> ZLuC 2011 MKE > notes
Zine Library Documentation, Where to Put It, and How to Pay for It

collecting data to not have to reinvent the wheel, that’s easily findable on the internet

existing data points, not connected
making it sustainable

what do we currently have, what do they do well, what needs they don’t currently meet

  • wordpress blog, cms
  • run by stephanie in kansas city
  • not being used
  • we could do something different with the domain (and make sure we keep current content)

yahoo list

  • good for discussion and archives
  • would be good to have more of a forum than a discussion list
  • but don’t want yahoo to own our data

what wikis are best? wikispaces, pbworks, etc.
what is the easiest to use?
are lots of people using wikis?

upload documents, or links

how to fund it, where to host it

revamp ideas:

  • migrate to drupal, joomla
  • continue with wordpress, but update
  • hosting alternatives: stay the same, move to another host, host it ourselves
  • wiki, if so, what kind

way to export zinelibrarians list to author role?

how to share: blog posts vs. attachments

  • preference for blog posts–use tags to collocate? user assigned, but could also be added by admins


  • for this project, also for union catalog
  • central fund
  • could be for a scholarship fund for the conference
  • fundraising
  • dues or time
  • zine library day activity to generate $

make sure metazines are included
need a card/decoder ring/transformer

Alycia will check in with Stephanie and start transforming

Note: some zine documentation has been collected on google docs- feel free to add!
Zine Library documentation- Google Docs

Gatekeepers and the zine community

Ethics in zine collecting à ethics of collecting for special collections, where it is not browseable (ala infoshop)
How do you ethically develop a collection?
Issues: anonymity, excluding information on some items
Theoretical side: dichotomy between subculture/underground and mainstream
Issues include:
Mainstream institutions co-opting
Ethics of preserving something that may not have been created to be preserved
Way something is recorded/artifact

Question: who has closed stacks? Circulating?
John: State Library of Australia, Melbourne: similar to one at UWM, but less direct access. All zines are kept in cooler storage. About 8000 zines, kept in mylar slips/cardboard backing, preservation-quality boxes. Some oversized. Started as a time capsule thing, late 90s, with idea that zines were dying. Access: can’t be electronically requested (unlike other items) – you have to phone and make an appt. you have 3x day, 5x week. Generally, no photocopying, no pencils. No gloves.
Public: 2 (1 remote attendee)
Academic: 8
Community: (“rando dirty kids”): 6
Government: 1

Honor: Scheslinger Library at Harvard. Special collections, non-circ closed stacks, public is welcome, but photo id requested (don’t know why theyd’ be turned away). Catalogued into main catalogue like any other material. Stored on her desk, but will end up in document boxes in storage, with spacers if needed. Collecting: document women in American history, inc. gender things, queer zines, culinary zines. Very focused on posterity: current and future researchers, long-term researchers, rather than for a community. Long-term asset. Not browseable, but mediated through online access, through bibliographic records. One of few Harvard libraries open to the public, others very hard to get into. No food no drink in the reading room, we give you a pencil. Were using Dewey classification, but stopped – Box/folder listing instead. Collocatable through constructed collection titles. E.g. looking for Riot Grrrl zines – get subject headings, but there’s some fuzziness with this (and there will be a session on this later!).

Sarah: U of Chicago, buys for regular collections and special collections. Is based on teaching interests, so interested in zines because faculty is interested in them. Special collections is like others, no pens, etc. Special collections is actually more open to the public, circulating only gets to faculty and students. ILL regular collections, though. (Fees are unknown.)

Chris: QZAP is probably unique at the table. Two components: public face is the website, with under 400 zines digitized, available 24/7 to download. Free, uses free and open-source software. But this is only a fraction of the physical collection, in several file cabinets. Minimal preservation work. Chris is the only person in the collective who has archival experience (learned from Susie Bright’s mother.) Mylar envelopes/acid-free backers around, so will fasttrack items with preservation issues. QZAP will eventually get to live in their basement. At that point, will be open to the public, with open hours. Currently, access to non-digitized items is by request – someone will contact someone from the collective. Chris is the research coordinator, so will receive requests. Will scan zines for researchers, and also answer reference questions and give statistics/analytical information (e.g. how many trans people of color zines d’ya have?). But, they don’t have an overarching catalogue, so reference depends on individual knowledge of the collection. QZAP doesn’t exist as anything: loose collective of people around the globe who put in the time and . Non-hierarchical consensus.

Jessica: Started lending library out of her living room, through the mail, and got people to come to read zines. But folks didn’t want to send things back. Now collecting zines for special collections. Zines in milk crates and hanging folders, alphabetically. Donated her collection to Special Collections here at UWM. UWM also uses Library of Congress Subject Headings.

Chelsea: Long Haul Infoshop in Berkeley CA, been open since ’93. Accessibility is opposite special collection folks, because it’s about organization. Has about15,000 zines. (collective wow!) Aim to catalogue, to make them more accessible. Not a lot of academic research, but lots of browsing. Subject headings are problematic, but there’s a field for that in the catalogue. Zero money – pay rent, but zero money for preservation materials. Anyone can come in and check things out. Totally public – most of folks who come in are homeless. Only open in evenings, 6-9, six days a week, which is also an accessibility issue. Trying to get a grant for acid-free boxes and stuff. Non-circulating. Also have a photocopier that often works.

Lacey: Zine Apothecary in her garage in Minneapolis. 1600, catalogued in Librarything. Evolved from an infoshop, would like to have it back in an infoshop. Talked to several academic institutions, but didn’t feel right. Open by appointment, not really regular hours right now. Not archival! Circulating library, you get three weeks, then drop ‘em off on her porch. Lots of anarchist materials, inc. RNC welcoming committee – concerns about library records – will just shred it once item is returned.

Jude: Zines in teen department, but teens weren’t engaging with it at a certain point. Some of those got integrated into new collection. Browesable. Started 2.5 years ago. 800ish zines. Catalogued in LibraryThing. Could have advocated to get them integrated into catalogue, but it’s about access in other ways – items would get lost to cataloguing for a long time; inflexibility of Library of Congress Subject Headings; non-familiarity with zines by cataloguers may cause issues. Physically, in mylar sleeves with backs. Created subjects, even though there are multiples subjects for things. Asks folks to self-catalogue when they drop off zines. Tag the crap out of them in librarything.

Marta: Ontario College of Art Design library. 700ish zines, about half of those just this year. Not a preservation collection: kept in the Learning Zone, organized by category in magazine files, then by size. Deals with the flopping over issue. Students are free to eat and drink in this space. More of a community collection, less preservation one. Access – developing a cataloging system for the past year and a half, trying to get that online. Non-circulating. Not open to the public, issue since all zines are donations. One idea, have a zine library card available to the public, so folks can get into the space even if they’re not connected to the university. Concerns about putting it into the catalogue, also not very many cataloguers, so access to that would be difficult. Trying to things to put online.

Papercut Zine Library: over 40 categories, within that they’re arranged by size, then alphabetically. About 4000 comics. Over 14,000 titles and 1,400 members members. Now in their second (larger) space, unfortunately they have to pay rent, unfortunately it is on the third floor of an artist’s space building (not accessible). In terms of preservation: shut the window before it rains on the travel section. Oldest thing, from 1937 in the humour section. Open to the public, lending library. But only 3 days a week 2-7 PM, only 5 collective members right now.

Kelly: University of Iowa

Joe: researcher, zine user! And donator. It’s hard to find people to talk about zines. Got really interested in zines, teaching popular coluture. Has genre zines, in certain 700 or 800 graffiti zines, about 100 titles. Did the eBay thing! Has six bookcases full of zines in boxes labeled by names, in good shape, but in a tiny office. Kind of a fire hazard. Looking for a special place for them! But, interested in things like: when does a zine become not a zine? Still writing about youth subcultures. Had to stop collecting. Goth, vampire, and more zines. Interested in keeping them together as a collection. Donated riot girl zines, queer zines, underground comix here at UWM. Tried to give things to Bowling Green, but no response.

Joe: Library student here.

Michigan State University – similar to other academic instituations, but as a land grant instituation, things are open to everyone. But special collections are non-circ. Also different: people can bring in their own scanners. Does ILL, will scan things for folks.

Talking Book and Braille Library: Milwaukee PL doesn’t really collect zines, handled in various ways. Some amateur press ass’ns used to . Has been collecting magazines from sci fi

Shannon: intern with QZAP last summer, has own collection at home.
Eric: friends with Chris, Milo, Shannon, Jessica. Makes zines, too. Here listening.

Kelsey (remote attendee): Olympia Timberland Library, currently have about 1,000 circulating zines. Zines live in the Olympia branch but are available in the regular public catalog- patrons in 27 branches can place holds on zines and have them delivered to their branch. We recently added a way to search “just added” zines- this has upped our circulation significantly.
New Zines in the Timberland Regional Library catalog
Timberland Regional Library’s zine page

To what extent were our strategies taken with purposeful goals vs. just because things just happened?
Marta: At OCAD, zine library was originally in the library, which is public. Then opened this alterative library space (Learning Zone), and decided to put zines there. Very much an incidental decision.

Jessica: Originally, just taking what people gave me, and accessibility wasn’t a problem, no issues getting things back. Cream City Collective infoshop/radical space, but at the time, concern that her collection didn’t fit into their scope, more personal things compared to radical things. Also concerned with just letting things go. So chose academic library, knowing things would be safe, and accessible to the public.

Chelsea: no one thought we’d be around this long! Now, someone just needs to take charge. Preservation is such an afterthought.

John: Preservation can get in the way of accessibility.

Sarah: You can also argue that, if you don’t preserve it, it will disintegreate and no longer be accessibility.

Information Literacy & Teaching with Zines

Ideas on how to incopororate zines into the classes

Classes done on 14-15 year old classes

Out reach to faculty and how to make zines better

Bringing zines into library schools and teaching classes

Body image classes and using Figure 8 and others in health classes. Show and tell and then maybe have somebody use them as research they can use

Class taught by zinster which is nano-publishing. Making book narratives in the class. Instructor uses zines in the collection to the research.

Faculty interested in the library getting them so they can use them. Center for Gender Studies and socialality. Used to trace popular culture.

used in English classes and zines as a way to help write clearly and as a peer-review and use them to with students to improve their writing. Also used as ESL classes. All the history majors did a history related zine, not researched heavy and created context.

Scientists and zines. Lesson plan presented and zines about mental health and creating zines on scientific topics. Using zines as provayers as knowledge. Talk about different narratives and their won health. Medical school using zines as medical college.

Talk to faculty one and one and encourage them to showcase the zines that you have in the collection to use in classes.

Zines used with young adults. Working with queer youth and working with creating a zine as a group. Foucsing on queer zines in specific with youth. Tie a practical way in using them.

Basic science class that demonstrates a science concept.

Information Literacy. And the role of zines. Two sides to teaching zines, one how to use zines, how to create zines and how they relate to information literacy. Evaluate documents and how it is credible.

How do you grade success in a zine and that is successful and reliable? Shows how context specific reliable. How to cite a zine in paper and how it relates to you paper.

The research process, how subject headings are assigned and how do you decide what subjects are assigned.

With zines deviant knowledge and question authorship, bias. Zines that are made to look crappier so they aren’t made to be sold. Zines that question credibility.

Women’s health zines that disturb top-down information and the notion of anti-copyright. These zines are against a type of information. Evaluative and bias.

Intellectual freedom and copyright and using zines to teach those concepts. Teaching to young children and mass media and what copyright law. Copyright law is complicated and misinformation that is related to copyright/creative commons.

Authority and using zines a means to encourage students to write and not worry about how they can write even if they aren’t authoritative.

Have young adults work as a self-published and have them go through the editing process. Also bring the censorship of community. Collaborative effect to make a magazine as a program. Monthly group?

Have them make an annual magazine, poem or story and go into a collaborative effect.

Information Literacy and how they convey those standards in different communities. The differences in a public and academic settings and how conventations change between those two communities. Show different language and how to look further into the content rather then the surface.

Letting people know that this is out there and they can interact with the zine community. Creates a debate on how truth is produced and how academic writing is different and using “I” and accounting for your position. Is truth universal and teaching personal writing.

Creating a collection to have students create zines and then collect them as a special library. Talk to faculty in collecting zines from the college and having a living archive. Create more involvement and investment.

The library as a place of publication and where they can be created, the library as a place of publication.

Educating the librarians themselves to showcase the collection. Have them at the desk and also with the secondary assignments and can talk to the department.

QZAP as included in the catalog as an electronic resource. Make resource lists on the website to point students to them.

Making displays and showcase the collection. Brown bag with the exhibit and bring people to be excited about the topic.

Using the cite this zine in writing centers and at the reference desk.
Have the students write a zine/ make one on what they wished they knew before the class/graduation. website for documentation and share further information literacy ideas. How to read a zine zine….? Is there one created to share the information liberacy.

Should there even be a guide? Isn’t that part of zine culture? Does it provide legitimacy?

Zines and librarianship, information and making power recognizing how you teach, what you teach, provide multiple perspectives, explore bias/points of view. A way of making people think about their sources and where it comes from.

Trans literacy. A place where trans literacy and literacy across different types of media.

One shot sessions vs. doing it over a semester. And teaching them information literacy. Pro assassment before class and after class.

Looking at inforatmion/zines outside of the United States and look behind and be sure to include zines outside of the mainstream western perspectives.

Show zines that who establish norms and for example; zine about people who are vegan. Stereotypes – looking at zines there radical polices, and that there zines that are diverse. The importance of showing different viewpoints.


For background, Chris reads out loud, from Zineworld article, Why I’m Mad About the New Fanzines Book

Is this woman making money off this book? Ostensibly yes. The publisher is well-known for making design books, profitable books.
One of John’s publications was published in that book. He was very quick with his response, overlooked the date, didn’t do the number crunching in his head – got the email in August, book was published in September. Didn’t think about how that fits in book-publishing vs. zine publishing. John gave permission.

[Sidenote about copyright: Remember, folks, copyright is automatic!]

Friend of John’s, Sydney zinester, Emma Davidson wrote this blogpost [John read some out loud]
John contacted them afterwards: asked for a copy after the fact and didn’t get a result.

Why not just go to court?
Part of what Chris has seen in discussions, and permissions is a big part of what they do at QZAP. This is something global. Navigating between different jurisdictions and nations.
Stricter in the UK, but the cost of legal action is prohibitive.
Copyright is about the loss of revenue – very hard to prove.

But the principle of it is us talking about it, too. There are a lot of people who need to have discussions, share information, and talk about strategies.
Have there been any repercussions for the publisher? After a certain point, silence from the publisher. But people have been encouraged to at least ask for a copy. It’s not enough, but it’s a start. You have to be able to see it for yourself.

In the book, it’s mostly covers, not very much text.
They’ve got copyright now on the reproductions!
There’s some attribution, but there are a lot of mistakes.

Question: what’s the context for copyright? E.g. a book reproducing blogs or other copyrighted material?
Recent case: turned a Miles Davis album into an 8-bit piece, got permissions, but when it came time to put a graphic on, went back to the original album, took the image and altered it but not much, and the photographer sued.
Image copyright vs. text copyright. At a design college, students don’t necessarily understand that.

John went to an event, tension between lawyers and artists. Artists want to get their art out! Attribution and appropriation can be the evolution of a medium. Adding your voice to a conversation. Triggs’ book isn’t adding to the conversation. Not much text there, but what’s there is inaccurate.

John read from his email from the publisher: clear what’s copy-and-pasted from other emails.

Did people respond to Jerianne’s article? Not sure. There was also a lot of discussion on We Make Zines. Amber Forrester went through a lot to change her name. It is paramount to use the right name, in respect. Now it is there in a book, where it’s impossible to make changes. And now that communication is cut off, what’s the chance for errata or a reprint?

A productive end to the conversation is: what is our responsibility to each other? What standards do we have as a community, or just as people? E.g. using the wrong pronoun or name for someone – what do we do?

At QZAP: end up being a nexus for past and present queer zines. Chris got an email, “I’m working for _ professor. She’s interested in including _ zines in a book/etc.” Used it as a teachable moment, ended up contacting Jenna – who had already been contacted…inconsistent. Essentially, Chris did their homework for them. Pointed them to: if you search for this person on Facebook, you’ll find them. QZAP standard: if we’re approached in a “can you put me in touch with ?” QZAP doesn’t provide direct info, but will forward on an email, that’s the end of our participation. Tries to get background information on the asker, too.

What are our goals in processing this situation? As a community? Maybe there’s something about trying to work on articulating practices together. Evolving and changing, of course, but might be helpful to articulate some of the principles. These are our values, and this is our response.

At the Tool Shed, sexuality education, we talk about “modeling good behaviour” – how do we turn it around and model the good behaviour. What are our expectations in terms of ethics, re: sampling, borrowing, reusing? When does it become irresponsible? At QZAP have had a few examples where zinesters want zines taken down. They have a policy up saying, we have tried to find you, but sometimes we can’t find you. In this case, someone contacted them and they took it down immediately, and owned up to it.

Talking about collections, that seems more controllable to look at digitized collections. Jude is the only one working with her collection, cataloging them. If she gets a bunch of donations, she does a lot of assuming, e.g. that people think it’s okay that their zine is in a collection.

John thinks it is different including things in a collection, vs. reproducing it.
Keep information about zinester that’s not in the zine SEPARATE from the public catalog. Jenna does this, calls it pre-cataloging: it is embargoed from the public.

Withdrawing zines from the collection? Generally no, John says. Jude removed a zine from the collection due to a request from the zinester. Given the circumstances, no hesitations.

Marta’s collection is based on implied consent, since donations are all from the zinesters. Their catalog in development includes 20-some fields, including publication information…to include that?

We don’t include all publisher’s contact info in a catalog, so maybe keep those fields hidden. User doesn’t have to expect all that from us, they can come in and look at the zine themselves.

Also, zinester contact info may change, people may not have expected the power of the internet.

John’s thesis on ethics of zine collections. Head of his collection, very reluctant to remove items. It’s an ever-growing collection, no weeding. Some items are embargoed, almost always due to a lawsuit (e.g. slander). Wait 10 years, 20 years til people don’t give a shit anymore. With some kind of items (e.g. diaries) have very specific restrictions, but with any published works, it’s different.

Different collections have different intentions. A current living collection has different situations.

Needs to be brought up in a bigger scale, e.g. ALA. Have a forum for it, where people can sign off in the ways they want, e.g. Chris as co-founder of QZAP. It’s a good teachable moment!


Union Catalog

Similar to WorldCat (but not evil), the concept of a zines union catalog is a shared catalog that indicates who has what and to provide a resource for copy cataloging and interlibrary loan, but each library would still have its own local catalog.

Why is OCLC described as evil?

QZAP looking to revamp catalog. Explored


Dublin Core Zine Core (can we call it xZINECOREx?)
Title Title(s), including volume/issue(s)
Creator Creator(s)
Subject Subject(s), Genre(s)
Description Content description, notes
Publisher Publisher
Contributor Contributor(s)
Date Date (of publication)
Format Physical description
Identifier Union ID
Language Language(s)
Relation See also(s)
Coverage Place of publication
Rights Freedoms and restrictions

Libraries holding record will be recorded elsewhere, not metadata.
Individual libraries will continue to catalog records as they see fit, as serials, monographs, or glittery unicorns.
Separate field for serials vs. monographs?
GPL for union catalog so it never becomes evil.
Should be open web.
Explore extended Dublin core at a later time.

whiteboard photo after the Union Catalog discussion

Zine Library Catalogs Online

Review of existing catalogs in use:

– no overarching cataloging system for archive
– searchable web site provides access
– use free and open source software
– use a bento database (variant of File Maker Po) to maintain collection manifests of donated collections/donor info. Not accessible online but people can contact the collective for desired info.

– currently using Gallery, holds all metadata in one field 🙁
– alphabetic by title
– fields: title, creator, year, location, # of pages, language code, language, keywords
– will be migrating to Collective Access, flexible but not mature program
– when migrate, will add license field (creative commons, etc) and broad collection field (tied to donation manifests)
– have looked at lots of options (Koha, Evergreen) but find that librarian-centric tools do not fit the needs of the collective (requires too many advanced skills/learning)

Long Haul
– no current catalog in use
– research has been done to select one
– drupal is top choice but members have limited tech experience

Personal Sci-Fi Fanzine Collection
– originally cataloged using file express, then migrated to excel document (disadvantage: files easily corrupted)
– fields: title, author, collection

OCAD Zine Library
– currently cataloged in excel spreadsheet, ready to migrate to online format
– fields: call number, title, series, issue #, edition #, author, alt. author, email, website, address, city, publisher, price, height, # of pages, materials, subject keywords

Barnard Zine Library
– currently use WorldCat (Voyager and OCLC)
– pre-catalog in Microsoft Access, still used to store private info about zinester identities not posted publicly
– includes abstracts for zines, LC subject headings

ABC No Rio
– File Maker Pro database (with current version, have to pay for software and pay again to post online)
– considered moving to Omeka but haven’t done so

Bottles on the Sill
– originally used MS Word chart, wanted anyone to be able to access it who didn’t have excel
– organized alphabetically
– fields: title, author, date, issue #, subject, description, reviews, see also

Zine Apothecary
– uses Library Thing
– has excel pre-catalog
– would like to be able to track circulation numbers

Zine Mobile
– organized by size and color
– records in excel document

Brooklyn College
– just starting zine collection
– going to be fully integrated in library catalog
– making internal zine library catalog as well as official library catalog records (as excel spreadsheet)
– keep track of donors, physical descriptions

Schlesinger Library
– MARC records to OCLC standards
– using proprietary software which will soon change
– might be changing from MARC to RDA
– accessible online through main catalog
– intrigued by idea of pre-catalog, able to protect private info now but release it 100 years from now for research benefits (add greater context)

– Voyager and OCLC standards

– catalog is MySQL-based, created from scratch
– fields: title, publication date, publisher/publication place, issue/volume number, author, editor, subject, format, description, contact info, circulation status (example catalog entry page)
– approx. 4,000 zines cataloged (of 20,000 + in collection)
– cataloging instructions/guidelines/notes are online on the ZAPP cataloging wiki
– hoping to have the catalog online in the near future

Short summary of potential cataloguing software discussed at the first Zine Librarian unConference (see
– see link above for pros and cons
– based on MARC records (may not be relevant since libraries are shifting from MARC to RDA)

– open source, customizable
– high learning curve, not user friendly
– newest version – uses RDA standards at its core
– used successfully by a few zine libraries
– does it have circulation module?

– already holds lots of info on zines/ zine libraries
– owners of not convinced that it could work well as a catalog

Library Thing
– if there is no ISBN, can’t add to existing record
– easy enough to maintain even with changes of staff
– non-hierarchal tagging
– intuitive
– cons: no controlled language, no circ module

Copy Cataloging
– occurs occasionally but rare because everyone catalogs differently
– many people have developed cataloging rules appropriate to their institution
OCLC- should be adding info to records without subtracting from them
-option for adding alternative titles

-DIY zine spaces don’t NEED to use library tools, but library tools have been developed extensively and thought out

– we need a set metadata standard for zine librarians (the tool/technology used matters less because everyone is using same standard fields)

– the important thing when cataloging is to identify fields which will help people access the collection

– should be using tools that allow content to be migrated/ exported easily so that info can be shared across different technologies

– union catalog based on Dublin Core– 15 simple and qualified metadata element sets

– Examples of Union Catalogs: BadgerLink and WorldCat
– unique identifier for the zine but able to have multiple, unique decriptions
– Union Catalog helps those zine libraries that don’t have time/ humans for original cataloging (makes copy cataloging easier, more possible)

IDEAS: How to start cataloging a big collection

– tedious but important task
– Anchor Archive hosts weekly cataloging parties, helps get work done even though collective is transient group
– if someone comes in to the zine library and catalogs a few zines they can borrow a few to take home (for uncirculating collections)
– put zines in packs of 10 for volunteers to catalog (makes it seem more manageable)
– catalog a zine every time it is used
– catalog serials and sets first
– acquisition based cataloging (catalog a zine when it is donated)
– select zines which readers are interested in and catalog those first (the things the most people will get the most out of)

Zine Cataloging & Genre Terms

MARC 655 field
using it for retrieval
genre thesaurus

The FS5 genre terms:
catalogs & stuff
arts & letters

Genre terms vs. subject headings–what’s the difference
is vs. about, e.g. Zines (subject 650 $v zines vs. Fanzines or Personal Zines in the 655)


What diff libraries are using:
Barnard’s genre terms (some, like split zines, aren’t really genre terms and are almost always used in conjunction with a term like “personal zines.”
Bottles on the Sill
how to
women’s studies
riot grrrl
Long Haul has quirky headings they don’t want to give up (e.g. “fuck the gender binary”). Could they map them to the union catalog?
QZAP volunteers suggest new subjects as they catalog, discussions ensue
UC-IMC (volunteer reads/browses a zine and puts it into the physical genre box they think is appropriate as a primary access point)
ZAPP (volunteers are ZAPPatistas) no online catalog yet, in progress. Catalog is home-brewed MySQL: example catalog entry page
Items shelved by subject category:
Foreign Language
Literary (most fiction goes here)
Miscellaneous (kind of a last resort)
Reference (zine-related items like zine review zines, catalogs)
Science Fiction

how are people shelving
author (Barnard)
title (QZAP)
subject (Papercut, UC-IMC, ZAPP)

A lot of people are looking to Anchor Zine Archive for cataloging precedent.

Finding aids (instead of or in addition to catalog records)

How do you establish new headings (genre terms, whatever)?
Long Haul using Anchor Archive box system, if box not being used then scrap it. Have a list of terms, add as needed (e.g. places)

Next step?
Start a list of genre headings on
Send your list to Honor, who will compile them.

Zine Library Day

Notes from the International Zine Library Day discussion, taken by Jenna–correct with abandon

to create an opportunity for outreach
to honor zine libraries and zine library workers
to make it easy to initiate programming, since it is an existing event

it would be helpful to have a kit, suggested activities
suggested activities
zine making
24-hour-zine day
zine library crawl
connection non-local zine libraries, print exchange (trade zine library day zines)
July not a good date for academic library day, but could be good for outreach to diff community, easier to do when
would infoshops be included? only infoshops with zine libraries

what day?
july 21 because of design possibilities–yes
1st tuesday after full moon–a little long for publicity purposes

Kelly will make a wiki, which is…

how to publicize
individual efforts
ALA press release (for 2012)
ALA blogger–Jenna talk to Nicole


comments and feedback about this unconference and suggestions for next time

do it for three days next time?
If so, maybe a day of more structured workshops/cataloging? I know no one submitted workshop proposals this time around…
outreach to zine community, zine collectors?
more/different moderators. Moderators who are interested in discussion topic but can also act as time keeper, keep discussions on track, etc.
Thanks Thanks Thanks for Mamacita’s Tamales!!!!
outreach to archivists
outreach to poc communities
make a zine of unconference proceedings
leave more time on the first day for organizing the schedule