Deciphering Culture

Posts Tagged ‘Innovation

Short takes: Derek Silvers “Anything You Want”

leave a comment »

I’m a little wary of touting the work of “success gurus” (I can’t help flashing on the Chris Farley SNL motivational speaker character Matt Foley) but I make a few exceptions — Derek Silvers is one of those and he has a great trailer for his new book, “Anything You Want” published by fellow guru Seth Godin’s Domino Project.

Written by Jeffrey Callen

June 29, 2011 at 11:25 am

Short takes: different types of “creative metropoles”

with one comment

Interesting project winding up in September 2011 looks at the different strategies taken by eleven European cities to develop and support their creative industries. The Creative Metropoles project is based on a premise I share and would like to see shared in the U.S.: “a facilitator of innovation, creative industries are essential for the development of other sectors.” The cities (as different as Berlin and Riga, Amsterdam & Warsaw) will each identify their own best practices and learn from each other’s experiences — “the ambition is not only to present the good practices but also deal with current problem issues and generate new knowledge and approaches.” The project is working in 5 policy areas:

1. structure of the public support for creative industries

2. business capacity and internationalisation of creative industries

3. space for activities by creative industries and creative city districts as creative incubators

4. funding schemes for creative industries

5. demand for the outputs of creative industries, including municipalities in the role of consumers.

The final report, particularly the appendices (Good Practices from European Cities) offers an interesting view of the diversity of approaches to developing creative industries that have had significant success and point to the need to both localize (i.e., collaboration for mutual benefit among Berlin) and reach across national boundaries (i.e., relationship building between artisans and designers in Fes, Morocco and Amsterdam). There’s a lot of material and I’ve just been browsing but my first impression is there’s a lot to learn.c

Short takes — The changing face of social media (3)

with one comment

iTunes Icon

Image via Wikipedia

An email sent to iTunes users this morning touted its Ping music social network which “lets you follow your favorite artists and friends to discover the music they’re talking about, listening to, and downloading.” Unfortunately many independent artists are still left out of the conversation. That same email from Apple stated that just over 2000 artists were on Ping. This low level of artist participation is not, however, usually by choice. (from Hypebot.com)

Social Connectivity & Innovation — “Where Good Ideas Come From”

with one comment

The trailer for Steven Berliner Johnson‘s new book, Where Good Ideas Come From, offers some food for thought on the role of social environments in the creation of innovative ideas.

The book is built around dozens of stories from the history of scientific, technological and cultural innovation: how Darwin’s “eureka moment” about natural selection turned out to be a myth; how Brian Eno invented a new musical convention by listening to too much AM radio; how Gutenberg borrowed a crucial idea from the wine industry to invent modern printing; why GPS was accidentally developed by a pair of twenty-somethings messing around with a microwave receiver; how a design team has created a infant incubator made entirely out of spare automobile parts. But I have also tried to distill some meaningful—and hopefully useful—lessons out of all these stories, and so I’ve isolated seven distinct patterns that appear again and again in all these innovative environments. (Each pattern gets its own chapter.) (from StevenBerlinerJohnson.com).

If  you want a longer version, here’s a talk Johnson gave at TED, starting with the role the introduction of the coffeehouse (and the replacement of alcoholic beverages with coffee) had on the development of innovation in the U.K.

Related Articles

Written by Jeffrey Callen

September 28, 2010 at 9:11 am

Short takes — the music industry’s process of re-invention (@Hypebot.com)

with 4 comments

A great list from Kyle Bylin of Hypebot.com

12 Books That The Record Industry Needs To Read

Grab a book off the list and enjoy it.

image from tsaum.comOver the last few months, we’ve been asking some of the leading voices in our field to send in their summer reading lists for the Hypebot community. I won’t go as far as to say that this is a definitive list of the books that the music and record industries needs to read, but it’s certainly a good start. There’s a couple of great titles missing that I’ll try to call attention to in my own reading list. That is, when I get around to putting it together.

In this book, Johns explores the history of piracy and reveals that it is far longer and intertwined with our cultural lives than we had imagined. It explores the intellectual property wars from the advent of print culture in the fifteenth century to the reign of the Internet in the twenty-first. This title provides a needed context into the claims that the sky-is-falling on the recording industry and makes chicken little look like he’s been screaming bloody murder for centuries.

Communications scholar and online music fandom analyst Nancy Baym said itbest, “Like Kot’s book, this is a readable analysis of recent changes in the music industry, but where Kot focuses on case studies to make his case, Wikström offers a critical theoretically-grounded perspective and a rich analysis of the changing nature of the many industries involved in the industry.”

12 Books That The Record Industry Needs To Read:

1. Rework
by Jason Fried and David Heinemeier Hansson

This book is written by the founders of the software company 37signals; it explores new ways of looking at working and living and challenges the behaviors we call normal. As well, the book gives a great overview into the reality of starting a company and the lack of resources that are needed with the proliferation of digital technologies and the emergence of the social web.

2. Piracy: The Intellectual Property Wars from Gutenberg to Gates
by Adrian Johns

3. Linchpin: Are You Indispensable?
by Seth Godin

Never one to mince words, Godin flat out tells readers that they are remarkable — that something that they do matters much, much more than they believe it does. After spending years in an education system that’s almost designed to squash out all creativity and uniqueness from people, preparing them for the ultimate corporate bargain, Godin urges us to wake up and use our full potential.  Not because we are some special butterflies, but because right now, in this instance, the world needs us to be remarkable and use those very talents.

4. You Are Not a Gadget: A Manifesto
by Jaron Lanier

Lanier has written a cautionary tale that challenges us to think about whether or not the web is transforming our culture and society for better or worse. He argues that we take every day technology for granted and don’t truly understand the biases of the mediums we use — that they were designed at very specific moments in history by people with specific intentions. The operating system that our world and computers work on is just one representation of reality and many minor design decisions in it have real and unintended consequences.

5. Cognitive Surplus: Creativity and Generosity in a Connected Age
by Clay Shirky

Whether you read this book shaking your head or nodding in agreement, Shirky provides much food for thought and interjects a theory about how the abundance of our free time could be used. In the digital sphere, we are active participates in our cultural lives and if we spend our surplus of downtime working on something that matters, rather than watching reruns of Lost, something great could emerge. If harnessed properly, we can produce value that benifits society as a whole and not just our own lives. Embbrace the chaos and don’t look back.

6. Ripped: How the Wired Generation Revolutionized Music
by Greg Kot

From the perspective of a music critic and journalist, Kot analyses the cultural and organizational shifts that underpinned the profitability of the record industry long before the proliferation of digital technologies revolutionized it. He weaves together a brilliant narrative about the decline of traditional social institutions and talks about how the young and the digital are redefining the roles of cultural creators and their art. Contrary to Knopper’s title, Kot explores the new music business from the musicians who shaped and changed it forever.

7. Fans, Friends And Followers: Building An Audience In The Digital Age
by Scott Kirsner

We talk about the DIY movement, but Kirsner goes into the trenches and gains insight into the careers of those whom are actually doing it and making a living off their works. Rather than relying on the gatekeepers of yesteryear, the people outlines in this book have gained access to the tools needed to produce, market, and distribute their work. This book features of range of interviews across a broad number of disciplines in the cultural industries; it provides practical strategies and resources for the reader to stand up and join the movement — if they so wish.

8. The Music Industry: Music in the Cloud
by Patrik Wikström

Communications scholar and online music fandom analyst Nancy Baym said itbest, “Like Kot’s book, this is a readable analysis of recent changes in the music industry, but where Kot focuses on case studies to make his case, Wikström offers a critical theoretically-grounded perspective and a rich analysis of the changing nature of the many industries involved in the industry.”

9. Mashed Up: Music, Technology, and the Rise of Configurable Culture
by Aram Sinnreich

I will admit, I haven’t read this title yet. So, I will have to leave you with the Barnes and Noble description: “Mashed Up chronicles the rise of ‘configurability,’ an emerging musical and cultural moment rooted in today’s global, networked communications infrastructure. Based on interviews with dozens of prominent DJs, attorneys, and music industry executives, the book argues that today’s battles over sampling, file sharing, and the marketability of new styles such as ‘mash-ups’ and ‘techno’ presage social change on a far broader scale.”

10. Appetite for Self-Destruction: The Spectacular Crash of the Record Industry In The Digial Age
by Steve Knopper

Knopper explores the rise and fall of the record industry through a people and executive driven narrative that gives insight into many of the organizational problems they faced. This provides a much more historical perspective into specific periods of time during the last few decades of popular music. He looks much more into the business side of recorded music than Kot and the many characters that drove it into the ground. This is a tale of short-sighted capitalism and greed and luddite ignorance, where Kot tells of the more music based story.

11. Moral Panics and the Copyright Wars
by William Patry

This book is still one of my favorites to date; it gives a scathing review of the cultural industries and tells how they often only want to give consumers what they want to give them — not what they actually want. It studies the language used in the Copyright Wars and gives an in-depth argument as to why those in the industries, whom piracy has been a problem for, tend to demonize their opponents, rather than answer the much broader question of why they refuse to innovate. Creative destruction is a force of change — lobbying government and issuing massive lawsuits are just methods to deny the future and hope that things stay the same forever and ever — freezing business models in the present.

12. Selling Sounds: The Commercial Revolution in American Music
by David Suisman

Suisman provides a much needed history of the rise of the commercial music industry, ranging from Tin Pan Alley to Black Swan, the first major black-owned record company, charting its immense complexity on the way. He tells of how music become a commodity in America and gives deep insight into the truth that the music that permeates in our everyday lives has much less to do with our preferences than of the deep pockets and marketing budgets and tactics that the record industry has employed for decades. In reality, it’s the music they want us to hear, not the other way around. Sadly for them, most of us quit buying it.

Written by Jeffrey Callen

September 16, 2010 at 10:52 am

Back story of the “Bed Intruder”s song

with 3 comments

Follow-up on a  post from September 13, 2010 — It’s a new game — the music industry’s process of re-invention (part 1). The Gregory Brothers talking about their surprise hit and their Auto-Tune The News project. Fascinating with some great quotes: “Joe Biden is the Beyonce of the Executive Branch” and great clips of “Bed Intruder” covers (I love the N.Carolina A & T marching band and shamisen versions).

Reposted from Hypebot.com

Video: Gregory Brothers Share Business Back Story On The Bed Intruder Song

image from www.tifr.usSouthwest Virginia’s Gregory Brothers, better known as the “Auto-Tune The News” band, shared the story of how they created and monetized the “Bed Intruder” song at Google’s Zeitgeist conference this week. “Bed Intruder” was the first totally d.i.y. tune to break Billboard’s Hot 100 singles chart completely on the strength of YouTube play.

via MediaMemo

It’s a new game — the music industry’s process of re-invention (part 1)

with 3 comments

The changing face(s) of the music industry

The recording industry has always been dragged kicking and screaming to adopt new technologies and business models (see ). Often the big boys were educated to what was possible by the appearance of new competitors on the margins who responded to new opportunities provided by new technologies or new music markets the majors ignore (and sometimes both). Typically, the big boys eventually swallowed up their upstart competitors and the same thing may happen this time but it seems less likely. And some of the upstarts are convinced the solution must come from somewhere different this time. The memorable quote below comes from an August 22, 2010 edition of “Broken Record: Music in the Download Era”, the LA Times occasional column on the current state of the music industry.

“I don’t want to hear some guy chomping on a cigar in Beverly Hills telling me it’s all gone pear-shaped. The people who invented the paradigm and were trusted to run it let it run afoul. We have to fix it.”Jeff Castelaz, co-owner of LA’s Dangerbird Records quoted in L.A.’s string of indie labels succeeds with a jack-of-all-trades approach.

Castelaz’s Dangerbird Records is one of a new crop of independent record companies that have sprung up and are giving the majors (or what is left of them) a run for their money. And this time it is different — there are new big boys providing low-cost distribution: Amazon, I-Tune… — and new free or low-cost marketing outlets: Twitter, Facebook… It’s no longer simply the independents vs. the majors.

A little historical perspective from Mark Mothersbaugh (from Verbicide Magazine)

I’m in the music industry, so I’ve had to listen to people moaning, lazy record executives who are saying, “Oh no, people aren’t buying our records anymore.” And I want to say, you know what, that is not how people historically have disseminated and listened to music in the history of mankind. It has only been a really short window since Thomas Edison invented the wax disc and then the record companies could start selling platters and then tapes and then digital discs. It has only been a short time. Record companies could control the process of what kids could listen to, which influenced what artists were able or allowed to create. I think the internet… is the most amazing thing that has happened. As far as being an artist, I think now is the greatest time to be an artist…  Now, kids can wake up in the morning and say I want to hear some “cowboy Chinese computer death-metal.” You put those four terms into a search engine,something is going to come up. Some band is playing that kind of music. That is so amazing to me. That is so exciting. It is so inclusive… And now kids who are 16 have cell phones that have more powerful recording systems inside their telephone than the Beatles had to do their first album. The technology is amazing. And who needs a record company? You start a website and people from every corner of the planet now have access to your music.

& New routes to success

Inspiration (local TV news) to Pop Song (“Bed Intruder Song”) to Viral Video (YouTube) to Internet Sales (I-Tunes) to Hot Single (Billboard Top 100)

New York Times coverage

More to follow — the game ain’t over yet

Written by Jeffrey Callen

September 13, 2010 at 1:12 pm

%d bloggers like this: