Posts Tagged ‘Tina Brown’

DESIGN | Den 31 december 2012 blir sista pappersnumret av Newsweek. News-Week, som man då skrev namnet, kom ut första gången i februari 1933.

Därefter går man över till betaltjänst på olika plattformar. The Daily Beast är tänkt att förbli tillgänglig som den är idag.

Huvudanledningen till nedläggningen är ekonomiska. Tidskriften säljer helt enkelt inte tillräckligt. Vikande reklam- och försäljningssiffror har länge pekat mot en nedläggning.

Förklaringen till varför Tina Brown inte har lyckats lyfta Newsweek är många.

Men en av kritiken (av många) som riktats mot henne är att hon försökt kompensera vikande relevans med hjälp spekulativa omslag och attacker på offentliga personer.

Noreen Malone, The National Review, skriver:

Despite her enthusiasm for her web-only project, The Daily Beast, Brown hasn’t been able to keep up with the very media landscape she helped to create. We’re living in the high era of buzz […] (Now you build this person up! Now you tear her down!), and, arguably, the low-level chatter about stories has overtaken the stories themselves. To get their attention, Brown’s been forced to resort to what all those chatterers have labeled trolling (though, to her credit, often of a particularly imaginative bent): the Michelle Bachmann eyes, the gay Obama cover, the ghost of Princess Di, the Heaven Is Real argument. If they look like moves of desperation that’s because, well, they are. Former employees say that Brown had, quite clearly, lost her confidence. Many of her editorial decisions look more like catchup than agenda-setting: her recent efforts to amp up coverage of philanthropy, politics, and feminism seem driven more by her rivalry with Arianna Huffington than by any particular moral or intellectual imperatives. According to a former employee and Brown fan, “Tina didn’t have good concepts by the end, so she just started attacking public figures.”

En av de mer harmlösa ”lånen” är exemplet ovan (artikel av Sidney Blumenthal). Omslaget skall illustrera att Abraham Lincoln minsann inte skyggade för dirty tricks om det gällde att vinna valkampanjen för att sedan kunna avskaffa slaveriet.

Det är inte svårt att se att man har kopierat majnumret av Esquire 1968 – ett av de mest kända omslagen som finns.

George Lois tillhör en av giganterna inom reklamvärlden. Han var en av de riktiga Mad Men långt innan tv-serien var påtänkt.

Så här skriver Lois själv om omslaget:

This is my Esquire cover of spring 1968, before Tricky Dick was nominated for president. My composite shot was a satirical comment on the 1960 TV debates, when the Whittier Wiz lost to the handsome John F. Kennedy by a five o’clock shadow because he looked evil on America’s screens. I located this profile shot (Nixon getting shut eye on a plane) and we photographed the hands of four makeup artists, including the guy wielding the lipstick. The day it hit the newsstands, editor Harold Hayes got a phone call from some stiff on Nixon’s staff. He was miffed. In fact, he was incensed. You know why? The lipstick. He said it was an attack on his boss’s masculinity. He screamed, ”Showing Richard Nixon as a flaming queen is outrageous. If he becomes president, Esquire had better watch out!,” and hung up.

Övrigt: Citatet av Lois från $ellebrity – My Angling and Tangling with Famous People (Phaidon Press Ltd). Tidskriftsomslaget ovan är Newsweek den 22 oktober 2012. Fler uppmärksammade och provocerande omslag.

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RETRO | TV-serien ”Mad Men” går in på femte säsongen. Med anledning av detta har Newsweek gjort ett nummer som kopierar hur tidskriften såg ut på 60-talet.

Eleanor Clift skriver om likheterna mellan den fiktiva reklambyrån Sterling Cooper Draper Pryce och Newsweek på 60-talet när hon började jobba på tidskriften.

Women weren’t supposed to be openly ambitious in the ’60s. When I started at Newsweek as a secretary, I was thrilled to be where what I typed was interesting.


“Mad Men” gets the gender stratification of the time right, along with the prevalence of smoking, the heavy drinking culture, and a fair amount of sleeping around. That was certainly the case at Newsweek In the ’60s among the married writers and editors and the young single women hired to become researchers, then considered “a really good job for a woman.” Newsweek’s training program recruited women from the finest colleges for a stint first on the mail desk, then the clip desk (cutting articles from newspapers), and finally a coveted spot as a researcher. […] These smart, talented, and ambitious women were primarily fact checkers, but they also did reporting and were expected to provide emotional support when the men were doing their writing, everything from sharpening their pencils to picking up their dry cleaning.


The reality for most single working women was, of course, much more prosaic. A former Newsweek researcher recalls two of her colleagues being dispatched to a nearby bar to order martinis for the male writers and bring them back in paper cups stashed in their purses. The drink of choice was the martini, which former Newsweek writer Peter Goldman recalls being served in “glasses the size of birdbaths.” The three-martini lunch was real, not just an expression. How could anyone write after consuming so much alcohol? Another former Newsweek writer would say, “The great thing about this job is you can do it drunk.” Goldman recalls returning from the magazine’s traditional Friday-night dinners “lightly buzzed—it was relaxing, like a Valium.”

Don Draper would have felt right at home at Newsweek. While I don’t recall any of the top editors having a bar in his office, a couple of the writers had bottles secreted in their bottom desk drawer. The abundance of young single women would also have been easy prey for Draper, whose prowess with women provides endless plot twists to examine how people lie to each other and themselves.


Newsweek had been focused on civil rights and the growing antiwar movement, and by the time the male editors got around to the women’s movement, discontent within the magazine had taken hold and legal redress was essential. An affirmative-action plan opened up opportunities that I could never have imagined, and after an internship I was assigned to cover Jimmy Carter’s bid for the White House, which brought me to Washington, where I have been ever since. It’s my Cinderella story, and it’s an era that ”Mad Men” captures in all its dimensions. A lot of positive social change took place, the result of struggles waged by many people whose names don’t make it into the history books. To be part of it in even a small way sure was fun.

Övrigt: Artikeln och tidskriftsomslaget är från dubbelnumret av Newsweek (26 mars och 2 april 2012). Läs Tina Browns ”The Mad Men Issue”. I amerikanska upplagan har även reklamen fått en retrokänsla. Titta också på omslag och än mer reklam från 60-talet.

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KAN Tina Brown vända utvecklingen för Newsweek? Med sin efarehet från bland annat Tatler, Talk, Vanity Fair och The New Yorker har hon förutsättningar att lyckas.

Och när det gäller Newsweek skriver Peter Stevenson från The New York Times Magazine följande:

Since her first issue of Newsweek on March 14, newsstand sales are up 57 percent over the dismal 2010 numbers; ad pages are up 14 percent, with new advertisers like Credit Suisse, Progressive Insurance, Charles Schwab, Omega watches and Poland Spring coming aboard.

Brown’s early issues show signs of blood starting to pump through the veins again. A section called News Gallery showcases emotionally powerful photojournalism. “You can do a lot with photographs in telling a story, because it means that you’re in the news but you’re not pretending you can be profound about it,” Brown said.

At the same time, Brown’s early issues have been strewn with standbys from her Rolodex: Hillary Clinton, Harvey Weinstein, Judith Regan, James Carville, Arnold Schwarzenegger. A new section called Omnivore: Want has featured $2,100 Chanel shoes, a $6,500 Audi bicycle and a $10,000 Burberry “Python” trench, items that would not be within reach of your average newsmagazine reader but that would feel right at home in, say, Vanity Fair.

“There’s a great kind of high-low, newsy, sexy thing that the European newsmagazines have,” Brown said. “They have this great sort of slightly freewheeling pagination, where they go from a great sexy picture of an expensive watch to Libya or something. So I’d like to have more of that feeling in Newsweek. I think that’s a great thing for a magazine, because that’s where we all sort of are now, we’re all multiplatformed, everything’s messed up with everything else.”

Brown can’t spend the way she used to, but she has made significant hires, like persuading Andrew Sullivan to airlift his wildly popular blog from The Atlantic into The Daily Beast. […]

Other new NewsBeasties — everyone Brown hires will work for both Newsweek and The Daily Beast — include the British financial historian Niall Ferguson, The Washington Post’s Pulitzer-winning fashion critic Robin Givhan and the longtime New Yorker writer Peter Boyer.

Övrigt: Artikeln ”Tina Brown Is Still Hungry for Buzz” visar tidskriftsomslagen på Browns första nummer av Tatler och The New Yorker. Se också 25 omslag till tidskriften Talk.

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NYHETER: Nyhetsmagasinet Newsweek har fått ännu ett ansiktslyft.

Trogna läsare kommer att känna igen sig. Inga större förändringar så här långt. Lite ny layout och ett joint venture med The Daily Beast är det som syns mest.

The Daily Beast segmentet känns dock lite tunnt och verkar mest vara till för att locka annonsörer, d.v.s ”få två för priset av en”.

Newsweek har – åtminstone i detta nya ”första” nummer – blivit lite tjockare (vilket behövdes) och man lovar att satsa på fotojournalistik (vilket i värsta fall bara är ett sätt att fylla ut tidningen).

För inte så länge sedan såldes magasinet för en spottstyver och Tina Brown, Editor in Chief, har nu fått uppgiften att försöka vända på utvecklingen precis som hon gjorde när det gällde Vanity Fair och The New Yorker.

Brown skriver:

We’ve all heard the argument that a weekly newsmagazine has no role in today’s relentless, 24/7 news culture, in which digital blizzards of information come at us at blinding speed. In fact, I was one of the people making that argument when IAC’s chairman, Barry Diller, invited me in 2007 to found a news and opinion website that became THE DAILY BEAST […]

Ironically, it was living in THE DAILY BEAST’s fast and furious news cycle for the past two years that revealed to me what a newsmagazine can bring to the table when it’s no longer chasing yesterday’s story. It’s about filling the gaps left when a story has seemingly passed, or resetting the agenda, or coming up with an insight or synthesis that connects the crackling, confusing digital dots. […] What a magazine can offer readers is a path to understanding, a filter to sift out what’s important, a pause to learn things that the Web has no time to explain, a tool to go back over the things we think we know but can’t make sense of. A magazine allows the reader to play in a different key.

There is a time for the quick zap of news on the Web—and a time for the more interpretative pleasures of the printed page.

Lyssna på en intervju med Tina Brown på NPR.

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