利用者:N~jawiki/sandbox

{{Short description|Collection of self-published work reproduced by photocopying}} {{For|people with the surname|Zine (surname)}} {{See also|ezine}} {{Use dmy dates|date=August 2017}} [[File:SF punk zines at Prelinger Library.jpg|thumb|A box of zines]] A '''zine''' ({{IPAc-en|z|iː|n}} {{respell|ZEEN}}; short for ''[[magazine]]'' or ''[[fanzine]]'') is a small-circulation [[self-published]] work of original or appropriated texts and images, usually reproduced via a [[copy machine]]. 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 word|blend]] of ''[[Fan (person)|fan]]'' and ''magazine'') is a non-professional and non-official publication produced by [[Fan (person)|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. Popularly defined within a circulation of 1,000 or fewer copies, in practice many zines 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 [[DIY ethic|"do-it-yourself" philosophy]] that disregards the traditional conventions of professional design and publishing houses, proposing an alternative, confident, and ''self-aware'' contribution.<ref name=":3">{{Cite book|title=Fanzines The DIY Revolution|last=Triggs|first=Teal|publisher=Chronicle Books|year=2010|isbn=978-0-8118-7692-6|location=San Francisco, CA}}</ref> Handwritten zines, or carbon zines, are individually made, emphasizing a personal connection between creator and reader,<ref name=":3" /> turning imagined communities into embodied ones.<ref>{{Cite journal|title=Why Zines Matter: Materiality and the Creation of Embodied Community|journal=American Periodicals: A Journal of History, Criticism, and Bibliography|volume=18|issue=2|pages=213–238|last=Piepmeier|first=Alison|doi=10.1353/amp.0.0004|year=2008|s2cid=145377264}}</ref> 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]].<ref name=":5">{{Cite journal|last=Fife|first=Kirsty|date=2019|title=Not for you? Ethical implications of archiving zines|url=http://connection.ebscohost.com/c/articles/137512023|journal=Punk & Post Punk|volume=8|issue=2|pages=227–242|doi=10.1386/punk.8.2.227_1|s2cid=199233569|via=EBSCOhost}}</ref> Written in a variety of formats from [[desktop-published]] text to [[comics]], [[collage]]s and stories, zines cover broad topics including [[fanfiction]], politics, poetry, art & design, [[ephemera]], personal journals, social theory, [[Intersectionality|intersectional]] [[feminism]], single-topic obsession, or sexual content far outside the [[wikt:mainstream|mainstream]] enough to be prohibitive of inclusion in more traditional media. (An example of the latter is [[Boyd McDonald (pornographer)|Boyd McDonald]]'s ''Straight to Hell'', which reached a circulation of 20,000.<ref>William E. Jones, ''True Homosexual Experiences: Boyd McDonald and "Straight to Hell"'', Los Angeles: We Heard You Like Books, 2016, {{ISBN|9780996421812}}, p. 6.</ref>) Although there are a few eras associated with zine-making, this "wave" narrative proposes a limited view of the vast range of topics, styles and environments zines occupied. == History == === 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 Association|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]].<ref name=":3" /> Many trace zines' lineage from as far back as [[Thomas Paine]]'s exceptionally popular 1775 pamphlet ''[[Common Sense (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]].<ref>{{Cite book|title=Girl Zines: Making Media, Doing Feminism|last=Piepmeier|first=Alison|publisher=NYU Press|year=2009|pages=215|via=Google Books}}</ref><ref name=":3" /> Zines were given a pop culture revival in March 2021 with the release of the [[Amy Poehler]]-directed film [[Moxie (film)|Moxie]], released by [[Netflix]], about a 16-year old high school student who starts a feminist zine to empower the young women at her school.<ref>{{Cite magazine|last1=Ehrlich|first1=Brenna|date=2021-03-08|title=How Amy Poehler's 'Moxie' Is Bringing Riot Grrrl -- and Bikini Kill -- to a New Generation|url=https://www.rollingstone.com/movies/movie-features/amy-poehlers-moxie-bikini-kill-1138030/|access-date=2021-11-15|magazine=Rolling Stone|language=en-US}}</ref> == 1920s == === Little Magazines during the Harlem Renaissance === In the 1920s, 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 Negro."<ref>{{Cite journal |last1=Johnson |first1=Abby Ann Arthur |last2=Johnson |first2=Ronald M. |date=1974 |title=Forgotten Pages: Black Literary Magazines in the 1920s |url=https://www.jstor.org/stable/27553130 |journal=Journal of American Studies |volume=8 |issue=3 |pages=363–382 |doi=10.1017/S0021875800015930 |jstor=27553130 |issn=0021-8758}}</ref> This led to the creation of a "little magazine" entitled ''[https://issuu.com/poczineproject/docs/poczp_fire_1926_readview 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."<ref>{{Cite web |last=Jensen |first=Kelly |date=2019-02-06 |title=Get To Know The Little Magazines of The Harlem Renaissance |url=https://bookriot.com/harlem-renaissance-little-magazines/ |access-date=2022-05-14 |website=BOOK RIOT |language=en-US}}</ref> == 1930s–1960s and science fiction == [[File:Aukštaičių kova Nr.2.jpg|thumb|''Aukštaičių kova'' (''The Fight of Aukštaitians'') - a zine published by the [[Lithuanian partisans]], 1949]] [[File:Reign_of_the_Superman.jpg|thumb|"[[The Reign of the Superman]]," a short story from the 1933 zine ''Science Fiction: The Advance Guard of Future Civilization'', which led to the creation of the comic book hero [[Superman]].]]During and after the [[Great Depression]], editors of "pulp" science fiction magazines became increasingly frustrated with letters detailing the impossibilities of their science fiction stories. Over time they began to publish these overly-scrutinizing letters, complete with their return addresses. [[Hugo Gernsback]] published the first [[science fiction magazine]], ''[[Amazing Stories]]'' in 1926, and allowed for a large letter column which printed reader's addresses. By 1927 readers, often young adults, would write to each other, bypassing the magazine.{{citation needed|date=October 2020}} Now complete with a mailing list for their own [[science fiction fanzine]]s, fans began writing to each other not only about science fiction but about fandom itself. This also led to [[perzine]]s, zines about themselves.<ref>{{Cite web|url=http://www.allthumbspress.net/zineinfo.html|title=zine info|website=allthumbspress.net|access-date=18 October 2016|archive-date=7 May 2017|archive-url=https://web.archive.org/web/20170507135425/http://www.allthumbspress.net/zineinfo.html|url-status=dead}}</ref> [[Science fiction fanzine]]s vary in content, from short stories to convention reports to fanfiction were one of the earliest incarnations of the zine and influenced subsequent publications.<ref>{{Cite web|url=http://library.duke.edu/rubenstein/findingdb/zines/timeline/|title=Bingham Center Zine Collections {{!}}|website=library.duke.edu|access-date=9 November 2015|archive-date=9 October 2015|archive-url=https://web.archive.org/web/20151009120255/http://library.duke.edu/rubenstein/findingdb/zines/timeline/|url-status=dead}}</ref> "Zinesters" like [[Lisa Ben]] and [[Jim Kepner]] honed their talents in the science fiction fandom before tackling gay rights, creating zines such as "Vice Versa" and "ONE" that drew networking and distribution ideas from their science fiction roots.<ref>{{Cite web|url=http://www.scpr.org/programs/offramp/2015/09/04/44365/how-gay-rights-got-its-start-in-science-fiction/?slide=1|title=LGBT found a voice in science fiction|date=4 September 2015|website=Scpr.org|publisher=Southern California Public Radio|access-date=24 October 2015}}</ref> A number of leading science fiction and fantasy authors rose through the ranks of fandom, creating "pro-zines" such as [[Frederik Pohl]] and [[Isaac Asimov]]. The first science fiction fanzine, ''[[The Comet (fanzine)|The Comet]]'', was published in 1930 by the Science Correspondence Club in Chicago and edited by [[Raymond A. Palmer]] and Walter Dennis.<ref>{{Cite book|title=The Origins of Science Fiction Fandom: A Reconstruction|last=Moskowitz, Sanders|first=Sam, Joe|publisher=Greenwood Press|year=1994|location=Westport, CT|pages=17–34}}</ref> The first version of [[Superman]] (a bald-headed villain) appeared in the third issue of [[Jerry Siegel]] and [[Joe Shuster]]'s 1933 fanzine ''Science Fiction''.<ref>{{Cite web |url=https://comics.ha.com/itm/memorabilia/comic-related/jerry-siegel-and-joe-shuster-reign-of-the-superman-science-fiction-fanzine-v1-3-and-others-1933-appearing-five-yea/a/752-50590.s |title=Jerry Siegel and Joe Shuster - "Reign of the Superman" -- Science Fiction Fanzine V1#3 And Others (1933). |year=c. 2006 |url-status=live |archive-url=https://web.archive.org/web/20220514014413/https://comics.ha.com/itm/memorabilia/comic-related/jerry-siegel-and-joe-shuster-reign-of-the-superman-science-fiction-fanzine-v1-3-and-others-1933-appearing-five-yea/a/752-50590.s |archive-date=2022-05-14}}</ref> === ''Star Trek'' === The first media fanzine was a ''[[Star Trek]]'' fan publication called ''Spockanalia'', published in September 1967<ref name="verba2003">{{cite book|url=http://www.ftlpublications.com/bwebook.pdf|title=Boldly Writing: A Trekker Fan & Zine History, 1967–1987|author=Verba, Joan Marie|publisher=FTL Publications|year=2003|isbn=978-0-9653575-4-8|location=Minnetonka MN|access-date=18 April 2018|archive-url=https://web.archive.org/web/20160910042451/http://www.ftlpublications.com/bwebook.pdf|archive-date=10 September 2016|url-status=dead}}</ref><ref>{{cite news|url=https://www.nytimes.com/2008/09/21/nyregion/21winston.html?pagewanted=print|title=Joan Winston, 'Trek' Superfan, Dies at 77|last=Grimes|first=William|date=21 September 2008|work=The New York Times|access-date=2 April 2010}}</ref> by members of the [[Lunacon|Lunarians]].<ref name="cbs2000">{{cite book|url=https://books.google.com/books?id=oCvIZpCSRA0C&pg=PA112|title=Science Fiction Culture|author=Bacon-Smith, Camille|publisher=[[University of Pennsylvania Press]]|year=2000|isbn=978-0-8122-1530-4|pages=112–113}}</ref> Some of the earliest examples of academic fandom were written on ''Star Trek'' zines, specifically K/S ([[Captain Kirk|Kirk]]/[[Spock]]) [[Slash fiction|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.<ref name=":0">{{Cite book|url=https://books.google.com/books?id=gn9ul3LHiv4C|title=Cultural Studies|last1=Grossberg|first1=Lawrence|last2=Nelson|first2=Cary|last3=Treichler|first3=Paula|date=1 February 2013|publisher=Routledge|isbn=9781135201265|language=en}}</ref> <blockquote> "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."<ref name=":1" /></blockquote> Russ observed that while science fiction fans looked down on ''Star Trek'' fans, ''Star Trek'' fans looked down on K/S writers.<ref name=":1">"Concerning K/S." Joanna Russ Papers, Series II: Literary Works: Box 13, Folder #, Page 25. University of Oregon Special Collections.</ref> Kirk/Spock zines contained [[Fan fiction|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.<ref name=":0" /> === ''Janus'' and ''Aurora'' === ''[[Janus (science fiction magazine)|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 E. Butler|Octavia Butler]], [[Joanna Russ]], [[Samuel R. Delany]], and [[Suzette Haden Elgin|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.<ref>{{Cite web|url=http://sf3.org/history/janus-aurora-covers/|title=Janus & Aurora {{!}}|website=Sf3.org|access-date=24 November 2015}}</ref> === Comics === Comics were mentioned and discussed as early as the late 1930s in the [[Science fiction fanzines|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.{{Citation needed|date=April 2018}} In 1936, [[David Kyle]] published '' The Fantasy World '', possibly the first comics fanzine.<ref>Kyle, David. [http://jophan.org/mimosa/m24/kyle.htm "Phamous Phantasy Phan"]. [[Mimosa (magazine)|''Mimosa'']] no. 24, pp. 25–28.</ref><ref name="powerofcomics"/> Malcolm Willits and Jim Bradley started ''[[The Comic Collector's News]]'' in October 1947.<ref>{{Google books|QMnxCwAAQBAJ|Everyday Information: The Evolution of Information Seeking in America|page=286|keywords=The+Comic+Collector's+News|text=|plainurl=}}</ref> In 1953, [[Bhob Stewart]] published ''The EC Fan Bulletin'',<ref name="powerofcomics">{{Google books|PA175|The Power of Comics: History, Form and Culture|page=175|keywords=EC+Fan+Bulletin|text=|plainurl=}}</ref> which launched [[EC Comics|EC]] fandom of imitative Entertaining Comic fanzines. Among the wave of EC fanzines that followed, the best-known was [[Ron Parker (writer)|Ron Parker]]'s ''Hoo-Hah!'' In 1960, [[Richard A. Lupoff|Richard and Pat Lupoff]] launched their [[Science fiction fandom|science fiction]] and comics fanzine [[Xero (SF fanzine)|Xero]] and in 1961, [[Jerry Bails]]' [[Alter Ego (fanzine)|Alter Ego]], devoted to [[Superhero|costumed heroes]], became a focal point for superhero comics fandom.<ref name="powerofcomics"/> === 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]].''{{Citation needed|date=April 2018}} ''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.<ref>{{cite web|url=http://cinefantastiqueonline.com/|title=Cinefantastique: The Website with a Sense of Wonder|work=cinefantastiqueonline.com}}</ref> Richard Klemensen's ''[[Little Shoppe of Horrors]]'',<ref>{{cite web|url=http://www.littleshoppeofhorrors.com/|title=Little Shoppe of Horrors|work=littleshoppeofhorrors.com}}</ref> having a particular focus on "[[Hammer Film Productions|Hammer Horrors]]," began in 1972 and is still publishing as of 2017.<ref>{{Cite web|url=https://www.littleshoppeofhorrors.com/|title=Little Shoppe of Horrors|website=www.littleshoppeofhorrors.com}}</ref> The [[Baltimore]]-based ''Black Oracle'' (1969–1978) from writer-turned-[[John Waters (filmmaker)|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 (magazine)|Femme Fatales]].''{{Citation needed|date=April 2018}}<ref>{{Cite web |title=Women in Horror: A Look Back at Femme Fatales Magazine |url=http://sechrestthings.com/women-in-horror-a-look-back-at-femme-fatales-magazine/}}</ref> 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.<ref>{{cite web|url=http://cinema.usc.edu/directories/profile.cfm?id=33692&first=&last=&title=&did=1&referer=%2Fproduction%2Ffaculty.cfm&startpage=1&startrow=31|title=School of Cinematic Arts Directory Profile – USC School of Cinematic Arts|work=usc.edu}}</ref> ''[[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.<ref>{{Cite web|url=https://www.fum.wiki/wiki/Japanese_Giants|title=Japanese Giants|website=www.fum.wiki}}</ref> In 1993, ''[[G-FAN]]'' was published, and reached its 100th regularly published issue in Fall 2012.<ref>{{cite web|url=http://www.g-fan.com/html/gfan_index/index_100.php|title=GFAN Magazine Index|work=g-fan.com|access-date=18 April 2018|archive-date=15 March 2018|archive-url=https://web.archive.org/web/20180315070608/http://www.g-fan.com/html/gfan_index/index_100.php|url-status=dead}}</ref> ''FXRH'' ([[Special effects]] by [[Ray Harryhausen]]) (1971–1976) was a specialized zine co-created by future [[Cinema of the United States|Hollywood]] [[Special effect|FX]] artist [[Ernest D. Farino]].{{Citation needed|date=April 2018}} == 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 (Crawdaddy! creator)|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.{{Citation needed|date=April 2018}} ''Bomp'' remained a fanzine, featuring many writers who would later become prominent music journalists, including [[Lester Bangs]], [[Greil Marcus]], Ken Barnes, [[Ed Ward (writer)|Ed Ward]], [[Dave Marsh]], [[Mike Saunders (musician)|Mike Saunders]] and [[Richard Meltzer|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 home-grown rock fanzines emerged. At the peak of [[Bruce Springsteen]]'s megastardom following the ''[[Born in the U.S.A.]]'' album and [[Born in the U.S.A. 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.{{Citation needed|date=April 2018}} 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''.{{Citation needed|date=April 2018}} In the US, ''[[Backstreets Magazine]]'' started in Seattle in 1980 and still continues today as a glossy publication, now in communication with Springsteen's management and official website.{{Citation needed|date=April 2018}} ''Crème Brûlée'' documented post-rock genre and experimental music (1990s).{{Citation needed|date=April 2018}} == 1970s and punk == [[Punk zine]]s 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.<ref name=":2">{{Cite journal|last=Mattern|first=Shannon|year=2011|title=Click/Scan/Bold: The New Materiality of Architectural Discourse and Its Counter-Publics|journal=Design and Culture|volume=3|issue=3|pages=329–353|doi=10.2752/175470811X13071166525298|s2cid=191353038}}</ref> 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.<ref>{{cite web|url=http://www.loserdomzine.com/earlyirishfanzines.htm|title=Early Irish fanzines|website=Loserdomzine.com|access-date=16 August 2007|archive-date=28 September 2007|archive-url=https://web.archive.org/web/20070928154345/http://www.loserdomzine.com/earlyirishfanzines.htm|url-status=dead}}</ref><ref>{{Cite web|url=https://iisg.amsterdam/en/collections|title=Collections | IISG|website=iisg.amsterdam}}</ref> 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.{{Citation needed|date=April 2018}} The first and still best known UK 'punk zine' was ''[[Sniffin' Glue]]'', produced by [[Deptford, London|Deptford]] punk fan [[Mark Perry (musician)|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.{{Citation needed|date=April 2018}} Other UK fanzines included ''[[Blam! (fanzine)|Blam!]]'', ''[[Bombsite (fanzine)|Bombsite]]'', ''Burnt Offering'', ''[[Chainsaw (punk zine)|Chainsaw]]'', ''[[New Crimes]]'', ''[[Vague (fanzine)|Vague]]'', ''[[Jamming (fanzine)|Jamming]]'', [[Artcore Fanzine]], ''[[Love and Molotov Cocktails]]'', ''[[To Hell With Poverty]]'', ''[[New Youth (fanzine)|New Youth]]'', ''[[Peroxide (punk zine)|Peroxide]]'', ''[[ENZK]]'', ''[[Juniper beri-beri]]'', ''[[No Cure]]'',''[[Communication Blur]]'', ''[[Rox (fanzine)|Rox]]'', ''[[Grim Humour]]'', ''[[Spuno]]'', ''[[Cool Notes]]'' and ''[[Fumes (magazine)|Fumes]]''. [[File:UK_and_US_zines.jpg|thumb|UK and US zines]]By 1990, ''[[Maximum Rocknroll]]'' "had become the de facto bible of the scene, presenting a "passionate yet dogmatic view" of what [[Hardcore punk|hardcore]] was supposed to be."<ref>{{Cite web|url=http://mobile.avclub.com/articles/with-zines-the-90s-punk-scene-had-a-living-history,104206/?mobile=true|archive-url=https://archive.today/20131101201643/http://mobile.avclub.com/articles/with-zines-the-90s-punk-scene-had-a-living-history,104206/?mobile=true|url-status=dead|archive-date=2013-11-01|title=With zines, the '90s punk scene had a living history|last=Heller|first=Jason|website=archive.today}}</ref> ''HeartattaCk'' and ''[[Profane Existence]]'' took the DIY lifestyle to a religious level for [[emo]] and [[post-hardcore]] and [[crust punk]] culture. ''[[Slug and Lettuce (fanzine)|Slug and Lettuce]]'' started at the state college of PA and became an international 10,000 copy production – all for free.<ref>{{Cite web|url=http://www.slugandlettuce.net|title=Slug and Lettuce|website=Slug and Lettuce}}</ref> 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.<ref>{{Cite web|url=http://zinewiki.com/Gearhead_Nation|title=Gearhead Nation|website=Zine Wiki|archive-url=https://web.archive.org/web/20160702233537/http://zinewiki.com/Gearhead_Nation|archive-date=July 2, 2016|url-status=dead}}</ref> 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.<ref>{{cite web|url=http://www.perugiamusica.com/RIVISTE/MAZQUERADE/mazquerade.html|title=Perugiamusica.com|website=perugiamusica.com|access-date=March 14, 2018|archive-url=https://web.archive.org/web/20120303123957/http://www.perugiamusica.com/RIVISTE/MAZQUERADE/mazquerade.html|archive-date=March 3, 2012|url-status=dead}}</ref><ref>{{cite web|url=http://www.truemetal.it/news/raw-art-fanzine-restauro-digitale-e-disponibilita-dei-numeri-degli-anni-90-89535|title=Raw Art Fanzine: restauro digitale e disponibilità dei numeri degli anni '90|website=truemetal.it|date=26 May 2017 |access-date=March 14, 2018}}</ref> In the US, ''[[Flipside (fanzine)|Flipside]]'' (created by Al Kowalewski, Pooch (Patrick DiPuccio), Larry Lash (Steven Shoemaker), Tory, X-8 (Sam Diaz)) and ''[[Slash (fanzine)|Slash]]'' (created by Steve Samioff and Claude Bessy) were important punk zines for the Los Angeles scene, both debuting in 1977.<ref>{{Cite book|last=Hannon|first=Sharon M.|url=https://books.google.com/books?id=5CrUGq8t77kC&q=flipside+&pg=PA40|title=Punks: A Guide to an American Subculture|date=2010|publisher=ABC-CLIO|isbn=978-0-313-36456-3|language=en}}</ref> 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.<ref>{{cite web|url=http://messandnoise.com/features/4331535|title=Fast Forward: A Pre-Internet Story|date=September 18, 2011|website=messandnoise.com|access-date=March 14, 2018}}</ref><ref>{{cite web|url=http://www.clintonwalker.com.au/fanzines-1970s.html|title=Fanzines (1970s)|website=Clinton Walker|access-date=March 14, 2018}}</ref> In the American Midwest, a zine called 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 [[D.O.A. (band)|DOA]], the [[Misfits (band)|Misfits]], [[Black Flag (band)|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 (band)|Nirvana]], [[Fugazi (band)|Fugazi]], [[Bikini Kill]], [[Green Day]] and [[The Offspring]], a number of other punk zines have appeared, such as ''[[Dagger zine|Dagger]]'', ''[[Profane Existence]]'', ''[[Punk Planet]]'', ''[[Razorcake]]'', ''[[Slug and Lettuce (fanzine)|Slug and Lettuce]]'', ''[[Sobriquet (magazine)|Sobriquet]]'' and ''[[Tail Spins]]''. The early American punk zine ''[[RE/Search|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 (fanzine)|Roctober]]'', Kim Cooper's ''[[Scram (fanzine)|Scram]]'', P. Edwin Letcher's ''[[Garage & Beat]]'', and the UK's [[Shindig! (magazine)|Shindig!]] and Italy's ''[[Misty Lane]]''."{{Citation needed|date=April 2018}} 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.{{Citation needed|date=April 2018}} == ''Factsheet Five'' == During the 1980s and onwards, ''[[Factsheet Five]]'' (the name came from a short story by [[John Brunner (novelist)|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 (usually 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.<ref name=":3" /> == 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.<ref name="Girl Zines">{{cite book|title=Girl Zines: making media, doing feminism|last1=Piepmeier|first1=Alison|date=2009|publisher=[[New York University Press]]|isbn=978-0814767528|location=New York, N.Y.|oclc=326484782}}</ref><ref>[http://web.a.ebscohost.com.nhcproxy.mnpals.net/ehost/pdfviewer/pdfviewer?vid=3&sid=0a2d728d-44c7-4147-8bb0-683db44b0cf5%40sessionmgr4008&hid=4204] {{dead link|date=February 2019}}</ref><ref>{{cite web|url=https://rachelyon1.files.wordpress.com/2015/01/third-wave-feminism.pdf|title=Third-wave feminism|website=Rachelyon1.files.wordpress.com|access-date=19 February 2019}}</ref> As feminist documents, they 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.<ref name="Girl Zines" /> The American publication ''Bikini Kill'' (1990) introduced the Riot Grrrl Manifesto in their second issue as a way of establishing space.<ref name=":3" /> 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".<ref>{{cite journal|last1=Dunn|first1=Kevin|last2=Farnsworth|first2=May Summer|year=2012|title="We Are The Revolution": Riot Grrrl Press, Girl Empowerment, and DIY Self-publishing|journal=Women's Studies|volume=41|issue=136–137|pages=142, 147, 150|doi=10.1080/00497878.2012.636334|s2cid=144211678}}</ref> {{Quote box |quote = "BECAUSE we girls want to create mediums that speak to US. We are tired of boy band after boy band, boy zine after boy zine, boy punk after boy punk after boy . . . BECAUSE in every form of media I see us/myself slapped, decapitated, laughed at, trivialized, pushed, ignored, stereotyped, kicked, scorned, molested, silenced, invalidated, knifed, shot, choked, and killed ... BECAUSE every time we pick up a pen, or an instrument, or get anything done, we are creating the revolution. We ARE the revolution." |author =  Erika Reinstein |source = Fantastic Fanzine No. 2 |width = 80% |align = center }} Girls 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.<ref name="Girl Zines" /><ref>{{cite journal|last1=Sinor|first1=Jennifer|year=2003|title=Another Form of Crying: Girl Zines as Life Writing|journal=Prose Studies: History, Theory, Criticism|volume=26|issue=1–2|page=246|doi=10.1080/0144035032000235909|s2cid=161495522}}</ref><ref>{{Cite book|title=Storytelling/Narrative|last=Stone-Mediatore|first=Shari|publisher=Oxford Handbooks Online|year=2016}}</ref><ref>{{cite book|title=Zines in third space: radical cooperation and borderlands rhetoric|last1=Licona|first1=Adela|date=2012|publisher=[[State University of New York Press]]|isbn=978-1438443720|location=Albany, N.Y.|page=8}}</ref> 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.<ref>{{cite journal|last1=Nguyen|first1=Mimi Thi|date=12 December 2012|title=Riot Grrrl, Race, and Revival|journal=Women & Performance: A Journal of Feminist Theory|volume=22|issue=2–3|pages=173–196|doi=10.1080/0740770X.2012.721082|s2cid=144676874}}</ref> [[Bust (magazine)|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 (magazine)|Cosmopolitan]] and [[Glamour (magazine)|Glamour]].<ref name=":3" /> 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)|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 [[online magazine|e-zines]].<ref name="oren & press 2019">{{cite book |first1=Tasha | last1=Oren | first2=Andrea | last2=Press | date=2019-05-29 | title=The Routledge Handbook of Contemporary Feminism | url= |location=United Kingdom |publisher=[[Routledge]] |page= |isbn=9781138845114 }}</ref> Websites such as [[Gurl.com]] and [[ChickClick]] were created out of dissatisfaction of media available to women and parodied content found in mainstream [[teen magazine|teen]] and women's magazines.<ref name="nytimes 1999-05-09">{{cite news | first=Eric V. | last=Copage | url=https://www.nytimes.com/1999/05/09/nyregion/neighborhood-report-new-york-on-line-girls-just-want-to.html | title=NEIGHBORHOOD REPORT: NEW YORK ON LINE; Girls Just Want To ... | work=[[The New York Times]] | date=1999-05-09 | accessdate=2021-06-26 | url-status=live | archiveurl=https://web.archive.org/web/20170917173422/https://www.nytimes.com/1999/05/09/nyregion/neighborhood-report-new-york-on-line-girls-just-want-to.html | archivedate=September 17, 2017 }}</ref><ref name="isd 2000-04-18">{{cite news | first=Shar | last=Macantangay | url=https://www.iowastatedaily.com/chicks-click-their-way-through-the-internet/article_9a1a49df-0b02-509f-ba75-bca5f8c9c4bb.html | title=Chicks click their way through the Internet | work=[[Iowa State Daily]] | date=2000-04-18 | accessdate=2021-07-10 | archive-date=May 3, 2019 | archive-url=https://web.archive.org/web/20190503095341/http://www.iowastatedaily.com/chicks-click-their-way-through-the-internet/article_9a1a49df-0b02-509f-ba75-bca5f8c9c4bb.html | url-status=live }}</ref> 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.<ref name="oren & press 2019"/><ref name="feenberg 2004">{{cite book |first=Andrew | last=Feenberg | date=2004-07-19 |title=Community in the Digital Age: Philosophy and Practice |contributor-first=Leslie Regan |contributor-last=Shade | contribution=Gender and the Commodification of Community |url= |location=Maryland |publisher=[[Rowman & Littlefield]] |pages=151–160 |isbn=9780742529595}}</ref>{{rp|154}} === Commercialization === Starting in this decade, multinational companies started appropriating and commodifying zines and DIY culture.<ref name=":3" /> Their faux zines created a commercialized [[Hipster (contemporary subculture)|''hipster'']] lifestyle. By late in the decade, independent zinesters were accused of "selling out" to make a profit.<ref name=":3" /> == 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 [[Zürich|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 (magazine)|Giant Robot]]'', ''[[Dazed|Dazed & Confused]]'', ''[[Bust (magazine)|Bust]]'', ''[[Bitch (magazine)|Bitch]]'', ''[[Aaron Cometbus|Cometbus]]'', ''Doris'', ''Brainscan'', The Miscreant, and ''[[Maximum RocknRoll]]''.{{Citation needed|date=April 2018}} [https://www.google.com/maps/@35.0308138,-65.0498952,15489896m/data=!3m1!1e3!4m3!11m2!2siy62TXlooQbdzmiZAdIiFy_CaUcNOg!3e3 Live map of zine distributors worldwide] 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]],<ref>{{cite web|url=http://www.akpress.org/|title=Welcome to AK Press|access-date=23 February 2011}}</ref> [[Missing Link Records]] in [[Melbourne]].<ref>{{cite web|url=http://www.missinglink.net.au/|title=Missing Link Digital|access-date=23 February 2011}}</ref> and Wasted Ink Zine Distro in Phoenix, AZ.<ref>{{Cite web|title=Phoenix zine community continues to grow thanks to ASU alumna|url=https://www.statepress.com/article/2018/10/spartcult-asu-alumna-converges-voices-in-the-phoenix-zine-community|access-date=2021-03-09|website=The Arizona State Press}}</ref> [[File:Papercut_Zine_Library_CambridgeMA_2006-02_1.jpg|thumb|The Papercut Zine Library in Cambridge, Massachusetts|196x196px]] === Libraries and archives === A number of major public and academic [[Library|libraries]] and 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<ref>{{cite web|url=http://www.lib.uiowa.edu/spec-coll/resources/ZineResources.html|title=Zine and Amateur Press Collections at the University of Iowa|url-status=dead|archive-url=https://web.archive.org/web/20130530150303/http://www.lib.uiowa.edu/spec-coll/resources/ZineResources.html|archive-date=30 May 2013|access-date=24 May 2013}}</ref><ref>{{cite web|url=http://blog.lib.uiowa.edu/speccoll/2012/04/11/hevelin-collection/|title=Hevelin Collection|access-date=24 May 2013}}</ref> * The Sallie Bingham Center for Women's History and Culture at [[Duke University]]<ref name="BCzines">{{cite web|url=http://library.duke.edu/rubenstein/findingdb/zines/|title=Bingham Center Zine Collections|access-date=21 May 2014|archive-date=22 May 2014|archive-url=https://web.archive.org/web/20140522001006/http://library.duke.edu/rubenstein/findingdb/zines/|url-status=dead}}</ref> * The [[Tate]] Museum<ref>{{Cite web|url=https://www.tate.org.uk/whats-on/tate-britain/talk/show-and-tell-zine-collection-launch|title=Show and Tell: Zine collection Launch – Talk at Tate Britain|last=Tate|website=Tate|language=en-GB|access-date=2020-04-20}}</ref> * The [[British Library]]<ref>{{Cite web|url=https://www.bl.uk/learning/histcitizen/21cc/counterculture/doityourself/doityourself.html|title=Do it yourself|website=www.bl.uk|access-date=2020-04-20}}</ref> * [[Harvard University|Harvard University's]] [[Schlesinger Library]]<ref>{{Cite web|url=https://www.radcliffe.harvard.edu/news/schlesinger-newsletter/finding-zines-in-archives-and-archives-in-zines|title=Finding Zines in the Archives, and Archives in the Zines|date=2012-06-08|website=Radcliffe Institute for Advanced Study at Harvard University|language=en|access-date=2020-04-20}}</ref> * [[Los Angeles Public Library]]<ref>{{cite web |title=Zine Library |url=https://www.lapl.org/zines |website=Los Angeles Public Library |access-date=12 January 2022}}</ref> * [[San Francisco Public Library]]<ref>{{cite web |title=Little Maga/Zine Collection |url=https://sfpl.org/locations/main-library/book-arts-special-collections/little-magazine-collection |website=San Francisco Public Library |access-date=12 January 2022}}</ref> * [[Jacksonville Public Library]]<ref>{{cite web |title=Zine Collection |url=https://jaxpubliclibrary.org/services/zine-collection |website=Jacksonville Public Library |date=13 February 2019 |access-date=21 May 2022}}</ref> The Indie Photobook Library, an independent archive in the Washington, DC area, is a large collection of photobooks and photo zines dating from 2008 to 2016 which the [[Beinecke Rare Book & Manuscript Library|Beinecke Rare Book and Manuscript Library]] at [[Yale University]] acquired in 2016.<ref>{{cite web|url=http://www.indiephotobooklibrary.org/|title=Indie Photobook Library|website=Indiephotobooklibrary.org|access-date=19 February 2019}}</ref><ref>{{Cite web|url=https://news.yale.edu/2016/11/16/ipl-collection-adds-beinecke-s-strengths-photobooks-and-modern-trends-self-publishing|title=iPL collection adds to Beinecke's strengths in photobooks and modern trends in self-publishing|last=Mor|first=Michael|date=16 November 2016|website=YaleNews|access-date=23 March 2019}}</ref> In California, the [[Long Beach Public Library]] began to be 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 circulating zines publicly at libraries in California.<ref>{{Cite web|url=https://laplzinelibrary.tumblr.com/|title=LAPL Zine Library|website=laplzinelibrary.tumblr.com|access-date=16 December 2017}}</ref><ref>{{Cite web|url=http://lbzinefest.com/long-beach-public-zine-library/|title=Long Beach Public Zine Library – Long Beach Zine Fest|website=lbzinefest.com|access-date=16 December 2017|date=21 January 2016}}</ref><ref>{{Cite news|url=https://www.scpr.org/programs/offramp/2017/05/19/56881/check-out-the-zine-collection-at-the-long-beach-pu/|title=Check out the zine collection at the Long Beach Public Library|last=Radio|first=Southern California Public|date=19 May 2017|work=Southern California Public Radio|access-date=16 December 2017}}</ref> It has been suggested that the adoption of zine culture by powerful and prestigious institutions contradicts their function as declarations of agency by marginalized groups.<ref name=":5" /> === Zine fests, workshops, and clubs === [[File:LA_Zinefest_2017.jpg|thumb|Zebrapizza tabling at the Los Angeles Zinefest in 2017|left|178x178px]] 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,<ref>{{Cite web|url=https://lazinefest.com/2018-exhibitors/|title=LA Zine Fest Exhibitors|archive-url=https://web.archive.org/web/20180417024506/https://lazinefest.com/2018-exhibitors/|archive-date=17 April 2018|url-status=dead}}</ref> [[File:Zine workshop with the SUNY New Paltz Zine Community and Design Society .png|thumb|158x158px|Zine workshop with SUNY New Paltz Zine Community and Design Society, 2017]]Other 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. == 2000s and the effect of the Internet == With the rise of the Internet in the mid-1990s, zines initially faded from public awareness possibly due to the ability of private web-pages to fulfill much the same role of personal expression. Indeed, many zines were transformed into [[Webzine]]s, such as ''[[Boing Boing]]'' or ''[[monochrom]]''. The metadata standard for cataloging zines is ''xZineCorex'', which maps to [[Dublin Core]].<ref>{{cite web|url=http://zinelibraries.info/wordpress/wp-content/uploads/2013/04/Zinecore-Zine-Flats1.pdf|title=xZineCorex: An Introduction|last1=Miller|first1=Milo|publisher=Milo Miller|access-date=21 November 2014|archive-date=23 October 2014|archive-url=https://web.archive.org/web/20141023052932/http://zinelibraries.info/wordpress/wp-content/uploads/2013/04/Zinecore-Zine-Flats1.pdf|url-status=dead}}</ref> E-zine creators were originally referred to as "adopters" because of their use of pre-made type and layouts, making the process less ambiguous.<ref name=":3" /> Since, social media, blogging and vlogging have adopted a similar do-it-yourself publication model. In the UK ''[[Fracture (fanzine)|Fracture]]'' and ''[[Reason To Believe (fanzine)|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.<ref>{{Cite web|url=https://artcorefanzine.wordpress.com/|title=Artcore Fanzine {{!}} Est. 1986|website=Artcore Fanzine {{!}} Est. 1986|language=en|access-date=2020-03-11|archive-url=https://web.archive.org/web/20200309135846/https://artcorefanzine.wordpress.com/|archive-date=9 March 2020|url-status=dead}}</ref> 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<ref>{{cite journal |last1=Bauer |first1=Greta R. |last2=Hammond |first2=Rebecca |title=Toward a Broader Conceptualization of Trans Women's Sexual Health |department=Commentary |journal=[[Canadian Journal of Human Sexuality]] |date=April 2015 |volume=24 |issue=1 |pages=1–11 |doi=10.3138/cjhs.24.1-CO1 |publisher=Sex Information and Education Council of Canada / [[University of Toronto Press]]}}</ref><ref name="rosenberg-tilley-morgan">{{cite journal |last1=Rosenberg |first1=Shoshana |last2=Tilley |first2=P. J. Matt |last3=Morgan |first3=Julia |title='I Couldn't Imagine My Life Without It': Australian Trans Women's Experiences of Sexuality, Intimacy, and Gender-Affirming Hormone Therapy |journal=[[Sexuality & Culture]] |publisher=[[Springer Science+Business Media]] |date=September 2019 |volume=23 |issue=3 |pages=962–977 |doi=10.1007/s12119-019-09601-x}}</ref> and popular-culture attention.<ref>{{cite news |last1=Tourjée |first1=Diana |title=A Guide to Muffing: The Hidden Way to Finger Trans Women |url=https://www.vice.com/en/article/59dxw3/a-guide-to-muffing-the-hidden-way-to-finger-trans-women |department=Best You've Ever Had<!--Not "Identity", which is the section of Vice used for migrated Broadly pieces.--> |website=[[Broadly]]<!--Now hosted on vice.com, but not a Vice piece. See https://www.vice.com/en_us/broadly--> |publisher=[[Vice Media]] |access-date=14 December 2022 |language=en |date=2017-10-12}}</ref><ref name="valens">{{cite news |last=Valens |first=Ana |title=This Viral Sex Ed Tip For Trans Women Reveals How We're So Far Behind In Transfeminine Pleasure |url=https://www.themarysue.com/this-viral-sex-ed-tip-for-trans-women-reveals-how-were-so-far-behind-in-transfeminine-pleasure/ |website=[[The Mary Sue]] |access-date=14 December 2022 |language=en |date=12 July 2022}}</ref> It was described in ''[[Sexuality & Culture]]'' as "a comprehensive guide to trans women's sexuality"<ref name="rosenberg-tilley-morgan"/>{{rp|p=965}} and ''[[The Mary Sue]]'' as "the gold standard in [[transfeminine]] sex and masturbation".<ref name="valens"/> === alt.zines === The [[Usenet]] [[newsgroup]] ''alt.zines'' was created in 1992 by Jerod Pore and Edward Vielmetti for the discussion of zines and zine-related topics.<ref>See [https://groups.google.com/g/alt.zines alt.zines] on [[Google Groups]].</ref> === Television shows === Two popular kids shows in the late 1990s and early 2000s featured zine-making: ''[[Our Hero]]'' (2000–02) and ''[[Rocket Power]]'' (1999–2004).<ref name=":3" /> The main character in ''Our Hero'', Kale Stiglic, writes about her life in the Toronto suburbs. The episodes are narrated and presented in the form of zine issues that she creates, inheriting her father's storytelling passion. The show won titles from the Canadian Comedy Awards and Gemini Awards during its development.<ref>{{Cite web|url=https://www.imdb.com/title/tt0262980/awards?ref_=tt_ql_op_1|title=IMDb Our Hero Awards|publisher=IMDb}}</ref> ==See also== {{div col|colwidth=22em}} * [[Artist's book]] * [[Broken Pencil]] (with zine reviews) * [[Chapbook]] * [[Copybook (education)|Copybook]] * [[Doujinshi]] * [[Ezine]] * [[Hugo Award for Best Fanzine]] * [[Information activist]] * [[List of minicomics creators]] * [[Minicomic]] * [[Pamphlet]] * [[Pop-up book]] * [[Samizdat]] * [[Underground comix]] * [[United Fanzine Organization]] {{div col end}} ==References== {{Reflist}} ==Further reading== {{refbegin|40em}} * 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''. USA: 2012. * Anderberg, Kirsten. ''Zine Culture: Brilliance Under the Radar''. Seattle, USA: 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 {{ISBN|978-1-62106-733-7}} * [[Francesca Lia Block|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.), {{ISBN|0-9637401-4-8}}. [[Microcosm Publishing]], with Biel, Joe, 2008 (2nd edn.), {{ISBN|978-1-934620-06-9}}. * Brown, Tim W. ''Walking Man, A Novel''. Bronx River Press, 2008. {{ISBN|978-0-9789847-0-0}}. * Duncombe, Stephen. ''Notes from Underground: Zines and the Politics of Alternative Culture''. Microcosm Publishing, 1997, 2008, 2017. {{ISBN|978-1-62106-484-8}}. * Kennedy, Pagan. ''Zine: How I Spent Six Years of My Life in the Underground and Finally...Found Myself...I Think'' (1995) {{ISBN|0-312-13628-5}}. * 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) {{ISBN|978-0-8147-6752-8}}. * 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. {{ISBN|978-0-618-56315-9}}. * Vale, V. ''Zines! Volume 1'' ([[RE/Search]], 1996) {{ISBN|0-9650469-0-7}}. * Vale, V. ''Zines! Volume 2'' ([[RE/Search]], 1996) {{ISBN|0-9650469-2-3}}. * Wrekk, Alex. ''Stolen Sharpie Revolution''. Portland: [[Microcosm Publishing]], 2003. {{ISBN|0-9726967-2-5}}. * Richard Hugo House Zine Archives and Publishing Project (ZAPP). "ZAPP Seattle". Seattle, USA. * "The Ragged Edge Collection," Skateboarding, Music, and Art Zines from the ‘1980s and’1990s. [https://archive.org/details/raggededgecollection Internet Archive] {{refend}} {{Fan fiction}} {{Fandom}} {{Appropriation in the Arts}} {{Intellectual property activism}} {{Authority control}} [[Category:DIY culture]] [[Category:Fanzines]] [[Category:Publications by format]] [[Category:Subcultures]] [[Category:Zines| ]] [[Category:Publishing]] [[Category:Underground culture]]