In the early 1950s, a former ad man and modestly successful children's book author published a series of illustrated stories for children in magazines like Redbook. They were short, two-to-three page spreads with stamp-sized drawings and minimal coloring. He hoped to publish them in book form but another project gained steam. ... In 1957, he published a book that became an immediate best seller, turning him into a global publishing phenomenon. By approaching learning to read as zany and fun instead of boring and dull, the book altered the children's literature landscape. His name was Theodor Seuss Geisel and the book was called "The Cat in the Hat." While some of the magazine stories eventually made it into a book during his lifetime, others never did. ... On Sept. 9, Random House will publish "Horton and the Kwuggerbug and More Lost Stories," the second collection of Dr. Seuss's forgotten magazine work. The previous volume, "The Bippolo Seed and Other Lost Stories," reached No.1 on the New York Times best-seller list when it was released in 2011. Random House is betting even bigger on "Horton," with an extensive marketing campaign and a large first print-run of 250,000 copies. "It tickles me that a whole new generation will get to read and experience these characters, some new and some familiar," said Audrey Geisel, Ted's 93-year-old widow and head of his estate Dr. Seuss Enterprises. ... Some 600 million Seuss books have sold in 17 languages and 95 countries, according to the books' publisher. Movie adaptations have grossed more than $1.1 billion world-wide
Over the past century, technological advancements have massively reduced the cost and time needed to create and circulate content. Though this has liberated artists, consumers are now drowning in a virtually infinite supply of things to watch, listen to and read. The answer to a world where attention is the key constraint, not capital or distribution, isn’t Big Media – it’s the Influencer Curator. ... the next evolution in the media value chain will be the rise of decentralized curation – with individual tastemakers building up mass followings and driving enormous consumption by recommending various articles, videos, shows, films, albums, exhibits and so on. While there’s no way to effectively do this at scale today, the transition is long in development.
Ferro, who declined to be interviewed for this story, began his career as an entrepreneur, launching companies in the 1980s and ’90s, including a software startup. By the time he met Fiasco, Ferro had long since transitioned from creating businesses to buying them—especially ones in financial trouble. And for an investor in distressed companies, few industries have targets as numerous and tempting as newspapers. ... The Ferro era at Tribune has quickly become one of the more baffling chapters in media history. Within eight months, Team Ferro has rejected one purchase offer, angering shareholders; promised to unveil a “content monetization engine” that would unleash newspapers’ true potential as a “rock star business”; posted a want ad for an employee to assist “news content harvesting robots”; rejected another, more lucrative purchase offer; rebranded Tribune as Tronc, or tronc, as the company insists; and split and re-rebranded tronc into troncM, for media, and troncX, for exchange. ... corporate renaming ignited extended spasms of #tronc mockery on social media. Sample tweet: “WHAT YOU GONNA DO WITH ALL THAT JONC ALL THAT JONC INSIDE YOUR TRONC.” ... yet, until recently, Ferro was on the verge of laughing all the way to the bonc, as it were. ... now the spotlight is back on Ferro and his vision for saving journalism.
It should be emphasised that Europe’s success was not the result of any inherent superiority of European (much less Christian) culture. It was rather what is known as a classical emergent property, a complex and unintended outcome of simpler interactions on the whole. The modern European economic miracle was the result of contingent institutional outcomes. It was neither designed nor planned. But it happened, and once it began, it generated a self-reinforcing dynamic of economic progress that made knowledge-driven growth both possible and sustainable. ... In brief, Europe’s political fragmentation spurred productive competition. It meant that European rulers found themselves competing for the best and most productive intellectuals and artisans. ... A possible objection to this view is that political fragmentation was not enough. The Indian subcontinent and the Middle East were fragmented for much of their history, and Africa even more so, yet they did not experience a Great Enrichment. Clearly, more was needed. ... Political fragmentation existed alongside a remarkable intellectual and cultural unity. ... If Europe’s intellectuals moved with unprecedented frequency and ease, their ideas travelled even faster. Through the printing press and the much-improved postal system, written knowledge circulated rapidly.
The main goal isn’t simply to maximize revenue from advertising—the strategy that keeps the lights on and the content free at upstarts like the Huffington Post, BuzzFeed, and Vox. It’s to transform the Times’ digital subscriptions into the main engine of a billion-dollar business, one that could pay to put reporters on the ground in 174 countries even if (OK, when) the printing presses stop forever. To hit that mark, the Times is embarking on an ambitious plan inspired by the strategies of Netflix, Spotify, and HBO: invest heavily in a core offering (which, for the Times, is journalism) while continuously adding new online services and features (from personalized fitness advice and interactive newsbots to virtual reality films) so that a subscription becomes indispensable to the lives of its existing subscribers and more attractive to future ones.
The way to make money from a scientific article looks very similar, except that scientific publishers manage to duck most of the actual costs. Scientists create work under their own direction – funded largely by governments – and give it to publishers for free; the publisher pays scientific editors who judge whether the work is worth publishing and check its grammar, but the bulk of the editorial burden – checking the scientific validity and evaluating the experiments, a process known as peer review – is done by working scientists on a volunteer basis. The publishers then sell the product back to government-funded institutional and university libraries, to be read by scientists – who, in a collective sense, created the product in the first place. ... Journals prize new and spectacular results – after all, they are in the business of selling subscriptions – and scientists, knowing exactly what kind of work gets published, align their submissions accordingly. This produces a steady stream of papers, the importance of which is immediately apparent. But it also means that scientists do not have an accurate map of their field of inquiry. Researchers may end up inadvertently exploring dead ends that their fellow scientists have already run up against, solely because the information about previous failures has never been given space in the pages of the relevant scientific publications. ... Today, every scientist knows that their career depends on being published, and professional success is especially determined by getting work into the most prestigious journals. The long, slow, nearly directionless work pursued by some of the most influential scientists of the 20th century is no longer a viable career option.