
Google cracks me up sometimes. The directions for a trip from Los Angeles to Ibiza show me that there are real people at Google. Make sure to check out Step 30.
Real Life 1.0 meets Web 2.0
"The economist Alan Binder calls himself “a free trader down to my toes.” But what’s that goop seeping between his toes these days?
This from a must read-ingest, major Wall Street Journal piece (yesterday/0328): “Mr Binder … remains an implacable opponent of tariffs and trade barriers. But now he is saying loudly that a new industrial revolution—communication technology that allows services to be delivered from afar—will put as many as 40 million American jobs at risk of being shipped out of the country in the next decade or two.” And that staggering stat, per Mr Binder, is “only the tip of a very big iceberg.”
Four-zero million!
Just the start!
Zounds!
Suggests to me it’s time, per a Post earlier this week, to dust off the “Brand You Plan.” There probably will be, alas, counter-productive Federal legislation. But that will be a wee finger in the dike.
The message is clear—and, to a point, simple. Work on your “value proposition” with renewed urgency. Your odds of landing on your feet are directly proportional to the uniqueness of what you have to sell to the world.
(As I’ve said 100, or 1,000, times this does not translate into dog eat dog competition. To the contrary, you will be the architect of, valued participant in intricate Webs of Value Added that involve many, many others from here, there, and everywhere.)
Hence, unprecedented team skills and individual prowess are both a must.
I’m not an alarmist. (Much.) Still, I’d argue that … today is the day to act! (Yesterday would be better.) Is the project you are working on right now worthy of becoming a chapter, or at least a sidebar, in you emergent & urgent “Brand You Saga”? If not, what do you aim on doing to make it so? Moreover, what on-line course/s (or whatever) are you looking at as another part of your “investment portfolio”?
The problem is more or less simple. The solution is more or less simple. All that’s left is the 98.3 percent called Urgent Execution."
Digitourists essentially look for embassies in the virtual world. They look for sites or brands that act as guides. Digitourists, like any tourists, know exactly what they want to see and what they want to find - whether it be a product or a piece of information.
Digitravellers are different to Digitourists - no less or no more technologically able in many cases, they want however to explore things for themselves. They want to navigate their own way around the wilderness of information and stories of the internet, roughing it unguided through the digital landscape. Their interest lies not so much in arriving at a piece of information or a particular site, as the Digitourist’s does, but instead on the journey itself. For the Digitraveller it is all about the people they meet and the unexpected, undiscovered places they stumble across along the way.
“A good traveller has no fixed plans and is not intent on arriving.”
Lao Tzu
“The Web naturally has a certain grain, and Google is aligned with it. That’s why their success seems so effortless. They’re sailing with the wind, instead of sitting becalmed praying for a business model, like the print media, or trying to tack upwind by suing their customers, like Microsoft and the record labels. Google doesn’t try to force things to happen their way. They try to figure out what’s going to happen, and arrange to be standing there when it does.”
While no one knows how much revenue is generated by the global sudoku business, most agree it has easily topped $250 million over the last two years from an estimated 80 million devotees. The New York Times syndicate provides a variety of logic puzzles, including sudoku, kakuro and others, for newspapers and Web sites around the world.
Nikoli received only a sliver of that money. Mr. Kaji says his private company, with just 20 employees, had annual sales of about $4 million.
Sudoku’s popularity in the United States caught Mr. Kaji by such surprise that he did not try to get the trademark there until it was too late. As a result, Nikoli receives no royalties from sudoku-related sales overseas by other publishers.
In hindsight, though, he now thinks that oversight was a brilliant mistake. The fact that no one controlled sudoku’s intellectual property rights let the game’s popularity grow unfettered, Mr. Kaji says. Nikoli does not plan to trademark other new games, either, in hopes this will also help them take off.
“This openness is more in keeping with Nikoli’s open culture,” said Mr. Kaji, who sat on a sofa in his Tokyo office among pillows adorned with printed faces of racehorses. “We’re prolific because we do it for the love of games, not for the money.”
"Maybe you'd better lean forward. Presently you will be given five reasons to consider something barely imaginable: a post-apocalyptic media world substantially devoid of brand advertising as we have long known it.
It's a world in which Canadian trees are left standing and broadcast towers aren't. It's a world in which consumer engagement occurs without consumer interruption, in which listening trumps dictating, in which the internet is a dollar store for movies and series, in which ad agencies are marginalized and Cannes is deserted in the third week of June. It is a world, to be specific, in which marketing -- and even branding -- are conducted without much reliance on the 30-second spot or glossy spread.
Because nobody is much interested in seeing them, and because soon they will be largely unnecessary.
Perhaps you are already rolling your eyes. Perhaps you believe that vast structures on which vast societies and vast economies depend do not easily lose their primacy. Perhaps you believe that the TV commercial and magazine spread -- and radio spot and newspaper classified -- are forever and immutable, like the planets orbiting the sun. Good for you.
Now, say hello to Pluto -- the suddenly former planet. Forever and immutable, it turns out, are subject to demotion. This could be grim news for the agency business, which continues its erratic Pluto-like orbit around marketing budgets as if unaware that it has lost its stature -- and its relevance is next to go. In due course, you shall see how circumstances have conspired to threaten its place on the cosmic map altogether."
"Nor does the disruption end there. Since spring 2005, according to Magna Global USA, DVR penetration has doubled to 20% from 10%, and Forrester Research predicts it will reach half of U.S. households within three years -- well beyond the threshold at which 40% of advertisers say they will dramatically reduce their TV buys. Meanwhile, after years of steady growth in spite of steadily declining audiences, the broadcast-upfront market last year was down 5%. Coca-Cola, never a big upfront player, pulled out altogether. So did Johnson & Johnson, which shifted $250 million online. According to TNS, General Motors slashed $600 million from its 2006 ad spend. Is somebody nervous? Half of the 109 national advertisers surveyed by Forrester in 2006 said their ad agencies and media agencies were "ill-equipped" to deal with changes in the TV environment."
"Mass media, of course, do not exist in a vacuum. They have a perfect symbiotic relationship with mass marketing. Advertising underwrites the content. The content delivers audience. Audiences receive the marketing messages and patronize the advertisers, and so on in what for centuries was an efficient cycle of economic life. The first element of Chaos presumes the fragmentation of mass media creates a different sort of cycle: an inexorable death spiral, in which audience fragmentation and ad-avoidance hardware lead to an exodus of advertisers, leading in turn to an exodus of capital, leading to a decline in the quality of content, leading to further audience defection, leading to further advertiser defection and so on to oblivion. The refugees -- audience and marketers alike -- flee to the internet. There they encounter the second, and more ominous, Chaos component: the internet's awkward infancy.
The online space isn't remotely developed enough -- nor will it be anytime soon -- to absorb the advertising budgets of the top 100 marketers, to match the reach of traditional media or to fulfill the content desires of the audience. (Maybe viewers no longer demand their MTV, but what remains of the mass audience is in no hurry to surrender its Los Angeles Times and "Lost.") A collapsing old model. An unconstructed new model. Paralyzed marketers. Disenchanted consumers. It's all so ... chaotic."
(...)"Microsoft allocated to the introduction of its Vista operating system, 30% went online. If every national advertiser did the same tomorrow, Madison Avenue and Hollywood wouldn't be chaotic. They would be Pluto, relegated to some barren, subordinate outer orbit of the economy. And a lot of people would be singing a different tune."
Now.
"Are Designers The Enemy of Design?
In the name of provocation, let me start by saying that DESIGNERS SUCK. I’m sorry. It’s true. DESIGNERS SUCK. There’s a big backlash against design going on today and it’s because designers suck.
So let me tell you why. Designers suck because they are arrogant. The blogs and websites are full of designers shouting how awful it is that now, thanks to Macs, Web 2.0, even YouTube, EVERYONE is a designer. Core 77 recently ran an article on this backlash and so did we on our Innovation & Design site. Designers are saying that Design is everywhere, done by everyone. So Design is debased, eroded, insulted. The subtext, of course, is that Real design can only be done by great star designers.
This is simply not true. Design Democracy is the wave of the future. Exceptional design may only be done by great star designers. But the design of our music experiences, the design of our MySpace pages, the design of our blogs, the design of our clothes, the design of our online community chats, the design of our Class of ’95 brochures, the design of our screens, the design of the designs on our bodies—We are all designing more of our lives. And with more and more tools, we, the masses, want to design anything that touches us on the journey, the big journey through life. People want to participate in the design of their lives. They insist on being part of the conversation about their lives."
"So Lesson One here is that the process of design, the management of the design process, is changing radically. Egos and silos are coming down, participation is expanding, tools are widespread and everyone wants to play. People want to be in the design sandbox so you have to figure out how to get them in and do design with them. This is a huge challenge."
"But how do people who’ve spent a lifetime using their left-brain, suddenly shift to using both their left and their right? How do people used to deconstructing old problems into their parts and squeezing answers out of each of them then learn to see problems with fresh eyes and integrate parts of many solutions into one new one. Enter design and design thinking. Over the past decade, design has evolved to become an articulated, formalized method of solving problems that can be widely used in business—and in civil society. Design’s focus on observing consumer/patient/student—human behavior, it’s emphasis on iteration and speed, its ability to construct, not destruct, its search for new options and opportunities, its ability to connect to powerful emotions, its optimism, made converts out of tough CEOs."
"Today, I kind of coach a team of about 8 people, 6 women in their early 30’s, one guy in his thirties, and a women in her twenties (she’s Canadian and a generation ahead of the 30-something sisters in technology). Our process is totally different from the hierarchical way of writing and editing we had just a few years ago. We all write for both platforms—online and print, and do a little TV on the side. Our job today as journalists is to curate conversations among groups within our audience, with Jessi Hempel doing social networking and philanthropy, Reena Jana doing fashion and gaming culture, Matt Vella doing cars and green technology, Aili McConon doing sustainability and motion technology such as wii. We design stories with our audience. As John Battelle said recently, the conversation now is the content. It’s not about the finished story but about the ongoing story. It’s the conversation. And since most conversations don’t have a conclusion, they are ongoing. We live a life in beta.
A final point on language: Innovation and Design. Business men and women don’t like the term “design.” I think they think it implies drapes or dresses. Even top CEOs who embrace design don’t want to call it that. They want to call it “Innovation.” That has a manly right to it. It’s strong, techie. These folks are perfectly willing to use the word “vision,” whatever the heck “vision” is. They like “Imagination,” whatever the heck that is. But they don’t like “design.” Go figure.
I solve this problem by calling it all a banana. Innovation, design, eco-imagination, just call it whatever they want to call it and do your design thing. Because your design thing is a glorious thing that has the potential of changing our lives in a myriad of ways in a myriad of places."
Twitter is a social networking service that allows members to inform each other about what they are doing and what they think. It allows users to send messages via phone, instant messaging or the Twitter website.
Basically, it's a Micro-Blogging platform.
Fans say they are a good way to keep in touch with busy friends. But some users are starting to feel "too" connected, as they grapple with check-in messages at odd hours, higher cellphone bills and the need to tell acquaintances to stop announcing what they're having for dinner."
"* Every dollar coming out of print advertising revenue for newspapers is replaced by only 33 cents online, according to Citigroup analyst William Bird. Print advertising accounts for approximately 66% of total revenue for newspapers. This money is ebbing away to web competitors like Monster.com or Yahoo.
* The largest 50 Web companies are attracting 96% of the ad spending on line, according to Pricewaterhouse Coopers, with the majority going to AOL, Google, MSN and Yahoo. (Editors Note: You might say this defies the Long Tail theory. Actually, it doesn't - half of the ad revenues for Google and its ilk are actually redistributed to thousands of smaller sites, via such affliate models as AdSense. It's actually a quite good long tail example.
* An estimated 9.5 million homes in the US now have TiVo or another digital video recorder. According to a study by CBS, 64% of DVR users skip all ads and an additional 26% skip through most ads. The number of homes with DVRs is expected to triple in the next five years.
* An estimated 24 million homes in the US now have access to video on demand. Comcast, the cable company, offers 4,000 on demand features at present. General Motors is now experimenting with short promotional films on the on demand menus of cable systems.
* Publishing companies are moving away from free content towards a subscription model on the Internet. The New York Times has put its very popular columnists (Tom Friedman, Maureen Dowd) into a paid format called TimesSelect costing $49.95 a year. There has been excellent response to this service, with 135,000 new subscribers in only two months.
* Circulation for large American newspapers is down 2.5% in the third quarter versus a year ago, continuing a decade long slide. Erosion is particularly evident among younger consumers. As a result, there have been reductions in head count in the newsroom. The Philadelphia Inquirer just cut 5% of its reporters. According to today's The New York Times (an article by David Carr), The Los Angeles Times announced cuts of 85 newsroom employees, while The Chicago Tribune side it was cutting 100 jobs across all departments.
There are several clear implications for the media business. There will be continued cost pressures on the companies, but with attendant questions about the ability to maintain quality of the product. The search for new revenue streams, whether from repurposing (such as podcasting) or pay-for-content, must accelerate.
For public relations professionals, these profound changes in media are both a challenge and opportunity. Our traditional channels are under siege, yet there are more media options, particularly if one includes blogs. Here are a few suggestions for the next year:
1) Retrain our work force. PR should move away from "pitching the story" mentality. We can be part of conversations on line. We have to be smart about our subject and careful with our facts because these discussions are always on the record.
2) Recognize the influence and credibility of blogs. David Kiley of Business Week wrote about Paramount Studios' success with a niche film, Hustle & Flow, which was promoted through music blogs and fan sites. Thirty five percent of moviegoers said they were motivated to see the film through discussions on line.
3) Experiment. We should be working with video clips attached to press materials to make it easier for bloggers in consumer technology to create v-blogs. We should seek out innovative sponsorships with traditional media, including cross-platform content creation such as a discussion of real beauty, brought to you by Unilever's Dove.
This truly is a time of unprecedented opportunity for public relations. As Paul Holmes noted in a recent address to our European management team, the Internet is a perfect venue for our industry because our business relies on conversation and we engage multiple stakeholders. At the same time, we must always cognizant of our responsibility to be transparent and trusted sources."