fe TEAL JENNA FREEDMAN Bspenalc}tcona | GA teArchiving the Underground asa pro investments ofits autos, both age Possibilities of zine production act frustrating framework of academe of an intervention by underground feademic project of archiving and “academininges ie ne bracts in which we partite. This ine hes esl Eanceive ofa relationship between cultural protons 20" 0 we {owards a mutual benefit, that acknowledge thatser idemies roles in these conversations, and that acca University both as regulton nstaon and Reeamage nai ut ofthe comes te DAL ture and inthe Insttations, Wess tural produces pee land Wonien onesie with zine culture and zine makers. In addition, ositioning dia the attiyis eae y Weak cee a ces faclerer coon Oe One question that came up throughout this projet was, wat eat does itmean tobe underground? Ts it even possible oboe the mainstream? While in many ways itis impossible (and pea undesirable) to remove oneself from convertion withthe mainstream orto remove oneself from some relance on capital orm of consumption, whats most intresting and ol ie rad posiiy isthe way inwhih ne mare nd ot subeltral prodvcers imagine themecves as ouside o rmainsteam-the dene to be underground even tea — ee ety i nc eg eye the ed a dena) hak of Gandalf menage 10 ernie ee eeepc Ae nt ‘constituency, t00 professional a publisher, too famous an author, samt is illustrated bythe publication of nd pushback (Grima by perane ators) agnnst the book anaes, by dsign ‘pofewor Teal rg. Much ofthe controversy around this book Enger on dscuson of copyright and permissions, a isomfor wks rsd te ttt Fens fr pt ak Fetal forthe stony Ent price of $40.00), put ot by an Cable {Stependenp policing howe ond Satnied at Bares and Noble snd Urban Outiters, among oer ples. Concerns have sao been ‘xpesed for example by Hbrrian) Zine Word editor Jeanne Thompson, about multiple err inthe bookalthough Fangines is notanscademic work per ss; Thompson and others far hat once a fetal mina is entred int the published record, willbe ane in fur ine stholarship, Within ine communities, we ‘Sraances ite Microcnn'r new data ene which states that Mierocom wll only publish the "most poplar of zine” and ‘eure dstbuted sneto all slant 40 opis por ue per Yar Inder to remainintheestalog, The colecdves zon final Statement reais iMiroconm strives fo add eed tone writers And their ethics.” The ea of cre attached to ncreased ‘mare vty is both n det oppostion tothe dea of red and takes us wonder why an etic that Gsnvows expertise celebrity, an ceptl gain needs added credibility and from who? These and other instances such asthe seming oxymoron of famous nesters” such 2s Aaron Cometbus(Cometbus) and Cindy Crabb (Doris) andthe shitofsines such as Bust to glo status, both undermines the ea of priest democracy within ne cultarc and tackles the comer of seling out in underground production, Jami Sailer writes bog try at yoursecretanuot wordpres commagazine and a diary-wh sor By the chance heat nan old you aren Sind ey eben en yee ote Alcon Began ume crear ny contain may be ephemeral. They shift an cha areas) articular whisper. And the danger of Ties Pipers aie fd te danger ofan okt ved an avademic publishes «cchiel piper aa toetaea ote to support research methods which ‘which acknowledge that we are the hip that both positions the the voices of (often ally, we suppor ind ephemeral, ‘Through this project, we seek: foster mutual aid and respect, experts of our own lives, and scholars author within their work and includes t marginalized) subeultural producers. Addition: archival methods which privilege the everyday rage tl value a trial vale. The rh eee 4 ofan at gollector whose attachment? atic, or obsessional” (ARM and culture must proceed like the Shjects is often fetishistc,idiosyne ont Your editors, Jenna Brager & Jami Sailor erat experience have you had with zines before your arennally read zines when I was in high school, and had Toocas Tes in university who made them. I started making my Fara ith my lover atthe time in 1998. When we stopped cara each other they encouraged me to work on it myselt. ‘Miutate Zine was born. [produced 10 issues of Mutate from BF 3058-2006. In the interim I made some one-off zines, and fave been making Gendercide since 2006 or so. QZAP itse ved in 2001, and became alive project in 2003. your understanding of how people Bie Gin general, what is you use the archive?| Honestly I don't know exactly how folks use the archive. 1 guess they browse it or search it for specific titles or based on Feed Keywords (e.g by subject.) The primary purpose of QZAP isto Ba preserve the history of queer zines. Sometimes folks contact Hs with specific research questions, or looking for themes or specific titles, Because we house content that can be construed o case we hee aaa eats 3 aeeteaeter te, oa SE ae do, Can you speak more to the idea of "da, +ofdange bya large! ‘uo in many wey { materials and anonymity? sa) | ink that queers arestil een as "dangerous" ‘segment of society. ‘We upset the status ‘whether is oar presentation of gender, we deem important. Is the sam Because QZAP doesn't track visitors to the web ar vay, we have no idea who or where folks are coming from. ‘Something that might be ok to view in the U.S. may not be ina Why did you choose to put QZAP online, and what} issuies have been associated with that (for example] how do you get permission to put zines online? Do| you think having zines as PDFs disrupts the abi ‘understand zines as physical objects)? Is there a physical Queer Zine Archive, and what does itlook) like?} QZAP has always been a digital archiving project. Itwas Conceived that way to allow the greatest amount of access to the zines and the data (narratives, graphics and info inf general) that they contain, ASfaras sues with putting the zines online, one ofthe Biggest is the time factor. It takes a while to scan each page and compile them into PDFs: Por permission, ve do what we cill"duedigen Foner ae aes tose for pertision otneude ter Feet MEET xn Our Pic Uns statement eplanr es i a a erase of the nature of since, many ofthe materials are resented tothe publics Ant-Copyraht, Copy-Lef, reey 4} duplicatable, or more recently in the Creative Commons. . fGen zines ae donated ou th te express purpose of dealer ena repreuction. When ve come rosy gi OY terial hat we beieve its ino our archive we cso perform 4 cue diligence as best we can in terms of contacting original. urhors and oreators fo ask permission to tnt ht sor Eo inourarchve. [fyoucome cerosr your work onthe QZAP website and would like it fo be removed, please contact us. Flo hn thatthe PD forma dare adersandingatne, 1 would fel very diferent ion arcive were HTML Se agerics of embeded images within a web fags That sad ll members ofthe QAP eallective connie Poerodigr sings on peper and we strongly encourage the sycaa ia aaa ce 2 Do you think archiving zines creates a zine canon? If so, do you think this is a positive or negative process? T guess so. Tthink thai said canon has existed for along time} and archiving isnt the sole reason. Any documentation of an fart or literary form does the same. With zines and self publishing in general the canon can be anything. 1 thin Fefreshing, and part of why zines are socool. Ysee the archiving of zines, either as objects in a physical collection oF in digital form asa postive process. Would you ask the same question ofan art museum? :D there an organiz: ‘Where do you keep then ric author? sini It depends onthe situation, Most zines are retained by Q2AP. ‘We ty to keep them organized (both alpha by ttle, and alpha by tile within s collection... more on thatin a minute) Tn. some instances we've been leant zines to scan with the promise that we will send them back when we'e finished, el nat‘As fr keeping the zines themselves, current the guy car dinng ron here Milwaukie A eared Se WA fle folders stored in Fling cabinets, ‘The pone etre swe refer to it contains zines glven or sent tus ee neo ay Then election of 350% that we started Gangs Ene that wee picked up over he past 7g yore got named collections” (one more minute) Wega ‘Forking slowly but diligently toward having» uoeeeee {or Q2AP that peopleculd vis tovend and makes research sor Poo aT ee ‘Yes, I think zines belong in archives. They’ ‘9p6 of populist media and deserve prenasaton Grant : reservation, Since Tt a real librarian, I don't know what "provenance" mance. aot ae tt"provenance” means inthis saa ara Peet sina goes or ac seeder cteat wae srry cn eg dia atehe gece example, the stink a few years ago concerning people reli charrette solicit donations and what does donor relations look iain OK, so I'm going to start with "named collections.” In several instanees people have donated their whole zine callections to QZAP. In cases like this we ask the donor to name their collections, and we keep separate manifests and eatalogs for them. Among our "named collections we've got nma Center + The Emma Center collection from the old Ei infoshop in Minneapolis «The Lane MeKiernnen Collection donated by Lane wo used {to put out Quarter Inch Squares zine +The Misty Minx Experience (I can't remember the name of the person who donated that, but that’s what they asked the collection to beealled) «The Simon Strikeback eollection (Simon isin Actor Slash Model and puts out Bound to Struggle zine) terms of “ownership” I guess QZAP or the QZAP Collective owns" the physical media, and because of the way we approach Fair Use have felt that we're able to put zines online. ‘We seek permission from the zine creators as best we can, but + because ofthe ephemeral nature of zines we sometimes aren't able to always ask. In those eases we do the best we can, and hhonor requests to remove items from the digital archive. That doesn't happen very often, but weve had afew. {When scanning and preparing zines to go online we depaginate pags them so that they're harder to reproduce as original zines. We Jalso provide access to them for fee, so there's no question that "we're taking someone else's work ahd making any money off of “them. Donor relations... basically we just ask people to give or send us their ine, or Uhey'lcontat us and askhow to donate. The fi ‘expectation on bothe sides (znester and QZAP) i that we have permission toad them to the dgtal archive unless otherwise oted, We send thank-you emails, and occasionally will pay for postage to help folks get zines tous. Well also sometimes trade copies of QZAP:meta or send stickers and buttons to folks asa way of saying "thanks." gs BW BAR sian hi Is there azine hierarchy (particularly in terms of Wy what zines get academic “credibility”? Bien 1 personally don’t think so. I think that it can be determined individually by the academic researcher or institution. IF they fi in the world, then theys Se should also value the writ People and their work is supere it sa ye ‘uperequal or su 8. Ifo what work is credible. ‘termination of academic “ex, ” resent or ta spt in i anc commodify their work Gudith Halberstay nad W/ ~ about this in “What's that Smell? Queer Temporal: andSabeutnd coh bene et fomee lerground cultural 1 do think t's a concern, but shouldn't be an automatic assumption. Ive had academics come to me and sy "Zines are like newspapers, right?” Another casein point gosage the current flap around Teal Trigas' book Fancines whee he author uséd images from zines without shina ere miscrediting creators. = : Defi ot whe seni ah cn 2! \XF contained within or the production values or aesthetic styles ot Goss: How would you envision the rel. jemies/archivists and inderground artists and cultural producers’ 9 = o ———E——x—_——-——— 1 think this question sets up a false dichotomy. Many folks ‘who are "cultural producers” are also academics and archivists (Chis interview being a casein point) Taso think that att point in time, alot ofthe research and archiving i ha by folks who are already within the zine communi decided that our work and our lives/experiences are valuable and so we're making the effort to preserve and analyze them in various ways. I think that this is happening both with and outside of "the Academy" with ots of eorts being made by unaffiliated or “indy” libraries and archives. QZAP is one example ofthis, but there's also ZAPP in Seattle, the Denver Library, The Chicago Underground Library, Girl Zines A- Go and so on, Folks are also writing about their research with zines in zines and on blogs and in anthologies that get read by more and different folks than ‘would necessarily have acces to a journal o institutionalAssociate Professor of English Cott Author of Girl Zinea: Making heat of Oh @o09) ° man How did you become fnterested/ involved in } Like a lot of people my age, I created a zine. = although at the time I didn't know it it was a cool independent. mag: als aware of third wave fe {onto my radar ina more started collecting: them. I thought the y wet { i {What inspired you to write academic { incanetcn Zu started your works wis +] intention for the project? Has that tae atall for example, the target a } elit cea co me to-write about zines until was talking eB fork University Press, years ago akon / < (Pook wanted to do about third wave feminiom’ She oot tere brainstorming, and I know T mentioned ties ea times in the conversation. She finally said, "Why den tow ‘rite a book about zines?" and I thought, "Wow ‘ones book about zines by girls and women!” My intention for the project was to give a serious look to this ‘truly amazing work that has been under the academic radar. ‘iwanted to do a book that would give zines the credibility th iideserve, Ifyou want to know what's going on inthe lives of girls and women, zines are an important place to look. don't } think my intention changed as the project progressed, aE VPs How do you decide which zine titles t 10 study? What, {methods do you use and why? \ MET erry Ta Some have noted a recent “explosion” of aeademie’ studies of zines and the use of zines as teaching tools} in the classroom—why do you think this is? How do} you personally use zines in the 1 definitely have expetienced a difference between teaching ines and other tex. think the main difference is that care are clearly made by individuals or small groups, and there, hho gatekeepers. I think this makes the stakes woefully lowstudents read a zine and think, "Teould do that things to say!” Rarely does a textbook or even, AM Thay teh at They can so easily be throws avayand wee feel that those published pleses ae by other" pert for ter scholars to uy amore importantiyfor other pression hor em, Zine on the thee sed on a they were created by peopl like them and they a f silty that my stadents have tinge toa en azine hierarchy (partic Beout there inthe work "that deserve act academic “credibility a bly. This isa good question, and I'm not sure [have afection, and cron atte ability of zines to carry 8 definitive answer. As Isaid above, Istudied the since thea affection, and about. ‘how your students ay inspired ‘exciting to me, ar t's face it--I have an anal i tomake zines when they interact wad gg? are wad tains ao ama mid (versus anthologies). How does this affect the way in i + affect enjoy, and I ertainly missed loads of sine oe a Which you study zines, and the way in which you teach important work moter people ee ane them? Studd otudied because they ware demonstrably infucnta {may have addressed the affection issue in terms of glee did't matter what personally thought about them Bat | : cergantlp ait above, in my discussion of my chee hip Soters just resoaa ec wits 2 TERRE nto fan mail Asa scholar, think eameto st th E ‘iullerst Kind of respect: recognized that was waing HoiScaresteeeeng eee ; {bout the intimate/public creations of individuals weit uct mainstream” studies of zines take them from a largely under round, not-for-profit community into == more mainstieam or corporaie coon ‘How would you respond to these appichensioger {hat my main job was to validate those creations and getter people t0 recognize their value, too. Ifelta persons Connection to the zines and to the girls and women who greated them, an I think tat feeling of eonnoeter eG erat concom. Tmatny tot tt least for me) when I'm analyzing other sorts of work. Pon setdemic publishing is nonprofit venture~rest assured this, of course, is the materiality of zines that I talk about in pot making loads | an Teen of grrrl: ae -anc the book: [don't open a Toni Morison noceland eal yet Tm gnining academic credit because af workon Toni Morison’ house, butane are eat eran zines, and that benefits my career. It's. hard call of ance eta physical connection withthe zine creator nad foe oo meiaeh aim nds impetan ad an em Imention a bit about this when I discuss one of Jami's zines: gig noticed and documented in a broader way. This oe inorder to get into the zine, Thave to untie a knot that Jami . ils then out of the underground =v : herself tied before mailing the zine, and that's «very intiaute C2perience that forces me, as reader and scholar, to f=?" nesters and other underground cultural ‘acknowledge the person behind these word: Bareee” Producers operate under the assumption that | ( lami “pert vllmicenrre appro ines ii ives? J a * and commodify their work (Judith Halberstam writes perce archives? al shout this tn har tar ook Queer Temporalities 1 know that there are scholars (lire Rte Eichhorn) “coe {na Subuitural Lives?) Do you think tsi valid the pros and cons of zines in archives, While I dont have Bhai a rel thought out answer to this question, say that Im ral ‘Tey att more and more libraries ae archiving zines. FOF ; By ericesesolnerable-they hover on that border betweenht ciullh *WT pre Acsiaats eve ee Tn rm 7 misrepresentations and other misuses of zi nes shou for more conv sation, not less. Tn jus and cal ght and some things wrong. T very roan L89t pe penle-aedec and nonaendemt-vil ea ae, and speak out, ato the conversation. Thope that no initiates a dialogue; T don ine tas the final ny way magi and other underground cultural producers hats, itoportant roe inthis conversation. One thing thatsang about Gir Zines is that it's ben reviewed far oe y= an it has in academic publications. T've gotten very asf feedback~ertical as well as postive creators around the country, and I take that feedback a jously.. I guess not every academic will be this iy sponsibe ones wl way, but the lemies/archivists and underground artists and cultural produ Jeera neon attitude toward zines that Ido: the nese cool creations. And TIthink that approach toward zines { ipressed with the work of every zine creator Tinterviewed, We \Girl Zines playe« significant part in making my research nunds like I'm saying "th ss the one I had!” And I guess in some way are at, To make the relationship even beter, I would have liked, have had the funding and time to talk to even move ine Creators. And perhaps the creativity to have made cool gifts f Fanzines (and what not to inelude) ~ both in terms of zine titles and lwhether to conduct ethnographic interviews, ete. The book is based primarily upon my own collection of fanzine (with some notable and historical exceptions), the early 1980s. My interests are fairly eclectic which explains, in par, the breadth ofthe collection. Lam also interested in how different zine producers talk about their subject areas, perso fexperiences as well asthe way in which these ideas are formatted hich Lbegan and visualised. In thinking about the book, I wanted to ensure we included fanzines that were established and already recognized for their subject knowledge, ch to writing and/or design/produection. At the felt it was also important to include lesser-known publications recognizing that these self publishing endeavours were equally signifieant providing unique iewpoints and/or approaches to their design/ production. Deciding on what should be included was difficult (as the book represents a fraction of the collection) and, was a lengthy process involving discussions with colleagues, producers as well as the designer of the book. 1 decided not to publish any formal interviews. V. Vale had do this exceptionally well in the late 1990s with Zines! Vol 1 & 2 (V/Search Publications). Ia: os interested in looking at a broader historical eo ext of self-publishing by highlighting the significance of the subjects, writing as well as the visual or graphic language that has emerged. Saying thi however, bath] form and informal interviews, questionnaires and email ges did form an integral part my better understand the contexts of tural production and the specifies of how and why zine producers self publish from both written and visual perspectivesFanzines will ins pire more people to make Wear tek has opr em to guearae ase publication In some cases people said that they lackete si OT Betis ov icor hey Come rospec. hope that the book has provided a range of ear subjects and approaches, which help to demonstrate there ‘anything goes’ and anyone can do it!. 2 and, not sure what ‘underground! means anymore. With digital forms of dissemination and communication what we may have categorized as underground’ is much more visible and accessib Herein the UKzines have increai mainstream over the years ~ and Published. Mainstream fashion, musica (eg. Dazed and Confused, -D, Time Out, ete.) ‘ew zines and featured interviews with comic and at cultural venues, from the States as well as U ly been brought into the ean even be purchased in art Chain record stores used to pa se Now; football fanzines, Me ster shpin he Went Tneaet has provid nough this i zines canbe found ina well-known ind of London. And as we know, the led even a wider audience for self-publishing, Also, it depends sbouta TV soap have any count themselves nition of ‘underground’ Isa zine ea necessarily that? The producers mi cultural intent and probably wouldn't iden belonging to any kind of underground. not in terms ofan immediate effect —the zines co-option into the ‘mainstream is certainly nothing new ~ nor are the dchatce ve tensions that might exist. For example, the activist, suthr ad ‘academic Stephen Duncombe has wrtien specifically about phenomenon of capitalism and co-option i his esay Diy sree Style’ (1999). Thave noticed a recent expl zines and the use of zines Inthe 1973, Fredric Wertham was one of he fist o provides sore ‘academis’ treatise on fanzine and since then esses fave continued tobe involved in weting about anne sae publishing and alternative cultures, Te ise of Cultural Seis fas certainly been apart ofthis, We may beseeing mere ora work now as the Internet has increasingly opened up access to academic research (as it has with fanzine themselves!) Academies and journalists are also picking up on the iereased interest in zines and their artwork produced by artists and ‘lustrators. I would also argue that there isa generational aspect to the increased activity as early producers have taken up careers as academics and are integrating their knowledge of alternative ‘and self-publishing as part oftheir teaching and research Fels has do hte acsseblty ofthe medium tel Buk fico ic rium toa DIY entre more oneal where ‘ang par of procrs of ngagement with ober, Stents sem Pate to fe format ante eon in exploring wa ommnicate ideas. They are poled by people hemudwen,pasuonate bout spose sje and wanting 0 shaven idtgue wi ie minded individuals Zines als had cleo foro in outenh promommes an See eee jc Thy area teat le O° tay group ot peote where formal desig talnng o Wg area rccany needed o gt the message SCS Anyone can periportalDo zines belong, in archives? problems for archiv, How do zines post mmadards such as proven Thelieve zines have a place in aren as tohow a culture am ene \ society communi In terms of archival standards thie {does pose a problem — and any librarian will know this bert than I do. But from what I understand, zines have beens ieees of scussion for professional brarians for many years in thar ivaeojfons alamo provenance lak complet cataloguing Seas eas eopeil) End eatgore for eataloguing I remanfertlkng in oe Hbraranof the Pact shee Five collections the New Yo Public Liary about this wen the it recede colton She had to evn her own danieation yen a he tine st gt the cllestion in some Wind ofaseble nde A fon yar age American Library Association published Jule Bartels book ‘From A to Zine Bullinga Winning ine Calectonnyour Library which looks at ome of hes asus and offers buggestons Gncuding appropiate shelving [One concern brought up by zinesters is the way in /which Fanzines takes zines from largely undeceround not-for profit community into a more re corporate, for-profit arena, How would » those concerns? licated and can’t really be covered inthe space vs lowever, I can offer a few brief thoughts. { don’ thin ‘uch different than any of the books on posters, iyers, 1 etc, that crowd the shelves. Ithas been part of sae Publishing forever - and as we said, in the case of nce JWertham was doing itin the 70s. My personal intention was simply to celebrate zines and to share my collerdon wither On the issue of not-for-profit vs. mainstream, I think the Duncombe piece we talked about earlier puts things better than I could, Wir ald that process (will they ultimately be nefit financial! who knows?). At the same time other zine prod ni A ons, for example, may find interest am mngst new potential contributors. Oth may find poss a ‘self-publishing form: wonderful feedbacewit ne And it gave them confidence to di future is a Asanote,tissword the pu f Ione ofthe last independ companies at t publishing companies“ n cry Murdoch/Time Warner re . .Many zinesters and other underground cultural producers operate under the assumption that academie ‘experts’ will misrepresent, appropriate and coma od their work (Judith Halbersta rites about thi aly in, Ido appreciate the concerns some have put forward about alled aca xperts’ might represent ultures. In my previous book abe lone on subcultures and McRobbie), rtwined relationship. tures and subcultures within ahi min the 19208). In particular, she rovoking discussion on ‘the rl ind subcultural partie ome sort of ‘permeability, This ¢ ationship between the archivis what we Wojucers of zines, then went to univ iam en Fae er MMGe St diferent lens. ven thet Golam reers to her previous subcultural experien th Ho he ida that there are trict demarcations is debatable ow would you envision the relationship (real or between acsdemes/archivite and underground artists tnd cultural producers? Tthinkthereisasymbiote partnership between acacemie, archivits and underground cultural producers in thos thence Seamutual benef slationship'n play here eee Renton Halbestam ts worth noting tat scales Sones for this lationship in her statement about ‘quees snes ere gue at that:"n order forthe archive ere uses aterpreters, itu hstoane fe nea the making. - require Itis worth stating that a number of fan book operate under- and Mainstream profe Imusic industry or publ ine producers included ir ver- ground. They form py community, work ound cultural producers publishing. time operating or producing a / eyHave you noticed different reactions from different ap ‘communities to Fanzines? For example, Jami Sailor ¢ noticed that the book seemed to be getting positive! ‘attention from graphic arts zines, where as more perzine creators have had concerns about the book. Yes, Thave noticed a divide in responses and, Tthink hat Jami makes an astute observation. It seems there is a divide between be} Zinesters who subseribe to a more’ purist’ approach to defining ‘what zines are (e.g, more punk and political views a to what ines should be) and those who dont signup to this partcalar definition. We have to remember that the zine world is vas. can CHm EHO What is Zine Weekly, and what is your goal for the blog? a Fanzines was tof Week nterview blog. Tneve that wh publish a a c’ document. Zine Weekly orm had the pte © BeOS ee > what is curren na Pave really talking with zines about what ee ens or eee nie old Rea ae Neri eeeete Coan pee igeccta cs) ea ame ene SNe COC Ses in Bare bearer ein serene) cee Pe ee Cen a eet eer cen eae ea ee Seek teheenme TT LoL ces preereee e S RCo ooo Terma x tremendously, but they do tend to Sere Sinan) See tes on eee Pres oe Meester Re PUR ren ry Ae Lee Coie Soe aces on eee eemoe deierenbreet par ete tr TR UF : E o, the voices and opinions of er oat sem tobe self-published, But ultimateh Soca blogs can bea very empowering medium, then Gree ncn ae iat ae ort RSLs pein item serena entire eligi, copyright, or anything els. Is also much mone diffe Scr ine ena EES Oe terenr ts [Eee re gente ene and Sen er eee ae eee Satine (alent: are ere Peer ena tate oe aes one etter retina see on HoPRr rena cor earner Been tT erent to broadeast over the airwaves or record your ideas, ees eT Sa fdas ful zines circulate more than a thousand copies, but once they prenbereterrier aera ue giptat Snore eet te : a eres ee Rene meee et fanyone with erin eee cae fn See nna RES iey a eda oa am see Scot ens Pen EA aero te eT ey - eae Scere Poon erecta a a RE cae SN een ad Tec Le Te eerie ene ey them are hosted, and Sra a ETS a 4 eer eet eer Foote ian comet aees Seer eNO Oe Serene en oY SeesSO rere So Cee Eta REUSE oe ey re Rene eee Rico an eter n e e (Besedackcr re terete anyone reread a blog? ers hams evi but nar Bouono Tien 3 eee ts. And how often dog interesting happens, Herne anata ooca Tete ieee ete Peat ane te eee pouneer rap ROLLE oto ST a Irpeeieaet a ekodes LTE a Crs Sn tee oy the norm in zine publishing. Notes Dodge, “I think the hey aistinction is that a blog posting tends tobe written and jublished on Pee es SU Ute te ee aT An Ditekcpiedse oD Ste Re een a oe eae Sanaa eee Sastre aT SOEs Oe ea ee a eee ee eT published books than blogs."L Reporte ery eae re epee Pea reer totter Cee rue pee 7 Eppes Perea amae ick tester aaa ee eens PB eaters errr ener ee ce ean roy Sore See ab et ec Tei EE eee Peete reper por See ees ee eee TT es Per ae Petes erent ter eres [coe een esr peg meer ea Pee Meer genre tab ren es to hostile change in a way that zines are not. Zines are not Nowa eeerToness Omir nna Mra rec te) eerie ae eee og eid a) ee ers who read blogs via an aggregator (RSS).[16] ee blogs more powerfal than zines (in this aspect only) and eater ctor tee aay Po eader/teader is much greater. Many zines have letters to the editer Sepa cat NLS Coico ee rea arta fereeG uaa tn aren ae eit Se CTS eS ae foes ila oe ee bata Pa ee eee Gourmet blog. And they couldn't be more diftesrct Geet ne PAC en pic Ne eat ea Coon aOR ea Corry Pen Cor tr seaea eee ee ete craven reer t rata oo Seperate ete Ta cod nt Cee eee cet eee eee Reine coe Chee ae ea Rey ranean resets eenccU tents eee Te Pe aay [7}Brolution ofa Race Riot, edited by Mimi Nguyen is one example Oar ere tec merter ners pa Yearbook, Volume 8, ed, Jon Angel and Jason Kuestna (Toledo, OH; Pome NESS fo] Sen Ange and Jason Kuesin, “Introduction,” in The Zine PYearbook, Volume 8, ed. Jen Angel and Jason Kuesma (Toledo, OB: een NSE (Ota een ren er any oan eee CO ireytees es ete eer ees etn Eeen ee a extremely powerful and customizable) personal publishing eee Teese tet rg EE ee ieee y {13} Celia C. Perea: 1 Dreamed I Was Assertive, Picaflor, and Skate Ganbercnen ees 14) This isa service provided by the Internet Archive [rarer eeesa eat CR en a ee aaa [ees reiterates mE Pee Derrek re ernest Ren ID UPN icra ie red eee eg eet ete eects sve war rien fot nd cal sp pet Cee Dogri ener eaters mer om SNR SCS S een coerce tee oa ee ee ee onc ces Commercal-NoDerivs 2.Professor of English, University ot ternal Author of the forthcoming book Zines In Thier Fiza for ither astill-spatialized though no Radical Cooperation and Borderlands Rhetorts ae a Se = ues fo understand zines as thirdspace sites of knowledge fe — and contestation. When I say zines ar: — et nkng of my own lived history. and ssa c nuts onthe borden Ra edgy, Anne Pause Strings weston yank more. mean tat ey Toes or stersts und Innovative aprvosches ens rs m " os RU rea recent"exploclon” of academic rales MiiiigedtinsrenctancvastcacSire took itcooes why do you think thst? Do yor eet | ee eee liduraice herveen teaching tince and other soe | SEE cee si yours ieghters were called Pope eon fa zine and that set me on the path... From reading the zine th _ ee See re tone re nee eee any ansec eee eee Pspetelng coir’ cio, Teacup ueDabs Uses faa Spee ccsce tae penta nec Pesebineash tay fsdng tai copy. ves ask oe Poets accusplshed to clectivey prose conscous ae Peas yoy and eed tis upon and fact cand Seta hey expensed sa coe andi made nes Oneteratet cate od 2 soon ele Bnremundst I Gextieltass mi a eas bordrands word tale Also, 1ve Shane work to Cale Revolucion, — Sawer you relate mterdiseipinary, borderland wexsative tote trd-space site of neshow does cnncetlon shin the wayraines are studied conversation compelling and apprecse rey often insist on a meaningfl elatonsh nthe! between theory and practice. Having grown up on te I UsyMerico border provided me with a way of reading 94 55) writing, a well as understanding and being in the work, thy understanding of borderiands isa reflection fy 275 5 histo of having been barn apd raised on tue USL A Tustines pedagogleal to engage te histor indepen fara meta Students re interested a unsesan teimplcatons of an increasingly corporatized, privatinn na ai fmonpoled media outlets and productions Sige tase ane jsomething important to contribute to. s eoaversation with one another) pa eee eesatin with one another) participatory education, The Refers ine caroom emcty gerne asen. nce ean ffect change though the shting 9 a’ 1¢ disruption of a capitalist imperative), and Prolustion of new practices, perspectives, and tn ie ‘sites where traditional kn ee eee Iiknowiedges crcl ats olde with newer knowledges on ea e them as action-oriented geo Tstudy ziee aan gpm offer an alternative to the typical RY of my iremember the yating, in Ed nerimsip ew aieeemmrai est Pepsin on BAN, exPlored.L appreciate the ways that anes negeathe te 2 Thave used zines in the classroom for: students to conerier ee = ‘expressions, experiences, and purposes of enalitg oe the and palites Ink tha we ae when histories, and in pursued and neat nes archives are for me, counter-cultura {aan be considered sites of counter- iplicate "the" historic record. They arc, non ontetation and a multvocality that resist of tional pursuits & = : ar df eogson stn end re ed meg oS oprettgrnars toned sin loner BPs rot nang ral cere gee nce = metre tong onthe one the eorgrema muer ground-breaking when t comes to spe ‘olor Thave ide ideas for other archives and literary fig feed and used in the classroom often interrogate the ones {power implicated in the relationships between race, sex. gevder, (= gg eURSoas as niet audiences in new ways. am fascinated by| lass, nation and economy. Theiringuiies conn cess” (yh centers to chives and of community relopment of everyday archive fom the injustices of neoliberalism to the unevenness tr, AU he present dev opi own (interactive) archives, I actually see transnational global capitalism imposes here Wet caren eh ean mec) i Lael effected by dominant histories to the need to name and set on 2 Bee errs ‘My own work focuses on. Histor ofthese experiences exclusively through feminist and aver ofcolor ines I remember the first time I purchased Taunboo Gir from an independent bookstore in Chicago, I think." Riad barcode. Lasked myself fit was stil azine or had i Jcrssed overt become a magazine. This incident really kept me thnking. Fora Tong time. So much so that I wrote about it with ‘Cai Hera in an article in which we theorize agency and ‘onsite the relationships between agency and authority. Using Sateen ample didi sve up its racial edge by lating in the bookstore and, ifs, did it necessarily cli “{GRekind ofauthorized voice? Or did it pr Nene BY and importance ofthe creative in imagining, pursing, and roan cari sal rétonshis acs einnew cles? Orbath? WORE Res Of ruetures i - any znestere i fen ae ic in terms of what and other: H .c hierarchy (particularly in terms of Producers operate von Bnderground cultural ty")? EAN [ei aaa Repener cP fe assumption that academic nementy their werk ante 8PPropriate and SUMO ORAM Ti wards Wh k Judith fi j king tows at's tha lalberstam writes ab i iving of zines is working towards. im ranch Hal writes a §{ Do you think the archiving of zines is worn Ta ts Scala ce Tana tes ab > he creation of a sort of eanon? Ifso, do you think 2 snc SYS"). Do you think Gea Feprorducing the erasures and inequalities origesn? How va think this avalia r im” culture? ‘ivists and. > aay 4 tural producers? mre TS? bt——— — Semen rae Jeonsider myself an expert. On anything nau Lon ~ fsbothaicsersas cases tne tampa — 5 as ine zines. Iwas very involved in my scene in to Peseretic ce pane: ata ro angefal in the Bos, and then in Olympia starting w they are incredibly smart and h by reading zine. 1 thing ore ee nd had {nto zines wnt 993 when T graduat Fight actions and provoke new understanding. Ther yo "Pie ee to Canada, Being able to get zines and a teores honest So wilt con appease feo fog aie and il ok Susman inspired by so many people who arein thekinds of fae Tale mae no na a {ofthe promise and potential ofthe publi intehectia a es ib ns outige of my own experiences reading them fee orn demon ceed Sebel ante Sa fabout by Michael Eric Dyson, Lam inspired to writ lof zinesters lke Celi is doing to take zin bythe Perez (who inspires me with the work he into pubes Nocm Maes Pspics mst tcmenber) Sabeion Mas [fLatchms riopane-Samarasiapa (who lapis toconnea Lae neetons) and Mal Nguyen (eke wero ps rere Ec inihe movenetis hat cre mousy woah Rn heels work we beeccomplshed in slay eth one a tsa ut ert bom ou dfleent ved ations - anther and it oo finan vei inviting eo alec so en om Bhabha sas the ere"man temp fal Bractos take responsi for the unspoken, Tee a ed pets at haunt the Hoel sin Sect lean from ech oer andro iat a eutural produces anor a rele eta Cate se the Riot Grel Collection asa natural extension of and even a response to the Downtown Collection, which Fales Director tari Taylor started in 1993 oF so. The Downtown Collectior | sees to document the writing, music, performance, activism ete} of Downtown New York primarily in the 70s and 80s and into the ealy 90s. tis often by nature punk, feminist, and queer there are alot of affinities between the two collec oftheirinspirations, aesthetics, and aims, definitely « much looser and undefinable although Downtown is Gecivasa movement nresing charpy. Te Downtown Collecuon passe of unde faepttgsialengesforan arise aac ee iE msorabietypes of acinar eludes many eaytert rales Library at New York, ramet Vers, and objects; the Riot s” such as videos, sso Raratmeraes at has Aan P= Ret Cr Gls a Srnversity Nac m these aft | reaction tothe punk eer ens: Riot Grrel was es that came shatTwanted to stat a Rat Gate ostly about zines, et Pfr since these questions seems to be mosty about zines.) oc cary that the Fles Riot Gt Cleston Poa ‘ion, The primary area of collecting is the PEO vatly Riot Grae Those involved in the eration of carly Blok papers of ofe esc, and activism, This inches but is not inites Cp Spondence, artwork, journals and noteboo!s, on rico] eon and recordings, photographs lippings, a0 Hyer Pf cource materials relating tothe creation inzines, bands, performances of this aie tte Public? Lt sa €? Are thre, Lenot turer pesPCOple whoo 2°ce: