SCREW #754, art by Tim Johnson

SCREW #754, art by Tim Johnson, 

dated January 7, 1983

NATIONAL SCREW Vol.1, No.3, with a four page comics feature by WILL EISNER

 Will Eisner in SCREW?!? Yes, it's true. 

In the late Seventies, Al Goldstein partnered with Lyle Stuart to publish a slick, national version of SCREW magazine titled, (what else?) NATIONAL SCREW. I suspect the mag was Goldstein's attempt to claw back some of the success enjoyed by HUSTLER, (publisher Larry Flynt notoriously rehashed many of SCREW's best gimmicks and served them up to his national readership of meth-crazed truck drivers and toothless hillbillies). 

I don't know how many issues of NATIONAL SCREW were published; my feeling is the mag didn't last long. The contents are a mixed bag; there's some lively '70s hipster content (features on Lou Reed and Television, short fiction by the likes of Wm. S. Burroughs and Harlan Ellison, and smutty parody comics presented in full color). However, the mag's actual porn content, (unappealing photo layouts and hacked-out sex reviews) are unlikely to have given the competition any sleepless nights.

Dropped inexplicably into the middle of this mid-70s countercultural mishmash was one of the founding fathers of comics, Will Eisner.  Since I don't own a complete run of NATIONAL SCREW, I can't say whether this odd comics feature is a one-off, or part of a longer series. I also can't tell if this strip is something Eisner drew specifically for this mag, or if it's merely some unsold inventory pulled from Eisner's flat files to turn a quick buck. 

I can say that while the art resembles what we see in Eisner's groundbreaking 1978 graphic novel "A CONTRACT WITH GOD," the writing isn't nearly as inspired. I'm generally an Eisner fan, but I think this creaky strip is enough to make all but the most fanatical Eisner worshippers cringe. 

FARE THEE WELL, SMUT PEDDLER: Al Goldstein RIP (1936-2013)

Al Goldstein has taken the elevator to the big edit meeting in the sky. 

I'll leave the obit-writing to the professionals.

You'll find those here: http://www.nytimes.com/2013/12/20/nyregion/al-goldstein-pioneering-pornographer-dies-at-77.html?pagewanted=all

And here: http://observer.com/2013/12/al-goldstein-founder-of-screw-magazine-has-died/

All I have to add is this: Some people rear up in horror at the sight of pornography, and there's not much to be done about that. When considering porn, I think it's important to keep this in mind: some of our greatest artists and writers, (along with countless hacks) have turned to porn in the interest of scraping together a living. What they may have been surprised to discover in porn, (along with a modest paycheck) was artistic freedom. And THAT'S what I owe Al Goldstein.

SCREW #1,349, cover art by Kim Deitch

Collector Thomas Stein recently put in a request to see the one and only SCREW cover drawn by underground comix legend Kim Deitch. It just so happens I have a copy, and here it is! 

I chatted with Kim Deitch about SCREW a few years back. A frequent contributor to '60s hippie papers like the East Village Other, Kim told me that the secret to the success of those publications was that they generally included one or two photos of nude hippie gals. Such photos were guaranteed to pique the prurient interest of curious straights. When Al Goldstein and Jim Buckley launched SCREW in 1968, their strategy was to outdo the hippie papers by cramming the pages of their nascent sex tabloid with oodles of naked hippies in full filthy frolic. SCREW would remain a going concern for nearly four decades, while the East Village Other and its psychedelic brethren evaporated almost as quickly as a DMT trip.

The issue is dated January 9th, 1995. 

SCREW #398, cover art by Wallace Wood

Recently, collector Thomas Stein told me that he'd acquired an issue of SCREW from the mid 70s with cover art by Wally Wood. I started salivating as soon as he described the drawing to me, since this was clearly a Wood cover I hadn't seen before. Tom was kind enough to pay me a visit and let me pull a scan of the cover, which I am now happy to share with all you lovable SCREW Cover Art blog readers. It's SCREW #398, dated October18th, 1976.

Nine SCREW covers by SPAIN RODRIGUEZ, (1940 - 2012)

Spain Rodriguez drew many wonderful covers for SCREW Magazine during his long cartooning career. Here are the nine I have in my collection, but I suspect there are lots more. If anyone has a SCREW cover by Spain that's not posted here, I'd love to see it.

Here are two paragraphs I wrote in remembrance of Spain for Tim Hodler at The Comics Journal:

By 1982, I’d outgrown the superhero comics I’d read steadily through my teen years. To fill the void, I was buying all the undergrounds I could find at various long-lost quirky NYC comic shops like Soho Zat. As is typical, Crumb was the gateway drug. Fritz the Cat led quickly to Zap Comix, and while I loved nearly everything I saw between Zap‘s covers, I was particularly drawn to Spain Rodriguez’s bold pages that looked as if they’d been drawn by Wally Wood on four hits of blotter acid. Spain was sketching a world I desperately wanted to visit: brutally violent, brazenly sexy and relentlessly hip. Spain’s vision is a paranoid sci-fi fever dream where insidious corruption trickles down from the hidden seats of power, while leather-clad culture warriors fight that power in the name of the people’s revolution. Good stuff.

Roughly a decade and a half later, in the midst of a notorious legal jam, I found myself reaching out to many “big name” cartoonists in the hope that I’d score contributions for my benefit book. I was struck by the generosity of Spiegelman, Crumb, Robt. Williams, Kim Deitch, and some of the other underground greats, but again, I was especially touched by the kind spirit of Spain Rodriguez. During a visit to San Francisco, Spain graciously spent most of a morning driving me around town in his vintage auto, sharing stories about the city he loved, his underground comix collaborators, and other anecdotes from the kind of life that would make any sane person green with envy. From the Road Vultures to the ’68 Democratic Convention and the Mitchell Brothers’ O’Farrell Theater, this was a man who’d been given a front row seat to the spectacle of mid-Twentieth Century America in transformation. Luckily for his readers, Spain had both the intelligence to understand what he was looking at, and the skill to share his insights with us in ways that were both moving and beautiful. In this instance at least, the cliched caveat that one should never meet one’s heroes was entirely wrong.

  SCREW #1,115, dated July 16th, 1990

  SCREW #1,293, dated December 13th, 1993

  SCREW #1,327, dated August 8, 1994

  SCREW #1,346, dated December 19th, 1994

  SCREW #1,358, dated March 13th, 1995

  SCREW #1,469, dated April 28th, 1997

  SCREW #812, dated September 24th, 1984

SCREW #506, November 1978

 SCREW #875, dated December 9th, 1985