Rest in Peace, Adam Yauch / Grand Royal 1 (1992) and 2 (1996)

So, as mentioned in the the comments on my last post, I have miraculously and serendipitously gotten my hands on the first issue of Experience (dated September 1923), and am excited to scan and post it for y'all to round out that trio of magazines and my blog posts on flappers as part of my series on the birth of the girlie pulp. The mystery on the title change will be cleared up (it's not precisely the reason we have surmised) and there is a surprising format change to a full magazine size. I didn't see the "lost" Dashiell Hammett story in here, but I'll give it a closer read when I scan it. Sadly, my desktop computer broke down this week, so I'm reduced to blogging on a silly and slow little laptop nowhere near powerful enough for much scanning or especially image processing, so there might be a little hiccup in those processes while I attempt to repair the thing (not exactly my specialty). In the meantime, I've got a post or few on subjects outside of the 20s, beginning today with a look at Grand Royal, the amazingly idiosyncratic magazine put out by the Beasties in the 90s as a tribute to Adam Yauch who departed the mortal plane last week, succumbing to cancer.

Followers of my blog know that I tend to avoid modern subjects, but MCA's death has really affected me, so this post is sort of a tribute to a somebody that touched my life and left the world a better place as well as a salute to a most excellent magazine, certainly as worthy in its way of examination as any other mag I've posted here on my blog.

It might surprise those that know me from the pulp scanning scene or my blog here to find out I'm a hip-hop fan, but then again maybe not. The collection of mags and topics I cover here are most eclectic, and hip-hop music is all about total assimilation. I can't for the life of me understand the complete inability of certain generations to dig it (it's not real music, they're just talking over stolen music, blah blah blah), but if that's you don't worry - I'm probably preaching to the choir today, anyways.

Yeah, hip-hop is in a bad way these days with a corrupt industry that glamorizes the kitschiest trappings of capitalism and propagates brain-dead hooks over lame beats, but in the golden age of rap, hip-hop was life-changing. Don't get me wrong there's still great hip-hop out there (the mind-blowing lyrics of a MF DOOM, the fierce political rap of a Mr. Lif, the goofy yet brilliant stylings of Das Racist (beastie boy descendants for sure), the jaw-dropping displays of turntable and beat craft mastery on display in Madlib's Medicine Show series or Cut Chemist's stripped-down Sound of the Police), but the main of hip-hop has become culturally bankrupt, stripped of its vitality and ability to change the consciousness of the American culture. Not like when I was a kid.

Maybe it's a crazy juxtaposition to go from some grand claims about the golden age of hip-hop to speaking on the Beastie's first major release Licensed to Ill, an admittedly juvenile album, but, man, did I love that shit when it came out just as I entered junior high. I don't know how many times my ma "confiscated" my brother and my cassettes of that album, but we'd just go buy a new copy. I remember sneaking out to the car at night so we could listen to it on the cassette player unheard. It was new, it was outrageous, it was so transgressively cool to an 80s junior high kid, totally dazzling. You have these drunken bufoons raising hell on Johnny Carson or whatever late night shows, parading around a giant inflatable penis at their stage show, Rolling Stone with the headline "Three Idiots Create a Masterpiece." No doubt that entire album (as well as the albums to follow) is burned deeply into my little brain, as I can recite the whole thing rhyme for rhyme. Rapidfire lyrics, delivered as a team, a middle finger up to respectability, an entire album about partying and fun. I still love it even if the Beasties wouldn't play those songs in later years as they grew in musicianship and conscience, largely trying to forget about some of the dumb shit they say on that album. And conscience is the right word when talking about Yauch, as he was the one who first recognized that hip hop was going off the tracks with misogyny and glorification of violence. Yauch would never do a commercial or sell out, staying true to his self. Yauch came to reject the skeezy lyrics of "Girls" or "She's Crafty" quickly and by the release of Ill Communication on "Sure Shot" raps:

I Want To Say a Little Something That's Long Overdue
The Disrespect To Women Has Got To Be Through
To All The Mothers And Sisters And The Wives And Friends
I Want To Offer My Love And Respect To The End.

My little 6 year old girl asked me last week if there's ever been a woman president and then asked me incredulously why not. As a father, it's truly heartbreaking to have to answer a question like that, and I absolutely respect how the Beastie Boys matured over the years in offering a conscious message and used their platform to lobby for personal and social change. From the irreverent but groundbreaking Licensed to Ill to the sampling masterpiece Paul's Boutique to the instrumental funk grooves of Check Your Head to the bombastic attack of Ill Communication to the electronic space jam of the very eclectic Hello Nasty up through their latest release, the Beasties are always evolving. The "Fight for Your Right (revisited)" video, from their newly released album and written and directed by Yauch himself, is sort of a genius retrospective, gut-busting.

Adam was the laid-back beastie, "cool as a cucumber in a bowl of hot sauce," and anchored the circus. What a damn shame to see him go, I completely enjoyed their last album and the instrumental album before that and spent last weekend spinning all their albums on my record player in remembrance. It's been a real blow to generation X. A reminder of our own mortality maybe but really a loss of one of the guys that made my generation what it is, RIP, dude.

Sigh.

Let's take a quick look, then, at the first two issues of Grand Royal, a fondly remembered - if hard to get your hands on - magazine from the days when the independent music scene was burgeoning on the heels of the Nirvana explosion. I'm going to try and not post too many pages and flood out the post, so download and read them if you desire to understand the full goodness of these mags. It's a very well-crafted magazine with contributions from all Beasties as well as some issues being edited by Spike Jonze (who directed their famous "Sabotage" vid -I blogged about his involvement in BMX mags and its influence on his later career on another nostalgia-seeped post here).

Grand Royal 01 (1993) (DREGS).cbr

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Great cover, two of the coolest cats ever. Bruce Lee in his yellow suit that Tarantino would later adorn Uma with in Kill Bill fights Kareem from Game of Death, iconic cool.


I've seen circulation numbers varying from 5,000 to 10,000 for this issue and have heard various reasons why so few copies exist. What I do know for certain is that for a 20 year old magazine, it's damn hard to find a copy. I've seen them go for over a hundred in so-so shape before. There's no reason for such scarcity in the digital age, my friends, have your own copy, eh?

Contents. Mike D interviews Russell Simmons, interview with Clement Dodd, Mike D interviews Q-Tip, MCA on Tibet, Top 10s, At Home and on the Road with the Beastie Boys, Bob Mack interviews Luscious Jackson, A Conversation with DJ Hurricane, R.D. Bone and Lawrence Hubbard's Real Deal Comix, Mike D interviews the Pharcyde, What's Up with George Clinton, The Great GAP Conspiracy, Joey Buttafuoco's Fashion Tips, Bruce Lee - Still Dope After All These Years, Enter the Hornet, Gene Stanley interview, record reviews, much more.


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On the page following the introduction, Adam Yauch immediately feels the need to clarify something regarding the Pharcyde photo. I remember reading this issue at my pal Jake's house and this bit I remember very clearly, good for Yauch.

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It's this photo he's talking about. No doubt the Pharcyde reget some of their early lyrics themselves. Guns are bad or at the very least aren't to be joked about, glorified, or played with, mmkay?



And I'll go ahead and post the whole Pharcyde interview. Photos by Spike Jonze who did their "Drop" video and later Fatlip's solo tune, "What's Up, Fatlip?", both great vids. My yellow and blue double album of Pharcyde's first is a fave record. Labcabincalifornia is an under-recognized album, too.

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Mike D interviews Q-Tip. If you're a Tribe fan, check out the new Michael Rapaport doc, it's incredible. Word is Q-Tip doesn't like it because he comes off as a controlling freak, but really it just lets out his idiosyncratic side, we love you just the way you are, Tip. It took some of that to pull it all together. A touching, intimate portrait of the band. On a personal note, I appreciate the time given in the movie to Phife's battle with Type I Diabetes (he's pretty much a poster child for how not to cope with the disease). My girl's Type I, and every bit of awareness helps faster diagnosis, better treatment, and moves us all closer to a cure.

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I'll just post links to bigger images for some of this stuff, shrinking down a full page to 600 pixel width doesn't do any good anyways. Remember if you want the best quality and width just download the scans, eh? Yauch on Tibet, an issue that would come to be very dear to him. I hope his study helped bring him peace in the end.
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Top 10 Feuds
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George Clinton Artwork
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The Joey fashion pages, LOL

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The Gap Conspiracy. Believe. Two pages.
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Mike D interviews Kareem on Bruce Lee
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Yauch on his snowboarding adventures.
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Grand Royal 02 (1996) (DREGS).cbr

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The line on the spine for this second issue that came out a whopping four years after the first is so good - "Long Awaited, Much Anticipated, Grossly Outdated" HAR.

I'm quickly running out of blogging time (a few hours goes so fast!!), so I can only put up the infamous mullet article. This is perhaps the most notorious issue of the mag's six issue run.

Contents.Highlights include the great Lee Perry article/interview, an interview with Ted "off his fucking rocker" Nugent, Timothy Leary: CIA Agent? and much, much, more. One last note, I can't help but feel a little sadness looking at all the advertisements adn how vital the music scene of the early 90s was compared to what's going on now, sad. Some great graphics work in the advertisements, too.

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The History of the mullet, brilliant.

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The flexidisk in my copy is used beyond ripping but there's a nice version of Biz doing "Bennie and the Jets." As a substitute, here's a youtube link of a more ornate version. Biz gives a shout out to Yauch on the birth of his girl, awww. And just when I was all cheered up after looking through these high-larioius mags.



Enjoy the mags. We'll miss you, MCA.

Have You Ever Been Experienced? / Flapper's Experience, October 1925

Flapper's Experience (1925-10.Experience)(12 missing pgs)(D&M)

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Good lord, it's been 2 months since my last post - I'm so easily distracted. Basketball (Rock Chalk Jayhawk, GO GRIZZ) has occupied much of my dwindling free time the last couple of months, but I've carved out a few hours here to type about the next magazine in my series on the birth of the girlie pulp and continue a discussion of that type at the heart of much 20s revolution, the flapper. I've certainly lost my train of thought, but that's never stopped me from stumbling on before, so...

Today, I offer the Flapper's Experience from October of 1925, an evolution from the incarnation in the last post and a bit of a mystery as to its exact lineage. As I mentioned in the last post, I believe that first run of The Flapper is represented in toto by the seven issues lined out here in this Flickr set, running consecutively from May 1922 through November of 1922. I have seen various issues of this seven printed in different cover colors, leading me to believe that demand was high enough for numerous printings. Phil Stephensen-Payne's Galactic Central site shows a red variant for the issue I posted here. These seven issues are the only issues in the WorldCat record of library holdings.

After this intial run, the waters are quite murky, though images of one cover demonstrate that the magazine did indeed continue on under the same title, though with a color cover and I'm guessing more interior graphics. The sole issue of I've seen (and only cover images of that) of The Flapper after those original seven issues is the May 1923 issue, the Anniversary Number, which Doug Ellis shows a thumbnail cover of in Uncovered: The Hidden Art of the Girlie Pulp, sorry about the blurriness - blown-up thumbnail:



David Earle has a larger, though black and white, reproduction of this lovely cover (I can't peg the artist, I would absolutely love to own a copy) in his Re-Covering Modernism: Pulps, Paperbacks, and the Prejudice of Form and describes the contents. I'll just scan the entire paragraph here as the surrounding sentences speak to the flapper's role in some other magazines I'll be looking at in this series:



It's the Anniversary Number, but I suspect it was more of a re-launch and perhaps a one-off at that. David Sloane's Index, American Humor Magazines and Comic Periodicals, does note that the last copyrighted issue was volume 2 number 6 (which is actually the seventh issue) but also gives the date of the last issue as June 1923, so perhaps there was one more issue after the one above with the color cover or earlier issues outside of the first seven even if I've never seen evidence thereof. Of course, the copyright records for periodicals of the day often list issues that were never actually produced or fail to mention issues that actually do exist, so they can be misleading. A good number of the catalogs of copyright entries for periodicals have recently been added to archive.org here, by the by, for any interested in an excellent resource for information on forgotten and not-so-forgotten periodicals.

Why The Flapper petered out, I don't know, as the various colored printings and fan letters would seem to indicate some popularity. Perhaps the faddish-nature or newness of the term "Flapper" began to wear off because the publishers jetted the name and look for a new magazine they simply titled Experience which remained a digest format though the covers started to use glamor shots, adopting a look closer to a true story/confessions magazine, the first issue of the new title being issued in the Fall of 1923. Galactic Central's entry for this group of magazines gives the first issue of Experience an October date. I've never come across any issues of Experience but the magazine is noted for publishing a couple of early Dashiell Hammett stories, one of which has been reprinted in Lost Stories which collects some of Hammett's uneven early work from magazines like Smart Set, 10 Story Book, and True Detective Mysteries. Don Herron writes about tracking down the February 1925 issue of Experience and investigating other "lost" works of Hammett on his blog here. I'll put up the cover images of the issue as well as the cover of the January 1925 issue so you can see what I mean about the confessions type look of the cover:





The only WorldCat holdings I can find for Experience are at Penn State which has some issues bound with The Flapper. Their holdings begin with a v01n03 dated December 1923, so that doesn't clear up the exact date of the first issue for me (not that such details matter to anyone but crazy types like myself):



Perhaps a Hammett scholar in the area might take a look and see if the missing story is in one of these 1924 issues. I'll be keeping my eyes out for any copies of the magazine that hit eBay, Hammett or no, as I'd like to see the contents of an issue. In any case, Experience ran from 1923 on into 1925 before the name changed to Flapper's Experience and the look reverted to something more in line with the original magazine, even if the interior was more graphically sophisticated with illustrations and photographs. David Sloane's index entry for the publication:



Sloane is confused here about Experimenter being the publisher (that was the famed Hugo Gernsback's outfit, the names are so close this is an understandable mistake, I'll be posting an issue of his French Humor later in this series when I get back to the French influence), but I think his dates for Flapper's Experience starting in early-mid-1925 and running through mid 1926 are about right. The only issues of Flapper's Experience I found in WorldCat holdings are in a women's collection at Bowling Green here and run intermittently from April 1925 to August of 1926.

A note also on Sloane, definitely disregard the end note that the publications are unrelated (as if you haven't being following the line I've laid out), Phil Love, in a 1925 issue of Comics and Movies which the Strippers Guide blog has reprinted here, includes in an informal resume that, "I got a job as staff artist with The Baltimore Times, now extinct. Later I went with a local commercial artist as an apprentice but soon decided that commercial art held no charms for me. I quit and went to Chicago as art editor and associate editor of The Flapper (later Experience, now Flapper's Experience) to which I had been contributing for some time." Also, in the issue I'm sharing today, in the My Greatest Thrill section, a young Flapper ties the two magazines together (I'll post that bit later, see the caption regarding a pink nightie).

One more tidbit from Sloane's index is that he mentions that in 1925 Flapper's Experience was declared undeliverable by the post office along with Film Fun, although both were found to be mild by judge and juries. This was probably part of a surge of indignation mid-decade regarding all these magazines I'm posting, and I'll have forthcoming posts on this moral backlash later in the series as well. Truly, there is little objectionable in Flapper's Experience as we'll see here as I move away from this boring bibliographical information that has surely put all but the most die hard of periodical detective to sleep. One last note before I go on, though. From all this guesswork I'm doing and from the scant library holdings of these periodicals, I hope I pass along the necessity for popular scanning of such magazines as the one I'm sharing today. Few, if any copies, of some of these magazines are held in libraries today, and if they are, they aren't nearly accessible enough given the technologies of the digital age. Today's issue of Flapper's Experience is the only issue I've ever seen on eBay, so the issue you might miraculously come across in your granny's attic of some old magazine might be the last one on Earth, so scan it and share it!

Anyways, I'll get off my soapbox and into the meat of this magazine and the ever-entertaining subject of the flapper. It's a different magazine in many ways from the issue I shared in the last post, though both are very authentic in their appreciation of their subject, the girls themselves.

I'll lead with one of the many photos from the magazine, much better printed than the few in the first issue I shared. A flapper-to-be? Pauline Zelznick, next to one of those puzzling cartoons.


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Flapper's Experience is less concerned than The Flapper in defining exactly what a flapper is, a couple of years having passed and America now having a good idea what kind of girl identifies herself as a flapper, the faddish aspect perhaps having passed but influence and type demonstrating staying power, bobbed hair and a "modern" attitude perhaps being the norm amongst the girls throughout the 20s, a decade given to faddishness (pole sitting, the aviation craze, the Charleston, playing the stock market, and many others). Amongst the fads, though, were many trends that would endure well into the century, particularly among women. Women would take up smoking, drinking in public (the illicit nature of the speakeasy broke the taboo of women at the rail), and most noticeably the fairer sex took to cosmetics in ways they never had before. In many ways, I find this counter-intuitive. The trends seem to me towards a more "ready to go", natural type of look. Gone were the corsets and brassieres; women might want to look boyish almost and avoid appearing fussy. But this was also a time of fashion an glamor as well as a period when advertising came into full bloom. Last time, I mentioned I'd been reading Frederick Lewis Allen's Only Yesterday: An Informal History of the 1920s, and he has an excellent chapter in there titled The Revolution in Manners and Morals that speaks to the coming of age of a generation that had rejected many of the old ways of thinking (probably the chapter I found most interesting and well-written, though I did also appreciate his take on the Florida real estate boom and the market meltdown of 1929, not so different from our own recent woes - overall, it's a great book). Allen writes of the cosmetics boom:



A couple of advertisements from the inner front cover demonstrate this new concern with cosmetics, I like the one for "Sheik Lure".



There are many mentions within the mag of "the sheik" type as different girls favorite type of man no doubt a reference to the immense popularity of the films of Rudolph Valentino. An offshoot perhaps of this increased use of cosmetics and the rise of fashion is a type found in many movies and stories from the 20s - the department store girl. So prevalent is she that Allen mentions her, too:



The department store girl shows up in this issue as the heroine of a Jack Woodford story, "Love and Nothing But." I rather like Woodford (though he is terribly uneven), perhaps the most prolific author from the girlie pulps who we've seen before on this blog here in his selection "Anybody Can Write a Sex Novel" from 10 Story Book and probably other places as well. I'll go ahead and put up the whole story, as it demonstrates a couple of common conventions from the romance pulps - a girl must choose between suitors, one wealthy and one not-so and also the surprise ending in which she gets to have her cake and eat it too.


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On the two pages above, you can see the photographs of some 20s flappers, certainly a key attraction in the magazine. The page above tells you that you are free to write any of the girls pictured, almost always in their bathing suits (please include 12 cents), and herein lies much of the charm of the publication, as a sort of hub for young people to share their stories and meet each other. The authenticity of the mag comes from the fact that most of the material is submitted by the readers themselves. In an age before online dating, this magazine served to hook up flappers and flippers (their male counterpart). You might even find your great or great great grandmother in here looking to find a man, oh my. Indeed, the main benefit of joining the National Flapper's Flock which we were introduced to last post seems to be meeting members of the opposite sex. The last pages of the magazine (sadly some are missing) are largely comprised of small-type entries of men and women in your area.

Beyond the superficial qualities of the flapper, it is perhaps her playfulness which she is most identified with, and the lead editorial dispenses sound advice in this department. Life's too short not to have some fun every day:


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The office secretary goes to the beach, jokes of various (usually low) caliber.


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A nice pages with some color of actress Shirley Dahl, surrounding art-deco style artwork from Donald Denton:

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In an era that saw an explosion of magazines in general and the singular explosion of the genre of confessions or true story magazines behind the success of Bernarr MacFadden's True Story, most stories in which were anything but true and written by staff writers, Flapper's Experience capitalizes on the trend and is made up of a more-authentic variety of true story, very brief stories submitted by readers, each of whom gets an Experience Annual if their story is printed. There are "Weird Happenings" in a decade that was very interested in ghost stories:



or "My Most Embarrassing Moment":



or "My First Kiss":



Some of the letters are good, some bad, some trifling and some not at all trifling. I think the editor must surely be contrasting the last two in "My Greatest Sorrow." I wouldn't care to wager whether either story is true, but one is a bit more weighty than the other:


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I like how the editors joke that they've bought a reader a nightie, scandalous:



There's not only pictures of Flappers in here, a couple of "Flippers" for the girls to write to:

Earle Klingensmith of Sheffield, Ohio


Oscar Klatt of Sheboygan, Wis.


2 reasons:



The back cover puns on the Charleston.


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Again, thanks to McCoy for the edit work and remember that you can grab better quality images directly from the scan than these that have been stepped on by the image hosting service or reduced in width by me here.

Enjoy the issue! So we've discussed the flapper as one ingredient of the girlie pulp, next time in this series, another key ingredient - SEX!?!?

The Flapper, June 1922

I lead with an image I can tell I picked up from Mr. Door Tree's fantastic blog. Here's Louise Brooks, Kansas girl, who helped to popularize the bobbed haircut reading an issue of Smart Set with a Henry Clive beauty on the cover. I'll blog on that magazine at some point, but for now she'll do as a nice leading photo, as I always love pictures of celebrities with magazines. Here the stylish magazine seems just a prop, I can't say whether Louise actually enjoyed the publication.

So I had been kicking around ideas about where to begin with the magazines of the 20s that birthed the girlie pulp. I've been re-reading Frederick Lewis Allen's Only Yesterday which I've read previously as a text for an undergraduate class on 20s cinema. It's pretty wild, I can't remember reading it as I go through even though I underlined and starred all sorts of bits that stuck out as I had an obnoxious habit of doing in younger days. I guess that's one of the joys of middle age, you can revisit a book and it's just as fresh the second time, geez. Allen's book was written just as the decade ended in 1931, upending the idea that history needs to settle a while before it can be chronicled and understood. I'm enjoying the read for sure, Allen packs in all sorts of happenings and thoughts on the decade and notices a lot of things that more sober histories might overlook. Looking back at the 20th century, the decades that immediately hop out as culturally turbulent are the 20s and the 60s, and the cultural revolutions of the 20s were compounded by revolutions in industry and were also influenced by the experiences of WWI and Prohibition. I recently watched Ken Burns' documentary, Prohibition, and have been slowly watching through HBO's Boardwalk Empire (which has many nice shots of period magazines) and still it's hard to grasp the mood of the 20s.

For magazine publishers, the 20s were the high point of production. Gerald Jones' Men of Tomorrow notes that at one point early in the decade, there were over 2,000 magazines in production, absolutely incredible. Smaller and smaller publishers were getting into the business exploiting markets too obscure or risque for the established industry at the same time intellectuals and enthusiasts of all sorts were publishing mags for a voracious public's reading appetites. At the beginning of the decade, radio was virtually unheard of, and movies hadn't gotten to all of America. Before the prevalence of the automobile (ownership tripled during the decade), more Americans entertained themselves at home. The simple fact is that Americans of that era read far more than we do today and print was the primary medium in which we sought entertainment . As a collector of all varieties of vintage magazines, it quickly dawned on me that the American public used to be far more literate, whether we're talking about a random farmer's magazine or The Saturday Evening Post. But, I've wondered off here. I'll be blogging about the 20s for a while in this series and maybe I'll manage to wrap my head around the decade a little better by the time I'm done, but today I want to start with one possible root cause for all the commotion, women.

The girls just went wild. Why exactly, I'm not exactly sure. At the beginning of the decade, it was improper to wear a dress 6 inches above the ankle and women were hardly ever seen smoking and never in a saloon. A couple of years later you've got girls in mini-skirts with short hair-dos hobnobbing it out in the speakeasies. Maybe it was the push for the vote that wakened the feminine spirit to do as it will, some righteous split from the older generation of suffragettes, some differentiation on the part of some girls from dour reformers that established Prohibition. Or maybe once breaking the taboos of prohibition, the girls thought they might break other taboos as well. Whatever the cause, thank goodness for the flapper, charming after all these years and a mainstay of the girlie pulp. The flappers have inspired generations of American girls do to their own thing. My six year old daughter was looking at some flappers dancing the Charleston on youtube last week and just loved what the girls were wearing and how frenetic they danced. Today, I offer up the first of a couple of scarce publications that give glimpse into the phenomenon and character of the flapper, an issue of The Flapper from 1922 and an issue of Flapper's Experience from 1924. Big thanks to my pal McCoy for the edits on both issues. The second one I'll post next time was horribly beat up, and he's got it looking very nice.

The Flapper v01n02 (1922-06.Flapper)(D&M)


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The office girls in flapper gear, stockings rolled and all.

Poised at the beginning of the craze, this magazine looks to be something of a national platform for Flapperdom. NOT FOR OLD FOGGIES. A flapper flock in every town. What is Home Without THE FLAPPER? Impossible! Here is the second issue of The Flapper published out of the windy city.

I don't know many details about the origin of the flapper craze, but there was previous use of the word to the 20s, and there were French and English flappers before the fad hit in America. This magazine looked to ride the wave of the popularity of this new kind of girl and was apparently for a short time successful. The back cover boasts of the demand for the first issue:


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Endorsements continue on the back cover and inside front cover, many quite hilarious:

"I really think THE FLAPPER should be a sure fire hit. It has class, dash and style, and you have put it over strong. Your stuff is keen." Gladys Arne, Cedar Rapids, IA.

"Venus de Milo was a neurasthenic, her stomach was out of place and she wasn't half as healthy or happy as the modern flapper." Dr. Thomas R. Thorborn, New York diagnostician.

"The fabled beauty of the Sultan's imperial seraglio cannot hold a candle to the American flapper" Fred W. Upham, treasurer of the Republican National Committee

"The present day girls is wonderful, and we older folks are mighty lucky to be here to look, see and admire. Our girls are not ignorant or kept in the dark as to the facts of life, but I maintain that they are innocent and pure at heart." Chaperone and mother

"The flapper is the most precious piece of femininity in the world. And I know. For I have seen the Paris flappers, the London floppers and the Genoan fluppers, to say nothing of the Berlin type. The young American girl is the same sweet, pure-minded girl that her grandmother was. She has self-assurance, though. That is the product of the times." Miss Lucy Fox, of the cast of "Sonny"

"Dealers in this city will not handle this kind of literature." F.E. Merritt and Son, Lansing, MI

"You remember the old sea stories of the king's navy when every ship's magazine was served by powder monkeys. Well, the new magazine started and served by Chicago flappers reminds us some how of the powder monkeys." Keith Preston, in Chicago Daily News

I love that last quote. The mixture of innocence and playfulness attributed to the flapper in these quotes speaks to dichotomy in the nature of the flapper, she is "pure-minded" or "innocent" but also knowledgeable of the "facts of life". Though a flapper might participate in a petting party, she is still that good American girl next door. Francis Smilby writes in Stolen Sweets on the American pin-up, "The fundamental difference between the French and the American girl in this genre can be summed up by one broad generalization: The sophisticated Frenchwoman is consciously pleasing, whereas the great American invention, the girl next door, is unconsciously pleasing. The girls on these covers are typically American. There is no way that any of them can have been European in concept, let along French...They positively glow with rosy-cheeked extroverted normality. They dive, they roller-skate, they throw balls about. They're active, athletic, bursting with enthusiasm and those grand old American virtues - vim, vigor, and vitality. Real get-up-and-go girls." Yet, in spite of this innocent appeal, it's fair to say that The Flapper knows what she is doing and is not-wholly apart from that other female icon the 20s, the manipulating vamp. The flapper character in many stories in the girlie pulps lead men along on a leash (or at least try to), and the first story in this issue, Paula Gould's "To Kiss-or Not to Kiss" shows a young flapper negotiating the desires of two men at a petting party, getting kisses and fun from a classmate while securing marriage to a rich older fellow. One of the more famous literary flappers of the day, Anita Loos' Lorelei Lee from Gentlemen Prefer Blondes, is most certainly a satire of a shallow flapper type. But the magazine gives its own definition:



The indicia page. David Sloane's index of humor magazines lists the Flapper Publishing company as being owned by S.A. Cousley. You can see how the photo reproduction in the magazine isn't the greatest but it is also one of the elements that gives the magazine its amateur appeal:


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The Flapper Beauty Contest! Notice that are no actual fashion requirements involved, the magazine is looking to cast a wide net and says, "Personally we think that a flapper is a flapper whether in street dress, bathing suit or "knickers". It's a sort of intangible vivacity about her that identifies the flapper from everybody else."


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Win the contest, get a chance at the movies?!! Hmm. But it happened to Gertrude Olmstead -



The magazine even provides pictures of the Studio and studio head that will allow the winner a tryout for the movies.



Just one hitch, you'll need to collect a number of subscriptions for the magazine (sneaky, sneaky):


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Also within, an account of the upstart "Royal Order of Flappers," a club that formed after the release of the first issue which the publishers decry as a "tool of commercialism" out to capitalize on the flapper trend, not an organic outcropping like their own magazine, heh heh. In retaliation, the magazine seeks to form its own "flapper flocks" and holds a meeting of the first Chicago Flapper Flock. Form a flapper flock of your own!


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The psychology of knees, America was finding out that girls do indeed have them



The Questionable Department, some cute letters pages:

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The conflict in Kansas mentioned on that last page gets more attention elsewhere. Being from Lawrence, Kansas, myself, I enjoyed reading about the controversy in nearby Vinland. Granny affirms that this isn't the first time in history that girls have cut their hair:

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That the influence of societal trends was finding its way into all corners of America is very apparent, and part of what made the 20s such a volatile decade was the tension between the big, wet cities of sin and rural America. It took me noticing the subtitle while thumbing back through the issue on the story by Myrna Servis, "A Country Flapper in the City, or How It is Done in The Movies" to realize that it is a send up of the standard Hollywood cautionary tale in which girl leaves home for the big city, is victimized repeatedly and finally returns home to a loving family and beau. This formula was used so often in the movies, it's fun to see that the girls knew the score.

What a great magazine, much more within so check out the full scan! I'll try and work out the details of the publishing history of this magazine and its relation to some other titles next time when I introduce a later publication, Flapper's Experience, but you can see the covers and some samples from the rest of what I believe to be a seven issue run from May 1922 to November of 1922 here on a Flicker thread. Sometimes I see all of the issues sold together (I had once wondered whether these were ever sold as a group originally), but they aren't too common. A single issue on eBay will often fetch 20 or 30 dollars. This is the only issue I own, but I'd like to pick up the others some day.