In 1963 Attorney General Robert Kennedy prosecuted Eros magazine publisher Ralph Ginzburg for violating federal obscenity laws when Eros ran 8-pages of photos of a naked black man and naked white woman embracing each other (see page 72 of the fourth and final issue of Eros). After a long trial, which went to the Supreme Court, Ginzburg was found guilty and in 1972 was sent to federal prison. He was released on parole eight months later. (Arthur Miller said of the conviction, a man is going to prison for publishing and advertising stuff a few years ago that today would hardly raise an eyebrow in your dentist's office.")

In 1964, during his legal battles, Ginzburg launched a quarterly social commentary journal called fact:, and it was a masterpiece of design and content. Bringing to mind the best of Esquire, Rolling Stone, Spy, and The Realist, fact: was "dedicated to the proposition that a great magazine, in its quest for truth, will dare to defy not only Convention, not only Big Business, not only the Church and the State, but also — if necessary — its readers." (From the introduction to 1967's The Best of Fact, by Warren Boroson). The first issue had a delicious takedown of Time magazine, the titan of news magazines in 1964, with quotes from dozens of intellectual luminaries attesting to Time's treacherousness, propensity to lie, and prejudices (P.G. Wodehouse: "Time is about the most inaccurate magazine in existence."). The first issue also ran an Madison avenue advertising executive's "sojourns in heaven and hell while experimenting with peyote, belladonna, and marijuana," a profile of American Nazi Party founder George Lincoln Rockwell (titled "The Man Who Thinks Goldwater is a Communist"), a piece examining "The Sexual Symbolism of Christmas," and an essay by Bertrand Russell on the inadequacy of the nuclear test ban treaty. Read the rest

Boing Boing pal Dustin "UPSO" Hostetler has published the fifteenth issue of his long-running print 'zine Faesthetic, the exquisitely-produced visual wunderkammer of art/illustration/design. Faesthetic #15 is themed "Convergent Visions" and I was delighted to contribute an essay about the Voyager Golden Record as an iconic artifact of futures thinking. The issue features work by all of these incredible creators: Christan Mendoza, Jon Contino, Adam Griffiths, Adrian Cox, Alex Barrett, Caitlin Russell, Chris Nickels, Dang Olsen, Elaine Miller, Gabrielle Rosenstein, Janne Iivonen, Prate™, Jeremyville, Jim O’Boyle, John Szot, Josh Row, Julian Glander, Justin Harris, Karen Ingram & Nicola Patron, Kyle Knapp, Leanna Perry, Loc Huynh, Maggie Chiang, Marta Piaseczynska, Max Löffler, Okell Lee, Pedro Nekoi, Tara McPherson, Thayer Bray, Bryan C. Lee Jr, and Alison Conway.

Buy Faesthetic for just $10. Here's the story behind this edition:

The idea for “Convergent Visions” took root in the halls of South By South West in 2017. After a mind-boggling keynote delivered by biochemist Jennifer Doudna, Faesthetic publisher Dustin Hostetler and creative director Karen Ingram bumped into Hugh Forrest, Chief Programming Officer of SXSW. This chance meeting sparked a conversation between Karen and Dustin that became a collaborative effort with the 2018 SXSW Art Program.

“Convergent Visions” probes various areas in science and technology through an artistic lens. Overarching themes include Design, Health and Wellness, Social Impact and the Intelligent Future become realized through the creativity vibrating and flowing from the minds and fingers of 30 international artists and designers.

With a nod to Donna Haraway’s characterization of the emerging and many-tentacled epoch of the Chthulucene, “Convergent Visions” showcases the visions of these talented creatives.

In 1969 Andy Warhol and John Wilcock launched Interview, "The Crystal Ball of Pop." True to its name, the magazine ran interviews of artists, actors, musicians, and celebrities.

From The New York Times:

Ezra Marcus, an associate editor at the magazine, said by email that the staff was notified in an all-hands meeting earlier in the morning that Interview, which was founded in 1969, was closing and filing for Chapter 7 bankruptcy.

Phone calls to Brant Publications, which acquired Interview magazine in 1989, two years after Andy Warhol died, went unanswered.

With its striking style, Interview had long wielded outsize influence in the industry, inspiring the look and feel of many other publications. But questions about the magazine’s fortunes have lingered for years, as it faced ever-thinning ranks and churned through staff.

I love low-rent pulp magazines from the 1920s right through to the early 1980s. Trashy, flashy and a constant pleasure to read, I used to own a ton of the things in varying conditions. If I saw it and it was still in a condition where I could read it, I’d fork over folding money for the privilege of inhaling the smell of rotting, low quality paper and the sweet sense of abuse one can enjoy at the mercy of ham-handed prose. Unfortunately, I had to unload my collection a few years back: there was just no room for it in the nomadic lifestyle that my wife and I are currently living—paying for a storage space to keep stuff I just don’t need is an entanglement that I’m not OK with.

Thankfully, the good people at Open Culture discovered that a cache of over 11,000 pulp magazines has been digitized and posted online where pulp geeks like me can access them for the low, low price of free.

The Pulp Magazine Archive contains treasures printed on low-quality paper that have publication dates ranging from the late 1800s through to the 1950s. Each magazine in the Archive can be viewed online using the website or downloaded in a number of formats to be read offline, including options for use with tablets, Kindle and Kobo e-readers.

I don’t know about you, but my downtime for the next few years is spoken for.

Image via The Pulp Magazine Archive Read the rest

Last year, I went on a bit of a quest. For years, as a tabletop gamer who played Warhammer 40K almost exclusively, I subscribed to White Dwarf (or "White Dork" as my late wife used to call it). This is the slick and expensive Games Workshop publication that exclusively covers WH40K and other GW games. But as my ravenous game appetite expanded to wanting to pig out on all manner of miniature, board, RPG, and card games, I began to look for magazines that covered all of these. To my surprise, I discovered that there weren't any. Or, at least, I couldn't find one.

There are a number of excellent and beautifully-produced tabletop wargame magazines, such as Wargames Illustrated and Wargames, Soldiers, and Strategy. And there are mags that cover board and family games, such as Casual Game Insider. And then there is GTM, Game Trade Magazine, a magazine targeted at your FLGS ("friendly local game store). But where was the magazine that covers all forms of analog gaming? There's a tabletop gaming revolution going on. So where is the house organ?

Here it is. Tabletop Gaming magazine. This very handsome UK-based monthly covers all manner of board games, RPGs, card games, historical wargames, miniature games, dice games, party games, you name it. I didn't even have high expectations for the contents of such a magazine, but Tabletop Gaming delivers a very well-designed and well-written publication that examines every aspect of the gaming hobby. Feature articles cover new games being developed, aspects of game history, culture, art, design, the gaming industry, even the psychology and science of gaming. Read the rest

For more than a century, National Geographic has continued to "believe in the power of science, exploration and storytelling to change the world." I still want to believe.

Read the rest

This summer, the Barbican is mounting Into the Unknown: A Journey through Science Fiction. As part of that, they will be displaying some rare Soviet-era sci-fi collectibles from the seminal Tekhikia – Molodezhi magazine, according to a great overview by It's Nice That. Read the rest

I'd not heard of Elektor magazine until today, when I came across this photo of the cover from a 1974 edition. I assumed it was fake. Everything about it seemed like it was created this year - the typeface, the names of the projects, the tagline ("up-to-date electronics for lab and leisure"). Someone has uploaded the issue in PDF format.

Such a groovy magazine!

Joint smoking transistors:

Trippy traces:

Elektor is still around, but the design is vastly different:

From Wikipedia:

Elektor is a monthly magazine about all aspects of electronics, first published as Elektuur in the Netherlands in 1960, and now published worldwide in many languages including English, German, Dutch, French, Greek, Spanish, Swedish, Portuguese (European and Brazilian) and Italian with distribution in over 50 countries. The English language edition of Elektor was launched in 1975 and is read worldwide.

Elektor publishes a vast range of electronic projects, background articles and designs aimed at engineers, enthusiasts, students and professionals. To help readers build featured projects, Elektor also offer PCBs (printed circuit boards) of many of their designs, as well as kits and modules. If the project employs a microcontroller and/or PC software, as is now often the case, Elektor normally supply the source code and files free of charge via their website. Most PCB artwork is also available from their website.

In its 1970s heyday, Detroit-based music magazine Creem was home to seminal editors/writers/photographers like Lester Bangs, Robert Christgau, Greil Marcus, Patti Smith, Bob Gruen, Jenny Lens, and so many more. Indeed, it was in its pages that Dave Marsh coined the term "punk rock" in 1971. Creem's content was superb. It was unabashedly critical of fame, didn't take itself too seriously, and documented the more underground artists, bands, and scenes of the time, from the MC5 to Alice Cooper, New York City's glam rock culture to the proto-punks of the US and UK.

Boy Howdy! is director Scott Crawford's forthcoming documentary about Creem and I absolutely can't wait to see it. Until then, I'll proudly wear the fantastic t-shirt below, scribbled by my pal Jess Rotter! And yes, they're also selling Creem's classic Boy Howdy! t-shirt, handsomely modeled by John Lennon below.

Boy Howdy! and Creem magazine merch

Read the rest

U2 singer Bono is named among Glamour magazine's women of the year in recognition of his campaigning for womens' rights. The general reception runs the gamut from appalled dismay to despairing laughter.

Bono said he was grateful, and that men "have to be involved in the solutions," etc. Read the rest

The 1981 Radioshack computer catalog is beautifully illustrated, but everything in it is complete TRS. Read the rest

DON'T PARADE IN MY RAIN (via Metafilter) is a blog collecting scans of the magazines that were once our only guide to what's on the box. Replaced by the digital menus provided by cable boxes, they often featured striking illustrations by artists such as Gary Viskupic. Read the rest

Avant Garde magazine ran for 16 issues from January 1968 to July 1971. It had a small print run, but is treasured today for its gorgeous design by art director Herb Lubalin. It was edited by photo-journalist Ralph Ginzburg, who was indicted by U.S. Attorney General Robert Kennedy in the 1960s for distributing obscene literature through the mails. This website has scans of most of the issues. I would love to have the dead tree version of the complete run.

Avant Garde is a seminal, but somewhat overlooked by a wider public, magazine, which broke taboos, rattled some nerves and made a few enemies. The magazine was the brainchild of Ralph Ginzburg, an eager and zealous publisher, even if the path that led to Avant Garde wasn’t so straightforward. It represents the third major collaboration between Ralph Ginzburg and Herb Lubalin, the magazine’s talented art director. The two previous magazines came to unexpected demise due to their candor and provocativeness, that landed them into legal trouble.

Read the rest

Since 1993, Jake Phelps has been the top editor at legendary skateboarding magazine Thrasher. At 53, he's still a skate punk through and through. From Willy Staley's fantastic profile of Phelps in California Sunday, with photos by Andrew Paynter:

An unwillingness, or inability, to stop is perhaps the defining characteristic of Phelps’s career. He’s been the editor of Thrasher since 1993. The magazine occupies such a privileged space in skateboarding’s collective imagination that it’s difficult to know what to compare it to. Skaters call it “the bible,” but we’re prone to hyperbole. Maybe it’s Vogue, but for degenerates, and Phelps is skateboarding’s Anna Wintour. Phelps likes to think of himself as the Thrasher brand personified, and in many ways, from his caustic wit to his encyclopedic knowledge of the sport, that’s true.

Phelps is an unreconstructed punk rocker in a city that has little need or space for them anymore. He refuses to pay his Muni fare, instead slipping through the rear doors. He bums cigarettes everywhere he goes; he calls kids blood. He barks at strangers and screams at drivers. He sails through lights with an unearned confidence, directing traffic with cryptic hand gestures. He shoplifts candy bars just to see if people are paying attention. (Once, in Copenhagen, they were.) His entire affect is charmingly cartoonish. His ears protrude from low on his head, and his smile cracks his face in half. If you dipped him in yellow paint, he might not seem out of place in Springfield.

The University of Wollongong has kindly scanned every gorgeous issue of OZ, a psychedelic magazine from the UK, which ran from 1967 to 1973.

OZ was founded by Martin Ritchie Sharp (1942 – 2013).

[Sharp] was an Australian artist, underground cartoonist, songwriter and film-maker.

Sharp made contributions to Australian and international culture from the early 1960s, and was called Australia's foremost pop artist. His psychedelic posters of Bob Dylan, Donovan and others, rank as classics of the genre, and his covers, cartoons and illustrations were a central feature of OZ magazine, both in Australia and in London. Martin co-wrote one of Cream's best known songs, "Tales of Brave Ulysses," created the cover art for Cream's Disraeli Gears and Wheels of Fire albums, and in the 1970s became a champion of singer Tiny Tim, and of Sydney's embattled Luna Park. [Wikipedia]

OZ magazine was published in London between 1967 and 1973 under the general editorship of Richard Neville and later also Jim Anderson and Felix Dennis. Martin Sharp was initially responsible for art and graphic design. Copies of OZ can be viewed and downloaded for research purposes from this site. OZ magazine is reproduced by permission of Richard Neville.

Please be advised: This collection has been made available due to its historical and research importance. It contains explicit language and images that reflect attitudes of the era in which the material was originally published, and that some viewers may find confronting. [University of Wollongong]

[via] Read the rest

Penthouse, the long-running men's magazine founded by Bob Guccione in 1969, is to cease publication in print. The Wall Street Journal reports that it would be "reimagined" as an online-only affair.

“Reimagined for the preferred consumption of content today by consumers, the digital version of Penthouse Magazine will combine and convert everything readers know and love about the print magazine experience to the power of a digital experience,” publisher FriendFinder Network said in a statement.

It once sold 5m copies a month, went under in 2004, and was bought by online hookups 'n' porn network FriendFinder—which itself went under in 2013. Its circulation figures aren't known, but was shifting about 200k last time figures were released in the 2000s. Read the rest

“There’s no media anywhere about these guys, but they’re so cool!” That's the thought Tomonobu Yanagi had when he decided to make a magazine about "construction culture." Yanagi was a punk musician in the 1970s, and now manages a waterworks construction firm. He teamed up with Japanese “new journalism” writer Gensho Ishimaru (known for writing about his recreational drug trips) to launch Blue's Magazine. With lavish photos, it covers subjects such as the kind of food construction workers favor (salty, greasy food), what it is like to be on a crew rebuilding the Fukushima area, and the influx of construction workers from Africa and America.

From Ignition:

Before BLUE’S, no “culture magazine” had ever written profiles of the men who work at construction sites. Because of that, though, there are really no fixed rules or formulas for how to make such a magazine. Every issue’s layout, Ishimaru says, presents a fresh challenge, and forces the pair to reinvent the rules from zero. The best example of this may be the magazine’s cover design, which features photos of construction artist Hironari Kubota in a loincloth