Setting a couple of bookworms loose to play with the next generation e-readers is like setting Augustus Gloop loose in the Wonka Chocolate factory. The first thing that strikes you about the Nook is how much *faster* it is than the Kindle. And Janine loved the touchscreen. More video to come on Digital Family. [...more]
Setting a couple of bookworms loose to play with the next generation e-readers is like setting Augustus Gloop loose in the Wonka Chocolate factory.
The first thing that strikes you about the Nook is how much *faster* it is than the Kindle. And Janine loved the touchscreen. More video to come on Digital Family.
I had thought that Madonna and Michael Jackson were about as sophisticated as you could get when it came to figuring out ways to build up a juicy public image, and then squeeze it until rivers of cash started running out. Not so. Lady GaGa has rightly recognized that selling CDs if for chumps; anyone can pirate them, and pretty much does. [...more]
Her “Bad Romance” music video features prominent product placement for stuff she designs & sells – and has garnered 38 million views.
The song itself is kinda beside the point – it’s bubblegum synth-disco-pop, about as bland and processed as the stuff the taxi drivers in Moscow used to subject me to on the way back & forth from my gig there. Which may be why it’s getting so many views – this is the kind of stuff that works internationally, since the thumping beat and lyric structure make it sound pretty much interchangeable with everything else on the radio.
Can't wait until she starts marketing the exploding bustier shown here; Madonna's Wannabees all wore their undies over their shirts. Wonder if GaGaEttes are going to be lighting their smokes off their flaming boobs.
But the real action here is in the video to the song. Blew my mind. Didn’t think that people had budgets like this anymore. Costumes that would make Gaultier sick with envy — white latex with “Where the Wild Things Are” shiny plastic crowns, some kinda homage to LeeLoo’s orange strappy outfit in The Fifth Element and a Eastern European mobster/white sex-slave buyer with a steampunk-ish articulated brass chin. Looked to my eye like about a week in production, probably about $500K in total costs of models, locations, crews, lighting, post-production.
The plot seems to be that Lady GaGa wakes from her sleep the way normal people do – by sticking her hand out of a gleaming white Tylenol-shaped coffin – getting forced to drink high-end vodka and the gyrate for & be sold to a bunch of strange pervy dudes.I half expected to see Liam Neeson kicking someone’s ass in the backdrop and telling her, “Here’s the scary part. You’re going to be taken…”
Nobody does these kinds of elaborate music videos anymore, because there is no way to recoup that kinda cash from the moribund music industry.- at least, not until now.As Dan Neil points out in the LA Times
the “Bad Romance” video, which features placements for no less than 10 products: a black iPod; Philippe Starck Parrot wireless speakers; Nemiroff vodka; Gaga-designed Heartbeats earphones (via Dr. Dre); Carrera sunglasses; Nintendo Wii handsets; Hewlett-Packard Envy computers; a Burberry coat; those crazy, hobbling Alexander McQueen hyper-heels; and enough La Perla lingerie to choke an ox.
This isn’t a music video so much as the QVC Channel you can dance to.
I had thought that Madonna and Michael Jackson were about as sophisticated as you could get when it came to figuring out ways to build up a juicy public image, and then squeeze it until rivers of cash started running out. Not so. Lady GaGa has rightly recognized that selling CDs if for chumps; anyone can pirate them, and pretty much does.
No, you need to sell things that people can’t copy – or at least, if they do, it kinda defeats the purpose. So Lady GaGa’s come up with the list of high-end commercial goods to do “Hero Shots” of in the video and obviously done revenue deals with them.
As a business model, I have to say hats off to the Lady. She’s adapted to the draining of value from the content (i.e. nobody actually buys music anymore – at least, not like they used to), and migrated over to where the money still lies.
When advertising no longer works, when information is a commodity in which we all drown for free, then the only things that are left that have any value are physical objects that we can wear, eat, drive or plug in, as well as what cultural anthropologists call “fetish objects” that bestow special status because they signify that we hae enough disposable income so as to be able to waste a couple grand on some gaudy sunglasses.
I’m not sure if this is the way that all news & entertainment is going to have to go in the future. All of it sponsored, with big shout-outs to the guys footing the bills worked into the info-stream every 10 seconds or so. I do know that if this works, we’re going to see a lot more of these “branded videos” online.
This is the last class I taught in Astana – they were very engaged with the idea of moving from traditional media to “New Media,” particularly with blogging. The main question on everyone’s mind was “How do I drive more traffic to my site?” I showed them some of the very basic tools to promote [...] [...more]
This is the last class I taught in Astana – they were very engaged with the idea of moving from traditional media to “New Media,” particularly with blogging. The main question on everyone’s mind was “How do I drive more traffic to my site?”
I didn't know the Russian phrase for "Group hug, people!" So I just stood in the back and spread out my arms.
I showed them some of the very basic tools to promote your content – the simplest being the blast e-mail alert to people you’ve signed up on a subscription list. A couple of people in the class were already up on Twitter, and I sang that particular gospel, as well as the advantages of setting up Facebook groups or using the same functionality in the Russian equivalent, which is a Classmates.com-alike.
As always, the skill level in the audience was very uneven. Some people were way out in front of the pack, others seemed to be lost. I tried to deliver a wide variety of tools to hit everyone. I got just a couple of hours to do some very basic tourism after this session. The scale of the construction going on here is truly awe-inspiring.
It's pretty chilly here; not snowing yet, but it's thinking about it - thus the heavy clothes. Also, behind me is the new Presidential Palace.
It was a cinematic night, as event organizer Brad Nye looked like he was making an entrance in a James Bond film, and Jason Calacanis did a Q&A (thanks for taking my question first, BTW), and looked a little like Citizen Kane. It’s late and I’ve got a lot more post-processing to do on the [...] [...more]
It was a cinematic night, as event organizer Brad Nye looked like he was making an entrance in a James Bond film, and Jason Calacanis did a Q&A (thanks for taking my question first, BTW), and looked a little like Citizen Kane.
It’s late and I’ve got a lot more post-processing to do on the photos, so here’s just a couple of the images that I shot. The video of the discussions can be found at This Week in Startups.
Before the lights were adjusted, standing on the platform over the audience made the speakers look like they were either making a dramatic entrance - or having their identities concealed in some "60 Minutes" tell-all segment.
The energy of the old VIC was certainly present – a little too much, as techies on the make back at the bar made it a little hard to hear the speakers at the time. This, despite the overt threat by organizers to find the yapping networkers and toss them out.
Anyway, here’s Calacanis discussing what the future of social media sites is going to look like, and what smart companies should do in the next couple of years to try to adapt to the increasing pace of innovation.
As I said in an email to Nye, Jason would probably be secretly pleased at the whole Citizen Kane-esque imagery here. And then, of course, he'd feel conflicted about it and make a self-deprecating joke.
One of the more interesting areas of discussion – particularly since I just got back from Costa Rica – centered around virtual currency as being “the next big thing.” Certainly seems that way in places like Costa Rica, where you’re getting an increasingly large, tech-savvy and connected labor force. A lot of people either work in the internet gambling industry there – or have relatives/friends that do. The speed of internet connections in San Jose – and even out in the jungles on the Pacific side – stunned me. I’ve had much worse connections in the small town U.S.A.
This week's debate is not as acrimonious as in the past (although there are exceptions to that, of course), and in the wake of the biz models released by the Aspen conference, some people are taking building new revenue streams seriously. At least, they say they are. It turns out that a lot of what has been reported in this paid content debate is a little like Microsoft software releases: trial balloon "vaporware." [...more]
This week’s debate is not as acrimonious as in the past (although there are exceptions to that, of course), and in the wake of the biz models released by the Aspen conference, some people are taking building new revenue streams seriously. At least, they say they are. It turns out that a lot of what has been reported in this paid content debate is a little like Microsoft software releases: trial balloon “vaporware.”
Page design at Rue89.com looks a little like what splatters on the side of the carny Tilt-a-Whirl after you load it up with a buncha 10-years olds who've spent the day eating cotton candy and mystery meat hotdogs. I think the boxes up & down the sides are supposed to be clickable ads, but they were inert when I tried them... (click for larger)
The illustration here is of a new French news site that is apparently taking off at Rue89; I can’t decide whether the chaotic design is totally off-putting, or intriguing because it basically violates every rule of page design. Also, I can’t hear the word “Rue” in a title without flashing to “Murders in the Rue Morgue.” Or some B-movie villain twirling a moustache and chortling, “You’ll rue the day, Rex Manly!”
As a bonus, this week I’ve broadened the focus a bit to include some big-picture thinking from some of the unusual suspects; Doc Searls has a post wherein it is posited that what we think of right now as the internet is just a finger pointing in the direction of what this thing is actually going to grow into. Which should fuel a couple of late-night dorm-room debates, if nothing else…
In which I get very "Meta" and write a blog post that aggregates other blog posts that were written about aggregation. The discussion in all cases gets heated very quickly. Insults are thrown around, fisking takes place in the comment threads, but a few actual new ideas & fact-based analyses sneak in here and there. The fact that some very smart entrepreneurs are actually interested enough to toss in some innovative thinking is rather heartening, actually. [...more]
In which I get very “Meta” and write a blog post that aggregates other blog posts that were written about aggregation.
I am also posting this over on the AIM Group blog, as part of what I think might become a regular feature, “This week in the paid content debate.” The best of the bunch is the back-and-forth between billionaire Mark Cuban, and the bete noire of many print publishers, Michael Wolff, who runs the Newser.com content-aggregation site. Cuban actually suggests something that shows that he’s put more thinking into the issue than the kneejerk “Up with the paywalls!” bunch. I note below the flaw in his plans – my ex-roommate used to describe for me in detail how impossible it was at Time-Warner-AOL to get the jealous VPs of Home Video, say, to play nice with the guys from HBO and pay-per-view. Why make someone else’s P&L sheets look good? That just means they are going to get the Exec VP slot faster than you…
This is an example of a newspaper that has developed multiple, reliable, alternative revenue streams. UOL in Brazil is doing quite well, thank you. They planned ahead, unlike so many complacent U.S. papers.(Click for larger)
Anyway, the discussion in all cases gets heated very quickly. Insults are thrown around, fisking takes place in the comment threads, but a few actual new ideas & fact-based analyses sneak in here and there. The fact that some very smart entrepreneurs are actually interested enough to toss in some innovative thinking is rather heartening, actually.
Mark Cuban gives some free advice to fellow billionaire media mogul Rupert Murdoch: http://blogmaverick.com/2009/08/08/my-advice-to-fox-myspace-on-selling-content-yes-you-can/ Basically, he advances the idea that to get consumers to pay for news, you have to bundle it up with other goods, services and content that exist within giant organizations such as Fox or Time-Warner. A “Newsjunkie” subscription would come with access to special sections of Fox News, a couple of books from HarperCollins, magazine subscriptions and DVDs of 20th Century Fox movies. Commenters point out that such “synergies” remain elusive in these big media conglomerates, as each of the divisions is still in its own silo, with its own P&L, jealously guarding its own turf. Cuban paid special attention to aggregators, suggesting that newspapers ban links from aggregators such as Michael Wolff’s Newser.com.
…leading to Mark Cuban responding with a schoolyard-taunt opus: I’m Rubber, You’re Glue http://blogmaverick.com/2009/08/12/to-michael-wolf-im-rubber-youre-glue/ Not sure what it means when the discussion over paywalls degenerates so quickly, even amongst intelligent and successful publishers. Apparently, Cuban takes umbrage to Wolff calling him a “big fat idiot,” and in turn, taunts Wolff by criticizing his “outdated model” of a site.
The fallacy of the Link economy: http://paidcontent.org/article/419-the-fallacy-of-the-link-economy/ This is another assault on the value of inbound links from Google and other news aggregation sites. Arnon Mishkin says that even sites that publish a headline and short description of a news story appearing on another site are destructive, because readers mostly skim stories, and therefore get the news content they need without having to click through. No word from him on what he thinks newspapers should do on newsstands – perhaps they should be like old-school porn magazines, in plain brown wrappers.
Ken Ellis responds on NP-Harder: http://npharder.wordpress.com/2009/08/14/the-fallacies-of-arnon-mishkin/He picks apart some of the assumptions as to what constitutes value from links, and concludes, “All that being said, I still agree in principle with his final three points. However reclaiming value from aggregators isn’t going to help publishers much. They need subscribers and a pay wall. Not an iron curtain, but a permeable pay wall along the lines of the Wall Street Journal. There’s no save-my-business-model pot of gold out there in the hands of aggregators to help you pay for all that good journalism.”
TechCrunch proclaims “The Media Bundle is Dead,” http://www.techcrunch.com/2009/08/16/the-media-bundle-is-dead-long-live-the-news-aggregators/ Erick Schonfeld addresses paid content by claiming that back when newspapers still enjoyed local monopolies on news, “80 percent of the stories in the paper sucked,” but that the audience was still forced to buy the paper because there was no alternative. Kind of like the argument that the music industry has failed because people are no longer willing to pay $15 for a CD that contains one song they like, and 9 others that are crummy.
A post drawing an interesting parallel between Microsoft’s dilemma on how to compete with Google’s free Open Office product, while still maintaining its huge profits from its own MS Office suite http://www.pbs.org/idealab/2009/08/future-of-local-news-about-more-than-paid-content225.html
From “Scooping the News” a post entitled: Newspaper Access Fees Destined for Failure: http://www.scoopingthenews.com/2009/08/newspaper-access-fees-destined-for.html He compares the paywall solutions to pop-up ads. He lists five points that he claims explain why access fees will not generate that much revenue. Basically, the argument against boils down to the “internet readers are used to getting information for free, and they have lots of alternatives, so they’ll never pony up when newspapers start slamming down the paywalls.”
Another quick hit, this one courtesy of an article in AdAge about how the free-fall in the ad industry has at least stopped, but what’s emerging out of the wreckage is that things will never go back to the way they were. “This current economy has stimulated a new marketing consciousness,” said Laurence Boschetto, president-CEO, [...] [...more]
“This current economy has stimulated a new marketing consciousness,” said Laurence Boschetto, president-CEO, DraftFCB. “Clients are saying they want accountability for every dollar they spend, and they want cause and effect. Clients will continue to rally behind ideas that build business, and we as an industry have to accept that things will never revert back to the pre-recession mind-set that wasn’t totally focused on accountability.”
At every conference I’ve attended this year, especially OMMA and Digital Hollywood, I’ve sat in the room with media planners and ad buyers (AKA the guys in expensive suits who write the multi-million dollar checks to buy 30-second spots on American Idol), and listened to them piss & moan about their jobs.
“The goddam clients are calling me every day and screaming in my ear,” groused a Tums-chomping buyer for a major food company. “All they talk about is ‘The Board,’ and how everyone is shit-scared of winding up on the front page of the New York Times for blowing millions while we’re in a Depression.
“The orders have come down from on high that every nickel they spend has to be tracked, assessed, spreadsheeted and connected to a dollar in sales. Well, it all rolls downhill to me. I have to show results for everything, and when it comes to print and broadcast, that’s getting harder and harder to justify.
“Even if the scale and the reach aren’t there yet, when I’ve got a Google Analytics spreadsheet tracking the ad buy, at least I can walk into the client meeting with more than my dick in my hand.
“I’ve got a $300 million budget for the next year. Zero point zero zero is going to print. Nada. Nothing. I can’t justify it anymore. And broadcast TV is next.”
At the risk of having some tort-toting barrister slithering under my office door, here’s a link to a NY Times story about the latest salvo in the growing war between Traditional Media and online news aggregators/commenters. The Associated Press said Thursday that it would add software to each article that shows what limits apply to [...] [...more]
At the risk of having some tort-toting barrister slithering under my office door, here’s a link to a NY Times story about the latest salvo in the growing war between Traditional Media and online news aggregators/commenters.
The Associated Press said Thursday that it would add software to each article that shows what limits apply to the rights to use it, and that notifies The A.P. about how the article is used.
Tom Curley, The A.P.’s president and chief executive, said the company’s position was that even minimal use of a news article online required a licensing agreement with the news organization that produced it.
I hardly know where to begin here. If you’ve been following the war between Online & Traditional, as it’s reached the screeching desperate frenzy this year, the most-repeated shibboleth is that the news industry committed the “Original Sin” of making its content available online for free, and that everything would go back to the fat profit-margin salad days if only we could roll back the clock and stop the distribution of news & information via that damn intertubes thingy. If we can just track and control who uses what we produce, maybe we can choke off all the “freeloaders and leeches” who are competing for ad dollars without actually doing any work themselves.
So the newspapers, watching the traditional paper iceberg slowly melt around them, put the vise on the AP to Do Something. Anything. The problem is, we’re still short of solutions. I’ve been working in New Media for more than 12 years now, and I’ve done as much original research and case studies on the Economics of News, and I’m not sure. We’re fumbling towards something, though, and the last few months have actually made me cautiously optimistic that we’re going to be able to reinvent how news & information flows in our societies, in ways that actually benefit the average citizen. That is, the citizens are informed of stories about, say, how the subprime mortgage market is not such a good long-term idea, or that the aftermath of conquering Iraq might be messier than the bespectacled Secretary of Defense claims.
Yeah, I know, those stories did appear in the media and on the boob tube. But what’s attracted the biggest, heaviest coverage these last few weeks, as we’ve sought to retool our health care system, turn around a losing war in Afghanistan, and fact-check how trillions of bailout money was spent?
That’s right. Michael Jackson.
The Original Sin of journalism & newspapers was not to make its content available on the web. The Original Sin was when we looked the other way as our media outlets were snarfed up and transmogrified into revenue-producing subsidiaries. The consequences of that have had far greater import and impact than our little measly stunted careers (although on a personal level, I’m obviously less than thrilled & have taken quite a hit myself).
If I’m running a growing network of web-based local news producers, I’m ordering Dom Perignon by the Methuselah today. Why?
1. Every conference I’ve been at for the past two years, the big advertisers say that they’re shifting their budgets to digital/online 2. The AP and newspapers are walling themselves off, and will presumably soon be implementing a RIAA-type model of suing people who infringe on their content 3. The bloggers & aggregators will quickly link to whatever competition provides the same information without all the hassle (or just use the freshman book-report strategy of paraphrasing without linking) 4. Traffic will flow to the competition. Ad dollars will follow. 5. Oh yeah – and the one type of content that is original & can’t be remixed is video… where even if a blogger/aggregator embeds or downloads/transcodes, your logos and your advertiser’s messages will still appear…
I thought that the news and the music business were at about the same point on the evolutionary timescale. It appears that the news business is bound and determined to take a step backward.
First, a h/t to Jeff Jarvis for this one - it really rings a bell for me, particularly in light of my own experiences last fall with the “Obama-Haters Fall for Nigerian Prince Scam” story. Basically, the insight is that traditional media – newspapers, to be precise – tend to approach news the way photography [...] [...more]
Basically, the insight is that traditional media – newspapers, to be precise – tend to approach news the way photography approached capturing images before the invention of the movie camera and long strips of flexible, high-speed film. That is, to work and work, stick your head under the big black sheet, remove the cap from the front of the big heavy unwieldy camera, and tell everyone not to move for a half-minute or so.
The parallels to newspapers are that the news only happens once per day. That it takes a whole lot of effort and preparation, and the use of crazy heavy equipment (ever tried to deal with a jammed printing press? I did, on my first day working at the Eau Claire Leader-Telegram) that restricts what you can do and how frequently you can do it. Meanwhile the movie camera (and the web) allows you to do an ongoing series of snapshots of reality; one that gives far richer context to the events and brings them to life in a whole new way.
In this context, I guess you’d have to say that Twitter is the mini-DV camcorder to newspaper’s Matthew Brady-style bellows & glass plate camera.
So what does this mean to journalism & trying to filter & report reality back to a wider audience?
If the truth must be corrected – wouldn’t the truth finally have to be the sum total of process AND product? Shouldn’t it be a document of changes which tells the truth about editing, as well as about the information being edited? And wouldn’t it imply information is only momentarily true. That the end of a story doesn’t have to do with truth it has to do with interest or the loss thereof?
But journalism? Is it about the artist or about the facts? And how can there be facts if the facts change? We don’t want the journalist to be a slight of hand man. Yet blogging real time makes that so. Different from newspaper news. So shouldn’t the document be different?
Should not the process of accruing information then be documented ?
Well, yeah. Since my first foray into producing multimedia reports, I’ve felt that one of the strongest things that the web has to offer both the content producer and the audience is the ability to let the readers “peek behind the curtain” and see all the things that reporters saw & considered, and omitted from the final report.
“Every edit is a lie.” –Jean-Luc Godard
Not so much. I tend to think – and this blogged is named because of that – the basic function of a reporter/content producer is to filter the reality stream down into the essential. If you’ve ever had to sit through a friend or family member’s unedited vacation videos, you’ll immediately know what I’m talking about. The equivalent these days is watching the streaming video coming through Mogulus or Kyte from cellphones around the world (and soon to be coming from iPhones – w00t! x infinity).
So while the process of editing, filtration, curation (whatever that buzzword is interpreted to mean this week) to arrive at the digestible info-bit is the value-added, I do think that being as open and transparent about what you’ve done is also a big value. I learned this from my case study that I did years ago with Schibsted Media – they have three levels of online video: 1) the short clip on the front page that teases readers into clicking into the article; 2) the edited 30-second to 5-minute piece and 3) the whole unedited video.
As Sverre Munck told me at the time, there aren’t that many people who want to see the whole interview and watch all the outtakes, but those who do are fanatically devoted to it, and are your most loyal readers.
To me, it allows the audience to go into to your subject material and draw out their own construct. If they want to do a mash-up or remix using some of my video, by all means, go for it. I don’t do this lightly – there are a lot of things about trusting the audience that still give me the heebie-jeebies. I can quite easily imagine scenarios where a well-funded organization – let’s say the coal strip-mining industry – does some serious astro-turfing, and goes into reports about the effects of dumping mountaintops into formerly clean streams, with an eye to cherry-picking data to justify their profit margins. And then using the assembled plastic chorus to yammer incessantly in blogs, chatrooms & the growing “info-cloud” to drown out the reporters and citizens who are complaining about their kids growing up with tentacles instead of legs.
The thing is: that already happens today.
Again, going back to my experience with the Obama-hatin’ story, and the lessons I learned from it: openness and trusting your audience can empower them to deputize themselves and take the story further, and in directions that the original reporter could never have imagined. Telling your story in slices, with the audience chipping in along the way, will probably be the future model for how real serious investigative journalism is done. I hope.
This is part 3 of John’s keynote at OMMA 2009. …and yes, I know, I don’t have the excerpts and such that made the other videos interesting to watch. But I figure if you’ve gotten this far, you’re probably already pretty interested in what this guy has to say. [...more]
This is part 3 of John’s keynote at OMMA 2009.
…and yes, I know, I don’t have the excerpts and such that made the other videos interesting to watch. But I figure if you’ve gotten this far, you’re probably already pretty interested in what this guy has to say.