Zine

Dissidents, under-represented, and marginalized groups have published their own opinions in leaflet and pamphlet form for as long as such technology has been available. The concept of zines can be traced to the amateur press movement of the late 19th and early 20th century, which would in turn intersect with Black literary magazines during the Harlem Renaissance, and the subculture of science fiction fandom in the 1930s. The popular graphic-style associated with zines is influenced artistically and politically by the subcultures of Dada, Fluxus, Surrealism, and Situationism.

Many{{citation needed|date=November 2023}} trace zines' lineage from as far back as Thomas Paine's exceptionally popular 1776 pamphlet Common Sense, Benjamin Franklin's literary magazine for psychiatric patients at a Pennsylvania hospital and The Dial (1840–44) by Margaret Fuller and Ralph Waldo Emerson.{{rp|215}}

In the 1920s during the Harlem Renaissance, a group of Black creatives in Harlem began a literary magazine "the better to express ourselves freely and independently – without interference from old heads, white or [black]."{{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|url-access=subscription }} This led to the creation of a "little magazine" entitled Fire!!. Only [https://issuu.com/poczineproject/docs/poczp_fire_1926_readview 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."{{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}}

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File:Reign_of_the_Superman.jpg", 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. In January 1927, Gernsback introduced a large letter column which printed reader's addresses. allowing them to write to each other; it was out of this mailing list that fans' own science fiction fanzines began.{{Cite journal |last=Iamandi |first=Petru |date=2007 |title=The SF Fandom: A Subculture with a Difference |journal=Proceedings of the Culture, Subculture, Counterculture Conference |location=Galaţi |page=9}} Fans also began writing to each other not only about science fiction but about fandom itself, leading to perzines.{{Cite web|url=http://www.allthumbspress.net/zineinfo.html|title=zine info|website=all thumbs press |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}} Science fiction fanzines vary in content, from short stories to convention reports to fanfiction were one of the earliest incarnations of the zine and influenced subsequent publications.{{Cite web|url=http://library.duke.edu/rubenstein/findingdb/zines/timeline/|title=Bingham Center Zine Collections {{!}} A Brief History of Zines |website= Duke University Libraries |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}} "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.{{Cite web|url=http://www.scpr.org/programs/offramp/2015/09/04/44365/how-gay-rights-got-its-start-in-science-fiction/ |title=How gay rights got its start in science fiction |date=4 September 2015 |publisher=Southern California Public Radio|access-date=24 October 2015}} 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, was published in 1930 by the Science Correspondence Club in Chicago and edited by Raymond A. Palmer and Walter Dennis.{{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}} 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.{{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}}

The first media fanzine was a Star Trek fan publication called Spockanalia, published in September 1967{{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}}{{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}} by members of the Lunarians.{{cite book |author=Bacon-Smith |first=Camille |author-link=Camille Bacon-Smith |url=https://books.google.com/books?id=oCvIZpCSRA0C&pg=PA112 |title=Science Fiction Culture |publisher=University of Pennsylvania Press |year=2000 |isbn=978-0-8122-1530-4 |series=Feminist Cultural Studies, the Media, and Political Culture |location=Philadelphia |pages=112–113 |oclc=59376517}} Some of the earliest examples of academic fandom were written on Star Trek zines, specifically K/S (Kirk/Spock) slash zines, which featured a gay relationship between the two. Author Joanna Russ wrote in her 1985 analysis of K/S zines that slash fandom at the time consisted of around 500 core fans and was 100% female.{{Cite book |url=https://books.google.com/books?id=gn9ul3LHiv4C |title=Cultural Studies |date=February 2013 |publisher=Routledge |isbn=9781135201265 |editor-last=Grossberg |editor-first=Lawrence |editor-link=Lawrence Grossberg |language=en |type=eBook |orig-year=Originally published: 1992 |editor-last2=Nelson |editor-first2=Cary |editor-link2=Cary Nelson |editor-last3=Treichler |editor-first3=Paula A.}}

"K/S not only speaks to my condition. It is written in Female. I don't mean that literally, of course. What I mean is that I can read it without translating it from the consensual, public world, which is sexist, and unconcerned with women per se, and managing to make it make sense to me and my condition."

Russ observed that while science fiction fans looked down on Star Trek fans, Star Trek fans looked down on K/S writers."Concerning K/S." Joanna Russ Papers, Series II: Literary Works: Box 13, Folder #, Page 25. University of Oregon Special Collections. Kirk/Spock zines contained fanfiction, artwork, and poetry created by fans. Zines were then sent to fans on a mailing list or sold at conventions. Many had high production values and some were sold at convention auctions for hundreds of dollars.

Janus, later called Aurora, was a science fiction feminist zine created by Janice Bogstad and Jeanne Gomoll in 1975. It contained short stories, essays, and film reviews. Among its contributors were authors such as Octavia Butler, Joanna Russ, Samuel R. Delany, and Suzette Hayden Elgin. Janus/Aurora was nominated for the Hugo Award for "Best Fanzine" in 1978, 1979, and 1980. Janus/Aurora was the most prominent science fiction feminist zine during its run, as well as one of the only zines that dealt with such content.{{Cite web|url=http://sf3.org/history/janus-aurora-covers/|title=Janus & Aurora {{!}}|website=Sf3.org|access-date=24 November 2015}}

Comics were mentioned and discussed as early as the late 1930s in the fanzines of science fiction fandom. They often included fan artwork based on existing characters as well as discussion of the history of comics. Through the 1960s, and 1970s, comic fanzines followed general formats, such as the industry news and information magazine (The Comic Reader was one example), interview, history and review-based fanzines, and the fanzines which basically represented independent comic book-format exercises.{{Citation needed|date=April 2018}}

In 1936, David Kyle published The Fantasy World, possibly the first comics fanzine.Kyle, David. [http://jophan.org/mimosa/m24/kyle.htm "Phamous Phantasy Phan"]. Mimosa no. 24 (August 1999), pp. 25–28.

Malcolm Willits and Jim Bradley started The Comic Collector's News in October 1947.{{Cite book |url=https://www.google.com/books/edition/Everyday_Information/QMnxCwAAQBAJ?hl=en&gbpv=0 |title=Everyday Information: The Evolution of Information Seeking in America |date=March 4, 2011 |publisher=MIT Press |isbn=9780262294423 |editor-last=Aspray |editor-first=William |pages=286 |type=eBook |oclc=631747597 |editor-last2=Hayes |editor-first2=Barbara M.}} In 1953, Bhob Stewart published The EC Fan Bulletin,{{Cite book |last=Duncan |first=Randy |url=https://www.google.com/books/edition/The_Power_of_Comics/dTN54Zv0Ip4C?hl=en&gbpv=1&bsq=david%20kyle |title=The Power of Comics: History, Form and Culture |last2=Smith |first2=Matthew J. |date=2009 |publisher=Bloomsbury Academic |isbn=9780826429360 |pages=175 |oclc=231585586}} which launched EC fandom of imitative Entertaining Comic fanzines. Among the wave of EC fanzines that followed, the best-known was Ron Parker's Hoo-Hah! In 1960, Richard and Pat Lupoff launched their science fiction and comics fanzine Xero and in 1961, Jerry Bails' Alter Ego, devoted to costumed heroes, became a focal point for superhero comics fandom.

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.{{cite web|url=http://cinefantastiqueonline.com/|title=Cinefantastique: The Website with a Sense of Wonder|work=cinefantastiqueonline.com}} Richard Klemensen's Little Shoppe of Horrors, having a particular focus on "Hammer Horrors", began in 1972 and is still publishing as of 2017.{{Cite web|url=https://www.littleshoppeofhorrors.com/|title=Little Shoppe of Horrors|website=www.littleshoppeofhorrors.com}} The Baltimore-based Black Oracle (1969–1978) from writer-turned-John Waters repertory member George Stover was a diminutive zine that evolved into the larger-format Cinemacabre. Stover's Black Oracle partner Bill George published his own short-lived zine The Late Show (1974–1976; with co-editor Martin Falck), and later became editor of the Cinefantastique prozine spinoff Femme Fatales.{{Citation needed|date=April 2018}}{{Cite web |title=Women in Horror: A Look Back at Femme Fatales Magazine |date=21 February 2017 |url=http://sechrestthings.com/women-in-horror-a-look-back-at-femme-fatales-magazine/}} 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.{{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}} 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.{{Cite web|url=https://www.fum.wiki/wiki/Japanese_Giants|title=Japanese Giants|website=www.fum.wiki}}{{Dead link|date=January 2023 |bot=InternetArchiveBot |fix-attempted=yes }} In 1993, G-FAN was published, and reached its 100th regularly published issue in Fall 2012.{{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}} FXRH (Special effects by Ray Harryhausen) (1971–1976) was a specialized zine co-created by future Hollywood FX artist Ernest D. Farino.{{Citation needed|date=April 2018}}

Board game-focused zines, especially those focused on the board game Diplomacy, took off in the 1960s. These not only contained news and articles about the hobby, but also served as a common form for the organisation of play-by-mail games.{{cite book |last1=Sharp |first1=Richard |title=The Game of Diplomacy |date= |publisher=A. Barker |year=1978 |isbn=978-0213166762 |location=London |oclc=6355974}}{{Cite magazine |last= Tamlyn|first= Pete|date= Spring 1985 |title= Adapting Games for Postal Play|magazine= Flagship |number= 6|page= 33|ref=Tam85}}

Several fans active in science fiction and comics fandom recognized a shared interest in rock music, and the rock fanzine was born. Paul Williams and Greg Shaw were two such science fiction fans turned rock zine editors. Williams' Crawdaddy! (1966) and Shaw's two California-based zines, Mojo Navigator Rock and Roll News (1966) and Who Put the Bomp (1970), are among the most popular early rock fanzines.

Crawdaddy! (1966) quickly moved from its fanzine roots to become one of the first rock music "prozines" with paid advertisers and newsstand distribution.{{Cite journal |last=Saffle |first=Michael |year=2010 |title=Self-Publishing and Musicology: Historical Perspectives, Problems, and Possibilities |url=https://muse.jhu.edu/article/382514 |journal=Notes: Quarterly Journal of the Music Library Association |language=en |volume=66 |issue=4 |page=731 |doi=10.1353/not.0.0376 |issn=1534-150X|url-access=subscription }} Bomp remained a fanzine, featuring many writers who would later become prominent music journalists, including Lester Bangs, Greil Marcus, Ken Barnes, Ed Ward, Dave Marsh, Mike Saunders and R. Meltzer as well as cover art by Jay Kinney and Bill Rotsler (both veterans of science fiction and Comics fandom).{{Citation needed|date=May 2025}} 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).{{Citation needed|date=May 2025}}

In the 1980s, with the rise of stadium superstars, many rock fanzines emerged. At the peak of Bruce Springsteen's megastardom following the Born in the U.S.A. album and tour in the mid-1980s, there were no less than five Springsteen fanzines circulating at the same time in the UK alone, and many others elsewhere.{{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 1980 and continued publication for 43 years, ceasing in 2023.{{Cite web |last=Corcoran |first=Nina |date=2023-02-04 |title=Bruce Springsteen Fanzine Backstreets Ending to Protest Ticket Costs |url=https://pitchfork.com/news/bruce-springsteen-fanzine-backstreets-ending-to-protest-ticket-costs/ |access-date=2025-05-31 |website=Pitchfork |language=en-US}}

Crème Brûlée documented post-rock genre and experimental music (1990s).{{Citation needed|date=April 2018}}

Punk zines emerged as part of the punk subculture in the late 1970s, along with the increasing accessibility to copy machines, publishing software, and home printing technologies.{{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}} 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.{{cite web |orig-date=First published in print Oct 2005 |title=Early Irish fanzines |url=http://www.loserdomzine.com/earlyirishfanzines.htm |url-status=usurped |archive-url=https://web.archive.org/web/20070928154345/http://www.loserdomzine.com/earlyirishfanzines.htm |archive-date=28 September 2007 |access-date=16 August 2007 |website=Loserdom Zine}}{{Cite web|url=https://iisg.amsterdam/en/collections|title=Collections | IISG|website=iisg.amsterdam}} 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 punk fan Mark Perry which ran for 12 photocopied issues; the first issue produced by Perry immediately following (and in response to) the London debut of the Ramones on 4 July 1976.{{Citation needed|date=April 2018}} Other UK fanzines included Blam!, Bombsite, Burnt Offering, Chainsaw, New Crimes, Vague, Jamming, Artcore Fanzine, Love and Molotov Cocktails, To Hell With Poverty, New Youth, Peroxide, ENZK, Juniper beri-beri, No Cure,Communication Blur, Rox, Grim Humour, Spuno, Cool Notes and Fumes. File:UK_and_US_zines.jpgBy 1990, Maximum Rocknroll "had become the de facto bible of the scene, presenting a "passionate yet dogmatic view" of what hardcore was supposed to be."{{Cite web |last=Heller |first=Jason |title=With zines, the '90s punk scene had a living history |url=https://www.avclub.com/with-zines-the-90s-punk-scene-had-a-living-history-1798241222 |url-status=live |archive-url=https://archive.today/20131101201643/http://mobile.avclub.com/articles/with-zines-the-90s-punk-scene-had-a-living-history,104206/?mobile=true |archive-date=2013-11-01 |website=AV Club}} HeartattaCk and Profane Existence took the DIY lifestyle to a religious level for emo and post-hardcore and crust punk culture. Slug and Lettuce started at the state college of PA and became an international 10,000 copy production – all for free.{{Cite web |title=Slug and Lettuce |url=http://www.slugandlettuce.net |url-status=usurped |website=Slug and Lettuce}} 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.{{Cite web |title=Gearhead Nation |url=https://zinewiki.com/wiki/Gearhead_Nation |url-status=live |archive-url=https://web.archive.org/web/20160702233537/http://zinewiki.com/Gearhead_Nation |archive-date=July 2, 2016 |access-date= |website=ZineWiki}} 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.{{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}}{{cite web |last=Santamaria |first=Stefano |date=26 May 2017 |title=Raw Art Fanzine: restauro digitale e disponibilità dei numeri degli anni '90 |url=http://www.truemetal.it/news/raw-art-fanzine-restauro-digitale-e-disponibilita-dei-numeri-degli-anni-90-89535 |url-status=live |access-date=March 14, 2018 |website=truemetal.it |language=it}}

In the US, Flipside (created by Al Kowalewski, Pooch (Patrick DiPuccio), Larry Lash (Steven Shoemaker), Tory, X-8 (Sam Diaz)) and Slash (created by Steve Samioff and Claude Bessy) were important punk zines for the Los Angeles scene, both debuting in 1977.{{Cite book |last=Hannon |first=Sharon M. |url=https://archive.org/details/punksguidetoamer0000hann/mode/2up |title=Punks: A Guide to an American Subculture |date=2010 |publisher=Greenwood Press |isbn=9780313364563 |series=Guides to Subcultures and Countercultures |location=Santa Barbara, CA |language=en |oclc=454381297}} 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.{{cite web |last=Schaefer |first=Rene |date=18 September 2011 |title=Fast Forward: A Pre-Internet Story |url=http://messandnoise.com/features/4331535 |url-status=dead |archive-url=https://web.archive.org/web/20160304052629/http://messandnoise.com/features/4331535 |archive-date=4 March 2016 |access-date=March 14, 2018 |website=Mess+Noise}}{{cite web |last=Walker |first=Clinton |author-link=Clinton Walker |title=Fanzines (1970s) |url=http://www.clintonwalker.com.au/fanzines-1970s.html |access-date=March 14, 2018 |website=clintonwalker.com.au}} In the American Midwest, Touch and Go described the area's hardcore scene from 1979 to 1983. We Got Power described the LA scene from 1981 to 1984, and included show reviews and band interviews with groups including DOA, the Misfits, Black Flag, Suicidal Tendencies, and the Circle Jerks. My Rules was a photo zine that included photos of hardcore shows from across the US an in Effect, launched in 1988, described the New York City punk scene. Among later titles, Maximum RocknRoll is a major punk zine, with over 300 issues published. As a result, in part, of the popular and commercial resurgence of punk in the late 1980s, and after, with the growing popularity of such bands as Sonic Youth, Nirvana, Fugazi, Bikini Kill, Green Day and the Offspring, a number of other punk zines have appeared, such as Dagger, Profane Existence, Punk Planet, Razorcake, Slug and Lettuce, Sobriquet and Tail Spins. The early American punk zine Search and Destroy eventually became the influential fringe-cultural magazine Re/Search.

"In the post-punk era several well-written fanzines emerged that cast an almost academic look at earlier, neglected musical forms, including Mike Stax' Ugly Things, Billy Miller and Miriam Linna's Kicks, Jake Austen's Roctober, Kim Cooper's Scram, P. Edwin Letcher's Garage & Beat, and the UK's Shindig! and Italy's Misty Lane."{{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}}

During the 1980s and onwards, Factsheet Five (the name came from a short story by John Brunner), originally published by Mike Gunderloy and now defunct, catalogued and reviewed any zine or small press creation sent to it, along with their mailing addresses. In doing so, it formed a networking point for zine creators and readers (often the same people). The concept of zine as an art form distinct from fanzine, and of the "zinesters" as member of their own subculture, had emerged. Zines of this era ranged from perzines of all varieties to those that covered an assortment of different and obscure topics. Genres reviewed by Factsheet Five included quirky, medley, fringe, music, punk, grrrlz, personal, science fiction, food, humour, spirituality, politics, queer, arts & letters, comix.

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.{{cite book |last1=Piepmeier |first1=Alison |url=https://archive.org/details/girlzinesmakingm0000piep |title=Girl Zines: making media, doing feminism |date=2009 |publisher=New York University Press |isbn=978-0814767528 |location=New York, N.Y. |oclc=326484782}}[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}}{{cite web |last=Iannello |first=Kathleen P. |title=Third-Wave Feminism and Individualism: Promoting Equality or Reinforcing the Status Quo? |url=https://rachelyon1.files.wordpress.com/2015/01/third-wave-feminism.pdf |url-status=live |access-date=19 February 2019 |website=Rachelyon1.files.wordpress.com}} As feminist documents, zines related to this follow a longer legacy of feminist and women's self-publication that includes scrapbooking, periodicals and health publications, allowing women to circulate ideas that would not otherwise be published. The American publication Bikini Kill (1990) introduced the Riot Grrrl Manifesto in their second issue as a way of establishing space. Zinesters Erika Reinstein and May Summer founded the Riot Grrrl Press to serve as a zine distribution network that would allow riot grrrls to "express themselves and reach large audiences without having to rely on the mainstream press".{{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}}

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|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%

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Women use this grassroots medium to discuss their personal lived experiences, and themes including body image, sexuality, gender norms, and violence to express anger, and reclaim/refigure femininity.{{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}}{{Cite book |last=Stone-Mediatore |first=Shari |title=The Oxford Handbook of Feminist Theory |publisher=Oxford University Press |year=2016 |editor-last=Disch |editor-first=Lisa |series=Oxford Handbooks |pages=934–954 |chapter=Storytelling/Narrative |doi=10.1093/oxfordhb/9780199328581.013.27 |editor-last2=Hawkesworth |editor-first2=Mary |editor-link2=Mary Hawkesworth |chapter-url=https://archive.org/details/the-oxford-handbook-of-feminist-theory-oxford-university-press-2016/page/933/mode/2up?q=%22SHARI+STONE-MEDIATORE%22}}{{cite book |last1=Licona |first1=Adela C. |url=https://www.google.com/books/edition/_/ILExvgAACAAJ?hl=en |title=Zines in third space: radical cooperation and borderlands rhetoric |date=2012 |publisher=State University of New York Press |isbn=9781438443720 |location=Albany, NY |page=8 |oclc=760293775}} 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.{{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}}

BUST - "The voice of the new world order" was created by Debbie Stoller, Laurie Hanzel and Marcelle Karp in 1993 to propose an alternate to the popular mainstream magazines Cosmopolitan and Glamour. Additional zines following this path are Shocking Pink (1981–82, 1987–92), Jigsaw (1988– ), Not Your Bitch 1989–1992 (Gypsy X, ed.) Bikini Kill (1990), Girl Germs (1990), Bamboo Girl (1995– ), BITCH Magazine (1996– ), Hip Mama (1997– ), Kitten Scratches (1999) and ROCKRGRL (1995–2005).

In the mid-1990s, zines were also published on the Internet as e-zines.{{cite book |url=https://www.google.com/books/edition/The_Routledge_Handbook_of_Contemporary_F/MuyYDwAAQBAJ?hl=en |title=The Routledge Handbook of Contemporary Feminism |date=2019 |publisher=Routledge |isbn=9781138845114 |editor-last=Oren |editor-first=Tasha |location=Abingdon, Oxen; New York, NY |page= |oclc=1082331683 |editor-last2=Press |editor-first2=Andrea L. |editor-link2=Andrea L. Press |url-status=live}} Websites such as Gurl.com and ChickClick were created out of dissatisfaction of media available to women and parodied content found in mainstream teen and women's magazines.{{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 }}{{cite news |last=Macantangay |first=Shar |date=2000-04-18 |title=Chicks click their way through the Internet |url=https://www.iowastatedaily.com/chicks-click-their-way-through-the-internet/article_9a1a49df-0b02-509f-ba75-bca5f8c9c4bb.html |url-status=dead |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 |archive-date=May 3, 2019 |accessdate=2021-07-10 |work=Iowa State Daily}} 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.{{cite book |last=Shade |first=Leslie Regan |url=https://archive.org/details/communityindigit0000unse/page/n5/mode/2up |title=Community in the Digital Age: Philosophy and Practice |date=2004 |publisher=Rowman & Littlefield |isbn=9780742529595 |editor-last=Feenberg |editor-first=Andrew |editor-link=Andrew Feenberg |location=Lanham, Maryland |pages=151–160 |contribution=Gender and the Commodification of Community |oclc=54882039 |editor-last2=Barney |editor-first2=Darin |editor-link2=Darin Barney |contributor-first=Leslie Regan |contributor-last=Shade}}{{rp|154}}

Starting in this decade{{which|date=December 2024}}, multinational companies started appropriating and commodifying zines and DIY culture. Their faux zines created a commercialized hipster lifestyle. By late in the decade, independent zinesters were accused of "selling out" to make a profit.

Zines are sold, traded or given as gifts at symposiums, publishing fairs, record and book stores and concerts, via independent media outlets, zine 'distros', mail order or through direct correspondence with the author. They are also sold online on distro websites, Etsy shops, blogs, or social networking profiles and are available for download. While zines are generally self-published, there are a few independent publishers who specialize in art zines such as Nieves Books in Zurich, founded by Benjamin Sommerhalder, and Café Royal Books founded by Craig Atkinson in 2005. In recent years a number of photocopied zines have risen to prominence or professional status and have found wide bookstore and online distribution. Notable among these are Giant Robot, Dazed & Confused, Bust, Bitch, Cometbus, Doris, Brainscan, The Miscreant, and Maximum RocknRoll.{{Citation needed|date=April 2018}}

There are many catalogued and online based mail-order distros for zines. The longest running distribution operation is Microcosm Publishing in Portland, Oregon.{{Citation needed|date=June 2025}} 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,{{cite web|url=http://www.akpress.org/|title=Welcome to AK Press|access-date=23 February 2011}} Missing Link Records in Melbourne{{cite web|url=http://www.missinglink.net.au/|title=Missing Link Digital|access-date=23 February 2011|archive-date=30 June 2023|archive-url=https://web.archive.org/web/20230630042212/http://www.missinglink.net.au/|url-status=dead}} and Wasted Ink Zine Distro in Phoenix, AZ.{{Cite web |last=Oldham |first=Grace |date=25 October 2018 |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 |url-status=live |access-date=2021-03-09 |website=The State Press}} File:Papercut_Zine_Library_CambridgeMA_2006-02_1.jpg

A number of major public and academic libraries as well as museums carry zines and other small press publications, often with a specific focus (e.g. women's studies) or those that are relevant to a local region.

Libraries and institutions with notable zine collections include:

• Barnard College Library{{Cite web |title=Barnard Zine Library |url=https://zines.barnard.edu/ |access-date=2025-01-07 |website=zines.barnard.edu}}
• The University of Iowa Special Collections{{cite web |title=Zine and Amateur Press Collections at the University of Iowa |url=https://www.lib.uiowa.edu/sc/resources/zineresources/ |url-status=live |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=7 January 2025 |website=Iowa University Libraries}}{{cite web |date=11 April 2012 |title=Hevelin Collection |url=http://blog.lib.uiowa.edu/speccoll/2012/04/11/hevelin-collection/ |access-date=24 May 2013 |website=UI Libraries Blogs}}
• The Sallie Bingham Center for Women's History and Culture at Duke University{{Cite web |last=Wooten |first=Kelly |title=Zines at the Sallie Bingham Center |url=https://guides.library.duke.edu/zines/collections |access-date=2025-01-07 |website=LibGuides at Duke University |language=en}}
• The Tate Museum{{Cite web |last= |title=Show and Tell: Zine collection Launch |url=https://www.tate.org.uk/whats-on/tate-britain/talk/show-and-tell-zine-collection-launch |access-date=2020-04-20 |website=Tate Britain |language=en-GB}}
• The British Library{{Cite web |title=Do it yourself |url=https://www.bl.uk/learning/histcitizen/21cc/counterculture/doityourself/doityourself.html |url-status=dead |archive-url=https://web.archive.org/web/20200223174626/http://www.bl.uk/learning/histcitizen/21cc/counterculture/doityourself/doityourself.html |archive-date=23 February 2020 |access-date=2020-04-20 |website=The British Library}}{{Cite journal |last=Cox |first=Debbie |date=2018 |title=Developing and raising awareness of the zine collections at the British Library |url=https://www.cambridge.org/core/journals/art-libraries-journal/article/abs/developing-and-raising-awareness-of-the-zine-collections-at-the-british-library/6A5EB83982144B9B7A76073959D16B74 |journal=Art Libraries Journal |language=en |volume=43 |issue=2 |pages=77–81 |doi=10.1017/alj.2018.5 |issn=0307-4722|url-access=subscription }}
• Harvard University's Schlesinger Library{{Cite web |last=Wilson |first=Anne Marie |date=2012-06-08 |title=Finding Zines in the Archives, and Archives in the Zines |url=https://www.radcliffe.harvard.edu/news/schlesinger-newsletter/finding-zines-in-archives-and-archives-in-zines |url-status=dead |archive-url=https://web.archive.org/web/20200523153430/https://www.radcliffe.harvard.edu/news/schlesinger-newsletter/finding-zines-in-archives-and-archives-in-zines |archive-date=23 May 2020 |access-date=2020-04-20 |website=Radcliffe Institute for Advanced Study at Harvard University |language=en}}
• Los Angeles Public Library{{cite web |title=Zine Library |url=https://www.lapl.org/zines |website=Los Angeles Public Library |access-date=12 January 2022}}
• San Francisco Public Library{{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}}
• Jacksonville Public Library{{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}}
• Interference Archive{{cite web |date= |title=Search Results for 'zines' |url=https://interferencearchive.org/search/zines |access-date=7 August 2024 |website=Interference Archive}}
• Anchor Archive Zine Library{{Cite web |title=Home |url=https://anchorarchive.org/ |access-date=2024-11-25 |website=Anchor Archive Zine Library}}
• Toronto Zine Library{{Cite web |title=About |url=https://www.torontozinelibrary.org/about-2/ |access-date=2024-11-25 |website=Toronto Zine Library |language=en-US}}
• Denver Zine Library{{Cite web |title=Home |url=https://denverzinelibrary.org/ |access-date=2025-01-14 |website=Denver Zine Library |language=en-US}}

The Indie Photobook Library, an independent archive in the Washington, D.C., area, is a large collection of photo books and photo zines dating from 2008 to 2016 which the Beinecke Rare Book & Manuscript Library at Yale University acquired in 2016.{{cite web|url=http://www.indiephotobooklibrary.org/|title=Indie Photobook Library|website=Indiephotobooklibrary.org|access-date=19 February 2019}}{{Cite web |last=Morand |first=Michael |date=16 November 2016 |title=iPL collection adds to Beinecke's strengths in photobooks and modern trends in self-publishing |url=https://news.yale.edu/2016/11/16/ipl-collection-adds-beinecke-s-strengths-photobooks-and-modern-trends-self-publishing |access-date=23 March 2019 |website=YaleNews}} In California, the Long Beach Public Library was the first public library in the state to start circulating zines for three weeks at a time in 2015. In 2017, the Los Angeles Public Library started to circulate zines publicly to its patrons as well. Both projects have been credited to librarian Ziba Zehdar, who has been an advocate in promoting public circulation of zines at libraries in California.{{Cite web |title=LAPL Zine Library |url=https://laplzinelibrary.tumblr.com/ |access-date=16 December 2017 |website=Tumblr}}{{Cite web |date=21 January 2016 |title=Long Beach Public Zine Library |url=http://lbzinefest.com/long-beach-public-zine-library/ |access-date=16 December 2017 |website=Long Beach Zine Fest}}{{Cite news |last= |first= |date=19 May 2017 |title=Check out the zine collection at the Long Beach Public Library |url=https://www.scpr.org/programs/offramp/2017/05/19/56881/check-out-the-zine-collection-at-the-long-beach-pu/ |access-date=16 December 2017 |work=Southern California Public Radio}}

It has been suggested that the adoption of zine culture by powerful and prestigious institutions contradicts the function of zines as declarations of agency by marginalized groups.

xZINECOREx is a metadata standard developed for cataloging zines. It is based on Dublin Core and the X's in its name are a reference to the straight edge music scene.{{cite web |last1=Miller |first1=Milo |date=April 2013 |title=xZINECOREx: An Introduction |url=https://www.zinelibraries.info/wp-content/uploads/2021/05/Zinecore_Zine_Flats.pdf |url-status=live |archive-url=https://web.archive.org/web/20141023052932/http://zinelibraries.info/wordpress/wp-content/uploads/2013/04/Zinecore-Zine-Flats1.pdf |archive-date=23 October 2014 |access-date=3 June 2025 |website=zinelibraries.info |publisher= |type=Print zine |format=PDF}}

File:LA_Zinefest_2017.jpg

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.{{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}} File:Zine workshop with the SUNY New Paltz Zine Community and Design Society .pngOther 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.

With the rise of the Internet in the mid-1990s, zines initially faded from public awareness; this is possibly due to the ability of private web-pages to fulfill much the same role of personal expression. Indeed, many zines were transformed into Webzines, such as Boing Boing or monochrom. E-zine creators were originally referred to as "adopters" because of their use of pre-made type and layouts, making the process less ambiguous. Since, social media, blogging and vlogging have adopted a similar do-it-yourself publication model.

In the UK Fracture and Reason To Believe were significant fanzines in the early 2000s, both ending in late 2003. Rancid News filled the gap left by these two zines for a short while. On its tenth issue Rancid News changed its name to Last Hours with 7 issues published under this title before going on hiatus. Last Hours still operates as a webzine though with more focus on the anti-authoritarian movement than its original title. Artcore Fanzine (established in 1986) continues to this day, recently publishing a number of 30-year anniversary issues.{{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}}

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{{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|s2cid=144236595 }}{{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|s2cid=255519091 }} and popular-culture attention.{{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/a-guide-to-muffing-the-hidden-way-to-finger-trans-women/ |department=Best You've Ever Had |website=Broadly |publisher=Vice Media |access-date=14 December 2022 |language=en |date=2017-10-12}}{{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}} It was described in Sexuality & Culture as "a comprehensive guide to trans women's sexuality"{{rp|p=965}} and The Mary Sue as "the gold standard in transfeminine sex and masturbation".

In the early 2000s, zines with comics in them had a "thriving" fandom.{{Cite web |date=2022-09-30 |title=comic book |url=https://www.britannica.com/art/comic-book |access-date=2023-05-22 |publisher=Encyclopedia Britannica |language=en}}

Moxie (2021), a movie based on novel of the same name, is about a 16-year old who starts a feminist zine to empower the young women at her high school.{{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}} Our Hero (2000–02) and Rocket Power (1999–2004) were children's shows about zine-making.

{{div col|colwidth=22em}}

• Artist's book
• Chapbook
• Doujinshi
• Ezine
• Fanzine
• Infoshop
• Minicomic
• Pamphlet
• Perzine
• Samizdat
• Underground comix

{{div col end}}

{{Reflist}}

{{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. US: 2012.
• Anderberg, Kirsten. Zine Culture: Brilliance Under the Radar. Seattle, US: 2005.
• Bartel, Julie. From A to Zine: Building a Winning Zine Collection in Your Library. American Library Association, 2004.
• Biel, Joe $100 & a T-shirt: A Documentary About Zines in the Northwest. Microcosm Publishing, 2004, 2005, 2008 (Video)
• Biel, Joe Make a Zine: Start Your Own Underground Publishing Revolution (20th anniversary 3rd edn) Microcosm Publishing, 1997, 2008, 2017 {{ISBN|978-1-62106-733-7}}
• 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, US.
• "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:Publications by format

Category:Subcultures

Category:Publishing

Category:Underground culture