How to sell cycling and triathlon magazines

220 Triathlon magazine cover from April 2018. Published by Immediate Media (Bauer)

Jeff writes:

Hi, I have a ton of Triathlon (2000-2015) and Cycling (2000 to the present day). They are about to go in the recycling because I need the space. Do you have any ideas or know anybody interested?

Some suggestions:

Ebay is the obvious place. Put them up as several bundles grouped by year. The going rate in bulk for the monthly 220 Triathlon seems to be about £1 a copy + post/free pickup. Cycling Weekly is bit less. They probably fit nicely in A4 photocopy paper boxes. Make sure the box weight and size is within a postal price band.

Contact one of the traders on my Collecting Magazines page, or identify an eBay trader who specialises in cycling magazines.

Cycling Weekly magazine cover from 10 August 2017. Published by Time Inc UK

Or give them to an impecunious teenager with the time to list them on Ebay. They have a one in four selling rate in the past 3 months. The ideal price seems to be £4.99 each for Triathlon, inc postage (£1 cheaper for Cycling). Selling price range has been 99p+post to £8.50 inclusive for a single copy. There are also lots of people around who do such selling for others and share the proceeds. Ask around.

Post a note and put the word around at the sports centre where you train. Ask the staff as well.

Give them to a charity shop. They collect them at depots and sell them on Ebay.

These blog entries give tips on selling also:

Car magazine collectors
What’s a magazine worth? -1
What’s a magazine worth? -2

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To see almost 500 magazine covers and pages, look out for my book, A History of British Magazine Design, from the Victoria & Albert Museum, the world’s leading museum of art and design

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Immediate launches mindfulness magazine, ‘In the Moment’

Immediate Media launched In the Moment magazine with a July 2017 cover date to cater for women interested in mindfulness

Immediate Media, the Radio Times and Top Gear publisher, has launched a new monthly magazine, In the Moment. The title aims ‘to help women make the most of every day with mindfulness, creativity and wellbeing’.

The title went on sale on 22nd June, with a 116-page first issue. The focus is on ‘positive’ features and stories with a ‘light-hearted approach’ to inspire readers.

The plan is for each issue to carry Take a Moment, an eight-page, handbag sized mini-magazine, with a ‘soothing’ drink recipe, short story and puzzle. The first issue included a choice of ready-to-frame prints and card templates for pocket-sized greeting boxes.

Cath Potter, Immediate publishing director, said interest in mindfulness had ‘grown enormously’ in the past five years with people ‘crying out for ways to slow down and tune out’. She added: ‘We want to find space within our busy lives to notice things and remember to enjoy them. In The Moment recognises that being more mindful doesn’t need to be heavy-going, and that it needs to fit within your lifestyle.’

£1,750 for a copy of Oz magazine

This issue of Oz fetched £1,750 on eBay

Prices for copies of Oz just go up and up. February was the magazine’s 50th anniversary and the buyers came out for several issues. Pick of the bunch was a copy of the first Oz that sold for £1,750, with 23 bids. A first issue of Oz went in 2012 for just over £1,000. The starting price this time was £400 and five bidders fought it out. A nice thing about it was the provenance. As the seller, sarahnegotiator, explained:

Published in 48 issues between 1967 and 1973, Oz Magazine was a revolutionary anti-establishment underground publishing phenomenon that triggered outrage, numerous police raids and the longest obscenity trial in British legal history. Now, on the fiftieth anniversary of its publication, here is a unique opportunity to purchase an extremely rare copy of the very first issue of London Oz.
Owned by the current seller since it was bought at King’s Cross Station in 1967, the magazine is complete, and apart from some minor creasing and light wear on the cover corners, is in good condition throughout.

Another first issue of Oz sold for £1,000. The starting price was £500 and the seller gave a very limited description. One potential bidder, quite rightly, wanted to know more:

Q: Would you be so kind as to tell me a bit more about the condition? Are there any pen marks or rips? Has anything been cut out? Are there any creases or dog ears? How would you rate it: Mint, VGC, Good, Fair? I’m a collector so quality is very important.
A: I would say that the condition of the magazine is between Mint and Very Good Condition. There are no dog eared corners or creases to any of the pages, no pen marks, no tears, the staples and the fold-out calendar of Feb ’67 are still attached. There are a couple of very small stains on the front cover and overall the pages are very slightly yellowed with age. Thanks for your interest and please get in touch again if you need more information. Best regards and happy bidding,

I’m always wary of terms such as ‘mint’ – but the fact that the seller fills in the details shows that it clearly is not mint in any sense that a collector would understand (stains on the  cover?!).

Another issue, Oz No.11 from April 1968, The Sticker Issue, fetched £363. The seller here, silvantage925, also sold seven other issues of Oz. The description was very good , with photographs to back it up:

The magazine is complete, with no missing pages. There are some minor rips to pages, towards the back of the magazine, including the back page. Stickers are in good shape though. Please see photos.
Magazine does not display any major signs of discolouration or distress other than what has previously been mentioned.
Please check photographs and keep the condition in mind when bidding. I always try and be as honest and descriptive as I can, any flaws etc will always be photographed and added to description.

Four other issues have sold this year fetching prices of £200-£276 on eBay.

 

What’s gone wrong at Arsenal – by the manager

What’s gone wrong at Highbury – what every Arsenal fan now wants to know

But this article is by manager Billy Wright and dates from 1966

‘What’s gone wrong at Highbury’ – by the manager. That’s the article that so many Arsenal fans want to read, but Arsène Wenger, today’s manager, is not as forthcoming at Billy Wright was in May 1966.

In this article for weekly listings magazine London Life, reporter Rodney Burbeck ‘took a tape recorder to Highbury, put some blunt questions to Mr Wright and invited him to answer the critics’.

Not that his answers did him much good. Wright, who had been in the hot seat since 1962, lost the job to Bertie Mee the next month. Gooners regard Wright as a great player but the worst manager of modern times, with a win rate of 38%.

Wenger, by contrast, has been in the chair since October 1996 and is regarded as the club’s greatest manager, having won 57% of his 1,120 games in charge, with 19 top four finishes, 3 League cups and 6 FA cups.

See also – Arsenal legend Eddie Hapgood – and son

Gracie Fields sings for Woman’s World

‘Songs “Our Gracie” Sings’ from Woman’s World in 1933

Sally in Our Alley was a film by Radio Pictures in 1931, and it turned Gracie Fields from a music hall star into a film star, singing her signature song, Sally. ‘Our Gracie’ was also one of the biggest radio stars of the era. Woman’s World, a weekly magazine from Amalgamated Press, recognised this popularity and published at least three Gracie song books from 1933 to 1938 as giveaways with the magazine.

Portrait of Grace Fields from Radio Pictures in the song book

The booklet here, Songs ‘Our Gracie’ Sings from 1933 included a flattering pencil portrait of Gracie and stills from her films, Sally in Our Alley and Looking on the Bright Side. The cover photograph was by Eric Gray. Fields was famed for her Northern accent, and the song book included two songs, ‘Ee-By-Gum’ and ‘Stop and Shop at the Co-op Shop’, that reflected her heritage.

Fields was born above her grandmother’s fish-and-chip shop in Rochdale, but lost her British citizenship when she married the Italian director Monty Banks in 1940. The British authorities then refused to give her a passport at the end of the war, even though she had entertained the troops as a volunteer. No such problems for Vera Lynn.

A First World War Woman’s World with a ‘Sally in Our Alley’ cover

The film, Sally in Our Alley, took its title from an 18th century poem that became a popular song during the First World War. And Woman’s World magazine was part of the spread of that song’s fame – a year before a British silent film of the same name was released.

The 27 February 1915 issue of ‘The favourite paper of a million homes’ carried the music and lyrics and featured a cover devoted to the song. ‘Sally in Our Alley’ by H. Gregory Hill took its first stanza from a poem by Henry Carey (1687–1743).

The poem was set to music on p177:

Of all the girls that are so smart
There’s none like little Sally,
She is the darling of my heart,
And she lives in our alley.

Oh, when I’m dressed in all my best
To walk abroad with Sally;
She is the darling of my heart,
And she dwells in our alley.

Stills from Gracie Fields’ films in the Woman’s World song book

This day in magazines: Woman’s Realm launch

The first issue of Woman’s Realm dated 22 February 1958

Woman’s Realm was launched on 22 February 1958 to take sales pressure off Woman – which was selling three million copies an issue – and use printing capacity at the Odhams plant in Watford, Herts.

It was an updated version of the old formula of fiction plus domestic tips and information. By 1960, the latter dominated. It added a medical page, personal problems, fashion and regular spots for children. The Odhams publicity machine took sales to over a million. Clarity of hints on domestic matters, particularly cookery, kept those readers.

There was intense rivalry between Odhams with Woman, George Newnes with Woman’s Own and Amalgamated with Woman’s Weekly (the oldest of the women’s weekly magazine trio, dating back to 1911). There was also a printing rivalry with both Woman and Woman’s Own being printed in Watford, at Odhams – the Art Deco building is still a print works today – and Sun Engraving. All that is left of the Sun plant, the biggest printing works in Europe in the 1930s producing a huge range from Picture Post to Vogue, is the clock building that stood at the factory entrance, some road names and a Sun bar in a hotel built on the site.

Woman’s Weekly has proved its staying power, having overtaken its more lavishly designed rivals, to register an ABC figure of 276,208, with no freebies, against Woman (208,145) and Woman’s Own (185,172). Today, all three are published by Time Inc UK, with Odhams, Newnes and Amalgamated having all merged to form IPC in the 1960s.

Addendum (April, 2019)

With magazine sales in decline, IPC was bought and sold several times:

• 1998: Reed Elsevier sells IPC  for £860 to Cinven, a venture capital group.
• 2001: Cinven sells IPC for £1.15 billion to AOL Time Warner. The US publishing giant ran down its British arm, closing or selling many magazines – including Woman’s Realm (after a half-hearted attempt to relaunch it as Your Life under editor Mary Frances). In 2015, it also sold IPC’s Blue Fin office building in London for £415m, moving half of the magazines to an industrial estate in Farnborough.
• 2018: after Time Inc (what was left of AOL Time Warner) was itself bought by Meredith, another US group, the remains of IPC were sold to private equity company Epiris for a paltry £130m. It changed the name to TI Media.

The sales of the three women’s weeklies at the end of 2018 were:

• Woman’s Weekly: 236,429
• Woman: 133,103
• Woman’s Own: 124,187

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To see almost 500 magazine covers and pages, look out for my book, A History of British Magazine Design, from the Victoria & Albert Museum, the world’s leading museum of art and design

 

 

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This month in magazines: 1950s glamour magazines

Beautiful Britons  (February 1956)	Spick magazine from February 1956	Last issue of Span in 1976, issue  266

Town and Country Publishing (Toco) exploited the demand for men’s magazines in the mid-1950s by launching pocket-format titles that brought girl-next-door glamour to their readers.

Spick, Span and Beautiful Britons were three of the company’s titles. Spick was the first to come out, in December 1953, and was followed by Span the next September. Spick used professional models at first, but encouraged readers to send in photographs of wives and girlfriends. It soon introduced Beautiful Britons pages, which obviously inspired the third magazine of the trio.

However, they slowly lost sales in the second half of the Sixties in the face of competition from more aggressive launches, such as Parade, Mayfair and Penthouse.

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To see almost 500 magazine covers and pages, look out for my book, A History of British Magazine Design, from the Victoria & Albert Museum, the world’s leading museum of art and design

 

 

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This month in magazines: Oz in 1967

The first issue of underground magazine Oz in February 1967

Oz was an underground magazine launched in London in February 1967 that became a leading part of Britain’s counterculture. Notice the word ‘London’ at the top left of the Oz title above. It’s there because Oz was originally an Australian magazine, founded by Richard Neville, Martin Sharp and Richard Walsh. They were prosecuted in Australia and Neville and Sharp came to London, where they launched another version of the magazine with Jim Anderson.

It was not the only magazine of its type – International Times, Ink and Friends were also influential – but Oz gained mainstream notoriety for the obscenity trial that followed the publication of the Oz School Kids issue (number 28).

The Oz Schoolkids issue

The three editors (Sharp had left and been replaced by Felix Dennis) selected a group of youngsters aged between 14 and 18 to edit issue 28. The magazine’s offices were raided by the Obscene Publications Squad, the issue was seized and the editors were charged with conspiring to ‘debauch and corrupt the morals of young children’ because of some of the cartoons and discussion of sexual freedom and drug use.

Protest issue at Oz obscenity trial

For Felix Dennis, the Oz trial was the ‘finest hour’ for John Mortimer, their defence lawyer and later author of the Rumpole of the Bailey TV series and books. Although they were found guilty under the Obscene Publications Act, the verdict was overturned on appeal.

Like Private Eye, Oz might have looked crude, but it was an innovative user of the latest production techniques such as lithographic colour printing. It produced some amazing imagery by people such as Peter Brooke – now the leading political cartoonist on The Times – and Sharp’s iconic imagine of Bob Dylan, the Tambourine Man.

Another Australian who worked on Oz, in Sydney and London, was Marsha Rowe, and Germaine Greer wrote for it, too. Greer wrote The Female Eunuch in 1970 (and was gardening correspondent of Private Eye with the byline Rose Blight!) and Rowe was a co-founder of Spare Rib in 1972. She condemned a plan by Charlotte Raven to relaunch Spare Rib in 2014. The archive of Spare Rib can be found through the British Library’s website.

Felix Dennis went on to found Dennis Publishing, which launched Maxim and The Week. Since Dennis’s death, the profits from the company have been put to creating a massive forest. As well as the people behind Oz becoming mainstream, so have many of the ideas it, and the other undergrounds titles, argued for.  Oz is also one of the most collectable magazines.

The last issue of Oz

The University of Woollongong holds an online archive of the Australian issues of Oz, which was first published in Sydney on April Fool’s Day 1963 and continued until December 1969.This was set up with Neville’s co-operation after he returned to Australia and became a writer.

Woollongong also has all the London editions of Oz, from February 1967 to November 1973. The last issue cover carries a photo of the Oz staff naked overlaid on a background of disgraced US president Richard Nixon.

 

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To see almost 500 magazine covers and pages, look out for my book, A History of British Magazine Design, from the Victoria & Albert Museum, the world’s leading museum of art and design

 

 

 

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This month in magazines: She’s sunny Februarys

Bikini days for She in February 1977	… and again in February 1978	…and in February 1979

In Britain, February is not a time of year normally associated with bikinis, so I was surprised to find these February covers for the monthly She from 1977-79. There was even a January 1975 cover of a bikini-clad model on a ski slope! Why are the models all in bikinis? To attract holiday advertising? No, after a bit of research, it emerged that women in bikinis were the most popular covers for She right through the Seventies. In 1978, no less than eight of the 10 covers I could track down were bikini shots. That’s a feel-good strategy: bringing a ray of sunshine into women’s lives every month!

Punch cartoonist Fougasse regarded magazine covers as repetitive

But this is unusual, or perhaps typical. As long ago as 1920, Punch was jesting about the predictability of women’s magazine covers. Yet, editorially, She was not a typical magazine. For a start, two people shared the editor’s post in the 1970s: Pamela Carmichael and Michael Griffiths. It was more like a weekly in a monthly format, with a particular strength in witty picture captions (Tim Rostron, whom I worked with on weekly trade papers, got himself a job as a sub-editor at She on the strength of his captioning skills). Its cover motto in the late 1970s was ‘There’s nothing quite like She.’

The first issue was March 1955 with Joan Werner Laurie as editor. Its motto then was: ‘young, gay elegant’. She was fond of repeating its logo several times on the cover, either reduced in size as part of its motto (as in two of the February issues above) or full size (there were three down the left side of the launch issue cover design).

Three logos on the cover of the first issue of She in March 1955

Laurie’s partner was Nancy Spain, who was a household name thanks to her appearances on radio and TV shows such as Woman’s Hour, What’s My Line and Juke Box Jury, and her weekly column in the Daily Express. They were a real go-getting pair – but came to a tragic end in a light aeroplane crash on the way to the 1964 Grand National at Aintree in Liverpool. Laurie was learning to fly at the time. The biography, A Trouser-Wearing Character – The Life and Times of Nancy Spain, was written by Rose Collis.

She magazine bit the dust in 2011 after more relaunches than you could shake a stick at from its owner, The National Magazine Company, then known as ‘NatMags’ and now Hearst UK (it is owned by the US-based Hearst Corp).

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To see almost 500 magazine covers and pages, look out for my book, A History of British Magazine Design, from the Victoria & Albert Museum, the world’s leading museum of art and design

 

 

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This month in magazines: Vogue’s 1977 green jelly

Vogue’s February 1977 green jelly cover was by Terry Jones

I always get something out of interviews with Terry Jones because he always wants to spill the beans about something. The details make life at Vogue come alive behind the oh-so-made-up corporate face of Condé Nast, with stories of cover transparencies being lost in bins, rows with all the ‘suits’ who want to push in and change things, and his attempt to get a nipple onto his last cover as art director.

I wrote a piece last year for the sold-out last issue of Gym Class about cover design rules, and Jones epitomises the final rule – break them all!:

For every rule, there’s a cover that broke it yet was a tearaway success. Black for the cover didn’t work for Talk in the US – yet it was the signature colour for Willy Fleckhaus on Twen. He produced a classic, but who’s done it since? … One day the rules here will be built into InDesign and Photoshop. For now, and probably even then, it’s up to you to test the rules, make mistakes and learn what works for your magazine.

Jones – who was made an MBE in the 2017 honours list for services to fashion and popular culture – founded the punkish, dot-matrixy i-D magazine after he left Vogue, with later help from Tony Elliott to turn it into a  mainstream title.

Jones has identified his favourite Vogue covers in interviews with Ludovic Hunter-Tilney (FT, ‘Happy birthday i-D magazine’, 19 November 2010) and for i-D/Vice. Among his three favourites is the green jelly cover from February 1977 shot by Willie Christie:

The image was originally for an inside editorial that Grace [Coddington, fashion editor, who was previously a model] and I convinced Beatrix [Miller, then editor] to run with. We got approval from Bernie Lazer, the managing director at British Vogue, who had to defend the decision when Daniel Salem, the European company director, demanded to have it stopped on press.

Vogue itself described the issue so:

The cover is entitled ‘first taste of spring’ and features ‘Rowntree’s jelly… full of gelatine, a valuable source of protein and good for strengthening nails.’ Green is the colour of the fashion moment inside, modelled by Jerry Hall, while Maria Schiaparelli Berenson’s wedding to James H Randal is featured, wth Anjelica Huston, Jack Nicholson, Liza Minelli, Halston and Andy Warhol all there to see it. ‘If there was ever such a thing as a groovy wedding, that was it,’ said Nicholson.

So un-Vogue: January 1974 cover shot by David Bailey for Terry Jones

Jones was given space to experiment on covers, but he was also aware that ‘there were rules you were meant to abide by’.

Another cover he’s amazed that he and Coddington managed to ‘smuggle’ through was a full-length portrait by David Bailey of Anjelica Huston and Manolo Blahnik drinking champagne on a beach at sunset (Jan 1974).

As he says, ‘It was so un-Vogue. I don’t think Vogue have done a full-length since.’ Sometimes, it’s by breaking the rules that you set them.

 

So grainy: Vogue 1974 cover of Bianca Jagger blown up from 35mm

The third cover he rejoices in is ‘the accidental cover’ of Bianca Jagger photographed by Eric Boman (March 1974). Boman took a 35mm shot of Jagger at the Paris Opera that Jones liked, but the model was very small in the photo.

So Jones had a 10×8 transparency made up that was cropped to the head and then blown up to the cover area. This blow-up made the image very grainy, a feature that Jones wanted but that would have been regarded as unusable by the normal production standards at Condé Nast.

‘The print production manager still complained,’ said Jones, ‘but it remains one of my favourite covers alongside the the green jelly cover from February 1977.’

 

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To see almost 500 magazine covers and pages, look out for my book, A History of British Magazine Design, from the Victoria & Albert Museum, the world’s leading museum of art and design

 

 

 

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