Archive for the ‘Innovation in print’ Category

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Digging ‘Print Is Dead’s’ Grave – Sounds Like Fun. A Mr. Magazine™ Musing…

June 3, 2015

Photo illustration of the dearly departed "PRINT IS DEAD" by Darren Sanefski.

Photo illustration of the dearly departed “PRINT IS DEAD” by Darren Sanefski.

From http://transom.org/2011/four-feet-under/ Picture used for illustration from http://transom.org/2011/four-feet-under/%5B/caption%5D I’ve been thinking a lot lately about all of the self-appointed media critics and analysts that seem to be coming out of the woodwork today when it comes to the vital signs of American magazines and magazine media. From a slight pulse to no pulse, these “chosen” ones have deemed it their mission in life to report negatively on the heart rate of magazines and magazine media.

I’m not sure when the pontificators of print’s demise were put upon their lofty thrones, or who dubbed them kings and queens of the print-is-dying court, but nevertheless, they know who they are, no matter how much they claimed to have never said ‘print is dead.’ I am sick and tired of reading and hearing their opinions on what I should think and how I should interpret what’s happening in the magazine industry today.

Not even in my wildest dreams have I ever imagined myself in a position where I could commandingly influence a CEO, an editor, or a magazine publisher on what they should be reading or how they should be running their company. I consult with them and offer my opinions, but never try to bewitch them to agree. Needless to say that with all my years of and in education, with my doctorate and all of my life’s studies, I have not considered that ability among my many talents.

I have always tried to be the bearer of positivity, rather than negativity when it comes to the status and health of magazines and magazine media. True, sometimes when you see the light at the end of the tunnel, be careful, because it could be the train coming. However, more often than not that scenario is the exception, rather than the rule. Usually, light doesn’t mean darkness; usually light is self-explanatory, it means light. Hope. Possibilities. The dark times have been illuminated.

I try never to curse the darkness; you never know what you may discover while you’re stumbling around in there; instead, I try to dig the match out of my pocket and light the candle.

Having said all of this; a few things have taken place over the last few days that motivated this particular justifiable tirade, justifiable because every con has a pro and every action has a reaction and this is mine.

One is the story of Caitlyn Jenner. If you’re a person who knows the media and knows how the media works; was it really a surprise to you that Caitlyn Jenner chose a magazine such as Vanity Fair to release the story and her first pictures to? What other medium could have created the same lasting effect, the same day in and day out, in-your-face exposure as a magazine like Vanity Fair? Every means of communication out there, from television to Internet, was talking about Vanity Fair magazine. Every social media site that digital media has brought into being was consumed with one thing: the subject matter of an ink on paper magazine, a print entity that was lighting the Internet up with more curiosity and concern than the latest pop-up ad from this store or that.

xeyqffdecqgbr9m9dyzz-2 That print publication, Vanity Fair, is as powerful today as it was yesterday, if not more. And the Caitlyn Jenner cover validates that.

Oh, the cynics will cry from their familiar spot at Complaining’s table that we have to be realistic and look at the condition of the newsstands and the numbers. But how often do we need to remind those same cynics (who have also appointed themselves media prophets) that in the United States of America, newsstands are only 8% of the total distribution for regularly published magazines?

I wish those same naysayers would try to tell someone like Tony Romando of Topix Media Lab, who’s making his entire living from the newsstands with his Bookazines, which really are only glorified magazines, that print is in decline or out the door completely. Tony has adapted his business model to the needs and the desires of the American public and it’s working.

I have decided to stop reading all of these opinionated, emotionally driven, power-seeking editorials and comments that continue to tell me how bad off the industry is and will remain, whether it’s circulation revenue in newspapers is starting to be larger than advertising revenue, which by the way should be reason to celebrate, we are finally charging the consumer the fair price for our products.

It was always known that if we created a product that’s worthy of buying, consumers would pay for it, because we’re not just in the content delivery business. The media company as a whole may be a content-generating company, but magazines are much more than content. Magazines are experiences. And the experience that Caitlyn Jenner’s story in Vanity Fair will generate, you can bet will be much more than a five-second click of the mouse.

When I travel overseas and bring back all of these new magazines and first editions; when I talk to these companies’ CEO’s, editors, and publishers and I see the energy and the intriguing responses they have for how media is changing; I never hear that negativity or that phrase: Print is dead or dying.

Needless to say, for those of us, including myself, who don’t have a horse in this race; I feel if we don’t have anything good to say, then we should keep our mouths shut. That’s just plain common sense. If we can’t edify the industry that we all claim to love; if our opinions shed misplaced doubt and negativity on the very profession that allows us to be talking about this today; then we should all stay quiet.

Look at any other medium, any other platform, any other product, and tell me where do you find as much negativism, as many energy-draining articles and predictions about an industry where every CEO you’ve spoken with tells you they’re still making money, good money, and if they start something that doesn’t work, they kill it and start something else. And that has always been the mantra of the magazine business. The death of one publication doesn’t mean the death of an industry. If so, when they removed your favorite TV program; your entire television experience was over. I guess you just haven’t realized it yet.

I am a student of the newsstands; I am a student of the streets; I am someone who spends almost $30, 000 a year buying magazines from the newsstands. I’m not just writing fiction. I live the newsstands; I walk it everyday. I purchase magazines every single day. My monthly magazine bill is larger than my monthly food bill.

And when I see those negative comments, I think about all of the digital entities that have either added a print component for the first time or brought one back from the grave. People like Creativ Magazine, who were digital before print; C-Net; Pitchfork Review, Porter and the list goes on and on. How do the naysayers of print pigeonhole those people?

Or major publishers who have launched new titles: Bauer’s Simple Grace, National Geographic’s History, Smithsonian’s Journeys and Rodale’s Organic Life, to name a few. These are people who don’t take their money lightly and yet, they’re investing in print. And they’re not listening to the self-appointed media critics? How dare they?

Like many in the publishing world, I will continue to refuse the gravediggers of print as they spout their invitations to join their negativity. And as their shovels toss dirt upon print’s coffin, I’ll refuse to play a part in that as well.

In fact, the only shovel you will ever see Mr. Magazine™ touch is the one that will be used after they lower the lifeless (pun intended) phrase “Print is Dead” into the ground. For that one, I will toss a shovel or two…

Until the next Mr. Magazine Musing…

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Compelling & Visually Addictive – There Are No Rules In Creativity – Only The Realization Of Human Potential – The Mr. Magazine™ Interview With Blake Brinker, Publisher & Brad Thomas, Editor-In-Chief, Creativ Magazine

June 3, 2015

“How it all worked out was we were seeing so many dynamic people and so many amazing creations and these great efforts in curation and sharing, but we thought, it’s still not enough. We wanted to propagate it further in a way that was almost sacred to people and we thought that magazines were in that category.” Blake Brinker


“I get motivated every day when people come up to us and say, creativity is the most important thing we have and you’re putting it into this beautiful print publication that I can get on a monthly or bimonthly basis. Just wow; what you’re doing is so inspiring and the world needs this, with the things that are happening in the world today, we need something like this to give people hope and optimism. With all the negativity that we hear every day, this is an incredible amount of positivity showcasing people doing absolutely amazing things.” Brad Thomas

Creativ April-1 (2) What can you say about a magazine that literally takes your breath away? One that is so visually and design prolific that your reaction each and every time you pick it up is nothing short of amazing?

Creativ is a concept born from the minds of Blake Brinker and Brad Thomas, publisher and editor-in-chief respectively. The magazine is an extension of their global online network that is serving to integrate print and digital to the acme of their intertwined possibilities.

A showcase for the creativity of the Creativ community; the magazine celebrates the human imagination and originality in tangible form, cradling creativity of all kinds. With every spread between the magazine’s covers, links are offered to the featured artist’s individual portal on Creativ.com. It’s a unique and ingenious gratuity that conjoins the tangible with the conceptual.

I spoke with Blake and Brad recently about the inspiring and wonder-filled magazine and about the celebration of human potential they offer with every issue. Gracious and fun-spirited; the two men offered a glimpse into the Creativ world and their hopes and expectations for the brand’s future.

I hope you enjoy the Mr. Magazine™ interview with Blake and Brad; the powers-that-be behind Creativ Magazine as you open your mind and let your ‘Creativ’ juices flow. And be sure to watch the two Creativ videos embedded in this blog by the Creativ team… I will not spoil the surprise, but I know you would thank the Creativ team for creating them and me for embedding them in this Mr. Magazine™ interview.

But first, the sound-bites…


Brad Thomas  (left in blue) and Blake Brinker (right in black)

Brad Thomas (left in blue) and Blake Brinker (right in black)

On the Creativ story: (Blake Brinker) Early in my life and pretty much early in Brad’s life, we just developed this fascination around the human potential. And around what makes good people great. What makes some people leave lasting marks on the world? What is it that makes up their character? What are the things that they do and what are the thoughts that they have that enable them to push further and look at the world differently and create things which ultimately make a difference; things that create inspiration and wonder?

On being a bit crazy to start a print magazine after being a digital-only entity first:
(Brad Thomas) (Laughs) I believe we’re just crazy enough to try things that make other people want it. Cheers to the crazy ones, right? (Laughs again) Creative jobs are a little bit crazy; otherwise, we wouldn’t have the iPhones or anything else creative, so I think being crazy to a certain extent is a good thing, because doing what we’re doing, and not even just what we’re doing, but just being an entrepreneur in general, is really a scary thing. You have to be a little naive and a little crazy to even go forward with it.

On why they decided on a print component:
(Blake Brinker) How it all worked out was we were seeing so many dynamic people and so many amazing creations and these great efforts in curation and sharing, but we thought, it’s still not enough. We wanted to propagate it further in a way that was almost sacred to people and we thought that magazines were in that category.

On a major stumbling block they’ve had to face:
(Blake Brinker) The execution; the actual publishing side of it has been a huge stumbling block, a lot more than it was, but thankfully we have a very tendered gentleman that has helped us. He has a lot of history in manufacturing and working with tradesmen and he’s really came in here and helped us take this dream of making this magazine and turned it into what you see today, which is this ultra-high quality piece.

On the decision to start out as a monthly magazine:
(Blake Brinker) We chose to go monthly mainly at first because we really wanted to see what the market opportunity was. Where I think strategically what we realized was, one might be the best idea for us to do in all reality considering the fact that we are attempting to create impact, but bimonthly is actually probably better for us for a certain period of time because it allows us to propagate awareness about each issue much longer, instead of running into that distribution triangle problem that we have for the last month or two.

On the most pleasant surprise they’ve encountered along the way:
(Blake Brinker) Seeing people’s reaction in 2015 when we hand them our quality publication that comes from a company that has a social media platform, seeing that reaction to a tangible product is great. People say: oh, I get it. People who may not have gotten what we were doing before who get it and say: there are 72 pages here; I can see who you guys are and I can see what you’re doing. That was a very pleasant surprise.

On whether they’re stronger believers in the power of print now that they have a print component within their brand:
(Blake Brinker) I think that to some degree we are, but I would say we always understood the power and the beauty of print. And as students of history, we look back at how the printing press changed the world so dramatically and it’s such a special thing to humanity, so I think that it’s on par with this mission that we have.

On what motivates them to get out of bed every morning and say it’s going to be a great day:
(Brad Thomas) I get motivated every day when people come up to us and say, creativity is the most important thing we have and you’re putting it into this beautiful print publication that I can get on a monthly or bimonthly basis. Just wow; what you’re doing is so inspiring and the world needs this, with the things that are happening in the world today, we need something like this to give people hope and optimism.

On what motivates them to get out of bed every morning and say it’s going to be a great day:
(Blake Brinker) I just wanted to say Brad did a really good job of expressing some really good examples that are contextual as to why we wake up in the morning. I’ll just say this from my own level; as entrepreneurs and creatives and as humans, we’re not remembered by how we projected ourselves to be; we’re remembered by the stories of our own paths and by the paths that we’ve forged.

On whom Creativ Magazine would be if they had a magic wand that could turn it into a human being with one strike: (Blake Brinker) Honestly, I would say a combination between Steve Jobs and Nelson Mandela.

On anything else they’d like to add:
(Blake Brinker) Just how everything is so all about digital. It makes me think of a science fiction movie where the future is really dark and people are scared and depressed, but there’s an underground movement where people are holding onto art, because it’s so sacred and real. It’s funny how accurate sometimes science fiction can actually be.

On anything else they’d like to add:
(Brad Thomas) Getting people out there to buy the magazine and to support this movement, to support all of these people who are really putting their lives on the line to do something that matters, to realize that they can be a part of effecting change and a part of inspiring curiosity.

On what keeps them up at night:
(Brad Thomas) All of the unknowns. It’s knowing that we feel we have something so incredible here that the world is craving. And it’s the worry that you have something so beautiful and something that you believe people truly want and you just want it to succeed.

On what keeps them up at night:
(Blake Brinker) I think about people who haven’t seen the light. I think about people who are living their lives in a way that they’re being told to and they’re living their lives in ways they don’t even understand because they’re not awake. I think about how good it would feel to help be a part of something that brings them to the light, so to speak.

And now the lightly edited transcript of the Mr. Magazine™ conversation with Blake Brinker, Publisher and Brad Thomas, Editor-in-Chief, Creativ Magazine.

Samir Husni: Congratulations on the magazine. It is just beautiful.

Blake Brinker: Thank you very much.

Samir Husni: Blake, allow me to quote from your publisher’s letter; you write: curiosity drives imagination, imagination sparks creativity, and creativity manifests solutions, inspiration, and wonder. Creativity is the realization of human potential.

Tell me the story about Brad approaching you with the idea and how, after two hours in a hot tub, it really began to take shape. And also have you graduated yet; are you an M.D. now?

Blake Brinker: I actually dropped out of medical school to build this company with Brad. It’s one of those choices that you can’t necessarily look back from.

Early in my life, and pretty much early in Brad’s life, we just developed this fascination around the human potential. And around what makes good people great. What makes some people leave lasting marks on the world? What is it that makes up their character? What are the things that they do and what are the thoughts that they have that enable them to push further and look at the world differently and create things which ultimately make a difference; things that create inspiration and wonder?

We just believe that when we look at the attributes of the human condition, that pathway quote that you just read from the publisher’s note; you encounter the pathway to finding ourselves and connecting with each other in a way which breaks down borders, creeds, religion, and race. It connects us in such unique ways; creativity is this invisible cord between people.

When you look back at history, which is something that Brad and I like to do often, you see what happened as a result of the Renaissance, in Europe and throughout the world. You see what happened when a few key members of society engendered artisans and creators and encouraged them and gave them venues for expression. It ultimately connected them and had a real economic impact.

We looked at this new era, with this huge technological boom and we saw the opportunity to create a similar catalyst as was done with the artisans in Italy back in the day. We wanted to create a place that further catalyzed that primal element of ignition, which was the tie between curiosity and the manifestation of imagination, which was creativity, and which is the most powerful tool that we have.

And I will say lastly that we see so many people in this world who are doing great things. There are a lot of them that are focusing on the problems and that’s great, we need people focusing on the problems to provide solutions, but we look at the world a little bit differently. We said, OK, there are a lot of problems, we get that, but who are the people who ultimately create solutions? And who are the people who ultimately inspire solutions?

And when you look at that, you look at the population, which is overtly creative, the ones who are carving their own path and we ultimately just wanted to provide a resource and a catalyst for them to see that they’re not alone and that it’s a really good balance.

Samir Husni: Brad, I know this was your idea and your brainchild. I always I tell my students that you can’t be creative unless you’re crazy. Are you crazy to publish a print magazine in today’s digital age, after beginning on the digital front first?

Brad Thomas: (Laughs) I believe we’re just crazy enough to try things that make other people want it. Cheers to the crazy ones, right? (Laughs again) Creative jobs are a little bit crazy; otherwise, we wouldn’t have the iPhones or anything else creative, so I think being crazy to a certain extent is a good thing, because doing what we’re doing, and not even just what we’re doing, but just being an entrepreneur in general, is really a scary thing. You have to be a little naive and a little crazy to even go forward with it. (Laughs)

There is so much uncertainty with everything, but I don’t think we’re crazy. I consider ourselves smartly creative and we’re just going for it. We’re trying to do something that’s different. Whatever direction everyone else’s path is going in; we’re trying to go in a slightly different one and to show that there are a lot of amazing people out there, doing a lot of incredible things using all types of creativity.

Samir Husni: You started with digital; the first four issues were digital-only. Then with issue five you moved to print. Why?

Blake Brinker: Our thought was to get the word out about what we were doing. We had been out in the world at a few different conferences internationally and we had brought some sample issues with us that we had digitally printed, because we wanted to get reactions to the concept.

Another thing to remember is we started this company by building an online social media platform first and we really started when it was the foremost current of the digital realm.

How it all worked out was we were seeing so many dynamic people and so many amazing creations and these great efforts in curation and sharing, but we thought, it’s still not enough. We wanted to propagate it further in a way that was almost sacred to people and we thought that magazines were in that category.

So, we wanted to test it out. We printed the copies and we took them to the conferences at different places in the world. And the reaction was great. People were asking; what are you doing; is this like a brochure? It was really amazing to see the reaction of people who were covered in our social media platform and people who were sharing on social media, because many of these people had never even thought about being published in a magazine. And when it happened, it was just different for them. It was different from being featured on a blog; it was different from someone sharing a Facebook post about them. It felt different; it felt real.

It was then that we said you know what; what the heck? Let’s see how far we can get this thing out there and bring physicality to what we’d been doing all along.

Samir Husni: What has been the major stumbling block that you’ve had to face, from the point of conception to the point of delivery?

Creativ May-2 (2) Blake Brinker: The execution; the actual publishing side of it has been a huge stumbling block, a lot more than it was, but thankfully we have a very tendered gentleman that has helped us. He has a lot of history in manufacturing and working with tradesmen and he’s really came in here and helped us take this dream of making this magazine and turned it into what you see today, which is this ultra-high quality piece.

So, publishing definitely would have been a lot bigger stumbling block had we not had him, but it’s still challenging, because there are so many pieces to put together, from the creation to the binding, to the palletizing and shipping for distribution.

Ironically, we didn’t even realize it, but living in Phoenix, there are some very high-tech training platforms about 30 minutes from our office. When we started investigating how we would create these magazines, especially the covers, and have the quality be so high, we started realizing that we could now do something extremely different in terms of the design and the quality and we could do it at a cost that wouldn’t bury us and we could sell the magazine at a good price and still make a little money.

And the second thing is we got a major distribution deal two months ago, which is the reason why you saw the magazine. And we got it on our first print issue. We were placed in all the Barnes & Noble’s in the country and lots of other stores, around 300 stores initially. Now we’re double.

I’d say the biggest stumbling block for us now is trying to put the pieces together and create the whole circle. We want to create a really valuable and meaningful magazine on top of extending our distribution in intelligent ways and commanding exceptional ad prices for the publication and also extending into the digital platform that we have. So, the challenge now is really to put all those pieces together and turn it into a viable and self-sustaining project.

We consider ourselves a media company, so the print publishing is one side and the digital side is the other; we have this huge online community. We also have a whole development team in Vietnam that’s currently working on the version 3 of our community platform, which is going to be really exciting because we’ll be making the whole experience online very cohesive with the experience of the magazine.

So, that’s the other challenge. We have all of this stuff going on with the magazine and then we have this huge platform that we’re building. We have 20 or 22 employees that are solely tech. And one thing that we’ve realized, all the conferences that we have gone to all over the world, especially last year, what we have realized without a doubt, between the publication and the platform online, is that we’re serving a recipe that everyone wants. We have the dish; but what’s the most effective way to get it out there so that people know it exists. We can’t tell you how many people have said: this is what I’ve been waiting for. And that’s validation for us.

Samir Husni: Where most of the new magazines that are coming out into the marketplace, which I might say, have much less creativity and much less production value and the expensive look than Creativ, are published four or six times a year, you’re publishing monthly.

Blake Brinker: It’s interesting; I think because we started in a space that we probably really shouldn’t have been in, there are no rules for us, which is kind of invigorating, right? We don’t have to abide by a certain set of rules that are handed down by a big multinational company or something.

We chose to go monthly mainly at first because we really wanted to see what the market opportunity was. Where I think strategically what we realized was, one might be the best idea for us to do in all reality considering the fact that we are attempting to create impact, but bimonthly is actually probably better for us for a certain period of time because it allows us to propagate awareness about each issue much longer, instead of running into that distribution triangle problem that we have for the last month or two.

You’re working and working, turning things out and you take a day off; then you’re working doubly hard again for the next 26 days trying to get the next one out. We realized that our team may be a little too small still to be able to knock out that exceptional quality of a magazine every 15 to 20 days and make sure that we obviously focus on the rest of the business at the same time. We don’t have any rules on this, but we’ve strategically decided now that for the time being we are going to go to a bimonthly, so that we can really make sure that every future issue is better than the least. Not only better, but also equally important, making sure that every issue has, at least with the size team that we have, making sure that every issue is properly marketed.

As soon as we got this last one done, we actually just finished up what would have been the June issue, we realized we really hadn’t spent any effort in trying to figure out how to effectively market the May one or any future ones. We’re just spinning in circles here. We need to slow down a little bit and really figure out how to let people know we have the dish that they want. How to do that takes time to learn. So, we’re going to slow things down just a bit, at least until the end of the year. Our intention is to be monthly again and we’re going to be doing a weekly newsletter digitally too.

Samir Husni: What was the most pleasant surprise that you’ve had during this experience?

Blake Brinker: The reaction of people when they receive something that is beautiful like this; the reaction, especially of young people, because again, it’s almost foreign to them. I’m 31 and Brad’s 35 and we grew up with National Geographic on our coffee tables and TIME magazine and it was sacred to us, almost as sacred as it was to our parents’ generation.

Seeing people’s reaction in 2015 when we hand them our quality publication that comes from a company that has a social media platform, seeing that reaction to a tangible product is great. People say: oh, I get it. People who may not have gotten what we were doing before who get it and say: there are 72 pages here; I can see who you guys are and I can see what you’re doing. That was a very pleasant surprise. You see 17 year-olds who get a copy of it and their eyes light up and they’re intrigued and want to know what it is. We actually had someone tell us last week that their young kids couldn’t put it down.

Samir Husni: Are you now stronger believers in the power of print than you were before you brought the magazine to print?

Blake Brinker: I think that to some degree we are, but I would say we always understood the power and the beauty of print. And as students of history, we look back at how the printing press changed the world so dramatically and it’s such a special thing to humanity, so I think that it’s on par with this mission that we have.

Samir Husni: What motivates you to get out of bed each morning and say wow; this is going to be a great day?

Brad Thomas: Well, I could give you a million examples. Recently, we were in Las Vegas at a major tech convention. Our tech company is being showcased as one of the top special companies in 2015 and we’re a tech company with a print publication, so we were getting a lot of attention.

And I get motivated every day when people come up to us and say, creativity is the most important thing we have and you’re putting it into this beautiful print publication that I can get on a monthly or bimonthly basis. Just wow; what you’re doing is so inspiring and the world needs this, with the things that are happening in the world today, we need something like this to give people hope and optimism. With all the negativity that we hear every day, this is an incredible amount of positivity showcasing people doing absolutely amazing things.

Someone else came up to us recently and she almost had tears in her eyes when she was looking at the magazine and she said, oh my gosh, you guys are doing exactly what I’m so passionate about. And she pulled up her sleeve and she showed us this tattoo that was in Arabic and it read “Bring Arab Creativity Back,” and it was a pretty special moment. I mean, she literally started crying.

Samir Husni: It’s an amazing thing you’re telling me about the younger generation falling in love with print. So many times I’ve thought that it is we who are our own worst enemy; we who predicted the demise of our own medium; we who predicted the death of print and almost force-fed the new generation the idea that everything is now digital, from E-paper to E-books, which of course now, we’re reaching a plateau in that area.

Blake Brinker: I just wanted to say Brad did a really good job of expressing some really good examples that are contextual as to why we wake up in the morning. I’ll just say this from my own level; as entrepreneurs and creatives and as humans, we’re not remembered by how we projected ourselves to be; we’re remembered by the stories of our own paths and by the paths that we’ve forged.

And so for us, this whole project; this whole endeavor is about creating impact that creates a legacy of impact where that new generation is affected. And that we change at least one paradigm into a positive reaction and I think that from a high level, we think about that every day and every morning, despite the fact that we’re a startup and it’s so hard. There are so many different things that startups have to do, that they’ve always had to do, no matter what age it is. We call them startups now, there weren’t necessarily called that before, but the impact of what we’re working on is the sole reason that we get up every morning.

Samir Husni: I read both of your backgrounds and it looks like curiosity and creativity are the common denominators between the two of you. What would be an additional ‘C’ besides curiosity and creativity that drives the both of you?

Blake Brinker: I would say opportunity in the largest sense. We both look at the future and we see opportunity more than we see challenge. We didn’t know each other four years ago and we’ve become such great business partners because we became such good friends. Our deep belief in everything we’ve just discussed over the course of this interview has actually made us into better friends than could have ever happened. And even though this is very scary, being a startup and everything, with all the unknowns that we have to deal with; it’s great knowing that you’re in it with a best friend who is right there with you on the exact same page, which I think is a huge advantage for us.

Brad Thomas: We have a very human connection with one another and it’s not based on profit.

Blake Brinker: It’s a very deep connection.

Samir Husni: If I gave either or both of you a magic wand and you struck Creativ Magazine with it and a human being appeared instead of the magazine; who would that person be?

Blake Brinker: Can it be a combination of two people?

Samir Husni: Yes, it can.

Blake Brinker: Honestly, I would say a combination between Steve Jobs and Nelson Mandela.

Samir Husni: That’s a very good answer.

Blake Brinker: Thank you.

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

Blake Brinker: Just how everything is so all about digital. It makes me think of a science fiction movie where the future is really dark and people are scared and depressed, but there’s an underground movement where people are holding onto art, because it’s so sacred and real. It’s funny how accurate sometimes science fiction can actually be.

I mean, when you think of digital; digital creates a lot of things of course, but there comes a point when we have to keep some things sacred. It’s important for our past and it’s important for our future.

Brad Thomas: Getting people out there to buy the magazine and to support this movement, to support all of these people who are really putting their lives on the line to do something that matters, to realize that they can be a part of effecting change and a part of inspiring curiosity.

The biggest thing is just trying to call all people and that is our thing right now, to get as many people as possible to join the movement. We’re reaching out with open arms to the world and saying: join us.

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

Brad Thomas: All of the unknowns. It’s knowing that we feel we have something so incredible here that the world is craving. And it’s the worry that you have something so beautiful and something that you believe people truly want and you just want it to succeed.

We have a picture on our wall of a pie. One slice of the pie is 15% and the rest of the pie is 85%. And the slice of pie is the 15% of what you can control and the last 85% you’re dealing with circumstances. I have a difficult time sometimes dealing with the fact that there are uncertainties. And all that we can focus on is the 15% that we can control. And that you have to pretty much roll with the punches and when you do that and you have an awesome partner and a great team, you can take those punches a little easier. And that’s the one thing that helps me sleep at night. Otherwise, I’d be a wreck. (Laughs)

Blake Brinker: I agree with that as well, but for me; I think about people who haven’t seen the light. I think about people who are living their lives in a way that they’re being told to and they’re living their lives in ways they don’t even understand because they’re not awake. I think about how good it would feel to help be a part of something that brings them to the light, so to speak. I come from a place where many, many people are just accepting of the circumstances handed to them and I think that can be said about a lot of places in the world. There is a big part of the population that does that. And I think about how much happier so many of them would be if they just kind of looked on the brighter side of things. And it’s really not just about that; it’s a matter of seeing opportunity everywhere and showing up, opening the door and then running through it. I think about people who are struggling to run through that door, who are doubtful of doing it and are scared.

And that makes us want to work harder to get to them, to show them that they are not alone.

Samir Husni: Thank you.

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Domino’s Second Wind Is Blowing The Magazine And The Brand Full-Speed Ahead – The Mr. Magazine™ Interview With Beth Fuchs Brenner, Chief Revenue Officer, Domino Media Group

June 1, 2015

“The print magazine was the foundation by which we brought the brand back, so even the savviest digital people on our team know how important the print vehicle is. No, I don’t think we could have brought it back without print; I mean that’s what people knew and loved and adored. And frankly, people don’t necessarily know that we’re back online, but they know that we’re back in print.” Beth Fuchs Brenner


The Mr. Magazine™ Reports from the IMAG conference.

IMG_6720 Reinventing something requires the ability to take the foundation of the original and build something better and stronger upon it. And that’s just what Domino Media Group has done with Domino, the print magazine, and Domino, the brand. It’s still the same brilliant home design go-to destination as it always was, but has a newer, fresher more synergetic appeal.

During the IMAG Annual Conference, which took place May 18th to 20th in Boulder, Colorado; I was able to sit down with Beth Fuchs Brenner, Chief Revenue Officer for Domino Media Group and talk a bit about the magazine and the brand itself. Beth was very succinct when she said the print magazine was the foundation by which the brand was resurrected from its 2009 grave.

We talked about where the magazine is today; the power of the print component of the brand and how her life is different today than it was in Domino’s former years. It was a very illuminating discussion, with a woman as engaging as the Domino brand itself.

So I hope you enjoy the Mr. Magazine™ reports from the IMAG conference with Beth Fuchs Brenner, Chief Revenue Officer, Domino Media Group. I know it was Mr. Magazine’s™ pleasure to be a part of it.

But first, the sound-bites:

On where Domino is today: Well, we’re light years ahead of where we were in 2009 and also from where we were a year and a half ago. I’ve been known to say in the last few months that everything is really starting to hum.

On whether the brand could have been resuscitated without the print component:
The print magazine was the foundation by which we brought the brand back, so even the savviest digital people on our team know how important the print vehicle is. No, I don’t think we could have brought it back without print.

On whether she believes Lucky is taking a page from Domino’s reinvention book:
I do think that the new Domino Media Group wrote the script and Lucky is playing us in the movie. Clearly the deal itself — the sale of Lucky Magazine to LA-based Beachmint by Condé Nast — was inspired by the success of Domino’s new model.

On how her life has changed today since her former Domino days:
In my former Domino life, I worked for a huge corporation and my new life is a start-up; that alone counts for the difference. I think about the weeks and months that it took to get decisions worked up the chain at a big company versus the many, many decisions we make every day now. And if they’re good ones, great and if they’re not, we pivot and we choose another path.

On the major stumbling block she’s had to face:
I would say that I think it’s harder today to spread the word about a brand and let people know that you’re really back. So, I think just communication and brand awareness is a challenge. Lucky for us we have a lot of that. But if you’re launching a brand today from scratch, that’s a really tough challenge.

On what motivates her to get out of bed every day: Exhilaration. I’ll say that and the fact that I have skin in the game this time and everyone on the team has skin in the game. So, we’re all working toward something that we feel we’re really a part of.

On what keeps her up at night:
Everything. (Laughs) Everything from this job to my kids. And if you ask my staff, they’ll tell you that I’m always up sending messages to them.

And now the lightly edited transcript of the Mr. Magazine™ interview with Beth Fuchs Brenner, Chief Revenue Officer, Domino Media Group.

Perfect for the coffee table: The latest issue of Domino

Perfect for the coffee table: The latest issue of Domino

Samir Husni: It’s been almost two years since Domino’s return from the dead.

Beth Fuchs Brenner: Exactly.

Samir Husni: Tell me, where is Domino today?

Beth Fuchs Brenner: Well, we’re light years ahead of where we were in 2009 and also from where we were a year and a half ago. I’ve been known to say in the last few months that everything is really starting to hum.

We’re a quarterly magazine that has 200,000 in circulation and an incredible wanted story, with people paying $12 per copy, $48 for 4 issues. I’m so pleased to hear the same sort of passion and engagement that we had back in the days before we were dead still exists today. And we’re hearing that anecdotally from everywhere.

And on the website; we have a dynamic website that has over half a million uniques every month and we have a full-on retail store; we’re an official commerce business and we’re selling hundreds of thousands of products every month.

Samir Husni: Do you think any of that would have existed if you hadn’t brought the print magazine back?

Beth Fuchs Brenner: I think the print magazine was the foundation by which we brought the brand back, so even the savviest digital people on our team know how important the print vehicle is. No, I don’t think we could have brought it back without print; I mean that’s what people knew and loved and adored. And frankly, people don’t necessarily know that we’re back online, but they know that we’re back in print.

Samir Husni: Do you think Lucky is taking a page from Domino in their new plan of action?

Beth Fuchs Brenner: I do think that the new Domino Media Group wrote the script and Lucky is playing us in the movie. Clearly the deal itself — the sale of Lucky Magazine to LA-based Beachmint by Condé Nast — was inspired by the success of Domino’s new model.

But the structures of the companies are vastly different — Domino was essentially a start-up business whereas Beachmint is an established e-retailer with a pre-existing corporate structure. We started from scratch and built a team and a business from the ground up, whereas Lucky and Beachmint have to merge their businesses and their employees. Their transition is still going on — and we will all be watching to see where the company goes next.

Samir Husni: You were gracious enough to show me your latest issue that’s not yet on the newsstands. It looks to be the biggest issue yet.

Beth Fuchs Brenner: It’s not the biggest issue ever, but it’s the biggest issue since the re-launch. And they did look that up, because it felt bigger to me than anything we’d ever published. It’s 184 pages with about 55 pages of ads, so that tells you how lovely our ad-to-edit ratio is. We’re putting in more editorial than we ever have before, so there’s that commitment to really engage people with a lot of editorial.

Samir Husni: If someone asked you to describe Beth’s life with the former Domino versus Beth’s life today with the resurrected Domino; how has your 24-hour day changed?

Beth Fuchs Brenner: That’s such a good question. In my former Domino life, I worked for a huge corporation and my new life is a start-up; that alone counts for the difference. I think about the weeks and months that it took to get decisions worked up the chain at a big company versus the many, many decisions we make every day now. And if they’re good ones, great and if they’re not, we pivot and we choose another path.

But it’s hugely different. Domino alone had about 120 people back in 2009. Domino today has about 30 people and that’s across print, digital and commerce. So, it’s a horse of a different color today.

Samir Husni: What has been the major stumbling block that you’ve had to face with the re-launch and how did you overcome it?

Beth Fuchs Brenner: I would say that I think it’s harder today to spread the word about a brand and let people know that you’re really back. So, I think just communication and brand awareness is a challenge. Lucky for us we have a lot of that. But if you’re launching a brand today from scratch, that’s a really tough challenge.

And the other challenge, I would say, is just growing digitally. You know this from your blog; if you put it out there, people don’t just come. So, you really have to engage people; you have to target people; you really have to work towards that in a big way. And I think our biggest challenge digitally is growing our traffic, because we know as the traffic grows everything else rises to meet it.

Samir Husni: What motivates you to get out of bed every morning and say it’s going to be a great day?

Beth Fuchs Brenner: Exhilaration. I’ll say that and the fact that I have skin in the game this time and everyone on the team has skin in the game. So, we’re all working toward something that we feel we’re really a part of.

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

Beth Fuchs Brenner: Everything. (Laughs) Everything from this job to my kids. And if you ask my staff, they’ll tell you that I’m always up sending messages to them. (Laughs again) I don’t know about you, but I don’t sleep much these days.

Samir Husni: Thank you.

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Neither Cop Nor Convict, But Rather King Of The Newsstand: Single-Copy, No Advertising, No Subscriptions, No Digital – Topix Media Lab Goes Bookazine Print In A Big Way – The Mr. Magazine™ Interview With Tony Romando, CEO and Co-Founder, Topix Media Lab.

May 27, 2015

The Mr. Magazine™ Reports from the IMAG conference.

“And these tributaries (collector’s editions) are how I think print will stay around because it’s specialized. I can go to any dot com or any digital platform and get all of my news for every facet of my life right then on the spot. But we don’t want to do that. We just want to do one very specific brand of news, for one very specific customer and that’s it.” Tony Romando

Collectability is a word that has become synonymous with print in the 21st century. It’s a fait accompli. Without that collectability factor, print today is what digital content would be tomorrow; a day late and a dollar short.

tony-photoTony Romando, CEO and co-founder of Topix Media Lab, probably understands the viability of collectable print better than anyone in the industry today, because that’s the name of his game: collectability. Publishing anywhere from 90 to 110 specialized topical bookazines per year; he is a man who knows his business and knows it well. From his triumphs to his defeats; Tony remains true to the Topix mission: providing quality products for one specialized consumer at a time, with no advertising, no subscriptions and no digital.

During the IMAG Annual Conference, which took place May 18th to 20th in Boulder, Colorado; I was able to sit down with Tony and discuss where his career had been, where it was now and where he saw it heading in the future with Topix. The man is as down-to-earth and open as the conference was enlightening. From convicts and cops, which according to him was sprinkled throughout his family tree, to the recently degreed CEO of one of the most prolific bookazine publishing companies in the world today; Tony is a force to be reckoned with and a man who was a true pleasure to interview.

So, I hope you enjoy the Mr. Magazine™ reports from the IMAG conference with Tony Romando, CEO & Co-Founder of Topix Media Lab. It will inspire you to believe that with the right dream and focus, you can do whatever your heart desires by staying true to your vision.

But first, the sound-bites:

topix8 On the genesis of Topix Media Lab: The genesis started with, I was at WWE (World Wrestling Entertainment) working for Vince McMahon and like any good, smart business guy, he wanted to figure out new revenue streams that basically weren’t totally wrestling-based. We had an infrastructure of publishing; we had everything already set up and it seemed to make sense that we could do publishing for other businesses. When he didn’t really love the idea of stepping that far outside of his comfort zone, it seemed like the right time and opportunity to start the company on my own. I and another guy founded the company three years ago and it started off horribly; catastrophic.

On why it started out horribly: I think the general plan was we would do generic collector’s edition magazines. My incorrect opinion was that we would have readers who really loved the subject matter, but didn’t care about the brand. Brands are not important. They care about One Direction or The Hobbitt or 50 Shades of Grey; they don’t care who is the one doing the magazine or who the authority is, they just care about the subject matter. And it turned out that was completely incorrect.

On how he turned it around and became one of the most prolific bookazine publishers out there: We’re doing, to be honest with you, two per week. Some weeks we do three; some weeks one, but I think the real turning point was realizing that we couldn’t sustain a generic magazine business.

topix 2 On what he was thinking when he decided to go single-copy sales only: No advertising; no subscriptions; no digital. It’s as though I’m trying to sell you a steam engine or a trolley car. I would say that even though it may be a slowly declining business, there will always be room for the biggest brands. There will always be Men’s Health because they’re the category leader; there will always be Scientific American, they’re the best at what they do, and the best of those magazines will always be there.

On whether he fears there may come a time when the newsstands are filled with only bookazines and a magazine only shows up every now and then: The flagship magazines don’t want to do collector’s editions, they look down on those; those are marketing tools, revenue streams, they’re not important enough. And because of that, there’s a real push/pull between the people who do the bookazines for the big companies and the people who do the flagship magazines. And because of that they’ll never have the best quality product they can put out at the same time.

On his major stumbling block: The major stumbling block was not on the publishing side, it was on the entrepreneurial side. You do six magazines a year; you can balance a checkbook easily, there are a few dollars coming in, a few dollars going out and very few people to concern you. But as you add clients and you get to a point where you’re probably doing 90 magazines or more per year; we’ll probably do between 90 and 110, you hit a point where it becomes very complex.

On his most pleasant moment: That’s a tough question. I almost want to say being my own boss, but as I said before, I have more people to answer to now than ever before. So, I think the most pleasant part of this journey is knowing that Topix Media Lab is on everyone’s radar.

On what keeps him up at night: What keeps me up is more research and more data and I’ll stumble onto one new piece of information that basically says instead of doing a cover with six images, I should do it with three images. And that’s the best part of it. I think too many people are on autopilot when it comes to what they should do; it’s the same stuff, year in and year out. And there is so much good stuff out there that hasn’t been tried yet. So, what keeps me up is doing more research.

And now the lightly edited transcription of the Mr. Magazine™ interview with Tony Romando, CEO, Co-Founder, Topix Media Lab.

Samir Husni: Tell me about the genesis of Topix Media Lab.

Tony Romando: The genesis started with, I was at WWE (World Wrestling Entertainment) working for Vince McMahon and like any good, smart business guy, he wanted to figure out new revenue streams that basically weren’t totally wrestling-based. We had an infrastructure of publishing; we had everything already set up and it seemed to make sense that we could do publishing for other businesses.

There were other harebrained ideas, like doing catering; you know they feed 100 of those crazy wrestlers every week, three or four days a week, so it seemed like they could be one of the largest catering businesses in the world. He said no to the catering. He also said no to doing any publishing outside of WWE.

I wanted to do Biggest Loser magazine in 2008 and I wanted to do it as a bookazine because the Brits have been doing it for a long time and they’re the best; they’ve been doing it even longer than Time Inc.

So, when he didn’t really love the idea of stepping that far outside of his comfort zone, it seemed like the right time and opportunity to start the company on my own. I and another guy founded the company three years ago and it started off horribly; catastrophic.

Samir Husni: What happened?

Tony Romando: You know, you put a little bit of money together and you acquire a very small team, four editors, not even, two editors and one designer with one photo person; five guys in a tiny room in a cramped New York office. I’ve made a million mistakes and I’m making fewer mistakes every week that goes by, but still, huge numbers of mistakes.

I think the general plan was we would do generic collector’s edition magazines. My incorrect opinion was that we would have readers who really loved the subject matter, but didn’t care about the brand. Brands are not important. They care about One Direction or The Hobbitt or 50 Shades of Grey; they don’t care who is the one doing the magazine or who the authority is, they just care about the subject matter. And it turned out that was completely incorrect.

Every now and then we would have a successful issue with one brand that was a stand-alone generic, but for the most part they were kind of failures. All of them, except for two were failures. And I didn’t think it was possible that I sold magazines that were 4% sellers, the kind of issues that just shut companies down. On my office wall I have framed the first of four of our lowest selling covers of all time: 4%, 6%, 7%; I think one was 11%. All four of them I have in my office now as reminders of what not to do.

Samir Husni: And yet in a short span of time, you’ve become one of the most prolific publishers of bookazines. You’re putting out almost a quarterly on a weekly basis.

topix 3 Tony Romando: We’re doing, to be honest with you, two per week. Some weeks we do three; some weeks one, but I think the real turning point was realizing that we couldn’t sustain a generic magazine business. There are a lot of companies that are even getting into this space right now; I just saw four new generic bookazines on the newsstand two weeks ago on Marilyn Monroe, The Beatles, Jesus; people just flood the market with them.

And knowing that I had been in the generic space and that it didn’t work; I came in one day and said if I can’t land a good, proper brand to do special collector’s editions for within six months, then I’m done. And that’ll be it. It was my way of getting our team to focus on partnering with existing iconic brands. So, we were fortunate that Dave Fishman of TV Guide took a chance on us, because at that point we made a quality product, but we had no proof in the sales, because when you cut those licensing deals in the beginning, you give away a lot to try and get your footing and build a foundation.

But backing up; I think the thing about Topix that’s different from most bookazine companies is that we are strictly an analytically researched-based company. It’s all in the numbers; nothing matters on gut. I come up from the editorial side and coming from there; you know, editors think they know everything.

I think I spoke to a circulation conference 10 years ago in Atlantic City, massively hungover, standing in a room with a 1,000 people, and I think my speech to them was editorial people don’t know squat; they think they know everything and if they would follow the circulation people’s advice, the newsstand people would sell more copies.

But editorial people don’t care about copy sales really, as much as they should. So, having come up the editorial side, I realized that knowing that we are an editorial-based company and knowing that it’s all in the cover or the subject or the 100 pages that we do, it was crucial that we use analytics to base everything on.

We landed TV Guide and started doing research and I came across a mathematical equation that John Wayne was still one of the single-most popular adult celebrities. People think of him as a great American; he’s iconic; people live their lives by his code, and no one had put him on a cover; he was the only guy 20 years running to be on the Harris Poll for top actors; I think he was in the top 10 for 20 years. It was just the perfect storm.

So we did that for our first TV Guide and it sold 35 or 36%, which is a homerun these days. For us it was like the first time that we had seen any real money, real revenue; we were off and running at that point.

From there it was trying to figure out how we could leverage our one brand, TV Guide, to parlay it into more brands. I think now we’re up to 15, 16, around 17 brands.

Samir Husni: And I’m sure you’re no longer just five people in a small room?

topix 4 Tony Romando: No, now we’re 16 people in a little bit bigger room. (Laughs) Our story is a good one because everything we’ve done has been haphazard; it’s calculated, but I’m still the IT guy; I’m still the mailroom guy; I’m the CEO, but I’m also one of the edit guys. We all have 15 different jobs.

I had found an office space in midtown through my wife’s friend, who had a private equity company in this office that was owned by Blackstone and I gave them a good deal. They gave us this little remnant piece of office space and the only reason we moved out of there was because we became a fire hazard; we had ten people in a room that was unsafe and illegal.

Then we wondered if we could get cheaper space and more of it if we moved down to the Wall Street area before Condè Nast, before Time Inc.; before everyone. I had lived down in that area for 20 years; I knew that everything was cheap, and I lived very close so it was helpful.

Samir Husni: We live in a digital age; no one can argue that no matter how much we love print. What were you thinking when you decided, not that you were only going print, but you were only going single-copy sales?

topix 5 Tony Romando: (Laughs) No advertising; no subscriptions; no digital. It’s as though I’m trying to sell you a steam engine or a trolley car. I would say that even though it may be a slowly declining business, there will always be room for the biggest brands. There will always be Men’s Health because they’re the category leader; there will always be Scientific American, they’re the best at what they do, and the best of those magazines will always be there.

And because of that, there should always be collector’s editions that go along with the best. But the ones that are the second and third tier down from those best ones, if those get weeded out; we’re not selling monthly magazines, we’re selling one thing to one very specific customer. We’re not all things to all people, so if you buy GQ, you learn how to drink with style and dress with style; there’s something for every part of your life. These bookazines are only one topic, so for us it was easy to say this is where we want to be because people will always read about these iconic figures.

I think the difference really is saying that originally we targeted certain brands for the 50-plus market. They still want magazines. But people don’t want to spend $10 or $11 on a digital magazine. They just don’t. We’ve tried it, there’s just no money there. People want to collect something. So these are a poor man’s coffee table books. They stay on their coffee tables to be showcased forever. They don’t just read it and throw it away.

topix 6 And I think that’s been the real tradeoff for us because once we think of these as magazines, we’ll be dead. They have to be considered as keepsakes forever. To my point on John Wayne, we did John Wayne on TV Guide and it did so well that I went back to John Wayne’s son, Ethan Wayne, who runs John Wayne Enterprises, and said why don’t we do a stand-alone John Wayne collectable every other month. And he said let’s try it. And it was our bestseller. And we went ahead and put Elvis on Newsweek and it was also one of our bestsellers. So we went to the people who own Elvis, Authentic Brands Group, and told them the same thing, let’s do Elvis every other month.

And these tributaries are how I think print will stay around because it’s specialized. I can go to any dot com or any digital platform and get all of my news for every facet of my life right then on the spot. But we don’t want to do that. We just want to do one very specific brand of news, for one very specific customer and that’s it.

topix7 The final thing I’ll say though is our business is a lot less complicated because we don’t have advertising and we don’t have subscriptions, so there’s no subscription debt liability hanging over our heads. We don’t have a fleet of people selling ads; we have a rep firm and sometimes we sell a sponsorship for a couple of bucks. People have tried it and been semi-successful; we’ve had a little bit of success, but that’s just gravy for us. And I think because we don’t have those complications, we’re not beholden to a member.

We put out a really great product; if we don’t put out a piece of crap, people buy it. And if they buy it, the proof is in the numbers. And if it’s in the numbers and we sell those copies that means we did our job right. And so companies will now come to us and say we do bookazines and we’re breaking even; we do six of them per year and we’re selling 60,000 units and we still can’t make any money. Why is that? And my answer to them is I don’t know what you have built into your infrastructure, but I have 16 people; we create everything; we generate everything; we do everything from front to back, and we can turn a big profit on 60,000 units, so let us do it for you. And we’ll champion your brand and at the same time, we’re ambassadors of their brand and we want to make a few dollars in the process, but our goal is to make sure that their brand has the extension that we are in control of.

Samir Husni: I’m sure that you’ve noticed lately, keeping up with all of these launches and all of the different brands, it’s almost a ratio of 2 to 1, in terms of the number of bookazines arriving on the marketplace. Are you afraid that we’ll reach a situation point where the entire newsstands will become bookazines and every now and then there’s a magazine?

tony-photo2Tony Romando: You know I think it should keep me up at night, but it doesn’t because I didn’t invent it; I saw a good opportunity and I think I was ahead of the curve, but there were other companies in front of us. We got in the market and they all said, they’re going to take away all of our sales and we see that their sales still work and our sales work.

Just last week, as I mentioned, someone else brought their bookazines to market as well. In the entrepreneurial spirit, I want everyone to do well. But I think what it comes down to is the quality of the product and the brand of the product. And I think that I have the best brands and I believe as long as I continue to bring in really great brands, such as a Reader’s Digest or Discovery Channel, Disney; to be able to do all of the Star Wars magazines for the next couple of years is a big deal. And I think no matter who puts a generic Star Wars magazine on the newsstand at the same time, if mine is the official LucasArts collector’s edition or Disney collector’s edition, that’s what matters.

I think the tradeoff between us and other companies is we are an editorial-based company; the integrity of the product comes first. And I believe any of our partners would say that our product is superior to most because unfortunately, the bigger companies say, how can we make a few more bucks and they put a team on making special issues. The flagship magazines don’t want to do collector’s editions, they look down on those; those are marketing tools, revenue streams, they’re not important enough. And because of that, there’s a real push/pull between the people who do the bookazines for the big companies and the people who do the flagship magazines. And because of that they’ll never have the best quality product they can put out at the same time.

Now, we don’t own any products and we don’t want to own any products. We cut licensing deals for a few years, but we want to be able to say this is your product; we work for you.

I was an intern at Rolling Stone 20 years ago. I have more bosses today as CEO than I had 20 years ago. I answer to probably 42 people on a daily basis. And some of those people that I answer to don’t know the magazine business well and some do know it well. And I don’t know which one is worse, but there are a lot of people to answer to. I think as long as we make the quality of the product better than the next guy, we should be good.

Samir Husni: You were at Rolling Stone?

topix 1 Tony Romando: When I was in college many years ago, I went to Rolling Stone and they offered me an assistant’s job and I promised then I would go back and get my degree. So all of these years later, I did. I had four classes, which I finally just banged out over two semesters and I got my diploma in the mail two weeks ago. And to have it is really a big deal. I’m from a long line of convicts and cops. My family has worked as convicts and cops. All from Chicago and no one had ever been to college. Not one member, even in the extended families.

It’s been a good year. I just graduated and we’re in contract with Rodale to do 12 bookazines a year for them. And their bookazines are always very successful. But they can’t seem to figure out how to make any good money. Prevention is really small down here. No one even knows who Prevention is. It’s like 65,000 copies; that’s a lot of money. So, when they called me and said we can’t figure out how to make this work; I got my fork and knife out and told them I can make this work for you.

The funny thing; what we do, I think, is very simple. You analyze the space better than anyone and I spend a lot of time also analyzing the space out there.

Samir Husni: And you know it’s amazing. It started in the U.K. with the bookazines, but now it’s all over Europe and all over the world. I just gave an interview to a magazine in the Netherlands all about the bookazine trend. They wanted to know all about the bookazine phenomenon. So, I can guarantee you that your interview is going to be making the rounds.

Tony Romando: Good, because long-term plans are really short-term because two years ago I said I’m going to give it six months and if I don’t end up flying, I’m out. Then I started adding clients. And last year, around May, I said 2015 is my year. I’ve built up everything and if I can’t make it work in 2015, I’m leaving. I’m done. My wife has her own company and I’ll do something else.

And then we hit May and I knew that we really had something. Now I’m looking at it, still in short-term stages, but I’m starting to look at it more long-term; what can I do in 2016 and 2017? And one of the things that I want to do is look into the international market; what can we do in India, in Australia and in the U.K. to make them buy our magazines. International is a good step, because there’s only so much we can do here.

Samir Husni: What has been the major stumbling block that’s faced you through your journey with Topix Media Lab and how did you overcome it?

Tony Romando: The major stumbling block was not on the publishing side, it was on the entrepreneurial side. You do six magazines a year; you can balance a checkbook easily, there are a few dollars coming in, a few dollars going out and very few people to concern you. But as you add clients and you get to a point where you’re probably doing 90 magazines or more per year; we’ll probably do between 90 and 110, you hit a point where it becomes very complex.

And because it becomes complex, the fear was that we would outgrow our internal mechanism, so we’ve kind of pumped the brakes. We have so many brands now, that we’ve hit a point where we want to make sure our brands get the love they need. We don’t want to be greedy. I think we’re all chasing the same brands and sometimes I beat Time Inc. to the punch and sometimes I don’t beat them. We may be on their coattails, but we’re a long distant second place or third place or whatever it is.

I think the big stumbling block is making sure the internal side of it works and that we don’t outgrow what we have the capability of doing. The Source thing really threw us for a loop because it’s kind of skewed all of our numbers for an entire year and as a small company; I think we went from $3 million in revenue to $12 million in revenue to $18 million in revenue, with a forecast of maybe $40 million in revenue this year. That’s pretty heavy growth for an industry that claims to be dying, which is pretty shocking.

But the good news, and I mean this in the most sincere way; I don’t know what I don’t know. So, I’m sure that I’m making mistakes that I don’t even know about along the way and the ignorance of it has been slightly beneficial.

For me, it’s a different kind of story. When I was 17, I joined the Navy. I left home and joined the Navy, spent five years scrubbing bird crap off a runway; the second longest; largest runway in the world is in Guam. I was there for years and I was chipping bird crap off of the runway. So, 18 hours a day, 6 days a week; I know what real hard work is.

Doing this for 18 hours a day and crunching numbers and making magazines is a cakewalk. And it’s a treat. If you get the right people to do the right thing; it’s like I used to pick all the topics; I did all the analyses, the John Wayne stuff, and then at a certain point I realized I’m not good enough at it, so I hired someone who just comes in and crunches numbers all day. I think the stumbling block was how you actually put out quality topics that will sell and hit the certain sell-through range; now, they don’t all have to be winners, but we don’t want any that are 12% either. And if they can all stay somewhere here, with a couple of spikes on this end, then we’ll make a lot of money.

So, to answer your question; one of the biggest mistakes I’ve made is not realizing fast enough that I’m not great at something. And if I’m not great at this thing, then I need to hire someone who is amazing. And now that I have these people in place, it’s become a lot easier to sit back. Now I can just criticize their work all day as opposed to my own. (Laughs)

Samir Husni: (Laughs too) And what has been the most pleasant moment throughout this journey?

Tony Romando: That’s a tough question. I almost want to say being my own boss, but as I said before, I have more people to answer to now than ever before. So, I think the most pleasant part of this journey is knowing that Topix Media Lab is on everyone’s radar. We tried to fly under the radar for three years; I was hoping to go six years without anyone noticing that we existed. Being on your radar, knowing that we come up in board meetings or meetings at big publishing companies; it’s a very flattering thing. To know that we’re in the mix with those guys is great, but it’s also daunting because that means we have the bull’s-eye on our back.

The long-term goal or the short-term goal really, is to partner with one of these bigger guys and knowing that we have the ability to bring in bigger brands than most people, whether that’s because we identify them sooner, there are a couple of really big untapped brands that people don’t even think about that I have on my list of ideas on my wall that I think would make really great bookazines.

And because we haven’t gone to those yet; we don’t want to get too big too quick. What we really want to do, what I really want to do, is partner with someone big who wants to be part of something smaller that they can share in the revenue stream of it and would help us get to certain pockets because, and you know this as well as anyone, you want to be at the main line; well, you’re at the main line, but you want to be at the checkout.

But a lot of those guys want to be at the checkout because of their advertising rate base and I don’t need that, so I want to systematically pick checkouts. If I can get 30,000 copies in Wal-Mart, instead of 10,000 copies, and sell 40%, I’m going to do a lot better.

But the downside to that is no matter how much money that you have, you can’t just drop a bag of money down and say I want in; you have to wait your turn, start at the bottom, work your way up; you’re in the bad aisle that’s never opened, then you slowly move over.

And I think a lot of these big guys have the millions of dollars invested in those pockets and because we know that you can take a magazine and go from 25% sell-through to 35 or 40% sell-through just by going to the checkout, I’m now trying to figure out how to jockey ourselves into a position where we can partner with someone we might be competing with right now and pool our resources together, because I think we can show them how to do the bookazine business for one-tenth of what they’re doing it and they can kind of carry us across the finish line to some of those checkout pockets. That would be a really great synergy and that’s where we’re headed next.

Samir Husni: And before I ask you my typical last question: who was your favorite wrestling figure, since you’re no longer with WWE? (Laughs)

Tony Romando: (Laughs too) Strangely, it would have to be Shane McMahon. Vince McMahon, who’s the CEO and Chairman of the Board, his son Shane, who I worked for, was a business guy. But he also grew up in the business.

And he used to jump off of the Jumbotron, which is this huge screen, and he would jump 50 or 60 feet onto a table with other people. I mean, he owned the company and he did not have to do that kind of stuff or put himself in harm’s way. He was amazing in the sense that he would jump from the highest point and put himself at the biggest risk. He’d put himself in the most dangerous positions.

But on Monday, when wrestling was over, on Tuesday, he was back at the office and wearing a suit, looking at the consumer product group, the China expansion. The rest of these guys were wrestling again. He was able to do both and no matter what you think about wrestling, they are a pretty amazing group of guys because you’re afraid of them because they’re massive and they’re also just a little bit crazy, but they’re really impressive athletes too.

So, with all of these guys, it’s like they’re the most amazing guys to see in person because they’re just huge. And they have great character and they’re all banged up. Whether you call it real or not, it’s scripted, but the action is really real. Everyone should go to a wrestling show.

Samir Husni: We have followed it some; in fact, I was the crazy person who took his entire family to the Valentine’s Night Massacre. (Laughs)

Tony Romando: (Laughs too) It’s really amazing, isn’t it?

Samir Husni: It really is.

Tony Romando: Yes.

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

Tony Romando: Single-copy sales would be the answer that I give you. But to be honest, what keeps me up at night is doing more research on the next big project. I don’t lose any sleep and I don’t stress over this business at all. I have a two-year-old son; my wife is pregnant with twins; I’m up all night anyway. I’m up day and night from the family side, but it’s not because I’m worried about the business.

What keeps me up is more research and more data and I’ll stumble onto one new piece of information that basically says instead of doing a cover with six images, I should do it with three images. And that’s the best part of it. I think too many people are on autopilot when it comes to what they should do; it’s the same stuff, year in and year out. And there is so much good stuff out there that hasn’t been tried yet. So, what keeps me up is doing more research. The more information I have, the less dumb I feel when things go bad. At least, I did my homework. (Laughs)

Samir Husni: Thank you.

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On A Scale Of One-To-Ten – TEN: The Enthusiast Network Lives Up to Its Name – The Mr. Magazine™ Interview With Scott Dickey, CEO, TEN.

May 25, 2015

The Mr. Magazine™ Reports from the IMAG conference.

“We’re not surprised that digital brands are launching publishing products; it’s the most powerful level of engagement, whether it’s a book, newspaper, or a magazine; there is no higher level of engagement than when a consumer is reading a printed product. We’re in for the long-haul.” Scott Dickey

IMG_6733
The IMAG Annual Conference took place May 18th to 20th in Boulder, Colorado and it was without a doubt one of the most enlightening and effective conferences I’ve attended in quite a while. Be Bolder in Boulder was the theme of the conference and many of the speakers at the event were aiming their cannons toward just that for the future of their brands.

Scott Dickey of TEN: The Enthusiast Network was no exception. His presentation was an eye opener to many if not all at the conference. He joked that when he took charge of the company, one of his publishers told him that the true name of the company is PEPSI, as in the soft drink. Of course that soft drink reference reflects the many changes and ownerships that is the current TEN company’s heritage. In a few magazine years, the name evolved to TEN from Peterson, E-Map, PRIMEDIA, and Source Interlink before it went bankrupt. Scott joked and said the company now is PEPSI TEN.

I spoke with Scott after his own presentation and we talked about the last fifteen months, since his joining the team, of the content company’s rebranding and his vision for its future. Since his taking the helm, his mission has been to create and deliver content that engages with his audience: enthusiasts of everything action and outdoor oriented.

His focus is clear and his determination to return to some of the core fundamentals of the company is succinct. From Motor Trend to Surfer and a possible new print version of their highly successful “Roadkill” digital brand; Scott has set TEN on course for a very bright future indeed, both in print and in digital.

I hope you enjoy the Mr. Magazine™ interview with Scott Dickey, CEO, TEN: The Enthusiast Network. It’s sure to leave you as motivated and inspired as the man himself is.

But first the sound-bites:


On why TEN is one of the best-kept secrets in the industry:
That’s a flattering way to put it. It’s certainly not something that we want to be a secret. I think when companies go through unfortunate transitions of ownership, leadership and financial disarray, you lose a lot of momentum and the fundamentals of operating a company and I think this company unfortunately didn’t spend a lot of time talking to the industry about who they were and what they had to offer.

On his magic touch and the formula he’s using to lead the company into the future: I think the biggest thing that I realized early on was that the company didn’t have any creditability within its own staff and that we needed to focus on the core fundamentals of internal communication, very clear lines of organization; we had to get the company back focused on the fundamentals of all this and what success looked like and what our expectations were and where we felt we could win.

On the role print plays currently in the company: Social obviously dwarfs everything and digital is just enormous for us. But in terms of the importance of our everyday roles and responsibility in the company, we’re still foundationally a publishing entity at our core, so it still represents 50% of the company’s business, less or more depending on what metric you’re looking at.

On whether he can imagine TEN without any print components: I definitely see where there are going to be pockets of opportunity where we’ll have brands that won’t have a print entity. One of our most powerful and valuable brands today is a brand called Roadkill, which I mentioned is sort of our House of Cards, our Game of Thrones in the automotive industry. If you go on YouTube and you take a Roadkill, you’ll see the power of that audience and it doesn’t live in print at all. We’re actually thinking about launching a print product this fall behind that brand because it has such a huge following and we think we can extend the power of that brand by getting into different distribution channels.

On any improvements he thinks the distribution model needs: Being owned by a distributor, they put more time and energy and value in what was being distributed at newsstand because of the cover price and the economics for somebody who may buy the magazine once a year or once a quarter. Those customers are experiencing the good stuff, the better package, the better paper quality, even better content. But the loyal subscriber was getting the crap, right, because we had driven down the subscriber economics so much that you’re actually penalizing the people who were committing to you for a year or two or three. And I think that’s a model that we have to completely unwind.

On launching digital-only entities, such as TEN’s “Roadkill” into a print format: We see opportunity there. And we’re not surprised that digital brands are launching publishing products; it’s the most powerful level of engagement, whether it’s a book, newspaper, or a magazine; there is no higher level of engagement than when a consumer is reading a printed product. We’re in for the long-haul.

source_motor_trend_february_2015_usa On the example of Recoil’s business model: High cover price, high subscription price and more reliance on circulation than advertising for revenue resources, is why TEN has shed some of its legacy titles and started new titles such as Roadkill: We had a lot of duplicative content as a company historically through a series of acquisitions and consolidations of smaller publishers along the way; Peterson, Mcmullen Argus, and when I came in we had four titles dedicated to the world of Mustangs; four Mustang magazines. And that’s just very difficult to rationalize.

On the biggest stumbling block he’s had to face or is currently facing: You started the conversation with one of them: no one knows who the heck we are. But that’s just a case of blocking and tackling and execution and time in the marketplace, investing in the audience.

On what keeps him up at night: Right now, we’re having some pretty significant SEO (Search Engine Optimization) challenges internally with some of our automotive business. And we’re not doing as good a job on delivering against some of our digital campaigns that we’ve secured with some of our larger clients. So, we’ve got some work to do.

And now the lightly edited transcript of the Mr. Magazine™ conversation with Scott Dickey, CEO, TEN: The Enthusiast Network.

Samir Husni: I noticed during your speech that everyone’s jaws dropped and their eyes opened when you said that TEN is the fifth largest magazine company in the United States. Why do you think that TEN is one of the best-kept secrets in the industry?

Scott Dickey: That’s a flattering way to put it. It’s certainly not something that we want to be a secret. I think when companies go through unfortunate transitions of ownership, leadership and financial disarray, you lose a lot of momentum and the fundamentals of operating a company and I think this company unfortunately didn’t spend a lot of time talking to the industry about who they were and what they had to offer. It’s understandable; I’m not being critical, but we’re in a moment in time where we’re now a new enterprise; we’ve been restructured and we have foundational strength and great assets and brands and great audiences, so we have to start the educational process all over again.

Whether we’re the fifth, sixth or seventh, it’s all debatable. But it’s a huge company with great depth and reasonable reach, but with a base of consumers that can really add a lot of value to our advertisers.

Samir Husni: What’s Scott’s magic touch? All bets were against you when you took this job. So, in the midst of this transformation, in creating this new network, this content company; first you’ve eliminated the title publisher, you have general managers now; what’s the secret or not-so-secret formula that you’re using to lead the company?

Scott Dickey: Well, I’m learning too, this is a process. I think the biggest thing that I realized early on was that the company didn’t have any creditability within its own staff and that we needed to focus on the core fundamentals of internal communication, very clear lines of organization; we had to get the company back focused on the fundamentals of all this and what success looked like and what our expectations were and where we felt we could win.

And we had to eradicate stagnation and build a trust back with the staff, so that they could take risks and attempt to innovate. I think that there was so much fear in the building and so much just legacy muck that the company was in disarray, so we had to do a lot of clean-up early on and start the conversation fresh and that took some time. We’re still in the clean-up mode, 15 or 16 months later and I think we probably have another six months of that ahead of us.

Samir Husni: One of the things that I’ve noticed you’ve done; you’ve sort of flipped the formula, where print content used to be the most dominant thing, now if I recall correctly from your presentation, print is around 4%?

Scott Dickey: From an audience perspective, yes. Social obviously dwarfs everything and digital is just enormous for us. But in terms of the importance of our everyday roles and responsibility in the company, we’re still foundationally a publishing entity at our core, so it still represents 50% of the company’s business, less or more depending on what metric you’re looking at.

But our focus is to try to divert as many resources as we can toward new growth opportunities, toward new revenue models and new opportunities to stimulate growth in the organization and that’s a tricky process, but it’s one that we’re challenging ourselves to evaluate on any given moment on any given day.

Hot Rod 2015-03_000001 Samir Husni: Can you ever imagine TEN without a print component? Can you imagine those brands existing without a print entity at all?

Scott Dickey: Yes; I mean, we’re already there. We shelved 18 brands last year, shelved the print versions of them and several of those brands live on in in the digital and social worlds.

So, yes, I definitely see where there are going to be pockets of opportunity where we’ll have brands that won’t have a print entity. One of our most powerful and valuable brands today is a brand called Roadkill, which I mentioned is sort of our House of Cards, our Game of Thrones in the automotive industry. If you go on YouTube and you take a Roadkill, you’ll see the power of that audience and it doesn’t live in print at all. We’re actually thinking about launching a print product this fall behind that brand because it has such a huge following and we think we can extend the power of that brand by getting into different distribution channels.

Samir Husni: Where do you see a need for improvement in our distribution business model?

Scott Dickey: Being owned by a distributor, they put more time and energy and value in what was being distributed at newsstand because of the cover price and the economics for somebody who may buy the magazine once a year or once a quarter. Those customers are experiencing the good stuff, the better package, the better paper quality, even better content. But the loyal subscriber was getting the crap, right, because we had driven down the subscriber economics so much that you’re actually penalizing the people who were committing to you for a year or two or three. And I think that’s a model that we have to completely unwind.

Samir Husni: This industry is the only industry that I know of that rewards the marginal customer and penalizes the frequent.

Scott Dickey: And then even with the marginal customer, where we should raise price, we’ve got retailers like Wal-Mart that just won’t let you do it. And you’ve got massive amounts of distribution with one retailer and that retailer says unless you give me product improvement to justify the price increase, you can’t increase the price.

So, we’ve got some work to do. I think there are some legacy aspects to the business model that needs to be reinvented and we saw a lot of good stuff today with the presentations.

Samir Husni: I’ve noticed lately, within the last few years, a lot of digital-only companies are bringing in print magazines to complement. With Roadkill, do you envision that as a regularly published magazine or a test-run in September?

surfer-april-2015 Scott Dickey: We’re starting with the mantra of being a quarterly and that we put it predominantly on newsstands to start and build a subscription business from scratch. We’ve been very successful with a few other properties: Recoil and Offgrid, in particular. They’re number one sellers on newsstands; they’re bigger than Motor Trend and have a very different economic model behind them, $8.99 cover price and $59.99 subscription for six issues.

So, we believe that if you don’t have the legacy baggage that some of the publishing brands have had to deal with, you can resurrect from scratch, a great business model that we all can kind of reflect back on from the ‘80s and ‘90s. We see opportunity there. And we’re not surprised that digital brands are launching publishing products; it’s the most powerful level of engagement, whether it’s a book, newspaper, or a magazine; there is no higher level of engagement than when a consumer is reading a printed product. We’re in for the long-haul.

Samir Husni: This year in April, almost every major media company in the United States, with the exception of maybe Time Inc., launched a new print magazine. Technically, following the Recoil model: very high cover price, very high subscription price, more dependence on circulation than advertising in terms of revenue; is this the reason you’re shedding some of the legacy titles and coming up with new titles like Roadkill?

Scott Dickey: We had a lot of duplicative content as a company historically through a series of acquisitions and consolidations of smaller publishers along the way; Peterson, Mcmullen Argus, and when I came in we had four titles dedicated to the world of Mustangs; four Mustang magazines. And that’s just very difficult to rationalize.

Our consolidation started and ended with one single premise: what is in the best interest of the consumer. We really believe that all roads start and end with that line of thinking. If you answer the question what’s in the best interest of the consumer; what is the consumer looking for, and you can solve that problem or meet that need, then it’ll work for your customers a.k.a. your advertisers, and certainly work for the company and my colleagues.

Samir Husni: What has been the major stumbling block you’ve either had to face or you’re facing now as CEO of TEN?

Scott Dickey: You started the conversation with one of them: no one knows who the heck we are. But that’s just a case of blocking and tackling and execution and time in the marketplace, investing in the audience.

We just launched a big advertising campaign on Automotive News, Adweek and Ad Age and I’m attending conferences like this to help spread the word; spread the Gospel of what we have to offer. It’s a short-term challenge, but one that I think we can overcome.

We’re still outrunning the declining economics of print, just like everybody else, and I think trying to dedicate resources to areas of growth, whether it’s digital, social, video, experiential, data, even for us broadcasting, and going over the top with our own channel this summer, just trying to build those businesses, while trying to maintain and protect the four, that’s clearly the biggest challenge.

Also, balancing the allocation of resources on both sides of that equation is challenging, but it is doable. We know that we can make it happen; we know that we can become the first publisher to cross that chasm, the first big publisher to cross that chasm, and we’re dedicated to winning that fight.

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

Scott Dickey: Right now, we’re having some pretty significant SEO (Search Engine Optimization) challenges internally with some of our automotive business. And we’re not doing as good a job on delivering against some of our digital campaigns that we’ve secured with some of our larger clients. So, we’ve got some work to do.

One of the reasons our company is a habit in the transformation of a legacy publisher to a content creation company is because our websites were so bad that our editors just skipped digital in terms of desktop website experiences and went directly to social and video. So, we’re ahead of the game on social and video, but we’re way behind on digital. And we have to do a lot of rebuilding. That’s what’s keeping me up at night right now.

Samir Husni: Thank you.

 

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Dedicated To Print – Headmaster Inspires Creativity & Conceptualism Through Its Visionary Content – The Mr. Magazine™ Interview With Matthew Lawrence & Jason Tranchida, Editors

May 23, 2015

“My background is as a writer and Jason’s is as a graphic designer. And we got to a point where we were both doing a lot of work online and we wanted to make something that we would be able to actually pick up and hand to somebody and say that this is what we’re doing.” Matthew Lawrence

“This is our creative outlet as well as a business, so it’s sort of like: this is our project and we can do whatever we want. (Laughs) I’m excited because there are so many parts of it now that have a structure; we know roughly how many pages there are going to be; we know its distribution and we’ve got the concept down, so now we can really have fun with it.” Jason Tranchida

headmaster2-2 Headmaster is a biannual magazine that is for the man-lover. It’s sophisticated, sexy and extremely thought-provoking. Artists, writers and photographers are given assignments and through their own vision are allowed to create projects that become content for the magazine. It’s an interesting concept with two very savvy and smart captains at its helm: Matthew Lawrence and Jason Tranchida.

I spoke with both gentlemen recently about the magazine’s past, present and future. It was a no holds barred conversation; from the sexual preference of the magazine’s contributors to whether it was easier or harder to produce a gay magazine today than 25 years ago. It was an enlightening discussion that was reminiscent of the magazine itself.

So, I hope you enjoy the Mr. Magazine™ conversation with Matthew and Jason, two men who are definitely ‘Headmasters’ of their creative future.

But first, the sound-bites:


Headmaseter_Press_Photo On the story behind Headmaster magazine:
(Matthew Lawrence) Primarily it’s a magazine with original projects and the concept behind it is that we find artists and writers that we like and we give them assignments to do those original projects for the magazine. So, everything between the pages is made for Headmaster.

On the early days of the magazine:
(Jason Tranchida) Originally, there were four Headmasters, actually, who started it off and conceptualized it. We all came from diverse backgrounds and we were all magazine and book lovers. We really wanted to do some sort of print publication.

On why they chose a print product:
(Matthew Lawrence) My background is as a writer and Jason’s is as a graphic designer. And we got to a point where we were both doing a lot of work online and we wanted to make something that we would be able to actually pick up and hand to somebody and say that this is what we’re doing.

On a major stumbling block they had to face: (Jason Tranchida) I think the stumbling block probably, because it is a physical thing; one of the stumbling blocks was distribution. And obviously, we say that we’re a print magazine, but we couldn’t survive also without digital media, of course, in terms of communication and that type of thing.

On the most pleasant moment: (Matthew Lawrence) The most pleasant moment for me actually is when we get to meet our artists. Each issue has about nine artists and writers in it and we try to maintain that relationship with them by staying up-to-date on their careers and what they’re doing and sort of bring them back into the Headmaster family.

On the description ‘curators’ when it comes to their main role with the magazine:
(Matthew Lawrence) I think you’re right as far as thinking it’s a curatorial process, because we do have generally nine, sometimes ten, artists per issue and we try to strike a balance of photographers and writers.

On whether all the contributors of the magazine are from the LGBT community:
(Jason Tranchida) Mostly, but not all. But it’s not a prerequisite to being a contributor for Headmaster. It’s a balance.

On their main source of revenue:
(Jason Tranchida) It’s selling the magazine, a bit of advertising, and we started something recently, which goes back to what we said about maintaining a relationship with our artists; on our website we have what we call the Alumni Shoppe, and it’s all work done by our contributors that’s done outside of the magazine.

On where they see the magazine a year from now:
(Jason Tranchida) It’s the 8th issue and obviously, we’re very proud of the 7th issue, the current one, but we’re also excited about the next one too. I feel like it’s going to be something very special.

On what keeps them motivated to get out of bed each morning:
(Jason Tranchida) Coffee. (Laughs)

On anything they’d like to add:
(Matthew Lawrence) We live in Providence, Rhode Island, which is where the magazine is based. It’s an extremely creative city, but also small. Which for us is a bit of a plus and a minus, but I think that being able to live in a city where you can do things creatively, projects like Headmaster, and be able to afford the luxury of doing that, is probably what keeps me getting up in the mornings.

On what keeps them up at night:
(Matthew Lawrence) Coffee. (Laughs)

And now the lightly edited Mr. Magazine™ conversation with Matthew Lawrence and Jason Tranchida, Editors, Headmaster.

Samir Husni: Matthew, can you tell me the story behind Headmaster magazine?

Matthew Lawrence: Primarily it’s a magazine with original projects and the concept behind it is that we find artists and writers that we like and we give them assignments to do those original projects for the magazine. So, everything between the pages is made for Headmaster.

Samir Husni: Jason, I see that you’ve been there since the very beginning of the magazine, back in 2010; one of the Headmaster’s.

Jason Tranchida: (Laughs) Yes, Exactly.

Samir Husni: (Laughs too)

Jason Tranchida: Part of us did stay behind. Originally, there were four Headmasters, actually, who started it off and conceptualized it. We all came from diverse backgrounds and we were all magazine and book lovers. We really wanted to do some sort of print publication.

The backstory of how it all started is we all got together every week and had some beer and wine and enjoyed some of our favorite books and magazines and tried to come up with a concept for a magazine.

We kind of knew what we wanted; a digital arts magazine, but we got to a point where we wondered how we were going to get content for it. So, we started actually giving assignments to each other and doing some work ourselves to get things flowing. But the name hadn’t come along yet. Eventually though it all just started coming together.

I think a lot of artists really like getting assignments and most people that we’ve worked with have been really excited by the challenge and the focus of having to do a project that we conceptualize for them.

Each assignment is actually written specifically with that person in mind, so no two people get the same assignment. Different types of artists shouldn’t have the same assignments as some, so we fit the assignment to the particular artist.

That’s how it all started and then over the years it just became Matthew and I, because the other two have other obligations and realized it was a ridiculous amount of work that you have to put into a magazine like this. (Laughs)

Samir Husni: (Laughs too) I hear the phrase ‘we live in a digital age’ from people all of the time and my typical answer is always the same: yes, I know. Why did you decide to create Headmaster in print rather than a digital entity on the many different and personal platforms out there?

Matthew Lawrence: There were a couple of different reasons. My background is as a writer and Jason’s is as a graphic designer. And we got to a point where we were both doing a lot of work online and we wanted to make something that we would be able to actually pick up and hand to somebody and say that this is what we’re doing.

At the same time, we still liked a lot of print magazines and there seemed to be a huge influx of print magazines that we liked right around the time that we started, so we were never really interested at all in having Headmaster be a digital project.

Samir Husni: When the magazine was launched in 2010 and even until today, we are seeing more and more of the upscale, expensive print magazines aimed at specific communities. Over the years what was the major stumbling block that you had to face and overcome, besides losing two of your Headmasters?

Jason Tranchida: Well, we solved some complications and then made some others. (Laughs)

Samir Husni: (Laughs too)

Jason Tranchida: I think the stumbling block probably, because it is a physical thing; one of the stumbling blocks was distribution. And obviously, we say that we’re a print magazine, but we couldn’t survive also without digital media, of course, in terms of communication and that type of thing.

Distribution was something that we both had to learn. Matthew had a little more experience with that because he’d once worked in a bookstore and knew the ins and outs a bit more about distribution than I did. I had designed a lot of books for clients; I never had anything to do with the distribution. So, that was a big stumbling block.

We’ve learned a lot about that though, going to book fairs and things like that. We’ve also learned that there are plenty of people out there who want to hold the magazine in their hand.

Samir Husni: And what has been your most pleasant moment since the first issue came out?

Matthew Lawrence: The most pleasant moment for me actually is when we get to meet our artists. Each issue has about nine artists and writers in it and we try to maintain that relationship with them by staying up-to-date on their careers and what they’re doing and sort of bring them back into the Headmaster family.

Our contributors are from all over the world, so there is a large amount that we never get to meet. But we do have those great moments when we’ll go to a city and run into someone we’ve worked with. For example, we were in Miami last December and the very first person from Seattle that we ever gave an assignment to, who we’d never met, actually showed up there for an event we had. It was really nice that five years later, we finally got to meet in person someone we’ve maintained a relationship with. So, those are some of the most satisfying parts of my job.

Samir Husni: Do you feel like you and Jason are curators? That each issue is like a museum and you’re inviting people in for the tour? I noticed that each issue has a theme; Issue 7 is The Field Trip Issue.

Matthew Lawrence: We did the first three issues without a theme for each one. Issue 4 we had women contributors entirely and Issue 6, rather than give our writers written assignments, we gave them other assignment prompts; we sent somebody a score of music and we sent somebody else a bottle of Vodka. Theming the issues is sort of a way for us to keep it interesting for ourselves.

And I think you’re right as far as thinking it’s a curatorial process, because we do have generally nine, sometimes ten, artists per issue and we try to strike a balance of photographers and writers. More and more we’re working with artists who are into interdisciplinary things, where we might not even know what we’re getting.

Samir Husni: Are all the artists in the magazine that you select; are they all from the LGBT community or do have a diverse group?

Jason Tranchida: Mostly, but not all. But it’s not a prerequisite to being a contributor for Headmaster. It’s a balance. For example, in the second issue the person who did the photo shoot of the Rugby outfit was a wife with two kids. The work just had so much masculinity in it that she just sort of fit into the issue as well. Some might say all the work has to fit into the queer cannon, but that just opens up a huge debate on what is queer, which can mean a million different things, so the artists themselves don’t have to be a member of the LGBT community.

Samir Husni: In reality, the content is what makes a magazine, so as long as the artists have the same vision of what the magazine is all about; it makes no difference whether they’re gay or straight or anything else.

Headmaster1-1 Jason Tranchida: Exactly. And that’s kind of like our magazine’s tagline: the biannual art magazine for man-lovers and the man-lovers reference is just a convenient way to be specific and completely non-specific at the same time. It may seem silly, but I think it gets the point across. Who’s a man-lover? Anyone can be a man-lover. (Laughs)

Samir Husni: (Laughs too) We’ve come a long way since Out Magazine was first published and before that it was The Advocate, but really I consider Out to be the first mainstream gay magazine that was available everywhere. Do you think it’s easier today to publish a gay/lesbian magazine than in, let’s say, 1990? Is the industry more accepting now or not? I mean, I looked to see how many ad pages you have in the magazine and I didn’t find very many. Although, we know a lot of businesses and companies that are owned by gay people are still advertising only in mainstream magazines. Do you feel there is a conflict of interest here somewhere?

Matthew Lawrence: That’s a complicated question.

Samir Husni: (Laughs) Give me a simple answer.

Matthew Lawrence: (Laughs too) I think that in some ways it’s probably easier now to make a magazine like this, because I can only think of one instance where we picked up a new store and sent them however many copies they ordered and they called us immediately to return them because they weren’t OK with the content, where 20 years ago I don’t know if it would have been just one store that would have reacted that way.

As far as advertising goes, that’s something we’re always trying to figure out. We’re a pretty small publication; we only print 1,000 copies of each issue. A lot of people aren’t interested in advertising with that small of a market to begin with.

Jason Tranchida: I would say that it would be kind of hard to differentiate. I don’t feel like when we approach advertisers, for example, that it’s so much an issue of the content; we try to get the physical magazine into their hands and they realize the quality of the publication itself. I would say our problem in getting advertisers is the fact that it’s a niche market and we’re a pretty low-run, limited edition type item. After five years, it’s still a major piece that we’re trying to figure out.

Samir Husni: So, circulation and selling is your major source of revenue?

Jason Tranchida: Yes, it’s selling the magazine, a bit of advertising, and we started something recently, which goes back to what we said about maintaining a relationship with our artists; on our website we have what we call the Alumni Shoppe, and it’s all work done by our contributors that’s done outside of the magazine. So, that adds content to our website and we sell items that would speak to the Headmaster audience, whether it’s limited edition prints or T-shirts or bathing suits, which our artists have made. And that’s become another source of revenue for us. We launched that about a year ago. We were brainstorming on how we could expand the brand a little bit and increase our sources of revenue and we came up with this idea.

Samir Husni: If I’m speaking with you both a year from now, where would you like Headmaster to be at that time?

Matthew Lawrence: We’ll have our 8th issue out by then, which we’re not really talking about yet, but it’s going to be the most conceptual concept issue that we’ve done yet. That’s funny, I feel like we should have a more definitive answer. (Laughs) Some sort of big plans or something. But I don’t think we actually do. (Laughs again)

Jason Tranchida: It’s the 8th issue and obviously, we’re very proud of the 7th issue, the current one, but we’re also excited about the next one too. I feel like it’s going to be something very special.

Samir Husni: Maybe something like: only in print, a special issue where you can only read that particular issue in print. (Laughs)

Jason Tranchida: (Laughs too) Exactly. As for any long-term future plans, we might just take this to the 10th issue and then do a book-type publication, where we put the artists’ work from the last nine issues together. That’s something I’m really excited about because there are projects in Issue 1 that I want to see next to a project in Issue 6, just because I think that they speak to each other in a special way, content-wise.

And I also think that Issue 10 will be where we evaluate and see where we want to go from there. I think that we’ll always do some sort of project called Headmaster, whether it’s the magazine or that sort of launches into something else. I think that will be a good time to reflect on what we’ve done and see which direction we want to take it.

This is our creative outlet as well as a business, so it’s sort of like: this is our project and we can do whatever we want. (Laughs) I’m excited because there are so many parts of it now that have a structure; we know roughly how many pages there are going to be; we know its distribution and we’ve got the concept down, so now we can really have fun with it.

Samir Husni: I love your quote that this more of a creative outlet, and a business, but it’s a passion. That’s what I tell people about my job; it was my hobby when I was nine-years-old and reading and collecting magazines, now people pay me for it. (Laughs)

Jason Tranchida: (Laughs too)

Samir Husni: What motivates Matthew to get out of bed in the mornings and get excited about his day? And what motivates Jason to do the same?

Jason Tranchida: Coffee. (Laughs)

Matthew Lawrence: I also like coffee quite a bit. (Laughs too)

Samir Husni: (Laughs) Is there anything else either of you would like to add?

Matthew Lawrence: We live in Providence, Rhode Island, which is where the magazine is based. It’s an extremely creative city, but also small. Which for us is a bit of a plus and a minus, but I think that being able to live in a city where you can do things creatively, projects like Headmaster, and be able to afford the luxury of doing that, is probably what keeps me getting up in the mornings.

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

Matthew Lawrence: Coffee. (Laughs)

Samir Husni: (Also Laughs) You both are starting to sound like me. I fall asleep drinking my cup of coffee and if I don’t finish it, I wake up later and finish the rest of the cup. (Laughs)

Jason Tranchida: (Laughs too) Matthew often falls asleep with coffee next to the bed.

Samir Husni: Thank you.

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An Ounce Of ‘Prevention’ Is Worth A Pound Of Print Plus Digital To Propel It Forward Into A Healthy Future…The Mr. Magazine™ Interview With Lori Burgess, Publisher & Bruce Kelley, Editor-In-Chief, Prevention Magazine.

May 19, 2015

“We will not pull the plug on the print edition. It does too well with advertisers; it does too well with people who like print, and not just people of a certain age, but across a whole stretch. So, I can’t foresee it.” Bruce Kelley

“The number two media channel that the entire pharmaceutical industry spends in is print. Consumers are hungry for this information and they want to make great choices.” Lori Burgess

The 65th anniversary issue of Prevention magazine.

The 65th anniversary issue of Prevention magazine.

For 65 years and counting, Rodale’s Prevention magazine has been the leading authority on health and wellness for the nation. Started in 1950, the magazine has spanned the gamut with information on food, nutrition, workouts, beauty, and cooking. Its dedication to a heathier lifestyle and how to get you there is irrefutable.

The captains of today’s Prevention vessel, Lori Burgess, publisher and Bruce Kelley, editor-in-chief, are as enthusiastically committed to the magazine’s mission as the content on the pages themselves. It’s a perfect fit.

Recently, I was in New York with a group of my students, future industry leaders in the world of magazine media, and I had an opportunity to speak with Lori and Bruce about Prevention’s ability to revitalize and change with the seasons, much like a chameleon, without losing its original DNA, of which the magazine is known for.

Print plus digital, events, books, even a Rodale U where consumers can take E-courses on health and wellness dominated our conversation and proved that these two helmsmen weren’t afraid of innovation or the future at all.

IMG_6525 I hope you enjoy this informative conversation between Mr. Magazine™ and two people who believe in the value of their brand and how it can benefit their audience with an unbridled passion that is definitely contagious. I see clean-eating in my future. Enjoy the Mr. Magazine™ interview with Lori Burgess, Publisher and Bruce Kelley, Editor-in-Chief, Prevention magazine.

But first, the sound-bites:

On the ‘new’ Prevention and plans for its future: (Bruce Kelley) Prevention is in the perfect place at the perfect time, that’s my view of it. I came on 15 months ago and it just strikes me that with the millennials being more interested in health than any other younger generation before them, with the Gen X the same, and the Boomers entering a stage where they have to care about their health; Prevention is in this perfect place where health dominates the Zeitgeist in ways that it probably hasn’t maybe in our lifetimes.

On whether after 65 years, Prevention is now the perfect brand: (Lori Burgess) The really interesting factor, to answer your question, is that we did take stock and dissected this brand a few years ago to really ascertain what tomorrow’s Prevention should be. And what we learned was that we didn’t want to change the target focus; we very much wanted it to be for somebody who is really committed to their health and wellness.

On translating the common sense of Prevention into its editorial content: (Bruce Kelley) The way we’re doing it is adopting a digital-first strategy and by that I mean; how do you know somebody is obsessed or really interested in a topic these days? You put up stories on the web and you see which ones they click.

On knowing both the print and digital audience, with a digital-first strategy, and how they are alike or different: (Bruce Kelley) I believe a digital-first strategy is an audience-first strategy, because the health audience in this world today is coming to health content through digital. If you added up all the impulses that people have to search out health content; I don’t have the actual numbers, but it would be an extraordinary, exponentially larger number coming at it through digital strands.

On the numbers of the rate of duplication between the print and digital audience: (Lori Burgess) Our numbers are low too; they’re not quite that low, but they’re very low. To be straight-up with you, the median age of the print is 59. It fluctuates every month digitally, but the new numbers for April just came out and the median age for our website was 33.

On how they’ve been able to monetize their digital and get consumers to pay for web content: (Lori Burgess) Yes, we’re having great success admittedly in both print and digital. I would say to you that we did return Prevention to its roots. Our DNA has always been about breakthrough content and information.

On a major stumbling block they’ve had to face: (Bruce Kelley) I haven’t really encountered a stumbling block. I hate to sound Pollyannaish. The things that people say should be stumbling blocks; I actually think are strengths, the size, for example. Eighty percent of our readers, the people who are drawn to this, and I guess our newsstand reader is in the low 40s on average; they tell us that they love the size.

On whether they can envision a day Prevention would not have a print component: (Bruce Kelley) We will not pull the plug on the print edition. It does too well with advertisers; it does too well with people who like print, and not just people of a certain age, but across a whole stretch. So, I can’t foresee it.

On the target audience they’re going for with today’s Prevention: (Bruce Kelley) It’s not an age, that’s for sure. I think it’s a spirit and the spirit is a great curiosity about things related to what they eat and how they live. It’s ambitious women who are active. And in some ways the conversation about health has changed a lot in really interesting ways.

On why (for the most part) Prevention’s web content is free: (Lori Burgess) Well, who’s to say we will forever. The consumer has been trained to get their content for free on the web, but that’s changing. We were ambitious enough to launch Rodale U, which are basically internet courses that are paid on the web, and is a brand new feature. It’s the same way; we became one of the few magazine brands that had the courage to create an event program and a two-day summit that we charge money for. People don’t come to our events for free. They pay to come.

On whether they think the magazine media industry will ever recover from the Welfare Information Society that’s been created: (Lori Burgess) I’m going to answer this one politically correct. I truly believe that what this company is founded on is something that is far deeper, in terms of importance in people’s lives. Health and wellness is going to become increasingly important as the Baby Boomer becomes older, as an example.

On Lori’s non-politically correct answer to the same question: (Lori Burgess) I think we shouldn’t have done this, but I also think back then, and I remember it; I don’t believe anyone knew what the Internet could be. I don’t think even Steve Jobs back then completely knew what the Internet could be.

On what keeps Lori up at night: (Lori Burgess) I think that we can’t move quickly enough. We have really spread our tentacles well beyond print and digital into the doctor’s offices points of care, into events; we have a lot of big ideas. We’re partnering with some really interesting companies, so I think we just can’t move fast enough. We are nimble, but there’s so much potential for this brand.

On what keeps Bruce up at night: (Bruce Kelley) What keeps me up is thinking of ways to make Prevention customers happy, such as helping them. That probably sounds so sappy. (Laughs)

Lori Burgess head shot And now the lightly edited transcript of the Mr. Magazine™ conversation with Lori Burgess, Publisher and Bruce Kelley, Editor-in-Chief, Prevention magazine…

Samir Husni: Prevention has reached the senior age of 65 years old, but now, after 65 years, it’s become younger and more vital than ever. Tell me about the new Prevention and your plans for its future.

Bruce Kelley: Prevention is in the perfect place at the perfect time, that’s my view of it. I came on 15 months ago and it just strikes me that with the millennials being more interested in health than any other younger generation before them, with the Gen X the same, and the Boomers entering a stage where they have to care about their health; Prevention is in this perfect place where health dominates the Zeitgeist in ways that it probably hasn’t maybe in our lifetimes.

Prevention is also produced through a company, Rodale, which has been a part of the health category forever. And I feel more than ever that the company is just so committed and its mission so wrapped up in helping people live a healthier lifestyle and doing it in a very fun way. Rodale is so committed to being a digital force; a force on any platform that people are using, that it was just a perfect place and time for Prevention to essentially say: we’re going to hit a new peak.

Samir Husni: Lately, for maybe the last five or six years, it would appear that Prevention has been trying to find its way. It went through different redesigns, reinventions, approaches to covers and different testing of covers. Do you think, keeping that same DNA, which started 65 years ago, that you have built the perfect Prevention now?

Lori Burgess: I echo to a degree something that Bruce said a moment ago and that is that in a way Prevention is 65 years young, because the time has now come for consumers to get much more serious about their health and wellness. There are so many different forces that are coming into play; the cost of healthcare is through the roof right now.

But the really interesting factor, to answer your question, is that we did take stock and dissected this brand a few years ago to really ascertain what tomorrow’s Prevention should be. And what we learned was that we didn’t want to change the target focus; we very much wanted it to be for somebody who is really committed to their health and wellness.

We did acknowledge that print has historically targeted and been embraced by consumers who are getting older. And we acknowledge with print that what happens to women when they get older is suddenly there’s a day, a moment in time, and it could be a condition which they have been diagnosed with or it could just be the fact that like me, suddenly they’re looking in the mirror and saying, wow, I’m getting older. Why does this hurt in the morning? Or why can’t I recover from going out and having a glass of wine as easily as I once did? So, when a woman experiences these physiological and psychological changes, she wants to get serious about it.

Now what’s different today than five or ten years ago is that the people who are coming into Prevention, and particularly in the print franchise, are Baby Boomers and we all know what they’re like. They’ve got the can-do attitude; they’ve been the people who have changed the world; they’re the people who invented the iPhone 6; all these kinds of people, who have conquered the world, and suddenly they’re waking up and saying, oh my goodness, I’m getting older. Well, I’m going to discover the fountain of youth. I’m not going to let getting older take away my possibilities or the new challenges that I want to face.

To really put closure on what you’re suggesting; we didn’t shift Prevention; we acknowledged with Prevention that we were dealing with a new group, a new mindset of consumers that were coming into our franchise and that our team needed to be a lot more exciting and relevant; a lot more cutting-edge and a lot more ahead of where everybody else was. And I think that’s what really differentiates us.

The sexy part of it is that the digital is attracting a younger audience, because guess what, our kids are living with us and they’re watching us workout like fiends and they’re watching us worry about our parents who might not be quite as healthy as we are. So, these young people are coming into the franchise saying I’m interested in getting healthier earlier, because I’m going to be even better than my parents are.

Samir Husni: You have the perfect name, an ounce of Prevention; you speak to the audience’s common sense; how can you translate that simple, yet ingrained name in the minds of anyone who thinks about health, into the editorial formula of Prevention?

Bruce Kelley Bruce Kelley: The way we’re doing it is adopting a digital-first strategy and by that I mean; how do you know somebody is obsessed or really interested in a topic these days? You put up stories on the web and you see which ones they click.

We came in, and just in the last year, started doing something that I think no other magazine is doing, where essentially all the editors are digital editors and they put up their beats; they put up great content on Prevention.com and then they watch closely what goes up on social, our social audience is just very engaged, and they watch what drives traffic. Then when we see what the hot topic is at that time and we throw more stories at that topic.

For instance, haircuts; who would have known haircuts that make you look ten years younger would be one of our hottest topics right now. That is informative to us as editors and we have a lot of good editors. They create that content and then they determine how they’re going to get that into the magazine in a way that a print reader will have that same visceral reaction to it.

So when you put the right content onsite and people click on it, the word Prevention starts to mean what that content is. It means feeling better, getting younger; one of our hottest clicks these days is ‘Eight Symptoms that Your Doctor isn’t Telling You About.’ And anybody would be interested in that; any demographic. They click; they learn great health concepts and then we can turn that into great content for the magazine.

Samir Husni: What’s the rate of duplication? I mean, if we’re talking about those two audiences, digital and the magazine, and you have this digital-first strategy instead of audience-first; how do you know that these are the same people?

Bruce Kelley: I believe a digital-first strategy is an audience-first strategy, because the health audience in this world today is coming to health content through digital. If you added up all the impulses that people have to search out health content; I don’t have the actual numbers, but it would be an extraordinary, exponentially larger number coming at it through digital strands.

Lori Burgess: And to go a step further; for us too, it’s coming through mobile, not just digital; 72% that are coming to us are mobile. Think about it; they’ve gone to the doctor; they have a thought and they want to get an instantaneous answer right then and there.

Samir Husni: I took my students to MIN Day recently and spent the whole day there and we listened to one speaker after the other, from digital agencies to you name it, talk about the death of the homepage; the death of the tablet; that everything is now mobile and that’s what drove me to write that it took us 500 years to talk about the death of print, but it only took us five years to talk about the death of the tablet and the homepage. (Laughs)

Bruce Kelley: (Laughs too)

Samir Husni: From all the studies that I’ve seen show that the rate of duplication between the digital audience and the print audience is between 6 to 10%. Do you have any numbers that are different from those?

Lori Burgess: Our numbers are low too; they’re not quite that low, but they’re very low. To be straight-up with you, the median age of the print is 59. It fluctuates every month digitally, but the new numbers for April just came out and the median age for our website was 33. A lot of that, the younger side, is due to social media, which tends to attract a younger audience, but it certainly validates that there are a lot of young consumers.

But when you look at all the data, the similarities, in terms of interests that exist between the Boomers and the Millennials; it’s just profound. They’re almost identical. It’s so cool.

The very first issue of Prevention, June 1950.

The very first issue of Prevention, June 1950.

Bruce Kelley: Imagine a strategy where every week on Prevention.com we are telling people about the magazine and a lot of them don’t even know about the magazine, but they’re interested enough that we get a lot of subscriptions through that, number one. We also have a great book business; we have Rodale U, which is our new product, and we tell them about that and they click on it if they’re interested in a digital E-course.

So, Prevention.com becomes the foundation of growth for Prevention, the brand. And the print and all these other elements become the places that we can send them and the places that they can then pick. They can actually as audiences decide which platform makes the most sense for them. Our growth on Prevention.com; we’re over 100% up year over year. In terms of social posts, we’re up over 500%. So the brand is actually blowing up online and that just has so many ways in which it can make the magazine more vibrant; it can allow us to build new products, which our audience can then choose to be a part of.

Our Transformation Challenge, which we just put up on Rodale U, in eight days, sold 10,000 copies. In 21 days a person can transform their life, lose weight, and feel great. And we had 10,000 people who paid $10 or more for a book to go along with it. And they’re on the Rodale U, literally hundreds of them, on threads talking about what they’re up to; what their diet strategies are; commenting on the course and how they’re using it, and just simply sharing.

Lori Burgess: It’s community. It’s like the biggest community out there.

Bruce Kelley: It’s community; it’s Rodale at its best, because that’s what Rodale is; it’s useful, fun ways of making your life better and healthier.

Samir Husni: So, tell me what’s your secret that you’ve been able to monetize digital in this Welfare Information Society that we created on the web? How are you getting people to pay for those things?

Lori Burgess: Yes, we’re having great success admittedly in both print and digital. I would say to you that we did return Prevention to its roots. Our DNA has always been about breakthrough content and information. We’ve led the nation’s conversation about proactive health and wellness. There are a lot of health media channels out there, from the WebMD’s to the health magazines, but no one has the same degree of unrivaled, authoritative perspective; the fact-checking that these editors go through to determine whether something is viable content and should be covered or not, is unprecedented in the industry.

We’re one of the last, I’d say, beacons of true, real journalism, so advertisers value that because, you know what, we’re not talking about try this shampoo or that shampoo. When we write about a particular story, whether it’s on the topic of mammograms or skin cancer, we have to be sure we’re getting it right because the information that we’re giving the consumer could be the difference of life and the choices that they’re making; it’s all about the sciences.

We sit in a very interesting position and as one advertiser said to me about a week ago, you really don’t have competition, because we sit in a really pretty spot.

Samir Husni: What has been the major stumbling block you’ve had to face?

Bruce Kelley: I haven’t really encountered a stumbling block. I hate to sound Pollyannaish. The things that people say should be stumbling blocks; I actually think are strengths, the size, for example. Eighty percent of our readers, the people who are drawn to this, and I guess our newsstand reader is in the low 40s on average; they tell us that they love the size. That’s what they’re attracted to. And that makes sense to me in today’s world. People are in a hurry, they want something quick; they want something mobile, like a tablet. The tablet may not be working as a magazine enterprise, but this magazine is working as one. (Laughs) People still like print. So, I get excited about the possibilities of getting the ‘next generation.’ I get excited because this is their tablet magazine.

And as Lori said, a perception that we’re not young, but the fact of the matter is if you look at the brand, if you look at how fast it’s growing; the 360 count that Mary Berner and the MPA are doing shows us up 25% year over year, which is better than any of our competitors, in terms of just impressions. Where is that coming from? It’s coming from all the mix of things that we offer.

Samir Husni: Can you ever envision Prevention without a print component? Will the Prevention brand survive if you pull the plug on the print edition?

Bruce Kelley: We will not pull the plug on the print edition. It does too well with advertisers; it does too well with people who like print, and not just people of a certain age, but across a whole stretch. So, I can’t foresee it. If things change much more drastically in the industry, then I can imagine it. This is one of the last print publications, but if it goes away, I totally see Prevention absolutely thriving, because look at it; it’s prevention and health content and people consume health content on digital and they do it in all the ways that Rodale is getting very sophisticated about doing it.

Lori Burgess: And just to echo one other thought, we charge for subscriptions now, it’s pretty bold; we charge 12 issues for $24. We’re one of the most expensive magazines in the industry. We may not be the biggest or the fanciest or the heaviest, but we have the confidence in the editorial product to command one of the highest subscription rates in the industry. And if consumers don’t want to pay for that, they can go to our website; much of our website is free and open access to them. But I also have to say we carry an abundant amount of advertising in the OTC (over the counter) and DTC (direct to consumer) categories. We’re the number one media vehicle in all of magazine media for over the counter remedies and for DTC we’re one of the biggest.

The number two media channel that the entire pharmaceutical industry spends in is print. Consumers are hungry for this information and they want to make great choices. And I think that’s the other thing when you’re talking about what makes Prevention so great; Bruce and his team give the whole perspective, so if you and I are having skincare problems, let’s just say; you might, based on all the information these guys give, make a whole different choice than I might choose. But the point is they treat us like we’re smart and they give us the information to make the right kinds of choices. This is one of America’s great media brands.

Samir Husni: For print, you said 59 was the median age. When you’re putting together the magazine, who’s your target audience; who’s the audience that you’re going after?

Bruce Kelley: It’s not an age, that’s for sure. I think it’s a spirit and the spirit is a great curiosity about things related to what they eat and how they live. It’s ambitious women who are active. And in some ways the conversation about health has changed a lot in really interesting ways.

When I was at Health Magazine in the 1990s when it was in San Francisco and it was a very interesting, cutting-edge magazine. Then it was about the science really trying to figure out what the healthy way of life was then, questions like, how do we deal with cholesterol; is the Mediterranean Diet the right one. Does human growth hormone work? There were a lot of mysteries out there.

Now, it’s less about the mysteries, although there are still some mysteries to report on, it’s more about the fact that we know how to live healthy, but how do we inspire ourselves to actually do it? How do we overcome the reality that it does take inspiration and motivation; it does take friendships; it does take, yes, knowledge, but it also takes authenticity and realism about what it’s really like to try and eat clean, for example. You walk into Whole Foods and you’re head begins to explode because there is so much to choose from.

So, we’re there, both as the one advising you what to eat and how to live, but we’re also that spirit; we’re the ones saying just do the best you can; you’ve got the right attitude, and a lot of it is about attitude. A lot of it is about how you perceive your journey that you’re actually getting better and smarter and more excited as you go.

Turning health into this positive lifestyle attitude is a big part of what Prevention is right now. And to me it’s the most exciting part, because motivation is everything in today’s world.

Samir Husni: When you have such a treasure as Prevention and it has such a good place in the marketplace, in terms of advertising and circulation; why did you make your content on the web free?

Lori Burgess: Well, who’s to say we will forever. The consumer has been trained to get their content for free on the web, but that’s changing. We were ambitious enough to launch Rodale U, which are basically internet courses that are paid on the web, and is a brand new feature. It’s the same way; we became one of the few magazine brands that had the courage to create an event program and a two-day summit that we charge money for. People don’t come to our events for free. They pay to come.

So, I think we are working to shift our model, it’s like a vessel on the seas; we were headed to Australia and we decided to shift gears a bit and head toward Alaska and it takes some change.

Bruce Kelley: And I think Rodale has been, maybe more than any other major media company, founded on the principle that if you give customers good information and good inspiration, they’ll pay for it. Hence, Rodale has a very big book business.

And something like an article that’s in our May issue, the cover story, Lose 10 Pounds and Feel Great; it has great content. They’ve paid for the content and they open it up and it inspires them to join the 21-day Transformation.

Now, to get the most out of the Transformation, they go to Rodale U and they get a Sizzle Reel that tells them this is everything they’re going to get out of the 21 days. And it shows people who have done it. And then at the end of that it says it’s going to cost them $9.95. And we really recommend that you buy the Sugar Smart Express book to get the most out of the plan. And so you have 10,000 people who are doing that and you have almost 1,000 who have bought the book as a part of the plan.

It’s good content and it’s the future, in that if it’s really strong content and it’s really deep, people get a valuable experience out of it and they will pay for it.

Samir Husni: If that’s the case and we know that people will pay for good information and good content; why do you think that as an industry when the Internet came, we created this Welfare Information Society? We actually put people on welfare information; here are the tables filled to capacity; come and get it. You were smart enough to create Rodale U, so you shifted the attention from Prevention.com, where you can get everything for free, to Rodale U where you have to pay for it. Do you think our industry will ever recover from the big, huge mistake of giving our content away for free? Cable never did it. And that’s what I don’t understand with our industry. When HBO first started in 1977, they said if you want cable, you pay me $9.99 and we’ll split it between the deliveries. But the internet; no, we told AT&T take all the money, just wire that home and we’ll provide them with all the information for free.

Lori Burgess: I’m going to answer this one politically correct. I truly believe that what this company is founded on is something that is far deeper, in terms of importance in people’s lives. Health and wellness is going to become increasingly important as the Baby Boomer becomes older, as an example. It’s going to have huge implications on our society, on the financial side and on most situations in this country and so, I would say to you if there is ever a company that is going to figure this out by being innovative and nimble enough to try the new ways of connecting and resonating with consumers and creating enough value that consumers are willing to put some skin in the game and pay for it, it is absolutely Rodale.

Scott Schulman and Maria Rodale have really charged the entire team to think from a very innovative perspective. They don’t want us thinking about the way things were; they want us thinking about the way things should be in the future. And I think as this particular brand becomes more ingrained in people’s lives at a time when it matters the most, it gives all of us permission to try new businesses and new experiences to present to the consumer that perhaps haven’t been realized yet.

This brand has that kind of commission. Some brands don’t; this brand and certainly this company have that.

Samir Husni: And your non-politically correct answer?

Lori Burgess: I think we shouldn’t have done this, but I also think back then, and I remember it; I don’t believe anyone knew what the Internet could be. I don’t think even Steve Jobs back then completely knew what the Internet could be.

So, shame on us? But don’t you remember when everything crashed in 2001; no one knew what tomorrow was going to be.

Bruce Kelley: I came most recently from a couple of years at ESPN, where I was peripherally involved in Insider, which was their premium product. That experience really influenced what my thoughts were when I came in to the brand and had my conversation with Scott Schulman about what Prevention could be, because that’s a model, there are others, but that’s a model where there’s a magazine involved, ESPN the magazine, there’s great content behind a paywall, Insider, and people gladly pay $40 a year to get access to that. And I view sports as one of those know-it-all obsessions; well, health is one of those know-it-all obsessions as well.

It’s also a content area where people have true needs and true ambitions that do require expertise and inspiration. So, I’m still going on the theory and so is Rodale as a whole, because we see it. We were just in a big management meeting where that was the message; we have great experiences and great value. Our number one job is to have relationships with the customers so they are like onboard with us. And if it has value to the consumer, they will pay for it.

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

Lori Burgess: Two things keep me up at night. Actually, I sleep very well, so nothing keeps me up at night. (Laughs) No, seriously, I think that we can’t move quickly enough. We have really spread our tentacles well beyond print and digital into the doctor’s offices points of care, into events; we have a lot of big ideas. We’re partnering with some really interesting companies, so I think we just can’t move fast enough. We are nimble, but there’s so much potential for this brand.

And secondly I would say candidly, we are still selling media to young people. A lot of the people who buy media in the digital space and the magazine space are really young. They’re younger today than they’ve ever been. They’re responsible today for bigger budgets than ever. And their organizations are leaner as well. And they don’t have the time to get to know media and individual properties the way they once did. So, I think what keeps me up at night is how do I, as a marketer and a publisher, do an exceptional job in helping young people that really aren’t quite there yet, in terms of their health and wellness, and they’re working in organizations that have reprioritized things; how do I help them feel the passion, the love and the potential that this kind of brand can have in order to reach consumers. That keeps me up late a lot.

Bruce Kelley: What keeps me up is thinking of ways to make Prevention customers happy, such as helping them. That probably sounds so sappy. (Laughs)

(Everyone laughs)

Bruce Kelley: But it’s so true, because of what we just talked about, which is they need that value and experience that makes them say, this brand, whatever it is; whether it’s an issue of the magazine, or this series of articles online, whether it’s a course on Rodale U, or an app that we produce someday; this brand is valuable to them. That’s where the rubber meets the road. And I’ve felt it most recently when I spent time on the threads of the Transformation Challenge, where you have literally hundreds of women in the midst of trying to have 21 of the best days of their lives talking to each other. And occasionally saying I wish the course had discussed this or mostly just saying how great the course is. I’m five days into this and I feel great. I’ve cut sugar out of my life; I’m working out like I haven’t done in a long time; this is working. This is worth it.

But every once and a while you see that little lack of perfection and it makes you think, darn it; we need to be perfect in every way for that customer to feel like a ‘Rodale’ person. A Prevention person; someone you helped to transform their life. And they love you for it.

Samir Husni: Thank you.

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MagFinder: The Grinder And Tinder App For Single Copy Magazine Lovers – The Mr. Magazine™ Interview With Joshua Gary, Senior Vice President, MagNet. A Mr. Magazine™ Exclusive.

May 15, 2015

“We wanted to make it easy for publishers to communicate to their customers where their magazines were available for purchase; not only via a traditional website, but also making it available via mobile, so that when people are actually in the store, they can get information about what’s available to help facilitate that spur-of-the-moment decision. We want to take off the “mobile blinders”, and put a “mobile spotlight” on our brands..” Joshua Gary

Joshua Gary Photo What if you could browse your favorite retailer’s inventory from the comfort of your own home? Or you’re doing your grocery shopping and you decide that you’d like to see the latest issue of your favorite magazine, but you still have food items to buy; what if you could pull up the store’s availability of magazines right there in front of the macaroni and cheese?

With MagNet’s new app – MagFinder – you can do any of those things, and many more. Joshua Gary is Senior Vice President at MagNet, the company that’s using innovation to raise the customer shopping experience to a whole new level.

I spoke with Joshua recently and received a sneak peek of the MagFinder experience. He allowed me a preview of what this app (which doesn’t need downloading, by the way) can do and discussed the many, many benefits it offers to the entire food chain of the magazine media business, with the consumer being the ultimate winner overall.

In this Mr. Magazine™ exclusive, Joshua made me privy to a demonstration of this creative and extremely cutting edge technology and allowed me the honor of being the first to interview him about it. His baby will be publicly christened at the 2015 IMAG Conference in Boulder, Colorado on May 18. And to say he’s a proud parent would be an understatement.

So, I hope you enjoy the interesting and exciting information he shared with me, as you read the Mr. Magazine™ exclusive interview with Joshua Gary, Senior Vice President at MagNet.

But first the sound-bites:

Screen shot 2015-05-15 at 9.23.15 PM On what MagFinder is all about: Here’s the problem. There’s only been incomplete or outdated information available to publishers and therefore only incomplete information that publishers can make available to their consumers.

On how MagFinder can help a customer find that elusive new title: Now all you have to do is come into our site, type in your title and it’ll tell you where to find that magazine. Using the example title, Simple Grace; I give the app my location, based on the IP address of my computer. It also works on your phone using GPS. So, when it says nearest location within 3.3 miles that’s based on where I’m located at that point. I can click on Simple Grace and it will bring up a listing of where it’s available to buy now, based on the information we’ve received as recently as yesterday.

On the comparison of a Match Finder, Grindr or Tinder to the MagFinder app: (Laughs) It’s meant to inspire and encourage in store purchases and it’s meant to encourage people to see what’s available to them and then to go find that magazine.

On whether he thinks publishers will be jumping on the bandwagon once the app goes public: I believe that once they hear about this vision, I think they will jump in with both feet. Right now, we’ve been spending a lot of time building out the app and we’re coming to a point where we have to make sure it’s accessible to consumers. It hasn’t been released publicly yet.

On any disadvantages he can see with the app: I think this is going to create another level of competition among publishers who want to try to bring people to their own content. When there are five, six or seven gun magazines out there and many of them may look similar, I can see a publisher being concerned that the consumer might choose a competitive product over their own. And then the best content ends up winning. So, for some publishers this app may not work to their advantage.

On any future profile-driven features of the MagFinder app: Let me tell you about our first foray into individual profiles. Once logged in, I flag favorites for a title or category. With those favorites we can customize content delivery to you.

On the fact that the app doesn’t have to be downloaded: Here’s the best part about it; you don’t have to download anything. It is a completely web-based app. I have my link to MagFinder on my phone and when I click on it, it opens up a web browser and it acts, feels and plays like a natively-installed app, but you don’t have to download anything. And we did that on purpose for a couple of reasons.

On what is in it for MagNet: We’re building solutions that ultimately assist in driving consumers to buy magazines, because that will support the entire supply chain. So, this is really right up our alley.

And now the lightly edited transcript of the Mr. Magazine™ exclusive interview with Joshua Gary, Senior Vice President, MagNet.

Samir Husni: Can you tell me exactly what MagFinder is all about?

Screen Shot 2015-05-05 at 11.07.23 AM Joshua Gary: Here’s the problem. There hasn’t been until today an up-to-date, complete portal by which to communicate available magazines to consumers. There’s only been incomplete, or outdated information available to publishers and therefore only incomplete information that publishers can make available to their consumers.

Every publisher has, whether it’s Architectural Digest, Out Magazine or anything else, customer service agents that take inquiries from customers; every one of them receives phone calls and emails from their customers asking where to find magazines at retail. And their customer service will generally ask someone from consumer marketing and consumer marketing either has an outdated list of stores or has nothing at all to offer. Ultimately, they have to go back to the customer with an answer that’s either incomplete, inaccurate or doesn’t really serve their purposes.

The only place where all of the title allocation information comes together is here at MagNet.

We wanted to make it easy for publishers to communicate to their customers where their magazines were available for purchase; not only via a traditional website, but also making it available via mobile, so that when people are actually in the store, they can get information about what’s available to help facilitate that spur-of-the-moment decision. We want to take off the “mobile blinders”, and put a “mobile spotlight”on our brands. In the five or ten seconds we have to help a customer figure out what they might like while standing in line, we try to fill that gap by giving the customer information about what’s available based on our data base because it’s the only complete set of information available to the industry.

We are filling this with all of the allocation information for every magazine that we collect in the United States and Canada for every store we collect as well as showing the covers that we’re scanning on about 4,000 different magazines so that they can see what they’re looking for.

Samir Husni: And just to illustrate your point; when I published my interview with Carol Brooks from Simple Grace Magazine, I was bombarded by emails and by comments on my blog where the interview was published; where can I find the magazine? I can’t find it anywhere. And Carol had to go to my blog to answer the comments from readers on where they could find the magazine. So this is a perfect example; a new title comes to the marketplace, but no one can find it.

Joshua Gary: Exactly. And now all you have to do is come into our site, type in your title and it’ll tell you where to find that magazine. Using the example title, Simple Grace; I give the app my location, based on the IP address of my computer. It also works on your phone using GPS. So, when it says nearest location within 3.3 miles that’s based on where I’m located at that point. I can click on Simple Grace and it will bring up a listing of where it’s available to buy now, based on the information we’ve received as recently as yesterday.

Samir Husni: You’re telling me that you’re creating a Match Finder or Grindr or Tinder for magazines? (Laughs)

Joshua Gary: (Laughs too) It’s meant to inspire and encourage in store purchases and it’s meant to encourage people to see what’s available to them and then to go find that magazine. We have title descriptions, which by the way, we procure and save ourselves. We have an employee at our home office who goes to all of the publishers’ titles websites and looks for mission statements about the magazine and enters that information into the app, so that consumers have an idea of what it is they might be getting.

When you see the cover, it’ll bring up the price; the number of locations within a certain radius of where you’re located; the closest store; a way to filter by distance; the store names and addresses, as well as directions to that store. If I want to go the Wal-Mart, I can see the little dot on my map, the little blue dot is where I’m located at that moment, then you can see the location of that Wal-Mart and if you click on the directions button, it will bring up directions to that store.

Screen Shot 2015-05-05 at 11.17.47 AM Samir Husni: This is such an amazing vehicle, especially with mobile technology and the penetration of mobile and Smartphones; why do you think publishers and magazine media companies aren’t jumping in and helping you, instead of you doing this all on your own? There are certainly a lot of benefits for them in this technology.

Joshua Gary: Yes, there are a lot of benefits for them. I believe that once they hear about this vision, I think they will jump in with both feet. Right now, we’ve been spending a lot of time building out the app and we’re coming to a point where we have to make sure it’s accessible to consumers. It hasn’t been released publicly yet.

Obviously, you have access to the behind-the-scenes prerelease version, but it’s not out there publicly. I do firmly believe that when we do release this publicly to the publishing community, we’re going to get tremendous support. The part that we need to encourage is the sharing aspect, because we still have to rely on the publishing community to support and share our vision. Every person that I’ve demoed this to has wholeheartedly embraced the idea. We haven’t had one publisher who has said to us that this doesn’t serve a purpose or isn’t valuable.

We’ve asked every publisher that we’ve shown it to up until now, which has been about a dozen publishers, major publishers and small guys included; we asked them if they would put a link to MagFinder on their website so that their customers would always know and the answer was an emphatic yes.

Samir Husni: When do you think you’ll be ready to release this?

Joshua Gary: The first release is scheduled for the IMAG Conference in Boulder on May 18.

Samir Husni: So I’ll be seeing you there then.

Joshua Gary: Great.

Samir Husni: Do you see any disadvantage with this? Can you think of a reason someone would argue against MagFinder or see anything negative about this app?

Joshua Gary: Yes. I think this is going to create another level of competition among publishers who want to try to bring people to their own content. When there are five, six or seven gun magazines out there and many of them may look similar, I can see a publisher being concerned that the consumer might choose a competitive product over their own. And then the best content ends up winning. So, for some publishers this app may not work to their advantage.

Samir Husni: That’s always been the pipedream for wholesalers, and I remember the days when Anderson News was in the business of wholesale; wholesalers always wanted to create those categories and tiers within the categories and they wanted to make sure that the top titles; 1, 2, or 3, were the ones that received all the attention. Are we creating something similar to that or is it going to be completely up to the customer to decide?

Joshua Gary: It completely levels the playing field; there’s no preference toward any publisher or another; there’s no preference toward any region and there’s no preference toward any retailer.

Samir Husni: Can you see the day where the customer will come to MagFinder and say here’s my profile; I’m interested in cat magazines or gun magazines, etc.?

Joshua Gary: Yes. And let me tell you about our first foray into individual profiles. On one page of the app, what you’ll see at the very top is a login button. Once logged in, I flag favorites for a title or category. With those favorites we can customize content delivery to you. So yes, you can actually go into MagFinder and find a magazine you like, say Animal Tales, and you’ll see a favorite button and when I hit that button, a green bar appears and that magazine is added to favorites.

Screen Shot 2015-05-05 at 11.13.01 AM And what we’re doing with that information is using it to customize content delivery to you. And it will be based on your preferences, either by an editorial category or by a specific magazine. Not only for whatever might be interesting for you to read in a newsletter, but also to let you know when there’s a new issue of your favorite magazine available on the newsstand. So, the next time that Animal Tales comes out on sale, MagNet will either send you an email, letting you know the new issue of the magazine is available so you can go purchase it, or you can choose on the app itself to have MagNet send you an SMS text message to let you know.

Samir Husni: Technically, after downloading MagFinder and allowing notifications, if the customer has chosen their favorite magazines, let’s say Cosmopolitan or First For Women, the app will have the capability of notifying the customer by either email or text that the new issue of their favorite magazine is out?

Joshua Gary: That’s exactly right. We’re going to make sure that we limit the number of text messages that a customer can receive because we don’t want people to be overloaded or to turn them off because they’re constantly being notified. As we sit here today, the limitation will be one a week, no more.

Samir Husni: So, Joshua, the next question has to be; what took you so long? (Laughs)

Joshua Gary; (Laughs too) So many things to take on at the same time; too many fires to put out. (Laughs again) No, this has been a project that we’ve wanted to do for a long time. It was just a matter of getting the time and the focus associated with making it happen.

Another thing is we didn’t always have a large enough data base of covers. We wanted MagFinder to be very visual, opposed to just reading text; we wanted the customer to be able to see the covers of the magazines, which are scanned at a very high resolution and make sure that they’re ultra-crisp. We have about 4,000 magazines now that we’re scanning per month. We feel like it’s a large enough number of magazines where we can make the app much more visual. We encourage any publisher who doesn’t see their magazine cover to contact us so we can get it added.

Another point is that technology has progressed to the point that we can Tweet, Share and Favorite. We can also make it available on mobile just as easily as on the web with speed as a consideration. There are so many pieces of data that we’re serving up; we wanted to have an app that was fast on the phone. MagFinder Mobile is just as responsive as it is on the desktop. We wanted that to be the case and I think that the technology has now allowed us to do that.

Samir Husni: I’ve been doing this for over 30 years here at the university and to me, this is the first time that I’ve seen or heard an innovative way to help the newsstands or single copy. All I’ve heard, since I began concentrating on newsstand, is all the problems, but nobody ever offers any solutions. My expectations are that this is going to be something very big and very helpful, because you’re saving the consumer’s time, while still allowing them to shop covers and see issues of the magazines without leaving their home.

Screen Shot 2015-05-05 at 11.14.47 AM Joshua Gary: Exactly. And we see it taking a variety of different angles from here and I’ll give you one example. Off of the home page, one of the things that you’ll notice is that there’s a little bar at the bottom that reads ‘most popular magazine.’ That’s based on our point of sale data, so I can see helping customers find their magazines based on popularity; based on what’s been purchased more often in a store, in a region, in a category or in a state, or even among their friends or social sphere.

I can see the categorization and popularity expanding and becoming much more profile-driven. If you like Cosmo, for example, you might want to check out Glamour. Why would you want Glamour, because your friends are buying Glamour, a new issue just came on sale; any number of reasons.

Samir Husni: It’s just amazing. The only thing even close to this is in Finland, the wholesalers track the sales and every six months the magazines that get the checkouts or the front displays are the ones that sold the highest numbers in the previous six months. It’s not a matter of ‘you pay me and you get the checkout position,’ it’s ‘how many copies have you sold’. And this app is going to show me, for example, that People magazine and National Enquirer have been the most popular magazines, not because they have the best cover or they’re well-liked, but because of the number of copies sold.

Joshua Gary: That’s right. Look under the National Enquirer or Us Weekly; it’s not even Cosmopolitan; in our example here, it’s Fine Homebuilding. It’s telling you what is selling well.

Samir Husni: I am truly fascinated. I can’t wait to download the app and I know I can’t do it now because it’s not out yet. (Laughs)

Joshua Gary: There’s another interesting thing that I’ll tell you. We’re not just necessarily helping them find a magazine, but we also want consumers to be able to browse the inventory in a store at any given time. And there are a couple of different ways to get to that inventory within MagFinder.

You can also click on the Browse button at the top of the app by store. And then you can actually search a particular store.

Samir Husni: Do you know how much time that will save me if I can find all of my first issues through this app? (Laughs)

Joshua Gary: We’ll have to create a special version just for you, Samir. (Laughs too)

Samir Husni: Right. (Laughs again)

Joshua Gary: Don’t forget about Twitter. You can use MagFinder to tell your friends that you’ve purchased a certain magazine; we have a hashtag; there’s a sharing on Facebook element; you can login via Facebook or Twitter. We truly believe the social tie-ins will be an integral part of the success of this app.

Samir Husni: For the first time in this digital age, how can I be the first one to download this app on my Smartphone?

Joshua Gary: Here’s the best part about it; you don’t have to download anything. It is a completely web-based app. I have my link to MagFinder on my phone and when I click on it, it opens up a web browser and it acts, feels and plays like a natively-installed app, but you don’t have to download anything. And we did that on purpose for a couple of reasons.

Screen Shot 2015-05-05 at 11.23.41 AM The first reason was that we wanted to make sure that we had greater accessibility with the least amount of intrusion for publishers and customers. We didn’t want a customer to feel like they had to download something to be able to use it. We wanted to create all the functionality we needed without the customer having to download anything. It still uses your GPS; it still gives you all the recommendations; it’s still just as fast.

This is great because you don’t have to worry about the different iPhones or Samsungs on the market and the cross-compatibility challenges that software services providers regularly face. MagFinder is what’s called a “responsive, HTML5 based application” which means it’s much more compatible across devices and browsers, even on mobile.

As we get into some of the more advanced functionality capabilities that exist within your phone, I expect that we’ll revisit having a natively-installed application, maybe for the purposes of taking pictures or videos. something like that. But as of right now that wasn’t required.

Samir Husni: What is in it for you?

Screen Shot 2015-05-05 at 11.20.00 AM Joshua Gary: If you think about our position in the business; it is partly to try and support and strengthen an efficient, optimized supply chain, and to facilitate the flow of information amongst the various entities associated with the newsstand. From our perspective, it doesn’t do a whole lot of good if we build solutions that only benefit one rung within the supply chain at the others’ expense.

MagFinder will help everyone in the supply chain, because if we’re finding magazines with greater ease, we’re generating interest, not only in the magazine itself, but in the brand’s content in a way right now that publishers can’t easily do. The people that end up benefiting most are customers; however who benefits when the customer benefits? The retailer, the wholesaler, and the publisher benefit as well. If we can help facilitate that success, it’s right where MagNet wants to be

Samir Husni: As I told you earlier, this is one of the first really innovative ways that I’ve seen to reach the magazine customer in their home and on their phone. I’ve heard a lot of questions asked about how to get the mobile blinders to help the industry. And I think with this, we’re telling our customers to keep their blinders on and we’ll help them find their way.

Joshua Gary: We’ll help them figure it out; exactly.

Samir Husni: Thank you.

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Country Living Goes “Country” In The June Issue For The First Time In Its 36-Year History – The Mr. Magazine™ Interview With Rachel Barrett, Editor-In-Chief, Country Living.

May 13, 2015

“Country Living had never dipped its toes fully into the country music waters, but if that audience is going to read a shelter decorating magazine, I think Country Living is the magazine for them. So, we talked about how to be very deliberate about penetrating that world without alienating our core readership, because I’m realistic; I know not all of our readers are country music fans and they don’t come to our magazine for celebrities and/or music.” Rachel Barrett

country living june 2015 Country Living magazine is taking its June issue on a long drive into the country with a guest editor and the first-ever person to appear on its cover in the magazine’s 36-year history. Grammy-Award winning singer, Miranda Lambert is the distinguished celebrity that received the honor. And it is a momentous event indeed.

Rachel Barrett is the magazine’s editor-in-chief and said the upcoming issue of Country Living showcases many firsts for the magazine as it rubs shoulders with the country music industry without deviating from its original DNA. No celeb-tell-alls here; Country Living merely continues to do what it does best, celebrating country style with tasteful class and easy fun.

I spoke with Rachel recently about the memorable June issue with all its ‘firsts,’ from the new feature: Turn This Country Room Into a Song to the first edition of Country Living Backstage, a free mini-mag created in partnership with the Country Music Association for the CMA Fan Fest held in Nashville June 11-14.

A true southern lady herself, Rachel graciously shared her enthusiastic excitement about the issue and the magazine in general. It was a conversation that was as refreshing as a mint julep on a hot southern day.

But of course, Country Living doesn’t happen only below the Mason-Dixon, as Rachel was quick to point out, even though it’s published in Birmingham, Ala. The magazine appeals to people everywhere who enjoy the country lifestyle; from New York to Nebraska; Country Living satisfies its audience all across the United States.

I hope you enjoy this fun and lively conversation with Rachel Barrett, Editor-in-Chief, Country Living magazine. I know Mr. Magazine™ did.

But first the sound-bites:

On why the June issue was chosen for the magazine’s maiden voyage into ‘country’: We began looking at what time of year to potentially do this issue and to be honest, we weren’t even seeking to put a person on the cover; we were just talking about the fact that country music is so mainstream. A lot of topics that just lined up with the country music lifestyle felt really right for the magazine to explore right now.

On the things she’s implementing in print to interact with the magazine’s audience: We’re just adding different levels of engagement. I mentioned that we moved Simple Country Pleasures to the back page of the magazine, so now we’re opening the feature well with a seasonal cross stitch and in June it’s a guitar because it’s a country themed issue, but we’ve done various cross stitch patterns.

On discovering Hearst was moving Country Living to Birmingham and her feelings about that when she was offered the job: I felt full support from Hearst; they handled the whole thing brilliantly. Transitioning a major national brand from New York to Birmingham, staffing it from scratch; I was also pregnant when I took the job, so that added to some of the chaos. (Laughs) But there were challenges and sometimes I’m floored, in retrospect, as to how we pulled it off. A lot of that credit goes to the New York-based Country Living team who sort of helped pass the torch in the most graceful manner.

On the major stumbling block she had to face: I think just starting from scratch. There was a small window of time where we had a temporary office space and a post-it note on the door that read Country Living. (Laughs) And our neighbors were like: what, the magazine?

On her most pleasant moment: The best moments are just every time we’ve added a person to the staff; it was also such a unique opportunity because the people would ask what’s the job description and we’d reply, well, what do you want it to be? (Laughs)

On anything else she’d like to add: One of the other exciting things on the heels of this country music play is that we have Country Living Backstage and I think this is a testament to how mainstream country has become.

On what keeps her up at night: What doesn’t keep me up at night? (Laughs) For one, my two children. I have a two-year-old and a one-year-old. But in addition to them, I think it’s just excitement for Country Living. You know, we’re really a small magazine, as I have reiterated a couple of times, and so everyone multi-tasks. We’re definitely kind of scrappy; I’m working on everything from brainstorming the reader page to big picture brand-building.

CLX050115_010 And now the lightly edited transcript of the Mr. Magazine™ conversation with Rachel Barrett, Editor-in-Chief, Country Living.

Samir Husni: There are so many firsts in the June issue of Country Living; we have the first celebrity guest editor, the first Backstage Pass, the first Country Living Backstage mini-magazine, you name it; I was just going through the list of how many firsts the magazine has in the June issue. Why now and why June for all these premier bonanzas?

Rachel Barrett: I’ve been onboard now for almost two years; I started in October 2013, and we took about six months to build a staff here in Birmingham and to complete the transition. And we’ve been a little slow about introducing some changes into the magazine, but recently I read an article in The New York Times about a study done by the MPD Group that talked about how country music had finally become the most popular musical format in the country with its widespread appeal.

Country Living had never dipped its toes fully into the country music waters, but if that audience is going to read a shelter decorating magazine, I think Country Living is the magazine for them. So, we talked about how to be very deliberate about penetrating that world without alienating our core readership, because I’m realistic; I know not all of our readers are country music fans and they don’t come to our magazine for celebrities and/or music.

We began looking at what time of year to potentially do this issue and to be honest, we weren’t even seeking to put a person on the cover; we were just talking about the fact that country music is so mainstream. Recently, even Steven Tyler announced that he was doing a country album; Nelly is also going to do one, and so there’s definitely widespread appeal. We decided to look at the lifestyle associated with the genre of country music.

As we started discussing the issue in more detail and brainstorming ideas, we thought that it would be more authentic and interesting to bring on a guest editor from that world to help us brainstorm. We bounced around a few names, but Miranda Lambert just seemed like the perfect choice for us; she’s the reigning queen of country; she took home a ton of awards recently at the ACM’s, I think more than any other country artist, and then we started digging a little deeper and found out that she’s from Lindale, Texas, where the town’s motto is actually “Good Country Living,” which was perfect. She chooses to live in the small town of Tishomingo, Oklahoma; I think the population is around 3,000 people.

So, we reached out to her publicist, who also happened to be a Country Living fan; it’s always great when an L.A. publicist is familiar with a magazine called Country Living. It turned out she’s a reader and so we didn’t really have this awkward back and forth, where we were trying to rope in the celebrity who didn’t really understand the magazine or was pitching content that was off brand. Miranda reads us on her tour bus.

She bounced around a ton of ideas on our first phone call; she had clearly taken notes and went over ideas with Blake (Shelton), it was a really nice back and forth. We photographed her for the inside story and of course, if you’re Country Living and you have a photo shoot and time carved out with Miranda Lambert, you’re going to shoot a vertical, a potential cover shot; it wasn’t necessarily the plan to put her on the cover, but it felt like the right move at the right time. I can’t think of anyone, particularly in the last five to ten years, who would be a better face for the magazine.

I felt strongly that everything we put in this issue needed to appeal to the Country Living reader who didn’t care at all about country music; the houses weren’t going to be chosen just because they were tied to a celebrity, they had to be houses that would be worth running in the magazine no matter who their owner was.

We found spaces that fit the bill. We have a story called ‘King of the Road’ and the title is inspired by a country song, but it’s a celebration of the new travel trailer culture. Of course, country stars drive around in their Airstreams and have these great, decked-out trailers, but our readers are also really into that lifestyle and we know they’re also into small spaces, so a lot of topics that just lined up with the country music lifestyle felt really right for the magazine to explore right now.

In terms of Backstage, that was just another thing we felt was right. We’d been talking about; generally speaking, people aren’t flocking to the newsstands as much as they used to, so we talked about how Country Living needed to be present where our readers are and where potential readers are. I’m originally from Tennessee and I know that the CMA Fan Fest is a huge event. I think 50,000-plus people flock to downtown Nashville to celebrate country music; HGTV has a presence there, they have this giant building called ‘The Lodge,’ and so we thought: how does Country Living build a presence at this event, because it’s great exposure for us, albeit a slightly different audience.

When I worked at Glamour, we had done a special publication during Golden Globe’s week and it was distributed throughout Los Angeles and Glamour has the Golden Globe’s weekend; this feels similar in spirit to that. It’s sort of Country Living’s inside guide to downtown Nashville throughout that weekend. The content gives attendees a sneak peek into our brand, but through the lens of the things they’re interested in.

One of the stories that we have in Country Living Backstage is ‘Turn this Country Song into a Room,’ so we’re taking four or five songs that will be performed through the CMA Fan Fest in downtown Nashville and we’re putting together a room. There’s one song called ‘Get Your Shine On’ by Florida Georgia Line, so we put together this living room with a bunch of fun, metallic touches and there’s, of course, some sort of Tennessee Moonshine resourcing on the page. (Laughs) Another song out right now is ‘American Kids’ by Kenny Chesney and so we built this whole Americana-inspired porch.

So, I think that we’re finding a way to tap into the world of country music without pandering to the celebrity side of things.

Samir Husni: One of the things that I remember about Country Living from the days of John Mack Carter and Rachel Newman, when the magazine was first launched, was it had that spirit of enjoying everything ‘country.’ And you seem to be bringing that trait back to the magazine. You’re not going miles from the original DNA, but you’re rebuilding upon that basic foundation.

Rachel Barrett: I appreciate your saying that. Country Living has only had four editors in the history of the magazine and I’ve received some sweet letters from readers who’ve said, I think it’s a promising sign that your name is Rachel. (Laughs)

Samir Husni: (Laughs too)

Rachel Barrett: You know, everyone sort of pines for their old issues, including myself; I love looking at magazines from their very beginnings and I’ve been in touch with Rachel Newman and Nancy Soriano, so there’s this nice connection from past editors; I’m sort of revisiting some of my favorite aspects of all of the incarnations of the magazine over the years. We’re definitely trying to celebrate that more in the magazine and we’re putting a little more heart and soul into the pages.

Samir Husni: We’ve named all the previous editors; let’s also add Sarah Gray…

Rachel Barrett: Yes, certainly. Even working in the magazine industry in New York, I’m from Tennessee and she’s from Mississippi; everybody was always saying that she and I needed to meet. And I’ve always been a huge fan of what she did at Country Living; I would say that I started reading Country Living even more regularly when she came onboard. And I think that she definitely seized upon the social trend of country becoming cool again. Even hipsters in Brooklyn were into canning. (Laughs)

Samir Husni: (Laughs as well)

Rachel Barrett: I think that she really embraced that in a smart way and brought a whole new readership into Country Living. I haven’t had a chance to communicate with her, but I’m definitely a fan.

Samir Husni: You also created ‘Find the Horseshoe’ inside the magazine, which was a staple of Country magazine that was started by Roy Reiman many years ago. What other types of things are you doing in print to engage people in this digital age and create that interactivity with the audience through ink on paper?

Rachel Barrett: Country Living was not a magazine that was broken, so we’re not trying to come in and fix it and introduce whiplash-inducing change, but one of the things we did modify was our section called ‘Collecting.’ The word collecting is great, it describes jut what it is, but I felt like it wasn’t tapping into the heart of collecting. So, we renamed the section ‘The Thrill of the Hunt’ because it opens up this section for us to feature some new merchandise. I had been at a Country Living fair in Columbus and they were doing a TV segment and we asked this woman: what brings you to the fair? And she said it’s the thrill of the hunt. And you really see that in action at our events and so we decided to rename the collecting section ‘The Thrill of the Hunt.’ And that’s when the Horseshoe Hunt came up and we thought to play off of The Thrill of the Hunt we’d incorporate that element into our pages, so we’ve been hiding a horseshoe in every issue. It’s just one way to have readers interacting with every page of the magazine.

A reader came up to me recently at the Nashville fair and she said the first thing that she always did when she got her issue of Country Living was look for the horseshoe. And that just made me so happy that that one little touch, a tiny, subtle little horseshoe, could bring such fun to a certain set of our readership.

Another example of that interaction, I would say, would be Simple Country Pleasures, which is this longstanding popular column in the magazine. It used to be the back page of the magazine, then it opened the feature well, and recently, we moved it back to the back page of the magazine. It’s an image of the countryside and then a great quote. To be candid, it’s one of the most popular pages and the easiest page to produce. Beautiful images of the countryside are not hard to come by. On our side, we said, OK, this is a page that we don’t have to really do anything new with; it’s successful as is, but is there some way we can build on this; some way we can do something to get readers really excited about it.

So, I read an article in The New York Times recently about how adults have gotten into coloring books and these childhood-inspired crafts. Even our guest editor, Miranda Lambert, had posted something on Instagram the other day; she was coloring in a coloring book while drinking beer. (Laughs) It was like hashtag beer and coloring book.

One thing that a lot of people shop for at the Country Living fairs is paint-by-numbers, those relics of the 70s and 80s; they’ve really had a big resurgence. So, we found this Kentucky-based company, Easy 123 Art, to team up with and they have turned every image now on the back page of the magazine into a paint-by-numbers kit that readers can order.

We didn’t really change the DNA of the page, there’s just a small redirect to the company. And the company has been inundated with thousands and thousands of orders for these paint-by-numbers kits. It’s really been amazing. Some readers are sharing their paint-by-numbers art online; we’ve tapped into the sort of crafty mindset of readers and given them something else to take away from their magazine experience. So, that’s another example.

This is another small example; we’re introducing in our July/August issue a column called ‘Ask a Country Vet.’ It’s another really popular franchise. We have a fairly new country vet that answers our reader’s questions and talks all things animal. We know from social media that people just love adorable pet pictures, so now we’re adding one pet photo that’s just captioned ‘This Pet Photo’ and it’ll be almost our version of The New Yorker caption contest. So, we’ll see how much readers get into that. It kind of gives them the chance to be clever and we’ll run their best answers in the next issue of the magazine and hopefully, eventually we’ll tie it to a prize.

We’re just adding different levels of engagement. I mentioned that we moved Simple Country Pleasures to the back page of the magazine, so now we’re opening the feature well with a seasonal cross stitch and in June it’s a guitar because it’s a country themed issue, but we’ve done various cross stitch patterns. We make the cross stitch pattern available online and readers are sharing that they’ve recreated our cross stitch. Of course, the ultimate goal would be to sell a Country Living brand of cross stitch kits down the road and it’s beautiful that our copy editor is actually the person who does the cross stitch every month; she’s definitely multi-tasking. (Laughs)

We’re still exploring it every month, but kind of looking at pages that are already successful, but figuring out if there is a way to give them more depth either in the magazine or off the page.

Samir Husni: When David Carey announced that Country Living was moving to Birmingham, there were a lot of skeptics out there who said this move was just a nice way of killing the magazine, shipping it from New York to Birmingham. When you took this job, did you have any doubts or any fears that screamed: I’m moving from an established magazine that was doing very well to a brand that people were sure was about to end? Can you recall your original feelings when you were offered the job? Were you skeptical as well or did you jump and say, no, I believe in this brand and I’m with it all the way?

Rachel Barrett: Even when I moved from Real Simple to Southern Living, I kind of felt like it was a similar challenge. I felt like Southern Living had been a brand that my grandmother had read, but didn’t have as much cache with a younger audience or a new audience, so at the time I think even people in New York were asking; what is she doing. (Laughs) And Southern Living has had this great resurgence and a lot of success recently, so I felt like that challenge only inspired me. I had always loved Country Living. Way back in the day, when I was an associate editor at Glamour and Eliot Kaplan would do his requisite check-in with you and he asked me what magazine at Hearst would I ever want to be editor-in-chief of and I pointed at Country Living and he remembered that.

I love the content, it’s great. And I know while you’re transitioning a magazine, there are a lot of question marks around that and it creates storylines, but Country Living has such a healthy subscriber base and that’s something we’re looking to build on with the Country Living fairs and other events; it’s a really strong subscriber base and they’re very loyal, so I didn’t feel as uncertain as other people around me felt.

And I felt full support from Hearst; they handled the whole thing brilliantly. Transitioning a major national brand from New York to Birmingham, staffing it from scratch; I was also pregnant when I took the job, so that added to some of the chaos. (Laughs) But there were challenges and sometimes I’m floored, in retrospect, as to how we pulled it off. A lot of that credit goes to the New York-based Country Living team who sort of helped pass the torch in the most graceful manner.

I think one of the advantages; obviously, having some sort of history with the magazine, there’s a lot to be said for that, and there were a lot of people at Southern Living and it was so helpful to have these people around you who had this knowledge of the brand and why certain things didn’t work. It’s also rare and maybe unprecedented to be able to look at and build upon a decades-old brand through the eyes of an entirely new team. That was very exciting. Our style director came from the New York-based Country Living staff, but for the most part we were a fresh staff. There was no one saying ‘but that’s not how we’ve always done it.’

I think in some ways it was such an interesting opportunity to be able to take a magazine with a strong subscriber base and look at it with fresh eyes and fresh energy; trying to build on, I hope, the best parts of all the decades of the magazine.

Samir Husni: What was the major stumbling block you had to face and how did you overcome it?

Rachel Barrett: I think just starting from scratch. There was a small window of time where we had a temporary office space and a post-it note on the door that read Country Living. (Laughs) And our neighbors were like: what, the magazine?

In terms of recruiting during that interim period; recruiting a staff from scratch was definitely challenging. I brought over a couple of people from Southern Living who I really admired, but I also saw it as an opportunity to expand within the talent pool of Birmingham. I didn’t want our filter to naturally skew Southern; I wanted to make sure we had people representing different parts of the country. I think seven or eight people on our staff relocated from New York City and other locations. And we’re a small staff right now; we’re at 16.

Just building a staff from scratch and finding office space and really just finding the right balance, sometimes when new editors come in they’re very eager to try a million new things, but I realized that this isn’t a magazine where you need to do that. So, part of the challenge is just reining myself in. (Laughs) I mean, you get very excited and have a ton of ideas. Ellen Levine had some great advice; sometimes I’m like trying to brainstorm some flashy, amazing new pet column, and she says Ask a Country Vet is working, readers love it; don’t overthink it. (Laughs again) Sometimes I need to be reminded of that.

Samir Husni: And what has been the most pleasant moment?

Rachel Barrett: There was a week when we were fully staffed. We have an open position right now; our executive editor was just named editor-in-chief of Coastal Living.

As a small staff we just have lots of great, little victories; we’re a very close-knit group. Every time we get our new issues in the box delivered, we have sort of an official unveiling in the conference room.

The best moments are just every time we’ve added a person to the staff; it was also such a unique opportunity because the people would ask what’s the job description and we’d reply, well, what do you want it to be? (Laughs)

Samir Husni: (Laughs too)

Rachel Barrett: When you have open headcount that’s entirely open; I mean normally at magazines you’re dealing with one very specific role, because one person leaves and they have a very decisive role and you’re filling that position. But with every new person that came onboard, I was asking well, what do you want to do and then we’ll hire the next person based on what you don’t want to do. It’s just been this really unique and interesting experience.

My dad is a recruiter, a headhunter, so maybe I learned a little from him. I was really pleasantly surprised. The most daunting thing probably was having a staff of one and three months pregnant. (Laughs) But one of the most surprising and rewarding things was building this really talented staff from scratch and seeing how well they work together and how everyone inspires each other here.

Samir Husni: The journalist in me has to ask you this question; was that like a Time Inc. revenge, getting your executive editor to be the editor-in-chief of Coastal Living because you left them? (Laughs)

Rachel Barrett: I don’t think so. (Laughs too) I feel like when you hire really talented people, other people are going to recognize their talent too. We were so excited for Steele (Marcoux). We had a champagne toast in the conference room and she was recently at High Point and uploaded a picture on Instagram with our address and I was like hands off, Steele Marcoux. (Laughs) I don’t see it as a revenge play at all, I think Steele is such a great hire; she was the first person I hired. Every meeting I was ever in with her, I was always in agreement.

So, I think if you’re looking to tap into the talent pool to hire a new editor-in-chief for Coastal Living, she was such a clear choice, regardless of where she was working. She also started her career there.

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

Rachel Barrett: One of the other exciting things on the heels of this country music play is that we have Country Living Backstage and I think this is a testament to how mainstream country has become. Back when I lived in New York City there wasn’t even a country station and now, of course, they have a country station and they’re also getting a huge country music festival this summer, in late June. It’s called FarmBorough and it’s a 3-day country music concert series that will be held on Randall’s Island. Country Living is also taking over the Green Room for that event. So, that’s exciting. Again, it’s a different audience; it’s a New York City-based audience and so we’re currently putting together the plans of how we’re going to decorate the Green Room for that event.

That’s been fun. It’s hard, because I left New York four years ago, and now I’m thinking if they’d only had a country station and a country concert festival when I lived there. (Laughs) But this is just another exciting thing that Country Living is doing, in tandem with this June issue.

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

Rachel Barrett: What doesn’t keep me up at night? (Laughs) For one, my two children. I have a two-year-old and a one-year-old. But in addition to them, I think it’s just excitement for Country Living. You know, we’re really a small magazine, as I have reiterated a couple of times, and so everyone multi-tasks. We’re definitely kind of scrappy; I’m working on everything from brainstorming the reader page to big picture brand-building.

I think step two for Country Living is really building on our fair franchise; we just had a really successful first-time Country Living fair in Nashville. I think we had 22,000-plus people attending over three days. I go to the fair and it’s a huge success, but then my brain begins churning with how do we build on this franchise and how do we round out the experience? Do we add a sound stage; just that sort of thing. So, the things that keep me up at night probably change every single day, but I think it’s just that we have a great magazine and how do we expand upon it in ways that are really going to resonate with our subscribers.

And then also those toddlers. (Laughs)

Samir Husni: (Laughs too) Thank you.

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A Millennial Read That’s Fast-Paced, Upbeat & Not Digital – The Mr. Magazine Interview With Emily Cronin, Editor-In-Chief, Trending NY Magazine.

May 11, 2015

“One of the results of living on your Smartphone is you crave a break and people like me and my friends; our readers, I think increasingly, new magazines bring a breath of fresh air and a treat. Although, like you, it’s my job to read magazines and keep up with everything that’s going on, I still favor them and bring them on vacation with me, because you read a magazine very differently on a long commute or a flight or in a beach chair than you do at your desk.” Emily Cronin

Trending_Cover_May 2015 A new free, monthly fashion, beauty and entertainment magazine for millennial New York women, that’s the concept behind Hearst’s, Trending NY. It’s upbeat, colorful and a fast read that not only competes with millennials’ digital devices; it’s actually a welcomed diversion and something readers are excitedly craving in their fast-paced lives, at least according to Trending NY’s founding editor, Emily Cronin.

And if anyone should know the minds of the magazine’s readers; it’s Emily. Being a millennial herself, she knows the value of a long, deep breath away from the bombardment of today’s information flood and Trending NY is ready to provide that much-needed respite. After four pilot issues last year, Trending NY starts regular monthly publication with the May 2015 issue.

I spoke with Emily recently and we talked about her early interests in political science, becoming a foreign correspondent, and then the ultimate realization of her love of stories, storytelling and beautiful, collectable covers. And of course, we talked about the potential of Trending NY and the goals she hopes to accomplish with the magazine that collects all the trending topics of interest a millennial New York woman wants and needs to know, and puts into the timelessness of print.

I hope you enjoy this refreshing interview with a young lady who knows the convenience of the digital age, but also knows in order to enjoy the beauty and joy of life, sometimes you have to slow down the pace and relax with a great magazine. And now the Mr. Magazine™ interview with Emily Cronin, Editor-in-Chief, Trending NY.

But first the sound-bites:

On how her career transitioned from a Political Science major in college to fashion, beauty and entertainment: It’s a long story, but the short version is when I was in college I wanted to be a foreign correspondent in the Middle East. But at the same time I was working on the student newspaper and the student magazine. And I found that what I loved was telling longer stories that you could really invest in and make beautiful and create covers that had a lifespan.

On why she believes millennials are craving the lean-back experience of print:
One of the results of living on your Smartphone is you crave a break and people like me and my friends; our readers, I think increasingly, new magazines bring a breath of fresh air and a treat.

On whether she fears that readers will come to expect an overabundance of direction from Trending NY:
Actually, that’s really fun. Whether I’m an editor or not, I’m constantly on the hunt for information about what’s new and what’s on the horizon. And Trending NY is an amazing vehicle for my team and me to share our discoveries. Everything that’s in the magazine is something that we’re excited about.

On the basic concept of the magazine:
Trending NY is the new free monthly fashion, beauty and entertainment magazine for millennial New York women. The magazine is a quick shop-able read; everything in the magazine, all the clothes, all the beauty items, are in store now; there’s none of the delayed gratification that we’ve grown accustomed to with traditional monthly fashion magazines.

On whether she thinks we may see more “Trending” titles upcoming:
You never know. I would love it if that were somewhere in the future, but I’m really not at will to say. Although, I will say that Trending is a name that lends itself to other cities, so I wouldn’t be surprised.

On the biggest stumbling block she’s had to face:
There have definitely been small challenges, but there have been no stumbling blocks; this whole thing has been a lot of fun, honestly.

On her most pleasant surprise:
I love it when I see people reading it on the subway. It makes me feel a little like a spy, sitting there watching them and trying to see the pages that they’re lingering over and just to witness people interacting with it and enjoying the product that we’ve worked so hard on is really a joy.

On what she feels the role of an editor is in 2015 compared to the years before the digital explosion: I think now more than ever the editor has a responsibility to filter all of the information that’s out there. There is an unbelievable torrent of information hitting our reader every day and something that I repeat all the time to my team is that we have to be specific.

On what motivates her to get out of bed every morning and look forward to going to work:
What really keeps me going is the next big idea. Hearst has now committed to producing more issues of Trending NY to December 2015 and we have ideas for features for a year beyond that. So, constantly we’re refining and building our ambition and trying to figure out how we can make the next issue even better and that’s a huge motivating factor.

On what she reads at home when she’s relaxing:
What am I reading? Everything, I’m very lucky. One of the best things about being an editor at Hearst is that I get all of our magazines and I bring them home with me and have giant leaning towers of magazines on the floor all over the apartment. I love nothing more than after the kids go to bed, flipping through a magazine and really taking more time with it.

On what keeps her up at night: I’m always thinking about the magazine and am really driven by excitement at what we can accomplish with it.

And now the lightly edited transcript of the Mr. Magazine™ conversation with Emily Cronin, Editor-in-Chief, Trending NY.

Samir Husni: You majored in Political Science and graduated with honors from Duke University, but so far your journalism experience has been in fashion, beauty and technology, no politics. When was the transition from Political Science in school to what you’re doing now? It’s very fascinating. And now you’re editor-in-chief at a very young age for a major magazine; can you tell me about your career paths?

EmilyPortrait1 Emily Cronin: It’s a long story, but the short version is when I was in college I wanted to be a foreign correspondent in the Middle East. But at the same time I was working on the student newspaper and the student magazine. And I found that what I loved was telling longer stories that you could really invest in and make beautiful and create covers that had a lifespan.

When I graduated, instead of moving to the Middle East, I moved to London and I did start working in financial and political news; my first jobs were actually at the Financial Times and CNBC. But it became quickly apparent to me that I wanted to be in fashion magazines; I wanted to do features and fashion and create those beautiful stories that I loved.

I was very fortunate; I entered and won the Vogue talent contest for young writers, which having moved to London and not knowing anyone in the magazine industry, it gave me a great foot in the door and paved the way for me to go and work at Harper’s Bazaar and Elle UK in London. I’m really happy with the path my career has taken.

Samir Husni: Congratulations on your latest achievement, becoming editor-in-chief of Trending NY. If someone your age asked you; Trending NY is aimed at millennials, are you out of your mind to publish a print magazine for this age group? Millennials live on their Smartphones and digital devices; this is a digital age, after all. Why do you think they would be reading Trending NY in print?

Emily Cronin: That’s very true, but one of the results of living on your Smartphone is you crave a break, and people like me and my friends and our readers, I think, increasingly view magazines like a breath of fresh air, like a treat. And although, like you, it’s my job to read magazines and keep up with everything that’s going on, I still savor them and bring them on vacation with me, because you read a magazine very differently on a long commute or a flight or in a beach chair than you do at your desk.

What I’m so excited about with Trending NY is the chance to provide something that surprises and delights our reader and makes her feel like she’s been given a gift. So, absolutely, there’s not just a place for this in New York, but it’s something that women in our demographic are craving.

Samir Husni: You’re now the curator for these women in New York. Do you feel any sense of alarm or fear that they’re going to depend on you to tell them what to do?

Emily Cronin: Actually, that’s really fun. One of the reasons that I think a lot of people, including myself, get into journalism is that we like to be the ones who know what’s going on before anyone else and we also like to be the ones who tell everyone else what’s happening.

Whether I’m an editor or not, I’m constantly on the hunt for information about what’s new and what’s on the horizon. And Trending NY is an amazing vehicle for my team and me to share our discoveries. Everything that’s in the magazine is something that we’re excited about. We make very sure of that. It’s really a pleasure every month to share it with the readers.

Samir Husni: For those who are not living in New York, Emily; can you tell me a little bit more about the magazine so people outside of the City will have a better idea of what’s trending and what it’s all about?

Emily Cronin: Of course. Trending NY is the new free monthly fashion, beauty and entertainment magazine for millennial New York women. The magazine is a quick shop-able read; everything in the magazine, all the clothes, all the beauty items, are in store now; there’s none of the delayed gratification that we’ve grown accustomed to with traditional monthly fashion magazines. And we really collect the best of what’s happening in New York so that our readers can maximize their experience in the City. It’s positive, upbeat and inspirational and everything a girl could want to read on her commute.

Samir Husni: Can we expect to see from Hearst later on a Trending L.A. or a Trending Chicago; is this an experiment or is New York unique for such a magazine?

Emily Cronin: You never know. I would love it if that were somewhere in the future, but I’m really not at will to say. Although, I will say that Trending is a name that lends itself to other cities, so I wouldn’t be surprised.

Samir Husni: What has been the biggest stumbling block that you’ve faced since starting Trending NY and how did you overcome it?

Emily Cronin: This whole experience has honestly been so refreshing because we had a chance to come in and do something completely new. We are effectively a startup publication with all the backing and resources of the incredibly well-resourced Hearst Corporation.

There have definitely been small challenges, but there have been no stumbling blocks; this whole thing has been a lot of fun, honestly.

Samir Husni: What has been the most pleasant surprise?

Emily Cronin: You know what; I love it when I hear that people are saying nice things about the publication behind my back. In other words, when I get positive feedback secondhand; where someone will say to me, my colleagues came in and saw the magazine on my desk and said they picked that up recently and it was really good.

I also love it when I see people reading it on the subway. It makes me feel a little like a spy, sitting there watching them and trying to see the pages that they’re lingering over and just to witness people interacting with it and enjoying the product that we’ve worked so hard on is really a joy.

Samir Husni: You’re now the editor of Trending NY; what would you say if someone asked you what the role of editor is today in 2015 compared to what it was before the digital explosion?

Emily Cronin: I think now more than ever the editor has a responsibility to filter all of the information that’s out there. There is an unbelievable torrent of information hitting our reader every day and something that I repeat all the time to my team is that we have to be specific. If we’re going to tell our reader that she needs to go to this festival in Brooklyn, that’s not good enough. We have to tell her the one event that she can’t miss and what she should eat and drink and wear.

I view one of the roles of Trending NY as a crib sheet for overstretched New York women; they don’t want to know every movie that’s opening this weekend or every restaurant that has a special, they want to know exactly what everyone else is talking about so that they can stay in the flow of the conversation, which is moving faster and faster every day.

Samir Husni: Having said that; what makes Emily get out of bed every morning and look forward to going to work?

Emily Cronin: Well, the first thing that gets me out of bed in the morning is my 16-month-old twins. They wake up very early and then of course, I’m up early too, which gives me a chance to check my email and look at Instagram and Twitter.

But what really keeps me going is the next big idea. Hearst has now committed to producing more issues of Trending NY to December 2015 and we have ideas for features for a year beyond that. So, constantly we’re refining and building our ambition and trying to figure out how we can make the next issue even better and that’s a huge motivating factor.

Samir Husni: The twins are in bed and asleep and you’re sitting on your couch at home with a glass of wine if you indulge; what would I find you reading and would it be on a digital device or in print?

Emily Cronin: What am I reading? Everything, I’m very lucky. One of the best things about being an editor at Hearst is that I get all of our magazines and I bring them home with me and have giant leaning towers of magazines on the floor all over the apartment. I love nothing more than after the kids go to bed, flipping through a magazine and really taking more time with it. Obviously, I look at everything that comes across my desk at work in a very quick way, with a view toward seeing how the things that we’re doing are trending. But really reading the features and looking at the fashion shoots; I look at everything you’d expect me to look at in all of our publications that I can name and some that I can’t. I also look at the international titles, having come up in London; I still get all of my British magazines as well.

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

Emily Cronin: Can I say the twins again? (Laughs)

Samir Husni: Of course. (Laughs too)

Emily Cronin: What keeps me up at night is actually very similar to what gets me up in the morning and that’s excitement at the potential of what we can do with Trending NY and what we can accomplish.

And I’ve definitely learned to sleep with a pen and a notepad on my nightstand so that if I wake up with a very specific, detailed thought about a feature or a headline or a distribution issue, I can write that down and I can also write down the big ideas. Sometimes when I wake up, I find that I’ve written down something that actually is useful.

To be a little more concise, I’m always thinking about the magazine and am really driven by excitement at what we can accomplish with it.

Samir Husni: Thank you.