Author: Mathew Ingram

Accenture has a study out that interviewed senior media executives for their views on user-generated content — or whatever we’re calling it now — and found that they are not just taking it seriously, they are outright afraid of what it could do to their businesses. “Media and entertainment executives see the growing ability and eagerness of individuals to create their own content as one of the biggest threats to their business,” the survey said.

According to Accenture, more than half of the survey respondents said the rapid growth of user-generated content is one of the top three challenges they face today. More than two-thirds said they believe that social media, one of the largest segments of user-generated content, will continue to grow. Two-thirds said they believe that within three years they will be making money on user-generated content, with most of these saying they expect to make money through advertising and sponsorships. Others said subscriptions and pay-per-play — while a quarter of those surveyed said they don’t know how they will make money from user-generated content.

Those surveyed included industry giants like Roger Faxon, chief executive of EMI Music Publishing; Leslie Moonves, chief executive of CBS; Doug Neil, senior vice president of digital marketing for Universal Studios; and Sir Martin Sorrell, chief executive of WPP Group PLC.

Maybe that’s why Microsoft passed on DoubleClick and let Google take it away for $3.1-billion — so then the Redmond-based behemoth could jump up and down (NYT link) and wave its arms and complain about how big, bad Google is taking control of online advertising.

After all, isn’t there a law or something about how much of a market a company can control, and how it can behave when it has that kind of market power? Oh yeah, that’s right — that’s the same law that Microsoft spend tens of millions of dollars arguing was wrongly applied in its case, a case that makes Google’s “control” of online advertising look like a Sunday school picnic. And yet, in a statement on the Microsoft web site, general counsel Brad Smith complains that:

“This proposed acquisition raises serious competition and privacy concerns in that it gives the Google DoubleClick combination unprecedented control in the delivery of online advertising, and access to a huge amount of consumer information by tracking what customers do online.”

Scoble says that the complaint “sounds a lot like Microsoft is now the company who had its ass kicked in the marketplace and is running to government regulators to get some relief.” Indeed. And obviously Scoble and I aren’t the only ones to notice the irony.

Came across a post by Bruno Giusanni — writer, author and European TED conference director — in which he reprints an essay he wrote for the inaugural issue of Knight Forum, a new online magazine from the Knight Foundation. The point of Bruno’s post and essay are contained in a terrific quote from Ethan Zuckerman, in which he tells journalists: “Don’t speak. Point!”

The point (pardon the pun) is that in a more connected and de-institutionalized world, journalists are no longer — with rare exceptions — the established authorities on a subject, but instead exist to discover and aggregate and collate and interpret what is out there for an audience that doesn’t have the time or inclination to do it all themselves. Giussani says the journalist’s job is to:

“Animate a group of people; to develop ways to organize how information is gathered and used, with the participation of what used to be called “the audience;” and to help people navigate an information landscape that’s increasingly crowded and constantly shifting.”

Giussani goes on to talk about embedding of media, Web 2.0 principles and the idea of a “read/wite” Web, and the concept of a media outlet as a place where a community can grow and develop. He also notes that the Zapruder film of the Kennedy assassination was effectively an act of amateur journalism, which is something I hadn’t thought of before.

Paul Kedrosky points to a fascinating study that was written about in the New York Times magazine this weekend (it figures that the one time I put aside the mag without reading it, it will have a fascinating story in it), which looked at the theory of “cumulative advantage.” This is also known as the Matthew effect — from the bible passage Paul quotes in his post — or the “rich get richer” effect.

Simply put, the theory is that if someone is popular — for whatever reason, be it real talent or just blind luck — he or she is likely to become even more popular, since people tend to gravitate towards things that are already perceived as being popular. In the study that is written up in the NYT magazine, a team set up a website where more than 14,000 participants signed up and were asked to listen to, rate and — if they chose — download songs by bands they had never heard of. Some of the participants saw only the names of the songs and bands, while others also saw how many times the songs had been downloaded by previous participants.

The results showed clear evidence of cumulative advantage, says one of the authors of the study:

In all the social-influence worlds, the most popular songs were much more popular (and the least popular songs were less popular) than in the independent condition.

At the same time, however, the particular songs that became hits were different in different worlds, just as cumulative-advantage theory would predict.

As the author notes, this kind of social influence — which might as well be called the Digg effect — “didn’t just make the hits bigger; it also made them more unpredictable.” And that definitely complicates the tendency to believe in the wisdom of crowds when it comes to music or just about anything else.

“Even if you think most people are tasteless or ignorant, it’s natural to believe that successful songs, movies, books and artists are somehow “better,” … if only because “that’s what the market wanted.”

What our results suggest, however, is that because what people like depends on what they think other people like, what the market “wants” at any point in time can depend very sensitively on its own history: there is no sense in which it simply “reveals” what people wanted all along.”

Fascinating.

Update:

As Ethan at blackrimglasses.com points out, this is also known as a “power law distribution” and can be seen in all kinds of behaviour, both online and off.

Way back in the mists of time, Internet-wise, there was Jenni-cam — a camera (and later, cameras) trained upon Jennifer Ringley 24 hours a day, regardless of what she was doing. That seemed kind of weird, but after awhile it wasn’t really that weird at all. Now there’s Stickam, where hundreds of people stream their video-cameras, and Justin.tv and now Ustream.tv, which lets anyone create their own personal version of the movie EdTV.

Not content to let Justin have all the fun, geek trailblazers Robert Scoble and Chris Pirillo have been experimenting with Ustream. At one point today, I was watching Chris Pirillo’s webcam, which was broadcasting video of him watching Robert Scoble’s webcam, which was broadcasting video of him driving in the car. Fascinating stuff. About the only interesting part of the whole process was the discovery that a bunch of people seem to think Chris Pirillo’s new wife Latthanapon “Ponzi” Indharasophang is hot (and he agrees).

Is there such a thing as too much information? Twitter allows Scoble to update me and several thousand other people on his location every couple of minutes, and it’s the reason I know Jason Calacanis was in Barcelona. Thanks to Ustream, I know that Scoble was in the passenger seat on his drive with Maryam, and that it was raining — and I know that Chris Pirillo has two 21-inch (or possibly 30-inch) monitors on his desk.

What is the purpose of all this knowing? Who knows. As trivial as it all sounds — Chris calls it the “narcissystem,” which I think is pretty close to the mark — I did find it fascinating to listen to him describing how when he heard there was an earthquake, he got one of his Twitter followers in Acapulco to give him his Skype ID and interviewed him on the spot, with others conferenced in via a free teleconference service. Is this the future? Are we on our way to the metaverse?

Update:

Allan Stern at Centernetworks has some thoughts along the same lines, and so does Brian Solis. Jeremiah Owyang has more about the setup that Ustream did for both him and Scoble, which is similar to what Justin uses, and Rick Mahn makes an interesting point in Jeremiah’s comments: What if people had these rigs during the U.S. election campaign? Now that would be interesting. If I were Ustream CEO Chris Yeh, I would get together with Huffington Post and NewAssignment.net for their “crowdsourcing” Politics 2.0 experiment.

Interesting point from Jason at Webomatica, who says that “these real-time technologies rather seem like a step backwards to the days where you had to be at a certain place and time and pay attention or you missed it.”

In case you’re not familiar with the case of Josh Wolf, he’s the video-blogger and/or anarchist-troublemaker who was found in contempt of court for refusing to turn over his videotape of a demonstration in San Francisco (the video is on his website) and for refusing to testify before a grand jury investigating an attack on a police officer and an arson attempt that took place during the demonstration.

Until his release earlier this month, Wolf had spent more than six months behind bars. If you believe that he qualifies as a journalist, that’s the longest time a journalist has spent incarcerated for refusing to turn over evidence to the state. If you don’t believe that he’s a journalist — well, then some guy who refused to co-operate with police just spent six months in jail. And for what? Because he didn’t want to turn over a videotape that doesn’t really show anything anyway, in a case in which the criminal charges for the events in question had already been dropped.

Salon magazine tries to get to the bottom of what exactly Wolf is, and what he thought he was doing by refusing to turn over the tape, and why he eventually decided to release it (although he didn’t have to testify) in a somewhat confrontational interview.

Part of the argument is that Josh Wolf didn’t describe himself as a journalist (he described himself as an artist, video-blogger, anarchist, etc.) and wasn’t affiliated with any kind of media outlet. In a Washington Post piece, blogger and lawyer Eugene Volokh argues that Wolf wasn’t entitled to legal protection because he wasn’t protecting any confidential sources.

Wolf and others have argued, however, that the First Amendment was meant to protect journalists from becoming instruments of the state, and therefore his resistance was crucial to the protection of those values. In interviews, Wolf has talked about how the First Amendment was originally written to protect pamphleteers such as Thomas Paine — who were arguably closer to being the 18th-century version of bloggers than to what we call journalists.

Also worth reading: Jackson West’s take on his friend Josh Wolf and the significance of the case at NewTeeVee.

In an interview with the New York Observer, Lorne Michaels — the creator of Saturday Night Live and proud product of The Great White North — says that as far as he’s concerned, YouTube is the best thing since TVs were invented (hat tip to Techdirt for the link).

“I think that YouTube is great, because if you do something like ‘Dick in a Box,’ someone in Pakistan can see it,” said Mr. Michaels in a phone interview.

And the money quotes:

“I think it’s simple for me,” said Mr. Michaels. “If the work is good, I want the most number of people to see it—period. Anything that leads to that would be my objective.”

“The creators obviously want the biggest possible audience,” added Mr. Michaels. “And lawyers have another agenda.”

First heard this via the fastest newswire in the business, otherwise known as Robert Scoble’s Twitter feed: Google is buying DoubleClick for $3.1-billion (the New York Times has a story here, TechCrunch has it here and Om has it here. As reported in various places, the search engine was widely rumoured to be looking at buying the ad network, and was reportedly vying with Microsoft for the right to walk down the aisle with DoubleClick. Happiest player in this deal? The company that bought DoubleClick for $1.1-billion about two years ago and then sold off some assets for about $500-million.

For those keeping score at home, the price is about 10 times estimated revenue for this year. The NYT story quotes an analyst saying: “Keeping Microsoft away from DoubleClick is worth billions to Google.” Worth almost twice what it paid for YouTube, apparently. I’ll bet it didn’t take the company any Monte Carlo analysis to figure out it needed to keep it away from Mister Softee. Google describes its rationale for the deal in a press release on the Google site.

Michael Robertson has been a thorn in the side of the music business longer than just about anybody, including Steve Jobs and Shawn “Napster” Fanning. He created the original MP3.com (history here), which, like Napster, was shut down by a record industry lawsuit, and more recently created Mp3tunes.com — which allows you to upload music and listen to it through the browser.

Now he’s taking another crack at the industry with the launch of something called AnywhereCD. But before the new venture was even a day old, Michael’s plans, which he writes about on his blog, had hit a major snag. The service is designed to allow music fans to buy a CD and instantly get access to mp3 files of the same songs — but without necessarily taking physical delivery of the CD. This apparently got at least one label upset: Warner Music came out within hours of Michael’s announcement and ordered him to remove any WMG files from the service — even though all the appropriate royalties would be paid as though someone had actually bought the CD. Warner said in a statement that AnywhereCD was selling its music in a manner that “flagrantly” violated their agreement.

I’m continually struck by the bizarre contortions the industry forces people to jump through. The original MP3.com had a service called My.MP3.com, which allowed you to listen to music through the browser after verifying that you owned the original CD — which I thought was brilliant. It was shut down too (MP3tunes.com requires you to upload all the music before you can listen to it). Warner’s response seems particularly out of step given that some labels like EMI are offering straightforward non-DRM files.

Is the record industry doomed to just never get it?

I think it’s important that every patriotic Canadian order one of these custom PC case-mods from a design group called (appropriately enough) Your Psycho Girlfriend. Found via Engadget, by way of Wired, it’s a full computer system inside a stuffed beaver. How long before it explodes into flames? Who knows. Does it smell when the processor is working overtime? All good questions. For the record, it was created by Kasey McMahon, one half of Your Psycho Girlfriend, which makes unusual clothing including a dress made out of cut-up pool noodles, and one with a working hamster play-tube attached to it.

A Rolling Stone gathers no moss — but can it gather an online social network? We’re going to find out. As Om Malik reported, based on a post by a J-school student after an RS staffer spoke to her class, the geriatric music magazine is launching a social network aimed at pulling music lovers together around the warm campfire that is the Rolling Stone brand (insert your favourite lame marketing metaphor here).

Pete Cashmore at Mashable thinks this is doomed, and there are plenty of good reasons why he might be right. There are some pretty good music communities out there already with lots of traction, including Last.fm and MOG, not to mention Pitchfork Media, which is what Rolling Stone magazine should have been — and arguably could have been, if it wasn’t so big and bloated and old and out of touch (and incidentally, I’d like a little credit for not using a cover shot in this post that has naked women in it, unlike Pete and Om and just about everyone else who has written about the Rolling Stone news).

Can RS translate its readership into an online presence? I’ve yet to see any magazine of comparable vintage do so, but that doesn’t mean it can’t be done. NYU journalism blogger Andrea Feczko notes that the mag is “an authority figure” for judging music, but I’m not sure being an authority figure really helps all that much when it comes to building an online community. Maybe RS should just buy Pitchfork and Last.fm and be done with it.

I’m getting so fired up about the people we have coming to join us at the mesh conference (May 30 and 31 at the MaRS Discovery District in Toronto) that I thought I would list some of them here, just to give you a taste — there’s lots more at www.meshconference.com and also listed on the blog there. But here are some of the highlights for me:

• Mike Arrington, obviously — the founder and editor of TechCrunch is pretty much the poster boy for Web 2.0 and also at the epicenter of what’s going on with new media.
• Jim Buckmaster — the CEO of Craigslist, which isn’t just a phenomenally successful social network, but also an incredible story of how the founders have deliberately avoided making money.
• Rachel Sklar — Toronto-born former lawyer who is now the editor of the Eat The Press section of Huffington Post, a giant in the field of new media and a wonderful writer to boot.
• Jeff Howe — a Wired contributing editor and veteran journalist who invented the term “crowdsourcing” and is now working on a book about the concept of content produced by users.
• Simon Pulsifer — Canada’s own “king of Wikipedia,” who has written more than 2,000 entries in the open-source encyclopedia and edited almost 100,000.
• Mike Masnick — the founder of Techdirt, a key source of creative thinking about Web 2.0 and technology in general, as well as a people-powered consulting company.

There are lots more too: How about Garth Turner, blogger/author and MP? Or Christine Herron, a venture capitalist with The Omidyar Network. Or Scott Feschuk, writer/comedian and former Paul Martin speechwriter. Video-blogger Loren Feldman from 1938media. Andrew Coyne, columnist and gadfly. McLean Mashingaidze-Greaves, creator of CBC’s Zed and now Rapspace.tv. And dozens more. Better hurry — tickets are going fast 🙂

Kurt Vonnegut was already fairly famous by the time I became a fan — which would have been in my late teens — but I still felt like someone who had discovered a cool, underground band that no one else was into. His books weren’t quite science fiction, and weren’t quite fantasy, but a weird mish-mash of genres, complete with hand-drawn illustrations of bums and other things. They were strange, and funny, and fantastic.

I found out that Vonnegut had died by reading my feeds, from a post at Paul Kedrosky’s blog. I knew that he was elderly and not well, and therefore his death didn’t come as a total surprise — just as Warren Zevon’s didn’t come as a total surprise, since he had cancer — but it still hit me hard. The world was a lot more fun with both of those guys in it. And while I never made the connection until a long time later, Vonnegut books were a lot like Zevon songs: irreverent, and yet filled with beautiful imagery and ideas; poignant and funny, sometimes goofy, always rebellious — almost like free-form poetry.

As I said on Paul’s blog, I would put books like Slaughterhouse Five and Breakfast of Champions and Cat’s Cradle up against almost any book published in the past 50 years. I have read them and re-read them and they just keep getting better every time. Some people have no doubt read his books and mistaken Vonnegut’s simplicity and irreverence for slapstick, and many authors have tried to reproduce that tone and come off sounding like idiots.

But Vonnegut always had a point — sometimes a funny one, and sometimes an uncomfortable one — and he made it by using the strange and the fantastic as a mirror to show us our true selves. (10 Zen Monkeys has an interesting story about one of the TV screenplays Vonnegut wrote that was turned into a tele-play with Sammy Davis Jr.)

Update:

Cory at Lost Remote has some details about what some of the partners CBS signed the deal with (described below) plan to do with the content — with Brightcove’s the most interesting.

Original post:

Well, another TV network seems to have decided to jump headfirst into this whole Interweb thing: CBS, which is home to such shows as CSI, Survivor and The David Letterman Show, has announced that it will be working with just about every social network, portal and video-sharing site or service in the known universe — with a couple of notable exceptions, of course.

The press release mentions that the network’s partners include AOL, Microsoft, CNET Networks, Comcast, Joost, Bebo, Brightcove, Netvibes, Sling Media and Veoh. And that’s on top of existing deals with Yahoo, Amazon and Apple. You might notice a few names missing, such as — oh, say Google and YouTube. Or MySpace. It’s probably a coincidence that MySpace is busy developing its own video network, and that Google and YouTube are currently embroiled in a nasty legal dispute with certain networks over their content.

Of course, CBS already has an existing deal with YouTube that includes a “channel” with some of its content. So why didn’t it mention that in the press release? It mentioned existing deals with Yahoo and Apple. It seems that Joost is the new favourite — likely because it is much more like the broadcast model that network execs are familiar with. Viacom has already gotten cozy with Joost after dumping YouTube.

To be fair to CBS, this deal looks even broader than NBC’s much-hyped National Broadband Broadcasting Network or NBBC. Video will be distributed through all of the outlets mentioned above, all of it free and ad-supported (DRM wasn’t discussed), and none of the deals are exclusive. A shotgun approach, perhaps — but at least CBS is taking a shot at serving viewers in different ways, and it should get some credit for that.

PaidContent has some of the details (or rumours) about revenue sharing here, and it sounds like Canadians might actually get to watch some of the content, since CBS says in the release that “select clips and full-length sports programming” will be available worldwide.