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.

Gathering together a vast array of visual material, this title features fanzines, posters, clothing, paintings, objects, record covers and films which stress the incredible quality and vitality of these alternative artistic productions.

New York Times bestselling author William Alexander takes readers on a surprisingly twisty journey through the history of the beloved tomato in this fascinating and erudite microhistory. The tomato gets no respect. Never has. Stored in the dustbin of history for centuries, accused of being vile and poisonous, appropriated as wartime propaganda, subjected to being picked hard-green and gassed, even used as a projectile, the poor tomato is the Rodney Dangerfield of foods. Yet, the tomato is the most popular vegetable in America (and, in fact, the world). It holds a place in America's soul like no other vegetable, and few other foods. Each summer, tomato festivals crop up across the country; John Denver had a hit single titled "homegrown Tomatoes;" and the Heinz tomato ketchup bottle, instantly recognizable, is in the Smithsonian. Author William Alexander is on a mission to get tomatoes the respect they deserve. Supported by meticulous research but told in a lively, accessible voice, Ten Tomatoes that Changed the World will seamlessly weave travel, history, humor, and a little adventure (and misadventure) to follow the tomato's trail through history. A fascinating story complete with heroes, con artists, conquistadors and, no surprise, the Mafia, this book is a mouth-watering, informative, and entertaining guide to the good that has captured our hearts for generations.

As a homeless child prodigy, Harley Flanagan played drums for bands at Max’s Kansas City and CBGBs, and was taught to play bass by the famed black band Bad Brains, and drank with the notorious Lemmy of Motörhead. Most famously, Harley became a member of the famous hardcore band The Cro-Mags, and disputes accusations of stabbing two band members.

Posters have the power to influence and inform - so how does a designer hone their creations to have the impact they need? With a special focus on conceptualization, internationally-acclaimed and award-winning designers Natalia Delgado and Scott Laserow takes you though planning, analyzing and creating posters that stop viewers in their tracks. Classic and contemporary examples from around the world show you what can be achieved at the cutting-edge of the medium - from protest and propaganda posters, through pop culture and Swiss style, to animated and interactive designs. Whether you need to promote the next president, advertise a brand or create awareness of a health crisis, Making Posters gives you the critical and practical skills to excel in one of the most widely seen forms of graphic design and make sure your work stands out from the crowd.

Mike Ashley's acclaimed history of science-fiction magazines comes to the 1980s with Science-Fiction Rebels: The Story of the Science Fiction Magazines from 1981 to 1990. This volume charts a significant revolution throughout science fiction, much of which was driven by the alternative press, and by new editors at the leading magazines. The period saw the emergence of the cyberpunk movement, and the drive for, what David Hartwell called, 'The Hard SF Renaissance', which was driven from within Britain. Ashley plots the rise of many new authors in both strands: William Gibson, John Shirley, Bruce Sterling, John Kessel, Pat Cadigan, Rudy Rucker in cyberpunk, and Stephen Baxter, Alistair Reynolds, Peter Hamilton, Neal Asher, Robert Reed, in hard sf. He also shows how the alternative magazines looked to support each other through alliances, which allowed them to share and develop ideas as science-fiction evolved.

David Foster Wallace is invariably seen as an emphatically American figure. Lucas Thompson challenges this consensus, arguing that Wallace's investments in various international literary traditions are central to both his artistic practice and his critique of US culture. Thompson shows how, time and again, Wallace's fiction draws on a diverse range of global texts, appropriating various forms of world literature in the attempt to craft fiction that critiques US culture from oblique and unexpected vantage points. Using a wide range of comparative case studies, and drawing on extensive archival research, Global Wallace reveals David Foster Wallace's substantial debts to such unexpected figures as Jamaica Kincaid, Julio Cortázar, Jean Rhys, Octavio Paz, Leo Tolstoy, Zbigniew Herbert, and Albert Camus, among many others. It also offers a more comprehensive account of the key influences that Wallace scholars have already perceived, such as Fyodor Dostoevsky, Franz Kafka, and Manuel Puig. By reassessing Wallace's body of work in relation to five broadly construed geographic territories -- Latin America, Russia, Eastern Europe, France, and Africa -- the book reveals the mechanisms with which Wallace played particular literary traditions off one another, showing how he appropriated vastly different global texts within his own fiction. By expanding the geographic coordinates of Wallace's work in this way, Global Wallace reconceptualizes contemporary American fiction, as being embedded within a global exchange of texts and ideas.