During a recent event, employees of SLAM magazine, both past and present, gathered to celebrate over 30 years of existence and expressed their disbelief.
Hall of Fame. Is that really happening? SLAM in the Hall of Fame?
Founder Dennis Page and the magazine received the prestigious Curt Gowdy Transformative Media Award from the James Naismith Memorial Basketball Hall of Fame during an August ceremony. For many, this recognition seemed inconceivable back in May 1994, when the inaugural issue, featuring Larry Johnson on the cover, was published.
Three decades ago, SLAM was truly revolutionary in contemporary journalism. It disregarded conventional norms. The use of profanity was acceptable in its pages. The writers and editors were unapologetically subjective.
“‘Outcast’ is an apt description of us,” remarked Tony Gervino, the magazine’s first editor-in-chief, who now serves as executive vice president and editor-in-chief at Tidal.
SLAM represented a cultural shift during a period when the NBA was evolving, coinciding with the rise of hip-hop that influenced players’ styles. Shorts became longer and roomier. Pregame playlists now featured artists like Wu-Tang Clan or Snoop Dogg, in contrast to the R&B ballads of Jeffrey Osborne or Luther Vandross. Tattoos emerged as common as high-top sneakers.
In this landscape, SLAM emerged as a disruptor, amplifying the voice of fans. Drawing inspiration from the hip-hop magazine The Source, SLAM’s dynamic photography and narrative style resonated with younger audiences who valued players’ footwear as much as game outcomes.
The outcome? Over 300 million magazines have been sold since 1994, with 132 covers showcasing a Hall of Famer.
SLAM chose not to conform to the norms of traditional media, nor was it interested in doing so. The impact it made was so significant that others sought to replicate its approach. This was especially notable, as the New York City publication initially faced challenges in obtaining media credentials for NBA coverage.
“We were really on the outside of the party looking in, and we just told people the party sucked,” Gervino explained. “That’s why we were on the outside. Once we got in, we sort of shook things up a bit.”
Page, a passionate sports enthusiast, also has a deep appreciation for music. While he was the publisher of Guitar World magazine, he became impressed with how The Source captivated the hip-hop audience.
He felt there was no need for another magazine solely focused on rap, as many already existed. However, he noticed a lack of publication that blended culture with sports.
“All over the world, young kids were into hip-hop and basketball,” Page noted. “Yet, Sports Illustrated and Street & Smith didn’t cater to them. When we launched, we connected with them.”
SLAM gained acceptance from fans, leading to players themselves becoming avid readers. The magazine covers began to create buzz, whether featuring Kevin Garnett and Stephon Marbury displaying their extravagant jewelry or showcasing Allen Iverson in his Sixers jersey with an Afro hairstyle instead of his usual braids; SLAM managed to resonate on a profound level.
“We were living it, writing about basketball, and integrating hip-hop lyrics and culture into our content. That was who we truly were,” Page shared. “We weren’t a corporate entity; we created the magazine for ourselves.”
“Honestly, I had no idea that so many people around the world would understand it, accept it, and appreciate it.”
Thirty years following its inception, SLAM was awarded one of the most esteemed media honors in basketball. This achievement, however, may not have been possible without the creative freedom granted to its staff. They employed nontraditional journalistic methods, such as highlighting the sneaker culture, featuring player diaries, and connecting basketball enthusiasts globally before the rise of the internet.
This approach resulted in dynamic content.
“To be honest, we didn’t know any better,” reflected former SLAM writer and editor Lang Whitaker, who has worked with the NBA and GQ magazine and currently serves the Memphis Grizzlies. “We just created what we thought was cool, and that’s likely why it struck a chord.”
“For better or worse, we operated with minimal oversight. Nobody dictated our direction. Dennis allowed us the freedom to do our thing and truly express ourselves.”
In the magazine’s early era, no writer embodied the SLAM style quite like Robert “Scoop” Jackson.
“The most significant figure in SLAM’s history is Scoop,” Gervino asserted. “He single-handedly inspired a generation of writers and kids who thought, ‘I can do that now.’”
Robert “Scoop” Jackson was one of the most respected journalists during SLAM’s early days. (David Zalubowski / Associated Press)
Jackson’s unique reporting style enabled him to forge a distinct and welcomed connection with NBA players. Being a native of Chicago and closer in age to many of the players, he had a keen eye for talent and emerging trends. He recognized Allen Iverson’s potential as a future basketball star well before Iverson entered the NBA, having witnessed his performance during a summer league while Iverson was still playing at Georgetown.
Currently a columnist for the Chicago Sun-Times, Jackson aspired to craft detailed narratives. He aimed to highlight the story of Ben Wilson, a standout at Simeon High School in Chicago who was widely regarded as the top high school player in the nation before he was tragically shot and killed in November 1984.
At SLAM, the editors were not well-versed in Wilson’s story, which motivated Jackson to convey it, even though it occurred nearly a decade after Wilson’s passing.
“We produced a human interest piece that was deeply rooted in basketball culture and speculated on what the future of basketball could have become,” Jackson explained. “However, that promise was never realized. To me, that’s the cornerstone for narrating the story of basketball culture.”
For 11 years, Jackson was a prominent figure at SLAM. While issues often featured NBA elements on the cover, narratives such as Wilson’s represented the essence of the publication.
“Tony and I perceived Dennis as the White guy who genuinely understood Black culture,” Jackson reflected. “He recognized that basketball wasn’t solely about the NBA.”
This perspective encouraged SLAM to cover Iverson’s rise before he even reached the NBA. It also facilitated a deeper exploration of basketball culture and lifestyle, exemplified by the story of streetball icon Rafer Alston, who was recognized in the magazine while at Fresno State as “The Best Point Guard in the World.” Moreover, this approach involved identifying high school talents and profiling women who excelled in the sport.
One piece that Jackson cherishes is the 1997 profile of Dawn Staley, the former Virginia star point guard, six-time WNBA All-Star, and three-time Olympic gold medalist, who now coaches the defending women’s college basketball champions, the South Carolina Gamecocks. Jackson spent time with her in Philadelphia, visiting her childhood neighborhood and the courts where she honed her skills, gaining insight into her character.
This article did not focus on Staley’s experiences with Team USA, and the WNBA had yet to be established (the league’s inaugural game took place in June).
Instead, the narrative focused on the men she competed against during her youth and the significance of Philadelphia in her life (21, 1997).
“This story had nothing to do with her professional journey or her accomplishments at Virginia,” Jackson remarked. “We shared the story of Dawn Staley from her neighborhood.”
The impact of Iverson is pivotal, according to Jackson. He mentioned that he and Page had differing opinions on how to incorporate Iverson into the narrative. At that moment, no non-NBA player had appeared on the cover. Iverson was still at Georgetown, having secured the Big East Defensive Player of the Year award as a freshman while averaging 20.4 points.
Many basketball enthusiasts were not well-acquainted with Iverson’s game. Some were aware of his status as a prep star who found himself in trouble during a bowling alley brawl. Jackson felt it was essential to delve into Iverson’s identity and his basketball path, beyond the sensational headlines that often captured attention.
“Our primary responsibility involved highlighting the cultural aspect of basketball before connecting it to the NBA,” Jackson stated. “However, this was not solely about Iverson. While his name lent it recognition, it was our collective story.”
Jackson also highlighted the significance of Michael Jordan to SLAM. Page had intended for Jordan to grace the cover of the inaugural issue, but he retired after the 1993 season, leading to Johnson landing the cover instead.
SLAM’s coverage of Jordan’s return to the league was centered around his cultural influence on basketball. Additionally, it was beneficial that Jordan held Sports Illustrated in low regard due to their history of using their cover to urge him to abandon baseball.
While he opened up to Ahmad Rashad from NBC, the network was still akin to the NBA’s media ecosystem.
“We narrated Jordan stories in a distinctive manner. Our Jordan pieces were unlike anything else available,” Jackson said. “We developed a rapport with him, making him feel more at ease with us than with anyone else.”
“Our conversations often revolved around his perspective on basketball and his contributions from a cultural viewpoint. I believe this carried as much significance as our journalistic connection with Allen Iverson.”
Jordan made his first SLAM cover appearance in July 1995. Throughout the magazine’s 30-year history, he ended up appearing on 13 covers, including three of the initial 19 issues.
<blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% – 2px);" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/CQ12sM0Muf_/?utm_source=
At that time, hip-hop had just crossed the two-decade mark, and throughout the 1990s, it was defining its own identity. The music genre was not just a reflection of culture but also propelled new cultural movements, influencing everything from fashion to lyrical content.
The writers at SLAM magazine mirrored this evolution. Page acknowledges Jackson’s significant role in the rise of SLAM. As a young Black journalist in locker rooms, he personified a fresh perspective that was uncommon for some players. Like the athletes he featured, Jackson was part of a generation heavily influenced by hip-hop and was eager to narrate their stories in an innovative manner.
“He was an exceptional young writer who understood the players as individuals,” Page remarked. “We aimed to provide an inside perspective rather than seeking to maintain objectivity and pass judgment, which traditional journalism often does. We were more like them, and that’s really not an overly complex notion in retrospect.”
The magazine’s culture was further enriched through compelling visuals.
SLAM has created some of the most iconic cover images in basketball. One reason it continues to be published in print is due to covers that transform into T-shirts. Page noted that SLAM collaborated with Mitchell & Ness, a clothing brand, enabling T-shirts to be produced based on select magazine covers.
Many of the covers, which included hip-hop nods, left a lasting impression on players. NBA Hall of Famer Shaquille O’Neal might not recall every SLAM cover he appeared on, but one in particular stood out when he saw it.
“I remember this one,” he said, recognizing the September 2000 issue featuring “Victorious BIG” in the background, which celebrated O’Neal’s inaugural championship with the Los Angeles Lakers.
While the basketball connection is evident, the title also cleverly references one of O’Neal’s favorite rappers: The Notorious B.I.G.
“This one is my favorite,” he expressed.
For its cover imagery, SLAM did not rely on conventional basketball photographers. Instead, it sought the talent of professionals like Atiba Jefferson, who has roots in skateboarding, and Jonathan Mannion, renowned for his work in the music industry.
Mannion has captured album covers for numerous hip-hop and R&B legends, including Jay-Z, DMX, DJ Khaled, Lil Wayne, Rick Ross, E-40, and Aaliyah. Collaborating with SLAM presented a new and exciting challenge for him.
<p“As far as the execution goes, they really allowed me creative freedom,” Mannion stated. “I thoroughly enjoyed working with athletes of this caliber. … I was always drawn to SLAM shoots, and my aim was also to convey an authentic narrative.”
One memorable opportunity for Mannion came when he photographed Chamique Holdsclaw during her time as a standout at the University of Tennessee, marking her as the first woman to grace SLAM’s cover.
Holdsclaw had developed a fondness for the magazine during her high school basketball days at Christ the King in New York. After dominating in college, SLAM approached her regarding becoming the first woman featured on the cover.
She was instructed to return to New York, where Mannion, whom she labeled “the Hip-Hop Photographer,” would handle the shoot.
Holdsclaw’s historic cover showcased her in a New York Knicks uniform for the September 1998 issue.
issue — is one that she continues to be asked to sign.
“When I arrived there, it was hands down the best photo shoot I’ve ever experienced,” Holdsclaw remarked. “Jonathan was coming up with fantastic ideas, saying, ‘They want you to wear this.’”
Holdsclaw’s cover and photo shoot embodied the essence of SLAM. It was innovative and daring. Even her pose and attire reflected a hip-hop aesthetic.
“I saw that Knicks jersey and thought, ‘Oh, this is fantastic,’” she recalled.
Among SLAM’s most iconic covers is the Class of 1996 double cover featuring rookies from the ’96 NBA Draft class. This group included future Hall of Famers like Kobe Bryant, Ray Allen, and Steve Nash, alongside future All-Stars such as Marbury and Shareef Abdur-Rahim.
John Wallace, a former Syracuse star, was a rookie with the Knicks during the 1996-97 NBA season. He noted that the draft class, led by Iverson and Bryant, introduced a hip-hop mentality to the NBA.
“There’s a common narrative: Rappers aspire to be basketball players, and basketball players aspire to be rappers,” Wallace stated. “That was fueled by our generation and what we initiated. They didn’t say that about players from the Michael Jordan era. They weren’t immersed in rap and hip-hop like we were.”
Ben Osborne spent over 18 years at SLAM, the last decade as editor-in-chief. He emphasized the vital role sneakers played in SLAM’s longevity. While it’s now standard for shoes to garner media attention, this wasn’t always the case.
Sneaker companies took note of this trend as well. Their investment through advertisements significantly contributed to the magazine’s sustainability. Brands like Reebok and Foot Locker were early supporters of SLAM’s advertising initiatives.
Ultimately, SLAM dedicated entire issues to sneakers, branded KICKS. Nowadays, some journalists focus exclusively on sneaker coverage.
“We understood that the largest sneaker brands in the world would support an issue each month,” Osborne explained. “This alleviated some pressure. They didn’t have to start from square one every month to garner support, which encouraged us to focus more on sneaker coverage. Fans appreciated our fresh approach compared to other outlets.”
As SLAM adapted to the social media age, it embraced culture, with fashion playing a significant role. The magazine has an Instagram account, LeagueFits, boasting over 1 million followers.
SLAM has seen significant growth in its 30 years of existence. The Hall of Fame exhibit serves as proof. (Bob Blanchard / SLAM)
Adam Figman began his journey at SLAM as an intern back in 2010. He has since transitioned from editor-in-chief and chief content officer to CEO of the company in April. Figman noted that the magazine’s social media presence and cover T-shirts have played a crucial role in maintaining its position within basketball culture.
Despite players sharing their own photos on social media, there is still a unique allure to being featured in a magazine cover shoot. For athletes like Holdsclaw, Cooper Flagg, and Zion Williamson, gracing the cover of SLAM as emerging talents holds a distinct significance.
“Everyone aspires to be on a cover, because anyone can share a photo of themselves,” Figman explained. “Any basketball player can say, ‘Here’s my look. Here’s a great photo of me.’ However, a magazine cover represents a special occasion. It serves as a stamp, and a SLAM stamp, in my view, is a form of validation. Since we produce only a limited number of covers, it truly signifies something special.”
SLAM’s acknowledgement by the Hall of Fame is a commendable achievement for everyone involved in the magazine’s creation. This honor illustrates the profound influence SLAM has had, and for all associated, the moment feels surreal.
Ultimately, the outcasts were welcomed to the celebration. They will forever be celebrated by attendees at the Hall of Fame.
(Top photo: Bob Blanchard / SLAM)
“`html
SLAM Magazine: From Underdog to Hall of Fame – Celebrating 30 Years of Cultural Impact in Basketball
The Birth of SLAM Magazine
Founded in 1994, SLAM Magazine emerged as a grassroots publication aimed at capturing the essence of basketball culture. In an era dominated by mainstream sports media, SLAM set out to give a voice to the underrepresented stories of streetball, high school basketball, and the NBA. The magazine quickly became a staple for basketball enthusiasts, providing in-depth coverage and unique insights that resonated with its audience.
Key Milestones in SLAM’s Journey
SLAM’s journey is marked by several key milestones that showcase its evolution and impact:
- 1994: Launch of the first issue featuring Kobe Bryant on the cover, signaling the magazine’s commitment to highlighting rising stars.
- 2000: The introduction of the “SLAM Top 50,” a feature that ranked the best players in the NBA, becoming a benchmark for basketball discussions.
- 2003: SLAM’s collaboration with Nike for the “SLAM Dunk Contest,” elevating the magazine’s profile in the sneaker culture.
- 2013: The launch of SLAM Online, expanding its digital presence and reaching a global audience.
- 2023: Celebrating 30 years of cultural impact with a special commemorative issue featuring legends of the game.
SLAM’s Unique Cultural Influence
SLAM Magazine is not just about basketball; it encapsulates the culture surrounding the sport. Here’s how:
1. Streetball and Urban Culture
From its inception, SLAM has celebrated streetball culture, showcasing players from the playgrounds of New York City to the AAU circuits. This emphasis on grassroots basketball has allowed SLAM to connect with fans who view the sport as part of their identity.
2. Fashion and Lifestyle
Basketball and fashion are intertwined, and SLAM has been at the forefront of this movement. The magazine regularly features sneaker releases, player styles, and cultural icons, making it a go-to source for the latest trends in basketball fashion.
3. Social Issues and Advocacy
SLAM has also been a platform for discussing critical social issues affecting the basketball community. From racial equality to mental health awareness, the magazine has used its influence to advocate for meaningful change, making it a voice for athletes and fans alike.
Impact on Players and the Game
SLAM Magazine has significantly influenced players and how their stories are told. Here are a few notable impacts:
1. Amplifying Voices
SLAM provides athletes with a platform to share their stories, struggles, and triumphs. Players like LeBron James and Kevin Durant have graced the cover multiple times, using their visibility to advocate for causes they believe in.
2. Shaping Public Perception
By focusing on in-depth profiles and features, SLAM shapes how fans perceive players and the game itself. Its storytelling approach humanizes athletes, moving beyond statistics to explore their lives off the court.
3. Inspiring Future Generations
SLAM has inspired a generation of basketball players and fans. The magazine’s coverage of rising stars, from high school phenoms to college prospects, fosters a sense of community and aspiration.
Benefits of Reading SLAM Magazine
For basketball enthusiasts, SLAM Magazine offers numerous benefits:
- In-depth Coverage: Readers gain insights into player backgrounds, team dynamics, and industry trends.
- Cultural Relevance: The magazine often discusses basketball’s intersection with music, fashion, and social issues.
- Exclusive Interviews: SLAM provides access to candid interviews with athletes, coaches, and industry insiders.
- Visual Appeal: With stunning photography and vibrant layouts, SLAM is as much an art piece as it is a publication.
Case Studies: Players Who Rose with SLAM
Many athletes have leveraged their association with SLAM to elevate their careers. Here are a few notable case studies:
Kobe Bryant
Kobe’s appearance on the first SLAM cover symbolized the magazine’s commitment to showcasing young talent. Throughout his career, SLAM chronicled his evolution, contributing to his mythos.
Stephen Curry
By featuring Curry during his rise, SLAM played a crucial role in shaping the narrative around his transformative impact on the game. Curry’s persona as an underdog resonated with SLAM’s audience, cementing his legacy.
Kevin Durant
Durant’s multiple features in SLAM allowed fans to witness his journey from a young talent at Texas to an NBA superstar. His candid interviews have made him relatable to fans worldwide.
First-Hand Experience with SLAM Magazine
As a long-time reader of SLAM Magazine, I can attest to its profound influence on both personal and communal levels. The excitement of flipping through pages featuring my favorite players, discovering new talents, and engaging with culturally relevant content has only deepened my love for the game.
How SLAM Magazine Remains Relevant Today
In the age of digital media, SLAM Magazine has adapted brilliantly:
- Social Media Engagement: SLAM actively engages with fans on platforms like Instagram, Twitter, and TikTok.
- Podcasts and Video Content: The creation of podcasts and video segments has diversified its content delivery.
- Collaborations: Partnerships with players and brands keep the content fresh and relevant.
SLAM Magazine: A Legacy of Innovation
As SLAM Magazine celebrates 30 years, it stands as a testament to what can happen when passion meets purpose. Its unwavering dedication to basketball culture, storytelling, and advocacy sets it apart from traditional sports journalism. For those who love basketball, SLAM is more than a magazine; it’s a cultural institution that continues to inspire and impact.
Table of Notable SLAM Covers Over the Years
| Year | Cover Athlete | Significance |
|---|---|---|
| 1994 | Kobe Bryant | First Issue |
| 2000 | Allen Iverson | Crossover Appeal |
| 2003 | LeBron James | The Chosen One |
| 2010 | Derrick Rose | New Era of Guards |
| 2020 | Giannis Antetokounmpo | Global Impact |
“`
