Posts Tagged ‘Media’

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.

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.

Rethinking The Newspaper: It Can Be Done

Thursday, May 14th, 2009

newspapersA recent Clay Shirky post, “Newspapers and Thinking the Unthinkable,” says that the newspaper as a business model is dead, killed by its reliance on industrial printing technology.  The future, he tells us, will be based on experiments in journalistic form and not any particular form of media, new or old.  Meanwhile, as I talked about in an earlier post, magazines are withering away from pressure on CPMs and reduced interest in advertisers.

My bet – or, as last as things move these days, this month’s bet – is that we’ll start to see a merging of the forms.

As Malcolm Gladwell writes in this week’s New Yorker, the biggest handicap that underdogs give themselves is engaging in competition on the terms of the stronger party.  An underdog’s chance of victory nearly triples if it finds a way to not play the game.  Right now newspapers – whether they admit it or not – find themselves the underdog for information distribution but still (so far) the best at obtaining information.  So why do they insist on sharing the same distribution models as their potential destroyers?

The New York Times' new reader uses AIR capabilities to flow text and show video. (Credit: Rafe Needleman / CNET)

The New York Times' new reader uses AIR capabilities to flow text and show video. (Credit: Rafe Needleman / CNET)

The New York Times is one of the best at this.  To my knowledge, it was the first with a dedicated iPhone application, it looks great on a Kindle, and its new Adobe AIR format is simply spectacular.  Still, as everyone knows, the Times is hurting and in talks with everyone from Google to Geffen to find a suitor.

So instead of wringing our hands about public trusts and eroding institutions, perhaps we should be asking of our Third Estate “What can you do to adapt?  Something basic to your business model that doesn’t play to the other guys’ strength?”  Here are a few I’ve thought about:

  • Does it really need to be daily? If people are already receiving a stream of real-time news everywhere they go and at their desks, do newspapers need to be real-time, too?  Local ‘alternatives’ with a more magazine-like format and deeper stories like the Bay Guardian and SF Weekly are well positioned to take over many of the essential local functions of a newspaper – and with lower circulation, their ad rates are less prohibitive, meaning they get the bar, restaurant and nightlife ads that are essentially blocked from big dailies.  Reliance on major retailers to be your biggest advertisers is a recipe for death in an era where retail doors will close continuously, like, forever.  (But what about the recent SF/LA closure of The Onion?  I’ll address that in a minute.)
  • Does the news need to lead? Every news site has a ‘Most Frequently Viewed’ or ‘Most Frequently E-Mailed’ feature.  Let’s face it.  It’s very rare that the top stories, even on the most serious sites, are today’s news.  (Or as SFist notes about the Huffington Post today: “Boobies.  Boobies.  Boobies.  Boobies.  Boob.”)  I would hate to see our locals ignore the news, but why couldn’t it be treated like a magazine cover – with offers of advice, news coverage, quizzes…  Things that reel the reader in.Here are today’s SF Chronicle leads:
    *  A stricter, drier Bay to Breakers
    *  Craigslist cuts ‘erotic services’ section
    *  If state cuts too deep, it loses stimulus funds
    *  Senate testimony sheds light on alleged torture
    *  Young boost diversity as population ages

    Seriously, not a single one of these lines would sell a magazine at the checkstand.  No editorial viewpoint expressed, no help offered… simply no answer to“Why buy?”  Why not feature elements from throughout the paper?    “Take your medicine, it’s good for you” doesn’t work for marketers in any other industry, including medicine.  Why is it the norm here?

  • Does it need to be shaped like a newspaper? Why not a glossy cover?  Billions of magazines have done just fine that way.  In particular, I’m a fan of The Atlantic and The New Yorker’s newsstand strategy: a single compelling image with a flap violator that entices the reader to pick up the magazine and look inside.
  • Can it be targeted better than ‘It’s local, it’s yours’? In printing ‘All The News That Fits’, newspapers lose the single biggest weapon a marketer has: the freedom to select an audience.  It’s wonderful that the Chronicle expresses the region’s diversity and interests, but I think it’s fair to say that the news interests of, for example, a 70-year old woman in the Sunset and a 25-year old man in The Mission are very different.  So how come the same information in the same format is being sold to both?  Using copy splits, could different front pages go to different neighborhoods – and not just regional sections to outlying areas?
    It’s also worth noting that this could open up new revenue streams.  In my opinion, one of the seeds of the demise of The Onion in SF/LA is that it didn’t take the thinly-veiled prostitution ads that are easy money for the Bay Guardian and SF Weekly.  With CraigsList now discontinuing those same ads, that’s a lot of advertising cash set free.  Where will it go?  Well, if you had a well-targeted newspaper that didn’t need to worry about offending its audience with certain content/ads, you just might be able to scoop it up.  So, yes, I’m imagining a world where “Candy TS Outcalls” replaces Macy’s.)
  • Further, why is it serving so much of the area? In an era when advertisers pay more for the specificity of an audience, why is the San Francisco Chronicle the leading paper of Contra Costa County?  And Oakland?  And most of remote Northern California?  Surely some of these readers are more profitable than others.  And those that aren’t can get their news somewhere else.
  • Does every copy need to have the same content? When I received the Sunday paper, the first thing I did every week was throw away 50% or more of it.  Why not allow a la carte sections?
  • Is it automatic for its customers – and especially its best ones? Mark Cuban – who got me thinking about this originally and reels off another thousand or so ideas in his blog post on the subject – points out that his local paper was blowing one of the very basic elements of keeping him engaged: pricing policies.  Aside from receiving no volume discount, Cuban says that the billing policies discourage people from staying involved.  Why aren’t subscriptions annual – or far more?  In the core areas, closest to the printer and the most attractive identified customers, especially those that own their home and are less likely to move, why not offer 5 years, 10 years, even a lifetime subscription?
  • Finally, what unique advantages can newspapers bring to ‘real-time’ media? Yes, there’s still an opportunity for symmetric warfare for newspapers.  My old colleague Sebastian Provencher at Praized Media recently blogged on just this with regard to the Yellow Pages, but it applies equally well to local paopers.  His 2300-word post on real-time information flow between local merchants and customers should be required reading for local media outlets that seeks to make its revenue from being an intermediary in these relationships.  You should have a look, but I can boil it down to one tantalizing word: souq.

I’m curious for your thoughts on this since I know my few readers are newspaper lovers, too.  Don’t forget to comment!

Magazines Giving Up; Tabloids To Come?

Wednesday, April 29th, 2009

As an old print hand, the collapse of the magazine business model has been a sad thing to observe and play a small part in.  The typical big US title – think something you’d pick up at the airport or (tellingly) from a waiting area –has staked its business for decades on printing & distributing tens of thousands of unprofitable copies with the assurance that an attractive audience would be worth CPMs of $30 and up to advertisers.  The very largest titles could afford lower CPMs approaching television so long as there was enough demand for copies.

portfolio_As anyone who follows media knows by now, magazines have been hit with a triple-witching the last few years: collapsing CPMs for even the most difficult-to-target audiences (in light of the targeting capabilities of the Internet) and plus collapsing advertising page sales; slackening demand; and rising distribution costs.

The big bellwether is now upon us.  Conde Nast, really the last of the big-spending believers in magazine, first quietly packed off Domino and a few other titles and, more dramatically, this week closed Portfolio, for which the company had reportedly spent over $100mm to launch.  (Portfolio was a poorly-timed entry – a well-written glamor magazine about business caught up in, well, now.  But it was also schizophrenic.  Despite being targeted at business elite, it was also weirdly basic; a column in the first issue, for example, explained how interest rates work[?!?!].)

While most attention has been paid to falling ad pages, it’s really the CPM problem that most fundamentally egs the question of whether the magazine industry will get anywhere close to its old business model ever again.  Publishers formerly charged $30-100 to reach a hard-to-reach passionate target – say, ukulele players – while now that CPM on AdWords is not just catastrophically lower but also available by auction.  In other words, not just the price is better; it’s the buying process, too, with better information creating a more efficient market.

So what for magazines to do?  The most obvious choice is simply to start charging readers, which is what many of the newsweeklies are now trying to do.  Any subscriber to Wired can see that they are getting their magazines at a steep unprofitable discount.  ($12 for 12 issues written, designed, printed and mailed?  Probably more like $30.  Printing and postage alone is probably well more than $1.25 per copy.  I’ve long said that Conde Nast magazines are one of the great bargains of American life, like home plumbing and the US mail.)

But the reality is that it’s going to be a very hard road to convince readers to pay after being trained into receiving content for free (the Internet) or near-free (magazines) for their entire lives, no matter how great the reporting or photography.  In the face of low demand, we’ll see massive changes in how these magazines work in the next few years – maybe months.

Another possible answer could come from the manufacturing side.  The biggest challenge with magazine business models as they stand stems from their battleship-turning nature.  It takes a long time to build circulation to get to a saleable advertising proposition; it takes an equally long time to deflate that unprofitable circulation when the ads dry up.  (This is why you’ll see big circ magazines like George suddenly disappear.)

HP recently debuted a service called MagCloud that could potentially democratize the industry by allowing easy creation of micro-targeted magazines – for example, not just for the ukulele player but for left-handed ukulele players living in the Midwest. A more nimble manufacturing process could allow more short-term plays; imagine for example “100 Days” magazine to follow the excitement around the new President, killing it just as readers start to tire of it.  Magazines may survive in fact by forgetting about brand-building and going after hot content.  In short, a return to the tabloid times of our Founding Fathers.   More on this in a coming post.

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