SCREW #3-64 (NY: Milky Way Productions, 24th January, 1969- 25th May, 1970).
SCREW #3-64 (NY: Milky Way Productions, 24th January, 1969- 25th May, 1970).
SCREW #3-64 (NY: Milky Way Productions, 24th January, 1969- 25th May, 1970).
SCREW #3-64 (NY: Milky Way Productions, 24th January, 1969- 25th May, 1970).
SCREW #3-64 (NY: Milky Way Productions, 24th January, 1969- 25th May, 1970).
SCREW #3-64 (NY: Milky Way Productions, 24th January, 1969- 25th May, 1970).
SCREW #3-64 (NY: Milky Way Productions, 24th January, 1969- 25th May, 1970).
SCREW #3-64 (NY: Milky Way Productions, 24th January, 1969- 25th May, 1970).
SCREW #3-64 (NY: Milky Way Productions, 24th January, 1969- 25th May, 1970).
SCREW #3-64 (NY: Milky Way Productions, 24th January, 1969- 25th May, 1970).
SCREW #3-64 (NY: Milky Way Productions, 24th January, 1969- 25th May, 1970).
SCREW #3-64 (NY: Milky Way Productions, 24th January, 1969- 25th May, 1970).
SCREW #3-64 (NY: Milky Way Productions, 24th January, 1969- 25th May, 1970).
SCREW #3-64 (NY: Milky Way Productions, 24th January, 1969- 25th May, 1970).
SCREW #3-64 (NY: Milky Way Productions, 24th January, 1969- 25th May, 1970).
SCREW #3-64 (NY: Milky Way Productions, 24th January, 1969- 25th May, 1970).
SCREW #3-64 (NY: Milky Way Productions, 24th January, 1969- 25th May, 1970).
SCREW #3-64 (NY: Milky Way Productions, 24th January, 1969- 25th May, 1970).
SCREW #3-64 (NY: Milky Way Productions, 24th January, 1969- 25th May, 1970).
SCREW #3-64 (NY: Milky Way Productions, 24th January, 1969- 25th May, 1970).
SCREW #3-64 (NY: Milky Way Productions, 24th January, 1969- 25th May, 1970).
SCREW #3-64 (NY: Milky Way Productions, 24th January, 1969- 25th May, 1970).
SCREW #3-64 (NY: Milky Way Productions, 24th January, 1969- 25th May, 1970).
SCREW #3-64 (NY: Milky Way Productions, 24th January, 1969- 25th May, 1970).
SCREW #3-64 (NY: Milky Way Productions, 24th January, 1969- 25th May, 1970).
SCREW #3-64 (NY: Milky Way Productions, 24th January, 1969- 25th May, 1970).
SCREW #3-64 (NY: Milky Way Productions, 24th January, 1969- 25th May, 1970).
SCREW #3-64 (NY: Milky Way Productions, 24th January, 1969- 25th May, 1970).

80.

SCREW #3-64 (NY: Milky Way Productions, 24th January, 1969- 25th May, 1970).

Tabloid newspaper format. Pagination varies (12pp.-36pp.). Ed. Al Goldstein and Jim Buckley.
Co-published by Jim Buckley and Mary Phillips (the latter until issue #57). Initially bi-weekly; weekly from the tenth issue.

An unbroken, early run of this pioneering and long-running sex paper, missing only the first two issues. It includes contributions from Gregory Battcock; Dr. Albert Ellis; Dean Latimer (of The East Village Other, later editor of High Times); and underground cartoonists Billy Graham and Bill Griffith. The run features appearances by Taylor Mead; Andy Warhol; Yayoi Kusama; Janis Joplin; Vanessa Redgrave; Faye Dunaway; John Lennon and Yoko Ono (4pp. interview by Jim Buckley + "Lennon's Erotic Drawings"); Candy Darling; Linda Ronstadt; Sally Eaton; plaster-caster Nancy (Godrey); Sally Kirkland ('Futz'); Dustin Hoffman; Mia Farrow; Joe Namath; Timothy Leary (interviewed by Al Goldstein on LSD and sexuality, and his ideas on governing California); Jon Voight (a two-part interview); Danny Fields; Henry Miller; 'Nova' ("An Interview With a Drag Queen"); and Aames Michaels ("An Interview with a Transsexual").

The paper ran regular reviews of 'fuckbooks', 'dirtymovies', magazines (including a favourable review of Suck in issue #38), and sex toys; wide-ranging ads. (including Charles Gatewood's 'Personality Posters' and The Fugs), as well as numerous 'personals' and readers' letters.

The idea for Screw came about in June 1968 when Al Goldstein and Jim Buckley met for the first time. Goldstein was then working for the National Mirror and Hush-Hush, and Buckley worked for the New York Free Press. Together they spotted a gap in the market for a sex tabloid newspaper, agreed to put up $175 each, and by November they had published their first issue. It promised "never to ink out a pubic hair or chalk out an organ. We will apologize for nothing. We will uncover the entire world of sex. We will be the Consumer Reports of sex."

Printed in a run of 4500 copies, only 22 news vendors stocked it, but by the third issue the editorial was claiming a print run of 35,000, with subscribers in 38 states. The same editorial included a 'Statement of Policy' directed at Mayor Lindsay and Police Commissioner Leary after street vendors in New York were warned by the police not to sell Screw: "SCREW is not an apologetic 42nd Street smut gazette that is afraid of the light. We will defend and demand our right to exist and refuse to pay one cent of tribute. We will advise you of any cops who may, in the future, give our retail outlets a hard time, by taking judicial law in their own hands", continuing with a challenge to "Either let us operate as a newspaper or have the staff of Screw arrested so that we may clear our name in a court of law." The opportunity soon presented itself when Screw was busted for a photograph in issue #15 depicting the head of Mayor Lindsay appended to a small nude body with a large penis (over the next three years Goldstein was arrested a further 18 times on obscenity charges).

Screw, despite its reputation as pornography, was more a vulgar satire magazine spoofing the sexual revolution, with plenty of nudity to boost sales. If it was exploitation, and second-wave feminism certainly viewed it as such, it might be conceded that it was at least equal opportunites exploitation, since female pleasure played as much a part in Screw's endorsement of sexual liberation as men's. Its erotically diverse content, both heterosexual and homosexual, was never censored, and celebrated and mocked the freewheeling experimentation in sexuality that emerged from the sixties counterculture.

Folded tabloids, stored flat. Issue #3 fragile, with partial splits to spine and central horizontal fold. Paper faintly age-toned on all issues, occasional minor wear, but overall Very Good or better.

A remarkably well-preserved trove of early issues, when Screw was still finding its voice, design, and editorial chops.

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