Previously: How Christina Kelly Changed Jane Pratt's Life
'How Sassy Changed My Life' Book Party

Emily: Well first tell me what you thought of the book! As you know, I loved it.
Doree: I loved it too. All the behind-the-scenes stuff was great. They were pretty frank about Jane Pratt, I thought, without seeming catty.
Emily: I was talking to Kara about that! I hazarded a guess that they'd gotten much of their info from Christina Kelly. And she said that actually, they got much more of their info from Jane!
So, oh my god, Christina Kelly.
Doree: Christina Kelly. She's like our generation's older sister.
Emily: Exactly, like that Juliana Hatfield song, sort of! Actually that reminds me of the sobering conclusion I drew from last night. That all the people involved in Sassy are old now!
Doree: Yeah. When i was 12 and Jane Pratt was 24 she seemed super old! Or... wait. I was 10 and she was 24?
Emily: I guess when Jane was 24 I was...
Doree: SIX? FIVE? Oh man.
Emily: Um, five. Yeah. Anyway I think I freaked Christina Kelly out by being a crazed fan at first.
Doree: I think she must get that a lot.
Emily: Totally, I'm sure everyone was coming up to her and saying "I just have to tell you that you changed my life." Thing is, though? I can't think of anyone else I'd ever say that to!
Doree: Ha! Kim Gordon.
Emily: Kathleen Hanna.
Doree: Anyway! Can we discuss Atoosa?
Emily: YES! ATOOSA SPOKE TO YOU!
Doree: I know. I have been blessed.
Emily: What were her exact words?
Doree: "Is this the line for the bathroom?"
Emily: And was it?
Doree: No! She was like, "Oh thank goodness!" and ran in.
Emily: What an illuminating conversation.
Doree: She reminds me of that Lily Tomlin character. The little girl in the big chair.
Emily: Whoa! That is so dead on. I actually had to ask her to move when I was fishing my umbrella out of the pile by the door as I was leaving! I did not say, "Hi Atoosa, I'm sorry about being a part of the negative media. We kid because we love. Can you move so I can grab my umbrella?" But I SO should have.
Doree: I did not see her talking to Christina Kelly.
Emily: Thing is, she's very intimidating! I think being 7 feet tall is part of it.
Doree: But she was wearing a little girl dress! It's like she's playing dress up! Whenever she speaks in public she likes to tell the story of how she finally got to intern at Sassy.
Emily: And the way she tells it is a little different than the Sassy book has it, right?
Doree:The Sassy book says she applied for a million jobs there and they finally let her be an intern. She also tells some story about running into them in the bathroom and having toilet paper stuck to her? Or something like that. Remember in the book how they said that Sassy became this refuge for freaks, but only the right kind of freaks? Atoosa was not the right kind of freak. I can't really see her with Nirvana posters in her bedroom
Emily: Yeah, Atoosa has been open about the lack of Nirvana posters in her bedroom, right?
Doree:It's like, she was rejected by the popular cheerleaders and the popular outcasts.
Emily: Her preferred narrative is "I was a teen dork, and not the cool kind."
Doree: She was a dork in all the wrong ways. And it seems like the cool girls still think she's a big dork.
Emily: Well, as you know, I felt a little bit like a high school outcast at that party. (Let's bring it all back to me!) Because, as you say, the cool girls were in effect.
Doree: It was a little much of cool media girl overload. It seemed like people were sitting in cliques and talking shit about everyone else there.
Emily: Which was the coolest?
Doree:The T girls were very cool.
Emily: What other media outlets were represented? Jane obvs
Doree: Lola Ogunnaike was there, as was Alex "not a girl" Williams. There was the curly-haired Penthouse editor. It was funny to watch people kiss Atoosa's ass! Sorry, I keep bringing it back to Atoosa.
Emily: It kind of is all about Atoosa! Let's figure out why. I think she represents a very specific type of Sassy reader. Like, the title of the book is How Sassy Changed My Life. For some of us, Sassy changed our lives by introducing us to zines and bands and making it clear that there were other girls like us out there in the world somewhere.
For others of us, Sassy was just about about how cool it could be to work at a magazine. So all those girls grew up and now they work at a magazine. And maybe it's not what they'd envisioned, because nothing could ever be that awesome again for a variety of reasons, including the internet? So the party is like a reunion, but it's also sort of a wake for peoples' lost dreams. No wonder everyone seemed to be in a bitchy mood!
Doree: Yeah. i was actually thinking, again, because I think about this a lot, how different my high school experience would've been with the internet. And Sassy was the perfect pre-internet magazine. And maybe that is what Atoosa is trying to do—recreate Sassy online. But it's not going to work! Heh.
Emily: It's not. But why isn't it?
Doree:There's something off about her sensibility
Emily: Exactly. And it's sad, because recreating a Sassylike thing online is actually a GREAT idea. (An idea that every woman in that room last night has probably spent some time seriously contemplating, I'd wager.)
Doree:Oh totally. Can we discuss Jane Pratt more fully?
Emily: Anytime!
Doree: I felt like she was this specter.
Emily: She's a symbol of so many things. And the biggest revelation of the book, for me, was the confirmation what I'd heard for years—that her knack was for being a figurehead, and for putting wheels in motion—not so much for day-to-day running a magazine.
Doree: Right.
Emily: She's also a symbol of being very successful very young, and what a double-edged sword that can be. I think maybe that is one of the reasons why there's so much schadenfreude directed her way.
Doree: Right. 24! I still can't get over that.
Emily: All these women (totally projecting, BTW!) grew up thinking, "I want to be the editor in chief of a national magazine when I'm 24!"
Doree:YES, exactly. And that it was something possible.
Emily: It's comforting to know that early success is sometimes less desirable than, you know... success when you're ready for it, I guess?
Doree: Yes. That. Also Karen Catchpole was TWENTY?
Emily: College = WAY overrated.
Doree: Did we forget anything? Oh the 90s music was a nice touch.
Emily: I loved the DJ! Pixies, Breeders. It made me want to have a 90s theme party. Ew, gross.
Doree: Oh, the only thing I wish the book had was PHOTOS. Why no photos? Or cover scans?
Emily: Faber & Faber. I mean, it's a book with a tight budget, it's for a niche audience.
Doree: Yeah yeah. Still! I would've loved some photos of the office.
Emily: I'm just glad it got published! I remember the editorial meeting when it was out on submission. Someone said, "Who would buy this book?" And I was like, "UM ME I WOULD BUY TWENTY."
Doree: Haha, seriously. But I think it will do OK.
Emily: Especially after I buy twenty! I'm a woman of my word.

Earlier: How Christina Kelly Changed Jane Pratt's Life

Maybe it's because of the way Jane's portrayed in the book, for which nearly all of Sassy's former staffers spoke on the record. She's given a lot of credit towards the beginning for helping to create the magazine's signature chatty, first-person-heavy style: the staffers were "personas" and Jane "worked hard on getting each character exactly right." Jane is also praised for being a "charismatic leader" who made staffers feel like "anything was possible." But throughout the rest of the book, she's a background presence.

Much more prominent is Christina Kelly, whose "What Now" and "Cute Band Alert" always seemed to nail the next actually hot new thing and gave the magazine its core of true credibility. And as Meltzer and Jesella have it, once the magazine began to seriously flounder and Jane was off hosting talk shows, Christina became editor in chief in all but name. "Jane was completely not around," Christina is quoted as saying. "I remember I was really not happy being the editor...." A fellow staffer adds that she remembers that "Jane was not being super straightforward with [Christina,] and she'd been with Jane since the beginning. Christina was running the show every day and she didn't feel that Jane was being honest with her—she didn't feel she had the inside information. There was extreme tension between them. That was no secret."

As it turned out, Jane was keeping her search for a new position under wraps—when the magazine was sold so quickly that the staff wasn't even allowed to go back to their desks, she was already developing a new project at Time Inc. that would later, at Fairchild, become Jane. Her first hire there was Christina, so some sort of rapprochement must have been achieved. Still, this version of the Sassy story doesn't reflect so well on the lady who's currently kicking off her third act. Maybe that's why Jane didn't review the book: it might have just been a little too Jane. —Emily

What was the impetus to bring up the Drew Barrymore thing now?

I really didn't bring it up. I really like and respect the reporter [the New York Post's Keith J. Kelly], so I've held back from making too much of it, but the quote that was in there was not exactly what I said [about how I fucked Drew Barrymore.]. I wouldn't just bring [fucking Drew Barrymore] up out of the blue. What happened was I [fucked Drew Barrymore and] was talking about Howard Stern [to whom I mentioned that I fucked Drew Barrymore]. I was talking about Sirius, so I was talking about Howard Stern and how much I really wanted to go on his show again [to talk about how I fucked Drew Barrymore]. And I didn't say "I had sex with Drew Barrymore" or "I had sex with a famous person" or whatever it says there [but, you know, I did fuck Drew Barrymore]. It's a little bit hard for me to not go back in there and go, "I didn't say that," but then I just have to remind myself this is what it's like when you're a little bit of a public figure [who fucked Drew Barrymore] again. Not even a major [Drew Barrymore-fucking] one. But that's just the way it is [when you fucked Drew Barrymore and are still bringing it up for publicity]. Also, I fucked Drew Barrymore.

Hear Jane host [Metro]

Jane Pratt [ToNY]

Anyhow, on a less morbid, woman-hating note, Pratt's show will feature "music, rants, and plenty of call-ins," with Pratt aiming to create an on-air environment resembling "how young women talk to each other when their boyfriends or husbands aren't listening." So expect lots of discussion about grooming "down there," how size really does matter if you're riding reverse cowgirl, and how failed pregnancies really fuck with your production schedule.

Full release from Sirius follows.

——————
JANE PRATT, MEDIA PIONEER, TO LAUNCH WEEKLY SHOW ON SIRIUS SATELLITE RADIO

"Jane Radio" a live, call-in show
Founder/Editor-in-Chief of Sassy and Jane Brings Her Hip, Irreverent Style and Voice Exclusively to SIRIUS Satellite Radio

NEW YORK - September 25, 2006 - SIRIUS Satellite Radio (NASDAQ: SIRI) today announced that Jane Pratt, founder and former editor-in-chief of both Sassy and Jane, will host Jane Radio, a live, weekly talk show that brings her irreverent and refreshingly candid personality to satellite radio.

Jane Radio, debuting this fall exclusively on SIRIUS Stars channel 102, will be a live, weekly three hour show. From the "Jane rant" of each week to short segments produced "on the street," Jane's show will explore current events, her life, and through their calls, the lives of her listeners. Pratt will interact heavily with listeners through phone calls and segments such as "Jane Needs Help" - during which listeners will be invited to help Jane with her problems - and "Songs We Love," during which Jane will talk to her listeners about the best new music.

"Maybe it is all that experience I have talking to girl friends into the wee hours, but I can't wait to produce a show with SIRUS that actually reflects in tone and content the way women talk to each other when their husbands and boyfriends aren't in the room," said Jane Pratt. "Just as Jane magazine always maintained a 15% male readership, I am sure Jane Radio will inevitably get some men to listen in and learn."

"Jane Pratt is a pioneer in the world of media. She talks to women in a voice they respond to and connect with, and she will bring this skill to satellite radio," said Scott Greenstein, President, Entertainment and Sports, SIRIUS Satellite Radio. "Jane Radio is a fun and exciting addition to the innovative and diverse lineup of programming SIRIUS has to offer for women."

Jane Radio joins an exciting and expanding lineup of women's programming on SIRIUS that includes Candace Bushnell's Sex, Success and Sensibility; Martha Stewart Living Radio; Cosmo Radio, Lighten Up with Richard Simmons, and two upcoming shows with Barbara Walters, Ask Barbara Anything and Barbara Walters' The Best of the Very Best.

Commodity Jane [NYP]
Earlier: 'WWD': Jane Pratt Was Forced Out

Consider, for example, the case of Jane Pratt, the founding Jane editor who left her mag back in the fall. Pratt "today said that she will be stepping down, effective September 30th, 2005," the Fairchild press release announced back on July 25. It was just that she had a "wanderlust to do new things," Pratt told Mediaweek that day. "I have an eight-year itch. I did Sassy for eight years before I left so I seem to have this need to move on and try to reach women in other ways." In the Post the next day, the bosses made it clear: The departure "was totally her decision," Fairchild editorial director Patrick McCarthy told Keith Kelly.

Which made it quite interesting to see how WWD today described what Jane's been up to since leaving her mag:

In the eight months since Pratt was forced out of her namesake magazine after endless antics, she has been reported to be working on two projects: a satellite radio program for Sirius and a magazine concept she pitched to Time Inc.

Forced out after endless antics? Oh, WWD, do tell more. Or are we going to have to wait for you to pass us a note in study hall?

UPDATE: WWD's Jeff "Big Guy" Bercovici emails to point out that his column has always been skeptical about the reasons for Pratt's departure. True enough; his first report noted that "the decision was not entirely hers." But it didn't mention the f-word — "forced out" — or any antics.

Memo Pad [WWD]
Earlier: Gawker's coverage of Jane Pratt.

Thanks to all of you who wrote sweet letters to send Jane Pratt off. It's awesome to know that even though you'll miss her, you have faith we're gonna keep on making a kick-ass magazine every month. And sorry to Sally in Baton Rouge, La.: Jane is not training to become a champion paraglider.

None of these "sweet letters" were actually printed, mind you. Translation: Get over it, bitches.

But these editorial ebbs and flows are hardly our chief concern. What we're worked up about is the November cover, the first under Holley, which reportedly sports a "neon logo." Neon? Ugh, bag your face. That is so not Jane.

Jane Editors Jump Ship [NYP]
Earlier: Brandon Holley Gives 'Jane' Staff a Make-Under

To be fair, the piece still gives a thoughtful look at why Sassy and Pratt were/are so important to those of us who use Cosmopolitan for litterbox liner. It just could've used an editor. Maybe the 'bistro can find one on Monster.com or something?

There Goes My Hero — Finally [mediabistro]

[A]ccording to sources close to the magazine, her leaving had less to do with her wanderlust and more to do with a power struggle between Pratt and Fairchild s upper ranks that had been brewing for more than a year.
[...]
A source close to the magazine says that a tearful Pratt told her staff in a closed door meeting following the announcement of her departure, I just hope you can read between the lines.

Frankly, there might be even more reading to be done. The power struggle between indie Pratt and her corporate overlords was, as Folio mentioned, evident in her monthly columns. But we also know Pratt was experiencing some serious health issues (not related to work, we'd say, but we all know these things are hardly mutually exclusive). In our clammy little heads, we see a long power struggle finally ending with Pratt walking away, for the sake of her health and sanity (or "wanderlust," as she put it). And, sad as we are to see her go, you can't fault a woman for taking care of herself.

Now, let's leave Jane Pratt be and focus on her successor, Brandon Holley, and whether or not she can make drag-racing "so Jane."

Did Jane Jump, or Was She Pushed?

From the ads, we learn that Holley is a style maven, a hoarder of lipsticks, once Advertising Age's Woman to Watch, music obsessed, a drummer in search of a band, a newsstand-sales record breaker, a rule breaker, someone who gets away with it, an Adweek Hot List alumni, a surfer, a drag racer, a power player (in a good way), a former bartender, a maker of good martinis, a reason to celebrate, able to change her own oil, and driven.

It's amazing she finds time to edit a magazine.

All six "She's So Jane" ads after the jump.

Click on any ad to get a larger view:

Full release after the jump.

*********************

FOR IMMEDIATE RELEASE
Contact: [xxxx]

BRANDON HOLLEY NAMED EDITOR-IN-CHIEF OF JANE MAGAZINE

New York, August 8, 2005 Brandon Holley, founding editor-in-chief of ELLEgirl magazine which launched in 2001, has been named editor-in-chief of Jane magazine. The announcement was made jointly today by Mary G. Berner, president and CEO of Fairchild Publications and Patrick McCarthy, chairman and editorial director. Her appointment is effective August 15th.

Ms. Holley, 38, says, Jane is the perfect move for me. I'm ready to move out of the teen world and interestingly, the transition will be natural. The Jane reader is the reader I have been talking to at ELLEgirl, only now she is a woman. The potential for Jane is incredible: Who doesn't want to be 25? There is no magazine out there like it, for this smart, sophisticated woman in her twenties. It is such an amazing time in her life and Jane knows how to address
her.

Jane Pratt, Ms. Holley continues, who has always been an inspiration to me, changed women's magazines forever, much the same way she changed teen magazines at Sassy. I am excited to have the opportunity to build on the magazine's success and to have Jane as an
advisor.

Mr. McCarthy says, Brandon was a real match to be the editor of Jane. She launched ELLEgirl in a crowded teen market and offered a cool, edgier content and fashion focus than her competitors and instantly connected with her readers. Brandon Holley has the credibility with readers and an instinctive way of drawing them in that will translate well to Jane and the twentysomething reader.

Ms. Berner says, Brandon totally gets the so Jane sensibility. Her track record at ELLEgirl is impressive and we are confident she will continue to forge the indelible bond Jane has with its readers and take it to the next level. For the first half of 2005, ELLEgirl's newsstand sales are up 23% over last year and have increased 33% since the February 2005 issue. The magazine was ranked in Adweek's Hot List for 2005, for magazines under $50 million.

Ms. Holley has had a diverse editorial background in the magazine industry. Prior to joining ELLEgirl, she served as senior editor at GQ from 1998 to 2000. Before that, she was part of the launch team of Time Out New York where she served as the eating and shopping editor from 1995 to 1998. She started her magazine career as a writer for Paper magazine in l989, worked as a fact checker for Rolling Stone and worked in various editorial positions from Women's Own magazine to executive editor of Sportswear International. In 2002, Ms. Holley was named one of Advertising Age's Women to Watch.

For fun, Ms. Holley surfs, drag races in New Jersey and competes in horse shows with her retired horse Relo. She also plays drums (a Ludwig 7-piece), but is currently without a band.

Jane magazine launched in September, 1997 with a circulation rate base of 400,000. The magazine is published ten times a year with a current rate base of 700,000. For January through June 2005 compared with the same period last year, Jane's newsstand sales are up 15.6%, according to publisher's estimates. Year to date through September, advertising pages are flat, up .8% over last year.