Kara Swisher, usually quite the quality reporter for WSJ’s All Things Digital blog, had a pretty surprising post this week lamenting a lack of business models for the entertainment industry in the digital age. Surprising, in that Kara let herself get influenced by an industry that has been disrupted by technology, but refuses to change.
She started by referencing Prince’s insane rant (here’s just part of that gem):
“The internet’s completely over. The internet’s like MTV. At one time MTV was hip and suddenly it became outdated. Anyway, all these computers and digital gadgets are no good.”
This quote is ironic, as Prince’s own music studio is comprised of both computers and digital gadgets. Kara then goes on to remark that perhaps Prince is actually not that far off:
But–after spending several days here in Los Angeles this week, talking to execs, talent and others who toil in the entertainment industry–I can’t say what I am hearing is that much different in terms of the continuing frustration with the lack of decent business models to replace the ones that have worked for so long and been so lucrative for the entertainment and media industry.
Wait – so an industry that constantly tries to sue it’s fans, scares off it’s own artists and lock up content is frustrated they have lost their old business model due to technology changing society? An industry which tries to cling to the past does not get the right to complain of a “lack of decent business models.” Perhaps if they spent their time innovating instead of fighting a changing world and treating their own customers like criminals we could feel sympathy for them. But absolutely no one should feel sympathy for this litigious, backwards looking group attempting to protect a dead monopoly on both media and marketing.
From music to movies to television, the biggest minds here still sound perplexed as to what will finally be the golden ticket to carry them through to the inevitable next era of digital distribution.
Typical monopoly thinking – waiting for the “golden ticket” to carry them through the future. Except, in a hyper-competitive world where everyone has distribution capabilities, power is now with the people. In an open information world, leverage is not going to magically be given back to the past players who used to have monopolies. Mike Masnick provides a nice analogy in his commentary to Kara’s piece:
These guys are sitting back and waiting for someone to hand them a golden ticket that replicates the old ways of doing things. That’s not how it works. No one gave the buggy whip makers a golden ticket that let them keep their old lines of business going.
Can you imagine what it would have been like if we subsidized horse and buggy manufacturers instead of investing in the automotive industry? Society would have looked back in shame of such a move. Thankfully, it looks like we’re making some good decisions.
I want to provide commentary on just a few other of Kara’s comments…
Who will pay for the high up-front production costs of most major entertainment projects? Can costs come down enough to make up the difference?
This is a problem with the industry – their artists were paid ridiculous sums and marketing budgets were bloated for so long they can’t fathom a world where they are not the only ones making and distributing art. Huge production budgets are irrelevant in a long tail media world. Technology such as Ableton Live made high quality audio production costs within the reach of everyone and high quality video cameras are also affordable. Marketing and distribution of digital goods is even cheaper (if not free). Now we all can make, distribute and consume music and other media and don’t have to blindly listen to what the controlling players force onto the world through payola.
“Why is the consumer always right?” said one exec to me this week in a typical statement. “You can’t have a business if there is no business model.”
Can anyone see what’s wrong with this statement? They refuse to actually deliver what people want. It’s no wonder their customers are fleeing in droves for competing services who actually do deliver what the market wants or simply pirating what they want. The entertainment industry is no longer some special market, they are now part of a hyper-competitive market and just like others in similar situations they do need to actually deliver on what people want if they hope to survive. We all need to realize the professional entertainment industry is actually not that special and that music and other forms of media can be of equally high quality when coming from the commons.
Steve Levitan, co-creator of ABC’s “Modern Family” echoed the “Why is the consumer always right?” statement, and goes on to say:
“At its core, 90 percent of my job is still sitting down in a room full of people and breaking stories,” he said. “And that requires virtually no technology.”
This quote shows just how little the industry actually pays attention to their consumers. Rather than listening to conversations, mining information and being data-driven in their strategies or even asking fans for input, they still make decisions behind closed doors. They aren’t listening, they obviously don’t care, and so we should be equally reticent to support them. Why not support independent artists instead of propping up a dated industry who fights change?
Thus, instead of mocking that sentiment, perhaps it is time for tech leaders to figure out a way to keep talent from being dragged into the future without so much kicking and screaming.
So, according to Kara, it’s up to tech leaders to keep the entertainment industry alive? That’s abusrd. In a digital society, the web is everyone’s domain and if any industry is going to put their hopes for the future in the hands of another group, it’s unlikely they are going to survive.
The entertainment industry as a whole is doing better than ever, and we see new services to both promote and serve media cropping up daily. However, the funds aren’t going to the existing industry players, thus all the “kicking and screaming” noted by Kara. Perhaps it’s time they stopped banking on irrelevant strategies and wake up to the world they live in.
The Future Buzz is a blog run by communications professional Adam Singer. Adam has experience as both a digital PR strategist and online marketing manager for some of the top-rated brands globally
Will (1 comments)10 July 10
Let me see… I can choose Lady Gaga, Gucci Mane, or some other knuckle-headed, untalented pseudo-musician that the industry has decided to force-feed the unwitting public…… OR I can seek out real talent for myself on the internet….YouTube, MySpace, etc… are a good place to start, not to mention, countless streaming audio stations worldwide.
We do have a choice. We do have taste. We do have a superior talent to recognize talent, unlike the big record industry in the states.
I hope the music industry in the US becomes extinct and the sooner the better.
Yoav (1 comments)12 July 10
“Technology such as Ableton Live made high quality audio production costs within the reach of everyone…”
It really didn’t, but maybe we differ on what “high quality audio production” is
Adam Singer (304 comments)12 July 10
You’d be surprised at some of the artists who use Ableton live: http://en.wikipedia.org/wiki/Category:Ableton_Live_users – I’ll stand by my statement – sorry that you disagree :)
BklynBuzzBand1 (2 comments)12 July 10
Will is correct, we do have power and choice. But the major problem is quickly becoming the quality of what we choose. You mention Gucci Mane and Lady Gaga and I’d even offer up Drake to the list of hacks. The issue is people aren’t using their “power” to find new talent in the digital age. They’re using the internet to supplement old habits. Instead of finding new artists that can break through without corporate support they’re doing google searches for Gaga et al. Or if you’re this era’s equivalent of a SPIN subscriber you simply go to Pitchfork or Stereogum who get fed batches of records from publicists same as old fashioned magazines. You net savvy scamps you.
Everyone thinks what they find on the internet is the next big thing sure to prove we no longer need labels. (Remember when the net generation discovered grime?) For every indie net era success like LCD Soundsystem….there are a dozen Electric Sixes a few Mu and a few Roll Deeps. The old record industry at least made a way for indie bands that weren’t hugely successful to stay afloat (i.e. The Ramones). The digital economy doesn’t allow for this anymore. Ask Ted Leo and The Pharmacists. Ask Def Jux.
Blogs are pushing the new crop of bands down you’re throat and providing you with free MP3s of their work to make sure you never go buy the new album by that band you loved 18 months ago.
Artists can’t live in this environment. If Jane Doe is the absolute best artist of your generation, but she has to get a day job…you’d never hear her. But some schmuck with a pro-tools set up in his mom’s basement, a case of PBR and the time or interest to gain 5,000 facebook friends WOULD get your attention. This is NOT “discovering” new talent. Its more like finding out who the cool kid in some far off high school is and deciding you think he’s cool too. By now John and Jane Doe are teaching pre-schoolers kids how to fingerpaint. And you’re all happy you found MC Schmuck.
Can you imagine the landscape of music if we had to depend on twitter and facebook to discover Jane’s Addiction, Nirvana or Wu-Tang? Because I can really see a tranced out Kurt Cobain and Ghost Face Killah hunched over their i-book tweeting about who farted on the tour bus and what kind of sandwiches they’re having. I’d rather have my favorite artist making art rather than worrying about how many tweets he posted that week.
Bottom line, contrary to the net-opinions of thousands of people who aren’t even employed in music….Music needs a Music Industry. It needs labels.
If millions of people read about the global financial crisis and blog about it, that doesn’t mean we’ve just created millions of economists. Why should we think a million people with twitter accounts and google skills are the new music industry? I’ve read a little Web MD. Why don’t you skip that pricey doctor’s visit and paypal me $50 for your diagnosis?
You know what you get when you let the general public decide who the next big artist should be by virtue of say tens of millions of youtube views? You get Susan Boyle. God I can’t wait for her next album…
Adam Singer (304 comments)12 July 10
Nice – you’ve officially invoked Masnick’s Law. You should watch this presentation, then come back and comment again: http://vodpod.com/watch/1858716-how-to-connect-with-fans-and-give-them-a-reason-to-buy — still think the same?
BklynBuzzBand1 (2 comments)13 July 10
Yes I do still think the same. I could literally write an entire essay/article on Msnick’s Law. The short and sweet version is…I see that bogus law as being the industry’s equivalent of saying “You’re a poopyhead” like a five year old that has reached the end of his capacity for logic.
I’m not saying the internet isn’t a good tool. What I’m saying is that the internet has yet to really demonstrate that a band can live by internet alone. Was born of and survives by the internet.
Understanding this only takes a little observation. Lets talk about some of the “stars” that have emerged from the decade long internet era of the “new music business”.
TVOTR – Dave Sitek did production work with the YYYs could be the reason they got signed to Touch ‘n Go (a then powerful indie and former home to the Sitek produced YYYs records) then oddly wound up on Interscope like YYYs. Not sure this is all net (ok bad pun).
Santigold – Produced by Switch already a big name in the UK…released on Downtown which is run by industry insiders (i.e. the manager of Mos Def (her former boyfriend) down with Diplo and M.I.A. Oh btw, her former band Stiffed was signed to Universal. No net magic here.
M.I.A. – Knox (who currently works for Green Owl the label her fiancé owns) was at the time EIC of Fader a mag for tastemakers. He heavily endorses her mixtape which was put together by Diplo already an indie darling. Then gets picked up by XL one of the most powerful indie labels period. If you think the label that put out Thom Yorke’s solo album was relying on youtube viral videos and blogs alone, you’re not paying attention.
Trouble & Bass – group member Star Eyes was (still is?) the Editor-in-Chief of XLR8R Magazine. One of the TOP American magazines devoted to dance and electronic music. So can we say that T&B leader Drop The Lime’s cover feature and consistent coverage is driven by web popularity or the other way around?
LCD Soundsystem – born of DFA…DFA started in part by the co-founder of Mo Wax Records one of the most influential electronic music labels of the 90s… “DJ Shadow’s Endtroducing ring any bells? These guys learned by selling records the old fashioned way since before there was a Google.
I could go on, and the more I go on the more you’d be left with “artists” like Tay Zonday to build a case that the Internet is creating sustainable careers. And I’ll give you Bon Iver and Devendra Barnhart for good measure (but that’s me being generous as historically, folk artists break in grassroots methods not industry machine methods). (Oh and you can have LMFAO and Das Racist I’d bet my soul these net sensations are one-hit-wonders in the making)
The bottom line is part of the new economy theory for the music business revolves around the artist doing the PR, the marketing, production, making videos, tweeting, posting to facebook. That’s ludicrous. Some of your favorite artists are scared to get out of bed every morning much less be able to execute a scheme for a viral video. These things happen with the help of a team. You can’t imagine all new bands are a bunch of fire-cracker whip smart youngin’s like Vampire Weekend who all hail from Columbia University. Some are drug addled messes who happen to make the best music you ever heard. Yeah it sucks…but the truth hurts.
Giving customers a good product isn’t always enough. History is rife with superior products with adequate marketing falling the hell apart. To think an artist that is also NOT a business person can figure all this out is is a little naive. Some of rock’s best artists are not exactly known for their people skills so the job of connecting with fans isn’t exactly priority number one. I brought up Kurt Cobain yesterday..for good reason. Would you truly count on a heroin addict to “get out there and connect with fans” or would you feel safer if a PR agent did it. one who IS going to get up in the AM and do the job? If I have a vested interest in the band I’m counting on that PR agent no offense to smack addicts. And we’re immediately back to square one….hiring a publicist one of the oldest tricks in the music business book.
lets talk about artists who are web savvy. Lets say Crunc Tesla for instance who has had less than a handful of less-than-minor records on Kid 606′s Tigerbeat and Parisian label Ekleroshock. This guy was savvy enough to amass over 280k myspace views…but he can’t get 50 people to come see him live in his home town. Hell he can barely get booked. Exception to the rule or proof that anyone can appear to have fans on the internet?
Is stumbling onto a new band easy with the net? Sure it is. I’ll give you that. But an interesting interview with Tom Silverman of Tommy Boy contained some great stats 79,000 releases last year sold no more than 100 copies. Another 18k didn’t even sell one. So what exactly are we “discovering” on the internet? Are we really empowering these bands or are our attention spans so truncated we can’t even properly support the band we “loved” just three months ago? Ultimately…the proof is in the charts.
Speaking of charts…why don’t we just look at the top ten singles on i-Tunes last week
1. “Love the Way You Lie,” Eminem
2. “California Gurls (w/Snoop Dogg),” Katy Perry
3. “Dynamite,” Taio Cruz
4. “I Like It,” Enrique Iglesias
5. “Airplanes (w/Hayley Williams)” B.o.B.
6. “Billionaire (w/Bruno Mars),” Travie McCoy
7. “Cooler Than Me,” Mike Posner
8. “Ridin’ Solo,” Jason Derulo
9. “Not Afraid,” Eminem
10. “OMG (w/will.i.am),” Usher
I’m afraid I’m failing to see the act on this chart that was “discovered” on the internet. Maybe a few Johnny come latelies never heard of Eminem until they stumbled upon him while reading Entertainment Weekly online…but I suspect that ain’t the case.
Bit I digress…maybe I’m just an old dog looking for the trick…but I don’t see this miracle solution to the music industry that the internet offers.
Adrian (1 comments)15 July 10
The internet makes it possible for artists with genuine talent and conviction to survive, record and tour. It’s a great, exciting, new age, and I’ve got to admist it’s getting better all the time – to borrow a line. Because some can’t or won’t or don’t want to make things work in today’s environment is no reason to support the rotten old ways.