The printing is great, the paper is a subtle mix of matt and high gloss, and the overall effect is of an oversized zine. The foil wrap teases like Madonna’s book ‘Sex’ from the 90s, and once revealed the quality of the print and production inside is super-high. Perhaps partly through the vast and impressive list of contributors and people thanked (a spread of credits covers everyone from Anna Wintour to Lewis Hamilton via Jony Ive), Ocean has concocted a visual treat that is impressively produced at every level. If this makes the mag sound like an absurd, self-obsessed urban music cliché, think again.
And more cars – this is almost a magazine about cars, from the cover image onwards. Ocean’s musical talent has translated perfectly to magazine making and the result is a heavyweight beast that is surprisingly personal (interviews with his mum and other relatives, screengrabs of his browser history, a first screenplay) yet is brazenly obsessed with fashion and cars.
What’s remarkable about Boys Don’t Cry is that the musician behind it is completely in charge. We’re used to the worlds of fashion, art and culture finding common ground in magazine projects, and often musicians are co-opted in as the front person for a fashion biannual or special issue. The project is astonishing, a massive publication in format, extent and ambition, and a highly deserved Magazine of the Week. The hype around the project has subsided since the balmy days of August, and on cutting open the heavy foil packaging I was ready for possible disappointment.
LCC journalism student Eve Cross managed to pick up a copy, and lent it to us for an unboxing session. Published alongside his recent album ‘Blonde’, the publication had been rumoured to be due for several months before suddenly arriving announced in late August. I finally got my hands on a copy of Frank Ocean’s magazine Boys Don’t Cry this week. Our final Magazine of the Week highlight from the past year is Frank Ocean’s extraordinary Boys Don’t Cry, published alongside his album ‘Blonde’.
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