If you’re lucky, you can get the press to do some marketing for you. And if you’re really lucky, you can get Apple (AAPL) to do your marketing for you.

The newest set of Apple ads focuses on apps made by big brands–Barnes & Noble, Pizza Hut, Gap, Epicurious and Zagat–that can certainly afford their own promotional pushes.

And certainly those guys paid cash or some other kind of compensation for the consideration, right? Not as far as Advertising Age can discern: The trade mag notes with a bit of dismay that there isn’t any kind of application process to get into Apple commercials and that “the marketers in question didn’t request to be in the commercial at all.”

As far as I can tell, this mirrors Apple’s overall policy for iTunes, whether you’re talking about music, movies or apps: Unlike traditional retailers or even competitors like Amazon (AMZN), there’s no way to buy shelf space at Apple’s digital store. If you want Apple to shine a spotlight on your stuff, you just have to hope that someone there likes your stuff. AdAge:

Apple did not immediately respond to requests for comment on the story, but it’s clear the company looks for apps that use as many aspects of the iPhone as possible, such as sound, shaking, GPS or the camera. It also seemed to favor anything that highlights features of the newest operating system, such as in-app payment. Additionally, it appears that brands are given more credit for good user experience than whether or not they can match Apple’s own cool factor.

Pizza Hut, for instance, doesn’t have many common associations with the tech giant but its app was the first from the quick-service industry that let users place delivery orders.

*Note that Apple’s app ecosystem has grown faster than its ad agency expected; the new campaigns announce that there are 75,000 apps, but that number is 10,000 short, according to a release Cupertino put out yesterday.

Last December, talks between Warner and YouTube to renew a licensing deal broke down, and Warner’s videos disappeared from the world’s largest video site. Now, as Advertising Age has reported, an agreement is in the works that will bring Green Day, Madonna and their label-mates back to the site.

What hasn’t been reported, so far: The deal terms themselves. Neither company is talking, but sources familiar with the negotiations tell me the new pact will be similar to the one Google’s (GOOG) video unit struck earlier this year with Universal Music Group.

That deal created Vevo, a sort of “Hulu for music videos,” owned by Universal and Sony (SNE). So think of Warner’s deal as a “son of Vevo.”

The big idea is the same: Try to create more value for videos by limiting their distribution and creating a more ad-friendly atmosphere around them, and share ad revenue between YouTube and the videos’ owner. The big points:

• Unlike Vevo, Warner and YouTube won’t be creating a separate site for Warner videos, and Warner won’t be creating a separate company dedicated to its videos. Instead, YouTube will help Warner create a “premium advertising platform” for its videos within YouTube.
• Warner will take primary responsibility for selling its videos, and YouTube will receive a cut of the revenue.
• Warner will no longer receive a licensing fee each time one of its videos is played.

I gather that a lot of this is still being hashed out, and some of this will evolve even after the deal is inked. For instance, Warner needs to figure out how it’s going to sell advertising for its clips, since it doesn’t have its own sales force. Timing is also up in the air: Even after the two sides formally announce the pact, users shouldn’t expect to see Warner videos instantly reappearing on YouTube; it may be that they only get rolled out as the new ad platform is built.

Then there’s the ad platform itself: I haven’t been able to get a concrete definition of what this is supposed to look like, but for now, I’m imagining something like the “channels” YouTube has made for partners like ESPN, except they’d be made on an artist-by-artist basis.

All in all, this sounds like a fair deal. Warner loses a guaranteed revenue stream, but if its contention about the value of its videos is correct, it will make even more than it did under the old arrangement. Meanwhile, YouTube gets to hang onto “premium” inventory without being locked into the kind of  pay-per-play arrangement that helped drive the site’s expenses sky-high.

The potential downside for YouTube: If this works–or if the Vevo deal works–it will have to create similar packages/portals/platforms to retain or attract other “premium” content suppliers, like, say Hollywood studios. But given that the site has had limited success getting those guys on board so far, that’s not the worst fate in the world.

In the meantime, even though Green Day is Warner act, you can still find plenty of its clips on YouTube–it’s just that most of them are odds and ends like this grainy concert video:

Here’s how SmartMoney.com did it, according to Advertising Age. In October, it stopped selling one of the three display ads it sells on each page. Since it dropped the one few people saw in the first place–the “skyscraper” unit Web users wouldn’t see unless they scrolled down to the bottom of the page–the move wouldn’t cost the publisher much.

But the online arm of the personal finance magazine says the move actually made it money by somehow increasing the click-through rate–and thus the value–of its remaining ads: “The result: a 21% increase in aggregate click-through rates. Some advertisers that had quit buying the site have returned, including Scottrade and Options Xpress. And the site was sold out in the fourth quarter, though [publisher Bill Shaw] said that trend hasn’t continued in first quarter.”

SmartMoney’s experiment wasn’t enough to fend off lousy times for Web publishing in general and financial titles specifically: The site laid off about a dozen people in January. Both the site and the print title are a joint venture between News Corp.’s (NWS) Dow Jones and Hearst. (Dow Jones owns All Things Digital.)

And, of course, on the Web, the concept of scarcity is a tough one to sell. Even the most optimistic Web sales guy will privately moan about the glut of online ad inventory that gets bigger every day.

And note that SmartMoney didn’t exactly turn its site into a commercial-free zone–it is still running text ads from Google (GOOG) at the bottom of its pages, and it added a second ad to its homepage.

Eventually, if online publishers are going to really increase the value of their advertising, they’re going to have to find ways to make their ads fundamentally more compelling. But in the meantime, expect to see them keep nibbling around the problem with gambits like this. In times like these, every bite helps.

[Image credit: kennymatic]

Condé has tapped former Wired publisher and current New Yorker publisher Drew Schutte to be Condé Nast Digital’s chief revenue officer, a newly created position. The appointment follows last month’s (apparently) bloodless reorg of Condé’s digital properties, which are now consolidated under Sarah Chubb. Here’s a summary from Advertising Age’s Nat Ives, who broke the story:

Mr. Schutte was tapped to lead The New Yorker in January 2008 but was never as successful there–in an admittedly terrible year for most magazines–as in his previous role overseeing Wired magazine and Wired Digital. The New Yorker’s ad pages declined 26.8 percent last year, according to the Publishers Information Bureau.

Mr. Schutte wouldn’t necessarily have an easier job at Condé Nast Digital. Condé Nast is above all a magazine company, one whose efforts to build revenue online have not gained a lot of traction yet. Condé Nast Digital itself is a new formulation of company strategy in the area.

Condé, publisher of major titles such as Vogue and Vanity Fair, enjoyed a period of double-digit revenue growth earlier this decade, but the recession ended that. The company’s cooler, calmer approach–a departure from earlier years–also seems to have suffered. Last week Condé shut down Domino magazine.”

Ad Age recently estimated that Time Warner’s (TWX) Time Inc., the magazine company that has made the biggest strides in moving its properties online, is making more than 10 percent of its revenues from the Web. Time Warner reported yesterday that Time Inc. had seen a $57 million increase in annual sales from its digital properties last year.

Condé Press Release:

February 5, 2009 (New York, NY) — Drew Schutte has been named Senior Vice President & Chief Revenue Officer of Condé Nast Digital, it was announced today by Charles H. Townsend, President and C.E.O. of Condé Nast.  This newly created position takes effect immediately.

Mr. Schutte will be responsible for all sales and marketing for Condé Nast Digital. He will manage the newly consolidated digital sales team and work closely with the publishers on integrated sales throughout all of the company’s titles.

“Drew has a proven track record of selling online and print—as well as an understanding of the complexity of selling integrated campaigns–which makes him uniquely qualified for the job,” Mr. Townsend said.

Mr. Schutte became VP & Publisher of The New Yorker in January 2007. Previously he was VP & Publishing Director of Wired Media. He joined the magazine in 1994 as West Coast Advertising Manager.  Before joining Wired, Mr. Schutte spent three years at Business Week based in San Francisco. Prior to that he was East Coast Manager for PC Week and West Coast Manager for Inc.

Mr. Townsend also announced that Lisa Hughes is being named Vice President & Publisher of The New Yorker. Her position is effective immediately.

“Lisa is an experienced publisher, a strategic thinker, and an innovative marketer who is inherently well suited to lead the business side of The New Yorker,” Mr. Townsend said.

Ms. Hughes has been Vice President & Publisher of Condé Nast Traveler since 1995 and has guided it through some of its most successful years. In 2008, Condé Nast Traveler was named to both Adweek’s “Hotlist” and Advertising Age’s “A-List.” Previously, she held positions as VP & Publisher of House & Garden, and as Associate Publisher of Vanity Fair.  Ms. Hughes began her career at Condé Nast in sales at Mademoiselle.

Condé Nast, a unit of Advance Publications, includes twenty-three consumer magazines, Condé Nast Digital, the Fairchild Fashion Group, Parade, the Condé Nast Media Group, and the Shared Services Centers.

Kelly’s number for today “may be on the high side,” a person familiar with the matter counsels me. In any event, I expect to have more details later in the day. As always, I value your input, and I keep all correspondence anonymous: peter@allthingsd.com.

In the meantime, an update on this week’s cuts: I’m told Time Europe editor William Green and senior editor James Graff were laid off via phone yesterday, and that more cuts in the London office are expected today. And four-year-old Cottage Living magazine has been shut down, which means that 38 out of 47 people who worked on that title are out of work; the remainder will be placed elsewhere in the group. Announced along with the job cuts today were the departures of executives from Cooking Light and Southern Progress. Chris Allen, Senior Vice President and Publisher of Cooking Light is resigning his position, as are Southern Progress execs Bruce Akin, Karla Hardy and Dick Gardner. Here are the memos:

November 18, 2008

To:Time Inc. Employees
From:Sylvia Auton
Re: Cottage Living Magazine

I regret to inform you that we will no longer be producing Cottage Living magazine. The November/December 2008 issue, on newsstands now, will be the magazine’s last. Cottageliving.com will also shutdown. However, the company will keep the brand alive in one of its other leading shelter titles and these plans will be finalized over the next few weeks.

Since its inception, Cottage Living attracted significant advertiser support and fostered a loyal following among readers. However, the economic downturn has particularly affected the shelter market and while the brand was genuinely loved by readers and advertisers alike, the economy inhibited its ability to grow and therefore, sadly, we had to make the decision to close it.

Cottage Living launched with a unique editorial mission. Its readership celebrated community and character over conformity, personality rather than perfection, and informality instead of pretension. The brand’s tagline: ‘life just right,’ showed how one could ‘live large,’ even luxuriously, in a lighter footprint.

Launched in September 2004 with a circulation of 500,000, the brand quickly grew to 650,000 in January/February 2005. One year later, Cottage Living increased its rate base to 900,000, and then to one million in January/February 2007. Cottage Living also produced many one-time special-interest publications including Cottage Christmas and Cottage Makeovers.

Cottage Living also received many industry accolades including AdWeek’s ‘2005 Startup of the Year’ and Advertising Age’s ‘2005 Launch Worth Watching.’ It was also named to AdWeek’s ‘Hot List’ 10 Under 50 list for two consecutive years: 2006 and 2007.

I want to thank the many dedicated and talented Cottage Living staffers. It was developed, edited and published by some of the best talent in the business and we can remain proud of its many achievements.

S.A.”

Subject: Staff Announcement
To:       Lifestyle Business Unit Employees
From:   Sylvia Auton and Steve Sachs
Re:       Staff Announcement  

With the departure of Bruce Akin, we’re pleased to announce that Bruce Larson will assume the role of Senior Vice President and the lead executive in charge of SPC operations for Time Inc. He will be responsible for the general management of all operations in the Birmingham office, Oxmoor House and Southern Living at HOME.

Bruce joined the company in 1991 as a manager of corporate reporting. Over the last 17 years he has been promoted numerous times and has held jobs in a variety of areas, from corporate accounting to IT to consumer marketing and production.

During his tenure with Southern Progress, Bruce has shown outstanding decision-making and leadership skills and has been a key player responsible for the strong financial growth the company has enjoyed over the years.

Please join us in congratulating Bruce on his new assignment.”

To:  Southern Progress Colleagues
From:  Bruce Larson

I regret to announce that two longtime, trusted Southern Progress colleagues, Karla Hardy and Dick Gardner, have decided to retire at the end of the year.

Karla has been a steady presence in our advertising production circles ever since she joined the company in 1977 as advertising traffic manager for Progressive Farmer. In 1985, she accepted a position as assistant to the editor and advertising/production coordinator for Southern Living Classics, which merged later that year with the newly acquired Southern Accents, where she eventually moved up to advertising production manager. When we launched Coastal Living, Karla began working on both titles, and in 2007 she began helping manage advertising production for Cottage Living as well. And let’s not forget her work on Entrée. With her incredible depth of knowledge of advertising production and her keen eye for detail, it’s no wonder that Karla is so highly regarded. She knows how to best position each ad for space efficiency and visibility, and she knows how to work with our sales staff and advertisers to ensure that everyone is happy with the outcome.

Dick began his Southern Progress career just nine months after Karla, back in 1978. He spent the first 13 years of his SPC career on the corporate side, managing building operations, office services, and purchasing, before moving to the magazine side of the business as financial manager for Southern Living and Southern Accents. In 1995, he was named general manager of Southern Accents. One short year later, he added responsibility for the soon-to-be-launched Coastal Living. In 2004, he was named vice president and general manager for Coastal Living alone, and in 2007 he took on the GM role for Cottage Living as well. Dick is well respected for his wisdom, leadership. and kindness, not to mention his astute business sense. He knows his titles—and his staff—inside and out and never fails to find the right solution to any challenge. Plus, he has a great sense of humor.

There have been several times over the years when both Dick and Karla have been counted on to work on more than one title—a sure sign of how highly they’re valued around here—and each did so while managing to maintain a positive, calm outlook. Please join me in thanking them for all they’ve done for us and letting them know how much they’ll be missed.”

Subject: Staff Announcement
To: Lifestyle Business Unit Employees
From:  Sylvia Auton
Re:  Staff Announcement

After careful consideration, Chris Allen, Senior Vice President and Publisher of Cooking Light, has decided to leave the company.

A 26-year veteran, Chris first joined Cooking Light in 1991 as eastern advertising sales director and quickly rose through the ranks. Chris’ leadership and expertise resulted in enormous successes for the Cooking Light brand: Under his direction, Cooking Light has grown to become the world’s largest epicurean and healthy lifestyle magazine.

During his tenure, Cooking Light was named to AdWeek’s Hot List four times, Advertising Age’s ‘A List,’ Capell’s Circulation Report’s prestigious ‘Triple Play Award’ three times, and ‘Most Notable Launch of the Past 20 Years’ awarded by Media Industry Newsletter and Samir Husni in 2005. Chris also presided over the launch of several groundbreaking marketing campaigns, including The Cooking Light Cruise, the Cooking Light Fit House, and Cooking Light Supper Clubs.

An avid cook and exercise enthusiast, Chris lived the Cooking Light brand. He’s also a rock star: The Cooking Light band, Way Past Close, has performed throughout New York City and Birmingham to clients and colleagues.

Earlier in his career, Chris spent eight years at PEOPLE rising from salesperson to New York divisional sales manager.

Please join me in thanking Chris for his many contributions to Southern Progress and Time Inc. and wishing him the very best.”

Apple (AAPL), Research In Motion (RIMM) and Google (GOOG) are duking it out for consumers’ smartphone dollars this fall. But here’s an early winner: Time Warner’s (TWX) AOL, which has just landed a giant contract to push Google’s G1 phone for the next two days.

Wireless carrier T-Mobile, which is selling the phone in the U.S., is launching a big push on AOL’s Platform A ad network today. It has agreed to buy a billion impressions today and tomorrow, reports AdAge.

Reporter Michael Learmonth talks to industry sources who think the buy could cost T-Mobile around $1.5 million, which would work out to a cost per thousand of $1.50. Ad folks I talk to think that number sounds high, and guesstimate that the CPM will be closer to the $1 to $1.10 range.

But no matter what the number is, the campaign will be a win for AOL. Anything approaching $1 million over two days will be well-received at the company, which saw ad revenues drop six percent in the last quarter.

And the fact that AOL can offer an advertiser a billion impressions in two days also points out how the ad network business is supposed to work: Gather lots of Web sites and offer their combined inventory to advertisers, who can buy a lot of eyeballs at a discount. Now AOL just needs a lot more of these, fast.