Everybody's (Australian magazine)

Everybody's was an Australian tabloid-style magazine of the 1960s. It has no relationship to the early 20th century British or American magazines of the same name.

First issued in 1961, Everybody's was published by Australian Consolidated Press (ACP). It evolved from an earlier ACP tabloid magazine, Weekend, which flourished in the 1950s. Weekend was edited by Donald Horne for many years and one of its most famous staffers was renowned journalist and rock writer Lillian Roxon, who wrote for the magazine for several years in the mid-1950s before moving to New York. According to Roxon's biographer Robert Milliken, Weekend had a dubious reputation in "polite society" and was considered very downmarket since it regularly featured lurid stories, often with sexual overtones. Roxon's mother was reportedly horrified by the idea of her daughter working for such a publication and concealed the fact from friends and family.

When Weekend was relaunched as Everybody's, it also replaced the venerable women's magazine the Australian Woman's Mirror, which was first published in 1924 and ceased publication in mid-1961. Copies of Everybody's from this period indicate that it was definitely a "women's" magazine in its early days, featuring almost exclusively women on the covers, with typical content including celebrity stories, cooking, interior decorating and fashion.

Noted Australian cartoonist, illustrator and artist Marie "Mollie" Horseman (1911–1974) was the Everybody's staff artist during the early 1960s. Her numerous illustrations (either anonymous or signed "Vanessa") included a weekly full-page colour cartoon of the "Sexy Man" type and the serial Girl Crusoe (1964), a parody of the popular 'good girl cheesecake' comic (see good girl art). In 1963 Everybody's hailed her (somewhat inaccurately) as 'Australia's only woman cartoonist', although she was definitely the best known.

As the 'Beat Boom' in popular music took off in Australia in 1963–1964 Everybody's began to cater for the burgeoning teenage market. Its content increasingly featured stories and pinups of local and international pop music, movie and TV personalities, although it still made regular excursions into tabloid territory, as evidenced by 'teaser' cover slogans like "Black Mass in Color: Shock Witchcraft Pictures", "The World's Most Topless City", "Trade Secrets of a Female Impersonator", "The World's Most Famous Nudes", "Those nude films", "What goes on in the suburbs?" and "Jayne Mansfield Tells All: Those Lewd Film Star Orgies".

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