Pop Stand Express

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Zine
Title: Pop Stand Express
Publisher: Pop Stand Press
Editor(s): Marie Antoine
Type: adzine
Date(s): 1985-1991
Medium: print
Fandom: multimedia
Language: English
External Links:
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Contents

Pop Stand Express is a gen multifandom adzine with thirty issues. It was the first monthly adzine, and was known for its humorous cartoons (many featuring Mr. Bill and Rambo) and for its creatively-produced envelopes. Pop Stand Express focused on the smaller fandoms, which the editor described as anything except Star Trek, Star Wars, Man from U.N.C.L.E. or Doctor Who.

The November 1985 issue of "Pop Stand Express" details the cease and desist letter the editor received from the producers of Miami Vice, something that halted the adzine Vice Line after only one issue.

a 1986 flyer advertising its second year
from issue #1, results of the logo contest

About

The editor writes in issue #3 that "Pop Stand Express is a continuation of the never-ending struggle to bring, justice, and the fannish way of life to all points on the globe."

From an ad in Southern Enclave #28: "If you think an adzine is monotonous catalog of fannish code words, mind-numbing abbreviations and endless names of last names of people you've never heard of -- obviously you've never heard of "Pop Stand... Guaranteed to change the way you think about adzines forever."

The End

From a notice in The Monthly in October 1991: "Upon publication of issue #30, Pop Stand Express will close its doors for good. My thanks to everyone for making the past four years some of the best I've ever had... At present, I have no plans to publish any other zines, but one never knows what the future may bring."

Pop Street Blues

At first, all content, adult and otherwise, was combined in one zine. At some point, all available and proposed zines, as well as merchandise, for sale only to those 18 years old and over was separated and listed in "Pop Street Blues", a separate, newsletter-format supplement that was published and mailed at the same time as "Pop Stand Express." In 1991, PSB was $1 if ordered with PSE, and $2 if ordered separately.

Regular Features

from the editorial of issue #3, the section in Marie's very neat and unique handwriting. The rest of the zine was typewritten. Click to enlarge
  • the editorial is written in the editor's beautiful handwriting
  • the envelope the zine was mailed in was always a creative treat
  • Daytime Programming = information about fan clubs
  • Blue Video = materials and events that were "adult in nature"
  • Soaps & Serials = information about letterzines
  • On Cable = a platform for editors to report the status of zines
  • Pay-Per-View = fannish ads listing "wants"
  • UHF = fannish ads listing items for sale
  • Upcoming Pilots = proposed zine and zines asking for submissions
  • Hey, Babe... It's Your Dime = personal statements
  • Primetime = new zines
  • A Guide to Riding the Expressway = rules and regulations about the adzine itself
  • Ten Years Ago Today = a reprint of a television schedule from a decade ago

Reactions and Reviews

You think you're what your getting is a humble directory a la The Monthly or Generic Ad Zine... Few of the listings in Pop follow stark-and-standard classified format. Editor Antoine is constantly after her contributors to phrase their ads in a way that will entertain the perspective buyer while painting a clear picture of what each zine has to offer. In one issue, she tried the experiment of actually forbidding zine eds to describe their publications saying 'features stories by X, Y, and Z" on the grounds that this tells the neofan exactly nothing. There were outcries, but there were also a lot of fun ads. Antoine divides her listings into categories such as 'Prime Time,' 'Upcoming Pilots,' 'Soaps and Serials,' each accompanied by its own distinctive logo. In fact, the entire zine is a visual banquet: laser-printed, typo-free and replete with cartoons, graphics and the occasisonal (screened!) photo. More than merely washed and combed, this zine is top-hatted, tailed and ready to address the ladies and gentlemen of the Academy. But the ads ain't the whole show. Each fifty to sixty-page issue is different, but all feature extras like interviews, articles, and reviews relating to every thing from Star Trek to Perfect Strangers. Issue #25 is especially meaty, containing a gallery of mainly-hysterical and beautifully-drawn covers from previous Pops, an interview with Ming Wathne, curator of the Corellian Archives, reviews of Ahead of His Time, Panning for Pyrites, Del Floria's Press #6, and Peers of the Realm (whew!) and more. A lot more. If the idea of Graham Kerr and Julia Child cooking Duck a l'Orange while humming 'You deserve a break today' intrigues rather than creeps you out, then you're ready for Pop Stand Express. [1]

Issue 1

Pop Stand Express 1 was published in July 1985 and contains 20 pages. It has a cover by Dave Garcia and interior art (Baretta and Fred) by Sandra Goodall.

front cover of issue #1, Dave Garcia
back cover of issue #1
  • from a retrospective in issue #12, the editor commented on this first issue:
    FROM A VIEW TO A POP: Dave Garcia conveyed the spirit as well as the purpose of the zine on the cover of our premiere issue; featuring orange labels & stickers ranging from Indiana Jones to sliver airplanes on the envelope. 22 advertisers hawked their wares to 56 subscribers— [name redacted] of Los Angeles, CA being the first to sign up for a full year. Suzy Sansom walked away with a free sub as winner of the logo design contest, and Bill Pop was crowned PSE's official mascot. This issue is best remembered for the "skeleton" caption contest and the first of what was to become our trademark copyright notices: 'POP STAND EXPRESS does not intend to infringe, trod upon or mangle anyone's copyright, but if we do, tough shit.
  • from issue #1 itself:
    As of an offshoot philosophy on the small fandom concept, EXPRESS will never be advertised; its growth dependent upon word of mouth. I'm not trying to keep it a secret by any means, and actively encourage as many people as possible to participate. But I never want to see this zine turn into an indifferent "yellow pages" directory, with little or no personality of its own. In this small way, even something as inherently impersonal as an adzine can bear the distinct reflection of those who contribute to it; so when you tell someone about it, you aren't simply giving them a piece of paper to copy and address off of, but instead, are sharing a small piece of the love and enthusiasm we all have for the various fandoms EXPRESS caters to... To all my first Pop Stand subscribers, a heartfelt thank you. Your faith in this project has been truly overwhelming. I don't know if EXPRESS will live up to everyone's expectations, but it not, it won't be from lack of trying.

Issue 2

Pop Stand Express 2 was published in August 1985 and contains 22 pages. It has art by Sandra Goodall, members of the Bilbo contingent, and a "Monkey Bar" (Tales of the Gold Monkey) cover by Marilyn Johansen .

front cover image of issue #2 Marilyn Johansen
back cover of issue #2, Dave Garcia
  • in a retrospective in issue #12, the editor comments on issue #2:
    JUST WHEN YOU THOUGHT IT WAS SAFE TO OPEN THE MAIL—IT ARRIVES! The first of our envelope notices goes out over Marilyn Johansen's "Monkey Bar" cover, and 11 new advertisers as well as 33 additional subscribers hop aboard Express. The caption contest yields three winners... "Miami Ice" led off the Primetime section, with "Purple Pop Rain" (both courtesy of Sandy Goodall) providing the masthead for "Travel Pop: A Guide to Riding the Expressway.
from issue #2 itself:
Judging from the feedback received on PSE #1, it appears I was wrong to consider Man from U.N.C.L.E. a large fandom, and starting with this issue, have removed it from the exclusions list. The ban on Star Trek, Star Wars, and Dr. Who will continue to stand along with the reminder that EXPRESS is not replacing nor in competition with any of the other adzines currently in circulation, so listings that cannot be accommodated here, do have many avenues available that do not carry Pop Stand's restrictions.


Issue 3

Pop Stand Express 3 was published in September 1985 and contains 26 pages. It has "artistic contributions" by Suzy Sansom, Darlene F, and Sandra Goodall. The front cover of Hardcastle and McCormick is by Ann Larimer.

envelope for issue #3
cover of issue #3, Ann Larimer
  • The editor asks for contributors to PRINT the information sent to her: "I don't want to sound like an egotistical maniac, but very people write as well as I do, so if you don't have access to a typewriter, PRINT YOUR AD." She wasn't kidding about her handwriting, as it is exquisite.
  • in a retrospective in issue #12, the editor comments on issue #3:
    ONE-TWO-THREE O'CLOCK-FOUR O'CLOCK POP: Time for the Emmy Awards and ballots accompany Ann Larimer's "Burger Milt" creation, as PSE #3 tops the 100 sub mark. Darlene F's cartoons brighten our pages for the first time, and "Hey Babe...It's Your Dime" carries the best personals ever. Contributors are reprimanded about their over-zealous use of scotch tape and stickers when sealing envelopes, as well as the illegibility of swirly, gothlc lettering on flyers. As an added bonus the 1975 prime time schedule is printed; shocking us into realizing a decade has passed since the Starsky & Hutch pilot first aired.


Issue 4

Pop Stand Express 4 was published in October 1985 and contains 25 pages. It has art by Suzy Sansom (cover), Darlene F and, Sandra Goodall.

envelope for issue #4
cover of issue #4, Suzy Sansom
  • in a retrospective in issue #12, the editor comments on this fourth issue:
    THEY'RE ALREADY HERE. THEY'VE ALREADY BEGUN. AND ONLY ONE THING STANDS BETWEEN US AND THEM: THE EXPRESSINATORS.. .COMING TO SAVE THE WORLD THIS FALL: Halloween necessitates a call to the "Pop Busters" (courtesy of Suzy Sansom) who are needed—not only to banish marshmallow head—but to rescue ye olde editor from breakdanclng heaven at the hands of a treacherous, macaroni and cheese loving spider, [name redacted] of Santa Fe, NM picks up the giant "Miami Vice" package as winner of the Emmy contest, while Hizzoner quizzes Mark about the "friends" he made In Las Vegas In the personals section. Our trademark locomotive makes its first appearance, commandeered by Engineer John Rambo, who provides a somewhat unique interpretation of the rules and regulations for riding the Expressway.



Issue 5

Pop Stand Express 5 was published in November 1985 and contains 32 pages. The cover art is by Johanna Bolton.

envelope for issue #5, Johanna Bolton
cover of issue #5
  • this issue has a long article about how to publish a zine by Cynthia Shannon called "The Rise and Fall of Zine Publishing." ("What I hope to accomplish with this article is to hopefully illuminate what I feel is becoming a dangerous trend in fandom and zine publishing, and to offer a few tips on how to edit a zine.")
  • The editor talks of her previous letterzine and the letter she got from the producers of Miami Vice:
    I was the editor of a small letterzine called 'Vice Line,' which managed to publish 1 issue before being hit with fandom's greatest horror, the dreaded Cease and Desist notice. Receiving it was particularly painful for me, as I had just spent 8 months moving heaven and earth to keep 'Miami Vice' from being cancelled, and while I didn't expect the producers to throw roses at my feet, I didn't expect this either. Within days of its debut, the zine was folded, subs refunded, and plans for future fannish endeavors thrown into limbo. The experience left me drained, disillusioned, and angry about the massive amount of waste of time, energy and spirit, of all the people who had worked so hard for so long. I vowed I would never again lift a finger to do shit for a television show (or anything else for that matter) as long as I lived. There were million other hobbies one could engage in, and this seemed like the perfect time to finish that 5000-piece jigsaw puzzle. It was during this period of fannish-detachment your letters started arriving; letters full of empathy, encouragement and hope, that served to make the void that was lief by 'Vice Line's' demise, seem that much larger. I cannot describe the feeling you get from being told that some little thing that you did affected so many people in such a way, they feel your sense of loss as if it were their own. It all boiled down to evaluating my reasons for starting a zine in the first place. It was fun. I enjoyed the creative process of putting together a fanzine; the challenge of experimenting without risking everything I owned to do it. But most of all it was the freedom to let my imagination run wild, and let a little of the fantasy material into reality. The subject matter was simply the starting point, not the foundation.
  • there is a con report for Spycon #3
  • in a retrospective in issue #12, the editor comments on issue #5:
    ORVILLE REDENBACHER HAD A FARM, EE-I-EE-I-OH (N00001): It's Thanksgiving, and we've got Pilgrims and Indians from every small fandom Imaginable dropping in for turkey and pumpkin pie. Affected by the spirit of the holiday, ye editor finally comes out of the closet and reveals her feelings regarding "Vice Line's" demise; while Cynthia Shannon (Details at Eleven/Now Yer Cookin') provides an overview on the current state of editing in her article "The Rise and Fall of Zine Publishing." Temporarily stealing the spotlight from Bill, Rambo apologizes for his mascinations in PSE #4, and offers turkey-carving assistance to anyone in need of help on the big day. This issue also featured the first and last word heard from El Travesty Press, whose zine "Toto, This Doesn't Look Like Fandom Anymore" apparently went the way of the Wicked Witch of the West. The spectacular "Airwolf" cover Is the work of Johanna Bolton.


Issue 6

Pop Stand Express 6 was published in December 1985 and contains 28 pages.

The editor comments in issue #6 that this was due to being "repelled by the garish and trashy ornateness crawling out of the woodwork this time of year, Pop Stand breaks with tradition and offers its first generic cover." But in issue #6's editorial, she explains the generic cover was due to "the holiday season [already beginning] to effect mail delivery (as evidenced by this month's cover)..."
  • in a retrospective in issue #12, the editor looks back and comments on issue #6:
    Repelled by the garish and trashy ornateness crawling out of the woodwork this time of year, Pop Stand breaks with tradition and offers its first generic cover. Sleigh bells ring inside though, as our usual geometric section headings are replaced with festive lettering; while small fandom's finest parade through the pages in Santa suits and elf costumes, desperately seeking eggnog. Susan Garrett ("Karenina Continuity Chronicles") steps forward with "Zine Publishing II: The Son of Rebuttal," with plans for 3 experimental issues and "Pop the 13th"—the first-ever "live" edition of a fanzine is announced. Express now reaches 217 paid subscribers. Including fans In Canada, England, Japan, West Germany and Italy. And not one of those people submitted a single "Hey, Babe." Nevertheless, Lt. Castillo (making his first appearance) was excited as hell.
  • this issue has a long article about how to publish a zine by Susan M. Garrett called "Zine Publishing -- The Son of Rebuttal." ("Cynthia mentions that anyone with two stories and a poem who runs ads after six months and fails to generate anymore submissions shouldn't expect any. This is quite true, for a number of reasons. But what's also true is that the zine can be printed with only two stories and a poem. Who says a zine can't be 10 or 15 pages? In fact, such a zine is saleable because of the obviously lower print cost.") It is a response to "The Rise and Fall of Zine Publishing" by Cynthia Shannon in the previous issue.


Issue 7

Pop Stand Express 7 was published in January 1986 and contains 28 pages.

envelope for issue #7
cover of issue #7
  • the editor tries an experiment, and comments in issue 10 about its success, or lack thereof:
    For the month of February only, PSE will not be accepting any formal advertising... Editors are requested to write a statement about themselves and their zine, not to exceed 35 single-spaced, type-written lines using 12 pitch. This restriction is to enable to everyone space who would like to participate. Editors should pick whatever section they feel best describes their product to be listed under, and indicate the section in their submission. Established editors should pick 'Primetime,' as I would like to dedicate 'Upcoming Pilots' to those editors just starting out, or have published no more than two or three zines.
  • the editor writes:
    The first time I ever saw an adzine, I was amazed at the number of fanzines available. After contacting several editors, I was even more amazed by the number of zines that were sold out, wrong, or non-existent. There appeared to be no real effort on the part of the editor of the contributor to update ads, verify information, or take responsibility for anything other than typing and stapling pages. Out of this frustration, Pop Stand Express was born; condensed to cater to small fandoms, published monthly, and without the 'ask me no questions' disclaimer. I don't feel the zine solves the problems mentioned above, but I do feel it strives to correct them, in an informational as well as entertaining way. After 7 issues, I'm still a little overwhelmed by it all. This is my first real attempt at publishing, and what I lack in experience, I try to make up for in imagination. It's a lot of work, but it's fun, and there is a purpose to it all. I wanted to prove that it was possible to do something well, do it often and cheaply, work a full-time job, carry on a social life, and still meet deadlines with no sweat, word processors, or friends assisting with manual labor. I work my butt off, and sure, it's ego gratification, and 'look what I can do.' But I'm proud of this zine and all the services it offers, and for every 100% I receive, I give 200% in return. I can't guarantee that everything that appears in this rag is true, nor am I one a one-woman crusade to revamp fandom. I just want to make things right in one small corner that I occupy, and I hope this publication achieves that purpose.
  • in a retrospective in issue #12, the editor looks back and comments on issue #7:
    TIRED OF DEALING WITH PEOPLE WHO KNOW LESS ABOUT FANDOM THAN YOU? LEAVE THAT FRUSTRATION BEHIND AND BOOK PASSAGE ON THE '86 EXPRESS. NO VIRGINS HERE... EVERY ONE POPPED: Experiment #1 is launched—no contributors names allowed In ads—to much vocal criticism and decidedly mixed results. Purpose was to provide more detailed Information on the product vs. the personality; but the vast majority of readers felt this was ineffective, and the experiment is deemed a failure. Details for Phase 2 are laid out, and ye ed tackles the subject of consumer responsibility in "Profiles In Zine Buying"—an article designed to assist fans in making an informed purchase, and hopefully avoiding the need for a consumer investigation. A "Draw Bill" contest Is announced, and a wayward human with a pointy-eared companion sneak past me to put in an appearance in the zine: "But, Captain, the idea is illogical." "I don't care, Mr. Spock. I'm mad as hell and I'm not going to take it anymore. I want to be mentioned in Pop Stand..." New Year's greeting from BIN and the Hill courtesy of Dave Garcia.

Issue 8

Pop Stand Express 8 was published in February 1986 and contains 28 pages. The art is by Darlene F, Diane Farnsworth, Cindy Bartolotta, Ruth Kurz and Suzy Sansom (cover).

envelope for issue #8
cover of issue #8
  • there is a statement by a zine creator, Rowena Warner:
    I'm not like most zine editors, for I am not an editor at all, but a zine writer and publisher. That means I only publish my own work. Believe me, I do not egotistically think that my stories are better than those of other writers; It's just that I'm a lousy editor and I wouldn't want to take a chance on hurting anyone's feelings by rejecting or editing their work. Publishing only my own stories Is a decision I made over three years ago when I put my first ST zine on the market, and since then I've published five more ST zines, four SIMON & SIMON, and have another ST, S&S and a HARDCASTLE & McCORMICK zine coming out soon; so between that, my full-time Job and other Interests, I manage to keep busy. For those of you who have never purchased a zine from me, let me tell you just a little about what I do. When an idea hits me, I write It out in longhand, edit It, type the story, and take It to the copier. When I get back the finished product, then and only then do I send out flyers or advertise It as In print. No, I'm not rich. When I published my first zine, I made an initial Investment of about $250. Since that time, the money for every zine I sell goes Into the bank to cover the cost of copying future zines. Those of you who have purchased my zines know they are definitely "no frills," but it has always been my hope that the quality of the stories makes up for the quality of the zines. In publishing zines, the only Interest I've ever had is in sharing my stories with others.
  • v the editor looks back and comments on issue #8:
    INSIDE-GOOD POP WITH DR. RUTH: Suzy Sansom helped kick off the St. Valentine's Day issue with her rendition of David & Maddle; and a new format for zine listings is introduced. The second experimental issue was an unqualified success, featuring "Up Close and Personal" statements from advertisers In lieu of the regular listings. Almost 300 copies were sold, with several subscribers buying more than one, and requests for xeroxes are still coming In. Elaine Batterby of Macedon, NY drove away In a new Corvette for her "Bill and Bill" entry in the contest, & Rambo & Bill have their first face-to-face confrontation.

Issue 9

Pop Stand Express 9 was published in March 1986 and contains 30 pages. The art is by Sally Smith, Dar F. Diane Farnsworth, L.A. Adolf and Marilynn Johansen (cover).

envelope for issue #9
cover of issue #9, Marilyn Johansen
  • the editor writes:
    Although I had hoped may more people would participate in Phase 3 of our experiment, I was a little surprised by the responses that were received. Many of the things I feel the zine does best (or the things that make it interesting -- covers, envelopes, 'Hey Babe" were not mentioned; while the one issue that did not allow contributors' names seemed to be a sore spot with almost everyone. Obviously, I won't be trying that again.
  • in a retrospective in issue #12, the editor looks back and comments on issue #9:
    POPPED IN THE USA: Easter Is upon us and Marilyn Johansen's "Professionals" cover captures the spirit in high style. The results of Experiment #3—What do you think of PSE so far?— comprise the "On Cable" section, and "Pop the 13th" bites the dust. Four brave souls [names redacted] did plan to attend, and were awarded "Remington Steele" t-shirts for keeping the faith. The majority of the mail received this month revolved around one topic: What happens to PSE after Issue #12? As usual, I had nothing to say.

Issue 10

Pop Stand Express 10 was published in April 1986 and contains 40 pages. The cover is by Ann Larimer. Other art by Diane Farnsworth and Dar F.

envelope for ssue #10
cover of issue #10, Ann Larimer
  • the editor is upset that, despite her requests, fans have done something unwise:
    From the beginning, I have asked all of you not to run ads for PSE in your various publications. Many people did not comply with the request, and I subsequently ended up having to answer mail from people responding to dozens of ads that all said something different; wrong or partial information, refund subs past issue #12, send back Dr. Who ads, and any number of time consuming chores that could have been avoided. I had just gone through a similar situation with Vice Line, where editorials and opinions of what happened were published all over fandom; 90% of it wrong, because no one ever asked for the straight story. I have no doubts whatsoever that these things were done out of empathy and/or enthusiasm for me, and the feelings were certainly appreciated. But while everyone is free to say their peace and walk away, I'm stuck sorting out the confusion and righting all the wrongs caused by others. The reason I'm mentioning this all again is because Pop Stand is once again paying the price for someone who felt giving the zine a plug was in my best interests, only this time the consequences involve more than straightening out a minor error. On the inside back cover, you'll find a letter from John Javna, author of a new book called 'Cult TV' that hit B. Dalton approx. 3 weeks ago. Not only was PSE listed when it should not have been, it gave the subscriber who blurted the info credit for being editor of the zine. The subscriber and author are both sorry, but neither one of them have to deal with cleaning up the mess they made. I appreciate the fact that so many people like the zine and want to tell the world about it. But I would be just as happy if no one knew about it but you. Be selfish. Enjoy it simply for yourself.
  • the editor writes about the reaction she got when she asked zine eds to spice up their ads and not simply list author's names in issue #7:
    The response (over 75) letters generated by this action made me seriously consider folding the adzine right then and there... Less than 10 people had written to tell me what they thought of the zine during the first six months of publication. Along comes issue #7 where I suggest changing one thing in one zine for four weeks out of an entire lifetime, and even people who were subscribers were writing to tell me what a shit I was. Of course, contributor's names are important, and yes, everyone deserves to see their name in print. But this is an adzine -- not a flyer service or a mini-version of the zine being advertised. And there is a big difference between highlighting the personalities that will help sell your book, and simply listing names like ingredients on a soup can. A list of names doesn't tell you what the book looks like, whether or not the stories are interesting, how much filler as opposed to 'meat,' the quality of the artwork, or a dozen other things to aid someone in making an informed purchase. 90% of all editors play to their established audience -- the people who are going to buy the zine because: 1) they brought the last issue, 2) they know or admire all the contributors, or 3) they buy anything having to do with their favorite fandom regardless of what it is. These ads could all be boiled down to one sentence: 'Well, I'm through collating -- send money.' Advertising is not simply a fast way to tell your friends to start checking their mailboxes -- it's selling, a way of convincing the neo-pop who couldn't tell the difference between a list of fandom's best and a roster from a Civil War platoon, to try your zine... Issue #7 was an experiment, not a new standard of operation. All I wanted to do was try something different, to encourage people to look at someone they'd been do for years by rote in a new way --just once, for 30 days.... As I stated earlier, my intention was never to deny anybody anything, and my apologies to all those who felt this experiment may have hurt them in some way. Pop Stand's goal is to provide a means of helping you increase business and attract new customers... I think a lot of us have forgotten what it was like the first time we ever opened a copy of UT and wondered what the hell all those initials and names stood for. There are still a lot of people out there like that, but zines no longer cost $2.50 + postage, and the willingness to risk money on an unknown commodity decreases with every single day. By all means, spotlight the the people who should be spotlighted, but let's not forget those who are simply too new to recognize the aura, because once upon a time, so were we.
  • in a retrospective in issue #12, the editor looks back and comments on issue #10:
    BECAUSE IT'S APRIL, FOOL: It never occurred to me that this particular holiday was an exclusively American custom, but 99% of all overseas subscribers wrote to tell me that PSE #10 was all fucked up. This "Japanese" exercise also proved something I had long suspected: that very few people actually read the zine; they simply flip through the pages looking for new things to order and ignore the rest. I received several letters from stateside subscribers who found this issue impossible to decipher even with an explanation. All I can say is, if you think reading it was confusing, try putting It together. More comments on Experiment #3 take up On Cable and a surprisingly popular "You Color the Cover Contest" Is begun. Cover design by Ann Larimer.

Issue 11

Pop Stand Express 11 was published in May 1986 and contains 34 pages.

envelope for issue #11
cover of issue #11
  • the editor writes:
    My thanks to everyone who took the time, to write and tell me their feelings regarding the zine. With eleven down and one to go, I know you probably think your comments fell on deaf ears - but not by a long shot. I do find it a little sad that so many people seem to feel that if I stop publishing Pop Stand, small fandoms will be thrown out into the streets. One of the things I've tried to do with this zine is to prove that there is No Rule that says things must revert to what they once were. A year ago, Pop Stand hadn't even taken on the status of a passing thought, and a year from now we'll all be taking for granted something that probably seems inconceivable today. The future is bright. Count on it.
  • in a retrospective in issue #12, the editor comments on issue #11:
    IT'S THE ULTIMATE ENTICEMENT, IT'S THE POP STAND BLUES: Johanna's Bolton's "Works For Me" cover heralded in issue #11, which appeared to cast a pal a over the majority of readers due to its nearness to #12. Amid the funeral wreaths and death threats, I almost let my future plans slip. But a little cruel streak said, "Naw...let 'em suffer!" At any rate, here we are, and I hope you feel this Issue was worth the wait.

Issue 12

Pop Stand Express 12 was published in June 1986 and contains 50 pages. Art is by Suzy Sansom and Dar F.

envelope for issue #12
cover of issue #12, Suzy Sansom
  • the editor says the zine will be going on a summer hiatus and will be back in the fall
  • contains a review of Robin's Nest #3, see that page
  • contains a review of The Pilot's Prayer #1, see that page


Issue 13

Pop Stand Express 13 was published in September 1986 and contains 42 pages. The art is by Marilyn Johansen, Suzy Sansom, and Dar F.

envelope for issue #13, Marilyn Johansen
cover of issue #13
  • this issue has an interview with Susan M. Garrett, complete with some unique and charming illos by Suzy Sansom, sadly not included here on Fanlore -- see A 1986 Interview with Susan M. Garrett
  • the editor writes:
    Once again, I'm going to request no formal advertising be placed for Pop. Although this issue is relatively calm, things will get progressively crazier as we go along, and a real challenge to the continuity freaks out there. If you think Dallas gave you a cliffhanger, just wait until we hit PSE #18! At any rate, you have my permission to xerox the zine to pass along to as many friends as you care to, as well as giving my address to anyone you've told about the zine who might be interested. But please, no bolts from the blue. Trying to explain this thing to someone who has attached 6 flyers from their Trek zine and wants to know what a 'personal' ad is, is not easy.


Issue 14

Pop Stand Express 14 was published in November 1986 and contains 52 pages. The art is by Johanna Bolton, Suzy Sansom, and Dar F.

envelope for issue #14
cover of issue #14, Johanna Bolton


Issue 15

Pop Stand Express 15 was published in January 1987 and contains 48 pages. Art is by Ann Larimer, Suzy Sansom, and Dar F.

envelope for issue #15, Ann Larimer
cover of issue #15
  • the editor is celebrating the zine's two year anniversary (in July) by having a booth at some cons and would like to have a display showing the different places the zine is sent. "I am asking everyone to take pictures in as many cities, townships, countries, etc. that you can. I request that you place an issue in the hand of every willing member of your family and immediate circle of friends, and take their picture in front of as many different city signs as possible."
  • an interview with the founder of "Famous Fone Friends," Linda Elster, "Famous Fone Friends" is a charity where celebrities call terminally ill children on the telephone
  • an interview with a fan named Linda: "Linda is one of the few people I've met in fandom who is strictly a consumer. She doesn't write, doesn't draw, has no aspirations to publish anything, or run a convention. She simply enjoys fandom for what it is, taking the good with the bad; lavishing praise when it's due, and withholding criticism even when it's called for." See Pop Stand Express Interview with Linda Ploetz.


Issue 16

Pop Stand Express 16 was published in March 1987 and contains 66 pages. It has art by Dar F and Suzy Sansom.

envelope for issue #16
cover of issue #16, Perfect Strangers by Suzy Sansom
  • the editor writes: "Due to POP being mentioned in an article concerning fandom that appeared in several local papers. Express is carrying a number of new passengers; individuals who know next to nothing about fanzines. Because of this, I felt it would be wise to cover some of the basics concerning how one goes about ordering a zine..."
  • has an interview with Lizabeth S. Tucker, see A 1987 Interview with Lizabeth S. Tucker
  • has an interview with the actress Jeannie Wilson
  • has a flyer and details for Illumicon
  • has a review for More Than Brothers #6, see that page


Issue 17

Pop Stand Express 17 was written in May 1987 and contains 58 pages.

envelope for issue #17
cover of issue #17, Ann Larimer
  • it includes "The People's Pop: The Case of the Borrowed Fanzine," a satire done in scriptform: "Defendant charges Plaintiff had given her the fanzine, but after being pestered by her for several years, she finally decided to give it back. She is countersuing for $1,789.99."
  • there is an interview with fan Kathleen Condon, see A 1987 Interview with Kathleen Condon


Issue 18

Pop Stand Express 18

  • unknown content

Issue 19

Pop Stand Express 19

  • unknown content

Issue 20

Pop Stand Express 20

  • unknown content

Issue 21

Pop Stand Express 21

  • unknown content

Issue 22

Pop Stand Express 22

  • unknown content

Issue 23

Pop Stand Express 23

  • unknown content

Issue 24

Pop Stand Express 24

  • unknown content

Issue 25

Pop Stand Express 25 was published in 1991 and contains about 55 pages.

Issue 26

Pop Stand Express 26

  • unknown content

Issue 27

Pop Stand Express 27

  • unknown content

Issue 28

Pop Stand Express 28 was published in June 1991.

  • unknown content

Issue 29

Pop Stand Express 29 was published in August 1991.

  • unknown content

Issue 30

Pop Stand Express 30 was published in October 1991.

  • unknown content

References

  1. from a much longer review in Psst... Hey Kid, Wanna Buy a Fanzine? #2. The reviewer gives it "5 trees." The reviewers in "Psst... Hey Kid, Wanna Buy a Fanzine?" rated zines on a 1-5 tree/star scale.
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