117 STASHED IDEAS
A managing editor sees the day-to-day issues and processes of the magazine and manages the work assignments of associates and assistant editors.
Other key responsibility areas include drafting articles, proposing concepts, communicating with department heads and addressing problems.
When a new story or press release reaches the editor, they decide to accept them or transfer to other editors. Some content has to be discussed with the head of content or the managing director before processing further.
Submissions are proof-read and the content is uploaded online, with the editors and visual editors working to format the content. The entire setup is a continuous wheel of meetings, updates, challenges and deadlines.
Magazines were the visual window to the world before the advent of TV or the internet.
Magazines seem magical, a doorway to a beautiful world of colours and glamour. The smell of glossy paper and the allure of picking up a fresh, new issue of one’s favourite magazine is an unmatched experience to many.
An assortment of editors create the online and offline content, holding consultations from editorial teams, managing the incoming stories, and keeping track of industry events and the news that impacts the work.
Graphic editors and digital managers create visuals for the online and print versions, ensuring that there is reader engagement. Interns, assistants, freelance workers and photographers make the outer periphery of the process of creating a magazine.
A lot goes behind creating magazine issues on a regular basis, and the publisher/Editor-In-Chief has a truckload of responsibilities, from the visual elements to the framing tone and content.
Other responsibilities of an Editor-in-chief include creating an editorial board, content mapping, reviewing and proofreading articles, managing the financials and representing the publication in the business world.
Cluttercore is a new interior design movement. It is not associated with mess and untidiness but rather an intentional approach to organised clutter.
Cluttercore is about loving all the beautiful things that you already own. The objects capture a story and are a reflection of who you are. This joyful maximalism offers vibrant colour and texture, patterns and prints.
The pandemic has changed the way we look at the world. It renewed a love of indoor glamour and outdoor spaces. It also changed the way we relate to our homes.
Homes have become multifunctional. For some, that meant clearing away the extras, but for others, that meant surrounding themselves with beautiful things that make them feel safe and comfortable.
Minimalism has dominated design media, where people are advised to get rid of items from their homes that don't "spark joy". But it couldn't last forever. Many people feel that they can't live that way.
In contrast, cluttercore proponents admit that they have a lot of stuff they have collected and take pleasure in arranging them in interesting ways.
Wealthier nations are prone to rid themselves of tons of unwanted stuff every year, often dumping the items on poorer countries that lack the infrastructure to deal with it. Cluttercore counters the explosion of "stuff."
Just because an item doesn't spark joy now doesn't mean that you won't like it in the future. It gives us a reason to keep it as each item has a story. They are part of our lives.
Overt Social Curiosity
Covert Social Curiosity
In the 1970s, The Now Explosion was a 28-hour, free-wheeling TV program in Atlanta that seemed to pioneer MTV and the YouTube mashup edit.
The idea was to try and replicate Top 40 radio on a UHF station. For a brief period, The Now Explosion was very successful, but later the idea proved to be financially unsustainable.
Fleischer Studios produced a series of "Screen Songs" from 1929 - 1938. It was the first short films created to illustrate popular songs.
The animated shorts featured the frolics of funny animals and other cartoon archetypes set to songs. Many included a bouncing ball above the lyrics that encouraged theatre-goers to sing along.
In Australia, the government-owned Australian Broadcasting Corporation (ABC) introduced Countdown, a weekly showcase of lip-synched performances and music videos.
Countdown could promptly make a song a hit. The show lasted until 1987 when competitors like the imported MTV, overwhelmed it in the marketplace.
In the years that followed MTV, hit songs and their accompanying music videos would become linked in the minds of music fans.
But the format of music videos precedes MTV. There is an evolutionary chart that dates back nearly a century.
USA Network, one of the first cable channels, began using the library of music material from record labels to fill its programming hours. The network started a segment called "Video Concert Hall" in 1978 where they simply played promotional videos and concert clips.
Another early cable network, Nickelodeon, tried a music video show called PopClips.
In 1956, Tony Bennett's record label filmed the first music video of the golden-voiced vocalist walking through Hyde Park in London.
He set the footage to the hit version of "Stranger in Paradise" and distributed the clip to TV stations in the U.K. and U.S.
The video jukebox that played Technicolor films were installed in bars across the world.
Two rival companies began selling similar "video jukebox" devices at the same time. The one was a Cinebox in Italy - the other the Scopitone in France. Both had three-minute films of famous musicians that guaranteed to get people's attention in a bar.
The Beatles started producing promotional videos in 1965 for their singles to fulfil the demands of every Top of the Pops or American Bandstand-style show across the world that wanted to book them.
They started with "Paperback Writer" and "Rain" but improved over time, with "Penny Lane" using horses across a grand city scene.
With the advent of "the talkies" in the late 1920s, musical numbers became part of cinema.
"St. Louis Blues" was one of the first short films made to showcase a preexisting song, starring Bessie Smith. While "Screen Songs" introduced the idea of pairing a song with a visual sequence, "St. Louis Blues" pushed the idea along that a singer's aura can be encased in a short, music-driven film.
The promotional video that accompanied Queen's 'Bohemian Rhapsody' single was probably the start of the music video. Previous promo clips were mostly about the band, but "Bohemian Rhapsody" was about the song.
The video spared the band from trying to recreate the complex composition live on TV. The band controlled how their song was presented on TV, something an MTV-era musician would take for granted.
In 1894, two clothing salesmen, that also had a side business as songwriters, came up with a novel way to sell the sheet music to "The Little Lost Child."
They hired an electrician to create a series of "magic lantern" slide projections of photos to accompany performances of the song. They sold two million copies of the sheet music.
There are many reasons why we begin projects but never finish them, and many of them actually have nothing to do with laziness, a lack of dedication, or an inability to follow through on something.
A lot of us probably fall into another category: those who struggle with the middle parts of a task.
A lot of people set goals that are too big. And most people judge their goals as an all-or-nothing process.
So start by setting a realistic goal that you know how to reach. If and after you achieve it, nothing’s stopping you from taking it to the next level, with all the extra confidence boost that comes with completing something.
The first part is never the hardest part: the middle is way harder than the beginning.
We almost always talk about the start (of a project, a habit, a diet etc.) and ignore the finish. We have popular phrases like, “Well begun is half-done,” or “The hardest part of any journey is the first step,” but that’s not even a little true.