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City Fun: The Hidden History of Manchester's Favourite Fanzine - Manchester Digital Music Archive

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Curated by: Abigail Ward, Dave Haslam, Mike Noon & David Wilkinson Photos by: Matthew Norman & Abigail Ward Introduction by: Dave Haslam

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Grim Humour: Highlights and Lowlights 1983 - 1987 book PRE-SELL

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Grim Humour was a UK fanzine which existed for eighteen editions, between 1983 and 1993. It received good reviews and favourable attention from the...

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Music from the Eastzone, Norwich, United Kingdom. 788 likes. Archiving the influential bands of the contemporary East Anglian music scene. 1955 - to the current day. Send us pictures via our Dropbox...

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https://killyourpetpuppy.co.uk/news/encyclopaedia-of-ecstacy-fanzine-issues-1-2-3-alternative-sex-fanzine-issue-1/?fbclid=IwAR1vXM-x7rabjW6bGZMhV441X0dFCx44J-L54dXbjw312yepRK0elp-Gzro

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2,000+ punk rock flyers, free as they were intended to be

August 16, 2018 by artstor

This slideshow requires JavaScript.

Punk flyers from the 1970s to the 1990s shared many of the qualities of the music they promoted-a DIY aesthetic, an embrace of cheap and accessible technology (i.e., photocopiers), plus a healthy dose of humor. In contrast to the often ornate Art Nouveau-inspired rock posters of the psychedelic 1960s, punk flyers typically featured dissonant collages, crude handwriting, and amateurish drawing-not to mention a strict limitation of color.

While punk rock continually regenerates, with new bands and subgenres popping up cyclically, the advent of digital technology for design and social media for dissemination has made the flyer less central to the community. And since these flyers were temporary announcements often stapled or pasted in public places, they are a particularly evanescent form of folk art.

Thankfully, the Cornell University Rare and Manuscript Division is sharing freely more than 2,000 of these rare flyers as an Artstor Public Collection.

Cataloged and shared via JSTOR Forum, Cornell's Punk Flyers collection is made up of the Johan Kugelberg punk collection, which includes hundreds of fliers, posters, zines, original art, and more, and the Aaron Cometbus Punk and Underground Press Collection, which includes punk, new wave, and hardcore flyers and other ephemera from the San Francisco Bay area and beyond.
You may also be interested in another one of Cornell University's Public Collections in Artstor: Hip Hop Party and Event Flyers

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2,000+ punk rock flyers, free as they were intended to be

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Punk flyers from the 1970s to the 1990s shared many of the qualities of the music they promoted--a DIY aesthetic, an embrace of cheap and accessible technology (i.e., photocopiers), plus a healthy dose of humor. In contrast to the often ornate Art Nouveau-inspired rock posters of the psychedelic 1960s, punk flyers typically featured dissonant collages,...

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The University of Iowa's fanzine collection is going digital before it falls apart

The University of Iowa is home to almost a century of fandom history. Its library's special collections house everything from 1920s "dime novel" reviews to T-shirts that were auctioned off in protest of the 2002 Farscape cancellation. In 2012, though, it acquired one of the most valuable resources yet: the library of James "Rusty" Hevelin, a lifelong science fiction superfan and prolific collector of books and fanzines dating back to the 1930s. Last year, the Hevelin Collection was chosen as the first target of the university's Fan Culture Preservation Project, a massive effort to digitize some of the most vulnerable and ephemeral pieces of science fiction history. Now, that effort is starting to take shape.

In July, UI digital project librarian Laura Hampton officially began the long process of archiving the Hevelin Collection. The library is partnering with the fan-run Organization for Transformative Works to collect more zines for eventual digital archival, but Hampton is currently focused on material from the 1930s to 1950s, spanning the rise of zines and the Golden Age of science fiction. The vast majority of the images will stay offline, but an accompanying Tumblr has given outsiders a peek into the roughly 10,000 zines that Hevelin donated - and into the communities that helped create science fiction as we know it, from fandom clashes to fan fiction.

It's impossible to talk about the history of sci-fi, or modern popular fiction more generally, without talking about fandom. H.P. Lovecraft, Ray Bradbury, Robert Heinlein, and many other seminal authors were shaped by and participated in fandom, whether through letters, early science fiction conventions, or fanzines. Zines were home to some of these writers' first stories; later in the 20th century, they were central to the rise of fan fiction. But for a variety of reasons, they were usually meant to circulate through a community, fade away, and fall apart.

Fanzines feel almost designed to resist archival. "Creators were working with what they had, often within pretty tight budgets, and producing fantastic images with relatively cheap materials," Hampton tells The Verge. Many of Hevelin's zines were hectographed - copied by pressing paper to an inked gelatin pad. The medium produced brilliant purples and blues that can still be seen in some of the illustrations. But it favored cheap, highly acidic paper, and images could fade within hours under direct light. "There are rusty staples, tape - all these material things that make a fanzine a fanzine are also what make them difficult to preserve." Each zine is photographed page by page as quickly as possible, supported by a specially designed cradle, until it can go back in storage.

"All these things that make a fanzine a fanzine are also what make them difficult to preserve."

A few hectographic images are showcased on Hampton's Hevelin Collection Tumblr. They're the epitome of bizarre 1930s pulp: a metal claw-handed giant bat (apparently) breathing fire on the Capitol Dome, a robed man being (again, apparently) attacked by an alien octopus while trying to inject something into the arm of a semi-nude woman. Other Tumblr posts are strikingly timeless, like illustrator Alva Rogers' 1940s covers for Lovecraft tribute zine The Acolyte. And some photos highlight the writing of early fandom, including snippets of short stories and nonfiction columns.

"One of the things that surprised me most about the fanzines is their personal nature," says Hampton. "While some editors primarily published fiction, so many of the fanzines are personal accounts of cons, events, reviews of other publications, reviews of pulps. There is a dialogue that emerges, between publications and across years."

The 1930s was a foundational period in science fiction, and as communities tried to define what the genre stood for, that dialogue wasn't always friendly. The first World's Science Fiction Convention, held alongside the 1939 New York World's Fair, was also the site of a feud between two fan groups: the Queens Science Fiction Society and the rival Futurians. According to later accounts, their struggle for control culminated in an aggressive leafleting campaign and the banning of several prominent Futurians from the convention, including future award-winning author Frederik Pohl. (They showed up anyways, hobnobbing with attendees - including a teenage Ray Bradbury - outside the official venue.) The fight is referenced in one Hevelin Collection photo, which captures a con-goer's recollection of "a number of nasty things."

Digitizing the Hevelin Collection is a long-term project, but it's merely a part of the University of Iowa's whole fandom archive. And the archive itself captures only pieces of fandom history. Zines still exist, but future archivists will face the challenge of collecting stories, videos, podcasts, and art spread across hundreds of fan sites and larger repositories. They'll have to decide what to preserve and how to present it - the equivalent of fanzines' personal conversations might now take place in a LiveJournal comment section, or the reviews of a story on FanFiction.net.

Fandom itself has been dealing with these questions for years, and the Organization for Transformative Works runs its own fiction archive and fandom wiki. But libraries have to work with longer-term solutions in mind, ones that aren't dependent on outside hosting services or current computing platforms. "This is one of the central questions of the profession today, and answers are varied and ever-changing," says Hampton.

Even with these limits, the Fan Culture Preservation Project is stopping a key part of fandom history from disappearing. But in doing so, it's using the zines in a way that their creators may never have envisioned or intended, and the effort hasn't sat well with everyone. As the project progresses to newer material, it will also shift into more sensitive territory. Where early zines might have published gossip and reviews, later ones circulated the first slash fiction - stories, often explicitly sexual, about romances between male characters.

"I don't want my fanzines included in any way," wrote one commenter on the Organization for Transformative Works' announcement post. "I keep in print those I want to keep available, and some have purposefully been taken out of print and allowed to quietly fade away. If I wanted them made public and accessible, I'd have done it."

"Post-internet authors have an understanding that their work will be found now. Pre-internet authors did not."

Practical concerns exist: an erotic fanfic author might not want to risk being outed to family or friends, and an author who fears copyright crackdowns might worry that companies will see the archives as a form of public distribution. But there's also more general discomfort with a niche hobby suddenly coming under academic or public scrutiny. "There is a vast difference between publishing to a fairly known community and having your work suddenly available to a very different community in both outlook and number," another commenter wrote. "Post-internet authors have an understanding that their work will be found now. Pre-internet authors did not."

Some of the complaints hinge on how accessible the zines will be. While the archives are being digitized, only small pieces like the Tumblr photos are being put online. A group of volunteers will transcribe the text and upload it into a searchable directory. If researchers want specific material, they can visit the library or request scans of limited portions, a standard archival practice. To some people, that's enough; to others, it's tantamount to letting someone photocopy and redistribute their zine.

Hampton says that anyone who is uncomfortable with their work being digitized can contact the library, and they'll try to work out a solution. But she also says that there hasn't been much resistance to the project. She hopes that some creators might even want to make their zines publicly available, something the university is in a uniquely strong position to do.

And for every hesitant author or editor, there was one enthusiastic about the project. "Sure, I'm slightly embarrassed, in an amused way, by the zines I published up to 50 years ago," wrote a fan who said they'd seen at least one of their old zines in UI's library. "But I published them - typos, grammatical infelicities, naiveté, and all - for people who might enjoy them, and that still holds."

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10,000 zines and counting: a library's quest to save the history of fandom

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The University of Iowa's fanzine collection is going digital before it falls apart The University of Iowa is home to almost a century of fandom history. Its library's special collections house everything from 1920s "dime novel" reviews to T-shirts that were auctioned off in protest of the 2002 Farscape cancellation.

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https://docs.google.com/spreadsheets/d/1D16yp3jX5FgbRp18-uhsZzENtXR1vEzpR0uAQtP6AVg/edit#gid=992506258

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LITERACY

Engaging people in reading is only part of the path toward true literacy. It's equally important to engage them in writing. The skill involved in shaping a text, be it story or rant, engages literacy skills on a deeper level through active use. Reading and writing zines makes it clear that the power of literacy skills is tangible and doable.

Visual literacy is also practiced in zine-making, as the message of imagery is wrestled with through collage, drawing, and juxtaposing image with text. Zine makers learn how powerful images can be to create an emotional response or to further the power of the written text.

Zines are also a path toward cultural literacy. The depth and breadth of our culture is not adequately presented by mainstream media. Zines offer off-the-beaten path images and stories, and commentaries about society, making it clear that people should be creating their culture.

CREATIVITY

Creating and not just consuming culture, writing, images, and ideas is central to the power of zines. More and more of our activities are mediated and shaped for us, rather than created by us. Making choices is central to developing creative skills. In today's culture it can feel like we have to consciously separate ourselves from the mainstream in order to have real choices, and zine culture provides a community of other do-it-yourself experimenters to make contact with.

Zines also provide a place to practice both individual and collaborative creativity. The skills of each are unique, and our culture does not provide adequate forums to really explore either. Collaboration is a skill that is given short shrift in our hierarchical and competitive society. Zines are one way to practice the give and take that collaboration entails, as you work with others to create a collective expression.

HISTORY

It's frequently said that history is created by the winner. These days the winner is corporate media, the government, and those with the money to control others. It's essential that the experiences of each person is valued, that the culture they are part of is valued, that the importance of the small stories of life are valued as all being essential to the recording of history. Being a part of shaping history means including zines the archives of libraries, and treating them as valuable resources for future generations who want to learn from the past.

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Engaging people in reading is only part of the path toward true literacy. It's equally important to engage them in writing. The skill involved in shaping a text, be it story or rant, engages literacy skills on a deeper level through active use.

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So - Pleasant Gehman and I are participating in the UCLA Punk Conference taking place on February 9 and 10.

And, this is what we are presenting:

LOBOTOMY MAGAZINE: A Teenage Historical Record of Punk Rock

In the mid-1970s, bored and unmoved by mainstream rock n roll, teens and young adults started to make rock n roll rebellious again. No one covered PUNK ROCK in the mainstream media, and if it was covered, it wasn't understood.

For UCLA's Punk Conference 2018, Pleasant Gehman and Theresa Kereakes will discuss the path they took that made their fanzine, Lobotomy, the written and visual foundation of the birth and growth of punk rock in Los Angeles as well as a presenter and commentator of the worldwide punk movement. A projected slide show of Lobotomy Magazine pages and photos from the 1970s will illustrate the talk.

Pleasant explains, "I always knew punk was going to be a cultural moment that was as important as Paris in the 1920's, The Beats in North Beach in the 1950's, or the Warhol scene in New York. Punk rock created a space for our own community, and I documented it all. Lobotomy Magazine gave a voice to women, disenfranchised youth, groundbreaking artists and writers and other cultural misfits."

Theresa continues, "if you've ever texted anyone 'pictures or it didn't happen LOL,' you will understand why I started taking pictures at concerts. For us, pop culture and especially our own subculture is an important component of history."

We saved the very best for last though -- On Sunday night, at the historic El Cid on Sunset Blvd., we gathered as few of our friends to regale the public with War Stories, Tales of Punk Mayhem by the Perpetrators Themselves

ALL of the advance tickets are sold out. There will be severely limited tickets at the door. I say, maybe come have dinner here and buy a ticket and stay for the show....

Anyway - that's all we got and we hope to see you, Los Angeles!

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So - Pleasant Gehman and I are participating in the UCLA Punk Conference taking place on February 9 and 10. And, this is what we are presenting: LOBOTOMY MAGAZINE: A Teenage Historical Record of Punk Rock In the mid-1970s, bored and unmoved by mainstream rock n roll, teens and young adults started to make rock n roll rebellious again.

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By registerring as a member on this site you will be able to view thousands of scans/photos, you can leave comments or rate releases listed in this database and interact / exchange your knowledge, you have also access to the music itself where it can be provided and/or given permission by the artist/band.

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A history of fanzines, and a pretty good one too, from Marxism Today, June 1984.
FANZINES
Paul Mathur
Remember that old chestnut The Day Punk Rock Arrived? In a hail of gob and a parade of One Chord Wonders, the message was sent that ANYONE can be a star, and without selling one's soul to the big companies. The Independent Ethic, hitherto only widespread among the 60s US garage bands, was reborn and flourished, most successfully in the form of Zoo Records from Liverpool, Factory from Manchester and Rough Trade in London. Rough Trade even took things a step further, and set up a nationwide distribution network, centred around teir shop in W11. Seven years later, and the company and shop remain. Go in there now, and you'll find amongst the inevitably massive collection of independent records, an equally inevitable piece of post-punk product, The Fanzine.
The titles will scream out at you from the roughly stapled, cheaply printed (or photocopied) magazines - Kill Your Pet Puppy, Search And Destroy, Love And A Molotov Cocktail. Dig deep and you might even find a copy of No More Masterpieces, my own two year contribution to the fanzine scene, from 1979/80.
The 'zines vary in content (ranging from anarcho-political tirades, to pages and pages of live reviews); in articulation (from powerfully convincing arguments about the musical scheme of things to monosyllabic grunts about what Crass did for an encore); and in form (handwritten scrawl to neatly typed pseudo-New Musical Express regularity. It is not easy to classify fanzines in terms of appearance, and it is even harder to do so in terms of history, for although fanzines are central to an understanding and an historical account of pop music since 1976, it's very difficult to attribute any date to the birth of the music media's bastard child.
There probably isn't such a thing as the first fanzine (literally 'fan magazine') in the strictest sense of the word, although the likes of Oz and more specifically Rolling Stone, were instrumental in both presenting a radical message about the role of pop in youth culture and also publicising and organising the Underground Press Syndicate, a similar system to which is vital to the publicity and distribution structure of post-76 fanzines in Britain.
Rolling Stone, taking the lead from yet earlier Underground pop papers such as Copenhagen's Superlove, was launched towards the end of 1967 by Jan Wenner, a 22 year old who at the time took much from Superlove's ideas and forms. It is easy to see now where his heart really lay. Rolling Stone is perhaps the least contentious, most boring music paper in the Western world, as much a part of the capitalist music machine as CBS or EMI. The turnabout from radical champion of a burgeoning youth culture, to reactionary upholder of desperately conservativ values, is one that almost every fanzine is in danger of going through, but which the pre-punk 'zines were most obviously susceptible to.
From reading a fairly large sample of these 60s and early 70s fanzines, particularly those primarily concerned with music, the most striking aspect is their deeply ingrained, and often barely concealed RESPECT for the music business. Hot Wacks, Fat Angel, Who Put The Bomp, Zig Zag, they all appear to want to play at being a sort of Melody Maker Meets Zen And The Art Of The Guitar Solo. Fat Angel for example, opens up with a bit of vaguely mystical hokum, then launches into a series of LP reviews, going so far as to give the serial number of each record. There's no swearing, no feeling of any attempt to really communicate to the reader, no notion of the role of the fanzine as being anything more than an inferior version of its mainstream peers.
These 'zines do succeed when they openly acknowledge their attitudes to the role of the alternative press, and where rather than churning out sub-standard music press copy, they attempt to cater for people who want something different from the music press. The form remains boring but the content changes, and the magazines start to run features on, for example, collectors' records.
Who Put The Bomp and early Zig Zag both made their names and reputations as collectors' magazines rather than as fanzines, and it is in magazines such as those that the power of the 60s/early 70s alternative press lies. In 1976, along came punk with its attendant ethics, and suddenly the fanzine became a whole new form. The first (and most notorious) of the 'zines to reject most of the old traditions, preferring a passionate, emotive, wholly personal slapdash POW! to a merely shoddy attempt to be like the big boys, was Sniffin' Glue, started by Mark P, and it remains the most perceptive contemporary account of the early days of punk yet seen. In a typical issue Lou Reed is written off in four lines, interviews are printed verbatim, captions handwritten, the whole lot photocopied and stapled together, then 'sold' outside gigs in a tone you wouldn't want to refuse if you valued your teeth.
1977 and the walls were falling down everywhere. Thousands took Mark P's advice and started their own fanzines, at last having to face up to the logistics of the affair. I was lucky, my Dad got mine printed for me at work, but for many others it was a case of trying to get them done on the sly in the school printroom, or failing that, looking for the cheapest printer in the yellow pages. Community printers are a great help, as they tend to be fairly cheap, and since the people doing the printing are fairly supportive of your cause, it's easy to discuss with them exactly what you want done. Whichever way you do it, on each issue with a cover price of 25p, at least l0p of that will go on printing. Running a fanzine is a difficult business, and a combination of high costs, distribution problems and a fiercely protective set of writers, brings up the real failings of the 'zine.
Being so closely connected to the scene they are writing about, groups are hugged to the breast of the editors, lauded as the Best Thing Since Breakfast, and then expected to fit into the role that the fanzine sees for them. Any progression is declaimed as a sell-out and the group are cast away or smothered with contempt. The groups move but the fanzines stand still. It's all too easy for the most potent and revolutionary of forms to become as reactionary as the 60s NME that shrieked with horror when Cliff wiggled his torso. Kill Your Pet Puppy says don't twitch your hips Clashboys! Such an attitude has meant that the majority of fanzines have given rise to a self-consuming culture. 'Anarchist' groups such as Crass, products of fanzines, find themselves pandering to them and slowly being hemmed in, not wanting to disappoint the concrete foot (and brain) fans, and so not being able to break away from an increasingly narrow direction. Their inability and unwillingness to break away is interpreted as a condoning of the fanzine system.
Fanzines must not slip into this reactionary stance if they are to use their potentially explosive existence. The youth culture of the past 25 years has liked to think of itself as self-contained, whereas in reality the power lies with the multinational record companies and mainstream music press. Selling this culture back to the masses is the major consideration, and the mainstream press are able to act as a filter between company and consumer, distancing and containing any unwanted ideologies, couching them in the cotton wool of musicbiz rhetoric.
The fanzines have the power to change this. They are literally by, and for, the fans, and are providing the impetus for representation of the culture from within the culture itself. This is dangerous to the dominant ideology, challenging it directly and powerfully. Fanzines must be aware of this if they are to use their power to change the structure of the music business and in turn that of society itself.

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A history of fanzines, and a pretty good one too, from Marxism Today, June 1984. FANZINES Paul Mathur Remember that old chestnut The Day Punk Rock Arrived? In a hail of gob and a parade of One Chord Wonders, the message was sent that ANYONE can be a star, and without selling one's soul to...

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Zine Making/Print version - Wikibooks, open books for an open world

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Typewriters are great and can make good-looking text that's not as boring as printed-out text from a computer, yet more legible than handwriting... but typewriters are becoming rarer and rarer these days so for many people they might not be available.

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STRIKE! Magazine is a platform for those involved in grassroots resistance, anti-oppression politics, and the philosophies and creative exspressions surrounding these movements.

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Unsound : Free Download & Streaming : Internet Archive

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unsound, a zine from the eighties industrial scene.

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As a lame atonement for the late-summer hiatus I'm posting this chunky bugger - the 40 riotous pages of Acts of Defiance #7. Yes, 40! True, Sned's already made AoDs available on The UK Zine Archive , but here's an opportunity to point you in that direction if you've yet to discover the place. Raf, Russ and Mike at the helm with: interviews - Famous Imposters, Annie Anxiety, Faction, Poison Girls; issues - veganism, Territorial; Army, Militarism, voluntary unemployment, In The City (capitalism), battery chickens, Nuclear Power Fades Your Genes (nuclear accidents), Youth Opportunity Programme; a liberal sprinkling of fanzine round-ups; updates on The Station; tape reviews - Youth in Asia, Napalm Death, Political Asylum, Autumn Poison, Passion Killers, Flowers in the Dustbin, The Committee, Self Abuse, Chumbawamba; a notice on 91 Products; Grangetown Anarcho Punk Gang cartoon; a mini feature on The Stoned Rayzens; and poetry from Edible, Annie Anxiety, Wilfred Owen, and Andy T....and speaking of the lovely fellow...

Sheffield Marples 1983 pic Andrew Medcalf

...it's well worth noting the recent release of Andy's long player,. Yes! Some 32 years since his first appearance on Bullshit Detector we take delivery of this delightful lolloping slab of Andy at his seething 'n' bristling best. Generally I'm not really an advocate of reviews, rather, an adherent of the popular dictum; "writing about music is like dancing about architecture". Suffice to say, there's much to admire in Andy's approach to kicking-up a stink about social injustice and the venality of the political class. Certainly his has been a welcome return to the fray in recent years. As with recent live outings, LaTE sees Andy presenting the poetry in a musical setting interspersed with purely spoken elements. Whilst there's preference here for the highly affective raw ranting, there are some gems amongst the musical offerings, notably the clarion call of the scathing broadside, I Still Fucking Hate Thatcher (itself released as a very attractive records by way of a benefit single for the venerable Club), and the wonderfully depressive Wooden Curtains. Alongside the many excellent new excursions, the CD handily compiles many of the classics first showcased LaTE is the debut release on the resurrected All The Madmen records, and it's got to be said that ATM have set the bar bloody high for future releases. The sturdy package houses a 96 page booklet featuring Andy biographised and interviewed by Richard Cubesville and a rake of ace agitart and illustrations accompanying the poetry and lyrics. Easily worth a tenner!

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As a lame atonement for the late-summer hiatus I'm posting this chunky bugger - the 40 riotous pages of Acts of Defiance #7. Yes, 40! True, Sned's already made AoDs available on The UK Zine Archive , but here's an opportunity to point you in that direction if you've yet to discover the place.

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Upping the Anti has been publishing critical analysis and debate about grassroots political organizing since 2005. We pride ourselves on publishing in print, but it's high time for UTA to become widely accessible online. We're launching a fundraiser to build a new website with all of our back issue content.

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http://eros.110west40th.com/

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https://www.facebook.com/KFZines/posts/383199758542268

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http://www.openculture.com/2016/07/legendary-west-coast-punk-music-zines.html

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http://archive.qzap.org/index.php/Splash/Index

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Royal Festival Hall (Level 5), Southbank Centre, London Open Tuesday - Sunday from 11am to 8pm

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http://zinewiki.com/Main_Page

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http://www.sweetcandydistro.com/

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http://www.papercutzinelibrary.org/wordpress/

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https://denverzinelibrary.org/

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http://www.oac.cdlib.org/findaid/ark:/13030/kt7489q3mv/

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http://zines.barnard.edu/zine-libraries

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http://sherwoodzinelibrary.tumblr.com/

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http://www.abcnorio.org/facilities/zine_library.html

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Music fanzine collecting as capital accumulation 

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Music fanzine collecting as capital accumulation 

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http://www.participations.org/Volume%2012/Issue%202/14.pdf

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Writing History in a Paperless World: Archives of the FutureHist Workshop J (Spring 2015) 79 (1): 242-253

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Writing History in a Paperless World: Archives of the FutureHist Workshop J (Spring 2015) 79 (1): 242-253

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http://hwj.oxfordjournals.org/content/79/1/242.abstract

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http://uwf.edu/dearle/capstone/manoff.pdf

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Today we're going to talk about zine history and zines as a genre, spend some time reading and talking about selected zines from the online collection of the Queer Zine Archive Project (QZAP), and fold a mini-zine together as we think about creating our own zines.

Activity

Take a few minutes to look at your assigned zine. Skim over the whole thing and choose a few pages to read or examine more closely. Share your zine with your group and discuss these questions:

Why do you think the creator chose a zine as their medium?

What can you learn about the creator--directly or indirectly?

Are there graphics in the zine? Handwriting? Collages? Do they complement or complicate the text?

How does the zine make you feel?

What common elements do you observe after seeing and discussing these zines? What makes them "zines"?

[Content note: These zines may contain curse words, sexuality, nudity, violence, or a combination of these. If the zine you are assigned is upsetting to you, please choose another title or focus on part of the zine that is more approachable. Discomfort can be informative, but we are not intending to create distress.]

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LibGuides: Writing 101: Queer & Trans Memoir: Zines!

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Today we're going to talk about zine history and zines as a genre, spend some time reading and talking about selected zines from the online collection of the Queer Zine Archive Project (QZAP), and fold a mini-zine together as we think about creating our own zines.

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http://www.openculture.com/2016/07/legendary-west-coast-punk-music-zines.html

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http://www.poetrylibrary.org.uk/news/library/?id=1534

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http://greengalloway.blogspot.pt/2015/02/enyclopaedia-of-ecstasy-1983.html

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http://britishlibrary.typepad.co.uk/english-and-drama/page/2/

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The British Library's Punk 1976-1978 exhibition, marking punk's 40 th anniversary, hits some familiar and satisfying beats. Malcom McLaren as Situationist svengali; the Sex Pistols as trend-setting provocateurs; the cut-and-paste, DIY aesthetic of the posters and record sleeves that mushroomed up between 1976 and 1978. More than 100 audio selections feature everybody from the Adverts to X-Ray Spex. A less familiar element emerges from a glass box of fanzines - Alternative Ulster, Bored Stiff, Suburban Press, Secret Public, - that testify to punk's status as a national scene that reverberated far beyond the King's Road and the Roxy.
Fanzine created by and reproduced with kind permission of Chris Low

In Roger Sabin's excellent 1999 collection of essays on the cultural legacy of punk, Paul Cobley makes an obvious point that bears repeating. Describing the hassle-laden experience of being a teenage punk in 1970s Wigan, he says: "Among the many myths of punk rock, probably the most insidious is that it was an entirely London-based phenomenon." This myth has been pretty thoroughly deflated, of course, but a look at the zines in the library's collection adds another puncture - Cobley adds that although provincial punk rock may be less spectacular than its London counterpart, "this is no reason to write it out of history".

We have punk zines from Cardiff (Oh Cardiff, Up Yours!), as displayed in another recent blog post), from Nottingham (Repeated Patterns), from Belfast ( Alternative Ulster), from Cornwall (Barricade) and from Aberdeen (Granite City). They display a lively and self-conscious engagement with the myth of punk on the part of participants in the scene, many of whom identify not only against a putative mainstream culture but also against the metropolitan, or trendy, London punk scene. For a researcher trying to understand punk as inchoate and localised and specific, or trying to map its regional manifestations beyond the usual periodization of 1976 to 1978, these are an invaluable resource.

Zines from the British Library collections. Top row: Intrusion (Orpington) ZD.9.b.109; It's different for grils (Sheffield) ZD.9.b.108; City fun (Manchester) ZD.9.b.257; Repeated Patterns (Nottingham) ZD.9.b.555 Bottom row: Blades 'n' shades (Birmingham) ZD.9.b.986; No solution (Liverpool) ZD.9.b.1416; Granite city (Aberdeen) ZD.9.b.1411; Sunset gun (Glasgow) ZD.9.b.1414
Fanzine created by and reproduced with kind permission of Chris Low

Looking at zines as a way of historicising and contextualising the punk scene allows us to re-map its connections to other youth cultures of the 1970s and 80s, creating a fuller and more colourful picture. As Matt Worley has shown, zines also help to chart the line between punk and politics on both a local and a national level. At their best they offer up very personal, very direct evocations of cultural affiliation that both complicate and enrich our understanding of what is meant by 'punk'.
Further Reading
And on International Zine Day, it is worth stressing the importance of these kinds of publications within the library's broader remit. Punk is only one aspect of a multi-faceted and eclectic group of self-published pamphlets and booklets. The library holds zines on radical politics, activism, veganism, football, race, mental health, gender and a range of other topics. This esoteric subject base is worth listing at length because it suggests the rich possibilities such a collection offers for researchers interested in engaging with social life outside of the mainstream. It also allows us to think about this kind of social life in its own terms, rather than on terms that have been refracted through the national press or a retrospective historical lens.

The sample of punk zines above could be read as skewing very white and very male ( More On, the genesis of which is described here, is an interesting exception to the general rule). Given that one of the most exciting elements of the contemporary revitalisation of zine publishing is the platform it has provided for non-white and non-male voices, particularly in the form of perzines (or personal zines), it's exciting that as the library's collection develops it can seek out other voices from outside of the mainstream in the form of this new wave of zines.

But this raises a new set of problems to finish on. What's the relationship between archiving these documents and incorporating them into a culture they are trying to critique? Classification is difficult, especially for zines that range across a number of different topics. How does a curator or a librarian balance the demands of accessibility with the need to respect and engage with the creators of zines and their wishes? Some zines, especially those that deal frankly with personal topics, may have been intended only for a select and sympathetic audience. A sensitive, radical approach is proposed in the Zine Librarians Code of Ethics, but the conversation about how libraries engage with this kind of material is one that will continue as long as zines continue to proliferate. For researchers as well as zinesters and librarians, this conversation should be a productive and interesting one.
http://zinewiki.com/
Punk Rock So What? The Cultural Legacy of Punk, Roger Sabin (ed), Routledge, 1999

Lipstick Traces: A Secret History of the 20th Century, Greil Marcus, Faber and Faber, 2011

'Punk, Politics and British (fan)zines, 1976-84: 'While the world was dying, did you wonder why?', Matt Worley, History Workshop Journal, 2015

http://zinelibraries.info/

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Zine but not heard: printed ephemera and research

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by Fearghus Roulston, PHD student working on the British Library's zine collections The British Library's Punk 1976-1978 exhibition, marking punk's 40th anniversary, hits some familiar and satisfying beats. Malcom McLaren as Situationist svengali; the Sex Pistols as trend-setting provocateurs; the cut-and-paste, DIY aesthetic of the posters and record sleeves that...

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https://www.facebook.com/LCCLibraryZineCollection

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This is an online space dedicated to making ace and ace-related zines more accessible. Check out our inclusion criteria and our approach to copyright. If you are unfamiliar with asexuality or ace issues, maybe check out the 101 informational zines first. Looking for a particular zine and want to know if we have it?

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Note: This is a guest post by Kelly Wooten, Research Services and Collection Development Librarian of the Sallie Bingham Center for Women's History and Culture in the Duke University Libraries. Kelly is curator of the Bingham Center Zine Collections.

The Sallie Bingham Center for Women's History and Culture has a collection of over 4,000 zines written by women and girls from the early 1990s to the present. So far we have about 2,600 of these issues cataloged in a metadata-only database. At first glance, the zines look like perfect candidates for full-scale digitization. They are frequently used by researchers from around the United States and beyond, have great visual appeal, and often are the only copies to be held in an archives. Digitizing would help preserve zines from heavy use and promote broader access to unique material in a popular collection.

When you take a closer look, digitizing zines becomes a lot more complicated...

Permission - Before posting anything online, the first step is often getting permission from the creator. The authors of zines usually no longer live at the address included in their zine, if they give a name or address at all. Even email isn't a reliable way to contact people since many zines were created in the pre-internet era, or include old addresses no longer in use.

Copyright - Some zine archives claim that publishing PDF scans of zines online falls under "fair use" for nonprofit educational purposes, and because they usually aren't hindering anyone's ability to profit from the publication. To further complicate this question, most zines cut, paste, reprint, borrow, steal, and repurpose images and text from other publications, with or without attribution. According to the Copyright Office: "The distinction between 'fair use' and infringement may be unclear and not easily defined. There is no specific number of words, lines, or notes that may safely be taken without permission. Acknowledging the source of the copyrighted material does not substitute for obtaining permission."

Privacy - Even though zines are "published" rather than private, like a letter or diary, we have no idea whether 10 copies were made for close friends or 1,000 copies were made and sent far and wide through a zine distributor. They are most often written by young women who never imagined that their deepest secrets and angsty rants would be archived in a research library. One could argue that other digital projects that post diaries and letters of historical significance also violate this right to privacy, but the now-adult women who created these zines are likely to be living, active Internet users whose personal and professional lives could be negatively (or positively) affected by someone else finding their zine online. For example, we have been contacted to remove a last name from our database that was associated with a zine title that the author felt damaged her reputation in her current career-at age 16, she had no idea that the flippant title would ever be available online.

Print culture - This argument for maintaining the print and material nature of zines as opposed to creating digital surrogates is perhaps the weakest of these 4 factors, but it is still a point to consider. Zines are created by hand, crafted with paper, scissors, tape, glue, staples. They were meant to be handed from person to person, physically shared. The experience of handling zines in person, turning each page to reveal intimate secrets, funny comics, and poetry, can't be duplicated on-line. You would get the content, but miss out on the physical experience, an aspect that is even more important as the medium of communication has shifted to the electronic.

I could write a few more reasons why we are not digitizing our zine collection, just as I could write as many more about why we perhaps should digitize them. Instead I'd rather hear what others have to say on the subject.

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Note: This is a guest post by Kelly Wooten, Research Services and Collection Development Librarian of the Sallie Bingham Center for Women's History and Culture in the Duke University Libraries. Kelly is curator of the Bingham Center Zine Collections .

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Research Guides: Zine Library - English 1130 Zine analysis assignment: Online Zine Distros

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Zines at the Douglas College Library, Zine resources and distros, Zine analysis information and more.

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This zine explores the origins of anti-oppression politics and their current position within the both the anarchist space and the leftist space. Coming from a highly critical perspective, the authors of the zine (members of the Common Cause anarchist group) explain the origins of anti-oppression activism within the university and the failures of the movements for liberation in the 1960s. The zine critiques the theory and practice of anti-oppression politics while looking at ways in which it often serves to limit struggles by focusing on the individual, sub-cultural "safe spaces," and limiting militancy. Far from being a simplistic dismissal, this zine is a well-researched and well-considered piece that should help foster important and challenging conversations.

Get the Zine:

Our zines are sold through the Storenvy.com website. Find out more about how to order from us.

Excerpt from With Allies Like These: Reflections on Privilege Reductionism

...this article aims to critically engage with the dominant ideas and practices of anti-oppression politics. We define anti-oppression politics as a related group of analyses and practices that seeks to address inequalities that materially, psychologically, and socially exist in society through education and personal transformation. While there is value in some aspects of anti-oppression politics, they are not without severe limitations. Anti-oppression politics obfuscates the structural operations of power and promotes a liberal project of inclusion that is necessarily at odds with the struggle to build a collective force capable of fundamentally transforming society. It is our contention that anti-oppression furthers a politics of inclusion as a poor substitute for a politics of revolution. The dominant practices of anti-oppression further an approach to struggle whose logical conclusion is the absorption of those deemed oppressed into the dominant order, but not to the eradication and transformation of the institutional foundations of oppression.

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With Allies Like These: Reflections on Privilege Reductionism - Sprout Distro

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This zine explores the origins of anti-oppression politics and their current position within the both the anarchist space and the leftist space. Coming from a highly critical perspective, the authors of the zine (members of the Common Cause anarchist group) explain the origins of anti-oppression activism within the university and the failures of the movements ...

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I think of this as an archive of nearly all written/online pieces on anarcha-feminism and lots of radical pieces on other related topics that are marginalized because of their relationship to gender (adding news items to this blog would compound my work load, although i haven't ruled it out). Not all anarchist feminists agree on various subjects such as sex work, gender, what justice means, etc. I try to include most of it without letting my bias interfere. You will therefore find contradictory opinions, some which you may not like. It was hard to determine what should or shouldn't be included. It is useful in many ways to have access to unpopular opinions even just for study, although of course it will seem that the content on this page is representative of anarcha-feminism, even if it is not. (See the page on anarcha-feminism for more discussion).

Although I collect a variety of opinions, you may notice a bias regarding perspective on the gender/sex dichotomy. Because "no authority but oneself" should determine how people define their gender, or how we even understand what the categories of sex mean, but also because it may be that seeing these categories differently is the key to gender/sexual liberation, are a couple reasons for an emphasis on writings on these subjects. Despite a lack of consensus among anarcha-feminists, the debate on identity politics is being taken up by more and more anarcha-feminists and anarchist queers in the interest of undermining concepts of identity that perpetuate oppression, yet not by continuing to marginalize specific oppressions as well as intersectionalities. I am launching this site on Trans Remembrance Day in particular to stand in solidarity with everyone affected by gender oppression, because that is anarcha-feminism to me.

The description from the old page: The Library is an Anarcha-Feminist and Gender Anarchy resource page as part of the larger anarcha.org project and is intended to provide you all with a source of important contemporary (and older) anarcha-feminist documents...
The history of this site: As an attempt to fill a void, the sallydarity anarcha-feminism and gender anarchy resource page was created in early 2003. It included all the links pertaining to anarcha-feminism that one could find in a matter of hours, and grew over the last few years to include hundreds of links to articles and webpages that relate to gender issues from a radical/anarchist perspective or are of interest to anarcha-feminists. It includes links to the text of popular pamphlets like "Witches, Midwives, and Nurses," and "Quiet Rumours" to gender-related articles from anarchist favorite "slingshot" newspaper, to over twenty articles addressing sexism within the anarchist movement, to five radical critiques of gay marriage, even two articles from a green anarchist perspective. An attempt was made at pulling together contemporary radical/anarchist text on highly talked about issues like inclusiveness, gender self-determination, consent, safety, sexual liberation, and radical parenting with issues that have been discussed at length through feminist history like violence against women.
If you have any suggestions, questions, or additions, please email sallydarity-nospam@yahoo.com (take out the -nospam).
We are seeking participation from other anarcha-feminists for this whole site.
It'd be especially great if someone could do some translating. Pick your favorite articles and translate them!

About the editor (me).

The following are most of the pieces I've written on gender/feminism:

Anarcha-Feminism and the Newer Woman Question (2012) published in Quiet Rumours, AK Press

When Feminism is Revolting: Initial Thoughts on Abolition of Gender (2012)

Gender Sabotage (2012) published in Queering Anarchism, AK Press

"Invasion by Birth Canal? The fourteenth amendment and its opponents' motivations" (2010)

Gender Borders & National Borders (2007)

Response to "Imitating others as control: Is Drag Sexist/Racist?" (2006)

Gender is a Weapon: Coercion, domination and self-determination (2004)

Women's Choices (2004)

Are you Stuck on "Manarchy"? Poor Communication Can't Smash Patriarchy (2003)

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I think of this as an archive of nearly all written/online pieces on anarcha-feminism and lots of radical pieces on other related topics that are marginalized because of their relationship to gender (adding news items to this blog would compound my work load, although i haven't ruled it out).

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CrimethInc. ex-Workers' Collective: Your ticket to a world free of charge

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CrimethInc. is a decentralized network pledged to anonymous collective action. We strive to reinvent our lives and our world according to the principles of self-determination and mutual aid.

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Women In Prison: How it is With Us by Assata Shakur What is Syndicalism? by Emma Goldman An Updated History of the New Afrikan Prison Struggle by Sundiata Acoli Tasers and the Fight Againat Police Brutality by Sally Darity Survival Guide for the Ex-Prisoner: A Guide to Successful Transition by Khalfani X.

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RnB: Some movement activists have expressed the idea that violence cannot be justified for any reason, and even a few political prisoners have said that they were wrong to engage in violent acts. What are your feelings on this? How have they changed over the years?

LW: Whenever we talk about "violence," I think it's important first to distinguish between the violence of the state including the army, the police, etc. and the use of armed resistance and armed struggle by oppressed people struggling for justice. Remember, too, that imperialist violence isn't just what they do with arms it also includes the genocidal results of a system that tries to destroy the history, identity, and culture of the nations it colonizes. It's malnutrition, poverty, and homelessness in the streets of the richest country on earth. Is the death of a homeless person, frozen in the winter streets of Chicago or New York, not a death by violence? If U.S. imperialism were to disarm to stop their stealing from people, cease committing genocide, stop starving people, etc. then I'd be willing to consider changing my support of revolutionary violence. Malcolm X talked about this a lot, with great passion and insight. "What are your options," he asked, "when a man's got his foot on your neck?"

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RnB: Some movement activists have expressed the idea that violence cannot be justified for any reason, and even a few political prisoners have said that they were wrong to engage in violent acts. What are your feelings on this? How have they changed over the years?

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"Pesky Pests should never be Petted!" now while that may be a seemingly easy tongue twister, we all know the implications of harboring pests in our home. Infestation is a serious problem. More in...

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Digital Fanzine Preservation Society (DFPS). A collection of hardcore and punk music fanzines remastered and collected on the DFPS blogspot by Nagus from 2009-2011.

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San Joaquin County Historical Society and Museum Riverside Public Library San Francisco Theological Seminary Archives West Sacramento Historical Society Public Lab Sonoma Valley Historical Society San Jose Public Library, California Room

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Read these out-of-print punk fanzines online for free.

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The Forgotten Zine Archive, Dublin, Ireland. 1K likes. A community archive of zines set up to both serve and preserve the burgeoning zine scene in Ireland.

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Whatcha mean, " what's a zine "?

Some say Thomas Paine originated the concept in 1776, when he self-published the pamphlet, Common Sense... an assertion author and cultural critic Greil Marcus would likely find a "spurious" attempt to confer legitimacy on a movement that occupies the societal fringes by definition.

No matter how many readers they attract, the creators of these small-circulation labors of love take their agendas very seriously. Whether the ultimate goal is to inform, to agitate, to smear or to celebrate, their contents are as raw as the cut-and-paste aesthetic that provided their defacto look, pre-Etsy.

While some zinesters are good about preserving master copies and donating back issues to zine libraries, many others' titles fall through the cracks of history, as the makers age out of the practice, or move on to other interests.

Individual zines' best chance at survival lies in academia, where experienced archivists and fleets of interns have the time and resources to catalogue and digitize thousands of poorly photocopied, often handwritten pages.

Duke University's Sallie Bingham Center for Women's History and Culture boasts over 4000 feminist zines.

Temple University's Science Fiction Fanzine Collection takes up nearly 100 boxes (or 46.5 linear feet).

The most recent archive is a 1000-title-strong radical collection that landed at the University of Kansas. Donated by the Solidarity! Revolutionary Center and Radical Library, a still-active, non-hierarchical, information-sharing collective in Lawrence, these zines cover a wide spectrum of activist history and concerns. You can now find and download about 834 of these zines online.

Titles such as Camp Trans: Gender Camp Zine, Hell Yeah! Consent Based Queer Porn and CoExist were providing a clear, first-person window on the LGBTQ world years before the mainstream media thought to follow suit.

Sisterhood is not just powerful, but palpable in Femmenstruation Rites Rag, Herbal Abortion: The Fruit of the Tree of Knowledge, and The Invisibility of Women Prisoners' Resistance.

Sustainability starts at home with Urban Permaculture, Ten Steps to Delicious Soymilk! and Dear Motorist....

Other topics include race, globalization, veganism, animal rights, and anarchy.

Unsurprisingly, the largest number of titles falls into the Music category. Before the Internet, punk shows were the most reliable channel of zinely distribution, and few of these fanzines are devoid of political content.

Below, Kansas University English professor Frank Farmer (who arranged for the donation) and archivist Becky Schulte discuss the importance of "counter-public documents" and zine culture.

You can explore 830 digitized examples from the Solidarity archives online here.
via Hyperallergic Related Content: The Whole Earth Catalog Online: Stewart Brand's "Bible" of the 60s Generation The Online Knitting Reference Library: Download 300 Knitting Books Published From 1849 to 2012 Extensive Archive of Avant-Garde & Modernist Magazines (1890-1939) Now Available Online Ayun Halliday is an author, illustrator, and Chief Primatologist of the East Village Inky zine. A large portion of her zine collection and papers are being processed by the Sallie Bingham Center at Duke University and will be available for research later this year. Follow her @AyunHalliday

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Download 834 Radical Zines From a Revolutionary Online Archive: Globalization, Punk Music, the Industrial Prison Complex & More

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Whatcha mean, "what's a zine"? Open Culture, openculture.com

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This is a growing archive of Star Trek: TOS stories originally published by STAG, ScoTpress and IDIC between 1975 and 1996. Stories mostly involve character interaction in an action-adventure format. It also includes a few stories which are either unpublished or were originally printed in other zines

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Welcome to the Salford Zine Library catalogue. You'll soon be able to search and browse your way through the entire collection here - just type in a title into the search box, or filter through our zines by choosing a subject from the drop down menu below.

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If nothing else, this zine reflects one of the things that we excel at at QZAP, which is building community and friendship networks through queer zines. The vast majority of folks who do research and play in the archive start out as friendly strangers.

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Bristol Archive Records Bristol Archive Records is a record label dealing in reggae, punk, rock, metal, pop and post punk 1977 onwards.

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Michael Baxter is on Facebook. Join Facebook to connect with Michael Baxter and others you may know. Facebook gives people the power to share and makes the world more open and connected.

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Irish Metal Archive | An archive of Irish rock and metal through the ages

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Two Tone Fan Club Memorabilia, 1980/1981

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http://zinelibraries.info/2016/05/30/code-of-ethics-1115-web-version/

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Watch here as we explore the James L. "Rusty" Hevelin Collection of pulps, fanzines, fan convention materials, books, and art housed in the University of Iowa's Special Collections & University...

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Birmingham Music Archive | Celebrating Birmingham's Popular Music History

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Celebrating Birmingham's Popular Music History

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Grassroots Media in Europe, Art, Text, Education, Grassroots media in Europe, History & memory, Human rights, LGBT and queer issues, Migration & border issues, Political participation, Religion and beliefs, Women's Liberation Movement

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Let's Go Yorkshire is a community arts organisation set up in 2011 to develop innovative projects reflecting contemporary British culture. In 2013 Let's Go Yorkshire developed a project named...

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n.paradoxa international feminist art journal

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Feminist art manifestoes, listed in n.paradoxa : international feminist art journal(ISSN: 1461_0434), KT press

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Feminist art manifestoes, listed in n.paradoxa : international feminist art journal(ISSN: 1461_0434), KT press

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Skinheads in the News 1988 - The New York Hardcore Chronicles Page | Facebook

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As a lame atonement for the late-summer hiatus I'm posting this chunky bugger - the 40 riotous pages of Acts of Defiance #7. Yes, 40! True, Sned's already made AoDs available on The UK Zine Archive , but here's an opportunity to point you in that direction if you've yet to discover the place. Raf, Russ and Mike at the helm with: interviews - Famous Imposters, Annie Anxiety, Faction, Poison Girls; issues - veganism, Territorial; Army, Militarism, voluntary unemployment, In The City (capitalism), battery chickens, Nuclear Power Fades Your Genes (nuclear accidents), Youth Opportunity Programme; a liberal sprinkling of fanzine round-ups; updates on The Station; tape reviews - Youth in Asia, Napalm Death, Political Asylum, Autumn Poison, Passion Killers, Flowers in the Dustbin, The Committee, Self Abuse, Chumbawamba; a notice on 91 Products; Grangetown Anarcho Punk Gang cartoon; a mini feature on The Stoned Rayzens; and poetry from Edible, Annie Anxiety, Wilfred Owen, and Andy T....and speaking of the lovely fellow...

Sheffield Marples 1983 pic Andrew Medcalf

...it's well worth noting the recent release of Andy's long player,. Yes! Some 32 years since his first appearance on Bullshit Detector we take delivery of this delightful lolloping slab of Andy at his seething 'n' bristling best. Generally I'm not really an advocate of reviews, rather, an adherent of the popular dictum; "writing about music is like dancing about architecture". Suffice to say, there's much to admire in Andy's approach to kicking-up a stink about social injustice and the venality of the political class. Certainly his has been a welcome return to the fray in recent years. As with recent live outings, LaTE sees Andy presenting the poetry in a musical setting interspersed with purely spoken elements. Whilst there's preference here for the highly affective raw ranting, there are some gems amongst the musical offerings, notably the clarion call of the scathing broadside, I Still Fucking Hate Thatcher (itself released as a very attractive records by way of a benefit single for the venerable Club), and the wonderfully depressive Wooden Curtains. Alongside the many excellent new excursions, the CD handily compiles many of the classics first showcased LaTE is the debut release on the resurrected All The Madmen records, and it's got to be said that ATM have set the bar bloody high for future releases. The sturdy package houses a 96 page booklet featuring Andy biographised and interviewed by Richard Cubesville and a rake of ace agitart and illustrations accompanying the poetry and lyrics. Easily worth a tenner!

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As a lame atonement for the late-summer hiatus I'm posting this chunky bugger - the 40 riotous pages of Acts of Defiance #7. Yes, 40! True, Sned's already made AoDs available on The UK Zine Archive , but here's an opportunity to point you in that direction if you've yet to discover the place.

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Hull Music Archive - The definitive guide to the history of Hull music...

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The definitive guide to the history of Hull music...

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It's Only Teenage Wasteland - Voices of East Anglia

Remember when true loyalty meant rolling up a ball of blu-tack and applying it to four corners of your favourite poster? When you could show your mates how cool and hip you were with your impressive collection of Athena posters? There was a time when our bedroom walls marked out our true tastes and also helped cover up some pretty minging wallpaper. Here we look back to a time when all that seemed to matter was who was Number One and when the new Jam single was being released.

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It's Only Teenage Wasteland - Voices of East Anglia

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Remember when true loyalty meant rolling up a ball of blu-tack and applying it to four corners of your favourite poster? When you could show your mates how cool and hip you were with your impressive collection of Athena posters?

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The OCAD U Zine Library is an ever-growing collection of self-published and handmade publications located in the Learning Zone at OCAD University. The collection was created to inspire, educate and entertain, to encourage collaboration between OCAD U students and to open up the world of zines for readers and creators everywhere!

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MDMArchive - Manchester Digital Music Archive

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An online community archive established in 2003 to celebrate Greater Manchester music and its social history.

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Zotero | Groups > Beyond the Riot - Feminist/queer zines, archives, and digital humanities > Library

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Zotero is a free, easy-to-use tool to help you collect, organize, cite, and share research.

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https://archive.org/details/magazine_rack

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Printing is not supported at the primary Gallery Thumbnail page. Please first navigate to a specific Image before printing.

Richard Neville

Editor: Richard Neville. Assistant Editor: Paul Lawson. Design: Jon Goodchild. Art Direction: Martin Sharp. Photography: Robert Whitaker. Editorial Board: Peter Ledeboer, Martin Robertson. Contributors, Etc: Andrew Fisher, Mike Newman, Martin Seymour-Smith, Chester, David Reynolds, David Widgery, Alan Munton,Matt Connelly, Stan Davies, Terry Bunton, Malcom Hincliffe, and the lovely Louise. 'London OZ' is published by OZ Publications Ink Limited, 70 Clarendon Road, London, W.11.

Content: Theological Striptease cover. Turn on, tune in, drop dead. Why New Statesman editor Paul Johnson is so bloody successful, In Bed with the English - Germaine Greer analyses the English man, LBJ playmate foldout, 'Madonna of the Napalm' poster, Colin MacInnes on Michael X, Private Eye-the death, David Widgery denounces the paper for having succumbed to establishment celebrities.

Richard Neville

Editor: Richard Neville. Business Manager: Peter Ledeboer. Deputy Editor: Paul Lawson. Design: Jon Goodchild. Photography: Harry Youlden. Art Direction: Martin Sharp. Contributors, Etc: Andrew Fisher, David Reynolds, Dr. Herod Peron, Germaine Greer. Advertising: Ian Stocks, & Louise.

Content: Bite Sized Oz! Monster Posters! Martin Sharp Toad of Whitehall poster with reverse cut-out 'Image Seekers' parody. 'Shut That Guy Up!' - Mark Lane on the cover up at the BBC over Warren Commission/Kennedy. Letters including reader willing to have sex with Germaine Greer. Day by dreary day. Martin Sharp 'Direct from Nirvana Frisco Speaks' cartoon. 'British Breasts'-Germaine Greer analyses breasts and bras (+competition to find the best). Amphetamines, where to score in London, prices and dealers. Metamorphoses poem by Peter Porter + graphics. 'Little Malcolm and His Struggle Against the 20 th Century' - interview with Malcolm Muggeridge + Martin Sharp cartoon. Detourned romance strip. 'A Work of Art' by Elizabeth Smart. 'No, Sir, When a Man is Tired of London, He is Tired of Life' - David Widgery on the London scene. Playmate of the Month (Toad Wilson of Whitehall) text.

Richard Neville

Editor: Richard Neville. Assistant Editor: Paul Lawson. Business Manager: Peter Ledeboer. Design: Jon Goodchild. Photography: Robert Whitaker. Art: Martin Sharp. Contributors, Etc: Andrew Fisher, David Reynolds & Louise. London OZ is published by OZ Publications Ink Limited, 40 Anhalt Road, London, W.11.

Content: Mona Lisa cover. Mike McInney cartoon/article. Merry Pranksters and Acid Tests. Timothy Leary Playboy interview. Will the real Frodo Baggins please stand up? 2 page naked girl sitting on toilet/parliament. An address to politicians-pop-drugs. Protest Postcards to politicians. Colin MacInnes 'In Praise of Ugliness'. Yoko Ono film protest. 3 page Martin Sharp foldout What Beautiful Eyes She Has with Revlon Invents Wet Lipstick on the reverse.

Richard Neville

Editor: Richard Nevile. Deputy Editor: Paul Lawson. Business Manager: Peter Ledeboer. Advertising: lan Stocks. Design: Jon Goodchild. Art : Martin Sharp. Staff: Andrew Fisher, Robert Whittaker, David Reynolds, Louise.

Content: Gold quadruple cover by Michael English. Insert: Oz sheet No. 1. Martin Sharp graphics and tarot cards on reverse of poster. Letter from John Calder & letter/report on man who challenged Germaine Greer's statements about British men. Full page Head Shop/posters ad. 'Sgt Nasser's Lonely Heartbreak Band' - graphic Nasser/Peppers parody. Martin Sharp 'Norman Normal' strip. Ad for Cream's 'Tales of Brave Ulysses'. 'Hamlet: I say, we will have no more marriages. Ophelia: but dahling, mommy's already sent out the invitations' - Hippy weddings and Guide to Living in Sin. 'Why did Svetlana's Old Man Marry Anyway?' - Polly Toynbee on Russian Puritanism. 'Candy is dandy Liquor is quicker Penguins are pink But don't tell the vicar' - Penguin books. Snakes & Snakes - a lovely game for courting couples. 'Let Him Die Quickly' - Angelo Quattrocchi on De Gaulle + graphic. Jehovah Christ Lucifer - Henrietta Moraes on The Process (de Grimston). 'Changes' photo and text. Martin Sharp 'Welcome Sir Frisco' text + graphic. 'Twinkle Twinkle' & 'Egypt Tarot Predicted an Israeli Victory. Avoid Your Disaster...' - astrology & tarot.

Richard Neville

Editor: Richard Nevile. Assistant Editor: Paul Lawson. Writers: Martin Sharp, Tevor Smith, Jon Goodchild. Photograph: Bob Whitaker. Production: Peter Ledeboer, lan Stocks, Louise.

Content: Plant a Flower-Child - Martin Sharp / Bob Whitaker poster with The Truth About the Great Alf Conspiracy on the reverse.

Richard Neville and John Wilcock

Editor: Richard Neville & John Wilcock. Deputy Editor: Paul Lawson. Business Manager: Peter Ledeboer. Design: Jon Goodchild. Photography: Robert Whitaker. Art: Martin Sharp. Staff: Andrew Fisher, Ian Stocks Newman, David Reynolds, Louise.

Content: Other Scenes issue, Martin Sharp cover. Produced by John Wilcock of Other Scenes. Michael X photo, R. Cobb graphic. Blue Films by the Yard - obscenity & Scotland Yard. Image - In Memorium Rene Magritte. 'What Does London Need Most?'. 'The King and His Coca Cola Court' - Richard Neville on Nepal. 1p Ray Leong photo of man chained to chair. 'Dope Sheet' - 2 pages on drugs by Chester Anderson. John Peel interview by David Phillips & Michael Gray. Letter from a Greek prison. 'Jagger Saga' on the Stones' bust. Michael Tausig on R.D. Laing. Underground Television by Sheldon Renan. Pop lyric collage by Ben Carruthers. 'The Pornb£oker' - Anthony Haden-Guest on Maurice Girodias. Rosetalk - hippy language parody + graphics. 'Leary in Disneyland' by David Widgery. Snareart' by Daniel Sporri. Picasso's Play at St Tropez - Jean-Jacques Lebel. 2p Hama 'Displacement' cartoon. Marshall McLuhan's Kingdom - 2p+ critique of McLuhan + graphics + Sphere ad for Understanding Media. IT ad. Release ad. OZ free back copies subscription ad. Back cover Other Scenes & OZ photomontage featuring Michael X.

Richard Neville

Editor: Richard Neville. Deputy Editor: Paul Lawson. Business Manager: Peter Ledeboer. Design: Jon Goodchild. Photography: Robert Whitaker. Art: Martin Sharp. Staff: Andrew Fisher, Ian Stocks Newman, David Reynolds, Louise.

Contents: Angello Quattrochi - 'Wog Beach Shock' + graphics. 'What's So Good About Dylan?': An Attempt at Analysis by Michael Gray 6p+ with graphics and transcription of 'Song to Woody'. Nov 1 st National Drop-Out Day ad. Other Scenes by John Wilcock. 'Cock Up Spaniels' by David Widgery. 'Michael X and the Flower Children' interview + photos by Horace Ove + notes from Malik's pre-trial. 2p 'Nothing But Flower Children' photostrip. 'In Bed With the Americans' by Polly Peachum. Film ad for How I Won the War. Ad for Penthouse and its "5,000-word celebration of hippiedom" (this issue's editorial notes a "reciprocal advertising arrangement with Penthouse" and condemns the fact that the OZ ad was censored because "Penthouse has exclusive rights to British obscenity"). IT subscription. Ad for The Mothers' Freakout. 'Blueprint for a Beautiful Community' by John Wilcock. The Science of Being and Art of Living by His Holiness Maharishi Mahesh Yogi reviewed. 2p 'Delusions' cartoon by Hama. Back cover: 'Had a Good Holiday?' - Andrew Fisher's indictment of sunbathing + Medusa graphic.

Richard Neville

Editor: Richard Neville. Deputy Editor: Paul Lawson. Business Manager: Peter Ledeboer. Design: Jon Goodchild. Photography: Robert Whitaker. Art: Martin Sharp. Staff: Andrew Fisher, Ian Stocks Newman, David Reynolds, Louise.

Content: Louise Ferrier comic cover, (insert: Yoko Ono Film No.4 ad. for the Saville Theatre, with photo of 14hr. Technicolour Dream event; infamous mis-spelt Che Guevara poster with psychedelic While Dad's Away, Mum Will Play poster on reverse) 'The Circus is in Town' - Martin Sharp Graphics. 'Jessie in Kinseyland'. 'Ozmosis'. R. L. cartoon. 1p+ Objet trouve - cigarette card National Types of Beauty. Forum ad. Oz subscription ad with Beardsley graphics. 'Russia, You Have Bread, But No Roses' - Angelo Quattrocchi on the Russian Revolution. London Magazine ad. Albert E. Kahn's Smetana and the Beetles ad. IT subscription form. 'The Stones, the Beatles, and Spyder Turner's Raunch Epistemology' by Richard Meltzer. 'Image as Language' ad. Other Scenes reviews Regis Debray's Revolution in the Revolution. 'Underground Confidential: World Wide Exclusive' by Andy Warhol. 'Think Sideways win £100' by Edward de Bono. Michael St John 'Epilogue'. Critique of Michael X. Playboy Club News page. 2p 'Freelancer' cartoon. Bulletin #12 from the Psychedelic Information Centre. Carpet Bazaar ad. 'In Memorium Homo Sapiens Extinct' back cover graphic.

Richard Neville

Editor: Richard Neville. Deputy Editor: Paul Lawson. Business Manager: Peter Ledeboer. Design: Jon Goodchild. Photography: Robert Whitaker. Art: Martin Sharp. Staff: Andrew Fisher, Ian Stocks Newman, David Reynolds, Louise.

Content: Martin Sharp Flying Saucer cover, Dylan 'song poems new stuff "FREEZE-OUT"' - transcribed lyrics for 'The Million Dollar Bash', 'Tiny Montgomery Says Hello', 'I see My Life Come Shining' (sic) & 'Crash on the Levee'. Ozmosis. 'Blow-Up!' - the Kennedy assassination and the 'Moorman photo'. 'The Digger Thing is Your Thing...' call for a British Digger movement. Che Guevara montage. IT subscription ad. Letter from Michael X. Angelo Quattrochi's open letter to Fidel Castro. Martin Sharp 'If I Could Turn You On...' graphic. 7p Flying Saucer Digest + graphics + Martin Sharp cartoon. Flying Saucer Review ad. 'A Healthy Mind in a...' - Julian Manyon on schools. Big O Posters full page ad. 'Devaluation Trilogy' - David Widgery on Georg Buchner. R. Cobb modern Americans/dead natives cartoon. Geuvara/Guevara apology. A handout from The Antiuniversity of London + Bob Whitaker photo. Liberation News Service + montage/cartoon. Neil Oram photo/poem.

Richard Neville

Editor: Richard Neville, Deputy Editor: Paul Lawson, Design Jon Goodchild assisted by Virginia Clive-Smith, Research Consultant: Andrew Fisher, Advertising and Subscriptions: Louise Ferrier, Pusher: Felix Dennis, Photography: Keith Morris, Contributions: Martin Sharp, David Widgery, David Reynolds, Barry Craddock, Lynn Richards.

Content: 2p inside cover Incinderjell photomontage by Dow Corp. Martin Sharp cartoons run along bottom of most of the issue; also Situationist illustrations (special - cut each page into 3 strips for thousands of variations issue). Peace News, Arts Lab & AntiUniversity of London ads. 'The Men Who Ban OZ' - and banned books. 'Justice & Violence in Armed Conflict' by Andrew Fisher. Justice & Violence in Athens and Arkansas '68. War comic strips/real war photos juxtaposed. Barry Craddock 'Presidential Elections' centerfold cartoon. The Running Man' ad. Response to 'The Digger Thing' in issue #9 and call for a forum. Roger McGough full page poem 'Summer with the Monarch' + photo. Underground 'Conversation'/manifesto. Adrian Mitchell on Vietnam. IT subscription form. Splash Posters ad.

Richard Neville

Editor: Richard Neville Deputy Editor: Paul Lawson Design: Jon Goodchild assisted by Virginia Clive-Smith Advertising: John Leaver c/o OZ Art: Martin Sharp Writers: Andrew Fisher, David Widgery, Angelo Quattrocchi Subscriptions: Louise Ferrier Pusher: Felix Dennis.

Contents: 'The Meat Pack' by Anthony Haden-Guest and Norman Rubington. 'Black Power' letter. Middle Earth and London Anti-University ads. Full page Big O Posters ad. 'Vote, Vote, Vote, For Whoever You Like' - mobilization for an international Yippie mock election by Jerry Rubin. 'The Anglo American Pumice Factory' by Richard Meltzer. Dr Hip ocrates. Martin Sharp's 'Vietloon' text/montage. 'Fading Freedoms/Latent Fascisms & Hippie High Hopes' part 1 by Raymond Durgnat. 'Yesterday I Subscribed to the New Statesman, Today I am Just, Reasonable, Good, & Dead' + letters. 'Hippy' cartoon. Martin Sharp - Ringo graphic. Willem cartoons. Oz subscription page.

Richard Neville

Editor: Richard Neville. Deputy Editor: Paul Lawson. Design: Jon Goodchild assisted by Virginia Clive-Smith. Art: Martin Sharp. Pull-out sheets: David Wills / Colin Fulcher. Advertising: John Leaver. Writers: Andrew Fisher, David Widgery, Angelo Quattrocchi, John Wilcock. Photography: Keith Morris. Pushers: Felix Dennis & Louis Ferrier.

Contents: Centrefold hippy girl. 'Fading Freedoms/Latent Fascisms' part 2 by Raymond Durgnat. Racism in the UK - Excuse Me, Is That the Way to the Gas Chambers? Letter from Rishikesh (Maharishi camp). Outer cover poster: Martin Sharp graphics, Incredible String Band ad, Existence is Unhappiness and Desire Can Be Destroyed Oz benefit.

Richard Neville

Editor: Richard Neville, Deputy Editor: Paul Lawson, Design: Jon Goodchild assisted by Felix Dennis, Art: Martin Sharp and Virginia Clive-Smith, Advertising: John Leaver, Writers: Andrew Fisher, David Widgery, Angelo Quattrocchi, John Wilcock, Dave Phillips & Nigel Fountain, Photography: Kei;h Morris, Pushers: Felix Dennis and Louise Ferrier.

Content: Quadruple 'Catherine and the Wheel of Fire' poster with Big O Posters ad on reverse. Martin Sharp and Johnny Hurford Legalise Pot Rally graphic on the internal front cover. 'We Need you Cohn-Bendit' letter. Eva. The Fugs. Jean-Jacques Lebel. John Wilcock's Other Scenes. IT subscription form. 'Agit Oz' - revolutionary quotes, chart + graphics. 'When Harrods is Looted' by David Widgery. 2p 'Hubert Sanguine' graphic by Andrew Fisher & David Spode. 'The May Revolution' and 'Philistine's Tears - Nectar of the Gods' by Angelo Quattrocchi. Oz Night - the Nice ad. OZ subscription/back issue page. Graffiti 1968. Transcriptions from Dylan's Don't Look Back. Incredible String Band ad. 'Smokeless Interzone' by Michael Horovitz. Ozmosis - 'We clothe every child in napalm' by Paul Lawson. 'The Alf-Back' - the Queen in Australia. 'Kubrick's 2001 A Space Odyssey - The Worst Trip Ever' by Tom Nairn.

Richard Neville

Editor: Richard Neville. Deputy Editor: Paul Lawson. Design: Jon Goodchild. Writers: Andrew Fisher, Ray Durgnat, Germaine, Tom Nairn, David Widgery, Angelo Quattrocchi. Artists: Martin Sharp, Rick Cuff, Michael English, Larry Smart, Vytas Serelis, John Hurford. Photography: Keith Morris. Typesetting: Jacky Ephgrave, courtesy Thom Keyes. Pushers: Louise Ferrier, Felix Dennis, Anou.

Contents: Letter from Clive James. Martin Sharp cartoons. Germaine Greer's 'Flip Top Legal Pot'. IT subscription ad. 'I Can't Escape My Passion Drives: Confessions of a Suburban Wife'. 'Dreaming of a Red Christmas' by David Widgery, Martin Sharp graphic/collage. Oz back issues with cover images. 'Barricades Around the Small Screen' - Wayland Brown on TV. 'Mr Ripper's Dirty Books'-obscene publications. Interview with Allen Cohen about Meher Baba. Michael English illustration & C. Logue poem. 'Continuity & Discontinuity' by Edward de Bono, 'The State of American Protest' by Peter Buckman. Transcription of the Stones' 'Street Fighting Man' and 'Jigsaw Puzzle' + photo. BFI report confidential. 2p Hippy graphics. 'Down on the Farm' - communalism by Emmanuel Petrakis. Martin Sharp's Electric Circus Exploding Hendrix graphic. 'Rock Aesthetics' by Richard Meltzer. 'Support your Local Police' by Tom Nairn.

Richard Neville and Martin Sharp

The Magic Theatre refers to Hermann Hesse's novel Steppenwolf, "Entrance not for everybody. Price of admittance, your mind and 3 shillings". Robert Hughes, author of The Shock of the New, said of this issue, "Sharp has assembled one of the richest banks of images that has ever appeared in a magazine". The next issue of Oz described OZ 16 thus: "Sharp and Von Mora invite you to the Magic Theatre. Mixed media non copy. The worst selling most praised Oz ever".

Richard Neville

This issue edited by Andrew Fisher. Editor: Richard Neville. Design: Jon Goodchild. Writers: Andrew Fisher, Ray Durgnat, Germaine, David Widgery, Angelo Quattrocchi, Fletcher Watkins. Mozic: Felix Dennis. Research: Jim Anderson. Artists: Martin Sharp, Bob Hook, John Hurford, Don Heywood, Phillipe von Mora. Photography: Keith Morris. Advertising: Felix Dennis REN 1330 Typesetting: Jacky Lawton, courtesy, Thom Keyes. Pushers: Louise Ferrier, Bridgid Harrison, Cosi Pavalko.

Contents: Fold-out tabloid format, Crumb 'Fingerlickin' Good' cover. Struggling / dancing woman on inside cover. Andy Warhol interview. Summer Solstice poem. 'Eldridge Cleaver Welcome Here' photo. Private Eye ad. 'Emergency Yippie Report' by Jerry Rubin & Friends. Revolutionary Militant Student ad. Rules for the Black Panther Party. Michael X. Angelfood McSpade Robert Crumb cartoon. 'How to Commit Revolution in Corporate America - and in Corporate Britain' part 1 by G. William Domhoff. The Soft Machine interview by Michael Broome and Mary Moore and Joseph Strick film rumours. MGM Records ad. Middle Earth/Roundhouse ad. 'The MC5 Kick Out the Jams!' LP reviews: Buddy Miles, Brian Auger & the Trinity, Tim Hardin, Zappa/Ruben & The Jets and Al Stewart. Terry Reid. RELEASE change of address/ad. 'The Rat Game' by Angelo Quattrocchi. 'Wind Up Black Dwarfs' by Clive James. Poverty cooking. IT subscription ad. 'What 'Paul Getty, the Freak Horseman of the Djmaa El Fna, and the Nude Texan Girl from the Albert Hall Alchemical Wedding Did Last Month' - Richard Neville on Marrakesh and his meeting with Lee Heater. Full page How to Achieve Sexual Ecstasy ad.

Richard Neville

OZ is published monthly by OZ Publications Ink Ltd , 52 Princedale Road, London, W 11. Phone 229:7541. Directors: Richard Neville, Andrew Fisher. OZ appears with the help of: Jon Goodchild, Felix Dennis, Louise: Ferrier, Brigid Harrison, Keith Morris, Lyn Richards, Ken Petty, Miss Murphy, Phillipe von Mora, Mike Mclnneny, Michael Ramsden, John Wilcock Jim Anderson. Special supplement: Angelo Quattrocchi. Advertising: Felix Dennis, 44, Wandsworth Bridge Road, London.

Contents: Hells Angel cover and feature. John Wilcock's Other Scenes. 'The Situationists are Coming' by Angelo Quattrocchi. 'Bedtime Story' by Peter Buckman. 2p 'Victor Vulgar' cartoon by Von Mora. 'A Vicious God'. Poems and graphics. Word Play by Peter Mayer. Graphic by McInnerey. IT subscription form. Dr Hip Ocrates. Poverty Cooking (roast Trafalgar pigeon). 'Out of the Psychodrama' by David Widgery. 'Hell's Angels-Hell's Who?' - text and interviews by Andrew Fisher + pictures. 'Child That I Am I Do' - 4p text & pictures on the Incredible String Band by Danae. Ad for Lenny Bruce LP. Jimmy Page interview by Felix Dennis. Jann Wenner and Rolling Stone by Sebastian Jorgenson.LP reviews: Traffic, Blood, Sweat & Tears, Mike Bloomfield & Al Kooper, Howling Wolf.

Richard Neville

OZ is published monthly by OZ Publications Ink Ltd , 52 Princedale Road, London, W 11. Directors: Richard Neville, Andrew Fisher. OZ appears with the help of: Jon Goodchild, Felix Dennis, Louise Ferrier, Brigid Harrison, Keith Morris, Lyn Richards, Ken Petty, Miss Murphy, Phillipe von Mora, Jim Anderson & Martin Sharp.

Content: Elektra Records 'Amazement' ad cover. (insert: Outcry! People's Park poster + Running Man Book News booklet) 'Rex Organ M.D.' cartoon. 'Plant Your Seeds'. Wak Komix cartoons including Martin Sharp Magic Theatre montage - 8 page comic freakout (Clay Wilson, Crumb). Ad for Living Theatre. 'Living the Revolution' by John Gerassi. Dr Hip Ocrates. 'Which Side are you On Baby?' - Michael English graphic. Middle Earth and 'Jeremy the best gay mag in the world' ads. John Hurford 2 page graphic. Full page Janis Joplin pic and Thunderclap Newman ad. 'Born Under a Bad Sign' - Pete Townshend interview from Tony Palmer's book. Zapple records ad. Tommy, Nashville Skyline and Liverpool Scene reviews. Rock n roll lyrics (The Chiffons, Johnny Kidd, Eddy Cochran, Little Richard). Poverty Cooking (leg of long pig). Ad for the Who's Tommy. 'The Groovy Thing is - You're Not Alone' - interview with Murray Roman. 'Che Body Politic' theatre review by Danny Hughes. 'Up Ulster' - Bernadette Devlin interview by Peter Buckman. Crucified rodent graphic. 'The Chart is the Map' Paradise Now body chart. 'The Plot is the Evolution' Living Theatre photomontage. 'The Ritual is the Vision' by Bill Levy. Marsha Hunt ad photo by David Bailey.

Richard Neville

Content: Martin Sharp Mickey Mouse/smiling moon cover. Square format. Zap Comix graphic. Marmalade Records ad. 'The Million Dollar Underground' by Germaine Greer. 'Private Armies' - John Crowley on squatting. Full page Saville Theatre Leonard Rossiter in Arturo Ui ad with framing Ebadajos graphic. Pop stars and drug law evasion. Full page ad for Jeremy: the magazine for people who don't care about sex! John Wilcock's 'Other Scenes. 'Loaded' by Bob Pritchard & poems by Alan Bold and Pete Brown. Ad for an eveing with Steve Dwoskin. Dr Hip Ocrates. Poverty Cooking. Exploding Hendrix & Plant a Flower Child posters free with OZ subscription ad. 'The Great Hippie Hoax' - 7p of hippie horror stories and reprints including a book which allegedly advises that "hippies should be sent to concentration camps". 'Drugs is a 5 Letter Word' by a Sunday Times reporter - critique of "the mindless coverage of drugs by mass media". 2p centerfold graphics. 'Television the Bankrupt Medium' - Oz TV supplement. 'The Tired Producer's Notes for His Testament' by David Sharp - a tired producer. 'The Cultural Luddites' by Tom Nairn. 'Visual Wank' by Ian Stocks. 'Shoot it! Show it! Video Now' by John Hopkins. Ads for Time Out and Some Of IT. Mozic: full page photo of Prince Charles playing the cello. Martha Velez and Murray Roman ads. Frank Zappa/ Uncle Meat interview by Pete Drummond. Full page Rolling Stones 'You Can't Always Get What You Want/Honky Tonk Women' ad. LP reviews: Lenny Bruce, Pete Brown, Albert King, Blossom Toes and the Velvet Underground. 2p Rock Quiz + photomontage. Harvest Records ad. 'Marsha' - 2p interview with Marsha Hunt.

Richard Neville

This issue appears with the help of Richard Neville, Felix Dennis, Jim Anderson, David Wills, Gary Brayley, Martin Sharp and Bridget Murphy. Cover photograph by David Nutter.

Content: Pussy Power issue - (insert: Print Mint posters ad) Poem 'A Sane Revolution' by D.H. Lawrence. OZ subscription form. 'Portrait of a Bolshevist' 2p graphics. 1p Blackhill Enterprises and Vertigo ads. 'The New Word Po Po' - Edward de Bono. 'Heavy Shit' by Felix Dennis. 'Gangster of Love Deported' - extract from Bill Levy's journal. LP reviews: Tim Buckley, Renaissance, Taj Mahal, Miles Davis. 4p CBS ad. 'The Biggest Tool in Show-Biz' - on Roddy McDowell. 'The Slag heap Erupts by Germaine Grrer. Candy Darling photo centerfold. 'The Food Explosion' part 2. Lennon/Ono Instant Karma! ad. Dear Doctor Hippocrates. 'Acid Flix' - underground film by Albie Thoms. 'Flogging Critics' by Peter Buckman. 2p girls and car photo. Ad for Suck. Ad for Friends & ad for IT with Edward drawing. Full page Time Out ad. John & Yoko 'Ban Guns' ad. The Chicago Conspiracy Trial transcript and full page cartoon. 'Played Out' - David Widgery reviews Richard Neville's Playpower. 'Head Books' by Jim Anderson. Chaoz - anti TV. Back cover Martin Sharp Marilyn/Vincent montage.

Richard Neville

This issue appears with the help of Jim Anderson, Richard Neville, Felix Dennis, David Wills, Gary Brayley and Bridget Murphy.

Content - Acid Oz - Sex Fair Special, Bob Crumb cover. LSD - 'The Acid Facts' text and graphic. 'The Chemical Revolution: To Trip is Human, To Revolt Divine!'. 2p+ Thead cartoon. 'Not So Instant Karma' by Jim Anderson. 'Zabriskie Petit-Point'. '14 Ways of Looking at Charles Manson... and one way of talking to him'. 2p Martin Sharp 'Acid is Good For You' graphic. 'Dope Hope' by Steve Morris. The Wooton Report on LSD and Amphetamine by Steve Abrams. 'Women on the Moon' - Michelene Wandor's reply to Greer. Tony Bell cartoon. 'Candy Darling finds Love at Last' - interview with Arthur Lee/Love by Jim Anderson. Centrespread 'I Was a Teenage Bopper' photo by Thomas Weir. Extracts from Robert Finnis' History of Teen Idols and Teenybop. 'Satans Slaves Read Books' - review by Jim Anderson. 'Crazy Otto Sheds His Guilt' - Albie Thoms on Otto Muehl. LP reviews: Live/Dead, GTOs, Mick Farren, Jefferson Airplane, Steve Miller, Rod Stewart. 4p+ CBS Records ad. 'Playpower in Pornoland' by Richard Neville. Playpower ad. 2p photomontage by Jo Garcia. Back cover - Oz back-issues and subscription with David Nutter 'castration' photomontage.

Pages 24-5 have not been included in the digitised copy.

Jim Anderson

This issue of OZ appears with the help of Jim Anderson, Gary Brayley, Felix Dennis, Bridget Murphy, Richard Neville, Liz Watson and David Wills.

Content: The Schoolkids issue. 2p photo of editors & contributors, plus photos & biographies. 'The Return of King Kong: Guerilla Babes Wipeout!' - school experiences/letters. Jail Bait of the Month photo. School Atrocities. Headmaster of the Year and school articles. 'Xam Blues'. Vivian Berger's 'Rupert/Crumb' montage and 'Rupert Dancing'. Gilbert Shelton Fabulous Furry Freak Brothers cartoon. Let it All Hang Out - Oz Freak of the Month. Photo of students/quote from Nixon about "bums... blowing up the campuses". 'High Skool Confidential: Billy Bunter Breaks Out' - from The High School Revolutionaries'. 2p Rehearse for the Apocalypse text and graphic. 'Brown Shoes Don't Make It' - music by Charles Shaar Murray. Back issue bonanza and 'Pud' cartoon. Siné cartoons. Oz Sucks - letters. Dr Hippocrates. 'Head Books' by Charles Shaar Murray. 'Jeff Beck: Truth is Blue'. Review of Theodore Roszak's The Making of a Counter Culture by Bob Hughes. LP reviews: Incredible String Band, Atomic Rooster, Lord Sutch, the Doors. Tony Palmer's Born Under a Bad Sign reviewed. 'Uncle Tom Holland and All!' by Hakim A. Jamal. Oz Multi-Purpose Anti-Form from the International Society for the Abolition of Data Processing Machines. Speed Freak Fun cartoons. For more on the Oz trial, and specifically Rupert Bear's role.

Richard Neville

This issue appears with the help of Jim Anderson, Gary Brayley, Felix Dennis, Germaine, Det Inspector Luff, Richard Neville, Bruce Sawford, and Liz Watson.

Content: Female Energy/Cuntpower OZ. 'New Ways with Play Clothes' - Germaine Greer knits private parts. 'The Kiss of the Lash' - Judith Malina interviewed by Danne Hughes. Dr Hippocrates. Michelene Victor's 'Whoring Along the Hudson'. 'Conversations with Anais Nin' by Jim Anderson. 'The Politics of Female Sexuality' by Germaine Greer. 'The Kings Shall Be Queens' by Danae Brook. Full page Hendrix/ Band of Gypsys ad. 'There's a Schmuck in the Tall Dark Hallway...' by Emmett Grogan. 'Fungus Food Forecast: a faint chemical taste in the mouth'. 'To Live Outside the Law You Must be Honest' - politics & the law. LP reviews: Jimi Hendrix, Leon Russell, King Crimson. Woodstock movie ad. 'Liberation Come!' by Kerry Rolfe. 'Sexual Politics: A Manifesto for Revolution' by Kate Millet. 'Nancy Kotex' cartoon. Canned Heat Live ad. 'Sugar and Spice' by Christine Pickard. 'The Perils of Pauline' cartoon. Altamont - male deodorant spray parody ad. 'The Divine Monosyllable - from a 19 th century dictionary of slang and its analogues'. Full page ad for Phun City. Back cover photo of a suffragette arrest.

Richard Neville

Content: (insert: Jimi Hendrix/Oz News poster) 'Communal Life in America' montage. 'Sources of Power' - Neil Rock on the pot trail. Moroccan anti-kif poster. 'Conversations with a CIA Agent'. Germaine Greer remembers Hendrix in 'Hey Jimi, Where you Gonna Run to Now?'. The Sun newspaper montage. Hog Farm/Wavy Gravy interview. General Waste More Land interview by Micheline Victor. 'Yohimbina Diaries' by Neal Phillips. 1p desert musicians graphic. Mott the Hoople ad. Think Ink Mike Wellard cartoon/ad. 'OZ Up the Khyber'' - travel. Very Cold Turkey. Japan. Keef Hartley Band ad. 'Little Orphan Amphaetamine' Gilbert Shelton cartoon. Morocco Death Picnic. Chile. The Fourth World graphic. 'Marrakhash Sexpress' by Jim Anderson. High Tide ad and ad for film The Man Who Had Power Over Women. LP Reviews: The Rolling Stones, North Indian Music, Keef Hartley, Pete Bardens, The Doors, Dr John. Subscription - 'Giant Rip-Off seized School Kids OZ on secret sale!'. Vertigo records ad. 'Love Rock Tribal Schlock' - Kate Garrett on Hair. Good Times - travel: San Francisco, Switzerland, the Hotcha! Tribe. Letter from Dan Goff Productions. 'Surf Shine Supermen' - 4p surfing in Australia by David Elfick & Rusty Miller. Back cover ad for Zappa/Mothers Weasels Ripped My Flesh.

Richard Neville

This issue appears with the help o f Jim Anderson, Pat Bell, Stanislav Demidjuk, Felix Dennis, Simon Kentish, Debbie Knight, Stephen Litster, Brian McCracken, Mike Murphy, Richard Neville, John O'Neil, Chris Rowley, George Snow, David Wills. Thanks for artwork, photographs and valuable help to Eddie Belchamber, Andy Dudzinski, Rod Beddatl, Rip-Off Press, David Nutter, Mike Weller, Dan Pearce, Colin Thomas, Charles Shaar Murray, Sue Miles and those innumerable people who write us letters, which we are unable to print and sometimes forget to reply to.

Contents: Special Pig issue cover by Ed Belchamber. Stop Press: OZ Obscenity Trial June 22 nd Old Bailey. 'The Contortions of Modern Cricket' A commentary on the current state of the game - Suck, sexuality and politics by Jim Haynes + graphics. 'The Continuing Story of Lee Heater' by Jim Anderson + graphics. How Howie Made it in the Real World 3p cartoon by Gore. Full page Keef Hartley Band ad. 'The Bob Sleigh Case' by Stanislav Demidjuk - freak injustice. 'Act Like a Lady' - gay advice from Gay Dealer + graphics by Rod Beddall. Chart: 'The Medical Effects of Mind-Altering Substances' - based on charts by Sidney Cohen MD and Joel Fort MD. Drug Chart Extra. 'Acid Through the Looking Glass' and The YageDitran Conjecture - Peter Stafford author of LSD-The Problem Solving Drug and the forthcoming Psychedelic Baby Reaches Puberty on psychedelics. Full page trippy Alice and white rabbit graphic. Drugs Fight Dirty - Hit Back Hard text & graphic. Full page Dan Pearce graphic. Pink Fairies & Roy Harper ads. Ozjets D'art at Clytie Jessop's Gallery in Kings Road - thanks for the exhibition + graphics including Hockney's portraits of the editors. Mail order OZ including Luff, Honeybunch, pregnant elephant and Three Virgins (girls from the centrespread of OZ 27) T-shirts & badges. Ad for Jill Neville's The Love Germ. Edward cartoon ad for Nasty Tales & IT. Centrespread Hans Bellmer graphic. Mike Murphy cartoon. Edgar Broughton Band & Brian Auger ads. 'Desolation Dribble' - David Reitman plays basketball with Dylan + Dan Pearce graphic. 'His Duty to Serve - Hers to Inspire' - Lee Harris on Gandhi. Gnidrolog by Charles Shaar Murray + full page 3 rd eye photo. Spike: the Little Red Schoolbook and repression. Ink. Richard Brautigan poem 'Flowers for Those You Love'. St Cecelia ad. 'Terror on the Tubes' - Stanislav Demidjuk on Theatrespiel performance. S. Clay Wilson Spider Joy cartoon. 'See Me Feel Me Touch Me Heal Me' Esalen and Encounter Group Therapy - Jerome Liss talks to Don Braisby + graphics and groups list. Gypsy and B.B. Blunder ads. Fan mail + Lynn Barnes graphic. Thin Lizzy & early Hendrix on Saga Records ads & Friends of the Earth books by Ballantine ad. LP reviews: Brian Auger, Third World War, John Cale & Terry Riley, Keef Hartley Band, Loudon Wainwright IIIrd. 2p M.J. Weller catoon The Firm. Back cover ad for United Artists Records featuring boy reading OZ 33.

Richard Neville

Content: Angry OZ / A World of Young Love.(Issue inverts itself half way through, both covers are 'front' covers) Ad for Traffic. R.D. Laing ad. Ink ad. Angry Brigade Communique 6. 'Grass?' by Andrew Cockburn + full page 'I crossed my fingers and took my first puff of marijuana' graphic + 2p 'They Said I was Out to Lunch' cartoon. Ike & Tina Turner ad. William Morris The Wood Beyond the World ad. BAMN: Outlaw Manifestos and Ephemera 1965-70 ad. LP reviews: The Who Who's Next, The Mothers Fillmore East June 1971, Jack Bruce Harmony Row. Ad for Tony Palmer's The Trials of OZ. 'Tyger' by David Widgery + Blake illustration. 'The Cannock Chase Murders' poem by Judge Argyle QC + MacKinnon graphic. Film ad for Taking Off. OZ mail order. Full page Elastic OZ Band 'God Save Us' ad in front-page tabloid form. 'Another OZ scoop - We Meet Ronald Biggs'. Ad for Yoko Ono's Grapefruit. 'Under Whose Thumb' Mary Strong/Andy Levine on the Rolling Stones, macho, egoism & cocaine + Jagger/Nazi torture montage. 'Good Little Bad Girl' - Harry liked his wife in lingerie but everyone else did too! Sandy Denny ad. Full page graphic + thanks to the one juror who thought OZ 28 not obscene and the Judge who granted the editors bail. 'What UCS?' - Stanislav Demidjuk on the Upper Clyde Shipbuilders. 'Not So Much Oppression More a Way of Life' - Roger Hutchinson on the north and STYNG. 2p text and graphic sequence on 'pig law'. 'How to Deprave & Corrupt' - Warren on the OZ trial & sexual freedom + pics of couple. Full page 'big ladies' ad for Who's Next. Letter from Fulham Women's Liberation Workshop. Transatlantic Records ad - "We don't think Mr. Justice Argyle would like our new releases either". 'Internment' - Northern Ireland by Brian Trench. 'Rage of Innocence' - James McCann, Crumlin Road jail escapee. Polydor/Atlantic records ad. 'One Big Frame Up' - Angry Brigade: The prison letters of Jake Prescott and Ian Purdie. Full Page Mothers Fillmore East ad. 'Go Home Ozzies' - Garth on deportation.

Richard Neville

Contents: Crime & Conspiracy! Issue. 2p Loudon Wainwright III lyric to 'Old Friend' and John Hurford graphic. 2p of 'Wanted' world figures (Golda Meir, Gandhi, Walt Disney, Ho Chi Minh, Albert Schweitzer, J.F. Kennedy). 'Charlie Was a Bastard' - a short story about murder in a commune by Christopher Priest. 'The 1 st Crime' 2p cartoon. 'War Crimes' - a roll-call of war dead. Academy Editions ad. Bickershaw Festival ad. 'Planet of the Apes' graphic Mona Lisa parody. 'Environmental Crime' by Michael Allaby. OZ mail order. 'Errant Guardians of the Law' - Police crime. 2p Mike Unsted cartoon. 'Mobs and Plotters' - Andrew Sinclair on conspiracies. 'A Rooky Gumshoe's A.B.C.' NME ad. RELEASE ad. Cinema Rising ad. 'The Politics of Rape' by Susan Griffin 6p + graphics. Charles Shaar Murray reviews Hendrix, Isaac Hayes, Rahsaan Roland Kirk, Curtis Mayfield. Humble Pie ad. Lucifer 'Fuck You' ad. 'Capital Punishments of all Nations' text & graphic. "Astounding, Holmes' - Peter Laurie examines scientific police detection. Mike McGear ad. Ad for William Morris/Ballantine Books. 3p Gilbert Shelton Wonder Wart-Hog cartoon. Gay News ad. 'It's the Poor What Gets the Blame' by Jock Young + illustrations by Rod. 'Identiquiz'. Spoof (?) Home Office memo about male/female crime rates and the need to 'feminise' males. Ad for The Image. Amon Duul II ad. Full page Martin Sharp graphic/ad for his work. 'If the Cong Don't Get You, Cadmium Will...' - book reviews: Body Count, The Toxic Metals, Doomwatch. Gnidrolog ad. Full page ad for McCartney/Wing's 'Give Ireland Back to the Irish'. 'Is Nothing Sacred?' - egg on Che's face graphic. Back cover portrait of Al Capone.

Richard Neville

Contents: Naked hippie couple cover.'Miss Elektra Meets the Shocked Nun' - David Leitch on mental hospitals and ECT. Argent ad. Ad for OZ street sellers. Hippie couple photo. 'The Universal Exhibition' - Charles Shaar Murray on the Bickershaw rock festival. 'The Vanishing Life Experts' - indians in Columbia by Robin Hanbury-Tenison. , 'The Little Vanguard's Tail' - a fairy story by Sheila Turner (Sheila Rowbotham) + Gustav Dore illustration. Twilight of the Dogs 5p+ Richard Corben cartoon strip. Greasy Truckers ad. Brian Bolland cartoon. 'They Do it With Mirrors' - feminism/TV by Micheline Wandor. 'Let's Have a Party' by David Widgery. The Death of Lester Brown, House Painter - Rod Taylor poem and Ed Badajos graphic. Prison Special: 'John: 30 Years of Hard Rain' from Tales for the Son of My Unborn Child by Thomas Farber. RAP - Radical Alternatives to Prisons. Joshua Thomas graphic. Full page mail order OZ. The Angry Brigade/Stoke Newington 8 trial. 'Sledge Hammers in the Slums' - Roger Hutchinson on the Northern and provincial alternative press. 'There But For the Grace of God...' Jackie on jail in Iran. 'Muckro Biotics' by Amadeus Vivek. Clay Wilson graphic. Lucifer 'Fuck You' ad. Peter Frampton ad. 'From Pocket to Penis' - Jerry Hopkins investigates the wonderful world of rubbers. Spare Rib ad (and notice in Spike). RELEASE new address and ad. Book reviews of Narcotic Plants, The Underground Dictionary, Beneath the City Streets and Roland Barthes' Mythologies. Film reviews A Day in the Death of Joe Egg, The Last Picture Show , Two Lane Blacktop. Make New Frendz ad. Ad for Anthony Scudato's Bob Dylan biography. Emerson Lake & Palmer ad. LP reviews: Fanny, The Allman Brothers Eat a Peach. 'Love, Peace, Acid, Crashpads, Lightshows, Arts Labs, Karma, Incense, Grateful Dead & Far Out!' by Warren Hague. Germaine Greer's husband naked but not aroused. Back cover: Ralph Steadman graphic 'How you gonna crucify a child in Vietnam without any arms?' with Albert Schweitzer quote about the suicide of civilization.

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OZ magazine, London | Historical & Cultural Collections | University of Wollongong

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Printing is not supported at the primary Gallery Thumbnail page. Please first navigate to a specific Image before printing. Richard Neville Editor: Richard Neville. Assistant Editor: Paul Lawson. Design: Jon Goodchild. Art Direction: Martin Sharp. Photography: Robert Whitaker. Editorial Board: Peter Ledeboer, Martin Robertson.

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From Manchester 'zine City Fun, number 3, 6 December, 1978

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cartoons. the full it archive from the people who wrote it

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Politics, art, counterculture, free love, cartoons. The full IT Archive from the people who wrote IT