• July, 1966 – The cover of the July 2nd, 1966 edition of The New Yorker includes artwork by Michael Getz. Displaying a show of patriotism, Getz uses the entire portion of the cover to present an illustration of an American flag hanging from the front of a typical upper-middle class designed home. However, other than the title of the magazine and the drawing itself, the only other printed words contained on the cover are the date of the issue and the price of the magazine; 35 cents.
• July, 1986 – The July 7th, 1986 edition of The New Yorker presents a cover with a cartoon illustration of a woman holding a very large birthday/celebration cake. Similar to the rhetoric of the 1966 issue, John Biechman uses the colors of red, white, and blue within the woman’s dress to portray the patriotic feeling of our Independence Day, “The Fourth of July”. In addition to the American flag colors within the woman’s dress and garment Biechman includes a figure of the Statue of Liberty on top of the cake to further express a feeling of patriotism.
• July, 1996 – The July 8th, 1996 edition of The New Yorker once again includes the theme of nationalism with Jeremy Falcone’s image of the Statue of Liberty holding a “sparkler” fire work in its hand. Interestingly enough Joseph Pulitzer, founder of The New York World & Pulitzer Prize, was partially responsible for obtaining the statue from the country of France. Pulitzer used his public influence and image to collect nickels & dimes from immigrants, convincing such immigrants the statue would be a symbol of their newly gained freedom. Moreover, even though the price of the magazine has gone from 35 cents in 1966 to $2.95 in 1996, the display and headline of the cover are exactly the same as they were thirty years before (i.e.: Plain and clear title of publication, no preview of articles included, and no running ads on the front page).
• Alcohol/Gin – A majority, if not over half of all the ads contained within the edition are pertaining to alcohol. In specific, gin appears to be the most popular and targeted liquor of the era, with the theme “Dryer is Better”. Evidence of how predominant such a theme was is Gancia, an imported Italian Ve...
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...milar to that of the New Journalism techniques of the early 1900s. Articles on Medicare and President Policy are not likely to be attractive writings anymore, for The New Yorker seems to have lightened its political agenda with time. Biographies and personal stories have replaced the political articles of the past, as The New Yorker has gone back to its traditional conservative roots as a high-culture/fine arts magazine.
In conclusion, the most predominant theme throughout the publication of The New Yorker has been international travel. Those individuals interested in traveling overseas are usually quite affluent, and are too attracted to the history and art of culture around the world. The overwhelming amount of articles pertaining to foreign culture and arts are complemented by a number of advertisements from airline companies, international hotels, and imported alcohol industries. A great way to analyze a publications ideal audience is to look at the advertisements in-between the fine print. Although changing from time to time, The New Yorker has remained a magazine of high-culture taste, highlighting life’s pleasure of art, travel, and history.
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