a digital product firm

The ‘social web’ Category

Instant Love

Monday, October 4th, 2010

Love it or hate it Google Instant searching has landed with a splash, and developers are using it as inspiration to create a world of ‘instant results’. Instant versions of Wikipedia, Google Images Reddit, Dictionary, iTunes, flickr, eBay and others have been created by fans and more are expected.

And just like the internet does, someone created a nice website to house all of these new ‘Instant’ versions of sites, instantise.

I have mixed feelings about them, finding that it works better for some then others. But I do love seeing all of this initial excitement.

The Future of TV Confounds The Pundits

Monday, April 5th, 2010

This kind of thinking can not continue – This isn’t just about pay TV – the whole industry is at stake because of this kind of thinking – The Collapse of Complex Business Models.

TV and cable production companies as well as high-end video production houses et al, especially TV production companies steeped in old model bureaucracy and entrenched in their ways, will never be able to compete with the low-barrier-to-entry-Internet until they change their internal cultures. Here’s why from Clay Shirky:

In spring of 2007, the web video comedy In the Motherhood made the move to TV. In the Motherhood started online as a series of short videos, with viewers contributing funny stories from their own lives and voting on their favorites. This tactic generated good ideas at low cost as well as endearing the show to its viewers; the show’s tag line was “By Moms, For Moms, About Moms.”

The move to TV was an affirmation of this technique; when ABC launched the public forum for the new TV version, they told users their input “might just become inspiration for a story by the writers.

Or it might not. Once the show moved to television, the Writers Guild of America got involved. They were OK with For and About Moms, but By Moms violated Guild rules. The producers tried to negotiate, to no avail, so the idea of audience engagement was canned (as was In the Motherhood itself some months later, after failing to engage viewers as the web version had).

The critical fact about this negotiation wasn’t about the mothers, or their stories, or how those stories might be used. The critical fact was that the negotiation took place in the grid of the television industry, between entities incorporated around a 20th century business logic, and entirely within invented constraints. At no point did the negotiation about audience involvement hinge on the question “Would this be an interesting thing to try?”

Here is the answer to that question from the TV executives.

In the future, at least some methods of producing video for the web will become as complex, with as many details to attend to, as television has today, and people will doubtless make pots of money on those forms of production. It’s tempting, at least for the people benefitting from the old complexity, to imagine that if things used to be complex, and they’re going to be complex, then everything can just stay complex in the meantime. That’s not how it works, however.

The most watched minute of video made in the last five years shows baby Charlie biting his brother’s finger. (Twice!) That minute has been watched by more people than the viewership of American Idol, Dancing With The Stars, and the Superbowl combined. (174 million views and counting.)

How Mobile Phones Are Changing Social Media

Wednesday, March 31st, 2010

Resh Sidhu Flowtown Infographic
Click on image for full size view.

I came across this infographic via Interactive Art Director, Resh Sidu, who had posted it to her blog. Hat tip to @simonmainwaring for tweeting it up.

Resh points out an interesting stat: “25% or more than 100 million Facebook users access from a mobile phone, and those who do, are twice as active on social networks compared to people accessing from a computer. The 35-54 year old bracket is the most active mobile social users, bet some of your clients wouldn’t have expected that.”

iPad as Game Changer – It’s Catching On

Tuesday, March 30th, 2010

iPad Fight Portland

I’ve been seeing a lot of these articles. Articles in which the authors explain how the iPad changes the way we consider the computer and our relationship to “computing.” Fight partner, Justin Spohn, wrote about this distinction in January, where he basically called out Apple for not pointing out that the iPad was actually a game changer not unlike the delivery of the 1997 iMac. Daniel Lyons has a great article on the iPad in Newsweek too.

Marc Benioff’s article in TechCrunch is one of a dozen or so I’ve read in the past few weeks that extol the virtues of the iPad and its relationship to the cloud; Benioff’s article is titled Hello, iPad. Hello, Cloud 2. I’m not sure I agree, or maybe I don’t understand his logic, regarding the idea of a move from Cloud 1 to 2. In his article he touts Cloud 1 as being about Ebay, Amazon and Google, and Cloud 2 as YouTube, Twitter and Facebook. That’s not how I’ve been envisioning the cloud…

I can agree with some of what he says here:

The future of our industry now looks totally different than the past. It looks like a sheet of paper, and it’s called the iPad. It’s not about typing or clicking; it’s about touching. It’s not about text, or even animation, it’s about video. It’s not about a local disk, or even a desktop, it’s about the cloud. It’s not about pulling information; it’s about push. It’s not about repurposing old software, it’s about writing everything from scratch (because you want to take advantage of the awesome potential of the new computers and the new cloud—and because you have to reach this pinnacle). Finally, the industry is fun again.

But he loses me here with his idea of the transition from Cloud 1 to Cloud 2:

Cloud 1 ————————————->Cloud 2

Type/Click———————————->Touch
Yahoo/Amazon—————————–>Facebook
Tabs——————————————>Feeds
Chat——————————————>Video
Pull——————————————->Push
Create—————————————->Consume
Location Unknown————————->Location Known
Desktop/notebook————————->Smart phone/Tablet
Windows/Mac——————————>Cocoa/HTML 5

Thoughts anyone?

Social Networks, Privacy and The New Obscurity

Tuesday, March 23rd, 2010

Danah Boyd Privacy Fight SXSWi

Very briefly here are a few things I learned at this year’s SXSWi Conference – 1. SXSWi may have already jumped the shark. This year the conference appeared to be packed with people who felt that they had to be there or that the idea of a once-a-year party was too much to pass up. No other reason. 2. Many panelists forgot that being on a panel requires being prepared and that they are there to share their wisdom, or at the very least entertain us. [The NYT columnist David Carr also mentioned this lack of sparkle.] 3. The biggest buzz was which new platform would be this year’s Twitter. I mean c’mon people… 4. Geeks live in a bubble and SXSWi provides the biggest bubble of all. 5. Judging by the overuse of Foursquare and Gowalla, conference attendees do not have any privacy concerns, or perhaps they are happy with the idea that “privacy is dead.”

I’ve written often of our anthropological need to stay in touch with friends and family, and that technology merely shortens the distance between us. What I am now interested in is how to handle living in public while attempting to hold on to my privacy. And while I’m at it, I thought I’d take a look at the numbers game that occurs in social networking and how that relates to the quality of friends and followers, versus quantity.

Let’s start with privacy. During SXSWi Foursquare use was rampant, I was getting literally hundreds of Foursquare updates a day from people I follow on Twitter. It became incredibly annoying because a message like this – “I’m at Mohawk, 722 Red River, Austin TX with 171 others” – is of no importance to me as it lacks context. Ok, so it could be argued that the message conveys a trending topic of where SXSWi attendees are gathering, which may be useful to some, but I expected that everyone would be at the Mohawk at some time during the conference. Why wouldn’t they? Free food and drink always succeeds in creating lines around blocks.

But, all sarcasm aside, I like what Chris Conrey has to say about the phenomenon of sharing our whereabouts. In his post titled, Why I Deleted Foursquare and Gowalla After SXSW, he says: “I don’t see the value to the end user in these things. What I do see is a huge data mine for marketers, advertisers and stalkers to glean for information.” As for worrying about stalkers, thankfully there’s always PleaseRobMe.com to help folks begin to understand that privacy is, on the whole, a good thing.

As Chris points out, our real friends would let us know their whereabouts via Twitter, text or IM if they wanted to really share that info with people they care about. And they would also supply context, as in its definition – the set of facts or circumstances that surround a situation or event. In other words, “I’m down at the Coach and Horses having a drink with Charlie, and Anne and Pete will join us later…” That’s a little more personal than “with 171 others..” It’s also a private message.

@simonmainwaring
“In life, private by default, public by effort is normal. In social media its the opposite.” #SXSW #danahboyd

That sentence, posted to Twitter by Simon Mainwaring, is an excerpt from a keynote speech that danah boyd, [she uses only lowercase letters in her name,] a Social Media Researcher at Microsoft Research New England and a Fellow at Harvard University’s Berkman Center for Internet and Society, gave at the 2010 SXSWi Conference.

She also said “Privacy isn’t hiding, it’s control.” Here’s a crib of her entire speech at SXSW, here’s her blog and this is her message to Google’s Eric Schmidt:

DEAR ERIC SCHMIDT, PRIVACY IS NOT DEAD. KTHXBY.

And she continues: “No matter how many times a privileged straight white male technology executive pronounces the death of privacy, Privacy Is Not Dead. People of all ages care deeply about privacy. And they care just as much about privacy online as they do offline. But what privacy means may not be what you think.

Fundamentally, privacy is about having control over how information flows. It’s about being able to understand the social setting in order to behave appropriately. To do so, people must trust their interpretation of the context, including the people in the room and the architecture that defines the setting. When they feel as though control has been taken away from them or when they lack the control they need to do the right thing, they scream privacy foul.”

Privacy foul? Google Buzz anyone..?

The Quantity of Your Friends and Followers Versus the Quality; It’s A Numbers Game.

So, if the idea of social networks is to further conversation, then the problem is in the numbers game. I mean, how often do we see this on Twitter? – “hey tweeps, I’m almost at 9,950 followers help me get to 10k by end of day.” The first question I would ask would be, why do you want to achieve a certain number of followers? The second would be, how on earth will you have a true conversation with 10k+ followers? Arguably the answer to the first question is “look at me, aren’t I so special” and to the second, there is no way one can have a meaningful relationship or conversation with that many people.

Which brings us to Dunbar’s Number. From Wikipedia: “Dunbar’s number is a theoretical cognitive limit to the number of people with whom one can maintain stable social relationships. These are relationships in which an individual knows who each person is, and how each person relates to every other person. Proponents assert that numbers larger than this generally require more restrictive rules, laws, and enforced norms to maintain a stable, cohesive group. No precise value has been proposed for Dunbar’s number, but a commonly cited approximation is 150.”

That’s 150 people. As in your family, kin and all other close friends. Dunbar points out that it’s difficult to compare the quality of relationships versus the outcome of the relationship, but he says the time invested in relationships is directly related to the improvement of quality in those relationships. As you add more friends beyond the 150 he says that its akin to dropping a pebble in a pond and watching the ripples fan out across the surface. Each ripple represents a layer of relationships that are of a significantly lower quality than the initial 150. Oddly the layers scale in a consistent pattern of 10, 20, 100 etc, so when it comes to social networks he argues that any messaging or traffic really only speaks to the inner core [those 150] just like in offline relationships.

[Robin Dunbar is working on a study of Facebook and MySpace to be published later in 2010.] Watch a video of Dunbar’s talk to the RSC in London – How Many Friends Does One Person Need?

Clive Thompson’s article in the February 2010 edition of Wired Magazine, In Praise of Obscurity, also discusses social network users and their followers, where he wrote of the problem of follower scale – “…at a few hundred or a few thousand followers, they’re having fun – but any bigger and it falls apart. Social media stops being social. It’s no longer a bantering process of thinking and living out loud. It becomes old fashioned broadcasting.

So much for “earned media” then, we’ve unwittingly come full circle back to mass messaging. And the lesson?

He suggests: “There’s value in obscurity. After all, the world’s bravest and most important ideas are often forged away from the spotlight — in small, obscure groups of people who are passionately interested in a subject and like arguing about it. They’re willing to experiment with risky or dumb concepts because they’re among intimates. [It was, after all, small groups of marginal weirdos that brought us the computer, democracy, and the novel.]“

Which brings me back to SXSWi – the most interesting conversations that I had were either in the back channel, at dinner, or over drinks well away from the conference centre and often well away from downtown Austin and the party action. Here in Portland, at a recent dinner hosted by Intel’s Bryan Rhoads, I had a great discussion with him, W+K’s Renny Gleeson, China expert, Sam Flemming, Webtrends’ Justin Kistner and others, where, to use danah boyd’s phrase “context in environment,” the people in the room and the architecture defined the setting and therefore the conversation. The evening was a true social networking event. Context in these situations is when you can look someone in the eye and note their body language, things that help you interact and converse.

So, when do we back out of the Social Web, dump most of our Facebook “friends,” and relegate ourselves to one really good and useful Tweet a day, or one insightful blog post? Or should I say, when do we stop airing our dirty laundry while living in public..? As danah boyd said at SXSWi “In life, private by default, public by effort is normal. In social media its the opposite.”

As of the time of writing this post I currently have 6312 followers of @Pampelmoose and 842 followers of @DaveAtFight on Twitter. On Facebook I have 2,376 “friends.” My blog gets more than 250k unique visits a month. That’s a lot of “friends..”

WIll you continue using social networks and building up your friends and followers numbers? Are you happy sharing your personal data with 3rd party corporations? Or is 150 friends quite enough and does relative obscurity sound appealing?

SXSW and Living My Life In Public

Sunday, March 14th, 2010

Sure, I could use Plancast, FourSquare or Gowalla while also sending a never ending incoherent stream of tweets from various locations that serve BBQ, beer and loud music all tagged #SXSW, or perhaps more appropriately, #BeenThereDoneThat or #NothingEverChangesWhenItComesToMusiciansAndTheInternet. Instead I thought I’d post up what serves as a quasi roadmap/itinerary of my known [as in planned and booked so far] activities while I’m in Austin for SXSW, as a Flâneur … hat tip to danah boyd for that one.

Here it is then.

Monday March 15th:
4:00AM Rise cursing and spitting. 4:30AM Drive to PDX. 5:00AM Enter security line to be fondled and generally harassed for not having liquids stashed in a plastic baggie. 6:00AM Flight to Salt Lake City. 8:58AM Arrive Salt Lake City. 10:00AM Flight to Austin. 1:40PM Arrive Austin. 1:41PM When wheels are down call my friend, the very talented author and gadfly skateboarder, Roy Christopher. 1:44PM Ask myself if it was appropriate to watch Lars Von Trier’s Anti-Christ on my laptop on the ‘plane? 2:00PM Unknown activities at this point but hopefully includes getting to Roy’s house. 8:00PM dinner with @Frostola Lead Social Media Strategist for HP, Personal Systems Group, Roy and Ume, Austin’s finest rock band. 10:00PM Walk 6th Street and find myself in a real life version of New Dork.

Tuesday March 16th:
10:00AM Rise because there’s a 2 hour time difference, OK? 12:00 Noon Check in at the Hilton. 1:30PM Interview with the Dutch TV station VPRO in Hilton lobby. 3:20PM Speak on a panel at the UKTI conference. 4:20PM Consider if anything I said was useful to anyone. Probably not. 6:00PM Cocktail party with a load of Brits.. 7:00PM Back to Hilton, stare in bathroom mirror then consult Sched: The Unofficial Guide to SXSW 2010 9:00PM until dawn. Stuff. Oh, and Motorhead, I mean, c’mon..?

Wednesday March 17th:
Whenever: Rise. 12 Noon IODA Opening Day Bash [Although this is actually day 3] 2:00PM Speak on panel. 3:00PM Run and hide to avoid being pressed to take CDs from musicians. 4:00PM Interview with BAMM TV 5:00PM Austin City Hall for the Mayor’s reception [apparently I will receive a "goodie bag" well, hell, that's tempting..] 7:00PM Mohawk for the Austinist party. 12:00PM See Via Tania at the Velveeta Room

Thursday March 18th:
Whenever: Rise. 11AM Interview with author Tom Williams, Hilton lobby. Noon Kill Rock Stars party. 12:30PM Panel – Welcome To The Music Business, You’re Fucked [I kid you not...] 3:30PM The NMPA Late Fee Settlement Panel [aka Nap Time] 5:00PM Via Tania at Block Party. 11PM Efterklang at Buffalo Billiards, then dash to Mohawk to see Slaraffenland. [I am not making these names up..] 12PM Imaad Wasif at the Tee Pee Records/Brooklyn Vegan party @ Habana Calle 6.

Friday March 19th:
5AM Rise, if I have happened to sleep. 6:30AM Flight home.

We Are All Distracted

Monday, March 8th, 2010

Iterative Marketing Fight Portland
The 11,500 year old Gobekli Tepe temple near Sanliurfa, Turkey. [photo: Berthold Steinhilber]

Civilization is revving itself into a pathologically short attention span. The trend might be coming from the acceleration of technology, the short-horizon perspective of market-driven economics, the next-election perspective of democracies, or the distractions of personal multi-tasking. All are on the increase.” – The Long Now Foundation.

We no longer consider the future. We apparently don’t have time for that. The Long Now Foundation and its 10,000 Year Clock project should at least make us find the time to again consider the future.

As Michael Chabon wrote about the Clock in his wonderful book of essays, Manhood For Amateurs, “…the Clock may accomplish its greatest task before it is ever finished, perhaps without ever being built at all. The point of the Clock Of The Long Now is not to measure out the passage into their unknown future of the race of creatures that built it. The point of the Clock is to revive and restore the whole idea of the Future, to get us thinking about the Future again, to the same degree we used to, if not in quite the same way, and to reintroduce the idea that we don’t just bequeath the future – though we do, whether we think about it or not.”

The Long Now Fight Portland

How many of us even consider the future of 500 years from now, of only about 6 future generations of our families from today? And then consider 10,000 years. As Chabon points out, that’s about as long a time span as separates us from the first makers of pottery….11,500 years ago some people built the Gobekli Tepe temple near Sanliurfa, Turkey.

We all have, and have had, the future in our hands – just yesterday for instance – yet by definition the future doesn’t exist. Some of you reading this post, when you consider technology and how we now expect new developments in technology to bring us the “future,” may consider the iPad the future; it’s coming soon after all. And with that example, let’s consider the outpouring of rage from the Flash developer community over the iPad’s lack of Flash… they chose to ignore that the iPad will change the way people interact with computers in the future, instead they got all hysterical over the lack of a multimedia platform on the device; short term thinking in other words.

It’s interesting to note that one of the Long Now’s founding board members, Brian Eno, seemed to suggest that the lack of long term future thinking was an American problem. When he moved to New York City, he found that “here” and “now” meant “this room” and “this five minutes” as opposed to the larger here and longer now that he was used to in England. Because of that, he wanted the Long Now foundation to focus on stretching out what people consider as now.

I’m not sure what year it was when Eno considered the “here and now” issue, but I don’t actually believe it’s an American problem, it’s a global problem. We can see it when humans get all worked up about saving the Earth, without realizing that humans haven’t been on Earth long enough for the planet to care. We may or may not be destroying the atmosphere via global warming, but either way, when the Earth is truly done with us it will rid itself of us. We may not be around to witness the Clock Of The Long Now in 10,000 years; we need to be ok with that.

Here’s the Long Now guidelines for a long-lived, long-valuable institution:

Serve the long view
Foster responsibility
Reward patience
Mine mythic depth
Ally with competition
Take no sides
Leverage longevity

And here’s some food for thought; the Future, as considered over just the last few decades, was not all shiny bright advances in technology that improved our lives. It also brought the fear of Armageddon, of destruction by nuclear weapons. Chabon again – “…the Future…can be unremittingly and wryly bleak..”

An Update on The 30 Coffees Project

Friday, March 5th, 2010

You may or may not know that in February, Fight kicked off its 30 Coffees project. 30 coffees is an idea conjured up by Fight partner, Rob Shields, and at its heart it’s a simple social web exercise. As Rob said at the beginning – “Fight has an awesome community of supporters, so we thought: Who better to turn to to help us make a good thing better? We believe that Fight is a different kind of company from other marketing strategy firms, and we’d like to get some practice talking about ourselves to people in the business, marketing, and agency worlds so that when we talk to potential clients we can really shine.”

I have already met with 16 people since we started, and along the way the concept became elastic enough to include meetings I have had with some of the heads of Portland’s advertising and marketing agencies. It’s been a fascinating discussion, and I stress the word discussion as this was never intended to be an opportunity to pitch people, it is intended to help Fight form its own internal and external narrative. The feedback from the talks has been extremely useful. And more importantly, by the end of the project [it looks like it may run over a bit because of scheduling plus my speaking engagement at SXSW,] I am certain we will have honed our story along with our elevator pitch, and have them nailed down. 14 more to go and then I will be writing up the whole endeavor very soon…

I wish to say thanks to the first set of participants. I’ve included their Twitter accounts where possible, so if you use Twitter I encourage you to follow these good people:

Erik Johnson
David Burn @davidburn
Brandon Schoessler @transport_1
Denny Mcentire @dfatouchi
Dian Crawford @diancrawford
Aaron Day
Jennifer Day-Burget @portlandwater
Jennie Fitzhugh @sasquatcha
Stephen Landau @stlandau
Ed Borasky @znmeb
Bryan Rhoads @bryanrhoads
Jay Cosnett @jaycosnett
Amanda Bernard
Jim Woolfrey @informative
Charlie Quirk @CharlieQuirk
Emanuel Brown @emanuelbrown

And honorable mentions to the following for being involved, somewhat unwittingly!

Ashly Stewart @AshlyStewart
David Ewald @motorcoatdave
Justin Yeun @jyuen
Rebecca Armstrong @rebeccamary
Arve Overland @ArveOverland
Jerry Ketel @JerryKetel
Dennis Hahn

Musicians Doing Things Differently – Holcombe Waller and Ume

Thursday, March 4th, 2010

Holcombe Waller Kickstarter Pampelmoose Fight

I recently posted to this blog, an interview I did with SXSW Magazine – SXSWorld which resulted in a very interesting comments thread, wherein I was called out by a couple of people over what they perceived as a lack of new ideas from me regarding musicians and their utilization of the web. I don’t mind being challenged over my ideas, after all this is a forum for discussing ideas and what I learn here can be applied, not only to more posts on the subject, but also to my panel at SXSW this year. The only problem I had with the comments is that I couldn’t help but feel I was being asked to provide tactics that might lead to success for some musicians on the web, whereas I was attempting to discuss web strategy – two very different approaches basically.

Fortunately Justin Spohn, one of my business partners here at Fight, bailed me out by saying this – “The first thing I think it’s important to note is that at Fight, we almost never have blanket recommendations for anything when it comes to tactical recommendations, and I fear that may be part of the frustration I’m hearing.” In other words, what’s your strategy and can we help you with that?

And it is the frustrations of musicians that I would love to help alleviate. Unfortunately I doubt that I can assuage all musician’s frustrations along with their doubts about embracing a new way of thinking about selling music. As Justin says above, we are not in the business of simply providing tactics, but I did think it may be useful to offer up some info of how a couple of bands I admire are working their way through the new paradigm.

Last week I met with the Portland-by-way-of-San Francisco musician and artist, Holcombe Waller. We had a lively discussion about the challenges that all creative people in the arts now face, the least of which being one’s ability to gain attention and traction in a world of high-speed communications and online hyperactivity.

So what is Holcombe up to? Well, he’s not in the least bit perturbed by the ever changing cultural landscape. He has set out to win, and along the way he’d like to make a difference and also be brilliant. We discussed the 1000 True Fans model which Holcombe has essentially embraced. We agreed on many things so I’m not going to go into detail about his hard work, [we definitely agreed that hard work and talent are two very important prerequisites for achieving success these days], I will simply give you the links to his ambitious project.

First, Holcombe has a web site with his own URL. That’s important especially in a world of real time search and especially in light ofGoogle Music search – you want your own URL to appear in search results so that your fans can respond to any calls to actions there, not your MySpace page.

You will notice when you land on Holcombe’s site that he is very clearly calling out his current project, one that he is funding through his Kickstarter site. This is where Holcombe’s 1000 True Fans can pledge money to help him reach his financial goal. He has also been very smart and created a Facebook fan page where he continues to further press his campaign. He has currently garnered 54% of his stated goal.

Ume Austin SXSW Pampelmoose

Meanwhile last week I received a great email from Lauren who fronts one of my favorite bands, Ume, [pronounced ooo-may] who are based in Austin. I met her and the band last year at SXSW and became a sort of advisor, sharing ideas with them whenever they felt that they’d hit a roadblock or perhaps had been offered a “deal that just sounds too good to be true.” Basically they’ve been out on the road as often as possible building a fan base and capitalizing on it. You’ll see from Lauren’s email below that they had the guts to turn down offers when ever they felt that it just wasn’t right for them.

“Hi Dave,

Hope you’re doing awesome and super excited to hang at SXSW! Reading your recent blogs, I wanted to give you a little update on us and hopefully [get] a little encouragement.

We had 5 record label offers this year and did not take one. While I was flattered by Joan Jett’s offer, it was a career crusher that claimed a piece of EVERYTHING and I continually heard your voice advising against it.

As you might know, our EP landed at #57 on WOXY‘s best of 09 list. Last night, as I skimmed this list I noticed every record ranked above us was released by a label. “See,” I said at first, “every band that’s breaking has a label.” But then I realized that our name made this list and we really are doing-it-ourselves!

We are trying to work outside the – sign me/book me/manage me/make me – box. What I’m finding difficult is that those inside this box don’t want to leave.

For example, we met several major booking agents this year, all of whom want to work with us “when we get a label.” The biggest influx of traffic we received was when there was a false rumor that Sub-Pop and Matador were in a bidding war for us. Magazines, publicists, the manager of MGMT, Atlantic Records, A&R guys, blogs, and lawyers – all contacted us within a week because of this made-up rumor about “the labels interested in Ume” circulating the internet. Ha!

The point is not that we “need” these people. We sold-out of the first pressing of the EP and played 70 out-of-town shows last year without a label or booking agent. The challenge – but not the barrier – is we still don’t have the financial means to record and we’re still averaging a $50-$100 pay-out at packed shows (while bands on these bills with agents/managers/labels are averaging $2,000). We almost went broke on this tour, but were sustainable because I had a line awaiting me at the merch table after shows.

Yet, our fan-base is still growing, we own everything we do, and we’re learning the importance of being patient. Oh, and we’ve written a lot of new music and now are just looking for ways to get it into ears…”

Although it’s clear that Ume have not been able to raise the money to make a new record yet, [Lauren, use Kickstarter...] they remain completely independent and in control of their career. The challenges they face come from the industry itself – agents who won’t book a band without a label, or a label that wants too much control of a band’s copyrights. Those folks are guilty of having their heads in the sand, not just when it comes to a great band like Ume, but because they are missing a chance to take a risk that may successfully change the way they do business in future. There will be many, many hard working bands coming up in the future, who have completely different mind sets and who have a real understanding of what works when it comes to getting their music into their fans hands. Who will be the right partners for these young musicians?

Meanwhile – The Music Industry’s Demographic Problem.

SXSW Magazine Interview with Dave Allen

Monday, February 15th, 2010

SXSW Fight Portland

At last count, if I’m correct, I’ve attended the SXSW Conference at least 17 times, and on many of those visits I have been very grateful for the opportunity to speak on a panel. When Brian Zisk, a co-founder of the SanFran MusicTech conference, invited me to speak again on a panel in December, and also to join him on his panel at this year’s SXSW, I gave pause. 17 years is a long time, therefore that begs the question – what has all the talking, presenting, networking and mingling at SXSW achieved for the music industry/community at large? The answer to that is simple – it’s hard to know what, if anything, changed and even harder to quantify. Yet change came along anyway.

In that 17 year timeframe we all saw the rise of the more public face of the Internet, the nascent World Wide Web. And as Chris Anderson of Wired points out, “… the Internet is the once-a-century invention. The Web is just one application upon it. There are, and will be, others.” For music, as we know, this was a serious game changer. The labels blinked. Some musicians learned to use the web well and at SXSW in March 2007 David Byrne warned record labels that they must act very quickly and adapt much faster to the web’s promise. He predicted that by 2012, sales of music as downloads or through streaming services would strip the sales of CDs. He was very prescient.

I share his views but I also now lay the blame at the feet of the musicians themselves. There is so much more they could be doing if they fully embraced the social web with a strong, well planned digital strategy. Or, as I put it in this essay – Dear Musicians, Please Be Brilliant or Get Out of The Way.

What follows here is the full version of an interview I gave for SXSWorld Magazine. An edited version appears in the print and online magazine on page 58. The discussion centered around our company Fight and its approach to brand strategy and iterative marketing. Our ideas would work just as well for bands and labels. After all, they are brands too.

For the layman, how would you describe what your company does, and how it functions in relation to the changing online and media landscape?

Fight is a brand strategy company that works with clients to help them align their brand strategy both online and off. For too long, advertising agencies have been struggling with the asymmetrical online world. It puzzles them because they consider the web like TV, as if it has multiple channels. They see the web as packed with eyeballs all wanting to see their clients messages – that is totally untrue. Getting attention online is the key. One-way, controlled messaging is not the answer.

Fight approaches this problem by working with companies, setting realistic goals and targets, then moving ahead in iterative steps to see what is working. If all is well, we move to the second stage of the campaign – based on results. If something isn’t working we move back to the previous phase. We continue testing and analyzing throughout the campaign. The old adage of “build it and they will come” doesn’t work on the web. We want to show results and actual $$ ROI for our clients.

How does the social-networking aspect fit into this, and how can musicians make better use of it?

What needs pointing out is that “social media” is just an idea. [Edit: I prefer to use the term, Social Web] The term “social media” feels like it was dreamed up by marketers, who, believing the web is like TV, wanted to create “channels” to reach people online. Remember, as Chris Anderson of Wired wrote in a Tweet recently “the Internet is one of those ‘once in a century’ inventions and the web is just an application that sits on the Internet. There are, and will be other applications.” 

Social networks are simply places where people gather online. Anthropology takes care of the need for humans to be constantly in touch, technology just shortens the distance between us via, say, the web or mobile devices. Therefore, I’d argue, that bands need an online digital strategy worked out in advance. Having a MySpace page or Facebook fan page is not a digital strategy for musicians. Now that Google has delivered Google Music Search and Twitter provides real time search, I argue that musicians must now have their own url. If they did, then they would benefit from those searches by having their url come up in the results. If they don’t then their MySpace url will come up first. A digital strategy would ensure that the intended actions of a fan landing on the musician’s web page might include buying some music, a T-shirt or signing up to an email list. If you are just one of millions of bands on MySpace I’d say those are difficult result to achieve. All those social network tools should simply be used as part of a strong digital/online strategy.

How does your background as a musician and [former] label owner influence the way you approach these issues now?

I developed my thoughts and ideas about online music distribution over the last 15 years. I reached my current phase of thoughts and ideas after attending SXSW 2009 and realizing that musicians were using the web because of its zero barrier-to-entry model, but I felt they weren’t using it wisely. That was when I wrote “The End of The Recording Album As The Organizing Principle” 

In your SanFranMusicTech essay, you lay much of the responsibility for the current state of the music industry on musicians, rather than record companies, for not taking better advantage of the branding and social-networking opportunities available to them.  Could you expand on this a bit, and on what musicians can do to function more efficiently in the current climate?  Should artists be focusing more on building and developing their brand, rather than focusing on record sales?

I’m not sure that you’ve grasped the big idea behind the essay. I’m not saying that musicians should necessarily be using the web for branding and social networking opportunities, I’m saying that merely releasing a CD in 2010 will be a bad idea. The web should be used as one part of musician’s strategies for the music-release-as-an-event idea. Big thinking is required and unfortunately the thinking still remains small and cloistered around the old way of releasing a CD, as part of a release/reviews/tour campaign that is still a label mindset. The web isn’t suited to a ‘campaign’ strategy. Labels will argue “oh, but we use the web by posting videos to YouTube and getting MP3s to music blogs” but that is small potatoes I think. I know it’s a cliché, but Radiohead and NIN gave everyone pointers to how it can be done. Embracing those ideas is now up to musicians. If they don’t start to embrace bigger thinking, then musicians will definitely not make a living from their recorded works.

What are your goals and objectives for your SXSW appearance this year, and what issues do you plan to address?

I believe I have attended SXSW at least 15 times and I have been fortunate enough to have been asked to speak on panels for many of those visits. I always look forward to SXSW [especially now, as it has expanded into the Interactive world] and I arrive expecting to learn something new, which does happen occasionally. One example was being able to sit in and hear Clay Shirky remind a panel of journalists, book publishers and newspaper folks that “the internet is the largest group of people who care about reading and writing ever assembled in history…” 

That phrase of his could also be paraphrased as “the internet is the largest group of people who care about music ever assembled in history…” When musicians, labels and others paint music downloading as ‘piracy,’ ‘stealing’ or ‘illegal’ they are creating a “Fog of War” that is intended to serve one purpose that can be summed up as – We don’t understand how music lovers want to access music, nor do we understand how an eight year old girl today will want to access her music in future. Therefore we will continue to speak out in media catch phrases, instead of doing deep research that will allow us to understand, via real data, how better to serve new generations of music fans. 

My goal? That’s easy. I would love nothing more than to have a forward-thinking record label or band manager hire Fight, to help them be successful in a shifting online music world. Talk is cheap, action is required based on real information.