Using the cheap desktop publishing techniques of 'zine culture, and supplementing them with an extensive presence on the World Wide Web, the Bad Subjects Production Team has produced one of the only successful political 'zines in the US, as well as one of the first--and longest-running--on-line publications in the world.

Bad Subjects offers a critique of the post-1960s left in the United States, and attempts to reclaim a utopian vision for a political movement which has become fragmented and cynical about the possibility of social transformation. Indeed, Bad Subjects itself is simultaneously a valuable resource and an inspiration, a record of what politically-engaged cultural criticism can achieve, and an example of a progressive political community making use of new technologies.

Offering a way out of vulgar multiculturalism--based on separatism and the idea of "authenticity"--into a critical identity politics founded on coalitions, hybridity, and class consciousness, Bad Subjectsspeaks to readers both in and outside of the academy. Taking their cue from the feminist slogan, "the personal is political," and from Marxist injunctions to study "everyday life," Bad Subjects covers everything from popular culture and high technology to economic restructuring and political organizing, from Raymond Williams to The Dead Kennedys.

In the terrain of cultural criticism, Bad Subjects is an off-road vehicle roaring away from the beaten path.

Using the cheap desktop publishing techniques of 'zine culture, and supplementing them with an extensive presence on the World Wide Web, the Bad Subjects Production Team has produced one of the only successful political 'zines in the US, as well as one of the first--and longest-running--on-line publications in the world.

Bad Subjects offers a critique of the post-1960s left in the United States, and attempts to reclaim a utopian vision for a political movement which has become fragmented and cynical about the possibility of social transformation. Indeed, Bad Subjects itself is simultaneously a valuable resource and an inspiration, a record of what politically-engaged cultural criticism can achieve, and an example of a progressive political community making use of new technologies.

Offering a way out of vulgar multiculturalism--based on separatism and the idea of "authenticity"--into a critical identity politics founded on coalitions, hybridity, and class consciousness, Bad Subjectsspeaks to readers both in and outside of the academy. Taking their cue from the feminist slogan, "the personal is political," and from Marxist injunctions to study "everyday life," Bad Subjects covers everything from popular culture and high technology to economic restructuring and political organizing, from Raymond Williams to The Dead Kennedys.

In the terrain of cultural criticism, Bad Subjects is an off-road vehicle roaring away from the beaten path.