Queer Print: The Interviews

For my essay Queer Print I interviewed the publishers of three top zines: Christopher Schulz of Pinups Magazine, Darren Ankenbaur of Handbook, and Amos Mac of Original Plumbing. As much as I would have liked to, it was impossible for me to quote extensively from the interviews within the essay, so I'm publishing the complete interviews here on my website.

The first interview I conducted was with Christopher Schulz. His zine, Pinups, is one of my all time favorites. Schulz's clever concept and his gorgeous models and photography combine to make a publication that rings all the right bells for me.

Johnny: First of all, I wanted to thank you for agreeing to be interviewed.
 
Christopher: My pleasure. Thank you!

Johnny: You're welcome! I've been a big fan of Pinups ever since I'd heard about it, it's one of my favorite magazines.

Christopher: Aw, thank you. I'm so glad you like it.
 
Johnny: I'm a bit of a print fetishist, and seeing what people are willing and able to do with the format really excites me.

Christopher: I'm the same way.

Johnny: I figured as much, and while I get your reasons, for the sake of my essay, my first question has to be: Why print?

Christopher: Well, as a kid I was always drawn to design and there was something official and final about print. Like it wasn't real until it was printed in quantity and distributed. I don't get the same satisfaction from website design. 'Cause that's the big competitor now, right?

Johnny: Absolutely. One of the things that fascinates me about the current trend in small-press gay publications is the fact that so many people are choosing print as a way to express themselves, when a website or blog seems like an easier choice.

Christopher: When I had the idea for Pinups, I was fantasizing about print. It's really not something that can exist the same in any other form. I'm also very fond of things that came out of past decades, and so my fondness lies in old approaches.

Johnny: Why do you think that the past plays such an important role in the aesthetics and contents of not only Pinups, but most of the current crop of gay zines?

Christopher: Maybe it's because we've moved too far away from creativity in the production of things in popular culture. Everything is so calculated and packaged. Also, technology is making it easier for everybody to put things out there. Everyone with an iPod is a DJ and everyone has a blog. Without sounding too negative, think there needs to be some quality control. The real mainstream gay magazines don't connect with creative types at all. I remember wanting to make Pinups because there were too few magazines (only a couple small publications) putting out the kind of imagery I wanted to see. And now all the mainstream counterparts are floundering, trying to get that same cool edge as an attempt to survive. But people like me have a unique freedom because we're not motivated by money. Most of my friends who put out queer zines have day jobs, so the zines are more of a labor of love than a business plan.

Johnny: Do you handle the production and distribution of Pinups by yourself?

Christopher: I do. I handle everything. I have an intern who helps me out from time to time, but I have a hand in every single thing.

Johnny: Was Pinups your first attempt at creating a print publication (small-press or otherwise) from the ground up?

Christopher: As an adult, yes. I did make a few silly zines when I was fourteen.

Johnny: Did you have any experience or education in publishing prior to Pinups, or has it all been one giant learning curve?

Christopher: Half and half. I had a lot of experience dabbling in design. I went to art school for many years. So I was good there. The rest: the printing process, distribution, event planning, the website, has all been a learning curve.

Johnny: What has surprised you most about the entire experience?
 
Christopher: The response and growth. When I started I just wanted to make a zine 'cause I had an idea in my head that I wanted to see in the real. Now I have people from all over the world telling me that they know and love the magazine and that's still a huge shock to me.

Johnny: Is Pinups a self-sustaining project at this point?

Christopher: Yes. And it grows with every issue.
 
Johnny: That's great to hear.

Christopher: I still don't print ads (except for the ads once a year for The NY Art Book Fair, which I strongly support). There is such freedom in doing what I want with the magazine. That's what keeps it going for me. I love that it's not dictated by advertisers, marketing calculations, placement on a web page—all the stuff that destroys integrity.

Johnny: Aside from the ads for the NYABF (the mere existence of which is nearly enough for me to make a trip out to NY), what have you done in terms of promotion?

Christopher: Well, I built a website a few years ago which has really helped the visibility. Most promotion is done online. I also host launch parties and print elaborate promotional pieces and the parties are now a big draw.

Johnny: Promotional parties seem to play a roll for several gay zines. Why do you think that is?

Christopher: I think almost all magazines promote with launch parties. It's just part of the business. I decided I wanted to do it because I thought it would be fun and now I do it because it's expected with every issue and I don't want to let people down. It's still fun too, so that helps. Also, when I'm finished with an issue, I really need a drink. I finished the production of Issue 11 recently. I'm going to my printer this evening to look at a proof.

 
Johnny: Was it difficult finding a printer who was okay with the content?

Christopher: Actually, it was difficult finding a printer even before I mentioned the content. The printing business is very strange. I couldn't get anyone to respond to a simple request for a quote based on specs. That's why the first few issues are printed with Xerox. I just got fed up with waiting to hear from printers. The content was never a problem though.
 
Johnny: Cool. If you have the time, I have just a few more questions.

Christopher: Absolutely.

Johnny: Why do you think we're seeing a rise of small press publications created specifically by young gay men right now?

Christopher: I think it's because the mainstream gay magazines aren't giving us what we want to see. So we're doing something about it. At least that's my own personal reason, but I think it's definitely a common thread among most of the smaller self-published queer zines.

Johnny: Why do you think that so many of the current breed of gay zines are so candidly sexual while not necessarily crossing into the realm of pornographic?

Christopher: Because pornography is too easy to digest. It doesn't require thought. I think people are hungry for more challenging and thought provoking content. There are so many thoughtless gay publications out there. And just because I'm gay doesn't mean I'm going to go out and love them all. If they aren't interesting, then I'll move on.

Johnny: What projects (other than your own) really excite you right now?
 
Christopher: My friend Shannon's publication They Shoot Homos Don't They? is a favorite of mine. I've also been receiving artist books from Vincent Passerat who is an art book maker in Paris. I love receiving physical work in the mail. It's so rare these days. His first package to me contained a beautiful hand made book, an audio CD, and chocolates with beautiful typography on them, all in a hand made paper sleeve. It was so inspiring!

Johnny: That sounds wonderful. (Ed. note: I can now attest that it is; Passerat sent me a package of his zines and they were gorgeous.) Do you have any projects outside of Pinups that you're working on? Copy Machine was fantastic; I make a point to show it to everyone I know when they come over.

Christopher: Aw, thank you. Actually, this year I'll be working on several side projects, all somewhat related to Pinups. One is a book of drawings which I plan to put out in the spring.

Johnny: Cool, I'm very much looking forward to it. Now I have a kind of not-related-to-the-interview-topic question: What's your best recommendation for assembling an issue of Pinups into a full poster?

Christopher: I always lay the spreads out on the floor, assemble them, and tape them together on the back side. You can also pin each sheet to a wall. Have you seen the instructional video?

Johnny: I did, but it kind of jumps over the "what you use to attach the sheets together" part, if I remember it correctly.
 
Christopher: Heh. Yeah, that was the Martha Stewart part.
 
Johnny: Haha. I have a copy of issue #2 that's begging to be hung up in my office.

Christopher: Cool. I'm planning to reprint Issues 1–4 over the next couple of years. The reprints will be done offset instead of the original Xerox printing.
 
Johnny: Nice; I always regretted missing #1.

Christopher: I hear that a lot. That's why I want to reprint it. And also because the Xerox issues feel so different from the other issues.
 
Johnny: Issue #2 was Xerox as well, wasn't it?
 
Christopher: Yes. The first four issues were all done with Xerox.

Johnny: I have to say, given my own experiences with Xerox, #2 (the only one of the first four I own) looks really nice as it is, but there is a notable difference.

Christopher: Thanks. The halftone pattern is smaller with Issue 2. I corrected that in the Special Edition version.
 
Johnny: I have a fondness for halftone patterns as well, which may be why I never really considered it.

Christopher: Halftone is so much more beautiful than low-res digital pixelation. Same goes for film grain. In fact, low-res digital pixelation looks horrible! I'm always shocked when I see it in magazines. I think, what editor let that slide?!
 
Johnny: While I think that it might have it's uses (the 8-bit kind of charm) I'm always surprised when I catch it in professional works, yeah.

Johnny: Well, Christopher, I think I'll let you get back to work, now. Thank you so much for your time, I really appreciate it.
 
Christopher: Anytime. Thanks for asking me.

(all photos courtesy of and © Christopher Schulz)

Find more of Christopher's work: Pinups Magazine

The original essay: Queer Print: Keeping the Counterculture Coming

Return to: johnnymurdoc.com