S - FanzinDB.org
Transcription
S - FanzinDB.org
F a n z m s -—=• ---- r- -T E A L lR lte r S 0 -W Thames & Hudson 'T • • '• ’ *$ T E A L T R Ite S 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 lA/i+H o v v r ?5"^ i l l ^ i f i ' f l j f " ) cjvi^ m m kSS ^ ls l® H H H | This book is dedicated to my parents Edward Elmer Triggs and Rae Janice Triggs. First p u b l i s h e d in the Uni t e d K i n g d o m in 2010 by Thames & H u d s o n Ltd, 181A H i g h Holborn, L o n d o n W C 1 V 7QX Cop y r i g h t © 2010 Teal Triggs All Righ t s Reserved. No part of this p u b l i c a t i o n m a y be rep r o d u c e d or t r a n s m i t t e d in any f o r m or by any means, elec t r o n i c or mechanical, i n c l u d i n g photocopy, r e c o r d i n g or any other in f o r m a t i o n s t o rage and r e t r ieval system, w i t h o u t prior pe r m i s s i o n in w r i t i n g f r o m the publisher. A n y copy of this b o o k issued by the p u b l i s h e r as a p a p e r b a c k is sold subject to the c o n d i t i o n that i t shall not b y w a y of tra d e or o t h e r w i s e be lent, resold, h i r e d out or o t h e r w i s e circ u l a t e d w i t h o u t the p u b l i s h e r ’s prior consent in any f o r m of b i n d i n g or cover other t h a n t hat in w h i c h it is p u b l i s h e d and w i t h o u t a similar c o n d i t i o n i n c l u d i n g these w o r d s b e i n g i m p osed on a subs e q u e n t purchaser. > o' o B r i t i s h L i b r a r y C a t a l o g u i n g - i n - P u b l i c a t i o n Da t a A c a t a l o g u e record for this b o o k is a v a i l a b l e f r o m the British Library ISBN 9 7 8 - 0 - 5 0 0 - 2 8 8 9 1 - 7 Prin t e d and bo u n d in Sin g a p o r e by T i e n W a h Press (Pte) Ltd. To find out about all our publications, please visit www.thamesandhudson.com. There you can subscribe to our e-newsletter, browse or download our current catalogue, and buy any titles that are in print. ,y»u.W-g^W^ __________________ • ; . .. .. W 4 ‘i x - v u ‘ ......... " ' . ' , . "" "" - • • • ■ ■ - ' S 6 i y ® i 5 S ' W ■ ' ® ■ • ■ . h r. ■ if l : : : 4 l S C o n t e n t s Chapter One kVr.’c*;•</£*v;~ ?^r:>'r‘v '.v'.-:': : ; :•:•*•v $£■ •' -V" ^ . •: . _ ___ 006 A Do - i t - Y o u r s e l f R e v o l u t i o n : D e f i n i t i o n s and E a r l y D a y s > 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 Jlttft - . i '• S I--I W B s w - m f r x * 1* .......................... ; v ' - : ■ ■” ■ .• - ■ ' - - . } — .. . :_ 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 exclusively ELVIS W e s t e r a / " T r a ils t n iM jP ir iV f '1.00 t / o .f 7»e- 3 M £ S & < J ir / T £ R S F a n d o m h a d its r o o t s i n the e a r l y g e n r e s of s c i e n c e f i c tion, r o c k a n d roll and Holly w o o d movies. B r i t i s h f a n z i n e N e w Worlds (1930s-1997) is o n e of t h e longest-running science fiction publications. The r i s e of r o c k a n d r o l l set t h e s t a g e for s u c h m u s i c z i n e s as E x c l u s i v e l y E l v i s (1969) - a b i - m o n t h l y f i r s t sold during an Elvis convention i n Le i c e s t e r , UK. W e s t e r n T rails M a g a z i n e (c. mid-1970s) featured fan news about 1 9 4 0 s - 6 0 s W e s t e r n stars, w i t h this launch issue celebrating the S a t u r d a y m a t i n e e . W alking into any fanzine sym posium today one is im m ediately aware com pilations of fanzines published by m ainstream publishing houses. that the days of these small press publications are far from over. All of this started in the late 1990s, when there was a bustle of a ctivity There is an air of excitem ent at such events, where fanzine editors in America. At this tim e the range of topics and personal interests that and enthusiasts come to sell, buy or swap publications. Folding tables zinesters were w riting about came to light. Pagan Kennedy, a journalist line the venue’s walls, piled high w ith fanzines in all shapes, sizes and and writer, was am ong the first to move from the underground into the form ats. Some fanzines are produced using desktop publishing, w hile overground, w ith her book Zine: H ow I Spent Six Years o f M y Life in many others are lovingly put together by hand using more conventional the U nderground and Finally Found M yself . . . I Think (1 99 5 ), w hich techniques such as scissors and glue. The atm osphere is fair-like, w as based on the w ritings in her own personal fanzine, P agan’s Flead com bining m arket trading w ith fanzine-m aking w orkshops, curated (c. 1 9 8 8 -9 4 ). Other fanzine producers soon followed in a publishing exhibitions and talks from zinesters them selves. This is a space where flurry that brought into the public consciousness, for example, insights an invisible fanzine culture becomes visible. into the everydayness of contem porary life as observed by Paul Lukas in Inconspicuous C onsum ption: An Obsessive Look at the S tu ff We From Underground to Overground Take for Granted, From the Everyday to the Obscure (1 99 6 ); Al H o ffs For the most part fanzines, or ‘zines’, remain hidden, flying beneath the ‘scavenging fun' at th rift stores in Thrift Score (1997); the antics of radar of m ainstream publishing and its conventions. Their production A m erica’s tem porary w ork industry as viewed by Jeff Kelly in B est o f is often irregular, and distribution takes place at zine fairs, by word of Temp Slave! (1 99 7 ); and, notably, from Chip Rowe, producer of Chip's m outh, through independent m usic shops or bookstores, or through Closet Cleaner (1 9 8 9 -), The Book o f Zines: Readings from the Fringe the post. Zinesters (producers of fanzines) are less concerned about (1997). This book still sits alongside an accom panying website that copyright, grammar, spelling, punctuation or the protocols of page continues to provide an updated resource w ith practical ‘how -to’ advice, layout, grids and typography, than about com m unicating a particular fanzine directories and interview s w ith producers.2 subject to a com m un ity of like-m inded individuals. The print-runs vary ■ This process of m oving from ‘below critical radar’ into m ainstream in num bers. Some are lim ited editions of up to fifty, w hile others may publishing houses was not w ith o u t its critics or controversy. By 1997, be dow nloaded digitally from the Internet. It is hard to estim ate how some w ith in the do-it-yourself com m un ity were accused of selling out, many fanzines are produced each year - although in the late 1980s, by trading on the DIY ethos for com m ercial gain. Fanzine producers the Guardian new spaper reported that more than 1 0 ,0 0 0 titles of UK are in a unique position, at the same tim e author, editor, publisher football-related fanzines alone were in publication, w hile in 1 9 9 4 Time and designer; they are subcultural insiders and em brace the ethos of magazine reported that 2 0 ,0 0 0 titles were produced in the United a DIY com m unity. Despite fanzines being am ateur publications, their States, a figure that was then grow ing at an annual rate of 2 0 per cent producers have become their own makers of cultural meaning, taking - 4 ,0 0 0 fanzines were sold in one m onth at one branch of the (now part in the construction of the very pop culture that they critique. defunct) record chain Tower Records.1 W ith this in m ind it is no w onder tha t critics have expressed concerns The interest in small press publications and fanzines has increased that m ainstream publishing w ould ‘endanger the alternative, anti over the last tw o decades, as evidenced by the plethora of international establishm ent view point that makes zines unique’, and asked: are fanzine sym posia and exhibitions and the increased num ber of book these ‘the last days of Pompeii for the zine world?’3 T h e g r a p h i c l a n g u a g e of 1960s a n d 1970s f a n z i n e s f o r m e d t h e b a s i s for t h e ‘ design’ of z i n e s to come. J o h n Ryan, e d i t o r of t h i s s p e c i a l o f f s e t e d i t i o n of t h e A u s t r a l i a n c o m i c z i n e B o o m e r a n g (1970s), is p i c t u r e d in f r o n t of h i s c o m i c s collec t i o n . O n t h e c o v e r of A w a r e M a g a z i n e (1977), p r o d u c e d b y S t e v e K o l a n j i a n , is a s e s s i o n p h o t o g r a p h of F l e e t w o o d Mac, w h ose discography and h i story a p p e a r inside. B o b D y l a n a p p e a r s on t h e c o v e r of i s s u e f o u r of C r awdaddy! (1966-2003), o f t e n c r e d i t e d as t h e f i r s t p u b l i c a t i o n of pop m u s i c c ritic i s m . On the other hand, it is not uncom m on for fanzine producers to media cover elsewhere (for example British television’s Fantasy have intentionally used fanzines as a testing ground before entering into Football League). The British style bible i-D (1 9 8 0 -) took everyday professional careers as journalists, photographers or graphic designers. subcultural street clothing and turned it into a glossy fashion cult. And You have only to look at established British media figures such as Jon finally, Cheap Date (1 9 9 7 -) - tagline: ‘antidotal antifashion for thin kin g Savage (Bam Balam and London's Outrage to w eekly m usic press thrifters' - produced by Kira Jolliffe and courting such high-profile and then to The Face and on to national press and television) and fashionistas as Sophie Dahl, Anita Pallenberg and Erin O’Connor, is now Danny Baker (S niffin' Glue to N M E and BBC Radio) to get the idea. published in the m ainstream , w ith a Russian edition. All these examples In the United States, James Romenesko (O bscure, 1 9 8 9 -9 9 ) runs of zines that started off small and made it big are the exception rather spin -o ff indie websites The Obscure Store and Reading Room (1 9 9 8 -) than the rule, but they show w hat can happen when an idea catches and MediaGossip.com (1 99 9 ) and a page on the journalism site the Zeitgeist. PoynterOnline (1 9 9 9 -), w hich have attracted a regular readership from ‘people obsessed w ith new spapers'.4 Some fanzines have undergone a parallel transition. Giant Robot: The on-going debates have not deterred other zinesters from turning to mainstream publishers, nor the mainstream itself from co-opting the fanzine as a popular cultural form . In the 1 99 0s, it seemed that Asian Am erican Pop Culture and Beyond (1 9 9 4 -), for example, began everywhere you turned faux fanzines were being published by large as a m odest fanzine in Los Angeles created by form er punk-rock zine m ultinational com panies. The fanzine as a graphic form was co-opted producers Eric Nakam ura and M artin W ong. W ith the help of a loyal - m oving from an authentic, edgy, political underground into the world fan base and a self-confessed DIY ethic Giant Robot, w ith its Asian above as an item now im bued w ith com m ercial hipness. D irt was pop culture focus, w ent from being a fanzine in the form of a stapled- brought out by W arner Brothers, Slant emerged out of Urban O utfitters, and-folded photocopied ‘digest’ of 2 4 0 copies per issue to a fully and Full Voice was published as part of the Body Shop’s advertising blown b i-m onthly magazine sold in all good bookstores. By 2 00 1, its cam paign celebrating the body and self-esteem in 1997. A year later, producers had also turned Giant R obot into an established brand label the Portland-based advertising agency W ieden & Kennedy drew upon w ith retail and gallery spaces in New York and San Francisco. Bust, 'the its local com m un ity and interest in DIY American culture to produce voice of the new girl order’, is another title that had its roots in fanzine U D on ’t Stop for N ike.5 Conversely, Us! The Fiat Fanzine (2 0 0 9 -), popular culture. Created in 1993 by Debbie Stoller, Laurie Hanzel and produced by British design group This is Northstar, presented the Marcelle Karp, this few -hundred-run photocopied fanzine was part of fanzine as a w ay to ‘build a sense of com m un ity and brand loyalty’: a new wave of fem in ist publications reacting against the established its use of m att paper and unusual illustration is clearly rooted in the w om en’s magazines such as Cosmopolitan and Glamour, others were graphic language of fanzines. H ip M am a (1 9 9 7 -), B itch (1 9 9 6 -), Bam boo Girl (1 9 9 5 -) and R ockrgrl Fanzines have even made it on to television. Our Hero (2 0 0 0 -0 2 ) (1 9 9 5 -2 0 0 5 ). W ithin five years B ust was a glossy magazine w ith was a hit television series that aired in Canada, in w hich the lead female pop stars on its covers and a national circulation of 2 0 ,0 0 0 . character, Kale, wrote a fanzine about her life as a seventeen-year-old Other fanzines have made the jum p to the mainstream, including the w ith her tw o best friends. In the Nickelodeon cartoon R ocket Power football fanzine W hen Saturday Comes (1 9 8 6 -), w hich proved there (1 9 9 9 -2 0 0 4 ), one of its main characters, Reggie, publishes her own was a huge audience for a w ittie r take on football and w hich influenced zine, dubbed appropriately ‘The Zine’. Fanzines have also played a C h a p t e r 1 | A D o - I t - Y o u r s e l f R e v o l u t i o n : D e f i n i t i o n s and E a r l y Days F a n z i n e s are c r i t i c a l spaces fre e f r o m c o n v e n t i o n a l co n s t r a i n t s . In T r a v e l l i n ’ F i s t (1989), D a n K o r e t z k y c o m p l a i n s a b o u t t h e l a c k of m a i n s t r e a m publishing venues a n d t h e l o w q u a l i t y of r o c k cr i t i c i s m . G r e g S h a w ’ s c o m m i t m e n t to r a i s i n g t h e p r o f i l e of r o c k j o u r n a l i s m i n Who P u t the Bomp! (1970-79) is e v i d e n t as h e o b s e r v e s a s h i f t to a m o r e d i s c e r n i n g f a n a n d collector. J a m i e Reid’ s S u b u r b a n P r ess (1970-75) p r o v i d e d a n early e x p e r i m e n t a l a e s t h e t i c of gritty photocopied imagery that suited his Situationisti n s p i r e d c r i t i q u e of Croydon’ s urban development. supporting role in such novels as H ard Love (1 99 9 ) by Ellen W ittlinger W ertham describes fanzines in his 1972 study as a ‘novel form and Tales o f a Punk N othing (2 0 0 6 ) by Abram Shalom H im elstein and of com m un ica tion ’, arguing that they have a unique place in the Jamie Schweser, w hose narrative about the punk scene in W ashington, history of com m unication, design, journalism , publishing and popular DC is constructed through the use of fanzines and letters. culture. Fanzines are docum ents of a social history fram ed by political, One of the earliest studies on fanzines was w ritten by the Germ an- econom ic and cultural contexts. W ertham observes that fanzines born Am erican psychiatrist Fredric W ertham , titled The W orld o f ‘exist as genuine hum an voices outside of ali mass m anipulation’. He Fanzines (1972). In 1982 w hen Mike Gunderloy began to produce the argues that these voices ‘deserve to be heard’.8 Fanzines are also about b i-m onthly catalogue Factsheet Five (later edited by R. Seth Friedman), a relationship that is form ed between producers and readers, where a readily identifiable fanzine com m un ity started to emerge, reinforced the readers may also be producers but most certainly are fans sharing by the publication of m ultiple fanzine com pilations in the 1 99 0s. By the sim ilar interests. Fanzines may be considered as ‘v irtu a l’ spaces where late 1 9 9 0 s fanzines had become a serious subject for academ ic study, producers and readers unite in com m unities of interest or dissent. and such books as Stephen D uncom be’s Notes from the Underground: Perhaps the m ost visible evidence of this process is in football, or Zines and the Politics o f Alternative C ulture (1 99 7 ) and Bob D ickinson’s soccer, where each club may have a num ber of separate fanzine titles, Im printing the Sticks: The Alternative Press Beyond London (1997) yet have a collective voice that can have a real im pact on club decisions led the way for a broader appreciation of w hat had been a subcultural - for example, concerning ticket prices or club regulations. phenom enon.5 Just as im portant are the form of the fanzine and the w ay it has Yet the do-it-yourself authenticity fostered by early fanzine been made, both elements that feed into our understanding of w hat producers has not necessarily been lost. Zinesters today m aintain is being com m unicated. This includes the design of the layout (often an enthusiasm for and com m itm ent to the fanzine form as a way visually ‘chaotic’), the choice of typography (either handw ritten or, as of expressing their individual concerns, their rants on politics, their w ith early fanzines, typew ritten or using rub-dow n lettering), and loves and hates, their desires and disappointm ents. The authentic production techniques (whether m im eographed, photocopied or resides in the authorial voice, where the personal is political and computer-generated). M im eographing and photocopying are both not beholden to global corporations. Zinesters continue to operate methods of duplicating, the form er using a stencil fitted around an on the m argins of the m ainstream . They disregard the traditions inked drum , the latter using the now prevalent form of xerography. W ith of professional design studios and the conventions of literary the rise of computers in the 1980s, producers began to use desktop publishing houses. Rather than conform ing, zinesters are defining publishing packages to generate their texts and layouts. More recently and ‘m anufacturing’ their own identity and representing this through producers have discovered - or rediscovered - the art of letterpress their w riting and DIY im age-m aking. Referring to fanzine editors printing. Fanzines are usually sized to be held easily in the hands, as producers or makers introduces new ways of thin kin g about the although sometimes a producer w ill use oversized broadsheet formats. producer as a ‘popular a utho r’ and the fanzine as an ‘autobio/graphical Occasionally they m ight resemble more three-dim ensional objects and o bject’.7 Through the DIY nature of their production, fanzines take incorporate recycled objects or materials, such as old vinyl single records. on an enhanced value in how they contribute to and reflect a broader Advances in technology over the last few years have also, for better or everyday cultural experience. worse, changed how we view fanzines, w ith online or digital forms. 10 / 11 Sydney m the Sewer FREAKS BUXOT/CS * WILDMBN! £250 A 7U£K1MGOFCOOL JIJHVIHW n c j r m w ic Kttttn MativiJid Biownr •fwnwuw MARTIM DIHMY r«'35y rrvve Mosi- uvatte dojIjvTk* WoHd A -£*■ pxmX ? Inside : more -for W e a k e r/¥•.. PuK*< ...... I This book focuses prim arily on British and Am erican fanzine S A M i i r i r. A x j t w Shock value has always been a f a n z i n e draw. T h e A u s t r a l i a n p u n k z i n e S y d n e y in the S e w e r (1985) a i m e d to r e v e a l t h e fac t s p e o p l e are not t old t h r o u g h ‘ regular media circles'. T h e f o c u s of The E x p l o i t a t i o n J o u r n a l (1987-) w a s on h o r r o r films, w i t h r e v i e w s of c l a s s i c f i l m s s u c h as The B r a i n E a t e r s a n d N i g h t o f the L i v i n g Dead, a l o n g w i t h c o m m e n t a r y on f i l m m a k e r s . Ungawa! (1989-92) w a s a glossy and humorous kitsch fan m a g a z i n e whose subjects ranged from Me x i c a n wrestlers to ‘ Vampire Kl u b s ’ . JOHVVyECK p CHESTER HIMES MSVERICESmi press include Oz, IT, and Frendz from the 1 96 0s and 1970s. On the production, using fanzines from other countries as specific examples other hand, little magazines are concerned w ith ‘m ainstream literature’, throughout to punctuate certain points about stylistic approaches or and are often ‘avant-garde’ and publish experim ental w orks.11 Early shared them es. Some non-Anglo-Am erican fanzine titles are w ritten in literary figures to have contributed to or edited little magazines include English (or in dual languages) rather than in a producer’s first language Max Eastman (The Masses), T. S. Eliot {The Criterion), Ezra Pound - partly as a way of ensuring w ider distribution and links w ith other fans (Poetry: A Magazine o f Verse) and James Joyce (The Little Review). internationally. The selection of fanzines contained w ith in this book W ertham describes the salient characteristics of fanzines as reflects the author’s position as a design historian and also as a fanzine being ‘dependent upon their independence’, fostering free expression collector, and as such the book is by no means an exhaustive study, w ith o u t censorship, and their producers not seeking mass circulation.12 presenting sim ply ‘a’ history of fanzines rather than pretending to be a Cari Goldberg Janice defined zines in 1992 in relationship to w hat definitive textbook on the subject. they are not - small press, underground press or alternative press. She proposed that w hile integrally linked to these m ovem ents, ‘a zine Defining and Positioning Fanzines is anything that is published on a non-com m ercial basis ... anyone The term ‘fanzine’ is the conflation of ‘fan ’ and ‘magazine’, and was can publish a zine - th a t’s the main attraction’.13 A few years later, coined by the Am erican sci-fi enthusiast and zine producer Louis Duncom be defined zines w ithin the context of ‘a rapid centralization Russell Chauvenet in 1 9 4 0 in his hectographed fanzine Detours of corporate m edia’, arguing for their political independence and (1 94 0 s, USA), when he declared his preference for the term ‘fanzine’ localization. In 2 0 0 2 , Chris Atton proposed fanzines as sites for rather than ‘fanm ag’ as the best shortened version of ‘fan m agazine’. cultural production and described the fanzine as ‘the quintessence (Hectograph was an early tw e ntie th -ce ntury printing m ethod that of am ateur self-published jou rn alism ’.14 In all cases, zine producers used glycerin-coated layers of gelatin to make lim ited copies.) and scholars alike acknowledged that fanzines build and prom ote Other producers followed and adopted the term readily to describe DIY com m unities. a m im eographed publication (using a more up-to-date production Historian George McKay defines DIY culture as being ‘youth- method of duplicating) devoted prim arily to science fiction and centred and -directed clusters of interests and practices’, and makes superhero enthusiasts.9 By 1949, the term was in com m on use and the links between alternative culture and the DIY ethos explicit.15 He was included as a form al entry in the Oxford English Dictionary. considers the w ay in w hich DIY direct action is in keeping w ith ideas ‘Fanzine’ itself first appeared abbreviated to ‘zine’ som etim e in about ‘self-em pow erm ent’ through cam paigning and lifestyle politics. the 1970s, describing a photocopied, stapled, non-com m ercial and Zine producers have followed suit. However, there is another w ay of non-professional, sm all-circulation publication. W ertham differentiates looking at DIY that does not emphasize the oppositional or subcultural fanzines from the underground press and little magazines w hile at the fram ew ork: w ha t if, for example, a housewife from Virginia or from same tim e acknow ledging there is some ‘flu id ity in the boundaries of H ertfordshire produces a zine about collecting Pez dispensers? True, these publications’.10 He defines ‘underground’ as being ‘in o pposition’ the very act of creating such a zine could be seen as a challenge to or ‘a nti-establishm ent’, w ith the emphasis on the social-po litica l. Some m ainstream consum er culture, but at the same tim e it is not com ing of the more recognized examples of the underground or counter-cultural from a counter-cultural position. C h a p t e r 1 I A D o - I t - Y o u r s e l f R e v o l u t i o n : D e f i n i t i o n s and E a r l y Days THE MAGAZINE Number 1 Autumn 1986 90p inside: INTERVIEW WITH HANCOCK'S WIDOW IS'V'THE YANKS BEST SITCOM? THE HOW AND WHY OF DIY COMEDY TAPES Pins reviews of Victoria Wood, Half Man Half Biscait, Guy Bellamy, Alas Smith and Jones, Comics,Venues, Novelties and More. FOR PEOPLE WHO GET SERIOUS ABOUT COMEDY! PENETHATJON Exctuslve^intervlew 2 Q p bave Brock lots more! L’ Incroyable C i n e m a (1969 — c. 1971), a p r e c u r s o r to t o d a y ’ s ’ media zine’ , r a n for 5 issues, p r i n t e d in M a n c h e s t e r o n a n old M u l t i l i t h 1250 press. I h e f i r s t i s s u e of T C M (1986) c o n t a i n s a r t i c l e s on D I Y h o m e - r e c o r d i n g a n d r e v i e w s of V i c t o r i a Wood's p e r f o r m a n c e as w e l l as a c e n t r e f o l d of c o m e d i a n T o n y H an c o c k . P e n e t r a t i o n (1976c. 1977) h a s a r t i c l e s o n r o c k s t ars Ted N u g e n t a n d D a v e Brock, w i t h a p h o t o - c o l l a g e e s s a y on M o t o r h e a d r e m i n i s c e n t of the e s s a y s in J o h n H o l m s t r o m ’ s P u n k fanzine. 12 / 13 •H to G n p * n / x r & m S « y p *T O 9 N eD WOOD 7KE.HM J5URT0N F&NZltfc D i a n a R i g g (1986) gives a n o d to t h e B r i t i s h s t a r of The Avengers; t h i s m u s i c z i n e a b o u t 'spiky pop groups' h a s a p a r t i c u l a r r e f e r e n c e to p o s t - p u n k a n d r e tro c u l t u r e (note t h e c h e c k e r b o a r d mock-1960s DC C o m i c s header). Everyone Needs a Hobby (1994-n.d.) is a t r i b u t e to d i r e c t o r T i m B u r t o n and c e l e b r a t e s s u c h f i l m s as Ed Wood and Edward Scissorhands. The C o m p l a t e M o n t y P y t h o n (1978-79) is a n e x t e n s i v e r e s o u r c e for i n f o r m a t i o n on t h e P y t h o n s ' work, i n c l u d i n g p h o t o g r a p h s , records, f i l m s and interviews with Python members. OF'HUMOR. VoC i. Wo. 2 JaClZtfoCiday Season Issue 1994 Fanzines are dissem inated to like-m inded ‘fans’, whose interests of the 1 99 0s, in w hich a sim ilar graphic language is used, but this may range from science fiction, sport and music, to television, th rift tim e w ith a fem inist tw is t - f o r example Jigsaw (Tobi Vail, 1 9 8 8 -, USA), shopping and beer-drinking. They have, for example, flourished in the B ikin i Kill (Tobi Vail, Kathi W ilcox and Kathleen Hanna, early 1990s, underground m usic scene; they form part of the thrift-shop culture; USA) and Girl Germs (Allison W olfe and M olly Neuman, early 1990s, they have been m outhpieces for animal rights groups; and they may USA). In both cases, the political intent of the producer is reinforced serve, equally, as personal diaries for young teenagers grow ing up and through a graphic language of dissent - breaking all of the rules about interested in a range of issues and concerns. Early on in the history of design layout, typography and readability. fandom , W ertham noted tha t fanzines ‘are sincere and spontaneous’.16 For others, the fanzine is a space for personal experim entation, Larry Bob, the producer of the now -defunct queerzine H oly Titclamps which also remains free from the conventions of traditional form s of (1 9 8 9 -2 0 0 3 ), has described the zine ‘as a labor of love, producing no w riting and/or design practice. In these personal fanzines, or ‘perzines’, profit, and frequently a loss, of tim e at least’. He continues, ‘inform ation authors docum ent the most intim ate details of their lives, generating is the reason a zine exists; everything else, down to the paper it’s personal narratives and thereby unique autobio/graphical snapshots. printed on, is there to convey inform ation.’17 In this way there is a holistic relationship between the autobiographical Although providing an exact definition of the term ‘fanzine’ is and the graphical. There is a preoccupation w ith the handmade, w hich som ew hat problem atic as shifts in historical context, genres and often manifests itself through the use of DIY media such as ribbons, producer definitions m ust be taken into account, we may define stickers, different-coloured papers, crayons and felt-tip markers. The fanzines as non-com m ercial, unofficial, am ateur publications that are academ ic Anna Poletti has observed of perzines that ‘the practice of politically self-conscious and can form an im portant com m unication self-m aking through zine-m aking is particularly m om entary’. In other network for alternative cultures. They may be photocopied or printed, words, zines reflect a slice of life at a particular tim e, characterized as or in electronic form as ‘e-zines’ or dow nloadable from websites as pdf they are by ‘out-of-date contact details, continually changing titles, the files. They are forum s in w hich their producers articulate their view com m on use of pseudonym ns or ju s t first nam es...’ and quickly dating of the w orld around them . The main areas of consideration include DIY production m ethods.18 It is w ith in this context that a distinct graphic a fanzine's form at and layout, its m ethod of distribution, a specific language emerges, born out of an ind ividu al’s handw ritten scrawled text, producer’s m otivation and the intent and context of the text. uniquely dysfunctional typew riters and cut-and-paste collage imagery. We may also propose that the fanzine is a continually evolving Fanzine genres tha t draw on the perzine form at include horror form of com m unication. W hat it is attem pting to com m unicate - {The Vincent Price File, 1 9 9 6 -n .d ., UK), m usic (Bye Bye, D uffel Boy, w hether personal or political - is determ ined by how it is put together Pete Green, 2 0 0 9 - , UK) and queer (R icochet! R icochet! Colette and as m uch as by w hat it is trying to say. For many fanzine producers, Patrick, 2 0 0 5 , UK). W hile they focus on topics of w hich their producers a politics of resistance is com m unicated visually through its graphic are fans, perzines are typified by a focus on the ‘s e lf as the subject of language, w hich has become integral, if not vital, to the developm ent discussion. For example, David Greenberger’s hum orous observations of a subcultural discourse. This is m ost evident in late 1970s punk as an activities director at a nursing home have been the focus of The fa n z in e s -n o ta b ly in S n iffin ’ Glue (M ark Perry, 1 9 7 6 -7 7 , UK), Search D uplex Planet (1 9 7 9 -, USA), w hile Nancy's Magazine (Nancy B onnell- and Destroy (V. Vale, 1 9 7 7 -7 9 , USA) - and, later, in riot grrrl fanzines Kangas, 1 9 8 3 -c . 1 994, USA) gives us insights into the a uthor’s life 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 pAN D/VE YES MINI-ZINE VOLUMES2 k. Iconic E n g l i s h style uni t e s t h e s e t h r e e zines. P assing Wind (c. 1 9 7 8 - c. 1981) t a k e s a s a t i r i c a l l o o k at B r i t i s h culture, w i t h an i n t e r v i e w w i t h Peter Cook, a c a r t o o n about Oxford’ s Bodleian L i b r a r y a n d p e n pal req u e s t s f r o m M a g d a l e n College, Oxford. The Way A h e a d (1984) is a modzine about ‘ Modernism: f r o m s c o o t e r s to f a s h i o n and m u s i c ’a n d i n c l u d e s adv i c e on f a s h i o n for m o d girls. Singer A d a m A n t a p p e a r s on t h i s m i n i - z i n e . P a n d a E y e s (2009), w i t h a f i r s t p r i n t - r u n of 150 i s s u e s sold o ver t h e internet. it 's r e a lly v e r y s m a ll| as a librarian. In other perzines, Ayun H alliday reveals the realities of subsequent discussion in ‘Fuck C ontent’ (2 0 0 5 ), provided a platform m otherhood in East Village Inky (1 9 9 8 -, USA); Cindy Crabb shares for re-evaluating the role the designer m ight play in m ediating between her daily (and often em otional) life experiences in Doris (1991—, USA); form and content. This w ent some w ay in legitim izing the designer’s w hile Toast a nd Jam (Rachel Kaye, 1 9 9 7 -9 8 , UK) dealt w ith often voice as equal to that of other privileged form s of authorship. Rock’s heart-rending tales of eating disorders. In all cases, there is an intim acy proposition was that the object as a form could be considered as a ‘kind to the w riting, and visually individual stylistic approaches to match. of text itse lf. That is, design principles such as ‘typography, line, form , Zine producers choose to create rather than just consum e the culture color, contrast, scale, w eig ht’ become devices by w hich a story m ight around them . be told. This opens up for discussion ways of understanding the graphic object not only by w hat it means but by ‘how it m eans'.19 Fanzines as Graphic Objects Such an approach may be applied to the study of fanzines. M eaning Up to this point we have examined fanzines in term s of their role as a is constructed not only through visual images, but also through the vehicle for alternative or underground com m unication. But the fanzine sym biotic relationship between image, text and the graphic form itself. is also a graphic object, in w hich its form and the DIY process by w hich Collectively these elem ents com m unicate ideas and them es, and it is produced provide some understanding of a history of design and also subtly shape readers’ attitudes, opinions and beliefs. Fanzines popular culture. The fanzine looks the w ay it does because it is created actively engage w ith popular cultural texts. The ‘poaching’ and by a single producer conflating the roles of author and designer. This re-contextualization of mainstream newspaper articles, photographs in opens up the possibilities for experim entation in term s not only of collage form and other mainstream media elem ents create an ‘urgency a fanzine’s editorial direction but also of its graphic sensibility, both of resistance’ and an ‘urgency of personal engagem ent’.20 The use unencum bered by the kind of self-censorship that w ould pertain of the photocopier (or mimeograph and duplicator in early fanzines) in the m ainstream . For example, w hen a publication is owned by a reinforces the sense of im m ediacy of the message. (The duplicator, corporation then it generally has to conform to a corporate strategy, and often referred to as a ‘ditto m achine’, was invented in the 1 92 0s and tha t m ight involve content com prom ises to avoid upsetting advertisers gave a characteristic aniline purple text.) or to prevent con flict w ith aspects of corporate business interests W riting about the value of fanzines as historical objects, scholars (how many glossy w om e n ’s magazines have had to spike stories often draw on the w ork of W alter Benjam in and his essay ‘A uthor as about anim al experim entation in the cosm etics industry?). By contrast, Producer’ (1934). Duncombe explores this in relationship to a ‘politics the production m ethods adopted by zine producers - such as the of fo rm ’; fanzines are positioned ‘w ithin the condition of the production photocopier or desktop publishing - allow the producer to have more of culture that constitutes an essential com ponent of their politics’, freedom in putting together the zine in his or her own way, often w ith o u t but also ‘w ith in ’ the very conditions of the culture in w hich they are consideration of conventional design rules or aesthetics. produced. The way in w hich fanzines are am ateur productions suggests In the graphic design profession, debates around graphic authorship they are already situated in opposition to m ainstream publishing and its cam e to the fore in the m id -1 99 0s, focusing for the m ost part on a conventions. At the same tim e fanzines are designed to be ephemeral: designer’s practice and process of self-publishing. Critic and designer they are produced quickly and cheaply using copy-paper and lo-fi Michael Rock’s sem inal essay, T h e designer as a utho r’ (1 99 6 ), and production and printing processes, w ith irregular publication dates and 14 / 15 Where's ERIC! I T h e i n t e r n a t i o n a l i m p a c t of t h e B r i t i s h m u s i c s c e n e is d e m o n s t r a t e d b y t h e s e zines. Considered the authoritative resource, W h e r e ’ s Eric! (1992-) is a d e s k t o p - p u b l i s h e d z i n e p r o d u c e d b y C l a p t o n fans, boasting a readership today i n 42 c o u n t r i e s . W e l l e r Is B a c k (1991) w a s t h e t h i r d P aul W e l l e r f a n z i n e to e m e r g e out of D u n d e e , a n d p r i n t e d n e w s cli p p i n g s , g i g r e views, a n d f e a t u r e s on a J a m t r i b u t e band. P u l p (2004) is a s e c o n d p r i n t i n g of a c o l l e c t i o n of c l i p p i n g s a n d r e v i e w s of J a r v i s C o c k e r a n d Pulp. TH E F.RIC CLA PTQ N FAN ZIN E Japanese and UK Tour Reviews Interview with Polygram's Bill Levenson Crossroads 2 -Live in the Seventies lim ited print-runs and distribution. This leads Duncom be to suggest that magazines, w hich emerged in force in Britain and the United States the form is operating ‘against the fetishistic archiving and exhibiting of around 1910 as a form of non-com m ercial, self-published literary the high art w orld and for the for-profit spirit of the com m ercial w o rld ’.21 publication. The focus tended to be on experim ental poetry, fiction This all goes tow ards defining a fanzine ‘style’ that also refers to the and criticism . The Dial, published by Margaret Fuller and Ralph W aldo individual traits distinctive to the fanzine producers them selves. In other Emerson (1 8 4 0 -4 4 ), is often cited as one of the precursors to the words, fanzine ‘style’ operates on tw o levels. On the one hand, it adopts zine form of publishing.24 Although short-lived and having a lim ited style as a form of prevailing ‘sym bolic resistance’ to the dom inant readership (shared characteristics w ith today’s fanzines), it nonetheless culture, w hile on the other hand, it announces individual styles about became an influential, if not controversial m outhpiece for the literary, difference on a more local or personal level. Style denotes a w ay in philosophical and religious w ritings of the Transcendentalist Club in w hich a shared language is form ed and a com m unity identifies itself. Boston, Massachusetts. A nother early influential little magazine was At the same tim e, the form of production ‘has encouraged many The Germ (Ja nu ary-M ay 1850), w hich ran for four issues and provided readers to produce their own publications’.22 This is an interactive a forum for B ritain’s nineteenth-century Pre-Raphaelite group of artists process that form s an integral part of the DIY attitude of the movement. and w riters. Here, poems and literary texts sat alongside drawings as Duncom be describes it as a ‘participatory cultural production and a place where artists them selves could express their opinions about organization’, where the producer and the reader are both active in the the nature and principles of art. creation of the message. The visual and text-based language that the In the United States the form ation of am ateur press associations producer uses to address the reader of the fanzine tells us som ething (APAs) during the nineteenth century facilitated the publication of about the identities of both the producer and the reader. It also suggests am ateur papers alongside the w ritings of am ateur journalists. The som ething about the assumed relationship between them . model was for subscribers to send in their own pieces of w ork to a central collection point where all the works w ould then be collated and A Brief History of Self-Publishing redistributed to members. Warner, w riting in his book A ll O ur Yesterdays Fanzines have played a key role in the evolution of fandom and (1969), makes m ention of the am ateur jou rn alist Howard Scott, w ho alternative printing histories. Born out of the traditions of nineteenth- in the 1870s issued a publication called The R am bler - w hich as century political broadsheets, pam phlets, self-publishing and am ateur an APAzine speculated about scientific developm ents and also fan printing, as well as of the underground counter-cultural publications of conventions (for example in Septem ber 1879 the editor reports on the the 1 96 0s, fanzines are part of an alternative press history. The fanzine plans for the WAPA - ‘a nineteenth-century am ateur journalism group as a self-publishing form stretches as far back as the publications of whose full name is lost’ - convention in Chicago).25 Such enthusiasm the radical social critics of the French Revolution. Thom as Paine’s led the w ay for the developm ent of com m unities of interest (especially political pam phlet Com m on Sense (1776), for example, is often cited in science fiction), where we find some of the inspiration for today’s as an early example. The literary self-publisher, poet and engraver zine networks and com m unities. W illiam Blake produced his Songs o f Innocence in 1789, w ith However, it is not until the early tw entieth century that we begin poems illustrated by lavish engravings - a sort of forerunner to the to see the form alization of some of these early visual characteristics, contem porary artzine.23 O ther historical roots for fanzines include little w hich help to establish a readily identifiable form . It may be suggested C h a p t e r 1 | A D o - I t - Y o u r s e l f Rev o l u t i o n : D e f i n i t i o n s and Ear l y Days L O W E R T H A N D I f f iT - e - L o b s t e r Telephone (1980s-90s) was a ‘ c y b e r f u n k art t e r r o r ’ zin e w h o s e s ubject w a s social degrad a t i o n , s y m b o l i z e d v i s u a l l y t h r o u g h its ch a o t i c l a y o u t a n d low-fi p r i n t quality. L o w e r than D irt (1996) w a s a limi t e d e d i t i o n of 150 copies. Its editor, R i c h a r d Santos, c r e a t e s a seri e s of photo collages from mai n s t r e a m press s tories a b o u t m u r d e r s uspects, p o p u l a r s h o o t i n g s a n d c o n s p i r a c y theories. Sean Tejaratchi’ s Crap H o u n d (1994-) is a 96-page clip art zine, t h i s i s s u e f o c u s i n g on b l a c k - a n d - w h i t e r e l i g i o u s and p a t r i o t i c imagery. L o b s t e r 1 f)->^ T e lephone P that w hat we m ight consider a graphic language of fanzines has its press, for example, often entered into the consciousness of the ‘public’ roots in tw o main areas: one that draws from the form s, techniques realm, whereas fanzines remained essentially ‘private’ in that they and contexts of artistic and literary practices such as Dada, Fluxus were produced by fans for fans. This m eant that traditionally fanzine and Surrealism; and a second one based prim arily in the intentions of producers blatantly disregarded copyright or censorship regulations political and counter-cultural activity as found in Situationism from the w hile the underground press was more susceptible to the libel laws - 1950s and 1 960s, in the underground radical press and in the m usic laws from w hich fanzines tended to be sheltered by rem aining firm ly and subcultural m ovem ent that cam e to be labelled punk in the 1970s. out of sight w ithin their underground spaces. However, w ith the rise Nico Ordway com m ents on the emergence of the post-W orld W ar I in profile of many fanzines in the 1990s, the threat of libel cases art m ovem ent Dada, arguing for recognizing the Dada artists' self has increased, w ith some producers facing charges of copyright published journals as the ‘first proto-zines’: that is, zines ‘produced infringem ent in their appropriation of corporate imagery in challenging for the pleasure of their creators and provocations of readers, ignoring the rise of consum er culture. or satirizing all canons and standards of jou rn alism ’.26 Dada had a Despite this distinction, the graphic language of the counter-cultural direct im pact on the visual language of fanzines and specifically those publications was not lost on fanzine producers. C ounter-cultural produced during the punk period beginning in 1976. Illustrations and broadsheets of the 1 96 0s and 1970s such as It, Frendz and Oz created advertisements were cut out of the newspapers and popular magazines a visual mix of styles, colours and techniques, the result of each of the time, and re-presented using collage techniques. The collage spread having been designed by a different person. Designers and approach, w hich juxtaposed ‘fou nd ’ im agery w ith photographs and illustrators also relied on their vast collections of com ics, cartoons and texts, reinforced the Dadaists’ attack on the dom inant culture of the illustrations as inspiration for collages, w hich ultim ately captured the time. Such an approach generated an ‘aesthetic of rebellion’ that spirit of psychedelia and the rough edge of rock and roll. But this was matched the Dadaists’ contem pt for bourgeois sensibilities.27 also the result of new technologies such as the IBM Golfball typew riter Self-publishing continued into the 1 95 0s w ith a form of and the more cost-effective printing method of offset lithography, underground publishing characterized by works tha t were typed, w hich gave designers and printers a new -found freedom . The resulting mimeographed or Xeroxed in the tradition of w ha t the Soviets had experim entation created, in part, an attitude reflected in the density coined sam izdat publishing.28 Although the idea of sam izdat has a long of overlapping colour, collaged images and typographic legibility in history, in the 1950s it m eant clandestine DIY magazines distributed the production of fanzines tha t carried from the 1970s well up to the via anarchist networks in opposition to post-Stalin governm ents. present day. In the United States and W estern Europe, fanzines are often affiliated w ith the underground press and the counter-cultural Fanzine Genres P re-1976 movement of the 1960s, though there is a distinction to be made. One w ay of looking at the history of fanzines is through the development W hile fanzines sit com fortably w ithin the dom ain of the underground of genres, specifically early fan w riting as found in science fiction, music they are not considered part of the underground press m ovem ent of the and com ics. Genres are created as a result of a num ber of fans locating 1960s and 1970s. The relationship between private and public spaces them selves w ithin subjects of interest. R. Seth Friedman, for example, helps to differentiate the tw o types of publications. The underground in the metazine Factsheet Five (1 9 8 2 -9 8 ), one of the more substantial 16 / 17 spilt milk w inter 1 9 9 6 . issue #1 veW'e^S\ rrttf0' \ c v j'0 ' best songs of 19951 fhe besf show/ on television! A V IIIG IX ' QOq Q^q ® ?<a®a8®Q atboaO {fl]Q<0a)(D®Q A a a o WQQ - @<m « /J q (D “ 9 8 -G Q o Q ® I n d e p e n d e n t w o m e n f i n d a p l ace in f a n z i n e s in one w a y or another. Spilt M i l k (1996), p r o d u c e d b y t w o sisters, u s e d riot grrrl- i n s p i r e d 1950s i m a g e s of t e e n a g e r s a n d h a n d - d r a w n doodles. K a t y K e e n e M a g a z i n e (1979-83) w a s d e d i c a t e d to B i l l W o g g o n ’ s c o m i c b o o k K a t y Keene. T h e s i n g e r M a d o n n a w a s t h e s ubject of t h e I t a l i a n f a n z i n e L i k e a Virgin (c . 1990s) a n d f e a t u r e d an i n t e r v i e w w i t h t h e diva herself. D a n z i n e (1995-2003) was an ‘ a d u l t ’q u a r t e r l y z i n e for e x o t i c d a n c e r s and w o r k e r s i n t h e s e x industry. 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 O utp unk THE AND THE FILTH FURY! _ |£ l W - J S k j fffe 1992-1997 fanzine review publications, form alized the fanzine taxonom y in order Pretty vacan t P u n k a t t i t u d e and d e s i g n o u t l a s t e d t h e 1970s. One of t h e f i r s t q u e e r c o r e p u n k zines, O u t p u n k (1992-97) w a s p r o d u c e d on a M a c LC 475 u s i n g QuarkXpress, Adobe Photoshop a n d M i c r o s o f t Word. In t h e D IY spirit, Lip Gloss (c. 2009) produced h o m e m a d e badges that w e r e a t t a c h e d to t h e cov e r of t h e zine. R e t r o p u n k i m a g e r y - here, J a m i e R e i d ’ s i m a g e for t h e S e x P i s t o l s - f e a t u r e d on t h e f r o n t of The Filth a n d the Fury! (2000) to c o i n c i d e w i t h t h e o p e n i n g of t h a t f i l m in London. These early publications were created as ‘handw rittenzines’ or to organize the vast array of material that he received for each issue. ‘carbonzines’, each copy being produced individually, or duplicated Friedman reveals in the pub lica tio n ’s October 199 5 editorial that in copies made from a handw ritten or typew ritten original. Robert Hansen that year alone he had produced five issues reviewing a total of 6 ,2 5 8 suggests that offset lithography has been used throughout the history zines.29 By the end of its run, Factsheet Five reviewed fanzines under of science fiction fanzines, although less frequently ow ing to cost. the generic categories of quirky, medley, fringe, music, punk, grrrlz, The Gestetner ink duplicator (a stencil printing process developed by personal, science fiction, food, humour, spirituality, politics, queer, arts David Gestetner in the late nineteenth century) was used until about and letters, and ‘com ix’. W ith the advent of electronic zines, Friedman 19 8 0 when photocopying began to become the preferred production also introduced a digital category. m ethod.33 Like most fanzines, sci-fi fanzines had print-runs of around A history of the contem porary incarnation of fanzines begins 1 0 0 -2 5 0 copies and were produced either on a duplicator or on w ithin the science fiction genre. Duncom be, like W ertham before him, hectograph or m im eograph m achines. W arner reports that some argues that fanzines emerged as a ‘distinct m edium ’ w ith the rise of popular science fiction zines, such as Le Zom bie produced by Bob science fiction clubs in the 1 9 3 0 s .30 W riters w ould publish in order Tucker, had only 150 copies for d istribution.34 to ‘share science fiction stories and critical com m entary’, including The first Trekker fanzine began in 1967, a year after the start of the some now notable authors such as Ray Bradbury and A rthur C. Clarke. first run of the cult science fiction television series Star Trek. Fanzines The earliest am ateur sci-fi fanzine to be established was called The included Spockanalia, w hich appeared in New York City as a ninety- Comet (1 93 0 ) and was edited by R. A. Palmer for Chicago’s Science page mim eograph w ith staples. Spock himself, the actor Leonard Correspondence Club, w hile the earliest-established science fiction Nimoy, wrote a letter that was published in the issue ‘w ishing them professional magazine, or ‘prozine’, was titled Am azing Stories and luck’. Fanzines w ith a high profile at fan conventions included Terran edited by Hugo Gernsback. It was Gernsback w ho introduced the Times (1 9 6 9 -e a rly 1970s), Thrall and Beyond A ntares (both early idea of publishing readers’ letters in the magazine, thereby providing 1970s). Other contem porary science fiction television program m es such a catalyst for early science fiction fan com m unities. Readers’ letters as D octor W ho and Blake's 7, and such H ollyw ood film s as Planet o f were of particular im portance to science fiction fan publications and the Apes and (to a lesser extent) the Star Wars series, have generated were a precursor to the process of connecting readers and creators cult follow ings and corollary fanzines. in contem porary fanzines. Ray Bradbury published his first story in Developing alongside the science fiction fanzines were the com ic his own fanzine, Futuria Fantasia (1 9 3 9 -4 1 ). W arner suggests that book fanzines. In some cases, com ic fanzines w ould cross over, Bradbury’s publication was well edited, though it included spelling covering aspects of both genres and the ir fandom . David Kyle’s fanzine mistakes; it was printed in green m im eograph ink to represent Fantasy W orld (1 9 3 6 -n .d .) created, as its subtitle suggested, ‘Cartoons the colours of ‘Technocracy’ - a future society shaped by its of Im agination’ as science fiction com ic strips. The first British com ic technology.31 In the UK, The Futurian was published in Leeds fanzine, EC Fan Bulletin (1953) - a m im eographed and lim ited-run (1 9 3 8 -4 0 ) b yJ. Michael Rosenblum and included fiction poems fanzine for the small publisher Entertaining Com ics - was produced by and articles from ‘leading sf fanz of the day’, one of w hom was Bhob Stewart and inspired by science fiction fanzines. A year earlier in A rthur C. Clarke.32 the United States, Superman was celebrated in Ted W hite’s fifty-co py 18 / 19 PB1ZEC0IMER1 WINIRt-IFFHI ITCUM: iHIDDENl> ISSUES! F a n z i n e s a r e a s p a c e in w h i c h the personal obsessions of t h e i r p r o d u c e r s c a n be e x p r e s s e d . B r a i n d e a t h (1988-97) w a s a split- i s s u e zine shared w i t h Slaughtered Trees & Toxic Ink - b o t h b y the same anar c h i s t punk-rock fan. Cul t u r e Slut (2007-) is a p e r z i n e w r i t t e n b y a selfproclaimed ‘ queer, f e m i n i s t and small town e n t h u s i a s t ’ , w i t h s h o r t d i a t r i b e s on boredom, depression and w r i t i n g for zines. Hat e (2002-) q u e s t i o n s t h e role of c e l e b r i t y culture, a r t i s t Calvin Holbrook playing with a j u x t a p o s i t i o n of m e d i a collages and journalistic wordplay. edition The Story o f Superm an (1952), and Jim m y Taurasi’s Fantasy- approaches strongly influenced by the designs offered by the Comics (early 1950s) appeared, bringing together the genres of science underground broadsheets. Fanzines covered such musical genres as fiction and Entertaining C om ics’ horror books.35 psychedelic, classical, jazz, country or pop, as well as specific groups Just as contributors to the science fiction fanzines often became or solo artists, including Elvis, the Beatles, Dusty Springfield and David professional w riters and artists, so com ics zinesters followed a sim ilar Bowie. Early in the 1950s, m usic fanzines were prevalent in the United path. Future com ics lum inaries w ho got their start draw ing for the States; The R am bler (1 9 5 7 -5 8 ), devoted to folk music, ran for nine early fanzines included Paul Neary and Brian Bolland. Noted as the issues, w hile Jazz Fan (1958), edited by Bill Harry, ran for fourteen. first ‘true com ics fanzine’ by Robert M. Overstreet in his The Overstreet Fanzines cam e into their heyday w ith the early rock-and-roll scene Comic Book Price Guide is Alter Ego, w hich appeared in 1951 and and emerged out of the traditions of early science fiction publishing. through its readers’ pages ‘influenced profoundly the com ics fan But it was a new breed of m usic fans in the 1 9 6 0 s w ho took the m ovem ent’.36 In the UK in the 1 96 0s com ic titles flourished, including form of the fanzine to its next level - both visually and in term s of Ka-Pow (1967), The Komix (1 96 3 ), Conclusion (m id-1960s), Sem inar journalistic tone. Crawdaddy! was the first magazine of Am erican rock (1970), Heroes U nlim ited (Anthony Roche, 1 9 6 7 -n .d .) and U nicorn and roll and was started in February 1 96 6 by Paul W illiam s, w ho had (Mike Higgs and Phil Clarke, 1971). These fanzines dealt prim arily w ith as a teenager been a science fiction fanzine producer. Crawdaddy! fantasy characters and superheroes - although in issue 4 of U nicorn its featured stories on Bob Dylan, Simon and Garfunkel, Donovan, editors reproduced articles by Earl G ottschalk, Jr. from the Los Angeles Jefferson Airplane, the Rolling Stones and other rock m usicians and Times W est magazine, on ‘com ix’, the underground X-rated com ics of predated the founding of Rolling Stone magazine. The term ‘fanzine’, the period. This period represented a second wave of fan m om entum , according to W illiam s, was picked up by rock am ateur publishers to responding to the ‘Second Heroic Age of C om ics’, as it is often dubbed, describe their publications. However, Crawdaddy!, though sim ilar w ith its revival of the costum ed hero. to the form at of science fiction fan publications, had aspirations to Comic zines were im portant for the way in w hich they rediscovered be a professional m usic magazine. The fact that W illiam s explicitly old com ics that were forgotten, overlooked or hard to find. They created stated that the entire contents were copyrighted underlined this an auteur scene around com ics - especially w ith Jack Kirby, the creator aim for mainstream recognition. Crawdaddy! sold for 25 cents and of m any superheroes, whose particular style of draw ing was celebrated subscriptions were $ 1 .0 0 for four issues. It was produced from 1 9 6 6 to by a dedicated fan base. The fanzine producer m aintains a unique 196 8 and then irregularly from 199 3 to 2 0 0 3 , w ith W illiam s describing position tow ards the comics, often concerned w ith the m inutiae of the publication in the latter era as ‘definitely a fanzine’. It was sold as fandom - highlighting inconsistencies in com ic book stories, debating double-sided photocopies and used underlining, crossing out and w hich the best publishers m ight be (Marvel or DC...?), and often taking typew riter texts, w ith occasional use of handw ritten headlines.37 an ironic but highly focused position on their hobby. In m usic fanzines of the 1960s, the graphic language of cut-and- Mojo Navigator (1 9 6 6 -6 7 ) was a second and equally im portant Am erican rock fanzine, founded by Greg Shaw, a W est Coast record- paste, hand-rendered type and/or Letraset (rub-dow n lettering) was collector. Shaw had been active in science fiction fandom in the 1 96 0s starting to provide hints of a recognizable fanzine style that would and is cited as having introduced the term ‘fanzine’ into the vocabulary fully emerge in the 1970s. At this stage, however, we see typographic of m usic fandom . He defined fanzine in this case as a term ‘for mags 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 r 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 ? 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-- — [«3 J-q jl 51 is-s jr -•* a* - s DIY A iiilK H J J ff lf P r il ' 3 8 ' 2 i' & o 2 ( 5 l i ! » . 3 i* K s £ § ___ j s 1 / f F p _ _ \ \ i? r : ' J I ^ ? * * : llV l i ! value HlTV® Ht°roV °/>/e % /// T h e DIY p o litics of the f e m i n i s t m o v e m e n t r e s o n a t e s in S h o c k i n g P i n k (1981-82, 1987-92), w h i c h b e c a m e a voice for y o u n g w o m e n i n t h e U K on i s s u e s s u c h as sex, v i o l e n c e a g a i n s t w o m e n a n d q u e e r politics. Kitten S c r a t c h e s (1999) p r o v i d e d a m o r e rec e n t ‘ c all to r e v o l u t i o n ’ as p a r t of the s e c o n d - w a v e B r i t i s h riot grrrl m o v e m e n t . D I Y Life Z i n e (2010) is a d o w n l o a d a b l e z i n e e n c o u r a g i n g p e o p l e to t a k e t h e i r lives a n d c o m m u n i t i e s i n t o t h e i r o w n hands: s u b j e c t s i n c l u d e u n s c h o o l i n g , selfd e f e n c e a n d b a r e f o o t living. B e e r C a n F a n z i n e (1999) is a p h o t o c o p i e d f a n z i n e t h a t c o n t i n u e s t h e t r a d i t i o n of p u n k DIY graphics. 22 / 23 ja c k s o n ; HEAVEN SENT! LA D S WOMANS SPO T T -U ^ ■ IVO No l 4 IAN DURY The J am Climax pl us reviews h im io t HOLLY WOOD SEA ISSUE NUMBER FOUR MA Y 1996 BI-MONTHLY ONE POUND t S'O f T H E ON LY M A G A Z I N E 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. AND CHEAP WAYS T O M AKE A L C OHOL AT HOME BY JARROD ILLUSTRATED BY LAURf CHORDS are combinations of tones that sound pleasing if played together or in rapid succession. Two types of chords are used most. I call them j chords and m chords. There are 12 of each, one for each of the 12 tones per octave. Each j or m chord consists of 3 tones. Example (xpl): Gj consists of G and B and D tones. (More about terminology on page W . ) Nine chords are enough to accompany well most pop/rock/ folk songs. WHICH 9 (of the 12 j and 12 m chords), depends on how a song is played. This diagram gives the 9 chords for songs played so they end with G j ; plus the tones in those 9 chords, and piano/organ and guitar fingerings. The connecting lines show which chords most often follow one another. (This diagram is here for easy reference. No need to study it now.) f Chord Easy T h e t ones o f ( xpl) CJ _e o r d e r e d 0 C E (Instead o f C S G) b e c a u s e t hat h a p p e n s to be t h e i r o r d e r In the p i a n o / o r g a n lllo. Guitar fingerings s h o w n for AJ a n d B j , a c t u a l l y p r o d u c e the 7 t h c h o rds, w h i c h are ea s i e r to p l a y and o f t e n s u b s t i t u t e well. F i n g e r i n g s f o r true AJ, BJ and m a n y o t h e r c h o r d s a r e o n p a g e W. Volume 1 W h i l e 1970s p u n k z i n e s w e r e g e n e r a l l y p h o t o c o p i e d , t h e f i r s t i s s u e of N e g a t i v e R e a c t i o n (1977-78) w a s p r i n t e d u s i n g offset litho, b u t it s t i l l d r e w on a n e m e r g i n g p u n k a e s t h e t i c of t y p e w r i t t e n t e x t s a n d hands c r a w l e d l e t t e r i n g . In N o t h i n g Is True (1992), f e a t u r i n g p o l i t i c a l r a n t s on w a r and m i s i n f o r m a t i o n , L e t r a s e t t y p e f a c e s are u s e d to r e p l i c a t e t h e a e s t h e t i c of cut-out l e t t e r i n g . In t h e s a t i r i c a l m a g a z i n e O m s k (c. l ate 1990s) t h e h a n d - r e n d e r e d cov e r d r a w i n g r e i n f o r c e s t h e c a r t o o n - l i k e c h a r a c t e r of M i c h a e l Jac k s o n . C a m i l l a a n d F red D e a k i n m o v e d t h e f a n z i n e a e s t h e t i c i nto t h e 1990s w i t h t h e A c i d H o u s e f a n z i n e Boo! (early 1990s), u s i n g o v e r p r i n t e d f l u o r e s c e n t col o u r s and p s y c h e d e l i c letter i n g . T h e DIY spirit is fostered in the three ‘ h o w - t o ’fanzines: M a k e Y our O w n D a m n A l c o h o l (2005), The Complete S o a p m a k e r (1997) and C h o r d E a s y (2007). 24 / 25 | N o v a e T e r c a e (1936-39), f o u n d e d b y M a u r i c e K. H a n s o n for t h e N u n e a t o n b r a n c h of t h e S c i e n c e F i c t i o n L e a g u e , w e n t o n to b e c o m e t h e o f f i c i a l m o u t h p i e c e for t h e S c i e n c e F i c t i o n A s s o c i a t i o n (SFA) in 1937. It r a n for 29 i s s u e s u n t i l it w a s r e n a m e d N e w W o r l d s in 1939. M a n y of t h e ear l y c o v e r s w e r e p r o v i d e d b y H a r r y T urner, an e a r l y R o y a l A i r F o r c e r a d a r t e c h n i c i a n a n d artist who had an early interest in science f i c t i o n a n d w r o t e h i s o w n f a n m a g a z i n e in t h e e a r l y 1940s. terry CARR FANZI NES 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 . * / “ C_ tJ fL ie r y A T /c .E H */t.{ ! O CTO BER 1971 V olum e 1, N o. 1 Los A ngeles, C alifo rn ia S ch o o l K id s ’ Issu e s I- J R e d I n k (early 1970s) w a s a s a t i r i c a l zin e produced by Newcastle University Socialist Society, w h i c h s p o o f e d u n i v e r s i t y life a n d t h e p o l i t i c s of t h e time. A q u a r t e r l y c o m i c z i n e . H e r o e s U n l i m i t e d (1967-n.d.) w a s p r o d u c e d on a G e s t e t n e r duplicator. T h e g e n r e s of c o m i c s a n d s c i e n c e f i c t i o n com e together in this cover illustration, where t h e l i b r a r y of t h e f u t u r e is a p l ace w h e r e b o d i e s r a t h e r t h a n b o o k s are l e n t out. K R L A B e a t (1965-68) w a s a z i n e c o m p i l a t i o n of n e w s p a p e r a r t i c l e s on b a n d s a n d music. 26 / 27 $1*00 Pop m u s i c is o n e of t h e m o s t p r o l i f i c f a n z i n e genres. C r e e p (1990s) p r o v i d e d a f o r u m for c o m m e n t a r y o n 1990s b a n d s , w h i l e at t h e s a m e t i m e r e f e r e n c i n g t h e c o n t e n t of z i n e s o u t s i d e t h e m u s i c scene, p u b l i s h i n g c lip art from Sean Tejara t c h i ’ s Crap Hound. S u e d e f a n s w e r e t r e a t e d to t h i s d o u b l e i s s u e of G l a m o u r p u s s (1996). T h e O a s i s - i n s p i r e d M u s t Be the M u s i c (1996-99) w a s a p r o m o t i o n a l z i n e t h a t r a n 12 i ssues: t h e b i - m o n t h l y p u b l i c a t i o n b o a s t e d a r e a d e r s h i p of m o r e t h a n 2,000. M a x i m u m R o c k n R o l l (1982-), a p u n k z i n e , b e g a n in 1982 as a n e w s p r i n t b o o k l e t i n s i d e N o t So Qu i e t on t h e W e s t e r n Front, a c o m p i l a t i o n a l b u m on t h e A l t e r n a t i v e T e n t a c l e s r e c o r d label. T h i s a u t h o r i t a t i v e p u b l i c a t i o n is s t i l l going, a n d to d a t e m o r e t h a n 300 i s s u e s h a v e b e e n pub l i s h e d . L_ 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 ” ' Xf'BTar «^aTt ,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 ISSTTE 23 |SPRING 2006 Twenty Year Anniversary Issue ^ CAREER SU IC IDE SMALLTOW N DIRECT CONTROL FRONTIER RECORDS P^-P5....AN S L O O P S U C K IN G uaunacE BEMISBRAIN RECORDS BAD POSTURE STATE GEORGE HURCHALLA K AN TIN ’ ‘N’ H A V IN ’ ‘ N’ E E V IE W IN ’ ABTCOBE V IN Y L F A N Z IN E V O L .I: K ^ t io n a l A n t h e ik AM SR W SU N KKW l ASH T R A D IT ION ID E N T IT Y CRYSIS S TU K A S OVER BEDROCK P.T.L. KLUB HORROR PLANET STE V IE S T IL E T T O AND TH E SW ITC H BLA D ES CHRONIC DISORDER ENT ROPY MAGGOT SANDWICH S l a s h (1977-80) w a s a h i g h l y r e s p e c t e d US W e s t Coast p u n k music broadsheet, with contributors from other zines including Tony Drayton (R i p p e d & Torn), J o n S a v a g e (L o ndon's O u t r a g e ) a n d c a r t o o n i s t G a r y P a n t e r (Jimbo). M e a n w h i l e on t h e E a s t Coast, P u n k (1975-79), f o u n d e d by J o h n H o l m s t r o m , f e a t u r e d a m i x of B r i t i s h a n d A m e r i c a n b a n d s - here, p u n k p r i n c e s s P a t t i Smith. S o m e c r e d i t t h e t i t l e w i t h g i v i n g p u n k m u s i c its name. I n t e r n a t i o n a l A n t h e m (1977-81) was produced by the anarchist collective Crass, w h o s e h a r d - h i t t i n g agit-prop p o l i t i c a l messages were more counter-cultural than pun k but who inspired generations with their v i e w s on a n i m a l l i b e r a t i o n , h u m a n r i g h t s a n d g o v e r n m e n t in j u s t i c e s . T h i s i s s u e of A r t c o r e (1986-) c e l e b r a t e s its t w e n t i e t h a n n i v e r s a r y w i t h a v i n y l f a n z i n e - a c o m b i n e d 4 0-page p r i n t z i n e a n d c o m p i l a t i o n a l b u m of n i n e r a r e or u n r e l e a s e d A m e r i c a n p u n k r o c k a n d h a r d c o r e bands. F o l l o w i n g p a g e s T h e format, o f f set-litho p r i n t i n g a n d m o n t h l y p u b l i c a t i o n h a r k b a c k to s o m e of t h e e a r l y s c i e n c e f i c t i o n n e w s l e t t e r s . T he C e l e s t i a l T o y r o o m (1976-) is a D o c t o r Who n e w s l e t t e r t h a t c l a i m s to h a v e r e a c h e d m o r e t h a n 1,000 fans. T h e f r e e t w o - p a g e n e w s l e t t e r Y o u r M o r n i n g s Will Be B r i g h t e r (c. 1990s) k e p t l o c a l f a n s up to d a t e w i t h l i s t i n g s of gigs h e l d i n a n d a r o u n d Fo l k e s t o n e , Kent, E n g l a n d . C e le s tia l fo yp a e m APPRECIATION N u m SOCIETY b e r 7 CUP FINAL DAY was more notice able this year for the exodus of people away, rather than to the*country's capital city, when DOCTOR Y/HO fans rendezvou sed for the annual DWAS invasion of Blackpool. Y/hilst London might well he the base for the Society Executive, and venue of PANOPTICON III, Blackpool can he regarded as the Northern centre of Doctor Y/ho fandom, with the largest of two exhibi tions in Britain featuring props costumes and hardware from the programme. J u l y 57 3 MORE THAN 40 Members of the Society, from far afield as the Surbiton local Group and West Midlands 'Beyond Cygnus-A' had collaborated and booked out an entire hotel. Organiser, J. Jeremy Bentham, who drove a mini-bus of fans up to Black pool from London was overwhelmed at the success of the V/eekend, and is hopeful of further ac tivities in the future amongst the Society 'hard-core'. WHO PUTS HIS FBBT IS IT OCEANS IIT THE SKY - the film made by the D. V/. A. S. drama dept, is now complete, bar the special effects. Premiered at the Tom Baker Pen-Pal Club Social Event on May 26, the full version is hoped to be ready for PANOPTICON III. The film has taken three years to make at a cost of £3,000. The sets include a magnificent TARDIS console which was made by Reg Spillet who also plays a part in the film. The whole of the TARDIS interior was built on a stage cannibalising existing ma terials. An original score has been written for the soundtrack by Tunbridge Wells D. V/. A. S. Member Mark Ayres. A version of the original television theme will be used to open the adventure concocted b y Owen Tudor and Paul Howden-Simpson. 'Oceans' boasts a cast of 20 actors, including Leo Adams as 'The Doctor'. Leo is a professional actor of 30 years and had his own rep company. The last session was filmed in a sewage works with Mr. Adams having some unfortunate accidents with the co-ordination of his feet in relation to the nature of the location, which broke up his co-star, Diane Woodley. There is already a poster available of the film, and a paperback book is planned explaining how the film was made. IMPORTANT ANNOUNCEMENT ALL MEMBERS WITH M M B E R S H I P CODES BEGINNING " 8 A G " PLEASE SEE 'RE-APPLICATION tfo MEMBER SHIP' LETTER ENCLOSED, AS THIS IS THE FINAL EDITION OP CT OP YOUR PRESENT YEAR. SUMMER REPEATS The repeat this summer of 'The Pirate Planet' seems much more certain, with probably that well-known cure for insomnia, 'The Androids of Tara' to fol low. irfiLi UrIn1(1fn mflfIII "S , Just six weeks after booking for the convention opened we have been forced to close our regis tration files. 375 of you have registered and this response is intensly heatening. However, we do still have 16 places left for Sunday only and if you wish to register please send £3.50 to Deanne with a registration form and sae. Now an apology to those Members who have had to wait a few weeks for confirma tions of their registrations. This was because the accomadotion 7/as massively over-subscribed. Happily, we have been able to extend this facility. As regards to paying for accommodation please send your cheque/postal order payable to Deanne as soon as possible. V/henever you write with a query on the convention it would help us if you could quote your convention number. The good news is that we will almost definately be able to show the entire first story consis ting of four full episodes. Several guests have replied to our invitations including Dick Mills, Graham Y/illiams and Douglas Adams. If you are unable to come we can offer supporting Membership costing £1.00 for which you will recieve all bulletins, a copy of the convention booklet and a badge. If you want to take this up, please write to Mark enclosing an sae, with your cheque/PO payable to Deanne. Lots more next month I David, Deanne and Mark. V/RITERS POOL MEETING The venue: 287 Carlton Hill, Nottingham. The purpose: The launching of the third edition of COSMIC MASQUE. On M a y 26 at the home of John Peel, an interesting discussion followed the official launching of the third Y/riters Pool publication. One topic of discussion was the way the Doctor had changed and it was decided that the transisition from Hartnell to Troughton was a rejuvenationthe body returning to an earl ier age. Troughton was changed into Pertwee by the Time tores. His cells destroyed by the Metebellis Spider, the Doctor was as good as dead. Even the power of the TARDIS could not repair his body and effect a rejuvenation. Cho Je came to his rescue and regenerated the cells of his body and he became a younger, different person ality. 3ut what will happen to the Doctor next time? LATE NEWS LOCAL GROUP ANNOUNCEMENT We are pleased to announce the official opening of our eleventh Local Group: Michael Nicholson, 25 Long Bank, Birtley, Chesterle-Street, County Durham. A full list of the existing Local Groups is on page two and three. C h a p t e r 1 | A D o - I t - Y o u r s e l f R e v o l u t i o n : D e f i n i t i o n s and E a r l y D ays May 1990 ... May 1990 ... May 1990 ... May 1990 ... May 1990 ... May 1990 ... May 1990 ... May MORNINGS WILL BE BRIGHTER FREE ... FREE ... FREE . F R E E ___ FREE .. . FREE ... airplay of their "Love Child" EP had gone down well. Those who witness the spectacle insist that it will go down in legendary terms within the city. TREES vocalist Jason MacKenzie has been mysteriously left out of Sounds' "Rock Nutters" series so far, tonight he's demented, revelling The Arena, Vienna in the clean air and friendly atmosphere of a city he's clearly taken to, dancing around his What a momentus year mighty '90 is turning out large stage. Tonight he's making the Viennese to be - Tyson knocked out, the West Indies whirl in their city of Mozart, Beethoven, beaten in the first test on their own soil, Schubert and the Strauss family. Guitarist Liverpool beaten by Crystal Palace in the Richard Carlile is also in party mood, signing F.A. Cup semi final, Mandela free, autographs, pulling some extraordinary faces Thatcher (or Torture as one Austrian is to and even contributing some backing vocals. pronounce it) with her back to the wall, a There must be something in the air. new era unfolding in Europe, Poll Tax anger swelling up ... and Folkestone four-piece The band are called back for The Doors' "L.A. TREES spreading their gospel overseas, hot Woman" and The Stranglers' "Pretty Face" and on the heels of their three-date "Hit the then it's goodnight Vienna. Tom Jones' "It's North" weekend and first local gig of the Not Unusual" is left out of the set tonight, new decade. now that would be breaking down the cultural Carriers a little too far. It’ s Friday 13th and all is well. Heathrow Airport is woken from its slumber by the arrival of Matt Goss, chased by a bevy of emotional girls; there's a party from Sheffield United Football Club present as well, cult-hero of the 70's Tony Currie amongst their ranks. I have a very tight schedule ... my plane to Munich is delayed by half an hour ... I'm going to miss my train ... but no, the train's late as well, perhaps the Germans are human after all. Vienna's indoor Arena is a Marquee-style venue, indeed Mark E.'s The Fall play here the next week. The gig starts at 8pm and goes on until 5am, it's quite a rave, there's about 500 people present. TREES are on fifth out of six, due on at about midnight after CLOUDS OVER CHRYSLER (from Linz in Austria), the excellent BOMB CIRCLE and OCCIDENTIAL BLUE HARMONY LOVERS, both from Vienna; and German/Amencan hardcore act SPERMBIRDS. The band are tired, the acts go on for longer than had been expected, they finally hit the stage at 1.30am; by now the crowd has mingled, but there's still an expectant faithful to entertain, radio THE SHEDS unveiled their new line up at a Hunt Sab benefit gig at Bottoms in Folkestone on Good Friday. Bass player Dave "DJ" Jones left the band at the end of last month. They acted quickly to switch drummer Matthew "Mole" Lambert to bass and recruit new drummer Michaei Warren (also of Big Blue Dirt Box, formerly of The Cutlery). EPIDEMIC and THE SKYDOGS completed the line up that night. See the new-looked SHEDS at Heroes in Folkestone on Wednesday Iftay. 9th. All enquiries to: RICHARD MURRILL, 9 Gainsborough Close, Folkestone, Kent CT19 5 N B . ___ ■ 32 / 33 * ¥ * ' #j % v t# # * % <%%0 / * « */ % ;# ^ * j% % < « 'j * % »# ^ « a ' I' %» %i # #j / »% \ » < #* »v%» *’ % «• # « i 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 : £ 32 U (oww) ->|j|«r3 /i + TJ>*iroW v, Without conventional publishing constraints, f a n z i n e s c a n t a k e on d i f f e r e n t f o r m a t s a n d m e t h o d s of p r o d u c t i o n . S p e e d K i l l s (1990s) f o l l o w s i n t h e t r a d i t i o n of 1970s p u n k f a n z i n e s t h a t i n s e r t e d f l e x i - d i s c s i n t o t h e i r page: h e r e a 120-page n e w s p r i n t f a n z i n e a c c o m p a n i e s t h e 7-inch vinyl. T h i n g s I ’ ve F o u n d / T h i n g s I ’ ve L o s t (2009) is a 25- c o p y l i m i t e d e d i t i o n split zine, o p e n i n g f r o m b o t h f r o n t a n d back, w i t h two screen-printed front covers and interior p a g e s o n p i n k p h o t o c o p y paper. T h i s z i n e r e a d s in two directions, enum e r a t i n g items that the p r o d u c e r h a s f o u n d b y t h e s ide o f t h e r o a d plus o t h e r s t h a t h a v e b e e n lost. T h e 1980s S w e d i s h f a n z i n e S t r a i g h t f r o m the G r o o v e y a r d i n c l u d e s a c a s s e t t e t a p e f e a t u r i n g top S w e d i s h g a r a g e a n d p s y c h b a n d s s u c h as R o k y E r i c k s o n , C r i m s o n S h a d o w s a n d Creeps. 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 r H a n d - r e n d e r e d t y p o g r a p h y f e a t u r e s in t h i s set of f a n z i n e s s p a n n i n g t h e 1960s a n d 1970s. T h i s 1998 i s s u e of F r e a k B e a t (1980s-90s), p r o d u c e d by R i c h a r d A l l e n , f o u n d e r of t h e n o w d e f u n c t D e l e r i u m R e c o r d s , h a r k s b a c k to t h e c o u n t e r cultural imagery and typographic treatment of t h e o r i g i n a l E u r o p e a n r o c k m u s i c g e n r e of the 1960s. I n s e r t e d i n t o t h e z i n e is a 1987 f l e x i - d i s c f e a t u r i n g t h e S t e p p e s ’o n l y f u l l v e r s i o n of t h e i r s i n g l e ‘ H i s t o r y H a t e s No Man’ . T h i s e d i t i o n of P a u l W i l l i a m s ' s c l a s s i c r ock f a n z i n e C r a w d a d d y ! (1966-2003) i n c l u d e s p ieces b y f u t u r e r o c k l u m i n a r i e s J o n L a n d a u and S a n d y P e a r l m a n , as w e l l as p h o t o g r a p h s by one L i n d a E a s t m a n - s o o n to b e L i n d a M cCart n e y . P u b l i s h e d t w i c e a year, B a m B a l a m (1974-c. 1980s) w a s a 1960s p o p m u s i c f a n z i n e , w h i c h M a r k P e r r y c r e d i t s as p r e d a t i n g b y f o u r issues h i s o w n i n f l u e n t i a l p u n k z i n e S n i f f i n ’ Glue. T h i s i s s u e i n c l u d e s i t e m s o n M a n f r e d Mann, t h e B e a c h B o y s a n d B u f f a l o S p r i n g f i e l d . S n i f f i n ’F l o w e r s (1977-n.d.) w a s p r o d u c e d as a l i t e r a t u r e a n d a r t z i n e b y Sue, Simon, A n d r e w and J a c k i e as t h e i r ‘ first excursion into t h a ’ dep t h s of print...’ . It f e a t u r e s a n i n t e r v i e w with British writer Michael Moorcock, who talks about his early career and his first c o n t r i b u t i o n to a f a n z i n e at t h e a g e of e leven. 36 / 37 T h e 1980s f a n z i n e S e r e n d i p i t y l o o k s b a c k to the previous d e c a d e ’ s t e l e v i s i o n shows, s u c h as T h e M a n f r o m U.N.C.L.E., B a t m a n a n d S t a r Trek. In t h i s i s s u e B a t m a n ’ s fiftieth birthday is c e l e b r a t e d w i t h d r a w i n g s of t h e i n n e r w o r k i n g s of t h e B a t Cave. F e a r a n d L o a t h i n g (early 1990s-) is o n e of t h e l o n g e s t - r u n n i n g and most i n f l u ential p u n k fanz i n e s in the UK (issue 61 w a s r e l e a s e d i n 2010), w i t h d e n s e l y t y p e w r i t t e n t e x t a n d c o l o u r - c o p i e d covers. W i t h m a n y of t h e i r i ssues, i n s e r t s for i n d i e l a b e l 7 - inch s i n g l e s w e r e a l s o i n c l u d e d - t h i s issue, it w a s t h e A m e r i c a n f e m a l e p u n k b a n d N.Y. Loose, h e l p i n g t h e m to d e v e l o p a U K f a n base. R e v o l t i n g (1993-n.d.), ‘ a p u b l i c a t i o n to raise social awareness and h u m a n p o t e n t i a l ’ , is p r i n t e d on r e c y c l e d paper. It w a s a z i n e t h a t f o c u s e d on p o l i t i c a l i n j u s t i c e s : this issue also has articles on recycling, s u s t a inability and e n v i r o n m e n t a l concerns. 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. C O N S O LE issue one contents in clu d e f y p NmSa^CV i l k p H VP A \W _ pe»$ _ 39 lia WITH. Bit* DUCT3 ****** W L L U n cR n in r or CHILDt o uai " 3 U W > F P * T 3T * c u sis n u in ( jM u n n ® ™ sm jr r CAM’ T DStJIDK INTENSE PLUSH N ESS!! ct> 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 (19772008) b e c a m e a l e a d i n g p u b l i c a t i o n on comicstr i p h i s t o r i c a l r e s e a r c h . T h e A u s t r a l i a n D o w n U n d e r (mid-1960s) w a s d e v o t e d p r i m a r i l y to com i c s a n d f a n d o m c o m i n g o u t of A u s t r a l i a a n d England and was distributed internationally. F O O M (1973-78), or 'Frie n d s of 01 M a r v e l ’ , was a Captain Am e r i c a Marvel comic fanzine with early c o n t r i b u t i o n s b y S t a n Lee. T h i s f i n a l is sue of C o m i c s U n l i m i t e d (1970-79) b i l l e d i t s e l f as a c o m i c s - o r i e n t e d a r t i c l e zine. 40 / 41 ANNIVERSARY UE -Sfc / VIA No. 4 -- ----- \ _ T h e S p a c e T i m e s (1950s-60s) c o v e r i l l u s t r a t i o n b y H a r r y T u r n e r is d r a w n d i r e c t l y on to o f f s e t litho plates and printed in m a h o g a n y and green inks. T h a n k s for the M e m o r y (c. 1977-c. 1980) w a s a D o c t o r Who f a n z i n e t h a t c e l e b r a t e d t h e E n g l i s h a c t r e s s E l i s a b e t h Sladen, w h o w a s k n o w n for h e r t h r e e - y e a r role as t h e investigative journalist Sarah Jane Smith i n t h e p o p u l a r B r i t i s h t e l e v i s i o n series. P e r s o n a l L o g 01 (1980s) w a s a non-profit, f a n - w r i t t e n f a n z i n e d e d i c a t e d to S t a r Trek, w i t h a p r i n t - r u n of 200 copies: t h e c o v e r d e p i c t s L i e u t e n a n t Uhura, w h o f e a t u r e s as t h e m a i n c h a r a c t e r s t u d y for t h i s i s s u e of s h o r t s t o r i e s a n d poems. T h e c o m i c z i n e H e r o e s U n l i m i t e d (1967-n.d.) w a s o r i g i n a l l y w r i t t e n a b o u t A m e r i c a n s u p e r h e r o e s , b u t in t h i s i s s u e its e d i t o r a s k s r e a d e r s for t h e i r t h o u g h t s o n i n c l u d i n g one a r t i c l e p e r i s s u e on B r i t i s h c o m i c s u p e r h e r o e s or f a n t a s y c h a r a c t e r s as well. C h a p t e r 1 | A D o - I t - Y o u r s e l f R e v o l u t i o n : D e f i n i t i o n s a n d E a r l y D ays 42 / 43 I NSIDE W HO IS se The A M E R p a g e s |»*i { *nd a t ^ i o n uou Vi ke 'V S e e in s id e for) \arest s\or of th e A, m e r IT E-MAW m £& . \ A L L B R IT I S H COM .I C C Q JA ’ \ T o be h e i d ^ in IQ 68 , 6 1t cc\\uq h a m. ^ \by V h a * p?ur TH E CAT c o m e S Vo © rip s wiVn & f o e is Wn o uur.JvS Vi-v" 7, O h 6 1 E . \ P H IL C L A R K E . STEVE HOORG. r H e £/ H L R I f ; / M E A G L E - K f e - P Q W ____ j NKHTMARE No. I 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 ■i;" ',rvV ■ ....... Si • "v ife. 6m +s-*gS-??! M rn m mm i: : W«£ i L - V -■.-.?■ xf . . ■. :- m s m * M M M . ; . ,MSStM. i:a C h a p t e r 2 | 'It's as E a s y as 1-2-3': T h e G r a p h i c L a n g u a g e of P u n k 1975-1983 The Situationist-inspired S u b u r b a n P r ess (c. 1970) u s e d cut-up g r a p h i c s and agit-prop i m a g e s to p r e s e n t a d i s t i n c t a n t i - d e s i g n g r a p h i c language, w h i c h would help define a B r i t i s h z i n e style. In the U n i t e d States, P u n k (1975-79) founded by John Holmstrom, c o m b i n e d p u n k and com i c s to ‘ galvanize a mov emen t’ . H a r k Perry's f i r s t i s s u e of t h e p u n k z i n e S n i f f i n ’Glue (1976-77) f o c u s e d on T h e R a m o n e s ’L o n d o n gigs and credits the b a n d ’ s s o n g 'Now I w a n n a s n i f f s o m e glue' as i n s p i r a t i o n for its title. Identifying the specific moment when punk began is difficult, as is a music and the movement itself. Dave McCullough, a one-time fanzine precise definition of the term. Mark Perry, founder of the punk fanzine producer and then a journalist for the music paper Sounds, reported Sniffin' Glue, suggested in issue 1, in 1979 on the position of British fanzines: nobody can define punk-rock, it’s all about rock in its lowest you didn’t know where to look in case you were being ‘sold out’. form - on the level of the streets. Kids jamming together in You could actually 'look up to’ an "institution” like Sniffin’ Glue their dad’s garage, poor equipment, tight clothes, empty heads and at least TR U ST that they were going the whole way. It gave (nothing to do now you’ve left school) and model-shops. you The Word and put what the press said (which you always Punk-rock’s all those things.1 did suspect) in a rigid perspective.4 The first wave of punk has generally been accepted to have had a three- Perry was very much aware of his new-found position as a punk year life span, beginning with the depression and drought of 1976 and provocateur and of the influence he had on other fanzine producers. ending with the death of Sid Vicious of the Sex Pistols in 1979.2 On the He speculated that the success of his fanzine was due to the fact that other hand, punk should not be defined entirely by the career of the Sex he was honest and told readers exactly what he thought, using a Pistols - however influential they may have been - nor by the history graphic language adopted from American rock-and-roll fanzines. promoted by their manager and publicist, Malcolm McLaren. Critics In punk as in other genres, fanzines were written for and produced by such as the American journalist Greil Marcus would argue that in the those ‘in the know’. They had first-hand experience as participants at United States it began in New York around 1973-74, well before the the gigs and were often allowed access to backstage. They interviewed Sex Pistols, with such bands as Television and the Ramones. Punk's bands directly, frequently getting an exclusive story. Although punk second wave continued into the 1980s with the rise of anarcho-punk, was almost immediately picked up by the national and music press street punk, hardcore and the neo-fascist punk movements.3 Punk (the first review of a Sex Pistols gig was written by Jonh [sic] Ingham fanzines aligned themselves to these new categories of punk politics, and published in Sounds in April 1976) the stories in the mainstream providing a new wave of fanzine activity. In the 1990s and 2000s press were often sensationalized. Punk was viewed as frightening and punk continued to thrive in its various forms, spurred on by newer aggressive, with tabloids such as the Daily Mirror and the People using publications such as MaximumRocknRoll (1982-) and Punk Planet scare stories to criticize the morals of the burgeoning youth culture. (1994-2007) (both USA). Punk fanzines may have been driven by political agendas, including class politics and critiques of mainstream political ideologies, but Defining Punk Agendas they also reflected the fact that punk had emerged from a position of Punk was not only about music and class politics, but also had an knowingness about artistic practice and its history. Legs McNeil in impact on fashion, fine art, film, comics, novels and, of course, fanzines. particular, co-founder of Punk magazine (1975-79), traced punk back Mark Perry had developed his own brand o f ‘punk journalism’, for to the antics of art-world provocateur Andy Warhol, and other critics example, and he actively encouraged others to participate in ‘having too have argued that fanzines had their stylistic origins in Warhol’s a go yourself’. Punk fanzines also served another, equally important Interview magazine, which represented ‘the same sense of slapped purpose. During the early rise of punk, many fans considered them together necessity’ and the same ‘“artless” reproduction of every to be the only reliable way of disseminating information about the spoken word’.5 46 / 47 ElAiScili&EDsBTEDo T-O -T-A -l. J CONTROL I Pun k obsessions varied internationally. Search & D e s t r o y (1977-79), w h i c h c a m e o ut of S a n F r a n c i s c o f r o m e d i t o r V. Vale, f e a t u r e d a n i nterview with the A m e r i c a n writer Wi l l i a m Burroughs. The first Brazilian p unkzine w a s F a c t o r Z e r o (1980-81), w h i c h h a d a p a s s i o n for S o u t h A m e r i c a n bands and comics (the DIY g r a p h i c l a n g u a g e was clearly borrowed from the B r i t i s h model). Total Control (1977) w a s a s m a l l b o o k l e t about The Clash included in the first G e r m a n pu n k f a n z i n e , The Ost r i c h (late 1970s). Perry and McNeil thus provide two starting points not only for of Reid’s press in Croydon, Surrey, as well as making ironic comment exploring the potential difference in writing styles of punk but also for on the ‘capitalist ideal’. The publication uses typewritten texts created defining the graphic language of punk fanzines. on an IBM 72 typewriter. While Jamie Reid and others were exploring the possibilities A Graphic Language of Resistance offered by Situationism and the graphic languages of other art Can we identify a graphic language of resistance? Resistance, in this movements, a second source for a fanzine language was emerging. case, is taken to mean a ‘refusal to com ply’, as in, for example, resisting Mark Perry’s Sniffin' Glue (1976-77) was so influential that tributes authority. Stephen Duncombe suggests that through the process of to his success were witnessed in the way the fanzine itself was resistance we are freed from the ‘limits and constraints of the dominant referenced graphically: for example the second issue of Murder by culture’. In turn, ‘cultural resistance’ allows us to ‘experiment with Fanzine (c. 1983, Scotland) pastes a flyer promoting issue 6 of Sniffin' new ways of seeing and being’.6 In fanzines this may be represented Glue over the head of a guitar-player, thereby rendering him anonymous. through content, or graphically, or both, where rules and prescriptions Nonetheless Perry is careful not to accept the ‘first fanzine’ tag, instead are disregarded intentionally. Such strategies are easily understood citing earlier rock-and-roll publications such as Greg Shaw’s Who Put within the subculture and so provide a focal point and help to establish the Bomp! (1970-79) and Brian Hoggs’s Bam Balam (1974-c. 1980s) a community of like-minded individuals. as precursors to his own. Punk fanzine precursors that began to define what a distinctive Despite an emerging set of punk ‘conventions’, which included graphic language of punk might be include Jamie Reid’s Suburban the small, stapled format, ‘spontaneous’ page layout, the production Press (1970-75) - a Situationist-inspired publication that, along values of the photocopier, and a mixture of typographic treatments such with Sub magazine and King Mob, provided a bridge between the as cut-and-paste, ‘ransom notes’, and handwritten and typewritten hippie press and punk fanzines.7 Situationists ‘characterized modern letterforms, each fanzine maintained an individualized approach. The capitalist society as an organization of spectacles’, arguing that ‘people manner in which the graphic marks, visual elements and their layout are removed and alienated not only from the goods they produce and were presented reflected not only the message, but also by default the consume, but also from their own experiences, emotions, creativity, individual hand of the fanzine producer. This is evident in a comparison and desires’.8 of covers from three of the more prominent fanzines produced in the Reid established the connection visually between Dada, late 1970s. Charlie Chainsaw, for example, in his first issue of Chainsaw Situationism and punk, suggesting that ‘probably Dada’s finest moment (1977-85, London) used stencil letters for the title and a series of was [when it was] on the streets and accessible to working class kids’.9 cut-out newspaper texts collaged with a photograph of the Sex Pistols He described his job as being graphically to translate and simplify the and a reference to its namesake, an image from the poster of the film Situationist use of political rhetoric and jargon. For example, Suburban The Texas Chainsaw Massacre. Mark Perry in the July 1976 issue of Press critiqued local council politics and contextualized it with excerpts Sniffin’ Glue employed his own quickly produced handwriting scrawl, from Situationist graphics and texts. The cover of Suburban Press where letters were all caps and visually presented in the same weight. No. 1 (1970) uses a dot-patterned image of a suburban house with And Tony Drayton’s Ripped & Torn (November 1976-79, Glasgow) the idealistic slogan ‘Fresh from the Suburbs’, playing on the location took a more formal approach, combining one photographic image of _ C h a p t e r 2 | 'It's as E a s y as 1-2-3' : T h e G r a p h i c L a n g u a g e of P u n k 1975-1983 T h e r e g i o n s of B r i t a i n h a d t h e i r o w n s pin on punk. R i p p e d & T orn (1976-79), p r o d u c e d by T o n y D r a y t o n , r a n for 18 issues, m o v i n g b e t w e e n G l a s g o w a n d L o n d o n . For a w h i l e it w a s a s e r i o u s c o m p e t i t o r to Sniffin' Glue. City F u n (1977-84) w a s p r o d u c e d i n M a n c h e s t e r , E n g l a n d , a n d w a s i n i t i a l l y r u n b y a collective, p r o v i d i n g e a r l y c o v e r a g e of F a c t o r y R e c o r d s a n d t h e H a c i e n d a Club. A l t e r n a t i v e S o u n d s (1980-81) r a n for 18 i s s u e s a n d f o c u s e d m a i n l y on t h e C o v e n t r y m u s i c s c e n e w i t h s u c h b a n d s as T h e Silence, b u t a l s o c o v e r e d o t h e r E n g l i s h M i d l a n d s towns. 48 / 49 :W<*** ■tv-'-/.* /PANACHE: 10 te g P o l e T u d o r Iktbjn'iew C H E L S E A * D iodes fHEWurtMQ*vn • r\«mi *i*s * n-nx.i**ri* moLeJT»«s . CM M iof DpK iS#® E XO S X S V r „ CORTI^AS, + BLONDl £ , Siouucie, +Runaway's, LOolo *Gi'iuie f'ssu.c F r i e n d ly an d s o m e t i m e s not-so-friendly r i v a l r y c h a r a c t e r i z e d t h e t o n e of t h e p u n k z i n e heyd a y . In t h e City (1977-80), one of t h e m o r e f a m o u s p r o d u c t i o n s , c o m p l a i n s a b o u t t h e n u m b e r of z i n e p r o d u c e r s w h o sold out to j o i n t h e m u s i c press, i n c l u d i n g journalists D a n n y B aker and Dave McCullough. T h e f o c u s for t h i s i s s u e is t h e a n a r c h o - p u n k b a n d C r a s s (logo b y D a v i d King). M i c k Me r c e r ' s P a n a c h e (1976-92), o n e of t h e l o n g e s t - r u n n i n g punkz i n e s in the United Kingdom, emphasizes its ‘ v a l u e for m o n e y ’b y p l a y i n g w i t h c ut-out a d v e r t i s i n g . In R e b e l R o u s e r (late 1970s) L e o n Rebel’ s h a n d - d r a w n effort offers a p u n k poll to k e e p r e a d e r s i n t e r e s t e d . loolci Guaranteed rmum valueSEE IT NOWlSotaapeasive *woint™rt ❖ F) Give*wAV A t T H A T P«iCE i C h a p t e r 2 | 'It's as E a s y as 1-2-3': T h e G r a p h i c L a n g u a g e of P u n k 1 9 7 5 -1983 ANARCHY * IN THE U-K.j A l m o s t as s o o n as p u n k e m e r g e d it w a s c o - opted by m o r e m a i n s t r e a m i nterests. A n a r c h y in the U K (1976) was a b r o a d s h e e t p u b l i s h e d by t h e S e x P i s t o l s ’m a n a g e m e n t , G l i t t e r b e s t , as a col l a g e of p h o t o g r a p h s a n d n e w s c l i p p i n g s a b o u t t h e band. T r ick (1977) w a s a n o t h e r b r o a d s h e e t , m o r e a k i n to S o u n d s or t h e N e w M u s i c a l Express, a n d i n c l u d e d a r a nge of a d v e r t i s e r s . D e s i g n e d by a g r o u p of g r a p h i c d esigners. T e m p o r a r y H o a r d i n g (1976-81) w a s t h e m o u t h p i e c e of R o c k Against Racism with a c i r c u l a t i o n of 12,000 i n 1979. the Damned with handwritten upper- and lower-case lettering in a Minneapolis, Minnesota, and was one of the largest of the anarcho- hierarchical sequence from the title, the stories promised inside to the punk fanzines in North America. During this period, it took on smaller, self-effacing tag lines: ‘This is Too fantastic ... buy it Now’. numerous formats - eight-page magazine, broadsheet newspaper, These examples, in spite of their individual handling of the basic graphic perfect-bound book - depending on editorial positions and budgets. notation of fanzines, established overall a recognizable punk identity. Profane Existence now exists only via the Web (although fundraising events provide a glimmer of hope for the relaunch of the print version), Post-1979: Anarcho-punk and continues with international coverage of the anarcho-punk By the 1980s a vocabulary of punk had been absorbed into fanzine movement and its related community and lifestyle news, including DIY production. But a more radical strain of politics was becoming evident. health care, self-help primers and, of course, politically aware music. The graphic language that followed promoted a more aggressive and provocative approach, as, in the 1980s, the second wave of punk Punk Sites of Resistance gave rise to more aggressive and visual styles. The most interesting of Thus, we can speak of fanzines as places of cultural ‘resistance’. these were centred around the anarcho-punk movement. This was a They offer fans a ‘free space for developing ideas and practices’, politically committed strain of the subculture headed by the band-cum- and a visual space unencumbered by formal design rules and visual commune Crass. Crass were responsible for a number of publications expectations.10 Fanzines embraced punk’s do-it-yourself attitude. and fanzines, including International Anthem: Nihilist Newspaper As one member of the punk community reflected, ‘our fanzines were for the Living (1977), which featured text by Penny Rimbaud and the always clumsy, unprofessional, ungrammatical, where design was remarkable photo-collages of Gee Vaucher. These were reminiscent due to inadequacy rather than risk’.11 Yet as the plethora of punk- of the work of political artists John Heartfield and Hannah Hoch, inspired fanzines materialized, a unique visual identity emerged, and the fanzine's format was similar to the previous decade’s counter with its own set of graphic rules and a do-it yourself approach, neatly culture broadsheets. reinforcing punk’s new-found ‘political’ voice. Malcolm McLaren, Other fanzines similarly made much of anarchist iconography. manager of the Sex Pistols and self-proclaimed creator of punk, was Cobalt Hate (1984) utilized the circle A in inventive fashion, and the quick to point out, “‘Anarchy in the UK” is a statement of self-rule, crowded, claustrophobic appearance of the cover mimicked the anger of ultimate independence, of do-it-yourself’.12 As if to punctuate this of the hardcore anarcho-punk music. Its front cover made explicit the point graphically, the producer of the punk fanzine Sideburns (1976) producer’s political leanings with hand-rendered slogans and phrases famously provided a set of simple instructions and a diagram of how such as ‘nihilism.propeganda”, ‘Black Flag Anarchists’ and ‘Police to play three chords - A, E, G - alongside the command ‘Now Form opression: Police Faschism’. The intentional misspellings and hand- a Band’. As with its music and fashion, punk advocated that everyone scrawled writing conveyed a sense of immediacy and irreverence go out and produce a fanzine. As independent and self-published towards publishing conventions. This added another level to the publications, fanzines became vehicles of subcultural communication punk aesthetic. and played a fundamental role in the construction of punk identity Other fanzines would follow in the 1990s in the United States. Profane Existence (1989-2008), for example, was founded in and a political community. 50 / 51 S M i r p i H ' ^ L u e . . . ftrlO OTHGR fto tK .V R .o v t PoR TUC i*6U-U*Mg i © ■hat.thin in n't * JoJtn.If j H A B IT5 S H IF F iH ‘ ( j - l u ? . . . fM b O TH ER R o ck 'n 'R o U Ha 6 iT5 , o*r'7l. [ foR I j hJ | f Fl H * " " ( r l R C ^ ! ( S ) aanana'Tt. mthinc funny buy KAD.Any»ay,thi» lamie Is pricolws THZ KAC THAT DOfSM'T LIXiJ GIVING YOU'UP TO DATJt'NlMB ON THi MUSIC----- IflpgT Tfrrpn- 2 X 8 & T& U H B 4 ' jn ---------------------------------------------------------------tli H'J.HO.IIO A*9 K ;. ■ ■ THI3 15 A THKiflJ PAW «0 Cllltl .Ti o>VX*IALtlWOUCHT OUT BY KTU1./JI D-31AJU).IT'S •VAfl VrflL'J \N, *M C0ULJ)i."i iI£ALLY «.-YOrtD To GrTT THIS WMI-ISSUd PKUITOD Wt! TtfDll'T U3rf PHOTOS.TilAT».i WHY V/fS'VK US.SO A !>HA3EJC.lTHt BY A PU.IX C/J.LelD-Zisz.I CAH'T UT/UfDMAKT'V.Y3iIIjF BUT YOU'LL PBOJJAIILrtT MXS IT, tf TneOAH*teO * S (y PuVouS * K rt-t PtfP + Sim 1FF 11J* G -L u^? Ro o c ck Ro 0 Lc lc other R k *'* For. PinHeaDS ftrfD S u r fe r s f >Wi> otm eR S niF F IW ' (tL u £ ^ H a & it 5 HAfcrrjS (J ) ^ N l r f l n fee '77 -----------------a this RDVERTS- le? ts y WflfeH HT7. ------------------___________________________ ___ ^ cocpl«t«ly up Uh rtll.Thar*'* ■lutaJwa rr«ry»h*r*,Ju*t Ilk# ac 1i Sti\FFitl'6i\)6® *■ V o n . H*6rr.S Arib Ot h e r » RockV*' R .M O «MyTHli*6- Tfc OUSE _________ flpRn-i h n j m WHAT THC TUCK'S HAPPC«*G TO THIS ftr* U PftoA R j r ________ S j J COIT1NC TH15 ISSUC7I71 -GORILLAS S h i r f i h & l u e !? othe * Rjock '^ *R o u , Ha b i t s Foil t>tfTToCtb yo&s ( J o ) ^ 6 H e -H T 7 . sc? -'as j- ,„ a jj,n I J / t ♦W other Rocfc. W Roll Hfl&rrs For. ffeoPi£*# Uho THif*v< rKs HIP t© THt " in " Mftf. 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 'H rf L*f V 1 ta r Take A f a * M»©%C A T H f v While Jamie Reid and others were exploring the possibilities offered by S ituationism a n d t h e g r a p h i c l a n g u a g e s of a r t m o v e m e n t s , a s e c o n d s o u r c e for a g r a p h i c f a n z i n e style w a s e m e r g i n g . Sniffin' Glue (1976-77) b y M a r k P e r r y et al. h a s b e e n c r e d i t e d as t h e f i r s t B r i t i s h p u n k f a n z i n e . It r a n for 14 i s s u e s a n d i n c o r p o r a t e d a s p i k y a e s t h e t i c m a d e up of typ e w r i t e r lettering, handwriting, cartoons (for e x a m p l e b y S a v a g e Pencil) a n d p h o t o g r a p h s of g i g s (for e x a m p l e b y J ill F u r m a n o v s k y ) . I s s u e 1 i d e n t i f i e d i t s e l f as ‘ for p u n k s ’a n d as a m o u t h p i e c e for t h e i r m u s i c a n d anger: it h a d a r u n of 50 copies. B y t h e l a s t i s s u e i n 1977, t h e z i n e h a d a c i r c u l a t i o n of b e t w e e n 10,000 a n d 15,000. A l t h o u g h P e r r y c l a i m e d to h a v e b e e n i n s p i r e d b y p r e v i o u s ro c k - a n d - r o l l publications, he succeeded in i n itiating a DIY style t h a t c a p t u r e d t h e Z e i t g e i s t a n d t h a t p r o v i d e d a c o u n t e r p o i n t to t h e m a i n s t r e a m m u s i c press. ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- 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 — P t No, 11 3 0 P k i N I j <r~ b M id o ite & th e Boys, Artarch lots Of bad ( 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 CHAINSAW / I 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 INSTANT AUTOMATONS-Rites o f passage llo.\x Sof T w o of t h e m o r e v i s u a l l y i n t e r e s t i n g s u c c e s s o r s to S n i f f i n ’Glue w e r e C h a i n s a w (1977-85) a n d P a n a c h e (1976-92). T h e former, c r e a t e d b y C h a r l i e C h a i n s a w , r a n i r r e g u l a r l y for 14 issues, w i t h later e x amples e x p e r i m e n t i n g w i t h an innovative u s e of c o l o u r covers. It a l s o f e a t u r e d ugly but vivacious i llustrations and cartoons b y M i c h a e l J. W e l l e r a n d W i l l i e D. A l s o c h a r a c t e r i s t i c w a s t h e m i s s i n g lett e r ’ n' f r o m its t y p e w r i t t e n text, w h i c h w a s f i l l e d in b y hand. Following pages Panache was created by Mick M e r c e r as a 12-page, s t a p l e d a n d p h o t o c o p i e d p u b l i c a t i o n t h a t f l a u n t e d its t y p o g r a p h i c mistakes, o vercrowded pages and grainy p h o t o g r a p h i c i mages. Its e n t e r t a i n i n g l y c l a u s t r o p h o b i c sty l e r e f l e c t e d a f a n ’ s desire to p a c k in as m u c h i n f o r m a t i o n as possible. CHAlAJSAt*/ / " 2Q \ T. :fsri5urn CHAINSAW UNITS UoA JlW/j5C^7 & • • • - 'punff fa„s SPTU- ».rts order f o r m s - “3- s a ‘ a" >»«. L “ ** In tw s IIU Si"?" *“°Wri~„ fwrAvnc TAM! OF l&jte*>LOTS s, mtictes AW'J) &cAUI>#VL... LU fcxeR S B U r z C O C IC S L O N O O N X T £ ----- ----- r.S S tf *,nk *<** folfiSr nriiic«0??u7ird iOO «»• 005nni t2T2L,n ,Ucn»«<l» S T (\ m U 6 r: S e x Pistols' hit banned riutja cfr SSiSaftMnwoJjg .-.f g B a S g — 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 j>AFN£ ■ d re s s e s in th e sceptics,one r„n.. lij- t h in k ) > ^ L c n c * V. ----- -- --------- ------p .,* , ------------------ a 6 0 cd w ith t h e tir o e s 1' - i n p ^-*''Bu r 8 gr JT H E rL Y s 7 , W e l J aihzTZ -------- — ^ ^Uo He* a c tr, ■£®"%rThe ° c ^O U s b i >p h S /gki | l CENT Spy PH - Vcu^ U v G o t c ftN c cheap i f o tJ J T f t S lN A ^ n UHDC6NT tv< o m an S 'G Y £ ( a ffa ir i •c • b^6 f 3®) and “ Meat. J u st. ^ version 6ss| s tra n g e \a « v ^ \ * s e n t V, 1tnod * c, A T E L L n J ie ,w itk [ W a k e y b o a rd s A e t > 6 H of S ; B ~ t - ___________ scwngs w e r e le er* o .k d egen erated I n t o [<nindless 3-c^ ord fcKrashe^ B IA c U S I W “t o an o f f ^ nlQVvt,T>vssa o i n t m e n t wJ&s w r i t t e n f%CfeS a t t h e encf th e fa c ta |P ^ a x e J a u d ie n ce lA tin'll [D e f in it e ly H o Pu^* jp e b b ^ / e r e s ev have e v e n in g * WARM -i.p a ti.o n s g e r r a te d cXai** o n e per •r esumud drunl jo in in g in * . u ic«. t h e y CttLl1* s' ed ujp s X ^ f l o V ’j p a ss They w a tc h t band who f u c k Up o ttrrv a v x n g a l l cW n c make th e ir s _ h e sh o u ts t*l« IH ej should co s t h e wus lia b who r cos Tint o v ib e s 1* fa r cv*i er ln a t e l SU ftV fiO N S c ra p , ' p r a n y p t o n , B e lla * * lo o k a lU c e S . . -L a te st B R A IN eXr f i r s t s i n g l e a zed t o s e e % lo a d Uk< t t . u n x n te fc ® t^ Jr\ B onlv^l of ( S h ak in rubber chicJc.en). a l o t au\d was n [of e l d men s £ r j«st failed, [and p la y a. s e t [ Cardiac A r r o ^ . lr+J m undanit^ .T hea s t u f f and p la y | s c h o o l b o y s^lxice a | i s stron & e t o w atch these^ two Nicotine fa c )> l-a v a t o r y » K 60H ; - X crappy ll c k e r ,^ d ROTOVATORS: - T e r r ib le ! ^ s h i t - l i k e c o l l e g e b a n d , w ith vv eeir yJ f\ a« wt s in gc>—e r 1----jB e rn i F lin t . f t y p e ^ it» V L r t s , c r a p « n 6 5 1< , b if t grade Known, c u r io u s ly Im aginative- lo t., the p r o v tff »nove. a a y ^ o r a s ^ " c a r s ia c ARCfcsr/MAr.KfTc ,a - _____ v ast s e t: W a ls /w a he* had ty p e title s ^uO _ b d t 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 IT WftSWOOSE! I STILL CO BRING N Y S E LFTO ^AVTHOS lefe sptnW.|eor|uouoti<r r 1 O ^ l5f^»Cr3L5p TVve ■faA'Z-in€ N O V E M E R IW lyoto'dfife u e 're l Booties^ 1^1 fcPo s t e r Dead fmqetsTolk MfttefVlPW "o A.MTS ¥ KotjIhSx^ a*i Mtt\ W CLASH T o ffL S P fctt ' Z\ f t -p jiU A Y N t bfst”ro<To«ivs ^ CoVKTty* ,M ToHnNY WlfN ICETM fG >V £KAC^Ijj t sW kcuoI Ip-1(linrti VoW fcutVr«dpt5 p lw t t » c k a ttr. A«d a rrcotcl solf/ fftNZlVl E_ SIQUXSIE R IP P E D & T O R N no. 18 R i p p e d & Torn (1976-79) b y T o n y D r a y t o n c o v e r e d t h e p u n k s c e n e i n b o t h G l a s g o w a n d London. O f t e n e x c l u d e d f r o m p u n k h i s t o r i e s , t h i s zine w a s at t h e t i m e r e c o g n i z e d b y o t h e r p r o d u c e r s as a fr o n t - r u n n e r , p a r t l y for its a t t e m p t to o f fer a b r o a d e r u n d e r s t a n d i n g of punk's p o l i t i c a l agenda . P r o b i n g i n t e r v i e w s w e r e its s t o c k in trade. T h e tit l e a p p e a r e d w i t h n u m e r o u s v a r i a t i o n s ( h andwritten, gothict y p e le t t e r i n g , etc.), w h i l e cov e r s i n v a r i a b l y f e a t u r e d a p h o t o g r a p h of the p u n k icon of t h e m o m e n t . T h e f i n a l i s s u e c o n s i s t e d of a c o m p i l a t i o n of r a n t s f r o m o t h e r zinesters, i n c l u d i n g V. Vale, M a r k P e r r y and Jon Savage. - 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 p r o f e s s i o n a l m u s i c j o u r n a l i s t ) . To m a r k t h e difference, s p o n t a n e i t y w a s key: n e a r t h e e n d of issu e 1, t h e t y p e w r i t t e n t e x t t u r n s i n t o h a n d w r i t i n g . B o n d a g e (1976) w a s p r o d u c e d by ‘ Shane’ , as in S h a n e M a c G o w a n , l a t e r of t h e Pogues. J o n h I n g h a m ’ s London’ s B u r n i n g (1976) was an e a r l y f a n z i n e for C l a s h fans. T h e o v e r siz e d D a y g l o w (c. 1978) k e p t to t h e p u n k aesthetic: p r o d u c e r S t e v e M a y a s k s ‘ W h o the hell w a n t s to b e p r o f e s s i o n a l ? ’ IS>bOS ' | IN Th is , i s s u e ; O N L Y R a p e D / \ u T o f-jflT fi c > • AD am T r if A n t ^ Youft. C.HfiWcG To u lf o < z y \ f) Dfivit) iSou/ie AS f\ L b o »K | 0 ^ lN | L im e t\ ) B C C Viwcevjt u ? ts _ f*(2.ice ......... v:*.* -*■ * 60 / 61 promise to "co n q u e r” cancer. Both were science-fiction ventures. A nd the federal legislation o f 1971, “ T he Con quest o f C ancer A ct,” did not envisage the near-to-hand decisions that could control the politics and the industrial economy that pollutes—only the great destination: (he cure. T B was a disease in (he service o f a rom antic view o f the world. Cancer is the service o f a sim plistic view -*rld that can turn paranoid, is often experienced as a rmonic possession—tumors jn ” o r " b e n ig n ,” like .d m any terrified cancer pa- ^ a r e disposed to seek out faith healers, to be exorcised. (Perhaps rightgroups are the main organized supfor quack cures like Laetnle because they also share a paranoid view the w orld.) F or the more sophisti cated, cancer signifies the punitive rebellion o f the biosphere: M other N ature taking revenge on a wicked tech nocratic w orld. T h e industrial civili zation is causing undream ed o f damage: the springs are silent; and it is regularly -timated that 70 o r 80 percent, o r beren 80 and *90 percent, o f ail cancers ‘environm entally caused." the accom panim ent o f this numame (it is difficult to see how any a abo u t " a ll cancers” c - - id be m earner ften from d> •The trcatm .” ) There tering the Xly considf tvmiion” ), Utck. on in dca n fact. dr the langi c ells-do e 'S n y a tn 'n. •d so docs , me television set —cnt clock face. As with , an innocent or trivial a ct—or ..pcsure— in the present can have dire consequences far in the future. It i* also high for industrial Dwcvcr mar te body lane mor guc A n o t h e r m i x of B r i t i s h r e g i o n a l zines. K l e e n e x (1979) c e l e b r a t e d t h e m u s i c of t h e S w i s s f e m a l e p o s t - p u n k / n e w w a v e b a n d of t h a t na m e . D a d a (late 1970s) c o m p a r e d p u n k to D a d a a n d h a d a n a r t - s c h o o l feel. P u n k t u r e (1977) r e p o r t e d on t h e M i d l a n d s s c e n e a n d w a s p r i n t e d b y t h e N o r t h S t a f f s P o l y t e c h n i c S t u d e n t Union. It h a d a n o b s e s s i o n w i t h t h e c o m m e r c i a l i z a t i o n of t h e p u n k l o o k a n d its e x p l o i t a t i o n in s u c h s h o p s as H a r r o d s . A n o t h e r T u n e l e s s R a c k e t (1978), w h i c h c a m e o u t of Glasg o w , c o m p l a i n s a b o u t the region being the ‘ u l timate in pr o g r a m m e d boredom'. C o n f i d e n t i a l (1977) f e a t u r e s an article with music-press writer Caroline Coon a n d r e v i e w s t h e D e a d B o y s at W a t ford. / Li T &R°ovyFAYFlff f} TOMORROW:‘YOU CAN BE A HR :.- mm mrnmrn mu*.wmmmmmm GENERATION X . . . C L A S H . . . R I C H A R D H E L L . . . R U N A W A Y S . . . T A LKING H E A D S . . . D E A D B O Y S . . . N E W S . ... CJ2RRY BITHI4ELLS H O T L I C K S . . . C A R O L I N E C O O N . . . R A M O N E S . . . P I S T O L S . . . AMW. . . B E T H N A L AT1/ ...... . R E V t l W S . . . . F A X . . . .PIX. .. .INFQ.. . S X T R A W H A K Y E D I T I O N . . .3rd W O R L D W A R 62 / 63 SirUATlON V Situation 3 (1977) a m u s i n g l y asks, ‘ Music papers: w i l l t h e y e v e r t a k e o v e r f r o m fanzines?' w i t h r e v i e w s of m a i n s t r e a m m u s i c papers. S i tuation V a c a n t (c. 1978) i n c l u d e s articles and i n t e r v i e w s w i t h U l t r av o x and T h r o b b i n g G r i stle. A l a n A n ger, a j o u r n a l i s t and v o c a l i s t for t h e g r o u p t h e R o w d i e s , p r o d u c e d L ive Wire (1978), w h i c h r a n for 19 issues, a n d a l s o Live Wire or P r e t t y V a c a n t (c. 1978), w h i c h p l a y f u l l y q u e s t i o n s if t h i s is ‘ a n e w mag, or is it a n o t h e r a t t e m p t to d i s g u i s e Live W i r e ’ . M o r e - o n - F o u r (1977), b y S a r a h S h o s u b i w i t h a c o v e r p h o t o g r a p h by C r y s t a l Clear, d i f f e r e n t i a t e d i t s e l f b y m e a n s of its o v e r s i z e d f o r m a t a n d b l a c k o v e r p r i n t e d on y e l l o w copy-paper. Situation W ATCH OUT F O B E X P L O D IN G EA STER EGGS f. oo o IE 'Z V o -Z QJ .4 <*cdi * CO U ) | ~ > -r <£ \ -i 1 I 0 r 7 O CO * ^ ’5 ^ 3 c 'GT r i 00 % 37 & C i1- 1 5 , I 1 ■1^ - i . , A^. S ATT>AY NIGHT OF THE DEAD ISIA N P C h a p t e r 2 | 'It's as E a s y as 1-2-3': T h e G r a p h i c L a n g u a g e of P u n k 1 97 5- 198 3 ■ 9 TUB m a g a z in e D OL P HI N ATRIKHTZEEBAID ROUNDHOUSE Jn the City (1977-80) b y F r a n c i s D r a k e et al. t o o k a n o f t e n a c e r b i c l o o k at t h e L o n d o n scene. I s sue 5 r e p o r t s on a c o n t r o v e r s y s p a r k e d by Patti Smith hol d i n g a ‘ press conference j u s t for f a n z i n e s ’ , a n d h o w In the City w a s s n u b b e d a f t e r w r i t i n g a l e t t e r to S m i t h a s k i n g to c o n d u c t a n i n t e r v i e w w i t h h e r w i t h o u t a n y i n t e r v e n t i o n f r o m h e r r e c o r d company. G raphi c a l l y , t h e z i n e w a s n o t a b l e for its u s e of c o l o u r - p h o t o c o p i e d c o v e r s (not c h e a p at t h e time) a n d s t a n d a r d i z e d logo. L i k e m a n y o t h e r p u n k z i n e s , In the City w a s d i s t r i b u t e d at t h e i n d e p e n d e n t r e c o r d sto r e R o u g h T r a d e in w e s t L ondon. 66 / 67 P 3 S t t nr C T io n Special Kamika; Issue ra*B» ♦ rJSZ ■::.zv.vsz -j at c* tfoY /r. You SMOOLD 77* INS lb E . Concrete bondage... No3 flug/Sept 25p CaQt (flrk for M K! Cherry Vanilla alw ays bru shes w ith ELVIS ELIO T a k i n g a m o r e p r o f e s s i o n a l a p p roach, J o n a t h a n R omney, p r o d u c e r of N e g a t i v e R e a c t i o n (1977), h a d t h e z i n e p r i n t e d by Labute Printers in Cambridge and distributed b y P h o e n i x M a g a z i n e s ; t h e l a y o u t is i n a m o r e c o n v e n t i o n a l t h r e e - c o l u m n grid. Positive R e a c t i o n (1979), f r o m N o r t h e r n Ireland, mentions the possibility that the zine will be sold i n Toronto. K i d s S t u f f (1977-c. 1978) a c k n o w l e d g e s t h a t 'David B o w i e is N o w m u s i c ’ . S u s p e c t D e v i c e (1979) asks, ‘ Where’ s Captain K i r k ? ’Slash (1977-80) w a s a l a r g e - f o r m a t t a b l o i d f r o m t h e L o s A n g e l e s p u n k scene, w h i c h g a v e r i s e to p u n k l a b e l S l a s h R e c ords; t h i s issue features the D a m n e d and the Screamers. VOLUME ONE * NUMBER ONE ' MAYDAY ISSUE 5/ 77 FIFTY CENTS KINGDOM COME IMO.7 FEBRUARY IS78 2 0 KINGDOM COME f b KIDf MA7 NO.^ BETHNAL - 20p POLL RESULTS , (XV.V- y £ s, / t 's SO. 11 KINGDOM COME le s s th a n BOY T H / S m«lp F O R oa / l v T tO p W IL L S E E yO U THR U T l J l J C Ht C’R^ P OF No r m a l F^N-XiNES. ^ W iV C l VAt JTOT/iXCTST 1970 o f * 6*1 Plus KINGDOM COME s ^'Oe : ... C q tN e rR ^T lO M x rsiE o & oF" " S TKECT PSHCE OUT In Elvis COSTCLLO RlTOiO STARS PflTTl SMITH "X -R ^ Y S P £ ^ ,R T m e s d a n g e r o u s /A U cr K MYSTiSRi ous’ L^ST onE in g d o m SEPTEM BER «19 STRANGLERS: co v e r V _. ISSUE T W t N T I PCT4CE. pin -u p CLASH: on the road report P saint o r s i n n e r ? at t i ? MANCHESTER, OK! D IC K IE S OEUN* OELETET5 EXILE A A ARC,H STRAITS AcC H ITS BOU 8 L E F iq o R E S ------ THE M O A /t-V Q / V £ S o t o r s .... W I T H ... ..... d v l a m S L A D E ...~ z . o ..... SOC... /< /& s ___ Q u ic k S P U /i~rS...SC H O O L < i/#L B I T C H P E -T E R H 4 M M IL L ... S T R A IT S .... R O T L E S ...S T lV \M C l t - £ # S .. . . O K ? ingdom N0.14 K g**® OME 20| JAN 79 K i n g d o m C o m e (1977-c. 1979) w a s b y J o h n n y W a l l e r f r o m Fife, Sc o t l a n d , a n o t h e r z i n e s t e r who bec a m e a professional journalist. Despite r e c e i v i n g c r i t i c i s m f r o m o t h e r z i n e s for having ‘ no v i s u a l a p p e a l ’ , it w a s n o t w i t h o u t d e s i g n in t e r e s t . For e x a m p l e , t h e f r o n t c o v e r is i n p o r t r a i t f o r m a t b u t t h e i n t e r i o r p a g e s are l a n d s c a p e . T h e S c o t t i s h s c e n e is w e l l r e p r e s e n t e d (with l a r g e r b a n d s l i k e t h e S k i d s a n d u n k n o w n s l i k e t h e B e l s e n Horrors) b u t t h e r e is a l s o r o o m for r e g u l a r p u n k fare. I s s u e 12 w a s n o t a b l e for l e t t e r s f r o m C h a r l i e C h a i n s a w (C h a i n s a w ) a n d M i c k M e r c e r (P a n a c h e ) e x t o l l i n g t h e v i r t u e s of z i n e s as sites for experimentation. C h a p t e r 2 | 'It's as E a s y as 1 -2-3': T h e G r a p h i c L a n g u a g e of P u n k 1 9 7 5 - 1 9 8 3 KING D O U T C O M E A R C H ’ 70 « e S y O ' \°^S\ % v A ^ . w ^ * °« * : °>, NT ^ Oa V f V\V o J V A> * «o <5 ^ % , <'*■ 70 / 71 i cry in the wilderness ' tfw k "a St e p in ^ R i& h T ^ 'iP* | 1 (9 I& L 2 L 3 & P i R f C rto rv 'VAUJTA&LE* J k - ___ - , \l I - w . if lK f r lf e xo 5 H r/ r 7 T \ --------V S >i0 attaCk th* in s titu t i o n s ^ P * | r A ) p j ^ f >S H G- " x H _ am VK X p 'lC T v p tS 'i r x j o f 0Ur so ciety • 5 x ___ I £ L J * 2 2 D I p cxT C E ..“1 oppess^'- ^ £r?f«g<wW«£- ! I C h a p t e r 2 | 'It's as E a s y as 1-2-3': T h e G r a p h i c L a n g u a g e of P u n k 197 5 - 1 9 8 3 am i bia'Tu i blam nq.| ife ir hiam>blagB biam. ffaaxxx \ MUCILAGE N o .2 ■•••..i* - ' 1 jr inside this issue * CRASS blam s *w... U THE CULT NEW MODEL ARMY j % l r » » n f?v. 1 REDSKINS apni'f5 By the 1980s a n t i - T h a t c h e r p o l i t i c s w e r e c omi n g to t h e for e in t h e U n i t e d K i n g d o m , often in t h e f o r m of c o v e r a g e of t h e a n a r c h o p u n k scene. C o b a l t H a t e (1984) is a n e x a m p l e : a chaotically laid-out a n a r c h o - p u n k fanzine made up of collage, n e w s p a p e r h e a d l i n e s , slogans a n d h a n d w r i t t e n a n d s t e n c i l l e d type. Its m e s s a g e b e y o n d t h e m u s i c w a s ‘ destroy power, n o t people'. M u c i l a g e (c. 1984, f r o n t and b a c k covers) w a s p r o d u c e d on t h e z i n e ’ s o wn M u c i l a g e Press, w h e r e o t h e r f a n z i n e s w e r e also p r i n t e d cheaply. Its i n t e r v i e w w i t h C r a s s b e c a m e a c l a s s i c of its k i n d (and w a s l a t e r r eproduc e d on t h e b a n d ’ s o w n website). B lam! (1981) u s e d t y p o g r a p h y i n a n u n u s u a l l y u p - f r o n t way on its covers: b a n d s f e a t u r e d i n i s s u e 1 include Y o u n g M a r b l e G i a n t s a n d Wah! Heat. 4th Wall T he a t r e o f H a t e (1981) c a m e i n t o b e i n g to p romote a n d e n c o u r a g e a n t i - n u c l e a r a c t i v i t y t h r o u g h music, l i n k i n g m u s i c i a n s , a n t i - n u c l e a r activist s a n d a u d i e n c e . T h e f i r s t n a t i o n a l event w a s w i t h t h e T h o m p s o n T w i n s , a n d t h e r e w ere a ls o t o u r s o r g a n i z e d to c o i n c i d e w i t h C N D d e m o n s t r a t i o n s i n Lond o n . DR.WHO new KICK 400 ,Sl o w s BEAUTY WITHOUT CRUELTY QQ Z J s L c lk « ■ *** oV <? 72 / 73 9«ye*: ■" " W iP * srsctAL Underground tourism "A school dinner of just soup and bread should be sufficient." he said “When I was in the Ar my I got by on bully beef and biscuits." 5 €■ & m Lets restore the A n a r c h i s m i n f o r m e d t h e d e v e l o p m e n t of a g r a p h i c l a n g u a g e of ‘ s h o c k ’t h a t w a s b o t h p r o v o c a t i v e and politi c a l . I n x Blotc h (c. 1981, f r o n t a n d b a c k cover) r e p o r t e d on s k i r m i s h e s b e t w e e n s k i n h e a d s a n d A s i a n s i n S o u t h a l l , w e s t L ondon. T h e c a r t o o n - s t r i p c o v e r of T r a n s f o r m a t i o n (1980; f r o n t a n d b a c k c o v e r shown) f o c u s e d on t h e t r o u b l e s i n El Salvador. S t o d g e (n.d.) j u x t a p o s e d Hitler, t h e P o p e a n d n e w s i m a g e s w i t h p h o t o g r a p h s of p o l i c e bru t a l i t y . N N 4 9PZ (c. 1979-80) t o o k i n l o c a l r a d i c a l b a n d s b u t left its b a c k c o v e r for a c l a s s i c p i e c e of agit-prop. C o m m u n i q u e 2 (1980) promised ‘ l a r g e d o s e s of a n a r c h i s t p r o p a g a n d a ’ . ■w, * 0 > C o m m u n / c ju k 2 . '• : ■ . ' I - ** ■< > :.-* * • \ 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 AGO , E N D I N G I N A S U D D E N I N D E P T H C U L M M ' l i F E A T U R E T H A T G O E S T O T A L L Y O U T OF £tUjhl4 Tom V a g u e ’ s n a m e has become closely associated with London hi s t o r y and psychogeography. H is l o n g - r u n n i n g p u b l i c a t i o n Vague (1979 — ) is a f o r u m for d i s c u s s i o n s of S i t u a t i o n i s m , anarcho-punk and ‘ t h e d e c a y of t h e s p e c t a c l e ’ . D e s i g n h a s a l w a y s p l a y e d a k e y role i n t h i s f a n z i n e (for e x a m p l e , t h e ‘ B r a n s o n ’c y b e r p u n k c o ver b y J a m i e R e i d a n d Joe Ewart): e v e n in its e a r l i e s t d a y s t h e c h a o t i c l a y o u t s w e r e o v e r p r i n t e d w i t h f l u o r e s c e n t colours. In the 1980s t h i s w a s t h e f i r s t f a n z i n e of its k i n d to be p e r f e c t - b o u n d . 76 / 77 >Wf e TTTTTc i s s r s rn T T T T T rr o n F IR E W O R K E D IT IO N zcp MAY / 10 N K 1979 I979AU.I3BPR0PASAHMIS3-?a0NatAY/jmiEX379AIJJ^PKa0PA6AHDAIS3ga-0M 3tA lt/;W ai379A I.I.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 lower-c a s e l e t t e r f o r m s a n d t h e cover c l e a r l y t a k e s d e l i g h t in the d i f f e r e n t t y p e s t y l e s u s e d for v a r i o u s b a n d n a m e s . In a si m i l a r vein, S a f e t y in N u m b e r s (c. 1978-80s) r e n d e r s a s t y l i z e d title u s i n g a D I Y r a n s o m - n o t e approach. T h e c o v e r s h o w s a m o d h o l d i n g w h a t a p p e a r s to b e a C r a s s banner. M e n t a l C h i l d r e n (1980) m a k e s t h e c a s e t h a t w o m e n a r e no longer o r n a m e n t s a n d c o n t r i b u t e d actively to t h e p u n k m u s i c scene. This c o v e r i m a g e is a c o l o u r pho t o c o p y d e p i c t i n g t h r e e m e m b e r s of the Slits, h a l f - d r e s s e d , bathing in an idyllic forest clearing, f r o m t h e s l e e v e of their f i r s t albu m . M f N T A L f CHILDREN A tN C O A T sse H llf ii 78 / 79 PIL Damned Angelic ups Bette Bright Local m usic! IRA Teenaae -ttVJMtt'V W V surctde- CHEAP t SASTY P o s t - p u n k z i n e s s t a r t e d to e x p e r i m e n t w i t h s t y l e a n d c o n t e n t . G u t t e r s n i p e (c. 1978c. 1979, f r o n t a n d b a c k cover) w a s p r i n t e d at t h e P r i n t s h o p at T e l f o r d C o m m u n i t y A r t s (S h r o p s h i r e , UK), p r o v i d i n g a d i f f e r e n t k i n d of v i s u a l a e s t h e t i c f r o m its p h o t o c o p i e d c o u n t e r p a r t s . T h e u s e of r e d a n d b l a c k m a k e s for a n i n t e r e s t i n g v a r i a t i o n on t h e rans o m riote trope. R a p i d E y e M o v e m e n t (1979-c. 1990s, f r o n t a n d b a c k cover) w a s a n i n d u s t r i a l cu lture p o s t - p un k fanzine, w h i c h in later i n c a r n a t i o n s b e c a m e a s e r i e s of c o l l e c t e d vo l u m e s . T h e c o v e r is s t a r k a n d s e l f c o ns c iously a r t y (taken f ro m a screen-print image), t h o u g h t h e c o n t e n t s i n c l u d e s o m e s t a n d a r d m u s i c fare, i n c l u d i n g C h e l s e a a n d ‘ token m o d s ’ . C h a p t e r 2 | 'It's as E a s y as 1-2-3' : T h e G r a p h i c L a n g u a g e of P u n k 197 5 - 1 9 8 3 RAPID EYE MOVEMENT Wirxfer ‘7 ^* Issue 1 * 3 4 -pa^ts « Sc-r\tt'i MfSRK PfcWVY* PkTK\K FlTtCCKfttD * N ic x y * T he D o ts * T okjy Parsons+ T o u t T o K fe w m o d i & l o m >s n o K e i! P o m t 30 , 80 / 81 alerta punk punk alerta alerta punk punk alerta alerta punk punk alerta alerta punk alerta punk alerta punk alerta punk alerta punk punk al p ilFFia. punk alerta punk a l e ^ a punk alerta punk punk alerta punk alerta punk aleij rsetembrc ifca punk alerta p u n k alerti ^ L e r t a punk alerta punk >unk alerta pu nk alerta rta p u n k p u n k al er ta punk rta punk unk alerta alerta p u n k _____ alerta punk alerta a p u n k ^ T l e r t a punk alerta punk punk alefta punk alerta i;a punk alerta punk alerta punk alerta alerta punk ^ punk alerta l erta p u n k • n rr punk alert punk alerta punk ale alerta pu punk aler alerta punk ale punk alerta punk a o t I p n n y iV p1 o r> -f.n alerta ;ta p u n k alerta punk alerta p u n u n k alerta erta punk A A alerta p u n erta punk aler a p u n k alerta punk £rta pu nk alerta p u n k C h a p t e r 2 | 'It's as E a s y as 1 - 2 - 3 ’: T h e G r a p h i c L a n g u a g e of P u n k 1975-1983 T fanzinePUNKnn A s p r e a d of B r a z i l i a n p u n k z i n e s . U n d e r an o p p r e s s i v e r e g i m e t h e e m e r g e n c e of p u n k i n B r a z i l w a s sp oradic, f u e l l e d b y r eports f r o m t h e 1977 B r i t i s h p u n k s c e n e in Pop m a g a z i n e . T h i n g s t o o k off in t h e 1980s aft e r the festival ‘ 0 C o m e g o do F i m do M u n d o ’ ("The b e g i n n i n g of t h e e n d of t h e w o r l d ’ ) h e l d in Sao P a u l o i n 1982. T h i s w a s a t t e n d e d b y m ore t h a n 3,000 p u n k s a n d 20 b a n d s a n d s p a r k e d a p l e t h o r a of f a n z i n e s . H o m e - g r o w n b a n d s and t h e i r a f f i l i a t e d z i n e s i n c l u d e d Ale r t a P u n k (1983), w i t h a c o v e r b o r r o w e d f r o m a G a r y Panter i l l u s t r a t i o n , E s p e c t r o do C aos (1980s), SP P u n k (1982) a n d A t e n t a d o (1983). C h a p t e r 2 | 'It's as E a s y as 1-2-3': T h e G r a p h i c L a n g u a g e of P u n k 1 9 7 5 - 1 9 8 3 TODAY'S The a f t e r m a t h of p u n k g a v e r i s e to a les s angryaesthetic, b u t a s i m i l a r g r a p h i c l a n g u a g e w a s often r e t a i n e d . A d v e n t u r e s in R e a l i t y (1980c. 1981) r a n for t e n i s s u e s a n d w a s p r o d u c e d by A l a n Rider. T h i s i s s u e i n c l u d e d a f l e x i - d i s c by the b a n d A t t r i t i o n . It T i c k e d a n d E x p l o d e d (1979-c. 1980) c a m e out of Paisley, S c o t l a n d , and h i g h l i g h t e d l o c a l b a n d s , s u c h as t h e Zips. This i s s u e i n c l u d e s l e t t e r s b y T o n y D r a y t o n (Ripped & Torn) a n d J o h n n y W a l l e r (K i n g d o m Come). B l a c k & White (1979-80), p r o d u c e d in Dublin, w a s u n u s u a l for l e t t i n g t h e b a n d s write t h e c o p y w h i l e t h e e d i t o r s d e s i g n e d the layout. The P o s e r (c. 1980s) w a s a p o s t p u n k ph o t o z i n e , w i t h t h i s i s s u e f e a t u r i n g t h e Mo-Dettes, t h e R u t s a n d I g g y Pop. U n u s u a l l y , it offered p h o t o s for sale, p r i n t i n g t h u m b n a i l s to cho o s e from, p l u s a d v i c e for a s p i r i n g gig photogr a p h e r s . Ou t o f P r i n t (1979) f r o m E a s t Sussex, E n g l a n d , f e a t u r e s t h e S w e l l M a p s and S i o u x s i e a n d t h e B a n s h e e s . T h e e d i t o r i a l draws a t t e n t i o n to t h e d i f f e r e n t p h o t o c o p y paper t h a t is u s e d t h r o u g h o u t , a n d m a k e s succinct c o m m e n t on t h e c o m p e t i t i o n : ‘ I hate Sounds: N M E is shit: M e l o d y M a k e r ? A a a r g h ! Wipe y o u r b o t t o m . ’L e a m i n g t o n ’ s Love Letter (1981) c o n t a i n e d p o e t r y a n d c a r t o o n s w i t h a polit i c a l b e n t as w e l l as a r t i c l e s on t h e local a n t i - n u c l e a r m o v e m e n t . T h i s i s s u e promise s ‘ a n i n t e r v i e w w i t h R o n a l d R e g a n [sic]’ and ‘ more l i e s ’ . N o M o r e M a s t e r p i e c e s (1979) from L i v e r p o o l w a s p r o d u c e d b y f u t u r e r o c k j o u r n a l i s t P a u l M a t h u r (who w o u l d d i s c o v e r Oasis) a n d f e a t u r e d a v a r i e t y of p u n k a n d post-pu n k a r t i s t s . T h i s i s s u e c a l l s for t h e f or m a t i o n of a f a n z i n e co-op. T o d a y ’ s Length (c. 1980s) w a s a z i n e of a d i f f e r e n t kind, w i t h visual e s s a y s p r e s e n t e d i n l o o s e - l e a f form, punctuated by ironic takes on cosmetic and tobacco a d v e r t i s i n g . Its p r o d u c e r s i n c l u d e d Malcolm Ga rrett and Joe Ewart, wh o w o u l d later become l u m i n a r i e s of t h e g r a p h i c - d e s i g n world. 1 84 / 85 \ -/ \ ) ( r ^ rR T r c fffr ITrrRTTRTF Th e line b e t w e e n DIY zines a nd p r o fe s s io n a l p u b l i c a t i o n s w a s o f t e n slim. S o m e z i n e s b e c a m e m a i n s t r e a m o v e r time, s u c h as J a m m i n g ! (1979-86). F l i p s i d e (1977-2000) f r o m L o s A n g e l e s s h i f t e d f r o m a fafizine a p p r o a c h to m o r e g l o s s y c o v e r s t o w a r d s t h e e n d of p u b l i c a t i o n . 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 ! (197079), 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 Cl«S \ s \ TE ' KQ, \\ \ H IN T * ^>11 ■ es On !n \ N r np es Pi \ 'l| \ V 2 h “ 'I '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 1 9 7 5 - 1 9 8 3 w E N G L A N D 'S ML A S C R E A M IN G A Special Close-Up on the BSITISH PUNK EXPLOSION!! Going all the way with BLONDIE S BAND ns, Charts is Galore s m s W i l l i 1' a :.:.-:--: ;■ '':; ■ * .J’,,;.:-. -v'.H::. .■i..^-:-/ - ^ - ’•i tfV '- ,• I S M B i M B W r o l i i i l l l s l i i : ^ 5 lillS I* ® M § j$ * 1 ■■-ll.-jKfes-J>vi,-,>.'-v*. * n ^ -'V--r--f ■■V -tV -' a ® :X - « { V v , ... ' iis .! m W $m 0$ S V»»i->',V'^«"';-W-‘T'T: •■ ■■' J-' | I S W ;: . k 1 V r*- * ‘ . ■• • v. . .-. ;••••••■. ■ \>*kv •:■a ' ;« • < » .;, ■ r ,’ ", •■■; • - • ,; ■■■ C h a p t e r 3 | L i b e r a t e d S paces: S u b c u l t u r e s . P r o t e s t 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 Melbourne, whose producer remarks that ‘ my spleen h a s n e v e r b e e n e x p o s e d so thoroughly’ . B e n Is D e a d (1988-99) w a s a L o s A n g e l e s based zine by Deborah ‘ Darby’ Romeo, w h o s e c o n f e s s i o n a l t o n e of w r i t i n g a n d pop culture commentary made it one of t h e n o t a b l e p u b l i c a t i o n s of t h e 1990s. B u n n y h o p (1995-c. 2000s) is p e r h a p s b e s t k n o w n for receiving a ‘ cease and d e s i s t ’ notice from Matt Groening for c o p y r i g h t i n f r i n g e m e n t of h i s c h a r a c t e r Binky. Born To Be Wild With the rise to power of Margaret Thatcher and Ronald Reagan in Consuming Dance Culture the late 1970s and 1980s, a new era of ‘free market’ economics was The rave scene gave rise to newly valorized occupations such as born. On one hand, this encouraged small businesses to develop, ‘DJs, club organizers, clothes designers, music and style journalists’, which some saw as a co-opting of the individualistic DIY urge that had according to sociologist Sarah Thornton.4 These positions carried occurred during punk. On the other hand, the ‘greed is good’ culture with them ‘subcultural capital’, which, according to Thornton, ‘can be that took over the financial districts in both the United Kingdom and objectified or embodied’ within the objects that surround the scene but the United States provided the zine producers with a target. also took the form of ‘being “ in the. know’” .5 Fanzines played a role in The rhetoric of the marketplace was one that ‘equated the the circulation of that knowledge: as carriers of current slang and the freedom to spend money with broader political and cultural freedoms’, latest fashion trends, and critiques of club and dance music. Take for in the words of cultural historian Frank M ort.1 Along with this new example, Gear (c. 1991), produced by Camilla Deakin (later a journalist financial liberation came the concept of selling a lifestyle. As the for The Face), which provided insightful commentary on London’s club journalist Andrew Marr reflects, the 1980s resulted in the thinking culture scene, highlighting bands’ intentional and media-conscious that ‘we are what we buy'2 - in other words it was a time when use of ‘high profile, coke snorting’ bribery campaigns involving clubs people consumed not only products but also the aspirations that the and PR companies, and health warnings against ‘the chosen drug of advertising campaigns sought to convey. It was all about ‘conspicuous our culture’, Ecstasy. Gear often took advantage of its position ‘below consumption’, taste and fashion, ‘the cultivation of the self’.3 critical radar’ to flout libel and copyright laws. At the same time, the Consumption became cultural practice, and fanzine producers ‘epitome of cool’ was represented in articles on, for example, the duo both capitalized on this and critiqued it mercilessly. Diana Brown and Barry K. Sharpe, who was also founder of Duffer of Meanwhile, co-option by the mainstream was continuing. In the St George, the clothing label that informed ‘the look for the 90s soul- United Kingdom, lifestyle magazines emerged, providing a different boy’.5 The distinctiveness of Gear's graphics, created by Fred Deakin, take on youth culture, including The Face (1 9 8 0 -2 0 0 4 ), the ‘80s also captured a particular club-culture visual style now affiliated with fashion bible’ founded by Nick Logan; and the one-time zine and self club flyers and music festival posters; a desktop-publishing version consciously titled ‘style bible’, i-D magazine (1 9 8 0 -), founded by Terry of 1960s retro, hippie, counter-cultural and psychedelic typography Jones. These publications bridged the gap between post-punk and using in its layout overprinted block areas of acid colours. a new kind of youth subculture - rave. Their graphic form reflected Another example was Boy’s Own (1 9 8 7 -9 2 ), the first acid house the fanzine aesthetic - the streetwise attitude of DIY photography, fanzine, which covered also ‘football, funk and left-wing politics’. illustration, typewritten texts and so on. Just as the music press in The zine’s producers, Terry Farley, Andy Weatherall, Cymon Eccles the 1970s had co-opted a S niffin’ Glue-style aesthetic, so now these and Steve Maize, emerged out of the decade’s DJing and house music new style magazines tapped into the more sophisticated look of the scene. Farley also had an interest in the Liverpool-based football consumer-era zines. Similarly in the United States, Details (1 9 8 2 -) fanzine The End edited by Peter Hooton (band member of The Farm), founded by Annie Flanders (and later sold to Conde Nast), was which ‘blurred the lines between football, pop, booze, drugs, ostensibly a New York fashion and club magazine, but also riffed left-wing politics and fashion’.7 Hooton’s approach influenced Boy’s on themes and aesthetics borrowed from the zine scene. Own’s editorial direction, while at the same time, designer Dave T h e r i s e of t h e n o r t h e r n England indie/dance music scene initiated a plethora of r e l a t e d zines. H a l c y o n D a z e (1989) w a s a z i n e for H a p p y M o n d a y s f a n s ‘ g u a r a n t e e d to t hrill, titillate and bu r n rather w e l l w h e n w i n t e r arrives'. T he F a r m (1990s) p r o m o t e d a more professional magazine a p p r oach; c o n t r i b u t o r s inc l u d e d , i n t h i s f i r s t issue, m e m b e r s of t h e band. D e b r i s (1983-89) w a s p r o d u c e d b y H a c i e n d a n i g h t c l u b DJ and j ournalist Dave Haslam, who captured the emerging M a n c h e s t e r m u s i c scene. The FARM Fac O ff Little’s distinctive logo and series of covers quickly established a would eventually contribute to the introduction of the United Kingdom brand identity. Criminal Justice and Public Order Act in 1994. Meanwhile, outside the capital, The Herb Garden (1990s, Leeds) Spiral Tribe was a collective responsible for hosting free parties Ace of Clubs (1 9 9 0 -n .d ., Manchester) and Ribena (1990s, Essex) and outdoor festivals, known as raves. These dance and acid house covered rave and dance culture. Ace of Clubs producer Gareth Jones, events (an extension of the Ibiza club scene of the m id-1980s) took over who used club nights to promote the fanzine, reflects that his zine disused warehouse spaces or farm er’s fields for impromptu gigs - the ‘was a northern version of London’s Boy's Own mag’.8 Eventually the details of which were often released just before the event to avoid police popularity of the club nights meant that Jones had to discontinue detection. As one DJ wrote: ‘Instead of money and power, rave called the fanzine and focus on his business. In Leeds, The Herb Garden for empathy, intimacy, spirituality and the joy of losing yourself in the editor, David Gill, remarked, ‘... if you bother to look hard enough, crowd.’11 Just about every zine of the period references Spiral Tribe’s you will find some roots of popular culture [here]... the north is no work, and the collective itself gave rise to several publications that different to anywhere else.’ Essentially a ‘satirical tipsheet’, The Herb were zine-like. Garden mirrored the lifestyle of its readership, ‘with tasteless send- It is true that in general zines specific to rave culture were less ups of overpaid DJs, overpriced clubs, overrated artists and the kind prevalent than during punk/post-punk. The music critic Simon of PR-based dross found in most style magazines'. Its first issue was Reynolds observed: ‘Apart from Boy’s Own, there was next to no fanzine a parody of a special-issue format of /-D.9 By the m id-1990s, The documentation of the scene as it happened. People were too busy Herb Garden, was printing in excess of 2 ,0 0 0 copies and transformed having fun. But it was a creative period for short-term artefacts like itself into a monthly magazine while maintaining its acerbic editorial T-shirts, flyers, and club design.’12 There were other exceptions, position. In a 1995 interview, Gill assured his readership that moving as we have seen, but this remains one of the sparser periods in into the mainstream would not deter his original editorial approach, zine history. commenting, ‘We have this Apple Mac program called "Fanzine Check”. When you finish an article you put it through and it adds 3 0 spelling Am erica and Anti-C apitalism mistakes and 20 swear words.’10 The 1980s and 1990s witnessed a boom in DIY fanzine production The north of England was also notable for zines picking up on the centring on critiques of capitalism, and although there were British way in which rave/acid house was merging with indie rock. Many were examples, this phenomenon was primarily the product of the ‘home of affiliated with the Manchester’s Hacienda Club, including the Happy consumerism’, the United States. As zinesters positioned themselves on Mondays zine Halcyon Daze (1989), which became a focus for the the margins of the dominant culture they were able to freely editorialize ‘Madchester’ scene. against what they saw as its vices. Thus the critiques of capitalism Another regional publication was The Faced (1990s), which tended to take on a very personal aspect, mixing the tradition of came out of Exeter and documented the thriving rave scene as it was autobiographical perzines with something more political. As Stephen taking place. Its newsletter-like approach took special interest in the Duncombe remarks, ‘the personalization of politics is one way in which moral panic around the emerging scene, and the way in which ravers zinesters confront the distance between themselves and a mainstream were increasingly depicted in the media as ‘folk devils’. This backlash political world in which they effectively have no say.’13 C h a p t e r 3 | L i b e r a t e d S p aces: S u b c u l t u r e s , P r o t e s t and C o n s u m e r C u l t u r e 1 9 8 0 s - 1 9 9 0 s F A C E D T H E FREE ISSUE 4 JULY <?2 The free party scene this year has bccomc rcm inisccnt of those fine old days o f the mad, mental pay parties of the late eighties. An indication of the way things were going cmae with one of last years final summer parties in September at an old B&Q superstore on the outskirts of Stroud. Around 8.000 people congregated for that one. Blocking off much of the centre of Stroud itself with car stereos pounding, and bobble hats hobbling. This year started earlier than ever, with a number of small parties kicking o ff in late February, and early March. But the real beginning and portent of the future came at Lechlade where a crowd of between 10.000 and 15,000 took over the common for the weekend, and three or four different soundsytcms supplied the entertainment. Just a couple of weeks later rumours of a big party began circulating, as the media geared up for its presolstice hippie watch. The anniversary o f last years legendary Chipping Sodbury party was due on the lateMay Bank Holiday. However the land on which that had taken place was injuncted, and things took on a rather farcical look as the police in several counties desperately tried to move travellers out o f their jurisdiction and into their neighbouring forces. When Castlcmorton became a potential venue, the fate of the Common was sealed by a well timed news report which pinpointed its exact location for party people nationwide. The initial small group of travellers who had taken the land, was joined by other small groups, then by the soundsystems, and inevitably by the 'ravers'. The police tried to portray the way the party evolved as a carefully orchcstartcd plan laid out by some massive drug dealing organisation, falling prey to the kind of cospiracy theory that is normally developed by our side. In fact it was purely coincidental that just about every free party soundsystcm in the country chose to put in an appcarancc at Castlcmorton. But what a coincidence!! The names am send a thrill down the spine of any selfrespecting free party person. CIRCUS WARE D.I.Y, SPIRAL TRIBE, BEDLAM, CIRCUS IRRITANT, CIRCUS NORMAL, TECHNO TRAVELLERS. RUFF KREW. Its enough to reduce even the most hardened 'rave cabbage' wearer to tears of joy. Over that weekend upwards of 20,000 to 25,000 people experienced the delights of what has to be the biggest and best free party so far. Strangely, it was not the shear size of the event which sparked the massive media coverage, but rather the proximity o f the local residents to the site. It was not the best place to hold such a gathering, however arguably more suitable sites had had to be abandoned in the run up to the festival as the police passed the buck. As a result o f the locals being so close to the site, and because they had been bombarded by media stereotypes and police lies, a massive level of paranoia developed amongst them, until they seemed to picture themselves as the white suited , petrol hoarding good guys in Mad Max 2, and the partygoers became the m asses o f leather-clad barbarians hungry for their blood, children, livestock and toilets, not necessarily in that order, furthermore the availabilty o f drugs which the police usually tend to ignore or cover up, perhaps in fear o f revealing how they have failed to inflict the 'rule o f law’upon us, was on show for all to see. In the end however it was not the drugs or the noise that became the central issue. It was literally the shit that hit the fan. The product of some 20,000 bowels. Indeed this was a complaint that had some N e x t Issue: Roger C o o k , Peoples H e r o .a r J a t bag o f pus? A c e o f Clubs (1990-n.d.) w a s a ‘ c l u b m a g ’t h a t f e a t u r e d e m e r g i n g D J s t a r s s u c h as P ete T o n g and also a ‘ s w a p s h o p ’for t h e c o l l e c t o r s of clu b flyers. The F a c e d (1990s) w a s a ‘ f r e e ’acid h o u s e n e w s l e t t e r out of Exeter, E n g l a n d w h i c h r e p o r t e d on t h e thr i v i n g rave scene and the ‘ free p a r t y s o u n d s y s t e m ’c o l l e c t i v e S p i r a l Tribe. G e a r (c. 1991) w a s an early clubzine that combined popular culture journalism with b o l d p s y c h e d e l i c graphics. 90 / 91 Giiwa fig I m A JOURNAL FOR H U M A N RESEARCH SUBJECTS #6 $3 G u i n e a Pig Z e r o (1996-2001), p r o d u c e d b y R o b e r t P. Helms, was ‘ a n o c c u p a t i o n a l j o b z i n e for p e o p l e w h o a r e u s e d as m e d i c a l or p h a r m a c e u t i c a l r e s e a r c h subjects' Contributors included Dishwasher P ete (of D i s h w a s h e r fame) a n d o t h e r s w h o h a d v o l u n t e e r e d for drug experiments, and debates f o c u s e d on t h e e t h i c a l q u e s t i o n s r e l a t e d to r e s e a r c h u s i n g h u m a n subjects. Close to You (1990s) was an ‘ u n o f f i c i a l ’m o u t h p i e c e for t h e B r i t i s h s o a p B r o o k s i d e . S c r e a m i n g to B e H e a r d (1988-n.d.) was a comedy zine featuring i n t e r v i e w s w i t h t h e l i k e s of J u l i a n C l a r y a n d Q u e n t i n Crisp. SCREAMING F0 BC JULliK RQV QJJENTIr, CL&RE CWSP m ^oR T irresistible LEGENDARY DOLPHINS . . . . The totally unofficial fanzine of The Disciples of Shad Issue Eleven Julv 1999 ■rookie humour (whaa»t777?)...* reader defends Llndsey...Anna Wolska In the tub...the nightmare corporate body... *l h ive 147 Tookslde videos* scandal revealed...and all for less than the price of a beer In The Swan______ To you pal, £1.50 (Inc P & P) SCAREHUNTERS . . . TEENAGE TRAUMAS . . . GRAEME PARK C h a p t e r 3 | L i b e r a t e d Spa c e s : S u b c u l t u r e s , P r o t e s t and C o n s u m e r C u l t u r e 1 9 8 0 s - 1 9 9 0 s TEMPSLAS/El for S im p l ic it y , M e r it a n d D i s h w a s h e r (1992-98, 2007) d o c u m e n t e d t h e m u s i n g s of D i s h w a s h e r P ete (aka Pete Jordan) on ‘ one m a n ’ s quest to w a s h d i s h e s i n all f i f t y states’ . In t h i s i s s u e he ‘ w a s h e d d i s h e s at s e a ’w h i l e on a n oil rig off L o u i s i a n a . Temp Slave (1993- 2000s), b y J e f f Kelly, w a s a z i n e a b o u t w o r k i n g as a t e m p o r a r y e m p l o y e e . A n s w e r Me! (1991-94) b y J i m G o a d t o o k a ‘ m i s a n t h r o p i c ’l o o k at the d a r k e r s ide of fandom, w i t h r a t i n g s of s e r i a l killers. E f f ic ie n c y . Two examples provided a new look at consumerism. Beer research subject) questioned bio-ethics, investigated medical and Frame: The Journal o f Inconspicuous Consumption (1 9 9 3 -) by Paul scientific research facilities, and wrote about the experiences of the Lukas, critiqued the absurdity of everyday commodities, including guinea pig ‘field reporters’. The fanzine’s impact was summed up by such products as toothpick dispensers and EZ Squirt Blastin’ Green Carl Elliott, a philosopher and bio-ethicist, as: ‘In its small way, Guinea Ketchup. Lukas asks: ‘W hat is inconspicuous consumption? It’s about Pig Zero was revolutionary. Before Guinea Pig Zero, nobody had really deconstructing the details of consumer culture - details that are either even thought about research subjects as a kind of com munity.’20 so weird or obscure that we’d never see them, or so ubiquitous that Fanzines, as informative and thought-provoking publications, also we’ve essentially stopped seeing them .’14 Al Hoff’s Thrift Score (19 94— served to shape the values of the groups out of which the zines emerged. c. 2000) was about thrift shopping and finding ways of saving money. With tips on bargain-hunting, Hoff emphasizes that thrift shopping is M ainstream ing DIY about ‘you’ and what you want to buy.15 Any critique of consumerism, The 1980s and 1990s was an exciting period for zines, and it is Duncombe reminds us, must also include a critique of 'how culture im portant to note that alongside these newer varients (rave zines, and products will be produced and consumed’.16 consumer zines) older genres continued to thrive. For example, it is Anti-capitalism also incorporated critiques of work culture. Jeff probably true that there were more indie rock zines being produced Kelly’s Temp Slave (1 9 9 3 -2 0 0 0 s ) provided ‘a voice for disgruntled in this period than ever before or since. The same holds true for the temporary workers’. Kelly’s first issue was prompted by his experience football and sports zines. as a temporary worker for an insurance company that reneged on a But it was the newer genres that piqued the interest of the promise for full-tim e employment in its mailroom. With access to a mainstream, and as we have seen, co-option by the mainstream photocopier and paper, Kelly printed off 25 copies with his editorial rant culture industry was commonplace. Sometimes this was greeted with - ‘temp work is a losing proposition’ - and distributed it to colleagues horror, though on other occasions it was embraced as part of a natural during his mail round. He explains, T h e first issue is very rough...I was evolution. As fanzines and their producers became absorbed into just mad, so making the zine was a blast.’17 Dishwasher (1 9 9 2 -9 8 , consumer culture and the mainstream - whether through book deals, 2007), produced by Dishwasher Pete (aka Pete Jordan), was a or by appearing on television and radio - questions around ‘selling document of ‘one man’s quest to wash dishes in all fifty states’. Yet, o ut’ were debated. For example, Floliday in the Sun (1 9 9 8 -9 9 ) was a more than a perzine or travel zine, Dishwasher also commented on the Canadian metazine that included interviews with the star zinesters of life of an itinerant worker ‘accepting lower pay for less responsibility and the day. Its ironic tag line stated: ‘ INSIDE: a zinester who writes ads for more anonymity’.18 His travels took him across thirty-three states over cigarettes, another who is a demographic informer, another who writes a ten-year period, during which he had eighty-eight different dish jobs for Fortune and another who writes novels for Rupert Murdoch.’21 and in the end produced fifteen zines. And finally, Guinea Pig Zero (1 9 9 6 -2 0 0 1 ) was defined by its This comment on zinesters in the mainstream was undoubtedly a sign of the times. However, the fanzine world is infinitely malleable, producer, Robert P. Helms, as ‘an occupational jobzine for people and even as the perception of zines becoming anaesthetized by the who are used as medical or pharmaceutical research subjects’.19 mainstream was taking shape, so a DIY reaction was also happening - The commentary provided by its producer (also involved as a human the subject of our next chapter. 92 / 93 BEEMRAME T H E J O U R N A L OF IN C O N S P IC U O U S C O N S U M P T IO N No. 8 S o M a D U P LEX P LA N ET C G B C (1990s) d e f i e d c a t e g o r i z a t i o n , a r g u i n g for a p u b l i c a t i o n of ‘ h i g h q u a l i t y ’w i t h o u t b e i n g 'stuck w i t h a f a n - z i n e c l a s s i f i c a t i o n ’ . C o m e t b u s (1983-) b y A a r o n C o m e t b u s is a p e r z i n e a b o u t t h e au t h o r ' s t r a v e l s a n d p u n k locale, a n d is m a d e m o r e d i s t i n c t i v e t h r o u g h t h e o b s e s s i v e h a n d w r i t t e n text. B e e r F r a m e (1993-) is b y P a u l L u k a s a n d l o o k s at t h e w o r l d of c o n s u m e r p r o d u c t s . D a v i d G r e e n b e r g e r ' s D u p l e x P l a n e t (1979 — ) t a k e s a h u m o r o u s l o o k at p e o p l e i n n u r s i n g homes. r ? C h a p t e r 3 | L i b e r a t e d S paces: S u b c u l t u r e s , P r o t e s t and C o n s u m e r C u l t u r e 1 9 8 0 s - 1 9 9 0 s n e w s B o i n g B o i n g (1988-) b y M a r k F r a u e n f e l d e r and Ca r l a S i n c l a i r is a q u a r t e r l y 'neurozine' t h a t l o o k s at g a d g e t s a n d p o p u l a r culture. Plotz N o t e s (1995-2002) w a s a n E a s t V i l l a g e J e w i s h p op c u l t u r e z i n e l o o k i n g at t h e h u m o r o u s side of d a i l y life. Crap H o u n d (1994-) is a s e m i n a l clip a r t z i n e w i t h t h e m e d i s s u e s (e.g. Death, T e l e p h o n e s , Scissors) b y S e a n Tejara t c h i . Tiki N e w s (1995-) b y O t t o v o n S t r o h e i m is d e v o t e d to t h e w o r l d of P o l y n e s i a n - t h e m e d ‘ T i k i ’culture. 94 / 95 Murder*Fun No. 7 7 * Murders Fun No. II Be Fun Murder Can No. 14 $ — $ i- Please Mr. Postman I % HATE SPORTS The Great Boston •Special Issue Murder^Fun Molasses Flood Don't Shoot! MurderFun The $3.00 Murder Can Be Fun9 " Murder1-Fun11 #20- $2“ M urder- Fun No. 13 $1^ DEATH “ MurdersFun ” &\ 1 to ft L i 1 > 1988 Datebook 1988 1989 ' Murder-Fun “ ' Murdertfun " & ^11 1 t 1*91 DATEBOOK I DATEBOOK 1 9 8 9 Datebook A t '1 1992 DATEBOOK *’ Murder-Fun'" A 1 A ACID \ TR 1993 DATEBOOK Murder-Fun NAUGHTY CHILDREN M : Z i n e s t e r s ’g r e a t e s t s o u r c e of i n f o r m a t i o n a nd v i s u a l s wa s used and out-of-print books a n d m a g a z i n e s . M u r d e r C a n B e F u n (1986-2007) w as irr e g u la r l y p r oduced b y J o h n M a r r in San F r a n c i s c o as a ‘ death-and-disaster journal’ , with each t h emed issue covering subjects from post office shoot i n g s and ‘ t h e a r t of m u r d e r ’ to z o o d e a t h s a n d ‘ naughty children’ . The f i r s t i s s u e w a s 16 u n b o u n d p h o t o c o p i e d pages; b y i s s u e 17 it h a d g o n e to 48 p a g e s of 600dpi l a s e r p r i n t i n g . M y s t e r y D a t e (1994-98) b y L y n n P er i l d r e w i n s p i r a t i o n f r o m t h e 1965 e d i t i o n of t h e M y s t e r y D a t e b o a r d g a m e a n d f r o m 1950s economics textbooks and etiquette and dating a & m m X Wanna play, Buster? iS & m 1994 DATEBOOK E ♦ S m0 o £ □ 6 1WS DATEBOOK 1096 OATEBOOK a& m A t Disneyland WAITING IN LINE TO DIE: 2007 1997 DATEBOOK Plus: A Murder Can Be Fun Miscellany Special 10th Anniversary Edition manuals. Source mat e r i a l also came from B u nny Yeager’ s M o d e l D iet book, g i v i n g e a c h i s s u e a c l a s s i c 1950s r e t r o feel. Teen F a g M a g a z i n e (1993-n.d.) w a s a s p o r a d i c a l l y p u b l i s h e d q u e e r z i n e t h a t l o o k e d at gay r i g h t s a n d issues, including here ‘ b a t h h o u s e s for m e ’ , ‘ pro-life q u e e r s ’a n d a n e s s a y on ‘ b a d b a d h o m o s ’s u c h as s e r i a l k i l l e r J e f f r e y Dah m e r . T e e n a g e G a n g D e b s (1988-c. 1993) w a s b y b r o t h e r a n d s i s t e r z i n e s t e r s D o n a n d E r i n S m i t h a n d t o o k as its s t a r t i n g p o i n t a n o s t a l g i c v i e w of 1970s a n d e a r l y 1980s A m e r i c a n T V p o p u l a r c u l ture, w i t h The B r a d y B u n c h a m o n g o t h e r ob s e s s i o n s . 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 . \ v T E E N d a t e v F A G A .? MAGAZINE one gal's gu id e to good sfuff $3.00 Issue #4 damage co n tr o l s p e c ia l n a m b la PROLIFE Q ueers bad bad HOMOS ^ ' / T c E N A g E \ ' —f \ I / \' m I / ' gang d eb s n f a q 'l \ h* ! ' I ^ : L ABOUT VTH- . «OuS£S! h zv i w ith XA" if V ''NO i koke! 96 / 97 S p rin g 1994 $ © Thrift SCORE © T h r ift SCORE t h e z in e a b o u t t h r i f t i n ’ I n n e Th ree * Fall 199-1 a 'z/ne about thrift!n' It's a PURSE! It's a PHONE! Big DENIM Close-Up Learn How Ordinary Useful Denim Jeans Became This Social Statement! ALSO - It’s a PU RSE that IS a PHONE! Thrift SCORE Your thrift dollars can save Jim Bakker! Bold Plan Insidel O W EIR D EST Things Ever Thrifted 3 Stuff You See in Every Thrift 3 70's Clothing - Can It Hurt You? Genuine Sw atch of Retro-Denim PLUS: Retro-Tennis Shoes (uh oh!), the Wide World of Thrifts, Useful Info, Useless Info, Cool Fix and More More More. Thrift S C O R E Thrift SCORE The zine about thriftin' -Issue Six T h e th e z in e a b o u t th riftin ' Is s u e Five S p rin g 19 95 ® Thrift SCORE t h e z i n e aatb o u t thriftin' Issue 7 S w im s u it Is s u e / D e s ig n e r J e a n s : HOW T O ... Get Banned from a Thrift! m Tell Alpaca from Acrylon! jpaggp-J l Buy Paint-By-Numbers! J I Make A TV Star Wear A Crocheted Beer Hat! find a Thrift in Finland! I V K-tel Records! Tiki Party Tonight! S ee Through a Plastic Eye! F R E E T eeny Tiny Tiki Drink B ook Inside! Thrift SCORE ® The Zine A b o u t Thrifting - Issue 8 >, ALSO: Sewing Patterns - Form or Function? More Behind-the-Scenes Thrift Tales! Thrift Books and MORE! Thrift SCORE ® Thrift SCORE ® The Zine A b o u t Thrifting - Issue 9 The Zine A b o u t Thrifting - Issue 12 y ] \ ie re s ** ^ e e /g p The Biggest Pile o f Thrift S tu ff Yet! J f P A R T Y L IK E IT'S 19 76 ! W Bicentennial 2 0 th A n n iv e rs a ry Special! □ □ □ The All-Metal Office John Marr Loves Manual Typewriters The Usual More More More! Fantasy Celebrity Thrift Partners Sleep in Style - Pajamas More More More Thrift Histories and Mysteries, Found Objects, Shiny Trees and More I C h a p t e r 3 | L i b e r a t e d Spaces: S u b c u l t u r e s , P r o t e s t and C o n s u m e r C u l t u r e 1 9 8 0 s - 1 9 9 0 s M a n y f a s h i o n a n d a n t i - f a s h i o n z i n e s of t h e 1980s-90s t h a t h a d b e g u n i n t h e u n d e r g r o u n d became key players w i t h i n the m a i n s t r e a m f a s h i o n i n d u s t r y . T h r i f t S c o r e (1994-c. 2000) was p r o d u c e d b y A 1 H o f f (aka ‘ girl r e p o r t e r ’ ) out of P i t t s b u r g h for t h o s e w h o k n e w ‘ why it’ s cool to t h r i f t ’ . The zine featured i n f o r m a t i o n on p l a c e s for t h r i f t s h o p p i n g , the ‘ weirdest things ever t h r i f t e d ’ , and a colu m n ‘ My most unforgettable thrift store’ . On the c o v e r of t h e zine. H o f f w o u l d o f t e n add s a m p l e f a b r i c s - i n t h e c a s e of i s s u e 3, a ‘ g e n u i n e s w a t c h of r e t r o - d e n i m ’ - to h e l p her r e a d e r s i d e n t i f y t h e i r t h r i f t p u r c h a s e s . D e tail s (1982 — ), f o u n d e d b y A n n i e F l a n d e r s and t h e n sold to C o n d e Nast, c h r o n i c l e d N e w York’ s d o w n t o w n scene. T h e e a r l y i s s u e s w e r e pro d u c e d w i t h a D I Y f a n z i n e a e s t h e t i c , b o r n out of f i n a n c i a l need. F l a n d e r s says, ‘ We really t h o u g h t w e w e r e d o i n g a m a g a z i n e for o u r sel v e s a n d 100 o t h e r p e o p l e . ’C h e a p D a t e (1997-) w a s a c h a r i t y - s h o p - i n s p i r e d f a n z i n e by K i r a J o lliffe, l a t e r w i t h B a y G a r n e t t (2002). Its s t r a p line, ‘ antidotal antifashion for t h i n k i n g t h r i f t e r s ’ , s u m m e d up t h e 1990s desire for e c o n o m i c a l f a s h i o n s o l u t i o n s combined wit h an i ncreasingly hip approach to f a s h i o n s t y l i n g a n d r e p o r t i n g (ce l e b r i t y journalists included Anita Pallenberg, Poppy de V i l l e n e u v e a n d S o p h i e Dahl). T e r r y Jones, f o u n d e r of i-D (1980-), r e v o l u t i o n i z e d t h e w a y in w h i c h s t r e e t f a s h i o n c o u l d b e a h i p a n d much sought-after commodity. The early issues (printed at B e t t e r B adges) c a p i t a l i z e d on t h e rapid a b s o r p t i o n of t h e 1970s p u n k a e s t h e t i c . ISSUE 4 £ 1.5 0 . .. .. thinking, thnifteha 98 / 99 1 .1 5 v--- -•> R | j M P P T -? . u . i v i l O C \ /C \ T c /i a >aU-- /» \ 01 ! B .M .X , F O R 1 A t ITT1 P 1. i—✓_!__> I J. o v LA../1 o^ r :>rx.-,-- fi ^ rri p i ^ e; v i! IX L O a . © .6 . ^ lo e is b a e &» S^ nIS / - V - '•'/ '•* ■- ; ( i:>i:'L\’(> f| GOjMPEXDil/.M Dr 01 TOOOR tfM ) LVI.XX)K. -*i>Il/5EjV\ iiN’ T.S A li7 r P Hoc-O -rw c w 'would you blooming ere3 : !'■' a o.b. .’ine written b\ M.Fomngton t M.Ktarchanr PB.Shell ;Edited By .M.Marchcml hB.Sheil ;Additional Material By: A Morgen ,M.Munson S.SNnglelC'n r A Big Thanks To: •Julie Drew vH -'/ "Mandy Jenks 'C Steve. ienk:s Remember inat it you don't practice you will noil gel any better FACT. Don 't try anything beyond your cnpoMiieis ana always weai sate tv gear th(' view>iidthis.'ine arc >>ot nocessaiy ' the editors so don't havo ago at usO / Trff 2//sJ£ 'r^ e - C cxif(2 - S f T W £■£>✓ A S m 'T h S p o r t s z i n e s f l o u r i s h e d d u r i n g t h i s period. A.O.B. Z i n e (mid-1990s, c o v e r a n d i n s i d e spread) w a s a d i r t - b i k e s p o r t s zine. S k a t e d o r k (1998-) is a z i n e a b o u t s k a t e b o a r d i n g f o c u s i n g on t h e ‘ p e r s o n a l side'. T h i s t r a d i t i o n c o n t i n u e d into t h e 2000s, w i t h O s c a r ’ s E y e (2000s), c o m b i n i n g s k a t e b o a r d i n g a n d 1980s t h r a s h music, a n d S a u c e (2000s), a f r e e s k a t e b o a r d i n g z i n e out of P o r t l a n d , Oregon. T h e G l a s g o w - b a s e d Cel t i c f o o t b a l l fan z i n e . N o t The V iew (1987-) w a s p r o d u c e d b y f a n s to 'give t h e o r d i n a r y Celt i c f a n s a v o i c e a n d a p l a c e to a i r t h e i r views'. J o h n n y M i l l e r 96 N o t O u t (1989-) is r e c o g n i z e d for its 'notable a d d i t i o n to t h e c r i c k e t i n g p r e s s b e c a u s e of its s a t i r e ’ . pea UP W S ^T£P 2 Hfc0 z.ir*<c //M youC RicVwr /V.C, H'lMQ PrtCrc & W,rn vo^.K. terr TuRfJ oie«- Th C pi«ir Srel4-:* fieAtxrlCr yoUR is. AfOcfc Hrt*J3>s TM e /v^o C^t^Cr C O (3.t^^fL; &CTV, sttuvt T0p ccrrwrt^o R e /m Tutfi ATTHe l €FT tO fTH 1 Srr ft.r S c o TTfcj th e : fi-lQHT-j Cajo o f f\ Ur*er t0 A JO rr Sirp tf- KJwe/0 Vc* GrE-r "the ha^ g- of {2ca x>i^Gr o/^e prxxe Cc*»t>au.f t* Th«T r J e < T \s.HO».'cr UfJTrc yoo. C TUg- 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 £1 /€150/TRADE ISSUE ONE OSCAR’S EYE rants, ramBues andirevbk MAY 1992 ISSUE NO. 12a J OHNNY 80p WORLD CUP SPECIAL: M ffiE R / / IK * W H E V I E W C e ltic F a n z in e N o .3 4 50p 9 6 sstt ? JM96*. MORE COWTROVERSIAL THAW YOUR AVERAGE RAIN RULE TH E W ORLD IN HARMONY OLD FIRM STUNNER! SKY question the further use o f close to the wicket microphones 1 100 / 101 When Saturday Comes M E R G E R S : N o V ic to r y Y e t The fiasco al Fulham and the continuing uncertainty over the future of Wimbledon and Crystal Palace have brought into the open many of the realities of football in the 1980s which are loo often kept hidden below the surface. As we go to press, the final outcome of both these situations is still far from dear, but even al this distance the lessons lo be Icam! are pretty obvious. Some people have more to learn than others. absolutely the names and grounds of Ihe teams which ihcy allow to lake part in their competitions, jusl what do they control? One of Ihe reasons why Fulham are in financial difficulty (apart from the fact that Ernie Clay pocketed a reported £6 Million personally, when Bulstrode bought him out), is the new set of rules brought in this season which direct more TV, sponsorship and gale money from the small clubs to ihe larger ones (see issue 2). So when the League talk about their burning desire to save clubs like Fulham, it would be naive in the extreme to lake them at face value. They arc committed to a policy of so-called ’natural’ wastage, whereby no club that goes out of business will be replaced in the League. The fact that they were shamed into action on this occasion doesn’t guarantee by any means that ihe same will apply in the The League ISSUE FOUR: FIFTY PENCE T h e S h a n k ill S k in h e a d Although the Football League for once didn’t try to pass the buck, they are far from blameless in the merger affairs. In fact, their whole structure was called into question. Hie decisions of the League Management Committee mainly effect the clubs, obviously. The clubs arc run by their Chairman and Directors. The League Management Committee is composed entirely of Chairmen and Directors. They are defendants, judge and jury. In this case, two members of the Management Committee, Ken Bates and Ron Noades, had a direct interest in the outcome of the merger proposals. In Bates' case his interest was a personal financial one, as well as a professional one, since he owns 2(W> of Marler's shares. (His protestations about Marlcr's valuation of Stamford Bridge which pushed their shares up substantially should also be seen in this context — he would stand to gain a lot of money by selling those shares). Noades would be helping to decide on a merger proposition which he himself may even have helped to initiate, and which is scarcely of minimal significance to his club! This is at the root of the League's lack of will in previous dealings with the Bulstrodcs of this world. They all talk the same language, they understand each other. The League already has what sound like fairly watertight rules on ownership of clubs, e.g. "Except with the prior written consent o f the management committee, no club may. either directly or indirectly, have any power whatsoever to it\f!uence the management or administration o f another club. "(Rule 80, Clause 4). David Bulstrode had had no communication whatsoever with the League when the story first broke. The problem is with the will lo enforce the rules. Bulstrode’s influence (owner of two clubs, in effect, and one other ground) is grossly in breach of the League’s rules, in spirit anyway, even if he can get round them technically. So is Robert Maxwell’s, with his son in charge at Derby. So is Terry "I wouldn’t mind owning four of five cIubs'*Ramsden’s. So was Anton Johnson's before the law (not the League) caught up with him. Even more of a challenge to their authority is the fact that these people can float their barmy ideas for mergers (don’t forget Thames Valley Royals) with some expectation that the League will actually lei them do it! If the League isn’t able lo control no. 7 The Property Men Blaming Bulstrode and the rest it pointless. All we can expect from these people is lies dcviousncss, trickery and financial manipulation. And that's exactly what we The Supporters The fans' reaction on the whole, was positive, coherent, peaceful and passionate, and this is what got the press on our side. But where no independent supporters groups existed, (i.e. Q.P.R.. where the Official Supporters Club supported the merger) they had to be quickly set up. The strong organisation of the Football Supporters Association in London was a great help in co-ordinating these actions, but in addition, supporters have lo learn from this that every club needs an independent Supporters Club which has the authority lo speak for a majority of the fans. Fulham were in just such a position, and this helped them to get the lion’s share of the coverage. The whole merger business should now be seen not as a victory or a defeat, but as an opportunity for fans in the capital (and elsewhere of course) to get together and organise, not against each other, but against their common enemies, such as Bulstrode, Clay, Hammam, Noades etc. It's now or (continual back page) INSIDE M o re M e rg e r M a n ia The Council In Fulham's ease, much has been made (particularly by Brian Glanville, who described Ernie Clay as “ a hero of our times) of the original decision by Hammersmith and Fulham Council to refuse permission for partial redevelopment at Craven Cottage, which prompted Clay to sell out. While this kind of scheme now looks lo be about the best that Fulham can hope for, the desecration of two sides of their ground was hardly an attractive option at the time. In the recent furore, the Council have, so far, done the football club proud and should be applauded for their resolve. The previous (Tory) council to some extent created this whole situation by giving Marlcr outline planning permission to redevelop Stamford Bridge. If the present council had been as pliable, there would now be no future for cither Chelsea or Fulham, or QPR for that matter. In Merton, too, the Council have made noises suggesting that their priority is to keep Wimbledon at Plough Lane, although as yet (at the time of writing) their committment has not been as public. Fortunately in Wimbledon's case there is the added safeguard that the ground is officially designated for recreational purposes only. H ib s S till on th e F rin g e B r i s t o l : R o v e rs R e tu rn ? J im m y H ill " N o t p o w e r c ra zy " ShockI D ix o n F o r A r s e n a l? Ju ve n tu s ? PLU S: B a rn e t? F o r e s t ... R e a d in g ... G e r m a n y C h a p t e r 3 | L i b e r a t e d S paces: S u b c u l t u r e s , P r o t e s t a n d C o n s u m e r C u l t u r e 1 9 8 0 s - 1 9 9 0 s HAIL MARY! THROUGH THE WIND & RAIN BACK BY KMJIAR DEMAND! OMLY A X.IIWE&P'Qj'DiL FAHUeiMK issue QME £1 CUPPERS RULE IN LA AUTUMN 1913 BROWN LEADS CUPPERS TO THE PLAYOFFS PLUS MARCH MAYHEM THE N.C.A.A. FINAL FOUR TOURNAMENT LARRY BROWN. L. A. Clippers BYE BYE ALDO w a d fjr ,n /e . |----------------- j £2.00 k issue 8 : Feb ’91 f o r u ie P.iaceiliKel .'J Blow F o o t b a l l (1989-n.d.) i n c l u d e d w i t t y a r t icl e s on r e f e r e e i n g m i s t a k e s a n d c l u e l e s s officials. T h e w e l l - k n o w n W h e n S a t u r d a y C o m e s (1986-) f e a t u r e s c o n t r i b u t i o n s f r o m b o t h p r o f e s s i o n a l w r i t e r s a n d fans. T h e S h a n k i l l Ski n h e a d (1990s) w a s a s h o r t - l i v e d M a n c h e s t e r United zine. S o m e o n e L i k e s Us (1990s) w a s a M i l l w a l l F o o t b a l l C l u b zine. T h r o u g h the Wind & R a i n (1989-) is a L i v e r p o o l F o o t b a l l Club z i n e t h a t c o v e r e d t h e 1989 H i l l s b o r o u g h dis a s t e r w i t h s e n s i t i v i t y . H a i l M a r y ! (1990s) was p a c k e d w i t h i n f o r m a t i o n on t h e A m e r i c a n F o o tba l l a n d N a t i o n a l F o o t b a l l L e a g u e s . N BA Update (1991-n.d.) f o l l o w e d t h e N a t i o n a l B a s k e t b a l l A s s o c i a t i o n t e a m r e s ults. M u r t a u g h (1990s) w a s a b a s e b a l l zine. W a i t i n g for the Great L e a p F o r w a r d (1989-) w a s a M o t h e r w e l l Club z i n e w i t h 1970s c o m i c s t r i p s r e w r i t t e n to ref l e c t t h e S c o t t i s h F o o t b a l l L e a g u e . Andy Paton No.8 Steve Kirk the “ m y left fo o t99 cup special 50p S e v e r e l y Twisted! (1990s) w a s a q u e e r z i n e t h a t p r o v i d e d c o m m e n t a r y o n t h e cul t A u s t r a l i a n T V s e r i e s Prisoner: Cell B l o c k H. H o l i d a y in the Sun (1998-99) q u e s t i o n e d t h e ‘ s e l l i n g o u t ’of f a n z i n e p r o d u c e r s a n d p r o m i s e d to ‘ demystify t h e p r o c e s s ’of m o v i n g i n t o t h e m a i n s t r e a m . Question Everything Challenge Everything (1996-2001) i n c l u d e d a r t i c l e s on 'detec t i n g b i g o t s ’a n d a n i m a l rights. U.K. R e s i s t (1990s) w a s a m i x of p o l i t i c a l r a n t s a n d music. Hoax! (1991-93) w a s a s a t i r i c a l z i n e w h o s e e d i t o r r e m a r k e d t h a t it w a s a l s o t h e ‘ r e s u l t of [his] first tentative steps into prankdom' - hence t h e c o v e r w i t h a p i c t u r e of a ‘ Yippy’ . S iQ E . I B A f M ¥ H I &stae aSttttrt irartfvlag esEjjjossare to 5 ? 5 [ p r is o n e r ?! ICELL BLOCK H 1 I HiOMOPHOBIA! STEREOTYPES I S ALIENS *U.F.O .s*^ ^ ^ 2 * AMUSEMENTStsgSB ;;!!wsBirriW»WBi««« ■■in*uiiia«r2>^=E^sr _ L^--_— s S S S i p i and m o re .r ^ Q ^ issue lsEl.OOjp "Th e Ale w Yorker of th e slacker g e n e ra tio n !" - Jersey Beat y o u r fie ld g u i d e in t h e w a r o n n o r m a l c y a Basketful of Integrity U n c o m p ro m is in g a rtistic visio n co m e s in m a n y fo rm s . ■Build Your O w n Portable Bigot D etector! ■The M ilitary-In d u s tria l Complex W ants to E ntertain You! ■ Are You a Laughing Pawn? ■ Fighting th e Good Fight. • The WOTOS C u lt - EXPOSED! ■MUCH, MUCH MORE! v3n2 (#8) $2.50 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 b The s e c o n d w a v e of t h e s k i n h e a d m o v e m e n t in the 1980s s o o n w e n t i n t e r n a t i o n a l . It b e c a m e associated both with the ‘ o i ’m u s i c s c e n e a n d w i t h far r i g h t poli t i c s , t h o u g h t h e r e w e r e s i g n i f i c a n t n u m b e r s of s k i n h e a d a n t i - f a s c i s t s . Combat Z o n e (1980s) f e a t u r e d G e r m a n , I t a l i a n and F r e n c h b a n d s as w e l l as U K n e o - f a s c i s t s Skrewd r i v e r . It w a s n o t a b l e for its q u a l i t y p hotos of s k i n h e a d f a s h i o n . T h i s i s s u e of Skins (1980s) c o v e r e d a s k i n h e a d w e d d i n g , an i n t e r v i e w w i t h b a n d C o m b a t 84 a n d a ‘ S k i n Gir l Pin U p ’ . B o r e d o m I m a g e s (1990s) w a s a m i n i z i n e f o c u s i n g on t h e h i s t o r y of s k i n h e a d f a s h i o n and li t e r a t u r e . N o s e b l e e d (1990s) b i l l e d itself as ‘ t h e i n d e p e n d e n t v o i c e of r o c k a g a i n s t f a s c i s m ’a n d e m a n a t e d f r o m D u b l i n . Strong & P r o u d (1990s), f r o m Spain, w a s a m o r e s o p h i s t i c a t e d d e s k t o p - p u b l i s h e d zine, a n d i n c l u d e d a p h o t o r e p o r t on s c o o t e r r a l l i e s in P o r t u g a l a n d Swe d e n . R e v e n g e (1990s) w a s a transatlantic ‘ sp l i t z i n e ’i n c o r p o r a t i n g S k i n h e a d L i b e r a t i o n O r g a n i z a t i o n a n d Unite for Uni t y f r o m t h e U n i t e d States, a n d p r e a c h e d an a n t i - r a c i s t m e s s a g e . o i r m e d o m a g e s :'4 S K IN S Inside: 4 4 Combat 84 Boot boys Skrewdriver Soutliend’82 Skin Pics & more N O SEB LEED O S tro n g & Proud is s u e * 3 / A u tu m n 97 300Pts/3S/L2/4DM/l b l o w jo b ’ WITH SKINHEAD LIBERATION ORGANIZATION T H E JTVUEPPNDENT V O IC E O F R O C K A G A IN S T FASC ISM AND UNITE FOR UNITY M o 2 F IG H T FEATURING: CONDEMNED 84 T h e U n ru ly The Pride #A<I M in e r s - tIO fJ t ~ f» £ A z i - C^PtAin S E # *iB l£ - G A #cS t e r ^ - B * A G G ^ f lT'A ~ Sccooters T h e T e m p la rs R A BA U K EN JSattlc Crp Close Shave's farewell gig a n d much, m uch m ore_ F A S C IS M 30P P le a a e n o te t h l a f a n z in e may c o a t a r o u n d S 1 - S 1 . 5 when a o ld o v a r a a a a due t o t h e e d i t o r L a i team u a in g d i f f e r e n t p r i n t e r s . MORE OVER THE TOP ARTICLES ON RACISM, SEXISM , HOMOPHOBIA AND LOAOS MORE. INTERVIEWS WITH ELAGGERS I . T . A . , MCLOTOW SOOA, BULLSHIT AND Th€ SPINNERS. POEMS, ART ANO LOADS MORE TO KEEP YOU HAPPY FOR A FEW HOURS. BUY I T NOW! 106 / 107 number 1 april 85 No 2 ^Op MAY 85 No 3 JUNE 85 30p UNTOUCHABLES THE SCENE THE WAY OUT Clubs lots more!! ..clu b sP m y/puns & PAUL BEVOIR THE BOSS '* * , a 8 ^ -cNt O ^ S- V YEH YEH SCENE ^ e ^ VCN ...cvit/i \ exc£ouiiit& i " ...clubs,gigs, news, ^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 _ .V ISSUE 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 SC NI NE ^ ................ TERS THE S Q U I R E ................ 3EL0W ZERO SCN/ LE FILE CHA.V:.-: ................ V.AL • C L ' 3 NEWS ................ ................ I NT E R V I E W PART TWO................... VE S P A F 3 ' U ................ CH S ACTI ON THE MAD MODSTSR PAGE ............... DUSTY S P R I N G F I E L D r’AN Z I N E S FEMALE FASHI ON ................ HERMAN’ S HERMI T* S ................ VI EWS AND NE-VS THE DOVER S T RE ET ................ P CACTI ................ AND J AM E S . QU ____ ____ STYLISTS ................... 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 ♦ARMAGEDDON f t c/o 2775 E. B a n k e r I n d u i ^ 0*. Atlanta ♦BAD T R IP ♦DB 452Mo'iltand Aue.. N.E. *EAT 400 E w e x St. Salem MA 01970 ♦ENGRAM P.O. Box 2505 S e a ttle . WA 91)01 A tla n ta GA 30307 319 E. BKoaduay Vancouver. B.C. Canada P.O. Sox 22 Sun VaJUzy CA 91352 Hi -H e ** - ^ cru^ ' W ^ € n c <n ^ j e _ o ^ l j j<r\ S u b v e rs iv e , yefsfec-h^ h^d~o /) /y ^ /nu i, it i> / V j r i ^ 'j J /h n ' f r f fh o M r o c ^ *HUNKY RECORDS *HYRAX Box 1217 Milwaukee 1)11 53201 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 >‘HUTE: (f^ a + d S e n d ** -fo'|»7\€ fit w fft £ ♦MYSTERY TOAST Box 195 Saratoga SfVtingi UV 12166 *99 99 MacPougal S t. NV NV 10012 *011 TASTERS Box 92523 Milwaukee W1 53202 *0N/G0-G0 P.O. Box 8333 P h ila d e lp h ia PA 19101 *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 *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 •SHAKE I S i 5th Avc. W NV 10010 *UPSETTER Box 2511 LA CA 90023 *SST P.O. Box I LauMdale CA 90260 money' ^ncK firWY - fr t- tr J h W j f / A y^tc- V ’ll p /a./M'K r r , nrj £ a ° f 0 l « O < --- - ♦SUBURBAN INDUSTRIAL 1211 Loma. V U ta Long Beach CA 90813 ♦TRAP Box -12465 P o l a n d OR 97242 I ™ 445 O liveA Aue. So. fUnueapotii MM 55405 Box 2511 L.A. CA 9002J W C.t<’ . "/Mhimif i' '-r *WH|J tu n 11 eEACl a o i.f nEcnnn1: 30360 II020 VintuAO. B lvd. S u i t t III S tu dio City CA, 91601 114 / 115 1981? Simple enough . Britain gave us N ew R o m a n tic w h it e / e le c t r o / disco/funk and America gave us w hat< Hardcore. W hile art bands continued to take their orders from the U.K., aggres sive muscleheads from around the country form ed baud'*, started labels an d b u ll-d o z e d an a n ti-a u th o rity network that i s digging its way into every suburban high school in the U.S. Punk -t hi ash is n o w faster, louder and more American than Surprise. Today's Hardcore teenage army is the most dom inant, the most obvious scene in the American m u sic u n d e rg ro u n d . H a rd c o re is in te nse , honest A m e ric a n m u s ic ; burning red, white and blue images confronting specific American prob lems. Anthems like "lustice lo r A ll," " Six Pack," and "Guns or B allots," band names like the Dead Kennedys, The M inutem en, and yes, even )ody Foster's A rm y. Does th is so u n d British? NoI Probably anyone reading this w ould agree w ith me when I say Ronald Reagan is not a good Am erican. He allows large corporations to run ra m p a n t o v e r o u r e n v ir o n m e n t, huge tax breaks for the rich while stabbing the poor in the back with cuts in social services, and then spends $55 m illio n to k ill teenage girls in t l Salvador. So what are you doing about it? Dressing like an id iot and buying records by four people who get up on stage and sweat a lot. If all an alternative scene does is let you forget about the real w orld for a couple hours a week, than it's no b e tte r tha n T.V ., A M ra d io or Harlequine romances. The tim e has passed where we can a fford to p ro vide a place and a means for people to forget. We must rid ourselves o f the things that h o ld us back from b e in g t r u ly a lte rn a tiv e . O ne o f those things is alcohol. It is provided for us by a leach-like industry that makes a few people (filth y ) rich while num bing and anesthetizing the rest. When bands play in bars, not on ly do they segregate the scene by discrim inating against their younger fans, but they teach their younger fans that it is cool to go to bars and get drunk, and thus support Reagan's best friends. A lco ho l is just one way they use to oppress the p o p u la c e , to fu n n e l you r h a rdearned money back in to the hands o f the few. What we need is a net work o f all-ages perform ance halls where music can be experienced free of all that corporate bullshit, where the audience isn't segregated by age, and where the state liquor board (Police) w ould have no busi ness interfering. So. Don't just sit around picking your nose. If you're a musician, when you've got the audience's attention, use it to do something other than getting a hard on. If you edit a fanzine or do a radio show, you have a perfect opportunity to educate people about their govern ment as w ell as their music. Don't think you can't make a difference, because you do. C A L V IN Things arc bad. America is falling apart; the econom y is collapsing; Reagan is a puppet o f the rich and the Pentagon is going to blo w life as we know it in to fragments. We must react. American culture des perately needs to confront American problems. H o w d y n e ig h b o r. P u t d o w n th a t g u n a n d p ick u p th is m a g a z in e . S U B / P O P IS A M E R I C A N . W E A L T E R N A T E B E T W E E N A C -60 C A S S E T T E A N D A P U B L IC A T IO N . W E A R E IN T E R E S T E D IN A D E C E N T R A L I Z E D N E T W O R K O F R E G I O N A L A N D L O C A L B U M S W H O R E F U S E T O G E T A N H O N E S T J O B . S E N D U S Y O U R I N D E P E N D E N T R E C O R D S , T A P E S A N D M A G A Z I N E S . W R IT E : S U B / P O P C / O L O S T M U S IC N E T W O R K , B O X 2391, O L Y M P I A , W A 9 8 507 . G R A P H IC S , C O O R D IN A T I O N . .. B R U C E P A V IT T F R I E N D S A N D N E I G H B O R S _____ . C A L V IN J O H N S O N , J A N L O F T N E S S , T U C K E R P E T E R T IL , G A R Y M A Y F I N A L L Y P R IN T E D IN F E B . 1982 Hardcore America is organized. i.A . puts out a new com p ila tion every tim e I open the mailbox. Posh Boy, Happy Squid, New Alliance, Bemisbrain, SST—a ll working on organ iz in g tee nag e re v o lt. D .C .'s D ischo rds — savage a n d d e fia n t. In credible. Chicago's Autum n records has released the first regional com pilatio n to emerge from ChicagoHardcore. I ouch and Co fanzine lust re lea sed a c o m p ila tio n o f M ich /O h io bands—more youth ri ots. Noise fanzine (O hio) is collab o rating w ith Reno, Nevada, and p u t tin g out a g re a t-lo o k in g transregional cassette. Teenage America in actionI O f course, any strongly defined movement is going to be g u ilty o f bigotry, and Hardcore is no excep tion. Bands are either Hardcore or they suck. I low depressing. Gang m entality is no substitute for inde pendence. Like Black Hag says: "Think for yourself." I like Hardcore. I liki* the rush and I like the attitude, lu c k A uthority. I hate war and I h.ite big business ,md I'm glad that other people feel the same way Isn't it great that not .ill teenagers aie sin king bong.s on the wav to play Pac-Man at some sick zoo o f a shopping m a ll* R l^l A h()V I BRUCE 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 NO. 5 W h ip p e d C re a m SF k MINUS zero records 071-229-5424 BLASTER! ...RIDKS AGAIN ’c h u m m y b u t e a r n e s t* Includes archive Tape feature... A r a n g e of 1990s m u s i c zines. L o n g Live Vinyl (1990s) w a s a c o l l e c t i o n of b a n d i n t e r v i e w s a n d a l b u m r e v i e w s out of N o t t i n g h a m . Big M u f f (1990s) w a s a n i n d i e m u s i c z i n e p r o d u c e d in L ondon, i n t h i s i s s u e f e a t u r i n g a n i n t e r v i e w w i t h C o u r t n e y L o v e a n d h e r b a n d Hole. R e b e l S o u n d (1990s) w a s a p u n k r o c k z i n e w h o s e p r o d u c e r wrote: ‘ I l ove d o i n g t h e z i n e a n d I’ m t h r i l l e d at t h e f act t h a t I ’ ve r e c e i v e d so m u c h p o s i t i v e s u p p o r t . ’ 117 (1990s) b e c a m e k n o w n for its r e g u l a r f e a t u r e ‘ The A-Z of P s y c h (and o t h e r g r e a t s o u n d s ) ’ , which r e v i e w e d r e c o r d s f r o m t h e 1960s-70s. T h e f o r m a t of Blaster! (1990s) w a s d e s i g n e d a r o u n d t h e i n c l u s i o n of a 7 i n c h v i n y l single. C h a p t e r 3 | L i b e r a t e d Spaces: S u b c u l t u r e s . P r o t e s t and C o n s u m e r C u l t u r e 1 9 8 0 s - 1 9 9 0 s [Medfoljer som bilagatill pop] Laura Nyro Ktt uvarDltt porlrMH. E lvll p i CD Ryktat «m him dl»d Nr Ovcrdrhc). Sandle Shaw Ilull\ar dir nttr London Nvttnudv. Rloliard Thompson En rurntlRrarrlt. Beach Boys! Nol, vlnd och *alien. StrandrattUMrnn Icn Him lAda, Lennart Peraion ropptot Heoensionor 10 aa 7aldnr AtcrutiilvnlnKan 84 MuvbtlU, HolllM. Wanda .lucknon, Tht Style Council. Harry Whllv... CALLING DR CRANKLIN! Spring '89 P eter Zarem ba The A nim als Evan Johns & The H-Bombs FANZINE Cenedlaethol Cymru Huey 'Piano 'S m ith & The Clowns Reviews Commodity No4 W fe jti m m ■ jf c S SI lift 1 3 3 S L e s s e r - k n o w n 1 9 8 0 s - 9 0 s m u s i c z i n e s are s e e n on t h i s page. D a (1990s) was. a S w e d i s h z ine p r i n t e d on y e l l o w s t o c k a n d u s i n g q u a l i t y p h o t o g r a p h s . C a l l i n g D r C r a n k i n (1989-n.d.) d e c l a r e d i t s e l f to b e ‘ the fanzine which offe r s t h e d i s c a r d e d , forgot t e n , o v e rlooked, or j ust p l a i n n e g l e c t e d , t h e c h a n c e to e v e n the m u sical s c o r e ’ . D a t a k i l l (1989-n.d.) w a s an indie music zine wit h a Welsh slant produced by H o a x ’ s e d i t o r J o h n n y D a t a k i l l . L i l ’R h i n o G a z e t t e (1990s) w a s a F o r t W o r t h q u a r t e r l y ‘ z i n e of m i s c e l l a n e o u s c u l t u r a l debris' f e a t u r i n g l o c a l t alent. C o m m o d i t y (1994-n.d.) was a self-consciously ‘ d e s igned' m u s i c z ine b y J o s h H o o t e n (later a n a r t d i r e c t o r for P u n k Planet) a n d T o n y Leon. 118 / 119 Boy’ s O w n (1987-92) w a s a f o o t b a l l a n d a c i d h o u s e z i n e p r o d u c e d b y DJs l e a d i n g t h e L o n d o n scene. Its d i s t i n c t i v e logo a n d s e r i e s of c o v e r s w e r e b y i l l u s t r a t o r D a v e Lit t l e . B e a c h B o y s S t o m p (c. 1980s-) is a l o n g - r u n n i n g z i n e d e d i c a t e d to t h e d i s c o g r a p h y a n d g i g s of t h e C a l i f o r n i a band. T e e n a g e D e p r e s s i o n (1976-80s) bridged p u n k and m a i n s t r e a m rock-and-roll f a n z i n e s , f o c u s i n g on a r a n g e of b a n d s . T h i s issue featured boogie rock outfit Status Quo. The F a r m F a n z i n e (early 1990s) p r o v i d e d a m i x of s t o r i e s a b o u t t h e b a n d as w e l l as c o m m e n t a r y o n 1990s ‘ S c a l l y ’ (Liverpudlian) culture. M o o n l i g h t D r i v e (1980s) w a s a r o c k z i n e w i t h a l m o s t a n a c a d e m i c a p p r o a c h to t h e subject. (g) BOYS OWN NC Judas Priest V ib r a to r s ^ B e th n a l^ t fS pl us S L A D E , G O O D WHITE FA R M FAIMZIIME RATS. C A T S and r e v i e w s ' Jf TEEN A G E v DEPRESSIONS Chapter 3 L i b e r a t e d Spaces: S u b c u l t u r e s , P r o t e s t a n d C o n s u m e r C u l t u r e 1 9 8 0 s - 1 9 9 0 s mmmmrn NUMBER 7 AUGUST-SEPTEMBER ’ 91 E1-50 )READ VERSION FULL DREAD VERSH DREAD &FRED MorrVZine A Publication for M orrissey and Sm iths Fans Winter/1992 Issue S, Vol. 4 Fourth Anniversary Edition FANZINE OMAHA R A IN B O W 8 H e a r t ’s A n n W il s on T e l l s It Like It Is R o le M o d e l Mom, Bebe Buell Jou rn alist B ack in g Em m ylou Harr is in th is issue, Glen D.Hardin, Joh n Ware, B illy S w an, Boger Bush & Joh n S tew a rt. ZOp A lb e r t B o u c h a r d 's Fave F e m a le D ru m m e rs A m y L i n d e n on M o t h e r h o o d an d God M other of t h e Electric Bass, Car ol K a y e ' tfCAL IIPS U\DER S500 oo O ^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 NO REIAftKES UF6iTlu£ GOlOE 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 * + + * * * # * + # + * * + + 4 * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * --* "* ♦* "^* ' ** * * * ** * * * * * ♦ * * * * ♦ * * * * * * * ♦ * * * 4 m m lM i « * * * ♦ * * * * * * * * * * * * * * * * * * * ♦* ** ** ♦* ** ♦* ♦* J*. n * icc ir */ * ** ** ** ** ** * j♦ looUL * * * * * * * * * * * * , . , . * * * * * * * * * * * * * * * * * * * * 4 i>\nri * * * * * * * * * * * * * * * * A r |O U i * * * * * * * * * * * * * * * *S # * * * * * * * * * * * * * * ^ * * ^ t Ju l4* * * * * * * * * * * * * ♦ * * * * * ♦ » * 1 waa never a fan of the New York or Los Angeles Real Worlds. But for the past year, everytime I flick on m v , if I catch a glimpse of Rachel, Cory, Pedro, Judd, Puck, Mohomrad, or Jo, from the Real World, San Francisco, I find it virtually painful to change the channel. I'm addicted to the Real World!I It* weird because usually for me it'a hard to get emotionally involved in fictional TV drama, like 90210. (Don't get me wrong, I watch it almost every * * * * * * * * * * * * * * * * \* * ,% V ♦* * . * * * ¥ * * Halve I * * * t * * 4 4 » P 4 tfiffi SfMmtm tK wififtrfiltti * * * Rlt M»»Vfe&eto OatyxarPilm .* :* :* » k 4 4 4 4 p Women in the Director* s Chair 4 I I M 4 T 6 week, but I don't really reiate to the charactera or storylines-elthough I have to admit Donna's attempted-rape scene had me in tears this spring). But the Real World is like watching actual people...sometimes like watching myaelf. I feel for the “ characters." Ood, that scares me: that there's not a clear line between reality and TV. That makes me feel creepy. But somehow, I still can't Btop watching. I think part of the reason might be that I know (well, at least I’ m pretty sure) that what happens on the show is real. No one wrote a script for them. Sure, the producers clearly chose people with personalities that might clash, and therefore cause good W q never get the family or frienda responses to being on the show. Everyone just acts like there's no camera. That's not real. I mean, I can see the characters getting uaed to the camera eventually, but not outsiders like frienda (like Rachel's giddy frienda from Arizona), business aquintences (like when Judd goea to LA to pitch hia cartoons), and family members. Granted, the shows are all taped before they begin airing, so obviously there's not going to be a high recognition factorpeople aaying “ hey, you're Rachel from the Real World'-cr a high family reaponae factor like "Pedro, what do you mean you're engaged to Sean?" In one of the first episodes Puck (what a confused mess of an egomaniac he is 11) "discusses" (I use that term lightly when it cornea to Puck) 90210 with the other housemates, and he accuses them of being *paycho" for actually caring about Brandon Walsh. The thing is, I agree with him. That'a sick when people get all worked up about a character on a show and talke about them like they're real, is’ nt it? But what about if I think I care about the Real ttorld cast? Am I fucked? To me, are they people, or are they characters, no different from Brandon Walsh? I don't know t h m . . .and somehow I'm not sure if they fit in the “ real person" category or the TV character category. ••• is a g illig a n ’s is L a n D Rip 4 . . . [ BBUCELEB ISAAC HAYES ___ drama. But the people ■till have actual emotion* end personalitlea. Now lest you think I'm totally hyping up the "realness" of the show, let me tell you, I'm quite aware that the editora are very selective about what they ahow-the final product is by no meana a fair, or fully balanced representation of the housemates' daily lives. We never get to see any of the "characters" talk about the fact that they are the Real World, that they are going to be on TV every week, and what that meana about how they live their lives and (inter)act in front of the camera. I mean, they muat explain why they are constantly being videotaped when they're going on job interviews, or going into a restaurant. I've never even seen a stander-by make a face or ask a question. What else aren't we getting to see? T h e c o n s u m e r w o r l d of pop c u l t u r e and television features in these examples. The T V C o l l e c t o r (1982-99) w a s an u n a s h a m e d l y n o s t a l g i c b i - m o n t h l y p u b l i c a t i o n for c o l l e c t o r s of t e l e v i s i o n films, v i d e o t a p e s a n d m e m o r a b i l i a . N o R e m a k e s (1990s) h a s a cov e r f e a t u r i n g t h e c h a r a c t e r s S t a r s k y a n d H u t c h but is in f act a m u s i c z i n e - e a c h i s s u e g l o r i e d in s e e i n g ‘ who’ ll be w a v i n g g o o d b y e to t h e i r career’ . T V T i m e s (n.d.) w a s a S i t u a t i o n i s t inspired ‘ literate and graphic destruction of T V c u l t u r e ’ , co n t a i n i n g pithy phrases s u c h as ‘ We a p o l o g i s e for t h e loss of m e a n i n g . P l e a s e do not a d j u s t y o u r l i f e ’ . Tott i n g T i m e s (1999-2000, r e n a m e d Rag 'n ' B o n e 2000-02) w a s p r o d u c e d b y f an s of t h e p o p u l a r B r i t i s h T V s i t c o m S teptoe a n d Son. F e m m e F l i c k e (1990s, c o v e r a n d i n s i d e spread) b y T i n a S p a n g l e r f e a t u r e d w o r k b y i n d i e w o m e n f i l m m a k e r s , as w e l l as ‘ h o w - t o ’a d v i c e a n d DIY f i l m resources. T h e s p r e a d r u m i n a t e s on t h e e t h i c s of t h e M T V r e a l i t y s h o w R e a l World. T h e m e ’ 70 F a n z i n e (1994-n.d.) t o o k a w r y l o o k at b l a x p l o i t a t i o n , k u n g f u f i l m s a n d e x - P l a y b o y P l a y m a t e starlets. 122 / 123 r A L ‘ '» ■nar i _r — n i t r l j \'.jr Ai. -r * , V: iClILTURE!MLSIC!SEX!LIFE! FREE!. V -/ F i s h P i s s (1996— ) is a n i r r e g u l a r b i l i n g u a l C a n a d i a n zine by Louis Rastelli, c ombining comic strips and d r awings with fiction and poetry. Pop! (n.d.) w a s a ‘ f r e e ’p e r z i n e w h i c h fo l d e d o u t to a l a r g e r s h e e t p h o t o c o p i e d on b o t h si d e s w i t h m u s i n g s a b o u t Joe P o p ’ s life a n d p o p u l a r cu l t u r e . C h i c k e n Is G o o d F o o d (late 1990s) w a s a v i s u a l l y p l a y f u l m u s i c a n d p o p u l a r c u l t u r e z i n e w i t h 1950s r e tro i l l u s t r a t i o n s a n d a r t i c l e s . The White D o t (1996-2000) w a s a n a c e r b i c ‘ n e w s l e t t e r for television-free h o u s e h o l d s ’ . Nancy’ s Magazine (1983-), p r o d u c e d b y l i b r a r i a n a n d w r i t e r N a n c y Bonnell - K a n g a s , provides insights into daily life: for e x a m p l e h o w to p l a n t a n d c u l t i v a t e seeds. C h i p ’ s C l o s e t C l e a n e r (1989-) is a b o u t ‘ p o p culture, h u m o u r , t r i v a a n d f u n ’ . Giant R o b o t (1994-) is a b i - m o n t h l y g l o s s y m a g a z i n e t h a t b e g a n as a s m a l l p u n k z i n e , f e a t u r i n g A s i a n pop c u l t u r e a n d A s i a n - A m e r i c a n a l t e r n a t i v e culture. R o b o t P o w e r (2000) w a s a sh o r t - l i v e d s m a l l e r ‘ zine-within-a-magazine’ i n s e r t f e a t u r i n g C h r i s W a r e a n d D a n i e l Clowes. O r i e n t a l W h a t e v e r (1995, 1998-) is a n A s i a n A m e r i c a n - o r i e n t a t e d z i n e t h a t w e n t f r o m 100 to 1,500 c o p i e s d i s t r i b u t e d i n t e r n a t i o n a l l y . Beouttj in 'Reno, M / Utjy Stars of f/e 70s Youthful Skin 5 0 s Vulfj Porn ■Hoiv to Moke Bfecr plus' Music Reviews Mod Lbs! d. i C h a p t e r 3 | L i b e r a t e d Spac e s : S u b c u l t u r e s , P r o t e s t and C o n s u m e r C u l t u r e 1 9 8 0 s - 1 9 9 0 s Pop Culture IW h ite D #t Summer. 1997 Humor Trivia Fun Chip ’ s Closet Cleaner Survival Guide fo r the TV-Free Usuc No. 6 Fo u r Bucks Really Weird Sex! ♦ Alm ost Dirty W ords! ♦ My Girlfriend Wears My Favorite Te e s! ♦ V V Unseen Spinal Tap! ♦ Scary Products! ♦ Wkz ne 8-Track Madness! ♦ 4,4 87 Rippin’ Book and Zine Reviews !* ♦ / * \ t •' . / - ...And Much More Than You Can Chew in One B ite ! I J V / Giant Robot ’ give or take a few FROM T H E MAKERS O F G IA N T ROBOT - ASIAN POP C ULTUR E AND BEYOND ROBOT POWER NEAR-DEATH STORIES / BURGER BATTLE / BLOOMINGTON & ART ATTACK! WONG KAR-W AI. S U P E R F U T M URAKAM I. TOHY LEUN G . NAKAHASHI’S KAMIKAZES, GARDENER M ICH AEL LAU. MARATHON ESCALATOR R ID IN G . PSYCHIC CH ILD REN . ASIAN H AIRCUTS. 25 LIFE-ALTERIN G IN V EN TION S. N O T STUFFED ANIMALS cr Impeach Clinton, Make-Up Tips Hapa Celebs Angel Island MSG Haiku: Kevin Bacon bamboo Girl Star Trek M a trlt Keanu 124 / 125 Horror film zines emerged around the same t i m e as e a r l y s c i e n c e f i c t i o n f a n z i n e s , an d in t h e 1990s e n j o y e d a s h o r t b o o m in production. A n early pre d e ce s s o r w a s Gothique (1960s), d e d i c a t e d to t h e H a m m e r F i l m s actor C h r i s t o p h e r Lee, w h o p o r t r a y e d s o m e of t h e a l l - t i m e g r e a t h o r r o r c h a r a c t e r s . Vi n c e n t P r ic e Fil e (1996) b y L o n d o n - b a s e d S i m o n F l y n n was a genuine ‘ f a n zine' w i t h t r i b u t e p i e c e s a b o u t t h e h o r r o r f i l m actor, w h o d i e d in 1993. P s y c h o t r o n i c Video (1980-2006) w a s a f a n z i n e t h a t f e a t u r e d a r t i c l e s on t h e f i l m g e n r e of t h e s a m e nam e . _ C h a p t e r 3 | L i b e r a t e d S paces: S u b c u l t u r e s , P r o t e s t a n d C o n s u m e r C u l t u r e 1 9 8 0 s - 1 9 9 0 s up tit 4 m t n t m t t v S B tn n uA IxXjuldlfty- Soum aait Ib&u, ! germany 3 dm-portugal 250esc-cote d’ ivoire 200f-usa $2-france 8ff The o t h e r z i n e s on t h i s s p r e a d e x e m p l i f y a s e l e c t i o n of genres: m u sic, a r t a n d p o p u l a r culture. Ai n ' t B i n to N o A r t S c h o o l (n.d.) was an a r t z i n e b y M i c h a e l J. W e l l e r t h a t c o m p r i s e d s i n g l e t e a r - o u t s h e e t s of m a g a z i n e adverts, c o m i c - b o o k p a g e s a n d n e w s p a p e r television schedules and also featured his own p ag e of 'Xerox p o e m i k ’coll a g e s . Lip Service (1980s) w a s a c r o s s o v e r z i n e c o m b i n i n g m us i c a n d p o p u l a r c u l t u r e in t h e t r a d i t i o n of punk. T h e c o v e r p a y s h o m a g e to L a d y D i a n a and t h e R o y a l W e d d i n g . Z i n e Z o n e (1990s) w a s a free m o n t h l y c u l t u r e z i n e w h o s e e d i t o r su g g e s t s t h a t 'our s p e c i a l i t y is to i d e n t i f y n e w trends'. Horror f i l m zines em e r g e d arou n d the same t i m e as e a r l y s c i e n c e f i c t i o n f a n z i n e s , an d in t h e 1990s e n j o y e d a s h o r t b o o m in production. A n early p r e d e ce s s o r wa s Gothique (1960s), d e d i c a t e d to t h e H a m m e r F i l m s ac t o r C h r i s t o p h e r Lee. w h o p o r t r a y e d s o m e of t h e a l l - t i m e g r e a t h o r r o r c h a r a c t e r s . Vi n c e n t Price Fil e (1996) b y L o n d o n - b a s e d S i m o n F l y n n w a s a g e n u i n e 'fan z i n e ’w i t h t r i b u t e p i e c e s a b o u t t h e h o r r o r f i l m actor, w h o d i e d in 1993. Ps y c h o t r o n i c Video (1980-2006) w a s a f a n z i n e t h a t f e a t u r e d a r t i c l e s on t h e f i l m g e n r e of the s a m e name. 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' Soumjutu" Lfryu, germany 3 dm-portugal 250esc cote d'ivoire 200f-usa $2-france 8ff The o t h e r z i n e s on t h i s s p r e a d e x e m p l i f y a s e l e c t i o n of genres: m u s i c , a r t a n d p o p u l a r culture. Ain't B i n to N o A r t S c h o o l (n.d.) was a n a r t z i n e b y M i c h a e l J. W e l l e r t h a t c o m p r i s e d s i n g l e t e a r - o u t s h e e t s of m a g a z i n e adverts, c o m i c - b o o k p a g e s a n d n e w s p a p e r television schedules and also featured his own p ag e of ‘ X e r o x p o e m i k ’coll a g e s . Lip Service (1980s) w a s a c r o s s o v e r z i n e c o m b i n i n g m u sic a n d p o p u l a r c u l t u r e in t h e t r a d i t i o n of punk. T h e c o v e r p a y s h o m a g e to L a d y D i a n a and t h e R o y a l W e d d i n g . Z i n e Z o n e (1990s) w a s a free m o n t h l y c u l t u r e z i n e w h o s e e d i t o r s u g g e s t s t h a t 'our s p e c i a l i t y is to i d e n t i f y new t r e n d s ’ . 126 / 127 maximumrocknroll M a x i m u m R o c k n R o l l b e g a n as a p u n k - r o c k r a d i o s h o w i n 1977, t h e n b e c a m e a p r i n t z i n e i n 1982 with music reviews from zine writers such as J e n A n gel, J a c k R a b i d a n d M a t t W o b e n s m i t h . P u n k P l a n e t (1994-2007), a ‘ designed’ p u b l i c a t i o n , f o c u s e d on t h e c u l t u r e of p u n k a n d w a s n o t a b l e for its e x t e n s i v e r e c o r d r eviews. P r o f a n e E x i s t e n c e (1989— 98, 2000-08) was a zine and record label run by an anarchop u n k c o l l e c t i v e out of M i n n e a p o l i s . R e v o l t i n g (1993-n.d.) w a s a p o l i t i c a l z i n e w i t h a p u n k attit u d e . H.A.G.L. (c. 1984-) p r o v i d e d c o v e r a g e of p u n k m u s i c i n t h e n o r t h - e a s t e r n United Kingdom. Pint Row: Christie Front Drive, Tenos it the Reason Second Row. John Cougar Concentration Camp. Naked Aggression Third Row; Community-based money, How to buy guitar equipment Fourth Row: Fiction, Columns, Reviews, Comics, ond morel makim t m a threat am m GOVERNM ENT IS SLAVERY IT S LAWS ARE FOR TH E RICH AND CHAINS OF S TEEL FOR TH E POOR IKSICE SERVITUDE Interview Sveriges Arbetares Centralorganisation Repression of the anti-fasist movement in Germany Anti-fascist reports Police Brutality: The State Made Flesh Anarcho—Punk Federation DrI.Y distro hints Peru Scene Report DISKOBTO tour photos IS A USURPER AND TY R A N T RED LONDON C h a p t e r 3 | L i b e r a t e d S paces: S u b c u l t u r e s , P r o t e s t a n d C o n s u m e r C u l t u r e 1 9 8 0 s - 1 9 9 0 O p e n Up a n d B l e e d (c. 1998-) is a p u n k and g a r a g e f a n ’ s z i n e i n v i t i n g r e a d e r s to c o n t r i b u t e a c t i v e l y to r e v i s i t i n g t h e 1970s scene: ‘ let us k n o w a b o u t y o u r w i l d e s t a n e c d o t e s a n d h o w y o u m a d e h i s t o r y que u i n g , b o o zing, p u k i n g , s q u a t t i n g , shagging...’T h e p r o d u c e r s p a y h o m a g e to ‘ t h e g e n i u s of M a r k P.’ (of Sniffin' Glue) a n d t h e h i s t o r y of p u n k music, f a s h i o n a n d p o p u l a r c u l t u r e in general. R u p t u r e d A m b i t i o n s (c. 1989-c. 2008) w a s a D e v o n - b a s e d f a n z i n e t h a t p r i d e d i t s e l f for r e p o r t i n g on l e s s e r - k n o w n l o c a l bands. Your F l e s h (1981-) r e p o r t s on t h e M i n n e a p o l i s punkr o c k s c e n e as w e l l as ‘ a l t e r n a t i v e / o u t l a w art, politically incorrect and irreverent social humor and s k a t e b o a r d i n g ’ . The cover art became n otable, w i t h c o n t r i b u t i o n s f r o m L e e E l l i n g s o n (this issue), R o n C l a r k a n d J e f f Gaither. I w 128 / 129 Metaz i n e s and zine catalogues flourished d uri n g the 1980s-90s. Factsheet Five (1982-98) was the most i m p o r t a n t of the genre, founded by M i k e Gunderloy (with subsequent editors incl u d i n g Cari Goldberg Janice, Jacob Rabinowitz, Huds o n Luce, R. Seth F r i e d m a n and Jerod Pore) and providing comprehensive zine reviews that we r e often more e n t e r t a i n i n g that the zines themselves. It b e c a m e a focal point for the b u r g e o n i n g intern a t i o n a l zine c om m u n i t i e s and created a prototype zine taxonomy. All Genre (1990s) was bi-monthly and ‘dedicated to the freer d i s s e m i n a t i o n of music and i n f o r mation of all styles and g e n r e s ’. A m o k (late 1980s) was a series of ‘dispatch s o u r c e b o o k s ’ produced by Ken Swezey and Ad a m P arfrey (an in f l u ential u n d e r g r o u n d publisher) w i t h a contents list incl u d i n g ‘e x o t i c a ’, ‘s l e a z e ’, ‘sensory d e p r i v a t i o n ’, and ‘m a y h e m ’. Action Resource Guide Cata-zine (c. 1991-95) w as devoted to ‘grassroots, political a c t i o n s ’ and included ‘a prisoner and zinester network contact l i s t ’, as well as the usu a l listings. This issue incorporated P r i s o n e r ’s Speak [sic] w h i c h was ‘a collection of words and images from incarcerated p r i s o n e r s ’. genre Action Resource Guide #4 -1994 edition Time for a change? Includes ARG Zine #5 - Prisoner's Speak _ Chapter 3 | Liberated Spaces: Subcultures, Protest and Consumer Culture 1980s-1990s gn|&$Mi wS* ”2 ' 3 V% r ^ d jf $ * K iw ia p y ofTEXT F ro m A to O il Y o u r G u id e to A n a rc h y c ro s s c u r r e n t s in u n d e r th e c o u n t e r c u ltu r e M 3 I - n -R - R o l|ll *i n 4i th e A » o e * t c o l l e c t i v e » r e i e n t ~ R o e «fcr-» * " ' " Hundreds of Zines Reviewed f' x In filtra tio n ! the Zin e That Takes Y o u Places Y o u 're N o t Supposed To G o Special Section o n M o n tre a l, Spoken W o rd Capital of N o rth A m e ric a N e w Fictio n b y G olda Frie d a n d Jo n a th a n G oldstein O J\il?kUOUST94Cl.63 t Scum preal^grt peaumareh ,* /< 4 | r ^ Fascist koMhnfc &huMi Iraaki V \ Death Bypass (early 1990s) was a UK-based review m a g a z i n e for ‘zine producers, self-publishers, small press organizations, pamphleteers and outside a g i t a t o r s ’. It was relaunched in 2007 online. Book Your Own F u c k i n ’ Life - goodfor Mtiih business Force Ml IrvllNr'i wattMnf y< I Rollins f ‘\ i X Hawkwind St Etienne Shriekback Compulsion m m (1992—) is a DIY resource guide published by Ma x i m u m RocknRoll and the A m o e b a Collective, notable for its intern a t i o n a l reach. Broken Pencil (1995-), out of Canada, reviews a lternative publications in print and online and has t a k e n over w h ere Factsheet Five left off. The Zine (1990s) was the most concerted attempt in the United K i n gdom to produce a m a i n s t r e a m version of a fanzine complete with free classified ads and zine reviews. Chapter 4 | Girl Power and Personal Politics 1990-1997 Bi k i n i Kill was ‘more th a n just a band - i t ’s a r e v o l u t i o n ’, and the fanzine Bikini Kill (early 1990s) d emonstrates ba n d m e m b e r Tobi V a i l ’s c o m m i t m e n t to the rise of a n e w f e m i n i s m as seen t h r o u g h the riot grrrl movement. The b a n d ’s singer, Kath l e e n Hanna, produced April F o o l ’s D a y (1995), in w h i c h she confessed she was an alcoholic: 1 April is w h e n she decided to stop drinking. In the perzine Spiderplant (2000) the producer remarks: ‘I first wrote my first fanzine at 15.’ After the high point of punk, the 1990s was a prolific period for fanzines fanzine Mental Children (1980), one interviewer comments that ‘the that were politically motivated. The rise of the music-inspired riot grrrl Raincoats are out on their own, proving that girls can produce vital new movement revitalized small press publishing through a slew of new music, owing nothing to anyone else but themselves’. Gina, a member fanzines, including most famously, in the United States, Bikini Kill (Tobi of the band, remarked that ‘punk wasn’t the final push for me, it was the Vail, Kathi Wilcox and Kathleen Hanna, early 1990s), Riot Grrrl (Molly initial push’.3 By 1993 riot grrrl surfaced in the United Kingdom with Neuman, Allison Wolfe, 1991-n.d.) and Girl Germs (Molly Neuman bands such as Linus, Mambo Taxi, Skinned Teen, the Voodoo Queens and Allison Wolfe, 1990-92). These and others helped to galvanize and Huggy Bear, whose 1993 track ‘Our Troubled Youth’ was described a new generation of feminists to continue questioning, as their 1970s as one of the best documentations of youthful British angst since punk’s counterparts had done before them, notions of gender identity, sexuality famous Clash album London Calling. The difference, however, was that and representation, queer politics, multiculturalism and equality with riot grrrl advocated a female exclusivity, which was not always present their male counterparts in the music industry (and elsewhere). in the manifestos of earlier female punk bands. These later bands were pioneers of a ‘Girl Now Revolution’, often meaning an aggressive From Punk to Grrrl Revolution? display of female sexuality reminiscent of first-wave feminism. Fanzines The riot grrrl movement came to public consciousness in 1991 became an integral part of the movement. at the International Pop Underground Convention held in Olympia, Washington - a six-day festival organized by Calvin Johnson (founder Personal is Political of the K Records label) and Bruce Pavitt (producer of Sub Pop fanzine, Whereas punk fanzines took an authorial position that reflected who had created a newfojori of fanzine, with two issues released as predominantly male concerns, featuring groups consisting of ‘four guys compilation cassettes). The first evening of the festival was aptly titled with guitars’ and variously defined interests in anarchist politics, riot 'Love Rock Revolution Girl Style Now’, and featured all-women bands grrrl zine texts often adopted a women’s autobiographical approach such as 7 Year Bitch, Jean Smith and Bratmobile. These women (such as diaries and storytelling narratives) reflecting personal opinions ascended the stage in a collective act of defiance against the dominant and aspirations that were by their very nature a critique of the punk male music industry, especially that represented by punk. As one zines that had come before. Sleater-Kinney band member Corin Tucker, promotional flyer promised: There will be lots of time to talk with who was also the producer of an early American-based riot grrrl zine, other women about how we fit or don’t fit in the punk community.’ Channel Seven (early 1990s), summed up her feelings by stating: The mainstream press made much of this connection early on with ‘I choose to write about my life for myself and because I think there is punk,1 while acknowledging that many of the riot grrrls were too young something to be learned from most people's personal experiences.’4 to have experienced punk in its first incarnation. The most explicit The importance of the fanzine as a space for a women-only connection between punk and riot grrrl was through a shared notion discourse was underscored by the first line of the ‘Riot Grrrl Manifesto’, of DIY.2 Punk’s promotion of the philosophy that ‘anyone can do it’ had written in 1991, which appeared in the second issue of the zine Bikini prompted young women to pick up their guitars and to rediscover earlier Kill: ‘BECAUSE us girls crave records and books and fanzines that speak bands, such as the Raincoats - an all-female punk band and precursor to US that WE feel included in and can understand in our own ways.’ to riot grrrl notable for addressing issues of gender and image. In the Riot grrrl bands often criticized the motives of the mainstream music 132 / 133 The h a n d m a d e is showcased in these three early riot grrrl zines. Producers Rachel and Sarah ann o u n c e on the cover of Kitten Carousell (early 1990s) that this is the ‘special nail v a r n i s h i s s u e ’. Bombshell (early 1990s), out of M e r s e y s i d e , uses stars as part of the h a n d w r i t t e n title. K a r r e n Ablaze was one of the early promoters of w o m e n in music t h r o u g h her fanzine Ablaze! (1987-93) and in this issue she e x p e r iments by atta c h i n g the table of contents to the cover. press, in which they were often misrepresented. Corin Tucker reflects Borrowing from the M ainstream that the entire movement was trivialized by the mainstream press as Such an approach continues through the way in which the format of the ‘being a fashion statement’.5 Huggy Bear famously practised a media riot grrrl fanzine draws from the conventions of mainstream women’s blackout, giving interviews only to fanzine producers. Fanzines provided magazines. First, riot grrrl zines draw upon mainstream media imagery, a forum in which riot grrrls could critique and reject mainstream media, much of it literally cut up from newspapers and magazines. Secondly, but also importantly represented an uncensored arena for reaching out riot grrrl fanzines often replicate the content format used by mainstream and sharing experiences with other young women. girls’ magazines, such as review columns, readers’ pages and feature The personal is also reinforced through the visual identity of each stories. Yet, unlike the readers of girls’ magazines, the riot grrrl individual riot grrrl fanzine. These fanzines took the graphic language producers are in a proactive position of empowerment. They operate of punk - photo-booth images, hand-drawn comic strips, collage outside mainstream fashion and lifestyle consumer culture, often in illustrations and cut-and-paste ransom-note lettering-and added direct opposition. Lucy Sweet, writing in her fanzine Chica (2001-c. a set of feminist-inspired characteristics, each producer introducing 2004, UK), announces that ‘there’s something about the superficiality her own unique DIY style. Producers appropriated techniques to add of a woman’s magazine I really enjoy. But boy, oh boy, they are just so a ‘sweetness’ or visual associations of femininity. Kitten Carousell frustratingly predictable.’6 Chica’s layout conforms to the conventional (early 1990s) used hand-painted nail varnish for the title of an issue divisions of a mainstream magazine with The Features’, ‘Regulars’, whose main feature was about experiments on animals by the cosmetic ‘Editor’s Letter’, ‘Letters Page’, ‘Horoscopes’, and ‘Stars Letters’. Its industry. Rebel Grrrl Punk (1997-2000) adorned its covers with strength, however, is in its ironic intent (such as in spoof columns like hand-drawn stars and hearts surrounding photographs of feminist ‘Slut in the City’), where Sweet draws inspiration from ‘having a bit of icons such as Courtney Love. The visual thus sanctioned the ethos old-fashioned fun’ in writing and the cut-and-paste imagery from 1980s that riot grrrls were both empowered to be feminists and had the Jackie annuals (Jackie was a best-selling mainstream girls' periodical choice to be feminine. in the United Kingdom, subsequently subjected to trenchant feminist Riot grrrl fanzines can be paradoxical and often iconic. Graphic criticism). Sweet acknowledges that ‘it’s got a kind of knockabout, devices that are considered ‘feminine’ are pitted against those that cartoony feel to it, and it’s very rude, with an anti-celebrity slant and are found to be ‘masculine’. Take, for example, the adoption of the lots of crumpet and swearing. It’s definitely no Glamour and it doesn’t fit Japanese-produced ‘Hello Kitty’ as a third-wave feminist icon. This cute into your handbag.’7 Fanzines thus actively engage with popular cultural illustration, created in 1974 by the designer Ikuko Shimiz, provided riot texts in much the same way that punk did thirty years earlier. grrrls with a symbol of femininity and at the same time of commodity These fanzines never forgot their second-wave feminist fetishism. Within the context of riot grrrl fanzines, Hello Kitty is a predecessors. Riot grrrl zines form part of an established feminist tool of cultural subversion signalling the desire to protest against, but publishing history with forerunners such as Spare Rib (1972-93) and equally to reclaim, the term ‘girly’. Hello Kitty is re-contextualized as Shocking Pink (c. 1982, 1987-92) in the United Kingdom and Ms. simultaneously feminine and radical by means of a post-punk fanzine Magazine (1972-) in the United States that were forums for raising such aesthetic of high-contrast photocopied imagery, degradation of tone issues as equal pay, child care, health care and anti-ageism. Spare into unreadable areas of text, and collage-like layering of cut-out texts. Rib emerged out of Britain’s counter-cultural underground in 1972, — Chapter 4 | Girl Power and Personal Politics 1990-1997 inventive L-.-.hlee .SOLAR CULTURE TOOLE I The tension b e t w e e n b e i n g a f e minist and at the same time ‘feminine' resonates in the use of visual im agery in m a n y riot grrrl fanzines. Starlet (1994) is a ‘tiny little f a n z i n e ’ (in a m i n i format), with Mar i l y n M o n r o e as this i s s u e ’s cover icon, yet inside, articles on w e i g h t problems among young w o m e n feature. Twinkle Eye Fizzy (n.d.) combines pin k copy-paper w i t h photo-collages of young women, and cites Dr e w B a r r y m o r e as a feminist icon. The zine-style p r o g r a m m e for Le Tigre and Las Sin Fronteras (2000) promotes ‘a feminist c a b a r e t ’ at the Solar Culture club, starring Le Tigre (Kathleen H a n n a ’s band post-Bikini Kill) plus o p ening act Las Sin Fronteras. 134 / 135 Botramaid (late 1990s) by Gail Douglas and L o rraine Douglas was an e n t e r t a i n i n g m i x of music, cartoons and cut-out paper dolls. In the United States, Sabrina M arg a r i t a Sandata founded the feminist/queerzine Ba m b o o Girl (1995-), c h alleng ing stereotypes M r n m i d FftrtZANt W V T H m fVNNttS from a Filipina/Asian point of view. The Pretty Ugly Collective in A u s t r a l i a produced Pretty Ugly (2002-) in the hope of 'inspiring you n g w o m e n to write z i n e s ’. It asked w h e t h e r ‘the riot grrrl m o v e m e n t has had its d a y ’ and w o n d e r e d wh a t h a ppens to girls w h e n they become women. p r e J f t y u ^ l y i^ 7 u e _ # 2 Record rwistws: &<vm Ki\\ S W l Sw*n F\sW ) » f^eKons ~Terrorv\s\on Rjidjl ' ) > S V n O k W - Kv.V\*MUJ ■- c^vujz. C (x t\:o o a ^ YYNatfi - I X p s J tc .... Chapter 4 | Girl Power and Personal Politics 1990-1997 S c o tla n d S\J T h e riot grrrl ethos c ontinued to evolve via a series of festivals. The Ladyfest Glasgow prog r a m m e (2001) d o c u m e n t e d the first E u r o p e a n Ladyfest, where b a n d s such as K a tastropy Wife and local Scottish indie group BIS took the stage. UK Ladyfest A r t w o r k 2001-2008 (2008) w a s a collection of posters, p r o g r a m m e s and flyers fr o m 18 festivals complied by He a t h e r Crabtree and M e l a n i e Maddison. to d e m o n strate the diversity of approaches to the v i sual identity of riot grrrl. becoming a vehicle for the women’s liberation movement. This second- reclaim the word ‘lady’. Allison Wolfe of Bratmobile remembers that wave feminist magazine saw its founders, including Marsha Rowe and founder Kathleen Hanna remarked, ‘We will have to find a new word Rosie Boycott, focus on the ‘personal being political’ by covering such when we get older and become ladies.’11 Although riot grrrl was initially topics as sexuality, lesbianism, masturbation, women in industry and seen as a response against the patriarchical attitude of the mainstream equal working conditions. Shocking Pink announced its remit was music industry, it was symptomatic of attempts to empower women to ‘counter the propaganda of magazines like Vac/c/e’ and to celebrate more generally. Ladyfest Glasgow (2001), the first European festival women’s sexuality - whether straight or lesbian.8 The graphic language following the Olympia event, similarly aimed to reject the conventional of each publication built upon a distinctive DIY aesthetic where role models offered by the dominant cultural industries.12 Lee Beattie, handwritten texts and stark black-and-white photographs featured one of the Glasgow organizers, explains: The whole ethos surrounding within a layout more post-punk than glossy women’s magazine. Ladyfest was to take the ideas away and make them relevant where Perhaps the most significant aspect of the graphic language you live... Ladyfest does inspire you to start changing things yourself, employed by riot grrrl fanzine producers is the use of the three ‘r’s in the no matter what the scale or size.’13 Ladyfest provided opportunities for revamped word ‘girl’, in an attempt not only to reclaim the term but to fanzine producers to sell and exchange their zines. At the same time, reinforce it through embellishment. The world ‘girl’ is invested ‘with a spoken-word artists and, in this case, menstrual activist Chella Quint, new set of connotations’, which now may be read as an ‘angry feminist of the fanzine Adventures in Menstruating (2005 -, UK), had a stage who relished engaging in activity’.9 on which to share their fanzine stories verbally through readings. Since Historians have recorded that the term ‘riot’ originally derived from Glasgow, these primarily women-only festivals organized by volunteers a passing comment, ‘We need a girl riot, too’, in reference to 1991 riots have taken place all over the world, showcasing bands and female in Mount Pleasant, Washington, DC, sparked by a shooting amid racial acts as well as ‘creating a space to explore ideas, network, meet’, tensions.10 The term ‘riot grrrl’ is also reported to have derived from and through such efforts strengthening the riot grrrl community.14 Bratmobile drummer Tobi Vail, who wrote about ‘grrrls’ in the fanzine The idea of community is explored in the following chapter in Jigsaw (1988-). Whatever its origin, the term graphically comes to life if relation to the way in which digital technologies and the Internet have ‘riot grrrl’ is visualized and read as an aggressive-sounding ‘growl’. The provided fanzine producers with new opportunities to disseminate zines multiple ‘r’s have a strong impact. The word is simultaneously read and on a global scale. It raises the question of the status of the print fanzine heard. Writing is treated as ‘visual text’ - the way in which the forms are and where its future might reside. For riot grrrl, however, the signs drawn facilitates communication of the riot grrrl message. Equally, ‘grrrl’ are that print zines will continue to flourish. The format of the printed as a word is symbolic and is interpreted by different fanzine readers fanzine as a tactile and immediate form of communication reinforces and producers to mean different things, thereby catering for (and the personalized nature of riot grrl narratives. The riot grrrl fanzine representing) the range of voices and audiences riot grrrl embraces. is an intimate experience of reading, in the negotiating of public and private spaces, but also in the building of a social relationship between Girls Grow Up producer and reader.15 This also explains the continued popularity of In 2000, riot grrrl supporters organized the first Ladyfest convention the Ladyfest events; at the time of going to press, Ladyfest is set to in Olympia, Washington. Ladyfest was given its name as a way to celebrate its tenth anniversary as a ‘global DIY movement’.16 136 / 137 LEED S & BRADFORD Punk-style cut-outs and collage m i x with ubiquitous signifiers such as stars, hearts and feminist icons in this spread of 1990s zines. Bikini Kill (early 1990s) is focused on the eponymous band (quote: ‘three of my best friends are in Bikini Kill and we made this fanzine together... and we all play music together...’). Leeds & Bradford Riot Grrrl! # 0UR,HnsTS» •; :i*'v GRBRLZINEjjg? V; ______ r u t n WORD '9, *» uaNO «*• C ljg v ? . (1993) gave a localized spin on the movement; the interior spread be l o w is a m a n i festo for activism. Dancing Chicks (1999) m a k e s the point that fanzines are more tha n just wri ting about ‘cool b a n d s ’ and reflects on ho w zines have affected the w r i t e r ’s life in a positive way. ^ iACTIOM m y L IS i L uSIMPLE iit u ^^ < \) PRICK You don't have to lead big marches to be politically politically active you don't have to carry every sorrow of the world on your shoulders but you can make a difference. Here are some easy ideas for direct action in your own neighbourhood. 1) Defacing hoardings, writs something succinct and vitriolic with your trusty cfc free spray paint. What is really good at the moment thanks to the recession is that there are quite a few posterless hoardings so go for it, it is loadB of fun. But only go around in small groups max 3 people you don't want a criminal record. Make a collage of posters stick paper flowers on whatever you like really. Q? <!? <5> <5> <57 can get your hands on a photocople'r 2) Fly posting, if you for free print a load of posters saying whatever is pissing you off at the time and post them around your neighbourhood on streetlamps and the places where posters go up for bands and shit in town. ^ C ? Q? Q ? 3) Ripping down sexist posters, gives great satisfaction. I did this with some friends in Sheffield cos the Roxy were advertising a strip night with posters of girls with their tits and arses hangin out. ^ S> ^ ^9 A) Going to shit sexist movies like Body of Evidence and laughing very loudly at all the stupid cliches in it and making comments like" Why the fuok is Madonna wearing bucket knickers?" or "Oh what a surprise she had to die in the end, oh great a bit of witch drowning oh terrific." In a really sarcastic voice so that the rest of the audience can't swallow the Holliwood myth and let themselves be duped into thinking it was good. It's a dirty job but someone has got to do it. 5) Going into public libraries and ordering feminist books paricularly ones with stuff about the goddess and serious radical arguments in them. This has two effects as the governement is trying to shut down libraries because not enough people are using them. It does not occur to them that most libraries are not designed to be comfortable congenial places where you can hang out and expand your mind in relaxed peace. Also you are expanding the availability of feminist literature to those who can not afford to buy them. You could combine this with a poster^_ campaign. 6) Hassling your MP write letters and make appointments to see him or her they usually have things called surgeries (mmmm lovely name) ao you can go and hassle them about something you care about that he/she can ohange but you need to have done some research and perhaps have a bit more support from other people but that is what Riot Grrrl is for. OK so there are some ideas for you to activate on the cheap they can be a lot of fun, it is fun and silliness that will win the day ag we oppose the Gtuffed shirt regime of oppression. May comedy terrorism win our freedom nothing hurt except male anal retentive pride. ^ _ _ t 0 v e . € ( / 2 i a » | I I I I W I ! ■ ! ■ H IS A POWERFULUNJUL IT CAN MA KE A GIRL FEEL GUILTY FOR NOT SLEEPING] WITH A m I GUILTY FOR, BEING ATTRACTIVE GUILTY FOR EVEN URTING H i SHOULD FEEL LIKE THIS? DELIGHT ^Dancing Chicks!^ Issue Four ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ One "Pound rH«*. Iv. a e n i c k i e ... s l e a t e r - k in n e Y IV?V! fACK CAT :>u > (i m m YYWAN RIOT QRRRL STUFF , i^r 9m y; *>*% R E V I E W ’S ! B IS ... S H O R T S T O R IJ R | t e f. ■ a m o r e s c h /■ • s ... r m ■■ , : i ■■" IT H E R ... S T U F F -I Riot Girl London * newsletter * January 2001 WHO ARE WE? R iot G irl London is a g ro u p d e d ic a te d to sp re a d in g a g irl-p o s itive m e ssa g e and e n c o u ra g e s g irls to fo rm bands, s ta rt zin e s and sto p p a n d e rin g to the s te re o typ e s th a t so cie ty th ro w s at us. W e a re not a n ti-m e n , w e sim p ly fe e l th a t th e re is an im b a la n c e in this w o rld and we w ould like to change th a t. E v e ry m onth o r so w e m ee t up, b u t a lot o f R G L is based on the in te rn e t. W e a re p u ttin g out this n e w s le tte r to involve m o re people who do not have re g u la r a cc e ss to the net and to t r y to g et som e n o n -in te rn e t action going. * INT ERN ET ZINE * Our w e b s i t e is u p d a t e d all the time and n ow fea tu re s a co py of our flier, a guestbook, mailing list, poll and some g reat links (not to m e n t i o n e ve n m o r e info & news) . You can also email us (and we 'l l even r e p ly s o m e t i m e s o o n i s h - w h o o h o o !) . Its all at: *' * * We are currently putting together a zine and need articles & artwork from all you w illing contributors. We want to make sure if represents the views o f as many London girls as possible. There isnt a deadline yet as such, but we are hoping to get it done pretty quickly - * maybe o u t by March? A n ything to do with h t t p ://gurlpages.com/riotgirl.london * your feminism/beliefs, relevant London s tu ff email us at: riotgrrrl@protest.co.uk * * rants, etc is welcome. You can email any questions & zitie s tu ff to us. Thanks! SPREADING THE WORD * GIRL GIG * Currently we try and spread the word about Riot Girl London by posting on websites & mailing lists, but most im portantly by giving o u t fliers. We have a set 'manifesto' that is on the fliers & * * We have an a m b i t i o u s p l a n t:o put on an all gir.l ba nd s gi g this summer. If you c o ul d h e l p w i th i d e a s / m o n e y / b a n d s p l e a s e do!!! * website, but people are free to change it <§r C O N TAC T design their own leaflets, i f you would like some fliers to hand out, email us and we'll send you some, or make some yourself. We are also looking in to making RGL badges & stickers, but aren't sure exactly how to do that, or how to afford It! i f you can help, let us know. © * * * * A s this is su p p o se d to help n o n -n et p e ople, w e know It sucks th a t w e d o n ’t have a *snall m a ll’ a d d re s s . W h en we have som e fu n d s a P .O box a d d y w ili be a rra n g e d . T il then , o ff to the c y b e r ca fe ! Don 1 expect a newsletter every month because we 'II probably be working on these projects for a while. When w» have wore stu ff to tell you about or things to beg for, we II do a new one. Please keep in touch with us. ok?! ^ 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^ and %w talked about f«ral« mno w (oc U d ,^T u , ^ Li?:*££? 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*° fBntlno' »TOcan xerox “O”3 Stiiliw (ln inD.C. ywt“ *ln«i no she it list it nUI ™ii ronical time donuts m m 81® Jr»VHeft*. Riot Girl London Newsletter (2001) is a call for zine contributors in an effort to 'get some non-internet action g oing’. The examples on this page include several very early Ameri c a n fanzines that were still very much in a punk mode. Jigsaw (1988-) was put together by Tobi Vail, later of Bikini Kill, and initiated man y of the visual and textual characteristics of the emerging scene. Girl Germs (1990-92), with its unapologetically homoerotic cover, was another pioneering zine, created by Allison Wolfe and Molly N e u m a n of Bratmobile fame. Riot Grrrl...Believe in Me! (1991) was a ‘c a l l ’ for fanzines and tapes to distribute t h r ough Riot Grrrl records and press. Channel Seven (early 1990s) was created by Corin Tucker from the band Heavens to Betsy, and E rika Reinstein. 1. sr, «■ contributor copie. of other girls' z i n o T ^ ^ ^ - ' 2?.? *? ,lv* ,v,ch d participate 1 il girl network nationwide (or lnti^tl?) trylrq to nuke ncoey°c ng to <to something lrportant 9»a in cxir own llvea and the live* of other glrln, lnlon or expectation Ho JU tosltlon or consensus, boco 'melyhwT" ythlng. Q» concrete thing to have a place where t* can pi vr*n, md bring up issues £ to cn tho nail In? list, plea your fanzine I with your address on it to RIOT (WTO. c/o The Dnbassv 32H 19th St. NW Mashlngtcn DC 20010 "townl *i)) nt£jj ^ * 4 ^ f l * H o ffs I Sj>qjOJt + -SPttt ^ d C u la r ^ 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 / £}e^ \ A&i i^ n a \ ^ g s > r W / g S w l y F o r \ t . in r i- Q f J 6^ rC- O/fcp "nJ t\cn’t v~ef\g1<^ ^ 5a.iT1 — '?22®n art ^y. *Aj ltc™5 O (Y/ a fen r , /peri ejx! oo/\ Atvo rn«y as«T / wHywt'ai i-rnn j nc^ers.^. -z— ]. rot so £o'/3S a.lccUf |IS cvllejj c-uy/nq ^ e ' 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£ Moeexw M O G G i E ($ > X d o n 't Cafe.. S O p S ong } M C C IL SbBBBBBBE CAGED: the B east; of Edqeley i JOLLYImlc plccr i ct|uall> liumnuMc Ant.) g Hmband (Parkway) gf y ifSK> F E f tT ^ f tX tJ G , k'enfck'i'te Soo,f PLASTIC FANTASTIC Fonloifiqu* No. 5 [fontono] •••’....... Jo%e/» Gxftusel Gods<ster (telflrt, n S p a r e r 3i4i<\f\„ 8vs , frnzincs rr SkarC/ #nj b.iim,. t LUCAN ficvxnW'4cift«6 O'ic JxccHntfc These British zines depict the h i story of the m o v e m e n t t h r o u g h the efforts of Cazz Blase. Vaginal Teeth (1998) references a 1970s Ms. Magazine cover w h i c h itself was a parody of the ‘f e m i n i s t i c o n ’ Wonder Woman. This one-off zine features reflections on the first Leeds Riot Grrrl meeting. A g g a m e n g m o n g Moggie (199399) was a long-running perzine (29 issues) by Blase notable for the ho n e s t y wi t h w h i c h she shared i n t i m a t e details of her youth. She exhorts f e m i n i st s ‘to challenge the things that a r e n ’t r i g h t ’, whi l e exploring the issue of ali e n a t i o n (‘I d o n ’t fit in here. I d o n ’t fit in there and nobody seems to c a r e ’). 144 / 145 Visual references to f e m i n i s m continued to be developed in different ways as a second generation of riot grrrl fanzines emerged in the late 1990s. Rebel Grrrl Pu n k (1997-2000) by K i r s t y took the opposite path to p u n k shock tactics (such as bad language and aggressive t y p o g raphic forms) by emplo y i n g hand-rendered hearts and stars and images of ' f eminine’, femi n i s t icons such as C o u r t n e y Love. Sophy, producer of Sista Yes! (1997-99) cites 1970s femi n i s t zines as an influence, and acknowledges a debt to m u s i c i a n Patti Smith. J W W t IT N°W This issue is safety-pinned together, and has a cover f e aturing a r emarkable h a nd-drawn illustration of the ba n d L7. Chapter 4 | Girl Power and Personal Politics 1990-1997 m ■.it «%<• v'. :::••?•'>„ ■ ’^ M v-A •' ..■ ■■ ■A ■ : - V ' A : v te : ;A ; ' ■ i ”■. •>•-• •• '•.-. -M] : ,: 9 A- • V ^ . - .. . -xv-" -• ’ • •■'■■:■.• ■ \ ' ■ ■ 'AAAvfe^. A A ^ :.. '• • •; ;■■ . ■■,■ $&.!■■•& ■e.utsm ■£P<k.FP$K C0?EMWs&M c0?em to l^ECOJCOC-TiON. C^JSE IdNfci IS Rvffi WNt>«6t>TiMS TA&T®R gc- w.v;, * IS BORiWa oM> M il* . & n d TV s NOV vifcE i'M &oiN6 10 W t M tlH M E C H ofiiES W 0GSr,AttJ- THf<N 2 ,*“ wK^- 10IRS FROM NON i cftw SEE » | c a f BAWN«I COOWK, ::vfL;^ f^vw.FoR ^ MiilftmEK eif?M3rscrt»u a*st,0N m ■•■■• W ftW M , *Af^BE. ) WOND0? WWIVftfl tttE VTCE OF THIS fteipE w \a S fa t t w o a m iHMptWioN 10 C&toJR iV h v t OR IF I 'l l 6E QJCOAH R m o J ffi ?R£*A BULiMIK 1Wct OON<-fboK Will No ION00* NltME ME. \ iP-KiOW . UlteE fay CoWpO^TVE VfoRVSK # *1 . ----- . a u g u s t/ s c ft E'l® aoiNJi to £tD i t ;., i 1, '1 A.ID ELc.VAr^ V HAT iIORE Bt THAT r'-'.-Y ’D11 >|| 1 I OFi.l^C YOUR L rIE! PA! ^T iio ITH L .TTLT. I I ; ■| . : : F0 IVL F/vLLi. B..CK T , 1Y DItT C0.:„ A ID BLACK OFF,.. DIlT. «*•« ^ ."S K S -.f F IGiiTl IG TALK Ii TI-L ™cRt.. T( I 0 IARE IOT T CAR ■ -• • I KICKED THE SCALE! TODAT BECAU • I YOU T F LL SAC.; ORD-> TO S_OnU - TO blat THIS, to becooe tr ; a and get BETT .R. IT I IE Hi RE r BATTLu ,. n i| vLY T FACt. olC :ES ‘ ": r. AGAI : 1 IE M D I - S o L d T BlIUVl W A T 1 1 1 1 c. 1 accustomed. It Is not the safest way to go through life, but I know 1 under,tJnd how t0 dcnl wl,h '-cling like shit. My self-identity now that I have a brain that processes thoughts healthfully. ) Idea what to do with myself Lt f°°haSbC C °lflCd'8nd1d0nothnowwhere1a 1 lost and alone. 9Every one °{ of E my desires ” as nn l'lu5k)n- A" of mVenergy has been invested Th» ?VK mr e 10 ** 3 mon5,,:r«''^vmg never really seen me things I have done to protect myself having been destroying J It Is a betrayal of my self to admit these things. # Who knew feeling better would feel so fucked up. . -':d .IR R O R . .f?. .??. .y '! ? 01 ,ong •* 1 “ n remember. *»t;fflsfRsrta;;u r,r=r,"“1 FOOD I FOuD I. ■■ I ■ .bk » . v . .. ■* * miiu i ouess arterwi Is to It. I hate this, I feel so fucked up right now. ftME ! S\)C« WK-tANCE^ TrtM M ?e tE M p liN ^ . WITH fb o o •|fSN35 ! M 'i OPt\C>N. \ u BE AcRooNt) NH C W E S T » Mtfrt £>f(N&Cf»0S LoVE. 1 VMiVl H W JEtO SfrCDIMM to txNNER wrM HNHA'i B JH ^ l « N f l l E EVEN iM A. RE S S J S T ' ° “ " d °" “ bo“ ‘ “ “" “ ""0. I "*»« ” "S •> I can rcmemoer. When [ „a. eight and putfl« .n...« o,n... ».t6b.„ m'ZE^'XJZrJSZZJEi!« i'ZZ'lTi L?r ow „ „ow ?i!ss ::;zIMS -M Bhoddno and I'm not sure I know how s x U j r o r "M “ “ ■WB*' “e B*“ a° °°m “ ! V400VC) WSi^NfteuJ fJECMiRE UEJER WW\N6t iN ^ [ PAIR The ontldepressant medl«aHons I tako seem to be working. I’ve taken them for two weeks, which It the minimum time they reaulre to benin activating changes In the brain's serotonin. Already I have noticed that I am less prc-occupled with food, not as critical of my body as usual. I havont been picking fights with my boyfriend, like I used to. I don't feel I get nearly as sa^iyjs £ it so Focwnc, t o r me t o lMWiME ee\ N & fl«E t; t f WftivJei. toffitiMES i i COOlb BE AN MtoHoUc oR tfWfa 0® ?, if l'W\ 6K)|N6 to A HfteTT M ML. IF ^ ■•JunK" INfts DRiN^ OR WW6S, REto'/EFs/ AT «.« f.K« than I CoMPlEIBi). fiECCMCKNfa I'll ftlWftit f WWETO BE CH(t/*K> m > fWsC*| For W E FccOSi-fEtMKl^ -ftVrt CWJ WCtc%tKRT ft BiNfeE. Y1 U »■"■«»• »« ">« .H'lJ'fJ," m eaning ono, accoraing tbc the the abusive «.a, wj rv. coma » tooe w.m *Mfl° the nr ^ abusive »...««■* . . .. only thing I1a^ know to do Is go throw up or cut myself n I confusing. When things get all fucked up, what I nonn_ confuslno. Is run for a razorblade razorblade and and a half-gallon of Icecrc’arru! Everything ........... . IS absolutely fucked up. But 1am not hunary and I don't feel like cutting. What the fuck Is this shit? What can I Cft CWfcRKCTER Ft/cW OF 1WE A&Mt-tWE ^0RT,1WS FTtOBtGVA OP VliNE IS NOT \ » P rx>WM i W W W tWrt IF/WHEN i m (V\)6-U (AonC- + bloody) W r'“ *"d m"^ad 7n”*ntoltM,Md>m0nrV,ian'haV<“nV0'Ihc*cla5tnln*mon,ni^ SXTtaiE1 y EA CA I.IOT A'.LOV -LF. Ill !u. . D TO 3E .1 Til I, SO TiiAT I CA I VA.ilS.I RO T.lt FACE. IF THi .J]<LD. •.IY SHOULD L IVi REVOLVE AROUIID IEA S? 1.1 Y HOU., IT CERTAINLY [DOES A ID SO I REBal AGAI.i;:t t i . i IJusTICE. 11ELL THI^ : I - HO1 .. I FEEL! tomcrrciv ***^ ia . . 1 year (if*iv'ttit>< j OLD A.;D HAVl tr/lntftriucA F jUGHT THc URG^ FOR F D, : ,.i c.ATI IG Dl.‘ HER FOR .IEARLY 10 YEAR... Ll.Ct iA. I PEOPLE IT .TARTiiD ..ITH TAU ITS FR ..I BULLIES. I VAS FAT AID I KIEV. IT. I 'Ik:- DIA. V.ITH TE. DA1CU, TO1 ..ARDi> BOTH z\M6 -Fo^ TVAOSe w\TH ^ vn t^ G s D iS O (5 D t& S w a m t HHC 1 0 s & Too/ITHe eiD£ ^ ■-'v: •'■ mil ■ ■ sB J .-Y if r-v - .v .- v S ! 6 Y £ A _ ( 0 4 c L K A .Y 6 ..... *- :■■■■&?-‘ .-i-'i-y' Chapter 4 | Girl Power and Personal Politics 1990-1997 G f l P T e f l i ( Q ife A id o te l o l & b i t n ? , CME2 NOUS U -Ifas El bJcrv C a t- d W t a vfes C .p n « ttaocn jp de. IcoUovncs f W C f~ * - 0 A b .- caca\%»iV«t< <1^ 0V.-«s. «.V c .. ') TJ v 5/C p**s . 7MU-+) a t fcocrt i t c an n t <!> Q it. (aiSne. #e~o<> 'I poV d’ Vvuitt. ^Jooar. d*. dvxo'a^ 6 p«>;Vc4 coiMfcu cri***. I'tju'dc. PirateJenny A saucy little zine for your inner feminist revolutionary Volumetissue 3 lute Summer/fall2000 "probonopublica" $2U.S. The Butch/Femme Issu What is it? And do i need any shots to have it? A d d we are pleased tt feature Homy Lamm, The Sexiest Woman In America TVsIssueIncludes'gloriousstories, Ustontliterature,unipeople'spersonallives todstraightupnits Lesson 13 F a m o us Artists Course P re tty g ir ls — to d a y 's m e n a n d w o m e n Fomout A»mft School*. Ii*c. Hew you can have all kinds of Female TrooMe in two Hew Colors! nancy-nantslavenderandsott-butchblue PirateJenny Asaucy little zine for your inner feminist revolutionary 1 L fs n a #4 liU K M m ir / fa f i Men in Feminism? Totally, absolutely, definitely, m aybe. Russ Spencer m s « ■ m «ro ■M Susan Faludi klda t i n kicks11 n i U U tiles all Kit M* i c Sexuality and body image were growing concerns in the movement. Junk Food (2003, cover and inside spread) by Judy is a confessional perzine that looks at her relationship with food: Hello Kitty is subverted, s u m m i n g up the pro d u cer’s feelings wi t h the caption ’Hello S i c k y ’. Rachel Kaye's Toast and Jam (1997-98, cover and inside spread) is a self-help zine for those with eating disorders ‘who wan t the ride to s t o p ’. II Pleut des Gouines! (2005-, cover and inside spread) is a French Cana d i a n bilingual comiczine (translated as ‘It’s R a ining Dykes!’), with tips on h o w to ma k e a lesbian cake. Pirate Jenny (2000-n.d.), from California, included a ‘B u t c h / F e m m e ’ issue and took an almost academic approach (interviews with Susan Faludi and Jennifer Baumgardner). f t Ia n H M liter W ir t I n iM H H a ’ S 1 K /4 W 148 / 149 R A D iU m D iA L 3A D iU m D iA l Iscarce lavemeA^j ^r l r e e i -Wn v er jews l^ A D iU m D iA L RADIUM DIAL’ [-TiiOijcja £ £ £ sv j 'P e tu ie n ^ | ^ i t t ” o, ne 1 i ftoni b a s x i .jw; Radium Dial Richard Hell I Mirah Hi Gravy Train!!!! The Sound o f Music I | m|| Responsibility sucks! — I IIIiH iiin iin iiiiiRiiiivf 11 Getting drunk for very little cash Covers and interior spreads from the longrunning transatlantic (Chicago and London) riot grrrl perzine Radium Dial (1994-). It was produced by Ilona Jasiewicz (who now works in m a i nstream publishing and who was actively involved in Ladyfest London), and was notable for its use of found magazine photography, including cover images of men (for example Harvey Milk). The blocky lines of text overlaid on colour photocopies provide an almost formal layout, far removed from the punk aesthetic (although the rock-androll content was a constant). Like man y zine producers, Jasiewicz ended up writing a blog, also called ‘Radium Dial’. Spring 2 0 0 3 — Chapter 4 | Girl Power and Personal Politics 1990-1997 -----1 —— » .-'-V Contents 1 No, th a t s n o t me typ ing in m y underwear 2 Slums o f Forest H ill j f l 3 Lauren comp?. :• ean j ';•* 4 She d fa in t at the pricss, a nyw a y^B 11 I’ve broken th a t rule now 12 You d on 't really tike it when I make the firs t move... i ■ ! ! I ■ i ____ ________ ;------m Well, it's been a long time. ( Been a long time, been a long time, been a long lonely lonely lonely lonely...) Sorry. I'm a bit drunk and am writing this editorial at work. Yes, drunk at the office. Whoo-eey! Hey, there was a party in the Sales department with snacks and booze, and those are two things I cannot say no to. Since the last issue of Radium Dial, things have been keeping on keeping on. Home-life is happy; work is, miraculously, still rockin'. Love life? Don't even talk to me. Well, lets just say that if there's one lesson \ I learnt in 2002 (and that's being optimistic), it's that my relationships are less cut and dried than I previously thought. I've spent the last six months e-flirting with a girl I like, a guy who lives in NYC and is married, and someone who I don't even know if I am flirting with. And it's all ok. I don't need it defined and in a little box marked "We Are Dating" or "Unrequited Love" or "Lesbotronic", even. (But that's a pretty great word.) So I think in 2003 I'm going to \ take things as they come. Not read too much into catching ) someone's eye or an unreturned email. Just go with it, and if something happens, great, and if not, that's ok too. Jesus God. Really shouldn't write editorials while tipsy. Will ever learn?! 13 How can you go wrong? H 14 I w ant a beer glass tike this one.l 15 Do you th ink those are all Kathleen's books? ~ 16 Croup hug! I 17 A ll filth y rude except fo r the last tw o 18 The lady's not fo r tam ing ^ 20 If he d id n 't live In NYC and w asn't married, I'd be all over him 23 I say ‘fuck’ a lot in this piece! 25 W ell I thought I looked ok 26 This is really w hat friends are 1 27 And she's going back...; 30 Are you sure I’m allowed to own property?!” ! Now I got bored so you can w ork out the rest o f the contents"youreeli Ivy's guide to underwear Good, thing s.’ stroking peopltes hair coffee Z;..' lying in bed aliraay reading telling teachers to fuck off whispering "bollocks"/"that dress makes you look fat" into the ears of BA fashion students cats ;md some dogs As Cynthia HEimel stated in "Sex tips for girl s ", clothes serve the purpose of keeping you warm (aswell as telling everyone your tastes in music,your occupation, wealth e t c .).underwear is purely about, sex.well it should be anyway.Why is blacV. such a popular colour choice for bras? it shows through almos’t everything, why is white worn by so many women? it gets dirty anal goes grey after a couple of washes.why dont we all buy flesh cofrloured support bras, like our mums do? i think its because girls thiks about s e x ...o o h ..85%I of the time, (or is it just me?) and wearing satin push-up bras/pink lace bodies/black lycra knickers makes us feel frisky, confident, witty,empowered, ■ H * Dont tell me thats rubbish; doyou wear your 5 Op km lexers and a thermal vest to a party? ripped pan and an elastic racer-bacV sports bra on a hot date? mi so •a dont. worry about beinq at trair< t-wSKTSV —--------W t o th e f e n in l s i movement or somtning^ntTres notning wrong with being a sex goddess (or fee'ing like one) why sho u 1dent you taVe advantage of your sexuality get, what you wantl out anyway, tbis is supposed T d “B e a guide.so here ruleijust wear what makes you fee; beautiful, rr.ysterious,clever,cunning, cocky, 1ike a cheeky minx.but please make sure its underwired and preferably in a totally impractical col o u r .1i 1ac, powder-b 1ue, shocking pin'-', black ,and red are all quite suitable.but i w i 11 ieav the topic of colour with the undisputed Queen of Undergarments, Dianne Brill... l>nmb*hell! bad things ___________ ________ ___ __________ ir/illif! Inni.rviiir. I’unii. Tm»l. nlfirk: Subliini'lv lmm>. Wimtlng n u im liiip . Kemlv Irijih l itim !i. Kx| f t tu t: S |)« d y . I i u u iiiililr . . i n i - n i t I’hivuuili*. dieW.ri.... The oil..- fuckers who mosh with lit cigarettes , % j patent leather airwalks.first appeared around april fools1* day> funnily enough. people who disrespect the zine.its not a b eer matT§rui y o u cunts. | %§Italian tourists with EF rucks aclcsTJ people who stop suddenly wheni youre walking behind themT] all the blokes at Blow Up who dance with their elbowsj stikhing out.and they h ave very sharp elbows, serpents V W hen ,1 hubs w n it» n i l . • h r m m F tlr liM it t H oi bunh’ ll li IuiIh*. £»* P in k : Pla yful. AIidim i iniincenei rlee|i*'r •Im cli’ *. Tin- i >.'i-i.ilN w iili im; hlu clt I "le rm ile Iriiin plH .” liVlii/f; IViM'lital. M-in.iiiv.1 m-lr-l.. S iililh ' In l l l r |h»itil n f Im riiif*. i'iiIhi F lii'lu iin iililr fun. Nui • | h lt ii k lig h t, ilii'ii ta e m lib M t L l llli' Ituv hitii! iKunul hm is m il, IN a v v him* i* u m i-l— so im r iftiiiiig 1ml lniit. il nmlil lii* i-liuMnhl-rwh lik.- ri I P m u lii Alwity. lli.> liHikunmiil. i»'v« 1 Yvllm i'S H.-.iiii iiiIii i-— . 1.1111 >.m ilun-. 150 / 151 ___ Riot grrrl was not w i thout its left-field faction, w h i c h took the form of 'radical c h e e r l e a d i n g ’ protest and p e r f ormance-based activism that began in Florida in 1997 and spread to major American, C a n a d i a n and E u r o p e a n cities. Cheerleaders used fanzines as an outlet for d i s s e m i n a t i n g their ‘c h e e r s ’. The front cover of the Radical Cheerleader H a n d b o o k (2000), w i t h its m ulticoloured tampon, is gleefully explicit. The Ladyfest Cheerbook (2001), p u blished on the occasion of Ladyfest 2001 by the H a y m a r k e t Hussies, defines radical cheerleading as 'doing the splits wi t h middle fingers extended'. Shag Stamp (c. 1994/5-c. 1999) is a perzine by Jane G r a h a m that hi g h l i g h t s burlesque striptease and comedy performances. Radical Cheerleading equals protest plus performance. .It'& doing the splits with middle flAgers extended.,We think protesting shouldn't have to be boring.. We'if-e the Haymarket Hussies, a Radical Cheerleading squad based In Chicago. We adopted our squad name in honor and memory of the Haymarket Martyrs - 8 Chicago anarchists who were fraried for a bomb explosion which injured and killed a number of Chicago police officers during a labor rally in 1886. Ultimately convicted and wrongfully executed for the crime, the Martyrs are a reminder to us of the capacity for braery in the fight against a system which places profits ahead of human needs. ©tr vyv ^ " - -Jo) I VTEPHWIE DtBMi. * ow. i=A»v»U»A rtVilN C hL C 152 / 153 a w s B M B in a rs . V e ^ ta n c -e - ic p o l i t i c - " ' ■M L 1w' \ % y i.ov* Rote Zora ■:j»Vi* R]3MM .o■*«.i<«9.■.■••, »k * g r a ^ s • NUMBER12 4 H n a « # ^_ ■••«g*w.; ■■ ± - 3•. 7;u«.vu r;4\Kvjv • C ;•i!'»u b' a ..etxv wcv'S'X' interview with two members of the German Women's M v ^ l/jJ ^ O r y L s a p p e A V * , •• r • % _ 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 into live performance. Period; A Menstru-Rama!! (2001), produced by the Las Sin Fronteras p re s e n ts riot grrrl collective (based in Tucson, Arizona), used the fanzine format to document m enstruam a! 2001 m enstruam a! 2001 m enstruam a! 2001 m enstruam a! 2001 m anstruam aL 200f workshops. These events were a combination of art, p e r f o rmance and discussions. Chella Quint, who also produced Chart Your Cycle (opposite page), uses the fanzine Adventures in Menstruating (2005 —) as a text for her comedic spoken-word performances. The interior pages draw on visu a l m a t e r i a l from A m e r i c a n and British sanitary-product adverts from the 1930s and 1940s. G i/feg e & rfs /earn som ething M O T V tf W E B O O K S ! IN TESTS 99 OUT W IT H AM ONG C O LLEG E O F 131 REPO RT N O NEW G IR L S — C H A F IN G F R E E -S T R ID E M O D E S S jjlrlt frrnn rwwt In ma»t jwntlv learned xmirllimjl nnt in lh«* l««>k*. Sumrlhiitc (HaI will make happy mniiii{; fur e»ery girl wh«* rlm'c. nnr'i Ihr atnrv . . . lnlrTvl.-wrr> a»krd etJIrgn citl. who had Stiff-red chafr with their rrgtilar napkin In In nnt a nr», improved rujiliin—f'(rNSfn.fe Mnltn. Natimally. thr flrli weren't fnW ihc name nr brand. They were dmply a«ki*l m try this new napkin—to nee tf Il’.W lhrm fn^Join from chafe. At ti:>? end .if Ihr lr*l, 00 mil nf 1.11 frirla report'd no rKnJbig "iih Frrr-Siririr Mivlrxi. That hideous feeling o f panic — now ended by the new “ CERTAIN-SAFE” MODESS Th* w r»i of iho chaf»-frai comfort «o man* enUr-ge MudmU found in /"r»csS/rWf Muile** Iitj m lire clrrer fn*hioning of thr no/Uw n! .! REAL NEWS! •Urtlin^ duiu liie inveutio ipkuia dnpoaabli lh* " ,hc Im p " " * . 1 rocnla llut have made | comfortable. ■ i N®W— at but— i ipkin that ••• - -.. j. ... »i>llnnu—right where the nuiM of chair hejsuu. h r t t ' S i ' ' jtS j i J S f Tbr extra cotton al«o arta to direct and retain mnWture inti.If the napkin. keeping the rd|*-» dry and »tin«olli Innper. And dry, Moovlb 4«n't diafc! So mH fool F.vrry Fr**&ntlt M ha> a triple «afrti •hield in guard jcim«t arnrirtti*. \ftnr. wlrd-in <!«•*>I<>rant in help keep ynu Rnwer-frrvh. too! And never a Irl!Dir outline—M«draa i» Try thi« laxnry^Amfnnahle, luxury-.'^ napkin Mm. New, improved FrrrSlridr Mf>ic« i* on talc everywhere. Product of IVr»**n«l Prr»luct» C^rr-.mri.m. *ivca coa,P)rlc protection from embar. W" ra»iiug **accideuU!" It u the oew'Ccruiu-Su/u'' Mod. onJjr recently perfected the Mode** rckcarch laboratories The tccret? It lica in « combination ofTllRElE spccial feature*. Two of tbr»c feature* may somclimcx lw found in other brand* of napkin*. But th« third i* ab*olutrh new— «ud exclusive uuh YOUR MONEY BACK IF ll»e combination of all ihnv j;irca (uiiiplclo pruUfliun. Teal th u throm-tcuy p ro te ctio n ! J1W du ,1,',.. O , ■ I. .-Safe'* Mode penny . . . a*-c Moury Back guarantee below.) Read the printed »lip dial you'U in'the box. Look ................................. the diagramtown on the »lip and coni|tare thria ith the twpkiu iUelf. See and feel llir three new fcalurr* tluU bring you de|iend«l>lc protection a^kiniA(1) striking through; (2) lean nr avay; (3) incutoplrlc absorption, Then \*c*r dm new Modva*? Yuull never again fcrl *jfn or ulufitd »idi way other napkin! YOU'RE NOT CONVINCED! Cl*l ■ lm. %’r v ilua KMgaitt, lot <l»f« »h*o IMS I imru— Super Kotci*—ii ik* bnni boa. So WMjn m ik*a ftagviu, rn m UIU aWorUac; pro«iJn The Uoilm CiqiofvlMo, SOI MOOESS-STAYS SO FT-STA YS SAFE U/d/k. U/rtfi Com/or^/ /iloue, lofrti-/reAcfantf Try UlMTat Ntfmm tTnfctf neus 'Trte.-Sfru^ /WcotsSs/ 1939 1947: Preventing strikethroughs and leaving you 'flower fresh ’I C olly gee. I'm sold! I never saw any girts like that at my college, you know. I wonder where they were. O h and speaking as a fat girl, I have never had a chafing problem with pads, pants, tights or anything. My clothes behave. I can’t under stand how a girl like the one in that ad can even get her thighs to meet anyway though. Look at her. Is that a twenty Inch waist? Eat a cookie, lady. Geez. Nice role models. Hmm_striking through, thinking about it further, now sounds to me like a baseball euphemism employed by radio sports commentators who have run out of words and are now playing a live on air version o f the board game Taboo. The lady in the top frame looks like she’s wearing a tri-corn hat Like Paul Revere, you know? Maybe she s - rebel. I find it interest ing that these pads are for absorbing and distributing moisture. W ell blood is nothing if not moist, but it is thicker than water, right? I'm also having trouble be Jevlng that ’soft filmy tis sue' would absorb tnything. Noxtl 1935 That lady actually looks more constipated than panicked, but this zine isn’t called Adventures in Bowel Movements, so I'm gonna move on. Here we have another 'Certain-safe' Modess ad. It's almost identical to the first. You know, in both these ads they say that there are three special features to the new pads, but don't tell you what they've added. Conclusion: That hideous feeling of panic— not ended even remotely by M odess or any other corporation. Not even over 7 0 years later. Keep reading to see some of the results of the menstrual leakage taboo. 156 / 157 »^*wi*l«wMiit8«BiShinb«wwImSnwHniitoK £?•»!** *i tin Fttnn's Hiciindi ctit. ESOkm tt ta am ofUn mst sm lid irons ol all Urn*. Thtlr tracks km k in s » iM kyOn Iftw tt rikHt Enaimr,Bli DnA Kin. M Ban.U Cttl J, Marin Mm.D niL Freshm Irads inn ID kit Difirtintily In Un nrty ilih lin tki Inn simglln win n clin . Th« ilrfs M il let wtntw ij m l tt HraiBin n i rm lt tin km m it mist it tki list tn yttn tryini tt n t tki m m tin itsim . Tin* m i n lttsil i sln li li 1991is i Ironic Ink it Unlr sltoitln cillid tiwincrnmnniwwrMns’. UirtiitiiiMly Unll Unit win stm M kyOrmlmstir Flish tor Mshit sliglt KKtiltlilts ’. Liquid ' UiiM win n tn smn M il hiAimrtci.99Rtcorti.t i ESOwin. Tki rtttrd etmniy wit m ky Ed,tkilr minmrandtn Itktl tookUnsinititnlictirtindintkiiiractssltstilltktlr moiiy.Tkt Itktl etm ti i tltst nd sodidESQsttn tr Itr t wkllt. Ii 1991tkiy rtlnstd n tlkm in tki iid in irin t Ptw Wiw liktl. This Itm rtd Tm t Yu’.Tiny cntliitd tt pliy Ihrtthrtnh tn itu tiis mdrtlttsid othtrmslt. Sidly thtst rtlusts dini nt is inch ittiM ln ts tnir tirly liihtlts irasic did. Ttdiy ESOftitirtt twotl Rtni's dinhtirs. j Ckltttllt ud Nlctli m km nd nltar. Tktygltytd Ii tki UKlist yur tt im t rwtawi.I wnld km Imd lokm sttt thin it ttirsi kit tkty iliytd Londonind yoi knowtht nstt ESQin on tl tkt mst Iffliu tlil itts ti ill Ont.Tkty midi im zin. m nt nnslt thit stmdsn J tidiy it tnly dhnrsi ud iriiiiil. Bit urn thin thit thoymitft tnd mikt mislc thit m illy rocksl | M ynk,tktywin wtmi till I affair; whether Adele knew or not, 1 Rosenman was justifiably inccnscd I and after speaking his mind to Jim m y I the next morning, the two w ere to stay I out o f contact for over a year. Jimmy I had a strong self-destructive streak, I especially tragic given his need for I companionship. H e became increas in g ly narcissistic, taking hundreds of I photos o f himself and trying to get 1 Kazan to say which he preferred Boys that I would like to put in my pocket: David Bowie (in the thin white duke period) Tobey Maguire, Christian Bale, Jonathan RhysHeyers, Alec Enqpire, Terry Hall Bryan Ferry (in his youth), Iggy Pop(for the shock value) , Phil Daniels (in the film Breaking Glass made in the |early 80's. The |mass inspiration for the band.) , I As soon as filming ended Kazan (wanted Jim m y off the lot — he was I simply far too disruptive. Apart from 1 his usual antics, he had bought a new, I larger, noisier m otorcycle, a Triumph I 500. It proved quite difficult to find a I landlord or landlady who would take Timmy, given his nocturnal habits , °lJrls. that rool the skool: Lili Taylor (she played Valarie Solanas in who ahot Andy Warhol? the film, I had a HUGE obssesion with this.), Patti Smith, all of The Go-Go' 3 especially the drummer, Janis Joplin, Eve, Dusty Siobhan Fahey, Sarah, Andi, Siousxie Sioux, RicJcl Lake (for being Hairspray), __ 1 you in | |skin is dancinl you shout W l ,vith electric si ptrinas arounq I Is & fa ? u n . T T r u m b l e s in t h e J 5 S n c ^ h ! n i y p n o t i ! i i ^ r h y t h m . I c a n 't e x p la in it b u t it'» li k e th e b e s t r o o k ‘n ’ r o l l. T h e b e s t Z e p r iff- T h e b a s t p u n k yell. I t's like m e t a l c r a s h i n g a g a i n s t m e t a l. It s li k e d r u m s in t h e d is t a n c e . I t's li k e a g o n is in g f e e d b a c k , s lo w ly c r u s h in g m y s k i n . I t's l i k e p r e t t y g u it a r s th a t m a k e m y t o n g u e t a l i k e s h e r b e r t . I t 's li k e th a t R o x y v i b r a t o . I t s li k e s h i v e r in g m e lo d ie s t ic k l in g m y b a c k . Y o u m a k e m e s m i l e ^ I . .^sStiL . Tl never want to com e hom e again. When I'm o u T rn J ut I feel th e need to w retch uncontrollably. I want i I the in the leather N— « lo ^ rock/1 tcottie-j i«\dej do I you I - y o u l| o u th i t bo je a n harlow. i third rale punka. ^ • ' y7 ; . a 'Ortured -Un ^ Id o n t want to end up 1l ■. ELECTRA e t\ve I #4 ■ >v ' can ’t , . > em brace i i m y lace. I m , not fierce. I try to lik o i i and I ju s t c a n t control m y bitch n j 'i am not c o o l,c o o l,c o o l,c o o U ^ u t what does it m atter any I lik e r l • I w ill J Aw ilt never be nothing. J k And all i c v c r j *tevcn| wanted w as to I . Ma him him him him K it t y M a g i k N um ber F iv e T ra c y W ilson M olly Neum an of Bratm obile of Scissorettes Lisa C a rve r of R o llerd e rb y & Suckdog ---- . ■— ■■— ”■ 1» « IMil L/UU5 IICI , Manda-Rin and C a th e rin e R ed fern . A ls o : F em in ist Fury, Lady V ib e s, Women's M u sica l H is t o r y , Men and Feminism, Le T ig r e , B ra tm o b ile , E le c t r e la n e and V a le r ie L iv e , Why Feminism S t i l l Has Work To Do, Z1ne & Music Reviews and More! BRASSY R&B singer K elly Price STS of Th e H aggard & Cadallaca #20 1997 $2 SOAP OPERAS*AEROBICS*INCEST* OBSESSION*KISSING FOREIGNERS* FEMALE MASTURBATION FANTASIES A series of music zines connected both by their producers and by the desire to raise awareness about w o m e n in the indie music industry. Electra (2002, cover and inside spread) contains interviews with female bands including Chicks on Speed and BIS. Marisa of Kitty Magik (1996 —) drew upon a growing network of w o m e n zine producers including Lisa Carver (Rollerdecby) and Molly N e u m a n (Girl Germs). Rollerderby (1990s) ran for 25 issues over ten years and covered such issues as m a s t urbation and incest. Popgirls (1998-n.d., cover and inside spread) is based on the prod u c e r ’s experiences as a m e m b e r of BIS. A* M W B lf tA f. , — IP 4 5 P % 0 CCy N e u m a n A H ---------- "What Bands/m usic a re you into a l the mom ent? -*11 f m P46 a pop positive zinef * Oasis. Je s u s a n d M a r y c h ain , the J a m , C hiseC tC ectron ic. J r w m p ia , • Im p ression s, "Riles o f Spring, M in o r T h rea t, J('Bratmo6iCe/tfie Teechees etc.) A A s som e girls a r e loo young lo rem e m b er 'riot grrC, do you think that som e p e o p le ^ due lo p e o p le like Ihe Spice (jirls, can Be con fu sed aBout g irlp o w er' as a message? I M od y N eu m a n is a w e d k n o w n la d y w it fling the I m u sic in d u stry , liv in g in San fr a n c is c o , 11S/A. She | has Been in so m e p o p u la r a n d fa n ta s tic hands w hich i a frig f a n of. T hese a r e ; !B ratm ofrite, L ois. I J r u m p ie s a n d m ost recen tly , th e T eech res. M olly i> I a lso in v o lv e d w ith L o o ko u t R ecord s (D onnas, Crumb. I S creech in g "Weasel). She h as t h e r e fo r e been in v olv e d i m u sic f o r so m e tun e, a n d is a fa n t a s tic d ru m m er. M - Oh m an , 1 that's J u n n y lo con sid er. J thin k you a r e p r o b a b ly right But sin ce th ere ^ reaCcCear rio l g r r r f m essage th e f a c t lh a l young g irls m a y be e m p o w e r e d By a n y b a n d is a p r e l l y c o o f thin g to m e. _ K 7 V /J I I vnai !M J d i d a fa n z in e w ith A llison fr o m U ralm oB ife f o r z y ea rs c a l l e d ( j i r f fa r m s . Jt > J th in k that, yes, th ere is v e r y little in for m atio n avadabC e abtfu l you n g a n d s m a ll b a n d s in th e m a in s trea m p ress, in lh a l w a y . fa n z in e s a r e a c r u c ia l a sp ect to Js t h ere a n y I ru th in Ih e ru m ou r that Ural mi reform ing? I CM ■Jl's t r u e 1 >Ve p rtu t is e d in J e p u a r y I d iscussion. Out h o p ef ully w e w ill n iok e M - It w as d ijje r e n l in Ih e way l l i a l ,iir g e n d e r dy n a m ic s a r e d ijje r e n l, Bui rea lly g ro w in g u p a n i f rea m in g th rou g h e a c h fa n ,C h a s m a d e llie m o il d ifferen ce. 'Being d ijje r e n l pC aces In life I g u r u , ji is not so stra n g e fiein g tn a [\ind w u h c h r u bec au se f( I Cite him a Cot a n d lit cooC 10 h a n g o u l w ith h im hut b ec au se w e a lso w o r t to g e t h e r ll c h a llen g eJo r iu to s e p a r a t e h a n d /b u sin ess fr o m o u r m a rru jg e a n d this is so m eth in g we a r e w ork in g ^ A ■1 k now lh a l you h a v e a p r e t t y im p ortan t link w ith Lookout "Records. Olave you e v er ex p erien c ed p ro b lem s d oing this jo B B ecause o f y o u r g en d er7 V o y ou f i n d lh a l m ore w om en a re g ellin g in v olv e d in im portan t p osition s in record co m p an ies, especially in A m erica? M - J realTy h aven't h a d a n y gen d erp ro B C em s. a llh o u g h J f e l l th a t w h en I J tr s l w ork in g h e r e 1 th in k so m e Bands t r i e d to s h o ck m e B ecau se th ey a s s u m e d J w a. poC iticaC a n d sen sitiv e. _ __ m . — jr - m « - j a m i mrnaamm ?iCUD o f P ln n & . '& J L } !A ■V o y ou h a v e a n y p a r tic u la r role-m odels w ho g a v e y ou inspirationT' Corin Tucker (Heavens to Betsy/ Sleater-Kinney) th e sp rea d in g o f in fo r m a l ion on th ose ly p es of bands. ‘U n fortu n ately, th ere c " " " " fe w go\<d zin cs lh a l it is h a r d t o rely <•»! Ih em lo s p r e a d th e w o r d v ery o ften . I A • 'Was it rea lly d ijjeren l bein g IIie only g i r l in the T eechees, w h en y ou w ere am on g I m an y fem a les tn y our previous bands7 A b o. u il quite stran ge Being in a h a n d w ith I your husBand's mini__ !Kirrvr?Jm HKbSfll I f l A - Olave y ou ev er w ritten a fa m in e , a n d d o o y ou think lh a l fa n z in es a r e im p o rtan f o r a lot o f un derg ro u n d bands to su cceed7 ^ ^1 I M - 'Wed, w h en I w as g ro w in g u p I h a d to h a n g o u l a l m y dad's o ffic e a Col a n d m any I of his c o w o r k ers w ere th ese in cre d ib le w om en w h o w e r e sm a rt, fu n n y , h a r d w o r k in g I a n d realTy ju s t ex c cp lian aC I aCways th in k o f th em w h en I a m lo ok in g f o r ex a m p les o I w ho ha s in s p ir e d m e. A lso, J a m aCways in s p ir e d By m y fr i e n d s a n d ' a m constanlCy 1 im p r e s s e d By th e id ea s a n d a r t th a t m y fr i e n d s h a v e a n d s i riv e to m a k e w ork t h a l i Be p l a c e d i n c o n tex t w ith theirs. g.-» j wm nuanimmva i»» A V o y ou Ihink lh a l there's a lack oj an y 'strong', opnu,lonaled w om en a rou n d these todays? :M J realTy don't, Bui J th in k th ere a r e not v e r y m a n y a v e n u e s lo r w om en to ex p res s j Elyse Rogers (Dance Hall Crashers) Kathleen Hanna (Bikini Kill/Julie Ruin th em selv es, so lh a l is a challen ge. u hzlihshb s o m m m m ■ Lisa and Sherri (Buck) A -'Would y ou p rev en t a n y b a n d that you w ere rn fr o m sxu c ess/m akin g lots o j m on ey \ i f y ou h a d Ihe chan ce, d ue lo p eo p le catting you ai 'sedout'7 :M No, J th in k it is m o re im p o rtan t lo be I ru e to y o u r ow n v a lu e sy stem ra th ei be c o n c e r n e d w ith w h at o t h e r < thin k. J o r e x a m p le, c om m u n ity is o f h u ge im p o rta n ce mna to m e in term s o f m usic so J c o n sid er m y ch oices in rela tio n to htrw J s ee Ih e p u n k c o m m u n ity a ffe c te d , but not to Ihe point o f Being ridicu lou s. 1 ju st tike Ihe id ea lh a is p o s s ib le to h a v e a s e lf su fficien t a n d self su sta in in g c om m u n ity a n d ec on om y out sid e o f th e m a jo r la b e l distribu tion w orld a n d m a m s lr e a m m ed ia. ^ " " n ,, i „ m i Yukiko and Juliet (the Rondelles) j j y u JU S # Laetitia Sadier (Stereolab/McCarthy) •M 'Well, us 1 m e n tio n e d afro' ini p la y in g musu w ith m y f n n d ' le d I 'd k e e p you p o sted . A - Lastly, i f you c o u ld inspire y oung girls lo beh a v e a c erta in w a y o c erta in attitude, w h at w ou ld this Be? JA ■To kn o w y o u irn^n stren g th a n d trust il. A n d to u. 1 n All these interviews, plus review, rants and raves e t c ..... Marianne Faitlfill. lira Satan, liaaaiia Silas. Judy Blue iii riit ti Teki J l i t i m farrab m m i I-went to art school 'VgyidPners^d a s a m ature 'but remember // ' U ' / /, I loveart UA&A /\ cop.fa/ / \ no joy whenygijssgjst student ip-2^0°, l+ai &Jg% and Idid n°t speak out. Isaw piss poor but 1 Zin.es aretuning .. same artiste s a ^ 4 t « t amateur, thou.5Ktle«ly ■qaee^io-fi/ioW f*ik vnththiiv^s ^ culture7i3not with that matter lesser. |f P ™«teh.d I saw 'artist’s £SS£Ss” pas^ioii, nP politics^,* ^ Their creators are driven./ C w p> | (3-reat fervzinSS on arefimoin^ not dependent) fi-Qra T aresincere, modern, day folkart. j / BJ* tP cS tf-tp '.]o| rarS f \ ?A SO Cu ES KU.N LE T W EE P*O ET«r;| tN H SOUL. I VVT»~ ■•»'■-%V aadtKeyvegcwg H f f l s y i " * '\ toTJ*«itI Fanzines | theArf-s Council, t the v'Sws £KP«sseo H t « « i A*e TH«ie or m e A*r 6T. ------------- ~ — ---------H ! Chapter 4 | Girl Power and Personal Politics 1990-1997 *:3 CONTENTS issue INTRO: FAT BUT YOU KNOW IT 2 U-BDP 2Q0H DANCE 5 FLOOR SMASHES NOLOSE 200H E THE FAT TALK 9 FAT GIRL AILMENTS: 12 BOOB CHAFE 'Fat is a feminist i s s u e ’... Big Bums (1998) was a one-off zine suggesting ‘positive fatt r i b u t e s ’. Nipples and Bits (n.d.) talks about the p r o d u c e r ’s experience of sexual harassment. Bust (1993 —) is a tribute to w o m e n who have broken the ‘moldy mold of female s t e r e o t y p e s ’. Punktum (2002. cover and inside spread) by Rachel House was a one-off zine reflecting on her enrolment at art school. Queerzine Unskinny Bop (2003-) b egan its life at a Ladyfest London, and ‘aimed to honor the work of fat people in popular m u s i c ’. Unskinny (1990s) took an am u sing angle on gluttony. FAT GIRL SAVED MY LIFE 14 FITNESS LAST: ID REASONS 1 WILL NEVER JOIN A GYM 20 FAT SPORTS 2H HEFTY HIDEAWAYS 2 28 CREDITS £ CONTACTS the next U n sk in n y B op N o v 27 2004 see w e b s i t e for d e tails 31 FAT Welcome, Boppers, to the third Unskinny Bop zine. It's over a year since our first effort, which set out our manifesto and pledge to offer an authen tic and sincere alterna tive to the 'fashion show' mode of nightclubbing still unfortunately preva lent in this city. First, a history lesson for all you newcomers. Unskinny Bop started at Ladyfest London 2002. It was a one-off disco which aimed to honour the work of fat people in popular music. We got a shout out from Amy Lam6 on the radio, there was a Top 10 Podge Pop countdown (starring the likes of Aretha, PM Dawn, Missy Elliott, The Pixies, and of course Mr. Elvis Presley), we gave out free badges in four designs, and all in all it was a massive success. BUT YOU KNOW IT The hunt was on to find a permanent venue for our disco machine, which by now was acquiring disciples of a non Unskinny nature. We were offered guest spots at gigs and clubs by friends made at Ladyfest, playing at after-shows for The Gossip, Gravy Train and later Le Tigre. We put on our first gig at the Betsey Trotwood, a sell-out show starring Lesbo Pig, Valerie and The Blue Minkies, and then celebrated Christmas with the help of fabulous dance troupe The Actionettes. In March 2004 we finally found our perfect venue and went bi monthly at the Pleasure Unit in Bethnal Green. We love this place. It's a straight __ pub with a gay history, pints, seats, a big dancefloor and modish leanings, which means the mix of people is always eclectic and eschews the monotony o fashion clubs with generic dress codes. 160 / 161 GIRL CULT GIRLKULTURZINE iE li I s s u e #4 $3 -50 spare tires Your For Own / t ' Good y » u fc a v e t p t M o r r ^ - i /VjgrJ £-"3oJ/n4_tnwbifi I'm r & M & . Q j Q c t {\i3tj Body image, sexuality and stereotypes feature in this series of zines. FatlSo? (1994-n.d.) by Marilyn W a n n is a humorous look at being overweight. Girl Cult Girlkulturezine (late 1990s) included comic strips by Rachel House. F o r Your Own Good (2004). produced by Kate, responded to criticisms from her own mother about her weight, and includes a collection of stories from w o m e n about body image. GirlFrenzy (1991-n.d.) by artist Erica Smith pays tribute to the US proto-riot grrrl 1970s band the Shaggs in this 'Fat L i b ’ issue. Seven issues of Fat Girl (1996-n.d.) were produced by a collective of ‘fat dykes'. S m m a zine about mothers, daughters and body image f Chapter 4 | Girl Power and Personal Politics 1990-1997 $5 © A Zine for Fat Dykes and the Women Who Want Them -jpssm t I E m **. j?' i LEGENDS POLITICS ADVICE SMUT ART S 162 / 163 W o m e n from different ethnic and national b a c k g r o u n d s we r e also celebrated. Catch that Beat! (1999-2000s, cover and inside spread) in te rvie w uuith- catch of the dny the crabs j Bn(septophilift ireconds) w as a Tokyo-based riot grrrl zine produced by Yayoi, who p u blished reviews of music gigs and of other 1990s zines. It was printed on y e l l o w copy-paper and shared a s i milar graphic aesthetic to its We s t e r n grrrl counterparts, us ing a v i s u a l language of ha n d - d r a w n hearts and stars and stencil letterforms. Asian Girls Are Rad (1994-n.d.) was produced in Austin, Texas as an account of the producer's f riendships wi t h A s i a n w o m e n and f a scination w i t h Japanese popular culture. junior varsity II R A D C A U G H T IN FLUX 1) 1 9 9 3 * I C ; i * - h U f c , 7 f c * B * © i m iC [W RITER'S BLOCKJ t u 5 '7 7 v y v 5 8 S f ^ o Z T U f c , 9 * 3 a *fE 3 5 < ± :0 t u s i c . ^ * 7 B < t : B a 3 i f » o » r ^ « * > » t s E ^ « i ; t f i '5 C i F s M ltoSC iilC U T t., CAUGHT IN F L U X tU d S IB B J R W S U U LP TEYELESS IN GAZAJ < & P \Z A o Z ^ & m )5 > *< H I/. C © ^ ^ A ^ smBAicji^r^wwR^restrsaicxori^. *lr ^ p<xw n/ £ 4 ^ 3) ^ 7 > y > « f P « ± r © ^ ’> h - < i: U 5 © B « U . 4) INCITE! ( M a & & £ l t t % 4 ) % 3 A / K ) . COMET BUS ( 3. ■ H E 7 © fe > ^ tfU ^ ) . POPWATCHi:PUNCTURE ( f l M t f a « ) . BEER FRAME ( R * t f l W 8 * ) . SCRAM£ROCTOBER C,C0p " H I!" -----H . —L ------------- (fl«c©U,l«$fllK). 80SftlC£f7<Snr*T?€ifcSICRfcifi UrUS®tfCONFLlCT. FORCEOEXPOSURE. FACT SHEETFIVE. ®<t:'5-<7.DVS/:/*N IC ttC j*S c© ? tfttC S f© W 4 k A ^ A ^ 1 cau g ht >»«« 1 9 8 9 « I C ^ o r L > f c T H E COLLEEN F A N Z IN E 6 Z )'« O ifo rU S . flA * ) « P 3 g < i:fll# G '5 © # tt©aa«^f/!«orU'te. ^ W £ 5 U 5 B © £ f t o r e W iU ! : ! 8 o r L > f c . 5) CIFVS. i3i*g*&: B«g*BB»5U* JEN,'. «SBEfi*®3»£ofcS. re<. ciF/ftj/t5Ku-5^x?:-r-?f*5i2^->'ieoc:«i:^«8«©^>7:^-n>K©ic*^a <«£. • iw o fc w c tB « /u Z !B a a 3 R - s , iKicessRiarsc^suctt. ?7yyyt^z>(n\zi& sac ran ■n-uy#7.\ —y * l r«orBLM*«L>/v/2. ^vx^-b-^/iiornucitfu ^.So *s-f>x-fHcuwD«ABBeffl©a*j*»on'r. i*oc£*#A/fc'orai3RS/uEi 6 ) U -5 l3 7 u * r lA l© B 7 « fC . RED MONKEY. BEANPOLE. « tfia i0 1 P » o W fc r t:/K • THE P O C O N O S © E * £ £ t f« o r U S . » £ B *IC £ /u C l,'« fc flJ I/(K IT P A W zine) © 7 > tf B ? # tt2 S/*>?£€«fftt©fc©<*:l8!B5lc:77:/5>:/fc¥lCl//i6'6. ItlCtoZZVZOUWOmvC. t t f r s s t ' . io « > B « i/> r a 5 5 /t :/K ^ g j* . E o fc . w c s s u D - K t f e n t f - x t o r . * n £ t t # i c b u - s f lt jA , « B U C U f c c < i : € > t ? ryvyz^fftt& jty k©-<ys>^3.-ttm.or unB. i c a a n i o j t o u r j ! : . * © * w > < r t f a i; £ © 0 '. t u l l y c r a f t © s/ 3 —> tff£ o T rL » $ TTHRILL! J IC 7 7 > b ? H E ftM < ? n A :C £ & B :3 fc 7 l? . 7 ? > v V o rS A ;K :5 5 ? ; n ; : l o r » ,M J !]n * a « a T © B « U U . K trS A ^ n w a o r u ' r « u t i B 5 . & b lv 3 * > r u t r i c a u w j o t o © 6 © u $ y k . g « . A « £ g < ? ) ic iw ic iM iu r u t e D . e a f f l w i i i c s o t f u r t '* B © i c i f 5 u r B S o ' r i r u s 5 . ;t n B 8 U ic B « © 7 7 > y > i; i» 3 3 : < r t ) « it ) e : ^ u . s k t f f c lo fc C r fc H U J 6 © B © B U 3 L V . p * js t ; * f c © f c o « L w s . i t i c £ ? r * m f c f f © o * w r * u r a i : u . r * W C . ^ 0 B 7 O © 7 t» > 2 ;> ® IB ^ U 3 IT . ifn B W O D l3 :*^ l? < ii. 0 r a u j r T o * A £ > * & a u r a B a © r . * ic A o fc B © tf « n B tf u - R A ,ra > r fc . nri'3£. 7. 8 ) ± r / O v ^ - < '> a - t f 3 5 § © r . » U ^ A B £ O a 5 * . 9 ^ tt€ < / g < 2 r U . Mike Appelstein. P 0 BOX 3 3 6 9 . H o b o ke n . N J 0 7 0 3 0 U SA (e -m a il: c iflu x ® a o l com . http://members.aol.som/ciflex) ★★★★★★★★★★★★ PAW PUNCH! o p Q u io p u n c h ! 1) 98^5^kfl 2) TtmcrtVi/ayz'j'j-T.&tziszyT'yyyzoKo f c O 'o f c . 7 'i c u t * f g £ a 5 3 : o e n n : < J 3 ; L '£ a . u 3 U 3 f f l o . J tL W £ IC B d :0 f f l« C £ tf T ! S * * 5 lc * S « 8 a i* a u € > » | 0*7. K M »H 1) ifpjuniww 2) 3) 7 7 y sJ y ttF iT Z > ± T :( D :E y \ ' 4) S f c B £ « IC A 0 © '7 7 > 5 /> 6) ^ 8 K D * £ . P R » £ 7) A¥ 75 i2 8) BLM5«31*SE 3) ® D ± l^ r U V 5 H ^ y i? |C 'D U r ffl5 » 3 5 'I o ^ A rB * U « )* ^ 5 IC U fcW . U -^ ^ © 2 * JtM 5 | O S ^ 5 I C T 5 C < ! :. 4) 1 5 a £ * 7 7 t B © ( ? ) l3 S arah © 7 7 y y > . “ a - 7 . b I ^ - ^ M U S P Y CLUB. a » C A D B f c < f c A « o r C * 0 3 T . ! 5) DIYrT^W. 6) 7-5>7.©»Si*b-^JU. w : K ^ fS n u ^ T o ^ □ B E B ^ D -A -7) « X b D — K B . ^ D - A - © a e 8) f 1 8 0-0 00 3 J 0 5 n B IR *lF ffiS *5 IW r3 -2 5 -l T-house78 tf2 0 1 *H 7 5 CLOVER RECORDS 19 Luckyissue7 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 .' 0 S t a n d oVl a 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) as a minizine, w hich celebrated the wonders of the high-heeled shoe. f 164 / 165 Pi n k for a little girl... or a riot grrrl. A m p Minizine (1998-c. 2007, covers and inside spread), an a w a r d - w i n n i n g fanzine, was established as a print m i n i z i n e and e-zine by the music and lifestyle j o urnalist Miss Amp (aka A n ne-Marie Payne). Red H a n k y Panky/Hormone Frenzy (1995-2000) was produced by comic artist R a chel House and sets out to explore ‘nonstop queer p u n k girl boy k u n g fu a c t i o n ’. The Pamzine (2000-c. 2008) was produced by the ba n d Pam Savage as a ‘p r opaganda m a c h i n e ’ for their music. H o neypears (2000s) by Heather Midd l e t o n provided i nterviews wi t h such bands as Le Tigre together w i t h articles on reading and m a k i n g comics. The cover of Vacuum Boots (2000), an indie music z i n e by Miss Rachel and Angel, features an image of Twiggy. R AJNIP AMP. PURVEYORS OF FINEST FASHION FOR THE FICKLE. And oh. W INI I Z T H E F I C K L E aMPMINIZINE £ FORTHECHALLENGED I VM E RJJ«f?JLs CALLED CHELSEA. Asa name, it belongs to a strange category of brand names w sound human, yet very lew a TiHai Tammy (Girl), and wear INSIDE that c The super-suave Mi discusses the latest look tor men. proving that cut it allLove ly Frances Morgan it month's Retro Sex Ki Perkin it chain so ubiquitous, so inextricably linked to their shop that, even if I were to meet someone called Chelsea. I'd perhaps assume her mum had named her after the shop. Like Tiffany Chase in Shop names and brand names are our incantation • meaningless to some, yeL to the enchanted, full of significance and promises. Cross the threshold times, and you might get your shopper can subvert the power of the shop name by enjoying both the obsolescence and the diversity of the brands she wears, revelling in C6te a Cbtes, Jeanne Wetss. denim by Jollybird. Bibi and Baba and Nightrider (Marks and Spencer's). Highlights. Alexon. Devonshire Lady and those jumpers made ‘in the British Empire'. But almost inevitably, second-hand girls become loyal to a label too • although often and right now my favourite brand is Chelsea Girl. It's a shop I know little about, other than it was fashionable ir a cheap, teen kind of way in th< 1970s and 80s. I've never been to Chelsea Girl. My memories < it are limited to just one item: a really cool Chelsea Girl black filcrfax my sister had. around 1986. But I don’t. I swear, go CGh nostalgia in my eye - and I don't either, so stnctly no more about 'my sister's filofax'. No, what it is. I've found some great CG tops lately, one of which (red lumper with slightly puffed 3/4 length sleeves and slash neck) is amongst the Best Tops I've Ever Had, The others (white, knitted rock-chick£lub Tropicana vest thing and fauxVictorian blouse with ruffles and lace-a 1970s CG item. I believe) are exactly what I was looking for when I found them. They're in three of my best colours, and are of surprisingly high quality, contrary to the 1970s myth that Chelsea Girl was so cheap and nasty that you got fleas from their afghan coats I’ve yet to find a CG skirt, but if I do l‘m sure it'll be red. with an interesting detail. (That's all I'm saying, or it won't come true). * say ‘today I feel like a 1970s librarian' and then come home from the charity shop with looking for Canda skirts full stop. But if you fancy looking like the big girls looked when you were a little girl, or if you want to go around with the title of an Andy Warhol film/Nico song incongruously pressed against your skin, choose Chelsea Girl. Her tops are the tops ■and they don’t half go with your Gloria Vanderbilt bottoms. GIRLS ROCK OUT ISSUE 1 0 /10 Chapter 4 | Girl Power and Personal Politics 1990-1997 p a m z i n r e M i m i ★ YOUR G U ID E TO THE W O R LD OF PAM S A V A G E * Hi 4A a '•~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^ son schul sonic yOtyt chris t#t elerfant records persecution complex miss geri halliwel beachwdod sparks sloan herman dune belle and sebastian jj72 the delgados IT 166 / 167 'I(NC|E!S iTI^f in c e s t ■ e a if isfV u m MafeWLajjgrtiUiid Riot grrl was about independence and gaining confidence where the ‘personal is political’. The provocatively titled Incest (1990s, covers and inside spread) was a 50-page m i n i z i n e whose scrawled drawings and frenzied layout photocopied on to coloured paper provided the backdrop, in the issues s hown here, for essays on the band Mudhoney, cartoon strips, plus an editorial about ‘a writers r e volution’. Teen Screem t / / Incest.../, Poetru*..7 % c o m o i i a t t o f 1 o f vpen-mcidt. N \ - \V Vs videos, if you are a teen , send u s XT V.deo w b e o n it. we oof\’f qjtrs wti ^ ^ )l ;• as iVS o n video and leen m a i Hevie\Js...15,11,11,2* Story.. -47 ^ IN T E R V IE W S /* rn m m m m rnm m m k s s rr ,; \\ / \ /- fttC!>Qn. A7. 5 5 75< Seth Bee 2007 E 3rd St L K ...2 ° tucaon. A2fs57i< liocubus**. 1° Marcjj P6<Jjjgrouna. . . 3* " th is will h opefully be o u t s w n m er IfW S: I12 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 TYNE Nf 6 s r w UK* Greeting* our pals and supporters. This being our Slampt-o-logue thing, w e ’ll tell you what's oecuring inthe Slampt axis of the thing.. Okay so - first up the Red Monkey band is touring Holland, Switzerland, Germany, and France for 2^ week* starting the 21et May. Also we are moving at the end of June, so for a while in late Spring /early Summer we expect a small r»mount of confusion because of this* Please be a little patient and understanding with us. We will be giving mail order top priority and will sort it out as soon as is possible. As regards our new releasps, the Wimpshake L.P. is finally ont now, Tayl In the works are Past Connect-: • ion *k and a Kodiak 7M* Red Monkey have recorded their 2nd 7" which will come out on Tfroubleman unlimited' and is entitled "The Time is Right". We at Slampt is angling to get a whole bunch of these singles available over here via our mail order if n4t anywhere else, so iatinFf&tJS m.siss1 4a are ■ no‘„to° , Small B l a c k Pig 7", a „ Red Monkey LJP„, the Troubleman/flampt split compilation ! L.P. and an A c c e s s o r y Girl 7m (maybe? «igh, they’re jnst s o damn busy with that Tunic b a n d ) . I am learning to drive (which I must say is shocking to even me) 1. And Mar# E . Cha Cha cut my hair on 13th A p r i l , which meant I grew it for an entire year, althoguh I've still not receved the £1,79 i had riding on the matter. On the Slampt turntable at present are Digital Hardcore records. Crass, The Warmers, Dawson, Lee Perry, Wandering Lucy, Excuse 1 7, but what do you care? Please send us any cool vegan recipes you may've _ encountered. Love T _ _ . , xxxxx from Rachel __ Chapter 4 | Girl Power and Personal Politics 1990-1997 Word is Born rjo T 9J9 a riot grrrl dissertation? jPapercuts and Promises: Zines B4 Framing Historical T h e f t :Zines T25f [ Sisu:zinea J65a f j See Me, a Space for Black Women's Writings:Zines FREE I ’m n ot wa iti n g 'vrusIM YifcaO sekl Doin’ it yrself, now fe itin r i: Distribution was key in creating a female network of zine producers and readers. Slampt Underground Organisation (1992-mid2000s) ran a record label and published a distro (distribution) catalogue for zines and indie records. Riot Grrrl Press Catalogue (early 1990s) was created to promote the riot grrrl network. Word Is Born (2004) was a university dissertation about riot grrrl by Julia Downes, subsequently produced in zine form. Barnard Zine Library Zine (2005-6) was an introduction to the zines held in the B a rnard College collection. Riot Grrrl (2005) was a thesis by Yuka Ogaki. I ’m Not Waiting (2004) by zinester M e lanie M a ddison is adapted from her M a s t e r ’s thesis. Challenging constructions of feminist activism in women’s DIY music communities Chapter 5 | E-zines 1998-2009 The E-Zine List (1993 c. 2005) is John Labovitz’s early archiving system of electronic fanzines that were distributed ‘partially or solely on electronic networks like the Internet’. The term e-zine has since been co-opted by the mainstream commercial world to mean nearly any type of publication distributed electronically. Dummer Con (1995-n.d.) is an ASCII text-based networking site announcing conventions for e-zine fans. The text was created from symbols and punctuation marks which were shaped into illustrative headlines. E ZINE LIST D y s - 3 i- - f s r C o ls r»SSS,S £ W ^ iS 4B* rs “ - - jS su - jrjs,1;arys.„ ' r s a s ftS fis s s s s ra s s B ? -v~™““ JSi'SSWS.T . It is hard to imagine the world without the internet. For many people, A Brief History of Electronic Media hardly a day goes by without logging on and off, looking at websites for Early e-zine producers were known as ‘adopters’, and as E-Zine news, checking out Facebook and MySpace profiles or tweeting messages List (1 9 9 3 -c. 2 0 05 ) editor John Labovitz reflected, they became to an ever-expanding group of Twitter followers. Social networking is now the ‘experimenters who took the net for w hat it was, and imagined part of the new media landscape, comprising a vast net of personal pages its possible futures, without trying to bend it to fit the constraints of where friends and family meet within virtual communities and where new traditional media like newspapers or printed magazines’.1 it was indeed digital relationships are formed. In the twenty-first century, the concept of this DIY spirit that prompted the migration of print fanzines on to the an information economy is a commonplace. web, with production of early e-zines that took advantage of ASCII W hile a paradigm shift is taking place in mainstream publishing (American Standard Code for Information Exchange, used on Bulletin (printed newspapers under threat, literary publishing in decline), surely Board Systems) characters. In the late 1970s, artists and designers this brings good news for the self-publishing community. Much in the adopted ASCII for their e-zines, responding to its unique characteristics same way as early Gutenberg printing presses sparked off a literacy in order to create an early computer art language. For example, revolution as books reached a wider audience, online publishing e-zine text headlines were created using words, spacing and repeated services have provided cheaper forms of printing and distribution. punctuation characters, developing a vocabulary of shapes and This has changed business models. ‘Print on demand’, for example, visual images.2 Three distinctive styles have been identified by uses online technology to print copies of books at the time of ordering, computer historians: Oldskool, Newskool and Block. Oldskool which for small press publishers suggests certain economic advantages uses slashes and lines and emerged out of ‘text art created on the (such as not having to pay for storage and maintaining back catalogues). Commodore 6 4 to decorate the File Listings on “ Release” Floppy Other services have also altered the way we think about independent disks’; Newskool uses symbols and punctuation marks to create (and amateur) self-publishing. Self-publishing website Lulu allows images; Block is a more sophisticated format used in the first instance authors to retain direct control of both design and production, by IBM with a series of extended characters to create a ‘block-like’ prompting comparisons with the DIY ethos witnessed in early fanzines. image.3 Some of the earlier science fiction e-zines such as Dummer The digital medium is immediate, inexpensive and widely available. Con (1 9 9 5 -n .d .) used these techniques (in this case, Newskool, to Publishing forms are evolving quickly and this has an impact on the create its distinctive title image). culture of fanzines - both on- and offline, underground and overground. This chapter explores the way in which fan cultures embrace the E-zine subjects followed along similar genre headings as their print counterparts. Subjects such as music and science fiction remained realm of online publishing though e-zines - a shortened version of the common, but added to this list was a new subgenre of technology- term ‘electronic fanzine’ (the original meaning of which was applied inspired productions. One such subgenre emerged out of ‘hacking’ to non-mainstream online self-publishing, but which has increasingly (illegally cracking computer programs) - and the phenomenon of been applied to more mainstream outputs). Questions that might be ‘phreaking’ (cracking phone lines to obtain ‘free’ long-distance calls), asked include: how has the web enhanced a fan community? W hat has which flourished during the 1980s, ‘illegally’ intervening into Usenet the web brought to fanzine production? And in what way has online fan newsgroups and email. Examples include the long-running The Hacker publishing altered the writing and design of zines? Quarterly 2600 (1 9 8 4 -) and the self-proclaimed underground zine 172 / 173 The Zine (2004-n.d.) by Mr Maul (a text-based ASCII zine) focuses on 'phreaking’. In this issue he transcribes the conversation he had with an operator to dial a toll-free number. ChipRowe.com (1995-) was produced by Chip Rowe, a journalist, who emerged as one of the highest-profile zine producers working in the 1990s. The e-zine collected his previously published work from Playboy, Spy and his own photocopied fanzine Chip's Closet Cleaner (1989-late 1990s). »■— •-------- THE ---- •h : s.rs:\sjs a * i— , Phrack (1 9 8 4 -), where, even today, editors request the text to be submitted in ‘ASCII 7bit with lines no longer than 75-colum ns long’.4 By 1992, it was evident that a specialist e-zine com m unity was W hat has the Web brought to the fanzine concept? Zine scholars have highlighted the fine line between defining zines ‘proper’ and other forms of ‘personal publishing’ found on the internet.9 Chris Atton argues emerging. Factsheet Five's Jerod Pore recognized this and set up the that the ‘e-zine appears less distinct, its culture more amorphous’, while zine newsgroup alt.zines, providing an online discussion group with Duncombe’s point is that the internet has made ‘communication too 'tips on how to make zines, discussions of the culture of zines, news easy and that the deviant socialization process of the underground might about zines (e.g. who is being censored and why), specific zines and be lost as a consequence’.10 Zine producer Pagan Kennedy, creator of related stu ff’.5 Other e-zine newsgroups were also established, for the early 1990s zine Pagan's Head, remarked in an interview with Wired example: alt.pup (for 1930s zine enthusiasts) and alt.zines.samizdat magazine: ‘I think the zine classification just doesn’t work in the online (for underground Russian periodicals). John Labovitz, mentioned above, world. The savviest online zines probably will stop calling themselves was another important figure. By 1995, his E-Zine List was reviewing zines altogether.’11 Despite such reservations, and recognizing the 6 0 0 e-zines, confirming the fact that this new form had arrived. inevitability that definitions will be questioned, the way in which Despite the technological characteristics of this new medium, Labovitz’s definition of e-zines showed that they remained remarkably zinesters have come to make the medium their own is worth exploring. Many contemporary zines have both a Web and a print presence, true to the original form: ‘Zines are generally produced by one person or yet the intent of the online mode does vary (including promotional, a small group of people, done often for fun, and tend to be irreverent... informational or interactive). One example of the use of the Web as a they are not targeted towards a mass audience, and are generally not ‘static’ promotional arena is the quarterly zine The Flaneur (2 0 0 9 -). produced to make a profit.’ The difference, he argues, is in the mode This ‘lo-fi, arty, indie publication’ reports an interest in publishing of distribution, since e-zines are ‘distributed partially or solely on ‘great art, short fiction, humour and reviews’. The producer of this zine electronic networks like the Internet’.6 As technology moved forward, uses social networking sites such as Facebook, Twitter and We Make so too did the way in which zinesters used the medium. Although, as Zines (an online zine community) to advertise for contributors, and as cultural historian Stephen Duncombe has pointed out, computers had a means to promote the print zine (twenty pages, small-format, self been a tool in the zinesters’ armoury since the 1980s (with desktop printed, black-and-white) to a broader readership. The site does not ask publishing coming in around 1984),7 it was only with the coming of a for the viewer to interact with the information in developing a dialogue new browser called Netscape Navigator in 1994 that information on with its producer other than to hit the ‘buy now’ button. the Web became more accessible, thus prompting a new generation of web-based e-zines. On the other hand, some zinesters, such as Tony Drayton (Ripped & Torn and Kill Your Pet Puppy), have used the full potential of a website as an archival resource for their print zines (photographic and articles), Pixel Perfect in Drayton’s case also listing current events and maintaining a blog with ‘ISN’T A ZINE JUST A PAPER BLOG? No way! Zines are totally different, readers’ comments. The form at is less static and provides functions [not least] because they are physical objects that exist and take up that design into the site a means of interaction between members of space IRL [In Real Life], You can’t hold your blog together with tape and a community: in this case, punk music enthusiasts. Other interactive staples; and you can’t hold your zine together with css and html.’8 forms of online zine networking have become popular: ZineWiki Chapter 5 | E-zines 1998-2009 * M«H « Pjrdw I # tripod Mystery _* Date - "'S. One Gal’s Guide to Good Stu ff * " 'Sl'iKjf , S'Tofy? krf fcs/dkfL E N TE R ! 1PIUp_UK_351fl!LP9*l®r &cwmnoSpotulKINb«i DayD«liv»ry. Ft A UM-rfe^f fc fiuoiiiut 15lfial«yyom*a45-55J3n!y jehsey beat ia-JIUVfJj'JO j£ H'Jiil Qu. or A L im e p o e r e v ■PO-E-B'KIB Welcome! A Little Poetry presents contemporary poetry by poets around the world--from famous faces to burgeoning beginners. Check out the journal / c-zine CONTENTS page for links to the current issue of VorociQUtA'crsc? . featured poets, and links to poetic e-zines, journals, and other resources. Online since 1996, check out our archives with hundreds of poems and poets D e a r B o b D yla n Poetry Poems Email Marketing Writing Istheonly thingi 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 TriState area around New York. 174 / 175 Explore LJ: Life Entertainment Music Culture Nown &Politics [•ntrt«*|friends|caleridarj a dly zine co m m un ity's Journal a diy zine com m unity -< i - C O “L‘r „ . 1 - C-*t- Rintul tin. ““ ........ ?• +________________ ______ [28 Dec 2 009|01:llam ] -_____ - Flaneur - for the cultivated stroller of city streets I 'm Interested In subm itting m y zlnes to dlstros, but Ive n e ve r done It before and have NO ID E A how pricing w orks. I see dlstros talking a bout wholesale price vs retail price. W hat's the difference? W hich one Is higher? Should I Insist on consignm ent? Does that change the price? U g h , It seem s like so m uch, and I ’m not g re a t a t n um bers. HELPI Anyone who can du m b this process dow n for m e would be a god-se n d. T H A N K YO U. 'J* FLANEUR an independent quarterly journal/art zine 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 GOOD dtgUatmuwl3 Z in e [29 Nov 2009|05:29pml doris ■ Hie magazine of art and other nonsense i buying milk m a te , m u our Lint re v e a l uou< u to finding a s o u l In te rna tio na l Q u irk ya lo n e D a y P a rty + List Slam Hello list lovenl International Quirkyalone Day Party; A‘Matters of the Heart’ List Slam Saturday, February 14, 7 pm Red Hill Books 401 Cortland Avenue, San Francisco International Quirkyalone Day Is a do-it-yourself celebration of romance, friendship, and independent spirit. It’s a celebration of all kinds of love: romantic, platonic, familial, and yes, self-love. International Quirkyalone Day is not anti-Valentine's Day. It's NOT a pity party for single people. It's an altemative-a feel-good alternative to the marketing barrage of Valentine's Day. Above all, IQDis a celebration of romance, freedom and individuality. Couples (especially quirkytogether) are welcomed to attend. After all, many a partnered person complains about the contrived nature of Valentine's Day. BRINGA LIST! See what other people are to-doing* in this collection of 100 handwritten lists and the stories behind them. Check It out: Amazon - Powell's - Barnes Producers use the Web in different ways: for example, blogs may be personal diaries or promotional sites. The Flaneur (2009-) is an independent quarterly journal that carries art, fiction, journalism and cartoons and which uses its website for selling subscriptions to the print version. Stolen Sharpie (2008-) is a blog by Alex Wrekk, author of the resources zine Stolen Sharpie Revolution and an organizer of the Portland Zine Symposium. To-Do List (c. 2000-) is produced by Sasha Cagen (who coined the zine-speak term ‘quirkyalone’) and uses the lists as a way of exploring the mundanity of everyday life. For this year's San Francisco celebration, come to Red Hill books to mingle and Join in a 'Matters of the Heart" List Slam--bring a list related to "matters of the heart." The root of the verb “to list" means to “lust" or desire, so let your list lust roam free. This will be the ninth List Slam in the history of the universe. Read more the mysteriously alluring List Slams concept here. m i Chapter 5 | E-zines 1998-2009 THE p5rfp A meta approach to zines provides an entertaining overview as well as linking producers together. Broken Pencil (1995-) is a quarterly Canadian print and online metazine reviewing fanzines, and related subjects. It was founded by Hal Niezviecki with current editor Lindsay Gibb, and continues to foster zine culture and the indie culture scene. Irish Books and Zines (2008-) is a blog founded to provide a space for digitizing Irish zines and other related ephemera ‘in high quality pdfs’. BROKEN P E N C IL (2 0 0 6 -) is a user-generated open source wiki site, while Zine Library response or author and reader (or a ‘nanoaudience’ - the name given (n.d.-), an ‘open publishing’ site, allows users to upload and download to small audiences that follow a blog). For the producers of printed pdf files of printed radical zines as well as broadcasting the latest indie fanzines, on the other hand, receiving feedback is often much slower, news. Such sites point to an increase in the user’s ability to exert especially when zines are published on an irregular basis. The so-called greater control over w hat text is read, together with an awareness of ‘sociology’ of zine reading is altered, therefore: a fact underlined by the who the readership is and potentially how far the limits of free speech ease and speed with which a blog can be accessed versus the old- might stretch. style method of sending off for something in the post. A different sort Another way in which e-zines mimic print zines is in their inclusion of comic strips. However, once again the potential for a new kind of of connection between reader and producer now exists. E-zines are often produced from a menu of templates with aesthetic exists. American comics theorist Scott McCloud has pointed predetermined grids and typefaces. Another kind of zine aesthetic out that on the web a comic strip can exist on 'an infinite canvas’ has emerged. Attempts at replicating the attributes of print zines (endless horizontal or vertical scrolling, click-through navigation, etc.). successfully online do exist: Laura Oldfield Ford, for example, uses Having said this, it is true that few zines have utilized this potential print-based illustrative collages on her home page for Savage Messiah to date, and prefer to reproduce short strips that have the fam iliarity (2 0 0 5 -), as do the producers of Our Hero (2 0 0 0 -0 2 ) with their of the old-style print scene.12 website using typewriter and handwritten texts, crossings-out, collaged Librarian Jenna Freedman in her online essay ‘Zines Are Not Blogs: A Not Unbiased Analysis’ suggests that one of the shared aspects of images, and so on to get across the fanzine concept. But in general e-zines are at their best when they play to the strengths of the computer. blogs and print is ‘m otivation’. That is, both have the ‘desire to express rather than to profit as a m otivation’.13 This is readily evident in the act E -D ream e rs versus Print Purists of blogging.14 Blog writing is diary-like in tone, with brief, descriptive In writing about comic e-zine fandom, Matthew J. Smith comments entries regarding a specific activity, observation or event that has that ‘the potential for community, facilitated in publications like e-zines’ happened in the w riter’s life. The template is predetermined for most will continue to develop, as do the possibilities of increased online blog sites and relies on the blogger writing a couple of paragraphs for interaction.15 This is undoubtedly true, especially with the advance of each entry; entries normally run in a linear sequence and in reverse ever-more portable computer devices. However, it also worth noting chronological order (last entry appears first when scrolling down the that anti-e-zine sentiment exists. Back in 1 9 9 7 -9 8 the producer of the screen ‘page’). The analogy with more traditional print perzines is clear, print musiczine Make Room made his case clear by publishing the top though purists always defend the design and materiality aspects of ten reasons why paper zines are better than the Web versions. Among printed zines. E-zine websites, on the other hand, are intertextual in that these: ‘no annoying link bullshit, you just turn the page’; ‘everyone they allow for a greater flexibility to move in between texts or through knows only GEEKS surf the net’; and ‘you look cooler carrying this links to external sites. around’. Today, those arguments still hold true for the print purists, There is immediacy inherent in the technology, for example, for who argue that you can’t have a zine fair in cyberspace. E-zines have updating entries and providing feedback to original postings. Comment facilitated some of the best work in the field: but the death of print is boxes also provide and record the dialogue between content and evidently greatly exaggerated. 176 / 177 A BRIEF D I G I Z I N E ™ R O A D M A P . . . Digizine (1995) was an interactive music and entertainment magazine brought out as a CD-ROM. It was created by Timothy Zuellig and published by Bob Ahrens. When it hit mainstream newsstands, the first two issues sold out with reportedly 60,000 for the first issue and 90,000 for the second. Interviews with alternative rock bands such as Nine Inch Nails and Jesus Lizard were interspersed with comments from technology guru Howard Rheingold and comics by American artist Heather McAdams. Five years earlier, advances in desktop computer technology prompted ’cyberslacker’ Jaime Levy to publish the artzine Cyber Rag (1990-92) as a HyperCard floppy disk. The first multimedia issue (1990) emerged out of Levy's Master’s thesis, and contained ‘bizarre pictures, sound, animation and words’. Cyber Rag's three issues were followed by Electronic Hollywood, in which the producer shared her experiences in Los Angeles. NINE INCH NAILS JES U S LIZARD sump ENTERTAINMENT H O M E PAGE C O N TEN TS HOMfE PAGE CITTY THE BURNT FORTUNE COOKIE PERRY F AR R ELL TWISTED TOPICS HOME PAGE LLEAN MMEAN ZTZINES RINGING IN THE SHEATHS International Drum Month Contest HEiATHER MCZADAMS CULTURE 0 SOCIETY HOME PAGE NET PARANOIA FASHION HOWARRD RHEINGOOLD Marvel® Comics Contest Tim Zuellig Seafor Designer/Programmer_______ _ PfoAttt Wonogtr__ _______ ________ Kelly Cleveland Genera! Monogcf....-......... ................... Curt Galusha Content Coordinator__________ ______ meumxm Tony Capulo Advertising Director... ........... Content Manager.------------------------ - M T 12 ’ 5 < vZ Dan Rehmann -— Chapter 5 | E-zines 1998-2009 178 / 179 A j ► 03 :::: + Q http://www.pixelthis2ine.com/ C rrlBcat @ t. ..na & Techno C 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 Q * pixel this zine N ational Gri.. Video C lips dbqp: v isua l...isua l Poetry B ritish Pathe Lm iax> l t t - f I r«Uft: 'I ji. wJge ll"* ' \ rrJX^T, HTOt * c o n n e c t e d • no.OOG Pixel This (2003-c. 2009) was produced out of Nicosia, Cyprus, and styled itself as a forum for both local and international artists, writers, poets, photographers and others. While the website provided a immediate venue for feedback, the print issues were steadfastly DIY in the old sense: formatted as a square (20 x 20cm, 8 x 8in) and inserted into a plastic bag sealed with a sticker on the back. Each issue had a theme and a print edition of 200. New issues tended to be launched at club events, dance festivals and the like. urban • sept. 2006 • ♦ • c y p 3 . 00 , , 4 r e t r e a t ^ tl /200 Chapter 5 | E-zines 1998-2009 issues submissions alxiut tenderfoot co n tact nconi|fllalto.iilwoIkw V: links Is 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. p n o io > p e ia S "*'S /S **___ wtmwrfrrr/f* 3 1 k 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 • 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. $ •<*' gf • (I * i 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 ,, i' ri| ru. t11jir M L L — j||.====[ -s v ' VIEWS '■.-■I I. I in ■J f loserddA i ? »d « L O S G R D O m IIO /IB I June 2007 You see all these bitter filthy politicians In clean suits as if they deserve respect, standing oy tru m pe ts and o th er cerem onial m usic, to obey som e sacramental institution; but the w ay they stereotype oth er hum an beings because of the ir land of o rigin, because of a b u re a u cra tic s ys te m , and the w a y th e y trick the people (im m ig ra n ts ) who are the m ost vulnerable In our society, I can't use a nother word for these politicians, th e y 're scum ! T h e y ’re spreading like wildfire, a filthy virus of selfishness, greed and bitterness; S a rk o z y calls tho us a nds of , young people - a part of the popula tio n - scu m (ra c ille ); Verdonk decides to expel 26,0 0 0 people to show her hardline brutal strength. T h e politicians play a g am e w hich displays p erfect tim in g , an --a m a zin g ability to dodge issues and lie as well as strategically displaying a ik hint of flexibility and credability in the face of their actions. Bertie plays this g am e to perfection to a sheep population that keeps electing him while bleating "fo u r legs good two legs better". We ain’t thick, its ju s t a trick, but w e ’ll be living with It for another five years. In this dem ocracy you pretty m u ch always lose, there's no in between as long as I could e ver vote - I'v e been on the losing side with politics and with our ‘president", they don't represent m e ; they have nothing to do with m e. You lose, but we can be constructive a bout It, creative hopefully, w elcom e to L o s e rd o m ! iMTomfimus msmo: JOB [)()()(1(! Minus smeisinn run : non. Kiripin !!(!(! [)()( 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 I Chapter 5 | E-zines 1998-2009 ; li c: i ir:» vi v« |L«iiuu=a.:: wr>s£ah Buy Woofan featured ir Attack! (2001-) was ‘curated’ by Wes White - initially a numbered edition of 150 print zines. showcasing collections of original artwork by writers, artists and musicians. White expanded his idea to include a DVD encompassing live shows. The accompanying website Cartilage (n.d.) contains scans of sold-out issues, a blog and links to the work of contributors. Kill Your Pet Puppy (1979-83) was a British punkzine produced by Tony Drayton (of Ripped & Torn fame) and is now an online web resource and archive for his zine. The background pattern is constructed out of images of the original print zine. Woofah (2007-) is a sporadically produced independent music fanzine covering reggae, grime and dubstep with both online and print versions. Stockists Contact 184 / 185 doris 26 doris ■+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. 1 1 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 Drink The Sunshine #4 50p Exploding the myth #1 - £1 Friends of Polly - £1 JO Frionds In High Placet 50p Groat rophy 0 it Ricochet #2 (waaay back In the day BTFA#1 - £1 -£1 paste (mainly) music rine Oy Paffy ant ») upper cate lettering f< >lls (Paffy’i cople< i-er Is particularly iwning); ri It (Red Monkey an it Georg stes); a piece In praise of the seemingly disappearing a cassette); a chocolate brownies recipe; write-ups of shows by The Coachwhips and Gravy Train 1111; a :entroiproad comic strip; an Interview with Peel show More web/print crossovers. Artist Laura Oldfield Ford's provocative zine Savage Messiah (2005-) reports on her psychogeographical wanderings through London using cut-andpaste, photocollage, drawing and writing. Her commentary is on the gritty realities of urban spaces, reflecting the early anarchopunk art of the 1970s and paying homage to the graphics of Crass member Gee Vaucher in particular. A less refined fanzine aesthetic is at play in the music/queerzine Ricochet! Ricochet! (2005-) by Paffy (Patrick) and Colly (Colette), which has an art-band orientation. 186 / 187 One of the advantages of having a musiczine on the Web is that songs and videos can be sampled. Supersweet (2004-) began as a printbased Thai fanzine, emerging out of the indie disco scene of Bangkok and London and morphing into an online presence; 1,500 copies of the photocopied zine were distributed, but the website provided a much broader platform. Having gone digital, experimentation with sound could begin (e.g. the ‘Contact u s ’ link is accompanied by the sound of an oldfashioned telephone ring). By contrast, Morgenmuffel (c. 1997-) is an autobiographical comiczine drawn by artist Isy that sticks closely to its print roots. The first issue was produced in Germany, and it was not until the second issue and a move to Brighton, UK, that its producer began to use the zine as a forum for drawing comics about her own life and activities, which included direct action and grassroots organizing. The website provides followers with downloadable pdfs of early issues of the print zine. i .v f" A sV sl r \ "^ f,\ ■- A * ? Chapter 5 | E-zines 1998-2009 a sort of compilation... morgenmuffel trjg OrtOOHi <G EP i fO Rw Sik GIG ME 'W TM VA \£KM OC ^ONewHO'SGRuwPy S N c e ^ e m N o u c o c a iit-ty m ck issues, aNO THe'aciiV&OIStHWJtfaN' PfcNi£D Colleonow Has s o ld o u t j i H ayeiaNPoM W CHoseM my own favouatt cdmcs tow 13 issues ai\jp a w RepftNtiriQ- th c m h c «c D o n 't B u ytvii S (f vou H»/erHe active coufai'oM..vouU OMLV f e c i fsippep oFf-. « 188 / 189 ■0919 7 , 2 0 1766 7 7 . 4 5 4 9 4 6 ^ Dennis The t> .U UIV! I V O '+ J '+ O / Z t . Captain 10.30 T h i s I I IO I IC i v I / 4 7 5 1 2 1 8 6.30 T h e H o o b s (T) [h 7361754 6.55 R I : S E 32 16 3 1 7 4 9.0 Tell T - * * 2299 0 12.30 I T V L u n c h t i m e N e w s (T) 2 3 7 0 0 1.0 T o d a y W i t h D e s A n d M e l (T) (S) 2448 3 2.0 W i s h Y o u W e r e H e r e . ..? T o d a y (T) (S) 9 280 2.30 S h o r t l a n d S t r e e t (S) 9 9 0 3.0 I T V N e w s H e a d l i n e s (T) 2 5 77 2 6 1 3.05 L o n d o n Todav / ^ T h e Adventures Of ^8.25 Flint T h e 10 8.45 P o c k e t L3969.0 T h e H o o b s (T) (R) M o r n i n g (T) f o b T h e Builder; A n d W e a t h e r ; (T) C a r l t o n City S u r v i ' ^ 1 n 126 9.30 6 8 50 9 8 4 S t r a i g h t (T) 7 2 5 3 2 1942700° 9.30 ^ ' ' Frin--* F i m b l e s (T) (S) 5 - u d m p (Basil v-»Cl m n a l d r a m a t hat b a t h e d th light a n d a l s o g a v e rise 11766'.192377 3.45 Fifteen T o O n o u n t d o w n (T) (S) 714544 ) 7209 itars J a c k W a r n e r . ...o w e a t h e r 2 4 9 -(T) (S) 25551 4. 9 2 3 7 7 7 5.15 T h e isons (T) (S) (R) Marge qet< Dainting. 579975 f) Archive clips. 9 3 6 6 1 f 1pndon Tonight (T) 919 J Evening News (T) 241 im*., dale (T) (S) Louis The f W ' GeneraticL Ray’s ashes, hoping to kind her. 2 ^ 7* Human (T) (R) Picard is in >ver an abused human btfy 3Life Thi l wants t<j pig dung) c o m a { a m e t 3713 that Sunita and Ciaran have own. 4 8 3 t e a ont Wiml till (T) Des discover Llevvelynj Gavin art in their iom and at the heart of the /Sun (T) Amanda family the variety can be bought fG rfu. 4358 \ a y (T) Eve Pollar the latest diets. < jailers „ }ama about a fictionaP II :jSee ^ 2 Pick 3 E of E the a Day. iB B lotten Ance; i of a firs Ypres. est from the alon. 261 Could H a .. achel he marri s ^ _ Z vJ - /T\ I r-4* 4-l-w e Clarksoi iurs (T) LESS THAN JAKE^PITCHSHIFTi ! ■ ■ ■ : -------------------- 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 V it - http://www.lasthours.org.uk/cootent/neyvs/last-hours-related/ Q u' t ' 1 archiving e-fanzlnes Getting Started U te« Hw dllrw t* O ind E-Zlne Dlrcftonei 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: Craft and Zine 2009, Southampton NovewOer Sth. 2000 oo<lodbv Tomfiction marked na: Now tmuafljina hours'oiatpd Rum-Muffel Last Hours contributors join forces to present this j 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 An invitation to take part in ‘Excessive fo rc e ’ com ix • Lvinggx^comlrjijyaJ ■ HtJLftOTWSWMyth , •TMooiAr®MppmoJ*tt Last Hours is preparing to release our first comix anthology this autumn, alongside another autumn surprise, both of which will bo followed by Last Hours issue 18 in November! But for now, we're opening up the invitation for people to participate in Excessive Force (or Police everywhere, justice nowhere - we haven't made a final decision!) rgftrf I he rent of thi PUIT YOUR JOB GET A LIFE BREAKING OUT o 8 ^ k > W IB E 4 J . \ i david — J ;m . M RADICAL AN TN fO PO LO G IS T DISCUSSING LIFE AFTER YALE K N A T m -,p fiS | ^ W & " ^ 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 & . ^ • f . [ ^ T l i r j . c T * . jM M U N IT Y POWE-R W # H RENpVABL-E-S llfillRllW i a rytj) I iXOfslM P i T U J- • ' a. j r r mq I 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 #14 £ 2 .5 0 AUTUMN 2006 Political zine agitation has found a sympathetic home on the Web. Rancid-News (2003-05), produced by Edd Baldry, was a print punkzine that ran for nine issues until issue 10, when its name was changed to Last Hours (2005-08). It moved beyond a conventional music review zine and found itself putting out themed issues and devoting more space to political news and articles on such matters as veganism - something that gave the website a more serious aura than others in the genre. Regular contributors included Isy from Morgenmuffel and Alex Wrekk from Stolen Sharpie, organizer of the Portland Zine Symposium. 190 / 191 KAREN MACAZINE - MADE OUT OF THE ORDINARY 'v; - .CL1'21-’ ‘fL i Pages Buy Stockists Press Commonts Blog Links Contact Karen magazine - made out of the ordinary Issue 4 of tho oword winnlnfl KAREN MAGAZINE Hovo you met KARENyot? Sho’s pretty ordinary. Ifl KARENmagazinefosn.cnMLoseyanahorrror garcocirgisomoiomo; nooflocatching* thogard ElogyandWordswortn'aDoffodlle Irbruahad. ploatlclaedanddigitally ' / - •' '111ill 11 . f o r pe°P^-e a n d t u e t t a B ie • when language run: dry number 2 Butner Language Runs D ry : a z in e fo r p e o p le i and th e ir allies Finding good I aningful dialogue about chronic pain can be challenging. Many o' if voice! telling their itodrs. We hope that by publlshing*these m Everyday life is a common theme for both print perzines and online versions. When Language Runs Dry (2008-), by Claire Barrera and Meredith Butner, is a health-related zine for 'people with chronic pain’. Karen (2004-), by Karen Lubbock, states, fashion is Lesley and her mannequin Mandy, beauty is a washing line, health is Pat’s and Carol’s bunions. Art is a visit to the local tattoo parlour, and gardening is a mole that needs catching in the garden.’ K a r e n Epriceless 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 Christmas tonight. We arc doing a 1930's theme. You can read more about that on The Cedar Chest blog. Whileyou’re there take a look at all the neat Christmas postcards and ephemera I haw posted over the last coupleofweeks. I still have so much more I didn't get to! More for next I had toublegetting some good photos of myChristmas decorations this year. 1need a new camera (hoping Santa wil bring me one) and the lighting was just too low. Uut. I am RolnRto post a couple anyway. O ff. 1have been publishing zincs under the name PonyBoy Press slncc 1994. Once I moved to Portland in 2000, 1also started selling crafts. I like home decor, vintage stuff, history, fat activism, zincs and web stuff. I also do a blog on vintage photos and ephemera calledThe Cedar Chest. SHOP PONYBOY PRESS Thc village I made turned out pretty goodthis year. I love all the different trees. Although it is nothing likeAlicia's. There Is a great tutorial on howto make her Christmas Village on her blog, Poslogets -the(eastvillage)1NKY(f) Ip V r f h t e * - -Y T V d ^ sW n o -f C* £ » n \o y 3 - t t m m b e d s o o n - i o - k e - 3 - a e o r - o \ d V lo r k < a .r < ? n d e p v j © r s e n v o y +V\e - V W illc \ M - of he-t- ck} uo^rAec 'S orA'y o.'mWiWo'&ei S+aqge se-VbocK f r o n ouV of |PLO<i t h e « o m ,o r o f u v e aJ - r H e v s - r p . e . 1. P.A,*JboM r e a s o n s tu c b m e t o b r o o k l y m ! * F A M I \_V V A C A T I O N SVJAPftHOTS FW.ONA, CH\ c a s o & iA'/ "HEM I All gRjowedNj ic RE/SUTV- BASED ADN\CE To T H E • 1 C R O IA o u t . H t R - O , G R c e > * MENINGITIS & l i s t e r i a GUEST AWVST EMILW1LSON ' ^ nnw t a m Click youraolf slllyl ' N u t E — VJVAl^Vl? The East Village -rruu-h- -rrutch -rrujr_aS) ;a Inky -*>»•♦■ can torncYlmftt c*ravjjoto ACTUAL SVZE.I atvs'^f■ ‘ro ioqovAfe Vd( 3 -VVi u M b c VfVva*, gortyrtVviroy1rrvadcwpto\t»oosrc.fcaUtiorv 4pp*aninM.Cjucn<lv Wtf-Me <fccc;vc<\ of B u v TtalS m a g a z i n e . For t w o D oi_t_A **s a^ ci -WietN vugt a b o u t arwHVioci e l s e ye>u b u y , you'll 4H>riV<+o yourseN 1?" ' ' 0ar»ai\~0y». MiWo^e. rv\cs c o s t s \e-s-a -Vnan ' 'r Vi Uq a c . \ \ofa.W AboMJutitsLtiKnlu CUlMt.294 DfOJtJuSICCSS*Mi*» <o da>f» +© * Tiit East WUage Inky —inwhich the Hoosicr-bom mother of a 3-ihumbcd monkey-collecting girl and a beguiling Brooklyn boy manages to issue forth another installment inthe ongoing saga of their lives inNew York City despite such obstacles as whining, the holidays and dwindling naptimcs. Perishables & Dry Goods! Insomnia! Naked people dancing ina wholesome manner! Obscurities reviewed! Babyprooflng Hilarity! APaucity of Negative Space! JpWiepptr landy links Mo.TpuchJtontaxJ J U LY 2.000 HuUUaJumpm %UDifluW.»te«l5 iDk&JJnhiM Avun'i Boohitpf --INITG Contact G h o st Pine Fanzine *xiui£juju>tullkjaj wm If you're already a subscriber, you can lake advantage of the 10 renew yoar WhKripriBBMd MN yourself a couple of buckics. Ohh! Why put yourself through the drudgery of holiday shopping when it is so easy to give everyone on your list nbolldoxjjn BlbscciAliODx It includes a card and personalized message. But wait - warn to order a sample first? Don't believe incredit cards? Can't get a credit card? That's okay, wc can't get one either. We accept cbccks and cash too —just oaX-Maximumrocknroll #298, March 200B; Zinc TopTen Ghost Pine #n If the "perzine" label usually stopsyou inyour tracks, consider taking a chance on Chost Pino. This is well-writtenandoriginal. It consists of short autobiographical vignettes that arc riveting glimpses at Jeffs life, each one alternatingbetween funnyandsad. I enjoyed the shortness of cach picce, and howhis writinggivesyoujust a taste of the moment, but nowTmsittinghere -Shcrevicwszincs.blogspol.com Ghost Pine #10 The tenth issue, on tho 10th anniversaryof a tremendous zinc, celebrates all tilings incomplete. The several pieces inthis zinc are all parts of other works, cadi sittingpcrfccl init's unfinishedstate. Amust-read, and it coropds me to read the first nineissues as well, inaneffort to learn more of this writer’s world. -Ncwpagcs. com, May2006 Ghost Pine *9 I'dheard manyexcellent things about Ghost Pine, and so Iwas happyto finda couple of issues at Wooden Shoe Books duringa recent trip to Philadelphia. Soon after diving into these issues, I noticedsome threads of similarityinstyle to another excellent Canadianzinc, FmJohnny and I Don't Give a Fuck. This is a goodthing. Jeff has a certainlyrical andtimeless style to his writingthat reallyappeals to me. It lends a universality to what he writes about, whichis often hardto find inpersonal zinc writing. Pcrzincs arc oftentoo personal, so focused inon one person's minutiae that it canbe a struggle to relate. But the writing inGhost Pine, though rooted inpunkrockandactivism. DISTRIBUTORS quimbv’i (ehicago) Autobiography is another staple of the perzine. PonyBoy Press (1994-) is a blog that operates as a perzine and a point of sale for the writer’s zines and craft objects. The co-producer of The Donner Party (n.d.) used her website Oh, Darcy (n.d.) to promote the fanzine and showcase her poetry. Ayun Halliday’s website promotes her print zine East Village Inky (1998-). Ghost Pine Fanzine (c. 1996-) is an autobiographical zine by Canadian writer Jeff Miller, and this site contains extracts from some of his short stories. 192 / 193 ■*' ■- 'aj (x] ■'*) u ft Vlntcd - Getting Started Zine and t-Zme Dir O hitp://www. s1monwhybray.com/fever2lne/ •j T V Coogle ' Latest Headlines & > Ztne Archive Links O ^ a dly iine commum O http://web. .zine-list O grrrl and lady zlnrs C O i_J FEVER ZINC O [Jj MAXIMUM ROCKNR Q + The hand lettering and pink background are as distinctive of Fever Zine (c. late 2000s) on the web as it is for its print version. Originally a photocopied creation by music journalist Alex Zamora and graphic designer Simon Whybray, it provides a showcase for ‘hip’ writers, illustrators and photographers, including Tim Murray, Andy Council and Paula Kopecna. The online zine links to social networking sites (the creators are active tweeters) and to interviews with the zine's contributors on YouTube. Fever Zine has been featured in British design magazine Grafik. Chapter 5 | E-zines 1998-2009 Issue 1 ★ February/March 2 0 0 0 c ja m g j TABL E OF C O N T E N T S One ofVie first magazineaccountsfromthe frontlineof the protests agamst the World Trade Organization November mSeattle. Ufa Albers gives you afirst-hand account of what *rwas like tobe in themidst ofchoas that eventuaty eruptedmpobce attacksonprotestor and the md>scnmmateuse offorceandchemcai Politics Slttp tw in SMttfr M.ke Albers 'Give me Your Huddled Masses Yearning to Breath Free' _ So We Can Jail -Em: Political Prisoners in the United States Faye Ko*y The Internet art Computer Privacy: An Interview w Richard Smith Baoak Rastgoufa-n People Who Controls the Past Controls the Future: An Interviewwith Historian Howard Zlnn PMV MMm The Sweet Scienc: A Photo Essay on Amateur Resistance is as Natural as Broatnlng: AConveration wtth Billie Strain Basd Bias CD B CndMI .1 l tui Techno clfyoftountf: ityol Sound Intogrjiph.c ui Compiny hkitlitutr btljy. i vim rtOwnmw HilionalC'l V«rteoCl a. name - e + cd b. love - e + ing i M m r . h j ~~ " I r o v t Y ig d. live - e + ing e. lie - ie + y + ing c. save - e + ed f. die - ie + y + ing ~ l: tv ir r ^ ~ " Disparate enthusiasms characterize the web zine community. The website for the irregularly produced website Breakfast (n.d.) - ‘the zine about your favourite meal' - by Vincent Voelz is a companion site and sample archive for the paper zine. The politically orientated Clamor (1999-2006) was founded by Jen Angel and Jason Kucsma as a ‘DIY guide to everyday revolution’. The La-La Theory (c. 2007-) is a zine about language by Katie Haegele, a linguist and professional writer. Her website and blog promote the literary zine as well as her writing for the Philadelphia Inquirer. 194 / 195 RAD DAD Hack Thl* Zine I HackBloc.org https //hackbloc.org/zlne Most Vinted - Getting Started Latest Headline* ::! The A/t of Paul Renaud ; View t O SCARCE: Sommalre du prochjm O H Hack Tbl» Zinr 1Hji.kOloc.orij O + Submitted by Hackbbc.org on Tub, 08/19/2008 - 08:38 T v c been reading over your zine and It rocksI" —Annalee Newltz, Editor, k>9.com CurrentIsiue L a te s t Is s u e : # 8 • Leak Everything... Leak It Now > Power of Hacttvlcim > Ronln: A (Brief) Intro > Iptables: Network Auditing with Evoltech ■ Hot Piping Coffee Enema > AnB-Copywrttten • Protect Web Folders > RFI Rooting Tutorial > GLF: Blnwntlng Protocol • Digesting Shellcode like a Mollusk « Letters to the Editor ■ Credits and Shout-Out it HockThlsZlne try our best to reliably bring you great content, a _ 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 Englishis revolutionary version of a Riot Grrrl). Listening mlcrocosmpubllihlng.com/caUlog/zlnes/Z706/ Viewmv complete profile blog a rc h ive BAD DAY ► December (2) Bcin thankful...ur doin It riteI TH E CULT RVICE W O R K ER More diversity on the web. Hack this Zine (2004-) is a collective of ‘artists, crackers, hackers and anarchists’ who work with open source and tech activism. The zine is available as a pdf to download from the website. Tomas writes Rad Dad (2005-), a blog zine about parenting, with its origins in a print zine notable for its letterpress covers. It won the 2009 ‘Best Zine’ award from the Utne Reader. The website for the SocialDesignZine (2003-09) was maintained by the Italian Association for Visual Communication Design and focused on social responsibility. She Must Be Having a Bad Day (2008-) by Dana Raidt, is a web and print zine for female food service professionals. Urinal Gum (2008-) is a comedy/ satire zine aiming to ‘enhance others’ lives through drivel’. 196 / 197 FOR WOMEN W ITH SOMETHING TO GET OFF THEIR 0 .. g..ri j.ii ,.a 0 H c, H3 o p . bitch GET IN THE PICTURE. SUPPORT BITCH. POWERPUFF MAI meet the guy behind the girls A n n o u n c e m e n ts B lo g s Get in th e P ictu re-S u p p ort Bitch! A lice Paul: T h e V otes A re In BOOTY CAMPa woman yearns to join the army B II B GIFTS FOR THE BITCH W HO HAS EVERYTHING most this vital! thriving communityof *upport. anddialogue. DccautctheBitch communityit far-flung- "Chav i DO OR Dl sri lankan female suicide bombers G IV E B IT C H Click here 02925 ■ ■ ■ ■ La DYEEST - THE PHOTOGRAPHIC EVIDENCE M usic V ideo W inner Once into the 2000s women and grrrls contributed to feminist debates in a range of formats - from print to Twitter. Bust (1993-), by Laurie Henzel and Debbie Stoller, was one of the first to bring riot grrrl to the mainstream, and has maintained its edge in digital form. Bitch: Feminist Response to Pop Culture (1996-) was launched in print with 300 copies distributed by hand: the acclaimed website (n.d.-) is now part of Bitchmedia. Ladyfest London 2008 used their website to announce the event and to provide the zine programme as a downloadable pdf. _ Chapter 5 | E-zines 1998-2009 r contact | vmot? STZF -(-T am about m e EMAIL ME GuestbooK Join me M ailing list f about mer yr— GRRRL, LADY, QUEER and TRANS FOLK ZINES I n Epg-ishl : : : A B C D E F G H I J K L M N Q P Q R S T U V W X-Z ::: fSponish'1 lPoftuQiiesel:::[Gerrranl 'French lliai'an]: IHpnrewl::. ISwed sh' • INQrweQian]:::lFinnisn]::.fDu(cni:::[Polis^l:: tS ovenei :[Croaiian; (Japanese!: - ZINE DISTROS - BLOGS - COMICS - m Q A 2 N E $ - MUSIC ZINES - RIOT GRRRL RESOURCES - ZINE EXHIBITS & W O R K S H O P S - ZINE GRAPHICS j tnis oro.ect zme disuos ♦ zine li&ranes - infoshops whaia^tnoa? zinarisiory * insane ngtwprK RESOURCES FEMINISM N£W!Udvtott third wave feminism cvberfemlmsm an * POP Cul^r? * gifl publishing N E W 20091 Z in o A r c h iv e at: w w w .q r a s s ro o ts f o m in is m rn e t ---- Ti£*Xm'Z€3i iting i :saae"“ l E „ Jasso? erviewsj with International zlnesters by continent |by topic NEWI The Curved (Slovenia Hoopla: Radical craft zine (AUS) Fight Togetherl (Italy make/ shift (USA — Uni l ne (Croatia) What^do We do When (Australia) ufriend, for ladies and all their friends J / Interviews and articles Ladyfriend Zine is a small-press publication that celebrates female friendship As the subtitle implies, this doesnl mean you have to be a lady yourself to enjoy the content or contribute articles, you just have to be friends with a few Whether you’re looking advice on how to cut your own hair, comics about babysitters gone bad. stories about adventures on public transportation, or tales of inspiring aunts, Ladyfriend's got something for you. get ladyfriend Browse the Ladyfriend site for sample articles and essays, ordering information, and links to other great projects. There are nine issues of Ladyfriend out now, with a tenth on the way this winter. If you like what you see. and well have it delivered straight to your door interested in contribi to the next issue? Ladyfriend publishes articles, essays, interviews, artwork and reviews. Send us your stuff1 ----------- ® Grrrl Zines A Go-Go © ... ,■ a s > G U ES T BO OK #JSign In *V)«w Entries Issue #10 is the thickest issue yet. celebrating six years of publishing by focusing on the complexity of female friendships in 64 pages of pure xeroxed love. Inside youll find tales of wasp-tree symbiosis, church-pew note-passing, battling bandmates. and Ghanaian superheroines' Plus free postcards to get back in touch with a long lost ladyfriend. and plenty more. Issue #9 is our magnificent Male issue, with stories by and about feminist fellas, girls inspired by grandfathers, and drag king drama. Read up on raising a son. digital dating, changing male beauty standards, and tons of other awesome stuff' S c u m g r rr ls ts s z m m Issue #8 is the Health issue, featuring all sorts of stories about midwifery, dog attacks, growing up with doctors for y Montreal’s pansexual Lickety Split Smut Zine (2004-) presents work from 'artists, fallen women, playboys, rakes, trollops and strumpets!’ Ladyfriend (1999-2007) by Christa Donner originated as a themed print zine. Grrrl Zine Network (2001-) is an established feminist zine network listing more than 1000 zines. Grrrlzines A Go-Go (2002-) facilitates zine workshops in community venues, especially for teenage girls. Belgium-based Scumgrrrls 100% Feminist Energy (2002-) takes its title from Valerie Solanas’s Scum Manifesto. m \ 4 — fltilto». thtili.,M».d!iMrW pnf Brrrl power ♦ zine books S IL lillfilJ lL flin flil articles ic id tm ic wrtiinfl bibliography liM S jJ l ll^a rla f STICKY INSTITUTE ■..... "I Inmtute Overview Background Location T he B adge Machine* The C3100 Photocopier Stock % u r V brk T he Typewriter Fbol Membership The Exchaige Bax A B O U T the I N S T I T U T E R ESOURCES T A R G E T 144 & 168 series The Opinion Society In Comrnauon Demonstrations A Vhrkthops Electronic Sporadic Correspondence Modem Social Networking Electronic Ltnks M A IL CREER E E P X Z IN E O fE IIA F E S im L o / ./ ,,f H O T O C C H E R ftirinla* in xynchronised zinemaking A compendium o f knouiedgc atthin txtrentt time constraintn on Australian zine culture SHRINE W IL T C C M M U N IC A E Melbourne, February 2010 SITE INLEX 4 - Mo* > FRI 12-6PU SAT 12-5PU I POBOX310 RIMJLRS LAIC VICAUSTRAUA 8009 I 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 - Vpit. W ?-otibky m3 Wf W»rH>W*SXiSi typ»irriV*r? G e ttin g S ta rte d CCMMUNIlAE lrJCrodudn^ the lovely International L a te s t H e a d lin e s o M v A ru 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 The Opinion Society ! In Conversation Demonstrations & Workshops Electronic Sporadic Correspondence Modern Social Networking Electronic Links Home Olivetti le ttera 4l and Australian sweetheart Royal 40. TH E O P IN IO N SO C IE T Y Y O U are invited to meet with zincmakcrs, writers & artists to freely’cfiscuss ideas, express personal opinions and think critically about new works in circulation. Come and generate and receive critical feedback and get a sense of what other people are creating. FRIDAY 7' 8pm 7th AUGUST FRIDAY 7'8Pm 4th SEPTEMBER FRIDAY 7'8pm 6th NOVEMBER FRIDAY 7'3pm 4th DECEMBER At least one of these meetings has been recorded for prosperity... C ............... Mon > f r i The Web has provided zinesters with a global audience. In the case of Sticky Institute (2001-), an artist-run initiative in Melbourne, Australia, this notion is extended to providing a shop and a non-profit art gallery dedicated to Australian and international zine culture. As a resource, the online Zineopedia, produced by Eloise Peace for the Institute, provides a supplementary compendium. The DIY spirit is also kept alive through activities such as the 'Festival of the Photocopier’, though the site does receive funding from government arts bodies. Its distinctive illustrations and navigational links make it a focal point for Australian zinesters. Done .......... •' ----------------- - ----------- 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 Chapter 5 | E-zines 1998-2009 + ' ' http://www.ourhero.tv/ G rrlB eat @ t...n a & T ech no C 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 Q r our hero tv show N atio na l G ri... V id eo C lip s NOW ON DVD! ! W a tc h th e f i r s t tw o aeaaona o f OUR HERO an y t im e . The h i t TV a e r ie a i a a v a i l a b le i n a l i m i t e d e d i t i o n DVD b o x e d a e t . O r d e r v o u r a to d a y ? ! ! d b qp : vis u a l...is u a l Poetry NOW c*\ l l t d It's a little magazine type thing full of rants and jokes and weird little drawings that make me laugh and stuff I found on the floor at the bank machine or in the nine-for-a-dollar postcard bin - all cut and pasted together into something almost beautiful. I t ' s e v e r y t h i n g : my j o u r n a l , my s k e tc h b o o k , my tim e c a p s u le , my k e y t c m e n ta l h e a l t h , my p u n c h in g b a g , my b r a i n o n p a p e r . . . , .c HEY! C he ck o u t o u r g ro o v y a e c tio n : 4 H » r y - K '» H a lr - D o o z ! ! DVDs wr W o on sale Have y»ur S a y : G o t y o u r own ia s u e s ? ? J o i n , THE RANTf I f y o u 'v e g o t s o m e th in g t o a a y a n d n e e d a p la c e t o aa y i t , t h i a i a y o u r dre am come t r u e . to g e t your OUR HERO DVD b o x e d a e t . T h ia l i m i t e d e d i t i o n DVD a e t i n d u d e a a l l o f a e aa on one and a e aa on tw o & l o t a o f fa n ta a t ic e x tra s ! 'zine1 \ n 1 : a wee independent publ i c a t i o n nade purely eat I « s s i » e . b s Zines are either snail-nailed, sold in the "pulsing u n d e r g r o u n d 1 (press centers" of music or h o o k stores for cheapcheap, given away at clubs | ___ ____________ , Lor just tr a i e i far ath e r zines ,EXXttalfl WATCH OUR HERO WHENEVER YOU WANT — BOY THE DVD BOXED SET! © C op yrig ht 2001, 2002, 2006 H eroic F ilm : onp■ ny Ir.c m i A l l fcL?Kt« Reserved. a US teen TV series Our Hero (2000-02) featured Kale Stiglic, a 17-year-old high-school student who wrote a zine about her life as a teenager, facing such issues as gender identity, drugs and relationships. The series ran for two years, during a period when fanzines and DIY culture had become established currency among North American teenagers. The accompanying Our Hero website pays homage to the visual aesthetic of Kale's printed fanzine, using typefaces that replicate typewritten text, cut-out photographs and hand-drawn illustrations. Fans can interact with the site by uploading zines or completing a questionnaire to predict Kale’s future. Meta-webzines (zines that review other zines) are a quick and easy way to stay in touch. In the tradition of Factsheet Five, Xerography Debt (1999 —) began as a 16-page production with issues averaging around 50 pages. The expansion of its readership through a website and blog (2008-) guaranteed a greater submission of zines for review, and kept the print version in production. As the editor writes, ‘Print is not dead, but it is becoming more pixelated'. The now-defunct website Learning to Leave a Paper Trail Distro (2003-10) founded by Ciara Xyerra, was typical of a number of indie distros that rose and fell in the 2000s. Although Zine Thug (2003-09), edited by Marc Parker, was published infrequently, it is a useful resource as an archive of reviews. Chapter 5 | E-zines 1998-2009 mixt Ik. W o r l d $ 3 futfaul in M M , M I4M , or IUXKO - M H | 1333 iY ' I J f o s lf a iJ M W I L il 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 , I f ........................ Stoke CiUi fanzine message Board M J * . ............- J M B 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 f Unmarked Categories and the Q uestion o f Power : Consent or Coercion until then please continue to chcck out http://punlaUhlppics.blogspoi.com/ for updatesand (or loads and loads of uploads UPLOADED SO FAR chcck here for new uploads and updates Library Bom (< ► - C _ W* *("^^Googte http://www.tommvf<ovac.com/Ul5raryBonn«t.Mm a tine by Tommy Kovac & Jullc Frederickaen Click h trt for tha L IB R A R Y B O N N E T S T O R E ! Email: hcenieo.luno. 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 Crystal Palace football club. The Oatcake (n.d.-) is a message board for Stoke City supporters. ZineWiki (2006-) is an open source encyclopaedia devoted to zines and independent media, created by Alan Lastufka and Kate Sandler. Zine Library (n.d.-) is an open publishing platform where zinesters can upload and download copies of fanzines. 80s UK Zine Archive (c. 2005-) is an online resource that collects together 757 zines. Chapter 6 | The Crafting of Contemporary Fanzines k u r l r o b a in w a s la c lu s o in t o le r a n t 'BEDAZZLED PULL •TO•OPEN Popular culture and music continued to provide a focus for many fanzine producers. Kurt Cobain Was Lactose Intolerant Conspiracy Zine (1998) was a riposte to the 1998 documentary film Kurt and Courtney and suggested it was milk, not drugs, that killed Cobain. Publish and Bedazzled (1995-2004) focused on the career and strange personal life of British comedian Peter Cook. Pull to Open (2001-) is a fanzine about the world’s longest running science-fiction TV programme. Doctor Who. It is 2 0 0 6 . The place is The Square social centre, a large Victorian of capitalism, but also reflecting social, environmental and political squatted building in central London’s Russell Square, in which the concerns. This has been mirrored in other forms of engagement such second annual London Zine Symposium is under way. Tables and stalls as ‘guerilla gardening’ (the cultivation of disused land). cram the lower floors of the house with zines and small press books. This chapter will look at the way in which fanzines have reflected The basement has been turned into a screen-printing room, with one this phenomenon, and how they comment on economic structures corner reserved for an exhibition of zine art. But, in the garden, beyond and political activism while also fostering networks of local (and global) the pandemonium of zine buying and trading, something else is going communities. Like the knitting circles, zine publishing has the power on: a group of young men and women are sitting cross-legged in a circle to inspire social cohesion. For a new generation of DIY crafters, the on the grass. They are knitting. Just clicking away quite happily with politics are still very evident, but now there is a more holistic approach their knitting needles. I have never seen anything like it before. The fact to ‘making one’s life one’s ow n’. This has indicated a new direction for that it is men and women is even more remarkable: as one organizer of zine culture, in which an emphasis on DIY is found in new contexts. the event observes, it is .. totally punk rock and just goes to show the sexism behind common gendering of hobbies'.1 The links between zine culture and craft culture go back to the Crafting Fanzines It is worth exploring briefly what is meant by the word ‘craft’ and what early 1990s with the emergence of the riot grrrl scene, where such this means for contemporary fanzines. American writer Bruce Metcalf activities as knitting, crocheting, cross-stitching and sewing were has argued that craft has a set of specific characteristics, which he reclaimed as part of a third-wave feminist position. Craft moved out defines as being ‘handmade’. Craft, he writes, is ‘m edium-specific’ and of the domestic sphere, where it increasingly came to be seen as a is normally ‘identified with a material and the technologies invented to sign of female oppression, and into a more public domain as a form of manipulate it’. In addition, Metcalf suggests, ‘craft is defined by use’, hipster 'creative expression’. This shift was significant and led the way in that craft objects have a function (for example jewelry or furniture), towards the refashioning of a craft activity into a political statement. but also that ‘craft is defined by its past’. Out of these combined ‘Craftivism’ (a conflation o f ‘craft’ and ‘activism ’) was coined in 20 0 3 characteristics emerges an aesthetic value. In other words, Metcalf by British crafter and artist Betsy Greer to reflect this: she argued that proposes that craft’s ‘aesthetic value must be located in [the] ways ‘by using my own creative drive as a positive force instead of allowing craft is intimate, useful and meaningful’.3 the wheels of consumerism to direct me, everything I did became part This idea can be applied to an exploration of fanzines as graphic of my activism ’.2 For Greer, craftivism was directly related to socially forms - in particular, the way in which fanzines are intimate graphic engaged practices aiming to ‘disrupt the prevailing codes of mass objects, holding meaning through their form and content but at the consumerism’. By embracing the notion of a DIY culture, Greer and same time functioning to communicate. Zines are defined by their others like her (including Debbie Stoller, co-founder of Bust, and Julie materiality The fact that fanzines are often visually chaotic (the result Jackson of Subversive Cross Stitch) opened themselves up to new ways of experimenting with found materials and lo-fi DIY production and of exploring gender and identity (how feminine and feminist could binding methods) and use scale to advantage, through different sizes co-exist), as well as craft practices. The resulting handwork became and formats (from minizines to broadsheets), results in an object that a visual act of dissent: in the first instance against dominant forms can be unusually tactile. An intimacy derives from the fact that fanzines Ma n z in e EDMOND S ftA N T By the 2000s men were back on the covers of fanzines. Squeaky Sneakers (2008-09) celebrated the ‘retrosexual’ man by focusing this issue on beards and ‘other hairy facial accessories.' Manzine (2008-) edited by Kevin Braddock, takes a humorous look at ‘the male phenomenon’ and consciously lets go of past images of ‘new lads’ and ‘metrosexuals’ to focus on ‘men’. The Robert Edmond Grant Fanzine (2009) celebrates one of the forgotten ‘great men of history’, a nineteenthcentury naturalist. remain amateur, ‘handmade’ productions operating outside mainstream Oliver Mayes in the form of a mailing tube. It included jokes by British publishing conventions and mass-production processes. The hand - comedians Jack Dee and Jimmy Carr rolled up with page excerpts from the im print - of the individual producer or maker is readily evident in the the Financial Times newspaper. The intention was to help take readers’ fanzine itself. This suggests, then, that the history of the object is bound minds off the recession. up not only with the history of fanzines more generally, but also with the history of the individual maker. Another example is Zine 2009 (2009), produced by students from the University of Delaware as part of a letterpress workshop held at In the 20 00 s, ‘tactility’ became a trope and was symbolized by the London College of Communication (LCC). The zine form at was a the increasing use of letterpress (a relief print process) and screen- prompt for students to explore typographic experimentation but also printing (a stencil process leaving ink on paper). While production to experience the letterpress medium. This approach was adopted in technologies (including duplicators, photocopiers and desktop an earlier LCC public engagement workshop where local crafters were publishing) have always been im portant to the zine aesthetic, this invited to use the desktop letterpress in the design of their individual seemingly more sophisticated use of printing techniques had the effect pages for a com m unity zine titled The Memory Cloth (2006). Zine of ‘slowing things down’. The immediacy offered by earlier cut-and- workshops such as this present opportunities to develop a sense of paste and photocopied zines was replaced by a more intentional and com m unity through the collective act of making. time-based act of making. As a result, the traditional zine aesthetic shifted (the immediacy of punk and riot grrrl zines, in particular) in Crafting Alternative Com m unities the 2000s. The chaotic nature and visual intensity of the photocopied It is perhaps no surprise therefore that fanzines are part of a growing pages and covers started to disappear. Zines are now more clearly akin alternative craft movement that, as Metcalf has proposed, is ‘shifting to the handmade aesthetic of many small press artists’ books, with production back into the hands of ordinary people’.4 Fanzines are their uncluttered design, handmade stock and unconventional forms contributing to this lifestyle shift through the publishing of ‘how-to’ of binding. It is telling that zines have started to appear as numbered, zines, which tell readers about how to produce or make things for limited editions, in a nod to recognizing the value of the time and themselves. These how-to zines fall into tw o main categories according skills of their producers. to content. The first is zines that are writing about how to make zines An example of this shift is Ker-Bloom!, a bi-m onthly letterpress zine (the practicalities of folding paper, binding, printing, distribution). For produced in the United States by Karen Switzer (aka Artnoose . The example, Stolen Sharpie Revolution: A DIYZine Resource is a minizine zine began production in the m id-1990s and recently came off press (and blog) by self-confessed ‘crafty girl’ Alex Wrekk. In it she reflects with issue 82 (2010). It exemplifies the craft of letterpress production that she found independent publishing a means by which she could (Artnoose owns her own craft card shop), and it is also a poignant express herself and be empowered by ‘looking at things and saying perzine. Each issue takes a personal look at a situation or theme, be it “ I can do th a t’” .5 She suggests tips such as the value of knowing the laborious process of moving a print shop, anti-capitalist business who your target audience is, carrying around a notebook to record practices, forming a band, being an extra in a film, alcoholism, or inspirations, what type of glue to use, where to find clip art, thrift stores playground fighting. Ker-Bloom! led the way for other recent letterpress as a source for material, and consideration of copyright ‘if you are going productions, such as the one-off art zine Cheer Up! (2010) created by to reprint something from another zine’.5 The ‘how-to’ resource also 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 £ 2 . 0 0 UK _ lm f m c y < W t A ■ h t i ^ I YI I h ^ l I I ••BYTALK — THE Medical references, tenuous or otherwise, continue to be popular. The title of Nervous System (2006), by Anthony, can be read as meaning a part of the body, but it also points up a sense of unease regarding certain authoritative elements of society. BodyTalk. art-directed by Sarah Handelman, aims to raise health awareness among youth groups in Columbia, Missouri. Local Anaesthetic! (2005-), edited by Tom Noonan and Cliff Anderson, is a grassroots monthly nurturing local artistic talent in Geelong, Australia. The Boy W Gi n re v ie w s ^ B M T h e G c r 5 et, CD R e v ie w s ' MEDICAL I SSUE m Chapter 6 | The Crafting of Contemporary Fanzines www.iooascnat.com s q u a re b a ll 2 0 0 5 -2 0 0 6 Is s u e 1 END OF TERM REPORTS / p V EUROPEAN MEMORIES NEW SEASON PREVIEWS Colour printing became so much cheaper in the 2000s that it was almost ubiquitous. Officer Pup (2001-) is a small-format comiczine anthology from New Zealand showcasing Kiwi comics, reviews and news. You Stink & I D o n ’t (1995-) revels in satirical and black humour, with plenty of comic strips. The Squareball (1989-) is a long-running football zine, which in its 2000s incarnation made the most of colour covers (in this case referencing boys’ soccer comics). covers making paper, using a copier and distribution, including ‘building Facebook pages is now commonplace: the local is now global and a com m unity by attending zine conferences and events’.7 with it has come a renewed com m itm ent to ‘political’ activism. In the second category are the zines that provide lo-fi ‘how-to’ guides to making your own products or crafts (soap-making, gardening ' and home composting, jewelry-making, cross-stitching, knitting, It is worth noting the shift in the use of terminology among zinesters, who appear to be moving away from the previously favoured idea of ‘networks’ to one that is more firm ly committed to the development of sew ing...), or advice for healthier living. Raleigh Briggs, for example, zine ‘com m unities’. Networks are formed in the way that zinesters are publishes a series of pamphlet zines (such as Nontoxic Housecleaners able to reach out to others for the purposes of sharing and exchanging Zine, 2007; Herbal First Aid Zine, 2 0 0 6 ) that endeavour to provide ideas and providing information about their zines and related activities. basic advice for such things as making soap at home, or herbal On the other hand, a much more complex set of relationships is taking remedies. Home Composting Made Easy (1998, reprint 2008), by place around the notion of communities (for there is no one single Forrest and Tricia McDowell, is a zine about ‘creating less waste’. com m unity in zine world). The difference is in intent: communities MixTape (2 0 0 7 -) by Nichola Prested and Justine Telfer, pays homage build upon a sense of belonging and shared discourse, whether to the award-winning indie crafting Croq Zine (2 0 0 5 -0 8 ) and presents personal or politically inspired. Communities are also about fostering a range of ‘how-to’ tips for crafting, such as the pragmatics of sewing. relationships through participation. This may be between individuals The main places where zinesters have traditionally congregated with different authorial positions and voices, as well as between continue to flourish: events such as zine festivals, small press book producers and readers: all of them are active participants in a vibrant and comic fairs, independent book stores, and so on. Alternative and thriving zine scene. communities are also established through distribution for both zines and other craft products. This has become evident in the emerging micro-craft economy, where the places for bartering, selling and buying fanzines and DIY ‘products’ are being complemented by online activity. Zinesters and crafters, for example, use social networking and e-commerce sites such as Etsy (www.etsy.com ), which provide inexpensive but far-reaching ways to sell handmade work. While zines may still be found in indie retail outlets (normally indie music or book stores), print distribution also takes place through online distributors (‘distros’), such as Microcosm Publishing, Parcel Press and Corn Dog Publishing, to name a few. At the same time, virtual networks and communities are also thriving (YouTube, MySpace, websites, blogs...) and zines are morphing into new digital formats. Cathy de la Cruz, an artist and crafter, has proposed that ‘a podcast today is what a zine was in the nineties’.8 Zine information as circulated through virtual message boards, Twitter and 6g ~HfS» <*. r ^tSSTLwiO -%'U- 9 ^ 'I Xfn<a-*es«a^ \ s*j-i ' -^ 3 d f^ -fi v - $3Tt«Wl 111)riCA^dP - CA - J-W> JJH091# 3T»<>V»1 0.V -N a ? ^ >k <?> sNipg gr&^ok A<N NH®>) ‘ KVi \ ’d N\i <»\ 3*3* • i i 04 V JSU->d NW q> <J33N A fta o W»A. •aidwv'V k-i'wa-d 5K>i a«* s t w * ■A0> * XM6 ^NlTdjyl N33^ 3M I teaara a a n i no* os AHSQ 8 2DanoSffH SNIZ n a v thuya 1 3 uonmoAM aineqs uaiois JnQ am moo 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 In Your Tracks? Imhup 6 • $0 X n l u r u l < l | jp l n y Oiiriliiii l o r tli(> | | lr ln )| m - n s o n G ii|| k s h o u l d s e w (•or||<>oiiNl|| l i i t ’c i i I t o o l i lt«>vit>«v Mytowingife evohws. fluctuates, frustrates, and Inspires ms. Inowknowthere will neworbe a time inmySfoIwon't bo sewing. OrIfthat occurs. Iwtl be very aionatod frommysolf ondI shuddor to think. As much as sowingIs mypassion, there are those aspects of beingan ardent and devotodseamstress thatjust tripmo up enough to tomporarBy forget the many rewards. Here are mytop five: ' ^ a i t f the patter^T) sew your own miss buttons www.se^ourbwrucoip.aU 212 / 213 11111 Sillsfe ji:;: ■ /250 price T(issueh is is / 0 '/ z ) H q s h t y ^ r € p a reol/Vfc^ Sop Chapter 6 | The Crafting of Contemporary Fanzxnes ■■■■SSe5B»5555555555iiEEiil'ii56S'M*eeeeeeBee: ei ....: , ... : ...........:.J i i * gPU 1 , \ook ! C\ 2.i n e •4. T-v's a . b o u 'V -r-H C R O S S S T lT C tt < ■ h -h The craft of making has extended into literature, music, filmmaking and crossstitching, to mention a few. Naturally this has had an effect on the look of zines. Dates I ’ve Been On and Not Been On (n.d.), a story about the producer’s love life, includes machine-sewn binding. We Ear It Regular Differently (n.d., front and back covers) uses folded sheets inserted into a printed cover and sprinkled with gold glitter. Artist Sarah Doyle created Helping You Find the Right Jewellry! (mid-2000s), which explores through her drawings a range of accessories. This Is! (2002-06), a lively perzine by Helen Wickham, includes hologram food stickers on the front. How to Make a Super 8 Film (c. 2006) is the result of a filmmaking workshop taught in junior high schools in Canada. D90: A MixTape Zine (2007-08) celebrates the cassette era and asks its readers to ‘bring a community together with a tape'. Hey, Look! It’s a Zine about Cross Stitch! (c. 2010) is a simple 'how-to' guide with amusing patterns. <c H o v j ... t V f" t* r f tt i± r r m ...... To &£T STARTED J 1• ; ^ .--'M A K t 4 f t I "M” O whJ P A T T E R N S .'/ secnow 214 / 215 T:~P"P KERBLO OM ! LXXX September-Qdtberiooq IN T H IS IS S U E ... • Are Cops Pigs? (The S h ock in g Truth R e v e a le d !) Ginger Scented Urine Steam! • A T ru e T a le of Bound w ith r w in e • Hi-Bread C a r Review! • 5 lv e in 0 1 L o a l d L o n u u t lic 'T D t ii & i u j 3 n DCum on- • And so m uch m ore... • Plus a FREE bonus zine!!!! ^handrm cje by v u iih v lw e l ChristophMeyer More inventive designs that riff on the craft explosion. Ker-Bloom! (1996-), containing poignant personal stories, is printed on a Vandercook flat-bed press. The Squares (c. 2009) is in fact a circular zine that reappropriates the packaging of a Sinitta single (the zine is glued to the vinyl). In Sickness (2008) is a colour-photocopied perzine about health obsessions, held together by a rubber band and a paperclip. The award-winning 28 Pages Lovingly Bound with Twine (2001-) is a perzine from stay-at-home father and artist Christoph Meyer that chronicles the producer's home life. The Memory Cloth (2006) is a one-off workshop-based zine. The single-sheet pages of contributions are inserted into a striped paper bag, which is machine-stitched. 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 NINA CHAKRABARTI (REG) HOLLY WALES BEN BRANAGAN SAM WINS T O N KATE WESTERHOLT ASTRID AL JOSEPH YOLK CHANTAL YOUNG CHRISSIE MACDONALD ALEXANDRE BETTLER DENISE GONZALES CRISP RACHEL THOMAS HARRINGTON & SQUIRES MILENA SHANE KINGDON KATHARINA KOALL CLAUDIA BOLDT JASON S K S d if t f SKOWRONEK HELEN MCCOOKERYBOOK CECILIE MAURUD BARSTAD OF J U L Y SIX KRISTJANA WILLIAMS INTRODUCTION BY Angharad Lewis ELLEN LINDNER PATRICK LAING PETE HELLICAR RACHAEL HOUSE v.nTTF.D & D E S I G N E D BY SUZY WOOD IZZIE KLINGELS MARTIN MCGRATH tynpfSHnp T.PCAT ION ECKERSLEY GALLERY LONDON COLLEGE OF COMMUNICATION ELEPHANT AND CASTLE Today in the West mass-produced goods, things made by machines and the hands o f strangers, fu lfill our basic needs. IVhen winter arrives we go the high street and buy a warm jumper; we shop at the supermarket ro r pre-preip ared food; we live in homes built by others, furnished by production -line furniture. He have progressively lost an appreciation o f the ccraft o f making things by hand, especially in daily life. Revisitir those crafts we're in danger o f losing touch with is a w a y Revisiting t only to preserve them but also to better understand our relationship today's w orld Craft is about mastering a skill, meeting a need (be it basic or complex), realising an idea in physical Jorm, and the attendant " doing so by one’s own hand. Craft is also about creating very personal '■ractionr-skills are passed on from person to person, en 1 was a chili m y mother made m y summer dresses by hand. Both ' grandmothers many o f their children's clothes by hand. They >oked all the f i ■’s meals fro m scratch a tcchh aand n d bt a kked bread every week. My grandfather cn urniturefor their home. In that sense m y fa m ily m membert were ing designers and artists every d a y o f their lives, But making thii by hand is no longer a necessity-crafts are often relegated to the aim o f the hobby, handm. goods have become marginalised a ticed less and less aree forgotten fro m one ont generatior^ to the artists and designers today, however, are increasingly using th tir w ork to question this situation and to revisit hose methods in a provoc ative way. The Memory Cloth fan zin e is a llabofative work b y such artists a. designers. It seeks to explore and and celebrates unique synthesis o f ion and Invention t 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 | 4 4 / > 1 > a Mix Zine (2009, cover and inside spread) combines a CD with a paper perzine in order to share with the reader sounds selected from obscure musical sources (e.g. ‘the perky picking of bass strings’ and 'sweeping piano cascade'). Miss Fliss, a music journalist and past editor of Splinter Magazine, is the producer of this handcrafted squareformat and heavily star-stickered zine. You (2001-) is a Melbourne-based fanzine, clearly influenced by art movements such as Fluxus, that comes in the form of a personal letter written by anonymous contributors, folded and sealed in a small bag. Five years of the zine have recently been collected in a book. Pneumatic Catalog (n.d., cover and inside spread) contains mail-art-inspired colourphotocopied artworks. The cover of this zine is bespoke and features as part of the inside front cover a pouch in which a smaller perzine, My Family Album, is inserted. By the Time You’re Twenty Five (2008) is an Australian music and perzine by Emma, who takes as her starting point the now disbanded riot grrrrl group Sleater-Kinney. Her hand-drawn cover is created out of a sheet of pink tracing paper and stapled on to the black-and-white photocopied interior, allowing for some intriguing see-through effects. Failed Rock Star (2003-) is edited by Rob Phoenix as a portfolio-inspired zine, with single-sheet contributions from 50 artists, writers and designers housed in a screen-printed cloth bag. 218 / 219 www.organart.com EN G LA N D Artzines became more evident in the United Kingdom after the rise of the YBAs (Young British Artists), both reviewing the fringe art scene and offering an outlet for DIY artworks. Arty (2001-) consists of drawings, photographs and reviews by artistcontributors. Blitzkrieg Babylon (2003) is a limited-edition screen-printed zine that takes as its starting point an anarchist’s view of the political landscape. Organ (1986-) is an alternative culture, music and artzine, with a substantial press-run of 20,000 for this issue. Plastasine Fantazine (2008) was a fanzine edited by artist David Burrows with participants from an academic conference, ‘Art Writing Beyond Criticism’ (ICA, London). . 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 l im it e d DRa W INC EDITORS O tlES tlO uC 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 limitededition artzine produced in Brighton by illustrator Jacky Batey. Obsession (c. 2009) is a collaborative zine curated by Karoline Rerrie, where artists are invited to draw with each having a double-page spread for their work. The screen-printed cover artwork is by illustrator Gemma Carroll. Rivers Edge (2008, cover and inside spread) is a limitededition hand-printed zine that explores the work of underground artists. This issue also questions ‘what is a zine' in relationship to its own publication and its ‘intrinsic DIY nature'. Screw Crash & Explode (n.d.) is a stencil-printed artzine that features Dutch collaborative artists Monobrain and Marcel Herms. The frenetic nature of each printed page is enhanced by the intensity of each drawing and the fullness of ‘doodles’, splotches and graphic marks. Djmrior3 W H IT ® fll E M an underground; •Min; our" Uigltn. Illy - or perhaps uneq « » « . t h i w l , '< I, -------------------------h x hps i*v«r it should be call by Fyodor Fyodor O Oo»tocv»*y. t»k .n from the «•«!• of * book by 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 wdyCwoulcT? • Ed«e. ^ t«rA musician. o ? 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 ejft r e c ip e s ( 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 MONWESQUIOU TH E S E M IO T IC S THE SINGULAR ADVi OF CECIL DE CASHMERE A G E N T I.E M U R M U R O F T H E A N G E L U S AT I I IE I (E IG H T O F T l IE O R G Y With desktop publishing fanzine style has, in some cases, moved towards that of conventional magazines. FP: Fashion Projects (2006-), is a publicly funded fashion zine created to raise awareness of experimental fashion. Just Like Candy (2008-) is glossy zine about music, art and film, whose producers ‘used InDesign for the first time to create the layout'. The Chap (n.d.-) takes an ironic look at masculinity and men's fashion, with for example articles on dressing for tennis and the semiotics of smoking. Medium Magazine (2005-) is a quarterly portfolio with contributions from artists and writers including novelist Anthony Gray. 224 / 225 That old staple the comiczine has also moved with the times. Hey, 4-Eyes! (c. 2008-) is a limited-edition example allowing various artists to make a spectacle of their spectacles. Comix Club (c. 2006-) is a Frenchlanguage fanzine, with number 5 interviewing American ‘ultra-minimalist’ artist John Porcellino. Dame Pipi Comix/DMPP Almanach (2004-) by Gerald Auclin is notable for its changes in format for each issue. British horror magazine From the Tomb (2000-) explores the entertainingly exploitative world of ‘pre-Code’ horror comics (comics created in the 1940s-50s prior to the establishment of the Comics Code Authority), as well as lesserknown fare in the supernatural horror vein. 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 MassicotteQuesnel, came to prominence during the early 1990s with the publication of a series of bilingual anthologies in fanzine format. >26 / 227 i 7 I N D E P E N D E N T E DO QUE VOC E C H A M A DE Q U A D R I N H O S anne tro p ic a lis m o co m o le g a d o . tro p ic a lis m o e n o m e p ro p rio s tro p ic a lis ta s E la ra z a o . te m p a ra Alexandrino u m m e “S o N eo- q u e o s o d i a r i a m ”. u so o te rm o c o m u n ic a r c o m o s u n i- v e r s i t a r i o s ”, a h , e s t a j u s t i f i c a d o . N as m u s ic a s , d e s te m p e ro s tiz a g o e s s io n a is . K a rin e d a v id a c a n ta em in v a ria v e lm e n te S u as m u s ic a s o s d ra m a p as- sa o co m o p o la ro id e s e x tr a id a s d e film e s d o A lm o d o v a r A Antidiva Tombada (E nos precisavamos disso!) e rfo rm a tic a , P v a ria s K a rin e fre n te s . m u ltin u d ia . f in d C om d o is c e a re n se te ira P ro d u c ta o - 20 0 2 ) e Q u e re m a ta c a A A le x a n d rin o c o n v e n c io n o u 48 e la e q u e c h a m a r d e “Q u a n to se a rtis ta m a is n u a n R o b e rto em tim e n to c o n ta a a p ro p ria , Ju k eb o x . “T e n h o u m a re la g a o f n tim ^ c o m a d a a rra n jo s b e m b o u rg E e film e s e x e rc fc io de d ia rio . M as a s s e g u ro q u e e n a tu ra l e n a o u m a s im p le s a c re d ita r. d e sse e s t r a t e g i a ”. P o d e m A fin a l, in te re s s e g ra n d e v e io d e p a rte b e rg o , d o in v e s - C om b a se s a m a rra d o s, a s can - p ro p rio s m o n o lo g o s A le x a n d rin o c e n ta v o m am ae. g o e s tra fe g a m m esm a. p ro d u to r D u s- p ro g ra m a d a s (m a s n e m se m p re ) e b o d y a r t. M e fo to g ra fo , fa g o m e u s m im M u s ic - 2 0 0 4 ), a m b o s K a rin e n ic a p a ra (T ra to re v a le r c a d a S o l- A c a b a r C o m ig o , G a lla s , ta n fez m a i s ”, n o s (G e ra d o r co m c e s , c o d ig o s e s fm b o lo s tiv e r u m e n tre v is ta Ia n g ad o s, p a rc e ria s tr a b a lh o a r tis tic o , m e lh o r. C o m u - em d is c o s e e n tr e S e rg e G a in s - Y oko v acu o , n u m a d e O no v a e x p la n a g a o . d e fin iu c e rta e m b a la d o s te n ta tiv a E la v ez m e sm a ja co m o a m in h a se e le c tro - p o p -tra s h -c h iq u e . O u , n o u tr a v e z , co m o n e o -tro p ic a lis ta : “E u m a n u m a c id a d e z in h a n o in te rio r d o b r in c a d e ir a m e io s e r ia . N a d a a v e r C e a ra c o m b a tu q u e s e p e n a s n a c a b e g a ", q u an d o u m a - em c h a m a d a a m ae N ova, K a rin e p a g a v a p a ra d a r a u la s c a s a s o b re a h is to r ia d a a rte . A q s c in c o m u s ic a g io d e p re c e p to ra M o ra d a n o a n o s , e la c o m p o s u m a q u e fo i a d o ta d a n o c o le - q u a l e s tu d a v a e , a o s o ito , j a re c e b ia p r a c a n ta r n o s e v e n to s d a c id a d e . D e p o is d is s o , c o is a a c o n te c e u . F o rw a rd . m u ita p o n d era. o q u e e x is tia n a fa c e m tim a d o tro p ic a lis m o in s p ira m u ito . m u s ic a co m U m a q u e p ro p o s ta lib e rd a d e . T en h o m e d e o co m titu lo s im p a g a - v e is e p r a la d e s u g e s tiv o s c o m o “D ig a e a lg o g lo ria fe b re , e se n a o so m a s v o u d i n h e i r o ”. o k its c h C o lo c a r d e ira p a ra d ia , caso . s ic a M as, c d m o co m o p re te n d o ta , n e m . a co m fa ls o . ro m a n tis m o a em e u m fo rm a , se n d o h o je o m eu u m a h a o u g e la - k its c h , N ao em “K its c h m o d a fa g o o n d e n a so b re p re s e n te p in g iiim p a re c e r so a s im p le s , fa la r n o sso re b a te : d e a c o rd o n ao ? em “T e n h o b u sc a r tra b a lh o , e la m u d a “A m o r ou Q u e s tio n a d a e le m e n to se u p u l o ”, b o a to ” m u c e rto ■ p o d e -se k its c h . E n ao s e r u m a m u s ic is ta ' c h a fin g ir q u e le v o a m u s ic a s e r i o , e s s a s b a b o s e i r a s t o d a s ”. J u s ta m e n te d a i su rg e o a la rm a d o p a p e l rio d e d e h o je , a n tid iv a , n u m ta o m u h d o c e le b rid a d e s n e c e ssa in fe s ta d o in s ta n ta n e a s . K a rin e e s in c e r a e c o n s ta n te m e n te a u to -iro n ic a . M a s a o s e u m o d o , c a b e fris a r. E co m o se c o m p o rta u m a a n tid iv a ? “C a n t a s e m ra , se m frescu - p o s e d e b la s e . F ic a n u a s e n e c e s s a rio , b a te se s e c o m u n ic a c o m o p u b lic o . A le m n e c e s s a rio e fra n q u e z a co m d e fa z e r b o m d o s m e l h o r e s p e r f u m e s ”. u so 49 ■ 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* Zf F R ° M t v \ e . H O N V O t * V « A \ Dream issue: C & cuSaK , a it issue v n & T & A K 0 T U f I H A L F (awake) 6 0 p Frogs: Cthulhu: Gaiman: McKean: Clouds i & U M S The pocket-book-size indie music and comiczine Juke Box (2006-, cover and inside spread) from Brazil was influenced by the output of comics publisher Fantagraphics. Editor Renato Lima (also an editor at Mosh!) brought together comic artists, designers and musicians through the publication to discuss the language of comics. The size of the zine allowed the designers to play with the way in which the reader would engage with the page, mixing the format from portrait to landscape. The launch of each issue centred around a music event located in such cities as Rio de Janeiro and Sao Paulo. Cat Quarterly (1990s) by Annie Lawson is a photocopied small press comiczine in which nuanced humour is presented in stick-figure form. Her work has also appeared in books and in the mainstream press (including the UK paper the Observer). Reality Optional (2007), created by Andrew Stitt, is a comics perzine responding to a theme of 'Dreams and Nightmares', in which he makes wry comment on the fantasy comics of Neil Gaiman and Dave McKean. The zine was produced for the small press fair ‘Caption’. Tantrum Comics (2002-n.d.) is the autobiography of professional cartoonist Miriam Engelberg, who, in this issue, reflects on her fears around a breast cancer diagnosis and some of her coping mechanisms, which include watching the TV courtroom show Judge Judy. 228 / 229 EXPA N SIO N OF LIFE : FUCK THE BORDER! I excuse 3-n K f f is s p s s s s iM s a -s s a a .-jw A ^ '‘+3- a»t»^coi.ir-r>str,_ g r r r l p u n k a s ia n s t \ by CAROL (GRRRL: REBEL 'Zina ,SJ O P TfHE W A L L by JENNIFER SAUER 5 S iS S fcgS ^ Js? » byya^-13?-> I xperiences & J ^ ^ i ^ a r c STATE CONTROLS The Zine for Whale Lovers v Superpod Spectacle in the San Juans Blue Whale Breath Baptism in Baja Interview with a Whale W orld Legend ■ The zines on this spread are politically motivated. Bipedal, By Pedal! (2008) by Joe Biel explores the producer’s experiences as a participant in the popular Critical Mass bike rides protest movement. Expansion of Life (n.d.), out of Japan, is a women's punk and political zine with articles about ‘women changing the world in the Philippines’. Whoosh! (2008-) is a zine for those passionate about whales and other ‘big animals from the sea-. Cut and Paint (2007-), by Nicolas Lampert, Josh MacPhee and Colin Matthes, is a DIY stencil template zine, printed as offset by an anarchist printer in Portland, Oregon. How Not To Eat Animals (n.d.) is a 44-page vegetarian cookbook designed to ‘subvert the dominant meat-eating, animalproducts-in-everything culture’. 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 ! mm M I A M I BE N E W Y OR K NAP u s a t a r d BUNCH OF STUFF STAPLED TOOFTHER I £2.00 FUNNY WORDS AND PICTURES INTERVIEWS & REVIEWS ISSN 1742-1799 T h e --------------------------------------------------------------------------------------------------------------------------- L O W B R O W R E A D E R _________________________________________________________________ of Lowbrow Comedy ISSUE 5 sum m er^2006 INSIDE T he W hite Stripes, Joan Rivers, D on Knotts, Chevy Chase, more... www.lowbiowTeader.com PYTHON'S FAMILY TREE APATHY MARCH WRITER'S BLOCK DERRINO D 0 8 & DON'TS I THE OTHER SIDE | CARTOON ROAD SIGNS HYPOSTROPHE SEA JUNKIES ANALS RETENTIVE AND MORE! Before the Mortgage (2001-06), edited by Christina Amini and Rachel Hutton, chronicles responsiblity-free life in New York. Daniel Battams Fan Club Magazine (2003-n.d.) is a zine about an imaginary celebrity. Australia's The Alien Invader (2001-03), by Amin-Reza Javanmard and JenTsen Kwok, was ‘intended as a journal dissecting and analysing the Asian-Australian experience’. An annual comedy journal. The Lowbrow Reader (2001-) is edited by Jay Ruttenberg and features ‘long articles and funny illustrations’. Mustard (2007-) edited and designed by Alex Musson, is an indie comedy magazine that features interviews, comic strips and satirical news stories. 232 / 233 SHOREDITCH TWAT ISSUE 3 v SHOREDITCH TWAT ISSUE 5 he' b got a gun xaouc. / STAB IN T H o u s e P la n t s S ' "TIIE ROAD TO EXCELLENCE IS NEVER ENDING SO THE SEARCH MUST BE UNRELENTING.* SHOREDITCH TWAT ISSUE 14 HEAVY ARTILLERY SHOREDITCH TWAT ISSUE 18 TOO CLOSE FOB COMFORT Shoreditch Twat (1999-2004) was a satirical club fanzine edited by Neil Boorman (later of Sleazenation magazine) and art-directed by John Morgan and Mike Watson (aka design group Bump). The zine’s title was absorbed into London's urban slang as a term meaning ‘a new media, fashion student, photographertype person with a privileged digital- or old-school arts background who lives/works/ socialises in London’s East End’. In its heyday, the circulation was 25,000, touting nightclub 333’s message that ‘partying should be messy, dangerous and unprofessional, otherwise it’s no fun at all’. It contained edgy satire and spoof adverts, as well as the club's gig listings. In 2002 the zine transferred to television as a one-off comedy special. I 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 The Chalets . Lady Fuzz <f Z The Gin Palace Michelle Mae P A M F LET: A I 'indication o f the Rights o f Girl u»»oa S IR S Feminist politics links these zines together. Revolution (2005-n.d.) was edited by club DJ and music journalist Leonie Cooper, and featured bands such as Le Tigre and SleaterKinney. Spilt Milkshake (2002-c. 2003) by Rebecca Dyer, is a text-heavy perzine ‘not restricted to any genre or subject m a t t e r ’. L U tT T H G U N S Issue Seven S5.00 AUST/NZ Raise Some Hell (2008) was a one-off that emerged out of discussions at a ‘feminism and child-rearing g r o u p ’. Pamflet (2005-) by ‘p o s t - feminists’ Phoebe and Anna-Marie, contained ‘f eminist rants and bits of quite frankly libellous celebrity gossip’. Girls with Guns (n.d.-) is a fashion and ‘s m u t ’ zine out of Melbourne. The Pleiades (c. mid-2000s), a perzine by Mi r a n d a (a college English teacher), is about ‘family h i s tory and the frequent cruelty of li f e ’. fJL&i (th is is the blood that w e're made of) O "' Chapter 6 | The Crafting of Contemporary Fanzines V • s'e^o lleg e girly life f l i p L 1 IC T C O S S T P No. 1 sp ring 2000 * unwound * U W j j l l ex MODELS * kerri KOCH * DEBRI field * the SECO NDS * reigning S O U N D * * rock 'N' roll CAMP for GIRLS * SEMIAUTOMATIC * scutterfest * LADYFEST m idw est * ladyfest EAST * PEARL fish Kitty Magik (1996-), edited by Marisa Handren, was looking slick by the time of this issue (2002), but hadn’t lost any of its riot grrrl bite. It styles itself as a ‘creative outlet dedicated to informing the public about the many different individuals who produce independent, innovative creations...’. Girls Who Fight (2009-) by Kathryn Corlett et al., is a collection of writings, illustrations and comics that look at representation, women and celebrity, including ‘Nina Simone, Anais Nin, Beth Ditto, Virginia Woolf, etc.’. Muffy! (2000-n.d.), produced by women from the New College of Florida, was an angry but often amusing feminist zine (sample contents list: ’rape; stalker; rockstar; masturbation; voyeurism; coke’). 236 / 237 BUTT #14 AUTUMN 2006 HYSTERICAL M A G A Z IN E FO R HOMOSEXUALS EU € 8 .0 0 USA $ 8 .9 8 NL € 0 .0 0 SURFACING FROM THE SHADOWS OF DETROIT IS A CONCERNED GROUP ’ OF RADICAL QUEERS WITH A DESIRE TO ANNIHILATE THE INVISIBILITY _THAT HAS BEEN CAST UPON US! - ACTION: “ _ Queerzines provide a creative space for DIY producers to push the boundaries of accepted ■politically correct' publishing practices. Butt (2001-), founded by Gert Jonkers and Jop van Bennekorm out of Amsterdam, is not a fanzine per se (it takes advertising from designer/lifestyle manufacturers), but its pink paper, pocket-size format self consciously shares qualities with a fanzine approach, and its content is compiled from submissions by readers. Homobody (2007-) is by Portland, Oregon, illustrator Tim Batiuk (aka Rio Safari), and is a largely visual (comics and drawings) look at exploration of such themes as gay body fascism and cottaging. Detroit Queers (n.d.), produced by a radical queer collective, is a compilation of photocopied pages about inequalities and harassment. _ ------- -SELF EDUCATION! -STREET ART! -VOLUNTEERING! -SUPPORTING LOCAL LGBTQ ORGANIZATIONS! -BUILDING A RESOURCE UBRARY! ■SPEAKING OUT! DETROIT QUEERS (00!| AIMS TO PROVIDE A SAFER, MO QUEER. ENVIRONMENT FOR ALL QUEERS AND QUEER-LOVERS IN THE DETROIT AREA! WE WILL NOT STAY QUIET ABOUT THE INEQUALITIES WE EXPERIENCE) MOST OF US RECEIVE HARAS5MENT BECAUSE OUR INDIVIDUAL GENDER/ SEXUALITY EXPRESSIONS FALL OUTSIDE OF THE NORM. STALE NORMATIVE ASSUMPTIONS ARE DIRECTED TOWARD US DAILY. RANGING FROM FROM THE ESTRANGING ASSUMPTII THAT WE'RE STRAIGHT OR SOMETHING TO MORE BLATANT ACTS OF OUTING AND VIOLENCE. INC A 'RADICAL OUtCR' MEANS MAKING THI CONNECTION BETWEEN ISSUES Or AIL OPPRESSED. MARGINALIZED. EXPLOITED. CAPITALIZED SMinCO ON PEOPLE. ENVIRONMENTS. AND COMMUNITIES. R ECONOMIC JUSTICE?" B iiifm fe w - ssynsi ------------- ■ '.5 FU ftt SHIT UP! LOVE YOUR SC! I ' WE ARE OUR ONLY HOPE! 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? S’n n v ’N Sod that! Let's get tanked and ram raid A n n e S um m e rs! J U N E 2007 'E n g lis h '' no diets no models no buusnit no saies Pitch no neuroses justioo%badgiri Fum Assets and L ia b ilities^ Women’s Possession of Power as an A sset I t i n . * : ? the F-Vw Chica (2001-c. 2004) ‘celebrates the rudest, crudest, silliest and glitteriest aspects of girlhood’ and was produced by Glasgow underground cartoonist and writer Lucy Sweet (also of Unskinny fame). This issue features the very bad joke: ‘Q: What is worse than a cardboard box? A: Paper tits!’ Fallopian Falafel (2007-) is edited by Hadass S. Ben-Ari, and is a Jerusalem-based feminist zine that takes ‘neither an anti-religious nor antiZionist’ stance but which ‘aims to spread awareness about the ongoing need for feminism to the Israeli public’. Each issue includes a ‘riot grrrl corner’. Iconoclastic Cardies (2009-) is a 60-page musiczine ‘dedicated to all you indiepop wimps, girls, smart kids and weirdos’. 238 / 239 duffel boy number 1:: summer 2009 U I "T h e nice thing is, Indietracks can't grow too m uch" Festival visionary Stuart Mackay Yay, interviews! Jacko from Hull Adelphi T h e m ig hty H o row itz Jam on Bread puts yo u r m in d at rest D IY gigs in Leeds e r s The Deirdres remembered Sarah Records 20 years on Post-popshow mornings Abba vs Helvetica Scotland's Top Punk Rock Fanzine. Issue #7 Musiczines remained an important genre into the 2000s. Cops & Robbers (c. 2000-) is a monthly that promotes local bands and events in Leeds. Bye Bye, Duffel Boy (2009-) is put together on a computer by Pete Green, who apologizes for the perzine looking ‘too much like a proper magazine’. More Love Truth and Honesty (2007). out of Melbourne, is a perzine by Paul Byron. In the tradition of early punk fanzines, Runnin’ Feart (c. 2000-) has music reviews and comics, but is a desktoppublishing production. Super Waste Project (2000) by Miles is a ‘straight edge zine’ focusing on hardcore music in the context of a scene without drinking, smoking or drugs. Taking Dope (1996-2001) was by ex-Ramones bassist. Dee Dee. Chapter 6 | The Crafting of Contemporary Fanzines r 240 / 241 ISSUE *2 No r w i c h , En g l a n d List (2004-) is an illustrated memoir by artist Ramsey Beyer, and describes her move from Baltimore to Chicago. Boredom (n.d.) came out of Berkeley. California, and was put together as a compilation of maps, prose and pictures. Enthusiasm (c. 2010) is a free 'feel-good' zine out of Norwich by Susie Rumsby and Tim Wade. Telegram M a ’am (2000s-) is a mini-perzine by Maranda, who uses writing to articulate what it is like being bipolar. lo r m . b y s u s ie a n d thl. room “ & a .M , t im for u 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 An alternative news and culture £4 .00 zine. fa S tC e r anc 100,1 T it is s p o o n y, n ot M ila n Rock n Roll.. EX CLUSIVE INTERVIEWS WITH... ALABAMA 3 P e te D o h er ty J o h n C o o p er C la r k e T: INTERVIEWS WITH MARK MACGOWAN*BLAST THEORY* SUBWAY GALLERY*POETRY FROM ZINE LEGEND STEPHEN MICALEF ark Fiction From Bangladesh & Northern Irelan La Bouche Zine (2009-) featured as ‘zine of the month’ at the Institute of Contemporary Art in London, and is a quarterly critical artzine, this issue including interviews with John Pilger. John Cooper Clarke and Pete Doherty. Double Breasted (2009-) is ‘the fanzine for Mod, 60s and Retro inspired cool’, with a piece on Modernism and a tribute to the 1960s rock band the Small Faces. Smoke (2003-) was founded by Jude Rogers and Matt Haynes and is described as a ‘love letter to London’, featuring reports on everything from the mayor’s election to unusual things found in the city’s hidden spaces (such as the Stamford Brook warthog). 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 WISH I COULD GET A DECENT NIGHT’ S REST? l „ I _ F E E L SO STF4M& f A L L OF A SUDDEN... FEEL LIKE... LIK E-O H .N O f NOT AGAIN... I~. I CAN 'T FIGHT I T f I HAVE TO GIVE IN... HAVE T 0 _ Can you show me the space F a n zin e s j. 01 02 03 04 05 s e ttin g a s e ttin g M a p p in g re la tio n a l s p a c e s A r c h it e c t u r e a s e x te n d e d s o c ia l s p a c e M a p p in g o n -s ite a m d o n -lin e O n t h e s e a r c h fo r th e r e s e a r c h c e n tr e Can You Show Me the Space (2007-08) is a collection of individually themed fanzines (e.g. ‘the search for a research centre') created by Public Works - a London-based art/architecture collective - to foster discussion around the topic of architecture. Unemployment (2009), by Aaron Lake Smith, charts through 44 pages the zinester’s journey through the Kafkaesque experience of unemployment in the 2000s. Zine 2009 (2009) was a one-off publication produced during a letterpress workshop at the London College of Communication that included students from the University of Delaware. DIY or Don't We? (2009) is a zine about community that takes in a pumpkin farm in the US along with members of the Cambodian Society. Hardwork Not Paid (2007) was produced by students in India as a means of looking at ways to transform the country and to address cultural plagiarism. r/> I * Z lK f ABOUT C O M M U N IT Y 1 r»utv\bet~ one Chapter 6 | The Crafting of Contemporary Fanzines 246 / 247 THE ZINE DIRECTORY VERSION 0.1 ZINE CAPSULE Zine collecting for the future ZINE ARCADE ISSUE TWO Publications about the distribution and dissemination of information about zines show just how many people are active within the zine network internationally. The Zine Directory Version 0.1 (2007), produced by Jane Appleby, provided brief but insightful reviews of UK/US zines. Microcosm Publishing Catalogue (c. 1996-), with cover artwork by Sarah Oleksyk, was produced by Joe Biel, an independent publisher of zines, books and related ephemera. Zine Capsule (2008) contains DIY tips for collecting and archiving. Zine Arcade (2007-) is edited by Andrew Owen Johnson and provides a forum for illustrators, artists and zine producers to showcase their work. * A COLLECTION OF SELF-PU8LISHE0 WORK FROM EUROPE AND NORTH AMERICA ROBERT SERGEL •JACKIE BATEY •KEVIN HOOYMAN and 11 other self-publishers! 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 2 3 Perry, Sniffin’ Glue, issue 1. Hebdige, Subculture, p. 25. Sabin (ed.), Punk Rock: So What?, p. 4. 4 McCullough, ‘Underground, overground, wandering free’, p. 34. 5 Frith, ‘Formalism, realism and leisure’, in Gelder and Thornton (eds), The Subcultures Reader, p. 168. 6 Duncombe (ed.), Cultural Resistance Reader, p. 5. 7 Vague, King Mob Echo, p. 53. 8 Plant, The Most Radical Gesture, p. 1. 9 Jamie Reid, quoted in Kingston, ‘Jamie Reid’. 10 Duncombe, Cultural Resistance Reader, p. 5. 11 Ewart, interview with the author. 12 Malcolm McLaren, quoted in Marcus, Lipstick Traces, p. 9. 8 9 10 11 Secret Nerd Brigade (accessed online 29 April 2010). Atton, Alternative Media, p. 75. Duncombe, Notes from Underground, p. 230. Blume, ‘Zine queen Pagan Kennedy on zines in the age of Web’ (accessed online 2 January 2010). 12 McCloud, ‘The infinite canvas’ (accessed online 2 April 2010 ). 13 Freedman, ‘Zines are not blogs’ (accessed online 2 April 2 0 1 0 ). 14 ‘Web log’ as a term emerged in 1997 and in 1999 a shortened version was coined, ‘blog’. Baron, A Better Pencil, p. 165. 15 Smith, ‘Strands in the Web’, p. 97. C H A P TE R 3 , pp. 8 6 -1 2 9 1 2 3 4 5 6 7 Mort, Cultures of Consumption, p. 5. Marr, ‘Privatisation, Consumerism and Thatcherism in the 1980s’. Mort, Cultures of Consumption, p. 6. Thornton, Club Culture, p. 11. Ibid., p. 12. Deakin, ‘Love of nothing’, pp. 16-17. Litmus, ‘Boy’s Own: A History’ (accessed online 24 April C H A P TE R 6, pp. 2 0 4 -4 7 1 2 3 4 2010 ). 8 Hector-Jones, 'Gareth’s aces’ (accessed online 24 April 2010 ). 9 Thornton, Club Culture, p. 154. 10 Sharkey, ‘My hero the editor’ (accessed online 24 April 2010 ). 11 ‘The History of Rave Culture’ (accessed online 24 April 2010 ). 12 Reynolds, Generation Ecstasy, p. 70. 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 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 For example, see White, ‘Revolution girl style now’. Kate Vickers, quoted in Blase, Real Girls. Gina, quoted in Mental Children, p. 15. Tucker, Channel Seven. http://www.empsfm.org/exhibitions/index. asp?articlelD=670 Sweet, Chica. Ibid. R. K., ‘ Riot grrrl discourse’, p. 17. Leonard, ‘Rebel girl, you are the queen of my world’, p. 232. Juno (ed.), Angry Women in Rock, p. 98. Ladyfest Workshop (Glasgow, 2001). Ladyfest fanzine programme (Glasgow, 2001). Lee Beattie, Ladyfest fanzine programme, p. 19. Ladyfest London (accessed online 3 March 2010). Atton, Alternative Media, p. 59. Ladyfest Ten (2010) (accessed online 5 March 2010). London Zine Symposium 2006 (accessed online 4 April 2010). 5 6 7 8 Greer, Knitting for Good!, p. 10. Metcalf, ‘Replacing the myth of modernism' (accessed online 2 April 2010). Metcalf, ‘DIY, websites and energy’ (accessed online 2 April 2010 ). Wrekk, Stolen Sharpie Revolution, p. 5. Ibid., pp. 6-7. Ibid., p. 60. Greer, Knitting for Good!, p. 12. BIBLIOGRAPHY BO O KS Chris Atton, Alternative Media (London, Sage Publications, 2 0 0 2 ). Camille Bacon-Smith, Enterprising Women: Television Fandom and the Creation of Popular Myth (Philadelphia, University of Pennsylvania Press, 1992). Dennis Baron, A Better Pencil: Readers, Writers and the Digital Revolution (Oxford, Oxford University Press, 2009). Julie Bartel, From /4 to Zine: Building a Winning Zine Collection in Your Library (Chicago, American Library Association, 2004). Ian Bordon, Skateboarding and the City: Architecture and the Body (London, Berg Publishers, 2001). Ethan Clark, (ed.), Stories Care Forgot: An Anthology of New Orleans Zines (San Francisco, Last Gasp, 2006). Robert Dickinson, Imprinting the Sticks: The Alternative Press beyond London (Aldershot, Arena, 1997). Stephen Duncombe, Notes from Underground: Zines and the Politics of Alternative Culture (London, Verso, 1997). Stephen Duncombe (ed.), Cultural Resistance Reader (London, Verso, 2002). Liz Farrelly, Zines (London, Booth-Clibborn Editions, 2001). Nigel Fountain, Underground: The London Alternative Press 1966-1974 (London, Routledge, 1988). C H A P TE R 5, pp. 1 7 0 -2 0 3 Archiving of sites is problematic. The ephemeral nature of the digital means that a website or blog may exist one day and not the next. R. Seth Friedman (ed.), The Factsheet Five Zine Reader: The Best Writing from the Underground World of Zines (New York, Three Rivers Press, 1997). Ken Gelder, The Horror Reader (London, Routledge, 2000). 1 2 3 4 5 6 7 Labovitz, ‘Five years and counting’ (accessed online 21 March 2010). Such use of typographic letterforms was not new. The first recorded use of typewritten text as image is Pitman’s The Phonetic Journal (1898), which reproduced Flora Stacey's butterfly image created from typewriter characters (slashes, hyphens, points, asterisks, etc.): Stark “The History of (ASCII) Text A rt’ (accessed online 31 March 2010). See also French poet Guillaume Apollinaire’s, Calligrammes (1918) - his book of shaped poems where letterforms were arranged to form a visual design, figure or pictograph. Cumbrowski, ‘The three ASCII art styles of the underground art scene’, (accessed online 31 March 2010). Phrack (accessed online 31 March 2010). Pore, ‘General information about zines and alt.zines’ (accessed online 31 March 2010). Labovitz, 'W hat’s “an :e-zine", anyway?’ (accessed online 31 March 2010). Duncombe, Notes from Underground, p. 197. Ken Gelder and Sarah Thornton (eds), The Subcultures Reader (London, Routledge, 1997). Betsy Greer, Knitting for Good! A Guide to Creating Personal, Social & Political Change Stitch by Stitch (Boston and London, Trumpeter Books, 2008). Jonathan Grey, Cornel Sandvoss and C. Lee Harrington (eds), Fandom: Identities and Communities in a Mediated World (New York, New York University Press, 2007). Mike Gunderloy and Cari Goldberg Janice, The World of Zines: A Guide to the Independent Magazine Revolution (New York, Penguin Books, 1992) Dick Hebdige, Subculture: The Meaning of Style (London, Methuen, 1979). Notes, Bibliography Karen Hellekson and Kristina Busse (eds), Fan Fiction and Fan Communities in the Age of the Internet (Jefferson, N.C., McFarland and Co., 2006). Roger Sabin and Teal Triggs (eds), Below Critical Radar: Fanzines and Alternative Comics from 1976 to Now (Hove, Slab-O-Concrete Publications, 2000). Matt Hills, Fan Cultures (London, Routledge, 2002). Jon Savage, England’s Dreaming: Sex Pistols and Punk Rock (London, Faber, 1991, revd 2001). Al Hoff, Thrift Score (New York, HarperCollins, 1997). Frederick J. Hoffman, Charles Allen and Carolyn J. Ulrich, The Little Magazine-. A History and a Bibliography, 2nd edn (Princeton, N. J., Princeton University Press, 1947). Henry Jenkins, Textual Poachers: Television Fans and Participatory Culture and Communication (London, Routledge, 1992). Henry Jenkins, Tara McPherson and Jane Shattuc (eds), Hop on Pop: The Politics and Pleasures of Popular Culture (Durham, N. C. and London, Duke University Press, 2002). Andrea Juno (ed.), Angry Women in Rock, vol. 1 (New York, Juno Books, 1996). Pagan Kennedy, ‘Zine: How I spent six years of my life in the underground and finally... found myself... I think (New York, St. Martin’s Griffin, 1995). George McKay (ed.), DiY Culture: Party and Protest in Nineties Britain (London, Verso, 1998). Thomas McLaughlin, Street Smarts and Critical Theory: Listening to the Vernacular (Madison, Wis., University of Wisconsin Press, 1996). Greil Marcus, Lipstick Traces: A Secret History of the Twentieth Century (London, Seeker and Warburg, 1989). Am y Spencer, DIY: The Rise of Lo-Fi Culture (London, Marion Boyars Publishers, 2005). Sarah Thornton, Club Culture: Music, Media and Subcultural Capital (London, Polity, 1995). Tom Trusky, with an introduction by Cari Goldberg Janice, Some Zines: American Alternative & Underground Magazines, Newsletters & APAs (Boise, Ida., Cold Drill Books, Boise State University, 1992). John Tulloch and Henry Jenkins, Science Fiction Audiences: Watching Doctor Who and Star Trek (London, Routledge, 1995). Harry Warner, Sr, All Our Yesterdays: An Informal History of Science Fiction Fandom in the Forties (Chicago, Advent Publishers, 1969). Ladyfest Workshop (Glasgow, Scotland, 2001). Peter Nicholls (ed.), The Encyclopedia of Science Fiction: An Illustrated A - Z (London, Granada, 1979). A R TIC LE S Harvey Blume, ‘Zine queen Pagan Kennedy on zines in the age of W eb’, Wired, issue 4.01 (January 1996), http://www.wired. com/wired/archive/4.01/ Carsten Cumbrowski (aka Roy/SAC), ‘The three ASCII art styles of the underground art scene’, n.d., http://www.roysac.com/ roy-sac _ styles _ of _ underground _ text _ art.asp Anna Poletti, Intimate Ephemera: Reading Young Lives in Australian Zine Culture (Melbourne, Melbourne University Press, 2008). Stephen Duncombe, ‘ DIY Nike style: zines and the corporate world’, Z Magazine (December 1999), http://www. zcommunications.org/diy-nike-style-by-stephen-duncombe Matthew J. Pustz, Comic Book Culture: Fanboys and True Believers (Jackson, Miss., University of Mississippi Press, 1999). Carl Elliott, ‘On Guinea Pig Zero’, Tin House (issue 35, Spring 2008), 103-6. Joe Ewart, interview with the author (London, January 1997). Chip Rowe (ed.), The Book of Zines: Readings From the Fringe (New York, Henry Holt and Company, 1997); see also http:// www.zinebook.com/index.html Roger Sabin (ed.), Punk Rock: So What? (London, Routledge, 1999). Stephen Litmus, ‘Boy’s Own: A History’, Resident Advisor (12 January 2010), http://www.residentadvisor.net/feature. aspx?1139 London Zine Symposium 2006, http://www. Iondonzinesymposium.org.uk/archives/2006/ Paul Lukas, Inconspicuous Consumption, http://www.core77. com/inconspicuous/ Scott McCloud, ‘The infinite canvas', http://scottmccloud. com/4-inventions/canvas/index.html Dave McCullough,. ‘Underground, overground, wandering free’, Sounds (17 March 1979), p. 34. Cazz Blase, Real Girls, issue 1 (Stockport, England, 2001). Camilla Deakin, ‘Love of nothing’, Gear, no. 2 (1991). Maurice Rickards and Michael Twyman, The Encyclopedia of Ephemera: A Guide to the Fragmentary Documents of Everyday Life for the Collector, Curator and Historian (London, British Library, 2000). Marion Leonard, ‘Rebel girl, you are the queen of my world: feminism subculture and grrrl power’, in Whiteley (ed.), Sexing the Groove, pp. 230-55. Lee Beattie, Ladyfest fanzine programme (Glasgow, Scotland, 2001 ). Sadie Plant, The Most Radical Gesture: The Situationist International in a Postmodern Age (London, Routledge, 1992). Simon Reynolds, Rip It Up and Start Again: Post-punk 19781984 (London, Faber, 2005). John Labovitz, ‘Five years and counting’, The Art Bin: Articles and Essays, n.d., http://art-bin.com/art/alabovitz.html Ladyfest Ten (2010), Facebook, http://www.facebook.com/ pages/Ladyfest-Ten/298592715550?v=info Frederick A. Wright, From Zines to Ezines: Electronic Publishing and the Literary Underground, Ph.D. thesis (Kent, Oh., Kent State University, 2001). Simon Reynolds, Generation Ecstasy: Into the World of Techno and Rave Culture (London, Routledge, 1999). Steve Kingston, ‘Jamie Reid: Art and Attitude for the 21st Century’ [press release] (May 1990). Joan Marie Verba, Boldly Writing: A Trekker Fan and Zine History 1967-1987 (Minneapolis, FTL Publications, 1996). Frank Mort, Cultures of Consumption: Masculinities and Social Space in Late Twentieth-Century Britain (London, Routledge, 1996). Steve Redhead, Post-Fandom and the Millennial Blues: The Transformation of Soccer Culture { London, Routledge, 1997). Mark Kermode, ‘I was a teenage horror fan, or, how I learned to stop worrying and love Linda Blair’ in Martin Barker and Julian Petley (eds), III Effects: The Media/Violence Debate (London, Routledge), pp. 126-34. Ladyfest London, ‘About’ (2001), http://www.ladyfestlondon. co.uk/?page _ id=2 Sheila Whiteley (ed.), Sexing the Groove: Popular Music and Gender ( London, Routledge, 1997). Alison Piepmeier, Girl Zines: Making Media, Doing Feminism (New York, New York University, 2009). Gordon Johnston, ‘What is the history of samizdat?’, Social History, vol. 24, issue 2, (1999), pp. 115-33. V. Vale (ed.). Zines!, vols 1 and 2 (San Francisco, V/Search Publications, 1996 and 1997). Nadine Monem, Riot Grrrl: Revolution Girl Style Now! (London, Black Dog Publishing, 2007). Mark Perry, Sniffin’ Glue: The Essential Punk Accessory (London, Sanctuary Publishing, 2000). Robert P. Helms, 'Statement of Purpose’, Guinea Pig Zero, n.d. http://www.guineapigzero.com John Labovitz, ‘W hat’s “an :e-zine”, anyway?’. E-Zine List (1993), http://www.meer.net/~johnl/e-zine-list/about.html Fredric Wertham, The World of Fanzines: A Special Form of Communication (Carbondale, III., Southern Illinois University Press, 1973). Stephen Perkins, Subspace: International Zine Show (Iowa City, Plagiarist Press, 1992). Richard Hector-Jones, ‘Gareth’s aces’, City Life for Northern Souls (26 August 2005) http://www.citylife.co.uk/clubs/ news/6470 _ gareth _ s _ aces Tom Vague, King Mob Echo: From 1780 Gordon Riots to Situationists, Sex Pistols and Beyond (London, Dark Star, 20 0 0 ). Philip Meggs, A History of Graphic Design (New York, Van Nostrand Reinhold, 1983). Robert M. Overstreet, The Overstreet Comic Book Price Guide, 22nd edn (New York, Avon Books, 1992). Robert Hansen, letter to the author (27 July 1995). Andrew Marr, ‘Privatisation, consumerism and Thatcherism in the 1980s’, ScreamNews.com, http://screamnews.com/ privatisation-consumerism-and-thatcherism-in-the-1980s/ Bruce Metcalf, ‘Replacing the myth of modernism’, first published in American Craft, vol. 53, no. 1 (Feb/March 1993), http://www.brucemetcalf.com/pages/essays/replacing _ myth, html Bruce Metcalf, ‘DIY, websites and energy: the new alternative crafts’, conference paper (SNAG [Society of North American Goldsmiths], Savannah, Georgia, 2008) http://www.brucemetcalf.com/pages/essays/diy _ websites _ energy.html Mental Children, issue 1 (London, England, 1980). Peter Millward, ‘The rebirth of the football fanzine: using e-zines as data source’, Journal of Sport and Social Issues, vol. 32, no. 3 (2 0 0 8 ), pp. 299-310. Jenna Freedman, ‘Zines are not blogs: a not unbiased analysis', originally published in Counterpoise, vol. 9, issue 3 (2005), p. 10; http://www.barnard.edu/library/zines/zinesnotblogs.htm Jim Munroe, Holiday in the Sun, no. 2 (Toronto, Canada, 1999). R. Seth Friedman, ‘Editorial’, Factsheet Five, no. 58 (October 1995), p. 3. Nico Ordway, ‘A history of zines’, in Vale (ed.), Zines!, vol. 1, pp. 155-59. Simon Frith, ‘Formalism, realism and leisure: the case of punk' in Gelderand Thornton (eds), The Subcultures Reader, pp. 163-74. Mark Perry, Sniffin' Glue, issue 1 (London, 1976). David Futrelle, ‘Been there, zine that’, Salon (9 June 1997), http://www.salon.com/media/circus/1997/06/09/media/index. html David M. Gross, 'Ideas: zine but not heard.’ Time (5 September 1994), http://www.time.com/time/ printout/0,8816,981403,00.html Phrack, no. 67 (July 2010), http://pcworld.about.com/gi/ dynamic/offsite.htm?site=http://www.phrack.com/ Jerod Pore, ‘General information about zines and alt.zines’, (The alt.zines DMZ, The Zine Syndicate, 1995), http://altzines. tripod.com/jerod.html R. K., ‘ Riot grrrl discourse', Fast Connection, no. 3 (Newcastle upon Tyne, England, August 1996). 250 / 251 Michelle Rau, ‘From APA to zines: towards a history of fanzine publishing', Alternative Press Review (Spring/Summer, 1994), pp. 10-13. Simon Reynolds, 'How the fanzine refused to die’, Guardian (2 February 2009), http://www.guardian.co.uk/music/2009/ feb/02/fanzine-simon-reynolds-blog Michael Rock, ‘The design as author’, Eye, no. 20 (Spring 1996), pp. 4 4 -5 3 . p. 8: Boomerang, no. 29 (Feb 1973), John and Jan Ryan: Queensland, Australia. Aware Magazine, vol. 2, no. 5 (1977), Steve Kolanjian: Brooklyn, NY, USA. Crawdaddy! / The Magazine of Rock 'n' Roll, no. 4 (Aug 1966), Paul Williams and others: Cambridge, MA, USA. p. 9: Travellin' Fist, no. 1 (1989), Dan Koretzky, Rian Murphy and others: Chicago, IL, USA. W ho Put the Bomp!, no. 14 (fall 1975), Greg Shaw, cover photo Jan & Dean, 1964: Burbank, CA, USA. Suburban Press, no. 5 (1972), Jamie Reid: Croydon, Surrey, UK. p. 24: Novae Terrae, no. 2 (May 1938), Maurice K. Hanson and Dennis A. Jacques, cover Harry Turner: London, UK (Terry Carr Fanzine Collection, Special Collections and Archives, University of California, Riverside Libraries). p. 25: Red Ink / School Kids' Issue, no. 4 (Oct 1971), Newcastle University Socialist Society Magazine: Newcastle upon Tyne, UK. Heroes Unlimited, no. 4 (March 1968), Anthony Roche and others, cover Paul Neary: Dun Laoghaire, Co. Dublin, Ireland. KRLA Beat / Los Angeles, California, vol. 1, no. 1 (1965), Bill Finneran: Eugene, OR, USA. Michael Rock, ‘Fuck Content’ (2005), http://2x4.org/ Jon Savage, ‘Ugly things: music fanzines’ (posted 27 April 2009), http://www.jonsavage.com/journalism/ugly-thingsmusic-fanzines/ Andrew Scott, 'Dishwasher Pete Interview’, Fecal Face Dot Com (29 May 2007), http://www.fecalface.com/ SF/index.php?option=com _ content&task=view&id=629. Secret Nerd Brigade (Minneapolis, c. 2010), http://secretnerdbrigade.com/zines.shtmi Alix Sharkey, 'My hero the editor’, The Independent (22 July 1995), http://www.independent.co.uk/arts-entertainment/ my-hero-the-editor-1592759.html. Matthew J. Smith, ‘Strands in the Web: community-building strategies in online fanzines’, Journal of Popular Culture, vol. 33, issue 2 (1999), pp. 87-99. Jeff Stark, ‘Smells like zine spirit’, SF Weekly News (27 August 1997), http://www.sfweekly.com/1997-08-27/news/smeilslike-zine-spirit/ Joan G. Stark, ‘The History of (ASCII) Text A rt’, 1999, http://www.roysac.com/asciiarthistory.asp Lucy Sweet, Chica, no. 1 (Glasgow, Scotland, 2001). ‘The History of Rave Culture’, TheSite.org, n.d. http://thesite.mobi/drinkanddrugs/drugcuiture/drugstrade/ thehistoryofrave p. 10: Sydney in the Sewer, no. 2 (Sept 1985), Yolanda, Carol, John and others: Sydney, Australia. The Exploitation Journal / The Magazine of Schlock Cinema, no. 4 (1987), Joseph F. Parda and Keith J. Crocker, Cinefear Productions: Levittown, NY, USA. Ungawa!, no. 4 (1992), Foss Hagman and Cathal Tohill, cover Aran C.: London, UK. p. 11: L’lncroyable Cinema / The Film Magazine of Fantasy & Imagination, no. 3 (1970), ed. Harry and Marie Nadler, cover illustration Eddie Jones, Orion Press: Salford, Manchester, UK. TCM The Comedy Magazine, no. 1 (autumn 1986), Mat Coward: London, UK. Penetration, no. 13 (1977), Paul Welsch: Stockport, Cheshire, UK. p. 12: Diana Rigg, no. 1 (1986), Len Theric and Mint Murray, Lenmint Productions: Horsham, West Sussex, UK. Everyone Needs a Hobby / The Tim Burton Fanzine with a Sense of Humour, vol. 1, no. 2 (fall-holiday season 1994), Emile St. Claire, cover art J o e ‘Magic’-. Los Angeles, CA, USA. The Complate M onty Python, vol. 2 (1979), Howard Johnson: Ottawa, IL, USA. p. 13: Passing Wind, no. 11(1979), Evelyn [Ian Hislop], cover art K .J.A.: Oxford, UK. The Way Ahead, no. 1 (1984), Janet: Swindon, UK. Panda Eyes / Mini-zine, vol. 2 (2009), Alyssa: Point Reyes Station, CA, USA. p. 14: Where's Eric! / The Eric Clapton Fanzine, no. 15 (April 1996), Tony Edser, cover photo Barrie Wentzell/Star File, Scref Publishing Solutions: Maidenhead, Berkshire, UK. W eller is Back, no. 1 (25 Oct 1991), Andy Wyness: Dundee, Scotland. Pulp / A Scrapbook Fanzine (summer 2004), Emily Jane Graves: Leeds, UK. pp. 26-27: Creep, no. 10 (1998), Jonnystein: Estacada, OR, USA. Glamourpuss / The UK Suede Fanzine, nos. 3 and 4 (c. 1996), Jo Glamourpuss and others, cover Jo Glamourpuss: Cumbria, UK. Must be the Music, no. 4 (Feb 1997): Stockton-on-Tees, County Durham, UK. MaximumRocknRoll, no. 221 (Oct 2001), Arwen Curry and others: San Francisco, CA, USA. pp. 2 8-29: Slash, vol. 2, no. 2 (Nov 1978), Steven Samiof and Melanie Nissen and others, photo Stevenson: Los Angeles, CA, USA. Punk, no. 2 (March 1976), John Holmstrom and others, cover photos Guillemette Barbet + Rock News, Punk Productions Inc: New York, USA. International Anthem / Nihilist Newspaper for the Living (1977), Gee Vaucher and Penny Rimbaud, photo-collages Gee Vaucher, Exitstencil Press: London, UK. Artcore Fanzine, no. 23 (spring 2006), Welly: Cardiff, Wales. pp. 30-31: The Celestial Toyroom, no. 7 (July 1979), Gordon Blows, for The Doctor Who Appreciation Society: London, UK. Your Mornings W ill Be Brighter (May 1990), Richard Murrill: Folkstone, Kent, UK. pp. 3 2-33: Speed Kills, no. 7 (Sept 1995), Scott Rutherford and others: Chicago, IL, USA. Things I ’ve F o u n d / Things I ’ve Lost (Oct 2009), Katie Haegele, drawings Helen Entwisle: Philadelphia, PA, USA. Straight from the Grooveyard, no. 2 (c. 1981), Joogen Westman, Johan Kugelberg, Johan Frick and others: Kramfors, Sweden. p. 15: Lobster Telephone / 1am a Product, vol. 1, no. 29 (c. 1989), C.H .A.O .S. Inc: Nottingham, UK. Lower than Dirt, no. 3 (1996), Richard Santos, Homicidal Enterprises: Austin, TX, USA. Crap H o u n d / Church & State Part One, no. 7 (2008), Sean Tejaratchi: Los Angeles, CA, USA. pp.3 4-3 5: Freak Beat, no. 4 (1988), Ivor Trueman and Richard Allen, cover Lyns: Hounslow, Middlesex and Chalfont St. Peter, Buckinghamshire, UK. Crawdaddy! / The Magazine of Rock, no. 10 (Aug 1967), Paul Williams and others, cover Paul Rothchild, photograph Racey Gilbert, logo David Flooke: New York City, NY, USA. Bam Balam, no. 12 (Nov 1980), Brian Hogg and Jacki, cover logo Nic Dartnell: East Lothian, Scotland. S n iffin' Flowers, no. 1 (1977), Sue, Simon, Andrew, Jackie, cover TJH: Romford, Essex, UK. p.16: S p ilt Milk, no. 1 (winter 1996), Erica and Rebecca Braverman: Prairie Village, KS, USA. Katy Keene Magazine, no. 13 (fall 1983), Craig Levitt: Modesto, CA, USA. Like a Virgin / Italian Fanzine about Madonna, no. 40 (D ec-Jan 1993), Sauro: Italy. Danzine, no. 14 (c. 1998), Teresa Dulce, cover photo Angie C.: Portland, OR, USA. p. 36: Serendipity / Batman at 50, no. 3 (1989), Joseph Dickerson and others, cover Joseph Dickerson, Solarquest Publications: USA. Fear and Loathing, vol. 34 (Dec 1995), Andy Pearson: London, UK. Revolting, no. 2 (Ju n e -Ju ly 1993), Ed & Ed, cover Shrub, logo Simon: Kingston upon Thames, Surrey, UK. Corin Tucker, Channel Seven (Washington, DC, c. 1992). p. 17: Outpunk, no. 7 (1997), Matt Wobensmith: San Francisco, CA, USA. Lip Gloss, no. 1 (c. 2009), Chris Gloss: Gosport, Hampshire, UK. The Filth and the Fury!, no. 12 (2000), Scott Murphy: Glasgow, Scotland. Emily White, ‘Revolution girl style now’, L A . Weekly (July 10-16 1992), reprinted in Evelyn McDonnell and Ann Powers (eds), Rock She Wrote: Women Write about Rock, Pop, and Rap (London, Plexus, 1995), pp. 396 -4 0 8 . p. 18: Braindeath including Slaughtered Trees & Toxic Ink, no. 3 Vz( 1997), Pablo, cover Nick Lant: UK and Switzerland. Culture Slut, no. 10 (9 July 2007), Amber Farthing: Ontario, Canada. Hate, no. 6 (2008), Calvin Holbrook: London, UK. p. 37: Console / The Heart of the Tardis, no. 1 (1982): Clapham, Bedford, UK. Typography Papers, no. 1 (1996), Paul Stiff and others, Department of Typography and Graphic Communication, University of Reading: Reading, UK. F u n k n ’ Groove, no. 1 (c. 1995), Ferris and Morgan: Blackhawk, CA, USA. Paul Williams, email to author (26 July 2000). p. 19: Seripop/Baltic/Zine (2009), Patrick Staff and Edward Webb-lgnall, illustration Seripop.- Gateshead, Tyne and Wear, UK. Meat Magazine, no. 7 (May 2008), James Pallister and Nick Hayes: London, UK. Teal Triggs, ‘Alphabet soup: reading British fanzines’, Visible Language, vol. 29, no .l, part 3 (Winter 1995), pp. 72-87. Teal Triggs, ‘Look back in anger: the riot grrrl revolution in Britain', Zed.5 (1998), pp. 8 -25. Teal Triggs, ‘Typo-Anarchy: a new look.at the fanzine revolution’, Emigre, no. 46, (Spring 19'98), pp. 12-20. Teal Triggs, 'Girlzines: sex and morality in print’ in Steven Heller (ed,) Sex Appeal: The Art of Allure in Graphic and Advertising Design (New York, Allworth Press, 2000), pp. 130-37. Teal Triggs, ‘Scissors and glue: punk fanzines and the creation of a DIY aesthetic ’, Journal of Design History, vol. 19, no. 1 (2006), pp. 6 9 -8 3 . Alex Wrekk, Stolen Sharpie Revolution: A DIY Zine Resource (Portland, Microcosm, 2003). J. Peder Zane,'Now, the magazines of “me”’, New York Times (14 May 2006), http://www.empsfm.org/exhibitions/index. asp?articlelD=670 LIST OF ZINES C H A P TE R 1, PP. 6 -4 3 p. 7: New Worlds, vol. 1, no. 1 (March 1939), Ted Carnell, cover Harry Turner, Chapman Carnell Publications: London, UK (Terry Carr Fanzine Collection, Special Collections and Archives, University of California, Riverside Libraries). Exclusively Elvis, no. 1 (1969), Wendy Murton: Leeds, UK. Western Trails Magazine, vol. 1, no. 1 (Jan -Feb 1975), Richard M. Kauffman: Lakeland, GA, USA. pp. 20-21: Shocking Pink, no. 9 (c. 1990), collective including Katy Watson: Oxfordt?], UK. Kitten Scratches, no. 1 (1999), Rachel: High Wycombe, Buckinghamshire, UK. D IY Life Zine, no. 1 (Jan 2010), Idzie and others: Montreal, Canada. Beer Can Fanzine, no. 1 (1999), Jesse Kimball: Portland, OR, USA. pp. 22-23: Negative Reaction, no. 1 (Feb 1977), Jonathan Romney and others, cover photo Paul Cecil: Cambridge, UK. Nothing is True, no. 6 (1992), Richard Turner: Liverpool, UK. Omsk, no. 4 (May 1996), Peter Smith and others: Ilford, Essex, UK. Gear I Boo! (c. 1991), Camilla Deakin, design Fred Deakin: London, UK. Make Your Own Damn Alcohol (c. 2005), Jarrod Blatz, illustration Laure: Bowling Green, OH, USA. The Complete Soapmaker/ Tips, Techniques & Recipes for Luxurious Handmade Soaps / The Abbreviated Version (c. 1997), [adapted from a book by Norma Coney]: [n.p.]. Chord Easy / How to Choose Chords, vol. 1 of 3 (2007), Bert Davis, Light Living Library: Philomath, OR, USA. pp. 3 8 -3 9 : Punk and Disorderly, no. 3 (Nov 1991), Mick B., artwork Dave Stonkage: Quarry Bank, West Midlands, UK. Bugs and Drugs / A Zine for Scoffers, Screamers, Slackers & Blasphemers, no. 2 (c. 1990s), C. Weston and others, cover Beano Brazdov: Bristol, UK. Brumble / Special Brumcon Issue, no. 5 (June 1965), C. D. Winstone, cover MiK: Birmingham, UK. Le Collectionneur de Bandes Dessinees, no. 68 (1991), Michel Denni, Centre National des Lettres: Paris, France. Down Under, no. 1 (1964), John T. Ryan, cover John T. Ryan: New South Wales, Australia. FOOM, vol. 1, no. 12 (Dec 1975), editor-in-chief MarvW olfman, ed. Duffy Vohland, cover John Buscema, Marvel Comics Group, cover Buscema Russell: New York City, NY, USA. Comics Unlimited, no. 50 (Ju n e -Ju ly 1979), Alan Austin, cover Patrick Marcel, Fantasy Unlimited Pubs: London, UK. pp. 4 0-41: Space Times / Anniversary Issue, vol. 2, no. 6 (June 1953), Eric Bentcliffe, cover Harry Turner, Nor’west Science Fiction Fantasy Club: Manchester, UK. Thanks for the Memory / Elisabeth Sladen, no. 4 (1978), Mark G. Knighton, cover Garry O ’Hare, Beyond Cygenus: Sutton Coldfield, West Midlands, UK. Personal Log 01 / Starbase Chicago, no. 1 (1980), Vicki Ashe and Gwen Bolten, cover W. A. Howlett, Tigress Press: Chicago, IL, USA. Heroes Unimited, no. 2 (1967), Anthony Roche and others, cover Paul Neary: Dun Laoghaire, Co. Dublin, Ireland. List of Zines pp. 42-4 3 : The Komix, no. 2 (April 1963), John Wright and others: Port Elizabeth, South Africa. Ka-Pow, no. 2 (Feb 1968), Steve Moore and Phil Clarke: London and Birmingham, UK. Nightmare, no. 1 (1969), John Muir and others, cover Mike Higgs: Manchester, UK. Dead Duck / Corpsemeat Comix (1991), Savage Pencil [Edwin Pouncey], Shock Imprint, Sexy Swastika Productions: London, UK. Zum!, no. 3 (Jan 1992), Luke Walsh and Mike Kidson: Liverpool, UK. The Golden Age Fanzine, no. 2 (Oct 1976), Alan Austin: London, UK. Graphic Story World, vol. 2, no. 3 [no. 7] (Sept 1972), Richard Kyle and others, cover Norman Mingo: Culver City, CA, USA. C H A P T E R 2, pp. 4 4 -8 5 p. 45: Suburban Press (c. 1970), Jamie Reid, Jeremy Brook, Nigel Edwards: London, UK. P u n k /The Legend of Nick Detroit, no. 6 (Oct 1976), ed. John Holmstrom and others, cover illustration John Holmstrom: New York, USA. Sn iffin’ Glue, no. 1 (1976), Mark Perry and others: Deptford, London, UK. p. 46: Search and Destroy: Rebel Youth Culture, no. 10 (1978; repr. 1988), ed. V. Vale and others, cover Kamera Zie: San Francisco, CA, USA (Issue available at www.researchpubs. com). Factor Zero, no. 0 (1980), David Strongos: Sao Paulo, Brazil. Total Control, no. 1 (1977) [booklet included in The Ostrich], Franz Heribert Bielmeier [Mary Lou Monroe] and Janie J. Jones: Hamburg and Dusseldorf, Germany. p. 47: Ripped & Torn, no. 4 (April 1977), Tony Drayton and others: Glasgow, Scotland and London, UK. C ity Fun, vol. 2, no. 7 (9 -2 2 Jan 1981), Edward P. Nicholls, Martin Heywood, Ray Lowry, Tony Wilson, E. C. Martin Rennie, Mark Smith, Pat Naylor, Bob Dickenson, Liz Naylor, City Fun Publications: Salford, Manchester, UK. Alternative Sounds, no. 17 (1980), Martin Bowes: Coventry, UK. p. 48: In the City, no. 12 (1979), Pete Gilbert and Francis Drake: London, UK. Panache, no. 10 (1978), Mick Mercer: London, UK. Rebel Rouser (late 1970s), Leon Rebel: [n.p.: copy incomplete]. p. 49: Anarchy in the UK, no. 1 (1976), Glitterbest, Ltd, printed by ZigZag: London, UK. Trick, no. 1 (Nov 1977), ed. K. Dallas, contributors Pete of Shrews, Mark of Scum, Kev Giles, Jane Suck, cover photo Steve Sparkes, Wishcastle Ltd: London, UK. Temporary Hoarding, no. 5 (Ju n e -Ju ly 1979), Red Saunders, contributors Aruth Shaked, Red Saunders, Andy Xerox, Lucy Toothpaste and others, with photo pages Syd Shelton: London, UK. pp. 50-51: S n iffin' Glue, no. 3 (1976), no. 4 (1976), no. 5 (Nov 1976), / Christmas Special (Dec 1976), no. 7 (1977), no. 8 (March 1977), no. 9 (A p ril-M a y 1977), no. 10 (June 1977), no. 12 (Aug-S ept 1977), Mark Perry and others: London, UK. pp. 52-53: Chainsaw, no. 1 (1977), no. 3 (N ov-D ee 1977), Charlie Chainsaw: London, UK. Chainsaw, no. 11 (Feb 1981), Charlie Chainsaw, cover Michael J. Weller: London, UK; Chainsaw, no. 12 (1981), Charlie Chainsaw, cover Michael J. Weller: London, UK; Chainsaw, no. 14 (D ec-Jan 1984-85), Charlie Chainsaw, contributions Kid Charlemagne, Willie D., Michael J. Weller: London, UK. photos Alan Anger and Eddie Duggan: London, UK. More-onFour (1977), Sarah Shosubi, photos Crystal Clear: London, UK. pp. 6 4 -6 5 : In the City, no. 1 (1977), Francis Drake, additional writers Walt Davidson, Adrian and Rob, pictures Walt Davidson, typing and setting-out Peter Gilbert: London, UK. In the City, no. 2 (1977), Francis Drake and Peter Gilbert, additional writer Graham, graphics John Foxx, pictures Walt Davidson: London, UK. In the City, no. 4 (1978), Frank and Pete: London, UK. In the City, no. 5 (c. 1978): London, UK. In the City, no. 6 (winter 1979), Frank 'n' Pete: London, UK. In the City, no. 8 (1978), Feet and Plank: London, UK. In the City, no. 10 (April 1979), Frank ’n’ Pete-. London, UK. In the City, no. 13 (Feb 1980), Frank ’n’ Pete: London, UK. In the C ity Special / Ultravox! At the Roundhouse (1977), Francis Drake, cover pictures Peter Gilbert: London, UK. pp. 66-6 7 : Negative Reaction, no. 7 (Sept-O ct 1978), Jon Romney and others: Cambridge, UK. Positive Reaction, no. 4 (July—Aug 1979), Ernie B.: Omagh, Co. Tyrone, Northern Ireland (printed SEAN at S.O.S Omagh). Kids Stuff, no. 9 (c. 1978), Alastair: Chessington, Surrey, UK. Negative Reaction, no. 3 (Aug-Sept 1977), Jon Romney and Chas Diamond and others, photos Chas, Jon and Jill Furmanovsky: Cambridge, UK. Suspect Device, no. 6 (1979), Pete Gross and others: Northampton, UK. Slash, vol. 1, no. 1 (May 1977) [Mayday issue], ed. Steven Samiof, Melanie Nissen and others, cover photo [Dave Vanian of The Damned] Melanie Nissen: Los Angeles, CA, USA. pp. 6 8 -6 9 : Kingdom Come, no. 4 (Nov 1977), no. 7 (Feb 1978), no. 9 (May 1978), no. 10 (June 1978), no. 11 (J u ly Aug 1978), no. 12 (Sept 1978), no. 14 (Jan 1979), no. 15 (March 1979), no. 16 (May 1979), Jonny Waller: Dunfermline, Fife, Scotland. pp. 70-71: Cobalt Hate, no. 2 (1984), Glyn and others, printed at the Community Workshop: Stevenage, Hertfordshire, UK. Blam!, no. 1 (c. 1981), Peter Hall: Chelmsford, Essex, UK. Mucilage, no. 2 (c. 1984), Allan, layout Allan and Aidan: St. Albans, UK [front and back covers], 4th W all Theatre of Hate (1981), Claire and others, Rhinoceros: London, UK. pp. 72-73: Inx Blotch, no. 1 (c. 1981), Dommo with Andy and Bic: Teddington, Middlesex, and Kew, Surrey, UK [front and back covers]. Transformation / The Journal of the Federation of Anarcho-Pacifists (winter 1989), Jon and the West London F.A.P.: London, and Newbury Park, Essex, UK [front and back covers]. Stodge ([n.d.]): Oxford, UK. A/A/4 9PZ, no. 1 (c. 197980), Chris and others: Northampton, UK. Communique 2 / A System without a System / Nihilistic Vices, no. 2 (summer 1980), Dormouse and others: London, UK and Amsterdam, Netherlands. pp. 74-75: Vague / Cyber-Punk, no. 21 (1988), Tom Vague, cover design Jamie Reid and Joe Ewart for Assorted Images: London, UK (printed Aldgate Press). Vague, no. 13 (1982), Tom Vague and others: London, UK; Vague, no. 14 (1982), Tom Vague: London, UK. Vague / Back from the Grave, no. 11 (1982), Tom Vague: London, UK. pp. 5 4 -5 5 : Panache, no. 13 (1980), no. 12 (c. 1980) [interior page], Mick Mercer: Dunnington, North Yorkshire, UK. pp. 76-77: A llied Propaganda, no. 1 (June 1979), Ray and Mick: Northolt, Middlesex, UK. Cross N o w / Firework Edition, no. 2 (1980), cover Cress: London, UK. Grinding Halt, no. 4 (1980), Eddie Snide, Caption Callous and Pig Ignorant: Reading, UK. Safety in Numbers, no. 8 (1980), John Driscoll: Portsmouth, UK. Mental Children, no. 1 (1980): London, UK. pp. 56-57: Ripped & Torn, no. 1 (Nov 1976), no. 5 ([n.d.]), no. 8 (late Sept-early Oct [n.d.]), no. 9 (Nov 1977), no. 10 (Feb 1978), no. 12 (summer 1978), no. 14 (Oct 1978), no. 15 (Nov 1978), Tony Drayton: Glasgow, Scotland and London, UK. Ripped & Torn, no. 18 (1979), Steve Abrams: London, UK. pp. 78-79: Guttersnipe, no. 4 (1978), Guttersnipe Collective: Madeley, Telford, UK [front and back covers]. Rapid Eye Movement, no. 1 (winter 1979), Simon Dwyer. Alan Anger, Mick Dwyer, Lol Loveittand others, cover picture from screenprint by Michael: [n.p.] [front and back covers]. pp. 5 8 -5 9 : 48 Thrills, no. 1 (1977), no. 2 (1977), Adrian Thrills: Essex, UK. 48 Thrills, no. 3 (March 1977), no. 6 (c. 1977), Adrian Thrills: Stevenage, Hertfordshire, UK. Bondage, no. 1 (1976), Shane MacGowan: London, UK. London’s Burning, no. 1 (Dec 1976), John Ingram: London, UK. Dayglow, no. 1 (c. 1978), Steve May: Neasden, London, UK. pp. 80-8 1 : Alerta Punk, no. 3 (1983), Renato Filho: Sao Paulo, Brazil. Espectro do Chaos, no. 1 (c. 1980s): Curitiba, Brazil. Atentado, no. 2 (1983): Brazil. SP Punk, no. 1 (Aug 1982), Meire Martins and Callegari: Sao Paulo, Brazil. pp. 6 0 -6 1 : Kleenex, no. 1 (1979), Bexleyheath, Kent, UK. Dada / Zeno Phobia (late 1970s): London, UK. Punkture / The Midlands Punk Scene, no. 3 (c. 1977), Pretty Nasty and Ruthie Putrid: Stone, Staffordshire, UK. Another Tuneless Racket, no. 3 (April 1978): East Kilbride, Glasgow, Scotland. Confidential, no. 2 (1977), Pete Nic, Caly, Alexandra Annexe: Watford, Hertfordshire, UK. pp. 62-63: Situation 3 (1977), Lofty Rickett and others: London, UK. Situation Vacant, no. 4 (c. 1978), Glyn and Mart and others: Derby, UK. Live W ire or Pretty Vacant, no. 8 (c. 1978), Alan Anger, photos Walt Davidson, Eddie Duggan and others: London, UK. Live Wire, no. 14 (1978), Alan Anger, cover pp. 8 2 -8 3 : Adventures in Reality, issue J. (c. 1981), Alan Rider: Coventry, UK. It Ticked and Exploded, no. 7 (Feb-M arch 1979), Clive Hollywood: Paisley, Renfrewshire, Scotland. Black & White, no. 1 (1979), Peter Price and Stephen Rapid: Dublin, Ireland. The Poser, no. 2 (c.1980), Neil Anderson: London, UK. Out o f Print, no. 2 (1979), Chris: Bexhill-on-Sea, East Sussex, UK. Leamington’s Love Letter, no. 3 (1981), Gerry O ’Brien and others: Leamington Spa, Warwickshire, UK. No More Masterpieces, no. 12 (c. 1979), Paul Mathur: Formby, Liverpool, UK. Today’s Length, no. 1 (1980), Jessamy Calkin and others, art director Malcolm Garrett Kane: London, UK. pp. 8 4 -8 5 : Jam ming!, no. 14 (1983), ed. Tony Fletcher, design Robin Richards and others, Jamming Publications: London, UK. Flipside, no. 31 (April 1982), Rodney and Christine F., guest commentary Mykel Board: Whittier, CA, USA. Jam ming!, no. 7 (1979), ed. Tony Fletcher, Jamming Publications: London, UK. ZigZag, no. 85 (July 1978), ed. Kris Needs and others, Phoenix Magazines Ltd: London, UK. Bomp! (Nov 1977), ed. Greg Shaw, managing ed. Gary Sperrazzai: Burbank, CA, USA. C H A P TE R 3, pp. 86-129 p. 87: SUREzine, no. 4 (c. 1997), Kane Sure and others: Melbourne, Australia. Ben is Dead, no. 25 (1995), Deborah ‘Darby’ Romeo and others: Los Angeles, CA, USA. Bunnyhop, no. 10 (2000), Noel Tolentino, Jessica Gruner and others, cover Noel Tolentino: San Francisco, CA, USA. p. 88: Halcyon Daze, no. 1 (1989): Manchester, UK. The Farm, no. 1 (c. 1991), The Staff: Liverpool, UK. Debris, no. 12 (1986), Dave Haslam and others: Manchester, UK. p. 89: Ace o f Clubs, no. 1 (1990), Gareth Jones and others: Manchester, UK. The Faced, no. 4 (July 1992): Exeter, UK. Gear, no. 2 (c. 1991), Camilla Deakin and others, design Funny Man Graphic Design (Fred Deakin): London, UK. p. 90: Guinea Pig Zero / A Journal for Human Research Subjects, no. 6 (31 Dec 1998), Robert Helms and others, design Alexis Buss: Philadelphia, PA, USA. Close to You, no. 11 (July 1999), Salmon Dave and others: Aboyne, Aberdeenshire, Scotland. Screaming to be Heard, no. 2 (1988): Nottingham, UK. p. 91: Dishwasher, no. 15 (c. 1996), Dishwasher Pete (Pete Jordan), cover Sean Tejaratchi: Portland, OR, USA. Temp Slave!, no. 7 (1995), Jeff Kelly and others.- Madison, W l, USA. Answer Me!, no. 2 (1992), Jim and Debbie Goad: Hollywood, CA, US. p. 92: CGBC / The Journal of the Incredibly Good Looking, no. 7 (1998), Chelsea White and others.- Oakland Park, KS, USA. Cometbus, no. 47 (2005), Aaron Cometbus (Aaron Elliot): Berkley, CA, USA. Beer Frame / The Journal of Inconspicuous Consumption, no. 8 (March 1988), Paul Lukas and others: Brooklyn, NY, USA. The Duplex Planet, no. 183 (2005), David Greenberger, managing ed. Barbara Price: Saratoga Springs, NY, USA. p. 93: Boing Boing, no. 7 (1992), Mark and Carla Frauenfelder and others: Boulder, CO, USA. Plotz Notes, no. 16 (2002), Barbara Kligman: New York City, NY, USA. Crap Hound, no. 6 (1999), Sean Tejaratchi: Portland, OR, USA. Tiki News, no. 16 (2000), Otto von Stroheim, cover Dave Wong: San Francisco, CA, USA. pp. 9 4 -9 5 : Murder Can Be Fun, no. 7 (1987), no. 11 (1989), no. 14 (1992), no. 17 (1996), no. 20 (2007), John Marr: San Francisco, CA, USA. Murder Can Be Fun / 1997 Datebook /Special 10th Anniversary Edition (1997), John Marr: San Francisco, CA, USA. Mystery Date, no. 5 (1997), Lynn Peril: San Francisco, CA, USA. Teen Fag Magazine, no. 3 (spring 1994), no. 4 (spring 1995), Gordon Gordon: Seattle, W A, USA. Teenage Gang Debs, no. 5 (May 1993), Don and Erin Smith: Bathesda, MD, USA. pp. 96-97: Thrift Score, no. 1 (spring 1994), no. 3 (fall 1994), no. 4 (winter 1994), no. 5 (spring 1995), no. 6 (1995), no. 7 (1996), no. 8 (1996), no. 9 (1996), no. 12 (1998), Al Hoff and others: Pittsburgh, PA, USA. Details, vol. 2, no. 2 (Oct 1983), ed. Annie Flanders and others, art director Lesley Vinson, cover art Ian Worpole, Details Publishing Corp.: New York City, NY, USA. Cheap Date, no. 4 (summer 1998), Kira Jolliffe and others, art directors Liz Harris, Minnie Wiesz, cover Fergadel-IC for Hysteric Glam: London, UK. i-D , no. 2 (Nov 1980), ed. Al McDowell, Terry Jones and Perry Haines, T.J. Informat Design Ltd: London, UK. pp. 9 8 -9 9 : A.O .B . Zine / The Bumper Book of B.M.X. for Little Boys & Girls, no. 5 (1995), M Farrington, B. Shell and others: Exeter, UK [cover and inside spread]. Skatedork, no. 1 (c. 1998), Steve Voss and others-. Berkeley Heights, NJ, USA. Oscar’s Eye, no. 1 ([n.d.]), Joe Tindall: Haslemere, Surrey, UK. Sauce, no. 007 (c. 2008), Pod, cover Pod: Portland, OR, USA. Not the View / Celtic Fanzine, no. 34 (M arch-April 1992), J. B. Banal and others: Glasgow, Scotland. Johnny M iller 96 Not Out (May 1992), Dave Cotton, Martin Fey, Phil Harris, Peter Tovey and others: Bristol, UK. pp. 100-101: Blow Football, no. 4 (c. 1990): Birmingham, UK. When Saturday Comes, no. 7 (A pril-M ay 1987), Mike Ticher, Andy Lyons and others: London, UK. The Shankill Skinhead, no. 8 (1991), Tim Glynne-Jones, Stan Griffin, Nigel Scanland and Toddy: Purley, Surrey, UK. Someone Likes Us 252 / 253 (Feb 1991), Mr Knife: London, UK. Through the W ind & Rain, no. 1 (autumn 1989), Steven Kelly and others: Liverpool,UK. Hail Mary!, vol. 2, no. 1 (1992), Ian Corbett: Runcorn, Cheshire, UK. NBA Update, vol. 1, no. 5 (1991), Darren Edwards and Stephen R. Ashmore, art director Mark G. Wolfe: Rugby, Warwickshire, UK. Murtaugh, no. 11 (c. 1994), Spike Vrusho, cover woodcut Daisy DeCapite: Brooklyn, NY, USA. Waiting for the Great Leap Forward, no. 8 (1991), I. Mulvey, R. Steward, N. Taylor and others: Strathclyde, Scotland. p. 102: Severely Twisted!, no. 1 (June 1994): London, UK. Holiday in the Sun, no. 2 (June 1999), Jim Munroe: Toronto, Canada. Question Everything Challenge Everything, vol. 3, no. 2 (1998), Larry Nocella: Collegeville, PA, USA. U.K. Resist, no. 3Vi (autumn 1990), design TW : Surbiton, Surrey, UK. Hoax! (1992), John C. S. Quel [Johnny Datakill]: Brecon, Powys, Wales. p. 103: Ker Boom, no. 1 (c. 1994): London, UK. Protest Magazine, no. 1 (c. 1992), Ian Russell: Bedhampton, Hampshire, UK. N il by Mouth no. 3 (c. 1990s), Reza and others: London, UK. pp. 104-05: Combat Zone, no. 1 (1985): Bristol, UK. Skins, no. 5 (c. 1982): London, UK. Boredom Images, no. 2 (1991): London, UK. Nosebleed, no. 8 (1993), Boz: Dublin, Ireland. Strong & Proud, no. 3 (autumn 1997), Nestor Matilla and The Crew: Vigo, Spain. Revenge with Skinhead Liberation Organization and Unite for Unity, no. 2 (Jan 1992), Steve, Mucky, Nazzi and others: Telford, Shropshire, UK, Pittsburgh, PA, USA, and Baltimore, MD, USA. pp. 106-07: Go Go. no. 1 (April 1985), no. 2 (May 1985), no. 3 (June 1985), no. 4 (July 1985), no. 8 (Nov 1985), no. 12 (M ay-June 1986), no. 14 (Aug 1986), no. 6 (Sept 1986), Jackie Toby and Bernie Taylor: Dagenham, Essex, UK. pp. 108-09: Smashed Blockhead, no. 2 (c. 1986), Bill Luther and others: Jamesburg, NJ, USA. The New Stylist, no. 3 (M ay-June 1983),Flecky the K.: England [back cover]. Hip ’n ' Groovy, no. 1 (c. 1986), Judy Thomas: Bognor Regis, West Sussex, UK. Real Emotion, no. 1 (c. 1983), Dev and others: Dublin, Ireland. The Inset, no. 3 (c. 1985), Matt Cannock: Bournemouth, UK. Passion, Pride and Honesty, no. 2 (1985), Paul Moody and Robin Stubbs: Chichester, UK. Time Moves Us On ([n.d.]), Robin King, Piers and others: Chichester, UK. pp. 110-11: Mohawk Beaver, no. 1 (1997), Gritt Uldall-Jessen, design BADgirl Design: Copenhagen, Denmark. FFM agazine (1992): London, UK. Holy Titclamps, no. 17 (1999), Larry Bob: San Francisco, CA, USA. Kim W ilde / Fan Club News, vol. 3, no. 3 (1984), Kim Wilde Fan Club: London, UK. pp. 112-13: Subterranean Pop, no. 1 (1980), Bruce Pavitt: Olympia, WA, USA [cover and inside spread]. Sub Pop, no. 8 (1982), no. 3 (1981) [inside spread], no. 2 (1980), no. 4 (1981), no. 3 (1981), Bruce Pavitt: Olympia, W A, USA. pp. 114-15: Sub Pop, no. 6 (Feb 1982), no. 5 (1981) [cassette], no. 7 (1982), no. 9 (1983), Bruce Pavitt: Olympia, WA, USA. p. 116: Long Live Vinyl, no. 5 (1994), Brian: Nottingham, UK. Big Muff, no. 3Vz (1991), Neil Boyd and others: London, UK. Rebel Sound, vol. 1, no. 3 (1991), cover art Erick ‘FricaBoy’ Backus and others: Pittsfield, MA, USA. 117, no. 8 (Sept 1993), J. Faulkner: Hitchin, Hertfordshire, UK. Blaster!, no. 2 (c. 1992): Bristol, UK. p. 117: Da, no. 3 (summer 1993): Stockholm, Sweden. Calling D rCranklin!, no. 1 (spring 1989), Steve: London, UK. Datakill, no. 2 (1989), Johnny Datakill: Swansea, Wales, i/7' Rhino Gazette, no. 19 (Feb 1992), K.K.R. North and others, cover J.D. Burdge: Dallas-Fort Worth, TX, USA. Commodity, no. 4 (1995), Josh Hooten, Tony Leone and others: Medford, MA, USA. p. 118: Boy's Own, no. 6 (1988), Terry Farley, Andy Weatherall, Cymon Eccles and Steve Maize, cover Dave Little: England. Beach Boys Stomp, no. 95 (Feb-M arch 1993), Michael Grant and others, cover art Nick Guy: Tonbridge, Kent, UK. Teenage Depression, no. 8 (1978), Geoff Banks and others: Enfield, Middlesex, UK. The Farm Fanzine (early 1990s), Farm Info Service: Liverpool, UK. M oonlight Drive, no. 2 (1981), Rob and others: London, UK. p. 119: T Mershi Duween Zappa Fanzine, no. 26 (c. 1992), Fred Tomsett and others: Sheffield, UK. Boomshackalacka, no. 7 (Aug-S ept 1991), L. Bell-Brown, BSL Productions: London, UK. M orri'Zine / A Publication for Morrisey and Smiths Fans, vol. 4, no. 5 (winter 1992), Nicole Garrison and others: Sacramento, CA, USA. Pick o f the Bunch, no. 71 (1997), Mark Boyle: Renfrewshire, Scotland. Omaha Rainbow, no. 8 (c. 1978), Peter O ’Brien: Wallington, Surrey, UK. Rockrgrl, no. 15 (M ay-June 1997), Carla de Santis and others, design Jeffery Kennedy: Mercer Island, WA, USA. Offering, no. 21 (Nov 1993), Marilyn: Hertfordshire, UK. pp. 120-21: The TV Collector, vol. 2, no. 15 (Oct 1984), Stephen W. and Diane Albert: Needham, MA, USA. No Remakes, no. 4 (c. 1998): Glasgow, Scotland. TV Times ([n.d.]), Institute of Social Disengineering: Oxford, UK. Totting Times, no. 2 (Sept 1999), Mark Pearson and others: London, UK. Femme Flicke, no. 4 (1995), Tina Spangler and others: Cambridge, MA, USA [cover and inside spread]. Theme ‘70 Fanzine, no. 2 (March 1994), Mark Banville, Amateur Fanzine Workshop: UK. pp. 122-123: Fish Piss, vol. 1, no. 5 (1999), Louis Rastelli and others, cover Siris, The Archive: Montreal, Canada. Pop! / Short for Popular, no. 4 ([n.d.]), Joe Pop!: London, UK. Chicken is Good Food / The Beauty Issue, no. 5 (1999), Summer Stickney and others: San Francisco, CA, USA. The White Dot, no. 6 (summer 1997), Jean Lotus, David Burke and others, layout Gordon Mayer, illustration Sarah Lyons: Chicago, IL, USA. Nancy’s Magazine, vol. 9 (winter 1993-94), Nancy Bonnell-Kangas: Columbus, OH, USA. Chip's Closet Cleaner, no. 11 (fall 1994), Chip Rowe: Washington, DC, USA. Giant Robot / Asian Pop Culture And Beyond, no. 21 (2001), Eric Nakamura and Martin Wong and others: Los Angeles, CA, USA. Robot Power I Version 20.5 (2000), Eric Nakamura and Martin Wong and others, cover photo Bob Hamilton: Los Angeles, CA, USA. Oriental Whatever, vol. 2, no. 2 [no. 9] (fall 2008), Dan Wu and others, art director Julia Keel: San Francisco, CA, USA. p. 124: Gothique, vol. 1, no. 3 (Jan 1966), David Griffiths, Stanley Nicholls, Bram Stokes: Dublin, GA, USA and Brentford, Middlesex, UK. p. 125: Psychotronic Video, no. 12 (spring 1992), Michael J. Weller and others, art director Fred Brockman: New York City, NY, USA. Vincent Price File (1996), Simon Flynn: London, UK. A in ’t Bin to No A rt School ([n.d.]), Mike Weller: London, UK. Lip Service, no. 4 (Aug 1981), Simon and others: Welwyn Garden City, Hertfordshire, UK. Zine Zone, no. 1 (1 Nov 1994): London, UK. p. 126: MaximumRocknRoll, no. 159 (Aug 1996), Tim Yohannan and others-. San Francisco, CA, USA. Punk Planet, no. 11 (Jan -Feb 1996), Dan Sinker and others, layout Josh Hooten: [n.p.]. Profane Existence, no. 34 (1998), Dan Duke, Jon and others: Minneapolis, MN, USA. Revolting, no. 6 (c. 1995): Kingston upon Thames, Surrey, UK. H .A.G .L., no. 20 (c. 1980s), Trev Hagl: Newcastle upon Tyne, UK. p. 127: Open Up and Bleed, no. 8 (summer 2000), Catherine Lazand David Reynolds: London, UK. Your Flesh, no. 7 (1984), Peter Davis and others, cover Lee Ellingson: Minneapolis, MN, USA. Ruptured Am bitions, no. 10 (June 1992), Chris Wheelchair: Tavistock, Devon, UK. p. 128: Factsheet Five, no. 48 (July 1993), R. Seth Friedman: San Francisco, CA, USA. A ll Genre, vol. 11, no. 2 (April—June 1992), Hillel Cooperman and others: Washington DC, WA, USA. Am ok /Third Dispatch (c. 1989), Brian King, Stuart Swezey and others, cover Lori Wierzbicki: Los Angeles, CA, USA. Action Resource Guide Cata-zine including Prisoner's Speak (1994), Ashley Parker Owens and Guy Hensel, Soapbox June: Chicago, IL, USA. p. 129: Bypass, no. 3 (c. 1994), Bruce and James.- Oxford, UK. Book Your Own Fuckin’ Life, no. 7 (1999), The Amoeba Collective: East Palo Alto, CA, USA. Broken Pencil, no. 6 (winter 1998), Hilary Clark, Hal Niedzviecki, design Jon Hodgkins, cover Marc Bell: Toronto, Canada. The Zine, no. 9 (Ju ly-A u g 1994), Bo Maggs and others, cover Luke Foreman, Power Publications Ltd (UK): Guildford, UK. C H A P TE R 4, pp. 1 3 0 -6 9 p. 131: B ikini K ill / A Color and Activity Book (early 1990s), Toby Vail, Kill Rock Stars: Olympia, WA, USA. A p ril F ool’s Day, no. 1 (spring 1995), Kathleen Hanna: Olympia, WA, USA. Spiderplant, no. 8 (Aug 2000), Casino: Baddesley Ensor, Warwickshire, UK. p. 132: Kitten Carousell/ Special Nail Varnish Edition (early 1990s), Doncaster and Barnsley, UK. Bom bshell (early 1990s), Anna: Merseyside, UK. Ablaze!, no. 4 ([n.d.]), Karren Ablaze, cover art by Potet!: Manchester and Leeds, UK. p. 133: Starlet (1994). Angel: London, UK. Twinkle Eye Fizzy, no. 1 ([n.d.]), Rainy: Essex, UK. Programme for Le Tigre and Las Sin Fronteras (2000), Sarah and others: Tucson, AZ, USA. p. 134: Botram aid/ Fanzine with Manners, no. 1 (1996), Gail Douglas and Lorraine Douglas: Glasgow, Scotland. Bamboo Girl, no. 8 (Jan 1999), Sabrina Margarita Sandata: New York City, NY, USA. Pretty Ugly, no. 2 (spring 2002), Pretty Ugly Collective (ed. Kelly Elizabeth, art ed. Lepa, cover image Cameron): Lilydale, Victoria, Australia. p. 135: Ladyfest Glasgow 2001, UK events programme (2001): Glasgow, Scotland. UK Ladyfest Artwork 2001-2008 (2008), ed. Heather Crabtree and Melanie Maddison: Leeds, UK. pp. 136-37: B ikini K ill/ Girl Power, no. 2 (early 1990s): Olympia, W A, USA. Leeds & Bradford Riot Grrrl! (1993), Karren, Simone, Lianne, Elizia, Maxine, Clare, Jane, Sarah and others: Leeds, UK [cover and inside spread]. Dancing Chicks, no. 4 (June 1999), Helen Wray-r Reading, UK. pp. 138-39: Riot G irl London / Newsletter, call for zines (Jan 2001), Riot Girl London: London, UK. The Jigsaw, no. 5 ‘A , (c. early 1990s), Tobi Vail: Olympia, W A, USA. [The] Jigsaw, no. 5 (c. early 1990s), Tobi Vail: Olympia, WA, USA. Girl Germs, no. 3 (1992), Allison Wolfe and Molly Neuman: Portland, OR, USA. Riot Grrrl, manifesto (c. 1991), Riot Grrrl: Washington, DC, USA. Channel Seven (c. 1990s), Corin Tucker and Erika Reinstein: Olympia, W A, USA. pp. 140-41: Reggae Chicken, no. 1 (c. 1993): UK [cover and inside spreads]. Drop Babies (April 1993), Elizabeth, Layla Gibbons and others, cartoon by Layla Gibbons: London, UK [cover and inside spreads], pp. 142-43: Vaginal Teeth (1998), Maddy, Geraldine, Aisha, Kat, Clare, Vic, Andy, Simone, Karren and Cazz, ed. Clare von Stokes, Simone Ivatts and Cazz Blase: Stockport, Cheshire, UK (printed Cazz). Aggamengmong Moggie, no. 5 (Ju n e-Ju ly 1994), no. 7 (O ct-N ov 1994), no. 10 (April—May 1995), no. 11 (Aug-Sept 1995), no. 13 (Dec 1995-Jan 1996), no. 16 (Ju n e -Ju ly 1996), no. 29 (July 1999), no. 15 (A pril-M ay 1996), Cazz Blase: Stockport, Cheshire, UK. pp. 144-45: Rebel Grrrl Punk, no. 1 (1997), no. 2 (1997), no. 3 (1999?), no. 5 ([n.d.]), no. 4 (2000), Kirsty: Wilmslow, UK. Sista Yes!, no. 3 (c. 1997), Sophy: Canterbury, UK. pp. 146-47: Junk Food, no. 1 (Aug-Sept 2003), Judy: Syracuse, NY, USA [cover and inside spread]. Toast and Jam, no. 1 (1997/98), Rachel Kaye and others: London, UK [cover and inside spread]. IIp le u t des gouines!, no. 2 (April 2005), Lolagouine (dyke), France [cover and inside spread]. Pirate Jenny / A saucy little zine for your inner feminist revolutionary, vol. 1, no. 4 (summer-fall 2001), cover Adrienne Jan, vol. 1, no. 3 (late summer-fall 2000): Santa Barbara, CA, USA. pp. 148-49: Radium D ial, ([n.d.]) Ilona Jasiewicz: London, UK, (1995) Ilona Jasiewicz: Chicago, IL, USA. Radium Dial (spring 1999) [focus on Los Angeles], Ilona Jasiewicz: London, UK. Radium Dial, no.8 (autumn 2001) [full-time work], Ilona Jasiewicz: [n.p.]. Radium Dial (spring 2003) [personal life], Ilona Jasiewicz: [n.p.] [cover and inside spreads]. Radium Dial, no. 4 (1997/98), Ilona Jasiewicz: [n.p.]; Radium Dial (summer 1998), Ilona Jasiewicz: [n.p.]. pp. 150-51: Radical Cheerleader Handbook, no. 3 (2000), various: Lake Worth, FL, USA [front and back covers]. Ladyfest Cheerbook (Aug 2001), Haymarket Hussies: Chicago, IL, USA. Shag Stamp, no. 6 (O ct-N ov 1996), Jane Graham: Sheffield, UK and Denmark. pp. 152-53: Hysteria Action Forum / Love and Romance, no. 5 (1994), Gabby Gamboa, Puppy Toss: Berkeley, CA, USA. Revolutionary Women / Stencil Book (2005), Tui, Cherry Bomb Comics: New Zealand. Rote Zora / Interview with two members of the German Women's Arm ed Struggle Group (June 1984): [n.p.] [pamphlet]. Bark + G rass/ Revolution Supper, no. 2 (c. 1991): Chicago, IL, USA. Drum Core, no. 1 (1993): Brooklyn, NY, USA. W hat’s This Generation Coming To? no. 2 (1992), Anon.: Newcastle upon Tyne, UK. pp. 154-55: Heavy Flow, no. 6 (May 1996), Saskia Hollins, cover girl Melanie Wright: [n.p.]. Chart Your Cycle (2005), Chella Quint: Yorkshire, UK. Heavy Flow, no. 5 (Sept 1995), Saskia Hollins and others, cover Saskia Hollins and Melanie Wright: Edinburgh, Scotland. Red Alert, no. 2 (1999), Blood Sisters and others: Montreal, Canada. Period; A MenstruRama!! (2001), Veronica Del Real, Las Sin Fronteras for Ladyfest: Glasgow, Scotland. Adventures in Menstruating, no. 1 (Aug 2005), Chella Quint: Yorkshire, UK. pp. 156-57: Electra, no. 4 (summer 2002), Jane Collins: Llandudno, Wales [cover and inside spread]. K itty Magik, no. 5 (summer 2000), Marisa: New Jersey, USA. Rollerderby, no. 20 (1997), Lisa Carver: Dover, NH, USA. Popgirls, no. 2 List of Zines (1999), Amanda MacKinnon (Manda-Rin): Glasgow, Scotland [cover and inside spread]. pp.158-59: Big Bums (Aug 2008), Charlotte Cooper, Kay Hyatt, Simon Murphy and Bill Savage: London, UK. Nipples and Bits, no. 1 ([n.d.]), Brackin': New Orleans, LA, and Hattiesburg, MS, USA. Bust (spring-sum m er 1997), ed. Celina Hex and Betty Boop, art director Laurie Henzel, cover photo Andrea Gentl: USA. Punktum (2002), Rachel House: London, UK [cover and inside spread]. Unskinny Bop, no. 3 (2004), Tamsin and Ruth: London, UK [cover and inside spread], Unskinny, no. 8 (c. 1996), Lucy Sweet: Glasgow, Scotland. pp. 160-61: FatlSo?/ Spare Tires, no. 4 (1995), Marilyn Henrietta ‘Hank’ Wann, cover photo Marilyn Wann: San Francisco, CA, USA. Girl Cult Girlkulturzine, vol. 3, no. 1 (c. 1998), Joan Brennan: London, Ontario, Canada. For Your Own Good / a zine about mothers, daughters and body image (c. 2004), Kate, cover by Jeremy Dennis: London, UK. GirlFrenzy / Fat Lib, no. 4 (1993), Erica Smith: Hove, East Sussex, UK. Fat G irl (April 1996), Twyla Stark, cover photo Beth Peckman: San Francisco, CA, USA. p. 175: Broken Pencil ([n.d.]) [website], ed. Lindsay Gibb: Toronto, Canada. Irish Books and Zines (June 2008) [blog]: Ireland. others, web designer Derek Hogue: Toledo, OH, USA. The La-La Theory / Always Already, no. 6 (2008), ([n.d.]) [website], Katie Haegele: PA, USA. pp. 176-77: Digizine, no. 1 (fall 1995) [CD ROM], creative director/writer Tim othy R. Zuellig, Ahrens Interactive Inc.: Chicago, IL, USA. Cyber Rag / For the Macintosh, no. 3 (1991) [HyperCard floppy disk], Jaime Levy: Hollywood, CA, USA. pp. 194-95: Hack this Zine / Ammo for the Info-Warrior (summer 2006), project organizer Jeremy Hammond: USA. HackBloc.org / Exploit Code Not People [Hack this Zine] ([n.d.]) [website], Hackbloc Collective: USA. Rad Dad / A Zine About Parenting (2005) [blog], Tomas Moniz: Berkeley, CA, USA. Rad Dad, no. 4 (c. 2006), Tomas Moniz: Berkeley, CA, USA (printed Artnoose). SocialDesignZine (20 03-09) [website], Italian Association for Visual Communication Design: Milan, Italy. She Must be Having a Bad Day / Food Service: The Second Oldest Profession (2009) [blog], Dana Raidt (Dana Darko).- Minneapolis, MN, USA. She Must be Having a Bad Day / The Cult of the Female Food Service Worker (July 2008), Dana Raidt (Dana Darko): Minneapolis, MN, USA. Urinal Gum (Jan 2008) [blog], James: Eugene, OR, USA. p. 178: Pixel This (2 0 0 3 -c. 2009) [website]: Nicosia, Cyprus. Pixel This / Connected Urban Retreat, no. 006 (Sept 2006): Nicosia, Cyprus. p. 179: Tenderfoot (2006—[n.d.]) [website], Jenna Weiss: Fanwood, NJ, USA. Sandylovesyou ([n.d.]) [blog], Sandy Lim: Perth, Western Australia. 10 Things Zine /Jesus Wants You to Know (July 2007-) [blog], Dan Halligan: Seattle, WA, USA. 10 Things Zine / Jesus Wants You to Know, no. 15 (c. 1995), Dan Halligan: Seattle, W A, USA. p. 162: Catch that Beat! vol. 9 (1999), Yayoi: Tokyo, Japan [cover and inside spread], Asian Girls are R a d / Lucky issue, no. 7 (June 1994): Austin, TX, USA. pp. 180-81: The Black Cloud, no. 1 (8 Jan 2007), no. 3 (Nov 2009), Bret Liebendorfer: Columbus, OH, USA. Punks Is Hippies / The Online D.I.Y. Punk Fanzine Archive (Sept 2007-) [blog], Tony Gunnarsson and others, Slobodan Burger: London, UK. Kissoff (2007-2009) [website], Chris Kiss: Toronto, Canada. The ChickenFish Speaks (20 02-) [website], Grog Mutant (Greg Simerlink) and others: Dayton, OH, USA. p. 163: Girly Transgender Zine (Oct 1996), Mona Compleine: London, UK. Sky High Heels ([n.d.]), Mona Compleine-. London, UK [cover and inside spread]. Girly Transgender Zine, no. 7 (winter-spring 1997), Mona Compleine: London, UK. p. 182: Loserdom, no. 16 (June 2007), Anto McFly & Eugene and others: Dublin, Ireland [cover and inside spread]. Loserdom, ([n.d.]) [website], Anto McFly & Eugene and others: Dublin, Ireland. pp. 164-65: Am p M inizine / Fashion for the Fickle, no. 11 ([n.d.]), Miss Amp (Anne-Marie Payne), contributors Francis Morgan, Alice BS Rooney, Kit Milings, Suki Kent: London, UK [cover and inside spread]. Red Hanky Panky 7 [combined with Hormone Frenzy 3.5] (Aug 1999), Rachel House: London, UK. Amp Minizine / Girls Rock Out, no. 10/10 ([n.d.]), ed. Miss Amp (Anne-Marie Payne), design Look At Me, contributors Rachel House, Joe Popi, Rebecca Cherkoss, Suki Kent, Charlie Lucas: London, UK. The Pamzine / Your Guide to the World of Pam Savage, no. 1 (Jan-Feb 2000), no. 7 (winter 2 0 0 3 2004), Pam Savage: London, UK. Honeypears, no. 1 (summer 2002), Heather Middleton: Glasgow, Scotland. Vacuum Boots, no. 4 (2000), Miss Rachel, Angel: London, UK. p. 183: K ill Your Pet Puppy (Oct 2007-) [website], Tony Drayton: London, UK. Attack!, no. 2 (c. 2004), Wes White, Man With A Gun Press: Glastonbury, Somerset, UK. Cartilage ([n.d.)] [website], Wes White: Glastonbury, Somerset, UK. Woofah (2007-) [website], John Edne and Paul Meme, design The Droid: London, UK. p.166: Incest (1990s), Tammy and others, Desperate Times Call for Desperate Zines: London, UK. Incest / The Age of Love, no. 3 ([n.d.]), Tammy and others: London, UK [cover and inside spread]. p. 185: Savage Messiah ([n.d.]) [website], Laura Oldfield Ford: London, UK. Savage Messiah, no. 4 (A p ril-M a y 2006), Laura Oldfield Ford: London, UK. Ricochet! Ricochet!, no. 1 (2005), Paffy and Colly, cover Cat: London, UK. Ricochet! Ricochet!, ([n.d.]) [website], Paffy and Colly: London, UK. p. 167: Notes & Errata (c. 2008), Suzy Pow!: Lewisham, New South Wales, Australia [cover and inside spread]. Pink Lemonade, no. 3 (2000), Victoria Yeulet: London, UK. Gun Wounds Again? (1997), Emily Sessions: [n.p.]. pp. 168-169: Slampt Underground Organisation / Distro Catalogue (May 1997), Rachel Holborow and Pete Dale: Newcastle upon Tyne, UK. Riot Grrl Press Catalogue (July, early 1990s), May and Erika (Marika): Arlington, VA, USA. Word is Born: a Riot Grrrl Dissertation? (2004), Julia Downes: Leeds, UK. Barnard Zine Library Zine (fall—spring 2 0 0 5 2006), Alexa Antopol, ed. Jenna Freedman: Barnard College, New York City, NY, USA. Riot Grrrl (2005), Yuka Ogaki: Japan [back and front cover]. I'm not waiting / D oin’ ity rs e lf now (2004), Melanie Maddison, artwork Lucy Sweet: Leeds, UK [dissertation]. p. 184: Doris, no. 26 ([n.d.]), Cindy Crabb: Athens, OH, USA (printed 1984 Printing, Oakland, CA). Doris, no. 19 (c. early 2002), Cindy Crabb, cover Sarah Danforth: Ashe, NC, USA. Doris, no. 25 ([n.d.]), Cindy Crabb: Athens, OH, USA (printed 1984 Printing, Oakland, CA). Doris Zine Blog (May 2007) [blog]: Athens, OH, USA. pp. 186-87: Supersweet (2008), cover Paula Kopecna: London, UK. Supersweet Digital (2007) [website], editorial coordinator Gemma Dempster, creative director Choltida Pekanan, design Ralph: London, UK. M orgenm uffel/ A Sort of Compilation ([n.d.]), Isy Morgenmuffel: Brighton, UK. Morgenmuffel / Bits and Pieces (April 2008), Isy Morgenmuffel: Brighton, UK. M orgenm uffel/ Cartoons and More, no. 14 (Jan 2006), Isy Morgenmuffel.- Brighton, UK. Morgenmuffel ([n.d.]) [website], Isy Morgenmuffel: Brighton, UK. pp. 188-89: Rancid-News, no. 2 (Ju n e -Ju ly 2003), Edd Baldry: London, UK. Last Hours (2008) [website], Edd Baldry and others: London, UK. Last Hours, no. 14 (autumn 2006), Edd Baldry and others: London, UK. Last Hours, no. 10 ([n.d.]), Edd Baldry and others: London, UK [inside spread], C H A P T E R 5, pp. 170-203 p. 171: E-Zine List (1993-c. 2005) [website], John Labovitz: USA. Drummer Con (1995—[n.d.]) [networking site]: Philadelphia, PA, USA. p. 172: The Zine (3 Feb 200 4-[n.d.]) [website], Mr Maul: USA. ChipRowe.com (19 95-) [website], Chip Rowe: Chicago, IL, USA. p. 173: Mystery Date Online (1 May 2001-) [website], Lynn Peril: San Francisco, CA, USA. Duplex Planet (c. 2000s) [website], David Greenberger: Saratoga Springs, NY, USA. A Little Poetry / A Perpetual Po-e-zine? (1996) [website], ed. Tracee Coleman: UK. Blind, Stupid and Desperate / A Watford FC Fanzine (late 1990s-2006) [website], Ian Grant and Matt Rowson: London, UK. Jersey Beat ([n.d.]) [website], Jim Testa: Weehawken, NJ, USA. p. 174: others: Wrekk: Cagen: The Flaneur (2009) [website], Jonathan Powell and London, UK. Stolen Sharpie (May 2008) [blog], Alex Portland, OR, USA. To-Do List (2005) [blog], Sasha San Francisco, CA, USA. p. 190: When Language Runs Dry, no. 2 (July 2009), Claire Barrera and Meredith Butner: Portland, OR, USA. Meredith Butner (2008) [blog], Meredith Butner: Portland, OR, USA. Karen, no. 1 (2004), Karen Lubbock: Rodbourne Bottom, Wiltshire, UK. Karen ([n.d.]) [website], Karen Lubbock: Rodbourne Bottom, Wiltshire, UK. p. 196: Bust / Fight Like a Girl, no. 19 (spring 2002), Laurie Henzel and Debbie Stoller, editor-in-chief Debbie Stoller, creative director Laurie Henzel: New York City, NY, USA. Bust ([n.d.]) [website], Laurie Henzel and Debbie Stoller, editorin-chief Debbie Stoller, creative director Laurie Henzel: New York City, NY, USA. Bitchmedia / Bitch: Feminist Response to Pop Culture ([n.d.]) [website], executive director Julie Falk, co-founders Lisa Jervis, Benjamin Shaykin and Andi Zeisler, editorial/creative director Andi Zeisler, art director Kristin Roger Brown: Portland, OR, USA. Ladyfest London 2008 (2008) [website], banner artwork Nick, images contributed by Rosalind Glennie and Bg: London, UK. p. 197: Lickety Split Smut Zine (Oct 2009) [website], Amber Goodwyn and others: Montreal, Canada. Ladyfriend ([n.d.]) [website], Christa Donner: Chicago, IL, USA. Grrrl Zine Network (2001) [website], Elke Zobl: Salzburg, Austria. Grrrlzines A Go-Go (2002) [website], Kim Schwenk, Margarat Nee, Claudia Lucero, Britton Neubacher, Elke Zobl, site design Ari: Encinitas, CA, USA. Scum Grrrls 100% Feminist Energy ([n.d.]) [website]: Brussels, Belgium. p. 198: Sticky Institute ([n.d.]) [website], Luke Sinclair, Richard Hold, Andrew Seward, Simone Ewenson and other volunteers: Melbourne, Australia. p. 199: Our Hero (20 00-02) [website], Heroic Film Company: Toronto, Canada. p. 200: Xerography Debt, no. 25 (2009), ed. Davida Gypsy Breier and others, cover Bojan, layout and design Kathy Moseley, Microcosm Publishing: Portland, OR, USA. Xerography Debt (2008) [website and blog], ed. Davida Gypsy Breier and others: Baltimore, MD, USA. Learning to Leave a Paper Trail / Zine Distro ([n.d.]) [website], Ciara Xyerra: Lawrence, KA, USA. Zine Thug (2 0 0 3 -0 9 ) [website], Marc Parker and others: Portland, OR, USA. p. 201: Zine World, no. 10 (spring 1999), Doug Holland and others, cover Jeff Meyer, design/layout Susan Boren: San Francisco, CA, USA. Zine W orld / A Reader’s Guide to the Underground Press, no. 19 (summer 2003), Doug Holland, Jerianne Thompson and others, art director Kyle Bravo: Murfreesboro, TN , USA. Zine W o rld / A Reader’s Guide to the Underground Press (2008) [blog]: Murfreesboro, TN , USA. pp. 202-03: Library Bonnet no. 1 (c. late 1990s), Tommy Kovac, Julie Fredericksen: Orange, CA, USA. Library Bonnet ([n.d.]) [website], Tommy Kovac and Julie Fredericksen: Orange, CA, USA. FYP Fanzine ([n.d.]) [twitter feed], James Daly and Mark Tyrrell: London, UK. The Oatcake ([n.d.]) [message board]: Stoke-on-Trent, Staffordshire, UK. ZineW iki (2 0 0 6 -) [website, open source], Alan Lastufka and Kate Sandler: Chicago, IL, USA. Zine Library ([n.d.]) [website, open publishing]: London, UK. 80s U K Zine Archive (c. 200 5 -) [website], Sned: London, UK. C H A P TE R 6, pp. 2 0 4 -4 7 p. 191: PonyBoy Press (Jan 2007) [blog]: Portland, OR, USA. Oh, Darcy ([n.d.]) [website], Brittany Brown: USA. The East Village Inky, no. 8 (July 2000), Ayun Halliday: New York City, NY, USA. The East Village Inky ([n.d.]) [website], Ayun Halliday: New York City, NY, USA. Ghost Pine Fanzine (2007) [blog], Jeff Miller: Montreal, Canada. p. 192: Fever Zine (c. late 2000s) [website], Alex Zamora, Simon W hybray and others: London, UK. Fever Zine, no. 3 (2007), no. 4 (2008), Alex Zamora, Simon W hybray and others: London, UK. p. 193: Breakfast ([n.d.]) [website], Vincent Voelz: San Francisco, CA, USA. Clamor / Your D IY Guide to Everyday Revolution (2006) [website], Jen Angel, Jason Kucsma and p. 205: Kurt Cobain was Lactose Intolerant Conspiracy Zine (May 1998), Sharky Girl: San Francisco, CA, USA. Publish and Bedazzled / The Fagzine for the Peter Cook Appreciation Society, no. 33 (2003), Clinty: London, UK. Pull to Open, no. 9 (2005), Craig Lightowler and Phil Virco, cover illustration Northern Glory: Bradford, West Yorkshire, UK. p. 206: Squeaky Sneakers, no. 3 (c. 2008), Stapler: The Channon, New South Wales, Australia. Manzine / A publication about the male phenomenon, no. 2 (summer 2009), ed. Kevin Braddock and others, The Clapham Mountaineering Society: [n.p.]. The Robert Edmond Grant Fanzine / The Grant Museum (c. 2009), ed. Tine Horn, illustration Danielle Berg.London, UK. 254 / 255 p. 207: Publish and Be Published (2005), Eddie Wilson: London, UK. Zine Libs, no. 1 (2005), Caroline Paquita and Erick Lyle: San Francisco, CA, USA. Just Say No Thank You, no. 2 (March 2007), Star: Auckland, New Zealand. p. 208: Nervous System, no. 1, version 1.0 (spring 2006), Anthony and others: London, UK. BodyTalk/The Medical Issue (Dec 2009), ed. Joseph Beeman, art direction Sarah Handelman, design Tom Loughlin: Columbia, MO, USA. Local Anaesthetic!, no. 29 (May 2007), ed. Cliff Anderson and Tom Noonan, cover art Jenny Jo Oakley: Geelong West, Victoria, Australia. p. 209: Office Pup, vol. 2 (2002-06), ed. Toby Morris and others: Wellington, New Zealand. You Stink & I D on’t, no. 9 (2007), Ben Hutchings, Green Comix: Canberra, Australia. The Squareball, no. 1 (20 05-06), Ian Dobson, Ben Hutchinson and others: Leeds, UK. pp. 210-11: Sweef Shop Syndicate, no. 2 (Jan 2006), Richard and Christina: Brighton, UK, and Graz, Austria [cover and inside spread]. Zine Making: An Introduction (2003, 2nd edn 2007), Sarah: Halifax, Nova Scotia, Canada. Stolen Sharpie Revolution / A DIY Zine Resource (c. 2003), Alex Wrekk, Microcosm Publishing: Portland, OR, USA [cover and insider spread]. MixTape, no. 1 (Aug 2007), Nichola Prested and Justine Telfer, design Motor, cover Shannon Lamden: Moorabbin, Victoria, Australia; no. 6 (2008), Nichola Prested and Justine Telfer, design Motor, cover Mandy: Moorabbin, Victoria, Australia. pp. 212-13: Dates I ’ve Been On and Not Been On ([n.d.]), Anon.: Melbourne, Australia. We Ear it Regular D ifferently / The Punk Issue / Special Edition Do It Yourself, no. 2 ([n.d.]), Alex Weird and others: Montreal, Canada [front and back covers]. Helping You Find the Right Jew ellry! (c. mid-2000s), Sarah Doyle, cover Sarah Doyle: London, UK. This Is!, no. OV2 (May 2002), Helen Wickham: London, UK. D90 / A Mix Tape Zine (2007-2008), Spurzzine.- Carlton North, Victoria, Australia. How to Make a Super 8 Film / Super 8 Super Zine (c. 2006): Halifax, Nova Scotia, Canada. Hey Look! It's a Zine about Cross Stitch! (c. 2010), Secret Nerd Brigade [Autumn Patterson]: Minneapolis, MN, USA. pp. 214-15: Ker-Bloom!, LXXX (S ept-O ct 2009), Karen Switzer, Crafty Cards (aka Artnoose): Pittsburgh, PA, USA. The Squares (c. 2009), Ewuraba and others, Studio Voltaire: London, UK. 28 Pages Lovingly Bound with Twine, no. 13 (2005), Christoph Meyer: Danville, OH, USA. In Sickness (2008), Maddy Phelan: Wollongong, New South Wales, Australia. The Memory Cloth / An Exploration into Craft Memory and Contemporary Design (26 July 2006), ed. and design Suzy Wood, Izzie Klingels, Martin McGrath and others: London, UK. pp. 216-17: Mix Zine, no. 1 (April 2009), Miss Fliss: London, UK [cover and inside spread]. You (28 Oct 2008), Luke You: Melbourne, Australia. Pneumatic Catalog ([n.d.]), Niku Arbabi and Scrappy Zine Coop: Austin, TX, USA [cover and inside spread]. By the Time You're Twenty-Five (Oct 2008), Emma, Flying Machine: Enmore, New South Wales, Australia. Failed Rock Star, no. 4 (7 Dec 2005), Rob Phoenix, bag design Shaun Peters: Brighton, UK. p. 218: A rty / England, no. 20 (Aug-S ept 2005), Cathy Lomax, cover Cathy Lomax: London, UK. Blitzkrieg Babylon (2003), Dan Holliday and Andrew Craig: London, UK (printed The Mangle). Organ, no. 70 (Ju ly-A u g 2001), Sean Worrall, Shaari Freed and Marina Anthony: London, UK. Plastasine Fanzine / Art Writing Beyond Criticism (17 May 2008), David Burrows and others, Article Press: London, UK. p. 219: Enough Magazine, no. 1 (2007), Tom Morrow: Australia. Intercity Baby (April 2009), Jennifer, cover Jennifer: Chicago, IL, USA. Giant Steps, no. 3 (15 July 2007), Kirke Campbell and others: Houston, TX, USA. pp. 220-21: Bang!, no. 2 ([n.d.]), Manu: Madrid, Spain. Ugly is the New Sexy, no. 28 (6 July 2006), Bryce Galloway: Wellington, New Zealand. Future Fantasteek!, no. 6 (2009), Jacky Batey, Damp Flat Books-. Brighton, UK. Obsession / A Zine of Drawing Obsessions (c. 2009), Karoline Rerrie, Gemma Correll and others, cover Gemma Correll, Love to Print: London, UK, Rivers Edge / Notes from the Underground (May 2008), Richard Davis, cover Dan Holliday: London, UK [cover and inside spread]. Screw Crash & Explode ([n.d.]), Monobrain and Marcel Herms: Dedemsvaart, Netherlands. p. 222: Fire & Knives, no. 1 (2009), Tim Hayward, design and art direction Rob Lowe, Funistrada Ltd: London, UK (printed Buxton Press). Barefoot and in the Kitchen of Our Own Accord, vol. 1 (2005), Ashley Rowe-. Santa Cruz, CA, USA. Stand Aside / Fashion Issue (c. 2000), Polly Brannan and Miss Deepa Naik, The Cube and Public Works: London, UK. p. 223: FP: Fashion Projects, no. 2 (20 0 6 -0 7 ), ed. Francesca Granata and others, art director Jennifer Noguchi, published Deconstruction Fashion: New York City, NY, USA. Just Like Candy, no. 1 (Sept 2008), Oli and Michaela, cover photo Erin Matthews: [n.p.]. The Chap, no. 1 (Feb 1999), ed. Gustav Temple, art director Vic Darkwood: London, UK. Medium Magazine / People and the Human Body, no. 1 (spring 2005), ed. Laurie Cansfield, cover Piggy by Judith Erwes, graphic design Form in Motion Production, Cansfield Creative Group: London, UK. p. 224: Hey, 4-Eyes! / A Zine about Glasses, no. 3 (spring 2009), Robyn Chapman, cover Jim Medway, Unpopular Comics: USA. Dame P ipi Comix / DM PP Aimanach 2009, no. 5 (2009), Gerald Auclin, cover Gustav Verbeek: [n.p.]. Comix Club / Meeting with John Porcellino, no. 5 (June 2007), Collective/ Publishing Groinge: Nice, France. From the Tomb, no. 21 (Feb 2007), Soaring Penguin: Rochdale, Lancashire, UK. p. 225: Re V ’La Colyis Naody, no. 3 (c. 1990s), Martin Guimond, Les Editions du Chien Decrisse: Quebec, Canada. pp. 226-27: Juke Box, no. 1 (c. 2006), ed. Renato Lima, design Luiza Rezende and Igor Machado: Brazil; Juke Box, no. 2, 1 (2007), ed. Renato Lima, design Igor Machado, Dado Oliveira and Gullherme Cavalcanti: Sao Paolo, Brazil [cover and inside spread]. Cat Quarterly / Office Love Issue, no. 7 (1997), Annie Lawson: London, UK. Reality Optional (Aug 2007), Andrew Stitt and others: Norwich, UK. Tantrum Comics, no. 1 (2002), Miriam Engelberg, design Edmond Y Chang: [n.p.]. pp. 228-29: Bipedal, By Pedal! (2008), Joe Biel: Bloomington, IN, USA. Expansion o f Life / Fuck the Border!, no. 12 ([n.d.]): Japan. W hoosh! / The Zine for Whale Lovers, no. 1 (Nov 2008), Katherina Audley: Portland, OR, USA. Cut and Paint, no. 2 (Dec 2007), Nicolas Lampert, Josh MacPhee and Colin Matthes: Milwaukee, W l, USA (www. justseeds.org). How Not to Eat Animals ([n.d.]), Chickpea: Houston, TX, USA. pp. 230-31: Before the Mortgage, no. 5 (c. 2002), Christina Amini and Rachel Hutton, design Kirk Roberts: Ross, CA, USA. David Battams Fan Club Magazine, vol. 2, no. 3 (summer 2004), Daniel ‘Made Up' Battams, art direction Made Up Studios: London, UK. The Alien Invader (Dec 2003), Amin-Reza Javanmard and Jen-Tsen Kwok: Runaway Bay, Queensland, Australia. The Lowbrow Reader, no. 5 (summer 2006), ed. Jay Ruttenberg, design Matthew Berube, cover John Mathias: New York City, NY, USA. Mustard, vol. 2, no. 2 (May 2008), ed. and design Alex Musson: London, UK. pp. 232-33: Shoreditch Twat, no. 3 (2000), no. 4 (2000), no. 5 (2000), no. 6 (2000), no. 7 (2000), no. 12 (2000), no. 14 (2001), no. 18 (2001), no. 2 (1999), ed. Neil Boorman, design Bump: London, UK. p. 234: Revolution / It's Different for Girls (summer 2005), ed. Leonie Cooper, art direction James Chorley, cover art Lucy Bailey: UK. Spilt Milkshake, no. 1 (spring 2002), Rebecca Dyer: Chelmsford, Essex, UK. Raise Some H e ll/ A Feminist Child Rearing Zine for Everyone (2008), Crap Collective: London, UK. Pamflet I A Vindication of the Rights of Girl, vol. 1, no. 1 (Sept 2005), Phoebe Frangoul and Anna-Marie Fitzgerald: London, UK. Girls with Guns, no. 7 (c. 2009): Melbourne, Australia. The Pleiades, no. 14 (March 2005), Miranda Hale: Spokane, W A, USA. p. 235: K itty Magik, no. 6 (2002), ed. Marisa Handren: Whitehouse Station, NJ, USA. Girls W ho Fight, no. 1 (2009), Kathryn Corlett: London, UK. M u ffy! /The Magazine of New College Girly Life, no. 1 (spring 2000), ed. Regina Gelfo, Carly Earnshaw, Shannon O ’Malley, design Carly Earnshaw, Regina Gelfo: Sarasota, FL, USA. p. 236: Butt / Hysterical Magazine for Homosexuals, no. 14 (2005), Gert Jonkers, Jop van Bennekorm, photographer Marcelo Krasilcic: Amsterdam, Netherlands. Homobody, no. 4 ([n.d.]), Rio Safari (Tim Batiuk): Portland, OR, USA. Detroit Queers ([n.d.]), Detroit Radical Queers: Detroit, Ml, USA. p. 237: Chica, no. 1 (2001), Lucy Sweet and others: Glasgow, Scotland. Iconoclastic Cardies, no. 3 (2009), Pete Bowers, cover Andy Hart: Midlands, UK. Fallopian Falafel, no. 1 (June 2007), Hadass S. Ben-Ari and others: Jerusalem, Israel. pp. 238 -39 : Cops & Robbers, no. 40 (July [n.d.]), Raine and others: Leeds, UK (printed Footprint). Bye Bye, Duffel Boy, no. 1 (summer 2009), Pete Green: Sheffield, UK. More Love Truth and Honesty (2007), Paul Byron: Melbourne, Australia. Runnin’ Feart, no. 7 (c. 2000), Callum Masson: Stewarton, Ayrshire, Scotland. Super Waste Project (2000), Miles: Aylesbury, Buckinghamshire, UK. Taking Dope, no. 1 (1996), Dee Dee Ramone: New York City, NY, USA. p. 240: List/ Goodbye, Baltimore, no. 12 (fall 2008), Ramsey Beyer: Chicago, IL, USA. Boredom / 3rd Class Junk Mail Oracle ([n.d.]): Berkeley, CA, USA. Enthusiasm, no. 2 (c. 2009), Susie Rumsby and Tim Wade: Norwich, UK. Telegram M a’am, no. 14 (July 2008), Maranda: Ontario, Canada. p. 241: M y Evil Twin Sister/ Greetings from the Endless Highway, no. 1 (1995, repr. 2001), Stacey and Amber: Jacksonville, OR, USA. Support (2002), Cindy Crabb, cover Cristy Road: Asheville, NC, USA. Not M y Small Diary, vol. 1 (2009), Delaine Derry Green, cover Frederick Noland: Trussville, AL, USA. I Hate This Part o f Texas /Special Disaster (Jan 2006), John Gerken: New Orleans, LA, USA. p. 242: La Bouche Zine / An Alternative News and Culture Zine, no. 2 (July 2009): London, UK. Double Breasted, no. 5 (Nov 2009), Jennie and Colin Baillie, Sharon Wood and others: Edinburgh, Scotland. Smoke/ A London Peculiar, no. 12 ([n.d.]), Jude Rogers and Matt Haynes: London, UK. p. 243: No.Zine, no. 3 (2009), Patrick Fry, cover Elisa Noguera: London, UK [cover and inside spread]; No.Zine, no. 2 (2009), Patrick Fry, cover photo Elisa Noguera: London, UK; No.Zine, no. 1 (2009), Patrick Fry: London, UK. pp. 244 -45 : Can You Show Me the Space (2007-08), Public Works: London, UK. Unemployment (2009), Aaron Lake Smith: Cary, NC, USA. Zine 2009 (June 2009), University of Delaware, London College of Communication: London, UK. D IY or D on't We? /A Zine about Community, no. 1 (July 2009), Nicki Sabalu and others: Olympia, W A, USA. Hardwork Not Paid (3 July 2007), Mrunmayee, Nandini, Necki, Priyanka C., Pushpi, Sargarn, Tanuja, Vishnu: India. p. 246: The Zine Directory, version 1.0 (Sept 2007), Jane Appleby: Newcastle upon Tyne, UK. Microcosm Publishing Catalogue (2 0 0 5 -0 6 ), Joe Biel and others, cover artwork Sarah Oleksyk: Bloomington, IL, and Portland, OR, USA. Zine Capsule / Zine Collecting for the Future (2008), Kim Schwenk and others, Grrrl Zine A Go-Go: Encinitas, CA, USA. Zine Arcade, no. 2 (2008), ed. Andrew Owen Johnston, cover artwork Robert Sergei: Birmingham, UK. p. 247: UK Zine Yearbook (Sept 2007), Toby: UK. Australian Zine Resource (2003), Louise Angrilli and Anna Masters, Swirlability Productions: Diamond Creek, Victoria, Australia. Wasabi Distro / Spring-Sum m er Catalogue (2005), Andrea: Tokyo, Japan. Zene, no. 23 (2000), Nancy Bennett and others: Ely, Cambridgeshire, UK. ACKNOWLEDGMENTS As with any endeavour that has spanned a period of time, there are a number of key individuals who have contributed to the completion of this book along the way: Roger Sabin, whose insights into the worlds of zines and comics has helped to inform the basis of this book; Amanda Vinnicombe, Kirsty Seymour-Ure and Am y Visram for editing my work and keeping me on track; Therese Vandling, whose design shows off the zines to best advantage; and to Lucas Dietrich who commissioned this project in the first place and never lost faith. I could not have completed this research without the significant support and enthusiastic responses of the individual zinesters whose work is included in this book. I owe them a huge debt for their insights, time and access to their communities. In addition, I would like to thank: Edd Baldry, Caroline Blase, Bill Burns, Charlie Chainsaw, Robert Clarke, Leigh Clarke, Sian Cook, Bob Dickinson, Joe Ewart, Priscila Lena Farias, Simon Ford, Paul Gravett, Dan Halliday, Dan Halligan, Rian Hughes, Jonathan Kemp, Leila Kassir, Jeff Kleinsmith, Christian Kusters, Rex Martin, Claire McAndrew, Anto McFly, Bruce Pavitt, Richard Price, Andy Sawyer, Patrick Staff, Dominic Thackara, Philip Turner, Stephen Voss, Michael J. Weller. Acknowledgments, Index INDEX Ablaze, Karren 132 acid house 23, 87, 88, 89, 118 agit-prop 45, 72, 103 ALF (Animal Liberation Front) 103 Allen, Richard 35 alt.pup 172 Alternative Tentacles 26 Amber 241 American Football League 101 Amini, Christina 231 Amoeba Collective 129 Amp, Miss 164 anarcho-punk see punk Anderson, Cliff 208 Andrew 35 Angel 164 Angel, Jen 126, 193 Anger, Alan 62 animal experimentation 13 recipes free from animal products 153 rights 12, 102 see also ALF Anna-Marie 234 Ant, Adam 13 Anthony 208 anti-nuclear movement 71, 83 APAs 14 Appleby, Jane 246 art 45, 125, 172, 174, 223 Artnoose see Switzer, Karen artzines 103, 218, 221, 243 ASCII 171, 172 Asian Asian-American alternative culture 122 pop culture 122 Atton, Chris 10, 172 Attrition 83 Auclin, Gerald 224 autobiography 12, 191 Avengers, The 12 Bagge, Peter 115 Baker, Danny 8, 48 Baldry, Edd 189 Baltic Centre for Contemporary Art 19 Barnard College 169 Barrera, Claire 190 Barrymore, Drew 133 Batey, Jacky 221 Batiuk, Tim 236 Batman 36 Baumgardner, Jennifer 147 Beach Boys, the 35, 118 Beatles, the 18 Beattie, Lee 135 beer-drinking 12 Belsen Horrors, the 68 Ben-Ari, Hadass S. 237 Benjamin, Walter 13 Bennekorm, Jop van 236 Bernhard, Sandra 110 Better Badges 97 Beyer, Ramsey 240 Biel, Joe 246, 228 Birmingham Fiction Group 39 BIS 135, 157 Bitchmedia 196 Blake, William 14 Blake's 7 17 Blase, Cazz 143 blaxploitation 121 Block 171 Bob, Larry 12, 110 body image 160 Body Shop 8 Bolland, Brian 18 Bonnell-Kangas, Nancy 12, 122 Boorman, Neil 232 Bowie, David 18, 66 Boy George 37 Boycott, Rosie 135 Bradbury, Ray 17 Braddock, Kevin 206 Brady Bunch, The 37, 94 Brain Eaters, The 10 Bratmobile 131, 135, 139 Brent, Bill 201 Bret 181 Briggs, Raleigh 209 Brock, Dave 11 Brookside 90 Brown, Diana 87 Buffalo Springfield 35 Bump 232 Burne, Charles 115 Burrows, David 218 Burton, Tim 12 Butner, Meredith 190 Byron, Paul 238 Cagen, Sasha 174 Cambodian Society 244 Campbell, Kirke 219 capitalism 88, 91, 103, 205, 206 Captain America 39 carbonzines 17 Carpenters, the 119 Carr, Jim m y 206 Carroll, Gemma 221 Carver, Lisa 157 cassettes 115 CDs 176,217 Celtic 98 Chainsaw, Charlie 46, 53, 68 Chauvenet, Louis Russell 10 Chelsea 78 Chelsea Girl see fashion Chicks on Speed 157 CHIPS 37 Chris 211 Clapton, Eric 14 Clark, Ron 127 Clarke, Arthur C. 17, 19 Clarke, Phil 18 Clary, Julian 90 Clash 59, 131 class 45 Clear, Crystal 62 Clowes, Daniel 122 clubzines 89 CND 71 Cobain, Kurt 205 Cocker, Jarvis 14 Colette 12, 185 colour printing 209 Coltrane, John 219 Combat 105 Combine, The 106 Cometbus, Aaron 92 comics 15, 17-18, 19, 25, 3 9 ,4 0 ,4 2 ,4 5 , 164, 176, 186, 201, 209, 227, 235, 238 comix 17, 18, 42, 179 horror 224 see also Captain America; DC Comics; Entertaining Comics; Marvel; Superman; Wonder Woman Comics Code Authority 224 comiczines 25, 42, 147, 186, 209,224, 225, 227 Compleine, Mona 163 computer-generated typography 9 Conde Nast 87, 97 consumerism 86-129, 205, 219 Cook, Peter 13, 205 Coon, Caroline 60 Cooper Clarke, John 242 Cooper, Leonie 234 copyright infringement 15, 87, 206 Corlett, Kathryn 235 Corn Dog Publishing 209 Cosmopolitan 8 Council, Andy 192 Crabb, Cindy 13, 184, 241 Crabtree, Heather 135 crafts 205, 209, 211, 213 Crass 29, 48, 49, 71, 77, 185 Creeps 33 Criminal Justice and Public Order Act 88 Crimson Shadows 33 Crisp, Quentin 90 Critical Mass bikes rides protest movement 228 Cruz, Cathy de la 209 Crystal Palace football club 203 cycling 182 Dada 15, 46, 60 Dahl, Sophie 8, 97 Dahmer, Jeffrey 94 Daily Mirror 45 Damned, the 66 dance culture 87-88 Datakill, Johnny 117 Davis, Angela 153 DC Comics 12, 18 Dead Boys, The 60 Deakin, Camilla 23, 87 Deakin, Fred 23, 87 Dee Dee 238 Dee, Jack 206 Delaware, University of 206, 244 Delerium Records 35 desktop publishing 7, 13, 105, 172, 176, 206, 219, 223 Dev 109 Diana, Lady see Spencer, Lady Diana Dickinson, Bob 9 Dishwasher Pete 90, 91 Ditto, Beth 235 Doctor Who 17,29,37,40, 205 Doherty, Pete 242 Donner, Christa 197 Donovan 18 Douglas, Gail 134 Douglas, Lorraine 134 Downes, Julia 169 Doyle, Sarah 213 Drake, Francis 65 Drayton, Tony 29, 46, 47, 57, 83, 172, 183 Dublin Anarchist Bookfair 182 Duffer of St. George 87 Duncombe, Stephen 9, 10, 13-14, 1 7 ,4 6 ,8 8 ,9 1 , 172 Dyer, Rebecca 234 Dylan, Bob 8, 18 Eastman, Linda 35 Eastman, Max 10 eating disorders 147 see also body image; fat issues; food Eccles, Cymon 87 Ecstasy 87 Ed Wood 12 Edward Scissorhands 12 Eliot, T. S. 10 Elizabeth 141 Ellingson, Lee 127 Elliott, Carl 91 Emerson, Ralph Waldo 14 Emma 217 Engelberg, Miriam 227 Entertaining Comics 17-18 environment 36, 205 Estrada, Erik 37 Etsy 209 Evergreen College 112 Ewart, Joe 75, 83 e-zines 12, 170-203 Factory Records 47 Faludi, Susan 147 Fantagraphics 227 Farley, Terry 87 Farm, The 87, 88, 118 fascism 105 neo-fascist punk 45 fashion 22, 38, 45, 87, 97, 127, 132, 222 Chelsea Girl 106 Mary Quant 106 men’s 223 1960s 106 fat issues 159, 160 see also body image; eating disorders feminism 8, 12, 18, 21, 131-33,141, 143, 144, 196, 205, 234, 237 see also women’s liberation movement film 45, 121, 213, 223 kungfu films 121 Hollywood movies 7 horror 124 Saturday matinee 7 see also named films Filth and the Fury!, The 17 Financial Times 206 Flanders, Annie 87, 97 Fleetwood Mac 8 Fliss, Miss 217 Fluxus 15, 217 Flynn, Simon 124 food 17,222 see also animal: recipes free from animal products; body image; eating disorders; fat issues; animal: recipes free from animal products; veganism; vegetarianism football 8 ,9 ,8 7 ,9 1 ,9 8 , 101, 118 see also Hillsborough disaster and named clubs, leagues and teams Ford, Laura Oldfield 175, 185 Fortune 91 Frauenfelder, Mark 93 Fredericksen, Julie 203 Freedman, Jenna 175 Friedman, R. Seth 9, 15, 17, 128 Fry, Patrick 243 Fuller, Margaret 14 Furmanovsky, Jill 50 gadgets 93 Gaiman, Neil 227 Gaither, Jeff 127 Galloway, Bryce 221 Gane, Simon 103 garage zines 127 Garnett, Bay 97 Garrett, Malcolm 83 genzines 19 Gernsback, Hugo 17 Gestetner, David 17 Gibb, Lindsay 175 Gill, David 88 girl power 130-169 Glamour 8, 132 Glitterbest 49 Goad, Jim 91 Gottschalk, Jr., Earl 18 Grafik 192 Graham, Jane 150 Gray, Anthony 223 Green, Pete 12, 238 Greenberger, David 12, 92, 173 Greer, Betsy 205 Groening, Matt 87 'guerilla gardening’ 205 Guardian 7 Guimond, Martin 225 Gunderloy, Mike 9, 128 Hacienda Club 47, 88 hacking 171 Haegele, Katie 193 Halliday, Ayun 13, 191 Halligan, Dan 179 Hammer Films 124 Hancock, Tony 11 Handelman, Sarah 208 Handren, Marisa 235 handwrittenzines 17 Hanna, Kathleen 12, 131, 133,135,167 Hansen, Robert 17 Hanson, Maurice K. 24 Hanzel, Laurie 8 Happy Mondays 88 Harrods 60 Harry, Bill 18 Haslam, Dave 88 Haymarket Hussies 150 Haynes, Matt 242 Hayward, Tim 222 Heartfield, John 49 Heavens to Betsy 139 hectograph printing 10, 17 Helms, Robert P. 90, 91 Henriksen, Irma 110 Henzel, Laurie 196 Herms, Marcel 221 Higgs, Mike 18, 42 Hillsborough disaster 101 Himelstein, Abram Shalom 9 hippie culture 46, 87 Hoch, Hannah 49 Hoff, Al 7, 91, 97 Hogg, Brian 19 Holbrook, Calvin 18 Holland, Doug 201 Hollins, Saskia 154 Holmstrom, John 11,29,45 homosexuality 12, 17, 18, 94 see also queerzines Hooten, Josh 117 Hooton, Peter 87 horror 12 comics 224 films 124 House, Rachel 159, 160, 164 ‘how’to’ guides 23, 207, 209, 211 Huggy Bear 131, 132, 141 humour 17, 141, 172 Hutton, Rachel 231 HyperCard floppy disks 176 IBM 171 Golfball typewriter 15 Iggy Pop 83 incest 157, 166 InDesign 223 Ingham, John 45, 59 Institute of Contemporary Art (ICA) 218, 242 International pop Underground Convention 131 Isy 186, 189 Italian Association for Visual Communication Design 195 Jackie 132, 135 Jackie (producer) 35 Jackson, Julie 205 Jackson, Michael 23 Jam 14 Janice, Cari Goldberg 10,128 Jasiewicz, Ilona 148 Javanmard, Amin-Reza 231 Jefferson Airplane 18 Jennifer 219 Jesus Lizard 176 jobzines 90 Johnson, Andrew Owen 246 Johnson, Calvin 131 Jolliffe, Kira 8, 97 Jones, Gareth 88 Jones, Terry 87, 97 Jonkers, Gert 236 Jordan, Pete see Dishwasher Pete Joyce, James 10 Judge Judy 227 Judy 147 Karp, Marcelle 8 Katastropy Wife 135 Kate 160 Kaye, Rachel 13, 147 Kelly, Jeff 7, 91 Kennedy, Pagan 7, 172 King, David 48 Kirby, Jack 18, 19 Kirsty 144 Kleenex 60 Kolanjian, Steve 8 Kopecna, Paula 192 Koretzky, Dan 9 Kovac, Tommy 203 K Records 131 Kucsma, Jason 193 Kwok, Jen-Tsen 231 L7 144 Labovitz, John 171,172 Labute Printers 66 Ladybird books 141 Ladyfest 135, 148, 150, 159, 196 Lake Smith, Aaron 244 Lambrettas see scooters Lamden, Shannon 211 Lampert, Nicolas 228 Landau,John 35 Las Sin Fronteras 133, 155 Lastufka, Alan 203 Lawson, Annie 227 Layla 141 LeTigre 133, 164, 167, 234 Leclerc, Luc 225 Lee, Christopher 124 Lee, Stan 39 Leon, Tony 117 lesbianism 110, 135, 139, 147, 160 see also queerzines Letraset 18, 23 letterpress printing 9, 206 Levy, Jaime 176 libel laws 15, 87 Lim, Sandy 179 Lima, Renato 227 Linus 131 Little, Dave 88, 118 Liverpool Football Club 101 Logan, Nick 87 London College of Communication 206, 243,244 London Zine Symposium 205 Loser, Anto and Eugene 182 Love, Courtney 116, 132, 144 Lowe, Rob 222 Lubbock, Karen 190 Luce, Hudson 128 Lukas, Paul 7, 92 Lulu 171 Luther, Bill 109 McAdams, Heather 176 McCartney, Linda see Eastman, Linda McCloud, Scott 175 McCullough, Dave 45, 48 McDowell, Forrest and Tricia 209 MacGowan, Shane 59 McKay, George 10 McKean, Dave 227 McLaren, Malcolm 45, 49 McLaughlin, Thomas 19 McNeil, Legs 4 5 -4 6 MacPhee, Josh 228 Maddison, Melanie 135, 169 Madonna 16 Maize, Steve 87 MamboTaxi 131 Man from U.N.C.L.E, The 36 Manchester United 101 Manfred Mann 35 Maranda 240 Marcus, Greil 45 Marisa 157 Marr, Andrew 87 Marr, John 94 Marvel 18,39,42 Massicotte-Quesnel, Mathieu 225 masturbation 135, 157 Mathur, Paul 83 Matthes, Colin 228 MaximumRocknRoll 129 May, Steve 59 Mayes, Oliver 206 256 medical research 90, 91 Melody Maker 83 men 206 menstruation 135, 154-55 Mercer, Mick 48, 53, 68 metazines 15-16,91,128, 175 meta-webzines 200, 201 Metcalf, Bruce 205, 206 Meyer, Christoph 214 Microcosm Publishing 209 Middleton, Heather 164 Miles 238 Milk, Harvey 148 Miller, Jeff 191 Millwall Football Club 101 mimeography 9, 10, 13, 15, 17, 19 minizines 163, 164, 205, 206 Miranda 234 Mod Fun 109 Modernism 242 Mo-Dettes, the 83 Mods 109, 242 modzines 13, 109 Monobrain 221 Monroe, Marilyn 133 Monty Python 12 Mood Six 106 Moorcock, Michael 35 Morgan, John 232 Morrissey 119 Mort, Frank 87 Mosh! 227 Motherwell Football Club 101 Motorhead 11 Ms. Magazine 132, 143 MTV 121 Mucilage Press 71 Mudhoney 112, 166 multiculturalism 131 Multilith 1250 press 11 murder 15, 94 serial killers 91 Murdoch, Rupert 91 Murphy, Simon see Compleine, Mona Murray, Tim 192 music 12, 15, 17, 19, 25, 35, 45, 78, 102, 106, 125, 128, 171, 223 dubstep 183 genres 18 grime 183 grunge 112 indie 88, 91, 112, 116, 117, 157, 169, 175, 186, 200, 219, 227 pop 26, 87 punk 8, 29, 126, 127, 172 reggae 119, 183 rock and roll 7, 18, 19, 46, 118, 148 thrash 98 underground 12, 15 see also named singers and bands musiczines 7, 238 Musson, Alex 231 Mystery Date board game 94 N.Y. Loose 36 Nakanura, Eric 8 National Basketball Association 101 National Football League 101 Neary, Paul 18 Netscape Navigator 172 Neuman, Molly 12, 131, 139, 157 New College of Florida 225 Newcastle University Socialist Society 25 Newskool 171 Niezviecki, Hal 175 Night of the Living Dead 10 Nimoy, Leonard 17 Nin, Anais 235 Nine Inch Nails 176 Nirvana 112 NME 49, 59 , 83 Noland, Frederick 241 Noonan, Tom 208 North Staffs Polytechnic Student Union 60 Nugent, Ted 11 nursing homes 92 Oasis 26, 83 Observer, The 227 '0 Comeco do Fin do Mundo' 81 O ’Connor, Erin 8 offset lithography 15, 17, 29, 40 Ogaki,Yuka 169 Oldskool 171 Oleksyk, Sarah 246 Ordway, Nico 15 Our Hero 8, 199 Overstreet, Robert M. 18 Pallenberg, Anita 8, 97 Pallister, James 19 Palmer, R. A. 17 Panter, Gary 29, 81 Parcel Press 209 Parfrey, Adam 128 Parker, Marc 200 Patrick 12, 185 Pavitt, Bruce 112, 115, 131 Payne, Anne-Marie see Amp, Miss Peace, Eloise 198 Pearlman, Sandy 35 Peel, John 77 People, The 45 Peril, Lynn 94, 173 Perry, Mark 35, 4 5 -4 6 , 50, 57, 127 perzines 12-13, 91, 147, 148, 150, 167, 175, 184, 191, 207, 213, 214, 217, 219, 227, 234, 238, 240,241 pharmaceutical research 90 Philadelphia Inquirer 193 -Phoebe 234 Phoenix Magazines 66 Phoenix, Rob 217 photocopying 9, 12, 13, 15, 206,209 colour 65, 217, 219 photozines 219 phreaking 171 Pilger, John 242 plagiarism 244 Planet of the Apes 17 Playboy 121, 172 Pogues, the 59 Poletti, Anna 12 police brutality 72 politics 9, 17, 25, 36, 49, 87, 102, 105, 126, 189, 205 anti-war 182 community 241 feminist 130-169, 234 punk 45, 57 queer 19, 131 Poneman, Jonathan 112 Pop 81 popular culture 93, 122, 125, 127, 162, 205 Porcellino, John 224 Pore, Jerod 128, 172 Portland Zine Symposium 174, 189 Pound, Ezra 10 Pow!, Susy 167 Pre-Raphaelites 14 Presley, Elvis 18, 19 Prested, Nichola 209, 211 Pretty Ugly Collective 134 Price, Vincent 124 print zines 183 Prisoner: Cell Block H. Holiday in the Sun 102 psychedelia 15, 19, 23, 87, 89 Public Works 222, 244 Pulp 14 punk 9, 12, 15, 17, 18, 19, 21,29, 3 3 ,3 6 ,3 9 ,8 7 , 92, 97, 4 4 -8 5 , 106, 116, 118,119, 122, 125, 126, 127, 131, 132, 135, 136, 139, 148, 164, 181, 182, 205, 206, 228 anarcho-punk 45, 48, 71,75, 110, 126, 185 punkzines 10, 23, 26, 48, 65,189 Quant, Mary 106 QuarkXPress 17 queer see homosexuality queerzines 12, 94, 102, 110, 159, 185, 236 Quint, Chella 1 35 ,15 4-5 5 ‘quirkyalone’ 174 Rabid, Jack 126 Rabinowitz, Jacob 128 Rachel, Miss 164 racism 105 Raidt, Dana 195 Raincoats, the 131 Ramones, The 45, 238 Rastelli, Louis 122 rave culture 87-88 zines 91 Reading, University of 37 Reagan, Ronald 83, 87 Real World 121 Rebel, Leon 48 recycling 36 Reid, Jamie 9, 17, 46, 50, 75 Reinstein, Erika 139 Rerrie, Karoline 221 Reynolds, Simon 88 Rheingold, Howard 176 Rich 211 Rider, Alan 83 Rigg, Diana 12 Rimbaud, Penny 49 riotgrrrl movement 12, 16, 17, 21, 131-36, 139, 143, 144, 148, 150, 153 -5 5 ,1 6 0 ,1 6 2 , 164, 166, 169, 184, 196, 205, 206, 217, 235, 237 Roche, Anthony 18 Rock, Michael 13 Rock Against Racism 49 Rock Bitch 110 Rocket Power 8 Rogers, Jude 242 Roky Erickson 33 Rolling Stones, the 18 Romenesko, James 8 Romeo, Deborah 'Darby' 87 Romney, Jonathan 66 Rosenblum, J. Michael 17 Rough Trade 65 Rowdies, the 62 Rowe, Ashley 222 Rowe, Chip 7, 172 Rowe, Marsha 135 Rumsby, Susie 240 Ruts, the 83 Ruttenberg, Jay 231 Ryan, John 8 Safari, Rio see Batiuk, Tim samizdat publishing 15 alt.zines. samizdat newsgroup 172 Sandata, Sabrina Margarita 134 Sandler, Kate 203 Santos, Richard 15 Savage, Jon 8, 10, 29, 57 Savage, Pam 164 Savage Pencil 50 ‘Scally’ culture 118 Schweser, Jamie 9 Science Correspondence Club 17 science fiction 7, 10, 12, 14, 15, 17-19, 24, 25, 29, 37, 42, 124, 171, 201, 205 see also Doctor Who-, Star Trek; Star Wars Science Fiction Association 24 Science Fiction League 24 scientific research 91 scooters 106, 109 Scott, Howard 14 Scottish Football League 101 Screamers, the 66 screen-printing 206, 219, 221 Seripop 19 Sessions, Emily 167 7 Year Bitch 131 sex/sexuality 21, 160 being asexual 207 sex industry 16 sexual abuse 241 sexual harassment 159 see also homosexuality; incest; lesbianism; masturbation Sex Pistols, the 17, 45, 46, 49 Shaggs, the 160 Sharpe, Barry K. 87 Shaw, Greg 9, 18-19, 84 Shimiz, Ikuko 132 Shocking Pink 132,135 Shosubi, Sarah 62 Silence, The 47 Simon 35 Simon and Garfunkel 18 Simone, Nina 235 Sinclair, Carla 93 Sinitta 214 Situationism 15,4 5 ,4 6 , 50, 75, 121 Siouxsie and the Banshees 83 skateboarding 98, 127 Skids, the 68 skinhead movement 72, 105 Skinned Teen 131 Skrewdriver 105 Sladen, Elizabeth 40 Slash Records 66 Sleater-Kinney 131, 217, 234 Sleazenation 232 Slits, the 77 Small Faces, the 242 Smith, Don and Erin 94 Smith, Erica 160 Smith, Jean 131 Smith, Matthew J. 175 Smith, Patti 29, 65, 144 Smiths, the 119 social networking sites 171, 172, 192, 203, 209 Solanas, Valerie 197 Solar Culture club 133 Somers, Jeff 201 Sonic Youth 112 Sophy 144 Sounds 49, 59 , 83 Spangler, Tina 121 Spare Rib 132 Spencer, Lady Diana 125 Spiral Tribe 88, 89 spirituality 17 Splinter Magazine 217 splitzines 33, 105 sports 12, 91, 98 baseball 101 cricketing press 98 see also football; National Basketball Association Springfield, Dusty 18 Spy 172 Stacy 241 Star Trek 17, 36, 40 Star Wars 17 Status Quo 118 stencils 9, 46, 71, 153, 162,228 Steppes, the 35 Steptoe and Son 121 Stewart, Bhob 17 Stitt, Andrew 227 Stoke City Football Club 203 Stoller, Debbie 8, 196, 205 Stroheim, Otto von 93 Sub Pop 112,115 Sue 35 Superman 17-18 Surrealism 15 Sutcliffe, Mandy 211 Sweet, Lucy 132, 237 Swell Maps, the 83 Swezey, Ken 128 Switzer, Karen 206 Taurasi, Jim m y 18 Taylor, Bernie 106 Tejaratchi, Sean 15, 26, 93 television 12, 121, 125 see also M TV and named television programmes Television (band) 45 Telfer, Justine 209, 211 Telford Community Arts 78 Texas Chainsaw Massacre, The 46 Thatcher, Margaret 71, 87 This is Northstar 8 Thomas, Judy 109 Thompson Twins 71 Thornton, Sarah 87 thrift shopping 12, 91, 97, 206 Thrills, Adrian 59 Throbbing Gristle 62 ‘Tiki’ culture 93 Time 1 Toby, Jackie 106 Tomas 195 Tong, Pete 89 Tower Records 7 Transcendentalist Club 14 trash drag culture 163 travel zines 91 Tubman, Harriet 153 Tucker, Bob 17 Tucker, Corin 131-32, 139 Turner, Harry 24, 40 TV Times 121 Tw iggy 164 Ultravox 62 Underground Literary Alliance 201 unemployment 244 Urban Oufitters 8 Vague, Tom 75 Vail, Tobi 12, 131, 135, 139 Vale, V. 57 Vandercookflat-bed press 214 Vaucher, Gee 49, 185 veganism 189, 207, 222 vegetarianism 228 see also animal: recipes free from animal products Vespas see scooters Vicious, Sid 45 Villeneuve, Poppy de 97 vinyl records 9, 29, 33, 35, 3 6 ,8 3 ,2 1 4 virtual networks 209 Voelz, Vincent 193 Voodoo Queens, the 131 Wade, Tim 240 Wah! Heat 71 Waller, Johnny 68, 83 Wann, Marilyn 160 W APA 14 Ware, Chris 122 Warhol, Andy 45 Warner, Harry 14, 17 Warner Brothers 8 Watson, Mike 232 Weatherall, Andy 87 Weiss, Jenna 179 Weller, Michael J. 53, 125 Weller, Paul 14, 106 Wenclas, Karl 201 Wertham, Fredric 9, 10, 12, 17 whales 228 White, Ted 17 White, Wes 183 Whybray, Simon 192 Wickham, Helen 213 Wieden & Kennedy 8 Wilcox, Kathi 12, 131 Wilde, Kim 110 Williams, Paul 18, 35 Willie D. 53 Wilson, Eddie 207 Wired 172 Wittlinger, Ellen 9 Wobensmith, Matt 126 Woggon, Bill 16 Wolfe, Allison 12, 131, 135, 139 Women’s Armed Struggle Group 153 women's liberation movement 135 see also feminism Wonder Woman 143 Wong, Martin 8 Wood, Victoria 11 Woolf, Virginia 225 Wrekk, Alex 174, 189, 206, 211 Wright, John 42 xerography 9 Xyerra, Ciara 200 Yayoi 162 Yeager, Bunny 94 Young British Artists 218 Young Marble Giants 71 Zamora, Alex 192 Zappa, Frank 119 Zips, the 83 Zuellig, Tim othy 176 Teal Triggs, an avid collector of fanzines, is Professor of Graphic Design and Co-Director of the research unit for Information Environments at the University of the Arts London. Her other publications include The Typographic Experiment: Radical Innovation in Contemporary Type Design (2003), Below Critical Radar: Fanzines and Alternative Comics From 1976 to Now (2000) and Communicating Design: Essays in Visual Communication (1995). Other titles of interest Fly by Night The New Art of the Club Flyer Craig McCarthy Illustrated in colour and black and white throughout 2 0 0 Trips from the Counterculture Graphics and Stories from the Underground Press Syndicate Jean-Frangois Bizot • Foreword by Barry Miles Illustrated in colour and black and white throughout Subway Art Martha Cooper and Henry Chalfant With 150 colour illustrations The Typographic Experim ent Radical Innovation in Contemporary Type Design Teal Triggs Illustrated in colour and black and white throughout Thames & Hudson Please visit www.tham esandhudson.com to find out about all our publications, including our latest releases. Printed in Singapore CHAINSAW vt^Si / N .1 BLURT N o . tt 30P f U '77 2or ?r?S^ " The OaflciAg Did P tM iS <LIM t< KidAite & the Lemorv pi°^' foarchy, Cartoon Plasmatics ( Ugh), a <\d lots of bad tastel /PANACHE-10 . fCe*1 P o u E T u d o r Imtebheu C H E L S E A * D io d e s BttUSvr .La**, ----- A VAIUESEE IT NOW! *•*■«»•■«¥• « » w j <31 R k ^ . # 6 TKANSG EN DER X IN E ww w.tham esandhudson.com ISBN 978-0-500-28891-7 a T h am es & Hudson 9 rl+M- Jcv d<oi^*y? O C T ‘«1 6 780500 288917 £ 19.95
Similar documents
artzines #1
at school when they were young, they actually are still quite young and have been publishing together since 2012 when they started studying art. They chose the name Red Lebanese after tasting the b...
More information