Jockey Slut
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| Editor |
John Burgess/Paul Benney(1993-1999) Rob Wood (1999-2001) Paul Mardles (2001-2004) |
|---|---|
| Categories | Music, Culture |
| Frequency | Bimonthy (1993-1999) Monthly (2000-2003) Quarterly (2004) |
| Year founded | 1993 |
| First issue | January 1993 |
| Final issue — Number |
March 2004 Vol. 7 No. 2 |
| Company |
Self-published (1993-1999) Swinstead Publishing (1999-2004) |
| Country | United Kingdom |
| Language | English |
| ISSN | 1360-5798 |
Jockey Slut was a British music magazine which ran between 1993 and 2004, focusing mainly on dance music and club culture. It started as a self-published bi-monthly fanzine in 1993 before graduating to a monthly by 1999, following a buy-out by Swinstead Publishing. By 2004, it had gone quarterly, with a beefed-up web presence, a change which only lasted three and a half months before closure in late May that year.
Its readers tended to refer to the magazine as just The Slut.
According to one of its founders, John Burgess, he and Paul Benney (the other founder of the magazine) intended Jockey Slut to just be a slogan for a T-shirt. The expression was born while both were studying at Manchester Polytechnic University (currently Manchester Metropolitan University) and enjoying the city's notorious clubbing scene, most notably the Haçienda. The two main inspirations for it were Manic Street Preachers' recurrent slogan "culture slut" and the increasing adoration DJs were getting from fans at the time. Regarding this one, Burgess adds: "Disc jockeys were attracting as many groupies as pop stars. Except, unluckily for the DJs, their groupies were usually after one thing; the name of the label that wicked tune was on".
Starting out as a bi-monthly fanzine, Jockey Slut soon started gaining a cult, largely because of the way it consciously set itself apart from its direct competition. With dance music and club culture steadily growing in popularity and the subsequent advent of superclubs and the cult of the superstar DJ, bigger and better distributed magazines like Mixmag, Muzik and DJ Mag started to focus more on the flashy, rock ‘n’ roll-like aspects of clubbing (namely the recurrent drugs features), while devoting less space to the music itself, much less championing more groundbreaking sounds and artists. Jockey Slut responded to this by adopting a much more music-centered coverage, coupled with a writing tone which somehow managed to harmoniously strike a balance between witty, opinionated fanzine-style writing and an irreverent, caustic sense of humour inspired by the golden years of pop bible Smash Hits. On the other hand, Jockey Slut also tended to be more risky in its choices and started to build its cutting-edge reputation early on. In 1993, the magazine gave The Chemical Brothers (around the time when they were still called Dust Brothers) their first interview. Two years later, around the time of the release of their classic and influential debut album, Exit Planet Dust, Jockey Slut gave them their first magazine cover. In 1994, Detroit techno luminary and Underground Resistance’s leader “Mad” Mike Banks not only conceded a rare exclusive interview, he was also given his first magazine cover . Daft Punk also got their first interview on Slut, in 1993.
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