“We saw a lot of other music publications trying to become websites and just becoming very busy and very formulaic,” Cohn told Mediabistro for its latest So What Do You Do? interview. “For us, we let our website be the website and let the magazine play to its own strengths, both from a visual — design, photography — and medium- to longer-form journalism standpoint. The approach that we’ve always taken is great content first, and then figure out how and where it goes second. And we’ve always been willing to let our readership play a role in that, because we’re not going to ever be married to one medium.”

For more, read So What Do You Do, Andy Cohn, President and Publisher of The Fader?

– Nicholas Braun

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In the latest installment of Mediabistro’s So What Do You Do? series, Schreiber discusses what the success of sites like his means for print music magazines.

“I think if you’re going to be able to do a print publication that works in 2013, it has to really take advantage of that format, and the things that that format offers that are much more difficult to execute on the Web are having really expansive, beautiful layouts for your articles and features and making it feel like a desirable object.”

He continued, “It used to be that when you picked up a music magazine in, like, the 90s there was all this cheap, chintzy content thrown in there and goofy sidebars and just sort of filler, almost. And it’s really just not an option anymore. I feel like if people are willing to make an investment in a music magazine — or in a magazine of any sort, currently — they want something that feels substantial and feels significant. It’s not a joke. It’s a real thing.”

Read the full interview in So What Do You Do, Ryan Schreiber, Founder and CEO of Pitchfork?

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The newly acquired Cumulus station made the historic move to Country last week. Now, the nationwide search begins for an air staff and a combination program director/air personality.

Ed Salamon knows all about programming Country in New York. During the latter half of the 1970s Salamon was in charge at WHN, the most successful Country station New York has ever heard.

The timing was right for a Country return, and also for Salamon to write a book detailing his memories from the WHN days. While he puts the finishing touches on the book, due out next month, it’s a perfect opportunity to pick Salamon’s brain about NASH.

• Related: FishbowlNY, Country is back in NYC

Salamon, who lives in Nashville, took advantage of the Web site’s streaming live feature. Waiting another month or two before NASH starts to use live jocks, Salamon cautions anyone from being critical as this isn’t the final product.

“I can’t be listening and commenting on it, because it’s going to be something different,” Salamon says.

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Clark died in April at the age of 82. He suffered a massive heart attack, and was dealing with the complications from a stroke since 2004.

For the majority of his decades in the business, Clark’s boyish looks kept his title “Oldest Living Teenager” intact. He was synonymous with New Year’s Eve since creating his Rockin’ Eve special to usher in 1973. He marked his 40th anniversary with the holiday program just months before his death.

The show must go on, as New Year’s Eve goes on without Clark, and his beloved show continues his legacy and to bear his name.

In recent years, tourists or anyone else venturing to the Times Square Visitors Center, or online, were asked to write notes to help ring in the New Year that would be used as confetti.

This year, people are encouraged to leave fond farewells to Clark.

Tim Tompkins, Times Square Alliance president, says approximately 400 messages were left for the broadcasting icon. Those hand-written notes came from people from as far as away as Fiji and Yemen. Overall, they receive thousands of well-wishers year-round on various topics.

Tompkins tells FishbowlNY that Clark played a major psychological role when New York needed it most.

“For many decades, this was one of the few positive images that went out to the rest of the country of New York City and Times Square, Tompkins says. “This is the time you had Midnight Cowboy, you had Taxi Driver.” continued…

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Jazz and Brubeck were one and the same. He spanned the entire jazz scene in America after World War II. He formed the Dave Brubeck Quartet in 1951. By 1954, Brubeck reached a historic milestone when he was chosen as the first modern jazz musician to grace the cover of Time magazine.

If Time was Brubeck’s “arrival,” his popularity reached its zenith with the seminal album Time Out in 1959. It marked the first jazz LP to crack 1 million in sales.

The album includes Brubeck’s signature piece Take Five, which also became the quartet’s theme.

Paul Cavalconte played Take Five and other Brubeck riffs during his stint at WQCD.

“Take Five” was the most covered original jazz title on CD 101.9,” Cavalconte tells FishbowlNY. “I think we played about five or six versions, counting the original.”

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If the name Steve Stoute doesn’t ring a bell, perhaps his partner at New York-based ad agency Translation does: Jay-Z. The pair’s relationship dates back to the ’90s and has now culminated into not only ad agency collaboration and creative consultation for the Brooklyn Nets, but a music festival for Budweiser dubbed “Made in America,” which recently took place in Philadelphia.

In Part I of our recent Media Beat chat with Stoute, the record-turned-advertising exec talks not only about Translation’s expanding relationship with Budweiser, but touches on the Made in America fest (soon to be turned into a Ron Howard documentary) as well as his agency’s marketing mix.

This and all MediabistroTV productions can also be viewed on our YouTube Channel. Be sure to check out Part II and III of our chat with Stoute tomorrow and Wednesday, respectively.

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Nicki Minaj

At issue, Hot 97/WQHT morning host Peter Rosenberg (simply Rosenberg on the air), according to the Daily News, made critical statements about Minaj latest song, Starships.

“Young Money ain’t doing summer jam,” Rosenberg tweeted, which is a reference to Wayne’s rap crew that includes Minaj.

And she didn’t.

“I go above and beyond for my fans. But won’t ever go against Wayne’s word. What he says, goes,” she tweeted last night.

In another tweet, she took a swipe at Hot 97, “I’d like to thank the staff @ Philly & Boston summer jams for treating their guests w/respect! Had a blast.”

A statement by Hot 97:

“Hot 97 Summer Jam is the biggest hip hop Festival in the world. It’s about more than one act, it always has been, it always will be. It is about a culture and we continue to deliver the greatest live hip hop experience on the planet.”

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Neal Brennan is a comedian, and the co-creator of the Comedy Central series “Chappelle’s Show.” To honor Yauch, Brennan posted an unreleased Beastie Boys performance on his YouTube page. The performance was supposed to be for season three of “Chappelle’s Show,” but when comedian Dave Chappelle left the program, it never had a chance to see the light of day.

Until today that is.

Unfortunately, lawyers for Viacom have sent a takedown notice to YouTube, and the video has been removed.

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Pete Fornatale

Fornatale was an institution in New York radio, and at Fordham University’s WFUV. The Bronx native graduated in 1967 with a B.A. in Communication Arts. Fornatale remained on the school’s station until 1969. His future would soon be tied to WNEW-FM, with two decades at the station that long billed itself as the place “where rock lives!”

Another legendary air personality, Dennis Elsas worked with Fornatale at both stations. He was at the microphone yesterday informing listeners of Fornatale’s passing. Their friendship started 45 years ago. Still a student at Queens College, and working for the school’s radio station, Elsas found Fornatale by mistake on his alarm clock.

“I really enjoyed the show,” Elsas tells FishbowlNY. “…That accidentally hearing of his show, and liking what I heard, was the formation of a relationship, and we quickly saw that we had a lot in common.”

Fornatale had a misstep when he attempted to join WNEW in 1967, as he recalled to me in 2009.

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Whether showing that turbans can be chic or sending the paps into a tizzy just by entering Jay-Z and Beyonce‘s TriBeCa crib, June Ambrose often has the fashion world falling at her feet. And she single-handedly upgraded hip-hop’s street corner image with her innovative approach to music videos. (See this and this.)

In our Media Beat interview, Ambrose explained how she tapped into her West Indian roots for one of her most iconic looks: those shiny suits donned by Diddy and Mase in Notorious B.I.G‘s posthumous “Mo’ Money, Mo’ Problems” clip.

“I showed [Diddy] the red metallic and he said, ‘I am not wearing that.’ I had to make one red leather outfit and one metallic leather outfit and… I won!” the star of VH1′s Styled by June said.

“You have to go into this business very fearless, and you have to have integrity for what you do… I said to him, ‘You have to just trust me. I know that sounds wild, but I put my career on this moment. I’m telling you it will make a huge difference.’ Once he saw the first take and he looked at playback, he looked at me and said ‘okay.’ And that was the beginning of not only a great working relationship, but a great friendship.”

Part 2:June Ambrose on Her New VH1 Show, Styled by June
Part 3: June Ambrose on How to Become a Fashion Stylist
Bonus! June Ambrose on Her Trademark Turban

Subscribe to mediabistroTV on YouTube.

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Davy Jones

Riding the wave of the Beatles, the Monkees were born in 1966. Jones, a Brit, was placed in the Paul McCartney role. The Monkees were the creation of record producers Bob Rafelson and Bert Schneider. With a stable of songwriters like Neil Diamond, the Monkees became an overnight sensation with an NBC sitcom and their likeness everywhere else.

Jones sang lead on several chart-topping hits including I’m a Believer and Daydream Believer.

WCBS-FM morning man Dan Taylor was saddened to learn of Jones’ passing.

“[He was] always a great performer. I’ve interviewed him several times, and I always enjoyed his stories.” Taylor tells FishbowlNY. “Especially how he had a school chum named Daniel Taylor.”

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Houston rocketed to superstardom in 1985 with her self-titled Whitney Houston. She remains the only artist to chart seven consecutive number ones on the Billboard Hot 100.

Bob Slade, the KISS FM news director and longtime music host, has early memories of the songstress.  He interviewed Houston at the radio station in the spring of 1985.

“Her debut album had just dropped,” Slade recalls. “She was very shy and reserved… A year and a half later I met the ‘real’ Whitney. [It was] night and day, full of life, funny, and was having a ball.”

Life, though, was not always a ball for the 80s iconic singer. In 1992, after a three-year courtship, Houston married singer Bobby Brown, and a downward spiral was underway.

Houston’s perfect image was tarnished by the end of the 1990s.  She admitted to drug abuse and her behavior was, at times, erratic.

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He was so much more than a part of the band.  The “Big Man” could be considered a sidekick to “The Boss.”

Carol Miller, the legendary Classic Rock jock, who does the night shift on Q 104.3 (WAXQ), saw the Clemons/Springsteen partnership blossom, as Bruce’s first album hit the shelves in 1973.

Miller was still working at Philadelphia’s WMMR when the future of Rock was on display.

“Bruce came on first, alone in those early shows, and did ‘Does the Bus Stop…’ Then, he would bring out the band,” Miller recalls. “When Clarence started playing, to be completely honest yet corny, he literally blew everyone away.”

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Not true, says editorial director Bill Werde. With conferences like its upcoming Country Music Summit and cover subjects that keep folks buzzing, Werde says his mag has been able to adapt (thrive, even) with the times.

“I think there’s some important differentiation between what iTunes does and what Billboard does,” @bwerde explained. “I think iTunes is great for measuring immediacy. If you wanna see just a quick thing, like someone was on Glee last night. [To see] how did that song do, the next morning you can go to the iTunes chart and see there was an immediate response.”

In the full video, Werde details more of Billboard‘s cover strategy and reveals whether  he’s Team Kim or Team Nicki.

You can also watch this video on YouTube.

Part 1: Billboard‘s Bill Werde: ‘If You’re Gonna Write About Music, You Better Love It’
Part 2: Billboard‘s Bill Werde Takes On Idol, Reality TV

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So, for the second installment of our @MediaBeat interview, we got editorial director Bill Werde to weigh in on music television, like Danielle Staub‘s quest for the Hot 100, and why  American Idol has produced more flops than platinum plaques. (We see you, Taylor Hicks.)

“Once you get off of Idol, it’s just such a fleeting window of opportunity generally,” @bwerde said. “We’ve seen –  and the labels now know — that when you finish second, or third, or fourth, or somewhere in the top 10 on Idol, you’ve had an enormous amount of exposure. But you better get those records out fast because, in like 20 minutes, people are going to forget about you.”

You can also watch this video on YouTube.

Part 1:Billboard‘s Bill Werde: ‘If You’re Gonna Write About Music, You Better Love It’
Part 3: Bill Werde: ‘iTunes’ Success Does Not Equal Billboard‘s Detriment’

New Career Opportunities Daily: The best jobs in media.