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Giving the zine out at no cost seemed to be an act of generosity with little commercial benefit for Ocean, although the hype it created around Blonde would have no doubt boosted album sales in the long run.
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FRANK OCEAN BLONDE ALBUM COVER HIGH QUALITY FOR FREE
The free magazine was announced in 2015 and released over a year later in four pop-up shops around the world – it promptly disappeared from shelves, and those who missed out ended up paying painful sums of money to second-hand sellers online in order to get a copy.īut while eBay pirates may have profited from the magazine, it’s unlikely that Ocean himself did, at least directly: Boys Don’t Cry was released both for free and with a physical copy of his album Blonde, and given the quality of both the product (the embossed cover, the three types of paper it was printed on, the design by respected art directors Zak Group) and its contents (its contributors included renowned photographer Wolfgang Tillmans and stars like Kanye West and Tyler, the Creator), it’s probably safe to assume that it was neither cheap nor quick to produce. Alongside this, there’s been a noticeable surge in musicians dabbling with DIY too: the first half of 2017 alone has seen the publication of zines by Sampha ( Shy Light), The xx ( It Could Be Love), Irish rapper Rejjie Snow ( The Moon & You), US bass producer RL Grime ( NovaZine), and LA punks Bleached ( Can You Deal?), to name just a few.īut what’s fuelled this sudden influx? One catalyst that immediately springs to mind is Frank Ocean’s Boys Don’t Cry. Titles like Born N Bread, gal-dem, and Skin Deep have turned small, self-made ventures into widely read, sought-after publications and increased the size of small press and zine fairs held across the UK.
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In 2017, it feels like zine culture is bigger than ever.