"There's no such thing as bad publicity."

A lot of words come to mind when trying to describe Lindsay Lohan. Not a lot of them are positive. Just a few weeks ago it seemed as though she had hit rock bottom. I can't even remember the name of the last film she was in. But the future looks a bit better for this troubled celebrity. It has been announced that she will be cast to play the role of 70s pornography star, Linda Lovelace, in an upcoming biopic. This may be the last chance for Lindsay Lohan to get her act together and there are a few things she needs to consider in order to succeed.

Let's start things off by reinforcing a basic concept; CONTROVERSY is never a bad thing in the entertainment industry. People love troubled celebrities and what they love even more is a comeback story. Mariah Carey's and Britney Spears' careers have both proved that. No matter how much attention Lindsay Lohan has gotten for her stints in rehab, DUIs or lesbian phase her career will not be affected by it. These episodes will actually help her immensely because they will play a crucial part in the creation of her own fairy tale. She's experienced the rise and the fall. Now, she can either slowly fade away or work her way back to the top. The odds will be heavily against her but that's what will keep people interested. Celebrities' pasts are very quickly forgotten. Lindsay Lohan just has to help people forget by proving that she has talent.

While Lindsay Lohan has the general public's attention she has to make a few professional changes. The djing and singing careers have to end. She's not a musician and never will be. It's difficult to seem authentic when you're involved in too many artistic outlets. Gaining credibility in one field is already tough enough so why make it even harder on yourself? Lindsay Lohan also needs to be more selective when accepting magazine photoshoot deals. Her recent photoshoot for Muse magazine generated an overwhelmingly positive response but she ruined it by quickly appearing in a less than average Purple Fashion magazine cover story, followed by the previously mentioned Hollywood.tv photoshoot. By selecting her photoshoots more carefully it will help her turn her current desperate image into a provocative yet empowered one.

Now, this may sound surprising to some of you but Lindsay Lohan is a decent actor. She just has to focus on obtaining roles in edgier indie flicks. The Linda Lovelace biopic can be the perfect launch pad for this. It will be a challenging role due to the film's controversial subject matter and emotional complexity but this is her chance to prove her worth. A solid performance in this film could lead to other respectable roles. Lindsay Lohan should learn a few things from Joseph Gordon-Levitt's career path. He was also a child actor that most people remember for his role in 3rd Rock from the Sun. As an adult, he solidified his reputation as a talented actor by appearing in many independant films. He played troubled characters in movies such as Mysterious Skin and Brick and gained critical acclaim for these roles. Now he's appearing in more mainstream cinema ((500) days of summer) but is still widely respected. Lindsay Lohan has to move on from her child/teen film stage. It's time for her to wholeheartedly enter the independant film industry. Playing a troubled Linda Lovelace is a dream start.

Second chances don't come around very often so Lindsay Lohan needs to seize this opportunity. She was at the top of the entertainment world but has since spiraled out of control. She hasn't starred in a profitable film since 2004 (CBS). It's about time she worked her way back up. There will be moments when it will seem as though the entire world is against her but if she plays her cards right she could become a cool, sexy and respected actress. All the ingredients are there. It's just up to her not to mess it up.

"Be loud when everyone is quiet and be quiet when everyone is loud." - Joerg Koch

The magazine industry was one of the hardest hit during the economic crisis. Several publications went out of business, others switched to online formats while some reduced the amount of issues published and/or the size of their publications. The digital revolution has completely changed the industry's landscape, forcing companies to search for a new business model. Indeed, magazine consumption is not what it used to be therefore several publications are scrambling to keep their respective readers' attention, nevermind trying to find new ones. Fortunately, amongst all of the trial and error, a select few entities seem to have figured out a way to build new magazine empires (well, they're at least on the right track). 032c, Monocle, Fantastic Man and Purple Fashion would be the first to tell you that print is far from dead.

First things first, let's talk about the actual physical product. In this constantly evolving online world, selling a magazine comes down to two main things: design and quality. It's these tangible elements that can't be duplicated online that will help a publication sell. As Luke Hayman of Pentagram explains: "...the publications that end up enduring will be the ones that exploit what print only can do. The best ones will be things that you want to save, not toss in the recycling bin. They'll project a sense of craftsmanship and permanence. And each one should be an object that feels terrific in your hand." 032c, Monocle, Fantastic Man and Purple Fashion are all magazines that consumers collect, in a similar way to novels. This is largely due to their look and feel. They differentiate themselves visually by focusing on graphic design. Fantastic Man has won a D&AD award for best magazine and newspaper design and 032c has been exhibited at the London Design Museum. In order to stimulate the reader's sense of touch, all of these magazines are thick. Not just the magazine itself, but also the pages. They're heavy publications that could be considered modern day coffee table books. Monocle and Purple also include special edition supplements in each issue. For example, Monocle's November 09 issue came with a small business guide and Purple magazine # 08 came with the Dash Snow purple book entitled You can't drink it if it's frozen. Monocle even incorporated an elastic strap bookmark into its magazine. It's by paying attention to these physical details that these companies add value to their magazines and entice consumers to purchase them.

Distribution and publication can also help a magazine's chances of success. Fantastic Man and 032c have played on the exclusivity factor. Both publications are distributed in a small number of locations. This strategy reinforces the feeling of rarity and exclusivity. Buying the magazine becomes an adventure. It's a sort of pilgrimage, if you will, meaning that once the consumers actually obtain the magazine, they value it and cherish it even more. Although Purple Fashion can be purchased in more locations, like 032c and Fantastic Man, it is a biannual magazine. Since there are only two issues published every year there is a lot more effort put into production. The final product has more content for the consumer to enjoy. Content is another crucial factor to consider. It's not about who will talk about what first anymore. It's about who is offering the most unique perspective on the subject. Purple fashion carved its place in the market by creating a fashion magazine that was real, raw and at times, provocative. It went against the glamourous 80s fashion imagery. Some even went as far as to call it anti-fashion. All of these factors reinforce the image of craftsmanship associated with these magazines which in turn convinces consumers to buy them and, more importantly, hold on to them.

Another reason for these magazines' success is their ability to leverage their brand through various media. They interact with consumers on several platforms, the two main ones being print and online. It is important that these platforms leverage each other. Too many magazines are simply copying and pasting their hard copy image and content onto their websites. This is the wrong approach. By doing this, the consumer will only visit one of the two formats for his or her information needs. It's as if the company is voluntarily making one of its two key consumer touchpoints, obsolete. Magazines need to get consumers to buy their print issues, and while they're impatiently waiting for the next one they can calm their craving by getting their fix online or via another innovative platform. By engaging the consumer in these different worlds, the consumer is more frequently interacting with the brand and hopefully interacting for longer periods of time.

For example, in addition to Monocle's print magazine, fans can read the daily Monocolumn, listen to the weekly podcast, shop online, as well as look at various video interviews and reports, all via the website. Visitors can't read any of the magazine's articles unless they get a paid subscription. Monocle has also opened up its own boutiques in London and Los Angeles. They have even collaborated with various brands. These collaborations include a series of dress shirts with Oliver Spencer and a lamp with Andreas Martin-Löf. Fans of Fantastic Man can visit the website for the daily recommendation. 032c has yet to truly establish its online presence but its editor and creative director, Joerg Koch is creating Select "...a test vehicle for 032c's biggest project: developing its quiet online presence into a constantly-updated content site that not only complements its flagship print product, but stands alone in quality and scale." (The Business of Fashion) Purple Fashion has created a strong online presence through its founder's purple DIARY website. Oliver Zahm keeps readers interested in his magazine by constantly giving them an intimate look into his personal and professional life. Purple has also recently launched an online boutique where the magazine sells limited edition products. Unlike other players in the magazine business 032c, Monocle, Fantastic Man and Purple Fashion embraced the internet and found ways to use this tool to leverage and/or complement their print format.

Although 032c, Monocle, Fantastic Man and Purple Fashion are currently running successful publications, they need to continue innovating in order to remain leaders in the disruptive magazine industry that we know today. These companies seem to have established prosperous mixed business models incorporating both the print and online formats however no one has found a way to generate significant revenue online. This is something that needs to be explored in the future. For now, the digital realm remains an extension of the print realm but it may well completely replace it one day. The online format offers the immediacy that younger consumers seek. At the moment, there is still a market segment that values the craftsmanship involved in making print magazines but this market segment will most likely continue to diminish. This isn't a nice thought for any hopeful magazine editors out there but it's a reality that needs to be addressed. Well, that is if you want to be the next Tyler Brulé or Olivier Zahm, and if you don't, you probably picked the wrong industry to work in.

"Seems like we created a logo" - So-Me

According to the online free dictionary a cross is "An upright post with a transverse piece near the top, on which condemned persons were executed in ancient times." However, it is most often associated with the word "crucifix" which is the "representation of the cross on which Jesus died." The cross has been around for thousands of years and although it's been used for different purposes no one has ever thought of re-appropriating it. It's a sacred and ancient symbol, so who would ever dare to use it as the logo for their band? Well, apparently, two french guys from Paris didn't see any problem with this and they've turned it into one of the most recognizable images in the electronic music scene.

Now, some of you are probably wondering how Justice came up with the idea to adopt such a universal symbol as their band's logo. Gaspard explained to Mojo that: "It came from a very simple idea [they] had when [they] did Waters of Nazareth, which was to compare the energy you can have in a church, the kind of mystical vibe of it, and the energy you can find in a club. Everybody is gathering together and focusing at the same point." Indeed, the concert hall can be seen as the young generation's church. Since the vast majority of teenagers don't believe in God and don't go to church, they found another holy sanctuary in the music venue. Similarly to a church, it's a place where we gather to experience and share a spiritual moment (in this case: loud distorted music mixed with blood, sweat and tears) with our religious leaders (in this case: Xavier de Rosnay and Gaspard Augé). In other words, concert halls are where modern day teenagers go to "pray".

One just has to look at the pictures from Justice's live shows to understand how such a comparison can be made. These photographs usually comprise the band's signature bright white cross on a stage with thousands of music fans directing their hands towards it, as if they were experiencing some sort of divine moment. An image like this could easily be captured during a church service. Followers often raise their hands towards the heavens, or the crucifix, to praise the Lord. When you subtract the music from the equation, Justice's live show seems more like a religious meet than a music concert. Justice feels that the visual concept is just as important as the music and it's for this reason that they have put so much effort into adopting the † as their logo.

Justice has completely re-appropriated the cross by incorporating this symbol, and other religious references, into almost all of their music and imagery. When the band's name is written on albums and other promotional material it is often written using a font that is, in my opinion, reminiscent of stained glass windows found in churches. Whether you agree with this comparison or not it is definitely a religion inspired font. In addition, The "t" in "Justice" is transformed into a cross that is bigger than the other letters and it is right in the middle of the band's name, making it even more noticeable. During their live sets, the duo are somewhat hidden atop a white cross that flashes on and off with marshall amps stacked up on either side, making the cross the focal point of their live performances. Instead of the devil horn hand sign that is common at most rock concerts, Justice has created its own cross arm sign (if you've been to one of their concerts, you know what I'm talking about). The cross is associated with them to such an extent that, one day, when I was wearing a cross necklace, a friend at school asked if I had bought it at one of their concerts. Due to the consistent use of this religious imagery, Justice's † logo has become as recognizable as Nike's swoosh logo, in the electronic music world.

Religious themes can also be found throughout the band's debut album. First off, the album packaging doesn't have a name written anywhere on it, it simply has a 3-D drawing of the † logo (although, obviously, most people called it the Cross album). The cd itself is all black with a small black † on the edge of the actual disc. When fans open up the special edition † cd, it unfolds into a cross shape. The two opening track titles on the album are Genesis (which refers to the book of Genesis, the first book of the Torah) and Let there be light (which is taken from the opening lines of the book of Genesis). There's another track on the album, which was also their debut single, called Waters of Nazareth (referencing Jesus' childhood home). Musically, this track includes organ samples, which is an instrument predominantly used during church services. To ensure that this association is not missed, the artwork on the cover of the single cd for this track depicts a giant sized organ with Justice's name written in their signature "religious" font over top. These references make the † symbol almost inescapable and further solidify its place as the band's defining logo.

They continued using the religious theme in their documentary A Cross the Universe. The opening quote of the DVD is taken from the book of Genesis: "In the beginning God created the heaven and the earth, and the earth was without form and void, and darkness was upon the face of the deep, and the spirit of God moved upon the face of the waters, and God said "Let there be light!" and there was light." The documentary then immediately cuts to an image of the Justice cross lighting up the entire venue during their live show, as if they were our generation's musical saviours. This further reinforces the link between the energy at their live shows and the energy that can be found during a church service.

The band members themselves play up the religious theme. Gaspard kind of looks like Jesus with his long hair and handlebar moustache. Xavier said in an interview that they considered putting a picture of him on the inside of the cross shaped fold out packaging that can be found in the special edition cd. Gaspard also wears a big silver cross around his neck. This cross is kissed by both band members, at the same time, before every concert. Xavier usually has a smaller cross necklace around his neck too and in an interview with Pitchfork he said that the last great book he read was the bible. In addition, both band members have cross tattoos on their bodies which is something that many of their music disciples have decided to imitate. The fact that fans are willing to permanently ink themselves with Justice's cross shows how powerful this logo has become. Justice (along with their followers) eat, sleep and breathe the cross.

By re-appropriating the cross as their logo, Justice has switched the context in which this symbol can be found, from a religious one to a musical one. They were the first to have the idea to use this symbol in a new way. No one ever thought of associating this ancient and sacred symbol with an electronic music band. It was probably seen by many to be untouchable and that's what makes this re-appropriation so brilliant. The Justice cross and the Christian cross have the same meaning, one of communion. They are being used in different contexts but the overall message remains the same and can be universally understood. This made it easier for Justice to adopt the cross as their logo, since music fans didn't have to figure out a new meaning for this symbol. The underlying message of the cross makes just as much sense in a concert hall as it does in a church. It's this clarity and simplicity that allowed for the re-appropriation of the cross to be so easily accepted. One could say that Justice successfully created a new religious movement. And I say "Amen" to that.

“[superstars are] walking brands...I’m sort of like the president of ME so [i'm] forced to constantly develop [my] brand and talk about it.” - Kanye

Beyonce is at the very top of the entertainment food chain. She has sold millions of albums, won countless awards, produced hit after hit after hit, made the best music video of 2009 (according to the self-proclaimed Louis Vuitton don and MTV, which doesn't count for much but still, I think that we all agree) and is married to the one and only Jay-Z. Being her younger sister attempting to launch your own music career must suck. Unfortunately for Solange Knowles, that's precisely the situation she finds herself in. If something was said to be impossible, this would definitely be it. So, what is the girl to do? Réponse: brand yourself in an entirely different way. And that's exactly what Solange Knowles is doing.

Solange Knowles has decided to go indie. Now, although her foray into the indie music scene is a recent development, Solange has always seemed to have a more rebellious side than her older sister. She did give birth to a son when she was only 18 years old and she has released tracks on mixtapes that Beyonce would never think of releasing (i.e. Fuck the Industry (Signed Sincerely)).

Her current image is the polar opposite of Beyonce's. In July 2009 she shaved her head which gave her an edgier look. On her twitter she stated that she wanted to focus on other things than going to the hair salon. And in response to the criticism she said that she found it ridiculous that her haircut was getting more attention than the election in Iran. This honesty is crucial for her to create an authentic image. Artist's need to speak their mind. That's why we like rock stars, because they say what they want, when they want. These comments also allow Solange to brand herself as the antithesis of the girly female pop star. She's alternative, cool and intelligent (I don't think that the same can be said of Britney Spears, even though she also shaved her head at one point).

Solange further associated herself with the indie music scene by releasing a cover of the Dirty Projectors' (a reputable indie band) song Stillness is the Move, which was posted on Pitchfork's website (the indie kid's music bible). However, Universal Music wasn't too happy about this and forced Pitchfork to remove the track. Again, Solange didn't hold back when talking about the incident: "So fucking crazy universal has been taking down a COVER I'm NOT selling or trying to publish. Never heard of that shit in my life! Not to mention Dirty Projectors, LOVED the cover & all parties are happy. Doesn't Lil Wayne a Universal artist rap over other folks' records?" (pedestrian.tv) Would Beyonce dare to say something like that? Never. Solange openly attacked Universal Music and she even called out Lil' Wayne! She stands by her music and defends it when she has to. The sign of a true artist.

Another way to reinforce your indie image is to part ways with the major label (in this case: Interscope-Geffen-A&M) representing you and plan to release your fourth album independently. Solange also decided that she wanted to work with the Midnight Juggernauts for her next album. She has already joined them in the studio and they've performed together at the Falls Festival in Australia where she appeared as a guest vocalist during their concert. (pedestrian.tv) Her love of indie music also lead to a confirmed future collaboration with Of Montreal. She will be making a guest appearance on the next album. Solange has even put her older sister onto indie acts. Beyonce told the Guardian that she would also love to work with Of Montreal on a future album. In fact, Beyonce stated that her next album might go in a more indie direction thanks to the bands that her sister has introduced her to. It seems like Solange has branded herself so well that even Beyonce wants to redirect her career.

These decisions are all helping Solange create an authentic image, gain artistic credibility and allow her to differentiate herself from her sister. Solange doesn't want the same career path as Beyonce. She couldn't care less about the fame. She's indie. She started her music career at a very early age so it has taken her time to find her place in the music world but I think that she finally has. It may not be at the very top of the entertainment food chain but she's exactly where she wants to be and that's all that matters.

"Rock stars are now essentially CEOs of their own small (and big) businesses." - Robert Bound

The disruption in the music industry caused by Napster and Co has helped bands regain power and control over their music, sound and image. Ask any musician and I doubt that they would say that the music industry has taken a turn for the worst. The major record labels are the ones who are portraying this revolution as negative. Bands are happier than ever. As are the fans. The music industry is becoming increasingly fragmented since consumers can so easily access and share music. They are no longer limited to television and radio* to listen to the next big thing. Consumers don't even want to listen to the next big thing (yes, the days of the global superstar are over), they want a band that is "theirs", that reflects their tastes, personality and aesthetic. These developments mean that bands now have more of a say in (almost) every aspect of their music careers and that they can more easily penetrate a certain niche market. However, this new found freedom isn't always managed properly. Artists will remain artists and some of them will not understand the importance of managing the "brand" side of their band. Unless, of course, you're In Flagranti.

Let me first put In Flagranti's influences into context. In Flagranti's music is heavily influenced by disco music from the 1970s and italo disco from the late 70s and early 80s (for the purpose of this analysis I will be focusing on the 70s influence in their music). The 1970s marked the end of the hippie movement but the sexual freedom ideologies advocated by the hippies spilt over into the following decade and continued to develop. This era is considered to be part of the Golden Age of Porn, when dangerous STDs weren't really publicized and the introduction of birth control pills and abortion solved the whole pregnancy issue. It is also during this era that Studio 54 was the club to be seen at in New York City. This discothèque reflected the prominent party atmosphere of the decade, one of sexual promiscuity and rampant drug use. The release in 1977 of the film Saturday Night Fever helped popularize the disco movement and solidified the sexual aura attached to disco music (I'm sure more than one of you have had a fantasy involving Tony Manero).

While growing up, the In Flagranti duo (comprising Sasha Crnobrnja and Alex Gloor) discovered this exciting time by listening to past album releases and mixtapes as well as by looking at old images in magazines and on television. This experience motivated them to incorporate elements of the disco movement in their band's music, sound and image. They were able to do this by maintaining full creative control of their material thanks in part to the launch of their own record label, Codek Records, in 1996. Codek Records provides a platform for fans to discover the band's music, artwork and videos. This, in turn, allows them to communicate a consistent message and to therefore create a solid band image.

Now, we all know that a good name sells, so the band name (aka brand name) is quite important. In Flagranti comes from Latin and means "in the act of committing a misdeed" or "while committing the offence; red-handed" (Reverso dictionary). It can also be used to describe actions "while performing sexual activity". This name communicates a message of vice and sin. In Flagranti has taken this message and has consistently (and successfully) showcased it in all of its media (sound, track titles, album artwork and music videos).

In Flagranti often sample music from the 70s in their tracks and they mix it with electro to create a progressive, dance-y sound. I am even tempted to describe their albums as upbeat porn soundtracks. When listening to their music you just want to get down (and dirty) on the dancefloor (and in the bedroom). With EPs titled Sexx Piss Tool and track names including She Bend Each Leg Alternately, Erector-Set and I Chatted Up the Nympho Secretary (Part 1) as well as album artwork depicting scantily clad women (reminiscent of pin-ups and soft core porn) and, last but not least, grainy music videos that comprise chopped up, looped and repeated vintage footage that can be, at times, sexually charged (watch Business Acumen), it's hard not to associate In Flagranti with sex. And they wouldn't want it any other way. Some may find this portrayed image distasteful, however, In Flagranti found an image that works for them, that they believe in and they are sticking to it.

At the end of the day, In Flagranti is successful because their music is good. They have substance, it's not only about the image. Bands with an image and no talent will fail. BUT, the band's image should not be neglected (especially in the post-napster music era) and it has to be one created by the artist, for the artist. Nobody likes a fake. In Flagranti genuinely believe in their aesthetic. They are authentic. Their vintage sexual image was created in a natural way and reflects things that they're into. In Flagranti's fans can see this and that's why this band is still around and will be for years to come.

*although, we can't really rely on these two mediums since music television only shows reality tv and mainstream radio plays the same songs over and over again.