pages immediately inside the front and back covers that hold the cover
and the pages of the book together. The endsheets may reinforce theme
through color, graphics and content, possibly including the table of
contents, printed on them. Theme reinforcement should appear in the
table of contents in the subheads that describe each section by using
variations on the main theme.
Opening and closing sections identify and explain the theme through
copy, photos, graphics and layout design. The theme should be strongly
represented on the division pages, the single page or double-page
spread at the beginning of each section that introduces the content
in the section through copy, photos, the logo, a theme-related label or
headline, and perhaps color. The theme may also appear in the folio on
each page if it includes a graphic or a theme word.
Seeing reminders of the theme as they look through the book gives
readers a sense of continuity. They feel they’re still reading the same book
they started reading, no matter which section they may be viewing. A
sense of continuity shows careful planning and consistent editing.YEARBOOKS AND MAGAZINES^407
division pages
pages that separate and
identify sections within a
yearbooknce upon a time, Marvin
Jarrett wanted to be a
rock star. That dream
didn’t work out, but Jarrett
achieved the next best thing:
he published magazines about
rock stars. Jarrett originated
and published three now-
defunct magazines. Raygun
was a free-form magazine
that called itself “the bible of
music and style.” Bikini was a
bimonthy about cars, celebri-
ties and nonteam sports. huH
featured music videos. Nylon,
his latest magazine, features
fashion and pop culture.
“There are a few perks” to
owning a magazine, admits
Jarrett. “I get free CDs and
whatever concert tickets
I want, and I get to hang
out with David Bowie.”
Jarrett’s publishing career
began in an unlikely way.After graduation from Wolfson
High School in Jacksonville,
Florida, he began selling ste-
reos through the Hi Fi Buys
chain. After just a year on
the job, he had become the
retailer’s number one sales-
person. After a stint selling
airtime for a Hawaiian radio
station, Jarrett landed an ad
sales job with the magazine
Creem. “I went to work for a guy
in his 60s who knew nothing
about music or advertising,” he
remembered. “I realized that I
should be running the thing.”
Jarrett’s freewheeling manage-
ment style eventually cost him his
job as editor of Creem, but within
a few months he began Raygun,
a magazine with a radical new
look. “My strong suit is coming
up with a title, a concept, an
aesthetic for the magazine, and
putting together a good team,”Jarrett explained. “It’s almost
like being a film producer.”
Perhaps the most remarkable
ingredient in Raygun’s success
was its ability to appeal to peo-
ple in their teens and twenties.
“You have to remember,” he
says, “that this generation gets
its information from so many
different media—TV, radio,
online, CDs—so the maga-
zines need to be as visually
exciting as any of those other
things.” Jarrett said he remains
as dedicated as ever to what
he’s doing. “If it came down to
it, I would sooner get out the
magazine than pay my rent.”
Source: Adapted from “It’s Only Rock
& Roll” by Michael Kaplan.Portrait of a Young Journalist
Marvin Jarrett, Publisher, Nylon