Rhapsody in the New York Times

Fantastic write up of Rhapsody, the magazine Ink publishes for United Airline’s premium-class cabins, in the New York Times this weekend gone:

Last summer at a writers’ workshop in Oregon, the novelists Anthony Doerr, Karen Russell and Elissa Schappell were chatting over cocktails when they realized they had all published work in the same magazine. It wasn’t one of the usual literary outlets, like Tin House, The Paris Review or The New Yorker. It was Rhapsody, an in-flight magazine for United Airlines.

It seemed like a weird coincidence. Then again, considering Rhapsody’s growing roster of A-list fiction writers, maybe not. Since its first issue hit plane cabins a year and a half ago, Rhapsody has published original works by literary stars like Joyce Carol Oates, Rick Moody, Amy Bloom, Emma Straub and Mr. Doerr, who won the Pulitzer Prize for fiction two weeks ago.

As airlines try to distinguish their high-end service with luxuries like private sleeping chambers, showers, butler service and meals from five-star chefs, United Airlines is offering a loftier, more cerebral amenity to its first-class and business-class passengers: elegant prose by prominent novelists. There are no airport maps or disheartening lists of in-flight meal and entertainment options in Rhapsody. Instead, the magazine has published ruminative first-person travel accounts, cultural dispatches and probing essays about flight by more than 30 literary fiction writers.

04RHAPSODY-master675

Congratulations to Jordan, Sean, Hunter, Christos and the rest of the team. Read the rest of the article here. (Posted by AndrewH)

Rhapsody rhapsodised

The Society of Publications of Designers in America has just announced its Merit Awards, which include three gongs for Rhapsody, the premium cabin magazine produced by Ink for United Airlines. They are for last June’s DeNiro cover, September’s Lenny Kravitz and December’s Emily Blunt photo story. Congratulations to the team: editors Jordan Heller, Sean Manning, Hunter R Slaton and Erin Brady, design director Christos Hannides and photo editor Jessie Adler.

Screen shot 2015-04-02 at 09.40.32

Screen shot 2015-04-02 at 09.41.01

Screen shot 2015-04-02 at 09.41.48

Screen shot 2015-04-02 at 09.42.17

Screen shot 2015-04-02 at 09.42.27

Screen shot 2015-04-02 at 09.42.40

Screen shot 2015-04-02 at 09.42.51

Screen shot 2015-04-02 at 09.43.02

Rhapsody is also in contention for gold and silver medals for the photo stories with Robert DeNiro and Christina Hendricks, up against the likes of Bloomberg Businessweek, Fast Company, The New York Times Magazine, The New Yorker and Wired. An easy win then. The winners will be announced at the 50th SPD Awards Gala on Friday 1 May. (Posted by AndrewH)

Snakes, unfathomable emergencies and invisible nuns

“In one wicked motion, the head whips around, the mouth opens wide ad the teeth sink into the flesh between Steve Daskam’s thumb and index finger. Daskam shrieks and squeezes the back of the snake’s head with his other hand to force the slitherer to withdraw its fangs before the rest of us can quite compute what has happened, our flashlights spinning like circus spotlights trying to focus. Ignoring the oozing blood and what ever stinging pain he endures, Daskam uses his bleeding hand to regrip the hissing 11-foot-Burmese python and shove it into a teal pillowcase. Then he starts to laugh.”

Screen shot 2015-03-31 at 14.33.39

I defy anybody not to want to continue reading this story, which runs in the May issue of Hemispheres. It’s about diesel mechanic Daskam and his friend, high-school teacher Devin Belliston, and their hobby hunting pythons in the Florida Everglades. Not only is this legal but it’s actually encouraged by the authorities because the reptiles are an invasive species that has been wrecking havoc on the delicate local swampy ecosystem through the strangling and swallowing of small mammals and other indigenous critters. It does what the best stories do, which is to immerse the reader in a whole other totally engrossing world they previously knew nothing about. You can read the rest of the piece by clicking on the pages below.

Screen shot 2015-03-31 at 14.36.06

 

Screen shot 2015-03-31 at 14.36.25

Screen shot 2015-03-31 at 14.36.47

There’s another great piece of writing in this issue but of a very different kind in Boyd Farrow’s travel essay ‘Modern Inconveniences’. Boyd used to edit CNBC European Business magazine for Ink where he’s remembered as a pugnacious grouch and it’s great that he hasn’t mellowed any:

“By my reckoning, there has not been a single positive technological innovation in hotels since the introduction of the passenger elevator in the mid 19th-century. All the same, hotels have insisted on introducing a succession of useless gadgets, ranging from the trouser press to the bathroom telephone. A phone in the WC? What kind of emergency are they envisaging?”

Screen shot 2015-03-26 at 16.15.36

Also this issue, changes in the magazine’s tent-pole cover feature Three Perfect Days.

Screen shot 2015-03-26 at 16.14.10

Screen shot 2015-03-26 at 16.14.25

Screen shot 2015-03-26 at 16.14.39

Screen shot 2015-03-26 at 16.14.54

Screen shot 2015-03-26 at 16.15.06

Screen shot 2015-03-26 at 16.15.18

Not only has the design been upgraded, the presentation of the story has switched from second-person narrative (“Your destination is the red-dirt hills of southwestern Guam…”) to first-person, which allows this issue’s traveller Chris Wright to fully indulge himself:

“A highlight of the tour is a 17th-century convent that supports itself by making and selling cookies – commerce that’s complicated by the fact that the nuns must never be seen by non-nuns. I wander the hallways in search of a nun-run cookie shop, then come a cross a murky little room with a hole in the wall, inside of which stands a circular wooden contraption. It spins and a box appears. I put 10 euros down and it spins again. “Receipt!” I shout into the hole.”

It’s like the inflight version of The New Yorker. (Posted by AndrewH)

Well this is cool

New York magazine, which is without argument the absolute best magazine in the world, included Ink’s Rhapsody magazine in a round-up of the month’s ‘Best Entertainment Photography‘ – alongside shots from Vanity Fair, Nylon, GQ and Interview.

Screen shot 2015-02-09 at 09.16.32

The shoot with actor Christoph Waltz, ran in the January issue of Rhapsody; it was photographed by LA-based Kurt Iswarienko and shot at the Red House in the Hollywood Hills, art directed by jubilant Tottenham Hotspurs supporter Christos Hannides.

Screen shot 2015-02-09 at 09.19.16

Screen shot 2015-02-09 at 09.19.36

Screen shot 2015-02-09 at 09.20.36

Screen shot 2015-02-09 at 09.20.57

Screen shot 2015-02-09 at 09.21.09

(Posted by AndrewH)

Come Here Often?

Sean_Manning_author_photo_100514

Meet Sean Manning. Sean is the executive editor of Rhapsody, the first- and business-class magazine Ink publishes on behalf of United out of our Brooklyn office. I’ve yet to meet Sean but I’ve a feeling we’re going to get on because we’re going to have a lot to talk about.

00_Come_Here

Sean’s the editor of the just-published Come Here Often? in which, as the subtitle makes clear, ’53 Writers Raise A Glass to their Favorite Bar’. Under headings including ‘Dives’, ‘Upscale Joints’ and ‘The Music’ a bunch of contributors, some of whom you might have heard of (war correspondent and Vanity Fair contributor Janine Di Giovanni, The Hold Steady frontman Craig Finn, author of the highly controversial novel Tampa Alissa Nutting, crime writer James Sallis of Drive fame, and bloody-nosed king of partying Andrew W.K.) and many of whom you won’t hold forth on the ideal drinking haunt.

01_Come_Here

02_Come_Here

The book is heavily slanted toward Sean’s current burg of residence, NYC, and the US in general, and while there are no London entries (like this city doesn’t have drinkers and writers!) there are some terrific far-flung contributions from the likes of Beijing, Kiribati, Tel Aviv, Positano, Zagreb, Jerusalem and Tehran. Yes, Tehran. Where the punishment for intoxication is not just a disgusted look from your partner but 80 lashes. The bar in this case isn’t a bar at all but a Peugeot belonging to the author’s friend Leila in which they cruise around town swigging homemade vodka with orange on streets “where many young people, like us, drink in their cars, because Iran is a country with no bars, and there is no suppressing the human urge to drink publicly, in the unscripted company of both friends and strangers’.

03_Come_Here

04_Come_Here

05_Come_Here

While I don’t imagine ever finding myself in Leila’s car, other inclusions in Sean’s book have definitely been bookmarked, so that if I ever find myself in Oxford, Mississippi, then there’s this little bar I read of… (Posted by AndrewH)

Also doing good in New York

That other former Metropolitan art director isn’t doing too bad either: Christos Hannides who, for the last 18 months has been over in Brooklyn overseeing the design of United’s Hemispheres and Rhapsody titles, has swapped being tortured by the misfortunes of Tottenham Hotspur for hanging out with A-listers in LA and other neighbourhoods considerably sunnier than north London. He even gets co-star billing on the October issue’s From the Editors page: enlarge to read, and just look how happy he is. His mum must be so proud. (Posted by AndrewH)

Screen shot 2014-09-12 at 16.55.45

Screen shot 2014-09-12 at 16.56.09

The Dead Rodents Society

Screen shot 2014-03-14 at 12.20.07

A couple of month’s back I posted how much I enjoyed reading the Dispatches section of Hemispheres, the magazine Ink produces for United Airlines (here). Well, here’s a really good Dispatch that’s coming up in a future issue.

The Dead Rodents Society
Creating dioramas out of mouse cadavers isn’t as cute as it sounds
By Chris Wright

Oscar the mouse is in poor shape. To be fair, he didn’t look great when we started out, but now he’s a mess. I’ve spent a considerable amount of time snipping, scooping, peeling and tweezing the deceased animal (and inadvertently mangling and de-furring him) in an effort to create a piece of taxidermy art. What I’ve got is an extra from a Tim Burton film.

There are a dozen of us working on white rodents on a long table at Boxpark, a pop-up mall in London’s hip Shoreditch neighborhood, one of the venues for a series of workshops run by a local taxidermist named Margot Magpie. Magpie currently hosts two classes a week, but demand has been so high she’s about to introduce more, some of them involving larger animals like squirrels and rabbits.

“I think people enjoy the hands-on aspect of it—we don’t have that today, with all the digital stuff,” says the former medical history student, explaining why her sessions have been consistently over-subscribed since she started them almost two years ago. “Also, I just think people are really interested in dealing with something that’s dead.”

Then there’s the fact that this is billed as an anthropomorphic taxidermy class, meaning we get to make our mice do human-y things like play tennis or read the paper. As one of tonight’s students puts it after spending a couple of hours knuckle-deep in viscera: “I thought we’d be spending more time making them into cute little shapes!”

“Cute” isn’t the right word. Taxidermy turns out to be messy, fiddly and fraught with the potential for minor disasters. “I’ve lost his face!” shouts one student. “It’s a monster!” cries another. But, when we’re done, most people seem happy with their creations. “Look!” says a guy who has put a little broom in the hands of his mouse. “He’s sweeping up his own entrails!”

This is probably the best bit of mouse art tonight, but it’s not the best ever. One student, Magpie says, went on to create a mouse circus. “Another one I liked,” she adds, “was a mouse painting a picture of a cat.” On our table, meanwhile, there’s an animal that’s even more grossly misshapen than Oscar. “What are you going to do with him?” someone asks the would-be taxidermist. “Mother’s day?” he responds.

Very mice

Above, Chris’s finished piece – pending its listing on eBay. (Posted by AndrewH)

Dispatches from the Hemispheres

We’ve got a guy here on the editorial floor of Ink’s London office who’s a source of great amusement for his colleagues, as well as some confusion. Anyone who sits within hearing distance – and that’s plenty of us – gets to overhear a life played out in one-sided phonecalls that are by turns comical (the conversations with his four-year-old daughter when he speaks in the voice of Mr Dinosaur), achingly funny (like when he’s explaining to a writer why the story they’ve just filed is unpublishable) and outright hilarious (his retelling of how he locked himself out on a balcony in his underwear with his daughter who quickly became desperate to go to the toilet). The confusion is because lots of people don’t know what Chris Wright does.

That comes about as a result of him not working on a London-based magazine. His magazine is Hemispheres, a class publication that Ink actually puts together in its New York office. As executive editor, it’s Chris’s job to remind the rest of the editorial team on the other side of the Atlantic that there is a whole world out there beyond the shores of America.

He is also specifically responsible for putting together the magazine’s Dispatches section; this takes the form of a bunch of short stories filed from around the globe that suggest that wherever it is you’re heading, it’s all a lot quirkier than you think. Some of these are no more than groan-worthy shaggy-dog stories or extended jokes, but others are almost profound. They are all reliably finely honed pieces of writing and all represent a very Chris Wright outlook on life. If you’re not lucky enough to be listening in on his phonecalls, then reading Hemisphere‘s archived Dispatches online is the next best thing.

Try this one:

globetrotting1

Author Cain Nunns Illustration Peter Oumanski

SHANGHAI – Barely five feet tall, hobbled by an old industrial accident and decked out in an ill-fitting navy blue Mao jacket, 74-year-old Zhang Ying doesn’t look like a trainer of prizefighters. But appearances can be deceiving. The Shanghai native has produced hundreds of champions over a career that has spanned six decades.

When Zhang ducks into a doorway on a side street at the edge of Shanghai’s commercial district, his presence hushes the crowd inside, which has gathered to witness a favorite bloodsport in this region of China. At the periphery, stewards collect fistfuls of yuan. Bets at underground matches like these routinely run into the thousands of dollars.

The smart money is on Zhang’s fighter, Yellow Dragon, who has won 15 bouts in a row.

It could be the result of the fish diet Zhang’s been feeding him, or the brutal workout regimen, but the champion is much broader than his opponent. There are whispers that Zhang’s also got him hopped up on some kind of herbal tea concoction.

Yellow Dragon, who stands about an inch high, is one of the stars (known as qu qu) of cricket fighting, a tradition that was once the domain of the gilded set but which is now played out in insect markets, like this one, across Shanghai. Each fight lasts no longer than 10 seconds or so, but in that time the crowd can be whipped into a fury of screeching and finger-pointing as combatants execute supposed kung fu maneuvers.

Zhang’s cricket is released from his bamboo cage, and the two foes eye each other warily across the Formica-topped table. The Dragon, however, hasn’t built his reputation by playing coy. Within seconds he is a blur of hurricane aggression and snapping limbs. Outmatched and outgunned, his opponent scurries back to the far side of the ring. He’s had enough.

“Pathetic,” spits one onlooker in disgust.

Zhang barely responds to the victory. He has seen it all, from the banning of the bourgeois sport during the Cultural Revolution, to intermittent police crackdowns on gambling, to its recent resurgence and the establishment of pro leagues across the Middle Kingdom. Few crickets would be a match for the Dragon, who, having dispatched another victim, continues his march to immortality.

“Don’t count on it,” Zhang sniffs. “Crickets don’t live very long. He’ll be dead within a month.”

Here’s a couple more recent good ones:

War Games
Once a training tool for budding Cold Warriors, Soviet video games are attracting a new breed of player. By Robin Cherry, from June 2013

Altitude adjustment
The comic potential of topographical confusion. By James Dorsey, from Nov 2013

(Posted by AndrewH)

Flying High, sipping whiskey, reading Rhapsody in first class

“People are cutting so many corners and writing things in house or trying to find the up and coming journalist rather than somebody who is incredibly experienced and is a great writer.”

Simon Leslie, group publishing director of Ink, is interviewed by Mr. Magazine about Rhapsody (see previous post) – read the piece here.

New mag nears take-off

Screen shot 2013-10-17 at 16.23.24

Over at Ink NY these past few weeks we – myself, executive editor Sean Manning and editor-in-chief Jordan Heller – have been rabbiting away on the November launch issue of United Airline’s brand-new first- and business-class magazine, Rhapsody. Assigning stories, getting authors booked on feature-story flights, chasing down photos, banging together text about high-end whiskys and high-end wristwatches, behind-the-scenes film festivals and air-travel reminiscences from marquee authors (Joyce Carol Oates). It’s all been a bit of a whirlwind, as we decide just what we want this magazine to be.

It’s been really exciting—and fun. And it became even more exciting when art director Christos Hannides came across the Pond (for good) a week or two ago, and we started to see the visual form the magazine would take: elegant, literary, insider – a really good, and good-looking, read from front to back. Mid-last week, looking at some layouts on Christos’ computer, I thought to myself, “Hey, we’re really going to have a magazine here.” I know I speak for our whole team when I say that I can’t wait for Rhapsody’s first issue to hit seatbacks on 1 Nov. In the meantime, we’ll be chasing down December. (Posted by Rhapsody editor, Hunter Slaton)

Screen shot 2013-10-17 at 16.23.44

Screen shot 2013-10-17 at 16.24.11

Screen shot 2013-10-17 at 16.24.27

Screen shot 2013-10-17 at 16.24.44

Screen shot 2013-10-17 at 16.25.36

Screen shot 2013-10-17 at 16.25.53

Screen shot 2013-10-17 at 16.26.07

Screen shot 2013-10-17 at 16.26.24

Screen shot 2013-10-17 at 16.26.36