This is What Feminist Porn Looks Like
BY: DREW ZEIBA | FEATURED IMAGE COURTESY OF WEISSTUB
When we think of porn, we instantly imagine silicon breasts and fake moans, but MacKenzie Peck is here to change our perception of erotica. Sick of badly curated, shoddily produced explicit content—and uneasy with many of mainstream porn’s ethical dilemmas—MacKenzie started Math Magazine in 2015 to create high-quality consent-driven feminist porn that “depicts everybody, for everybody.” What began with her taking selfies in her best imitation of pin-up model poses, has turned into one of the most talked-about periodicals in independent print media. On the cusp of it’s fifth issue, we sat down with MacKenzie to talk about her interpretation of porn, marketing print in the new digital age, and why conscious porn matters.
How open are you about what you do?
It’s interesting. I think that being the public face of a porn magazine is a sacrifice. As a woman in America you get sexualized. When you do this, you get sexualized even more. Honestly, I try not to think about it too much because if I do I’ll go crazy and I’ll quit. I was more open about my sexuality before I started the magazine, before I took on this role where I think a lot about private versus public self and how one influences the other. And think about what can I keep sacred.
I think it’s important when you’re a public figure, and you’re a public figure in a sexual context, to not let people oversimplify what your experience is or assume it’s this fantasy. Certainly, sometimes it is, but it’s something that takes work. Coordinating fantasies takes communication, research, and planning.
Do you feel like you’ve committed to the lifestyle as a pornographer?
The idea of living the life of a pornographer—what is that?
Right, you’re not wearing a velvet smoking jacket.
I look like a teacher or something. Not a pornographer. But I want people to reconsider what these things look like. I’m a pervert, but you wouldn’t guess that I’m a pervert. Everybody’s a pervert.
Pushing myself to “live the lifestyle of a pornographer” has been a great way to keep my life really interesting. To keep my sex life really interesting. If you’re somebody who’s really work-focused and driven, regardless of what the business is, it can be really easy to neglect yourself. I’m certainly guilty of that, which feels ironic. I’m in the business of pleasure but then I forget about my own pleasure. And I think it’s important to talk about that.
Working in print in 2017 is obviously an interesting business and artistic choice. Why do you choose to make Math a print publication?
Being print porn, like who does that? The print community is so passionate and I think it really helped me launch into a really robust community with zine fairs and book fairs and magazine shops, the whole thing. By setting ourselves literally apart from mainstream pornography, like tube sites, we’re making a statement about our content. The medium follows the message. Being print has helped establish us as something different. Because it’s an object, it’s about investing in your own pleasure. It’s about giving a shit about quality design and quality photography and artwork. There’s really good content out there that’s digital but it’s really hard to find. You’ve gotta wade through a bunch of crap that’s upsetting, honestly. And it’s just nice to know that everybody involved in this production had a relationship with me and I’m the face of it. How often do you see good curated x-rated content? It’s very rare.
What’s the future of Math? Do you have an idea beyond issue 5 of where you want it to go?
I want to reach a lot more people. I want to show people that what they’re into is cool and there are people out there who want to fuck them and want to do what they want to do. I think everybody deserves the opportunity to find their people and to know that what they desire is beautiful and that they’re beautiful.