In the 1980s, Hustler magazine was known for its controversial and explicit coverage of pornography and politics. One of its most famous campaigns involved placing provocative billboards featuring nudity and sexually suggestive slogans in several U.S. cities. These billboards often sparked immediate outrage from local governments and citizen groups, leading to demands for removal or new advertising restrictions. However, publisher Larry Flynt defended the billboards as a form of free expression and public art that deserved protection under the First Amendment. The billboard battles became symbolic flashpoints in the culture wars, with Hustler challenging not just print censorship but visual public decency standards in the open environment.
One of the most famous of these billboards featured a woman holding a sign reading "Have You Seen Me Lately?" The billboard depicted the woman's body from behind, showing her bare backside. It quickly caused an uproar among conservatives who argued that it objectified women and violated community standards of modesty. In response, Flynt claimed that the billboard represented his right to free speech and pointed out that he had never received any complaints about similar ads featuring men without clothes. He also noted that the billboard was meant to be humorous and was not intended to offend anyone. Despite Flynt's protestations, many city officials tried to remove the billboard by citing obscenity laws or simply shutting down all billboard advertisements on the grounds that they were unsuitable for public viewing.
Another controversial Hustler billboard featured two people having sex against a wall. This time, the campaign struck a nerve with anti-pornography activists who saw it as an affront to their values. They organized protests outside of the billboard company's headquarters and called for boycotts of its products. Flynt responded by claiming that the image represented the joy and passion of human sexuality and accused those who found it objectionable of being prudish. Ultimately, however, the billboard company decided to take down the ad after receiving multiple threats from local residents.
The billboard battles became symbolic flashpoints in the culture wars between conservative moralists and liberal free speech advocates. On one side, religious groups like the Moral Majority argued that pornographic images had no place in the public sphere and should be restricted at every turn. On the other side, organizations like the American Civil Liberties Union argued that censorship was always harmful, even if it protected communities from unwanted exposure to explicit content. The debate over the Hustler billboards continued for years, with both sides making arguments based on principled positions. In 1986, the Supreme Court upheld a lower court ruling that Flynt did not have the right to display his "Hustler" magazine without any restrictions on its front cover because it was obscene. However, this decision only solidified his position as a champion of free speech and made him more famous than ever before.
Despite losing the battle over the magazine covers, Flynt continued to fight for his right to display provocative billboards until he sold the publication in 2007. His legacy as an iconoclast lives on today, as new generations continue to challenge visual and written standards of decency in advertising and publishing. His willingness to push boundaries has inspired many artists and writers who believe that art is essential and should not be constrained by outside forces. Ultimately, the Hustler billboard controversy showed how deeply divided America remains about issues related to sex and sexuality, even after nearly forty years of debate.