665:', the postwar idea that everyone is entitled to a publicly owned house." She also critiqued "an obsession with friendly looking architecture, curved lines, outgrowths of green roof tops, panels and balconies in Scandinavian wood or brightly coloured aluminium", describing these trends as "playschool architecture". In 2018, Ford noted that her recent work was concerned less with inner cities and more with
686:(2009) "attempts to reactivate more conflictual architectural, political and aesthetic strategies that have been largely erased by the widespread gentrification of London since the 1970s" and is an example of an intervention which offers "an important and neglected resource for complicating, disrupting and re-visioning understandings of urban change".
318:, and as "a delirious, doomstruck celebration of squats, riots, vandalism, isolation, alcohol, and sex with strangers, all on the terrain of a half-historical, half-imaginary city that the people who Ford follows, herself at the center, can in moments believe they built themselves, and can tear don as they choose." In a 2013 review for the
704:. Dixon saw in her work "the material conditions that can be identified as a contributing factors" in the riot, and noted that rather than being immediately apparent, those conditions are identified by Ford through the dérive technique and her use of found images. Dixon argues that, like the riot itself,
393:
as "a series of stories; broken narratives that articulated a certain moment, a certain relationship with the city. It was about transience and impermanence, but also about the bonds that form in those moments: kinship, comradeship and love." She described her subsequent work as a continuation of the
730:
Streets are indelibly marked by moments of socio-political intensity – uprisings, occupations and raves, trauma, anxiety and militancy – as well as the tremors and faultlines of your own past. The purpose of my walks is to identify something lingering, fizzing in the present. I'm not thinking about
708:
Oldfield Ford's work exposes what is hidden by the veneer of respectability ... just how thin that veneer is, how beneath the fake harmony of consumerism and happy lives there is a "truth" of hardship, decay, and violence that will, on occasion, reveal itself. It is ... observed not easily, but by
725:
in 2018, she said "I walk around London to gauge what's happening, to tune into the affective shifts. This is how I think about walking and memory, as a process of piecing fragments together to resurrect something, to stop them being erased, and to will something into being." She also said, in the
755:
is psychogeographical in that it involves drifting through the city, exploring the effects of the environment upon behaviour and emotion", but also draws on hauntology as a means of engaging "the failures of social democracy and post-war
Modernist urban planning, but also ... the collapse of the
605:
writes that Ford's work "focuses on areas haunted by an urban dispossessed, which regeneration seeks to concrete over: city wastelands where fortress-like old tower-blocks rise, with their Escher-like walkways and bleak 'recreational' open spaces." These include the
322:, Sukhdev Sandhu described the Verso publication as an example of "invisible literature" and "avant-pulp psychogeography" able "to rekindle erased histories of popular dissent from the 1970s to the 1990s", and one relevant to "a new and possibly endless age of
333:
as an exploration of themes of surveillance, gentrification and class conflict and the use of architecture as "a cynical strategy of social management and expropriation" and suggested that Ford's work is part of a trend involving the "reclamation of the
673:... It used to be the inner cities that were sacrificed, ruled by slum landlords, starved of investment and surrounded by circles of unreachable affluence. But in the past decade or so there has been an accelerated reversal of this process."
638:. Christopher Collier has argued that Ford's work utilises "semi-fictionalised settings of dilapidated blue-collar and immigrant districts of a post-Thatcherite London increasingly ghettoised, defunded and threatened by the state."
386:, Davies sees "the image of the disembodied eyeball ... as a commentary on the proliferation and prevalence of CCTV infrastructure" and "the social ramifications of proliferating levels of security and diminishing public space."
472:. She created 11 posters based on dérives in the city; though Arnolfini produced a map and Ford led a walk between them, they were primarily left to be casually witnessed by the public. Also in 2011, her work was featured in
709:
durational engagement with places, both in the form of the drifts and "off-site" in the forming of the juxtapositions of images and text that most accurately represent the potential of a place to experience civil unrest.
747:, in order to better understand the ways the urban spaces she depicts represent "ghosts" or political paths not taken. Christopher Collier, conversely, has proposed that Ford's work be understood as both hauntology
273:
commented: "Collided into a great block, the catalogue of urban rambles takes on a new identity as a fractured novel of the city" and praised Ford's "authentic gifts as a recorder and mapper of terrain." Summing up
243:
vision of a depopulated, post-catastrophe capital, pieced together from snatched conversations and reminiscences, set in a landscape of the labyrinthine ruins of 1960s architecture and today's negative-equity
731:
memory as a sanitised image, but as a texture in the moment, the sense that a place is crackling with agency. For me, this spectrality allows for a revisiting and reactivating of emancipatory currents.
661:. Ford has argued that brutalism is significant due to "the collective ideals inherent in it: the rethinking and radical reshaping of public space, the idea of cities being conducive to an endless '
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678:
998:
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She describes her practise as centring on walks through London and the creation of "emotional maps". Ford has said "I regard my work as diaristic; the city can be read as a
2053:
549:
ran at Grand Union
Gallery in Birmingham in 2016. Featuring audio and visual work, the exhibition focuses on Birmingham, where Ford lived in the early 1990s, including
1998:
1722:
Collier, Christopher (2017). "'Our
Monuments Shall Be the Maws of Kites': Laura Oldfield Ford and the Ghosts of Psychogeography Past". In Lee, Christina (ed.).
768:
tends to move beyond the zines' focus on London and beyond the zine from, concerning other geographical spaces and adopting other forms including paintings and
352:
294:
listed the Verso publication as a "book of the year" for 2011 and described it as "a wake-up call to anyone who can only see modern cities through the lens of
288:
praised her "acutely observant" writing and "assertively linear style of drawing"; concluding, he described the work as "graphic literature of great urgency."
1053:
717:, of layers of erasure and overwriting. The need to document the transient and ephemeral nature of the city is becoming increasingly urgent as the process of
641:
Her work also engages with architecture. In a 2009 interview Ford reiterated the centrality of a critique of urban regeneration, and expressed an interest in
2023:
278:, Sinclair wrote: "In the end, it's about walking as a way of writing, recomposing London by experiencing its secret signs and obstacles." In his review for
2048:
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342:, Taylor suggests their representation of "non-times and lost futures" constitutes "a means of imagining an alternative future." Dominic Davies has read
192:(RCA). At the RCA's graduation show in 2007 she exhibited a four-section painting depicting herself in each panel against a backdrop of urban chaos.
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227:: "urban drifts", or walks, during which Oldfield Ford collected images which were then placed alongside both original and
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psychogeography, and that such an approach allows a reappraisal of the politics of psychogeography. Collier argues that "
897:
382:, Davies argues that both works draw on London's past to critique its present. Noting the recurrent imagery of eyes in
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and urban peripheries: "That's mostly where you have to go now if you want to encounter the former intensity of
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131:, which centres on London, was published from 2005 to 2009 and collected as a book in 2011.
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Pinder, David (2018). "Transforming Cities: On the
Passage of Situationist DĂ©rive".
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describes Ford's work as being fuelled by a longing for a past incarnation of the
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was published in 2019, featuring a new zine about west London in the wake of the
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1132:"Two Riots: The Importance of Civil Unrest in Contemporary Archaeology (draft)"
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in central London, and included audio recordings of the area. In 2022, Ford's
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780:. As of 2019 Ford was writing fiction and collaborating with the musician
240:
211:, was self-published from 2005 to 2009. Each issue focuses on a different
1668:"Architects and designers are no good at altering your mental topography"
1349:"'Comics on the Main Street of Culture': Alan Moore and Eddie Campbell's
999:"Artist Laura Oldfield Ford examines the legacy of new towns in Hatfield"
781:
700:
James R. Dixon set Ford's
February 2011 Arnolfini exhibition against the
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245:
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texts, with the purpose of describing places, people and events. In 2008
1770:"Art and gentrification: pursuing the urban pastoral in Hoxton, London"
859:"Mapping a Gentrifying London with Laura Grace Ford's 'Savage Messiah'"
496:
461:
76:
1637:"Zones Of Sacrifice: Drifting Through London With Laura Oldfield Ford"
1940:
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445:. Ford was one of three artists whose work was exhibited as part of
124:, explores political themes and focuses on British urban areas. Her
1131:
1609:"Living City Plan: Laura Oldfield Ford At Grand Union, Birmingham"
739:, Mark Fisher suggested that it be understood instead in terms of
153:
823:"Laura Oldfield Ford: 'I map ruptures, such as the London riots'"
433:
From
January until March 2009, a collection of her work entitled
161:
125:
1890:
City: Analysis of Urban Trends, Culture, Theory, Policy, Action
1529:"Review: Soft Estate – Edward Chell, The Bluecoat, Liverpool"
1476:"There is a Place – Exhibition @newartgallery until 14.4.12"
1740:
Slater, Josephine Berry; Iles, Anthony (25 November 2009).
694:
and a "recovery of punk's provocation and politicisation".
148:, West Yorkshire in a community hit by the decline of the
1810:
1808:
634:, in particular the regeneration process surrounding the
1888:
Cummins, Emma (2013). "Perspectives and contingencies".
239:
as one of his "books of the year", describing it as "an
1268:
Real Life Rock: The
Complete Top Ten Columns, 1986–2014
457:
ran in
Hatfield from November 2009 until January 2010.
1724:
Spectral Spaces and
Hauntings: The Affects of Absence
1778:
Transactions of the
Institute of British Geographers
679:
Transactions of the Institute of British Geographers
568:
in London. The exhibition focused on the effects of
360:
in favour of "a dystopian aesthetic" and fragmented
168:
scenes and produced zines and posters influenced by
1306:
Negative Capitalism: Cynicism in the Neoliberal Era
306:as a continuation of the work of the Situationists
71:
59:
45:
30:
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572:in the neighbourhood surrounding the gallery near
144:Ford was born in Yorkshire in 1973 and grew up in
1054:"Fanzines – The scene that smells of zine spirit"
1205:"Savage Messiah by Laura Oldfield Ford – review"
511:at the Espai Cultural Caja Madrid in Barcelona.
460:In February 2011, Ford's work was on display in
156:and later in London, she became involved in the
721:and privatisation continues apace." Discussing
1696:"Afraid Of The Dark: Horror At Somerset House"
626:. Her work on the East End is critical of the
1583:"Seroxat, Smirnoff, THC: Laura Oldfield Ford"
898:"Artist of the week 126: Laura Oldfield Ford"
417:, the Situationist International and work by
8:
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453:in London in June 2009. Another exhibition,
353:Capitalist Realism: Is There No Alternative?
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1357:(2011) and the politics of gentrification"
526:. The same year, her work was included in
487:In 2012 her work was exhibited as part of
263:in September 2011. Reviewing the book for
20:
1949:Ford, Laura Oldfield (30 November 2015).
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1086:Sandhu, Sukhdev (January–February 2013).
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499:. Also in 2012, work by Ford inspired by
2054:21st-century British short story writers
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756:psychogeographic revival" of the 1990s.
735:While Ford's work has been described as
1838:
1826:
1814:
1555:"Ruin Lust at Tate Britain, art review"
821:McLaughlin, Rosanna (9 February 2017).
796:
684:London 2013, Drifting Through the Ruins
435:London 2013, Drifting Through the Ruins
180:. She took her Bachelor of Arts at the
1999:Alumni of the Slade School of Fine Art
1934:Ford, Laura Oldfield (8 August 2012).
1400:
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1271:. Yale University Press. p. 471.
96:, is a British artist and author. Her
1527:Wright, Georgina (18 February 2014).
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1236:"Books of the year 2011: Hari Kunzru"
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1079:
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970:"Laura Oldfield Ford: Savage Messiah"
784:on work continuing the themes of the
538:ran at the Stanley Picker Gallery in
7:
1742:"Interview with Laura Oldfield Ford"
1581:Gregory, Hannah (21 November 2014).
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514:In 2014 Ford's work was featured in
338:". Comparing Ford's work to that of
207:'s biography of the French sculptor
2024:People from Halifax, West Yorkshire
997:Dakin, Melanie (25 November 2009).
237:Savage Messiah 10: Abandoned London
2049:21st-century British women artists
2044:21st-century British women writers
1994:Alumni of the Royal College of Art
1694:Barry, Robert (10 December 2022).
1635:Barry, Robert (19 February 2017).
1169:; et al. (13 November 2008).
1027:"Conceptualism 'runs out of puff'"
896:Sherwin, Skye (18 February 2011).
14:
2039:British women short story writers
1418:Fisher, Mark (17 February 2009).
1364:Journal of Urban Cultural Studies
1130:Dixon, James R. (26 April 2013).
1799:10.1111/j.1475-5661.2011.00465.x
1025:Reynolds, Nigel (15 June 2007).
772:. Her work was also featured in
259:, was published in book form by
2064:British women graphic designers
560:In 2017 Ford's solo exhibition
255:, featuring an introduction by
1353:(1999), Laura Oldfield Ford's
776:, a 2011 collection edited by
632:associated development program
553:'s impact on the city and the
437:, including all ten issues of
425:as precursors to Ford's work.
1:
1984:21st-century English painters
1867:10.1080/13528165.2018.1554849
1768:Harris, Andrew (April 2012).
329:J. D. Taylor has interpreted
1989:21st-century English writers
1910:10.1080/13604813.2013.798885
1607:Wade, Cathy (30 July 2016).
1553:Pilger, Zoe (9 March 2014).
1449:Davies, Anna (6 June 2009).
1088:"Avant-Pulp Psychogeography"
468:, a project commissioned by
203:, which takes its name from
2014:English short story writers
1149:Adams, Tim; Ahmed, Fatema;
682:, Andrew Harris wrote that
645:(referring specifically to
441:, was featured in London's
356:, noting that Ford rejects
346:in terms of the account of
92:(born 1973), also known as
2095:
2074:21st-century English women
764:Ford's work subsequent to
698:Contemporary archaeologist
630:, held in London, and the
2059:British graphic designers
1726:. Routledge. p. 171.
397:A new edition of Verso's
40:, West Yorkshire, England
1347:Davies, Dominic (2017).
1171:"Books of the year 2008"
182:Slade School of Fine Art
702:April 2011 Bristol riot
476:, an exhibition at the
405:and an introduction by
389:In 2018 Ford described
2069:20th-century squatters
2034:British women bloggers
2019:English women painters
2004:British poster artists
1451:"The Effluent Society"
1376:10.1386/jucs.4.3.333_1
1304:Taylor, J. D. (2013).
733:
711:
643:brutalist architecture
536:Seroxat, Smirnoff, THC
1420:"Laura Oldfield Ford"
1104:10.1353/abr.2013.0026
728:
706:
209:Henri Gaudier-Brzeska
1854:Performance Research
1234:(17 November 2011).
1203:(22 December 2011).
1092:American Book Review
828:Studio International
774:Urban Constellations
628:2012 Summer Olympics
545:Her solo exhibition
362:nonlinear narratives
320:American Book Review
190:Royal College of Art
108:, poetry and prose,
54:Royal College of Art
1902:2013City...17..414C
1791:2012TrIBG..37..226H
1062:. 25 September 2009
1032:The Daily Telegraph
595:Themes and practice
493:The New Art Gallery
489:There Is a Place...
455:Britannia 2013–1981
403:Grenfell Tower fire
104:work, encompassing
90:Laura Oldfield Ford
25:Laura Oldfield Ford
1480:Area Culture Guide
1157:; Aspden, Rachel;
968:(4 October 2009).
857:(8 October 2019).
655:Robin Hood Gardens
608:East End of London
570:urban regeneration
478:Grundy Art Gallery
348:capitalist realism
2079:Ballpoint pen art
2029:Psychogeographers
1508:. 9 December 2012
1482:. 7 February 2012
1391:, pp. 347–8.
1325:, pp. 118–9.
587:group exhibition
507:were featured in
316:Michèle Bernstein
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599:Skye Sherwin of
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581:An Undimmed Aura
503:and protests in
409:that identifies
358:literary realism
251:The entirety of
170:Raymond Pettibon
150:textile industry
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737:psychogeography
723:Alpha/Isis/Eden
692:punk subculture
647:Broadwater Farm
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589:The Horror Show
562:Alpha/Isis/Eden
551:Herbert Manzoni
547:Chthonic Reverb
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411:Walter Benjamin
312:Ivan Chtcheglov
213:London postcode
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174:Linder Sterling
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1896:(3): 414–418.
1880:
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1841:, p. 176.
1831:
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1785:(2): 226–241.
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1502:"Desire Lines"
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1393:
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1355:Savage Messiah
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1327:
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1294:, p. 472.
1284:
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1201:Sinclair, Iain
1189:
1167:Bright, Martin
1163:Bhutto, Fatima
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439:Savage Messiah
430:
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399:Savage Messiah
394:same project.
391:Savage Messiah
384:Savage Messiah
374:Eddie Campbell
366:Savage Messiah
344:Savage Messiah
331:Savage Messiah
304:Savage Messiah
296:gentrification
276:Savage Messiah
253:Savage Messiah
233:Owen Hatherley
217:Savage Messiah
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1782:
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1232:Kunzru, Hari
1226:
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1210:The Guardian
1208:
1180:. Retrieved
1174:
1151:Alton, Roger
1144:
1136:Academia.edu
1095:
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937:
930:Poynor, Rick
907:. Retrieved
903:The Guardian
901:
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602:The Guardian
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574:Edgware Road
566:The Showroom
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350:in Fisher's
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18:
1974:1973 births
1707:19 December
1701:The Quietus
1642:The Quietus
1614:The Quietus
1401:Davies 2017
1389:Davies 2017
1335:Taylor 2013
1323:Taylor 2013
1292:Marcus 2015
516:Soft Estate
474:Orbitecture
429:Exhibitions
298:." In 2012
292:Hari Kunzru
286:Rick Poynor
261:Verso Books
257:Mark Fisher
122:spray paint
110:photography
98:mixed media
1968:Categories
1370:(3): 345.
1310:Zero Books
1098:(2): 6–7.
792:References
760:Other work
745:hauntology
715:palimpsest
447:Slump City
419:Nan Goldin
415:Surrealism
370:Alan Moore
308:Guy Debord
302:described
178:Jon Savage
140:Early life
102:multimedia
1956:ArtReview
1918:143776229
1875:194241593
1861:(7): 25.
1533:Corridor8
1351:From Hell
1112:144860758
1010:24 August
788:project.
719:enclosure
651:Tottenham
624:Stevenage
612:new towns
528:Ruin Lust
524:Liverpool
505:Barcelona
482:Blackpool
470:Arnolfini
379:From Hell
336:non-place
324:austerity
219:uses the
205:H. S. Ede
166:squatting
135:Biography
79:.blogspot
46:Education
1753:30 April
1592:28 April
1566:28 April
1538:28 April
1512:28 April
1486:28 April
1265:(2015).
1216:30 April
945:30 April
782:Jam City
620:Hatfield
610:and the
540:Surbiton
501:El Raval
246:banlieue
184:and her
1898:Bibcode
1787:Bibcode
1460:13 July
1431:11 June
1247:13 July
1182:13 July
1066:13 July
1038:13 July
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909:11 June
676:In the
667:suburbs
564:ran at
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241:oneiric
188:at the
146:Halifax
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1941:Granta
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864:Frieze
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663:derive
659:Poplar
616:Harlow
340:Burial
314:, and
235:named
225:dérive
1914:S2CID
1871:S2CID
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1108:S2CID
451:SPACE
229:found
154:Leeds
152:. In
1755:2015
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1681:2020
1650:2020
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1594:2015
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1568:2015
1540:2015
1514:2015
1488:2015
1462:2013
1433:2011
1273:ISBN
1249:2013
1218:2015
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1068:2013
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653:and
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176:and
164:and
162:rave
158:punk
126:zine
120:and
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81:.com
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