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“Nobody I knew in the ’90s that were writing zines were using it as a stepping stone,” says Crabb, who began Doris when she was 23.

“Now I see some of that, people trying to sell them for a lot of money, especially the art zines as a way to showcase their art for greater recognition.

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Girl zines exploded in the ’90s in conjunction with third-wave feminism and the underground Riot Grrrl movement, made up of young feminists who confronted sexism, sexual harassment and the patriarchy head on through meet-ups, marches, punk fashion, zines, and music.

Kathleen Hanna, a pioneer of the movement and a member of the famous band Bikini Kill, explained in a 2015 T Magazine article that second-wave feminism had excluded girls from the women’s movement, and “grrrls” was their fight for inclusion. It’s about getting your message out quickly.” Zines peaked in 1997 in the early years of the dot com boom, and declined soon after in part thanks to the internet, where chat rooms and forums gave misfits a new place to convene.

Later, in the 1960s, zines became an outlet for nerdy comic book lovers to connect and feel less ‘other.’ Early zines like these are typically associated with male-dominant groups, but Alison Piepmeier points out in her book that the suffragist Mary Ware Dennett created a sex education pamphlet for her sons in 1915 which possessed zine-like qualities and was circulated among friends.

At its root, her booklet defied the norm, the intention of many girl zines to come.

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