by Zines, Feminism
[Zines][Comics][Feminism] Archive of seven independent feminist zines from the 1990s to 2001, representing the DIY ethos of riot grrrl and underground feminist publishing. These zines reflect the radical self-expression, cultural critique, and activism that defined third-wave feminism, tackling issues of body image, media representation, punk politics, and grassroots organizing. Produced in small print runs and distributed through zine distros, music scenes, and mail order, these self-published works embody the countercultural energy of the era. All staple-bound, averaging 20-40 pages, with hand-drawn illustrations, typewritten and collage layouts, and original artwork. Archive includes:
[1] Reinstein, Erika. Channel Seven. [Olympia, WA]: Self-published, c.a. 1994. A feminist punk zine documenting the experience of women in the underground music scene. Written by a musician in the punk band Heavens to Betsy, the issue critiques sexism in music spaces, detailing the alienation of female performers and the lack of engagement from male audiences. Includes a typewritten essay addressing the expectation for women to discuss sexism in a detached, academic manner rather than from lived experience. Staple-bound, black-and-white xeroxed pages with DIY aesthetic.
[2] Princess Emily. Grrrl Bombs #7. Bloomington, IN: Self-published, Fall 1997. A riot grrrl zine combining personal narrative, feminist analysis, and music commentary. Written in a conversational, diary-like tone, the issue covers the author’s experiences as a young woman in college, reflections on gender studies, and a call for feminist activism. Features hand-drawn cover art of two roller-skating girls holding books, alongside the symbolic use of bomb illustrations.
[3] Mathenly, Jason (Ed.). Pint Tweed Records Zine. Gastonia, NC: Self-published, Fall-Winter 1998, fifth edition. A zine documenting the underground lo-fi cassette label Pink Tweed Records, featuring interviews, DIY music culture, and a directory of indie record labels. The issue highlights zine culture’s close ties to independent music, including an address list for small record labels and a call for submissions. Staple-bound, xeroxed pages with a punk-inspired cut-and-paste layout.
[4] Núñez, Jolie . Veronica Lodge #6. Union City, IN: Super-Babe Productions, December 1999. The final issue of Veronica Lodge, a zine blending music reviews, personal essays, and feminist punk discourse. Includes interviews with Kathleen Hanna (Bikini Kill, Le Tigre) and Wendianne from My Room Records. Features cut-and-paste collage design, handwritten text, and comic-style illustrations. Núñez reflects on burnout within the zine community and the pressures of DIY publishing, marking the end of Veronica Lodge with a farewell note and a call for future creative endeavors.
[5] Rose, Melanie. Teen Girl Liberation Army #2. Olympia, WA: Self-published, [1990s]. A radical feminist zine tackling issues of privilege, punk politics, and girlhood resistance. Features discussions of body image, fat activism, and the dynamics of oppression among young women. Includes a reprinted poem on privilege, reflections on zine culture, and a call for collaboration on a spoken-word project. Bright yellow cover with bold black typography and hand-drawn illustrations.
[6] Alaezia, Kangara. Take It—It’s My Body! Corvallis, OR: Self-published, c.a. 2001. A personal zine exploring body image, fat acceptance, and self-love, blending memoir and social critique. Features a hand-drawn cartoon cover with the caption, “My butt looks so good, any size!” The introduction discusses childhood experiences with fatphobia, self-esteem struggles, and the author’s journey toward body acceptance. Includes reflections on diet culture and societal expectations of women’s bodies.
[7] Urbano, Leah (Ed.). Secluded Universe. Erie, PA: Self-published, [1990s]. A zine mail-order catalog featuring over 150 indie publications, documenting the zine trading networks that sustained underground feminist and punk publishing. The editor shares personal reflections on flooding that destroyed past issues, the persistence of DIY publishing, and the financial struggles of running a zine distro. Features hand-drawn illustrations, a top ten list of zines, and punk music recommendations.
Overall, very good condition, with minor handling wear and light creasing to covers. This archive captures the vibrancy of 1990s feminist zine culture, preserving a record of grassroots media production, self-publishing networks, and third-wave feminist activism. (Inventory #: 21384)
[1] Reinstein, Erika. Channel Seven. [Olympia, WA]: Self-published, c.a. 1994. A feminist punk zine documenting the experience of women in the underground music scene. Written by a musician in the punk band Heavens to Betsy, the issue critiques sexism in music spaces, detailing the alienation of female performers and the lack of engagement from male audiences. Includes a typewritten essay addressing the expectation for women to discuss sexism in a detached, academic manner rather than from lived experience. Staple-bound, black-and-white xeroxed pages with DIY aesthetic.
[2] Princess Emily. Grrrl Bombs #7. Bloomington, IN: Self-published, Fall 1997. A riot grrrl zine combining personal narrative, feminist analysis, and music commentary. Written in a conversational, diary-like tone, the issue covers the author’s experiences as a young woman in college, reflections on gender studies, and a call for feminist activism. Features hand-drawn cover art of two roller-skating girls holding books, alongside the symbolic use of bomb illustrations.
[3] Mathenly, Jason (Ed.). Pint Tweed Records Zine. Gastonia, NC: Self-published, Fall-Winter 1998, fifth edition. A zine documenting the underground lo-fi cassette label Pink Tweed Records, featuring interviews, DIY music culture, and a directory of indie record labels. The issue highlights zine culture’s close ties to independent music, including an address list for small record labels and a call for submissions. Staple-bound, xeroxed pages with a punk-inspired cut-and-paste layout.
[4] Núñez, Jolie . Veronica Lodge #6. Union City, IN: Super-Babe Productions, December 1999. The final issue of Veronica Lodge, a zine blending music reviews, personal essays, and feminist punk discourse. Includes interviews with Kathleen Hanna (Bikini Kill, Le Tigre) and Wendianne from My Room Records. Features cut-and-paste collage design, handwritten text, and comic-style illustrations. Núñez reflects on burnout within the zine community and the pressures of DIY publishing, marking the end of Veronica Lodge with a farewell note and a call for future creative endeavors.
[5] Rose, Melanie. Teen Girl Liberation Army #2. Olympia, WA: Self-published, [1990s]. A radical feminist zine tackling issues of privilege, punk politics, and girlhood resistance. Features discussions of body image, fat activism, and the dynamics of oppression among young women. Includes a reprinted poem on privilege, reflections on zine culture, and a call for collaboration on a spoken-word project. Bright yellow cover with bold black typography and hand-drawn illustrations.
[6] Alaezia, Kangara. Take It—It’s My Body! Corvallis, OR: Self-published, c.a. 2001. A personal zine exploring body image, fat acceptance, and self-love, blending memoir and social critique. Features a hand-drawn cartoon cover with the caption, “My butt looks so good, any size!” The introduction discusses childhood experiences with fatphobia, self-esteem struggles, and the author’s journey toward body acceptance. Includes reflections on diet culture and societal expectations of women’s bodies.
[7] Urbano, Leah (Ed.). Secluded Universe. Erie, PA: Self-published, [1990s]. A zine mail-order catalog featuring over 150 indie publications, documenting the zine trading networks that sustained underground feminist and punk publishing. The editor shares personal reflections on flooding that destroyed past issues, the persistence of DIY publishing, and the financial struggles of running a zine distro. Features hand-drawn illustrations, a top ten list of zines, and punk music recommendations.
Overall, very good condition, with minor handling wear and light creasing to covers. This archive captures the vibrancy of 1990s feminist zine culture, preserving a record of grassroots media production, self-publishing networks, and third-wave feminist activism. (Inventory #: 21384)
(818) 224-4555
