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= Zine =
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Introduction
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A zine ( ; short for 'magazine' or 'fanzine') is, as noted on
Merriam-Webster’s official website, a magazine that is a
“noncommercial often homemade or online publication usually devoted to
specialized and often unconventional subject matter”. Zines are the
product of either a single person or of a very small group, and are
popularly photocopied into physical prints for circulation. A fanzine
(blend of 'fan' and 'magazine') is a non-professional and non-official
publication produced by enthusiasts of a particular cultural
phenomenon (such as a literary or musical genre) for the pleasure of
others who share their interest. The term was coined in an October
1940 science fiction fanzine by Russ Chauvenet and popularized within
science fiction fandom, entering the Oxford English Dictionary in
1949.
Zines are popularly defined within a circulation of 1,000 or fewer
copies; in practice, however, many are produced in editions of fewer
than 100. Among the various intentions for creation and publication
are developing one's identity, sharing a niche skill or art, or
developing a story, as opposed to seeking profit. Zines have served as
a significant medium of communication in various subcultures, and
frequently draw inspiration from a "do-it-yourself" philosophy that
disregards the traditional conventions of professional design and
publishing houses, proposing an alternative, confident, and
'self-aware' contribution.
Historically, zines have provided community for socially isolated
individuals or groups through the ability to express and pursue common
ideas and subjects. For this reason, zines have cultural and academic
value as tangible traces of marginal communities, many of which are
otherwise little-documented. Zines present groups that have been
dismissed with an opportunity to voice their opinion, both with other
members of their own communities or with a larger audience. This has
been reflected in the creation of zine archives and related
programming in such mainstream institutions as the Tate museum and the
British Library.
Written in a variety of formats from desktop-published text to comics,
collages and stories, zines cover broad topics including fanfiction,
politics, poetry, art & design, ephemera, personal journals,
social theory, intersectional feminism, single-topic obsession, or
sexual content far enough outside the mainstream to be prohibitive of
inclusion in more traditional media. Various subsets of zines include
specific formats such as fanzines and perzines, and specific topics
such as science-fiction fanzines or punk zines.
Overview and origins
======================
Dissidents, under-represented, and marginalized groups have published
their own opinions in leaflet and pamphlet form for as long as such
technology has been available. The concept of zines can be traced to
the amateur press movement of the late 19th and early 20th century,
which would in turn intersect with Black literary magazines during the
Harlem Renaissance, and the subculture of science fiction fandom in
the 1930s. The popular graphic-style associated with zines is
influenced artistically and politically by the subcultures of Dada,
Fluxus, Surrealism, and Situationism.
Many trace zines' lineage from as far back as Thomas Paine's
exceptionally popular 1776 pamphlet 'Common Sense', Benjamin
Franklin's literary magazine for psychiatric patients at a
Pennsylvania hospital and 'The Dial' (1840-44) by Margaret Fuller and
Ralph Waldo Emerson.
"Little magazines" during the Harlem Renaissance
==================================================
In the 1920s during the Harlem Renaissance, a group of Black creatives
in Harlem began a literary magazine "the better to express ourselves
freely and independently - without interference from old heads, white
or [black]." This led to the creation of a "little magazine" entitled
'Fire!!.' Only one issue of 'Fire!!' was released, but this inspired
the creation of other "little magazines" by Black authors.
Contributions by Black writers, artists, and activists to the zine
movement are often overlooked, in part "because they had such short
runs and were spearheaded by a single or small group of individuals."
''Star Trek''
===============
The first media fanzine was a 'Star Trek' fan publication called
'Spockanalia', published in September 1967 by members of the
Lunarians. Some of the earliest examples of academic fandom were
written on 'Star Trek' zines, specifically K/S (Kirk/Spock) slash
zines, which featured a gay relationship between the two. Author
Joanna Russ wrote in her 1985 analysis of K/S zines that slash fandom
at the time consisted of around 500 core fans and was 100% female.
"K/S not only speaks to my condition. It is written in Female. I don't
mean that literally, of course. What I mean is that I can read it
without translating it from the consensual, public world, which is
sexist, and unconcerned with women per se, and managing to make it
make sense to me and my condition."
Russ observed that while science fiction fans looked down on 'Star
Trek' fans, 'Star Trek' fans looked down on K/S writers. Kirk/Spock
zines contained fanfiction, artwork, and poetry created by fans. Zines
were then sent to fans on a mailing list or sold at conventions. Many
had high production values and some were sold at convention auctions
for hundreds of dollars.
''Janus'' and ''Aurora''
==========================
'Janus', later called 'Aurora', was a science fiction feminist zine
created by Janice Bogstad and Jeanne Gomoll in 1975. It contained
short stories, essays, and film reviews. Among its contributors were
authors such as Octavia Butler, Joanna Russ, Samuel R. Delany, and
Suzette Hayden Elgin. 'Janus/Aurora' was nominated for the Hugo Award
for "Best Fanzine" in 1978, 1979, and 1980. 'Janus/Aurora' was the
most prominent science fiction feminist zine during its run, as well
as one of the only zines that dealt with such content.
Comics
========
Comics were mentioned and discussed as early as the late 1930s in the
fanzines of science fiction fandom. They often included fan artwork
based on existing characters as well as discussion of the history of
comics. Through the 1960s, and 1970s, comic fanzines followed general
formats, such as the industry news and information magazine ('The
Comic Reader' was one example), interview, history and review-based
fanzines, and the fanzines which basically represented independent
comic book-format exercises.
In 1936, David Kyle published' The Fantasy World', possibly the first
comics fanzine.
Malcolm Willits and Jim Bradley started 'The Comic Collector's News'
in October 1947. In 1953, Bhob Stewart published 'The EC Fan
Bulletin', which launched EC fandom of imitative Entertaining Comic
fanzines. Among the wave of EC fanzines that followed, the best-known
was Ron Parker's 'Hoo-Hah!' In 1960, Richard and Pat Lupoff launched
their science fiction and comics fanzine Xero and in 1961, Jerry
Bails' Alter Ego, devoted to costumed heroes, became a focal point for
superhero comics fandom.
Horror
========
Calvin T. Beck's 'Journal of Frankenstein' (later 'Castle of
Frankenstein') and Gary Svehla's 'Gore Creatures' were the first
horror fanzines created as more serious alternatives to the popular
Forrest J Ackerman 1958 magazine 'Famous Monsters of Filmland.'
'Garden Ghouls Gazette' - a 1960s horror title under the editorship of
Dave Keil, then Gary Collins--was later headed by Frederick S. Clarke
and in 1967 became the respected journal 'Cinefantastique.' It later
became a prozine under journalist-screenwriter Mark A. Altman and has
continued as a webzine. Richard Klemensen's 'Little Shoppe of
Horrors', having a particular focus on "Hammer Horrors", began in 1972
and is still publishing as of 2017. The Baltimore-based 'Black Oracle'
(1969-1978) from writer-turned-John Waters repertory member George
Stover was a diminutive zine that evolved into the larger-format
'Cinemacabre.' Stover's 'Black Oracle' partner Bill George published
his own short-lived zine 'The Late Show' (1974-1976; with co-editor
Martin Falck), and later became editor of the 'Cinefantastique'
prozine spinoff 'Femme Fatales.' In the mid-1970s, North Carolina
teenager Sam Irvin published the horror/science-fiction fanzine
'Bizarre' which included his original interviews with UK actors and
filmmakers; Irvin would later become a producer-director in his own
right. 'Japanese Fantasy Film Journal' (JFFJ) (1968-1983) from Greg
Shoemaker covered Toho's 'Godzilla' and his Asian brethren. Japanese
Giants (JG) appeared in 1974 and was published for 30 years. In 1993,
'G-FAN' was published, and reached its 100th regularly published issue
in Fall 2012. 'FXRH' (Special effects by Ray Harryhausen) (1971-1976)
was a specialized zine co-created by future Hollywood FX artist Ernest
D. Farino.
Board games
=============
Board game-focused zines, especially those focused on the board game
'Diplomacy', took off in the 1960s. These not only contained news and
articles about the hobby, but also served as a common form for the
organisation of play-by-mail games.
Rock and roll
======================================================================
Several fans active in science fiction and comics fandom recognized a
shared interest in rock music, and the rock fanzine was born. Paul
Williams and Greg Shaw were two such science fiction fans turned rock
zine editors. Williams' 'Crawdaddy!' (1966) and Shaw's two
California-based zines, 'Mojo Navigator' 'Rock and Roll News' (1966)
and 'Who Put the Bomp' (1970), are among the most popular early rock
fanzines.
'Crawdaddy!' (1966) quickly moved from its fanzine roots to become one
of the first rock music "prozines" with paid advertisers and newsstand
distribution. 'Bomp' remained a fanzine, featuring many writers who
would later become prominent music journalists, including Lester
Bangs, Greil Marcus, Ken Barnes, Ed Ward, Dave Marsh, Mike Saunders
and R. Meltzer as well as cover art by Jay Kinney and Bill Rotsler
(both veterans of science fiction and Comics fandom). Other rock
fanzines of this period include 'denim delinquent' (1971) edited by
Jymn Parrett, 'Flash' (1972) edited by Mark Shipper, 'Eurock Magazine'
(1973-1993) edited by Archie Patterson and 'Bam Balam' written and
published by Brian Hogg in East Lothian, Scotland (1974).
In the 1980s, with the rise of stadium superstars, many rock fanzines
emerged. At the peak of Bruce Springsteen's megastardom following the
'Born in the U.S.A.' album and tour in the mid-1980s, there were no
less than five Springsteen fanzines circulating at the same time in
the UK alone, and many others elsewhere. Gary Desmond's 'Candy's
Room', coming from Liverpool, was the first in 1980. This was quickly
followed by Dan French's 'Point Blank', Dave Percival's 'The Fever',
Jeff Matthews' 'Rendezvous', and Paul Limbrick's 'Jackson Cage'. In
the US, 'Backstreets Magazine' started in 1980 and continued
publication for 43 years, ceasing in 2023.
'Crème Brûlée' documented post-rock genre and experimental music
(1990s).
1970s and punk
======================================================================
Punk zines emerged as part of the punk subculture in the late 1970s,
along with the increasing accessibility to copy machines, publishing
software, and home printing technologies. Punk became a genre for the
working class because of the economic necessity to use creative DIY
methods, which were echoed in both zine and Punk music creation. Zines
became vital to the popularization and spread of punk spreading to
countries outside the UK and America, such as Ireland, Indonesia, and
more by 1977. Amateur, fan-created zines played an important role in
spreading information about different scenes (city or regional-based
subcultures) and bands (e.g. British fanzines like Mark Perry's
'Sniffin Glue' and Shane MacGowan's 'Bondage') in the pre-Internet
era. They typically included reviews of shows and records, interviews
with bands, letters, and ads for records and labels.
The punk subculture in the United Kingdom spearheaded a surge of
interest in fanzines as a countercultural alternative to established
print media. The first and still best known UK 'punk zine' was
'Sniffin' Glue', produced by Deptford punk fan Mark Perry which ran
for 12 photocopied issues; the first issue produced by Perry
immediately following (and in response to) the London debut of the
Ramones on 4 July 1976. Other UK fanzines included 'Blam!',
'Bombsite', 'Burnt Offering', 'Chainsaw', 'New Crimes', 'Vague',
'Jamming', Artcore Fanzine, 'Love and Molotov Cocktails', 'To Hell
With Poverty', 'New Youth', 'Peroxide', 'ENZK', 'Juniper beri-beri',
'No Cure','Communication Blur', 'Rox', 'Grim Humour', 'Spuno', 'Cool
Notes' and 'Fumes'. UK and US zinesBy 1990, 'Maximum Rocknroll' "had
become the de facto bible of the scene, presenting a "passionate yet
dogmatic view" of what hardcore was supposed to be." 'HeartattaCk' and
'Profane Existence' took the DIY lifestyle to a religious level for
emo and post-hardcore and crust punk culture. 'Slug and Lettuce'
started at the state college of PA and became an international 10,000
copy production - all for free. In Canada, the zine 'Standard Issue'
chronicles the Ottawa hardcore scene. The Bay Area zine 'Cometbus' was
first created at Berkeley by the zinester and musician Aaron Cometbus.
'Gearhead Nation' was a monthly punk freesheet that lasted from the
early 1990s to 1997 in Dublin, Ireland. Some hardcore punk zines
became available online such as the e-zine chronicling the Australian
hardcore scene, 'RestAssured.' In Italy, 'Mazquerade' ran from 1979 to
1981 and Raw Art Fanzine ran from 1995 to 2000.
In the US, 'Flipside' and 'Slash' were important punk zines for the
Los Angeles scene, both debuting in 1977. In 1977 in Australia, Bruce
Milne and Clinton Walker fused their respective punk zines 'Plastered
Press' and 'Suicide Alley' to launch 'Pulp'; Milne later went on to
invent the cassette zine with 'Fast Forward', in 1980. In the American
Midwest, 'Touch and Go' described the area's hardcore scene from 1979
to 1983. 'We Got Power' described the LA scene from 1981 to 1984, and
included show reviews and band interviews with groups including DOA,
the Misfits, Black Flag, Suicidal Tendencies, and the Circle Jerks.
'My Rules' was a photo zine that included photos of hardcore shows
from across the US an in Effect, launched in 1988, described the New
York City punk scene. Among later titles, 'Maximum RocknRoll' is a
major punk zine, with over 300 issues published. As a result, in part,
of the popular and commercial resurgence of punk in the late 1980s,
and after, with the growing popularity of such bands as Sonic Youth,
Nirvana, Fugazi, Bikini Kill, Green Day and the Offspring, a number of
other punk zines have appeared, such as 'Dagger', 'Profane Existence',
'Punk Planet', 'Razorcake', 'Slug and Lettuce', 'Sobriquet' and 'Tail
Spins'. The early American punk zine 'Search and Destroy' eventually
became the influential fringe-cultural magazine 'Re/Search'.
"In the post-punk era several well-written fanzines emerged that cast
an almost academic look at earlier, neglected musical forms, including
Mike Stax' 'Ugly Things', Billy Miller and Miriam Linna's 'Kicks',
Jake Austen's 'Roctober', Kim Cooper's 'Scram', P. Edwin Letcher's
'Garage & Beat', and the UK's 'Shindig!' and Italy's 'Misty
Lane'." Mark Wilkins, the promotion director for 1982 onwards US
punk/thrash label Mystic Records, had over 450 US fanzines and 150
foreign fanzines he promoted to regularly. He and Mystic Records owner
Doug Moody edited 'The Mystic News Newsletter' which was published
quarterly and went into every promo package to fanzines. Wilkins also
published the highly successful Los Angeles punk humor zine 'Wild
Times' and when he ran out of funding for the zine syndicated some of
the humorous material to over 100 US fanzines under the name of Mystic
Mark.
''Factsheet Five''
======================================================================
During the 1980s and onwards, 'Factsheet Five' (the name came from a
short story by John Brunner), originally published by Mike Gunderloy
and now defunct, catalogued and reviewed any zine or small press
creation sent to it, along with their mailing addresses. In doing so,
it formed a networking point for zine creators and readers (often the
same people). The concept of 'zine' as an art form distinct from
'fanzine', and of the "zinesters" as member of their own subculture,
had emerged. Zines of this era ranged from perzines of all varieties
to those that covered an assortment of different and obscure topics.
Genres reviewed by Factsheet Five included quirky, medley, fringe,
music, punk, grrrlz, personal, science fiction, food, humour,
spirituality, politics, queer, arts & letters, comix.
1990s and riot grrrl
======================================================================
The riot grrrl movement emerged from the DIY Punk subculture in tandem
with the American era of third-wave feminism, and used the
consciousness-raising method of organizing and communication. As
feminist documents, zines related to this follow a longer legacy of
feminist and women's self-publication that includes scrapbooking,
periodicals and health publications, allowing women to circulate ideas
that would not otherwise be published. The American publication
'Bikini Kill' (1990) introduced the Riot Grrrl Manifesto in their
second issue as a way of establishing space. Zinesters Erika Reinstein
and May Summer founded the Riot Grrrl Press to serve as a zine
distribution network that would allow riot grrrls to "express
themselves and reach large audiences without having to rely on the
mainstream press".
Women use this grassroots medium to discuss their personal lived
experiences, and themes including body image, sexuality, gender norms,
and violence to express anger, and reclaim/refigure femininity.
Scholar and zinester Mimi Thi Nguyen notes that these norms unequally
burdened riot grrrls of color with allowing white riot grrrls access
to their personal experiences, an act which in itself was supposed to
address systemic racism.
BUST - "The voice of the new world order" was created by Debbie
Stoller, Laurie Hanzel and Marcelle Karp in 1993 to propose an
alternate to the popular mainstream magazines 'Cosmopolitan' and
'Glamour'. Additional zines following this path are 'Shocking Pink'
(1981-82, 1987-92), 'Jigsaw' (1988- ), 'Not Your Bitch' 1989-1992
(Gypsy X, ed.) 'Bikini Kill' (1990), 'Girl Germs' (1990), 'Bamboo
Girl' (1995- ), 'BITCH Magazine' (1996- ), 'Hip Mama' (1997- ),
'Kitten Scratches' (1999) and 'ROCKRGRL' (1995-2005).
In the mid-1990s, zines were also published on the Internet as
e-zines. Websites such as Gurl.com and ChickClick were created out of
dissatisfaction of media available to women and parodied content found
in mainstream teen and women's magazines. Both Gurl.com and ChickClick
had a message board and free web hosting services, where users could
also create and contribute their own content, which in turn created a
reciprocal relationship where women could also be seen as creators
rather than consumers.
Commercialization
===================
Starting in this decade, multinational companies started appropriating
and commodifying zines and DIY culture. Their faux zines created a
commercialized hipster lifestyle. By late in the decade, independent
zinesters were accused of "selling out" to make a profit.
2000s and the effect of the Internet
======================================================================
With the rise of the Internet in the mid-1990s, zines initially faded
from public awareness; this is possibly due to the ability of private
web-pages to fulfill much the same role of personal expression.
Indeed, many zines were transformed into Webzines, such as 'Boing
Boing' or 'monochrom'. E-zine creators were originally referred to as
"adopters" because of their use of pre-made type and layouts, making
the process less ambiguous. Since, social media, blogging and vlogging
have adopted a similar do-it-yourself publication model.
In the UK 'Fracture' and 'Reason To Believe' were significant fanzines
in the early 2000s, both ending in late 2003. 'Rancid News' filled the
gap left by these two zines for a short while. On its tenth issue
'Rancid News' changed its name to 'Last Hours' with 7 issues published
under this title before going on hiatus. 'Last Hours' still operates
as a webzine though with more focus on the anti-authoritarian movement
than its original title. 'Artcore Fanzine' (established in 1986)
continues to this day, recently publishing a number of 30-year
anniversary issues.
Mira Bellwether's zine 'Fucking Trans Women', published in 2010 online
and 2013 in print, proved influential in the field of transgender
sexuality, receiving both scholarly and popular-culture attention. It
was described in 'Sexuality & Culture' as "a comprehensive guide
to trans women's sexuality" and 'The Mary Sue' as "the gold standard
in transfeminine sex and masturbation".
In the early 2000s, zines with comics in them had a "thriving" fandom.
Distribution and circulation
======================================================================
Zines are sold, traded or given as gifts at symposiums, publishing
fairs, record and book stores and concerts, via independent media
outlets, zine 'distros', mail order or through direct correspondence
with the author. They are also sold online on distro websites, Etsy
shops, blogs, or social networking profiles and are available for
download. While zines are generally self-published, there are a few
independent publishers who specialize in art zines such as Nieves
Books in Zurich, founded by Benjamin Sommerhalder, and Café Royal
Books founded by Craig Atkinson in 2005. In recent years a number of
photocopied zines have risen to prominence or professional status and
have found wide bookstore and online distribution. Notable among these
are 'Giant Robot', 'Dazed & Confused', 'Bust', 'Bitch',
'Cometbus', 'Doris', 'Brainscan', The Miscreant, and 'Maximum
RocknRoll'.
There are many catalogued and online based mail-order distros for
zines. The longest running distribution operation is Microcosm
Publishing in Portland, Oregon. Some other longstanding operations
include Great Worm Express Distribution in Toronto, CornDog Publishing
in Ipswich in the UK, Café Royal Books in Southport in the UK, AK
Press in Oakland, California, Missing Link Records in Melbourne and
Wasted Ink Zine Distro in Phoenix, AZ. 196x196px
Libraries and archives
========================
A number of major public and academic libraries as well as museums
carry zines and other small press publications, often with a specific
focus (e.g. women's studies) or those that are relevant to a local
region.
Libraries and institutions with notable zine collections include:
* Barnard College Library
* The University of Iowa Special Collections
* The Sallie Bingham Center for Women's History and Culture at Duke
University
* The Tate Museum
* The British Library
* Harvard University's Schlesinger Library
* Los Angeles Public Library
* San Francisco Public Library
* Jacksonville Public Library
* Interference Archive
* Anchor Archive Zine Library
* Toronto Zine Library
* Denver Zine Library
The Indie Photobook Library, an independent archive in the Washington,
D.C., area, is a large collection of photo books and photo zines
dating from 2008 to 2016 which the Beinecke Rare Book & Manuscript
Library at Yale University acquired in 2016. In California, the Long
Beach Public Library was the first public library in the state to
start circulating zines for three weeks at a time in 2015. In 2017,
the Los Angeles Public Library started to circulate zines publicly to
its patrons as well. Both projects have been credited to librarian
Ziba Zehdar, who has been an advocate in promoting public circulation
of zines at libraries in California.
It has been suggested that the adoption of zine culture by powerful
and prestigious institutions contradicts the function of zines as
declarations of agency by marginalized groups.
xZINECOREx is a metadata standard developed for cataloging zines. It
is based on Dublin Core and the 'X's' in its name are a reference to
the straight edge music scene.
Zine fests, workshops, and clubs
==================================
There has been a resurgence in the alternative publication culture
beginning in the 2010s, in tandem with the influx of zine libraries
and as a result of the digital age, which has sparked zine festivals
across the globe. The San Francisco Zine Fest started in 2001 and
features up to 200+ exhibitors, while the Los Angeles Zine Fest
started in 2012 with only a handful of exhibitors, now hosting over
200 exhibitors. These are considered to be some of the biggest zine
fests in the United States. Zine workshop with SUNY New Paltz Zine
Community and Design Society, 2017Other big zine fests across the
globe include, San Francisco Zine Fest, Brooklyn Zine Fest, Chicago
Zine Fest, Feminist Zine Fest, Amsterdam Zine Jam, and Sticky Zine
Fair. At each zine fest, the zinester can be their own independent
distributor and publisher simply by standing behind a table to sell or
barter their work. Over time, zinesters have added posters, stickers,
buttons and patches to these events. In many libraries, schools and
community centers around the world, zinesters hold meetings to create,
share, and pass down the art of making zines.
In popular culture
======================================================================
'Moxie' (2021), a movie based on novel of the same name, is about a
16-year old who starts a feminist zine to empower the young women at
her high school. 'Our Hero' (2000-02) and 'Rocket Power' (1999-2004)
were children's shows about zine-making.
See also
======================================================================
* Artist's book
* Chapbook
* Doujinshi
* Ezine
* Fanzine
* Infoshop
* Minicomic
* Pamphlet
* Perzine
* Samizdat
* Underground comix
Further reading
======================================================================
* Anderberg, Kirsten. 'Alternative Economies, Underground Communities:
A First Hand Account of Barter Fairs, Food Co-ops, Community Clinics,
Social Protests and Underground Cultures in the Pacific Northwest
& CA 1978-2012'. US: 2012.
* Anderberg, Kirsten. 'Zine Culture: Brilliance Under the Radar'.
Seattle, US: 2005.
* Bartel, Julie. 'From A to Zine: Building a Winning Zine Collection
in Your Library'. American Library Association, 2004.
* Biel, Joe '$100 & a T-shirt: A Documentary About Zines in the
Northwest'. Microcosm Publishing, 2004, 2005, 2008 (Video)
* Biel, Joe 'Make a Zine: Start Your Own Underground Publishing
Revolution' (20th anniversary 3rd edn) Microcosm Publishing, 1997,
2008, 2017
* Block, Francesca Lia and Hillary Carlip. 'Zine Scene: The Do It
Yourself Guide to Zines'. Girl Press, 1998.
* Brent, Bill. 'Make a Zine!'. Black Books, 1997 (1st edn.), .
Microcosm Publishing, with Biel, Joe, 2008 (2nd edn.), .
* Brown, Tim W. 'Walking Man, A Novel'. Bronx River Press, 2008. .
* Duncombe, Stephen. 'Notes from Underground: Zines and the Politics
of Alternative Culture'. Microcosm Publishing, 1997, 2008, 2017. .
* Kennedy, Pagan. 'Zine: How I Spent Six Years of My Life in the
Underground and Finally...Found Myself...I Think' (1995) .
* Klanten, Robert, Adeline Mollard, Matthias Hübner, and Sonja
Commentz, eds. 'Behind the Zines: Self-Publishing Culture'. Berlin:
Die Gestalten Verlag, 2011.
* Piepmeier, Alison . 'Girl Zines: Making Media, Doing Feminism'. NYU
Press. (2009) .
* Spencer, Amy. 'DIY: The Rise of Lo-Fi Culture'. Marion Boyars
Publishers, Ltd., 2005.
* Watson, Esther and Todd, Mark. "Watcha Mean, What's a Zine?"
Graphia, 2006. .
* Vale, V. 'Zines! Volume 1' (RE/Search, 1996) .
* Vale, V. 'Zines! Volume 2' (RE/Search, 1996) .
* Wrekk, Alex. 'Stolen Sharpie Revolution'. Portland: Microcosm
Publishing, 2003. .
* Richard Hugo House Zine Archives and Publishing Project (ZAPP).
"ZAPP Seattle". Seattle, US.
* "The Ragged Edge Collection," Skateboarding, Music, and Art Zines
from the '1980s and'1990s.
[
https://archive.org/details/raggededgecollection Internet Archive]
License
=========
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Original Article:
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