Fanzines have been one of the liveliest forms of self-expression for over 70 years. Their subject matter is as varied as the passions of their creators, ranging across music, comics, typography, animal rights, politics, alternative lifestyles, clip art, thrift shopping, beer drinking ... This book is a high-impact visual presentation of the most interesting fanzines ever produced. From the earliest examples, now incredibly rare, created by sci-fi fans in the 1930s, it takes us on a journey of subcultures through the decades. Superhero comics inspired a flush of zines in the 1950s and 60s. In the 1970s, the diy aesthetic of punk was forged in fanzines such as Sniffin' Glue and Search and Destroy, while the 80s saw a flourishing of political protest zines as well as fanzines devoted to the rave scene and street style. The riot grrrl movement of the 90s gave voice to a defiant new generation of feminists, while the arrival of the internet saw many fanzines make the transition to online.

Since the 1970 and 1980s, fanzines have constituted a zone of freedom of thought, of do-it-yourself creativity and of alternatives to conventional media. Along with bands, records and concerts, they became a vital part of the construction of punk 'scenes’, actively contributing to the creation and consolidation of communities. This book moves beyond the usual focus on Anglophone punk scenes to consider fanzines in international contexts. The introduction offers a theoretical, chronological and thematic survey for understanding fanzines, considering their contemporary polyhedral vitality. It then moves to consider the distinct social, historical and geographic contexts in which fanzines were created. Covering the UK, Portugal, Greece, Canada, Germany, Argentina, France and Brazil, as well as a wide range of standpoints, this book contributes to a more global understanding of the fanzine phenomenon.

The increasing insecurity in the English society is countered by a resurgence of nostalgia and remembering the old times. This phenomenon can be found in football, too, but it differs from the need for nostalgia that is visible in society. High Street shops like Past Times are hugely successful in selling commodities that remember the English Commonwealth with goods from the countries that once belonged to it. Also, this becomes visible by the many replica items of daily life that are designed in a retro style but contain modern technology such as radios, watches, alarm clocks and furniture. Football fans can purchase replica shirts of their favourite club from the seventies and even earlier.In the field of football, the introduction of the Premier League in England has changed the face of football massively. After the Heysel and Hillsborough disasters football fans got active themselves and started to publish football fanzines. In these outlets they mostly opposed the view that every football fan is a hooligan. They also used football fanzines as a platform to remember their heroes and glories of eras long gone. For this reason cultures of memory did become a part of football fanzines and did so very vivid.

Doc Savage is the prototype of the modern fictional superhero. The character exploded onto the scene in 1933, with the Great Depression and the gathering clouds of war as a cultural backdrop. The adventure series is examined in relation to historical events and the changing tastes of readers, with special attention paid to the horror and science fiction elements. The artwork features illustrations, covers, and original art. Chapters cover Doc Savage paperbacks, pulp magazines, comic books, and fanzines, and an appendix offers biographies of all major contributors to the series.

"Along with its long-lasting influence on music, art, fashion and culture, the punk explosion in the late 1970s also fuelled a thriving underground press. A physical representation of punk's DIY attitude, fanzines rebelled against establish forms of expression surviving outside of the mainstream media and providing a voice for a generation. Punkzines features interviews with leading figures from the scene, including fanzine editors, bands, DJs, promoters and journalists, to provide exclusive anecdotes from this momentous period."--From back cover.

Long out of print, Harmony Korine's 'zines are comprehensively collected in this new book. Filled with low-concept, laugh-inducing juxapositions of words and images, images and images, lists, monologues, cartoons, free verse, jokes, half-thoughts, fake/real interviews, innuendo and Matt Dillon's phone number. Includes collaboration with Mark Gonzales, the skateboarder and poet. This is a collection of seven fanzines from a time of innocence, exploration, experimentation, discovery, depression and hanging around.

There are well over 200 fanzines in current distribution, originating in al­most every state in the U.S. as well as in Canada, England, Germany, Ireland, Spain, and Sweden. This is the first book about them. Few persons outside the science fiction field (where, historically, fanzine publication appears to have begun) know the meaning of the portmanteau word, fan­zine (amateur fan plus magazine). Fanzines are published, written, and illustrated by young persons, usually well under 30, and bear such names as ANDROmeda, BeABohema, Comickazi, Granfalloon, and Varolika. The history of the genre is brief, dating from the 1930s, but many of the publishers and contrib­utors have achieved considerable distinc­tion as writers, including Poul Anderson, Ray Bradbury, and Richard Lupoff. Coming to this serious study of an unu­sual subject with his considerable expertise in the field of violence, Dr. Wertham has been struck, first, by the nonviolent, creative aspects of the genre and, second, by the amateur status of fanzines. His con­clusion, which will surprise many readers, is that herein may lie a message for our unheroic age.