Bill Gubbins; Country Weekly's New Editor-in-Chief

Bill Gubbins recently became the captain of a very big ship. Earlier this year, the Ohio native took over as Editor-in-Chief of Country Weekly, which proudly proclaims itself "The World's No. 1 Selling Country Entertainment Magazine."

Gubbins previously worked for a variety of publications including Creem, Moviegoer, SportsPage and he helped with the launch and wrote a regular feature for ESPN The Magazine. A former employee of Channel One and iPIX Corporation, Gubbins has a diverse background that includes work in television, film and Web-based technology.

CMA Close Up: As the new head of Country Weekly, what is your vision for the magazine?

Bill Gubbins: What we want to do is to bring the reader as close as possible to the musicians they admire. It is a fan magazine and there is a differentiation between that and what we call a 'music magazine,' such as Rolling Stone, The Source or No Depression. Our primary focus is the people who make the music, rather than the music itself. Our readers are very interested in the lives and the lifestyles of the people who make Country Music. I hope we can zoom in on the artists - present, past and future - who make the music that our readers love. We're going to place a renewed emphasis on original photography, which is very important to me. Our readers are interested in seeing behind-the-scenes, seeing a star's home and seeing inside a recording studio.

May 24, 2005

Country Weekly Editor-in-Chief Bill Gubbins.

Photo by Joe Hardwick

Bill Gubbins; Country Weekly's New Editor-in-Chief

By Bobby Reed

CU: What was your impression of the magazine before you came on board?

BG: I thought it was strong and I liked the energy of it. I was familiar with the magazine because I go to Wal-Mart every Saturday morning. But one question I did have was this: Does the magazine have as much access as it could have and should have? I also wondered: How can we get closer in with every image, every story and every word? Our responsibility is to take the reader where that reader can't go and that's the most important thing. We have a conference room where all the past issues are. As I look at old issues, I think, wow, that's a good story. That's a good cover. So, the magazine has a great heritage and the staff is a very talented, very devoted group.

CU: When you first arrived, what did you say to the staff?

BG: I said, "Let me see your best stuff and if you have an idea, then bring it forward." We have an awesome staff. Jerry Holthouse is a great designer. Lisa Konicki is a world-class photo editor. Larry Holden, Michael McCall and Rick Taylor are great journalists. My job is to let the staff continue to do great work. I did not come in with a new manifesto. I'm the new kid in town, so I ask them, "What do you think?"

CU: How do you view Country Weekly in relation to the other entertainment magazines on the newsstand?

BG: We're in a great position because we're the specialists. We're not really worried about anything other than Country stars and Country Music, the way the generalist entertainment magazines are. That's good because for our readers, Country Music comes first. Country Music is the soundtrack to their lives. They take Country Music very, very seriously. We have passionate readers, and we get tons of letters and e-mails that scrutinize even the tiniest details. It's really inspiring, and it keeps us on our toes.

CU: How did you first become interested in Country Music?

BG: I think my first introduction to Country Music was through some of the rock groups, like the Byrds. In fact, I remember going to see the Byrds at the Fillmore East in New York City. When I heard Dr. Byrds & Mr. Hyde and Sweetheart of the Rodeo, I thought, "This is okay. I get that." Let me set the stage for my big Country Music moment. I was an avant-garde filmmaker, and I was into Frank Zappa, Captain Beefheart and all those people. My wife was sort of a radical feminist in her own modest way. Early in our courtship, we were out someplace, probably on our third date. I don't remember who ventured this first, but whoever did was very brave because the ridicule potential was great. One of us said, "I have to tell you something, and I don't know how you're going to feel about it. Despite my demeanor and persona, I really love Tammy Wynette." And the other person whispered, "I do, too." I heard Tammy Wynette on the soundtrack Five Easy Pieces, and t hat was it. I love "Apartment No. 9," "Stand By Your Man," "Your Good Girl's Gonna Go Bad," "D-I-V-O-R-C-E" and a duet she did with David Houston, "My Elusive Dreams." To this day, every time I hear those records, it's like the first time. I marvel at the production and arrangement of those songs. Those records have a Bachian perfection. Billy Sherrill - like all the great producers, whether it's George Martin or Rick Rubin - knows how to put every piece where it should be. My daughter and I have a ritual. Every month or so, we play Tammy Wynette and just marvel at the mastery of that music.

CU: What are your plans for a special issue or for sponsorship events to coincide with the CMA Music Festival?

BG: They're secret, but we do have some surprises in store for our readers and for our colleagues in the industry. That's all I can say. I can't tell you because it would spoil the surprise. (ON NEWSSTANDS NOW!)

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