Fanzini 80-ih

FANZINI 80-IH [unfortunately only accesible via fb] is an archiving-platform with material from the ex-Yugoslav fanzine-scene done by Jadranko Mlinarić from Zagreb (Croatia; Republic of Croatia = Republika Hrvatska)…

Brob

FANZINI 80-IH is a project to help remember the ex-Yugoslav fanzine scene. When I was contemplating the idea, I intended it as a space for reminiscing fanzines of that era. My intention then, as it is now, was not to create a megalomanic project but a small personal nostalgic archive corner in the virtual world. Whether I wanted to admit it to myself or not: time has shown me fanzines grew close to my heart, as part of my youth, an interesting and exciting part of history, especially when viewed from a temporal distance and the specifics of that era (when the fanzine-scene in question emerged).

The fanzines I documented are all from the ex-Yugoslav region and were published before the end of 1991. People who want to make them available – and have the desire, will & ability – can get involved and help because every detail and piece of information is important: covers, flyers, reviews, information about the author/authors, correction of inaccurate statements, … Of course scans of entire issues (an inexhaustible source of forgotten information) are wellcome; because “What is not written down, did not happen.”. Anyone interested can send material to the page’s inbox or email.

This introductory page was inspired by a text I first saw in Oct. 1994, in the magazine Arkzin (#24; p. 21), originally published in Zips & Chains #9 (Jan.’ 94). This, with the listed 149 fanzine-titles, was the starting-point and the catalyst. I embarked with only 2 fanzines in my possession and a desire to find out how many of these 149 titles I could gather/archive. It quickly became apparent that it would outgrow what I called a “small nostalgic archive corner”. FANZINI 80-IH has, in my opinion, succeeded in doing the right thing, considering what it’s up against. Probably 99% of people who published their fanzines in that period did so the old-fashioned paper/physical form, the cut & paste way. From that time, only one was known to me (Platfuzz, which was made around the end of the 80s), that was using a computer and could to be stored electronically. For the rest of us the concept of a computer was pure science-fiction, which is why we were doomed to have our fanzines irreversibly damaged (fire, floods, theft, mold, rodents, loss, or anything else you can think of).

Note that FANZINI 80-IH is a one-man project that depends solely on the fanzine-contributions of good souls, without which all of this would lose its meaning. And that brings us to the next issue: a large number of people who were part of the fanzine-scene of the 80s have simply ‘grown up’ and consider that all this is behind them and not worthy of their time. Many of us ‘actors’ have left (because of drugs, unfortunate circumstances, illnesses or the war). There’s also a lot of of people unreachable (not computer-literate) or inaccessible for contact (old contacts invalid). ‘Different strokes for different folks.’ is a saying that could characterise the next plague: namely that there are those who have fanzines in their archives but are unwilling to share them with the rest of the world for reasons only known to them. There are also those who’re simply too lazy to go to the shed in search for their ‘treasures’, etc. However FANZINI 80-IH goes on!

As for the author: I’m Jadranko Mlinarić (°1967), into punk since 1978. My involvement in the fanzine-scene started quite late, in 1986. At that time I started my own fanzine Disgusting Cock, of which 3 issues were published (or 4; the third was a double issue). I participated in the first exhibition of Yugo fanzines in 1987 in Subotica. Early 1987, I started working on my fanzine T.S.O.M., which was conceived as a mini-fanzine (A6 format), more like an informative monthly publication. #4 was done with the help of a friend from Prijedor [Bosnia & Herzegovina], ‘Sexy’ Samir Bikić, the singer of ‘The Dissidents’, while I was doing military service. Upon my return from the army, another person joined: Krešo Golubić. At that time, the fanzine underwent some changes: it became one of the few fanzines that had text in English. It also came out as a split issue, with the fanzine Virus [Darko Kosalec] (from Zagreb). 9 issues were released.

Perhaps a small addition for a better understanding of fanzines in Yugoslavia: they were neither an unknown nor a new concept. They appeared long ago but mostly as an extended means of cultural activity, dating back to the era of dadaism. In the late 70s and early 80s, in former Yugoslavia, fanzines played a significant role in alternative culture and were expressing independent thought. That period was characterized by socialist rule [The philosphy of Tito – leader of the Communist Yugoslav Partisans during WW2 – was characterised by socialist workers’ self-management] when there were alternative cultural movements that sought to express their views outside official frameworks and were gaining momentum. This included music, literature, film and other cultural expressions separated from official socialist aesthetics. Fanzines related to the work and creativity of cultural groups and individuals emerged, e.g. Špu List, Wow, Izgled, Parsek, Maj 75, Westeast, Darko Šimičić, Goran Petercol, Linije, Playboyana, Pokušaj Poistovjećenja, Prvi Broj, Radovu U Podrumu, etc. Fanzines became a significant utterance of free speech and self-expression in an atmosphere that was often restricted by the authorities. It’s worth noting that during that time in Yugoslavia, no-óne was allowed to independently produce any kind of printed material without some political structure behind it, even if it was a youth-organisation! Fanzines were mostly created in the spirit of the D.I.Y. They often addressed topics that were unpopular or prohibited by the official authorities. This included themes such as freedom of speech, human rights, political freedoms and other social issues. During that era, it was not uncommon for people from the State Security Service (Služba Državne Bezbednosti or S.D.B.) to knock on people’s doors, conduct raids, make threats, etc. Given the specificities of each republic within Yugoslavia, the fanzine-scene varied from region to region. These periods of alternative culture and fanzines in Yugoslavia left a mark on the cultural scene, although the dynamics changed over time, alobg with the political changes that followed.

Fanzini.Hr is the website [accessible for everyone] that mainly deals with fanzines from Croatia (1990 to the present day). That is set up Marko Strpić [In Media Res fanzine] and Sebastijan Brumec. Marko & Sebastijan form the core of an archiving-team (consisting of various NGOs: Tabula Rasa, ACT – Autonomni Centar, Centar Za Dokumentiranje Nezavisne Kulture [“centre for the documentation of independent culture”]).

Jadranko Mlinarić