Brian Insua

Unit 30: UK Media PublishingLO1

Candidate Number 6055

Centre Number 64135

Mojo Music Magazine Analysis

Contents (Magazine)

✤ Contacting the Magazine/Publisher

✤ Mojo Research

✤ Bauer Research

✤ Mojo Key Job Roles

✤ Magazine Key Job Roles

✤ Magazine Production Process

✤ Mojo Readership

✤ Mojo Social Media

✤ Mojo Front Cover Analysis

✤ Mojo Double Page Spread Analysis

01

Contacting Mojo/Bauer

✤ Before proceeding with my own research, I first contacted Mojo magazine’s publisher Bauer in order to see if I could obtain information directly from the magazine publisher itself. Unfortunately, after 3 emails, I have been unable to get a reply from the organisation.

✤ Bauer did however have a press pack containing detailed information regarding Mojo magazine which I have used throughout my coursework.

Bio

01

Mojo Bio✤ Owned and published by Bauer

Media Group, Mojo is a popular monthly music magazine published in the UK. First published on November 1993, Mojo mainly focuses on classic rock music as well as covering rising stars. With an inaugural cover story examining the complex relationship between Bob Dylan and John Lennon, the magazine is best known for its coverage of both popular and cult acts. The founding editor of Mojo, Paul Du Noyer, explains that the rough idea for the magazine was for it to have the “sensibilities of a fanzine and the design values of Vogue”.

01

✤ Online since 2001, the magazine ships roughly 70,000 (as of June 2014) with a readership of 210,000 (as of December 2013) copies and ships with a hand-compiled collector’s CD included with every issue. Mojo differs to other magazines because the content focuses on covering actual classic rock artists from the era where the genre was at its best – during the 1970’s, 80’s and 90’s - instead of covering music events such as Kerrang or current mainstream artists such as Q magazine (also owned by Bauer).

Mojo Bio

01

✤ Bauer Media Group, which is the largest privately own publishing company in Europe, is a multi-platform UK-based media Group. Employing over 6,400 people, Bauer Media Group has a worldwide media empire which offers over 230 magazines in 15 countries as well as offering various online, TV and radio stations.

Bauer Bio

01

✤ Bauer also publish two other market-leading music magazines, namely Kerrang (a weekly rock magazine with circulation figures of over 30,000 as of June 2014 and a readership of 293,000 at the end of 2013) and Q (a monthly rock magazine with circulation figures over 48,000 as of June 2014 and a readership of 339,000 at the end of 2013).

Bauer Bio

01

✤ Bauer Media focus on producing high quality content aimed primarily at audience profile ABC1, where consumers are educated and intelligent higher-middle, middle and lower-middle class consumers. For instance, the predominant audience profile for Kerrang magazine are young male readers typically aged 15-24 with an audience profile of primarily ABC1 (51%). Similarly, Q magazine have a typical audience profile of young male readers aged 15-24 with 70% from the ABC1 profile. Likewise Empire magazine has a primary readership of young male readers typically aged 15-24 and with an audience profile of ABC1 profile (72.8%).

Bauer Bio

Sources

✤ http://www.bauermedia.co.uk/brands/mojo

✤ http://www.mojo4music.com/about-us/

✤ http://www.mojo4music.com/contact-us/

✤ http://www.greatmagazines.co.uk/music/mojo-magazine.html)

✤ http://www.bauermedia.co.uk/brands#

✤ http://magazines.bauermediaadvertising.com/magazines

✤ http://magazines.bauermediaadvertising.com/magazines/detail/mojo

✤ http://magazines.bauermediaadvertising.com/magazines/detail/kerrang

✤ http://magazines.bauermediaadvertising.com/magazines/detail/Q

✤ http://magazines.bauermediaadvertising.com/magazines/detail/empire

Key Job Roles

01

Mojo Key Job Roles

(Source: Bauer Mojo Advertising Media Pack)

01

✤ Paul Du Noyer was the launch editor of Mojo and his successors have included Mat Snow, Paul Trynka and Pat Gilbert. The Editor-In-Chief is Phil Alexander, Deputy Editor is Andrew Male, Senior Editor is Danny Ecclestone and Ross Bennett is the Editorial Assistant. Jenny Bulley is the Reviews Editor whilst Jess Blake handles PR. Harriet Hines handles marketing.

Mojo Key People Paul Du Noyer Mat Snow

Paul Trynka

Pat Gilbert

Phil Alexander

Jess BlakeHarriet Hines

01

Mojo Magazine Job Roles

Publishing companies are typically divided by departments - each department is responsible for a process. Areas of work range from technical, creative and administrative.

Editor In Chief (Editorial)

A key figure in every publication, the Editor in Chief is responsible for everything the magazine prints - from the editorial to the graphical content. The Editor in Chief has the final say on topics such as: what articles/news/stories will be developed; the assignments and delegation of jobs; and the production schedule and ensuring that it is kept to. The Editor in Chief at Mojo is Phil Alexander (Pictured).

01

Mojo Magazine Job Roles

Associate Editor/Managing Editor (Editorial)

The Associate Editor directs the preparation of the magazine, working closely with the Editor in Chief to set the magazine’s production schedule as well as ensuring that it is kept to by organising and updating staff. Responsible for contributing ideas and assisting the Editor in Chief, the Associate Editor is in constant communication with fellow editors, the business manager and the adviser. Keeping a close eye on staff, the Associate Editor is also responsible for ordering supplies and can also be found doing a variety of roles such as field work. Some Associate Editors also plan the budget however this varies from publication to publication. Andrew Male serves this role for Mojo.

01

Mojo Magazine Job Roles

Executive Editor (Editorial)

The Executive Editor is responsible for selecting the writers, assigning them stories and editing their finished articles. Typically, the Executive Editor writes the more major stories and the cover headlines, which must be short, sweet and catchy. In larger publications, the Executive Editor will oversee a team of editors. For instance, he/she might oversee the Features Editor or a Specialising Editor. Danny Eccleston is the Executive Editor for Mojo Magazine (Pictured).

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Mojo Magazine Job RolesSub-Editor/Copy Editor/Fact Checker (Editorial)

The Sub-Editor is typically responsible for ensuring the accuracy of each article within the magazine; checking for spelling and grammar mistakes and that there is no libel. The Sub-Editor is also responsible for checking the accuracy of the facts by researching and double-checking. Ross Bennett is responsible for this role at Mojo.

Contributors/Freelancers (Editorial)

Most magazines outsource their photographers and writers, hiring them as freelancers. Typically found through referrals, word of mouth and websites such as MediaBistro.com

Picture Editor (Editorial)

The Picture Editor’s primarily role is to acquire images - commissioning imagery, photographers and negotiating prices from stock images sites. The Picture Editor works closely with the Creative Director and is responsible for ensuring the high-quality of the photographic material within the publication.

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Mojo Magazine Job RolesCreative Director/Design Editor (Editorial)

The role of the Creative Director is to oversee and supervise the visual aspect of the magazine - he/she is responsible for the design of the entire publication. In constant communication with the Editor in Chief, the Creative Editor is in charge of creating cover concepts and directing photo shoots. Coordinating with the Designers, this vision is then translated into the layout in conjunction with the photo editor.

Designers (Editorial)

The Designers’ role is to design the publication, under the tutelage of the Creative Director. Designers work closely with the Creative Director, designing the layout under his/her instructions. Their level of involvement is determined by how much creative freedom the Creative Director gives them, as some Creative Directors like to oversee every single detail in the publication whereas others are content to delegate work and check it once the final drafts are finished. The number of designers is determined by how many pages the magazine has as well as how often the magazine is published.

01

Mojo Magazine Job RolesPublisher (Business & Advertising)

Primarily in charge of the business aspect of the magazine, the Publisher is in constant communication with the Marketing Director and the Associate Publisher. The Publisher is responsible for ensuring that their publications are an editorial and commercial success; driving the commercial performance and developing the brand.

Associate Publisher (Business & Advertising)

The Associate Publisher is responsible for the advertising team, making sales strategies and reporting the advertising numbers to the Publisher. Responsible for managing the account database (advertising deals), the main goal for the Associate Publisher is to build and maintain ad revenue for the magazine by continually securing advertising deals and sales opportunities.

Advertising Director/Advertising Manager (Business & Advertising)

The Advertising Director’s job is to manage the ad spaces within the publication; required to sell ad spaces through networking, the Advertising Director contacts media buyers and higher management in other companies to make creative and convincing proposals in order to close as many advertising deals as possible.

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Mojo Magazine Job Roles

Director of Finance (Business & Advertising)

The Director of Finance is responsible for the financial aspect of the publication. He/she is in charge of budgets; budgeting for each department and ensuring that expenses do not exceed revenue.

Marketing Director (Business & Advertising)

The Marketing Director is responsible for handling market research; gathering statistics, reporting on trends and gathering intelligence on potential advertisers’ brands.

Circulation Director (Business & Advertising)

The primary role of the Circulation Director is to oversee the distribution of the publication. This includes subscriptions and retail management. His/her job is to ensure that the publication’s distribution goals are successfully met.

Sources

✤ Paul Du Noyer: http://www.pauldunoyer.com/about.asp

✤ Mat Snow: http://www.rocksbackpages.com/Library/Writer/mat-snow

✤ Paul Trynka: http://www.rocksbackpages.com/Library/Writer/paul-trynka

✤ Pat Gilbert: http://www.patgilbert.co.uk/

✤ Phil Alexander: http://www.planetrock.com/on-air/mojo-rocks/phil-alexander-biography/

✤ Jess Blake: LinkedIn Profile

✤ Harriet Hines: LinkedIn Profile

✤ Key Staff: (see Mojo Advertising Media Pack)

✤ http://www.magazinedesigning.com/meet-the-editorial-team/

✤ http://www.lse.ac.uk/intranet/CareersAndVacancies/careersService/EmploymentSectors/AdvertisingMediaPRMarketing/Publishing/RolesInPublishing.aspx

✤ https://suite.io/annie-suh/1y2h2nm

Production Process

01

Mojo Production Process

Unlike newspapers, which can be produced in under 24 hours, magazines take significantly longer - on average approximately 3 months to produce.

Stage 1

The first step in the magazine production process is to establish the publication date of the magazine. This is essentially the date that the magazine will be distributed to consumers. Once the publication date is established, a production schedule is enforced - a plan of how and when each stage in the production process occurs. The production schedule is one of the most important elements within the magazine production process. A successful magazine has a carefully managed schedule, which takes into account unforeseen circumstances such as mishaps or typos.

Stage 2

The next step is the editorial decision. This part of the process involves the magazine’s editorial team converging and discussing the content in the next issue. Here, the editorial team decides the types of articles and ideas, news stories, illustrations and images that will be used for the next issue. Once these are established, the team will make a decision on the budget - where they look into the amount of money readily available for use and how much is allocated to the production of the magazine itself.

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Stage 3

Next is the content acquisition process, where in-house or external writers and editors are commissioned to create the content of the magazine. Arguably the most important step in the magazine production process, the content acquisition process covers the articles, news, interviews, graphics, illustrations and images which are going to be in the next issue of the magazine. Research into the topics and events being covered within the magazine is also conducted during this stage by journalists and reporters - through the internet, through the news database, through meetings and interviews and through contacts - these are just the few ways information is gathered.

Stage 4

Once the content acquisition process is completed, the next stage in the process is the sub-editing stage, also known as quality control. Usually conducted by a sub-editor (if not, then the editor is responsible for this job), this process entails the checking of accuracy of all the facts in the articles, checking for spelling and punctuation and making sure the articles follow the house style. The page layout is also worked on during this stage. In major publications, a special team is devoted to designing the page layouts. Otherwise known as Layout staff, they utilise very powerful Desktop Publishing programs (DTP) such as InDesign or Pagemaker as they are responsible for typesetting the articles and the layout of each page within the magazine. This is the stage where adverts from advertisers are inserted into the magazine.

Mojo Production Process

01

Mojo Production Process

Stage 5

Once stage 4 has been completed, the next stage in the process is proofreading. In this stage, a hardcopy of the magazine is printed out for the editorial team to scrutinise and correct any mistakes - which are corrected in the DTP file. Once the editorial team is satisfied that all the mistakes, the next step can begin.

Stage 6

The penultimate stage is to email the file to the printer. The DTP file of the entire magazine is sent to the printing company. Pre-press, which is the process of ensuring all the fonts and images needed for the magazine are sent to the printing company, commences. The printing company prints off several review copies called printer proofs, which are sent to the editor for final checks before the magazine is ready for mass-publication. Once the editorial team are happy with the printer proofs, the green light is given and the magazines are mass published ready for consumers.

Stage 7

The final stage of the magazine production process is distribution. The printing company will package the finished copies to be sent to a warehouse. From the warehouse, the magazines are then distributed to consumers.

Sources

✤ http://music.britishcouncil.org/resources/publications

✤ http://hosbeg.com/the-magazine-production-process/

Readership

01

Mojo Audience Demographics

✤ The Primary audience for Mojo magazine is males aged 45-54 (28.8%) because of the content that the magazine covers: Frequently covering the classic rock genre, with acts such as Bob Dylan, The Rolling Stones, The Beatles, and Michael Jackson; Artists which were at their prime during 70’s, 80’s and 90’s – thus the generation that grew up listening to those artists are the ones most interested in reading about them (Hartley’s Subjectivities). The age group 15-24 is the second-highest age range. These are the adolescents who are more interested in “the classics” – rock music from the 70’s, 80’s and 90’s - compared to today’s mainstream artists.

01

Mojo Audience Demographics

✤ Furthermore the gender divide of the readership of Mojo magazine, where the readership is predominantly male (73.1%), connotes that the magazine is primarily aimed at men. One of the reasons for this is the content that the magazine covers are primarily male artists - choosing to focus on predominantly male-centric artists such as The Beatles, Queen, The Rolling Stones, etc (Hartley’s Subjectivities). Furthermore, articles are also typically written from the perspective of men - with Mojo never having had a female editor.

01

Mojo Audience Demographics

✤ In terms of the readership demographics of Mojo magazine, the audience is predominantly social grades A,B and C1 (59.5%) - which is comprised of the upper middle class (those who are higher management or poses roles in administrative or professional roles i.e. CEOs, lawyers etc.), middle class (those who are intermediate management or poses roles in administrative or professional roles i.e. bankers, doctors) and lower middle class (those who hold roles in supervisory, clerical, junior managerial, administrative and professional occupations i.e. teacher, nurse).

01

Mojo Audience Demographics

✤ The reason for this is that Mojo magazine prides itself with high quality content aimed at passionate and intelligent readers. Content which is intended to inform and educate (according to Katz’ Uses and Gratifications) but also appeal to their older readers by focusing on classic rock artists from the 1970’s, 80’s and 90’s - those who grew up listening to these acts are in their 40s and 50s and can relate those artists as they were around during the time they were growing up. The content in Mojo is written in a more formal style using a wide range of complex terms and language tools as it is aimed at intelligent consumers - those consumers (referred to by the magazine as being more like “investors”) are primarily found in the middle class scale - those who live comfortably with disposable income.

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Mojo Audience Demographics

✤ The denotation of the strap line “World’s Finest Music Magazine” connotes the audience profile that the magazine appeals to. The verbal code of the adjective, “Finest” connotes the social class the magazine content is aimed at: those in the higher social grade brackets who want security that their social status is secure. The magazine is aimed at those with disposable income, who have high salaries and can afford to buy high quality, exquisite magazines. Furthermore, according to Hall’s Audience Reception Theory Mojo readers do dominant/preferred reading – this is where the reader fully accepts the text the way the author intended them to – older audience can personally relate to content (Katz’) and as a form of escapism whilst younger audience can be educated and informed and also use it as a form of escapism or personal identity – i.e. they were “born in the wrong generation”.

Advertising

01

Mojo Advertising✤ Music magazines remain one

of the most vibrant within the magazine industry, grossing an estimated £18.5 million a year, £3 million of which go towards independent retailers. Thus, advertisers are well aware of the opportunities music magazines can provide. Two of Bauer Media’s brands in particular remain amongst the best selling music magazines, namely Kerrang! and Mojo, with annual estimated retail revenue of £2.7 million and £1.4 million.

01

Mojo Advertising✤ Advertisers understand the primary

consumer profile of Mojo magazine - predominantly male, in their 40’s or 50’s and is within the ABC1 social class category. Thus, the adverts that appear in Mojo magazine (a 2010 edition) are primarily media-related adverts, promoting mainly music and also film. Back in 2010, HMV was still a huge retail chain in the UK thus three HMV adverts appear in this issue of the magazine. There was also one Rhino ad - again a music chain. These adverts are in the magazine because advertisers understand that Mojo readers have a passion for music. And considering the majority of Mojo’s readers are in the ABC1 audience, they are more likely to have some disposable income and are thus more likely to be influenced by the adverts.

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Mojo Advertising✤ Ranked 4th in Bauer’s “Anatomy of

Influence”, which is research that investigates the influence magazines have on consumers, Mojo beat out brands such as Uncut (8th), NME (18th) and GQ (20th). This is evidence to advertisers that Mojo’s consumers respect and trust the brand and are far more likely to influence consumers in terms of advertising. This is particularly appealing to advertisers as Mojo’s readers are typically rich and difficult to influence men, a traditionally difficult crowd to access. Thus, advertisers who have products which appeal to that audience profile are more likely to find success by purchasing ads in Mojo. Examples below include technology giant, Panasonic; the film, Sex & Drugs & Rock&Roll and Jack Daniel’s Whiskey.

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Mojo Advertising

✤ Verbal code “Leisurely” repetition adds emphasis – connotes the idea of drink as something to be enjoyed – appeals to Mojo’s audience because primarily men in their 40s and 50s work and need to relax – designed to encourage audience to go out and buy Jack Daniels to enjoy drink and magazine.

✤ Non verbal code of large black and white image from the 1960’s/70’s of men relaxing – reinforces idea of relaxation – image of men sitting around, relaxing entices reader to do the same by buying the product and consuming it for relaxation. Peaceful, serene setting of image reinforces the idea of relaxation and adds to the atmosphere and mood of the advert. Alcohol is advertised as something to be drank for enjoyment.

✤ Visually the page uses soft colours – again reinforces mood and idea of relaxation. The connotations of the cool, soft colours connote the idea of innocence, purity and perfection. The soft colour is associated with simplicity - an idea reinforced by the non verbal code of the main image and the verbal code of the adjective “Leisurely”.

Social Media

01

Mojo Advertising✤ The importance of technological

convergence between the physical media and the digital media means that consumers of Mojo magazine remain in the same eco-system – under the control of Mojo. Mojo’s website, Mojo4Music provides a platform with which to have an online presence – in turn developing the relationship and generating rapport between the magazine and it’s consumers. Furthermore, this allows Mojo to branch out into the global market through the internet – this is to counteract the trend of the increasing number of consumers who are ditching physical media in favour of digital content consumption.

01

Mojo Advertising✤ Mojo developed a mobile-friendly

version of the site in order to gain access to the mobile market – which is currently eclipsing the desktop market. More and more consumers are using their mobile phones and tablets to browse the internet; thus many websites (in order to not miss-out on that market share) create mobile-friendly versions of their website.

✤ Furthermore, mobile optimisation boosts the engagement of consumers – as consumers have their mobiles with them at all times. By accessing that market, consumers are more than likely to spend more time on Mojo’s website.

01

Mojo Social Media✤ Mojo magazine integrates and utilises

social media in their advertising campaign to interact with their consumers. By having an online presence on social media sites such as Facebook, Twitter, YouTube and Google+, Mojo magazine provides a platform with which to engage their fans/consumers and create a better overall engagement by providing a central hub for connecting and communicating. The cohesion between the business and the social networks allows consumers to interact with the magazine in a way which they normally wouldn’t be able to. By simplifying the process through the use of social networks, Mojo gives the impression they care for their consumers.

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Mojo Social Media✤ Social media is also the perfect advertising

platform; allowing Mojo to increase brand awareness essentially for free. Mojo has pages on Facebook and Google+, where Mojo can post updates and promotional content for fans and consumers to view, interact (through comments and shares) and even purchase products. Mojo uses Twitter to post quick updates to their products as well as interact with fans and consumers through tweets. YouTube is a platform for Mojo to upload and share video content such as interviews and exclusive performances – enticing consumers to find out more and eventually purchase a copy of Mojo. All of these social media sites help advertise Mojo through the networking that each social media site can provide – the sheer number of users on each social media site means that more people are able to see Mojo’s content. This is what makes social media sites so essential for businesses such as Mojo – this ability to be able to reach out to so many people.

Content Analysis

01

Mojo Front Cover

✤ The verbal code of the main headline denotes that “The Genius Returns”. The word “The” connotes that Kate Bush is the “one and only”; conveying how special and unmissable her return is. Furthermore, the noun “Genius” reaffirms the idea that her return is unmissable and at the same time places her on a pedestal – once again conveying how special and talented an artist Kate Bush is. Likewise, the use of the word “Returns” conveys the importance of her comeback; thus generating fanfare and hype for her reappearance.

✤ Additionally, the “20 Page Special!” verbal code connotes the exclusivity and magnitude of the story, denoting that 20 pages are especially committed to covering the story. The fact that the text is written in capitals and in pink and placed in front of a white background is designed to be eye-catching; engaging the reader and enticing the consumer to purchase a copy of the magazine. Similarly, the emphasis on the verbal code “Special” reaffirms the exclusivity and the number of pages devoted to her story reinforces the importance of her stardom and again reminds the reader of the magnitude of the story.

✤ In addition, the promotion on the very top left of the copy a non verbal code designed to catch the reader’s eye and entice them to buy a copy of the magazine by offering the consumer incentives – for instance, a collection of songs on a CD included with the magazine. Mojo includes a physical CD as an incentive to appeal to their main target audience, which according to Hartley’s Subjectivities, are predominantly male and in their 40’s and 50’s with a social profile of ABC1 (Those who grew up with predominantly physical media as opposed to digital media).

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Mojo Front Cover

✤ Another element used by Mojo magazine is technological convergence. On the binder of the magazine itself, information about the issue number, date and the web address is displayed, linking to the magazine’s online presence, Mojo4Music. This allows consumers to be able to find more content online and allows Mojo to be able to bring their community of consumers to their online web presence.

✤ The denotations of the masthead “Mojo” connotes the idea of “mojo” as a noun defined as a magical charm - this conveys the charm of the classic rock era and, as a brand, appeals to Mojo’s primary readership of men in their 40’s and 50’s (Hartley’s Subjectives). The masthead is the largest element on the magazine, connoting the importance of the brand (as if to say Mojo presents…). Written in large, bold white capital letters with a dark outline is designed to be eye-catching and thus engaging the attention of the reader.

✤ The denotation of the strap line “The Music Magazine” is a simple yet strong statement connoting the quality and stature of Mojo in the sense that the word “the” suggests that this is the place to be and that the consumer won’t need to go anywhere else. The fact that the strap line is in front of the masthead reaffirms the branding and the promoting the brand as the only destination for music lovers.

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Mojo Front Cover

✤ The denotation of the main image is that of a middle close-up of Kate Bush - a technical code that utilises the Star Appeal (Richard Dyer) of Kate Bush to entice consumer to purchase a copy of the magazine. The fact that she’s looking straight at the camera entices consumers to buy a copy as she is looking directly at the consumer - involving them and appearing to relate and empathise with them.

✤ The verbal code of the cover lines, which are found down the right hand side of the magazine, are secondary stories. The colours of the text as well as the size of the font to add emphasis to the bands. The captions underneath the artists are short and snappy statements designed to interest the reader and encourage consumers to purchase a copy of the magazine in order to satisfy the curiosity created by the cover lines.

✤ The price, which is located by the bar code on the bottom right hand side of the magazine, denotes the magazine is £4.80 which is a premium price for a monthly music magazine. This is because Mojo magazine is predominantly aimed at audience profile ABC1, meaning consumers are more wealthy and educated in comparison to other magazines.

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Mojo Contents Page

✤ The non verbal code of the main image of Bob Marley used behind the contents table utilises the star appeal of his celebrity status to reaffirm the feature story on Bob Marley and the Wailers. The visual imperative of the medium close-up image of the reggae icon is designed to entice the consumer to read more and provides a visual element with which to link the quote at the bottom of the contents table and (more importantly) the featured article about him.

✤ The verbal code of the quote, “Bob encouraged you to create, to come up with something new.” supplemented with the caption “Bernard ‘Touter’ Harvey remembers the making of Natty Dread” is designed to provide a taster for the consumer to understand what the article is about and indicates what the article will focus on. The quote is in larger text compared to the caption - designed to catch the reader’s eye and engage the reader to investigate and read further.

✤ The main image is black and white, which allows the text to jump out more and be more aesthetically pleasing. The fact that there is no colour in the image forces the reader to focus on the star and the text of the contents table. Furthermore the connotations of the colour grey convey a sense of maturity and associated with grey hair of old age. This reaffirms the idea of the magazine - covering classic acts. This can also be related to their target audience in the sense that the predominant readers of the magazine are in their 40s and 50s - who grew up during a time where black and white images were prominent.

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Mojo Contents Page

✤ The Editor in Chief’s editorial note directly addresses the reader is an affluent and articulate manner. The editor’s note is designed to appeal to the main target audience of Mojo: educated and intelligent wealthy individuals who are in their 40s and 50s and have a passion for the classics. Affluently written, Phil Alexander (Editor In Chief) utilises a somewhat formal language style, describing Bush’s music using words such as “resonates” and asks the reader what their favourite Kate Bush track is - this immediately personalises the experience and addresses the reader, thus encouraging them to form their own opinion.

✤ In this section, Mojo presents selected letters and emails from readers. This personalises the experience of reading the magazine and involves the consumer by allowing them to get involved and submit content such as their opinions. This encourages Mojo’s audience to play the role of the Prosumer - where consumers also play a role in the creation of the magazine. This, in turn, personalises the experience and develops the relationship between the magazine and the consumers, increasing rapport.

✤ Here, Mojo’s contact details are displayed, such as the telephone number and the website - an example of technological convergence where Mojo encourages users to join their eco-system and visit their online presence - along with the company structure and the key job roles individuals hold. Additionally, information regarding the contributors to this month’s issue is displayed - by giving credit where credit is due, this develops the relationship between the consumer and the magazine and is an example of consumers becoming prosumers.

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Mojo Double Page Spread

✤ The verbal code of the heading is presented in big bold text which immediately catches the eye of the reader. Furthermore, the fact that the heading is a date makes reader question significance - thus enticing reader to read further. Moreover, the interesting font choice is somewhat informal and matches the pullout quote - this suggests the theme of the article and reaffirms the genre of the music talked about in the article.

✤ The verbal code of the stand first provides context for the reader. The language used appeals to the magazine’s primary audience demographics of intelligent and affluent older men through the use of complex and emotive language; utilising language such as “hurtling” and “electrifying”. The stand first serves the role of providing context for the rest of the article. Designed to be interesting and engaging, the stand first puts questions in the reader’s mind that the main body of the article then answers.

✤ The style of the main body of the article differs to other magazines in the sense that the content is the priority for Mojo’s readers - other magazines heavily utilise visual imperatives in order to continually engage the reader whereas Mojo’s readers are older and more intelligent and are subsequently more interested in the content of the article rather than aesthetically pleasing visuals. Affluently written, the main article informs and educated the reader; explaining in detail the rise of Bob Marley after a lacklustre reception in the UK back in 1974.

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Mojo Double Page Spread

✤ The verbal code of the quote, “Reggae didn’t have the respect in England. I felt that the best war to break the Wailers was as a black rock group” bleeds on to the second page thus linking both pages. Furthermore, the colour scheme of the quote reflects the genre of the music being talked about; Reggae. Typically, quotes are presented like a headline and are usually controversial or shocking in order to grip the reader’s attention.

✤ The verbal code of the drop capital is a visual imperative that catches the reader’s eye. Furthermore, it breaks the text up thus making it more aesthetically pleasing. Similarly, the drop capital is a visual imperative that immediately draws the reader’s eye and serves as a starting point for the second page of the double page spread.

✤ The verbal code of the caption separates the images and provides the reader with information regarding the context of the images. The caption for the images supplements the article and provides a visual imperative with which to accompany the text in the article.

✤ The non verbal code of the main images is utilised as a visual imperative to supplement the article. The large image of Bob Marley reinforces focus is on him - taking advantage of Bob Marley’s star appeal.

Newspaper Analysis

Contents (Newspaper)

✤ Types of Newspaper

✤ Free Sheet Newspaper (Slide 55)

✤ Tabloid Newspaper (Slide 56)

✤ Broadsheet Newspaper (Slide 57)

✤ Metro Audience Analysis (Slide 59-60)

✤ Metro Advertising Analysis

✤ Metro Marketing & Advertising (Slide 62)

✤ Metro Advertisements (Slide 63-66)

✤ Metro Social Media Analysis

✤ Metro Online (Slide 68)

✤ Metro Mobile friendly site (Slide 69)

✤ Metro Facebook & Twitter (Slide 70)

✤ Metro YouTube & Google + (Slide 71)

✤ Newspaper Content Analysis

✤ Metro Front Cover (Slide 74-75)

✤ Metro Double Page Spread (Slide 76)

✤ The Sun Front Cover (Slide 77-78)

✤ The Guardian Front Cover (Slide 79-80)

Types of Newspaper

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Free Sheet Newspaper✤ A free sheet newspaper are newspapers

distributed typically in cities free of charge. Supported with revenue from advertising, examples in the UK include the Metro and The London Evening Standard. Circulation figures for UK newspapers have been declining annually, with readily available news complete with a customised experience online. Newspapers with circulation figures in their millions, such as The Sun, The Daily Mail and The Daily Mirror have all seen a significant decreases – making the conversion to free sheets more appealing. The London Evening Standard converted to a free sheet format in 2010 as a result of a £28.3m loss in the months leading to the transition.

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Tabloid Newspaper✤ The smallest newspaper format, tabloids

have a reputation for the worst journalism. In the UK, tabloid newspapers have developed such a poor reputation in terms of journalism that broadsheet-quality newspapers who have adopted the format refer to it as “compact”. Typically measuring 11x17 inches, tabloid newspapers are commonly 5 columns across with content that tends to be more casually written and smaller and shorter than those found in broadsheets. Tabloid readers are often working class - the small size of the tabloids make them easy to carry and read on public transport.

✤ The Observer, The Times and The Independent are examples of compact tabloids in the UK.

✤ The Sun, The Daily Mail, The Daily Mirror and The Daily Star are examples of tabloids in the UK.

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Broadsheet Newspaper✤ Large and cumbersome, broadsheets

are the most common type of newspaper and are generally considered high-quality journalism. Typically 11 to 12 inches wide and 20 or more inches long, Broadsheet newspapers are usually six columns across. In terms of content, Broadsheet newspapers employ a traditional approach, emphasising in-depth coverage with a neutral tone. In terms of readership, they tend to be fairly affluent and educated.

✤ The Guardian, The Daily Telegraph, The Sunday Telegraph, The Sunday Times and the Financial Times are all broadsheet newspapers in the UK by format.

Newspaper Audience Analysis

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Metro Audience Demographics

✤ Metro, which debuted on the London Underground in March 1999, is the third largest daily newspaper in the UK with a readership of approximately 3.2 million adults. In Central London, Metro dominates and is the most read national newspaper with 1.8 million urbanites. The free sheet aims to take advantage of city-goers who are wealthy however constrained by time (and unwilling to pay for news) by being distributed during the morning and evening rush hour commute.

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Metro Audience Demographics

✤ According to the NRS (National Readership Survey), Metro readers are working urbanites who are predominantly aged 18-39 (66%) with a slight gender divide of 52% male and 48% female (Hartley’s Subjectivities). In terms of occupations, 73% of Metro readers are employed, with 15% being students. Urbanites are defined as individuals who live or work in the city - meaning they posses an involved relationship with the city and are more likely to care about news that is close to home (Proximity - News Values by Galtung and Ruge). Thus, Metro’s content is designed and tailored to appeal to affluent and educated consumers who require a quick fix of the news - by informing and educating readers on the latest news, sport and entertainment in a concise, relevant and condensed form factor (Katz’ Uses & Gratifications).

Newspaper Advertising Analysis

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Metro Advertising

✤ Metro primarily advertises itself through stands placed in and around public transport hubs, such as train stations and tube stations. Particularly found around entrances to tube stations, the newspaper is thus able to advertise itself to its primary target audience efficiently without spending money on advertising costs for tv adverts, radio adverts, billboards or any other methods of advertising. The prominence of these stands means that every urbanite is well aware of the newspaper and, as it is free and a quick, easy read whilst on the train/tube, is thus very likely to pick up a copy.

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Metro Advertising✤ The denotation of the pun, “Roarrrsome!” links to the main image of Rex from the Toy Story franchise and appeals to younger audiences and families as it suggests how “awesome” the deal is. The onomatopoeia of the “Roar” links to the main image of Rex and connotes the type and genre of content that can be found on Sky TV. Furthermore, the colour scheme of the changing gradient of vibrant colours is designed to be aesthetically pleasing and catch the reader’s eye. The connotations of the vibrant colours can be associated with the rainbow – thus informing the reader that the content available on Sky is suitable for children/families (Signifiers – De Saussure).

✤ This signifies that the intended target reader’s lifestyle and spending habits is that of an urbanite with disposable income – those in the ABC1 audience demographics profile (Hartley’s Subjectivities) who spend a lot of time working and thus would find the satellite TV offered by Sky appealing. The use of the Toy Story character further appeals to those urbanites who spent the majority of their time working and the idea of being able to entertain their children or perhaps distract their children by buying Sky TV to make up for the time they’re not home.

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Metro Advertising

✤ The denotation of the main image of Rex from the Toy Story franchise is a visual imperative (Galtung & Ruge) intended to attract the reader’s attention due to the popularity of the toy dinosaur and connotes child-friendly/family-friendly content. The background is plain white, which causes him to stand out. The connotations of the colour white are innocence and purity – which subconsciously appeals to parents as they link white to innocent content (Signifiers – De Saussure). Moreover, Rex’s body language is suggesting happiness and excitement, which will appeal to children as Rex is associated with the excellent, family-friendly Toy Story franchise.

✤ The promotion is an example of synergy between content producers (in this case, Pixar) and content delivery services such as Sky, where both entities are able to work together to advertise each other. As the target audience for the newspaper are urbanites who are wealthy but constrained by time (Hartley’s Subjectivities), Sky attempts to appeal to them by offering them incentives in the hope of enticing them to sign up to the service. The colours and the main image connote child-friendly content and the fact that the promotion “12 Months Free” utilises the word “Free” to engage the reader and entice them to consider purchasing the service (Signifiers – De Saussure).

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Metro Advertising✤ The denotation of the headline, “Autumn beauty treats.” entices readers to “treat” themselves to beauty products (Visual Imperative – Galtung & Ruge). The connotations of the orange text connote the colour of fall and reinforce the idea of preparing for autumn (Signifiers – De Saussure). The connotations of the season of “Autumn” is associated with transition – thus the products being advertised are attempting to appeal to the fact that Autumn is a time of transition and new beauty products are required. The use of the word “treats” to describe the product connote that the products are some sort of “guilty pleasure” (Signifiers – De Saussure) and thus appeal to the target audience of the newspaper in the sense that urbanites are wealthy people who are involved with the city.✤ This advert signifies the target readership for Metro, which are tight-for-time urbanites with disposable income who are able to afford luxuries (Hartley’s Subjectivities & Socio-Economic Needs). These beauty products are not essentials however the advert attracts those urbanites who have disposable income and enjoy these luxuries or are attempting to climb social standings by purchasing the aforementioned products (Socio-Economic Needs). The shopping centres mentioned provide another clue with which to show who the advert/newspaper is aimed at – Bentalls and Fenwick are high-quality, reputable places to shop.

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Metro Advertising

✤ The emphasis on the promotion word “free”, attracts the consumer’s attention and causes the consumer to take the desired action – which is to take up the offer and collect the “free” beauty products. The word “free” is used in advertising to immediately entice the reader as the connotations of the word “free” are to receive something in exchange for nothing – something that immediately appeals to consumers (Signifiers – De Saussure).

✤ A bold, orange border surrounds the advert. The connotations of the colour orange connote joy and sunshine. Combining the energy of red and the happiness of yellow, the colour orange represents enthusiasm, attraction and success. Orange is highly accepted amongst young people and also increases oxygen supply to the brain, producing an invigorating effect that stimulates mental activity. The colour has high visibility and is subsequently used to attract the attention of readers, with the orange border focusing attention on the advert itself (Visual Imperatives – Galtung & Ruge and Signifiers – De Saussure).

Newspaper Social Media Analysis

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Metro Social Media ✤ Metro newspaper supplements its physical free

papers with an online presence in the form of metro.co.uk. For publishers, having an online presence is beneficial as news is posted as soon as it occurs, with editors not requiring to wait to publish the article. Furthermore, with the accessibility and increasing number of internet users, having an online presence has become more and more important in terms of reaching markets. Particularly as a site offers customisability and thus will appeal more to users.

✤ Also, online is not limited geographically compared to print media as the internet is available globally, meaning a greater audience reach. Moreover, another added benefit of online is that resources and printing costs are lessened by having an online outlet. In a study conducted by the Guardian, statistics show that the Metro readership is at over 14 million people, with over 1.6 million of which consume the paper entirely online. That’s over 10% of the readership - a number which is increasing annually.

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Metro Social Media ✤ Metro has developed a mobile-friendly

version for its website, metro.co.uk. as the primary platform for a significant population of people is mobile. Accessing the internet through mobile is quickly overtaking the number of people accessing websites through desktops and laptops. Thus, the importance of having a mobile friendly site means that Metro can access the mobile market share, of which there is a large population of people. By optimising their website for mobile users, the user experience is improved and thus will encourage consumers to return. As of September 2014, data from the NRS (National Readership Survey) suggests that in terms of the online market, over 3.6 million people access the mobile friendly version of the site in comparison to laptop/desktop figures, which stand at approximately 2.9 million.

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Metro Social Media ✤ Metro’s Facebook page has close to 950,000

likes, with updates/stories being posted on an hourly basis. One of the benefits of having a presence on a social media site such as Facebook means that Metro can connect to their consumers, with users being able to like, comment and share stories. This level of interactivity means that Metro can reach out to the social media market, which is over 1.35 billion people on Facebook as of 2014.

✤ Similarly, Twitter provides the same benefits to that of Facebook. Metro’s Twitter has over 163,000 followers, with 2-3 updates being posted every hour. Twitter provides Metro with a platform with which they can share the top stories to their users, which can then be retweeted by their users and thus being shared and exposed to even more people. Likewise, Metro’s presence on Twitter (and Facebook) means that the consumer can then play the role of prosumer, which sees the consumer play a more active part in the process – for instance, these social media platforms allows users to submit their own stories and have their feedback/voices heard.

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Metro Social Media

✤ Similarly, Metro’s YouTube channel posts videos on average every once a week, posting video content of specific/trending stories and behind the scenes footage. The channel itself only has 131 subscribers but boasts 504,444 total views, having joined in April 2014. Metro’s YouTube channel is another platform for them to host multimedia content in the form of videos for users to watch.

✤ Metro also has a Google+ page, which is currently approaching a quarter of a million followers. The page itself consists of top/trending stories which can be liked and shared by users. By having a presence on this platform, Metro have the option to be added to people’s circles – which would subsequently ensure that any updates that Metro post are available on people’s walls.

Sources

✤ Guardian Study - Newspaper Readership Analytics

✤ http://www.theguardian.com/news/datablog/2012/sep/12/digital-newspaper-readerships-national-survey

✤ Metro Readership Analytics

✤ http://metro.co.uk/2013/10/15/metros-audience-4164994/

✤ Metro Mobile Analytics

✤ http://www.pressgazette.co.uk/mobile-website-readership-overtakes-desktop-mail-online-metro-and-mirror

Newspaper Content Analysis

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Metro Front Cover Analysis

✤ The denotation of the masthead, “Metro” connotes two meanings; the first connotation is the idea of “Metro” as in metropolitan which conveys the idea that it is a city newspaper and that it appeals to those middle class city workers. The second connotation of “Metro” would be an underground railway system, such as the London Underground, where the Metro is primarily consumed. The masthead reaffirms the connotations that the Metro is a “popular press” newspaper designed for a quick read for the city-goer, where the content covered is relevant for said audience. The newspaper utilises visual imperatives in the form of images illustrating the topics of the articles to appeal to consumers who don’t have that much time to read the newspaper – allowing them to quickly understand the article through visual aids rather than text heavy articles (less detailed reporting in favour of visual illustrations).

✤ The denotation of the main headline “Should Auld Acquaintance Be Forgot?” is a pun and plays on the song Auld Lang Syne. Traditionally sang at the stroke of midnight on New Years, the headline connotes the idea of “auld acquaintance” as a reference to the union with England and the special relationship between the two countries. Furthermore, the main headline is a rhetorical question, which increases the curiosity of the consumer, thus enticing them to read more as the article answers the question. Similarly, the magnitude of the news connotes that it is a hard news article due to the mass appeal of the news – with the Scottish Referendum determining the future of Scotland as well as the surrounding countries in the UK.

✤ The main image denotes the UK flag and the Scottish flag side by side, reaffirming the magnitude of the story and providing a visual imperative with which to understand the impact of the decision. The non verbal code connotes the unity between the UK and Scotland and fact that the weather is nice and the sky is clear in the background suggests positivity and success. Additionally, the main headline is behind the UK flag, suggesting the magnitude of the story and the importance of the “United” in “United Kingdom” This idea is reinforced by the order of the two flags on the flagpole, where the UK flag is flying high above the Scottish flag reminding readers of the theme of unity and how the Scottish Referendum will change that (illustrated in the main image by the separate Scottish flag).

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Metro Front Cover Analysis

✤ The denotation of the display ad about Fiat uses both verbal and non verbal codes to engage the attention of the reader. The use of a gimmick in the form of ‘scented ads’ is intended to attract attention and entice the reader to investigate, consequently raising brand awareness. Furthermore, this is achieved through the use of exciting colours with minimal text. The visual imperative of the car immediately informs the user of what the advert is about whilst the text is designed to entice the reader’s curiosity.

✤ The denotation of the secondary lead “Blue it boys” is a pun and immediately informs consumers what has happened and to whom through the use of verbal and non verbal codes in the form of a visual image of Chelsea player Drogba with body language and a facial expression connoting disappointment. Moreover, the use of Drogba as the focus in the image entices users to read further due to the “Star Appeal” (Richard Dyer) theory of utilising an icon or a celebrity to encourage consumers by taking advantage of the popularity of the star. Furthermore, there is an emphasis on the word “Blue” by being highlighted in blue. Again, immediately informs readers that Chelsea missed an opportunity to put the game to bed – reaffirmed by the copy, “Drogba and co let it slip at the bridge”. ✤ The denotation of the other secondary lead, “Friend’s tribute video of is hostage” has somewhat ambiguous connotations in the sense that the sentence does not make sense. Is the secondary lead suggesting that the “video is of hostage”? Or is the sentence supposed to read “video of hostage”? Or is the “is” intended to stand for “Islamic State”? The message is not quite clear. Consequently, the confusion caused by such an ambiguous statement would be disastrous for the newspaper and could effectively cost an editor their job.

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Metro Double Page Spread

✤ The denotation of the main headline, “K-word Kay is forced to say sorry for outburst” is a short, snappy statement that draws the reader in by providing enough basic information to entice the reader’s curiosity and encourage the reader to read further.

✤ The purpose of the newspaper’s main article is to inform and educate the reader, presenting facts in accordance to the Editor’s code of Practice. Some newspapers utilise sensationalism - exaggeration - in order to appeal to consumers and increase circulation figures, with The Daily Mail being infamous for sensationalism.

✤ The main image provides the reader with a visual imperative with which to illustrate the point of the article. In this instance, the main image is in regards to the Scottish Referendum. The main image is linked to the main headline and typically conveys the tone of the article through the content of the image.

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The Sun Front Cover Analysis

✤ The denotations of the masthead, “The Sun” connotes the idea of shining a light/highlighting news and covering it. Another connotation associated with “The Sun” is the idea of providing a ray of sunlight in the readers’ day – suggesting reading the newspaper not only informs readers of the news but also entertains them and serves as a form of escapism. For instance, readers are entertained through gimmicks and incentives such as games, competitions and offers. Furthermore, the semiotics of the colour red signify energy, power and passion – a colour used by the newspaper as it has very high visibility; As a colour, red is a very emotionally intense colour and subconsciously stimulates people to make decisions. Red also brings text to the foreground, thus The Sun utilises the colour to raise brand awareness and to appeal to consumers through what the colour represents.

✤ The denotation of the main headline is “Better Together”. The focus of this newspaper is more on personality and human interest stories. Thus, The Sun chooses to focus on the celebrity gossip involving Prince Harry and former lover Cressida Bonas, with the report on the Scottish Referendum only making a secondary lead. The short and snappy main headline connotes a hint of celebrity gossip – makes the reader question the title – who is better together? This headline effectively entices readers to read further.

✤ The main images in this newspaper provide a visual imperative with which to convey the idea that the lead story is a personality story. This is due to the fact that the images are snapshots – which connotes the idea of secrecy as both personalities are unaware they are being photographed. Furthermore, the images connote gossip, which conveys to the consumer that the newspaper has the “inside scoop” on the story. This entices the target readership of The Sun to purchase a copy and read further.

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The Sun Front Cover Analysis

✤ Furthermore, the price of The Sun is displayed in blue, which stands out against the red background. The connotations of the colour blue convey a sense of stability and depth. A soft colour, Blue is symbolic of trust, intelligence and truth, which is the opposite of the emotionally warm colour red – subconsciously appealing to the newspaper’s target demographics of predominantly C2DE, particularly as The Sun is priced at 40p which again entices the target audience to purchase a copy. Dark Blue represents knowledge, power and integrity which appeals to the social climbers primarily found in the C2DE audience demographic.

✤ The denotations of the secondary lead, “No's ahead by a nose” is a pun and plays on the idea that the No vote for Scottish Independence is only slightly ahead. Furthermore, the secondary lead immediately informs the reader of the status of the Scottish Referendum. Moreover, the pun creates humour and thus appeals to the target audience of predominantly C2DE.

✤ The verbal code of the copy denotes a summary of the article - instantly informing the reader of the most important information regarding the story. This allows consumers to understand what the news is about without having to read the full article. Additionally, the summary of information that the summary provides is a taster for the lead story itself; informing the reader of the most important information from the lead story.

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The Guardian Front Cover Analysis

✤ The denotation of the newspaper masthead, “The Guardian” connotes the idea of being looked after and watched over. In particular, the use of the verbal code “Guardian” can be interpreted through semiotics as connoting security and protection. The fact that the masthead is in front of the main image and at the top of the newspaper conveys the importance of the brand and is designed for consumers to be able to immediately identify the newspaper.

✤ The denotation of the non verbal code of the main image links to the main headline in the sense that the main image clearly highlights Scotland, providing a visual imperative - visually emphasising the idea that the vote will have a major impact on an entire country, reinforcing the significance of the referendum. Furthermore, the fact that England and Northern Ireland are visible but greyed out reinforces the idea that the focus is on Scotland but reminds the readers that the referendum has a greater impact than just Scotland.

✤ The denotation of the headline “Day of Destiny” emphasises the magnitude of the story and the significance of Scotland’s decision; connoting the idea of fate and conveys the impact the future of Scotland and other countries. The alliteration of the harsh “Ds” reinforces the importance and significance of the event. The short and snappy headline catches the eye of the reader through the colour and size of the text. Additionally, the verbal code “Destiny” connotes the idea that the event was unavoidable; conveying a sense of finality to events. In accordance with Galtung and Ruge’s News Values, the main headline instantly conveys the magnitude of the event as well as emphasising the unpredictability of the results in addition to citing the impact and consequences that would have on people.

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The Guardian Front Cover Analysis

✤ The denotation of the link, “theguardian.com” is an example of technological convergence and is an example of synergy between the physical copy and the digital platform. Newspaper circulation figures have been in constant decline, due to the prominence of receiving news online. Thus it has become more and more important for newspapers to have an online presence. Furthermore the newspaper advertises the fact that it is an award winning newspaper. Being able to cite that the newspaper is an award-winning newspaper conveys the quality of the content and attempts to entice consumers to purchase a copy of the newspaper.

✤ The denotation of the newspaper copy reads “Scotland’s 4,285,323 voters have 15 hours to decide their country’s fate” is positioned underneath the main headline in a slightly smaller font. The verbal code of conveying the facts in an exaggerated manner connotes sensationalism – an attempt by the newspaper to exaggerate the impact that the referendum would have on the fate of Scotland. By exaggerating the impact, the newspaper is able to entice more readers to purchase and consume the newspaper. The fact that the population figure and the time constrains are highlighted reaffirms the magnitude of the story and the mass appeal of this particular story.

✤ The secondary leads are usually stories of interest to the target audience however ranks lower in terms of magnitude and audience appeal. However, the magnitude and mass appeal of the main headline results in the secondary leads being related to the main headline. This demonstrates the scope of the referendum and advertises the multiple angles that the newspaper is able to cover (providing insight from both sides as well as The Guardian’s own attitude and opinion towards the Scottish Referendum.)

Sources

✤ Newspaper Conventions:

✤ http://www.mediaknowall.com/Basics/basics.php?pageID=printstudy

✤ Semiotics Explained:

✤ http://www.signsalad.com/semiotics-explained/

✤ British Media Sensationalism:

✤ http://www.huffingtonpost.co.uk/chris-godfrey/benefits-welfare-statistics_b_3603923.html

✤ Sources:

✤ http://www.theguardian.com/media/2012/sep/12/guardian-9-million-readers-nrs