Archive for the ‘News and Views’ Category

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Good Day! Magazine: The National Grange’s New Magazine That Offers A Positive Message To People Who Desire The Grass Roots Beneath Their Feet – The Mr. Magazine™ Interview With Amanda Brozana, Editor, Good Day! Magazine…

March 25, 2017

A Mr. Magazine™ Launch Story…

“Getting that first printed copy. I think that has to be the most pleasant moment for anybody who has done a magazine. I loved when I opened the box, and it was in Connecticut at our president’s conference. And I got to see the first one and put it into my hands and smell it. Maybe that makes me a print geek, and I’m okay with that. That was definitely the most satisfying moment, even more satisfying than when our president said, wow, this is a real magazine. And I think we’ve really received a lot of that initial shock reaction. And I get really excited when I hear people say that we really can do this.” Amanda Brozana…

The National Grange was founded as a fraternal organization for farm families in 1867 and today is celebrating its 150th anniversary. The icing on the cake for this milestone occurrence for the Grange is the organization’s latest endeavor, the launch of a new print magazine called Good Day! Amanda Brozana is editor of this new publication and is a staunch advocate for all things sustainable and community-oriented, a mindset that aligns perfectly with the 150-year-old, member-based organization. And while the National Grange may be member-based, the magazine is not.

I spoke with Amanda on a recent trip to Washington D.C. and we talked about the fact that the print magazine is geared toward anyone who believes in a grass roots effort of sustainability when it comes to their food and their lives and community caring for all, not just Grange members alone, but the public in general. With its positive title that beckons all of us to have a “good day” and its contents that are written in a wider, more enveloping context, where everyone is included, not just Grange members, the magazine is a breath of fresh air on the newsstand shelves. In a world of chaos, confusion and, oftentimes, a frigidity toward our neighbors, Good Day! Magazine actually succeeds in its encouragement of all to have a “good day.”

And now, please enjoy the Mr. Magazine™ interview with Amanda Brozana, editor, Good Day! Magazine.

*Truth in reporting: Proud to report that Amanda Brozana is a former student of mine…

But first a Mr. Magazine™ minute with Amanda Brozana followed by the sound-bites:

On the genesis of Good Day! Magazine: Good Day! is actually a magazine under the umbrella of the National Grange, which is celebrating its 150th anniversary this year of being a fraternal family organization. And the concept was that we would introduce the Grange to people who may or may not have heard of it, but also to make our members more aware of what was going on in Granges throughout the country and reconnect them in a way that they haven’t been in several decades.

On the folding of the Grange’s monthly publication and the relaunch of the publication Good Day!: We had the other publication for more than 50 years and it had kind of cleaved itself from the organization as a whole and became almost an entity unto itself. And like many publications, it had its own financial troubles. And so, that was resolved in the ‘50s or ‘60s, I can’t remember exactly when. Introducing the publication again allowed us to bring back a little bit of that heyday and that nostalgia, but also allowed us to connect the primary membership that would be really interested in what was going on nationally with the Grange.

On who came up with the name Good Day! for the magazine: We talked quite a bit here in the office about what the name should be, there’s only a small staff of us, about six, and we had gone through the iterations of Grange News and Grange Monthly, and all of the Grange-oriented ones, but since we wanted to be more of a general interest publication, I had pitched Good Day! along with a couple of others. And we came down to that because it wasn’t used here in the states, and it was available. But also it gives a very positive vibe and right now, the way that our society currently is, we’re not happy; we’re pretty negative. So, I think all of us are looking for that positive news, those positive connectors and connecting moments.

On all of the different movements that are going on across the country today and how she plans on addressing those types of issues and whether just Grange members will be able to access that information: Obviously, our core audience right now are Grange members, just by virtue of who found out that we were going to be publishing, but this magazine really is oriented towards anybody who is interested in both the new food movements that you referred to, or sustainability. As well as issues in their own communities, that idea of volunteerism and being a little bit more than just yourself.

On her most challenging moment: We are a staff of six full-time here in the national office and we have an intern who has been here since February who has really helped us put this publication together entirely from the concept, Kim Stefanick from New Jersey. And I think the biggest challenge is the fact that this publication is just one part of an already full platter, a job that used to be three or four people’s jobs here even ten years ago. Juggling your normal day-to-day and adding this brand new thing, in addition to the other elements of our 150th birthday celebration, it was really a challenge when it came to time management, which I always felt that I was pretty good at, but it was stressful.

On her most pleasant moment: Getting that first printed copy; I think that has to be the most pleasant moment for anybody who has done a magazine. I loved when I opened the box, and it was in Connecticut at our president’s conference. And I got to see the first one and put it into my hands and smell it. Maybe that makes me a print geek, and I’m okay with that. That was definitely the most satisfying moment, even more satisfying than when our president said, wow, this is a real magazine. And I think we’ve really received a lot of that initial shock reaction. And I get really excited when I hear people say that we really can do this.

On anything else she’d like to add: I think that we play a really unique role and I hope that Good Day! helps reflect that. I hope that the magazine is something that can go way beyond our membership, because there is a need for people to look and think about what they’re doing to improve the lives that they’re living. Many of us talk about whether or not we want bigger government or other organizations involved in making decisions for us or doing things in our lives, and the only way that we get away from that is doing for ourselves and doing for others.

On what someone would find her doing if they showed up unexpectedly one evening at her home: Probably cooking for the household; I have a couple of roommates. I am also playing with my dog or at the dog park with the dog, you never know. Hopefully, as soon as the weather breaks, we’ll have a garden in the back and I think that’s very reflective of what people my age and my generation are doing.

On what keeps her up at night: Besides the fact that I work directly next to the White House and I realize that I have to drive an hour in everyday? No, honestly, what keeps me up at night is that I’m part of a 150-year-old legacy here, and I worry about having 150,000 members, instead of the one million members that we used to have. I worry about what that means for the Grange and what it means in general.

And now the lightly edited transcript of the Mr. Magazine™ interview with Amanda Brozana, editor, Good Day! Magazine.

Samir Husni: Tell me about the genesis of Good Day! Magazine.

Amanda Brozana: Good Day! is actually a magazine under the umbrella of the National Grange, which is celebrating its 150th anniversary this year of being a fraternal family organization. And the concept was that we would introduce the Grange to people who may or may not have heard of it, but also to make our members more aware of what was going on in Granges throughout the country and reconnect them in a way that they haven’t been in several decades.

Samir Husni: There used to be a monthly publication for the National Grange Society, why did that magazine fold and why did you decide to bring back another publication?

Amanda Brozana: We had the other publication for more than 50 years and it had kind of cleaved itself from the organization as a whole and became almost an entity unto itself. And like many publications, it had its own financial troubles. And so, that was resolved in the ‘50s or ‘60s, I can’t remember exactly when.

From then on, you could notice in trend on all of these organizations like us, where there was a peak of membership in the ‘50s, and that meant that many people were entering the Grange and other organizations like us at 20 and 30 years of age. Those people have stayed with the organization and have aged, so we’re now talking about people who are in their 70’s, 80’s or 90’s, who are a part of the organization. So, their primary mode of connection and communication is still print, yet we were servicing them mostly through digital means, which didn’t make a lot of sense.

So, introducing the publication again allowed us to bring back a little bit of that heyday and that nostalgia, but also allowed us to connect the primary membership that would be really interested in what was going on nationally with the Grange.

Samir Husni: Who came up with the name Good Day!?

Amanda Brozana: We talked quite a bit here in the office about what the name should be, there’s only a small staff of us, about six, and we had gone through the iterations of Grange News and Grange Monthly, and all of the Grange-oriented ones, but since we wanted to be more of a general interest publication, I had pitched Good Day! along with a couple of others. And we came down to that because it wasn’t used here in the states, and it was available.

But also it gives a very positive vibe and right now, the way that our society currently is, we’re not happy; we’re pretty negative. (Laughs) So, I think all of us are looking for that positive news, those positive connectors and connecting moments. And that was the one chosen in the end.

Samir Husni: There are all kinds of movements taking place in the country right now, in terms of things like, returning to the good old days, raising chickens on your balcony, putting a beehive on your roof, all those good things. How are you going to address these issues and do you have to be a Grange member to access the magazine or get that information?

Amanda Brozana: Obviously, our core audience right now are Grange members, just by virtue of who found out that we were going to be publishing, but this magazine really is oriented towards anybody who is interested in both the new food movements that you referred to, or sustainability. As well as issues in their own communities, that idea of volunteerism and being a little bit more than just yourself.

Maybe, it’s because I’m about to turn 35 and I think when you get to your mid-thirties you start having a legacy complex. I don’t have kids, so I have to figure out how to leave my mark, but I think that organizations like the Grange allow you to have those outlets, and so the magazine is allowing us to focus on people who are doing things for others. And also who are having some of the similar values that we have, which is figuring out how to be back to nature a little bit; back to being rooted in community and in your home and sustaining yourself, those types of things.

Certainly, you don’t have to be a member, we hope that everyone gets introduced to what the Grange’s values are what the organization is all about, but that doesn’t mean you have to become a member either. We hope that people enjoy the publication and that we’re a little bit more of a hometown and an in-home used name again.

Samir Husni: In the process of launching the magazine and getting the first issue out, what was the most challenging moment and how did you overcome it?

Amanda Brozana: We are a staff of six full-time here in the national office and we have an intern who has been here since February who has really helped us put this publication together entirely from the concept, Kim Stefanick from New Jersey. And I think the biggest challenge is the fact that this publication is just one part of an already full platter, a job that used to be three or four people’s jobs here even ten years ago. Juggling your normal day-to-day and adding this brand new thing, in addition to the other elements of our 150th birthday celebration, it was really a challenge when it came to time management, which I always felt that I was pretty good at, but it was stressful.

And the way that we overcame it was really compartmentalizing what needed to be done, by whom, and at what point in time. And where could we get assistance? So, we actually reached out to some freelance writers, something that I wasn’t expecting to have to do. I was thinking that we could do all of it in-house, but it just wasn’t going to happen, if we were going to be sure that we had the publication coming together with the quality content that we wanted.

But, I would also add that I think having those outside people writing gave it the shape and perspective that we wanted, of it being not just Grange. So, when we talk about family traditions in this first issue, we talked about the idea that the story would be about more than just Grange members’ experiences with this, but the fact that we had a non-member writing the story allowed them to pull in other resources and other contacts to put into it, that we wouldn’t have probably thought about or had otherwise. And that makes the story more appealing for somebody who doesn’t know a lot about the National Grange.

Samir Husni: What was the most pleasant moment throughout this first issue journey?

Amanda Brozana: Getting that first printed copy. I think that has to be the most pleasant moment for anybody who has done a magazine. I loved when I opened the box, and it was in Connecticut at our president’s conference. And I got to see the first one and put it into my hands and smell it. Maybe that makes me a print geek, and I’m okay with that. That was definitely the most satisfying moment, even more satisfying than when our president said, wow, this is a real magazine. And I think we’ve really received a lot of that initial shock reaction. And I get really excited when I hear people say that we really can do this.

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

Amanda Brozana: I think that we play a really unique role and I hope that Good Day! helps reflect that. I hope that the magazine is something that can go way beyond our membership, because there is a need for people to look and think about what they’re doing to improve the lives that they’re living. Many of us talk about whether or not we want bigger government or other organizations involved in making decisions for us or doing things in our lives, and the only way that we get away from that is doing for ourselves and doing for others.

And people don’t seem to see that. So, I think the Grange and organizations like us have a real place and we just need to refocus in on that. If we had magazines like Good Day! and other ones that tell people how to be more engaged in their communities and show them what it means to really be a good neighbor and a good citizen again. It’s stressful. I drive an hour to go 14 miles every day. It’s hard to go home and think about what I can do to help my own community. Do I really have the time or the patience to do that today? But it’s important. And so I’m hoping that this magazine is part of that revolution to get people to say what do they need to do to make sure that they have the life and the community that they want to live in.

Samir Husni: If I showed up unexpectedly to your home one evening after work, what would I find you doing?

Amanda Brozana: Probably cooking for the household; I have a couple of roommates. I am also playing with my dog or at the dog park with the dog, you never know. Hopefully, as soon as the weather breaks, we’ll have a garden in the back and I think that’s very reflective of what people my age and my generation are doing. We have roommates maybe, instead of large families or small children, and we have pets. We have gardens and we have ways that we are kind of reengaging, getting involved in little things in our communities.

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

Amanda Brozana: Besides the fact that I work directly next to the White House and I realize that I have to drive an hour in everyday? No, honestly, what keeps me up at night is that I’m part of a 150-year-old legacy here, and I worry about having 150,000 members, instead of the one million members that we used to have. I worry about what that means for the Grange and what it means in general.

I don’t know if any of your readers have ever read “Bowling Alone” by Robert Putnam, it’s a 15 or 16-year-old book now, but he documented the disengagement basically of people from civic and social life and from civic organizations. And we’re still there. We’re still on that downward trend and I don’t know what we will look like if we don’t have organizations figuring out how to get prescription eyeglasses to kids who are in need or socks to the homeless, or anything like that. I don’t know what the country will look like if we don’t have people engaged with our communities. It really disturbs me to think that the Grange and any other organization like us would struggle to survive, and what we would look like without these organizations.

Samir Husni: Thank you.

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An Experience Like No Other: Future Industry Leaders Meet Current Industry Leaders At The Magazine Innovation Center April 25 to 27.

March 21, 2017

act7Magazines Matter. Print Matters. That is the theme for the Magazine Innovation Center’s ACT (Amplify, Clarify, Testify) 7 Experience that will take place April 25 to 27. Space is limited, so check the agenda and register to join us for an experience of a life-time.

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Afropolitain Magazine: A New Afro Lifestyle Magazine That Inspires To Bring All Africans & People Of Color Together Under “One United States Of Africa” – The Mr. Magazine™ Interview With Nsayi Keziah Makoundou, Founder & Creative Director, Afropolitain Magazine…

March 20, 2017

A Mr. Magazine™ Launch Story…

“We want to do both, (print and digital) because a lot of people were asking us where they could find our print magazine. And every time I would tell them to just pull up the website, they were insistent that they would rather have the print version. So, we’re definitely going to do both. But just to make sure that we reach as many people as possible, we’re going to pursue digital more, because there are a lot of countries right now where people do not have access to the print, so if we’re digital they can just grab their phones and access the content.” Nsayi Keziah Makoundou…

“Everybody was telling me not to do print. I heard that at least 2,000 times, maybe more. But there is something inside of me that has always said that somehow, print is not dead. Obviously, I’m a big fan of magazines and books because of my background, but I feel like the people that I’m trying to reach, they’ve never really had a product like this. So, I won’t say that print is dead, because a lot of people have been asking for the printed magazine. If we’d listened to what everyone had said, we would have never moved forward. I usually go with my gut feeling, and my gut was telling me that I should definitely do the print magazine.” Nsayi Keziah Makoundou…

Nsayi Keziah Makoundou (Keziah) had a dream: launching her own magazine. Keziah comes from a magazine background, working for publications such as Popular Mechanics, UPTOWN Magazine and Vibe. But when the entrepreneurial bug bit, she literally stopped everything she was doing to focus on this project, Afropolitain Magazine.

I spoke with Keziah recently and she told me that what motivated her the most was that she realized there was a lack of a good Afro lifestyle magazine – especially in France, and in a lot of countries in Europe, hence the bilingual aspect of the publication, every issue is half English and half French. So, ignoring the naysayers and the fact that her creative side was much, much stronger than her business side, Keziah took a risk and launched Afropolitain’s first issue. And soon, Issue #3 will hit newsstands.

If passion and belief in your product makes a success, then look out world, Afropolitain is on its way, because Keziah has an ample amount of both. And her entrepreneurial spirit is no more pronounced than her philanthropic one, as she wants the magazine to be a tool that unites all Africans and people of color together to see what a difference they can make in business, fashion, and any other interest that grabs them, by amplifying each of their strengths. It’s a beautifully done magazine and one that Mr. Magazine™ is very excited to see on the newsstand.

So, I hope that you enjoy this Mr. Magazine™ interview with a woman who believes, as the magazine’s tagline reads, that her magazine provides “The Afro of Today For Tomorrow,” Nsayi Keziah Makoundou, founder and creative director, Afropolitain Magazine.

But first the sound-bites:

On the genesis of Afropolitain Magazine: I worked in the magazine business and I had always wanted to do a magazine that spoke to me and to African people. And with me being in the industry and working for all kinds of different magazines, I just decided to jump in the pool and start my own magazine.

On how she actually created the magazine: It was probably 2010 when the idea took hold in my mind, and I realized I needed to create a prototype, so I talked about it with some of my friends. It had been in the back of my mind for quite some time. And I worked a little bit on it, stopped, and then a couple of years ago I actually did a different prototype for someone who wanted to start a magazine for black women. And I think doing that prototype gave me a wakeup call, where I asked myself, instead of doing prototypes for other people, why don’t you just finish your own project? Who don’t you just push it until this project becomes a reality?

On the DNA of the magazine: Basically, Afropolitain represents the young, modern African that’s competitive, travels, has a good job, whether they’re in Africa, Europe or America. To me, Afropolitain is for people like us who are educated and who change the game in what we do. It’s to show the younger generation, and really, everybody, that you can be black, African, and be great at everything that you do. We just need to let people know that in every industry, there’s a black or of color person who is on a higher level.

On whether launching the magazine has been simple and easy for her: Oh, no, no, definitely not easy. The team is very, very small and we just started, so right now we’re just trying to put our name out there. We’re growing carefully, but we really need to be out there everywhere, on social media, but make sure that we’re consistent with the magazine. And we’re actually looking at a digital version of it, which will come out soon.

On the most challenging moment for her throughout this journey: Everything is challenging. I’m a woman and African, and trying to be a businesswoman. I’m an artist more than anything else, so being a businessperson is very new to me. It’s a big challenge to focus on the business side of the magazine, but it’s a learning process and I am learning it. It’s also challenging to be an African woman and to try and launch a business; is everyone taking me seriously, especially when you deal with African men.

On why she decided to make the magazine bilingual by creating half in English and half in French: There is a big break between Africans who speak English and Africans who speak French, in general. I feel like there is a lot about the English-speaking part of Africa that people in the French-speaking part don’t know about, and vice versa. For me, it was about trying to unite the continent.

On any conflict she finds between her creative side and her newly acquired business side: So far, the only conflict that I have is in doing the business part of it. Sometimes it can take away from me being creative, and that’s why in the context of growing, I want people who know how to handle the business side of the magazine better, so that I can focus on the product that we have and in making sure it’s always excellent. There are some problems with any beginning enterprise.

On launching with print first, and then considering digital: We want to do both, because a lot of people were asking us where they could find our print magazine. And every time I would tell them to just pull up the website, they were insistent that they would rather have the print version. So, we’re definitely going to do both. But just to make sure that we reach as many people as possible, we’re going to pursue digital more, because there are a lot of countries right now where people do not have access to the print, so if we’re digital they can just grab their phones and access the content.

On whether anyone asked her had she lost her mind for launching a big, thick print magazine in this digital age: Everybody was telling me not to do print. I heard that at least 2,000 times, maybe more. But there is something inside of me that has always said that somehow, print is not dead. Obviously, I’m a big fan of magazines and books because of my background, but I feel like the people that I’m trying to reach, they’ve never really had a product like this. So, I won’t say that print is dead, because a lot of people have been asking for the printed magazine. If we’d listened to what everyone had said, we would have never moved forward. I usually go with my gut feeling, and my gut was telling me that I should definitely do the print magazine.

On anything she’d like to add: Just that with Afropolitain, I want to unite people because I feel like being African, we don’t come together enough and in doing this product it brings us together. Everything you see in the magazine is done by Africans or black people: the photographers, the writers; my editor in chief is from Congo, my art director is from the Caribbean, so it’s really a black-made, African-made product. And I really want people to know that and to understand how we can come together and do something great. And I think that’s what we need in our communities. To come together and do something, instead of always trying to outshine or hate on the next black or African next to you.

On what someone would find her doing if they showed up at her home unexpectedly one evening: It’s really very simple, you’d find me sitting on my couch, on my computer, doing something for the magazine or emailing people or looking for different things to do. But most likely you would catch me working.

On what keeps her up at night: Being successful. Making sure that our magazine will always move forward and that people find out about us. Thinking about the next plan and the next move. My main focus right now is to be out there and reach the max number of people. My ultimate goal is that I want this magazine to become the top magazine for our community, so that’s what keeps me up at night. What is the next move for us to get there?

And now the lightly edited transcript of the Mr. Magazine™ interview with Nsayi Keziah Makoundou, founder and creative director, Afropolitain magazine.

Samir Husni: Tell me about the genesis of Afropolitain.

Nsayi Keziah Makoundou: I worked in the magazine business and I had always wanted to do a magazine that spoke to me and to African people. And with me being in the industry and working for all kinds of different magazines, I just decided to jump in the pool and start my own magazine.

Samir Husni: So, was it as easy as just deciding it? One day out of the blue, you created your own magazine, just like that?

Nsayi Keziah Makoundou: It was probably 2010 when the idea took hold in my mind, and I realized I needed to create a prototype, so I talked about it with some of my friends. It had been in the back of my mind for quite some time. And I worked a little bit on it, stopped, and then a couple of years ago I actually did a different prototype for someone who wanted to start a magazine for black women. And I think doing that prototype gave me a wakeup call, where I asked myself, instead of doing prototypes for other people, why don’t you just finish your own project? Who don’t you just push it until this project becomes a reality?

That’s when I decided to quit my job and focus on Afropolitain and do the prototype. And from the prototype we did Issue #1 and now the second issue just hit the market and we’re working on the third one. So, it was that wakeup call that motivated me to stop wasting time and to just do it.

Samir Husni: How did you come up with the name and what is the DNA of the magazine?

Nsayi Keziah Makoundou: I was looking for a unique and different name and a friend of mine, who is an artist, were having the conversation about what the name should be. I wanted something modern and that spoke to young Africans, young black people, and we were exchanging ideas when my friend suggested “Afropolitain” and I thought it was perfect.

Basically, Afropolitain represents the young, modern African that’s competitive, travels, has a good job, whether they’re in Africa, Europe or America. To me, Afropolitain is for people like us who are educated and who change the game in what we do. It’s to show the younger generation, and really, everybody, that you can be black, African, and be great at everything that you do. We just need to let people know that in every industry, there’s a black or of color person who is on a higher level.

And that’s what we hope to do with Afropolitain, I want the magazine to become a tool for people, so that they can grab the magazine and get advice for business, beauty, travel, recipes; learn things about African tradition, modern traditions, just a mix of lots of things. We’re in those Western countries too, so we need to bring everything together to make a great product.

Samir Husni: You’re working on Issue #3 now, so was it a walk through a rose garden for you with the first two issues? I mean, was it that easy?

Nsayi Keziah Makoundou: Oh, no, no, definitely not easy. The team is very, very small and we just started, so right now we’re just trying to put our name out there. We’re growing carefully, but we really need to be out there everywhere, on social media, but make sure that we’re consistent with the magazine. And we’re actually looking at a digital version of it, which will come out soon.

It’s an everyday challenge, but it’s worth it. We get a positive reaction from people and we’ve received positive critiques, so it’s good to know that we’re getting somewhere. We just have to keep pushing.

Samir Husni: What has been the most challenging moment for you throughout this journey?

Nsayi Keziah Makoundou: Everything is challenging. I’m a woman and African, and trying to be a businesswoman. I’m an artist more than anything else, so being a businessperson is very new to me. It’s a big challenge to focus on the business side of the magazine, but it’s a learning process and I am learning it. It’s also challenging to be an African woman and to try and launch a business; is everyone taking me seriously, especially when you deal with African men.

So, every step of the business is challenging. There are mistakes that we did with the first issue that we corrected with the second issue. And we’re working very hard on the third issue now. Every issue is a challenge for us to make sure we do better each time.

Samir Husni: Why did you choose for the magazine to be bilingual? You have half in English and half in French.

Nsayi Keziah Makoundou: There is a big break between Africans who speak English and Africans who speak French, in general. I feel like there is a lot about the English-speaking part of Africa that people in the French-speaking part don’t know about, and vice versa. For me, it was about trying to unite the continent.

It was really important to me to have French and English, because I wanted to be able and touch the whole continent, not just the French-speaking countries or the English-speaking countries. Or people just in America or Europe. That’s why it was very important to do both French and English, and to really include everybody from the continent.

Samir Husni: Where are you originally from?

Nsayi Keziah Makoundou: My origins are Congo Brazzaville (my dad’s side) and Côte d’Ivoire (my mother’s side).

Samir Husni: Being a creative person; being an artist, and being a creative person myself, I know that we think more with passion and our hearts than anything else, yet we have to apply a business type of thinking to most things. Do you feel a conflict between the two when it comes to Afropolitain?

Nsayi Keziah Makoundou: So far, the only conflict that I have is in doing the business part of it. Sometimes it can take away from me being creative, and that’s why in the context of growing, I want people who know how to handle the business side of the magazine better, so that I can focus on the product that we have and in making sure it’s always excellent. There are some problems with any beginning enterprise

But for me, I will say that there can be a little havoc that can take away from me wanting to be creative, such as doing a photo shoot. But, as I said, it’s a learning process, and the longer we go, the better I will learn how to balance the business side without taking away from the other.

Samir Husni: You’ve managed to create almost two magazines in one; it has that flip quality, where on one side it’s geared more toward men and the other side is geared more toward women. And you started with print first, and now you’re considering digital.

Nsayi Keziah Makoundou: Yes, we want to do both, because a lot of people were asking us where they could find our print magazine. And every time I would tell them to just pull up the website, they were insistent that they would rather have the print version. So, we’re definitely going to do both. But just to make sure that we reach as many people as possible, we’re going to pursue digital more, because there are a lot of countries right now where people do not have access to the print, so if we’re digital they can just grab their phones and access the content.

So, it’s very important to have a digital presence, but we’re going to continue to do both. We’re going to continue making sure that our print magazine is great, but also that people have access to the content wherever they want it.

And the fact that we do men and women, I think with my research into ethnic magazines, I felt like I never really saw a lifestyle magazine just for men, something where men can go and read about business, fashion, traveling, and relationships. Most of the magazines that are geared toward African men are more about politics and the economy. I’m not going to say they’re boring, but I felt like in today’s world African men travel, they go shopping , they like fashion, and they enjoy good restaurants. So, it was important for me to include men too, and that’s why I sort of divided the magazine into two parts, one for men and one for women.

Samir Husni: And when you talked to people about your idea of launching this print magazine, and a hefty-sized one too, we’re not talking about a 96-page publication; Afropolitain is a substantially thick, big magazine, did anybody ask you had you lost your mind for what you were about to do? You were launching a print magazine in this digital age.

Nsayi Keziah Makoundou: Everybody was telling me not to do print. I heard that at least 2,000 times, maybe more. But there is something inside of me that has always said that somehow, print is not dead. Obviously, I’m a big fan of magazines and books because of my background, but I feel like the people that I’m trying to reach, they’ve never really had a product like this. So, I won’t say that print is dead, because a lot of people have been asking for the printed magazine. If we’d listened to what everyone had said, we would have never moved forward. I usually go with my gut feeling, and my gut was telling me that I should definitely do the print magazine.

The print product is a great-looking one and we’re going to progress and do better and better, and keep pushing forward. The people that were telling me that print was dead weren’t even in the magazine industry, they were just going by what they had heard or the little bit they did know about the industry. It is more expensive to do print, but it costs money for digital too. To have an app up and running; to make sure the product is good, that’s expensive too. Right now, I want to keep doing both, and in the next year or two, we’ll see if doing print was a good idea or not. But so far, people are reacting very positively to it.

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

Nsayi Keziah Makoundou: Just that with Afropolitain, I want to unite people because I feel like being African, we don’t come together enough and in doing this product it brings us together. Everything you see in the magazine is done by Africans or black people: the photographers, the writers; my editor in chief is from Congo, my art director is from the Caribbean, so it’s really a black-made, African-made product. And I really want people to know that and to understand how we can come together and do something great. And I think that’s what we need in our communities. To come together and do something, instead of always trying to outshine or hate on the next black or African next to you.

If we understand that teamwork is important. I’m a creative person, but I can’t write. I have an editor in chief who can write and writers that are terrific, so they make the product look good. That’s another message that I want people to understand, working together is the future. If we want Africa to do better, we have to combine our strengths and create a unit that’s going to move forward together, not just country by country or tribe by tribe. It’s a group effort.

Samir Husni: If I showed up unexpectedly to your home one evening after work, what do I find you doing; reading a magazine; cooking; watching TV; or something else?

Nsayi Keziah Makoundou: It’s really very simple, you’d find me sitting on my couch, on my computer, doing something for the magazine or emailing people or looking for different things to do. But most likely you would catch me working.

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

Nsayi Keziah Makoundou: Being successful. Making sure that our magazine will always move forward and that people find out about us. Thinking about the next plan and the next move. My main focus right now is to be out there and reach the max number of people. My ultimate goal is that I want this magazine to become the top magazine for our community, so that’s what keeps me up at night. What is the next move for us to get there?

Samir Husni: Thank you.

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The Third Sex: Now And Then. There Is Nothing New Under The “Magazine” Sun…

March 17, 2017

This week’s issue of TIME explores how fluid expressions of gender and sexuality are increasingly moving from the margins to the mainstream. TIME’s Katy Steinmetz reports, “A growing number of young people are moving beyond the idea that we live in a world where sexuality and gender come in only two forms.”

The above quote is taken word for word from the TIME magazine press release this week. As you can see by the cover to the right the issue deals with what some are calling “The Third Sex.”

But, wait a minute. Is it really true that this is a new subject and the young people are talking about this now! I beg to differ and so does He, The Magazine for Men, from July 1953. Yes you read that right: 1953.

The main cover line for that issue was The Third Sex: Transvestites. The Truth About Christine.

The inside headline read: TRANSVESTITES CHRISTINE JORGENSEN: MEMBER OF THE THIRD SEX? The editors wrote in the intro to the story,

“The following article is based on an exclusive interview with Miss Jorgensen’s personal medical advisor. It has been supplemented with research in transvestism and allied fields. The Editors believe it to be the first authoritative report on an area of behavior which has too long been kept from the public.”

So take a look at the article above and judge for yourself. There is a rich history in magazines both old and new for those who are willing to do their homework… There is nothing new under the magazine sun!

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Model Railroader Magazine: Celebrating Over 80 Years Of Publishing Success With A 1000th Issue That Captures Both The Past & The Future With An Authentic Vision – The Mr. Magazine™ Interview With Steve George, Vice President – Content, And Neil Besougloff, Editor, Model Railroader Magazine…

March 15, 2017

“There is something about print that is innately impactful and tangible. We’re in an era where we have websites that the pages just scroll endlessly, so you don’t get the same effect with a bottomless well of interest and content that you do when you have a tangible, physical product. And Model Railroader isn’t the only one in our stable. In about six years Trains Magazine is going to have its 1000th issue and. I just don’t see that analog on the digital side, where you show such a longevity, which of course, speaks immediately to its endurance as a brand and to the fact that it has flourished for literally generations and has attracted people with its authenticity.” Steve George…

“We do like to have fun at Model Railroader and our readers are so loyal. It’s so common for us to encounter readers who tell us that they have been reading the magazine since the 1950s or the 1960s, this is very common. And they know these names and the sequences of events, so we have the ability to have a little fun and recall some of these things from the past. The only challenge we have is the balance between newer readers and making sure that they aren’t lost should I make too many references to things that have occurred in the past. So, we can strike that balance and have some fun.” Neil Besougloff…

After over 80 years of publishing success, Model Railroader magazine, the world’s most notable monthly magazine about the hobby of model railroading, has reached a milestone, its 1000th published issue. The magazine, owned by Kalmbach Publishing, has been around since 1934 when Al Kalmbach decided to launch a magazine against all odds. According to legend, Kalmbach couldn’t get a loan from any bank to start his magazine because it was the Great Depression, but somehow he did it anyway, and the rest as they say is history. A long, profitable and passionate history, one that has flourished into 12 different SIP titles for the company.

Steve George is vice president of content for all Kalmbach titles and Neil Besougloff is editor of Model Railroader. I spoke with both men recently and we talked about the past, present and future of the long-running title. The staying power of this legacy brand is a proven strength that cannot be denied and the love and passion the readers have for the brand, both in print and in digital, according to Steve and Neil, is consuming. Even after 1,000 issues, both men are not concerned with resting on their laurels, they’re gearing up for the next 80+ years with authentic content ,print innovation, such as the Color-Logic Special Effects for print process that they used with the recent milestone issue, and a dedication to the brand’s video future and web presence with their subscription-based MRVP (Model Railroader Video Plus) program offered to their readers online.

It’s a compelling past, and a bright future that keeps Steve, Neil, Kalmbach Publishing and Model Railroader magazine smiling and looking toward that next 1000th issue. So, without further ado, enjoy the Mr. Magazine™ interview with Steve George, vice president – content (all titles), and Neil Besougloff, editor, Model Railroader magazine.

But first the sound-bites:

On where he thinks the idea came from that the special interest category is a recent one, rather than a legacy product (Steve George): I think what’s happening is a lot of broader, special interest publishers, and I’ve worked for some of them, have slowly come around to this realization. In many ways, specialized interest has been around all along. Obviously, with companies like Kalmbach and other publishers, they’ve been doing this from day one, as in our case. It’s kind of a reverse Darwinism; we’re seeing that the specialized animal is one that’s surviving in the challenge market because, if they’re done well and they’re authentic enough, they’re going to find those smaller, but more passionate audiences who will stick with them through thick and thin over the years.

On the April issue of Model Railroader, which is its 1000th issue (Neil Besougloff): We wanted to do something to acknowledge this mark with our readers. Usually, we shy away from looking at ourselves, we want to talk about the hobby and tell people how to build model railroads and better enjoy model railroads, but we decided to do something different for the 1000th issue. The readers are our friends; they all know us, even though we may live thousands of miles away. Their passion draws them to us, so we decided to, like in the Wizard of Oz, open up the curtain and reveal the man behind that curtain.

On using the Color-Logic Special Effects for print (Neil Besougloff): We have a very good relationship with our printer, Quad/Graphics. And we are fortunate that they are located within the same county in Wisconsin that we’re in. We were looking to do something different with the cover and talking about an extra color, metallic ink. Our production coordinator was speaking to our representative at Quad/Graphics and she suggested this new process. They showed us some examples and we thought it looked pretty cool, so we decided to try it.

On how he came up with the idea of stacking 1,000 copies of the magazine on the cover to represent the 1000th issue (Neil Besougloff): One day I was looking at Google images, and I don’t know where the idea came from for a stack of magazines, but I was looking for stacks of anything, and I found a photograph of a stack of manila folders that I don’t even remember what they were for now, or why the picture had been taken. So, I thought maybe we should put magazines in a stack like that, and see how big it looks, almost as if it were “Jack and the Beanstalk.” You’re Jack and you’re at the top of the beanstalk looking down on this seemingly endless beanstalk, which would actually be the 1000th issue of Model Railroader on top of this seemingly endless stack of 1,000 magazines.

On whether he thinks as editorial director of all of the brand’s titles, he could achieve the same impact without a print component to the brand (Steve George): No, honestly, I don’t. You’ve said this, and you’ve heard others in the field say it; there is something about print that is innately impactful and tangible. We’re in an era where we have websites that the pages just scroll endlessly, so you don’t get the same effect with a bottomless well of interest and content that you do when you have a tangible, physical product.

On the conversational engagement offered to the audience on the editor’s page and the scribblings included from Neil’s notes (Neil Besougloff): With the scribblings on the Editor’s page, one of the page designers that works on the magazine, I think it was Drew Halverson, came up with the idea and the art director showed it to me, and at first I said that it wouldn’t look right. But then the more I thought about it, I finally said why not. And then I asked the people on the editorial staff if they thought we had enough two-word questions to sustain this. It’s easy to do things once; it’s hard to continue to do them. And they convinced me that it would work, so we’re going to keep doing it.

On the common thread that runs through all 12 of Kalmbach’s SIP magazines (Steve George): The common thread here is that we’re as intensely passionate about producing the brands that we do in the different categories as the readers who buy those magazines and who engage with those brands. And that’s something that is consistent, even as diverse as our titles and our interest areas are, that is a consistent thread.

On anything they would like to add (Neil Besougloff): One thing that helped us do this was the thread that’s among model railroad hobbyists; I think they all minored in history in college, because they have this attraction for the subject and most of them are modeling a railroad that’s set in the past. And here at Kalmbach Publishing Company, we’ve always owned ourselves, and we’re packrats. We keep everything. So, when Steve mentioned a little while ago about getting all 1,000 magazines and laying them on the floor side by side, up and down our hallway here in the building, we have all of that stuff. And the staff and our readers and the company just have this awareness of the company’s history and the objects and artifacts, that and the passion our readers have with history; all of it just comes together really easily.

On anything they would like to add (Steve George): To follow what Neil just said, while our history and our legacy is important and our readers see that, especially for some of our longer running brands, as important and have that perspective, we also recognize that we have to be looking forward. We’re not another stodgy legacy publisher just absolutely beholden to ink on paper. That’s’ still a core part of what we do, but we recognize that there are a number of our customers who, in addition to the print core of our brands, also look to us for other types of content.

On what someone would find them doing if they showed up unexpectedly one evening at either of their homes (Neil Besougloff): You’re going to find me in the basement of my home tinkering with mechanical things: motors, gears; electricity, model train parts. I also have a side hobby of slat cars; I tinker with those as well. I have an antique Ford in my garage, so there’s something else mechanical that I tinker with. It’s a 1931 Ford, so it’s pretty old. That’s what you’re going to find me doing.

On what someone would find them doing if they showed up unexpectedly one evening at either of their homes (Steve George): (Laughs) That’s impressive, Neil. I’m going to look like a slacker. (Laughs again) You’re going to find me at home with my three kids, one son and two daughters. I’m going to be doing stuff with them. Both my daughters are very crafty, they’re my inroad insight into jewelry and crafts. So, I’ll be spending time with them, but my evenings are spent reading.

On what keeps him up at night (Neil Besougloff): Too much coffee in the evening, I guess. (Laughs) No, I don’t know. It is a tough time for the magazine world and I think about do we have the advertising support anymore; how do we continually find new readers? But none of these are thoughts that are unique to me.

On what keeps him up at night (Steve George): I guess for me it’s just that question of are we doing enough? Are we doing enough for our readers and our customers? Are we presenting them content that they’re going to love and that’s going to be of high quality in all of the ways that they’re going to want to engage with us? Are we devoting enough of our resources to the places where we know they’re going to go, whether it’s in print or online? It really is that question of are we doing enough for them.

And before you read the lightly edited transcript of the Mr. Magazine™ interview with Steve George, vice president – content (all titles), and Neil Besougloff, editor, Model Railroader magazine, click here to watch the making of the 1000th issue of Model Railroader.

Samir Husni: Almost 85 years ago when the first issue of Model Railroader started, people could have described it as a special interest magazine. Today, all of the buzz is that the future is in special interest titles. Where do you think this idea came from that special interest magazines are just a product of today and not a legacy category?

Steve George: I think what’s happening is a lot of broader, special interest publishers, and I’ve worked for some of them, have slowly come around to this realization. In many ways, specialized interest has been around all along. Obviously, with companies like Kalmbach and other publishers, they’ve been doing this from day one, as in our case.

It’s kind of a reverse Darwinism, we’re seeing that the specialized animal is one that’s surviving in the challenge market because, if they’re done well and they’re authentic enough, they’re going to find those smaller, but more passionate audiences who will stick with them through thick and thin over the years. And that’s certainly something that’s been a part of Kalmbach’s model. Obviously, we’re as concerned about newsstand as everybody else, but for us our great strength has always been that with our brands we get a very dedicated core of subscribers who keep renewing for the rest of their lives, especially in the case of long-running titles like Model Railroader or Trains Magazine, which we also do and dates back to 1940.

It’s something that I think has positioned us well. We can call Al Kalmbach a visionary for a lot of reasons; I don’t know that he envisioned today’s marketplace (Laughs), but I’m certainly glad that he did what he did, because it’s producing a very good position with strong brands that really resonate with our readers and they stick with us.

Samir Husni: And the fun part, of course, is that he started the magazine as a side business.

Neil Besougloff: (Laughs) Yes, he was a printer with a passion for trains and model trains and he made the magazine on a whim. It was the Depression, and the story goes that there were no banks that would loan him any money to launch the magazine, but he just went ahead and did it anyway.

Samir Husni: Neil, Steve mentioned the power of the brand and the relationship with the audience. The April issue, which is the magazine’s 1000th issue, is a testament to that brand power and longevity. Can you tell me a little bit more about that April issue?

Neil Besougloff: We wanted to do something to acknowledge this mark with our readers. Usually, we shy away from looking at ourselves, we want to talk about the hobby and tell people how to build model railroads and better enjoy model railroads, but we decided to do something different for the 1000th issue. The readers are our friends, they all know us, even though we may live thousands of miles away. Their passion draws them to us, so we decided to, like in the Wizard of Oz, open up the curtain and reveal the man behind that curtain.

Samir Husni: You mention in your editorial that you used the Color-Logic Special Effects for print, can you tell me more about that?

Neil Besougloff: We have a very good relationship with our printer, Quad/Graphics. And we are fortunate that they are located within the same county in Wisconsin that we’re in. We were looking to do something different with the cover and talking about an extra color, metallic ink. Our production coordinator was speaking to our representative at Quad/Graphics and she suggested this new process. They showed us some examples and we thought it looked pretty cool, so we decided to try it. And I just want to thank Quad/Graphics because we didn’t even know this process existed until they suggested us trying it.

Samir Husni: How did you come up with the idea of stacking 1,000 copies of the magazine on the cover to represent the 1000th issue?

Neil Besougloff: One day I was looking at Google images, and I don’t know where the idea came from for a stack of magazines, but I was looking for stacks of anything, and I found a photograph of a stack of manila folders that I don’t even remember what they were for now, or why the picture had been taken. So, I thought maybe we should put magazines in a stack like that, and see how big it looks, almost as if it were “Jack and the Beanstalk.” You’re Jack and you’re at the top of the beanstalk looking down on this seemingly endless beanstalk, which would actually be the 1000th issue of Model Railroader on top of this seemingly endless stack of 1,000 magazines.

It was kind of hard to pull off because it’s easy to imagine in your mind what such a stack would look like, but in reality once the stack of magazines gets to about three or four feet, it falls over. So, we had our photographer on a ladder, I think it was a 12-foot stepladder, shooting straight down on about a three and a half foot stack of magazines. He used a couple of different lenses to exaggerate the “Jack and the Beanstalk” effect. Then through the magic of Photo Shop, we took these photos and put them together and changed the size and a bit of the orientation, then a little more Photo Shop magic, it looked like a stack of magazines that would seemingly go on for 1,000 issues.

Steve George: What’s funny is it’s hardly an exaggeration. The cover is a great impression of the tenacity and the longevity of the magazine. We depict a stack of 1,000 issues on the cover, but one of the other things that we did was get every copy of Model Railroader out of our library and laid them out side by side here in the office on the floor, and shot a video for our website of the whole visual history of the magazine.

And that line of magazines ran from one end of the building to the other, and almost back again. It was quite an event here in the building and it took a while for our video folks to shoot it. They were on a cart slowly going down the hall and back. Obviously, we couldn’t put that on the cover, that would have required quite a foldout. And you look at all of those covers and at how the magazine has changed over time. From the first issue, which was a mere pamphlet; from that modest beginning to this brand that is so great today; it’s truly awesome. And I use that word in its truest sense.

Samir Husni: Steve, being the editorial director of all of the titles, do you think that you could ever achieve the same visual and editorial impact if you did not have a print component?

Steve George: No, honestly, I don’t. You’ve said this, and you’ve heard others in the field say it, there is something about print that is innately impactful and tangible. We’re in an era where we have websites that the pages just scroll endlessly, so you don’t get the same effect with a bottomless well of interest and content that you do when you have a tangible, physical product.

And Model Railroader isn’t the only one in our stable. In about six years Trains Magazine is going to have its 1000th issue and. I just don’t see that analog on the digital side, where you show such a longevity, which of course, speaks immediately to its endurance as a brand and to the fact that it has flourished for literally generations and has attracted people with its authenticity. And has a dedicated staff who are also lovers of the hobby and true experts in their field, and who deliver authentic content that readers continue to respond to year in and year out. I really do mean it when I say, here’s to the next 1,000 issues because I think Model Railroader will last that long and beyond. I don’t expect I’ll be here to see it (Laughs), but I have every confidence that day will come.

Samir Husni: Neil, you engage your readers with a conversation in your Editor’s Letter, even allowing them to read scribblings from your notes. Tell me about that dialogue between you and the audience in the 1000th issue.

Neil Besougloff: As I said earlier, we try not to make ourselves part of the content. So, we had to let go of that idea for this issue. With the scribblings on the Editor’s page, one of the page designers that works on the magazine, I think it was Drew Halverson, came up with the idea and the art director showed it to me, and at first I said that it wouldn’t look right. But then the more I thought about it, I finally said why not. And then I asked the people on the editorial staff if they thought we had enough two-word questions to sustain this. It’s easy to do things once; it’s hard to continue to do them. And they convinced me that it would work, so we’re going to keep doing it.

I figured our readers would ask why there was handwriting on the magazine, so I would rather explain it to them, in this case in the editorial, than to have them puzzled about something. I really believe our job is to have our readers enjoy the magazine, enjoy their hobby, and to not have to work very hard to read the magazine or to turn the page. We try not to use any kind of jump lines ever; we try to make everything linear. I don’t want the reader to have to fight to read the magazine.

As far as the content goes, I wasn’t lying when I said that we have been asked for decades to write a story about the layout here at Kalmbach’s building in Wisconsin. And it truly is in the magazine frequently, because we use that as sort of our test workshop for different stories that are written by staff members, rather than stories that are written by outside hobbyists. So, it was just time to put all of that stuff together.

And then to write the story, I looked at the 50th anniversary issue of Model Railroader magazine back in 1984 and there was a fictional character that was named Boomer Pete, which was a railroad name. He had written a story about visiting the company at the 50-year mark and he made reference to the fact that he was part of the early days; he was a columnist, which was true. I devised this idea that we would have his son come visit us for this 1000th issue.

And what this allowed me to do in writing the story was to be able to ask questions about the layout and make comments in the story that would have maybe been a little awkward for one of the actual staff members to do, but by using a pseudonym you could ask and answer questions and make observations that were more from a visitor’s point of view than a staff member’s.

Steve George: Neil, do you know who the original Boomer Pete was? It was Al, right? He was the alter ego for one of the staffers, correct?

Neil Besougloff: In the beginning, it was Al Kalmbach, and recently I found out that during the 50th anniversary, Russ Larson, who was one of the staff members, and went on to become the publisher of the magazine, wrote that story in 1984.

We do like to have fun at Model Railroader and our readers are so loyal. It’s so common for us to encounter readers who tell us that they have been reading the magazine since the 1950s or the 1960s, this is very common. And they know these names and the sequences of events, so we have the ability to have a little fun and recall some of these things from the past. The only challenge we have is the balance between newer readers and making sure that they aren’t lost should I make too many references to things that have occurred in the past. So, we can strike that balance and have some fun.

With this issue, we had eight pages of readers writing in about their favorite issues, which most of them were quite a while ago. So, they understand the whole body of work and they’re with us. They see it as we’re making this magazine for each one of them and they have this relationship with us, even though it exists through ink on paper, over hundreds, if not thousands of miles.

Samir Husni: Steve, when you think about the 12 SIP magazines that Kalmbach publishes, from Astronomy to Discover, from Bead & Button to Trains to Drone 360, and using your vision as editorial director, what is the common thread that runs through all of the magazines?

Steve George: The common thread here is that we’re as intensely passionate about producing the brands that we do in the different categories as the readers who buy those magazines and who engage with those brands. And that’s something that is consistent, even as diverse as our titles and our interest areas are, that is a consistent thread.

I started here almost five years ago as the editor of Discover, which seemed in many ways very different from the portfolio that Kalmbach has, but one of the things that I realized very quickly was just like Trains or Astronomy or Model Railroader, there was a passionate base of readers there who were intensely curious about science and intensely curious about the world.

I came from service magazines, so for me, I thought, let’s look at this through the lens of engagement, as we do with our other titles. Let’s do everything we can to make them feel that they’re part of a conversation with the editors and to show them that this isn’t just our magazine, it’s their magazine as well. And I would say that’s a pretty consistent thread that’s been part of Kalmbach’s legacy, and it’s something that when I took over this role one year ago, I immediately saw was not broken. So, I’m not going to try and fix it just to make my mark. (Laughs) That’s the secret sauce and it’s not really that big of a secret.

You look at your customer as the boss of everyone and you find a way within each of the different brands to deliver content that speaks to them and their passions. And also you need to articulate your own passions and enthusiasm as well. And even though you may never actually meet your customers and you’re separated by distance and time, they’re going to respond to that. It’s something that has been consistent and it’s something that, obviously, the editors here needed no direction from me on.

It’s funny, a year ago I did meet individually with the editors. Neil was the first that I sat down with, and that was one of my first questions for each of the editors so that I could understand a little bit more about their particular audience and their particular interests and needs. And they all have very unique interests and desires, things that look for from us and our individual brands, but the one thread that remains consistent is that this magazine is their magazine too, whichever title we’re talking about.

And they have a certain expectation. And even if they’re not necessarily articulating it this way, they respond to a level of authenticity in the content of our brands that can only come from a staff who is just as passionate as they are, and who truly embraces those special interests and categories that they serve. So, if anything, I just want to continue to reinforce that as we go forward. It really is the tie that binds all of our brands together.

Samir Husni: Is there anything that either of you would like to add?

Neil Besougloff: One thing that helped us do this was the thread that’s among model railroad hobbyists; I think they all minored in history in college, because they have this attraction for the subject and most of them are modeling a railroad that’s set in the past.

And here at Kalmbach Publishing Company, we’ve always owned ourselves, and we’re packrats. We keep everything. So, when Steve mentioned a little while ago about getting all 1,000 magazines and laying them on the floor side by side, up and down our hallway here in the building, we have all of that stuff. And the staff and our readers and the company just have this awareness of the company’s history and the objects and artifacts, that and the passion our readers have with history; all of it just comes together really easily. And the readers appreciate the recognition of the past and the model railroading of the past. They don’t just live for today or live for tomorrow, but they embrace the past as well. So, we were able to pull it off.

Steve George: To follow what Neil just said, while our history and our legacy is important and our readers see that, especially for some of our longer running brands, as important and have that perspective, we also recognize that we have to be looking forward. We’re not another stodgy legacy publisher just absolutely beholden to ink on paper. That’s’ still a core part of what we do, but we recognize that there are a number of our customers who, in addition to the print core of our brands, also look to us for other types of content.

That’s one of the things that Model Railroader as a brand has been very innovative about. We do a lot of how-to videos and have various other programming that exists on our website, and in fact, exists as a separate brand, if you will, or sub-brand, which is MRVP (Model Railroader Video Plus) and it’s an online subscription service. We do fresh video content weekly, and actually David Popp, who is in charge of that; it was actually his idea to lay out all of the magazines on the floor, thinking rightly that it would make for an impressive video.

So, we don’t rest on our laurels. We do absolutely celebrate and cherish our history; it’s part of our DNA. But we also want to make sure that as our readers, even as our oldest readers are starting to embrace, perhaps grudgingly in some cases, their Smartphones, iPads and computers, that we’re there on all platforms. While they still want the print experience, and they’re always going to want that, they’re voracious in their desire for fresh content, so we’re going to do what we can to give it to them in other platforms that they’re going to embrace, especially digital.

Samir Husni: If I showed up unexpectedly to either of your homes one evening after work, what would I find you doing; playing with a model train; having a glass of wine; watching TV; cooking; or something else?

Neil Besougloff: You’re going to find me in the basement of my home tinkering with mechanical things: motors, gears: electricity, model train parts. I also have a side hobby of slat cars; I tinker with those as well. I have an antique Ford in my garage, so there’s something else mechanical that I tinker with. It’s a 1931 Ford, so it’s pretty old. That’s what you’re going to find me doing.

Steve George: (Laughs) That’s impressive, Neil. I’m going to look like a slacker. (Laughs again) You’re going to find me at home with my three kids, one son and two daughters. I’m going to be doing stuff with them. Both my daughters are very crafty, they’re my inroad insight into jewelry and crafts. So, I’ll be spending time with them, but my evenings are spent reading.

In my office at home, basically I have this little corner (Laughs), it’s really my wife’s house, and in this corner I have a desk with my iPad and I’m usually reading off of that. I’ll be searching various websites, looking at industry stuff or other categories or competitors for our brands and doing my own reading for pleasure. But right next to that is a stack of magazines. Ours and a lot of other folks’ issues. And right next to that is my vintage drugstore comic book spinner rack, which I have stuffed with tons of my old comics and which is still my great pleasure. One of the biggest pleasures for me is to walk into that space and smell that great smell of old, pulpy comics and magazines.

In many ways, the 1000th issue kind of intrigued me because of that. In fact, in my very first conversation with Neil, we were talking and I did this very quick math and said this magazine has been around since 1934, you’ve published monthly for all of this time, even war years, so we have to be close to our 1000th issue. And as you probably know, in comics, the 25th, 50th, or 100th issue, it doesn’t matter, they look for every opportunity to promote that as something special and an event. And I thought, whether you’re reading comics or Model Railroader, there’s that level of passion and engagement, where any kind of milestone is going to be a great opportunity to celebrate and be an event. So I thought that the 1000th issue would be a really cool thing for us to do. But yes, that’s me. I’m reading mostly, either digitally or in print.

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

Neil Besougloff: Too much coffee in the evening, I guess. (Laughs) No, I don’t know. It is a tough time for the magazine world and I think about do we have the advertising support anymore; how do we continually find new readers? But none of these are thoughts that are unique to me.

Steve George: I guess for me it’s just that question of are we doing enough? Are we doing enough for our readers and our customers? Are we presenting them content that they’re going to love and that’s going to be of high quality in all of the ways that they’re going to want to engage with us? Are we devoting enough of our resources to the places where we know they’re going to go, whether it’s in print or online? It really is that question of are we doing enough for them and I’m afraid the answer is no. (Laughs) We could be doing more, but I suppose that’s a good thing. I would be worried if the answer was yes, we’re good. (Laughs again) To me that would be the path to the road of complacency and that wouldn’t be good for any of us.

Samir Husni: Thank you.

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Cooking Light Magazine: Celebrating 30 Years By Redefining “Healthy” & Showcasing A New Approach To Cooking – The Mr. Magazine™ Interview With Hunter Lewis, Editor In Chief, Cooking Light Magazine…

March 13, 2017

“But what’s most important, and if I’ve learned anything about the business, it’s that you have to be adaptable. You have to be flexible, but you have to remain true to the fundamentals, and print is absolutely a part of the fundamentals. And as long as we’re making compelling content for each platform and as long as we’re strengthening our core, which is print; as long as we’re making a product that is even more engaging and is a lean-back and a lean-forward experience, and by that I mean something that people continue to dog-ear the recipes and use them every day, that gives us more license to try new things in digital.” Hunter Lewis…

With this year, Cooking Light celebrates its 30th Anniversary starting with the April issue: What Healthy Means Now. In April 1987, Cooking Light launched to empower people to cook more for good health. With fresh, accessible ingredients and weeknight-friendly techniques, Cooking Light’s recipes enabled busy home cooks to make healthy and delicious food choices for their families. But 30 years ago “healthy” meant eat this, not that. Traditional staples like beef, butter and eggs were swapped for lean poultry, fish and reduced-calorie butter.

Cooking Light’s editor in chief, Hunter Lewis, believes that the word restriction is something that no longer applies. I spoke with Hunter recently and we talked about Cooking Light’s redefinition of the word “healthy” and the progression of more and more fresh and whole foods within the perimeters of our supermarkets. Hunter said that no longer to people have to deny themselves taste and diversity when it comes to eating for overall good health. The 30th anniversary, April 2017 issue will showcase the magazine’s rededication to everyone’s own personal definition of healthy.

And with the upcoming November issue’s redesign, the magazine is setting a new course for the next 30 years by opening up the food space to be more inclusive of all forms of health and well-being through the art of each individual’s own food choices, and by showcasing this new definition of personal healthy across all of its many platforms.

So, grab your own idea of a healthy snack and enjoy the Mr. Magazine™ interview with a man who has a long-term vision for Cooking Light that includes turning down the “light” just a bit and turning up the “healthy,” Hunter Lewis, editor in chief, Cooking Light magazine.

But first the sound-bites:

On what differentiates Cooking Light today from all the other magazines out there: I think what sets us apart today and what has set us apart over the years is brand equity. We have 30 years of brand equity; 30 years of building and pushing this great brand forward, and I really credit the team that launched it in 1987 for having the wherewithal to really read the marketplace and to think about where the consumer was going. That consumer demand for fresher food is what drives us today, and it’s the reason so many other players are getting into the game now.

On the major challenges the magazine has had to face: The major challenges in the marketplace and the major challenges that consumers have faced has been the evolution of the American diet. When we launched, a healthy plate looked much different then than it does now. What the government recommended was a bit different then than it is now, and we hadn’t had this great awakening yet, in terms of consumer demand for all things fresh and clean.

On whether he thinks all of the reported digital “spying” will hurt magazines’ digital futures, or as long as the brand is trusted like Cooking Light, digital will remain strong: I can’t speak to the spying piece, but I think that as artificial intelligence becomes an even bigger part of our daily lives, such as adding recipes into the virtual assistant Alexa, or Amazon’s Echo, people are using their Smartphones to solve more food problems. I think companies are learning more and gathering more data about that consumer so that they can solve even more problems for them. But what’s most important, and if I’ve learned anything about the business, it’s that you have to be adaptable. You have to be flexible, but you have to remain true to the fundamentals, and print is absolutely a part of the fundamentals.

On something different that he’s doing today with the print component of Cooking Light that wasn’t being done when he first joined the team: The biggest thing is that in our 30th anniversary year, and now that healthy is becoming even more mainstream than it has been in the past 30 years, we’re putting a bigger stake in the ground to own healthy. And we’re putting a bigger stake in the ground to empower consumers to define what healthy means to them. And to give them even more solutions and more recipes and tips to take control of their own health through the home kitchen; at the stove, at the grocery store, and at a dinner party, using food as a solution for that. As we’re embracing healthy, we’re subtly positioning away from “light.”

On the theory behind the new approach to the cover, and in also using a lighter color for the word “Light” so that the word “Cooking” is what’s jumping at consumers: With this cover we wanted to make a statement. This is the first of our key moments for 2017 as we celebrate our 30th anniversary, and as we continue to seize momentum for 2018/2019. We wanted the cover to be a moment. We wanted the cover to make an impact on newsstand, and we wanted to photograph and design this in a way that felt like a statement. And that’s what we delivered.

On whether someone can get a completely wholesome experience from just reading the magazine without visiting all of the platforms the brand utilizes: I think our audience is slightly different on each platform. And I think the key to delivering compelling content on a particular platform is to understand that audience and to see visually and through the text, through the video and the sound, how best to capture the brand on each platform. If you’re just coming to us and you understand the brand only from Instagram, that’s awesome. If you just understand the brand through print; we love that too.

Cooking Light Ed Note Photography Caitlin Bensel

On how the magazine is using its DNA from 30 years ago to combine with today’s definition of the word healthy: I think healthy goes way beyond food and fitness. Healthy is very broad and very inclusive. Healthy goes beyond food, fitness, sleep and wellness. And what we love about healthy is that it means something different to every, single person. Our point when it comes to this whole repackaging and the call to action for the consumer to go and use the hashtag, to go and shoot a photo and caption it with their definition of healthy is that each person owns their own healthy. It’s personal and you define it. Use Cooking Light to help you achieve it.

On whether he’s afraid his colleagues at Health Magazine might feel Cooking Light is infringing on its territory with the new “Healthy” movement: No, but what I will say is I’ve seen a massive change here at Time Inc. in the way that with the way that we collaborate with our sister brands. And it’s one of the most exciting things that’s happening in the building right now; I’m actually in New York at the moment. The way that the brands are talking to each other and the way that these digital desks are communicating and syndicating and sharing stories is amazing.

On anything he’d like to add: Just going back to the licensed products and the new revenue streams, we talked about extending Cooking Light onto the supermarket shelves; I think you’re going to see an evolution of the Cooking Light diet that’s a two-year-old product that has been a successful launch.

On what someone would find him doing if they showed up unexpectedly to his home one evening: You would find my wife and I wrapping up dinner. We have a five and a three year old, and we’re at the point now where we can sit down and have dinner together, which is the high point of my day. And yes, having a glass of wine.

On what keeps him up at night: My three year old, who still wants to wake up a couple of times per week at 3:00 a.m. (Laughs)

And now the lightly edited transcript of the Mr. Magazine™ interview with Hunter Lewis, editor in chief, Cooking Light magazine.

Samir Husni: When Cooking Light was started 30 years ago, it was one-of-a-kind. Now, there are plenty of imitators in the food magazine marketplace, especially when it comes to “cooking light” or “cooking clean” or any of the things that Cooking Light introduced 30 years ago. What differentiates Cooking Light from all of those other magazines that are out there today?

Hunter Lewis: I think you’re right, and I think Don Logan and the whole team at Southern Progress and at Southern Living was very prescient. They were way ahead of the curve and they knew the marketplace really well when Cooking Light launched out of Southern Living 30 years ago. In 1987, the world was a different place and how we ate was much different, and to have the foresight to create a new brand and to launch that new brand with healthy messaging was super-smart.

And I think what sets us apart today and what has set us apart over the years is brand equity. We have 30 years of brand equity; 30 years of building and pushing this great brand forward, and I really credit the team that launched it in 1987 for having the wherewithal to really read the marketplace and to think about where the consumer was going. That consumer demand for fresher food is what drives us today, and it’s the reason so many other players are getting into the game now.

Samir Husni: What have been the major challenges that you’ve had to face and how did you overcome them?

Hunter Lewis: The major challenges in the marketplace and the major challenges that consumers have faced has been the evolution of the American diet. When we launched, a healthy plate looked much different then than it does now. What the government recommended was a bit different then than it is now, and we hadn’t had this great awakening yet, in terms of consumer demand for all things fresh and clean.

And so, it was the very dawning of this whole American food obsession and the very dawning of this new American food movement. You have to think about that in the context of, if you look at the recipes that were published in the April 1987 issue of Cooking Light, you see a lot of low fat, low-calorie recipes. And you see cornstarch in recipes to thicken sauces and things like that; you see gelatin used. So, what has happened through this, and I bring up recipes as an example, because that’s our bread and butter, but what’s happened is the definition of heathy and light has changed in a big way.

Now, if you look at our recipes, it’s much more about whole ingredients and eating a diversity of plants, and more than anything, it’s less about restriction and more about addition. We want to add healthy ingredients to our diet; we don’t want people to restrict their diet because eating a more diverse diet and eating a variety of foods and a more plant-based diet is the best way to hedge your nutritional bets against diet-related diseases. I think the consumer piece of it and how the American diet has changed and what the American dinner plate looks like now versus then, is vital.

In terms of challenges in the marketplace and in the industry; there have been many. But I’d say none more than this continued digital revolution, but that has also been the most fun challenge. Continuing to push the brand forward in print and continuing to protect and grow the core product, which is the print brand, while also making compelling video, growing our Instagram audience, doing compelling Facebook live videos, and going on Snapchat. So, we think about all of the places where the brand is, and making that content, making those videos and those digital articles and that food photography really pop. And making a joyful experience and empowering people to cook more at home for good health is our mission across every one of those platforms in a fun way. That has been our challenge and I would say that we’re succeeding.

Samir Husni: I recently tweeted that if you want another reason why print will be with us forever, it’s that print never spies on you, like the digital world has been reported as doing. Do you think these reports of “spying” and “watching” is going to hurt our digital future or as long as we have a trusted brand like Cooking Light, digital will remain strong?

Hunter Lewis: I can’t speak to the spying piece, but I think that as artificial intelligence becomes an even bigger part of our daily lives, such as adding recipes into the virtual assistant Alexa, or Amazon’s Echo, people are using their Smartphones to solve more food problems. I think companies are learning more and gathering more data about that consumer so that they can solve even more problems for them.

But what’s most important, and if I’ve learned anything about the business, it’s that you have to be adaptable. You have to be flexible, but you have to remain true to the fundamentals, and print is absolutely a part of the fundamentals. And as long as we’re making compelling content for each platform and as long as we’re strengthening our core, which is print; as long as we’re making a product that is even more engaging and is a lean-back and a lean-forward experience, and by that I mean something that people continue to dog-ear the recipes and use them every day, that gives us more license to try new things in digital.

Samir Husni: Give me a few examples of what you’re doing different today with Cooking Light in print that wasn’t being done when you first came onboard.

Hunter Lewis: The biggest thing is that in our 30th anniversary year, and now that healthy is becoming even more mainstream than it has been in the past 30 years, we’re putting a bigger stake in the ground to own healthy. And we’re putting a bigger stake in the ground to empower consumers to define what healthy means to them. And to give them even more solutions and more recipes and tips to take control of their own health through the home kitchen; at the stove, at the grocery store, and at a dinner party, using food as a solution for that. As we’re embracing healthy, we’re subtly positioning away from “light.”

And I’ll say this, if we were launching a brand now in 2017, we wouldn’t call it Cooking Light. That is nothing against the brand; I’m just being honest, because “healthy” resonates in the current marketplace more than “light” if you look at past packaging. “Light,” in 1987, meant something different than what it means now. We’re not apologizing for the brand, it has amazing brand equity as I said, but in our 30th anniversary year we are really embracing healthy moving forward and that gives us more permission to be in the health and wellness space.

As we do this, I’m seeing this as three major editorial tent poles for the year. The first is “What Healthy Means Now,” the 21-page cover story, and this is our first big stake in the ground. Defining what healthy means now across several different categories and encouraging consumers to go and to use hashtag “the new healthy” on their social platforms, to define what healthy means to them, to retweet and repost those definitions, to build our social communities, and to really remind people when they’re talking about healthy foods, they’re talking about Cooking Light. That’s the first thing.

The second one is, you asked what we’re doing in print, we’re redesigning the September issue. And we’re working on that now and kicked it off this week. We’re going to give it a fresher look. The key to the redesign will be to drive even more engagement on a page; to celebrate our beautiful photography even more, and to create a little bit more space around the text to make it feel even fresher. And then the November issue will be a double-issue, and that will be an anniversary issue for the advertising community.

All of these things translate beautifully to digital. The beauty of working for a food media brand is that our gorgeous imagery and our delicious recipes play well across the entire food space. By that I mean what we shoot for a feature story, in terms of a photo and a recipe, is also going to pop on Instagram; it’s going to drive traffic from Facebook back to our website; it’s going to get reviewed and commented on and printed off from our website and people are going to go to the store, buy the ingredients and cook it. It’ll show up on Pinterest. We might cook that recipe on Facebook live and have a highly-engaged group of 100,000 or so people watching us cook it live and bringing the brand to life through their computer screens or phones.

What I’m getting at in this day and age, in 2017 with food media, what we do in print we have to make it work across all platforms. And what’s so interesting about the long tail of a recipe at Cooking Light and at Time Inc. is that we can also put it into books. We’ve done cookbooks and bookazines, and as you know, bookazines have been driving a lot of great business over the years. So, there’s great print and digital value; there’s great long-term value in the type of content that shows up first in print. And now, more than ever, it shows up on Cooking Light.com before it ever goes into print. And that’s not really a digital-first mentality.

Samir Husni: I’m looking at the first issue of Cooking Light, the magazine for food and fitness, and I’m also looking at the April 2017 issue of the magazine, the 30th anniversary issue. And while the name is still the same, a lot has changed. With the anniversary issue, you’re giving me six tips immediately on the cover, answering your question of “What Healthy Means Now?” Even before I go to Page 82, you’re telling me to fill half my plate with crunchy veggies and to eat nuts, etc. What’s the theory behind the new approach to the cover, and in also using a lighter color for the word “Light” so that the word “Cooking” is what’s jumping at me?

Hunter Lewis: With this cover we wanted to make a statement. This is the first of our key moments for 2017 as we celebrate our 30th anniversary, and as we continue to seize momentum for 2018/2019. We wanted the cover to be a moment. We wanted the cover to make an impact on newsstand, and we wanted to photograph and design this in a way that felt like a statement. And that’s what we delivered.

If you look at the design assets on this cover, and how the assets translated through the 21-page cover story, and then if you look at the 30 Faces of the New Healthy that we launched on Cooking Light.com recently and how the design is translated through that impactful list, and then you look at the way it’s shown on Instagram, you begin to see what I’m talking about when it comes to how everything flows from print to our digital, social and video platforms in a seamless way to elevate the look, feel, tone and the sound of the brand.

Samir Husni: Let’s say you have some readers who only care about the printed magazine, some are only Instagram followers, some are only digital followers; do you think the experience of each of your platforms can be necessary, relevant and sufficient? If I don’t go to your Instagram or your web; I can get a completely wholesome experience from reading the magazine?

Hunter Lewis: I do. I think our audience is slightly different on each platform. And I think the key to delivering compelling content on a particular platform is to understand that audience and to see visually and through the text, through the video and the sound, how best to capture the brand on each platform. If you’re just coming to us and you understand the brand only from Instagram, that’s awesome. If you just understand the brand through print; we love that too.

Long-term, as we think about new revenue streams and engaging consumers on new platforms, part of what this 30th anniversary issue is about and part of “What Healthy Means Now” is about and what the redesign will be about is not just words and pictures. It’s about really capitalizing on that brand equity, carrying us into the next 30 years, and thinking about where else Cooking Light could play. By that I mean, if we think about where consumers are shopping now and healthy consumers are shopping now, they’re on the perimeter of the supermarket. They are shopping all fresh goods beyond just the produce aisle.

The perimeter of the supermarket, and we wrote about this in the story, is a battleground for everything fresh. It’s where all the companies want to be and where they want to play and sell their goods. If we play our cards right, we can have more Cooking Light products, more fresh products sold on the supermarket shelves. We can extend our meal kit partnership that we have with FreshRealm into the grocery store. There is no reason Cooking Light shouldn’t be selling meal kits at the grocery stores right now.

And that’s also what this is about. How do we solve for consumers as they’re planning and shopping, in addition to how they’re cooking? The American consumer and the way that they’re making dinner today is much different than it was 30 years ago. They’re using their phones as a tool nearly every minute of every day. The way that people shop for groceries and the way that they have ingredients delivered; I think that we can play in all of these spaces to extend the brand and create even more value.

Samir Husni: Am I assuming correctly then that you’re taking the DNA of Cooking Light from 30 years ago, the magazine of “food and fitness,” and you’re combining that phrase with the word “healthy?”

Hunter Lewis: I think healthy goes way beyond food and fitness. Healthy is very broad and very inclusive. Healthy goes beyond food, fitness, sleep and wellness. And what we love about healthy is that it means something different to every, single person. Our point when it comes to this whole repackaging and the call to action for the consumer to go and use the hashtag, to go and shoot a photo and caption it with their definition of healthy is that each person owns their own healthy. It’s personal and you define it. Use Cooking Light to help you achieve it.

Samir Husni: So, you’re not going to get your colleagues at Health Magazine mad at you for infringing on their territory?

Hunter Lewis: No, but what I will say is I’ve seen a massive change here at Time Inc. in the way that with the way that we collaborate with our sister brands. And it’s one of the most exciting things that’s happening in the building right now; I’m actually in New York at the moment. The way that the brands are talking to each other and the way that these digital desks are communicating and syndicating and sharing stories is amazing.

Two desks that I’m involved with everyday are the food and health desks. Health does an amazing job at writing compelling science stories. So, we could syndicate those stories. And they can syndicate our recipes, and so there is a mutually symbiotic relationship here where we can tap into their expertise. We can talk to Time’s health editors and share what we’ve got coming out about gut health or brain health and we can tap into that expertise, and then we can share that content socially and to a wider audience.

And that’s really what this is about, this collaboration among the brands. It’s not just about a brand’s audience, it’s about who is the overall Time Inc. food audience and how do we tap into that in a bigger way? How do we share across all of the platforms and how do we maximize that 40 million-plus social audience that clamors for Time Inc. food across all brands, including health? And what’s happening with this company is an amazing transformation.

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

Hunter Lewis: Just going back to the licensed products and the new revenue streams, we talked about extending Cooking Light onto the supermarket shelves; I think you’re going to see an evolution of the Cooking Light diet that’s a two-year-old product that has been a successful launch.

Samir Husni: If I showed up unexpectedly to your home one evening after work, what would I find you doing; having a glass of wine; watching TV; cooking; reading a magazine or your iPad; or something else?

Hunter Lewis: You would find my wife and I wrapping up dinner. We have a five and a three year old, and we’re at the point now where we can sit down and have dinner together, which is the high point of my day. And yes, having a glass of wine.

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

Hunter Lewis: My three year old, who still wants to wake up a couple of times per week at 3:00 a.m. (Laughs)

Samir Husni: Thank you.

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Introducing A New Auto Magazine Circ’ 1962: “There Has Been No Periodical To Truly Reflect The Grandeur, The Majesty, The Adventure That Is The Automobile…”

March 10, 2017

From The Mr. Magazine™ Vault:

Automobile Quarterly: First Issue, Spring 1962 —
“The Connoisseur’s Magazine of Motoring Today, Yesterday, and Tomorrow.”
As fate will have it, the magazine folded in 2012, the same year its founder L. Scott Bailey died. A beautiful publication with a hard-back cover sold for $5.95 an issue… If you are thinking of starting a new magazine, read the introduction to the first issue of the magazine and use it as a great example of setting the DNA for your new magazine and its position in the marketplace.

Here’s the intro:

The automobile is an extreme passion with us. As writers, editors and artists we have been drivers, racers and collectors, carrying on a continual love affair with the motorcar. In touring, we have discovered the beauties of the American countryside… in racing, the supreme challenge of speed…in collecting; we relive the great moments of a glorious past. And all the while we have searched for a publication to meet the demands of our enthusiasm and have found a void in the field of automotive literature.

There has been no periodical to truly reflect the grandeur, the majesty, the adventure that is the automobile… none to depict in spirit nor in dimension the lineal beauty of our fond obsession. Nor does any periodical begin to capture the tangible satisfaction comparable with the ownership of our elegant motorcar.

To these ends, we have drawn upon the talents of the world’s leading writers, illustrators, designers and industrialists and created an articulate quarterly, outstandingly designed in hard-cover format, dedicated to pay tribute to the past, the present and the unlimited future of the automobile.

Far too long, the automobile, a long, sleek thing of beauty, has been cramped and channeled into the standard, vertical magazine page.

In our new, iconoclastic, horizontal format we will bring into full perspective the triumphant architecture of the automobile, pioneering many new and varied art techniques. With a glimpse of the past, yet an eye to the future, we will cover significant aspects and obligations of the motoring world. Only in this spirit of dedication and devotion can we hope to make each issue surpass the preceding one, giving delight to the eye, keen satisfaction to the mind and a treasured heirloom for generations to come.

The Editors

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