How to Start Your Own Podcast. The podcast craze of the past several years shows no signs of slowing down, and while every armchair broadcaster with a voice recorder app is eager to get in the game, creating a professional- sounding podcast isn’t as simple as it might seem. Here’s how to create, record, and publish your own basic podcast—and get people to listen.*This story originally ran in June 2. August 2. 01. 7 with additional reporting from Patrick Austin.*Before You Start, Be Ready to Commit. Before you rush into things, it’s important to keep in mind that podcasts take a lot of effort to get going. They’re not just recordings of people talking (not the good ones, anyway). Flagship ZDNet weblog, covering a broad range of technology news. The podcast craze of the past several years shows no signs of slowing down, and while every armchair broadcaster with a voice recorder app is eager to get in the game. Pat Flynn, host of the Smart Passive Income podcast, recommends you treat podcasting the same way you would any other big project: Podcasting is extremely fun and exciting, but there is one thing you must do before you start podcasting: Commit. You must internally commit to podcasting, as you must do with anything that is potentially beneficial but takes some time and effort to do. It’s easy to assume that podcasts are easy to produce because they’re audio only, but don’t be fooled. They can take up a lot of time to put together, especially at first. Also, podcasts do best when they’re released consistently. If you’re interested in developing any kind of listener base, you have to be ready to release episodes on a regular basis. All in all, podcasting can be fun work, but it’s still work and should be treated as such. Technology keeps you connected everywhere you go, helps you capture every moment & makes your life a bit easier; stay up-to-date with tips & tricks from eHow. You also shouldn’t expect to get rich from podcasting either. It’s certainly possible to generate income from podcasting, but that usually requires advertisements and sponsorships—both of which you’ll get after you’ve built up a listenership big enough to make it worthwhile to advertisers. If you’re not interested in starting a podcast for the fun of it or to have your voice heard, you might not get much out of it unless you already have an audience. What You’ll Need. You can’t start a podcast without equipment, and good equipment will go a long way. Here’s what you’ll need: Microphone(s): Any microphone will work for recording your podcast, but listeners can usually tell the difference between low and high quality microphones. If you’re not sure what to look for, our list of the five best desktop microphones is a great place to start (I use four analog Audio- Technica AT2. As you shop around, you’ll also need to decide whether you want to use a USB or analog (XLR) microphone. USB mics convert analog sound into digital so you can plug a USB mic directly into any computer and start recording without much hassle, but you could potentially get lower audio quality compared to analog. Considering you don’t need any extra tools or devices to record with a USB mic, they can be a little cheaper in the long run. Analog microphones use XLR connectors, which means you need another device to get your audio onto your computer, but you can get higher audio quality and can use them with other sound equipment (if you had a PA system or wanted to play live music, for example). Of course, if you have a gaming headset or other basic microphone around, you can easily use that too. Portable XLR Recorder (optional): If you plan on using analog microphones for your podcast, you’ll need something that captures your analog audio and converts it to digital. Portable XLR recorders can capture multiple microphone channels and allow you to do basic sound level adjusting and muting on the fly. Audio files automatically get organized and stored on a memory card that you can insert into a card reader or slot in your computer. These are amazing tools, but they can be expensive. You can find them for anywhere between $1. I use a $4. 00 Zoom H6 Handy Recorder with four available analog channels). Audio Interface (optional): If you want to record directly to your computer with your analog microphones, you’ll need an audio interface. These devices allow you to plug in one or more analog microphones and will convert the analog audio to digital. Most audio interfaces will connect to your computer via USB or Firewire. Audio interfaces can cost as little as $3. You can see why a USB microphone is a cheaper option.)A Computer: Any Windows computer or Mac should work fine to record, edit, and upload your podcast. Thankfully, editing audio doesn’t take a ton of computing power. Additionally, depending on how you choose to record—directly to the computer or onto a dedicated recording device—your computer will also need the right ports. USB microphones, for example, will obviously need an open USB port. If you’re using analog microphones with a portable XLR recorder or audio interface device, you’ll need either a 3. USB port, or in some cases, a Firewire port. So before you spend any money on equipment, make sure you have a computer that can support it. Audio Editing Software: For the actual recording and editing, you’ll need a Digital Audio Workstation (or DAW), there are a lot of good options out there, but the licenses for some of them can cost a pretty penny, though. Licenses for professional level DAWs like Reason or Pro Tools can cost anywhere between $3. Apps like Hindenburg offer simpler audio editing software for under $1. Reaper is a fully loaded audio production app for $6. Adobe’s audio editing software Audition CC is available with a $1. Because of that, most people will recommend free open source programs like Audacity when you’re just getting started, and that’s what we’ll use an example throughout this how- to guide. Pop Filters (optional): The clearer your audio can sound, the better. Pop filters, while not required, are fairly cheap and can keep your plosives from making a nasty sound on your recording. If you don’t want to buy any, though, you can make some of your own. You might be thinking that all this equipment is pretty expensive, and you’re not wrong. However keep in mind that decent audio equipment will last forever if you take care of it. It may be expensive to get started, but after the initial purchase, you’re set. Step One: Narrow Your Topic and Find Your Niche. Just like blogs, there are a ton of podcasts out there. That means that you can probably find a podcast about everything under the sun already. Don’t get discouraged! While just about every broad topic is already covered, you just have to find your spin on things to make an old idea something new. Dear Lifehacker, As a side project/experiment, I’ve started my own blog. The problem is, now that I …Read more For example, if you wanted to make a podcast about music, ask yourself if there’s an audience out there for what you want to talk about. Maybe you narrow your idea down from music in general to bluegrass specifically. Now your coverage is specific: the music, people, and culture of bluegrass. Once you have your topic narrowed down, it helps to add a spin to it. Maybe you talk about bluegrass music and culture while sipping moonshine with your co- hosts. It’s kind of true that everything has been done before, but it hasn’t all been done the way you would do it. So find an angle that’s personally interesting and you’ll be better off. Step Two: Download, Install, and Set Up Audacity. As mentioned earlier, Audacity is a great DAW for podcasting beginners. It’s open source, free to use as long as you like, and is available for Windows, OS X, and Linux. Before you can jump into recording, however, there are a few tricks to getting it all set up properly: Download Audacity 2. Connect your microphone and open Audacity. See if your microphone is being recognized by Audacity by checking the drop- down menu next to the small microphone icon. If you see your mic, go ahead and select it. In the top- left corner, you should see the pause, play, stop, skip back, skip forward, and record buttons. Click the record button and talk into your mic to make sure it’s working properly. Stop recording and playback what you just recorded to make sure everything sounds okay. You’ll want to export your audio in the MP3 format later on. In order to do that, you’ll need to download and install the Lame MP3 encoder for either Windows or Mac. Once that’s installed, close and reopen Audacity. Record yourself talking for a few seconds like before, then go to File, then Export Audio, and select MP3 Files in the ‘Save as type’ dropdown menu. Name your file something simple like “test. Find the MP3 file on your desktop and try playing it in your MP3 player of choice, just to make sure everything is working properly. Partner Perspectives. Partner Perspectives. Partner Perspectives. White Papers. Current Issue. Digital Transformation Myths & Truths. Transformation is on every IT organization's to- do list, but effectively transforming IT means a major shift in technology as well as business models and culture. In this IT Trend Report, we examine some of the misconceptions of digital transformation and look at steps you can take to succeed technically and culturally.[Interop ITX 2.State Of Dev. Ops Report.The Dev. Ops movement brings application development and infrastructure operations together to increase efficiency and deploy applications more quickly. 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Increasing loudness was first reported as early as the 1. The maximum peak level of analog recordings such as these is limited by varying specifications of electronic equipment along the chain from source to listener, including vinyl and Compact Cassette players. The issue garnered renewed attention starting in the 1. With the advent of the Compact Disc (CD), music is encoded to a digital format with a clearly defined maximum peak amplitude. Once the maximum amplitude of a CD is reached, loudness can be increased still further through signal processing techniques such as dynamic range compression and equalization. Engineers can apply an increasingly high ratio of compression to a recording until it more frequently peaks at the maximum amplitude. In extreme cases, efforts to increase loudness can result in clipping and other audible distortion. Modern recordings that use extreme dynamic range compression and other measures to increase loudness therefore can sacrifice sound quality to loudness. The competitive escalation of loudness has led music fans and members of the musical press to refer to the affected albums as "victims of the loudness war."History[edit]The practice of focusing on loudness in audio mastering can be traced back to the introduction of the compact disc itself, but also existed to some extent when the vinyl record was the primary released recording medium and when 7- inch singles were played on jukebox machines in clubs and bars. Jukeboxes became popular in the 1. Similarly, starting in the 1. In particular, many Motown records pushed the limits of how loud records could be made; according to one of their engineers, they were "notorious for cutting some of the hottest 4. In the 1. 96. 0s and 1. Because of the limitations of the vinyl format, the ability to manipulate loudness was also limited. 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Digital media such as CDs remove these restrictions and as a result, increasing loudness levels have been a more severe issue in the CD era.[3] Modern computer- based digital audio effects processing allows mastering engineers to have greater direct control over the loudness of a song: for example, a "brick wall" limiter can look ahead at an upcoming signal to limit its level.[4]The stages of the CDs loudness increase are often split over the three decades of the medium's existence. Since CDs were not the primary medium for popular music until the late 1. CD players were also very expensive and thus commonly exclusive to high- end systems that would show the shortcomings of higher recording levels. As a result, the common practice of mastering music involved matching the highest peak of a recording at, or close to, digital full scale, and referring to digital levels along the lines of more familiar analog VU meters. When using VU meters, a certain point (usually −1. B below the disc's maximum amplitude) was used in the same way as the saturation point (signified as 0 d. B) of analog recording, with several d. B of the CD's recording level reserved for amplitude exceeding the saturation point (often referred to as the "red zone", signified by a red bar in the meter display), because digital media cannot exceed 0 decibels relative to full scale (d. BFS). The average level of the average rock song during most of the decade was around −1. BFS.[6]: 2. 46. In the early 1. CDs with louder music levels began to surface, and CD levels became more and more likely to bump up to the digital limit,[note 1] resulting in recordings where the peaks on an average rock or beat- heavy pop CD hovered near 0 d. B,[note 2] but only occasionally reached it.[7][not in citation given]The concept of making music releases "hotter" began to appeal to people within the industry, in part because of how noticeably louder some releases had become and also in part because the industry believed that customers preferred louder sounding CDs, even though that may not have been true.[8] Engineers, musicians, and labels each developed their own ideas of how CDs could be made louder.[9] In 1. While the increase in CD loudness was gradual throughout the 1. Oasis's widely popular album (What's the Story) Morning Glory?, which averaged −8 d. BFS on many of its tracks—a rare occurrence, especially in the year it was released (1. In 1. 99. 7, Iggy Pop assisted in the remix and remaster of the 1. Raw Power by his former band The Stooges, driving the level to −4 d. BFS in places.[7]. As this waveform shows, the Guitar Hero downloadable version (bottom) is far less compressed than the CD release of Death Magnetic (top). In 2. 00. 8, loud mastering practices received mainstream media attention with the release of Metallica's Death Magnetic album. The CD version of the album has a high average loudness that pushes peaks beyond the point of digital clipping, causing distortion. This was reported by customers and music industry professionals, and covered in multiple international publications, including Rolling Stone,[1. The Wall Street Journal,[1. BBC Radio,[1. 2]Wired,[1. The Guardian.[1. 4]Ted Jensen, a mastering engineer involved in the Death Magnetic recordings, criticized the approach employed during the production process.[1. A version of the album without dynamic range compression was included in the downloadable content for the video game Guitar Hero III.[1. In late 2. 00. 8, mastering engineer Bob Ludwig offered three versions of the Guns N' Roses album Chinese Democracy for approval to co- producers Axl Rose and Caram Costanzo. They selected the one with the least compression. Ludwig wrote, "I was floored when I heard they decided to go with my full dynamics version and the loudness- for- loudness- sake versions be damned."[1. Ludwig said the "fan and press backlash against the recent heavily compressed recordings finally set the context for someone to take a stand and return to putting music and dynamics above sheer level."[1. In March 2. 01. 0, mastering engineer Ian Shepherd organised the first Dynamic Range Day,[1. Dynamic music sounds better". The day was a success and its follow- ups in the following years have built on this, gaining industry support from companies like SSL, Bowers & Wilkins, TC Electronic and Shure[1. Bob Ludwig, Guy Massey and Steve Lillywhite.[2. Shepherd cites research showing there is no connection between sales and "loudness", and that people prefer more dynamic music.[2. He also argues that file- based loudness normalization will eventually render the war irrelevant.[2. One of the biggest albums of 2. Daft Punk's Random Access Memories, with many reviews commenting on the album's great sound.[2. Mixing engineer Mick Guzauski deliberately chose to use less compression on the project, commenting "We never tried to make it loud and I think it sounds better for it."[2. In January 2. 01. Grammy Awards, including Best Engineered Album (Non- Classical).[2. In October 2. 01. Bob Katz announced on his website that "The last battle of the loudness war has been won", claiming that Apple's mandatory use of Sound Check for i. Tunes Radio meant that "The way to turn the loudness race around right now, is for every producer and mastering engineer to ask their clients if they have heard i. Tunes Radio. When they respond in the affirmative, the engineer/producer tells them they need to turn down the level of their song(s) to the standard level or i. Tunes Radio will do it for them. He or she should also explain that overcompressed material sounds "wimpy" and "small" in comparison to more open material on i. Tunes Radio." He believes this will eventually result in producers and engineers making more dynamic masters to take account of this factor.[2. His point of view has been widely reported and discussed.[2. Analysis suggests that the loudness trend may have peaked around 2. DR (crest factor) for albums since 2. Replay volume normalization[edit]With music sales moving towards file- based playback and streaming and away from CDs, there is a possibility that the loudness war will be blunted by normalization technology such as Replay. Gain and Apple's Sound Check.[3. Most cloud- based music services perform loudness normalization by default and may reduce the market pressure to overcompress material.[3. Music, TV & radio, books, film, art, dance & photography. We've noticed you're adblocking. We rely on advertising to help fund our award- winning journalism. We urge you to turn off your ad blocker for The Telegraph website so that you can continue to access our quality content in the future. Thank you for your support. IDA Latest News - IDA Ireland. Beazley plc to establish a European insurance company in Dublin. CBeebies Land Hotel Read More. Beach fun is here in spades; WHAT’S ON. There’s plenty of entertainment throughout the day, with guest appearances from characters. Martin Shanahan, CEO of IDA Ireland, today welcomed the announcement that Beazley plc is to establish a European insurance company in Dublin. The company, which is an IDA Ireland client, will increase its European business from its Irish base. 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Contiene immagini o altri file su; Collegamenti esterni. Year Round Records, l'etichetta discografica di DJ Premier; DJ PREMIER Planet Blog dei fan con download. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam. Die Single erschien im Juli 1. Durchbruch für Withers. Der Song wurde sehr oft gecovert, auch von Michael Jackson, von dem die erfolgreichste Coverversion stammt. Bill Withers schrieb diesen Song, nachdem er den Film Days of Wine and Roses aus dem Jahre 1. Die Single sollte eigentlich Harlem heißen, doch kurz vor der Veröffentlichung änderte man den Titel auf Ain’t No Sunshine.[2]Das Lied wurde als Soundtrack der Filme Notting Hill, Old School, Amy, Crooklyn, Flight[3] und München verwendet. Ain’t No Sunshine war auch in vielen Serien wie Der Prinz von Bel Air zu hören. Auch in Castingsshows wurde der Song oft gesungen, etwa von Mark Medlock bei Deutschland sucht den Superstar. In den US- amerikanischen R& B- Charts belegte der Song Platz sechs, in den Billboard Hot 1. Platz drei.[4] In den Jahrescharts der Billboard Hot 1. Song Platz 2. 3. 1. Michael Jackson eine Coverversion des Stücks auf seinem Album Got to Be There.[5] Die für den britischen Markt ausgekoppelte Single erreichte in den britischen Charts Platz 8,[6] in den Niederlanden Platz 1. In der Schweiz war die Version 2. Tod von Michael Jackson für eine Woche auf Platz 9. Rapper Kid Frost mit seiner Version des Songs, der unter dem Titel No Sunshine veröffentlicht wurde, Platz 9. US- Singles- Charts erreichen.[8]Die Band 4 the Cause veröffentlichte 1. Coverversion als Single, die sich auch in den Charts der deutschsprachigen Länder platzieren konnte.[9]2. Mic Donet den Titel in der Castingshow. The Voice of Germany, seine Version erreichte als Download Platz 7. Charts. Ain’t No Sunshine wurde von Rolling Stone auf die Liste der 5. Songs aller Zeiten gesetzt und belegt Platz 2. Der Song wurde unter anderem 1. Grammy für den besten R& B- Song ausgezeichnet. Robert Christgau lobte in seiner Kritik die fehlerfreie Produktionstechnik von Booker T. Instrumentierung und fasste sein Urteil mit „unusually likeable“ und „listenable middlebrow soul“ zusammen.[1. Der Song wurde mehr als 1. Mal gecovert: [1. Aaron Neville, Akon, Airto Moreira & Flora Purim, Al Green, Al Jarreau, Amos Lee, Andy Abraham, At Last, Augustus Pablo, Aynsley Lister, Barry White, B. B. King, Betty Wright, Black Label Society, Bo. A, Bobby Blue Bland, Bobbi Humphrey, Boney James, Boris Gardiner, Buddy Guy, Budka Suflera, Cat Stevens, Chenoa, D’Angelo, DMX, David Cassidy, David Sanborn, Des’ree & Ladysmith Black Mambazo, Eva Cassidy, Everlast, Fable, Fall Out Boy, Finger Eleven, Freddie King, Giorgia, Gomez (Band), Grover Washington, Jr., Hanson, Horace Andy, Intars Busulis, Isaac Hayes, Jars of Clay, Ja Rule, James Taylor, Jeff Beck, Joan Osborne, Joe Cocker, John Mayer, John Waite, Jose Feliciano, Joss Stone, Justin Nozuka, Justin Timberlake. Ken Boothe, Kenny Rogers, Kris Allen, Lee De. Wyze, Lenny Kravitz, Leonard Cohen, Lighthouse Family, Lionel Hampton, Lyn Collins, Mark Knopfler & Al Jarreau, Maroon 5, Marvin Gaye, Max Mutzke, Maynard Ferguson, Me First and the Gimme Gimmes, Melanie Safka, Melody Gardot, Merrill Osmond, Michael Bolton, Michael Chapdelaine, Mobb Deep, Montezuma’s Revenge, Naná Vasconcelos, Nancy Sinatra, Nataly Dawn, Neil Diamond, Overboard, Pastor Troy, Paul Carrack, Paul Mc. Cartney, Percy Sledge, Rachel Z, Rahsaan Roland Kirk, Richard Marx, Rhymefest, Rob Thomas Ft. Carlos Santana, Rodney Jones, Roy Ayers, Sakis Rouvas, Savoy Brown, Scott Walker, Selah Sue. Sivuca, Slavi Trifonov, Stefan Gwildis, Sting, Subsonica, Sydney Youngblood, Tereza Kerndlová, The Police, The Temptations, The Slackers, Tom Jones, Tom Petty & The Heartbreakers, Tori Amos, Tracy Chapman, UB4. Van Morrison, Victor Wooten, Will Hoge, Will Young, Woven Hand, Wynonna Judd, Ziggy Marley↑US- Katalognummer: Sussex 2. Die Informationen wurden dem Interview mit Bill Withers auf „Songfacts“ entnommen.↑Ain't no sunshine in Motion Picture, abgerufen am 1. Juni 2. 01. 3↑Whitburn, Joel: Top Pop Singles 1. Menomonee Falls, Wisconsin: Record Research Ltd., 1. S. 6. 56↑US- Katalognummer: Motown 7. Whitburn, Joel: Top Pop Albums 1. Menomonee Falls, Wisconsin: Record Research Ltd., 1. S. 3. 74↑Rice, Jo / Rice, Tim / Gambacini, Paul / Read, Mike: The Guinness Book of the Hits of the 7. London: Guinness Superlatives Ltd., 1. S. 9. 1; UK- Katalognummer: Tamla Motown TMG 8. Chartperformance „Ain't No Sunshine“ von Michael Jackson auf chartsurfer. Dezember 2. 01. 3↑Whitburn, Joel: Top Pop Singles 1. Menomonee Falls, Wisconsin: Record Research Ltd., 1. S. 3. 28; US- Katalognummer: Virgin 9. Chartperformance Aint No Sunshine von 4 the Cause auf chartsurfer. Dezember 2. 01. 3↑Christgau, Robert: Rock Albums of the 7. A Critical Guide. New York City, New York: Da Capo Press Inc., 1. S. 4. 26↑Liste der Coverversionen und Zitate auf coverinfo. Dezember 2. 01. 3. Playgirl - Wikipedia. Playgirl is an American magazine that features general interest articles, lifestyle and celebrity news, in addition to semi- nude or fully nude men. In the 1. 97. 0s and 1. The magazine was founded in 1. Douglas Lambert during the height of the feminist movement as a response to erotic men's magazines such as Playboy and Penthouse that featured similar photos of women. In 1. 97. 7 Lambert sold Playgirl to Ira Ritter who took over as publisher. The magazine covered issues like abortion, equal rights, and interspersing sexy shots of men and played a pivotal role in the sexual revolution for women.[3] From March 2. February 2. 01. 0, Playgirl appeared only online. The magazine returned to print as a sometime quarterly beginning with its March 2. The last print issue to date was for Winter 2. As of 2. 01. 6 the magazine was believed to have had only approximately 3,0. History[edit]Playgirl from inception to recent years was intended to be a women’s magazine and an outlet for women to explore their sexuality (very similar to the popular men’s magazine Playboy) and to embrace the feminist movement in the late 1. During its height, publisher Ira Ritter took the magazine to an even more sophisticated arena which included political articles to strengthen the editorial content, and featured influential figures of that time.
However, over the course of the last 3. Playgirl faced adversity and many obstacles of opposing opinions in the media that ranged from Feminist Sex Wars to pornography, prostitution, and lesbian practices.[5]The magazine was published by Drake Publishers, Inc until 1. Drake was merged into Crescent Publishing Group, Inc.[6] In August 2. BibMe Free Bibliography & Citation Maker - MLA, APA, Chicago, Harvard. Create your free blog with Blogger. Your blog is whatever you want it to be. Crescent was charged by the Federal Trade Commission with over $1. FTC to have taken place on the Playgirl. In November 2. 00. FTC settlements involving credit card fraud, Crescent agreed to pay $3. As a further condition for the settlement Crescent principals Bruce A. Chew and David Bernstein were barred by the FTC from operating adult entertainment websites unless first posting bonds of $5. In December 2. 00. Crescent Publishing Group, Inc. Blue Horizon Media, Inc.[1. Following the FTC settlement, in 2. Crescent/Blue Horizon president Bruce Chew was indicted, along with several prominent members of the Gambino Crime Family on Federal charges of conspiracy to commit wire fraud, credit- card fraud and money laundering for illegally billing web users including for the Playgirl website.[1. Pursuant to a plea deal Chew would later agree to testify for the government and against various of his co- defendants.[1. In August 2. 00. 8, the magazine announced that it would cease publication of its print edition as of the January 2. After that point, the magazine planned to continue with an online- only edition.[1. The last print issue was published in January/February 2. In February 2. 01. Playgirl announced it would re- launch issuing a print edition of the magazine. The first such issue would be the March 2. February 2. 01. 0 carrying on its cover Levi Johnston, shot by longtime Playgirl photographer Greg Weiner.[1. The magazine was issued approximately quarterly after that time.[1. Playgirl was published by New York City- based company Blue Horizon Media, Inc. April 2. 5, 2. 01. Blue Horizon sold the print rights for Playgirl together with other of its titles High Society, Cheri, Black Diamond, Finally Legal, and Purely 1. Magna Publishing Group, Inc. Paramus, New Jersey.[1. The Playgirl. com website is owned and operated by Trans Digital Media, LLC.[1. In December 2. 01. Magna Publishing Group was acquired by 1- 8. PHONESEX.[1. 9]Target markets[edit]The magazine is mainly marketed to heterosexual women. Despite this, in 2. Playgirl's then- editor- in- chief Michele Zipp admitted the magazine also attracted much gay readership. It's 'Entertainment for Women' because there's no other magazine out there that caters to women in the way we do", she said. But she went on adding: "We love our gay readers as well, and the gay readership [of the magazine] is about 3. In the same year, Mark Graff, President of Trans Digital Media, the brand management firm for Playgirl TV, stated that 5. Playgirl's readership are gay men.[2. In a February 2. 01. Associated Press, Playgirl spokesman Daniel Nardico stated that he considers the magazine appealing to both men and women, although the audience is predominantly male.[2. Contents[edit]Throughout the history of the magazine, Playgirl has featured male frontal nudity except for the early issues in 1. John Paul became the year's first full frontal centerfold in November after ten months of non- nude photo spreads. Apart from professional models, Playgirl features amateur models in a section called Real Men (formerly known as Snapshots). A Real Men of the Year contest is held, in which readers can vote for the best layout of the year. In June of every year, Playgirl has its "Man of the Year" issue. In July, it is the "Country" issue and in November, Playgirl dedicates an issue to "Campus Hunks."A nude centerfold calendar featuring the men of the previous year is usually included in the December or January issue of the magazine. Readers are asked to vote for the "Man of the Year" from the pictures of the calendar. The magazine is well known for two major publicity stunts — one for offering Charles, Prince of Wales $4. The Men of Enron" in its September 2. Enron employees "lost their shirts."[citation needed]Researchers Richard A. Leit, Harrison G. Pope, Jr. and James J. Gray, in a 2. 00. International Journal of Eating Disorders, examined 1. Playgirl magazine from 1. Playgirl centerfold models have become increasingly dense and more muscular over time.[2. Other versions[edit]Playgirl is available in English and has been published in a number of other languages and international English- language editions during its history: When the Russian version of Playgirl was launched in June 2. American men despite circumcision's being less common outside the U. S., being practiced mainly by Muslims and Jews in Russia.[2. Playgirl UK was briefly relaunched in 2. However, it declared it would feature no below- the- waist nudity, and focused on attractive male celebrities rather than models and pornography actors. It was a failure, and ceased circulation soon after it began. A Spanish- language edition was published in 1. A limited Canadian edition is in the works. Celebrity nudes[edit]Playgirl has a monthly section entitled "Celeb Nudes" featuring photographs of various celebrities from movie scenes, usually nude. Man of the Month (centerfold)[edit]Two preview issues of Playgirl were published with racecar driver Mike Hiss in the January 1. Hager Twins, Jim and John, from TV's Hee Haw in the February 1. Then Vol. 1, No. 1 appeared in June 1. Lyle Waggoner as the centerfold. Other early centerfolds included George Maharis, Fabian Forte, Peter Lupus and professional athlete Jim Brown. Dirk Shafer, one of the gay men featured, later produced a comic mockumentary titled Man of the Year in which he discusses balancing being gay with working as a sex symbol. Besides Shafer, other gay models to appear in the magazine included Scott Merritt, Playgirl's 3. August 1. 9, 2. 00. The Advocate that he is gay.[2. Brian Dawson, April 1. Man of the Month, would go on to win the title of "International Mr. Drummer", a gay leather title, in 1. Gay Games in Australia. Thom Collins appeared just one month after Dirk's in January 1. Playgirl celebrity" to bring attention to his own Long term battle and misconception of what it meant to be HIV+ garnering him the title HIV Positive Supermodel. Both he and Shafer grew up in the same town and also appeared in mockumentary titled Man of the Year written, directed, and produced by Dirk Shafer playing himself. Jim Waldrop, centerfold in the January 1. J. W. King. Similarly, February 1. Man of the Month", David Grant, is better known as gay porn star Clay Russell. Randy Savino, January 2. Geoff Ashton. Talvin De. Machio, the September 2. Geoff Minger[2. 5] displayed the magazine's first full erection as Man of the Month, in the historic January 1. In the June 2. 00. Playgirl featured its oldest cover model/centerfold in the magazine's 3. Rick Dinihanian, a 5. During the decline of magazine readership, executives boldly decided to use unknown Swedish model Markus Idstam; also known as The Bull to the underground leather industry, for its cover. |
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