NME History

1960s
The paper's first issue was published on 7 March 1952. It was initially published in a non-glossy tabloid format on standard newsprint. During the 1960s the paper championed the new British groups emerging at the time. The paper became engaged in a sometimes tense rivalry with its fellow weekly music paper Melody Maker; however, NME sales were healthy with the paper selling as many as 200,000 issues per week, making it one of the UK's biggest sellers.

1970s
By the early 1970s NME had lost ground to the Melody Maker as its coverage of music had failed to keep pace with the development of rock music, particularly during the early years of psychedelia and progressive rock. In early 1972 the paper found itself on the verge of closure by its owners IPC. Alan Smith was made editor and was given a short period of time by IPC to turn things around quickly or face closure. As a result the paper's coverage changed radically from an uncritical and rather reverential showbiz-oriented paper to something intended to be smarter, hipper, more cynical and funnier than any mainstream British music paper had previously been.
In mid-1973, the paper was selling nearly 300,000 copies per week and was outstripping its other weekly rivals, Melody Maker, Disc, Record Mirror and Sounds.

1980s
However sales were dropping, and by the mid 1980s NME had hit a rough patch and was in danger of closing. During this period (now under the editorship of Ian Pye, who replaced Neil Spencer in 1985), they were split between those who wanted to write about hip hop, a genre that was relatively new to the UK, and those who wanted to stick to rock music.

1990s
The start of 1990 saw the paper in the thick of the "Madchester" scene, and covering the new British indie bands and shoegazers.

2000s
From the issue of 21 March 1998 onwards, the paper has no longer been printed on newsprint, and more recently it has shifted to tabloid size: it has full, glossy, colour covers. 2000 saw the closure of the Melody Maker (which officially merged with the NME) and many speculated the NME would be next as the weekly music magazine market was shrinking.

In May 2008 the magazine received a redesign, aimed at an older readership with a less poppy, more authoritative tone. The first issue of the redesign featured a free seven-inch Coldplay vinyl single. Circulation of the magazine has fallen continuously since 2003. In the second half of 2009, the magazine's circulation was 38,486, 47% down on a 2003 figure of 72,442. In 2010, NME partnered with
MetroLyrics to provide lyrics snippets on its web site nme.com, with full
 lyrics exposure at metrolyrics.com.

-  Information taken from: http://en.wikipedia.org/wiki/NME#History

What does the NME website offer its audience?

The NME website offers its audience a number of different opportunities. Firstly it allows them to buy tickets to gigs they may be interested in, including ones that are said to have been sold out, ensuring that they do not miss out on hearing their favourite bands. It enables them to listen to new music and the latest songs out, plus gives them the chance to write their own feedback and comment about new music and relevant topics and they can give their opinion on. As well as this, they hear about the latest news regarding music stars and gigs and they can see up to date photos of what has been going on in the media amongst the music scene. Even though fans can buy their latest bands/solo artists music the website also has its own shop online where they can buy merchandise such as t-shirts. Including all this, the website gives reviews on the most recent albums that have been released, plus the chance for fans to vote for who they think is the best British band, best international band, best solo artist, best new band, best live band and who they think deserves to win best album.

How does the NME website address its audience?

First of all you look at the appearance of the NME website, it is bright and colourful and appeals to the correct audience (probably people between the ages of 15-30). It appears very current and recent which keeps up with today’s trends. The text used on the website it kept very simple, short and straight to the point – there are no long pieces of text. This is good as people of the age category they are aimed at often don’t want to read long bits of writing. As well as this, the range of different things it has to offer, such as new music, new photos and the chance to vote bands for awards, it is very unlikely that there is nothing on the website that will appeal to a music fan, seeing as the website covers a vast range of topics and idea’s for music lovers. In conclusion, the website addresses its audience in a very relaxed yet informative manner. It manages to keep things simple, however still gives the reader the information they need/may like to know.

- Information taken from:  http://www.nme.com/

Character profiles

Two contrasting character profiles:

Claire is a twenty-one year old achiever and has recently graduated from a high-end university. Claire is always taking part in new adventures and anytime she gets an opportunity to try something new she grasps it with both hands. She does not give up easily and puts a lot of time into making things the best she can. In her spare time Claire is very active, participating in various sports, her favorite being horse-riding. She often buy Vogue magazine in order to check the latest fashion trends and everyone is always jealous of her branded, latest designer clothes that perfectly fit her slender size 8 figure.

Adam is a thirty-two year old maker. He has been married for four years with two young children. He is arguably the doting family man. He is not bothered about materialistic objects and will happily settle for second best. Adam is sensitive and loving, with a warm nature about him. He has an average job, but this suits Adam just fine. He dislikes change, preferring to stick to what he knows, where he feels comfortable. He makes people instantly feel welcome in his presence and is liked by all. Once Adam has a group of friends he stick by them but equally, sets out to make new friends too. Adam regularly takes his children out on day trips and helps out with disabled children at a local village hall. No matter what Adam always makes time for those around him. He makes groups of friends and strives of routine and regularity. Adam enjoys life, as he is content with the simple things that most take for granted. He is satisfied with his life the way it is, and feels no need to look for better.

How do the two profiles contrast with one another?

Claire and Adam are contrasting for several different reasons. First of all Claire is much more self-focused. Looking for opportunities which she can achieve in and doesn’t appear to be bothered about anyone else. Perhaps this is due to her age however, as she does not have the responsibilities of family life that Adam does. Contrastingly, Adam seeks to help others. Another difference is that Claire looks onwards for better things and newer experiences, whereas Adam is happy with the way things are and prefers a set routine.

A character profile for a reader of New Musical Express (NME) magazine:

Tom is an eighteen year old music fanatic and often goes to festivals supporting local bands. Tom has a unique quirky appearance that people often notice and are attracted to. Consequently, Tom has a vast amount of on and of relationships. A long with his look, he also expresses a typical laid-back teenage attitude to life, he is not bothered by anything and nothing seems to phase him. Tom goes to a local college doing a part-time music course and in his spare time practices playing his guitar with the band he’s formed along with a few mates of his, of which he regularly attends upcoming gigs and parties with. Tom doesn’t spend a lot time with his family and can mostly be found up stairs in his bedroom or if not there, the chances are he is most likely out socialising and meeting new people. He has his own mind and views on situations and refuses to let others influence them. He prefers to be different and couldn’t care less if individuals take a disliking to him.

Magazine Industry - 3 point analysis

''The magazine industry has survived the coming of the digital age because it has been able to exploit technological advances. Indeed, it has always done so throughout its long history.'' 

The word magazine describes branded, edited content often supported by advertising or sponsorship and delivered in print or other forms. Traditionally, magazines have been printed periodicals which are most commonly published weekly, monthly, or quarterly. These may be supported by printed one-off supplements and annual directories. Increasingly, magazines exist online where content is available through websites or in digital editions, or delivered by email as an electronic newsletter. Many magazines brands also deliver tailored information services to the audiences. Magazines brands also engage with their audiences face-to-face by organising exhibitions, conferences and other events. 

The magazine industry has always been up with technological advancements such as the use of photoshop and airbrushing models. If you look at the history of magazines they have always kept up with technological advances. As soon as something new develops, the magazine industry uses this to their advantage. Example the ability to use more advanced technical photography i.e. images going from black and white to coloured and they can be edited. Magazines use these advances to exploit them, for example fairly recently magazines have become available on the internet, this could be seen as a abad thing, as readers could argue there is no point in purchasing the magazine if they can simply read the information it entails online. However instead magazines and exploited this fact by revealing only snippets of their magazine which in turn encourages their audience to buy the real thing because they are intrigued to read the rest. As well as encouraging regulars it could also persuade those that have never bought that particular magazine before to buy it. 

In conclusion, diversifying isn't a choice that magazines companies can make, it is necessity for them in order to keep the company afloat and information relevant to their audience. Magazines have done this well throughout their history and will continue to do so in the future. Hopefully this means that magazines will always be current and upcoming. Because of this the demand for magazines will always be strong and ongoing. 

Article from The Guardian newspaper

Our class teacher told us to go away and read for homework an article written in The Gaurdian newspaper, in order for us as students to gain some background knowledge about the magazine industry.


Here is the article in full:

The year ahead in the magazine industry

Stuck in the middle

Volume sales or ultra-niche appeal will prove vital this year - and Bauer's Grazia could be a bellwether

• Oliver Luft
• The Guardian, Monday 5 January 2009
• Article history

It does not look like an easy 12 months ahead for the magazine industry. But by the time 2009 draws to a close, larger publishing houses in the business-to-business and consumer sectors will be looking increasingly dominant, while smaller, weaker titles will wither under the strain of the downturn. Publishers may be hoping to escape a big sales fall, but they are still gloomy about what 2009 might bring - not least if it's a severe advertising slump. Maintaining or increasing revenue from ads will be the biggest challenge for magazines from all sectors this year. Most insulated perhaps are the top-end glossies - the Vogues, GQs and Elles - which, while not recession-proof, are unlikely to be hit hard by a plunge in advertising revenue. Premium advertisers have limited places to promote their goods and will be concerned about losing front pages of the glossies - prime real-estate in their eyes - to rival brands.

Niche-appeal consumer titles that rely on devoted, engaged readerships are also more favourably placed than most when it comes to advertising. Mass- and mid-market consumer titles, many of which saw circulation decline in 2008, and where advertisers have a greater range of options, will find it more challenging. This year greater emphasis will be placed on editorial in these titles: get the quality of content wrong and magazines could find themselves in real trouble.

Large publishers such as IPC Media, Condé Nast and Future Publishing, which have invested in extending their brands into TV, web, mobile, radio or shopping, are more likely to weather the impact than those with standalone products or thinner portfolios of titles. Economies of scale help larger companies to spread costs, and the clout they can wield with suppliers also helps them into more favourable positions. In addition, advertisers are also likely to focus their budgets on key titles. Which could leave free magazines, with their heavy reliance on advertising as the primary source of income, with some real challenges.

For consumer publishers, then, the strong will get stronger and the weak will suffer most. And this is broadly the picture in the B2B sector too, which is likely to see some loss-making titles closed and the position of market leaders reemphasised. A point underlined by news last month that Reed Elsevier had abandoned the sale of its trade business unit, Reed Business Information, the publisher of Variety, New Scientist and Farmers Weekly. Sir Crispin Davis, chief executive, said the unit had more value than could be realised by a sale in the worsening economy. Reed will now look to sell it "in the medium-term when conditions are more favourable". This could be a while yet.

In other areas, finance titles are expected to see the greatest consolidation. Incisive Media's Mortgage Solutions magazine decided in December to suspend its print run for the first quarter of 2009 and to rely on its website and email alerts. In November, Centaur reduced the free distribution of its Mortgage Strategy magazine by 13%. The business titles that remain could well see more of these decisions as publishers cut distribution costs and rely on websites and targeted distribution.

But how to get online to pay? Business publishers may look at greater innovation online to find revenue that goes beyond the blunt approach of either subscription or open access. The Financial Times, for instance, allows users to access a certain number of stories free each month, while heavier use of the site and access to other editorial is limited to subscribers. Consumer titles are equally likely to look at their web operations - although the focus will be on ways to deliver more audience to print advertisers they want to bring over to the web. NatMags, through its web division, Hearst Digital, spent a large part of the past year developing online communities around its editorial output.

Publishers could also use relatively inexpensive web-based titles to experiment editorially, and integrate printed and web products to a greater degree. Eyes will be on a number of consumer fashion titles to see if they can win back some of the audience lost to independent fashion blogs.

Consumer launches will be few and far between as publishers keep their hands in their pockets. Launches that do occur will probably be for highly targeted groups - and it is likely to be a similar situation in the business sector. "Ultra niche" will be the watchword for any B2B launches.

Condé Nast is launching two niche consumer titles: Love, a twice-yearly fashion and style magazine under the eye of the former Pop publisher Katie Grand, and a UK version of the US technology magazine Wired.

Meanwhile, publishers will be eagerly looking at the subscription levels of entrenched monthlies as an indication of how they are faring in difficult times. Bauer's weekly high-end fashion magazine, Grazia, might prove an unusual kind of bellwether in the coming year. If it wants - or needs - to increase circulation it will need to run editorial that appeals more to the mass market. But mass-market editorial could put off some of its more luxurious advertisers. Watching where Grazia's priorities lie during the next 12 months may tell you about the and confidence of the sector.

But perhaps the most compelling mark on the horizon is the government's October powwow for the creative industries; a bright spot in what might well be a fairly gloomy year of cutbacks, closures and potential job losses.

The insider: 'The web is a hungry beast'

We have given up trying to guess what senior management is up to. Are they working out their redundancy packages while firing off CVs, or are they planning another "restructure", which means more job losses and cost-cutting at our business-to-business magazine?

There is one person who knows everything. He is the HR director, a man whose name I hardly knew until a few months ago. Like Gordon Brown, whose cheery disposition seems to increase as the economy worsens, the HR director has blossomed under his new workload. He has taken to wearing a tie and looking stressed.

When the senior managers and the HR director come out of their interminable meetings, they send us emails partly to remind us that they are still around, and partly to cheer us up. The emails contain bad news (the economy) and good news (we are doing better than our competitors). They promise clarity and transparency - and then the senior managers disappear back into another meeting.

This sense of panic is a new phenomenon and it's catching. Although I'd like to think that market knowledge, journalistic skills, a shelf full of awards, and a passion for my subject will stand me in good stead I am no longer so sure.

Yet B2B editors know their sector inside out and edit magazines that have been around for decades. We have loyal readers who rely on us for industry gossip, as well as taking up the cudgels to fight their corner. But is that enough?

B2B publishing may not be in freefall, but if the sector we are reporting on goes down, so do we. For six months we've watched as the economy has slid into recession, and we've done what every publisher and editor does when times get tough: take out headcount, cut costs and save on pages.

Though everyone has done all this, you can't help but get the feeling that as advertising revenues continue to nosedive, the bean counters will want more.

If this all seems too gloomy, the corollary to it is that many B2B titles are cyclical and if you edit a magazine whose industry is on its knees, all you can say is that it will come back. However, hovering over us - the reason this recession is different from any previous one - is the web.

The web is a hungry, predatory beast, which costs publishing organisations millions of pounds of investment. Very few people have managed to make the web profitable - but publishers love it.

It doesn't matter if your page impressions are only increasing thanks to the thousands of students around the world who are all writing the same thesis, because it's the only graph with a line going up, instead of down. But most of all, publishers love the web because, as a way of disseminating news, it's cheap.

The big question for publishers tapping next year's projected losses into their calculators is do you even need journalists?

Industry opinion

Stevie Spring
chief executive, Future Publishing

I'm expecting a mixed 2009 in the magazine market: general interest, bad; special interest, good. Nice to have, bad; need to have, good. Those publishers producing magazines that are embedded in people's lives, that play an important part in people's hobbies and interests, will weather the storms much better than those producing content that can be had quicker, cheaper, in digestible bite-size chunks online.

Nicholas Coleridge
managing director, Condé Nast

Next year will be a challenging time for magazines, though I'd rather be working in the glossy industry than any other branch of the media this year. Circulations will hold steady for blue-chip titles, but deteriorate for peripheral ones. I expect some of our competitors to shutter loss-making titles. On the advertising front, it will be particularly tough for mass-market and middle-market titles, and we certainly don't expect to be unscathed at the quality end.