tin«olli It u the oew'Ccruiu-Su/u'' Mod. ith the twpkiu iUelf. See and feel llir
Innper. And dry, Moovlb 4«n't diafc! onJjr recently perfected the Mode** three new fcalurr* tluU bring you de-
So mH fool F.vrry Fr**&ntlt M ha> a triple «afrti rckcarch laboratories |iend«l>lc protection a^kiniA(1) striking
•hield in guard jcim«t arnrirtti*. \ftnr. wlrd-in <!«•*>I<>r- The tccret? It lica in « combination through; (2) lean nr avay; (3) incuto-
ant in help keep ynu Rnwer-frrvh. too! And never a Irl!- ofTllRElE spccial feature*. Two of tbr»c plrlc absorption,
Dir outline—M«draa i» feature* may somclimcx lw found in Then \*c*r dm new Modva*? Yuull
Try thi« laxnry^Amfnnahle, luxury-.'^ napkin Mm. other brand* of napkin*. But th« third never again fcrl *jfn or ulufitd »idi
New, improved FrrrSlridr Mf>ic« i* on talc everywhere. i* ab*olutrh new— «ud exclusive uuh way other napkin!
Product of IVr»**n«l Prr»luct» C^rr-.mri.m.
YOUR MONEY BACK IF YOU'RE NOT CONVINCED!

Cl*l ■ lm. %’r v

ilua KMgaitt, lot <l»f« »h*o IMS I imru—

The Uoilm CiqiofvlMo, SOI
Super Kotci*—ii ik* bnni boa. So WMjn m
ik*a ftagviu, rn m UIU aWorUac; pro«iJn

MOOESS-STAYS SO FT-STA YS SAFE

U/d/k. U/rtfi Com/or^/
/iloue, lofrti-/reAcfantf UlMTat Ntfmm
Try neus 'Trte.-Sfru^ /WcotsSs/ tTnfctf
1935 That lady actually looks more constipated
than panicked, but this zine isn’t called Adventures in
1939 The lady in the top frame looks like Bowel Movements, so I'm gonna move on. Here we have
another 'Certain-safe' Modess ad. It's almost identical to
she’s wearing a tri-corn hat Like Paul Revere,
1947: Preventing strikethroughs and leaving you 'flower fresh ’I C olly gee. I'm sold! I never saw the first. You know, in both these ads they say that
you know? Maybe she s - rebel. I find it interest­
any girts like that at my college, you know. I wonder where they were. O h and speaking as a fat girl, I there are three special features to the new pads, but
ing that these pads are for absorbing and
have never had a chafing problem with pads, pants, tights or anything. My clothes behave. I can’t under­ don't tell you what they've added. Conclusion: That
distributing moisture. W ell blood is nothing if
stand how a girl like the one in that ad can even get her thighs to meet anyway though. Look at her. Is hideous feeling of panic— not ended even remotely by
not moist, but it is thicker than water, right? I'm
that a twenty Inch waist? Eat a cookie, lady. Geez. Nice role models. Hmm_striking through, thinking M odess or any other corporation. Not even over 7 0
also having trouble be Jevlng that ’soft filmy tis­
about it further, now sounds to me like a baseball euphemism employed by radio sports commentators sue' would absorb tnything. Noxtl years later. Keep reading to see some of the results of
who have run out of words and are now playing a live on air version o f the board game Taboo. the menstrual leakage taboo.
 156 / 157

I affair; whether Adele knew or not,

»^*wi*l«wMiit8«BiShinb«wwImSnwHniitoK 1 Rosenman was justifiably inccnscd
°lJrls. that rool
£?•»!** *i tin Fttnn's Hiciindi ctit. I and after speaking his mind to Jim m y the skool: Lili
ESOkm tt ta am ofUn mst sm lid irons ol all Urn*. Thtlr tracks km k in s » iM kyOn I the next morning, the two w ere to stay Taylor (she
Iftw tt rikHt Enaimr,Bli DnA Kin. M Ban.U Cttl J, Marin Mm.D niL Freshm Irads inn I out o f contact for over a year. Jimmy Boys that I played Valarie
ID kit Difirtintily In Un nrty ilih lin tki Inn simglln win n clin . Th« ilrfs M il let I had a strong self-destructive streak,
would like to Solanas in who
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 I especially tragic given his need for
put in my ahot Andy
m m tin itsim . Tin* m i n lttsil i sln li li 1991is i Ironic Ink it Unlr sltoitln cillid pocket: David Warhol? the
tiwincrnmnniwwrMns’. I companionship. H e became increas­ Bowie (in the film, I had a
in g ly narcissistic, taking hundreds of thin white duke HUGE obssesion
UirtiitiiiMly Unll Unit win stm M kyOrmlmstir Flish tor Mshit sliglt KKtiltlilts ’. Liquid I photos o f himself and trying to get period)
Maguire,
, Tobey with this.),
Patti Smith, all
' UiiM win n tn smn M il hiAimrtci.99Rtcorti.t i ESOwin. Tki rtttrd etmniy wit m ky 1 Kazan to say which he preferred Christian Bale, of The Go-Go' 3
Ed,tkilr minmrandtn Itktl tookUnsinititnlictirtindintkiiiractssltstilltktlr moiiy.Tkt Jonathan Rhys- especially the
Itktl etm ti i tltst nd sodidESQsttn tr Itr t wkllt. I As soon as filming ended Kazan Heyers, Alec drummer, Janis
Ii 1991tkiy rtlnstd n tlkm in tki iid in irin t Ptw Wiw liktl. This Itm rtd Tm t Yu’.Tiny (wanted Jim m y off the lot — he was Enqpire, Terry Joplin, Eve,
cntliitd tt pliy Ihrtthrtnh tn itu tiis mdrtlttsid othtrmslt. Sidly thtst rtlusts dini nt I simply far too disruptive. Apart from
Hall
Ferry
, (in
Bryan
his
Dusty Siobhan
is inch ittiM ln ts tnir tirly liihtlts irasic did. Ttdiy ESOftitirtt twotl Rtni's dinhtirs. j 1 his usual antics, he had bought a new,
Fahey, Sarah,
Ckltttllt ud Nlctli m km nd nltar. Tktygltytd Ii tki UKlist yur tt im t rwtawi.I wnld km youth), Iggy Andi, Siousxie
I larger, noisier m otorcycle, a Triumph Pop(for the Sioux, RicJcl
Imd lokm sttt thin it ttirsi kit tkty iliytd Londonind yoi knowtht nstt shock value) ,
ESQin on tl tkt mst Iffliu tlil itts ti ill Ont.Tkty midi im zin. m nt nnslt thit stmdsn J I 500. It proved quite difficult to find a Lake (for being
Phil Daniels (in Hairspray),
tidiy it tnly dhnrsi ud iriiiiil. Bit urn thin thit thoymitft tnd mikt mislc thit m illy rocksl | I landlord or landlady who would take the film
M ynk,tktywin wtmi till Timmy, given his nocturnal habits Breaking Glass
made in the __ 1 you in |
|early 80's. The |skin is dancinl
|mass inspiration you shout W l
for the band.) ,vith electric si
ptrinas arounq
I
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 Is &
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
fa ?
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 e t\ve
I the in the leather N— « lo ^ I
tcottie-j
i«\dej

rock/1
do I can ’t ,
you I . > em brace i
- y o u l| i m y lace. I m , not fierce. I try to lik o i
o u th i i and I ju s t c a n t control m y bitch n j
I lik e r l 'i am not c o o l,c o o l,c o o l,c o o U
• I w ill J ^ u t what does it m atter any
t bo je a n harlow.
*tevcn| Aw ilt never be nothing. J
i third rale punka. ^ k And all i c v c r j
wanted w as to I
• ' y7 ; . a 'Ortured -Un . Ma
^ Id o n t want to end up 1l him him him him
■. ■ >v '

ELECTRA #4
N
K it t y M a g i k
um ber F iv e

M olly Neum an T ra c y W ilson

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 BRASSY
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, R&B singer K elly Price
Z1ne & Music Reviews and More!
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.

P46
, A* —
IP 4 5 P % 0 CCy N e u m a n
M W B lf tA f.
H
----------
A "What Bands/m usic a re you into a l the mom ent? -*11 f m
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 , •
*
a pop positive zinef

Im p ression s, "Riles o f Spring, M in o r T h rea t,

J('Bratmo6iCe/tfie Teechees etc.)

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.
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
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?
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 !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
Corin Tucker
!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 > (Heavens to Betsy/
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 Sleater-Kinney)
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
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 g.-» j wm nuanimmva i»» Elyse Rogers Kathleen Hanna
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 (Bikini Kill/Julie Ruin
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 (Dance Hall Crashers)
I your husBand's 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
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 th em selv es, so lh a l is a challen ge.
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( u hzlihshb m m m m s o ■ Lisa and Sherri
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 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 \ (Buck)
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 i f y ou h a d Ihe chan ce, d ue lo p eo p le catting you ai 'sedout'7
is so m eth in g we a r e w ork in g :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
mini__ ^ 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
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 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
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 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 Yukiko and Juliet
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, 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 (the Rondelles)
especially in A m erica? 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. ^
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.
" " n ,, i „ m i j j y u JU S #
poC iticaC a n d sen sitiv e. _ __ m . — jr - m « - j a m •M 'Well, us 1 m e n tio n e d afro' Laetitia Sadier

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' ^ ^1
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 .
(Stereolab/McCarthy)

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 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
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
c erta in attitude, w h at w ou ld this Be?
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 All these interviews, plus review, rants
JA ■To kn o w y o u irn^n stren g th a n d trust il. A n d to u.
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 and raves e t c .....
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 1 n
i Be p l a c e d i n c o n tex t w ith theirs.
 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 'but remember

no joy // ' U ' / /, I loveart
a s a m ature whenygijssgjst UA&A /\
student ip-2^0°, cop.fa/ / \
l+ai &Jg%

and Idid n°t

speak out. but 1
same artiste Zin.es aretuning
..
Isaw piss poor thou.5Ktle«ly ■qaee^io-fi/ioW
s a ^ 4 t « t amateur,
f*ik vnththiiv^s ^ culture7i3not with
that matter lesser.

|f P ^
Their creators
™«teh.d Cw p> | are driven./
(3-reat fervzinSS on
aresincere, arefimoin^
not dependent)
fi-Qra T
I saw 'artist’s
modern, day
£SS£Ss” folkart. j
pas^ioii, nP / BJ*
politics^,*
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EEP*O ET«r;|
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VVT»~ ■•»'■-%V
aadtKeyvegcwg H f f l s y i " * '\
toTJ*«it- I Fanzines | theArf-s Council, t
the v'Sws £KP«sseo H t « « i A*e TH«ie or m e A*r 6T.
 ------------- ~ — ---------H !

Chapter 4 | Girl Power and Personal Politics 1990-1997

FAT BUT YOU

issue *:3
CONTENTS
INTRO: FAT BUT
YOU KNOW IT
U-BDP 2Q0H DANCE­ 5
FLOOR SMASHES
2
KNOW IT
Welcome, Boppers, to the The hunt was on to find a
permanent venue for our
NOLOSE 200H E third Unskinny Bop zine.
disco machine, which by
It's over a year since our
now was acquiring
THE FAT TALK 9 first effort, which set
disciples of a non
out our manifesto and
FAT GIRL AILMENTS: 12 Unskinny nature. We
pledge to offer an authen­
BOOB CHAFE tic and sincere alterna­
were offered guest
spots at gigs and clubs
FAT GIRL tive to the 'fashion show'
14 mode of nightclubbing
by friends made at
SAVED MY LIFE Ladyfest, playing at
still unfortunately preva­
after-shows for The Gossip,
FITNESS LAST: 20 lent in this city. First,
Gravy Train and later Le
ID REASONS 1 WILL a history lesson for all
NEVER JOIN A GYM Tigre. We put on our first
you newcomers.
'Fat is a feminist i s s u e ’... Big Bums (1998) was a gig at the Betsey Trotwood,
FAT SPORTS 2H Unskinny Bop started at a sell-out show starring
one-off zine suggesting ‘positive fatt r i b u t e s ’. Ladyfest London 2002. It Lesbo Pig, Valerie and The
HEFTY HIDEAWAYS 2 28 was a one-off disco which Blue Minkies, and then
Nipples and Bits (n.d.) talks about the p r o d u c e r ’s aimed to honour the work celebrated Christmas with
CREDITS £ 31 of fat people in popular the help of fabulous dance
experience of sexual harassment. Bust (1993 —) is CONTACTS music. We got a shout out troupe The Actionettes.
a tribute to w o m e n who have broken the ‘moldy mold from Amy Lam6 on the
the next radio, there was a Top 10 In March 2004 we finally found
of female s t e r e o t y p e s ’. Punktum (2002. cover and Podge Pop countdown our perfect venue and went bi­
U n sk in n y (starring the likes of monthly at the Pleasure Unit
inside spread) by Rachel House was a one-off zine B op Aretha, PM Dawn, Missy in Bethnal Green. We love
Elliott, The Pixies, and this place. It's a straight
reflecting on her enrolment at art school. N o v 27 2004 of course Mr. Elvis pub with a gay history, __
Presley), we gave out free pints, seats, a big dancefloor and modish
Queerzine Unskinny Bop (2003-) b egan its life at see w e b s i t e leanings, which means the mix of people is
badges in four designs,
for d e tails always eclectic and eschews the monotony o
a Ladyfest London, and ‘aimed to honor the work of and all in all it was a
massive success. fashion clubs with generic dress codes.
fat people in popular m u s i c ’. Unskinny (1990s) took
an am u sing angle on gluttony.
 160 / 161

GIRL CULT
GIRLKULTURZINE
iE li

I s s u e #4 spare tires $3 -50

For Your
S /
Own Good
y » u fc a v e t p t M o r r ^ - i
f t '
/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 m m
about her weight, and includes a collection
of stories from w o m e n about body image. a zine about mothers,
GirlFrenzy (1991-n.d.) by artist Erica Smith
pays tribute to the US proto-riot grrrl 1970s
daughters and
band the Shaggs in this 'Fat L i b ’ issue. Seven body image
issues of Fat Girl (1996-n.d.) were produced by
a collective of ‘fat dykes'.
 Chapter 4 | Girl Power and Personal Politics 1990-1997

$5

© A Zine for Fat Dykes and the Women Who Want Them

-jpssm t

j?'

i
I E m **. 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- 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
catch of the dny 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,

the crabs 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
j Bn(septophilift ireconds) 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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19
 Chapter 4 | Girl Power and Personal Politics 1990-1997

<3 I R U #6

HlGH-HFEL READINESS/
an EHP To MORN/N6 AFTER CfllF-ACHE .'

S t a n d oVl a
0 fnc«< kook, i<o
S+ecK'i>5€<l feet
witt your ktds
o v e r -Hit n » s € .

25 fcimts awd fctit*

for I ef fc -foo-fc . in a wen kh
yeu'll kt re«Jy ror a faiflUss aluUmcefit
mgkt »ut ik your Vt'ijWsfc b tc \t.

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)
f
as a minizine, w hich celebrated the wonders
of the high-heeled shoe.
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 T H E F I C K L E

aMPMINIZINE
AJNIP
AMP. PURVEYORS OF
FINEST FASHION FOR
INI I Z I VM E RJJ«f?JLs
CALLED CHELSEA. Asa
name, it belongs to a strange
£ FORTHECHALLENGED

THE FICKLE. And oh. W category of brand names w

sound human, yet very lew

a TiHai
Tammy (Girl), and
wear INSIDE that c
The super-suave Mi Perkin
discusses the latest look tor it chain
men. proving that cut it all- so ubiquitous, so inextricably
linked to their shop that, even if
Love ly Frances Morgan it
I were to meet someone called
month's Retro Sex Ki
Chelsea. I'd perhaps assume
her mum had named her after
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
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).

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
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
*
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

of the shop name by enjoying
both the obsolescence and the
diversity of the brands she
wears, revelling in C6te a
tops lately, one of which (red
lumper with slightly puffed 3/4
length sleeves and slash neck)
is amongst the Best Tops I've
GIRLS
want to go around with the title
of an Andy Warhol film/Nico
song incongruously pressed
against your skin, choose

Cbtes, Jeanne Wetss. denim
by Jollybird. Bibi and Baba
and Nightrider (Marks and
Spencer's). Highlights. Alexon.
Ever Had, The others (white,
knitted rock-chick£lub
Tropicana vest thing and faux-
Victorian blouse with ruffles
ROCK
Chelsea Girl. Her tops are the
tops ■and they don’t half go
with your Gloria Vanderbilt

Devonshire Lady and those
jumpers made ‘in the British
Empire'. But almost inevitably,
second-hand girls become loyal
to a label too • although often
OUT
bottoms.
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 ISSUE 1 0 /10
high quality, contrary to the
1970s myth that Chelsea Girl
 Chapter 4 | Girl Power and Personal Politics 1990-1997

p a m z i n e r a 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 '•~r

I A
sJ\VA
; v in / j / A
V
■■ 'f

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^
schul son
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.../,

/ /
N \ - \V Vs
% c o m o i i a t t o f 1 o f vpen-mcidt.
videos, if you are a teen , send
Poetru*..7
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 Chapter 4 | Girl Power and Personal Politics 1990-1997

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
Greeting* our pals and supporters.
TYNE
This being our Slampt-o-logue thing, w e ’ll tell you
what's oecuring inthe Slampt axis of the thing..
Nf 6 s r w Okay so - first up the Red Monkey band is touring
UK* 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.siss14a
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, al-
thoguh 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
 Chapter 4 | Girl Power and Personal Politics 1990-1997

rjo T Word is Born

9J9

a riot grrrl
jPapercuts and Promises: Zines B4

dissertation? 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-mid-
2000s) ran a record label and published a
distro (distribution) catalogue for zines
Challenging constructions
and indie records. Riot Grrrl Press Catalogue
(early 1990s) was created to promote the
of feminist activism in
riot grrrl network. Word Is Born (2004) was
a university dissertation about riot grrrl
women’s DIY music
by Julia Downes, subsequently produced in
zine form. Barnard Zine Library Zine (2005-6)
communities
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.

__
 Chapter 5 | E-zines 1998-2009

The E-Zine List (1993 -

c. 2005) is John Labovitz’s
E ZINE LIST early archiving system of
electronic fanzines that were
D y s - 3 i- - f s r C o ls
distributed ‘partially or
solely on electronic networks
like the Internet’. The term
r»SSS,S £ W ^ iS 4B* rs “ - - e-zine has since been co-opted
by the mainstream commercial
world to mean nearly any type
of publication distributed
electronically. Dummer Con
jS su (1995-n.d.) is an ASCII
text-based networking site
- jrjs,1;arys.„
announcing conventions for
' r s a s ftS fis s s s s ra s s B ? e-zine fans. The text was
-v~™““ JSi'SSWS.T . created from symbols and
punctuation marks which were
shaped into illustrative
headlines.

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. E-zine subjects followed along similar genre headings as their print

This chapter explores the way in which fan cultures embrace the 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 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
•h :
Closet Cleaner (1989-late
s.rs:\sjs a * i— ,
1990s).

Phrack (1 9 8 4 -), where, even today, editors request the text to be W hat has the Web brought to the fanzine concept? Zine scholars

submitted in ‘ASCII 7bit with lines no longer than 75-colum ns long’.4 have highlighted the fine line between defining zines ‘proper’ and other

By 1992, it was evident that a specialist e-zine com m unity was 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, zinesters have come to make the medium their own is worth exploring.

Labovitz’s definition of e-zines showed that they remained remarkably 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 On the other hand, some zinesters, such as Tony Drayton (Ripped

web-based e-zines. & 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
 Chapter 5 | E-zines 1998-2009

* M«H « Pjrdw I
# tripod

Mystery _*
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to
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A L im e p o e r e v
or
■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

D e a r B o b D yla n

Poetry Poems
Writing Istheonly thingi
Email Marketing
QnjLne_Poetry
Writing Poetry Insomnia

Email Newsletter
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 Tri-
State area around New York.
174 / 175

Explore LJ: Life Entertainment Music Culture Nown &Politics

a dly zine co m m un ity's Journal [•ntrt«*|friends|caleridarj

a diy zine com m unity

-< i - C O - C-*t- Rintul tin.

[28 Dec 2 009|01:llam ]
“L‘r „ . 1 ““ ........ ?• +________________ ______ -_____ - 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
Flaneur - for the cultivated stroller of city streets 'J*
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?

FLANEUR
an independent quarterly journal/art zine
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.
GOOD
dtgUatmuwl3

F la n e u r bHi. I c o n trib u tor. I stockists I . d v . r t l s . I book. I c o ll.c t a rt A rt Z in e

[29 Nov 2009|05:29pml

doris m i

Hie magazine of art and other nonsense

i buying milk
to finding a s o u l
m a te ,
m u our Lint re v e a l uou< u

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.

See what other people are
to-doing* in this collection
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Amazon - Powell's - Barnes
BRINGA LIST!
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.

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.
 Chapter 5 | E-zines 1998-2009

A meta approach to zines

THE BROKEN provides an entertaining
p5rfp P E N C IL 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’.

(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 connection between reader and producer now exists.

of comic strips. However, once again the potential for a new kind of 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: images, and so on to get across the fanzine concept. But in general

A Not Unbiased Analysis’ suggests that one of the shared aspects of 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 NINE
PERRY
INCH
a CD-ROM. It was created by Timothy Zuellig NAILS
F AR R ELL

and published by Bob Ahrens. When it hit

mainstream newsstands, the first two issues
JES U S ENTERTAINMENT
sold out with reportedly 60,000 for the first LIZARD H O M E PAGE
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 sump C O N TEN TS HEiATHER
CITTY HOMfE PAGE MCZADAMS
Heather McAdams. Five years earlier, advances
in desktop computer technology prompted
THE BURNT TWISTED TOPICS CULTURE 0 SOCIETY
’cyberslacker’ Jaime Levy to publish the FORTUNE HOME PAGE HOME PAGE FASHION
COOKIE
artzine Cyber Rag (1990-92) as a HyperCard
floppy disk. The first multimedia issue (1990) LLEAN RINGING NET HOWARRD
emerged out of Levy's Master’s thesis, and MMEAN IN THE PARANOIA RHEINGOOLD
ZTZINES SHEATHS
contained ‘bizarre pictures, sound, animation
and words’. Cyber Rag's three issues were
International Drum Marvel® Comics
followed by Electronic Hollywood, in which Month Contest Contest
the producer shared her experiences in
Los Angeles.

Tim Zuellig
Seafor Designer/Programmer_______ _ Dan Rehmann
PfoAttt Wonogtr__ _______ ________ -— Tony Capulo
Advertising Director... ........... Kelly Cleveland
Genera! Monogcf....-......... ................... Curt Galusha
Content Manager.------------------------ -

Content Coordinator__________ ______

M T 12 ’ 5 < vZ
meumxm
Chapter 5 | E-zines 1998-2009
178 / 179

A j ► + Q http://www.pixelthis2ine.com/ C Q * pixel this zine

03 :::: C rrlBcat @ t. ..na & Techno cityofsound:. .ity o f Sound Infographic. t Com pany Perform a nce -...h In s titu te b itly , a sim ...rl sho rten er N ational Gri.. Video C lips dbqp: v isua l...isua l Poetry B ritish Pathe

Lm
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c o n n e c t e d urban r e t r e a t
• • • ^
no.OOG sept. 2006 c y p 3 . 00 tl /200

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.
 Chapter 5 | E-zines 1998-2009

issues

submissions
alxiut

tenderfoot nconi|fllalto.iilwoIkw
co n tact

V:
Is
links

a: - ■ w -n r

sandylovesyou

< c x * ju -' ■grscs;

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.
 3 1

p n o io > p e ia

S k

"*'S /S **___
wtmwrfrrr/f*
 Chapter 5 | E-zines 1998-2009

punks It hippies - the blog1

ET

PUNKSISHIPPIES
THE ONLINE D.I.Y PUNK FANZINE ARCHIVE
CONTRIBUTORS APPLY W ITHIN

im m ® §
I’t t S IS HIPPIES
Pflfk'S IS HIPPIES
P ills IS HIPPIES
PAWS IS HIPPIES
Pfl»S IS HIPPIES
PAWS IS HIPPIES
p a p s IS HIPPIES
P0KS IS HIPPIES

Kissoff Zlne on the Web

< + 1+ http://kijjolt.orfitiiltintlinQiesus.com/
CD im GnlOtalCu naA Techno cityotsound: ity ot Sound Infographlc. att Company Performance-

Zln« «the black cloud

* + mtp.//t>l«kcioudphoto.wordprets.com/*ine/ C 3 C . C^*punk tin* jiml
03 nn Crritlratyt naftTethno otyolsound: Ity ot Sound Infooraphic ast Company Performance- h Institute bltly. atint rl thortinar National Cr. VideoClips Huai Poetry British Path*

lUBliiiliiHGllHiaii hffinifaiiim
• $ •<*' gf • (I * i

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.
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.

h . fesenlarc z in e

i~ j” j~ r
1..'I'H II'l L L . 1Hm1r ,,
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VIEWS I.
'■.-■I
in ■J f loserddA

I i ? »d «

L O S G R D O m IIO /IB I June 2007

I
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 );
iMTomfimus msmo:
Verdonk decides to expel 26,0 0 0
people to show her hardline brutal JOB [)()()(1(!
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
Minus smeisinn
lie as well as strategically displaying a
hint of flexibility and credability in the face of their actions. run : ik
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 non. Kiripin
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 !

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
 Chapter 5 | E-zines 1998-2009

; li c: i ir:» vi v« |L«iiuu=a.::

wr>s£ah Buy Stockists Contact

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.
184 / 185

doris 26
doris 1 1

■+JJJ- © i* CB~

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.
 Chapter 5 | E-zines 1998-2009

DEATH TO THE GODS OF MOUNT OLYMPUS

Z E U S 'OVER 0U_R DEAD BODIES

' TH fcO V ^H th e v a l i ey
LAVkK OU*iEU>F<>fct>

AocitJL

it Ricochet #8 -
It looks like and old v
(Updated 16.01.10)
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 rophy 0

it Ricochet #2 (waaay back In the day

BTFA#1 - £1
paste (mainly) music rine Oy Paffy ant
Drink The Sunshine #4 50p
») upper cate lettering f<
Exploding the myth #1 - £1 >lls (Paffy’i cople<
i-er Is particularly
Friends of Polly - £1 JO iwning); ri It (Red Monkey an
Frionds In High Placet 50p it Georg
stes); a piece In praise of the seemingly disappearing
Groat -£1 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-and-
paste, photocollage, drawing and writing.
Her commentary is on the gritty realities of
urban spaces, reflecting the early anarcho-
punk 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 print-
based 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 old-
fashioned 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 i .v f" r \ "^ f,\
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 A sV sl ■- A * ?
followers with downloadable pdfs of early
issues of the print zine.
 Chapter 5 | E-zines 1998-2009

a sort of compilation...

morgenmuffel
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 188 / 189

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S A h :/ ^
The n u m b e rs a fte r e a c h p ro g ra m m e are f o r programming. Just enter the VIDEOPIus+ number(s) for the relevant programme(s) into
mi - - i i - ■•’in Ko rh a m o H a t n p r m in u te a t all tim e s .
 Chapter 5 | E-zines 1998-2009

Last Hours > last hours related

it V http://www.lasthours.org.uk/cootent/neyvs/last-hours-related/ Q u' t ' 1 archiving e-fanzlnes

- Getting Started U te« Hw dllrw t*
ind E-Zlne Dlrcftonei O 1 Zinc Archlvo link* 6 \ » diy *»n«'i^mu O V u * . Hour. > ta»t ho,

1 ^5 ftA S T HOURS _
Do

S h op pin g Cart
Your shopping cart it
empty.
recent Interviews:

Rum-Muffel
Last Hours contributors
join forces to present this
Craft and Zine 2009, Southampton
NovewOer Sth. 2000 oo<lodbv Tomfiction marked na: Now j
tmuafljina hours'oiatpd
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».•
No Comments
GhmmiJZ9$U9t.**>
■Biwft.Qte WMJBlffl

• Lvinggx^comlrjijyaJ
An invitation to take part in
‘Excessive fo rc e ’ com ix ■ 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 8 ^ k > W IB E 4 . J \ —

i david J ;m . M W &
RADICAL AN TN fO PO LO G IS T DISCUSSING LIFE AFTER YALE "

K N A T m -,p fiS | ^ ^
S O D P j | ^ i i j § i i ) t e W N K C O M IC ARTIST 0 T .R AORDINAIRE MM
ALISED EtlfRGY S & . Political zine agitation has found a
^ • f . [ ^ T l i r j . c T * . jM M U N IT Y POWE-R W # H RENpVABL-E-S
llfillRllW I iXOfslM P i T U i a rytj) a. j r r sympathetic home on the Web. Rancid-News
J- • ' mq I (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
Z IN____
E S O F THE '9______
0 s - le t____________________________
m a r v © A D fe iE t a k ie /y ® ;u <3n^ g u i d e d t o u r
Hours (2005-08). It moved beyond a conventional
#14 £ 2 .5 0 AUTUMN 2006 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
Issue 4 of tho oword winnlnfl KAREN MAGAZINE
magazine - made out of the ordinary

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 •

when language run: dry

number 2

K a r e n
Butner Epriceless

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.’
 Chapter 5 | E-zines 1998-2009

THURSDAY, DECEMBER 24. 2009

Christmas Eve

Christmas Eweis here. I have a lot to organize for our families theme O ff. 1have been
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 publishing zincs
the neat Christmas postcards and ephemera I haw posted over the last under the name PonyBoy Press slncc
coupleofweeks. I still have so much more I didn't get to! More for next 1994. Once I moved to Portland in
2000, 1also started selling crafts. I
like home decor, vintage stuff, history,
I had toublegetting some good photos of myChristmas decorations this fat activism, zincs and web stuff. I
year. 1need a new camera (hoping Santa wil bring me one) and the also do a blog on vintage photos and
lighting was just too low. Uut. I am RolnRto post a couple anyway. 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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AboMJutitsLtiKnlu saga of their lives inNew York City despite such obstacles as
B u v TtalS m a g a z i n e . For t w o D oi_t_A **s CUlMt.294 whining, the holidays and dwindling naptimcs. Perishables & Dry Goods! Insomnia!
a^ ci -WietN vugt a b o u t arwHVioci e l s e ye>u Naked people dancing ina wholesome manner! Obscurities reviewed! Babyprooflng
<o da>f» +© * DfOJtJuSICCSS*Mi*» Hilarity! APaucity of Negative Space!
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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 DISTRIBUTORS
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 quimbv’i (ehicago)
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 Autobiography is another staple of the
personal, so focused inon one person's minutiae that it canbe a struggle to
relate. But the writing inGhost Pine, though rooted inpunkrockandactivism. 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 hitp://www. s1monwhybray.com/fever2lne/ •j T V Coogle '

ft Vlntcd - Getting Started Latest Headlines &

Zine and t-Zme Dir O > 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.
 Chapter 5 | E-zines 1998-2009

Issue 1 ★ February/March 2 0 0 0

TABL E OF C O N T E N T S
c ja m g j 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 c. save - e + ed

i M m r . h j ~~ " I r o v t Y ig

d. live - e + ing e. lie - ie + y + ing 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 O H Hack Tbl» Zinr 1Hji.kOloc.orij O +

Submitted by Hackbbc.org on Tub, 08/19/2008 - 08:38 L a te s t Is s u e : # 8

T v c been reading over your zine and It rocksI" —Annalee Newltz, Editor, k>9.com
CurrentIsiue

• 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

_
 Chapter 5 | E-zines 1998-2009

< + 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 English-
is revolutionary version of a Riot Grrrl). Listening

mlcrocosmpubllihlng.com/caUlog/zlnes/Z706/
Viewmv complete profile

blog a rc h ive
► December (2)

Bcin thankful...ur doin It riteI BAD DAY

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 .. g..ri j.ii ,.a 0 H c, H3 o p .

bitch

POWERPUFF MAI
GET IN THE PICTURE.
SUPPORT BITCH.
A n n o u n c e m e n ts B lo g s
B II
B
GIFTS FOR
meet the guy Get in th e P ictu re-S u p p ort
Bitch!
A lice Paul: T h e V otes A re In THE BITCH
W HO HAS
behind the girls EVERYTHING

BOOTY CAMP- this vital! thriving communityof *upport.

most
a woman yearns to anddialogue.
DccautctheBitch communityit far-flung- "Chav
join the army G IV E

DO OR Dl
sri lankan
i B IT C H
Click here

female suicide
bombers

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.

_
 Chapter 5 | E-zines 1998-2009

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 :::
r contact | fSponish'1 lPoftuQiiesel:::[Gerrranl 'French lliai'an]: IHpnrewl::.

vmot?
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STZF -(-T am about m e INQrweQian]:::lFinnisn]::.fDu(cni:::[Polis^l:: tS ovenei :[Croaiian; (Japanese!:
EMAIL ME
GuestbooK - ZINE DISTROS - BLOGS - COMICS
Join me M ailing list - m Q A 2 N E $ - MUSIC ZINES - RIOT GRRRL RESOURCES
- ZINE EXHIBITS & W O R K S H O P S - ZINE GRAPHICS

f about j
mer yr—
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
:saae"“ l iting i
E „ Jasso?
erviewsj
with International zlnesters
fltilto». thtili.,M».d!iMrW pnf
Brrrl power ♦ zine books
by continent |by topic
NEWI S IL lillfilJ lL flin flil
The Curved (Slovenia articles
Hoopla: Radical craft zine (AUS) ic id tm ic wrtiinfl
Fight Togetherl (Italy bibliography
make/ shift (USA liM S jJ l ll^a rla f
— Uni l ne (Croatia)
What^do We do When (Australia)

ufriend,
J / for ladies and all their friends

Interviews and articles Ladyfriend Zine is a small-press ® Grrrl Zines A Go-Go ©

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
... ,■ 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
Issue #8 is the Health issue, featuring all ts s z m m —
sorts of stories about midwifery, dog
attacks, growing up with doctors for

y m \ 4

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.
 STICKY
INSTITUTE

■..... "I The Opinion Society

Inmtute Overview
In Comrnauon
Background T he B adge Machine* Demonstrations A Vhrkthops
Location The C3100 Photocopier Electronic Sporadic Correspondence
Stock % u r V brk T he Typewriter Fbol Modem Social Networking
Membership The Exchaige Bax Electronic Ltnks

A B O U T the I N S T I T U T E R ESOURCES M A IL CREER E E P X C C M M U N IC A E

T A R G E T 144 & 168 series 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 Melbourne, February 2010

atthin txtrentt time constraintn on Australian zine culture

SHRINE W IL T SITE INLEX

4 -

Mo* > FRI 12-6PU SAT 12-5PU I POBOX310 RIMJLRS LAIC VICAUSTRAUA 8009 I STICKtSH0P@6UAIl..C(IU I *613 9654 8559

Sticky Institute, Melbourne Australia

■<3T
•4 ) • ^ # ) C.U http://www.stickyinstltute.com/
RESOURCES ’Hie Badje Machineo Hie C3100 Rxftocofaer Ibe Typewriter Fbol The Exchange Box Home
M o s t V is ite d - G e ttin g S ta rte d L a te s t H e a d lin e s

Vpit. W
?-otibky m3 Wf W»rH>W*SXiSi typ»irriV*r? M v A ru o C o s m ik D e b ris M a g .. O [ j S tic k y In s titu te . M e l... © z in e m o b ile - G o o g .. O

CCMMUNIlAE The Opinion Society ! In Conversation Demonstrations & Workshops Home

Electronic Sporadic Correspondence Modern Social Networking Electronic Links

lrJCrodudn^ the lovely International Olivettile 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...

C ............... .......... •' ----------------- - -----------

Mon > f r i 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
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 Done

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.
 Chapter 5 | E-zines 1998-2009

+ ' ' http://www.ourhero.tv/ C Q r our hero tv show

G rrlB eat @ t...n a & T ech no d ty o fs o u n d :, ity o f Sound In fo g ra p h ic a s t C om pany P e rfo rm a n c e -...h In s titu te b itJ y , a s im ...rl sh o rte n e r N atio na l G ri... V id eo C lip s d b qp : vis u a l...is u a l Poetry

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 NOW

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 ? ! !

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 . . .

, HEY! C he ck o u t o u r
.c g ro o v y a e c tio n :
4 H » r y - K '» H a lr - D o o z ! !

wr W o DVDs
Have y»ur S a y : on sale

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 to g e t your
p la c e t o aa y i t , t h i a i a y o u r OUR HERO DVD
dre am come t r u e .
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 !

,EXXttalfl '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 ___ ____________ ,

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 A l l fcL?Kt« Reserved.

m i 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.
 Chapter 5 | E-zines 1998-2009

mixt W
$ 3 futfaul in M M , M I4M , or IUXKO -
o r l d
Ik.
iY '

I J f o s lf a iJ M W I L il

M H | 1333 out X

ZINE WORLD
* 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....’
 Chapter 5 | E-zines 1998-2009

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

- umm - -r

j i '. i \ T , ........................

Stoke CiUi fanzine message Board

I f M J * .

............- J M

it moclllec on 8 January 2010. at 04:07 n accesscc 126.247 tl CcrtoPt s avalloSle uncet Altrlbulion-Noncommeroat-Shnro A

Hi

«_]_■> _a_

Small Victories

Dealing W ith Our Shit: Six Years o f Men's Group and A c co un ta bility Work

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
Library Bom chcck here for new uploads and updates

(< ► - C _ http://www.tommvf<ovac.com/Ul5raryBonn«t.Mm W* *("^^Googte

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 ! T-ahirta and n

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
Email: hcenieo.luno. 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

Popular culture and music

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 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 Crafting Fanzines

The links between zine culture and craft culture go back to the 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
By the 2000s men were back
on the covers of fanzines.
Squeaky Sneakers (2008-09)
celebrated the ‘retrosexual’
S ftA N T 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 nineteenth-
century 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 Another example is Zine 2009 (2009), produced by students from

history of the individual maker. 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
 Chapter 6 | The Crafting of Contemporary Fanzines

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

01Nervous
I I s s u e 01 _

V X9 C lm f m c t A
■ h
I YI
h
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£ 2 . 0 0 UK y < W t i ^ ^ l I I

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THE MEDICAL I SSUE

Medical references, tenuous or otherwise,

continue to be popular. The title of Nervous
System (2006), by Anthony, can be read as
The Boy W
meaning a part of the body, but it also
points up a sense of unease regarding certain
Gi n re v ie w s ^ B M
authoritative elements of society. BodyTalk.
art-directed by Sarah Handelman, aims to T h e G c r 5 et, '
raise health awareness among youth groups in CD R e v ie w s
Columbia, Missouri. Local Anaesthetic! (2005-),
edited by Tom Noonan and Cliff Anderson, is a
grassroots monthly nurturing local artistic
talent in Geelong, Australia.
 Chapter 6 | The Crafting of Contemporary Fanzines

www.iooascnat.com
Colour printing became
s q u a re b a ll 2 0 0 5 -2 0 0 6 Is s u e 1
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).
END OF TERM REPORTS / p V
EUROPEAN MEMORIES
NEW SEASON PREVIEWS

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’ It is worth noting the shift in the use of terminology among zinesters,

guides to making your own products or crafts (soap-making, gardening who appear to be moving away from the previously favoured idea of

' and home composting, jewelry-making, cross-stitching, knitting, ‘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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 Chapter 6 | The Crafting of Contemporary Fanzines

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).

What Halts You

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212 / 213

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 Chapter 6 | The Crafting of Contemporary Fanzxnes

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The craft of making has extended into

literature, music, filmmaking and cross-
stitching, 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

To &£T STARTED J
about the producer’s love life, includes
machine-sewn binding. We Ear It Regular

<c H o v j
Differently (n.d., front and back covers)

1• ; ^ .--'M A K t
uses folded sheets inserted into a printed
cover and sprinkled with gold glitter. Artist 4

O whJ P A T T E R N S .'/
Sarah Doyle created Helping You Find the
Right Jewellry! (mid-2000s), which explores
through her drawings a range of accessories.

secnow
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 Mix-
Tape 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.
214 / 215

T:~P"P

KER-
BLO OM !
LXXX
September-Qdtberiooq

IN T H IS IS S U E ... Bound
• Are Cops Pigs?
(The S h ock in g Truth R e v e a le d !) w ith
Ginger
• A T ru e T a le of
Scented Urine Steam! r w in e
• Hi-Bread C a r Review!

• 5 lv e 0 1 L o a l d L o n u u t lic 'T D t ii & i u j

n 3
in DCum on-

• And so m uch m ore...

• Plus a FREE bonus zine!!!!

^handrm cje
v u iih v
by 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.
 Chapter 6 | The Crafting of Contemporary Fanzines

CONTRIIBUTIONS BY

SOPHIEE B E A R D

RICK MYERS

JOHN M ORGAN STUDIO

SUSANNA EDWARDS

RUTH SKYES (REG)

NINA CHAKRABARTI

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 SKOWRONEK

HELEN MCCOOKERYBOOK

CECILIE MAURUD BARSTAD

S K S d if t f
OF J U L Y SIX
KRISTJANA WILLIAMS

ELLEN LINDNER INTRODUCTION BY Angharad Lewis

PATRICK LAING
Today in the West mass-produced goods, things made by machines and
PETE HELLICAR the hands o f strangers, fu lfill our basic needs. IVhen winter arrives we go
RACHAEL HOUSE 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
v.nTTF.D & D E S I G N E D BY
the ccraft o f making things by hand, especially in daily life.
SUZY WOOD Revisitir those crafts we're in danger o f losing touch with is a w a y
Revisiting

t
IZZIE KLINGELS 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
MARTIN MCGRATH
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

tynpfSHnp T.PCAT ION personal '■ractionr-skills are passed on from person to person,
ECKERSLEY GALLERY en 1 was a chili m y mother made m y summer dresses by hand. Both
LONDON COLLEGE OF COMMUNICATION ' 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.
ELEPHANT AND CASTLE
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
 Chapter 6 | The Crafting of Contemporary Fanzines

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 |

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 square-
format 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 colour-
photocopied 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

4 / 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.

4 > 1 > a
 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 artist-
contributors. 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).

.
 Chapter 6 | The Crafting of Contemporary Fanzines

— m n a i— w i— — —
m m m m — iiiwiw w w ww"
i

.KDUIUHIIMI

■limn*
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 DRa W INC O tlES tlO uC

l im it e d EDITORS 2 -/ 1
 I
Chapter 6 | The Crafting of Contemporary Fanzines

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 limited-
edition 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 limited-
edition 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 ® E M fll
an underground;
•Min; our" Uigltn.
Illy - or perhaps uneq
i*v«r it should be call I, -------------------------h
x hps « » « . t h i w l , '<
by Fyodor
t»k .n from the «•«!• of * book by Fyodor O Oo»tocv»*y.
o « w h « ». written

Ed^e>
known. the Inna*. toe ou,V**™‘.--'IjfT h r'm 2 n V tfi«m r There a r , J i« .
cours*! 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.

itrod of'the majority tK*l • Ed«e. ^

t«rA musician. o
wdyCwoulcT? ? Why not “*ell
temporarily alt*rr
222 / 223

“ S i ®

Food Quarterly

_ . V \ v '
of our own accord

Volum e
one

v/e9an J. . \ ^
■ForIJOU jC"" ^ ^(asM
r e c ip e s (
ejft from m e

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.
 Chapter 6 | The Crafting of Contemporary Fanzines

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
With desktop publishing fanzine style
MONWESQUIOU 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
TH E S E M IO T IC S 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
THE SINGULAR ADVi for example articles on dressing for tennis
OF CECIL DE CASHMERE and the semiotics of smoking. Medium
Magazine (2005-) is a quarterly portfolio
with contributions from artists and writers
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
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 French-
language 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 lesser-
known fare in the supernatural horror vein.
Chapter 5 | The Crafting of Contemporary Fanzines

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 Massicotte-
Quesnel, came to prominence during the early
1990s with the publication of a series of
bilingual anthologies in fanzine format.
 >26 / 227

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

tro p ic a lis m o co m o le g a d o . N eo-

anne tro p ic a lis m o

p ro p rio s
E la
p a ra
te m
m e
ra z a o .
e u m
tro p ic a lis ta s
“S o
c o m u n ic a r c o m
n o m e

u so o
q u e
o d i a r i a m ”.

o s
te rm o
o s

u n i-

Alexandrino 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 d a
K a rin e
v id a em
c a n ta
d ra m a -
o s

tiz a g o e s in v a ria v e lm e n te p as-

s io n a is . S u as m u s ic a s 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 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
A Antidiva Tombada (E nos precisavamos disso!) “D ig a a lg o se n a o p u l o ”, “A m o r
e g lo ria e so b o a to ” ou “T e n h o
e rfo rm a tic a , e la a ta c a f in d C om d o is d is c o s Ia n g ad o s, S o l-

P
K a rin e
v a ria s fre n te s .
A le x a n d rin o
A
e
c e a re n se
o q u e se
te ira P ro d u c ta
- 20 0 2 ) e Q u e re m
(G e ra d o r M u s ic
A c a b a r C o m ig o ,
fe b re ,
d i n h e i r o ”.
m a s v o u b u sc a r
Q u e s tio n a d a
n o sso
so b re
o e le m e n to k its c h p re s e n te em
c o n v e n c io n o u c h a m a r d e a rtis ta R o b e rto (T ra to re - 2 0 0 4 ), a m b o s
se u tra b a lh o , e la re b a te : “K its c h
m u ltin u d ia . “Q u a n to m a is n u a n ­ em p a rc e ria s co m p ro d u to r D u s-
m u d a d e a c o rd o co m a m o d a o u
c e s , c o d ig o s e s fm b o lo s tiv e r u m ta n G a lla s , K a rin e A le x a n d rin o
48 tr a b a lh o a r tis tic o , m e lh o r. C o m u - fez v a le r c a d a c e n ta v o d o in v e s -
n ao ? C o lo c a r p in g iiim em g e la -

n ic a m a i s ”, n o s c o n ta a p ro p ria , tim e n to d a m am ae. C om b a se s

d e ira p a ra p a re c e r k its c h , h o je 49
em d ia , so a fa ls o . N ao e o m eu
em e n tre v is ta p a ra a Ju k eb o x . p ro g ra m a d a s (m a s n e m se m p re ) e
caso . M as, c d m o fa g o u m a m u ­
“T e n h o u m a re la g a o f n tim ^ c o m a a rra n jo s b e m a m a rra d o s, a s can -
s ic a s im p le s , o n d e h a u m c e rto ■
b o d y a r t. M e fo to g ra fo , fa g o m e u s g o e s tra fe g a m e n tr e S e rg e G a in s -
ro m a n tis m o n a fo rm a , p o d e -se
p ro p rio s m o n o lo g o s e film e s de b o u rg e Y oko O no e m b a la d o s a
fa la r co m o se n d o k its c h . E n ao
m im m esm a. E e x e rc fc io d ia rio . v acu o , n u m a v a te n ta tiv a m in h a
p re te n d o s e r u m a m u s ic is ta ' c h a -
M as a s s e g u ro q u e e n a tu ra l e n a o d e e x p la n a g a o . E la m e sm a ja se
ta , n e m fin g ir q u e le v o a m u s ic a
u m a s im p le s e s t r a t e g i a ”. P o d e m d e fin iu c e rta v ez co m o e le c tro -
. 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 ”.
a c re d ita r. A fin a l, g ra n d e p a rte p o p -tra s h -c h iq u e . O u , n o u tr a v e z ,
J u s ta m e n te d a i su rg e o a la rm a d o
d e sse in te re s s e v e io d e b e rg o , co m o n e o -tro p ic a lis ta : “E u m a
p a p e l d e a n tid iv a , ta o n e c e ssa -
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
rio h o je , n u m m u h d o in fe s ta d o
C e a ra c h a m a d a M o ra d a N ova, c o m b a tu q u e s e p e n a s n a c a b e g a ",
d e c e le b rid a d e s in s ta n ta n e a s .
q u an d o a m ae d e K a rin e p a g a v a p o n d era. o q u e e x is tia n a fa c e
K a rin e e s in c e r a e c o n s ta n te m e n -
u m a p re c e p to ra p a ra d a r a u la s m tim a d o tro p ic a lis m o q u e m e
te a u to -iro n ic a . M a s a o s e u m o d o ,
- em c a s a s o b re a h is to r ia d a a rte . in s p ira m u ito . U m a p ro p o s ta d e
c a b e fris a r. E co m o se c o m p o rta
A q s c in c o a n o s , e la c o m p o s u m a m u s ic a co m lib e rd a d e . T en h o o
u m a a n tid iv a ? “C a n t a s e m frescu -
m u s ic a q u e fo i a d o ta d a n o c o le -
ra , se m p o s e d e b la s e . F ic a n u a s e
g io n o q u a l e s tu d a v a e , a o s o ito ,
n e c e s s a rio , b a te se n e c e s s a rio e
j a re c e b ia p r a c a n ta r n o s e v e n to s
s e c o m u n ic a c o m fra n q u e z a co m
d a c id a d e . D e p o is d is s o , m u ita
o p u b lic o . A le m d e fa z e r b o m u so
c o is a a c o n te c e u . F o rw a rd .
d o s m e l h o r e s p e r f u m e s ”.
 ■

Chapter 6 | The Crafting of Contemporary Fanzines

Cat Quvjeflt? 7
“ O ffic e
♦♦
C ^S X/£ 5 l

< ? S l/£

E S C A P t
k r* F R ° M t v \ e .
Zf H O N V O t * V « A \
Dream issue: H A L F (awake) 6 0 p
C & cuSaK , Frogs: Cthulhu: Gaiman: McKean: Clouds

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!)

a
brought together comic artists, designers
and musicians through the publication to
T A K T f i U M 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

it issue
v n & & 0 U I & S
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
I xperiences & J ^ ^ i ^ a r c
The Zine for Whale Lovers
Superpod Spectacle in the San Juans
Blue Whale Breath Baptism in Baja
Interview with a Whale W orld Legend
■
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?->
STATE CONTROLS
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, animal-
products-in-everything culture’.
 Chapter 6 | The Crafting of Contemporary Fanzines

How N o+ T o

A n in a lS
230 / 231

part of the problem

part of the solution
on the fence
 Chapter 6 | The Crafting of Contemporary Fanzines

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 ! a

mm
M I A M I BE u s t a r d
BUNCH OF STUFF STAPLED TOOFTHER I

£2.00

N E W Y OR K
NAP 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 INSIDE
sum m er^2006 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 Jen-
Tsen 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
SHOREDITCH TWAT
ISSUE 3
v he' b got a gun ISSUE 5

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 SHOREDITCH TWAT

ISSUE 14 ISSUE 18
HEAVY ARTILLERY 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, photographer-
type 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
Chapter 6 | The Crafting of Contemporary Fanzines
234 / 235

spilt milkshake

It’s Different For Girls summer/05 £3

issue #1

spring 2002

Help She Can’t Swim

Jennifer Herrema P A M F LET:
The Chalets . A I 'indication o f the Rights o f Girl

Lady Fuzz <f Z

The Gin Palace
Michelle Mae

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 Sleater-
L U tT T H
Kinney. 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 ’.
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-) fJL&i
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 (th is is the blood that w e're made of)
perzine by Mi r a n d a (a college English teacher),
is about ‘family h i s tory and the frequent
O "'
cruelty of li f e ’.
 Chapter 6 | The Crafting of Contemporary Fanzines

V •

No. 1
s'e^o lleg e girly life sp ring 2000

f l i p C O S S T P * unwound *
L 1 IC T 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
AUTUMN 2006
HYSTERICAL
HOMOSEXUALS
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
B iiifm fe w - ssynsi
of photocopied pages about inequalities
and harassment.
BUTT #14
M A G A Z IN E
FO R
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:
“ -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?"
'.5 ------------- ■
FU ftt SHIT UP! LOVE YOUR SC! I ' WE ARE OUR ONLY HOPE!
 Chapter 6 | The Crafting of Contemporary Fanzines

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? Sod that! Let's get
tanked and
ram raid A n n e
S’n n v ’N
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 anti-
Zionist’ 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 "T h e nice thing is,

Yay, interviews!

I Indietracks can't
grow too m uch"
Festival visionary Stuart Mackay
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

The Deirdres remembered

Sarah Records 20 years on
Post-popshow mornings

e
Abba vs Helvetica

r
D IY gigs in Leeds s
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 desktop-
publishing 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.
Chapter 6 | The Crafting of Contemporary Fanzines
r

240 / 241

ISSUE *2

No r w i c h , En g l a n d b y s u s ie & t im for u

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 lo r m . a n d thl. room “ a .M ,

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.
 Chapter 6 | The Crafting of Contemporary Fanzines

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 £4 .00

An alternative news and culture 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).
Chapter 6 | The Crafting of Contemporary Fanzines

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 FEEL LIKE...

WISH I COULD GET A DECENT LIK E-O H .N O f
NIGHT’ S REST? l „ I _ F E E L SO NOT AGAIN...
STF4M& f A L L OF A SUDDEN... 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 01 s e ttin g a s e ttin g
j. 02 M a p p in g re la tio n a l s p a c e s
03 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

r/>
04 M a p p in g o n -s ite a m d o n -lin e
05 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

I
collection of individually themed fanzines
(e.g. ‘the search for a research centre') * Z lK f ABOUT C O M M U N IT Y
created by Public Works - a London-based
art/architecture collective - to foster
discussion around the topic of architecture.
Unemployment (2009), by Aaron Lake Smith,
1 r»utv\bet~ one
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.
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 A COLLECTION OF SELF-PU8LISHE0 WORK FROM EUROPE AND NORTH AMERICA
Sarah Oleksyk, was produced by Joe Biel, an ROBERT SERGEL •JACKIE BATEY •KEVIN HOOYMAN
independent publisher of zines, books and and 11 other self-publishers!

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.

*
 Chapter 6 | The Crafting of Contemporary Fanzines

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.
10 Wertham, The World of Fanzines, p. 76.
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.
16 Wertham, The World of Fanzines, p. 33.
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.
31 Warner, Sr, All Our Yesterdays, p. 120.
32 Nichoils (ed.), The Encyclopedia of Science Fiction, p. 237.
33 Hansen, letter to the author.
34 Warner, Sr, All Our Yesterdays, p. 285.
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 Perry, Sniffin’ Glue, issue 1.
2 Hebdige, Subculture, p. 25.
3 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.
C H A P TE R 3 , pp. 8 6 -1 2 9
1 Mort, Cultures of Consumption, p. 5.
2 Marr, ‘Privatisation, Consumerism and Thatcherism in
the 1980s’.
3 Mort, Cultures of Consumption, p. 6.
4 Thornton, Club Culture, p. 11.
5 Ibid., p. 12.
6 Deakin, ‘Love of nothing’, pp. 16-17.
7 Litmus, ‘Boy’s Own: A History’ (accessed online 24 April
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.
13 Duncombe (ed.), Cultural Resistance Reader, p. 30.
14 Lukas, Inconspicuous Consumption (accessed online
24 April 2010).
15 Hoff, Thrift Score, p. 3.
16 Duncombe (ed.), Cultural Resistance Reader, p. 105.
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 For example, see White, ‘Revolution girl style now’.
2 Kate Vickers, quoted in Blase, Real Girls.
3 Gina, quoted in Mental Children, p. 15.
4 Tucker, Channel Seven.
5 http://www.empsfm.org/exhibitions/index.
asp?articlelD=670
6 Sweet, Chica.
7 Ibid.
8 R. K., ‘ Riot grrrl discourse’, p. 17.
9 Leonard, ‘Rebel girl, you are the queen of my world’,
p. 232.
10 Juno (ed.), Angry Women in Rock, p. 98.
11 Ladyfest Workshop (Glasgow, 2001).
12 Ladyfest fanzine programme (Glasgow, 2001).
13 Lee Beattie, Ladyfest fanzine programme, p. 19.
14 Ladyfest London (accessed online 3 March 2010).
15 Atton, Alternative Media, p. 59.
16 Ladyfest Ten (2010) (accessed online 5 March 2010).
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.
1 Labovitz, ‘Five years and counting’ (accessed online 21
March 2010).
2 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.
3 Cumbrowski, ‘The three ASCII art styles of the underground
art scene’, (accessed online 31 March 2010).
4 Phrack (accessed online 31 March 2010).
5 Pore, ‘General information about zines and alt.zines’
(accessed online 31 March 2010).
6 Labovitz, 'W hat’s “an :e-zine", anyway?’ (accessed online
31 March 2010).
7 Duncombe, Notes from Underground, p. 197.
8 Secret Nerd Brigade (accessed online 29 April 2010).
9 Atton, Alternative Media, p. 75.
10 Duncombe, Notes from Underground, p. 230.
11 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 6, pp. 2 0 4 -4 7
1 London Zine Symposium 2006 (accessed online 4 April
2010).
2 Greer, Knitting for Good!, p. 10.
3 Metcalf, ‘Replacing the myth of modernism' (accessed
online 2 April 2010).
4 Metcalf, ‘DIY, websites and energy’ (accessed online 2 April
2010 ).
5 Wrekk, Stolen Sharpie Revolution, p. 5.
6 Ibid., pp. 6-7.
7 Ibid., p. 60.
8 Greer, Knitting for Good!, p. 12.
BIBLIOGRAPHY
BO O KS
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html
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250 / 251
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(2006), pp. 6 9 -8 3 .
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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 .
Paul Williams, email to author (26 July 2000).
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(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.
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. 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.
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.
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. 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.
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. 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.
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.
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.
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.
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. 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.
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.
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.

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.
pp. 5 4 -5 5 : Panache, no. 13 (1980), no. 12 (c. 1980) [interior
page], Mick Mercer: Dunnington, North Yorkshire, 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. 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. 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
photos Alan Anger and Eddie Duggan: London, UK. More-on-
Four (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. 1979-
80), 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. 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. 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 screen-
print by Michael: [n.p.] [front and back covers].
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. 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:
List of Zines
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 ‘Frica-
Boy’ 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 Menstru-
Rama!! (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

(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. 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.
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.
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.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. 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].
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: The Flaneur (2009) [website], Jonathan Powell and
others: London, UK. Stolen Sharpie (May 2008) [blog], Alex
Wrekk: Portland, OR, USA. To-Do List (2005) [blog], Sasha
Cagen: San Francisco, CA, USA.
p. 175: Broken Pencil ([n.d.]) [website], ed. Lindsay Gibb:
Toronto, Canada. Irish Books and Zines (June 2008) [blog]:
Ireland.
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.
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.
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. 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.
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. 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.
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.
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],
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. 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
List of Zines
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. 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. 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, editor-
in-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. 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.

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
Acknowledgments, Index
Boy George 37 crafts 205, 209, 211, 213 127, 132, 222 Hanna, Kathleen 12, 131, Kirby, Jack 18, 19
Boycott, Rosie 135 Crass 29, 48, 49, 71, 77, Chelsea Girl 106 133,135,167 Kirsty 144
Bradbury, Ray 17 185 Mary Quant 106 Hansen, Robert 17 Kleenex 60
Braddock, Kevin 206 Creeps 33 men’s 223 Hanson, Maurice K. 24 Kolanjian, Steve 8
Brady Bunch, The 37, 94 Criminal Justice and Public 1960s 106 Hanzel, Laurie 8 Kopecna, Paula 192
Brain Eaters, The 10 Order Act 88 fat issues 159, 160 Happy Mondays 88 Koretzky, Dan 9
Bratmobile 131, 135, 139 Crimson Shadows 33 see also body image; Harrods 60 Kovac, Tommy 203
Brent, Bill 201 Crisp, Quentin 90 eating disorders Harry, Bill 18 K Records 131
Bret 181 Critical Mass bikes rides feminism 8, 12, 18, 21, Haslam, Dave 88 Kucsma, Jason 193
Briggs, Raleigh 209 protest movement 228 131-33,141, 143, 144, Haymarket Hussies 150 Kwok, Jen-Tsen 231
Brock, Dave 11 Cruz, Cathy de la 209 196, 205, 234, 237 Haynes, Matt 242
Brookside 90 Crystal Palace football club see also women’s Hayward, Tim 222 L7 144
Brown, Diana 87 203 liberation movement Heartfield, John 49 Labovitz, John 171,172
Buffalo Springfield 35 cycling 182 film 45, 121, 213, 223 Heavens to Betsy 139 Labute Printers 66
Bump 232 kungfu films 121 hectograph printing 10, 17 Ladybird books 141
Burne, Charles 115 Dada 15, 46, 60 Hollywood movies 7 Helms, Robert P. 90, 91 Ladyfest 135, 148, 150,
Burrows, David 218 Dahl, Sophie 8, 97 horror 124 Henriksen, Irma 110 159, 196
Burton, Tim 12 Dahmer, Jeffrey 94 Saturday matinee 7 Henzel, Laurie 196 Lake Smith, Aaron 244
Butner, Meredith 190 Daily Mirror 45 see also named films Herms, Marcel 221 Lambrettas see scooters
Byron, Paul 238 Damned, the 66 Filth and the Fury!, The 17 Higgs, Mike 18, 42 Lamden, Shannon 211
dance culture 87-88 Financial Times 206 Hillsborough disaster 101 Lampert, Nicolas 228
Cagen, Sasha 174 Datakill, Johnny 117 Flanders, Annie 87, 97 Himelstein, Abram Shalom 9 Landau,John 35
Cambodian Society 244 Davis, Angela 153 Fleetwood Mac 8 hippie culture 46, 87 Las Sin Fronteras 133, 155
Campbell, Kirke 219 DC Comics 12, 18 Fliss, Miss 217 Hoch, Hannah 49 Lastufka, Alan 203
capitalism 88, 91, 103, 205, Dead Boys, The 60 Fluxus 15, 217 Hoff, Al 7, 91, 97 Lawson, Annie 227
206 Deakin, Camilla 23, 87 Flynn, Simon 124 Hogg, Brian 19 Layla 141
Captain America 39 Deakin, Fred 23, 87 food 17,222 Holbrook, Calvin 18 LeTigre 133, 164, 167, 234
carbonzines 17 Dee Dee 238 see also animal: recipes Holland, Doug 201 Leclerc, Luc 225
Carpenters, the 119 Dee, Jack 206 free from animal Hollins, Saskia 154 Lee, Christopher 124
Carr, Jim m y 206 Delaware, University of 206, products; body image; Holmstrom, John 11,29,45 Lee, Stan 39
Carroll, Gemma 221 244 eating disorders; fat homosexuality 12, 17, 18, 94 Leon, Tony 117
Carver, Lisa 157 Delerium Records 35 issues; animal: recipes see also queerzines lesbianism 110, 135, 139,
cassettes 115 desktop publishing 7, 13, free from animal Hooten, Josh 117 147, 160
CDs 176,217 105, 172, 176, 206, 219, products; veganism; Hooton, Peter 87 see also queerzines
Celtic 98 223 vegetarianism horror 12 Letraset 18, 23
Chainsaw, Charlie 46, 53, 68 Dev 109 football 8 ,9 ,8 7 ,9 1 ,9 8 , comics 224 letterpress printing 9, 206
Chauvenet, Louis Russell 10 Diana, Lady see Spencer, 101, 118 films 124 Levy, Jaime 176
Chelsea 78 Lady Diana see also Hillsborough House, Rachel 159, 160, libel laws 15, 87
Chelsea Girl see fashion Dickinson, Bob 9 disaster and named 164 Lim, Sandy 179
Chicks on Speed 157 Dishwasher Pete 90, 91 clubs, leagues and teams ‘how’to’ guides 23, 207, Lima, Renato 227
CHIPS 37 Ditto, Beth 235 Ford, Laura Oldfield 175, 209, 211 Linus 131
Chris 211 Doctor Who 17,29,37,40, 185 Huggy Bear 131, 132, 141 Little, Dave 88, 118
Clapton, Eric 14 205 Fortune 91 humour 17, 141, 172 Liverpool Football Club 101
Clark, Ron 127 Doherty, Pete 242 Frauenfelder, Mark 93 Hutton, Rachel 231 Logan, Nick 87
Clarke, Arthur C. 17, 19 Donner, Christa 197 Fredericksen, Julie 203 HyperCard floppy disks 176 London College of
Clarke, Phil 18 Donovan 18 Freedman, Jenna 175 Communication 206,
Clary, Julian 90 Douglas, Gail 134 Friedman, R. Seth 9, 15, IBM 171 243,244
Clash 59, 131 Douglas, Lorraine 134 17, 128 Golfball typewriter 15 London Zine Symposium 205
class 45 Downes, Julia 169 Fry, Patrick 243 Iggy Pop 83 Loser, Anto and Eugene 182
Clear, Crystal 62 Doyle, Sarah 213 Fuller, Margaret 14 incest 157, 166 Love, Courtney 116, 132,
Clowes, Daniel 122 Drake, Francis 65 Furmanovsky, Jill 50 InDesign 223 144
clubzines 89 Drayton, Tony 29, 46, 47, Ingham, John 45, 59 Lowe, Rob 222
CND 71 57, 83, 172, 183 gadgets 93 Institute of Contemporary Art Lubbock, Karen 190
Cobain, Kurt 205 Dublin Anarchist Bookfair Gaiman, Neil 227 (ICA) 218, 242 Luce, Hudson 128
Cocker, Jarvis 14 182 Gaither, Jeff 127 International pop Lukas, Paul 7, 92
Colette 12, 185 Duffer of St. George 87 Galloway, Bryce 221 Underground Convention Lulu 171
colour printing 209 Duncombe, Stephen 9, 10, Gane, Simon 103 131 Luther, Bill 109
Coltrane, John 219 13-14, 1 7 ,4 6 ,8 8 ,9 1 , 172 garage zines 127 Isy 186, 189
Combat 105 Dyer, Rebecca 234 Garnett, Bay 97 Italian Association for Visual McAdams, Heather 176
Combine, The 106 Dylan, Bob 8, 18 Garrett, Malcolm 83 Communication Design McCartney, Linda see
Cometbus, Aaron 92 genzines 19 195 Eastman, Linda
comics 15, 17-18, 19, 25, Eastman, Linda 35 Gernsback, Hugo 17 McCloud, Scott 175
3 9 ,4 0 ,4 2 ,4 5 , 164, 176, Eastman, Max 10 Gestetner, David 17 Jackie 132, 135 McCullough, Dave 45, 48
186, 201, 209, 227, 235, eating disorders 147 Gibb, Lindsay 175 Jackie (producer) 35 McDowell, Forrest and Tricia
238 see also body image; fat Gill, David 88 Jackson, Julie 205 209
comix 17, 18, 42, 179 issues; food girl power 130-169 Jackson, Michael 23 MacGowan, Shane 59
horror 224 Eccles, Cymon 87 Glamour 8, 132 Jam 14 McKay, George 10
see also Captain Ecstasy 87 Glitterbest 49 Janice, Cari Goldberg 10,128 McKean, Dave 227
America; DC Comics; Ed Wood 12 Goad, Jim 91 Jasiewicz, Ilona 148 McLaren, Malcolm 45, 49
Entertaining Comics; Edward Scissorhands 12 Gottschalk, Jr., Earl 18 Javanmard, Amin-Reza 231 McLaughlin, Thomas 19
Marvel; Superman; Eliot, T. S. 10 Grafik 192 Jefferson Airplane 18 McNeil, Legs 4 5 -4 6
Wonder Woman Elizabeth 141 Graham, Jane 150 Jennifer 219 MacPhee, Josh 228
Comics Code Authority 224 Ellingson, Lee 127 Gray, Anthony 223 Jesus Lizard 176 Maddison, Melanie 135, 169
comiczines 25, 42, 147, 186, Elliott, Carl 91 Green, Pete 12, 238 jobzines 90 Madonna 16
209,224, 225, 227 Emerson, Ralph Waldo 14 Greenberger, David 12, 92, Johnson, Andrew Owen 246 Maize, Steve 87
Compleine, Mona 163 Emma 217 173 Johnson, Calvin 131 MamboTaxi 131
computer-generated Engelberg, Miriam 227 Greer, Betsy 205 Jolliffe, Kira 8, 97 Man from U.N.C.L.E, The 36
typography 9 Entertaining Comics 17-18 Groening, Matt 87 Jones, Gareth 88 Manchester United 101
Conde Nast 87, 97 environment 36, 205 'guerilla gardening’ 205 Jones, Terry 87, 97 Manfred Mann 35
consumerism 86-129, 205, Estrada, Erik 37 Guardian 7 Jonkers, Gert 236 Maranda 240
219 Etsy 209 Guimond, Martin 225 Jordan, Pete see Dishwasher Marcus, Greil 45
Cook, Peter 13, 205 Evergreen College 112 Gunderloy, Mike 9, 128 Pete Marisa 157
Coon, Caroline 60 Ewart, Joe 75, 83 Joyce, James 10 Marr, Andrew 87
Cooper Clarke, John 242 e-zines 12, 170-203 Hacienda Club 47, 88 Judge Judy 227 Marr, John 94
Cooper, Leonie 234 hacking 171 Judy 147 Marvel 18,39,42
copyright infringement 15, Factory Records 47 Haegele, Katie 193 Massicotte-Quesnel, Mathieu
87, 206 Faludi, Susan 147 Halliday, Ayun 13, 191 Karp, Marcelle 8 225
Corlett, Kathryn 235 Fantagraphics 227 Halligan, Dan 179 Katastropy Wife 135 masturbation 135, 157
Corn Dog Publishing 209 Farley, Terry 87 Hammer Films 124 Kate 160 Mathur, Paul 83
Cosmopolitan 8 Farm, The 87, 88, 118 Hancock, Tony 11 Kaye, Rachel 13, 147 Matthes, Colin 228
Council, Andy 192 fascism 105 Handelman, Sarah 208 Kelly, Jeff 7, 91 MaximumRocknRoll 129
Crabb, Cindy 13, 184, 241 neo-fascist punk 45 Handren, Marisa 235 Kennedy, Pagan 7, 172 May, Steve 59
Crabtree, Heather 135 fashion 22, 38, 45, 87, 97, handwrittenzines 17 King, David 48 Mayes, Oliver 206
 256

medical research 90, 91 Nimoy, Leonard 17 psychedelia 15, 19, 23, Club 17 Status Quo 118 Warner Brothers 8
Melody Maker 83 Nin, Anais 235 87, 89 science fiction 7, 10, 12, stencils 9, 46, 71, 153, Watson, Mike 232
men 206 Nine Inch Nails 176 Public Works 222, 244 14, 15, 17-19, 24, 25, 162,228 Weatherall, Andy 87
menstruation 135, 154-55 Nirvana 112 Pulp 14 29, 37, 42, 124, 171, Steppes, the 35 Weiss, Jenna 179
Mercer, Mick 48, 53, 68 NME 49, 59 , 83 punk 9, 12, 15, 17, 18, 19, 201, 205 Steptoe and Son 121 Weller, Michael J. 53, 125
metazines 15-16,91,128, Noland, Frederick 241 21,29, 3 3 ,3 6 ,3 9 ,8 7 , see also Doctor Who-, Stewart, Bhob 17 Weller, Paul 14, 106
175 Noonan, Tom 208 92, 97, 4 4 -8 5 , 106, 116, Star Trek; Star Wars Stitt, Andrew 227 Wenclas, Karl 201
meta-webzines 200, North Staffs Polytechnic 118,119, 122, 125, 126, Science Fiction Association Stoke City Football Club Wertham, Fredric 9, 10,
201 Student Union 60 127, 131, 132, 135, 136, 24 203 12, 17
Metcalf, Bruce 205, 206 Nugent, Ted 11 139, 148, 164, 181, 182, Science Fiction League 24 Stoller, Debbie 8, 196, 205 whales 228
Meyer, Christoph 214 nursing homes 92 205, 206, 228 scientific research 91 Stroheim, Otto von 93 White, Ted 17
Microcosm Publishing 209 anarcho-punk 45, 48, scooters 106, 109 Sub Pop 112,115 White, Wes 183
Middleton, Heather 164 Oasis 26, 83 71,75, 110, 126, 185 Scott, Howard 14 Sue 35 Whybray, Simon 192
Miles 238 Observer, The 227 punkzines 10, 23, 26, 48, Scottish Football League Superman 17-18 Wickham, Helen 213
Milk, Harvey 148 '0 Comeco do Fin do 65,189 101 Surrealism 15 Wieden & Kennedy 8
Miller, Jeff 191 Mundo' 81 Screamers, the 66 Sutcliffe, Mandy 211 Wilcox, Kathi 12, 131
Millwall Football Club 101 O ’Connor, Erin 8 Quant, Mary 106 screen-printing 206, 219, Sweet, Lucy 132, 237 Wilde, Kim 110
mimeography 9, 10, 13, offset lithography 15, 17, QuarkXPress 17 221 Swell Maps, the 83 Williams, Paul 18, 35
15, 17, 19 29, 40 queer see homosexuality Seripop 19 Swezey, Ken 128 Willie D. 53
minizines 163, 164, 205, Ogaki,Yuka 169 queerzines 12, 94, 102, Sessions, Emily 167 Switzer, Karen 206 Wilson, Eddie 207
206 Oldskool 171 110, 159, 185, 236 7 Year Bitch 131 Wired 172
Miranda 234 Oleksyk, Sarah 246 Quint, Chella 1 35 ,15 4-5 5 sex/sexuality 21, 160 Taurasi, Jim m y 18 Wittlinger, Ellen 9
Mod Fun 109 Ordway, Nico 15 ‘quirkyalone’ 174 being asexual 207 Taylor, Bernie 106 Wobensmith, Matt 126
Modernism 242 Our Hero 8, 199 sex industry 16 Tejaratchi, Sean 15, 26, 93 Woggon, Bill 16
Mo-Dettes, the 83 Overstreet, Robert M. 18 Rabid, Jack 126 sexual abuse 241 television 12, 121, 125 Wolfe, Allison 12, 131,
Mods 109, 242 Rabinowitz, Jacob 128 sexual harassment 159 see also M TV and 135, 139
modzines 13, 109 Pallenberg, Anita 8, 97 Rachel, Miss 164 see also homosexuality; named television Women’s Armed Struggle
Monobrain 221 Pallister, James 19 racism 105 incest; lesbianism; programmes Group 153
Monroe, Marilyn 133 Palmer, R. A. 17 Raidt, Dana 195 masturbation Television (band) 45 women's liberation
Monty Python 12 Panter, Gary 29, 81 Raincoats, the 131 Sex Pistols, the 17, 45, Telfer, Justine 209, 211 movement 135
Mood Six 106 Parcel Press 209 Ramones, The 45, 238 46, 49 Telford Community Arts 78 see also feminism
Moorcock, Michael 35 Parfrey, Adam 128 Rastelli, Louis 122 Shaggs, the 160 Texas Chainsaw Massacre, Wonder Woman 143
Morgan, John 232 Parker, Marc 200 rave Sharpe, Barry K. 87 The 46 Wong, Martin 8
Morrissey 119 Patrick 12, 185 culture 87-88 Shaw, Greg 9, 18-19, 84 Thatcher, Margaret 71, 87 Wood, Victoria 11
Mort, Frank 87 Pavitt, Bruce 112, 115, 131 zines 91 Shimiz, Ikuko 132 This is Northstar 8 Woolf, Virginia 225
Mosh! 227 Payne, Anne-Marie see Reading, University of 37 Shocking Pink 132,135 Thomas, Judy 109 Wrekk, Alex 174, 189,
Motherwell Football Club Amp, Miss Reagan, Ronald 83, 87 Shosubi, Sarah 62 Thompson Twins 71 206, 211
101 Peace, Eloise 198 Real World 121 Silence, The 47 Thornton, Sarah 87 Wright, John 42
Motorhead 11 Pearlman, Sandy 35 Rebel, Leon 48 Simon 35 thrift shopping 12, 91, 97,
Ms. Magazine 132, 143 Peel, John 77 recycling 36 Simon and Garfunkel 18 206 xerography 9
MTV 121 People, The 45 Reid, Jamie 9, 17, 46, Simone, Nina 235 Thrills, Adrian 59 Xyerra, Ciara 200
Mucilage Press 71 Peril, Lynn 94, 173 50, 75 Sinclair, Carla 93 Throbbing Gristle 62
Mudhoney 112, 166 Perry, Mark 35, 4 5 -4 6 , 50, Reinstein, Erika 139 Sinitta 214 ‘Tiki’ culture 93 Yayoi 162
multiculturalism 131 57, 127 Rerrie, Karoline 221 Situationism 15,4 5 ,4 6 , Time 1 Yeager, Bunny 94
Multilith 1250 press 11 perzines 12-13, 91, 147, Reynolds, Simon 88 50, 75, 121 Toby, Jackie 106 Young British Artists 218
murder 15, 94 148, 150, 167, 175, 184, Rheingold, Howard 176 Siouxsie and the Banshees Tomas 195 Young Marble Giants 71
serial killers 91 191, 207, 213, 214, 217, Rich 211 83 Tong, Pete 89
Murdoch, Rupert 91 219, 227, 234, 238, Rider, Alan 83 skateboarding 98, 127 Tower Records 7 Zamora, Alex 192
Murphy, Simon see 240,241 Rigg, Diana 12 Skids, the 68 Transcendentalist Club 14 Zappa, Frank 119
Compleine, Mona pharmaceutical research 90 Rimbaud, Penny 49 skinhead movement 72, trash drag culture 163 Zips, the 83
Murray, Tim 192 Philadelphia Inquirer 193 riotgrrrl movement 12, 16, 105 travel zines 91 Zuellig, Tim othy 176
music 12, 15, 17, 19, 25, -Phoebe 234 17, 21, 131-36, 139, Skinned Teen 131 Tubman, Harriet 153
35, 45, 78, 102, 106, Phoenix Magazines 66 143, 144, 148, 150, Skrewdriver 105 Tucker, Bob 17
125, 128, 171, 223 Phoenix, Rob 217 153 -5 5 ,1 6 0 ,1 6 2 , 164, Sladen, Elizabeth 40 Tucker, Corin 131-32, 139
dubstep 183 photocopying 9, 12, 13, 15, 166, 169, 184, 196, Slash Records 66 Turner, Harry 24, 40
genres 18 206,209 205, 206, 217, 235, 237 Sleater-Kinney 131, 217, TV Times 121
grime 183 colour 65, 217, 219 Roche, Anthony 18 234 Tw iggy 164
grunge 112 photozines 219 Rock, Michael 13 Sleazenation 232
indie 88, 91, 112, 116, phreaking 171 Rock Against Racism 49 Slits, the 77 Ultravox 62
117, 157, 169, 175, Pilger, John 242 Rock Bitch 110 Small Faces, the 242 Underground Literary
186, 200, 219, 227 plagiarism 244 Rocket Power 8 Smith, Don and Erin 94 Alliance 201
pop 26, 87 Planet of the Apes 17 Rogers, Jude 242 Smith, Erica 160 unemployment 244
punk 8, 29, 126, 127, Playboy 121, 172 Roky Erickson 33 Smith, Jean 131 Urban Oufitters 8
172 Pogues, the 59 Rolling Stones, the 18 Smith, Matthew J. 175
reggae 119, 183 Poletti, Anna 12 Romenesko, James 8 Smith, Patti 29, 65, 144 Vague, Tom 75
rock and roll 7, 18, 19, police brutality 72 Romeo, Deborah 'Darby' 87 Smiths, the 119 Vail, Tobi 12, 131, 135,
46, 118, 148 politics 9, 17, 25, 36, 49, Romney, Jonathan 66 social networking sites 171, 139
thrash 98 87, 102, 105, 126, 189, Rosenblum, J. Michael 17 172, 192, 203, 209 Vale, V. 57
underground 12, 15 205 Rough Trade 65 Solanas, Valerie 197 Vandercookflat-bed press
see also named singers anti-war 182 Rowdies, the 62 Solar Culture club 133 214
and bands community 241 Rowe, Ashley 222 Somers, Jeff 201 Vaucher, Gee 49, 185
musiczines 7, 238 feminist 130-169, 234 Rowe, Chip 7, 172 Sonic Youth 112 veganism 189, 207, 222
Musson, Alex 231 punk 45, 57 Rowe, Marsha 135 Sophy 144 vegetarianism 228
Mystery Date board game queer 19, 131 Rumsby, Susie 240 Sounds 49, 59 , 83 see also animal: recipes free
94 Poneman, Jonathan 112 Ruts, the 83 Spangler, Tina 121 from animal products
Pop 81 Ruttenberg, Jay 231 Spare Rib 132 Vespas see scooters
N.Y. Loose 36 popular culture 93, 122, Ryan, John 8 Spencer, Lady Diana 125 Vicious, Sid 45
Nakanura, Eric 8 125, 127, 162, 205 Spiral Tribe 88, 89 Villeneuve, Poppy de 97
National Basketball Porcellino, John 224 Safari, Rio see Batiuk, Tim spirituality 17 vinyl records 9, 29, 33, 35,
Association 101 Pore, Jerod 128, 172 samizdat publishing 15 Splinter Magazine 217 3 6 ,8 3 ,2 1 4
National Football League Portland Zine Symposium alt.zines. samizdat splitzines 33, 105 virtual networks 209
101 174, 189 newsgroup 172 sports 12, 91, 98 Voelz, Vincent 193
Neary, Paul 18 Pound, Ezra 10 Sandata, Sabrina Margarita baseball 101 Voodoo Queens, the 131
Netscape Navigator 172 Pow!, Susy 167 134 cricketing press 98
Neuman, Molly 12, 131, Pre-Raphaelites 14 Sandler, Kate 203 see also football; Wade, Tim 240
139, 157 Presley, Elvis 18, 19 Santos, Richard 15 National Basketball Wah! Heat 71
New College of Florida 225 Prested, Nichola 209, 211 Savage, Jon 8, 10, 29, 57 Association Waller, Johnny 68, 83
Newcastle University Pretty Ugly Collective 134 Savage, Pam 164 Springfield, Dusty 18 Wann, Marilyn 160
Socialist Society 25 Price, Vincent 124 Savage Pencil 50 Spy 172 W APA 14
Newskool 171 print zines 183 ‘Scally’ culture 118 Stacy 241 Ware, Chris 122
Niezviecki, Hal 175 Prisoner: Cell Block H. Schweser, Jamie 9 Star Trek 17, 36, 40 Warhol, Andy 45
Night of the Living Dead 10 Holiday in the Sun 102 Science Correspondence Star Wars 17 Warner, Harry 14, 17
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).

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The Typographic Experim ent

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