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Friday, September 29, 2006

PHOTO AND/OR VIDEO-JOURNALISM?

"Video is the future for Telegraph photographers" says Stuart Nicol, the newly appointed London's Daily Telegraph Executive Editor (Pictures).

He tells to EPUK that the future of the Telegraph’s photojournalism lies in shooting video.

“Digital stills photography will, when we look back on it, form a very small period of time in the history of photojournalism."

“Telegraph photographers will undoubtably be shooting solely on video in the future, and certainly within a year we hope to be well advanced down that route.”

At the Press Association, where Stuart Nicol has been Group Picture Editor since January this year, all of their 42 staff photographers are now equipped with £300 Canon S3 cameras for shooting internet-quality video in addition to their existing Canon stills cameras.

ADVERTISING INVADES EDITORIAL SPACE

Newspaper designers are screaming against what they consider an "advertising invasion" into the newshole.

Well, as I said before, I don't have any problem with "premium space" for "premium ads", including front pages.

The question is, as always, real creativity.

In newsdesigner you will find a link to a PSD from the Newspaper Association of America (NAA), presenting some of this "new" ad formats.

But you will see a few good ones and a lot of bad ones.

Advertising creativity in print media is, I am sorry, still very, very poor.

Giving more freedom to bad ads will be a serious problem for newspapers that don't care about clean and easy to read design.

Here there are three excellent examples of good, bad and really bad ones:

1. The classifieds page is fine with me.

2. The Hiundai ad looks great but the double spread is a disaster. Wrong option again.

3. The Nashville Symphony ad makes the reading of he California piece very painful and the ad format does not make sense to me at all.


MOBILE ESPN MVNO CALLS IT QUIT

ESPN's Mobile Virtual Network Operator (MVNO) has decided to close its doors after less than a year of operations.

This is no surprise to me. At first I thought ESPN had developed a mobile service available to all US carriers but when I realized that it was indeed launched as a "carrier" I immediately thought it wouldn't last long.

We all value our content a lot but US consumers are not ready to defect their mobile carriers and even change their phones just to get a certain kind of content, much less if its of a single nature, in this case, sports.

I'm sure ESPN Mobile will do much better if and when they release their excellent mobile portal to any user in any carrier.

Mobile ESPN - Wikipedia, the free encyclopedia

Thursday, September 28, 2006

...AND NOW, LET'S KILL NEWSPAPER EDITORS. ARE YOU SURE? I AM NOT.

The newspaper killing season is open.

The Economist cover story wanted to kill the newspaper.

Steve Outing wants now to kill newspaper print editors, and substitute them by former online editors.

And Jeff Jarvis announces "the death of the editorialists."

"As newspapers face economic torture, it is time to ask whether they can afford editorialists when spare resources should go toward supporting their true value: local reporting."

Well, I am not sure that all these deaths will change and improve newspapers.

Newspapers are not dead, but they will kill themselves when they don't see the need of radical re-evolutions.

Newspaper print editors are not dead, but we will kill themselves when they don't see the need on bi-media, on and off line integrated newsrooms.

Newspaper editorialists are not dead, but they will kill themselves when they don't lead interactive opinion pages and public discussion forums.

My impression is that everybody has to re-think its role in this new media landscape.

From publishers and editors to reporters and visual journalists.

Let's not kill anything or anybody else.

We don't need more casualties.

Nobody is safe, sure, but at the same time the best way to survive is not a war but a passionate, engaging and compelling new way of journalism life.

This is an industry with too many years of confrontations.

Editors versus Publishers.

News versus Features.

Hard News versus Soft News.

On Line versus Off Line Journalism.

Words versus Images.

Pictures versus Graphics.

News versus Opinion.

Advertising versus News.

Mono-Media versus Multi-Media Companies.

Editors versus Reporters.

Print versus Broadcasting.

Infographists versus Illustrators...

Let's work together.

Let's integrate.

Newspapering is a team game.

We need less solo-players, and more orchestra-players.

Including the conductor-editors.

EXTRA, EXTRA, EXTRA: NEW DESIGNER FOR THE NEW YORK TIMES BOOK REVIEW


A few weeks ago we posted two comments about the terrible design of The New York Times Book Review, and now, oh my God!, we can announce that our voice has been heard.

Yes.

Steven Heller is out, Nicholas Blechman is in.

Heller, an excellent writer about design, but a terrible newspaper design editor, goes out for a 6 month sabbatical...

And next week, Nicholas Blechman, one of the most brilliant designers of The New York Times (working now in the Sunday section The Week in Review, that has improved a lot under his tenure) is taking over.

The readers of The New York Times are the winners.

What a great opportunity to change the Book Review!

My 10 first suggestions:

1. Tell me about the books, but also about the authors and the publishers.

2. Include more and more comments from readers (compare with Amazon reviews), authors and book publishers.

3. Add references and suggestions about similar books and similar issues.

4. Develop great cover-stories like:

"Is still New York the capital of the book publishing world?

"The next Da Vinci Code: The leading best candidates"

"The print book is dead. God save the printing book industry!"

"Why young people read more books and less newspapers than ever"

"Who is going to be the next Harry Potter according J. K. Rowling"


5. Compare best-selling lists, and explain the differences.

6. Publish the biggest flops, and tell us why these books fail.

7. Interview the world best on and off line book reviewers.

8. Expand the reviews to digital books, and to the new digital publishing industry.

9. Link, link, link to blogs, websites, chats, forums... and interact with your audience on and off line.

10. Improve the design dramatically, and after his 6 month sabbatical, fire Seteven Heller.

Amen.

Wednesday, September 27, 2006

HAPPY BIRTHDAY GOOGLE

Some people see Google as the enemy in our industry. I think we have a lot to thank them. For one, substantially improving the effectiveness of advertising and with that making advertising a viable model online.
8 years ago, few believed that advertising could be a sustainable business model on the Web but now, thanks in part to Google's advertising innovations, which have been copied by many, it is possible to be profitable with an advertising business model.


HEADLINES FROM MOSCOW

A team of INNOVATION consultants spoke in the last two days at the 2006 Expo Publishing Expo and Conference in Moscow.

Russian publishers and editors are changing.

A few headlines from our presentations:

-Javier Zarracina, Spain (infographics consultant):

"Newspapers need journalists, not artists."

"Infographists must be just visual journalists."


-Christian Oliver, USA (new media consultant):

"Traditional media must integrate on and off line news and commercial operations."

"Your audience is now a multi-media consumer, and you must reach them by any way available. Our newsrooms are becoming organizations in continuous deadline."


-Javier Errea
, Spain (design consultant):

"Readers demand new ways to present the news."

"The graphic-information pannels that we created for EXPRESSO in Portugal shows how you can innovate and improve your story-telling languages."


-Gianluca Bovoli
, Italy (editorial marketing consultant):

"Don't promote your newspaper or magazine without improving your editorial product. Many promotions don't work just because they are promoting the wrong product. Change the product first, and then invest on promotions."

"Games are back. See the great success of LIBERO in Italy with the political game LiberoTutti."


-Juan Antonio Giner
, USA (INNOVATION director):

"The newspaper industry is booming."

"You kill a newspaper when you don't change, and don't innovate."

"Multimedia newsrooms are a must. The question is not yes or not, but how."

"The Daily Telegraph is right now a good example of how a very traditional newspaper company has to change and innovate."

SONY E-BOOK READER BASED ON E-INK TO BE RELEASED SOON


Engadget has posted very good pictures of Sony's upcoming ebook reader, which has been postponed a few times.

This is the first consumer product to include the famous eInk technology. Supposedly, this screen should read just like paper.

It will be interesting to see what kind of welcome this device receives and how many publishers join its store.

See more pictures at Engadget:
Sony Reader PRS-500 hands-on + Connect Reader screenshots - Engadget

More information about the device in Sonystyle.com

THE ARMANI NEWSPAPER EDITOR'S DAY

Bono was a good editor for The Independent.

The paper sold almost 700.000 copies.

Last week, Armani did the same as editor of the paper.

This was his cover.

I am sure that the sales will be also bigger than normal.

My questions are:

Do we need celebrities to improve the sales of newspapers?

What if we replace current editors not justy one day but a full week?

What if we do the same replacing newspaper designers with the iPod or Nokia designers?

What if we replace our newspaper photo editors with magazine ones?

What if we rotate the editors position and every week the editor is a different reporter?

What if we try with the marketing director?

What if we offer the position to the advertising director?

Perhaps wer will discover better ideas, we will find better leaders, and we will sell more papers.

Tuesday, September 26, 2006

GOOD NEWS FROM MOSCOW

I am in Moscow for the new two days speaking at the 2006 Russian Publishing Conference and Expo organized by the Russian Newspaper Publishers Association (GIPP).

Timothy Balding , the first speaker, CEO of the World association of Newspaper (WAN) told the audience that Russia will become the fastest growing newspaper market of the world.

Some interesting data from his presentation:

-Newspapers are now a 180 billion USD global industry, reaching daily more than 1,2 billion readers.

-Rupter Murdoch is investing almost 1 billion USD in the new printing presses for his newspapers in the UK.

-The Courier and Mail in Australia is becoming the most successful case of the new "compact" newspapers with a 158% circulation growth.

-Free newspapers are now the circulation leaders right now in Denmark, Switzerland and Spain.

-Free papers capture in Demark 64% of the total circulation of the newspaper market, and 54% in Spain.

Timothy Balding said also that free newspapers are "inspiration for traditional newspapers."

THE NEW DESIGN OF EL UNIVERSAL IN CARACAS




























Pages from the new EL UNIVERSAL, the leading quality paper of Venezuela, relaunched last Sunday in a new compact formula redesigned by a team of INNOVATION consultants lead by Carlos Soria, Marta Botero, Guillermo Nagore, Daniel Lozano, Felipe Lamus, Juan Antonio Giner and Michael Fairhead.

The newspaper of Caracas is now working with Milenium, a state of the art new multimedia editorial system from PROTEC.

EL UNIVERSAL produces a new classifieds section in tabloid format that was designed by CRD.

PROTEC and CRD are international partners of INNOVATION.

Monday, September 25, 2006

THE NEW YORK TIMES: NEW FORMATS TO PRESENT NEWS & OPINIONS









Last week, The New York Times introduced subtle changes in order to differentiate news and opinions.

I didn't see too much coverage about this change, but in my opinion these are major steps that deserve a lot of attention.

Quality news-papers are becoming more and more "views-papers" and this is how The New York Times explained the new and old formats:


In its daily news pages, The Times presents both straightforward news coverage and other journalistic forms that provide additional perspective on events. These special forms — news analysis articles, columns and others — adhere to standards different from those of the editorial and Op-Ed pages. The news and editorial departments do not coordinate coverage and maintain a strict separation in staff and management.

All articles, columns, editorials and contributions in the newspaper are subject to the same requirements of factual accuracy.

This is the descriptions of the various forms:

IN THE DAILY NEWS SECTIONS

* Man or Woman in the News: A portrait of a central figure in a news situation. It is not primarily analytical, but highlights aspects of the subject’s background and career that shed light on that figure’s role in the current event.

* Reporter's Notebook: A writer’s collection of several anecdotes or brief reports, often supplementing coverage of a major news event like a summit meeting or an important trial. The items provide glimpses behind the scenes that flesh out the reader’s sense of a major story.

* Memo: A reflective article, often with an informal or conversational tone, offering a look behind the scenes at issues or political developments. The article (with a title like Political Memo, White House Memo or Memo From London) may draw connections among several events, or tell the reader who or what shaped them.

* Journal: A sharply drawn feature article focusing on a place or event (and labeled with the place name, whether foreign, national or regional). A Journal article is closely observed and stylishly written, often light or humorous in tone. It is intended to give the reader a vivid sense of a place and time.

* News Analysis: A close examination of the ramifications of an important news situation. It includes thorough reporting, but also draws heavily on the expertise of the writer. The article helps the reader understand underlying causes or possible consequences of a news event, but does not reflect the writer’s personal opinion.

* Appraisal: A broad evaluation, generally by a critic or a specialized writer, of the career and work of a major figure who has died. The article often accompanies the obituary.

* Review: A specialized critic’s appraisal of works of creativity — movies, books, restaurants, fashion collections. Unlike other feature writers, critics are expected to render opinions in their areas of expertise.

* News-Page Column: A writer’s regularly scheduled essay, offering original insight and perspective on the news. The column often has a distinctive point of view and makes a case for it with reporting. (Columns in the newspaper are displayed with the writer’s name and the column’s title inset into the text.)

The news sections also present a number of regular feature articles that carry labels indicating the topics – for example, the Saturday Profile in the foreign pages and Market Place in Business Day.

IN THE OPINION PAGES

* Editorial:A sharply written, generally brief article about any issue of public interest. Editorials are written by the editorial board of The Times, which includes the editorial page editor, the deputy and assistant editors, and a group of writers with expertise in a variety of fields. While the writers’ opinions are of great importance, the editorials also reflect the longtime core beliefs of the page. Unlike the editors of the news sections, the editorial page editor not only reports to the publisher, but consults with him on the page’s positions. Editorials are based on reporting, often original and in-depth, but they are not intended to give a balanced look at both sides of a debate. Rather, they offer clear opinion and distinct positions.

* Editorial Observer: A signed article by a member of the editorial board. These articles have a more distinct personal voice than an editorial. They often reflect personal experiences or observations, and may be written in the first person. These articles are not intended to be policy pronouncements, but do not contradict the board’s positions.

* Op-Ed Column: An essay by a columnist on the staff of The Times, reflecting the opinions of the writer on any topic. Columnists are expected to do original reporting. Some travel extensively. Op-Ed columns are edited only for style and usage, not for content. Columnists do not submit their topics for approval, and are free to agree or disagree with editorial positions.

* Op-Ed Contribution: An article by a person not on the staff of The Times, reflecting opinions about a topic on which the author is an expert or has provocative and well-reasoned ideas. These articles, most of which are solicited by the editors, are not intended to reflect the positions of the editorial board. Indeed, the Op-Ed page is seen as a forum to air diverse and challenging viewpoints.


BIG CHANGES IN EL UNIVERSAL, THE LEADING QUALITY PAPER OF CARACAS, VENEZUELA

Yesterday, EL UNIVERSAL (Caracas, Venezuela) with the help of INNOVATION, launched its new graphic and editorial formula.

The 300.000 copies of the new EL UNIVERSAL were sold out in a few hours.

The new editorial concept, designed by Marta Botero, a director of INNOVATION, includes new sections, more local, local, local coverage, in a more compelling and compact paper.

The graphic redesign was done by Guillermo Nagore, an INNOVATION consultant based in New York.

A new classifieds section in tabloid format produced by CRD, partner of INNOVATION, makes this traditional feature of EL UNIVERSAL, even more appealing to the market.

The leading quality newspaper of Venezuela follows a world trend of dramatic innovations and changes that includes the total "re-thinking" of these papers.

EL UNIVERSAL is another example of how "only the leaders change, and change because they are and want to be leaders."

Saturday, September 23, 2006

TOMORROW´S NEWSPAPER: 9 PROVOCATIONS

The INMA European Conference in Barcelona was excellent.

Earl Wilkinson, the Executive Director of the International Newspaper Maketing Association (INMA) was the last speaker and this was, in summary, his view about tomorrow´s newspaper:

1. Core print product will become smaller to fit consumer lifestyles – fewer pages, smaller page size, shorter stories.

2. Deep, rich journalism will move online and be enhanced in virtual universe.

3. Core product will be customized, interactive, and on-demand.

4. Miniature versions of the core product will target under-served groups.

5. Digital options will multiply – get the newspaper anywhere, anytime, anyway.

6. Newspaper features will be unbundled … iTunes pay-per-click model.

7. You will buy a multi-media “membership” in the newspaper, not a print subscription.

8. “Citizen journalism” will become another source for newspapers like Reuters, AP.

9. Less “voice of God” (monologue), more “mirror of the community” (dialogue).

Wednesday, September 20, 2006

EUROPEAN NEWSPAPER MARKETING GURUS MEET IN BARCELONA

I am in Barcelona.

Tonight the International Newspaper Marketing Association (INMA) opens it annual European Conference.

During two days, more than 250 newspaper executives will be presented with the latest trends and successful cases around the world.

I will keep you informed about them in the next few days.

But first things, first.

Newspapers in crisis?

Not really.

Today Le Monde confirmed the launching with the Bollore Group (Havas) this November of a new morning free newspaper in Paris.

Last week Cash Daily, another free business paper was launched by Ringier in Switzerland.

Next week in Italy, a network of almost free tabloids clonning El Periodico de Catalunya concept will start the conquer of the Italian market.

In Sweeden, three new free papers.

In London, two new free evenning papers.

In Portugal, Correio da Manha, the leading morning newspaper in Portugal presented last Saturday its new weekend colorful supplements, striking against the new O Sol, a low and middle class class 2 euro weekly tabloid that sold 126.000 copies, while the best newspaper of the country, EXPRESSO, sold two weeks ago 160.000 copies of its first new formula, selling then 200.000 copies last week and announcing another 200.000 copies for this Saturday.

The Portuguesse press is booming.

In Spain, 4 national free papers (20 Minutos, Que!, Metro and ADN) distribute from Monday to Friday more than 4 million copies, while the 115 paid newspapers sell more or less the same 4 million copies that they were selling before the boom of the free papers.

Newspaper crisis?

Well, not in Barcelona, not in Spain, not in Europe!

Tuesday, September 19, 2006

THE TRIBUNE RESPONSE TO LOS ANGELES TIMES REBELS

Well, here there is the response from Chicago:

Tribune Co. CEO Dennis FitzSimons, responding to a letter from some of the most powerful civic leaders in Los Angeles, defended the company's management of the Los Angeles Times and gave no indication the company was willing to consider the newspaper's sale.

FitzSimons's response comes amid rising tension between Tribune management and the newspaper's editor and publisher, both of whom have resisted company pressure to make further layoffs.

The standoff could force the departure of Dean Baquet, editor and Jeffrey M. Johnson, publisher (very soon, you will see)

Los Angeles Times is the fourth-largest newspaper in the country by circulation and makes up nearly a quarter of Tribune's publishing division, which includes the Chicago Tribune and New York's Newsday.

Tribune's newspapers account for about three-quarters of the company's revenue.


In the letter, Mr. FitzSimons said the Times's revenue is below where it was at the time of the Times Mirror acquisition in 2000, indicating that further cuts may be necessary.

"Tribune has also made over $250 million in capital investments in the Times, designed to further improve quality of the newspaper," he said.

"In terms of editorial expense, the portion of the Times's total revenues dedicated to news coverage is currently almost double what it was during what many refer to as the 'golden age' of the newspaper, under publisher Otis Chandler," he said.

"It is also higher than in 1999, prior to our acquisition of Times Mirror.

In fact, the Los Angeles Times has the largest editorial staff and budget of any metropolitan newspaper in America without nationwide circulation."

Another reason to question the current model.

And another reason to expect very soon new victimis of this open corporate battle.

WHAT THE ECONOMIST REALLY SAID

INNOVATION had some internal discussion about The Economist cover story, and I got this comment from Carlo Campos (one of our directors and senior consultants, CEO of LATINO, the leading free paper for the Latin American community in Spain, with regionasl editions in Madrid, Barcelona and Valencia), that deserves to be shared with you:

"I read The Economist article and think that the only problemwith it is the title which, understandably, is more sensationalistic than accurate.

I believe that what the article says is that the current BUSINESS MODEL of the newspaper is dead, as opposed to newspapers as acredible source of news, information, opinion, entertainment etc (which is something they actually also question in the editorial).

I don´t agree that the current business model for newspapers (paper platform, cover price and advertising) is dead yet, but it is certainly showing some signs of having passed maturity.

As such, I couldn´t agreemore with what INNOVATION in general reccomends:

- Improve your ways of delivering the current business model to satisfy both your clients (readers and advertisers)

- Use what you have to start a multimedia turbine and get all those people who never buy paper without forgetting those that have never been on the internet

- Experiment with new business models (and editorial models) for the newspapers.

My obvious example is free newspapers which are quickly becoming an important business world wide.

I would like to add that something that is mentioned in the article and that Karen from Arizona said at the WAN (and that we in INNOVATION also comment frequently but perhaps not enough) is quite important nowadays -newspapers should forget about "café para todos" and segment their readers properly, offering different products via different platforms for each appropriate reader segment.

And each one of them with perhaps adifferent business model as well.

In sum, I think (and I belive that is the main message from TheEconomist) that what is dying is not the Newspaper, but rather Newspaper Editorial Companies, which refuse to adapt to a new competitive environment and innovate.

And that is a message that is very favourable to INNOVATION and the work we do."

Carlo is right.

My feeling is that many people have not read The Economist pieces.

But, yes, this is the real meaning of a quite sensationalistic cover.

Monday, September 18, 2006

WHAT IF THE NEW YORK TIMES SELLS THE BOSTON GLOBE?

BreakingViews says that it will be a good idea.

I agree.

LAGARDERE IS IN TROUBLE

Lagardere, the French media and aerospace group, announced a reorganisation of its Hachette Filipacchi Medias magazine and newspaper division, whose titles include Paris Match, Elle and Marie Claire.

They are in trouble, but instead to accept his own mistakes (like firing the editor of Paris Match for being

Arnaud Lagadere said that the press has "little future in its present state" and that "we're moving towards the dismantling of its traditional support structure."

"The press has ten years left. Production costs will become unsustainable."

"Our adaptation will not consist of making a systematic and mechanic transfer of our press to the Internet. That would be a mistake. Our advantage will remain in the richness of our content. We will not submit to the mutation of modes of consumption; on the other hand we will play a part in their evolution."

'We are a magazine company and we will remain one,' he said.

In panic, he has hired a telecom guy to lead the internal revolution, like RCS did a few months ago (and today he is out).

Good luck, Mr. Largardere.

The press stays, but publishers and editors go.

THE NEW YORK TIMES NEW BRANDING CAMPAIGN: "QUALITY JOURNALISM. PERIOD"

The New York Times is introducing today a multi-platform branding campaign emphasizing its reporting.

Watch 'New York Times' new ad, fashioned around the tagline 'These Times Demand 'The Times.''

The tagline, first used in the mid '80s, was "These Times Demand The Times."

But the news commercials, which include footage of Times reporters inside headquarters on 43rd Street, conclude: "It's about the quality of the journalism. Period. End of story."

You can watch here a preview of the spot.

STEALING VOTES: THE MIAMI NIGHTMARE IS NOT OVER

The Princeton University Center for Information Technology Policy is right:

You can manipulate computer voting machines.

You can see how and why in this report and video.

What you can see in this demostration is very disturbing.

THE LAST DAYS OF LIBERATION SEEN FROM LONDON

The Observer reports about the final days of Liberation.

I am sorry but they are wrong.

This is not an ideological crisis.

It is a professional one.

A new owner that does not know anything about media.

A newsroom that does not wants to change.

And an strong brand that will survive, does not matter if the current newspaper goes away.

Liberation is more than a newspaper.

Sunday, September 17, 2006

NEWSPAPERS OFFERING VIDEO NEWS ONLINE

Visualmente, an excellent blog in Argentina, reports how the websites of three newspapers of this country, Perfil, Clarin and Infobae, are becoming addicted to video formats.

Two of them have their own television channels, but Perfil not, and that is not a problem.

Good trend.

THE (AB)USE OF COLOR

Well, the Sun-Sentinel wants to show you that they can print a lot of color, and here they go.

Really bad, really bad.

Following the pattern of the new Folha de S. Paulo that also has lost the sense and direction in the (ab)use of color.

Less is more.

THE NEW YORKER EDITOR IN THE OBSERVER

"The quiet American"

Read this portrait about David Remnick, the editor of The New Yorker.

Published in last week London´s Observer, the piece starts saying:

It's a magazine that runs 10,000-word articles on African states and the pension system, has almost no pictures and is published in black and white. So how does the New Yorker sell more than a million copies a week? Gaby Wood meets David Remnick, its big-brained editor, and talks speed writing, 30-hour days and meeting Little Ant and Little Dec.

Here you can read the hole article.

LOS ANGELES TIMES: THE EDITORS REBELLION

Tim Rutten writes in the Entertainment (!) page of Los Angeles Times a column about the internal fight between the editors of the paper and the Tribune directors.

Bertrand Pecquerie selects in the editors weblog the key quotes:

In Los Angeles, Jeffrey M. Johnson, this newspaper's publisher, and Dean Baquet, its editor, told one of their own reporters that they have rejected demands by the Tribune Co. to further cut The LA Times' staff. Since taking control of the paper six years ago, the Chicago-based Tribune has laid off or bought out about 20% of the paper's then-1,200 person staff."

"Make no mistake, the Los Angeles Times — like most other American newspapers — is more than profitable. The newspaper you're currently holding generates a 20% profit margin, a figure that would give most Fortune 500 chief financial officers a spontaneous orgasm."

"There's a simple truth at work here: A newspaper that is indifferent to its bottom line goes out of business; a newspaper that thinks only of its bottom line has a business that isn't worth saving."

The column ends with this strong and realistic words:

"American newspapers are passing through an era not only of technological change but also one in which a corporate ownership model seems increasingly unworkable. If the Tribune Co. does not feel able or willing to resist its investors' unreasonable demands on behalf of the public's interest, then it should put The Times into the hands of somebody who will."

Well, this is my take:

1. The editors will resign.

2. The Tribune will sell the paper.

My feeling is that the Tribune group is going to be the next Knight-Ridder.

Very soon.

Said all that let me add that Los Angeles Times needs a lot of editorial changes.

This kind of multi-section broadsheet metropolitan newspaper is a model in crisis.

Saturday, September 16, 2006

THE NEW EXPRESSO: SOLD OUT AGAIN

This morning, in just a few hours, the second issue of the new EXPRESSO was sold out again.

Last week they printed 160.000 copies.

This week the paper printed 40.000 more copies.

Next week they will print again 200.000 copies.

This is a record in the history of the Portuguese press.

THE DAILY TELEGRAPHS MOVES TO ITS NEW OFFICES

1882: This was the new building of The Daily Telegraph in Fleet Street.

The Telegraph moved to Docklands from Fleet Street in 1987 and to One Canada Square in Canary Wharf in 1991.

Its former Fleet Street building is now occupied by the investment bank Goldman Sachs.

The publisher of The Daily Telegraph and The Sunday Telegraph is planning to move next Monday from Docklands, its home for 18 years, to state-of-the-art offices in Victoria Plaza on Buckingham Palace Road.

The Daily Telegraph and The Guardian report about the big move:

The Victoria Plaza office development, close to Whitehall and Westminster, has been bought by Press Holdings Group, the publishing business controlled by Sir David and Sir Frederick Barclay, the owners of the Telegraph Group.

At the same time, the company announced it will be changing its name to Telegraph Media Group.

"These changes are a clear sign that our business is moving forward in a positive and dynamic way,'' said group chief executive Murdoch MacLennan.

"The new name will reflect the modern, competitive and diverse nature of our business and the variety of products - from papers to Podcasts - that we have to offer.

''The move to a state-of-the-art office in the middle of London will put us right at the centre of the action for business, commerce and politics. 2006 is going to be an exceptionally exciting year for the Telegraph."

Victoria Plaza boasts approximately 230,000 sq.ft of office space. The Telegraph will occupy about half of that - two floors - with the remainder made available for rent.

For the first time the entire Telegraph editorial staff will be housed on a single floor, spanning 65,000 sq.ft. It is the former trading floor of stockbroker Salomon Smith Barney, which is now part of the world's largest bank Citigroup.

Rupert Murdoch's News International started the Fleet Street exodus by switching his titles - which include The Sun and The Times - to a heavily fortified plant in Wapping in 1986.

One of our consultants, Mike Fairhead, was there.

Reuters was the last major media group to leave Fleet Street earlier this year, when it relocated to Canary Wharf from its Grade One listed headquarters of 66 years.

In the gleaming glass and concrete complex, the newsdesk will be abandoned for a "news hub", subeditors replaced by "production journalists", and writers expected to deliver not just one finely honed story for the next day's broadsheet but web stories throughout the day, podcasts and potentially vodcasts too.

Telegraph executives charged with moving from Canary Wharf want the exodus to coincide with a new way of working, one that will break down any barrier between "old" and "new" media in a fully integrated newsroom.

It is a relocation being watched with keen interest by other newspapers, including this one, which are also grappling with the issue of how to deliver their journalism to global audiences across a range of platforms from newsprint to pdfs to iPods. And, of course, how to make money in the process.

Lewis is promising an "unheard-of training programme" to integrate all those elements into a coherent whole where "content" is delivered at five "touchpoints" throughout the day.

Extensive research has shown, he claims, just what Telegraph readers want - text in the morning whether on the web, on mobiles or in print, video at lunchtime, audio in the afternoon, "click and carry" pdf documents for the commute home and communities based around shared interests in the evening.

At the heart of the debate is whether all these elements are best delivered by specialists or reporters can be retrained to multi-task.

The Telegraph has put its eggs firmly in the latter basket: "We don't want them and us any more. We want one Telegraph to ensure the highest quality content," says Lewis.

Telegraph staff are to be given five days' training to introduce them to 38 different "multimedia bits" from podcasts to mobile headlines.

A video journalist is to be appointed shortly.

Newspaper executives are wary of breaking down the financial details, saying only that they run into "many millions".

Yet, just two years ago the group announced a £150m investment in printing plants.

At the end of next month it is expected to announce the terms of its printing contracts.

The new media world is working out to be quite an expensive one.

Last week, when MediaGuardian was treated to a tour of the Victoria HQ, it still bore the signs of a massive refurbishment programme.

Blue carpet had been laid across the entire 67,000 sq ft space but there were no desks or chairs.

The curvaceous reception area with its not yet operational escalators will lead up to a proposed cafe area.

The group will occupy two floors, with commercial departments and meeting rooms overlooking the main news area, while renting out the rest.

The plan is for most senior editors to sit in a central "hub" in the middle of a room understood to offer the biggest open-plan space in London.

They will be surrounded by "product" heads in charge of areas such as online, video and audio and "content heads" - more typically known as heads of departments such as business, foreign and sport.

The rationale is that far from being made up of Luddite retired colonels, the Telegraph's core readership is actually more active, richer and more web-savvy than most.

The papers, owned by the Barclay brothers, commissioned research into when and how their readers want news.

Lewis believes that the Telegraph's typical readers - older and wealthier - offer the paper a great opportunity as they sign up for broadband services and spend more time online.

Back at Canary Wharf, while "acting" editor John Bryant is generally well thought of for soothing frayed nerves in the wake of the tumultuous Barclays takeover, subsequent changes and the arrival of a swathe of new executives and senior editorial staff, last week's announcements seemed to many less a brave new world and more the same old song.

The recent departures of two popular members of the "old guard", deputy editor Neil Darbyshire and foreign editor Alan Philps, further destabilised staff still raw from cuts 18 months ago that led to one in six journalists losing their jobs and further emphasised the "top-heavy" nature of the newsroom.

All the big beasts hired during the frenzy that followed the Barclays takeover - Jeff Randall, Simon Heffer, Lawrence Seer - are still around and drawing equally big salaries.

In his last email to staff, Philps summed up the mood: "The end of 15 years at the paper came suddenly, leaving me full of sadness and not a little confused.

The past three years have been difficult ones, with changes of editor, budgetary battles and uncertainty about the future direction of the paper."

Just two days after the relocation had been announced, a letter went out to staff informing them of 133 job cuts across the group, including 54 in editorial.

Meanwhile, the National Union of Journalists was voting to ballot members for industrial action.

"We realise that changes are necessary in some areas because of what is happening in the industry, but none of this makes it acceptable for a highly profitable enterprise like the Telegraph to alienate and ignore staff in this way," said NUJ national newspaper organiser Barry Fitzpatrick.

"Management have behaved in an extremely underhand manner and we continue to have no faith that they intend to consult meaningfully."

Former Telegraph managing director Hugo Drayton, who played an integral part in the early development of the paper's web operations but left in the regime change that followed the Barclays takeover, said the problem was less one of modernisation than of morale: "At that place, it's so low.

In the light of that, the management challenge is whether they can keep the show on the road.

I think they've signed up to a kind of press release politics and that's dangerous."

While most journalists on the papers recognise the need to adapt to the digital landscape and the rapidly changing media consumption habits of younger readers, there is little consensus on the best way forward and little faith that those higher up the chain of command can deliver.

Lewis has never run a web operation before.

By making the brave move to Victoria, the Telegraph is hoping to leapfrog its rivals, turbocharge its metamorphosis from newspaper to digital brand and cement its future.

To do so, it will have to take staff and readers with it.

From next Monday, the first Telegraph journalists to move into the newspaper's new home will have a window into the digital future.

Staff - from cartoonist Matt at one end to Sunday Telegraph editor Patience Wheatcroft at the other - along one side of the enormous editorial floor will be able to signal across the street to those in the London headquarters of web giant Google.

The Daioly Telegraph reports here about its new facilities.

DAGENS NYHETER VERSUS DAGENS INDUSTRI

Media Culpa reports about the last opinion polls in Sweden:

Dagens Nyheter: The gap between left and right has increased.

Dagens Industri: The gap between left and right has decreased.

Well, both newspapers are published by the same company, Bonnier.

A perfect example, if not of synergy, at least of "internal competition."

ORIANA FALLACI, JOURNALIST

Reading this magnificent obituary in The Times of London you realize two things: Oriana Fallaci was a great journalist, and The Times knows how to to great obituaries.

Journalist of brutal honesty whose interviews with the world’s leading personalities left few unscathed

SUBJECTIVITY and passion are characteristics not always conducive to successful journalism. But Oriana Fallaci made them her watchwords and combined them with a brutal honesty. It was as much her fiery and unforgiving personality that made her Italy’s best-known and most controversial exponent of her trade as her record of revealing interviews with the likes of the Ayatollah Khomeini and Henry Kissinger.
It was her abundant rage and pride that in the last years of her life brought her both her widest readership and led to her being charged by an Italian court last year with the crime of denigrating Islam.

Fallaci’s sense of mission sprang from a childhood spent under Mussolini, and specifically in German-occupied Florence, where her father was one of the leaders of the Resistance. Thereafter she became preoccupied with power, its abuse and those who wielded it. She saw herself principally as a representative of the voiceless and repressed — especially women — and used her interviews fearlessly, even recklessly, to challenge those in authority.

Her articles did not read as dialogues, much less as a coolly objective profile of her subject, but as abrasive statements of her position on matters such as the Cold War or Islam’s teaching on women. This peculiarly Italian directness — what her race sees as an avoidance of the Anglo-Saxon hypocrisy of false politeness — she once justified thus: “I am the judge. I’m the one who decides. Listen, if I was a painter and I was doing your portrait, have I or haven’t I the right to paint you as I want?”

This stand inevitably led her many critics to criticise her as an egomaniac, but despite her reputation she consistently succeeded in catching her interviewees off-guard. Thus when in his pomp, Kissinger admitted to her that he pictured himself as a lone cowboy waiting for the caravan to catch up with him, a remark which undermined his standing; he later reflected that it was the most disastrous admission he had ever made to the press. In 1972 similarly incautious comments about Indira Ghandi by Pakistan’s leader, Zulfikar Ali Bhutto, jeopardised a projected peace treaty between the countries. For his part, meanwhile, Khomeini admired Fallaci’s cheek when she wore make-up to their interview and vented her spleen about the indignities of the chador.

Though her temperament was of the Left, the keystone of it was the value she placed on personal freedom, a trait which led her into an almost unquestioning admiration of the United States. Latterly, she had made her home in Manhattan, and it was the events of September 11, 2001, that triggered the last and most contentious phase of her career, as a polemicist.

Two weeks after the attacks she wrote for an Italian newspaper a hostile critique of Islam — specifically, of the demands of Muslims to follow their cultural practices in the predominantly Christian West. The highly positive reception with which this met in her home country, one of the most homogenous and least multi-cultural in Europe, prompted her to expand it to book length, as La rabbia e l’orgoglio (The Rage and the Pride, 2002). It sold more than a million copies in Italy and several hundred thousand elsewhere in Europe.

Since its literary merits were slim, reading, as it did, as part memoir, part intemperate call-to-arms, its arguments rarely coherent, its success must be attributed to its having caught the mood of the times. Ironically, though one of Fallaci’s concerns was that what she saw as the servility of Europeans in the face of Islam’s imperial ambitions was caused by their having forgotten the lessons of the Second World War, the cheap potency of The Rage and the Pride recalls above all the rabble-rousing of the Fascist leaders.

As the War on Terror progressed, Fallaci followed it with several other publications of the same kind, notably La forza della ragione (The Force of Reason, 2005). Amid a round of attacks on her in the press by moderates and extremists alike, Fallaci was charged by the Italian authorities with vilifying a religion recognised by the State. She had hoped to live to testify at her trial, but the case never came to court. For some years she had been suffering from cancer and her condition worsened. A few days ago she returned to her home town, and she died in a Florence clinic.

Oriana Fallaci, the eldest of three sisters, was born in Florence in 1929. Her father was a cabinet-maker who early became active in the anti-Fascist movement, while her paternal uncle was a noted journalist.

Among her early memories was seeing Hitler when he visited Florence in 1938. In 1943, she and her family took refuge in a church when the Germans began blowing up the Arno bridges. Seeing her crying in terror, her father slapped her and told her that she must never show her tears again, an admonition she took to heart. After leaving the Liceo Galileo at 16, she enrolled briefly in the medical school at Florence University, but having decided that she wanted to write she then took a job with a local newspaper, working first on the crime beat.

By the mid-1950s, she was a correspondent for Italian magazines such as Epoca and L’Europeo, soon coming to specialise in wars. “What really pushes me is my obsession with death,” she said. She reported from Vietnam, where she irritated many liberals by criticising what she saw as the North’s Stalinist regime. Many years later she covered the Iraqi defeat in Kuwait.

She published her first book, an examination of Hollywood’s ills, in 1958. But for much of her career the books on which her literary reputation depended were the novels Lettera a un bambino mai nato (Letter to a Child Never Born, 1975) and Un uomo (A Man, 1979). Both stemmed from the most important romantic relationship of her life, that with the Greek political activist Alekos Panagoulis, whose lover she became two days after interviewing him. Panagoulis had been imprisoned and tortured in the late 1960s for planning to assassinate members of Greece’s military regime, and in 1976 he died in a car accident that many assumed to be murder.

He and Fallaci had been together for a stormy three years, and the two novels celebrate both the child of his that she was carrying but lost, and his political struggle. Like her other most notable work, Insciallah (1992), a fictional account of the Italian involvement in Beirut during the civil war, the books are uneven mixtures of headlong prose, unprocessed emotion, shrewd insight and bathos, dominated by an inescapable authorial voice.

Oriana Fallaci was short of stature and always elegantly, even severely dressed. She lived in spartan fashion, working slowly and obsessively, her only vice being cigarettes. Though an atheist, she was an admirer of the present Pope, who she liked to think shared her concerns about Islam.

Oriana Fallaci, journalist and author, was born on July 29, 1929. She died of cancer on September 15, 2006, aged 77.

Friday, September 15, 2006

YOU TUBE SHOWS THE OTHER CHINA

Read here the story about this video.

An amateur took this video and posted in You Tube.

The police confronts an university protest.

The censors were