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Topic: The Magazine Business, From the Coolest Place to the Coldest One
I miss magazines. It’s a strange ache, because they are still sort of with us: staring out from the racks at supermarket checkout lines; fanned wanly around the table in hotel lobbies; showing up in your mailbox long after the subscription was canceled, like an ex who refuses to accept the breakup.
我懷念雜誌，這是一種奇怪的痛，因為它們在某種程度上仍與我們同在。超市排隊結帳時，它們從架上盯著我們；在飯店大廳桌子周圍憔悴晃動；取消訂閱很久後還會出現在信箱，像是拒絕接受分手的舊愛。
But they’re also disappearing. This accelerating erosion has not been big news during a time of pandemic, war and actual erosion, and yet the absence of magazines authoritatively documenting such events, or distracting from them, as they used to do with measured regularity, is keenly felt.
但它們也在消失。在疫情、戰爭與雜誌真的衰微的時期，這種加速衰微並不是什麼大新聞，但人們敏銳地感覺到，缺乏權威性雜誌來記錄這些事件，或像過去那樣定期的讓注意力從這些事情轉移。
Time marches on, or limps, but Life is gone. There’s no more Money. The print editions of their former sister publications Entertainment Weekly and InStyle, which once frothed with profit, stopped publishing in February. It’s been au revoir to Saveur and Marie Claire; shrouds for Playboy, Paper and O. (As I type this, people are tweeting about The Believer being bought by a sex-toy site.)
「時代」雜誌還在前進，或說蹣跚前行，但「生活」雜誌已經逝去。「金錢」雜誌沒了。它們以前的姊妹刊物「娛樂周刊」和「InStyle」印刷版曾獲利豐厚，但已在2月停止出版。大家向「Saveur」和「美麗佳人」告別，也讓「花花公子」、「紙」與O雜誌穿上壽衣。（就在我撰寫此文時，人們在推特上說「The Believer」被一個情趣用品網站收購了。)
Two recent books — “Dilettante,” by Dana Brown, a longtime editor at Vanity Fair, and a new biography of Anna Wintour, by Amy Odell, formerly of cosmopolitan.com — are graveyards of dead or zombie titles that were once glowing hives of human whim.
最近出版的兩本書，「浮華世界」資深編輯達納．布朗的「Dilettante」及柯夢波丹前成員艾咪．歐德爾的安娜溫圖新傳記，有如亡者的墓地，或曾是人類奇想的光輝巢穴冠上了殭屍名號。
“There were so many magazines in 1994,” Brown writes. “So many new magazines, and so many great magazines. All the young talent of the moment was eschewing other industries and flocking to the business. It was the coolest place to be.”
布朗寫道：「1994年有很多雜誌。很多新雜誌，很多很棒的雜誌。當時所有年輕人才避開了其他行業，湧向這個行業。那是最酷的。」
Then suddenly the coldest. On the big fancy cruise ship that Brown had just boarded — Vanity Fair, where he’d been beckoned by Graydon Carter while a barback at the restaurant 44 — he and so many others then could only see the tip of an enormous iceberg they were about to hit: the internet. Smartphones, little self-edited monster magazines that will not rest until their owners die, were on the horizon. These may have looked like life rafts, but they were torpedo boats.
然後突然變成最冰冷的地方。布朗在44號餐廳吧檯用餐時，被總編輯卡特招攬，剛登上有如大型豪華郵輪的「浮華世界」，但他跟其他許多人只能看到他們即將撞上的巨大冰山一角：網路。智慧手機這種自我編輯、直到擁有者死去才會停止的小怪物雜誌也即將來臨。這些東西可能看起來像是救生艇，但它們其實是魚雷艦。
Every year, the American Society of Magazine Editors issues a handsome award, a brutalist-looking elephant called the Ellie, modeled after an Alexander Calder elephant sculpture. Any writer would be proud to have it on the mantelpiece.
每年，美國雜誌編輯協會都會頒發一項大獎，這是一頭野獸派風格、名叫「艾利」的大象獎座，模仿考爾德大象雕塑設計而成。作家都以把它放在壁爐上為榮。
The history of modern American literature is braided together with its magazines. The future can feel like a lot of loose threads, waving in the wind.
現代美國文學史與它的雜誌彼此交織在一起。未來就像是許多鬆散的線，在風中飄揚。Source article: https://udn.com/news/story/6904/6379678
Next Article
Topic: The Not-So-Glossy Future of Magazines
One evening in mid-September, a gaggle of writers and bon vivant editors gathered by the outdoor fireplace and ivy-covered trellis of a West Village tavern. Steak was served, and the toasts lasted late into the night, the revelry trickling out to the nearby sidewalk.
九月中旬的一個夜晚，在西村的一家小酒館，一群作家和喜歡享受生活的編輯們聚集在一個室外壁爐和常春藤覆蓋的格狀架子旁。牛排上桌後，眾人杯觥交錯直到深夜，歡鬧聲流瀉到鄰近的人行道上。
It could have been a scene from the Jazz Age heyday of the Manhattan magazine set — or even the 1990s, when glossy monthlies still soaked up millions of dollars in advertising revenue, and editors in chauffeured town cars told the nation what to wear, what to watch and who to read.
這幕場景可能來自爵士時代曼哈坦雜誌業全盛時期，甚至是90年代，以亮光紙印刷的月刊還是廣告收入淹腳目，編輯們坐在司機駕駛的豪華轎車內，告訴全國該穿些什麼、欣賞什麼、閱讀什麼人的年頭。
This night, however, had an elegiac tinge. The staff of Vanity Fair was saluting the magazine’s longtime editor, Graydon Carter, who had announced that he was departing after a 25-year run. In the back garden of Carter’s restaurant, the Waverly Inn, star writers like James Wolcott and Marie Brenner spoke of their gratitude and grief.
不過，這一晚透著一種悲傷的況味。《浮華世界》的員工正向雜誌的長期總編輯葛雷登．卡特致敬。卡特在任職25年後，宣布即將離職。在卡特自家餐廳「韋佛利餐廳」的後花園中，一些明星作家如詹姆士．沃科特、瑪麗．布倫納都表達了他們的謝意和感傷。
Carter has always had a knack for trends. Within two weeks, three other prominent editors — from Time, Elle and Glamour — announced that they, too, would be stepping down. Another titan of the industry, Jann S. Wenner, said he planned to sell his controlling stake in Rolling Stone after a half-century.
卡特一向走在趨勢前端。不出兩星期，又有3位知名雜誌總編，分別是《時代》、《ELLE她》、《魅力》的總編也宣布準備下台。另一個業界巨頭，《滾石》創刊人詹恩．溫納則表示，打算出售他在《滾石》已保有半個世紀的控制性持股。
Suddenly, it seemed, long-standing predictions about the collapse of magazines had come to pass.
突然之間，長久來有關雜誌業終將崩潰的預言，似乎成真了。
Magazines have sputtered for years, their monopoly on readers and advertising erased by Facebook, Google and more nimble online competitors. But editors and executives said the abrupt churn in the senior leadership ranks signaled that the romance of the business was now yielding to financial realities.
雜誌業步履蹣跚已有多年，雜誌對讀者和廣告的壟斷遭到臉書、谷歌和更靈活的網路競爭對手侵奪。編輯和高管表示，高階領導階層的突然異動，說明這一行業的羅曼史正向財務現實低頭。
As publishers grasp for new revenue streams, a “try-anything” approach has taken hold. Time Inc. has a new streaming TV show, “Paws & Claws,” that features viral videos of animals. Hearst started a magazine with the online rental service Airbnb. Increasingly, the longtime core of the business — the print product — is an afterthought, overshadowed by investments in live events, podcasts, video, and partnerships with outside brands.
隨著發行人尋找新的收入來源，「無所不試」的作法開始出現。時代公司因此有了新的串流電視節目《寵物》，主要播出網路瘋傳的動物影片。赫斯特集團與網路出租服務公司Airbnb合辦了一份雜誌。但是雜誌業長久以來的核心─紙本產品卻越來越像後來才添加的產品，對於現場直播、播客、影片的投資，以及和外面品牌的合作關係，都讓紙本產品黯然失色。
The changes represent one of the most fundamental shifts in decades for a business that long relied on a simple formula: glossy volumes thick with high-priced ads.
這些變化代表這一行出現了數十年來最根本的轉變，而這個行業一向仰賴一個簡單公式存活，光鮮亮麗的書冊和滿滿的高價廣告。
“Sentimentality is probably the biggest enemy for the magazine business,” David Carey, president of Hearst Magazines, said in an interview. “You have to embrace the future."
赫斯特雜誌集團總裁大衛．凱里受訪時說：「多愁善感恐怕是雜誌業最大的敵人。你必須迎向未來。」
Source article: https://paper.udn.com/udnpaper/POH0067/319070/web/
Next Article
Topic: Edward Enninful Is Named Editor-in-Chief at British Vogue
Edward Enninful, the creative and fashion director of the U.S. magazine W, is set to replace Alexandra Shulman as editor-in-chief of British Vogue, its parent company, Conde Nast, confirmed Monday. The first man and the first black editor to take the helm of Britain’s most powerful fashion publication in its 100-year history, Enninful will begin his new role Aug. 1.
A top stylist and acclaimed fashion director who migrated to Britain from Ghana as a child, the 45-year-old Enninful is known for his cheerful demeanor, his legendary fashion covers and for having an army of loyal fans in and out of the fashion business. He received an Order of the British Empire in June for his services to diversity in the fashion industry.
英國版Vogue雜誌的母公司康泰納仕4月10日證實，美國Ｗ雜誌的創意與時尚總監艾德華．恩寧佛將接替亞歷珊卓．舒爾曼，擔任該雜誌總編輯。恩寧佛將在8月1日走馬上任，他將是這個英國最有影響力的時尚刊物創立一百年來，執掌大權的第一位男性，也是第一位黑人總編輯。
45歲的恩寧佛是頂尖造型師和備受讚譽的時尚總監，他孩童時期從迦納移民英國，以快活的舉止表情、傳奇的時尚雜誌封面，以及在時尚圈內和圈外擁有大批鐵粉聞名。去年6月獲頒大英帝國勳章，表彰他對時尚產業多元化的貢獻。
Conde Nast’s international chairman and chief executive, Jonathan Newhouse, called Enninful “an influential figure in the communities of fashion, Hollywood and music which shape the cultural zeitgeist,” and added that “by virtue of his talent and experience, Edward is supremely prepared to assume the responsibility of British Vogue.”
The appointment comes three months after Newhouse named another man, Emanuele Farneti, to the helm of Italian Vogue, following the death of Franca Sozzani.
康泰納仕國際集團董事長兼執行長強納森．紐豪斯說，恩寧佛是「形塑時代思潮的時尚界、好萊塢和音樂界一位具有影響力的人物」，「憑他的才華和經驗，艾德華已為承擔英國版Vogue的責任做好了萬全的準備。」
在決定這項任命的三個月前，紐豪斯任命了另一位男士艾曼紐爾．法內提出掌義大利版的Vogue，接替去世的法蘭加．索薩妮。
Enninful was an unexpected choice. Born in Ghana, Enninful was raised by his seamstress mother in the Ladbroke Grove area of London, alongside five siblings. At 16, he became a model for the British magazine i-D after being scouted while traveling on the Tube, London’s subway system. He has called modeling his “baptism into fashion.”
By 17, he was assisting on photography shoots for the publication with the stylists Simon Foxton and Beth Summers. In 1991, at 18, he took over from Summers as i-D fashion editor, making him one of the youngest-ever leaders of a major fashion publication. He also obtained a degree from Goldsmiths, University of London.
恩寧佛是出人意料的人選。他在迦納出生，當裁縫的母親在倫敦蘭僕林區把他和5個兄弟姊妹撫養長大。16歲時，他在搭乘倫敦地鐵時被星探相中，成為英國i-D雜誌的模特兒。他把自己的模特兒經驗稱為「進入時尚界的受洗禮」。
到了17歲，他協助造型師西蒙．佛克斯頓和貝絲．桑默斯為這本刊物拍攝照片。1991年18歲時，他取代桑默斯，成為i-D雜誌時尚編輯，使他成為主要時尚刊物有史以來最年輕的主管之一。他並取得倫敦大學金匠學院的文憑。
Although there are a handful of notable exceptions, the fashion industry has a dearth of black power players, and that had been a source of immense frustration for Enninful, who has made a considerable effort to improve things. He has made headlines with accusations of racism, including after he was assigned to sit in the second row at a couture show in Paris in 2013 when white “counterparts” were in the first.
雖然有少數著名的例外，時尚產業極欠缺有權力的黑人，這一直令恩寧佛極感挫折，而他已相當努力以謀求改進。他曾因指控種族歧視而上了大新聞，包括2013年在巴黎一場高級訂製服的秀上，他被指定坐在第二排，而與他「地位相當」的白人坐在第一排。
Source article: https://paper.udn.com/udnpaper/POH0067/312421/web/