#eleanor zine

[korryd]

My page for @galasynth 2024! Please go check it out! It came out lovely ⸜( *ˊᵕˋ* )⸝

[starlightvex]

Warframe 1999 zine form: https://forms.gle/ZpbzdMtxQTTyYycW8

[memokuraart]

so happy to be part of the @galasynth zine!!

[sugarandstars-x]

my @galasynth page for this year! find the free to download zine here! 💕 textless version under the cut

[carptoons]

HELLO I know I've been gone for a while, the thing I was worried would happen happened, which is that I got slightly behind with the Alphabet Superset, and this evolved into just *not doing it* :0 BUT I am trying to change that! This one has been done for a while now, I was keeping it in the vault because I thought I'd fix some of the weird perspective stuff, but never mind, I'm just hoping the concept makes up for the lack of technical merit. (...and I wonder why I don't improve as an artist /hj)

[mayordea]

i can now share my full piece for this year’s edition of the @galasynth zine :) i drew eleanor forte !!!! thank you so so much for letting be a part of such an amazing project 🥹 see ya next year !!

[zal-cryptid]

ATTENTION MISFIT FANS!

I'm planning to do a thing for you guys with your fan characters as a thank you for this weird feedback loop of inspiration. Back in February, I made a post asking folks if they wanted to make OCs to feature as background characters. Since then, you guys have sent me a deluge of colourful characters.

My idea is that I'll put together a zine for you guys.

I'd be doing this completely for free, which is fine because, technically, y'all would be doing the real work, so you get the money! This "zine" would be sort of like an in-universe book that she has compiled stories and gossip about the toyfolk. Her "tea" collection, if you will.

It would contain:

an introduction by Eleanor (written and illustrated by me).

your full fan character profiles written by you.

your art (and/or mine) of your fan characters.

fanfics/fancomics of your fan characters.

If you want to contribute, fill out the form in the link below!

[waveridden]

last zine of the jam yeehaw! six entirely taylor swift playlists for: val hitherto, goodwin/terrell, iggy/malik, dreamy/juice, khulan/ryuji, and THE miss eleanor marijuana.

[pineapple-coffee]

Unfit To Lead: Thoughts On Growing Up, Queer History, And Feeling Unprepared

A short essay, written by Elliott (@pineapple-coffee, aka me)

(As context, I am a bisexual, genderqueer/gender questioning individual. I use they/she pronouns.)

In every community, there are elders. These elders pave the pathway for the generations that come after them—creating literature, sharing stories verbally, and educating the new generations on history and culture. Elders are essential beings in all communities, and their presence cannot be understated. Without those who came before us, history is lost, and the new generations, who will one day teach others, will have nothing to go on.

So what do you do if your elders died in the AIDS epidemic of the 80s? What do you do when queer history is often so underrepresented, so rarely accessible without proper guidance? Where do you go from there?

That's not to imply that there aren't elders. I know a man online named Ian���early 20s, not quite "old"—who taught me about queer cowboy culture, both of the Old West and of the modern day. Through video essays and documentaries, I learned about the true lives of notable figures, such as Oscar Wilde and Eleanor Roosevelt, instead of their more sanitized media portrayals. Thanks to queer artists and educators on social media, I proudly display a sticker of a green carnation on my laptop, still using it as a queer signaling device even over 120 years after Wilde's death. But most of the elders that I've looked up to online have two things in common: they're younger—typically between 21 and 40—and I know them only online. Rarely in my life have I physically met a queer person over the age of fifty. Only one person immediately comes to mind.

This came to a panicky culmination a few weeks ago when I realized, "Oh, damn. I'm nearly old enough to be considered a 'queer elder.'"

This thought freaked me out. I'm a young adult. I have so much to learn. I don't have a lot of elders to teach me. I've only ever been to one Pride festival in my life. Yet, to the youngest pre-teens out there who are just coming into their identities, I might be perceived as someone older and wiser.

Let me be abundantly clear: queer rage is the most powerful emotion that I have ever experienced. My queer elders did not "fail" me or anyone else—the government did. It was the government who let my queer siblings die slowly, whilst they did nothing but spit in the faces of the queer community and take the chance to spread their visceral hatred. Every day, I am filled with rage that generations of queer people have been ripped away due to the neglect of the government. I mourn the artists, musicians, partners, siblings, and activists who passed away. Every single AIDS victim deserves to tell their stories.

In my melancholy, I turned to the Internet. And through the Internet blogs, decades-old archives, and unsanitized history books, I found community.

I am thankful. I am grateful to those who archive gay and trans magazines, newsletters, zines, and adult magazines. I am grateful to those who survived, who share their stories about queer culture in memoirs and blog posts. I am grateful to those who keep history documented and make detailed accounts of each subculture and pivotal moment. I am thankful for those who create queer and trans sex education, relationship advice blogs, and provide information for trans people who want to physically transition. I am grateful to the AIDS Memorial for keeping memories alive. I am thankful for queer lawyers who debunk the nitty gritty details of anti-queer and anti-trans legislation so that everyone can understand the letter of the law.

I’ve learned about the culture of gay and lesbian bars. I learned about the Hanky Code, Hays Code, and Flower Codes. I learned about pre-Internet queer dating, the ways that people lived, and the subcultures that exist within queer communities. I learned about the brave trans women of color who gave us our rights through protests and riots. I learned, and I learned, and I learned. And at some point during my learning, I found myself with tears streaming down my face.

Never before had I learned the other side of history. The sides that include the radical activism via art and music, subcultures full of passionate people who yearn to share their craft, and the history that wasn’t touched by the mainstream.

I may feel unprepared to lead future generations, but the communities I have found have filled me with nothing short of euphoria. I feel proud to say that I’m queer, that I’m a fag, that I will be the elder one day. I display my Keith Haring merchandise with glee, sing Freddie Mercury’s songs at the top of my lungs, and abide by the motto that a day without lesbians really is a day without sunshine.

And in the times of uncertainty, perhaps community is the drive we all need. Whether you’re young, old, or somewhere in between, the queer community is always there to rally behind you.

Maybe being the next generation to lead others won’t be so scary after all.

[korryd]

Preview of my page for the 2024 edition of @galasynth ! Very excited for the release on September 20th, everyones pages look wonderful

[vbdbct]

After three and a half freakin’ years TATTOO PUNK FANZINE 4 is finally out! Featuring hundreds of pictures from around the world of the most wild n crazy tattoos and the people who are doing them. Including interviews with two of the most skilled, innovative and unique tattooers right now, Jazmyne Araya and Alex Petty. Killer and Jason Lee share love, life and laughs with inspiring stories. Pix by amazing photographers Destiny Mata, Eleanor Bleier and Virginia Zwanzger. There’s so many other tattooers, arts, & graphics inside  it’s impossible to list them all! 

Includes a free sticker by Jazmyne Araya!

Cover illustration by Karina Munzon. 

Buy Tat Punk online from Demystification, Printed Matter ( in person at their stores too)  General Speech, & Antiquated Future

And in person at:

NYC - Village Works, Quimby’s, & Thorn

London - Waste & Crypt of the Wizard

Tokyo - Corner Books

Papertown and I will be at the EVZF next weekend selling zines and shirts. Stop by our table and say hi :) Email vegetablesgreen@gmail.com for wholesale inquiries 😀

[brookstonalmanac]

Events 1.14

1236 – King Henry III of England marries Eleanor of Provence. 1301 – Andrew III of Hungary dies, ending the Árpád dynasty in Hungary. 1761 – The Third Battle of Panipat is fought in India between the Afghans under Ahmad Shah Durrani and the Marathas. 1784 – American Revolutionary War: Ratification Day, United States - Congress ratifies the Treaty of Paris with Great Britain. 1797 – The Battle of Rivoli is fought with a decisive French victory by Napoleon Bonaparte, marking the beginning of the end of the War of the First Coalition and the start of French hegemony over Italy for two decades. 1814 – Treaty of Kiel: Frederick VI of Denmark cedes the Kingdom of Norway to Charles XIII of Sweden in return for Pomerania. 1858 – Napoleon III of France escapes an assassination attempt made by Felice Orsini and his accomplices in Paris. 1899 – RMS Oceanic, the largest ship afloat since SS Great Eastern, is launched. 1900 – Giacomo Puccini's Tosca opens in Rome. 1907 – An earthquake in Kingston, Jamaica kills more than 1,000 people. 1911 – Roald Amundsen's South Pole expedition makes landfall on the eastern edge of the Ross Ice Shelf. 1939 – Norway claims Queen Maud Land in Antarctica. 1943 – World War II: Japan begins Operation Ke, the successful operation to evacuate its forces from Guadalcanal during the Guadalcanal Campaign. 1943 – World War II: Franklin D. Roosevelt and Winston Churchill begin the Casablanca Conference to discuss strategy and study the next phase of the war. 1951 – National Airlines Flight 83 crashes during landing at Philadelphia International Airport, killing seven passengers and crew. 1952 – NBC's long-running morning news program Today debuts, with host Dave Garroway. 1953 – Josip Broz Tito is elected the first President of Yugoslavia. 1954 – The Hudson Motor Car Company merges with Nash-Kelvinator Corporation forming the American Motors Corporation. 1957 – Kripalu Maharaj is named fifth Jagadguru (world teacher) after giving seven days of speeches before 500 Hindu scholars. 1960 – The Reserve Bank of Australia, the country's central bank and banknote issuing authority authorized by the 1959 Reserve Bank Act, is established. 1967 – Counterculture of the 1960s: The Human Be-In takes place in San Francisco, California's Golden Gate Park, launching the Summer of Love. 1969 – USS Enterprise fire: An accidental explosion aboard the USS Enterprise near Hawaii kills 28 people. 1972 – Queen Margrethe II of Denmark ascends the throne, the first Queen of Denmark since 1412 and the first Danish monarch not named Frederik or Christian since 1513. 1973 – Elvis Presley's concert Aloha from Hawaii is broadcast live via satellite, and sets the record as the most watched broadcast by an individual entertainer in television history. 1993 – Sinking of the MS Jan Heweliusz: In Poland's worst peacetime maritime disaster, ferry MS Jan Heweliusz sinks off the coast of Rügen, drowning 55 passengers and crew; nine crew-members are saved. 2004 – The national flag of the Republic of Georgia, the so-called "five cross flag", is restored to official use after a hiatus of some 500 years. 2010 – Yemen declares an open war against the terrorist group al-Qaeda. 2011 – President Zine El Abidine Ben Ali of Tunisia seeks refuge in Saudi Arabia after a series of demonstrations against his regime, considered to be the birth of the Arab Spring. 2016 – Multiple explosions reported near the Sarinah Building, Jakarta, followed by shootout between perpetrators and the police, killing seven people. The Islamic State of Iraq and the Levant claimed responsibility. 2019 – A Saha Airlines Boeing 707 crashes at Fath Air Base near Karaj in Alborz Province, Iran, killing 15 people. 2024 – Queen Margrethe II abdicates as Queen of Denmark and is succeeded by her son, Frederik X.

[funnygirlszine]

Funny Girls: Evolving female narratives in 21st century British stand-up comedy.

Now that it's all over, the Funny Girls critical rationale for your viewing pleasure...

Part I. Introduction

Funny Girls is a multimedia project discussing women in comedy, through a print zine, as well as an online platform. Eleanor Tomsett in her thesis states ‘Stand-up comedy as an art form has emerged from, and been developed within, male dominated spaces’. (2019). This project aims to challenge these patriarchal industry structures and platform female comics, who have continuously had to battle with the stereotype that women aren’t funny, perpetuated by attempts to investigate scientific or philosophical reasons for this as in Christopher Hitchens’ ‘Why Women Aren’t Funny,’ (2007). This project was inspired by the limited research on women in British comedy, and it hopes to prove that these women are worthy of further study and promotion as narratives around gender in comedy evolve in the 21st Century. Additionally, it aims to explore the zine as a vessel for both female liberation and fandom, justifying it as the perfect medium for the subject matter.

In this rationale I will discuss the contextual background of women in comedy, how narratives have shifted in light of the #metoo movement, the importance of intersectionality, and social media’s impact on stand-up comedy. I will explore riot grrrl and science fiction fanzines as notable comparisons to my project in zine history. Further, this rationale will cover the research methods, requirements, and practical output for this project. It will also reflect on the timeline originally set out in the project proposal, noting any changes.

Part II. Conceptual Framework 

It is fairly recently that a larger number of academics have begun to delve into the study of contemporary performed comedy, with the first Comedy Studies journal published in 2010. However, the analysis of the place of humour in society, in such works as Taking Laughter Seriously (Morreall, 1983), has been prevalent. Stand-up comedy can be traced back as far as the Middle Ages, to court jesters and fools. In his 1985 article Standup Comedy as Social and Cultural Mediation, Lawrence Mintz describes the ‘undervalued genre’ of stand-up as ‘the purest public comic communication’ and as a ‘vitally important social and cultural phenomenon’ (1985, p.71) – one which has developed significantly since his time of writing, necessitating updated analyses. Mintz additionally observes that American female comics at the time, such as Joan Rivers or Phyllis Diller, were ‘voicing changing attitudes about gender roles […] as a result of the most recent wave of feminist agitation’ (1985, p.75). Indeed, as feminists have become more agitated over the years, it has become evident that the content performed by female comics is often a helpful social commentary on gender roles, whether direct or indirect. Much of the literature on comedy favours discussions about the American landscape, and Tomsett notes that women ‘have been considerably overlooked in existing literature on UK comedy in favour of male performers.’ (2019, p.11). Therefore, this project aims to bring female comics operating in the UK to the forefront. 

In recent years, female comedians have become more prominent in the UK, which could be partially attributed to increased visibility on television and in particular comedy panel shows. Lawson & Lutsky’s linguistic study of Mock the Week season five, which aired in 2007 and of seasons 1-14 featured the most women, showed that the five female guests across the season contributed just 4% of the overall words spoken (2016, p.151). This statistic is indicative of the culture around female comics at the time, and industry veterans Victoria Wood and Sandi Toksvig had both criticised the ‘laddish’ nature of panel shows, with Wood commenting that “A lot of panel programmes are very male dominated, because they rely on men topping each other, or sparring with each other, which is not generally a very female thing,” (Khan, 2009). In 2014, BBC chief Danny Cohen announced that, following recommendations from the BBC Trust, the BBC would no longer produce any panel shows that featured an all-male cast (Cooke, 2014). The ‘UK Panel Show Gender Breakdown’ database, created by Stuart Lowe, monitors every appearance on a panel show and categorises them by gender, collating data from 1967 to present (2024). The data indicates a positive trend in the increasing presence of female guests, with significant improvement since Cohen’s 2014 announcement – In 2014 the ratio of male to female appearances was 71:29 and in 2023 this had increased to 62:38. 

Another notable shift in the female comedic narrative has been changing attitudes in a post #metoo era. As the culture of women being silenced has evolved, both male and female comedians since 2020 have become much more vocal about issues in the industry. British comedy in particular has seen its own movement pushed forward with the release of Channel 4 Dispatches investigation on sexual assault allegations against Russell Brand. Comedian Lucy Beaumont explains that comedy is rife with predators, as where ‘in any workforce you would go to HR’ comedy doesn’t have a similar structure due to its freelance nature (Chrisp, 2023). Between Katherine Ryan and Sara Pascoe openly discussing these issues in Backstage with Katherine Ryan��(2022), and the dramatization of Richard Gadd’s experience with an abuser in the industry in Baby Reindeer (2024) it is clear that this discussion is becoming less taboo. This is indicative of a changing narrative as in sharing their stories women can take control and ensure predatory behaviour is not normalised.

It is true that there has been significant progress for women in comedy, but arguably this success primarily extends to white women. Lucy Spoilar discusses how UK media has set up the idea of ‘the humourless Muslim woman’, essentially doubling down on the notion that Muslim women are oppressed and inexplicably reaching the conclusion that they would therefore not be able to engage in humour (2022, p.75-77). Jessyka Finley asks, in reference to black women in stand-up comedy, how marginalised communities can create art ‘when their aesthetic and rhetorical choices sometimes perpetuate stereotypes’ (2016, p.781). These are just short examples demonstrating that women of colour have to work twice as hard to succeed in comedy as they work against stereotypes and discrimination. Therefore, this project has taken an intersectional approach, prioritising platforming women from a variety of backgrounds.

One recent development for mobility in comedy has been the virality of social media clips. In my interview with Mary O’Connell, she commented on the impact that the pandemic had in this regard – 

“We didn’t know what would happen with live so lots of people turned to online content […]. Stuff that works for live doesn’t always work for online and vice versa but I really admire the creativity of the comics who are able to do both.” (2024)

It’s an evolution that has allowed comics to expand their audiences, and in general has attracted more fans to stand-up comedy as a whole. Additionally, it has birthed a new genre in short form comedy, and comedians such as Mawaan Rizwan, Rosie Holt, and Munya Chawawa have actually started out online and later transitioned to live comedy, circumventing the traditional route of performing at smaller circuit gigs. However, some comedians have noted negative consequences of the viral video. As the popular videos on TikTok and Instagram often feature crowd work, new audience members go to shows with the expectation that they are supposed to interject throughout, leading to an increase in heckling (Stahil, 2023). I observed this during my primary research, when attending a work in progress show in which comedian Danny Scott was barely able to get halfway through his set during the allotted time due to the severity of audience interruptions – I spoke with him in the interval, and he expressed that he had noticed more heckling overall and was finding it difficult to deal with. Another issue with these viral clips is that the jokes can age quickly, audiences could be disappointed to hear a viral joke live a year after it was first circulating online. Social media can do wonders for a comedian’s career, helping shows sell out overnight, and massively boosting interest in a way that just cannot happen organically. However, the onus is on new audiences to make an effort to understand and respect etiquette at live events.

Funny Girls as a zine is intended to be reminiscent of the punk riot grrrl era, coming as ‘a direct response to the dominance of straight white men’ originally in the punk scene but here transposed to the British comedy landscape (Darms, 2013, p.7). In addition to being an homage to punk female liberation zines, it is also essentially a fanzine for stand-up comedy. The first British fanzine was a Novae Terrae released in 1936, a print for science fiction lovers. At first the content of these early science fiction zines was serious, or ‘sercon’, but around the 1950s that developed into ‘fannish’, which had more of a focus on fandom (Hansen, 2022, p.7). The traditions of fandom and feminism within zine culture solidified zines as the most appropriate vessel for Funny Girls as a project. Jeanne Scheper notes that whilst zines are an analogue form, the ‘qualities of self-making, self-publishing, and participatory community-building across time and space’ are reminiscent of digital social media platforms familiar to Gen Z and suggests that this may be the reason for their recent resurgence in popular culture (2023, p.22). Based on this, Funny Girls extends past solely a print endeavour, offering a digital extension in the form of a Tumblr blog.

Part III. Methods

My intention had been to conduct interviews with several female comedians, but after reaching out to the comedians featured in the zine, I did not have much success. Mary O’Connell was the only comedian who was able to engage with the interview questions. This lack of response meant that I needed to reconsider my approach to the articles in the zine. Reflecting on this, I should have cast a wider net and explored further avenues past simply messaging on social media. I was quite rigid in wanting to feature these exact comedians, but I should have just messaged a wider range and been more open to including further features. If I were to do it again, I would also contact agencies, promoters, or other industry specialists. It also might have helped to send an example or overview of the zine to show what the tangible product would be and possibly foster more interest or desire to participate. 

Despite the setback in securing personal interviews, I was able to engage with the abundance of high-quality text, video, and audio interviews available online. These provided valuable insights and featured a lot of relevant information, giving me confidence that I would still be able to create solid profiles/features for each comedian.

Watching the documentaries ‘Caroline Aherne: Queen of Comedy’ (2023) and ‘Victoria Wood: The Secret List’ (2020) was very insightful in contextualising the evolution of female comedy and pre-2000s influence on contemporary comedians.

Visiting the Glasgow Zine Library was crucial for the development of this project, seeing a diverse collection of zines that followed no defined path was very inspiring. Exploring different styles and themes helped immensely with both the visual development of the zine and with narrowing down content decisions.

Tomsett’s thesis Reflections on UK Comedy’s Glass Ceiling: Stand-Up Comedy and Contemporary Feminisms, previously mentioned, informed much of my practice as one of the only comprehensive studies of women in the British comedy industry.

Part IV. Practical piece

I am really pleased with the final product as it has a strong identity. It is pink, both in reference to the riot grrrl zine ‘I (Heart) Amy Carter’, and as an unashamed embracing of a typical ‘girl colour’ (Dockertman, 2023). The Funny Girls logo is a deliberate feminisation of the iconic Comedy Store laughing mouth, serving as both a homage and an acknowledgement of the patriarchal nature of classic comedy institutions. Later, when deciding how many copies to print, I realised that it could potentially become a copyright issue if I were to distribute it on a wider scale.

Navigating the printing process was fairly challenging, as I wasn’t sure how to choose page weight and finish. Extensive research into publishing standards was undertaken to determine my desired print quality.

I chose to do a Tumblr blog as the extension of the zine, rather than a website as originally planned, because this felt more in line with the homemade spirit of zines. A website felt too corporate and polished and would be more appropriate for a magazine. Tumblr’s posting format offers the flexibility needed to link to external sites, accommodate long-form entries, and share visuals, making it ideal for the project’s needs over other social media platforms.

The relationship between the zine and its digital extension is what distinguishes Funny Girls from conventional zine projects. Where the print zine would be maybe a quarterly print, the blog would serve as a constantly updating real-time archive of supplementary content. I like the idea that some of the audience would find it online as relevant to their interests (zines or comedy) but that a physical copy could intrigue a potential reader who scans a code to find out more and is presented with a wealth of further information. In the future, I plan to review and reprint the zine with no time sensitive information so that it can be circulated without dating quickly. 

The incorporation of QR codes modernise the traditional zine format and make it interactive, which I love and think works well – when I visited the Glasgow Zine Library there were many copies that I wished I could’ve engaged with further. I’d hoped to circulate the zines to analyse the data on QR code usage but due to time constraints this was not possible.

A digital version of the zine has also been published via Issuu, a site that allows readers to flick through the pages in the same way as they would if they had the paper copy. This means that double page spreads can be viewed as intended, and any online fans would be able to access the zine content without needing to track down a physical version.

Part V. Project requirements

The zine was created using a combination of Procreate and Canva. Initially, the intention was to preserve the homemade quality typical of zines, but Procreate’s lack of text functionality proved challenging. Handwriting was impractical as it required constant erasing and resizing for edits. Ultimately, I decided that it was worth sacrificing the handmade look and turned to Canva for its familiar interface and useful tools. As my visit to the Glasgow Zine Library exposed me to digitally produced zines with more polished aesthetics, I felt confident that the zine did not necessarily need to look ‘raw’. I created the zine using a magazine template, then ended up having to purchase Canva Pro to resize it down to A5 for printing. This cost could have been avoided if I had more thoroughly researched the printing requirements.

I had also experimented with a free downloadable programme called Electric Zine Maker that offered more artistic options as well as text, which originally felt like a great compromise. The features were excellent, but the programme was only available on laptop or PC, and I found it quite difficult using the art features on a mousepad rather than with a stylus, so did not go for this option in the end.

To complete my primary research, I had to buy a lot of tickets to various comedy shows, ranging from £1 to £20+, along with the associated travel costs. If funds had allowed, I would have liked to attend more shows to better inform my practice. As a lone woman attending often late-night events, I had to also factor in the locations of the gigs in consideration of my safety.

Part VI. Project timeline

The timeline originally set out was delayed a little more than I would have liked. I delayed things in hope that I might get more responses from those I’d reached out to for interviews, as their insights were crucial to the depth of my project. Despite this impact, I feel that I was able to effectively manage the project timeline.

I ended up actually creating the zine in a shorter timeframe than planned, having decided to separate the design process from the content creation. Rather than simultaneously designing and writing, I wrote the content in Word whilst experimenting with designs on the side, then assembled the entire thing at a later stage. This approach streamlined the process and allowed me to focus more deeply on each aspect. 

It was actually quite useful that I didn’t design until later, as I ended up using Procreate in another module, the Transmedia Horror strand of Issues in Contemporary Media. This gave me time and space to build on those skills and familiarise myself with the features in the app. When it came to designing the zine, I felt more adept and confident in my abilities, enabling me to complete it quickly.

Throughout the project, I maintained active engagement by consistently updating the Tumblr page and immersing myself in relevant events such as gigs and exhibitions. Additionally, interacting with zine creators online and at the Glasgow Zine Library allowed me to visualise the format before creation. These activities ensured that the project remained at the front of my mind, ready to apply months of primary research when it came to putting the project together.

To keep myself organised and on track, I compiled a checklist covering every single task that needed to be completed, no matter how small. This approach ensured that even when the timeline deviated from the original plan, I could maintain realistic expectations and manage the progression smoothly.

Conclusion

In conclusion, this project has successfully met its aims in creating a multimedia platform for the promotion of female comics operating within the British comedy scene. It has additionally highlighted the possibilities in modernising the zine format in a digital world.

Bibliography

Baby Reindeer (2024). Netflix, 11 April.

Caroline Aherne: Queen of Comedy (2023). BBC Two Television, 25 December. 

Chrisp, K. (2023). ‘Lucy Beaumont warned of ’10 male predators’ on comedy circuit weeks before Russell Brand allegations’, Metro, 19 September. Available at https://metro.co.uk/2023/09/19/russell-brand-lucy-beaumont-comedy-predators-19519860/ (Accessed: 1 May 2024)

Cooke, R. (2014). ‘Danny Cohen: ‘TV panel shows without women are unacceptable’, The Guardian, 8 February. Available at https://www.theguardian.com/media/2014/feb/08/danny-cohen-bbc-director-television-tv-panel-shows (Accessed: 29 April 2024).

Darms, L. and Fateman, J. (2013). The Riot Grrrl Collection. New York: The Feminist Press.

Dockertman, E. (2023). ‘Is Pink Still a ‘Girl Color’? An Exploration’, TIME Magazine, 31 August. Available at https://time.com/6309632/is-pink-girl-color-barbie/ (Accessed: 27 April 2024)

Finley, J. (2016) ‘Raunch and Redress: Interrogating Pleasure in Black Women’s Stand-up Comedy’, Journal of popular culture, 49(4), pp. 780-798.

Hansen, R. (2022). Interview by Hamish Ironside. We Peaked at Paper: An Oral History of British Zines, pp. 1-36.

Hitchens, C (2007). ‘Why Women Aren’t Funny’, Vanity Fair, 1 January. Available at (https://www.vanityfair.com/culture/2007/01/hitchens200701) (Accessed: 4 May 2024)

Khan, U. (2009). ‘TV Panel shows are too ‘male dominated’, claims Victoria Wood’, The Telegraph, 9 June. Available at https://www.telegraph.co.uk/culture/culturenews/5478241/TV-panel-shows-are-too-male-dominated-claims-Victoria-Wood.html (Accessed: 29 April 2024).

Lawson, R. & Lutsky, U. (2016). ‘Not getting a word in edgeways? Language, gender, and identity in a British comedy panel show. Discourse, context & media. 13, pp.143-153.

Mintz, E. (1985). ‘Standup Comedy as Social and Cultural Mediation’, American Quarterly. 37 (1), pp.71-80.

Morreall, J. (1983). Taking Laughter Seriously. Albany: State University of New York.

O’Connell, M. (2024). Interviewed by Olivia Jones. 20 April, via Instagram.

‘Predatory Behaviour’ (2022). Backstage with Katherine Ryan, S01E02, Amazon Prime Video.

Scheper, J. (2023). ‘Zine Pedagogies: Students as Critical Makers’, Radical teacher (Cambridge), 125, pp. 20-32.

Spoilar, L. (2022) ‘Comedy, Inclusion, and the Paradox of Playing with Stereotypes: Representations and Self-Representations of Muslim Women in British TV Sitcoms and Stand-Up Comedy’, Dive In, 2(1), pp. 73-93).

Stahil, M. (2023). ‘Is Social Media Killing Stand-Up Comedy?’, Inside Hook, 12 December. Available athttps://www.insidehook.com/internet/social-media-killing-stand-comedy (Accessed: 5 May 2024)

Tomsett, E. (2019). Reflections on UK Comedy’s Glass Ceiling: Stand-Up Comedy and Contemporary Feminisms. PhD Thesis. Sheffield Hallam University. Available at: https://shura.shu.ac.uk/26442/2/Tomsett_2019_PhD_ReflectionsOnUK_edited.pdf (Accessed: 29 April 2024)

UK Panel Show Gender Breakdown (2024). Strudel. [Database]. Available at https://www.strudel.org.uk/panelshows/index.html (Accessed: 29 April 2024)

Victoria Wood: The Secret List (2020). BBC Two Television, 25/26 December.

[aslezak]

Society of Makers - Zine Making with Eleanor Crewes 12/5/23

Got to do some zine/comic exercises with Eleanor Crewes who is very well versed in the art of comics and sequential storytelling. Great fun! I love zines and am currently working on one for Project A so it was cool to think about what I am making more critically after this workshop.

[marykekic]

Poster for @eleanorazine's show and fundraiser for the Transgender Law Center, with music from DreamStates, CTRL CULT, Post Saga, Michelle Gaw, and Samantha Grace, as well as poetry from Lou Barrett and Sarah Metek, at Hive Mind in Akron, OH, December 8, 2018.

[cowboylesbianism]

part of a zine i am working on for my friends birthday