references to Gilles Deleuze and Félix Guattari, or Jacques Attali's monograph Noise." Under Cook's editorial oversight, The Wire significantly broadened its coverage of music in genres other than jazz. He hired a new graphic design team and promoted longtime contributor Mark Sinker to assistant editor. The formerly jazz-focused magazine's covers in this period featured decidedly non-jazz artists like Michael Jackson, Prince, Philip Glass, John Lee Hooker and Van Morrison; meanwhile, articles published inside the magazine profiled a broad range of musicians, including Elvis Costello, Stravinsky, Mozart, Frank Zappa, Prokofiev, Bob Marley and Haydn. Cook told Jazz Forum in 1991 that The Wire was "going into overdrive" with ambitions to expand its domestic and international sales. Estimating the magazine's monthly circulation at 15,000–20,000 copies, Cook said he hoped to reach 25,000. But his efforts to expand the magazine's circulation had mixed results. Chris Parker, the magazine's publisher between 1984 and 1989, said the changes did not make an "appreciable" increase in sales; in Parker's view, "for every would-be hip young thing we recruited to the readership, we lost a diehard jazz fan who just wished to know if Howard Riley or Stan Tracey had made another album and what it was like." Regardless of Cook's impact on sales figures, several of his contemporaries acknowledged that he had made The Wire a more accessible publication. Scottish writer Brian Morton said "[u]nder Cook's editorship, The Wire evolved from a small, coterie magazine into a more broadly based music journal that covered mainstream jazz as well as the avant-garde, but one that also began moving into other areas of music: pop, soul, reggae, classical." John Fordham, the jazz critic for The Guardian, credited Cook with "transforming [The Wires] content and design and opening out a specialised, sometimes uninviting publication" to a broader audience. British-Ghanaian writer Kodwo Eshun pointed to "Black Science Fiction", an essay by Sinker from the February 1992 issue, as a major influence on Afrofuturism, a term that was coined the following year. 1992–1994: Mark Sinker's editorship In June 1992, Cook left The Wire for a position at PolyGram UK and was succeeded by Sinker. Cook's departure coincided with the magazine's 100th issue, an unannounced move that caught Sinker by surprise. Though he only served as editor for 18 months, Sinker took a bold editorial approach. During his brief tenure, few covers featured portraits of musicians, and instead often featured abstract photos