Archive for the ‘Arts Biz’ Category

Fela! and the fourth wall challenge

Friday, February 26th, 2010

Fela musical

Musical? Rock concert?

Last Sunday I had the privilege of attending a matinee of Fela! at the Eugene O’Neill Theater in New York.  I can’t recommend the show enough.  Telling Fela Kuti’s life story through a simulated night at his club/compound, The Shrine, the Broadway production isn’t just one of the best shows I’ve ever seen but also one of the best concert experiences.  If you have even a shred of interest in the man, his music or good ol’ fashioned spectacle, you must see this.  Don’t be that guy in “He Miss Road.”

The performers and set spill into every corner of the theater and virtually – no, in actuality – beg for audience engagement and participation throughout.  There is even a moment in the first act in which Fela invites the crowd to storm the stage.  This moment passes quickly and is done so subtly that I think most people, including the theater-savvy group with whom I attended the show, can easily miss it.  It’s clearly a charged moment for the performers, though, as they need to wait a moment to see if the audience will respond – but also be able to play through seamlessly to keep potential awkwardness to a minimum.  The musicians keeps riffing and if nobody moves the show goes on.

At the intermission, I asked one of the ushers if the weekend night crowds respond differently.  Oh yeah, some of the audiences are there to paaarty.  My Sunday afternoon brethren were a quieter bunch for sure.  What a performing challenge for the actors & dancers in a tightly choreographed show to have such an unpredictable element built into the show!

Another way that Fela! tries to break through the traditional Broadway audience dynamic is through an insert in the program inviting audience members to drink throughout the show.  The bar in the rear stays open and you are explicitly told its OK to have beverages at your seat.  In the spirit of the show – and, well, because I can’t imagine going to a rock concert without a tasty adult beverage – I made my way to the back bar towards the end of Act I.  Not only was I the only one in the theater to do so but the bartender seemed totally baffled by my presence, ignoring me even though I was her sole customer.

I don’t blame the audience for being confused.  The marketing on the web and around town still follows the formula of most Broadway musicals; it won this many Tonys, blah blah blah.  It makes me wonder how the show has decided to target its potential customers.  Would it be better getting the startled tourists and traditional theatergoers who have been taught to sit there and passively enjoy the show; or make outreach to younger audiences – or even traditionally more participatory groups like those found in gospel churches.  (Perhaps I’m so far away from this target that I can’t see the campaign?) As John Lennon legendarily said when he performed for royalty, “Will the people in the cheaper seats clap your hands? And the rest of you, if you’ll just rattle your jewelry.”

So two lessons to take away.  First, no matter how much a show gives permission, it takes a lot to get an audience out of generations of ingrained viewing habits.  It’s hard to imagine a show with more energy, intelligence and pure uplift than Fela! – and still the crowd stayed seated until the curtain call.  (Me and my friend hooted for an encore, which only seemed to confuse our section-mates.  Isn’t that what you do after the set ends?)  Second, if you’re going to see Fela!, try for a weekend night!

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  • Discount tickets for Fela!
  • “By the end of this transporting production, you feel you have been dancing with the stars.  And I mean astral bodies, not dime-a-dozen celebrities.”New York Times

With Lala acquisition, Apple aims to own the Music Cloud

Tuesday, December 8th, 2009

It could well be that I’ve missed this analysis – goodness knows there are a few newsies and bloggers that follow Apple – but the main point of the Lala acquisition may have gone over their heads for one key reason: the folks initially reporting the story haven’t actually tried to use Lala.

One of the key reasons to register with Lala is the right to stream music that you own to any computer: a great service and potentially world-beating if you can make it happen on portable devices as well.  (‘Ownership’ is defined as having a copy, regardless of how you might have acquired it.)  The catch – and it’s a big one – is that you have to download a program from Lala that reads your MP3 library and uploads ID information from each of your files.  If you have a large library, it’s an absurdly long process – I gave up in an hour with less than 5% of my collection read.  Even for a modestly-sized library, the upload routine is still odious, time-consuming and puts the onus on the user to do too much work.

(Aside: Why is this legal now for Lala but when the original MP3.com had a similar service back in the early years of the decade it was immediately sued out of existence?  That was even worse for the user; you had to download software and then insert all of your CDs for identification. At least in that model you had to prove you actually owned a physical – and presumably ‘real’ – CD. Puzzling.)

Apple, however, via its Genius feature in iTunes already knows what MP3s are in its users’ collections, which means it could be just a flip of a switch to allow users access to their music anywhere on any connected device.  If the purchase price really is as little as $17mm (as Techcrunch reported today), this is a total bargain to bring down one of the chief barriers to quick leadership in the “Stream Music Everywhere” market – not to mention avoiding all the negotiations Apple would have needed to go through with the copyright holders.

Pandora, Mog, Spotify, Last,fm and everyone else in the market may have just been trumped.  Lala’s current feature set added to iTunes takes Apple from nowhere to everywhere in single update for software that’s already ubiquitous. Small wonder that today’s gossip sees Pandora running like hell to expand its business into the car stereo market.

Nick Hornby, McSweeneys, E-Readers and Cultural Elitism

Friday, October 9th, 2009

Last night I attended an author event in San Francisco where Nick Hornby was interviewed by Dave Eggers.  Towards the end of the evening, an audience member asked Hornby’s opinion of E-readers.  A palpable shudder went through the crowd; you could feel the room waiting and rooting for the bash to come.  Hornby went one better, bringing up the new ‘Vook’ debuted by Simon & Schuster earlier this week.  The crowd hissed, groaned, booed.  It was the kind of reaction that San Franciscans usually reserves for Republican party leaders.

Essentially what the crowd and the speakers agreed on was that there is something negated from the reading experience when you move from a book, which is singularly dedicated to the content at hand, to an electronic device, a more promiscuous format for lack of a better term.  Think for example – as Hornby did – of the difference in experience between playing a record and selecting an album to play on an iPod.

Even as a Kindle user, I’ll be the first to agree that consuming content on a Kindle is a much different experience than from reading an actual physical book.  In my mind, carrying a book around is the last stand for analog content; I long ago came to think of music and movies as files or folders, but until recently I had never thought that way about books.  In a discussion led by Eggers, the founder of an imprint that publishes some of the world’s most physically beautiful books, there is bound to be some bias towards the aesthetic experience of buying, holding and reading a book.

The most striking thing about the Kindle Bestseller list about it is its utter dominance by serial fiction – the stuff you find in supermarkets by popular authors like Janet Evanovich, Richard North Patterson and so forth, plus right-wing screeds by the likes of Glenn Beck and cohorts.  What the [ahem] cultural elites fail to understand about these books – the actual physical books – is that they are produced to be the very worst of aesthetic experiences in publishing: poorly bound, grey-papered budget paperbacks.  For devotees of these kinds of books, the Kindle actually represents an enormous step up from what they’re given today.  It’s not for nothing that Goodwills and St Vincent De Pauls are piled high with mass-market paperbacks selling for a dime each.  Nobody wants these when they’re done and there’s no meaningful secondary market.  They’re consumed and then they’re trash.

So when a San Francisco crowd starts booing a delivery device for popular fiction because it’s some kind of lowering of their standard of what a book should be, I can’t help but compare it to the same ‘cultural elitism’ that makes it impossible for them to understand the appeal of a George Bush, Fox News, or any mysteriously popular icon of so-called Red State America. E-readers are the most democratic of devices, moving the words and ideas in books out of their hallowed packaging and leveling them for all readers.  As Hornby himself discussed, there’s nothing wrong with having books be easy to read and fun for all; it’s the very cornerstone of his considerable success both as novelist and frequent Hollywood adaptee.

There will always be a market for books so long as people crave them as a key aesthetic element of their reading experience. Boutique houses like McSweeney’s may be well prepared where publishing is going: beautiful editions for those who need that experience, just as there continues to be a market for vinyl records for a certain kind of collector.  But “Democracy In America,” the kind you find in supermarkets, will increasingly go electronic.  Deal with it.

The Who Sell Out. They All Sell Out.

Monday, September 21st, 2009

The_who_sell_out_album_frontOriginally released in 1967, The Who Sell Out received the Deluxe Edition reissue treatment earlier this year –  and it could not have come at a more prescient moment.  As the music industry’s revenue continues to fall and fall and fall, some of the cleverer music marketers are seeking new ways to promote their artists and even create new revenue streams from them.  Who knew that a psychedelic classic from 1967 would provide the template?

Sell Out was The Who’s fourth LP and the band’s first attempt at a full-length concept album.  The schtick was that the album was really a radio show complete with interruptions for station IDs and commercials.  (This also made for a clever way to gloss over the production problem of the album’s schizophrenic body of songs – everything from Beach Boys pop to proto-metal.)  Underlining the “sell out” concept, many of the ads were for brands they loved with the hopes that Premier Drums and [ahem] Jaguar would shower the boys in the band with free product.

The album’s conceptual centerpiece is the track where it all comes together.  “Odorono” sounds like a sweet if overdone Byrds-y pop track with a curious narrative about a female singer’s big debut.  It’s not until the last line of the song that the curtain is pulled back to reveal that the whole 2+ minute song is an advert for deodorant.

Listen: The Who – The Who Sell Out

wrigleys-dumps-chris-brown-doublemint-gum

Of course that’s all performed as a sly joke.  But recent events have brought product placement in pop songs into the spotlight as a legitimate brand-builder.  Most notably Chris Brown’s “Forever” was revealed to be a jingle for Wrigley Doublemint Gum only after the track had already launched into the Top 10.  (Perhaps we should have noticed earlier because of the chorus: “Double your pleasure/double your fun”). “Forever” also shows in the most dramatic way possible the pitfalls and opportunities inherent in latching your brand to a pop song.  As anyone who has passed through a supermarket checkout lane in the last five months would have seen, Brown’s reputation is now tattered following a domestic violence incident with his then-girlfriend, Rihanna, and Wrigley subsequently pulled his spots out of rotation.

Out of the blue, “Forever” was hijacked by a viral video that has become one of 2009’s biggest hits, “JK Wedding Entrance Dance,” now standing at over 25 million views and providing Brown’s song an unexpected return to the iTunes Top 10 singles chart.  Reflecting on how the private lives of artists impact their professional output is often a fool’s game, so we should probably look past using a love song by a convicted girlfriend-beater for a wedding.  But one wonders if Jill & Kevin were aware how much of a role Wrigley played at their (now very public) nuptials and how much free publicity they would be giving the gum.  (Or do they work for Wrigley?  Now that would be brand dedication: product placement at your wedding.)  One thing’s for sure: Google noticed – and turned “JK Wedding Entrance Dance” into a case study for monetizing YouTube content.

Def Jam, meanwhile, is taking a different tack by reminding publishers that its products often have many more eyeballs than famous magazine and web brands.  To that end, Mariah Carey’s new album will include a 34-page mini-Elle magazine – while Elle will feature a 14-page spread about the album.  “We sell millions of records, so you should advertise with us,’ ” said Antonio “L.A.” Reid, IDJ’s chairman. “My artists have substantial circulation–when you sell 2 million, 5 million, 8 million, that’s a lot of eyeballs. Most magazines aren’t as successful as those records.” And, he might add, hit records have a lot more shelf life.  Just ask Chris Brown.  Or The Who.


Book Publishers: Embrace The E! (or else)

Thursday, July 16th, 2009

Yesterday The New York Times reported on book publishers’ discomfort with releasing books simultaneously as E-books and through traditional channels.  One idea, not supported universally, is to release E-books later than hardcover editions in the same manner that paperbacks are held back for at least a year.  The reason proffered is to preserve the initial $20-35 hardcover price versus the $9.99 becoming commonplace for E-book editions.

sQ1EMoVD81yp2ywxp7yFX4gt_500The ‘hold-back’strategy is ridiculous and totally ignores how most readers actually use their books.  While E-Books only represent a small slice of total sales today (but growing fast), there’s little question that somebody willing to shell out $200-300 for a ‘reading device’ is likely to be a passionate reader.  As one of those, I would surmise that many of the sales on E-Readers are actually incremental to publishers’ income, keeping people like me away from used book stores and libraries.  That’s where the E-Books goldmine is for publishers: not in keeping existing sales but in diverting money away from long-standing secondary and ‘free’ markets.  While its true that publishers get a nice arbitrage gain from the de facto DRM of a first-edition hardback (tough to reproduce cheaply, tough to read freely in its reproductive form), that gain can in turn be picked up by the reader upon completing the book by selling it or trading it.  An E-Book edition is essentially non-transferable.  I pay less – and perhaps the publisher makes less – but its fungibility also destroys its secondary market value.

Take, for example, my current reading: Infinite Jest.  It’s been fifteen years since it was first published, so there are plenty of used copies out there for around $10 and libraries consistently stock it, while a new copy runs $16.  Because of its ease of delivery and portability, I elected to get the $10 Kindle edition with the publisher getting some profit and no incremental printing costs.  Had I purchased a used copy, I would likely have resold it later for half-price – meaning no profit for the publisher, virtual cost of only $5 to me and $10 profit to the used book store (for selling it twice at 50% profit).  So where is the advantage to the publisher in holding it back?  It’s simply ceded its ability to profit off of its back catalog.

This is one of the central mysteries of Kindle Store availability to date.  It features plenty of hot new titles, but the back catalog titles is still mysteriously empty with many major authors most famous works; Roth, Mailer, Pynchon, Heller and Updike just for starters.  Wouldn’t a great cut-rate selection be a great source of found profit with barely any incremental cost?  I understand there may be unanticipated contractual issues (a la last year’s Writer’s Strike over web royalties), but the longer they wait, the more the price will drive towards Zero (as it did for the music industry and iTunes).  Already sites like ebooksbay.org are popping up with ‘free’ back titles.  (I found a fully convertible PDF copy of Gravity’s Rainbow last weekend.  There goes a lost sale.)

Click here for free Free

On this very same day by coincidence, Chris Anderson’s Free: The Future Of A Radical Price was released for free on Kindle and immediately shot up to #1 on the Kindle sales chart.  I’ll leave his argument for other bloggers, but in Anderson’s eyes, he’s able to do this because he (and presumably his publisher and agent and c.) can use it as a platform to make money other ways: speaking fees, leverage at his job, increased opportunities generally.  This is also the direction the music industry has taken with its ‘360-degree’ contracts for its biggest artists; Live Nation taking a cut of all of an artist’s revenue streams, from ticket sales to licensing.  The book publishing industry needs to figure out its ‘Freemium’ strategy quickly.  As a post on Mashable points out this morning, not all Free business models are created equally.  People will pay (as I have done with IJ) for convenience or added value.  What can book publishers bring to the table?  Figuring this out quickly before E-Readers become commonplace – look for them to spread like wildfire among textbook-toting students – is absolutely urgent for an industry that’s lived off the same industrial-based business model for hundreds of years.

The Kindle Store’s Magazine Salesmanship Needs Work

Tuesday, July 14th, 2009

First in a series of posts about adapting to life with a Kindle 2

One of the things I most looked forward to in my Kindle was the magazine store.  For a fraction of the cover price in most cases, the full text of a magazine is quickly and seamlessly downloaded to your Kindle.  If you order a subscription, each new issue supposedly turns up automatically upon publishing.

For publishers, you’d think this would be a great deal: distribute a copy with no physical costs, satisfy your hungriest readers, allow inexpensive sampling and get a few more eyeballs on the advertising.  (Disclosure: I have no idea what Amazon’s deal points are with publishers.)

In its actual use, however, the Kindle Store seems to be doing everything possible to frighten away new potential readers.  The Kindle Store, from which every issue is sold, is a neglected sad piece of real estate that does little to provoke buying.

First, KS forgets the basics of single copy sales: featuring what’s actually in an issue.  Instead of that week’s cover lines and an illustration, you get a narrative of what the magazine’s history and its mission statement.  So instead of buying Newsweek with this review and that think piece and such-and-such’s guest column, you’re faced with a black box.

The review system doesn’t help either.  It appears to be entirely unmoderated.  I found one one-star review that said I love the magazine but I’m canceling to save money.  How is that a review of issue content?

On such a small screen, of course I don’t expect the full featured infographics that are the one true unimpeachable USP of magazines, but I was surprised to get no illustrations whatsoever. The New York Times is able to provide photo lead-ins for its Kindle-formatted issues, why can’t The Atlantic?

Finally, the pricing structure is bizarre.  A single issue of Newsweek at 49 cents is an awesome bargain.  But The Atlantic charges a monthly fee even though it does not publish monthly; it’s a 10x.  Worst of all, the just-added Economist has a single issue price of $5.49, which pretty much says Stay Away, Do Not Buy Me in the competitive arena of the Store.  I’d also saw the discrepancy makes its competitors also look like it does not value its content highly enough since there are no ad impressions attached at this point.  I appreciate that the pricing is probably set by the publishers, but some iTunes-style guiding hand could help a lot here.

I know the Kindle DX is supposed to amending many of these issues with its larger screen and greater graphic capabilities, but expecting me to pay $480 to get a better magazine delivery system is just not going to happen.  In the meantime, Amazon should spend a little time in the Kindle Store making the magazines and newspapers a little more enticing.  You know, with marketing.

Preparing for the brawls over The Beatles Rock Band

Monday, April 13th, 2009

Virtually unremarked upon in the hullabaloo last week over the imminent reissue of The Beatles catalog is its tie-up with Rock Band.  Obviously for marketing reasons its no coincidence that The Beatles Rock Band will arrive on the same day: September 9, 2009.  (Prepare for “Number nine, Number nine, Number nine” to feature strongly in the build-up.)

A number of commentators have remarked that these CDs may represent the last great CD release, a tombstone for a dying format.  Based on Aerosmith’s phenomenal success with Guitar Hero, which made the band more money than any of their albums, the CDs are not the real reason we’ll be seeing this push.  In that case, why not just put out The Beatles Rock Band out this year and then create another major marketing push for the CDs (or DVDs or downloads or what have you) in 2010?

My hunch is that The Beatles currently available CDs – rushed on to the market with barely a remix in the late ‘80s – were too lo-fi as they stood to be released on to machines providing high-fidelity experience like Xbox 360’s or PlayStation 3’s.  All of my friends who play Rock Band-like games have their consoles hooked to their stereos, not just their tiny TV speakers.  And when played after the loud, bright, often surround mixes demanded by these environments, The Beatles recordings will sound at best mid-rangy and at their worst completely colorless.  Through 1966, all the vocals were on one channel, the instruments on the other, which means that all the new Stereo and Surround mixes to come will be 2009 inventions.

So as the sonic quality comes up to par, expect not just a Beatles marketing blitz, but perhaps a whole re-evaluation of their work and ability as musicians – not to mention, a huge online war between the purists who think the 2009 stereo remastering paints a mustache on Mona Lisa and others who feel like “we’re hearing The Beatles for the very first time.”  (Another rank unfairness against their brethren like the Rolling Stones and The Who, both of whom put out fantastic-sounding remasterings chock full of extras earlier this decade to little fanfare.)

Another prediction: expect new respect for Ringo’s contributions.

The collector’s paradox

Thursday, May 25th, 2006

warhol%20can.jpg

Only a week after David Byrne lamented the end of packaging — oh, and let us know that record packaging was all just record company artifice to begin with — The Residents released their plan to Take Back Your Shelf Space. Their new album will be sold as a presumably amazing-looking 2-CD set at the Museum Of Modern Art, among other exclusive venues. This is the part where it gets tricky: the CDs will be blank and the purchaser is supposed to burn them himself!

This brings up the classic collector quandary: will this set be worth more if you keep the CDs new & pristine or if you burn the limited-availability media to its proper medium? (The Residents intimate that the recorded material may disappear after December 2007) Back in the day of the Velvet Underground banana, the answer might have been obvious (save, of course, for all the confused/stoned people who peeled and lived on to regret it), but this opens up a whole new collector’s edition can of worms.

Speaking of which, the collector’s can sold for $11.7 million.

River of Crime poised for odd release plan

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