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When GOOD magazine lost its cool

 

When it was announced earlier this month that GOOD Magazine had laid off most of its editorial staff for nebulous reasons (two of them quit right after), I barely raised my eyebrows. This kind of news is generally considered as disastrous, and since then there has been quite some talk about it on the Web. But I stopped caring about the magazine a while ago. I guess I got lost between two of the many direction shifts the company attempted during its short existence, and preferred to focus on publications that are slightly more reliable. Today, when I learned the laid-off staff teamed up for an intriguing project (for which they’ve already received funding on Kickstarter in just a few hours), I thought maybe it would be a good time to express all I think about the magazine, before to move on to other things.

When GOOD mag was launched in 2006 it was bold and fresh and surfing the nascent wave of guilt-based capitalism (these are my words. Writer Teju Cole calls it the White Savior Industrial Complex.) GOOD would give your $20 subscription to a good-doing NGO, and publish inspiring articles about farmers markets and talking to your neighbours, along with in-depth reporting pieces and stunning infographics. The magazine’s design was so good it won two National Magazine Awards.

I discovered GOOD when it published its second issue and blogged about it here. I guess they were on top of their social media marketing, because a few days later I received a thank-you email, followed by a gift subscription and a handful of promotional stickers in the mail. I was thrilled. I loved this magazine and it loved me back.

A couple of years later I was showing an issue to a friend who told me “this magazine looks quite empty to me.” And then I realized that between the second issue and the one we were looking at, the mag had become, yes, empty. GOOD started losing its substance when it increased its online presence and decreased its print schedule from bimonthly to quarterly. The website became a platform for curated content, with the occasional interesting infographics popping up once in a while. When my subscription ended I didn’t renew it, but still visited the website from time to time.

Then the “People are awesome” column showed up, and this was the definitive end of our relationship. Who’s awesome? The woman who lost her legs in a tornado to save her children’s lives? The doctors who induced labor on a woman so the dying dad could hold his daughter? The soldier who died so an Afghan boy could live? This is not awesome, it’s tragic! It’s tragic and these stories are voyeuristic. I mean, would you wish for that to happen to other people? In the meantime, we lost relevant, original reporting, the one thing I think people were really excited about when GOOD started, because we thought a magazine could exist and be profitable selling original stories about inspiring topics.

GOOD fired its staff the day after a company party, invoking a strategic shift. Then founder Ben Goldhirsh wrote a now-infamous email to explain the decision, which still doesn’t give us any clue as to where the company is heading. But I guess with the editorial team gone, we won’t be able to call it a magazine anymore.

It doesn’t make a big difference to me anyway. I stopped reading GOOD and don’t believe in what it stands for anymore. I think reading the news every day makes me a much better citizen.

Photo credits: Alex Hung/Flickr. Some rights reserved.

 

Ruin porn: what’s beneath our fascination for Detroit’s decay

This morning I posted a link to this editorial from The Architect’s Newspaper, which presents a positive view of ruin porn (or Detroitism,) a recent tendency to photograph the ruins of Detroit’s and marvel at their sombre beauty (see examples here, here and here). This article got me thinking: why are we fascinated with signs of urban decay? Why has the plight of Detroit become the object of so much attention? The ruins of Detroit symbolize much more than than the end of the industrial age. They remind us that even the greatest cities eventually die, that no matter how grand humanity can be, it cannot escape a tragic fate. Detroit’s photographs are morbidly beautiful, and we can’t stop watching.

But ruin porn is just part of a general tendency to underline how much Detroit has come to suck. Yes, Detroit sucks, and we revel in remembering and detailing how much it sucks as often as we can. Back when I was living in Seattle, the Stranger (one of the city’s alternative weeklies) published a 3000-word feature titled “Things I Remember About Detroit.” Apparently all there was to remember was violence, prostitution, drug deals, dirt and ruins. I read all 3000 words with vicious pleasure. I also viewed countless photo essays about Detroit’s abandoned buildings, and I even started sharing on this blog my own opinion about what Detroit needs in order to survive.

When I stumbled upon this article this morning I decided to make a quick search about what is said about ruin porn online, and it turns out a lot of good stuff has been written, pro and against the trend. But eventually, I found a feature piece from Vice magazine dating two years back, which eventually gave me an entirely different perspective on the issue.

Read more…

Media literacy in the digital age

As a journalist, I often get asked whether the proliferation of news sources online (newspapers’ websites, blogs, aggregators…)  is indeed harming journalism. It will certainly take a while for news organizations to figure out a new business model and for other structures to be put in place to create a balance between traditional reporting, citizen journalism and commentary, and the economic crisis hasn’t helped. Over the next couple of years there will be less reporting done, fewer articles written, fewer important issues covered, but in the long term, I’m convinced that journalism, however different it might become, will thrive again.

What has to change, however, is our attitude toward the different sources that feed us information. In the old age of broadcast and print journalism, it was easy to remain passive and take for granted what we heard or read, because these institutions built their credibility on a history of highly-regulated and structured reporting. But now that we are overwhelmed by the amount of information we’re receiving, we’re going to have to be much smarter at sorting this information out and take from it what we need.

“In 2009 literacy isn’t about finishing a book or slogging through 12 web pages to get to the end of an article. It is about knowing what to do with information, how to find the good stuff, how to assess sources. What matters is not that we are readers, but that we are critical readers,” writes Utne Reader’s librarian Danielle Maestretti in the magazine’s July-August 2009 issue.

Whereas the journalism industry will probably regulate itself naturally, media literacy cannot be achieved without effort and education.

What’s behind the recent changes at Good magazine?

I just opened the new issue of Good magazine — the magazine with the best paper smell — and was surprised by the answer give to the first letter to the editor.

Our big focus is on doing more with less — which is why we’ve shifted from six issues a year to being a quarterly, as well as using a more strategic distribution system (fewer newsstands mean less waste) and seriously increasing the amount of content online.

Now, I appreciate Good magazine’s effort to reduce their impact on the environment, but I can’t help but thinking that the reason behind these changes is in fact economical. C’mon, “fewer newsstands mean less waste?” And how much money are you going to save by doing this?

Informapping

Check out Informapping, a very nice effort to look at the news globally and sort out the huge amount of information that’s offered to us. Informapping is the project of Francois Patry, Art Director at the Lemieux Bédard ad agency.

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RiP: A Remix Manifesto

RiP: A Remix Manifesto is a new documentary by Brett Gaylor that explores the issues of copyright in pop culture. The film investigates “the complexities of intellectual property in the digital era” by following mash-up artist Girl Talk and other personalities such as Creative Commons founder Lawrence Lessig.

Gaylor has also been experimenting with the open source movement with his own movie by launching OpenSourceCinema.org, a website where anyone can remix his footage. The website, which seeks to improve online collaboration, will continue to be used for other projects after the film is released. Gaylor also invites the public to help create the soundtrack of the film by creating music using Creative Commons licensed samples at http://ccmixter.org/rip.

RiP: A Remix Manifesto will be screened in Canadian theatres starting March 6.

Two business models for newspapers

The traditional newspaper is dying, and two recent opinion articles in the Guardian call for new business models to be implemented.

Bruce Ackerman‘s choice is for national endowments, that would be mainly targeted at investigative journalism, since  “Each national endowment would subsidise investigations on a strict mathematical formula based on the number of citizens who actually read their reports on news sites,” Ackerman writes.

Dan Kennedy advocates a change of the law that governs non-profit institutions. According to that law, non-profit institutions can only benefit from a tax-exempt status if they don’t “influence legislation” or “participate in any campaign activity for or against political candidates”. Kennedy writes that the law was enacted by a biased Lyndon Johnson and is not compatible with the first amendment. If that part of the law is suppressed, newspapers will be able to apply for non-profit status.

Toward an online, local and non-profit journalism

Information is now a public service as much as it’s a commodity. It should be thought of the same way as education, health care. It’s one of the things you need to operate a civil society, and the market isn’t doing it very well.

This quote from Buzz Woolley, president of VoiceofSanDiego, can be found at the very end of a recent New York Times article about next-gen online newspapers. Yet it perfectly summarizes the recent transformation of the newspaper industry, toward a local and publicly-funded reporting. VoiceofSanDiego is an online, non-profit and local newspaper. It is funded by individuals, foundations and businesses and has a readership of about 18,000. Like Spot Us, it’s experimenting a new kind of business model, which has since been taken up by many others.

I’ve always thought that journalism should be a non-profit activity. It is indeed a public service, even if it must stay independent from the government. Making profits off the news just doesn’t seem quite right…

Hire a community reporter through crowdfunding

Citizens of the San Francisco Bay area can now hire journalists to investigate issues relevant to their community. Spot Us, a new nonprofit initiative, uses the principle of crowdfunding by allowing people to vote for and finance story ideas that they judge interesting. The articles are then posted on the website and given or sold to local newspapers that want to publish them.

In order to limit the influence of financial contributors who might be driven by personal interests, donations are limited to 20% of the cost of the story.

Spot Us was founded by Dave Cohn, a 26-year-old journalist, with the help of a $340,000 grant from the Knight Foundation. It might very well be the future of reporting!

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The NYT: “A different way to pay for the news you want,” August 23, 2008

The BPP is cancelled. What went wrong here?

NPR cancelled the Bryant Park Project after only nine months of existence. The announcement was made last week and the last show will be aired tomorrow morning. The BPP was launched as an attempt to draw a younger audience. Its tone is light and conversational and its news stories deal with various subjects such as politics, culture and sports. It also relies on a strong web presence: its website features a blog, sound clips, videos and articles. The show also makes an original use of social networking services such as Facebook and Twitter.

The BPP was actually picked by very few NPR member stations. Most users listen to the show online or through podcasting, but that was enough to draw an audience of about one million unique listeners in April and May, according to the New York Times. In spite of this success, NPR decided to cancel the show because of its cost (it had a first-year budget of $2 millions.)

The show’s cancellation drew reactions from hundreds of angry listeners on its website as well as elsewhere in the web community. Many feel that it could be continued as an entirely web-based program, and that opinion is shared by the BPP’s staff. In my opinion, this is how it should have been created in the first place. Most NPR member stations and listeners were obviously not ready to give up on the Morning Edition, NPR’s traditional morning program. Traditional news media seem so scared to explore the possibilities that the web has to offer, they seem unable to give up on their usual format and to realize that there is an audience out there that is receptive to new ideas and concepts. It is a scary and difficult task to accomplish, I know, but as long as they don’t understand that the way they’ve been working for decades is not suitable for new technologies, the only online news sources that will be successful will be blogs and social networking services (and I want something better than that.)