The Wild, Woolly World of Appalachian Zines

If you’ve been involved in the punk or art scenes, you might be familiar with zines. A zine, as in magazine, is a self-published pamphlet or brochure, or even a booklet. Some are very low-tech and rudimentary, and others are elaborately designed works of art. They’re all unique, and reflect the people who make them. 

This story originally aired in the Nov. 26, 2023 episode of Inside Appalachia.

The Johnson City Zine Fest has become a gathering point for southern Appalachia’s arts community.

If you’ve been involved in the punk or art scenes, you might be familiar with zines. A zine, as in magazine, is a self-published pamphlet or brochure, or even a booklet. Some are very low-tech and rudimentary, and others are elaborately designed works of art. They’re all unique, and reflect the people who make them. 

Back in September 2021, Inside Appalachia featured host Mason Adams’ interview with Suzie Kelly, a zinemaker and founder of the Johnson City Zine Fest. That year, the zine fest was making a comeback after the COVID-19 pandemic — but then it was canceled, too. 

But in 2022, the Johnson City Zine Fest returned. In its second year back since the pandemic, the 2023 Johnson City Zine Fest brought together people from Asheville, North Carolina; Lexington, Kentucky; Abingdon, Virginia; Chattanooga, Knoxville and Johnson City, Tennessee; and beyond. 

Adams attended the 2023 fest to talk with makers and learn more about zinemaking.

Adams: How’d you get into making zines?

David Wischer: Oh man, I made my first zines in high school in the ’90s. So I think my friend Craig heard about zines somewhere — I’m not sure how — so we just started making them with collage and writing in his dad’s office. We made Xerox copies and passed them around.

Cait Maltbie: I started making zines in undergrad. I like them because they’re more accessible. So you can make them. They’re very easy, usually a sheet of paper and not a lot of supplies.

A selection of Cait Malbie’s zines at the Johnson City Zine Fest.

Credit: Suzie Kelly

Patrick Thomas: Honestly, my whole life, I’ve loved comic books and horror movies and drawing monsters and stuff. So in my adult life, it just made sense to keep on doing that stuff, but to actually share it with people, instead of just having little notebooks folded up for myself, you know.

Elizabeth Kidder: I got into zines through collecting. Whenever I go to a convention or an event, if I see a little booklet I like, I have to get that for the collection. I’ve never actually made any zines until this month, when I reached out to Johnson City. And they said, “Oh, you’re interested in coming as a vendor?” I’m like, uh, uh. I panicked and said, “Sure.” And then I had a month to make some zines. And now I don’t just collect them, now I make them.

Richard Graves: I’m an Appalachian artist and a local artist here. And it seems like zines and the DIY self-publishing very much has, like, a grassroots feel to it. And I see that it’s very Appalachian. And something that I wanted to try my hand at.

Adams: So would you pick one and tell me about it?

Kidder: Yeah. So this zine is called Unknown Cryptids. It is a collection of ten different cryptids that you do not know, because I made them up. After coming up with that idea. I went through and I just said, if I wanted to see something walking through the woods, what would it be? So each page is kind of set up like a nature doc, where you have the name, a descriptor, a picture, when it’s active and the size ratio in comparison to a human being, so you can tell how much you should run if this thing comes after you. 

Johnson City Zine Fest co-organizer Sage Perrott chats with attendees.

Credit: Suzie Kelly

Claire Thompson: Jayne Mansfield’s Head is my favorite zine I’ve ever made. She’s on the cover with her head severed. It’s about the sort of urban legend, pop culture myth that Jayne Mansfield who did die in a car accident, but it’s about the myth that she was completely decapitated.

Amanda Simons: It’s called Is This a Couch and Will I Ever Be Comfortable Again? So the zine’s about these Instagram advertisements and, over time, me trying to figure out what actually is a couch. Because I was getting advertised things like beanbags and dog beds and, like, floor pillows and all these things, because that’s what I was also searching. But I thought I was looking for a couch. But the internet thought it differently.

Maltbie: I have a variety of zines right now. The ones I have out, I have some about my childhood toys. I have some about my job, in which I had to do a lot of phone calls, cold calling. And then I have some about, like, loving trinkets. So a variety of things.

Brett Marcus Cook: I decided to make a zine about bodily autonomy, body liberation, body neutrality. Just Western society is so filled with weird ideas that are contradictory about the body. Like there are things that we need to be ashamed of about our functions or certain parts and things. 

Carrie Kindle: It’s the soup season zine and it has 15 different soup recipes in it. So it’s kind of like a recipe anthology. A lot of these are my parents’ recipes. So I grew up eating a lot of these soups.

A zinemaker at the Johnson City Zine Fest.

Credit: Suzie Kelly

Jaclyn Lewis: So I have one called Ayako and Xochitl, and it’s a glimpse into the world of female wrestling. And it sort of tells the story of these two female wrestlers who are sisters, and one match that was very epic, they had to wrestle each other and it was very emotional. 

Artie David: It’s called Peach Baby. And it’s a couple of different poems. But the last poem, the titular poem, is called “Peach Baby,” and it’s about my experiences, like, struggling with my mental health and emotional, physical health. And kind of looking at that through the lens of some chickens that I rescued, who were named Peach and Baby. 

Kindle: If you’ve never made a zine before, definitely try it. You can literally print it on a piece of copy paper, and make a zine!

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This story is part of the Inside Appalachia Folkways Reporting Project, a partnership with West Virginia Public Broadcasting’s Inside Appalachia and the Folklife Program of the West Virginia Humanities Council.

The Folkways Reporting Project is made possible in part with support from Margaret A. Cargill Philanthropies to the West Virginia Public Broadcasting Foundation. Subscribe to the podcast to hear more stories of Appalachian folklife, arts and culture.

Inclusive Square Dancing, Zine Fest And Playing The Spoons, Inside Appalachia

This week on Inside Appalachia, we pick up a little light reading at the Johnson City Zine Fest. And… Grab your dancing shoes and learn about a movement to make square dance calling more inclusive. Also, the perils of playing the spoons.

This week, we pick up a little light reading at the Johnson City Zine Fest.

And… Grab your dancing shoes and learn about a movement to make square dance calling more inclusive.

Also, the perils of playing the spoons.

You’ll hear these stories and more this week, Inside Appalachia.

In This Episode:


Making Square Dancing More Inclusive

Calling a square dance is tricky business. It’s a skill that’s been handed down for generations, but a growing number of callers are updating the language to be more inclusive to keep the tradition alive.

Folkways Reporter Lydia Warren brought us the story.

A Visit To Zine Fest

Credit: Mason Adams/West Virginia Public Broadcasting

A zine, as in magazine, is a self-published pamphlet or brochure, or even a booklet. Some are very low-tech and rudimentary, and others are elaborately designed works of art. They’re all unique, and reflect the people who make them. Mason Adams went to Johnson City Zine Fest, met zine makers and talked with them.

All About The Spoons

Jeff Fedan has been teaching aspiring spoons players how to play for years. He is also one of the co-founders and organizers of the yearly Pattyfest.

Credit: Lauren Griffin/West Virginia Public Broadcasting

If you love string-band music, you don’t have to go too far to find a bluegrass or old-time jam here in the Appalachian mountains. Musicians get together, try out new licks and teach each other songs. But, you don’t have to play fiddle or guitar to get in on the music. Playing along might be as easy as just grabbing something out of a kitchen drawer.

Folkways reporter Lauren Griffin has the story.

The Life And Legacy of Woody Williams

The front of the Gold Star Families Memorial Monument in Charleston, West Virginia.

Credit: Janet Kunicki/West Virginia Public Broadcasting

“Woody Williams: An Extraordinary Life of Service” is a new documentary exploring the life of Hershel “Woody” Williams, the last living World War II recipient of the Congressional Medal of Honor. Williams, who died last year at the age of 98, spent decades working for veterans and their families.

Bill Lynch spoke with WVPB’s Randy Yohe and Janet Kunicki. They spent more than a year exploring Williams’ life and legacy for the documentary. 

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Our theme music is by Matt Jackfert. Other music this week was provided by the Carpenter Ants, Harvey and Copeland, Rev. Payton’s Big Damn Band, Le Tigre, John Blissard, The Sycomores, Hazel Dickens and Frank George.

Bill Lynch is our producer. Zander Aloi is our associate producer. Our executive producer is Eric Douglas. Kelley Libby is our editor. Our audio mixer is Patrick Stephens.

You can send us an email: InsideAppalachia@wvpublic.org.

You can find us on Instagram, Threads and Twitter @InAppalachia. Or here on Facebook.

Sign-up for the Inside Appalachia Newsletter!

Inside Appalachia is a production of West Virginia Public Broadcasting.

The Changing Media Landscape, Inside Appalachia

This week, we’re joined by Lilly Knoepp, regional reporter at Blue Ridge Public Radio in Western North Carolina. Boom and bust cycles for coal, timber and textiles are nothing new to Appalachia. Today, we’re seeing another industry struggle – local journalism. Some newspapers have scaled back or disappeared entirely, but journalism isn’t dying. Journalists are adapting and some are reinventing what they do.

This week, we’re joined by Lilly Knoepp, regional reporter at Blue Ridge Public Radio in Western North Carolina.

Boom and bust cycles for coal, timber and textiles are nothing new to Appalachia. Today, we’re seeing another industry struggle – local journalism. 

Some newspapers have scaled back or disappeared entirely, but journalism isn’t dying. Journalists are adapting and some are reinventing what they do.

You’ll hear these stories and more this week, Inside Appalachia.

In This Episode:

  • Preserving The Cherokee Language
  • Newspapers Unionize And The Roanoke Rambler Rises
  • New News Startups In Appalachia

Preserving The Cherokee Language

Local journalists tell local stories that big news media ignore, like the struggle of places like the Kituwah Academy to uphold its mission.

Courtesy

The Kituwah Academy is a Cherokee immersion school in Western North Carolina. During the COVID pandemic, they tried to continue teaching students the language without being in the classroom with them.

Knoepp spoke with teachers at the school, including Irene Smoker-Jackson whose mother was one of the last people in the Cherokee Snowbird community who only spoke Cherokee.

Henri Gendreau, founder of the Roanoke Rambler, interviews Angelo Colavita, founder and owner of War on Books in Roanoke.

Courtesy

Local Media Unionizes And The Rise Of The Roanoke Rambler

Appalachia is sometimes thought of as a news desert but Western North Carolina has a lot of newspapers. There’s lots of coverage, but still gaps and a need to get more stories from the western counties to the rest of North Carolina.

Meanwhile, like in other parts of the country, some workers at media companies in North Carolina and Virginia have unionized. It has also led to new media outlets like The Roanoke Rambler, started by a former Roanoke Times reporter.

Mason Adams spoke with Alicia Petska of the Timesland Guild, a union formed at the Roanoke Times in Virginia.

New News Startups In Appalachia

The Asheville Blade and Scalawag are recent additions to the regional media community. 

The Asheville Blade is a leftist local news co-op, that takes an adversarial stance toward covering local government, including the police. The startup has been at the center of conversations about journalist’s rights and made national news after two Asheville Blade journalists were arrested on Christmas Day in 2021.

Scalawag is an independent media organization based out in the south whose work often includes Appalachia interests. Their approach to journalism is to disrupt the narratives of the South. 

Mason Adams spoke with Blade founder, David Forbes.

Lilly Knoepp talked with Scalawag publisher, Cierra Hinton.

Blue Ride Public Radio’s Lilly Knoepp joined host, Mason Adams, as a guest for this episode.

Courtesy

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Our theme music is by Matt Jackfert. Other music this week was provided by Jesse Milnes, Appalachian Road Show, Paul Loomis and Chris Knight.

Bill Lynch is our producer. Zander Aloi is our associate producer. Our executive producer is Eric Douglas. Kelley Libby is our editor. Our audio mixer is Patrick Stephens. Our co-host this week is Lilly Knoepp from Blue Ridge Public Radio.

You can send us an email: InsideAppalachia@wvpublic.org.

You can find us on Instagram and Twitter @InAppalachia. Or here on Facebook.

Sign-up for the Inside Appalachia Newsletter!

Inside Appalachia is a production of West Virginia Public Broadcasting.

Shaun Slifer’s 'So Much to Be Angry About' Explores 1960s Appalachian Radicalism And Its Use Of A DIY Press

Since the color writers of the late 1800s, there’s been no shortage of writing about Appalachia by those visiting the region — but it’s a lot rarer to find Appalachians who set out to tell their own stories.

That’s exactly what happened beginning in the late ‘60s in Huntington, West Virginia, when a group of young people began printing pamphlets under the publishing label Appalachian Movement Press. Shaun Slifer inadvertently came across one of the press’s pamphlets a few years ago — which led him on a journey to learn more about the press. The result is a new book, titled “So Much to Be Angry About: Appalachian Movement Press and Radical DIY Publishing, 1969 – 1979,” published by WVU Press.

Courtesy of Shaun Slifer
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A rare Appalachian Mountain Press logo that was developed right at the end of AMP’s history, and only appears on a handful or their last publications in 1978-79.

Slifer read a blurb from the press that functioned as a sort of manifesto — a statement of purpose that often ran alongside its catalog offerings.

“Appalachia is a colony,” read Slifer. “Our wealth is daily stolen from us. Our natural resources and our labor are exploited by giant corporations whose owners do not live here. Not only do these owners not live here, they make no contribution to the process of production. Our natural resources rightfully belong to all of us, and it is by our labor alone that they are made useful to us in the form of products. Yet today we receive no value from our resources and a mere pittance for our labor.

“The greatest share of what is produced from our resources and labor goes into the pockets of these corporate owners who do nothing at all to earn it. They live and have become the richest people in America by exploiting us. We at the Appalachia Press are dedicated to putting an end to the exploitation of our land and labor,” Slifer read — in words many would appreciate still today.

Slifer reflected in an interview about what the book revealed and how he had tapped into this history.

“The process with Appalachian Movement Press really started from being handed one of their pamphlets at a wedding that I was at at the Appalachian South Folklife Center in Pipestem Resort State Park a few years back,” Slifer said. “I was very curious on the back, it said ‘Appalachian Movement Press,’ and I knew about movement presses in the 1960s and 70s, as part of the left in the United States.”

The movement press was a group of people who owned the means of production for printing their own posters, pamphlets and sometimes books. The coal miner’s pick on the press snared Slifer from the moment he saw it.

Courtesy of Shaun Slifer
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An Appalachian Movement Press 1976 mail order catalog, which was part of an effort at getting a wider readership and buy-in from libraries outside the region. Here, as in some of their other work in the late 1970s, Appalachian Movement Press has dropped “Movement” from the name.

“I just thought, ‘That’s cool,’” said Slifer. “I took a picture of the logo and texted it to a couple of friends of mine who run a publication called ‘Signal,’ which is a global survey of political graphics and graphic culture. I thought they would at least know what it was, but they said, ‘Wow, I’ve never heard of this,’ and challenged me to go dig up the history of it.”

Slifer’s subsequent research revealed that the people behind “Appalachian Movement Press” were a group of college students around Huntington’s Marshall University who originally spent years trying to get the college to recognize their chapter of Students for a Democratic Society, a late ‘60s radical group. They began the press to publish their newsletter, but soon picked up a lot of republishing work as “Appalachian Movement Press.”

The press was distinguished by the fact it was by Appalachians, for Appalachians. The group kept its work simple and stripped down. It was focused on its print content, with the objective of keeping the price low for buyers of all kinds.

“Everything about it was focused on the information itself, and so that created a design aesthetic. What I mean by that is that the design aesthetic felt very stripped down very of the moment. They were neither in communication with other movement presses, nor did were they particularly concerned with what those presses were doing. It was about central Appalachia.”

Slifer’s book includes a historical explanation and several reprints. The book, “So Much to Be Angry About,” is available from WVU Press.

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