Zines and the BPCL

A scrapbook of artwork, humorous writing, and articles culled from the nation's zines--underground magazines produced by individuals and small publishers--includes off-the-wall tips on dating and reviews of grotesque products.
Also available in BPCL POP CULT PS536.2 .B58 1997

Punk: periodical collection, On self-publishing practices, a book by Paul Gangloff, assembles interviews interspersed with a series of collages made during a collective graphic experiment. In the series of interviews, David Bennewith, Christophe Boutin, Didier Christen, Hans-Christian Dany, Stephan Dillemuth, Martijn Haas, Roberto Ohrt, Gee Vaucher — and others — speak about anarcho-punk, bohemian research, city magazines, design, Do-It-Yourself, open houses, imposters, insults, means of production, post-punk, pre-Xerox, self-organization, the Situationist International, strategy and zines. Punk: periodical collection introduces punk self-publishing not just as the visual style of a bygone epoch, as a “source of inspiration” or for direct recuperation. Rather, it discusses the different figures animating the context in which zines were made: the dilettante, the imposter, the rats and the entrepreneur.

Punk was born on the East Coast in the late 1960s, later crossing the Atlantic and exploding in London and Paris. This dynamic countermovement churned out heaps of professional magazines and photocopied, hand-stapled fanzines, all expressing ideas on music, art, and current events. By creating its own press, the punk movement secured its place in the history of 20th-century culture. Featuring collages, cutouts, and handcrafted typography, Punk Press compiles the stunning graphics created by these publications, spanning from the East Village to East London to the Left Bank. With unforgettable images of punk's greatest bands--the Ramones, the Sex Pistols, the Clash, the Dead Kennedys, Iggy Pop, and more--this is a captivating look at some of music's most fascinating personalities and greatest talents.

BOMP - Born in the Garage by Mike Stax -300 pages of reproductions from Greg Shaw's pioneering 70s era zines WHO PUT THE BOMP and BOMP! ESSAYS BY Jon Savage, Alec Palao, Ken Barnes, Suzy Shaw and Mike Stax

A compelling visual portrait of a time, place, and subculture that raised a middle finger to modern society Oh So Pretty: Punk in Print 1976-80 is an unrivalled collection of visually striking ephemera from Britain's punk subculture. It presents 500 artefacts - 'zines,' gig posters, flyers, and badges - from well-known and obscure musical acts, designers, venues, and related political groups. While punk was first and foremost a music phenomenon, it reflected a DIY spirit and instantly recognizable aesthetic that was as raw and strident and irrepressible as the music. As disposable as the items in this book once were, together they tell a story about music, history, class, and art, and document a seismic shift in society and visual culture.

"Why, despite the number of high profile female rock musicians, does rock continue to be understood as masculine? Why is rock generally assumed to be created and performed by men? Marion Leonard explores different representations of masculinity offered by, and performed through, rock music, and examines how female rock performers negotiate this gendering of rock as masculine. A major concern of the book is not specifically with men or with women performing rock, but with how notions of gender affect the everyday experiences of all rock musicians within the context of the music industry."--BOOK JACKET.

In 2006, Osa Atoe was inspired to create an expression out of the experience of being the only Black kid at the punk show - and Shotgun Seamstress was born. Like a great mixtape where radical politics are never sidelined for an easier ride, Shotgun Seamstress was a fanzine by and for Black punks that expressed, represented, and documented the fullest range of being, and collectively and individually explored 'all of our possibilities instead of allowing the dominant culture to tell us what it means to be Black.' Laid out by hand, and photocopied and distributed in small batches, each issue featured essays, interviews, historical portraits of important artists and scenes, reviews, and more, all paying tribute to musicians and artists that typify free Black expression and interrupt notions of Black culture as a monolith. Featuring figures such as Vaginal Cream Davis, the seminal Black punk band Death, Poly Styrene, Bay Area rocker Brontez Purnell, British post-punker Rachel Aggs, New York photographer Alvin Baltrop, Detroit garage rocker Mick Collins and so many others, in the pages of this book rock'n'roll is reclaimed as Black music and a wide spectrum of gender and sexuality is represented. Collecting and anthologising the layouts as they were originally photocopied by hand, this collection comprises all eight issues created between 2006 and 2015.

A pathbreaking study of the women who create electronic dance music, Beyond the Dance Floor focuses on the largely neglected relationship between these women and the conceptions of gender and technology that continue to inform the male-dominated culture surrounding electronic music. In this volume, Rebekah Farrugia explores a number of important issues, including the politics of identity and representation, the bonds formed by women within the DJ community, and the role female DJs and producers play in this dance music culture as well as in the larger public sphere. Though Farrugia primarily focuses on women's relationship to music-related technologies--including vinyl, mp3s, and digital production software--she also deftly extends her argument to the strategic use of the Internet and web design skills for purposes tied to publicity, networking, and music distribution.

Global Punk examines the global phenomenon of DIY (do-it-yourself) punk, arguing that it provides a powerful tool for political resistance and personal self-empowerment. Drawing examples from across the evolution of punk - from the streets of 1976 London to the alleys of contemporary Jakarta - Global Punk is both historically rich and global in scope. Looking beyond the music to explore DIY punk as a lived experience, Global Punk examines the ways in which punk contributes to the process of disalienation and political engagement. The book critically examines the impact that DIY punk has had on both individuals and communities, and offers chapter-length investigations of two important aspects of DIY punk culture: independent record labels and self-published zines. Grounded in scholarly theories, but written in a highly accessible style, Global Punk shows why DIY punk remains a vital cultural form for hundreds of thousands of people across the globe today.

Black Punk Now is an anthology of contemporary nonfiction, fiction, illustrations, and comics that collectively describe punk today and give punks - especially the Black ones - a wider frame of reference. It shows all of the strains, styles, and identities of Black punk that are thriving, and gives newcomers to the scene more chances to see themselves. Curated from the perspective of Black writers with connections to the world of punk, the collection mixes media as well as generations, creating a new reference point for music-lovers, readers, and historians by capturing the present and looking towards the future. With strong visual elements integrated throughout, this smart, intimate collection is demonstrative of punk by being punk itself: underground, rebellious, aesthetic but not static - working to decenter whiteness by prioritizing other perspectives. Edited by graphic novelist and filmmaker James Spooner, and author Chris L. Terry, contributors to the collection include critic Hanif Abdurraqib and Mars Dixon, conversations with Brontez Purnell, and a roundtable of all femme festival organizers.

Punk Pedagogies: Music, Culture and Learning brings together a collection of international authors to explore the possibilities, practices and implications that emerge from the union of punk and pedagogy. The punk ethos--a notoriously evasive and multifaceted beast--offers unique applications in music education and beyond, and this volume presents a breadth of interdisciplinary perspectives to challenge current thinking on how, why and where the subculture influences teaching and learning. As (punk) educators and artists, contributing authors grapple with punk's historicity, its pervasiveness, its (dis)functionality and its messiness, making Punk Pedagogies relevant and motivating to both instructors and students with proven pedagogical practices.

Ari Marcopoulos is an inveterate maker of zines. This project collects in one volume for the first time a selection of zines by Marcopoulos, many never before released, providing a unique insight and overview into an essential part of this influential artist's daily practice. Often self-published or created in collaboration with boutique and independent publishers like ROMA, Dashwood Books, and PPP Editions, these informal, DIY-aesthetic creations function as sketchbook, diary, installation space, and a means of processing Marcopoulos's daily practice of photographing his life, his family, his neighborhood, and the rarified cultural milieu in which he operates. This collection showcases an impressive array of printed zines, exploring each as an artistic object through an engaging layout. Beginning in 2015 and presented chronologically per year, key zines are featured--including some made during the pandemic, when Marcopoulos worked primarily on the screen, making PDF zines--and punctuated by individual images presented full scale. An interview with Hamza Walker underscores the role of zines as an essential part of Marcopoulos's artistic practice, emphasizing the personal, diaristic element within the work, while an essay from Maggie Nelson meditates on the work's position within a wider social and cultural context. Ari Marcopoulos: Zines is a must-have for anyone interested in this prolific artist's personal practice and zine culture.

The first book-length exploration of the quirky feminist booklets With names like The East Village Inky, Mend My Dress, Dear Stepdad, and I'm So Fucking Beautiful, zines created by girls and women over the past two decades make feminism's third wave visible. These messy, photocopied do-it-yourself documents cover every imaginable subject matter and are loaded with handwriting, collage art, stickers, and glitter. Though they all reflect the personal style of the creators, they are also sites for constructing narratives, identities, and communities. Girl Zines is the first book-length exploration of this exciting movement. Alison Piepmeier argues that these quirky, personalized booklets are tangible examples of the ways that girls and women 'do' feminism today. The idiosyncratic, surprising, and savvy arguments and issues showcased in the forty-six images reproduced in the book provide a complex window into feminism's future, where zinesters persistently and stubbornly carve out new spaces for what it means to be a revolutionary and a girl. Girl Zines takes zines seriously, asking what they can tell us about the inner lives of girls and women over the last twenty years.

From their origins in early 20th century science fiction cults, their more proximate roots in '60s counter-culture and their rapid proliferation in the wake of punk rock, Stephen Duncombe pays full due to the political importance of zines as a vital network of popular culture. He also analyses how zines measure up to their utopian and escapist outlook in achieving fundamental social change. Packed with extracts and illustrations, he provides a useful overview of the contemporary underground in all its splendour and misery.
Two copies available in Main Stacks. Also available in BPCL POP CULT PN4878.3 .D86 1997

The most comprehensive anthology of contemporary zine culture of New York and beyond, including more than a thousand contemporary artist publications and independently produced zines, books, and artworks. The Newsstand was a pop-up conceptual retail store that transformed an ordinary subway hub into a mecca for independently published magazines, books, comics, and zines. Located within Brooklyn's Metropolitan Avenue L/G stop in 2013, the temporary space hosted events and art exhibitions in which the artists, acting as guest clerks, were given carte blanche to transform the space. In November 2015, The Newsstand will be re-created and built to scale at the Museum of Modern Art, New York, including the zines and books sold in its original location. The Newsstand catalogue features images of the zines, books, and ephemera sold; documentation of the events and exhibitions; images of the guest clerks and artists; essays by leading cultural figures; and interviews with the publishers, artists, commuters, MTA workers, and police officers influenced by The Newsstand. Designed in the style of a zine, this book not only documents a prolific time within independent publishing but also the thriving community that supports it.

Riot grrrls, punk feminists best known for their girl power activism and message, used punk ideologies and the literacy practice of zine-ing to create radical feminist sites of resistance. In what ways did zines document feminism and activism of the 1990s? How did riot grrrls use punk ideologies to participate in DIY sites? In Writing a Riot: Riot Grrl Zines and Feminist Rhetorics, Buchanan argues that zines are a form of literacy participation used to document personal, social, and political values within punk. She examines zine studies as an academic field, how riot grrrls used zines to promote punk feminism, and the ways riot grrrl zines dealt with social justice issues of rape and race. Writing a Riot is the first full-length book that examines riot grrrl zines and their role in documenting feminist history. "Focusing on the creation and circulation of riot grrrl zines in the 1990s, which she interprets as a complex literacy practice, Rebekah J. Buchanan adds substantially to the burgeoning literature on the challenge of narrating the history of punk feminisms. By building on her own experiences in zine-ing and reading with care and appreciation a diverse array of zines created during the period, she makes a strong case for the significance of such zines as evidence of girls' feminism and activist efforts to understand the conditions of their everyday lives." Janice Radway, Walter Dill Scott Professor of Communication Studies; Director, Gender Studies; Professor, American Studies, Northwestern University.

The real meaning behind emojis, the subtext of sexts, the financial cryptography of flats and pumps, and more are revealed in this witty and wonderfully drawn collection. Hannah K. Lee melds elegant typography, beautiful illustration, and trenchant text to make an acerbic art book. Hannah K. Lee was born to Korean immigrants and raised in the suburbs of Los Angeles, CA. She received a BFA in illustration at Parsons School of Design. Now in Brooklyn, she works as a commercial illustrator, letterer, and designer and is a regular self-publisher of zines and art books, which contain personal work and experiments in letterforms and production.

Develops third-space theory by engaging with zines produced by feminists and queers of color. Zines in Third Space develops third-space theory with a practical engagement in the subcultural space of zines as alternative media produced specifically by feminists and queers of color. Adela C. Licona explores how borderlands rhetorics function in feminist and queer of-color zines to challenge dominant knowledges as well as normativitizing mis/representations. Licona characterizes these zines as third-space sites of borderlands rhetorics revealing dissident performances, disruptive rhetorical acts, and coalitions that effect new cultural, political, economic, and sexual configurations.
Also available as an e-book

An anthology of zines from and about New Orleans. For years the punk and zine community has thrived, producing beautifully rendered volumes of stories and artwork. Reprinted here in their original format are selections from over a dozen zines including: Chainbreaker, Nosedive, Crude Noise, Rocket Queen, Emergency, I Hate this Part of Texas and Chihuaha and Pitbull. Many of the originals have been lost or destroyed and, in the wake of Hurricane Katrina, this book serves not only as a preservation of writing and artwork, but also as an attempt to aid rebuilding its city of origin.

Boys aren't the only ones who read comics--girls do too! From Betty and Veronica to Slutburger and Art Babe, Girls to Grrrlz explores the amazing but true history of girl comics. Pop culture fans will delight in author Trina Robbinss chronological commentary (with attitude) on the authors, artists, trends, and sassy, brassy characters featured in comic books for the last half-century. Meet the bubble-headed bombshells of the '40s, the lovelorn ladies of the '50s, the wimmin libbers of the '70s, and the grrrowling grrrlz of today. Her commentary is paired with a ton of rare comic book art pulled from the best girl comics published since World War II. Bridging the gap between Ms. and Sassy, between Miss America and Naomi Wolf, From Girls to Grrrlz reminds us how comic book characters humorously--and critically--reflect our changing culture.
Also available in BPCL POP CULT PN6725 .R58 1999

In the 1990s, a generation of women born during the rise of the second wave feminist movement plotted a revolution. These young activists funneled their outrage and energy into creating music, and zines using salvaged audio equipment and stolen time on copy machines. By 2000, the cultural artifacts of this movement had started to migrate from basements and storage units to community and university archives, establishing new sites of storytelling and political activism.   The Archival Turn in Feminism chronicles these important cultural artifacts and their collection, cataloging, preservation, and distribution. Cultural studies scholar Kate Eichhorn examines institutions such as the Sallie Bingham Center for Women's History and Culture at Duke University, The Riot Grrrl Collection at New York University, and the Barnard Zine Library. She also profiles the archivists who have assembled these significant feminist collections.   Eichhorn shows why young feminist activists, cultural producers, and scholars embraced the archive, and how they used it to stage political alliances across eras and generations. A volume in the American Literatures Initiative

Resist and exist : punk zines and the communication of cultural and political resistance in America, MA Thesis

Celebrating the pop culture phenomenon that redefined what it meant to be Asian-American with tributes from Margaret Cho, Randall Park, Jia Tolentino, and more. Los Angeles, 1994. Two Asian-American punk rockers staple together the zine of their dreams featuring Sumo, Hong Kong Cinema and Osamu Tezuka. From the very margins of the DIY press and alternative culture, Giant Robot burst into the mainstream with over 60,000 copies in circulation annually at its peak. Giant Robot even popped right off the page, setting up a restaurant, gallery, and storefronts in LA, as well as galleries and stores in New York and San Francisco. As their influence grew in the 90s and 00s, Giant Robot was eventually invited to the White House by Barack Obama, to speak at Harvard University's Graduate School of Design, and to curate the GR Biennale at the Japanese American National Museum. Home to a host of unapologetically authentic perspectives bridging the bicultural gap between Asian and Asian-American pop culture, GR had the audacity to print such topics side-by-side, and become a touchstone for generations of artists, musicians, creators, and collectors of all kinds in a pre-social media era. Nowhere else were pieces on civil rights activists running next to articles on skateboarding and Sriracha. Toy collectors, cartoonists, and street style pioneers got as many column inches as Michelle Yeoh, Karen O, James Jean, and Haruki Murakami. Giant Robot: Thirty Years of Defining Asian-American Pop Culture features the best of the magazine's sixty-eight issue run alongside never-before-seen photographs, supplementary writing by long-term contributing journalist Claudine Ko, and tributes from now-famous fans who've been around since day one. Margaret Cho, Daniel Wu, and Randall Park celebrate Giant Robot's enduring legacy alongside pioneering pro-skateboarder Peggy Oki, contemporary art giant Takashi Murakami, culinary darling Natasha Pickowicz, and critically acclaimed essayist Jia Tolentino.

More girls are producing media today than at any other point in U.S. history, and they are creating media texts in virtually every format currently possible--magazines, films, musical recordings, and websites. Girls Make Media explores how young female media producers have reclaimed and reconfigured girlhood as a site for radical social, cultural, and political agency. Central to the book is an analysis of Riot Grrrl--a 1990s feminist youth movement from a fusion of punk rock and gender theory-and the girl power movement it inspired. The author also looks at the rise of girls-only media education programs, and the creation of girls' studies. This book will be essential reading for anyone seeking to understand contemporary female youth in today's media culture.

In this book the author argues that many youth are using the Web to experiment with and deploy a number of surprising rhetorical strategies that tell us much about their vision for the new communications technologies and the emerging literacy practices they are using to engage that technology. Such literacy practices foreshadow potential changes in rhetorical and literacy practices. It offers a complex and telling portrait of the future use of communications technologies, particularly the Web, and the kinds of literacies that some youth are developing with those technologies. Chapter on e-Zines.

How have radical print cultures fostered and preserved queer lived experience from the 1960s to the present? What alternative stories about queer life across Europe can visual material reveal? Queer Print in Europe is the first book devoted to the exploration of queer print cultures in Europe, following the birth of an international gay rights movement in the late 1960s. By unearthing these ephemeral paper documents from archives and personal collections, including materials that have been out of circulation since they were first distributed, this book examines how the production and dissemination of queer print intersected with the emergence of LGBTQ+ activism within specific national contexts. This vital contribution to queer history explores borders and political movements, and the ways in which these materials contributed, through their international circulation, to the creation of a 'post-national' queer community. Illustrated throughout with examples of manifestos, flyers, posters, zines and other forms of print media, it features interviews with those responsible for making, distributing or archiving queer print, alongside a series of new theoretical essays that set particular publications and the individuals and groups that produced them in context. The book isolates specific instances of queer print media and scrutinises their design aesthetics, identifying both the significant contribution that queer print has made to histories of LGBTQ+ struggle and to the history of print design.

Bringing together scholars in rhetorical, cultural, and media studies, this collection of new case studies illustrates a modalities approach to the study of publics. These case studies explore the implications of different ways of forming publics, including alternative means of expression, the intersection of politics and consumerism, and online engagement. In doing so, they raise important questions of access, community, and political efficacy. Chapter: Risability Politics: camp humor in HIV/AIDS Zines

This book explores the world of psychogeographical walking as portrayed in zines – self-made, low-budget publications circulated within DIY communities. Termed "new psychogeography", the representation of these mobilities in zines challenge conventional dualisms, favoring peripheral spaces and polyphonic perspectives over urban-centric voyeurism. Through four case studies, the book explores the evolution of the contemporary drifter, emphasizing a departure from conquering cityspaces through stalking to exploring how spaces shape memory, experience, and notions of home. Pioneering research at the intersection of zine and travel writing studies, it unveils the psychogeographical mediality inherent to this medium.

Develops third-space theory by engaging with zines produced by feminists and queers of color. Zines in Third Space develops third-space theory with a practical engagement in the subcultural space of zines as alternative media produced specifically by feminists and queers of color. Adela C. Licona explores how borderlands rhetorics function in feminist and queer of-color zines to challenge dominant knowledges as well as normativitizing mis/representations. Licona characterizes these zines as third-space sites of borderlands rhetorics revealing dissident performances, disruptive rhetorical acts, and coalitions that effect new cultural, political, economic, and sexual configurations.
Also available in print in Main Stacks ; PN4878.3 .L47 2012

Ripped, torn and cut offers a collection of original essays exploring the motivations behind - and the politics within - the multitude of fanzines that emerged in the wake of British punk from 1976. Sniffin' Glue (1976-77), Mark Perry's iconic punk fanzine, was but the first of many, paving the way for hundreds of home-made magazines to be cut and pasted in bedrooms across the UK. From these, glimpses into provincial cultures, teenage style wars and formative political ideas may be gleaned. An alternative history, away from the often-condescending glare of London's media and music industry, can be formulated, drawn from such titles as Ripped & Torn, Brass Lip, City Fun, Vague, Kill Your Pet Puppy, Toxic Grafity, Hungry Beat and Hard as Nails. The first book of its kind, this collection reveals the contested nature of punk's cultural politics by turning the pages of a vibrant underground press.

This book reconstructs the first two decades of Time and Tide (1920-1939) and explores the periodical's significance for an interwar generation of British women writers and readers. Unique in establishing itself as the only female-run intellectual weekly in the golden age of the weekly review, Time and Tide both challenged persistent prejudices against women's participation in public life and played an instrumental role in redefining women's gender roles and identities. Drawing on extensive new archival research Catherine Clay recovers the contributions to this magazine of both well-and lesser-known British women writers, editors, critics, and journalists and explores a cultural dialogue about literature, politics and the arts that took place beyond the parameters of modernist 'little magazines'. The book makes a major contribution to the history of women's writing and feminism in Britain between the wars.

Since the 1970 and 1980s, fanzines have constituted a zone of freedom of thought, of do-it-yourself creativity and of alternatives to conventional media. Along with bands, records and concerts, they became a vital part of the construction of punk 'scenes', actively contributing to the creation and consolidation of communities. This book moves beyond the usual focus on Anglophone punk scenes to consider fanzines in international contexts. The introduction offers a theoretical, chronological and thematic survey for understanding fanzines, considering their contemporary polyhedral vitality. It then moves to consider the distinct social, historical and geographic contexts in which fanzines were created. Covering the UK, Portugal, Greece, Canada, Germany, Argentina, France and Brazil, as well as a wide range of standpoints, this book contributes to a more global understanding of the fanzine phenomenon.

Making Feminist Media provides new ways of thinking about the vibrant media and craft cultures generated by Riot Grrrl and feminism's third wave. It focuses on a cluster of feminist publications--including BUST, Bitch, HUES, Venus Zine, and Rockrgrl--that began as zines in the 1990s. By tracking their successes and failures, this book provides insight into the politics of feminism's recent past. Making Feminist Media brings together interviews with magazine editors, research from zine archives, and analysis of the advertising, articles, editorials, and letters to the editor found in third-wave feminist magazines. It situates these publications within the long history of feminist publishing in the United States and Canada and argues that third-wave feminist magazines share important continuities and breaks with their historical forerunners. These publishing lineages challenge the still-dominant--and hotly contested-- wave metaphor categorization of feminist culture. The stories, struggles, and strategies of these magazines not only represent contemporary feminism, they create and shape feminist cultures. The publications provide a feminist counter-public sphere in which the competing interests of editors, writers, readers, and advertisers can interact. Making Feminist Media argues that reading feminist magazines is far more than the consumption of information or entertainment: it is a profoundly intimate and political activity that shapes how readers understand themselves and each other as feminist thinkers.

What are `alternative media′? Are they the same as underground, radical or oppositional media? In this book, Chris Atton offers a fresh introduction to alternative media: one which is not limited to `radical′ media, but can also account for newer cultural forms such as zines, fanzines, and personal websites. Alternative Media: · Examines how and why people produce and use alternative media - to make meaning, to interpret, and to change the world in which they live · Encompasses a wide range of alternative media and draws on examples from both the United States and United Kingdom · Locates contemporary alternative media in their cultural, historical and political contexts Alternative Media provides a timely corrective to media theorizing which focuses almost exclusively on the output of the media conglomerates. As such it will be an essential purchase for all students and researchers with an interest in the true nature of the contemporary media environment.

By using zines as a touchstone, this chapter introduces the idea of multidisciplinary
writing through that medium. It focuses on the many elements that embody a zine,
from the layout and design to the addition of artwork, publication details, and—
of course—the content itself. In regards to the content, this chapter explores the
diverse culture of zinesters, illustrating the wide variety of content and, even more,
how that content often draws from multiple disciplines to achieve its purpose. By
noting both real-life zine examples and assignments, this chapter melds the worlds
of multidisciplinary writing and zines, introducing both to the readers. (Chapter in book Strategies and Tactics for Multidisciplinary Writing, Barker Stucky, Carissa ; Elufiede, Kemi)

Overview of Zines, their role in comic studies, and zine collections online and in libraries. (Chapter in book Keywords for Comics Studies by Ramzi Fawaz;Deborah Whaley;Shelley Streeby)

This chapter investigates the place of zine fairs within Australia’s comics ecology through autoethnographic and ethnographic methodologies, making use of field notes by the author, as well as interviews with comics and zine makers, and organisers of zine fairs, in particular the Other Worlds Zine Fair—an annual event that has been collectively organised by a group of comics and zine makers, including the author of this chapter, since 2014. The chapter highlights the affinities between the zine and comics communities in Australia. It argues that the lack of an established comics industry has led to comics makers embracing the D.I.Y. (Do It Yourself) methods of zinemaking and find community among the zine scene. However, the chapter also explores the tensions that exist when comics with high production values enter spaces that are dedicated to low cost, lo-fi publications such as zines. (Chapter in Folio, 2025, p.89-110)

This chapter will explore the emergence of goth zine culture through
three different zines: Panache, Whippings and Apologies and Propaganda. These
zines have been strategically chosen as they represent iterations of early post-
punk, goth as it emerged in the 1980s and, finally, the mainstreaming of the culture. (Chapter in Ripped, Torn and Cut : Pop, Politics and Punk Fanzines From 1976 by Subcultures Network)

Overview of Zines and Zine history (Chapter in Ripped, Torn and Cut : Pop, Politics and Punk Fanzines From 1976 by Subcultures Network)

This chapter examines the intricate relationship between gender, sexuality, and comics, tracing the evolution of the medium from heteronormative and patriarchal representations to the emergence of alternative comix and zines as platforms for marginalised voices. It delves into the significance of zines and minicomics as tools for social change, resistance, and empowerment, particularly for feminist, queer, and transgender communities. The chapter explores how these alternative forms validate diverse experiences, foster community-building, and provide spaces for self-expression and activism. Additionally, it investigates the intersection of comics and zines with queer theory, challenging binary constructions of gender and sexuality, offering fluid and nuanced representations. Furthermore, it examines the use of zines and minicomics as alternative forms of sex education, disseminating information and personal accounts of non-normative sexualities and practices. The political legacy of these mediums as tools for social change and activism is underscored, as they have provided platforms for marginalised voices and shaped social movements. However, the chapter notes a tension inherent in fanzines and comix, characterised by their dynamic and innovative qualities yet confined to niche spaces, preventing wider recognition and potential spectacle associated with mainstream media. While this niche status allows them to retain authenticity and critical edge, it raises questions about seeking mainstream recognition to reach broader audiences. (Chapter in The Social Genres of Comics: Impact and Innovation of Comics in Social Sciences edited by Veronica Moretti, Francesco Della Puppa)

In 1982 ECOS: A Latino Journal of People’s Culture & Literature published the first of its series Chicago: Nosotros/Nosotras, which focused on literary work by Latinas/os in Chicago.¹ Inspired by and taking its name from Revista Chicano-Riqueña’s 1977 collection of Chicago-based Latina/o cultural production, the ECOS series aimed to “focus and foster Chicago perspectives and dimensions of Latinidad.”² In their scope and dissemination, both projects sought to establish a Latinx literary and visual tradition rooted in Chicago and, in the case of Revista Chicano-Riqueña, inform a national readership of the diversity within Chicago’s Chicano and Puerto Rican experiences. (Chapter in Building Sustainable Worlds, 2022, Theresa Delgadillo; Ramon H. Rivera-Servera; Geraldo L. Cadava; Claire F. Fox)

A chapter focusing on Latin American zines, artists, and comics. (Chapter in Latin American Comics in the 21st Century by James Scorer)

This chapter focuses on the lively, alternative publishing landscape of zine culture. Zines are small independent publications of writing, visual art and/or other creative work that resist and play with mainstream publishing. Zines celebrate a DIY ethos and circulate via fairs, postal networks, online platforms, alternative bookstores and library or archival collections. Here, we move beyond well-discussed aspects of zine production and dissemination to consider the place of reading in the zine’s cultural significance. How and why is reading zines materially meaningful? We offer a thematic analysis of a zine collection and interviews with zine readers on why zines matter to them.
(Chapter in The Cultural Sociology of Reading edited by María Angélica Thumala Olave)

A compelling memoir of social life in the queer underground of San Francisco, New York, and Los Angeles at a time when the manic frivolity of gay rights and bohemian creativity collided with the deadly reality of plague.DISASTERAMA: Adventures in the Queer Underground 1977 to 1997, is the true story of Alvin Orloff who, as a shy kid from the suburbs of San Francisco, stumbled into the wild, eclectic crowd of Crazy Club Kids, Punk Rock Nutters, Goofy Goofballs, Fashion Victims, Disco Dollies, Happy Hustlers, and Dizzy Twinks of post-Stonewall American queer culture of the late 1970s, only to see the “subterranean lavender twilit shadow world of the gay ghetto” ravished by AIDS in the 1980s. (Chapter in Disasterama! by Alvin Orloff)

In this chapter we examine the development of punk fanzines from the late 1970s to the present, exploring the role of these music fan-produced publications in giving meaning to the experience of a music community. This discussion of the punk fanzine’s longitudinal existence allows us to investigate the variety of ways that the fanzines and webzines make sense of punk as music, a set of political ideas and as a subcultural scene. In particular we want to trace the way that fanzines have operated as a medium of communication for punk fans and activists, as part of the visual bricolage. (Chapter in Fight Back by Subcultures Network)

In this essay, I consider the cultural and political work that zines do, the kinds of interventions they make into the world around them. These interventions are hopeful; in deed, they function as pedagogies of
hope, show ing the zines’ readers ways to resist the culture of domination. This essay’s case study is Doris, a zine that exhibits a new kind of activism emphasizing self-reflection and becoming fully human – changing the
subject-position of the reader and thereby offering a model of intervention uniquely suited for this cultural moment. Doris models a hopeful, resistant subjectivity – what I term a “pedagogy of imagination” – and invites its
readers to try it on. This pedaogy is doing political work. (Chapter in Feminist Media: Participatory Spaces, Networks and Cultural Citizenship edited by Elke Zobl and Ricarda Drüeke)

Body politics have often found a home in self-published zines, particularly for aspects of the body considered to be abject, countercultural, out of bounds, or taboo. Too often, people cannot find representations of themselves in the world of mainstream media, as manicured bodies, plastic surgery, and a compulsive investment in thinness dominate the majority of television, magazines, social media, and movies. Zines, on the other hand, in creating homemade, do-it-yourself, low tech pamphlets and booklets, can invent new worlds for the bodies rarely seen in mainstream media. Zine historian Red Chidgey situates zines as a medium especially relevant to those working as permanent outsiders, saying "Zine writers are often 'resisting subjects' writing against the mainstream, using a fringe method of publication, and documenting lives which are often under-represented in the public record (for example, young women, women of colour, working class youths, queer and transsexuals, young feminists). (Chapter in Unshaved, by Breanne Fahs)

Essay by a librarian seeking to empower students as early as ninth grade with small press poetry, graphic novels, and zines. (Chapter in Poet-Librarians in the Library of Babel edited by Sommer Browning and Shannon Tharp)