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- Title
- Punk rock musician and punk zine editor Tesco Vee speaks at the Michigan Writers Series
- Creator
- Vee, Tesco
- Date
- 2010-10-28
- Collection
- G. Robert Vincent Voice Library Collection
- Description
-
Bob Vermeullen, whose stage name is Tesco Vee, describes his interest in the 1970s punk rock scene and his co-editorship of the Lansing, MI based punk scene magazine, Touch and Go. Vee tells how he became interested in punk rock while attending Michigan State University and starting a punk magazine at the same time that he was beginning a teaching career in Williamston, MI. Vee also describes his musical influences, starting a band called The Meatmen and the life of recording, performing,...
Show moreBob Vermeullen, whose stage name is Tesco Vee, describes his interest in the 1970s punk rock scene and his co-editorship of the Lansing, MI based punk scene magazine, Touch and Go. Vee tells how he became interested in punk rock while attending Michigan State University and starting a punk magazine at the same time that he was beginning a teaching career in Williamston, MI. Vee also describes his musical influences, starting a band called The Meatmen and the life of recording, performing, getting into fights, and other memories from the road and his punk days. Vee promotes his recently published book, Touch and go : the complete hardcore punk zine '79-'83. MSU Librarian Joshua Barton introduces Vee. Part of the Michigan State University Libraries' Michigan Writers Series.
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- Title
- From audience to public : comic book fanzines in the seventies and eighties
- Creator
- Black, Jason Owen
- Date
- 2014
- Collection
- Electronic Theses & Dissertations
- Description
-
This paper examines comic book fanzines published between 1974 and 1986, and argues that the theoretical model of the public, as defined by Jürgen Habermas and adapted by Michael Warner, is useful for understanding how fandom functions as a social construct. It explores the mechanisms of production and distribution of fanzines and how they contributed to the creation and maintenance of this public. The comic book public was engaged in a conversation with the power of capitalist producers and...
Show moreThis paper examines comic book fanzines published between 1974 and 1986, and argues that the theoretical model of the public, as defined by Jürgen Habermas and adapted by Michael Warner, is useful for understanding how fandom functions as a social construct. It explores the mechanisms of production and distribution of fanzines and how they contributed to the creation and maintenance of this public. The comic book public was engaged in a conversation with the power of capitalist producers and consciously resisted reproducing the comic book industry's relationship between producer and consumer. To illustrate this, the paper investigates discussions about gender and religion found within the public and explores the complexity of those discussions. Comic book fans saw problems with the comic book industry, such as its representation of women, and sought to illuminate and address those problems, while at the same time demanding that comic book fanzines keep discussions related to the content of, as opposed to the social issues raised by, comic books. It concludes by tracing the transformation of comic book fans into comic book professionals and offers insights into the value of studying fandom as a public in order to better understand contemporary capitalism and the relationship between producers and consumers.
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