Adrian SalasMIAS 240

Razorcake Oral Histories Program: A Study of a Potential Community Archive

Razorcake is a publication that emerges from the strong independent ethos of zine

culture and do it yourself (DIY) punk culture. Founded by Todd Taylor, a former editor of

long running Los Angeles punk zine Flipside, and Sean Carswell in 2001, the print

version of Razorcake has been published bi-monthly continuously since that time. The

zine is now on its 79th issue as of this writing with a circulation of 6000 issues.1 In 2005,

Razorcake, along with its book publishing arm Gorsky Press, was accorded non-profit

501 (c)(3) cultural organization status by the Internal Revenue Service.2 Still under the

guidance of editor-in-chief Todd Taylor, Razorcake/Gorsky Press, Inc. has expanded their

undertaking beyond the original modus operandi of the print publication to other areas,

such as maintaining an actively updated webpage, producing podcasts and videos,

releasing albums, and sponsoring readings and live performances. Razorcake’s purpose in

undertaking these varied projects is succinctly stated in the opening to their mission

statement: “Razorcake provides consistent coverage of do-it-yourself punk culture that

you won’t find anywhere else.3”

Context:

With the maturation of punk rock culture since its founding in the late 1970s (or

arguably even the 1960s, depending on the touchstones one goes by), a steady stream of

1 "Razorcake." Wikipedia. Wikimedia Foundation, 16 Mar. 2014. Web. 16 Mar. 2014. <http://en.wikipedia.org/wiki/Razorcake>. (Wiki is continuously edited by Razorcake staff)2 IRS Tax Identification Number: 05-05997683 "Mission Statement." Razorcake.org. Razorcake/Gorsky Press, Inc., n.d. Web. 16 Mar. 2014. <http://www.razorcake.org/mission-statement>.

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publications has centered on its history. These works often focus on the histories of

individual bands or geographical areas where thriving scenes existed. These books range

from biographies written by band members4 to larger overviews of punk/DIY culture

written by fans and members of the punk community.5 A number of contemporaneously

produced documentaries covering much of the same ground, as well as scattered projects

dating back through to the late 70s and early 80s such as The Punk Movie (1978) directed

by Don Letts and documenting England’s burgeoning punk scene, and The Decline of

Western Civilization (1981) by Penelope Spheeris which showcased the Los Angeles

punk scene as it transitioned into its second wave.

While these works often have a retrospective-style focus to their subjects, Razorcake

springs more directly from the tradition of fanzines, which have existed even longer than

punk rock. As Stephen Duncombe puts forth in his book Notes from Underground, the

history and definition of zines can be summarized thusly:

[Z]ines are noncommercial, nonprofessional, small circulation magazines which their creators produce, publish, and distribute by themselves. While shaped by the long history of alternative presses in the United States, zines as a distinct medium were born in the 1930s. It was then that fans of SF, science fiction, often through the clubs they founded, began producing what they called “fanzines” as a way of sharing science fiction stories and critical commentary and of communicating with one another. Forty years later, in the mid-1970s, the other defining influence on modern-day zines began as fans of punk rock music, ignored by and critical of the mainstream musical press, started printing fanzines about their music and cultural scene.6

Not as beholden or intricately tied to larger trends or market forces, zines were able to

4 Just a few of these autobiographical works include: I, Shithead: A Life in Punk by Joey “Shithead” Keithley of D.O.A., Bob Mould: See A Little Light: The Trail of Rage and Melody by Bob Mould of Husker Du and Sugar (co-written with music journalist Michael Azzerad), and the enjoyably bizarre semi-fictionalized The Primal Screamer by Nick Blinko of England’s Rudimetary Peni.

5 Some of these include: American Hardcore: A Tribal History by Steven Blush, Going Underground: American Punk 1979-1992 by George Hurchalla, and Gimme Something Better: The Profound, Progressive, and Occasionally Pointless History of Bay Area Punk from Dead Kennedys to Green Day, by Jack Boulware & Silke Tudor. 6 Duncombe, Stephen. Notes from Underground: Zines and the Politics of Alternative Culture. London: Verso, 1997. Print. Pgs. 6-7.

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continuously document any facet of punk culture, among many subjects, as long as the

resources and interests of their creators allowed. While Razorcake is in some degrees

larger and more structured than the hand stapled, folded photocopies many people

associate with zines, they both spring from the same commitment to DIY ethics above

commerce. For the purpose of this piece, DIY zine and punk culture are often conflated

due to their high rate of crossover and shared ethics and values.

Project:

Razorcake’s focus since its founding has been on the bands and individuals

involved with or influential to the DIY punk community across a national and

international spectrum. Centered in the Northeast Los Angeles community of Highland

Park since the early 2000s, Razorcake has had a special interest in documenting and

interacting with the local neighborhood communities. In doing so, Razorcake has

actively pursued documenting the stories of the self identified Latino/a, Chicano/a, and

Mexican-American bands that have emerged from the East and Northeast areas of Los

Angeles and the surrounding communities. These entities usually fall outside of the

traditional historiographies and narratives focused on the punk scene. Examples of

bands and individuals from these areas that Razorcake has conducted extensive

interviews with include The Brat, Los Illegals, the Stains, Nervous Gender, Thee

Undertakers, Alice Bag and Diane Gamboa.

Each issue of the bi-monthly print edition of the zine averages 4 or 5 interviews or

features. In addition, the Razorcake website hosts additional content and interviews

that often expands on the printed material or is wholly unique to the online presence. A

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significant portion of these interviews cover the more rarefied bands and individuals

that tend to be ignored in the published histories, profiles, and features in favors of

more canonical entities. Having accumulated a significant archive of material over

their years of existence, editor Todd Taylor has begun to envision federating many of

their materials that meet certain criteria into an online repository patterned off of oral

history archives. The seeds of the archives conception spring from Razorcake’s efforts

to document the under-studied DIY punk community whose locus is roughly Northeast

Los Angeles, this is not intended to be the entirety of the curated collection’s scope but

a starting point. Rather, the program would undertake the work of identifying other

under-represented or elided groups and parties in the DIY community, so as to collect

and disseminate these stories.

The collection would be pulled from the existing archives of interviews and related

ephemera, such as pictures and video that Razorcake has amassed, as well as

continuously added to as new material is actively sought out and gathered. Building

this archive will involve active identification of and engagement with subjects, in an

effort to gather and present their stories. This process is not far removed from that of

institutionalized oral history programs, as evidenced by the presentation made by the

head of UCLA’s Oral History program, Teresa Barnett, to the UCLA Moving Image

Archive Studies (MIAS) program about the role and methodology involved in building

oral history collections.7 Once these stories are gathered the archive will need to tackle

issues of access from a practical and technical point of view, to implement a

sustainable structure that ensures usability and visibility for the collection.

7 Barnett, Teresa. "MIAS Tea Break: Teresa Barnett." MIAS Tea Break. GSEIS Salon, Los Angeles. 19 Feb. 2014. Address.

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Criteria:

The following parameters under consideration as searchable focal points for the

collection are the following: geography, time, race, gender and sexual orientation,

topicality, and class. The Latino Diaspora of Northeast Los Angeles has played a big

role in inspiring this project, but Latino/a and Chicano/a culture are just one of the

facets of under-represented groups that this project hopes to cover. Geography and

Time:

Geography is a matter of identifying areas where it is believed extra attention

needs to be paid in order to counteract paucities in the historical record. For instance,

many histories which cover Southern California punk, such as Steven Blush’s

American Hardcore and We Got the Neutron Bomb by Marc Spitz and Brendan Mullen

tend to gravitate towards documenting the Los Angeles scene centered on Hollywood.

As envisaged by Todd Taylor, the focus of Razorcake’s efforts would be to target

specific neighborhoods, such as Highland Park, Boyle Heights, etc., and expand

outwards to broader areas like East Los Angeles, Greater Los Angeles County,

Southern California. The ultimate goal of this approach is, according to Taylor,

“reinforcing both the localized and worldwide nature of DIY punk.8” This approach

would give focus to the project early on if these regions are used to dictate areas of

study. This could also help to concentrate and co-ordinate resources such as human

capital. On the user end, a properly implemented faceted geographical search could be

a powerful tool for identifying commonalities between subjects.

The time function is visualized as “the date range the bands /artists were/are

active. The date range of the interview.9” This is seemingly a straightforward enough 8 Taylor, Todd. "Razorcake Oral History Project, Initial Planning." Personal interview. 21 Jan. 2014.9 Ibid.

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function for the archive to use for categorizing. The one area of concern is that time

ranges tend to be surprisingly complicated from a metadata centered perspective. The

active dates of bands that are now defunct can be wildly different from the interview

date, for instance. Also, some bands have very contentious timelines. Take for example

the band Screeching Weasel (a band not likely to be included in the project due to their

already well documented and represented history, but whose timeline serves well to

illustrate a worst case example).

Fig.1:“Screeching Weasel.” Wikipedia. Author’s screen shot, 17 March 2014.

Not only are the activity dates very complex, but many of these dates also represent

incredibly different iterations of the band’s lineup which could involve a whole new set

of difficulties in the indexing and categorization field. Time is an important factor to

consider in situating collections temporally, but it is a descriptor that must be carefully

defined so as to correctly represent the materials therein.

Race, Gender and Sexuality, Topicality, and Class:

These four categories (or five depending on how one chooses to parse the terms)

are very much the heart of the project. Stephen Duncombe states that, “[i]t is white,

middle-class culture - and its discontents - that informs zines and underground

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culture.10” It is not to say that diversity is absent in underground and DIY cultures, but

even in these non mainstream areas, many of the same groups such as racial and ethnic

minorities, the working class, and LGBT communities are located at the margins. Race,

gender and sexuality, and class are charged areas that are important to examine if this

project is to succeed. As Jenna Freedman states in her essay, ‘Self-Publication with

Riot Grrrl Ideals,’ “It is important to note that zine producers are not only people who

have been relegated to the margins but also people who have chosen to claim the

margins.11” This quote encapsulates the driving principle of the oral history project,

which is to not only operate as an organization at the margins, but also consciously

choosing to inhabit these margins and document them.

An important factor in examining gender, sexuality, and race is that these areas are

intended to be self-identified by the participants. This is a good choice, as these are

areas that can be contentious and problematic to explore even with good intentions.

This difficulty can be for several reasons, such as different backgrounds between

interviewees, interviewers, and editors that can lead to differences in use and

understanding of terminology. For instance, “Hispanic” can be viewed as a loaded term

by some communities while others have no issue with the word. There are also the

problems that could arise if a term is ascribed to someone or some group who does not

identify as such for any number of reasons. An example of the danger of this would be

noted indie/punk musician Bob Mould, who is now a very active member of the LGBT

community. During his time as a member of seminal punk band Husker Du in the

1980s and for several years after his, sexuality was something of an open secret that he

10 Duncombe. Notes from Underground. 8.11 Freedman, Jenna. "Self-Publication with Riot Grrrl Ideals: Zines ≠ Vanity Press Publications." Make Your Own History: Documenting Feminist and Queer Activism in the 21st Century. Ed. Lyz Bly and Kelly Wooten. Los Angeles, CA: Litwin, 2012. 13-22. Print.

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was not comfortable revealing until he was outed by Spin magazine in the early

1990s.12 Self-identification can help to ameliorate problems like this, and give

interview subjects more control over their representation. While older material would

most likely have to pull identifying information as best as possible from the context of

an interview, it would be a very simple process to incorporate a method of formally

soliciting this data from interviewees through the use of an information form, such as

the one employed by the Nunn Center for Oral History at the University of Kentucky.13

Topicality, the final criteria, (and class to an extent) is more broad and loose than

many of the other criteria. Examples that were used as illustrations include

immigration, community, and politics. The focus of this area would basically be a

grouping of relevant associative terms to connect to interviews and materials. This area

may need refining, because without the use of good vocabulary control this category

could prove to be far too broad for its own good and could obscure connections

between related materials. All the descriptive categories would benefit greatly from

implementing vocabulary standards in their formulation. While incorporating controls

like this could be seen as high level or maybe even antithetical to the “hand made”

ideal of zines, Razorcake has proven itself as a disciplined and adaptable organization

in its ability to co-ordinate over 180 current contributors and volunteers to

continuously produce and distribute its print edition in a timely fashion. Furthermore,

if this project comes to fruition, Razorcake owes it to the material and participants to

apply the highest standards its resources will allow as knowledge stewards and access

facilitators. This talk of vocabulary standards leads directly to considerations of the 12 Mould, Bob. "The SPIN Interview: Bob Mould." Interview by Steve Kandell. Spin.com. Spin, 1 Feb. 2008. Web. 18 Jan. 2014. <http://www.spin.com/articles/spin-interview-bob-mould/?page=0%252C1>.13 Boyd, Doug. "Interviewer-Generated Metadata." Oral History in the Digital Age. Institute of Museum and Library Services, 2012. Web. 18 Mar. 2014. <http://ohda.matrix.msu.edu/2012/06/interviewer-generated-metadata/>.

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technical aspects of how this program would function.

Technology and Logistics:

Razorcake operates within tight financial parameters. Paid full time staff is currently

composed of two individuals who function as managing editors, but there is a very large

and diverse talent pool that participates in the operations of the organization, volunteering

time and skills, interning, or remotely contributing in some capacity such as editing,

writing or functioning as a point of contact for certain regions. The back-end production

database that will control the oral histories project on the Razorcake.org site will have to

be designed so that it can be populated largely by volunteer staff with only moderate

training after the initial system setup.

The interviews that will be used as the resources for this project will likely exist in

multiple versions. The main version, at least early on in the project, will usually be edited

text interviews that mirror the originals used for publication in the print edition of

Razorcake. The other versions would include expanded or alternate edits originally

posted on the Razorcake website, audio/video recordings of the interviews, and raw

transcripts that document entire interviews. The forms these documents could take, at

least as far as the textual materials, would ideally be a variety of formats such as simple

HTML pages, and mobile reader friendly PDF and MOBI files. Beyond the text

documents, the site would need to be flexible and expandable to allow the inclusion of

the other documents such as photos, streamable video, and audio that might be relevant

and cleared for use.

While print ready assets currently are organized so as to facilitate internal access, this

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does not really extend beyond standardized naming conventions and electronic filing

according to hierarchies based on publication schedules. All the assets that the

organization intends to enter into the database will have to conform to a metadata

schema. Qualified Dublin Core is one of the best standards to organize the descriptive

elements of the archive. Dublin Core does have its drawbacks, chief among them being

that it is prone to vagueness and confusion due to the looseness of its element set

definitions. Paradoxically it is this same looseness that makes it a good candidate to

organize a data set that deals largely with specialized, subculture oriented terminology.

Initially thirteen fields have been identified as needed to accurately describe each asset on

the item level using Dublin Core elements (see data model in table 1 for full set of

elements). These Dublin Core fields should be mapped to more natural language headings

on the front end, which are also shown in table 1. The success or failure of the metadata is

very tied to the need for controlled vocabulary and guides that clearly lay out how to use

these resources to the people tasked with doing what is essentially non-professional

cataloging. Many of the subjects covered by the scope of the database are not well known

or standardized by the general public, so what information there is needs be properly

managed so as to make sure all material is properly locatable. In the best case scenario,

the site could hopefully function much like a digital library. Many research organizations

are moving towards building collections like this, such as Universities (UCLA:

http://digital2.library.ucla.edu/) and Libraries (The Getty:

https://www.getty.edu/research/tools/digital_collections/). Obviously Razorcake does not

have the resources or specialized staff these larger institutions possess, but it can still

make use of the ground work that these others have paved, and take applicable

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knowledge to construct a reasonably clean, accessible, and intuitive interface for the web

presence.

Invested Parties/Audience:

Aside from Razorcake itself, those who would have the largest stake on the

success of the project would be the figures whose stories are included in the archive.

There are also tertiary contributors to consider such as photographers, videographers,

ephemera collectors (i.e. those who have collections of fliers, zines, set lists, etc…),

and artists. In a follow up interview with Todd Taylor, I broached the subject of

contributor relations and protocol to have him expand on this from his perspective.14

The entire process for interviews and contributions involves no formal agreements or

releases between Razorcake and the entities involved, but is instead based on mutual

trust. The only remuneration involved is an offer to provide as many free copies of the

print issues to the featured interviewees as they desire, provided they inform Razorcake

with enough time to factor those into their distribution workflow (and those lucky

enough to visit RC headquarters in Highland Park around lunch time probably will get

treated to a burrito).

The lack of formal agreement is where Razorcake’s operating method has one of

its most noticeable schisms with the praxis of professional archivists. This is an

interesting conundrum, because this does not stem from irresponsibility on the part of

Razorcake, but rather its adherence to different community standards. As Jessie Lymn

states in her article on the archival possibilities of zine anthologies, “Zines play with,

and disrupt, standard literary ideas of publishing, distribution, and capital.15” It 14 Taylor, Todd. "Razorcake Oral History Project, Follow Up." Telephone interview. 14 Mar. 2014.15 Lymn, Jessie. "The Zine Anthology as Archive: Archival Genres and Practices." Archives and Manuscripts 41.1

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becomes hard to say if Razorcake is on shaky ground or not by choosing not to adhere

to the standards that practicing archivists value. Bringing too much legalese and

formality into their dealings with those in their community may not fit comfortably

into the foundation of DIY ideals they hold as crucial to their mission. In further

examining zine anthology publishers, Lymn states that, “Considering the practices of

both of the anthologies and of zinesters more broadly, it can be seen that the practices

associated with the subcultural material are as important in regards to how they are

archived, as their content and form.16” Any archive dealing with specific group’s

cultural materials, must negotiate a strategy that recognizes all parties and not just the

demands of those who codify practices. In this case, it is probably best to continue

adhering to the current practice of informal agreements. When I questioned Todd

Taylor on the subject of conflicts with aggrieved parties, he said that in the hundreds of

interviews and dealings he has had with contributors and interviewees, there has only

been a couple of instances of seriously intractable disagreement with parties in regards

to their content. With this in mind, as long as the outlines of the oral history project are

made clear to those who are to be included, and they are sure not to blatantly include

copyrighted material in the website portal that could prove contentious, such as

unlicensed music from major labels, it would probably be best for Razorcake to

continue operating in their current fashion. It is after all easier to remove content that

someone takes issue with, than to re-build trust with an entire community.

When asked who he envisions as the end users, Taylor stated that it would be DIY

punks, with the caveat that he sees this as a community that has grown into many

areas, academic, professional, and otherwise. Furthermore, hopefully any researcher

(2013): 44-57. Tandfonline.com. 14 Mar. 2013. Web. 13 Mar. 2014. Pg. 53.16 Ibid. 54.

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who has interests in studying DIY punk culture would find this proposed web portal

useful as a resource. While not mentioned in the interview, this oral history website

could also bring more outside attention to the organization as an active and involved

cultural documentarian. Razorcake has been able to secure grant funds from the Los

Angeles County Department of Cultural Affairs in the past, and being able to show

evidence of extensive community centered work, could help securing interest from

other potential funders or community partners.

The other party to be taken into consideration is possible partners in the endeavor.

When asked about his opinion of partners Todd stated that he is open to the possibility,

but it must be on equal terms. As Flinn, Stevens and Shepherd point out in their study

of independent archives in England, “many archives are also very clear that they wish

to retain their autonomy and independence in any relationship and participate in

partnerships and project work very much on their own terms.17” As a small

organization, Razorcake is very wary of larger institutions or entities attempting to

appropriate their work. This can take the form of commercial parties trying to

appropriate punk imagery, or scholars who take material to incorporate into their own

research without attributions, and even well-meaning partners like a university who

would take the work Razorcake has done, and fold it into one of their own programs

which would eventually bury it from sight. This fear is somewhat founded, because

zines have made headway into the academy in recent years, but with this acceptance,

there is also the danger of this knowledge becoming “institutionalized” and restricted

from use by the very groups zines and their surrounding culture are meant to give voice

to.17 Flinn, Andrew, Mary Stevens, and Elizabeth Shepherd. "Whose Memories, Whose Archives? Independent Community Archives, Autonomy and the Mainstream." Archival Science 9.1-2 (2009): 71-86. Print. Pg. 80.

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Comparable Resources:

Razorcake’s most immediately comparable entity is Maximumrocknroll (MRR).

This music centered zine, which predates Razorcake, operates with much the same

ethos and structure. As Stephen Duncombe observes, “Maximumrocknroll is known for

its large, complex, and reasonably efficient production organization. Unlike any

commercial publication, however large or small, MRR is decidedly nonprofit.18” MRR

is not, however, formally a government designated 501(c)(3) non-profit. This would

perhaps be the biggest disparity between the two zines. Also of interesting note is

MRR’s curation of a record archive that is kept open as a resource to those with an

interest in punk’s musical history. This is an interesting model of a community archive

in action, as a resource and not just as a museum piece that is inaccessible to most non-

institutionally connected researchers. Before it went defunct in 2007 Punk Planet was

another comparable zine in scope and coverage. These are all zines with a national and

sometimes even international scope that are committed to DIY ethics above corporate

interest. They all also depend on volunteered labor and contributions, and are largely

funded through subscriptions and paid advertisements from other DIY entities and

individuals such as record labels and artists. This is not a lucrative model, but it does

foster a sense of community which can go a long way towards forging good will and

eagerness to participate with the zines within the DIY community.

A model of what the Razorcake Oral History website could look like is the

“Women Who Rock (WWR) Digital Oral History Archive” hosted by the University of

Washington. The focus is on comparable under-represented groups; in the case of the

18 Duncombe, Notes from Underground. 12.

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WWR archive, it is women involved “in the creation of cultural scenes and social

justice movements in the Americas and beyond.19” The site presents a clean and well

curated gateway to documentary material (histories, films, and photographs) on women

who have had a hand on influencing alternative cultures through music, film and art.

This site presents a possible model as to how Razorcake could present their materials,

albeit without the sponsorship or support of a larger university library system.

Finally there is the Prelinger Library in San Francisco. This library is an

interesting entity in that it is in some ways the physical embodiment of the kind of

community resource that Razorcake hoped to provide digitally. As the Prelinger’s

website states, the library self defines as “an independent research library located in

San Francisco’s South-of-Market neighborhood. It is open to anyone for research,

reading, inspiration, and reuse.20” They also state that, “the library specializes in

material that is not commonly found in other public libraries.” This library in many

ways is like the analog analog, of the community based digital archive. It is an

interesting example of the continued effort to activate community spaces for the public

to utilize and share ideas.

19 "Women Who Rock." Women Who Rock Oral History Archive. University of Washington, n.d. Web. 18 Mar. 2014.20 "Prelinger Library." Prelinger Library About. Prelinger Library, n.d. Web. 18 Mar. 2014.

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Table 1.

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Works Cited

Boyd, Doug. "Interviewer-Generated Metadata." Oral History in the Digital Age. Institute of Museum and Library Services, 2012. Web. 18 Mar. 2014. <http://ohda.matrix.msu.edu/2012/06/interviewer-generated-metadata/>.

Duncombe, Stephen. Notes from Underground: Zines and the Politics of Alternative Culture. London: Verso, 1997. Print.

Flinn, Andrew, Mary Stevens, and Elizabeth Shepherd. "Whose Memories, Whose Archives? Independent Community Archives, Autonomy and the Mainstream." Archival Science 9.1-2 (2009): 71-86. Print.

Freedman, Jenna. "Self-Publication with Riot Grrrl Ideals: Zines ≠ Vanity Press Publications." Make Your Own History: Documenting Feminist and Queer Activism in the 21st Century. Ed. Lyz Bly and Kelly Wooten. Los Angeles, CA: Litwin, 2012. 13-22. Print.

Lymn, Jessie. "The Zine Anthology as Archive: Archival Genres and Practices." Archives and Manuscripts 41.1 (2013): 44-57. Tandfonline.com. 14 Mar. 2013. Web. 13 Mar. 2014.

"Mission Statement." Razorcake.org. Razorcake/Gorsky Press, Inc., n.d. Web. 16 Mar. 2014. <http://www.razorcake.org/mission-statement>.

Mould, Bob. "The SPIN Interview: Bob Mould." Interview by Steve Kandell. Spin.com. Spin, 1 Feb. 2008. Web. 18 Jan. 2014. <http://www.spin.com/articles/spin-interview-bob-mould/?page=0%252C1>.

"Prelinger Library." Prelinger Library About. Prelinger Library, n.d. Web. 18 Mar. 2014.

"Razorcake." Wikipedia. Wikimedia Foundation, 16 Mar. 2014. Web. 16 Mar. 2014. <http://en.wikipedia.org/wiki/Razorcake>.

Taylor, Todd. "Razorcake Oral History Project, Follow Up." Telephone interview. 14 Mar. 2014.

Taylor, Todd. "Razorcake Oral History Project, Initial Planning." Personal interview. 21 Jan. 2014.

"Women Who Rock." Women Who Rock Oral History Archive. University of Washington, n.d. Web. 18 Mar. 2014.

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