Adrian Salas

MIAS 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. Razorcakes 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 wont 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: 05-0599768
3
"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 Englands 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 (cowritten with music journalist Michael Azzerad), and the enjoyably bizarre semi-fictionalized The Primal Screamer by
Nick Blinko of Englands 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:
Razorcakes 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 Razorcakes 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 collections 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 UCLAs 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.

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 Blushs
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 Razorcakes 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
8

Taylor, Todd. "Razorcake Oral History Project, Initial Planning." Personal interview. 21 Jan. 2014.
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active. The date range of the interview.9 This is seemingly a straightforward enough
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. Authors
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 bands 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
9

Ibid.
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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.

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.
11

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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

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/>.
Salas 8

facilitators. This talk of vocabulary standards leads directly to considerations of the

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.

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

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make use of the ground work that these others have paved, and take applicable
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 Razorcakes 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,
14

Taylor, Todd. "Razorcake Oral History Project, Follow Up." Telephone interview. 14 Mar. 2014.
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and disrupt, standard literary ideas of publishing, distribution, and capital.15 It

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 groups
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
15

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. Pg. 53.
16
Ibid. 54.
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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
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,

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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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.

Comparable Resources:
Razorcakes 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
MRRs curation of a record archive that is kept open as a resource to those with an
interest in punks 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 noninstitutionally 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.
18

Duncombe, Notes from Underground. 12.

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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
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 Prelingers
website states, the library self defines as an independent research library located in
San Franciscos 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
20

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