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“Now I see some of that, people trying to sell them for a lot of money, especially the art zines as a way to showcase their art for greater recognition.

There’s nothing wrong with that, but it’s kind of against the zine ethic of the ’90s, which was more, ‘We don’t have to live by mass cultures.’” Odesser sees nothing wrong with using zines as a launching pad, and in fact, her main goal is to propel her writers toward recognition.

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Today’s publications might look like playful art projects, but behind the scenes the work is laborious, germane, and in part, a response to social pressures.Tango has been introducing thousands of singles a day for more than thirteen years.Our unparalleled Live Interactive Voice Response (IVR) technology is available in more than 1,000 cities across North America.Some veteran zinesters, like Cindy Crabb, the author of the well-known Doris zine from the ’90s, scrutinize today’s zines for being platforms for self-success, a function at variance with their original objective, which was to renounce mainstream culture.“Nobody I knew in the ’90s that were writing zines were using it as a stepping stone,” says Crabb, who began Doris when she was 23.

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