Our books on Amazon: the MEN'S ADVENTURE LIBRARY series...

Our books on Amazon: the MEN'S ADVENTURE LIBRARY series...
Click the image above for more information about our anthologies of men's adventure magazine stories and artwork

Monday, January 1, 2018

Talking with Eva Lynd about Steve Holland, Al Rossi, Richard Deming’s “KILL AND RUN NUDE” and more...

FOR MEN ONLY, July 1964, Al Rossi art, models Eva Lynd & Steve Holland WM2
Several years ago, I had the good fortune of becoming friends with Eva Lynd.

As I’ve noted in previous posts on this blog, Eva worked as an actress in a number of TV shows in the ‘50s, ‘60s and ‘70s, including THE STEVE ALLEN SHOW, THE GARRY MOORE SHOW, THE THIN MAN, PETER GUNN, THE TEXAN, HOGANS HEROES and CAGNEY & LACEY.

She appeared in many plays and several movies, including the cult films THE HYPNOTIC EYE and THAT LADY FROM PEKING, and in TV commercials (most notably as the famous Girl in the Brylcreem Tube).

She was a popular model for pinup photographers, whose photos of her appeared in scores of magazines. Eva also modeled for photographs used in ads, catalogs and album covers.

In addition, and of special interest to me, is the fact that she modeled for several of the top illustration artists who worked for men’s adventure magazines.

She was, in particular, a favorite of artists Al Rossi and Norm Eastman.

Rossi did many illustrations for the Atlas/Diamond MAMs published by Magazine Management, as well as many paperback cover paintings.

Eastman is the grandmaster of the OTT cover paintings used on periodicals in the “sweat mag” subgenre of MAMs.

Not long after Eva and I became pen pals, Eva sent me copies of some of the reference photos Al Rossi took of her for his illustration work and gave to her later.

Several of those photos show Eva posing with another men’s adventure magazine superstar, male model Steve Holland.

As noted in a recent post my writer pal Paul Bishop did for his blog (“STEVE HOLLAND—THE FACE OF A HERO”), Holland’s image was used by dozens of artists for thousands magazine illustrations and countless paperback covers – including James Bama’s iconic portraits of Doc Savage on the Bantam PB series.

Al Rossi photo of Eva Lynd & Steve Holland c1964 WMRossi and Norm Eastman both frequently hired Eva Lynd and Steve Holland to pose together for their illustration art and I always enjoy finding examples.

I’ve IDed the stories most of the Rossi photos of Eva sent me were used in, but not all. So, I’m always on the lookout as I browse through magazines that I buy.

Recently, while reading FOR MEN ONLY, July 1964, I made a major Eva Lynd and Steve Holland discovery.

It’s a story that has a whole series of illustrations by Al Rossi using Eva and Steve as models, including two that are based on Rossi reference photos Eva had sent me copies of.

The story, by the prolific writer of mystery and detective stories and novels Richard Deming, is a cool find in itself.

Titled “KILL AND RUN NUDE” in FOR MEN ONLY, it’s a “Book Bonus” version of Deming’s 1960 novel HIT AND RUN.

The original paperback edition has a classic Robert McGinnis cover painting.

The novel is an expanded version of Deming’s short story “Hit and Run” in the December 1954 issue of the great, noirish mystery magazine MANHUNT.

The main illustration in FOR MEN ONLY’s version, printed as a two-page vertical spread, is based on one of the Rossi reference photos Eva sent me, showing her and Holland. (Or at least it’s based on a very similar shot on the roll of film Rossi shot during that session.)

Rossi also created five small “spot illustrations” for the story that feature either Eva or Steve or both, including one that matches another Rossi reference pic.

When I scanned those illustrations and emailed them to Eva, she got a kick out of seeing them.

And, I got a kick out of asking her questions about her recollections of modeling for Al Rossi and posing with Steve Holland during several conversations we had about them.

Here are some of the things she told me...

FOR MEN ONLY, July 1964, cover by Mort Kunstler WM2MANHUNT, Dec. 1954 w Richard Deming HIt and Run WMHIT AND RUN (1960) by Richard Deming, Robert McGinnis cover

BOB DEIS: Do you recall seeing the illustrations in FOR MEN ONLY, July 1964 before I sent them to you, Eva?

EVA LYND: No.  I have not seen these illustrations before. This is very exciting! The opening illustration is based on a photo Al Rossi took of me and Steve Holland exactly as posed. And, another one is based on a photo he took of me doing a strip dance pose. I knew he used that one later for an illustration in ACTION FOR MEN in 1966 because you found it and sent it to me a while ago. But my face was slightly altered in that one. The other small illustrations in FOR MEN ONLY are also me, like the woman in the sundress with a gun to the guy’s head. I have that dress, in fact it is the same one I’m wearing in a photo Lester L. Krauss once took of me for a magazine or an ad. In the photo, I am full figure against a white, brick background. The sundress has roses on it.

Al Rossi photo of Eva Lynd c1964FOR MEN ONLY, July 1964 - Al Rossi art, model Eva Lynd 05a WM

BOB: Do you remember anything about the photo session you did with Steve Holland for Rossi’s FOR MEN ONLY artwork?

EVA: I remember this session very well. I even remember Al asking me to hop on the table and act as if I was going to do a strip tease. I’m also the girl sitting below in the drawing, and she looks even more like me than the image of the girl doing the strip. I have adjusted to the fact that illustrators didn’t always make exact duplicates of the model. Al was always clear about what he wanted and I always did my best to give it to him. Steve Holland and I knew how we both worked, and would just fall into poses together easily. I am sorry that he is no longer with us because I would have loved to be able to reminisce with him.

ACTION FOR MEN, Jan 1966, Al Rossi art, model Eva Lynd FOR MEN ONLY, July 1964 - Al Rossi art, model Eva Lynd 07a WM

BOB: You worked as a model for Al Rossi during two periods when you lived in New York City, in the late ‘50s and again in the mid-‘60s. What information would he give you for a shoot?

EVA: Since I worked for him quite often, he would call me directly and let me know what to bring for wardrobe. It seems to me that he always worked in his studio. I don’t remember if it was a house or not, or where it was, although I know it was in the city. In the studio, he would describe the scene we would be doing and who we were and what we would be doing in it, including what emotions our faces should show. With Al it was usually something dramatic or romantic, which would be easy. With Norm Eastman it would be women in severe danger and I would have to show the horror of it all without distorting my face. The face always had to look good and had to show the horror in a “pretty” way.  I was also very good at assuming the persona an artist wanted for an illustration drawing, as was Steve Holland, which is why we worked well together and why Rossi and Eastman used us together so often. I can only assume that the acting ability we both had helped a lot in doing the still photos.

Eva Lynd in sundress, photo by Lester KraussFOR MEN ONLY, July 1964 - Al Rossi art, model Eva Lynd 02 aWM

BOB: Was doing the reference photo sessions like acting out a scene in a movie or TV show?

EVA: Yes, in a way, except it would be more like stop-motion since we would have to hold still so the artist could get the shot and then change it a bit for the next shot. Al Rossi would usually take a roll or two of each situation to make sure he got what he wanted. That is why some of the reference photos I have may not be the exact image he finally used for his renderings, although some certainly were.

Eva Lynd publicity photo for the STEVE ALLEN SHOW, 1957That Lady From Peking, still with Eva Lynd WM1

BOB: Did Rossi and Eastman tell you in advance when you’d be doing a session with Steve Holland and what the scene would be like?

EVA: Since I pretty much always worked with Steve, I would just assume that it would be him. We worked well together. I know there were times that I worked with other men, but I can’t remember who they were because it would have been just once or so. The illustrators usually would wait to describe the scene until we got there. Al Rossi was a very easy guy to work with, as was Norm Eastman. I remember Al would always tell us to relax while he set up the next scenario.

BOB: Do you recall if you had met Holland through Al Rossi and did you ever hang out with Steve after a modeling session?

EVA: I don’t remember when I first met Steve Holland, but it was probably the first time I worked for Rossi. I had no idea that he was such a famous men’s magazine model. I also don’t know if he knew who I was. We never spent time together when we were not working, and I have no idea what his private life was like. I just know that we worked together incredibly well. When we were done with a session we went our separate ways. He and I would chat about this and that during the shoot, but he was always extremely busy, as you know, and would always take off for another session elsewhere after we were done.

FOR MEN ONLY, July 1964 - Al Rossi art, model Eva Lynd 03a WMFOR MEN ONLY, July 1964 - Al Rossi art, model Eva Lynd 04A WM

BOB: The standard fee for a modeling session was $25 an hour back then, which is the equivalent of nearly $200 in today’s dollars. That’s pretty good money. Did most sessions last about an hour?

EVA: Yes, $25 WAS a lot more per hour than I could have earned as a waitress, which I also worked as in the beginning. And, since we were paid $25 an hour, every illustrator tried to get as much into that hour as possible, so they didn’t have to pay for another hour. I remember Al Rossi would try to get as many storylines into that time as possible, as did all the illustrators. One session that comes to mind is the one in which that I posed for all the women in one illustration, which ended up in KEN FOR MEN, May 1957. When I worked for photographers the fee was the same, but if they wanted to go on location, they would usually try to make a deal for a lump sum, so they didn’t have to worry about the time it might take.

BOB: From what you've said to me in the past, it seems like you never really sought out the magazines that had illustrations or photos featuring you during the years when you were a model. Did you ever even look through any of the men’s adventure magazines Al Rossi and Norm Eastman worked for at the time?

EVA: No, I never looked for my work in any of the magazine, because it never occurred to me to do so, and I never knew where they were going to appear anyway. The illustrators didn’t have time to let anyone know either, if they even knew. My uncle found a lot of the photos of me in various magazines, and made a scrapbook for me, or I would not have had anything in print from that time at all. But, naturally he didn’t find everything either. It’s a lot of fun for me to find all these things now, such a very long time later. I probably appreciate it more now than I would have then, since it was basically only work for me, and I never thought about what the outcome would be. But I am delighted to see photos or illustrations of me I haven’t seen before. For example, a lot of pinup photos Peter Basch took of me during various sessions I did with him keep coming up on eBay.

KEN FOR MEN, May 1957, art by Al RossiPeter Basch photo of Eva Lynd color MPM

BOB: Yes, and they sell for quite a bit of money. I’ve bid on several and lost. And, many are not the final shots that were used in magazines or in Basch’s photography books.

EVA: And, it’s impossible to know from listings on eBay which illustrations in men’s adventure magazines have images of Eva Lynd inside, since there are no model credits listed. I know of many now, but some have yet to be found, like the ones you found in FOR MEN ONLY. So, I am therefore thrilled that you found those! Since you found them, I know you will also eventually find the one where Steve and I are on our stomachs crawling to the left, he with gun in hand. It has to show up somewhere eventually. I keep hoping it will appear.

BOB: Me, too! As you know, I posted it on my blog in a past post about you and a blogger named David Goode and his buddy Vance Capley made a cool faux movie poster with it, for the no-existent film OPERATION: RAGNAROK, starring Eva Lynd and Steve Holland. I’m posting a copy of the photo again with this conversation and hope that anyone who knows what magazine it was used in will shoot me an email and let us know. Thanks again for talking with me Eva!

Faux movie poster with Eva Lynd & Steve HollandEva Lynd c.2016

*     *     *     *     *     *     *     *     *     *

Comments? Corrections? Post them on the Weasels Ripped My Book Facebook Page, email them to me,
or join the
Men’s Adventure Magazines & Books Facebook Group and post them there.

Related reading and viewing…

Saturday, December 23, 2017

Ho! Ho! Ho! Men’s adventure magazines style…

MAN'S LIFE, Sept 1956, cover by Wil Hulsey, spoof MPM
Most of the more than 160 different men’s adventure magazines published from the late 1940s to the mid-1970s never featured holiday-themed covers for Christmas or any other holidays.

I guess most MAM editors thought holiday covers would be out-of-sync with the manly image of their mags.

There are a few notable exceptions.

Some issues of the top-tier, high-circulation MAMs ARGOSY and TRUE have covers that use either Christmas-themed cover paintings or photographs.

But I have often imagined what it would be like if other MAMs gave a nod to Christmas in their December issues.

So, over the years, just for fun, I have created some MAM spoof Christmas covers that I’ve posted on in the Men’s Adventure Magazines Facebook Group and on my Twitter feed and Flickr page.

This year, I decided to do a blog post featuring both some of the spoof covers I’ve made and some of the best real MAM Christmas covers.

I’ll start with my Christmas-cized version one of the most recognizable MAM covers of all and the one that inspired this blog and our first anthology in our Men’s Adventure Library series: the “WEASELS RIPPED MY FLESH” issue of MAN’S LIFE, published in September 1956.

If Santa Claus had been the hapless, weasel-bedeviled guy in that story (which is reprinted in our book WEASELS RIPPED MY FLESH), the cover (featuring artwork by Wil Hulsey, and Steve Holland as the model) would have looked like the spoof cover at the top of this post.

I also had some fun with the classic cover panting of killer coconut crabs by George Gross, which now resides in the collection of my friend Rich Oberg.

It was used on the cover of MAN'S CONQUEST, November 1956 and is even cooler than the magazine cover indicates, since the Art Director at MAN’S CONQUEST cropped it quite a bit for the cover.

If Gross had been asked to make a Christmas version of his artwork, with Santa Claus facing another killer creature threat, the cover of MAN'S CONQUEST, November 1956 might have looked something like my Christmas-cized version below.

In addition, the cover of our book collecting classic killer creature stories from MAMs, I WATCHED THEM EAT ME ALIVE, which also uses part of the Gross coconut crab attack painting, would have looked a bit different.

MAN'S CONQUEST, Nov 1956, art by George Gross MPMMAN'S CONQUEST, Nov 1956, spoof cover MPMI WATCHED THEM EAT ME book. Santa spoof MPM

Just for the fun of it, I’ve also used Photoshop to show what it would be like if Santa had been depicted as some of tough-looking characters on the covers of men’s adventure magazines; characters like the bazooka-toting GI on the cover of BLUEBOOK, July 1971 (original art by Mel Crair) … the pirate captain on the cover of SAGA, May 1959 (original art by Thomas Beecham) … and the Hairy Ainu snatching a woman on the cover of WILDCAT ADVENTURES, June 1960 (original art by Basil Gogos, who I’m sad to say passed away recently).

BLUEBOOK, July 1971, spoof cover MPMSAGA, May 1959 - spoof cover MPMWILDCAT ADVENTURES, June 1960, spoof cover MPM

And below is “Marine Sergeant S. Claus” basking in the awe of the islanders on the cover of STAG, April 1958 (original art by James Bama, for a story about “Marine Sgt. Wirkus”). 

Of course, I haven’t only used Santa himself for my men’s adventure magazine Christmas spoofs. In some, I just use Santa hats.

Here’s one using artist Samson Pollen’s original painting for a story in STAG, September 1968…

STAG, April 1958 - spoof cover MPMSTAG, Sept 1968, Xmas spoof version MPM

I’ve also put Santa hats on characters like the badass biker Earl Norem painted for the cover of MEN, October 1969 (one of the covers featured in our book collecting motorcycle gang covers and interiors from men’s adventure mags, BARBARIANS ON BIKES.

And, although the Grinch is certainly not in the same league with Nazis when it comes to being truly evil, I’ve made spoof covers that superimpose the Grinch on Nazi characters in scenes on the covers of magazines in the “sweat mag” subgenre of MAMs.

For example, I Grinched the cover of MEN TODAY, July 1964 and MAN'S STORY, April 1974. The original artwork on both of those covers was done by Norm Eastman. As he often did, Norm used my friend Eva Lynd for the blonde distressed damsels in the foreground. As regular readers of this blog know, Eva modeled for many artists and pinup photographers from the late 1950s to the 1970s and appeared in various TV shows and movies. My publishing partner Wyatt Doyle and I are currently collaborating with Eva on a book about her. It will feature MAM cover paintings and interior illustrations, glamour girl photos she appeared in (like the one at the bottom of this post), and many previously unpublished photos of her taken by top pinup photographers of the day and artists she worked for, from her own personal photo archives.

MEN, October 1969, spoof cover MPMMEN TODAY, July 1964 - spoof cover MPMMAN'S STORY, April 1974 - spoof cover MPM

As I’ve noted, you won’t find real Christmas covers on most men’s adventure magazines. The notable exceptions are TRUE and ARGOSY. Some examples of their Christmas holiday season covers are shown below.

December issues of both TRUE and ARGOSY from the late 1940s and 1950s feature Christmas-themed covers with artwork by top illustration artists. Artists like Tom Lovell and Bob Kuhn

TRUE, Dec 1948, cover by Tom Lovell MPMARGOSY, December 1950 - cover by Bob Kuhn MPMARGOSY, Dec 1955 - cover by Bob Kuhn MPM

...Walter Baumhofer, Fred Ludekens and Jack Dumas.

ARGOSY, Dec. 1954 - cover by Walter Baumhofer MPMTRUE, Dec 1955, cover by Fred Ludekens MPMARGOSY, Dec 1956 - Cover by Jack Dumas MPM

Two other great artists who did Christmas-themed cover paintings for TRUE and ARGOSY are Stan Galli and Ed Valigursky

TRUE - 1953 12 dec - cover by Stan Galli MPMTRUE , Dec 1954 - cover by Stan Galli MPMARGOSY, Dec 1959. Cover by Ed Valigursky MPM

Both of those magazines also featured some December issues with Christmas-themed photographs.

My favorites are those by world-famous photographer Arie deZanger. His almost look like paintings and use reflections in a masterful way.

But as a dog lover, I have a soft spot for the photo by Don Pendleton on the cover of ARGOSY, December 1961, which shows a cute puppy in a red cowboy boot.

ARGOSY, Dec 1963, photo by Arie de Zanger MPMARGOSY, Dec 1964 - Arie deZanger cover photo MPMARGOSY, Dec 1961, photo Don Pendleton MPM

Of course, thinking about Christmas photos from men’s magazines reminds me of Christmas photos of my two favorite pinup models, Bettie Page and Eva Lynd.

Speaking of Eva, an upcoming post here will feature some great men’s adventure mag illustrations by artist Al Rossi and a look at some of the reference photos he shot of her – along with recollections Eva has shared with me about working with Rossi.

Bettie Page Christmas photo (1955) by Bunny YeagerSHE, Feb 1958 - Eva Lynd, Christmas Centerfold MPM

Until them, here’s wishing you Happy Hollydaze from me and MensPulpMags.com!

*     *     *     *     *     *     *     *     *     *

Comments? Corrections? Post them on the Weasels Ripped My Book Facebook Page, email them to me,
or join the
Men’s Adventure Magazines & Books Facebook Group and post them there.

Some of the books I read in 2017, enjoyed and recommend…

Sunday, December 10, 2017

Q&A with Fanzine Publisher Justin Marriott...

EDITOR’S NOTE: I first learned about vintage paperback fanzine publisher Justin Marriott from my friend writer, editor and action/adventure media maven Paul Bishop (whose latest book is 52 WEEKS • 52 WESTERN NOVELS, a cool, lushly-illustrated guide to classic and new Western novels).

Paul posted an interview he did with Justin on his wide-ranging blog. He also posted news about the availability of Justin’s newest fanzines in two of my favorite Facebook groups, the Men's Adventure Paperbacks of the 70s & 80s group and the Men's Adventure Magazines & Books group.

Justin, who lives in the UK, began publishing his flagship fanzine THE PAPERBACK FANATIC in 2007. In the years some them he has added THE SLEAZY READER, PULP HORROR and my new favorite, MEN OF VIOLENCE, which focuses on men’s action/adventure novels, from the best-known, like Don Pendleton’s EXECUTIONER series, to obscure titles that I, for one, probably would not have heard of if not for Justin’s MOV fanzine.

Ironically, earlier this year, Justin had learned about my MensPulpMags.com blog and the anthologies of men’s adventure books I publish with Wyatt Doyle thanks to interviews Paul had done with us and posted on his blog.

Justin and I eventually linked up via email and discovered we had a mutual admiration for each other’s publications and research into the related realms of vintage paperbacks and men’s adventure magazines.

Justin’s fanzines are chock full of fascinating facts about authors and publishers. They include  insightful overviews of books that can lead you to new reading adventures – or save you time by making you aware that some are not your cuppa. Each issue is also nicely illustrated with cover scans and other photos, originally published in black-and-white in older issues, now in glorious full color in newer ones.

Justin Marriott, UK fanzine publisherIn Issue 36 of THE PAPERBACK FANATIC, Justin reprinted an interview Paul had done with Wyatt and I about our book BARBARIANS ON BIKES, a visual archive of men’s adventure magazine covers and interior illustrations that feature bikers and motorcycle gangs.

This past summer, when Justin asked if he could reprint a post I’d done about the late, great men’s adventure mag writer Walter Kaylin in MEN OF VIOLENCE, Issue 8, I was honored and happy to agree. (That issue also includes an excellent article by Paul Bishop about the gritty FARGO book series written by Ben Haas, under the pseudonym John Benteen.)
In the next issue of MEN OF VIOLENCE, Issue 9, Justin posted a very nice review of our collection of “killer creature” stories from MAMs, I WATCHED THEM EAT ME ALIVE. He also reprinted a blog post I’d done about the first issue of the men’s adventure mag BATTLE CRY.

Reading Justin’s fanzines has made me more aware than ever of the many connections between vintage men’s adventure magazines (MAMs) and men’s adventure paperbacks (MAPs). Those connections include more than just types of stories.

Men’s adventure magazines published hundreds of “Book Bonus” versions or excerpts of popular action, adventure, mystery and thriller paperbacks. And, many writers who wrote stories for or edited men’s adventure magazines also wrote action/adventure paperback books.

I ran across one example in MEN OF VIOLENCE, Issue 4. In that issue, Justin wrote about the Nick Carter novels penned by Martin Cruz Smith in the early 1970s, before GORKY PARK boosted him into the ranks of top-selling novelists in 1981.

In the late 1960s and early 1970s, Cruz Smith wrote stories for and worked as an Editor for several of Martin Goodman’s Diamond/Atlas MAMs. He used the name Bill Smith as an editor on mastheads of FOR MEN ONLY and ACTION FOR MEN. He wrote stories for those and other Mag Mgt. mags under the names Martin Cruz and Tom Irish.

Another article in MOV 4, also by Justin, is about one of the great pulp fictioneers, Lou Cameron. Cameron was a regular contributor of stories to men’s adventure magazines. He also wrote scores of action/adventure paperbacks under his own name and under various pseudonyms (Tabor Evans for the LONGARM adult Western series and Ramsay Thorne for the “Captain Gringo” RENEGADE adult Westerns).

Most of the top men’s adventure magazine artists, such Mort Kunstler, James Bama, Gil Cohen, Bruce Minney, Samson Pollen and many others, also did cover paintings for paperbacks in the ‘50s, ‘60s and ‘70s. 

MAMs and paperbacks are also connected by publishers and editors. Some day, Justin, Paul, Wyatt and I should work together on an article about those various connections.

I recently emailed Justin some questions about his fanzines and his future plans for them.

I was intrigued by the fact that he’d started selling print copies of them on Amazon, which is very good news for his readers in the US and elsewhere.

SLEAZY READER, Issue 4 wmPULP HORROR, issue 5 frontMen of Violence Issue 2 wm

Previously, he published limited runs of each issue and shipped them by mail from the UK. Most issues sold out quickly. You had to be on your toes, and a bit lucky, to even get copies. Now, using CreateSpace, Justin has made his fanzines accessible as Print on Demand publications worldwide.

Below is my Q&A with Justin, illuminated with scans from his fanzines. For an even more in-depth interview with him, click this link to Paul Bishop’s blog.

BOB DEIS: What made you decide to start publishing your fanzines via POD on Amazon and what has been the reaction from readers?

JUSTIN MARRIOTT: Although I had been resisting POD for a number of years, because it just seemed at odds with the fanzine culture I was most familiar with (horror film zines from the 90s in which you sent off coins sellotaped to a card and a SAE and then waited to see what, if anything at all, come back), in my heart of hearts, I knew it was a case of when rather than if. The price of international postage was a key driver – it was costing nearly five times more to post MEN OF VIOLENCE from the UK to the USA than it was to print it – which was making it more and more difficult to offer the zine at an accessible price. Lack of time on my part to be promoting the zines and then fulfilling them was also becoming a greater obstacle.

But the kicker for me was the low numbers of copies I was selling relative to the quality of the material I was publishing (I’m talking about pieces and articles from contributors, rather than boasting about my own workman-like writing) and I felt I owed it to the contributors who were evidently putting a lot of time and effort into their pieces, to present their works to a wider audience than I was currently achieving. To an extent this limited audience was a self-fulfilling prophecy due to me not having sufficient time to effectively promote the zines. I knew I needed to evolve.

PAPERBACK FANATIC, Issue 34 wmPAPERBACK FANATIC, Issue 36 - Dark Angel wm

My road to Damascus moment was courtesy of Paul Bishop, who is both an author and a leading voice in on-line forums dedicated to vintage paperbacks. Paul encouraged me in a positive way to explore POD. Prior to that, various on-line posters had lambasted me for not using POD and making the zines available to suit them when they fancied dipping in and out, typically spouting tosh about business models and commercial benefits. My day job is all about business models and commercial benefits, so this “advice” wasn’t really needed or relevant. I don’t self-publish zines in my spare time for the financial benefits (I don’t think anyone does, or soon realizes there are none). It’s just something that I’ve always done. My parents used to have a folder of all of the comics and fanzines I produced when still living at home – and I think it’s something I will always do. Unlike others dispensing their pearls of wisdom via social media, Paul had the right combination of being able to talk from experience and being able to relate to me why POD could fit in with my own philosophy when it came to self-publishing.

Once I tried it, I soon went from dipping my toe in the POD water with a reprint of an out-of-print issue of MEN OF VIOLENCE, into diving in head-first, and from now on all of my zines will be exclusively through POD. I do have some concerns that the quality is not the same as traditional print, but the simplicity of Amazon fulfilling all orders compensates for this, as I now have more time to focus on the quality of the writing and design.

MEN OF VIOLENCE, Issue 9 wmMEN OF VIOLENCE, Issue 9 p2&3 wm

US readers have responded positively, whether that is existing readers appreciating the reduction in cost and increase in convenience, or new readers who would have never ordered a zine directly from me but trust the Amazon brand. UK readers are less enthusiastic at this stage, but I’m guessing the barriers POD has removed were mainly for overseas readers.  Certainly keeping titles in print is seen as a positive thing by new readers who can pick them up whenever they hop on.

One thing that is interesting to me, is that I receive much less correspondence from Amazon customers despite listing my e-mail in the zines and asking for correspondence. I theorize that ordering through Amazon rather than from me as an individual brings a different dimension to the editor/reader relationship. The pre-POD readership of the FANATIC have been on board for many, many years now, so I felt like we were a collective of some sort and I kind of knew who my readers were. Now I have no idea for the most part!  I’ve also noticed that people are more likely to post a picture of the mag on social media and comment there, putting it on public display, rather than writing to me directly. I think I like it as it spreads the word, but it strikes me that ten years ago fanzine editors would have been saying no one sends them handwritten letters anymore and it’s all email. It just shows how trends in communications and interactions are evolving all the time.

BOB: Are you planning to eventually reprint all of your past issues in POD format? There are so many fascinating articles in them that I know would be interest to fans of the books Wyatt and I publish. By the way, I’m always amazed at how many overlapping interests you and I have. For example, you wrote an article for Issue 35 of THE PAPERBACK FANATIC that focuses on vintage paperbacks about Sasquatch, Bigfoot and other legendary manlike monsters. That’s one of my favorite topics, as you know from our book collecting classic monster stories and artwork from men’s adventure magazines, the CRYPTOZOOLOGY ANTHOLOGY. And, in PULP HORROR, Issue 5 you’ve got an article about the Italian fumetti adult comic books, which have wild bondage and torture covers that are similar to the men’s adventure “sweat magazine” subgenre.

JUSTIN: I think I will redo all of the issues of MEN OF VIOLENCE eventually, and am currently starting to dig books out my shelves at the moment to start rereading and scanning for a reprint of issue two. But in total I’ve published nearly 60 fanzines dedicated to vintage paperbacks over the last decade, so it’s unlikely I’ll bring them all back, mainly because it would take so much time to move them into the POD formats I wouldn’t get a chance to work on new stuff.


Also, I am not a natural “completer/finisher” which means I have to be very disciplined about finishing the last 10% of any issue (this is why the mags contain more typos and SNAFUS than they should – I just lose the mojo at the final stages of production) and as a result, normally hate an issue by the time it is published and never want to see it again. I’m all about the buzz of prepping the next issue. So the thought of having to face them again, is not an appealing one to me.

And as my writing has changed hopefully for the better over the years, I couldn’t just republish the older material as it was and would feel compelled to rework it. That would gobble up time I would rather spend looking forward at new material and projects.

BOB: Will all of your future issues be in POD only, or will you also continue to sell print copies directly via your website?

JUSTIN: My four current zines – THE PAPERBACK FANATIC, THE SLEAZY READER, PULP HORROR and MEN OF VIOLENCE – are all POD only from here on in!

BOB: In the past year, you seem to have shown an increasing interest in men's adventure magazines. What views and observations do you have about them and their connections to the vintage paperbacks you feature in your fanzines?

A few years ago I started to run a regular feature in THE PAPERBACK FANATIC entitled “Artists Assemble” which focused on artists that although known for their paperback covers, also worked in other medium such as comics and magazines. It soon became apparent there was a material crossover into the men’s adventure magazine field, with some of my favorite paperback artists such as Earl Norem, Mel Crair, John Duillo and Bob Larkin, also doing their stuff for the MAMs.  From there I also started to look at authors that worked in more than just paperbacks, and again was surprised at the crossover into the MAMs. Dean Ballenger, author of one of my favorite men’s adventure series, is a great example as he was prolific in the MAMs. The thought of all that undocumented material, as most MAM coverage is focused on the cover art, is an exciting one. I feel that way about the interior art, with snippets I’ve seen in magazine ADAM, admittedly more a girlie mag rather than MAM, also deserving of more coverage and analysis. 

PULP HORROR, issue 5 WMPULP HORROR, issue 5, Fumetti

I have a blurred picture in my mind of the 1960/70s paperbacks that I adored from lower-rung publishers being the successors to the MAMs with their lurid packaging and near-to-the-knuckle themes. The picture is blurred as I know little about the MAMs, but this is where your blog and books are like pixelated slices of heaven for me. The examples you’ve run of dummy paperback covers on MAMs and the extracts of books they ran, often retitled to fit in with the MAMs, strike me as a potentially fascinating chapter of paperback culture that deserves greater coverage. I’ve got no intention of treading on your toes Bob, nor can I match your collection and knowledge, so I hope I can lure you into contributing more to my zines on the subject. 
BOB: Absolutely! I’m in! By the way, who are some of your favorite writers and artists in the realm of action/adventure paperbacks and men's adventure mags?

JUSTIN: I’m always reticent about offering my recommendations as I tend to be slightly skewed in my view of their worth. I read so many paperbacks as research for the zines that I can get a bit jaded and therefore the more outrageous and whacked-out stuff tends to grab my attention, rather than well-crafted and slick material. And also, I take notice of technical accuracy at all.  I never understand why fans of men’s adventure or western fiction can get so hot under the collar about trigger actions on guns or bullet velocities. If you want challenge lack of reality in your fiction, why not also pick up on the fact the hero manages to survive endless shoot-outs, escapes any situation not matter how tricky, is a hugely-endowed stud with an endless array of beautiful women throwing themselves at him, never goes to the toilet or eats, and so on. I never quite get why it’s the weapons that is the sole focus in terms of the need for accuracy.

I think I can recommend without hesitation the works of two British thriller writers – Desmond Bagley and Jack Higgins. Anything by Bagley, but suggest RUNNING BLIND or HIGH CITADEL as high-points, and any early Higgins before he started repeating himself.

MEN OF VIOLENCE, Issue 4 wmMEN OF VIOLENCE, Issue 6 bd wm

In the men’s adventure category, it’s definitely the more outrageous stuff I gravitate towards: the GANNON trilogy by Dean Ballenger [wonderfully reviewed by paperback maven Joe Kenny on his great Glorious Trash blog]. In the GANNON series, Ballenger channels Mickey Spillane for a trilogy containing bizarre slang and brutal violence perpetrated by a psychotic Robin Hood type. I also like the gritty and nihilistic Keller books by Nelson de Mille in which the suburbs of New York City are the major characters; and the TNT series by Doug Masters at Pinnacle, which were translations of an O.T.T. French pulp series which is comic-book in tone.

For westerns, I would call out the FARGO and RENEGADE series, which I think transcend their genre roots, although RENEGADE in particular may be too cynical and explicit for some tastes. And as a UK citizen, I need to call out one of the western series from these islands, and choose HERNE THE HUNTER, which was never published in print format in the US to the best of my knowledge. One of the later entries riffs on THE TEXAS CHAINSAW MASSACRE! [EDITOR’S NOTE: The Herne series is now available in Kindle format.]

BOB: I’m also a fan of the FARGO series, which Paul Bishop turned me on to. By the way, Samson Pollen, one of the great men’s adventure magazine artists, did cover paintings for the RENEGADE paperbacks. Are there certain websites and reference books you use regularly to do your research on vintage paperbacks?

JUSTIN: Oh yes! And they are very useful in making me look far more knowledgeable than I really am, so not sure if I should reveal them… but seeing as it’s you Bob….

Online resources I typically refer to include Bookscans.com, Pulpcovers.com, Lynn Munroe’s website and book catalogs and the Vault of Evil: Brit Horror Pulps forum.

Fanzine-wise there is Gary Lovisi’s PAPERBACK PARADE which is fast-approaching is 100th issue, the out-of-print BOOKS ARE EVERYTHING [published by R.C. & Elwanda Holland], COLLECTING PAPERBACKS [published by Lance Casebeer] and the PAPERBACK QUARTERLY.

MEN OF VIOLENCE, Issue 8 wmMEN OF VIOLENCE, Issue 8 - Walter Kaylin obit

Books include Graham Holroyd’s PAPERBACK PRICES guide and HAWK’S GUIDE TO PSEUDONYMS.  For inspiration I turn to XEROX FEROX, which includes a block of interviews with editors of 1990s horror film fanzines.

I have been caught out in the past by believing everything that is listed on Google, so I now tend to ensure any information can be verified by two separate sources, although even recently I stated something about Harry Whittington’s career and when asked about it, have struggled to locate my original source. So I’m still a work-in-progress. 

BOB: I'm amazed at and envious of your output. Do you still have a regular job full time? How do you find time to do all the research, scanning and layouts for your fanzines, and how long does it take you to put together an issue?

JUSTIN: Thanks for the kind words. To be honest, I can’t think of any words to describe it other than an obsession. Hopefully on the healthy side of obsession, but still a burning, irresistible, all-consuming compulsive obsession. Hopefully I’ve painted a picture for you?

I do have a full-time job, working as a project manager in the Digital division for one of the UK’s largest companies. I’ve worked at the same company since I left school! And I also have a young family, which is my absolute priority. So zine-time is limited and I try to be disciplined in my approach to pulling together an issue.

Basically I spend a couple of hours each night working on the zines – all elements from research, writing, scanning, editing and correspondence. I have music on in the background, but otherwise I totally focus on the job in hand. In my day job I am used to pressure and tight deadlines, so I just carry that focus and work ethic over into my fanzines. Whereas I guess normal people spend the evening watching Netflix or funny cat videos on You Tube, I spend it putting together small-press zines. It’s something that is part of who I am. The main downside is that when I do occasionally have a night where I do watch funny cat videos on You Tube, I feel extremely guilty and frustrated that I’ve wasted a few hours that I could have spent preparing a new issue.


I am always quite surprised at how quickly I can pull an issue of MEN OF VIOLENCE together. The writing style is looser than my other zines, and is often rawer and more irreverent, which I think reflects the books I cover. Whenever I get writer’s block, I just move onto a different article and so on. So typically, I have five articles on the go simultaneously and flit between them as the mood takes. This is why I don’t have a publishing schedule. I just put out whatever title just happens to come together at a particular point. I’ve also developed a bit of a shorthand for the layouts which takes me less and less time these days. I still think it’s the area in which I can make the most progress, but don’t ever want my zines to ever resemble an over-designed coffee-table book.   

I have also had to be sensible in reducing some burdens by inviting more contributors on-board so there is a ‘team’ that I know I can rely on and accepting help from Jim O’Brien who as Assistant Editor for most of my zines does a lot of unsung grunt-work in proof-reading the zine and copy-editing my articles. There are others who do their bit with promotion and supplying of imagery, and I am often humbled by how helpful people are and willing to share their knowledge. The zines wouldn’t be as regular if not for them.

BOB: In the interview you did a while back with writer Paul Bishop, you mentioned you might start a new fanzine about vintage Western paperbacks. Is that on your to do list for 2018?

JUSTIN: I have been promising myself for a few years that I would publish a zine dedicated to Westerns, but my normal sounding-boards have all advised me it would be a disaster. This has only increased my determination to do it, but HOT LEAD (as it is provisionally titled) has never got to the top of my to-do list.  However, with Paul on board as a contributor who is both knowledgeable and an excellent writer, I now feel as if I have a co-conspirator and hope to be able to publish a first issue in 2018. The western genre fascinates me, as it’s never been critically acclaimed but has out-lasted pretty much any other category of genre-fiction. When I visit used book stores (not as often as I would like due to lack of time and used book stores) these books are becoming thinner on the ground, so someone out there is buying them. But not many are prepared to ‘fess up. So the whole concept of a fanzine dedicated to this maligned yet enduring genre of books is hugely appealing to me.

BOB: Wow! A Western fanzine with you and Paul at the helm will definitely be cool! I look forward to it and have many examples of Western stories and artwork in men’s adventure magazines you could tap if you want. Thanks again for talking with me, Justin – and for your great zines.

*     *     *     *     *     *     *     *     *     *

Comments? Corrections? Post them on the Weasels Ripped My Book Facebook Page, email them to me,
or join the
Men’s Adventure Magazines & Books Facebook Group and post them there.