Nieman Foundation at Harvard
HOME
          
LATEST STORY
With VuHaus, public music stations hope collaboration will bring in more listeners (and money) online
ABOUT                    SUBSCRIBE
June 4, 2013, 10:05 a.m.
LINK: pressthink.org  ➚   |   Posted by: Joshua Benton   |   June 4, 2013

Jay Rosen writes about how history of the The New York Times’ paywall is being reshaped after the fact. His argument is with a quote from NYT Co. CEO Mark Thompson, speaking at Columbia’s business school graduation, about the paywall’s reception two years ago:

The consensus among the experts was that it wouldn’t work, was foolhardy in fact and not needed. People just weren’t prepared to pay for high quality content on the internet and, besides, wasn’t digital advertising enough — wouldn’t it grow until, just as with print advertising in the golden age of physical newspapers, it alone was enough to support America’s newsrooms?

Here’s Jay:

The part I put in bold is bad information. In my view it should not have been passed along by Mark Thompson to the graduates of one of the world’s leading business schools.

Jay’s post is a useful corrective. Lots of Nieman Lab material (and me) quoted in there.

Show tags Show comments / Leave a comment
 
Join the 15,000 who get the freshest future-of-journalism news in our daily email.
With VuHaus, public music stations hope collaboration will bring in more listeners (and money) online
“NPR’s capacity is really in news and the spoken word, and it’s very active on the cultural side, but not organized around music. There was a sense we either needed to work with each other or have a hard time competing at all.”
Could email newsletters be a partial solution to magazine companies’ problems? (Toronto Life thinks so)
Following the success of Twelve Thirty Six, Toronto Life is looking more closely at email newsletters as standalone products.
Coda Story, focused on deep dives around single themes, is now tackling a “post-truth” Eurasia
The platform is focusing on two major themes — disinformation campaigns in Eurasia and the migrant crisis in Germany — and focusing on larger character-driven narratives.