Anderson, they founded the London Oz. Contributors included Germaine Greer, artist and filmmaker Philippe Mora, illustrator Stewart Mackinnon, photographer Robert Whitaker, journalist Lillian Roxon, cartoonist Michael Leunig, Angelo Quattrocchi, Barney Bubbles and David Widgery. With access to new print stocks, including metallic foils, new fluorescent inks and the freedom of layout offered by the offset printing system, Sharp's artistic skills came to the fore and Oz quickly won renown as one of the most visually exciting publications of its day. Several editions of Oz included dazzling psychedelic wrap-around or pull-out posters by Sharp, London design duo Hapshash and the Coloured Coat and others; these instantly became sought-after collectors' items and now command high prices. Another innovation was the cover of Oz No.11, which included a collection of detachable adhesive labels, printed in either red, yellow or green. The all-graphic "Magic Theatre" edition (Oz No.16, November 1968), overseen by Sharp and Mora, has been described by British author Jonathon Green as "arguably the greatest achievement of the entire British underground press." During this period Sharp also created the two famous psychedelic album covers for the group Cream, Disraeli Gears and Wheels of Fire. Sharp's involvement gradually decreased during 1968-69 and the "Magic Theatre" edition was one of his last major contributions to the magazine. In his place, young Londoner Felix Dennis, who had been selling issues on the street, was eventually brought in as Neville and Anderson's new partner. The magazine regularly enraged the British establishment with a range of left-field stories including heavy critical coverage of the Vietnam War and the anti-war movement, discussions of drugs, sex and alternative lifestyles, and contentious political stories, such as the magazine's revelations about the torture of citizens under the rule of the military junta in Greece. UK obscenity trial and appeal In 1970, reacting to criticism that Oz had lost touch with youth, the editors put a notice in the magazine inviting "school kids" to edit an issue. The opportunity was taken up by around 20 secondary school students (including Charles Shaar Murray and Deyan Sudjic), who were responsible for Oz No.28 (May 1970), generally known as "Schoolkids Oz". This term was widely misunderstood to mean that it was intended for schoolchildren, whereas it was an issue that had been created by them. As Richard Neville said in his opening statement, other issues had been assembled by gay people and members of the