As long as we’re on the subject of magazines, I tip my hat to the newly-redesigned magazin Klassik from my favorite radio station, radio klassik Stephansdom. It’s a dynamic publication from Vienna, now celebrating its tenth year, and its design has always been a delight to the eye; now, it’s even more delightful.
“This exclusive magazine features program previews and recaps, provides in-depth reports and articles on art, literature, and science, offers reviews and opinions, and highlights exciting cultural events,” says the station, and for those of us learning German it’s a great educational tool as well. (And the new issue also salutes yours truly, who enjoyed the kind generosity of lovely and talented host Arabella Fenyves and tireless and handsome general manager Christoph Wellner on a visit to the station in March.)
You can download the new issue and stream the station itself here. And as long as you’re there, don’t forget to donate to keep radio klassik Stephansdom going: it’s a rare treat.
UPDATE, October 3, 2026: Mr. Mueller has been so kind as to provide this link, at which you can purchase (if you’re in Europe) or may be able to purchase (if you’re anywhere else) the first number of The Nincompoopje. I’m afraid you’re on your own with the Dutch.
And one of those good things that happen on occasion is the arrival of a new issue of Mineshaft magazine from the fine folks in Durham, North Carolina. The striking wraparound image is the creation of Simone Baumann, a rising star of the comix scene, who is also represented in this issue by “Human Fly,” a ravishingly hallucinatory visit to the world of comix publishing. There are also contributions from the usual gang: a selection from Mary Fleener’s similarly hallucinatory “Happy Hour” (she also contributes an illustration of Poe’s “The Raven”); two fine paintings by Sophie Crumb; a terrific portfolio of work from Minnesota’s underground comix scene (a stunning painting by Nathalie Tierce here); Drew Friedman’s portrait of Chris Ware; Christoph Mueller’s latest metaphysical musings; and more. Sixty-eight pages of good things in this lovingly produced issue, with a rare four-color cover; you can order it, and subscribe to future issues, here.
A word to the wise, too: Ms. Baumann’s new self-published book Alice will soon be available for purchase here, and Mr. Mueller is hawking a new anthology of short stories called The Nincompoopje, 28 full-color pages “made by a human,” available from concertobooks.nl in Amsterdam. (Unfortunately I can’t locate a link to purchase, but I’ll add it here when I find one.) It’s never too soon to put together your Christmas list.
The mailman slipped me the latest issue of Mineshaft #45 last week — the 25th anniversary issue of the magazine that published its first issue back in the last century. I read through just about the whole thing in one sitting, but “read” may not be entirely accurate: each issue is a world in itself of visual and linguistic acrobatics from writers and artists old and new. It seems churlish to pick out just a few highlights, since Mineshaft is best read from first page to last, but in #45 you’ll find:
First, that splendid, endlessly fascinating wraparound cover by Aaron Horkey
Simone F. Baumann’s depiction of her very brief career in a hooker bar
A memoir of pre-teen transvestism by Billy Childish
Mary Fleener’s comic travelogue through the current state of the humanities in academia
R. Crumb’s portraits of two great blues masters
Drew Friedman’s rendering of popular Chaplin imitators
And there’s more, much more, besides.
In the sixth part of his continuing saga about life with Mineshaft, publisher/editor Everett Rand muses upon the magazine’s continuing appeal. “[The] magazine is an attempt, by me, to keep control of my world. I’ve always enjoyed the possibility of living in art, rather than always being stuck in real life. That’s what a great painting or book does for me. They give me another world that I can step into and inhabit for a while.” He continues:
My own editorial vision … is always pushing artists and writers to send us their best work, and there’s no money in it. People can resent this, or not have the time for it. … Despite the sacrifice and hardship, I think people come on board because of the community, in order to be a part of the experience. The generosity of the Mineshaft community is really what keeps Mineshaft alive. Everybody comes together to help make something tangible, that is nicely put together, and that otherwise wouldn’t exist. It’s not practical and you have to be a bit of a dreamer and idealist. The readers are a big part of this community too.
It is, it must be said, not a big community. Only 1,350 copies of Mineshaft #45 were printed, but that community is always inviting new members who want to share that world with the contributors, and the community’s arms are always open. That’s why you should subscribe. Each issue is a new universe, a brief time away from what Rand calls “real life” (though, I suggest, that life is no more nor less real than that found in the pages of Mineshaft). “Long live MINESHAFT!” Crumb says. How can I disagree?
Cover of Mineshaft magazine, issue #44, by R. Crumb.
Now available for holiday giving, issue #44 of Mineshaft magazine dropped into my mailbox in a plain brown envelope a few weeks ago, and as usual it’s a magazine to spend a few thoughtful evenings with. (And you can impress your friends when you leave it on your coffee table.) Among the highlights are tributes to the late Aline Kominsky-Crumb and Diane Noomin from Bill Griffith and others; a new, haunting story called “Nostalgia” from Christoph Mueller; Mary Fleener‘s meditative “Between the Worlds” travelogue; a Skip James portrait from R. Crumb; co-editor Everett Rand’s ongoing saga of Mineshaft itself; and great new stuff from Simone Baumann, Glenn Head, Drew Friedman, and company. I wrote a little more descriptively about Mineshafthere.
Mr. Friedman has called Mineshaft “the best magazine being published in the 21st century,” and who am I to argue with Drew Friedman? Certainly it’s one of the few magazines to which I maintain a subscription (the others are Acoustic Guitar and The Syncopated Times, which shows you where my head is at these days). You can yourself join the illustrious Mineshaft community easily enough; the current issue is available here, and you can sign up for a subscription here. And while you’re there, why not give the gift of bemused alienation to someone close to you?
Below, The Mighty Millborough himself discovers Mineshaft, as told to Christoph Mueller in 2011:
The uniformed representative of the United States Postal Service slipped the latest issue of Mineshaft magazine under my door a few weeks ago, and for that I am grateful. This issue, the 43rd, is as usual an excellent exhumation and examination of various features of the American landscape, and they’ve really outdone themselves this time. The late Aline Crumb and Sophie Crumb trade mother/daughter stories of their experiences with abortion; editor Everett Rand describes the challenges of zine publication in these fraught times; Christoph Mueller explores the environs of 1970s and 2020s New York in the company of Françoise Mouly, founder and editor with Art Spiegelman of the groundbreaking Raw; R. Crumb provides a few meditative landscapes; and there’s so much more behind that fine cover image from Drew Friedman (with lettering by Mueller).
Mineshaft is a magazine that should be read from cover to cover, straight through; Rand and consulting editor Gioia Palmieri create a unique journey through American culture with each issue, beautifully paced and befitting a magazine which, perhaps more than any other, is a contemplation of a passing American scene. Its lucid perspective (like those of its contributors) transcends nostalgia without neglecting a sense of loss; its surreality is the result of the past as seen through the prism of an angst-ridden present. And not just in America: In this issue, the final cartoon by the Italian Ivan Manuppelli, one of Mineshaft‘s new finds, speaks to me, and if it speaks to me, it speaks to others as well; Mineshaft is the antidote to this despair. You can purchase the issue and subscribe to future Mineshafts here.
This issue is dedicated to Justin Green, Diane Noomin, and Simon Deitch, who recently shuffled off this mortal coil, as did Aline Kominsky-Crumb after the magazine went to press. I raise my glass to all of them. And I should mention that contributors Drew Friedman and Noah van Sciver, both favorites of mine, will be featured guests at this year’s MoCCA Arts Festival here in New York at the beginning of April. I’ll be bringing the kids.
