Magazine new time latest issue. Magazine The New Times ("New time"). Reference

Sad news from the world of Russian independent media - after 10 years of work, The New Times magazine is closing.

Free speech shrinks like shagreen leather

It is a pity that the field of independent information continues to shrink.

It's a pity.
Thanks to Evgenia Albats for having such a magazine.

I can't believe it is. I worked for this magazine for 8 years!

There are so many things connected with this magazine that now I feel like I lost a tooth. Front.

There will be no more paper NT. I would like to write some sad, funny, dangerous, idiotic, instructive, but by no means boring story, because there were so many of them, these stories, that ... I will not write a story, NT is the story itself. Countries, journalism and my little life. Sad.

There is a courtyard near Bessarabka on Khreshchatyk, where for many years there was a restaurant of Ukrainian cuisine, and now a craft bar. We were sitting in that restaurant on a warm October evening when they called from Moscow and told the news: Anna Politkovskaya had been killed. Then there was an interview with Irena Stefanovna to Novaya Gazeta, in which she said that times were worse, but hardly meaner. Then it became known that she had acquired Novoye Vremya and would restart it with Raf Shakirov and Zhenya Albats. Then, at a debate led by a novice blogger, Zhenya invited me to participate in this project. Then there were 5 years of evenings in the editorial office on Tverskoy Boulevard. And now the New Times has released last number and this is very sad.

I found the very first issue of New Times ten years ago in the school cafeteria.
Then I bought it quite often - probably, more often only the Russian Newsweek, so where is it now?
Then, in 2010, it was in the New Times that my photograph appeared for the first time in print - ridiculous, and even stolen from LiveJournal, but I didn’t think about it then, but I thought that this was an achievement, a holiday and inspiration.
Then I began to sometimes work with the magazine, and despite all the difficulties, sometimes I shoot very interesting orders.
And in the summer of 2013, my camera was stolen - on the flash drive there were photographs of the morning shooting that were not copied anywhere round table in the editorial office of the magazine, and the shame in front of Evgenia Albats was stronger than the feeling of loss due to the purchase of a new camera.
Each new edition is a great experience of self-assessment in terms of unfamiliar demands and the new context in which your photographs are placed, and the first and not the first pages in the New Times taught me a lot.
Then it was in the magazine that I met Olya Osipova and Ivan Stepanenko, without whom my books would not exist.
Then it was in the magazine that I was advised in Texas to find a visitors "bureau, without which the trip to Abilene would not have happened.
I am not writing here about the investigations of Barabanov or Morar, about the columns of Oleg Navalny or Saprykin - you have read all this and know without me. It's just that the New Times, although it was difficult with it, also influenced almost all the journalists you know.
It is a pity that it will no longer be in print. Hope this is temporary. Or that something new will grow.

I remember how in the spring of 2011, after a conversation with the editor-in-chief of The New Times, Yevgenia Albats, I - very inspired and satisfied - looked into the office of the policy department, where I was supposed to work.
A shaggy-haired guy with glasses was sitting there, who at first carefully looked into this very inspired and pleased face of mine, then he chuckled and silently put down the ashtray. Then I did not know yet that Yegor Mostovshchikov is almost the entire policy department of The New Times magazine (plus the editor is Ilya Barabanov). That we will write a lot of articles about Putin and one article about Putin's Botox. That in the editorial office they will traditionally argue how long I can last. That I will last 3.5 years. And during these 3.5 years, I myself will more than once be the whole department of politics of The New Times magazine. And this, perhaps, was the main feature of the editorial office: in it, each person could, even in one day, be completely different values.

P.s. I am very sorry that the printed version of the magazine is being closed. But the site remains, and this is a little consolation. There is a theory among the staff of the magazine that The New Times will work as long as two conditions are met: 1. there is at least one person on the staff; 2. this person is Evgenia Markovna. After all, she is The New Times.

Evgenia Albats, hold on. You are stronger than any circumstances. Yes, and all of us, what really.

The New Times is a huge part of my life. I came to the magazine at the very beginning - still at the stage of its creation and preparation of the first issue. At that time, there was also a large online editorial office, which was ahead of its time in many respects - streams from mass actions were being prepared, there was a large proportion of videos and there was a rich site.

But it was the paper The New Times that pulled everything, kept the quality. So much has happened over the years. And the mask show with the security forces in the editorial office, and the nights at the airport, trying to get to Natasha Morari, who was being expelled from the country, and the bookmark found under the car of Zhenya Albats, and Barabanov, who was hidden in some apartments after another investigation, and the coolest interview with the Luzhkov family after his resignation, which collapsed the publication’s website (and there were hundreds of such interesting interviews!), and dozens of investigations, and live broadcasts of Novodvorskaya ...

Thanks to Evgenia Albats for the quality, for her convictions and for her humanity.

now it will become easier in Russia, one more complex condensation disappears, even less freedom to be different. I worked for the magazine for 8 months and got an experience that I did not expect at all in my forties. thanks to the editor-in-chief, thanks to those with whom I shared this time.

With the cessation of the publication of The New Times in Russia, socio-political magazines have ended, only somewhere far away, "Spark" is still flickering.

And although Yevgenia Albats herself clearly named the reason - "the money ran out", it is clear that the state made every effort to do this. From restrictions to advertising market to the pressure on the printing house. From Roskomnadzor to Russian Post.

Dealing with magazines is easier than dealing with a crisis.

But these kind sympathetic words coexist in the network with outright gloating.

One of the most popular liberal publications The New Times closes the paper version.

Whether the market is to blame, refused to enter into itself those who like to show off money for offices. Either the people are not like that again, the damned fascist, the multinational publication does not honor and does not even read.

Antonio Gramsci and then, probably, shed a tear.

Closed another liberal magazine.

They write maliciously that the guardians of the market are not on friendly terms with the market for some reason. It's right. I'm afraid the publishers don't even understand the problem.

In terms of the market, Ekho Moskvy, for example, does not compete with Vesti FM at all. Because they have different audiences. Ekho Moskvy competes with Novaya Gazeta.

There were too many liberal publications. They were all too uniform. The same authors, goals, style. Why are there so many of them? They love different business slogans, such as "be different or die," but they don't want to be different from each other. You have to die in accordance with the slogan.

The decrease in the audience, its fragmentation led to the fact that many liberal media began to switch to a paid subscription. Thus exacerbating his position. Because opponents used to read them too. But to read opponents also for not so little money? No, please.

Liberal office plankton he earns hard, in Moscow it’s not bad, but Dozhdi can’t pull everything in a row.

Especially since the Ukrainian press dealt the most serious blow to the liberal press. General radicalization calls for harsh language. Where are they tougher? Russians are forced to look back at the law. Ukrainians are allowed literally everything in relation to Russia and the Kremlin. You can call to hang, talk about genetic inferiority, curse - whatever you want. Well, everything else is approximately the same as that of our native liberals. Plus it's free. As much as you want. Yes, and the authors are the same: Muzhdabaev, Ganapolsky are published here, and Sytin, for example, is there.

Funny. People who fought for cheap migrant workers, in fact, suffer from them. Although they hardly realize it.

There is only one road - to federal channels in gladiator fights. There just isn't enough room for everyone.

The overproduction of liberal thought is decimating their ranks. But they blame everything on censorship.

The editor-in-chief of The New Times, Yevgenia Albats, said that the magazine was closing, "only the website would remain." Moreover, judging by the fact that the subscription button on the site has stopped working (it just throws it to the main page), the site will remain in the sense of an archive, and not an online publication. Why does this news excite us?

Firstly, because The New Times (like, for example, Republic) is a political magazine operating on a strict subscription model, that is, in some way comparable to Sputnik and Pogrom. There are few publications in Russia that use the hard paywall model (when the best content is only for money, and news/small texts are free), and we are closely following them.

Secondly, because of The New Times attendance figures: having FOUR TIMES SMALLER AUDIENCE than ours, Evgenia Markovna maintained a solid editorial staff, sent correspondents on business trips, and rented an office. I think the office rent alone was more than our entire monthly budget. We work four times better, but we have money ... I think half of the editorial staff receives less than Evgenia Markovna spends on a manicure per month.

And thirdly, because the example of The New Times, most likely, will soon be cited as evidence of the inoperability of the subscription model in Russia, like, people do not want to pay money. Although it is clearly seen from the comparative statistics shown on the screen that the Albats publication was deeply subsidized (who subsidized it? I don’t even know who can subsidize the publication of a member of the Public Council of the Russian Jewish Congress ...), and, obviously, the sponsors of Albats ended their desire to give money. That is, this is not a failure of the subscription model, but a failure of the model of a subsidized political publication that defends the interests of multinational Russians (for example, the legendary Crimean Tatar nationalist Aidar Muzhdabaev has already expressed his grief over the closure).

This news can be worded differently. The printing house that printed The New Times magazine cannot continue to print it, but does not want to. And you can formulate it again in a different way. It's not that the printing house can't or doesn't want to, but it can no longer print such a magazine. At the magazine in front printing press, as Yevgenia Albats says, "zero debt." And it is right. Because we understand that if the independent press has at least three kopecks of debt, this is a reason. Three kopecks for a printing house or three kopecks for a communal apartment and rent, three kopecks for a security guard on the ground floor at the entrance to the editorial office. Doesn't matter! This is an excuse to paralyze your work. But if there is no reason, then you can do without it in principle. No debt - well, no need! We'll close your shop just like that.

In the end, we will say that we ran out of paper, the paint dried up, the typesetter and his friend the printer got drunk, the computers hung, the lights went out. If you need to find an excuse not to do something, then we have no equal, here we are world champions. You can, of course, say that to hell with it, with this printing house, in the end, it will lose a good order and good money, and sooner or later it will die. Because the media are moving away from paper and moving to the Web, and that this is a reason to start living in in electronic format. But we already had illustrative examples when, in exactly the same way, without any good reason, "Verices", "Hedgehog", Kasparov's website were blocked. The question is not what form the independent press will take. The problem is that it can no longer exist in our country in any form. We are always told in response: what about Novaya Gazeta, but what about Ekho Moskvy? But not so long ago, in this series, they confidently asked: what about RBC, but what about Kommersant, and what about Lenta.ru?

The list of these "but what about?" getting shorter. The New Times magazine is still included in this list and, I knock three times on wood, I hope that it will be included. But we see how easy it is to change everything. Here, the point of view of the shareholder suddenly changed, and with it the management and composition of the editorial board changed. The concept has changed here, the financing has changed there. Here something did not like the supervisory authorities. And now here's the printing house "can't." In each case there will be some particular reason. And no one will directly say, for example, that you should not have scolded Sobyanin. Or: we have elections here, and you are hindering us. Or: don't poke your nose where it doesn't belong with your investigations. Do not discuss Putin and his family, do not discuss the president's friends, leave behind Shuvalov, his dogs, apartments and planes. No, nothing like that will be said. They will tell you about a change in concept, about three kopecks of debt, or simply report that they can no longer print your magazine. But the thing is that the problems of the magazine, websites, radio or the Dozhd TV channel are, first of all, your problems, dear friends.

Your window into the world of free information is getting thicker every day. And the old days come back to you. Old Times, so to speak.

E.Albats:

Unfortunately, I must inform readers of the magazine that on Monday The New Times magazine will not come to newsstands, and will not come to stores, and will not come to subscribers. Because today the Pushkinskaya Ploshchad printing house, which has been printing the magazine for eight years, and to which we have zero debts, once again - zero debts, said that it would not be able to print the next issue. The New Times magazine is delivered to the type using software installed by our Pushkinskaya Ploshchad printing house on the night from Friday to Saturday, on Saturday the circulation is printed, and on Sunday, and on Sunday and Monday it is delivered to kiosks. However, all of a sudden, quite unexpectedly, the printing house said that it did not have the opportunity to print the magazine. For our readers to understand, the Pushkinskaya Ploshchad printing house is a product of two Moscow printing houses: Almaz-Press and Pushkinskaya Ploshchad, they not only have no capacity, but they were forced to fire great amount people, because, as you know, so many magazines have stopped coming out. We are one of the last Russian magazines that is printed not in Finland, not in Poland, but in Moscow, in Russia. This is about workload and so on.
I can't, I've been trying to reach you since morning CEO print shop, Mr. Zaitsev, to his deputy, Mr. Bakov, they are all terribly busy, none of them can talk to me. My employee went to the printing house, where she was told that they did not want to sign the contract and would not be able to print the magazine.

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Answers

Yuri
Ostromentsky

Questions

Evgeny Yukechev

Photos

Ksenia Plotnikova

Maya Shelkovnikova

the same-non-del-work of the re-dac-tion of the journal-on-la The New Times is able to do it on 64 in-lo-s, pre-im-s-sven-but in two-ko-long-no-ke, active-but with-right-len-nom red-ny-mi ak-cen-ta-mi vre-call, li-dov and qi-tat. Many ma-te-ri-a-ly do not dis-la-ga-yut to a fluent reading, requiring from chi-ta-te-la to me-re-niya, and then efforts to get into the text. Their-about-different greetings re-da-yut chi-ta-te-lyu at the end of no-me-rov Brod-sky, you-sots-ky, Galich, Gre-ben-shi-kov, Letov and others, whose verses and voices merge into the anthem of the civil and human spirit. How should you-look-to-do-a-social-student-but-in-a-li-ti-che-journal, what kind of way you-to-build once-in-a-ro-you, what role from-ve-picture-ra-no-pits and, finally, what kind of in-the-na-tion should have for-go-lov-kov and texts - in-pro-sy, on someone, the designer gives from-ve-you in your ra-bo-te.

personal sai-te

Yuri Ostro-mentz-kiy - gra-fi-che-sky di-zay-ner, di-zay-ner of the font, art-di-rek-tor (2004–2012) journal-on-la "Big City". Moscow, 2013. In a fractional way - on a personal website. Fo-something - Xenia Plot-no-ko-va.

The New Times magazine is one of the not-many-healthy-th-of-the-day from-yes-actually-but whether-be-ral-no-ha-rak-te-ra. What do you consider important for yourself, participating in his development?

For me, it was important that when I started a little journal, it completely corresponded to my-e-th-imagination about the spirit of the times. Phi-lip-pom Dzyad-ko, the former re-dak-to-rum "Pain-sho-go Go-ro-da" and I, would be invited to open a magazine. I’m on-ri-co-val ma-ket, helped to put it in, and since feb-bra-la I don’t have from-no-she-niya to launch those-ku-schih-rooms. This hour there for the chief designer Ivan Ste-pa-nenko.

The New Times and Big City are quite different magazines, just like their audiences. How would you find and, in a sense, that vi-zu-al-ny language, someone needs a new-in-mu-from-da-ny? How long did it take to re-de-sign?

By the time of the next with Phi-lip-pom leaving the "Pain-sho-go-ro-da" we would be close to the desire to grab a b-ski-nick, and in The New Times he just lay. So everything about-is-ho-di-lo is very or-ga-nothing-but and in-time. It took, say, two months to re-de-sign. The fi-zi-che-ga-ba-ri-you from-da-niya remained the same-no-mi - the work went inside-three. Before-on-mi would-la-be-le-on a simple flock for-da-cha - about-no-wind the magazine. Make it more convenient for chi-ta-te-la and for re-dak-tion and make it so that it would be raz-go-va-ri-wal with this day-to-day language. Vi-di-mo, our departure from the “Pain-sho-go-ro-da” coincided with the same-la-ni-em of the main re-dak-to-ra of Ev-ge-nii Al-batz with-out-of-sti in NT is just what Philip and I can do. Bo-nus - du-ho-or-ke-stras in redak-tion on holidays.

The New Times magazine, No. 42 (268) dated December 17, 2012. Photo - Maya Shel-kov-ni-ko-va.

The New Times magazine, No. 39 (265) dated November 26, 2012. Fo-to - Maya Shel-kov-ni-ko-va.

The New Times magazine, No. 38 (264) dated November 19, 2012. Fo-to - Maya Shel-kov-ni-ko-va.

The New Times magazine, No. 39 (265) dated November 19, 2012. Fo-to - Maya Shel-kov-ni-ko-va.

The New Times magazine, No. 5 (274) of February 18, 2013. Fo-to - Maya Shel-kov-ni-ko-va.

The New Times magazine, No. 39 (265) dated November 19, 2012. Fo-to - Maya Shel-kov-ni-ko-va.

An image of a jour-na-la in a strong step-pe-ni for-mi-ru-et of his acc-tsi-dent font Carmela. Na-great-shi-va-et-sya not-so-paradise ana-logia with a-go-lo-voch-th font-journal-na-la New Yorker (Irvin Type, by Rea Irvin, 1925): there is a general manner in plastic elements and some de-ta-lyah. Is he raz-ra-bo-tan spe-qi-al-but for zhur-na-la?

I think you consider it possible to compare them because of the fact that you see them for example the same time roots. Both of these fonts are one way or another for-vya-for-us on the este-ti-ke mod-der-na. In my case, on the Spanish gra-fi-ke re-vo-lu-qi-on-thirties. And she has no-gi ras-here just the same from modern.

The Carmela font is an ex-tra-va-gant-ny geo-met-ri-che-sky gro-tesk, from sy-la-u-sch to the este-ti-ke mod-der-na and the spirit of the Spanish re-vo-lu-qi-on-noy gra-fi-ki of the 30s. Created in 2012 by Yuri Ostro-mentz-kim. In the co-hundred-ve font there are three sti-li-sti-che-sky se-ta: narrow cue, shi-ro cue and tra-fa-ret-ny. Public, but not for sale.

In 2011-2012, I was transferred from the Spanish pla-ka-ta from the time of the Civil War. I had a feeling that this is co-falling with the fact that it is in the air. Did I start my thoughts in the “Big City”, made a couple of fonts, and leaving it, I started to ri-co-vat Kar-me-lu. When I drew it, I thought that it’s important not to make a sti-li-for-the re-in-lu-qi-on-noy gra-fi-ki, but, turning around almost a hundred years ago, passing through myself and looking around, tell-say something this-go-day -nah, something that I have on the tips of my fingers. Phi-lip-pom and I were called as co-man-du with the already slo-living-she-ying-on-qi-her, and we just keep on talking the way we know how. And what we want to say in NT has become convenient to tell Kar-me-loy. So he became the voice of The New Times. By the way, the font has two more sti-li-sti-che-se-ta, some of them are not used in zhur-on-le, and the font itself is still on-ho-dit-sya in ra-bo-te. And on-zy-va-et-sya he is so, in a way that ...

Himnos y Canciones de la Guerra Civil Española - España 1936–1939. Coro Popular Jabalon

From what-on-chi-on-et-sya ra-bo-ta over ma-ke-tom? When-yav-la-et-sya in-no-ma-nie the main in-the-on-tion, set-pair and key fonts?

For some time, I’m looking at a hundred-ro-us, at a go-ri-umbrella, and then I sit down, draw on a throw-juice ma-ke-ta, in that way I consider a set-ku, and everything is a magical way, almost always an idea-al-but with it cos-pa-yes-et. This is, ra-zu-me-et-sya, immoral-but. Pe-re-del-ki for me - sa-my mu-chi-tel-noe, not-pleasant, complicated, and so on. Ka-zhet-sya, I’ll-but-quick-ra-bo-melt, in-then-na-tion in-yav-la-et-sya sa-ma co-fight, as well as in raz-go-in-re - whether it’s with you in-lu-cha-et-xia-go-va-ri-vat with a man-lo-ve-com, or-bo goodbye. That's why William was chosen right away and immediately got up. On the counter with Circe and Carmela, as well as for-du-we-wa-elk.

The words of the level “im-time” and “con-cep-tion” appear later, with not-about-ho-di-mo-sti. Either the warehouse is easy and right away, or it’s necessary to do something for a long time to-pi-li-vat and clarify, but then neither “im-on-time” nor “con-cep-tion” can not.

Ar-hiv ob-lo-zhek hzhe-ne-del-no-ka "New time" 1943-2010 - a visual-so-be-been-be-ti-pits, pro-is-ho-div-shim in the country. The journal has the property of fixing its own time (every time it’s “new”), and the ob-lodge becomes its own kind of test, you-da-vai and ro-man-ti-che-cha-i-tion of the 60s, and the stagnant 70s, and sa-mo-de-I-tel- ness of the 90s.

Va-le-riy Go-ly-zhen-kov

Graphic designer, type designer, pe-da-gog, letterhead studio partner

There is a feeling that the Engraved style of the William font does not find its place in the magazine, you-stup-pa-e your own different asi-stem element. In la-guy, this is de-la-et-sya for something that would emphasize the structural de-le-tion of the journal-on-la. How important is chi-ta-te-lu, but for-me-chatting and mother-to-child, in what time-de-le zhur-na-la is he on-ho-dit-sya?

Without-conditions-but, chi-ta-te-lu is important, but damn it, where he is, even if he doesn’t know about it. And in general, the whole magazine is built on strong contrasts. What-would not be-lo-gla-day-to. He is not a comfortable esthete-ti-che-ski, he is such a “like a freak”. He talks about non-convenient is-to-rii. And just like the content, its appearance requires chi-ta-te-la from the vet-but-th effort. Not in the sense of udo-bo-chi-ta-e-mo-sti, ra-zu-me-et-sya, but in the sense of este-ti-che-th-com-for-ta.

Do-pu-stim, for the first time, a man takes a magazine in his hands. He is all of it quickly about-whether-stay-va-et. From na-cha-la or from the end - it doesn’t matter. This first time, he should easily understand that the magazine consists of, do-let-stim, three blocks: but-in-stay, fi-che-ditch and ras-pi-sa-ny. Chi-ta-tel from the first time should be easy to understand where it is: where it’s about “read”, and where it’s about “quickly run away” and so on.

About meeting re-di-zai-na chi-ta-te-la-mi, I always give tea for example, but one and the same thing: one-on-lo-vi-on chi-ta-te-lei loudly ear-dit, and the other ru-kople-sweet. In place of the first-howl, in-lo-vi-do-not come new ones.

There is also in-to-on-qi-on-naya with-stav-la-yu-schaya. In this conditional journal-on-le, composed of a hundred of news, fi-che-ditch and ras-pi-sa-ny, it’s important, but in a mother-to-mouth way, in a way, a defined te-ma in-pa-la in fi-che-ry (ma-te-ri-a-ly, like right-vi-lo, in se-re-di-not no-me-ra, made special-chi-al-but for a specific release: re-port-ta-zhi, in-ter-view, ras-sle-to-va-nia, etc. - Approx. ed.), and not, for example, in new-in-sti. If the inter-view with op-po-zi-qi-o-ne-rum N is not in news, but in fi-che, this fact itself already says a lot about zhur-na-le as co-be-sed-no-ke. And this story is more important than everything else. Re-dak-tion should give the opportunity to chi-ta-te-lu mak-si-mal-but easy to count the weight of in-for-ma-tion and its in-to-on-tion.

Unfortunately, one has to admit that the middle-not-hundred-ti-sti-che-chi-ta-tel is go-from: on the one hand, he thinks that everything is a cup-le-but, and on the other - not in the co-hundred-i-nii from-li-chit re-ad-mod-dule from content. For some reason, he successfully sends a complaint to this very re-cla-mu.

Journal of The New Times, No. 37 (263) dated November 12, 2012.

The New Times magazine, no. 41 (267) of December 10, 2012.