Real Nazi Sex UFO Man-Eater Cults!
Page 3 of 20
Late in WWII he split his Marvel Comics
line into two operating divisions, Atlas and
Humorama. Atlas would distribute comic
books and magazines originated by other
publishers. Humorama would recycle girlie
photos into little magazines with spot
cartoons interspersed, effectively creating
the adult comic book. As for his regular
comic book line, he reduced its staff to
one person: Stan Lee, the husband of his
His firm went straight back into production
of pulps and came to dominate the Real
Nazi Sex UFO Man-Eater Cults trend.  
Goodman was an extremely unsentimental
publisher, often bailing out of entire
genres and types of magazines at the first
sign of a decline. When it came to the
pulps, he almost never varied on his tried
and true themes. Only the backdrops
Not all pulp publishers were
pornographers, however all
pornographers were pulp publishers.
Goodman was a triple threat: a magazine
distributor, a pulp publisher and a

This, by the way, was nothing new. Pulp
publishers had been inserting nude
photos into pulp magazines since the start
of the industry. Post WWII changes in
printing technology were making this
convergence of text and smut more
economical, almost inevitable.  Photo
offset presses were allowing magazines
the options of shorter runs with photos
and spot color. Once the dust after paper
rationing settled, it became apparent that
all grades of paper were essentially the
same price. With all paper being the same
price, there was very little reason to print
on the junk.
Also it meant that just about anybody
could get into the pulp publishing
business. These new presses are what
enabled comic artists to bypass the
companies. It’s the reason that no one,
not even Goodman, was ever able to get
more than 15% of the pulp market. The
4th Wave was awash in small firms.

Goodman’s pulps were produced almost
entirely in house. Unlike other companies,
Goodman liked to see his creatives.
Everyone was on salary, with incentives.
All of his many magazines were put out by
a large Madison Avenue housed staff. He
was very atypical not only in having
salaried staff but also in that he paid his
people fairly well. Whatever one might
think of his magazines or the field in
general, it was apparently quite lucrative
and Goodman was not a small  operator.
The firm’s rather wild corporate culture
has recently been recalled in the book It’s
a Man’s World.

Goodman’s pulp line paraded under so
many names that it is often hard to tell
which magazines are his. He was also
constantly acquiring new titles. When he
wasn’t doing that, he would help himself to
titles which were no longer being used by
their original firms. With a little detective
work it is possible to piece together which
titles are actually his. The same cannot be
said for what seems to be the field’s other
big operator…
No 4th Wave publisher more typified the new breed of producers better than Jalart.  Like Goodman,
they operated under several names. Also like Goodman, producing pulps was not their only
business. Unlike Goodman, they had not come out of the pulp or fiction publishing worlds at all.
Jalart, like many of the new entrants into the field, had drifted into pulps tangentially.
The first-hand accounts I have of this firm
indicate that they were at one time in the
business of producing a low rent weekly
supermarket tabloid. That was something of a
late event and a sideline. When Jalart started
(in 1946, I think) it was primarily in the
business of publishing sports magazines. As
opposed to journalism, they concentrated on
what we today would call “fandom publishing.”
They produced a digest of baseball statistics
every spring and were amongst the first to
publish catalogs of baseball cards.

From there they branched out to producing
boxing, wrestling and roller derby magazines.
The firm was something of a multi-media
enterprise, actively involved in promoting roller
derby and wrestling on television during the

In all likelihood Jalart got into pulps through
acquisition. They did not originate any of the
pulps they wound up publishing. Starting with a
few true crime pulps, by the 1950s they were
the second biggest publisher.
Jalart was unusual in that it was entirely divorced from the pulp’s east coast establishment.
The firm was headquartered in Scottsdale, Arizona--hardly a publishing hub.
In the mid 1950s it acquired Skye Publishing as its New York subsidiary.

Or so I think.
To be honest, sometimes the
publishers are flat out illusionary. The
same writers, artists and editors are
being used by several of the
publishers. Most of these magazines
are being laid out by small,
independent New York-based studios.
Per several of the artists, it was an
industry largely run by agents and
go-betweens. Although this seems a
rather modern practice, it was fairly
widespread in pulp magazines and
later, comic books, from the 1930s on.
When it comes to Jalart, I think all of
their pulps were being laid out at Skye.
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