Archive for the ‘Innovation in print’ Category

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Skaaren Design: Editorial & Good Design – What Magazine Making Has Brought Together, Let No Shrinking Budget Put Asunder – The Mr. Magazine™ Interview With Cody Skaaren, Creative Director & Designer, Skaaren Design

July 28, 2016

Ethisphere Cover Award Winner“I think budgets have shrunk a little bit and a lot of people are interested in digital magazines over print magazines; we get a lot of calls and a lot of interest in doing digital magazines. I think they believe it’s going to be much cheaper, but when they dig into it and realize how much a digital magazine actually costs to do right; basically the same price except the advertising isn’t as expensive. You can’t make as much money on advertising with a digital edition as you can in a print edition, for the most part. So, I see a lot of interest, but I see a lot of interest wane once they get into it. I think people kind of see digital magazines like a website, where it’s not going to cost much money.” Cory Skaaren

 “I find that working closely with the client is almost a necessity. So many people want to hire you and just tell you to do what you do and that’s just a recipe for disaster. We always try and sit down, and I can’t use the word education enough, and educate our clients, and not just about the business of magazines themselves, sometimes they know that kind of stuff, but I really like to talk about the process of design and setting up a magazine that is great, but giving it room to evolve. And, I want to know certain things too. I really need to understand the editorial model. If we’re not a part of creating the editorial model, then I want to understand why the editorial model is the way it is. Why they’re writing the kind of articles they are. I want a 360 degree understanding of that magazine or I can’t design it.” Cory Skaaren

What is good design? According to Cory Skaaren of Skaaren Design in Phoenix, Arizona, good design is the marriage of all elements of the process. From the editorial to the original photography, to the typography and the illustrations; good design is more than filling 96 pages and calling it a completed magazine. There is the flow and the feel; the life of the content that literally breathes from the pages. And Mr. Magazine™ would definitely agree. The magazine is certainly a living, breathing entity.

cory_portrait_01_111213I spoke with Cory recently and we talked about the genetics that make a healthy magazine; one that’s not only easy to absorb, but also highly successful. After 20 years in the design and visual communication business, Cory makes it abundantly clear that narrative is everything. The stories are as much a part of the design as the grids are. And it’s definitely a marriage made in heaven when it’s done right.

From Kono, a martial arts magazine for children, to Ethisphere, a quarterly magazine that’s dedicated to information on ethical leadership for CEO’s, directors and other business professionals, to Beyond Cinema, all about the film industry; Cory has experienced great design firsthand, his own. With Skaaren Design he works with many new magazines as he designs, consults and shares how important the art of storytelling really is to good design.

So, I hope that you enjoy the Mr. Magazine™ interview with a man who knows good design is much more than lines and grids, Cory Skaaren, Creative Director & Designer, Skaaren Design.

But first the sound-bites:

On the difference between how design and creativity are implemented today versus prior to the digital explosion: I think budgets have shrunk a little bit and a lot of people are interested in digital magazines over print magazines; we get a lot of calls and a lot of interest in doing digital magazines. I think they believe it’s going to be much cheaper, but when they dig into it and realize how much a digital magazine actually costs to do right; basically the same price except the advertising isn’t as expensive. You can’t make as much money on advertising with a digital edition as you can in a print edition, for the most part.

On whether all of these changes are helping or hurting the creative industry: Well, I guess I think it’s hurting it. We just have to keep justifying the importance of the psychological effect of good art and good design and good flow. I work with a lot of people who are doing a magazine for the first time, so we’re ushering them through the process. And I think sometimes part of the reason why they decided to do a magazine was because they thought it was going to be cheap because they’ve heard about stock photography and all of these things that are easy and fast and relatively cheap to get.

On whether he encourages or discourages people who have no magazine experience when they come to him with an idea for a new launch: Some of the best experiences I’ve had with people and magazines are newcomers to the publishing space because you’re kind of starting clean with them and you can explain things and as long as they’re reasonable, I think you can get to the heart of the matter pretty quickly.

On a few determinates that are a must in today’s creative design marketplace: Being a designer I really don’t work on magazines that don’t have an art budget. I think original photography and original art is vital to just the life of the magazine. That’s probably a pretty cliché answer, but I also think editorial structure and the flow of the magazine is something that’s very important and a lot of people don’t even consider, going back to the people who are entering publishing for the first time, it’s surprising sometimes that they don’t understand the very basics of the front of the book and the back of the book, and the well, things like that.

On how he made the transition from starting out drawing comic books to designing magazines: I was in college; I was going to design school and I was doing the cartoon for a local nightlife magazine in Phoenix, Arizona. I was basically a glorified intern; I really hadn’t designed anything of note. I had just been an illustrator. Late one night I walked into the office to turn in my cartoon and the publisher’s wife was there and she said that the art director had just quit and asked me to design the magazine. And I just said yes because that’s what we were taught to do; you never said no. So, the next day I started designing the magazine.

On the biggest stumbling block that he’s had to face and how he overcame it: I really believe in the importance of good design. Obviously I see, even though I’m a writer and I’m probably more hands-on with my magazines than a lot of “creative directors” are, we help direct and create editorial. A lot of the magazines that we’ve done over the last 10 years, we helped create and launch. But getting people to understand the importance of good design and spending money on good design; and when I say design I’m including illustration and photography and good writers even for that matter. And I think the only way to truly overcome that is to spend a lot of time with the client educating them on what makes a magazine good.

On his most pleasant moment: When you find a client who really understands and who wants to build something with you; that’s great. And they’re in it for the long haul; that’s when magic really happens. My favorite thing about doing a magazine, obviously besides the design and working with illustrators is working with the editor and working with the editor in chief. During the production of one of our magazines, I’m probably on the phone with an editor in chief almost every day, talking about things, going over articles; what we can do to make them better; what information we can add to make the content better.

Kono BatsOn which of the magazines that he works on he would use as an example to a potential client: I think the best magazine that I ever worked on was Kono magazine, which was a martial arts magazine for kids. But it was really a kid’s lifestyle magazine. That magazine just had a lot of life and it caught on with the readership very quickly. We broke almost all of the rules of magazine design; we didn’t have a baseline grid. The whole magazine was designed as if a kid made it.

On the new magazine he’s launching this summer: We’re launching a new magazine called Hyper and it’s kind of a continuation of what we did with Kono. Even though we built Kono from the ground up, Kono wasn’t my idea. Kono was an idea of two guys who were in the martial arts industry and who realized that every kid in the United States took martial arts at some point in their lives. It’s actually one of the largest sports for kids in the United States; more kids are in martial arts than football or little league baseball. And there are around 35,000 martial arts schools across the United States. And they didn’t have a media platform.

On what motivates him to get out of bed in the morning: It’s a challenge sometimes, because doing magazines, and we’re doing four magazines right now, so there’s always a magazine to do. A lot of time magazines can kind of weigh on your psyche a little bit because there’s no respite from it. There’s so much to do that you finish one and the next one just starts; you don’t even get a breath sometimes. I think the challenge of just getting it right is enough for me. I take it very seriously that someone has decided to give me a fair amount of money to design their magazine.

On what someone would find him doing if they showed up one evening unexpectedly at his home: I’m probably watching a movie on Apple TV.

On what keeps him up at night: Print deadlines. (Laughs) Print deadlines and the million unknowns that can happen overnight. One of the dangerous things about being an outside counsel to clients is you’re not in the room with their employees, so a lot of discussions take place on their side of the fence that you’re not privy to. So, sometimes you wake up to a decision and that decision could go either way; it could be an amazing decision or it could be a bad decision. And sometimes you have to spend the time to walk them back from that or you just have to change course or go with it.

And now the lightly edited transcript of the Mr. Magazine™ interview with Cory Skaaren, Creative Director & Designer, Skaaren Design.

Samir Husni: You’ve been a creative director for some time now; what do you think are the major changes in design and creativity when it comes to print, before 2007, and after 2007? Do you feel that there’s been a line drawn in the sand; this is how we used to do it and this is how we do it now?

Cory Skaaren: Yes, I think there is a difference. May I ask why you chose the year 2007?

Samir Husni: That’s when the Smartphone arrived on the scene, and then in 2010 here came the tablet. Supposedly, that was the beginning of the digital explosion, which actually hit in 2009.

Cory Skaaren: I think budgets have shrunk a little bit and a lot of people are interested in digital magazines over print magazines; we get a lot of calls and a lot of interest in doing digital magazines. I think they believe it’s going to be much cheaper, but when they dig into it and realize how much a digital magazine actually costs to do right; basically the same price except the advertising isn’t as expensive. You can’t make as much money on advertising with a digital edition as you can in a print edition, for the most part. So, I see a lot of interest, but I see a lot of interest wane once they get into it. I think people kind of see digital magazines like a website, where it’s not going to cost much money.

But I think the bigger thing is just the rise in popularity of these design element sites, like Creative Market and obviously stock photography just gets cheaper and cheaper every year. I really have to struggle to get people to spend money on original art and original photography sometimes.

BC Hawke SingleSamir Husni: Do you think that all of these changes, including the budgets and the tightening of the budgets and this myth that people can go digital and will not cost them anything to print or to distribute; is this helping the creative industry or hurting?

Cory Skaaren: Well, I guess I think it’s hurting it. We just have to keep justifying the importance of the psychological effect of good art and good design and good flow. I work with a lot of people who are doing a magazine for the first time, so we’re ushering them through the process. And I think sometimes part of the reason why they decided to do a magazine was because they thought it was going to be cheap because they’ve heard about stock photography and all of these things that are easy and fast and relatively cheap to get, and you kind of have to walk them back from that a bit and talk them into spending a little more money so that they’re investing in something that people will actually care about in the long term.

Samir Husni: If someone came to you today and told you they were starting a new magazine, would you encourage or discourage them in today’s market? They have no background in magazines whatsoever, just that fascination that they have an idea no one else has ever had and they want to launch this new magazine.

Cory Skaaren: Some of the best experiences I’ve had with people and magazines are newcomers to the publishing space because you’re kind of starting clean with them and you can explain things and as long as they’re reasonable, I think you can get to the heart of the matter pretty quickly.

But I do say this is not a short-term way to make money. I tell them if you want to make money in publishing, it’s going to take a lot of infrastructure and a lot of building and it’s a long-term investment and depending on, obviously their industry and what they want to accomplish with their magazine, I give them a general ballpark of what it’s going to cost.

And reasonable people understand that and they thank you for being honest with them and then there’s some people that you can’t reason with and they’re just going to go to someone else and they’re not going to be around after their third issue.

So, it’s a pro and con there, but I’m a big believer that part of my job is to usher the client through the process of any design project, whether it be a logo design, a magazine design, or anything, and try to get them to think about it a little differently and how we can do it; get more bang for our buck, because that’s a big deal today. And how to do it faster and easier, because let’s face it, there are a lot of hands in the pot when it comes to magazine design, or magazine creation, I guess.

Getting all those people on one page and getting people to focus on their jobs; that can save a client a lot of money just by developing a creative process that works within their structure and allows us to do the magazine without 400 revisions for every page.

Samir Husni: If you were to have a formula; although I know that in the business of design there’s no such thing as formulas, but if you were to come up with some determinates that you think makes a good design for a print magazine and its website in today’s marketplace, could you name two or three things that are a must?

Ethisphere-MagazineCory Skaaren: Being a designer I really don’t work on magazines that don’t have an art budget. I think original photography and original art is vital to just the life of the magazine. That’s probably a pretty cliché answer, but I also think editorial structure and the flow of the magazine is something that’s very important and a lot of people don’t even consider, going back to the people who are entering publishing for the first time, it’s surprising sometimes that they don’t understand the very basics of the front of the book and the back of the book, and the well, things like that.

I have loved magazines since I was a child. I started in this business in comic books, so that story structure meant a lot to me, so whenever I picked up a book in my formative years, the impact of how that story was structured meant a lot to me, and the comfortability of a reader being able to pick up any issue of Rolling Stone and going right to the movie reviews or right to the music reviews; that consistency and quality over time, that’s really what I drill into them from the first meeting.

Samir Husni: I too fell in love with comics. Those were my magazines when I was growing up in Lebanon. The storyline; the whole aspect from A to Z was what moved me into this magazine direction. Where did you grow up?

Cory Skaaren: I grew up in Minnesota, but my first job in this business was drawing comic books.

Samir Husni: How did you make the transition from drawing comic books to designing magazines?

Cory Skaaren: I was in college; I was going to design school and I was doing the cartoon for a local nightlife magazine in Phoenix, Arizona. I was basically a glorified intern; I really hadn’t designed anything of note. I had just been an illustrator. Late one night I walked into the office to turn in my cartoon and the publisher’s wife was there and she said that the art director had just quit and asked me to design the magazine. And I just said yes because that’s what we were taught to do; you never said no. So, the next day I started designing the magazine. I had never designed a magazine before. I thought I understood magazines, but that magazine was horrible. I did a horrible job designing it. They paid for my education in print production and how to set up Quark. This was back in the day of Quark XPress.

So, that’s how I got into it; really by accident. Coming from comic books, I really and truly understood the structure of a story; how to illustrate a story; how to create a flow through 84 pages. I just kind of got onto it. And what I realized living in a town like Phoenix, which is certainly not the publishing capital of the world, there was a lot of magazines being published out of here at the time and I was someone who had some experience, so I just slowly started doing it. And now it’s about 50% of my business.

Samir Husni: What’s the other 50%?

Cory Skaaren: Mainly branding and brand consulting. But we do a little bit of everything.

Samir Husni: What has been the biggest stumbling block that you’ve had to face and how did you overcome it?

Cory Skaaren: I really believe in the importance of good design. Obviously I see, even though I’m a writer and I’m probably more hands-on with my magazines than a lot of “creative directors” are, we help direct and create editorial. A lot of the magazines that we’ve done over the last 10 years, we helped create and launch. But getting people to understand the importance of good design and spending money on good design; and when I say design I’m including illustration and photography and good writers even for that matter.

And I think the only way to truly overcome that is to spend a lot of time with the client educating them on what makes a magazine good, and how that affects the bottom line, and so many of them believe that if they make it, readers will come. And so many go into it with the idea that all they have to do is get that first issue printed and the advertisers will come flocking. It’s a pretty rude awakening when that doesn’t happen.

Samir Husni: What has been the most pleasant moment for you during your career?

Cory Skaaren: When you find a client who really understands and who wants to build something with you; that’s great. And they’re in it for the long haul; that’s when magic really happens. My favorite thing about doing a magazine, obviously besides the design and working with illustrators is working with the editor and working with the editor in chief. During the production of one of our magazines, I’m probably on the phone with an editor in chief almost every day, talking about things, going over articles; what we can do to make them better; what information we can add to make the content better. Those are the things that I really enjoy. I enjoy creating content and then visually realizing it.

I find that working closely with the client is almost a necessity. So many people want to hire you and just tell you to do what you do and that’s just a recipe for disaster. We always try and sit down, and I can’t use the word education enough, and educate our clients, and not just about the business of magazines themselves, sometimes they know that kind of stuff, but I really like to talk about the process of design and setting up a magazine that is great, but giving it room to evolve.

And, I want to know certain things too. I really need to understand the editorial model. If we’re not a part of creating the editorial model, then I want to understand why the editorial model is the way it is. Why they’re writing the kind of articles they are. I want a 360 degree understanding of that magazine or I can’t design it. And it’s hard to do that long-distance.

And there are a lot of litmus tests that people need to pass before they get into the magazine business. I think that’s one of the big misunderstandings. Publishing is still kind of sexy; owning a magazine is kind of sexy. And it gives you entrée into a lot of things and people get caught up into that, but they don’t realize that they’re going to lose money for a fair amount of time. And they have to have a decent enough runway to let the magazine be successful. And that’s a challenge.

Kono was a very interesting business model, because what we did was create our own distribution model. I think we put about 8 to 10,000 magazines on the newsstands and we sold individual subscriptions. But the bulk of our sales, because the martial arts industry didn’t have a media platform, we would print the magazines and then martial arts schools would buy them from us in bulk and give them to their students as a retention tool. In one year we went from; the first magazine we printed, I think we sold 60,000 copies, by issue #10; we were selling 275,000 copies per issue. We were actually profitable in 10 issues, but it was a very non-traditional hands-on approach to it.

Samir Husni: I’m a potential client and I have a magazine idea, so I ask you to send me a sample from all the things you’ve done, which magazine would you send me?

Cory Skaaren: I think the best magazine that I ever worked on was Kono magazine, which was a martial arts magazine for kids. But it was really a kid’s lifestyle magazine. That magazine just had a lot of life and it caught on with the readership very quickly. We broke almost all of the rules of magazine design; we didn’t have a baseline grid. The whole magazine was designed as if a kid made it. The demographic was like 6 to 12. So, we kind of went at the design with the mindset that if a kid who was 6 to 12-years-old designed their own magazine, what would it look like? We designed the entire magazine out of clipped paper and things were taped and pinned to the pages; it was very interactive.

I think that I would show that only because it showcases thinking outside the box and not everything has to be based on a grid system. It really ignored all of those traditional rules of magazine design.

Samir Husni: You said you were in the process of launching a new magazine this summer, could you tell me about it?

Cory Skaaren: We’re launching a new magazine called Hyper and it’s kind of a continuation of what we did with Kono. Even though we built Kono from the ground up, Kono wasn’t my idea. Kono was an idea of two guys who were in the martial arts industry and who realized that every kid in the United States took martial arts at some point in their lives. It’s actually one of the largest sports for kids in the United States; more kids are in martial arts than football or little league baseball. And there are around 35,000 martial arts schools across the United States. And they didn’t have a media platform.

Kono, unfortunately, was kind of shut down due to the recession. It was a very successful magazine, but we were so new that we couldn’t really survive that. So, Hyper is a continuation of that, but we’re gearing it more toward a slightly older demographic, like 12 to 16-year-olds. We’re taking everything we learned from Kono and putting it into an older demographic.

Samir Husni: What motivates you to get out of bed in the morning?

Cory Skaaren: It’s a challenge sometimes, because doing magazines, and we’re doing four magazines right now, so there’s always a magazine to do. A lot of time magazines can kind of weigh on your psyche a little bit because there’s no respite from it. There’s so much to do that you finish one and the next one just starts; you don’t even get a breath sometimes.

I think the challenge of just getting it right is enough for me. I take it very seriously that someone has decided to give me a fair amount of money to design their magazine. You and I both know that magazines are not cheap, so to have that faith and hand over that money and say to me, do the best job you can and get it right is something that I take so seriously that it almost drives me crazy.

And I think that there are so many challenges in there because if you’re a designer magazines are really a boot camp for design, because everything is in there. There’s typography, photography, editorial, copy fitting; you name it and it’s in there. And it all has to be functioning. We never get it 100% right, I don’t think. But maybe that’s just me never being happy with it, but there’s always some challenge to every issue, no matter how many issues of the same magazine that you do; there’s always something that can be improved or that you didn’t quite have the time to get 100% right, and that’s the challenge for the next issue. So, I think that drive to just get it right is what keeps me going.

Samir Husni: If I showed up one evening unexpectedly to your home, what would I find you doing; reading a magazine, reading your iPad, watching television, or something else?

Cory Skaaren: I’m probably watching a movie on Apple TV.

Samir Husni: My typical last question; what keeps you up at night?

Cory Skaaren: Print deadlines. (Laughs) Print deadlines and the million unknowns that can happen overnight. One of the dangerous things about being an outside counsel to clients is you’re not in the room with their employees, so a lot of discussions take place on their side of the fence that you’re not privy to. So, sometimes you wake up to a decision and that decision could go either way; it could be an amazing decision or it could be a bad decision. And sometimes you have to spend the time to walk them back from that or you just have to change course or go with it.

So, that really keeps me up at night. Sometimes I wonder: what’s being talked about right now that’s going to affect my day tomorrow that I’m not going to know about until it’s too late.

Samir Husni: Thank you.

 

 

 

 

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Pacific Standard Magazine – A Magazine Worth Printing With Stories That Matter – The Mr. Magazine™ Interview With Nick Jackson, Editor In Chief, Pacific Standard Magazine.

July 25, 2016

COD_PacificStandard_w_580“We had to think what makes a magazine piece different than what anybody can get anywhere else? And for us that are the stories that we’re going to put months of work into; we’re going to dedicate extra research toward, whether that’s through fact-checking, copyediting, or just research and report. Also, I think that as much as people have tried, you can’t really replicate the print experience in any other medium.” Nick Jackson

“I have a walk-in closet that’s just my magazine closet. I subscribe to 40 magazines in print, despite being a guy who started in the digital space. I still think that print magazines are just such a perfect medium. They’re a great thing and I love seeing what everybody else is doing.” Nick Jackson

 Making the worlds of research, media and public policy, not to mention academia and technology, engaging and compelling to the general populace is something that Pacific Standard’s new redesign is setting out to do.

Launched originally in 2008 as Miller-McCune magazine by Sara Miller McCune, the founder and head of Sage Publications, the name was changed to Pacific Standard in 2012. The magazine has always striven to publish stories that are important and matter, covering topics that are left untouched by many other publications.

However, today’s Pacific Standard, with its compelling new redesign, has taken the maelstrom of hot topics that are splashed across today’s mediums and featured them within the pages of the magazine to captivate readers with timely information in a new and deeper format that brings the art of long-form journalism back to the forefront.

Nick Jackson is editor in chief of Pacific Standard and has brought the brand into this redesign boldly and confidently, anxious to show readers the positive changes that have been made. Nick comes from a background that includes such giants in publishing as The Atlantic, Slate and Outside magazines. He knows his stuff and is proud to be cultivating stories that inform and change people’s lives.

I spoke with Nick recently and we talked about the magazine’s new look and more poignant perspective. It was an interview that was filled with focus for the brand’s future and excitement for its present, without discounting its esteemed past, recognizing the brilliance of Sara Miller McCune, founder of Sage Publications, who launched the magazine.

So, I hope that you enjoy the Mr. Magazine™ interview with a man who is helping his brand to continue to raise the “standard” in today’s journalism, Nick Jackson, editor in chief, Pacific Standard magazine

But first the sound-bites:

08 Nick_PacificStandard_0817_webOn his definition of a magazine “worth printing” in 2016: We need to differentiate ourselves from what everybody else is doing. We have a pretty robust presence at this point. We’re not huge, but we’re up to the point where we’re publishing 10 to 12 original, non-aggregation pieces a day on our site. So, we had to think what makes a magazine piece different than what anybody can get anywhere else?

On how they’re using digital to enhance the printed product: I actually think that’s something that I’m proudest of. My background is almost exclusively in digital. I got my start at Slate and The Atlantic years ago. And we’ve really created a truly hybrid newsroom; it’s a small newsroom, but it really is platform agnostic and informs everything we do.

On how the brand is doubling its efforts to utilize more research and investigative reporting in both the printed magazine and on its website: I think first of all; we have to do that. There’s really sort of a mass versus class situation in publishing right now. We don’t really aspire to be a BuzzFeed or even a Vice or Vox. And so we thought that it was really important to double down on our mission, which I think is something that not a lot of other places are doing. It’s really a couple of different factors for us and part of that is the academic background. A lot of our work is informed by the latest research, particularly in the social and behavioral sciences, rather than just relying on an anecdote.

COD_PacificStandard2_w_580On the redesign issue’s second cover: The other cover is Ralph Nader. We have special distribution on Capitol Hill, in airport lounges and a couple of other places. One of the things that we want to do is affect policy one way or another and I think that it helps for us to do hand delivery on Capitol Hill, where we thought Ralph Nader would resonate a little more strongly.

On whether the magazine’s targeted audience is shrinking or expanding in today’s world: For us, the audience is expanding. I don’t know what the larger groups of those sorts of people are; they’re difficult to reach. That’s the future. We were founded by Sara Miller McCune, whose background is in starting Sage Publications 50 years ago, which is an incredibly successful academic publisher, but that’s an entirely different business where you have to publish in those journals to go up for tenure.

On the biggest stumbling block he’s had to face during the redesign and how he overcame it: It would probably be finding that balance. We’re more focused on our mission than we’ve ever been. And I’ve worked with a lot of people here on narrowing that down. Knowing that we want to reach our audience and ultimately everybody wants their stuff to get out in front of as large an audience as possible.

On what has been the most pleasant moment during the redesign: It’s hard to pick just one. It’s been a lot of fun. At its best, magazine making is just a really fun and collaborative project, and over the past year or so while we were remaking the magazine we were also building out a new office space that has more room for us to grow into. So, we were actually making the magazine, and I talk about meeting in coffee shops and other things in the editor’s letter, but that’s completely true. (Laughs) A lot of this was made on the fly around California while we were building this new office space, while we were getting ready to grow and expand.

On what someone would find him doing if they showed up unexpectedly at his home one evening: I’m probably reading a magazine. I have a walk-in closet that’s just my magazine closet. I subscribe to 40 magazines in print, despite being a guy who started in the digital space. I still think that print magazines are just such a perfect medium. They’re a great thing and I love seeing what everybody else is doing.

On what motivates him to get out of bed in the morning: It’s the magazine we’re putting out. As I said, I worked at The Atlantic, Slate and Outside, and I did a lot of work there that I’m really proud of. Those are incredible publishers doing great work today, but a big chunk of my time was thinking through things such as; I’m going to send someone to live on Everest and report on the plight of Sherpas there, which is something that we did when I was at Outside.

On what keeps him up at night: Fact-checking. (Laughs) Fact-checking headaches. We’re about to close a food issue and for us that’s a big feature on food safety; an issue that involves 46 or more government agencies. So, the headaches of closing a piece like that are many. But, they’re very exciting challenges to work through. But they’re still challenges. So, you’re constantly worried.

And now the lightly edited transcript of the Mr. Magazine™ interview with Nick Jackson, Editor In Chief, Pacific Standard Magazine.

 Samir Husni: Congratulations on the new and improved Pacific Standard magazine. You wrote in your editorial that you decided to actually create a magazine worth printing in 2016. How would you define a magazine “worth printing” in today’s digital age?

Nick Jackson: We need to differentiate ourselves from what everybody else is doing. We have a pretty robust presence at this point. We’re not huge, but we’re up to the point where we’re publishing 10 to 12 original, non-aggregation pieces a day on our site. So, we had to think what makes a magazine piece different than what anybody can get anywhere else?

And for us that are the stories that we’re going to put months of work into; we’re going to dedicate extra research toward, whether that’s through fact-checking, copyediting, or just research and report. Also, I think that as much as people have tried, you can’t really replicate the print experience in any other medium. So, we’ve put a lot more energy, resources, time and money into our art and photography and we’re really trying to create this object that people want to keep.

One thing that I’m constantly thinking about is what National Geographic was to people in the 1980s and 1990s, which was a magazine that lived on the newsstand, but was also a magazine that people kept and collected. We’re trying to capture some of that in 2016. We want to last more than just a moment. We don’t want to compete with newsweeklies or other printed products. We want to create something that you’re going to keep and share and pass around; something that you’re going to refer back to over and over again. Those are the kinds of things that you can do in print in a way that you can’t do online. So, that really began the whole discussion about redesigning the magazine.

Samir Husni: I was looking at the redesigned issue and reading your letter from the editor and saw the accompanying photo. In that picture you’re using digital devices as you create this magazine, so how are you using digital to enhance this new Pacific Standard magazine that you’re trying to create?

Nick Jackson: I actually think that’s something that I’m proudest of. My background is almost exclusively in digital. I got my start at Slate and The Atlantic years ago. And we’ve really created a truly hybrid newsroom; it’s a small newsroom, but it really is platform agnostic and informs everything we do. Being platform agnostic is something that everybody talks about and aspires to, and it’s something that we’ve been talking about industry wide for five or six years now. But every place that I’ve worked there’s still people who work in digital and people who work in print. And for some places that works very well. You can look at Hearst where they’ve completely split the two.

Every single person on my team is working on both and that’s made both products better. For us that means that if we have someone who is primarily responsible for assigning featured stories, they can say this story is going to benefit from a quick turnaround time; maybe there’s news pegged like the upcoming election that we want to push out online, but it doesn’t necessarily make sense in print because of the long lead time. So, we really have people who are able to, because they’re working across platforms; decide something works best here or there. This is the story that’s going to be better if we put a couple of months of editing into it for the print magazine.

And that’s also helping our website. We’re doing more fact-checking and copyediting and some of the more traditional print processes; we’re doing more of that online that a lot of places are, so it’s making our website better too.

letter from the editorSamir Husni: You mentioned that in both, the print and the PS mag.com that you’re doubling down on the mission to combine research with narrative and investigative reporting; give me some examples of how you’re doing that.

Nick Jackson: I think first of all; we have to do that. There’s really sort of a mass versus class situation in publishing right now. We don’t really aspire to be a BuzzFeed or even a Vice or Vox. And so we thought that it was really important to double down on our mission, which I think is something that not a lot of other places are doing.

It’s really a couple of different factors for us and part of that is the academic background. A lot of our work is informed by the latest research, particularly in the social and behavioral sciences, rather than just relying on an anecdote.

Another differing factor is our core focus areas, where we focus on educational, economic and social justice, and the environment, which largely is a lot of climate change for us now. But you can see those in almost any story we do, so the new redesign issue’s cover for newsstands is “The Addicted Generation.” We had a separate cover for some of our special distribution, but that’s another conversation.

“The Addicted Generation,” which is a traditional magazine piece in that there was weeks’ worth of reporting and dozens of sources of people in their late 20s and early 30s, largely millennials who grew up on Ritalin and other ADHD drugs and who are now struggling, trying to get themselves off of it. They would consider themselves addicted, that’s a word that we don’t use lightly, but it comes up over and over again in our reporting on this.

But it’s more than just their stories. We actually in print and we struggled with this a little bit online, where you can see the packaging of print really is something special. We moved a lot of their individual and personal stories into sidebars, and ran them like “as told” and we focused the feature itself around what the research really told us about how people become dependent on these drugs or don’t become dependent; where’s the research at? The core of the feature is really written with the people studying this issue and the doctors at the heart of it, and then we moved the actual effected millennials into the sidebars.

So, that’s probably a slightly different approach than another magazine would have taken on this story, but I think it really sets us apart and offers something unique and important to our readers.

Samir Husni: You’ve piqued my interest by mentioning another cover; what’s the other cover?

Nick Jackson: The other cover is Ralph Nader. We have special distribution on Capitol Hill, in airport lounges and a couple of other places. One of the things that we want to do is affect policy one way or another and I think that it helps for us to do hand delivery on Capitol Hill, where we thought Ralph Nader would resonate a little more strongly.

I mentioned this in the editor’s letter too; in the redesign we opened up the feature well a little bit, we’re going to be running four features an issue instead of three and with some of that extra space we’re going to be doing more photo essays and more long-form interviews. So, Ralph Nader is our first long-form interview.

We’ve paired with Lydia DePillis, who used to be a labor reporter at the Washington Post and is now at the Houston Chronicle down in Texas. But she has a deep background in a lot of these issues that Ralph Nader’s been involved in for 40 or 50 years at this point. We paired them up and had them talk a lot about the election and what’s coming up. We thought the timing would do well, so he’s our first. And then we have a couple more in the works, but the long-form interview is something that I think we want to do more of and we’re hoping that opening up the feature well will allow us to do that.

That’s the first time that we’ve done a split cover, I don’t know if we’ll keep doing it, but we have been playing around a lot with covers lately. Even the previous issue, which was an entirely water-themed issue; we did a wraparound cover and because we’re a non-profit, we’re in a slightly different position than other places. That back page real estate is less important to us for advertisers and I think it really helps differentiate us. We’re going to try and do some more wraparound covers. I think it gives this thing more of a book quality than a traditional magazine.

back cover useSamir Husni: I love your insect and spider back cover. It’s been said that 55% of people in the Western Hemisphere start reading the magazine from the back.

Nick Jackson: Right. We’ve been working on this redesign while putting out the magazine for 9 or 10 months or so, and there are a lot of obvious things that we wanted to do: expand the feature well, bring more art and photography in, eliminate stock completely; probably the most difficult thing to come up with was what to do with that back page. Not the back cover, but that last page in the magazine. I think everybody in the industry talks about it, and I think only a few magazines have figured it out. You think about The New Yorker cartoon, or maybe the Proust Questionnaire at Vanity Fair, but it’s such a difficult piece of real estate.

Samir Husni: I think even with the prison tattoo; it’s a very captivating last page.

p useNick Jackson: Yes, we’re just going to try and keep it really bold and bright; just focus on a single object that’s related to some of our core coverage areas and tell a brief, little historical story about that object. It was fun, because we actually had someone create that prison tattoo gun before we shot it, so we have it here in the office. I talked about using it to maybe give myself a small Pacific Standard tattoo or something. (Laughs)

Samir Husni: Let’s talk a little about your targeted audience. “You’re trying to reach civically engaged citizens interested in improving both private behavior and public policy to promote a more fair and equitable world.” I read that from your letter from the editor. Is that audience shrinking or is that audience expanding? Do we have such an audience in the country as we see it today?

Nick Jackson: For us, the audience is expanding. I don’t know what the larger groups of those sorts of people are; they’re difficult to reach. That’s the future. We were founded by Sara Miller McCune, whose background is in starting Sage Publications 50 years ago, which is an incredibly successful academic publisher, but that’s an entirely different business where you have to publish in those journals to go up for tenure.

We know that most academic papers are only read by three or four people and there’s really important work being done in the space, and that’s really why we put out this magazine, which is how do we take some of the best research happening today and package that in a way that gets people excited.

I just talked about Ralph Nader being our first big interview; we don’t do the big celebrity profile; we don’t do the extended service package; we don’t do a lot of the things that are easier sells to an audience for other people. We’re doing some pretty deeply investigative reporting. We’re doing a lot of scientific work; how do you package that in a way that gets people excited about it and engaged with it?

That’s really why we redesigned the magazine. We’re constantly thinking about how you get in front of those people; how do we stay true to our mission and reach them? So, we know that our audience is expanding.

Samir Husni: What has been the biggest stumbling block that you’ve had to face during this redesign and how did you overcome it?

Nick Jackson: It would probably be finding that balance. We’re more focused on our mission than we’ve ever been. And I’ve worked with a lot of people here on narrowing that down. Knowing that we want to reach our audience and ultimately everybody wants their stuff to get out in front of as large an audience as possible.

So, a lot of it was thinking, OK – we have this front-of-book that’s largely built around the academic work that is our foundation, but maybe it’s too academic in its presentation. We were doing a lot with citations to journals; we had a lot of departments named after things that hinted back at the university and the Ivory Tower. Maybe it was a little off-putting for just your general reader, which is really who you’re trying to expose with new information.

A lot of that we worked on, and I think we’ve landed in a place that we’re pretty comfortable with. We have pushed what used to be our prospector section, as a sort of short front-of-book stuff, with this new section called “Field Notes,” which is really our version of Talk of the Town. They’re very short, very fun pieces and they’re lighter on the research than a lot of the other stuff we do. So, trying to find that balance is always tricky for us.

But it doesn’t make a lot of sense for us to stray from our mission too much and just do work to attract an audience, because if that’s what we wanted to do, we would work elsewhere. I worked at The Atlantic and Outside and at a bunch of big publishers and had a much larger audience than we do here, but the reason for me coming to Pacific Standard was that I wanted to do work that I felt was important. I wanted to do stories that mattered, which we make our tag on. And work that feels like it can make a difference, whether that’s affecting public policy like we talked about, even if it’s affecting private, individual behavior in some way.

Obviously, with everything going on now we’re doing a lot of work around the Black Lives Matter movement and police violence. If you can just use the latest social behavioral research to get people to think about their actions and maybe change them, instead of, I don’t know, creating some quiz or list or something that’s been done in the past, then that’s the most important thing, even if you’re not reaching a huge audience.

Trying to find that balance is always hard. I’ve got a lot of people who have left bigger and more well-known magazines to come out here and try to work on this, because they think everybody is excited about having some affect. So, you’re looking to give up the scale for the impact. Trying to measure impact and trying to figure out what the right equation is will always be tricky.

Samir Husni: What has been the most pleasant moment during the redesign?

Nick Jackson: It’s hard to pick just one. It’s been a lot of fun. At its best, magazine making is just a really fun and collaborative project, and over the past year or so while we were remaking the magazine we were also building out a new office space that has more room for us to grow into. So, we were actually making the magazine, and I talk about meeting in coffee shops and other things in the editor’s letter, but that’s completely true. (Laughs) A lot of this was made on the fly around California while we were building this new office space, while we were getting ready to grow and expand.

And just getting this brain trust, this group of people who have come from all over the country to work together on this magazine, to think through things such as if we start from scratch, and there are a lot of things that have remained the same from previous iterations because they work, but let’s think about it as though we’re creating a magazine from scratch and we have the resources to do that; how do we make a magazine that we’re excited about putting out?

And it’s really the collaborative nature of magazine making that’s a great joy. The best part about it is that it doesn’t end when the redesign is ready and that’s a daily process. I’m in the middle of shift week right now and I have a lot of people huddled around, trying to put out the best thing they can on a timeline. And that’s always so much fun.

Samir Husni: If I showed up at your home one evening after work unexpectedly, what would I find you doing; reading a magazine, or reading your iPad; watching television, or something else?

Nick Jackson: I’m probably reading a magazine. I have a walk-in closet that’s just my magazine closet. I subscribe to 40 magazines in print, despite being a guy who started in the digital space. I still think that print magazines are just such a perfect medium. They’re a great thing and I love seeing what everybody else is doing.

So, I’m probably reading a magazine; maybe I’m reading other stuff online. There’s very little I’m doing that’s not related to my work, which may sound sad to some people, I guess, but it’s how I found my way into this. I went to a boarding school for math and science geeks and thought I would become a physicist, and only decided to get into journalism and magazine making because it was sort of my hobby and my interest on the side. And I thought if I can make that a career, then that’s the way to go.

When your put in a position when you seem to have a clear trajectory in one direction and you shift from that because you’re so passionate about whatever it is that’s pulling you in another direction, then that shows in your work.

Samir Husni: What motivates you to get out of bed in the morning?

Nick Jackson: It’s the magazine we’re putting out. As I said, I worked at The Atlantic, Slate and Outside, and I did a lot of work there that I’m really proud of. Those are incredible publishers doing great work today, but a big chunk of my time was thinking through things such as; I’m going to send someone to live on Everest and report on the plight of Sherpas there, which is something that we did when I was at Outside.

But I also have to think about how do I put together a great service package for somebody? Or how do I grow the revenue streams on the website? And that’s something that we’re still sort of thinking about here, but most of our energy and focus goes into just putting out great stories, which I think is what everybody who gets into this business wants to do, but realizes at best that can only be a percentage of what they do. Here, it’s a much larger percentage than anywhere else.

Samir Husni: My typical last question; what keeps you up at night?

Nick Jackson: Fact-checking. (Laughs) Fact-checking headaches. We’re about to close a food issue and for us that’s a big feature on food safety; an issue that involves 46 or more government agencies. So, the headaches of closing a piece like that are many. But, they’re very exciting challenges to work through. But they’re still challenges. So, you’re constantly worried. The difference with print over web is that I have a ship date that I have to meet; these stories have to be ready at a certain time. No matter what they have to be ready to go out the door. And that can be tricky.

Samir Husni: Thank you.

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Niépi Magazine Launches In The U.S. – Teaching Us Cuisine & The Art Of Living As Only The French Can – The Mr. Magazine™ Interview With Peter S. Walsh, Publisher, Niépi Magazine, U.S.A.

July 21, 2016

A Mr. Magazine™ Launch Story

Screen Shot 2016-07-20 at 7.15.43 PM “I’m a huge believer that print helps to monetize the digital audience. And as evidence of that is the fact that All Recipes was digital-only and then launched print.” Peter S. Walsh

(On whether he believes newsstands are dead or dying) “I would never use those words because I have too much respect for all of the good people who are in the newsstand industry, whether it’s retailer, distributor, national distributor, wholesaler, or publishers. We’re all aware over the last 25 years how much things have changed, in that the amount of magazines that are being distributed through the system has grown tremendously, but the amount of space for display has not. Yet, the largest and the most sophisticated and healthiest publishers like Meredith, like Condé Nast, like Hearst; they continue to launch magazines in print.” Peter S. Walsh

 Niépi – defined as a Balinese ceremony held on the night of New Year’s during which noise is made to scare away demons and our own fears. Niépi Magazine embraces that definition – only from a food state of mind.

The magazine was created and founded by Frédérique Barral and her daughter, who were both diagnosed as gluten intolerant. A native of France, Frédérique decided that she and her daughter needed to take control of the ingredients that went into their bodies, learn about them and decide what went into their foods. And it was in that mindset the idea for Niépi magazine was born and began publishing a French language version in France and Belgium in 2014.

Peter S. Walsh is a businessman who knows quite a bit about the magazine media business, from circulation to distribution to print production, Peter has done it all for many, many years. And he knew a great title when he saw it. That’s why when he was approached about publishing an English language version of the magazine, he did his research and Niépi magazine was born in the United States. It’s scheduled to debut on newsstands in early September.

I spoke with Peter recently and we talked about the magazine; about its origins; its name, and its future. Oh, and if you’re trying to tie the meaning of the name in with the food category – think about it this way: learning to live free of the demons that can affect our bodies, or in Peter’s words, “It’s teaching its readers about sustainable, organic food and showing people ways to eat so that it enhances their health and wellbeing.” And it’s extremely memorable and the tagline totally befitting: Cuisine & the Art of Living.

So, make some noise and create your own “Niépi” as you read and enjoy the Mr. Magazine™ interview with Peter S. Walsh, Publisher, Niépi Magazine, U.S.

But first the sound-bites:

Peter Walsh Head Shot 7_17_16On why he decided to launch a print magazine in the food space in today’s digital age: I’m a huge believer that print helps to monetize the digital audience. And as evidence of that is the fact that All Recipes was digital-only and then launched print. I thought there was a really great opportunity in the marketplace for a magazine that sets out up front that it’s covering organic, natural foods, sustainably-sourced foods, etc.

On what Niépi brings to the marketplace that isn’t already there: Our editorial mission is to show people beautiful food and recipes so that they’re eating things that are healthy and natural, which increases their wellbeing and overall health. And we’re covering it from the viewpoint and through the prism of the French people, or in particular, this French editor.

On his expectations for the magazine: In terms of the newsstands, like all magazines, I want to put it where I believe the readers are. And we believe that overwhelmingly the readers are female and we believe that we’ll attract an audience that is younger than, let’s say, Bon Appétit’s audience. So, what I want to do is, and am accomplishing this now with the help of Curtis Circulation, is get into Whole Foods and Kroger and Mariano’s Fresh Market and other great markets. The first order of business is bringing it into those retailers that are really devoting space to organic produce and foods.

On whether he feels the newsstand is dead or dying: I would never use those words because I have too much respect for all of the good people who are in the newsstand industry, whether it’s retailer, distributor, national distributor, wholesaler, or publishers. We’re all aware over the last 25 years how much things have changed, in that the amount of magazines that are being distributed through the system has grown tremendously, but the amount of space for display has not. Yet, the largest and the most sophisticated and healthiest publishers like Meredith, like Condé Nast, like Hearst; they continue to launch magazines in print.

On anything else he’d like to add: I hope that I defined it correctly as sustainable, organic food and showing people ways to eat so that it enhances their health and wellbeing.

On what motivates him to get out of bed in the morning: I tell people all of the time that I am a bit of a magazine geek. And I’ve been involved with magazines since 1981 when I started with ICF, a division of the Hearst Corporation here in Chicago. Over the years I’ve worked for companies such as Hearst and ADS Publisher Services. And I am somebody who just finds magazines one of the greatest media out there. I enjoy the format.

On what someone would find him doing if they showed up at his home one evening after work unexpectedly: You’d probably catch me at my desk or on my couch. I read a lot of magazines and also I wear a lot of different hats in my business. I am one of the owners of Niépi, that’s part of it. I am an owner.

On whether this is the first time he’s been a magazine owner: It is, yes. For 35 years I’ve either been a circulator or a consultant to publishers. And I continue to do that and I specialize in circulation and I also, over the last 10 years, have specialized in print production, because I currently do a lot of graphic design and printing projects. I print catalogs as well as I print magazines. So, to a small publisher I have been functioning as the circulation department and the production department.

On whether it makes a difference that he’s an owner this time around, rather than a hired consultant: Of course it does. It makes me want to work harder and obviously over the last three or four months I’ve had to set up many, many different parts of the structure, including the postal and the fulfillment, e-commerce, the website and social media.

On what keeps him up at night: To be brutally honest, what keeps me up is will our editorial be compelling enough to attract readers and to have them return and repeat purchase, whether that’s on the newsstand or subscription, because I tell people all of the time as good a circulator as I am; I can print it and make it look beautiful, but I cannot make people buy the magazine. And that’s the Catch-22.

 

And now the lightly edited transcript of the Mr. Magazine™ interview with Peter S. Walsh, Publisher, Niépi Magazine, U.S.

Samir Husni: How did you reach the decision to launch a print magazine, especially in the food space, in this digital age?

cover01-2Peter S. Walsh: I’m a huge believer that print helps to monetize the digital audience. And as evidence of that is the fact that All Recipes was digital-only and then launched print.

What happened in this particular case was that I am a consultant and a long-time circulator, and a gentleman who was an American, but lives in the south of France, met this couple that had started this magazine in 2014. He met them within just the last year. And when he met them he thought it was a beautiful magazine and he realized that they produced it in French, in France and Belgium, and he asked them would they be open to a co-publishing or royalty agreement where we would do it in English, and so we’re calling this the International version – English language version, of Niépi.

So, John, my financial partner, found me after poking around the newsstand business a little and realized that he needed someone to kind of steer the ship. And some people referred him to me. We sat down and talked. I was very impressed with the magazine and even though I knew the category of cuisine and food titles well, I wasn’t recently familiar with it, but I did a lot of research after John and I talked. I thought there was a really great opportunity in the marketplace for a magazine that sets out up front that it’s covering organic, natural foods, sustainably-sourced foods, etc.

And of course, we see how the supermarket industry has been doing in the last few years, where more or less the largest supermarkets have plateaued or flattened. And the ones that are growing are the ones that are devoting more space in their produce department to organic foods.

Samir Husni: What’s the expectations? Food has become the sex category of the 21st century in magazines; we have more food titles in the marketplace than ever before. You name the specialty and it’s there. What does this new magazine bring to the market that’s not already there?

Peter S. Walsh: You’re right. Years ago we had the very large food titles like Bon Appétit, Gourmet, which obviously Condé Nast folded years ago in 2009, and Food & Wine. And they’re all very large. And as you indicated, in recent years the category has fragmented into subject-specific food titles, such as gluten-free or sugar-free, etc. And I believe those are all covered in what we’re doing.

Our editorial mission is to show people beautiful food and recipes so that they’re eating things that are healthy and natural, which increases their wellbeing and overall health. And we’re covering it from the viewpoint and through the prism of the French people, or in particular, this French editor.

Samir Husni: You’ve been involved before with the magazine Naked Food and you’ve done other things in this category, so you’re no stranger to the niche. Now, if you would please put your newsstand cap on and tell me about a magazine with a French name, one that has gorgeous pictures in it; what do you think your expectations should be? Do you think that people are going to stop in their tracks and say: what’s this?

Peter S. Walsh: Actually, the name Niépi is not French. It’s French spelling because the couple that founded the magazine is from the south of France. The name Niépi is from the island of Bali and they have sort of a New Year’s celebration that goes on for about a week. And in the middle of it, they call one evening of the festivities Niépi. And what they do is people go outside and bang on pots and pans and make lots of noise and you may have heard about this in other cultures as well. The idea is that they’re casting out evil spirits and starting the New Year fresh.

It’s also a bit of an allegory of embracing our lives and casting away fear and living a little more fearlessly. And in the case of our magazine, the couple liked the theme and then they changed it to a French spelling, but the idea is that food and the way people approach it, it just so happened that this couple, Frédérique Barral and her daughter, were having some health issues, They became diagnosed as gluten intolerant, so they started the magazine talking about gluten-free, and again, it’s the two of them saying to the readership: take control of your diet. Take control of the ingredients in the food that you put into your body. So, that’s the reason behind the name.

When I was introduced to the magazine I thought: OK, it’s not an English language word. We’ll immediately need to spell that out to the reader, so if they see it on the newsstand they’ll know what it is. But with that said, I still liked the name Niépi because it’s short and cute, and because it’s memorable. People can remember it very quickly. And what we did is add the tagline right below it, which is Cuisine & the Art of Living.

In terms of the newsstands, like all magazines, I want to put it where I believe the readers are. And we believe that overwhelmingly the readers are female and we believe that we’ll attract an audience that is younger than, let’s say, Bon Appétit’s audience. So, what I want to do is, and am accomplishing this now with the help of Curtis Circulation, is get into Whole Foods and Kroger and Mariano’s Fresh Market and other great markets. The first order of business is bringing it into those retailers that are really devoting space to organic produce and foods. Of course, we’ll also be in every Barnes & Noble because we pay the promotional fee. Also, like most food titles, we’ll have a lot more subscriptions than we will have newsstand sales.

Samir Husni: I noticed that you have a hefty cover price.

Peter S. Walsh: Yes, $9.95. And that’s quarterly.

 Samir Husni: People keep telling us that the newsstand is dead or dying; is it?

Peter S. Walsh: I would never use those words because I have too much respect for all of the good people who are in the newsstand industry, whether it’s retailer, distributor, national distributor, wholesaler, or publishers. We’re all aware over the last 25 years how much things have changed, in that the amount of magazines that are being distributed through the system has grown tremendously, but the amount of space for display has not.

Yet, the largest and the most sophisticated and healthiest publishers like Meredith, like Condé Nast, like Hearst; they continue to launch magazines in print. And what we try to do is just basically be targeted and be very vigilant about where the copies go, because I like high sell-through. I want to get a 50% sell-through and I remember years ago when 50% was a low sell-through, so that shows you my age. (Laughs)

There was also a study recently that I read, which I was very interested in, and it showed that when people have great discounts off of their newsstand price; when they sell subscriptions at discounts of 50% or 60%, or more, then that’s connected to lower sell-throughs on the newsstand. And I thought that was really insightful and intriguing.

Cover prices have obviously gone higher. We’re printing a magazine that will be on heavier paper and it’ll be thicker than most of the other magazines that are in the space. And we know that quarterly $10 is not too much. Our basic subscription is $29.95, so that’s 25% off the newsstand. And if we increase frequency, I hope we can do six issues next year in 2017, and if things are profitable and the marketplace wants more, we’ll increase it to maybe 8, 9, or 10 issues in 2018. We’ll lower the cover price a bit if we increase frequency.

Samir Husni: Is there anything else that you’d like to add?

Peter S. Walsh: I hope that I defined it correctly as sustainable, organic food and showing people ways to eat so that it enhances their health and wellbeing.

Samir Husni: And the first issue will hit newsstands when?

Peter S. Walsh: Around September 1, 2016. We’re shipping around August 15th.

Samir Husni: What motivates you to get out of bed in the morning?

Peter S. Walsh: I tell people all of the time that I am a bit of a magazine geek. And I’ve been involved with magazines since 1981 when I started with ICF, a division of the Hearst Corporation here in Chicago. Over the years I’ve worked for companies such as Hearst and ADS Publisher Services. And I am somebody who just finds magazines one of the greatest media out there. I enjoy the format.

When I was with Times Mirror Magazines, I was the guy who got cross-merchandising into Wal-Mart and Kmart. So, we put hunting and fishing magazines in the hunting and fishing departments, rather than the mainline and it was shortly followed by craft magazines, etc. I’m a great magazine devotee. I literally touched or worked on hundreds of magazines. I’ve been able to catch lightning in a bottle a few different times and I really like talking about magazines, whether it’s the operations or whether I’m selling advertising, which I am starting to do with this magazine.

Samir Husni: If I showed up at your house one evening unexpectedly, what would I find you doing; reading a magazine; reading your iPad; watching television; or something else?

Peter S. Walsh: You’d probably catch me at my desk or on my couch. I read a lot of magazines and also I wear a lot of different hats in my business. I am one of the owners of Niépi, that’s part of it. I am an owner.

Samir Husni: Is that a first for you, being an owner?

Peter S. Walsh: It is, yes. For 35 years I’ve either been a circulator or a consultant to publishers. And I continue to do that and I specialize in circulation and I also, over the last 10 years, have specialized in print production, because I currently do a lot of graphic design and printing projects. I print catalogs as well as I print magazines. So, to a small publisher I have been functioning as the circulation department and the production department.

Every facet of magazine publishing is interesting to me and I’m not an editor; I’m not trained as an editor, but I hire editors and designers. As far as the business side of publishing magazines, that’s really my passion. It really is.

Samir Husni: Does it make a difference that you’re an owner this time around, rather than a hired consultant?

Peter S. Walsh: Of course it does. It makes me want to work harder and obviously over the last three or four months I’ve had to set up many, many different parts of the structure, including the postal and the fulfillment, e-commerce, the website and social media.

Of course, being an owner and having partners; I have people to answer to and I’m giving this 110% of my time.

Samir Husni: My typical last question; what keeps you up at night?

Peter S. Walsh: To be brutally honest, what keeps me up is will our editorial be compelling enough to attract readers and to have them return and repeat purchase, whether that’s on the newsstand or subscription, because I tell people all of the time as good a circulator as I am; I can print it and make it look beautiful, but I cannot make people buy the magazine. And that’s the Catch-22.

I believe that the editorial mission and the brand that comes from editorial and the design together; that is what drives a magazine. All great magazines; people can instantly tell. What is Rolling Stone about editorially? Well, we all know it’s rock and roll, but it’s also politics and it’s liberal. And that’s a voice that’s been going on since Jann Wenner was throwing the bundles off the back of his station wagon in San Francisco in 1967, same thing with Time or Playboy.

I think that if we want to be a great magazine and be around for the long term, we have to be compelling editorially and be of service to our readers. The proof is in the pudding and we’ll see when we get out there.

Samir Husni: Thank you

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Local Pittsburgh & Local Arts Magazines: Two Regional Publications That Believe Both In The Printed Word & The Need For It Today More Than Ever – The Mr. Magazine™ Interview With Jeff Rose, Owner/Publisher, Local Pittsburgh & Local Arts Magazines

July 19, 2016

Local Pittsburgh 1“The first reason is that I think people are on digital overload. You look at your phone and your computer all day or your tablet all day, and it’s not comforting. If you go to sit on your porch and you want to just read something; our publication is set up to be interesting, fast reads. We’re not trying to do five page essays on things, because I don’t think people’s attention spans allow for that anymore.” Jeff Rose… (On why he still sees a need for print in this digital age)

 “Millennials, the younger generation that has been overloaded from the day they were born with digital, are now discovering the pleasures of reading a book or reading a magazine. It’s almost like an escape; you don’t have to worry about your tablet and that email that’s popping up in the middle of your reading something.” Jeff Rose

Any publication that puts its readers first by putting its content first will receive a big thumbs-up from Mr. Magazine™. Content is king because your audience is your kingdom; without them there would be no need for you – or your advertisers.

jeff roseLocal Pittsburgh magazine has been devoting itself to its “kingdom” for three years now and Owner/Publisher Jeff Rose is a firm believer that his audience is and always will be first and everything else is secondary. I spoke with Jeff recently and we talked about his regional publication and his newest launch, Local Arts, which focuses on Pittsburgh’s art scene.

Jeff’s take on publishing is straight-on, no holds-barred customer and stories first. He doesn’t believe in cultivating advertising relationships based on advertorial or any other ties that bind, other than good old-fashioned, well-written content.

He is a man who calls himself a “small” businessman, but in reality his integrity and strong belief in his brand make his outlook and professionalism cast a very big shadow indeed. Plus, he is print passionate and gives some very good reasons why the world still needs to be flipping pages with their fingers, not their mouse.

So, I hope that you enjoy this very informative and straightforward interview with a man who is just as informed and candid as his opinion, the Mr. Magazine™ interview with Jeff Rose, Owner/Publisher, Local Pittsburgh & Local Arts Magazines.

But first the sound-bites:

LocalArtsOn how he moved from direct marketing and coupon-type publications into the consumer side of publishing with Local Pittsburg and Local Arts magazines: My business partner and I felt that, in the city of Pittsburgh anyway, there wasn’t any publication that was a champion of small business and of stories that mattered. Everything that was being done in Pittsburgh was pay-to-play. There are some good publications in Pittsburgh, without a doubt, but we just felt there was a gap there.

On how he decided to fill that gap: We looked at the demographics of some of the other publications. They were either really high-end or we have a weekly city paper that’s published that’s really just more or less covering the bars and some of the weekly activities, but there was nothing on a quarterly basis that was really talking about things going on in and around the city and that was speaking to people who engage in the city.

On why he decided to launch a local arts magazine: About a year ago we brought on a full-time editor, before we were basically flying by the seat of our pants. The editor had some background with a web page that focused on the arts and so he started introducing stories on painters and on performing arts, but I noticed that he was only getting a couple of pages in the back of the book. And I noticed in other publications and in newspapers; everywhere was devoting just a little bit of space to the arts, but not a lot.

On the non-traditional sizes of both magazines: Well, because we were Local Pittsburgh and there was already a publication called Pittsburg Magazine; if I had gone traditional magazine size, I think there might have been some confusion. Then when Local Arts came along, if I had done it the same size as Local Pittsburgh, it would have been thought of as maybe just a supplement. I wanted it to be different.

On why he thinks there’s still a need for a printed publication in this digital age: The first reason is that I think people are on digital overload. You look at your phone and your computer all day or your tablet all day, and it’s not comforting. If you go to sit on your porch and you want to just read something; our publication is set up to be interesting, fast reads. We’re not trying to do five page essays on things, because I don’t think people’s attention spans allow for that anymore.

On the most pleasant moment he’s had on this journey: I don’t know if there’s been a single moment; it’s ongoing. Being a small business owner, it’s frustrating at times. I’m question myself and what I’m doing, but it’s when I walk in to talk to a client and instead of them saying that they like the ad we’re running for them, they say to me that they read a certain article and found it totally immersive and that the magazine is publishing good pieces.

On the biggest stumbling block he’s had to face: Well, when you hear all of the time that people are putting all of their money into digital or that they don’t believe in print anymore; it’s frustrating because first off, in a lot of instances, the I-put-all-of-my-money-into-digital, especially when it comes to small business owners, really means that they don’t have a marketing budget. And that’s really what it comes down to.

Local Pittsburgh 2 1On anything else he’s like to add: Things changed tremendously when I brought on an editor who understood that end of the business. That was kind of an A-ha moment for the company. As a magazine, you need to think of readership first.

On what someone would find him doing if they showed up unexpectedly to his home one evening: I’m a Netflix and Amazon Prime documentary junkie. I watch documentaries constantly. So, that’s probably what you would find me doing, because I don’t get home until 9:00 or 10:00 p.m. and that’s pretty much what I do.

On what motivates him to get out of bed in the morning: The pure panic of knowing that I have to pay bills and pay people; I have to go out and finish up articles; I have deadlines coming up. So, pretty much sheer panic gets me out of bed every morning. (Laughs)

On what keeps him up at night: I always second-guess and question myself. Not so much question what we’re doing, but how we’re doing it. In other words, when we went with the smaller size for Local Arts; I loved it and it received great reviews, but I immediately questioned myself. Should I have gone with a larger size? Should I have stayed with the Local Pittsburgh size?

And now the lightly edited transcript of the Mr. Magazine™ interview with Jeff Rose, Owner/Publisher, Local Pittsburgh & Local Arts Magazines.

Samir Husni: Tell me the history behind Local Pittsburgh and Local Arts; I know you were in the direct marketing, advertising and coupon-type publications for about 15 years, but what gave you the idea to move into the consumer side of things with Local Pittsburgh and then just this year, Local Arts magazine?

Local Pittsburgh 3Jeff Rose: My business partner and I felt that, in the city of Pittsburgh anyway, there wasn’t any publication that was a champion of small business and of stories that mattered. Everything that was being done in Pittsburgh was pay-to-play. So, all of the articles coming out, anything that was written, you could basically trace it back to an ad on the page or two that followed. And the content was really lousy and people weren’t reading, and because of that I think other publications were struggling. There are some good publications in Pittsburgh, without a doubt, but we just felt there was a gap there.

Samir Husni: And how did you decide to fill this gap?

Jeff Rose: We looked at the demographics of some of the other publications. They were either really high-end or we have a weekly city paper that’s published that’s really just more or less covering the bars and some of the weekly activities, but there was nothing on a quarterly basis that was really talking about things going on in and around the city and that was speaking to people who engage in the city; young families living in the city; singles living in the city; graduate students; people who go out and spend money in these small businesses that are engaged in local events and go to the art galleries and volunteer. And we felt that we could fill that gap and so far, so good.

Samir Husni: I know that Local Pittsburgh has been publishing for three years now and then you launched Local Arts earlier this year; why did you decide to branch specifically into the arts?

Jeff Rose: About a year ago we brought on a full-time editor, before we were basically flying by the seat of our pants. The editor had some background with a web page that focused on the arts and so he started introducing stories on painters and on performing arts, but I noticed that he was only getting a couple of pages in the back of the book. And I noticed in other publications and in newspapers; everywhere was devoting just a little bit of space to the arts, but not a lot.

In the last five to eight years in Pittsburgh, we’ve witnessed a restaurant renaissance and now we’re kind of experiencing an art renaissance going on here. A lot of local artists from Brooklyn and from other large cities are moving to Pittsburgh because it’s affordable. And the art scene here is bursting. I realized that no one was doing a publication that was focused on this.

Our publication, as opposed to being an art publication like a lot of the others are, they’re basically written for artists and written for art collectors; we write for the general population that might be interested in art and want to know more about what’s going on in the arts and aren’t trying to educate themselves. So, we take it from a different point of view than a lot of other art publications across the country and what they seem to focus on.

Samir Husni: One thing that I noticed about both magazines is that you opted for a different size, not the traditional magazine size. Local Pittsburgh has more of a horizontal flow and Local Arts is a bit larger than a square. Why is that?

Jeff Rose: Well, because we were Local Pittsburgh and there was already a publication called Pittsburg Magazine; if I had gone traditional magazine size, I think there might have been some confusion.

Also, I just felt like that if I was going to do something to make the publication stand out immediately, it had to be a change in format and a little bit non-traditional, so that’s why we went with Local Pittsburgh that way, and we’ve gotten excellent reviews on it. People really like reading a publication in that format.

Then when Local Arts came along, if I had done it the same size as Local Pittsburgh, it would have been thought of as maybe just a supplement. I wanted it to be different.

No, we are toying with the idea of going more traditional with Local Arts, just because of the fact that it’s very picture-heavy. When people read it, things need to pop off of the page. But that wouldn’t be until next year. We’re getting very good reviews on the size it is now; people like it and it’s similar to a playbill size or something that you’d pick up at theatres or galleries.

Samir Husni: I hear people ask all of the time: why would you need a print publication in this digital age, especially for a local market where everyone can Google something or go to their mobile phone and get the information? Why do you think there’s still a need for a printed publication?

Jeff Rose: The first reason is that I think people are on digital overload. You look at your phone and your computer all day or your tablet all day, and it’s not comforting. If you go to sit on your porch and you want to just read something; our publication is set up to be interesting, fast reads. We’re not trying to do five page essays on things, because I don’t think people’s attention spans allow for that anymore.

We want something that can be read in comfort; you have an extra 15 or 20 minutes at a coffee shop or a couple of minutes before a business meeting; you’re at a restaurant eating by yourself. In the past, people went to read newspapers and it was to gain information and to find out the news that was going on in the world. Today, I think people pick up publications as a way to relax and escape from what’s in front of them all of the time. And I think that’s why it’s been successful

Millennials, the younger generation that has been overloaded from the day they were born with digital, are now discovering the pleasures of reading a book or reading a magazine. It’s almost like an escape; you don’t have to worry about your tablet and that email that’s popping up in the middle of your reading something. I see people reading on their phones and suddenly a call comes in. Reading print is that alone time, away from all of that.

Samir Husni: What has been the most pleasant moment for you since you began this journey?

Jeff Rose: I don’t know if there’s been a single moment; it’s ongoing. Being a small business owner, it’s frustrating at times. I’m question myself and what I’m doing, but it’s when I walk in to talk to a client and instead of them saying that they like the ad we’re running for them, they say to me that they read a certain article and found it totally immersive and that the magazine is publishing good pieces.

We publish pieces that no one else publishes, because to me content is first and everything else follows. The rest of Pittsburgh seems to always tie their content in with the advertising. And I look for stories that you can’t sell ads about, because they’re not profitable stories, but they’re good stories, so you sell the readership. And when you sell the readership, then the advertising gets seen. Then there’s real time spent looking at something and readership means that ads are getting seen and people are talking about them and our advertisers win.

Samir Husni: What has been the biggest stumbling block that you’ve had to face and how did you overcome it?

Local Pittsburgh 4Jeff Rose: Well, when you hear all of the time that people are putting all of their money into digital or that they don’t believe in print anymore; it’s frustrating because first off, in a lot of instances, the I-put-all-of-my-money-into-digital, especially when it comes to small business owners, really means that they don’t have a marketing budget. And that’s really what it comes down to.

It’s frustrating. I’ve been in with clients when they tell me that they don’t believe in print or they’re not putting in a print marketing budget because they don’t think it works much, and I look on their desks and it’s full of magazines and newspapers. So, I know that they’re reading print, but I think that they’re scared because all they’re being told is you have to spend money on Facebook and Twitter and it’s become beaten into their heads.

But I do see it starting to turn around again and it’s doing so a lot with small businesses. They’re engaging back with print, I believe, more than the larger companies, and that’s because it’s harder to turn a big ship than a smaller one.

Samir Husni: Is there anything else that you’d like to add?

Jeff Rose: Things changed tremendously when I brought on an editor who understood that end of the business. That was kind of an A-ha moment for the company. As a magazine, you need to think of readership first.

It’s easy to sell your soul; it’s easy to have a big company come to you and ask you if they promise to spend $20,000 in advertising with your publication, will you write four articles that they want, or when you do write an article on healthcare, I need you to not say anything bad about what we’re doing here in Pittsburgh.

It’s hard to turn away that money, but ultimately, over a period of time it gets recognized by everyone else. I have people who notice that we don’t sell our soul. And if you have good readership, it might be a slower course to success, but it will be a stronger course. It’s one that doesn’t have weak legs beneath it. You’re not one client away from going out of business, which a lot of times these companies do if they tie themselves in with big partners.

Samir Husni: If I showed up unexpectedly to your home one evening after your workday is done, what would I find you doing; reading a magazine, or reading your iPad; watching television, or something different?

Jeff Rose: I’m a Netflix and Amazon Prime documentary junkie. I watch documentaries constantly. So, that’s probably what you would find me doing, because I don’t get home until 9:00 or 10:00 p.m. and that’s pretty much what I do.

 Samir Husni: What motivates you to get out of bed in the morning?

Jeff Rose: The pure panic of knowing that I have to pay bills and pay people; I have to go out and finish up articles; I have deadlines coming up. So, pretty much sheer panic gets me out of bed every morning. (Laughs)

Samir Husni: My typical last question; what keeps you up at night?

Jeff Rose: I always second-guess and question myself. Not so much question what we’re doing, but how we’re doing it. In other words, when we went with the smaller size for Local Arts; I loved it and it received great reviews, but I immediately questioned myself. Should I have gone with a larger size? Should I have stayed with the Local Pittsburgh size?

I always tell people that I’m the guy that buys a black car with a red interior, but stays up three nights wondering if I should have bought a red car with a black interior. It’s not so much second-guessing myself as it is just asking myself questions and rethinking.

We do a lot of research within our advertisers, within the people we write stories on. We’ve gone to a lot of different art people in the city who are respected and we’ve asked them what they thought about the size of Local Arts and it’s about 50/50. Some say yes, but eventually it might be nice to go to a full size and some say no, it sets yourself apart and people like the size. So, I think that’s the biggest thing, me just questioning things.

Samir Husni: Thank you.

 

 

 

 

 

 

 

 

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Reflections And Random Thoughts Of A Long Hot Magazine Summer…

July 16, 2016

A Mr. Magazine™ Musing… On Sports Illustrated, Cosmopolitan, Guns & Ammo Sniper, Vanity Fair Classics, And Ladies’ Home Journal.

In Mississippi where I live, we have extremely long, hot, humid summers – sweltering, in fact. So, what better time to grab some magazines and get contemplative? Of course, in Mr. Magazine’s™ realm of existence, it’s always a good time to grab a magazine – for any reason.

Summer 2016 has certainly proven to be an interesting and speculative season so far in the world of magazine media.

Sports Illutrated PP After much publicity and talk about the Caitlyn Jenner, Sports Illustrated cover for their special summer double issue on “Where Are They Now?” I was surprised to walk into my local Kroger Supermarket and find Ken Griffey, Jr. on the cover of the magazine instead of Caitlyn Jenner. Of course, after I picked up the magazine and looked inside, it mentioned on the table of contents that there were two covers.

But what stunned me more than anything else and made me quite pensive was why did they decide to do a split cover on such a trending cover? Did they assume that many of the newsstands wouldn’t welcome a Caitlyn Jenner front-and-center or didn’t they trust in the cover enough to sell the desired issues with the Sports Illustrated audience?

Needless to say, when I went to the closest Barnes & Noble, I found the Caitlyn Jenner cover. Maybe they’re just testing the waters, but after the huge increase in sales for Vanity Fair when they used Caitlyn Jenner on their cover, I was really surprised the powers-that-be at Sports Illustrated decided to split the SI cover. But Vanity Fair’s audience isn’t the same as a Sports Illustrated audience, that is a given. However, I felt that I would be remiss as a connoisseur of everything “magazine” if I didn’t at least call attention to the fact that as I’ve always said the magazine cover is a powerful tool. It can affect people in many different ways and must be used with care. And obviously, the folks at Sports Illustrated would agree.

CosmoCosmopolitan has been taking the word “sex” out of subscribers’ covers for quite some time, but leaving it on the newsstand editions, which boggles the brain of Mr. Magazine™. I mean, do we, the readers, really not know what Cosmo contains, whether subscriber or newsstand connoisseur? And maybe it’s because subscribers know what the magazine is all about that they don’t feel the need to mention the word sex on the cover of their issue. After all, it’s newsstand buyers’ attention that’s at stake when your magazine is propped up against an army of others who are also jostling and elbowing for consumer recognition. But are we thinking for our customers again? Are we forgetting that content is worth much more than shock value?

But I’m just musing here, remember.

It’s amazing the play on words used when it comes to cover lines on each magazine, the comparison of “look at this issue and look at that issue” of the August editions of Cosmo. The subscriber cover reads: “So Hot! How to Keep the Flame Alive,” but the newsstand cover fairly shouts: Gold Medal Sex – How to Cross the Finish Line Together!” Even the exclamation points are in different locations for dramatic effect.

In doing this, we assume that all newsstand buyers are impulse shoppers, but that’s simply not the case. In reality, a lot of newsstand consumers, based on my own studies and on research done by other professionals; many consumers buy habitually from newsstands because they choose not to subscribe. And they also carefully peruse many titles before selecting the ones they want. Many don’t know the meaning of the word “impulse.”

SniperSniper edI also picked up a copy of Guns & Ammo’s Sniper magazine and immediately fell in love with the editorial. “Imitation is the Sincerest Form of Flattery. It’s Also The Most Annoying.” Sniper Editor, Tom Beckstrand, points his finger at a copycat title that hit a bit too close to home and wrote about it in his Letter from the Editor note in the recent issue. It was a joy to read and also really hit the nail on the head when it comes to the business of imitation. While it’s not uncommon to “copy” the look and ideas of one title to a new one; it’s very uncommon for the copycat to look exactly the same, right down to using a similar font (as Editor Beckstrand points out in his editorial). And then when the mirror image comes out several weeks ahead of the original in an attempt to fool readers…well, that’s certainly questionable, to say the least . But Beckstrand handles the entire debacle with aplomb and grace, as only an original can. Kudos to the real Sniper.

Vanity Fair ClassicsOn a positive note, in a nearby bookstore I found the first issue of the French Vanity Fair Classics and it is amazing. I was bowled over by everything about the magazine, the design, the feel, the look, and the content, which I had to deputize my wife, who speaks French, to read and translate for me. It’s a great magazine and I know that Vanity Fair is trying to do similar things here in America with Vanity Fair Icons, but Vanity Fair Classics is definitely a keeper. It was worth every penny of the $16.90 that I paid for it.

Ladies Home Journal 1And last, but certainly not least; I was browsing the magazines at my local store and was pleasantly stunned to see the new design of Ladies’ Home Journal in the latest issue. The content and the presentation were wonderful. My first reaction was: why didn’t they do this before? Could the change in the content and the change in direction have kept them publishing on a regular, monthly basis?

But my musings do not dwell in the past. I will say this issue of Ladies’ Home Journal is one of the best that I’ve seen in a long time. And hopefully, as more magazines are rediscovering print and rediscovering frequency, and rediscovering the way content in print should be, the lessons learned will ring true for many decades to come.

Until next time…

Mr. Magazine™ suggests you grab a magazine and get contemplative – you never know what you might discern…

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Food Mexico And Me & Food Acapulco: Two Magazines Launched South Of the Border By An American With A Strong Determination And A Fierce Passion For Entrepreneurship – The Mr. Magazine™ Interview With Executive Editor Kenneth Isom Barnes

July 14, 2016

“I think in Mexico it would be very difficult to exist without a print edition for a magazine, mainly because much of Latin America is still a very tactile society. Credibility really depends on being able to show something, so being taken seriously by advertisers, by media partners, by writers, does require a print version.” Kenneth Isom Barnes

Food Mexico Accepting an invitation to experience Mexico with a friend who lives there is not the most typical of ways to start two magazines in another country; in fact, some might call it atypical. And in some cases, complete craziness. But to those passionate dreamers and risk takers we all know as entrepreneurs, it’s just another day inside their heads.

Kenneth Barnes is one young man whose motto of “make life beautiful wherever you are” would probably be one of the biggest catalysts that caused him to stay in Mexico after that initial visit and launch two gorgeous food magazines. And living with regrets should he not have followed his heart would probably be the other propeller that carried him straight into his seeming destiny.

I spoke with Kenneth recently and we talked about his early life and then his eventual magazine life. He’s a man who has known responsibility, having cared for his grandmother until her death when both of his parents died within weeks of each other. And he’s a man who believes in taking chances and then working hard to make the most of any opportunities that might come his way.

With Food Mexico and Me and Food Acapulco, he’s achieved what some might call two impossibilities, having seen quite a bit of success with the two magazines in just a little over three years. Just goes to show that with hard work and a passionate spirit about what you’re doing, a person can capture their dreams and run with them. Or in Kenneth’s case; stay put with them and build them into a Mexican brand.

I hope that you enjoy this inspirational story of a man who believes you can make your life beautiful and successful no matter your environment, even if you’re carving your niche in unfamiliar surroundings. And now the Mr. Magazine™ interview with Kenneth Barnes, Executive Editor, Food Mexico and Me and Food Acapulco.

But first the sound-bites:

0392_PSHPOn why he’s thinks the environment in Mexico is much more open to new magazines and ideas than the United States: I think that magazines are still important in Mexico and print media is also very important here. The United States has a lot more digital media than Mexico. But the Mexican media tends to be more flexible in that there are more opportunities to enter and even though there are some very large companies that are in the magazine business, smaller players do have a place to enter into the business.

 

On what gave him the idea to go to Mexico and launch his magazines: It’s sort of a complex story. I was in my 20s and both of my parents died 13 days apart and I became the sole caregiver for my grandmother. A few years later she died and a friend of mine who was Mexican and was going back to Mexico to spend time with his family suggested that I come with him and visit Mexico. So, when I went to Mexico, I eventually got my Visa and a job. And after a few years in late 2012, I was thinking that maybe I should choose a new city to live in. I lived in Acapulco, which is a very challenging city right now, and it came to me that if I don’t make where I am beautiful, I can go all over the world and I’ll have the same troubles after six months or a year. So, I decided one way that I could do that was to do something constructive. And that’s when I came up with the idea of Food Acapulco, merging the idea of the international culinary assets, local culinary assets, and some interviews, in a print format. And it was picked up by Wal-Mart within the local region and it sold extraordinarily well.

 

On his next magazine launch, Food Mexico and Me in both English and Spanish: Yes, it was launched in English and Spanish. We got the contract to test market our magazine in Manhattan, so that’s why we did an English version of it as well.

 

food-mexico-meOn the positive and negative things he’s learned from his Mexican experience launching magazines: On the positive side I’ve learned that in Mexico people will at least listen to you, they will at least hear you out, which is something that you don’t really have in the United States. Try to get a deal with CBS or Comcast and it would be nearly impossible, where in Mexico, whether it’s a large advertiser or a distributor or retailers; you can be heard. As far as the negatives, I think that the negatives in Mexico are very similar to other countries in that print is a challenging market because there is so many other media formats, in particular the Internet.

 

On whether he thinks he could exist without the print component of his brand: I think in Mexico it would be very difficult to exist without a print edition for a magazine, mainly because much of Latin America is still a very tactile society. Credibility really depends on being able to show something, so being taken seriously by advertisers, by media partners, by writers, does require a print version.

 

On whether he’s had any backlash from the Mexican audience since he’s a United States citizen basically telling them how to cook and eat their own food: No, absolutely no backlash. In fact, there has only been a very welcoming environment. You have to remember that a lot of Mexican media already is dominated by foreign corporations. For example, Mexicans love Hollywood movies.

 

On the magazines’ future: The future for the magazine is that I want to increase the frequency as well as increase the way that we reach out to consumers. The Mexican media market is becoming more fractured over time, so we’re using our magazines as a way to build our initial brand and our initial business.

 

On any upcoming plans for the brand: We’re consistently talking to partners about helping us to launch new magazines, to sponsor new advertising in our magazines, to do promotional projects outside of the traditional print realm.

 

On anything else that he’d like to add: Mexico is a very aspirational market. Many people are really seeking to improve themselves and improve themselves many times by the items that they consume. That means that you have to advertise in the market to a Mexican consumer in a slightly different way than you would to an American, German or a Japanese consumer, which are countries where people have traditionally for generations more wealth.

 

On what someone would find him doing if they showed up unexpectedly one evening at his home: Usually what I do is a lot of research about Mexican society and culture. Though not so much as what has been told, but the subtext. That helps me a lot in trying to craft messages for our magazine and in finding new opportunities which maybe larger companies in Mexico that print magazines aren’t looking at.

 

On what motivates him to get out of bed in the morning: What drives me is that Mexico is an open market where there are many large companies that dominate the industry, but very few startups. So, because of that it gives you an open field to reach out to all types of sources that may have never been reached out to before. Having that chance of being more or less an explorer, I find interesting.

 

On whether he has any plans to return to the United States: I would definitely consider coming back to the States in the future, but for the foreseeable future I’m going to be focusing on the Mexican media, whether it’s print or other media formats. But I have a lot of love for the United States and I have a lot of interest in American media as well; I’ll just see how things work out.

 

On what keeps him up at night: What keeps me up at night is just the idea or worry that I might miss an opportunity on any given day and then how am I going to make an opportunity for tomorrow?

 

And now the lightly edited transcript of the Mr. Magazine™ interview with Kenneth Barnes, Executive Editor, Food Acapulco & Food Mexico and Me.

Samir Husni: You have experience in the U.S. with media, but you’ve said that the environment in the United States was less flexible and open for new magazines or magazine ideas than in Mexico. Why do you think that it’s easier to publish in Mexico than here in the States?

Food Acapulco 1Kenneth Barnes: I think that magazines are still important in Mexico and print media is also very important here. The United States has a lot more digital media than Mexico.

 

But the Mexican media tends to be more flexible in that there are more opportunities to enter and even though there are some very large companies that are in the magazine business, smaller players do have a place to enter into the business.

Now, granted, it depends on the genre. Are you a celebrity magazine; a history magazine; a food magazine, and so on, but we’ve found in the food space it’s been very open and welcoming. And I know from my friends and colleagues that starting magazines in the U.S. can be quite challenging.

Samir Husni: Where are you originally from?

Kenneth Barnes: I grew up for most of my life in North Carolina, but lived a few other places as well. I also went to Duke University there as well.

Samir Husni: What gave you the idea to go to Mexico and launch your magazines?

Kenneth Barnes: It’s sort of a complex story. I was in my 20s and both of my parents died 13 days apart and I became the sole caregiver for my grandmother. A few years later she died and a friend of mine who was Mexican and was going back to Mexico to spend time with his family suggested that I come with him and visit Mexico.

And eventually when I told my other friends and family about that; I thought they would tell me that I was being crazy for even considering it, but everyone encouraged me to go. So, when I went to Mexico, I eventually got my Visa and a job.

And after a few years in late 2012, I was thinking that maybe I should choose a new city to live in. I lived in Acapulco, which is a very challenging city right now, and it came to me that if I don’t make where I am beautiful, I can go all over the world and I’ll have the same troubles after six months or a year.

So, I decided one way that I could do that was to do something constructive. And that’s when I came up with the idea of Food Acapulco, merging the idea of the international culinary assets, local culinary assets, and some interviews, in a print format. And it was picked up by Wal-Mart within the local region and it sold extraordinarily well.

After that, we were able to, with our second issue; place it in Sanborns, which is where the dominant retail companies sell books and magazines in Mexico. And then this past December we made a deal with Televisa, which owns the largest magazine distributors here in Mexico, and they’ve been great to work with.

It’s been a progression in my experience, and I sort of fell into the magazine projects more so than starting out with a particular plan to move to Mexico and make a magazine. It was more of a personal journey of being constructive and productive wherever I was in the world.

Samir Husni: After Food Acapulco, you launched Food Mexico and Me, both in Spanish and English.

Kenneth Barnes: Yes, it was launched in English and Spanish. We got the contract to test market our magazine in Manhattan, so that’s why we did an English version of it as well.

Samir Husni: And are you still doing Food Acapulco or just Food Mexico and Me?

Kenneth Barnes: We’re primarily doing Food Mexico and Me, but we do have a new issue of Food Acapulco coming out later this year.

Samir Husni: You’ve been doing this for over three years now; how would you evaluate your experience? Would you encourage more people to come from the States to Mexico to launch a magazine? What lessons have you learned, both positive and negative?

Food Acapulco 2Kenneth Barnes: On the positive side I’ve learned that in Mexico people will at least listen to you, they will at least hear you out, which is something that you don’t really have in the United States. Try to get a deal with CBS or Comcast and it would be nearly impossible, where in Mexico, whether it’s a large advertiser or a distributor or retailers; you can be heard. And that doesn’t always mean there’s a positive conclusion, but what it does mean is that you have a chance to at least have an audience, which may lead to something.

I think that’s the biggest positive that I find in the Mexican market, as well as a general sense of people being flexible to new ideas. So, there is no road block to people saying we’ve been doing this for 50 years; we’re not going to change, which sometimes happens in other countries.

As far as the negatives, I think that the negatives in Mexico are very similar to other countries in that print is a challenging market because there is so many other media formats, in particular the Internet. I think there’s also a tendency in the Mexican market to be more television-dominant than print-dominant, so that also becomes a challenge as well.

Samir Husni: When you look at the print magazines and when you look at Food Mexico and Me, and Food Acapulco, what’s unique about the print edition and do you think that you could exist without the print component?

Kenneth Barnes: I think in Mexico it would be very difficult to exist without a print edition for a magazine, mainly because much of Latin America is still a very tactile society. Credibility really depends on being able to show something, so being taken seriously by advertisers, by media partners, by writers, does require a print version.

I think what also makes our print version unique is that there are ways that we can exhibit content to a Mexican audience that’s unique to print and that doesn’t always translate well into the digital format. The Mexican audience can be quite sophisticated, those people who buy magazines, so you can really go on a much more in depth level than the typical “30 Ways to Lose Weight in 30 Days” type thing.

 Samir Husni: Have you had any backlash from your Mexican audience, considering it’s a United States citizen telling them how to cook and eat their own food?

Kenneth Barnes: No, absolutely no backlash. In fact, there has only been a very welcoming environment. You have to remember that a lot of Mexican media already is dominated by foreign corporations. For example, Mexicans love Hollywood movies.

In my particular case, we do a lot of international food, as well as Mexican food, and I think what has helped me was my first year in Acapulco I lived with a Mexican family. So, I was able to deeply understand the psyche of Mexicans and what they find acceptable and unacceptable. And in general, Mexicans are warm and pleasant people and they’re open to new ideas and new concepts. This isn’t a society where people will just shun something because it’s different.

Samir Husni: Where are you living now, Mexico City?

Kenneth Barnes: Yes, in Mexico City.

Samir Husni: What’s the future for you? Are you going to increase the frequency of those magazines; are you making a living from those magazines; or do you still feel as though you’re a tourist there?

Kenneth Barnes: I think in Mexico you always feel like a tourist at times. The future for the magazine is that I want to increase the frequency as well as increase the way that we reach out to consumers. The Mexican media market is becoming more fractured over time, so we’re using our magazines as a way to build our initial brand and our initial business.

And then go forward into areas of increasing our social media outreach, our audience outreach, our online outreach, as well as branching out into new mediums, such as television, films, radio; just the many ways that we can reach a larger segment of the Mexican population that don’t always have the time to read a magazine.

As far as income, the magazine has generated income, but definitely not enough that I would say that I have “arrived.” It’s an ongoing process, but we have a lot of positive things coming up in the future, which I’m optimistic about.

Samir Husni: Such as?

Kenneth Barnes: We’re consistently talking to partners about helping us to launch new magazines, to sponsor new advertising in our magazines, to do promotional projects outside of the traditional print realm.

We also have plans to eventually do something in video here in Mexico, relating to recipes, food culture, things of that nature. But that’s really been my direction. I’ve received enough positive feedback, both from a financial and market standpoint, it has led me to continue the process for three years and to be optimistic for the future.

Samir Husni: Is there anything else that you’d like to add?

Kenneth Barnes: There are two things that I’d like to say. First, that Mexico is a very aspirational market. Many people are really seeking to improve themselves and improve themselves many times by the items that they consume. That means that you have to advertise in the market to a Mexican consumer in a slightly different way than you would to an American, German or a Japanese consumer, which are countries where people have traditionally for generations more wealth.

The second thing that I would say is that the Mexican consumer’s mind isn’t always transparent, it can be opaque, so what people may say they want and what they actually want can be different. So it’s important to have really good people on the ground to help you navigate the marketplace. In my case, I have a really great team of people who help me, both Mexicans and internationals here in the country. And that helps us not only do market research, but to get all of the paperwork required to get our magazines done, find great partners, advertisers and distributors. Those are the two things that I’d like to add.

Samir Husni: If I showed up unexpectedly one evening at your home, what would I find you doing; reading a magazine, reading on your iPad, watching television, or something else?

Kenneth Barnes: Usually what I do is a lot of research about Mexican society and culture. Though not so much as what has been told, but the subtext. That helps me a lot in trying to craft messages for our magazine and in finding new opportunities which maybe larger companies in Mexico that print magazines aren’t looking at. That’s what I spend a lot of my time doing.

Samir Husni: What motivates you to get out of bed in the morning?

Kenneth Barnes: What drives me is that Mexico is an open market where there are many large companies that dominate the industry, but very few startups. So, because of that it gives you an open field to reach out to all types of sources that may have never been reached out to before. Having that chance of being more or less an explorer, I find interesting.

Samir Husni: Any plan to come back to the United States or Mexico is home now?

Kenneth Barnes: I would definitely consider coming back to the States in the future, but for the foreseeable future I’m going to be focusing on the Mexican media, whether it’s print or other media formats. But I have a lot of love for the United States and I have a lot of interest in American media as well; I’ll just see how things work out.

Samir Husni: My typical last question; what keeps you up at night?

Kenneth Barnes: In life, like my original point that I made earlier; you have to make life beautiful wherever you live. I don’t want to miss out on opportunities. I think that so many times in life we miss great opportunities to improve ourselves or the ones around us. And I don’t want to be that person who says I should have, I could have.

I started a magazine in Mexico, which may have been a kind of strange thing to do for someone who just came to the country to stay for a few months and then gets a job and starts a magazine, but I’m glad that I did it, instead of waiting and wondering my whole life if I should have.

And now that I’ve tried to make my life more beautiful where I am, I see that there are people who walk with you and help you along the way. So, it’s not as lonely or scary as you might think, if you’ll just start and make a five-year plan.

What keeps me up at night is just the idea or worry that I might miss an opportunity on any given day and then how am I going to make an opportunity for tomorrow?

 Samir Husni: Thank you.

 

 

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The “YouEconomy” According To Success Magazine: Take Control Of Your Time, Your Happiness & Your Money – The Mr. Magazine™ Interview With Jim McCabe, General Manager & Josh Ellis, Editor In Chief, Success Magazine

July 11, 2016

SM1608_YouEconomy_no_barcode“This is more of a general statement of how we look at print as part of our brand. We’re very, very happy to be in the magazine business and we look at the print product as a powerful opportunity for us to be able to put out issues like the “YouEconomy” issue with careful study of interesting issues that are effecting our readers lives in a way that only print can do it. And that is in a format that is long-form, and that people can spend time with and can share with others and that’s durable.” Jim McCabe

 

“You mention all of the different avenues that we have to put the good news about this out and express it to as many people as we can, but yes, the print magazine was the lead edge. That’s where we really wanted to plant the flag was with that identifiable cover that we have on the August issue.” (On the role of print versus all of the other platforms Success has) Josh Ellis

 

“That’s why for us as a magazine and a media brand that is targeted to people and that really wants to be partners with people as they journey to success; that’s why the print product is so important for us. It’s the place where we can have the longer form discussion; it’s durable and we have all of the avenues where people can continue that discussion socially and online and we give them day-to-day inspiration with those vehicles, but nothing can replace print as the durable place for a long-form discussion.” Jim McCabe

 

“The cover story alone is 6,000 words, and that’s just something that you don’t see online very much. People will not sit down for the hour that it takes to read a story that long and from the same website and keep scrolling and scrolling, but in print it’s an enjoyable read, because of things like layout and the feel of the paper. We thought it was so important for our readers to get the entire sense of what has developed in the “YouEconomy” that print is the perfect place to really make the announcement.” Josh Ellis

 

jimupdate

Jim McCabe

Take action and work for yourself in the “YouEconomy.” The upcoming August issue of Success magazine is sounding the trumpet and ushering in the concept/movement that could change people’s professional lives with a positive and affirming message that according to General Manager, Jim McCabe, is both naturally evolved and organically grown. Through the thought process that there are no limits or boundaries except the ones we set for ourselves, the “YouEconomy” and Success magazine will show us how we can free ourselves from all types of restrictive mindsets.

 

I spoke with Jim and editor in chief, Josh Ellis, recently and we talked about this incredibly liberating concept that a person can live and work basically anyway they choose when they decide to follow their passions and become engaged with their own agenda, instead of an employer’s. It’s a fascinating subject matter and definitely worth an expanded special issue of Success, which is what readers will get with the August issue. The magazine is devoting each and every feature, including the 6,000 word cover story, to the “YouEconomy” in some form or fashion. A must read for those ready to take control of their own professional destiny.

 

Josh Ellis

Josh Ellis

As Josh and Jim each brought their own passions and ideas to the table, the discussion was lively and informative with a hint of “You can do this too” behind every word. Of course, Mr. Magazine™ already subscribes to the “YouEconomy” with every new magazine that hits newsstands, as his passion would allow for nothing less. And the August issue of Success offers each of its readers the same opportunity to explore their own unique passions.

 

So, without further ado, I hope that you enjoy the Mr. Magazine™ interview with Jim McCabe, General Manager & Josh Ellis, Editor In Chief, Success Magazine.

 

But first the sound-bites:

 

On how the magazine’s team is being used to create the “YouEconomy” movement (Jim McCabe): It’s not necessarily that we’re creating a movement; it’s the sense that I think we’ve tapped into something that has naturally evolved, and that’s this sense that people are looking at their lives in a different way for a lot of different reasons.

 

On whether success today is easier or harder than ever (Jim McCabe): What we preach is that there is no universal definition of success. To each individual, success means something different. To some success is very traditional, it means what they can acquire: how big a house they have, how many cars they own, how they travel the world. To others success could mean something very different. Success could mean throwing themselves into charity work to be able to try and find a cure for a disease that’s affected a loved one.

 

Success 1On how the “YouEconomy” concept is captured within the pages of the magazine (Josh Ellis): It’s completely representative of what we’ve tried to make the magazine about for as long as I’ve been here. Some people sort of confuse it with something like Money or Fortune, but it hasn’t been that. It’s been a holistic definition of success.

 

On whether the “YouEconomy” humanizes success (Josh Ellis): I think so. As Jim touched on, there were a lot of old definitions and I think it can even go back as far as the Industrial Age. We had this old timey view of what success looked like, but really it’s an individual thing. And so much of what we do and why we settled on the “YouEconomy” name in fact was to make it individual for each person, because each person’s definition of success in this 21st century economic paradigm is really up to them.

 

On how you know when you’ve achieved success (Jim McCabe): That’s a very individual thing. But one thing that we talked a lot about in the magazine as one of the measurements is plain happiness. Are you satisfied with what you’re doing? Do you feel as though the work that you’re putting in is fairly compensated? And are you doing not only the things that you want to do professionally, but are you able to do the things that you want to do personally and developing as an individual to a place that you want to be?

 

On whether the “YouEconomy” formula is the same for everyone when it comes to achieving success and happiness (Jim McCabe): What I think is fascinating about the “You Economy” is that it’s cross generational. There are people in their 50s now who started their careers and were 100% sure they were going to be in corporate America for the rest of their lives and their biggest fear in life was always losing a job and not having an opportunity to earn income and then where that next job was coming from and what they were going to do. And then you also have the younger people, the millennials, who have just come out and have always looked at life differently and aren’t necessarily enamored with signing up with a company forever and having a boss tell them what to do. But the one universal thing that they all have now is immediate opportunity. The one thing that I think the “YouEconomy” eliminates is the unknown.

 

On whether the “YouEconomy” formula is the same for everyone when it comes to achieving success and happiness (Josh Ellis): With our research; we did a Harris Poll, with more than 2,000 adults, and we found that a third of Americans in the workforce have made money in this way within the last year and millennials are the biggest part of it. And so to your question about whether this is an avenue for just about everybody, I think that our research does support that.

 

On the role the print magazine plays in the “YouEconomy” concept versus all of the other platforms Success has (Josh Ellis): You mention all of the different avenues that we have to put the good news about this out and express it to as many people as we can, but yes, the print magazine was the lead edge. That’s where we really wanted to plant the flag was with that identifiable cover that we have on the August issue.

 

On how important it is to spread the message that print is still viable in this digital age (Jim McCabe): This is more of a general statement of how we look at print as part of our brand. We’re very, very happy to be in the magazine business and we look at the print product as a powerful opportunity for us to be able to put out issues like the “YouEconomy” issue with careful study of interesting issues that are effecting our readers lives in a way that only print can do it. And that is in a format that is long-form, and that people can spend time with and can share with others and that’s durable.

 

On how important it is to spread the message that print is still viable in this digital age (Josh Ellis): The other thing too is this was such an important tent-pole for our brand as a whole and in really helping our readers to understand what we’re about and to sort of define, whether they knew it or not, who our readers are. And the cover story alone is 6,000 words, and that’s just something that you don’t see online very much. People will not sit down for the hour that it takes to read a story that long and from the same website and keep scrolling and scrolling, but in print it’s an enjoyable read, because of things like layout and the feel of the paper.

 

On anything else they’d like to add (Jim McCabe): Just that we’re very, very proud of it and I’m extremely proud of it because this is the reflection of Josh’s leadership, taking over the magazine and producing such a quality product so quickly. And taking on a subject that I think is really interesting and newsworthy and groundbreaking. And it’s a reflection of how great a staff he put together for us to be able to do this.

 

On anything else they’d like to add (Josh Ellis): I think that a lot of times a national magazine that isn’t in the New York sphere can be easy to overlook, but doing big issues and really getting out there and trying to produce something that will make a statement is an important way to create some brand awareness. And so this was really a huge issue for the magazine and for everything that we do at Success.

 

On what someone would find them doing if they showed up unexpectedly one evening to their home (Jim McCabe): I’m usually catching up on the day’s news one way or the other, either scanning CNN or Bloomberg or something, or catching up with the Journal or The New York Times or the Post or some of the things that I have to read every day, but haven’t gotten to, and possibly exercising and trying to squeeze that in as well.

 

On what someone would find them doing if they showed up unexpectedly one evening to their home (Josh Ellis): I love to cook; I try to do that as much as I can. But I am a subscriber to several magazines, so I will take some time and read through a few long-form pieces a week. Other than that, playing with the dog or playing video games. (Laughs)

 

On what keeps them up at night (Jim McCabe): These days? The state of politics in the U.S. (Laughs) That really does worry me, because I just think that we’re in a place now where we’ve pushed out a good group of people, a moderate group of people and we’re constantly debating on the fringes as opposed to trying to understand all of the amazing blessings and things we have here.

 

 

On what keeps them up at night (Josh Ellis): I’m easily fixated on some kind of content that I’m enjoying, so whether I’m reading a magazine story or a book or watching something on Netflix, I have contrary to what a lot of people assume about my generation, a pretty good attention span, so I’m willing to invest some time in entertainment or to learn something new, or to just think about one thing for a long time.

 

And now the lightly edited transcript of the Mr. Magazine™ interview with Jim McCabe, General Manager & Josh Ellis, Editor in Chief, Success magazine.

 

Success August IssueSamir Husni: I was reading about the “YouEconomy” movement in an article in the August issue of Success and it said that it’s much more than money, it’s opportunity for growth, innovation, creating a legacy; it’s about your skills, ideas, your smile. Tell me how you’re taking the magazine and creating the “YouEconomy” movement with the Success team?

 

Jim McCabe: It’s not necessarily that we’re creating a movement; it’s the sense that I think we’ve tapped into something that has naturally evolved, and that’s this sense that people are looking at their lives in a different way for a lot of different reasons.

 

Thirty years ago the way that people looked at their career was very, very different, it was predictable; you knew what courses to study in college if you were going into a certain discipline, you would attach yourself to a company that had a particular path that would allow you to see your future there for decades and the compensation was arranged to give you pensions and other things that made it very comfortable and worthwhile to invest your time there.

 

When the world began to shift and we could go into hundreds of reasons why that was, but that covenant between the worker and the business began to erode and it became much more of a transactional relationship, people began to look at what they were doing for the majority of their lives and instead of just looking at compensation from the financial standpoint, they looked at compensation from a number of different standpoints. They looked at the emotional standpoint, the legacy standpoint, and from a simple happiness standpoint.

 

And these are all things that we’ve preached in the magazine, so naturally what happened was people began to identify with what we were talking about and we began to see this group of people who were growing become much more interested in the things that we were doing. And that’s part of the reason I think you saw our website over the past couple of years go from 300,000 monthly uniques to close to two million. That’s why we have the three million Facebook likes that we have.

 

It’s been a natural marriage of what we have always consistently said. And the circumstances of where people are in their lives have matched that and that’s how we’ve come together.

 

Samir Husni: Do you think achieving success today is easier or harder than ever?

 

Jim McCabe: What we preach is that there is no universal definition of success. To each individual, success means something different. To some success is very traditional, it means what they can acquire: how big a house they have, how many cars they own, how they travel the world.

 

To others success could mean something very different. Success could mean throwing themselves into charity work to be able to try and find a cure for a disease that’s affected a loved one. Success for some people could mean that they just want to surf all day and they need to have the right amount of income to be able to support that, so finding something that they can do in the off-surfing hours to support that lifestyle is important.

 

I think the major difference that we’re in now and one of the major points about the “You Economy” is that there are many accepted definitions of success. In the past, again thirty years ago, there was a pretty universal definition of how people measured each other when it came to success, the size of their home, the type of car they drove. Now, people look at individuals and are very open to saying, OK, they’re living the life that they want to live and I’m fine with that. I’m not going to judge them. They’re successful by their own definition and that’s great.

 

Samir Husni: Josh, how do you take the “YouEconomy” and try and capture it in the pages of the magazine, because you now have to deal with work, play and life?

 

Josh Ellis: It’s completely representative of what we’ve tried to make the magazine about for as long as I’ve been here. Some people sort of confuse it with something like Money or Fortune, but it hasn’t been that. It’s been a holistic definition of success.

 

We redesigned the front of the book to try and encompass as many of the major pillars of how our readers define success and it’s happiness, health, growth and purpose. And I think for a lot of people, especially younger people, millennial readers, the growth and the purpose aspect of success and the “YouEconomy” as an avenue toward that is just a natural fit. We think that younger readers especially, they recognize that there is a certain amount of money that will allow them to live comfortably and to pursue the passions that they want.

 

Jim talked about people who want to surf all day; some people, especially my age, we don’t want to come into an office. We want to work from home or only work 15 hours per week and still be able to make a living doing that and the “YouEconomy” represents a way that that’s possible. It also makes it possible to be able to make a living doing things that we’re passionate about, whether it’s contract labor, something that we have great skills in, or even something as simple as Uber driving. There are so many avenues to entrepreneurship now that the “You Economy” makes perfect sense for us.

 

Samir Husni: With the “YouEconomy,” are you humanizing success?

 

Josh Ellis: I think so. As Jim touched on, there were a lot of old definitions and I think it can even go back as far as the Industrial Age. We had this old timey view of what success looked like, but really it’s an individual thing.

 

And so much of what we do and why we settled on the “YouEconomy” name in fact was to make it individual for each person, because each person’s definition of success in this 21st century economic paradigm is really up to them. It’s how they want to achieve it, the things that they can do, and this is in a lot of ways where we come in. It’s the things that they can do to supplement their skills and to make themselves more productive or more persuasive, or so many different soft skills that we can teach that are helpful not only in traditional careers, but also in careers as our readers define them for themselves.

 

Success 2Samir Husni: Jim, as an achiever, how do you know or when do you feel that you’ve achieved that success with the “YouEconomy?” Do you have a measurement or some sort of guideline that let’s someone know they did it, they achieved success?

 

Jim McCabe: That’s a very individual thing. But one thing that we talked a lot about in the magazine as one of the measurements is plain happiness. Are you satisfied with what you’re doing? Do you feel as though the work that you’re putting in is fairly compensated? And are you doing not only the things that you want to do professionally, but are you able to do the things that you want to do personally and developing as an individual to a place that you want to be?

 

So, that’s a very individual and emotional thing, but I think anybody who has worked in a traditional career has had times when they felt like they were stuck in a job or that they weren’t being recognized or were worried about whether or not they were getting that promotion.

 

And I think taking those equations out and allowing yourself to say that you’re going to be responsible for your own paycheck and everything else that happens gives people a sense of freedom and happiness that if they’re able to meet those goals, which we’re saying in the “You Economy” that there’s so many different options for someone to be able to do that and there are combinations of options out there that allow you to do that, the happiness equation is something that people get.

 

Samir Husni: From what I understand, happiness today is more of a science than an emotion. With that happiness as the anchor for success, do you think that people from all walks of life can achieve the same results from the “YouEconomy” concept, achieve the same level of happiness? Is the “YouEconomy” formula for everyone?

 

Jim McCabe: What I think is fascinating about the “YouEconomy” is that it’s cross generational. There are people in their 50s now who started their careers and were 100% sure they were going to be in corporate America for the rest of their lives and their biggest fear in life was always losing a job and not having an opportunity to earn income and then where that next job was coming from and what they were going to do. And their world was thrown upside-down in the past couple of decades. Some people said it was chapter two or whatever, but people had to reinvent themselves, but there was always that sense that they were rejected by what they thought was the establishment and they didn’t know if they were going to go forward.

 

And then you also have the younger people, the millennials, who have just come out and have always looked at life differently and aren’t necessarily enamored with signing up with a company forever and having a boss tell them what to do. But the one universal thing that they all have now is immediate opportunity. That person who’s been thrown out there, there are tons of things that they can do and tons of ways that they can use the skills that they’ve developed in their career with freelancing or whatever, even if they wanted to do something like drive for Uber, they can immediately still be out there earning an income. So, for the younger folks, there’s the ability to figure out what they really want to do and take time between jobs and earn additional income doing different things as they figure it out.

 

The one thing that I think the “YouEconomy” eliminates is the unknown and the fear of not having access to income. And that was something that drove generations of people. I think one of the most interesting things about the “YouEconomy” from our standpoint is the same people, especially when you’re looking at freelancers, have realized that they were selling themselves short by allowing themselves to be employed by other companies. And what they found was that their work was more valuable than they thought it was. And those companies were willing to pay them more as individual contractors than they were paying them as employees, and that they could work for more people.

 

So, I think that mindset and the ability to take advantage of that has given them a freedom and eliminated a layer of fear that drove people for a long time.

 

Josh Ellis: And I just want to add to that, because I think your question was a little bit about how widely encompassing this is, at least among the population. With our research; we did a Harris Poll, with more than 2,000 adults, and we found that a third of Americans in the workforce have made money in this way within the last year and millennials are the biggest part of it. Of course, they are now like the largest generation in total numbers, but they only make up just over 50% of the “YouEconomy” workforce. People over 55 are 30% of the “YouEconomy” and there’s also a majority of minority participants, 55% of the people in the “YouEconomy” are racial or ethnic minorities.

 

And so to your question about whether this is an avenue for just about everybody, I think that our research does support that.

 

Samir Husni: What role does the printed Success magazine play in all of this and how do the other platforms fit in: the books, videos, website and your video courses? Is the print magazine the anchor for all of this or just a part of it? What drives that relationship that you want to establish between the brand and those generations?

 

Josh Ellis: You mention all of the different avenues that we have to put the good news about this out and express it to as many people as we can, but yes, the print magazine was the lead edge. That’s where we really wanted to plant the flag was with that identifiable cover that we have on the August issue.

 

Jim was getting to the point that a lot of the time people who worked in companies and then became freelancers didn’t realize until after the fact just what a great opportunity this was and I think that’s what our issue is, it’s like a siren call kind of thing to jostle people into understanding what the opportunity is for them now, with what technology has made possible and changes in the economy have made possible.

 

And in the August issue, it isn’t just about the cover story where we’re expressing the total opportunity of the “YouEconomy,” but it’s also every feature in the issue is designed to either speak to people of a certain background, whether they’re women or younger people or older people or anyone wanting to start a traditional business.

 

Or take on something like an Uber’s job, which we‘ve mentioned a couple of times, but that’s just one of the many avenues into this. There are so many others; you can walk dogs and make a living doing it now and find work doing that at the touch of a button on your iPhone. There are also direct selling opportunities where people can find a product that they’re really passionate about and share that with other people in their network. So, what we tried to do was use the entire issue to really highlight what’s available.

 

Success 3Samir Husni: How important do you feel it is to spread this message that print is still viable in this digital age?

 

Jim McCabe: This is more of a general statement of how we look at print as part of our brand. We’re very, very happy to be in the magazine business and we look at the print product as a powerful opportunity for us to be able to put out issues like the “You Economy” issue with careful study of interesting issues that are effecting our readers lives in a way that only print can do it. And that is in a format that is long-form, and that people can spend time with and can share with others and that’s durable.

 

We went through a redesign a year ago and as part of that redesign we talked a lot about what we wanted the print product to do and be in our universe of users and readers. And one of the things that we talked a lot about was, and one of the reasons that we changed our paper stock and other things that we did, was because durability was something that was important. We want the print product to be something that people save, use and refer back to and is part of a library that they use in developing the strategy they have to build their own personal level of success.

 

And as Josh said, by taking the entire edit well and looking at this story from different personal angles, from different contributors, that’s something that people will invest hours in and they’ll all invest hours in a print product to do that. So, that’s why for us as a magazine and a media brand that is targeted to people and that really wants to be partners with people as they journey to success; that’s why the print product is so important for us. It’s the place where we can have the longer form discussion; it’s durable and we have all of the avenues where people can continue that discussion socially and online and we give them day-to-day inspiration with those vehicles, but nothing can replace print as the durable place for a long-form discussion.

 

Josh Ellis: The other thing too is this was such an important tent-pole for our brand as a whole and in really helping our readers to understand what we’re about and to sort of define, whether they knew it or not, who our readers are. And the cover story alone is 6,000 words, and that’s just something that you don’t see online very much. People will not sit down for the hour that it takes to read a story that long and from the same website and keep scrolling and scrolling, but in print it’s an enjoyable read, because of things like layout and the feel of the paper.

 

We thought it was so important for our readers to get the entire sense of what has developed in the “You Economy” that print is the perfect place to really make the announcement.

 

Samir Husni: Is there anything else that you’d like to add?

 

Jim McCabe: Just that we’re very, very proud of it and I’m extremely proud of it because this is the reflection of Josh’s leadership, taking over the magazine and producing such a quality product so quickly. And taking on a subject that I think is really interesting and newsworthy and groundbreaking. And it’s a reflection of how great a staff he put together for us to be able to do this.

 

As I said before, we’re happy to be in the magazine business and this is a reflection of the talented group of people we have under Josh.

 

Josh Ellis: I think that a lot of times a national magazine that isn’t in the New York sphere can be easy to overlook, but doing big issues and really getting out there and trying to produce something that will make a statement is an important way to create some brand awareness. And so this was really a huge issue for the magazine and for everything that we do at Success.

 

Samir Husni: If I showed up unexpectedly to your house one evening after work, what would I find you doing; reading a magazine, reading your iPad, watching television, or something else?

 

Jim McCabe: I’m usually catching up on the day’s news one way or the other, either scanning CNN or Bloomberg or something, or catching up with the Journal or The New York Times or the Post or some of the things that I have to read every day, but haven’t gotten to, and possibly exercising and trying to squeeze that in as well.

 

Josh Ellis: I love to cook; I try to do that as much as I can. But I am a subscriber to several magazines, so I will take some time and read through a few long-form pieces a week. Other than that, playing with the dog or playing video games. (Laughs)

 

Samir Husni: My typical last question; what keeps you up at night?

 

Jim McCabe: These days? The state of politics in the U.S. (Laughs)

 

Samir Husni: (Laughs too).

 

Jim McCabe: That really does worry me, because I just think that we’re in a place now where we’ve pushed out a good group of people, a moderate group of people and we’re constantly debating on the fringes as opposed to trying to understand all of the amazing blessings and things we have here. And it’s an uneasy time. I have children and they’re going to live in a different world than I lived in, and although they have the opportunities of the “YouEconomy” which is great, I’m just hoping that they can enjoy all of that, plus the freedoms and happiness that I had.

 

Josh Ellis: I’m easily fixated on some kind of content that I’m enjoying, so whether I’m reading a magazine story or a book or watching something on Netflix, I have contrary to what a lot of people assume about my generation, a pretty good attention span, so I’m willing to invest some time in entertainment or to learn something new, or to just think about one thing for a long time. I don’t have any great fears like Jim, but I’m happy to sit down with something and enjoy for a good while.

 

Samir Husni: Thank you.

 

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Rodale’s Organic Life: Chapter Two Unfolds As The Handbook For Happy, Healthy Living – The Mr. Magazine™ Interview With Melanie Hansche, Editor In Chief, Rodale’s Organic Life Magazine

July 6, 2016

COVER“I’m also pretty old school; I do love the feel of print. I love the feel of sitting down and flipping through pages. It’s a very experiential thing. I find it very relaxing. And I think what’s been interesting with what we often refer to as the digital disruption is as iPad magazines are also fabulous because they also offer a kind of interaction and interactivity that you can’t get with the printed page, but I have always returned to that more tactile, page-turning approach and I think actually the markets have gone back that way too.” (On what it is about print that ignites her creative passions) Melanie Hansche

 

“We’re seeing a lot of magazines enter the market with beautiful paper stock and beautiful photography and they’re very lush, vibrant visual experiences. Print products still represent escape for people. When their subscription arrives in the mail, the reader might flip through it very quickly, maybe starting from the back, but what’s been found is they return to it on the weekend and read it cover to cover. And I’m certainly that person too.” Melanie Hansche

 

Fifteen months ago, Rodale’s Organic Life was reborn from the legacy title Organic Gardening. The magazine has transitioned from its original how-to approach when it comes to the organics of a healthier style of life, to a more all-encompassing lifestyle title that embraces the organic way of life completely without the purist attitude that some people fear when they pick up a magazine about organic living. With the current issue Rodale’s Organic Life starts chapter two of the rebirth.

 

Organic Life’s brand new editor in chief hails from Sydney, Australia and believes strongly and passionately in the brand and agreed that the militant idea that a reader had to be 100% committed to organic living was not what the magazine was about. Melanie Hansche is vivacious and ardent when talking about her new organic baby and was adamant that the magazine was willing to meet its readers on whatever level of their own organic journey they might be on at the time when they first pick up the magazine.

 

I spoke with Melanie recently and we talked about her future plans for the magazine and her intense passion for the printed page. It was a conversation that was both delightful and informative. The dedication to print and its tactile nature that could be heard in her voice when talking about the magazine was not lost on Mr. Magazine™. It was extremely well-received.

 

So, grab a copy of Rodale’s Organic Life, kick back, relax and enjoy the Mr. Magazine™ interview with a woman who loves everything organic, especially her magazine, Melanie Hansche, Editor In Chief, Rodale’s Organic Life.

 

But first, the sound-bites:

 

Melanie Hansche_Corporate Portrait-Rodale-11-21-2014_0195-2On what her plans are for the future of the new adopted Organic Life: The new adopted child that I’ve inherited is very young; it’s 15 months old. As a very young brand, it was and still is trying to find its space. And the really exciting thing, I think, is to take on a young brand or a product and think about how you can evolve it and take it in a direction that really resonates with your audience. The team and I, we have decided to evolve the brand even further by being a lot more targeted about our audience.

 

On the new “target” audience: When the brand started it did have a legacy with Organic Gardening readers and it’s really tried to be all things to all people, which I totally understand, because on the one hand, we want to try and welcome every person into this organic lifestyle. But really I think that approach wasn’t working and it wasn’t resonating and we wanted to be a lot more positive about who we’re speaking to and particularly who are the people that are embracing this kind of lifestyle or asking questions and changing their habits.

 

On what she brings from her native Australia to Organic Life magazine: I think my Australian sensibility that I bring to the magazine is probably the magazine experience that I’ve had in Australia and the way that Australians are really not into the way they execute magazines, in terms of photography, styling and visual direction; it’s very fresh and vibrant and very modern. The food styling and photography is fantastic and so I feel like that’s a sensibility that I’ve brought with me from Australia.

 

On how she plans to use her skills as a curator to place the organic movement between the covers of a 104 page magazine: That’s a really good question. First of all we’re expanding our content areas, so when I talk about the fact that women in their 30s are making decisions about children, we’re going to include more parenting and family content. And the other two areas that we’re expanding and that we feel resonates with this audience is obviously beauty, as we’re talking to a more female audience, and then also home décor and home style and the stories behind craftspeople, artisans and makers, as I like to call them. So, we want to talk about an organic lifestyle on many different levels. And by expanding our content areas, we explore the conversation, so to speak.

 

On the most pleasant moment she has encountered in her new job since moving to America 18 months ago: When I joined Rodale, I was working on special projects in the food space because food media has been my specialty for over 10 years. And that was really exciting because I worked on a lot of different assets. I worked on a cookbook; I worked on building up our test kitchen; I worked on a digital project that was a database of recipes, and I worked on an event. So, I was able to work on many different things, but when I was asked to look after Organic Life three months ago, I realized how much I missed putting a magazine together. I’ve always worked in magazines and I love the creative process.

 

On what has been the biggest stumbling block that she’s had to face and how she overcame it: I would say the biggest stumbling block in moving here was being an unknown quantity, building relationships and trust; it’s getting buy-in from your coworkers. When I was in Sydney, it was like being a big fish in a little pond. And suddenly I arrive here in America, very innocent and wide-eyed, and I became a very little fish in a big pond and I really had to establish myself, establish my credentials all over again and have people understand what I do and what my skillset is and how I could benefit their brand and what I could bring to the table.

 

On what it is about a printed magazine that ignites her creative passions: The reason why I went into magazines in the first place as opposed to perhaps becoming a young newspaper journalist was that I always felt that magazines were more creative and certainly the writing and the imagery was, because it allowed editors and writers to explore areas in a lot more depth and in a much better visual style than say the old pyramid structure of newspaper writing did, which I found very formulaic and boring. So, I went into magazines because I found them to be much more creative and they allowed for more creative writing, and that still resonates with me today and is why I still love magazines.

 

On how it is to edit her CEO, Maria Rodale: I will say that Maria and I have a fabulous relationship built within the last 12 months because I edited her cookbook. And so we know each other very well and we also complement each other very well.

 

On anything else that she’d like to add: I’m excited about what the future holds for us, because I’ve always thought that this brand can resonate really strongly with an audience, particularly as the organic movement grows. One thing I want to say is that a lot of people are a little bit afraid that when you see a magazine called Organic Life that they have to be 100% organic. And the anecdote that I always go back to is one that a friend told me. She said that I can’t read your magazine because I drink cola. And this is exciting and is a great example because it’s how an organic lifestyle can be perceived. It can be perceived as really pure and really evangelical. So, what we’re trying to do at the magazine is say that this movement is approachable and it’s fun and vibrant; we’ll meet you at whatever stage of your journey you’re at.

 

On the tagline: a handbook for happy, healthy living: The magazine never had a tagline before and I felt very strongly that it would give this brand a more distinctive identity and a personality if we stated on the magazine just what the magazine does. It helps us lead a happier, healthier life.

 

On what someone would find her doing if they showed up unexpectedly at her home one evening: You would probably find me cooking actually. I’ve worked in Sydney for so long that I’m fairly food-obsessed, but the other reason you would find me cooking is that I find it relaxing. Cooking lets me switch off in the evening and I destress.

 

On what motivates her to get out of bed in the morning: Moving to New York has given me an energy and an engagement and has inspired me in ways that I guess Sydney didn’t. It’s a city that drives you and being here really excites me. And it’s also the product. To be honest, working on something that you personally and passionately believe in; it’s very easy to get out of bed in the morning.

 

On what keeps her up at night: I have a tendency to sweat the small stuff. I wish I didn’t. I wish I could just turn my brain off, but sometimes, and I don’t think it’s a bad thing when you care too much about things, but sometimes I worry about little things that I shouldn’t.

 

And now the lightly edited Mr. Magazine™ interview with Melanie Hansche, Editor In Chief, Organic Life Magazine.

 

Samir Husni: Organic Life is a little over a year old and you’re the new editor in chief; what are your future plans to take care of this new adopted child?

 

Melanie Hansche: The new adopted child that I’ve inherited is very young; it’s 15 months old. As a very young brand, it was and still is trying to find its space. And the really exciting thing, I think, is to take on a young brand or a product and think about how you can evolve it and take it in a direction that really resonates with your audience.

 

The team and I, we have decided to evolve the brand even further by being a lot more targeted about our audience. And with our editorial content and our vision direction definitely reflects that new target audience.

 

Samir Husni: Can you explain a bit more about the new “target” audience?

 

Melanie Hansche: When the brand started it did have a legacy with Organic Gardening readers and it’s really tried to be all things to all people, which I totally understand, because on the one hand, we want to try and welcome every person into this organic lifestyle. But really I think that approach wasn’t working and it wasn’t resonating and we wanted to be a lot more positive about who we’re speaking to and particularly who are the people that are embracing this kind of lifestyle or asking questions and changing their habits.

 

And we’re really clear that that person is most likely a young woman, 30 to 40-years-old. A better choice of words is it’s a young Gen X woman, and indeed, an older millennial woman, and guys too. I really think there’s a split, perhaps 70 percent female, 30 percent male split.

 

I am that reader; I am in that age group, that late thirties woman who for the last few years started making changes in my life. And the first gateway for me was food and I changed my diet to a more organic diet.

 

And then I started thinking about the skincare that I was using and I went organic, and a year later I switched out all of my makeup to an organic brand. I think a lot of women in that age group are making those kinds of decisions. And when you’re having children is the other point, the other gateway, if you will, where women start to make different choices as it pertains to their health.

 

And I do think that younger millennial audience is far more switched on and far more engaged in the kind of clothes that they wear and who makes them and who’s producing their food and the kind of travel they do; they’re a lot more thoughtful. And this is a brand that’s definitely about being thoughtful.

 

So, when you talk about our new audience that is the audience that we’re talking about, that older millennial and younger Gen X woman and to a certain extent men a well.

 

Organic Life editor's letter Samir Husni: Do you think your being from Down Under; can it be more organic than that, bringing someone all the way from Australia to lead this magazine? What do you bring from the land Down Under to Organic Life?

 

Melanie Hansche: Interestingly, the organic movement in Australia pretty much mirrors the organic movement in America. And it’s the very same issues. People Down Under are embracing an organic lifestyle for the same reasons. But there are also the same barriers, whether that’s price or information; it’s exactly the same, but a smaller microcosm.

 

When I moved to the States I remember my first trip to Whole Foods and I was just amazed at how the trends that I had been seeing back in Australia were just blown out. In Australia, for example, people had just started drinking coconut water and there were a couple of brands on the shelf. And walking into Whole Foods I remember thinking, oh my gosh, there are 20 coconut waters on their shelves. And it was the same whether it was nut milk or flour alternatives; just the sheer amount of organic products and lines that were available.

 

I think my Australian sensibility that I bring to the magazine is probably the magazine experience that I’ve had in Australia and the way that Australians are really not into the way they execute magazines, in terms of photography, styling and visual direction; it’s very fresh and vibrant and very modern. The food styling and photography is fantastic and so I feel like that’s a sensibility that I’ve brought with me from Australia.

 

Samir Husni: I noticed in your first letter from the editor, you also showed a picture of your cottage in Australia and you also brought the family aspect of the organic lifestyle into the forefront and how you want the readers to enjoy the magazine on their own porches or wherever they want to sit down and relax with it. As a curator and someone who is seeing all kinds of organic trends taking place, how are you going to use your skills to curate that organic movement and put it between the covers of a 104 page magazine?

 

Melanie Hansche: That’s a really good question. First of all we’re expanding our content areas, so when I talk about the fact that women in their 30s are making decisions about children, we’re going to include more parenting and family content.

 

And the other two areas that we’re expanding and that we feel resonates with this audience is obviously beauty, as we’re talking to a more female audience, and then also home décor and home style and the stories behind craftspeople, artisans and makers, as I like to call them. So, we want to talk about an organic lifestyle on many different levels. And by expanding our content areas, we explore the conversation, so to speak.

 

And the other thing that we became very clear on was that as a magazine called Organic Life, we have to show some kind of leadership, or advocacy in this space and in this movement. So, from now on every issue that we do, we make sure that we have one very hard-hitting or thoughtful piece of advocacy in the organic world, whether that’s in America or abroad. And an example of that is in our first issue, the large story that we did on a very small town in the Italian Alps that is the first town in the world to ban pesticides.

 

When we talk about our content strategy it’s really about pushing these different buttons and it’s inviting people into this movement by giving them inspiration and information in areas that pertain to their everyday life: beauty, food, health, and gardening. But then also it’s really hard-hitting where it counts and gives the audience really serious journalism and some serious leadership on issues that take place.

 

Samir Husni: How long have you been in the States?

 

Melanie Hansche: I’ve been here for 18 months.

 

Samir Husni: What has been the most pleasant moment in your new job since you moved here 18 months ago?

 

Melanie Hansche: When I joined Rodale, I was working on special projects in the food space because food media has been my specialty for over 10 years. And that was really exciting because I worked on a lot of different assets. I worked on a cookbook; I worked on building up our test kitchen; I worked on a digital project that was a database of recipes, and I worked on an event. So, I was able to work on many different things, but when I was asked to look after Organic Life three months ago, I realized how much I missed putting a magazine together. I’ve always worked in magazines and I love the creative process.

 

And when I began this, it was like getting back on a bike. I was so excited and the team was so great and I loved the creativity of it that honestly, the most pleasurable moment was being asked to edit this magazine.

 

Samir Husni: What has been the biggest stumbling block that you’ve had to face and how did you overcome it?

 

Melanie Hansche: I would say the biggest stumbling block in moving here was being an unknown quantity, building relationships and trust; it’s getting buy-in from your coworkers. When I was in Sydney, it was like being a big fish in a little pond. And suddenly I arrive here in America, very innocent and wide-eyed, and I became a very little fish in a big pond and I really had to establish myself, establish my credentials all over again and have people understand what I do and what my skillset is and how I could benefit their brand and what I could bring to the table.

 

And to be honest, that was very hard, but I also feel like it’s making me stronger and making me more persistent than I was before. (Laughs)

 

Samir Husni: I could feel the passion in your voice when you talked about putting the magazine together; you’ve worked in digital and books, what is it about a print magazine that delivers that high for you, rather than just working on digital or some other project?

 

Melanie Hansche: The reason why I went into magazines in the first place as opposed to perhaps becoming a young newspaper journalist was that I always felt that magazines were more creative and certainly the writing and the imagery was, because it allowed editors and writers to explore areas in a lot more depth and in a much better visual style than say the old pyramid structure of newspaper writing did, which I found very formulaic and boring. So, I went into magazines because I found them to be much more creative and they allowed for more creative writing, and that still resonates with me today and is why I still love magazines.

 

I’m also pretty old school; I do love the feel of print. I love the feel of sitting down and flipping through pages. It’s a very experiential thing. I find it very relaxing. And I think what’s been interesting with what we often refer to as the digital disruption is as iPad magazines are also fabulous because they also offer a kind of interaction and interactivity that you can’t get with the printed page, but I have always returned to that more tactile, page-turning approach and I think actually the markets have gone back that way too.

 

We’re seeing a lot of magazines enter the market with beautiful paper stock and beautiful photography and they’re very lush, vibrant visual experiences. Print products still represent escape for people. When their subscription arrives in the mail, the reader might flip through it very quickly, maybe starting from the back, but what’s been found is they return to it on the weekend and read it cover to cover. And I’m certainly that person too.

 

Magazines to me, the way the type and the photography stick to each other and can work together; the way the illustration or the way hand-drawn fonts work together, I just love the creativity of that, and how we can speak to an audience with the simplicity of the printed page.

 

Samir Husni: You’re one of the few editors that I know of in the States that their CEO writes a column for the magazine or a story or article. How difficult is it for you as an editor to edit Maria Rodale?

 

Melanie Hansche: I will say that Maria and I have a fabulous relationship built within the last 12 months because I edited her cookbook. And so we know each other very well and we also complement each other very well. One of the reasons that she brought me onboard in the first place was because she knew the brand that I had come from in Australia and she loved it a lot. There is a lot of great respect and humor between the two of us; so in fact, it’s fairly easy to have an open editor/writer relationship with each other and we often brief her on the theme or topic of that issue. Generally, we let her have free reign over what she writes about and then workshop her columns a little bit, but I have to say given the history and the nature of our relationship, it’s actually not as tricky as you might think. (Laughs)

 

Samir Husni: (Laughs too) Maria is a rare entity in this business, where you have the CEO actually writing.

 

Melanie Hansche: Exactly. And to some extent, this magazine is also her baby. It was birthed as Organic Style over 10 years ago and now it’s been rebirthed as Organic Life and she really believes in this product and she believes in how much this can resonate with an audience. And she is very passionate about it and I’m actually very lucky that our CEO is as engaged with the product as I am. So, it’s a really good thing.

 

organic spread 2 Samir Husni: Is there anything else that you’d like to add?

 

Melanie Hansche: I’m excited about what the future holds for us, because I’ve always thought that this brand can resonate really strongly with an audience, particularly as the organic movement grows.

 

One thing I want to say is that a lot of people are a little bit afraid that when you see a magazine called Organic Life that they have to be 100% organic. And the anecdote that I always go back to is one that a friend told me. She said that I can’t read your magazine because I drink cola. And this is exciting and is a great example because it’s how an organic lifestyle can be perceived. It can be perceived as really pure and really evangelical.

 

So, what we’re trying to do at the magazine is say that this movement is approachable and it’s fun and vibrant; we’ll meet you at whatever stage of your journey you’re at. And we’re not here to scold you for what you are or are not doing. This organic life is a journey and it means different things to different people.

 

So, I would love an audience to give this magazine a chance and realize that it’s actually really fun and it’s really vibrant and engaging. And it’s not judgmental. Living an organic life is about intentions; it’s not about some tricky label definition or certification. I want this to be a very encouraging and joyful magazine. And also for it to be really practical too, so I want people to understand that our mission isn’t a completely pure and militant one; it’s much more welcoming and inquisitive than that.

 

Samir Husni: Is that the reason for the tagline: a handbook for happy, healthy living?

 

Melanie Hansche: Correct, correct. The magazine never had a tagline before and I felt very strongly that it would give this brand a more distinctive identity and a personality if we stated on the magazine just what the magazine does. It helps us lead a happier, healthier life. And that’s why we included a tagline for this issue.

 

Samir Husni: If I showed up at your home one evening unexpectedly, what would I find you doing, reading a magazine or reading on your iPad, watching television, or something different?

 

Melanie Hansche: You would probably find me cooking actually. I’ve worked in Sydney for so long that I’m fairly food-obsessed, but the other reason you would find me cooking is that I find it relaxing. Cooking lets me switch off in the evening and I destress. After a long day, there is something about chopping, stirring, creating dishes that I really like. So, I would probably invite you to sit down and share a plate of food and a glass of wine with me.

 

Samir Husni: What motivates you to get out of bed in the morning?

 

Melanie Hansche: Moving to New York has given me an energy and an engagement and has inspired me in ways that I guess Sydney didn’t. It’s a city that drives you and being here really excites me. And it’s also the product. To be honest, working on something that you personally and passionately believe in; it’s very easy to get out of bed in the morning.

 

Samir Husni: My typical last question; what keeps you up at night?

 

Melanie Hansche: I have a tendency to sweat the small stuff. I wish I didn’t. I wish I could just turn my brain off, but sometimes, and I don’t think it’s a bad thing when you care too much about things, but sometimes I worry about little things that I shouldn’t. And those are the things that keep me up at night. Sometimes I just need my husband to bring me back down to earth, when he asks me what I’m worrying about. And when I tell him, it’s generally something that happened at work that day that I probably don’t need to think about anymore. But that’s what keeps me up at night, the small stuff.

 

Samir Husni: Thank you.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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The Future of Newspapers: From “News Papers” To “News Organization.” Joanne Lipman Leads Gannett And Its USA Today Network Into The Future Both In Print And Digital – The Mr. Magazine™ In-Depth Interview With Joanne Lipman, Chief Content Officer, Gannett, Editor In Chief, USA Today Network

June 29, 2016

The World Of Newspapers According To Joanne Lipman…

USA Today

“One of the things that you do see in print, and I think this true everywhere, I know it’s true with my friends at The New York Times and The Washington Post, there is something about print that is still very, very compelling. When you have the big interview with the politician or the world leader; the celebrity, the first thing they always ask is will it appear in print? I don’t want it to disappear online. So, there is still a perception of premium with print. I think that’s something that we can think about going forward.” Joanne Lipman

“But I also think that publications that have done away with print too quickly have suffered. Look at what happened in New Orleans; look at what happened when Newsweek Magazine went out of print and then tried to come back in. There really is a value to that print product and those that have tried to move out of it too quickly have really suffered, in terms of loss of brand and loss of value, even if they provide good content.” Joanne Lipman

USAT_NETWORK_Brand_FullColor_RGB When many are saying that newspapers are on their way out, Gannett’s USA Today Network is saying something entirely different. With 108 different properties across the country, Gannett has brought all of its entities together to form one network that pools talent and resources to produce the most premium digital and print content around today.

However, “our mission is digital first,” says Joanne Lipman who is at the helm of USA Today Network as editor in chief and also heads up Gannett’s content as chief content officer. “The USA Today Network brings together 108 publications, with USA Today as the flagship and including news organizations such as the Detroit Free Press, Cincinnati Enquirer, Arizona Republic, Milwaukee Journal Sentinel, Des Moines Register, to create a nationwide network with 3,800 journalists, over 100 million unique visitors a month, and more than 1.5 billion page views consumed each month.”

Add in this Gannett’s extraordinarily large digital footprint and you get a combination that can’t be deterred no matter what some naysayers are prone to report. Lipman adds, “Our nationwide news footprint — literally boots on the ground in big cities and small towns, red states and blue states — gives us a reporting advantage that no other national news organization can match.”

Joanne knows a thing or two about news content and news organizations as she began her career at the Wall Street Journal, ultimately becoming Deputy Managing Editor – the first woman to attain that post – and supervising coverage that won three Pulitzer Prizes.

Today, she brings that expertise and knowledge to Gannett, having joined the team in January 2016. I spoke with Joanne recently and we talked about her excitement to be with a brand as far-reaching and broad-based as Gannett. And about the new structured network that joins all of its properties together. It was a most delightful and interesting look into the world of today’s newspaper – or news organization, as Joanne puts it. And Mr. Magazine™ agrees, after all, you can’t chase news on paper anymore – it just isn’t possible.

And now please enjoy the Mr. Magazine™ interview with Joanne Lipman, Chief Content Officer, Gannett, Editor In Chief, USA Today Network.

But first the sound-bites:

joanne Lipman On whether her job has been what she expected or if there have been any surprises along the way: What’s been great is first of all, when I came in because USA Today Network was a brand new concept, I thought that part of my job would be convincing people that they needed to work together collaboratively across multiple newsrooms. Instead, what I found was a culture of collaboration that existed here and exists. The culture is quite extraordinary when you have journalists across multiple different publications, coordinating coverage, cooperating with one another. So, we’re able to accomplish so much more than any one of us could individually.

On some of the priorities that have been uppermost in her mind since coming onboard: We’re focused on innovation and that includes video, social, mobile and virtual reality. Another priority is a budgeting and communications system to connect us. As I mentioned, this was a company made up of siloed organizations. Before I got here they created a unified CMS, so everybody is on a content management system. So, that’s a good step. But what we don’t have is a content budgeting system or a communications system that connects all of us.

On people saying there is no future for newspapers: It’s funny; we don’t use the word newspaper here. We talk about our news organizations and our news sites, so we’re really focused on digital. Obviously, we still have print papers and obviously, the revenue for paper is still great, but our focus has really been on becoming digital-first. I’m located in Tysons and I’m right off the USA Today newsroom. And USA Today under Dave Callaway and Larry Kramer, who’s the previous publisher, over the past four years really have made it digital-first and I’ve been in a lot of newsrooms, this is definitely the most digitally-oriented newsroom I have ever been in.

On her vision for the printed paper: I think there is no question that we’re all moving more and more toward a digital future. So because of that I think the printed paper becomes more of a premium experience. And like I said, I would love for the printed paper to reflect more of the depth and excitement that you see digitally. So, the printed paper can also be a way to send the consumer back online to get even more of the information that we’re providing.

On whom her audience is for the print product: In USA Today’s case, the print product has always been a newspaper for business executives and travelers, and that remains true. When you’re traveling, that’s what you pick up because that is the nation’s newspaper. In that way it’s a little bit like CNN; wherever you go in the world you turn on CNN because you know what you’re getting and they give you the information that you need.

On why she thinks it took so long for newspaper people to realize that the word news and paper is an oxymoron: I think that really smart newspaper people have been thinking about this for a long time. I think it’s been difficult because of the economic model, I really do. The big issue has been that print dollars are important. You have your digital dimes and your print dollars. And so you have to weigh the economics of it.

On the special interest publications USA Today is putting out on the market, such as the glossy magazine on Ali: I don’t think we’re doing any more than we ever did before. We tend to be very sparing when it comes to our special issues. We have regularly scheduled what we call “tab sections,” they’re not glossy, but they’re specials. The Ali Special magazine is highly unusual for us; we don’t do that frequently. The last one that I’m aware of, and I’ve only been here six months, but the last one that I’m aware of was several years ago with the death of Michael Jackson.

On what motivates her to get out of bed in the morning: This is the most fun job that I’ve ever had. What I love about this is the fact that we have so much potential, there is so much that we can do with the journalism here. The idea that we have essentially a giant firehose of content now that we are a network, as opposed to a bunch of individual organizations, is exciting. So the idea of taking that firehose of content and taming it and thinking of all the different ways that we can go about slicing and dicing and using it; it’s a very creative job because you’re constantly thinking about the amazing talent that we have all over the country.

On why we aren’t promoting journalism in a much better way than we used to: That’s a good question. On the one side, there’s the business model, which is clearly influx. And I think that’s a big piece of what we’re hearing. But I also think that one of the great things about being here with USA Today Network is what we are doing is – and I take no credit for this, because I came in after USA Network was invented by Bob Dickey, the CEO, and by his executive team, — but it’s such a smart idea. Every newsroom in America is resource-constrained, but when you put our 108 newsrooms together, with our 3,800 journalists, suddenly it feels expansive, a growing operation. If there’s an idea that we have, an idea that originates in any newsroom, no matter how small that newsroom is, we have the ability to execute that idea and support those journalists in that newsroom to get those ideas done.

On whether we should continue teaching journalism and having journalism schools: We should continue teaching journalism, absolutely. And I see a lot of talented young people who want to go into journalism; it’s definitely tougher than it was when I started. There are probably more jobs, not newspaper jobs, but more jobs if you add in all of the blogs and the other various outlets where you might be a writer. I think the issue is that there are fewer well-paying jobs with insurance. There is plenty of freelance, low-paid, unpaid work out there, but it is tough. I look at young journalism students, and I look at the young people we’re hiring, who are fantastic, and you can see that it’s a tougher world for them than it was for me.

On what someone might find her doing if they showed up unexpectedly to her home one evening: If you come after work, I generally go from the office to the gym. I guess you would find me at the gym.

On what keeps her up at night: I’ve been hiring a lot. I came in as a new position and my team was not filled out, so I focused a lot on finding just the right people to hire and now my team is almost all in place, so I think I’m sleeping easier now than I have in a long time.

And now the lightly edited transcript of the Mr. Magazine™ interview with Joanne Lipman, Chief Content Officer, Gannett, Editor In Chief, USA Today Network.

Samir Husni: It’s been six months for you as chief content officer at Gannett and USA Today; has it been everything that you expected, or have you been surprised in anyway?

USA Today Newsroom Joanne Lipman: Let me back up for a moment and explain the background here; I think that will be useful. Gannett was a holding company and it was a holding company that owned USA Today and 92 other local news organizations. And they were all siloed; they all operated independently.

And then one year ago, last summer, when the company did the split, broke into two, like News Corp and all these other companies have done; so all the broadcast properties went into a separate company called Tegna, and all of the print publications remained in Gannett.

Fast forward to December and the executives here made the decision, Bob Dickey, the CEO and his executive team, made the decision that rather than being a company full of siloed news organizations, we would actually create a nationwide network, which became the USA Today Network. And I was brought onboard in January 2016 to be chief content officer of Gannett and editor in chief of USA Today Network.

We bought Journal Media Group, so now we have 108 properties. What USA Today Network news did was go from being 108 siloed, individual news organizations to a nationwide network with 3,800 journalists, with over 100 million unique visitors per month, and over one and half billion page views per month, and the demographics are phenomenal. So suddenly you go from being individual resource-constrained news organizations to a nationwide network where anything is possible.

And that’s what was so appealing to me. I have to say that my surprises since I’ve been here have been on the upside, which is so rare when you go to a new place. (Laughs)

Samir Husni: (Laughs too).

Joanne Lipman: What’s been great is first of all, when I came in because USA Today Network was a brand new concept, I thought that part of my job would be convincing people that they needed to work together collaboratively across multiple newsrooms. Instead, what I found was a culture of collaboration that existed here and exists. The culture is quite extraordinary when you have journalists across multiple different publications, coordinating coverage, cooperating with one another. So, we’re able to accomplish so much more than any one of us could individually.

That’s been the most rewarding part of this and I’ve talked about the three priorities that I have. When I came in from day one I said there are three priorities that I have for this year and the first one is strengthening the network. And on that one I have to say that we are ahead of my expectations.

I could give you a couple of examples. We’ve had some really topnotch investigative work and that’s with the USA Today Network, the collaboration between USA Today and various local publications. We had one in February about teacher’s misconduct.

With the teacher misconduct work, we looked at data across all 50 states for teacher’s who had been fired for a cause; for physical abuse or sexual abuse and we found that they were able to get jobs in other states because of flawed background checks. And we were able to get the data for all 50 states. USA Today did a major, big investigative series on that.

But every market was able to localize it because they gave the data to all of the local markets. So, they could all localize their own stories. And that led to all kinds of state reforms and new legislation; a nationwide investigation. And that made us say, wow! That was the first time that we’d ever done an investigation where it ran in every single property.

And we followed that a month or two later with an investigation into lead in tap water. Again, we got data from all 50 states and we found that there were 2,000 communities across all 50 states that had toxic levels of lead in their drinking water. Again, we were able to do a big national investigation that ran in USA Today that was picked up by every television network. And because we had the data from all 50 states, we were able to localize it and we had more than 80 different individual, localized pieces that ran in our local markets, in addition to that national investigation.

I feel like we’re just tapping into the power of what this network can be and we saw how quickly we’re able to do that, and then you think: OK, going forward, if we’re able to do that off the bat, where can we go next? And that’s really exciting.

The one other thing that I would mention is that we’ve done an investigative series called “Trump and the Law” that’s also gotten quite a bit of attention because all of the media describe Trump as litigious, so what we did is ask the question, how litigious is he? And our data journalists dug into this and ultimately found that he’d been involved in 3,500 lawsuits. By collecting that database of lawsuits, we were able to look and see what the lawsuits were involving and that helped us dramatically, because several stories, including one that you probably heard about, which was looking at the frequency of his not paying people like plumbers, painters and carpenters. There were multiple lawsuits along those lines.

Samir Husni: You said you came in with three expectations; one, the USA Today Network, what were the other two?

Joanne Lipman: The second one is focused on innovation and that includes video, social, mobile and virtual reality. On the virtual reality piece, we actually had some news very recently where we created the first VR news program; it’s called “VRtually There” and we just debuted it at Cannes last week. We’ll be putting that into production in the next couple of months, so that’s exciting. That was actually another one of my upsides that I was speaking about earlier.

When I came in, I asked our chief technology officer about it. I was seeing The New York Times and others talking about virtual reality, so I wondered if we’d thought about it. He said that we’d been doing virtual reality for two years and in fact, the National Press Club gave its first award for virtual reality and it went to the Des Moines Register, one of our properties. The Des Moines Register had done a piece on farming two years before.

So, we were ahead on that and I didn’t realize it, but I think that’s partly because Gannett has had such a low profile and such a modest ethic that we didn’t talk about ourselves. We’re continuing on that virtual reality course and I recently hired a senior director of social media, who’s looking at our social strategy and I am currently interviewing for a senior director of video who will be reporting directly to me. So, we’re fast forwarding on those issues.

And then my third priority is a budgeting and communications system to connect us. As I mentioned, this was a company made up of siloed organizations. Before I got here they created a unified CNS, so everybody is on a content management system. So, that’s a good step. But what we don’t have is a content budgeting system or a communications system that connects all of us.

As a result, all of the work that we’re doing requires endless rounds of emailing and yammering, you name it. So, there’s a lot of work when it comes to us communicating with one another. So, I brought in Jim Pensiero from the Wall Street Journal. Jim worked with me at the Wall Street Journal for 30 years and he led the copy desk. He’s a fantastic journalist, but he was also the guy who understood how to do these kinds of systems and the CMS’s. He was the one who unified the Wall Street Journal in Asia and Europe and he put all of that together.

So, he came in with me and he’s leading our effort to put in place a budgeting communications system that will scale across all 108 properties.

Samir Husni: You hear people saying all of the time that there’s no future for newspapers.

USA Today newsroom Joanne Lipman: It’s funny; we don’t use the word newspaper here. We talk about our news organizations and our news sites, so we’re really focused on digital. Obviously, we still have print papers and obviously, the revenue for paper is still great, but our focus has really been on becoming digital-first. I’m located in Tysons and I’m right off the USA Today newsroom. And USA Today under Dave Callaway and Larry Kramer, who’s the previous publisher, over the past four years really have made it digital-first and I’ve been in a lot of newsrooms, this is definitely the most digitally-oriented newsroom I have ever been in.

For example, most newspapers will have their morning meeting at 10:00 or 10:30 in the morning, sometimes even 11:00 a.m. because they’re thinking about the paper. And most newspapers still do that. At USA Today it starts at 8:30 in the morning, everybody is up and running, and there’s no discussion about what section does this or that go in, it’s all about the digital piece; it’s all online. And it really is run like a digital news organization.

If you spend a little bit of time on the USA Today site you’ll see that it’s really very robust. In fact, the digital operation is so robust that one of the things that I hope to do going forward is I would like to see more of the digital variety that can be done. There are all kinds of interesting and in depth things and fun stuff on our site now. It really has a lot of texture and depth, and I’m actually hoping that we can move the print product in that direction to reflect the wealth of content that we have online.

Samir Husni: I think we are the only English-speaking country that still includes the word “news” in its paper. Most of the other countries call it journal or daily; if you were to write a prescription for the future of the printed paper, do you see USA Today as the preferred medication for the future’s solution? What’s your vision for the printed paper?

Joanne Lipman: I think there is no question that we’re all moving more and more toward a digital future. So because of that I think the printed paper becomes more of a premium experience. And like I said, I would love for the printed paper to reflect more of the depth and excitement that you see digitally. So, the printed paper can also be a way to send the consumer back online to get even more of the information that we’re providing.

One of the things that you do see in print, and I think this true everywhere, I know it’s true with my friends at The New York Tines and the Washington Post, there is something about print that is still very, very compelling. When you have the big interview with the politician or the world leader; the celebrity, the first thing they always ask is will it appear in print? I don’t want it to disappear online. So, there is still a perception of premium with print. I think that’s something that we can think about going forward.

But we all are really focused on a digital future because that is where we’re all going.

Samir Husni: You saw the most recent Reuters study that not only are the millennials getting their news from the web, but also the 55+ audience. So, who’s your audience for the print product?

Joanne Lipman: In USA Today’s case, the print product has always been a newspaper for business executives and travelers, and that remains true. When you’re traveling, that’s what you pick up because that is the nation’s newspaper. In that way it’s a little bit like CNN; wherever you go in the world you turn on CNN because you know what you’re getting and they give you the information that you need.

Digitally it’s interesting, if you look at our digital audience, which is over 100 million, we actually over index on a couple of groups. One is millennials. We have a very robust millennial audience; more millennials that Vox or Vice. But we also do incredibly well with C-suite executives. We get more C-suite executives than the Wall Street Journal or The New York Times.

One of the things that we talk about here is we know that these are both audiences that value and come to our content, so we think about being a little more purposeful when it comes to what we’re providing to those audiences. We think about that in terms of coverage and in other sorts of things as well. When we talk about innovation, we talk about virtual reality and many other innovations. We talk about events; there are a lot of ways to connect with our audience.

Samir Husni: Why do you think it has taken newspaper folks so long to discover what you were just talking about? Or do you disagree with me?

Joanne Lipman: It’s funny, one of the people that I brought in here, John Brecher, who worked with me at the Wall Street Journal; he was my first boss as an editor. He ran page one; he had this unprecedented string of seven Pulitzer Prizes at the Wall Street Journal; the guy is a genius. And he first hired me onto page one; I want to say 20 years ago. More than 20 years ago.

And I remember being on a business trip with him and he was telling me, and this was long before the digital world existed, and he said to me that print was going to go away. That people were going to stop reading physical, hard copies of the paper. And I looked at him like he was crazy. (Laughs)

Samir Husni: (Laughs too).

Joanne Lipman: There was no Google then, nothing, certainly no Facebook. So, I think that really smart newspaper people have been thinking about this for a long time. I think it’s been difficult because of the economic model, I really do. The big issue has been that print dollars are important. You have your digital dimes and your print dollars. And so you have to weigh the economics of it.

But I also think that publications that have done away with print too quickly have suffered. Look at what happened in New Orleans; look at what happened when Newsweek Magazine went out of print and then tried to come back in. There really is a value to that print product and those that have tried to move out of it too quickly have really suffered, in terms of loss of brand and loss of value, even if they provide good content.

Samir Husni: I saw your Tweet on the glossy that USA Today is doing on Ali and all of the other specials that you have coming out; how do you differentiate, because most of the public, the minute that they hear print, they think newspapers. So, how are you making the case for all of these SIP’s that you’re producing and for all of these special interest publications? You’re not necessarily flooding the market like Time Inc., but you’re putting a lot of them out.

Joanne Lipman: I don’t think we’re doing any more than we ever did before. We tend to be very sparing when it comes to our special issues. We have regularly scheduled what we call “tab sections,” they’re not glossy, but they’re specials. One on national parks; one on Black History month, so we have a regular schedule with these and they will appear on newsstands.

The Ali Special magazine is highly unusual for us; we don’t do that frequently. The last one that I’m aware of, and I’ve only been here six months, but the last one that I’m aware of was several years ago with the death of Michael Jackson.

Samir Husni: What motivates you to get out of bed in the morning?

Joanne Lipman: This is the most fun job that I’ve ever had. What I love about this is the fact that we have so much potential, there is so much that we can do with the journalism here. The idea that we have essentially a giant firehose of content now that we are a network, as opposed to a bunch of individual organizations, is exciting. So the idea of taking that firehose of content and taming it and thinking of all the different ways that we can go about slicing and dicing and using it; it’s a very creative job because you’re constantly thinking about the amazing talent that we have all over the country.

And then you think about how we can put these different talents together and you can come up with some really cool ideas. I’ll give you one example. One of my deputies is a guy named Randy Lovely. He is the VP of community content and came out of the Arizona newsroom, which he ran for many years. So, he knows people throughout the network really, really well. And we were trying to solve a very interesting problem. We had a guy in Jackson, Mississippi, a reporter who had a really great idea for a video series.

Now the Jackson property is a small property. It alone did not have the resources to do a video series. So, Randy called around to some of the editors in the network and the editor of the Des Moines Register said that he had a fantastic editor that I’m going to lend to that reporter to help with that series. And an editor at USA Today said that he would lend his top videographer for that series, so now we have this group that has been pulled from our different properties and has converged together in Jackson, Mississippi to create this video documentary series.

Everyday there are things like that happening with 3,800 journalists, all with different talents, and they’re not all bunched up in one place; they’re all in different properties. And that’s what gets me out of bed in the morning. I love the excitement of thinking about where we can take this network. And how we’ve been able to take it so far, so fast, but there’s so much more to do.

Samir Husni: What you’re describing is a world where we have better journalism than ever, yet all we ever hear is that journalism is doomed and we should look at digital and TV and all of the cable networks. Why aren’t we promoting the future of journalism in a much better way than we used to?

Joanne Lipman: That’s a good question. On the one side, there’s the business model, which is clearly influx. And I think that’s a big piece of what we’re hearing. But I also think that one of the great things about being here with USA Today Network is what we are doing is – and I take no credit for this, because I came in after USA Network was invented by Bob Dickey, the CEO, and by his executive team, — but it’s such a smart idea.

Every newsroom in America is resource-constrained, but when you put our 108 newsrooms together, with our 3,800 journalists, suddenly it feels expansive, a growing operation. If there’s an idea that we have, an idea that originates in any newsroom, no matter how small that newsroom is, we have the ability to execute that idea and support those journalists in that newsroom to get those ideas done.

Samir Husni: So, you have no fear about the future of journalism; we should continue teaching journalism and having journalism schools?

Joanne Lipman: We should continue teaching journalism, absolutely. And I see a lot of talented young people who want to go into journalism; it’s definitely tougher than it was when I started. There are probably more jobs, not newspaper jobs, but more jobs if you add in all of the blogs and the other various outlets where you might be a writer.

I think the issue is that there are fewer well-paying jobs with insurance. There is plenty of freelance, low-paid, unpaid work out there, but it is tough. I look at young journalism students, and I look at the young people we’re hiring, who are fantastic, and you can see that it’s a tougher world for them than it was for me.

One of the benefits that we have with the USA Today Network is that we have 3,800 jobs, all over the country, real jobs, full-time with insurance. So it’s nice to be in a company that offers that. But the one thing that I would say to students, and I bet you say this to your students all of the time, is there seems to be a bias among journalism students that they think they have to go to New York or D.C. or maybe L.A. Somebody crunched some numbers and found that one in five journalists lives in either New York, D.C. or L.A.

We were really curious when we saw that, so we crunched our own numbers. And we found that for Gannett, for USA Today Network, that number is one in 39. So, the vast majority of our journalists are not on the coast, they’re in the middle of the country. And I think that’s a big benefit because it allows us to cover the country in a way that others cannot. We’re boots-on-the-ground in big cities and small towns and in red states and blue states so that we can understand the electorate better than the national news organizations.

But if you look at that point of view from students coming out, there are a lot of opportunities that aren’t necessarily in New York or D.C. or L.A.

Samir Husni: If I showed up at your house one evening unexpectedly, what would I find you doing? Reading a printed newspaper, or your iPad, watching television, or something different?

Joanne Lipman: (Laughs) I live in New York City, but my office is in Tysons, Virginia. So, I have a little apartment two minutes from the office that I live in during the week, and I go back home to my family on the weekends, because my kids are now out of school, so we’re now empty nesters.

So, if you come after work, I generally go from the office to the gym. I guess you would find me at the gym.

Samir Husni: My typical last question; what keeps you up at night?

Joanne Lipman: There are no really mega issues; I feel really good about this position and the company and the leadership. I feel really, really good about the leadership. I’ve been hiring a lot. I came in as a new position and my team was not filled out, so I focused a lot on finding just the right people to hire and now my team is almost all in place, so I think I’m sleeping easier now than I have in a long time.

Samir Husni: Thank you.

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Military Kids’ Life Magazine: A Title For The Children Of Service Men & Women Of All Branches – Giving The “Chameleon Kids” The Voice That They Deserve – The Mr. Magazine™ Interview With Janine Boldrin, Creative Director, Military Kids’ Life Magazine

June 22, 2016

Military Kids Life 2

“When I saw my own kids and how they engage with magazines and books; they love print. They love going to the library; they love touching and they’re very tactile. Kids will read a magazine in the back of a car; they love the brightness of it and they love getting mail. Kids today love getting something in the mailbox that is for them. That’s such an enjoyable experience. It’s not an experience you can have by downloading something on a phone or looking at a tablet or other Smart devices.” Janine Boldrin (on why she chose print for the magazine)


“And they (kids) tell us. They love how bright it is and they love the feel of it. We think a lot about the feel of our magazine. When they touch it, they love the quality of the pages. And that’s what kids like and engage with. So, we’ve found that a print experience is perfect for what we’re trying to do.” Janine Boldrin

Military Kids’ Life magazine is the only print title for kids of U.S. service members of all branches that gives voice to the experiences these children have from their parents serving our country. Launched in April 2015 it incorporates military kids as reporters, allowing them the opportunity to tell their stories in their own way and connecting them with a host of people who provide a backdrop of different topics in which they can showcase their talents.

Janine Boldrin is the creative director of the magazine and also a military spouse, her husband being active duty Army. Janine is a woman who knows the excitement and the angst of military life, and the joy of being a writer and a journalist. Her thrill is in the passion she has for her product and the kids who make her smile every day.

JB Headshot I spoke with Janine recently and we talked about the magazine and the diverse emotions military life brings to the families. But no matter the mixed emotions adults and children alike might feel when either being deployed or watching a parent leave for months on end, the magazine presents a positive and bright outlook on the service environment and offers essays, articles, fiction, fun activities and poems, all centered on the concept of finding the bright side of life as a military kid.

The tagline for the magazine is “Find Your Adventure,” so, I invite you to sit back, smile and enjoy the military adventure of a lifetime as you experience a Military Kids’ Life – the Mr. Magazine™ interview with Janine Boldrin, Creative Director, Military Kids’ Life Magazine.

But first the sound-bites:

On the reason behind the company name Chameleon Kids: Chameleon Kids is all about our military kids, the children of U.S. service members, all branches. The reason that we named it Chameleon Kids is because our military kids go into communities and while they have to blend with the communities they move into, they’re also very distinct. So, we chose the word chameleon because we felt it really represented what our military kids have to be like.

On whether she has found her own adventure in the pages of the magazine: It’s 110% my adventure. (Laughs) I love it. It’s amazing the emails that I receive from kids. I have three kids of my own and they’re really why I wanted to do this. I had not worked within the kid’s space with writing, so it was very unfamiliar to me. I wasn’t quite sure what I was going to get, but when I get stories from kids, I am encouraged as an adult every single day.

On the “Hit the Road” section of the magazine: Our reporters are doing content for our print magazine, but they’re also developing some online content for us. For instance, we did a section in our most recent issue on the USO and we sent four military kid reporters out to visit some USOs across the United States. And they had designated times that they needed to go; they had representatives that they were meeting with to interview, and it really gave them a unique experience. They learned communication skills, how to tell a story, how to be responsible and it’s just a great opportunity for them.

Military Kids Life 3 On why she decided to launch a print magazine: When I saw my own kids and how they engage with magazines and books; they love print. They love going to the library; they love touching and they’re very tactile. Kids will read a magazine in the back of a car; they love the brightness of it and they love getting mail. Kids today love getting something in the mailbox that is for them. That’s such an enjoyable experience. It’s not an experience you can have by downloading something on a phone or looking at a tablet or other Smart devices.

On how she’s carrying it from the love and passion stage to a business model: That’s a very good point. You can have a passion for something, but it doesn’t necessarily mean that everybody else will have that same passion for your product. And we were worried about that at the beginning because we weren’t sure where this was going to go. But what we have found is that we’ve created something that people didn’t realize they needed, and in doing that we have found a home for our magazine in schools, libraries and in non-profits that serve military families.

On the biggest stumbling block she’s had to face: I think part of it was just not pushing hard enough in the beginning. I feel like we started out really slowly. And we focused on things that weren’t important. For instance, we really thought we needed to have an awesome website right from the get-go. So, we put way too much time and way too much energy in creating this website, instead of really focusing on getting the product out the door. That was one of our primary fails in the beginning.

On the most pleasant moment she’s had on this journey: It’s the kids, every single time. Their emails are just wonderful. I just love the kids’ feedback. They’re brutally honest. They will be the best critic on the face of the earth. They do not filter their comments like adults do. If they don’t like something, they’ll tell you they don’t like it. (Laughs) And if they love something, they’ll have a very genuine expression about it.

On anything else that she’d like to add: I just hope that we’re able to connect more with schools and libraries and that more know that we exist. Quite frequently older military kids will tell us that they really wish this magazine had been around when they were kids. It’s really just hoping that we can reach more people to let them know we exist.

On what motivates her to get out of bed in the morning: When I was a kid I wanted to be a journalist. I’ve wanted to be a writer since day one. I took a very long and winding path to get there, including getting master’s degree in manufacturing and working for IBM. One day I managed to get back to what was truly my original calling. And what gets me out of bed is providing encouragement and opportunities to kids who also feel that, so that they don’t go down a winding path, but they see a more direct way out to what they truly see as their passion and growing their passion, because I would have loved that.

On what keeps her up at night: You know, military life isn’t easy; it really isn’t. My husband is gone from us more than he’s been at home and when you have three kids it’s a huge balance in making sure that everyone’s emotional needs are being met, when you’re the only parent around and your spouse is in a job that puts them in harm’s way. We’re in a society that is very disconnected from that. They don’t understand the sacrifice, truly that is made by military families and the sacrifices that our kids make. And that keeps me up at night.


And now the lightly edited transcript of the Mr. Magazine™ interview with Janine Boldrin, Creative Director, Military Kids’ Life Magazine.

Samir Husni: Tell me the mission, the idea behind Military Kids’ Life and behind the company name, Chameleon Kids.

Janine Boldrin: Chameleon Kids is all about our military kids, the children of U.S. service members, all branches. The reason that we named it Chameleon Kids is because our military kids go into communities and while they have to blend with the communities they move into, they’re also very distinct. So, we chose the word chameleon because we felt it really represented what our military kids have to be like. They have to be a part of their community, but they’re also very vibrant and interesting. And that’s why we chose that name.

We also tried to avoid always using military terms with our kids because military kids are kids too and quite frequently you’ll see anything directed toward the military community using a word like operation kids, or operation this or that, or camouflage. So, we tried not to be too much military, because they really do just like to do fun things also.

The magazine was really born out of me being a writer for the past ten years within the military space. I had written a lot about military families, about veterans and service members, and I really found that there was a void when it came to our military kids. They didn’t have anything that represented their voices. As I started looking at it and researching, I realized that everything that I found out there really focused on the act of moving and most of the time the imagery was pretty sad. It would be a military kid crying or waving goodbye to a parent.

When I looked around at my peers, because we’re an army family, I saw kids that were just being kids and they really had an exciting life because many of them lived overseas, they moved a lot and had amazing experiences. I wanted to give them an opportunity to share that with each other, so that they could become encouraged about military life, rather than just hear this message all of the time that they were broken because their parents were being deployed and they would have too many challenges and have to struggle, and that moving was a bad thing. So, I wanted them to share their stories with each other.

And when they did that, I found that they had a great respect for each other. So, that’s really why we launched the magazine. We did a prototype and tried to figure out if it would work and if it was what they wanted and we found out that it was. We’ve had an exciting journey since.

Samir Husni: To borrow from your tagline “Find Your Adventure,” have you found your adventure; is this your adventure now?

Janine Boldrin: It’s 110% my adventure. (Laughs)

Samir Husni: (Laughs too).

Janine Boldrin: I love it. It’s amazing the emails that I receive from kids. I have three kids of my own and they’re really why I wanted to do this. I had not worked within the kid’s space with writing, so it was very unfamiliar to me. I wasn’t quite sure what I was going to get, but when I get stories from kids, I am encouraged as an adult every single day.

Recently we started sending military kids out to do reporting in the field and it’s been so much fun. They go to concerts and museums; they meet with representatives of the museums and then they write a story for us. And they write to me just to say thank you. They thank me for giving them this experience and for trusting that they could do it. And it really is an adventure. It’s so much fun.

Samir Husni: And you’re talking about the “Hit the Road” section of the magazine; the road trips that the kids are making?

Military Kids Life1 Janine Boldrin: Our reporters are doing content for our print magazine, but they’re also developing some online content for us. For instance, we did a section in our most recent issue on the USO and we sent four military kid reporters out to visit some USOs across the United States. And they had designated times that they needed to go; they had representatives that they were meeting with to interview, and it really gave them a unique experience. They learned communication skills, how to tell a story, how to be responsible and it’s just a great opportunity for them. So, that’s what we’re doing with our reporters; we’re trying to get them out, more than just doing things over the phone, so that they can write about their own experiences.

Samir Husni: We live in a digital age, there’s no question about it. And some people say that kids don’t read anymore; so why did you decide to launch a print magazine?

Janine Boldrin: That is an excellent question because we have been asked that since the beginning. We don’t get that question so much anymore, but when we launched the magazine everybody said we had to be out of our minds because kids would not engage with it if it’s not online content.

When I saw my own kids and how they engage with magazines and books; they love print. They love going to the library; they love touching and they’re very tactile. Kids will read a magazine in the back of a car; they love the brightness of it and they love getting mail. Kids today love getting something in the mailbox that is for them. That’s such an enjoyable experience. It’s not an experience you can have by downloading something on a phone or looking at a tablet or other Smart devices.

People get their mail every single day and when a magazine shows up with the child’s name on it, it’s exciting for that child. And then they can go up in a tree with it, they don’t have to worry about glare. They can sit on the playground with it, and that’s where we see our kids’ reading magazines.

And they tell us. They love how bright it is and they love the feel of it. We think a lot about the feel of our magazine. When they touch it, they love the quality of the pages. And that’s what kids like and engage with. So, we’ve found that a print experience is perfect for what we’re trying to do.

Samir Husni: I can hear the passion in your voice and the love you have for this project. How are you taking it from mere passion and love to a business model?

Janine Boldrin: Exactly. That’s a very good point. You can have a passion for something, but it doesn’t necessarily mean that everybody else will have that same passion for your product. And we were worried about that at the beginning because we weren’t sure where this was going to go. But what we have found is that we’ve created something that people didn’t realize they needed, and in doing that we have found a home for our magazine in schools, libraries and in non-profits that serve military families. We have a lot of military personnel stationed overseas that order individual subscriptions. We’re working with overseas schools that serve military kids to get our magazine into their schools.

What we’ve found is that it really serves as a springboard for conversation for military kids in group settings. We’ve also developed an educator’s guide that goes along with every issue so that teachers know how to use the magazine in their classrooms and in their small groups. It can help in starting conversations with military kids about their experiences.

Something that is secondary to our primary audience is that we’ve found that adults who interact with military kids are reading our magazine, because they want to learn what the military kid experience is so they can serve them better. We’re finding that teachers, parents; again, non-profits that serve military kids, they want to be reading it, so that they understand what our kids are experiencing. And that’s how we’ve grown our business.

It started with us thinking about individual subscribers, but now we’re getting subscriptions from schools. Our magazines are going to select USO centers and one of those is in airports where kids and parents will sit down in for periods of time between flights. And as you well know, airports are a place where people pick up magazines. We’ve found a lot of different homes that we didn’t expect to find and we’re finding more every day.

Samir Husni: You’ve launched the magazine and you’re now on issue #6; what has been the biggest stumbling block that you’ve faced during all of this and how did you overcome it?

Janine Boldrin: I think part of it was just not pushing hard enough in the beginning. I feel like we started out really slowly. And we focused on things that weren’t important. For instance, we really thought we needed to have an awesome website right from the get-go. So, we put way too much time and way too much energy in creating this website, instead of really focusing on getting the product out the door. That was one of our primary fails in the beginning.

I will say that we sped up after that play. Once we got past that and put our first prototype out, then I started realizing and my business partner Amy, who’s also another military spouse, also realized that it was really more about just getting the product out there and it didn’t need to be perfect. We’re perfectionists, her and I. But we realized the magazine didn’t need to be perfect in the beginning and now as we get it out and it’s getting where we want it to be, we see it as more of an evolution than perfect from the start.

Samir Husni: What was the most pleasant moment for you on this journey?

Janine Boldrin: It’s the kids, every single time. Their emails are just wonderful. I always keep a copy of the magazine in the backseat of my car because my kids will be doing something and I’d much rather have them reading the magazine than playing some electronic device. And I love to hear them comment about something they read.

I just love the kids’ feedback. They’re brutally honest. They will be the best critic on the face of the earth. They do not filter their comments like adults do. If they don’t like something, they’ll tell you they don’t like it. (Laughs) And if they love something, they’ll have a very genuine expression about it. So, I love hearing those comments from my kids in the backseat or one that has emailed me.

Recently I was at the pool with friends that I have known for quite some time. Their daughter had written something in school weeks ago and had said to her mom that they had to bring it to me. So, her mom had packed it into the pool bag and her daughter gave it to me at the pool and said, “Ms. Janine, can you please read my essay? I really want you to read this.” And it was all about her father’s deployment. I sat down and read it and it was just so genuine about her feelings as she was going through this experience. And I felt so trusted with her story and all of these kids’ stories. It takes a lot of trust to put your story out into the world.

So, it’s them, the kids. It’s them bringing me what they want to share with their peers and the world. And that’s what’s really exciting about it.

Samir Husni: Is there anything else that you’d like to add?

Janine Boldrin: I just hope that we’re able to connect more with schools and libraries and that more know that we exist. Quite frequently older military kids will tell us that they really wish this magazine had been around when they were kids. It’s really just hoping that we can reach more people to let them know we exist. And we’re always happy to send a complimentary copy because we find that once people see it and experience it, they understand it. And they get excited about it too.

And I’m also really excited about our reporters. We have about eight reporters in D.C. and we have a database of around 30 kid reporters across the United States. And we’re connecting them with opportunities to go out and experience things and write about them. Adults and organizations have responded great to that.

That’s what I hope to see in a year, that we’re in more schools and libraries for military kids and getting more experiences for our reporters.

Samir Husni: What motivates you to get out of bed in the morning?

Janine Boldrin: When I was a kid I wanted to be a journalist. I’ve wanted to be a writer since day one. I took a very long and winding path to get there, including getting master’s degree in manufacturing and working for IBM. One day I managed to get back to what was truly my original calling.

And what gets me out of bed is providing encouragement and opportunities to kids who also feel that, so that they don’t go down a winding path, but they see a more direct way out to what they truly see as their passion and growing their passion, because I would have loved that. I would have loved to have had that same support and someone telling me that I could do this. And that I could not only do it, but be successful. And then being shown that this is how I could do it.

That’s really what gets me out of bed is encouraging kids to, and maybe they’re not going to become journalists, but to develop their communication skills and have someone to tell them that they can do this. And that they’re stories are pretty cool.

Samir Husni: My typical last question; what keeps you up at night?

Janine Boldrin: (Laughs) What keeps me up at night? Probably my own kids. (Laughs again)

You know, military life isn’t easy; it really isn’t. My husband is gone from us more than he’s been at home and when you have three kids it’s a huge balance in making sure that everyone’s emotional needs are being met, when you’re the only parent around and your spouse is in a job that puts them in harm’s way. We’re in a society that is very disconnected from that. They don’t understand the sacrifice, truly that is made by military families and the sacrifices that our kids make. And that keeps me up at night.

It worries me and that’s really why I have the magazine too, because I need something that reminds me of why we do this and the positivity and the bright side of life that we encourage as a military kid. Our parents read our magazine too and they frequently tell me that it also reminds them of the positive side of military life.

So, it’s my own kids, military life and the challenges that presents. And it’s another reason why I started the magazine.

Samir Husni: Thank you.