Final Pitch
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The document discusses the changing landscape of glossy magazines as they shift increasingly online. It notes that 90% of magazine revenue comes from ads, and websites see more traffic, making them more appealing to advertisers. Glossy magazines will need to exist primarily online or have highly interactive websites to engage readers as active audiences and allow peer production through user-generated content. This shift is necessitated by magazines losing $5 billion in revenue and over 50 titles folding in 2009 as people consume media digitally.
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Magazine publishers face challenges from digital media and must adapt printed magazines. Strategies include reducing print runs, customizing online ads, distinguishing print and digital content, adding artistic design, developing brands, and partnering across industries. Future devices like e-books may replace print, but magazines can evolve through new uses of paper. Further research could study industry partnerships and test usability of innovative digital devices through user surveys.
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4
Cfjk
Social media is influencing many aspects of journalism, such as newsrooms and advertising. Content management systems make it easier to share news across traditional and social media platforms. Journalists now use social networking sites like Twitter and Facebook to share and comment on news stories. Social media influencers are important for news media because they can trigger additional interest by sharing and discussing content. As experience with social media grows, best practices for journalism are emerging, but social media also challenges the definition and objectivity of traditional journalism.
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This document summarizes a roundtable discussion between social media thought leaders and corporate representatives about defining key metrics for measuring the impact of social media. The group identified and voted on important attributes to measure, including analytics/website activity, community activation/calls to action, the "conversation index" measuring posts vs comments, and demographics of who is engaging. They discussed how traditional web analytics are insufficient and the need for standardized metrics across industries to evaluate social media strategies. The goal was to help companies understand how to track the influence of conversations online and measure the effects on their business and reputation.
Social Network
Social media refers to online platforms that allow people to share content and have conversations. It is a fundamental shift from traditional one-way communication to an interactive dialogue. Brands need to listen to what people are saying about them online and engage in conversations in order to understand customers and influence them. By participating authentically in social media, brands can build relationships with current and future customers.
Rider Mass Media Presentation Week 2
The document discusses several key aspects of the evolution of mass media technologies over different epochs, from face-to-face communication to modern digital media. It notes that each new medium shapes how people think and communicate. Specifically, it analyzes Marshall McLuhan's theories about hot and cool media and how the dominant medium of an era determines the senses used and ways of interacting. It then summarizes the technological changes that defined several major epochs in mass communication.
Public Relations, Journalism & the Internet: A Game-changer?
This document discusses the evolution of public relations and journalism in relation to the rise of the internet and social media. It outlines how PR has adapted from a one-way communication model to a two-way dialogue, utilizing new online tools and focusing on building relationships. Journalism has also evolved, allowing crowdsourcing and public participation in reporting. However, traditional tools like press releases still have value when used appropriately. The future may bring a blend of traditional and new methods, with audiences having more control over the communication process.
Managing Your Brand in a Digital Environment (Part 1)
The document discusses the evolution of media from traditional to digital forms and the importance of adapting brand strategies for the digital environment. It outlines some key differences between old "push" media like billboards versus new "pull" media like search engine optimization that allows for more targeted and engaging communication. Specifically, it notes that the digital space allows for real-time feedback, sharing of information, and targeted messaging to audiences in a more dynamic way than traditional static media. The document promises that the next publication will provide more strategies for leveraging digital media characteristics and ensuring organizational relevance.
Using Social Media for Business
This document discusses using social media for business. It begins by defining social media as social networking websites and blogs that allow users to interact and communicate. The growth of social media has led many businesses to create online presences on these platforms to connect with customers. The document then discusses how businesses can use social media for advertising, marketing, customer service, and brand management. Specific strategies covered include targeted advertising, peer recommendations, and using customers as brand ambassadors.
Four Technology Trends to Watch
This document discusses 4 technology trends that associations must be aware of:
1) The rise of social media and how it has changed communication. Associations must use social media to engage emerging generations.
2) The increasing importance of mobile apps and location-based services. This could enable new ways for associations to connect and engage members.
3) The growing demand for personalization. Associations will need to personalize their services to meet members' customized needs.
4) Multiple generations in the workplace have varying views on technology that associations must navigate.
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Morgan Freeman is Jimi Hendrix: Unveiling the Intriguing Hypothesis
In celebrity mysteries and urban legends. Few narratives capture the imagination as the hypothesis that Morgan Freeman is Jimi Hendrix. This fascinating theory posits that the iconic actor and the legendary guitarist are, in fact, the same person. While this might seem like a far-fetched notion at first glance. a deeper exploration reveals a rich tapestry of coincidences, speculative connections. and a surprising alignment of life events fueling this captivating hypothesis.
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Introduction to the Hypothesis: Morgan Freeman is Jimi Hendrix
The idea that Morgan Freeman is Jimi Hendrix stems from a mix of historical anomalies, physical resemblances. and a penchant for myth-making that surrounds celebrities. While Jimi Hendrix's official death in 1970 is well-documented. some theorists suggest that Hendrix did not die but instead reinvented himself as Morgan Freeman. a man who would become one of Hollywood's most revered actors. This article aims to delve into the various aspects of this hypothesis. examining its origins, the supporting arguments. and the cultural impact of such a theory.
The Genesis of the Theory
Early Life Parallels
The hypothesis that Morgan Freeman is Jimi Hendrix begins by comparing their early lives. Jimi Hendrix, born Johnny Allen Hendrix in Seattle, Washington, on November 27, 1942. and Morgan Freeman, born on June 1, 1937, in Memphis, Tennessee, have lived very different lives. But, proponents of the theory suggest that the five-year age difference is negligible and point to Freeman's late start in his acting career as evidence of a life lived before under a different identity.
The Disappearance and Reappearance
Jimi Hendrix's death in 1970 at the age of 27 is a well-documented event. But, theorists argue that Hendrix's death staged. and he reemerged as Morgan Freeman. They highlight Freeman's rise to prominence in the early 1970s. coinciding with Hendrix's supposed death. Freeman's first significant acting role came in 1971 on the children's television show "The Electric Company," a mere year after Hendrix's passing.
Physical Resemblances
Facial Structure and Features
One of the most compelling arguments for the hypothesis that Morgan Freeman is Jimi Hendrix lies in the physical resemblance between the two men. Analyzing photographs, proponents point out similarities in facial structure. particularly the cheekbones and jawline. Both men have a distinctive gap between their front teeth. which is rare and often highlighted as a critical point of similarity.
Voice and Mannerisms
Supporters of the theory also draw attention to the similarities in their voices. Jimi Hendrix known for his smooth, distinctive speaking voice. which, according to some, resembles Morgan Freeman's iconic, deep, and soothing voice. Additionally, both men share certain mannerisms. such as their calm demeanor and eloquent speech patterns.
Artistic Parallels
Musical and Acting Talents
Jimi Hendrix was regarded as one of t
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校名:学校英文全称
授予学位：本部分将注明获得的具体学位名称。
毕业生姓名：这是最重要的信息之一，标志着该证书是由特定人员获得的。
颁发日期：这是毕业正式生效的时间，也代表着毕业生学业的结束。
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◇回国马上就要找工作，办给用人单位看；
◇企事业单位必须要求办理的
◇需要报考公务员、购买免税车、落转户口
◇申请留学生创业基金
留信网认证的作用:
1:该专业认证可证明留学生真实身份
2:同时对留学生所学专业登记给予评定
3:国家专业人才认证中心颁发入库证书
4:这个认证书并且可以归档倒地方
5:凡事获得留信网入网的信息将会逐步更新到个人身份内，将在公安局网内查询个人身份证信息后，同步读取人才网入库信息
6:个人职称评审加20分
7:个人信誉贷款加10分
8:在国家人才网主办的国家网络招聘大会中纳入资料，供国家高端企业选择人才
办理(mcmaste毕业证书)加拿大麦克马斯特大学毕业证【微信：741003700 】外观非常简单，由纸质材料制成，上面印有校徽、校名、毕业生姓名、专业等信息。
办理(mcmaste毕业证书)加拿大麦克马斯特大学毕业证【微信：741003700 】格式相对统一，各专业都有相应的模板。通常包括以下部分：
校徽：象征着学校的荣誉和传承。
校名:学校英文全称
授予学位：本部分将注明获得的具体学位名称。
毕业生姓名：这是最重要的信息之一，标志着该证书是由特定人员获得的。
颁发日期：这是毕业正式生效的时间，也代表着毕业生学业的结束。
其他信息：根据不同的专业和学位，可能会有一些特定的信息或章节。
办理(mcmaste毕业证书)加拿大麦克马斯特大学毕业证【微信：741003700 】价值很高，需要妥善保管。一般来说，应放置在安全、干燥、防潮的地方，避免长时间暴露在阳光下。如需使用，最好使用复印件而不是原件，以免丢失。
综上所述，办理(mcmaste毕业证书)加拿大麦克马斯特大学毕业证【微信：741003700 】是证明身份和学历的高价值文件。外观简单庄重，格式统一，包括重要的个人信息和发布日期。对持有人来说，妥善保管是非常重要的。
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Final Pitch
- 1. The changing face of glossy magazines 1897 2009 1942 By: Santino Filoso
- 2. Outline This slideshow is a brief look at the current state of glossy magazines and where they are headed By framing my approach and examining if the medium is still the message one can begin to understand the relationship between glossy magazines and new interactive media
- 3. Future In the future all glossy’s will either exist entirely online or be extremely dependant on their websites for influencing of content, etc. Never will totally disappear, and those that do remain will undergo radical changes (on flights, etc.) Therefore the medium still is the message
- 4. Why the shift? 5 billion less revenue, 27% less ads 51 magazines folded in 2009, many re-launched online, then make a comeback as a quarterly publishing (Vibes) 90% of magazine revenue comes from ads, there if two million people a day log onto a site and browse it, that is much more appealing to an ad company than a magazine bought one time by only a few hundred thousand
- 5. Why they will stick around Always exist in some form Seen as cheap treat in tough economic times Things such as innovate design can help to spur sales The design/layout/format of a glossy magazine is the border between the medium and the message and this border is constantly being pushed, and defined. A good design can enrich the medium and facilitates people's reading, therefore strengthening the message.
- 6. Learning to read…again Google is making us stupid The way people read has changed; concentration often starts to drift after two or three pages. They get fidgety, lose the thread, begin looking for something else to do As the media theorist Marshall McLuhan said, media are not just passive channels of information. They supply the stuff of thought, but they also shape the process of thought. The internet is chipping away our capacity for concentration and contemplation Users “power browse”
- 7. What does it mean? When it comes to the old model of making glossy magazines, it is clear that it must change in accordance with the times If media companies can't earn money, and everyone has internet access, it follows that "amateurs" will be part of a "decentralized" media Interactivity must be had!
- 9. relies on self-organizing communities of individuals who come together to produce a shared outcome (by Wikipedia)
- 10. Wikipedia as an example of peer production
- 11. term used by professor Yochai Benkler(TED Video)
- 13. Active Audience Treating audience as active readers and not passive recipients Active audience theory argue that media cannot tell people what to think or how to behave in any direct way. (Croteau&Hoynes, Chapter 8) Glossy magazines must tap into this concept going forward in order to remain relevant
- 14. Cold hard facts Glossys are not losing money because people are losing interest, but rather because they’re reading it online and not the physical manifestation of it Between 14 million and 22 million read nytimes.com every month; the print circulation of the weekday Times is just one million. In all, on any day, 32 million Americans read their news online
- 15. Digital Age Glossy’s will need to cope Offer creative products online, either in lieu or in addition to the normal magazine Signs of change:e-subscriptions, or sites you have to pay to browse
- 16. Example of change College Humor was a popular humor magazine from the 1920s to the 1940s. Now the name is more famous for the website CollegeHumor.com
- 17. Glossy 2.0 User generated More pictures, videos Longer Interviews Forums Online Communities All of these allow magazines to see what’s popular (What gets most hits)
- 18. What the future will look like Interlink cross media (tv channels, podcasts, etc.) Readers say they want is to be able to post their own content on sites of media companies. Readers want to communicate with each and have a sense of community, potential to link in social networking sites
- 20. How to bring about change Using surveys Look at the top markets Poll readers in target audience Females aged 14-45
- 21. Type of Questions Comparing content Presented online vs traditional magazine Pros & Cons of each
- 22. Cost of Progress Researchers Computer Programmers Cost of surveys Domain access Cost of pitch
- 23. Conclusion Medium is still the message New mediums alter the way we interpret messages and in order for glossy magazines to remain relevant they must either shift online or have an interactive website that allows users to be an active audience enabling peer production