(Roughly) Daily

Posts Tagged ‘magazines

“With the greater part of rich people, the chief enjoyment of riches consists in the parade of riches”*…

California wildfire [source]

As insurance premiums rise, global warming’s effects are impacting collectors’ bank accounts, especially in disaster-prone states like California and Florida where risky conditions have become the norm…

Art collectors in California, Florida and other states experiencing weather-related disasters aggravated by climate change are finding fine art insurance becoming more expensive, with policies increasingly difficult to obtain (or renew) and containing new restrictions.

Earthquake-prone California, which has faced a series of massive wildfires (often followed by landslides) in recent years, is one epicentre in this struggle to find insurance coverage for homes and the art within them, with the annual cost of homeowners policies rising as much as 40% and the premiums for fine art insurance coverage increasing between 5% and 12%, according to Amee Yunn, assistant vice president of the New York-based Berkley Asset Protection, an insurance company specialising in fine art, jewellery and other high-value, personal and commercial assets. Florida, with its increasingly intense hurricanes and floods, is also a concern for the insurance industry.

“Many wealthy people flocked to Florida due to the pandemic,” Yunn says, “and they took their art with them.” That concentration of wealth assets in areas prone to flooding and hurricane damage creates significant risks to the financial wellbeing of insurance carriers. “We are seeing far more billion-dollar claims now than just 10 years ago,” Yunn says, causing companies like hers to write fewer new policies, increase their prices and add deductibles and exclusions. “The problem is acute.”

These days, insurance carriers track the advance of climate change as much as environmental scientists. “We have a corporate catastrophe team, which tracks the company’s total catastrophe exposure,” Yunn says. The risks from tornadoes in the Great Plains, hurricanes up and down the East Coast and earthquakes on the West Coast are well known, but the increasing intensity of hurricanes and tornadoes, as well as the rising numbers of them, are alarming signals. The tornado that ripped through Kentucky and several other states last year in a 200-mile path during the unlikely month of December was yet another sign of a climate that is becoming less predictable, as were a series of hurricanes, wildfires and freezing temperatures that have struck in Texas since 2017. In February 2021 a combination of snow, sleet and freezing rain paralysed Texas’s power grid for weeks, causing more than 200 deaths and nearly $200bn in damage.

“It would seem that there is nowhere safe from the effects of climate change,” [senior managing director at Risk Strategies Steve] Pincus says, all of which impacts the fine art insurance world, leading to higher prices and less available coverage…

‘The only way to stop the bleeding is to stop writing policies’: climate change is making it more expensive to insure art,” from @TheArtNewspaper.

Via @WaltHickey, in his invaluable Numlock News, who observes “Listen, if ‘boo hoo, it’s getting too expensive to insure my vast art collection’ is the thing that gets rich people to actually care about climate change I’m still gonna take that as a win.”

* Adam Smith

###

As we ponder protection, we might recall that it was in this date in 1885 that the first issue of Good Housekeeping was published. A “woman’s magazine” (featuring articles on women’s interests, recipes, diet, and health), it is also known for its product testing service and its the “Good Housekeeping Seal”, a limited warranty program that is popularly known as the “Good Housekeeping Seal of Approval.” One of the oldest continuously-published magazines in the U.S., it remains popular in its category.

The first issue of Good Housekeeping

source

“For some of us, books are as important as almost anything else on earth”*…

Preserving precious publications…

It all started in 1994. The flooding of the Po river and its tributaries had just swept away entire villages in the Piedmont region of northern Italy, leaving behind only death and debris. The whole of Italy was shocked. Of all the damage broadcast on television, one caused a particular sensation: In the village Santo Stefano Belbo, the historical archive of Cesare Pavese, one of the most famous and beloved Italian writers, was buried in mud.

The debacle particularly impressed a man named Pietro Livi, president of Frati & Livi in Bologna, a company that had been restoring and conserving ancient texts for nearly 20 years. At that time, however, no one in Italy was equipped for this kind of rescue. In the past, flooded and muddy documents were entrusted to companies that used basic restoration methods that proved both invasive and ineffective: The books were simply placed in ovens or air-dried in large rooms, which often left the texts unusable and made mold only proliferate.

So Livi decided to find out if anyone in Europe had found a more effective way to save these invaluable records of human achievement. Finally, in Austria, Livi found a freeze dryer that held some promise, but it was too big and costly for a small artisanal company like his. Then, in 2000, the Po river overflowed again. In the city of Turin, entire archives belonging to distinguished institutes and libraries ended up underwater.

At a loss for what to do, Italy’s Archival Superintendency of the Ministry of Cultural Heritage summoned Livi. By this time, Livi had established a solid reputation as a master restorer, having studied the art of book restoration with Benedictine friars. But he realized that for a project of this scope, his expertise was no longer enough; he needed a kind of Renaissance workshop, where he could collaborate with professionals from a variety of disciplines. Livi believed that the time had come where the world of artisan knowledge and the world of technology, too often considered as opposites, had to talk to each other—for the benefit of one another…

Then, on November 12, 2019, the city of Venice, one of the world’s most mythical and most admired locales, suffered its worst flood in 53 years. The swollen lagoon soaked roughly 25,000 valuable texts, including the last surviving original of one of Vivaldi’s musical scores. Frati & Livi was quickly called to the scene…

In the city of Bologna, home to the western world’s oldest university, Pietro Livi developed an unusual machine shop—part artisanal and part high-tech—built to restore damaged ancient texts to their former glory. And then came Venice’s historic floods of 2019: “Italy’s Book Doctor,” from @CraftsmanshipQ.

* “For some of us, books are as important as almost anything else on earth. What a miracle it is that out of these small, flat, rigid squares of paper unfolds world after world after world, worlds that sing to you, comfort and quiet or excite you. Books help us understand who we are and how we are to behave. They show us what community and friendship mean; they show us how to live and die.” – Anne Lamott

###

As we celebrate craft, we might we spare a thought for publishing pioneer Condé Montrose Nast; he died on this date in 1942.  After serving as Advertising Director at Colliers, then a brief stint in book publishing, Nast bought a small New York society magazine called Vogue— which he proceeded to turn into the nation’s, then the world’s leading fashion magazine.  While other periodical publishers simply sought higher and higher circulation, Nast introduced the “lifestyle” title, targeted to a group of readers by income level or common interest.  By the time of his death, his stable of monthlies also included House & Garden, British, French, and Argentine editions of Vogue, Jardins des Modes, (the original) Vanity Fair, and Glamour; subsequently, the group added such resonant lifestyle books as Gourmet, New Yorker, and Wired.

source

Written by (Roughly) Daily

September 19, 2021 at 1:00 am

“I suppose illustration tends to live in the streets, rather than in the hermetically sealed atmosphere of the museum, and consequently it has come to be taken less seriously”*…

But surely, it shouldn’t necessarily be so. Consider Tom Gauld (@tomgauld). He’s probably best known for his work for The New Yorker (e.g.) and The New York Times (e.g.); but he’s also an accomplished cartoonist. Your correspondent’s favorites are his on-going contributions to The Guardian Review (above and below)

… and The New Scientist

See more of his marvelous work at his site.

* master illustrator Quentin Blake.

###

As we visualize it, we might send carefully limned birthday greetings to Richard McClure Scarry; he was born on this date in 1919. A children’s author and illustrator, he published over 300 books with total sales of over 100 million worldwide.

source

source

Written by (Roughly) Daily

June 5, 2021 at 1:01 am

“The speed of communications is wondrous to behold. It is also true that speed can multiply the distribution of information that we know to be untrue”*…

 

Nytimes_hq-2

 

Paywalls are justified, even though they are annoying. It costs money to produce good writing, to run a website, to license photographs. A lot of money, if you want quality. Asking people for a fee to access content is therefore very reasonable. You don’t expect to get a print subscription  to the newspaper gratis, why would a website be different? I try not to grumble about having to pay for online content, because I run a magazine and I know how difficult it is to pay writers what they deserve.

But let us also notice something: the New York Times, the New Yorker, the Washington Post, the New Republic, New York, Harper’s, the New York Review of Books, the Financial Times, and the London Times all have paywalls. Breitbart, Fox News, the Daily Wire, the Federalist, the Washington Examiner, InfoWars: free! You want “Portland Protesters Burn Bibles, American Flags In The Streets,” “The Moral Case Against Mask Mandates And Other COVID Restrictions,” or an article suggesting the National Institutes of Health has admitted 5G phones cause coronavirus—they’re yours. You want the detailed Times reports on neo-Nazis infiltrating German institutions, the reasons contact tracing is failing in U.S. states, or the Trump administration’s undercutting of the USPS’s effectiveness—well, if you’ve clicked around the website a bit you’ll run straight into the paywall. This doesn’t mean the paywall shouldn’t be there. But it does mean that it costs time and money to access a lot of true and important information, while a lot of bullshit is completely free…

The political economy of bullshit– and thoughts on a remedy: “The Truth is Paywalled But the Lies are Free.”

On a related (and somewhat complicating) note, see also “It is possible to compete with the New York Times. Here’s how,” the source of the image above.

* Edward R. Murrow

###

As we do like Diogenes, we might recall that it was on this date in 1974 that President Richard M. Nixon resigned, as a result of the Watergate scandal— which was itself, of course, in large measure the result of (expensive) investigatory journalism of the highest quality.

 

Nixon departing the White House after his resignation (source)

 

Written by (Roughly) Daily

August 9, 2020 at 1:01 am

“Children are not deceived by fairy-tales; they are often and gravely deceived by school-stories. Adults are not deceived by science-fiction ; they can be deceived by the stories in the women’s magazines.”*…

 

the_ladies_home_journal_1948_14763671891

 

In the 1890s, empire building was in the air in New York, and magazine editors succumbed to the craze. As President Theodore Roosevelt sent troops to Cuba and the Philippines, the magazine men—they were nearly all men—had quieter plans to extend their influence. They used their brands to sell model homes, universities, and other offerings of middle-class life. It was, after all, the Progressive Era, when technological innovations and post-Victorian values were supposed to hasten the arrival of a more enlightened, egalitarian social order. Before the concept of branding even existed, these new magazine ventures represented an exercise in branding. But woven into this phenomenon lay a stealth traditionalism, a new way of packaging the often conservative, sometimes quixotic visions of a few titans of the press.

Editors Edward Bok (Ladies’ Home Journal), John Brisben Walker (Cosmopolitan), and S.S. McClure (McClure’s) saw a way to directly shape their readers’ class aspirations. In 1895 Ladies’ Home Journal began to offer unfrilly, family-friendly architectural plans in its pages. They were mainly colonial, Craftsman, or modern ranch-style houses, and many still stand today. The Cosmopolitan, as it was then known, advertised the Cosmopolitan University, a custom-designed college degree—for free!—by correspondence course. McClure’s magazine, the juggernaut of investigative journalism—home to Ida Tarbell’s landmark investigation of Standard Oil, among many other muckraking articles of the Gilded Age—began to plot an array of ventures, including a model town called McClure’s Ideal Settlement.

Cannily noting the trend for smaller, servantless suburban homes, Journal editor Bok [the grandfather of Harvard President Derek Bok] was selling more than home design. Every house should be occupied by a female homemaker, he decided, and every family should aspire to a simpler, more frugal way of life. The campaign rapidly succeeded. By 1916 the editors of the Journal claimed that thirty thousand of their homes had been built. Part of this was due to the Journal’s wide circulation—it was the first American magazine to surpass a million subscribers. Its sister publication, the weekly Saturday Evening Post, was a fixture of nearly every household…

fireproof_house_2

“A Fireproof House for $5,000,” illustration by Frank Lloyd Wright in Ladies’ Home Journal, 1907

When the (male) proprietors of women’s magazines believed that their publications could change lives on a grand scale: “Editorial Visions.”

* C.S. Lewis

###

As we shape society, we might recall that it was on this date in 1914 that George Bernard Shaw’s Pygmalion premiered in London, featuring Mrs Patrick Campbell (for whom Shaw had written the role) as Eliza Doolittle.

The Greek myth of Pygmalion, who fell in love with one of his sculptures, was a popular subject for Victorian English playwrights, including one of Shaw’s influences, W. S. Gilbert, who had written a successful play based on the story,  Pygmalion and Galatea, that was first presented in 1871.  Shaw’s play in turn has been adapted numerous times, most notably as the musical My Fair Lady and its film version.

220px-Mrs._Patrick_Campbell_as_Eliza_Doolittle_1914

A Sketch Magazine illustration of Mrs. Patrick Campbell as Eliza Doolittle from April, 1914

source

 

%d bloggers like this: