On May 25, Interview’s chief revenue officer, Jason Nikic, released a memo that said Interview would rise from the dead under the ownership of an entity called Crystal Ball Media. The next issue, he said, would come in September. The new creative director would be Mel Ottenberg, a stylist who works with Rihanna. Interview, he promised, would be “as beautiful, as creative, and as visually stunning as ever.” The president would be Kelly Brant, Mr. Brant’s daughter and the magazine’s digital director.

This was a strangely confident assertion. To assume ownership of the bankrupt magazine, Crystal Ball Media likely will have to earn the support of a court-appointed bankruptcy trustee. In all likelihood, Crystal Ball will have to to outbid other prospective buyers.

But Mr. Baron was infuriated that a Brant might again run Interview when Mr. Brant’s company ignored months of prodding to pay him his money.

In a statement, Mr. Baron’s spokesman, Zak Rosenfield, said: “Peter Brant has proven to be an exploitive and dishonorable businessman who considers himself above the law, with his stewardship of Interview magazine the most recent example. It is now abundantly clear that Interview was kept afloat for decades because of half-truths, unkept promises and his exploitation of the passions and pocketbooks of contributors and staffers, some with meager means, who were eager to carry on the Warhol vision.”

The Invention of Synergy

For a magazine whose paid circulation hovered around 230,000 at its peak, Interview had an outsize footprint. Warhol first published it in 1969 and used to stroll down Madison Avenue handing copies to passers-by. He threw parties for it at Studio 54. He carried a tape recorder in his pocket, which he used to supply Interview with content.

It was first populated with film reviews by college kids. But Warhol’s pop culture leanings, his ambitions to get fashion advertisers, and his interest in politics quickly seeped into the magazine.