Revive the Dead?

I added that to their 'suggestion box'... until then, I just search for a tagline like 'love' or 'money' and get the results I want a lot faster.

Thank you for taking the time to respond : )

Same her,e it's always good.

I have done a few of the Brainbusters today and will go back for more but sometimes it takes ages to go through them all and then find one/some that I want to respond to.

Thanks so much for the well wishes. I agree that good topics get lost in the rush sometimes. I usually hit page 10 or 12 just to find those hidden goodies ; ) (Plus, I think they get 'bumped' when you answer them) Wishing your myLot days are full of quality discussions and many new buddies, including me!

Yes, like "Lost Discussions" because that's what a lot of them are!

Same here : )

I haven't but once I do I will post a response.

I DO NOW! I ALSO POSTED A RESPONSE TO YOUR DISCUSSION. HERE IS WHAT I FOUND~ Definition and background Zines or fanzines are magazines written by enthusiasts, "fans". They have various forms but are typically self-published, designed, written or edited by a single person. They tend to use inexpensive production techniques such as photocopying, and are distributed through local and personal networks and specialised distributors ("distros"). Although zines usually have more than one issue, some are one-offs. Some have a highly visual quality and use the conventions of cartoon strips and film animation for more adult themes. These are also known as alternative comics, adult comics, or comix, and, when telling a complete story in one volume, they are known as graphic novels. There are significant sub-genres within the zines world with varying degrees of overlap. Typically, zines support a particular sports team with an independent viewpoint not necessarily sanctioned by the club itself (football zines are probably the largest category of sports zines), a literary genre regarded by some as outside of the mainstream notably science fiction, or a particular aspect of the contemporary music scene, again with a preference for alternative forms of expression. Zines have also developed which connect broadly to political issues through personal testimony, comment, and literary and artistic expression. Feminist zines, many of which developed from music zine environments, are an important example of this. Some zines, and especially alternative comics and graphic novels, may nevertheless have no clear allegiance to an ideology, literary genre, or sport, but exist as entertainment or art in their own right. The recent history of zines is related to historical shifts in both technology and society. One factor was the increased availability from the 1950s onwards of self-publishing technology: the mimeograph (a form of printing from a typed stencil), the photocopier and, finally, the desk-top computer. Another factor was the series of parallel social changes stemming from this time, for example, counterculture, second wave feminism, and punk. However, alternative forms of expression using pamphlets and periodicals have a very long history and one which continues to this day alongside zines. In this way, zines are distant relations to the oppositional and discursive publications of, for example, the Thomason Collection of Civil War Tracts and they are closer relations to Little Magazines which continue to publish short fiction and poetry from an independent and personalised base. Adult comics and graphic novels can also be related to the traditional comics of the first part of the twentieth century, such as those held in the Library's British Comics Collection. From further afield, the Library's French Collections house some 20,000 caricatures and illustrations produced at the time of the Franco-Prussian War and the Commune. The Library's collections of zines and alternative comics The Library has a growing collection of British counterculture, music, and feminist zines, and a substantial collection of British football fanzines. The Library has a large number of graphic novels published in Britain, as well as alternative comics which complement the traditional comics collections. Although the Library is strongest in British material, it also has some graphic novels and alternative comics from the United States, as well as studies published in America (and largely concerning America). Zines, alternative comics and graphic novels have entered the collections through one of three ways. Firstly, through Legal Deposit, the law which requires all books and periodicals published in the United Kingdom to be deposited with the Library. Secondly, through purchasing items retrospectively. Lastly, individual authors and editors have kindly donated their work. Donations of British zines which are not already in the collections are very much encouraged and initial enquiry should be made to Andy Simons, Modern British Collections, andy.simons@bl.uk Further reading Roger Sabin, Comics, Comix, & Graphic Novels: A History of Comic Art, London: Phaidon, 2001. Originally published 1996. Shelfmark: LB.31.b.21989 Roger Sabin and Teal Triggs (eds.), Below Critical Radar: Fanzines and Alternative Comics from 1976 to Now, Hove: Slab-O-Concrete, 2000. Shelfmark: YD.2004.b.1150 Counterculture zines The British Library has a number of counterculture magazines, such as the satirical Private Eye (Cup.702.d.1), which began in 1961, Alexander Trocchi's Sigma Portfolio (Shelfmark: RF.1999.c.15), which began in 1964, and Oz (Shelfmark: Cup.805.k.1) whose London publication began in 1967. The latter titles are not complete sets in hardcopy, lacking several issues each, and this is a reflection of the general holdings of counterculture material in the Library: the collections are generally good, but gaps do occur. The term "zines" would not normally be applied to many of these periodicals, but they are arguably part of each others history. The Library has recently acquired a number of titles which continued or developed counterculture ideas from the last two decades of the twentieth century. These include the anarchist-leaning Acts of Defiance, Ferment, and Hell and Damnation, and the anti-vivisectionist Spectacular Times. One gay zine, Swedish Nurse, promoted pride festivals and outed stars of mainstream punk rock. Zines which differ radically in their view on race are also held by the Library, which tries to represent all aspects of British culture in its collections, even extreme views. Recent acquisitions include Crophead (which describes itself as the voice of the "oppressed, criminal class") and the anti-racist zines Crop-Top and HAGL. Feminist zines are perhaps the largest contemporary manifestation of counterculture zines, although all the zine genres are in some sense part of a continuing counterculture. Links and further reading Gerry Carlin's Page Elizabeth Nelson, The British Counter-culture, 1966-73: a Study of the Underground Press. Basingstoke: Macmillan, 1989. Shelfmark: YH.1989.a.925 Alternative comics and graphic novels Alternative comics, also known as adult comics and comix, have a highly visual quality and use the conventions of traditional cartoon strips for more adult themes. When they tell a complete story in a single one-off volume they are known as graphic novels. The subject range varies greatly and includes, some works very rooted in a fantasy and science fiction approach, others using anthropomorphised creatures to tell very human fables. The international artistic movement OuBaPO (Ouvroir de Bande dessinée Potentielle) seeks to use the comic format in a deliberately rules-based way, drawing inspiration from the earlier non-graphic work of writers such as Raymond Queneau and others. The works of Raymond Briggs exemplify the cross-over nature of the genre. Briggs's Fungus the Bogeyman and The Snowman can be categorised as Children's Literature though they are enjoyed by all age groups. However his apocalyptic When the Wind Blows (Hamish Hamilton, 1982, Shelfmark: YK.1993.b.967) and the elegiac memoir of his parents Ethel & Ernest (London: Cape, 1998, Shelfmark: YK.1998.b.7273) can more firmly be seen within the adult graphic novel tradition. The underground nature of British alternative comics has meant that the Library does not hold a comprehensive collection, but it has received some via Legal Deposit e.g. Vanessa Wells's Cyberage (Shelfmark: ZK.9.b.13163), and continues to do so. Commercially published graphic novels are well represented in the collections. As well as well-known international works such as Joe Sacco's Palestine (Jonathan Cape, 2003, Shelfmark: YK.2003.b.7223), Keiji Nakazawa's Barefoot Gen (Penguin, 1989, Shelfmark: YV.1989.a.1239), and Art Spiegelman's Maus (Deutsch, 1987, Shelfmark: YV.1990.b.725), the legal deposit of graphic novels produced by publishers such as Titan means that the Library's British collections are especially good in this area. Through kind donation, the Library also has a good collection of works by the American alternative artist Robert Crumb, catalogued individually. To fill alternative comic gaps retrospectively, several hundred separate titles were purchased in the early 1990s. These were published in the UK and in the United States, largely from the previous two decades. Many are catalogued in their own right, but where only small numbers within a run were acquired these have been put together in two main sequences for the two different countries (UK, Shelfmark: Cup.821.dd.150; USA., Shelfmark: Cup.821.dd.274). The changing nature and adoption of classification schemes has meant that there is no single way to identify these genres of publication within the Library's catalogue. However, subject or general keyword searching using "Strip Cartoons", "Graphic novels", "Comic Books", or "Caricatures and Cartoons" will give an indication of the wealth of the collections. A finding list of the uncatalogued British alternative comics collection is given in the list of links below. Links and further reading British Library Alternative Comics Collection: Finding List British Library British Comics Collection British Library Magic Pencil Exhibition: Raymond Briggs Bugpowder A website produced by and for the UK small press comics community Cartoon Art Trust CartoonHub (Centre for the Study of Cartoons and Caricature, University of Kent) ComicsResearch.Org Oubapo America Toonhound Victoria and Albert Museum Comics Martin Baker, A Haunt of Fears: the Strange History of the British Horror Comics Campaign, University Press of Mississippi, 1992. Shelfmark: YK.1993.a.5669 Mark Bryant, Dictionary of Twentieth Century British Cartoonists and Caricaturists, Ashgate, 2000. Shelf

Many, many thanks!

So, did you sift through my garbage then? ; )

I like to reply for many reasons: First of all, I don't have to read through 200 responses and try not to give the same response as someone else; I always find interesting riddles and discussions that are worth reviving; Also, I'd want people to bump mine out of the brainbusters to give it a chance for more responses. I didn't realize responding to a Brainbuster was worth more points.

When you said: we're not doing it for the 'greater good' but the ability to find a post that you haven't commented on yet and earn points. I thought this was your way of saying we earned more points for answering the brainbusters. Misunderstanding, I guess. I gave my actual reasons why I liked responding to them though.

Come admit it! It's all about us in the end though! :P Alot of lost discussion are actually good though I agree with you there. I didn't realise they were worth more points, are they? The weren't to me, though I haven't gone through them in a week or so now. So that one's new to me!

I always dig into the back of my friends closets to pull out those oldies but goodies and give them another chance at getting responses too ; )

Thanks anyway.