The Big Town Broadsheet Bakeoff

From a Monday New York Times front-page Business piece headlined, “Wall Street Journal Aims to Win Over The Times’s Local Audience:”

In an attempt to eat into The [New York] Times’s mass-market audience and lure away some of its luxury advertisers, The [Wall Street] Journal has already edged away from its traditional role as a national business paper, adding a daily sports page and a bimonthly magazine, strengthening foreign and Washington coverage and shifting the mix of articles on its front page.

(Indeed, Page One of Monday’s Journal featured four articles, none of which was about business or finance.)

Now The Journal, part of Rupert Murdoch’s News Corporation, is making its biggest and most audacious move yet away from its roots, starting up a local news section for New York to compete directly with The Times for affluent, general interest metropolitan readers and the high-end advertisers who covet them.

The new section debuts April 12, and it has launched not only a newspaper war, but a promotional war as well.

The Times, for its part, is currently running a house ad with the headline, “Searching for an affluent audience in New York? Look no further.”

The ad then graphically illustrates that the Times’s “weekday reach of affluent adults in print in the New York market” is 908,559, while the Journal’s is a mere 515,594.

And then there’s this, via mediabistro:

The Journal has hit back with an ad campaign themed “Stay Ahead of the Times” (Editor & Publisher story here).

To top it all off, the Times and the Journal are also waging a staff war.

Personnel pirating, via the New York Observer:

Arts reporter Kate Taylor quit The Wall Street Journal today and is joining The New York Times.

Ms. Taylor, a veteran of the Sun, joined The Wall Street Journal’s New York section only six weeks ago. Up until yesterday, two sources said that Ms. Taylor was in the office making phone calls and sourcing up in anticipation of the New York section’s launch next month.

The Times, which has been under a hiring freeze for years, is clearly sending The Journal a signal by poaching one of its earliest hires. The Journal will have a New York newsroom of roughly three dozen editorial staffers.

“The truth is [former culture editor] Sam [Sifton] had his eye on her for some time,” said Jon Landman, the paper’s culture editor.

“You can’t have too many good reporters,” he continued.

And the Journal-ists did not appreciate it.

“They’re really upset,” said one Journal source. “She’s going to the competition on the exact same beat.”

Back to the Monday Times piece:

What is puzzling to analysts and industry executives — including some within the News Corporation — is that none of this makes much sense as a business proposition to aid The Journal, especially at a time when newspapers are struggling through a long-term financial decline. But for Mr. Murdoch, the chairman and chief executive of the company, these people say, profit is not necessarily what all this is about.

For him, newspapering is a blood sport.

Except Murdoch is the one who’s been bleeding.

He’s already written down the value of the Wall Street Journal by a knee-buckling 60% over the past year, and he’s been losing money hand-over-fist on the New York Post for years now.

Regardless, the Times piece reports that the Journal’s new metro section is more about “killing the New York Times” than increasing the Journal’s bottom line.

Murdoch’s willingness to invest $30 million in jousting with the Times windmill might actually kill the Wall Street Journal in the process.

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Ad o’ the Day®

The great Mariano Rivera for Canali:

Is there a classier guy in professional sports?

Wethinks not.

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No Apology To Mitt Romney?

From a Sunday Boston Globe piece on former governor Mitt Romney headlined:

Romney draws a loyal following as book tour hits Ariz.

Fans praise his business-minded take on politics

Visual:

Good news:

Romney is in the midst of a national tour to promote “No Apology,’’ which is at the top of today’s New York Times bestseller list for nonfiction books.

Bad news: Romney’s book is nowhere to be found on the Globe’s Local Bestsellers list for nonfiction books.

1. Game Change
By John Heilemann and Mark Halperin. Harper.

2. The Immortal Life of Henrietta Lacks
By Rebecca Skloot. Crown.

3. Outliers
By Malcolm Gladwell. Little, Brown.

4. The Happiness Project
By Gretchen Rubin. Harper.

5. Boston Then and Now
By Patrick L. Kennedy. Thunder Bay.

6. The Quants
By Scott Patterson. Crown.

7. Committed
By Elizabeth Gilbert. Viking.

8. The Kind Diet
By Alicia Silverstone. Rodale.

9. Eating Animals
By Jonathan Safran Foer. Little, Brown.

10. On the Brink
By Henry M. Paulson. Business Plus.

Source: Boston Area Bookstores

Coincidence?

Wethinks not.

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Mullen The Consequences

From the Sunday Boston Globe takedown of Massachusetts Treasury Secretary Tim Cahill:

Cahill awarded the lucrative advertising contract for the Massachusetts Lottery, which he controls, to the Boston ad firm Hill Holliday in 2003, despite a staff recommendation that another firm, Mullen Advertising, was better suited, according to three officials who had first-hand knowledge of the decision. Since then, Hill Holliday executives and their spouses have donated more than $90,000 to Cahill. The firm has earned $9 million in fees because of Cahill’s decision.

That would be a 100-fold ROI (return on investment), as they like to say in the ad biz.

Then again, the 90 large was donated after the decision, not before.

Discuss among yourselves.

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All The News That Fits

Saturday’s New York Times featured not a single full-page ad in its A Section until the last page – a house ad flacking the Times website vs. its Wall Street Journal counterpart.

Times ad headline:

Looking to reach

nearly twice the audience?

You’ve come to

the right Web site.

The ad then lists the Times’ web unique visitors (19,864,000) vs. the Journal’s (11,792,000).

All well and good, but the Saturday dead-tree edition of the Times still only featured 12 one-ninth-page advertisements.

Maybe the Journal is onto something with its new Metro section challenging the good grey lady.

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NYT’s Marina Abramovic Blushathon

The New York Times apparently can’t get past the nudies at MOMA’s current blockbuster, “Marina Abramovic: The Artist Is Present.”

(Campaign Outsider’s unblushing review here.)

But back to the nudies from the Saturday Times Abramovic Watch:

Probably the most talked-about part of the exhibition — generating headlines like “Squeezy Does It” in The New York Post — is a re-creation of a 1977 work in which Ms. Abramovic and her partner then, the German artist Frank Uwe Laysiepen, known as Ulay, faced each other naked within the frame of a gallery doorway, forcing people who wanted to enter to squeeze between them. Throughout the day at MoMA, some people did submit to the squeeze, with both men and women generally turning to face the female performer when there was a male-female pairing at the door.

But easily two-thirds of MoMA patrons moving from the first gallery into the second stared over at the flesh-flanked doorway — some people staring for an inordinately long time — and then decided to take the art-free route, through a plain doorway that required no bodily contact.

“I just can’t do it,” said Maria Gabriela Madrid, a fiction writer from San Antonio. “I feel like it’s too personal, too much of an invasion of their space.”

Handy pictorial insert:

This comes in the wake of Times art critic Holland Cotter’s review a week ago. Handy pictorial insert:

Photo caption:

“Marina Abramovic: The Artist Is Present”: A visitor at MoMA walks between Jacqueline Lounsbury, left, and Layard Thompson, both naked in a doorway. More Photos >

Campaign Outsider Thoroughly Uninformed Art Critique®:

Marina Abramovic’s performances are simply attempts to create socially significant happenings.

It’s advocacy.

Not art.

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Pricey Johns

You tell us: Is the art world out of control or not?

From Friday’s New York Times:

Planting a Johns ‘Flag’ in a Private Collection

Less than two months before Christie’s will be selling one of Jasper Johns’s signature “Flag” paintings, the hedge fund billionaire Steven A. Cohen privately scooped up a larger and earlier example of that artist’s seminal image. He bought it from Jean-Christophe Castelli, son of Leo Castelli, Mr. Johns’s legendary dealer. The younger Mr. Castelli inherited the painting from his father, who died in 1999.

“I can confirm that Steve Cohen bought the ‘Flag’ painting,” said Sandy Heller, Mr. Cohen’s art adviser. Thomas C. Danziger, Mr. Castelli’s lawyer, also confirmed the sale, adding that the terms of the deal were “strictly confidential.”

While no one will discuss the price, art experts who have heard details of the transaction say Mr. Cohen paid about $110 million.

The painting was executed in 1958 and was so coveted by the dealer that he never sold it. It hung in his Manhattan home until his death. For years before the sale, the younger Mr. Castelli lent the work to the San Francisco Museum of Modern Art, where it was on view.

“It’s beautifully rendered,” said Brett Gorvy, a co-head of Christie’s postwar and contemporary art department and deputy chairman of Christie’s in America. Alongside other masterpieces that Mr. Cohen has purchased over the years — including Willem de Kooning’s “Woman III,” a 1952-53 canvas that he bought in 2006 from the entertainment mogul David Geffen, for roughly $137.5 million, and Andy Warhol’s 1964 “Turquoise Marilyn,” bought from the Chicago collector Stefan Edlis for around $80 million in 2007 — he now has what Mr. Gorvy described as “the most comprehensive collection of American postwar images in private hands.”

While the “Flag” that Christie’s is selling also comes with a pristine provenance — it had been owned by the writerMichael Crichton, who bought it directly from Mr. Johns in 1974 — it is half the size of the one Mr. Cohen bought. “This transaction propels the Crichton painting to a higher level,” Mr. Gorvy said, adding that the only other important “Flag” in private hands is owned by Mr. Geffen. The Cohen sale “only adds to its rarity.”

That’s about $310 million invested in three paintings.

Must be nice.

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Ansell Kiefer

From Friday’s New York Times op-ed page:

THE SEASONS | ANSELM KIEFER

Before Spring

Anselm Kiefer, “Snow Melt in the Odenwald,” 2010, gouache on photographic paper. Courtesy Gagosian Gallery, New York.

Text on the work is translated as follows: Snow melt in the Odenwald. Goodbye, winter, parting hurts but your departure makes my heart cheer. Gladly I forget thee, may you always be far away. Goodbye, winter, parting hurts.

Nice ad for Gagosian. Just like this is.

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New York Times Correction o’ the Day®

This is the best.

A 65-year-old correction in Friday’s New York Times.

In full:

Corrections

A caption on March 6, 1945, for a photograph distributed by The Associated Press that became one of the most widely published images from World War II, described the scene incorrectly, according to new information provided by The A.P.

The picture, showing captured Allied soldiers walking down a dirt road, bearing bodies in blankets hung from bamboo poles, was apparently taken after — not during — the Bataan Death March in April 1942, a forced six-day march of about 75,000 Americans and Filipino prisoners of war across the Philippines’ Bataan Peninsula. The A.P. corrected the information on Thursday after six months of research.

Information from military archivists, the National Archives and Records Administration, and surviving prisoners, strongly suggests that the photograph — taken by the Japanese and later confiscated by American forces — depicts a burial detail weeks after the march. In August, one of the survivors, now 87, questioned the accuracy of The A.P.’s caption, saying the picture was not of the actual march.

The Times published the picture at least one other time, on June 17, 2009, with a Books of The Times review about the march. The picture and a corrective article can be found at nytimes.com/lens.

Oddly, that did not appear on the Times Corrections page when I checked the paper’s website early Saturday morning.

You tell me.

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Boston Herald’s Inside Trick

Given the libel lawsuit filed this week by rock band Boston’s Tom Scholz against the Boston Herald’s Inside Track gals Gayle Fee and Laura Raposa – which the Herald has not covered – is it just a coincidence that on Friday the feisty tabloid ran a full-page ad headlined, “The Truth from the Track . . . Only in the Boston Herald”?

Here at the global worldwide headquarters of Campaign Outsider, wethinks not.

(The Globe says the same, as we discovered when we plugged into the Googletron to hyperlink this sucka.)

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