{"id":118677,"date":"2017-11-30T13:00:33","date_gmt":"2017-11-30T18:00:33","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=118677"},"modified":"2017-11-30T15:39:55","modified_gmt":"2017-11-30T20:39:55","slug":"tuli-kupferbergs-yeah-tiny-magazine-captured-1960s","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/11\/30\/tuli-kupferbergs-yeah-tiny-magazine-captured-1960s\/","title":{"rendered":"Tuli Kupferberg\u2019s Yeah!<\/em>: The Tiny Magazine That Captured the 1960s"},"content":{"rendered":"
<\/a>

Interior spread from issue no. 4 of\u00a0Yeah!<\/em><\/p><\/div>\n

 <\/p>\n

It was 1961. Eisenhower had cut ties with Cuba, JFK was sworn in, the Berlin Wall went up, the Shirelles were in the top ten\u00a0for \u201cWill You Still Love Me Tomorrow,\u201d and America fizzed with the unchartered sexual dynamics created by the newly introduced pill. Meanwhile, on Manhattan\u2019s Lower East Side, the homegrown poet-anarchist Tuli Kupferberg\u2014already immortalized as the figure who survived after leaping off the Brooklyn Bridge in Allen Ginsberg\u2019s 1955 poem \u201cHowl\u201d\u2014put out the first issue of Yeah!<\/em>\u00a0The opening page presented the zine as \u201ca satyric excursion published at will,\u201d and it begins:<\/p>\n

I want
\nto put<\/span>
\nthe revolution
\nat the service of poetry.<\/span><\/p>\n

I want
\nComrade Stalin
\nto say
\nTuli, tell me how to revive
\nthe bodies of my dead Ukrainian peasants
\nwith your magic words<\/span><\/span><\/span><\/p><\/blockquote>\n

Recently re-released in facsimile edition by the publishing non-profit Primary Information, the original ten issues of Yeah! <\/i>were made at Kupferberg\u2019s home on Tenth Street and Avenue B with the help of his wife, Sylvia Topp, and printed on a mimeograph. Kupferberg\u00a0 <\/span>asked his friends to contribute. Many delivered poetry and art, such as Allan Sillitoe, Judson Crews, Brigid Murnaghan, Peter Schumann, Anita Steckel, William Wantling; others facilitated. Jonas Mekas submitted a poem from Der Spiegel<\/i> by Yevgeny Yevtushenko; Ken Jacobs provided newspaper clip collages of absurd, tone-deaf reporting. Other sourced items\u2014a misogynist cartoon from the Yale Record<\/i>, a New York Times<\/i> correction detailing the war injuries of a Vietnamese child, happy news of an anti-crossdressing electric shock treatment\u2014are laid bare, their absurdity and cruelty thrown into sharp relief.\u00a0<\/span><\/p>\n

The pages of Yeah!<\/em> are a mix of charm and rage. By issue 4, Kupferberg was printing extracts from the previous generation\u2019s cultural critics, condemning their academia: \u201cIts nice to call for ideates, philosophies, profundities, saintniks, romantic (no) lovers & c but what if they just don\u2019t appear? What if all we get now is a chance at the sensual joys. (And aren\u2019t all joys (even the ideational ones) sensual?) & good and wonderful & if you will it so: holy? Carpe penem!\u201d The seventh issue is named \u201cA Look at the White Problem\u201d: on the cover, a racist 1852 drawing from Yankee Notions<\/em>; on the back, a photograph of a grinning white cop with a lurching, snapping dog. Issues 8 and 9 (at which point, Kupferberg showed only his own work)\u00a0lampoon the medical and beauty industries; the cover of issue\u00a010, the longest and most affecting, shouts the words \u201cKill For Peace.\u201d After that, Kupferberg wanted to get even louder, so he started the band the Fugs with fellow poet, activist, and Peace Eye bookstore founder Ed Sanders, eventually performing at national antiwar protests and irritating the FBI.<\/p>\n

Back then, the printed word had irrefutable authority. Artist magazines and books were a simple way to take back power and, in the process, reinforce community. Kupferberg\u2019s editorship was both journalistic and deeply emotional. His satire was a reverse tactic: all political leaders are mentally ill, and the poets\u2014the apparently mad and dispossessed\u2014have the answers.<\/p>\n

James Hoff, who cofounded Primary Information with Miriam Katzeff, explained, \u201cPart of our mission is to pull stuff from the past that we think is still relevant to contemporary discussions and put out editions that feel exactly like the originals\u2014so there\u2019s no filter.\u201d In 2007, as an employee of the nonprofit bookstore and gallery Printed Matter, Hoff curated a retrospective of the Fugs\u2019 materials. Over at Kupferberg\u2019s house one day, he had watched him pull fifty-year-old, dead-stock copies of Yeah!<\/em> out of storage. Topp warned him about the fragile binding, but Kupferberg gleefully cracked them, saying, \u201cFive hundred years from now, we are all going to be dust, and so will these books. It doesn’t matter.\u201d Hoff was impressed: \u201cThere was very much an archival spirit, but he also believed in books being able to live in the world.\u201d<\/p>\n

Many of the contributors to Yeah!<\/em> went on to become famous, and many disappeared. Before the reissue, Hoff and Katzeff attempted to get permission from everyone, but they were not always successful; some, it turned out, were secret pseudonyms for Kupferberg himself. Yeah!<\/em> was one of many series that he published on his imprint Birth Press, but possibly both the most local and simultaneously far flung: Yeah!<\/em> was the only place where you could read an old poem by Jim Tully about the hell of waiting in line at the DMV, a rhyme from Bertolt Brecht about evil, a lustful ode by an unknown Village resident, and peruse a pre-punk, anti\u2013Cold War collage. In its way, it was a paper of record, capturing the longings, fears, and fantasies of those who needed to believe in a better world, one that would only be found through self-expression\u00ad\u00ad. Those fears and fantasies resonate as strongly today. Yeah!<\/em> presents something inherently valuable and historical in an entirely different context: it\u2019s a personal documentary of a vast network of friends and collaborators who would not, or could not,\u00a0accept the stifling values of the 1950s. Kupferberg was a generous man\u2014\u201che was the type of person who would always hand you five drawings when you saw him,\u201d says Hoff\u2014and this sense of him at once coheres and softens some of the harsher and more jarring imagery and ideas in Yeah!<\/em>\u00a0An essential feeling of freedom permeates throughout. As Lawrence Ferlinghetti once wrote: \u201cTruth is not a secret of the few.\u201d<\/p>\n

\"\"<\/a>

Front and back covers from issue no. 1 of Yeah!<\/em><\/p><\/div>\n

<\/a>

Front and back covers from issue no. 6 of Yeah!<\/em><\/p><\/div>\n

<\/a>

Front and back covers fro issue no. 8 of Yeah!<\/em><\/p><\/div>\n

<\/a>

Front and back covers from issue no. 9 of Yeah!<\/em><\/p><\/div>\n

\"\"<\/a>

Front and back covers from issue no. 10 of Yeah!<\/em><\/p><\/div>\n

 <\/p>\n

 <\/p>\n

Yeah! is available at Primary Information<\/a>.<\/em><\/p>\n

Alex Zafiris<\/a> is a writer based in New York.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

  It was 1961. Eisenhower had cut ties with Cuba, JFK was sworn in, the Berlin Wall went up, the Shirelles were in the top ten\u00a0for \u201cWill You Still Love Me Tomorrow,\u201d and America fizzed with the unchartered sexual dynamics created by the newly introduced pill. Meanwhile, on Manhattan\u2019s Lower East Side, the homegrown poet-anarchist […]<\/p>\n","protected":false},"author":899,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[419],"tags":[699,15964,31889,31890,16460,7037,5867,31893,31892,12100,31891,31888],"class_list":["post-118677","post","type-post","status-publish","format-standard","hentry","category-arts-culture","tag-allen-ginsberg","tag-berlin-wall","tag-eisenhower","tag-howl","tag-james-hoff","tag-jfk","tag-lawrence-ferlinghetti","tag-miriam-katzeff","tag-primary-information","tag-the-shirelles","tag-tuli-kupferberg","tag-yeah"],"acf":[],"yoast_head":"\nTuli Kupferberg\u2019s Yeah!: The Tiny Magazine That Captured the 1960s by Alex Zafiris<\/title>\n<meta name=\"description\" content=\"Tuli Kupferberg\u2014immortalized as the figure who survived after leaping off the Brooklyn Bridge in \u201cHowl\u201d\u2014printed \u2018Yeah!\u2019 in his home.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2017\/11\/30\/tuli-kupferbergs-yeah-tiny-magazine-captured-1960s\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Tuli Kupferberg\u2019s Yeah!: The Tiny Magazine That Captured the 1960s by Alex Zafiris\" \/>\n<meta property=\"og:description\" content=\"November 30, 2017 \u2013   It was 1961. 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