https://hiddenhistoriesut.org/files/original/a546c3497700ee09e7fe0e03ab9eb6c6.pdf 5d31bba8771bb7f8eff18acde2cbfc73 PDF Text Text Start by telling me a bit about yourself and how you got started creating zines, specifically Muchacha Fanzine. I’m Daisy Salinas, a Xicana feminist zinester, performer, curator, and organizer based in Yanaguana, also known as San Antonio, Texas. I started Muchacha Fanzine because I couldn’t find what I needed, so I made it. I grew up loving punk music and culture, but as a young Mexican woman, I rarely saw myself reflected in the scene, in zines, or in the politics that were supposed to be radical. When I first found out about the feminist punk movement Riot Grrrl in my late teens, it was the first time I saw women naming sexism, violence, rage, and survival out loud. Around the same time, I was getting politicized through anti-war organizing, migrant justice, and feeding unhoused folks. Muchacha came out of that mix. I wanted to create something that centered women of color, queer and trans folks, and punks who were already resisting but getting overlooked. Do you know how the Muchacha Fanzine archive ended up at the Benson Latin American Collection?​ From what I remember, the Benson Latin American Collection reached out because they were interested in preserving my work, and they purchased the zines directly for their collection. That means a lot to me because zines are often looked at as disposable, even though they hold real political memory, art, and community history. It feels powerful to know that this work is being preserved as part of a larger cultural archive. How do you think political thought, culture, and identity can be expressed through art?​ For marginalized people, especially, art becomes a way to say, this is who we are, this is what we’ve survived, and this is the world we want instead. Culture and identity come through in the stories we tell, the symbols we use, the histories we carry, and the communities we speak to. That is part of why zines matter so much to me. They let people tell the truth in their own voice, outside the gatekeeping of mainstream media or institutions. Zines have long been tools of resistance, political education, and community-building, especially for people of color and other marginalized communities. What is your artistic process when creating zines?​ My process usually starts with a question or a political urgency. Sometimes it begins with anger, sometimes with curiosity, sometimes with the feeling that a certain story is missing and needs to be documented. From there, I build the theme and think about what conversations I want the zine to hold. I write, gather submissions, collect artwork, and shape everything through a process that is both creative and political. I design the zines myself and try to keep them accessible, affordable, and rooted in DIY ethics. A big part of the process is also curation: asking what voices need to be heard, what stories are being erased, and how the zine can function not just as art, but as connection, documentation, and action. How do you think art can impact revolutionary movements?​ Art gives movements language, memory, emotion, and imagination. It helps people feel less alone, makes political ideas more accessible, and can move people toward action. It can document struggles from the ground, preserve voices that power tries to erase, and even raise �money for mutual aid or movement work. To me, art is not just decoration. It can be a tool for social change and sometimes even a lifeline. What are women’s roles in revolutionary movements, and how do you see your work contributing to that? Can also have a specific focus on queer and Latin@ individuals.​ Women have always been central to revolutionary movements, even when history pushes us to the margins. The same is true for queer people and Latin@ people. We’ve always been organizers, artists, caretakers, fighters, and visionaries. A lot of my work is about pushing back against that erasure. Muchacha exists to center the people who are too often treated like an afterthought, even though they’ve been foundational the whole time. I want women, queer, trans, and Latin@ folks to see themselves as central to culture and struggle. How does your identity as a Texan feed into this?​ Being from Texas definitely shapes my work. Texas gets flattened into this conservative stereotype, but that erases the deep histories of resistance here, especially among working-class people, Black and Brown communities, and Indigenous people. Living and organizing here has taught me that you can’t wait for institutions to save you. You have to build your own spaces, your own networks, and your own culture. Being from Yanaguana means carrying both the beauty and the violence of this place, and that tension is all over my work. Who or what are you particularly inspired by to create?​ I’m inspired by so many people across movements, music, and art. Writers and organizers like Audre Lorde, bell hooks, Assata Shakur, Berta Cáceres, Emma Tenayuca, Marsha P. Johnson, and Sylvia Rivera have all shaped me. Musicians and artists like Alice Bag, Poly Styrene, Nina Simone, Selena Quintanilla, Ana Tijoux, and Princess Nokia expanded what felt possible for me. And zinesters of color like Mimi Thi Nguyen and Osa Atoe were huge for me too. They showed me that punk and DIY never belonged only to straight white men, no matter how often history tries to tell it that way. What kind of legacy do you hope to leave with your art?​ I hope my work leaves behind proof that women of color, queer people, punks, and other marginalized folks were never on the sidelines. We were always making culture, making history, and making ways to survive. I want my art not only to help people feel less alone, but to politically educate them too. I want them to push people to question oppressive systems and connect their struggles to others. More than anything, I hope the legacy is not just the zines themselves, but the consciousness, courage, and commitment to liberation they helped spark. � https://hiddenhistoriesut.org/files/original/57900ce7d17843b525d61265f818a5b0.jpeg 6bfa5dabe2f12e5933c22d44e8cdb7ed Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Palabras Pagadas y Tinta Desde La Tierra: 21st Century Zines by Latin@ Artists from Texas Subject The topic of the resource An exploration into magazines (zines) created by two Tejan@, Latin@ artists, that explore queer, Latin@ culture, and feminist politics. Description An account of the resource Small printed pages to make books (zines) with various designs, art, poetry, and other written word. Creator An entity primarily responsible for making the resource Eleonora Natale Source A related resource from which the described resource is derived Muchacha Fanzine & Chifladazine Publisher An entity responsible for making the resource available Benson Latin American Collection at the University of Texas at Austin Contributor An entity responsible for making contributions to the resource Daisy Salinas (Muchacha Fanzine) & Cloud Cardona (Chifladazine) Format The file format, physical medium, or dimensions of the resource Physical Medium: Paper Zine & PDF File of Interview Transcriptions Language A language of the resource English & Spanish Date A point or period of time associated with an event in the lifecycle of the resource 2011-Present (Muchacha Fanzine) & 2013-2018 (Chifladazine) Rights Information about rights held in and over the resource These physical resources were made available by the Benson Collection at the University of Texas at Austin for the purposes of research, teaching, and private study. The interviewees have granted permission for the use of their interview transcriptions to be used for research and educational purposes. Relation A related resource <a href="https://www.muchachafanzine.com/" title="Daisy's Website">https://www.muchachafanzine.com/</a><br /><a href="https://cloudelfina.online/" title="Cloud's Website">https://cloudelfina.online/</a> Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Interviewer The person(s) performing the interview Eleonora Natale Interviewee The person(s) being interviewed Daisy Salinas Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Daisy Salinas, Creator of Muchacha Fanzine Description An account of the resource A transcription of an interview conducted over email. Creator An entity primarily responsible for making the resource Eleonora Natale Source A related resource from which the described resource is derived Daisy Salinas Date A point or period of time associated with an event in the lifecycle of the resource Tuesday, April 14th, 2026 Language A language of the resource English Subject The topic of the resource The creator of Muchacha Fanzine discusses the history behind the zine, her inspiration, her background, politics, culture, feminism, and queerness. Publisher An entity responsible for making the resource available Eleonora Natale Rights Information about rights held in and over the resource The interviewee has granted permission for this resource to be used for research and educational purposes. Relation A related resource https://www.muchachafanzine.com/ Format The file format, physical medium, or dimensions of the resource PDF File. Art Community resilience Feminism Feminist Interview Latin@ Latin@ Identity Latin@ Identity Formation Latina Queer authors Queer movement Queer women San Antonio Texas trans Women Women Authors Women editors Women Poets Women Voices Zine