Cumulates all 22 issues of the Lansing, Michigan punk fanzine, Touch and Go, originally published from 1979-1983. Also included is Tesco Vee's first one-shot fanzine, 999 Times.

"Focused on seven issues of Good and Plenty fanzine produced in the late 1980s/early 1990s, Hardcore Fanzine looks at the series through the lens of graphic design and typography, as a project that reflected and embodied technology of the period. Contributions from graphic designers, graphic design educators, and hardcore enthusiasts trace the history of zines and photoduplication; the idea of the body in punk and hardcore; how zine-making created community and alternative social space in a pre-Internet era; key typefaces used in straight edge iconography; and the importance of zines to successive generations of designers. Good and Plenty was published as a labor of love and fandom by Zion, Illinois's Gabe Rodriguez. Originally produced as a collaboration with friend Mike Good, Rodriguez took over editing and production of the zine, assisted by a team of friends and helpers. With their assistance and a network of fans from around the country and the world, Good and Plenty featured original photography documenting shows by Gorilla Biscuits, Judge, Bold, and other hardcore bands of the period; band interviews; reviews of shows and record releases; and essays by Rodriguez and friends (including Alyssa "Blowin' Chunx" Murray and Kim Nolan) on a range of topics beyond music--from vegetarianism, women's rights, gender relations, and straight edge, to racism, pop culture, and the Iraq War. A text by Walter Schreifels--American musician, member of Gorilla Biscuits, Youth of Today, Quicksand, and many other bands--places G&P in historical context, outlining the context for individual issues and highlighting specific moments in the cultural and sonic landscape. Hardcore Fanzine includes the full reproduction of all seven issues of Good and Plenty plus reproductions of a selection of the zine's original paste-ups and photography."--Printed Matter description.

Shotgun Seamstress discusses the difficulties of being a black person within dominantly white punk and queer scenes. The author and contributors give anecdotes about their experiences at punk concerts. Osa interviews local punk artists of color, and provides excerpts of her own writing about racism. The zine incorporates images and sparse typewritten sections for a dynamic effect on each of the pages. Multiple issues have been produced, each focusing on a different aspect of black punk culture (e.g. Toni Young, love, money) and how people of color interact with popular culture.

xXx Fanzine isn't merely a collection of articles, reviews, and photographs from one of Hardcore America's best-known fanzines. It's a chronicle of punk's evolution in the 80's: a story of music and ideologies in motion. xXx's story picks up while the first wave of hardcore was in full swing. Major players including Minor Threat had already released landmark records, and bands were loading up station wagons to play now infamous venues like The Channel, A7 or D.C. Space. Now, in addition to reproducing (and restoring) original interviews and pages from the zine itself, xXx Fanzine re-interviews countless bands and musical prime-movers including Ian MacKaye, Keith Morris and members of Agnostic Front, Bad Brains and Cro-Mags to give the book a rare "Then-And-Now" perspective. xXx Fanzine isn't just a look back at hardcore's salad days, but a unique look at how punk's music and message shook the mainstream itself.

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.

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Cleveland, Ohio's punk scene has played host and step parent to tens of thousands of kids for over 40 years. A. Iwasa was one of those kids and now with nearly 20 years of distance, he reflects on how Cleveland's weird, unique social and geographic landscape impacts those impressionable young people, shaping them into idealistic, scrappy adults who spread that influence with their own creations. Each one of us (yes, including the publisher of this book) got excited, felt a part of something unique and special. Then got deeply immersed in it until you find that it's not actually meeting your adult needs...before falling too deep into the hole and encountering the darker aspects of post-industrial punk. It feels like one day you suddenly discover how your peers see issues differently than you do. But again, each of these punks that once felt alone in the world go out and create something beautiful in punk's mired visage, even if only to escape yet another destructive home life.