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

Our books on Amazon: the MEN'S ADVENTURE LIBRARY series...
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Friday, January 21, 2011

Interview with artist Gil Cohen: Part 3 – The Magazine Management years and beyond...

Part 3 of my interview with Gil Cohen, an artist who once painted hundreds of cover paintings and interior illustrations for men’s adventure magazines, picks up after he was discharged from the Army in 1956. If you missed the previous installments, click this link to read Part 1 and this link to read Part 2.

COHEN: When I got out of the Army, I went to New York and got lucky, and did work for a lot of the men’s adventure magazines. It was a great time for a young artist to get work in New York. There was a lot of illustration. There were so many magazines back then, not to mention a lot of work for ad agencies. One of my biggest accounts was the Magazine Management company.

Magazine Management published many of the best and longest lasting men’s adventure magazines, like Stag, Men, Male, For Men Only, and used many great artists, like you, Mort Kunstler...

COHEN: Yeah, when I delivered artwork or picked up assignments at the Magazine Management offices, there were often other artists waiting to get in, too, and I’d talk with them. I met Mort Kunstler, Jim Bama, Charles Copeland, who was a very nice guy, and Bruce Minney, another very nice guy. I got to know those people. And, Bob Schulz, also real nice guy. Very talented, too. Harry Schaare...

It’s truly amazing how many great artists worked for the men’s adventure magazines.

COHEN: Not to mention the writers. You know Bruce Jay Friedman and Mario Puzo both worked for Magazine Management back then.

Yes, I’ve written some previous posts about Friedman and Puzo on the blog.

COHEN: Now, I have to say, and I don’t think I mentioned this in my book [Gil Cohen: Aviation Artist], the art director there was the most wonderful man, by the name of Larry Graber. In many ways he mentored me. You expect some kind of a gruff New York type sonofabitch to be the art director. But he was the nicest man you’d ever want to meet. A very gentle soul. He was a World War II veteran, and when I first met him I think he said he was 42. I would have been in my late twenties. My period working for Magazine management started in the spring of 1956 and eventually ended in the early ‘70s.

The men’s adventure magazine genre was fading away at that point.

COHEN: Exactly. And, I was moving on to other kinds of art, like books covers.

You told me your first men’s adventure magazine illustration assignment was an interior duotone for Real. After you started working regularly for the men’s adventure mags, did you have any preferences in terms of the types of assignments you got or which magazines you worked for?

COHEN: Well, I did a lot of interior illustrations and, as I’ve said, I really loved doing duotones for interior spreads. But covers paid more. About twice as much, or in that area. Some magazines, like Argosy and True, paid more than others. They were more upscale and had higher circulations than the Magazine Management magazines. But Magazine Management kept me very busy.

Clearly! I think just about every issue of Stag, Male or Men from the late 1950s to the mid-1970s features a cover painting or interior illustration by you.

COHEN: Another magazine I worked for was Saga, and I think my first illustration when I got out of the Army was for Adventure magazine. That was put out by Popular Publications, which also published Argosy. As you know, Argosy originated as a pulp and a lot of people are confused about the definition of a true “pulp magazine.” Sometimes people say to me: “You used to do pulp magazines, didn’t you?” I say: “No, I didn’t do pulp magazines. Pulp magazines were dying out at the time I became an illustrator.”

The all-fiction digest pulps that were published from the 1920s to the early 1950s?

COHEN: Yes, that’s a different genre than men’s adventure magazines, though the men’s action-adventure magazines certainly came from the pulps. Their antecedents were the pulps.

That’s why some people, including me, sometimes refer to them as men’s pulp magazines. Adam Parfrey called them the the “postwar pulps” in his 2003 book about the genre, It’s a Man's World.

COHEN: It’s sort of funny to me, because back in 1994 when the movie Pulp Fiction came out all the young people loved it and latched on to the terms “pulp” and “pulp fiction,” but many had no idea where those terms come from. No idea whatsoever.

Those terms also get applied to the whole genre called pulp paperbacks, which you painted a lot of covers for. The pulp paperbacks and many of the men’s adventure were printed on a cheap, pulpy paper, though it wasn’t the same heavy, coarse pulp paper used for the classic pulp fiction magazines, and they had a lot of over-the-top cover art and stories like the old pulps.

COHEN: I remember liking those old pulp magazines when I was in high school and in art school. I was definitely a fan. I was also a fan of what later came to be called film noir. I loved those movies growing up. I flipped over those movies. I still do. I have a modest collection on DVD. I love movies. Movies definitely influenced my work in a very big way.

A lot of your paintings for the men’s adventure magazines look very cinematic.

COHEN: Oh, yeah. My early art influences were popular illustrators of the time. After a time, I also began to be influenced by Nineteenth Century painters, particularly some of the American Nineteenth Century painters, like Winslow Homer and John Singer Sargent. And then, by painters who came before them, a lot of the European Renaissance painters, like Caravaggio. I just love his way with chiaroscuro, the play of light and dark. And you see that effect in film noir. So, a lot of my influences, visually and painterly, and more and more in my recent work, have been being great Nineteenth century and classical painters. But on the other hand, compositionally, the influence is film.

I know the magazine art directors generally gave artists the directions for illustrations. Did they ever ask you to read the stories you illustrated?

COHEN: (Laughing.) No, thank God.

Once you got an assignment, did you always give the art director an initial sketch?

COHEN: Oh, yes. You had to.

Did you use live models?

COHEN: Yes. I took photographs of models. But not at the sketch stage. In the sketch stage I made up the figures, with very few exceptions. When it came to the finished painting, very often I would pose myself for the male figures. That didn’t cost me anything. I was free and always around. I would set up a Polaroid camera on a tripod and I would use the self-timer, which gave me 10 seconds to get in place and do the pose. If it didn’t look good, I’d do it again until I got what I wanted. Eventually I realized that was very hit or miss. 10 seconds didn’t really give me much time. So, I got one of those rubber bulbs with a long cable attached to the shutter release. Then I could just take my time, set myself up and, when I was ready, squeeze the bulb and take the picture. That worked out a whole lot better. (Gil laughs, then says jokingly...) The only problem is that, if you look at my illustrations, many of the guys have their right hand in a fist, as if they’re holding something.

You also uses female models?

COHEN: Yes, of course. You had to. I could pose myself and make myself into any race, any height, any age, except a kid. I couldn’t make myself a boy. And, I couldn’t make myself a female. When I needed reference photography for women, I would photograph real live female models.

What was the going rate for a model?

COHEN: Back then it could be $25 an hour. It could be higher. By the time I was doing romance book covers in the 1980s the models were getting $100 an hour. 

Didn’t that take a bite out of your fee?

COHEN: Not from me, at least not on book cover assignments. The publishers paid for that. They wanted to make sure the artists didn’t do anything dumb, like copy a photograph that somebody could make a claim on. They wanted to know you used legitimate models and that it was paid for.

Did the men’s adventure magazines pay for models?

COHEN: Not normally. It was catch as catch can with them.

Did you usually get your original artwork back from the magazines?

COHEN: I got back most of the art I’d ever done. Not everything. At one point in the 1970s, I had hundreds and hundreds of paintings and illustrations I’d done for men’s action and adventure magazines and decided to get rid of nearly all of them. And, so I sold them very, very cheaply. You might find this hard to believe. In the mid-1970s, when I was no longer doing that work, and I wanted to get rid of it, my older brother owned a hardware store in Philadelphia. And, he said to me: “Supposing I set up a bin in the back the store, where people can browse and look at the artwork, and if I put on real cheap prices, you know, you can sell ‘em.” And, at that point I said OK – and I’m sorry I did. A lot of my original paintings you see on the Internet today came from that hardware store bin in Philly originally.

Oh, man! And now those paintings are selling for big bucks on eBay and the Heritage Auction Galleries website.

COHEN: Yeah. And, a lot of them probably came from the sale at my brother’s hardware store. I regret it today, but at the time I just didn’t want to look at them or store them anymore.

Wow. I wish I could have been there. I recently saw an original 16 by 24 inch duotone painting that you did for For Men Only magazine in the 1960s on the Heritage Auction site. It shows a guy hung up on the wall of a carnival-like shooting gallery being shot at by a clown. It sold for a lot of money. 

COHEN: Yeah, I remember it. That was a weird one. Of course, the prices I get today for my aviation artwork is far beyond any of that. But I worked my way up to this point. In the early ‘90s I stopped doing regular commercial illustration. I had done that for decades — magazine art, book covers, movie posters. And at that point I felt I needed to pursue some of the things that are closer to me as far as my own loves are concerned. One of them is aviation history, particularly World War II and before.

Well, Gil, I greatly appreciate you talking with me about the days before you were a famous aviation artist.

COHEN: You’re welcome. And, remember, make sure you tell people I’m still active.

Of course. And, I hope I’m still as active as you when I’m 79 years old.

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Comments? Corrections? Post them in the Men’s Adventure Magazines Facebook Group.

Further reading about some of the great artists who once worked for men’s adventure magazines…

Thursday, January 13, 2011

Interview with artist Gil Cohen: Part 2 – Gil’s first men’s adventure magazine assignment…

Here’s the second part of my interview with Gil Cohen, the renowned aviation artist, book cover artist, movie poster artist and illustration artist.

You did a huge number of cover paintings and interior illustrations for men’s adventure magazines from the mid-Fifties to the mid-Seventies, Gil. How did you get started working for them?

COHEN: In 1953, after I graduated from the Philadelphia Museum School of Art [now part of Philadelphia’s University of the Arts], I found out very quickly that Philadelphia was not the place for me to pursue the kind of illustration I was doing. It was a very busy place for publication, but not generally for the kind of work I did. Incidentally, however, one of the first places I took my work to was The Saturday Evening Post.

The Post had its editorial office on Independence Square in Philadelphia.

COHEN: Yes, that’s right. I made an appointment with the art director, and took my portfolio. In those days, artists took examples of their original work, in a case, and showed them to the art directors. It sounds arcane today. I took the elevator to the Sixth Floor, got off, went to the outer office, went to the secretary and told her Gil Cohen has an appointment with the art director, Frank Kilker. And, she said, “Oh, yes. Can you wait a few minutes?” And, I sat down and what am I staring at? Norman Rockwell paintings! Original Norman Rockwell paintings on the wall. Well, if that isn’t intimidating for a 21 year old kid. So, I’m staring at these paintings and there was one in particular that was famous, a big painting of one of his covers that you might recall — the diner, where you have a big heavyset cop sitting next to a kid at the counter.

Yes, I know that Rockwell painting. I actually featured it in a previous post on this blog.

COHEN: Well, that’s the one I was looking at and I started thinking, why am I here? Anyway, I showed my work to the art director, he looked at it and he said: “Young man, your work needs polish. Come back in a few years.” So, in the fall of 1953 I went to New York, with my portfolio and stayed at the ‘Y’ with a couple classmates of mine. We were all going around with our portfolios. And, I was striking out, though I got some great advice from a couple of art directors. But I kept striking out and then finally I called on Real magazine and I showed my work to the art director, a youngish guy that I think might have been in his thirties. And, he looked at my work very quickly and he said: “OK look, Gil, we need an illustration for a story about some Indians and mountain men and I might want to give you the assignment. Are you interested?”

I assume you said '”yes.”

COHEN: (Laughs.) Yeah, but I didn’t want to drop on the floor or anything and seem too eager. I kept my dignity and I said: “Yes, I think I might be interested in that.” And, that was my first illustration assignment. A double spread for the February 1954 issue of Real magazine.

You mentioned that illustration in the book Gil Cohen: Aviation Artist, but it’s not shown. I actually have that issue and I love the illo. It’s for a story titled “LAST SPREE OF THE MOUNTAIN MEN” by Joseph Millard. He wrote a lot of magazine stories and novels in the Fifties, Sixties and Seventies, including quite a few westerns, like the “Man With No Name” series of novels based on Clint Eastwood’s spaghetti Western movies.

COHEN: I’ll tell you something else about that illustration that’s not in my book. When I started working on it, I went to my good friend Isa Barnett, the great illustrator. Isa was in his early thirties then and was already a well-known illustrator. And, he was a stickler for authenticity, particularly Native American authenticity. I explained to him that the story I was illustrating for Real was about these Nez Perce Indians who are riding horses through a frontier town, and on some of the horses are their squaws, who they were selling out as prostitutes to the drunken white frontier guys. That’s what they wanted me to illustrate. I only had two weeks to do this, and it dawned on me that this is not an easy painting to do, with a lot of people. And, here I am, it’s my first assignment for a spread in a national magazine. Well, I did the rough initial sketch, following Isa’s suggestions. And, in it I gave the Indian women some dignity because I felt native Americans should be shown that way, with dignity, sitting upright on their horses. Then I sent the sketch to the art director. Today, you just email a sketch. Back then, I had to get a photostat made, which if you were lucky could be done in a few hours, then you had to take the photostat, put it in an envelope and send it special delivery and hope it’d arrive in New York City the next day.

You had gone back to Philly at that point?

COHEN: Yes, living with my parents. I’m there waiting on pins and needles for a response from the art director on the rough sketch. And, he calls me back and he says: “Look Gil, you don’t have it here.” He said emphatically: “We wanna see tits and ass.” I said “What?” He said: “Look, we wanna see a lotta sex here. You don’t have any here.” I started naively talking about the dignity of this tribe. He said: “I don’t wanna hear any of that shit. What we need here are tits and ass! So, when you do the finish, how about having her really leaning over, the girl in the foreground on the horse. She’s leaning over and teasing one of the frontier guys, maybe rubbing his hair or something like that, so you see cleavage.”

That’s funny!

COHEN: Yeah, but it scared the hell out of me at the time. In those days, I couldn’t paint a beautiful, sexy woman to save my life. I really couldn’t. And, to make matters worse, I had just received a letter from Uncle Sam, saying I’m about to be inducted into the United States Army. I had been deferred for four years of art school, but now they were ready to take me. I was to report for duty the on day that was the deadline for delivering the Nez Perce painting to Real. Well, I knew I couldn’t go deliver it that day, I had to go deliver it the day before. So, I did the illustration. I took the train to New York. I went to the Real magazine offices and showed the art director the painting. I had knots in my stomach. And, the art director looked at it, and he looked it up and down very quickly, and he said. “Can you change this, change that, put a little more cleavage here?” Now, luckily, on the advice of my friend Isa, I took my art supplies with me, because there was no way I could take it home and do it and then send it back I time. So I said: “If you don’t mind, I’ll do it right here.” And he said “Sure whatever you want.”

You finished it on the spot?

COHEN: I did, though it took a while. By late afternoon, it’s past five, everybody has left, now I’m in an office building with cleaning people. It was a very lonely feeling. And, I’m doing these corrections and doing the best I can and then I looked at my watch and said, “I’m gonna make that 8 o’clock train back to Philly. Whatever I do, I’m gonna do that, ‘cause I have to get up really early in the morning to say goodbye to my parents and all that. And, I did. I think it was about 7:30 or something like that. I put the illustration down, grabbed my art supplies, took the elevator down, hailed a cab — it was dark — and took the cab to Penn Station and barely got on the train on time, and got home. Next day, I was inducted into the Army. This would have been November sixteenth, 1953.

Did you get to see the illustration in print before you left?

COHEN: Well, let me tell you what happened. I’m in basic training at Camp Pickett, Virgina. Maybe six or eight weeks into basic. And, I’m on a bus that goes around the base with my platoon. I think we we’re headed to some medical facility for shots. And, I’m sitting on the bus, with a bunch of the guys, and one of them yells: “GIL COHEN!” I wonder what in the hell’s going on. Well, he’s got the Real magazine. He runs back to my seat and says: “Hey, Cohen, did you do dis picture?” I said, “Uh, yeah.” I didn’t know what he’d say next, but I expected the worst. I felt as if I were being seen naked by the world. And, he looks up and says: “Wow! Hey, guys! Hey, Cohen did dis picture. Hey, you’re great, Cohen!” I still have a tearsheet of that issue. It’s a duotone. Orange and black.

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To my knowledge, that first men’s adventure mag illustration by Gil Cohen has not been reproduced anywhere else before, in print or on online. So, unless you’ve read the February 1954 issue of Real magazine, you saw it here first.

Below are some other things you’ll probably be seeing here first: two more of the lush, original duotone paintings Gil Cohen did for men’s adventure magazines. These are now part of the Rich Oberg Collection and shown here courtesy of Rich Oberg.

Here’s a link to the third and final part of my interview with Gil Cohen. If you missed Part 1, click this link.

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Comments? Corrections? Post them in the Men’s Adventure Magazines Facebook Group.

Further reading about some of the great artists who once worked for men’s adventure magazines…

Tuesday, January 11, 2011

Interview with Artist Gil Cohen: Part 1 – An artist who won’t be pigeonholed…

Artists are often pigeonholed based on the type of art they did during a particular phase of their career.

Today, many people know Gil Cohen as an “aviation artist.”

That’s understandable, since the paintings of planes, pilots and crews he has created during the past two decades are considered masterpieces of the genre.

His aviation paintings and prints are prized by collectors, sold by galleries in the US and the UK and featured in the recently published book Gil Cohen: Aviation Artist.

He has twice won the American Society of Aviation Artists’ prestigious “Best in Show Award.” Indeed, the Society ranks him as being “among the world’s leading aviation artists.”

A page about Cohen on the Society’s website notes that his aviation art is exceptional for reasons that go beyond its intrinsic beauty and high level of historical accuracy:

“While Gil’s paintings reflect his profound interest in history, it is his sensitive portrayal of the human element – the nuances of facial expression and body posture – set against the background of wartime airfield activity, which brings each canvas to life.”

Of course, Cohen hasn’t always been known primarily for his aviation art.

Some people know him more as a vintage pulp paperback cover artist. During the 1970s, 1980s and early 1990s, Cohen created cover art for many different types of books.

He’s especially well known for the cool covers he did for Don Pendleton’s long-running series of action-adventure novels featuring Mack Bolan, The Executioner.

Other Gil Cohen fans know him primarily as one of the best of many great artists who did cover paintings and interior illustrations for men’s adventure magazines from the mid-1950s to the mid-1970s. That’s how I first became one of his fans.

I recently had the pleasure of talking with Gil by phone at his home studio in Bucks County, Pennsylvania. Naturally, I asked him a lot of questions about his work for men’s adventure magazines and he was happy to talk about that phase of his career.

But first he wanted to make sure I understood one thing...

COHEN: You know, I’m still active.

Absolutely. And, I love your aviation art. Of course, I also love your men’s adventure magazine cover paintings and interior illos, which actually included some early examples of your aviation art.

COHEN: I don’t have a problem with that. It does bother me when people only know my work from those years. It’s amazing how people pigeonhole artists. People who only know my work as somebody back in the Fifties and Sixties who did action-adventure. And when I see bios that say “Gil Cohen, late 20th Century artist,” what the hell am I to say? They’re assuming that’s what I did. I was born to do action-adventure magazines and that’s it. If they would bother to Google my name, they would see a lot of very current stuff.

How do you view your men’s adventure and pulp paperback art from your perspective today?

COHEN: I’m still proud of what I had done. Some of it was raunchy. And, some of it might be considered dumb, I guess. But look, it paid a mortgage and it helped raise kids. I did it. And, I worked hard doing it and it was a great learning ground for me. You don’t stop learning when you graduate art school. [Cohen is a graduate of the Philadelphia Museum School of Art, now part of the University of the Arts in Philadelphia, and he also taught there for 21 years.] You continue to work and learn your entire life. Well, one of the great learning times of my life was doing those illustrations so rapidly and learning to do them decently. So, when they ask for a battle scene you don’t have stage fright anymore. You can do it. And, if need be, I’d be up all night doing them. I don’t do that anymore, believe me. I’m not nearly as prolific now and don’t wish to be. But back when I was young I stayed up all night or all hours of the night working, coffee-ed up. Now, I don’t work after dinner. Once my wife calls me and says ‘hey, let’s have dinner,’ I leave the studio and I don’t come back to it.

I read in the book about your aviation art that you spend a long time doing research on the paintings you do now.

COHEN: Yes, the paintings I do today I take a great deal of time with. I do research very, very carefully. I do a lot of interviews [with pilots, eye-witnesses and other experts]. It takes me months to gather research, to shoot reference photography, to do sketches, and then the final painting. The final painting itself, from the start, a blank canvas, to the finished painting, will take typically two, three, sometimes more months. That’s the difference.

I love the way in your book you show photos of the process.

COHEN: Yes, you see something of that. And, it’s not that I didn’t have a similar process back then, when I was doing men’s adventure magazine illustrations, but it was short-circuited. You had to do it quickly. You couldn’t just examine and think about it and take the day off and decide what you’re going to do the next day with the painting. You had to meet hard deadlines. Today if someone came to me with a commission and said they want it next week, or even next month, there’s no way. I don’t choose to work that way anymore. I’m painting the way I always imagined I wanted to paint when I was in art school. I’m closer to that than I was during my regular career. In my regular career I did magazine art, book covers, movie posters and a lot of different stuff.

Rich Oberg, the noted men’s adventure art expert and collector, has quite a few of the original paintings you did for men’s adventure magazines in his collection. Some are cover paintings, but a lot are duotone paintings you did for interior illustrations, which I especially like.

COHEN: Oh yeah, I loved doing duotones. One color was always black, obviously, because the type is set in black. The second color could be anything. And, I loved warm colors such as brown or orange as a second color. And red is fairly good. I didn’t like blues and greens. They were more difficult to work with, the cool colors. But the warm colors, especially orange was great, because you could have all semblances of grays and browns, beautiful tones of browns, and here and there maybe a bright orange. And, so it gave me a lot of latitude. Oh yeah, I loved duotones.

How much time were you given to do an illustration for a men’s adventure magazine?

COHEN: You know, of all the questions I’m ever asked, ever, the most frequently asked question is “how long did it take you to do that?” Nowadays, I’ll be a little bit of a wise guy and I’ll say 79 years. And, there’s some truth to that. Everything that came before goes into a painting. Everything in my life is imparted into it.

Gil went on to tell me he would typically be given anywhere from a few days to a few weeks to complete an illustration assignment for a men’s adventure magazine.

He also told me a hilarious anecdote about the very first men’s adventure illustration assignment he was given, by the art director of Real magazine in 1953. It’s in Part 2 of my interview with him, online at this link.

(Thanks again to Gil Cohen for talking with me and to Rich Oberg for the photos of paintings and covers from his collection.)

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Comments? Corrections? Post them in the Men’s Adventure Magazines Facebook Group.

Further reading about some of the great artists who once worked for men’s adventure magazines…

Friday, January 7, 2011

The magazines for men who liked their adventures “savage” and “big”…

Not long after I wrote the New Year’s post about duplicate uses of the same illustration in different issues of men’s adventure magazines, I ran across an example that involves a rare signed illustration by artist Norm Eastman.

Eastman is best known to fans of vintage men’s pulp mags for his wild bondage and torture cover paintings on the lurid “sweats” published by B.R. “Bud” Ampolsk and Maurice Rosenfield, such as Man’s Book, Man's Epic, Man’s Story, Men Today, New Man and World of Men.

Most of the classic cover paintings Eastman did for those magazines were uncredited and unsigned, though they are generally recognizable as his.

Recently, I bought a hard-to-find copy of the premiere issue Savage Adventure magazine, published in October 1960.

I didn’t notice until after it arrived that the cool prison escape painting on the cover was signed at the bottom right by Norm Eastman.

Savage Adventure was a short-lived men’s adventure mag published bi-monthly from October 1960 to May 1961 by Matclif Publications, Inc., which had editorial offices at 11 East 17th St. in New York City.

Matclif also published Big Adventure, another hard-to-find, short-lived, bi-monthly men’s adventure mag. It lasted from September 1960 to June 1961.

Both magazines had the same editorial staff: Roy Greene, Editor; Paul Harris, Assistant Editor; James Sheldon, Art Director; and, Arnold J. Jenkins Production Manager.

Naturally, both magazines also used many of the same artists and writers. In fact, Norm Eastman’s cover painting for the October 1960 of Savage Adventure was reused as an interior illustration in the March 1961 issue of Big Adventure (which features a male POW bondage and torture cover painting by another great illustration artist, Mel Crair).

Speaking of duplicate uses, the title of Savage Adventure wasn’t exactly unique itself.

In 1959, Cape Magazine Management Corp. published a men’s pulp mag called Savage, for short. The full name with the subtitle was Savage Adventures for Men.

The publisher’s info on the contents page says that Savage was “formerly Brave” — which I believe refers to the rare pocket-sized men’s adventure magazine that was published in 1956 and 1957. (A while back, I did a post about an issue of Brave that was edited by the legendary men’s adventure magazine writer Walter Kaylin.)

To my knowledge, only a few issues of Savage were published, between March and September of 1959.

Issues of Savage, Savage Adventure and Big Adventure are all relatively scarce and worth snagging if you’re a collector.

I’ll give you a look inside some issues of each of them in upcoming posts. In the meantime, for $2.99 you can buy and download a complete, digitized copy of the September 1960 issue of Big Adventure by clicking this link.

It’s a nice, hi-rez, searchable PDF file. And, it costs a lot less than you’ll pay for the real thing (if you can find it).

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Comments? Corrections? Post them on the Men’s Adventure Magazines Facebook Group.

Further reading about men’s adventure magazines and men’s adventure artists…