Fandom, powered by nostalgia, is gigantic, uncloseted and, unfortunately, argumentative. It's so powerful it has driven creators away from their creations. How do we control that rabid drive to "own" someone else's works?
Wouldn't it be funny if Beetle Bailey spent his time describing his Harry Potter fanfiction to Sarge, or if Blondie's Dagwood spoke like an alienated Beckett character about godlessness and ennui while he assembled an overstuffed sandwich?
The superbly researched Journalism and the Russo-Japanese War tells readers how Japan pioneered modern techniques of propaganda and censorship in the Russo-Japanese War.
'Objectivity' in journalism has become a shield for privilege and a weapon for right-wing pundits, argues Lewis Raven Wallace in his work, The View from Somewhere: Undoing the Myth of Journalistic Objectivity.
TOPY and Genesis P-Orridge's knowing adoption of cult iconography and organizing principles quickly slid from satiric emulation to full embrace -- and we all went along with it.
Denmark's Blaue Blume gently mould a lushly textured backing with little more than twinkling, arpeggiated synths and chilly electronics on "Loveable".
I'd Fight the World explores the connection between country music and electoral politics, giving us a glimpse into how politicians used celebrity long before the rise of the "movie-actor president" and the "Twitter president".
Journalist Katya Cengel's memoir, From Chernobyl with Love, is more illuminating of the American mindset than it is of Latvia and Ukraine.