by Counterculture Zines, LGBTQ Feminism
[Zines][Comics][Feminism] [LGBTQ] Archive of seven feminist and queer punk zines with one related distro catalog, ca. 1996–2003. This collection represents the radical intimacy and DIY ethos of third-wave feminist publishing, centering the voices of young women, queer teens, and zinesters documenting alienation, survival, sexual agency, self-expression, and cultural resistance. With overlapping themes of girlhood, queerness, racism, abuse, and punk identity, these zines reflect the decentralized networks that formed the foundation of riot grrrl and underground feminist media. Each is self-published, staple-bound, and features characteristic handmade aesthetics: collage, hand-lettering, xeroxed graphics, typewritten rants, and illustrated covers.
[1] Ortiz, Bianca. Mamasita #5. San Pablo, CA: Self-published, 1996. The fifth issue of this Chicana feminist zine, blending Spanglish text and punk visuals to engage readers in a call for real connection, critique, and exchange. Ortiz invites responses to her work, stating: “I long for real discussion and I’m sick of hearing that my zine is ‘cool.’” Produced in stark black-and-white on blue paper with skeleton motifs and bilingual punk vernacular.
[2] Barbie. Pretty in Punk #2. Allendale, NJ: Self-published, 1996. A personal, emotionally raw zine by a 17-year-old queer geekgirl confronting silencing, trauma, and punk gatekeeping. Features confessional writing on sexual identity, rage, and self-worth: “I am me and that’s all that matters.” Neon green pages with black cut-and-paste layout and photocollaged snapshots, emphasizing radical honesty and survival through zinestering.
[3] Erin. Glamour Queen #5. Mission Viejo, CA: Self-published, 1996. A zine blending diary entries, feminist prose, and historical content. Includes a tribute to Black feminist Florence Kennedy, with extended excerpts and commentary on racism within feminism. Erin writes about her desire to teach women’s history and fight the erasure of women in curricula. Black-and-white layout with educational content presented in zine vernacular.
[4] Christine. Demirep #2. New Hope, MN: Self-published, 1996. Personal feminist zine styled as “for the lonely feminist in you.” Christine shares love for zine trading, plans to attend the riot grrrl convention in Seattle, and an upcoming interview with Lori Barbero of Babes in Toyland. Includes personal updates and music reviews, with Hello Kitty art and cut-and-paste text on green paper. Authentically confessional and inclusive in tone.
[5] Bogart, Seth. Puberty Strike. Tucson, AZ: Heroes for Today Central, 1997. Created by a 16-year-old queer boy, this anti-puberty manifesto satirizes heteronormative masculinity and includes personal narrative about being gender-policed as a child. Comics and rants advocate for a teenage strike against toxic adulthood. Bright orange cover with cartoon panel layout. A standout queer youth zine pushing the boundaries of riot grrrl’s inclusive potential.
[6] Núñez, Jolie. Veronica Lodge #5. Union City, IN: Super-Babe Productions, June 1999. This issue includes music and zine reviews, a comic, and contributions on sex and DIY culture. Núñez’s editorial voice blends humor and exhaustion, referencing her punk band and burnout. Blue paper with hand-drawn cartoons and collage illustrations throughout, including a Bettie Page centerfold. A key example of zines emerging from the Super-Babe/ego records network.
[7] Brian. DumBoy! St. Louis, MO: Self-published, 2000. First and only issue by a shy, isolated zinester confronting trauma, suburban bigotry, and emotional paralysis. The author describes escaping and returning to Lemay, Missouri, and discovering Heaven’s to Betsy as a pivotal moment of queer awakening. Roughly laid out in xerox on white paper with chaotic scribbles and typewritten text, embodying raw DIY experimentation.
[8] Núñez, Jolie. Ego Records Catalog. Union City, IN: Ego Records, February/March 2003. Distro sheet for Super-Babe Productions and Ego Records, listing feminist spoken-word tapes and zines including DumBoy, Veronica Lodge, and Lickety Split/Pretty Fury. Catalog promotes “all-grrrl bands that sing songs about revenge & Bettie Page,” underscoring the hybrid punk/feminist media scene. Typewritten and collaged with risqué graphics and a raw visual punk aesthetic.
Overall very good condition, with minor edge wear and light toning. This archive offers a potent record of queer, feminist, and youth-driven underground publishing at the height of zine culture’s radical pushback against societal norms and silences. (Inventory #: 21747)
[1] Ortiz, Bianca. Mamasita #5. San Pablo, CA: Self-published, 1996. The fifth issue of this Chicana feminist zine, blending Spanglish text and punk visuals to engage readers in a call for real connection, critique, and exchange. Ortiz invites responses to her work, stating: “I long for real discussion and I’m sick of hearing that my zine is ‘cool.’” Produced in stark black-and-white on blue paper with skeleton motifs and bilingual punk vernacular.
[2] Barbie. Pretty in Punk #2. Allendale, NJ: Self-published, 1996. A personal, emotionally raw zine by a 17-year-old queer geekgirl confronting silencing, trauma, and punk gatekeeping. Features confessional writing on sexual identity, rage, and self-worth: “I am me and that’s all that matters.” Neon green pages with black cut-and-paste layout and photocollaged snapshots, emphasizing radical honesty and survival through zinestering.
[3] Erin. Glamour Queen #5. Mission Viejo, CA: Self-published, 1996. A zine blending diary entries, feminist prose, and historical content. Includes a tribute to Black feminist Florence Kennedy, with extended excerpts and commentary on racism within feminism. Erin writes about her desire to teach women’s history and fight the erasure of women in curricula. Black-and-white layout with educational content presented in zine vernacular.
[4] Christine. Demirep #2. New Hope, MN: Self-published, 1996. Personal feminist zine styled as “for the lonely feminist in you.” Christine shares love for zine trading, plans to attend the riot grrrl convention in Seattle, and an upcoming interview with Lori Barbero of Babes in Toyland. Includes personal updates and music reviews, with Hello Kitty art and cut-and-paste text on green paper. Authentically confessional and inclusive in tone.
[5] Bogart, Seth. Puberty Strike. Tucson, AZ: Heroes for Today Central, 1997. Created by a 16-year-old queer boy, this anti-puberty manifesto satirizes heteronormative masculinity and includes personal narrative about being gender-policed as a child. Comics and rants advocate for a teenage strike against toxic adulthood. Bright orange cover with cartoon panel layout. A standout queer youth zine pushing the boundaries of riot grrrl’s inclusive potential.
[6] Núñez, Jolie. Veronica Lodge #5. Union City, IN: Super-Babe Productions, June 1999. This issue includes music and zine reviews, a comic, and contributions on sex and DIY culture. Núñez’s editorial voice blends humor and exhaustion, referencing her punk band and burnout. Blue paper with hand-drawn cartoons and collage illustrations throughout, including a Bettie Page centerfold. A key example of zines emerging from the Super-Babe/ego records network.
[7] Brian. DumBoy! St. Louis, MO: Self-published, 2000. First and only issue by a shy, isolated zinester confronting trauma, suburban bigotry, and emotional paralysis. The author describes escaping and returning to Lemay, Missouri, and discovering Heaven’s to Betsy as a pivotal moment of queer awakening. Roughly laid out in xerox on white paper with chaotic scribbles and typewritten text, embodying raw DIY experimentation.
[8] Núñez, Jolie. Ego Records Catalog. Union City, IN: Ego Records, February/March 2003. Distro sheet for Super-Babe Productions and Ego Records, listing feminist spoken-word tapes and zines including DumBoy, Veronica Lodge, and Lickety Split/Pretty Fury. Catalog promotes “all-grrrl bands that sing songs about revenge & Bettie Page,” underscoring the hybrid punk/feminist media scene. Typewritten and collaged with risqué graphics and a raw visual punk aesthetic.
Overall very good condition, with minor edge wear and light toning. This archive offers a potent record of queer, feminist, and youth-driven underground publishing at the height of zine culture’s radical pushback against societal norms and silences. (Inventory #: 21747)
(818) 224-4555
