SCREW #754, art by Tim Johnson

SCREW #754, art by Tim Johnson, 

dated January 7, 1983

SCREW #401, cover art by ironmountain

SCREW #401, cover art by ironmountain, 

dated November 8, 1976

SCREW #735, art by Burt Koppi

SCREW #735, art by Burt Koppi, dated April 1, 1983

(special thanks to Walter Dickinson) 

Cover Art for SCREW #514, by Mary Wagner

Cover Art for SCREW #514, by Mary Wagner, dated January 8, 1979
(special thanks to Walter Dickinson) 

SCREW #463, art by Mary Wilshire

SCREW #463, art by Mary Wilshire
dated January 16, 1978

SCREW #473, art by Woltuh Gallup

SCREW #473, art by Woltuh Gallup
dated March 27, 1978

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. 

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

The Forgotten SCREW Cover Art of Tony Millionaire

MAAKIES cartoonist Tony Millionaire has been giving me shit over some mildly risque designs I drew recently for BROKEN SKATEBOARDS, (available for purchase here: http://brokenskateboards.nl/products/ ) so I thought I'd dig deep into my archives in order to spend the next few weeks exploring the forgotten SCREW cover art of Tony Millionaire.

Known to today's readers primarily as a children's author, few would suspect that the avuncular creator of wholesome properties like BILLY HAZELNUTS and TONY MILLIONAIRE'S SOCK MONKEY™ was in earlier decades impoverished enough to turn up, hat-in-hand at the door of  at 116 West 14th Street in NYC, address of the World's Greatest Newspaper? Truly those must've been dark times.

Millionaire's SCREW cover drawings, while in no way erotic, are interesting nonetheless for the peek they offer into what is clearly a uniquely disturbed imagination. Let's begin our exploration with SCREW #1,416, dated April 22nd, 1996: the cover drawing shows a creature, (most likely an ape) dressed in human clothing, preparing to reap a harvest of what are apparently human breasts, while a nude woman watches angrily from a perch in a nearby tree.

This unsettling image leaves the viewer with a multitude of questions: what does the simian gardener plan to do with his vegetables post-harvest? Is he engaged in some evil experiment involving genetically-altered crops? Why is the nude woman displeased? Is she the monkey's spouse, and if so, is she jealous of the attention being showered on this garden of human breasts? Why would a woman be married to a monkey, and more importantly, how did this cover drawing, laden with implications of bestiality, slip past SCREW's guidelines banning any depiction of human/animal relationships?

Perhaps its best not to ponder the meaning of this drawing too long. I fear that in this case, the search for understanding will send the viewer down a twisting tunnel that leads to confusion, despair, and ultimately madness. More Millionaire next week!

Cover Art for SCREW #1063, featuring cover artist Jim "Hak" Hopkins

By the early 1980s, the path that led cartoonists from Manhattan's School of Visual Arts to SCREW Magazine had been well-established. Kevin Hein, who in his SVA days assisted Art Spiegelman & Francoise Mouly at RAW, later sought full-time work in SCREW's art department, and eventually found himself sitting in the art director's chair. Many of Hein's SVA classmates sold art to SCREW, including Kaz, Drew Friedman, Peter Bagge, and a fellow named Jim Hopkins, who drew for SCREW under the pseudonym "HAK."

Jim Hopkins contributed many covers and comic strips to SCREW during Kevin Hein's tenure as art director. I've always considered Jim to be one of the most talented folks ever to grace the cover of the notorious smut tabloid. Issue #1063 features what might be the best of all the "HAK" covers, this one starring revolutionary stand-up comic Lenny Bruce. Sadly, I managed to save only the cover of #1063, but I believe this gorgeous drawing was accompanied by "Shpritz to Lenny," a touching three-page tribute strip which Jim was kind enough to allow me to reprint in my anthology LEGAL ACTION COMICS Vol. 1 in 2000.

A quick Google search has lead me to this blog, and this blog,
both of which feature what appears to be current work by Jim (no longer known as "HAK") Hopkins, now a veteran of the storyboard scene. From what I can see, Jim's stuff has gotten even more accomplished and beautiful than when I last saw it over a decade ago, (if that's possible).

SCREW #1063 is dated July 17, 1989. Scanning and color-correcting these old, moldering sheets of newsprint is always challenging, but doing justice to this drawing was especially tricky, given the subtlety of Hopkins' technique. My guess is that Jim started off with a B&W image drawn in either china marker or pastel. For his color seps, it appears that Jim did two overlays, ALSO in pastel or china marker, for his yellow and cyan plates. It's a lushly nuanced drawing that deserves better quality paper and a more sophisticated printing press than it got.

Cover Art for SCREW #1412, featuring cover artist Natpink (?)

Earlier this week, I received an email from a reader of this blog, asking if I could help him track down an issue of SCREW that featured a Li'l Abner parody, (as listed in some Denis Kitchen publication). I immediately remembered the issue, mainly because the Li'l Abner cover and accompanying interior strip had been so well drawn. However, I couldn't recall the artist's name, nor did I believe that I had the issue in my archives.

After a quick rummage through my stack, I was pleased to discover that I do indeed have the cover, (although tragically, I failed to save the strip). I now post that cover in the hope that it will at least partially satisfy the reader's quest. Not only don't I have the accompanying strip, but I can't issue a firm ruling on whether or not the signature "Natpink" indicates a pseudonym, (which I suspect is the case) or the talented artist's real name. What I can say for sure is that the issue dates from March 25th, 1996.

While Issue #1412's cover is fairly tame in the titillation department, it more than makes up for this shortfall with dazzling drawing chops, as well as dead-on stylistic mimicry of well-known syndicated cartoon characters. "Natpink" also makes skillful use of SCREW's classic limited palette, (two colors plus black would be the norm for SCREW until the Fall of 1996, when the paper went full color). Apart from one or two murky spots, (an inevitability when working with newsprint) the colors are varied and well-chosen.

It's a nice one. I just wish I knew who drew it.

(ADDENDUM on 7/16/09: the same reader who initially asked about this cover has done some research, and now tells me that the drawing is most likely the work of cartoonist Pat McKeown. I'm not familiar with Pat McKeown's work, but if he drew this cover, he's damned talented).

Cover Art for SCREW #1716, featuring cover artist Hawk Krall

Here's a late issue of SCREW drawn by Philly cartoonist & chef Hawk Krall. At least I assume that the issue dates from the paper's waning months, since Brooklyn DA Charles Hynes is being chastised in the cover lines. It was Hynes who prosecuted the employee harassment case against Goldstein that drove the final stake into the bloated pornographer's black heart.

This is definitely a pre-bankruptcy issue, published while Goldstein was still in charge, (SCREW #1804 being the first issue of SCREW's brief post-bankruptcy, post-Goldstein period, roughly December 2005-November 2006). I'm guessing that this is a Fourth of July cover, seeing as there's a bigass flag waving proudly behind the big asses.

Dating this issue is pretty much impossible for me, since this cover comes, not from my own moldering archives, but from Hawk's personal collection of SCREW covers. Hawk contributed a wonderful strip to my recent book TYPHON Vol.1, (available here). At a recent TYPHON event, Hawk was kind enough to hand me a disc containing scans of several of his own excellent SCREW covers, as well as some choice selections from SCREW's bygone days. And so, SCREW #1716 is just one of several covers I'll be offering from the Hawk Krall collection in the weeks to come. When you're done looking at SCREW #1716, why not check out Hawk Krall's website? I'm sure you'll enjoy the visit.