《财富》赢得“Best in Business”六项大奖

一个由财经记者组成的业内组织发布了他们评选的2016年最佳商业作品。《财富》杂志名列前茅——在银行业、交通运输业等领域共赢得六项大奖，在所有媒体中并列第一。

这个组织名为美国商业编辑和作家协会（Society of American Business Editors and Writers），他们在上周五公布了“最佳商业作品”（“Best in Business”）的获奖名单。其中，《财富》杂志在大众汽车（VW）排放丑闻等事件上开创性的报道，以及菲尔•沃赫拜撰写的一系列出色的零售业报告都获得了该组织的认可。

《财富》杂志总裁和时代公司（Time Inc）首席内容官穆瑞澜表示：“这对于我们在《财富》所坚持的严肃报道，是一种莫大的鼓励。比起一些规模更大的商业新闻媒体，我们的员工不多，但我们人少力量大。”

《财富》总共获得六项大奖，与传媒巨头彭博新闻社（Bloomberg News）齐平，也让《华尔街日报》（Wall Street Journal）等记者数量多出几百的其他媒体相形逊色。

担任《财富》记者多年，本月升为总编辑的克里夫顿•里夫表示，能得到这种赞誉，与《财富》标志性的讲故事能力是分不开的。

里夫说：“美国商业编辑和作家协会颁发的这一系列非凡的奖项，不仅是对我们才华横溢的记者的认可，也是对这些记者和同事在《财富》所创造的文化的认可。这种文化注重深入发掘，并以引人深思的方式讲述故事，尽管其他媒体品牌认为它已经过时，或无法满足现代数字受众的要求而将之抛弃。实际上，这样的报道才是当今最不可或缺的。”

《财富》获奖的其他深度报道还包括布莱恩•奥基夫的“Bitter Sweets”，其中揭露了可可行业顽固的童工问题；以及艾丽卡•弗里的“Hot Mess”，其中讲述了雀巢（Nestle）流行的美极（Maggi）面条在印度遭遇危机后，这家大公司所犯下的最奇特的公关错误的故事。

在上周五的表彰之前，《财富》已经有过一次公开亮相——本月早些时候，一张流传广泛的照片显示，特朗普总统的助手正从空军一号（Air Force One）下机，手中还拿着《财富》的一期杂志。

与此同时，这家拥有88年历史的品牌也在数字媒体竞争起步较晚的情况下迎头赶上，单月吸引了超过了2,000万用户访问网站，并极大地拓展了视频产品。《财富》标志性的年度报告，如“《财富》美国500强”和“美国最适宜工作的100家公司”，也维持了很高的知名度。

美国商业编辑和作家协会淘汰了之前沿用许久的按媒体类型区分的方式，而是采用了新标准选出《财富》杂志和其他获奖者。

该机构表示：“为了更好地反映新闻业的数字重心，我们在2016年的评选上进行了彻底的改革。今年的奖项几乎完全由主题内容决定，而无关报道形式。”（财富中文网）

译者：严匡正

作者：Jeff John Roberts

A leading organization of financial journalists unveiled its picks for the year's best business writing, and Fortune emerged on top—tied for first place among all media outlets with six winners in categories ranging from banking to transportation.

The "Best in Business" awards, announced on Friday by the Society of American Business Editors and Writers, recognized Fortune for ground-breaking exposes like "Hoaxwagen" (about the VW emissions scandal) and for excellence in retail reporting based on a series of articles penned by Phil Wahba.

"This is a great tribute to the serious journalism we do at Fortune," said Fortune president and Time Inc’s Chief Content Officer, Alan Murray. "Our staff is a fraction of the size of some of our larger business news competitors, but we punch well above our weight."

Fortune's total of six top prizes matched giant Bloomberg News, and eclipsed that of other publications with hundreds more reporters on staff, including the Wall Street Journal.

Clifton Leaf, a long time Fortune journalist who ascended to the editor-in-chief position this month, said the recognition relates to the title's signature storytelling ability.

"This extraordinary string of SABEW awards is a recognition not only of our phenomenally talented journalists, but also of the culture these same journalists and their colleagues have created at Fortune—a culture that holds sacred deep and thoughtful storytelling even as other media brands have abandoned such reporting as old-fashioned, or as somehow inconsistent with the demands of a modern digital audience. In truth, such reporting couldn't be more essential today," said Leaf.

Other deeply reported Fortune pieces tapped for awards included "Bitter Sweets" by Brian O’Keefe, which exposed the intransigent problem of child labor in the cocoa industry, and Erika Fry’s "Hot Mess," which unfolds the saga of one of the strangest public relations stumbles by a major corporation in memory—after a crisis with Nestle’s popular Maggi noodles product in India.

Last Friday's recognition comes on the heels of another publicity coup for Fortune—earlier this month, a widely publicized photo showed President Trump's aides descending Air Force One clutching a copy of the brand's flagship magazine.

Meanwhile, the 88-year-old title has made up for lost time in the digital media game, attracting more than 20 million users a month to its website, and dramatically expanding its video offerings. Fortune also remains famous for its iconic annual reports, including the Fortune 500 and "100 Best Companies to Work For."

In choosing Fortune and the other award winners, the news organization employed a new format that eliminated long-time distinctions between different types of media.

"SABEW overhauled the contest in 2016 to better reflect journalism’s digital focus," said the organization. "This year’s entries were judged almost entirely by subject matter, regardless of format."