After an acclaimed documentary and lengthy legal proceedings, Creem is back thanks to JJ Kramer (son of founder Barry Kramer and heir apparent at age 4). Finally launching this fall after much anticipation.
The new magazine will incorporate both Robert Crumb’s iconic smiling mascot (designed by counterculture cartoonist Robert Crumb) and its old features that showed rock stars hoisting cans of make-believe Boy Howdy beer.
Founded in 1969
Creem magazine will soon resurface under new leadership led by Detroit native and son of original publisher. Their reboot will boast impressive credentials and boast ambitious plans.
After its inaugural issue was released above a head shop and record store owned by combative entrepreneur Barry Kramer in 1969, Misfit Magazine quickly established itself as a national force. From its scrappy roots and irreverent tastemaker aesthetic, Misfit quickly made an impressionful mark that set itself apart from Rolling Stone magazine. Thanks to its iconic cover art featuring a smiling beer can mascot, Misfit quickly established itself as a household name.
Creem Magazine wasn’t afraid to take risks when it came to exploring pop culture trends or deconstructing genre icons, and was known for being both provocative and irreverent in its criticism of rock and roll music. More important was their unwavering love for it all!
As such, the book had a profound effect on subsequent publications of punk, new wave and early hip-hop eras as well as D.I.Y fanzines of indie-rock era D.I.Y fanzines that helped shape future generations of music critics.
How did a small, independent publisher from Detroit manage to become America’s No. 2 rock magazine? Crawford, the film’s director and one of its producers Uhelszki both suggest solutions in this documentary film. Both believe its location outside New York or Los Angeles culture centres was key; being free of distractions from Michigan’s growing entertainment industry allowed it to forge its own distinctive style without compromise from competing magazines in those cities.
Uhelszki and Kramer say the goal of Creem’s revival is to preserve its bold spirit while championing cutting-edge music. As well as print publications, Creem will include website, podcasts and live events; its staff are scattered across the country but remain close to Detroit roots of its original publication.
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Creem magazine was an indispensable companion for rock fans during the ’70s and ’80s, second only in circulation to Rolling Stone magazine, known for its bold gonzo approach to rock journalism. Established in 1969 by publisher Barry Kramer from office space above a head shop in Detroit’s Cass Corridor, its editorial Yin and Yang oscillated between idealistic editor Dave Marsh and bombastic critic Lester Bangs (known as America’s greatest rock critic) with occasional physical altercations taking place between idealistic Marsh and Lester Bangs who made its content legendary. Their clashes made its content as famous.
This magazine also pioneered many groundbreaking heavy metal, punk and new wave bands from Detroit. Often credited with coining the term “punk rock,” in a 1971 article written by Dave Marsh; WASPs like Iron Maiden’s Iron Maiden Megadeth King Diamond were introduced to a generation via this publication; Motley Crue’s Whitesnake “New Glam” style also found great favor here, helping launch career of authors such as Jaan Uhelszki Cameron Crowe and Patti Smith writers alike.
Creem magazine not only featured emerging and established artists, but it regularly conducted interviews with renowned musicians. Through its letters section readers could air their grievances; Joan Jett can be seen venting her fury against an unfair review of her band The Runaways published in Creem in 2019. Whether making fun of them or humanizing them, Creem writers attempted to give the public an inside glimpse into rock star culture.
CREEM has once more caused waves with its reinvention as an online archive containing 228 issues and 69,000 photos, offering subscriptions for its oversized quarterly print magazine and Boy Howdy logo merch. Spearheaded by JJ Kramer – son of original maverick publisher Barry Kramer – its reinvention was marked by both a feature film premiere and concert event to commemorate its revival; VICE provided financial backing while experienced editors and producers from music, media, fashion and beyond supported it with expertise.
Reviews
The movie is a nostalgic tribute to America’s Only Rock ‘n Roll Magazine, founded by Barry Kramer and known for being bold, irreverent, brutally honest, and at times even cruel in its coverage. Barry recruited an irreverent 19 year old college radio DJ named Dave Marsh – known for playing The Who’s “Can’t Explain” 23 times consecutively during his show – as its editor – joining Jaan Uhelszki and Lester Bangs who gained legendary status for making fun of rock stars as much as celebrating them. They gave their mag a legendary reputation of being bold, irreverent, brutally honest, and sometimes cruel in its coverage.
The film offers testimonies from musicians, artists, actors and writers who were either involved with or avid readers of this magazine during its heyday and later years. The directors (of 2014 music documentary Salad Days) have assembled an amazing array of interviewees that includes former staffers as well as rock superstars like Joan Jett from R.E.M.’s Michael Stipe and Red Hot Chili Peppers guitarist Chad Smith among many others.
At a time when Rolling Stone attempted to “grow up” rock music, Creem understood what made young people love it: its rawness, silliness, and status as the soundtrack of unruly youth. Being born in Detroit gave this magazine an advantage when discussing these aspects of proto-punk bands like MC5 and Iggy and the Stooges; both groups helped foster Creem.
Creem didn’t last long, but its magic is captured beautifully in this documentary film that captures both its high points and low points over its short existence with an amazing lineup of talent. The pace is quick-witted as images of low-resolution pages and rock star memories wash over you; recalling back when magazines could still be held in your hand is something the documentary brings home tangibly. Now available through Salt Lake Film Society’s virtual cinema platform SLFS@Home – don’t miss it!
Interviews
The film gathers testimonies from musicians, actors, filmmakers and designers who either read Creem magazine as children or were featured within its pages as adults. Former staffers such as writer Jaan Uhelszki (portrayed by Cameron Crowe in Almost Famous 2000 ) recall connecting with musicians looking for freedom from commercial radio while making the music they loved accessible to teens who felt bored by bland popular culture at that time.
Detroit gave this magazine its distinctive charm. It tapped into Detroit’s raw and unbridled spirit through bands like Iggy & the Stooges, the MC5 and Motown. Additionally, it provided Lou Reed, David Bowie and Roxy Music exposure years before Rolling Stone did so.
Though Bangs magazine only existed for two years before it shut down, its impact was profound on the rock scene. Founder Barry Kramer was an ambitious visionary who overstretched his team. Dave Marsh was an early college dropout who believed in social change through civil disobedience and marches; he provided the moral compass to contrast Bangs, who saw rock both as an entertaining pastime and as lifesaving weapon.
Creem magazine was an early leader for women in rock journalism. Their female writers could reach a demographic that was mostly ignored by men’s magazines at that time, including Uhelszki who started at around the same time as Bangs and became close with him almost instantly; Uhelszki remembers how she immediately connected with him: “He had this extraordinary sense of humor with incredible intelligence!”
The movie shows that Rolling Stone Magazine wasn’t afraid to take bold steps or reveal hidden truths, including being critical and harsh of rock stars; their writers would review shows with no reverence for rock icons, often writing reviews that were judgmental, degrading or offensive; this attitude made Rolling Stone such an influential voice.