Sleaze Merchants

Once a decision is made to be tasteful and risk-free,
sleaze goes right out the window.

— Cintra Wilson

Cover by Al Rossi

My first exposure to sleaze—I was age eight—was the paperback tower at the front of our corner drug store.

 

It was six or seven feet tall—dwarfing me—and pentagonal and would rotate unsteadily on a hidden axle when you gave it a whirl. 

Top heavy from its burden of potboilers, the tower always threatened to fall on me when I spun it. At the very first squeak, my inattentive mother would glance up from her shopping and siss at me, "Robert, leave that alone."

The book tower's presence in the drug store suggested to my eight-year-old mind that its weird offerings must somehow relate to grownups' healthcare (although I would soon discover a comparable rack of sulfurous paperbacks in the confectioner's store down the street—where absolutely nothing healthy was sold).

Although I had no clue at the time, three of the artists who created the covers for many of the books on display were among the finest illustrators of the day, rivals of the famous Norman Rockwell.

They were Norman Rockwell's lurid twins.

Al Rossi was a prolific magazine illustrator and a masterful merchant of paperback sleaze. He was the original cover artist for Junkie, a 1953 novel by beat writer William Burroughs (published under the pen name William Lee). The Bronx-born Rossi was a prominent supplier to Balcourt, a New York-based stock house that provided cover art to paperback publishers in the 1950s and '60s. A professional jazz musician until World War II, when he served with the Army in Europe, Rossi was compelled after the war to try his hand at illustration to make ends meet, attending Pratt and the Arts Student League to learn the craft. Before associating with Balcourt, he worked for several publishers of pulp magazines, the forerunners to paperback books. Rossi liked to use his male neighbors and their wives as his models.

Cover by Ben Stahl

Ben Stahl was exposed to fine art in the seventh grade, thanks to a scholarship he received to attend Saturday morning lectures at the Chicago Art Institute. After high school, he landed a job at a commercial art studio in Chicago that provided illustrations almost exclusively to The Saturday Evening Post. His success as a studio artist prompted Stahl to move to New York and go freelance. There, he began illustrating paperback book covers, as well as continuing to supply artwork to The Post (he illustrated more than 750 stories for the magazine during his career). Stahl soon earned a reputation as a serious fine artist and, along with Norman Rockwell and Connecticut illustrator Albert Dorne, co-founded the Famous Artists School, a mail-order course whose graduates include Pat Boone, Tony Curtis and Charlton Heston. In 1965, as his career was reaching its zenith, Stahl painted 15 life-size pictures of the stations of the cross and opened his own museum in Sarasota, Florida, to house them. But the paintings were stolen four years later and never recovered. Stahl was left nearly penniless due to the theft.

Cover by Paul Rader

Paul Rader, at age 16, was one of the youngest artists ever to have an art museum exhibit his paintings. His early mastery of portrait painting earned him awards throughout the '20s and '30s and brought him commissions to paint wealthy judges, lawyers, and businessmen in his hometown of Detroit. Rader switched to illustrating pulp magazines after World War II, finding the work more lucrative, and moved to New York, where he became another leading supplier to Balfour. When painting paperback book covers, Rader liked using professional models and actors, supplied to him by talent agencies. One of his favorite male models, Guy Williams, went on in the mid-1960s to play Dr. John Robinson in the TV show Lost in Space. 

Whether Rossi, Stahl and Rader set the floor of our society's sleaze index, I don't know; but I do know their art depicted truths—truths most Americans, Puritans at heart, wished to deny in the 1950s.

The risks they took in defying mores and good taste and giving free reign to sleaze may not have contributed to the world's trove of art, but these three artists helped millions of Americans remain literate members of the book-buying public, which is a lot more than you can say about today's media consumers.

Above: Cover illustration for The Bump and Grind Murders by Al Rossi. Cover illustration for The Creepers also by Al Rossi.  

Hyperbole

“Truthful hyperbole" is a contradiction in terms.

— Tony Schwartz

Spartan. Dangerous. Terrifying. Nightmarish. Horrific.

Too often in recent days, I've heard these words used by journalists to characterize the temporary hospitals that are propagating the country.

Spare me.

Valley Forge was spartan. 

Vietnam was dangerous. 

The Blitz was terrifying. 

Aleppo was nightmarish. 

Auschwitz was horrific.

In fact, the temporary hospitals are havens for the sick. 

And the job our military is doing is nothing short of herculean.

There's a hyperbole you don't hear enough.

First Cut

US advertisers last year spent 21 cents of every ad dollar targeting radio and print audiences; 38 targeting cable TV viewers; and 41 targeting mobile phone users, according to Kleiner Perkins.

No surprise here.

Americans over 65 still love their cable TV. In fact, they devote 58% of their waking hours to it, says the US Bureau of Labor Statistics.

But Americans under 65 don't—and they're cutting the cable for the ad-free TV streamed by Netflix and its competitors.

Where ads once enriched many companies, only two—Google and Facebook—are reaping cable cutting's windfall.

And it's Netflix's fault, media reporter Derek Thompson says.

Netflix launched subscription-based TV, robbing large screens of viewers—and advertisers of prospects. As a result, advertisers are targeting viewers under 65 on their phones, where Facebook and Google have a duopoly.

"If the dynamic tech duo could go back in time and design the perfect ally to push advertising from TV to mobile phones," Thompson says, "it would look exactly like Netflix."

Cashing in on Events

Bloomberg is doubling down on events, according to Politico.

The business media giant has hired veteran exec Stephen Colvin to expand its two-year-old global events division.

"As with many media companies striving to develop new revenue streams, events are becoming a more prominent component of Bloomberg's journalism lineup," says Politico's Joe Pompeo.

A spokesman for Bloomberg says the company is "well positioned to be the leading convener of business and financial events around the world."

Sponsorship revenue from Bloomberg's five events is up 30% from 2015.

When will associations cash in on events?

And Now for a Word from Our Sponsor. Us.

"We are quickly moving to a point where brands should now be media first, and producers of products and services second," says Nicholas Korn on RSW/US's blog.

Take Monster.com, for example.

The company now develops and delivers content in three buckets: How (education), Now (news) and Wow (entertainment).

In only a year, Monster's content strategy drove yearly page views up 64%, from 27.5 million to 45.3 million.

"Every brand—whether it be small and personal or massive and corporate—now has the opportunity (or even mandate) to be their own media channel or studio," Korn says.

"As pre-digital media continues to become less effective, new technologies and platforms are allowing everyone to craft their own content and distribute it. And a growing number of brands are beginning to embrace this model—and these are the ones that are going to win."

But pre-digital media are far from dead.

Skift reports Carnival has produced 80 episodes of three original TV shows, which will air Saturday mornings on ABC, NBC and The CW, beginning October 1.

“Many of us have fond memories of the Saturday morning TV programming that we enjoyed as kids,” Carnival's CEO told employees in an email. “This fall, Saturday morning TV will take on an even more special meaning for Carnival Corporation.”

"While not paid programming, the shows will have an unabashedly pro-cruise point of view," Skift says.

Newshounds' Loyalty on the Rise

Consumers' loyalty to specific news outlets is on the rise, according to a recent poll by Gallup. 

Among consumers, 48% identify a specific medium (TV, Internet, radio, newspaper) as their main news source—down 10 points from three years ago; while 42% identify a specific outlet (Fox, Huffington, NPR, The New York Times, etc.) as their main source—up 12 points from three years ago.

"The shift in thinking on the subject is partly powered by Americans' increasing ability to gather news from a single organization on multiple platforms," says pollster Jim Norman. 

Loyalty to social media sites (Facebook, Twitter, etc.) as news outlets is also on the rise—particularly among Millennials.

According to the poll, 15% of Millennials identify a social media site as their main news source, up from 3% three years ago.

While the shift in media habits will affect news outlets in their battle for customers, it also could spill into politics and social behaviors, Norman says.

Consumers may shut out viewpoints not presented by their favorite news outlet, and be more apt to mistake entertainment for news.

How Publishers Will Survive

Antiquated mindsets bar publishers' way to monetizing digital content, Rob Ristagno says in Niche Media.

"Publishers often cite a 10% rule of thumb, meaning only one out of ten print subscribers pays for a digital replica," he says.

But exceptions to the rule abound (for example, with over one million subscribers, the digital edition of The New York Times).

Publishers' time-honored business model—amass an audience and sell ads based on CPMs—no longer works. 

Why not? Because, while print CPMs sell for $17, digital CPMs sell for $2. And the bargain-basement price of digital CPMs only promises to drop, as more publishers abandon print.

Publishers need a new model, Ristagno says. They need to:

Corner a niche market. "Instead of worrying about CPMs, find the most enthusiastic sub-group of your audience and help them solve a specific problem." Once you succeed in one niche, extend to another and another and another.

Sell more than ads. Sell memberships, online courses, research reports and events. "Your business model should survive without advertising. Otherwise, you’re not providing enough value to the consumer."

Publish only great content. "You can’t fool smart people (or Google) with low-quality digital content."

Adopt new technology—now. Off-the-shelf technology is easier and cheaper to deploy than ever. So move quickly. You can tackle fancy integrations another day.

The Art of Art is Simplicity

The art of art, the glory of expression, is simplicity.

—Walt Whitman

Simplicity's cool... so cool, brand researchers now index it.

But before it was cool, two artists preached simplicity every week on popular TV shows.

The beatnik, Jon Gnagy

Beatnik Jon Gnagy premiered in 1946 on NBC's first regularly scheduled TV program, the hour-long variety show Radio City Matinee. 

In the opening segment of the first episode, Gnagy stood at an easel and demonstrated, in a few simple steps, how to draw a tree. 

The show's producer called those 10 minutes of airtime "pure television," and within four months gave Gnagy his own 15-minute show, You are an Artist—TV's very first spin-off.

Gnagy used his weekly show to teach viewers how to draw the barns, haystacks and water mills that symbolized bygone America. He sketched his subjects using four basic forms—the ball, cone, cube and cylinder—with shadows cast from a single light source. When he finished each drawing, he matted and framed it, so—voila—the piece was ready to hang on the wall.

During each broadcast, Gnagy also pitched his branded art kit, complete with pencils, paper and a book of drawing lessons.

While Gnagy's prime-time show lasted only two years, it continued in weekend syndication for another 12, inspiring thousands of Boomers to learn how to draw chestnut trees, horse corrals and covered bridges.

The hippie, Bob Ross

Hippie Bob Ross preached simplicity for 11 years through his half-hour PBS show, The Joy of Painting.

Remembered for his fuzzy Afro and fuzzier aphorisms—"Happy little trees" being the most famous—Ross popularized the 16th century oil painting technique known as “wet on wet."

He also marketed a branded line of paints.

Throughout the 1980s, Ross' weekly show (which his business partner called “liquid tranquilizer”) inspired thousands of pre-Internet kids, if not to pick up a paintbrush, at least to contemplate das Künstlerleben.

Ross himself finished over 30,000 paintings in his lifetime, many of which he donated to PBS fundraisers.

Bezos Rekindles Old Paper

Amazon founder and newspaper owner Jeff Bezos' thumbprint continues to appear in the online version of The Washington Post.

Having trouble finishing long articles? You can now use a gadget to enter your email address at any point. The Post will send a URL that lets you pick it up later where you left off.

We can expect more Kindle-like add-ons to appear in The Post, as Bezos dabbles deeper in journalism. 

"The transformation may not be apparent on the surface, but the Internet billionaire has ripped up and revamped the technology underpinnings at The Post since buying the storied daily in 2013, while investing in the newsroom with more journalists, video offerings and tools for digital storytelling," AFP reported in January.

Bezos' investments might be paying off.

Last December, readership of The Post's website overtook that of The New York Times.

Marketers Using More Agencies Less

Today's marketer farms out projects, not accounts, according to a survey by RSW/US.

RSW/US found that 74% use more than two agencies; and 17%, more than five.

They're also keeping project-work in house, hiring specialists galore.

And 40% of marketers expect project-work to increase this year.

While agencies may cringe, RSW/US sees an upside.

Marketers can no longer brush them off with "We already have an agency."

"With more marketers potentially using multiple agencies in the coming year, that objection becomes less of a hurdle, even potentially advantageous," says Lee McKnight, vice president of sales.

Marketers say they're wearied by agencies that claim they're full-service, but aren't, the survey reveals.

Marketers also say they're troubled by agencies "defaulting to digital." Too many have abandoned creativity, customer insight, and expertise in traditional media.

With more opportunities before them, agencies can win business by pitching novel projects, deep category knowledge, or know-how in a particular channel.

The Delicate Delinquent

I grew up a mile outside Newark, New Jersey, home town of Jerry Lewis.

My mom, a school teacher, worked with an older colleague who'd had Lewis in her fifth grade classroom 25 years before.

Despite his fame as a nightclub, radio, TV and film star, my mom's coworker hated Lewis.

He'd been a 10-year-old thorn in her side that whole school year. 

A jerk. Smart ass. Wise guy. Class clown. 

She hated him.

In Originals, Adam Grant says the difference between an original and the rest of us boils down to whether or not that person "rejects defaults." 

Default behaviors. Default beliefs. Default systems. Default "worlds."

"The hallmark of originality is rejecting the default and exploring whether a better option exists," Grant says.

We tend to think originals are appreciated early, as were Mozart, Rimbaud and Picasso.

But that's not the norm, Grant says.

Social science shows school kids who are originals are the least likely to be appreciated.

In one study, teachers listed their favorite and least favorite students, and rated each group.

The least favorites were the non-conformists.

"Teachers tend to discriminate against highly creative students, labeling them as trouble-makers," Grant says. 

"In response, many children quickly learn to get with the program, keeping their original ideas to themselves."

But some people, for their own crazy reasons, can't sit still long enough to "accept defaults."

Happy 90th Birthday, Mr. Lewis.

Still rejecting defaults after all these years.

UPDATE: Jerry Lewis passed away August 20, 2017, in his home in Las Vegas. Love him or hate him, he was surely an original.

Micro Ads: Small is the New Big

Micro ads deliver macro results, according to a new study by IPG Media Lab.

When viewed on smartphones, micro ads—videos 5 to 15 seconds in length—yield better brand recall, preference and purchase intent than longer ads, the study found.

Micro ads also yield better results among Millennials than viewers of other ages.

Micro ads enjoy an advantage because they're bite-sized, the researchers say.

The ads enjoy an advantage when viewed on smartphones because they seem to dominate the tiny screens.

Millennials dig micro ads because they grew up with smartphones. They find micro ads more enjoyable and of higher quality than viewers of other ages.

The study also found micro ads work better when viewers are out and about, rather than home; and when the ads have voiceovers.

For a micro ad to drive more than just brand awareness, its minimum length should be 15 seconds, according to the study. 

A micro ad shorter than that is simply too micro.

Virtual Fishwrap

Fishwrap, according to Urban Dictionary, refers to "any printed journalistic medium with such low credibility and standards in acceptable journalism that its only useful function is to wrap fresh fish in."

I earned my marketer's chops publishing a corporate magazine when those were all the rage. I won't claim it had high standards. But it wasn't fishwrap, either.

Corporate magazines can be powerful content marketing vehicles, particularly for B2B companies.

Speaking of vehicles, Content Marketing Institute credits John Deere with the invention of content marketing with its magazine The Furrow (CMI overlooks Poor Richard's Alamanack.)

A handful of corporate magazines still circulate today in print (CMI's Chief Content Officer is a laudable example); but most, if not folded, have gone digital (McKinsey Quarterly, for example).

Flip-book software may spawn a renaissance of the corporate magazine, but I have doubts.

Like sustained blogging, publishing a corporate magazine is a tough row to hoe (just ask John Deere). 

A luxury-grade magazine gobbles thousands of dollars in fees for freelance journalists, editors, photographers and graphic designers. But that's what you need to spend to hook readers. 

A flip-book, cobbled together on the cheap, won't make the grade.

At best, it's no more than virtual fishwrap.

Going Native Nothing New

There is nothing new under the sun.

Not even new media.

NBC has replaced ads on some of its shows with content sponsored by American Express, AdAge reports.

The content comprises extra scenes with stars from the shows, with the credit card issuer mentioned before and after each segment.

Other networks plan the same move.

"Many TV networks are cutting back on commercials to appeal to younger viewers who are used to watching shows ad-free on Netflix—and to appease marketers who are concerned their messages are getting ignored amid the clutter," AdAge says.

Before CLIOs are handed out, it's worth remembering broadcasters weaved "native ads" into TV shows 70 years ago (and into radio shows earlier still).

Where Have You Gone, Corporal Agarn?

When media were scarce—as they were when I was young—our states seemed united.

Nearly everyone, if not delighted, was at least familiar with Corporal Agarn, Samantha Stephens, Norman Mailer, Helen Gurley Brown, Perry Como, Chubby Checker and Walter Cronkite.

Today, no one knows who's who, or what’s happening.

You can no longer catch the pulse.

But we yearn to.

That's why Taylor Swift and Star Wars: The Force Awakens are blockbusters, while Vine and Snapchat aren't.

We long to consume and communicate as a nation.

Life in tribes can grow stultifying.

Code Eats Content for Breakfast

Lamenting developers' complicity in content piracy, marketing guru Mark Schaefer recently wrote, "Coding is cheap and fast and plentiful and we seem to be in a media world dominated by cleaning up unintended consequences."

Developers know they're killing creatives, the geese that lay the golden eggs. But, wantonly, they continue to pump out code that rewards content pirates.

There's no real news here, alas. Just old-fashioned avarice.

While encouraged by investors to "disrupt" moribund industries, developers continue to fleece creatives, as they have since the days of Napster.

The injustices they perpetuate make literal the economist's term creative destruction.

Market-oriented, Schaefer recommends a return to patronage, the "Renaissance monetization model," to support content creators.

Raised by parents who worshipped FDR, I recommend revival of the WPA (funded by taxing companies like Facebook.)

What's your idea?

The Coming Content Arms Race

Marketing strategist Mark Schaefer coined the dystopian term "content shock" to describe audiences' adverse reaction to content marketers' handiwork.

If you've felt a little content shock now and then, seek shelter now.

A "content arms race" is about to commence, Schaefer says.

By 2018, we'll be awash in content, as marketers' annual spend on web ads catches up with their $215 billion spend on TV ads.

Besides flooding the web with content, the spending shift will usher in an arms race, whose victors will be deep-pocket companies.

Small-time players, who until now have considered content their secret weapon against major advertisers, will be buried.

"Those with more money generally are in the best position to create more and better content, as well as pay to have it promoted and distributed," Schaefer says. "Will they always win? No. All things be equal, will they usually kill off the smaller guys? Yes. History bears this out."

Schaefer points to Chipotle's content marketing efforts as proof. "That kind of multi-million-dollar quality is not sustainable for most businesses and will hasten the exit of marginal content producers."

Express Editors Eliminate Leads

Mirroring bloggers, the editors of Express, the anorexic sister of The Washington Post, have eliminated lead paragraphs in news stories, as the following article shows:

Palmyra scholar beheaded by ISIS

Khaled al-Assas, 81, spent his life protecting the Roman-era ruins

DAMASCUS, SYRIA. The aging antiquities scholar dedicated his life to exploring and overseeing Syria's ancient ruins of Palmyra, one of the Middle East's most spectacular archeological sites.

Islamic State militants who now control the city beheaded him in a main square Tuesday after accusing him of being the "director of idols," then hung his body on a pole, witnesses and relatives said Wednesday.

Journalists used to sweat strong leads.

Pulitzer Prize winner John McPhee, in The Wall Street Journal, called the strong lead "a flashlight that shines down into the story" and, because it bears an illuminative role, "the hardest part of a story to write."

Alas, no longer.

In the race to the finish line, there are no more leads.

All Web Journalists are Liars

Jon Stewart convinced us—as if we needed convincing—that all TV journalists are liars.

Ryan Holiday, minus the laughs, is the Jon Stewart of the web.

After reading the first 40 pages of Trust Me, I'm Lying, you will never read news from Business Insider, The Daily Beast, Drudge Report, BuzzFeed, Politico or Huffington Post with your old credulity again.

A recovering PR practitioner, Holiday explains how starving web journalists work; and how greedy publishers and wanton publicists exploit their hunger every hour of every day.

"Bloggers eager to build names and publishers eager to sell their blogs are like two crooked businessmen colluding to create interest in a bogus investment opportunity—building up buzz and clearing town before anyone gets wise," Holiday writes. "In this world, where the rules and ethics are lax, a third player can exert massive influence. Enter: the media manipulator."

With the same aplomb that Silent Spring laid bare corporate greed and The Pentagon Papers government secrecy, Trust Me, I'm Lying exposes the utter corruption that plagues web journalism—and the noxious effect it has on all of us.

What Planet are You on?

"Effective stories match the worldview of the people you are telling the story to," Seth Godin says.

The last time I checked, in my world the least effective way to persuade people you were trustworthy was to claim you were trustworthy.

What worldview does Overstock.com think customers have?