Burkle made his money with supermarkets. It is quite profitable, of course, to own all the supermarkets, because people need to eat. But, you know, it's not very glamorous! And Burkle enjoys flying around on his private jet with famous people, and globe trotting with politicians, and partying, and models. He likes models. One can enjoy this lifestyle with supermarket billions, but isn't it more fun to enjoy it with media holdings?

So at some point he and Jackson decided to invest in Maer Roshan's crazy magazine about "pop and politics and pop culture and scandal and pop" or whatever the hell the tagline of Radar 3.0 was. And they gave him 15 issues to do with as he pleased, and he did eventually turn out a pretty good product. But the money wasn't there, because it was a new magazine, and there's not even money for old magazines anymore.

And honestly it was probably not as exciting and fun to own a magazine as Burkle thought it would be! It's tough, because he also wanted to secretly own the magazine, and no one who secretly owns things gets the same pleasure Rupert Murdoch does from personally tearing up the Wall Street Journal and remaking it in his image. And Murdoch loves newspapers. There's really never been any evidence that Burkle loves magazines. Murdoch will take a loss for years on something like the New York Post. Burkle didn't give Roshan the five years he said it'd take to break even on Radar before he pulled the plug. Because if it's not subsidizing his lifestyle, it's not worth the cash. He's a capitalist, obviously, and Radar was not a charitable endeavor, but if we had his fortune we wouldn't mind wasting it on the talent Roshan brought together.

Back to controlling distribution and sales of food! Unlike media, mac and cheese is recession-proof!

Maybe Monday.

• It was too late to have a new tone: Radar's tone is wry, arch, post-modern, skeptical, and, you know "snarky" (*retch*). Had the magazine launched five or ten years before it did, it would have been a lone, intelligent voice amongst the wilderness of celebrity coverage. As it was, it was just one more magazine with the same tone that hundreds and hundreds of blogs had made into the default voice of the entire young American audience. Radar was never bad—it just wasn't fresh.
• It was too late to start a standalone magazine: There are plenty of people who dream of starting their own magazines. Few make it happen. Roshan did,somehow, but he missed the era when it would have been a viable enterprise. What was the last great standalone magazine to launch, and be successful? Wired, in 1993? And Wired is still around because it now has the money of Conde Nast to back it up. The day of launching new, large-scale, general-interest print magazines (rather than super-niche ones) that turn a profit are gone. Technology will determine the future of publishing, but that's not it.
• It was too late to own its category: Celebrity coverage with a twist. Smart celebrity coverage. For people who are actually intelligent, but have a pop culture habit. This is a niche with no space left in it. It is a niche that was filled before Radar got a chance to get to it. Radar didn't lack talent—it lacked a compelling reason to exist. That Maer Roshan got three cracks at it is a testament to his otherworldly skills as a salesman.

[Pic concocted by Steven Dressler]

American Media Inc. and Integrity Multimedia Company form joint venture to launch a new and enhanced RadarOnline web site

(October 24, 2008, New York, New York) – American Media Inc. (AMI) today announced they are partnering with Integrity Multimedia Company in creating a new company, Radar Online LLC. Integrity Multimedia will make a multi-million dollar investment in RadarOnline.com to launch it as the ultimate destination for breaking celebrity news and cutting edge pop culture.

RadarOnline.com will be supported by the AMI news organization and its network of hundreds of newsgatherers and thousands of sources. In addition, the Radar Online site will also have its own staff of editors, reporters, photographers and videographers .

In the first of many announcements to be forthcoming, American Media Inc. Chairman and CEO David Pecker said that David Perel, Executive Vice President of AMI News, will leave that position to become managing editor of RadarOnline. At AMI, Mr. Perel was responsible for breaking many of the biggest celebrity stories of the past two decades.

Mr. Pecker commented, "The AMI newsgathering team that David Perel has at his disposal for the new site is unmatched in the celebrity market, as is the access we have to past, present and future pop culture milestones. Our message is simple - if it's on your radar, it's on Radar Online, and if it's not on your radar, we'll put it there."

Integrity Multimedia Company Chairman Yusef Jackson added "By teaming with AMI, we will build on what we have already established with Radar while at the same time accelerating the potential for our return on investment. It is a win/win for both partners."

Plans call for RadarOnline.com to launch a redesigned site in the early part of 2009.

Michelle Obama went to high school with the Reverend's oldest child, Santita Jackson. So young Michelle was a "frequent" Jackson family house guest. In fact: "Michelle and Santita kind of babysat for Junior and Yusef and Jonathan [the third Jackson son] and oversaw the kids when the parents were gone," an old Jackson family advisor told TNR.

And it gets a little complicated here. Michelle is an old Jackson family friend. Junior has been campaigning for Obama—campaigning hard. But Yusef is BFF with supermarket mogul Ron Burkle, who is BFF with Bill Clinton, so Yusef raised money for Hillary. Yusef also—with Burkle—owns Radar!

Now that Clinton's out of the race, all the Jacksons are ostensibly behind Obama. Though Jesse Sr is obviously a bit ambivalent.

BUT it's worth noting (Nick is gone today so we're putting on our Denton Caps as we throw this out there) that not only has Radar not, in any of its forms, covered this recent Jackson scandal, it's also been very kind to Michelle Obama (this is the sum total of their coverage of her "first time in my adult life, I'm really proud of my country" remark). Of course, we've been pretty kind to her too, because we think she's pretty awesome. But still! She didn't go to grammar school with the older sister of our secret owner! TRANSPARENCY!

Think of how easy it might have been to understand Arianna Huffington's bloggy animus toward Tim Russert if there were a book out chronicling all the sordid details of their decade-and-a-half-long secret feud. (There is.) Every gossip-mongering gadabout should know the full backstory on every spat, falling out, and long-running mutual antagonism in media. Below are the volumes no shelf should be without.

1. The Operator: David Geffen Builds, Buys, and Sells the New Hollywood, by Tom King

The Gist: A gay Polish-Ukrainian Jew from Borough Park moves to Hollywood and enters the mail room at the William Morris Agency. After forging a letter suggesting he had a college degree when in fact he did not, Geffen rises through the ranks to become an agent, then leaves WMA and founds Asylum Records and produces albums by Jackson Browne, Joni Mitchell and Bob Dylan. Asylum is sold to Warner Communications, and Geffen becomes Vice Chairman of Warner film studios. He then retires and un-retires after a minor but erroneous health scare, founds Geffen Records, courts John Lennon and Yoko Ono (see below), produces Cats, Risky Business (see below), co-founds Dreamworks SKG, produces Saving Private Ryan, backs Bill Clinton, gives lots of money to AIDS research, falls out with Bill Clinton over one of the sleazeballs he didn't pardon, and now backs Barack Obama. Along the way Geffen throws many temper tantrums and raises his voice to the point where even Steven Spielberg asks him politely to lower it. He also shows a remarkable ability for betraying the confidences of good friends and business associates in order to charm potential clients he’s just met. The night Lennon was shot, Geffen was in bed with a male prostitute and loves to boast about it.

The Pull-Quote: “’What about my music?’ [Yoko Ono] asked. ‘Well, I’ve never heard any of your records.’ ‘Really,’ Ono said. ‘That doesn’t sound like a very good reason for me to make a deal with you.’ ‘I’m a big fan of John’s, and I have a great deal of respect for the two of you, and we do a very good job. We’re a good record company.’ ‘What do you mean you’re a good record company?’ Ono fired back. ‘You haven’t put out a record yet!’”

The Takeaway: A foolish consistency is the hobgoblin of little minds. Be enlightened and progressive on your own time, but cunning and ruthless on corporate time. Respect for others’ privacy won't make you rich and powerful. Endear yourself to those you want to impress by gossiping about people you know behind their backs. It'll smack of such poor judgment that would-be clients will assume you're either crazy or brilliant, and guess what? You are.

2. Tina and Harry Come to America: Tina Brown, Harry Evans, and the Uses of Power, by Judy Bachrach

The Gist: Gifted writer Tina Brown makes her fellow students feel small at Oxford, dates a host of famous men (including Auberon Waugh, who washes frantically after sex, Martin Amis, whom she adores, and Dudley Moore, whom she does not), deflects charges of arrivisme, and becomes editor of UK tabloid Tatler at age 25. She meets Harold Evans, then married and famously editing the The Times of London and The Sunday Times, which names her Most Promising Female Journalist. Brown and Evans marry in 1981, then move to New York three years later, whereupon Brown revives the moribund Vanity Fair by turning it into the must-read glossy on celebrity doings and the leisure class. She hires true crime reporter Dominick Dunne, photographer Helmut Newton and inaugurates a new wave of magazine journalism, operating under the assumption that "intellectuals should be read and not seen." Meanwhile, Tina and Harry are now East Coast socialites whose fiercely guarded life together aspires to shape headlines, not become them. (Their best friend is British libel law.) Brown takes over The New Yorker in 1992 and remakes that antiquated smart sheet, too, acquiring Malcolm Gladwell, Anthony Lane and David Remnick, who later replaces her as editor-in-chief. On a manuscript submitted by Yiddish Nobel laureate, Brown writes, "Beef it up, Singer," which more or less encapsulates her style of feared-but-respected-or-hated tenure. She founds Talk magazine in 1999, which folds after just two years, an over-sensationalized failure from which this unauthorized biography derives all of its rise-and-fall schadenfraude. (Bachrach is a contributing editor at the new VF, edited by Brown’s archnemesis Graydon Carter.)

The Pull-Quote: "We live in a time when infamy sells.... There is no honor, no reticence, no loyalty." Spoken by Maureen Dowd on Brown's New Yorker reign, and quoted by author to make a clichéd point.

The Takeaway: Develop a nose for future A-listers. Sleep with as many as you can all the while adopting an “amused” air about them. Overpaying the talent means you can bully them into submission, so don't be cowed by easily tossed around phrases like "national institution" or "greatest living writer." Fuck 'em if they can't take a kill-fee. Oh, and marry old men.

3. How To Lose Friends and Alienate People, by Toby Young

The Gist: Son of highbrow sociologist Michael Young, who coined the term "meritocracy," Toby Young devotes his life to testing how much strain that already weakened concept can take. He writes for the British Times, gets fired from the British Times. He founds celebrated Modern Review, which traffics in "low culture for highbrows," then shuts it down, much to the dismay of everyone else involved. Young moves to New York in the early 90's, gets hired by Graydon Carter as a contributing editor (read: sinecurist) at Vanity Fair, then proceeds overlong tenure as a piece of gum stuck to the bottom of Graydon Carter’s shoe (this is G.C.’s description of him, not ours). Young cracks dud jokes to celebrities, refers to doormen who won't let him into parties he'd end up hating anyway as "clipboard Nazis," does blow while on assignment, asks Nathan Lane if he's gay, gets fired from Vanity Fair. Now back in London (this isn't in the book), Young edits The Spectator, a conservative weekly, and boasts of his "negative charisma," probably as a way to boost paperback sales. HTLFAAP, much like Young himself, has been up and down the wicket of sadomasochistic success. A film adaptation is said to be in post-production, starring Simon Pegg and Kirsten Dunst.

The Pull-Quote: “Cool Britannia was a cry of independence, a howl of protest against the all-enveloping cultural hegemony of the United States, yet, paradoxically, it didn’t really mean anything—it hadn’t really happened—until it was noticed by the American media. That explained the schizophrenic attitude of people like Damien Hirst, Keith Allen and Alex James: they wanted to assert their indifference to the attentions of glossy, New York magazines, and yet they wanted to be photographed striking this insouciant pose in Vanity Fair. Like rebellious schoolchildren, their protest wouldn’t have counted unless it was registered by the authorities. Unfortunately, in this scenario I was cast as the toothless substitute teacher.”

The Takeaway: The memoir is a good object lesson in what not to do if you want to hang onto a job or a masthead listing, or cast the impression that deep down you really had high expectations for the world of glamour-besotted New York media. Also, it pays to be obnoxious in a way that only you find ironic.

4. Spy: The Funny Years, by Kurt Andersen, Graydon Carter, George Kalogerakis

The Gist: In 1986, Graydon Carter and Kurt Andersen found the future of piss-taking journalism in the form of Spy magazine. Épater le bourgeoisie never had it so good, or so the editors – now all dressed up and fixtures of the very culture they once lampooned – are the first ones to remind you. Spy pioneers satire as a clever agglomeration of facts, and specializes in the infographic, the listicle (just like this one!) and the blurb cloud. It attempts to decipher just who, exactly, is on the New Yorker’s indecipherable masthead. It follows Anthony Haden-Guest into the dank reaches of his own nightlife. It refines hatred of Donald Trump into an art form. Features include the Liz Smith Tote Board, Separated at Birth, and Logrolling in Our Time, without which everything from The Onion to Conan O’Brien’s pre-interview fooling would be unimaginable. The self-conscious prose style is a cocktail of H.L. Mencken, A.J. Liebling and Wolcott Gibbs, and its been swigged by every glossy editor in search of a readership ever since. Once G.C. leaves, it all goes to shit. Like Studio 54, the new owners can’t make it work, ergo the justified hubris of the book’s title.

The Pull-Quote: “How easy is it to steal the sour cream?” – in a chart surveying the various Manhattan cafeteria chains.

The Gist: You need only ask yourself if you read Radar to determine whether there’s any pedagogic value to be mined from Spy.

5. Bright Lights, Big City, by Jay McInerney

The Gist: Nameless 24 year-old fact-checker for elite New York glossy (a thinly veiled New Yorker) moonlights as an aspiring novelist, or wants us to believe he moonlights as that while he’s busy Hoovering coke by the suitcaseful and partying through the vertiginous 80’s club scene with a yuppie twat called Tad Allagash. Tad calls the narrator, who writes annoyingly in the second person, “Coach.” His mother has recently passed away, so we’re shin-kicked into wondering if a life of artifice and glitz is simply an emollient for real pain. Behind the hatred there lies a plundering desire for love. Or something.

The Pull-Quote: “Just now you want to stay at the surface of things, and Tad is a figure skater who never considers the sharks under the ice. You have friends who actually care about you and speak the language of the inner self. You have avoided them of late. Your soul is as disheveled as your apartment, and until you clean up a little you don't want to invite anyone inside.”

The Takeaway: Once Tina Brown takes over Coach’s magazine, he’s fired. Sort your soul out before you move to the metropolis of infinite distractions, otherwise you, too, will wind up a shiftless anonymity with withdrawal symptoms. (Your apartment can still be a mess, however.)

6. The Devil Wears Prada, by Lauren Weisberger

The Gist: Recent Brown graduate Andrea Sacks wants to write for the New Yorker (sigh) and blankets the media world with her resume hoping to get a dues-paying job somewhere that will eventually allow her to become Larissa MacFarquhar. Whoops. She gets hired by fashion bible Runway’s bitch supreme Miranda Priestly (Anna Wintour, not even thinly veiled) as her junior personal assistant. Next thing Andrea knows, she’s chasing down lattes at Starbucks and sirloins at Smith and Wollensky instead of learning about ledes and nut grafs. Not what she had in mind but she loves the clothes and even develops a knack for being a second-string slave to a subhuman narcissist. Unlike in the film, Andrea doesn’t quit – she gets fired for saying “Fuck you, Miranda. Fuck you.” Ballsy, sure, but she does get to keep some of the Dolce and even snags an interview for a real writing position at another magazine in the same building. (N.B. Author Weisberger was Wintour’s personal assistant, so this novel is a bildungsroman, which is a word Andrea learned at Brown but seldom got to use after graduation.)

The Pull-Quote: “Fuck you, Miranda. Fuck you.”

The Takeaway: How many bright young girls have come to New York hoping to fill these Cinderella slippers, only to discover that not only is Wintour not hiring, but she’s honed her filter for confessional opportunists more interested in publishing advances than making sure her Apple Fritter is extra flaky. If you want to be a bona fide reporter, save yourself the aggro and dashed hopes and apply for an internship at the New York Sun your junior year. Also, while it’s true that some ball-breaking editors respond well to self-assertiveness, telling your boss “Fuck you” isn’t the wisest career decision.

7. Monster: Living Off the Big Screen, by John Gregory Dunne

The Gist: The story of Dunne and wife Joan Didion's attempt to transform the life of anchorwoman Jessica Savitch, who died in a car wreck after more or less proving on air in 1983, during a broadcast of NBC News Digest, that she was a drug addict. Instead of a sadder version of Network, the screenplay transforms into the Disneyfied Up Close and Personal, which makes absolutely no mention of Savitch and which even Robert Redford doesn't remember filming.

The Pull-Quote: “The purpose of such a meet-and-greet is to allow the executive to size up the supplicant. [Disney studio chairman Jeffrey] Katzenberg had not read Golden Girl, but he was aware of the less savory details of Jessica Savitch’s life. He liked the ugly-duckling idea; it was the kind of narrative he wanted, and he was also responsive to the television background against which it would be played. He did have reservations, and here I quote Joan’s notes of that first meeting: ‘Wants to know what is going to happen in this picture that will make the audience walk out feeling uplifted, good about something and good about themselves.’”

The Takeaway: Dunne is witty and disarming, especially when he quotes Jack Warner's definition of screenwriters: "schmucks with Underwoods." Interestingly, the "monster" in question is not the industry or any particular studio executive, but rather the money that governs all, including Dunne.

8. You'll Never Eat Lunch in This Town Again, by Julia Phillips

The Gist: Scandal-sponge Jewish producer reveals the vast corruption, drugs and sexual indiscretions that motor the movie industry. Phillips gets fired by Steven Spielberg on the set of Close Encounters of the Third Kind, accuses Goldie Hawn of body odor, and, on the night she becomes the first woman to win a "Best Picture" Oscar for The Sting, downs three valiums, one upper, one and a half drinks, two joints and a dash of cocaine. The book is a sprayfire indictment of practically everyone Phillips ever met in Hollywood, and it got her banned from Morton's.

The Pull-Quote: "They were really a rogues' gallery of nerds. Marty [Scorsese] was tiny and asthmatic, Steven [Spielberg] had the soft, flabby look of a typical Twinkies kid, and Brian [De Palma] never took his safari jacket off."

The Takeaway: Sour grapes ferment the best, although it's not as if anyone still believes in some West Coast Arcadia where dazzling moving pictures are made. Still, you'll hardly do better for the brutally honest story of a show biz prodigy that had to burn everything before she flamed out.

9. Autumn of the Moguls: My Misadventures With the Titans, Poseurs, and Money Guys Who Mastered and Messed Up Big Media, by Michael Wolff

The Gist: Following up on Burn-Rate (1998), which was about Wolff’s bust foray into the world of online startups, this is the nasty-minded sequel by the former New York media writer who wants badly to be the next Murdoch but can’t and decides to just insult everybody he ever envied instead—especially Fox News President Roger Ailes. Most of the stuff in here consists of Wolff's recycled columns, but it's all in one place and no true mogul ever wasted his time searching through web archives. Harvey Weinstein is obese and grotesque. The media business is "collapsing” like communism. Some of Wolff's axioms should be true even if they aren’t: “The larger and higher-profile the company, the bigger the nutcase who runs it.”

The Pull-Quote: “This was the meta thing. Meta gave both irony and gravitas to what we did. The delicious incongruity between our superficiality and our importance. The joie de vivre of self-referentialism. The stupendous, intoxicating power of being able to create the world we lived in."

Bonus Pull-Quote: “So, as I arrived for my speech, I was thinking of my relationship to the absent but always present [Fox News head Roger] Ailes. He was the greatest, but the Antichrist too.”

The Takeaway: Still fun. Like Young’s book, AOTM is a serviceable monument to failure dressed up as critical thinking. Though most of the wisdom you could just as easily cull by lunching at Michael's. Wolff went on to try and match-make the sale of his old haunt New York (he's now at Vanity Fair) to Mort Zuckerman, who in the event lost out to hedge fund wizard Bruce Wasserstein. That means more meanness is forthcoming in what promises to be the Dance to the Music of Time of inferiority complexes.

KURTZ: But you seem to have the attitude of, I don't really care whether people are praising me or denouncing me as long as they're talking about me.

ALLISON: You know, no. I don't believe that all press is good press. But I do believe that I don't have a heck of a lot of control over it anymore. People are going to say what they're going to say. And if they read my blog, they'll see that, I mean, I'm not really a jerk. I'm not mean. I'd never say anything negative about someone. And so ultimately, if people want to—if people want to be jerks to me, then fine. Go for it. You know, if you don't have anything else going on in your life, go for it.

::Tiptoeing away, twiddling my thumbs and whistling to myself::

Apparently, spending time in a combat zone doesn't have the greatest affect on your memory—or your mental stability. According to a FOIA request submitted by Radar (flashy journalisty move there, kids), New Republic storyteller Scott Beauchamp went AWOL before writing his columns, now retracted by the magazine. We love how the inherent and obvious vulnerabilities of each of these stories was thoroughly vetted before made public. It's just so fuzzy-making when publishers go the extra mile to avoid turning people with fucked up (but oh-so compelling and moving!)stories into sacrificial lambs. Isn't it?