Expert Interview: Birgit Fuß - Behind the Scenes of Rolling Stone Magazine

What is your background / story?

I grew up in a Bavarian village, but immediately after finishing high school in 1991, at 19, I broke free to London, then moved to Hamburg—that's where my "journalistic career" began, as they say. I'd dreamed of becoming a music journalist since I was 13, preferably at "Metal Hammer" back then. I love music passionately, but I'm completely unmusical myself—I can't even clap in time. So I had to find a profession related to music that didn't require playing an instrument. Fortunately, it turned out I could write. My first major concert was U2 in 1987 at Munich's Olympic Hall, which shaped me as much as all the rock and metal festivals of my youth. Sitting at home in the attic, listening to one album after another, was pure bliss. There was simply nothing better - except for some books.

How did you get into the music business?

When I went to Hamburg for a newspaper internship in 1992, I could hardly believe that the "Hamburger Morgenpost" had a pop editorial department. I started writing there, while also studying American Studies and Journalism, working at the agency Public Address and the teletext of VIVA. Then, in 1998, ROLLING STONE called me. I've been working there ever since. I started as a freelance editor and proofreader, and since 2000, I've been an editor. Today, I am also the "Managing Editor", although I prefer the old-fashioned term CvD, which sounds like more work - which it is.

Who were important supporters, mentors, and partners on your journey?

When I started at the "Mopo" at 20, I could practically do nothing - I hadn't written a longer article, was shy and insecure. Most bosses would have probably overlooked me because I couldn't "sell" myself at all. But my then-section head Rüdiger Knopf motivated me and gave me more and more assignments - that's how I grew into it. When I came to ROLLING STONE, it was similar. I was (and still am) the only woman in the editorial team, but my colleague Arne Willander and the then-editor-in-chief Bernd Gockel believed in me and recognized that I not only have the necessary passion but am also diligent. In an editorial team where elbowing your way in and self-presentation are the most important entry criteria, I wouldn't have made it. I needed people who supported me - but who doesn't? And luckily, I had many colleagues who didn't care about categories like male/female, but simply about the love of music and writing.

How does your job look today?

As the Managing Editor at ROLLING STONE, I'm responsible for ensuring that production runs smoothly... or at least runs. Ultimately, the pages with correctly placed ads must be at the printer on time, and ideally as error-free as possible. I also organize and edit the music section and am the series expert. The most joy I still get from writing. I love interviewing musicians and turning those interviews into a good text. Preferably, of course, a cover story.

What are the most important skills in your current job?

You must be able to write; that always remains the most important for me. I also have to be well-organized and able to deal with people - the contact with all the freelancers is one of the nicest parts of my daily life - but the core remains the writing. The feeling for language is also needed for editing. And a lot of music knowledge, of course.

What have been the biggest challenges and learnings for you so far? What were "highs" and "lows" you can share?

The work has naturally changed a lot due to the Internet. Among other things, I switched from a daily newspaper to a monthly magazine because I found it more pleasant to have more time for texts - that's no longer the case. For example, if someone dies, an obituary must be written immediately. I find it difficult to immediately switch to work mode if it's someone I liked - it was like that with Lemmy (Motörhead) or Andy Fletcher (Depeche Mode). Then I would prefer to mourn a bit first. Beyond these everyday challenges, I think of "highs" and "lows" primarily in interviews - they are always the most exciting. Meeting Bono, Bruce Springsteen, or R.E.M. for the first time - and the relief that they are really good people. Being almost brought to tears by Lou Reed - and then suddenly sitting across from a friendly man at the next interview. I appreciate all these encounters, even the difficult ones, because that's exactly what I always wanted to experience.

What trends do you currently see in the music industry that could become significant or important?

Currently, the question is rather how musicians can still earn enough money, isn't it? Especially if they do it full-time and aren't exactly Adele or Taylor Swift. How are "smaller" bands and labels supposed to survive? Of course, AI and the related copyright issues are a big topic. In daily exchanges, however, I often find that many people are wondering how things can continue when even touring is hardly profitable anymore. Albums have long since generated little revenue. I wish for a trend that changes this, but unfortunately, I don't see one at the moment.

What would be your advice to artists who are at the beginning of their music careers or have already taken their first steps?

The most important thing right now is perhaps not to lose focus. Now everything is expected from everyone all the time—not just making music, but also promoting it/themselves 24/7 on social media. But there are people who are not suited for that at all—and recognizing that is an important step. I had to laugh a lot recently when Jake Bugg said he always looks like the victim of a hostage situation in Instagram videos. Then such a "promotion" simply makes no sense.

If you want to be noticed, for example, by ROLLING STONE, I would recommend investing enough care, time, and/or money in good info (or, if you don't trust yourself to do that, in a good promoter), contacting us with a complete album stream/download well before release (in print we have a very long lead time, at least two months), and writing directly to the responsible person. Mass emails like "Dear music editor...." are, of course, less noticed than if someone takes the trouble to find the right contact person. And please be confident, but don't overdo it! If people claim to be the next Radiohead, at least I become immediately suspicious.

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