Fanzines

When studying the music press and how brands generate success it is extremely potent to understand the habits of your targeted demographic and the way in which they consume and demonstrate their consumerism to other listeners who apply the same habbits to their music routines and consumption. Part of this understanding comes from looking at the arrival of the fan based publication, coined the 'fanzine' in the early 60's. The fanzine was and still is considered to be the defining connection between music and the fans. The idea of fanzines is centered around documenting a 'scene' that is more often than not to new for the established music press to understand or even recognise, it is also widely regarded that fanzines are the first validation of a new music sub culture/genre that has been born from new styles of music and advances in the way that music is consumed, ie: Digitally.
The very nature and purpose of fanzines evoke passion in its writers and are always purely subjective in their mode of address. Fanzines were very much a way of showing how music sub cultures felt the need to branch away form the music press and find alternatives to the established music scene. With so many fans feeling like something was missing from the mainstream music magazines, fanzines were a way of filling the whole and closing the gap between artists and fans. The purpose of fanzines was to showcase the talents of the artists and uphold integrity within the music itself, by doing this a recognisable niche is found that highlights how some musicians receive very little attention on their musical genious in the mainstream media. Just for a few moments fanzines allow audiences to become the critics, the professionals and provide the format for them to voice their ideas and opinions that the mainstream press or more 'measured' journalism is unable to provide due to restrictions on publishing. The fanzine unites fans on a level that estbalishes enthusiasm and opportunity.
Most important fanzines provide the access to more 'underground' styles and genres of music that have bypassed the mainstream and have been homegrown from such formats as fanzines. Following on from this idea just like music itself the fanzine has made the transition to digital formats and sunsequently the 'webzine' has been born. The 'webzine' is still very much the same as a fanzine but allows fans access, in different levels, to music and gives them greater freedom as writers no longer have to rely on the sale of fanzines at gigs and in independant shops to voice their opinions. This creation of the 'webzine' has been vital in playing an integral role in contemporary music consumption. This has been heightened once more in the passed few years with the introduction of sites such as Myspace that establish the format for music discussion and debate as well as an ingenious way to advertise music in a personal, intimate way, creating even more of an identity with fans that fanzines were unable to provide in paper format. The creation of Google in this new millenium also provided the outlet for fans to gain access to a range of different fanzines and experience different cultures on new levels that are rejected from mainstream music journalism.
The net provides immediacy for fans and the ability to enthuse a global community and discussion's of shared interests, it is also the most important 'player' to consider when discussing the consumption habits of the youth and will be vital to the ever changing future of the music press.
Music fan writing encourages creative expression and amateur publications can serve as an antidote to the corporate owend publilcations and the preoccupation with delivering audiences to advertisers.