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REBEL VISIONS Patrick Rosenkranz ' ‘1: ;'r::/' .0...

/r.f - n v ' Eh W. f. A". A . ' : ' .l'flflfffé. " l - l ." ' _} a. " 319.22; 5:" 1-4 "L' 1.55 ,, '..' i'll ,' Aware of the difference between comics and 2.3 1‘».- ‘I. in H»; comix? To put it simplistically, comics are the .-: ,-'l '. ;,ff {-9 "'2 .n'. largely adolescent books that grew out of .'.l‘.IL(: tétr; :2:

newspaper funnies and have, since the pre- World War II appearance of Superman, Batman

et al, been dominated by men in colourful tights. V T

Comix are adult comics. drawing on the form of 'MACROCOSM'CA Art of the Black Earth "(:5 >z1'1!1<:"‘<:glrmum.

the medium, but emerging from the social, cultural and political climate of Vietnam War-era America to become a predominantly San Francisco-based underground art movement dealing with then-taboo subjects including sex, drugs and politics. Nowadays, that distinction has blurred: a comix artist such as Art Spielgelman has works like Mause published by industry giants Penguin, while superhero comics ‘grew up’ with the publication of books exemplified by Frank Miller‘s iconoclastic Batman tale, The Dark Knight Returns.

To understand where comix came from, what they were like, who read them (generally heads rather than feds) and how their influence continues in the comics field today, you could do

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no worse than Rebel Visions. Focusing on the {flutill mums; owl major players in the scene and illustrating his g;(:!i<:r;il ~:,-':)'l‘(::;%;. gm

handsomely produced coffeetable-style book ‘.'.l‘»|(: mm mm; :2 mm with strips, covers and poster art, Rosenkranz "‘(3.i’.;il)l‘, w; v. f;:;'f‘s: :1 charts the explosion, fall-out and aftermath of f'1(:(;hz:t that g‘::l:;"“' what he calls ‘the underground comix revolution‘. From the small press innovations of .23. :;t"i gir‘ :ll<;s;,.'t;-au<: the early 19605, which allowed artists to publish gm: ;;<:v::p<,~l;~g; mast. short, cheap print runs of comix (one of the first 'l .;';a':' istzirfts ': to do this, Robert Crumb with Zap Comix, '. .;;.: remains, arguably, the most famous of all comix :4, mm; m; 42 iv :grtféfl‘ creators), to the end of the revolution in the late 19703, when new artists and publishers (such as Fantagraphics) took over the legacy of the old, um: 'atrtw .; x.<:<, Rebel Visions provides a remarkable insight into :;; a genuinely rebellious art movement. 2;! After all, as Rosenkranz writes in his foreword, sat this was a time ‘when you could go to jail for writing the word “fuck” in a book’. What, then, did The Man make of comix which graphically illustrated oral and anal sex, lysergic acid trips "ma: ::t7‘. »< m; 'zr'ir'ér".,-., and Black Panthers beating the crap out of {?:,a"f. as; {my gam: mg}, corrupt cops? Read this book to find out. (rough .. t . . (Miles Fielder) (M‘s; l-r"7‘.;t ‘~:r "Hum-,-

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106 THE LIST .‘ ‘.'~.:' ..

MANITOBA Up in Flames -‘ t' 00000

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i\[/1E n; EVAN DANDO Baby I'm Bored 'ES:,-..".;4: O...

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J‘o‘uu TAYLOR Rosslyn ,'.' C...

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The Resurrection

TRIO AAB Stranger Things Happen at C

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Drop the Debt: An End to Debt, an End to Poveny

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