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Bill Mickey

ABM Adds Nine Companies to Membership Roster

Bill Mickey B2B - 10/23/2012-13:24 PM


ABM, which is wrapping up its Executive Forum being held in Chicago this week, voted nine new companies into membership at its board of directors meeting Monday.

Media members include Editorial Projects in Education, InsuranceNewsNet.com and new international member Beuth Verlag GmbH.

The association also added six associate members, including Adobe Systems Inc., bXb Online, LiveIntent, MagToGo, Tout and WeiserMazars LLP.

"These new members—ranging from traditional and international media companies to progressive businesses focused on app development, social media, virtual event technologies and digital monetization solutions—support ABM's initiative to represent the wide range of platforms and models leveraged by business information and media companies," said ABM president and CEO Clark Pettit in a statement.

Meanwhile, news out of the Executive Forum includes a bit of research ABM did in partnership with Outsell that examined mobile content and business models. B-to-b executives responding to the joint survey, it seems, are not in it for the money—yet. Instead, brand enhancement, content delivery, serving advertisers' needs and creating a superior digital experience were the top mobile objectives, with 64 percent, 60 percent, 60 percent and 52 percent of responses, respectively.

At the bottom of the objectives list were "new revenue from mobile users (29 percent) and "enable mobile e-commerce" (24 percent).

Additionally, only 20 percent of respondents indicated they have a formal mobile strategy in place. The majority of respondents (56 percent) say their mobile strategy is somewhere between formal and ad hoc. A quarter, or 24 percent, say mobile is on an ad hoc, project or case-by-case basis.

Given that objectives aren't quite standardized and that 40 percent of respondents expect to break even with their mobile investments and 48 percent expect a negative ROI, mobile initiatives are clearly still in the experimental phase.

For more results from the study and the slide deck on the ABM/Outsell presentation from the Executive Forum, click here [pdf].

 

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Roy Beagley

To Scan, or Not to Scan? That Is the Question

Roy Beagley Audience Development - 10/18/2012-15:50 PM

 

I got quite a few phone calls this past week from fellow circulators concerning the article that was posted on Audience Development's website last week on action code response rates exceeding direct mail rates.

I am not going to say who called me in this article, let them get their own fame, but the best call was from someone who simply said: “What the hell is an action response code?” Actually she used another word instead of “hell,” but I don’t want to be censored in my first month on this web site.

Some of the figures were pretty astounding to be sure but direct marketers have always said the less the people have to do to respond, the better the response will be. And here, all you have to do is scan a code with your phone.

These codes have increased in usage over the past year and will continue to increase although be careful where you use them. I saw one on a billboard high above the West Side Highway in New York and many drivers were driving and trying to scan the code on the billboard at the same time. Action response codes are really good on the page ads in your magazine as this means people no longer have to rip out a page to take action. Let’s be honest, how many subscription orders were ever gained from space ads? Now, however, a quick scan and you have an order.

Codes can be used on all manner of things; I would love to run an insert card that is quite simply a response code just to see what happens. Generally I think it is a good idea to inform people what will happen when they scan the code, but if anyone has ever run a card with only a code printed on it, I would love to know how it worked.

The beauty of these codes is they are so adaptable. You can use them in renewals linked to the subscriber’s record, on invoices, for new subscriptions—the possibilities are endless. Perhaps we should all have these scans tattooed on our foreheads which would make getting through airports so much easier, but I digress; this is 2012 not 1984.

If you have not experimented with action response codes, it is worth your while to investigate using them. I do not have an iPad which I know makes me pre-historic, and I do not have an iPhone but I do have a mobile phone that I am just about able to switch off and on, and one of the few apps I have downloaded is a QR scanner—and if I have one, you know it’s serious.

There is one caveat to all of this, the article started “digital action codes have become the most-responded-to form of print marketing” but at no point was it ever made clear what people were actually responding to, so an expectation of huge increases in new subscriptions and renewals may be unrealistic but these action codes are going to be around for a little while so exploring their possible usage is, as Martha Stewart would say “a good thing.”

 

Roy Beagley is Director of Publishing Services for Tyson Associates Inc. Roy started his career at The Economist and then The Spectator in London. He moved to the United States in 1992 and since then he has worked with Tyson Associates handling many controlled and comsumer publications. He is editor of Circspot.com, a website for circulation and audience development professionals.

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Robert Newman

Behind Mother Jones’s Recent Dual Cover Strategy

Robert Newman Consumer - 10/12/2012-13:59 PM

 

For their November/December 2012 issue, the editors and creative director at Mother Jones decided to do a split run cover, with a completely different cover story and image for subscribers and newsstand buyers.

Subscribers get “No Way Out,” a long-form investigative piece on solitary confinement in California state prisons written by Shane Bauer, who himself was imprisoned in Iran for 26 months, six in solitary, when he was picked up on the Iraq border in 2009. The cover image is a realistic illustration by Tim O’Brien of a tormented man in a prison cell.

The newsstand cover story is “Sweet Little Lies,” a story by Gary Taubes and Cristin Kearns Couzens about the sugar industry’s 40-year long campaign to cover up evidence about the bad affects of the sweet stuff: obesity, diabetes, heart disease, and its addictive nature. For that cover, also an illustration by Tim O’Brien, there’s a pitcher of Kool-Aid with a grinning skull superimposed on it.  (Note that on the newsstand the issue is simply dated December 2012.) By Mother Jones standards this is considered a lighter, more accessible story!

“No Way Out is a great story, but we felt that it might not sell that well on newsstands, where the potential buyer is not as familiar with our magazine,” says Mother Jones creative director Tim J Luddy.

Early last year Mother Jones did another split cover for similar reasons. Editors Monika Bauerlein and Clara Jeffery wrote about their decision for the January/February 2011 issue to put a story about gang rape in Haiti on the subscriber cover, but deliver a newsstand cover story that highlighted the pot business: “As compelling as all that is in a story, it’s a tough sell on the newsstand. Even assuming that anyone tempted to buy this magazine probably isn’t expecting cheerful (our joke is that the Mother Jones tagline should be ‘It’s Worse Than You Think’), rape gangs are pretty heavy stuff to hit a new reader with on our first encounter.”

That both current covers were illustrated by Tim O’Brien was more by chance than design, says Luddy. “I did a separate set of conceptual sketches for the Sugar and Solitary covers. Once we decided on final ideas, it just happened that Tim was our top choice for each image.”

The actual cost for producing and printing two separate covers for Mother Jones is minimal, since they already print different covers with a UPC code and a subscriber address. And Mother Jones does its own in-house proofing. As Luddy says, “The only additional cost is the extra wear and tear to the creative director and editors,” along with the additional fee for the illustrator or photographer.

How does Mother Jones handle the covers on other platforms? On their website, or for any online editorial use, they rotate between the two. For their Zinio app or other digital versions that require a cover, they use the newsstand version. For development and fundraising, they use the subscriber cover, since according to Luddy, “That’s the kind of story our donors like to support.” For circulation (blow-in cards, etc.), however, they go back to the newsstand version.

Are split covers worth the effort and is there a payoff? There’s a long history of entertainment magazines like TV Guide and Entertainment Weekly doing multiple covers. But they usually promote the same story, albeit with different cover images (like doing a separate cover for each cast member of Lost). It’s much less common to take the Mother Jones approach, although idiosyncrasy for a smaller independent title can work to its advantage.

When I was creative director at Reader’s Digest we tried a similar split cover strategy for several issues, but found that it confused readers, and got us plenty of complaints. It also didn’t pay off at the newsstand; in fact one of the covers was the worst-selling of the year. And Luddy reports that last year’s Mother Jones split cover was also one of their worst-selling issues for 2011.

So why bother? Newsstand sales are only about 10 percent of Mother Jones’s total paid circulation, so featuring a “softer” story at retail is a strategy that’s aimed at luring in new readers rather than one that’s designed to materially boost single copy sales.

Nevertheless, I wondered whether the strategy had any downside for the brand overall. Liz Gettelman, Mother Jones’s public affairs director, put it this way:

“The game has changed when it comes to print magazine covers. In the print era you would rarely see a logo separate from a cover image. But now, the logo is a much more prominent feature, since that alone (without cover art) is usually a publication’s branding image on platforms like Twitter and Facebook, and on websites. The split covers signal to readers that we are versatile and robust enough to be able to highlight various types of coverage. So long as they all feel like Mother Jones stories, then we are actually staying true to our brand.”

 

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TJ Raphael

Report: Readers Prefer Social Logins to Registration Forms

TJ Raphael Lead-Generation Insights - 10/11/2012-15:51 PM

 

Getting a name, email address or other contact information can be a very valuable lead for publishers. Yet, in the instant culture of 2012, many users are becoming ever more impatient when presented with a registration form.

According to a new report from Janrain, a company that provides social login technology, among other things, online registration forms are quickly becoming a thing of the past.

Its data, collected from the Pew Internet and American Life Project, Harris Interactive Polls and Blue Research, and other sources, shows that 86 percent of people may leave a website when asked to create an account because the form is too long or asks too many questions.

Many consumers have password fatigue, with 50 percent disliking the idea of creating a new password. About 60 percent have more than five unique passwords to remember and 40 percent use the “forgot password” feature at least once a month.

When it comes to sharing information, about 86 percent admit they have lied on a registration form, yet 60 percent say they would give more information if they knew what it was used for.

The endless forms seem to becoming so exhausting that 2 in 5 feel would rather scrub a toilet than come up with another new password.

As magazines continue to struggle, using a social login could be a viable and relatively easy way to capture potential new customers on a quicker and more frequent basis. 

 T.J. Raphael is the Associate Editor of FOLIO: Magazine. Follow her on Twitter.

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Josh Gordon

Angie, On Why Angie’s List Publishes a Print Magazine

Josh Gordon Sales and Marketing - 10/09/2012-14:12 PM

 

Angie Hicks Bowman, co-founder of the home service rating company that carries her name, is one of the smartest marketers I have ever interviewed. She started her company as "Columbus Neighbors," personally going door to door in Columbus, Ohio to sign up members and collect ratings on local contractors. After her first year of door knocking, her company had 1,000 members. Today, that number is over 1.5 million paid members.

When my wife Lynn became an Angie’s List member, a monthly print magazine started showing up at our Brooklyn brownstone. I was intrigued. In a time when many marketers are scaling back print magazine marketing investment to favor digital media, here was a prominent digital content company publishing a print magazine. Retro marketing? Not on your life. In an interview with Angie I found her rationale for using print magazines so rooted in common sense I wondered why no one had thought of explaining it her way before.

When I asked Angie why she is sticking with print magazines she said, “I think people interact with print publications differently than they do with online content. Angie’s List is essentially a problem solving service. When people say, “Oh, I need a plumber” they come to us. But our print magazine allows us to interact with members when they are not in need of a plumber.” Angie added that her magazine helps differentiate her company in the crowded online market: “It’s one of the neat differentiators about us. We are not only collecting all of this content but actually packaging it into this kind of “news you can use format.”

In addition, Angie said her print magazine helps drive incremental activity by educating members: “Maybe someone had not thought about buying a geo thermal heating and cooling system, but read an article about it in Angie’s List magazine. That person may not have gone on our website to read the article but read it in our magazine, and it created incremental interest.”

The magazine also serves as a way to introduce new members, said Angie. “Angie’s List members are busy people, and getting the magazine delivered to them can be a very easy, great way to kind of break in.” She continues, “I get tons of e-mails but on Saturday I might sit down to read a magazine at home, where I don’t want to be sitting in front of my computer. Our members are very passionate about our magazine and a lot of consumers leave it sitting out on their coffee table.” And members love the magazine. Angie recalls, “I remember getting a call from a member who had a hospital stay during which her daughter came in, cleaned her house, and threw away her Angie’s List magazine collection. She was so upset she called and asked if we could send her a whole new set.”

For those of us marketing print products in an ever more digital world, for my money, Angie’s best wisdom came when she described how magazines keep her customers engaged even “when they are not in need of a plumber.” As more marketers abandon print budgets to fund digital initiatives, her comment reminds us of print’s unique marketing value, which is not easily duplicated online. When a print magazine arrives in a home or office it can be read in any physical location, and does not compete for online time with other websites.

In addition, website content is often “purpose driven”—designed for users to choose their own sequence of information as they search for content and solutions to problems. The magazine experience is different, because an editor selects the sequence of content within an area of interest. The magazine read may offer fewer content options, but sometimes it’s really nice to have someone who really knows the neighborhood be the tour guide. Like many websites, Angie’s List is a problem solving service, so a print magazine is the perfect complement.

Need a book? Go to Amazon.com. The latest political news? Politio.com. Tech news? Mashable.com etc. But what about when you do not need a book, political news, tech news, or a plumber? Maybe you are sitting on your couch just reading a magazine, maybe the one published by Angie’s List.

PS: Watch a video produced by American Business Media on our initiative to help publishers sell more print adverising by selling the value of 3rd party media HERE.

Josh Gordon is president of SmarterMediaSales.com where he works with publishers to maximize their online and print revenue through training, consulting, and representation.
 

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Bill Mickey

Source Interlink's Grind Media Forms Dirt Sports Group with Acquisition

Bill Mickey M and A and Finance - 10/04/2012-16:09 PM

Source Interlink Media's enthusiast sports group, GrindMedia, bought Dirt Sports and Off-Road Industry magazines from Ryan Communications Group this week.

The deal sets up a new Dirt Sports group within Grind for Source, which also includes existing titles Dirt Rider, ATV Rider, Endurocross and Motocross.com. Ryan Communications founder Jim Ryan will head up the new group.

The deal is the second one for GrindMedia, which bought Baseball America last December.

The GrindMedia group is Source's gen-y, young male consumer group, which, says the company, reaches a monthly audience of 20,000,000 along with other brands such as Skateboarder, Bike, Powder and Slam.

The latter recently extended its model into Football with the release of TD and TDdaily.com.

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Warren Bimblick

Quartz May be a Diamond

Warren Bimblick B2B - 09/28/2012-12:32 PM

 

Four days in and I really do like Quartz. I like the catchy categories like “Energy Shocks,” and “Low Interest Rates,” and “Modern States.” I like the simple and clean look. And I like the ease of navigation on my iPad and my iPhone5 (just had to throw that in—kinda like a middle school student who inserts, n’est pa? at the end of sentences, because, well, n’est pas?).

It has its quirks and bugs to work out (some bylines show up with name and “Today at Invalid Date”). It runs a tad slow compared with other sites on my devices (today). But they are smart people and will figure this out. I like how they’ve aggregated some good content (good and obscure, which is why I generally use Zite rather than Flipboard on my iPad). And I also like how there is good newly-created content.

So that gets me to who is this for? David Carr’s New York Times’ piece of Monday suggested, “The editorial product is aimed at the front half of the airplanes that crisscross from Zurich to Sao Paolo to Singapore, serving executives who are increasingly having similar conversations no matter where they land. It was built for tablets, conceived as a mobile product for mobile people.” So, since I do want to be Tyler Brule when I grow up I wonder what’s his take on it.

QZ.com confirms everything we’ve said in b-to-b media since the year one:  We have highly specialized audiences that are valuable.

What is fascinating about this product is that it takes on trying to appeal to a rarified slice of the world through some original and a lot of aggregated content. Will this work, or will users realize that, since this wasn’t their first morning read as they hop scotched across the planet, they are rereading an FT or Reuters or New York Times piece. Might it not be more effective if one only found that content that cannot be found easily? (Note: stay tuned for such a product from Penton to launch shortly)

Anyway, nice start and I look forward to sharing with all of my friends in the Delta Sky Clubs around the globe, n’est pas?

 

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Robert Newman

A Look at the Design and Influences on Fairchild’s New M Cover

Robert Newman Design and Production - 09/26/2012-19:08 PM

 

The first issue of M magazine, the luxury men’s magazine last seen in 1992 and being revived by Fairchild Fashion Media, came out on Monday with a very distinctive and unusual cover. It’s not the cover subject, Bradley Cooper (People magazine’s Sexiest Man Alive of 2011), but the design, format, and photographic style that makes M very different from the usual newsstand fare.

According to M creative director Nancy Butkus, the cover design was influenced both by European men’s magazines like Port and Huck, as well as vintage issues of Fortune. “We had a stunning 1930s Fortune as our cover inspiration, and in some way we just updated what they were doing—they had borders on the cover and so do we, but ours are asymmetrical.”

Like Fortune, M’s cover was printed on a rich, thick, uncoated stock, with a felt finish, making it both a visual and tactile treat. I’m guessing, however, that M will not be mailed to its subscribers in heavy cardboard cases the way Fortune was until the early 1950s. The idea that upscale magazine consumers will respond positively to superior production values has been floating around for a while; it’s nice to see someone actually trying it out.

Although I would have loved to see M try to resurrect the very-80s expanded logo from the original magazine, they hired noted logo designer Jim Parkinson to draw a smart, modern, updated version. Parkinson has been creating and revising magazine and newspaper logos for years, but this is his best and most impressive work in some time (and that’s saying something!). It’s also very different for the Condé Nast/Fairchild magazines, most of which tend to have flat, relatively straight-forward type logos that aren’t nearly as “designed” as this one.

There’s a lot that’s “off” on this cover: the varied white bands on the right side and bottom, the quote running down the side, the use of the issue theme “Ambition” as the main headline. There’s a definite effort to make M feel stylish and a bit European, and for a luxury men’s magazine trying to distinguish itself from the crowd, that’s probably a smart move.

The photograph of Bradley Cooper, by Jason McDonald, is also very different from what appears on other American men’s magazines. It feels simple and authentic, almost non-stylish, and ridiculously friendly and intimate. Not to mention the power of those blue eyes, which are undoubtedly making members of both sexes weak in the knees.

Like everything else on the cover, it’s a smart way to establish a visual identity for a new magazine. The challenge for M will be in pursuing this idiosyncratic and slightly skewed cover approach every issue (it’s a quarterly), and not giving in to the demands for a more straight-forward, traditional design.

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TJ Raphael

FT Has More Social Media Followers Than Customers

TJ Raphael emedia and Technology - 09/25/2012-15:22 PM

 

More people interact with business newspaper The Financial Times through social media than directly with the brand, according to a recent infographic released by the publication.

In late July, The Financial Times’ digital subscribers grew to about 300,000 paying readers, an increase of about 31 percent when compared to the same time in 2011, with the publication’s total circulation increasing to almost 600,000.

Meanwhile, the FT social community reaches 3.9 million people—2.2 million on Twitter, 1.3 million on Google+, 430,000 on Facebook and a surprising 18,000 on LinkedIn. To put this into perspective, there are about 500 percent more people interacting with the brand on social media than there are paying for its content.

News, analysis and opinion pieces are what FT readers want from the brand on social media, although when on Facebook, these consumers also like to see offers or competitions.

According to the FT, about 20 percent of its traffic in the last six months came from social media, a medium that “is growing faster than every other traffic source at FT.com. The volume of visits to FT.com driven by social media is at the highest level ever.”

What do these numbers mean? According to a recent report from the Pew Research Center’s Internet and American Life Project, 66 percent of online adults use Facebook; 20 percent uses LinkedIn and 16 percent use Twitter. About 83 percent of adults aged 18-29 use Facebook, with the second highest group being 30-49-year-olds at 72 percent.

FT readers are on average 41 years old. However, based on the data from Pew, the majority of its social audience is likely a younger demographic than its typical subscriber (digital or otherwise)—a group that is not only coveted for advertisers, but likely enticing for its future growth. Young adults are less likely to pay for content, though they’re more likely to share it.

The puzzle for The Financial Times to solve will be the conversion of their young social media followers into paying subscribers.

T.J. Raphael is a FOLIO: magazine Associate Editor. Follow her on Twitter.

 

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Bob Cohn

Hiring in the Digital Age

Bob Cohn Editorial - 09/20/2012-10:43 AM

 

Not so long ago, magazine and newspaper editors knew exactly what they were looking for when hiring young journalists. Certain jobs called for certain skills: Reporters had to report, researchers had to research, designers had to design.
 
These days, things are more complicated. Most of the new jobs in journalism are on the digital side, where a broader and somewhat different set of skills is required than we print hires possessed a generation or two ago. What editors need now is a new breed of journalist.
 
Over the last few years at The Atlantic, I’ve played a part in hiring several dozen young digital journalists—into new jobs, thanks to our web expansion, or into open slots created by departing employees. (We have, of course, brought on lots of experienced journalists, too.) What we’re looking for, I’ve come to realize, is people who can do a bit of everything: report and write stories; write headlines and deks; select and crop photos; fact check and copy edit the work of others; make charts and graphs; oversee social media; manage outside writers. (And hey, can you do some coding?)
 
The upshot: Today, everyone is an editor-in-chief.
 
This transition from vertical job descriptions to horizontal job descriptions is perhaps the most profound change in newsrooms that are full of change. I can’t say whether this is a sign of trouble or triumph for journalism. Probably both. But it is definitely a matter of fact.
 
As an industry, we’ve come to the point where we are asking a lot of relatively inexperienced twentysomethings, perhaps too much. The range of duties, combined with the need for speed, can lead to mistakes. But my sense is that there’s no going back. The new platforms and the new business environment demand a shift from more genteel times. The good news is that as much as we expect of these new hires, it’s been my experience that they can do the work. There’s a surprising amount of talent and energy and sophistication out there.
 
Finding this talent marries traditional recruiting methods with an eye toward the new realities. On the traditional side, it still pays to cast a wide net, even if that means sifting through more than a hundred resumes for every opening. And we’re still looking at customary markers of excellence: success in past jobs, intellectual curiosity, dynamic thinking.
 
But the new world prizes other skills, too. The best hires possess a kind of creativity and entrepreneurialism that my peers and I surely didn’t have at that age. Today’s young web journalists are learning to frame and write stories in innovative ways. And as smart at they are, they’re also playful, ready to bring some fun to the game.

We also look for a candidate’s ability to make lateral connections across topics. In interviewing business writers, we might ask about tax policy and retail trends but we’re most interested in how candidates think about non-business topics—and whether they have the instinct to apply a business or economics lens to everyday subjects. Likewise, we look for what Gabriel Snyder, editor of The Atlantic Wire, calls “keyboard presence.” Just as actors can have stage presence and athletes can have field presence, a good web writer is a natural in front of the screen.
 
And then there’s speed. Digital hires ought to be able to move quickly from task to task, keep active multiple windows—on their screens and in their heads. But not, alas, at the expense of accuracy. In a world where there’s typically one layer of editing instead of two or three (or more), you gotta get it right.

In pursuit of journalists with these new skills, we’ve found that it can pay to look in unlikely places. Alan Taylor, who oversees The Atlantic’s crowd-pleasing “In Focus” photo blog, was a web developer at the Boston Globe when he started assembling image galleries on the side. James Hamblin, The Atlantic’s new health editor, is a medical doctor who had just finished his internship in radiology when he joined us as a full-time editor and writer. Neither Alan nor Jim came to us with anything close to a traditional journalism background. But they have the right sensibilities—and the skills to succeed in a new age.

 

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TJ Raphael

Magazine Publishers & The iPad: An Unrequited Love

TJ Raphael emedia and Technology - 09/18/2012-15:39 PM

 

If this were a bad teen movie, the magazine publishing industry would not be (surprisingly) playing the glamorous cheerleader, but Apple would still be the big man on campus.

It seems that the industry has a case of unrequited love with Apple, at least according to recent findings from research firm MagazineRadar.

Apple hasn’t advertised the iPad in an MPA member magazine since July 2011. Last summer, Apple made a brief appearance within the industry’s pages, with the latest iPad campaign in magazines appearing from May-July 2011. During that time there were 21 ad pages placed strategically among 21 MPA monthly magazines, all with the same creative.

Apple did also place 18 back page cover ads in 9 MPA weekly and bi-weekly magazines during the same period. The seeming coolness from Apple doesn’t stop in print—the company has not advertised the iPad on MPA magazine websites at all in 2012.

Why would they? Magazine publishers have been doting over the product and Apple not only with each other at industry events, or to media journalists like this reporter, but they have, essentially, been running ads for them.

Magazines (trade or otherwise) are not just writing about the iPad, says MagazineRadar, but they are showing it off—in 2012, about 32 percent of all edit credits, which the research firm considers a “single mention or image of a brand in a magazine’s editorial,” appeared as images rather than text.

Apple’s apparent lack of enthusiasm for magazine advertising extends beyond the iPad, too. From September 2011 to August 2012 there were 216 ads for the iPhone placed in 200 MPA magazines. In comparison, the iPad received 1,847 edit credits so far in 2012. Additionally, Apple dominates other technology brands when it comes to editorial mentions (see below).

Apple is likely undertaking a strong advertising campaign for its new addition—the iPhone 5. Whether or not they pay attention to the adoring magazine industry remains to be seen. MagazineRadar, however, says one thing is certain: publications will continue writing about Apple and its products.

 T.J. Raphael is a FOLIO: magazine Associate Editor. Follow her on Twitter: @TJRaphael1.

 

 

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Robert Newman

George Lois Featured in Fast Company App

Robert Newman Design and Production - 09/12/2012-10:45 AM

 

Fast Company’s annual design issue celebrates the 50th anniversary of the first cover that legendary art director George Lois created for Esquire magazine. This photograph, by noted photographer Platon, is available only in the iPad app version of Fast Company’s October 2012 issue, which is out today, September 12.

On the October 1962 cover of Esquire (which Lois is holding), he accurately predicted that boxer Sonny Liston would defeat Floyd Patterson in their upcoming heavyweight championship fight. That opinion at the time was decidedly in the minority, so much so that the publisher’s letter inside the magazine disavowed Lois’s prediction, saying “we’d prefer to believe that Liston can be stopped, and that Patterson is the one that can do it.” (Note: Liston knocked out Patterson in the fight’s first round). Says Lois, “The press wrote about the chutzpah of calling a fight on a magazine cover, and the issue was a sellout.”

Read more by George Lois on his first Esquire cover (and many others) here. The Fast Company October 2012 iPad app is available here. The October issue features Pinterest CEO Ben Silbermann on the cover. (Photograph: Art Streiber, creative director: Florian Bachleda.)

 

 

 

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