IN CONVERSATION WITH THE BLIZZARD

Print is dead. Long live print. The more we hear on this debate, the more quality magazines seem to crop up. From Manzine to Lost in London - there are plenty of reasons to be cheerful. So we were chuffed to hear about The Blizzard, a new football magazine that isn't afraid to publish lengthy articles on obscure games and how Dennis Bergkamp can be compared to New Labour [seriously. It's in issue zero, available here, and is well worth a read.]

We asked Jonathan Wilson, editor of The Blizzard a few questions about the mag, here's what he had to say:

Why did you opt for the 'pay what you want' model for issue zero?

We were very conscious that our audience was likely to be global, and obviously there are vast disparities in wealth between different countries. With pay what you want, people can set a value they feel comfortable with, wherever they happen to be from. And that, of course, even within countries there’s a scale of wealth. Students were always likely to be a big part of our readership; now they’re not priced out, and hopefully as and when they leave university and find jobs they will up their payments. And I guess with the economy squeezed there are a load of people out of work or whose businesses are struggling who can buy low now and hopefully up their payments as their personal circumstances hopefully improve.

It requires faith, obviously, but our writers, who are being paid as a profit share, had faith in us; now we’re placing that same faith in the public to pay responsibly. We’ve said what the RRP is, what we would be charging if we didn’t have the PWYW model; then it’s up to people to respect that and take it as a marker as to what it's realistic for them to pay. It's a gamble, of course, and if it doesn’t work we’ll be forced to change, but the early signs are pretty positive.

What has happened over the last few years in football journalism that has inspired The Blizzard to start?

The internet. On the one hand it’s squeezed papers who are now chasing the middle ground, increasingly focusing on the glamour clubs and players to try to boost sales. Football magazines, similarly, seem to have shortened the length of pieces; and I’m sure they have sound economic reasons for doing so. And on the other hand the internet raised the model of the long tail. Newspapers are big beasts with large fixed costs; by selling through the website, using social networking sites to raise awareness and selling in digital as well as printed formats, The Blizzard can operate with relatively low overheads and so we can explore more esoteric areas and the sort of more leisurely or in-depth pieces that have disappeared over the past decade or so - although we're able to run articles of greater length than has ever been done in the football press.

How is the magazine going to be different [to the likes of When Saturday Comes and The Green for instance]?

The major difference from WSC is length. We’ll have pieces stretching up to 8000 words long, which necessarily means a different style of journalism and different subject matter. As a quarterly, there’s no point us attempting anything newsy. I suppose the base ethos isn’t that different from WSC, but I think we’re very different products. I’d be surprised if readers saw us an somehow an alternative; I think we’re far more likely to be an addition. As for The Green, I haven’t seen a huge amount of it, but they seem to have placed far more emphasis on design and photography, whereas we’re all about the words. I suspect they’ll appeal to a different part of the market.

Do you think that being based in Sunderland will help you to bring a different perspective on the game?

Aside from our innate north-eastern canniness, I’m not sure. The magazine is based there, and I was born there, but I live in London now, and our contributors come from all over the world. We’re certainly not planning a series of interviews with the likes of Jim Montgomery, Gary Rowell and Gary Bennett. Not yet, anyway.

What magazines/publications have served as inspiration during the creation of The Blizzard?

Well, there was Perfect Pitch, which I suppose attempted something similar back in the late nineties, although it didn’t have the freedom the internet has given us. And there are foreign football magazines with a similar feel, such as Josimar in Norway and Hard Gras in the Netherlands, but I don’t think there was a moment in the design process when anybody got out a copy of a magazine and said ‘we want it to look like this’. It looks like it does because of a series of small decisions based on ‘what looks/feels right?’ rather than having any template in mind.

What is your favourite footballing memory?

1992 FA Cup quarter-final replay, Sunderland v Chelsea. Sunderland had edged the first half and were 1-0 up, but Chelsea, who were then a division above us, had battered us in the second. They hit the post, missed sitters and Tony Norman made save after save, and then, with four minutes left, Dennis Wise dinked in an equaliser. I was sure that was it; I was standing next to Peter, the co-founder of The Blizzard, at the time, and I said to him, ‘Please let them finish it now.’ We were knackered, and all I could see was extra-time being horrible and us taking a hiding. Then Paul Bracewell played a long diagonal towards Davie Rush, who was rubbish but was being hyped because he was a local kid and he’d got the winner at West Ham in the previous round. Steve Clarke intercepted, but, perhaps overestimating Rush, put it out for a corner.

Brian Atkinson swung it in, and Gordon Armstrong, with his big shiny forehead, got on the end of it. I was at the opposite end of the ground, and you could see the ball was looping towards the corner, that Dave Beasant wasn’t going to get there, but it seemed to take forever, the ball looping, Beasant diving... what we couldn’t appreciate was that Armstrong was about 18 yards out and that’s why it took so long. And eventually, after what seemed like minutes of anticipatory silence, the Roker End went up, and we knew it was in. And then of course it was absolute mayhem. And there was still time for John Kay, the hardest man in the world, ever, to nail Vinnie Jones. I well up even thinking about it: there’ll never be another night like that.

FOUND: NEW[ISH] MAGAZINE - LOST IN LONDON

PUBLISHING - In joes[a]fiend's opinion there are not enough magazines that discuss foraging, walking on riverbeds and local history. In fact, we're not sure that there are any. Therefore, Lost in London has gotten us really excited.

We found out about the beautifully designed magazine through magCulture's 24-hour long 5 year anniversary celebration and were immediately taken by the idea of a truly seasonal magazine. The publication inspires by sharing information on the capital through the changing seasons and the first issue conveys a love for the outdoors throughout.

Pick of the articles for us was Helen Babbs piece on the November 'draw-off' of the Thames at Richmond. In many ways this article is what the magazine is about - telling you about something you were not aware of and making you want to go and see it for yourself. The first issue also comes with a map of fruit trees in Hackney - again, prodding you to head outside and explore.

'We wanted to make something that showed London in a completely different way, reflecting all the things that are good about the city - there is so much more to it than busy tube trains and smog,' Lucy Scott, editor of Lost in London, told joes[a]fiend.

The design of the magazine is also a vital part of its appeal [as you can see from the pictures.] Tina Smith, the art director of Lost in London and Lucy Scott see the title as a backlash to the ubiquitous free-zines that are increasingly common in London.

'We had seen a few independent mags launch with uncompromising editorial and design values and it seemed to us like a backlash was underway against the multitude of free-zines popping up everywhere - not that they're bad necessarily, but just that there's a different sort of publishing to be had on the other side. The Ride Journal in particular was an inspiration.'

With the first signs of spring well and truly upon us [you can smell it along the New River Walk in Islington, honest] we are very much looking forward to the next issue of Lost in London. We shouldn't need to say when it comes out...

joes[a]fiend

KEROUAC'S DOG : NEW TRICKS

We were so intrigued by the title of Kerouac's Dog, a new cultural magazine [covering new writing, design, illustration, photography, architecture, fashion, and creativity in general], that we had to grab 5 minutes with its creator, Oli...

First off, please tell us a little about your background and how the Kerouac’s Dog Magazine came to be.

The whole project began as an itch in my head that simply refused to go away. I was travelling Australia in 2008, and one hot summer evening in my apartment in Surry Hills, Sydney, I sat down and scribbled down what I wanted.

I wanted a magazine that was truly independent, with no advertising, no classifieds, and no editorial-led advertising. I wanted a magazine that oozed pure creativity, with a free-thinking, uncensored, underground-press feel. I wanted to give aspiring creatives of all disciplines, from all over, the opportunity to exhibit new writing/new design/ new illustration/ new photography/ new whatever, in something beautiful and tangible. And at the same time, pay homage to the philosophy of the Beat Generation. Kerouac’s Dog Magazine was born. I suppose the idea was conceived long ago, but born when I actually put pen to paper and started putting things in place to make Kerouac’s Dog a reality.

Why Kerouac's Dog? Why now?

Because I genuinely believed it was needed. I think keeping print alive in a truly independent publication in a digital world is really important. In a digital age, getting stuff in print; in something real and tangible is incredibly exciting. I think having something that you can hold; that you can thumb through - rather than click-through, scroll through, or touchpad flick-through - is still an exceptionally beautiful thing. It still means something. It’s evocative, resonant, and it stays with you.

Who out of the people that you're working with should we be keeping an eye on?

I’m not going to pick anyone out, mainly because the work that has been submitted for the inaugural issue, and Issue 2 next year is of such a great standard. But yes, there are lots of people you need to be keeping a serious eye on.

What format is the magazine? Which magazines do you see it sitting alongside?

Issue 1 is A4 – and we’ve got other format ideas for future issues too. [Except digital – Kerouac’s Dog will exist solely in printed format.]
Well, I hope it stands out on its own. I don’t think I’d be doing it any justice if I tried to group it with other magazines.

As you aren't having print ads are you looking to collaborate with brands at all?

We’ve started as an independent, and we want to continue to be independent. Many ‘independent’ magazines that exist today, started off the same as we did, and have, for one reason or another, given in to advertising, and brand and organisation collaboration – mainly for financial reasons. True independence is a tough ideal to live by, especially when you’re totally self-funded, but I think it will be worth it.

What are your favourite magazines?

Wow. Where do I start. There are so many. I love EYE magazine. I love Wallpaper* Magazine. I also read a lot of ‘Mad’ while in Australia too – that was really great.

Where do you see Kerouac's Dog in a year?

Still having fun; still getting new creative work out there; still believing in ourselves, in why we’re doing what we’re doing, and in the people who submit such awesome work; still holding on to that creative fire that got us into this.

joes[a]fiend

FANCY DESIGNING THE COVER OF WALLPAPER* MAGAZINE?

PUBLISHING - Wallpaper*, the home of wonky legged chairs and expensive 'lifestyle' items is inviting readers to design their very own cover for its August Handmade issue [on sale in July].

Budding designers can access the application at Wallpaper.com where they can create a cover. On the site you can select and manipulate images, graphics and patterns by James Joyce, Nigel Robinson, Anthony Burrill and Kam Tang.

Each reader’s cover will front their own copy of the Wallpaper* Handmade special issue.

Editor-in-chief Tony Chambers says, 'Wallpaper* readers are a very creative bunch and they are going to love this. After all, they’ll be joining the ranks of Philippe Starck, Zaha Hadid, Anish Kapoor and Karl Lagerfeld – all of whom are previous Wallpaper* cover artists.'

joes[a]fiend

MANYSTUFF #1: ONE POSSIBLE CATALYST

PUBLISHING - Graphic design blog Many Stuff have just unveiled their beautiful printed publication 'One Possible Catalyst'.

Many Stuff explain the publication as 'A graphic design publication with the objective to use the printed support, paper, to fix a laboratory of experiments and meditations released from formal and theoretical prejudices.'

joes[a]fiend

IT'S NICE THAT: ISSUE 3

PUBLISHING – The guys from It’s Nice That dropped us a line saying we could have a sneak peak at the forthcoming issue of the It’s Nice That publication. How could we say no? The spreads look fantastic and are a joes[a]fiend exclusive.

It’s Nice That Issue #3 has some big hitters in its beautifully designed pages who span the creative disciplines, included in the seven interviews are graphic design legend Milton Glaser, fashion designer Sir Paul Smith, furniture designer Tom Dixon, filmmaker Keith Schofield, illustrator Tom Gauld and artist Maisie Broadhead.

The team behind It’s Nice That have given free-rein to creatives to write about a subject that excites and interests them, with articles including Illustrator / designer Geoff McFetridge, writing about his frustrations with graphics in comparison to the written word.

If you want to get your hands on the publication do so NOW! All pre-orders received before midnight on March 31st will receive an exclusive, large-scale screen print from world-renowned illustrator Parra. The print is 980 x 550mm when unfolded and has been commissioned exclusively for everyone who orders the publication early. It is available nowhere else in the world.

www.itsnicethat.com/shop

joes[a]fiend

FIRE & KNIVES

PUBLISHING - This new food mag, edited by The Guardian's Tim Hayward and designed by Supermundane looks good enough to eat...

Bill Freeman

IT'S NICE THAT ISSUE 2

PUBLISHING - Despite all the problems with the Royal Mail at present they delivered the new issue of It's Nice That's bi-annual on time yesterday. Perhaps they realised the brilliance that was enclosed in the thoughtfully stamped brown box?

A real treat for illustration fans with not only a beautiful Rob Ryan print slipped inside the front cover but also a cracking Tom Gauld postcard, complete with hand written thanks from the It's Nice That gents themselves.

The issue acts as a great reminder of the service that It's Nice That provides - similar to the Now That's What I Call Music albums during the early nineties - but all killer [design] without the filler.
Bill Freeman

WIRED FOR A TREAT

PUBLISHING - It's an interesting time for the publishing world, only the best magazines will survive the cull we have seen recently. This is driving some creative developments within the industry. This newsstand differentiation is one of our favorites of recent time. The brief was to create a graphic device that would help Wired stand out from other tech magazines on the newsstand.

The execution by David Styler of Art Center College of Design aims to 'reinforce the brand's connection with technology, making consumers aware that it is more intellectual as opposed to other techie magazines which are mostly just informational'.

Does it do this? We think it does, and does it well. Thumbs up from us.

joes[a]fiend

GET YOUR [BLUE]TITS OUT FOR THE LADS

PUBLISHING - We are delighted to hear that Manzine have released their second issue. The first was a hotchpotch of diy store reviews, bicycle geekery and psychogeographic porn. We hope for more of the same. Magculture have posted a few pics and until we get our mitts on a copy we shall say no more.
Update to follow...

Bill Freeman