35 Burst results for "Id Magazine"
America First with Sebastian Gorka Podcast
Dr. G and Chris Kohls Discuss the Imagery of "Conan the Barbarian"
"A little bit about the world that was created by mister Howard and also the man who I think probably more than anybody else before the movie. Helped us to visualize this world of Conan, and that's the artist Frank frazetta. So let's put up some of these incredible images. These were actually the covers of the novels in the 60s and 70s that I think, along with heavy metal in France, kind of helped to define a whole genre. So you don't get Conan, you don't get sword and sorcery. You don't get that whole subculture of media and movies without this, his Conan, the aged Conan the king, this is a whole world in and of itself, isn't it, Chris? Oh yeah, you know, everybody in the documentary that I watched the sort of behind the scenes documentary. Talked about these images, these paintings, and back then back in like the 70s, that was a really big deal. If you had amazing cover art, you mentioned you mentioned heavy metal magazine. Yeah. They made a heavy metal movie. And I just watched a YouTube video comparing the heavy metal movie with 5th element, the movie 5th. Totally. And they essentially ripped off the heavy metal movie. Yeah. Almost seen for scene, in some cases, with the 5th element. And it had that kind of influence in the 1970s that people don't really remember. I don't think. And I certainly didn't really understand this until I got much older because I wasn't around back then. So I didn't know about it. I was unaware. So what are these things that get to lost in time? We lose our perception of the things that influence the things that we love sometimes. And this
The Hugh Hewitt Show: Highly Concentrated
Why America's Navy Is No Longer Best in the Sea
"Back in America, as I said the most important thing. Not just to the Hugh Hewitt show audience, but to the world is that the communist Chinese party had Xi Jinping. The strong man, the totalitarian ruler of all of China, head of the Chinese Communist Party has been in Moscow for two days, meeting whether he calls his junior partner Putin, it reminds you of Hitler and Mussolini, if you know your history in 39 getting together, that's why I asked doctor Hendricks to come on today, Jerry Hendricks will be on an hour three to discuss his brand new essay in the Atlantic, which is really caught the attention of Washington D.C.. Because the Atlantic is the last magazine that many people read in America in hardcover copy form. And the title of the article is the age of American naval dominance is over. The subheading is the United States has seated the oceans to its enemies. We can no longer take freedom of the seas for granted. And this is sort of something I talk about a lot for the last, I don't know, ten years. When Donald Trump was running and promising a 355 ship navy, that didn't come about the biggest failure of the Trump years was the failure to get the shipyards expanded up and running, getting a navy plan. And the key facts that I'll be talking about with doctor hendrickson an hour three is that the United States had 6700 chips at sea at the end of World War II. By the end of Eisenhower administration, we were down to a thousand, which is consistent with the Cold War, and then it fell and fell and fell until regular arrived and rebuilt the navy to 590 ships that had the deterrent effect on the Soviet Union. It fell apart. And then in our wisdom, we thought the end of history had arrived and we are now at 271 ships afloat. And doctor Hendricks says, the complications of that, the implications of that are so profound that people don't even see the obvious in front of them. So I'm
AP News Radio
Federal judge blocks key parts of California handgun law
"A federal judge has blocked key provisions of the California law that drastically restricts the sale of handguns. I'm Ben Thomas with the latest. The law requires new handguns have three components, an indicator showing whether the gun is loaded, a magazine disconnect mechanism that will stop the gun from firing if the magazine is not properly inserted. And micro stamping capability, so law enforcement can more easily link spent shell casings to the guns they were fired from. But U.S. district court judge cormac Carney ruled the requirements unconstitutional, writing no handgun available in the world has all three of these features, and he writes the regulations are having a devastating impact on California's ability to acquire and use new state of the art handguns. The state has two weeks to appeal the decision before the preliminary injunction takes effect. I'm Ben Thomas
Mike Gallagher Podcast
Sources Claim That Ron DeSantis Ate Pudding With Three Fingers
"New York magazine, Margaret Hartman, headline. Ron DeSantis eating pudding with his fingers will end his 2024 bid. She writes Ron DeSantis has been hit with a fast art with a food related accusation so weird it may end his 2024 presidential bid before it officially starts. The Daily Beast reports that according to two sources, the Florida governor once ate chocolate pudding with three fingers. This article in a New York publication says politicians are human beings who need to consume food and water in order to live just like the rest of us, but they should really consider only taking in sustenance alone in a darkened room. Just to be safe. Chris Christie is forever the governor who berated a guy while clutching an ice cream cone. The only thing most people remember about senator Amy Klobuchar's 2020 presidential bid is that she was accused of eating salad with a comb. I mean, this is a serious argument. That they're making. Ron DeSantis being a messy eater eater is a disqualifier. Now what's fascinating is I know this doesn't surprise you. The elitist of New York magazine doesn't even consider Ron DeSantis military career.
Dennis Prager Podcasts
The Spirit of Inovation and Disruption
"Are we ready, sir? I wonder how you'll react before I say a word. As we begin our second century, the spirit of innovation and disruption inspires us every day. What does that have to do with reporting that? Thank you. That is correct. If I healed over right now, you could have offered the end of my thought or the beginning of my thought. I'm telling you it is one of those rare moments of such utter candor and honesty. You want to thank them for saying it. What do you think the spirit of a weekly news magazine should be? What should the dominant spirit be? I would think news reporting truth, honesty, depth, good writing. Would you think that? No. What animates Time Magazine, the heads of the magazine say, are the or is the spirit of innovation and disruption?
Dennis Prager Podcasts
The End of Time
"100th anniversary of Time Magazine is this week. The march 13th to march 20th, 2023 issue. Is the 100th anniversary of Time Magazine. For many decades Time Magazine was respected today a handful of people respected few people read it, though they claim tens of millions of people visit their site. I don't deny that. But if you knew time, 50 years ago, let alone its first 50 years. One of the dramatic differences and it's true for all of the for newsweek as well, which is much better than time at this time. But in any event, you will notice the gigantic pictures in Time Magazine. It is 50 years ago, it's really worth your looking at a Time Magazine from 1950. How much better written how much richer of vocabulary, how many fewer pictures the reader was expected to read,
Bitcoin Magazine
U.S. Treasury, FDIC And Federal Reserve Will Guarantee All Deposits At SVB, Signature Bank In Unprecedented Move
"1 a.m. Monday March 13th, 2023. US Treasury, FDIC, and Federal Reserve will guarantee all deposits at SVB, signature bank and unprecedented move. A joint statement ensured that all customer deposits at their respective banks will be honored by the federal government
Bitcoin Magazine
Lyn Alden On Finding Bitcoin, Skepticism And Inclusion Money Is For Everyone
"1 p.m. Friday March 10th, 2023. Lynn Alden on finding Bitcoin, skepticism, and inclusion money is for everyone. Investment strategist Lynn Alden discusses her own Bitcoin journey, encountering skeptics and the industry's male skew.
Bitcoin Magazine
Management Software Can Help Bitcoin Miners Realize Their Energy Potential
"1 p.m. Saturday March 11th, 2023. Management software can help Bitcoin miners realize their energy potential. With effective management software, Bitcoin miners can take full advantage of the industry's unique efficiencies and potential profits.
The Dinesh D'Souza Podcast
AOC May Have Broken House Ethics Rules Over Met Gala
"Here's AOC with our big tax the rich dress and denouncing the rich, the rich are bad. Well, the rich pay for their stuff. AOC doesn't want to. And as it turns out, she seems to have violated the House rules in doing so. And the story is particularly insidious because it shows how she tried to cover that up and lie about it and get other people to lie about it, including the museum and the designer of her dress and others as well. So let's look at what happens. Now AOC is allowed to go to the Met Gala, but here's the point. The invitation has to come from the Met. And typically the Met does invite senators and congressmen, but from that district, and so for example, the senator of New York or maybe the Congress man or woman from that district gets an invitation, but AOC is not in that district. So she wasn't invited. So she could go to the Met Gala, but she'd have to pay. Now it's kind of expensive. $35,000 for two people. And AOC wanted to take her boyfriend. So this was going to cost her some considerable money. She didn't want to pay. And so she decided, okay, let me figure out another way to get in. Now she knows Anna winter, who is the longtime editor of Vogue and Vogue was apparently one of the sponsors of the event, and so she basically got her tickets through Vogue and through Anna wintour, but see, this is not allowed. Why? Because Vogue is part of a massive media corporation, the media corporation owns spectra, my highly regulated Internet provider. So if you've got a corporation like this that's involved in public dealings, it can be seen as a, as a payoff as a bribe, or either as a campaign donation. It's basically members of Congress are not allowed to take gifts where this kind of money from companies that employ lobbyists end of story. And so what happens is AOC uses the leverage or the influence of vanna winter to get the tickets and then tries to hide that fact by saying things like, well, why don't we just say the tickets didn't really come from Vogue magazine. They were like a personal gift from Anna wintour. That way we leave the corporation out of it. So this is our AOC is trying to cover her tracks. Even though she was warned, that quote the congressman could accept an invitation from the Met, but not. This is her lawyer's italics from Vogue.
Mark Levin
Mainstream Media Blocked Nicholas Wade From Discussing Lab Leak
"I had Nicholas wade on Sunday's program as I did two years ago give or take And he made it abundantly clear in the piece that he wrote That really all roads were leading to the lab and absolutely no evidence was ever provided about this back to human jump Ever I want you to listen to this from last night Nicholas wade on life liberty and Levin cut 22 go You write this piece it is thoroughly objective as best as I can tell It's totally understandable even to the average journalist You yourself have a journalism background you've written on this topic of signs for New York Times nature's science magazine you've written books you're an expert in the field just a yes or no Will you invited to discuss this on CNN I was once yes by a smoker How about MSNBC No nothing from them How about The New York Times No they were not interested How about The Washington Post Very simple No How about CBS NBC or ABC No nothing from them That I recall How about PBS No I didn't have PBS How about NPR No nothing for me I'm just curious
Dennis Prager Podcasts
Discovering Conservatism
"So I'll just tell you this one quick story. When I discovered you and discovered my conservative instincts, I, of course, talked with many of my friends about it and I lost some friends as you know in the audience knows. And I remember one of these friends who I lost said to me, just do me a favor. If you're going to be conservative, just make sure that you also read a liberal article or magazine for every conservative article or magazine that you read. And I responded to this person, do you do that? This person's on the left. And he just looked like, oh, no, I don't do that. Like, it didn't even occur to him. I mean, it was just so pompous. It was like, oh, but you have to read if you have to read the other side, but I don't. Well, I told the anecdote, I asked someone in my life who was liberal, not liberal. I was a major. I'm hesitating because I don't want to give it away at all who this might be. And I asked him, have you ever heard of Jordan Peterson? No. And have you ever heard of and I just went through the list of the finest conservative minds that I know of. I've never heard of one of them. I never heard of you prior to prager, I just Googled what do conservatives think about police and thank God PragerU has a very robust advertising push, but I had never heard of you prior to that.
Bitcoin Magazine
Nick Szabo Was Wrong With Bitcoin, Micropayments Work
"1 p.m. Saturday, March 4th, 2023. Nick Sabo was wrong with Bitcoin, micro payments work. A 1999 article by Nick Sabo is often cited to argue that micro payments don't work. But with Bitcoin and the lighting network, now they do.
Bitcoin Magazine
U.S. Treasury Introduces CBDC Working Group, Discusses Potential Routes For Digital Dollar
"9 p.m. Thursday, march 2nd, 2023. US Treasury introduces CBDC working group, discusses potential routes for digital dollar. The treasury statements explore the potential forms and implementations of an American CBDC.
Bitcoin Magazine
How Bitcoin Mining Is Adapting To The Energy Transition
"1 p.m. Sunday March 5th, 2023. How Bitcoin mining is adapting to the energy transition. Researching more than 100 Bitcoin mining companies, it's clear that this industry is poised to advance energy consumption more than any other.
The Eric Metaxas Show
Pastor Greg Locke Anticipates Another Revival
"Back. I'm talking to my friend pastor Greg Locke. He is the founding and lead pastor of global vision Bible church in mount Juliet, Tennessee, right outside Nashville author of a number of books. You know, Greg, what I always say to my buddy Ken fish. It's like part of the frustration is there is so much of this and so few who are trained in dealing with it. Which is why I'm glad you're doing this every single week in your church because there is so there are so many people suffering from this and I really believe this is an end time move of God that we're going to see people coming to faith as a result of this kind of ministry. Oh, absolutely. You and I both, you know, we share a love for revival history, right? And so it's not that God didn't do amazing things in the past. But if you look at every single revival in the past, you look at the Welsh revival, azusa street browns will first and second great awakening the hebrides revival, you know, Jeremiah Calvin landfire survival. All of them had a limitation because when deliverance started to break out, it was shut down. It's exactly what happened with the Jesus revolution with the whole Time Magazine thing. Whenever deliverance got to a place where it started making people uncomfortable, it was shut down. And I think that we are right now in the prophetic film and of the book of Joel in the last days, God will provide a spirit upon all flesh or what does that look like in the last days whosoever should call upon the name of the lord shall be delivered. And people are like, well, you know, deliverance ministry is not in the Bible. In the model prayer Jesus said deliver us from evil. And so it's all over the Bible. There are 286 verses in Matthew Martin Luke and John, where Jesus converses with and cast out demons. It's a third of his ministry. And then the disciples and then the 70 and then you and I Mark 16. Paul, Stephen, Philip, it's all in the Bible.
The Breakdown
Gary Gensler, Bitcoin and the Bad-Faith SEC
"All right Friends, well, hope you had a great weekend. And to kick the day off, I wanted to bring you back to a simpler time. Remember when Gary gensler was first coming into this SEC role and so many folks, myself included thought, hey, maybe this will be good. I mean, this is a guy who has taught about Bitcoin and crypto at MIT right? The simple fact of that understanding is almost certainly likely to make him better to work with than someone like Jake Clayton and then remember how Gary decided to be avowedly against the industry. To perpetuate a regulation by enforcement approach and to take actions that are clearly less about the investor protection he purports to care so much about and so much more focused on advancing his own political career, while in all of that, a road bump on Gary's preferred political path are the questions that swirl around his discussions with Sam bankman freed and FTX. Genzler's opponents in Congress are getting louder about demanding answers. About the SEC's discussions with FTX, as well as their investigations into FTX after the collapse. The narrative those opponents are trying to make stick is a pretty simple one. At the same time, Gary was scoring PR victory slapping Kim Kardashian on the wrist, he was also meeting with the guy who ended up being revealed as one of the biggest financial frauds in American history. The problem for gensler is that it's a pretty compelling narrative sort of backed transparently by the facts. It's enough of a problem, in fact, that gensler has started to fight his own media counter offensive. Late last week, New York magazine published a pretty extensive piece called can Gary gensler survived crypto winter. D.C.'s top financial cop on bankman freed blowback. In the interview gensler discusses at least one of his meetings with FTX directly. The meeting in question came a year ago in March 2022. FTX had come in with IEX, a stock exchange that they were in the process of acquiring a piece of, and the two firms together were pitching a quote alternative trading system, which is basically an SEC approved trading venue that has lighter regulations than being a national securities exchange would.
The Charlie Kirk Show
Woody Harrelson Cracks SNL Jokes at Big Pharma's Expense
"We're going to play the entire tape, which is cut ten. It's a minute long of Woody Harrelson, saying a lot of things that are true. An SNL and the response from the media has just been overwhelming. He said something relatively benign, nothing that was that aggressive or that controversial, so actually we're going to go to cut 7, this is Woody Harrelson hosting SNL on big pharma's response to COVID-19 play cut 7. Okay, so the movie goes like this. The biggest drug cartels in the world get together and buy up all the media and all the politicians and force all the people in the world stay locked in their homes and people can only come out if they take the cartels drugs and keep taking them over and over. I threw the script away. I mean, who is going to believe that crazy idea? Now did he go off script? Was he saying something that wasn't actually on script or was he talking about a hypothetical movie script that he would throw it away saying there's no way that's actually true. What you heard right there again was just kind of an offhand remark. Was it, was it spontaneous? Was it scripted? Who knows? But Woody Harrelson is saying something that's totally true. The media is purchased by big tech. They're purchased by Pfizer. The entire media, if you look at one after the other after the other, they say brought to you by Pfizer, brought to you by Pfizer. And the response to Woody Harrelson saying just that little remark has been extraordinary. Let me read some of these headlines here. Variety magazine. Woody Harrelson Saturday Night Live monologue makes COVID conspiracy jokes, Huffington Post. Woody Harrelson rambles about weed, anti vax conspiracy and SNL monologue. Woody Harrelson spews anti vax conspiracies in rambling SNL monologue. Woody Harrelson spreads anti vax conspiracies during SNL monologue, literally the same headline for the Rolling Stone and Daily Beast. There's not an original thought that these people ever have.
Design Matters with Debbie Millman
"id magazine" Discussed on Design Matters with Debbie Millman
"Up meeting. You both ended up quite serendipitously at ID magazine in 2005. Do you remember your first meeting? What was that like? My first memory is just no more of being in the office and you sitting at your desk, but it was a very small team. It was just Julie lasky, cliff quang, and me, and then Jill joined, and we had two art directors. So it was a very intimate staff, so we all spent a lot of time together, and we all got along for the most part. I mean, it was really fun working there. It didn't feel like work. Yeah, I mean, that's one of the things about doing something that you love just feels like it's just life and not laborious at all. But you've said, and I'm not sure who said this, so I'm just going to say you visit in the sort of more rhetorical sense. That ID was a really weird magazine, a prestige magazine owned by a Midwest company that also owned hobby and genealogy and firearms magazines. And I had just started in 2005, I think, or maybe 2006, I started writing for print magazine and then later joined the editorial staff. It was well after you left ID, but I had a lot of the same experiences working with the same kind of bizarre publishing company in the middle of the country. How were you able to make work as long as you did? You lasted a lot longer than I was able to. I think it was a blessing and a curse. Their interaction. In some ways, they really didn't know what to do with us. And I was like, were The New Yorker of F and W publications? We have one of national magazine award and on the one hand, because they didn't know what to do with us. There was maybe like a little bit more freedom. I don't know. We did some crazy things. I convinced them to let me go to the South of France to go to like design camp for a week so that I could cover this design studio. But then on the other hand, I just remember always wrangling for budgets and because they didn't understand what we did. They didn't understand why the cost cutting measures that they were applying to other magazines. Wouldn't apply to us and it was a mess in many ways. But it was like a fun mess for a while. Well, it was a great team. I mean, look at what you've all done. Cliff and Julie. I mean, it's just extraordinary. The careers you've had. Yeah. You work there for four years with this teeny tiny staff. You produced a stunning magazine, months after month with very, very few resources. And as somebody that was working on print magazine, again, more on the sidelines as a writer than a staff member, but then later as a staff member, I was privy to a lot of the cost cutting. And you both left together 7 months before the magazine actually folded. Why did you leave at the time that you did? Well, Julie left before us. So it always precipitated by Julie leaving because what happened was that the magazine passed into new hands. We had two guys who were kind of running it at that point. Julie did not, I mean, I don't want to put words in her mouth, but she was not happy working under those circumstances. And she left first. So once she left us, we had lost our buffer. To the heads of the magazine. And I think that was really difficult for us because Julie was always the one managing the relationship with them. And it was very strange and yeah, like I think contentious even at points. So once she left and it was just us, you know, we were so committed to the magazine even though it was difficult working with the people in charge that we did push to them a vision of us taking over. So we were the two of us saying, hey, here's what we're going to do. We're going to relaunch the website. We're going to completely re envision it. We're going to breathe new life into the magazine, put us in charge, we'll co run it essentially. And give us a big race. Because we were being paid, like peanuts. So we came to them with this plan, but at the same time, our relationship with them was kind of souring. And they kept us kind of in limbo for so long, like letting us run the magazine without giving us racism without telling us, yes, here's your promotion. That we started getting really frustrated and we sort of felt that something was going on. So we actually went out and got another job offer. The two of us, which was insane. Another magazine offered both of us a job together. Incredible. Yeah. And when we went back to them saying, that's I love this. And we went back to them saying, hey, look, we have a job offer both of us and we really need you guys to make a decision. We've had interviews with you. We've been working for three years, four years. It's now or never, they're like, okay, don't take the job, we're committed to. So in good faith, we're going to give you, I think it was like a pittance of arrays. And let's just get through the next issue of the magazine. And so we turned down the shop offer. And all the while we're hearing warnings from the publisher who's secretly whispering in our ear that the people who run the magazine are, what did they say that we were being too aggressive or something? We were being too aggressive, yeah. It was something insanely sexist and horrible. And he was hearing them sort of talk trash about us and then we actually closed the issue and the day after we were fired. I remember when the word came out that you both were fired and the shockwaves through the design industry and the magazine industry. I don't know how many people knew that you had turned down this other opportunity, but because of the herculean role that you had in resurrecting that magazine was just unthinkable that that happened. And ultimately, when the magazine closed, it was the actual actually the first time and only time in my life that I ever went to a funeral for a magazine.
Design Matters with Debbie Millman
"id magazine" Discussed on Design Matters with Debbie Millman
"But it wasn't kind of the same as the exciting life of a journalist where you're out like meeting people and seeing things and doing things and living this at the time seemed like a more glamorous lifestyle to me. Oh, absolutely. Whenever I was younger and thought about what it was like to be a journalist, I either thought of Brenda Starr or Rosalind Russell in his girl Friday. That was sort of the way I envisioned this fantasy world. You attended the medill school of journalism at northwestern university and at that point was there a specific segment of journalism you were looking to pursue did you want to work in newspapers or did you always know you wanted to go into more of the magazine world? Yeah, I was fully a magazine person. In fact, when I took classes in the journalism school, it was magazine focused. And then I also, I don't know if you're going to ask me about this, but I worked on an online magazine during college as well. Yes. Well, actually, I was going to go into your experience at surface. But if you want to talk about the online magazine during college I'd love to hear more. Yeah, so that was kind of my formative experience because it was very early to have an online magazine. It was 90 what, I graduated high school in 1997. So it was 98 to 2001. And I think I started at 90 9, maybe. And my Friends had an online music magazine called rocket fuel and I worked on that with them. So it was only like three or four of us, and then a bunch of contributors, but we kind of had like online meetings on, I don't remember what we were using AOL or something. We interviewed bands and we reviewed albums and we posted it all online and it was like very early and very weird thing to be doing, but that was kind of my first taste of working at a quote unquote magazine. In 2004, you got a freelance writing assignment at the design and culture publication surface magazine and I read that because you at the time knew nothing about design, but so needed the money. You read a textbook about design and then went for it. Do you remember which textbook I was trying desperately to find more information about this? I started to read it right away. It was very dry though. It was basically like, here's the history of the decorative arts and I was just cramming basically. How did the article end up coming out? Were you happy with it? Well, that's also a funny story. Because my first article for surface was interviewing Fabio November in a Q&A for the magazine and I was so nervous and I researched and I wrote all these questions out and I was very excited about this interview and I guess I must have done it by email because then I remember that the question the answers came back and I was mortified because they were all not really answers to my questions. Like they were these non sequiturs and these bizarre chairs are life and emotion. You know, it was like this ridiculous, ridiculous response and I wrote I was so afraid I wrote my editor like thinking I was going to get in trouble and I was like, I don't know what to do. I can't write a story based on these answers. I'm in over my head and I sent them the Q&A, which I think I must have been meaning to write into an actual article and they wrote back and they were like, are you kidding? This is genius. They're like, we love it. We're publishing it word for word as a Q&A. It's hilarious. Thank you. And they printed every word, right? I don't think they changed anything. No, they printed it like exactly as is, and it was really funny because it was this kind of very eccentric, very Italian kind of romance take on the very straightforward interview. You also worked as a reporter and writer at New York magazine and as the senior associate editor at 17 magazine. And this also similar to what I was asking, Jill, you worked at both publications during a time of profound changes in the media business. What was that like for you at that time? Well, so New York magazine, I started out during college because I northwestern has an internship program where you spend one quarter of school actually interning in the field. So I worked at New York magazine my junior year for three months or whatever it was and this was in 2000, I think. So that was especially a wild time in magazines. I mean, I remember I got to New York having maybe only been there once before and I plunged into this world of New York magazine being this green Midwestern naive person who didn't know anything. I mean, I was sort of cool. I knew culture and music and stuff. I was like focusing on music even in New York magazine trying to write about music. But I was thrown into this media world of complete debauchery and hedonism and partying, people were doing drugs at parties. It was just like a total glamorous moment of New York media life and of New York magazine in particular. And I was going to dinners and clubs and it was hilarious because it was just completely alien to me. I was like this hipster emo kid from Ohio and I was trying to dress up in like short skirts and go to clubs with my friends being like where am I? But you know it was really fun. It definitely made me fall in love in New York and with working in that part of the media. That all started to change later on, but at the time I did management at the time I graduated and worked at New York maggot was definitely a vibe. And when I ended up at 17 that was really just because I had been a fact checker at New York and it was a little bit hard to go from fact checker to editor at the time, fact checkers usually were fact checkers because they had other jobs on the side. They were a novelist or working on something else. In fact, checking was just kind of like something they did for money. So I was like really committed to becoming a career editor and 17 had a title that I wanted and my boss there. I really loved. So I met with her for the first interview. And I was like, oh, you're amazing. I just want to work with you. So it was sort of weird that I ended up at 17 and in the end I really hated it. And it made me hate teenagers forever. Oh, yeah. It was just completely nothing I was interested in and teenagers, the ones who wrote us letters and interacted with us. I just were like, oh, you're gross, like, stop. Well, you ended up meeting. You both ended up quite serendipitously at ID magazine in 2005. Do you remember your first meeting?
Design Matters with Debbie Millman
"id magazine" Discussed on Design Matters with Debbie Millman
"But yeah, I've been here now for 22 years, so it was a good choice. You ultimately didn't get a permanent job at Entertainment Weekly, so you tempt for a while, and then you worked at a medical journal. Were you upset about not getting the full-time job at Entertainment Weekly? Yeah. It was. There's an internship program that's actually really funny. There's kind of like this hierarchy of interns at Entertainment Weekly. I think the magazine even exists anymore and even if it did, I don't know how long this hierarchy lasted, but the summer interns were kind of like the golden children. They got taken on this press junket to Puerto Rico or something like that. And then I came in in the fall. And I was lucky because it was supposed to be a three month internship and it did get extended to 6. But, you know, everyone who's an intern there wants to be an editorial assistant. And there's only so many positions. So I did not get it. And I was upset because I liked working there and I was also upset because I just like those first that first year of anyone's life in New York is such upheaval for everything. So I think I didn't even have an apartment to live in yet. I was still kind of like bopping from place to place and ended up I didn't get the internship 6 months before 9 11. So I ended up temping for 18 months because the job market was not really happening in those 18 months. You ended up at media bistro dot com and became the deputy editor. That job is what ultimately led you to ID magazine. What was the media business like at this time? And it was sort of the halcyon days of magazines and the whole business, the whole publication business. It's changed so much since then, but it also was beginning to change right at that moment. Yeah. I mean, it's an interesting place to be. I would say blogging was fairly new at the point at that point. I think gawker had started maybe the year or two before I joined media bistro. I didn't even think about the fact that I was at a startup at the time and then only in hindsight. I was like, oh yeah. That was a startup, basically. Yeah, it was definitely like those days of like, we would do these things like right articles on who was power lunching at Michaels and these things that you don't even think about it anymore. Because they're so relevant. But yeah, everything was kind of wild wild west. You didn't know what was happening, but magazines were still such a thing that there was huge business apparently. And trying to help people get published in them, which is basically what we did. And then at the same time, I was eventually looking for a job for myself, which I was able to do because of the job I had. So talk a little bit about how your job at media bistro led you to the opportunity at ID magazine. Well, I ran this column called revolving door, which basically anyone who was leaving their job would email me and say, this is, I'm leaving. This is where I'm going, and then we would publish all the comings and goings. And then a friend of mine actually wrote in a woman named Ruth, I'll check. And she said, I'm leaving my job in ID. I had ostensibly written into have it be published in revolving door, but I wrote her back and I said, oh my God. Would you maybe put in a good word for me there? Because that seems like something I'd be interested in doing. I liked media, but I was really more interested in doing arts and culture reporting. I thought maybe I would be a book critic or I thought maybe I would be a music critic and design was not something I particularly knew anything about, but I had red ID before and I thought that that would be like an interesting place for me to work basically. So she did. And I applied and got it like four months later. It was a while. Before we talk about how you met Monica, I want to talk with her about her background before she met you. So Monica, I understand you spent your childhood putting bugs under a children's microscope and ended up at the head of your high school calculus class. Did you want to be a scientist when you were growing up? I did, actually. Yeah. I thought I was going to be a scientist basically right up until I started applying for college. Granted when I was young, I also went through faces of wanting to be an architect and an interior designer, which I probably didn't even really know what that meant at the time, but yeah, most of it was science for me. I was a science and math person. And is it true you decided to switch to journalism so you wouldn't have to work in a lab full of what you call dorky guys? That's how I think it went. Of course, now I'm not quite sure, but I remember that I was looking at colleges in science, and it must have been, gosh, my junior year, or as I was starting that process that my journalism, teacher, in high school, where I also did the newspaper. She was the one who was sort of like, wait a minute. You're going to throw this writing talent away. What are you doing? You should be a writer. You should be a journalist. And I'm thinking like, what? No, I'm going to be and then I think somewhere between those two things, both that and also realizing that the lifestyle that scientists lead was maybe not the most exciting to me. I think between those two things, that's how I ended up pivoting. I mean, I think I had shadowed a microbiologist at some point. I don't remember how old I was, but there was a day we were supposed to shadow someone who was a professional and something you were interested in. And I spent the day in the lab and it was so fascinating. I remember being so fascinated by the machines and the processes and the work they were doing and the experiments and the research, but it was definitely, you know, you're in a lab. Under artificial lighting, it's quiet, it's a bunch of people who are not sort of interested in culture and I mean, this is a very stereotypical viewpoint that I have when I was young,
The Glossy Beauty Podcast
"id magazine" Discussed on The Glossy Beauty Podcast
"And I guess that probably stayed with me for a very, very long time, the power of that transformative tool. It was like dreaming, you know, I was like, oh, I could be that as well. I could do that. So I think that was my first real beauty encounter. So many people have told me that book has changed their lives. And I mean, it's an incredible book. It's one that lasts the test of time. It really is like the Bible and so many ways. You also studied performance art and you were in a performance group. So I feel like your take on makeup, obviously you mentioned it was theatrical and you love the tutorial aspect of Kevin, but was it so much driven about driven from rather, you know, your experiences of mixing those two things together? Yeah, well, my first kind of official job as a makeup artist was through connections based around this performance or the theater company that I was with. When I, when I left home, I'd been a dancer for many years and I continued dancing through professionally in some capacity because I obviously I joined a theater company in my early 20s. And so I think my first sort of encounter with I was doing sort of face page and that kind of thing on the side to pay my way through university. And somebody from the performance company said, oh, you know, our Friends doing a shoot and they need a body painter can you go and do it because we know that you can do that kind of thing. And I was like, yeah, sure and took all my paints and stuff along and it turned out that it was actually for ID magazine, which I'd never heard of on a shot Alex wet, who was like models sensation. But I was totally oblivious to all of that. I was just like, oh, it's just me doing my thing. You know, in this funny studio. But that was, that was the first kind of paid instance that I had as a real professional makeup artist, but I didn't know it. When did you realize that it could actually be a career? Because I mean, body painting is one thing, but the things that you are doing today and obviously with your own brand is another. It was on that shoot actually because I was hired to do a very specific thing. I was using clay and I was using mixed media and I was kind of turning these models into demigods and it was all very creative. But there was another and I forget who it was actually, but there was another makeup artist on set who is kind of had been booked to do the beauty.
Design Matters with Debbie Millman
"id magazine" Discussed on Design Matters with Debbie Millman
"So it was really just like me doing training one O one for adulthood. You graduated from Yale and said you fell into a job as an editor at ID magazine. And I wasn't sure if that was the international ID magazine or the domestic ID magazine. It was the domestic idea. So the one that was owned by F and W that also owned print magazine. Yeah. Yeah, I'm the editorial director of print. So I've just found that to be so interesting. Yeah, it was at that time, you know, it was such an interesting publication, it was a trade publication, really focused on design industrial designers graphic designers. And so forth. I just completely lucked into that job. I was by chance. It changed my whole life. And it taught me how to edit and write. I did my first writing for it. I had the commission things. I had to lay out pages. It was a very intense and remarkable opportunity. But it also sort of threw me into a field, which I think I just felt a kinship with from the beginning. It's like the first week I was sent out, go to the opening of some store in New York. I don't remember why. And I had a press package. It was a glossy folder with some sheets in it and photographs of this store and by the designers. It's something that, of course, as a journalist, you'll get a thousand of those things. In a week. But at that time, it was all new. I was like, wow, this is really so slick and cool. And I've been invited to this place. And it was new and gleaming, and there was an architect there. There was something about it that made me feel I was in the world. Yes. I remember those early feelings. And there was also something about ID at that point. It was still very much a kind of old school, but high modernists, publication, there was a graphic designer for named David Sterling, I remember who founded something called devil space, very creative. You know, it was a grounding for me as well in a particular idea about the role of design. I'm so glad I'll say that I didn't go it didn't luck into a job purely about architecture because there was something about being on the sort of industrial design side of things that was much more sort of in the world and practical and not downtrodden, but a little less fancy. And therefore willing to have conversations around very practical issues of about the role of design. And I think that also embedded in my head too. Design wasn't just about things that corps passed on to Norman foster. It was also about the way people sit the museum of modern arts design objects for $5 or less. A corkscrew, that's kind of stuff. And how modernism had an ambition to shape the world to reshape society? Absolutely. And in many ways, I think the time that you were there now that I know that that was you there as opposed to the international ID and then what she Perlman was trying to do. After it was really the heyday of the magazine. Yeah. How long did you work there? It was just about a year because then I went back to graduate school but I continued to do a little writing and I also started to do freelance work outside that to after ID magazine you went back to school and he went to Harvard University for your master's degree and studied art history, though I read that you didn't do it because you were deeply devoted to art history. What motivated you to choose that specific topic? First of all, I had done a fair amount of art history. I'd studied in Italy for summer and I was doing art history at Yale too. And I grew up with some interest in Nord history. But it was also at a time when they were interesting people doing art history, including Tim Clark at Harvard. And Oleg grabar, who was the greatest pharmacist. And so I was attracted to the idea of doing art history, not because I wanted to become a gallerist or work at a museum because I thought it was a vehicle to talk about the world at large. But I did while I was there to keep my foot in the door journalistically. So I wrote, in fact, I started my first articles for The New York Times. But I was frustrated because I didn't really, I realized that I didn't really want to go into academics. And again, pretty much out of the blue. I mean, actually, entirely out of the blue, I was approached by the Atlanta journal constitution about being their music critic, because I had been doing music classical music reviews for The Boston Globe. Now, I actually had another thing going on, which was that I signed a book contract with Random House, which I still haven't done in hope still to do on prodigies. Really? Yeah. So I thought when the Atlanta gig came up, I could have never worked as a daily critic. I didn't know what it entailed. I could work on my prodigy's book. And do some music criticism in Atlanta and take a leave from Harvard. So that was in 1984, I think. And that's when I left Harvard without ever quite quitting. I may even now technically still be matriculated. At all. And so I went to Atlanta thinking of Cal work on this book. And then I discovered what it was like to work as a daily critic. And I was doing music at that time. I lasted in Atlanta a few months. And they were ready to run me out of town. I was a little critical of the orchestra in ways that I think the orchestra leaders did not appreciate. And I got a call from the Philadelphia inquirer, which I guess had seen my work. And so I ended up in the inquirer, which was a spectacularly fortunate place to land. It was at that time the most exciting and dynamic newspaper in America. And they were incredibly generous and kind to me if I sound like I'm always saying I was lucky and everyone was wonderful. I mean it. I do feel very fortunate. You do say it a lot, although I do feel and this is sort of a whole separate conversation that the notion of luck is really about timing and opportunity and hard work. But in any case. And to some extent, of course, trying to seize on the opportunities you do have. The inquirer was a place where I had the opportunity to really try to stretch out as a journalist and was given really good guidance by editors. And I was there not very long either. When I a couple I couple of years, I moved to The New York Times in I think 87. Yeah, your first article came out on April 29th, 1987. And it was a review of an all finished concert where you started the article in this way. And I love this lead. Time has generally been a good editor. In this age of historical reexamination, the process of unearthing lost works by long gone composers has become a flourishing business, private archives, neglected library shelves, and an attic or two have yielded to inquiring musicologists a good number of finds that have then found their way into the concert stage and in many cases onto recordings. Do you still agree with that sentence, time is generally been a good editor? Oh, God, yes. Of course. And a cruel one too, sometimes. But yes, absolutely. You actually started it at the times as a music critic working alongside people like John Russell. And I understand that when he learned that you'd been trained as an art historian, he asked you if you would also be interested in writing about art.
Homo Sapiens
"id magazine" Discussed on Homo Sapiens
"You're gay, I'm so sorry, you're okay, you're okay, you're not just being like, well, maybe I have. Interesting. And it took a while for me to sort of come to terms with it, I guess. But I just knew that there was something fabulous about being gay. Yes. Something so wonderful about it, of course, later I realized as well that a lot of gay people sort of leave home and reject their families before they can be rejected. I mean, I was kicked out. So, you know, yeah, I discovered this incredible world. Of being queer. And much later than most, maybe. Yeah. But you kind of did it better than most as well. Because you were kicked out by your dad, right? Yes. Because he bumped into you in the street, is that right? When you were off to go, you're going off to work when you were lying and saying you're at college. I was going to ghost miss university. That was it. Meanwhile I was hanging out with the fashion crowd. I was working that I was hanging out in nightclubs. And he's like, what are you doing here? And I said, I think I have to be really honest. You're supposed to be at college, and I think I just blurted it out. Yes. You know, I'm not going to university. I want to be in fashion. And then when I went home, purposely through my stuff out of the window. I collected and anger and then I walked into ID magazine and put summers. I think the same day, I said, well, you know, I'm leaving and you're taking over. Everything happens for a reason. I was supposed to be caught that day. Living for leprechaun. That's a big day. So where did you stay that night? I think I stayed with Michael Michael Michael left with me. I was going to say you just got a big job so you can go and rent a nice hotel room, but I do. Famously. There was no money, right? I think I was when I was at my high, I was in something like, you know, maybe 7000 pounds a year. Wow. Because when you're young, Michael, the excitement of London at that time. The energy and, you know, having just left home and the freedom, yes. Quite intoxicating. Well, it was a movement you were part of, I suppose, right? And that may be only comes with hindsight. Would you say, or did you feel like it was a thing at the time? I mean, I knew that I had friends who are now really sort of the best of the best at what they do photographers like David Sims. Craig McDonald makeup artist pat McGrath and Guido and we were all part of a generation who wanted to sort of, we didn't want to be the 80s. We didn't like the 80s. We didn't fit into the 80s and our world was well. You know, trying to outdo each other portabella market and we wanted to reflect what we saw in real life and then pages of idea in the face essentially and Kate moss. And that became labeled as grunge. Yes. Because it was all very real. What's it called heroin chic of a sick?
Monocle 24: The Briefing
"id magazine" Discussed on Monocle 24: The Briefing
"Edition of the briefing, a new season of the big interview kicks off this coming Friday and first up, we will hear from Monaco's Sophie grove, who sat down with Edward enn full, a trays trailblazer, in fact, in the fashion industry who currently serves as editor in chief of British Vogue. Edward's new book a visible man traces his remarkable journey that has taken him from a military base in Ghana to one of the most powerful posts in fashion. Sophie began by asking Edward why he decided to write his memoir now. I mean, there is something to be said for turning 50. I mean, I'm always sort of trying to look forward, always about forward motion. But in my 50th year, I mean, I got married. We were together for 20 years. And I started looking back at my life. And then I also saw that a lot of young people sort of see the end result. They see people like me like you and they don't see the journey. So I just felt I was important to let them know that the journey was as much about my failures as well as my successes. I want to go back to the very beginning of this beautiful memoir. You were born in Ghana in taqueria, your father, major Crosby, NFL, was a military man who moved about quite a bit, but the family was there living in a military enclosure. Tell me about that period, your childhood was this a happy time. All I remember all these beautiful bungalows and just running from house to house and taqueria and being with my siblings. When you live on a military race, very sort of very family oriented, so from house to house, then we move from takoradi to Accra, just the capital. It's one of the military base called Burma camp, Burma caples opposite the sea. And there were sort of a little hail with these sticks on and. And we realized that, you know, that's where they sort of executed people, but when you're a child, you normalize everything. So you'll be like on Sundays, we're like, oh my God, it's firing squad day. But essentially people will be dragged out and shot. It was a very surreal growing up in Ghana, but on a military base. And then eventually we moved to the town of tema, and things were a little more normal. And the book is dedicated to grace, your mother, who was a very unusual military spouse in a way. She had a very successful fashion business, 40 scenes such as underneath her, you know, she sounds like a woman with a lot of character, a lot of style. And you assisted her as a young boy, even attending fittings in the presidential palace, tell me about her and tell me about those formative memories. I mean, I always say my mother made me who I am today. Very young age I'd watch her sewing out what's her make all these incredible clothes, all these incredible women come in. People always talk about sort of diversity and inclusivity, but I grew up with cousins and aunts and my mother's friends. All different shapes and sizes. My idea of beauty came from my mother. It wasn't a specific eurocentric style, but it was anybody could be beautiful. And she really showed me the most incredible things you could do with fashion, how women would feel so beautiful and just one dress, the right dress. She also showed me for women didn't feel comfortable. Well, that was also like, should take me everywhere. I was with her little, I probably her favorite. But I learned about beauty from my mother. Well, tell me about the move to London because you talk about the executions and the change of power that happened after the crew came to power in Ghana, lots of coups and eventually the family and their allegiances came really under threat and your dad left for London and the family followed him shortly after. Tell me about leaving Ghana. How you felt at that moment? There we were running around the streets of Tama. And then we hear there's a coup, you know, rolling, coming to power, and uncle of ours was executed. And my dad was gone. From one day to the next. And we didn't really know how serious it was until we came home one day and my mother was like, all right, you're all going to London. And we thought it was an adventure. But it was, it was so crazy when we landed in London. I mean, it was, it was like Disneyland in a way. You know, I never seen buildings like this before. The weather was so cold, but you know, I come from a weekend from a country that was so hard all year round. And the most incredible thing was that everybody was white. We just come from a country where the majority of people were black. But it was like, you know, a Disney run. I mean, we all crammed into two bedrooms, but it didn't matter, because it garnered rooms anyway. And you talk about going to Tesco, loading up on lilt, but also that feeling a bit like the Willy Wonka chocolate factory, the sense of wonder. This is exactly what I say to my friend. It was like Willy Wonka, I'd never seen a supermarket before. And all those biscuits and lilt, which we were so obsessed with and tango and it was just like, you wanted everything, fill up the cars that we weren't rich, so you know you couldn't afford much. But it was so incredible. I remember the idea of being in the UK at that time was like magic. It was magical. On one hand. And one day you were on the tube and you were approached by Simon foxton of ID, who scouted you for a shoot. Tell us about that moment and how that shaped your career. I mean, I remember I was 16 and I was at kingsway college before that I always had a big Afro, huge glasses, so I remember throwing my glasses away and I was on the Hammersmith and city line heading to college and this man was staring at me and I just kept thinking what does he want? And then the baker street he gave me his card and it was Simon Fox still one of the best fascist stylist of our generation really. He worked for ID magazine and arena. And I remember going home and shooting his car to my mother and my mother wasn't so convinced. And you know, 16 year old and really pestering her and Pasteur, so she eventually called Simon and before I knew it, I was working with Nick knight on a photo shoot and Simon and that was the beginning of my modeling career while I was also at college. And really my introduction into the fashion industry. I mean, I remember the meeting Simon and thinking, this is the world I want to be in. My God, the world of fashion. And I just knew that I wasn't going to be a doctor a lawyer. It was so amazing being on shoes. I mean, I knew I wasn't a great model, but I loved what was going on behind the scenes. I love immature, and I remember every time I'd go to college, I'd literally be like, what am I doing here? But this carried on, and then I sort of started that ghost with university. And I really didn't want to be that I wanted to be in fashion. And tell me about some of your breaks. I mean, you talk about your work, for instance, with Kevin Kline. And these two years of consulting and working with some of the greatest stylists and models we now consider to be supermodels, but back then they were really up and coming. People like Naomi. Tell me what you learned doing those years. I learned that you could say so much about fashion through images. I learned that fashion had the power to, you know, to really affect change, and then what's in my little friend that Kate moss, I met when I met at the casting, and I was 16 and she was 14 and just watch her grow into this incredible supermodel and in a meeting Naomi in the early 90s, you know, she started to do well. We were the same generation, you know, we were all navigating sort of really grown-up spaces. And the experience that Calvin Klein really taught me that, you know, what we were doing in London at the time, we used to call grand, had really caught the world's eye. In the past you've said that fashion is a mirror. Can you explain what you mean by that? Yeah, I'm in fashion is a mirror and just, you know, it mirrors society.
ICYMI
"id magazine" Discussed on ICYMI
"Views. This hashtag is wide and extensive as you can guess by the fact that it has over 500 million views. If you were to go click on hashtag clean girl, you would see your typical collection of get ready with me or GR WM's for the girlies who know. You would see makeup tutorials, like the one we just played, you would see hair care routines and clean girl must have, which for some reason usually includes olaplex, I love olaplex, so maybe I am in fact the clean girl. Anyway, basically what everyone else aesthetic is selling is flawless, glowing skin, minimalist makeup, slick back hair, oversized white button down shirts with light wash denim, simple gold hoops, avocado toast, and Sunday recess where you clean your entire house with some infants. Like, think model on her day off, but most importantly, almost everyone in this hashtag is a thin white woman. Which brings us to one of the many issues with this trend. Actually, the first issue is the name, clean, clean, or regular sized body's dirty, is makeup dirty, is acne dirty or non neutral colors dirty or non white people dirty? Oh, Nadia, thank you might be hidden too close to home at that one. All right, I'm winding it back. I wanted a bag of wine to death. But importantly, people have tried to diversify this trend. There's a thread on Twitter from May were the first tweet is just clean girl aesthetic, but make it black, and the rest of the thread is just beautiful black women, but I couldn't help but notice that they're all very thin and have a specific hair type that is not necessarily mine, and this brings us to the next issue with the clean girl mood boards. There's so many. There's also an incredible ID magazine piece on the clean girl trend that I think really effectively describes a lot of the issues with it. We will link it in the show notes. But Ryan Finn of fashion commentator and Trent analyst was interviewed for that piece. I've actually been following Ryan since my tumblr days. She is on tumblr and Instagram is at that adult, which is chef's kiss. And she always has incredibly incisive commentary on beauty trends, and this piece is no exception. She describes how the turn towards minimalism and no makeup makeup looks can look egalitarian at first because you're not spending all your money on the next huda beauty palette. But it basically shifts the money you're spending from buying that eyeshadow palette to paying for the unseen, unrevealed expense of skin care, lash extensions which most of the clean girl girl we've had and super expensive facial treatments. Ryan says in this IDPs, the clean girl aesthetic is so exclusive, but so derivative is inherently exclusive but exists as an amalgamation of uptown white girl culture and black and Latin 90s aesthetic. Like the inclusion of gold hoops into this clean girl aesthetic is maybe the wildest thing to see for me. Personally, like, big cold hoops were stigmatized as ghetto for years. And now it's clean, unacceptable. Unacceptable. And it's acceptable. This whole trend takes something that is for us and made to fit all of us and us as in non white people. But elevates it to a level of unattainability for anyone who doesn't fit into the stereotype, which is, I don't know, a little distressing. An importantly, nadir and I are not the only ones who are upset. There's been a lot of recent backlash that clean girl trend, along with the attempts to reclaim specific marks of it like the slick back bun, which was a staple of 90s Latino aesthetics. Here's a TikTok from at Becky Jade. The whole clinical aesthetic reminds me of when you're a kid and you go and try on your mom's clothes thinking that you look all adult and put together, but you really don't at all. Because at its core, whether you see this or not, the king got aesthetic is the epitome of the successful white millennial rich corporate goal boss. That is what it represents. That is all the time we have for clean girls because we have to move on to the next trend that we don't like, which is old money. So old money is pretty much exactly what it sounds like, which is regular degular people who don't have generational wealth, trying to achieve the look of somebody who does. So think like Jackie O Princess Diana, the Vanderbilt, the gettys. Basically Succession chic. Okay, so this one is actually a little rough for me because I'm a Gatsby girly. What can I say old sport? Oh my God, bitch, not you chasing the green light. Listen, you know, I just be staring at it across the water, whatever. I read the book anyways. Like the selenium I am. I loved Lindsay Lohan's parent trap, and I think that both Natasha Richardson sort of British heiress aesthetic and Elaine Hendrix has sort of hot trophy wife aesthetic where very good. But that's kind of all this trend is either or or some fluctuation between the two. And I get it, okay? I've been trying to dress like chessie since I was but a small child. And the 1998 parent trap is such a good example of this because while the aesthetic is old money, that is literally the name of it. It's a very modern version of old money. It's got kind of clean, sharp lines, simple patterns, or known at all. Base colors, linens, wools, and cottons, no polyester in this household. And very simple, mostly gold jewelry. Gatsby is also phenomenal reference, not least because a lot of the old money videos use that Lana Del Rey song and beautiful, which is a banger, not gonna lie. If you go into the old money tag, which currently has 1.7 billion views on TikTok, you'll see videos like this one from Angela Mariano on how to achieve the aesthetic if you don't come from Rockefeller money. Now, new money is very label heavy and trendy while old money is all about high quality items that will never go out of style. Okay, how do we dress like old millionaires? Janelle inspired tweed sets, headbands, sheer tights and lots. You also get videos of recommendations for how to spend your time like you have old money. Playing tennis, watching polo matches, attending charity events, regular shit. What fashion brands people with old money wear, like Ralph Lauren and Hermes, you know, totally in my closet. Even with the old money class names their boys think William, Henry, Thomas, Charles, basically if multiple English monarchs had the name, then it's old money. Which I think brings us to the big, bright red neon red flag here. I thought we were supposed to be eating the rich, not dressing like them. Like on some level, I will say, this reads to me as a direct response to fast fashion. Generously, I think people are starting to feel a bit squeaky about how bad fast fashion is. But the old money trend seems to also have no regard for the issues present in actual days of old money and the sort of exploitation that was occurring then and still is to this day. So what are we doing here? I mean, that part. Do you know how many impoverished POC had to be overworked and exploited to get the fabrics and dies that you're hailing as the ultimate aesthetic? Like luxury fashion is not exempt from the larger issues of the industry. But it's not only exploitative, it's extremely exclusionary, too. The original old money aesthetic was all white, all thin, and all able bodied because how else could you play polo and go to a yacht club? It was also quite European, which has its own history and exploitation, especially when connected with America's history. But these were the Uber
The Secret History of the Future
"id magazine" Discussed on The Secret History of the Future
"Views. This hashtag is wide and extensive as you can guess by the fact that it has over 500 million views. If you were to go click on hashtag clean girl, you would see your typical collection of get ready with me or GR WM's for the girlies who know. You would see makeup tutorials, like the one we just played, you would see hair care routines and clean girl must have, which for some reason usually includes olaplex, I love olaplex, so maybe I am in fact the clean girl. Anyway, basically what everyone else aesthetic is selling is flawless, glowing skin, minimalist makeup, slick back hair, oversized white button down shirts with light wash denim, simple gold hoops, avocado toast, and Sunday recess where you clean your entire house with some infants. Like, think model on her day off, but most importantly, almost everyone in this hashtag is a thin white woman. Which brings us to one of the many issues with this trend. Actually, the first issue is the name, clean, clean, or regular sized body's dirty, is makeup dirty, is acne dirty or non neutral colors dirty or non white people dirty? Oh, Nadia, thank you might be hidden too close to home at that one. All right, I'm winding it back. I wanted a bag of wine to death. But importantly, people have tried to diversify this trend. There's a thread on Twitter from May were the first tweet is just clean girl aesthetic, but make it black, and the rest of the thread is just beautiful black women, but I couldn't help but notice that they're all very thin and have a specific hair type that is not necessarily mine, and this brings us to the next issue with the clean girl mood boards. There's so many. There's also an incredible ID magazine piece on the clean girl trend that I think really effectively describes a lot of the issues with it. We will link it in the show notes. But Ryan Finn of fashion commentator and Trent analyst was interviewed for that piece. I've actually been following Ryan since my tumblr days. She is on tumblr and Instagram is at that adult, which is chef's kiss. And she always has incredibly incisive commentary on beauty trends, and this piece is no exception. She describes how the turn towards minimalism and no makeup makeup looks can look egalitarian at first because you're not spending all your money on the next huda beauty palette. But it basically shifts the money you're spending from buying that eyeshadow palette to paying for the unseen, unrevealed expense of skin care, lash extensions which most of the clean girl girl we've had and super expensive facial treatments. Ryan says in this IDPs, the clean girl aesthetic is so exclusive, but so derivative is inherently exclusive but exists as an amalgamation of uptown white girl culture and black and Latin 90s aesthetic. Like the inclusion of gold hoops into this clean girl aesthetic is maybe the wildest thing to see for me. Personally, like, big cold hoops were stigmatized as ghetto for years. And now it's clean, unacceptable. Unacceptable. And it's acceptable. This whole trend takes something that is for us and made to fit all of us and us as in non white people. But elevates it to a level of unattainability for anyone who doesn't fit into the stereotype, which is, I don't know, a little distressing. An importantly, nadir and I are not the only ones who are upset. There's been a lot of recent backlash that clean girl trend, along with the attempts to reclaim specific marks of it like the slick back bun, which was a staple of 90s Latino aesthetics. Here's a TikTok from at Becky Jade. The whole clinical aesthetic reminds me of when you're a kid and you go and try on your mom's clothes thinking that you look all adult and put together, but you really don't at all. Because at its core, whether you see this or not, the king got aesthetic is the epitome of the successful white millennial rich corporate goal boss. That is what it represents. That is all the time we have for clean girls because we have to move on to the next trend that we don't like, which is old money. So old money is pretty much exactly what it sounds like, which is regular degular people who don't have generational wealth, trying to achieve the look of somebody who does. So think like Jackie O Princess Diana, the Vanderbilt, the gettys. Basically Succession chic. Okay, so this one is actually a little rough for me because I'm a Gatsby girly. What can I say old sport? Oh my God, bitch, not you chasing the green light. Listen, you know, I just be staring at it across the water, whatever. I read the book anyways. Like the selenium I am. I loved Lindsay Lohan's parent trap, and I think that both Natasha Richardson sort of British heiress aesthetic and Elaine Hendrix has sort of hot trophy wife aesthetic where very good. But that's kind of all this trend is either or or some fluctuation between the two. And I get it, okay? I've been trying to dress like chessie since I was but a small child. And the 1998 parent trap is such a good example of this because while the aesthetic is old money, that is literally the name of it. It's a very modern version of old money. It's got kind of clean, sharp lines, simple patterns, or known at all. Base colors, linens, wools, and cottons, no polyester in this household. And very simple, mostly gold jewelry. Gatsby is also phenomenal reference, not least because a lot of the old money videos use that Lana Del Rey song and beautiful, which is a banger, not gonna lie. If you go into the old money tag, which currently has 1.7 billion views on TikTok, you'll see videos like this one from Angela Mariano on how to achieve the aesthetic if you don't come from Rockefeller money. Now, new money is very label heavy and trendy while old money is all about high quality items that will never go out of style. Okay, how do we dress like old millionaires? Janelle inspired tweed sets, headbands, sheer tights and lots. You also get videos of recommendations for how to spend your time like you have old money. Playing tennis, watching polo matches, attending charity events, regular shit. What fashion brands people with old money wear, like Ralph Lauren and Hermes, you know, totally in my closet. Even with the old money class names their boys think William, Henry, Thomas, Charles, basically if multiple English monarchs had the name, then it's old money. Which I think brings us to the big, bright red neon red flag here. I thought we were supposed to be eating the rich, not dressing like them. Like on some level, I will say, this reads to me as a direct response to fast fashion. Generously, I think people are starting to feel a bit squeaky about how bad fast fashion is. But the old money trend seems to also have no regard for the issues present in actual days of old money and the sort of exploitation that was occurring then and still is to this day. So what are we doing here? I mean, that part. Do you know how many impoverished POC had to be overworked and exploited to get the fabrics and dies that you're hailing as the ultimate aesthetic? Like luxury fashion is not exempt from the larger issues of the industry. But it's not only exploitative, it's extremely exclusionary, too. The original old money aesthetic was all white, all thin, and all able bodied because how else could you play polo and go to a yacht club? It was also quite European, which has its own history and exploitation, especially when connected with America's history. But these were the Uber
Design Matters with Debbie Millman
"id magazine" Discussed on Design Matters with Debbie Millman
"You had musicians, you had all of these different sort of folks who were young and had something to say and I just considered myself one of them. And yeah, looking at those ID magazines, it's so ordered a lot of my decisions in life. I must say what's really remarkable to see is when good parenting meets extreme creativity. Yeah, there was never any which I really sort of love in what my mother did. I don't remember ever being told you got to do this or you got to do that. We were very sort of supervised, but also very independent in that sort of revision, so there was broad parameters. There was never a curfew, but you also probably knew if you had school the next day that you weren't going to be out to, you know what I mean? So it was a really sort of a trusting sort of relationship. I remember I remember I remember I went in the 6th grade, I went to we had moved away from sort of a downtown neighborhood, the cabrini sort of old town neighborhood, and the school that I was going to, which was saint Joseph's, which was a private Catholic school that was two blocks away from the building I was born in essentially. Was just like so far from the new neighborhood. It was like 45 minutes each way. And my mom was like, the public school is fine in this neighborhood. You're going to go to the public school. And so winter public school, and then my Catholics were so strict that you couldn't sneeze. It was a drill sort of straight. And so you go to pumpkin, I'm like, I had so much freedom, so much food in the sense that if you didn't do your work, there was no like, to do science, right? Because I didn't like the teacher, and I was a pretty great sort of academic sort of background in that regard. I was a straight a student basically my own life. And I got a D and science because I didn't like the teacher and I refused to do the work. And I remember this was in the 6th grade. I remember my mother was just like, okay, great. So you will not be leaving this house until the next report card. And the report cards were like 12 week, this is not like weeks away. And so she was like sort of tough in those ways, where it was like, if you did sort of do something that was sort of beneath what you were capable of, you were definitely disciplined, you know how you can sometimes push parents to do there was none of that. This is what you're going to do. You will not be leaving a house. You know, and for 12 weeks, I went to school, came home went to school came home. And I have learned that lesson well into adulthood. How did you do on your next report card in science? He's the best student ever. You know, it was like really. It was so interesting. What people do or how people respond with teachers that they don't like my nephew is 14 and has been tortured over this last year in 9th grade, hating his math teacher. And was really happy to be able to call her Karen because she felt she was a Karen and that's her name. And the more he hated her, the more he disengaged from the class and I'm like, no, no, no, you can't do this. This is bad for you. You have to win her over. You have to figure out a way so that she doesn't punish you for not liking her. Right. And it was a really challenging year. I can't begin to tell you how happy I am that the school year is now over him and he's going into tenth grade with a different teacher, but it's so amazing. It's that cut off your nose to spite your face when it's only in the grand scheme of things going to hurt you. Exactly. And you have to deal with people, right? You have to learn how to deal with people you don't like. You have to sort of, and I think that was probably my mother's sort of point was like, just because I like someone, it can not throw you off your game, you know? You have to sort of figure out a way, figure out a way around it. Yeah. You were involved in the slam poetry scene, you were writing, you were also simultaneously interning for judges doing mock trials and working for organizations in the community. All at that point with the focus on becoming a lawyer. Yeah. What motivated you, given all of your artistic interests, given all of your interests in fashion and style, as well as sports. What motivated you to become to want to become a lawyer? I think it was just like, you saw people who did traditional jobs. You know, I didn't know any artists, right? Although I had would hang out at instituto Chicago in CA Chicago is a good 7 blocks from my childhood I grew up. I went to those places all the time and obviously have extraordinary creative friends and but I just didn't know any of that was possible for me coming from a family that you didn't have that representation in my family. My brother was the first person to go to college. I was the second person to go to college. You know, that was and that was within a few years of each other, right? And had I known though that there was a pathway say in the arts or literature or whatever, I don't know if I would have gone to Georgetown because when I got there, the first two years were literally like, I can not do this. I can not do this. I can not do this, you know? And actually flew home quite a lot because I was in some ways extraordinarily miserable. The first two years, I was like an out gay black kid, you know? And I had been out in gay forever. And then to go there and then there was like, everyone's in
Design Matters with Debbie Millman
"id magazine" Discussed on Design Matters with Debbie Millman
"Thanks for having me. Absolutely. And when I read that you don't really believe in seasonal style, but you do have one sartorial rule. Give a look and always wear a matching hat. So I want to talk about your hats. When did you first start wearing them? I started first wearing hats, maybe 5 or 6 years ago. I started with these wide brim hat, wool hat, black hat from a brand called westerland, then I got a white one for us to land. And then they stopped making them. And so I had to sort of figure out something else and there's a designer hat designer who lives in New York, but it's from Chicago like I am, named Rodney, Patterson, runs a brand called essential, and he's been making my hats for the last several years. I wear a style that he makes called a Russian cuff hat. It's made actually from this sort of Japanese paper. And so it's actually a paper hat and so if it rains or whatever or a sweat or whatever. So I get them sort of remade every now and again and I sort of mostly wear one that's off white. You know, I slowly started to shape whole entire sort of outfits and my aesthetic around this hat. And so I wear a lot of browns and things that can sort of match the hat. And because it's basically why it sort of can go as versatile goes with anything. But yeah, I love this hat and I wear it all the time. You mentioned that it's primarily an off white hat, is that a nod to Virgil? I thought I would use instead of saying tan or beige. I thought I would use off white just because of the current show. With Virgil, yeah. That was intentional. Yeah. Good, actually. I was hoping so. And we'll talk a lot more about the show with Virgil in a little bit. You grew up in cabrini green homes in Chicago. And I understand your mom sent you to a Catholic school and managed while working at a Walgreens to what you've referred to as subsidize your youthful ambitions. And I was wondering if you could tell us more about your mom and her influence on you. Yeah, I mean, my mother is so influential in so many different ways. We went to pretty great schools, and it was just, you know, at the time, you know, being a kid, you don't really sort of think about the sort of sacrifice one has to make for that to happen. And so we went to a Catholic school's most of our lives. I mean, went to Georgetown. So I even completed the circle at a Catholic school, but it was definitely, I think, didn't realize then, but now that so many sacrifices, particularly my mother made to make sure that we went to really great schools got really great educations, but also do the things we wanted to do. And so I somehow became fascinated with German and in high school. I was like, I want to go to Germany to, you know, there was an exchange program. And she figured it out, you know? And again, when you're a kid, you're sort of in your own little bubble and you don't really sort of know the sacrifices your parents make, right? And so now, you know, reflecting on that, I'm like, wow, that was a totally unusual opportunity. Largely because my mother made the sacrifices on her, I mean, she has moved up over the years at Walgreens, but the only job my mother has ever had was at Walgreens. You know, everything from when she was 16, being a cashier, or rising up to management. And so it's just true to make extraordinary thing to sort of think about in relationship to the work that I did. Do, but also the way that it shaped my life. I understand that by the time you were 15 years old, you discovered ID magazine would take a 45 minute bus trip each way every month to get to the one bookstore that sold it. And if it wasn't there, you'd go back to the next week to see if it had arrived. You've said that you didn't know there were people making the kinds of images you saw at that time in the magazine. What kind of images intrigued you the most? I was sort of just like, I mean, ID with such a Bible for me. I would go get the magazine, take all the pages out, put them up on my walls, and my whole bedroom was covered in these images from ID and I think more so than just the type of images is really about the type of people. I just was like, wow, who are these people? You know? And more sort of point of view of these people was like, these are my people, you know? I don't know where or how, but I know that these are my people. And I just love the way that folks style themselves. I love reading the interviews and just sort of having at that time ID was super young people, right? So in 15, these folks were maybe 5, 6, 7 years older than me. And so the power, I think, of that magazine really sort of wanted me to sort of be a writer and sort of be someone in the culture, because you have artists you had musicians, you had all of these different sort of folks who were young and had something to say and I just considered myself one of them.
Fat Mascara
"id magazine" Discussed on Fat Mascara
"Said that you'd notice a lack of playfulness in the industry when you entered. And you were coming in with a very different perspective. Now, that was ten years ago. Fast forward to today, do you still feel there's a lack of playfulness? No way. I mean, it's amazing now. I have to comment on all the amazing makeup artists that when I did get into makeup at the beginning were very inspiring, like Alex box. Pat McGrath. She's my parents, Alex. Oh, she's so great. She was a huge inspiration to me because she really was doing a lot of really amazing kind of colorful painting, interesting work, bal Garland, obviously, Peter Phillips, topolino, there's like loads of people, you know, so to say people was doing were doing boring stuff is not fair because they really were. But I think maybe in hindsight we're talking like ten years ago, maybe what I brought to it was just a kind of a bit more of an uneducated approach, a kind of an outsider approach where I was sort of tackling the face, not as a face to take the makeup, but make up to take a face. So I was trying to abstract the face all the time. I was kind of putting paint and almost not even using the face in the way it kind of maybe should have been. And I think that just was a slightly different perspective. And it was really young. I was like, I was 20. And I think they were, you know, just that sort of playful attitude. Maybe came through. Yeah. You mentioned that shoot where you were like, the clay cleaner and painter. And there was the proper makeup artist. Was that like a breaking moment where you decided to make the switch or did you have a big break where like ID then booked you as the face painter, not the body painter? Like, what was your big break? Well, after that, I got booked by designer called Christopher Shannon in British designer, he did menswear. And I and I did face painting in his shows, and I drew the I painted these kind of landscapes on the model's faces as they were going down the runway, like sunsets and stuff. And backstage I met and I make a part is called Adam de Cruz, and he was like, what is this girl doing? Like, I've never seen this kind of thing before. And he was like, look, do you want to do you want to join me on set for a day? You can see how I work and you can show me some of your techniques. So we kind of did that and I went and he showed me how to conceal and do a little bit of kind of basic stuff. And then I showed him some of my blending and doing other things, whatever in the body painting style. And then I just kind of, I don't even know really what came next. I think I just was in a circle where there were photographers and people around me who were testing and working for free and doing shoots and it was amazing like creative time in London where everybody was just working for free and testing all the time. And I just kind of, yeah, linked up with some people and brought my very small kit. To certain stuff and just kind of went from there, really. Is your kit still small? No, my kids. My kids like, oh like 70 a like 90 kilos or something, 80 kilo. Oh wow. In multiple roles, how do you travel? Yeah, I carry it and these like Burton snowboard, suitcases, my friend and mother makeup artist, so she loves those bags. Oh, they're the best, yeah. So yeah, sometimes snowboard bag. Who are some of the other people at this time in London that you're collaborating with at this point, you've collaborated art, musicians, other makeup artists. What are some that feel really personal to you? I mean, I think some of the post like all kind of testing and whatever. Some of my sort of biggest breaks I think were the beginning with ID magazine. And I did some great shoots with Daniel sandwood. Where we did and Simon foxton the stylist where we were kind of, I got to, I got to do a lot of really cool painting stuff I like tattooed, all these funny sort of characters all over a boy, and then I did this prosthetic lizard face for another shoot for interview magazine and interview magazine also I did quite a lot of fun stuff for and it really was like every time I got booked, there was something really like full on colorful, crazy. And that was really nice. And then shows as well. I remember Aggie and Sam. I did these LEGO masks where I was like, the whole thing was inspired by kind of kids, and so I was like, how would kids approach your face? Well, they probably just chuck something at it, wouldn't they? And just see what lands. So that's kind of what I did. I chucked LEGO at face and just stuck it where it kind of landed and so it was all just about kind of exploring interesting ways of approaching the face, I guess. So now you're talking about your vibe is so different than really any other makeup artist that we've certainly interviewed. And we've contributed a ton of makeup artists. You have a really singular vision, you know, no one else is talking about shocking Legos at a face. For fashion show, you know? But you're talking about in the beginning, like you're working these very editorial gigs and now you've worked with so many massive corporate designers and corporate fashion houses that are.
Monocle 24: The Globalist
"id magazine" Discussed on Monocle 24: The Globalist
"Everything at that time and my early 20s and the early 2000s. And then when I stopped assisting, I started doing some pages and really kind of getting out on my own and just building my portfolio and I've always just been kind of associated with the magazine, even when I was working for different publications of IEDs always being part of my story. So before I was editor in chief, I was fast and director for 5 years. So yeah, it's been, yeah, I like to say on last month standing. And you've been editing for three years now. And I'm curious, for example, of course, this book looks at the whole history. You still look at the first issues. I mean, and kind of compare to what you do today, because of course, so many things have changed in the world, but there's still something that's original idea. It's really incredible with ID because so many things in the world have changed and the way that we work has changed, but the DNA and the fabric of that first issue. I have the first issue in my office. I don't even know how many were made, but it was a 50 P staple together, Zine, that Terry and Tricia had worked on. And I have that issue that I often refer to. It's exactly the same DNA as it is today. You know, it was so ahead of its time as far as like inclusivity and having, I think, the spirit of ID is really about the establishment shining a light on the new generation. So there's always like a real mix of generations within the within the publication. That's still holds true today. And really all the DNA of the brand up until today is in the first issue. It's incredible to be able to be able to create a whole brand in one in one Zine. It is really phenomenal. So yeah. In such a recognizable brand because I have to save and, for example, come from Brazil, but even in Brazil, you hear about ID. I think even though it is British publication, right? You can say that. I think it's almost worldwide. It's more global now, yeah. And one thing about the book that I think all the magazine nerds out there would enjoy is all those kind of little quotes, for example, Terry mentions, you know, about the covers, you need a wing, right? Yeah. On your right eye, but then that back. Apparently Madonna couldn't do it for some reason and then you decided to flip her over. It's such an interesting story like this that makes the book, right? Exactly. And there's some of the interview in the book with Terry and Trisha is really, it's such a great look at the history in the early days and then working in their kitchen and Tricia making pasta for all the contributors and it's really like that's really the spirit of ID is this kind of homegrown cottage industry family, publication and I mean even until today we get cover tries that come in with the wrong eye and also when I started editing the magazine I was already based in New York and a lot of the young people in New York didn't know about ID. So my first mission really was to open ID up to like the young generation in New York City and then obviously globally, but I just started educating all the skaters and musicians and rappers and stylists and models, et cetera in New York and my philosophy with ID has always been like, if you want somebody to like the magazine, you just put them in it because we're all part of this community that work together. And yeah, and a lot of people still today don't understand that the logo is a wink and a smile, you know? So they recognize the covers. They recognize the iconography of that and the wink, but not necessarily understanding that the logo is a wink and a smile in itself. And I remember hearing a story from Terry by Madonna was on the cover because she wasn't famous. She had it was her first ever cover of a magazine and some of the people in London thought it was Boy George because he was much more famous than Madonna at that time, you know? That was the editor in chief of ID magazine, Alistair mckim speaking to Fernanda Augusto Pesci. You can hear the full interview by heading to the stack at Monaco dot com slash radio. And that's all we have time for today's program. Many thanks to all my guests and to our producers, restraints, page rentals, Sophie Monaco and coombs and Emma cell. Our researchers with lilian fawcett and Samson and burgo and our studio manager is Chris a Blackwell, with editing assistants from Steph jungle. After the headlines more music on the way and the briefing is live at midday here in London, the globalist is back at the same time tomorrow. I hope you can join me for that, but for now from me Eminem, goodbye,.
Monocle 24: The Globalist
"id magazine" Discussed on Monocle 24: The Globalist
"Fashion Bible ID magazine has released a stylish coffee table book to celebrate the publications 40th birthday. Earlier on the stack monocles Fernando Auguste posh echo heard from Alastair mckim, the magazine's current editor in chief Fernanda began by asking Alistair how his passion for ID magazine began. I was born in Belfast and grew up there in the 80s and 90s and moved to Nottingham to go to art school in 97. And the day after I graduated, I moved to London and the day after that I went and knocked on the door ID magazine on tabernacle street in East London, which is a very old school. It was kind of like, I remember at that time I only had an email for like a year or something. So that's why we used to do things, right? We'd go and knock on the door and introduce ourselves. It was my portfolio, and I ended up meeting Edward and in full who we all know is that editor in chief of British Vogue night. He hired me as his assistant when I was 20. So yeah, I guess he liked my design or my work or my photography or whatever it was in my portfolio and ended up giving me an opportunity and I worked with him for a couple of years. And my story with ID is very kind of old school sort of work your way up the ladder like apprenticeship, you know? It's like I started as I said as an assistant to Edward. It is very much a mentor and I assisted him on everything that we're working on at that time like ID, working on fashion shows, consulting, we were working on Italian Vogue, Japanese Vogue, you know, very much that kind of like working freelance career. So I got to really see.
Naughty But Nice with Rob Shuter
"id magazine" Discussed on Naughty But Nice with Rob Shuter
"So nobody ever gets a chance to do this. So the fact it's happening for sherry is hugely hugely exciting. Joy adds she's such a talent and she's going to be so good at this. I don't know sherry very well, but everybody I know who knows her mark say she's kind and that she's a really good person. This makes me happy. Yeah, you know, I've met and worked with sherry over the years and she is really nice and super talented and I think to your point, you're right. A lot of shows don't make it past the first or second year. It's quite hard to keep a talk show on the air. And I think with sherry's experience doing the view for 8 years, I think she's setting herself up for success for this show and for many more years to come. Yeah, she's got that bag of tricks. She did the work. We talk about this on the podcast all the time. Do the work, learn your craft and the rewards will come. She did their work for 8 years. What I find interesting too, and this happens in show business and in life, a lot of people who are not as into sherry when she left the view. And now suddenly, very into very intuitive sherry, success Briggs not only a lot of attention, but a lot of people wanted to kiss your bottom Mark. Have you left a job when you felt, ah, your phone didn't ring very much and then suddenly you're back on top, do you remember who calls you and who doesn't? I keep a long list. It's very long. But yeah, but you know what? I can tell you this, rob, you are always on the list of people who call me back and still, yeah, yeah, yeah. To people when things are difficult, not just the good times. It's easy to be someone's friend when things are going really well. A friend of mine had a magazine had some really bad news yesterday. He was let go and he's a brilliant editor. I was the first person to call him and it's not a fun call to make, and you just say, I love you, you're great. I'm here, and then you leave them alone. You don't have to be all over them, but do reach out to people particularly in the bad times. They can congratulations, sherry. This story is all you Mark. We might disagree on this one too today. So Chris Beckham, who was just 16 years old when he shot a cover of a British magazine that some people are claiming is inappropriate. Yeah, okay, so ID magazine revealed the cover of their spring issue, which featured David and Victoria's son, Cruz, and he just turned 17, like you said. And a lot of people are upset. The cover shows him basically a half naked and it's somewhat suggestive, sexually speaking. And so people are upset. There's one person said, this is super cringe in an appropriate in every way. They said literally no one wants to see a barely 17 year old half naked boy. His parents should have never okayed this. And furthermore, neither should have the publication. If this was a 17 year old girl, there would be no question about it. People would be outraged and the same should apply here. Okay, rob, so I don't know that I really feel that outraged about it. He's in his underwear, yes. He's somewhat suggestive, but it just doesn't feel like that big of a deal. He's a Beckham..
Digiday Podcast
"id magazine" Discussed on Digiday Podcast
"Vice news, as well as subscription opportunities for refinery 29. So we get into all of that in this conversation. And I hope you enjoy. Quite hike. Welcome to the digital podcast. Thanks for joining us. Oh, my pleasure, good to be connected and really glad to be here. Absolutely. So I kind of want to start by you are the chief digital officer advice media group. And so I kind of want to get a baseline for your purview. And I know after Nancy Dubuque took over a CEO, she kind of organized the business into 5 divisions. 5 global P and ls. There was studios, the TV network, virtue, news, and then digital. Is that still the way that the company is organized? That is still the way the company is organized. That's exactly right. Yes. And I took over the digital pieces. I'm excited to talk to you about it. Yeah, and so with digital, what's the scope of that? Because I know that in 2020 motherboard, for example, the vice media group's tech news outlet moved over to the news division. So on the digital side, what is that full scope? Great, okay. I can explain this to you. So digital, which, I mean, you know, is, I mean, it's a line of business and vice media group, a one of the sort of portfolio advice media groups, businesses, but it doesn't just sort of cut vertically. It cuts horizontally if you will, which will sort of explain the motherboard piece. So within digital, sort of think about it as our House of brands, vice and all the sub brands within vice R two 9 refinery 29, which, you know, we did that acquisition end of 2019 and did an integration in 2020. And then ID, which you may know ID magazine out of the UK, it's digital presence is global, obviously. So the digital line of business consists of all of those House of brands and all of their call it digital manifestations and expressions. So anyway, the user, the customer accesses, that brand is really sort of the purview of digital. If that makes sense from a motherboard perspective, we did technically did a split between vice digital and vice news. Right before the pandemic really, in terms of just how we organize it in terms of reporting lines for editorial, but as far as it's sort of technical, digital manifestations and how it shows up. It's all part of the digital ecosystem and all of the infrastructures that sit within digital. So from an audience distribution perspective from a developer perspective from a call it product and engineering support to how the brands show up to how audiences find us, it's all connected to digital. So it sort of formally sits within the news side of the house in terms of its editorial leadership, but in terms of how we run it, produce it, it's all connected to the kind of central infrastructure of vice digital, which if you sort of get back to what's the role of vice digital within the ecosystem of vice media group is to support and produce all the manifestations of the brands and how they show up for audiences. So I don't know. Is that clear as mud or something? I think so. It sounds like if checking out something from vice on a oh no, because now we'll get into a gray area with studios. What I was going to say if it's non news content that I'm seeing on the web from vice, then it's within digital, but then there's so many at this point. I mean, here's what I would say. From a consumer perspective, it's all vice, right? And vice and vice news are all vice. They're all connected together. The user doesn't see a difference. And motherboard, I mean, you would certainly say is a person who works with the news and content, but as a civilian outside of the media ecosystem, sometimes it can feel a bit like news. That's the sort of amazing thing about motherboard is it breaks a ton of news and does some I mean, I think the most amazing reporting on labor and privacy go up against and eat any major news competitor. But it's an entertainment brand. It's a news brand, it kind of crosses that line. But we take it very, very seriously in terms of the scoops it produces. So we consider it on the new side of the house in terms of its editorial reporting. Yeah. Got it. Okay. It probably easier for me to understand the business side because we love the business of media. So for the digital division, what are the different revenue streams? Yeah, I'm excited to talk to you about that actually. So, you know, vice media group in historically ad supported, built our bones on, I would call it branded content. Very good at it. Love it. Love to do it for brands. And it's still the bread and butter of our business, but in the last couple of years very much have, widen that aperture and been focused on revenue diversification, it is our goal. It is my goal to get into 2024 to have a third, a 33rd of revenue coming from ad supported, third commerce, and then a third consumer. Which is ambitious for us in a lot of ways, but we're certainly starting to see really big inroads and I'm excited to talk to you in particular about the commerce and the direct to consumer piece. In particular, waypoint plus, which is a gaming vertical that sits underneath motherboard, we launched a direct to consumer experience, effectively a paywall for waypoint users, midway through last year, and it is going gangbusters and we're doubling down. So there's some very early signs about revenue diversification that are very meaningful and real in general. So we're still primarily an ad supported business and that business has come back in full force for us post pandemic and we're feeling very bullish overall, but also very much bullish on some of these new revenue streams, which very much rely on the historically our ad businesses relied on the scale of our audience. We still have that scale. We're reaching close to 400 million people a month on duplicated across all of our brands as best as we can tell, but what we're seeing and what we've really been focused on is taking that scale and really sort of again widening that aperture to engagement. The audiences that are coming back to us and what are they coming back for and coming back early and often trying to build community out of this sort of big addressable audience and then ultimately have that community convert with us in some way through their time spent with us, which they're already doing, that's the ad supported piece or through their contributions in terms of paying paying for some kind of a subscription or some kind of membership service with us or commerce, ultimately converting to click to buy something, which refinery 29 is has done fantastically. Doubled revenue again last year on commerce and we'll do it again this year. So I can get into the weeds of some of that, but our revenue is primarily ad supported, but we're opening that up and we're very very bullish on diversification and kind of running running hard at that in general. And that's primarily I'd support it specifically for the digital division not vice media group as a whole. Ad supported for the digital division. That's right. Our business, that's right. Got it. What's the percent? Is it like 75% in 2021 was ad revenue of the total revenue for the division? I didn't give you a percentage, but I definitely said it was a high percentage. You're not far off the zone generally speaking. That Lion share is still ads supported. So I'll take your 75 and without confirming or denying saying that it's a lion share absolutely. But it's the needle is starting to move in particular with commerce. And did that figure grow in 2021 compared to 2020? That figure definitely did grow. We're talking numbers. What's the digital share.
Fat Mascara
"id magazine" Discussed on Fat Mascara
"People are asking if blond hair is now chug. First of all, I can't believe we're still talking about chugging. Oh yeah, chug for those that didn't hear us talk about last time. I'm going to butcher but it's basically basic. It's like trying too hard, so it's not cool. Yeah. It's like the new term for not cool. Also, but okay, yes, an ID magazine, right? Yeah, and the ID magazine article was picking up on a TikToker who asked this question if blond hair was chug. Well, first of all, all these things come out of like a tiny little TikTok that didn't mean to blow up. It's just like a little seedling that then becomes violent. It just blows up and it's like, yeah, it's spiral. So I think it's a cute thing that kind of got out of hand. But the idea, the fact that it's even the thing now is blond hair like uncool. It's so silly. It's so silly. I think they're talking about dyed blond hair, by the way. I just feel like it's almost like the skinny jeans or bootcut jeans or mom jeans or it's like where the hell. Where would you want? It's so dumb that it drives me crazy. So where would you like? This Internet has created a monster. I remember when every month because we worked in print media 15 years ago, you'd have to come up with a trend or whatever. And now these poor digital beauty writers have to have something trending every day in every week. And we're really pulling at straws here. So I guess you can make an article about anything, but that just, that's.