Cantab (magazine)
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| Categories | Student magazine |
|---|---|
| Frequency | Fortnightly |
| Founded | 1981 |
| Final issue | 1990 |
| Based in | Cambridge, Cambridgeshire |
Cantab was a magazine produced by students at the University of Cambridge for nearly a decade between 1981 and 1990. It was unusual among British student magazines in being completely independent of student unions. Cantab operations were self-financed, initially through copy sales and advertising, later through advertising alone. The magazine's name, Cantab, is derived from the Latin name for Cambridge and is also short for Cantabrigiensis, the post nominal suffix indicating a degree from the University of Cambridge.
The magazine was relaunched many times but it ultimately ended production in 1990 when its new free distribution model, introduced in 1985, proved to be no longer feasible.
The magazine was launched in 1981 by a group of students at the University of Cambridge who wanted to start a magazine which was completely independent and unaffiliated with the student union. By 1985, the Cambridge magazine continued to grow and had launched a spin-off summer title, Cantab's What's On and Where to Go in Cambridge, which gained success in that year's Student Media Awards, run by The Guardian newspaper.[1] Other less successful spin-offs, including Business Matters and Cantab's version of Energy Matters, were produced occasionally as revenue generating vehicles to subsidize the main title.
The title's second claim to fame was its production via an extremely early form of desktop publishing, involving a typesetting program specially written for its BBC Micro computer and Juki daisy wheel printer by Martin Tod and introduced as early as the first months of 1984.
In 1985/6 the magazine was relaunched, switching from a paid-for circulation to free distribution. Relying solely on advertising sales was an unusual and potentially risky move, but allowed for a massively increased print run, increased pagination and higher production quality. While maintaining a focus on arts coverage, the magazine took an increased interest in politics and current affairs, with a noticeably more left-wing stance.
