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ZINES! Vol. II The First History & D.I.Y. Guide: Last Copies!

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THE FIRST BOOK ON ZINES! Zines are personal publications expressing the obsessions and preoccupations of the Zine Creator. Consequently, the range of Zines produced worldwide gives a breathtaking insight into the potential of non-professional publishing and photography and art-making. As a Rite of Passage, Zines must be made by all! Only someone who has published can understand what it means to be a publisher… Freedom of Self-Expression is an Inalienable Right…Zines Vol One and Zines Vol Two will inspire, inform and encourage the reader to become a creative dynamo, or at least a creative force… Autographed by author V. Vale!

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Product Description

Zines Vol One and Zines Vol Two comprised the First History of the Zine Movement, focusing on: How to Create your personal history/philosophy/art on paper…& become immortal!
Our Zines Vol One and Zines Vol Two books have been used in zines workshops and college classes, as they were the very first books published on the “zine” phenomenon which refuses to go away. Following the Do-It-Yourself (D.I.Y.) principle of early Punk Rock, zine publishers have 100% control of their own content.
Autonomy, Mastery and Purpose are the goals of zinesters worldwide, and each zine publisher has his/her unique purpose or mission statement. Never has it been easier to produce a small but beautiful publication: 1) xerox one or more double-sided 8.5×11″ (or similar) sheets of paper, trim with a paper cutter on 3 sides, fold once, then staple with a long-reach stapler. Presto: your zine! If you use a higher grade of paper for superior photographic reproduction, you will probably not be sorry!
You can also produce a mini-zine by xeroxing a double-sided 8.5×11″ (or similar) sheet of paper, then folding it four (or more) times, trimming it appropriately, lastly stapling so it doesn’t fall apart. Presto: a mini-zine!

Additional Information

Weight 1.26 lbs

1 review for ZINES! Vol. II The First History & D.I.Y. Guide: Last Copies!

  1. admin

    V. Vale has published a masterpiece. A slice of otherwise discarded and forgotten culture is preserved in this fantastic book. I wonder what’s become of these zine makers since this book was published? I need more, maybe Zines 3 will surface! V. Vale is a true archivist of underground culture and should be rewarded for his efforts.”

    The whole riot of the punk zine era has to be a respected one. In order to understand it I suggest reading this book. You’re giving examples of some of the pinnacles of the punk zines, giving inspiration not only to myself, but those who wish to express themselves beyond their bedroom.”

    It was very interesting. I loved it. I will definitely read it again.”

    These fanzines represent an almost unprecedented breakthrough . . .”

    –Alternative Press

    An excellent look at the history of the zine movement.”

    –American Bookseller Magazine

    . . . rousing and engrossing . . . “

    –Creative Loafing

    . . . a fascinating survey . . . “

    –Publishers Weekly

    . . . interesting and revealing anecdotes that inspire–but more importantly begin the process of assimilating one’s own creative experiences.”

    –Mole Magazine

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Excerpt: Otto Von Stroheim – Publisher of Tiki News

Vale: Why did you start publishing Tiki News?

Otto von Stroheim: One of my major goals was to save places like Kelbo’s which was taken over by a strip joint in 1994, even though people like Joey Sehee [lounge entertainer and bandleader] were trying to save it. In the greater Los Angeles area it seems like there used to be thousands of tiki bars, one on each corner, where mostly local white home-owners would come in after work. Now only a dozen (or less) remain, and I wanted to save those. Also, I wanted to build an appreciation for tiki culture. A lot of the articles I publish are “travelogues,” because people should be encouraged to track down and visit the remaining tiki environments. Once you start visiting the bars and seeing the old menus and photographs of all the old places, you realize, “This used to be a whole other world.”

The tiki bar scene started with Don the Beachcomber’s in 1934. I just got a plate from Trader Vic’s that boasted “From 1934,” but in 1934 Trader Vic’s was still a hotdog stand. It didn’t really open as a Polynesian restaurant until 1948. There were bamboo, exotic, Hawaiian-style nightclubs all over L.A. in the ’20s and ’30s, but only Don the Beachcomber’s was truly tiki, having switched from a more nautical-style decor to a trader-style place featuring hand-carved Polynesian artwork.zine_tikibar

When you go to a place like the Tonga Hut in North Hollywood, you’ll notice details like the hand-made lighting fixtures, a kidney-shaped dropped ceiling–the place is artistic and it was all built by the owners. Kelbo’s was also built by the owners–self-made. It’s total folk art to the max–yet nobody cares about it. It hasn’t been documented in any art or architectural publications that I know of. There were all levels of craftsmanship involved, from John Doe at the corner bar doing carvings for his own bar, to some exceptionally skilled carvers and designers. Basically, this was an incredible art movement that was nationwide, coast-to-coast and all-encompassing (places like Kansas, New Mexico and Texas had tiki bars, as well as Canada, Mexico and Europe due to Thor Heyerdahl, as well as the Bahamas). They were so prevalent, and then they were all wiped out. It’s amazing that nobody documented anything-this blue collar cultural phenomenon just came and went.

Excerpt: Dishwasher Pete – Publisher of Dishwasher

Vale: In your zine, you’ve managed to uncover and synthesize so many aspects of what might be called “Dishwasher Culture.”zine_dishpete

Dishwasher Pete: I think it was always there, long before I stumbled upon it. I’m especially excited when I find references dating from the turn of the century. There’s an attitude and appreciation for dishwashing that has always existed, and I can’t take credit for that; I just make people aware of it.

There are thousands of dishwashers across the country who never thought they had a common bond. I get a lot of letters from people living in small towns who wash dishes and enjoy it, but they’re surrounded by people who tell them it’s “not good enough” and that they should find themselves a “career.” It’s great when they get hold of the zine and say, “Wow!” and suddenly they feel better about themselves. Their reaction justifies everything I’m doing. I’m glad Dishwasher has this effect on people.
V: In work, you discovered an unsuspected dimension of freedom–

DP: I’m addicted to that feeling of quitting: walking out the door, yelling “Hurrah!” and running through the streets. Maybe I need to have jobs in order to appreciate my free leisure time or just life in general. People forget they don’t have to put up with drudgery-that it’s voluntary. I can say that because I don’t have children to support, but I purposely kept my options open so I can walk out of a job on a moment’s notice. I minimize the responsibilities on my shoulder that might be affected by such an act.


Excerpt: John Marr – Publisher of Murder Can Be Fun

John Marr: In all, my childhood was really normal.

Vale: When did you learn how to read?

JM: In the first grade, just like everyone else. But even before I could read, I was always looking at picture books. One of my favorites, Der Strummelpeter, belonged to my mother. This was a very formative book. It’s a collection of illustrated poems by Dr Heinrich Hoffman, written in the 1830s. The title character, “Slovenly Peter,” never cuts his hair, has incredibly long fingernails and is dirty and smells bad. There are other cautionary tales, like “The Sad Story of the Matches” (about a girl who sets herself on fire playing with matches). Probably the best-known is “The Story of Little Suck-a-Thumb.” Little Conrad’s mother is going out, and as she leaves, her last words are, “Don’t suck your thumbs.” Naturally, as soon as mom is gone Conrad starts sucking away. Suddenly a tall, long-legged “scissor man” leaps into the room and cuts off Conrad’s thumbs with an enormous pair of scissors. The last picture shows little Conrad looking really sad, with bloody stumps where his thumbs used to be.

V: Wow, what a privileged childhood–

JM: Those were my mother’s books when she was a girl in Germany. Naturally, they were all in German, but that didn’t make any difference since I couldn’t read anyway. When I did learn to read, I tracked down English translations for the better ones. There were others I liked that were never translated into English, but they weren’t as sadistic. You’ve just gotta love German children’s literature!

V: When you grew up, was the TV on eight hours a day?

MCBF17JM: No. Actually, one of my more formative childhood experiences occurred when I was in first grade: our picture tube blew up. [laughs] I still remember the picture cutting out in the middle of “Stingrays” and smoke pouring out the back of the set! We were without a TV for a year, and this just intensified my reading habit

V: Wasn’t the “Death at Disneyland” issue also hard to research?

JM: There wasn’t any convenient place where you can just look up a list of all the people who have been killed at Disneyland, and needless to say, the park is of no help whatsoever. By going through newspaper indexes I got the more recent stories. If a guy got squashed at the Matterhorn ride and reporters are present, you can just imagine the Disney rep saying, “Come on into the office, boys. Yeah, it’s real tragic. He was probably drunk; we’re investigating it. It doesn’t look like there was any ride malfunction–back in ’63 someone else got killed in the same way.”


I might read this and scribble down, “Matterhorn, 1963″ and then go through the Orange County newspapers day by day for that year. The U.C. Berkeley library microfilm room used to receive newspapers from every county in California. I have an Alumni Association lifetime membership which I got just for the library card, but anyone can get a U.C. library card just by paying money.

MCBF16V: “Death at Disneyland” and “Death at the Zoo” seem like related topics–

JM: But they’re different. With caged, frustrated and ferocious animals, the intimation of violence and danger is always present, but nobody expects to meet the Grim Reaper at “The Happiest Place on Earth”!

But what’s even more amazing than the two deaths on the Matterhorn is the pair on the People Mover, which proceeds at two miles per hour. One corpse was so tightly wedged between cars that workers had to dismantle everything to extricate the victim’s remains. I guess looks can be deceiving!


V: Another future-issue theme that comes to mind is “Death on College Campuses”–

JM: College campuses are fertile areas for extreme behavior. When I went to U.C. Berkeley it seemed like something bizarre happened like clockwork every quarter. I was almost tempted to do a “Death in Berkeley” issue.

Berkeley will always be a fertile source of material; there’s definitely no shortage of crazy people there. College provides a high-pressure environment; a lot of people have their self-image tied up with academic success, and when things start going bad they can easily go beserk.