Tag Archives: punk

Ephemera, Fine Arts Library, Humanities & Liberal Arts, IDEA (Inclusivity, Diversity, Equity and Accessibility), Read Hot and Digitized

Read Hot and Digitized: Preserving the Outcasts with The Queer Zine Archive Project

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Read, hot & digitized: Librarians and the digital scholarship they love — In this series, librarians from the UT Libraries Arts, Humanities and Global Studies Engagement Team briefly present, explore and critique existing examples of digital scholarship. Our hope is that these monthly reviews will inspire critical reflection of, and future creative contributions to, the growing fields of digital scholarship.

Zines have long been a medium for weirdos, freaks, and outcasts on the margins, which means they’ve been a staple of queer expression. The Queer Zine Archive Project (QZAP) has been digitizing and preserving queer zines for twenty years! 

First of all, what are zines? Zines are DIY publications, usually staple-bound and made with printer paper. They’re cheap and easy to produce, and most zine makers give them away for free or sell them at low prices to recoup costs. This allows them to bypass mainstream publishers, so zines are often a medium for marginalized and radical voices. 

Zines developed out of Science Fiction fan culture in the 1930s. In the 1970s, the onset of photocopying technology coincided with the rise of punk music. Punk fans (who often overlapped with Sci-fi fans) latched onto zines as a way to write about their favorite bands, share stories, and build community. As such, zines have always been a venue for outsider expression and radical politics. In the 1990s, feminist and queer zine makers really took hold of the medium. Punk communities might have been made up of outcasts, but they weren’t immune to misogyny and homophobia. Women and LGBTQ punks experienced marginalization and discrimination within their scenes, and zines provided a much-needed space to voice these experiences and find other like-minded queers. 

So a project like QZAP is pretty revolutionary! This searchable database is run by a collective based in Milwaukee, Wisconsin, and it is and will remain free and open to use. QZAP’s goal is to create a “living history” so they continue to accept new submissions from contemporary queer zine makers. They hold a broad definition of “queer,” too, recognizing that identities and language change over time. Zine makers submit their physical zines to QZAP, and collective members, usually librarians, archivists, scholars, and graduate students, scan the zines and create the metadata. Like zines themselves, QZAP is a DIY enterprise!

QZAP’s homepage features a rotation of different zine covers. This featured zine is about the representation of Black Lesbians in the Lesbian Herstory Archives.

QZAP allows users to browse zines, which is one of my favorite ways to explore their collections. With so much interesting and obscure content, browsing QZAP’s collection is a fun, serendipitous experience. QZAP also has an Advanced Search option for users to find zines by author, place of publication, or year of publication. I’ve used QZAP when working with Women’s & Gender Studies classes so students can see a broad set of queer zines over time. While the website’s look and feel are pretty simple and the technology is a bit dated, students respond enthusiastically to the content. I think QZAP’s simple design and stable technology have made it a sustainable project, especially because it is run by a volunteer collective independent of a university or institution. 

Here’s a screenshot of a digitized zine and its metadata record in QZAP. I like that the metadata is so prominent next to the digital object.

One of my favorite things about QZAP is that it uses a specialized metadata schema just for zines called xZINECOREx, based on the more common DublinCore schema. Cataloging and describing zines are challenging. They often don’t have a title page with publication information. Sometimes no author or creator is listed, or the author goes by a pseudonym. Maybe they have a publication date, but often they do not.

A sample record using the xZINECOREx metadata schema.

Given these complexities, libraries and archives handle describing zines in all sorts of ways. The xZINECOREx schema provides a standard that can be used across institutions and by independent projects like QZAP. QZAP contributes metadata from its collection to the Zine Union Catalog, which aims to be a single place to search for zines across multiple libraries, archives, and independent collections. Because zines are ephemeral, this catalog is a great resource for scholars interested in the history of zines. 

A digital collection like QZAP is vital to preserving the history of these rare, hard-to-find publications, yet there remains great value in studying physical zines. The physical objects provide the reader with a unique, tactile experience. This is especially important for LGBTQ+ history, which is so often erased or hidden. Reading a personal, first-hand account from a queer punk in the 90s – from the actual paper zine that person made by hand – is visceral and powerful. It’s an experience hard to replicate in an online setting. If you find QZAP intriguing, I encourage you to stop by our Zine Collection on the 5th floor of the Fine Arts Library. Our collection has many queer zines, including many published in Texas, and dates back to the 1990s.  

Want to learn more about zines? Check out these resources:

Historic Musical Recordings Collection, Media Labs, Music

Students, Spaces, Collections, for a Win

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Records in the Reia punk collection.
Records in the Reia punk collection.

A happy convergence of circumstances at the beginning of the recent academic year resulted in a creative endeavor that highlights the Libraries, its users and the students who represent the quality of talent at The University of Texas at Austin.

Early this fall, the Fine Arts Library’s (FAL) music librarian David Hunter received a generous donation of pristine and rare punk vinyl in the form of 700 LPs and 400 singles (45s) from a collection carefully amassed by the late Justin Gibran (Freud) Reia.

Justin Gibran (Freud) Reia

Reia was a guitarist for Berkeley-area punk band The Criminals in the 1990s, active during a time when the city was spawning a pop-punk revival that manifested bands that would go on to garner broad attention, such as Rancid, The Offspring and Green Day. His connection to the punk music scene and the various players in a place where record stores are in abundance made it possible for Reia to build an exceptional collection of genre-specific gems.

Reia’s collection was donated to the FAL’s Historical Music Recordings Collection (HMRC) by Reia’s mother, Flora Salyers, and his wife, Tamara Schatz, with the hope that the music he had spent his life compiling would benefit future students, faculty and researchers who rely on the archive as a resource. Salyers delivered the collection herself, hauling the records in her car on a road trip from Little Rock, Arkansas, after a series of consultations with Hunter.

Reia’s lifetime of collecting — and his family’s decision to make the donation of materials — serves to fill a genre gap in the HMRC. Punk music was notably underrepresented as a focus within the archive, but the addition of such a range of items, many of which are uncommon or even obscure, has opened a new avenue of development for the collection.

This fall also saw the opening of the new Learning Commons in PCL, including the new expanded Media Lab on the ground level of the building. The lab is designed to provide students and other users access to the tools needed to build creative multimedia projects that are increasingly the currency of productivity in the higher ed learning environment. The lab is managed by Libraries Teaching and Learning professionals, but is staffed by students — Media Lab Assistants — from the University Leadership Network, a program of the UT Provost’s office designed to help undergraduate students from historically disadvantaged communities develop leadership skills while achieving academic success consistent with graduating in four years.

Lab assistants come from a range of different fields of study across campus, and work in tandem with their supervisors to develop expertise in the use of hardware/software in order to share their skills with fellow students who use the lab. Some of the assistants were chosen by the Media Lab managers for skills and knowledge they already had, such as Charisma Soriano, a junior Marketing and Radio-Television-Film major, who has experience with filmmaking and production. Charisma brought with her an understanding of that process which has been invaluable for Libraries staff.

ULN lab assistant Charisma Soriano and Learning Technologies Librarian Cindy Fisher.
ULN lab assistant Charisma Soriano and Learning Technologies Librarian Cindy Fisher.

To expand the opportunities for the ULN students in the Media Lab, as well as to fill a need for the Libraries, Charisma and her fellow lab assistants Lucia Aremu — junior  Government major — and Jocelyn Mendoza — junior, Education — were approached by their  supervisors to see if they would be interested in making a short film to highlight some aspect of the Libraries efforts; the subject matter was left completely to the students’ own interests. All three enthusiastically agreed to take on the project, and settled on the Reia punk collection as the focus for their effort.

Working in coordination with Media Lab Manager Andy Wilbur, the students toured the HMRC collection (located at the Collections Deposit Library) with David Hunter, conducted preliminary interviews with Hunter and Katherine Strickland — PCL Map Collection manager and punk music aficionado — then organized, shot, edited and produced a short documentary film on the collection, which is viewable below.

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The Libraries relies on the generosity of donors and the talent of students and staff to make efforts such as this possible.

The preliminary estimate for processing the Reia Punk Collection is estimated at $8,000 — covering the cost of a graduate research assistant and cataloging. Consider donating to the Fine Arts Library to make this collection available for use by students, faculty, researchers and scholars.

 

Archives, Collections, Faculty, Fine Arts Library

The Copier as Canvas

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 Study Group zine cover

“Zines are not a new idea. They have been around under different names (ChapBooks, Pamphlets, Flyers). People with independent ideas have been getting their word out since there were printing presses.” ― Mark Todd, Whatcha Mean, What’s a Zine?

As institutions traditionally charged with gathering and providing access to the broadest range of information, libraries have in large part transitioned their focus from the physical to the digital realm of resources. But there are pockets of attention that remain fixed on collecting those materials that hold significantly greater value in a corporeal state.

Laura Schwartz shares zines with an studio art class.In 2010, Fine Arts Library (FAL) Head Librarian Laura Schwartz joined a fledgling movement of librarians across the country in establishing a collection of DIY pamphlets, popularly known as “zines.”

Zines — short for “fanzines” — take a variety of forms, but are generally self-published and noncommercial, homemade or online publications often devoted to specialized or unconventional subject matter. Traditionally, zines have been published in small runs — less than 1000 copies — and most are produced on photocopiers or by other, more economical means.

At a time when virtually anyone with access to the web can reach an audience, the idea that your local Kinko’s still has the patronage of a subculture of the most indie of independent publishers seems almost absurd.

And yet, the niche market continues to thrive, and has even seen a degree of proliferation, especially in the area of social justice, an association which would no doubt have pleased Thomas Paine.

Schwartz is determined about her motivation to build the collection. “This is a form of art,” she says. “Museums or galleries do not typically collect this format, so it is incumbent upon libraries to do so.”

“Libraries have a history of collecting ephemeral and personal materials,” says Schwartz. “That is the essence of archives.  Libraries are capturing a slice of history and culture of a particular time period by collecting zines.”

Thing Bad zine coverThe FAL’s zine collection currently maintains over 200 items of state, regional and national origin, and recent donations will potentially double the size of the resource. The content of the materials covers a range of subjects including art, photography, music, skateboarding and Texas culture.

Schwartz was fortunate at the time of the collection’s inception to have a ready resource for development in the form of the manager of a specialized local bookstore, Russell Etchen of Domy Books. Being an artist and autodidact in zine history — as well as a curator/manager for the shop/gallery —  Etchen had an informed perspective on the significance of the genre, and offered his insights as a service to preserving the form.

“Laura had an innate sense for what would and wouldn’t work when she started building the collection,” says Etchen. “We would walk through the store together a couple times a year, and I would share the works that I felt, at the time, were most deserving of preservation.”

“When it comes to the underground, there are no ‘right zines’,” says Etchen. “There is a very decentralized history behind self-publishing and generally we chose works that I felt had a unique history behind them or ahead of them.” Continue reading The Copier as Canvas →