Attitude - Industry

Attitude - Industry

Attitude was founded in 1994 and is the UK’s best-selling gay magazine. As well as a print edition, Attitude is
available as a magazine on tablet and mobile and is renowned for its high-profile celebrity events.

They are Published by 'StreamPublishing Ltd'

Corporate website, website demonstrates that they are human.

They make customer magazines, and internal magazines.

Internal magazines are an employee retainment strategy.

Stream own a gay magazine themselves - called 'Winq' and is an Amsterdam based gay lifestyle magazine.

They bought out attitude as it was competition, so they now own two gay magazines. - This is an example of conglomeration.

A third of a magazines revenue stream comes from advertising. This is from advertisers investing in the magazine.

Press pack/Media Kit -

 

It states the males are professional - they have cultural capital, and a job such as lawyer, doctor or teacher and hence therefore have more money.

Gay people are less likely to have kids and therefore more likely to have 'the pink pound' - expendable income.

The stereotype is used for financial reasons - it makes the producers life much easier.

Brand Identity of an institution

Inside front cover of vogue - £157,000 in comparison to Attitude - £9,000

The website to Attitude Online was not released till 2014 as they weren't sure if it was going to be successful - this is an example of synergy.

The website targets a working class audience whereas the magazine targets a middle class audience. The website is similar to The Mail Online - a tabloid targeted at the working class.

David Hesmonhalgh

"Many commentators go much further than I have above in pointing to change. Some claim, for example, that digitalisation has transformed cultural production beyond recognition. The internet and the mobile phone have triumphed. The music industry is dying or already dead, they say. Television is over. Book publishing as we knew it is finished. Yet these industries continue to pour out huge amounts of product, employ tens of thousands of people, produce considerable amounts of revenue, and occupy vast amounts of our time. Some optimistically see a new age where distinctions between producers and audiences disappear, and ‘users’ become the new creators. Commentary of this kind often implies, and sometimes explicitly states, that all the old notions and models need to be thrown out, and the history of cultural production is irrelevant because we are now living in an ‘information age’ rather than an ‘industrial age’ (or some other term that serves to simplify the past). Others see transformation just over the horizon. In many cases, it is unclear whether we are reading analysis of what is happening now, or a prediction of the future."

Horizontal integration - They buy up other companies in the same sector to reduce the competition for audiences and audience time.

Vertical integration - They buy up other companies involved in different stages of the process of production and circulation. Companies might buy ‘downstream’, such as when a company involved in making films buys a DVD distributor, or ‘upstream’, which is when a company involved in distribution or transmission (such as a cable television company) buys a programme-maker.

Internationalisation - By buying and partnering other companies abroad, corporations can sell massive amounts of extra copies of a product they have already paid to produce (though they will have to pay new marketing costs, of course).

Multisector and multimedia integration - They buy into other related areas of cultural industry production to ensure cross-promotion.

 Also important is the attempt to ‘co-opt’ (Hirsch, 1990[1972]) critics, DJs and various other people responsible for publicising texts, by socialising with them and sending them gifts, press releases, and so on. 

Stream have internationalised their publishing.