Archives for December 2013

Also this year, NBC paid a record $250 million for broadcast rights to every English Premier League game over the next three years.

But if professional soccer has gained a solid foothold in the United States, soccer journalism continues to lag its foreign peers. There have been no prominent publications dedicated to the sport, featuring A-list writers and designers.

Now two soccer magazines are trying to change that, hoping that enthusiasm generated by the approaching 2014 World Cup will help create a readership that will endure for years afterward.

One of the magazines, Eight by Eight, introduced its first issue in Manhattan last month. The other, Howler, is a year old. (A third, called XI, is in the throes of a financial crisis after a year in print, and its future is unclear.)

The publications, all quarterlies, have had modest beginnings, with small subscriber figures so far. But the pedigree of the founders of Eight by Eight and Howler, with decades of experience in publishing pantheons like Esquire and National Geographic, suggests they represent the first attempt to create a niche genre aimed at a passionate audience.

The editors acknowledge that much of the optimism is fueled by the excitement generated by the World Cup, to be held in Brazil beginning in June. The quadrennial event is followed by billions of people worldwide. Then there’s the recent ESPN poll in which American fans, for the first time, chose a soccer player — Argentina’s Lionel Messi — among their top 10 favorite athletes.

But there’s also a more primal impulse. “When we started (the magazine), we didn’t think, ‘Here’s a market we could exploit,’ ” said George Quraishi, co-editor at Howler along with Mark Kirby. “We wanted to make a magazine about something we love.”

Several years ago, when Mr. Quraishi worked at Condé Nast and Mr. Kirby was at GQ, the two used to play soccer together on Wednesdays at Pier 40 in Manhattan. “He’s a goalkeeper, I’m an attacker,” Mr. Quraishi said. “We had a good partnership.”

Soon they decided to combine their professional and sporting passions and start Howler.

Similarly, Robert Priest, one of the founders of Eight by Eight, describes himself as a “West Londoner who has strangely always been passionate about Manchester United.” Mr. Priest, 67, has been living in the United States since 1979, and has coached his two sons in youth soccer.

But passion doesn’t pay the bills. Howler got its start with $69,000 from Kickstarter and “pretty sizable” support through advertising by Nike and beIN Sport, the Al Jazeera-affiliated sports network, Mr. Quraishi said. He is the only full-time staff member, which keeps costs down. After a little more than a year, Howler has published three issues, with the fourth coming in early January, and Mr. Quraishi said subscriptions, which cost $50, are approaching 5,000 and increasing with each issue.

Asked why he was confident the magazine could make it, Mr. Priest pointed to the years of financial success he has had in designing magazines, most recently with his partner Grace Lee, at Priest Grace. Their client list includes Esquire; Forbes; O, the Oprah Magazine; and Bloomberg.

Mr. Priest and Ms. Lee, who are also partners in the magazine, said they had financing in the “six figures” to start their magazine, and that the first issue’s print run was 4,500 copies.

The magazines aim to go beyond the win-loss column and delve into personalities and issues. But they also differ in their approaches: Howler is a large-format publication that sends writers to locations like Mexico and Rome in search of long-form articles; Eight by Eight’s first issue splashes bright illustrations across many of its pages. XI, now struggling to put out a fourth issue, is smaller in size, almost academic and focused solely on North America.

Top writers from Britain, Germany, France and the United States have appeared in the magazines, including The Guardian’s Graham Parker and Sports Illustrated’s Jonathan Wilson.

Though all three decided to produce a print magazine, they also rely on digital media to reach their readers.

Mr. Priest said his publication intended to use its website to offer merchandise, up-to-the-minute news, and multimedia presentations. Mr. Quraishi has expanded Howler’s presence during the last year with online offerings that include podcasts and email bulletins. “We’re a print magazine, but most of the way we get the word out is digital,” he said, adding that many subscribers had come through social media.

The appearance of three soccer quarterlies in the same year has not been without behind-the-scenes drama. Mr. Priest and Mr. Lee were part of Howler’s founding team, working on that magazine’s first two issues. But then, Mr. Priest said, creative differences emerged, leading them to start Eight by Eight. “We wanted to develop something that was our own,” Ms. Lee added.

But there has also been uncommon camaraderie displayed as well. When XI announced its financial troubles, Howler wrote on Twitter: “totally bummed for our buds at @xiquarterly. we know how tough it is.”

Asked about this, Mr. Quraishi said: “The main idea we share with XI is that soccer fans have been ignored by the U.S. press. So there’s an idea we’re in this together. That’s part of our DNA.”

Article source: http://www.nytimes.com/2013/12/30/business/media/an-imported-sport-soccer-gets-its-own-glossy-magazines-in-the-us.html?partner=rss&emc=rss

Movie studios sustained some devastating flops in 2013, among them the samurai epic “47 Ronin,” which limped into theaters on Christmas. But it was a solid 12 months over all: Rentrak, a firm that compiles box-office data, projected on Sunday that North American ticket sales for the year would total $10.9 billion, a 1 percent increase from 2012. Analysts predict similar attendance numbers to last year’s, about 1.36 billion people.

Hollywood did it largely by serving more of the same. The five leading films at the global box office were all sequels. “Iron Man 3” was the top-selling movie of the year, taking in $409 million in North America, for a global total of more than $1.2 billion. “Despicable Me 2” was second with nearly $920 million in sales, followed by “Fast Furious 6,” “The Hunger Games: Catching Fire” and “Monsters University” (actually, a prequel). And get ready for more: Crucially for their future business prospects, movie studios managed to introduce an unusually large number of new franchises. Sequels are already in the works for at least eight of the nonsequel films released in 2013, including “The Conjuring,” “The Croods,” “We’re the Millers” and “Man of Steel.”

“It bodes very well for our future,” said Greg Foster, chief executive of Imax Filmed Entertainment, which set a series of box-office records over the year.

Despite the celebration, some studio executives are doing a little soul searching. Again and again, audiences showed that they were starving for originality.

“Gravity,” the 3-D space picture with essentially a cast of two, Ms. Bullock and George Clooney, became a phenomenon. It took in $254.6 million in North America, for a global total of $653.3 million. “Now You See Me,” the kind of middle-budget movie that most big studios left for dead a few years ago, sold $117.7 million in tickets, for a worldwide total of $351.7 million.

“This Is the End,” a raunchy apocalyptic comedy starring James Franco and Jonah Hill as themselves, took in $101.5 million domestically — only a smidgen less than the 2013 movie that may have epitomized more of the same, “The Hangover Part III.”

“People do seem to want different,” said Richie Fay, president for domestic distribution at Lionsgate. “You’ve certainly now got to give people movies that they will come away talking about.”

Moviedom is also ending the year, as it has the past few, ruminating about ceding cultural ground to television. Combined, three presumed best picture contenders — “Nebraska,” “Her” and “Inside Llewyn Davis” — have been seen by roughly one-tenth of the more than 10 million viewers who tuned in to the last episode of “Breaking Bad.”

The serious side of feature filmmaking kept slipping toward a future in which theatrical release is just a seal of approval for pictures that are intended to be seen elsewhere. Among the year’s documentary success stories was “Blackfish,” about SeaWorld’s treatment of orcas and their trainers. The film stayed in theaters long enough to be certified as a “movie” by reviewers and awards voters, but the payoff came when it moved to video-on-demand services a month later, and CNN Films, its backer, quickly landed it in front of the real audience: television viewers.

“Moviegoers want compelling ideas,” Mr. Foster said, noting “Gravity” as one film that delivered (particularly in his theaters). “I take my hat off to television for it. Television has been incredibly compelling and thoughtful.”

It was a tough year for the good-behavior watchdogs of popular culture. Oprah Winfrey smoked in “Lee Daniels’ The Butler,” a late-summer hit, as did Meryl Streep in “August: Osage County.” Cigarettes glammed up the cafe scenes in “Inside Llewyn Davis.” The monitoring group SceneSmoking.org even gave a black lung rating for excessive tobacco use to “The Hobbit: The Desolation of Smaug.” (Smog?)

By June, every major studio was peddling guns in its marketing for films like Universal’s “R.I.P.D.” and “2 Guns,” and a study backed by the Annenberg Public Policy Center at the University of Pennsylvania found that gun violence in the top-selling PG-13 movies had surpassed that in best sellers rated R.

In a wearying year, Americans sidestepped wearying movies. They rejected “The Fifth Estate,” an Oscar hopeful centered on the WikiLeaks organization; it cost DreamWorks Studios about $26 million to make and took in a total of $8.6 million, roughly half of which goes to theater owners. Even returning to the Old West even seemed too much, as “The Lone Ranger” became one of the biggest flops in memory, requiring a write-down of about $160 million.

When consumers did leave their sofas, whether to watch “Star Trek Into Darkness” or “Thor: The Dark World,” it was to get away from their problems, not to work them out. “People are jittery in the country,” said Brad Grey, chief executive at Paramount, which found hits in films like “Jackass Presents: Bad Grandpa.” “They’re jittery over Obamacare, a whole list of issues.” The best response for a movie studio, he suggested, is “to think very, very long term.”

No serious documentary made a deep impression at the box office. The only chart topper was Morgan Spurlock’s boy-band concert film “One Direction: This Is Us,” which had about $28.9 million in domestic sales. It was a far cry from 2004, when “Fahrenheit 9/11” and Mr. Spurlock’s own “Super Size Me” filled seats.

Even when moviegoers watched nonfiction, or at least a lightly fictionalized version of it, they seemed to be showing up less for a history lesson or pieties than for a good time, as was offered by Sony’s “American Hustle,” promoted with hairdos and cleavage, or Martin Scorsese’s “The Wolf of Wall Street,” with its hookers and drug use.

“The Wolf of Wall Street” (Paramount) was the No. 1 new movie over the weekend, taking in an estimated $18.5 million, for a total since opening on Wednesday of $34.3 million. Still, the movie’s hefty cost — about $100 million, independently financed by Red Granite Pictures — and lackluster C score from audiences in exit polls make profitability an extremely steep climb.

Ben Stiller’s “The Secret Life of Walter Mitty” (20th Century Fox) was the second-most-watched new movie over the weekend, selling a soft $13 million in tickets, for a total since opening on Wednesday of $25.6 million. It cost about $90 million to produce and will need to make up significant ground to become a financial success.

The lightly marketed “47 Ronin” (Universal) fizzled as expected, taking in $9.9 million, for a five-day opening total of $20.6 million. Championed at Universal by the studio’s former chairman — who was fired in the fall — “47 Ronin” cost $175 million to make. Analysts estimate the movie will lose roughly $100 million, putting it in “The Lone Ranger” territory. Universal declined to discuss specific losses but confirmed in a statement that it had already taken a write down on the film, saying, “We adjusted film costs in previous quarters, and as a result our financial performance will not be negatively impacted this quarter.”

Although Universal also experienced a big flop in the summer, “R.I.P.D.,” the studio had both “Despicable Me 2” (which has yet to open in China) and “Fast Furious 6.” It also had one of the year’s best-performing comedies in “Identity Thief,” starring Melissa McCarthy, who had a very good year; she also co-starred in “The Heat,” which took in more than $134.5 million for Fox.

But it wasn’t just the big movies that made a difference for Hollywood. Solidly performing little films also offered a lift. TheWrap.com, an entertainment trade news site, counted seven movies that started out in very limited release — pictures like Woody Allen’s “Blue Jasmine” and the independently produced “The Way, Way Back” — and managed to take in more than $20 million.

“Instructions Not Included,” from Pantelion, part owned by Lionsgate, became the highest-grossing Spanish-language film ever in the United States, with more than $44 million. Taken with the success of several movies with predominantly African-American casts, including “The Butler” and “The Best Man Holiday,” “Instructions Not Included” demonstrated an audience hunger for diversity in pictures.

“Those are niche types of films,” Lionsgate’s Mr. Fay said, “that went beyond their borders to become solid hits.”

Article source: http://www.nytimes.com/2013/12/30/movies/the-movies-with-pasts-ruled-the-year.html?partner=rss&emc=rss

The cause was esophageal cancer, his wife, Judith, told The Associated Press.

Before Mr. Lujack hit the Chicago airwaves in 1967, Top 40 D.J.’s were known for rapid-fire patter, velvet sonorities and inexhaustible cheer. Mr. Lujack was laconic, sandpapery and curmudgeonly — and, to judge from the one million listeners he garnered at his height, delightfully so.

In 2000, The Chicago Sun-Times called him (approvingly) “a crabby coot dropping PG-rated acid bombs at a snail’s pace.”

First at WCFL-AM and later at WLS-AM, a station that could be heard far beyond Chicago, Mr. Lujack — known on the air as Uncle Lar’ or Superjock — spent 20 years spinning records and spouting opinions.

Frequent targets of his opprobrium included the very albums he was playing, the very stations he was working for and various rival D.J.’s. (Mr. Lujack once stormed a competitor’s show and threatened, on the air, to ram the man’s head through a wall.)

He became famous for regular features including “Klunk Letter of the Day” and “Cheap and Trashy Showbiz Report.” His best-known feature, done in collaboration with his longtime on-air partner Tommy Edwards (“Li’l Snot-Nose Tommy,” Mr. Lujack fondly called him), was “Animal Stories.”

Growing directly from the farm reports that Mr. Lujack had to give early in his career, the feature involved his reading comic news reports about animals — among them the tale of a chicken who lived on despite having parted company with his head days before — to an astonished Mr. Edwards.

“Animal Stories” prefigured the “Stupid Pet Tricks” television segments of David Letterman, on whom Mr. Lujack was an acknowledged influence.

Mr. Lujack’s style, which also included strategic pauses, audible paper-shuffling and grandiloquent references to himself in the third person, demonstrably shaped that of Mr. Limbaugh, who in 1990 told The New York Times Magazine that Mr. Lujack was “the only person I ever copied.”

That influence by all accounts made Mr. Lujack even crankier. “His appeal escapes me,” he once said of Mr. Limbaugh.

Larry Lee Blankenburg was born in 1940 in Quasqueton, Iowa, and reared in Caldwell, Idaho. At 18 he joined KCID-AM in Caldwell, adopting the surname of his idol, the Chicago Bears quarterback Johnny Lujack.

After working at stations in Idaho and Washington State, Mr. Lujack joined WCFL in 1967 and moved to WLS four months later. Except for a four-year stint back at WCFL, he remained with WLS for the next two decades.

In 1984 WLS gave Mr. Lujack a 12-year, $6 million contract, making him one of the country’s highest-paid radio personalities. (“I am not the least bit excited,” he was reported to have said.) But in 1987, amid declining ratings, the station’s corporate parent, Capital Cities-ABC, bought out his contract.

Mr. Lujack’s marriage to his first wife, Gina, ended in divorce; a son from that marriage, John, died in 1986. His survivors, The AP reported, include his second wife, the former Judith Seguin; two children from his first marriage, Anthony Lujack and Linda Lujack-Shirley; a stepson, Taber Seguin; and two grandchildren.

His honors include membership in the Illinois Broadcasters Association Hall of Fame (“It’s not Mount Rushmore,” he said on learning of his induction) and the National Radio Hall of Fame.

Broadcasting from Santa Fe, Mr. Lujack made occasional comebacks on Chicago radio in recent years. But on balance, he said, he was relieved to be retired.

“I did rock ’n’ roll radio for 30 years,” he told The Sun-Times in 2008. “It got to the point if I had to play ‘Surfin’ U.S.A.’ one more time, I was gonna puke.”

Article source: http://www.nytimes.com/2013/12/29/us/larry-lujack-a-cranky-voice-on-chicago-radio-dies-at-73.html?partner=rss&emc=rss

The stagehands of Local 1 of the International Alliance of Theatrical Stage Employees bring some of New York City’s most glittering stage effects to life, from the auditoriums of Lincoln Center to the theaters of Broadway. But their work comes at a steep price, even at venues where they do little more than load in orchestras and set up music stands.

Those high costs were underscored by a stagehands walkout that forced the cancellation of this season’s opening night at Carnegie Hall and called attention to the hall’s five full-time stagehands’ total yearly compensation, an average of more than $400,000 each. An examination of tax records, contracts and other documents by The New York Times found that hefty stagehand salaries at many New York nonprofit performance institutions are more widespread than was previously known.

At nine top such institutions that have contracts with Local 1, stagehands make up 36 of the 98 most highly compensated employees, or about 37 percent. The average annual total salary and benefits of those highest-paid stagehands, at places from the Metropolitan Opera to the Roundabout Theater Company, is nearly $310,000, according to the nonprofits’ most recent tax filings.

Backstage workers can earn more than the onstage talent. Five stagehands at the David H. Koch Theater at Lincoln Center were each paid more in total compensation in 2011 than the highest-paid dancer at New York City Ballet, filings showed. And, in 2010, “Spider-Man: Turn Off the Dark” paid its stagehands a total of $138,000 a week, while the principals and members of the ensemble earned slightly less than $100,000 put together, according to documents submitted to the state attorney general’s office.

Even as organized labor in the United States has weakened significantly, the nearly 2,600 active members of Local 1 have retained their clout, allowing them to push for good wages and work rules. Labor historians, Broadway producers and executives at the nonprofit performance institutions chalk up the union’s power to two major factors: that Local 1’s members have hard-to-replace skills, and that their jobs cannot easily be outsourced.

The threat of a strike can be enough for Local 1 to win favorable terms, said Martin J. Oppenheimer, a former board member and negotiator for New York City Opera, which is now bankrupt. “Particularly in the not-for-profit area, it is just so important for the organization to perform,” he said. “You can’t take a chance.”

James J. Claffey Jr., the local’s president, rarely grants interviews. “While I can appreciate your obligation to report to your readers,” he wrote in an email, “I sincerely hope you can appreciate my obligation to represent the membership of Local 1. The story you wish to do will not serve my union or my members well.”

Local 1 was founded more than 125 years ago, in 1886, when most major theaters were below 14th Street in Manhattan and lit by gaslight. In the 19th century, popular entertainment strove for the spectacular, and the scenery and special effects made stagehands a necessity.

Since then, the demands of the job have only increased. The electricians, carpenters, stage riggers and other members of Local 1 build, run and break down the most complicated of sets, handle the lighting and sound equipment and manage the special effects. At the Metropolitan Opera, that means moving tons of scenery day and night.

Their tasks are “extremely complex, extremely high-tech and possibly extremely dangerous,” said Martha S. LoMonaco, a professor of theater at Fairfield University, in Connecticut. “They should not be viewed as the schleppers of the theater industry.”

Although Local 1 officials declined to comment for this article, a close reading of their newsletter, Spotlite, gives an indication of their goals, priorities and mind-set.

“We are a proud, unified, hard-working, family-oriented bunch of people with only the welfare of our families, the future of our children and the pride of being the best stagehands in the world deeply embedded in our hearts,” Robert S. Score, the union’s recording-corresponding secretary, who worked at the New York State Theater (now the Koch) for more than 25 years, wrote after the 2007 Broadway strike. “We simply are not what they said we were. Will they ever understand that?”

Article source: http://www.nytimes.com/2013/12/28/arts/hey-stars-be-nice-to-the-stagehands-you-might-need-a-loan.html?partner=rss&emc=rss

The indefinite suspension of Phil Robertson, the patriarch of the family at the center of the AE Network’s huge ratings hit “Duck Dynasty,” became definite Friday — at zero episodes. The network announced he would not be suspended after all.

AE released a statement, noteworthy both for its concessions to the Robertson family’s refusal to accept the suspension as well as its timing — at close of business on Friday of a holiday weekend on the slowest week of the year in the entertainment business.

The bottom line: Phil Robertson will resume work on the show when it begins taping new episodes in the spring.

The network moved to suspend Mr. Robertson on Dec. 18 after comments he made about gay people in a magazine interview. At the time AE described the comments, which described homosexual acts in crude terms and labeled them a sin, as extremely disappointing and not reflective of the network, which considered itself “champions of the L.G.B.T. community.”

The suspension stirred an uproar among fans of the show and also conservative political and religious leaders. More than 250,000 signed a petition demanding Phil Robertson’s reinstatement. Cries of anti-Christian bias from famous Republicans like Sarah Palin and Gov. Bobby Jindal of Louisiana also followed.

More ominously, the family issued a statement saying in effect there would be no show without their patriarch.

On Friday, AE bowed to the pressure and released a new statement, accompanying the news that Mr. Robertson would miss no episodes. The statement cited Mr. Robertson’s later comments that his views were in no way intended to “incite or encourage hate,” as well as the way the Robertson family’s interaction in the show demonstrated values like “unity, tolerance and forgiveness.”

AE also promised to initiate a public service campaign endorsing those values.

“Duck Dynasty” is by far the highest-rated show on AE. It has also become a marketing powerhouse. Merchandise based on the show is sold in six departments in Walmart stores, and the “Duck Dynasty” Christmas album, “Duck the Halls,” which features Mr. Robertson, has sold more than 700,000 copies since it was released. Industry insiders predicted that the controversy would increase sales.

Article source: http://www.nytimes.com/2013/12/28/business/media/bowing-to-pressure-ae-revokes-suspension-of-duck-dynasty-star.html?partner=rss&emc=rss

Mr. Prucnal’s wife dumped Family Circle, Taste of Home and Better Homes Gardens because she no longer found enough interesting recipes. His daughter said goodbye to Glamour. And he didn’t renew Newsweek and The Dallas Morning News because the family was getting their general-interest news from television.

But Mr. Prucnal refuses to part with Model Railroader, Classic Trains and Classic Toy Trains. When it comes to the toy train magazines that fuel his passion, he has drawn the line.

“I would probably give up my train club before I would give up my train magazines,” said Mr. Prucnal, an employee at a Walmart outside of Dallas and a Navy reservist, who spends about $120 a year on these publications. “There’s a lot of ‘how to’ articles and a lot of product news.”

Readers like Mr. Prucnal have helped hobby magazines become the darlings of the struggling magazine industry. For decades, the nation’s top general-interest publications, like Time and Newsweek, attracted millions of readers who considered those magazines to be household staples. But as readers increasingly turn to the Internet for news and information, niche magazines continue to retain and attract loyal followings, making them a bright spot in an otherwise dim outlook for print periodicals.

“Titles like Trains aren’t easily replaced,” said Andrew Davis, author of the book “Brandscaping” and a media consultant. “It’s a really passionate community with high-quality content that speaks specifically to them.”

Some high-end hobby magazines like Wine Spectator and Cigar Aficionado have not only experienced steady circulation growth, but have also brought in big revenue by staging special events for subscribers. Wine Spectator’s total circulation in the last decade grew 11 percent and Cigar Aficionado’s total circulation grew 1 percent, according to the Alliance for Audited Media. And Marvin Shanken, who owns both publications, said that subscribers to another magazine in his portfolio, Whisky Advocate, sold out its 17th annual WhiskyFest within hours.

The event, which will be held in Chicago in April, is expected to attract about 1,800 whisky lovers and generate nearly $300,000 in ticket sales.

Other niche magazines like Cycle World and Hot Bike have achieved such strong subscription renewal rates that they have modestly expanded their editorial staff, even as many large publications are trimming their employee ranks. While circulation numbers at Cycle World and Hot Bike have declined slightly in the last decade, both have successfully raised subscription rates, offsetting the drop in circulation, said Andrew Leisner, a senior executive at Bonnier and publisher of both.

“All of the publishers I see on the niche side are making money,” said Mr. Davis, the consultant, who has advised both larger magazines and niche ones like Premier Guitar and Bird Watcher’s Digest. “They’re smaller operations for the most part. But some of them make a really healthy profit.”

While hobby magazines may never grab the attention that a Vogue cover or Time’s Person of the Year issue attracts, their publishers talk of their devoted readerships. Kevin P. Keefe, vice president for editorial and publisher at Kalmbach Publishing, which produces many of Mr. Prucnal’s favorite train magazines, said that his readers were so loyal that some subscribers paid for issues through the 2030s and bought $199.95 DVD sets that let them read all of the issues in the magazine’s then 75-year history. In the eight months since the company introduced a paid website for Model Railroader magazine, nearly 10,000 subscribers have agreed to pay $4.95 a month for access.

Food magazines also have die-hard fans. The Rev. Michael Tang of the Transfiguration Parish in Los Angeles, says that he cannot afford to spend much on travel or clothing. But he also cannot live without his subscriptions to the food magazines Saveur and Bon Appétit. He saves the issues and cooks meals from them both for himself and potential church donors, and also dreams of visiting some of the culinary hot spots featured in those publications.

“Taking a vow of poverty and being a priest, you live vicariously a bit,” said Father Tang. “The magazines are an affordable way to experience life. I will never go to some of those places. But I can have an idea of someone who has gone there.”

That kind of devotion shows up in the advertising numbers: Both magazines outperformed the industry in the third quarter for advertising pages, according to the Publisher’s Information Bureau. While niche publications depend heavily on circulation revenue, advertisers also value their readers’ loyalty. In the third quarter of 2013, Bon Appétit’s advertising dollars jumped by about 27 percent compared to the same time period the year before, while Saveur’s advertising increased by roughly 11 percent. Advertising for the entire industry grew by only 4 percent during that time.

Article source: http://www.nytimes.com/2013/12/28/business/media/loyal-subscribers-keep-hobby-magazines-afloat.html?partner=rss&emc=rss