Jackson Ellis is freaking out.
In late April, the 26-year-old publisher of the independent music and fiction magazine Verbicide got word that starting on July 15, his shipping rates would increase by somewhere between 30 and 40 percent.
"It's not going be the thing that kills me," he says via phone from his office in Vermont, "but coupled with the lack of advertisements and the general slump in print publications, it could be the thing that pushes me over the edge. I'm already operating at a loss, and I can't keep doing this forever. These new regulations don't give me an opportunity to grow."
United States Postal Service
Ellis's sentiment is shared by plenty of other independent publications such as the Nation, the National Review and Mother Jones, who are stupefied that they'll be paying more in periodical postage while larger publications will pay only around 10 percent more. Then again, maybe it's not all that surprising once you learn where the proposal originated: Time Warner.
The proposal was accepted by the Postal Regulatory Commission on March 19, in lieu of a universal increase that the U.S. Postal Service suggested -- an unprecedented milestone that implies something even scarier: the privatization of the Postal Service, which could, in effect, undo 215 years of universal postal policy.
"The bottom line is that the Postal Regulatory Commission just doesn't care," Jackson says with a sigh. "They got lobbied by these billionaire publishers -- and that said enough to them." He continues: "They aren't concerned with free press and keeping it affordable. Whether or not the postal rates are high or low, at least they've always gone up the same amount for everyone until now, whether you're Time Warner or my company, Scissor Press."
And that's not the only problem for small publishers. In addition to the price of stamps increasing from 39 to 41 cents, the Postal Service is also discontinuing international surface mail and raising the rates for media mail, both of which were created to make the distribution of information affordable and accessible.
"The new postal policies are definitely going to affect our rates, but we're not going to stop doing what we do," says No Idea Records' mail-order manager, Matt Sweeting. "I hate to put it in these terms, but the days of the two-dollar seven-inch are over, and that's kind of frustrating. Unfortunately, if we can't send our music via media mail, we're going to have to pass on our extra costs to consumers, because that's the way a business works." Although No Idea currently sells its LPs for seven dollars and CDs from anywhere between seven and nine dollars, these new rates are inevitably going to cause the label's prices to creep up, and quite possibly force it to rethink its business model altogether.
While many independent labels are making a shift to digital media, labels like No Idea are best known for their highly collectible and limited-edition vinyl releases, things that can't be captured in ones and zeroes.
"I see the attraction of digital and giving up the physicalness, because it seems like everything in the economy is encouraging people to go that way," Sweeting admits. "However, I think there's something you can't get from having a file of something -- but the Postal Service definitely is making that harder."
No one knows how much harder the Postal Service is making things than Anne Elizabeth Moore, Punk Planet's co-editor and the author of the upcoming book Unmarketable: Brandalism, Copyfighting, Mocketing and the Erosion of Integrity.
"The periodical rate hike doesn't affect Punk Planet as much, because our circulation is so small," says Moore from her Chicago office. "But independent media magazines like the Nation can't afford to be strained financially any more than they are. There's no coincidence that this increase is going into effect at the same time that the United States Postal Service is launching a campaign to promote the Star Wars movie franchise."
Moore is referring to the fact that last month the Postal Service announced that 400 boxes would be painted like R2D2, to coincide with its unveiling a line of Star Wars collectible stamps. "When you go look at a mailbox, the resemblance to R2D2 is too good to pass up," USPS Chief Marketing Officer Anita Bizzotto wrote in a press release about the new boxes, which are currently available in 300 different cities, including Denver. While these boxes seem harmless, the case it makes toward privatization of the Postal Service is anything but.
"The crazy thing is that, yeah, I love Star Wars, too," Moore goes on. "But the Postal Service is not where I need to learn about the kind of media that I should be concerned with. The Postal Service is a government-regulated system designed to give me information about the wide variety of media that are available in the world -- and should not be involved in marketing or advertising in any way, period."
In other words, while media giants such as Time Warner and Gannett are most likely rejoicing over the Postal Regulatory Commission's decision, even the Postal Service itself seems uncomfortable with the new policies.
"I know that periodical publishers are concerned about these new prices, and our governors are also concerned with the initial proposal the Postal Regulatory Commission had recommended," says USPS spokesman Dave Partenheimer, adding that the changes won't go into effect until July 15, to allow those affected by these rate increases additional time to prepare for them.
That's of little consequence to Verbicide's Jackson Ellis, who, aside from writing a letter to his congressman and signing a petition sponsored by the Nation, can only sit back and wait for what seems like an inevitable price hike for his already struggling magazine.
"I really don't know what my plan of attack is at this point," he allows. "All I can do is stay the course and continue to run things the way that I've been running them." Ellis adds that for him, it's a triple blow: In addition to the periodical rate increase, he often uses media mail to send CDs to his reviewers and surface mail to ship Verbicide internationally. "I don't make money on my magazine," he adds. "Someday I would love to. But with the way things seem to be going, I don't really see that as a reality."
Last year, the last independent magazine distributor, Independent Press Association, went out of business and took many smaller magazines off the newsstands -- and now these latest post hikes could make the prospect of independent publishing even more dismal. "I don't think we deserve this," Ellis admits with a sigh. "I feel like I've worked really hard, and I've been running a really honest business for a long time, and instead of getting some respect, the industry and the government are turning their back on me."
In fact, at this point, he's considering giving up the magazine altogether -- a sentiment that's likely to be echoed by many of his peers who also lack six-digit circulation numbers or parent companies. "It's been my dream since I was a kid to run a magazine," Ellis says. "I turn 27 this year; I don't want to see my dream end just because of the cruel logistics of the dollar bill, but if these proposed policies go through, I'm not going to have any other choice. It's literally impossible."
Keep Westword Free... Since we started Westword, it has been defined as the free, independent voice of Denver, and we would like to keep it that way. Offering our readers free access to incisive coverage of local news, food and culture. Producing stories on everything from political scandals to the hottest new bands, with gutsy reporting, stylish writing, and staffers who've won everything from the Society of Professional Journalists' Sigma Delta Chi feature-writing award to the Casey Medal for Meritorious Journalism. But with local journalism's existence under siege and advertising revenue setbacks having a larger impact, it is important now more than ever for us to rally support behind funding our local journalism. You can help by participating in our "I Support" membership program, allowing us to keep covering Denver with no paywalls.