by Madeleine Manzer

Bikini Kill: A Color and Activity Book, , undated

Bee’s Knees, #1, undated
Smith College Special Collections is home to a vast collection of zines, known as the Sophia Smith Collection of Zines, thanks to Tinuviel who donated her lifetime collection. These zines occupy 29 boxes (thats a lot!), and range a variety of topics, mostly spanning in years from around 1991-1999.
What are Zines ?!
Zines are self-published, small-circulation publications usually focused on niche topics, personal interests, or subcultures. They have been a key part of numerous alternative subcultures, including the Riot Grrrl movement. Zines created and distributed by individuals or small groups of people rather than official publishers.

Alright!, #4; # 5, Summer 1994, undated
Common Types
- Personal: These often include reflections, diary-style writings, and thoughts on daily life, personal experiences, or mental health.
- Political: Focused on activism, social justice, and political issues, including LGBTQ+ rights, feminism, environmentalism, vegitarian/veganism, and anti-capitalism.
- Music: Often centered around specific genres (punk, hardcore, etc.), with reviews, interviews, and reports of concerts.
- Art: Collections of artwork, illustrations, comics, or photography, often exploring themes of self-expression or subversive art. These can range from full blown art books to poetry, short fiction, or reviews of other art.
- Fan: Created by fans of particular artists, TV shows, movies, or books, these zines include reviews, artwork, and discussions.
Most zines incorporate many of these elements, especially those popular during the Riot Grrrl era
In the pre-internet and cell phone days, the Riot Grrrl community was largely spread through personal networks, live shows, zines, and word of mouth. Though the rise of the internet and digital media has changed the landscape of independent publishing, zines continue to thrive in certain communities. They are still celebrated for their creativity, individuality, and grassroots nature.
Zine fairs, workshops, and communities continue to exist, promoting the same principles that gave rise to the zine culture in the first place. Zines remain an important cultural artifact, symbolizing the power of self-expression and independent media.

Bamboo Girl, #2

Ablaze, #7; #10, undated
What is Riot Grrrl, and what does it have to do with zines?
“The term originated around 1991 almost as a joke, an offhand comment that got written into mimeographed fanzines that circulated among punk rock and feminist communities first in the Pacific Northwest and the Northeast, then across the country, and eventually around the world. There was a decentralized but effective network of activist chapters
that organized protests and performances, made art and zines, and also just sat around and talked — raising consciousness one girl at a time. And of course, there were recordings: handmade cassette tapes, small-label 45s, EPs, LPs and even CDs.” – New York Times, Riot Grrrl United Feminism and Punk. Here’s an Essential Listening Guide.
Riot Grrrl was a movement branching off of punk in the 1990s. It began as a response to the lack of female representation and overall sexism in the punk rock scene. The music was loud, raw, and quite confrontational. Distorted guitars played at fast tempos to lyrics that dealt with personal struggles, relationships, sexual harassment, and societal issues. Some of the most influential bands associated with the Riot Grrrl movement include Bikini Kill, Bratmobile, Sleater-Kinney, L7, and Heavens to Betsy. The genre is a mix of a more classic punk, grunge, and garage rock, but with a distinct focus on feminist themes.
“When they became disillusioned with the misogyny of a punk scene that had initially attracted them by it’s self proclaimed support for radical egalitarianism, they began to work out their own rhetorics of protest in music, lyrics, performance styles, and zine production that repeated certain feminist concerns of the 1960s and 1970s while also taking issue with other aspects of feminist discourse as they understood it at the time.” (14, Radway)
Riot Grrrl was about creating space where women could express their anger, frustrations, and experiences with sexism. It sought to redefine what it meant to be a woman in a male-dominated world.
Zines played a crucial role in the Riot Grrrl movement. Many involved in the scene at the time created distributed zines as a way to share feminist ideas, document experiences, and connect with others who had similar struggles and interests.

One of the most well-known Riot Grrrl zines was Bikini Kill’s zine, created by Kathleen Hanna, which helped spread feminist ideas and helped define the ethos of the Riot Grrrl movement.
Bikini Kill: Girl Power, #2, undated, Bikini Kill: A Color and Activity Book, undated
Riot Grrrl was primarily a political movement, pushing back against the male dominated punk and mainstream music scenes, as well as larger scale issues relating to sexism in society. While the Riot Grrrl movement faded in the mid 90s, it left a permanent mark of punk music and the feminist movement.

Bikini Kill: A Color and Activity Book, undated

Annzine #2

Bikini Kill: A Color and Activity Book, undated

Annzine #4
Kathleen Hanna was perhaps the most famous figure of the Riot Grrrl movement, Hanna was the lead singer of the band Bikini Kill and is often considered the face of the movement.
Tobi Vail and Carrie Brownstein were also central to the movement. Tobi Vail was the drummer for Bikini Kill, and Carrie Brownstein went on to form the band Sleater-Kinney.
DIY Culture & Self Publishing/Producing
Riot Grrrls embraced the do it yourself approach to music, art, and activism. In addition to creating zines, many formed punk bands and organized grassroots community/political events. The DIY culture helped bypass traditional music industry structures, giving women more control over their art and voices.
Since zines are usually made on a small budget, they’re often photocopied or printed cheaply. The focus is on accessibility, so they are typically affordable and can be easily shared or passed around. They are counterculture, rejecting the commercialized formats of mainstream magazines and newspapers. Overall emphasizing raw and authentic voices/ perspectives that are overlooked by mainstream media and music culture.

Bunny Rabbit, #4

Blue Stocking, #1, Winter 1996
Discussion Questions
How did Riot Grrrl zines interact with other movements, such as queer activism, and anti-racism? Where did the movement possibly fall short in attempts to be inclusive? How do zines and smaller-scale activism engage with music?
How did the diy culture fostered in the music community, especially in punk rock, which encouraged self teaching and learning as you go, lend itself to the self publishing/small scale publishing and distributing that comes with the Zine territory?
How did the process of producing Riot Grrrl zines challenge or disrupt traditional notions of authorship and authority in publishing?
Further Reading / Secondary Sources
Chidgey, Red. “Hand-Made Memories: Remediating Cultural Memory in DIY Feminist Networks.” In Feminist Media: Participatory Spaces, Networks and Cultural Citizenship, edited by Elke Zobl and Ricarda Drüeke, 87–97. transcript Verlag, 2012. This article is an exploration of how feminist networks, such as those within the Riot Grrrl movement and other feminist subcultures, use media along with personal archives to create and preserve cultural memory. These networks engage in remediating or reinterpreting history by creating zines, artwork, and other forms of media that counter dominant narratives, fostering a sense of community and cultural citizenship. It examines how diy practices within feminist movements challenge mainstream media representation and contribute to a broader cultural conversation about gender, identity, and activism.
Radway, Janice. “Girl Zine Networks, Underground Itineraries, and Riot Grrrl History: Making Sense of the Struggle for New Social Forms in the 1990s and Beyond.” Journal of American Studies 50, no. 1 (2016): 1–31. This article explores how the Riot Grrrl movement and the creation of girl-centric zines provided a platform for challenging societal norms and build new social structures. The zines, as part of an underground network, became vital tools for feminist expression, activism, and solidarity in the 1990s. The article discusses how these networks empowered women to create their own cultural and social spaces, promoting feminist ideals, and how the impact of this do it yourself approach continues to shape social movements and feminist culture in the years following.
Schilt, Kristin. “’A Little Too Ironic’: The Appropriation and Packaging of Riot grrrlPolitics by Mainstream Female Musicians.” Popular Music and Society Vol. 26 No. 1, 2003. In this article, Schilt focuses on how these radical ideas were co-opted and commercialized by more mainstream female musicians in ways that diluted and misrepresented the original Riot Grrrl movement. The article discusses how musicians, while embracing elements of Riot Grrrl’s feminist messages, did so in a manner that was co-opted and dumbed down for mainstream consumption. Marketing Riot Grrrl politics involves turning the movement’s confrontational, anti-corporate stance into something more marketable and palatable for mass audiences for profit. Schilt explores the irony that these musicians, who were seen as embracing feminist ideals, were also participating in the commercialization of the very politics that Riot Grrrl sought to challenge. The appropriation of its politics strips away the Riot Grrrls radical edge, making it palatable for the commercial music industry. Schilt claims that the mainstreaming of Riot Grrrl politics reduces feminist activism to trends rather than a sustained and productive political movement.
Further Research
Tinuviel papers
“The Tinúviel Papers consist of 7 linear feet and primarily document her work with Olympia, Washington independent record label, Kill Rock Stars as well as her own Boston-based feminist recording and distribution company, Villa Villakula. Types of material include artwork, posters, flyers, correspondence, recordings (including audiotapes, compact disks, and phonograph records), news clippings, subject files, “Girl zines” (with inserts), writings, financialrecords, and memorabilia. ”
Tinúviel Papers, Sophia Smith Collection, Smith College, Northampton, Mass.
Women of Rock Oral History Project Records
“This collection includes oral histories of women and gender non-conforming rock musicians prominent from the late twentieth century to the present. Interview narrators were chosen by Tanya Pearson. Interviews are available as video recordings; and transcripts are available for some interviews. The remaining transcripts will be available after 2025. “
Women of Rock Oral History Project records, SSC-MS-00756. Sophia Smith Collection of Women’s History.
Sophia Smith Collection Zines Collection
“The Sophia Smith Collection zines collection consists of self-published small magazines (known as “zines”) created primarily by women and girls who share a strong feminist perspective. Topics include “third wave” feminism, African American experiences around gender, lesbian relationships and erotica, and fat liberation.”
Sophia Smith Collection zines collection, SSC-MS-00434, Smith College Special Collections, Northampton, Mass
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