Selasa, 24 Januari 2012

A Post-mortem with Raju Narisetti


Nieman Journalism Lab



Posted: 23 Jan 2012 11:00 AM PST
Raju Narisetti
Raju Narisetti does not seem like the kind of guy who settles. “I’m a big believer in newsrooms being in a permanent beta stage,” he told me recently. His Twitter bio hits inspirational notes (“Everything seems impossible until it is done”), but until a few days ago, it also included a sentence inspired by the French Revolution: “So follow me if I advance, kill me if I retreat, avenge me if I die advancing.”
Others can parse whether his most recent move — from managing editor of The Washington Post to managing editor of the WSJ Digital Network — counts as an advance, a retreat, or something else entirely. Narisetti, 45, is a Wall Street Journal alum and will help fill a void created with Kevin Delaney’s departure to The Atlantic.
Narisetti arrived at the Post three years ago to integrate its digital and print teams, which were literally separated by the Potomac River. “It was fairly traumatic, not in a bad way, but we changed our entire publishing system for print and online, we redesigned the website, we redesigned the newspaper, we physically emptied the newsroom and redid it and put everybody back in,” Narisetti told me. “We changed the overall structure of the newsroom. In all this we ended up reducing our workforce by close to 200+ people.”
He was hired three years ago to integrate the digital and print teams, which were literally separated by the Potomac River.
“So yeah, we put the Washington Post through a lot of change. And to be where we are now, where we had a record for the year in digital, an all-time record, entering a presidential election year, makes me feel good that it has gone well.”
Narisetti has said his singular goal was to bring Post journalism to as many readers as possible. With that came a “culture of measurement,” he says, gauging success by pageviews and time on site. Maybe not something a lot of print journalists want to hear — and probably one of the reasons Narisetti found some naysayers inside the Post and many outside (his words). The paper’s ombudsman went so far as to suggest Narisetti’s digital team was “innovating too fast.” And a disgruntled Post staffer came out of the woodwork — anonymously — to complain to Jim Romenesko:
He may have had great ideas, but you have to judge him by the end results: a desktop web site that loads too damn slow, has video that doesn't work on an iPad and can't present a mobile version of a story to a mobile device; a mobile site that lacks an article-search function and won’t display story comments; a series of mobile apps that function like packaged versions of the mobile site; the Godawful mess that is [content-management system] Methode that caused some of these issues.
Narsietti also wants to be judged by the end results, he said: “A single newsroom serving audiences across multiple platforms and breaking all-time records in page views, unique visitors, visits to the site and time spent on site is what the Washington Post newsroom is today—all measurable, all audience-focused data points not just some anecdotal talking points is what the Post is today.”
In 2011, the Post’s website saw a record number of pageviews, 26 percent more monthly unique visitors year-over-year, more video plays, more stickiness, more repeat visits, and, with the launch of iPhone and Android apps, 70 percent more mobile visits over 2010, according to internal Omniture data. He acknowledged, however, that the Post missed some goals, including growing its local audience, by a considerable margin.
Narisetti wrote in an email:
I am happy to take ownership of both success and problems, both of which we have plenty and always will. [...] Like many traditional media companies, the Post is also finally recognizing that the future will play out at the intersection of Post journalism and technology, in creating great “experiences” for readers. And its journey of not treating technology as a service function but as a strategic partner to news, something I have flagged for a while, has just begun and will succeed. Finally, I would have actually tried to move faster than we have. Big established newsroom cultures can get into trouble when we focus on the rear-view mirror and only talk of how far we have come.
“He was not afraid of hurting people’s feelings and that’s a good thing,” publisher Katharine Weymouth told a Post reporter. “He’s a change agent.”
In January 2009, Post Editor Marcus Brauchli created a system of dual managing editors: Narisetti ran the editing staff, producers, photo desk, social media people, and graphics and design teams, while his counterpart Liz Spayd ran the reporters. The dividing line between their jobs was job function, not medium.
Narisetti assigned “innovation editors” to the desks — sports, opinion, politics, the investigative team — for day-to-day and medium-term projects. Over the last few months, Narisetti has assembled a small, centralized team of digital project managers who focus on bigger-picture, sitewide projects. That team’s first product was the @MentionMachine, which gulps data from the Twitter fire hose and the Post’s own Trove APIs to track which candidates are talked about most in a week. The goal, he said, is for replicable innovation, code that can be re-used for other stories, not one-off projects.
The most aggressively digital-focused people might criticize a structure that includes distinctive digital editors instead of integrating digital into all jobs in the newsroom. Narisetti acknowledged that, but called it a transition. “At the beginning of our evolution to become a single newsroom, we did specifically need innovation catalysts in each of the groups because the groups that are print-focused are probably not digitally focused. So they needed somebody who understood what digital can do for their piece of content.”
Narisetti said he is leaving the Post amicably and sees the Wall Street Journal gig as a new challenge. There he’ll be responsible for WSJ.com, SmartMoney.com, MarketWatch, and foreign-language editions of WSJ.com.
“To talk about print and online integration now feels a little bit like Web 1.0, I think, been there, done that in some ways. It has become a baseline rather than actually the goal,” he said. “To me the biggest challenge going forward this year and beyond is, How do you integrate technology and content? Because I think that’s going to be the defining characteristic of successful media companies. Can you create engaging news experiences that create loyalty and engagement?”
Posted: 23 Jan 2012 09:00 AM PST

Thinking about the sheer volume of information — stories, images, videos, data — available from The New York Times can evoke a simultaneous glee and terror. Skimming Times Wire gives you an idea of the hundreds of pieces of content they produce each day. For readers, it’s a tip-of-the-iceberg thing: Yes, on a day-to-day basis you have access to the news and a decades-spanning archive, but you’re not seeing anything close to all of it.
The task (or, more accurately, one of the tasks) for beta620, the Times experimental projects group, is to find a better way to make the newspaper’s information more readily available — both to readers and to the Times itself. Their latest stab at the problem is something they’re calling Deep Dive, a project that aims to give readers a richer, more nuanced understanding of stories.
Deep Dive uses the Times’ massive cache of metadata from stories to go, as the name suggests, deeper into a news event by pulling together related articles. So instead of performing a search yourself within the Times and weeding out off-topic results, Deep Dive would provides readers a collection of stories relating to a topic, based on whatever person, place, event or topic of their choosing. So let’s say you’re interested in protests in Yemen, with Deep Dive you could use an article from nytimes.com as a seed and let the system collect a history of previous items relating to news from the region.
It’s a novel project, still just in demonstration phase — one that aims to let the Times put its extensive archives to better use, but also to create a different experience for consuming news. David Erwin, a software engineer with beta620, said they began building Deep Dive to address problems they were having in following the life of a single news story — and the realization that they were in a position to do something about that. “It kind of came organically from a need that we felt ourselves to better understand what was going on as well as an expression of the potential of in our data and technology,” Erwin said.
What’s interesting about Deep Dive? At least three things:

The use of the Times’ rich metadata

Deep Dive relies on the extensive tagging system the Times uses for all its stories and makes the Times Topics pages possible. As part of the editing flow tags are applied to stories by editors or producers, with suggestions provided by an internal algorithm. Deep Dive looks for connections among topics, so in the case of our Yemen story, it would likely find other stories on protests in the Middle East.
At the moment Deep Dive is limited to topic tags, which are mostly broad terms like “Middle East and North Africa Unrest (2010- )” and “Demonstrations, Protests, and Riots.” That means that that Yemen story connects with stories in on protests in Egypt and Syria, not more stories about what’s going on in Yemen. Erwin said they hope in the future the system could incorporate other factors to make connections through semantic data, editorial data, or time elements. The Times’ metadata is likely the richest of any news organization.
Part of the challenge will be to figure out what level of specificity readers want in a dive — how related they want their stories to be. In other words, does someone “diving” off a story about Italy’s debt crisis want more stories about Italian politics? The Euro crisis in places like Greece or Spain? The state of the global economy? How do you weigh an older story that’s spot-on versus one that’s breaking now but slightly more off-topic?
“What Deep Dive does it brings you some of the relevance of the topic as you’re reading the article itself,” Marc Frons, the Times CTO for digital operations told me. “So you’re immersed in a topic and you’re going further in. You don’t have to leave the page, which I think is very powerful.”

The user interface

What Frons is referring to is Deep Dive’ unique interfact, where the related articles flow into the same frame as the main story when selected. You need never leave the page; jumping backwards or forwards in articles all happens in the same space. That’s a departure from the pageview-driven way most news sites are designed. But Deep Dive’s UI matches its underlying thesis: that individual articles are really pieces of a larger story, told in pieces over time and across bylines and datelines.
Frons said the design is just one possible look for the project and not locked in. Still, the design in some ways aligns with Times Skimmer and Times Reader, which may be why Frons sees a future for it. “To me, this sort of notion you have to click and go to another page and wait for the page to load is something that is going to seem very quaint in the not too distant future,” he said. “It’s probably going to seem like using the international operator to place a call to France.”

Saving your “dives”

More interesting, Deep Dive will also allows users to save their “dives,” which would be constantly updated with new articles. While there are plenty of tools that let a person tailor what news they read online, they’re often based around broad categories (like sports or politics), keyword searches (like Times email alerts), or social networks. What Deep Dives promises is an alert more directly based around a specific developing story — story in the “Arab Spring” sense, not story in the one-specific-article sense. Erwin said the idea is to create a personal news experience that will provide contextual information and be consistently updated. “It basically allows you to keep up with your interests over time by providing custom feeds of articles as they are written,” Erwin said.
But beyond those elements, the real promise of Deep Dive, though, is that it continues to show the Times’ flexibility in providing different ways for different kinds of readers to access its content. For some, the blog-style Times Wire, with its constant reverse-chronological updates, will be perfect. For others, a quick skim of the front page of nytimes.com, with its added editorial judgment about what’s most important at the moment, will work better. Grazers and hunters come in a variety of forms, and the Times is trying to better use the enormous amount of work it generates daily to reach as many of them as they can.
“The reader who wants to dive into a topic and better understand an article in the context of a story isn’t really reading the news in the same was as a reader who is browsing current news,” Erwin said. But the audience that wants to pull back the curtain on a story exists, the Times is seeing it, Frons said. There are heavy users — often subscribers — but also others like researchers and professionals who consume a lot of content from the Times, he said. But the lines between heavy users and casual browsers can often blur, and the reader who stops by the Times for a Newt Gingrich story might wind up looking for more context, Frons said.
“What Deep Dive and some of the other things we’re thinking about do is make it almost easier to serve both people at once,” he said.
It could also be a method of converting those browsers into heavy users — making the grazer a hunter. The ability to save dives — or as Erwin says, “putting a pin in a progression of articles along a certain story” — could be useful when you’re trying to follow a story but then miss the latest developments because you didn’t check nytimes.com on a given day. Another thing beta620 would like to explore is the idea of sharing dives among friends, Erwin said.
It may be some time before Deep Dive is ready for the spotlight, both Frons and Erwin say its likely to stay in the experimental stage as they try and refine the product, especially to make its ability to find commonalities between stories more granular. Frons said it’s too soon to know how something like Deep Dive would be affected by the Times paywall, but ideally it would be available to all readers whether or not they’re subscribers. “Now that we’re a paid site we really want to build things that encourage the subscriber to use the site more and encourage people to subscribe by giving them dynamic and innovative features,” he said.
Posted: 23 Jan 2012 07:30 AM PST

Every morning, the business and political elite in the biggest province on Canada’s East Coast turns to an unlikely source of information about their own world.
Among all the online news organizations trying to find a way to profitability, consider AllNovaScotia.com, which has just celebrated 10 years online and now challenges its historic print rival for the attention of the province’s leaders.
It’s done that by not following the rules: It has a nearly impenetrable paywall, no social media presence, no multimedia, and only rare use of links. It doesn’t cover crime and barely covers sports and entertainment.
However, it delivers up-to-the minute coverage of business, city hall, and the provincial legislature via the web and apps for iOS and BlackBerry. It scoops its news rivals almost daily and has won loyal readers through dogged combing of public records and often by prying into the personal lives of the province’s movers and shakers.
The site is based in Halifax, the capital city of Nova Scotia, a province of just under a million people in Atlantic Canada. Ask 10 people on the street about AllNovaScotia and it’s likely eight will say they’ve never heard of it.
“I think it might be nine people,” says Parker Donham, a former journalist for the now-defunct Halifax Daily News, communications consultant, and blogger. “But the one who did would be an assistant deputy minister or a regional manager. Between people paying for it and a limited amount of advertising, they’ve got a business model that seems to work.”
“On the whole, I think they are the paper of record now,” adds Donham. “I don’t think there are many serious business or political people who don’t see that every morning.”
AllNovaScotia has 5,950 subscribers, whose monthly dues generate 80 per cent of its revenue. The site doesn’t come close to having the broad appeal of its 137-year-old print competitor, the Halifax Chronicle Herald, which has a Monday-to-Friday circulation of 108,389. Three people with different email addresses can share a $30 a month subscription, but they can’t pass the stories on to anyone else without some effort. The publication — produced by a staff of 14, 11 of them reporters — is locked down in Flash, making sharing usually a cumbersome ordeal of cobbling together screenshots. No sharing buttons here.
A representative for 5,200 small- and medium-sized businesses in the region says AllNovaScotia’s influence among her association’s members is narrow but strong.
“I would suspect that most have never heard of AllNovaScotia,” says Leanne Hachey, vice president of the Atlantic Canadian chapter of the Canadian Federation of Independent Business. “However, among those with some influence over politics or public policy or government relations, everybody knows about AllNovaScotia and everybody, as far as I know, pays very close attention to it.”
In many ways, AllNovaScotia is similar to Statehouse News Service, the Massachusetts online outfit that offers “gavel-to-gavel coverage” of state government for lobbyists, government officials and business people. However, AllNovaScotia’s approach is both broader and spunkier.
The guts of each edition are development permits, court documents, and land transfers — and the stories of triumph and failure inside them. One January issue was a typical mixture of hard news and betcha-didn’t-know information about the province’s movers and shakers. The 25-story edition included:
  1. a scoop that a local mall would host the region’s first Apple Store
  2. an alert that a buyer had been found for one of the province’s struggling paper mills
  3. an exposé in text and photos of the $7.6-million Florida mansion purchased by the owner of one of the region’s largest companies
  4. profiles of three new partners at one of the city’s leading law firms
  5. an obituary of a small business owner and minor-league hockey supporter
The news site appeals directly to the province’s tight-knit and family-oriented business community, according to Kevin Cox, AllNovaScotia’s former managing editor, who retired in June.
“The strange thing was they liked to read about other people within their circle. Not in a satirical way…but in a serious way,” says Cox, a former Globe and Mail reporter who still writes commentaries for the site, but who is now studying to be a United Church minister. “How do the Fountains spend their money? How do they make their money? Who did they give it to?”
As it turns out, the Fountains, one of the province’s leading philanthropist families, spent a chunk of their money on a surprise appearance by crooner Tony Bennett at their Dec. 10 Christmas party. The lead story in AllNovaScotia’s next issue detailed the lavish event, Bennett’s set list, and the who’s-who-of-Nova-Scotia guest list.
This focus on people and their wealth makes AllNovaScotia a different beast from typical business coverage that focuses on companies. People’s names are bolded in stories, frequently paired with their corporate compensation and the assessed value of their house. An almost-daily feature is Who’s Suing Whom.
“We wrote about property. We wrote about local stocks. We wrote about the old families,” says Cox, of his time managing the site beginning in 2004. “We wrote about the big business deals and the little business deals. We wrote about the breweries and the coffee shops. Some of it was micro-news that no one else was paying any attention to.”
The character of the site can be attributed to its creator, David Bentley, who co-founded a gossip publication called Frank Magazine in the 1980s. Frank is an irreverent print and online journal that chronicles everything from local celebrity divorces, petty scandals and social faux pas. Many in this conservative province read it, though fewer would admit it. Bentley had started a separate newspaper a decade earlier that would become the Halifax Daily News. That paper, a scrappy tabloid that became the first Canadian newspaper with a website in 1994, folded in 2008, two decades after Bentley sold it.
Bentley, who no longer operates Frank, says AllNovaScotia’s readers are business people, government officials, academics, and health-care administrators. They are people who need to know what’s going on but who also read the publication “just to keep an eye on who’s in the courts and owing people money.”
Cox says AllNovaScotia writes about personal lives of the province’s business elite if it affects the way that business is run.
“Just because you’re Colin MacDonald of [seafood giant] Clearwater doesn’t mean we’re not going to pry a little bit to see what’s underlying the value of that stock or the lack of value of that stock. And it’s not to say that we won’t pry into people’s personal lives,” says Cox.
That approach hasn’t rankled MacDonald, chairman of the international shellfish company that does about $300 million in business annually. Clearwater received extensive coverage by AllNovaScotia in 2011, when it was the target of a hostile takeover.
One AllNovaScotia story in August, headlined “Colin Goes Fishing,” asked whether “the most committed Clearwater founder was losing his passion” after MacDonald went salmon fishing in Newfoundland during the takeover challenge.
MacDonald stated in an email that AllNovaScotia “provides me and I suspect other business leaders with a real-time heads up on what is happening in the business community” — an advantage over other news media in the province, which he said are slower and “lacking the business focus and insight.”
In reaction, the Chronicle-Herald played catch-up in 2011, launching a rival morning business newsletter and hiring additional business reporters.
But a major component of AllNovaScotia’s success is style, not just substance.
“We speculate about an awful lot of stuff — this could happen; that might happen,” says Cox. “We write about it with a certain amount of self-righteousness that a lot of business publications won’t take to.”
How much of this style can be attributed to Bentley’s roots with the gossip magazine Frank?
“I think a substantial amount,” adds Cox. “We’re criticized harshly in the [local] journalism school for using anonymous sources, because we do. But we have people who talk to us who won’t talk to anyone else. If they’re going to give me the legitimate news and I can verify it somewhere else, I think that’s my job to get it out there.”
For Bentley — who co-owns AllNovaScotia with his daughter, the publisher — “getting it out there” simply wouldn’t happen without the site’s uncompromising paywall.
“We’ve got to do that, otherwise they won’t buy the bloody thing,” he says flatly. “Our competition is people who want to read it for nothing. That’s the great big overarching thing that attempts to suck our blood every day. It sounds a bit paranoid. But that’s the problem.”
The result, says the consultant and blogger Donham, is a web site that would appear not to get the Internet at all, by today’s online news norms.
But that’s fine with Bentley. He knows what his content is worth to his audience — in contrast to many media excutives who “think what they’ve got is more valuable than it is.” He acknowledges the value of social media in the Arab Spring uprisings, but insists, “You can’t be in the content business and not get paid for it.”
Even so, he cautions against viewing AllNovaScotia as a model. “This thing has been going on for 10 or 11 years. It’s one little place,” he says. “What sort of success is that? It’s not as though it has taken off like wildfire and spread across the continent, has it?”
Note for transparency: Cox is a sessional instructor and colleague of mine at the University of King’s College School of Journalism.

Sabtu, 21 Januari 2012

It doesn’t take Cupertino to make textbooks interactive


Nieman Journalism Lab



Posted: 20 Jan 2012 11:00 AM PST

Absent the glamour of the black mock turtleneck, Apple’s Thursday event, held at the Guggenheim Museum in New York, still came bearing flowers of rhetoric, lovingly transplanted from their native soil in Cupertino’s sunny clime. One such rhetorical staple, the feature checklist, made its appearance about nine minutes in. Usually, the checklist is used to contrast Apple’s latest magical object with the feature set of lesser smartphones or other misbegotten tech tchotchkes; it was more than a little eye-popping to see the same rhetoric of invidious comparison used against the book in full — that gadget which, as senior VP Phil Schiller reminded us, was invented (in its print incarnation) back at the end of the Hundred Years’ War.
As Schiller ticked down the list, for feature after feature — portability, durability, interactivity, searchability, and currency — the book earned a big red X. Curiously, Schiller didn’t let his earlier observation of the antiquity of books undermine his critique on the grounds of their durability; not only the technology of the book, but many actual tomes survive from Gutenberg’s era; and when older formats are taken into account, far older books are still with us. It is comparatively difficult to imagine an iPad of today, much less an app designed to run on one, still in use two hundred, five hundred, a thousand years hence.
In a more focused sense, Apple’s critique of the textbook is valid. But the problem with textbooks isn’t that they’re books per se; it’s that they’re overdetermined, baroque in their complexity and ornamentation.
Modern textbooks are monsters — heavy, unwieldy, battened on siloed content. They’re like ’90s-era computers, loaded with bloatware that blunts their processor speed and complicates their interfaces. Already, today’s textbooks rarely come as paper-only devices, but include (for significant extra licensing fees) websites, online editions, networked assessments, and interactive assignments. For the wired child, these electronic ancillaries solve the portability problem; for the less prosperous or fortunate pupil, the backpack is still very heavy.
The major education publishers have become massively efficient inhalers of content, capturing licenses for images and objects held in museums around the globe, hiring phalanxes of MAs and ABDs to craft mazes of matrices, rubrics, and quizzes, and deploying batteries of sales reps to market-test every page, every image, every checklist. It’s a prosperous model — and as Tim Carmody evocatively documented at Wired yesterday, this prosperity has enabled education publishers to leverage their way into trade publishing and other media. It’s no wonder Apple is taking aim at them.
The iPad is an extraordinary device, but it’s hardly the first avenue multimedia has taken to the classroom. The filmstrips and 16mm movies of my childhood could be engaging experiences too — and they could be time-fillers for addled, overstretched teachers as well. Schiller made a sentimental play to this constituency, opening his presentation with a series of excerpted interviews in which teachers sang the sad litany of challenges they face: cratering budgets, overcrowded classrooms, unprepared, disengaged students. The argument that Apple — founded by dropouts and autodidacts — is fundamentally motivated to change this set of conditions is as ludicrous as the notion that the company could ever hope actually to do any such thing.

The textbooks demonstrated in yesterday’s event were lovely and compelling — and they looked strikingly like current textbooks. Roger Rosner, who heads productivity software for Apple, gave a tour of Life on Earth, a title created in conjunction with E. O. Wilson’s Encyclopedia of Life project; after playing the book’s cinematic introductory sequence, he swiped through pages featuring familiar modalities of intertextual braiding and layering: things like tables, block capitals, and callout boxes, which derive from mid-20th-century rotogravure magazine production — only sprinkled with videos, animations, and interactive images, in Apple-controlled formats, subject to development cycles originating in Cupertino (and routed through Shenzhen). At one point, he dove into a microphotograph of a cell to pop out a rendering of a strand of DNA. The helix shimmered invitingly, but disclosed none of its secrets.
Here’s the thing: Interactivity doesn’t exist. More properly, everything is interactive. We use the catch-all term “interactivity” to brand as novel the qualities exhibited by digital objects striving to be like real-world objects. But chairs, raindrops, sandwiches, and envelopes are also interactive — in their own evolved ways. Books in fact exhibit rich interactive habits, evolved to engage us in peculiar ways (and increasingly, these very features are counted as bugs).
Digital objects, too, evolve their own ways of reaching out to meet us halfway. The spell of the real makes us strive for a specious virtuality, to try fashioning uncanny appendages for objects that live in databases and go to work in networks. Tellingly, it’s at those uncanny intersections where digital objects most strenuously try to emulate objects in the real world — books, shelves, desk blotters, gaming tables — that Apple’s legitimately vaunted design sensibility breaks down. For its part, a pop-up animation of a lipid molecule might be enlightening — or it might merely be twisty and pretty. That’s why I almost want to say that, those heartfelt teacher testimonials at the start of yesterday’s show notwithstanding, it’s not the book Apple is trying to replace — it’s teaching.
Tools exist — they’re getting more powerful everyday — that allow us to treat digital objects as digital objects: to collect and organize them, to fashion stories from them, to turn them into bespoke devices uniquely tuned to unlocking the world’s mysteries. Apple wants to offer us those tools as well. Yesterday’s event also introduced iBooks Author, a free app for building iPad-native textbooks like Life on Earth. But increasingly, such vital aggregates can be engineered in classrooms, hacked together on the fly by teachers and students learning and teaching collaboratively. I’m thinking in particular of Zeega, an open-source toolkit for collecting media and telling stories, which is in the midst of development in association with metaLAB, the research/design group I work with at Harvard — but a host of other such tools exist or are on the way.
We can never count Apple out — the company’s visions have an implacable way of turning into givens — but the future is undoubtedly more complex. There will still be overcrowded classrooms, overworked teachers, and shrinking budgets in an education world animated by Apple. But I prefer to think of teachers and students finding ways to hack knowledge and make their own beautiful stories to envisioning ranks of students spellbound by magical tablets.
Matthew Battles is the author of Library: An Unquiet History and cofounder of HiLobrow. He is a program fellow at Harvard’s Berkman Center for Internet and Society, where he works for metaLAB, a research and design group investigating the arts and humanities in a time of networks.
Posted: 20 Jan 2012 08:00 AM PST

The web flexes its political muscle: After a couple of months of growing concern, the online backlash against the anti-piracy bills SOPA and PIPA reached a rather impressive peak this week. There’s a lot of moving parts to this, so I’ll break it down into three parts: the arguments for and against the bill, the status of the bill, and this week’s protests.
The bills’ opponents have covered a wide variety of arguments over the past few months, but there were still a few more new angles this week in the arguments against SOPA. NYU prof Clay Shirky put the bill in historical context in a 14-minute TED talk, and social-media researcher danah boyd parsed out both the competitive and cultural facets of piracy. At the Harvard Business Review, James Allworth and Maxwell Wessel framed the issue as a struggle between big content companies and smaller innovators. The New York Times asked six contributors for their ideas about viable SOPA alternatives in fighting piracy, and at Slate, Matthew Yglesias argued that piracy actually has some real benefits for society and the entertainment industry.
The most prominent SOPA supporter on the web this week was News Corp.’s Rupert Murdoch, who went on a Twitter rant against SOPA opponents and Google in particular, reportedly after seeing a Google TV presentation in which the company said it wouldn’t remove links in search to illegal movie streams. Both j-prof Jeff Jarvis and GigaOM’s Mathew Ingram responded that Murdoch doesn’t understand how the Internet works, with Jarvis arguing that Murdoch isn’t opposed so much to piracy as the entire architecture of the web. At the Guardian, however, Dan Gillmor disagreed with the idea that Murdoch doesn’t get the web, saying that he and other big-media execs know exactly the threat it represents to their longstanding control of media content.
Now for the status of the bill itself: Late last week, SOPA was temporarily weakened and delayed, as its sponsor, Lamar Smith, said he would remove domain-name blocking until the issue has been “studied,” and House Majority Leader Eric Cantor said he won’t bring the bill to the House floor until some real consensus about the bill can be found.
That consensus became a bit less likely this week, after the White House came out forcefully against SOPA and PIPA, calling for, as Techdirt described it, a “hard reset” on the bills. The real blow to the bills came after Wednesday’s protests, when dozens of members of Congress announced their opposition and, this morning, both SOPA and PIPA were indefinitely postponed.
But easily the biggest news surrounding SOPA and PIPA this week was the massive protests of it around the web. Hundreds of sites, including such heavyweights as Wikipedia, Reddit, Mozilla, BoingBoing, and WordPress, blacked out on Wednesday, and other sites such as Google and Wired joined with “censored” versions of their home pages. As I noted above, the protest was extremely successful politically, as some key members of Congress backed off their support of the bill, leading The New York Times to call it a “political coming of age” for the tech industry.
The most prominent of those protesting sites was Wikipedia, which redirected site users to an anti-SOPA action page on Wednesday. Wikipedia co-founder Jimmy Wales’ announcement of the protest was met with derision in some corners, with Twitter CEO Dick Costolo and PandoDaily’s Paul Carr chastising the global site for doing something so drastic in response to a single national issue. Wales defended the decision by saying that the law will affect web users around the world, and he also got support from writers like Mathew Ingram and the Atlantic’s Alexis Madrigal, who argued that Wikipedia and Google’s protests could help take the issue out of the tech community and into the mainstream.
The New York Times’ David Pogue was put off by some aspects of the SOPA outrage and argued that some of the bill’s opposition grew out of a philosophy that was little more than, “Don’t take my free stuff!” And ReadWriteWeb’s Joe Brockmeier was concerned about what happens after the protest is over, when Congress goes back to business as usual and the public remains largely in the dark about what they’re doing. “Even if SOPA goes down in flames, it’s not over. It’s never over,” he wrote.

Apple’s bid to reinvent the textbook: Apple announced yesterday its plans to add educational publishing to the many industries it’s radically disrupted, through its new iBooks and iBooks Author systems. Wired’s Tim Carmody, who’s been consistently producing the sharpest stuff on this subject, has the best summary of what Apple’s rolling out: A better iBooks platform, a program (iBooks Author) allowing authors to design their own iBooks, textbooks in the iBookstore, and a classroom management app called iTunes U.
After news of the announcement was broken earlier this week by Ars Technica, the Lab’s Joshua Benton explained some of the reasons the textbook industry is ripe for disruption and wondered about the new tool’s usability. (Afterward, he listed some of the change’s implications, including for the news industry.) Tim Carmody, meanwhile, gave some historical perspective on Steve Jobs’ approach to education reform.
As Carmody detailed after the announcement, education publishing is a big business for Apple to come crashing into. But The Atlantic’s Megan Garber explained that that isn’t exactly what Apple’s doing here; instead, it’s simply “identifying transformative currents and building the right tools to navigate them.” Still, Reuters’ Jack Shafer asserted that what’s bad for these companies is good for readers like him.
But while Apple talked about reinventing the textbook, several observers didn’t see revolutionary changes around the corner. ReadWriteWeb’s John Paul Titlow noted that Apple is teaming up with big publishers, not killing them, and Paul Carr of PandoDaily argued that iBook Author’s self-made ebooks won’t challenge the professionally produced and marketed ones. All Things Digital’s Peter Kafka did the math to show the publishers should still get plenty of the new revenue streams.
The news still brought plenty of concerns: At CNET, Lindsey Turrentine wondered how many schools will have the funds to afford the hardware for iBooks, and David Carnoy and Scott Stein questioned how open Apple’s new platforms would be. That theme was echoed elsewhere, especially by developer Dan Wineman, who found that through its user agreement, Apple will essentially assert rights to anything produced with its iBooks file format. That level of control gave some, like GigaOM’s Mathew Ingram, pause, but Paul Carr said we shouldn’t be surprised: This is what Apple does, he said, and we all buy its products anyway.

Making ‘truth vigilantes’ mainstream: The outrage late last week over New York Times public editor Arthur Brisbane’s column asking whether the paper’s reporters should challenge misleading claims by officials continued to yield thoughtful responses this week. After his column last week voicing his support for journalism’s “truth vigilantes,” j-prof Robert Niles created a site to honor them, pointing out instances in which reporters call out their sources for lying. Salon’s Gene Lyons, meanwhile, said that attitudes like Brisbane’s are a big part of what’s led to the erosion of trust in the Times and the mainstream press.
The two sharpest takes on the issue this week came from The Atlantic’s Conor Friedersdorf and from Columbia Ph.D. student Lucas Graves here at the Lab. Friedersdorf took on journalists’ argument that people should read the news section for unvarnished facts and the opinion section for analysis: That argument doesn’t work, he said, because readers don’t consume a publication as a bundle anymore.
Graves analyzed the issue in light of both the audience’s expectations for news and the growth of the fact-checking movement. He argued for fact-checking to be incorporated into journalists’ everyday work, rather than remaining a specialized form of journalism. Reuters’ Felix Salmon agreed, asserting that “the greatest triumph of the fact-checking movement will come when it puts itself out of work, because journalists are doing its job for it as a matter of course.” At the Lab, Craig Newmark of Craigslist also chimed in, prescribing more rigorous fact-checking efforts as a way for journalists to regain the public’s trust.
Reading roundup: Not a ton of other news developments per se this week, but plenty of good reads nonetheless. Here’s a sample:
— There was one major development on the ongoing News Corp. phone hacking case: The company settled 36 lawsuits by victims, admitting a cover-up of the hacking. Here’s the basic story from Reuters and more in-depth live coverage from the Guardian.
— Rolling Stone published a long, wide-ranging interview with WikiLeaks’ Julian Assange as he awaits his final extradition hearing. Reuters’ Jack Shafer also wrote a thoughtful piece on the long-term journalistic implications of WikiLeaks, focusing particularly on the continued importance of institutions.
— Two interesting pieces of journalism-related research: Slate’s Farhad Manjoo described a Facebook-based study that throws some cold water on the idea of the web as a haven for like-minded echo chambers, and the Lab’s Andrew Phelps wrote about a study that describes and categorizes the significant group people who stumble across news online.
— In a thorough feature, Nick Summers of Newsweek/The Daily Beast laid out the concerns over how big ESPN is getting, and whether that’s good for ESPN itself and sports media in general.
— Finally, for those thinking about how to develop the programmer-journalists of the future, j-prof Matt Waite has a set of thoughts on the topic that functions as a great jumping-off point for more ideas and discussion.
Posted: 20 Jan 2012 07:00 AM PST

“We are deliberately not doing television on the web.”
As strategies go, that sounds like a solid start for Reuters TV, which launched this week as a YouTube channel and a new destination on Reuters.com. But what Barclay Palmer, Reuters global executive producer, was getting at is that, while sharing some commonalities with cable and network news, Reuters TV won’t just be CNN, MSNBC, or FOX News recreated for YouTube.
That’s because Reuters TV is an experiment in just what exactly online video news could become. It’s territory still largely uncharted, with the bulk of online news video coming from network and cable news, comprised of show segments and individual reports sliced up in easily digestible bits. (And online news video is, of course, just a tiny fraction of all web video.) For networks, that has meant carrying over much of the classic TV form — shot selection, editing, story length, set design — to the web, whether or not it matches up with the desires of online audiences.
That’s likely one of the reasons YouTube, which is branching out into original programming through partnerships, wanted a friend like Reuters. YouTube offers reach, Reuters offers the global news-gathering operation: Reuters + YouTube = the potential for a next generation news network. When I talked with Palmer, whose TV experience includes The NewsHour on PBS, Anderson Cooper 360, and others, he said Reuters has a chance to create a whole new experience for news video online.
“Reuters has this great tradition of providing smart content to news outlets, but it hadn’t really been in this business,” he said. “There’s a great opportunity to bring Reuters into online programming.”
What they plan to offer on the new channel is a mix of news and analysis on politics, finance, technology and other news from Reuters personalities like Chrystia Freeland, Felix Salmon, and Anthony De Rosa. Along with more interview-driven fare, they’ll also produce shows based around the U.S. presidential election, investigative reporting, and video from journalists in the field. It’s TV-esque — up to a point. There will be people chatting mingled with rich visuals, but the production style will be more casual, with less of a network polish and more of the energy of an upstart, Palmer said.
The advantage for Reuters is that there are few hard and fast rules for what works in original online video when it comes to news. “I think that in television, people are used to an architecture of the way programming works that gives a sense of familiarity and predictability that is comforting,” he said. None of that exists online, and that’s a good thing to Palmer. Take length: There’s a widespread belief that online video must be short in order to keep viewers attention — but Hulu and Netflix have proven people will happily watch something longer than two minutes on the web (yes, it’s entertainment content, but still). Reuters TV shows will be tailored both in shorter clips and in full programs to give viewers options and to make the content more sharable. On the production side, Palmer said, that’s a plus. “The advantage of online programming is you’re not held to 60 minutes or 48 minutes of programming,” he said. “You can end wherever it feels right to end.”
One way TV and online mirror each other is in the emphasis on personalities. Viewers want to feel like they can make a connection and be in contact with journalists, Palmer said, which is one reason YouTube is a useful platform for a news channel. It helps that a chunk of Reuters TV’s talent already have healthy Twitter/Facebook/Tumblr followings. “You need authentic people who are compelling,” he said. “You don’t need a $300 hairdo or a voice you think could be Shakespearian. People have to connect with viewers in a genuine way.”

Reuters has been spending a lot of money in recent years beefing up their news division, and investing money in launching an online TV channel — even one using existing talent — isn’t cheap. Think of it as buying pre-distressed jeans at the Gap: They’re spending money, but they don’t want to look like it. In Reuters’ case, that’s because they want to fit the aesthetics of web video, a look that’s a little rougher around the edges but one that’s inviting to audiences.
Nielsen is reporting that more people are watching video across multiple platforms, from their TVs to laptops, tablets and phones. At the same time, TV manufacturers are increasing the production of Internet-capable sets, and companies like Apple and Google are developing TV offerings not dependent on traditional networks. Meanwhile, Netflix and Hulu are focused on developing original scripted shows (or bringing back old ones — come on!).
Media companies are looking at this and responding, with the New York Times TimesCast series, the Wall Street Journal’s WSJ Live, and more. This past week, rumors perked up about the possibility of a Huffington Post streaming news channel. Reuters and the rest of these organizations are chasing the dream: A new market for online news video, bringing in new advertising and reach new audiences, but built in part on the same news-gathering staff already in place. “There is an increased offering of video online from news outlets and we can see a slow, but massive movement of people taking in video news online,” Palmer said.
One question hanging over the collaboration between YouTube and Reuters, is how well YouTube — normally a diversionary network of memes, old music videos, and clips from 1980s TV shows — can work as a news portal. Will it be able to build a persistent audience for news — not just fly-by users who pass through searching for specific clips (like, say, when I’m trying to remember what was the theme from Harcastle & McCormick)? Or will there at least be enough fly-bys to matter? (At posting, the 10 most recent Reuters TV clips on YouTube had a total of 1,265 views. The clip above, from an interview with Russian billionaire/New Jersey Nets owner Mikhail Prokhorov, had 7.) Will people deliberately go to YouTube for news? Again, here is where Palmer sees the problem of distinction: If the audience has already changed the way it consumes video, either through delayed watching on DVRs and Tivo, or on-demand video through cable or the Internet, there’s no real measure yet of how a project like this will succeed. If there’s a seismic change coming in video, and Palmer believes there is, Reuters TV is playing the long game. “Cable took years to make money,” Palmer said. “As the distinction between broadcast and cable is eroding, so will the distinction between broadcast, cable and online.”

Jumat, 20 Januari 2012

The day the bookshelf shook


Nieman Journalism Lab



Posted: 19 Jan 2012 08:30 AM PST

Apple’s New York education event — smack in the middle of the book publishing world — has concluded. You can see coverage from The Verge here, but the main takeaways are a new version of iBooks that enables great-looking interactive textbooks; a new Mac app called iBooks Author that promises to make it much easier to assemble and publish ebooks; and a new iTunes U app that makes it easier for universities and schools to create and distribute an entire course’s worth of material, from lecture videos to readings to assignments.
The focus was on education, and Apple faces some significant hurdles in getting their products into actual schools (where textbook and technology purchasing are constricted by forces bureaucratic, fiscal, and otherwise). But in truth much of what Apple announced was squarely aimed at further disruption of the publishing industry — in this case, the book publishing industry, already facing disruption from Amazon and ebooks more broadly.
So what should someone in the news business take away from today’s announcements? Here are four ideas I think are worth keeping in mind.

News organizations: Now’s the time to figure out how to jump on the ebook bandwagon.

As I wrote the other day, ebooks as a platform have been limited by the relatively clunky process for converting a stack of text into an attractive digital product. It’s not impossible, of course — it’s just a pain.
Today’s announcement of iBooks Author promises to make that process a lot easier. (Although just for iBooks, of course — in most cases, of course, you’ll also want to publish to the Kindle.) Particularly for news organizations — which typically have lots of good art to go along with their longer-form content — pulling together an attractive package could now be a matter of minutes instead of hours. (Or, to put it another way, something done routinely in-house instead of farmed out to a contractor.)
How will news organizations react to that newfound ease of publishing? What are the ebooks already lurking inside the heart of the newsroom, just waiting to be unlocked? Is it a compilation of all a newspaper’s restaurant reviews? A popular columnist’s collected works? A compendium of all the paper’s stories about the local high school football team, player profiles and game stories, full of big art? Several years’ worth of gardening columns, filtered to focus on what grows well in the local soil? A local band book/database that includes MP3 samples from each? An expanded version of the 100 Biggest Local Businesses section the biz desk puts out once a year? A detailed guide to the local public schools, aimed at people new to area?
In the print book era, deciding to try one of these ideas would involve estimating the potential audience, deciding whether it’s worth investing the time to design it, guessing at a print run, figuring out how to get it in the hands of local retailers, and a host of other complications. But with ebooks — if publishing those ebooks is uncomplicated, just a few more steps than hitting File -> Save As…, built around common templates — what kinds of value could be unlocked?

“Book” content can be episodic too.

One of the standout new textbooks announced today was E.O. Wilson’s Life on Earth, the Harvard professor’s attempt to rethink the biology textbook. Aside from what wisdom it will bring about the Mesozoic Era, perhaps its most interesting element is that it is being released chapter by chapter. The first two chapters are available for download now; the remaining ones will be available later at an “aggressive” price.
Think of Charles Dickens, whose books were famously serialized and left crowds hanging out at the New York docks for a new chapter to roll in to find out what happened to little Nell.
News organizations have traditionally thought of books — when they’ve thought of them at all — as something to be assembled after the fact. Maybe it’s a 10-part series that gets massaged into paperback form after the newsprint run is over. Or it’s a recap of the local football team’s championship season.
But news orgs are really good at producing episodic information. And if books like Wilson’s begin to train readers that books can start incomplete and fill in over time, the technology’s already there — in iBooks and on the Kindle. (The tech book world is already ahead of the game here; books about programming languages now regularly appear first in “beta,” for instance, and O’Reilly’s Book: A Futurist’s Manifesto is adding chapters over time — in part in response to reader feedback.
Once books stop being only finished, whole things — when they can also be works in progress, works in development — the possibilities for journalists open up. Imagine a book on the health-care reform debate that could be updated with each twist and turn, adding profiles of the players, daily news updates, legislative summaries, and more as the story developed. Imagine if buying a book was less a purchase of a contained story and more a statement of desire — “I’m interested in this subject and I want to have all the important news and analysis about it delivered to me, in the place I’m used to reading.”

“Publishing” is becoming a convergence of technologies and workflows.

As Apple showed off the process of making ebooks with iBooks Author, what stood out for me is how much it draws on all the disparate workflows that you could lump under “publishing.” There was a bit drawn from word processing, a little from layout design, some from presentation-building, a touch of web-page building, and even a little drawn from app development. (The preview-on-an-attached-iPad comes straight from Xcode, the app you use to build iPhone, iPad, and Mac native apps.) And of course, I haven’t even mentioned all the (important, duh) work that happens before iBooks Author gets launched — namely writing and editing.
It’s a mish-mash of styles. It looks, at very first glance, that iBooks Author does a good job of making it all user friendly, but it’s a reminder that “publishing,” as an act and as a field, pulls together a full liberal-arts curriculum’s worth of skills. Those whose abilities cover a wider range of those skills will do well; those who stick to one part of the process had better be really good at it.

Desktops and laptops are out of style.

There’s no reason, technically, why there couldn’t be a version of iBooks for the Mac. (Or the PC, for that matter.) But Apple has stuck to its guns: Reading iBooks is something you do on your iPhone or your iPad, not a desktop or laptop computer. (And today’s presentation went even narrower, focusing squarely on the iPad. For people who think a tablet would duplicate the kind of work they can already do their MacBook, today should help nail home the differentiation.)
I can’t imagine news organizations need any further evidence that reading is going to keep moving from big screens to smaller ones, from stationary to mobile. But judging by a lot of news sites’ abysmal mobile experiences, maybe they do. So here’s one more data point: Apple’s investing big in a creating a new kind of reading experience for a new kind of content, and they’re completely ignoring every desktop and laptop computer in the universe.
Posted: 19 Jan 2012 07:00 AM PST
What’s your signature content?
Quick: If somebody buttonholed you in an elevator, a school play, or a bar, and said, “Why should I pay you for that?” — what do you tell them?
Each passing week, it seems we’re further into the age of signature content. That only makes sense: If the death of distance is now old news, if everything is available everywhere at the touch of button or the swipe of a finger, then what makes any news or entertainment brand stand out amid this plague of plenty?

Closed systems — from three or four TV networks to less than a dozen big movie studios to a half-dozen major magazine publishers to geographically dominant newspapers — made signature content less important. Sure, big shows and big names have always driven media to some extent, but now, media without big names or big shows are going to get lost in the ether. Take Hulu’s announcement last week about Hulu Originals. You do have to wonder if Hulu’s fictional 13-episode “Battleground,” about a dysfunctional political campaign, will be bested by the Republican reality show in progress when the show debuts next month. Hulu is also bringing a Morgan Spurlock series for a second run, and probably will feature one other new program. The Hulu announcement joins Netflix’s own foray into signature content. Three years ago, would the thought of Netflix signing up Little Steven to do an original comedy series have crossed anyone’s imagination?
Hulu and Netflix both need to distinguish themselves in the market — not only from each other, but from Comcast, DirecTV, and Time Warner, among others. They need to buy protection as supposed masses consider cutting the cord on packaged services, Roku-ing and Apple-enabling Internet video onto their living-room screens. In movies and TV, we’re quickly morphing from a world of news and entertainment anywhere — get all of these things, somewhat haphazardly (Comcast Xfinity, for instance) on all of our devices — to one in which consumers ask, “What special do you have for me, in addition to my all access? Yes, All-Access, the cool feature of 2011, will quickly graduate from a wow to an expectation.
Why as consumers should we pay $7.99 (down from an initial $9.99) to Hulu Plus, when the same stuff (kinda sorta) is available through Boxee, or Apple TV, or Netflix, if I can find it? Why am I paying $7.99 a month (apparently the magic price of the moment) to Netflix for a catalog of films that is both voluminous and too often lacking what I want? Consumers are going to be asking that question a lot more.
Publishers, distributors, aggregators, and networks all want more money, and they’ve seen — courtesy of tablets and All-Access — that consumers are now more ready to pay for digital content than ever before.
Forget “content wants to be free.” Now content wants a fee. And everyone from Time Inc to The New York Times to the Memphis Commercial Appeal to Hulu’s co-owners (Fox, Disney, and Comcast) see gold. They see another digital revenue stream, in addition to advertising or to cable subscription fees. Yet they are increasingly believing they’ve got to up the ante (and Hulu is raising new funds to buy original programming) to compete and to win those consumer dollars.
News companies — at least one in ten U.S. daily newspapers and many consumer magazines — are rapidly embracing digital circulation revenue and All-Access. Yet results have been quite uneven. That makes sense: Consumers will pay for digital news, feature, and entertainment content, but they don’t want to overpay, and they’ll increasingly be forced to make choices. Buy this; let that go.
Let’s be clear. Paid media is paid media, and the original-programming pushes of the video companies have great meaning for news and magazine companies, global to local. For them, the calculus is similar. News and magazine brands can launch new products, though that’s out-of-their-DNA-tough for many. So they’ve focused primarily on sub-brands, many of which are people. These are the faces of news and magazines; many of these have become hot commodities over the last several years (“The newsonomics of journalistic star power“) as companies try to distinguish themselves — and give readers and viewers a reason to pick them out of the crowd.
How, though, can media companies afford to pay a premium for branded, promotable talent, talent that may open consumers’ pocketbooks? That’s easy: spend less on other content. So we’ve got the rise of user-generated content, obtainable free or cheap, and all kinds of new syndicate action from Demand Media to startup Ebyline (and maybe NewsRight), all trying to make it cheap and easy to get more medium- and higher-quality content more cheaply. What’s old is new again — as a young features editor, I got regular visits from syndicate and wire salesman, ranging from high-quality to the Copley News Service, that sold its stuff by the pound.
Another prominent model no news or magazine company can afford to ignore: The Huffington Post. Back to the early days when Betsy Morgan first teamed up with Arianna, HuffPost has worked this evolving content pyramid. At the top, a few highly paid site faces, many opinionated faces (some paid, most not), and then low-cost aggregation, much of it AP, headlined with the site’s recognizable swagger.
Then, of course, there’s the old standby: staff cutting. We’ve seen lots of staff cutting. In fact, these days, while we see some announcements like Media General’s big Tampa cut, most of the bloodletting is less public, but no less real. If you need to pay more to stars, and ad revenues are still declining, staff cuts of less than premium content (and those that produce it) make economic sense (“The newsonomics of the new news cost pyramid“). It’s the new news math.
These newsonomics of signature content are getting clearer. Netflix is planning to spend 5 percent of its expenses — or $100 million a year — on original, Netflix-defining content. Hulu is spending about a quarter what Netflix’s total, or $500 million in total, on all content licensing this year. We don’t know how much of that is for original content, but observers believe “Battleground” will cost $15-20 million for its 13 episodes. With its other forays, it will probably spend closer to 10 percent of its content budget on original content.
Curiously, many newspaper newsrooms constitute only 10-20 percent of the overall expenses of a daily newspaper company. So we’re starting to see some new, and old, arithmetic play out here.
Simply, Andy Forssell, Hulu’s SVP of content, explained the cost/benefit ratio to Variety: “…having an original scripted series that hasn’t been seen anywhere else yet is considered the best tool for standing out with either advertisers or viewers.”
As usual, we see the bifurcation of the bigger national brands — those with more audience to gain and more money to spend — and local news brands. While many local newspapers have cut to the bone, with too much of the tissue in the form of experienced, name-brand metro and sports columnists cajoled or drummed into “early retirement,” we see increased branding of stars at places like Time, The New York Times, Fox News, and ESPN. The sports network may be the classic business model of our age, and in its anchors and top analysts — many initially lured from daily newspapers — it has shown the way for many years now.
At the Times, consider business editor Larry Ingrassia’s build-up of business columnists, from veterans Gretchen Morgenson and Floyd Norris to new(er)bies Andrew Ross Sorkin, Brian Stelter, David Carr, Ron Lieber, and David Pogue. And the Times more recently picked up James Stewart from archrival Dow Jones.
At Fox News, Roger Ailes has cannily built the most successful cable news operation not on the interchangeable blondes that provide so much fodder for Jon Stewart and Stephen Colbert, but on O’Reilly and Hannity.
At NBC, the news franchise is so built around Brian Williams that his well received newsmagazine “Rock Center with Brian Williams” is synonymous with its host.
At Time Warner’s CNN and Time, we see the building of a worldly franchise on Fareed Zakaria’s clear-eyed, no-nonsense view of our times.
And then there’s the more local and regional press. Newspapers have long believed that it wasn’t any one or a half-dozen names that sold the paper. They’ve believed the news itself was the star, and the daily information report was the brand. That may be still be true of the Times, the Journal, the Financial Times, the Guardian, and a handful of other national/global news organizations — all of which have substantial, multi-hundred newsrooms that produce branded, unique products. It’s less true of regional and local dailies, many of which still present too much commoditized news in national, business, entertainment, and sports coverage, and have bid goodbye to many faces familiar to readers. Those that have retained familiar faces must do what they can to keep them; all need to recruiting more.
Then they may have a good answer to the question, in one form or another, consumers and advertisers will increasingly ask: What’s your signature content?

Newspaper Death Watch

Newspaper Death Watch


eMarketer: Online Ad Spend To Pass Print in 2012

Posted: 19 Jan 2012 10:59 AM PST

this release is republished verbatim from eMarketer. More here.

U.S. Print Versus Online Ad Spending ForecastUS online advertising spending, which grew 23% to $32.03 billion in 2011, is expected to grow an additional 23.3% to $39.5 billion this year-pushing it ahead of total spending on print newspapers and magazines, according to eMarketer. Print advertising spending is expected to fall to $33.8 billion in 2012 from $36 billion in 2011.

Online Growing Even Faster Than Expected: eMarketer’s previous US online advertising forecast from July 2011 was among the more bullish estimates issued during the year-forecasting 20.2% growth to $31.1 billion in 2011-yet consistently stronger-than-expected results from major industry players and the IAB/PwC benchmark through the first three quarters of 2011 contributed to the upward revision.

Total Ad Spending is Growing Too: Despite concerns about the troubled economy among agencies and marketers, total ad spending in the US is expected to rebound in 2012 after rising 3.4% to $158.9 billion in 2011, according to eMarketer. US total media ad spending will grow an estimated 6.7% to $169.48 in 2012, boosted by the national elections and summer Olympics in London, eMarketer estimates.

TV is Steadily Up: Spending on TV advertising grew 2.8% in 2011 to $60.7 billion, eMarketer estimates. This year, TV ad spending will grow an estimated 6.8% to $64.8 billion-driven the Olympics and election-while remaining resilient from worries about the soft economy.

Digital remains the sole bright spot for newspapers and magazines: eMarketer estimates US digital newspaper ad revenues grew 8.3% to $3.3 billion in 2011. Print advertising revenues at newspapers fell 9.3% to $20.7 billion in 2011. At magazines, US print ad revenues are expected to rise 0.5% to $15.34 billion in 2012, up from $15.3 billion last year. US digital advertising spending at magazines grew 18.8% to $2.7 billion in 2011.