Forward Motion

Good news, the EQ team is expanding (and not just our waistlines). The latest addition to our cast of crazies is the ever-so-delightful Eugene Robinson, who joins us as Editor in Chief. Actually, you’ve already met Eugene; he was the author of our piece on Page Hamilton and Helmet in the November 2004 issue. Eugene
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Good news, the EQ team is expanding (and not just our waistlines). The latest addition to our cast of crazies is the ever-so-delightful Eugene Robinson, who joins us as Editor in Chief. Actually, you’ve already met Eugene; he was the author of our piece on Page Hamilton and Helmet in the November 2004 issue.

Eugene is a real journalist — not one of us music-industry seat-of-our-pants-ers relying on a word processor and a prayer. He comes to EQ with credits that include Editor in Chief of the award-winning Code, editorial work with Apple, Intel, Adobe, and Nikon, freelance writing for GQ, Vice, The Wire, Raygun, Huh, Grappling, and TV work on ESPN. Which means that we’re all going to have to make our grammar and speling gooder and also make our word usements more good two.

But Mr. Robinson is more than just some journalism-schooled pencil-pushing wordsmith. He’s also a musician (well, a vocalist — there’s a copy of Auto-Tune around here somewhere, Eugene) and former co-operator of the Bay Area’s House Of Faith Studios with the estimable Bart Thurber. A short selection of his credits and “worked withs” also include Steve Albini, John Golden, Gus Van Sant, Henry Rollins, Marianne Faithfull, and a 25-year litany of others.

Eugene will be based in our San Mateo, CA, offices, where he’ll be charged with attending meetings, bringing the editorial, sales, and production staffs together into blissful harmony (not that we’re not harmonious already), attending meetings, setting the direction of the EQ ship, attending meetings, and generally making this magazine work like a well-oiled machine. He may also have to attend a few meetings.

But more important, he’s going to be contributing hard-hitting artist, studio, and technology coverage in his inimitably entertaining and in-depth writing style. He’s also got some pretty forward-looking ideas on just what a recording techniques/technology magazine should contain and how it should be presented. Not to worry; the EQ you’re infatuated with isn’t going anywhere. Under Eugene’s watchful eye, it’s just going to get fresher, more dynamic, even more relevant, and above all, more fun.

We’re all very excited to have Eugene join us here at EQ magazine. Please offer him a hearty welcome! —Mitch Gallagher