Wednesday, November 7, 2007

与SAM的问答

Archived conversation


  1. 如果办一本100页上下的铜版纸印刷杂志先实验性地在几个大城市出版发行,大约需要多少印数才能引起主意,以及需要多少成本经费呢?
  2. 一般的时尚/音乐/电影/lifestyle这样的受众特定的杂志,盈利多少是靠广告类、多少是靠销售呢?
  3. 撰稿方面,一般杂志社有多少是固定撰稿人,多少是约稿呢?
答:
  1. 100P上下的杂志,印刷可能要在3000-4000本之间,要知道可能有500-1000本你都可能需要拿去供别人看而不是卖的
  2. 成本的话很难定论,看你们用什么纸张决定成本了,具体这个我也不清楚
  3. 一般商业性质成功的杂志主要100%的靠广告来盈利,而不靠发行,因为你要知道印刷越多成本越高,并且一本杂志只赚很少的钱
  4. 每个杂志定位不一样,通常根据自己杂志的定位来确定撰稿人,一般没有固定的,最多也就三四个长期合作的,但是不断会有新的写手出来不断给杂志新鲜感

Tuesday, October 9, 2007

more page breakdown

FIRST [issue no.055]
singapore, english, monthly, film magazine, s$4.50
page total: 124, including covers, excluding 3 inserts (1 poster, 2 cardboard pages)
ad: 35
photo page: 7

看电影 [issue no.235]
china, chinese, bi-weekly, film magazine, RMB10
page total:116, including covers, no inserts
ad: 9
photo: 5

从这里可以看出很明显的区别--作为中国‘权威’性的电影杂志,《看电影》的广告份量占得相当的少。基本是排版紧密的文章和比较小的照片穿插。作为一个半月刊,这很不容易。售价10元不算便宜,但铜版纸和充足的份量应该让读者觉得比较值得。

Wednesday, October 3, 2007

MPAA, NC-17, & the major studios

Following the recent posts on Dianyingshijie, here's more information on MPAA myth, the death verdict nature of NC-17 and the big names in the movie studio business.

Endless reading shall ensue.

***
New Statesman - Classified Material

Keywords: NC-17 the kiss of commercial death, preferential & capricious MPAA rating, studio effect, star effect

Excerpts: The American system runs along lines broadly similar to the UK's until the upper categories. The US equivalents of the UK's 15 and 18 ratings are either an R rating - meaning that all under-17s must be accompanied by an adult - or an NC-17, which bars anyone aged 16 or below from screenings of the film. An NC-17 certification, which excludes a large part of the lucrative teenage demographic, is seen in Hollywood as the kiss of commercial death.

"The major studios have set up a system that works for their own benefit," says Dick. "Ratings have a real effect on a film's box-office performance, and films with edgier material and which feature more adult sexuality are treated more harshly."

But it is not only Spielberg who receives pref erential treatment, Dick says. "If a major star shows up to a ratings appeal hearing, that film has a much better chance of winning the appeal than an independent film."

***


MPAA @Wiki
Current President: Dan Glickman
VP: Kori Bernards

***

Further reading
  • Motion Picture Industry

  • MPAA Film Rating System

  • G rating symbol
    G - General Audiences
    All ages admitted
    PG rating symbol
    PG - Parental guidance suggested
    Some material may not be suitable for children
    PG-13 rating symbol
    PG-13 - Parents strongly cautioned
    Some material may be inappropriate for children under 13.
    R rating symbol
    R - Restricted
    Under 17 requires accompanying parent or adult guardian.
    NC-17 rating symbol
    NC-17
    No one 17 and under admitted.


  • Movie Studio
    Major Film Studio: The "Big Six" majors, whose movie operations are based in or around Hollywood, are all centered in film studios active during Hollywood's Golden Age of the 1930s and 1940s. In three cases—20th Century Fox, Warner Bros., and Paramount—the studios were one of the "Big Five" majors during that era as well. In two cases—Columbia and Universal—the studios were also considered majors, but in the next tier down, part of the "Little Three." In the sixth case, Walt Disney Studios was an independent production company during the Golden Age; it was an important Hollywood entity, but not a major.


  • So bloody tired, gotta sleep, more updates tomorrow.

    ----------------
    Now playing: GARNET CROW - wonder land
    via FoxyTunes

    Tuesday, October 2, 2007

    recycled paper

    Some relevant/interesting bits out of the original article on answers.com:

    Standards

    Every time paper is recycled, the fibers become shorter and weaker, so virgin pulp must be mixed with the used paper to provide strength. Because of the weakening, paper can only be recycled 4-6 times.[1]

    There is no universal standard for the maximum percentage of virgin pulp in recycled paper.[2][3] Paper is available that includes anywhere from 10 to 100 percent "post-consumer" paper.[4] The EPA mandated the use of 50% post-consumer recycled paper by the federal government, state governments that receive federal funding, and many companies that receive money from the federal government.[5] The EPA does not regulate recycled paper used outside of the government; it only sets a minimum guideline.[2] The UK also does not have any legal standards, only non-mandatory guidelines instituted by a variety of different organizations.[2]

    There are three categories of paper that can be used as feedstocks for making recycled paper: mill broke, pre-consumer waste, and post-consumer waste.[2] Mill broke includes paper trimmings from a virgin paper mill. Pre-consumer waste is material that was discarded before it was ready for consumer use. Post-consumer waste is material that was discarded after actually being used by a consumer.

    Environmental effects

    The EIA states on its website that "a paper mill uses 40 percent less energy to make paper from recycled paper than it does to make paper from fresh lumber."[6] The Bureau of International Recycling, BIR, said that paper recycling uses 64% less energy, a figure significantly higher than the EIA's estimate.[7] The BIR quotes that recycling causes 35% less water pollution, and 74% less air pollution.[7]

    There are some potentially harmful chemicals used in the paper recycling process. If chlorine[8], a highly polluting chemical, is used to bleach recycled paper, it is only needed in small amounts relative to the amount needed when making paper from virgin fiber. However, cholorine is rarely used at all in the virgin fiber manufacturing process due to its environmentally detrimental effects. Instead, substances such as hydrogen peroxide are utilized which results in the eventual production of oxygen and water when used to bleach either virgin or recycled paper fibers.

    The European Union, as part of the waste hierarchy in the Waste Framework Directive, stipulates that reuse or recycling of used paper and board is preferable to disposal. When choosing between landfill and incineration of waste materials the latter option is preferred, as value is recovered from the waste. Organic materials like paper decompose within landfills into biogas, containing methane, a greenhouse gas linked to global warming.[9]

    Recycling facts and figures

    Internationally, about half of all recovered paper comes from converting losses - such as shavings - and unsold periodicals,[10] approximately one third comes from household waste.[10]

    United States of America

    Over half of the material used to make paper is recovered waste.[11] Paper products are the largest component of municipal solid waste, making up more than 40% of the composition of landfills.[12][13] In 2006 53.4 percent of the paper consumed in the U.S. was recovered for recycling. [14]. This means that today, over 51 million tons of paper and paper products are being recovered for recycling annually, representing a 76% increase over 1990 levels. The U.S. paper industry has set a goal to recover 55 percent of all the paper consumed in the U.S. by 2012. Paper packaging recovery, specific to paper products used by the packaging industry, was responsible for about 76.6% of packaging materials recycled with more than 24 million pounds recovered in 2005 [15]

    European Union

    Paper recovery in Europe has a long history and has grown into a mature organization. The European papermakers and converters work together to meet the requirements of the European Commission and national governments. Their aim is the reduction of the environmental impact of waste during manufacturing, converting/printing, collecting, sorting and recycling processes to ensure the optimal and environmentally sound recycling of used paper and board products. In 2004, the paper recycling rate in Europe was 54.6% or 45.5 million tons.[17]

    =======

    Recycling benefits contested: (on general recycling)

    Saves energy

    ...

    Economist Steven Landsburg has suggested that the sole benefit of reducing landfill space is trumped by the energy needed and resulting pollution from the recycling process.[3] Others, however, have calculated through life cycle assessment that producing recycled paper uses less energy and water than harvesting, pulping, processing, and transporting virgin trees.[4] By using less recycled paper, additional energy is needed to create and maintain farmed forests until these forests are as self-sustainable as virgin forests.

    Public policy analyst James V. DeLong points out that recycling is a manufacturing process and many of the methods use more energy than they save. In addition to energy usage, he notes that recycling requires capital and labor while producing some waste. These processes need to be more efficient than production from original raw material and/or traditional garbage disposal in order for recycling to be the superior method.[5]

    Saves money

    The amount of money actually saved through recycling is proportional to the efficiency of the recycling program used to do it. The Institute for Local Self-Reliance argues that the cost of recycling depends on various factors around a community that recycles, such as landfill fees and the amount of disposal that the community recycles. It states that communities start to save money when they treat recycling as a replacement for their traditional waste system rather than an add-on to it and by "redesigning their collection schedules and/or trucks."[6]

    In many cases the cost of recyclable materials also exceeds the cost of raw materials. Virgin plastic resin costs 40% less than recycled resin.[7] Additionally, an EPA study that tracked the price of clear cullet from July 15 to August 2, 1991, found that the average cost per ton ranged from $40 to $60,[8] while a USGS report shows that the cost per ton of raw silica sand from years 1993 to 1997 fell between $17.33 and $18.10.[9]

    ...

    Working conditions

    Critics often argue that while recycling may create jobs, they are often jobs with low wages and terrible working conditions.[11] These jobs are sometimes considered to be make-work jobs that don't produce as much as the cost of wages to pay for those jobs. Recycling jobs have seen mention in publications listing the worst jobs to work in.[12] In areas without many environmental regulations and/or worker protections, jobs involved in recycling such as shipbreaking can result in deplorable conditions for both workers and the surrounding communities.

    Saves trees

    In a 1990 recycling awareness pamphlet the EPA stated, "Every ton of paper recovered for recycling saves 17 trees from being cut down to make new paper."[13] The British Environmental Agency agrees.[14] The argument for saving trees has been used consistently to justify the recycling of paper. In 2005 51.5 percent of the paper consumed in the U.S. was recovered for recycling.[15]

    Economist Steven Landsburg has claimed that paper recycling actually reduces tree populations. He argues that because paper companies have incentives to replenish the forests they own, large demands for paper lead to large forests. Conversely, reduced demand for paper leads to fewer "farmed" forests.[3] Similar arguments were expressed in a 1995 article for The Free Market.[16] (jady: how can anyone argue in such a shortsighted bs way is beyond me..)

    When foresting companies cut down trees, more are planted in their place. Most paper comes from pulp forests grown specifically for paper production.[10][16][17][5] The amount of timber in the U.S. has been increasing for decades[16][17] and there is "three times more wood today than in 1920."[10] Many environmentalists point out, however, that "farmed" forests are inferior to virgin forests in several ways. Farmed forests are less able to fix the soil as quickly as virgin forests, causing widespread soil erosion and often requiring large amounts of fertilizer to maintain while containing little tree and wild-life biodiversity compared to virgin forests.[18]

    Possible income loss and social costs

    In some prosperous and many less prosperous countries in the world, the traditional job of recycling was performed by the entrepreneurial poor such as the Karung guni, the Rag and bone man, Waste picker, and junk man as parodied in Steptoe and Son and Sanford and Son. With the creation of large recycling organizations that may be profitable, either by law or economies of scale, the poor are more likely to be driven out of the recycling and the remanufacturing market. To compensate for this loss of income to the poor, a society may need to create additional forms of societal programs to help support the poor. Like the Parable of the broken window, there is a net loss to the poor and possibly the whole of a society to make recycling profitable.

    Because the social support of a country is likely less than the loss of income to the poor doing recycling, there is a greater chance that the poor will come in conflict with the large recycling organizations. In Singapore, a few karang guni men have been prosecuted from attempting to steal scrap material from the green recycling bags placed outside housing units for collection. The overall efficiency of a large recycling program is based on keeping labor costs down and maximizing the throughput of recycled materials. This means fewer people can decide if certain waste is more economically reusable in its current form rather than being reprocessed. Contrasted to the recycling poor, the efficiency of their recycling may actually be higher for some materials because individuals have greater control over what is considered “waste.”

    original complete article here.

    publishing magazine!

    When I was googling something and thinking of our magazine quest I thought: why not just search: "publishing magazines"? and here are two of the top results--

    publishing executive
    The MIssion
    Publishing Executive’s mission is to provide strategic and practical solutions to help seniorlevel executives in magazine publishing do their jobs faster, better and more cost-effectively. It covers best practices in business management, digital publishing, manufacturing, production/workflow and design, as well as news, market trends and technology updates in the following segments: consumer, business-to-business, special interest, association and journal publishing.

    The Editorial
    Magazine publishing today has exploded beyond the limits of the print-paper-postage delivery model and encompasses many forms of content delivery. Through informative case studies and proven advice from experts, every issue of Publishing Executive provides in-depth, strategic and how-to information to help magazine executives improve their entire publishing enterprise.

    magazine launch
    MagazineLaunch.com is a portal site connecting the leading vendors & consultants with the thousands of publishing professionals and entrepreneurs who will start consumer, trade, special interest, and organizational magazines every year.

    ***
    While I found both of them a little too crammed with information and overwhelming, but that's what informative sites are supposed to do I suppose.. Pouring over...

    Monday, October 1, 2007

    glossy paper

    >> http://www.magazinepublisher.com/paper.html

    Many variables must be considered when selecting the right paper for your publication such as the overall look of the printed piece, ink coverage, the shelf-life, or if it mails.

    Paper Options
    There are many different paper grades, weights and brands on the market from a variety of mills. Publishers select the type of paper that not only meets their customers' requirements, but also works well in their machinery.

    Weight
    Paper is categorized by weight in pounds of a ream (500 sheets) of paper cut to a standard size, 25" x 38" for text paper, 20" x 26" for cover weight papers. For example - 500 sheets 25" x 38" of 70# coated paper will weigh 70 pounds.
    Weight has not only an effect on the feel of the magazine (heavier paper will feel thicker and less easy to fold) but also shipping/mailing costs of the final magazine. More weight costs more to ship/mail.

    Grade Specifications
    A grade is a way of ranking paper by certain composition and characteristics. For example, brightness is one of the characteristics used to determine a paper's grade. A number 5 paper grade has the lowest brightness, from 69-73. A number 3 grade paper has a brightness from 81-84.5. Number 1 grade paper has 89-96 brightness. Most magazines run on #3-#5 grade stock.

    Uncoated Offset Paper
    Uncoated Paper is designed to generally run in offset presses and is a non-coated sheet of #50 or 60#. Also- return card offset stock is run on a 75# uncoated stock to meet postal requirements.

    Freesheet Paper
    Freesheet paper is free of groundwood pulp and has a bit higher brightness (whiter) than groundwood paper. Freesheet starts at a number 3 grade. Magazines commonly use 50#, 60#, 70# text weight freesheet options on the interior and 80#, 100# text weight or 66# cover weight freesheet stock on cover options. Freesheet paper is more costly than Groundwood.

    Groundwood Paper
    Characteristics of groundwood paper are higher bulk, smooth feel, lower brightness (whiteness) and good printability. It is usually lower in cost than freesheet paper. Magazines commonly use 36#, 40#, 45#, 50# and 60# groundwood paper. Groundwood is available in number 4 or number 5 grade.

    Coated Offset Paper
    Coated papers are described by their finish: matte, dull, or gloss.

    Gloss
    The majority of magazines today use gloss paper, the property responsible for coated paper's shiny or lustrous appearance. Gloss papers are less opaque and have less bulk and are less expensive than Dull & Matte papers.

    Dull
    Smooth surface paper that is low in gloss. Dull coated paper falls between matte and glossy paper.

    Matte
    A non-glossy, flat looking paper. Matte papers are higher in cost and in bulk.

    ***
    >> http://www.orau.org/PTP/collection/consumer%20products/magazines.htm

    now, some interesting facts...

    For decades, glossy paper, the type used in magazines, was made using a white clay called kaolin (named after the Chinese region Kao-Ling where it was mined to produce porcelain). The clay is used to fill the spaces between the fibers in the paper and to coat the paper so that it will have a smooth surface. This makes the paper more suitable for the reproduction of photographs, especially color photos.

    Kaolin has other uses (e.g., as a filler in paint and plastic, and as the active ingredient in antidiarrhea medicine), but its largest use is in the paper industry. This might change. There seems to be a gradual move towards the use of less expensive calcium carbonate. The state of Georgia is concerned because it is the world's single largest producer of kaolin. As a result, kaolin is sometimes referred to there as "white gold."

    Since kaolin contains elevated levels of the uranium and thorium decay series, glossy magazines have a higher radioactive content than ordinary paper. The activity of such magazines is not high enough to be detected with a simple survey meter, but it is possible that a truck with a load of magazines could trip a radiation monitor.

    Thursday, September 27, 2007

    music zine/website

    This is a pretty random website/zine I stumbled upon, called Exposé. What attracted my attention was its self-intro:
    xposé is America's premier quarterly publication specializing in the music the record and radio industries stubbornly choose to ignore. Our focus is outside the mainstream, in the progressive and experimental hinterlands where rock meets jazz, classical meets folk, electronic meets avant-garde, and so on. Our philosophical approach to music is critical....Exposé is not a fanzine; both our readers and the artists we cover are better served by an honest assessment of the progressive underground . With over a thousand releases coming out of this scene each year, it's important to have a tool to help sort out the good from the great, and the mediocre from the poor, especially when many of these releases are only available as costly imports through mail-order suppliers. Exposé strives to be that tool. Every issue features interviews with the artists, reviews of their releases, overviews of their careers, profiles of the labels, and much more.
    Inspiring thought, non?

    And a more rudimentary one called Gnosis. I've yet to find the site of the American label that releases LP and other obscure artists. To be updated.
    ----------------
    Now playing: Love Psychedelico - all over love
    via FoxyTunes

    Monday, September 17, 2007

    电影世界·电影杂志

    电影世界blog是我常看的在线影评,登出的评论虽然是不同人执笔,专业和业余、严肃和调侃共存,但一般还比较informative,分析细致条理清晰,中肯可信。没有见过它的杂志是什么样子,blog上介绍写:老牌《电影世界》杂志 2007年4月以来全新改版! 大开本,128页,定价10元。 8月号上市热卖中! 9月恢复半月刊...主管/主办:长影集团”。后台很硬。可以看看。

    电影杂志是电影世界blog上的链接,跳过去瞅了一下,看来还很新,有一些访谈和译制的稿子。

    ----------------
    Now playing: Feist - The Limit To Your Love
    via FoxyTunes

    Uncut page breakdown

    preliminary count:

    Uncut Oct 2007 issue
    cover to back total page count: 156

    music-related ad (album release, tour announcement): 40
    non-music related ad (mostly liquor and beer, some cars): 10
    photo spread (no write-up): 10+

    [ZT]中国音乐杂志简史

    中国的音乐杂志一直处于一个很尴尬的境地,一方面,不断上扬的成本让很多杂志小心翼翼的游离在生存的边缘;另一方面,读者日益增强的对于杂志的要求也让他们疲于应付;而相对狭小的读者群体也影响了广告商投放广告的热情,这也必然带来激烈的竞争。可以说,中国诸多的音乐杂志是在方舟上跳舞,一不留神就会掉入洪水之中。

    中国的音乐杂志是在20世纪80年代的流行歌曲热潮中开始出现的,最早不过是32开的、印刷粗糙的流行歌曲歌本,这些音乐杂志的雏形培养了一批的乐手、校园诗人、愤怒青年和卡拉OK爱好者,在他们之上,演化出了中国流行音乐的四种取向:技术、感伤、愤怒和娱乐,而这也是中国音乐杂志的四个不同内核。

    1987年10月,《音像世界》在上海创刊,它原本是由中国唱片总公司创刊的一本带有广告导购性质的杂志,但随后,它变成了国内第一份大量报道欧美流行乐杂志,也在这一年,“黑豹”乐队组建。《音像世界》为中国音乐杂志开辟了一条道路,这之后无论任何音乐杂志都没有完全脱离《音像世界》所划定的范畴。早期的《音像世界》因为以介绍欧美流行音乐为主吸引了一批大学生,而该杂志真正树立起自己的形象是在1992年,王晓峰和章雷在杂志上连载了“对话摇滚乐”,这是中国人第一次比较完整的对摇滚乐进行介绍,虽然谱系并不完全,但也为摇滚乐在中国的传播奠定了良好的知识背景,而歌迷会内部刊物《pop music bus》不但开发了中国摇滚乐的铁托传教士,也基本定型了中国摇滚乐评的文风。《音像世界》的黄金时期在1992年到1995年,最高销量达到了22万册,这个销量相当于内地中级城市报纸的发行量,但1995年12月之后,由于编辑的流失和经营的压力,杂志的水准开始出现反复。《音像世界》是国内第一个改用彩版的音乐杂志,结果不但成本升高,采编质量也受到很大的影响。一直以来,《音像世界》都试图走一条流行和另类结合的中庸路线,它试用了所有的办法,但似乎效果一般。在强大的市场压力前,终于在发行和采编两个方面全线收缩。时至今日,人们更多在图书馆而不是在零售商那见到这本杂志。

    1992年9月,大学英语四级只考了59分的邓良平在中山大学民刊《伤感与怀旧》的基础上创办了《音乐天堂》杂志,不同于《音像世界》的是,《音乐天堂》采用了有声杂志的形式,即在杂志中附上磁带,这种音乐“一站式服务”受到渴望接受到西方流行音乐又苦于没有途径的大学生的追捧。到了1994年,这本非正式出版的《音乐天堂》单期能卖200,000册。基本上,“有音乐的地方就有天堂”,有大学生的地方就有“音乐天堂”。《音乐天堂》的做法有点打“知识产权”擦边球的味道,但也为国内乐迷提供了宝贵的听觉食粮,开辟了一个观察域外音乐世界的窗口。《音乐天堂》以20期为界,从32开变成16开,它“开创了音乐杂志的多媒体时代”(王晓峰语),其运营模式和采编手法深深的影响了中国音乐杂志。但20期之后,《音乐天堂》在张秦手里陷入了“电子”和“流行”的纠缠之中,相比前任主编陈寰中和邱大立,张秦显然对把握杂志的整体走向不甚明了。一度,曾经出现过半面流行半面另类的情况。而自36期起,《音乐天堂》因为反复的改版,音乐市场的萎缩和网络的冲击,影响力已大幅度下降。现在的《音乐天堂》已经成为《疯狂英语》的音乐版。

    1998年8月,《音乐天堂》特刊《朋克时代》创刊,随之而来的还有《盛世摇滚》,《朋克时代》在当时引发了国内朋克热潮,这本个人化色彩浓重的杂志以尖锐偏激的文字在乐迷中间引起了强烈的争论。1999年10月,主编杨波将两本杂志合并,创办了《自由音乐》,此后这本标榜“最严厉的文字、最真切的情感、最尖端的摇滚。音乐只是手段,自由才是目的。”的小册子完全成为了杨波的自留地和试验田,这是中国音乐杂志一次自发的超前试验,虽然《自由音乐》最终夭折,但它对国内地下音乐的开掘和摇滚乐迷的深化功不可没,有人甚至用“二次启蒙”来形容这本短命的杂志。

    也许很多人不愿意提起《当代歌坛》,这本1994年1月1日创刊的刊物音乐其对音乐纯娱乐价值的开发而受到和自己销量一样多的非议,《当代歌坛》将音乐消费的概念普及到了中小学,把“明星”打包送货上门,利用歌迷的不理智制造更大的不理智。到今天为止,《当代歌坛》及其派生出的《轻音乐》依然是音乐杂志中铺货率最高的,这种局面多少也说明了音乐在中国的处境。

    前身为《河北歌声》的《通俗歌曲》是现在国内音乐杂志中偏向主流的代表,这本杂志经历了从流行音乐转向摇滚乐的痛苦过程。通俗歌曲的变化发生在三任执行主编朱晋辉、彭洪武和李宏杰的更替中。而在这种转化过程中,《通俗歌曲》的侧重点从国内转向国外。朱晋辉为《通俗歌曲》的基本栏目设置和关系网的建立打下了基础,但后期走向小圈子化;彭洪武曾经试图将《通俗歌曲》做成一本青年文化杂志,但除了“现场”这样的栏目,没有为杂志留下什么;和朱晋辉同为张家口籍的乐手李宏杰接受杂志后,杂志开始稳定,风格开阔。一段时间内,《通俗歌曲》是一本比较平衡的刊物。由于发生了人员变动,使得这种平衡被打破,现在的《通俗歌曲》即将处于一个没有方向的痛苦之中,但它在音乐界主流和客观的形象已经深深扎根,可能会有人指责《通俗歌曲》中庸,但没有人可以指责《通俗歌曲》不专业,从这个意义上说,《通俗歌曲》的普及者的定位是成功的。另外,音乐杂志在发行上的劣势已经制约了《通俗歌曲》的发展。

    脱胎于《通俗歌曲》的《我爱摇滚乐》由朱晋辉担任主编,这本杂志继续“圈子化”的做派,倒也获得了另一种乐趣。这是一本自由到放肆的杂志,可是说是摇滚杂志中的《当代歌坛》,《我爱摇滚乐》有着良好的人际资源和免费的网络稿源,虽然购买量并不理想,但也有一定的影响力。

    《通俗歌曲》的另一位前任执行主编彭洪武的《非音乐》、《极度摇滚》和《音乐大观WIND》是《音乐天堂》风格的又一种延伸,这三本杂志侧重对非主流音乐的介绍和小资情趣的开发。彭洪武的精巧保证了三本杂志的外观可读性,但大量使用大学生稿件和约稿和彭洪武个人思路的制约让这三本杂志仅停留在自我感觉良好的群体之中。这两本杂志正在越来越明显的显示出野心大于能力的特征,在《口袋音乐》出现之后,彭洪武正受到越来越多的冲击。

    香港乐评人袁智聪的《音乐殖民地》和台湾乐评人任将达的《摇滚客》的相续倒闭证明了音乐媒体个人英雄主义时代的终结,事实上,“一手清”的办刊方式虽然可以保证杂志风格的统一和完整,但其缺陷也同样明显,读者经常被刊物中越写越看不懂的文字搞的一头雾水。虽然看到这两本杂志的很多人成为了乐评人,但他们终究是时代的早产儿。著名乐评人郝舫的《电动方舟》一直没有完全推向市场,而只以内刊的形式发行,可以说有这方面的考虑。

    1999年5月创刊的《摩登天空》杂志及其续刊《现代艺术:听》杂志把“摩登天空”的企宣和袁智聪的港式乐评烩在一个锅里,显然很难让读者适应。应该说,这是一本很好的企业内刊,但显然,阅读这样一本杂志对于读者来说并不是一本轻松的事情。

    随着中国音乐市场的成熟,音乐杂志进入细分市场阶段,早期的《音像世界》和《音乐天堂》式的大杂烩已经逐渐不能满足乐迷的需要,这也是该类杂志市场日渐萎缩的一个原因。一批新兴的,细分音乐杂志市场的刊物正在冲击原有的格局,但也应该看到,这种“院内套院”的方式对整个音乐杂志阅读群体总量的增长并无太多的实际意义。

    1997年11月在广州创刊的《杂音》杂志极其具有开创意义,它满足了另类音乐迷的嗜好。而之后《重型音乐》、《极端音乐》、《哥特时代》和《锐舞地带》纷纷以不同的定位,拉开差异,每一个杂志都尽力保证深度,为从《通俗歌曲》进级的乐迷提供了延伸阅读的工具。而《现代乐手》杂志和《口袋音乐》的出现可以说是这种细分的又一次合流,他们的未来还很难预期,但应该注意到,这两本杂志都有立足杂志做经营的趋势,不管他们的目的是为了维持基本的收入还是赢利,在一定意义上,他们都在探索中国音乐杂志的新经营模式。但这两本杂志同样存在着过于小众化的问题,这不但制约杂志的影响力,也让杂志的稿件质量难以保证。《口袋音乐》前期乐观的建设一个开放的音乐创作平台,成为一个网上乐迷回馈纸媒的通道。但很快,他们就因为稿件质量等问题放弃了这个想法,再请出颜峻等老面孔——如果你翻开30多种音乐杂志,你就会产生这样的错觉,似乎中国只有四个乐评人在写东西,其他的都是编译稿件,这种同质化现象将在很长时间内困扰着中国音乐媒体。

    此外,中国还有大量的民办地下刊物,这些杂志多则上万,少则几百,虽然具有一定的文化传播意义,但由于种种原因,多只能夭折,即使能够存活下来的如成都小酒馆的刊物,也只能以私下传阅的方式进行传播。

    相比之下,网络音乐杂志由于其个人性、低成本和易传播性,正在有力的冲击着传统纸质媒体。而著名乐评人胡凌云的网刊《掘火Dig For Fire 》正在成为一个网上新生代乐评人的半开放式创作平台,虽然胡本人的办刊思路并没有完全成型,但可以预期的是,在人人乐评时代,这种精耕细作式的办刊方式无疑可以给中国音乐杂志一个提高专业能力和视野的新思路。

    附:

    中国“独立/摇滚”音乐杂志大搜索

    一.北京“独立/摇滚”音乐杂志大搜索:

    1.北京《摇滚》杂志,孙孟晋主编,1994.11创刊。

    2.北京《电动方舟》杂志,方舟书店内部刊物。

    3.北京《无聊军队》杂志。

    4.北京《摩登天空》杂志,1999.5创刊。

    5.北京《重型音乐》杂志,2000.5创刊。

    6.北京《现代艺术:听》杂志,《摩登天空》杂志续刊,2001.6创刊。

    7.北京《口袋音乐》杂志,“口袋传播”2003.11出品。

    8.北京《乌鸦音乐》杂志,“口袋传播”综合性音乐生活杂志。

    9.北京《My Music·My Life》杂志,关威主编。

    10.北京《现代乐手》杂志,2003.7创刊。

    11.北京《招魂之声》杂志,2004年创刊,招魂音乐工作室出品。

    12.北京《团结!》杂志,2005年创刊。

    二.外地“独立/摇滚”音乐杂志大搜索:

    天津篇:

    1.天津《小生态系统》有声杂志,2004.1创刊。

    2.天津《金属乐界》,2003.3创刊。

    上海篇:

    1.上海“95年以前的《音像世界》”1987.10-1995.12。

    2.上海《pop music bus》,《音像世界》歌迷会内部刊物。

    3.上海《吉他之友》,王海栋主编。

    └叩匾衾滞 -- 高地音乐网  

    广东篇:,

    1.广州“上个世纪的《音乐天堂》”1992.9-2000.2。

    2.广州《至尚音乐》。

    3.广州《音乐联盟》1995.2创刊。

    4.广州《声音》1996.12创刊。

    5.广州《前线音乐地带》1998.6创刊,香港《音乐殖民地》杂志内地版。

    6.广州《朋克时代》1998.6创刊,《音乐天堂》特刊系列第一辑。

    7.广州《盛世摇滚》1998.10创刊,《音乐天堂》特刊系列第二辑。

    8.广州《自由音乐》1999.10创刊,前《朋克时代》与《盛世摇滚》合刊。

    9.广州《摇滚》2001.7创刊,李文枫主编,《自由音乐》续刊。

    10.广州《亡民》杂志,亡民传播机构出品。

    11.广州《杂音》杂志,“杂音”音乐社1997.11出品,Edging阿生主编。

    12.深圳《荷里和通讯》。

    13.深圳《新群众》1994.11创刊。

    14.深圳《荷里和通讯》。

    广西篇:Efy1a

    1.桂林《非音乐》2002.4创刊,彭洪武主编。

    2.桂林《极度摇滚》2002.4创刊,《非音乐》杂志副刊。

    江苏篇:

    1.南京《极端音乐》2000.6创刊。

    2.南京《哥特时代》2004.2创刊。

    3.南京《锐舞地带》电子音乐杂志,2002.5创刊。

    4.南京《新音乐特区》,香港《音乐殖民地》杂志内地版。

    5.镇江《音乐交流网》,凌雪峰主编。

    浙江篇:>

    杭州《音乐小虫》,浙江大学“音乐小虫”社出品。v

    河北篇:

    1.石家庄《通俗歌曲/摇滚版》1999.1创刊,李宏杰主编。

    2.石家庄《我爱摇滚乐》1999.12创刊。|

    云南篇:

    1.昆明《我们》。

    2.昆明《精神生活spiritual Life》,《我们》续刊。

    四川篇:

    成都《这声音THIS SOUND!》。

    湖北篇:

    1.武汉《极限运动》。

    2.武汉《CHAOS》,《极限运动》续刊。

    湖南篇:

    长沙《地下之声》。

    山东篇:

    1.济南《电极E Hi》电子音乐杂志。

    2.青岛《夜歌》。

    江西篇:

    1.南昌《地下空间》2000.10创刊。

    2.南昌《碑》2001.4创刊,《地下空间》续刊。

    辽宁篇:

    1.沈阳《自由之声》,“自由之声”唱片出品。

    2.沈阳《甲壳虫》杂志。

    吉林篇:

    长春《态度》。

    甘肃篇:

    兰州《地火2002》,马跃主编。

    三.香港“独立/摇滚”音乐杂志大搜索

    1.香港《音乐殖民地》1994.10创刊。

    2.香港《助听器》。

    3.香港《Top》。

    4.香港《吉他杂志》。

    5.香港《好时代》。

    6.香港《新节拍》。

    7.香港《新时代》。

    8.香港《音乐通信music bus》。

    9.香港《new music express》。

    10.香港《摇摆双周》。

    11.香港《豁达音乐志向Quotables》。

    12.香港《disc jockey》。

    13.香港《new generation》。

    14.香港《音乐一周》。

    15.香港《由零开始》。

    16.香港《音乐王国》杂志。

    17.香港《米国音乐》杂志。

    四.台湾“独立/摇滚”音乐杂志大搜索:

    └叩匾衾滞 -- 高地音乐网 

    1.台北《滚石音乐》杂志。

    2.台北《WAX CLUB》杂志。

    3.台北《摇滚客》杂志。

    4.台北《余光音乐》杂志。

    5.台北《noise》杂志。

    6.台北《非古典音乐》杂志。

    7.台北《Down Beats》电子音乐杂志。

    8.台北《幻》电子音乐杂志。

    9.台北《同仁志》杂志。

    10.台北《破》周报。

    11.台北《爱乐之友》杂志。

    12.台北《摇滚生活》杂志,诺雅唱片公司筹办、发行。

    13.台北《MCB Taiwan》杂志,香港《音乐殖民地》杂志台湾版。

    五.中文网络音乐杂志大搜索:

    1.《陈哲音乐杂志》,大陆首家网上音乐杂志。

    2.《Darkruin》,中文网络音乐杂志。

    3.《黑潭》,中文极端音乐网络杂志。}

    4.《自杀陈列室》,中文极端金属网络杂志。

    5.《死域Area Death》,中文极端金属网络杂志。

    6.《掘火Dig For Fire 》音乐网刊。

    7.《EMT电音时代》杂志。

    8.《泯然》线上音乐杂志。

    9.《黑水仙》网络音乐杂志。
    作者:FBJ

    recommended magazine readings

    music:
    - UNCUT [UK]
    - MOJO [UK]
    A short word: both are monthly publications from the UK, each with a complementary compilation CD on a specified theme each month. Features reviews, ratings, interviews, back stories and feature articles of music artists and groups old and new, dead and living, famous and obscure. Print is fairly small, content dense (on each page. Both are 154-page thick.) I love the fact that although they seem more inclined toward the classic, more 'glamorous' period of 50-70s rock and usually features photos of long established figures like the Beatles on the covers and main feature articles and recounts/reminiscences of the period (probably targeting certain demographic groups?), but also features helpful albeit curt reviews of current artists and new albums (so many it's overwhelming), and the last few pages are dedicated to announce touring dates and venue of whoever care to put it up there (basically, everyone. Half of Rufus's October shows are already sold out...but i digress..), making it current and relevant to contemporary listeners too. Also: very little non-music related ad.

    Pricing: Around S$20. Subscriber to UNCUT gets up to 30% discount.

    on the to-read list
    - NME [UK]
    - Rolling Stone magazine [US]
    I've yet to read these two forerunners of all music magazines...TWO MUST-READS!
    - Blender [US]
    film:
    - First [SG]
    - 看电影 [CN]

    Standing Bird

    RULE: We should not give up or 半吊子 or slack off or watever like all the other blogs we've been doing.

    This blog is for serious researching and idea collection.

    ----------------
    Now playing: Tokio Hotel - Der letzte Tag
    via FoxyTunes