Newsweek December 31, 2012

This exciting weekly publication offers a clear combination of news, culture and thought-provoking ideas that challenge the smart and inquisitive. Our promise is to put the reporting back into the news.

:
United States
言語:
English
出版社:
The Newsweek/Daily Beast Company LLC
刊行頻度:
Weekly
¥920
¥5,753
37 号

この号

7
a new chapter

THE ISSUE in your hand is the last edition of Newsweek in print. Th e next, in the fi rst week of January, will be on your iPad or Kindle or phone. By late February, you will see the full evolution of the spanking-new, all-digital Newsweek Global, currently in development. It’s been a turbulent two-year journey, culminating in our decision to leave print and take the leap into a digital future. In 2010 the 92-year-old audio tycoon Sidney Harman bought a moribund Newsweek from the Washington Post Co. for a dollar in a quixotic bid to save a legendary magazine. Shortly after, the incurable old romantic asked Th e Daily Beast, the news site I founded with Barry Diller’s IAC in 2008, for its hand in marriage. And it’s been a…

1
perspectives

Half an hour after smoking a reefer, the subject becomes jovial, carefree, and capable of rare feats of strength. Hallucinations follow; space expands and time slows down; a minute seems like a day and a room looks like a place viewed from the large end of a pair of binoculars. “MARIHUANA: NEW FEDERAL TAX HITS DEALINGS IN POTENT WEED,” AUG. 14, 1937 A new specter is haunting America—the specter of militant feminism. TOP OF THE WEEK, ON “WOMEN’S LIB: THE WAR ON ‘SEXISM,’” MARCH 23, 1970 Not since the car radio has a technology so altered the nature of the driving experience as the cellular telephone ... (For the record, a U.S. Department of Transportation spokesman says there are no statistics on accidents caused by drivers using mobile phones, and no reason to believe they…

3
portraits of power

AS HE was wont to do, a longtime friend of Newsweek’s, Arthur Schlesinger Jr., captured the mission of presidential history and journalism best. “Biography reminds us that presidents are not supermen,” wrote Schlesinger. “Th ey are human beings too, worrying about decisions, attending to wives and children, juggling balls in the air, and putting on their pants one leg at a time.” Schlesinger had it right, both in terms of history in general and of Newsweek in particular: telling the story of the human beings who have led us through eight tumultuous decades has been central to the work of the magazine, an institution long dedicated to the principle that the personal is inextricably linked to the political. Newsweek began publishing in the last weeks of the administration of Herbert Hoover, the…

2
a late-night offer

Bradlee and Kennedy had dinner twice a week at the White House and regularly spoke on the phone. FOR ALL that Ben Bradlee accomplished during his time at Newsweek, nothing was more important than one fateful late-night phone call to a man he barely knew. It was 1961, and Newsweek, which was then owned by the Vincent Astor Foundation, was up for sale. Bradlee—who had joined Newsweek’s Washington bureau in 1957—found himself wondering if Philip Graham, who owned Th e Washington Post, might be interested in purchasing the magazine. What happened when he got Graham on the phone was a surprise: the Post’s owner asked him to come to his house right away. “I didn’t expect to be summoned,” Bradlee, now 91, recently told me. Th at night, the two men spoke…

9
the battle of brand x

TIME JIM KELLY: As rivalries in the news business go, none was more intense than the one between Time and Newsweek. It wasn’t just the fi ght over advertisers and subscribers. It was personal: the staff s of both magazines were drawn from pretty much the same pool of applicants and in one case from the same family: Annalyn Swan was Time’s music critic, while her husband, Mark Stevens, served as Newsweek’s art critic. (Th ey later would win the Pulitzer Prize for their biography of Willem de Kooning.) In the 1980s, we were only a few blocks away from each other in midtown Manhattan, and some of us got our time and weather by looking out our windows at the enormous Newsweek neon sign that topped their building. So imagine…

15
‘the first rough draft of history’

AT ITS BEST, Newsweek has always been about “the team game”: a kind of group journalism that’s less concerned with big-name bylines than with big, cooperative storytelling; a collective endeavor that aspires to serve the readers, not the egos of the journalists they’re paying to read. Whenever news broke—JFK, civil rights, Vietnam, Watergate, Diana, Monica, 9/11, bin Laden—the vast Newsweek apparatus would thrum to life. Reporting would fl ow into Manhattan from dozens of bureaus around the world; writers would hammer it into shape. Editors would revise, art and photo would design and illustrate, researchers would check, makeup would arrange, copy would polish, and production would usher it all out the door, usually at warp speed. Group journalism isn’t coming back. It is far too cumbersome and not nearly profi table enough,…