As part of its pre-election push, Newsweek recently announced the addition of ex-White House senior advisor Karl Rove as a columnist, his glossy appointment coming a day after the magazine named Markos Moulitsas, founder of the popular liberal politics blog and tradeshow Daily Kos. Good move by editor Jon Meacham: a right-wing pundit to balance Markos' lefty politics. But why waste two outspoken personalities on the print magazine?
Here's an idea: Give â€˜em both Newsweek-branded blogs and have them face off before, during and after debates and conventions, allowing readers to join the conversation via comments. (Some media people still consider "comments" to be a risky wasteland of the delusional and the deluted, but I guarantee lightly-monitored comment-thread can frame such a debate in a much more civilized way than, say, cable.)
I have often said that anyone with basic Mac skills and the ability to pay a printer thinks they can be a player in the magazine publishing business these days. Most city & regional publications are having their markets diluted with freely distributed, rack-in-the-drugstore-vestibule publications. To a certain extent we are the victim's of our own success. Robust growth of the regional magazine business has resulted on healthy looking books in many markets and frequently forays into the bridal and shelter book markets by local publishers. Hence "the entrepreneurs" have been lured by the apparent riches they see in the four-color glossy pages of regionals.
Adding to the woes of reputable publishers is the fact that many of these neophyte entrepreneurs routinely and glaringly ignore all the MPA rules regarding editorial integrity on their pages. Our sales folks are routinely queried by advertisers conditioned by these publications- looking for free editorial ink as a thank you for their advertising commitments. The fact that these publications are four color glossies seems to lure some of the less knowledgeable local advertisers like a moth to a flame.
Emmis Communications has taken a leadership role in the city and regional publishing business by commissioning multiple studies in the markets where they own magazines to determine the "recallability" of these free rack and forced distribution publications. In every case the "other" non-audited publications are not even on the radar screen when it comes to recall and effectiveness of content-both advertising and editorial-in swaying the recipients buying habits.
The first question all of us need to ask advertisers when confronted with this merging completion is "Do you really know who is looking at your ad?"
Second one: "Do you think they are really spending time looking at it?"
The publishing world may seem gloomy in Magazine Central, but out here in what many New York print types view as the hinterland, I'm thankful to be a regional magazine publisher. For one thing, people still do read magazines, especially the ones that cover topics they have a passion for and -- laugh if you will -- our readers have a passion for all things Jersey. I think Dan Brogan, my fellow regional publisher from Denver (5280), gave the best explanation of the strength of our category when he called city and regionals enthusiast magazines for a particular place. Our readers really do want to know where to go, where to eat, and, let me not forget, who the best doctors are.
Our pink sheet is clean, but I am thankful that our advertisers don't read pink sheets. Yes, they look at the first page, and I am hearing more about "accountability," but the tempests at ABC that increasingly pit advertisers and agencies against publishers haven't crossed the Hudson Ocean (err, I mean River).
I hear a lot about national advertisers moving their advertising from print to the web and other new media, but I am thankful that our advertisers haven't joined the stampede-yet. They are experimenting with new media, but haven't allowed themselves to forget that it's all about results rather than following the fashions, which is good for print. Judging from some of the comments I heard at the City and Regional Magazine Association conference in September, local advertisers in some areas are starting to shift dollars to the web, but we have some time to craft our own web strategies to take advantage of the transition.
Operating a business in the New York Metro has its downsides-and that's a rant for another day-but there are some things to be thankful for, such as the incredible talent pool that Magazine Central represents. About half our staff members have gotten their training at one of the large, national magazines in our backyard.
Publishing a magazine outside NYC gives me much to be thankful for, and, if anyone can come up with a way for a magazine to make serious money on the Web, I'll be grateful for many Thanksgivings to come.
Playboy magazine is hosting its second "America's Sexiest Sportscaster" poll, which closes today. A typically chauvinistic move setting women's journalism back 15 years. (Sports Illustrated, for some reason, called it "the season's second most-discussed poll.") The whole thing makes about as much sense as Miss Landmine 2008 (a real competition-seriously).That said, I guarantee most of the nominees spent Thanksgiving lobbying their families to vote.
The winner, by the way, will be announced November 28.
The Atlantic Monthly celebrated its 150th anniversary with a party in New York earlier this month. It picked the scholarly Kimmel Center at New York University as the venue. The venue had a stage. Instead of, say, using the stage for a panel or discussion, it served for the bulk of the evening as an awkward VIP area, where the important guests like Arianna Huffington, Moby and Mayor Bloomberg partied while 600 or so readers (a.k.a N.I.P.s) were forced to watch. Itâ€™s admirable that David Bradley and a magazine like the Atlantic would want to include its readers. But not like this, man. Give everyone access, find another venue or throw two partiesâ€”one for the V.I.P.s and one for the rest of the dregs.
Gawker has the damning video â€¦
Slate's Mickey Kaus has a nice extrapolation on what's behind Ron Burkle's pursuit of American Media Inc.:
Soon he'll presumably have the power to kill any scandalous story in the Enquirer
or Star that might hurt his friends (the Clintons). And he'll have the power to run the stories that will hurt his enemies. And for those who might help the Clintons now (by, say, splitting the anti-Hillary vote) but hurt them later--well, he'll be able to choose the timing of any further exposes. ... Look at it from the point of view of the aptly-named David Pecker, head of AMI: If you assume Burkle wants AMI's publications in order to gain political influence, when is the time at which Burkle would pay the maximum price? Right before the campaign starts in earnest. In fact, you might pinpoint Pecker's maximum leverage as coming a couple of months before the Iowa caucuses.
More here ...
I don't believe in "carbon neutrality."
It is not a helpful concept-some would argue it is deceptive-and there is no clear or agreed upon definition. Publishers who want to be environmentally responsible stewards should view claims of "carbon neutral" paper with suspicion. Such paper most likely doesn't offer any environmental benefit and can be a marketing risk.
A recent report from the Sustainable Forest Product Industry (SFPI) working group makes the claim that "carbon neutrality" can be achieved by burning tree parts, or "biomass," to generate energy for paper mills. SFPI acknowledges that burning trees releases carbon into the atmosphere, but through convoluted logic argue that this is OK, because the trees sucked up the carbon from the atmosphere in the first place. Tree burning merely "recycles" the carbon, SFPI happily concludes.
This is not CO2 neutral. In fact, tree burning is double whammy for the environment: not only does the tree stop absorbing carbon from the atmosphere, it now contributes carbon to the atmosphere. Perhaps burning trees for energy produces fewer CO2 emissions when compared to the burning of fossil fuels. But "fewer" is not the same as "neutral." In the best case "carbon neutral" may mean more efficient energy production. In the worst case it is just an exercise in semantics.
The reality behind the semantic is that tree burning emits a greenhouse gas, CO2, into our atmosphere.
So beware of paper suppliers who pitch "carbon neutral" paper. Using this paper would be an environmental and marketing mistake since such paper would not protect the environment nor communities and may endanger the publication's image and marketability.
Read Larry Light's CMO Strategy piece and view the three-minute video of Seventh Generation's president Jeffrey Hollender in Advertising Age that encourages companies to adopt sustainable practices but also warning them about participating in hollow marketing claims.
Here are the companies that are part of the SFPI working group that produced this report:
AracruzGrupo Portucel SoporcelInternational PaperMeadWestvacoMetsÃ¤liitto GroupMondiNippon Paper GroupNorske SkogOji PaperSappiSCG PaperSuzano Papel e CeluloseStora EnsoWeyerhaeuser
I told you my bias in my very first blog. What might be bias of these pulp and paper manufacturers?
For more on the Magazine PAPER Project, click here.
Are you a magazine publisher that uses environmentally and socially-responsible paper, or you would like to learn how?
Here's why you should read this blog:
So to honor full disclosure, I believe:
I am fortunate to share many of these beliefs with colleagues that also work in the non-profit world for responsible paper use. In 2002 we all came together and authored A Common Vision for Transforming the Paper Industry: Striving For Environmental and Social Sustainability, and then started a network of non profits working on these issues called the Environmental Paper Network (EPN).
And, I'll promise that this blog will be a forum for respectful discussion. We may not agree always - or even often - but, we should always be talking to each other because the problems and impacts on our society are too great for us not to work together.
Look for my post tomorrow on why magazine publishers should be wary of "carbon-neutral" claims.
The arrival of a new Esopus is always cause for celebration. The current issue, which arrived on my doorstep on a recent afternoon, is no exception. What makes this magazine so remarkable?
Esopus uses-really uses-the tools of mass-production printing to create a publication that is a carefully orchestrated experience: a delight for mind, eyes and fingers. Subscribing to Esopus is a bit like receiving a quarterly artist's book with pockets, pullouts, changes in paper quality, gloss and translucency. These methods don't seem tacked-on, but are integral to the way the magazine tells stories-which are only occasionally traditional columnar narratives. Words and jpegs do not do the results justice.
Not everything in Esopus is brilliant (an inevitable artifact of an experimental and chance-taking approach), but it's never boring or predictable. From children's elaborate pictures of war scenes, to a look at beauty and social pressure through magazine covers, to the sense of artifact on every page, the magazine at once feels personal and topical. Editor Tod Lippy talks eloquently about what it takes to put an issue in AIGA's Fresh Dialogue 7.
I've long felt that non-profit organizations and private industry should work together more diligently to produce decent swag for graphic designers. A template for successful products that might emerge from such public/private partnerships is @issue: The Journal of Business and Design, which is written and designed by The Corporate Design Foundation and printed on paper donated by Sappi.
@issue is by no means a great magazine-I don't miss it between the random issues I pick up at paper shows and ADC events, (and I haven't bothered to subscribe to the free publication) but I always enjoy the unusually-tall glossy when one comes my way. CDF's outlook on design, (which includes forays into product, packaging, branding and furniture) is refreshing and different from most of the designer magazines I read regularly. If the content is refreshing, the design is another matter.
In the old days, the inside format was positively retro. Perhaps this was due to CDF's twin focuses on industrial and graphic design; or perhaps because the publication is half-magazine, half-brochure, but early on it had the vibe of a late-model International School marketing piece. With ruled off and tinted boxes, a simple two-column structure throughout, grid-trumps-all placement choices, and diminutive point-sizes for heads and decks and rubrification for emphasis, it's easy to imagine they cribbed the look of a 1974 Knoll catalog when they did the initial design.
I caught @issue for the first time in almost six years last week, and was surprised by what had and what hadn't changed visually. The color scheme, rules and boxes, along with the sales-piece quality are all the same, but the historically-appropriate Franklin Black Condensed signature sans has been replaced by the humanistic yet post-modern Meta, which is now used almost exclusively. The grid (which is still given god-like reverence) is slightly updated, but the color and overall aesthetic is much the same. The combination almost but doesn't quite work.
The wispy heads in the new version make pages feel more open but at the expense of a textured and varied reading experience. I love Meta, but at light weights and small sizes it doesn't have the pop on the page that the Franklin did. And, the font feels stylistically out-of-place in what is otherwise a strictly modernist design. (I know, the cover never quite went with the inside.) While there would be nothing wrong with redesigning the magazine the current incantation of the design feels half-done.
NPR's Marketplace did an intriguing piece on Brass magazine recently. Their report made the magazine sound like a sophisticated and sincere version of Young Money, which I wrote about a while back. (I had used the example of YM to look at how fuzzy editorial goals can result in a design that's equally unfocused.) My post inspired spirited debate, so I wanted to take a look at Brass for a bit of contrast. While Marketplace was very positive about the magazine, they were more interested in the success of the business than its editorial or design virtues.
Brass features have a one-page opener.
Actually, Brass is a bit better written than YM, but it too has a design that's all over the map, including the feature above which looks like a brochure for a overpriced and pretentious nightclub. Brass pages rely on goopy Photoshop and typographic gimmicks rather than a focused and appropriate design voice, and the weak images often have only a tenuous connection to articles. Like YM, Brass anneals its message of frugality and financial responsibility with the fantasy lifestyles of the rich, young and famous. Of course, part of the problem with both magazines may be that the personal finances of the young, unsung, and impoverished is just too boring a topic to build an exciting magazine out of. How desirable is a hard, realistic look at cash when your problem is you don't have any of it?
How would you organize a theoretical magazine for hospital administrators? They are probably baffled by the Dick and Jane simplicity of ordinary magazine and newspaper structure.
I'm thinking there would need to be a separate numbering system for the tops and bottoms of pages; a supplement that could only be accessed when the main book is turned to page 43; and probably interwoven articles that one could read by following a color-coded text. But what mere designer has a mind, um, "scientific" enough to design it? The only option might be to hire an MD to DD.
Airport signage, on the other hand, seems to translate quite well to the editorial environment, as New York demonstrated the other week. I haven't flown in or out of the city in years, but New York turns what is essentially a service journalism piece into an engaging and entertaining package with captivating information graphics, tables and fascinating but trivial factoids.
The photography is nothing special, but it still seems vibrant because of context. This works particularly well on the opening spread where the lead art serves as both illustration and infographic: backed-up planes are listed by how late they were to their destinations the day the photo was taken.
The translation of airport signage to page architecture is an obvious move, but New York handles it with enough aplomb that the conceit does not become boring or repetitive-even through dubious sidebars about decent airport meals.