Monthly Archives: March 2008

In which I join the cool kids on Twitter

I’ve been a Twitter skeptic for a while. I have a blog already; wary of more time-sucks; what’s the point; etc. Then again, I didn’t get RSS at first either. And after seeing this cute little video (via Craig Stoltz), I decided what the heck. So I’ve started Twittering. And I’m having a blast. So if you feel like it, check out my Twitter page. (Or is it a Twitter feed? I’m probably already getting the nomenclature wrong, thus proving I’m not actually one of the cool kids.)

Burger King’s brilliant What-If? ad

While poking around Burger King’s Web site for my previous post, I came across this 7-minute documercial for their “Whopper Freakout” campaign. The premise is that for two days, a Las Vegas Burger King told its customers that the Whopper had been discontinued; hidden cameras and interviews capture customers’ reactions.

Vodpod videos no longer available. from www.whopperfreakout. posted with vodpod
Parts of the video are unsettling — the toying with customers, the blase way a Burger King employee fakes being a reporter — and it could have done without the sinister background music. But overall this is probably the most effective advertisement I’ve ever seen, for any product.

First of all, it’s funny. At one point, two deadpan customers talk about their surprise: “Burger King doesn’t have the Whopper, they might as well change their name to Burger Queen,” one says; his long-haired buddy processes the joke for 3 seconds and grunt-chuckles, “hyeah!” Another customer is shocked by the second element of the trick: He orders a Whopper, only to find a Wendy’s burger inside the bag. The cashier questions whether the man brought it himself, and the customer huffs back, “I hate Wendy’s!” They couldn’t have asked for a more perfect response if the whole thing were scripted.

It’s also an interesting thought experiment — how would you react if your favorite restaurant stopped serving its biggest item? Consumer products and pop culture change all the time, but the customers’ testimonials reveal a deep comfort provided by the tradition and constancy of favorite foods. In this way, the ad functions as a kind of mini-American studies project. One customer says in voiceover, “When I was a kid, my dad wouldn’t order me a Whopper, because I wasn’t big enough to eat it all. That was one of the things when I got big, and the Whopper — that was like, I was a man.” Another talks about his mom driving him and his siblings to Burger King when they were kids — they got double Whoppers, because “we were big boys.”

Finally, the ad serves as a reminder of the continued power of branding, at least in certain cases. James Surowiecki wrote an interesting article for Wired a few years ago making the case that, contrary to conventional wisdom, brands aren’t nearly as valuable or important as they used to be because consumers are getting ever less loyal. He writes:

A study by retail-industry tracking firm NPD Group found that nearly half of those who described themselves as highly loyal to a brand were no longer loyal a year later. Even seemingly strong names rarely translate into much power at the cash register. Another remarkable study found that just 4 percent of consumers would be willing to stick with a brand if its competitors offered better value for the same price. Consumers are continually looking for a better deal, opening the door for companies to introduce a raft of new products.

This is pretty persuasive when it comes to consumer products — particularly tech products, which are the focus of Surowiecki’s argument. But the Burger King ad — though admittedly anecdotal — shows that in the case of food at least, nostalgia, self-image, tradition, taste and personal narrative may have as much to do with a brand’s success as value and innovation.

Chipotle comes clean on nutrition

I’ve been a huge Chipotle fan since the chain opened a restaurant in College Park in 2001 (for a time, it was the top-grossing location). When I moved to Florida in 2003, I had to wait a year and a half for another taste of cilantro-lime rice. It was torture.

I dig Chipotle’s emphasis on buying naturally raised meat (including gearing up to serve 100 percent Polyface Farm pork at its Charlottesville location) and organic beans. I’m not aware of any other fast-food chain whose Web site describes Concentrated Animal Feed Operations and suggests Omnivore’s Dilemma and Fast Food Nation for further reading (under the “manifesto” tab). Not only do I not mind that Chipotle is was owned by McDonald’s, I like the fact that a big, bad corporation like McD’s is pioneering once supported (see comment below; after Chipotle went public, McD’s apparently sold its stake) a company pursuing positive industrial-scale practices (I like Wal-Mart, with obvious caveats, for similar reasons).

My one reservation about Chipotle was a seeming lack of transparency about its menu’s nutritional information. While the big fast-food chains like McDonald’s, Burger King, and Taco Bell have nutrition pages linked prominently on their home pages, for the longest time Chipotle seemed to be hiding that its fare isn’t as healthy as some think (not least because each burrito is 1.5 to 2 meals worth of food). I was all set to write a post about how Chipotle needs to put its nutritional info where its mouth is, but then I discovered that they have put the information on their Web site.

I wish it were more obviously placed — you have to click on the FAQ page to find the link — but it’s better than nothing. So good for them, but they should move it onto the home page — and then stop making us overdose on sodium every time we want a burrito.

Remasters gone wild

I’m a bit of a sucker for remastered music. I’ve rejoined the BMG music club three times for the remastered Paul Simon and Bob Dylan libraries alone. I’ve bought The Who’s Live at Leeds twice (expanded CD reissue and Deluxe Edition 2-CD set); The Clash’s London Calling twice (pre-remaster CD and 25th Anniversary Legacy Edition 2-CD/1-DVD set); and The Rolling Stones’ Beggars Banquet twice (original CD and remastered CD/SACD hybrid), among others — though I’ve largely resisted the shameless re-rerepackaging of Elvis Costello’s albums. (Out of all my cremastered CDs, the only ones I can truly tell are an upgrade are The Band’s first two albums.)

I’ve also avoided the even more shameless repackaging of movies for various DVD reissues. So while I understand the intended audience of the Criterion Collection’s two-disc reissue of The Ice Storm (i.e. suckers like me), I couldn’t help but laugh when I read this in the Washington Post’s review:

Thanks to the Criterion Collection, releasing “The Ice Storm” today in a two-disc set ($39.95), the movie has a shot at rediscovery. The restored digital transfer, accompanied by audio commentary from Lee and screenwriter/producer James Schamus, allows viewers to see every detail in all its exquisite, retro glory. (emphasis added)

Keep in mind that The Ice Storm came out in 1997. I love the implication that the original print was found peeling and crumbling in some dank movie studio vault, and had to be restored to its full glory … 11 years after it originally came out.

And now that Sony has won the high-def DVD war, I guess we should brace ourselves for the coming Blu-ray remasters. Imagine the ad copy for the 2010 Transformers Blu-ray Legacy Edition: “You’ve never seen imaginary giant talking robot trucks like this before! Watch Shia LaBeouf talk to a car in this high-definition, luminously restored digital transfer that rescues a modern classic from the blurry, fading, what-were-they-thinking 2007 original digital file!”

Life is not, in fact, like a sitcom (or, What I learned from Carolyn Hax)

I’m a little late to this one, but I finally read “Marry Him!” — a buzz-fishing article in last month’s Atlantic that ostensibly makes the case for settling for a spouse instead of holding out for Mr. Right. Here’s the gist:

Of course, we’d be loath to admit it in this day and age, but ask any soul-baring 40-year-old single heterosexual woman what she most longs for in life, and she probably won’t tell you it’s a better career or a smaller waistline or a bigger apartment. Most likely, she’ll say that what she really wants is a husband (and, by extension, a child).

[snip]

My advice is this: Settle!

What stands out from the article isn’t the fact that author Lori Gottlieb herself hasn’t settled (she’s a 40-something who, along with a friend, decided to have a baby with donor sperm “in fits of self-empowerment” — surely the best reason to have a baby). Or her attempt at ironically defusing the shock and vitriol she just knew her taboo-busting article would provoke (“Oh, I know—I’m guessing there are single 30-year-old women reading this right now who will be writing letters to the editor to say that the women I know aren’t widely representative, that I’ve been co-opted by the cult of the feminist backlash, and basically, that I have no idea what I’m talking about.”) Or her repeated undermining of her case for settling.

No, the most notable aspect of the story is that Gottlieb is dispensing romantic advice even though she seems to be the kind of person who believes that life is like a romantic comedy. Or rather, that romantic comedies are true to life, and that adults should draw their lessons about life and love from TV and the movies.

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The Washington Post transforms editing (in theory)

Does Leonard Downie Jr. read my blog? (I’ll field this one: no.)

Via Jack Shafer, I see the Washington Post has accepted that the current editing system is outdated, inefficient, and unaffordable. From a memo to Post staff by executive editor Downie and managing editor Philip Bennett:

We will remove layers of editing by providing greater flexibility to determine when a story is edited and by whom. We will create truer alignment of editing for the web and for the paper, recognizing that deadlines for many pieces are defined as the earliest moment they can be edited and published online. We will deepen collaboration among editors on assignment desks, copy desks, photo and the news desk to change how a story, graphic or photograph goes into the newspaper.

Overall, these changes are meant to make our editing model less like an assembly line — moving copy towards the presses on a pre-determined schedule – and more like a network, responding to how journalism is actually created, distributed and discovered by our audiences in print and online.

My main recommendation for keeping copy editors was to give them more responsibility as editors. This is the first element of the Post’s plan:

Several editors will move from the National and Foreign copy desks to take on new roles that begin earlier in the day. These assistant editors will have broad responsibilities for moving early copy to the web and for the next day’s paper. They will provide the first read on some stories and the final edit on others. They will compose working headlines. They will collaborate with the News Desk to assign stories to pages earlier than our current practices allow.

I argued that giving copy editors more responsibility would potentially allow for fewer eyes on a story because a handful of thorough edits can be better than a half-dozen cursory edits. This is the Post’s logic as well:

With the involvement of assistant editors, we’ll reduce layers of editing. Currently, stories in the A section are routinely changed by a half-dozen different editors (an audit by Don Podesta for this project found fingerprints of 12 different editors on one single inside piece). Under the new model, many stories will be handled under a “two touch” rule; they will have a first editor and a second editor.

My next recommendation was to free up copy editors for new roles by giving reporters and line editors responsibility for basic tasks traditionally left to copy editors. The Post calls for this as well:

In addition to supervising their reporters, assignment editors will advance the editing process by doing more fact-checking, and (along with assistant editors) composing working headlines for pieces. Working headlines will also be welcome from reporters when they file.

Finally, I disagreed with copy editor curmudgeons who doubt change is possible because “this is the way it’s always been” or because they think reporters will never learn to write or worry about the little things that copy editors have always had to check. My answer to that argument: make reporters change. So it was especially nice to see this in Shafer’s piece:

The reason many newspapers rely so heavily on editors—a reason rarely spoken—is that some reporters can’t write. Their copy isn’t edited as much as it’s rewritten. Bennett has a message for them: “Reporters who can’t write are a dying breed.”

If the Post truly follows through, this will amount to a revolution. Every newspaper editor should read Shafer’s story and the Post memo — and consider making the same kinds of changes.

UPDATE: David Sullivan has a much more skeptical take on the Post memo. He argues that this has been tried in the past, and all that happened is dayside people spent their time working on pretty centerpieces and still left all the real editing and too many stories for the night desk. I think he’s right to be wary, but the Post’s plan seems to be different in several ways from similar attempts in the late 80s/early 90s.

According to Sullivan, those attempts came in response to investors getting crabby about poor (or no) earnings growth during a general economic downturn. But the business was still sound; the industry was doing fine; that’s just shareholders doing what they do. The Post’s attempt to transform editing is a response to a crumbling industry whose business model is in peril. It’s less a “hey, where can we shave costs regardless of if it makes sense for day-to-day operations” plan than the start of a holistic attempt to reconfigure newsroom roles in the face of the new reality.

The plan will only work if the Post is serious about rethinking newsroom roles; as I said in my original post, changing copy editors’ roles without giving more responsibility to reporters and line editors for basic stuff won’t solve anything. But the Post’s memo and Phil Bennett’s comment to Shafer about reporters who can’t write indicates to me that they understand that. At least I hope they do.

The Niche-Reader Fallacy

A reader (uh, my brother) has a response to my post about newspapers’ bad decision-making that helps clarify why papers are often paralyzed by small decisions. As a newspaper reader, he’s unsure of the wisdom of cutting some elements like box scores and TV listings. He writes:

As my students remind me, an awful lot of people (in raw numbers) don’t have fast Internet access or even home access at all. Those box scores and op-ed pages take a long time to load via dial-up. And one of the reasons I subscribe to print newspapers is to have the TV listings as a ready reference without having to go online yet again. The L.A. Times recently dropped its weekly TV guide section, and I’m seriously considering dropping my subscription because that was one of the most important resources it gave me that I couldn’t get online – a week’s worth of planning in one shot, whenever I wanted.

This is a perfect illustration of one reason newspapers are so sclerotic. Call it the Niche-Reader Fallacy: Newspapers live in such fear of readers canceling subscriptions if there’s any change to the horoscopes, comics, TV listings, box scores, stock tables, Miss Manners, etc., that they end up hanging on to everything for way too long.

Every paper has its own audience, so there’s no single right answer about what to cut and what to save/rethink (though stock tables come pretty darn close to being an across-the-board no-brainer). But part of this isn’t just “what’s more effective on the Web” — it’s “what’s the best use of increasingly limited print space to give readers news that they can’t get anywhere else?”

So yes, box scores may take time to load — but the average person wouldn’t be going online for results from the Arena Football League, horse racing, dog racing, WNBA, MLS, non-major tennis or golf tournaments, boxing, college baseball, and all the other obscure miscellany that takes up sports sections. The people who care about those things will watch SportsCenter or go online, and the average reader won’t care. Those readers would be better served if that space were used for more local investigations or what have you.

As noted in the post, the typical newspaper response to this is fear of making any changes or deletions because those few people who do care about all the box scores (or stock tables, or comics, etc.) will cancel their subscriptions — just as my brother is thinking about canceling his because of the TV listings. The solution isn’t then to cater to every reader’s niche interests — it’s to convince readers that the paper is worth reading for more than just that niche element. (In other words, leave the long tail to the Web.) If the L.A. Times can’t put out a paper that’s interesting enough to keep my brother’s interest once they drop the TV guide, then they don’t deserve his subscription.

David Simon as journalism’s Rip Van Winkle, revisited

So The Wire is over, and there’s no shortage of response around the Web. I’ll post my thoughts shortly about the show overall and how it stacks up to Sopranos/Deadwood, but for now I want to address David Simon’s assessment of the ills of modern journalism.

After the season’s first episode aired, Simon responded to Slate’s TV Club discussion of the show by saying: “The Wire’s depiction of the multitude of problems facing newspapers and high-end journalism will either stand or fall on what happens on screen, not on the back-hallway debate over the past histories, opinions passions or peculiarities of those who create it.” Well, he’s had his on-screen say. And all it did was nearly ruin one of the best shows on TV and prove that David Simon has either no clue or simply nothing interesting to say about the very real, very serious problems facing newspapers in 2008.

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Why newspapers make bad decisions

There are a hundred reasons why newspapers are in such poor shape. I’ve discussed some of them here and here: an outdated view of what’s news; an outdated view of readers; major inefficiencies in use of newsroom resources, as seen in the current roles of copy editors, reporters, and line editors. In a great post calling for a tax on newspapers that still publish stock tables, Craig Stoltz points to an often overlooked factor: newspapers seem to be institutionally clueless about how to plan for change. (Hat tip: Publishing 2.0.)

Stoltz argues that “There really isn’t a use case to justify continuing to publish daily stock tables.” There are plenty of other newspaper elements that are beyond justification, or at least deserve a rethinking — box scores and general sports agate, TV and movie listings, op-ed pages. Stoltz’s description of newspapers’ decision-making related to stock tables perfectly captures why other unjustifieds continue to take up space:

I have heard reasons for continuing to publish stock listings. They usually boil down to (1) the fear the paper would lose subscribers; (2) results of a focus group that found people liked the stock tables; (3) our publisher/editor emeritus/board of directors/influential stockholders insist we keep them.

No. 1: You’re hemmoraging readers anyway. The thought that a business decision with profound impact on the future bottom line should be driven by a couple of hundred indignant (let’s be plain) older readers who over-represent themselves with phone calls and (written!) letters to the publisher and top editors is. . . just plain bad business. Sure, you’ll get 200 calls. Accept them politely and forget them immediately. …

No. 2: Focus groups do not have to deal with zero-sum budgets. Focus groups like lots of stuff you can’t afford to keep. In fact, unless you give them a roster of features and tell them they have to lose half of them, you’re not gathering meaningful data. Secondly, doing focus groups with current readers isn’t a good idea anyway. Find potential future users of your news products online and in print. That’s who you have to re-build your business around.

No. 3: They are sentimental, retrograde, self-satisfied, isolated from reality or not paying attention. Do your best to make the case that the choice is another 10 percent staff cut or losing the stock tables. If they don’t buy that argument, do your best to subvert, ignore and marginalize them without getting fired.

This is what traditionally passes for strategic thinking at newspapers. So it’s no wonder that at a time when actually making imaginative, forward-thinking, potentially risky decisions is necessary for newspapers’ future, they are singularly unable to make or even consider those decisions.

Consider, for example, the recurring hand-wringing over comic strips. Something as basic as jettisoning outdated and unfunny strips becomes a perpetual exercise in self-flagellation based on a handful of readers who promise to revolt if the paper kills Family Circus. And if newspapers can’t intelligently and pro-actively decide that Marmaduke and stock tables have had their day, they probably can’t make intelligent higher-level decisions, either.

Hey, Smithsonian: How about an American Amusements exhibit?

Over at Kotaku, Maggie Greene highlights a recently launched cultural project: Preserving Virtual Worlds, an attempt to collect and preserve video games before they’re lost to the ages. It’s an important undertaking, and unlike other massive entertainment archives could be relatively easy to complete and bring to the public. After all, video games are only decades old, whereas recorded music and film are more than a century old. And old video games would become the tiniest of files, making it easy to make nearly anything pre-PlayStation available without crashing servers. (Go here for an in-depth look at the project.)

But as far as I can tell, the project only covers video games from the modern era — and the history of video games is much older than Pong. I was reminded of this when I visited Musee Mecanique in San Francisco last year. The attraction is the closest thing I’ve seen to a museum of American amusuments: modern-day arcade games and pinball machines sit beside 80-year-old cast-iron baseball games, penny-movie players, and moving dioramas — nearly all of them playable. I wrote about Musee Mecanique when I returned home:

The saddest part of Musee Mecanique is how unique it is. These games are a vital part of modern America’s entertainment history, but I’ve never seen a place besides this one that understands that and takes the kind of curatorial approach to old amusements that is necessary to preserve and show them to future generations. … It’s tough to think that most of the old machines that haven’t long since been trashed are probably just sitting in someone’s attic fading into a rust-and-dust obscurity.

These days, there are any number of collections of 80s video games available. Anybody interested in seeing what the early games were like can download Joust from Xbox Live Arcade or try GameTap. But the arcade dates back much further, and it’s a shame there are so few places where we can see that earlier history. The Smithsonian should be collecting these cultural artifacts; given the growth of video games in the last 20 years, the American History Museum should have a permanent exhibit dedicated to American amusements and include a room with playable games like the ones at Musee Mecanique so kids can see what their great-great-grandparents played long before there was Mario and Grand Theft Auto.

After reading Maggie Greene’s post, I am officially resurrecting this idea. At first I thought it might be a tough sell to get the government to put its imprimatur on video games, but the Library of Congress is already behind the Preserving Virtual Worlds project. And after major exhibits on Star Wars and Star Trek, not to mention all the pop culture artifacts that are in the American History Museum’s permanent collection, the idea of video games in the Smithsonian isn’t so far-fetched.

What would this entail? For funding, it would be relatively easy to assemble an industry-spanning lineup of companies and groups eager to see video games get the kind of cultural acceptance that only the Smithsonian can bequeath. Say Microsoft, Nintendo, Sony, the Entertainment Software Association, plus MIT and Stanford for some academic heft. Get a Henry Jenkins or Ian Bogost figure to co-curate with someone from the Smithsonian.

The exhibit could combine traditional historical artifacts behind glass — like those from the Sackler Gallery’s 2005 Asian Games exhibition — with cultural history (trace the fear of pool halls and pinball to today’s worries over violent video games) and, crucially, a room of playable amusements and video games spanning the last century. Include some pachinko machines and other foreign amusements for some global flare. And bring in Shigeru Miyamoto and Nolan Bushnell for the grand opening. It would be the most popular exhibit the Smithsonian’s ever had (take that, Vermeer!).

The need for an exhibit like this will only become more pressing as video games become ever more popular and sophisticated. And old, forgotten amusements are only going to get rustier. Movies, TV, and comics have all been embraced by the curators of American culture. It’s high time video games had the same chance.

Choose your own grammar

In honor of National Grammar Day, John McIntyre has a nice post explaining why much of what we have been taught regarding grammar and usage rules ultimately amounts to a “proliferation of bogus advice on language.” It’s an interesting historical overview that explains how

without an Academy to determine an authoritative English, and without the ability of dictionary makers to “fix” the language, the task of establishing principles of grammar and usage has fallen to a mixed group authorities of varying reliability.

So all those ironclad rules about split infinitives and sentence-ending prepositions that teachers harped on, and much of the stuff in the AP stylebook, is basically derived from little more than self-reinforcing cycles of personal preference. Good times.

McIntyre also links to a fun anti-Grammar Day post at Language Log. Both well worth checking out.

Worst. Justification for copy editors’ existence. Ever.

I recently proposed a new vision for copy editors in the newsroom of the future, in response to a provocative Alan Mutter post asking whether papers can still afford editors. My basic prescription: Have reporters and line editors take responsibility for some basic things they’ve traditionally left for copy editors, which would free up empowered copy editors to also take on more responsibility.

I took issue with some responses to Mutter’s post that essentially argued for the status quo because a)”that’s the way it’s always been” and b) reporters and line editors are so lazy and useless that copy editors are needed to pick up their slack. Now comes an even lamer version of the latter argument, in the latest American Copy Editors Society newsletter. ACES president Chris Wienandt writes:

I’ve just been hit with another reason copy editors are indispensable: We know how our computer systems work. …

When a story goes missing in the system, who’s the person who can find it? When a reporter doesn’t know how to generate the character ä, who’s the person who can tell her? When two versions of a story are floating around, who can spot which one is actually going into print?

[large snip]

So when these little glitches … no, snafus … crop up in your newsroom, it’s great that you can fix them. But be sure to take that next step: Let someone in authority know … that there was a problem, and that it was the copy desk that solved it. It’s another demonstration of how valuable we are. (italics mine)

Is Wienandt serious? Newspapers are hemorrhaging cash and he’s trying to justify keeping copy editors because they possess the most basic technological knowledge? I’m sure Wienandt has written plenty of other pieces about why copy editors are important as editors rather than as IT cheat sheets, but come on.

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Why don’t newspapers make Craigslist obsolete?

TechCrunch had a recent post about eBay’s free classified site, Kajiji, angling to take down Craigslist (even though eBay owns 25 percent of Craigslist). Kajiji thinks that Craigslist’s dated look and interface don’t cut it anymore, and that a classifieds site with better options and security — one that can afford to expand and improve by selling ads — can draw people away. Seems plausible to me; I use Craigslist, but would definitely jump ship if something prettier and more useful came along.

But here’s something I often wonder: If Craigslist is vulnerable to a challenge, why are newspapers letting eBay get in on the action? Why don’t newspapers actually try to challenge Craigslist instead of just whining about how the site killed their revenue?

What if a newspaper offered a robust, intuitive, user-friendly free online classifieds site supported by advertising? I’m talking about targeted ads relevant to the searches, products, or services at hand.

Now, for example, the classified page for furniture at the St. Petersburg Times Web site has two ads on the page: a banner ad at the top for Verizon Wireless and a side ad for Weight Watchers Online. (Disclosure: I work at the Times.) The merchandise classified page at the Dallas Morning News has a banner ad for real estate and side ads for a Hannah Montana ticket giveway, a coupon book, and DMN’s news site. The merchandise classified page for the Rocky Mountain News/Denver Post has a banner ad for Capitol One credit cards and a side ad for U.S. Army recruitment. (On subsequent visits, these ads have changed; but they’re all still banner ads that appear to be site-wide and not specific to the classifieds page.)

These and other papers seem to have learned nothing from Google. Web ads work best when they’re unobtrusive and, most important, relevant to what the user is already searching for. If I’m looking to buy a TV, I’m not going to click on an Army or Weight Watchers ad — but I might click on an ad for a local electronics store that’s having a sale. Google’s ads are also perfect for smaller businesses that can’t afford giant banners or print advertising — an area that newspapers are notorious for overlooking online. Creating a robust free classified site would be a great way to experiment with targeted, relatively inexpensive online local advertising.

I’d love to hear from people who have a better understanding of the business side of things, the economics of online advertising, how much papers still actually make on classifieds, etc. But it seems to me that making all online classifieds free — and probably print classifieds too — and creating a targeted-ad-supported, user-friendly classified site could begin to drive people away from Craigslist and back to newspapers.