Some people might be embarrassed if their friends found an old copy of Mr. Big's "To be with you" or Paula Abdul's "Cold hearted (snake)" stashed away in their CD collection. But not EMI. They own those songs, and they want the world to know it.
The music giant is suing social-networking site Hi5, video advertising start-up VideoEgg, and 10 unnamed defendants for allegedly infringing on the copyrights of those and hundreds of other pop throwbacks.
The lawsuit alleges that Hi5 users have uploaded and disseminated hundreds of music videos the company owns rights to. VideoEgg is on the hook because it's a former partner of Hi5, and those allegedly infringing videos were uploaded to its servers. (On May 31, VideoEgg stopped hosting videos uploaded by the public and refocused efforts on its ad network, prompting rumors that the company was on its way out.) The lawsuit doesn't say much of anything about who the 10 John Does are.
The companies had attempted to work out some kind of deal for more than a year, a source told TechCrunch, but those efforts eventually failed.
Crowdsourcing has entered the mainstream big-time. It has become daunting to find a brand these days that does NOT have some crowdsourcing program in place.
My Starbucks Idea is just the latest example: Starbucks asks its consumers for advice, and besides certainly receiving a lot of good ideas, the troubled coffee chain makes consumers feel part of the brand remake.
It's the same template as usual: engage your community, harness its creativity, and let it create the content for you.
It works, sure, but it's getting stale. For some reason, marketing trends take two to three years before they are fully embraced, but if they are, then they become annoyingly ubiquitous (remember the "Tipping Point"?).
The reason is simple: Marketing executives are notoriously risk-averse (Seth Godin once reckoned that only if you're willing to put your job on the line will you do something truly innovative in marketing), and a model like crowdsourcing provides the right balance between safety net ("many others are doing it") and cutting edge ("crowdsourcing?" the CEO shrugged).
Crowdsourcing was a disruptive innovation two years ago, but now it's time to innovate crowdsourcing. It is a viable trend that has implications far beyond the marketing profession, but someone needs to take it to the next level.
So in the spirit of crowdsourcing, let me ask you: in the next stage, what could be a more innovative application of crowdsourcing?
Timothy Schigel is the founder and CEO of ShareThis, which "lets people easily share the things they find online, in the most convenient way possible." ShareThis consolidates address books and friend lists, so that anything can be shared immediately, without even leaving a Web page. Since its launch, the ShareThis button has been installed by thousands of publishers, generating 100 million plus views from more than 26 million unique users every month.
Timothy has led technology investing for the past 10 years at Blue Chip Venture Company, an early stage venture firm with $600 million under management, investing in leading companies such as Advertising.com, Nielsen Buzzmetrics, and Third Screen Media. Prior to Blue Chip, he was a technology entrepreneur and international consultant leading innovative projects for Apple Computer, Hitachi, Hallmark Cards, Motorola, and Procter & Gamble. Tim received his bachelor of science in electrical engineering from Case Western Reserve University.
How do you define "innovation?"
There are degrees of innovation, but at its core I would submit that innovation is the result of applying a non-obvious modification to a system resulting in improvements to quality, performance or cost that exceed current expectations. Breakthrough innovations seem to change our definition of a system or product itself.
What are the most important areas of innovation in your organization (product, process, IP, marketing, etc.)?
In our case I would say that "perspective" is the most important area for innovation. Once you have redefined the problem, opportunities for innovation seem to be everywhere. In addition, applying state-of-the-art science to new problems creates real proprietary advantage.
What would you consider your most successful innovation? How did you "find" it?
Disconnecting the process of sharing from specific content and communities, which was found through conversations and observations with stakeholders which exposed limitations and challenges of current systems.
Which innovation "failure" did you learn the most from, and why?
Pushing a technically elegant solution into a market that was not prepared to embrace it. This experience demonstrated the need for several factors to be true for market success, most importantly timing. Good ideas should be tested as early as possible and pursued if the demand is compelling and urgent.
What lessons can you pass on to others from how your organization has changed to make itself more innovation driven?
It's still early for us, but I would suggest that continuously asking the question "what problem does this solve?" keeps the organization focused on what's important. In turn, focus drives opportunities for innovation.
In your opinion, what are the biggest barriers and challenges that stand in the way of organizations becoming more innovative?
Losing focus. It's easy to be distracted by things that really don't matter at the end of the day.
Beyond your organization, who do you admire for risk-taking innovation, and what do you think makes them successful?
Steve Jobs. He's willing to take big risks. I admire someone who knows his customers, but is also willing to lead and follow his or her intuition. It's very similar to the creative process in art or music. Most of the best-known music was created because the author liked it and thought it was good. Polls and opinions can only take you so far.
What innovation are you still waiting for?
Teleportation.
With everyone becoming a producer in the YouTube age, self-branding ("The Brand Called You") has evolved from a fancy to a necessity.
Andy Warhol's 15 minutes of fame have shrunk to 5 seconds of microfame, and in the contained public arena of social networks, amateur paparazzi--thanks to the viral nature of social media--have the power to grant celebrity status. That, in a nutshell, is the thesis of Clive Thompson's poignant piece for Wired on the rise of "microcelebrities."
As Facebook walls make personal communications open to the rest of your trusted network, even your most private moments become public relations. What used to be said in e-mail is now "the writing on the wall." This radical transparency lets more and more Internet users nurture their image, manage their privacy, stage their public appearances, and distribute carefully chosen content to their circle of online friends.
PR professionals will have mixed emotions about this trend, as the borders between profession and confession are increasingly blurry. Thompson quotes Theresa Senft, a media studies professor and one of the first to identify the rise of microcelebrities: "People are using the same techniques employed on Madison Avenue to manage their personal lives. Corporations are getting humanized, and humans are getting corporatized." And he writes: "In essence, I'm sending out press releases. Adapting to microcelebrity means learning to manage our own identity and 'message' almost like a self-contained public-relations department."
The growing sophistication for managing one's online reputation is supported by the findings of a recently released study by the Pew Internet & American Life Project, stating that Internet users have become more aware of their digital footprint: In 2007, 47 percent searched for information about themselves online, compared to just 22 percent in 2002, and 60 percent of U.S. Internet users surveyed were not concerned about how much information is available about them online.
This stands in stark contrast to the 84 percent, who, in a similar study in 2000, had expressed concern about third parties getting personal information about them from the Internet. Teenagers, the Pew study shows, understand the implications of their digital footprint best, protecting their privacy by using pseudonyms or private accounts, and locking personal details into "walled gardens."
Everyone wants to be a designer. That's the value proposition of JuJups.com, a new online service claiming it will allow consumers to design their own personalized and customized 3D content. 3D printing, as the underlying technology is called, is a form of rapid prototyping that builds up three-dimensional objects by "printing" successive layers of materials (polymer, cells, sugar, etc.) on top of each other.
(Credit:
George Hart)
As a recent Wired story points out, 3D-printing technology has been around for a while, mostly used by professional design firms and design-intensive businesses such as automakers, handset makers, and aerospace companies. Recent advancements have enabled the technology to "print out" fully functional finished products, leading to a remarkable boom in equipment sales: according to market research firm Wohlers Associates, 8,000 machines, or 36 percent of the industry's two-decade worldwide sales total of 22,000, have been sold in the past two years alone.
Multi-material 3D printers, capable of producing 3D parts and assemblies made from different materials in a single build, are hitting the market, and companies like Freedom of Creation (FOC) are paving the way for making rapid manufacturing technologies accessible for consumers.
In addition, a steady drop in the price of printers has spawned many new businesses trying to push 3D printing into the consumer market: 3D Outlook Corporation is selling 3D models of mountains and other topographic 3D maps for prices below $100, catering to hikers, resorts, and real estate firms.
Companies such as Fabjectory and FigurePrints produce 3D models of virtual characters (from virtual worlds or games). SolidWorks, a U.S. unit of Dassault Systemes SA, a French maker of design software, has launched Cosmic Modelz, a site that lets kids use 3D printing technology to create their own customized action-figures. And now JuJups wants to step aggressively into the emerging market with a Web-based 3D-printing service for everyone.
The JuJups site, however, currently only offers customized designs of photo frames, which it then prints out on 3D color printing machines and ships to customers. Although the company says it plans to expand its printing capacity to support the growing demand for customized objects including giftware, memorabilia, toys, etc., it is a little odd that it put out a bold announcement (for immediate release) of an offering that is apparently not quite ready for prime time at this point.
The JuJups example shows that there's still a gap between hype and reality when it comes to 3D printing for consumers. Trendwatching, and other trend-spotting media (Times Online, Post-Gazette, Make) have long propagated "MIY" (make it yourself) culture as a key trend.
Terry Wohlers, president of Wohlers Associates, says 3D printing is the fastest-growing part of the rapid prototyping industry. Wired believes it is witnessing a design revolution. Earlier this year, Glen Emerson Morris, a technology consultant, predicted in the Advertising and Marketing Review that 3D printing (or desktop manufacturing, as he calls it) would hit the consumer market big time: "It will likely have an impact on society, politics, and business as great or greater than the Internet. So, fasten your seatbelts. This is going to be a really wild ride."
Morris argued that "one of the reasons consumer use of home 3D printing, better described as desktop manufacturing, is likely to take off quickly is that there is very little manufacturing being done in America anymore. As a result, there will be very little pressure by manufacturing special interests against it."
And yet, we're still sitting here with our seatbelts fastened--but the wild ride has yet to occur. Aside from the above-mentioned niche sites, the big mainstream push from Generation C (C = content) to Generation 3D has been lost somewhere along the way. When will big retailers start to add 3D printing features to their sites? Where are the powerful brands or smart start-ups embracing the model? When will see the YouTube of 3D printing?
(Credit:
Exhibitor Online)
A new study from Nokia predicts that by 2012, a quarter of all entertainment will be created, edited, and shared within peer groups rather than being generated by traditional media.
Jointly conducted with the trend research firm The Future Laboratory, Nokia's study asked trend-setting consumers from 17 countries about their digital behaviors and lifestyles. The company also used information gathered from its 900 million customers as well as views of leading industry analysts.
"From our research we predict that up to a quarter of the entertainment being consumed in five years will be what we call 'circular.' The trends we are seeing show us that people will have a genuine desire not only to create and share their own content, but also to remix it, mash it up, and pass it on within their peer groups-- a form of collaborative social media," says Mark Selby, vice president of multimedia for Nokia. Nokia pinpoints four emerging trends that propel this kind of "circular entertainment": immersive living; geek culture; G tech; and localism.
Selby continues, "We think it will work something like this: someone shares video footage they shot on their mobile device from a night out with a friend. That friend takes that footage and adds an MP3 file--the sound track of the evening--then passes it to another friend. That friend edits the footage by adding some photographs and passes it on to another friend and so on. The content keeps circulating between friends, who may or may not be geographically close, and becomes part of the group's entertainment."
Tom Savigar, trends director at The Future Laboratory, adds, "Consumers are increasingly demanding that their entertainment be truly immersive, engaging, and collaborative. Whereas once the act of watching, reading, and hearing entertainment was passive, consumers now and in the future will be active and unrestrained by the ubiquitous nature of circular entertainment. Key to this evolution is consumers' basic human desire to compare and contrast, create and communicate. We believe the next episode promises to deliver the democracy politics can only dream of."
Of course, you have to take surveys sponsored by big brands with a grain of salt. Nokia's intent is obviously to ride the wave of a powerful current and promote its mobile devices as the venue where that new kind of "circular," convergent entertainment will take place. Moreover, user-generated content (and user-generated entertainment in particular) is neither a breathtakingly new phenomenon, nor is it beyond any dispute that the traditional networks will just sit and watch their dominance wane.
Nokia's study also ignores the fact that the distinction between traditional and "circular" entertainment is becoming increasingly difficult. In times of professional mash-ups, amateur reality TV, and 24/7 life-casting, where does original content end and recycled content start? What if traditional entertainment becomes a micro-format within user-generated entertainment and vice versa? Naturally, the two intermingle, and it may not even be too bold a statement to forecast that at some stage of a highly fragmented and collaborative distribution chain, all entertainment will be "circular" in 2012.
Here's a link to a presentation I gave last week. Forgive me for the "conversation 2.0" moniker but it's a catchy way to pinpoint what's happening right now in the world of marketing. Marketers and brands have always had conversations, but at a much slower pace and mediated by professional parties. That's no longer the case. Conversation 2.0, that is, the Web 2.0-enabled conversation, shifts places and times; it is ubiquitous and doesn't pause--it is, in all senses of the meaning, a "never ending conversation."
Thus, "social marketing," derived from the more common "social media marketing," is all marketing that utilizes the social graph of both marketer and audience (in fact, the interesting thing is that they can be one and the same) to facilitate and cultivate a conversation. Social marketing is whenever more than two individuals collaborate online or offline for content generation and distribution. Social marketers harness the viral power of social networks in order to grow both the frequency and the reach of conversations exponentially. They know how to feed the social orbit with content that catalyzes conversations. And they understand that an "architecture of participation," that lets employees be marketers, has become paramount for turning brands into live brands.
The media of the new era of social marketing are characterized by the following attributes:
-- Hybrid: The boundaries between institutions and players are blurring. This results in the mash-up of producer and consumer (prosumer), fan and consumer (fansumer), professional and amateur (proteur), and the convergence of media, platforms, and communication modes.
-- Adaptive: Change happens in real time and is organically built into the social media mechanisms. The never-ending conversation is in fact a never-ending loop; feedback is creation, creation is feedback.
-- Transparent: Everything is visible to everyone. Self expression and revelation go hand in hand. Privacy has become a public asset, and the more you share, the more (information) you will receive in return.
-- Open: Open is the new closed. Everybody can join. Systems are becoming inter-operable. The best way to build loyalty and retain visitors is to let them go whenever and wherever they want to go. The best way to lock customers into your business model is if you open it up for everyone. Seth Goldstein just had a great post about this, in which he argued that open systems need to be closed, to a certain extent, in order to function.
-- Micro: The online social universe is fragmented into an increasing number of micro-universes that develop their own micro-crowds and micro-formats. Micro is the new macro: Not only is "small the new big," and "selling less of more" may be "the future of business" (The Long Tail) -- communicating more of less is the future of media and communications. More and more businesses identify and carve out untapped niches for their business models with ever more targeted, personalized, and localized offerings.
-- Social graph: It's not just who you know; it's what you know about what who you know knows. We are "a crowd of one" (Clippinger), an interdependent cohort of individual personas. We experience a widgetization of content, of social behavior, of value(s).
-- Instant: "Now is gone" (Geoff Livingston). Everything that happens is happening immediately or not at all. Live-Chat, live-streaming or 24/7 life-casting (Justin.tv)--we want it all and we want it now. The time between action and reflection has shrunk to zero. Beta is eclipsing meta.
This is not the first attempt to challenge YouTube's gatekeeper position for viral video by establishing an alternative portal for sticky commercials closer to the original brand context. Microsoft and NBCU have launched Firebrand, an online and mobile platform to feature the "coolest" TV commercials. And NBCU's USA Network also plans to launch a site for new and classic TV spots next year. However, the branded portal spree may be a fad: Bud TV, Budweiser's proprietary user-generated entertainment channel, started off with high hopes that quickly diminished.
HoneyShed will face some daunting challenges, too. Having made it through the filter of the crowds, commercials with viral potential usually pop first on YouTube, and then float through the blogosphere. Only if HoneyShed manages to assert itself as a trusted destination for specialized branded entertainment, will it stand a chance to compete for a little piece of the large pie that the video portals own. To do so, it needs to build a critical mass of returning viewers. However, it is at least questionable--see Bud TV--whether there is more than just sporadic demand for brand-specific programming. I mean, one Sprite spot may be hilarious, but would you really want to have a regular feed of Sprite videos? For branded entertainment, you can reverse an old music biz proverb: it's the song and not the singer. Eyeballs are attracted by content, not brands. HoneyShed, therefore, must be either extremely good at curating content from myriad brands, or the brands themselves must be serious about becoming content companies.
The content shown on the site so far suggests the opposite. Sure, HoneyShed tries hard to tap into all the right trends: radical transparency (that is, blatant consumerism), social media features (social networking, embed/share capabilities), or conversational marketing (such as live chat facilities). But David Armano is right when he says that it still "feels like traditional advertising served up over the Internet."
If you want to talk about real innovation in online advertising, maybe life-casting is worth a look. Fast Company blogged about this awhile ago, and it's still a compelling idea: ads and product placements in live life-streams on networks like Justin.tv: "A Victoria's Secret shopping experience could be embedded onto the Web page where the video and chat are housed, with customers being enticed to click as each new outfit or item appears in the live video. The shopping experience would contain search functionality so that a customer could look up whichever item the current model is wearing and talking about."
For pessimists, this might mark the end of civilization (as we knew it), for web 2.0 acolytes it is an inevitable consequence of our new social media lifestyles: when social networking sites turn friends into business contacts and vice versa, when life-casts and mini-feeds exhibit each and every one of our acts and sentiments in real time, life itself might as well be utilized as the most powerful advertising format. To say that the boundaries between life and work, culture and commerce, private and public relations are becoming blurrier doesn't go far enough. They are not just becoming blurrier--these boundaries are in fact expanding as the new marketplaces for online interactions and transactions.
G. Scott Mindrum considers himself lucky. He says that rarely do CEOs have the opportunity to interact with their products in a highly personal and emotional way.
A tribute to Gordon Mindrum
(Credit: Making Everlasting Memories)On May 12, 2007, Mindrum's father, Gordon Mindrum, died at the age of 87. The younger Mindrum knew exactly what to do to memorialize his father, a World War II veteran and a doctor that specialized in treating addiction.
He posted to the Web a photo slide show that illustrated his Dad's life story.
The younger Mindrum is founder and CEO of Making Everlasting Memories a company trying to leverage the power of user-generated content to help people memorialize their loved ones online.
"People spend a lot of money on funeral services," Mindrum said. "In the end what do you have left? There's an opportunity to do more to help with the grief and turmoil. What's missing is the story of the person's life and the times they lived in."
People have paid tribute to lost loved ones online for years but more and more the Internet is helping people grieve and pay respects. Some mortuaries now Webcast funerals for those unable to attend services. It's common to see mourners set up memorial sites following a disaster or the death of a celebrity.
Mindrum acknowledges that anybody can post photos and text to a Web site. But his company works with 2,000 funeral homes in North America to quickly craft a more polished product, and do it at a time when customers may be too grief stricken or busy with funeral arrangements to worry about much else, he said.
In addition to the slide show, which feature music and graphics, Everlasting Memories will set up a Web page for biographies, digital guest books and image galleries. The 25-employee company will also bind photos and other materials dedicated to the deceased in hard-and-soft bound books.
To ensure that the tributes remain on the Web for decades, Everlasting Memories commits a percentage of every sale to a trust dedicated to maintaining the archive, Mindrum said.
To speed production along, funeral homes must scan photos and send them via the Web to Everlasting Memories. The company, headquartered in Cincinnati, Ohio, has customized the process so that the images arrive in the proper format.
Mindrum said that within the next several years he hopes the company will be able to accept video. He said right now, mortuaries and funeral homes are unequipped.
"This is a trend that still has a long way to go," Mindrum said, "cause people are very interested in preserving memories."
Google cares what you think about local businesses and thinks other people do too. The company on Tuesday added a new feature to Google Maps that allows people to post user ratings and reviews of local businesses. The maps previously had professional reviews, but not reviews from users. More information is on the Google Blog.
I must say it was faster to do than writing a review on Yelp or CitySearch and a tad more intuitive than posting a review on Yahoo Maps.
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