A magazine is a publication a periodical publication, printed or electronically published. Magazines are published on a regular schedule and contain a variety of content, they are financed by advertising, by a purchase price, by prepaid subscriptions, or a combination of the three. At its root, the word "magazine" refers to a storage location. In the case of written publication, it is a collection of written articles; this explains why magazine publications share the word root with gunpowder magazines, artillery magazines, firearms magazines, and, in French, retail stores such as department stores. By definition, a magazine paginates with each issue starting at page three, with the standard sizing being 8 3⁄8 in × 10 7⁄8 in. However, in the technical sense a journal has continuous pagination throughout a volume, thus Business Week, which starts each issue anew with page one, is a magazine, but the Journal of Business Communication, which starts each volume with the winter issue and continues the same sequence of pagination throughout the coterminous year, is a journal.
Some professional or trade publications are peer-reviewed, an example being the Journal of Accountancy. Academic or professional publications that are not peer-reviewed are professional magazines; that a publication calls itself a journal does not make it a journal in the technical sense. Magazines can be distributed through the mail, through sales by newsstands, bookstores, or other vendors, or through free distribution at selected pick-up locations; the subscription business models for distribution fall into three main categories. In this model, the magazine is sold to readers for a price, either on a per-issue basis or by subscription, where an annual fee or monthly price is paid and issues are sent by post to readers. Paid circulation allows for defined readership statistics; this means that there is no cover price and issues are given away, for example in street dispensers, airline, or included with other products or publications. Because this model involves giving issues away to unspecific populations, the statistics only entail the number of issues distributed, not who reads them.
This is the model used by many trade magazines distributed only to qualifying readers for free and determined by some form of survey. Because of costs associated with the medium of print, publishers may not distribute free copies to everyone who requests one; this allows a high level of certainty that advertisements will be received by the advertiser's target audience, it avoids wasted printing and distribution expenses. This latter model was used before the rise of the World Wide Web and is still employed by some titles. For example, in the United Kingdom, a number of computer-industry magazines use this model, including Computer Weekly and Computing, in finance, Waters Magazine. For the global media industry, an example would be VideoAge International; the earliest example of magazines was Erbauliche Monaths Unterredungen, a literary and philosophy magazine, launched in 1663 in Germany. The Gentleman's Magazine, first published in 1731, in London was the first general-interest magazine. Edward Cave, who edited The Gentleman's Magazine under the pen name "Sylvanus Urban", was the first to use the term "magazine," on the analogy of a military storehouse.
Founded by Herbert Ingram in 1842, The Illustrated London News was the first illustrated magazine. The oldest consumer magazine still in print is The Scots Magazine, first published in 1739, though multiple changes in ownership and gaps in publication totalling over 90 years weaken that claim. Lloyd's List was founded in Edward Lloyd's England coffee shop in 1734. Under the ancient regime, the most prominent magazines were Mercure de France, Journal des sçavans, founded in 1665 for scientists, Gazette de France, founded in 1631. Jean Loret was one of France's first journalists, he disseminated the weekly news of music and Parisian society from 1650 until 1665 in verse, in what he called a gazette burlesque, assembled in three volumes of La Muse historique. The French press lagged a generation behind the British, for they catered to the needs the aristocracy, while the newer British counterparts were oriented toward the middle and working classes. Periodicals were censored by the central government in Paris.
They were not quiescent politically—often they criticized Church abuses and bureaucratic ineptitude. They supported the monarchy and they played at most a small role in stimulating the revolution. During the Revolution, new periodicals played central roles as propaganda organs for various factions. Jean-Paul Marat was the most prominent editor, his L'Ami du peuple advocated vigorously for the rights of the lower classes against the enemies of the people Marat hated. After 1800 Napoleon reimposed strict censorship. Magazines flourished after Napoleon left in 1815. Most were based in Paris and most emphasized literature and stories, they served religious and political communities. In times of political crisis they expressed and helped shape the views of their readership and thereby were major
Children's Digest was a children's magazine published from Oct. 1950 to May/June 2009, after which it was merged with Jack and Jill from the same publisher. It was aimed at children of ages 8 through 12, with a special focus on children's health and well-being. Humpty Dumpty Magazine is a sister publication of similar format aimed at a younger audience, which continues in publication. Children's Digest was published by George J. Hecht and Parents Magazine Press in the digest size implied by its name; the journal was sold to The Saturday Evening Post Society in the early 1980s and subsequently switched to a larger format more similar to other magazines. For a long time, the pages of Children's Digest were given a light greenish tint, referred to as "eye-ease" tinted paper; the magazine's original concept was similar to that of Reader's Digest, but aimed at children. The publisher stated in the first issue that "Just as the Reader's Digest reprints the best from adult magazines and books, so The Children's Digest will reprint the best stories and other features from children's magazines and books published throughout the world."
Content included fiction pieces, nonfiction articles and comics reprinted or adapted from other publications but original to Children's Digest. Articles were sometimes by well-known authors such as Isaac Asimov, covered subjects ranging from science to celebrities and sports stars of current interest. Classic stories from such authors as Rudyard Kipling and Hans Christian Andersen were printed. Comics reprinted in Children's Digest included from 1966 to 1979 monthly installments of The Adventures of Tintin; these serializations increased Tintin’s popularity in the United States. At this time Children's Digest had a circulation of around 700,000 copies monthly
A paperback known as a softcover or سعيد, is a type of book characterized by a thick paper or paperboard cover, held together with glue rather than stitches or staples. In contrast, hardcover or hardback books are bound with cardboard covered with cloth; the pages on the inside are made of paper. Inexpensive books bound in paper have existed since at least the 19th century in such forms as pamphlets, dime novels, airport novels. Modern paperbacks can be differentiated by size. In the U. S. there are "mass-market paperbacks" and larger, more durable "trade paperbacks." In the U. K. there are A-format, B-format, the largest C-format sizes. Paperback editions of books are issued when a publisher decides to release a book in a low-cost format. Cheaper, lower quality paper. Paperbacks can be the preferred medium when a book is not expected to be a major seller or where the publisher wishes to release a book without putting forth a large investment. Examples include many novels, newer editions or reprintings of older books.
Since paperbacks tend to have a smaller profit margin, many publishers try to balance the profit to be made by selling fewer hardcovers against the potential profit to be made by selling more paperbacks with a smaller profit per unit. First editions of many modern books genre fiction, are issued in paperback. Best-selling books, on the other hand, may maintain sales in hardcover for an extended period to reap the greater profits that the hardcovers provide; the early 19th century saw numerous improvements in the printing and book-distribution processes, with the introduction of steam-powered printing presses, pulp mills, automatic type setting, a network of railways. These innovations enabled the likes of Simms and McIntyre of Belfast, Routledge & Sons and Ward & Lock to mass-produce cheap uniform yellowback or paperback editions of existing works, distribute and sell them across the British Isles, principally via the ubiquitous W H Smith & Sons newsagent found at most urban British railway stations.
These paper bound volumes were offered for sale at a fraction of the historic cost of a book, were of a smaller format, 110 mm × 178 mm, aimed at the railway traveller. The Routledge's Railway Library series of paperbacks remained in print until 1898, offered the traveling public 1,277 unique titles; the German-language market supported examples of cheap paper-bound books: Bernhard Tauchnitz started the Collection of British and American Authors in 1841. These inexpensive, paperbound editions, a direct precursor to mass-market paperbacks ran to over 5,000 volumes. Reclam published Shakespeare in this format from October 1857 and went on to pioneer the mass-market paper-bound Universal-Bibliothek series from 10 November 1867; the German publisher Albatross Books revised the 20th-century mass-market paperback format in 1931, but the approach of World War II cut the experiment short. It proved an immediate financial success in the United Kingdom in 1935 when Penguin Books adopted many of Albatross' innovations, including a conspicuous logo and color-coded covers for different genres.
British publisher Allen Lane invested his own financial capital to launch the Penguin Books imprint in 1935, initiating the paperback revolution in the English-language book-market by releasing ten reprint titles. The first released book on Penguin's 1935 list was André Maurois' Ariel. Lane intended to produce inexpensive books, he purchased paperback rights from publishers, ordered large print runs to keep unit prices low, looked to non-traditional book-selling retail locations. Booksellers were reluctant to buy his books, but when Woolworths placed a large order, the books sold well. After that initial success, booksellers showed more willingness to stock paperbacks, the name "Penguin" became associated with the word "paperback". In 1939, Robert de Graaf issued a similar line in the United States, partnering with Simon & Schuster to create the Pocket Books label; the term "pocket book" became synonymous with paperback in English-speaking North America. In French, the term livre de poche is still in use today.
De Graaf, like Lane, negotiated paperback rights from other publishers, produced many runs. His practices contrasted with those of Lane by his adoption of illustrated covers aimed at the North American market. To reach an broader market than Lane, he used distribution networks of newspapers and magazines, which had a lengthy history of being aimed at mass audiences; because of its number-one position in what became a long list of pocket editions, James Hilton's Lost Horizon is cited as the first American paperback book. However, the first mass-market, pocket-sized, paperback book printed in the US was an edition of Pearl Buck's The Good Earth, produced by Pocket Books as a proof-of-concept in late 1938, sold in New York City. In World War II, the U. S. military distributed some 122 million "Armed Services Editions" paperback novels to the troops, which helped popularize the format after the war. Through the circulation of the paperback in kiosks and bookstores and intellectual knowledge was able to reach the masses.
This occurred at the same time that the masses were starting to attend university, leading to the student revolts of 1968 prompting open access to knowledge. The paperback book meant that more people were able to and access knowledge and this led to people wanting more and more of it; this accessibility posed a threat to the wealthy by imposing that
A comic book or comicbook called comic magazine or comic, is a publication that consists of comic art in the form of sequential juxtaposed panels that represent individual scenes. Panels are accompanied by brief descriptive prose and written narrative dialog contained in word balloons emblematic of the comics art form. Although comics has some origins in 18th century Japan, comic books were first popularized in the United States and the United Kingdom during the 1930s; the first modern comic book, Famous Funnies, was released in the U. S. in 1933 and was a reprinting of earlier newspaper humor comic strips, which had established many of the story-telling devices used in comics. The term comic book derives from American comic books once being a compilation of comic strips of a humorous tone; the largest comic book market is Japan. By 1995, the manga market in Japan was valued at ¥586.4 billion, with annual sales of 1.9 billion manga books/magazines in Japan. The comic book market in the United States and Canada was valued at $1.09 billion in 2016.
As of 2017, the largest comic book publisher in the United States is manga distributor Viz Media, followed by DC Comics and Marvel Comics. Another major comic book market is France, where Franco-Belgian comics and Japanese manga each represent 40% of the market, followed by American comics at 10% market share. Comic books are reliant on their appearance. Authors focus on the frame of the page, size and panel positions; these characteristic aspects of comic books are necessary in conveying the content and messages of the author. The key elements of comic books include panels, balloons and characters. Balloons are convex spatial containers of information that are related to a character using a tail element; the tail has an origin, path and pointed direction. Key tasks in the creation of comic books are writing and coloring. Comics as a print medium have existed in America since the printing of The Adventures of Mr. Obadiah Oldbuck in 1842 in hardcover, making it the first known American prototype comic book.
Proto-comics periodicals began appearing early in the 20th century, with historians citing Dell Publishing's 36-page Famous Funnies: A Carnival of Comics as the first true American comic book. The introduction of Jerry Siegel and Joe Shuster's Superman in 1938 turned comic books into a major industry and ushered the Golden Age of Comics; the Golden Age originated the archetype of the superhero. According to historian Michael A. Amundson, appealing comic-book characters helped ease young readers' fear of nuclear war and neutralize anxiety about the questions posed by atomic power. Historians divide the timeline of the American comic book into eras; the Golden Age of Comic Books began in the 1930s. The Silver Age of comic books is considered to date from the first successful revival of the then-dormant superhero form, with the debut of the Flash in Showcase #4; the Silver Age lasted through the late 1960s or early 1970s, during which time Marvel Comics revolutionized the medium with such naturalistic superheroes as Stan Lee and Jack Kirby's Fantastic Four and Lee and Steve Ditko's Spider-Man.
The demarcation between the Silver Age and the following era, the Bronze Age of Comic Books, is less well-defined, with the Bronze Age running from the early 1970s through the mid-1980s. The Modern Age of Comic Books runs from the mid-1980s to the present day. A notable event in the history of the American comic book came with psychiatrist Fredric Wertham's criticisms of the medium in his book Seduction of the Innocent, which prompted the American Senate Subcommittee on Juvenile Delinquency to investigate comic books. In response to attention from the government and from the media, the U. S. comic book industry set up the Comics Magazine Association of America. The CMAA instilled the Comics Code Authority in 1954 and drafted the self-censorship Comics Code that year, which required all comic books to go through a process of approval, it was not until the 1970s that comic books could be published without passing through the inspection of the CMAA. The Code was made formally defunct in November 2011.
In the late 1960s and early 1970s, a surge of creativity emerged in what became known as underground comix. Published and distributed independently of the established comics industry, most of such comics reflected the youth counterculture and drug culture of the time. Many had an uninhibited irreverent style. Underground comics were never sold at newsstands, but rather in such youth-oriented outlets as head shops and record stores, as well as by mail order. Frank Stack's The Adventures of Jesus, published under the name Foolbert Sturgeon, has been credited as the first underground comic; the rise of comic book specialty stores in the late 1970s created/paralleled a dedicated market for "independent" or "alternative comics" in the U. S; the first such comics included the anthology series Star Reach, published by comic book writer Mike Friedrich from 1974 to 1979, Harvey Pekar's American Splendor, which continued sporadic publication into the 21st century and which Shari Springer Berman an
The Magazine of Fantasy & Science Fiction
The Magazine of Fantasy & Science Fiction is a U. S. fantasy and science fiction magazine first published in 1949 by Fantasy House, a subsidiary of Lawrence Spivak's Mercury Press. Editors Anthony Boucher and J. Francis McComas had approached Spivak in the mid-1940s about creating a fantasy companion to Spivak's existing mystery title, Ellery Queen's Mystery Magazine; the first issue was titled The Magazine of Fantasy, but the decision was made to include science fiction as well as fantasy, the title was changed correspondingly with the second issue. F&SF was quite different in presentation from the existing science fiction magazines of the day, most of which were in pulp format: it had no interior illustrations, no letter column, text in a single column format, which in the opinion of science fiction historian Mike Ashley "set F&SF apart, giving it the air and authority of a superior magazine". F&SF became one of the leading magazines in the science fiction and fantasy field, with a reputation for publishing literary material and including more diverse stories than its competitors.
Well-known stories that appeared in its early years include Richard Matheson's Born of Man and Woman, Ward Moore's Bring the Jubilee, a novel of an alternative history in which the South has won the American Civil War. McComas left for health reasons in 1954, but Boucher continued as sole editor until 1958, winning the Hugo Award for Best Magazine that year, a feat his successor, Robert Mills, repeated in the next two years. Mills was responsible for publishing Flowers for Algernon by Daniel Keyes, Rogue Moon by Algis Budrys, Starship Troopers by Robert Heinlein, the first of Brian Aldiss's Hothouse stories; the first few issues featured cover art by George Salter, Mercury Press's art director, but other artists soon began to appear, including Chesley Bonestell, Kelly Freas, Ed Emshwiller. In 1962, Mills was succeeded as editor by Avram Davidson; when Davidson left at the end of 1964, Joseph Ferman, who had bought the magazine from Spivak in 1954, took over as editor, though his son Edward soon began doing the editorial work under his father's supervision.
At the start of 1966 Edward Ferman was listed as editor, four years he acquired the magazine from his father and moved the editorial offices to his house in Connecticut. Ferman remained editor for over 25 years, published many well-received stories, including Fritz Leiber's Ill Met in Lankhmar, Robert Silverberg's Born with the Dead, Stephen King's The Dark Tower series. In 1991 he turned the editorship over to Kristine Kathryn Rusch, who began including more horror and dark fantasy than had appeared under Ferman. In the mid-1990s circulation began to decline. Gordon Van Gelder replaced Rusch in 1997, bought the magazine from Ferman in 2001, but circulation continued to fall, by 2011 it was below 15,000. Charles Coleman Finlay took over from Van Gelder as editor in 2015; the first magazine dedicated to fantasy, Weird Tales, appeared in 1923. By the end of the 1930s, the genre was flourishing in the United States, nearly twenty new sf and fantasy titles appearing between 1938 and 1941; these were all pulp magazines, which meant that despite the occasional high-quality story, most of the magazines presented badly written fiction and were regarded as trash by many readers.
In 1941, Ellery Queen's Mystery Magazine appeared, edited by Fred Dannay and focusing on detective fiction. The magazine was published in digest format, rather than pulp, printed a mixture of classic stories and fresh material. Dannay attempted to avoid the sensationalist fiction appearing in the pulps, soon made the magazine a success. In the early 1940s Anthony Boucher, a successful writer of fantasy and sf and of mystery stories, got to know Dannay through his work on the Ellery Queen radio show. Boucher knew J. Francis McComas, an editor who shared his interest in fantasy and sf. By 1944 McComas and Boucher became interested in the idea of a fantasy companion to Ellery Queen's Mystery Magazine, spoke to Dannay about it. Dannay was interested in the idea, but paper was scarce because of World War II; the following year Boucher and McComas suggested that the new magazine could use the Ellery Queen name, but Dannay knew little about fantasy and suggested instead that they approach Lawrence Spivak, the owner of Mercury Press, which published Ellery Queen's Mystery Magazine.
In January 1946, Boucher and McComas went to New York and met with Spivak, who let them know in the year that he wanted to go ahead. At Spivak's request they began acquiring material for the new magazine, including a new story by Raymond Chandler, reprint rights to stories by H. P. Lovecraft, John Dickson Carr, Robert Bloch. Spivak planned the first issue for early 1947, but delayed the launch because of poor newsstand sales of digest magazines, he suggested that it should be priced at 35 cents an issue, higher than the original plan, to provide a financial buffer against poor sales. In May 1949 Spivak suggested a new title, The Magazine of Fantasy, in August a press release announced that the magazine would appear in October. On October 6, 1949, Boucher and McComas held a luncheon at the Waldorf-Astoria in New York City to commemorate the 100th anniversary of the death of Edgar Allan Poe and to launch "a new fantasy anthology periodical". Invitees included Carr, Basil Rathbone, Boris Karloff.
The first issue, published by Fantasy House, a subsidiary of American Mercury, sold 57,000 co
Bird Watcher's Digest
Bird Watcher's Digest is an American bimonthly birding magazine, founded in 1978 by William and Elsa Thompson. Bird Watcher's Digest was the first consumer bird watching magazine, is the only family-owned and operated bird watching magazine. Bird Watcher’s Digest partners with and supports Wild Birds Unlimited and Wild Bird Centers as well as bird-oriented organizations including the Cornell Lab of Ornithology, National Wildlife Refuge Association, the Roger Tory Peterson Institute, other nature and birding festivals. BWD was launched in Ohio, by. Knowing little about publishing, the Thompsons mailed out 32,000 copies of their first magazine in September 1978. In 1994, Bill Thompson, Jr. left BWD to become vice president of Marietta College. His wife Elsa and their children still work for the company: Bill Thompson III as editor. Today the business has expanded beyond the magazine; the company publishes a bimonthly newsletter and has expanded into other bird-watching products and booklets plus the Bird Watcher's Digest Original Birdhouse Book.
Many well-known individuals in the birding community have written for Bird Watcher’s Digest, such as former president Jimmy Carter, Roger Tory Peterson, David Allen Sibley, Kenn Kaufman, Betty White, Eirik A. T. Blom, Julie Zickefoose, David Bird and Scott Shalaway. Bird Watcher's Digest official web site Bill of the Birds blog
A keep case or poly-box is a type of packaging, most used with DVDs. Besides DVD-Video films, keep cases are common with most video games since the PlayStation 2 as well as PC titles and MP3-CD audiobooks all use discs that are the same basic dimensions as a DVD; the first products to be released in keep cases were VHS tapes, though most were stored in less expensive pressboard sleeves. In the days before video games were released on optical media, cartridges would come packaged in specially designed plastic keep cases with lugs inside to hold the instruction manual, as opposed to pressboard boxes. Cartridges and cards for the Sega Master System platform were the first video games to be packaged in any kind of keep case; the vast majority of Sega Genesis games would come in a plastic keep case, but were packaged in pressboard boxes, as a cost-cutting measure. Before the standard used DVD case was invented, early CD-ROM based video games such as Sega CD and early PlayStation titles, would come in thicker and taller jewel case.
These have been reputed to break easily. Since the PlayStation 2, most major console-based video game software is packaged in some sort of keep case, including Nintendo DS cartridge titles, Sony PSP titles; the cases are made of soft, clear or colored, polypropylene plastic with a transparent polyethylene outer jacket with a printed paper sleeve behind it. A variety of colors are produced, including black, white and clear. On the inside are sets of clips that may hold a booklet or additional sheets of paper with extra information; the DVD is held into place with a small protrusion which fits into the hole in the DVD. For console games like the PlayStation 2 and Nintendo GameCube, an extra protrusion is available for storing memory cards; the structural differences between a CD and a DVD have led many manufacturers to study different hub designs for keeping the DVD in place: unlike CDs, which are made from one layer of plastic material, DVDs have two layers, which are thinner and not bonded all the way to the center.
As a result, a DVD hub is weaker than a CD's, may be damaged if stored in a case, designed for CDs only. In addition to "pluck hubs", "push-to-release" hubs are common: in this case the hub is made in such a way that pushing on it with a finger compresses its component parts, thus shrinking the space it occupies and releasing the disc center; the larger size of the keep case compared to the CD jewel box means that if the disc becomes detached from the center hub, it can move around inside the box, the playable surface can be scratched by the hub. This can be a problem during shipping; the center "Pluck-Hubs" are designed to keep a disc in place while shipping, but can be too tight for normal home use. Because of this, the disc can be damaged upon removal due to excess warping. However, the edges of the center hub can be permanently bent in to allow for a looser fit. Discs are able to slip out ideal for the home shelf; the height and width of a keep case are fixed at 135 mm, respectively. The thickness may vary to require less shelf space.
For a typical single-disc case it is 15mm. A keep case, approximates the Video Software Dealers Association recommendation that a single-disc DVD-Video package have the same height as a VHS tape and the same width as a CD jewel case; the printed paper sleeve for a standard DVD case can be printed on a standard A4 sheet of paper which, after cropping, can be slipped into the outer jacket. The paper room on the front and back panels of the case is 129.5mm × 183mm and spine panels have a width of 14mm or less. This gives 273mm × 183mm as resulting maximum overall dimensions for the printout. Booklet inserts or leaflet material, when folded closed, should measure to a maximum of 120mm × 180mm. Similar, though not identical, packaging is used for commercial Blu-ray Disc titles and was used for HD DVD titles. However, the dimensions of the cases are about 19 mm shorter; the individual cases are color-coded, with blue being used for Blu-ray and red for HD DVD, the format displayed prominently on a stripe above the cover art.
In addition to the industrial usages reported above, empty keep cases are available at retail stores, which can serve for instance as a replacement for broken cases or for DVDs containing personal video recordings or data. Common brands are Maxell, Memorex, TDK, NexPak, US Digital Media and Amaray; some vendors, e.g. TDK and Infiniti sell recordable DVDs individually packed in keep cases. Optical disc packaging