2.2 FANZINE

A fanzine is a short-run periodical produced from passion and self-expression. Fanzine publishers write about things they are passionate about, it can be anything. It has existed in various forms from letter style to hundreds-of-pages paperback book. Most fanzines are done by one person while others have multiple contributors. Fanzine publishers can be anyone and they do not fit into any demographic group. Fanzines give space for non-professional writers and artists that rarely or never published in other media. Fanzines are distributed through underground network and mailed in decorated envelopes. Nowadays, internet helps a lot of fanzines in promoting and communicating. This book is a complete step by step guide of fanzine publishing, different kind of printing method, distributing, copyright and legal issues, managing your little ‘office’ to organizing fanzine related events. Layout is the placement and organization of elements on a page. The type carries the attitude, legibility and sometimes its budget. Fanzines are typically less formal and less commercial production compared to magazines. Mixing handwriting and typing can look neat if you do it right, for example handwritten titles for the typed article. The headlines can be created using hand-lettering, transfer-lettering, rub-on letters or adhesive lettering. Typewriter lettering is the cheapest non-handwritten method to do type. Other layout methods to explore are collages and even using rubber stamp, Brent and Biel, 2008

Fanzines are amateur publications. They are photocopied, roughly hewn production, produced by an individual. It displays the graphics of resistance. Fanzines graphics mostly disregard rules and prescriptions and they do it intentionally.  It features spontaneous page layout, values of the photocopier, and a mixture of typographic treatments such as cut-and-paste, ‘ransom notes’, typewritten and handwritten letterforms. Each fanzine maintained an individual approach.  The graphic manners, visual elements and layout reflect not only the message but also the individual hand of the fanzine producer. Triggs, 2010

Fanzines are self-published periodicals with small press runs, often photocopied and usually appealing to audiences with common interests. The numbers grow with time; it is no longer regarded as strictly underground culture phenomenon, but must be accepted as a part of the larger cultural landscape. Fanzines share many common characteristics such as their emphasis on autonomy and independence. The word “zine” comes from the English word “magazine”, which comes from the Arabic word “makhazin”-plural for “makhzan” (storehouse). In English, “magazine” also means storehouse but has more commonly known as a periodical that contains miscellaneous pieces of writing, that fits the meaning of fanzine as well. The difference between a magazine and a fanzine is the purpose of doing it. Magazines are products made as a commercial commodity, while fanzines are made as a labor of love. Very few fanzines are done for commercial purposes. Most of the publishers do not expect to make monetary profit from their work, yet they invest considerable amounts of money and time publishing their fanzines. This is done because of varied personal reasons. Some do not even sell their work, but only accept trades with other fanzines. The only demand it supplies comes from the creator’s imagination, not the marketplace. The term “fanzine” was coined by the fantasy and science-fiction fandom. As fanzines spread to other areas of interests, such as music and comic books, the same term is used. Consequently, the fanzines produced outside of fantasy/science-fiction fandom became much less fan publication. The writing became much more personal. So, the term “zine” was adopted because the term “fanzine” did not seem to apply. The word “fan” was eliminated. With the punk culture, the followers view themselves as an egalitarian community which means a community without hierarchy of producers and consumers. So, there is no such thing as “fans” to them because everyone is considered as friends. The line between fanzine and “zine” blurs because they are related and similar. Wright, 1997  

Layout is about planning the space of the pages. It can create a setting or mood. Sometimes the concept is more understandable in a non-traditional format. Cut and paste layout looks appealing and enhance the writing. Wrekk, 2009

The Do It Yourself empowerment philosophy of the 70’s punk rock revolt brings thousands of unsatisfied followers expressing their selves using the cheapest print methods. They are writing the real news and crimes that the mainstream media did not expose, and forgotten in just a moment and took for granted. Cut and paste method can be mastered naturally and some of them just alter real design or headlines from magazines and even changed the dialogue of comic strips making it more hilarious. There is no authority or leader in the fanzine movement, there is no standard to follow or obey, it is free. Independent publication counteracts to irrelevant and misleading mainstream media. 50000 fanzines emerged in the USA in the 70’s with the easy access to cheap or free photocopy machine. Most of them are distributed through mail with little publicity. The topics are mostly off-beat interests, extreme personal revelations and social activism. Fanzine and self-publication history can be traced from the invention of the printing press. Large scale printed sheets in various sizes with text reporting news, satire and literature, and religious thoughts were also self-published in that era, to spread message to a wide audience. Little-magazines or self-published political publication emerged just before and after World War 1 period (1914) that is also quite similar to fanzines. Then came Dada publications that can be said as a proto-zine which also self-published for the pleasure of the creators and readers, short-lived and ignoring all standards and rules. After that there were surrealist journals that were also self-published. The mimeograph revolution came into the picture in the 1930’s and was at the highest stakes during World War 2 with hundreds of zine-like resistance publication produced by leftists. Fanzine was invented by science-fiction enthusiasts in 1930’s. It typically focuses on concepts, rumors, fads and similar phenomena rather than commercial promotion. Nowadays fanzine producers use word processing, design program and internet on computers, it is all easier. Vale, V. 1996

Fanzines started in the 1930’s by science fiction fans to share their science-fiction stories. In mid 1970’s, punk rock music fans made fanzines about their music and culture. They are publication made not for money but for love. Fanzines are non-commercial, non-professional, small circulation magazines which their creators produce, publish and distribute by themselves. They are written with sincere and intimacy by anyone about their life, society and authority-not for money or recognition. Fanzine culture practices the DIY ethics, making their own culture using margins, control, connection and authenticity. In the 1980’s, sci-fi and punk rock fanzine together with smaller streams of fanzines were cross-fertilized and promoted by network zines such as Factsheet Five. A typical fanzine might start with editorial; opinion based essay or rants, and then closed by some reviews of other zines, bands, books and others. The style is between a personal letter and a magazine. Most fanzines look amateurish and done almost entirely by hand and some were printed professionally in newsprint format. They are advertised via word of mouth, reviews in other zines and sold through mail, at punk rock gigs and books store and music stores. Zines are expression of raw emotions and a denial of design rules. The editorial sections are filled with spontaneous ideas from the editors’ minds. Self-publishing allows writers to be honest with themselves and write their own thoughts. Some fanzines contain hand-drawn illustrations or comics. Fanzines are put together by hand using common materials and technology, cut-and-paste layout, barely illegible type, and uneven production and some using personal computers. Duncombe, 2008

Mark Perry, a bank clerk from London saw a live performance of the punk rock band The Ramones in London, July 1976. He went to Rock On record store and asked the manager whether there are magazines featuring The Ramones. The manager replied “not really”, and suggested him to start one. He went home and did just that. He created Sniffin’ Glue, a music fanzine featuring punk rock bands that he listened to.  It was done using a children’s typewriter, mixed with hand-writing using black marker pen cut and paste layout. It was then photocopied and distributed to record stores including Rock On who bought more than 50 copies. Aneurin, 2005.

Even though some fanzines are lacking content-wise, cut and paste layout that is common for fanzines represents the attitude. All needed are a blade, a stack of old magazines, a typewriter, and some glue, and photocopier access to publish their writing and take it as a hobby. Hyde, 2009

The great thing about zines is the freedom of expression in any way you like. It will be better if it is raw and unique. The zine culture is where the weird, absurd and unique personalities are appreciated. They are distributed and are available at bookstores, fanzine libraries, comic conventions and also sent by mail. Zines has gathered momentum in different forms, mainly photocopied and stapled publications filled with fun anecdotes and comics. Some other artistic style of zines are using hands-on techniques such as silkscreen, rubber stamping, paper folding, varying paper stocks and drawing right in each copy. Some zines have no words and filled with art, prints, and photography. There is a listing of suggestions on what to be written in fanzines, materials tricks and tips, team organization, different looks of fanzine formats, and other useful tips for beginners. Todd and Watson, 2006  

Anyone who could put two words together and use a stapler was a potential fanzine editor. Punk fanzines are an act against the glossy magazine who dictated how punks should look, sound and behave. It was inspired by the birth of genuine DIY labels, whose records are sold at virtually cost price and how fans of the music can communicate with the artist and book them themselves. Glasper, 2006