Liberating Histories - Black Zine Culture

00:00:00.000 There's a lot of censorship actually that happens in major editorial spaces I think

00:00:12.240 and so so alternative media like zines is kind of like a an F you to that.

00:00:17.000 Whilst they can be anything and everything they definitely have their roots in something that's

00:00:25.140 It's anti-mainstream.

00:00:29.540 Welcome to Liberating Histories, a six-part podcast series

00:00:33.800 that explores feminist magazines from 1968 to the present.

00:00:38.280 I'm Victoria Bazin.

00:00:39.660 And I'm Mel Waters.

00:00:41.280 And I'm Ellen McAllis.

00:00:47.080 We recorded so many really interesting conversations for this project

00:00:51.500 that we wanted to bring you a bonus episode.

00:00:54.280 Yes, that's right. In this episode, Mel and I are talking to Zoe Thompson, the founder and editor of Sweet Thang magazine.

00:01:03.260 Sweet Thang was established in 2017 and like Gal Dem, Burnt Roti and Bad Form, it celebrates the experiences of women and non-binary people of colour.

00:01:13.720 So I'm referring to Sweet Thang here as a magazine, but in fact, as Zoe makes clear on her website and in this podcast, Sweet Thang is a zine.

00:01:22.220 By definition, a zine is a lo-fi DIY publication, often photocopied and circulated to friends.

00:01:29.840 It's an adaptation of the fanzine, which created a community of like-minded readers interested in the same sorts of things.

00:01:37.660 And it's worth noting, too, that Sweet Sang, like many modern zines, draws on the influence of riot girl culture in the 1990s,

00:01:45.440 a movement that sprung up in the Pacific Northwest and spawned numerous woman-fronted punk bands

00:01:51.380 like Bikini Kill and Bratmobile.

00:01:54.340 But we don't want to give too much away here, so let's begin.

00:02:01.700 As an opening question, what was it that prompted you to make a zine?

00:02:08.320 It's kind of a long-ish story, I suppose, but I started a blog when I was around 14

00:02:14.380 and I started connecting with other young creatives,

00:02:17.620 sharing our, I don't know, outfits and all random stuff.

00:02:21.160 It wasn't even very good.

00:02:22.080 It was kind of like a virtual diary.

00:02:23.740 But I came across two girls who ran their own zine

00:02:26.420 and I was like, oh my God, what's this?

00:02:28.060 And I started to look into them more,

00:02:30.820 realised that they had this really rich history.

00:02:33.080 And I just loved it.

00:02:33.920 I loved seeing that there were lots of young people

00:02:36.480 creating their own spaces, publishing each other's art.

00:02:39.940 There was just like this really beautiful sense of community.

00:02:42.840 And I wanted to make my own because I'm naturally like a maker.

00:02:47.860 I don't know, I was going to say entrepreneur, but then that sounded really like business.

00:02:51.200 But I've always wanted to make my own thing.

00:02:53.500 And so Sweet Thang came about from that desire, but also the desire to have a bit more representation in the space

00:02:59.180 because I didn't really see many young black girls in that space in general.

00:03:03.600 So Sweet Thang was born out of the desire to reflect that while still staying true to the roots of zine making,

00:03:09.540 which is, you know, radical, fun, free spirited. Yeah.

00:03:12.840 That's really interesting. Thank you, Zoe.

00:03:15.220 And what struck us, because obviously you know we're interested in magazines

00:03:19.500 that were published in the 70s and the 80s,

00:03:22.400 we thought that your magazine, your zine, Sweet Thang,

00:03:27.840 resembled Shocking Pink, which you've got right in front of you.

00:03:31.360 And I just wondered whether you agree with us or whether you see any similarities.

00:03:35.940 This is a magazine that was produced by 17-year-olds, teenagers,

00:03:39.900 and they were particularly interested in girlhood.

00:03:42.280 So do you see any parallels or comparisons?

00:03:45.460 Yeah, I mean, if we're even thinking just like front cover wise, not only do we both have like the same pink,

00:03:50.880 but also like the big typography that kind of looks hand-drawn, that's a massive part of Sweet Lang's aesthetic.

00:03:57.040 I literally love the way it's printed. I love the colours. I just love this.

00:04:01.120 Yeah, that's great. That's great.

00:04:02.680 Can you say a little bit more about why it's important for young women to be represented by young women?

00:04:08.980 You're hearing new perspectives and new ideas from people who are going through the same things as you.

00:04:15.680 It makes wanting to talk about things and it makes making things much more fun because you feel like you're doing it with your peers.

00:04:23.580 So, yeah, even, you know, all the zines I discovered when I was younger and I was particularly inspired by Rookie Mag.

00:04:29.880 They ran for about seven years. It was started by this American actress called Tavi Gevinson.

00:04:35.780 and Rookie was a magazine for teenage girls

00:04:38.960 and really had that classic aesthetic of zines, collage

00:04:42.040 and it's just, yeah, it's like you're speaking to your friends, I suppose

00:04:44.820 and it also made me feel a sense of empowerment

00:04:47.940 because it was like, oh, I can do these things, I can talk about these things.

00:04:51.340 Can I just ask a slightly different question

00:04:53.440 which is about the influence of American culture?

00:04:56.220 Is that as influential for you as British culture or what would you say?

00:05:02.540 That's so interesting because in terms of zines,

00:05:05.140 when I started to look into the history of them I did kind of struggle to find lots of like black

00:05:11.900 led British punk zines because you know like the punk sort of era that was how I discovered zines

00:05:17.400 the history of zines so yeah I would say that there was a lot more American US based kind of

00:05:23.540 movement so yeah I would say I was inspired by that first in terms of popular culture and even

00:05:29.400 you know like rookie mag that was started by someone based in the US so most of the contributors

00:05:33.460 were US based. So that really inspired me even more actually to start Sweet Thang and kind of

00:05:39.040 like break the mould in terms of zine making by young black British people. Can you explain a 0.99

00:05:45.220 little bit more about the punk history that you were looking into? Yeah, oh, there's so much. It's

00:05:50.500 so rich. I guess I will start with the Riot Grrrl culture of the 90s. So that was my entrance into

00:05:57.600 zine culture and obviously the riot girl culture was a group of feminist punks who wanted to make 1.00

00:06:04.060 music wanted to break into the male-dominated industry the male-dominated punk industry even 1.00

00:06:09.040 because there wasn't that much space for women's voices so they would make their own music make 0.82

00:06:13.740 zines hand out their zines in concerts and at fairs and things like that and it was you know

00:06:18.920 it was it was punk the the kind of punk diy ethos was always radical enjoyment celebrating underground

00:06:25.140 voices breaking away from patriarchal norms in pop culture and the punk kind of essence was was

00:06:32.520 all about that you talk a lot about creating space and i think that's really interesting i'm just

00:06:39.280 gonna hit you with a quotation from shocking pink and this is a another editorial statement

00:06:47.820 and they say at the moment the magazines are mainly run by older women and men many of whom

00:06:53.520 are completely out of touch with what young women want.

00:06:56.520 They keep saying that they are giving us what we want, 0.99

00:06:58.900 but we don't want it. 1.00

00:07:00.600 In any case, they can't know what young women want 0.99

00:07:03.020 because there's no alternative at the moment

00:07:04.820 for them to choose from.

00:07:07.260 And I suppose I just want to think about

00:07:09.900 what kind of space you're creating

00:07:12.620 and how you're positioning Sweet Thang

00:07:15.640 in relation to other mainstream media.

00:07:18.920 What are you doing for young women?

00:07:21.340 What are you giving them 0.71

00:07:22.360 that they can't necessarily get elsewhere?

00:07:25.980 Ooh, I love that quote.

00:07:27.320 And the word that stood out to me was alternative.

00:07:30.520 Zines are alternative media.

00:07:32.640 And I think even now in terms of editorial spaces,

00:07:36.360 big, like, I don't know if conglomerate is the right word,

00:07:39.120 but that's the first word that came to mind.

00:07:40.420 But these big sort of editorial magazines,

00:07:43.520 they're really cool.

00:07:44.400 And they've had a great run at representing pop culture

00:07:47.800 and young people and what's going on.

00:07:49.700 But I feel like zines, especially the zines that have popped up in the past, say, five to eight years, they were very important for being an alternative.

00:08:00.140 They were spaces that weren't as structured, as restricted in terms of what they could produce, what they could talk about, who they could talk about.

00:08:08.140 There's a lot of censorship, actually, that happens in major editorial spaces, I think.

00:08:12.960 And so alternative media like zines is kind of like an FU to that.

00:08:17.560 Yeah, that's what struck us.

00:08:19.180 about the magazine i keep saying magazine that's what struck us about the zine and i've been

00:08:25.100 thinking actually about that i've been thinking about the difference between magazine and zine

00:08:29.740 and i think now there's that sense in which a zine does refer to an alternative form of media

00:08:34.640 whereas we noticed in this issue of sweet thang one of your contributors talks about evil women's

00:08:41.420 magazines you know so there's a sense in which magazines are more commercial they're the

00:08:45.380 blockbusters they're the commercial publications whereas zines are the alternative medium oh 100

00:08:50.820 i'm such a nerd about that i'm very i'm very passionate about differentiating between magazines

00:08:56.560 and zines because they are different and having that realization was it was like a oh yeah i'm

00:09:02.620 making a zine i'm not making a magazine actually and i think yeah it's it's got to do with not

00:09:07.180 only the content but the form the physicalness the tactile nature of them they're just completely

00:09:12.160 different and you know in the history of zines they were never concerned with things like copyright

00:09:18.560 and spell check even loads of traditional punk zines you know so whereas magazines were like

00:09:25.320 big commercial magazines had all of these restrictions and rules and zines really

00:09:30.020 didn't play to that so yeah well whilst they can be anything and everything they definitely have

00:09:36.460 their roots in something that's anti-mainstream. So what's striking about your zine is how much

00:09:43.780 space you give over to making young women visible. What factors are you taking into consideration

00:09:49.920 when you're creating images and photographs of young women for the zine? So Sweet Thang is

00:09:55.840 submissions based. So, you know, I do a call out and then people send in their work based on the

00:10:00.060 theme. And then I have to sift through and choose from there. And I would say that the choices I

00:10:05.220 make definitely they definitely have to have this kind of rough raw and ready kind of feel like I'm

00:10:13.200 really into the sort of like ripped paper aesthetic collage aesthetic and I think even in issue seven

00:10:20.060 maybe like a couple pages in there's a page yeah I think I need to see it too yeah so someone

00:10:26.640 a bit of paper asmr so someone someone did a piece that literally says be your own muse and

00:10:35.140 it's just kind of selfies of them stuck on top of the ripped pieces of paper and it's so simple

00:10:40.740 but i just loved it like there's not a ton of production value going into it if that's the

00:10:47.700 right word to use like it's it seemed like it could be really like made really quickly and

00:10:52.240 you know that's the beauty of zines um they're not meant to be like mused on for that long it's

00:10:57.780 just diy creation and yeah so when i'm sifting through submissions and making decisions definitely

00:11:05.240 stuff like this will catch my eye is there something about the materiality of the magazine

00:11:11.380 that you find appealing it's obviously important for you that it's print and not digital yeah

00:11:18.640 there's something very very powerful about being able to hold something in your hands and being

00:11:23.680 able to choose the paper or you know choose the layers choose what you want to have on the actual

00:11:29.480 page itself and I feel like from the collage to the cut and paste to the handwriting like some of

00:11:36.940 these most of these titles in here are handwritten by me and then scanned in the the reason I wanted

00:11:42.400 to do that is because it feels like you're having a conversation with the people who made it that's

00:11:46.240 what you want a zine to be when you open it you want to feel like you're talking to the people

00:11:50.080 whether it was a zine from 10 years ago or a zine from last month that's what makes them special in

00:11:55.400 my opinion and I think the aesthetic those kinds of aesthetics really help bring that to life and

00:12:01.080 how does that play do you think in a world where most of your readership will be operating in a

00:12:06.960 digital environment so as in what kind of impact do you think it has yeah yeah I think people love

00:12:14.420 being able to hold something physical just like vinyl I think vinyl is coming back I don't

00:12:19.300 personally have vinyls but I can understand why people love them they're these like really special

00:12:24.060 things they only have one purpose like you're only going to use them when you're listening to music

00:12:27.660 zines you're only gonna read them like when you have the time or you're only gonna make them when

00:12:32.920 you like sit down and do one but being able to collect them being able to have these physical

00:12:38.060 things on your shelf like it's it's a it's a keepsake and yeah I think in terms of us being

00:12:44.460 in the digital age people are yearning for this type of stuff and it's a way to feel less alone

00:12:51.120 because you're touching something there's the physicalness it brings the kind of sense of

00:12:56.320 creative intimacy to life and that's something you just can't get from social media and and sort of

00:13:03.600 thinking about the context of social media i suppose so i was thinking about the conversations

00:13:08.580 we were having at our round table and we were talking about the ways in which you know different

00:13:14.120 z makers engage with social media and the difficulties and the challenges of that

00:13:18.340 yeah it can sometimes feel like you're shouting into the void on socials you don't know who's

00:13:23.020 gonna interact with your your content you don't know you know like people talk about impressions

00:13:28.140 on a post you don't know like where all those impressions are coming from whereas with a

00:13:32.780 print zine there's a lot more kind of safety with what you can can't produce and you know

00:13:41.580 certain things on socials you can't say but you can say in print um and I think that's that's

00:13:48.020 very interesting it's interesting yeah certain things you can say in print that you can't say

00:13:53.440 on social media yeah or things things you know censorship has begun to become quite big on

00:13:58.300 Instagram and actually I think someone yeah there was a post someone was talking about like vaginal

00:14:03.720 disorders on Instagram and the post got taken down and they got a notification saying oh we've

00:14:09.600 identified that this word has been reported and I was just like what can you talk about and you

00:14:15.040 know there's a lot to say about what type of content is being shadow banned because it's not

00:14:19.100 all content it's very specific well I'm wondering whether we should go back to shocking pink

00:14:24.480 and think about the ways in which perhaps Sweet Thang and Shocking Pink represent the body

00:14:32.460 and the take on the body.

00:14:35.660 In your zine and in Shocking Pink, there's a really kind of fresh and open willingness to talk about the body

00:14:45.840 and to talk about the sorts of things that you can imagine young women would be asking or wanting to talk about.

00:14:51.400 maybe were afraid to ask their mother, you know, or even their sisters,

00:14:55.900 but that you were talking about the print zine being an intimate space

00:15:00.420 and that's exactly how it feels, that that's a place where you can go

00:15:04.240 to find out information about intimate places on your body, you know,

00:15:09.880 that you might not be able to find anywhere else.

00:15:12.220 So I was wondering if you could talk a little bit more

00:15:15.060 about the representation of the body in Sweet Thang.

00:15:17.520 well yeah our issue two actually was themed body so we dedicated an entire issue to that and that

00:15:24.660 was because I think it's such a broad topic and there's a lot you can yeah there's a lot you can

00:15:30.200 say about it and in that issue there was tons of like beautiful photography poetry about bodies

00:15:36.660 changing poetry about being being queer and how that made you feel in your body there was a lot

00:15:42.240 of there was a lot of that and yeah there's I can definitely see a lot of similarities between

00:15:46.980 that issue and sweet thing in general with shocking pink and the one that we have here

00:15:51.540 which obviously has like a picture of a vulva in it and yeah I just felt like when I I literally

00:15:57.140 just looked at it today and when I saw the vulva I was just like okay cool it's just a vulva awesome

00:16:01.420 there wasn't there wasn't really any kind of like oh oh my gosh I shouldn't be looking at this

00:16:07.100 and I think that's a testament to the fact that lots of zine makers and zines in general

00:16:13.360 they come from a space that isn't judgmental every single voice and feeling and thought is

00:16:20.720 is held in there and it's just like yeah you want to you know talk about vulvas yeah sure let's slap 0.65

00:16:26.280 a vulva in the on a double page spread and like that's okay I think zines welcome that I think

00:16:32.160 alternative media welcomes that because it's it's censored elsewhere it's interesting isn't it

00:16:38.980 because that vulva in shocking pink it would have been presumably harder to see those kinds of

00:16:46.360 images in the early 1980s yeah and so shocking pink are trying to present the body in a different

00:16:54.400 way and i suppose now we live in a time where there's a proliferation of images of bodies we

00:17:01.400 see lots of bodies but still in sweet thang there's a strong sense that you're trying to

00:17:08.000 represent the body in a in a different way in a way that we wouldn't necessarily see

00:17:13.220 in mainstream media i think you're really successful in that i'm looking you know as

00:17:19.280 mel was saying that you know the way that you pose your the subjects for your photographs you know i

00:17:25.340 just love that i mean you really do capture that sense of together in joy there yeah but the ways

00:17:30.780 in which they're looking back at the camera and embodying that sense of joy and not sort of

00:17:36.080 performing a kind of femininity that you see in magazines like Vogue. It's a lovely kind of

00:17:42.560 antidote to that kind of prevailing sense of what women should look like and how they should act and 0.95

00:17:49.000 behave. Absolutely. That was a really, really fun shoot to do. So we wanted the shoot to kind of,

00:17:54.960 yeah, represent our bodies and our being, just being free.

00:17:59.320 And we had so much fun on that shoot.

00:18:01.040 We were just running around, just cracking jokes,

00:18:03.240 listening to music, and we all have different bodies

00:18:05.840 and, you know, we have different energies even.

00:18:09.360 And I think the way that we were able to come together

00:18:11.960 was kind of representative of that messy everythingness

00:18:15.420 of zine making and zine aesthetics.

00:18:17.420 And, you know, we're not trying to be perfect

00:18:19.980 and that's what, you know, zines are imperfect.

00:18:22.780 it's hard work making a periodical and obviously you've got contributors it's a voluntary

00:18:31.560 enterprise you know what are the challenges of bringing people on board when you can't pay them

00:18:39.320 or so yeah that's definitely been a point of struggle so I think luckily the submissions

00:18:50.180 based model it was very like normalized when I started Sweetthang it was quite normal to have

00:18:55.660 people do a call out and then for people to submit everyone wanted to submit to zines they were cool

00:19:00.160 they were different and people just wanted to get their work out there so at first it was very easy

00:19:05.540 to just like lure people in with the oh submit to my zine like this is cool and then as time went on

00:19:11.660 it was like oh my gosh wow I'm still asking people for work and I can't pay them oh this is bad

00:19:16.480 and sort of by issue three i want to say so roughly two years into running sweet thing

00:19:23.240 the question was confronted and someone a contributor did sort of ask like oh why aren't

00:19:28.260 we getting like paid for this and i was just like well i don't know what to tell you there's no money

00:19:32.060 and that was the first time i thought wow so like is this sustainable can i continue doing this in

00:19:38.280 the long run and actually for the first two issues contributors didn't even get a free copy

00:19:43.240 because it was so expensive and I most of the contributors or a good half were

00:19:47.160 US based so sending zines to them was like 10 pounds each so I allowed contributors to like

00:19:53.560 have like a half price copy like a really discounted copy and like that was my way of

00:19:57.040 being like oh yeah like here's a discount and then eventually I succumbed to the pressure and I

00:20:01.660 started like offering contributors free copies which I think is great I think that's a great

00:20:06.000 step to take and I think that's like the bare minimum in a sense you know like here's a free

00:20:09.900 copy your work is in this magazine but it was you know using that money like with my own funds

00:20:15.980 basically I mean it is self-funded so it was just an extra expense and quite a significant one

00:20:20.860 and yeah I think those questions came to light in like recent years so yeah it's a tricky one

00:20:29.220 some people are happy to have their work included in a space that they admire and some people want

00:20:35.640 to get paid. But I think people have an understanding that zines are very small and

00:20:40.640 mostly self-funded, not-for-profit. And I'm working towards figuring out how to make Sweet

00:20:46.180 Thang financially sustainable, whether that's like applying for grants or working on a pre-order

00:20:51.260 basis, just finding a model where, yeah, one day the contributors can be paid.

00:20:56.140 And how did you finance that very first issue?

00:20:59.020 Yeah, I actually used like my money from my 18th birthday. I think I got like 100 quid

00:21:04.580 or something from like family members and I put that towards I put that towards printing the zine

00:21:09.780 and I think I printed something like 50 copies which ended up being like quite cheap compared

00:21:14.460 to now when we do like 100 copies in a print run which is a lot more so yeah that was actually how

00:21:19.680 I funded it and it was yeah it was the the reception of it was great in terms of contributors

00:21:25.740 people wanting to be a part of the space and I think yeah I've definitely tried to keep that

00:21:30.360 sense of it alive you know like we're creating together and it's fun and you know we don't have

00:21:36.040 there's not tons of money in it but you know it's still a great space to be a part of and

00:21:40.940 growth is normal and necessary and should be welcomed yeah i suppose one thing i'd be 0.51

00:21:47.080 interested to know since you know we're obviously interested in feminism and how it's represented 0.64

00:21:52.760 where do you see sweet sang in relation to feminism so in terms of it being just a zine

00:22:01.840 I feel like that's quite feminist in itself um being alternative being against what is mainstream

00:22:07.640 being against what is like branded as like the authority on expression and art and like even

00:22:14.540 editorial so just it being a zine its form is it's very feminist I think within that there's a lot you

00:22:21.280 can say about you know collective identity like collective arts communities those have a very

00:22:28.980 rich history in like feminist history in general and you can go even further you can like just

00:22:34.040 continue digging inwards and into the intersectionality so you know sweet thang

00:22:38.660 being zine that celebrates marginalized black creatives that's kind of a an echo of black

00:22:45.100 feminism from the 80s I would say I would say it fits quite seamlessly into that history

00:22:51.780 yeah so Zoe I wonder we've talked a lot about the idea of collective action in relation to the zine

00:23:01.900 you know do you see yourself as an activist I would say yes in a nutshell but it's also

00:23:08.760 So definitely a layered and multifaceted and loaded question, because, you know, you can be an activist because you're passionate about certain things and you're passionate about acting on those things.

00:23:20.800 But at the same time, do you dedicate your life to activism?

00:23:25.340 Because there are definitely people who do.

00:23:26.580 And we actually interviewed Leila Hassan Howe, who was Darkest Howe's widow.

00:23:31.340 And Darkest Howe was a broadcaster, writer and revolutionary who fought actively against racial injustice in Britain for over 50 years.

00:23:38.300 It was incredible being able to speak to her. And the reason why it's so relevant today is because Leila was actually a founding member of the Race Today Collective.

00:23:47.000 And Race Today started as a periodical, like a black activist periodical.

00:23:51.620 So it was just incredible talking to her about publishing and activism.

00:23:55.460 So, yeah, one thing she said in the interview was that, you know, we were activists.

00:24:00.300 That's what we did. And that really made me think about my own activism, because, you know,

00:24:04.920 even though I'm passionate about tons of things I didn't have the same sort of kind of connection

00:24:10.300 to activism as she clearly did so that definitely made me think about you know what what does it

00:24:14.640 mean to be an activist do I fall into that is it relevant for me am I like a legit activist I don't

00:24:21.400 know but I feel like there's a lot of activism that's present in in the act of zine making

00:24:26.440 just because it's you know it's fly it flies under the radar of mainstream publishing 0.99

00:24:30.620 in its form you're being an activist because you're saying like you know fuck you to mainstream 0.94

00:24:36.700 publishing which is amazing it's really helpful for you to articulate in that way and i suppose 0.88

00:24:43.040 if we're looking ahead you know what what would your hopes be for the future you know what what's

00:24:49.060 next for sweet sang yeah i think what's next is definitely keeping the print but also we've

00:24:55.320 evolved to become an independent press now so we're actually in the future like going to be

00:25:01.060 publishing our own like works basically so not the sweet thang issue that is still there to stay

00:25:06.840 alongside that we're also going to be publishing poetry collections anthologies anything really

00:25:12.000 pamphlets other zines um so we really want to do that because we want there to be a space for other

00:25:18.580 voices to exist that aren't just in sweet thang issue eight you know so we're yeah becoming an

00:25:23.960 independent press which is really cool and i'm currently trying to like fundraise for that

00:25:27.780 because obviously it's not cheap to start a press but i also really really want to start going into

00:25:33.160 in real life spaces so i want to start hosting events and not just in the uk but also abroad

00:25:40.020 so that's something i'm trying to figure out how to do so next for sweet thang is world domination 0.72

00:25:45.700 Yes, absolutely, literally, in a nutshell.

00:25:51.660 So thank you so much, Zoe, for talking to us about Sweet Thang.

00:25:55.760 It's been absolutely brilliant.

00:25:57.440 Thank you for having me.

00:26:00.260 This has been Liberating Histories with Victoria Bazan,

00:26:03.960 Eleanor Careless and me, Mel Waters.

00:26:06.720 We do have a fourth member of our team, Caitlin Mendes,

00:26:09.900 who you've not heard on the podcast.

00:26:12.200 She's based at the University of Western Ontario.

00:26:14.540 this series is part of a larger ahlc funded project based at northumbria university and

00:26:21.000 partnered with the women's library at lse this podcast was produced by sophie mcnulty and alex

00:26:27.000 watson at pixu productions you can find more about our project at liberating histories.org

00:26:32.940 or follow us on x at lib histories or on instagram at liberating histories you can also find links

00:26:39.860 to magazine covers mentioned in our show notes as well as additional resources. Thank you for listening.

Liberating Histories - March 29, 2024

Black Zine Culture

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