Whitney Strub, Rutgers University – Newark

Playboy’s decision earlier this month to jettison the nude images in its print edition lays bare the magazine’s own naked truth: it was always really a lifestyle magazine, with nudes simply acting as window dressing.

If it seems counterintuitive for a quasi-smut mag to renounce its own seeming raison d’etre, it’s important to remember that the magazine, since its inception, always held itself at a distance from the world of pornography.

The aspiration of Hugh Hefner’s project was cultural legitimacy – not a globally recognized logo (today, more profitable than the magazine itself), nor the cultivation of a “girl next door” image.

The magazine – at least, how it presented itself – was simply too classy to be confused for porn.

For the most part, it worked.

As a historian, I’ve written about the postwar court battles over pornography and obscenity. And what’s most striking about Playboy’s story is how absent the magazine was from these legal wranglings.

An appeal to masculine taste

Look no further than Playboy’s debut issue, which featured Marilyn Monroe on the cover.

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Its famous opening manifesto announced: “If you’re a man between the ages of 18 and 80, Playboy is meant for you.” Their “articles, fiction, picture stories, cartoons, humor” would all be culled to “form a pleasure-primer styled to the masculine taste.”

Before Playboy, other magazines did feature nude photos, but they were seen as culturally lowbrow: tawdry publications for unsophisticated readers. Other magazines, most notably Esquire, would position scantily clad women next to articles on food, style and other central features of the developing consumer culture, but not quite as boldly as Hefner’s iconic centerfolds.

Still, Playboy treated its own nudity as playful and passé. While it did occupy the “centerfold,” it was packaged as simply another accoutrement of the modern man’s cultural repertoire, which included knowledge of proper cocktail proportions and the finer points of the Miles Davis discography.

The crusade against smut

Playboy’s debut came just one year before America’s moral panic over smut came to a head.

The House Select Committee on Current Pornographic Materials led the charge with a December 1952 report that highlighted “cheesecake” and “girlie” magazines, crime comics for children and, particularly, the burgeoning genre of lesbian pulp fiction novels, which – as the committee wrote in prose befitting its own targets – were “filled with sordid, filthy statements based upon sexual deviations and perversions.”

Yet even in the midst of this frenzied postwar moral righteousness, Playboy eased comfortably into the mainstream.

A few years later, when Democratic Senator Estes Kefauver launched his own anti-porn crusade, Playboy remained conspicuously absent from the hearings, which drew headlines like The New York Times’ “Smut Held Cause of Delinquency.”

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Possessing presidential aspirations (and finely attuned to the optics of media spectacle, having pioneered televised hearings in his earlier investigations of organized crime), Kefauver decided against subpoenaing Hefner.

Instead, he tacitly pandered to anti-Semitic sentiment by forcefully grilling a predominantly Jewish group of erotic distributors. The white-bread Hefner remained above the fray while smut peddlers like Abraham Rubin, Edward Mishkin and Samuel Roth reluctantly testified before Congress. (Roth would suffer the most, spending five years in federal prison for distributing material not substantially different from Hefner’s. His case also led to the 1957 Supreme Court precedent that still undergirds modern obscenity law.)

‘Skirting’ trouble

If Playboy emerged remarkably unscathed from these sexual-political skirmishes, Hefner nonetheless stayed perpetually cautious, calibrating the magazine to fit shifting contexts.

The pubic hair battles with Penthouse in the early 1970s – when Playboy started publishing more graphic images to compete in the expanding adult market – are most famous. But less remembered are earlier adjustments Hefner made to dissociate Playboy from cultural riffraff.

When Time covered the “horde of [Playboy] imitators yipping after pay dirt” in April 1957, it noted that new nude magazines like Caper, Nugget and Rogue were outpacing Playboy in “the smirk, the leer, and the female torso.”

Yet rather going skin-for-skin with its competitors, Playboy tried to distinguish itself through topnotch fiction and journalism (as well as science fiction, as PhD candidate Jordan Carroll notes in his recent study of the magazine).

According to Time, Playboy ultimately found that the most “effective censor was success”; in response to growing readership and ad revenue, the magazine “toned down its gags and dressed up its girls.”

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Indeed, in one striking 1962 letter sent to Hefner by a suburban Chicago chapter of the conservative Citizens for Decent Literature, the group happily informed him that that it had decided not to include Playboy among its list of 37 magazines that should be removed from local newsstands.

Later, in the 1970s, Playboy would attempt to compete with the more graphic pornography unleashed by the sexual revolution and the weakening of obscenity laws. More recently, it has reshaped its content to adhere to the strict regulations of social media sites like Facebook and Instagram, which forbid users from posting female (but not male) nipples.

Clearly, 2015 is not the first time Playboy has switched up its strategy to respond to market forces.

The bunny supplants the girl next door

If Hefner’s erotic vision was quaint enough to pass muster even with some conservatives in the early 1960s, today it’s as retrograde as Don Draper. As Washington Post columnist Mireille Miller-Young observes, today’s girl next door isn’t uniformly white, thin, heterosexual and presented with a smarmy editorial voice. Instead, she could be a queer woman of color. She might even be publishing her own porn.

While the magazine once walked a tightrope between smut and sophistication, branding always remained Playboy’s real strength.

Today, 40% of its revenue comes from China – where the magazine itself isn’t even sold. Instead, a recognizable bunny logo that appears on products ranging from cigarette lighters to coffee mugs is what persists.

With limitless free online nudity a click away, the cash flow resides in a licensed logo that represents an upwardly mobile, urban lifestyle – much like it always did.

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Whitney Strub, Associate Professor and Director of Women’s and Gender Studies, Rutgers University – Newark

This article is republished from The Conversation under a Creative Commons license. Read the original article.

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Dennis Wilson Wise, University of Arizona

Think of your favorite fantasy or science fiction novel. You’ll know the author and title, of course. But can you think of its editor or publisher?

In publishing, the people who work behind the scenes rarely get their due. But on Oct. 1, 2024, at least, one industry pioneer got the limelight. On that day, PBS aired “Judy-Lynn del Rey: The Galaxy Gal,” the first episode of its new documentary series “Renegades,” which highlights little-known historical figures with disabilities.

A woman with dwarfism, Judy-Lynn del Rey was best known for founding Del Rey Books, a science fiction and fantasy imprint that turned fantasy in particular into a major publishing category.

As a scholar of fantasy literature, I had the good fortune to serve as research consultant for the PBS project. Due to time constraints, however, the episode could tell only half of del Rey’s story, passing over how she affected science fiction and fantasy themselves.

Judy-Lynn del Rey, you see, had very clear notions on what kind of stories people wanted to buy. For some critics, she also committed the unforgivable sin of being right.

The Mama of ‘Star Wars’

Over the course of her career, del Rey earned a reputation as a superstar editor among her authors. Arthur C. Clarke, who co-wrote the screenplay for “2001: A Space Odyssey,” called her the “most brilliant editor I ever encountered,” and Philip K. Dick said she was the “greatest editor since Maxwell Perkins,” the legendary editor of Ernest Hemingway and F. Scott Fitzgerald.

She got her start, though, working as an editorial assistant – in truth, a “gofer” – for the most lauded science fiction magazine of the 1960s, Galaxy. There she learned the basics of publishing and rose rapidly through the editorial ranks until Ballantine Books lured her away in 1973.

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Soon thereafter, Ballantine was acquired by publishing giant Random House, which then named del Rey senior editor. Yet her first big move was a risky one – cutting ties with Ballantine author John Norman, whose highly popular “Gor” novels were widely panned for their misogyny.

Nonetheless, del Rey’s mission was to develop a strong backlist of science fiction novels that could hook new generations of younger readers, not to mention adults. One early success was her “Star Trek Log” series, a sequence of 10 novels based on episodes of “Star Trek: The Animated Series.”

But del Rey landed an even bigger success by snagging the novelization rights to a science fiction film that, at the time, few Hollywood executives believed would do well: “Star Wars.”

This savvy gamble led to years of lucrative tie-in products for Ballantine such as calendars, art books, sketchbooks, the Star Wars Intergalactic Passport and, of course, more novels set in the Star Wars universe – so many different tie-ins, in fact, that del Rey dubbed herself the “Mama of Star Wars.”

Afterward, she became someone who, as reporter Jennifer Crighton put it, radiated “with the shameless glee of one of the Rebel forces, an upstart who won.”

A big player in big fiction

Del Rey’s tendencies as an editor were sometimes criticized – often by competitors who could not match her line’s success – for focusing too much on Ballantine’s bottom line. But she also chose to work within the publishing landscape as it actually existed in the 1970s, rather than the one she only wished existed.

In his book “Big Fiction,” publishing industry scholar Dan Sinykin calls this period the “Conglomerate Era,” a time when publishing houses – usually small and family run – were being consolidated into larger corporations.

One benefit of this shift, however, was greater corporate investment in the industry, which boosted print runs, marketing budgets, author advances and salaries for personnel.

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Ballantine’s parent company, Random House, was also known as an industry leader in free speech, thanks to the efforts of legendary CEOs Bennett Cerf and Robert L. Bernstein.

Accordingly, Random House gave their publishing divisions, including Ballantine, immense creative autonomy.

And when del Rey was finally given her own imprint in 1977, she took her biggest risk of all: fantasy.

The Del Rey era

In prior decades, fantasy had a reputation for being unsellable – unless, of course, your name was J.R.R. Tolkien, or you wrote Conan-style barbarian fiction. Whereas the top science fiction magazines often had distinguished runs, fantasy magazines often folded due to lack of sales.

In 1975, though, del Rey hired her husband, Lester del Rey, to develop a fantasy line, and when Del Rey Books launched two years later, it landed major successes with bestsellers such as Terry Brooks’ “The Sword of Shannara” and Stephen R. Donaldson’s “The Chronicles of Thomas Covenant the Unbeliever.” Yet even though Lester edited the fantasy authors, Judy-Lynn oversaw the imprint and the marketing.

One lesser-known example of her prowess is “The Princess Bride.”

Today, most people know the 1987 film, but the movie originated as a much earlier novel by William Goldman. The original 1973 edition, however, sold poorly. It might have faded into obscurity had del Rey not been determined to revive Ballantine’s backlist.

She reissued “The Princess Bride” in 1977 with a dazzling, gate-folded die-cut cover and a new promotional campaign, without which the novel – and the film – might never have found its later success.

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Accolades accumulate

Thanks to these efforts, Del Rey Books dominated genre publishing, producing more bestselling titles through 1990 than every other science fiction and fantasy publisher combined. Yet despite complaints that the imprint prioritized commercial success over literary merit, Del Rey authors earned their fair share of literary accolades.

The prestigious Locus Poll Award for best science fiction novel went to Del Rey authors Julian May and Isaac Asimov in 1982 and 1983. Other Locus awardees include Patricia A. McKillip, Robert A. Heinlein, Larry Niven, Marion Zimmer Bradley and Barbara Hambly.

Barry Hughart’s “Bridge of Birds” was one of two winners for the World Fantasy Award in 1985 and won the Mythopoeic Society Award in 1986. Even more impressively, Del Rey ran away with the Science Fiction Book Club Award during that prize’s first nine years of existence, winning seven of them. The imprint’s titles also won three consecutive August Derleth Fantasy Awards – now called the British Fantasy Award – from 1977 through 1979.

Yet despite these accolades, Del Rey’s reputation continued to suffer from its own commercial success. Notably, Judy-Lynn del Rey was never nominated for a Hugo Award for best professional editor while she was alive. When she died in 1986, del Rey was belatedly voted for a posthumous award, but her husband, Lester, refused to accept it, saying that it came too late.

Although the current narrative continues to be that Del Rey Books published mainly formulaic mass-market fiction in its science fiction and fantasy lines, the time may be ripe to celebrate the foresight and iconoclasm of a publisher who expanded speculative fiction beyond the borders of a small genre fandom.

Dennis Wilson Wise, Professor of Practice in English Literature, University of Arizona

This article is republished from The Conversation under a Creative Commons license. Read the original article.

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and let your entertainment journey begin!

This fall, families can collect toys with tiny books inside, featuring characters from Paramount’s PAW Patrol^™, Tales of the Teenage Mutant Ninja Turtles, and PMI’s very own Monster Tales!

Booksy’ collectible toy line

TEL AVIV, Israel, Sept. 11, 2024 /PRNewswire/ – Uniting the exciting world of toys with the imaginative world of books is the brand new patented and trademarked ‘Booksy’ collectible toy line by renowned global toy company, PMI Kids World. In an era where screens dominate, this collectible toy line offers children and families a unique way to foster a love for play and reading. Featuring tiny books cleverly housed inside unique collectible figures, Booksy engages children in the tactile and imaginative experience of play and reading, one Booksy at a time. The line will launch in October with PMI’s original Monster Tales at Amazon, followed by an expansion in November with licensed character versions from the hugely popular worlds of PAW Patrol, produced by Spin Master Entertainment and airing on Nickelodeon, and Paramount+ original series Tales of the Teenage Mutant Ninja Turtles, at Walmart.

Designed, written, and illustrated for children and families, Booksy collectible figures are the perfect steppingstone to nurturing children’s literacy through the excitement of collecting both books and appealing figures. The core Booksy collection, titled Monster Tales, introduces a series of original characters, stories, and a special Monster Tales bookcase for young readers to place and display their growing mini book collections. Characters from mega popular franchises, such as Chase and Skye, pups from PAW Patrol, and Raphael and Michelangelo from Tales of the Teenage Mutant Ninja Turtles, will also bring familiar faces to the world of Booksy, making reading even more exciting for young fans of the beloved franchises.

Patented and trademarked, the Booksy toy line and the Monster Tales brand are PMI’s very own intellectual properties that introduces an innovative story-focused product variety featuring the talents of Christian Tremblay, branding specialist and a titan of the family entertainment industry with over 30 years of experience.

“As a parent and lifelong reader, I understand the importance of encouraging children to discover a love for reading and play that truly ignites their imaginations,” says Omer Dekel, CEO at PMI Kids’ World. “Booksy is particularly special to me because it’s an IP we’ve developed in-house and patented, blending the excitement of toys with the educational value of relatable life lessons and adventures in collectible books. I’m incredibly excited to see how Booksy will inspire and nurture the next generation.”

In October 2024, the Booksy Monster Tales Six Pack, featuring Monster Tales Dome figures, will launch on Amazon in the USA. This collection offers six unique characters for children aged 3-8 to collect. Additionally, the Booksy Monster Tales Bookshelf Collector Set, including a Monster Tales Booksy figure and a Collector’s Bookshelf, will also be available on Amazon. The first licensed version will be launched November 2024, introducing Booksy One Pack PAW Patrol and Tales of the Teenage Mutant Ninja Turtles Dome figures at Walmart, and offering 12 beloved characters for young fans. Globally, the Booksy Monster Tales toy line is set for a Fall 2024 release, with key markets including the United States, United Kingdom (exclusively distributed by Character Options), France (exclusively distributed by Bandai France), the Middle East (exclusively distributed by iBrands), Canada (exclusively distributed by Red Planet), and more. The Booksy PAW Patrol and Tales of the Teenage Mutant Ninja Turtles toy lines will be sold exclusively at 3,000 Walmart stores across the USA.

Renowned for turning trending IPs into must-have toys, PMI Kids World is excited to introduce their very own brand and line of Booksy toys, right in time for the holidays.

About PMI Kids World
Established in 1995, PMI Kids World is a leading gaming-sector toy manufacturer focused on licensing consumer products in over 170 countries. PMI Kids World gives licensed intellectual properties (IPs) a vibrant existence by creating high-quality, innovative, affordable toys and collectibles. We’re here to bring the mega children’s brands and the coolest lines to kids worldwide. Our lineup includes esteemed names like Sonic Prime, Pudgy Penguins, Brawl Stars, and many others. Rooted in our purpose is the aspiration to ensure that every child can partake in the delight of play, irrespective of their circumstances.

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For more information on PMI Kids’ World, follow PMI on:

• Instagram: @pmi_toys
• Facebook: @pmiltd
• Twitter: @pmitoys
• TikTok: @pmi_toys

About Booksy
Patented and trademarked by PMI Kids World, Booksy is the global toy company’s newest innovation in collectible toys and storytelling. Launching with PMI’s very own Monster Tales IP in October 2024, each Booksy character figure houses a miniature, full-colored storybook that empowers kids’ imagination by merging engaging play patterns with storytelling. Following Monster Tales, Booksy will also release versions based on popular kids licenses such as PAW Patrol and Teenage Mutant Ninja Turtles in November 2024. Designed for boys and girls ages 3 to 8, each story introduces kid-relatable life lessons that children, families, and teachers will love and enjoy.

About Paramount Consumer Products

Paramount Consumer Products oversees all licensing and merchandising for Paramount (Nasdaq: PARA, PARAA), a leading global media and entertainment company that creates premium content and experiences for audiences worldwide. Driven by a diverse slate of consumer brands, Paramount Consumer Products’ portfolio is based on content from platforms including Paramount+, CBS (including CBS Television Studios and CBS Television Distribution), cable networks (including MTV, Nickelodeon and Showtime), and Paramount Pictures. Additionally, the division operates Paramount Game Studios. With properties spanning animation, live-action, preschool, youth and adult, Paramount Consumer Products is committed to creating the highest quality product for some of the world’s most beloved, iconic franchises. To view our range of consumer products and Paramount branded apparel, visit ParamountShop.com.

SOURCE PMI Kid’s World

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Discover hidden cinematic gems, binge-worthy series and addictive podcasts, gain insights into the latest releases with our movie reviews, explore the latest trends in music, dive into the vibrant atmosphere of expos, and embark on thrilling adventures in breathtaking venues and theme parks.

Join us at Looking for an entertainment experience that transcends the ordinary? Look no further than STM Daily News Blog’s vibrant Entertainment section. Immerse yourself in the captivating world of indie films, streaming and podcasts, movie reviews, music, expos, venues, and theme and amusement parks.

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